Episode 04

Episode 04 was originally posted on July 2, 2018 

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Tracklisting:

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01) "▲  11" by Les Cartes Postales Sonores.

From the 2018 album BUNONG POP SONGS.

Les Cartes Postales Sonores, or The Sound Postcards is a valuable resource for discovering music from around the world. From the Bandcamp page: "The Sound Postcards is a field recording project by Julien Hairon capturing the soundscapes, music and traditions of local and indigenous populations around the world." The recordings are made available for free, not only on Bandcamp but at the Free Music Archive. If you are unfamiliar, the Free Music Archive is exactly what it sounds like: free music galore! What a great way to explore music with little more at stake other than your time. 

The Les Cartes Postales Sonores Free Music Archive Page describes this compilation as being recorded "among the Bunong people, an ethnic group living in the mountains of Cambodia. It is also a tribute to the artist Lok Ta. They offer us a fabulous musical cocktail pop synth and psyche influenced by the traditional music of this people so little known in Cambodia because the dominant culture of this country is the Khmer culture."

We will definitely be hearing more from this series.

  • Visit the official website

  • Visit Les Cartes Postales Sonores at Free Music Archive

  • Download the compilations at Bandcamp

  • Like Les Cartes Postales Sonores at Facebook

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02) "Bahar Türküsü (Spring Song)" by Yurdal Tokcan.

From the 2004 album Bende Can (Inner Soul).

Tokcan was born in Ordu in 1966. He graduated from the Turkish Music State Conservatory of Istanbul Technical University in 1988 and was appointed as oud player to the Istanbul State Turkish Music Ensemble, which belongs to the Turkish Ministry of Culture and Tourism in 1990. The Turkish Cultural Foundation says that Tokcan's style: "combines older traditions with many new stylistic innovations, which are also present in his playing of the fretless guitar. His many new compositions combine traditional rich melodies with polyphonic textures performed on Turkish classical instruments."Makam New York says

Yurdal Tokcan is being regarded as one of the finest oud players in the world today. His style combines older traditions with many new stylistic innovations, which are also present in his playing of the fretless guitar. His new compositions combine traditional rich melodies with polyphonic textures performed on Turkish classical instruments.

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03) "Kule Kule" by Konono Nº1.

From the 2005 album Congotronics.

Konono Nº1 is a musical group from KinshasaDemocratic Republic of the Congo. The group's Facebook page says they were "founded over 25 years ago by Mingiedi, a virtuoso of the likembé (a traditional instrument sometimes called "sanza" or "thumb piano", consisting of metal rods attached to a resonator)."

The group often refashions junkyard items into instruments (we here at the Global Elite Music Radio Podcast Supershow are always looking for signs of redemption) and uses rudimentary amplification "including a microphone carved out of wood fitted with a magnet from an automobile alternator and a gigantic horn-shaped amplifier. "

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04) "Moonlight" by The Pigram Brothers.

From the 2008 album The Rough Guide To Australian Aboriginal Music.

When exploring world music, it's always valuable to find compilation series you trust. The Rough Guide series is generally fantastic. They try to combine old and new material, presenting a good overview of each installment. This particular installment focuses on Australian Aboriginal Music. 

The Pigram Brothers are a seven-piece Indigenous Australian band from Broome, in Western Australia. 

  • Find The Pigram Brothers on Facebook

  • Purchase the compilation on Amazon

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05) "Varied Trio - II. Bowl Bells" by Lou Harrison.

From the 1988 album La Koro Sutro.

NPR describes Harrison as an"American maverick," who "blended Eastern and Western traditions in his music, practicing a kind of "cross-culturalism" long before it was fashionable." Harrison was an American composer  who was a student of Henry CowellArnold Schoenberg, and K. P. H. Notoprojo. He often incorporated non-Western tones and instruments and here focuses on Gamelan, a Javanese ensemble focusing on percussive instruments including musical bowls. 

Harrison was born in Portland, OR but became enamored with Eastern culture from an early age and often sought to bridge culture gaps, telling NPR in 1999: "We're all human beings," he said. "We have the same ears and we have the same feelings. There's no 'they' there anymore. We're all 'we.'" That's a sentiment we can get behind. 

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06) "Seoul" by Amiina.

From the 2007 album Kurr.

The list of backing bands that make it on their isn't all that grand. The J.B.'s of course. Amiina started as the string section for Icelandic atmospheric explorers Sigur Rós. The group's website describes the bands beginnings as being a "string quartet formed by four girls (Edda Rún Ólafsdóttir, Hildur Ársælsdóttir, María Huld Markan Sigfúsdóttir and Sólrún Sumarliðadóttir) at the Reykjavík College of Music in the late 1990s." The group plays a variety of instruments including musical saws, kalimbas, even music boxes. Fans of Sigur Rós will find much to like here.  

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07) "Ana Osiidwa (The Orphans)" by Alan Namoko and Chimvu Jazz.

From the 1992 album Ana Osiidwa (The Orphans).

Alan Namoko was a blind blues and jazz musician from Malawi. Namoko played the banjo and sang in the Lomwe, Chewa and Nyanja languages. Namoko became an influential figure in Malawi's music scene in the 1970s and 1980s and around the world with the Chimvu Jazz band and was even featured on several episodes of the John Peel show.

  • No purchase or artist links available

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08) "She May, She Might" by Yo La Tengo.

From the 2018 album There's a Riot Going On.

Yo La Tengo are an American Indie rock band formed in Hoboken, NJ in 1984.The band specializes in a heavy wash of atmospheric guitars. Pitchfork describes them as "a band that, almost in spite of its members’ encyclopedic knowledge of 20th-century music and penchant for irony, operates most effectively at the level of feel," saying that the band captures "the feeling of post-traumatic calm on their latest album, assuring their status as a wry and comforting cornerstone of indie rock."

  • Visit the group's official website

  • Follow the group on Facebook

  • Follow the group on Twitter

  • Follow the group on Instagram

  • Watch a 2018 live set for Pitchfork

  • Purchase the album at Amazon


See the updated artist map. To switch between seasons, use the little window box at the top left. This week's artists are the dark grey points.

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Episode 03

Episode 03 was originally posted on June 25, 2018 

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Tracklisting:

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01) "Reflection" by Faran Ensemble.

From the 2016 album Fata Morgana

Founded in 2009 in Israel "by three musicians who share similar musical vibes and values, one of them is the belief that music can join people without any concern of origin, religion, race or sex." The group brings together Oud , Kamanche and percussion. The group's website says that "Their instruments belong to the ancient traditions of the east, allowing the musicians to combine mystical sounds with modern influences. In their music, Mediterranean landscapes weave an enchanted soundscape, a magic carpet to take the listener on a voyage to faraway lands."

  • Visit the group's official website

  • Follow Faran Ensemble on Facebook

  • Purchase the band's music at Bandcamp

  • Purchase the band's music at Amazon

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02) "Shudh Sarang" by Pramod Kumar.

From the 1973 album The Indian Sitar: The Language of the Raga

Well, we've got to be honest here. We don't know a whole heck of a lot about Pramod Kumar. Worldcat confirms that he is a sitar player. He is mentioned on Wikipedia, but only as Anand Kumar's brother. We're probably looking in all the wrong places because, as Allmusic points out: "Pramod Kumar was one of Ravi Shankar's best students (if not the best)." Oh well, sometimes the music speaks for itself, which this album certainly does. 

Do you have more information about Pramod Kumar? We'd love to learn more.

  • Buy the album on Amazon

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03) "Jaya Dev" by Aradhna.

From the 2007 album Amrit Vani

Aradhna was an international group based out of Toronto, Ontario. They infuse the traditional Indian devotional music style known as bhajans with Christian themes. Composed primarily in the Hindi language, the group strives to maintain musical authenticity.

  • Follow the band on Facebook

  • Purchase the album on Amazon

  • Buy the band's music on Bandcamp

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04) "Sousta" by Psarantonis and Yannis Xylouris.

From the 1997 album Cretan Music - The Way Of Psarantonis (Instrumental).

Antonis Xylouris (Αντώνης Ξυλούρης aka Psarantonis) is a Greek composer, singer and lyra player. Born in the mountainous village of Anogia in Rethimnon, Crete, Xylouris started learning to play the lyre when he was only nine years old. At the age of thirteen, he played at his first wedding reception. He has recorded multiple albums and performed internationally. Fun fact for you: Antonis Xylouris is the father of Greek singer and laouto player George Xylouris, one-half of Xylouris White, along with Dirty Three drummer Jim White; a group which also happens to appear on this episode of worldwide musical travel.

  • Visit the official website

  • Buy the album at Amazon

  • Follow Psarantonis on Facebook

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05) "ปลาคาบแมว" by ไวพจน์ เพชรสุพรรณ (Waiphot Phetsuphan).

ไวพจน์ เพชรสุพรรณ (Waiphot Phetsuphan)

When you explore music from around the world, you're bound to encounter some artists and albums that you won't be able to find out much about. This is both. In Thailand, there is a style of music known as "Luk Thung." Wikipedia describes "Luk Thung" as "Thai country music." You decide for yourself.

  • No links available

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06) "Spud's Garden" by Xylouris White.

From the 2018 album Mother.

It wouldn't be right for us to play Psarantonis and then mention his son George Xylouris without playing said son George Xylouris. George makes up half of the group Xylouris White, along with Dirty Three's drummer Jim White. George plays the laouto (Greek: λαούτο), a long-neck fretted instrument of the lute family. The duo combines a free jazz/post-rock approach to Greek folk traditions. 

  • Visit the group's official website

  • Find the band on Facebook

  • Follow the group on Instagram

  • Purchase the album from Amazon

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07) "I Remember A Time When Once You Used To Love Me" by Dirty Three.

From the 1996 album Horse Stories.

We couldn't help but weave a thread through this week's episode. We started with Psarantonis, then heard from his son in Xylouris White and wound up with Austrailia's Dirty Three. Funny how life works sometimes. 

Sometimes called folk. Sometimes called post-rock. Sometimes called free-jazz. Lots of people are unsure how to classify Melbourne's Dirty Three. Comprised of violin, drums and guitar, the group specializes in an instrumental punk ethos that nearly slips the rails while somehow still holding on to haunting melodies.

  • Follow the band on Facebook

  • Buy the band's music on Bandcamp

  • Visit the Anchor and Hope website (the band's record label)

  • Watch the group's 2012 NPR Tiny Desk concert

  • Buy the album on Amazon


See where this week's artists fall on the world map. This week’s artists are represented by light-green, avacado color:

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Episode 02

Episode 02 was originally posted on June 18, 2018 

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Tracklisting:

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01) "Brindavan Revel" by Ananda Shankar.

From the 1978 album A Musical Discovery of India.

The Shankar name is forever associated for many around the world with sitar music. However, Andanda Shankar chose not to study the instrument from his famous uncle, instead learning with Lalmani Misra at Banaras Hindu UniversityAllmusic.com says: that, though Ananda Shankar "never quite matched the success of his uncle, but made a significant impact in the '70s psychedelic underground scene by combining Western electronics and Indian music to create instrumental jams and moody soundtracks."

In the late 1960s, Shankar travelled to Los Angeles, where he played with Hendrix and others. During this time, he signed to Reprise Records and released his first album. The self-titled featured original Indian classical compositions alongside sitar-based cover versions of the Rolling Stones, The Doors and others. The album is included in the book 1001 Albums You Must Hear Before You Die.

"Brindavan Revel"is from the 1978 album A Musical Discovery of India

  • Like Ananda Shankar on Facebook

  • Purchase Ananda Shankar's music on Amazon

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02) "Fruit of the Desert" by the Orient Express.

From the 1969 album The Orient Express.

Prog Archives says: "The Orient Express is a multinational project born in the late 60's. It features three versatile musicians: Guy Duris (from France), Bruno Giet (From Belgium) and Farshid Goleshorkhi (from Iran). They published only one album together which can be seen as a dynamic blend of blasting acid ethno rock and luminous folkish raga music. An other perfect musical meeting between the West and the East."

This, the band's only album came out in 1969 and is a strong example of early Eastern/Western fusion. 

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03) "Mustt Mustt (Extended)" by Kiran Ahluwalia.

From the 2011 album Aam Zameen: Common Ground.

Kiran Ahluwalia is an Indian singer, born in India, raised in Canada and currently living in New York. Ahluwalia's music incorporates Western elements along with Indian and African Desert influences which she has worked on weaving together for years. Ahluwalia recalls on her website:

“When I was growing up in India”, she recalls, “there were concerts that people from all over would crowd into. These concerts featured a repertoire, language and content that was both demanding and beyond the experience of a child. I was, however, entranced by the sound and feel of the music, even from an early age.” My father would play tapes of Indian music for me and we would also listen to Bollywood on the radio”, Kiran recalls. “So when a song came on that I wanted to learn, my mother would quickly write down the lyrics for me and I would sing along to learn the melody”.

  • Visit Kiran Ahluwalia's official website

  • Follow Kiran Ahluwalia on Facebook

  • Follow Kiran Ahluwalia on Twitter

  • Purchase Kiran Ahluwalia's music on Amazon

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04) "Sumama" by Les Griots with Serge Franklin.

From the 1975 album Ouagadougou, Afrique : Exotissimo Vol. 8.

There seems to be very little online about this album and to be honest, we can't remember where/when we first encountered it (possibly over at Ghost Capitol?). Volume 8 of a series loosely known as "Pour Recevoir Vos Amis Comme À..." (Roughly translating as something akin to: "To receive as friends") which focused on music from around the world, this set was recorded in Paris and featured a group (from Burkina Faso?) simply referred to as "Les Griots" (A "griot" is "a member of a class of traveling poets, musicians, and storytellers who maintain a tradition of oral history in parts of West Africa.") and Serge Franklin, a multi-instrumentalist and soundtrack contributor. 

  • Find out more about the album at Discogs

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05) "Did Nura Remember (Gillina Nura)" by Hamza El Din.

From the 1965 album Al Oud.

Hamza El Din was one of the first African musicians to garner international sales. Many Deadheads will know El Din because he helped arrange the Dead's 1978 tour of Egypt. The two acts played together more than once during that time period (watch "Ollin Arageed"  from Egypt 9-16-78). El Din played the oud, or the fretless lute. Hamza El Din .com remembers

Born in Toskha, Nubia, in Egypt, Mr. El Din began playing oud while studying engineering at the University of Cairo. He also studied at the King Fouad Institute of Middle Eastern Music. Learning of plans to build the Aswan Dam, he quit his engineering job in Cairo and set off to preserve Nubian music before the people were dispersed. With his oud, an instrument unknown in Nubia, he traveled from village to village by donkey, gathering songs. He was playing in traditional Arabic style; it wasn't until his music acquired a distinctly Nubian flavor that it caught on.

  • Visit Hamza El Din .com

  • Follow the Hamza El Din fan page at Facebook

  • Purchase Hamza El Din's music at Amazon

06) "Ny Fitiavana Raho Vao Miaraka" by Rakotozafy.

From the 1965 album Madagasikara Vol. 4: Valiha Malaza.

Allmusic says: "He was called the Robert Johnson of Madagascar, which probably wouldn't be a bad thing to be if it didn't dictate such a tragic ending; Johnson died young. This artist, on the other hand, was involved in the accidental death of his son and finished out his life in prison." Considered the master of his instrument, which in this case was a variation of the stringed instrument the valiha. However, Rakotozafy souped up his instrument. Again, Allmusic: 

"He created a version of this zither-like stringed instrument with a box roughly the shape of a suitcase, mounting sets of strings on opposite sides. Rakotozafy's instrument featured a total of 24 strings in the two sets, each set tuned to a different scale. His design, handmade from sheet metal, included a small bamboo log which served as a base for his marovany, as well as part of the instrument itself, providing even more resonation."

Ace Records adds: "This hot-rodding increased the range and sound of the instrument and gave him a sound not unlike a bluesman's national steel guitar."

Little seems to be known about Rakotozafy and the details of his death seem to be contested. One version claims that he drank himself to death using the advance money from this album while the other version purports that Rakotozafy physically assaulted his son, accidentally killing him, thus finishing his days in prison. Neither version seems particularly uplifting. But this music certainly is uplifting. Highly recommended.

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07) "Golden Clouds" by The Orb Featuring Lee Scratch Perry.

From the 2012 album Present The Orbserver In The Star House.

The UK group of rotating members (with the exception of the one constant Dr. Alex Paterson) are often credited with pioneering the ambient house genre. The group has always toyed with elements of dub, so the 2012 collaboration with legendary reggae producer Lee "Scratch" Perry should come as no surprise. After all, Perry seems to be everywhere anyways. Not that we're complaining. Perry is a wizard. 

Here, the team reimagines The Orb's 1991 classic "Little Fluffly Clouds." Enjoy. 


Visit the world map for this week's artists. This week’s artists are represented by green map-points.

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Episode 01

Episode 01 was originally published on June 11, 2018 

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Tracklisting:

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01) "Calling Paul the Suffering" by Amen Dunes.

From the 2018 album Freedom.

New York, NY, USA.

"Amen Dunes" is the NY songwriting project of Damon McMahon and this is his fifth album. Pitchfork describes the album as: "Everything feels silvery and romantic, like a hallucination of the classic-rock songbook." NME calls the album "a grand, pop-rock masterpiece" while Paste says the album is "both charmingly raw and uncommonly lovely." We highly recommend this album. 

  • Visit the official Amen Dunes website.

  • Visit the Amen Dunes Facebook page.

  • Follow Amen Dunes on Twitter.

  • Purchase Amen Dunes music from Bandcamp.

  • Purchase Amen Dunes music from Amazon.

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2) "Lagos City" by Asiko Rock Group.

From the group's 1976 self-titled album

Lagos, Nigeria.


Originally a 1976 Nigerian album, this one was re-issued in 2012 on the Superfly label. There seems to be little available about this group other than the lineup (Z. Joseph Bolandi - Lead vocal, organ, piano, Moog strings Ndovmbe Jylvand - Trumpet Paul Monnu - Drums Njoubi Basile - Bass guitar Ntaillou Idrissou - Rhythm guitar Evgene Ndema - Lead guitar Essombe Antoine Madie - Vocal, congas, percussion). 

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03) "African Soul Power" by Basa Basa.

From the 1976 album Homowo.

Accra, Ghana


Originally a 1976 Nigerian album, this one was re-issued in 2012 on the Superfly label. From the official Bandcamp page

Ghanaian band Basa Basa Soundz started out as one of the house bands in Accra's legendary club the Napoleon in the early '70s. With the assistance of Fela Kuti they recorded two albums in Nigeria before reinventing themselves as Basa Basa Experience, teaming up with South African producer and multi-instrumentalist Themba 'T-fire' Matembese to record their final album, Together We Win aka Homowo.

Aquarium Drunkard says: 

"In some parts of West Africa, the appearance of twins is considered a harbinger of blessings to come. And when Fela Kuti, who had already installed statues of twins on the altar at the Shrine, met the brothers Joe and John Nyaku, he may have sensed the glow of their own future pulsing backwards through time. Or maybe he was simply being a good host when he bowed and declared, “Dear twins! We are honored to welcome you.”

"The Nyukus had already made a name for themselves in their hometown of Accra, Ghana, playing at the legendary Napoleon Club, and under Fela’s tutelage, they’d record a pair of records under the name Basa Basa Soundz in Lagos (the first of which, confusingly, only received wide release in the US). Following a split with their manager, the twins regrouped, dropped the “Soundz,” and began working with Themba Matabese, a musical polymath who was splitting time between London and Lagos and had the facility with sound to prove it."

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04) "Staga Dub" by King Tubby.

From the 1976 album Concrete Jungle Dub.

Sometimes credited to "King Tubby & Riley All Stars." Reggae Vibes provides a bit of history to the album, noting: 

"This 1976 dub set, put out just before the release of dub albums had become a flood, comprises mostly riddims from the late ’60s/early ’70s. The album is often credited as a Winston Riley production, but the Concrete Jungle label actually credits the production to his brother ‘Buster’ Riley. The latter, together with Winston Riley, who had been in the business since founding the vocal group The Techniques, started the Techniques record label in 1968 after they had borrowed money from their mother.

And Boomkat provides some further insight:

"Originally issued on Dennis Harris’ Concrete Jungle, the label also behind Ijahman Levi’s I Am A Levi, the strictly dub album Concrete Dub has become one of the most sought-after of its ilk, in no small part due to the fact that only 300 copies were originally made."

  • Browse FACT Magazine's "Beginner’s guide to King Tubby, the producer who turned dub into an art form."

  • Purchase the album at Amazon.

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05) "Emampondweni" by Batsumi.

From the 1974 self-titled album.

The Guardian explains: "Batsumi were an Afro-jazz outfit led by a blind guitarist, Johnny Mothopeng, along with his keyboard-playing brother Lancelot and bassist Zulu Bidi." 

We first heard about this one through Bandcamp who declares: "Batsumi” Is A South African Gem Made In The Face of Oppression." Bandcamp provides some context for the album:

"During the brutal era in South African history known as Apartheid, the minority-white ruling party forcibly moved millions of black South Africans from their homes to segregated areas, stripping them of their citizenship and reassigning them to tribal Bantu status. But even in the face of this outrageous oppression, South African music thrived." Sometimes, the sheer act of creating art is revolutionary. 

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06) "Aga Who" by Shishani & The Namibian Tales.

From the 2017 album Kalahari Encounters.

An international group founded out of Amsterdam, the group incorporates styles from around the globe, including lyrics in English and Oshiwambo, Shishani's Mother native tongue. "Shishani" means ‘crown’ in Oshiwambo. Namibian.com says: "There is no doubt that Shishani is making her mark worldwide and is eager to prove that Namibians can succeed in music just as well as other countries can.

For this album, the musicians decided to pay special tribute to the San-Bushmen, a South-African people group who spread across whose territories span Botswana, Namibia, Angola, Zambia, Zimbabwe, Lesotho and South Africa. The group traveled to the Kalahari desert and recorded with four grandmothers from the region. Namibian Tale's most recent album "Kalahari Encounters is the outcome of this unique collaboration, recorded at a live performance that took place at the Warehouse Theatre in Namibia’s capital city in June 2017."

  • Visit the group's official website.

  • Read our profile of the Kalahari Encounters project

  • Visit the group's Facebook page.

  • Purchase the group's music at Amazon.

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07) Passing Clouds by Hiss Golden Messenger Meets Spacebomb.

A special collaboration between Durham NC's Hiss Golden Messenger and Richmond's Spacebomb Studios. Hiss Golden Messenger singer/songwriter describes the inspiration for this special project:

I have two children. My son is eight—almost nine—and my daughter is four and a half. They attend public schools in Durham, North Carolina. My wife—the person that I've traveled through life with for nearly 20 years—is a public school teacher in Durham. My mom and dad were public educators in California for the entirety of their careers. My sister is a public high school counselor. So gun attacks on schools is something that—though I would prefer not to—I spend a lot of time thinking about. 

My daughter is small and slight, with her long blonde hair usually tied up in a messy braid. My wife and I joke that she has bird bones. Her eyes are huge and expressive; slate blue, like her mom's. She wears tiny purple glasses and scuffed pink cowboy boots and ladybug print tutus. She loves her older brother fiercely and unconditionally, and knows how to push his every single button. She's moody and magnetic, deep and unknowable to adults. As the smallest member of the family, she is the dancing emotional center around which our house revolves. 

Many late nights, long after the family has all gone to sleep, she'll stand silhouetted in our doorway long enough for me to sense her presence. I'll lift my head from the pillow and in a small voice she'll say, “I'm scared.” I'll pull her into bed, putting my arms around her and pulling her close into our sleeping warmth, her breath coming slow and peaceful and regular again. And I'll stay awake for just a moment longer, long enough to be thankful for how easy it was to calm her fears, thankful that I can protect her. 

If a gunman were to enter the grounds of my daughter's school with an assault rifle, where would she hide? She's small, so maybe she could hide in her cubby, or maybe in the bathroom, the one without the window. Maybe she could hide under the play structure, or in the box of dress-up clothes. Would she cry out? Would she stay still and silent, her big eyes tracking the shooter's movement? How would she metabolize her terror, this tiny four and a half year old in a ladybug tutu, without me to protect her, to pull her close? Would she wonder why we let this happen to her? Would she get that far? 

Say it simple. 
I'm gonna give it to you simple now. 
If you're worried
It's OK, I've been worried too
Now I ask you: 
If love's bigger, what's it matter what's after? 
And I know that. 
You gotta put a little skin in to get a little skin back

Red-tail hawk told me well, with the black sun going down, 
“Signs and wonders—hear me now—for those who stop to understand them.” 
Hang on a passing cloud. 
IT'S MORNING, I'M ALIVE NOW. 
Signs and wonders—hear me now—for those who stop to understand them. 

Now you know me. 
I love you and I'm faithful. 
I'm a river. 
And I bend like a rainbow. 
Signs and wonders. Just a little bit of thunder now. 
Feel all the colors. 
Love's bigger than what's under. 

I believe gun laws need to change. So I am now committed to performing whatever actions are within my power push that stone forward. We've been told for so long that a change in gun laws is next to impossible. It is not. We've been told that the NRA, and the politicians whom they buy, are too powerful. They are not. The young people in Parkland, Florida, have proven that. I am on their side. I am on the side of peace, hope and love, on the side of grieving parents and spouses and co-workers in Parkland and Newtown, in Aurora and Las Vegas. As Sly Stone says, “My only weapon is my pen.” But it's a mighty weapon indeed that works to bring light to dark places. Signs and wonders. Just a little bit of thunder now. 

This song was recorded with the Spacebomb family—a collection of musicians with deep kinship and connection to Hiss Golden Messenger—in Richmond, Virginia, on February 7th, 2018. They love their families and friends in the same ways that I do mine. I was proud and honored to work with them on this song. 

All proceeds from “Passing Clouds” and “Passing Clouds Dub” will benefit Everytown, a movement of Americans working together to end gun violence and build safer communities. I urge you to perform your own small actions of peace whenever and wherever you can. We can make the world we want to live in. 

No spiritual surrender. 

—M.C. Taylor, Durham, NC

released March 21, 2018 

  • Visit Hiss Golden Messenger's official website.

  • Visit Spacebomb's official website.

  • Purchase the single at the project's official Bandcamp page.

  • Purchase the mp3 at Amazon.


See a map of this week's featured artists, represented by the blue map-points.

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