The Half Of Six Record Listeners Club Episode 1 – Mike & Sue


300x300_13321711It’s the new podcast on the block and for all lovers hold tight, for ’nuff music of various genres in this new online ‘Radio’ show.

https://thehalfofsix.podomatic.com

Here’s what it’s all about…

The Half of Six Record Listeners Club is a social occasion, an evening where Mike & Sue, your hosts, invite a special guest to chat about the music they love. Mike & Sue also have the occasional disagreement about which records are good ones and which are not so good.

So, all too often you turn on the radio, or listen to a show, it’s genre specific, you don’t get surprises and you leave un-edified, and without new artistes to listen to, or any real surprises. Not at this podcast, two music lovers, partners in crime and life discuss their favourite music, normally with a guest who brings her or his records to their cozy hideaway on the Isle of Skye (sort of). We’re big music fans, so expect some great tunes and we’re also both highly opinionated about the music we love, so don’t expect agreement, You’ll be party to the occasional domestic moment, in amongst the mix.

The first episode is up and ready for you to subscribe to this podcast, much much more to come… Episode 1 – Introducing – Mike & Sue

Love

Mike & Sue

IMG_4810The first podcast of this music review show, in which Mike & Sue introduce themselves and play you some of the music that means a lot to them. In the future we’ll have a guest on most of our shows sharing their musical loves (and hates quite possibly), but we thought you’d like to get to know us first, and what the show is all about, or rather, will be about. Please come join us for a cozy look through our record collections as we take a wee dram by the glowing turfs on our imaginary homes’ hearth, in the wilds of the Isle of Skye. On this edition you’ll hear music by a wide variety of artistes, including The Bevis Frond, The Clash, Anne Briggs, Hal Paige, The Cure, Bill Doggett, Bill Haley, The Cardiacs, The Fuzztones, Daniel Romano and much much more besides, we aren’t genre driven, so expect a wide but pleasing array of musical styles. Mike & Sue

Brochel to Arnish (Rush)


Rush is the name I give to any something I’m working on that isn’t finished, rough mix, demo, whatever, it’s like viewing a rush of the ongoing edit..  so.. anyway,

There’s a road called Calum’s Road on Raasay an island off the Western coast of Scotland, it’s one of the Inner Hebrides, a beautiful road made by one isolated man who was fed up with no one doing anything to get a road into his tiny village of Arnish, where at that point, he was the only person there living. It’s a tale, a story this road of Scottish independence, of Highland clearance and it’s evils, and of one man’s determination and strength. The road is a beautiful place on lots of levels, I’ve travelled it twice and wanted to try to write something that expressed my feeling for the man, his toil, the scenery and the journey, the mechanics of it, and somehow this happened, unlike anything I’d normally do, to my ear it sounds like a combination of William Orbit, Lemon Jelly, and some old blues fart (that’s me I’m on about!)

MRS Authentic Jamaican Calypsos – The Mento Series and their sleeve notes.


Authentic Jamaican Calypsos & All Jamaican Calypsos – Stanley Motta’s 10″ Lp Output

In the 1950s Stanley Motta the early Jamaican record producer, released 5 x 10″ Lps, each a collection of Mento songs and instrumentals previously released only on 78rpm single. Rare and sought after they all host a collection of illuminating sleeve notes, which reflect the perceived exoticism of a Caribbean Island holiday destination to the nascent tourist and the long held traditions of Jamaica’s people in song.

They are indispensable to any collector of early Jamaican recorded music, folk music enthusiast, or lover of the Roots of Ska, Rocksteady and Reggae. Many of the lyrics, themes and songs feature in Jamaican popular culture today and once recognised one cannot ignore Mento’s influence on all styles of Jamaican music that followed because the first recorded Jamaican song was birthed on a Mento 78rpm record, one released by Stanley Motta in 1953.

Sleeve notes . . . 

Sleeve notes can tell the interested party so much about the time, the music and the people making it, that they are offered here for those of you interested in that history, but perhaps unable to get hold of the actual Lps themselves (yet).

Authentic Calypso?

Although labelled as Calypso, this is not, this is Mento, a distinct style and genre of music, related to Calypso, the form mainly of Trinidad, but that of Jamaica. In the 1950s though an audience in the USA who had fallen for the romanticism of Calypso would consume a variety of musics, providing it had the attraction of being called Calypso, hence much Mento has wrongly been attributed to this form. It’s something that annoys those that evangelise the Jamaican style, the peculiarly distinct sound of Mento.

The Series

Numbers 1-4 feature the same cover artwork in a variety of colours, the 5th edition has an entirely different cover and is actually called ‘All Jamaican Calypsos’ though it states ‘Series 5’ on the sleeve and shares catalogue and matrices with the other volumes, BUT different sleeve notes. And finally there was a collection, again with different variant artwork to the first 5 volumes and sleeve notes, released in the U.K. on London International Records. All are pictured below, and the accompanying sleeve notes transposed for volumes 1-4, then for Series 5 and finally for the London International  Record label release. It is thought that the sole London International release may have been part of a deal in exchange for pressing the other 1-4 Authentic Jamaican Calypso series and ‘All Jamaican Calypsos’ 10″ Lps for Jamaican release. Those releases all state ‘Made In England’. The London international release was only ever sold in England as far as I can find out.

Sleeve Notes Vols 1-4

CALYPSO JAMAICA

The visitor to Jamaica can never quite forget the music of the island. He finds himself haunted by the memory of the soft murmur of the trade winds, and the breaking of the blue Caribbean on white sand shores. But more haunting than ever, above the music of nature, is the music of the streets, the endless varied obligato against which the life of Jamaica is lived. It is heard in the plaintive cal of the coconut seller, whose “Jell . . . oooooohhhh … Jell . . . oooohhhh” trumpets through the streets in the cool of the morning as he offers the tangy-sweet liquid of the green nut to thirsty passers-by. There is music in the short barking call of the fishmonger who pushes his squeaky-wheeled wagon or rides his laden bicycle from the flat of the plains to the twisted roads of the hills to bring is sparkling catch–grunts, snappers, jack, cutlass — all the glistening treasure of the deep. It is in the laughter tinged gossiping of the market-place, where broad-accented countrywoman and sophisticated city-bred higher meet to share the latest scandals.

Yes, there is music everywhere in Jamaica. It pulses in the traffic of the streets, where the brazen voices of modern auto horns argue with the sharp sudden accents of the donkey driver; it is in the quiet avenues of the suburbs where modern houses sprawl on cool green grounds; it is in the teeming slums where the crowded population finds expression in laughter, and in the provocative music-story of the island.

Jamaica’s music is the mento and calypso. Calypso is the general term that is applied to the ballad song of the islands, the song that tells a story and nudges laughter or amazement as the mood chooses. This is the fiery, fast sometimes risqué song of the troubadour who finds his inspiration in everyday happenings and spins his melodies and words to both intrigue and entertain the listener. Calypso is generally associated with Trinidad, but is a generic term, common to all the Caribbean islands.

Then there is the music that is peculiarly Jamaican — the mento. This is the specific tempo of the island. The result of the meeting of Afro-Latin influences is a distinctive beat and rhythm in the music of Jamaica that identifies it to the tuned ear. To the foreigner there is little difference, but to the Jamaican, dancing his swivel-hipped measures to the reedy prodding of bamboo flute and guitar, bongo and mambo drums, to the tuned intervals of the marimba box, it is unique, a native tempo that has it’s route through the slave chants, the French quadrille, the Spanish flamenca, the English round, all the polyglot, pulsing beats of the many people who have blended their histories and lives to make the golden people of the Caribbean.

Jamaicans are proud of their music. They are proud because in the distinctive beat of their music lies all their own history. Here is the musical meeting ground of the Chinese, the English, Welsh, Irish, Scots, the Portuguese and Spanish, in fact, all the varied people who are hidden behind the designation “Jamaican.”

In this envelope you will find captured not only the music of the Jamaican, but all of the varied tempos of the Caribbean. They are performed by native musicians, often with handmade native instruments. But always they are played with the rollicking devil-may-care musicianship that comes so naturally to the West Indian. Here you have transfixed in a record, moments of pleasurable memory.
Here you have CALYPSO JAMAICA.

Sleeve Notes Vol 5

CALYPSO JAMAICA

FullSizeRender 16. . . Jamaica’s carefree people have expressed in song all of the throbbing vitality that is so much a part of their country. Their songs are humorous, gay, sometimes happy, sometimes sad, but always enjoyable. It is music with a distinctive character that marks it as unmistakably Jamaican. Its distinctiveness is a combination of the musical dialect of Jamaican speech, the unique sound of native instruments and the subtle rhythm that marks it and separates it from the music of the other West Indian islands. The musical dialect of back country Jamaicans is basically English so interwoven with colloquialisms and the burr of local accents that is is almost unintelligible to anyone not familiar with the island’s speech. It is this distinctive Jamaican accent that gives added interest to the Jamaican calypso. There is also a unique character to the music itself which derives from the hand-made instruments played by calypso troubadours. These are the bambasax, an instrument wrought from bamboo by dextrous native craftsmen, with a bit of wood from a matchbox serving as a reed; the marimba, a deep-toned bass instrument that is just a simple box with bits of metal spring called “reeds” because of their similarity to harmonica reeds, and is normally used in place of the bass fiddle; the chattering marraccas, seed-filled gourds; and a whole family of drums from tiny, tenor bongos to big-voiced congo drums. Bamboo fifes and flutes, bambolins, a violin-like instrument comprised entirely from bamboo, and such conventional instruments as guitars, saxophones, trumpets and bass fiddles add their voices to the song of Jamaica. With voice and instrument, the Jamaican calypso troubadour regales, entertains and amuses, having a wonderful time himself as he brings you . . . CALYPSO JAMAICA.

Sleeve Notes – Authentic Jamaican Calypsos – LONDON International

FullSizeRender 19The visitor to the West Indies awakes to find himself in a tropical paradise — the birds sing and speak, the waters sparkle and laugh in the dancing sunshine, the leaves rustle to the tune of it all: and all is music. The people are happy — they rise with a song and they sing all day, even as they work. The Calypso which is the fold song of the West Indies is the pièce de resistance to this wonderful setting of life and beauty. The Calypso is the crux of it all — its fascinating, pulsating beat and rhythm remain forever in the heart of the visitor stirring up vivid memories of the romance of the West Indies.

No matter where you go among these islands — Jamaica, Barbados, Trinidad, Grenada, Antigua — in any one of the long chain of islands, and irrespective of the language, you will hear the Calypso. It is a common link — the link in this chain of jewelled isles.

The Calypso is a form of minstrel music. The singer, or Calypsonian, cites the chief events of the time, recounts the noble or infamous deeds, as the case may be, of some person past or present. He might sing of the latest scandal or the state o politics. On the other hand, as he frequently does, he might describe some amusing incident in the everyday life of the ordinary person or comically examine the behaviour and habits of domestic and indigenous animals. The Calypso always provokes laughter. it is witty, comic, subtle, ironic. It discusses human relationships in an intimate way, yet it is not vulgar. The spice of the Calypso lies in the ability of the Calypsonian to tell you even about the most intimate things in such veiled, juicy and allegorical language that stirs you, shocks or startles you and yet leaves you to say, “Honi soit qui mal y pense” or otherwise, “Whom the cap fits let him draw the string”.

The Calypso is not only an expression of little doings and things and of great happenings, it is in itself an expression and a manifestation of the local society and tradition and its very interesting historical background and intricate blend of peoples, For once upon a time these islands were the El Dorado of the West — the rendezvouz of the buccaneers, the chosen land of pioneers and the Empire builders and the glorious battlefields of the sea-faring powers, Spices, sugar, tobacco, cotton, cocoa made them prized jewels in the Crowns of Europe, as also did their strategic position as the gateway to the Americas. Thus it was that all manner of people settled upon these islands. The indigenous Amerindians were out-numbered, decimated, and soon practically disappeared. Labour for the plantations was drawn from Africa and India. Descendants of the latter to-day form the great bulk of the population together with large numbers of persons of mixed descent having the spicy complexions drive from fusions of Spanish, French, English, Scottish, Dutch, African, Indian, Portuguese, Chinese and may others who settled there and completely mixed themselves into one solid society. The Calypso is the common denominator of all these cultures.

The pulsating rhythm of the African “tom-tom” blends with the tempo of the Spanish “quarto” and is polished off by the lilting sing-song of the French accent. The old-time Calypsonians or “chant-wells” (note the combination of French and English) used to sing in Patois or broken French. English is now commonly used for Calypso, but with the original exciting accent and intonation. It is written in four-four time, yet very subtly the singer can get in a good many words and syllables to a bar — or very few when he chooses.

Some say, a long time ago slaves on the plantations were not allowed to gossip — so the chanted to the same rhythm as their tom-toms as hey worked. these chants became cities as hey added strange words not understandable by their masters, telling of what was going on, and, in fact gossiping about their masters and the village. When “dancing the cocoa” or cutting the sugar cane or celebrating after work, these ditties became their folk songs. the leader was the “chant-well” later known as the Calypsonian.

The Carnival in Trinidad , celebrated on the two days preceding Ash Wednesday, is a relic of the old Spanish customs. At that time there is universal frolicking, singing and dancing in the streets. All sing the Calypso. The custom has greatly fostered the art of the Calypso. Trinidad’s Carnival and her very cosmopolitan background made her the home of the Calypso. From there it spread to all the other islands — to Jamaica, Barbados, Grenada, etc. And now the world is getting to know of this sweet tantalising, minstrel music.

Summarising?

There are of course gaping holes in the tracery of the slightly amateurish musicology you see reflected in the sleeve notes, and yet some rather good early insights into the links shown in and around the Caribbean and it’s musical trade routes. For me the last set of notes on the purely U.K. only release on London International shows a mildly patronising attitude, awash with the kind of romantic notions that refused to engage with the pain of slavery, African servitude and the serfdom of other indentured ethnicities on the island. It also looks at the music therein from the angle of Calypso, and almost completely ignores the very Jamaican nature of the release, the differences between Mento and Calypso or the individuality of Jamaica.

In short all of the sleeve notes are much better than I would expect from what can be a rather blinkered and one dimensioned western approach to any and all cultural pursuits of non European ethnicity in a then 1950s world.

All the issues talk of the cultural influence of speech patterns, Patois, city hubbub and in mentioning the “chant-well” the notes are harking to the West African Griot praise singing and the very culture that helped give rise to Calypso in particular.

I’m also personally intrigued to find or see and more importantly hear a bambolin!
To my knowledge even with a large Mento collection at my listening disposal, I never have.

©MIKE MURPHY Feb 2019

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Bigmikeydread Reggae Radio – Rootsman Selection No2


Bigmikeydread Reggae Radio – Rootsman Selection No2

IMG_4755I’m hopeful that you will like the selection of Roots Reggae on this show, I was certainly happy with how it turned out, and dedicate it to Gene, who sent me a nice sound byte for the show, get in touch if you’d like to do the same, love to all.

08 Bigmikeydread Reggae Radio – Rootsman Selection No2, all taken from 7” Single. (and one Lp Track, join me while I check some nice nice Roots from Singles, niceness pure.

You can listen to the show on Mixcloud and iTunes, but here is the link to Podomatic where the main hosting for it sits. – https://www.podomatic.com/podcasts/bigmikeydreadreggaeradio/episodes/2019-02-20T11_23_02-08_00

  1. Joe Higgs – Let Us Do Something – Elevation 7” Revival Single
  2. Higgs Gallery – Instrumental (Let Us Do Something) – Elevation 7” Revival Single
  3. Palmers Brothers – Step It Out Of Babylon – Hawkeye 7” Revival Single
  4. Karl Bryan – 2K Strut – Studio one Roots 2 – Soul Jazz Lp
  5. Richie Spice – Earth A Run Red (Remix) – 7” Single
  6. Eek-A-Mouse – Creation – Eek-A-Mouse Records 7” Revival Single
  7. Bigmikeydread – You’ve Got To Love Up The Good Music – Bigmikey 7” Imagination
  8. Junior Byles & Rupert Reid – Chant Down Babylon – Ja-Man 7” Revival Single
  9. Jonnie Clark (sic) – Enter Into This Gate With Praise + Some Version Side – Lord Koos 7” Single
  10. Tinga Stewart – Babylon – Heavy Beat Records 7” Single
  11. Dennis Brown – Satta Massagaa – Gorgon 7” Revival Single
  12. Big Joe – In The Ghetto – Gorgon 7” Revival Single
  13. Leroy Smart – Oh Marcus – Channel 1 Revival 7” Single
  14. Winston Francis – Let’s Go To Zion – Studio One 7” Single Repressing
  15. Cornell Campbell – Brothers Killing Brothers – Fatman Revival 7” Single
  16. Billy Boyo – Jah Jah Made Me To Be A MC – Jah Guidance 7” Single
  17. Clancy Eccles – Africa – Clandisc Revival 7” Single
  18. The Eagles – Rasta Pickney – Melrose 7” Single
  19. Errol Alphonso – Chant Jah Victory – Vivian Jackson Revival 7” Single
  20. Cecil Brown – Hands Of The Wicked – Thrillseekers 7” Single
  21. Rector Butler – Too Much Youth Inna Jailhouse – Record City 7” Single
  22. Sylford Walker – Lamb’s Bread – South East Music 7” Single
  23. Mystic Revealers – Rastaman In New York – Kariang 7” Single
  24. General Roy (U-Brown?) – African People – RG International 7” Single
  25. Kiddus I – Graduation In Zion – Dub Store Records – Revival 7” Single
  26. Eagles & Black Disciples – Warn This Nation / Creation (Version) – Wolf 7” Single
  27. Hidden trackamondo – Ian & Sylvia – Catfish Blues, from their Lp – The Best Of Ian and Sylvia.

By the way you can get all of the details on exactly what the tunes came from here on my Discogs profile, and lists, the lists under show name are exactly what were played, thusly enabling you to go get the music I’ve played for your own collection.

https://www.discogs.com/lists/08-Bigmikeydread-Reggae-Radio-Rootsman-Selection-No2/485217

Daniel Romano – Finally Free – An Album Review


Daniel Romano – Finally Free – New West Records NW5255 – Released 2018

IMG_4102I’m going to be totally honest here, and brutally frank. I don’t know what the fuck this Lp is ‘really‘ about. That fact, in combination with my assertion that it is a work of beauty and genius has got me seriously fucked up and confused, I don’t get that way often. I like it though when I do. I like it when I can’t tuck something into a pigeonhole, when it tells me to get my listening ears on properly. I like it when it is music so obviously and adventurously wonderful. But when records are just pretentiously impenetrable, I lean quickly to placing them into the category ‘shite’ to be ignored, and money recently wasted.

I don’t normally have a hard time working out what an artist is trying to do, writing about, saying, who they sound like or where their influences lay, but that’s not the case with Finally Free. Daniel might feel finally freed by this Lp as if it were some cathartic exercise in musical self assertion, but it’s got me quite possibly ‘finally stumped’ in working out what’s going on with it.

But that’s a GOOD thing. I’m bored with knowing what the hell I’m hearing. In my dotage I need something I’ve not ever heard the like of before too keep my interest. To make me want to review it for instance, in a blog.

Just who the hell is Daniel Romano?

R-7294448-1438207251-8959.jpegI first ‘discovered’ my version of Daniel Romano, isolated and without musical guidance, while trawling YouTube for Alt Country songs, and found a wonderful song, that appears with an alternative title, feel and mix on his Lp. ‘If I’ve Only One Time Askin” but is on YouTube called ‘More Love From A Stranger’. I was immediately struck by his songwriting, playful attitude to wearing revival Nudie style suits with a big hat, and his obvious and only slightly submerged obsession with Hank Williams Jnr. The song was strong. Sounded like a man headed for romantic oblivion at the bottom of a bottle, and had me hooked. Shortly thereafter I bought the frankly disappointing cd album ‘Come Cry With Me’ on import. The songs were nowhere near as strong as his YouTube appearance and I put any further exploration of his music aside for a while.


Then recently while at a record store in Brighton England I took a punt on what is a recent but not latest release by him, Finally Free, the record I’m here to try and review. I bought it partly because Romano’s stuff just doesn’t appear in the UK without a pricey import tariff generally. It’s hard to find, and expensive when you do. The point I’m making is that my experience of his music was not explained or taught by anyone, he’s a rare thing for me a discovery I made. His music is a place I found, not one I was shown to, or recommended. I don’t know his story, I’m in a dark room and it’s as if he keeps his history close to his chest, there isn’t a lot out there about who is, or has been. I think he likes it that way, I think he likes to play with his perceived image. Do you Daniel? Is that what it’s about for you?

IMG_4695I took Finally Free home, listened, loved it, listened again, loved it more, couldn’t get the lyrics at all, found them impenetrable. Were they pretentious as fuck, or heartfelt? Then listened to the Lp over two months lots of times, loving it. But not getting any closer to the centre of it.

I had questions to answer.

The artwork by Daniel on the Lp sleeve and on the reverse of the frankly ugly poster included was it naïve, or just shitty? Was the assertion on the outer sleeve notes that the Lp was mastered on the stolen land of the Haudenosaunee, Anishinabek and Huron-Wendat, but produced and mixed on the stolen land of the Haudenosaunee and Anishinabek just so much pretentious waffle or meant from the heart?

I remain confused and as yet unconvinced of just what he’s trying to do. That’s a good thing, I feel wrong-footed, confused, but loving the sound, the sound, the music, the music which carries all doubt straight through to the second side’s run out groove.

Don’t fuck me around Dan!

Is he just fucking with us, one minute he’s a finger picking singer songwriter (I’m here citing early YouTube videos of his performances), then he’s rhinestone cowboy, a hard drinking’ country star, then he’s alt something, love poet, romantic bard and fine artist who states that the Lp is ‘A Collection Of Poems In The Language Of Love’, and whom refers on the rear of the sleeve to his penmanship on it as ‘Notes From The Author’. Is he playing with us again, this time trying to impart on himself and perhaps the Lp project the perception of a literary milieu.

He's Canadian you know . . .
The first Lp I bought (and not the one I’m reviewing), the disappointing ‘Come Cry With Me’.

The cover, an area previously explored as a thing of artistic potential by Daniel Romano is left filled by ugliness, an ugly 3d photo, and two of the nastiest colours you could pick for anything, even a death warrant, and yet the innards, the guts of the Lp, the music, the production, arrangement, mix of musical happenstance and composition are deftly combined to produce a thing of utter transcendence. Some of the chord progressions are just wondrous, and not one song feels copied, hackneyed or unoriginal.

To all intents it looks like an Lp where the artist is trying way too hard to be noticed, way too hard to impress, to be original, not to quote and re-quote other musical styles and other artists, and yet he manages to do exactly that, to be beautifully original and to prevent the listener being able to catalogue his sound and style. I have my own opinions of course of where some of the sounds hail from, you will have your own when you listen to it (and I hope you do). I can hear strong hints of The Incredible String Band then The Beach Boys, The Byrds (back in 8 Mile High days), Crosby, Stills and Nash, Bob Dylan, Earth Opera, The Velvet Underground, Rocky Horror style Rock Opera shenanigans, Nick Drake, and the sonic 60s excesses of an LSD fuelled musical decade. Like all great music it sounds like you’ve heard it before, but you know you haven’t.

Unlike those Lps of old that used to say in little text long the top edge of the sleeve –  ‘File Under ‘Rock N’ Roll’, you won’t get any such advice from Mr. Romano. It’s going to have to go in a section all of it’s own. ‘Finally Free from category’.

Get it.

© Murphy Feb 2019 ⤄

 

 

 

 

Nigger Butler – (Too Much Youth) Inna Jailhouse – Record City


A tune a day keep Obeah away. << This is an occasional series of tunes that I think you need to have and to hold, and today I want to let you all know about a tune I keep returning to. A fine roots tune, with a strong version side, in the classic late 70s Roots style.

FullSizeRender 14This record was given to me a long time ago, when I was first setting off on my Jamaican music record collecting, by a dear friend, now gone, Charlie Reggae. It had no title, only a generic label, for the Record City Record label. A label which had very few releases. The first one on that label at that point I had seen. Discogs didn’t exist then and records were bought from mail-order homemade catalogues mailed to you each quarter year and not on eBay or online shops.

For a number of years I had no idea who was singing on it or what the title might be. I always called it, ‘Too Much Youth Inna Jailhouse’ as that is the striking refrain of the song. Because it was strong, and because even though I tried, I couldn’t find any info on it, it held a certain mystique that only an un-identified but quality record can.

Just recently someone identified the singer for me as Nigger Butler, otherwise and perhaps more politically correctly properly known as Rector Butler, who by the sparse information on the label sang on and produced and distributed the tune. A one man stop shop of Reggae production. I’d love to know who the backing band are, as the rhythm is strong and assured, but there is virtually no information about the singer/producer or his cohorts online, or I’d be copying and pasting it here for you to see.

As with a lot of great Jamaican music the only way to know the artist is to own and listen to their tunes, so much of Jamaica’s music was produced in virtual anonymity, particularly in the Golden era of the late 70s. However that’s what makes it ROOTS, music of the people, by the people, and why it has such inherent strength sonically.

Look, it’s not the greatest Reggae tune in the world, but it is a damn fine one, and you should be able to check it out on my next bigmikeydread reggae radio podcast soon. Check the section here on Musical Traces for track-listings. I’d like to share the tune with you here, but no recording of it exists online, yet.

© Murphy (mid Feb) 2019

 

Reggae Fever – The Carlisle Hastings – 17th March


17th March 2019 and yours truly will be appearing by invitation as Bigmikeydread the worst Reggae selector known to man.

Reggae Fever at the Carlisle Hastings.

Saving his blushes and hopefully his musical skin will be Suedehead Sound System’s owner, supremo and selector Rob Wilde of Headshrinkers fame. Both will be spinning classic Roots, Rocksteady, and multifariously genre’d Reggae between 2-6pm in Hastings at the Carlisle located on the town’s seafront here on the Sussex Coast on Sunday 17th March.

And as Nick Saloman once said . . ‘Be there or be somewhere else listening to other people’s music‘.

Mikey

© Murphy 2019

 

How to clean your 78rpm records


Cleaning 78rpm Records the toothbrush way.

So here’s a possible way for you to clean your 78 rpm Shellac Records, it seems a little rough, but they’re tougher than you think. I filmed and put this up on my Instagram account a while back; it seems to me that it may prove useful for someone, if I re-post the link here. You can view it here, without leaving Musical Traces.

Use warm, verging on hot water in a bowl mixed with not too heavy a dash of Fairy Liquid, scrub the shit out of your dirty old tunes with a toothbrush that has seen better days and better teeth, wipe off with as lint a free cloth or rag or towel as you can, rinse under the tap with cold water. Use a white cloth or whatever and look at the grime you pick up. It’s mad crazy Daddy O’s. Repeat if you think necessary. Let ’em dry really good before you play them again.

 

 

Knosti – Disco-Antistat – an unbiased review


The Disco-Antistat Record (Cleaning System?)

An entirely independant review

IMG_4678There’s something a little worrying about the Disco-Antistat cleaner, namely that for something quite so obviously simple, it does the job rather too well.
I’d had one bought for me as a present years ago, used it and then put it to one side, a little concerned that there were rumours that it might leave a residue. One which would fur up the needle, and sit in the grooves for years to come. I had postulated at the time that any level of film left in the grooves of the record could only affect sound quality adversely. But I have never to date had any problems, I have never found any residue from the Lps and singles I washed coming off on the stylus, nor any degradation of the records treated, no reduction in sound quality. However I still don’t quite trust the Cleaner, trust is a hard thing to give when it’s your pride and joy record collection that could be destroyed by some cheap record cleaner system and a few positive online reviews.

 
IMG_4679The ‘System’, if a few bits of plastic can be called a ‘System’ consists of a big bottle of what is surely mainly Isopropyl-Alcohol and something mysterious that cuts down static issues. Then also a bath for the record with brushes welded inside, brushes that when you suspend the record via the handy label protecting spindle adaptor and rotate the record manually, clean said record. Hands get wet with the solution while rotating, it sloshes a bit, you rotate both anti & clock wise, you finish, somewhat awkwardly unscrew label protecting spindle ‘thingy’ and place newly cleaned record to drip and evaporate dry in the handy, ‘this was once tucked in the bottom of the bath section drying rack’, as pictured right.

It feels a little jim crack, but it was time to give it a proper test.

Mystery Cleaner, Mystery Train

So when I was recently given a record that had once belonged to my mother, ‘Mystery Train’ on the HMV label, the re-issued Sun Recording, sold with Elvis’s contract to RCA, and it was in it’s terrible 60 year old uncleaned state, I took this test worthy opportunity to see just what this relatively cheap record cleaning system could really do (again).
Frankly I was floored by it’s performance. With a few manual turns (in both directions) of the record in the cleaning bath, through the brushes and then a short drying time, the improvement was gobsmacking. A lead-in groove which had previously sounded like a commando attack with accompanying light arms fire now only hinted at it’s previous incendiary and crackly state and the record played clean, with a full sonic range and looked shiny and as if it had only just been pressed. It improved the record from unplayable to playing and damn fine in about 10 minutes.

Quite amazing.

Since then I have washed a few further records including some valuable Jamaican singles which were in an unplayable state. All have been massively improved. Rather than leaving them to fester on the shelves, they’re getting played and that’s what it’s all about.

IMG_4680The kit I have as I understand it has been superceeded by a MkII version, and the one I have does suffer from a cheap construction and a rudimentary and manually operated design. The fluid is impossible to pour back into the bottle supplied via the funnel and grime filter without spilling a sizeable ammount every time you use the kit, and it goes everywhere. This is very annoying and poor design is poor design, whether it is cheaply produced or not. The kit retails for under £50, new bottles of fluid are about £10 and to look at the boxed contents of what you get for your buck you would be forgiven for being disappointed; and yet if you considered the results only, you would consider the money it costs, to be VERY well spent.

I’m still reserving some judgement, just in case there proves to be an issue with any residue long term, but currently I’d give it 9 out of 10 for results, considering it’s simple operation and outlay.

This ‘article was written because though rumours abound of residue issues, with some people even just using the bare bones of the machine with distilled water and not the ‘Majic Formula’ to avoid those rumoured problems, no online review existed that directed talked about this head on and I could myself find no information to either confirm or deny the residue rumours with this kit.

I hope this has been helpful to those of you with old grimy Vinyl that needs a gentle scrub.

⍟ Murphy ©2019 ➹

Los Apartamentos – Water Di Garden


Los Apartamentos’ debut Lp – Water Di Garden – Due out April 2019

If you know Mento, you’ll know Count Lasher’s track for Stanley Motta, ‘Water The Garden’, all about a young man who is unhappily exposed, and haffi ‘Reel Out The Hose’ while watering his lady boss’s jardin, and hopefully not a Jardin Publique as I&I French would a say, or things could have got illegal, yah get mi Fam?

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So while mooching about the Mento driven corners of the internet one ‘Winston’ of Mento band Los Apartamentos and I got in touch with one another. I had immediately responded favourably to the tongue in cheek band name, as I’ve always wanted to have a Pan Pipe group called ‘Los Pastillas Urinarios’ (the toilet blocks, you know those rancid chunks of pineapple in the urinals, uh huh .. yep that.. ), and I think Winston could spot a fellow lover of Jamaican Mento music too, as did I.

These boys look interesting I muttered to myself while flicking through Instagram. Winston by then had also hooked up with my radio show bigmikeydread reggae radio, and he showed an obvious love for the Mento I was playing on it, educating me about Calypso in Germany, where the band hails from and which has a long history of interest in Calypso and Mento; as do one or two other northern European countries like the Netherlands and Belgium.

Then a short while ago he posted a video of a tourist postcard which played Mento, one of those old records on cardboard affairs. It took me a while to realise it wasn’t a 50s-60s antique collector’s item, but his band’s promotional item, for an Lp entitled ‘Water Di Garden’ due out on April 19th on Jump Up Records. www.jumpuprecords.com

I expressed an interest and today his ‘promo pack’ landed, the postcard went straight on my turntable, and you can view a video of it spinning below. I do apologise that the sound on my short video is woeful, but it’s such a nice object, I had to show you all.

Lost Apartamentos
German Mento band Los Apartamentos are busy playing Mento, the lost music of Jamaica

Basically the guys came together out of a love of Ska and Jamaican music in the city of Cologne, trading old instruments for new ones, they built a bass lammelophone (Rhumba Box) and off they went. Spreading the music and the joy for a few years before being invited to record an album by Chuck Wren of Jump Up Records.

Rather wonderfully they recorded to one Mic, just as the producers of early Mento had during the balmy night time recording sessions of noisy 1950s Kingston, and that Lp of one take renderings of vintage Mento songs is released in April of 2019. I’ll definitely be checking it out, the small excerpt on the postcard promo sounds pukka, and that’s pukka to the ears of a highly over-critical lover of Mento who would tell you in a trice if it sounded a mockery in any sense.. it doesn’t, it sounds sweet.

Check back here for a review hopefully later this year. I’ll be getting hold of a copy for sure.

©2019 Murphy ☜

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