Colombia

Cumbia con Acordion

This is one of the best CD's that I have ever heard. It's the one that you are looking for. It's very authentic and has a lot of accordion action through out all of the songs. If your looking for Cumbias with a lot of accordian, this is your CD. This CD is loaded with the old school Cumbiamberos so your guarenteed to love the CD. -Aitana

Vallenato

Even though Vallenato has always enjoyed enormous popularity in Colombia, the world has been only exposed to this vibrant rhythm for about two decades.

Vallenato is the name of those born in the Valle (Valley) of Valledupar. It is also a music style that is composed of four airs or typical rhythms of the region. The songs talk about the personal experiences of the writers and the feelings of the mestizo (mixed race) culture that represents most Colombians.

The melodies of these vallenato songs were first performed with the carrizo (millo cane flute) to which the caja was added, a small drum hand crafted from the hollow trunk of dry trees, and covered on one head with a piece of temperate leather; and the guacharaca, an indigenous instrument that is manufactured using a cut piece of cane, forming small successive grooves, creating a scraper rubbed with a bone.

The cantos de vaquería (Colombian cowboy songs) that were sung by the ranch hands of the large haciendas during early morning as they picked up and contained the livestock, were the base of what would later become sung histories, or musical narrations, that today are known as vallenatos. At the end of the 19th century, decades after its invention, the accordion arrived to Colombia through the port of Riohacha, in the Peninsula of the Guajira, in the hands of the sailors and European pirates and so it stayed forever, as a companion to those cowboys and peasants that figured out its melodic secrets and added it to their musical expressions. Gradually, it replaced the flute until it became the main instrument in vallenato music. Within the vallenato musical genre, there are four recognized rhythms which are: Merengue, Paseo, Puya and Son.

Paseo

Unlike all the other airs of this folk style, the paseo (walk or walking dance) has a beat of 4/4. The rhythm of the first bass is 1/ 3 and, sometimes, according to the piece, of 2/1. For the performers it is the easiest air to play. It literally collects, in a spontaneous manner, the histories and tales of a group of people in a sung form known as paseo.

The historical-cultural origin of the paseo is exciting and paradoxical, first because as a song genre, conceived especially to perpetuate the history of a people through song, it has deep roots in pre-Columbine times, when the Chimilas, as well as the Guajiros, Tupes and other inhabitants of the Valley of Upar, created this oral form because they did have a written language, and the second reason is because in spite of this antiquity, that places this air in a situation of privilege versus the other styles arisen from hybridization, the word “paseo”(walk) used to designate this rhythm, within the vallenato context, is the newest of the four, to the point of not being more than 80 years old in popularity.

Upon the arrival of the accordion, beats were defined, melodies were perfected, and there was no choice but to decide that among the three folk music airs that preceded it: Puya, Merengue and Son, there existed another form, a little confused among them, that, upon its liberation, would turn out to be the spirit of all: the paseo vallenato.

Puya

In Valledupar and its surroundings, the oldest rhythm was called “Puya,”that was never sung and consisted of an imitation of the songs of the carricero (a small insectivore bird), with a quick rhythmit was danced in lines, with each person moving their closed hands chest high, with the fingers aiming forward and simulating that you poked the person that danced ahead. The name of puya comes from the verb puyar (to goad).

Through time, various elements of the regional folk music were fused, so that the black puya which was sung, was added to the indigenous puya which didn’t have any singing, to generate the “;puya vallenata,”with a perfect balance between the song, the melody and the rhythm. The puya has a typical beat of 6/8, with a melody similar to the song of the birds and
with satire.

The puya and the merengue are the same in their rhythmic and harmonic patterns. The difference is in their melodic conceptionand naturally in the performance that is made, characteristic of each piece. Thus, the puya has a bass rhythm of 2/2 and sometimes, of 2/1 in certain passages of the performance, although not in all the pieces. The speed given to the music does not make any difference.

Merengue

The word merengue goes back to colonial times and comes from the word muserengue, the name of one of the African cultures that was taken from the coast of Guinea to Colombia’s Atlantic coast. The traditional merengue vallenato, has a beat of 6/8, a derived rhythm, since the original beats were 4/4, 3/3 and 2/2from this point of view the merengue vallenato is the most complex air and at the same time the most original of the four traditions.

The merengue differs from the other airs in the performance and the first bass rhythm, which is usually 3/1 and sometimes of 1/ 3, according to the characteristic structure of the melody, although the performer can play it faster if he pleases. Melodically, it is the richer of the vallenato rhythms and its performance allows the player to show all his abilities and make a true display of cadence and harmony.

Son

The word son comes from the Latin sonus, which means “pleasant sound produced with art.” Because of its own meaning this term has been always bound to music. The son vallenato has a structure with a beat of 2/4it is a form of song with mulatto ancestry, although it is not free of indigenous influence. An essential characteristic in the performance of this air is the prominent use of the bass sounds of the accordion, so much that the bass sounds can be more prominent than the same melody coming from the other keyboards in the accordion. This is very common with new generation players. It is believed that whoever doesn’t master the bass sounds, will never become a good son vallenato player.

The son has a very distinct 1/1 bass rhythm, specially when played by performers from the savannas and those influenced by bass sounds, versus the accordion players from the province (Valledupar, Villanueva, Fonseca, etc.), who play a more fluid, more subtle style, with a bass rhythm of 1/ 2 and sometimes 2/1. Just like the paseo, sones are a kind of chronicles, where the singular narrative of the singer captures the events of their existence. In this genre it is common to have nostalgic dramas that have constituted an important part in the life of the composer.

Cumbia

Today, cumbia is one of the most popular and widespread genres in Latin America. Its roots are in Colombia, but cumbia is a blend of music and cultural traditions from indigenous Colombians, Africans, and Europeans, particularly the Spanish. It first began near the ports and coastal settlements where Spanish traders and descendents of African slaves settled.

Traditionally, the music had a basic 2/4 or 2/2 rhythm and drums and other percussion borrowed from African traditions. It incorporated native Colombian flutes playing the melody, plus costumes and melodic variations from European traditions. The three drums common to traditional cumbia are: tambora (for deep bass rhythms), tambor alegre or mid-drum (used for backup rhythm), and lamador (also providing backbeat).

Three flutes are used in traditional cumbia. The melody is played on the five-hole gaita hembra, or female flute. A gaita macho, or male flute, with one hole provides rhythmic and harmonic support. These two gaitas have a mouthpiece of hardened beeswax and use a turkey feather to blow air through them. The third flute, the flauta de millo, is a four- to six-hole flute made of millo cane that helps carry the melody. Classical cumbia was completely instrumental and never accompanied by singing.

The genre’s dance movements also have roots in various cultures. The costumes come from Spanish traditions. Women wear long, colorful skirts, flowered headdresses, earrings, and lots of makeup. Men wear white shirts and pants, and don red bandannas and a sombrero. Movements borrow elements of both European and African traditions. The men dance with one hand behind their back, putting on and taking off their hats. The red bandanna is either worn around the neck or waved. Women playfully wave their skirts and are lured toward the men and then away, as if showing disinterest.

As Colombia’s vibrant music industry grew cumbia evolved and blended with other styles, both traditional and commercial. During the ’60s and ’70s, “the golden age of cumbia,” the music became popular around the world. Colombian musicians like Pacho Galán and Lucho Bermúdez created a “refined” cumbia.

Latin American countries adopted its forms and rhythms, blended it with their traditional genres and created variations: cumbia Peruanan, cumbia Argentin, cumbia Chilena, cumbia Mexicana, technocumbia, and many others. The music is played today on a wider range of instruments including conga, güira, claves, timbales, accordion, clarinet, horns, guitar, and more.

Los Corraleros de Majagual
Legendarios
1-1 Los Corraleros de Majagual - Cumbia Campesina 2:58
1-2 Los Corraleros de Majagual - Cumbiamberita 3:03
1-3 Los Cumbiameros De Pacheco - Santo Domingo 2:55
1-4 Lisandro Meza - Las Tapas 3:46
1-5 Los Gavilanes De La Costa - Lorenza 2:44
1-6 Combo Sampuesano - Cumbia Monteriana 2:41
1-7 Conjunto Los Guacharacos - Esperma Y Ron 3:05
1-8 Andres Landero Y Su Conjunto - Cumbia En La India 2:51
1-9 Morgan Blanco Y Su Conjunto - Cumbia De Colombia 2:54
1-10 Monteria Swing - La Samaria 2:57
1-11 La Sonora Cordobesa - Linda Cordobesa 2:44
1-12 La Sonora Cienaguera - La Ceiba 3:09
1-13 Lito Barrientos - Cumbia De Menor 2:39
1-14 Los Corraleros de Majagual - La Burrita 2:39
1-15 Los Corraleros de Majagual - Festival En Guarare 3:12
1-16 Alejo Duran - El Chevrolito 3:03
1-17 Alejo Duran - Cero Treinta Y Nueve 3:06
1-18 Calixto Ochoa - Mata'e Cana 2:49
1-19 Juancho Polo Valencia - Alicia Adorada 4:12
1-20 Los Playoneros Del Cesar - El Cachaquito 3:00
1-21 Alfredo Gutierrez - Prenda La Vela 3:23
1-22 Alfredo Gutierrez - Cumbia Sampuesana 3:35

Baila Mi Cumbia
2-1 Armando Hernandez Y Su Conjunto - La Zenaida 4:28
2-2 Banda La Bocana - Bella Es La Nina 3:31
2-3 Rodolfo Y Su Tipica - La Colegiala 3:39
2-4 Los Corraleros de Majagual - La Que Resbala, Cae 2:59
2-5 Andres Landero Y Su Conjunto - La Pava Congona 3:11
2-6 Alfredo Gutierrez - Cumbia Loca 2:46
2-7 Los Corraleros de Majagual - Tres Tigres 2:53
2-8 Armando Hernandez Y Su Conjunto - Loquito Por Ti 4:46
2-9 Los Corraleros de Majagual - Guepaje 2:39
2-10 Margarita Y Su Cocoloco - La Reina De La Cumbia 3:05
2-11 Los Warahuaco - El Pescador De Baru 2:50
2-12 La Sonora Dinamita - Se Me Perdio La Cadenita 2:37
2-13 La Sonora Dinamita - Grito Vagabundo 3:04
2-14 Alfredo Gutierrez - Rio Crecido 3:20
2-15 Los Inmortales - La Pollera Colora 3:05
2-16 Adolfo Echeverria Y Su Conjunto - Asalto De Cumpleanos 3:51
2-17 Gabriel Romero - La Subienda 4:33
2-18 Adolfo Echeverria Y Su Conjunto - Amanciendo 3:50
2-19 Andres Landero Y Su Conjunto - El Clarin De La Montana 2:58

Notes
All tracks licensed by Discos Fuentes, Medillin/Colombia

Old, weird America in porch recordings

This set unearths all manner of unknown Americana. Archivists Art and Margo Rosenbaum spent half a century recording obscure artists from the backwoods: parlour tunes, church hymns, slide blues, chain gang songs, Southern gospel and creepy country ballads. Complete with scholarly tome, the result is a riveting document of an all-but-vanished culture. An essential companion piece to Harry Smith's Anthology of American Folk Music. -- Uncut Magazine: ***** [5 stars out of 5]

Dust-to-Digital's latest box is an indispensable counterpoint to Harry Smith's Anthology of American Folk Music or its own flagship release, Goodbye, Babylon: Even if you've got a pretty good grip on how these songs worked in a recording studio, hearing them performed in the field-- in churches and homes, by non-professional musicians, complete with spoken asides, slips, yelps, groans-- is revelatory.

In the liner notes to Dust-to-Digital's new boxset, The Art of Field Recording, folklorist Art Rosenbaum talks up some of the perks inherent to field recording: In addition to allowing archivists to preserve songs and performances that bled over the (one-time) three-minute maximum for commercial sides (and to explore genres-- prison work songs, sea chantys, unaccompanied ballads-- that were once deemed too non-commercial to release for sale), field recording also allows folklorists to harness "spoken narrative and social context that seldom found their way onto even the greatest commercial releases." In this sense, The Art of Field Recording works as an indispensable counterpoint to Harry Smith's Anthology of American Folk Music or Dust to Digital's flagship release, Goodbye, Babylon: Even if you've got a pretty good grip on how these songs worked in a recording studio, hearing them performed in the field-- in churches and homes, by non-professional musicians, complete with spoken asides, slips, yelps, groans-- is revelatory.

All of the material included here was culled from field recording sessions conducted by Art Rosenbaum, an Athens, Geo.-based artist and folklorist, who-- unlike some of his peers-- cultivated substantial relationships with his subjects, establishing a camaraderie that endured long after the tape recorder clicked off (Rosenbaum and his wife, Margo, also photographed and painted many of the musicians they recorded, and their artwork is included in the set's liner notes). The material spans a half-century plus one year-- 1956 through 2007-- and is divided into four loose categories (an organizational tactic snatched, admittedly, from Harry Smith): Survey, Religious, Blues, and Instrumental/Dance. Most of these cuts were previously unavailable on CD, although the bulk of the material remains archived either in the Library of Congress, Indiana University's Archive of Traditional Music, or the University of Georgia's Media Archive.

The Art of Field Recording is not only an essential resource for exploring early American forms and traditions, it also satisfies voyeuristic impulses. Spinning these discs feels like eavesdropping, or being granted exclusive access to 110 secret songs and performances. And, like any good secret, you'll have a hard time keeping it all to yourself: Sister Fleeta Mitchell (94 years old this year!) and Rev. Willie Mae Eberhard's whoops and twitters are so playful, so intoxicating and free that it's hard not to stop folks on the street-- the mailman, the UPS guy, a neighbor-- and slap headphones over their ears, grinning stupidly and expectantly. The duo's three tracks, taken from the songbooks of the Holiness and Pentecostal churches ("Satan, Your Kingdom Must Come Down", which opens Disc 1, plus "Let Me Fly" and "I Am on the Battlefield for My Lord" from Disc 2) are all highlights, offering up a spirited, beguiling mix of piano, vocals, and tambourine. "Satan" also serves as a delightfully apt opener for the entire box: Mitchell nods to Rosenbaum to start recording, and when he pauses, you can feel the tension crackle-- "Start!" Mitchell spits, aggravated, like a woman deep in labor being told not to push. Her whole body is ready to sing.

Nathan Palmer's "Blow, Gabriel" (recorded at the Mt. Calvary Baptist Church in Eulonia, Geo., on January 1, 1982) is a stellar example of one of the most haunting American ring-shouts (as Rosenbaum explains, ring-shouts are "the oldest extant African-American performance form on the North American continent.") Ring-shouters shuffle their feet, moving counter-clockwise to the rhythm of the leader, clapping their hands or pummeling the floor with a broomstick; here, Palmer's deep, easy hollers are offset by the basers' muddy responses, and the entire performance feels personal and guarded (ring-shouts are very rarely performed outside of the Briar Patch community-- meaning even getting this close is a rare privilege).

Although the folklorists lugging around tape recorders (and the performers carrying on ancient traditions) are worthy of much heralding, it's equally astounding how essential Lance Ledbetter's work at Dust-to-Digital has been to the preservation of traditional American folksong. It's easy to buy and appreciate these sets without realizing that the bulk of the material might have been lost-- or, at the very least, tethered to archives, readily accessible only to curious faculty, paper-writing students, and bespectacled researchers-- without Ledbetter's interference. The Art of Field Recording is gorgeously packaged, featuring one of Rosenbaum's paintings on the cover, and includes a thick, book-bound insert that annotates each of the songs, offering up context and precious information. Even when Art and Margo are, ostensibly, acting as silent observers, it is still possible to sense the Rosenbaums' presence, and some of the interview-heavy cuts (see Mary Heekin's rendition of "Lord Randolph," from Disc 1) expose Art and Margo's investment in their work. The narrations included here can be as telling as the songs themselves. Accordingly, The Art of Field Recording is the kind of thing you will feel lucky to be allowed to own. Volume 2 can't land fast enough. -Amanda Petrusich

Disc 1: Survey
1. Sister Fleeta Mitchell and Rev. Willie Mae Eberhart - Satan, Your Kingdom Must Come Down 2:16
2. Ray Rhodes - Fred Adams 1:05
3. Gordon Tanner and Smokey Joe Miller - Billy in the Low Ground 2:11
4. Margaret Kimmett - Frankie and Johnnie (Laws 13) + Twenty Froggies Go to School 3:06
5. Fidel Martin - Cup of Faith + Beaudoin Quadrille 2:15
6. Mary Lomax - The Drowsy Sleeper (Laws M4) 3:01
7. The Myers Sisters - Little Red Rooster 2:17
8. Ralph Sheckel - Tony Gave a Picnic 1:34
9. Neal Patman - Mama Whoopin' the Blues 2:14
10. Henry Grady Terrell - Old John Henry Died on the Mountain 1:57
11. Golden River Grass - Going Down the Road Feeling Bad 3:48
12. The Phillips Wonders - Hambone 1:18
13. Bobby McMillon - Darby's Ram 3:45
14. Shorty Ralph Reynolds - Darlin' Corey 3:10
15. Epifanio Sanchez and Group - Carabina Treinta-Treinta (30-30 Rifle) 2:22
16. Bert Hare - I'm Dying, Mother 4:36
17. Sacred Harp Singing Group - Eternal Day 2:28
18. Arthur Vandeveer - A Melancholy Sound 2:08
19. Mabel Cawthorn - Tom Watson Tune 3:14
20. Laethe Eller - What You Gonna Name That Pretty Baby 3:23
21. Ollie Gilbert - Who Killer Poor Rosin? 1:06
22. Brady 'Doc' and Lucy Barnes - Free Go Lily 0:37
23. John W. Summers - Brickyard Joe 1:54
24. Mary Heekin - Lord Randolph (Child 12) 6:03
25. Lawrence Eller and Vaughn Eller - Fly Around My Blue-Eyed Gal 1:33
26. Old Thresher's Five and Drum Band - Irish Washerwoman 0:54
27. Mary Lomax - Lord Daniel (Child 81) 5:42
28. Jack Bean - Song of Fifty Cents 2:25
29. Dr. David Rosenbaum - One Saturday Night When I Come Home (Child 274) 1:50

Disc 2: Religious
1. Silver Light Gospel Singers - Don't You Let Nobody Turn You 'Round 2:58
2. Rev. Howard Finster - Medley 4:44
3. Sacred Harp Singing Group - Assurance 1:10
4. Bonnie Loggins and Mary Lomax - In the Silence of the Midnight 1:57
5. Sister Fleeta Mitchell, Rev. Nathanial Mitchell, and Lucy Barnes - Let Me Fly 2:11
6. Leona Ruth - Over Yonder Where Jesus Is 1:16
7. Rev. Willie Gresham and Group - Guide Me, Thou Great Jehovah 2:29
8. Brady 'Doc' and Lucy Barnes and the Gilmore Family - Teach Me, Master 3:37
9. Lawrence Eller, Vaughn Eller and Rosa Brown - Lonesome Valley 2:44
10. Bracy 'Doc' Barnes and Lucy Barnes - Walk with Me 2:21
11. Lawrence McKiver and the McIntosh County Shouters - Jubilee 2:13
12. Lucille Holloway and Basers - Wade the Water to My Knees 1:07
13. Deacon Tommy Tookes and Congregation - The Lord Is Risen 5:35
14. Ida Craig - Sit Down, Servant 5:09
15. Sister Fleeta Mitchell, Rev. Nathanial Mitchell, and Lucy Barnes - I Am on the Battlefield for My Lord 2:36
16. Richard and Elula Moss - Idumea 2:42
17. Tickanetley Primitive Baptist Church - An Addess to All 4:04
18. The Phillips Wonders - Walking Along the Heavenly Road + I Am a Poor Pilgrim of Sorrow 3:31
19. Tickanetley Primitive Baptist Church - Lenox 3:02
20. Georgia Jean Eversole - Scarlet Purple Robe 2:40
21. Smokey Joe Miller and Newman Young - Where the Soul of Man Never Dies 2:41
22. Nathan Palmer - Blow, Gabriel 1:39
23. Gospel Supremes - Do, Lord, Remember Me 5:34
24. Naomi Bradford and Macedonia Baptist Church - My Number Will Be Changed 3:44
25. Rev. Willie Gresham and Macedonia Baptist Church - Hush and Listen 4:57

Disc 3: Blues
1. Cecil Barfield - Georgia Bottleneck Blues 4:38
2. Gordon Tanner, Smokey Joe Miller, and Uncle John Patterson - Carroll County Blues 2:14
3. Brooks Berry and Scrapper Blackwell - Brooks' Blues 5:15
4. Neal Patman and Bill Giles - Key to the Highway 2:54
5. J. T. Adams - Red River Blues 3:31
6. George Childers - Nobody's Business 2:38
7. Eddie Bowles - Bowles' Blues 4:13
8. Cliff Sheats - Got the Blues So Bad 3:13
9. Guitar Pete Franklin - Guitar Pete's Blues 7:47
10. James 'Yank' Rachel and Shirley Griffith - Peach Orchard Mama 5:57
11. James Easley, Guitar Pete Franklin, and Raymond Holloway - Big Leg Women 4:58
12. Joe K. Rakestraw and Art Rosenbaum - Leaving Here, Don't Know Where I'm Going 2:39
13. Neal Patman - The Mogul 2:14
14. Buford Boyd and Willard Benson - Deep Ellum Blues 2:40
15. Shirley Griffith - River Line Blues 3:56
16. Jake Staggers - Going Down the Road Feeling Bad 2:19
17. Harvie Sims - I Cried All Night Long 3:42
18. Shirley Griffith - Maggie Campbell Blues 4:31
19. Guitar Pete Franklin - How Long Blues 4:28
20. Scrapper Blackwell - 'A' Blues 3:34

Disc 4: Instrumental And Dance
1. Dallas Henderson - Lost Indian 1:33
2. Ben Entrekin, Uncle John Patterson, and James Patterson - Flat Foot Charlie 2:10
3. Lawrence Eller and Vaughn Eller - Down the Road 1:08
4. Clester Houchell - Sally, won't You Have Me, Do, Gal, Do 1:09
5. Coy Martin - Fox Chase 2:30
6. Neal Patman - Fox Chase 1:40
7. Gordon Tanner, Smokey Joe Miller, and Uncle John Patterson - Medley 6:48
8. Janes 'Yank' Rachel and Shirley Griffith - Mandolin Stomp 2:16
9. Albert Hash - Omie Wise 1:32
10. Albert Hash and Art Rosenbaum - Train 45 1:27
11. George Childers - Turkey in the Straw 2:12
12. Louis and Larry Riendeau - Arkansas Traveler 3:25
13. Dwight 'Red' Lamb - Fynne's Polka 1:32
14. News Tolman - Pigtown Fling 0:51
15. John W. Summers and Art Rosenbaum - Stony Point 2:48
16. Earl Murphy and Bill Ashley - Cowboy Waltz 2:44
17. Clester Hounchell - Walk, Little Julie 0:51
18. Rev. Howard Finster - Five to My Five 1:05
19. Delbert Spray and Art Rosenbaum - Quit Kicking My Dog Around 1:58
20. Old Threshers' Fife and Drum Bandk - Yankee Doodle 0:52
21. John W. Summers - Jig Medley 2:40
22. Buell Kazee - Big Foot Feller 1:09
23. Buford Boyd - Don't Let Your Deal Go Down 1:01
24. Uncle John Patterson - Shout, Lulu 4:23
25. Jake Staggers - Shout, Lulu 1:10
26. W. Guy Bruce - Shout, Lulu 2:40
27. W. Guy Bruce and Guy Bruce, Jr. - Sally Ann 1:43
28. Gordon Tanner, Phil Tanner, Art Rosenbaum and Larry Nash - Arkansas Traveler 4:08
29. Frosty Lamb and Buzz Fountain - Beaumont Rag 1:15
30. Kirk Brandenberger and Art Rosenbaum - Whistler's Waltz 2:49
31. W. Guy Bruce - Shady Grove 5:11
32. Rosa Brown - Coal Creek March 1:40
33. Pete Steele - Coal Creek March 1:11
34. Harry 'Pappy' Wells - Jenny Nettles 3:42
35. Lyman Enlos and Bob Black - Fourteen Days in Georgia 1:28
36. Maude Thacker - She'll Be Coming 'Round the Mountain 0:35

Old, weird America in porch recordings

“Art Of Field Recording Volume ll is an amazing collection of music and people that can’t help but make you feel better about the world. There are fewer and fewer people today who play music because of what the song means to them in terms of their family’s history or the people who taught it to them. To have the opportunity to experience listening to that type of music is a rare treat and one that might not be available to us for that much longer..”

Atlanta's Dust-to-Digital releases another sweeping, vital 4xCD collection of field recordings.

In November 2007, Atlanta's Dust-to-Digital Records released The Art of Field Recording, Vol. 1, a sweeping, 4xCD collection of field recordings assembled by the folklorist and visual artist Art Rosenbaum. Rosenbaum's considerable personal collection (which spans a half-century, contains thousands of hours of tape, and is supplemented by Rosenbaum's own photographs, paintings, and drawings) demanded more than just four discs; Dust-to-Digital plotted a second volume in response. Vol. 2 follows the same basic organizing principle as its predecessor: The four discs are arranged by theme (Survey, Religious, Accompanied Songs and Ballads, Unaccompanied Songs and Ballads), and are comprised exclusively of field recordings, provoked and captured in living rooms, churches, front porches, backyards, graveyards, and parlors across the Southeast, Midwest, and Canada.

Without discounting the participants' musicianship, the real pleasure of these boxes is in the peripheral noise, the clinks, rustles, guffaws, giggles, and snorts of ordinary life, the self-composed and self-delivered introductions, the soft-spoken folklorist nudging from the corner-- that's the true and precious miracle of field recording. We now know, for example, that there exists no more sublime a preface to "Steamboat Bill" than Iowan Jack Bean-- in his deep, gnarly, slightly-too-loud voice-- barking "My name is Jack Bean, I live in Wapello, I'm 70 years old, and I'm a half-assed musician. Or was." This is how folk music functions; this is what it means. It is as real as anything.

The scope of Rosenbaum's work makes it difficult to talk about these volumes in general terms; although this is all "folk music," in the broadest, most earnest sense of the word (see Louis Armstrong: "All music is folk music. I ain't never heard no horse sing a song"), it's also a gloriously diverse package of styles and eras. (Rosenbaum himself addresses the nomenclature issues in his sharp and graceful introductory essay.) Maybe what's most remarkable is how well Vol. 2 actualizes the (shriveling?) notion of acoustic blues, folk, and gospel music as a malleable oral tradition ("The deep river of song," as Alan Lomax put it), destined for splicing and rearranging-- here, over and over, bits and pieces of traditional songs emerge and recede, providing both context and ornament. Even though charting the origins of these fragments is pretty much impossible (and entirely beside the point), it does make the controversy over samples and mash-ups feel heavily foreshadowed, if not kind of moot.

Although it's certainly worth consuming whole - give yourself a full, glorious Sunday on the couch-- there are a few unmissable highlights: Otha Cooper and Imogene Riggens' a cappella rendition of "There's a Man Going Around Taking Names" (recorded in Athens, Georgia in March 1981) is barely 90 seconds long, but the sadness and seriousness in their voices lingers for weeks, maybe longer. Rev. Willie Mae Eberhart and Sister Fleeta Mitchell (who also appear on Vol. 1 , accompanied here by Eddie Ruth Pringle) offer up a prickly version of "A Charge to Keep I Have" (according to Rosenbaum's notes, the melody is moaned so the Devil can't hear it), while Mary Lomax, another star from Vol. 1 , sings "Billy Staffer" with unparalleled aplomb-- "The way my paw used to sing it," she explains. Helen McDuffie's "Talking Blues" is a textbook example of the kinds of talking blues that inspired Woody Guthrie and later Bob Dylan; Mabel Cawthorne's "Going Up the Country (Some Kind of Blues)" features some of the richest (if stubbornly imperfect) piano-playing around, and her vocals-- un-self-conscious, raw, squealing, cracked-- are genuinely riveting.

It doesn't require a crack sociologist to understand how America's oral traditions are changing (most of the performers Rosenbaum captures here are of advanced age, and come from relatively rural climes), but there's still something comforting about the notion of a song as a family heirloom (it can never be lost in a fire), and Rosenbaum's work will make you yearn for childhood lullabies, for-- precious as it sounds-- the songs that you keep in your heart. -Amanda Petrusich

Disc 1: Survey
1. Fidel Martin - La Grondeuse (The Scolding Woman) 1:55
2. Eddie Bowles - Blues 4:13
3. Frosty Lamb And Buzz Fountain - 12th Street Rag 1:44
4. Dwight “Red” Lamb - Danish Galop 1:15
5. Tony Bryant - Broke Down Engine 4:12
6. Nathan Abshire & The Balfa Brothers - J’ai Passé Devant Ta Porte 2:58
7. Nathan Abshire & The Balfa Brothers - Colinda 1:38
8. Jake Staggers - Garfield 2:23
9. Bobby McMillon - The Devil Song [Child 275] 5:14
10. John W. Summers - Unnamed Tune 2:04
11. Kirk Brandenberger And Art Rosenbaum - Going Across The Prairie 3:52
12. Uncle John Patterson - Muddy Roads Of Georgia 3:08
13. Cecil Barfield - Georgia Blues 5:15
14. Mary Lomax - Billy Staffer (The State Of Arkansas) [Laws H1] 2:57
15. Eller Brothers - Cindy In The Summer Time 2:17
16. Ross Brown And Howard Cunningham - General Lee’s Surrender 2:06
17. Neal Pattman - Shortnin’ Bread 1:47
18. Juanita And Oscar “Shorty” Shehan - Free Little Bird 1:47
19. Juanita And Oscar “Shorty” Shehan - The Soldier And The Lady [Laws P 14] 3:10
20. Shirley Griffith - Big Road Blues 2:56
21. Pete Steele - Harlan County Farewell Tune (Rambling Hobo) 1:04
22. Earl Murphy And Andy Carlson - Marmaduke’s Hornpipe 2:49
23. Bert Hare - Jonah 2:54
24. Smoky McGinness And Bob Black - Turkey In The Straw 2:32
25. Clester Hounchell - Paddy On The Turnpike 1:37
26. Anna Sandage Underhill - Play Party Songs: In This Ring / I’d Rather Be A Farmer’s Boy 0:43
27. The Chancey Brothers - Mulberry Gap / Cumberland Gap 3:35
28. Louie And Henry Riendeau - Fred Rogers’ Reel 1:42
29. Scrapper Blackwell - Goin’ Where The Monon Crosses The Yellow Dog 4:47

Disc 2: Religious
1. Brown's Chapel Choir - Welcome Home 3:16
2. Myers Family & Friends - River of Jordan 2:11
3. Brady "Doc" Barnes, Lucy Barnes - Brother, You Ought T've Been There - 1:31
4. Georgia Sacred Harp Convention - New Prospect 2:46
5. Bert Hare - No Man Can Love Me Like Jesus 2:48
6. Ebenezer Missionary Baptist Church - He's Calling Me 3:02
7. Smokey Joe Miller, Gordon Tanner - Out of My Bondage 3:03
8. Tickanetley Primitive Baptist Church - Mother, Tell Me of the Angels 3:00
9. Otha Cooper - No Room at the Hotel 3:53
10. Traveling Inner Lights - Let's Have a Family Prayer 4:50
11. Golden River Grass - Over in the Glory Land 2:33
12. Rev. Willie Mae Eberhart, Sister Fleeta Mitchell, and Eddie Ruth Pringle - Charge to Keep I Have 5:44
13. Jake Staggers & Family - How Long the Train Been Gone? 2:45
14. Pilgrim's Rest Primitive Baptist Church - Lord, Remember Me 5:58
15. McIntosh County Shouters - Eve and Adam (Pickin' Up Leaves) 4:12
16. Otha Cooper, Imogene Riggens - There's a Man Going Around Taking Names 1:38
17. Brady "Doc" Barnes, Lucy Barnes - Savior, Don't You Pass Me By 4:16
18. Laethe Eller, Berthie Rogers - Oh That Terrible Day 3:39
19. Cora Thompson - I Know I Got Religion 3:15
20. Silver Light Gospel Singers - Dry Bones 5:11
21. House of God, Sarasota, Florida - Walk with Me 8:09

Disc 3: Accompanied Songs and Ballads
1. Chancey Brothers - I Wish I Was a Mole in the Ground 4:05
2. The Eller Family - Going to Georgia 3:04
3. George Gibson - Southern Texas 3:07
4. Brady "Doc" Barnes, Lucy Barnes - Raise a Ruckus Tonight 3:01
5. Myers Family & Friends - Rambling Boy 2:05
6. Shorty Ralph Reynolds - Want to Go to Cuba, Can't Go Now 2:34
7. Ola Belle Reed - Boat's Up the River 1:17
8. Pat Hudson - Hog Drivers 3:07
9. W. Guy Bruce - As I Walked out One Morning in Spring 1:13
10. Smokey Joe Miller, Gordon Tanner - Devilish Mary 2:42
11. Buell Kazee - Barbara Allen 6:40
12. Jack Bean - Steamboat Bill 2:15
13. Ross Brown, Lawrence Eller - John Henry 3:35
14. Mose Parker - John Henry 4:07
15. Willard Benson - John Hardy 2:54
16. Myers Family & Friends - Old Joe Clark 3:04
17. Dr. C.B. Skelton - Miller's Will 5:34
18. Lawrence Eller - On Top of Old Smoky 3:50
19. Pete Steele - Last Payday at Coal Creek 3:08
20. Helen McDuffie, Leasie Whitmore - Wreck on the CC&ampO Road 5:02
21. Buzz Fountain - Quit That Ticklin' Me 1:32
22. Mabel Cawthorn - Going Up the Country [Some Kind of Blues] 2:44
23. Myers Family & Friends - Talking Blues 1:46
24. Ross Brown, Eller Brothers - Don't Go Riding Down That Old Texas Trail 2:04
25. Jack Bean - Ring Ching Ching 3:47

Disc 4: Unaccompanied Songs and Ballads
1. Mary Lomax - Fair and Tender Maidens 2:08
2. Virgil Sandage - Bird's Song 1:07
3. Anna Sandage Underhill - Elfin Knight 2:37
4. Stan Gilliam - Gypsy Davy 1:19
5. Mary Lomax - Black Jack Davy 2:05
6. Ray Rhodes - Black Jack Davy 1:09
7. Oscar Parks - Battle of Stone River 3:57
8. The Phillips Wonders - Froggy Went A-Courting 1:44
9. Mary Heekin - Factory Girl 2:41
10. Jim Cook - I'm a Noble Soldier 1:50
11. Anna Sandage Underhill - Young Man's Lament 2:36
12. Vern Smelser - Butcher's Boy 1:46
13. Ollie Gilbert - Lady Lye 2:24
14. Stan Gilliam - Lullabies 0:45
15. Ollie Gilbert - Utah Carl 6:09
16. Mary Ruth Moore - Billy Button 2:11
17. Oneitha Ellison & Group - Ring Plays 4:31
18. Mr. & Mrs. Lazore - Mohawk Love Song 1:57
19. Alice Gerrard - Shenandoah 1:43
20. Greg & Lala Brown - Two Little Boys 3:34
21. Mary Lomax - Down in the Arkansas 1:32
22. Bonnie Loggins - I'll Drink and Be Jolly 1:13
23. Brady "Doc" Barnes - We'll March Around the Wall 1:32
24. Vern Smelser - John Came Home 3:09
25. Margaret Kimmett - Farm Out West 2:09
26. Ray Rhodes - Frankie and Johnny 1:55
27. Mistress Della Mae Reedy - Farmer's Son 2:11
28. Maude Thacker - amous Wedding 1:28
29. Stan Gilliam - Sail Away, Lady/Greenback [Medley] 1:42
30. Sudie Parks - Lame Soldier 2:31
31. Oscar Parks - Pearl Bryan 3:54
32. Bonnie Loggins - Sing, Sing, What'll I Sing? 0:21

Jamaica

Niney is best known as a producer who continues to present the finest in Jamaican talent from his studio in Kingston. He has produced a few lackluster dub albums in the past, but "Observer Attack Dub" finds him making a quantum leap in musical quality by jumping backward in time for his source material; all of the tracks on this disc were originally recorded between 1969 and 1976 by legendary producer King Tubby, and are given brand-new dub treatments by Niney for this release. The all-star instrumental cast gives Niney plenty of rock-solid groove to work with, and he rules the mixing board like a man inspired. His remixes create new musical gestures as if out of a void, and the sound is exquisite, much better than one would have the right to expect from recordings of this vintage. This disc is highly recommended. -Allmusic Review by Rick Anderson

1. Observer Attack Dub 3:49
2. Acoustic Dub 2:50
3. Melting Pot Dub 3:36
4. Fugitive Dub 2:26
5. Go Now Dub 3:30
6. Fashion Dub 3:37
7. Live Dub 3:12
8. Yaga Yaga Dub 3:02
9. Rasta Dub 3:24
10. Soulful Dub 3:48
11. False Start Dub 3:42
12. Downtown Dub 2:33
13. Changing Mood Dub 3:21
14. Injection Dub 3:34

Notes
Recorded at the Original Randy Studio and the Old Joe Gibbs Studio in Jamaica 1969-1976.

Original Mix: King Tubbys Studio
Final Modern Mix : Mixing Lab Studio, 1995

Jamaica

Oft-overlooked Jamaican singer of the 1970s on, equally competent in lovers rock, dub, and roots reggae. 

Two albums from the masterful Al Campbell on CD for the first time! Includes the full albums Rainy Days (1978) and Diamonds (1979).

Born 31st August 1954 in Kingston, Jamaica Alphonso, better known as Al, Campbell is one of reggae music’s most distinguished and distinctive vocalists and songwriters. His extensive catalogue of hit records, ranging from authentic roots to sophisticated ballads, has been carefully composed over nearly half a century of music making and he still continues to make meaningful music. 

Biography
Born in Kingston, Jamaica, Campbell's singing career began in church, where his father was a preacher, and Al would sing to raise funds. He went to school with Lloyd James (aka Prince Jammy) and formed a vocal group with friends as a teenager, called The Thrillers, who recorded in the late 1960s for Studio One. After briefly joining up with Freddie McGregor and Ernest Wilson, he went on to work with Prince Lincoln Thompson's Royal Rasses, and the Mighty Cloud band. Campbell then embarked on a solo career (also contributing vocals to two Heptones albums),[2] and was a popular roots reggae singer during the 1970s, recording for producers such as Phil Pratt, Bunny Lee, and Joe Gibbs, and recorded at Lee Perry's Black Ark studio. His "Gee Baby" was a big hit in 1975 in both Jamaica and the United Kingdom. He adapted successfully to the early dancehall and lovers rock styles in the late 1970s and 1980s, working with producers such as Linval Thompson. Campbell's recording of "Late Night Blues" (1980) became a staple of blues parties. Campbell performed with the Stur-Gav sound system in the early 1980s. More recently he has recorded for King Jammy, Philip "Fatis" Burrell, and Mafia & Fluxy. In 1997, he joined Cornell Campbell and Jimmy Riley in a new version of The Uniques, the group releasing a self-titled album in 1999. Campbell has not performed in Jamaica since a stageshow held by Jack Ruby shortly before the latter's death. He continues to tour Europe and North America.

Rainy Days
1. Give The People 3:11
2. Words Of Wisdom 2:57
3. You’ve Got Soul 3:05
4. Don’t Cry 3:06
5. Rainy Days 3:50
6. I Want You Around 3:27
7. Never Let You Down 3:35
8. When Spring Is Around 3:15
9. My Whole World 3:37
Diamonds 
10. Show Me The Way 2:53
11. Honey Come Back 4:10
12. Jah Is Light 3:32
13. Stay By My Side 3:44
14. Send Love Oh Jah 2:48
15. Mr Wicked Man 3:07
16. Diamonds 2:09
17. Hey Little Girl 2:54
18. It’s Love 3:29
19. Cornal Mind 3:00

Notes
Diamonds 1979 produced by Linval Thompson | Rainy Days 1978 Produced By Hugh Brown.

North Carolina

Old Time Mountain Music at Its Purest

Songs with a lasting and immortal kind of effervescent quality

This delightful recording explores the roots of the legendary guitarist Doc Watson, made just as he was on the verge of national acclaim for his virtuosity in old-time music and traditional song. In these informal sessions, Doc and his extended family perform songs that constitute the bedrock of American old-time music, remembered both from ballads of British origin and uniquely-evolved songs in American tradition, embracing both Anglo-Appalachian and African-American repertoire, as well as early commercial country recordings. In particular, Doc’s father-in-law Gaither Carlton emerges as a repository of otherwise-forgotten fiddle and banjo tunes. As Doc himself has commented, “the old-time fiddle tunes and the old-time ballads, there’s never been anything prettier nor ever will be.”

The greatest recordings are often ones that include periods of complete rejection in their histories. These tapes were made in 1964 but not made available to the public until more than a dozen years later, when the music was finally released in America and the United Kingdom by Rounder and Topic, respectively. The Watson in question is indeed Doc Watson, and while this huge presence in American folk music dominates the proceedings like the Jolly Green Giant looking out over the vegetable fields, this album completely stands out from that artist's discography. Listeners who find Doc Watson's recordings a trifle on the slick side will want to give this collection a listen. While the man has become a highly acclaimed international performer and has graced the most important stages in the world, he comes from a tradition of music that was originally made at home for the entertainment of family and neighbors. A great old-time fiddler may have enjoyed being the hero of his county, but he did not aspire to play at Carnegie Hall or do solo sellout nights at a slick nightclub such as the Bottom Line. Performing music in such venues inevitably is the domain of highly polished entertainers who can hold large audiences in the palms of their hands, giving the types of performances that tend to be several worlds away from those featured here. Members of the extended Watson Family -- father in law, distant cousin, what have you -- get involved here in a series of solos and small groupings, the recorded sound as rough as a chunk of whittling wood and the tunings sometimes even rougher. It is the real thing, and an album that by itself could serve as a fine introduction in every way to the charming world of old-time music, including diverse examples of its harmonic and melodic structures as well as the typical subject matter of songs such as "I Heard My Mother Weeping." All the instruments associated with this genre are here in full force, including banjo, fiddle, guitar, and the unaccompanied vocal. There are several performances that are incredibly powerful, particularly "Am I Born to Die?," sung by Doc Watson accompanied only by Gaither Carlton on fiddle. -AllMusic Review by Eugene Chadbourne

1. Georgie 1:07
2. Fish In The Mill Pond 1:42
3. Children's Songs 2:33
4. I Heard My Mother Weeping 3:08
5. Reuben's Train 2:45
6. Biscuits 3:20
7. Tucker's Barn 3:05
8. Give The Fiddler A Dram 1:56
9. And Am I Born To Die? 4:13
10. Marthy, Won't You Have Some Good Old Cider? 2:11
11. A-Roving On A Winter's Night 2:00
12. Arnold's Tune 0:49
13. Pretty Saro 2:18
14. Early, Early In The Spring 2:07
15. Little Maggie 2:40
16. Bill Banks 2:34
17. Rambling Hobo 1:12
18. One Morning In May 1:46
19. The Faithful Soldier 4:07
20. Omie Wise 2:47
21. Jimmy Sutton 1:12

Notes
It was recorded in 1964 - 1965 and not released until 1977.

Personnel:
Doc Watson – vocals, guitar, harmonica, banjo
Merle Watson – guitar
Gaither Carlton – banjo, fiddle, vocals
Dolly Greer – vocals
Annie Watson – vocals
Arnold Watson – banjo, vocals
Rosa Lee Watson – vocals

USA

Carter and Ralph Stanley were Bill Monroe's first rivals in the 1940s. By the 1950s, their version of bluegrass was honed to razor-sharp perfection, and their 46 recordings for the Mercury label are among the high watermarks of classic bluegrass (even Ralph Stanley considers them their best work). Working with a variety of fine supporting players, among them fiddler Art Stamper and mandolinist Bill Napier, the Stanley Brothers vocal artistry (as well as Ralph's hard-hitting banjo picking) never sounded better. This collection of the complete Stanley Mercury recordings offers a previously unissued gem, A Lonesome Night, as well as others (among them Close By) previously available only on Japanese reissues of the 1970s. Gary Reid's authoritative notes frame the picture painted by the music, and two 1959 recordings for the Blue Ridge label round off a remarkable set.

A stunning set with great sound quality...

The pace picks up a bit on these mid-to-late '50s recordings, made for the Mercury and Blue Ridge labels after the Stanley Brothers had established themselves as co-equals in the bluegrass pantheon, alongsode Bill Monroe and Flatt&Scruggs. This is a sweeping 2-CD set, packed full of Stanley songs that are now standards in the bluegrass canon. A young Art Stamper (who still plays with Ralph Stanley) plays fiddle on about half of these sessions, along with a slew of other hotshot pickers and plunkers. Ralph steps to the fore as well, contributing a fair number of original songs and instrumentals, although admittedly Carter is still the main creative force. The boys also cover a few Bill Monroe tunes (including a couple co-written by Carter Stanley), showing the continuing cross-pollination of these legendary artists. This is a really great, essential collection, with the stellar sound quality that is the trademark of the Bear Family label. HIGHLY recommended. -DJ Joe Sixpack

The recordings that the late Carter Stanley made with his brother Ralph for Mercury remain some of their very best and have been eagerly sought after by lovers of bluegrass music. Now, thanks to Bear Family, we get all their Mercury tracks (including some unissued gems) plus a couple of sides from Blue Ridge recordings. 49 tracks in all on two superb CDs and truly not a duff track amongst them! Quartets, trios, with about a quarter of the songs sacred, plus several fast paced instrumentals, including the truly outstanding "Hard Times", arguably the best bluegrass instrumental ever with Ralph on superb form with his banjo work. Bill Monroe's "Blue Moon Of Kentucky" is given an unusual treatment for a prominent bluegrass group, as it was more based on Presley's 1954 Sun recording, with strong lead acoustic guitar. "Angel Band" is perhaps the pick of the gospel tracks. The only surprise being it took until 1961 for this fine track to be issued on an LP. The equally outstanding "The Cry From The Cross" runs it a close second. To sum up, this is a wonderful release, something which belongs in the collection of anybody who enjoys top rate country bluegrass music. Very highly recommended. -Reviewed by Dave Brassington

Disc 1
1. (Say) Won't You Be Mine 2:50
2. This Weary Heart You Stole Away 2:42
3. I'm Lonesome Without You 2:32
4. Our Last Goodbye 2:39
5. Poison Lies 2:42
6. Dickson County Breakdown (Instrumental) 2:17
7. I Long To See The Old Folks 3:06
8. A Voice From On High 2:36
9. Memories Of Mother 2:23
10. Could You Love Me (One More Time) 2:37
11. Nobody's Love Is Like Mine 2:29
12. I Just Got Wise 2:36
13. Blue Moon Of Kentucky 2:16
14. Close By 2:08
15. Calling From Heaven 2:19
16. Harbor Love 2:20
17. Hard Times (Instrumental) 2:47
18. Baby Girl 2:22
19. Say You'll Take Me Back 2:01
20. I Worship You 2:29
21. You're Still On My Mind 2:03
22. I Hear My Savior Calling 2:12
23. Just A Little Talk With Jesus 2:18
24. So Blue 2:25
25. Our Last Goodbye 2:40

Disc 2
1. You'd Better Get Right 2:27
2. Tragic Love 2:30
3. Lonesome And Blue 2:20
4. Orange Blossom Special 2:30
5. Clinch Mountain Blues (Instrumental) 2:04
6. Big Tilda (Instrumental) 2:05
7. Will He Wait A Little Longer 2:24
8. Angel Band 2:18
9. The Cry From The Cross 2:52
10. Who Will Call You Sweetheart 2:56
11. I'm Lost, I'll Never Find The Way 2:00
12. Let Me Walk, Lord, By Your Side 2:54
13. A Lonesome Night 2:54
14. The Flood 3:11
15. Fling Ding (Instrumental) 2:09
16. I'll Never Grow Tired Of You 2:12
17. Loving You Too Well 2:13
18. Daybreak In Dixie (Instrumental) 2:01
19. If That's The Way You Feel 2:33
20. A Life Of Sorrow 2:35
21. I'd Rather Be Forgotten 2:22
22. No School Bus In Heaven 2:53
23. Meet Me Tonight 2:36
24. Nobody's Business 1:56

Turkey

This unique collection presents the giants of Ottoman court music, Anatolian folk music and urban entertainment music in Turkey during the first half of this century. Today's singers and instrumentalists still find inspiration in the precision, grace and improvisational skills demonstrated in these original 78 RPM recordings. With Tanburi Cemil Bey, Marko Melkon and many others.

Masters of Turkish Music features 20 tracks of Turkish classical music, taken from 78s recorded between 1906 and 1949. This has much wider appeal than the typical archival world music release. The taksim (improvisations) and gazels (vocal improvisations) are extremely emotional and moving, and there is a good deal of variety in the 75-minute program, in both content and instrumentation. The "classical" term shouldn't scare off those who are not approaching this music from a scholarly viewpoint; it draws heavily on folk traditions, and is as passionate as any Middle Eastern music you're likely to encounter. Especially entrancing are the full-throttle gazel improvisations of Hamiyet Yüceses. On the more instrumentally oriented pieces, the oud and tanbur playing is a clear source point for modern musicians working in the style. It certainly seems as though Sandy Bull, for instance, may have been exposed to this music, either directly or indirectly. Despite the age of the recordings, the sound is very good -- even on the performances dating back to the early 20th century, the transfers seem to be clear as technology will allow. -AllMusic Review by Richie Unterberger

1. Tarsus'lu Abdülkerim - Gazel: "Bekledim Kaç Gece" 3:15
2. Safiye Ayla - Gazel: "Yârin Bu Kadar Cevri Gelir Miydi Hayâle" 3:20
3. Hafız Şaşı Osman Efendi - Gazel: "Mâhitâbım Beyi Seyrâne Mi Çıktın Bu Gece" 3:28
4. İsak El-Gazi - Gazel: "Bî-karar Olmaktı Sevmekten Murâdı Gönlümün" 2:55
5. Nafi Bey - Gazel: "Derdime Vakıf Değil" 3:29
6. Yozgazlı Hafız Süleyman Bey - Bozlak And Halay 4:10
7. Münir Nurettin Selçuk - Durak: "Bülbül-i Sûrîdeyim Gülden Nasîbim Var Benim" 6:20
8. Safiye Ayla - Şarkı: "Saatlerce Başbaşa Kaldığımız Geceler" 3:14
9. Hafız Burhan Sesyılmaz - Şarkı: "Nîm Nigâhın Katle Ferman" 3:52
10. İsak El-Gazi - Şarkı: "Bir Katre İçen Çeşme-i Pür-hûn-i Fenâdan" 3:46
11. Klarnetçi Şükrü Tunar - Çiftetelli 2:41
12. Nick Doneff - Karşılama Dance 2:51
13. Kemani Haydar Tatlıyay - Oyun Havası 3:14
14. Gülistan Hanım - Mânî 3:00
15. Zurnacı Halil - Halay Dance 3:18
16. Refik Fersan - Taksim 3:04
17. Kemani Nubar Çömlekçiyan Tekyay - Taksim 3:23
18. Tanburî Cemil Bey - Taksim 3:35
19. Tanburî Cemil Bey - Taksim 3:18
20. Udî Marko Melkon Alemsherian - Taksim 4:18

Masters of Turkish Music, Vol. 2 is an excellent continuation of the first set of Turkish music. Instead of concentrating on indvidual artists, it focuses on the attributes of the region's music, which makes for a more listenable and instruction compilation. Like the first volume of Masters of Turkish Music, Vol. 2 functions as a good introduction to the music of Turkey. -AllMusic Review by Thom Owens

This wonderful collection of classic Turkish music will truly grab the attention (and emotion) of Turkish people world-wide. The CD contains very classical Turkish musical and vocal pieces that have form the basis of contemporary music in that country today. I highly recommend this CD for the serious collector of Turkish music or my compatriots who are simply homesick! -Caglayan Chereskin Mississippi, USA

1. Safiye Ayla - Turku: Katibim' 3:18
2. Hafiz Ismail Hakki Bey - Gazel: Ey Melek Rahi Hayatta 3:06
3. Muzaffer Akgun - Turku: Ha Bu Diyar 3:08
4. Tanburi Cemil Bey - Taksim: Makam Rast 3:09
5. Mesud Cemil - Takism: Makam Suzinak 2:40
6. Hanende Ibrahim Efendi - Sarki (Kanto): Gonlumu Ihya Eden 3:22
7. Udi Nevres Bey - Takism: Makam Hicaz 3:22
8. Rehberi Musiki Heyeti - Sarki: 'Beni Sevmis Iken' 3:23
9. Viktoriya Hanim - Sarki: Egil De Daglar Ustunden Asam 3:05
10. Hamiyet Yuceses - Sarki: Bakmiyor Cesmi Siyah 3:30
11. Sabite Tur - Sarki: Dus Ben Gibi 3:11
12. Munir Nurettin Selcuk - Rubai: Cepcevre Bahar Icinde 3:27
13. Gulistan Hanim - Sarki: Seni Gordukc 3:28
14. Tanburi Cemil Bey, Udi Nevres Bey - Makam Huseyni 3:28
15. Santuri Recep, Kucuk Cemal - Harmandali Zeybek 2:57
16. Neyzen Tevfik - Taksim: Makam Bestenigar 2:46
17. Darulelhan - Turbnalar 2:41
18. Kanuni Ahmet Bey - Makam Sehnaz 2:45
19. Algazi - Gazel: Sana Dil Verdimse 3:48
20. Udi Marko Melkon Alemsherian - Makam Sedaraban 4:06
21. Yeghiahzar Efendi - Murad Kenarind 3:10
22. Hafiz Kemal - Gazel: Nice Gulcini 2:56
23. Sukru Tunar - Takism: Makam Rast 3:15

Zaire

Classic Rumba Music from Zaire and Congo Republic

Vicky Longomba has played an important role in the evolution of Zaire's music. As the co-president of OK Jazz, Longomba joined with Jean Serge Essous and Franco Luambo Makiadi to create Zaire's first dance band. Leaving OK Jazz, along with Essous, to join the rival group, African Jazz, in the early-'60s, Longomba continued to lay the foundations of the Congolese rumba movement. He continued to pioneer new musical group in the early-'70s with his own band, Orchestre Lovy. -Artist Biography by Craig Harris

Longomba, "Vicky" (Longomba Besange Lokuli, Victor), outstanding Congolese singer and band leader; born Kinshasa, Dec. 13, 1932; died Kinshasa Mar. 12, 1988.

Vicky began his career in 1953 at the CEFA recording studio in colonial Léopoldville (Kinshasa). Singing tenor, often in combination with other studio singers Roger Izeidi and François Engbondu as Les Trois Caballeros, Vicky recorded songs in the emerging Congolese rumba style. "Chérie Awa" (darling Awa) and "Congo ya Sika" (new Congo) numbered among his early sides.

As CEFA verged on bankruptcy in 1955, Vicky moved to the Loningisa studio. There, in 1956, he joined the guitarist known as Franco and four other session musicians to form the band O.K. Jazz. Vicky and singer Edouard "Edo" Ganga, who joined the band in 1957, formed a duo that set the vocal standard for the O.K. Jazz "school" of the Congolese rumba.

The year 1960 saw Vicky and band mate Brazzos join with Joseph Kabasele and members of O.K. Jazz arch rival African Jazz for performances and recording in Brussels at the round table conference on Congolese independence from Belgium. Vicky contributed backing vocals on Kabasele's "Indépendance Cha Cha," one of the most famous Congolese songs of all time, and wrote several others including "Vive Lumumba Patrice."

Vicky's departure for the round table ruptured his relations with O.K. Jazz. When he returned home he formed a new band called Négro Succès. With Vicky at the mike and Léon "Bholen" Bombolo on lead guitar, the band was indeed a success. So much so that it continued, even prospered, when Vicky departed some two years later and returned to O.K. Jazz. Back beside Franco and Edo, Vicky contributed vocals to most of the group's hits like the great "Ngai Marie Nzoto Ebeba" (I Marie whose body is wearing out), a story about a Kinshasa prostitute. He also wrote many of the band's songs including several, like "Conseil d'Ami" (friend's advice), in a slow, bolero-flavored style that he seemed to prefer.
Vicky and Franco shared leadership of O.K. Jazz for nearly a decade until it became clear to both that one boss was enough. Vicky departed in 1971 to form a new band he called Lovy du Zaire. Lovy boasted a number of young up-and-coming musicians like future Quatre Etoiles guitarist Syran M'Benza. Vicky's deteriorating health brought an end to the band and his performing career in 1974. Surgeons removed what Vicky described as a "cystic tumor" from his head in 1974 and again in 1981. Diabetes nearly cost him a leg. He recovered sufficiently to assume the presidency of the musicians union (UMUZA) in 1986, where he served until his death.

One of Congolese music's best-loved singers, Vicky left a legacy of dozens of compositions and hundreds of recordings. Together with Franco he helped to build O.K. Jazz into one of the finest bands in Africa. His duets with Edo and Edo's successors defined the vocal side of the O.K. Jazz sound for more than two decades. As a measure of his contributions to Congolese culture, Vicky was honored by President Mobutu with induction into the National Order of the Leopard, at the time the nation's highest award. -Gary Stewart

1. Invocation 5:09
2. Eulalie mwana mandona 5:04
3. Conseil d'ami 5:28
4. Balingi basombela ngai liwa 5:23
5. Marceline mama na bebe 5:21
6. Thomas kinshasa monoko 4:34
7. Nalingi nde maloba sukali 5:02
8. Leonie mbongo 5:08
9. Atoini 4:53
10. Ah marie-josée bandeko 4:58
11. Rendez-vous na zoo 4:06
12. Lovy du zaire 4:35
13. Bolingo ekeyi na motio 5:03
14. Ba cuites ya vatican 4:29
15. Nakobala ata mongamba 4:42

Bolivia

Musical testimony of a culture of resistance

In the early 1990s, Luzmila Carpio's songs inspired the Quechua-speaking people of the Bolivian Andes to Yuyay Jap-ina to "reclaim our knowledge" from a culture that marginalized indigenous people. These tapes, newly-restored and presented by Squirrel Thing Recordings (Molly Drake, Connie Converse), capture a vibrant celebration of a people and a language that would not be silenced.

This wonderful collection of traditional and original Bolivian folk songs was made by singer, songwriter, and activist Luzmila Carpio as part of a UNICEF program in the early '90s. A native of Bolivia's Northern Potosi region, Carpio sings primarily in the Quechua language, which serves, in different variations, multiple indigenous populations across the Andean region. In certain areas, particularly in the rural arid climes where Carpio grew up, singing and performing are part of the fabric of daily life, with certain songs being sung during planting, harvesting, and other daily tasks. These were the songs she learned in her formative years, and as the Quechua language began to die out Carpio became a sort of cultural emissary for the music and heritage of not only the Quechuas, but of all indigenous people in the Americas. In the 1980s Carpio became active with UNICEF, especially in areas of literacy, and in 1991 she was commissioned to record a set of songs honoring the Quechua language and customs that was then distributed to libraries and learning centers throughout Bolivia. The project was called Yuyay Jap'ina, which translates to "reclaim our knowledge." In addition to achieving its educational objective, Carpio's recordings serve as a vibrant artistic statement in a thrilling ancient language familiar to few outside of the Andes. Accompanying herself on the small ten-string charango with a handful of other musicians behind her, she delivers the songs in an unusually high, trilling voice that becomes almost flute-like at times. On the electrifying rain prayer "Ch'uwa Yaku Kawsaypuni," her complex rhythms and melodies blend with the delicate sounds of birdsong and distant thunder. The strange and joyful "Warmikuna Yupay-Chasqapuni Kasunchik" encourages women to stand up for themselves, while the equally buoyant "Pachamamata T'Ikanchasun" praises the Pacha Mama, or mother earth. A deep connection with nature is inherent in Quechuan culture and an almost rhapsodic, spiritual element can be felt in this strange, earthy music. Carpio's voice is infinitely expressive and frequently dazzling as she swoops and soars, displaying the kind of range and command few singers ever achieve, let alone in folk music. That these unique recordings were given a new life outside of Bolivia can be credited to French label Almost Musique, which now introduces the marvelous Yuyay Jap'ina Tapes to the rest of the world. -AllMusic Review by Timothy Monger

1. Riqsiqa kasunchik 4:07
2. Ch'uwa yaku kawsaypuni 3:57
3. Warmip kawysayin 4:07
4. Uqhumanta 4:39
5. Warmikuna yupay-chaqapuni kasunchik 3:49
6. Arawi 5:06
7. Yanapariway takiriyta 3:50
8. Killpa 2:43
9. Pachamamata t'ikanchasun 3:08
10. Kusichisun wawitata 1:55
11. Tillpi Tillpilla 3:02
12. Sumaq awaq warmi 3:05
13. Jiwasay 3:26
14. Qalay qalay 2:07
15. Kawsay jap'isunchik 4:18
16. Wataq killasnin 2:58
17. Amautayku, Avelino Siñani 5:00

USA

Connie Converse was the quintessential musical enigma an artists before her time, forgotten, and disappeared without a trace over 35 years ago. If you stripped away the sharp literary mind, the precision of the songcraft, the bare honesty of her humble recordings, you would still be left with an unanswerable question: Where did she go? Why did she pack her belongings into a car, write goodbye letters to her friends and family, and vanish? Around 1949, Elizabeth Connie Converse dropped out of Mt. Holyoke College and moved to New York City to make her way as a musician. Over the course of the next decade, she wrote and recorded a body of truly unique, plaintive, and haunting work. Some songs she recorded herself in her Greenwich Village apartment, others were recorded by friends enamored of her music, but almost none ever reached an audience wider than, as she once put it, dozens of people all over the world. By the early 1960's, despondent over the limited commercial success of her music, she decided to leave New York for Ann Arbor where, in 1974, Connie wrote a series of goodbye letters to friends and family, packed up her Volkswagen and disappeared. She has not been heard from since. At first listen, Connie's music seems to keep close company with the female folk artists who were her contemporaries. The knack for plaintive storytelling shares much with Peggy Seeger and Susan Reed. Reed knew Connie's music well, and performed a set of her songs in 1961 at the Kaufmann Concert Hall in New York. But Connie's music stands out from that of the American folk revival of the 1950's. Her fluid and disarmingly intelligent poetry reflects an urban perspective, that of a new New Yorker becoming disenchanted by the bucolic tropes of folk music. She is at once a maverick and a romantic, intellectual and spiritual, a staunch independent and a tender, pining lover.

Reviews
Wow. Lau derette issues one of the year's most gorgeous, mysterious archival releases with this wonderful set of home recordings by idiosyncratic folk chanteuse Elizabeth 'Connie' Converse. Converse was a NYC resident who recorded these 17 songs, all originals, throughout the 1950s in her Greenwich Village apartment. Heard by but a seldom few, by the early '60s Connie grew despondent, moved to Ann Arbor, MI, wrote goodbye notes to her loved ones, and packed up her Volkswagen and just... disappeared. She hasn't been seen or heard from since, and that same sense of haunting mystery does hover around these recordings. Converse was witty, intelligent, and talented -- these songs, while obviously tied with a certain degree to the Greenwich folk sound, rises above such time stamping. These tunes could easily fit anywhere from Busby Berkeley musicals to slowly shifting Hawaiian beaches; in fact, one of the things I love about this record is the way the melodies do sound almost Hawaiian or tropical at times, while simultaneously evoking a landlocked anxiousness and melancholy, like a Polynesian snowed in at an Appalachian lodge. Silly as it may sound, there's no denying one thing -- we're extremely fortunate to be able to hear these songs, and here's hoping that Converse finds some of the recognition and fanfare that eluded her those years ago. You'd be hard pressed to find a more lovely, intimate, and bewitching album this year. Better late than never. Three cheers to you, Connie, wherever you may be. --Other Music

How Sad, How Lovely gathers together the songs of Elizabeth Connie Converse, a largely unknown singer/songwriter who disappeared under mysterious circumstances in 1974. These lo-fi recordings made at the homes of friends and family in the 50s reveal an artist of sly wit and tender emotion, adept at vivid, sophisticated lyrics and well-contoured melodies. Much of her work has the formal poise and poetic resonance of classic folk artists like John Jacob Niles and Susan Reed (who once performed a set of her songs in concert). Man In the Sky, Father Neptune and There Is a Vine are especially haunting in the manner of traditional balladry. Converse can be mordantly funny ( Playboy of the Western World, John Brady ) and achingly poignant ( One By One, We Lived Alone ) as the mood strikes her. Unfortunately, Converse missed the folk revival of the 60s and retreated from view. How Sad, How Lovely goes a long way towards exposing her nearly-lost work to the wider audience she deserves. --iTunes

Her talent is obvious. One listen to her CD of vintage home recordings, How Sad, How Lovely, makes it clear that she's a highly skilled, even gifted, songwriter. She manages to convey contradictory emotions within the same song, sometimes even in the same verse. Innocence and cynicism, sly humor and deep melancholy, chastity and passion, the ancient and the modern, all mingle and coexist in Connie Converse's world, seemingly without effort. --Huffington Post

The strange story of American folksinger Connie Converse is almost as enthralling as the haunting, mystical music she left behind and quite nearly was lost to obscurity for all time. She left college in 1949 to pursue a career in music in New York City. Apart from a single TV appearance in 1954, she mostly toiled fruitlessly for the better part of a decade and then moved to Ann Arbor, Michigan in the early '60s, setting music aside as anything but a hobby, playing songs for friends occasionally at parties. In 1974, amid a severe bout of depression, she left a few goodbye notes and drove off into the ether, never to be heard from again. In 2009, extensive exploration of an archive of loosely documented home recordings and rare sessions resulted in How Sad, How Lovely, a collection that would serve to introduce most listeners to Connie Converse's songs, which had been sitting unloved and dormant for the better part of 50 years. While she may have had some contemporaries in the budding folk revival scene of the late '50s and early '60s, there's something alarmingly unique about these spare tunes. While there are similarities in the storytelling air of these songs to those of Peggy Seeger or Barbara Dane, Converse's lyrics are always playful, spacy, and even somewhat psychedelic long before LSD had even been developed chemically. "Man in the Sky" is a great example of this, offering a fantastical interplanetary love story that gets trippy years before turning on and dropping out were in vogue. Her songs also give a prototypical feminist stance, with undercurrents of untethered sexuality, fierce independence, and in the case of "The Clover Saloon," hilarious lyrics about throwing bottles at insulting men. The sweetness of solitary existence and the strange experiences that grow out of isolation are common themes, looked at curiously in songs like "We Lived Alone" and the gorgeous "One by One." The songs are mostly rough demo quality, many recorded in a friend's kitchen and complete with mistakes and chitchat before and after the songs. Though not exactly categorical bedfellows, there are similarities between the haunting, otherworldly feel of How Sad, How Lovely and the long-buried tapes that surfaced decades after they were made by both Sibylle Baier and Molly Drake, mother of Nick. Like these artists, Connie Converse made songs far too vulnerable and odd to be accepted in her time. Years after her disappearance, the world was getting closer to being ready for these songs, warm and delicate as an intimate secret shared between close friends, while at the same time sounding quietly bold and powerful. -AllMusic Review by Fred Thomas

1. Talkin' Like You (Two Tall Mountains) 2:30
2. Johnny's Brother 2:47
3. Roving Woman 2:41
4. Down This Road 1:45
5. The Clover Saloon 2:13
6. John Brady 1:47
7. We Lived Alone 1;16
8. Playboy Of The Western World 4:02
9. Unknown (A Little Louder, Love) 0:35
10. One By One 2:06
11. Father Neptune 2:07
12. Man In The Sky 4:04
13. Empty Pocket Waltz 2:00
14. Honeybee 1:34
15. There Is A Vine 1:36
16. How Sad, How Lovely 1:24
17. Trouble 1:24
18. I Have Considered The Lillies (Bonus Track) 3:46

England

“This is the missing link in the Nick Drake story – there, in the piano chords, are the roots of Nick’s harmonies” --Joe Boyd, producer and friend to Nick Drake

“To me, a poem is not a forever thing, nor the statement of long-held views, but the product of a moment so suddenly and hurtingly felt that it has to burst out into words.

“The happy and enduring things do not evoke or provoke poetry”.

Molly Drake

''For all those curious of Nick Drake's inspiration and mother, or those interested in the gorgeousness of raw and unhindered musical expression. This album collects many of Molly Drake's recordings, some holding tragedy, some holding joy. Whilst mostly for those adoring Nick Drake, this collection may hold a special place for those who enjoy an aged typicality of music, which held vicarious, changing disposition following nought but the heart and ear.''

Molly Drake and Nick shopping
A reel-to-reel tape recorder sits in the family room of an English home named Far Leys.  It’s the 1950s and this machine turns and turns, impossible for it to be aware of its purpose or of how many people will ultimately be affected by its capturing capabilities. Until recently, that reel-to-reel would be forever remembered as the first machine to record the musical tinkering of a young Nick Drake. But now, with Squirrel Thing Records' release of nineteen tracks recorded in the 50s on that same machine by Drake's mother, Molly Drake, that reel-to-reel will be remembered for even more.

These nineteen short tracks are fascinating - if not hypnotic - for a plethora of reasons. As longtime Nick Drake producer Joe Boyd puts it: “this is the missing link in the Nick Drake story.” After spending nearly a month studying every second of this collection, not only do I agree with Boyd, but I would also go as far as to say that the same beautiful ghost that haunted Nick Drake’s dark, pensive albums exists here on these nineteen tracks. It’s in this thought that I’ve become obsessed with imagining this space: the family room, the reel-to-reel, and the dynamic of time between mother and son, all patched together through music.

It’s nearly impossible to review this late offering of Molly Drake originals without giving context and making connections to her son at every turn. Looking at the album devoid of any outside thoughts, it’s your typical parlor piano, its notes thrown askew by Molly Drake’s lyrics, darkness deftly sprinkled throughout, contrasting with the seemingly bright images of nature, love, and family that she conjures so naturally. It's a fine example of the kind of musical expression typical of the era, although if it had been released in the decade of its recording, it likely would have never found a way to break free from a market saturated with similar sounds. It's the type of music that was presented after desert was severed at the neighborhood mixer, and surely she played these songs at such occasions. Yet, even without knowing a thing about Nick Drake, there is a special, secretly captivating quality to Molly Drake’s voice.  It's filled with a personality that shakes with the emotions contemplated in her lyrics. The music itself may be rooted in the standards of the 50s, but Molly Drake as a personality was way before her time, much as her son was. She allows her darkness and stark take on life to separate herself as a passionate realist baring out thoughts other musicians might choose to keep at a distance. 

Wrapped around this beautiful and polished lyrical framework, Drake repeatedly reveals her darkest, yet most honest thoughts. As a woman in her thirties, she spends much of her time in the collection addressing bitter nostalgia, deep regrets, and musings on how things could have been. All of it is colored with thoughts of love tempered over time, and suggestions that having a child prevented her from living ambitions beyond motherhood. On “Poor Mum,” she sings, “After a lifetime of dreaming, poor mum, poor mum, whatever became of your scheming… nothing worked out in the way that you planned… nothing was quite as you thought.” The darkness of these lyrics add an extra layer of depth to her son's story as well, as it has been mentioned that these songs were often played for Nick when he was very young (two-ten years old). Song after song, she expresses her deep discontent at a repressed existence. On “Set Me Free,” Molly sings, “why should I be wrapped in this service, trapped in this madness, deep as a spell… deep as hell.”

It’s on songs like “I Remember” and “Night Is My Friend” where Molly Drake shines independent of any relationship to Nick Drake. “I Remember” is a perfectly patient and whimsical little tune where Drake allows her voice to float above the simple melody, evoking a narrator fully invested in sharing the best memories of her life. It’s a song that pulls on every emotion and immediately causes the listener to become nostalgic for moments they didn’t even live. On “Night Is My Friend,” Drake presents a fascinating take on a woman alone at night - her favorite time of the day. Her recollection of this time of day and the unique sense of freedom it brings her becomes infectious thanks to her ability to describe time and space through song. 

The entire collection is filled with small imperfections; there are moments of missed piano notes, awkward tempo changes, and tape bends where the quality comes and goes, and all of them only serve to make the space and sound more powerful and haunting. Even a valiant attempt at listening to this collection as a stand-alone document immediately brings me back to visualizing Molly Drake playing these songs to a young Nick Drake. To Nick Drake, these songs must have been pretty little ballads, yet each one filled this family space with subtle sentiments of the yearning, regret, depression, and pain his mother felt on a daily basis. Call it a coincidence, but these same themes - as well as a similar method of hiding darkness behind gorgeous music - were repeated just a decade later... by Nick Drake. 

This Molly Drake collection is a great listen for anyone and everyone, but for Nick Drake fans, it’s as important as any one of his records. Every piece Nick Drake recorded has been linked in the legacy of who I and many others consider to be the best folk musician of all time. Now, we have the prequel to the entire story, a collection of songs that defines the space where Nick Drake was first introduced to music. For the last month, I’ve spent the majority of my time listening to these nineteen songs and thinking about that family room, with its old reel-to-reel recorder. I keep going back to how reel-to-reels work - a supply reel leads to a take-up reel, and the recorded cycle is completed forever. I like to think of Molly Drake as the supply reel playing these songs, and a young Nick Drake absorbing it all as the take-up reel, each turn adding layer upon layer to his musical identity.

We all experience albums and sounds differently. I will always view this Molly Drake collection as the beginning of that specific reel-to-reel’s story. It recorded the mother, then sat on the shelf, then recorded the son’s first works. The son went off to college, the reel-to-reel sat on the shelf a little longer, then the son returned home, dusting it off and recording new works. It was probably back on the shelf when the son died. For years, the reel-to-reel sat on the shelf, sat on the shelf, sat on the shelf.  It will never know the story of Nick Drake, the story of how far its recordings traveled, of how meaningful they became to so many people. But now, we finally get to know the important first chapter to the life of a very important songwriter. It was hidden here all along, in the Molly Drake collection. -Zach Hart

1. Happiness 1:49
2. Little Weaver Bird 1:49
3. Cuckoo Time 1:36
4. Love Isn't A Right 2:03
5. Dream Your Dreams 1:52
6. How Wild The Wind Blows 1:18
7. What Can A Song Do To You? 2:27
8. I Remember 3:02
9. A Sound 1:52
10. Ballad 1:55
11. Woods In May 1:08
12. Night Is My Friend 1:36
13. Fine Summer Morning 1:18
14. Set Me Free 1:28
15. Breakfast At Bradenham Woods 1:49
16. Never Pine For The Old Love 3:59
17. Poor Mum 1:39
18. Do You Ever Remember? 1:35
19. The First Day 2:40

USA

The Atlantic Records subsiduary Cotillion Records released a wealth of great soul material in the 60’s and 70’s. This box set includes 10 45’s by under appreciated great artists like Walter Jackson, Otis Clay, Lou Johnson, Darrell Banks, Baby Washington and Dynamics. Wonderful 60’s soul music well presented and likely to highly collectable in years to come.

One of the most famous subsidiaries of Atlantic Records Cotillion spanned many genres with its catalogue in later years but is still chiefly remembered for the early Southern soul releases from the likes of Otis Clay Moses Smith & Darrell Banks. Cotillion Records: Soul 45s (1968-1970) is a collection of ten of these singles lovingly recreated from the original releases and presented in a clamshell box. Also included in the box is an 8 page booklet a selection of stickers featuring the famous Cotillion logo and a plastic vinyl spider. Remastered from the original vault tapes where possible many of these tracks have previously only been available on the original rare vinyl - fans of the genre will be delighted to get their hands on these mint re-issues at a fraction of the price as well as a high-quality digital copy of all tracks via the included code.

1. The Dynamics - Ain’t No Sunshine (Since You Gone) / Murder In The First Degree (1968)
2. Darrell Banks - The Love Of My Woman / I Wanna Go Home (1968)
3. Otis Clay - Do Right Woman Do Right Man / That Kind Of Lovin’ (1968)
4. The Blendells - Night After Night / The Love That I Needed (1968)
5. C And The Shells - I’ve Fallen In Love / You Are The Circus (1969)
6. Lou Johnson - Don’t Play That Song (You Lied) / People In Love (1969)
7. Baby Washington - I Don’t Know / I Can’t Afford To Lose Him (1969)
8. Walter Jackson - Any Way That You Want Me / Life Has Its Little Ups And Downs (1969)
9. Hollywood Spectrum - I Gotta Get Back To Lovin’ You / L.A. – U.S.A. (1970)
10. Moses Smith - Keep On Striving / Come On Let Me Love You (1970)

Democratic Republic of the Congo

Historic soukous reissue. Nyboma and the Kamale Dynamiques are superb. It's a "must have" for fans of soukous and rumba-congo.

Nyboma is one of the great African voices, a frontman for Kekele with their fine rhumba music. But this album is taken from much earlier in his career, from 1981-1985, when he was a soukous star. What he did then was Cuisinart any number of styles, from Congolese rhumba to disco, with spices from many parts of West Africa. Unlike so much of the soukous that emanated glossily from the studios of Paris and aimed at the dancefloor, there's real grit and heart to the music there, a soul that all the studio musicians in the world couldn't supply to order. There's no formula to the music here, just the sense of singer -- and what a singer with his deep, seductively velvet voice -- and band trying something new, upping the pace to frantic, and letting rip. The result was utterly glorious music, and over the course of this you can hear the music grow and develop, from bud to bloom. It's a memory of a time long past -- but the music still shines brightly. -AllMusic Review by Chris Nickson

Nyboma Mwan'dido was one of the most popular singers in Zaire (now known as the Democratic Republic of the Congo) when, in 1981, he and his guitarist, Dally Kimoko, moved to Lomé, Togo, for a long-term engagement with the African All-Stars. There, under the name Nyboma & Kamalé Dynamique, they recorded Doublé Doublé, an album that blended Congolese soukous, West African highlife, Caribbean zouk, and American disco into a new dance sensation. A hit all over Africa, it was subsequently released in Europe and North America. Over the next four years Nyboma made four more albums with this band, which included guitarist Syran Mbenza, bassist Bopol Mansiamina, and drummer Ringo Moya. The ten Kamalé Dynamique tracks collected in this Sterns CD are now classics, the best representation of an exciting era when Congolese music became pan-African and went on to win fans around the world.

1. Doublé Doublé 8:15
2. Papy Sodolo 8:21
3. Zatcha 7:40
4. Ban Gula-Ban Gula 7:08
5. Madiana 7:44
6. Pepe Bouger 8:00
7. Coeur à Coeur 8:42
8. Aicha Motema 6:14
9. Bandona 7:44
10. Amba 9:15

Notes
From “Double Double” to “Amba,” the recordings that singer and songwriter Nyboma Mwan’dido made with his band Kamale Dynamique in the early 1980s are now classics: the best representation of an exciting historic era when Congolese music became pan-African and went on to win fans around the world.

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