Podcasts about Letta Mbulu

In onda Gigi Longo. Musiche: The B52's,Jorge Ben,Julie Driscoll, Brian Auger & The Trinity,Letta Mbulu, Rita Monico, Galliano, Material, Sault, Serge Gainsbourg,Rotary Connection, The Surf Champlers, Arthur Russell.

For those who haven't heard the announcement I just posted , songs from this point on will sometimes be split among multiple episodes, so this is the first part of a multi-episode look at the Byrds in 1966-69 and the birth of country rock. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode on "My World Fell Down" by Sagittarius. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud at this time as there are too many Byrds songs in this chunk, but I will try to put together a multi-part Mixcloud when all the episodes for this song are up. My main source for the Byrds is Timeless Flight Revisited by Johnny Rogan, I also used Chris Hillman's autobiography, the 331/3 books on The Notorious Byrd Brothers and The Gilded Palace of Sin, For future parts of this multi-episode story I used Barney Hoskyns' Hotel California and John Einarson's Desperadoes as general background on Californian country-rock, Calling Me Hone, Gram Parsons and the Roots of Country Rock by Bob Kealing for information on Parsons, and Requiem For The Timeless Vol 2 by Johnny Rogan for information about the post-Byrds careers of many members. Information on Gary Usher comes from The California Sound by Stephen McParland. And this three-CD set is a reasonable way of getting most of the Byrds' important recordings. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript When we left the Byrds at the end of the episode on "Eight Miles High", they had just released that single, which combined folk-rock with their new influences from John Coltrane and Ravi Shankar, and which was a group composition but mostly written by the group's lead singer, Gene Clark. And also, as we mentioned right at the end of the episode, Clark had left the group. There had been many, many factors leading to Clark's departure. Clark was writing *far* more material than the other band members, of whom only Roger McGuinn had been a writer when the group started, and as a result was making far more money than them, especially with songs like "She Don't Care About Time", which had been the B-side to their number one single "Turn! Turn! Turn!" [Excerpt: The Byrds, "She Don't Care About Time"] Clark's extra income was making the rest of the group jealous, and they also didn't think his songs were particularly good, though many of his songs on the early Byrds albums are now considered classics. Jim Dickson, the group's co-manager, said "Gene would write fifteen to twenty songs a week and you had to find a good one whenever it came along because there were lots of them that you couldn't make head or tail of.  They didn't mean anything. We all knew that. Gene would write a good one at a rate of just about one per girlfriend." Chris Hillman meanwhile later said more simply "Gene didn't really add that much." That is, frankly, hard to square with the facts. There are ten original songs on the group's first two albums, plus one original non-album B-side. Of those eleven songs, Clark wrote seven on his own and co-wrote two with McGuinn. But as the other band members were starting to realise that they had the possibility of extra royalties -- and at least to some extent were starting to get artistic ambitions as far as writing goes -- they were starting to disparage Clark's work as a result, calling it immature. Clark had, of course, been the principal writer for "Eight Miles High", the group's most experimental record to date: [Excerpt: The Byrds, "Eight Miles High"] But there he'd shared co-writing credit with David Crosby and Roger McGuinn, in part because that was the only way he could be sure they would agree to release it as a single. There were also internal rivalries within the band unrelated to songwriting -- as we've touched on, Crosby had already essentially bullied Clark off the guitar and into just playing tambourine (and McGuinn would be dismissive even of Clark's tambourine abilities). Crosby's inability to get on with any other member of any band he was in would later become legendary, but at this point Clark was the major victim of his bullying. According to Dickson "David understood when Gene left that ninety-five percent of why Gene left could be brought back to him." The other five percent, though, came from Clark's fear of flying. Clark had apparently witnessed a plane crash in his youth and been traumatised by it, and he had a general terror of flying and planes -- something McGuinn would mock him for a little, as McGuinn was an aviation buff. Eventually, Clark had a near-breakdown boarding a plane from California to New York for a promotional appearance with Murray the K, and ended up getting off the plane. McGuinn and Michael Clarke almost did the same, but in the end they decided to stay on, and the other four Byrds did the press conference without Gene. When asked where Gene was, they said he'd "broken a wing". He was also increasingly having mental health and substance abuse problems, which were exacerbated by his fear, and in the end he decided he just couldn't be a Byrd any more. Oddly, of all the band members, it was David Crosby who was most concerned about Clark's departure, and who did the most to try to persuade him to stay, but he still didn't do much, and the group decided to carry on as a four-piece and not even make a proper announcement of Clark's departure -- they just started putting out photos with four people instead of five. The main change as far as the group were concerned was that Hillman was now covering Clark's old vocal parts, and so Crosby moved to Clark's old centre mic while Hillman moved from his position at the back of the stage with Michael Clarke to take over Crosby's mic. The group now had three singer-instrumentalists in front, two of whom, Crosby and McGuinn, now thought of themselves as songwriters. So despite the loss of their singer/songwriter/frontman, they moved on to their new single, the guaranteed hit follow-up to "Eight Miles High": [Excerpt: The Byrds, "5D (Fifth Dimension)"] "5D" was written by McGuinn, inspired by a book of cartoons called 1-2-3-4 More More More More by Don Landis, which I haven't been able to track down a copy of, but which seems to have been an attempt to explain the mathematical concept of higher dimensions in cartoon form. McGuinn was inspired by this and by Einstein's theory of relativity -- or at least by his understanding of relativity, which does not seem to have been the most informed take on the topic. McGuinn has said in the past that the single should really have come with a copy of Landis' booklet, so people could understand it. Sadly, without the benefit of the booklet we only have the lyrics plus McGuinn's interviews to go on to try to figure out what he means. As far as I'm able to understand, McGuinn believed -- completely erroneously -- that Einstein had proved that along with the four dimensions of spacetime there is also a fifth dimension which McGuinn refers to as a "mesh", and that "the reason for the speed of light being what it is is because of that mesh." McGuinn then went on to identify this mesh with his own conception of God, influenced by his belief in Subud, and with a Bergsonian idea of a life force. He would talk about how most people are stuck in a materialist scientific paradigm which only admits to  the existence of three dimensions, and how there are people out there advocating for a five-dimensional view of the world. To go along with this mystic view of the universe, McGuinn wanted some music inspired by the greatest composer of sacred music, and he asked Van Dyke Parks, who was brought in to add keyboards on the session, to play something influenced by Bach -- and Parks obliged, having been thinking along the same lines himself: [Excerpt: The Byrds, "5D (Fifth Dimension)"] Unfortunately for the group, McGuinn's lyrical intention wasn't clear enough and the song was assumed to be about drugs, and was banned by many radio stations. That plus the track's basically uncommercial nature meant that it reached no higher than number forty-four in the charts. Jim Dickson, the group's co-manager, pointed to a simpler factor in the record's failure, saying that if the organ outro to the track had instead been the intro, to set a mood for the track rather than starting with a cold vocal open, it would have had more success. The single was followed by an album, called Fifth Dimension, which was not particularly successful. Of the album's eleven songs, two were traditional folk songs, one was an instrumental -- a jam called "Captain Soul" which was a version of Lee Dorsey's "Get Out My Life Woman" credited to the four remaining Byrds, though Gene Clark is very audible on it playing harmonica -- and one more was a jam whose only lyrics were "gonna ride a Lear jet, baby", repeated over and over. There was also "Eight Miles High" and the group's inept and slightly-too-late take on "Hey Joe". It also included a third single, a country track titled "Mr. Spaceman": [Excerpt: The Byrds, "Mr. Spaceman"] McGuinn and, particularly, Hillman, had some country music background, and both were starting to think about incorporating country sounds into the group's style, as after Clark's departure from the group they were moving away from the style that had characterised their first two albums. But the interest in "Mr. Spaceman" was less about the musical style than about the lyrics. McGuinn had written the song in the hopes of contacting extraterrestrial life -- sending them a message in his lyrics so that any aliens listening to Earth radio would come and visit, though he was later disappointed to realise that the inverse-square law means that the signals would be too faint to make out after a relatively short distance: [Excerpt: The Byrds, "Mr. Spaceman"] "Mr. Spaceman" did better on the charts than its predecessor, scraping the lower reaches of the top forty, but it hardly set the world alight, and neither did the album -- a typical review was the one by Jon Landau, which said in part "This album then cannot be considered up to the standards set by the Byrds' first two and basically demonstrates that they should be thinking in terms of replacing Gene Clark, instead of just carrying on without him." Fifth Dimension would be the only album that Allen Stanton would produce for the Byrds, and his replacement had actually just produced an album that was a Byrds record by any other name: [Excerpt: Gene Clark, "So You Say You've Lost Your Baby"] We've looked at Gary Usher before, but not for some time, and not in much detail. Usher was one of several people who were involved in the scene loosely centred on the Beach Boys and Jan and Dean, though he never had much time for Jan Berry and he had got his own start in the music business slightly before the Beach Boys. As a songwriter, his first big successes had come with his collaborations with Brian Wilson -- he had co-written "409" for the Beach Boys, and had also collaborated with Wilson on some of his earliest more introspective songs, like "The Lonely Sea" and "In My Room", for which Usher had written the lyrics: [Excerpt: The Beach Boys, "In My Room"] Usher had built a career as a producer and writer for hire, often in collaboration with Roger Christian, who also wrote with Brian Wilson and Jan Berry. Usher, usually with Christian, and very occasionally Wilson wrote the songs for several of American International Pictures' Beach Party films: [Excerpt: Donna Loren, "Muscle Bustle"] And Usher and Christian had also had bit parts in some of the films, like Bikini Beach, and Usher had produced records for Annette Funicello, the star of the films, often with the Honeys (a group consisting of Brian Wilson's future wife Marilyn plus her sister and cousin) on backing vocals. He had also produced records for the Surfaris, as well as a whole host of studio-only groups like the Four Speeds, the Super Stocks, and Mr. Gasser and the Weirdoes, most of whom were Usher and the same small group of vocalist friends along with various selections of Wrecking Crew musicians making quick themed albums. One of these studio groups, the Hondells, went on to be a real group of sorts, after Usher and the Beach Boys worked together on a film, The Girls on the Beach. Usher liked a song that Wilson and Mike Love had written for the Beach Boys to perform in the film, "Little Honda", and after discovering that the Beach Boys weren't going to release their version as a single, he put together a group to record a soundalike version: [Excerpt: The Hondells, "Little Honda"] "Little Honda" made the top ten, and Usher produced two albums for the Hondells, who had one other minor hit with a cover version of the Lovin' Spoonful's "Younger Girl". Oddly, Usher's friend Terry Melcher, who would shortly produce the Byrds' first few hits, had also latched on to "Little Honda", and produced his own version of the track, sung by Pat Boone of all people, with future Beach Boy Bruce Johnston on backing vocals: [Excerpt: Pat Boone, "Little Honda"] But when Usher had got his version out first, Boone's was relegated to a B-side. When the Byrds had hit, and folk-rock had started to take over from surf rock, Usher had gone with the flow and produced records like the Surfaris' album It Ain't Me Babe, with Usher and his usual gang of backing vocalists augmenting the Surfaris as they covered hits by Dylan, the Turtles, the Beach Boys and the Byrds: [Excerpt: The Surfaris, "All I Really Want to Do"] Usher was also responsible for the Surfaris being the first group to release a version of "Hey Joe" on a major label, as we heard in the episode on that song: [Excerpt: The Surfaris, "Hey Joe"] After moving between Capitol, Mercury, and Decca Records, Usher had left Decca after a round of corporate restructuring and been recommended for a job at Columbia by his friend Melcher, who at that point was producing Paul Revere and the Raiders and the Rip Chords and had just finished his time as the Byrds' producer. Usher's first work at Columbia was actually to prepare new stereo mixes of some Byrds tracks that had up to that point only been issued in mono, but his first interaction with the Byrds themselves came via Gene Clark: [Excerpt: Gene Clark, "So You Say You've Lost Your Baby"] On leaving the Byrds, Clark had briefly tried to make a success of himself as a songwriter-for-hire in much the same mould as Usher, attempting to write and produce a single for two Byrds fans using the group name The Cookie Fairies, while spending much of his time romancing Michelle Phillips, as we talked about in the episode on "San Francisco". When the Cookie Fairies single didn't get picked up by a label, Clark had put together a group with Bill Rinehart from the Leaves, Chip Douglas of the Modern Folk Quartet, and Joel Larson of the Grass Roots. Just called Gene Clark & The Group, they'd played around the clubs in LA and cut about half an album's worth of demos produced by Jim Dickson and Ed Tickner, the Byrds' management team, before Clark had fired first Douglas and then the rest of the group. Clark's association with Douglas did go on to benefit him though -- Douglas went on, as we've seen in other episodes, to produce hits for the Turtles and the Monkees, and he later remembered an old song by Clark and McGuinn that the Byrds had demoed but never released, "You Showed Me", and produced a top ten hit version of it for the Turtles: [Excerpt: The Turtles, "You Showed Me"] Clark had instead started working with two country singers, Vern and Rex Gosdin, who had previously been with Chris Hillman in the country band The Hillmen. When that band had split up, the Gosdin Brothers had started to perform together as a duo, and in 1967 they would have a major country hit with "Hangin' On": [Excerpt: The Gosdin Brothers, "Hangin' On"] At this point though, they were just Gene Clark's backing vocalists, on an album that had been started with producer Larry Marks, who left Columbia half way through the sessions, at which point Usher took over. The album, titled Gene Clark with the Gosdin Brothers, featured a mix of musicians from different backgrounds. There were Larson and Rinehart from Gene Clark and the Group, there were country musicians -- a guitarist named Clarence White and the banjo player Doug Dillard. Hillman and Michael Clarke, the Byrds' rhythm section, played on much of the album as a way of keeping a united front, Glen Campbell, Jerry Cole, Leon Russell and Jim Gordon of the Wrecking Crew contributed, and Van Dyke Parks played most of the keyboards. The lead-off single for Gene Clark with the Gosdin Brothers, "Echoes", is one of the tracks produced by Marks, but in truth the real producer of that track is Leon Russell, who wrote the orchestral arrangement that turned Clark's rough demo into a baroque pop masterpiece: [Excerpt: Gene Clark, "Echoes"] Despite Clark having quit the band, relations between him and the rest were still good enough that in September 1966 he temporarily rejoined the band after Crosby lost his voice, though he was gone again as soon as Crosby was well. But that didn't stop the next Byrds album, which Usher went on to produce straight after finishing work on Clark's record, coming out almost simultaneously with Clark's and, according to Clark, killing its commercial potential. Upon starting to work with the group, Usher quickly came to the conclusion that Chris Hillman was in many ways the most important member of the band. According to Usher "There was also quite a divisive element within the band at that stage which often prevented them working well together. Sometimes everything would go smoothly, but other times it was a hard road. McGuinn and Hillman were often more together on musical ideas. This left Crosby to fend for himself, which I might add he did very well." Usher also said "I quickly came to understand that Hillman was a good stabilising force within the Byrds (when he wanted to be). It was around the time that I began working with them that Chris also became more involved in the songwriting. I think part of that was the fact that he realised how much more money was involved if you actually wrote the songs yourself. And he was a good songwriter." The first single to be released from the new sessions was one that was largely Hillman's work. Hillman and Crosby had been invited by the great South African jazz trumpeter Hugh Masekela to play on some demos for another South African jazzer, singer Letta Mbulu. Details are sparse, but one presumes this was for what became her 1967 album Letta Mbulu Sings, produced by David Axelrod: [Excerpt: Letta Mbulu, "Zola (MRA)"] According to Hillman, that session was an epiphany for him, and he went home and started writing his own songs for the first time. He took one of the riffs he came up with to McGuinn, who came up with a bridge inspired by a song by yet another South African musician, Miriam Makeba, who at the time was married to Masekela, and the two wrote a lyric inspired by what they saw as the cynical manipulation of the music industry in creating manufactured bands like the Monkees -- though they have both been very eager to say that they were criticising the industry, not the Monkees themselves, with whom they were friendly. As Hillman says in his autobiography, "Some people interpreted it as a jab at The Monkees. In reality, we had immense respect for all of them as singers and musicians. We weren't skewering the members of the Monkees, but we were taking a shot at the cynical nature of the entertainment business that will try to manufacture a group like The Monkees as a marketing strategy. For us, it was all about the music, and we were commenting on the pitfalls of the industry rather than on any of our fellow musicians." [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] The track continued the experimentation with sound effects that they had started with the Lear jet song on the previous album. That had featured recordings of a Lear jet, and "So You Want to be a Rock 'n' Roll Star?" featured recordings of audience screams. Those screams were, according to most sources, recorded by Derek Taylor at a Byrds gig in Bournemouth in 1965, but given reports of the tepid response the group got on that tour, that doesn't seem to make sense. Other sources say they're recordings of a *Beatles* audience in Bournemouth in *1963*, the shows that had been shown in the first US broadcast of Beatles footage, and the author of a book on links between the Beatles and Bournemouth says on his blog "In the course of researching Yeah Yeah Yeah: The Beatles & Bournemouth I spoke to two people who saw The Byrds at the Gaumont that August and neither recalled any screaming at all, let alone the wall of noise that can be heard on So You Want To Be A Rock 'n' Roll Star." So it seems likely that screaming isn't for the Byrds, but of course Taylor had also worked for the Beatles. According to Usher "The crowd sound effects were from a live concert that Derek Taylor had taped with a little tape recorder in London. It was some outrageous crowd, something like 20,000 to 30,000 people. He brought the tape in, ran it off onto a big tape, re- EQ'd it, echoed it, cleaned it up and looped it." So my guess is that the audience screams in the Byrds song about the Monkees are for the Beatles, but we'll probably never know for sure: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] The track also featured an appearance by Hugh Masekela, the jazz trumpeter whose invitation to take part in a session had inspired the song: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] While Hillman was starting to lean more towards folk and country music -- he had always been the member of the band least interested in rock music -- and McGuinn was most interested in exploring electronic sounds, Crosby was still pushing the band more in the direction of the jazz experimentation they'd tried on "Eight Miles High", and one of the tracks they started working on soon after "So You Want to be a Rock 'n' Roll Star?" was inspired by another jazz trumpet great. Miles Davis had been partly responsible for getting the Byrds signed to Columbia, as we talked about in the episode on "Mr. Tambourine Man", and so the group wanted to pay him tribute, and they started working on a version of his classic instrumental "Milestones": [Excerpt: Miles Davis, "Milestones"] Sadly, while the group worked on their version for several days -- spurred on primarily by Crosby -- they eventually chose to drop the track, and it has never seen release or even been bootlegged, though there is a tiny clip of it that was used in a contemporaneous documentary, with a commentator talking over it: [Excerpt: The Byrds, "Milestones (TV)"] It was apparently Crosby who decided to stop work on the track, just as working on it was also apparently his idea. Indeed, while the biggest change on the album that would become Younger Than Yesterday was that for the first time Chris Hillman was writing songs and taking lead vocals, Crosby was also writing more than before. Hillman wrote four of the songs on the album, plus his co-write with McGuinn on "So You Want to be a Rock 'n' Roll Star?", but Crosby also supplied two new solo compositions, plus a cowrite with McGuinn, and Crosby and McGuinn's "Why?", the B-side to "Eight Miles High", was also dug up and rerecorded for the album. Indeed, Gary Usher would later say "The album was probably 60% Crosby. McGuinn was not that involved, nor was Chris; at least as far as performing was concerned." McGuinn's only composition on the album other than the co-writes with Crosby and Hillman was another song about contacting aliens, "CTA-102", a song about a quasar which at the time some people were speculating might have been evidence of alien life. That song sounds to my ears like it's had some influence from Joe Meek's similar records, though I've never seen McGuinn mention Meek as an influence: [Excerpt: The Byrds, "CTA-102"] Crosby's growing dominance in the studio was starting to rankle with the other members. In particular two tracks were the cause of conflict. One was Crosby's song "Mind Gardens", an example of his increasing experimentation, a freeform song that ignores conventional song structure, and which he insisted on including on the album despite the rest of the group's objections: [Excerpt: The Byrds, "Mind Gardens"] The other was the track that directly followed "Mind Gardens" on the album. "My Back Pages" was a song from Dylan's album Another Side of Bob Dylan, a song many have seen as Dylan announcing his break with the folk-song and protest movements he'd been associated with up to that point, and his intention to move on in a new direction: [Excerpt: Bob Dylan, "My Back Pages"] Jim Dickson, the Byrds' co-manager, was no longer on speaking terms with the band and wasn't involved in their day-to-day recording as he had been, but he'd encountered McGuinn on the street and rolled down his car window and suggested that the group do the song. Crosby was aghast. They'd already recorded several songs from Another Side of Bob Dylan, and Fifth Dimension had been their first album not to include any Dylan covers. Doing a jangly cover of a Dylan song with a McGuinn lead vocal was something they'd moved on from, and he didn't want to go back to 1964 at the end of 1966. He was overruled, and the group recorded their version, a track that signified something very different for the Byrds than the original had for Dylan: [Excerpt: The Byrds, "My Back Pages"] It was released as the second single from the album, and made number thirty. It was the last Byrds single to make the top forty. While he was working with the Byrds, Usher continued his work in the pop field, though as chart pop moved on so did Usher, who was now making records in a psychedelic sunshine pop style with acts like the Peanut Butter Conspiracy: [Excerpt: The Peanut Butter Conspiracy, "It's a Happening Thing"] and he produced Chad and Jeremy's massive concept album Of Cabbages and Kings, which included a five-song "Progress Suite" illustrating history from the start of creation until the end of the world: [Excerpt: Chad and Jeremy, "Editorial"] But one of the oddest projects he was involved in was indirectly inspired by Roger McGuinn. According to Usher "McGuinn and I had a lot in common. Roger would always say that he was "out of his head," which he thought was good, because he felt you had to go out of your head before you could really find your head! That sums up McGuinn perfectly! He was also one of the first people to introduce me to metaphysics, and from that point on I started reading everything I could get my hands on. His viewpoints on metaphysics were interesting, and, at the time, useful. He was also into Marshall McLuhan; very much into the effects of electronics and the electronic transformation. He was into certain metaphysical concepts before I was, but I was able to turn him onto some abstract concepts as well" These metaphysical discussions led to Usher producing an album titled The Astrology Album, with discussions of the meaning of different star signs over musical backing: [Excerpt: Gary Usher, "Leo"] And with interviews with various of the artists he was working with talking about astrology. He apparently interviewed Art Garfunkel -- Usher was doing some uncredited production work on Simon and Garfunkel's Bookends album at the time -- but Garfunkel declined permission for the interview to be used. But he did get both Chad and Jeremy to talk, along with John Merrill of the Peanut Butter Conspiracy -- and David Crosby: [Excerpt: Gary Usher, "Leo"] One of the tracks from that album, "Libra", became the B-side of a single by a group of studio musicians Usher put together, with Glen Campbell on lead vocals and featuring Bruce Johnston of the Beach Boys prominently on backing vocals. "My World Fell Down" was credited to Sagittarius, again a sign of Usher's current interest in astrology, and featured some experimental sound effects that are very similar to the things that McGuinn had been doing on recent Byrds albums: [Excerpt: Sagittarius, "My World Fell Down"] While Usher was continuing with his studio experimentation, the Byrds were back playing live -- and they were not going down well at all. They did a UK tour where they refused to play most of their old hits and went down as poorly as on their previous tour, and they were no longer the kings of LA. In large part this was down to David Crosby, whose ego was by this point known to *everybody*, and who was becoming hugely unpopular on the LA scene even as he was starting to dominate the band. Crosby was now the de facto lead vocalist on stage, with McGuinn being relegated to one or two songs per set, and he was the one who would insist that they not play their older hit singles live. He was dominating the stage, leading to sarcastic comments from the normally placid Hillman like "Ladies and gentlemen, the David Crosby show!", and he was known to do things like start playing a song then stop part way through a verse to spend five minutes tuning up before restarting. After a residency at the Whisky A-Go-Go where the group were blown off the stage by their support act, the Doors, their publicist Derek Taylor quit, and he was soon followed by the group's co-managers Jim Dickson and Eddie Tickner, who were replaced by Crosby's friend Larry Spector, who had no experience in rock management but did represent Peter Fonda and Dennis Hopper, two young film stars Crosby was hanging round with. The group were particularly annoyed by Crosby when they played the Monterey Pop Festival. Crosby took most lead vocals in that set, and the group didn't go down well, though instrumentally the worst performer was Michael Clarke, who unlike the rest of the band had never become particularly proficient on his instrument: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star (live at Monterey)"] But Crosby also insisted on making announcements from the stage advocating LSD use and describing conspiracy theories about the Kennedy assassination: [Excerpt: David Crosby on the Warren Commission, from the end of "Hey Joe" Monterey] But even though Crosby was trying to be the Byrds' leader on stage, he was also starting to think that they maybe didn't deserve to have him as their leader. He'd recently been spending a lot of time hanging out with Stephen Stills of the Buffalo Springfield, and McGuinn talks about one occasion where Crosby and Stills were jamming together, Stills played a blues lick and said to McGuinn "Can you play that?" and when McGuinn, who was not a blues musician, said he couldn't, Stills looked at him with contempt. McGuinn was sure that Stills was trying to poach Crosby, and Crosby apparently wanted to be poached. The group had rehearsed intensely for Monterey, aware that they'd been performing poorly and not wanting to show themselves up in front of the new San Francisco bands, but Crosby had told them during rehearsals that they weren't good enough to play with him. McGuinn's suspicions about Stills wanting to poach Crosby seemed to be confirmed during Monterey when Crosby joined Buffalo Springfield on stage, filling in for Neil Young during the period when Young had temporarily quit the group, and performing a song he'd helped Stills write about Grace Slick: [Excerpt: Buffalo Springfield, "Rock 'n' Roll Woman (live at Monterey)"] Crosby was getting tired not only of the Byrds but of the LA scene in general. He saw the new San Francisco bands as being infinitely cooler than the Hollywood plastic scene that was LA -- even though Crosby was possibly the single most Hollywood person on that scene, being the son of an Oscar-winning cinematographer and someone who hung out with film stars. At Monterey, the group had debuted their next single, the first one with an A-side written by Crosby, "Lady Friend": [Excerpt: The Byrds, "Lady Friend"] Crosby had thought of that as a masterpiece, but when it was released as a single, it flopped badly, and the rest of the group weren't even keen on the track being included on the next album. To add insult to injury as far as Crosby was concerned, at the same time as the single was released, a new album came out -- the Byrds' Greatest Hits, full of all those singles he was refusing to play live, and it made the top ten, becoming far and away the group's most successful album. But despite all this, the biggest conflict between band members when they came to start sessions for their next album wasn't over Crosby, but over Michael Clarke. Clarke had never been a particularly good drummer, and while that had been OK at the start of the Byrds' career, when none of them had been very proficient on their instruments, he was barely any better at a time when both McGuinn and Hillman were being regarded as unique stylists, while Crosby was writing metrically and harmonically interesting material. Many Byrds fans appreciate Clarke's drumming nonetheless, saying he was an inventive and distinctive player in much the same way as the similarly unskilled Micky Dolenz, but on any measure of technical ability he was far behind his bandmates. Clarke didn't like the new material and wasn't capable of playing it the way his bandmates wanted. He was popular with the rest of the band as a person, but simply wasn't playing well, and it led to a massive row in the first session: [Excerpt: The Byrds, "Universal Mind Decoder (alternate backing track)"] At one point they joke that they'll bring in Hal Blaine instead -- a reference to the recording of "Mr. Tambourine Man", when Clarke and Hillman had been replaced by Blaine and Larry Knechtel -- and Clarke says "Do it. I don't mind, I really don't." And so that ended up happening. Clarke was still a member of the band -- and he would end up playing on half the album's tracks -- but for the next few sessions the group brought in session drummers Hal Blaine and Jim Gordon to play the parts they actually wanted. But that wasn't going to stop the bigger problem in the group, and that problem was David Crosby's relationship with the rest of the band. Crosby was still at this point thinking of himself as having a future in the group, even as he was increasingly convinced that the group themselves were bad, and embarrassed by their live sound. He even, in a show of unity, decided to ask McGuinn and Hillman to collaborate on a couple of songs with him so they would share the royalties equally. But there were two flash-points in the studio. The first was Crosby's song "Triad", a song about what we would now call polyamory, partly inspired by Robert Heinlein's counterculture science fiction novel Stranger in a Strange Land. The song was meant to portray a progressive, utopian, view of free love, but has dated very badly -- the idea that the *only* reason a woman might be unhappy with her partner sleeping with another woman is because of her mother's disapproval possibly reveals more about the mindset of hippie idealists than was intended. The group recorded Crosby's song, but refused to allow it to be released, and Crosby instead gave it to his friends Jefferson Airplane, whose version, by having Grace Slick sing it, at least reverses the dynamics of the relationship: [Excerpt: Jefferson Airplane, "Triad"] The other was a song that Gary Usher had brought to the group and suggested they record, a Goffin and King song released the previous year by Dusty Springfield: [Excerpt: Dusty Springfield, "Goin' Back"] Crosby was incandescent. The group wanted to do this Brill Building pap?! Hell, Gary Usher had originally thought that *Chad and Jeremy* should do it, before deciding to get the Byrds to do it instead. Did they really want to be doing Chad and Jeremy cast-offs when they could be doing his brilliant science-fiction inspired songs about alternative relationship structures? *Really*? They did, and after a first session, where Crosby reluctantly joined in, when they came to recut the track Crosby flat-out refused to take part, leading to a furious row with McGuinn. Since they were already replacing Michael Clarke with session drummers, that meant the only Byrds on "Goin' Back", the group's next single, were McGuinn and Hillman: [Excerpt: The Byrds, "Goin' Back"] That came out in late October 1967, and shortly before it came out, McGuinn and Hillman had driven to Crosby's home. They told him they'd had enough. He was out of the band. They were buying him out of his contract. Despite everything, Crosby was astonished. They were a *group*. They fought, but only the way brothers fight. But McGuinn and Hillman were adamant. Crosby ended up begging them, saying "We could make great music together." Their response was just "And we can make great music without you." We'll find out whether they could or not in two weeks' time.

Sintonía: "Dirty Red" - The Fabulous Counts"Dyambo" - Hugh Masekela & The Union Of South Africa; "River Luv Rite" - Oneness Of Juju; "Shakalaode" - Wganda Kenya; "Samba" - Miriam Makeba; "Bananaticocó" - Max B; "Mahlalela" - Letta Mbulu; "Ijo Soul" - Orlando Julius & His Modern Aces; "Afro-Disco-Beat" - Tony Allen Plays With The Africa 70Todas las músicas extraídas de la recopilación "Strut: Afro-Funk CD Sampler Autumn 2000" (Strut, 2000)Escuchar audio

Today we sit down in studio with Lisa Gay, renowned music luminary, voclaist, entertainer, and newly minted Creative Director for the Modern Showrooms in Las Vegas. Lisa captures audiences with her smooth, yet powerful tones and riffs showcasing a unique style like no other reminiscent of “Young Ella” Fitzgerald, “Divine One” Sarah Vaughan, Phyllis Hyman and Nancy Wilson. Lisa has toured with Marilyn Mcoo and Billy Davis Jr., Joe Cocker, South Africa's Letta Mbulu and worked as a Background Singer at A&M Records during the record company's historic legacy. Lisa's musical experiences lead her to write and produce her own CD Project Releases, “Watch What Happens”, Christmas “Favorite Things”, and “Somewhere In My Lifetime” single with Husband Guitarist Tony Drake, Master Violinist Mark Cargill and Musical Director Keyboardist/Arranger Greg Cook, that help launch “Lisa Gay, Tony Drake and The Gentlemen of Thrill Band”, on tour with their “Live” sonic “gumbo mix” of Classic Soul, Jazz and Contemporary Music into many venues, cruises, special events, concerts, political, and educational events. In Las Vegas, Lisa has been honored in 2012 for “Excellence In Entertainment, Lounge Performer of The Year”. Along with her band, “Lisa Gay, Tony Drake and The Gentlemen of Thrill Band”, were also honored by Entertainer Consumers Exchange Award as Winner for 2014 Best Urban Jazz Lounge Band, and the “Sweet Louie Award” for Outstanding Achievement in Entertainment. Lisa is presenting My Favorite Things, showcasing “Christmas Joy” and  singing by fantastic Artists complimented by Exquisite Musicianship wrapped with Traditional, Soul, and Jazz! Wednesday, December 13th at 9pm. www.lisagaysinger.com www.modernvegas.com www.modernvegas.com/show/lisa-gay-presents-my-favorite-things/

We're back with City Scenes on our trip around the world looking at the music scene of a different city each week. We've been moving through the alphabet as we go and this week for the letter J we are in Johhanesburg, South Africa. Johannesburg is a city of over 14 million residents making it the Largest City in South Africa. When it comes to Music, Johannesburg has birthed some of South Africa's most famous musicians including the likes of Miriam Makeba, Hugh Masekela, Dave Matthews, Letta Mbulu, Johnny Kleg, Mandoza and countless others. This episode focuses on the development of popular dance music forms from the 1960s right up to the present day to have come mainly out of the townships of Johannesburg and in particular one called Soweto. The townships of Johannesburg have produced some incredible music and to get the context in which a lot of this music was made it's important to understand that the history, geography, demographics and consequently music of Johannesburg has been shaped by the legacy of the apartheid system which separated white and black residents of Johannesburg between the 1950s and 1990s. Under this system, poorer black residents of the city were forced out of wealthier neighbourhoods and lived in separate neighbourhoods called townships on the outskirts of the city. Soweto (or South West Townships which it is abbreviated from) is a large collection of townships outside Johannesburg that in fact existed as a separate city until the 1990s but which is now considered part of the city of Johannesburg. These townships produced some amazing music - At times as a result of protest to the oppression that their residents lived under during apartheid. From Township funk, soul, rock and, disco in the 70s, bubblegum pop in the 80s, kwaito in the 90s and these days a genre called Amapiano. Underground dance music forms like soul, rock, funk, disco and more modern forms like kwaito have thrived in the townships, even under the oppressive apartheid laws of the late 70s and early 80s when live music and gathering in large groups was restricted, bands would find ways to play concerts and hold dances. In the 1980s the popularity of disco and soul began wane and South Africa became enraptured by a new form of dance music called Bubblegum. Bubblegum was a modern sounding form of dance music, driven by synthesizers rather than guitars that mixed feel-good beats with progressive vocals that often had a political message. Perhaps the biggest star of the Bubblegum period is Brenda Fassie, a singer that was born in capetown but formed her group Brenda and Big Dudes in Johannesburg and became a pioneer of South African Bubblegum pop. She's often referred to as the Queen of African Pop and even The Madonna of the townships. Johannesburg has always been a source of inspiring and catchy Dance music and in the 1990s with the development of house music and dance music topping the charts in europe and the USA, Johannesburg was no different. But in South Africa, the rhythms and beats of house music grooved to a slower tempo. In the 1990s a genre called Kwaito came out of the townships of Johannesburg and quickly became the most popular genre in the country, characterised by slowed down house beats and pumping deep baselines paired with African percussion sounds and samples. Johannesburg these days is a city which is known for its dance music. Everywhere around the city you can hear the latest house music blasting from nightclubs, bars, shops and even the taxis in the street. If Kwaito was the most popular form of dance music in the 1990s and 2000s it has now firmly been superseded by the new beat on the street - something called Amapiano.

Hi All. here is the podcast of my 'In The Groove' show on Starpoint Radio on Sunday 13th November 2022, featuring new releases from Hil St. Soul, Wez Whynt Ft Rona Ray, STR4TA, Smooth Soul Ft Platts, Penny Wells, Matt D & Claudio Deeper Ft Anna-Marie Johnson, Julian Jonah Ft Tamika and Pat Bedeau, plus vintage grooves by Letta Mbulu, Wornell Jones, J.M. Silk and Gary Bartz as well as 'A Touch Of Jazz' from Snowboy & the Latin Section.. I hope you enjoy the selections xPaul Stuart 'In The Groove' Starpoint Radio - Sunday 13th November 202201. Dwight Coley - Better Days (A New Beginning LP - DColey 2022)02. Hil St. Soul - Amazing (Back In Love LP - Shanachie 2022)03. Melani - Pity The Fool (Radio Edit) (From My Soul LP - Melani From The Soul 2022)04. Wornell Jones - It Must Have Been Love (Wornell Jones LP - Paradise  Records 1979)05. Penny Wells - I Wanna Be More (You Are) (Single - Penny Wells/Frank McComb 2022)06. Donna Odain - Comfortable (Single - 4534489 Records DK 2022)07. STR4TA - (Bring On The) Bad Weather (Ft Anushka) (STR4TASFEAR LP - Brownswood 2022)08. Snowboy & the Latin Section - Mr. P.C. (Ritmo Snowbo LP - Acid Jazz 1989)09. Hil St. Soul - Fingerprints (Back In Love LP - Shanachie 2022)10. Gary Bartz - Keep Goin On (Bartz LP - Arista 1980)11. Swatkins - More To Learn (feat. Eric Krasno)(Friends and Other Necessities LP - The Positive Agenda 2022)12. Hil St. Soul - Love and Fire (Back In Love LP - Shanachie 2022)13. EVM128 Ft Omar - Beyond (Radio Edit) (Single - Studio Rockers 2022)14. Julian Jonah Ft Tamika - Now's The Time For Us (Izipho Soul 7" 2022)15. Letta Mbulu - Kilimanjaro (MJS 12" 1981)16. J.M. Silk - Music Is The Key (House Key) (DJ International 12" 1985)17. Pat Bedeau - Always (Atjazz Rec Co 2022)18. Smooth Soul Ft Platts - All In The Moment (Househead London 2022)19. Arnaud D feat Ed Ramsey - Love Will (Find A Way) (Original Mix) (Makin Moves 2022)20. Realm of House Ft Zhane - Same Mistakes (Arawakan Soul Mix) (Arawakan 2022)21. Reggie Steele Ft Gary Adams - This Feeling (Jersey Jazz Vocal) (New Generation 2022)22. Wez Whynt Ft Rona Ray - Different (Original Mix) (Quantize 2022)23. Lerato Ft MoreSoul - In Motion (Original Mix) (Vibe Show Music 2022)24. Key To Life - Forever (Neil Maclean Vocal Dub)(Promo 2022)25. Elements Of Life Ft Josh Milan - Let Us Shine (Vega 12" 2022)26. Matt D & Claudio Deeper Ft Anna-Marie Johnson - Lifting Me Higher (Body Heat 2022)

As broadcast October 27, 2022 with lotsa phantasms for you and you and you, boo.  Tonight we warm up for a very special presentation tomorrow, as Ghost Funk Orchestra is out with their latest album A New Kind of Love via Colemine Records' Karma Chief imprint.  Phantom mastermind Seth Applebaum will join us then for a two hour special tag team playlist with Danno, so we decided to preview a bit of what's to come Friday, which, like the album, is not to be missed.  For the closing hour, Dan Lloyd once again joins us with a bevvy of rock in tow, with highlights from Martha, LS Dunes, and Pile of Love being the highlights (and definitely do not miss the amazing albums out in rock tomorrow as well!)#feelthegravityTracklist (st:rt)Part I (00:00)The Velvet Underground – Venus In FursJaylib – The MessageMaston & L'éclair – SouvenirIronsides – SommerGhost Funk Orchestra – Quiet SoulGhost Funk Orchestra – A Song for Paul Part II (31:02)Ghost Funk Orchestra – Slow DownGhost Funk Orchestra – Cost of LivingLetta Mbulu – Pula Yetla Tito Rodriguez & His Orchestra – ExodusThe Rugged Nuggets – The Wait Is OverJoe Bataan – Ordinary Guy (Jazzanova Rework) Part III (58:41)Quicksand - FelizMartha – Please Don't Take Me BackWilco – One More Hour (Sleater-Kinney)Garbage – Witness to Your LoveLS Dunes – BombsquadFran – Limousine Part IV (88:44)Town Liar – Style and TitlePile of Love – Over & OutThe Damned – Wait For the Blackout (Live)Television Screams – Uncomfortably NumbRolling Quartz – Sing Your Heart OutJimmy Eat World – Place Your Debts 

Heritage Day today is being marked under the theme, "Celebrating the Legacy of Solomon Linda and South Africa's Indigenous Music". The theme pays tribute to the 60th anniversary of the passing of singer and song writer Solomon Popoli Linda. He is best known as the composer of the song "Mbube" which later became the popular music success "The Lion Sleeps Tonight" and gave its name to the world famous Mbube style of isicathamiya, a capella music. The genre has immensely contributed to the South African music landscape. Among other music icons that are also being honoured are Abigail Kubeka, Letta Mbulu, and Caiphus Semenya. We spoke to Dr Kathryn Olsen, Lecturer in Ethnomusicology, Musicology and Popular Music Studies at the University of KwaZulu Natal's School of Arts 

Guest: Thandiswa Mazwai | South African Rebel singer  See omnystudio.com/listener for privacy information.

A cura di Gigi Longo. Musiche: Roy Brooks & The Artistic Truth, Stanton Davis' Ghetto Mysticism, Andy Bey, Damon Locks Black Monument Ensemble, Hannibal Marvin Peterson, Archie Shepp, Sault, Philip Cohran And The Artistic Heritage Ensemble, Letta Mbulu, The New Rotary Connection,Eddie Gale, Sun Ra Arkestra.

MP3 Link Play via Mixcloud Andrew in the chair for this week's show, with a killer selection of disco, boogie, house, funk, afro, edits, reworks and loads more. Featuring tracks by Letta Mbulu, Blackway & Helene, Reverend P, Gloria Ann Taylor, Evelyn King, Rockers Revenge, Splash, Janet Kay, Gary's Gang, Jo Bisso and many, many more. Enjoy. RSS Feed: 6MS Sessions

Šiandien Vilniaus Gabijos gimnazijoje bus rodomas mokyklos jaunimo bendruomenės teatro „Alfonsas prie teatro“ miuziklas pagal Vytauto Kernagio kūrybą „Mažiau girių“. Kas paskatino sukurti tokį miuziklą? Atsakymo ieškome su režisiere Egle Meldaike.NFT yra gana naujas vardas vizualaus meno rinkoje, kasdien pritraukiantis vis didesnį susidomėjusių būrį. Įvairios jo išraiškos stebina savo išradingumu ir pasitelkiamomis technologijoms. Ekspertai prognozuoja, kad ši meno sritis ateityje tik augs. Plačiau apie tai – Aurimo Žukausko pasakojime.Muzika, išsiveržusi už Afrikos ribų. Muzika, šiandien padariusi įtaką ne vienam atlikėjui. O pati dainininkė šiandien sako norėjusi nedaug – kad jos dainas išgirstų afrikiečiai ir būtų žinoma, kad Pietų Afrikos muzika vis dar gyva. Dar ji norėjo grįžti namo – iš tolimųjų Jungtinių Amerikos Valstijų, į kurias teko išvykti dėl gimtojoje šalyje vyriausybės vykdytos rasinės segregacijos politikos. Letta Mbulu džiaugiasi, kad visą laiką darė tai, be ko neįsivaizdavo gyvenimo – dainavo. Plačiau apie Lettos Mbulu gyvenimo ir kūrybos vingius – Igno Gudelevičiaus pasakojime.„Iki šiol nesu girdėjusi nieko, kas tereminu grotų geriau ir gražiau nei Clara Rockmore“, – sako smuikininkė, dainininkė ir teremino atlikėja Katica Illenyi. Rytoj ji Kauno valstybinėje filharmonijoje pasirodys kartu su Kauno pučiamųjų orkestru „Ąžuolynas“, atverdama mums dar mažai pažįstamą Vilniuje gimusios teremino virtuozės Claros Rockmore pasaulį. Apie tai kalbėjomės su pačia Katica Illenyi ir kompozitore, Kauno santakos meno ir kultūros projektų vadove Zita Bružaite.Juvelyrika Giedrės Duoblės gyvenime nebuvo pirmasis pasirinkimas, tačiau jau kurį laiką sėkmingo prekės ženklo „57 Edges“ kūrėja savo kūrybinį potencialą įprasmina šioje srityje. Visai neseniai ji viešėjo unikaliuose Marinos Abramovič instituto rengiamuose kursuose, kuriuos galima pavadinti tikra „išgyvenimo mokykla“ – teko keturias dienas pamiršti apie maistą, mobiliuosius telefonus, atsigręžti į save ir netgi... skaičiuoti ryžius. Apie visą tai – pokalbis „Be kaukių“.Ved. Marius Eidukonis ir Rasa Murauskaitė

Best of dance and discomusic in 1981.Playlist:1. Rick James, Super Freak2. Pino D'Angiò, Ma quale idea3. Change, Paradise4. The B.B. & Q. Band, On The Beat5. Kool & The Gang, Get Down On It6. Eart, Wind & Fire, Let's Groove7. Inner Life, Ain't No Mountain High Enough8. Marvin Gaye, Love Party9. Letta Mbulu, Kilimanjaro10. Gilberto Gil, Coraçoes a Mil11. The Isley Brothers, Party Night12. Billy Ocean, Nights13. Taana Gardner, Heartbeat14. The Rah Band, Slide15. Brian Eno - David Byrne, The Jezebel SpiritZona Bianca, Radio Popolare, Milano. Ⓒ2021 Giordano Di Fiore

Pop 80 - the Best of 80sSpecial Episode: top dance & disco-music in 1981Playlist:1. Rick James, Super Freak2. Pino D'Angiò, Ma quale idea3. Change, Paradise4. The B.B. & Q. Band, On The Beat5. Kool & The Gang, Get Down On It6. Eart, Wind & Fire, Let's Groove7. Inner Life, Ain't No Mountain High Enough8. Marvin Gaye, Love Party9. Letta Mbulu, Kilimanjaro10. Gilberto Gil, Coraçoes a Mil11. The Isley Brothers, Party Night12. Billy Ocean, Nights13. Taana Gardner, Heartbeat14. The Rah Band, Slide15. Brian Eno - David Byrne, The Jezebel SpiritPop 80, Radio Popolare, Milano. Ⓒ2021 Giordano Di Fiore

IG: @gerry_thegov_brown Facebook: https://www.facebook.com/gerry.brown.963 My special guest today is Engineer/Producer/Composer - Gerry “The Gov” Brown. 14x Grammy Award Nominated 3x Grammy Award Winning Engineer/Producer/Composer Wins - BEST R&B ALBUM - Bigger Love - John Legend BEST CONTEMPORARY JAZZ ALBUM The Stanley Clarke Band They say you can hear a smile. That is most definitely true of our guest today, Gerry “The Gov” Brown - Engineer/Producer/Composer and 14x Grammy Award Nominated, 3x Grammy Award Winning, over 50 Gold Albums to his credit, he has worked with some of the greatest music artists in this lifetime. Driving into the studio today, I realized that much of the music he has engineered, produced, or played on are songs that define moments in my life through the years…The Soundtrack of a Life "The Gov" has worked with artists such as Whitney Houston, John Legend, Earth, Wind & Fire, Madonna, Sting, Prince, Stanley Clarke, Leon Ware, The Bee Gees, Trombone Shorty, Brandy, Joss Stone, TLC, Brian McKnight, Phil Collins, Kelis, George Clinton, Nappy Roots, Anastacia, Jill Scott, Buddy Guy, Jaguar Wright, Warren G, The Roots, Cameo, Common, The Bangles, Marcus Miller, Wayne Shorter, Roy Ayers, The Gap Band, Usher, Mary J Blige, Monica, Miguel, Letta Mbulu, Ledisi, Jonathan Butler, Mariah Carey, Victor Wooten, Babyface, Andra Day, Natasha Agrama, and Eddie Murphy. It truly is an honor to have Gerry on the show. IG: @gerry_thegov_brown Facebook: https://www.facebook.com/gerry.brown.963 #GerryTheGovBrown #JohnLegend #Grammys #GrammyWinner #ListenMore #evolve #music #soundengineer #producer

SINTONÍA: Chris McGregor's Brotherhood Of Breath "Funky Boots March"; The Heshoo Beshoo – “Emakhaya”; Okay Temiz/Johnny Dyani - “Elhamdulillah Marimba|Marimba”; Batsumi - “Mamshanyana”; The Ministers – “Ngena Mntan´am”; Christopher Columbus Feelings – “Oosoga”; Ntemie's Alexandra All Star Band – “Daddy Wami”; African Jazz Pioners – “Ten Ten Special”; Letta Mbulu – “Noma Themba” y Bea Benjamin – “In A Mellow Tone”. Escuchar audio

As broadcast June 25, 2021 with bonus miles for all podcast Capetown flyers.  We welcome our favorite local house DJ in Anelisa Ntoni, who hails from Cape Town, South Africa.  It's a shame we only met the last couple of months due to the pandemic because she's been fam since the moment we met her.  We'll be rocking some tunes at the next Creative Social next Saturday, July 3 so definitely book it to see the best live musicians in Gwangju all in one place!#feelthegravityTracklisting:Part I (00:00)WHAM! – Everything She Wants (The Reflex Revision)Ladysmith Black Mambazo – Lelilungelo Ngelakho (Percussion remix)Samthing Soweto – KwamampelaJazzanova feat Zakes Bantwini – In The MorningSio feat Dunn – Reverse FlightPart II (34:35)Letta Mbulu – What's Wrong with Groovin'Hugh Masekela – RiotMiriam Makeba – La Guinee GuineThandiswa – JikijelaZap Mama feat Erykah Badu – Bandy BandyJephte Guillaume – The Prayer Part III (65:41)Yussef Dayes – For My LadiesSimphiwe Dana – ZandisileFrank Ocean – Nights (Swell Remix)FKA Mash – MilestoneDwson – Luigi Part IV (95:44)Jabu Khanyile – Hiyo LentoRevolution – Vha VendaCuloe de Song feat Busi Mhlongo – Webaba340ml – Regents ParkKnucks - Home 

With tracks from Akofa Akoussah, Rupa, West India Company, The Kount, D.D.Sound, Deblas, Slave, T-Connection, Letta Mbulu, Saada Bonaire, Finesse, Sammy David Jr., Babla Orchestra Title Music, Biddu Orchesta, Los Valentinos, Pepe Lienhand and Chaka Khan. For complete tracklist visit: https://individualactiviti.es Follow Tsoulang here: https://soundcloud.com/tsoulang

durée : 00:59:40 - La plus belle Africaine - par : Nathalie Piolé - La playlist jazz de Nathalie Piolé. - réalisé par : Fabien Fleurat

La semaine passée, Nicky Blumenfeld, animatrice radio chez Kaya FM à Johannesburg, nous donnait des nouvelles de sa ville, qui, comme le reste du monde, souffre en ce moment d'une crise économique et culturelle.Elle revient aujourd'hui nous sortir de notre torpeur hivernale avec un Worldmix qui allie des figures emblématiques de la scène sud-africaine, (Brenda Fassie, Letta Mbulu) et des artistes plus récents comme Samthing Soweto et Bongeziwe Mabandla. Playlist « Réveil au bout du monde » Wizkid - No Stress Dele Sosimi - E Go BettaZaza - NduzangouCarlinhos Brown - Carlito MarronCantamarta - Lluvia (Daniel Haaksman Remix) Waro & Friends "Rest la maloya" Playlist Worldmix Brenda Fassie - Baxakekile OxamLetta Mbulu - Minha Roupa/Ka Meropa Samthing Soweto - Omama Bomthandazo (feat. Makhafula Vilakazi) Bongeziwe Mabandla - JikelezaMilton Gulli - CacimboEA Wave & Ami Faku - Ungowami (Sichangi Remix) Shamrock Guitor - The Pandemic Prayer (Fugees - Fu-Gee-La)Écouter le deuxième mix de Nicky Blumenfeld juste ici. Visuel © Bongeziwe Mabandla / Facebook See acast.com/privacy for privacy and opt-out information.

Letta Mbulu -Her story of her broke times in the US. Even legends have broke moments, that's why you must be smart with your money. See omnystudio.com/listener for privacy information.

Iced Misto traverses the globe delivering ill grooves from Shintaro Sakamoto, Letta Mbulu and Bosq, then shows love to banging future beats by Lnguage, Wantigga, and Jarreau Vandal. Plus honey tongued madness from Marley C, exquisite vibes from Manchester's KinKai, and Public Enemy's return on the star-studded "Fight The Power 2020". View the full playlist for this show at http://www.wefunkradio.com/show/1041 Enjoying WEFUNK? Listen to all of our mixes at http://www.wefunkradio.com/shows/

See omnystudio.com/listener for privacy information.

This week I continue our exploration of the movement for social justice as expressed in song. This constitutes not just the fight in the United States for racial and class equity but also the worldwide struggle against imperialism, focusing in particular on African and South American singing freedom fighters, including Miriam Makeba, Salif Keita, Youssou N’Dour, Letta Mbulu, Mercedes Sosa, Milton Nascimento, and Víctor Jara. Other artists heard include Marvin Gaye, Leontyne Price, Nanci Griffith, Frederica von Stade, Nina Simone, David Crosby, Pete Seeger, Marin Mazzie, Buffy Sainte-Marie, Jefferson Airplane, Sam Cooke, Joséphine Baker, Joan Baez, Tracy Chapman, Thunderclap Newman (whose song lends the episode its title), Harry Belafonte, Dawn Upshaw, Phil Ochs, Rosemary Clooney, Curtis Mayfield, and Mahalia Jackson, as well as number of present-day troubadors. Composers represented include Kurt Weill, Duke Ellington, John Adams, Silvio Rodríguez, Leonard Bernstein, Marc Blitzstein, Stephen Foster, Violeta Parra, Flaherty and Ahrens, Ary Barroso, and Caiphus Semenya. I address the spectrum of emotions that persons of conscience are experiencing right now, including despair, rage, anger, struggle, ending with faith, hope, and resolve. Don’t miss this episode! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great classical and opera singers of the past and present with the help of guests from the classical music field: singers, conductors, composers, coaches, agents, and voice teachers. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content. And please head to our Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford.

Ce samedi, direction l'Afrique du Sud pour un Voyage Immobile sous le signe de la danse. Avec des Reines : les Mahotella Queens, Letta Mbulu et Miriam Makeba, de la bubblegum disco qui fait décoller, du kwaito, des chorégraphies de Pantsula. Un programme complet pour, pendant une heure, changer d'univers. Playlist Miriam Makeba - Click Song (Live in Zaïre 1974)Lizzie Mercier Descloux - Où Sont Passées les GazellesMahotella Queens - KazetLetta Mbulu - NomalizoZizi Kongo - Come Duze Umoja - Money MoneyProfessor Rhythm - Professor 3Penny Penny - Shichangani BCUC - Yinde Sho Madjozi - John CenaDj Mujava - Township Funk Une émission produite par Sophie Marchand et réalisée par Sulivan Clabaut. See acast.com/privacy for privacy and opt-out information.

Nick Carling's Fruitful Radio Show - the music for this show was a spontaneous selection straight off the shelves of Fruitful HQ ... artists include John Martyn, Level 42, Sade, Talking Heads, King Crimson, Bembe Segue, Merry Clayton, D'Angelo, Blood Sweat & Tears, Creedence Clearwater Revival, Pleasure, Róisín Murphy, Donald Byrd, Letta Mbulu, Gwen Guthrie and lots more ...Catch Nick Carling's Fruitful Radio, LIVE every other Friday from 5 - 8 AM EST, in association with 1BTN Brighton.For a complete track listing, visit: https://thefaceradio.com Instagram: https://www.instagram.com/nick_carling_Twitter: https://twitter.com/djnickcarlingFacebook: https://www.facebook.com/fruitfulsoundsystemMixcloud: https://www.mixcloud.com/Fruitful_RadioWeb: www.fruitfulsoundsystem.comEmail: fruitfulradio@thefaceradio.com Support The Face Radio with Patreon See acast.com/privacy for privacy and opt-out information.

The spy who cried… Former South African spy boss, Moe Shaik, has just published an amazingly frank account of his life. Also, anti-colonial thinker Frantz Fanon not only loved football, he was a fine player too.Hosted by: Musawenkosi CabeGuests: Moe Shaik and Nigel GibsonEditor: Charles LeonardProduction: The Good PeopleSong: "Not Yet Uhuru" by Letta Mbulu

Podcast mensuel programmé et réalisé par Kim Giani. Durée : 60 minutes. Dégustation musicale dans un cadre privilégié. Service en terrasse toute l'année. Bienvenue ! Kim vous conseille la pizza du chef, truffée d'ingrédients savoureux, choisis avec soin par le pizzaïolo selon l'inspiration pop du jour ! 1) ebo taylor « love and death » 2) idris muhammad « could heaven ever be like this » 3) Letta Mbulu & Hugh Masekela « mahlalela » 4) the flying stars of brooklyn NY « my god has a telephone » 5) El Michels Affair « tearz » 6) the Beloved « sweet harmony » 7) herbert eimert « klangstudie II » 8) Daphné Oram « melodic group shapes II » 9) silver apples « you & I » 10) acid arab « nassibi » 11) NTE « buscabulla » 12) Entombed « drowned » 13) Richard Gotainer « le sampa » 14) alex rossi « tutto va bene quanda faciame l’amore » 15) Nick Mulvey « dancing for the answers »

Podcast mensuel programmé et réalisé par Kim Giani. Durée : 60 minutes. Dégustation musicale dans un cadre privilégié. Service en terrasse toute l'année. Bienvenue ! Kim vous conseille la pizza du chef, truffée d'ingrédients savoureux, choisis avec soin par le pizzaïolo selon l'inspiration pop du jour ! 1) ebo taylor « love and death »2) idris muhammad « could heaven ever be like this »3) Letta Mbulu & Hugh Masekela « mahlalela »4) the flying stars of brooklyn NY « my god has a telephone »5) El Michels Affair « tearz »6) the Beloved « sweet harmony »7) herbert eimert « klangstudie II »8) Daphné Oram « melodic group shapes II »9) silver apples « you & I »10) acid arab « nassibi »11) NTE « buscabulla »12) Entombed « drowned »13) Richard Gotainer « le sampa »14) alex rossi « tutto va bene quanda faciame l'amore »15) Nick Mulvey « dancing for the answers »

After a busy birthday weekend involving a surprise party, Musa is feeling a bit delicate, but he and Ryan try their best to answer the amazing questions sent in by you. Topics include: which league has been the biggest surprise so far, whether Mourinho might be best suited to international management, England's future midfield, Ole Gunnar Solskjær, recruiting from the Scottish Premiership, walking off the pitch as a response to racial abuse and much more. There's also a quick recap of the Women's Super League and Frauen Bundesliga, before playing out with Letta Mbulu. See acast.com/privacy for privacy and opt-out information.

In the late 70s and early 80s, many of the African countries' best musicians were guided by funk and soul. All over the world, disco music was growing harder and some movements appeared in several countries as South Africa, Nigeria, Cameroon or Kenya.. However because of the countries’ pariah status, the vast majority of this music was not heard outside the country, nor ever being released on vinyl abroad. “African Soul Safari” is a short route brought by NOOBY through some of these soul, boogie, afrodisco and funk tunes from Africa, with some artists as: Harari, Hotline, Jake Sollo, Don Laka, Zohra, Al Etto, Mavis Maseko And The Movers, Pasteur Lappe, Steve Monite or Letta Mbulu. Secuencia3Radio, enjoy the African sound!

In the Season 2 finale we welcome an all-star panel - Cory Townes, Janice Williams, Lauren Gesswein, Nick Fulcher, Brittany Spanos, Kai Acevedo and Reina - for a look back on 2018. We share peaks and valleys of our years; break down Cardi B's best moments and the messiness of Nicki's album rollout; and rate songs from Pusha T, Letta Mbulu and Tom Misch. Finally, we share dark stories from industry holiday parties and beyond. --- Support this podcast: https://anchor.fm/therapwritersshow/support

I start this episode of Ninth Wave Radio with a beautiful song by Roy Hargrove who recently passed at the age of 49. Discovered by Winton Marsalis, he went on to have a long career, win a grammy and contribute to some of the most influential hip hop album of all time. Rest in Peace.Later in the show I sit down with friend and collaborator Nick Wisdom from the group Potatohead People to talk about music, life, and our storied past in the local scene! Listen and enjoy!Music from Slakah The Beatchild, Common, Slum Village, B.Bravo, Mos Def, Letta Mbulu, A Tribe Called Quest & more!

The Foreign Music Episode! "Some of my favorite non-English jams. Don't be scurred! Expand your mind, down your spine and let it move your behind." - Mayer Tracklist: Lata Mangeshkar "Thoda Resham Lagta Hai" Amadou & Mariam "Sabali" Hitomi "Penny" Tohyama "Love is the Competition" Letta Mbulu "Nomalizo" Bembeya Jazz National "Wouloukoro" Marcos Valle "Samba de Verão" Osmar Milito E Quarteto Forma "Mandato" Los Mirlos "Sonido Amazonico" Ebo Taylor "Atwer Abroba" Los Brito "El 4-5-6" Acuario "Rema, Rema, Marinero" Bruni Pagan "You Turn Me On (Spanish)" Los Cuatro Soles "Mister Sandman" Lucio Battisti "Arrivederci A Questa Sera" Pino D'Angio "Lezione D'Amore" Sophia Loren & Armando Trovajoli "Tin Afto" Serge Gainsbourg & Jane Birkin "Ballade de Melody Nelson" Mayer Hawthorne "La javanaise"

Dagens gæst i Jazz & Co. er dokumentarisk fotograf Sofie Amalie Klougart. Vi skal tale om uromantisk kærlighed, virkelighedsfortolkninger og Agri Bavnehøj. På playlisten er Pharoah Sanders, Mulatu Astatke og Letta Mbulu. www.dr.dk/p8jazz

The Market Theatre is commemorating the life and works of late Gibson Kente in a musical tribute of songs from the plays he produced. Gibson Kente, also known as the father of township theatre died in 2004. The Gibson Kente Musical coincides with the 55th anniversary of Kente's first play, Manana, The Jazz Prophet, which featured celebrated musicians Caiphus Semenya and Letta Mbulu. Elvis Presslin spoke to one of the performers of the Gibson Kente Musical Thembisile Khumalo

Four countries and three continents with The Damned, Meat Puppets, Hugh Masekela with Letta Mbulu, The Equals, Pussy Galore, and La Dusseldorf. Also, Bob Nastanovich talks about his days sharing an apartment with David Berman and Stephen Malkmus in Hoboken.

Los Soleado bros se han emocionado con las marchas del pasado 8M y les ha inspirado a poner un puñado de temarracos del demonio que le flipará hasta a la nieta del caudillo: Letta Mbulu, Jane Weaver, Neşe Karaböcek, Ana Tijoux, Hinds, Alela Diane y Linda Hirst son solo algunas de las grandísimas que suenan esta semana.

"Groove your Soul", um programa dedicado à música soul, da autoria de Lucélia Fernandes. Para ouvir em direto, quintas-feiras, às 23 horas na Rádio Autónoma (http://player.radioautonoma.com/). À meia-noite, o podcast fica aqui disponível (http://groove.radioautonoma.com). Playlist: 01. Letta Mbulu - "Whats Wrong with Groovin" 02. James Brown - "People Get Up and Drive Your Funky Soul" 03. Marvin Gaye - "I Heard It Through the Grapevine" 04. Barry White - "Cant Get Enough of Your Love Babe" 05. Earth, Wind and Fire - "Lets Groove" 06. Prince - "I Feel for You" 09. Michael Jackson - "I Cant Help It" 08. DAngelo - "Feel Like Makin Love" 09. Erikah Badu - "Bag Lady" 10. Jill Scott - "Gettin In the Way" 11. Lauryn Hill - "Doo Wop (That Thing)" 12. Tupac - "Do for love" 13. Curtis Mayfield - "Move on Up"

This week's edition of the Megamix is a heartfelt one. Don dedicates this mix to the inspiring life of his late grandmother, who passed away at the age of 97 this week. Her incredible spirit and vitality were gifts to us all. May she rest in peace. Tracklist for June 7, 2017 01 :: Brenda Fassie - Baxakekile Oo'Xam 02 :: Minnie Riperton - Les Fleur 03 :: Air - Kelly Watch The Stars 04 :: G.C. Cameron - It's So Hard To Say Goodbye To Yesterday 05 :: Seu Jorge - Rebel, Rebel 06 :: Letta Mbulu - ...

An excursion in G-FUNK, BOOGIE, NEW YORK DISCO HEAT put together for the TUXEDO tour September 2015. We were support DJ's for the gig so we put together this mix to showcase some of the podcast to showcase the bad-arse sounds of the past which we feel have influenced 80's Boogie TUXEDO's sound. We cover some ground with this one; it features everything from West Coast G-FUNK, BOOGIE goodness, to classic New York DISCO HEAT & even a touch of South African DISCO thrown in for good measure too. The episode includes cuts from the likes of; Rick James, Dam Funk , Warren G, Dr Dre, Tuxedo, Nate Dogg, Zapp & Roger, Notorious B.I.G, Ultimate Touch, Nona Hendryx & Letta Mbulu just to name a few. Track List / INTRO WARREN G – G FUNK INTRO DR DRE – CALIFORNIA LOVE (Forgot about Dre - Edit) RICK JAMES – MARY JANE WARREN G FEAT – REGULATE TUXEDO – SO GOOD MTUME - PRIME TIME ANGELA WINBUSH - LOVE YOU MORE ZAPP & ROGER TROUTMAN – MORE BOUNCE ZAPP & ROGER TROUTMAN / NOTORIOUS B.I.G (EDIT) – GOING BACK TO CALI DAM FUNK – HOOD PASS INTACT MIDNIGHT STAR - I'VE BEEN WATCHING YOU TUXEDO – ROLL ALONG NONA HENDRYX - B-BOYS UNLIMITED TOUCH - SEARCHING TO FIND THE ONE SHALAMAR - RIGHT IN THE SOCKET THE NICK STRAKER BAND - A LITTLE BIT OF JAZZ MIDNIGHT STAR - OPERATOR SHIRLEY LITES - HEAT YOU UP (MELT YOU DOWN) JESSE G - THAT'S HOT (JOEY NEGRO EDIT) SKYY HERE'S TO YOU T-CONNECTION "DO WHAT U WANNA DO" (DJ SPEN'S RE EDIT) CANDIDO - JINGO LETTA MBULU - KILIMANJARO MIDNIGHT STAR - NO PARKING ON THE DANCE FLOOR UNFINISHED BUSINESS - OUT OF MY HANDS

Letta Mbulu - Normalizo Dj Edit By Petko Turner Buy Orginal Music Here: https://itunes.apple.com/fr/artist/letta-mbulu/id28473923 South African singer, born 23. August 1942 and raised in Soweto. Already as a teenager she toured as part of the King Kong musical ensemble but left for the USA in the sixties due to the political environment back home, teaming up with Harry Belafonte and Cannonball Adderley. Her voice can also be heard on the soundtrack of the successful TV series "Roots". Married to Caiphus Semenya, she returned to South Africa after 26 years of self-imposed exile.

Sopla un Aire Caliente de África en la península que seca las lágrimas así que hemos decidido que sople también en Soleado, en formato mixtape, sin palabras. Temarracos del demonio que vienen de África o de su influencia. Hugh Masekela con Letta Mbulu, Harari, La Orquesta Baobab y Amanaz. Viva Africa!

Be With Records is a London-based vinyl-only reissue label run by Rob Butler. With a broad, inclusive music policy and an emphasis on top notch sound quality, Rob has quickly established it as one of the most exciting reissue labels around. In the short space of time since May 2014 he's given a new lease of life to overlooked classics from the likes of Ned Doheny, Letta Mbulu and Nohelani Cypriano, as well as more well-known records by The Streets, Cassie and even Kylie Minogue that either never came out on vinyl or were going for silly money on Discogs. Ahead of next week's incoming Label Love feature, Rob's done an excellent label showcase mix for us. One take, all-vinyl, and a track from every Be With release - an impressive feat given the diversity of the catalogue!

Lassigue Bendthaus, Groove Armada, Portishead, Ceramic Hello, Sordid Sound System, Khidja, Torch Song, Beautiful Swimmers, Carly Simon, Higamos Hogamos, Turzi, Buggles, Rod Stewart, Twice a Man, MCL, Frak, 16 Bit, OFF, Imperiet, Poncho Brothers, Flora Orrery, Silver Boy, Jago, Dubious, Metro Area, UB40, Adamski, Wall $treet, Letta Mbulu, Little Dragon, Fatima Yamaha, Moments Lost, bob hund, Brassica, Pink Floyd, Ossler, Herbie Hancock, Harpo and more...

As the Macufe annual festival draws nearer, on this week's OPEN MIC our producer Asanda Ntame caught up with legendary musicians Caiphus Semenya and his wife Letta Mbulu. The pair are amongst various artists that will entertain thousands of music junkies in Bloemfontein during the main festival on the 10th of October. Kicking off from the 3rd of the same month and ending off with a soccer clash between one of the Soweto Giants, Kaizer Chiefs and Bloemfotein Celtics, the Macufe festival continues to draw crowds from across the country, including neighbouring SADeC countries such as Lesotho, Namibia and Mozambique

CliffCentral.com — Letta Mbulu is a global music icon and she is intertwined into the fabric of South Africa's musical heritage. This wife, mother and now grandmother talks to Phumi Mashigo about being a cultural ambassador for SA, raising children with a South African identity in exile, never forgetting home, as well as becoming a star!

MXO was born in Kwa-dwesi, Port Elizabeth in 1978. Singing began quite naturally for him as a young child growing up in the township and participating in both school choir and the scout choir. It was the musical legends such as Letta Mbulu, Hugh Masikela, Miriam Makeba as well as the social and political climate of the early 1980's that influenced the youngster and he was part of two groups - Black Power Crew and Lil Homies - that were in demand throughout Port Elizabeth. MXO just dropped his latests single Zinathi which he will be performing at the Baseline on September 11 alongside ROOTS 2000, Aphiwe Honono had a chat with this fella and started by asking what influenced him to pursue a career in music.

Ananta, Zoot Woman, AIR, The Company, Klaatu, Telex, Cosmic Metal Mother, The Edge, Goya, Daniel Savio, Grace Jones, Matt Bianco, China Crisis, 10cc, Robert Broberg, Eddie Meduza, Starbuck, Kreidler, Recoil, Chantal, FGTH, In Embrace, Sheila Chandra, Isolators, Nina Hagen, Dan Tillberg, Front 242, William Orbit, America, Dos Palos, Jimmy McGriff, The Clash, Tania Maria, Candy Flip, Letta Mbulu, Moody Blues, The Doors and more...

Before embarking on a one-week hiatus, Don dropped by the studio to lay down some soul and disco jams. There's some tasty licks in here, but how many exactly? Ask Mr. Owl. We've got some killer cuts on Mel Cheren's West End Records, legendary cuts from Cerrone and Letta Mbulu, and an awesome gem from noted Mike Huckaby supporter, Tony Orlando. Speaking of Orlando, Orlando Riva Sound (ORS) checks in with a killer mix with Tom Moulton called Moon-Boots. Listen and love! Swishen and lurve! Tracklist for July 22, 2015 01 :: Black Mamba - Vicious 02 :: Denroy Morgan ...

Tried though I might to have been the harbinger of Spring last Sunday, fairly inevitably seven days later I'm braced by wintry raw as I'm scudding down the Old Kent Rd. As I write the seasonal change seems to be trying to assert itself again,as nature endeavours to claw its way free from that cold embrace. Even so, around this time of year we tend to start anticipating Summer, contemplating the seemingly impossible shedding of layers, days on the beach, and nights filled with sweet festival sounds..... If you're thinking of heading anywhere this Summer look no further than the tremendous Southern Soul Festival in lovely Montenegro, the line-up is hard to resist.... Whilst the new website is under construction you can check the Facebook, still a few early bird tickets left, grab 'em!! https://www.facebook.com/events/299599816915683/ Whilst on such topics before we get in to the broadcast stuff, a couple more nights to check... A Friday night which bodes of great things... less than a 100 tickets left , so please come and join us if you feel the urge! https://www.facebook.com/events/809590672423254/ And next month there's a rare and maybe never to be repeated session featuring myself alongside my lovely Launette, back to back, in Manchester. https://www.facebook.com/events/1091302944229261/ So, Cosmic Jam..... I enjoyed this one; maybe sleep deprivation is good for me, having had to rise after an hour and a half's kip following another top session at Guzzo in Barcelona; it was the only flight available, at 9am! So I got back to Forge Towers, sorted a little tunage then retired to my pit for some not quite satisfactory shut-eye. Personally, I always find sleeping during the day disorienting, discombobulating and definitely not to be indulged in unless absolutely essential. It's just that it seems to take longer to wake up again, I hate that fuzziness! Of course after my jaunt down South on the bike I felt very much wide awake, and managed to stay focussed through the show; sometimes I hit a wall of fatigue, and doubtless sometimes that's pretty obvious in my delivery. First half hour freshness, female vocals, Nneka, Emily Saunders, Eska, Vanessa Freeman, Rhonda Thomas...actually the Eska track is from 2009, but easily as fresh as the rest. Good news is her album drops soon...at last, though I doubt it will have anything as obviously jazzy as this collaboration with Michael Olatuja. Latin, and harmony? At least so I dubbed the next section of the show. I must say I've been enjoying the Mambo/Descarga/Latin Jazz thing of late, not that I've ever fallen out of love with those hypnotic bass lines and rolling percussion grooves that are best described as by one of my old time record dealers, "dangerous dance music". He had a habit of scrawling on the back of record sleeves, thus diminishing their value considerably, and sometimes the letters DDM would appear next to a track title, just as they do on my copy of "Mighty Mongo". Bless you Brian! Suffice to say that the trio of tunes that closes this section, from Marvin Smitty Smith through Mongo Sanataria to Daniel Ponce are all deserving of the DDM tag. It's funny, but over the years I've observed that so many fans of Soul and Jazz (Fusion) who are avid vinyl buyers often steer clear of the Latin and Brazilian sections despite the pervasive influence of those rhythms and musical cultures in so much of the music they cherish (and buy). Maybe I'm just on the Latin Jazz tip at the moment as it's blatantly not trendy, African compilations, obscure South American or Brazilian funk and boogie, anything like that has got legs for the vinyl punter, but good old Latin (Jazz) barely gets a look in! Prior to that section of tunes the harmony, especially from Lambert Hendricks and Ross, Hendricks' Lyrics to Hi-Fly are hilarious especially when applied anachronistically to the modern hipster, though of course they were written for the original age of "jive cats". The O Quarteto track is sublime beyond words, it must be said the Brazilians have an incredible affinity with the art of harmony singing. Second half of the show and the back to back section is dominated by Quincy's epic Gula Matari which I usually balk at playing on account of its length. On Sunday night I just wanted to hear it again, and relished every note. It seemed to segué nicely out of Paul Horn's "Guinevere" and into Letta Mbulu's "Down By The River". The "funky folk"? tune that closes the section is a recent turn on, thank you Paul Hillery!! (ph on Mixcloud) Boogie to the top always seems to be my mantra for the final section of the show, for many reasons, staying awake, staying alive, keeping the groove, and generally banging the boogie. Hopefully this week's burst of dance-floor energy won't disappointment. 1. Nneka - Believe System 2. Emily Saunders - Summer Days 3. Michael Olatuja ft Eska. - Yi Yipada 4. Gomo ft Vanessa Freeman - Forever Love 5. Rhonda Thomas - I Love It 6. Arn Evans & Tradewinds - Sambatime 7. O Quarteto - Ceu E Mar 8. Lambert Hendricks & Ross - Hi-Fly 9. Marvin "Smitty" Smith - Salsa Blue 10. Mongo Santamaria - Sabor 11. Daniel Ponce - Oromi 12. Paul Horn - Guinevere 13. Quincy Jones - Gula Matari 14. Letta Mbulu - Down By The River 15. Bernie Leadon / Michael Georgiades Band - Callin' For Your Love 16. Tom Browne - Brighter Tomorrow 17. Bobby Humphrey - No Way 18. Samm Culley Band - Walk 19. The Sunburst Band - The Secret Life Of Us (The Reflex Revision) 20. Gwen Guthrie - Padlock

Captain Sky & Under The Shade "Super Sporm" EDIT Crazy Penis "Omega Man" (Paper) Letta Mbulu "Kilimanjaro" The Revenge Edit (Z) Bah Samba "Everybody Get Up" The Super-Phonics Instrumental (Favouritizm) Rotciv & Zopelar "This Cow" (Pizzico) Dimitri From Paris & DJ Rocca "Downtown" (Gomma) Francis Inferno Orchestra "Meet Me In Salt Lake City" Eddie C Mix (Under The Shade) Triangle Orchestra "The Strip" (Outergaze) Smoove & Turrell "Beggarman" Crazy P Mix (Jalapeno) Sanctuary "Disco Discouraged" Joey Negro Edit (Z)