Archive for May, 2012

The festival is renowned for introducing to a national audience a number of performers who went on to become major stars, most notably Joan Baez by her appearance as an unannounced guest of Bob Gibson in 1959, and Bob Dylan, in turn a guest of Baez at the 1963 festival. Not strictly limited to folk performers, in the 1960s Johnny Cash, Muddy Waters and Howlin’ Wolf all performed. The festival also included many musicians of the pre-World War II country blues who figured as influences to the American folk music revival of the 1950s and 1960s where artists “lost” since the 1940s were “rediscovered.”

Vanguard released two volumes with recordings from the 1960 festival, posted on this blog a few days earlier. This one is kind of a volume 3 to this series, even if it is only named “The Newport Folk Festival 1960” and was released on Elektra Records, EKS 7189.


  • Oscar Brand: Talking Atomic Blues
  • Oscar Brand: Great Selchie Of Shule Skerry
  • Oscar Brand: Horse With A Union Label
  • Will Holt: Three Jovial Huntsmen
  • Will Holt: Edward Ballad
  • Will Holt: MTA
  • Oranim-Zabar Troupe: Bukhara
  • Oranim-Zabar Troupe: Russian Spoof
  • Oranim-Zabar Troupe: Ayil Ayil (The Ram)
  • Theodore Bikel: Al Harim (On the Mountains)
  • Theodore Bikel: Mi Caballo (My Horse)
  • Theodore Bikel: Three Jolly Rogues
  • Theodore Bikel: Eres Alta (You Shan’t Tell)
  • Theodore Bikel: Galveston Flood
  • The Newport Folk Festival 1960 (Elektra Records)
    (192 kbps, front cover included)

    Bob Gibson was a close friend of Pete Seeger who inspired Gibson to buy a banjo and study American folk music. Before long, Gibson had become a major talent in his own right as well as “discovering” and fostering the talents of many other musicians such as Joan Baez, Glen Yarbrough, Odetta and Judy Collins. He sings traditionals as well as his own compositions “You can tell the world” and “Well, well, well”, which he co-wrote with English folk-singer and actor Hamilton Camp (credited as Bob Camp at the festival).
    Lester Flatt and Earl Scruggs were part of the hugely influential bluegrass band the Foggy Mountain Boys, who formed in 1948.
    Side One

    This Little Light Of Mine – Bob Gibson

    Wayfaring Stranger – Bob Gibson
    You Can Tell The World – Bob Gibson
    Well, Well, Well – Bob Gibson w/Bob Camp
    Railroad Bill – Cisco Houston
    The Cat Came Back – Cisco Houston
    Hush Little Baby – Ed McCurdy
    The Lavender Cowboy – Ed McCurdy
    Blood On The Saddle – Ed McCurdy

    Side Two

    Handsome Molly – Peggy Seeger
    Willie Moore – Peggy Seeger
    Lang A Growing – Ewan MacColl
    The Ballad Of Springhill – Peggy Seeger & Ewan MacColl

    Salty Dog Blues – Lester Flatt & Earl Scruggs

    Before I Met You – Lester Flatt & Earl Scruggs
    Cabin On The Hill – Lester Flatt & Earl Scruggs
    Jimmy Brown – Lester Flatt & Earl Scruggs

    The Newport Folk Festival 1960, Volume 2
    (192 kbps, front cover incuded)

    “Singe-Bewegung” and “Oktoberklub” in East Germany, part 7.

    Until the 1960s, Anglo-American dance music is regarded in the GDR as valueless “Western Arts”. As a Socialist alternative to the rock ‘ n’ roll, 1959 even a private dance, the “Lipsi”, is being developed. As a result of the cultural and political opening in 1963, many beat groups were formed and a GDR’s own “Liedermacher” and singer-songwriter scene emerges.
    The “Free German Youth” (FDJ) tried to instrumentalize this music movement. The FDJ organized “Deutschlandtreffen 1964” presented for the first time music in English language. In the context of poetry events of the FDJ, Manfred Krug and Wolf Biermann present critical lyrics. In 1965 the SED gave order to dismiss a guitar competition organized by the FDJ. After the end of the political thaw period, the FDJ tried to integrate the singer-songwriter and the beat groups in the FDJ and SED influenced “Singebewegung”

    With several thousand Singeklubs, in which mainly folk music is made, the FDJ tried to bring their ideological and political work into everyday life of young people. The “Vorzeigesingeklub” was the Berlin based “Oktoberklub”, which established in 1969 also the first discotheque in the GDR. Although not without success, the Singebewegung couldn´t replace the beat music. In the following years the unbroken beat enthusiasm of young people forced the GDR leadership to an offensive strategy: The development of an own DDR-specific rock music scene since the 1970’s, as well to use this media for ideological and political messages.

    The GDR radio programm “Jugendsender DT 64” organised between September, 24 and October, 1, 1967 in Hally the “1. Werkstattwoche der FDJ-Singeclubs”. This albums features recordings from this workshop with 300 artist and 16 “Singeclubs”.

    (01) Bernd Walther & Folkloregruppe der TU Dresden – Carpe Diem
    (02) Wolfgang Grahl & FDJ-Singestudio Müritz – Spottlied auf einen Moskaubesucher
    (03) Antje Kankel – Das ist unser Tag
    (04) Folkloregruppe der TU Dresden – Zygan Chodit
    (05) Panajota Ruli & Klaus-Georg Eulitz – Kathe Mera
    (06) Kurt Demmler – Zart soll es bleiben
    (07) Kurt Demmler – Kastanie, Kastanie
    (08) Antje Thümmler & Ulrich Stephan & Folkloregruppe der TU Dresden – O lenke durch die Welle
    (09) Singklub Leipzig – Abendgedanken
    (10) Herbert Lappe & Folkloregruppe der TU Dresden – Und darum trägt unsere Welt heut ein neues Gesicht
    (11) Nora Löhr & Wolfgang Gregor – Venezolanisches Marktlied
    (12) Jörn Fechner & Oktober-Klub Berlin – Mamita Mia
    (13) Henry Jäger – Musja Pikinson
    (14) Barbara Kellerbauer & Folkloregruppe der TU Dresden – Lied von der unruhvollen Jugend
    (15) Frank Obermann & Sing-Klub 67, Karl-Marx-Stadt – Unsere Welt hat ein Millionengesicht
    (16) Hartmut König & Oktober-Klub Berlin – Die Front der Patrioten ruft
    (17) Panajota Ruli & Folkloregruppe der TU Dresden – Drapetis
    (18) Nora Löhr & Wolfgang Gregor – Auseinandergehen
    (19) Dorit Gäbler – Icke
    (20) FDJ-Singestudio Müritz – Wir singen, weil wir jung sind

    Werkstattwoche der FDJ-Singeclubs (1968)
    (256 kbps, front cover included)

    Following on from his inaugural success in the summer of 1959, the second Newport Folk Festival took place in the late June of 1960 in the idyllic setting of Fort Adams State Park in Newport, Rhode Island. The location has been described as having “glimmering, clear blue water surrounding the small vivid green peninsula with hundreds of beautiful boats rocking along the water”.

    Stalwart folk musician Pete Seeger (born 1919) had appeared at the First Newport Festival and did so again in 1960. Seeger has always been a supporter of civil rights, racial equality and anti-militarism and as such was a victim of the McCarthy witch-hunts of the Fities. At the time when he appeared at the Newport Festival he had been refused permission to play at a childrens school on the grounds that he might promote a communist agenda or plot the overthrow of the government.
    It may seem surprising to see John Lee Hooker´s name at a folk festival, but of course the blues is just another form of American folk music – som would argue the most important – and this was at a time when music genres were not as rigidly pigeonholed as they are today.
    Irish musician Tommy Makem gives an electrifyingly dramatic performance of the anti-war song “Johnny I Hardly Knew Ye”.
    Excerpts from the sleeve notes:
    “It was Tommy Makem, of County Armaghm, Ireland, strutting back and forth on the stage and piping away. And then the 27-year-old singer who regularly performs with the Clancy Brothers, put down the bagpipes and started to sing with his own very able set of vocal pipes. You can heat Makem, supported by Pete Seeger and Eric Weisberg, in two richly different moods: the sardonic, defiant, declaratory singer reviling the effects of war in “Johnny I Hardly Knew Ye,” and the lyric, playful minstrel in “The Whistling Gypsy”.”


    Pete Seeger
    – East Virginia Blues
    – In The Evening
    – Hieland Laddie
    John Lee Hooker (with Bill Lee, string bass)
    – Hobo Blues (or Dusty Road)

    – Maudie
    – Tupolo (or Backwater Blues)
    Alan Mills (with Jean Carignan, fiddle)
    – A Si Mon Moine Voulait Danser
    Jean Carignan
    – Le Reel Du Pendu
    Alan Mills
    – I Know An Old Lady
    – La Bastringue (with Jean Carignan, fiddle)

    Tom Makem
    – Brian Boru
    – Johnny, I Hardly Knew Ye
    Tom Makem (with Pete Seeger, banjo & Eric Weisberg, g)
    – The Whistling Gypsy
    Jimmy Driftwood (with Peter Seeger, banjo)
    – Old Joe Clark
    Jimmy Driftwood
    – The Unfortunate Man
    The New Lost City Ramblers
    – Roll In My Sweet Baby’s Arms
    Mike Seeger
    – The Man Of Constant Sorrow
    – Foggy Mountain Top

    The Newport Folk Festival 1960, Volume 1
    (192 kbps, front cover included)

    On May 2, 1960, Harry Belafonte returned to Carnegie Hall for what was supposed to be one of the last concerts in the venerable hall’s last season.
    Carnegie was scheduled to be torn down, although this was an edict that was thankfully short-lived. The hall was instead renovated and remains one of New York’s premier showplaces.

    The first Carnegie Hall recording from the previous year had had such an impact on the recording industry that it opened up new vistas for live recordings. Belafonte faced the challenge of living up to his own legend.

    For this concert, he began what would be a concert tradition for him: sharing the spotlight with up-and-coming folk performers. Representing the new collegiate folk singing group trend was the Chad Mitchell Trio, currently appearing at New York’s Blue Angel, where Belafonte had seen them perform. South African singer and activist Miriam Makeba, another Belafonte discovery, also performed, as did folk and blues singer Odetta, and the Belafonte Folk Singers.

    The guest stars nearly upstaged Belafonte, but this turned out to be de rigueur for his concerts. Highlights include Odetta’s powerhouse medley of the work songs “I’ve Been Driving on Bald Mountain” and “Water Boy,” the Folk Singers’ exciting “Ox Drivers Song,” Makeba and Belafonte’s charming duet on “One More Dance,” and the Mitchell Trio’s exuberant Israeli song “Vaichazkem.”
    For a finale, Belafonte turned to the Mexican folk dance “La Bamba,” treating it to an eight-minute-long heels-flying festive romp.

    1. “Jump Down Spin Around” – Harry Belafonte and the Belafonte Folk Singers – 2:14
    2. “Suzanne” – Harry Belafonte – 5:50
    3. “A Little Lyric of Great Importance” – Harry Belafonte and the Belafonte Folk Singers – 1:29
    4. “Chickens” – Harry Belafonte and the Belafonte Folk Singers – 3:10
    5. “Vaichazkem” – The Chad Mitchell Trio – 1:34
    6. “I Do Adore Her” – The Chad Mitchell Trio – 3:18
    7. “The Ballad of Sigmund Freud” – The Chad Mitchell Trio – 3:28
    8. “I’ve Been Driving On Bald Mountain / Water Boy” – Odetta – 2:20 & 4:35
    9. “A Hole In the Bucket” – Harry Belafonte and Odetta – 5:19
    10. “The Click Song” – Miriam Makeba and The Belafonte Folk Singers – 3:46
    11. “One More Dance” – Harry Belafonte and Miriam Makeba – 3:43
    12. “The Ox Drivers” – Belafonte Folk Singers – 2:59
    13. “The Red Rosy Bush” – Belafonte Folk Singers – 2:51
    14. “Didn’t It Rain” – Belafonte Folk Singers – 5:27
    15. “Hene Ma Tov” – Harry Belafonte and the Belafonte Folk Singers – 3:46
    16. “I Know Where I’m Going” – Harry Belafonte and the Belafonte Folk Singers – 3:27
    17. “Old King Cole” – Harry Belafonte and the Belafonte Folk Singers – 4:59
    18. “La Bamba” – Harry Belafonte and the Belafonte Folk Singers – 8:04

    Harry Belafonte – Belafonte Returns To Carnegie Hall (1960)
    (192 kbps, cover art included)

    An actor, humanitarian, and the acknowledged “King of Calypso,” Harry Belafonte ranked among the most seminal performers of the postwar era. One of the most successful African-American pop stars in history, Belafonte’s staggering talent, good looks, and masterful assimilation of folk, jazz, and worldbeat rhythms allowed him to achieve a level of mainstream eminence and crossover popularity virtually unparalleled in the days before the advent of the civil rights movement – a cultural uprising which he himself helped spearhead.

    “Belafonte at Carnegie Hall” is a live double album by Harry Belafonte. It is the first of two Belafonte Carnegie Hall albums, and was recorded on April 19 and April 20, 1959. The stereo version of the album was released on the RCA Victor label, in the “Living Stereo” series. The concerts were benefits for The New Lincoln School and Wiltwyck School, respectively.



     Side one:“Introduction/Darlin’ Cora”
    “Cotton Fields”
    “John Henry”
    “Take My Mother Home”

     Side two:“The Marching Saints”


    “The Banana Boat Song (Day-O)”
    “Jamaica Farewell”
    “Man Piaba”
    “All My Trials”

    Side three:“Mama Look a Boo Boo”
    “Come Back Liza”
    “Man Smart (Woman Smarter)”


    “Hava Nagila”
    “Danny Boy”
    “Merci Bon Dieu”

     Side four:“Cucurrucucu Paloma”

    Harry Belafonte – Belafonte At Carnegie Hall (1959)
    (192 kbps, cover art included)

    This second set from the 1959 festival collects performances by Odetta, the New Lost City Ramblers, Barbara Dane, Sonny Terry & Brownie McGhee, and others, including a historic appearance by Joan Baez, who was invited on-stage unannounced to sing “Virgin Mary Had a Son” and “We Are Crossing the Jordan River” with Bob Gibson, an appearance that in essence launched her successful folk career – she was to return the favor by inviting a then unknown Bob Dylan up to share her set at the 1963 folk festival three years later.

    Odetta Holmes was famous enough to be known by a single name. She mixed blues, jazz, folk and gospel with political content in her performances and played a large part in the Civil Rights movement that, in 1959, stood on the threshold of an historic new decade. She would sing on the 1963 march to Washington, while Martin Luther King, no less, anointed her “Queen of American folk music”.

    Joan Baez also had one hand on that crown, and a mere two years after this maiden performace would be a US Top 20 recording artist. Baez was the “breakthrough artist” of 1959, and Newport her first professional engagement.

    Barbara Dane was less well known than Joan but arguably at this point, more politically motivated. Fame passed her by despite Louis Armstronginviting her to appear with him on national television. But then she was over a decade Baéz´s senior and hardly the folk “poster girl” the Vanguard label saw Joan as being.

    The New Lost City Ramblers had only formed the previous year and were led by Pete Seeger´s half-brohter Mike. The trio´s style deliberaely harked back to traditional folk, in contrast to the more pupulist likes of the Kingston Trio.

    The inclusion of country blues duo Sonny Terry and Brownie McGhee is significant since the Newport Folk Festival would, in the decade to come, provide a showcase for many black blues legends whole music had been discoverd by a new geneeration.


    1. Joshua Fought The Battle Of Jericho
    2. Cotton Fields At Home
    3. Great Historical Bum
    4. I’ve Been Driving On Bald Mountain/Water Boy
    5. Virgin Mary Had A Son
    Joan Baez And Bob Gibson
    6. We Are Crossing The Jordon River
    Joan Baez And Bob Gibson
    7. Beware, O Take Care
    The New Lost City Ramblers
    8. When First Into This Country I Came
    The New Lost City Ramblers
    9. Hopalong Peter
    The New Lost City Ramblers
    10. Little Maggie
    Barbara Dane
    11. Dink’s Blues
    Barbara Dane With Frank Hamilton & Bill Lee
    12. My Baby Done Changed The Lock On The Door
    Sonny Terry And Brownie Mcghee
    13. Pick A Bale Of Cotton
    Sonny Terry And Brownie Mcghee

    Folk Festival At Newport, 1959, Volume 2
    (192 kbps, front cover included)

    The Newport Folk Festival was founded in 1959 by George Wein, who had already established the successful Newport Jazz Festival in Newport, Rhode Island a few years earlier. The festival featured folk, blues, country, and bluegrass musicians and, in its initial run between 1959 and 1970 (there were no festivals in 1961 and 1962), introduced future stars of the commercial folk revival like Joan Baez and Bob Dylan as well as giving old blues and folk performers like Skip James, Mississippi John Hurt, and others a platform to reach a wider audience.
    Excerpts from the sleeve notes:

    “Irish song and lore were eloquently represented at Newport by TOMMY MAKEM. Steeped in the musical and poetical tradition of the Gael, he is an artist as indigenous to his world as Big Bill Broonzy was to his. He is an actor as well as a singer; the two crafts are juicily fused in the songs. No “prettiness”, no pretense in his performance, he reveals himself; and in a larger sense, his verdant heritage. PATRICK CLANCY about whom all this is equally true, is heard here in “Mountain Dew”.”


    Side One

    The Bells of Rhymney – Pete Seeger (Accompanying himself on the 12-string guitar & banjo)
    One Grain of Sand & Abiyoyo – Pete Seeger (Accompanying himself on the 12-string guitar & banjo)
    Hey Daroma – Martha Schlamme (Accompanied by Frank Hamilton, guitar)
    There’s a Hole in the Bucket – Martha Schlamme (Accompanied by Frank Hamilton, guitar)
    Que Bonita Bandeira – Martha Schlamme (Accompanied by Frank Hamilton, guitar)

    Side Two

    Lonesome Traveller – Leon Bibb (Accompanied by John Staubeur, guitar, and Eric Weisberg, bass)
    Every Night When the Sun Goes In – Leon Bibb (Accompanied by John Staubeur, guitar, and Eric Weisberg, bass)
    Times are Getting Hard – Leon Bibb (Accompanied by John Staubeur, guitar, and Eric Weisberg, bass)
    Sinner Man – Leon Bibb (Accompanied by John Staubeur, guitar, and Eric Weisberg, bass)
    Cobbler’s Song – Tom Makem
    Mountain Dew – Pat Clancy (Accompanied by Tom Makem on the penny-whistle and Pete Seeger, banjo)
    Careless Love – Pete Seeger (Accompanying himself on the banjo)

    Folk Festival At Newport 1959 – Volume 1
    (192 kbps, front cover included)

    “Street Scene” is a Broadway musical or, more precisely, an “American opera” by Kurt Weill (music), Langston Hughes (lyrics), and Elmer Rice (book). Written in 1946 and premiered in Philadelphia that year, Street Scene is based on the Pulitzer Prize-winning play of the same name by Rice.

    It was Weill who referred to the piece as an “American opera” (he also called it a “Broadway opera”), intending it as a synthesis of European traditional opera and American musical theater. He received the first Tony Award for Best Original Score for his work, after the Broadway premiere in 1947. Yet Street Scene has never been revived on Broadway; it is fairly regularly produced by opera companies. Musically and culturally, even dramatically, the work inhabits the midground between Weill’s Threepenny Opera (1928) and Bernstein’s West Side Story (1957).

    The score contains operatic arias and ensembles, some of them, such as Anna Maurrant’s “Somehow I Never Could Believe” and Frank Maurrant’s “Let Things Be Like They Always Was,” with links and references to the style of Giacomo Puccini. It also has jazz and blues influences, in “I Got a Marble and a Star” and “Lonely House.” Some of the more Broadway-style musical numbers are “Wrapped In a Ribbon and Tied In a Bow”, “Wouldn’t You Like To Be On Broadway?” and “Moon-faced, Starry-eyed,” an extended song-and-dance sequence.

    This is a rare recording of Kurt Weill’s musical, Street Scene, taken from a performance at the Hollywood Bowl in 1949, and featuring Polyna Stoska, who created the work’s leading role.

    It was intended for overseas broadcast by the Armed Forces Radio, the present disc including just seventeen tracks of vocal music and omits all of the linking narrative. That leaves little more than half of the original that started life as a Broadway musical in 1947, but with so much competition at the time, it enjoyed modest success.

    The plot concerns the everyday life of six couples from differing nationalities who live in the close confines of a tenement block in New York. It opens in a workaday atmosphere, the young ones longing for something better, but are unable to break out of their humdrum existence. Anna Maurrant tries to protect her children from a bullying husband, and out of her mundane life emerges her own need for romance which she finds it in Steve. By chance her husband comes home unexpectedly early and finding them together kills them in a jealous rage. The end of the work sees life in the tenement slowly returning to normal. Dorothy Sarnoff sings the part of Rose Maurrant, the smart girl who is capable of escaping from the tenement, and it is with her the performance comes to life. The remainder of the cast is routine, though it probably portrays the work as it sounded on Broadway, and is much different to the two modern complete recordings that use casts of opera singers. This original recording is of haphazard balance and prone to overlading, but the restoration engineer has worked miracles.

    This version of Street Scene was part of a two-hour concert broadcast live from the Hollywood Bowl and recorded by the Armed Forces Radio Service, who pressed it on sixteen-inch transcription discs. Program host Jack Little, not heard here, described the proceedings and introduced the performers but said nothing about the plot or characters, and in fact we’ve had to make educated guesses concerning a couple of numbers he did not announce. He also apologized to the radio audience after the opening number because one microphone failed to work, leaving the vocal ensemble almost inaudible.

    Kurt Weill – Street Scene – Hollywood Bowl, 1949
    (192 kbps, cover art included)

    Chances are that unless you’re an old movie buff, you’ve never heard of Sir Lancelot. Beginning in 1940, however, and for the next 16 years until Harry Belafonte came along, he was the most popular calypso singer in the world and a singing star in the United States. Belafonte himself has described Sir Lancelot as a major influence on his own work and career, and as his inspiration.

    Born Lancelot Victor Edward Pinard in Cumuto, North Trinidad, the son of a government official, he began singing at the age of six in a one-hour recital. By the time he was finished with high school, his voice had matured into a perfect tenor instrument, but music didn’t seem to be available to him as a career choice – rather, his father sent him to New York to study medicine. By sheer chance, he was heard singing and invited to try a two-week engagement at the Village Vanguard, which turned into a year-long booking. In 1941, he went out west to play engagements at colleges in California and Oregon, and following a concert in Los Angeles, Sir Lancelot was contracted to make his first screen appearance, in the Pat O’Brien/Janet Blair vehicle Two Yanks in Trinidad. This appearance, in turn, led to his being booked on tours of Mexico, South America, and the Caribbean.

    His first credited film appearance was in the atmospheric Val Lewton chiller “I Walked with a Zombie”, where his songs provided ironic commentary on the action of the movie. He later played a dramatic role in Lewton’s “The Ghost Ship” and “Curse of the Cat People”; “Eve Knew Her Apples”, starring Ann Miller, “To Have and Have Not” with Humphrey Bogart and Lauren Bacall, and “Brute Force” starring Burt Lancaster. He was well-known enough by then to play characters simply known as “Sir Lancelot” in pictures as different as the comedy “Linda Be Good” and “The Unknown Terror”.

    Sir Lancelot’s singing appearances on radio and television, on shows hosted by Ray Anthony, Ed Sullivan, and Dinah Shore (where he sang the praises of sponsors Ford, Elgin watches, Coca-Cola, and Borden’s Milk, and often got more fan mail than Shore herself) planted the seeds of the calypso boom that led the way to Belafonte’s rise to fame at the end of the ’50s. In 1955, he left the United States for an extended tour of Europe and the Middle East, but returned to Hollywood three years later to appear in “The Buccaneer”, a big-budget widescreen historical drama starring Yul Brynner and directed by Anthony Quinn. He continued singing and recording, and made occasional television appearances as late as 1968, when he turned up in a non-singing role in an episode of The Andy Griffith Show, and continued to record at least through 1973.

    The album “Calypso of the West Indies and Ballads of the Caribbean” is a Caribbean music treasure, 14 songs from Trinidad, Puerto Rico, Barbados, Haiti, Cuba, and Martinique, sung in Sir Lancelot’s pleasing, rich tenor voice, in high spirits and boundless joy, backed by everything from a simple guitar to a steel band. Recorded between 1946 and 1973, in surprisingly good sound (only 1946’s “Ugly Woman” – track 12 – sounds compressed, transferred off of a 78 rpm disc). The 1958 tracks (tracks 1 – 9, recorded in Hollywood) feature the Mac Niles Caribe Carnival Band, Steel Drummers, and Singers, and the repertory includes the originals “Jump in the Line” and “Tied-Tongue Mopsy,” classics like “Run Joe,” “Matilda,” and “Jamaica Farewell”. Amazingly, the 1973 vintage track, “Double Indemnity” (track 10 – as charming and delightful as the movie of that name is dark and depressing), shows Lancelot’s voice in astonishingly good shape, and hardly different at all from its 1946 incarnation.

    The Legendary Sir Lancelot – Calypso of the West Indies and Ballads of the Caribbean
    (192 kbps, no cover art included)