| | Junior Murvin Muggers In The Street CD - Import Junior Murvin Discography of CDs
Debuting under the aegis of vanguard producer Lee Perry with the classic reggae album POLICE AND THIEVES, Junior Murvin's compelling falsetto became the rallying cry of late-'70s social unrest in Jamaica and England--influencing not only conscious reggae artists, but punk rockers like the Clash. Never again reaching such heights in subsequent years, Murvin did record sporadically during the '80s. MUGGERS IN THE STREET, a set from 1984, features the singer in a proto-dancehall mode. With bouncy rhythms provided by backing band Roots Radics, Murvin's buoyant vocals are here, and in fine form.
Recording information: Cahnnel One, Kingston, Jamaica.
Personnel: Junior Murvin (vocals, guitar); Al Campbell, Tony Tuff (background vocals); Roots Radics Band.
Audio Remasterer: Peter Norman.
The Wire (p.61) - "Murvin's almost-falsetto is one of the most distinctive vocals in reggae..."
Mojo (Publisher) (p.121) - 4 stars out of 5 -- "[Murvin has an] engaging Curtis Mayfield-inspired delivery....[The album] breathes further fire on the fearsome admonishments 'Judas And Jesus' and 'Stop The Crime'..." Muggers In The Street Music Junior Murvin Muggers In The Street Songs Muggers In The Street Review
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Geez, and Aimee Mann thinks she has problems with the record industry. Coming out a mere six years after her debut single, Velvet-Covered Brick is (hopefully) the final version of Robin English's debut album. Released after a torturous process that included getting bounced by a major label's Nashville division because said debut single was lost in a corporate downsizing and the aftermath of the 9/11 attacks, plus an earlier version of the album that was released on Koch Entertainment's country imprint Aspirion as Robin English in 2006 with different cover art, some different mixes, and a couple of minor songs ("Hello Me" and "I'm Yours") that were left off this version. So finally, going the self-release and indie distribution route, Robin English finally has her debut album out. And it's...OK. English, who co-produced the album and wrote or co-wrote every song, is a pretty decent country songwriter with an eye for textural detail; "Baby You're the Man" and several other songs make direct reference to her east Texas roots in a fashion sure to please other Lone Star staters. She also has a better than average voice, with a particularly impressive low register, as she shows on the bluesy gospel tune "Mission of Mercy" and the sultry purr of "Wake Up Loving You." But those appealing elements are set against some fairly average tunes given a generally disinterested Nashville-style radio-ready gloss that tends to overpower the more unique, personal traits of English's lyrics and vocals. Put in a more stripped-down, live sounding setting (maybe even an actual live album!), Robin English and her songs would come across much better than they do here. Perhaps having finally gotten this project completed to her liking, she can move forward from here. ~ Stewart Mason
Robin English's Velvet Covered Brick packs hit after hit, with two top twenty hits in the Texas charts and more to come. From the humorous and thought-provoking rewrite of the classic "Mama's Don't Let Your Cowboys Grow Up To Be Babies" to the rich story telling and gritty harmonica playing on "Cotton Field Girl," this album is deep with artistry and entertainment and well worth the investment.In a storm of long, golden hair, Robin English mesmerizes her audience with ...
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Ghost stories are as much a part of the cultural landscape of West Virginia as quilting and log cabins. From the eastern panhandle to the islands of the Ohio River, tales of supernatural are told from ridge to hollow, country to city and from pioneer history to modern times. Some stories carry elements of possible origins in Europe; others are uniquely American. It is easy to understand why ghost stories abound in the mountains. Sit on the porch of a country home and watch the evening mist rise from the hollows. The landscape is transformed to something strange and unknown, hinting at shapes that disappear if you stare too long. Visit an abandoned homestead where old washtubs, neglected flowerbeds and falling chimneys tell of those who once lived there, and you might feel that the long-dead residents left something of themselves behind too. The tales are told and re-told, passing from generation to generation. Friends and neighbors have told me many ghost stories, like The Holly River Ghost and Wizard Clipp. I read stories in history books and library files, where I discovered Sidna’s Story and Burnt House. I met The Greenbrier Ghost on a roadside marker near Lewisburg, West Virginia. Each story invited me to do more research and to imagine the times and places where the events occurred. I visited each site and from these sources, imaginings and research came the tales in this collection. I hope you enjoy them as much as I do. I am often asked, “Is that story true?” I can only answer that if you believe, then it is true for you.About Granny Sue:Susanna “Granny Sue” Holstein develops her stories from folklore, history, and personal narratives. Performances of Appalachian stories include background information and artifacts to enrich the educational content so that audiences develop a deeper appreciation and understanding of West Virginia’s unique ...
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