Various Artists - Alan Lomax: Blues Songbook (1934 - 1978)

Lots has been written at great length about Alan Lomax elsewhere on this blog, and I'm sure eventually I will write plenty more about the man and his important influence of modern music. However in the interest of not repeating oneself..... 

This 2CD collection is reproduced here in lossless (.flac) quality and is comprised of field recordings made by John and Alan Lomax from 1935-’78, the scope alone of this album is formidable. Many of the acts are obscure even to blues aficionados, yet icons like Muddy Waters, Howlin’ Wolf, Blind Willie McTell, Son House, Leadbelly, and Mississippi Fred McDowell are peppered throughout the nearly 2 1/2 hour playing time. 

Although the audio quality varies from excellent to primitive, the astounding remastering makes it all able. This is raw, pure, spine-tingling music played with the intense nothing-left-to-lose passion of ordinary people whose impossibly difficult lives are exposed in their voices and performances.

"Alan Lomax is a lifelong fan of blues music, and his efforts to document and promote it have made a profound impact on popular culture. From his earliest audio documentation in 1933 of blues and pre-blues with his father, John A. Lomax, for the library of Congress through his 1985 documentary film, The Land Where the Blues Began, Lomax gathered some of the finest evidence of blues, work songs, hollers, fife and drum music, and other African-American song forms that survived the nineteenth century and prospered in the twentieth. His efforts went far beyond those of the typical musicologist. Lomax not only collected the music for research, but through his radio programs, album releases, books, and concert promotions he presented it to a popular audience. While living in England in the early 1950s he introduced many blues songs to the performers of the skiffle movement, who in quick turn ignited the British rock scene. Lead Belly and other blues artists, interpreted by Lonnie Donegan and Van Morrison, preceded the rock & roll tradition of covering and rewriting blues songs. The Rolling Stones, The Beatles, the Animals, Cream, Jimi Hendrix—all found inspiration from the blues. 

And this is how I came to the blues, as many people have: by way of rock & roll. In the very structure of rock music—and, in fact, -much of popular music—the source is undeniable. My personal journey of exploring the history of blues music is connected by the work of Alan Lomax. I vividly remember the first time I heard Lead Belly's voice on the radio in 1958-I immediately ran up to Sam Goody's to buy the 10" Folkways LP featuring his "C. C. Rider." When I filmed Muddy Waters in 1976 performing "Mannish Boy- for The Last Waltz, I witnessed the success and power of a man who had first been recorded in Stovall, Mississippi, in 1941 by Lomax and John W. Work, III. And when I saw Otha Rimer leading his fife and drum band in The Land Where the Blues Began, I was so struck by its hypnotic force that it became one of the primary musical inspirations for Gangs of New York. 

Alan Lomax: Blues Songbook is the first collection of Lomax blues recordings to encompass his career. I'm sure that his work will continue to inspire and illuminate the minds of future generations. The deep well from which he drew these essential voices of human culture is a treasure for all." 

— Martin Scorsese, York. NE July 2003

"Chilling, mysterious, and even playful--sometimes simultaneously--this collection with 40 pages of detailed history, informative track-by-track notes, and forays into Cajun and spiritual side roads is most recommended to established blues fans wishing to further explore the roots of the genre."

— Hal Horowitz  

Tracklist:

Disc 1:

1. Going Down to the River - Mississippi Fred McDowell, Miles Pratcher
2. Rolled and Tumbled
3. Cherry Ball Blues - Jack Owens,
4. Dust My Broom - Howlin' Wolf, , Hubert Sumlin
5. Boogie Children - Boy Blue, Joe Lee,
6. Stagolee - Lucious Curtis, Willie Ford
7. Stop All the Buses - Cecil Augusta
8. Worried Life Blues - David Honeyboy Edwards
9. Pony Blues - Son House
10. Tangle Eye Blues
11. Trouble So Hard - Vera Hall-Ward, Dock Reed
12. Worried Blues - Sonny Terry
13. Beggin' the Blues - Bessie Jones
14. John Henry - Gabriel Brown
15. Country Blues - Dock Boggs
16. Cherry Ball Blues - Skip James
17. I Hate a Man Like You - Jelly Roll Morton
18. Roll 'Em Pete - Pete Johnson
19. Kokomo - Memphis Jug Band
20. Life Is Like That - Big Bill Broonzy, Memphis Slim, Sonny Boy Williamson

Disc: 2

1. I Could Hear My Name A-Ringin' - Big Bill Broonzy, Memphis Slim, Sonny Boy Williamson
2. Dimples in Your Jaws - Boy Blue, Joe Lee,
3. Catfish Blues - Jack Owens,
4. Kill-It-Kid Bag - Blind Willie McTell
5. You're Gonna Need My Help - Elinor Boyer
6. Army Blues - David Honeyboy Edwards
7. Blues de la Prison - Alphonse "Bois Sec" Ardoin, Canray Fontenot
8. I Been Drinking - Vera Hall-Ward
9. I Been a Bad, Bad Girl (Prisoner Blues) - Ozella Jones
10. I Be's Troubled - Muddy Waters
11. Boogie Instrumental - R.L. Burnside
12. Blind Lemon Blues - Leadbelly
13. Sweet Patootie Blues - Albert Ammons
14. Last Time - Sam Chatmon
15. Shorty George - Smith Casey
16. Desert Blues - Hattie Ellis,
17. Joe Turner - Hobart Smith, Ed Young
18. Joe Turner - Bob Pratcher, Miles Pratcher
19. Joe Turner
20. See That My Grave Is Kept Clean - Hobart Smith
21. How Long Blues - Leadbelly, Brownie McGhee, Sonny Terry

Download Link - Mediafire - CD1

Download Link - Mediafire - CD2

Various Artists - Zeppelin Took My Blues Away (2014)

I cannot take credit for putting in any of the time and effort (and passion) that it took to create this compilation. All this research and this fantastic collection were made possible by “Willard’s Wormholes” http://www.willardswormholes.com . On his website he has a cool interface where you can click on cards and it produces links to the original tracks and then alternative streams so you can compare the tracks for similarities. Excellent project and really well researched. Check it out before downloading!

I didn’t include any of the original Led Zeppelin tunes in this, and took the liberty of splitting all the ‘source tracks’ into 2 CD format just cause the whole playlist was about 90 minutes and I still like CD’s. I’ve reproduced faithfully below all the content from the original web based interface, it makes for extremely interesting reading. And have included in each sub folder the original images from the website (which are awesome by the way).

Anyway excellent compilation, enjoy, thanks to Willard’s Wormholes again for the dedication and research necessary to produce something like this!

From Willard's Wormholes:

They’re one of rock’s greatest bands. They’re also one of rock’s worst… when it comes to properly crediting their sources of inspiration. Led Zeppelin’s many incidents of copyright infringement are legendary. There are those who have called it outright theft, and have sworn in a court of law that Led Zeppelin (primarily Jimmy Page and Robert Plant) have repeatedly taken credit for writing music that wasn’t their’s to take credit for. And, many of those cases have been vindicated. Of course… this is not to take away from Led Zeppelin’s greatness; the amazing arrangements, renditions, covers, interpretations, performances and history they’ve created and been a part of. But, the truth is they’ve become rich partly from royalties they were never entitled to. Jimmy Page was uncharacteristically candid on the subject when he spoke to Guitar Player Magazine in 1993, downplaying his own culpability while simultaneously throwing his partner, Robert Plant, under the bus. “I always tried to bring something fresh to anything that I used. I always made sure to come up with some variation. In fact, I think in most cases, you would never know what the original source could be. Maybe not in every case – but in most cases. So most of the comparisons rest on the lyrics. And Robert was supposed to change the lyrics, and he didn’t always do that – which is what brought on most of the grief. They couldn’t get us on the guitar parts of the music, but they nailed us on the lyrics. We did, however, take some liberties (laughs), I must say.” Note that Page says, “Robert was supposed to change the lyrics…” which might accidentally say a lot more about their process than Page intended.

Many of these tracks, which form the basis for quite a number of Led Zeppelin’s earlier recordings, have found their way onto “Roots Of” Zep collections before, so this gathering is nothing new. Many already know this story, and these songs, but for those that haven’t stayed abreast of the decades of abuse Zep has endured for their costly “borrowing” from others just might be shocked at what they hear on this collection. Of course, musicians borrow from each other all the time. Zeppelin were just way too blatant about it, and way too often took the credit (and royalties) for themselves. And, depending on how you slice it, this is only the half of it. On its own, this is a fun, mostly old blues collection made up of all the original songs heard on these pages… with a strangely familiar twist.

Tracklist:

JAKE HOLMES Dazed And Confused (3:48)
BERT JANSCH Blackwaterside (3:45)
HOWLIN’ WOLF No Place To Go (a.k.a. How Many More Years) (2:53)
ALBERT KING The Hunter (2:46)
ALES KORNER BLUES INC. Rosie (2:13)
ALEXIS KORNER & ROBERT PLANT Steal Away (4:45)
JOAN BAEZ Babe, I’m Gonna Leave You (2:39)
MUDDY WATERS You Need Love (2:43)
SMALL FACES You Need Loving (4:00)
HOWLIN’ WOLF Killing Floor (2:49)
ROBERT JOHNSON Travelling Riverside Blues (2:39)
SONNY BOY WILLIAMSON Bring It On Home (2:38)
BUKKA WHITE Shake ‘Em On Down (3:02)
MOBY GRAPE Never (6:15)
BERT JANSCH The Waggoner’s Lad (3:26)
KANSAS JOE McCOY & MEMPHIS MINNIE When The Levee Breaks (3:11)
SPIRIT Taurus (2:37)
SLEEPY JOHN ESTES Drop Down Mama (3:12)
BLIND BOY FULLER I Want Some Of Your Pie (2:45)
JOSH WHITE Jesus Gonna Make Up My Dying Bed (a.k.a. In My Time Of Dying) (3:06)
RITCHIE VALENS Ooh, My Head (1:47)
BLIND WILLIE JOHNSON It’s Nobody’s Fault But Mine (3:11)
THE THAMESIDERS AND DAVY GRAHAM She Moved Thro’ The Fair (3:10)
SLEEPY JOHN ESTES The Girl I Love, She Got Long Curly Hair (2:58)
BOBBY PARKER Watch Your Step (2:44)

(plus a few bonus tracks.......)

Download Link - Mediafire

Prison Songs Vol.1 - Murderous Home (Historical Recordings From Parchman Farm 1947-48)

This is the 1997 reissue of Alan Lomax's original Negro Prison Songs. These are recorded at Parchman Farm (Missisipi State Penitentiary) which is the only maximum security prison in Mississipi. Volume one is a masterpiece, the best single document of the African American work song and field holler tradition. The group work songs, while excellent examples of this are by their nature less distinctive than the solo performances. Nonetheless, they are uniformly strong and include many of the most common of such pieces.

“These songs belong to the musical tradition which Africans brought to the New World, but they are also as American as the Mississippi River. They were born out of the very rock and earth of this country, as black hands broke the soil, moved, reformed it, and rivers of stinging sweat poured upon the land under the blazing heat of Southern skies, and are mounted upon the passion that this struggle with nature brought forth. They tell us the story of the slave gang, the sharecropper system, the lawless work camp, the chain gang, the pen.” – Alan Lomax

Download Link - Mediafire

Various Artists - Drug Songs - High And Low (1917 - 1944)

Listeners under the impression that drug music began with "White Rabbit" and ended with "White Lines" would be wise to pick up the first and best volume in the German Trikont label's excellent Flashbacks series -- compiling 25 jazz, blues, and vocal cuts from the first-half of the 20th century, the set documents World War II-era vice and sin at its finest, deftly mixing radio hits with utter obscurities. The songs range from the benign (Gene Krupa's "Feeling High and Happy") to the explicit (the Memphis Jug Band's "Cocaine Habit Blues"), and while some of the selections are clearly reaching to justify their thematic inclusion -- Bukka White's immortal "Fixin' to Die Blues" almost certainly has nothing to do with "fixing" in the junkie lexicon sense of the term -- the pacing and sequencing are dead-on, and even novelty throwaways like Harry "The Hipster" Gibson's "Who Put the Benzedrine in Mrs. Murphy's Ovaltine?" stand up to repeated listening in this context. Excellent remastering and liner notes (in both English and German) round out the package

Tracklist:

01 The Cat Is High - The Ink Spots
02 Junker's Blues - Champion Jack Dupree
03 Who Put The Benzedrine In Mrs. Murphys Ovaltine - Harry 'The Hipster' Gibson
04 Don't You Make Me High - Blue Lu Barker
05 I'm Wild About My Stuff - Kansas Joe and Memphis Minnie
06 You're A Viper - Stuff Smith & His Onyx Club Boys
07 Selling That Stuff - McKinney Cotton Pickers
09 Moonshine Man Blues - Peter Cleighton with Blind John Davis
10 Cigarettes, Cigars - Florence Desmond
11 Minnie The Moochers Wedding Day - Mills Blue Rhythm Band
12 The Ghost Of Smokey Joe - Cab Calloway
13 Let's Have Another Cup Of Coffee - Waring's Pennsylvanians
14 Dope Head Blues - Victoria Spivey & Lonnie Johnson
15 Wacky Dust - Ella Fitzgerald with Chick Webb & His Orchestra
16 Fixin' To Die Blues - Bukka White
17 Cocaine Habit Blues - Memphis Jug Band
18 Reefer Man - Baron Lee & The Blue Rhythm Band
19 Cocaine - Dick Justice
20 Jake Walk Papa - Asa Martin
21 Kickin' The Gong Around - Louis Armstrong
22 The Candy Man - Rosetta Howard & The Harlem Hamfats
23 Repeal The Blues - Ray Noble & The New Mayfair Orchestra
24 Feeling High And Happy - Gene Krupa & His Orchestra
25 Knockin' Myself Out - Jean Brady & Big Bill Broonzy
26 Smoke Clouds - Herbert Payne


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Calypso Carnival - 1936-1941

By the 1930s, calypso had come of age in Trinidad and, through the dissemination of sound recordings, was beginning to influence popu-lar music throughout the English-speaking world. Its roots go back to the late eighteenth century, when French settlers first came to the island, bringing slaves from Haiti, Martinique and Guadaloupe. An Africanized French patois became the language of songs composed for the Carnival season throughout the nineteenth century. As English colonial customs came to dominate the island, that language became the one of choice for calypso around 1900.

Calypso traditionally takes a jaundiced view of life. Though praise is meted out when deserved, calypsonians normally assume a stance somewhere between reporter, editorialist, moralist and satirist. Scandal, disaster, politics, sexual indiscretion, and local to interna-tional events all prove grist for the mill. The calypsonian might turn the spotlight on himself, occasionally (as in Tiger's "Point Cumana") to tell how others got the best of him, but more often (as in the bun-galow songs) to boast of power, possessions, all-around superiority and well deserved good fortune. In the depression-plagued 1930s, these were often imaginary attributes, amounting to an unspoken, communally understood wish for political power and the means to acquire both basics and luxuries from the shops in Port-of-Spain.

Lion, Tiger, Atilla, Executor, Invader and Radio were power names taken by calypsonians as compensation for their status at the bottom of the social and economic ladder. Their songs were primarily written for and addressed to Trinidad's Carnival season, which spanned the weeks between Christmas and Lent, when rehearsals were combined with public performance in calypso tents, while preparations were made for Carnival itself, the three-day festival preceding Ash Wednesday.

Though calypsos had appeared on record sporadically beginning in 1912, it was not until 1934 that island singers began to record regu-larly. That year, Lion and Atilla the Hun were selected to sail to New York to make records of some of the season's Carnival favorites. From then through 1941, each spring marked the occasion for Trinidad singers to go to New York or for recording crews to visit Port-of-Spain. The New York sessions featured the relatively traditional accompaniments of Gerald Clark's Caribbean Serenaders. Island dates employed a variety of bands, from tamboo-bamboo groups to the swing-tinged ensembles of T.A. Codallo and John (Buddy) Williams.

Tracklist:

01. The Lion - Ba Boo La La
02. King Radio - Neighbor
03. Gerald Clark and his Caribbean Serenaders - Si-O-No-valse
04. The Tiger - Bandandea
05. The Growler - High Brown
06. Lionel Belasco and his Orchestra - Depression-pasillo
07. The Lion - I Am Going To Buy A Bungalow
08. Atilla The Hun - I Don't Want No Bungalow
09. Codallo's Top Hatters Orchestra - I Want to Buy A Bungalow
10. The Caresser - John Thomas
11. King Radio - It's the Rhythm We Want
12. Cyril Monroe String Orchestra - Tres Bemoles
13. The Tiger - Marabella Wedding
14. Wilmoth Houdini - Mama, Call the Fire Brigade
15. Harmony Kings' Orchestra - Anything for Love-Tango calypso
16. The Lion - Vitalogy
17. The Lion - It's a Sin to Tell a Lie
18. Lord Invader - Saga Boy's in Town
19. King Radio - John O'Carr
20. Gerald Clark and His Caribbean Serenaders - La Rosa-valse
21. The Growler - In The Dew and The Rain
22. The Tiger - Point Cumana
23. The Lion - Freddo
24. The Lion - Wanga
25. Lord Executor and the Caresser - Old Ginger

Download Link - Mediafire

Calypso Breakaway - 1927-1941

If calypso's focus on issues, events and scandals is not unique, English-language popular song offers nothing else quite like it. Blues and country music share calypso's view of the world from a working-class perspective. Jamaica's reggae singers like to recount skirmishes between the haves and have-nots, in part due to the affinity Jamaicans have had for calypso in the past. But, for eloquence and topical diversity, no other genre can approach the songs of Trinidad.

Calypso's roots are deep; verses in French patois survive, attributed to one Gros-Jean, a slave who accompanied the first French-speaking settlers on the island before 1800. Patois kalindas were routinely heard during the stick-fighting competitions which were a hallmark of the jamette (underclass)carnival season after slavery was abolished in the 1830s. At the turn of this century, calypso acquired its name as English began to replace patois for composing purposes. New songs designed for performance adopted a more elegant eight-line verse structure. At their best, these ballades (as Lion has dubbed them) allowed for greater eloquence and thematic development nevertheless, kalinda never lost its appeal; its concise quatrains and choruses have maintained a place in calypso, even though stick-fighting has all but disappeared from carnival except in mime.

By the 1930s, when most of these selections were recorded, the best calypsonians were creating material which combined sophisticated texts with thoughtful content appropriate to the times. Lingering effects of the depression and an outmoded economic system were leading to severe labor and social unrest—see "Where Was Butler?" (Folk-Lyric 9048) for calypsos dealing with the consequences. Affairs on the international front were bringing the world closer together even as they were leading to war. A turbulent social and political climate provided useful grist for calypso's mill: international and internal events, governmental and sexual politics were added to the traditional mix of carnival themes, scandal and first- and third-person accounts of calypsonians themselves as elements in a complex fabric of song.

Calypsos were sporadically available on record as early as 1912 but it wasn't until 1934 that new songs from each carnival season could be regularly heard outside Trinidad. By 1940, recorded calypsos had found their way to America, England and even South Africa, as the catchy lyrics, intriguing subject matter and infectious creole rhythms earned the music an ever-widening audience. Calypso became especially prominent after the Andrews Sisters enjoyed one of the biggest hits of their long career with Lord Invader's "Rum and Coca-Cola" in 1944. By the following year, resident New York performers like the Duke of Iron, Sir Lancelot and Macbeth the Great could be heard at fashionable clubs; even Atilla and the Lion enjoyed an extended 1945 engagement at the Village Vanguard.

In the fifties, folk singer Harry Belafonte initiated a new wave of interest in island songs during the first years of the folk revival. Calypso today still enjoys an international, if lower profile, following. Sparrow, Chalkdust and other veterans of the contemporary scene still perform controversial and appealing songs, dwelling on many of the same aspects of life which engaged their forebears in this collection over fifty years ago.

Tracklist:

01. Keskidee Trio - Don't Le' Me Mother Know
02. King Radio - Ma Maria
03. Felix And His Krazy Kats - Bei Mir Du Schoen
04. The Growler - An Excursion to Grenada
05. The Lion - TIna
06. Lord Executor - Seven Skeletons Found In the Yard
07. Al Philip Iere Syncapotors - Little Gal Mother is Calling You
08. The Tiger - Maraval Girls
09. Lord Beginner - Anacaona
10. Atilla the Hun - Dynamite
11. Lord Invader - Caro at Point Cumana
12. Lionel Belasco's Orchestra - Violets Venezuelan Waltz
13. The Lion & Atilla the Hun - Guests off Rudy Vallee
14. Lord Executor - How I Spent My Time At the Hospital
15. King Radio - Old Men Come Back Again
16. Wilmouth Houidini & His Caribbean Orchestra - Johnnie Tak My Wife
17. The Caresser - The More They Try to Do Me Bad
18. The Lion - Love Thy Neighbor
19. Codallo's Top Hatters Orchestra - Tropical Heat-paseo
20. The Tiger - The Whe Whe Banker Wedding

Download Link - Mediafire

Calypso Ladies - 1926-1941

Ladies figure no more or less prominently in calypso than in the rest of the world's folk and popular music. Their traditionally fascinating, seductive, mercurial and deceitful attributes are as much on the minds of Trinidadian males as their counterparts elsewhere. But if romance is a prominent element of calypso, romanticism is conspicuous by its relative absence. If at first this seems surprising, consider that calypso in general adopts a skeptical attitude about human behaviour. Women are no less the subject of song than politicians and other public figures, both local and international. In either case, the calypsonian offers praise when it's due, though fatigue (aspersion) is more often in store. Most of these recordings are drawn from the Decca label in the 1930s, when the company annually arranged either for calypso singers to visit its New York studios and record with Gerald Clark's fine resident ensemble, or for a field trip to Port-of-Spain, where recordings were made in the rear of Eduardo Sa Gomes' Frederick Street record shop.

---DICK SPOTTSWOOD 

Tracklist:

01. The Tiger - Delcina
02. The Tiger - Senorita Panchita
03. Lionel Belasco - Carmencita
04. The Lion - Nora Darling
05. The Lion - Peggy Daniels
06. John 'Buddy' Williams - Marian
07. Keskidee Trio - Marian Le' Go Me Man
08. The Pretender - Adeline
09. King Radio - My Girl Mabel
10. Wilmoth Houdini - Unfortunate Millie
11. Wilmoth Houdini - Cecilia
12. Codallo's Top Hatters - Hold Your Hand Madam Khan
13. Lord Executioner - Sweet Evalina
14. Monrose's String Orchestra - Adelle
15. Monrose's String Orchestra - Victoria
16. Lord Beginner - One Morning
17. The Lion & Atilla - Dorothy
18. Lord Executioner - My Troubles With Dorothy
19. Codallo's Top Hatters - Ida, Ida Let Me Know
20. The Caresser - Ruby Canera
21. The Growler - The Diamond Ring For Emaline
22. Gerald Clark & His Caribbian Serenaders - Marguerita
23. Sam Manning - Oh, Emily!
24. The Tiger - Emily
25. The Tiger - Emelia

Information on tracks:

1. THE TIGER-Delcina

With Gerald Clark and his Caribbean Serenaders: Gerald Clark- guitar,
unknown trumpet, violin, clarinet, piano and string bass. New York, 4 April
1936. De 17273 (60983-A).

2. THE TIGER - Senorita Panchita (Neville Marcano)

With Cyril Monrose's String Orchestra: Monrose - violin, unknown flute,
trumpet, clarinet, piano, string bass and cuatro. Port-of-Spain, 14 March
1938. Decca 17392 (91465-A).

3 LIONEL BELASCO AND HIS ORCHESTRA- Carmencita-valse (Belasco)

Lionel Belasco - piano, unknown clarinet, cuatro and guiro (scraper}.
New York, 17 May 1933. Brunswick 41561 (B13349-1).

4 THE LION - Nora Darling (Hubert Raphael Charles)

With Gerald Clark and his Caribbean Serenaders: Gerald Clark - guitar,
unknown trumpet, violin, clarinet, piano, cuatro and string bass. New
York, 24 February 1937. Decca 17311 (62008-A).

5 THE LION - Peggy Daniels

With Gerald Clark and his Caribbean Serenaders: Gerald Clark- guitar,
unknown trumpet, violin, clarinet, piano and string bass. New York, 31
March 1936. Decca 17290 (60955-A).

6 JOHN "BUDDY" WILLIAMS AND HIS BLUE RHYTHM ORCHESTRA- Marian (John Williams)

John "Buddy" Williams - string bass, unknown trumpet, 2-3 saxophones,
piano, guitar and cuatro. Port-of-Spain, 12 March 1938. Decca 17373
(91459-A).

7 KESKIDEE TRIO-Marian le' go me man

Atilla the Hun (Raymond Quevedo), Lord Beginner (Egbert Moore) and the
Tiger (Neville Marcano)-vocal, with Gerald Clark and his Caribbean
Serenaders: Gerald Clark - guitar. Berry Barrow - piano, unknown
trumpet, violin, clarinet, cuatro and string bass. New York, 22 March 1935.
Decca 17263 (39450-A).

8 PRETENDER- Adeline (Alric Farrell)

With Clemons Smith and his Broadway Syncopators: Clemons Smith -
clarinet, unknown trumpet, 2 saxophones, piano, banjo and string bass.
Port-of-Spain, 8 February 1939. Decca 17412 (91679-A).

9 KING RADIO-My girl Mabel (King Radio)

With Gerald Clark & His Caribbean Serenaders: Gerald Clark- guitar,
unknown trumpet, clarinet, piano, cuatro and string bass. New York, 16
April 1941. Decca 17471 (68974-A).

10 WILMOTH HOUDINI AND HIS HUMMING BIRDS - Unfortunate Millie (Houdini)

With violin, clarinet, piano, banjo and string bass. New York, 19 October
1933. Melotone M12825 (14178-2).

ll WILMOTH HOUDINI - Cecelia (W. Houdini)

With Belasco Orchestra: Lionel Belasco - piano, Cyril Monrose -violin,
Gerald Clark- guitar, unknown cuatro. New York, 1 August 1927 Victor
80077 (BVE 39920-3).

12 CODALLO'S TOP HATTERS ORCHESTRA - Hold your hand Madam Khan

T. A. Codallo - violin, unknown trumpet, 2-3 clarinets/saxophones,
trombone, piano, guitar, string bass and drums. Port-of-Spain, 23 January
1938. Decca 17347 (91361-A).

13 LORD EXECUTOR - Sweet Evelina (Philip Garcia)

With Gerald Clark and his Caribbean Serenaders: Gerald Clark-guitar,
unknown trumpet, violin, clarinet, piano, cuatro and string bass. New
York, 23 February 1937. Decca 17316 (62002-A).

14 MONROSE'S STRING ORCHESTRA - Adelle-Trinidad valse (Belasco)

Cyril Monrose -violin, Lionel Belasco- piano, Gerald Clark-guitar,
unknown cuatro. New York, 5 July 1923. Victor 77053 (B 28242-1).

15 CYRIL MONROSE STRING ORCHESTRA - Victoria-valse (Cyril Monrose)

Cyril Monrose - violin, unknown flute, trumpet, piano, cuatro and string
bass. Port-of-Spain, 4 March 1938. Decca 17396 (91410-A).

16 LORD BEGINNER - One Morning

With Gerald Clark and his Caribbean Serenaders: Gerald Clark- guitar,
Berry Barrow - piano, unknown trumpet, violin, clarinet, cuatro and string
bass. New York, 15 March 1935. Decca 17251 (39412-A).

17 THE LION AND ATILLA- Dorothy (Atilla)

With Gerald Clark - guitar, unknown violin, clarinet, piano, cuatro and
string bass. New York, 13 March 1934. Melotone M12967 (14942-1).

18 LORD EXECUTOR - My troubles with Dorothy (Philip Garcia)

With John "Buddy" Williams and his Blue Rhythm Orchestra: John
"Buddy" Williams - string bass, unknown trumpet, 2-3 saxophones,
piano, cuatro and guitar. Port-of-Spain, 26 February 1938. Decca 17351
(91382-A).

19 CODALLO'S TOP HATTERS ORCHESTRA - Ida. Ida let me know (John Duprey)

T. A. Codallo - violin, unknown trumpet, 2-3 clarinets/saxophones,
trombone, piano, guitar, string bass and drums. Port-of-Spain, 23
February 1938. Decca 17347 (91363-A).

20 THE CARESSER - Ruby Canera (Rufus Callender)

With John "Buddy" Williams and his Blue Rhythm Orchestra: John
"Buddy" Williams - string bass, unknown trumpet, 2-3 saxophones,
piano, guitarand cuatro. Port-of-Spain, 25 February 1938. Decca 17348
(91378-A).

21 THE GROWLER -The diamond ring for Emaline (Errol Duke)

With the Night Owls' Orchestra: trumpet, clarinet, 2 saxophones, piano,
banjo, string bass and drums. Port-of-Spain, 25 January 1939. Decca
17405 (91606-A).

22 GERALD CLARK AND HIS CARIBBEAN SERENADERS - Marguerite-Spanish valse

Gerald Clark - guitar, unknown trumpet, violin, clarinet, piano, cuatro,
string bass and drums. New York, 20 September 1936. Decca 17296
(61278-A).

23 SAM MANNING-Oh. Emily!

With clarinet, alto saxophone, baritone saxophone, piano and banjo. New
York, April 1926. Columbia 2409-X (W 95121-2).

24 THETIGER-Emily

With Gerald Clarke and his Caribbean Serenaders: Gerald Clarke - guitar,
unknown trumpet, violin, clarinet, piano, cuatro and string bass. New
York, 22 March 1935. Decca 17264 (39452-A).

25 THE TIGER- Emilia

With Cyril Monrose's String Orchestra: Cyril Monrose - violin, unknown
flute, trumpet, clarinet, piano, cuatro and string bass. Port-of-Spain, 14
March 1938. Decca 17394 (91466-A).

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