When it comes to commentaries and discussions of postwar music, there is more ink spilled on the birth of rock in Britain and the subsequent “British Invasion” than any other scene or cultural phenomena of the era. Yet while critics and writers have discussed the travails of the Beatles, the Rolling Stones, the Kinks, and the Who, very few have ever bothered to trace the influences that shaped that “English” style.

In many ways, these influences were very diffuse, as African-American ’50s rhythm and blues was popular in the north, while African-American blues from Chicago dominated in London. Beyond American influences, music from the West Indies grew in popularity in London’s Soho district as immigrants from Trinidad and Jamaica moved to the capital of the fallen empire.

Now, Honest Jons Records has finally done service to the large music community that thrived then in Soho with a series of excellent compilations titled London is the Place For Me. The first set focuses on the Trinidadian calypso scene that sprouted in London in the mid-’50s, while the second set compiles calypso and kwela, and highlife and jazz music from young black musicians recording in London at the start of the ’60s. (The third, less impressive, set, focuses on West African music during the same period).

What is most fascinating about this complete set is the enthusiasm these artists have for living in England. The first two tracks on Volume One of the collection highlight this with Lord Kitchener belting out “London is the Place For Me” and Young Tiger boasting as he sings, “I Was There (At the Coronation).”

A cultural hybrid was brewing on the streets of Soho as these musicians merged the musical traditions of their homeland with their eagerness to embrace the opportunities available in England. This is all the more interesting when you consider that while young black migrants were embracing their new home, a lot of white teens were moaning and wailing African-American blues songs about hardship and poverty (concerns that a majority of them knew nothing about). Moreover, these songs are interesting because they were penned during the first wave of migration to England, before racial barriers and prejudice ignited tensions.

That being said, these collections show that these musicians were not afraid to touch on topical subject matter or offer their opinion of goings-on in London. Lord Beginner sings a great tune about the outcome of the general election, while in one of the most intriguing and cryptic songs of the collection, Timothy sings “Bulldog Don’t Bite Me” as he alludes to fears and anxieties that were building in the black community as they settled in.

Beyond the historical import of the music on these records, it is evident that artists like Lord Kitchener and the Mighty Terror had a huge influence on the mod and blue-beat scenes that spawned the Small Faces, the Kinks and the Who. The upbeat tempo on these recordings, which were played night after night in clubs like the Flamingo and coffee bars in the West End, introduced white Londoners to new sounds that they had never heard before. This link between the mod and blue-beat music that grew in the ’60s is intriguing when you consider the term “Swinging London” which everyone likes to invoke when talking about this period in London.

While there were collaborations and cultural exchange, to suggest there was harmony, peace, and love during this period is erroneous. As the “London Is the Place For Me” records suggests, such positive sentiments about the period hide the underlying tensions that pervaded, while ignoring the diversity of various minority groups who have, until now, not been adequately recognized for their musical contributions. Thanks to Honest Jons Records, the 78s have been dusted off and the jumping rhythm of the great English calypso and jazz is alive again.

Honest Jons promises a fourth volume in the series that will be released shortly, but likely will only be available as an import from the UK. There is unfortunately no domestic distribution for these records, but you can find any of the CDs at most independent music stores.

Tapes ’n Tapes:–The Loon (XL)

Initially self-released, Tapes ’n Tapes’ The Loon is an album that has garnered interest via MP3 blogs that offered one or two tracks that fans had to piece together. With music blogs emerging as the tastemakers of the business, The Loon is in many ways the apt product of this new music landscape, where diffuse styles and genres of music are scattered across the Internet.

This four-piece Minnesota band has produced a disparate record that contains a mixed bag of sounds and styles. With the song “10 Gallon Ascot,” the band produces an exercise in Pavement worship with blasts of fuzzed guitar mixed with puzzling lyrics, while “The Insistor” has a heavy twang that is rooted deeply in No Depression-style alt-country. This range of influences produces a narrative of the band’s range of musical influences that they enthusiastically flaunt on the eleven tracks.

This album is about an enthusiasm for music that is not afraid to embrace what is recognizable and make it one’s own. In a time where the ethos of “rip it up and start anew” abounds, Tapes ’n Tapes successfully abides by the belief of embracing the familiar and molding it into their own dynamic aural patchwork.

TV on the Radio: Return to Cookie Mountain (4AD)

If I was TV on the Radio, I would try to get out of my record contract ASAP. Why in 2006, when downloading is killing sales, would their label decide to push the domestic release back to September when the record has been available in the UK since July? Anyhow, there has been way too much hype and praise surrounding this release, but I’m happy to say that it easily lives up to the billing. This band is not afraid to address political issues head-on, while not being heavy-handed or preachy. They do a great job lyrically in creating an aura that evokes a lot of the fear and anxiety that pervades in the US at the moment.

On the opening track, singer Kyp Malone ends the song by stating, “we’re busy tempting, like fate’s on the nod / running on empty, bourbon and God / It’s been a while since we knew the way / and it’s been even longer since our plastic priest class had a goddamned thing to say / I was a lover before the war.” For TV on the Radio, America has lost its way, and it is truly refreshing to find a band that will address these fears when few rock bands are willing to. Check this one out, it’s highly recommended.