SHANGO "Talking Drums" Dial 403 10" LP Popo Arindell Orish Yaruba African World

$

47

SHANGO - "Talking Drums Ceremonial Dance Songs of the Yaruba Shango Cult" DIAL 403 Original US 10" LP 1953

Super hard to find, Ultra SCARCE 10" from Dial - YELLOW and RED Label designed by David Stone Martin

Vinyl is a VG+ heavy Deep Groove pressing with some scuffs and faint marks, evidence of having been played but not abused, this was a "field" recording so it's not exactly hi-fi, no Rudy Van Gelder sonics going on here if you get my drift... Labels are NICE and bright, a couple of spindle marks. Jacket is graded VG+ with faint signs of ring, shelf and edge wear, discoloration from age, NO seam splits. Not everybody agrees about how to grade LP's so PLEASE look at the pics closely, they are detailed and accurate.

Side A: Talking Drums (mx.D-403-A) Shango--Glorification of Saints--Food Sacrifices-- Drum Signatures: Rada, Congo-- Shango And Voodoo--Manifestation of Saints--Owser People-- Animal Sacrifices--Taboo On Salt and Pepper--Jungle Telegraph--Talking Drums--Summons and  Response: Yaruba, Ochanda, Congo--Congress of Villages--Tribal Song: Bah Bah Teemandeh Popo Arindell with Yaruba Drummers, and Olive,  Job and Mangua
Side B: Shango Ceremonial Songs (mx.DLP403-B) 1.Mo-Nee-Ah Mo-Nee-Ah 2.Cooma-Chey-Wo-Leh 3.Hoo-Yey-Yey

FROM THE NET:The Dial recordings of music of the Orisha (Shango) may be the first commercial recordings of such music, although in 1939 Melville and Frances Herskovits made field recordings of many Orisha songs and calypsonians, at least since the 1930s, recorded themes and melodies based on true Orisha songs.  The “Shango” music comes from one of several African like religious communities scattered throughout the island that perpetuated Yoruban, Dahomean, and other African cultures in a highly syncretistic form.  This music had its origins in the middle nineteenth century when some Nigerians and other Africans were captured as slaves and shipped to the Caribbean.  They were “freed” by the British and landed in Trinidad where they joined other Africans brought to the island as indentured labor.   These religious songs were recorded in Christopher’s studio.  The performers were Popo  Arindell with “Yaruba Drummers, and Olive, Joe and Mangua.”                The Shango cult people who are heard here are city people who live on the Quarry Hill, on the east side of Port of Spain and who go to the near-by country side to practice their religion.  Joe and the three percussionists are employed in the local abattoir, while Olive sells limes on Picadilly Street near the market.  The recording date is fortunate in the participation of Popo Arindell, who plays guitar in a seaman’s bar in Port of Spain for his living, but is a Shango man with a profound interest in religion, magic, music, dance and of course Shango, which combines all elements.[i]   In conclusion, the Dial recordings were an important addition to the previously recorded commercial ventures in Trinidad dating from 1914 when records were first made on the island by the Victor Talking Machine Company.  The Dial records also help us to understand the vast body of field recordings made by Melville and Frances Herskovits in Toco and Port of Spain in 1939, the BBC recordings around 1950, and the field recordings made by Andrew Pearse, Dan Crowley, J.D. Elder and others beginning in the same year of the Dial recordings.  These developments must be understood as a part of a great transformation of Trinidad’s (creole) folk culture occurring on many fronts.  Trinidad’s Carnival culture was moving into a new phase of development as a component of the rise in creole power (Eric Williams and the People’s National Movement) just before the independence of Trinidad and Tobago.

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