calypso

Jamaican singer Joe White has had an unsung career, issuing several brilliant singles through the ska, rocksteady, and early reggae eras, including 1967's "Rudies All Around," 1968's "Every Night" (produced by Sonia Pottinger), and an amazing version of "My Guiding Star," produced by Charles Ross at Studio One. Somehow, though, White never garnered the mass attention he deserved. Early on he was a member of vocal group the Leaders with Ken Boothe, Roy Shirley, and Chuck Josephs, and several singles by the quartet were issued on Federal, but none generated much action.

Read more about Joe White on Last.fm.

Donae’o aka Ian Greenidge was always destined to make a career out of music after growing up in a house where melodies were a major force. His mother was a singer and as a youngster growing up in north west London it was common place for her to be heard belting out tunes in the house. A young Donae’o was also a regular companion when she was out performing and loved soaking up the atmosphere. In fact you could say this is where he felt most at home.

A mento quartet from Port Antonio, Jamaica, formed 1955. They perform with bongos, banjo, rhumba box & kalimba / finger-piano. In the 50s, they were popular at The Trident Hotel & parties for 'the rich'n'famous', e.g. at Errol Flynn's residence. During the late 80s, they received renewed interest, when Jules Shear heard them playing at the Trident - he returned later & produced Pop 'N' Mento & other albums. A new album - Great Expectation - is slated for release, late 2010. http://Furious.com/perfect/JollyBoys.

Banda Calypso was assembled in Belém, the state capital of Pará in Brazil, in late 90s by the couple Chimbinha and Joelma. Restricted to Brazil's northern musical circuit in their early days, Calypso today enjoys great success countrywide. Well known for catchy and simplistic lyrics mixed up with highly danceable music, Calypso is the latest fever in Brazil, attracting hundreds of people to their shows, wherever they play (and also attracting the rage of more intellectualized music listeners, who refute their songs as annoying, repetitive, futile and empty).