Here's what's spinning on the CD player in Studio 1 tonight. Hope some of you can tune in and have a listen..
BOB MARLEY- CHEER UP- CD SOUL ALMIGHTY (MP3 from www.calabashmusic.com)
BOB MARLEY- ALL IN ONE- CD SOUL ALMIGHTY (MP3 from www.calabashmusic.com)
BOB MARLEY- CAUTION- CD SOUL ALMIGHTY (MP3 from www.calabashmusic.com)
BOB MARLEY- LIVELY UP YOURSELF- CD SOUL ALMIGHTY (MP3 from www.calabashmusic.com)
BOB MARLEY- NATURAL MYSTIC- CD SOUL ALMIGHTY (MP3 from www.calabashmusic.com)
The Wailers- Dub Marley
Think of this as a little bit of reggae history. During breaks in the sessions for Rastaman Vibration, the Wailers (without Bob Marley) recorded ten of Marley's songs. The instrumental cuts and their dub versions saw very limited release in Jamaica in 1976. Why they were recorded is a mystery, but here they're reprised together.
**THE WAILERS- GET UP STAND UP DUB- CD DUB MARLEY (MP3 from www.calabashmusic.com)
BOB MARLEY- GET UP STAND UP
THE WAILERS- I SHOT THE SHERIFF INSTRUMENTAL- CD DUB MARLEY (MP3 from www.calabashmusic.com)
BOB MARLEY- I SHOT THE SHERIFF
**KEN LAZARUS- I DON'T LOVE YOU ANYMORE- CD SKA DOWN JAMAICA (MP3 from www.calabashmusic.com))
KEN LAZARUS- BEATLES GOT TO GO- CD SKA DOWN JAMAICA (MP3 from www.calabashmusic.com)
MONTY MORRIS- INTO THIS BEAUTIFUL GARDEN-CD SKA DOWN JAMAICA (MP3 from www.calabashmusic.com)
**BOB MARLEY- EXODUS
** THE WAILERS- SOUL REBEL DUB - CD DUB MARLEY (MP3 from www.calabashmusic.com)
Telek- Boystown
**Telek- Bunaik- CD Serious TAM (Real World)
"...A visionary reggae artist with a deeply spiritual side....his thin, reedy voice and potent lyrics cry out against injustice, while pointing the way to a better life." Dirty Linen (8-9/01, p.80) - "...Telek draws from his ancient culture...but combines it with a modern pop sensibility....an ingratiating sound and one that allows him to embrace global pop in a way that has never been done quite this way until now..."
Legend has it that, as a child, George Mamua Telek chewed a sacred betel nut, opening his dreams to his ancestors - and inspiring his amazing songs. Whatever its true source, this powerful and stirring music bespeaks the spirit and proud heritage of his tribal people, the Tolai of Papua New Guinea, yet dramatically transcends cultural borders with a lush, accessible sound that won a coveted Australian ARIA Award for Best World Music Album.
With the spacious production of David Bridie (of the Australian band Not Drowning Waving) and the collaboration of Australian Aboriginal artists Archie Roach and Kev Carmody, Telek forges a brilliant hybrid of world and pop music. Weaving ancestral drums (the hourglass-shaped kundu and the massive slit-log garamut) with lulling, tropical guitar and his island's unique "snaking" vocal harmonies - sung in the Tolai's Kuanuan language and a Creole called Tok Pigin - Telek's evocative songs combine such ancient elements of Tolai culture as midal (magic charms) and malira (love magic) with a pop sensibility influenced by the Beatles.
In England to record at Real World Studios, Telek's first stop after landing at Heathrow was to have his picture taken crossing Abbey Road. But despite his western influences and his national success throughout PNG and Australia, Telek remains deeply rooted in his native volcanic village of Raluana, on the Papua New Guinean island of New Britain.
Te Vaka- Nukutehe / Se Ma La Losa- CD Nukutehe
Te Vaka- Nukutehe
The Tokelau Islands of Polynesia are one of the tiniest nations on the planet. With just 1700 sprawled across ten square kilometres and no harbour or airport to speak of, the Island’s indigenous drum-driven rhythms and musical Tokelau language might have remained one of world music’s best kept secrets if it weren’t for the talent and savvy of ten-member group Te Vaka (the canoe). Founded by singer-songwriter Opetaia Foa’i in 1995 and based, along with 5,000 other Tokelauans, in Auckland, New Zealand, Te Vaka have won plaudits for their unique fusion of socially aware lyrics, modern instrumentation - guitars,
keyboards, flutes, even body percussion - and traditional Maori, Samoan and Tokelauan sounds. Their hi-energy live show - all grass skirts and giant log drums - has thrilled audiences everywhere from WOMAD Singapore to Ronnie Nukekehe the latest Album for Polynesian World Music group Te VakaScotts in London.
Nukukehe (Different land), their third album, is both a plea for environmental and social awareness and a celebration of Polynesian culture, featuring a series of rollicking, mellifluously voiced tracks, backed by soaring harmonies and featuring male and female chants. Standouts include ‘Alamagoto’ a joyous, timbale-fuelled paean to the Pacific; Sei ma le Losa’, a tribute to the late Greenpeace founder David McTaggert; and the sweetly swaying dance number Te Hiva’. Te Vaka say they aim do for Polynesian song and dance what Riverdance did for Irish music, which may or may not be a good thing. Either way, Nukukehe will certainly make people sit up and take notice.
**Rachid Taha- Agatha / Josephine- CD Diwan 2
**Bob Holroyd- Games without Frontiers / Re Awakening The Spirit- Cd Without Within (Six Degrees)
Bob Holroyd is a second-generation fourth-world musician. As if sitting in master control of the global village, he slides virtual tendrils across the world from his studio in England, transporting sounds into his computers and keyboards and deploying them across an electronic panorama that eschews big beats in favor of the polyrhythmic groove. On his fourth CD, Holroyd mixes and matches ethnic samples, including Koi San tribesman from the Kalahari desert on the exuberant "Looking Back" and a Chinese erhu in "The Spaces in Between." The album flows unpredictably as Holroyd enters deep space on "Dreams of Olduvai" and inserts highlife horn charts on "Rafiki." He is also a commercially savvy artist. He orchestrates a global groove cover of Peter Gabriel's "Games Without Frontiers," built around the criminally overlooked singer-songwriter Happy Rhodes, that could gain airplay--at least on a global radio of the imagination. --John Diliberto
Bob Holroyd's music explores the terrain where technological and primeval music intersect. Although realized in a London recording studio, Holroyd's fourth full-length collection, Without Within, features elements of Asian and African cultures flourishing within the rhythms and melodies. One of the tracks, titled "Dreams of Olduvai," evokes the African region holding the earliest evidence of human life. That reference could allude to the appeal of any given Bob Holroyd track, where the digital magic of his recording studio enables the musically articulate Englishman to summon visions of lost worlds. Remarkably, his primordial songs and soundscapes play equally well in dance clubs or in a place like the edge of the Olduvai Gorge echoing both man's earliest musical aspirations and his most recent inventions.
Without Within achieves a status all too rare among contemporary electronic-abetted music, in that it avoids categorization. While quick to praise the efforts of other forward-looking artists whose work encompasses both primordial and digital cultures, Holroyd has long ago left his influences behind and carved his own musical path. His musical signature - sinuous melodies unfolding atop polyrhythms that function as Morse Code for the Id - is best described by a track title from Without Within: "The Space Between."
1 Giant Leap- Money- Audio extract from the DVD 1 Giant Leap (www.1giantleap.tv)
