Crank up your horns and fasten your bibs, you are invited to tuck into a HOT PLATTER of disembodied dixieland, haunted music hall, dilapidated burlesque, and merry maladies. Please keep your thumbs out of the gravy. "Good for what ails you."
To thaw your pipes first of all, a heartwarming visit from Uncle Pecos, stopping by on his way to the big time. We're blessed! He's vocalled unpeckably by honeyed character actorrrrr Shug Fisher, whose other musical output, is a tricky lot to trace. But hold on, sugar! We’ve dug some up here, so fill your boots to brims.
HOLD UP THERE PARTNERDER AND REACH FOR SKIES ETCETERA, our merry way across the prairie has been brought to a clattering halt, by a hateful hatful of unruly sod children playing at cow-bers and in-juns, like we all should at least once a day. In the 'Rad' Injun corner we have, first up, Yma Sumac, popping up from her Peruvian hilltop hut (like what they all live in) to lend support to her fellow indigenous indignants. This is ‘Amor Indio (Indian Love)’ (1950) and it will chill your bones from t’other side of a mountain. Fighting right back comes Sol K. Bright with his very much hit wonder of the singular, Hawaiian Cowboy. (If that’s far too exotic a version for you, here’s a PG version, with Chris Langham let loose on a children’s TV show.) 
As promised, we say goodbye to such nonsense and get back to business. How about Henry Spaulding and, again, a single hit wonder, Cairo Blues (1929). No more info on this one. So, so-so, suck it up. But hey - If you’re one of the lucky ones not to have lost thumbs in some incident down a shaft implosion or in an ill-advised Spinning Gertie repair attempt (that’s what the kids and midgets are there for you dolt), well then, it is time to crack out your kalimba and get pianee-ing. First along, Kankolongo Alidor with “Kalenda wa muchombela”. Have a look at the Excavated Shellac blurb on this beef, it’s all you need to know about 1950s Belgian Congo field recordings. Let’s hang around in Zaire with a bit of seamless professional DJing (phwooar, thank ye, thank ye) drifting marvellously into a slice of Roots of Rumba Rock, it’s “Towuti Brazza Toye Kisasa” by De Malo.
Now you've turned your record over and ready for some more fun-time sing-along fun. That's going to mean a meanie slapdown from Singin' Sadie ('Let's Call 'er Lil'), followed by a 100% genuine far-eastern cultural dispatch from undercover field agent Shizuko Kasagi. Calling in backup from The Club Nisei Orchestra, 'Tokyo Boogie-Woogie" (1948) is the message we're getting. See, this is what happens when your un-kamikazied Japanese WW2 survivors hole up on a Hawaiian shore and start breeding off with disenfranchised left-behind GIs. It actually literally is. Steady now, a guiding hand rummaging round you from Al Duvall ('Dead Man's Shoes') – Just as a timely reminder of what awaits all of us. It’s a curiously comforting one for those of us that don’t get invited to parties during our be-cursed waking years.
What’s-a’-this, you really thought “My Baby Just Cares For Me” was a vaguely agreeable lounge-jazzy number writ-in by Nina Simone for Disc Twos of mid-market mothers day Here Come The Girls compilation albums on the eye-level supermart impulse shelf? Blimey, best keep that howler to yourself. Here’s one of the PROPER versions from 1931ish: step up, Ted Wallace and your Campus Boys Orchestra. Reeeeeverrrrbbbbyy, this is all making us feel a bit janitor-ish in a stranded mountaintop hotel here, so let’s have more snowy fun with Scandinavian horror-pedlars Eeva-Leena Sariola, Matti Kontio, and Martti Pokela, teaming and teeming to rasp out a hot toddy of Mörri-Möykyn action, this is “Peikkopiiri”. We shalln’t be held responsible, incidentally, for your children’s nightmares when you play them these kiddie tunes as nighty-time music. It’s the only way they’ll learn. Quickly, sir, after them with that axe!
A disciple of Ustad Faiyaz Khan and Ustad Ata Hussain Khan – A great vocalist from Agra Gharana. His approach towards music was always to expand the Raga. Take any Raga-s and Ustad-ji would sing these Raga-s at length. For example Raga Malati Basant, Raga Raisa Kanada, Raga Maluha Kalyan to name a few – He could and would sing them for about an hour plus, on an average. He was always open to greater development of his music and so he was never shy to adopt something from other musicians or their respective styles. And almost always, he was successful in blending those so called foreign elements into the musical structure of Agra Gharana that he used to prefer and perform. And then the concept he would sing would be his own “Khayal”.
