Keep it for yourself and play it till the grooves uncoil. Such moments of drabness are scarce, however so scarce that if you should find a copy of this album, forget what the vinyl junkie down the road will pay for a copy. "We hold this truth to be self-evident, that all men should be cremated equal." Newcomers Phil Ochs and Peter La Farge both impress Englishman Bob Davenport, however, is ill-served by his unaccompanied drone through Ewan MacColl's "Come All Ye Giant Drivers," and three songs from the Freedom Singers were probably a lot more pertinent in 1963 than they sound today. A gentle "Rambling Boy" is graced by a genuinely melodious audience singalong, while "The Willing Conscript" is as funny (and pertinent) today as it surely was in 1963, with the Vietnam conflict just beginning to escalate, and lessons in bayonetting, disembowelling, and dismembering the enemy were indeed a vital component of any youth's education.įurther proof that the finest folk is that which retains its relevance no matter what the prevailing musical and cultural climate is delivered by Sam Hinton's wryly punning "Talking Atomic Blues." It was originally recorded in 1950 13 years later, just months after the Cuban missile crisis, it still blistered with every ounce of its original passion. Bob Dylan opens and closes the LP with a pair of duets - the first, with Pete Seeger, is a jolly singalong assault on the Hugh Hefners of this world, while the closing "With God on Our Side," alongside Joan Baez, is a revelation, a reminder of the days when Dylan and Baez, the king and queen of folk, really did seem ready to rule the world.Ī pair of Tom Paxton songs are equally remarkable.
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It only follows, then, that this album should also emerge as the greatest tribute to that age of impassioned innocence. The most collectible of the 1963 Newport Folk Festival albums, "Broadside" - as its title implies - serves up the hottest topical songs and performers to appear that weekend 1963 marked the apogee of the folk protest movement, Broadside magazine was its mouthpiece, and Newport 1963 was the finest hour for all. New Age Steppers - Foundation Steppers (On-U Sound, 1983) Another dub, the sparser "Mandarin," is equally forthright, but the key moments here are the vocal tracks - the buoyant "Memories," the confidential "Misplaced Love," and the pushy "Vice of My Enemies" (reworking the old "Rebel Party" rhythm) all testify to Sherman's mighty presence - to the point where the absence of the Steppers' most familiar vocalist, Ari Up, is scarcely even noticed. Lol Coxhill, Doctor Pablo, and Prince Hammer have all distinguished subsequent versions of this mighty rhythm. Assuming, of course, that a traditional album would find space for "Five Dog Race," an earthquake instrumental that Adrian Sherwood would return to on several occasions in the future.
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The third and final New Age Steppers album (unless one considers the Creation Rebel dub sets), "Foundation Steppers" is dominated by Bim Sherman's magnificent vocals, with the majority of his showcases then segueing into a lengthy dub interlude, to complete one of the finest "traditional" reggae albums in the On-U canon. Highly recommended to those whose musical tastes occasionally reside on pop's radical, experimental fringes. It wasn't always accessible, but it has few peers in terms of ingenuity and daring. Not for the faint of heart, the music created by Sherwood and his Steppers was among the most exhilarating and consistently challenging to come out of Britain during the early post-punk era.
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Along with the usual gang of suspects employed by Sherwood's dynamically creative On-U Sound (George Oban, Style Scott, Eskimo Fox) studio, the sound ofthe New Age Steppers was that of cut-and-paste dub mixing, psychedelic swirls of found sounds, dissonant aural collages, sinewy reggae riddims, and odd, semi-tuneful vocals. There was Ari Up from the Slits, Mark Stewart from the Pop Group, and John Waddington and Bruce Smith from Rip, Rig & Panic. Rallying around the considerable talents of British producer/modern dub mastermind Adrian Sherwood, the New Age Steppers were not so much a band as they were a loosely knit aggregation of musicians from some of Britain's best avant-garde post-punk/funk bands.