This month's issue
Features & Indexes
Sample a fRoots feature
History of World Music
Albums Track Index
Cover Features Index
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Come Write Me Down
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This month’s issue •
Come Write Me Down
World Music History
In the early '60s, things were a lot less tribal. One night we'd go to see pop R&B bands, another it might be jazz (trad or be-bop, didn't matter) or folk. My local beatnik coffee bar had a Miriam Makeba record which attracted my attention, and bits of Latin jazz that had less appeal due to personal trumpet phobia. Davy Graham's early records had intriguing stuff that we were told came from expeditions to North Africa. So when my burrowings into roots musics led me eventually to havens like Collett's, I'd occasionally impulse-buy albums on Lyrichord, Folkways or Nonesuch. Whilst my main interest at the time was country blues, I slowly accumulated Bauls from Bengal, Egyptian and Chinese instrumental music and Georgian choirs. I even had the mad idea, circa 1969 when I folded up my country blues band, of trying to do some blend of these musics with blues, but I didn't have the slightest clue where to find the players so my chance of being several decades ahead of my time died on the drawing board. But I was lucky: most people didn't know about Collett's and if there was an 'International' section in their local record shop it contained Johnny Halliday, Nana Mouskouri, Dorita y Pepe and a Dutch fake Hawaiian called Wout Steenhuis. Not a lot of inspiration to enthusiasm in there.
Dorita y Pepe sing the
As I wasn't too bright or motivated, I didn't go to university and thus grew a deep mistrust of people who used terms like 'ethnomusicology' and 'anthropology'. But there were other underground routes to worldly delights. The American magazine Sing Out! was one. I first heard Bai Konte's kora on one of their flexi-discs in the '70s, little imagining that I'd one day visit his home and work with his son. At the beginning of the '80s things gradually started to get better. The information revolution was growing and the world was getting smaller. Not long after this magazine started up, there was another short-lived but vital publication called Collusion, edited by David Toop, Sue Steward and Steve Beresford. Like Blues Unlimited in the '60s it brought the wonderful realisation that there were other like-questing minds out there, sources for import records -- Ali Farka Toure, Les Ambassadeurs, holy shit! -- and information.
In what now seems a relatively short time there came King Sunny Ade, Youssou N'Dour and Thomas Mapfumo to play live before our very eyes, GLC shows, gigs in the park behind behind the Commonwealth Institute, Arts Worldwide events and Womad, Earthworks, GlobeStyle and Stern's. Alexis Korner, ever broadminded, would play Okinawan records on the radio, Charlie Gillett and Andy Kershaw soon became converts to international sounds, and the 3 Mustaphas 3 popped up on John Peel. Our magazine was able to review more and more records because they were now becoming available on local release or import, and artists came here so we could talk to them. My own little record label emerged at the beginning of the '80s with a minor hit by Bulgaria's Nadka Karadjova (entirely, it must be said, because of concentrated novelty airplay by Terry Wogan) and the far more hip indie label 4AD had a mammoth seller with Les Mysteres De Voix Bulgares. But where the hell did you look in your High Street record shop for all this varied music that now had a burgeoning would-be buyer base but no obvious rack to browse?
It was Roger Armstrong and Ben Mandelson from GlobeStyle who called the fateful meeting. For some reason I've kept all the minutes. At 7.00pm on Monday June 29th, 1987, what was initially described as an 'International Pop Label Meeting' was convened at the Empress Of Russia in St. John Street, Islington (then also the home of Islington Folk Club: recently closed to become a restaurant). "The main aim", began the suggested agenda, "is to broaden the appeal of our repertoire", and it listed various points for discussion such as identifying who the target audience were, how to reach them, how to deal with this at retail and, crucially, "Adoption of a campaign/media title".
The minutes record who was there: Chris Popham, Ben Mandelson, Roger Armstrong and Ted Carroll from GlobeStyle/ Ace; Jonathan Rudnick from Crammed US; Amanda Jones, Thos Brooman and Steve Hadrell from Womad; Charlie Gillett from Oval; Mark Kidel from Channel 4; Ian Anderson and Lisa Warburton from Folk Roots/Rogue Records; Anne Hunt, Mary Farquharson and Nick Gold from Arts Worldwide/World Circuit; Scott Lund and Iain Scott from Stern's/Triple Earth; Joe Boyd from Hannibal and writer Chris Stapleton -- virtually all still involved in this music today. Later meetings also saw participation from Robert Urbanus from Stern's, Mike Chadwick from Revolver distribution, Mark Stratford from New Routes distribution, John Martin from 11th Hour/Crossing The Border; Gordon Potts and Simon Coe from Virgin Retail; Andrea Lawrence from Cooking Vinyl; Jumbo Vanrenen and Trevor Herman from Earthworks, Nick Carnac from Carnacdisque; Doug Veitch, Owen & Phil from Disc'Afrique, Lucy Duran from the National Sound Archive, and writers Philip Sweeney, Chris Hawkins and Klaus Frederking. But it's the first night bunch who you can blame for 'World Music' as the genre that now exists.
It wasn't a new name, just one of many that had floated around in the preceding decades. But the logic set out by Roger Armstrong was that an established, unified generic name would give retailers a place where they could confidently rack otherwise unstockable releases, and where customers might both search out items they'd heard on the radio (not knowing how to spell a mis-pronounced or mis-remembered name or title) and browse through wider catalogue. Various titles were discussed including 'Worldbeat' (left out anything without drums), 'Tropical' (bye bye Bulgarians), 'Ethnic' (boring and academic), 'International Pop' (the death-by-Johnny-and-Nana syndrome) and 'Roots' (left out Johnny and Nana). 'World Music' seemed to include the most and omit the least, and got it on a show of hands. Nobody thought of defining it or pretending there was such a beast: it was just to be a box, like jazz, classical or rock...
This feature first appeared in fRoots 201, March 2000
This month’s issue •
Come Write Me Down