Joan Armatrading – Classics, Vol. 21 (1987)

FrontCover1Joan Anita Barbara Armatrading is a Kittitian-English singer-songwriter and guitarist.

A three-time Grammy Award nominee, Armatrading has also been nominated twice for BRIT Awards as Best Female Artist. She received an Ivor Novello Award for Outstanding Contemporary Song Collection in 1996.

In a recording career spanning nearly 50 years, Armatrading has released 20 studio albums, as well as several live albums and compilations.

She’s a little long-winded, but that’s mostly because she puts so much thought into her relationships, which in turn is because she puts so much feeling into them; this is one of those rare pop stars who’s invariably serious but never pompous, which is why she isn’t a bigger star. (Christgau’s Record Guide: The ’80s (1990))Armatrading possesses the vocal range of a contralto. Her music draws on a wide range of influences including rock, folk, jazz, blues, soul, and reggae.

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Her songs have been described as “some of the most deeply personal and emotionally naked … of our times”. In a 2003 interview, she said: “My songs aren’t about me at all. They’re always about love, the pain and anguish of it. But the way I’ve always written is from observation. They’re about what I see other people going through. If the songs were about me I’d be so embarrassed I don’t think I’d be able to walk out the front door.” She went on to say: “the optimistic songs reveal a bit more of me because that’s how I feel. I’m definitely a ‘glass is half full’ kind of a person.” Many of her lyrics do not specify the gender of their subjects and she frequently uses the word “you” rather than a gender pronoun. (wikipedia)

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And here´s a low-budget sampler, but a real nice and good sampler.

If you like to discover a real fine and wonderful musician … listen and enjoy … more will come !

But this album really deserved a better cover !


Joan Armatradin (vocals, guitar)
many, many studio musicians


01. Show Some Emotion (1977) 3.33
02. Cool Blue Stole My Heart (1975) 5.31
03. Love And Affection (1976)  4.28
04. The Weakness In Me (1981) 3.34
05. Rosie (1979) 3.15
06. I’m Lucky (1981) 3.07
07. Drop The Pilot (1983) 3.42
08. Down To Zero (1976) 3.52
09. Kind Words (And A Real Good Heart) (1986) 3.50
10. Whatever’s For Us, For Us (1973) 2.14
11. Willow (1977) 4.06
12. Me Myself I (1980) 3.21
13. (I Love It When You) Call Me Names (1983) 3.28
14. All The Way From America (1980) 4.53
15. Back To The Night (1975) 4.06
16. When I Get It Right(1981) 2.52
17. Heaven (1983) 4.44
18. Temptation (1985) 3.58

All songs written by Joan Armatrading



The official website:

Les 4 Guaranis – 2ème Récital (Chants Et Danses D’Amerique Latine) (1954)

FrontCover1The first recordings of the “Guaranis” with BAM and Barclay are those of the ensemble that arrived in France in 1951 with the Ballets de l’Amérique Latine of Joaquin Perez Fernandez: Cristóbal Cáceres (1917-1995), Angel Sanabria (-1985), Gerardo Servin (harp; 1921-2011) and Francisco Marin (1919-2008). Before their arrival in France, the artists were in Buenos Aires, where they had been members of Felix Pérez Cardozo’s ensemble in 1947. It is Mauricio Cardozo Ocampo who proposes to Joaquin Perez Fernandez these artists for his ballet and the tour in Europe. In France, the “Trovadores Guaranies” of the Ballets show change their name to “les 4 Guaranis” and record their first albums with BAM. The “4 Guaranis” are soon 5 with the French dancer Florence Darband, wife of Francisco Marin. They then recorded with Barclay and the name “Les Guaranis”.

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In 1955, the artists split up and created different ensembles. He lent the discography of Cristóbal Cáceres’ ensemble here. Francisco Marin is left alone with his wife Florence and the dancer Paco Sanchez, and Barclay asks him to change the name of the group to “Les Guaranis de Francisco Marin”. The other members of this group changed in the following years (Lorenzo Leguizamon, Nenequita Cáceres, Armando Rivero, Pedro Leguizamon, Ignacio Alderete, Virgilio Rojas, Romano Zanotti, Milton A. Zapata,…). Ramon Romero,…). Listing the artists on the discs is a difficult thing to do: those who appear on the covers are not always those who sing on the disc. The same record can include different artists. So we find songs of the 4 Guaranies on later albums. For this reason, I have grouped together all the Barclay records of the “Guaranis” and “Guaranis de Francisco Marin”.

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And here´s their second album with traditional folksongs from Argentinia.

A real nice addition to every World Music collection … Unadulterated music from a distant continent.

Enjoy it !


Cristóbal Cáceres – Angel Sanabria – Gerardo Servin – Francisco Marin

Alternate edition:
Alternate Edition

01. Che Lucero Aguai’y (Traditional) 2,24
02. Hasta Otro Dia (Thormo) 2.08
03. Llegada (Cardozo) 2.25
04. Ay Para Navidad (Villar) 2.00
05. Burrerita Mayans (Cardozo) 3.31
06. Zamba De Mi Pago (Avalos) 3.24
07. Que Bonito Es El Carmelo (Herrero/Parada) 2.44
08. India (Flores) 4.17
09. La Tropilla (Chazarreta) 1.56
10. Virginia (Mongolez/Chase) 2.31
11. Vidala Del Culampaja (Acosta/Villafane) 4.13



Paolo Conte – 900 (1992)

LPFrontCover1Paolo Conte (born 6 January 1937) is an Italian singer, pianist, composer, and lawyer notable for his grainy, resonant voice. His compositions are evocative of Italian and Mediterranean sounds, as well as of jazz music and South American atmospheres.

Paolo Conte was born in Asti, Piedmont. His parents were avid jazz fans and Conte and his younger brother Giorgio spent their formative years listening to a lot of early jazz and blues recordings. After obtaining a law degree at the University of Parma, Conte started working as an assistant solicitor with his father, simultaneously pursuing his musical studies. He learned to play the trombone, the vibraphone and the piano,[1] and formed a jazz band with his brother on guitar. Conte’s skill for composing music and original arrangements was noted by music producer Lilli Greco, who paired Conte with lyricist Vito Pallavicini. They wrote songs for Adriano Celentano (“Azzurro”, 1968), Caterina Caselli (“Insieme a te non ci sto più”, 1968), Fausto Leali (“Deborah”, 1968) and Enzo Jannacci (“Messico e nuvole”, 1970). In 1974 Conte recorded his first album, Paolo Conte. The following year, he released another eponymous album. Following a series of well-received shows at Club Tenco in Sanremo in 1976 and the commercial success of his third album, ‘Un gelato al limon’, Conte concentrated almost exclusively on his solo career.


Some of Conte’s most popular songs have been used as film soundtracks, including “Come Di” in I Am David (2003) and Mickey Blue Eyes (1999), “Via con me” in French Kiss (1995), Mostly Martha (2001) and Welcome to Collinwood (2002). In addition, Conte’s song “L’orchestrina” is featured during the end credits for episodes 3 and 4 of the television series The New Pope (2020). In 1997 Conte won the Nastro d’Argento for Best Score for the film La freccia azzurra.


On 24 March 1999, Paolo Conte was awarded with the Knight Grand Cross of the Order of Merit of the Italian Republic, by President Giorgio Napolitano for his “outstanding cultural achievements”. On 15 May 2001, France ordered Paolo Conte Chevalier dans l’Ordre des Arts et des Lettres. In 2015, Conte was awarded a Premio Galileo for contemporary music.

Has also received several honorary doctorates, including one from the University of Macerata (1990) (wikipedia)

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And here´s his 14th album:

The musical lawyer from Asti goes on another nostalgic journey of discovery. His destination is the “900” (“Novecento”), the “Twentieth Century”, more precisely: the time of elegant entertainment in the European metropolises. The gentleman from the Mediterranean Piedmont has absorbed tango fever, swing and French chanson like an elixir of life since childhood – and he passes this inspiration on to his audience in fascinating performances. After Paolo Conte wrote love letters on the typewriter for his last work (“Parole D’Amoure Scritte A Macchina”), this time he reached for the fountain pen again. The accompaniment of the 13 new chansons obeys the acoustic purity rule. Only a synthesiser is occasionally allowed to intersperse flat harmonies, otherwise double bass, bandoneon, saxophone, vibraphone, guitars and violin create an ideal framework for the rhetoric of this fabulous man in his mid-fifties, who embellishes his wild dreams with imaginative linguistic images. 900″ does not contain compositional masterpieces like “Aquaplano” or “Azzurro”. But that does not detract from the enigmatic magic of this music. From the Dixie arrangement for “Gong-Oh” to the contemplative finale with the double bass-supported “Do Do”, there is a wide stylistic arc. Conte whispers and scratches his way through the lines of verse in his inimitable manner, miming the grief-stricken senior as well as the risk-taking airhead. Here is an original at work that has become rare in the European music scene. (Stereoplay Magazine)


If you like, you can breathe the air of a circus or a fairground, cuddle with your cuddly beloved or tango in a jazz bar at blue hour, brood over your umpteenth whisky alone and forlorn at dawn or ponder on a park bench in the sunshine. Italian chansonnier Paolo Conte conveys such and similar moods with a smoky voice and this time again without any synthetics. So double bass, piano, sax or accordion can swing all the more sensual and relaxed. (Audio Magazine)


Paolo Conte (vocals, piano, kazoo)
Daniele Di Gregorio (drums, percussion, vibraphone)
Davide Di Gregorio (saxophone)
Leo Martina (synthesizer)
Eleonora Nervi (bass tuba)
Daniele “Pirri” Dall’ Omo (guitar, ukulele, trumpet on 01.)
Massimo “Max Pitz” Pitzianti (bandoneon, accordeon, saxophone, clarinet)
Jino Touche (bass)
Massimo Barbierato (violin)
Roberto Caviglione (viola)
Claudio “Dado” Dadone (guitar on 07.)
Sergio Gavioli (violin)
Luciano Girardengo (violoncello)
Marc Laferrière (saxophone on 08.)
Renzo Marino (guitar on 07.)
Massimo Dall’Omo (drums on 10.)
James Thompson (saxophone on 11.)
Jino Touche (vocals on 13.)


01. Novecento 3.35
02. Il Treno Va 3.43
03. Una Di Queste Notti 3.16
04. Pesce Veloce Del Baltico 3.49
05. La Donna Della Tua Vita 3.35
06. Per Quel Che Vale 3.48
07. Inno In Re Bemolle 3.14
08. Gong-Oh 3.17
09. I Giardini Pensili Hanno Fatto Il Loro Tempo 3.30
10. Schiava Del Politeama 3.21
Chiamami Adesso 2.56
12. Brillantina Bengalese 3.14
13. Do-Do 3.13

All songs written by Paolo Conte



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More from Paolo Conte:

Various Artists – Authentic Music Of The American Indian (1997)

FrontCover1Native American music, music of the indigenous peoples of the Western Hemisphere. The Americas contain hundreds of native communities, each with its own distinctive history, language, and musical culture. These communities—although united in placing music at the centre of public life—have developed extraordinarily diverse and multifaceted performance traditions. This article provides a general introduction to Native American musics with treatments of the roles of music in culture, musical styles and genres, musical instruments, music history, and the study of American Indian musics.

Generalizations about the relationship between music and culture in Native American communities are gleaned from musical concepts and values, the structure of musical events, and the role of language in song texts. Musical concepts and values encompass ideas about the origins and sources of music, as well as musical ownership, creativity, transmission, and aesthetics. Each community’s musical concepts and values develop over time through complex social and cultural processes. These concepts and values reflect broader ways of thinking and therefore offer important insight into general patterns of culture. Native peoples differ in the degree to which they discuss musical concepts. But even for the peoples who do not verbalize musical ideas, underlying conceptual structures exist and may be perceived by observing musical practice. Despite the great diversity of American Indian peoples, general features of Native American musical concepts and values may be summarized.

Densmore recording Blackfoot Chief, 1916:
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Native Americans trace the ultimate origin of their traditional music to the time of creation, when specific songs or musical repertories were given to the first people by the Creator and by spirit beings in the mythic past. Sacred narratives describe the origins of specific musical instruments, songs, dances, and ceremonies. Some ritual repertories received at the time of creation are considered complete, so that by definition human beings cannot compose new music for them. But many occasions are suitable for new music; this music may be received in a variety of ways. For example, shamans and other individuals may experience dreams or visions in which spirit beings teach them new songs, dances, and rituals. (See also shamanism.) Many Indian communities learn new songs and repertories from their neighbours and have a long history of adopting musical practices from outsiders. Yet in every case, the music is a gift that comes from beyond the individual or community.

Men’s turtleshell rattle, made by Tommy Wildcat (Cherokee-Muscogee-Natchez):
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Some Native Americans consider songs to be property and have developed formal systems of musical ownership, inheritance, and performance rights. On the northwest coast of North America, the right to perform ancestral songs and dances is an inherited privilege, although the owner of a song can give it away. Peoples of northwestern Mexico believe that certain songs belong to the shaman who received them in a dream, but after his death those songs enter the community’s collective repertory. Other communities believe that specific pieces of music belong to an ensemble or to the entire community and should not be performed by outsiders without specific permission. Music has intrinsic value to individuals, ensembles, and communities, and performance rights are granted according to principles established by the group through long practice.

Chasi, a Warm Springs Apache musician playing the Apache fiddle, 1886,
photo by A. Frank Randall:
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New music is provided each year for specific occasions in some communities. An individual may have a vision or dream in which he or she learns a new song; the song may be presented to the community or retained for personal use. More often, however, musical creativity is a collective process. For example, members of native Andean panpipe ensembles compose new pieces through a collaborative process that emphasizes participation and social cohesion. Certain musical genres, such as lullabies or songs for personal enjoyment, are improvised. Where new ceremonial songs are not composed because the repertories are considered complete, individual song leaders exercise musical creativity by improvising variations on traditional melodies or lyrics within accepted parameters. The creation and performance of music are dynamic processes.

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Musical transmission involves the processes of teaching and learning that preserve songs and repertories from one generation to the next. Native Americans transmit music primarily through oral tradition. Some genres, such as social dance songs, are learned informally through imitation and participation. Other genres require more formal teaching methods. For example, the Suyá people of Brazil teach boys how to sing certain songs as part of their initiation; the boys learn and practice songs under adult supervision in a special forest camp a short distance from the village. Songs for curing rituals are often learned as part of a larger complex of knowledge requiring an apprenticeship; the student receives direct instruction from an experienced practitioner over the course of several years. Some communities have developed indigenous systems of music notation, but these are used by experienced singers as memory aids, not as teaching tools. In the 21st century, it is common for Native Americans to supplement oral tradition with the use of audio and video recordings for teaching, learning, and preserving traditional repertories.

The original Box frontcover with 3 LP`s:

Aesthetics, or perceptions of beauty, are among the most difficult concepts to identify in any musical culture. Native Americans tend to evaluate performances according to the feelings of connectedness they generate rather than according to specifically musical qualities. Some communities judge the success of a performance by how many people participate, because attendance demonstrates cultural vitality and active social networks. Where musical performance is meant to transcend the human realm, success is measured by apparent communication with spirit beings. Where music and dance represent a test of physical strength and mental stamina, success is appraised by the performer’s ability to complete the task with dignity and self-discipline, demonstrating commitment to family and community. Regardless of the specific criteria used to evaluate performance, musical designs that employ repetition, balance, and circularity are appreciated by American Indians because they resonate with social values that are deeply embedded in native cultures. (


And here´s an interesting compilation of the music auf America´s natives … new sounds for my ears … but of course an important part in the history of music !

This compililation war originally released in 1971 as a part of a 3 LP box.


01. Cheyenne: Fast Cheyenne War Dance 2.05
02. Ponca: Ponca Helushka Dance 2.52
03. Sioux: Fast Sioux War Dance 2.05
04. Arikara: Arikara War Dance 1.44
05. Arikara: My Enemy, I Come After Your White Horse 1.22
06. Cheyenne: Fast Cheyenne War Dance 2.38
07. Omaha: Omaha Helushka 2.19
08. Ponca: Ponca War Dance 1.45
09. Taos: New Taos War Dance 2.35
10. Kiowa: Kiowa Slow War Dance 2.40
11. Kiowa: Kiowa Fast War Dance 1.24
12. Unknown Artist: Bloody Knife’s Warrior Song 1.34
13. Sioux: Chief’s Honoring Song 2.50
14. Navajo: Navajo Hoop Dance Song 2.19
15. Navajo: Navajo Gift Dance Song 1.41
16. Crow: Crow Push Dance Song 2.36
17. Pawnee: Pawnee Hand Game Song 1.21
18. Shawnee: Shawnee Stomp Dance 2.39
19. Unknown Artist: 49 Dance Song 2.43
20. Ute: The Bear Dance 3.05
21. Apache: Sun Dance Song (I) 2.34
22. Northern Arapahoe: Sun Dance Song (II) 2.51
23. Ute: Ute Sun Dance 2.10
24. Zuni: Zuni Buffalo Dance 3.29
25. Hopi: Hopi Basket Dance 2.06
16. Paiute: Ceremonial Song 3.16




Juan Carlos Caceres & Malon – El Camino Dale Negro (1972)

FrontCover1Juan Carlos Cáceres (4 September 1936 – 5 April 2015) was an Argentine musician.

Born in the 1930s in Buenos Aires, Juan Carlos Cáceres became intimately involved with the existentialist movement that thrived in the city during the years of his youth. Cáceres was an accomplished jazz trombonist by his mid-twenties, and though he studied fine arts at the university rather than music, he quickly became a fixture in the Buenos Aires jazz community. He became a mainstay at the Cueva de Passarato jazz club, which was not only an important musical venue, but a gathering place for revolutionary and existential thinkers. In the late ’60s Caceres relocated to Paris, where he engaged in a wide variety of artistic pursuits, including painting, producing, teaching, and above all, playing.


During this period, he became an expert on the music surrounding the Río de la Plata – styles such as tango, milonga, murga, and candombe. His musicianship flourished as he earned a reputation not only as a proficient trombonist, but as a pianist, vocalist, and songwriter as well. His debut record, entitled Sudacas (this is not true  (*)), was released on the French/American label Celluloid Records. His second release, Tocá Tangó, was deeply influenced by his studies on the African origins of tango and its relationship with murga and candombe. It featured a non-traditional, fusion-oriented ensemble and the stunning candombe compositions “Tango Negro” and “Tocá Tangó.” His fourth original release, Murga Argentina, found a home on the Mañana Music label. Caceres’ 2007 release Utopia was the first to earn him the moniker The Lion, heralded as a triumph of both performance and musicology..

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His interest in the various styles of tango led him to start other projects in widely different formats than his more percussion-guided solo records. He also founded the more traditional “golden age” tango group París Gotán Trío, along with Sedef Ercetin on cello and Sasha Rozhdestvensky on violin. He also started a project in the increasingly popular electronic tango genre, Maquinal Tango.

He died of cancer at his home in Paris on 5 April 2015 at the age of 78. (wikipedia)

(*) And here´s his second album with his first group called Malon … and this is not only a very rare album, but a exellent album.

A wonderful and  great mixture ofRock, Latin, Funk / Soul, Pop … a superb album with many influences by Carlos Santana.and his sound fro the early Seventies..

And I add a single from him from this period … with a strange daption of a Mozart piano concert (KV 467) and another great tune with this Santana touch)


Miguel Abuelo (guitar, percussion, vocals)
Juan Carlos Caceres (vocals, piano, flue, percussion, flute, trombone, trumpet, xylophone, mbira)
Serge Chauveau (guitar, vocals)
Henri Géniaux (bass, vocals)
Stéphane Habert (piano, percussion)
Jean-Paul Proix (percussion, vocals)

Single (German edition):

01. Dale Negro (Caceres) 3.43
02. Noche Negra (Proix/Caceres) 3.01
03. Love Me Now (Chauveau) 4.04
04. Excusa (Caceres) 3.15
05. Vamos Juntos (Caceres) 3.43
06. El Camino (Caceres) 4.11
07. Shunko (Caceres) 3.01
08. Go Home (Caceres) 3.22
09. Dulce (Caceres) 2.47
10. Sabroso (Caceres) 3.43
11. Chamane (Caceres) 0.56
12. Contigo Mi Vida (Mozart/Bergmann/Cáceres) 3.21
13. Rompe Con Todo (Cáceres) 3.13



Alternate frontcover from Spain:

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Ben Molatzi – No Way To Go (2019)

FrontCover1Ben ’Tukumazan’ Molatzi (1954 – 2016) was a Namibian singer/songwriter and guitar player born in Alexandra, a township in Johannesburg, South Africa, where his father was a workman. The origin of the paternal family lies in Gobabis, Namibia. His father was Damara speaking and went to South Africa in search of work while his mother’s family was from Johannesburg. Ben was the third of twelve children and grew up in poverty.

Music always played an important role in Molatzi’s family. The father also was a music man and loved to sing. Also the mother and his siblings were good singers. The family favored all kinds of traditional and church songs.

When he was a young child, Ben’s family would move to Windhoek and later back to Gobabis where Ben started his school career. While living in Khorixas he first learned to play the trumpet. Later the guitar became his most important instrument. He more or less taught himself how to play the guitar. Molatzi possessed both an acoustic and an electric guitar. “It‘s the guitar with which I am doing wonders. Eventually I also realized that I can also sing and that‘s how I got in the music business.”

From 1972 he worked as a teacher in Windhoek at Auos Primary school, also giving music lessons for his students. Music was always at the centre of his teaching activities and was a fixed point in his private life. As a young man, he saw the old masters play in town. They were playing music in the clubs and on Friday nights Ben went dancing. The bands had banjo players, lead guitarists and sometimes bass players and encouraged Ben Molatzi in his own music making.


“I started my music from the field and combine it with the music which I have heard and that was most important to me.”Ben Molatzi’s short recordings career started while he was schooling at ’Cornelius Goreseb’. Representatives of the Damara/ Nama language service had heard about Ben Molatzi and they recorded him on the spot in a classroom in Khorixas. While living in Windhoek he was recorded again, performing his own songs, this time at the South West African Broadcasting Corporation radio studio. The recordings were broadcast by the radio station but never commercially released. This happened during the 1970s and ’80s when Ben also took part in the Music Makers Competition. Most of his songs talk about the life of the people, talk about the nature, it‘s talking about the animals and it is talking mostly about the birds who were his inspiration. “And the songs are sometimes also shaped by how our country is doing. And here and there is also a little bit of politics in the music, but not that much.”


But first and foremost Ben remained a teacher and his main task was to prepare himself for school every day. The regular job kept him from fully concentrating on his music and pursuing a professional career. But Ben Molatzi has always managed to reconcile his teaching profession with his passion for making music. Music has become a fundamental part of his teaching with children. “Music is an instrument which you can quickly teach a person, teach something better or can teach a topic so they can understand better, music is everything.”

Under the South African apartheid regime, no independent cultural and music scene could develop. Media and musicians were strictly controlled for inappropriate content and songs. Censorship was part of everyday life. Some songs that Ben Molatzi recorded for SWABC and that were archived on records were destroyed by the wardens of political correctness by scratching the respective songs on the record with a ballpoint pen so that the songs could no longer be played.


A few years ago, Ben Molatzi gave up school. From then on he earned his living as a bus driver. Thorsten Schütte, one of the later initiators of the Stolen Moments project, set out in 2010 in search of the musician and songwriter Ben Molatzi, about whom he had so much heard. Finally he located him and conducted several interviews with him over the following years. The plan arose to invite the artist to Germany to record a new album with all his unheard songs. The day before his departure from Windhoek, Ben Molatzi died suddenly and unexpectedly because of untreated diabetes. (bear-family)


And here´s first and last album, posthumed  and previously unreleased African folk songs by late singer/songwriter Ben Molatzi from Namibia.

His music recordings have been slumbering in oblivion in Namibian radio archives. His songs were consciously censored and damaged as its messages did not please the South African apartheid regime. The album contains field and studio recordings that were made in 1981 by SWABC. To this day, these recordings have never been commercially released. In his liner notes, Thorsten Schütte describes his ultimately successful search for Ben Molatzi and further meetings with the artist, who talks in detail about his life, his songs and the life circumstances in his country.

On these recordings he accompanies himself on the guitar. The lyrics are reprinted in the enclosed booklet in the original tribal language as well as in English translation. (Press release)

Oh, what a gifted musician !


Ben Molatzi (guitar, vocals, whistling)


01. Sida !hu (Our Land Damaraland) 3.30
02. Danisa Sam (Honey Harvest) 1.10
03. Tae e ta go di? (What Have I Done) 2.36
04. Aesa Khaure (Lit He Fire) 2.51
05. Ûbare (Mother’s Daughter, Forgive) 2.17
06. Matis kaikhoesa (Why Does The Woman) 2.30
07. Nukhoe lgôase (Damara Girl) 2.17
08. D:R:M:D 2.23
09. Ben’s Fluit Liedjie (Ben’s Whistling Song) 2.12
10. Sada Hoada nî ?naxu !hub ge (All Of Us) 2.40
11. Dama !hao (Damara People) 1.45
12. lNamtes kha a? (Do You Love Me?) 2.46
13. Ausi Nama (Sister Nama) 2.40
14. Ukhâisen Dama lgôa (Rise Damara Child) 2.16
15. Gamrona lom (Wipe Off Tears) 3.15
16. Bazumi Fluit Stuk (Bazumi Whistle Piece) 2.11
17. Axagu ge lgôade ?nauga (Boys Call And Propose The Girls) 2.29
18. Ta as lguise (Don’t Just Drink) 2.46
19. Tita ge nukhoe lgôata (I Am A Damara Child) 2.49
20. Nes ge (This Is) 1.43

All songs written by Ben Molatzi




Trini Lopez – Trini Lopez At PJ’s (1963)

FrontCover1Trinidad López III (May 13, 1937 – August 11, 2020) was an American singer, guitarist, and actor. His first album included a cover version of “If I Had a Hammer”, which earned a Golden Disc for him. His other hits included “Lemon Tree”, “I’m Comin’ Home, Cindy” and “Sally Was a Good Old Girl”. He designed two guitars for the Gibson Guitar Corporation, which are now collectors’ items.

Lopez was born in Dallas, Texas, on May 13, 1937. His father, Trinidad Lopez II, worked as a singer, dancer, actor, and musician in Mexico; his mother was Petra Gonzalez. They married in their hometown of Moroleón, Guanajuato, prior to moving to Dallas.[2] Lopez has four sisters (two are deceased) and a brother, Jesse, who is also a singer. He grew up on Ashland Street in the Little Mexico neighborhood of Dallas and attended grammar school and N. R. Crozier Tech High School. He had to drop out of high school in his senior year because he needed to earn money to help support the family.

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Lopez formed his first band in Wichita Falls, Texas, at the age of 15. Around 1955/56 Trini Lopez and his band worked at The Vegas Club, a nightclub owned by Jack Ruby, the nightclub owner who assassinated Lee Harvey Oswald, avenging Oswald’s assassination of JFK . In 1957, at the recommendation of Buddy Holly’s father, Trini and his group “The Big Beats” went to producer Norman Petty in Clovis, New Mexico. Petty secured a contract for them with Columbia Records, which released the single “Clark’s Expedition”/”Big Boy”, both instrumental. Lopez left the group and made his first solo recording, his own composition “The Right To Rock”, for the Dallas-based Volk Records, and then signed with King Records in 1959, recording more than a dozen singles for that label, none of which charted. In late 1962, after the King contract expired, Lopez followed up on an offer by producer Snuff Garrett to join the post-Holly Crickets as vocalist. After a few weeks of auditions in Los Angeles, that idea did not go through. He landed a steady engagement at the nightclub PJ’s, where his audience grew quickly. He was heard there by Frank Sinatra, who had started his own label, Reprise Records, and who subsequently signed Lopez.

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His debut live album, Trini Lopez at PJ’s (R/RS 6093), was released in 1963. The album included a version of “If I Had a Hammer”, which reached number one in 36 countries (no. 3 in the United States), and was a radio favorite for many years. It sold over one million copies, and was awarded a gold disc. He also performed his own version of the traditional Mexican song “La Bamba” on the album; his recording of the tune was later reissued as a single in 1966. Another live album from PJ’s was recorded later that same year under the title By Popular Demand More Trini Lopez at PJ’s (R/RS 6103), which contains the song “Green Green” which was written by Randy Sparks and Barry McGuire and originally recorded by the New Christy Minstrels earlier that year for their Columbia album Ramblin.

His popularity led the Gibson Guitar Corporation to ask him in 1964 to design a guitar for them. He ended up designing two: the Trini Lopez Standard, a rock and roll model based on the Gibson ES-335 semihollow body, and the Lopez Deluxe, a variation of a Gibson jazz guitar designed by Barney Kessel. Both of these guitars were in production from 1964 until 1971, and are now highly sought-after among collectors. Owners of the guitar include Dave Grohl of Foo Fighters and Noel Gallagher of Oasis.


He scored 13 chart singles through 1968, including “Lemon Tree” (1965), “I’m Comin’ Home, Cindy” (1966), and “Sally Was a Good Old Girl” (1968). On the adult contemporary chart, he racked up 15 hits, including the top-10 singles “Michael” (1964), “Gonna Get Along Without Ya’ Now” (1967), and “The Bramble Bush” (1967). Beyond his success on record, he became one of the country’s top nightclub performers of that era, regularly headlining in Las Vegas. In 1968, he recorded an album in Nashville entitled Welcome to Trini Country (R/RS 6300).

In 1969, NBC aired a Trini Lopez variety special featuring surf guitar group The Ventures, and Nancy Ames as guests. The soundtrack, released as The Trini Lopez Show, has him singing his hits with The Ventures as his backing band.

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During the 1960s and 1970s, Lopez moved into acting, though his film career was not as successful as his music. He continued his musical career with extensive tours of Europe and Latin America during this period; an attempt to break out by releasing a disco album in 1978 proved a flop. Lopez produced a single promoting the Coca-Cola soft drink Fresca in 1967.

In 1993, a Golden Palm Star on the Palm Springs, California, Walk of Stars was dedicated to him.

In 2002, Lopez teamed with Art Greenhaw for Legacy: My Texas Roots. The album used the “Texas Roots Combo” including Lopez, Greenhaw, and Lopez’s brother, Jesse.[17] Said reviewer Steve Leggett of AllMusic, “The album has an easygoing feel very similar to Lopez’s classic live sets from the 1960s, only it rocks a good deal harder.”[18] Thereafter, Lopez did charitable work and received honors such as being inducted into the International Latin Music Hall of Fame in 2003.

On May 15, 2008, his 71st birthday, Lopez was inducted into the Las Vegas Walk of Stars.

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Lopez was still recording and appearing live in the years leading up to his death. He took part in a benefit concert to raise money for the victims of the 2004 Indian Ocean earthquake and tsunami,[21] and appeared as a guest performer in a number of shows held in Maastricht in the Netherlands with the Dutch violinist and composer André Rieu.[22] He continued to record; El Immortal was released in 2010, and the following year he released his 65th album, Into The Future.

Lopez’s first film role was in Marriage on the Rocks (1965), in which he made a cameo appearance in a nightclub scene; Lopez’s soundtrack song, “Sinner Man”, became a hit single (no. 54 pop/no. 12 adult contemporary). He was one of The Dirty Dozen (1967), appeared as himself in The Phynx (1970), and played the title role in Claudio Guzman’s Antonio (1973). He made two appearances (playing different characters) on the television program Adam-12. In 1977, he played the role of Julio Ramirez in “The Mystery of the Silent Scream” which was part of The Hardy Boys/Nancy Drew Mysteries TV series.

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Lopez remained a lifelong bachelor and had no children. His nephew, Trini Martinez, was the drummer for the Dallas indie rock band Bedhead.

Lopez died on August 11, 2020, at Desert Regional Medical Center in Palm Springs, California. He was 83, and suffered from complications of COVID-19.  (wikipedia)

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And here´s his debut album.


This was the album that made Lopez explode nationally, reaching number two, staying in the Top 40 LP charts for about a year, and yielding the hit “If I Had a Hammer.” All of this seems to have been largely forgotten today, but at the time Lopez was ubiquitous indeed. What he did, at the head of a trio with Mickey Jones (later to play briefly with Bob Dylan) on drums and Dick Brant on bass, was to make folk-pop swing. There is certainly some folk music on here, including “If I Had a Hammer,” “This Land Is Your Land,” and “Gotta Travel On.” It could be surmised that by treating such material in this fashion, Lopez had a tiny influence upon the subsequent folk-rock movement; Marty Balin of the Jefferson Airplane has said as much. In truth, however, Lopez was more the all-around entertainer with a Latin lilt than he was a folk singer, so you also get “America” (from West Side Story), “La Bamba,” Ray Charles’ “What’d I Say,” “Volare,” and “When the Saints Go Marching In.” The live party-a-go-go atmosphere did much to put Lopez’s likable energy over, and likely influenced the similar live-in-a-small-club ambience on Johnny Rivers’ early hits, especially as Jones played with Rivers as well. (by Richie Unterberger)


Dick Brant (bass)
Mickey Jones (drums)
Trini Lopez (guitar, vocals)

Trini Lopez07Tracklist:
01. A-me-ri-ca (Bernstein/Sondheim) 4.01
02. If I Had A Hammer (Hays/Seeger) 3.00
03. Bye Bye Blackbird (Dixon/Henderson) 2.18
04. Cielito Lindo (Lopez) 2.03
05. This Land Is Your Land (Gold/Boone) 3.51
06. What’d I Say (Charles) 3.12
07. La Bamba (Traditional/Lopez) 4.36
08. Granada (Lara/Dodd) 3.20
09. Gotta Travel On (Clayton) 2.07
10. Down By The Riverside (Lopez) 1.30
11. Marianne (Miller/Dehr/Gylkison) 1.05
12. When The Saint’s Go Marching In (Traditional) 0.46
13. Volare (Modugno/Migliacci/Parish) 1.08
14. Unchain My Heart (Jones/James) 3.07



More Trini Lopez:

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Trini López (May 13, 1937 – August 11, 2020)

Flora Purim – Perpetual Emotion (2001)

FrontCover1Flora Purim (born March 6, 1942) is a Brazilian jazz singer known primarily for her work in the jazz fusion style. She became prominent for her part in Return to Forever with Chick Corea and Stanley Clarke. She has recorded and performed with numerous artists, including Dizzy Gillespie, Gil Evans, Opa, Stan Getz, George Duke, Mickey Hart of the Grateful Dead, Santana, Jaco Pastorius, and her husband Airto Moreira.

In 2002, Purim was the recipient of one of Brazil’s highest awards, the 2002 Ordem do Rio Branco for Lifetime Achievement. She has been called “The Queen of Brazilian Jazz”. (wikipedia)

For those who thought that despite recording, Flora Purim’s musical career went out the window with her prison term in the early ’90s, or, worse, at the end of 1970s jazz-world Flora Purim01fusion boom, think again. Perpetual Emotion is the strongest recording Ms. Purim’s monumental talent has given us since 1975’s 500 Miles High. Accompanied by life partner and collaborator percussionist Airto Moreira, saxophonist Gary Meek, pianist Christian Jacob, bassist Trey Henry, and acoustic guitarist Oscar Castro Neves, and producer Dom Comardella, Purim has selected material that showcases the ease and flow of a voice that contains within it the passion of Brazil and the airiness of a spring day. Some of those selections, such as Cesar Mariano’s “Saudade,” offer the deep melancholy of looking back to places you can never again visit and reveal within them the sweeter memories they hold. Chris Jacob’s piano leads the way trough the tune and strips it of any false “exotic” artifice. It’s a jazz ballad with a Brazilian melody and rhythm, eased through the gates by Moreira’s easy touch and a flowing bassline by Henry. On “Fotographia” by Antonio Carlos Jobim, Purim takes the tune, which has been recorded literally hundreds of times, to its folksy essence and makes of it a song that is neither jazz nor samba, but a tome of memory and longing. The highlight of the album is the revisiting of Chick Corea’s and Neville Potter’s “Crystal Silence.

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While the song had been in Purim’s early repertoire as an improvisation, a wordless melody, because she had not known — even though she had been part of Corea’s Return to Forever — that the tune had words all along. Her feeling for the original is fierce and moving; it flows from her like a river of feeling and motion, it offers the notion of seeing with new eyes that which has been present all along. Her interpretive voice has never sounded stronger, and her band is understated enough to let it come freely through the mix while providing her with musical challenges to rise to. Perpetual Emotion is the album Purim’s been promising to deliver her entire career. Let us hope that this is the first of many like it to come. (by Thom Jurek)


Trey Henry (bass)
Christian Jacob (piano)
Gary Meek (saxophone, bass, clarinet, flute)
Airto Moreira (drums, percussion)
Oscar Castro-Neves (guitar)
Flora Purim (vocals)

Airto Moreira01

01. San Francisco River (Moreira/Purim) 4.58
02. My Ship (Gershwin/Weill) 4.13
03. Escape  (Purim) 4.12
04. Saudade (Purim) 3.02
05. Crystal Silence (Corea/Potter) 6.18
06. Flora And Airto (Purim) 5.00
07. Fotografia (Gilbert/Jobim) 6.55
08. Journey To Eden (Purim) 5.19
09. Search For Peace (Purim/Tyner) 6.07
10. Airto’s Jazz Dance (Purim) 4.07
11. Carinhoso (Pixinguinha/Purim) 3.50





Sir Richard Bishop – The Freak Of Araby (2009)

FrontCover (2)Richard Bishop is an American composer, guitarist and singer best known for his work with the Sun City Girls. He styles himself Sir Richard Bishop.

In 2005, Bishop began performing as a solo artist, playing throughout Europe, Australia, and the United States. He has done extensive touring with Will Oldham (Bonnie Prince Billy), Animal Collective, Devendra Banhart, Bill Callahan, and many others.

Bishop’s first official solo record, Salvador Kali, was released by John Fahey’s esteemed Revenant Records label in 1998. The album showcases Bishop’s own particular obsessions and roots, drawing from a variety of worldwide sources. Locust Music issued his second record, Improvika, in 2004. This album consists of nine extemporaneous pieces for solo acoustic guitar. Up next was Fingering the Devil, which was recorded at an impromptu session at London’s Southern Studios on a day off from the 2005 European tour. This was followed by two more releases from Locust: Elektronika Demonika, a recording of electronics, containing no guitar at all; and While My Guitar Violently Bleeds, which is made up of three extended compositions for acoustic and electric guitar. Richard’s 30-minute film God Damn Religion was released on DVD by Locust in 2006.



2007 saw the first Sir Richard release from the Drag City label, Polytheistic Fragments. It includes works for acoustic, electric and lapsteel guitar, plus two piano compositions. Next up was The Freak of Araby (Drag City, 2009). This was the first Bishop album to feature a full band of supporting musicians. The record is a tribute to late Egyptian guitarist Omar Khorshid as well as to Middle Eastern music.

In May 2010, Drag City released the album False Flag by Rangda, a new group featuring Bishop, Ben Chasny (Six Organs of Admittance, Comets on Fire), and Chris Corsano (Flower-Corsano Duo, Flaherty/Corsano, Jandek, Björk, etc).

Bishop was a founding member (along with brother Alan Bishop) of ethnic-improv pioneers and underground tricksters Sun City Girls, who during their 26 years (1981–2007), produced an extensive discography of over 50 full length albums, 20 one-hour cassettes and a dozen 7” records. In the early 1980s he was also a member of the group Paris 1942 which included Alan Bishop, J. Akkari and former Velvet Underground drummer Moe Tucker.

In 2003, Richard Bishop, along with Alan Bishop and Hisham Mayet, founded the Sublime Frequencies label, dedicated to acquiring and releasing obscure sights and sounds from Africa, India, S.E. Asia and beyond. (wikipedia)


Sir Richard Bishop is the Pico Iyer of the guitar. On his previous five solo recordings he’s visited not only various nations and continents, as the writer has done in his books, but time periods on his instrument as well — something that Iyer, limited by physics, has been unable to do. Arabic music has long held a place in Bishop’s heart as a guitarist, as a member of the Sun City Girls and as a solo artist, but he’s never indulged it so completely as he does on The Freak of Araby. There are two distinct inspirations for this album; the primary one is the Egyptian guitarist Omar Khorshid (1945-1991), known as “the King of Arab Guitar.” His influence, in the way Bishop phrases and uses everything from reverb to his picking style, reveals the inspiration of Khorshid, who, at the beginning of his career, was a member of Abdel Halim Hafez’s Oriental Orchestra, and went on to become an actor and one of the great composers in Arabic cinema; he scored more than 40 films during his brief lifetime. The other influence, which is a bit more subtle but unmistakable, is the great Egyptian singer Umm Kulthum — Khorshid was a member of her backing band for a time.


Bishop plays only the electric guitar here, and utilizes a small band on this set — a quartet with a bassist, a drummer, and a percussionist. There are five originals and six “covers” of standards from the Arab world — including “Enta Omri,” by the great composer Mohamed Abdel Wahab. It should be noted that the way in which Bishop approaches the traditional and cover material is with a sense of reverence but not slavishness. He takes liberties and his sense of humor is on full display here. Check his reading of the traditional “Kaddak el Mayass,” which blends the very traditional melody with surf guitar technique and sound. There’s just enough of the latter to make it a modern reading, but the sense of mode, tonality, and phrasing of the vocal song is everywhere on display as well. The opening cut, “Taqasim for Omar,” is a gorgeous solo guitar piece that uses modes and Eastern tonalities and cadences as well as Bishop’s full-blown knowledge of the electric guitar as a “folk” instrument of the late 20th and early 21st centuries.


One of the more startling things about this recording — which may irk some fans — is the lack of guitar solos here, and this is where the influence of the great Egyptian vocalist comes in: Bishop treats the majority of this material in a truly songlike manner, forgoing his own genuinely engaging and startling ability for pyrotechnics on the instrument in favor of re-creating the lyricism of the songs themselves. The sense of sung melodies is everywhere apparent — check the readings of the aforementioned “Enta Omri,” Elias Rahbani’s “Ka’an Azzaman,” or the traditional “Sidi Mansour” (though there is a boatload of reverb utilized in the middle section of the latter that departs significantly). The lack of fiery guitar wizard machinations — at least the overt ones — might bother excitement junkies, but a second listen will yield plenty of them in Bishop’s playing as well as his approach to the material and the open acknowledgement of his muses for this project. In sum, The Freak of Araby is simply wonderful. (by Thom Jurek)

In other words: This music is full of magic !


Rasheed Al-Qahira (guitar, chanter (morocan))
Mohammed Bandari (drums)
Abdullah Basheem (percussion)
Richard Bishop (guitar)
Ahmed Sharif (bass)

01. Taqasim For Omar (Bishop) 7.16
02. Enta Omri (Wahab) 2.45
03. Barbary (Bishop)  2:20
04. Solenzara (Bacar/Darbal/Marfisi) 5.01
05. The Pillars Of Baalbek (Bishop) 5.18
06. Kaddak El Mayass Traditional) 3.26
07. Essaouira (Bishop) 2.21
08. Ka’an Azzaman (Rahbani) 2.51
09 .Sidi Mansour (Traditional) 6.03
10. Blood-Stained Sands (Bishop) 7.26




Barbara Thompson & Paraphernalia – Everlasting Flame (1993)

FrontCover1One of the finest saxophone player ever… Barbara Thompson:

Barbara Gracey Thompson MBE (born 27 July 1944) is an English jazz saxophonist. She studied saxophone and classical composition at the Royal College of Music, but the music of Duke Ellington and John Coltrane made her shift her interests to jazz and saxophone. She was married to drummer Jon Hiseman of Colosseum from 1967 until his death in 2018.

Around 1970, Thompson was part of Neil Ardley’s New Jazz Orchestra and appeared on albums by Colosseum. Beginning in 1975, she was involved in the foundation of three bands:

United Jazz and Rock Ensemble, a ‘band of bandleaders’ …
Barbara Thompson’s Jubiaba and:
Barbara Thompson’s Paraphernalia, her most recent band

Barbara_Thompson01he was awarded the MBE in 1996 for services to music. Due to Parkinson’s disease, which was diagnosed in 1997, she retired as an active saxophonist in 2001 with a farewell tour. After a period of working as a composer exclusively, she returned to the stage in 2003.

Thompson has worked closely with Andrew Lloyd Webber on musicals such as Cats and Starlight Express, his Requiem, and Lloyd Webber’s 1978 classical-fusion album Variations. She has written several classical compositions, music for film and television, a musical of her own and songs for the United Jazz and Rock Ensemble, Barbara Thompson’s Paraphernalia and her big band Moving Parts.

She played the incidental music in the ITV police series A Touch of Frost starring David Jason. She also played flute on Jeff Wayne’s Musical Version of The War of the Worlds.

From 1967, until he died in June 2018, Thompson was married to the Colosseum drummer Jon Hiseman. The couple’s son Marcus was born in 1972, and their daughter Anna (now known as singer/songwriter Ana Gracey) in 1975. (wikipedia)


And here´s another brilliant album … criminally underrated …

”This recording produces breathtaking impressions in the listener.” (Extra Dry, 06/94)
What an album!
Barbara Thompson herself feels this is one of her best albums and I tend to agree. Featuring her daughter’s vocals, it is a rich aural experience that draws on Egyptian rhythm and harmony. Listeners won’t regret buying this wonderful album. (Agadoo)


Anna Gracey Hiseman (vocals)
Jon Hiseman (drums)
Peter Lemer (keyboards)
Malcolm MacFarlane (guitar)
Hossam Ramzy (percussion)
Barbara Thompson (saxophone, flute)
Paul Westwood (bass)


01. Everlasting Flame (Thompson) 5.15
02. In The Eye Of A Storm (Thompson) 5.06
03. Emerald Dusky Maiden (Thompson) 4.59
04. Unity Hymn (Thompson) 3.54
05. So Near, So Far (Hiseman/Thompson) 3.20
06. Tatami (Lemer) 4.56
07. Ode To Sappho (Thompson) 9.27 (*)
08. The Night Before Culloden (MacFarlane) 5.10
09. Ancient Voices (Thompson/Westwood) 6.33
10. The Fanaid Grove (Thompson) 7.15

(?) This composition based probably on an song, written by Marika Papagika called “Ta Pedia Tis Gitonias Sou”, written in 1925





More from Barbara Thompson: