10-CD Box (LP-Format) mit 216-seitigem gebundenem Buch, 296 Einzeltitel. Spieldauer ca. 752 Minuten. Auch wenn die amerikanische Linke der 30er und 40er Jahre nicht ihre gesetzten sozialen und ökonomischen Ziele erreichte, so hinterliess sie doch ein dauerhaftes Erbe: das Urban Folk Song Revival. Die engagierte politisch-revoltierende Musik der Almanac Singers und ihrer Vorgänger, Zeitgenossen und Nachfolger klingt heute noch in den Aufnahmen der aktuellen Singer/Songwriter nach. Die Jahre von 1926-1953 umfassend, stellt ´Songs For Political Action: Folk Music, Topical Songs And The American Left´ beinahe 300 extrem seltene Aufnahmen auf zehn CDs vor. Es wird ein umfassender Überblick dieser immer noch aktuellen Musik gegeben, speziell im Hinblick auf ihre Entstehung unter den fortschrittlichen städtischen Intellektuellen der 20er Jahre, den Arbeitergesangsvereinen und New Yorks gesellschaftsbewusster Theaterszene der 30er Jahre, bis hin zu den einflussreichen bahnbrechenden Aufnahmen der Almanac Singers. Weiterführend gibt es einen Überblick über die Kriegsjahre und den Idealismus der Nachkriegszeit, der People´s Songs und Henry Wallace´ Präsidenten Kampagne aus dem Jahre 1948. Diese die Bewegung verbindenden Höhepunkte wurden durch die zerstörerische anti-kommunistische Hysterie untergraben, worauf die Szene zersplitterte und sich viele der talentierten und engagierten Künstler verbittert zurückzogen. Dieses Set enthält ein 212-seitiges Hardcover-Buch im LP-Format, das die Ära und die in dieser Zeit produzierten Aufnahmen dokumentiert. DISC ONE: THE LEFTIST ROOTS OF THE FOLK REVIVAL Carl Sandburg, John Allison, Charles and Ruth Crawford Seeger, Aunt Molly Jackson, Sara Ogan Gunning, Tilman Cadle, John Handcox, Bob Miller, The New Singers and The Manhattan Chorus. DISC TWO: THEATER AND CABARET PERFORMERS: 1936-1941 Mordecai Bauman, Earl Robinson, Paul Robeson, Tony Kraber, Saul Aaron, Harrison Dowd and Josh White. DISC THREE: THE ALMANAC SINGERS: MARCH-JULY 1941 Songs For John Doe, Talking Union, Sod Buster Ballads, and Deep Sea Chanteys. DISC FOUR: FIGHTING THE FASCISTS: 1942-1944 The Almanac Singers, The Priority Ramblers, Songs Of The Lincoln Brigade, The Union Boys. DISC FIVE: WORLD WAR II AND THE FOLK REVIVAL Earl Robinson, Dooley Wilson, Sir Lancelot, Vern Partlow, Woody Guthrie and Cisco Houston, and Citizen C.I.O. DISC SIX: THE PEOPLE´S SONGS ERA: 1945-1949 Josh White, Lee Hays, Bob Claiborne, Bernie Asbel, Lord Invader, Brownie McGhee, Sis Cunningham, Malvina Reynolds, Bill Oliver, The Berries, Mario Casetta, Vern Partlow, Dick Blakeslee and others. DISC SEVEN: PETE SEEGER: 1946-1948 With Ronnie Gilbert, Lee Hays, Hally Wood and others. DISC EIGHT: CHARTER RECORDS: 1946-1949 Sir Lancelot, Goodson and Vale, People´s Songs Chorus, The Berries, Pete Seeger, Mario Casetta, Betty Sanders, The Weavers and The Peekskill Story. DISC NINE: CAMPAIGN SONGS: 1944-1949 1944 Roosevelt campaign: Earl Robinson, Josh White and Bill Oliver. 1946 F.T.A./Cannery Workers campaign: Vern Partlow and Mara Alexander. 1948 Henry Wallace/Glen Taylor Presidential campaign: Richard Huey, Royal Harmonaires, Abigail Alvarez, Paul Robeson, Michael Loring, Sis Cunningham, Bill Oliver, Malvina Reynolds, Sir Lancelot, Alan Lomax and others. 1949 mayoral campaigns: The Weavers, Hope Foye, Laura Duncan and others. DISC TEN: AN ERA CLOSES: 1949-1953 Camp Unity´s Freedom Theater, Gerald Gallant, Fred Hellerman, The Weavers, Ernie Lieberman, Hope Foye, Laura Duncan, Betty Sanders, Osborne Smith, Jewish Young Folksingers, Joe Glazer, Bill Friedland and Woody Guthrie.
(2017/Grooveyard Records) 13 tracks - Way-kool 8th studio disc by Blindstone, a mega-awesome heavy guitar rock power trio from Denmark who dig in deep and pay serious musical homage on their outstanding ´´Tribute To The Blues´´ disc entitled ´´Blues-O-Delic Celebration´´. Includes 13 tracks (58 Mins) of excellent, powerful, bad-ass, Blindstone-ized, riffage, mojo & grooves that rock the house down and shine a bright light on their blues/rock musical roots. The ´´Blues-O-Delic Celebration´´ disc features a blistering set of way-kool ´´cover songs´´ by the following musical blues artists: The Three Kings: BB + Freddie + Albert, ZZ Top, Leslie West, Rocky Hill, Guitar Shorty, The Gales Brothers, Shuggie Otis, Peter Green and Jimi Hendrix. Many of the tracks are obscure and unknown, all landing rock solid killer and make for a truly excellent musical power trio ´´Blues-O-Delic Celebration´´. Blindstone is fronted by the incredible six string talents of Martin J. Andersen, a legit modern day guitar hero. The man is a bad-ass, mojo rippin´, riff:master who raises the bar and waves his heavy guitar freak flag high. MJA is a true ´´Six String Renegade´´ on a mission to ´´Keep the Rock alive´´, a bright new hope in the face of real guitar rock music. Not only is he an amazing guitarist, Brother Andersen is also an excellent, soul-powered vocalist who delivers some of his strongest vocal performances to date on the ´´B.O.D.C.´´ disc. Blindstone also feature the awesome musical talents of Jesper Bunk on low-end bottom kool bass and Sigurd Jøhnk-Jensen on kick-ass drums, both excellent players who lock in and nail down the bad-ass, heavy Blindstone monster groove machine. As an added bonus on the killer version of ´´Hey Joe´´ that ends the new disc, Martin invites his Dad Jens and Son Magnus to jam on their guitars with him at this classic track. The end result features three generations having some serious, musical fun, celebrating a song that has very special meaning to all three guitar playing Andersens. We hope that you will enjoy this special generational guitar rock family celebration. It´s time to dig deep and ´´Rock Your Blues Mojo On The Killing Floor´´ with Blindstone on the essential, guitar rockin´ ´´Blues-O-Delic Celebration´´ disc. Highly Recommended to fans of Hendrix, Robin Trower, Frank Marino, Leslie West, Eric Gales, Joe Bonamassa and to people who dig and appreciate serious, blues-based, heavy guitar rock music.
Gebundene Ausgabe - 328 Seiten - Tracking Pop - 2010 - Englisch ´Wrestling clarity from the exuberant chaos of early rock ´n´ roll, Albin Zak´s I Don´t Sound Like Nobody redefines our understanding of the record in the shaping of the post–World War II soundscape. Zak tracks the story which extends from Bing Crosby and Frank Sinatra through Elvis and Buddy Holly to the Beatles and Bob Dylan with excursions into dozens of lesser known, but crucial, players in a game with few established rules. A crucial addition to the bookshelf.´ – Craig Werner, author of A Change Is Gonna Come: Music, Race & the Soul of America ´In Albin J. Zak III´s highly original study, phonograph records are not just the medium for disseminating songs but musical works unto themselves. Fashioned from a mix of copyright law, recording studios and techniques, the talent of musicians and disc jockeys, the ingenuity and avarice of producers, and the appetites of record buyers, the all-powerful marketplace Zak describes is an unruly zone where music of, by, and for the people is made and anointed.´ — Richard Crawford, author of America´s Musical Life: A History ´I Don´t Sound Like Nobody´ is a superb account of the transformation of American popular music in the 195os. Albin Zak insightfully explores what recording actually means in terms of the process of making and consuming music. His discussion of the legal, aesthetic, and industrial ramifications of changes in the recording process over the course of the 195os will make popu-lar music scholars and record collectors reconsider what they think they know about the period.´ Rob Bowman, author of Soulsville, U.S.A.: The Story of Stax Records ´From the birth of the record industry through the legacy of Presley, the devel-opment of rock and roll, and the Beatles ´stunning arrival on the world´s stage,´ Albin Zak takes us on a journey of exceptional scholarship. The breadth of cov-erage and deep examination of recordings and repertoire reveal the author´s reverence and sensitivity to the many dimensions and origins of this complex musical soundscape.´ William Moylan, author of Understanding and Crafting the Mix: The Art of Recording
(Rockin´ records) 15 tracks - In the opinion of many people, British Jimmy Justice is one of the most exciting singing discoveries in recent years. With a voice quality in a class of its own and a natural feel for rhythmic phrasinh, Jimmy proved that these were the right qualifications for success. After leaving school at fifteen, he worked for nearly two years as an automobile mechanic and followed this by working as a circulation representative for an American news magazine. He first came to the notice of Pye Records when a disc featuring him (and produced independently) was offered to the company for release. It was issued, but didn´t exactly set the world on fire. It did, however, make on important point: here was an artist with a lot of talent that needed just the right song to set him on the road to a successful career. Fifteen months and four records later, Jimmy Justice beat all opposition to get into the top five with a sing entitled ´When My Little Girl Is Smiling´. He then proved that he had really ´arrived´ by following his first hit with ´Ain´t That´ Funny and ´Spanish Harlem´. The result of this hat trick is the proud presentation of his first album. On this record Jimmy demonstrates his great versatility, from Rhythm and Blues to tender ballads, with brilliant, full orchestral accompaniment by Bob Leaper, in the familiar style of his hit singles. Bob has always written Jimmy´s arrangements and it is our opinion that he is the most promising young arranger in the business.
(Vee-Jay) 24 tracks (69:00) - No Group in the history of gospel music produced more stars than Alberta Walker´s Caravans . Among those who passed through the Chicago-based ensembles ranks during the ´50s and ´60s were Bessie Griffin. James Cleveland, Cassietta George, Inez Andrews, Dorothy Norwood. Shirley Caesar, and Loleatta Holloway. All, including Walker herself, went on to become important (and in several cases, major) solo gospel artists, with the exception of Holloway. now a dance music diva. The Caravans were organized in 1952 by Chicago native Albertina Walker and other former members of the Robert Anderson Singers. The group recorded for the local States label between 1952 and 1956, during which time Griffin, Cleveland (Walker´s childhood friend) and Norwood were members. By 1958, they had moved to Gospel, a subsidiary of Savoy Records, where their lineup included the statuesque shrieker Andrews and the diminutive firebrand Caesar. With this unbeatable combination, guaranteed to devastate audiences, the Caravans became the most popular female group in gospel. ´The great thing about the Caravans was their teamwork,´ Anthony Heilbut commented in his essential book, The Gospel Sound: Good News and Bad News (Limelight Editions, 1985) . ´They knew each other so intimately that they could easily predict each other´s improvisations...The Caravans were the hippest ladies in gospel.´ The group recorded five albums for Vee-Jay between 1962 and 1965. The two coupled on this compact disc-1962´s Seek Ye The Lord and 1963´s The Soul of the Caravans—were their first for the company. Personnel was consistent during their Vee Jay period: Walker, Caesar, George, Dolores Washington, Josephine Howard and pianist James Herndon. The program begins, not with the group, but with five solo performances by leader Walker. ´This,´ she explained at the time, ´is in answer to the many people who have asked me why I didn´t sing solo more often on our recordings.´ A commanding contralto, Walker is also featured on tracks 6, 13, 17, and 19, all with fervent backing by the rest of the group. James Herndon. the group´s pianist from 1962 to 1967, is featured on track 7, reprising the role of monologist previously assigned to Cleveland. Semi-operatic soprano Washington, a member from 1958 through 1967, makes a rather rare appearance as a soloist on tracks 10 and 24. as does the bluesy alto Howard, a member from 1962 to 1967 (and mother of current soul star Miki Howard), on track 18. The remainder of the selections are given over to the Caravans´ two star soloists of the Vee Jay period: Caesar and George. Born in Durham, North Carolina, Caesar began her career as a child, billed as: ´Baby Shirley,´ under which name she recorded for Federal in 1951. One of the most intense gospel performers of all time —´The energy transmitted between her and her audience makes most rock ´n´ roll fanaticism seem like empty piety,´ James Kelton observed in a 1977 San Francisco Examiner review she sang with the Caravans from 1958 through 1966 and is featured here on tracks 9, 12, 15, 16, 20, 21 and 22. Memphian George, whose down-home, yet elegant style betrays her roots in a female quartet, provides somewhat subdued contrast to Caesar. A member in 1954 and ´55 and again from around 1960 to 1965, George leads on tracks 8, 11, 14, and 23. When Caesar left the fold in 1966 to pursue evangelism and a solo recording career soon becoming the leading female vocalist in gospel, the Caravans lost their main drawing card. Within a matter of months, the others quit too. Walker formed another edition of the group (featuring Holloway), but it lasted only a few years. On occasion, however, Walker still calls together the old members for reunion concerts to recapture the spirit of the Caravans´ glory years, of which these Vee Jay recordings represent an essential part. (Lee Hildebrand)
(Rollercoaster) 4 tracks - small center - Sherry Davis met Gene Autry when she was taken to visit his house as a child, and from that day she wanted to be a singer. Success in Amateur Nights and Talent Shows led Sherry to singing on the Cowtown Round-Up where she met Smokey Montgomery who helped her join Texo Ted Gouldy´s Hired Hands about October 1949. The Hired Hands were effectively the Light Crust Doughboys in disguise and had a daily show on Radio WBAP, Fort Worth. About a year later Sherry switched to WBAP-TV´s Bewley Barn Dance which she co-hosted with Darrell Glenn, who was replaced by Pat Boone when Glenn went on the road to promote his big hit ´Crying In The Chapel´. Gene Autry encouraged Sherry to move to the West Coast about 1954. She recorded advertising jingles for American Music and played on the Foreman Phillips Show and Town Hall Party before becoming featured singer on the nationally syndicated Lawrence Welk TV Show. The American Music connection led to her disc debut ´God Speaks´/´Did You Stop To Pray This Morning?´ (Crest 1005). Sherry returned to Dallas in 1955 and was soon a regular on the Big D Jamboree playing alongside the biggest names in music. She also hosted KRLD-TV´s Opus ´56 show. In October 1956 Sherry became one of the very few artists ever to support a tour by RCA artist Elvis Presley; they played to over 60,000 people in 4 days. The following summer the Big D´s Ed McLemore and Johnny Hicks set up a recording session, financed by Ray Winkler (Radio KZIP, Amarillo), which took place in Norman Petty´s studio overnight July 25-26, 1957. Petty hired the musicians and it wasn´t until later that Sherry realised she´d been backed by Buddy Holly (lead guitar) and JI Allison (drums) who at the time were still a few weeks away from stardom with the Crickets. The other musicians were George Atwood on bass, Vi Petty on organ, the Picks (Bill & John Pickering and Bob Lapham) backing vocals and Jack Vaughan or Niki Sullivan on rhythm guitar. ´´Broken Promises´´ and ´´Humble Heart´´ made up the debut single on Winkler´s Fashion label (1001) in late August. Mitch Miller wanted to buy the masters for Columbia but the deal fell through when McLemore refused to relinquish the publishing rights; a devastating blow for Sherry as Miller would have been the perfect person to promote her career. The two songs have never been reissued until now and the original single is one of the highest priced discs to emerge from Texas. The two superb and previously unissued rockers on side one of this EP are a mystery. Sherry recognises her voice but cannot recall recording them. They were probably cut in Dallas about 1957. The classy backings may well be the Big D Jamboree houseband. Whatever the origins the two songs are among the best femme rockers to come out of Texas. This is just a little bit of Sherry Davis - further material by Sherry will appear on a forthcoming Rollercoaster CD, Highway 84. Sherry later worked the Holiday Inn circuit and then spent almost a decade as a Las Vegas headliner singing for lounge-pop genius Esquivel before retiring from music in 1971. It´s a pity we had to wait so long for Sherry´s first release in the UK, but maybe it´s not too late for her career to take off on this side of the Atlantic ....(John Ingman)
Taschenbuch - 256 - Hillsboro Pr - Englisch ´Nashville was beginning to be felt as a presence in the record industry, not just for its country product, but for R&B as well. I did everything I could to catch the brass ring. I worked at it night and day.´ Ted Jarrett Ted Jarrett has been a central figure in Music City´s rhythm & blues scene since the 1950s, working as a hit songwriter, musician, producer, label chief, artist manager, talent scout, and disc jockey. You Can Make It If You Try provides a fascinating and instructive look at one man´s drive to succeed in the world of music. In rich and frank detail, Jarrett and co-writer Ruth White describe the circumstances under which Jarrett discovered and nurtured top R&B talent. They introduce the numerous musicians, nightclubs, record labels, and radio stations on the scene; and they explain the inspirations behind Jarrett´s best-known songs. Jarrett´s autobiography also offers insightful look into the interaction of white and ´black musical cultures in Nashville, and shares the personal challenges he faced in pursuing a life of music. TED JARRETT is a graduate of Fisk University. His compositions were first recorded by Nashville R&B stars such as Gene Allison, Earl Gaines, and Christine Kittrell, and soon were covered by a wide variety of acts including the Rolling Stones, Webb Pierce, Ruth Brown, and Hank Ballard. Still active at age eighty, Jarrett continues to work as a songwriter, producer, artist manager, and label executive. He is at the heart of the Country Music Hall of Fame® and Museum´s 2004-05 exhibition and Grammy-winning companion CD, Night Train to Nashville: Music City Rhythm & Blues, 1945-1970. RUTH WHITE, a fifty-year veteran of the music business, has worked in all phases of Nashville´s music industry. A native of Nashville, she majored in music at Ward Belmont College and became a song plugger in 1947. She worked as a copyright administrator for a number of music publishing companies and managed Porter Wagoner Enterprises. After retiring as manager of Reed Music Incorporated´s recording, publishing, booking, and management operations, she began a writing career. She is the author of Every Highway Out of Nashville; Mecklenburg: The Life and Times of a Proud People; and The Original Goober. She is married to country musician and publisher Howard White
(Rollercoaster Records) 2 tracks 1956 - picture sleeve - small centerhole. - ´This is Rock Gunter from Denver, Colorado; my address is actually Golden, a town which nestles at the foot of the Rocky Mountains, which is about 18 miles from the heart of downtown Denver. Jukebox Help Me Find My Baby was cut in 1956 at the VVWVA studios in Wheeling, West Virginia-it´s a multiple dub recording, that is we didn´t have the benefit of recording on separate tracks as they do today; it was recorded with Buddy Durham beating on a box with a letter opener and I was playing guitar. Then I played guitar with a piece of paper wrapped around the strings to get the percussive sound and Bob Tuston of the Wilma Lee & Stoney Cooper Clinch Mountain Clan band was on bassfiddle. I used the Southern brogue in those days, I wasfrom Birmingham, Alabama, and I said ´jukebox hep me hep me hep me find my baby´. I leased the master to a little label called Cross Country-the record took off immediately in the North Eastern part of the United States and became the numberone record at WERE, where Bill Randle had a very popular radio show at the time. My old friend Sam Phillips got excited about it and through another friend, Nat Tannen, arranged for the original to be leased to the Sun record company. Well, I was delighted because I really thought I had something and I had done everything I knew to make a commercial recording. First of all it was a little ahead of its time-the song was about dope, ´some monkey took my baby, hooked my baby, shook my baby, showed mybaby round´. The story is about a gal going from honky tonk to honky tonk and she´s hooked and the guy, the singer-me-I´m looking for my baby; my baby´s hooked and she´s lost to me, so I am asking the jukebox to look for her as she comes round juking every night. Well, Sam got the masterand he called me to say it was great and how did I get the sound ´which was unreal´; I told him it was a little secret! Bill Randle was on a Mercury session or helped conduct a Mercury session with several artists-I believe the Crewcuts tried to record it and they worked all night trying to get the echo sound that I had with the wishywashy echo voice and the fantastic offbeat with the rhythm section. New York got excited and naturally in those days being a disc jockey at WWVA, I thought that if New York got excited the music world would get pretty enthused. Well, I got a call from Sam and he said, `Rock, the record´stoo long´ and all of a sudden my heart started to sink. I had put a rhythm sound on Jukebox by mouth; back in the old days we used to sit around down South and play nothing but a guitarand wash-board which is about the sound I got on the record. We´d sit around with the blacks in the back alleys picking and laughing as we´d call it, playing a little rhythm with different people beating on cigar boxes and one thing and another. I tried to imitate that type of sound by using a vocal effect which is the bass sound you hear on the record. Sam cut that out because it was too long and also another section towards the end where the rhythm section is rockin´ along and Bobby Tuston is playing bass, I´m playing guitar, Buddy Durham is whacking on the box and at the end of it you heard me say `Baby´- in shortening the record and cutting that out, I sincerely feel that through no plan we cut the hit right out of the record, and I´m happy that the original version has now been re-released by Rollercoaster. Anyway, I think this tune should have been a number one record in the United States at the time and . well, I think you would agree that it does move...´
1-CD Digipak (4-seitig) mit 32-seitigem Booklet, 17 Einzeltitel. Gesamtspieldauer ca. 61:55 Minuten • Die zweite Veröffentlichung in Crees kleiner CD- bzw. 2-LP-Serie mit jamaikanischen Interpretationen US-amerikanischer Soul-Nummern • Die perfekte Ergänzung zu ´Sly & Robbie Present Taxi Gang In Disco Mix Style 1978-87´ (CCD 1207 & CLP 1207) • Zusammengestellt von dem Reggae-Historiker Steve Barrow • Eine fantastische Zusammenstellung mit Aufnahmen von einigen der besten Sänger, DeeJays, Musikern und Produzenten aus Jamaica • Zu den Künstlern zählen u.a. Dave Barker, BB Seaton, Junior Byles, Augustus Pablo, Glen Adams, Willie Lindo, Lloyd Charmers, Cedric Brooks und Richard Ace • Linernotes von Steve Barrow und Noel Hawks, hervorragende Fotos von Dave Hendley • Lieferbar als Compact Disc und als 180-Gramm Vinyl-Doppel-LP Schon immer bildeten Coverversionen einen integralen Bestandteil der Musik Jamaikas. Sie sind der Beleg für die vielfältigen Einflüsse auf Reggae und die Anpassungsfähigkeit und Vielseitigkeit der Sänger, Musiker und Produzenten sowie ihre Art, Musik zu machen. Alles war und ist möglich und Bestandteil einer großartigen Mischung. Entscheidend bleibt jedoch, was Reggaesänger, -musiker und –produzenten mit den Quellen anstellten und was schließlich diese Coverversionen so besonders und überlebensnotwendig machte. In manchen Fällen haben ihre Versionen einen langen Weg zurück gelegt und das Original ist kaum zu erkennen. Diese von dem Reggaeexperten Steve Barrow zusammengestellte Edition demonstriert nicht nur den massiven Einfluss US-ameriknaischer Soul- und Disco-Veröffentlichungen auf Musik aus Jamaika. Sie stellt darüber hinaus die gesamte originelle Herangehensweise der jamaikanischen Meister ins Rampenlicht. Die Einzeltitelliste liest sich wie eine Auflistung einer sorgfältigen Auswahl der ewig besten jamaikanischen Sänger, DeeJays, Musiker und Produzenten. Der erste Titel stammt von einem Musiker, der als einer der ersten den Weg in die internationalen Charts fand. 1971 landete der unnachahmliche Dave Barker, eine Hälfte von ´Dave & Ansel Collins´ mit Double Barrel einen weltweiten Hit, der von zwei amerikanischen Songs inspiriert war: The Funkie Moon von Smokey Johnson & Company und Party Time von Ramsey Lewis. Dave war gleichermaßen talentiert als Sänger und als DeeJay. Beide Seiten dieses großartigen Künstlers finden sich auf dieser Zusammenstellung wider. Erfolgreiche und erfahrene Sängerkollegen wie John Holt, Alton Ellis und seine Schwester Hortense, BB Seaton und Junior Byles stehen hier Seite an Seite mit dem großartigen musikalischen Können von Augustus Pablo, Glen Adams, Willie Lindo, Lloyd Charmers, Cedric Brooks, Richard Ace und Beispielen für die DeeJay-Szene Jamaikas, repräsentiert durch Dillinger und den schon erwähnten Dave Barker. Die Zusammenstellung schließt mit einem Beispiel für den damals soeben im Entstehen begriffenen ´Dance Hall Style´ von Phillip Frazer, ´´scharf wie eine Rasierklinge”, der zwei Hits der Manhattans mit dem ´One Step Beyond´-Rhythmus verband. Schon immer hatten sich kreative Musiker aus Jamaika auf US-amerikanische, kubanische und gelegentlich sogar britische Elemente bezogen, um den Zauber in ihrer Musik zu entfachen. Auf diese Art und Weise entwickelten sie ihre weltweit anerkannte eigene musikalische Sprache. Unfassbar, bedenkt man die holprigen Anfänge und Bedingungen. Wie die Wurzeln der Menschen Jamaikas, deren Motto ´´out of many, one people´´ lautet, so liegen auch die Urspünge jamaikanischer Musik eingebettet in den Klängen von Anderswo. Doch als aus Wurzeln Bäume mit Ästen wuchsen, verbreiteten diese sich ebenfalls weltweit. Die daraus resultierenden Auswirkungen sind von außerordentlicher Bedeutung für die Musik der letzten vierzig Jahre. Ihr weltweiter Einfluss hat längst die Ursprünge überdeckt und verdrängt: mächtige Soundsysteme, Dub (der ´Remix´); MCs und Deejays aus Jamaika (Rap). In Wirklichkeit wurde das gesamte Übertragungssystem von ´Dance Music´ in jamaikanischen Tanzhallen entwickelt, wobei der Begriffe ´Halle´ eher fehl am Platz ist, da es sich zumeist um ´Open Air´-Veranstaltungen handelte, wo man, wie es Josie Wales formulierte, ´´you could skank your life away…´´. Sowohl die CD- als auch die Vinylausgabe werdenin den Booklets von ausführlichen Textabhandlungen und historischen Linernotes von Steve Barrow und Noel Hawks sowie hervorragenden Fotografien von Dave Hendley begleitet. Diese Veröffentlichung ist mit großem Respekt und