Archive for October 5, 2010


 
The Paragons, who, along with contemporaries like the Heptones and Ken Boothe, helped to define the transitional rocksteady sound that led from ska to reggae, had an impact on the development of reggae music that was out of all proportion to their recorded output.

Apart from such local hit singles as “Wear You to the Ball” and “On the Beach,” they recorded the original version of “The Tide Is High,” which would later be a huge stateside hit for Blondie.

“Golden Hits” includes all of those tracks, as well as a number of other gems, all of them featuring the Paragons’ patented smooth vocal harmonies and the rock-solid rhythms of Tommy McCook’s Soulsonics band, excellently produced by the legendary Duke Reid at his Treasure Isle studio.

As with so many albums on the Lagoon imprint, this one is of questionable legitimacy – it duplicates exactly the classic Treasure Isle album “On the Beach”, though the program here ends with “Riding High on a Windy Day” (whereas the Treasure Isle release includes four additional tracks).

Paragons – Golden Hits (Treasure Isle)
192 kbps

 
The Paragons, who, along with contemporaries like the Heptones and Ken Boothe, helped to define the transitional rocksteady sound that led from ska to reggae, had an impact on the development of reggae music that was out of all proportion to their recorded output.

Apart from such local hit singles as “Wear You to the Ball” and “On the Beach,” they recorded the original version of “The Tide Is High,” which would later be a huge stateside hit for Blondie.

“Golden Hits” includes all of those tracks, as well as a number of other gems, all of them featuring the Paragons’ patented smooth vocal harmonies and the rock-solid rhythms of Tommy McCook’s Soulsonics band, excellently produced by the legendary Duke Reid at his Treasure Isle studio.

As with so many albums on the Lagoon imprint, this one is of questionable legitimacy – it duplicates exactly the classic Treasure Isle album “On the Beach”, though the program here ends with “Riding High on a Windy Day” (whereas the Treasure Isle release includes four additional tracks).

Paragons – Golden Hits (Treasure Isle)
192 kbps

Taking their name from an NME feature on the group Jamie Wednesday (later known as Carter the Unstoppable Sex Machine), the archetypal grebo band Pop Will Eat Itself formed in Stourbridge, England in 1986. Comprised of vocalist/guitarist Clint Mansell, keyboardist Adam Mole, drummer Graham Crabb and bassist Richard March, PWEI began their existence as a Buzzcocks-influenced indie guitar band, and issued their self-produced debut EP “The Poppies Say Grrr” in 1986.

While recording their follow-up EP “Poppiecock”, PWEI became immersed in sampling, drawing material from sources ranging from James Brown to Iggy Pop; soon Crabb emerged from behind his drum kit to join Mansell as co-frontman, and a drum machine was installed in his place. Honing a fusion of rock, pop and rap which they dubbed “grebo,” the Poppies kickstarted a small revolution; by the release of their 1987 full-length debut “Box Frenzy” and the hit “There Is No Love Between Us Anymore,” grebo — the name quickly given the entire subculture of similarly grimy and raunchy bands — was all the rage in the British music press.

Pop Will Eat Itself – Poppiecock (12 Inch EP, 1986)

Taking their name from an NME feature on the group Jamie Wednesday (later known as Carter the Unstoppable Sex Machine), the archetypal grebo band Pop Will Eat Itself formed in Stourbridge, England in 1986. Comprised of vocalist/guitarist Clint Mansell, keyboardist Adam Mole, drummer Graham Crabb and bassist Richard March, PWEI began their existence as a Buzzcocks-influenced indie guitar band, and issued their self-produced debut EP “The Poppies Say Grrr” in 1986.

While recording their follow-up EP “Poppiecock”, PWEI became immersed in sampling, drawing material from sources ranging from James Brown to Iggy Pop; soon Crabb emerged from behind his drum kit to join Mansell as co-frontman, and a drum machine was installed in his place. Honing a fusion of rock, pop and rap which they dubbed “grebo,” the Poppies kickstarted a small revolution; by the release of their 1987 full-length debut “Box Frenzy” and the hit “There Is No Love Between Us Anymore,” grebo — the name quickly given the entire subculture of similarly grimy and raunchy bands — was all the rage in the British music press.

Pop Will Eat Itself – Poppiecock (12 Inch EP, 1986)

Lin Jaldati was sent to concentration camps when the Nazis occupied Holland. She didn’t speak Yiddish, but learned Yiddish songs from her fellow prisoners. Jaldati survived Auschwitz; being a communist, she came to East Germany to help establish a socialist German state. She married Eberhard Rebling, a German Gentile communist who later became a member of the Central Committee of the Communist Party, and started to perform Yiddish songs for a German audience with Rebling accompanying her on piano. Later they were joined by their daughters Katinka and Jalda. Lin Jaldati dedicated her art and her life to communist East Germany. This didn’t prevent her from being banned from performing in the late sixties; the hysteria had gone so far that even performing Yiddish songs was interpreted as a pro-Israel statement. For a long time Lin Jaldati, who was highly accepted by what later became the East German Yiddish and klezmer scene, was the only Yiddish performer in East Germany.

In the GDR there was no connection to the world centers of Yiddish culture. Israel was seen as an aggressor and song collections, for example from New York, were exchanged among friends but could not be found in any libraries. There were a few recordings by the Leipziger Synagogue choir, mainly religious songs, symphonically arranged. And the well known singer Lin Jaldati: she had survived Auschwitz. Occasionally, official politics made use of her good name. In 1966, she was allowed to release her interpretations of Yiddish resistance and folk songs on one side of a record, and in 1982 an entire record was released.

(192 kbps)
Gillian Welch first appeared on the folk scene as a young singer/songwriter armed with a voice and sensibility far beyond her years, earning widespread acclaim for her deft, evocative resurrection of the musical styles most commonly associated with rural Appalachia of the early 20th century. Welch was born in 1967 in Manhattan and grew up in West Los Angeles, where her parents wrote material for the comedy program The Carol Burnett Show. It was as a child that she became fascinated by bluegrass and early country music, in particular the work of the Stanley Brothers, the Delmore Brothers, and the Carter Family.

In the early ’90s, Welch attended the Berklee School of Music in Boston, MA, where she began performing her own material, as well as traditional country and bluegrass songs, as part of a duo with fellow student David Rawlings. After honing their skills in local open mike showcases, the duo began performing regularly throughout the country. While opening for Peter Rowan in Nashville, they were spotted by musician and producer T-Bone Burnett, who helped Welch and Rawlings land a record deal. With Burnett producing, they cut 1996’s starkly beautiful “Revival”, an album split between bare-bones duo performances — some even recorded in mono to capture a bygone sound— and more full-bodied cuts featuring legendary session men like guitarist James Burton, upright bassist Roy Huskey, Jr., and drummers Buddy Harmon and Jim Keltner.

Her sophomore album, “Hell Among the Yearlings”, followed in 1998. The years following her second release found Welch involved in several soundtracks (O Brother Where Art Thou, Songcatcher), tribute albums (Songs of Dwight Yoakam: Will Sing for Food, Return of the Grievous Angel: A Tribute to Gram Parsons), and guest spots on other artists’ albums (Ryan Adams´ Heartbreaker, Mark Knopfler’s Sailing to Philadelphia). Following the success of O Brother, Welch and Rawlings found themselves in the center of a traditional American folk revival and released their third album, “Time (The Revelator)”, in mid-2001. Steady touring, guest appearances, and the release of a DVD (The Revelator Collection) kept the pair busy, but in 2003 they found time to record “Soul Journey”, their second release on their own Acony Records label.

This sweet soundboard from Bristol in 2002 has everything you could want from a Gillian Welch & David Rawlings show: the great songs and musicianship, the tight vocal harmonies and it covers all of their recorded work as well as providing a few choice covers.
No links.

Released on the Island label in 1968, this is a fine ska, rocksteady & reggae album to start a saturday night party! Enjoy the vibes! Will spin some records in a small club tonight and this album is definitly in my case…

Tracks:
01 The Wailers – Put It On[
02 King Perry – Doctor Dick
03 The Clarendonians – Rude Boy Gone Jail
04 Delroy Wilson – Dancing Mood
05 Justin Hines – Save A Bread
06 Movin’ Brothers – Darling I Love You
07 Bob Andy – I’ve Got To Come Back Home[
08 The Tartans – Dance All Night
09 Hopeton Lewis – Let The Little Girl Dance
10 Ken Boothe – Feel Good
11 Mr. Foundation – See Them A Come
12 Gaylads – Won’t You Come Home Baby
13 Three Tops – It’s Raining
14 Pat Kelly – Somebody’s Baby
.
(192 kbps)
Gillian Welch first appeared on the folk scene as a young singer/songwriter armed with a voice and sensibility far beyond her years, earning widespread acclaim for her deft, evocative resurrection of the musical styles most commonly associated with rural Appalachia of the early 20th century. Welch was born in 1967 in Manhattan and grew up in West Los Angeles, where her parents wrote material for the comedy program The Carol Burnett Show. It was as a child that she became fascinated by bluegrass and early country music, in particular the work of the Stanley Brothers, the Delmore Brothers, and the Carter Family.

In the early ’90s, Welch attended the Berklee School of Music in Boston, MA, where she began performing her own material, as well as traditional country and bluegrass songs, as part of a duo with fellow student David Rawlings. After honing their skills in local open mike showcases, the duo began performing regularly throughout the country. While opening for Peter Rowan in Nashville, they were spotted by musician and producer T-Bone Burnett, who helped Welch and Rawlings land a record deal. With Burnett producing, they cut 1996’s starkly beautiful “Revival”, an album split between bare-bones duo performances — some even recorded in mono to capture a bygone sound— and more full-bodied cuts featuring legendary session men like guitarist James Burton, upright bassist Roy Huskey, Jr., and drummers Buddy Harmon and Jim Keltner.

Her sophomore album, “Hell Among the Yearlings”, followed in 1998. The years following her second release found Welch involved in several soundtracks (O Brother Where Art Thou, Songcatcher), tribute albums (Songs of Dwight Yoakam: Will Sing for Food, Return of the Grievous Angel: A Tribute to Gram Parsons), and guest spots on other artists’ albums (Ryan Adams´ Heartbreaker, Mark Knopfler’s Sailing to Philadelphia). Following the success of O Brother, Welch and Rawlings found themselves in the center of a traditional American folk revival and released their third album, “Time (The Revelator)”, in mid-2001. Steady touring, guest appearances, and the release of a DVD (The Revelator Collection) kept the pair busy, but in 2003 they found time to record “Soul Journey”, their second release on their own Acony Records label.

This sweet soundboard from Bristol in 2002 has everything you could want from a Gillian Welch & David Rawlings show: the great songs and musicianship, the tight vocal harmonies and it covers all of their recorded work as well as providing a few choice covers.
No links.

Released on the Island label in 1968, this is a fine ska, rocksteady & reggae album to start a saturday night party! Enjoy the vibes! Will spin some records in a small club tonight and this album is definitly in my case…

Tracks:
01 The Wailers – Put It On[
02 King Perry – Doctor Dick
03 The Clarendonians – Rude Boy Gone Jail
04 Delroy Wilson – Dancing Mood
05 Justin Hines – Save A Bread
06 Movin’ Brothers – Darling I Love You
07 Bob Andy – I’ve Got To Come Back Home[
08 The Tartans – Dance All Night
09 Hopeton Lewis – Let The Little Girl Dance
10 Ken Boothe – Feel Good
11 Mr. Foundation – See Them A Come
12 Gaylads – Won’t You Come Home Baby
13 Three Tops – It’s Raining
14 Pat Kelly – Somebody’s Baby
.
(192 kbps)

Born in Kingston, Jamaica, reggae singer/producer Derrick Harriott began as a member of the Jiving Juniors (from 1958 through 1962) before embarking on his own solo career, in addition to producing other artists, including the Ethiopians, Keith and Tex.

Harriott tended to rework old R&B love songs as reggae tunes, but his best-known song, “The Loser,” was an original composition. In 1971, Swing Magazine named Harriott Top Producer of 1970, as he was also one of the first to utilize the now renowned King Tubby’s recording studio.

The ’70s saw the release of such solo albums as “Undertaker”, S”ongs for Midnight Lovers”, and “Psychedelic Lovers”. Although not much was heard from Harriott during the ’80s in terms of solo releases, the mid- to late ’90s saw the emergence of such solo efforts as “Sings Jamaican Rock Steady Reggae”, “For a Fistful of Dollars”, “Derrick Harriott & Giants”, and “Riding the Roots Chariot”.

Here´s the album “Undertaker”, released on Trojan records in 1970, an instrumental album in a similar vein to the early music of The Upsetters.

(192 kbps)