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A: [laughing] Jim Screechy mean when a man coming up on you dodging. Hide and seeking. Not coming up full to you. Chat behind your back. So me say never do them thing deh.

A righteous Rasta man never deal with that. Me and Scratch mostly used to put things together by-clipping through things that happening and take things from it.

We do Colombia Colly and then we do a lot more songs, which is where I gone and do my thing from then. And just hang on until now. He lift up my eyes onto the hills from whence come my help. I have come from Jah which made heaven on earth. By his protection the sun shall not smite me by day nor the moon by night. My group. And later for Rupie Edwards me and Joe Higgs sing it and he say him write it. I saw a canoe passing, which him row with two stick. The old-time canoe, they row them with stick.

Me used to love the sea Sunday morning time. Where it come from. They only sing it. And gone home. And the Congoes record it and say it is them write it. I have a lot of songs that I write which I never get credit for because I never know much about performing rights. But the rights of them, the original work, is mine. But we do some great works at Upsetter studio. Nuff songs. Nuff song that people create them not even know where it come from.

Scratch always had enough words. He called me Jah Lion. But he called me Jah Lion different from Jah Lloyd…. This interview was first published in The Beat in DanceCrasher would like to thank Mike Turner for giving us the opportunity to reproduce it.

Respect to Jah Lion. Francis began Album) singing career with the Mediators in the mids. At the end of the decade, he recorded for Rupie Edwards and Lee Perry. For a while, Francis became their record salesman, frequenting the studios and getting closer to King Tubby, with whom he studied the technical aspect of music.

In the early 70s, Pat Francis started producing and founded his Teem label. On the refined rythm of Ain't no sunshine, Jah Lloyd performs an ample and energetic toast while the second side features a masterful version of the legendary trombonist Vin Gordon with the superb Rebel Rock.

Great music. Muddy Ibe is legendary with his unique way of rendering his highlife. He lives on. The dada is full of music, inspiration, composition and admonition.

His genres include highlife, country, folks and world music. He had a unique voice that set him different from other highlife artists. He always talked about enemy pursuing him in his song. Igbo highlife artists who had disagreements would use music to sub each other back in the days. Captain Muddy Ibe was a great man. The musical instruments he employed always make his songs unique and every head nods to the rhythmic patterns of them.

Captain Muddy Ibe is dead but his son Otigba Ibe has taken the wheel of microphone after him. Honolulu, Hawaii. This soothing audio head massage is much needed in these stressful times.

Probably not. This one is. We had to reference three different sources to get the best sound: reels, vinyl and cassette. Operating from his lifelong base of Honolulu, Hawaii, Lyman and the musicians he worked with released a large quantity of albums over a near year period that brought his particular mixture of Polynesian sounds and Afro-Cuban rhythms to a wide audience, all across the planet.

Thanks to the efforts of Roger Bong's Aloha Got Soul label, we can now enjoy all that it offers once again, though vinyl and digital reissues. Given the contributions Lyman made to fantasy fueled sounds of exotica over the course of his lifetime, the album is drenched with subtle melodies that recall a litany of television shows, films and library music albums.

If you need some time out, you'll find it here. Ersatz soundtracks for armchair safaris and shangri-las. At the end of this month, Aloha Got Soul, will reissue the late, lamented, vibraphone and marimba maestro Lyman's last solo commercial recording, the LP Island Vibes.

A seamlessly segued suite of nine pieces, it consists almost exclusively of stripped back serenades for sampled, soothing, gently crashing, surf and Lyman's trademark instruments. There are no strings, no percussion, no orchestration, just harmonic hymns and lullabies hammered out by his virtuoso four felt mallets on metal and wooden tongues. The odd steel sheet is shaken to mimic the thunder of electrical storms, or the roar of the torrent of a secluded waterfall.

The even odder horn sounds, like that of an approaching pleasure cruiser, homing into view, heading for harbour, toward honeymoon hideaways, fantasy islands, and blue lagoons. When Martin Denny held a residency as hotel band leader in Honolulu — where he employed Lyman on vibes — the calls and cries of the local wildlife were incorporated, integral to their evening performances. A welcomed sonic transport to paradise, much needed in a post- pandemic world. At eight years old, Arthur Lyman's music was already being played in public spaces via a toy marimba performance on the radio.

While Lyman laughed about the experience, he would continue performing and ultimately debuted professionally at 14 with a jazz group.

His skills earned him a place as a vibraphonist alongside exotica pioneer Martin Denny, although Lyman would leave the Denny's group soon after When Were Alone At Night - Warner Mack - Drifting Apart (Vinyl pursue a solo career.

Posted by Jillem on Tuesday, September 28, Labels: Arthur Lyman - Island Vibes Rotterdam, The Netherlands. Niew Hip Stilen Simply fantastic For me, these guys were the best post-punk band from Rotterdam, maybe from Holland, way ahead of their time. It consists of multimedia works produced in conjunction with video art and dance theater between and The first track is "No 2," which has a deep repetitive hammer beat.

In addition, there are nine other tracks, ranging from minimal music variants to odd-shaped electro, that are full of creativity. The members were involved in out-of-the-way improvisational groups such as the Jozef Kip Quartet and the local post-punk scene. Highly recommended! Quite curious for me what is avantgarde jazz rock in collaboration with electrinika, and it was quite amazing indeed. Suitable to call their electronic creation is percussive and psychedelic, not danceable nor pop at all.

Rutger's flexible, human heartwarming really saxophone play completely sticks to the rhythm section "percussively". The combination of saxophones and synthesizers should be thought as the main dish in this album, let me say. Rutger's flexibility for managing saxophone can be heard via the sound texture, that sometimes sounds eccentric, sometimes sensual, sometimes primeval, and sometimes novel.

Maarten's inorganic whispering voices are funky spice for the production. And the rhythm section including percussive synthesizer punches is pretty precise and strict, never beaten by other instruments. Every other track, with the exception of B4, is an instrumental.

The first twenty five or so seconds of A3 feature the Zappa-on-crack totally unnatural syncopation of the techiest djent or avant-prog, using just a saxophone and what sounds like a Yamaha RX11 before the vocalist comes in and things get endearingly stupid.

A guitar shows up on B1, and an electric bass shows up on B2, the latter of which is loaded with sound effects from a pinball game. A: Yeah. I think it was Horsemouth [Leroy Wallace] playing a little melody. You mean the world to me. It never press a lot but it a good song. It sound good. It could have sold a lot if I had press more. That was a nice one too. DJ version. A: [laughing] Jim Screechy mean when a man coming up on you dodging.

Hide and seeking. Not coming up full to you. Chat behind your back. So me say never do them thing deh. A righteous Rasta man never deal with that. Me and Scratch mostly used to put things together by-clipping through things that happening and take things from it. We do Colombia Colly and then we do a lot more songs, which is where I gone and do my thing from then.

And just hang on until now. He lift up my eyes onto the hills from whence come my help. I have come from Jah which made heaven on earth. By his protection the sun shall not smite me by day nor the moon by night. My group. And later for Rupie Edwards me and Joe Higgs sing it and he say him write it. I saw a canoe passing, which him row with two stick. The old-time canoe, they row them with stick.

Me used to love the sea Sunday morning time. Where it come from. They only sing it. And gone home. And the Congoes record it and say it is them write it. I have a lot of songs that I write which I never get credit for because I never know much about performing rights.

But the rights of them, the original work, is mine. But we do some great works at Upsetter studio. Nuff songs. Nuff song that people create them not even know where it come from. Scratch always had enough words. He called me Jah Lion. But he called me Jah Lion different from Jah Lloyd…. This interview was first published in The Beat in DanceCrasher would like to thank Mike Turner for giving us the opportunity to reproduce it.

Respect to Jah Lion. Francis began his singing career with the Mediators in the mids. At the end of the decade, he recorded for Rupie Edwards and Lee Perry. For a while, Francis became their record salesman, frequenting the studios and getting closer to King Tubby, with whom he studied the technical aspect of music. In the early 70s, Pat Francis started producing and founded his Teem label. On the refined rythm of Ain't no sunshine, Jah Lloyd performs an ample and energetic toast while the second side features a masterful version of the legendary trombonist Vin Gordon with the superb Rebel Rock.

Great music. Muddy Ibe is legendary with his unique way of rendering his highlife. He lives on. The dada is full of music, inspiration, composition and admonition. His genres include highlife, country, folks and world music. He had a unique voice that set him different from other highlife artists. He always talked about enemy pursuing him in his song. Igbo highlife artists who had disagreements would use music to sub each other back in the days. Captain Muddy Ibe was a great man. The musical instruments he employed always make his songs unique and every head nods to the rhythmic patterns of them.

Captain Muddy Ibe is dead but his son Otigba Ibe has taken the wheel of microphone after him. Honolulu, Hawaii. This soothing audio head massage is much needed in these stressful times. Probably not. This one is. We had to reference three different sources to get the best sound: reels, vinyl and cassette.

Operating from his lifelong base of Honolulu, Hawaii, Lyman and the musicians he worked with released a large quantity of albums over a near year period that brought his particular mixture of Polynesian sounds and Afro-Cuban rhythms to a wide audience, all across the planet. Thanks to the efforts of Roger Bong's Aloha Got Soul label, we can now enjoy all that it offers once again, though vinyl and digital reissues.

Given the contributions Lyman made to fantasy fueled sounds of exotica over the course of his lifetime, the album is drenched with subtle melodies that recall a litany of television shows, films and library LP albums. If you need some time out, you'll find it here. Ersatz soundtracks for armchair safaris and shangri-las. At the end of this month, Aloha Got Soul, will reissue LP late, lamented, vibraphone and marimba maestro Lyman's last solo commercial recording, the LP Island Vibes.

A seamlessly segued suite of nine pieces, it consists almost exclusively of stripped back serenades for sampled, soothing, gently crashing, surf and Lyman's trademark instruments.

There are no strings, no percussion, no orchestration, just harmonic hymns and lullabies hammered out by his virtuoso four felt mallets on metal and wooden tongues. The odd steel sheet is shaken to mimic the thunder of electrical storms, or the roar of the torrent of a secluded waterfall.

The even odder horn sounds, like that When Were Alone At Night - Warner Mack - Drifting Apart (Vinyl an approaching pleasure cruiser, homing into view, heading for harbour, toward honeymoon hideaways, fantasy islands, and blue lagoons. When Martin Denny held a residency as hotel band leader in Honolulu — where he employed Lyman on vibes — the calls and cries of the local wildlife were incorporated, integral to their evening performances.

A welcomed sonic transport to paradise, much needed in a post- pandemic world. At eight years old, Arthur Lyman's music was already being played in public spaces via a toy marimba performance on the radio. While Lyman laughed about the experience, he would continue performing and ultimately debuted professionally at 14 with a LP group.

His skills earned him a place as a vibraphonist alongside exotica pioneer Martin Denny, although Lyman would leave the Denny's group soon after to pursue a solo career. Posted by Jillem on Tuesday, September 28, Labels: Arthur Lyman - Island Vibes Rotterdam, The Netherlands.

Niew Hip Stilen Simply fantastic For me, these guys were the best post-punk band from Rotterdam, maybe from Holland, way ahead of their time. It consists of multimedia works produced in conjunction with video art and dance theater between and The first track is "No 2," which has a deep repetitive hammer beat. In addition, there are nine other tracks, ranging from minimal music variants to odd-shaped electro, that are full of creativity.

The members were involved in out-of-the-way improvisational groups such as the Jozef Kip Quartet and the local post-punk scene. Highly recommended! Quite curious for me what is avantgarde jazz rock in collaboration with electrinika, and it was quite amazing indeed.

Suitable to call their electronic creation is percussive and psychedelic, not danceable nor pop at all.

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8 thoughts on “When Were Alone At Night - Warner Mack - Drifting Apart (Vinyl, LP, Album)

  1. Jah Lloyd, a.k.a. Jah Lion, The Black Lion of Judah, and Jah Ali, Jamaican singer, deejay, songwriter, and record producer, born Patrick Lloyd Francis (- 12 Jun ) 74 years ago today, in Point Hill, St. Catherine.

  2. Music, Film, TV and Political News Coverage. Grohl talks about almost joining GWAR, debating songwriting methods with Rivers Cuomo, breaking his leg, and much more in .

  3. The Hurricanes from New York, who also were in the 's film 'Rockin' the Blues' are featured on this CD. 28 tracks. IDEALS - Knee Socks and Gorilla's The Ideals were an R&B vocal group from Chicago, IL. 'Kissing' was a Top 40 R&B Hit, and 'Gorilla' capitalized on the dance craze. 20 tracks. ILLUSIONS - Now You See Them Now You Don't.

  4. Born on this day in Nashville, Tennessee, was singer-songwriter Warner Mack. Mack had many hits on the country charts from the late s to the early s, including the #1 hit "The Bridge Washed Out". 4-Apr Born on this day in Scottsville, Kentucky, was Norro Wilson, country music singer, songwriter and producer.

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