Tuesday, 4 June 2019

Bootlegs of the Year 2015-18

I have received many emails enquiring as to where the original 100 bootlegs documented on site can be found (the links were lost in 2016, see Downloads box on top right-hand side panel). This PDF booklet will point you in the right direction, the sites I used and importantly the web addresses that they can be found at. Although it concentrates on the best bootlegs I have downloaded in the last four years, the same sites and addresses mentioned are where most of the bootlegs included in the 100 greatest bootlegs listing originated from.

The 200 best bootlegs available via download, 2015-18
4 years - 114 different artists

The selections for the 100 greatest bootlegs site were mostly made from downloads prior to 2015. This document includes the best bootlegs I have downloaded in the following years, 2015 to 2018. It includes some that could easily stake a place for being included in that early list. In fact some will appear in the current Alternate 100. Having discarded numerous titles in the last four years, these are the best downloaded in that time frame.

I had considered switching to an A to Z format but it would have lost the sense of continuity running through the document. For example the titles at the beginning of the book were those downloaded in early 2015, those on the latter pages date from the end of 2018 and these consequently will be much easier to find. As you will discover the net ebbs and flows, those titles not available currently will eventually make a re-appearance; it’s just a matter of patience.

Full details have been included for each, such as the venue and date of the performance, the type of recording – soundboard, FM, from the audience, etc. and information on the lineage and running times. Most importantly the website address is given for each download. A complete track listing is included, along with track timings and informative comments about each bootleg. The index will aid those that prefer an A to Z alphabetical listing and help you instantly find a particular artist that is of interest to you.

I have not provided a sound quality rating as virtually all are of sufficient high quality to rate around 5 out of 5, some are worthy of 5+ like the best official releases.

As you can imagine, it originally took some amount of time and effort to pull this all together. What to include and just as importantly what to leave out, has taken considerable thought and listening hours, enjoyable nonetheless. So if you are a fan of any of the one hundred and fourteen artists featured, then I can confidently state that you will definitely enjoy the bootlegs that have been chosen.

The PDF document comprises:
  • 108 pages A4
  • Word count 67,541
  • 200 bootleg images

Full details have been included for each bootleg such as:

  • Venue
  • Date of performance
  • Type of recording - soundboard, FM, from the audience, etc.
  • Lineage
  • Running time
  • Website address
  • Complete track listings
  • Track timings
  • Informative comments about each bootleg
  • Index
Included in the main body of the text are details of the 200 bootlegs and where to find them by the following artists:

PIL (2)
REM (3)

      If you would like a copy, it's only £5 GBP via the donate button, you do not require a paypal account. 

      An audio sampler is available on a preceding post (see 29 December 2017). The selected tracks are from bootlegs that never made the cut for the final document, but they will give you an idea of the sound quality I look for.

      page samples above

      Monday, 3 June 2019

      NICK CAVE & THE BAD SEEDS - Bizarre Festival 1996 (Flac)

      Alternate 100 - boot #28

      'Ring Of Wild Roses'
      Bizarre Festival, Cologne
      17 August 1996

      01. Brother, My Cup is Empty
      02. Loverman
      03. Mercy
      04. Your Funeral, My Trial
      05. Where the Wild Roses Grow
      06. The Weeping Song
      07. The Mercy Seat
      08. Nobody's Baby Now
      09. Jack The Ripper

      10. Stagger Lee (The White Room, 24/02/96)
      11. Henry Lee (The White Room, 24/02/96, w. PJ. Harvey)

      12. Do You Love Me? (London 14/08/96)
      13. Into My Arms (London 14/08/96)
      14. Where The Wild Roses Grow (London 14/08/96, with Kylie Minogue)

      In 1996 Nick Cave and The Bad Seeds released ‘Murder Ballads’ their ninth studio album in February -  it became their best-selling record, aided in no small part by Nick Cave’s duet with Kylie Minogue on ‘Where the Wild Roses Grow.’ The video received repeated airplay on MTV throughout the world. The Bad Seeds toured Europe, Asia and South America in support of the album, and their performance at the Bizarre Festival on August 17, 1996 is posted here.

      It was an electrifying set with Cave bonding with his German fan base after his three-year residency in Berlin, despite him admitting that he had learned none of the language. Broadcast on FM radio, the performance captured the dark, brooding nature of’ Murder Ballads’ and the set also included the classic tracks ‘The Mercy Seat’ & ‘The Weeping Song’ from the extensive back catalogue. The two bonus tracks were taken from their ‘White Session’ appearance and fit well here, the latter three audience recordings from the Brixton Academy are in inferior quality.

      This show was released on the KTS label in Italy. Short for Kiss The Stone, the bootleg label was synonymous at the time for releasing high quality shows.

      Lineage:  KTS 622 (Kiss The Stone, Italy) > Silver Boot CD > Flac
      'Murder Ballads' European tour - summer 1996
      28 June  Roskilde Festival, Orange Stage
      30 June  Milano, Italy, Sonoria Festival
      04 July   Kristiansand, Norway, Quart Festival
      06 July   Belfort, France, Eurockeennes Festival
      20 July   Bern, Switzerland, Gurten Festival
      26 July   Stockholm, Sweden, Lollipop Festival
      27 July   Wiesen, Austria, Forestglade Festival
      14 Aug   London, Brixton Academy
      15 Aug   London, Brixton Academy
      17 Aug   Koln, Bizarre Festival
      24 Aug   Pukkelpop Festival, Hasselt

      Further details on the live shows performed by Nick Cave & the Bad Seeds can be found here:

      15 songs were performed, these were omitted from the FM broadcast:

      Stagger Lee                   
      From Her To Eternity          
      Do You Love Me?
      Red Right Hand
      Black Betty                     
      Are You The One...  


      Wednesday, 29 May 2019

      BOB MARLEY & THE WAILERS - Paul's Mall, Boston 1975 (Flac)

      The alternate count continues after the recent break for the special posts sequence (most had been previously available, albeit briefly.)
      I have another sequence that includes radio sessions and live shows from Elvis Costello & The Roots, Johnny Marr, Iggy Pop, Siouxsie & The Banshees, Sonic Youth and the Afghan Whigs that have not been available on the blog before. These will appear in the coming summer months.

      Alternate 100 - boot #27

      Bob Marley & The Wailers
      Paul's Mall, Boston, MA
      June 25, 1975

      The 'legendary' Lyceum show in July dominates the 1975 tour, recordings of both dates are now available on official release. In bootleg circles the recordings from the Quiet Knight club in Chicago and the Boarding House in San Francisco provide an unofficial perfect representation of the tour. This upgraded source from Paul's Mall can now be added to those two shows.

      A consequence of the Wailer's growing popularity and fame enabled the quantity of live recordings to increase markedly for each subsequent tour. More in-depth information about the tour dates and set lists became available.

      After a warm up show in Miami, the tour began with a trip over the border to Massey Hall, Toronto in Ontario, Canada; early dates in June then covered the north eastern states of the USA. After a seven day consecutive run at Paul's Mall in Boston, the tour broke for a few days with some much needed rest and the inevitable travelling time for the remaining dates on the west coast.
      Ten consecutive days in California followed, beginning on July 4 with a four-night stand at the Boarding House in San Francisco. One night at the Paramount Theatre in Oakland followed before finishing this North American leg with a five night run at The Roxy Theatre in Los Angeles.  Only four days later, the group were in London for the previously mentioned Lyceum shows. One show followed in Birmingham before finishing this short visit to England in Manchester on July 20.

      Paul’s Mall and the Jazz Workshop, located on Boylston Street, was a popular venue from it’s opening in 1963 until it closed in 1978. Bob Marley and the Wailers played there for 7 consecutive nights, from June 23-29, 1975.  Each show had 350 people in attendance and tickets were priced at $7.00.

      I've heard a few versions of this in the past and prior to hearing this, the best was the 24-bit Dubwise source. This is an upgrade to that, despite a few small flaws; a tiny cut after a minute and an area of tape damage during "Get Up Stand Up" but only for a few seconds.

      Set list:
      01. Trench Town Rock
      02. Concrete Jungle
      03. Rebel Music
      04. No Woman No Cry
      05. Natty Dread
      06. Get Up Stand Up
      07. Kinky Reggae
      08. Stir It Up
      09. I Shot The Sheriff

      Total Time: 61:22 min

      Source : WBCN-FM > Cassette Master (Maxell UD C120 w/Dolby B on)
      Transfer : Sony TC-WE 475 (w/Dolby B off) > Tascam DR-40 Linear PCM Recorder 16/44.1 kHz) 
      Editing : Soundforge (tracking) > Wave > TLH (SB's aligned) Flac level 8
      Originally uploaded to Traders Den - 1/12/19
      Transferred, Tracked & Pitched Corrected by kingrue upload 1767 (grateful thanks to him)

      Band members:
      Bob Marley : guitar, lead vocals
      Al Anderson : guitar
      Aston Barrett : bass
      Carlton Barrett : drums, percussion
      Alvin Patterson : percussion
      Tyrone Downie : keyboards, percussion, backing vocals
      Lee Jaffe : harmonica - Manager of the Wailers

      The I-Threes : backing vocals
      Rita Marley
      Judy Mowatt

      Marcia Griffiths was absent because of her pregnancy


      Thursday, 2 May 2019

      DAVID BOWIE - Mark & Lard BBC Session 1999 (Flac)


      David Bowie session - BBC Radio 1 Mark & Lard show
      Mark Radcliffe (& Marc Riley)

      Recorded and Broadcast Live from Maida Vale Studio 4, Delaware Road, London
      on Monday 25 October 1999 / 2-4pm

      Pre-FM source
      Lineage: original BBC in-house CD-Rs > XLD v20130720 (XLD Secure Ripper) > FLAC > xACT v2.23 (no SBEs, add tags, create checksums)

      This is the last of the special post series, and makes its first appearance on the blog. A pre-FM BBC session by the legendary David Bowie. It's sourced from an in-house disc, this edited version keeps all the music together and places the 'interview' at the end. After much joking David comes clean and admits there will be no touring work for the album 'Hours' released a month earlier.

      A series of promotional appearances were scheduled to publicise the new album. David also recorded an interview with Billy Bragg and a further two session tracks on this day for the BBC programme 'Saturday Music Mix'.

      01. Survive
      02. Drive-in Saturday
      03. Something in the Air
      04. Can't Help Thinking About Me > Repetition
      05. Interview

      David Bowie - vocals
      Mike Garson - keyboards
      Gail Ann Dorsey - bass, vocals
      Page Hamilton - lead guitar
      Mark Plati - rhythm guitar
      Sterling Campbell - drums
      Emm Gryner - backing vocals
      Holly Palmer - backing vocals


      Tuesday, 30 April 2019

      ELBOW - St. Paul's Cathedral 2011 (Flac)


      St. Paul's Cathedral Crypt
      London, England
      Thursday, 26 May 2011

      I bought Elbow's debut CD not long after its release in 2001, inspired specifically by the track Scattered Black and Whites, which I had heard on a cover mounted 'Uncut' compilation. Since then over the last fifteen years they have written a catalogue of songs that have few rivals amongst their peers.

      Certain live recordings just stand out, even after hearing only a few minutes, this one impressed me and eight years on those initial thoughts that this was a special show, that would be worth passing on down the years have been vindicated. I listened to this during last Christmas holiday period and marked it down for a blog post. It's a bootleg of sheer class with perfect sound quality, and a sublime performance in which you can hear and feel the ambience of such an unusual venue.

      Absolute Radio recorded and streamed Elbow in FLAC technology (Fully Lossless Audio Codec) for a superior audio experience for fans.

      Lineage: Soundboard > PC > Magix Music Editor to track, name & burn to cdr > Accurate rip to Flac level 8. (from the first broadcast on Absolute Radio on 5 June, 2011 between 7 and 8pm)


      "It was when Guy Garvey was forced to hush his girlfriend because her off-stage chatter was disturbing him during one of his songs that you truly realised this was no ordinary occasion. Elbow have always appeared the most intimate of bands. Recent success may have propelled them into the arenas but last night, amid the low, vaulted ceiling of the crypt of St Paul's Cathedral, the Bury band found a stage to deliver an intense and personal concert.

      It was the first time a band had ever played here. With its historic tombs - Nelson, Wellington and Sir Christopher Wren are all buried here - the venue could have felt sepulchral, crowded with dead souls. Instead, buoyed by the warmth and goodwill that poured out from the 300-strong audience towards them, the five piece - a rag tag collection of old suits, paunches, beards and baldness - gave them an experience bordering on the religious. Careful not to overpower such a small space, the band took the opportunity to jettison some of their more rousing material and instead show off some of their subtler songs. The resulting 90 minutes were a triumph.

      Opener Mirrorball set the scene, as gorgeous and thrilling as when first heard. Open Arms was transformed from a stadium sing-along anthem into a pared-back hymn to the healing power of friends and family. The finely tuned dynamics of the performance centred, as ever, on Garvey's extraordinary voice in all its careworn perfection. But the unplugged style also lent greater weight than normal to Mark Potter's finely picked acoustic guitar and his brother Craig's inventive, lilting interventions on the piano. Backed by strings and Richard Jupp's shuffling drums, the band mixed old favourites - Great Expectations, One Day Like This - with unexpected selections from their back catalogue, with the epic, swelling romance of Switching Off a particular stand-out. Songs from their latest album seemed written with this gig in mind. Highlights included a bass-heavy Jesus Is A Rochdale Girl, Lippy Kids, their paean to golden youth and an unexpected outing for Dear Friends, the soaring, dreamy coda to the record.

      Garvey's Northern charm and self-deprecating humour - "I've got bluster enough for the sails of a clipper" - combined with the optimism and hope that suffuse his bittersweet lyrics, invited each member of the tiny audience to believe every song was being sung just for them. This was never truer than on the final number, the little-played Scattered Black and Whites from their 2001 album Asleep in the Back, a moving and beautiful recollection of early memories, soaring and tender in its loveliness. His rich voice bolstered by aloe vera juice, Garvey at times looked overcome by the intimacy of the occasion - organised by Absolute Radio for a special high definition broadcast - and appeared to wipe away tears from his eyes several times. Towards the close, Garvey glanced up at the ceiling towards the cathedral above and remarked that he and the band felt humbled. "And in our rightful place in the basement," he teased. Such modesty, after an evening like this, was hardly necessary."   Review by Matthew Bayley, 27 May 2011

      01. Introduction & preamble
      02. Mirrorball
      03. Open Arms
      04. The Night Will Always Win
      05. Great Expectations
      06. Jesus Is a Rochdale Girl
      07. Grounds For Divorce
      08. Switching Off
      09. The River
      10. One Day Like This
      11. Lippy Kids
      12. Dear Friends
      13. Scattered Black & Whites


      Monday, 29 April 2019

      RADIOHEAD - Kid A 2000 Live Promos (Flac)


      In an NME article published on 30 September, 2000. James Oldham wrote that "Three years on from the release of 'Ok Computer', 'Kid A' is the sound of a band struggling to surpass a record with a critical and cultural importance that is unmatched in recent memory. Recorded in four studios and three countries over a 12-month period rife with false starts and inter-band friction, the very least you can say about it is that it represents a complete and definite break with the past.

      It trades the ambitious, heavily treated guitar sounds of its predecessor for a detailed skeletal electronic framework of meandering ambient clouds and fractured, subsumed vocals. Supported by brittle drum patterns and keening static, the songs drift by with minimal human input, utterly at odds with their live counterparts. If 'OK Computer' vividly articulated Yorke's anxieties, then 'Kid A' shrouds them in sonic fluff. It's almost as if Yorke has chosen to erase himself from the group completely."

      In closing and summing up 'Kid A' James Oldham writes "that following  'Ok Computer' was always going to be a near impossible task, and Radiohead have opted for a route which, first and foremost, ensures their survival. 'Kid A' sounds like what it is: a record that's been slowly and painfully edited together. It's a brave, but flawed affair. It attempts to mimic the arrhythmic sounds of Autechre and Aphex Twin but ends up mired in compromise.

      'Ok Computer' wasn't fantastic because it was radical sonically but because the quality of the songwriting was exceptional 'Kid A' sees them abdicating responsibility, as if Thom was frightened he couldn't reach the same standard again (hence the exclusion of all the actual songs).
      Making experimental music is the easy way out. For Radiohead, and in particular Thom, it seems to have been the only way. Time will judge it. But right now, 'Kid A' has the ring of a lengthy, over-analysed mistake."

      The pertinent point made is that "the songs... are utterly at odds with their live counterparts." It is why I and many Radiohead fans prefer these songs when performed in front of a live audience. For those who wish to hear more I can recommend listening to the Warrington 2000 and the Oxford 2001 shows in their entirety.

      At the moment North America can see Radiohead live on tour (July 2018), while we in the UK have President Donald Trump on tour. Who said anything about an unfair exchange?

      The original download is included here, along with some slight editing. I've used the first 7 songs and added 3 bonus tracks to make a live version of  'Kid A'. It's been done before, but the London tracks are new to circulation and Dollars & Cents and Morning Bell are available now from pre-FM sources.

      The bonus tracks were taken from the 'Secrets to be Told' collection, apart from In Limbo which was sourced from the Warrington pre-FM. Treefingers is the only 'Kid A' song missing.

      01. Optimistic (24 September, London)
      02. The National Anthem (24 September, London)
      03. How To Disappear Completely (24 September, London)
      04. Idioteque (24 September, London)
      05. Everything In It's Right Place (24 September, London)
      06. Dollars And Cents (8 September, Copenhagen)
      07. Morning Bell (7 October, Dublin)

            bonus tracks
      08. In Limbo (2 October, Warrington)
      09. Kid A (8 June 2012, Bonnaroo)
      10. Motion Picture Soundtrack (26 August, 1997 New York)

      Included in a separate folder are alternate live versions of:
      How To Disappear Completely (2000-10-06 Dublin)
      The National Anthem (2000-07-01 London)

      Thanks go to JWB for getting these promo tracks into circulation.


      Sunday, 28 April 2019

      WOMAD UK - 2017 (Flac)


      World On 3 from the Womad Festival
      Charlton Park, Malmesbury, England
      Friday 28 July - Sunday 30 July 2017

      BBC Radio 3 lossless stream   

      01. Toots & The Maytals - Funky Kingston (6:32)
      02. Alsara - Albahr (3:21)
      03. Afro Celt Sound System - The Magnificent Seven (4:23)
      04. Trad.Attack! - Ysan’Kene (4:56)                 
      05. King Ayisoba - Brother They Can See You (3:47)
      06. Xaos - Pontos Blues (6:31)
      07. Lamomali - C'et Air (4:49)
      08. Las Cafeteras - Tiempos De Amour (3:42)
      09. Grupo Canalón de Timbiquí - Lolita (5:56)
      10. Ladysmith Black Mambazo - Homeless (3:59)
      11. Bonga - Mona Ki Ngui Xiça (4:11)
      12. Ska Vengers - Frank Brazil (4:02)
      13. Oumou Sangaré - Kounadia (7:37)

      Recorded from the BBC Radio 3 Lossless FLAC stream > Audacity > editing, tracking and fades > WAV > TLH > FLAC (8)

      This was assembled from recordings I made of the BBC Radio 3 broadcast lossless streams from the UK Womad Festival 2017. Eleven hours of music, over four programmes, were broadcast during the last weekend in July. This disc compiles over an hour's worth of those broadcasts to give a sampler of some of the 95 acts that took the stage. (thebasement67, August 2017)


      01. Toots & the Maytals
      Toots Hibbert is among the pantheon of Jamaican reggae greats. It’s almost half a century since the Maytals’ 1968 single “Do the Reggay”, was the first song to use the word ‘reggae’ as ska and rocksteady morphed into a new beat. Toots and his band have been doing it ever since and Bob Marley even name-checked the Maytals alongside the Wailers in his 1977 hit “Punky Reggae Party”. Expect a righteous roots set featuring such timeless Toots classics as “54-46 Was My Number”,  “Funky Kingston”,  “Monkey Man”, “Pressure Drop” and “Reggae Got Soul”.

      02. Alsarah & the Nubatones
      The Sudanese singer Alsarah was a child when her family were forced to flee the country following a coup. She was eventually given political asylum in America where, after taking a degree in ethnomusicology she formed the Nubatones in 2010 with percussionist Rami el Aasser.
      With a line-up that includes her sister Nahid on backing vocals, bassist Mawuena Kodjovi, and oud player Haig Manoukian, the ensemble released their debut album Silt in 2014.
      Alsarah’s mesmerising blend of ancient tradition and East African pop has since entranced audiences wherever they’ve played – including a memorable appearance at the first music festival to be held in Somalia in 20 years.

      03. Afro Celt Sound System
      When the Afro-Celts re-emerged last year with The Source, their first new album in more than a decade, nobody knew quite what to expect. Would the group’s trademark global dance fusion that had sounded so thrillingly cutting-edge when they first appeared at WOMAD in 1996, now sound out-dated?  We need not have worried, for it transpired that the long hiatus had reinvigorated the band.
      With their swirling mix of African rhythms and Celtic melodicism augmented by thundering bhangra drumming, the critics hailed their return as an unqualified triumph in which the Afro-Celts were sounding “bigger, better and bolder than ever.”

      04. Trad.Attack!
      Trad.Attack! have turned Estonian folk music on its head since releasing their 2014 debut album AH! Combining the bagpipe playing and vocals of Sandra Vabarna, virtuoso guitar of Jalmar Vabarna and inventive percussion of  Tõnu Tubli, the trio take their inspiration from old archive recordings of Estonian traditional songs.
      But folk music is merely their starting point and not their boundary as they reconcile past, present and future in a dynamic postmodern furnace of folklore, beats and rock’n’roll.
      The trio’s second album Shimmer Gold is due for release in May 2017, neatly timed for this year’s round of summer festivals.

      05. King Ayisoba
      Apozora Ayisoba has built a huge following in West Africa with his unique update of traditional styles played on the two-string lute known as a kologo and sung in an intense, hard-edged voice.
      His current album, 1000 Can Die is a thrilling mix of traditional Ghanaian rhythms and contemporary beats with echoes of hiplife, the local hybrid of traditional African highlife and hip-hop.
      Listen out, too, for his definitive hit ‘I Want to See You, My Father’, which announced his arrival a decade ago when it won him song of the year, and is certain to feature prominently in his regal set.

      06. XÀOS
      If WOMAD had a long-service medal, Nick Page – sometimes known as Dubulah – would be one of its first recipients. Over the years he’s been a key force behind such global fusionist festival favourites as Transglobal Underground, Temple Of Sound, Dub Colossus and Syriana. His latest project XÀOS, finds him exploring the musical heritage of his Greek mother in partnership with the electronic composer Ahetas Jimi and a supporting cast of traditional Greek musicians.
      The epic album they made together took a decade to complete, its electronic pulses and traditional shadings uncannily echoing the tensions and struggles which Greece itself has been undergoing in an uncertain world.

      07. Lamomali
      The French singer-songwriter, guitarist and multi-instrumentalist Matthieu Chedid, alias -M- has been collaborating with musicians from Mali for 20 years, including Amadou and Mariam and kora legend Toumani Diabate. His latest project teams him once more with Toumani and his son Sidike Diabate, who in addition to playing the kora is a key mover in Bamako’s vibrant hip-hop scene.
       “With Lamomali I planted the seed and I watched it grow so that a multi-coloured African universe can be born,” says Chedid, who is of partly Lebanese-Egyptian origin. “It must be my African side in me because I felt like I had finally returned home.”

      08. Las Cafeteras
      Emerging from an ethnically diverse and politically active working-class neighbourhood of East Los Angeles in 2005, this Chicano band have built an enviable reputation with their radical and socially-conscious mix of Mexican folk styles, hip-hop and much else besides, using their songs to tell stories about the streets where they were raised, the communities in which they live and their dreams for a better world. Their second album, Tastes Like LA, has just been released and includes a song titled “If I Was President”.  As singer Denise Carlos puts it: “The President says he wants to build a wall. Las Cafeteras want to build bridges”. Their WOMAD performance will be a UK and European debut.

      09. Grupo Canalón de Timbiquí
      Nidia Góngora blends felicitously with the African-style chanting of a female chorus.
      Hailing from the town of Timbiquí on the Pacific coast of Colombia, Grupo Canalón met in school, where their music teacher taught them the traditional folk songs typical of the coastal region, sung for generations by the women of the town while washing clothes in the river and praising their patron saints. The voice of lead singer Nidia Góngora blends felicitously with the African-style chanting of a female chorus, backed by marimba and folkloric percussion, and between touring and recording, several of the group’s members still dig for gold in the mines around Timbiquí.

      10. Ladysmith Black Mambazo
      Founded in the early 1960s by Joseph Shabalala, then a young farm boy turned factory worker, the joyous harmonies of South Africa’s Ladysmith Black Mabazo have been uplifting audiences for more than half a century.  The a cappella Zulu male choir emerged on to the world stage in the 1980s when they were given a starring role on Paul Simon’s landmark “Graceland” album. Simon returned the compliment by producing the group’s first worldwide release, “Shaka Zulu”, which won a Grammy.  Since then they’ve toured the world endlessly, winning countless further awards and recording with a vast array of guest vocalists ranging from Stevie Wonder to Dolly Parton.

      11. Bonga
      For veteran and much-loved godfather of Angolan music, 2017 marks the 45th anniversary of Bonga’s seminal debut album Angola 72.
      The record became the soundtrack for Angola’s battle for independence from Portuguese colonial rule and was banned, forcing him into exile as a wanted man. Since independence he has divided his time between Europe and his homeland, recording a prolific string of peerless albums characterised by his rasping, powerful voice and the rippling Angolan rhythms of semba.
      At 74, he remains a potent and charismatic force-of-nature on stage and insists that he has absolutely no plans to retire any time soon.

      12. The Ska Vengers
      The name tells only part of the story. The Ska Vengers hail from the Indian capital of New Delhi and their musical palette encompasses not only the irresistible  chk-chk’ rhythms of Jamaican ‘ska’ but  elements of dub, punk, jazz, rap, psychedelia and Latin music.
      Formed in 2009, their debut album appeared three years later and has come to be regarded as a landmark on the contemporary Indian music scene. Live their energy is palpable and their first UK tour in 2016, which included a performance at the Notting Hill Carnival, was a revelation that brought them to a new and appreciative audience.

      13. Oumou Sangaré
      Stylish, elegant, feisty and charismatic, Oumou Sangaré is not only one of  the most powerful female voices in African music but a striking role model who has used her music to campaign fearlessly to improve the position of women in Mali’s male-dominated society, singing against such injustices as polygamy and child marriage. Following an eight year absence from the recording studio she returned to the fray in 2017 with her fifth album Mogoya.  While the record remains rooted deep in Malian culture and tradition, the more contemporary arrangements break new ground on the funkiest set of her career to date.


      Saturday, 27 April 2019

      V/A - Exodus 40 - 1Xtra Remake (2017)


      Exodus - 1Xtra Remake
      David Rodigan
      BBC Radio 1 FM
      31 December 2017

      To celebrate the 40th anniversary of the Bob Marley & The Wailers album 'Exodus', 1Xtra has re-created this masterpiece with the likes of Protoje, Chronixx, Kiko Bun, Morgan Heritage, the Marley Brothers and more. It includes an extended interview with Chris Blackwell.  Side One of the album, always the stongest again shines best on this project. Although Jamming & Turn Your Lights Down Low are well conceived versions too.

      01. Sly & Robbie & The Taxi Gang - Natural Mystic (1Xtra Exodus Session, 7 Feb 2017)
            (ft. Noel “Bunny” Brown) (3:29)
      02. Cosima - So Much Things To Say (1Xtra Exodus Session, 30th May 2017) (4:27)
      03. Chronixx - Guiltiness (1Xtra Exodus Session, 22nd May 2017) (6:29)
      04. Protoje - The Heathen (1Xtra Exodus Session, 13th May 2017) (4:14)
      05. Dre Island - Exodus (1Xtra Exodus Session, 9th February 2017) (5:49)

      06. Kiko Bun - Jamming (1Xtra Exodus Session, 30th May 2017) (4:09)
      07. Morgan Heritage - Waiting in Vain (1Xtra Exodus Session, 8th May 2017) (4:33)
      08. Christopher Martin - Turn Your Lights Down Low (1Xtra Exodus Session, 8th Feb 2017) (3:54)
      09. Angel - Three Little Birds (1Xtra Exodus Session, 7th February 2017) (2:52)
      10. Stephen Marley, Damian Marley & Julian Marley - One Love
            (1Xtra Exodus Live From Glastonbury, 20th June 2007) (4:10)

      11. Chris Blackwell Interview (25:28)

      Programme first broadcast on BBC R1Xtra Sunday 4 June, 2017 at 7pm. This repeat is a first time broadcast on FM radio. The first 8 minutes of the Chris Blackwell interview were patched in from the BBC i-player as the beginning of the FM recording missed it.