02. Monk berry Moon Delight
04. Obeah Man Come Back
05. Baby, Let Me In
06. Pay Me What You Owe Me
07. Empty Barrels
08. Walking Home
09. Rushing Through The Crowd
10. Ballad For Sammy
11. Exuma's Reincarnation
Release date: 1972
Label: Kama Sutra
01. Obeah, Obeah, O
03. Don't Let Go
04. Attica, Part I
05. Thirteenth Sunday
06. Subway Bound For Hell
07. Happiness And Sunshine
08. Summertime In New York
09. Andros Is Atlantis Rising
10. Exuma's Reincarnation
From Africa To America To Junkanoo To Armageddon
Release date: 1976
Label: Inagua Records
01. Black Hawk
02. Soul Conga-Line
03. Pretty Woman
04. Give A Little bit Of Your Love
08. Shake It Up
Release date: 1982
Label: Cat Island Records
01. Guy Fawkes
02. Fame In The Name Of The Game
03. Roller Reggae
04. Rose Mary Smith
05. Cat Island Rake & Scrape Band
06. Get It (Good Feeling)
07. Super Star Who Do You THink You Are?
08. Alowis Plant (Aloe Plant)
10. Praise Jesus Tonight
Release date: 1987
Label: Nassau Records
1. Rude Boy
2. Clean On The Outside Dirty On The Inside
3. They Coming "Junkanoo"
6. Fishing On The Rock
7. St. James Road Slim
8. Soca Bite Me On My Belly
9. Bam Bam
THE OBEAH MAN(Fire)
Release date: 1970 (1993)
Label: Mercury Records
Exuma, The Obeah Man
Mama Loi, Papa Loi
Seance In the Sixth Fret
You Don't Know What's Going On
The music of Exuma had an energy that
was very explosive. His sense of rhythmic accuracy was similar
to that of a junkanoo band getting a fresh start at the annual
junkanoo parades on Boxing Day Bay Street. For those who
never experienced this; the equivalent would probably that
of a locomotive train at full throttle. In listening to Exuma,
even his ballads like "Rose Mary Smith" poured
out pure energy. He had a way with grabbing his audience
and making them feel his joy or his pain. While "Rose
Mary Smith" is
strictly influenced by American popular music of the sixties
and seventies, others like "Cat Island Rake & Scrape
Band" is what we call in the Bahamas pure “bush".
Exuma also did something quite different with his bass line
which along with the drums lies at the heart of his brand
of Bahamian music. The placement of the bass phrase starting
on beats one was quite new. Even in junkanoo, the bass line
or strong beat would be preceded by a softer accented note
on the up beat of two. The examples below shows what is typical,
and what is used by Exuma.
Junkanoo bass line places the strong emphasis on beat one, but is preceded by a note in the previous measure.
Exuma doesn't prepare the note on the strong beat, instead he makes it lead into the first of the chord which in turn propels the rhythm forward as opposed to the feeling of resting on beats one in the junkanoo rhythm.
The music clip below demonstrates the use of this unique displacement of the bass line. Exuma uses this technique quite frequently in his music, creating a distinctive groove that makes great for dancing to rake 'n' scrape music.
Click play to hear "Guy Fox"
The influence of rock and pop is very strong in this next clip. Exuma marriages these outside influences with a calypso/ junkanoo rhythm, giving it a bouncing feeling. The guitar styling's and use of brass gives his music the seventies R&B flavor similar to groups like "Earth, Wind & Fire", "Tower of Power", "Brass Construction", and many other popular bands of that era.
Click play to hear "Fame"
Blues did not escape the powers of "The Obeah Man". Exuma had a little bit for every pallet. Here he does his rendition of Bahama Blues. The emotions commonly associated with the blues is well executed by this Cat Islander. One quality that stands out is his use of the raw Bahamian dialect, seldom adhered to by artist with such a wide audience.
Click play to hear "Rose Mary Smith"
Exuma, The Obeah Man/Junkanoo (Mercury)
Damn Fool/Zandoo (Mercury)
Do Wah Nanny/The Bowery (Kama Sutra)
Monkberry Moon Delight (Kama Sutra)
Brown Girl/Rushing Through the Crowd (Buddah)