Rhythm Master On The Wire Part Two | Tribute to the Godson – Glenmore Brown
The War Is Over (continued)
1. African Drums – Glen Brown – African Museum
2. Only Love – Gaby & Wilton – Scorpion**
3. Right Food Skank – G.L.B. – South East Music Limited
4. Jah Jah Bring Everything – Jah Glen as Glen Richard - South East Music Limited
Glen Brown At Cross Roads
5. Version – G.L.B. - South East Music Limited
6. Mr Ball Head Akekin – Bobby Aitken - Pantomine
7. Glen Brown At Cross Roads – Glen Brown – Pantomine
8. Crankie Bine – Rosey Davis
Tagged with “1970s” (6)
Rhythm Master On The Wire Part Two | Tribute to the Godson – Glenmore Brown The War Is Over (continued)
Moods On the Wire - A Tribute To The Work Of Harry Mudie
Born in Spanish Town, Jamaica 1940, Harry Mudie operated his own sound system "Mudies Hi-Fi" in the mid fifties, before moving to the UK to study electronics and photography. Returning to Jamaica, he began producing Jamaican R&B records from the late 1950s. His first production was "Babylon Gone" (1962) by rasta drummer Count Ossie, released in the UK in 1962 on Blue Beat. He was the first producer to use string sections in reggae, starting with John Holt’s 1973 album "Time is the Master". From the mid to late 1970s he had his greatest success producing artists such as Gregory Isaacs, The Heptones and Cornel Campbell.
Dennis Walks – Drifter - (Moodisc) - (C)
Bongo Herman - Car Pound Drifter - (Moodisc) - (C)
King Tubby Tubby - Red Red Red Dub - (Cactus)
I.Roy -D.J. Drifter - (Moodisc) - (C)
Bunny Meloney - I’ve Been A Loser - (MHA)
Big Joe - Drifter In The Ball - (Moodisc) - (C)
King Tubby - Drifting Dub - (Moodisc) - (B)
Rhythm Rulers - Drifter Bratah - (Moodisc) - (C)
Tommy McCook - Drifting With A Flute - (Moodisc) - (C)
John Holt - Love is Gone - (Cactus)
King Tubby - Dub With A Difference - (Moodisc) - (A)
Heptones - Love Without Feeling - (Moodisc)
G.G Russell - Who Who Wha - (Moodisc) - (E)
I.Roy - Musical Pleasure - (MHA)
Shark Wilson - God Is Standing By - (Cactus)
King Tubby - Planet Dub - (Moodisc) - (B)
The Eternals - Push Me In The Corner - (MHA)
John Holt - Time Is The Master - (Cactus)
Gladstone Anderson - Portrait of Inga - (Ashanti) - (D)
Maria Mudie - Caught You A Lie - (Cactus)
King Tubby - Caught You Dubbing - (Moodisc)
King Tubby - Jungle Walk Dub - (Moodisc)
Ebony Sisters - Let Me Tell You Boy - (Moodisc) - (E)
Moodies Allstars - Let Me Tell You Version - (Moodisc) - (E)
Jah Wilson - Stand In A Yard & Praise Yah - (MHA)
Count Sticky - What Do Yu So - (Moodisc)
I.Roy - Let Me Tell You Boy - (Moodisc)
Lloyd Jones – Rome - (Moodisc) - (F)
Jo Bennett - Leaving Rome - (Moodisc) - (G)
Gladstone Anderson - Leaving Rome - (Ashanti) - (D)
King Tubby - Roman Dub - (Moodisc) - (A)
Dennis Walks - Heart Don’t Leap - (Moodisc) - (E)
Winston Wright - Musically Red - (Moodisc)
I.Roy - Heart Don’t Leap - (Moodisc) - (H)
King Tubby’s - Heart Leap Dub - (Moodisc) - (B)
Mundies Allstars - Serious Business - (Moodisc) - (E)
Count Ossie - Whispering Drums - (Moodisc) - (E)
Gladstone Anderson - The Elected One - (MHA)
Lenny Hibbert - Ital Vibes - (Moodisc)
King Tubby & Strings - Dub In Rema - (Moodisc)
Where Noted The Above Are Also Available On The Albums Listed Below (A) Dub Conference Vol 1
(B) Dub Conference Vol 2
(C) Reggae Bible, Book Of Drifters
(D) It May Sound Silly
(E) Let Me Tell You Boy (Trojan)
(F) Sufferers Choice (Attack)
(G) Blow, Mr Hornsman (Trojan)
(H) Keep On Coming Through The Door (Trojan)
Broadcast on 1st August 1994. Music Selection & Show Production By Steve Barker, with invaluable assistance from Chris Reynolds.
Special Thanks to Mike Martin, Tony Derwent, John Wyer
When I found this homemade cassette in the Anniston, Alabama Goodwill Thrift Store, I knew I had to spend 50 cents for it. A music lover taped this radio broadcast of a syndicated special detailing the "Paul Is Dead" phenomenon off the air. The program probably dates from the late 70s, if the presence of Foreigner’s 1977 debut album on the tape’s b-side is anything to go by. Surely the program’s writers had tongue firmly in cheek when creating the script, which collects all the "death clues" which had been circulating since ‘69, and adds a few new ones to the mix. John Lennon’s assassination finally put a stop to this nonsense, but somehow it was a better time when we had to make up dead Beatles to obsess about.
- Perry Amberson
Huffduffed from http://www.ubu.com/outsiders/365/2003/279.shtml
In Adelaide over 3 days in 1976 Sue Barker and The Onions recorded a classic album that contains some of the most soulful grooves ever put down in an Australian studio.
Sadly a combination of poor promotion, lack of finance and personal priorities meant that the record never truly got the attention it deserves.
This episode seeks to play some part in rectifying that situation and features samples from the album and interviews with Sue Barker and Onions bass player Geoff Kluke.
Sue Barker spent her teenage years moving between Sydney and Adelaide and singing with many different outfits along the way including the Cumberlands.
In the early 70’s she began working with a group of musicians known as The Onions who were a collective of jazz and soul inspired players who performed regularly around Adelaide in clubs and also on local TV. They encouraged Sue to take her singing seriously and before too long Crest Records approached her to see if they could cut an album.
The LP was self titled and featured a mix of jazz, blues and soul cover versions.
Love To The People - Crest - 1976
A soulful rendering of the Curtis Mayfield song that originally appeared on his 1975 album "There’s No Place Like America Today". The Hilltop Hoods sampled the song on their second album Left Foot Right Foot in 2001.
I Heard It Through The Grapevine - Crest - 1976
Another soul number that features some great bass playing from Geoff Kluke who was channelling legendary Motown session player James Jamerson.
Lover Man - Crest - 1976
One of the quieter moments provides a great opportunity to take in the beauty of Sue’s rich and haunting voice.
Do Nothing Till You Hear From Me - Crest - 1976
Some of the album’s songs have had more attention than others over the years. This tune is one that Sue nominates as one of her favourites.
Do That Dance! Australian Post Punk 1977-1983 - Hindsight - ABC Radio National (Australian Broadcasting Corporation)
Part two of the series explores the evolution of post punk in Melbourne.
The years 1977 to 1983 saw an explosion of musical creativity in inner city Sydney and Melbourne. Following the do-it-yourself revolution of punk, young Australians were inspired to make challenging music without boundaries, to form bands, start independent labels, and to run live music venues, all outside the commercially driven confines of the mainstream industry. This groundbreaking activity laid the foundation for contemporary music in Australia. The vital output from Australian post punk has gained an international reputation.
Sydney’s inner-city post-punk music scene revolves around a social set based in the terrace houses and industrial spaces of then run-down Darlinghurst and Surry Hills. Bands shared living spaces, rehearsal rooms, equipment, and band members, forging sounds without precedence. And for the first time, women were taking their place as equal and integral players. Inner city pubs and clubs, faced with a dwindling clientele of working men, opened their doors to the art-punk bands and an enthusiastic audience soon followed. Iconic venues included the Sussex Hotel and the Trade Union Club. By 1980, the burgeoning scene also gave rise to the independent labels M Squared and Terse Tapes.
Melbourne’s post punk scene is defined by distinct locations, and ideologies — the North Fitzroy Beat; St Kilda’s Crystal Ballroom; and the Clifton Hill Community Music Centre. Led by Melbourne’s most infamous band the Primitive Calculators, the North Fitzroy Beat gave rise to the anarchic Little Bands movement, with the Calculators inviting anyone to step up and use their music equipment. Meanwhile, ‘south of the river’, St Kilda was the decadent playground of larger-than-life groups such as The Birthday Party, the Moodists, and the touring Go-Betweens. The Clifton Hill Community Music Centre was an experimental space for a strange mix of Melbourne intelligentsia, music academics, and precocious post punks, giving rise to the groups Tsk Tsk Tsk and Essendon Airport.
Sean Connery makes a red bikini look good in John Boorman’s bizarre post-apocalyptic tale, ZARDOZ!