featured artist


Music From The Bahamas
Release Date: 1993
Label: Dry Bread


01. Sunshine
02. Get In The Groove
03. A Good Woman
04. Bahama Mama
05. Don't Hold Back
06. Montagu
07. Shake Up Your Boby Line
08. An Island Boy
09. Money
10. Sweet Thing In The Can



"COOLIN' OUT" On The Island
Release Date: 1995








Bahamian Music Total
Release Date: 1998
01. Only In Exuma
02. Pinder
03. Bahamian Music
04. Get In The Groove
05. On The Island
06. A Good Woman
07. Do Da Junkanoo
08. Nassau
09. Da Donkey
10. Ring-A-Rosie
11. Oh Bahamas
12. She Jump
13. Party All Night
14. Don't Squeeze De Mango
15. Bahama Mama
16. Shake Your Body Line
17. Montagu



....In Grand Bahama
Release Date:

01. Coconut Woman
02. Shake Up Your Body Line
03. The Jitney Man
04. Pretty Blue Eyes
05. She Was My Lover
06. Sunshine
07. All Of Me
08. And I Love Her So
09. I'm A Bahamian
10. Long Hard Struggle
11. Shame And Scandal
12. De Donkey
13. Bad State, No Money
14.The Full Moon Light



Release Date: 15 June 1998


1. Don't Squeeze De Mango
2. Pinder What You Doin Here
3. Get In The Groove
4. Sweet Ting In The Can
5. Sunshine
6. Ring-A-Rosey
7. On The Island
8. Bahamian Music
9. Crab Sweet
10. Bahama Mama
11. She Jump
12. Montagu
13. Shake up your Body Line
14. An Island Boy
15. Do Da Junkanoo



Release Date: Unknown
Label: GBI


1. Bahama Mama
2. Bahamian Music
3. Brown Gal
4. Bus Stop
5. Don't Bother Me
6. Fool of Me
7. Get in the Groove
8. Shake Up Your Body Line
9. She Jump
10. That Gal Look Good
11. Uncle Lou




Dry Bread has presented an interesting twist on what he calls "Bahamian Music'. His fusion of goombay, junkanoo, and calyso rhythms are a blend only to him. There are other artists who use the same ingredients, but the end result in Dry Bread's music has unique characteristics. The use of the drum machine in many of his recordings is an integral part of his unique rhythmic perspective. As a guitarist, his perspective rhythmically differs from that of a drummer, so the nuances in his drum programming would be non-traditional. The same stands for the keyboard horn lines throughout his music. I think this exploration of new possibilities is a good one in trying to have an original sound, and Dry Bread suceeds in doing that. In listening to many of his songs, the challenge was, defining how to catagorize his style in relationship to otherBahamian artists before him. That was tough. I feel that Dry Bread started a new Baamian sound, the fusion of the various existing styles mixed witha more contemporary drumming style places his music in a "New Age" Bahamian sound. He calls it "Bahamian Music", I call it "Bahamian Fusion". The reason? Many of the elements within his music could be found in existing Bahamian styles, but his use of them are unique to him only.

Let's listen to a few of his songs, and see how he expresses his "Bahamian Music".

The first song is written in the verse-refrain form, where the hook of title of the song appears at the end of each verse. It is also set in a minor tonality which is uncommon in Bahamian dance music. Dry Bread has done well in fusing new drum patterns to his "Bahamian Music". Although the hi-hat patterns functions like the saw in rake 'n' scrape music, the rest of the percussion instruments has no resemblence of patterns previously used in Bahamian musc. The bass pattern syncronizes well although it too is not your traditional calypso, goombay, or junkanoo bass line. The thread that keeps it all together is the stiff calypso style guitar strum that Dry Bread does so well.

Click play to hear "Sweet Ting In The Can"


This next song is in signature Dry Bread style. This song is written in verse-chorus form. The use of cowbells represent the junkanoo element, the alternates between the calypso style bass and popular American funk of the 70's, all held together by the rhythmic strum of the guitar in classic Dry Bread fashion.

Click play to hear "Bahamian Music"

This next song helped in putting Dry Bread on the map in the Bahamas. The verse-chorus form alternates throughout the piece, with an instrumental interlude before each chorus. The down beat preceded by a weak note on the "an" of 2 in cut time is characteristic of junkanoo music. The hi-hat however maintains the traditional calypso pattern which also has a feel of rake 'n' scrape music. A very unique combination of regional styles.

Click play to hear "Don't Squeeze De Mango"