Harry The Hipster Gibson

I thought I had featured Harry The Hipster Gibson before here but a quick search through the archives reveals that I haven't. So putting things right with one side of a cassette that Harry shares with Cecil Gant and Benny Carter on the Italian Curcio label which looks like it was part of a magazine called I Giganti Del Jazz from 1981 - but the tracks here were recorded in 1944.

Wikipedia says -

"In the 1940s, Gibson was known for writing unusual songs, which are considered ahead of their time. He was also known for his unique, wild singing style, his energetic and unorthodox piano styles, and for his intricate mixture of a hardcore, gutbucket boogie rhythms with ragtime, stride and jazz piano styles. Gibson took the boogie woogie beat of his predecessors, but he made it frantic; similar to the rock and roll music of the 1950s Examples of his wild style are found in the songs "Riot in Boogie" and "Barrelhouse Boogie". An example of his strange singing style is in the song "The Baby and the Pup." Other songs that Gibson recorded were "Handsome Harry, the Hipster", "I Stay Brown All Year 'Round", "Get Your Juices at the Deuces", and "Stop That Dancin' Up There." Gibson recorded a great deal, but there are very few visual examples of his act. However, in New York in 1944, he filmed three songs for the Soundies film jukeboxes, and he went to Hollywood in 1946 to guest star in the feature-length film musical Junior Prom. Gibson preceded the first white rock and rollers by a decade, but the Soundies he recorded show significant similarities to rock and roll.
"Harry the Hipster" headlining at the Onyx on 52nd Street, May 1948. Note in the photo the Deuces as well as Leon and Eddie's.

While working on "Swing Street" at night, Gibson was a fellow at the Juilliard Graduate School during the day. At the time, Juilliard was strictly a classical music academy, and Gibson excelled there, which partly explains the richness of the music he brought to the jazz world. The other part of the explanation is, his own inventiveness, and Gibson was almost always billed and promoted as a musical genius."

Songs on Side One are-

1. Handsome Harry, The Hipster Gibson
2. Riot In Boogie
3. Stop That Dancin' Up There
4. Get Your Deuces At The Deuces
5. The Hipster's Blues Opus 6
6. The Hipster's Blues Opus 7


Harry The Hipster Gibson - Side One

Phil Harris

A CD on the Living Era label thats probably still available. A good selection of his well known and not so well known tracks recorded back in the 40's and 50's.

Wikipedia says- "Although he was born in Linton, Indiana, Harris actually grew up in Nashville, Tennessee and identified himself as a Southerner (his hallmark song was "That's What I Like About the South"). His upbringing accounted for both his trace of a Southern accent and, in later years, the self-deprecating Southern jokes of his radio character. Harris began his music career as a drummer in San Francisco, forming an orchestra with Carol Lofner in the latter 1920s and starting a long engagement at the St. Francis Hotel. The partnership ended by 1932, and Harris led and sang with his own band, now based in Los Angeles. From December, 1936 through March, 1937, he recorded 16 sides for Vocalion, most were hot swing tunes that used a very interesting gimmick; they faded up and faded out with a piano solo (probably these were arranged their pianist Skippy Anderson). This was a novel approach and quite unusual for the time.
On September 2, 1927, he was married to actress Marcia Ralston in Sydney, Australia. The couple adopted a son, Phil Harris, Jr. (b. 1935). They were divorced in September, 1940.
Phil Harris played drums in Henry Halstead Big Band Orchestra in the 1920s.
In 1933, he made a short film for RKO called So This Is Harris, which won an Academy Award for best live action short subject. He followed it up with a feature-length film called Melody Cruise. Both films were created by the same team that next produced Flying Down To Rio, which started the successful careers of Fred Astaire and Ginger Rogers."

Discover more about Phil Harris HERE


Phil Harris - Some Little Bug

Phil Harris - My Kind Of Country

Phil Harris - One-Zy Two-Zy

Phil Harris - The Thing

Fred Douglas

Not really a boot sale find but an excuse to upload some novelty songs by Fred Douglas who I know nothing about except he made lots of cover versions of hits on the cheap Regal label that sold in Woolworths I believe back in the 30's and 40's. Later they had the Embassy label which did a similar service - all the pop hits of the day by obscure singers who nobody had ever heard of! Fred Douglas went by many other nome de plumes, some say as many as 60 including the comedy duo The Two Gilberts.

Chris Gavin says of The Two Gilberts -

"Almost nothing is known about this comedy duo, but it can be surmised from their recordings that the people making up the pairing varied with time. The odd thing is that the Two Gilberts appear at a time when comedy duettists had just about died out in terms of popularity. Harry Cove & Billy Thompson had dominated the recording studios (along with the likes on Will Brockton, Jack Charman, Stanley Kirkby, Lionel Rothery etc) with their duet records from before WWI. People with a good ear claim that Fred Douglas, a prolific maker of records in his own name, is always one of the pair. Recently it has been claimed that the most regular duo were Fred Douglas and Leslie Rome.

Interestingly, both Cove and Thompson were mainstays of The Two Gilberts at different times. Thompson seems to be Douglas's first partner before Cove took over in mid-1924. Recordings by Tom Gilbert exist, usually paired with recordings of the Two Gilberts, these records issued as by Tom Gilbert are also by Fred Douglas; the Regal company obviously dreamt up the name as a tie-in with the duettists as well as issuing record under Douglas's own name.

It seems that about these artists: Douglas, Thompson & Cove, very little is known as they spent pretty well the whole of their careers as recording artists, generally looked down upon by collectors and researchers as "of no historical importance or interest"."


Fred Douglas - Yes, Sir That's My Baby

Fred Douglas - Vamping Rose

Fred Douglas - Mammy

Fred Douglas - Aurora Borealis

Los Macarenos

An EP on the Regal label in Spain from 1961. Also from the same box of smoked records at the boot sale on Sunday. Some were a bit too near the fire and were badly burned or warped! This one had the wrong sleeve but will try and find one on the internet. Typical flamenco one would purchase on a package holiday in Spain.



Los Macarenos - En Er Mundo/ Los Duros Antiguos

Chris Barber

A 10 inch LP on the Pye Nixa label from 1956 I bought at a boot sale this weekend for 50p. Its slightly scratched and the sleeve shows signs of smoke damage and wear.
Line-up is Chris Barber ( trombone ), Pat Halcox ( trumpet ), Monty Sunshine ( clarinet ), Lonnie Donegan ( banjo ), Ron Bowden ( drums ) and Mick Ashman ( bass ).

Wikipedia says -

"Barber played trombone with Ken Colyer in 1949 and began leading his own bands in which he played trombone and double bass in 1950. Barber helped to create the careers of many diverse musicians, most notably the blues singer Ottilie Patterson, who was at one time Mrs Barber. Others include vocalist and banjo player Lonnie Donegan who rose to his own fame during the skiffle music craze of the mid 1950s. He had his first transatlantic hit during his time in Chris Barber's band with the release of "Rock Island Line".

In addition to Donegan, Barber also featured Pat Halcox on trumpet from 1954 onwards, once Ken Colyer had moved on after a difference of opinion as to the way the band should develop. The band formed in 1953 took Colyer's name as they thought that his recent spell in New Orleans would be an attraction, with Monty Sunshine on clarinet, Donegan, Jim Bray (bass), Ron Bowden (drums) and Barber on trombone. In April, 1953, the band made its public debut in Copenhagen where Chris Albertson recorded several sides for the then new Danish Storyville label, including some with a trio from the band, Sunshine, Donegan and Barber (on bass). Later, back in London, Sunshine and Barber recorded a version of Bechet's "Petite Fleur" that made it to #3 in the UK Singles Chart, spending a total of twenty-four weeks therein. It sold over one million copies, and was awarded a gold disc. Although the Barber band featured traditional jazz in the New Orleans style, it later also engaged in ragtime, swing, blues and R&B and worked with other artists including Louis Jordan and Dr. John. After 1959 he toured the United States many times.

In the late 1950s and early 1960s, Barber was mainly responsible for arranging the first UK tours of seminal blues artists such as Big Bill Broonzy, Sonny Terry & Brownie McGhee and Muddy Waters. This, along with encouragement from local enthusiasts such as Alexis Korner and John Mayall, sparked the interest of young local prospective musicians such as Peter Green, Eric Clapton and the members of the The Rolling Stones in the blues, and caused the British blues explosion that in turn resulted in the British invasion exported back to the US in the middle to late 1960s. In January 1963, the British music magazine, NME reported that the biggest trad jazz event to be staged in Britain had taken place at Alexandra Palace. The event included George Melly, Diz Disley, Acker Bilk, Alex Welsh, Kenny Ball, Ken Colyer, Sunshine, Bob Wallis, Bruce Turner, Mick Mulligan and Barber."



Side One -

1. Whistlin' Rufus
2. Big House Blues
3. April Showers

Side Two -

1. One Sweet Letter From You
2. Hushabye
3. We Shall Walk Throuhg The Valley



Chris Barber - Side One

Chris Barber - Side Two

Les Dawson (Re-Up)

"Les Dawson (2 February 1931 - 10 June 1993) was a popular Lancashire comedian, known for his deadpan style. Dawson was a curmudgeon, famous for jokes about his mother-in-law and his wife.
Dawson began his entertainment career as a club pianist ("I finally heard some applause from a bald man and said 'thank you for clapping me' and he said 'I'm not clapping - I'm slapping me head to keep awake.'"), but found that he got more laughs by playing wrong notes and complaining to the audience. He made his television debut in the talent show, Opportunity Knocks, and was seldom absent from British television screens in the years that followed. His best known routines featured Roy Barraclough and Dawson as two elderly women, Cissie Braithwaite and Ada Sidebottom who, having worked in a mill in their youth, spoke some words aloud and mouthed others--particularly those pertaining to bodily functions and sex; they also repeatedly pushed up their bosoms, in pantomime dame style, an act copied faithfully from his hero, Norman Evans. Dawson's humour, though earthy, was seldom coarse, and he was as popular with female as with male audiences."

A very funny man and in reality he could play the piano really well. Most of this record is comedy routines but I have extracted two "musical" interludes for your enjoyment, or not as the case may be! A bargain at 49p!

Side Two consists of tracks -

1. I Can't Control Myself
2. Jeremiah Fisher Frog
3. Show Me The Way To Go Home
4. Goodbye (from "Whie Horse Inn" )


Les Dawson - Side Two

Les Dawson - Bye Bye Blackbird

Billy Cotton Band

LP on the Columbia label from 1961 when the The Billy Cotton Band Show was at it's height on BBC radio and TV. I have fond memories of his show being aired at Sunday lunchtime as the family all sat round the dinner table to eat. I bought this purely for the nostalgia of a bygone time that will never be again.

Wikipedia says -

"William Edward Cotton (6 May 1899 – 25 March 1969), better known as Billy Cotton, was a British band leader and entertainer, one of the few whose orchestras survived the dance band era. Today, he is mainly remembered as a 1950s and 1960s radio and television personality, although his musical talent emerged as early as the 1920s. In his younger years Billy Cotton was also an amateur footballer for Brentford F.C.(and later, for the then Athenian league club Wimbledon, now AFC Wimbledon), an accomplished racing driver and the owner of a Gipsy Moth which he piloted himself.
Born in Smith Square, London, to Joseph (born in 1858 in Coventry, Warwickshire) and Susan Cotton, Cotton was a choirboy and then started his musical career as a drummer, an occupation he also pursued in the army during the First World War. He enlisted in the Royal Fusiliers by falsifying his age and saw service in Malta and Egypt, before landing at Gallipoli in the middle of an artillery barrage. Later in the war he was recommended for a commission and learned to fly Bristol Fighter aircraft. He flew solo for the first time on 1918-04-01, the day the Royal Flying Corps became the Royal Air Force. He was then not yet 19 years old.
He married Mabel E. Gregory in 1921 and had two sons, Ted and Bill Jnr. In the inter-war years. he had several jobs such as bus driver before setting up his own orchestra, the London Savannah Band, in 1924. At first a straight dance band, over the years the London Savannah Band more and more tended towards music hall/vaudeville entertainment, introducing all sorts of visual and verbal humour in between songs. Famous musicians that played in Billy Cotton's band during the 1920s and 1930s included Arthur Rosebery, Syd Lipton and Nat Gonella. The band was also noted for their African American trombonist and tap dancer, Ellis Jackson. Their signature tune was "Somebody Stole My Gal", and they made numerous records – 78s, that is – for Decca.
During the Second World War Cotton and his band toured France with the Entertainments National Service Association (ENSA). After the war, he started his successful Sunday lunchtime radio show on BBC, the Billy Cotton Band Show, which ran from 1949 to 1968. In the 1950s composer Lionel Bart contributed comedy songs to the show. It regularly opened with the band's signature tune and Cotton's call of "Wakey Wakey". From 1957, it was also broadcast on BBC television.
In 1962 Billy Cotton suffered a stroke. He died in 1969 while watching a boxing match at Wembley. His son, Bill Cotton, later became BBC's head of variety."

Tracks are as follows -

1. Somebody Stole My Girl
2. Sing Sing Sing / Sugartime / Let's gather Round The parlour Piano / Bill Bailey Won't You Please Come Home ( with Alma Cogan, Russ Conway and the Silouettes.)
3. Exodus Song ( with Grisha Farfel )
4. And The Great Big Saw Came Nearer and Nearer ( with Alan Breeze & The Highlights )
5. Let's Face The Music & Dance ( with Alma Cogan )
6. She's Funny That Way / The Man I Love / You Were meant For Me ( with Alma Cogan )
7. Ta Ra Ra Boom De Ay / Ragtime Cowboy Joe / Row, Row, Row ( company and audience )


Billy Cotton Band - Side One

Cliff Carlisle

Another from the recent boot sale batch. On the Old Timey label from 60's I imagine, though songs recorded back in the 30's. Similar to Tommy Collins but more yodelling and exceptional steel guitar.

Wikipedia says -

"Carlisle was born in Taylorsville, Kentucky and began performing locally with cousin Lillian Truax at age 16. Truax's marriage put an end to the group, and Carlisle began playing with Wilber Ball, a guitarist and tenor harmonizer. The two toured frequently around the U.S. playing vaudeville and circus venues in the 1920s.
Carlisle and Ball first played at Louisville, Kentucky radio station WHAS-AM in 1930, which made them local stars, and later that year they recorded for Gennett Records and Champion Records. In 1931, they recorded with Jimmie Rodgers. Toward the end of 1931, Carlisle signed with ARC and was offered performance slots on several radio stations, including WBT-AM in Charlotte, North Carolina, WLS-AM in Chicago and WLW-AM in Cincinnati, Ohio. Cliff's brother Bill became his guitarist after Ball left in 1934. During the 1930s Carlisle, who recorded a large amount of material despite a hiatus from 1934 to 1936, frequently released songs with sexual connotations including barnyard metaphors (which became something of a hallmark).
Carlisle toured with his son, "Sonny Boy Tommy," to occasional consternation from authorities in areas where this contravened local child labor laws. He continued to perform on WMPS-AM in Memphis, Tennessee for several years in the 1940s, but by the 1950s had retired from music.
In the 1960s, The Rooftop Singers covered his tune "Tom Cat Blues"; in its wake, Carlisle and Ball did a few reunion shows together and recorded for Rem Records. On April 2, 1983, Carlisle died at the age of 79 in Lexington, Kentucky."

Tracks are as follows -

1. Hobo Blues
2. Shot The Innocent man
3. Two Little Sweethearts
4. Trouble Minded Blues
5. The Hobo's Fate
6. Payday Fight
7. Waiting For A Ride


Cliff Carlisle - Side One

London Barrel Organ

This was 10p in a charity shop so could hardly pass it up. Turns out to be pretty much what I expected and a nostalgic reminder of what the buskers of Victorian London must have sounded like - monkey with tin cup and all!

Wikipedia says -

"A barrel organ (or roller organ) is a mechanical musical instrument consisting of bellows and one or more ranks of pipes housed in a case, usually of wood, and often highly decorated. The basic principle is the same as a traditional pipe organ, but rather than being played by an organist, the barrel organ is activated either by a person turning a crank, or by clockwork driven by weights or springs. The pieces of music are encoded onto wooden barrels (or cylinders), which are analogous to the keyboard of the traditional pipe organ.

The pieces of music (or tunes) are encoded onto the barrel using metal pins and staples. Pins are used for short notes, and staples of varying lengths for longer notes. Each barrel usually carried several different tunes. Pinning such barrels was something of an art form, and the quality of the music produced by a barrel organ is largely a function of the quality of its pinning. This complex encoding of music was an early form of programming.
The organ barrels must be sturdy to maintain precise alignment over time, since they play the same programming role as music rolls and have to endure significant mechanical strain. Damage to the barrel, such as warpage, would have a direct (and usually detrimental) effect on the music produced.
The size of the barrel will depend on the number of notes in the organ and the length of the tune to be played. The more notes, the longer the barrel. The longer the tune, the greater the diameter.
Since the music is hard-coded onto the barrel, the only way for a barrel organ to play a different set of tunes is to replace the barrel with another one. While not a difficult operation, barrels are unwieldy and expensive, so many organ grinders only have one barrel for their instrument."

Tracks on side one are -

1. I Do Like To Be Beside The Seaside
2. Don't Dilly Dally
3. The Honeysuckle & The Bee
4. Wouldn't It Be Loverly
5. Run Rabbit Run
6. That Old Fashioned Mother Of Mine
7. God Bless The Prince Of Wales

London Barrel Organ - Side One

Tommy Collins

An LP on the Capitol label from 1984 but original recordings from 1959. Found at car boot the other day in Frodsham. I'd not heard of Tommy Collins before I must admit but pleasantly surprised by the overall sound which reminds me of Hank Williams and several other artistes of that era when country music had that hillbilly swing.

Wikipedia says -

"Leonard Raymond Sipes (September 28, 1930 – March 14, 2000), better known as Tommy Collins, was an American country music singer and songwriter.
Active primarily during the 1950s through 1970s, Collins was instrumental in helping create the Bakersfield sound of the country music genre. He enjoyed a string of hits during the mid-1950s including "It Tickles" and "Watcha Gonna Do Now". He also wrote several songs for other artists, including "If You Ain't Lovin' (You Ain't Livin')", which was a top 10 hit for Faron Young in 1954 and a No. 1 hit by George Strait in 1988.
After several years in the ministry, Collins returned to recording. In 1965, he had a comeback hit with "If You Can't Bite, Don't Growl". In the 1970s, he wrote several hits for Merle Haggard, including the No. 1 hits "Carolyn" and "The Roots of My Raising". In 1981, Haggard recorded a biographical tribute to Collins called "Leonard".
Collins was the inspiration and character talked about in Craig Morgan's song, "I Wish I Could See Bakersfield"
Collins remained active in the songwriting business. He died March 14, 2000, in Ashland City, Tennessee."

Tracks on side one are -

1. You Better Not Do That
2. I Always Get A Souvenir
3. Untied
4. How Do I Say Goodbye
5. I'll Be Gone
6. It Tickles


Tommy Collins - Side One

Pedro & His Amigos

My son actually bought this record in Buxton yesterday in a charity shop as a joke gift for a friend. I managed to borrow it to have a listen before he wrapped it up. Despite the amuisng sleeve the record offers little for the world music afficianado! It is quite charming in its simplicity and so uploading three tracks so you can hear a sample of what you might find if ever you see it in your local charity shop or boot sale.


Eddie & His Amigos - Granada

Eddie & His Amigos - El Gallo

Eddie & His Amigos - Tico Tico

Kantata

Not sure where I got this LP on the Asona label from. Made in 1986 in London England.

The sleeve notes by Anthony Roberts-Frampong say -

" Katana are Lee Duobo, Sylvester Kwame, Eddie Sey, Ogene Kologbo, Emmanuel Roberts and Fouad Amoo. Now based in West Berlin their music features strong funky harmonies but retains the subtle influence of their West-African roots - Highlife.
This is the second album, the first namely AKWANKWAA (DUKE) released on the Oval label in 1984. It is interesting to note that this is the finest example to date of Katana's work, and when you listen to it you will undoubtedly agree with me. It is an excellent blend of smooth and funky highlife sounds exemplified by IT'S HIGH TIME NOW, ODO BEBA (ATEAA), and with their more defined treatment of the Ghanaian traditional song MONSOM."

Side two features the tracks -

1. Monsom
2. saturday Night
3. Feeling So Nice


Katana - Side Two

Eddy Okonta

An LP found some years ago in Brick Lane flea market. Nigerian highlife on the Phonodisk label from the 80's one assumes from the album title "Page One '81".
Side Two here with the tracks as follows -

1. Anioma
2. Adura
3. Mama Sweet Papa Super


Remembering Eddy Okonta, the Obi of trumpet
By Benson Idonije

"IF Eddy Okonta, the late great trumpeter and highlife musician were still alive, today's musicians would be learning the technique of articulating 'rhythm' as an essential musical component at his feet. While he lived, he pretty well appreciated the fact that the main essence of African music is 'rhythm' and he used it to full advantage, thoroughly Africanising his own brand of highlife in the process.

He had served an initial apprenticeship with the Sammy Akpabot Sexlet, an aggregation that revolved this same name even as it increased or diminished with time. He was there with the late Oba Funso Adeolu on auto and tenor saxophones. He enjoyed sharing solos with him while bandleader Akpabot himself provided an ideal background for highlife and dance music to blossom with his dexterity on the vibraphone, an instrument which only Akpabot could play at the time in the whole of West Africa.

As an instrument, the vibes has a special way of resonating sounds and floating them through harmonies and arrangements. But Eddy's high notes helped to put all the reverberation in check for dancing and easy listening.

Eddy later served a long term of apprenticeship with the late Bobby Benson of Africa, this time culminating in outstanding professional musicianship, with proficiency in arranging and composing. He not only put the final polish to his accomplishment with the Bobby Benson Jam Session where he stood out the way Chief Bill Friday and Zeal Onyia before him did, his artisting now reached its apotheosis in the area of improvisational design. He began to use the vast resources of his creativity to construct solos that contained revolutionary melodic language and rhythmic subtlety.

As one of the pioneering big bands in the country, the Bobby Benson Jam session offered all its graduates a well rounded musical experience and discipline as they were exposed to all dance music forms including swing, Latin American , Jazz, Afro Cuban, the ball room type that dominated the colonial era with the music of Joe Loss and Victor Sylvester, and all."


Eddy Okonta - Side Two

I.K. Dario

A Nigerian Juju LP on Decca from the 60's I imagine found at Brick Lane flea market many years ago. The five tracks on side one are as follows - Eni mi ko sen'nia - Toba ndara f'oko aya ni - Toba rije f'omo ni keji - Ojo ikehin - E huwa rere.

"Considered by many to be the "father of juju" for his many innovations, Isaiah Kehinde Dairo was born in Kwara State, Nigeria, in 1931. One story has it that his lifelong love of music stemmed from a drum that his father, a carpenter, made for him in his youth and that accompanied him wherever he went. In early adulthood, Dairo tried earning a living as a barber, a construction worker, and a cloth merchant, among other jobs. Dairo sat in with early juju bands at night, led by musical pioneers Ojoge Daniel and Oladele Oro. In the mid-'50s he formed his own group, the ten-member Morning Star Orchestra, which gained fame later as the Blue Spots.

Though highlife was the most popular form of band music in West Africa at the time, Dairo and his band released a long succession of influential singles that, by the end of the Nigerian Civil War in 1970, helped establish juju as the premier Nigerian sound. Dairo changed the tenor of juju by introducing the accordion and talking drums to the orchestra and singing in a variety of regional dialects, which widened the rural appeal of the music. When his appeal began to wane at the end of the 70s, he gave up performing, turning first to managing clubs and a hotel in Lagos, then to a ministry in the Cherubim and Seraphim church movement. In 1990 he recorded his first album in 15 years with a re-formed Blue Spots band."

Bob Tarte.

Tracks are as follows -

1. Eni mi ko se'nia
2. Toba ndara f'oko aya ni
3. Toba rije f'omo ni keji
4. Ojo ikehin
5. E huwa rere


I.K.Dario - Side One

Charlie Gillett - Andy Summers

I was reminded the other day that it's been a year since Charlie passed away and in memory of him I am uploading another of his great Capital Radio shows - this time with guest Andy Summers who used to play bass in the Police and later went on to do solo projects with Robert Fripp etc. Andy plays an eclectic choice which includes Captain Beefheart, Les Paul, Hot Club Of France and Steve Reich.

Wikipedia says -

"Summers was born in Poulton-le-Fylde, Lancashire, England to Maurice and Jean Somers. When he was a young child, he moved to Bournemouth, Dorset, attended Summerbee School and took up the guitar at age 14. By 17 he was playing in local clubs. While a teenager he worked in a Bournemouth music store frequented by a young Robert Fripp. Although Summers had been essentially self-taught when he began his professional musical career, he studied classical guitar at California State University at Northridge for four years until 1973.

Pre-Police careerSummers began his recording career in the 1960s as the guitarist for the R&B group Zoot Money's Big Roll Band, and its subsequent psychedelic-era incarnation, Dantalian's Chariot. In 1968, Summers was a member (for a couple of months, from May to July[citation needed]) of the Canterbury scene jazz fusion band Soft Machine, although he did not record with the group[citation needed] He also recorded with Eric Burdon and The Animals (Love Is),and spent much of the mid-seventies doing session work for Jon Lord, Neil Sedaka, Kevin Ayers, Kevin Coyne, David Essex and others. In 1977 he was invited by ex-Gong bassist Mike Howlett to join his band Strontium 90 along with Sting and Stewart Copeland.

The Police (1977–1983; 2007–2008)
Summers achieved international prominence as the guitarist for The Police (which he first had contact with in 1977, and of which he was the oldest member by almost a decade), most notably on popular hits such as "Message in a Bottle", "Don't Stand So Close to Me", and "Every Breath You Take". Summers also wrote songs for the Police, such as "Omegaman" and "Mother". In 1980 his instrumental "Behind My Camel" won the Grammy for Best Rock Instrumental. Although Sting was the primary lead vocalist, Summers sang lead vocals on several songs, including "Be My Girl Sally", "Friends", "Someone to Talk to" and "Mother."


Charlie Gillett - Andy Summers Pt. 1

Charlie Gillett - Andy Summers Pt. 2

Ivy Pete & His Limbomaniacs

An LP on the Somerset label from the late 50's when "limbo" was a big dance craze. This is a weak kind of blue-eyed calypso that was made for tourists and for playing at parties. Great kitsch sleeve though which is the only reason I bought it.
The sleeve notes don't tell us much about Ivy pete and his band but says- " Authorities say all you need for a limbo party is three poles ( two upright and one across - see sleeve ) and a group of people with strong backs "bent" on having a ball with "Ivy" Pete and the gang. We recommend you don't try the flame bit on the pole.... this is for real experts or drunks that live near the firehouse."

Tracks are -

1. Jamaica Farewell
2. Little Brown Skin Girl
3. Sly Mongoose
4. I Adore Her
5. Donkey Wants Water
6. Limbo Man



Ivy Pete & His Limbomaniacs - Side One

Chicken Rock

Not a great deal found on the web regarding (William) Fat "Daddy" Holmes. This rockabilly and surf instrumental compilation was released in 1974 and contains songs by a variety of obscure artistes including The Chancellors, Scottie Stuart, Carl Bonafede and Jesse Lee Turner. The stand out tracks though are by Holmes with quirky chicken sound effects on "Chicken Rock" ( 1954 ) and dopey hep-cat jive talk on "Where Yo Is" from around the same time.

Tracks on Side Two are as follws -

1. Rockin' Blues - The Beaumarks
2. Roots - The Champs
3. Little Rocker - Scottie Stuart
4. Story That's True - Carl Bonafede & The Gem Tones
5. Baby Please Don't Tease - Jesse Lee Turner
6. You Don't Bug Me - Terry Daly & The Nu Tones
7. Moonlight Party - The Beaumarks
8. Chicken Rock - Fat Daddy Holmes


Chicken Rock - Side Two

Miriam Makeba

An LP from 1963 on the London label I found many years ago. I thought I had featured it here but a quick look in the archive proved fruitless, so here it is. Nice varied selection as the title implies - ranging from gospel, jazz and calypso. Side Two with tracks-

1. Liwa Wechi
2. Nagula
3. Carnival
4. Night Must Fall
5. Love Tastes Like Strawberries
6. Can't Cross Over

Wikipedia says -

"Miriam Makeba (4 March 1932 - 10 November 2008), nicknamed Mama Africa, was a Grammy Award winning South African singer and civil rights activist. In the 1960s she was the first artist from Africa to popularize African music in the U.S. and around the world. She is best known for the song Pata Pata first recorded in 1957 and released in the U.S. in 1967. She recorded and toured with many popular artists, such as Harry Belafonte, Paul Simon, and her former husband and South-African Hugh Masekela. She actively campaigned against the South African system of Apartheid. As a result the South African government revoked her citizenship and right of return. After the end of Apartheid she returned home. She died on 10 November 2008 after performing in a concert organized to support writer Roberto Saviano in his stand against the Camorra, a mafia-like organisation local to the Region of Campania."



Miriam Makeba - Side Two

Mighty Sparrow

Another old calypso LP on the National label from the West Indies. Made in 1966.
Excuse the jumps and scratches - I think this one has been well played in the past.

Wikipedia says -

"In 1956, Sparrow won Trinidad's Carnival Road March and Calypso Monarch competitions with his most famous song, "Jean and Dinah". His prize for the latter was $40. In protest of the small sum, he wrote the song "Carnival Boycott" and attempted to organize other singers to boycott the competition. About half of the singers followed. Sparrow claims credit for succeeding improvements in the conditions of calypso and steelband musicians in Trinidad, as well as the formation of the Carnival Development Committee, a musicians' assistance organization. Sparrow refused to participate in the competition for the next three years, but he continued to perform unofficially, even winning another Road March title in 1958 with "P.A.Y.E."

Calypso music enjoyed a brief period of popularity in other parts in the world during the 1950s. Trinidadian expatriate Lord Kitchener had helped popularize calypso in England, and Sparrow also found some success there. In the United States, interest in calypso was sparked largely by Harry Belafonte's 1956 album Calypso, the first LP to sell over one million copies. In January 1958, Sparrow, along with longtime rival Lord Melody, traveled to New York City seeking access to the American music audience. Sparrow had already been recording with Balisier and Cook Records, and with Belafonte's help he also began to record for RCA Victor. He did not achieve the success he had hoped for; he said in a 2001 interview, "When nothing happened for me, I went back to England and continued on with my career."

In 1960 Sparrow returned to the Calypso Monarch competition, winning his second Kingship and third Road March title with "Ten to One Is Murder" (an autobiographical song about an incident in which Sparrow allegedly shot a man and "Mae Mae." He also began recording for his own label, National Recording. He continued to enjoy great popularity in Trinidad throughout the 1960s."

Tracks -

1. B.G. Plantain
2. Obeah Wedding
3. Papa Jack
4. Sir Garfield Sobers
5. Bikini Girl ( not uploaded - jumps!)


Mighty Sparrow - Side Two

Conroy Recorded Music Library

The titles of the tracks sounded intriguing but turns out to be pretty standard MOR orchestral stuff nicked from the classics - hints of Mozart, Bach and Beethoven.Made in 1974 by Berry Music Co. Ltd.

Tracks include titles such as Whats New, Whats On, Whats Next, Brave New World and Beyond Tomorrow.


Conroy Music Library - Side One