Dave Clark – Can’t Pay, Won’t Pay

10 03 2009

We know the world has lost its moral compass when Gandhi chotskis hit the auction block.  Further proof is when former rockstars ask for a favor, on a quick turnaround, and than stiff you.  No we won’t go into ALL the folks who don’t pay their bills, knowing that ARC is too small to ever sue anyone, but here’s the latest.   We were asked to send a scan the cover of “Coast to Coast” (Epic, USA, LN 24128, Mono, [1965]) by Dave’s office.  We did it in a few hours, sent the scan, sent the bill.  A month later, nada.  We recontact and they say they sent by wire transfer.  We send them a copy of our banks transactions, proving it was never received.  They say well, it’s OUR problem.

dc5_coast2frnt

So Dave.  I know times are tough.  You may not have the $100.  Sad.  Buy hey, when you wanted the scan we did it quickly, expertly, on faith.  That was our responsibility.  Your responsibility is to pay.  So despite the brazen stance in front of the US map, Dave Clark is no friend of America!  From the Stamp Act to the Dave Clark unpaid bill, it’s the same old story…





Strategien Gegen Architekturen

4 03 2009

enhaus_front

Recently the ARSC list posted info on the problems with the increasing number of unstable modern concrete structures, and how safety concerns were rumored (not true) to have led to the relocation, and unavailability, of the great pop music collection at Bowling Green State University.  But an archive in Cologne did collapse.  The heading for this info was, cleverly, Einstürzende Neubauten.

So just for fun, here is our hard-to-catalog list of Einstürzende Neubauten recordings @ ARC, alpha by title, not including compilations, white label promos or the uncatalogued 30plus twelve-inch singles and 11 seven-inch singles in the collection.   As point of reference ARC has catalogued 32 more EN recordings than the Library of Congress and 27 more than Bowling Green.

Einsturzende Neubauten
• 80-83 Strategien Gegen Architekturen  (Homestead, USA, HMS 063, 12″, vinyl disc-Lp, 1986)
• 80-83 Strategien Gegen Architekturen  (Mute, UK, STUMM 14, 12″, vinyl disc-LP, 1983)
• 1991 – 2001  (Mute Corporation, 9165-2, 5″, compact disc-2CD, 2002)
• 1/2 Mensch  (Rough Trade, USA, BIZZ/ART 1, 12″, vinyl disc-Lp, 1985)
• 2 x 4  (Roir, 133, 5″, compact disc, -)
• 2 x 4  (Roir, 8235, 5″, compact disc, 1997)
• Die Hamletmaschine  (Ego, Germany, 111, 5″, compact disc, -)
• Drawings of O.T.  (PVC, USA, PVC 9902, 12″, vinyl disc-LP, 1984)
• Ein Dokument 1985 In Tokio (Inclues a Booklet)  ( cassette –)
• Faustmusik  (Mute, 9021-2, 5″, Compact Disc, 1996)
• Faustmusik  (Ego, Germany, EGO 501, 5″, Compact Disc, 1996)
• Feurio!  (Rough Trade, Germany, RTD 065 T, 12″, vinyl disc-Single or Ep, 1990)
• Five On The Open-Ended Richter-Scale  (Thirsty Ear, THI 57016, 5″, compact disc, 1995)
• Fuenf Auf der Nach Oben Offenen Richterskala  (Relativity, USA, 88561-8188-1, 12″, vinyl disc-LP, 1987)
• Haus Der Luege  (Thirsty Ear, 57017, 5″, compact disc, 1995)
• Haus der Luege  (Rough Trade, USA, ROUGH 71 US, 12″, vinyl disc-LP, 1989)
• Haus Der Lüge  (Rough Trade, USA, RoughUS 71CD, 5″, compact disc, n.d.)
• Interim  (Mute, 61509-2, 5″, Compact Disc, 1997)
• Kalte Sterne – Early Recordings  (Mute, UK, CDStumm137, 5″, compact disc, 2004)
• Kalte Sterne – Early Recordings  (Mute, 9249-2, 5″, Compact Disc, 2004)
• Kollaps  (Zickzack, Germany, ZZ 65, 12″, vinyl disc-Lp, n.d.)
• Live At Club Chicago (Advance CASS)  (, , 12″, cassette , –)
• Perpetuum Mobile  (Mute, 9237-2, 5″, Compact Disc, 2004)
• Perpetuum Mobile  (Mute, UK, CDStumm221, 5″, compact disc, 2004)
• Schwarz (12″, vinyl disc-Single or Ep, –)
• Silence Is Sexy  (Mute, 9132, 5″, compact disc-2CD, 2000)
• Strategies Against Architecture II  (Mute, 61100-2, 5″, compact disc-2CD, 1991)
• Strategies Aganist Architecture  (Mute/Elektra, 61677-2, 5″, compact disc, 1994)
• Tabula Rasa  (Beton, 106, 5″, compact disc, 1993)
• Tabula Rasa  (Mute, 61458-2, 5″, Compact Disc, 1993)
• Tabula Rasa  (Mute, UK, CDStumm156 , 5″, compact disc-2CD, 2004)
• “Thirsty Animal” / “Durstiges Tier”  (Ripoff [?], Germany, n.n., 12″, , 1982) w/ Lydia Lunch.
• “Yu-Gung” // “Seele brennt” / “Sand”  (Some Bizzare, UK, BART 12, 12″, vinyl disc-Single or Ep, 1985)
• Zeichnungen des Patienten O.T.  (Some Bizzare, UK, SBVART 2, 12″, vinyl disc-LP, 1983)





We gave him the boot, now send him your shoes!

17 12 2008

My Fellow Americans…

protesta_zapatos

I think everyone should send an old pair of shoes to Bush to let him know what we think of him – with the wish that they be donated to the poor – signed Muntadhar al-Zeidi.   Wrap in newspaper.  Add a label.  post…

sml_shoes

The image of 100,000 shoes piled outside the White House is a good parting shot.  Pass it on…

attn: George W. Bush

The White House
1600 Pennsylvania Avenue NW
Washington, DC 20500

Searching the ARC database here’s a portion of our “shoes aren’t bombs” memorial discography:

Just Because You Wear Big Shoes – The Jody Grind
Cold, Cold Shoes – Fleshtones
The Steel Shoe – Risers
Hillbilly Shoes – Montgomery Gentry
Dead Man’s Shoes – Caberet Voltaire-
Take Your Shoes Off – Midnight Star
Get Your Feet Out of My Shoes – The Boothill Foot-Tappers
Old Brown Shoe – The Beatles
Brown Shoes Don’t Make It – Mothers of Invention
Worried Shoes – Daniel Johnston
I’ve Got Sand In My Shoes – The Drifters
Chattanooga Shoe Shine Boy – Red Foley
Blue Suede Shoes – Carl Perkins
Red Shoes by the Drugstore – Tom Waits
Walk In My Shoes – Hazel Dean
The Shoemaker – Mad Daddys
No Shoes – John Lee Hooker
Red Shoes by the Drugstore- Tom Waits
Wigs, Blues and High Heeled Shoes – Burning Tree
If the Shoe Fits – Leon Russell
My Father’s Shoes – Leon Russell
Shoe Shoe Shine – Centerfold
Layin’ Down My Shoes And Clothes – The Johnny Shines Blues Band
The Story Of Someones Shoe – The Style Council
Travelin’ Shoes – Elvin Bishop
Blue Shoes Stepping – The Bible
Walk a Mile in My Shoes – Harry Belafonte and Lena Horne
Shoe Broke My Heart – Souled American
Hair Shoes – Pale Saints
In Their Shoes – The Boston Tea Party
Leather On My Shoes – Chris De Burgh
Travellin’ Shoes – Bill Wood
Muddy Shoes – Elmore James
Diamonds On The Soles Of Her Shoes – Paul Simon
Welfare Shoes – Dancing Hoods
Shoes – Brooke Benton
Wing Tip Shoes – Henry Lee Summer
Shoeshiner’s Drag – Lionel Hampton
Nobody Can Fill Your Shoes – Conway Twitty
Soul Shoes – Graham Parker
My Little Suede Shoes – Sadik Hakim
Shoe Shine Man – Jimmy Davis & Junction
Red Goose Shoes – Sharky’s Machine
Who Will Shoe Your Pretty Little Foot – Von Dexter Orchestra
Shoemaker’s Holiday – Jimmie Lunceford and His Orchestra
Mama Get Down Those Rock & Roll Shoes – NRBQ
(The Angels Wanna Wear My) Red Shoes – Elvis Costello
Standin in My Shoes – Leo Kottke
Step In My Shoes – Ruby Turner
Shoeshine Boy – The Humblebums
The Captain’s Fat Theresa Shoes – GTO’s
Put On Your Dancing Shoes – Steve Winwood
Soft Shoe Booty – King Sun
Rock and Roll Shoes – Ray Charles
Italian Shoes – Dynatones
House Shoes – Bar-Kays
Turtle Shoes – Bobby McFerrin
Walkin’ Shoes – Tora Tora
My Father’s Shoes – Cliff Eberhardt
Country Shoes – Alexis Korner & Snape
Shoes – Dick Curless
Those Shoes – Eagles
Wooden Shoes – Texas Instruments
She’s Got Another Pair of Shoes – Alan Price
Hole in the Shoe Blues – Thomas Jefferson Kaye
2000 Shoes – Big Audio Dynamite
Shoes – Bobby Bland
Sailin’ Shoes – Littlr Feet
Happy Shoes – Joe Beck
Shiny Black FBI Shoes – A Tent
Goody Two Shoes – Adam and the Ants
Breakin’ in a Pair of Shoes – Manny Albam and His Orchestra
Brown Shoes – Karen Alexander
Wedding Shoes – Alistair Anderson with Fennig’s All-Star String Band
Sand in My Shoes – Toni Arden
A Shine on Your Shoes – Fred Astaire
Stepping Out of These Shoes – Mick Audsley
Tied Shoes – Auracle
Take Your Shoes Off Baby – Gene Austin
Stranger in Blue Suede Shoes – Kevin Ayers
Dancing Shoes – Kathi Baker
(I Don’t Want To) Hang Up My Rock and Roll Shoes – The Band
Mercury Shoes – Jesse Barish
I Wont’ Step on Your Shoes – Barnaby Bye
Rockin’ Shoes – Paul Barrère
Boogie Woogie Dancing Shoes – Claudja Barry
Old Shoe – Joe Bauer
Soul Shoes – Graham Parker
Who’s Going to Shoe Your Pretty Little Foot – Allan Block & Ralph Lee Smith
My Shoes – Hippos Blue
New Shoes – Pearl Bailey
Sweet Goody Two Shoes – The Blend
Rock In My Shoe – Hank Williams, Jr.
Two Shoes – Carlos Núñez
Jungle Shoes – Bernie Krause
In His Shoes – The Screaming Tribesmen
When My Shoes Are Loose – Cathy Fink & Marcy Marxer
Boogie Shoes – KC & the Sunshine Band
Paper In My Shoe – BooZoo Chavis
Sensible Shoes – David Lee Roth
Water In And Out of my Shoe – Men & Volts
Shoe Salesman – Alice Cooper
Paper Shoes – Yoko Ono
Radio Shoes – Bruce Cockburn
Hair Shoes – Pale Saints
…and over 400 more!





Miriam Makeba

10 11 2008

It was sad to learn today that Miraim Makeba died.  ARC keeps running bios on many artists, so here is our last entry we did on Ms. Makbe, from 1999.  We’ll update again soon and send along.

Miriam Makeba    South Africa
nee : Zenzile. Zenzi, Mazi, Mama Africa, Empress of African Music, Empress of African Song,
b : Johannesburg, March 4, 1932

If ever there was a Grande Dame of World music, it would have to be Miriam Makeba.  Beyond the long career, crossover success, and international appeal is the dignified image, a symbol and a person fighting for women’s rights, human rights, and racial equality.  Having fled South Africa for freedom in America, she was soon forced to leave America as that same freedom was denied her.  Makeba never claimed to be anything other than a musician, and she never shied away from opportunities to speak out.  A normal amount of mistakes and too many hardships chipped away at the icon, while the strength and dignity and the music remained.

Like so many artists Makeba first sang on stage with her church choir and at school, Kilmerton Training Institute sponsored by the Methodists in Pretoria.  Late in her career Makeba revealed that her love of singing began with the great many spirit songs she learned from her mother, an isangoma or traditional healer.  Bouncing between her mother’s and grandmother’s household, the teenager found work as a nanny and maid. It was not much of a decision to become a musician.  Makeba was cleaning taxis for her nephew who also performed in an amateur group, the Cuban Brothers.  He asked her to sing and she accepted.

The Cuban Brothers were neither Cuban nor brothers, but a small combo with Makeba fronting a male vocal quartet.  One evening Nathan Mdlhedlhe (Mdledle) of the Manhattan Brothers caught the act and asked Makeba to audition.  The Manhattan Brothers (Black Manhattan Brothers: Nathan, Joe Mogotsi, Rufus Khoza, Ronnie Majola) were South Africa’s number one close harmony group who utilized a variety of top musicians in their stage shows.  Makeba was hired and, for stage purposes, uses the name; “Miriam,” for the first time.  For Makeba this was a tremendous opportunity – a much needed good turn for a 20 year old with a lifetime of experiences, including the death of her father, breast cancer, the birth of her first child and abandonment by her husband.

The Manhattan Brothers, who began as a mbube acappela group, rose to fame in the tradition of the quartets that developed out of American jazz and swing orchestras, mimicking the style of the Mills Brothers and the Ink Spots.  For the most part Makeba covered jazz and pop standards, listing Ella Fitzgerald and Sarah Vaughn as her favorite performers.  But the Manhattans retained an interest in the music performed in the sheebens and by mine workers drawn from many ethnic groups throughout Southern Africa.   When Makeba came aboard they were once again performing local music in local languages, as well as Western standards in the Xhosa and Zulu languages.  Touring widely with the Manhattans Miriam encountered other African musical styles from Rhodesia (later Zimbabwe) and the Congo region.  One story relates that the Manhattans encouraged Makeba to perform the traditional gumboot dance, possibly the first woman to do so onstage.  When she began Miriam was billed as, “our own nut brown baby”  Soon she was known as, “the Nightingale.”  When Miriam’s picture graced Coca-Cola billboards and magazine ads, everyone in South Africa knew Miriam Makeba name.

Makeba recorded many 78s with the Manhattan Brothers for Gallotone. along with her first headlining effort, “Lakutshona Ilanga.”  This Xhosa song of lost-love became a hit, and to reach an American audience an English language version, “You Tell Such Lovely Lies,” with lesser lyrics was penned.  Even though it was illegal for a Black to sing in English, Makeba recorded this version at the insistence of her record company.  Gaining experience and skills, and a new found interest in local music, in 1956 Makeba released her first composition, “Pata, Pata” (Touch-Touch).  The song was also a hit and part of a major dance craze in South Africa.

While loosely still with the Manhattans, around 1956 Makeba sang with a similar style all-female ensemble put together by Gallotone called the Skylarks.  The group featured three other remarkable voices, Abigail Kubheka (Kebeka) and the sisters, Mary and Mamie Rabotapa.  She also began extensive touring with promoter Alf Herberts’, ‘African Jazz and Variety’.  This was a very popular review, with Makeba, her idol and chief singing rival in the day, Dorothy Masuka, and two future husbands, Sonny Pillay and Hugh Masekela.  In general the female singers still mimicked American pop-jazz vocalists like Ella Fitzgerald.  This was the sophisticated direction Makeba was taking.  Later she would offer a prime example when she scat sang Ellington’s, “Rockin’ in Rhythm.” (on the collection, Something New From Africa , 1959).

Makeba was chosen to play Joyce, the female lead in the musical, “King Kong.”  This 1959 play drew from the cream of Jo’berg’s musical talent, including Kippie Moeketsi, Jonas Gwangwa, Dollar Brand, and Hugh Masekela.  Playing the lead of heavyweight boxer Ezekeil “King Kong” Dhlamini, was the man who gave Miriam her first big break, the Manhattan Brothers’ Nathan Mdlhedlhe.  Billed as a ‘Jazz Opera’, the play was an American style musical with bits of kwela pennywhistle street music.  Staged in a university auditorium to allow for a mixed race audience, this rise and fall saga was hugely successful, adding luster to Makeba’s star.

The series of events that led to Makeba’s exile started with her cameo in Lionel Rogosin’s documentary film, “Come Back Africa.”   Taking it’s title from the ANC anthem, the story line follows migrant worker’s life in Sophiatown under minority rule.  Here Miriam’s role was essentially playing herself, offering two numbers in a nightclub scene.  Rogosin worked tirelessly to promote Makeba’s talent and showed the clip of her singing to any and all.  He arranged to bring Makeba to the film’s premier at the Venice Film Festival in 1959, where it won the Critic’s Prize.  He also arranged an appearance on American TV and at a nightclub in New York City.  After the festival Makeba went to London where her newest fan, American singer Harry Belafonte, helped her secure an elusive US visa.  The White South African government saw Makeba’s success and growing international soapbox as a serious threat.  Her passport was revoked, essentially preventing her from returning home to her family.  At the end of 1959 Miriam Makeba went to America.
Both her cause and her music gained Makeba powerful allies in the US entertainment industry, primarily Belafonte and TV host Steve Allen.  Her performance on Allen’s prime time Sunday evening show drew an audience in the millions.  It was television that made Makeba a star in America.  In the golden age of the variety show, the unusual “Click Song” (“Qogothwane”) found a ready TV audience.  The clicking sound, Ngongongtwang, is basic to the Xhosa (Xosa, Zhosa) language, made with a percussive flick of the tongue off the roof of mouth.  Seeking to make it understandable to the average American, Time Magazine likened it to, “the popping of champagne corks.”  Makeba became so identified with the sound that reviews now called her, “The click-click girl.”

It didn’t hurt that Makeba was photogenic, ‘exotic’ and elegant.  So were her fans.  Sitting in the first row, at her first live show at the Village Vanguard were Sidney Poitier, Duke Ellington, Nina Simone and Miles Davis.  Belefonte, who was pretty much managing her career, even commissioned her gowns – Kennedy era silk sheaths, with a shawl covering one shoulder – only hinting at something, somewhat, African.  The repertoire underwent a similar change.  Gone were the jazz numbers, R&B leanings and the wider range of African song.  Makeba’s snappy material, now concentrated on updated Zulu and Xhosa traditional music as well as her own composed songs.  It was a sound that fit right in with the folk revival movement that American music was enjoying. From the very first LP Makeba was clearly being up-marketed as a folksinger for a mixed-drink crowd.

Albums were developed with trademark consistency; many South African traditional numbers, a song from another African country, a calypso or two, a blues, a romantic European number, something from Brazil and almost always a lullaby.  She also attracted a loyal cast of savvy sidemen and producers/orchestrators.  Sivuca, the Brazilian guitarist and accordionist, played regularly with Makeba.  Masekela was another frequent collaborator.  Later they would marry for a while, but they never stopped working together.  Belafonte, who seemed to find his soul mate in Makeba, performed live and recorded with her, as well as orchestrating and producing her early albums.  For nearly ten years every summer they went out on tour together.    A press agent’s dream came true when Makeba was asked to perform at President Kennedy’s birthday party at Madison Square Garden in 1962.  Unfortunately all the talent in the world couldn’t compete with that other MM, sewn into her dress and oozing, “Happy Birthday Mr. President.”

Despite her shyness offstage, Makeba’s high profile made her an ideal spokesperson for the situation in South Africa.  In 1963 she testified at the United Nations Committee Against Apartheid.  She described spectacular and ordinary indignities, including the Sharpsville Massacre (1960), police brutality, mass arrests and the limiting and humiliating pass laws.  The government of South Africa responded by banning her records from the radio and in the shops.   But in the States Makeba went from success to success.  In 1963 she gave a solo concert at New York’s Carnegie Hall amid a hectic performing schedule.  Even more widespread success came with the 1967 release of a rehashed, “Pata Pata.”   With RCA behind the single the song made the American charts and became a hit worldwide.

As meteoric as her rise was her fall in the American entertainment industry.  In 1968, Miriam divorced Masekela to marry radical black activist Kwame Toure (Stokely Carmichael).  All of a sudden a person applauded for fighting against apartheid in South Africa was considered a radical for associating with those suggesting a similar struggle needed to be waged in America.  Recording opportunities vanished and concerts were cancelled.  Reprise illegally cancelled her recording contract.  The FBI followed her everywhere.  While not officially censored by the government, America treated her exactly like South Africa and essentially took away her right to work.  At the invitation of Guinean president Sekou Toure, in 1968 Miriam and her husband moved to Africa, remaining in Guinea for nine years.  Based in Conakry she began touring again, mostly Europe, South America and Africa.  She also became a Guinean delegate to the United Nations where she twice addressed the General Assembly, speaking out against the evils of apartheid.

Makeba continued to tour widely, lecture and record in Europe as her American albums slowly went out of print.  About her only US concert was in 1975 at Lincoln Center.  At Nigeria’s FESTAC festival in 1977 she triumphed as South Africa’s unofficial representative.  Closer to home in 1982 she joined up with Hugh Masekela for a huge concert in Botswana , with thousand of South Africans crossing the border to attend.  In 1986 her continued push for racial equality earned her the Dag Hammerskjold Peace Prize.  The following year Makeba was profiled in the Faith Isikapere documentary film, Exiles.

In 1987 Makeba made the controversial decision to join Paul Simon’s “Graceland” tour.  The African National Congress had spent years trying to enforce a boycott of South Africa, endorsed by the UN, until apartheid came to an end.  A cultural boycott was an important element, as entertainers garnered inordinate press.  The Graceland album was partially recorded in South Africa and therefore denounced by the ANC.  Makeba had often spoken in support of the boycott.  When Aretha Franklin was considering performing in South Africa in 1971, Miriam was outspoken; “No artist can go to South Africa without getting dirty herself.  …you can’t roll around with pigs and not end up covered with mud.”

Yet she joined the Graceland team stating that the success of the live shows would accelerate change.  The results were that many regarded her participation as traitorous and for the first time in years she was being offered work in America.  Sangoma, became Makeba’s first album released in the US since 1967, and her first album ever to feature only South African material.  For those who thought the fire had died, while promoting the album there was an offhand, ever-present condemnation; “You shoot a bird in South Africa, you go to jail.  You shoot a Nigger, it’s all-right!”

In 1988 her autobiography, Makeba, My Story, was published in six languages, and Miriam performed at a massive Free Nelson Mandella concert before 40,000 in Bologna, Italy.  In a bit of genius Diva programming in 1990 Makeba toured with Nina Simone and Odetta.  At the end of the year Makeba returned home, the following April performing her first concert in South Africa in 30 years.  Also in 1991 Makeba joined Dizzy Gillespie’s “Live The Future!” world tour.  Acting again after so many years, in 1992 Miriam appeared as the title characters’ mother in the film of the musical, Sarafina.

1995 one of her busiest years ever as she toured the world to sold out concerts.  Highlights included the filming of the TV special, “Christmas In The Vatican,” a concert in Beijing with Dee Dee Bridgewater and Marianne Faithful, the filming of a biographic documentary for London’s The South Bank Show directed by Melissa Raimes, becoming a Great Grand-mother, and at the end of the year a return to South Africa to perform for now President Mandella.

Makeba has received a staggering amount of awards, prizes, testimonials and honorary degrees to recognize her long commitment to women’s rights, political freedom and ending Apartheid.  If your in Berkeley June 16 is Miriam Makeba Day, while the date is March 22 in Tusagee, Alabama.  There’s even a street named after her in Guadeloupe. She’s also been sued over the authorship of her hit, ‘Malaika,’ in East Africa, and survived one plane and eleven car crashes.  Add to this her bouts with cancer, five marriages and the death of her beloved and troubled only daughter.  At times she wrote that she was close to madness, and was convinced that mischievous amadlozi spirits had taken hold of her.  After 50 years the spirits, apartheid and all the controversy have now receded.  The music is once again stage front, Makeba still a striking performer in a role that has run from gamine to grandmother of African song.

• A Promise  (Sonodisc, CD 5506, CD, 1986).  Featuring Joe Sample, Stix Hooper, Arthur Adams, and David T. Walker From The Crusaders.
• Africa  (Novus / BMG, 3155-2-N, CD,1991).
• African Convention  (Esperance/Sono, Espcd1907, ).
• All About Miriam  (Mercury, MG 21095, LP, no year listed [1967]).
• Appel à l’Afrique  (Syliphone, Guinea, LP ).
• The Best Of Miriam Makeba  (RCA, LSP-3982, LP, 1968).
• The Click Song   (Sonodisc, Cd 5564, CD) Comme
• Une Symphonie D’amour  (Sonodisc, France, Cd7501, CD ).
• Country Girl  (Sonodisc, France, Cd6518, CD
• Eyes on Tomorrow  (Polydor, 849 313-2, CD, 1991) Featuring Dizzy Gillespie, Nina Simone, Hugh Masekela And Nelson Lee
• Forbidden Games  (RCA, LP, 1962).
• Greatest Hits  (WEA, LP, 1979).
• I Shall Sing  (Esperance / Sonodisc, Sncd1901, ).
• In Concert  (Reprise, 6253, n.d. [60s]).  Her first LP for Reprise recorded at New York’s Philharmonic Hall, Lincoln Center, with a small combo including Sivuca.
• In Concert  (Peters International, PLD 2082, LP, 1977).  Recorded at the Theatre des Champs-Elysees, Paris.
• Keep Me In Mind  (Reprise, LP, 1967).
• Le Monde De Myriam Makeba  (Sonodisc, France, Cd5563, CD).
• Live At The Champs Elysee  (Sonodisc, France, LP, 1975).
• Live Au Palais Du Peuple De Conakry  (Sonodisc, France, Cd8470, CD).
• Live From Paris and Conakry  (Drg, 5234, May, 1996).
• Live In Conakry  (Sonodlsc, France, LP, 1975).
• Makeba!  (WEA/Reprise, RRC 2213, 1968).
• Makeba Sings!  (RCA, LSP-3321, 1965).  Orchestra here led by Hugh Masekela, who did most of the arranging.  Quite a band here, including Jonas Gwangwa, Kenny Burrel, and Milford Graves
• The Magic Of Makeba  (RCA, LSP-3512, 1966).
• The Magnificent  (Mercury, SR 61082, no year listed).
• The Many Voices Of Miriam Makeba  (Kapp, KS-1274, 1962).
• Miriam Makeba  (RCA, LPM-2267, LP, 1960).  Her first solo US LP, featuring “The Click Song” and “Mbube.”  All the monies earned here went directly to Gallotone to buy out her South African contract!
• Miriam Makeba Goes International   (WEA, LP, 1977).  With Perry Lopez & The Belafonte Singers
• Miriam Makeba Live From My Brothers And Sisters (CCP, LP, 1978).
• Miriam Makeba Live In Africa  (Philips, , 1967).
• Music Volume 6: Miriam Makeba  (RCA, France, NL 42421 A, LP, n.d. [1980s]).
• Pata Pata   (Reprise, R 6274, LP, n.d., [1967] / Sonodisc, France, Cd6508, CD).
• Pata Pata (Esregistrement Public Au Théâtre des Champs-Elysées 30 Septembre 1977)  (Sonodisc, C1005, LP, 1977).
• Rhythm & Song  (Peters International, PLD 2073, 1980
• Sabelani  (CCP, LP, 1979)
• Sangoma  (Warner Bros., 9 25673-1, LP, 1988).  Also avail on CD from Wea / Warner Bros. Hugh Masekela plays trumpet.
• Sing Me A Song  (DRG, 5233, CD, 1993 / Sonodisc, France, Cd12702, CD, 1994).
• Symphony De Mour (Symphony Of Love)  (Sonodisc, France, LP, 1975).
• The Voice of Africa  (RCA Victor, LSP-2845, LP, 1964).  Arranged and conducted by Hugh Masekela.
• The World of Miriam Makeba  (RCA Victor, LPM-2750, LP, 1963).
• Welela  (Mercury, 838 208-2, LP, 1989).
• World Of African Song  (Burns and MacEachern Ltd , 8129-0138-x, LP, 1971).  African Folk Songs

Miriam and Bongi Makeba
• Miriam and Bongi Makeba  (Sonodisc, France, LP, 1975)
• Together  (Syliphone / Sonodisc, France, SYL C 007, n.d.).

Miriam Makeba & the Skylarks.
• Volume 1   (Gallo, TELCD 2303, ).    cuts from the 50s and great.
• Volume 2   (Gallo, TELCD 2315, ).
• The Best Of The Skylarks  (Kaz, UK, Kazcd26, CD).
• Skylarks  (Gallo, South Africa, [LP],1953).    Makeba site
• Skylarks (Re-Issue)  (, , 1992).    Makeba site

Miriam Makeba & Harry Belafonte.
• Belafonte Live At Carnegie Hall (2 Songs)  ((RCA, LP, 1960).
• Songs for Africa  (RCA, RCAL 6015, LP, 1985).  Hugh Masekela plays trumpet
• Together  (Ariola Express (GER), 495 592, 1989).  Notes says an anthology.  Some titles Orch conducted by Hugh Masekela
• Miriam Makeba & Harry Belafonte  (BMG, LP, 1972).





More Capitol Fun

7 11 2008

Well, If you’re like me you spent last Tuesday listening to the great Eddie Simpson singing “Pray and Vote” (“Listen people…ain’t gonna wear these shoes no longer, ain’t gonna stay in this house no longer, ain’t gonna carry these blues no longer, ain’t pay these dues no longer”) and culling the ARC for other, mildly relevant vinyle Obama predictors.  Here’s a few more:

whitehouseblackchocolatecity1

dickgregoryelectslappywhite

firstslappywhite





Nigerian Musician Sonny Okosuns Dies

25 06 2008

Nigerian composer, singer and activist Sonny Okosuns died May 24 in Washington DC of Cancer.

Not well known in the States, Sonny’s great voice (the only African voice) may have been noticed on Sun City, the anti-apartheid album from 1985 or on the soundtrack of Jonathan Demme’s Something Wild. I had the privilege of doing a remix of the song from the film Highlife for Shanachie Records.  I remember the difficulty we had editing, as the drummer moved the song along as only a human could, somewhat at odds with producing a dance track.

Here’s a profile I wrote in the late 90s and a listing of the recordings we have at the ARC.

Sonny Okosuns
b: 4/3/1947.Enugu or Benin City, Nigeria

In his teens Sonny studied as an actor with the Eastern Nigerian Theater, couching a desire to become a playwright within a Hollywood obsession. He often spent a day at the cinema, and the occasional night after falling asleep in his seat.  Elvis Presley’s Loving You, Cliff Richard’s Expresso Bongo and The Tommy Steele Story made a lasting impression. Misreading the large numbers of adoring on-screen fans as friends, the young Okosun was attracted to this idealized lifestyle. The gift of a guitar in 1964 led to the formation of his first band, the Postmen, in 1966.

The Postmen specialized in straight ahead rock and pop, playing Elvis songs and earning a local reputation for Beatles covers.  With the advent of the Nigerian Civil War in 1967, Sonny moved to Lagos to do design work for a TV station. There, along with everyone else in the capital, he went crazy for American soul and sang in amateur soul groups. 1969 marks the beginning of his professional career with a move to Benin City to play second guitar with Sir Victor Uwaifo’s Melody Maestros, a prominent Highlife band. Uwaifo taught him composition and provided practical experience on the ins and outs of earning a living as a musician. Flying back from a Japanese tour in 1970, Sonny purchased instruments at a London stopover – gear necessary to form his own band being prohibitively expensive and difficult to come by in Africa. He also picked up a new set of Western influences while in the UK, launching Paperback Limited in ‘72, a mix of Eastern (Bendel) Highlife and the underground sound of Santana, Hendrix, Creem and Traffic.

While Sonny was successful, he felt that his music is still not very distinctive. He returned home to Enugu and came up with a roots music based on his Esan (Ishan) culture. He renamed the band Ozziddi after an Ijaw river God and christened his sound “Ozziddzm”.  His first song in Ozziddi style, “No More War”, was a hit, as were his next three albums, Ozzidi, Living Music and Ozzidi for Sale, all of which sold over 100,000 copies. His fourth LP, Papa’s Land (1977), did even better. The title cut, a funky Highlife number sung in English, preached a militant gospel of African rule “from Cape Town to Cairo”. The LP also contains one strong Afro-reggae song, “Rain”, attesting to a blossoming interest in reggae, and a back cover quoting the Old Testament, an affirmation of his born again Christianity.

EMI, impressed with Papa’s Land, sent the band to London in 1978 where Sonny recorded his next two LPs at Abbey Road studios, the home of his boyhood idols, the Beatles. (Sonny claimed to have used nearly half the Beatles titles for his own compositions, one of which, “Help” was a big hit). “Fire In Soweto” is a well produced Afro reggae title cut that showcased Sonny’s warm, rootsy voice. The English lyrics allowed the message of freedom to reach beyond Nigeria’s borders and made Sonny a star throughout the continent. In 1980 “Fire” flooded West African airwaves providing the soundtrack for Samuel K. Doe’s Liberian coup. That same year Sonny was the first artist to take the stage at Zimbabwe’s independence celebration.

Exploring the language-oriented calypso form, he next cut an LP with Explainer, calling the style Afro-Carnival. Shifting gears again, Sonny flirted with a disco sound on “No More War” on his 1980 Third World LP, with many of the songs again incorporating reggae stylings. The title cut stressed the Afro over the reggae to produce his most satisfying effort to date. Sonny delights in the airiness of reggae – the large empty spaces that allow room for the words – as attractive as it’s religious and political tendencies. Okosuns’ gift is hearing Africa’s perfect pitch on it’s return trip to the motherland; in New World rock, reggae, funk, black American dance and Caribbean music. The follow-up, The Gospel According to Ozziddi, was a shaky disco effort. Okosuns has toured the world, including a visit to Cuba and a sold out concert at New York’s Apollo theater in 1984.

Sonny Okosun’s Ozziddi. 3rd World (Makossa, USA, M 2397, 12, vinyl disc-Lp, [1980])
Sonny Okosun’s Ozziddi. 3rd World (Oti, UK, M 2397*, 12, vinyl disc-Lp, [1980])
Sonny Okosuns. African Soldiers (Profile, USA, PCD-1414, 5, compact disc, 1991)
Sonny Okosun. Fire In Soweto (EMI, Nigeria, NEMI 0330, 12, vinyl disc-Single or Ep, 1978 )
Sonny Okosun. Happy Days (, HMV 058, 12, , 1980s)
Sonny Okosun. Highlife (Shanachie, USA, SH-5011, 12, vinyl disc-Single or Ep, n.d. {1984]). This is the one B.George and Goran Andersson remixed.
Sonny Okosun. Liberation (Shanachie, USA, 43019, 12, vinyl disc-Lp, 1984)
Sonny Okosun. Liberation (Shanachie, USA, 43019*, 5, compact disc, 1991)
Sonny Okosun. Message (MFR 120714, 12, 1980s)
Sonny Okosun. Message (Melanie, USA, JRF-1009, 12, vinyl disc-LP, 1980s)
Sonny Okosun. Mother and Child (EMI, Nigeria, HMV 030, 12, vinyl disc-Single or Ep, 1982)
Sonny Okosuns. Over The Years (Celebrity, 1001, 5, compact disc, )
Sonny Okosun’s Ozziddi. Papa’s Land (EMI, Nigeria, NEMI 0232, 12, vinyl disc-Single or Ep, 1977)
Sonny Okosun. Sonny Okosun (OTI, UK, OTI (LP) 058-82447, 12, vinyl disc-Single or Ep, 1978 )
Sonny Okosun’s Ozziddi. The Gospel of Ozziddi (EMI, NEMI (LP) 0530, 12, vinyl disc-Single or Ep, n.d.)
Sonny Okosun’s Ozziddi. Third World (OTI, OTI (LP) 0500, 12, vinyl disc-Single or Ep, 1980)
Sonny Okosun. Togetherness (EMI, Nigeria, HMV 033, 12, vinyl disc-Single or Ep, 1983)
Sonny Okosun. Which Way Nigeria? (Jive Afrika, USA, HIP 18, 12, vinyl disc-Single or Ep, 1984)
Sonny Okosun. Which Way Nigeria? (EMI, Nigeria, HMV(N) 036, 12, vinyl disc-Lp, 1984)
Sonny Okosun. Wind of Change (Ivory Music, Nigeria, IVR 001, 12, 1990)

Songs of Praise from 1994 (we don’t have) was sort of a comeback that sold nearly a million copies. It heralded a Christian twist.

A nice discography is at:
http://biochem.chem.nagoya-u.ac.jp/~endo/EAOkosun.html

You can get a great assortment of the releases on CD from our pals at Sterns, so visit them at http://www.sternsmusic.com/discography/6411





14 06 2008

One nice thing about the ARC sale is the new friends we meet who come in to shop. Our latest pal’o’pals is Joel who runs one of the nicest little record shops left in Manhattan, Tropicalia In Furs. Joel shopped at the ARC sale and we traded a bit. What we got is listed below. You may notice from the list that Tropicalia is a Brazilan store, but there is a lot of hot soul and rarities. Most on the list belore are pretty hard to get in such good condition. So visit his shop (304 East 5th St, NYC – 212-982-3251) and don’t forget to shop at our sale on this the last weekend. We’re @ 54 White St., NYC, this Sat + Sun, 11am – 6pm.

• Antonio Carlos E Jocafi. Definitivamente (RCA Victor, Brazil, 110.0005, 12”, vinyl disc-Lp, 1974)
• Banda de Pau e Corda. Arruar (RCA, Brazil, 103.0281, 12”, vinyl disc-Lp, 1979)
• Banda de Pifanos de Caruaru. Bandinha Vai Tocar (Discos Marcus Pereira, Brazil, MPL 9416, 12”, vinyl disc-Lp, 1980)
• Caetano Veloso. Caetano Veloso (Philips, Brazil, 6349 007, 12”, vinyl disc-Lp, 1971)
• Caetano Veloso. Jóia (Philips, Brazil, 6349 132, 12”, vinyl disc-Lp, 1975)
• Elis Regina. Fascinacao (Philips, Brazil, 836 844, 12”, vinyl disc-2Lp, 1989)
• Gal Costa. Legal (Phillips, Brasil, 765.126, 12”, vinyl disc-Lp, 1970)
• Gilberto Gil. Expresso 2222 (Fontana, Brazil, 6488 194, 12”, vinyl disc-Lp, 1982)
• Hermeto Pascoal. CÉrebro Magnetico (Atlantic, Brazil, BR-30 127, 12”, vinyl disc-Lp, 1980)
• Jair Rodrigues. 10 Anos Depois (Philips, Brazil, 6349 105, 12”, vinyl disc-Lp, 1974)
• Jorge Ben Jor. Mestres da MPB – Jorge Ben Jor – ao vivo (Warner, Brasil, 670.4306, 12”, vinyl disc-Lp, 1993)
• Jorge Ben Jor. Sacundin Ben Samba (Fontana, Brazil, 6488195, 12”, vinyl disc-Lp, 1964)
• Mario Castro-Neves. Brazilian Mood (Decca, UK, PFS 4294, 12”, vinyl disc-Lp, 19??)
• Martinho Da Vila. Martinho Da Vila (RCA, Brazil, BBL 1488, 12”, vinyl disc-Lp, 1969)
• Nara LeÃo. Os Meus Amigos SÃo Um Barato (Philips, Brazil, 6349.338, 12”, vinyl disc-Lp, 1977)
• Pedro Sertanejo. ForrÓ Povão (Chantecler, Brazil, 2-04-405-008, 12”, vinyl disc-Lp, 1981)
• Various Artists. Tom Jobim (Musica Popular Brasileira, Brasil , HMPB-27, 12”, vinyl disc-Lp, 1977)
• Ze Do X. Um Paraibano Em Oito Baixos (SOM, Brazil, SOLP 40.124, 12”, vinyl disc-Lp, 1968 )





We Don’t Need No Stinkin’ Badges!

11 06 2008

Unable to push through a “Cross Dressing” or edible “Trans-fat” merit badge last fall the Los Angeles Boy Scouts (50,000 strong) have approved the “Respect Copyrights” patch, sponsored by the MPAA (Motion Picture Association of America).

Antenna up about exactly what sponsorship means, especially as scouts are encouraged to mount MPAA software Parent File Scan on their home machine to detect downloads, legal and otherwise. The guide to earning this badge proffers: “There are peer to peer groups who offer legal downloads and those who offer illegal downloads. Make a list of both. Suggest ways to detect peer to peer software like the MPAA Parent File Scan.”

We have e-mailed the scouts to ask how many surveillance forays have been mounted and badgewinners there are, and will duly report. At least the Girl Scouts mean cookies when they say cookies, and promoted domestic tranquility recently when they made Dolly Parton an honorary scout for life! Sadly, Boy Scouts threatened to counter with a “Hooters” badge.

7″ Songscape:

“Boy Scout Troop” by Judy Thomas. (ABC, seven inch 45rpm, 10990,1967)
“I’m Girl Scoutin,’” by The Intruders, (GAMBLE seven inch 45rpm, 4009, 1970)
“My Lover Is A Boy Scout,” by The Charmettes.  (MALA, seven inch 45rpm, 491, 1964)

Then there’s the comedy riff seven-incher – “The Boy Scout” by the unfunny Allen and Rossi (MERCURY, 72378, 1965)





The Latest Sect

22 05 2008

This just in : Today, 5/22/2008, the N Y Times posts a story on Acrassicauda, the (only?) Iraqi Heavy Metal band, who just happen to be named after a species of black scorpion. There’s a new documentary about them and their love of insects…

Wanna watch? or watch another video?

As a kid, in Ohio, in the 60s, in the garage, I was one of many who preferred the Stones to the Beatles, and the twistymouth charms of singing “My. My. My. Like the spider to the fly, jump right ahead in my web” to any handholding lyric by those cheery entomologists. Otherbugwise, Spike Jones’ version of the Rimsky-Korsakov beething was great. And yes, I liked the Crickets, but it would be a while before I learned to love Spiders from Mars.

But now hear this; Jason E. Bond, who probably had a band in the 60s, is a biologist at East Carolina University who named a newly discovered trapdoor spider, Myrmekiaphila neilyoungi – a name with a fake Greek ju-jitsu ring to it, but in honor of his favorite musician all the same.

So, in honor of Youngi, who we love, and eschewing away all other itsy bitsys, like Flea, Adam Ant (who signs his name with little antennae attached), WASP, Iron Butterfly, The Honey Bees, The Fleas, Honey & the Bees, The Spiders, Halo of Flies, The Bugs, The Buggs, The Butterflys, The Bee Gees, Steel Caterpillar, Insect Surfers, Praying Mantis, The Fire Flies, Lord Flea, Lord Fly, J.W. Grasshopper & Butterfly, Celi Bee, Tarantula, the Tarantulas, The Insect Trust, Spider Webb, the Termites, Scorpion, Blowfly, and Spider John Koerner, accept our humble discography of arachno-centric seven-inch singles.

• Ballad Of Spider John, WILLIS ALAN RAMSEY, SHELTER, 7324, 1972
• Big Widow Spider, BILLY JACK HALE, D, 1216, 1961
• Black Spider, ROCKHEART JOHNSON, RCA, 1947-5136, 1953
• Black Widow Spider, BIG BROTHER & HOLDING COMPANY, COLUMBIA, 45502, 1971
• Black Widow Spider, DAMON FOX, CRIMSON, 1013, 1967
• Black Widow Spider, SANFORD CLARK, LHI, 1203, 1968
• Black Widow Spider Blues, LOWELL FULSON, SWINGTIME, 115, 19??
• Black Widow Spider, LOWELL FULSON, SWINGTIME, 308, 1952
• Black Widow Spider Woman, JACK HAMMER, MILESTONE, 2001, 1959
• Boris The Spider, JOEY COVINGTON, ORIGINAL, SOUND, 1967
• Boris The Spider, The CORDS, LAURIE, 3403, 1967
• Church Of The Poison Spider, DAVID HALLYDAY, SCOTTI BR, 07299, 1987
• Inky Dinky Spider, AIMABLE, SCEPTER, 12134, 1966
• Itsy Bitsy Spider (The), CARLY SIMON, ARISTA, 9525, 1986
• Me And My Spider, The REVERES, VALIANT, 196041, 1964
• Mean Red Spider, MUDDY WATERS, ARISTOCRAT, 1307, 1949
• Redback Spider, BROWNSVILLE STATION, BIG, TREE, 1972
• Return Of The Spiders, ALICE COOPER, WARNER, 7398, 1970
• Rubber Spiders In Coffee, Tommy HUTTON & KIDS BAND, MASTERVIEW, 102, 19??
• Spider, LIMMIE & FAMILY COOKING, AVCO, 4602, 1972
• Spider, HERBIE HANCOCK, COLUMBIA, 10563, 1977
• Spider, The DE MIRES, LUNAR, 519, 1959
• Spider, The LEAPING FLAMES, MAH, S, 1961
• Spider, CLODAGH RODGERS, RCA, 1947-9779, 1969
• Spider, The ELLINGTONS, RCA, 10528, 1975
• Spider, The STARLINERS, NO-NEE, 101, 19??
• Spider And The Fly, SAL RAIMONDI, CORAL, 62282, 1961
• Spider And Fly, JIMMY THOMASON, KING, 1085, 1952
• The Spider, AMOS MILBURN JR., SHALIMAR, 106, 1963
• The Spider, GENE NASH, JOSIE, 826, 1957
• The Spider, DOC BAGBY, GONE, 5087, 1960
• The Spider, JOE MORRIS, ATLANTIC, 859, 1949
• The Spider, The MARVELIERS, JOANY, 4439, 19??
• The Spider And The Fly, BANKS, ARTE & TELLERS, IMPERIAL, 5788, 1961
• The Spider And The Fly, BOBBY HART, BAMBOO, 507, 1961
• The Spider And The Fly, RAMBLIN JIMMIE DOLAN, CAPITOL, 1487, 1951
• The Spider And The Fly, STAN KENTON, CAPITOL, 1616, 1951
• The Spider And The Fly, The MONOCLES, CHICORY, 407, 1967
• The Spider And The Fly, BOBBY CHRISTIAN, WING, 2102, 1958
• The Spider And The Fly, LINDA JEAN, FAYETTE, 1628, 1965
• The Spider And The Fly, VON RUDEN, IVANHOE, 503, 1970
• The Spider And The Fly, TRAVIS & BOB, MERCURY, 71866, 1961
• Spider In My Stew, BUSTER BENTON, JEWEL, 842, 1974
• Spider In My Stew, BUSTER BROWN, RONN, 105, 19??
• Spider Man, HERO, LIFESONG, 45004, 1976
• Spider Man, FREDDIE McCOY, PRESTIGE, 398, 1966
• Spider Man, WILL POWER, PRIVATE, STOCK, 1975
• The Spider Song (Inky Dinky Spider), The KIDS NEXT DOOR, FOUR, CORNERS, 1965
• Spider Walk (The), JOHNNY DARROW, SUE, 738, 1961
• Spider’s Web, MAURICE KING & WOLVERINES, OKEH, 6800, 1951
• Spider’s Web, TAB SMITH, UNITED, 195, 1957
• Spider’s Webb, JAY JOHNSON, NEW, JAZZ, 19??
• Spider Web, TINY BRADSHAW, KING, 4727, 1954
• Spider Woman (Novela Das Nove), WALLY BADAROU, ISLAND, 99530, 1986
• Spider Woman, WALLY BADAROU, VISUAL ARTS, 99557, 1986
• Spiders, OZZY OSBOURNE, CBS ASSOC, 04318, 84
• Spiders And Snakes, JIM STAFFORD, M-G-M, 14648, 73
• Spooky Spider, The BUDDIES, SWAN, 194073, 1961
• Theme From Spider Man, The WEB SPINNERS, BUDDAH, 327, 1972
• What’s The Name Of This Funk, Spiderman, RAMSEY LEWIS, COLUMBIA, 10235, 1975

Oh, and there’s just so much more, like Tom Paxton’s “There’s A Spider On the Floor” or the debut single “Itzy Bitzy Spider” by Aqua (called Joyspeed at the time), “The Spider” by Eon and both Townes Van Zandt and Say Anything have a ditty called “Spider Song.”

Ps – Back on de bug track, don’t ignore the whirligig beetle, who’s very fond of sunglasses, aka Orectochilus orbisonorum.





United Airlines Lacks Musical Sensitivity

31 03 2008

As you know, we live in the least developed country of the so-called developed nations. I write this from the San Francisco airport. I fly domestically, maybe, twice a year. I fly internationally 4 or 5 times a year. I have NEVER had a flight delayed in Europe or Asia, and I have never once, in 10 years, taken off on time in the USA. And UNITED is the worst. Everytime. Two hours delay so far and counting. And I hate them.

BUT, if you are lucky enough to loose your mind at the United Domestic Terminal, there is a wonderful Exhibit of Catalinaware – pottery made in the Arts and Craft / Art Deco style on that tourist isle, from about 1927. This is the ONLY accredited art museum in an American airport. And certainly you have the hours to wile away if you fly United. (who I hate).

The Catalina Collector’s Blog < http://catalinacollectors.org/blog/gallery > says this is the largest exhibition of the material every mounted. So why talk about this in a music blog that hates United Airlines?

Well because of the photo of that gal a-playin’ her flower pots! They are playing ‘tuneful pottery’ in 1932 on the “Island of Romance.” And that’s about all I know.

13flowerpotsimage.jpg

So the hunt begins to find out more.

For an existing soundtrack, Singles-wise, consider
• The Four Preps, “Twenty-Six Miles (Santa Catalina).” Capitol, 3845, 1957 – this was an actual hit the following year.
• The Four Jokers. “Catalina Leana.” Apollo, 1163, 1950
• The Four Jokers. “We Met In Catalina.” Crystalette,730, 1959.
• Jan Garber Orchestra. “Catalina Bounce.” Capitol, 15468, 1949.
• Gordon Jenkins. “Santa Catalina.” Decca, 27031, 1950.
• The Commanders. “Cat From Catalina.” Decca, 29485, 1950.
• Bert Kaempfert. “Catalina.” Decca, 30866, 1959
• Tret Fure. “Catalina.” MCA, 40029, 1973.
• Freddy Martin. “Santa Catalina.” RCA, 47-3780. 1950.
• Nancy Sherman, Joan Van Armen. “Catalina Honeymoon.” Wanderlust, 1109, 1959.
Orchestra Mambo Rico. “Mambo Con Catalina.” Capitol, 15681, 1950 – this is the one I’m looking for!

There is also another exhibition titled, “30th Anniversary San Francisco Ethnic Dance Festival” in another terminal but no one seems to know where that terminal is, and it seems missing from the airport map at the United Terminal, and did I mention I hate United?








Follow

Get every new post delivered to your Inbox.

Join 353 other followers

%d bloggers like this: