1 	Shimmy She Wobble 	4:18
2 	Bounceball 	2:11
3 	Short'Nin' / Henduck 	2:49
4 	Too Slow 	1:22
5 	Shimmy She Wobble 	6:30
6 	Station Blues 	2:10
7 	Shake 'Em 	5:30
8 	My Babe 	4:18
9 	Boogie 	5:29
10 	How Many More Years? 	2:07
11 	Roll And Tumble 	1:54
12 	2-Stepping Place 	1:46
13 	Granny, Do Your Dog Bite? 	1:20
14 	Shimmy She Wobble 	9:40
15 	Glory, Glory Hallelujah! 	4:07

Bass Drum, Drums [Snare] – Andre Evans, Aubrey "Li'l Mix" Turner, Rodney Evans
Bass Drum, Drums [Snare], Guitar, Vocals – R.L. Boyce
Drums [Snare] – K.K. Freeman
Drums [Snare], Vocals – Bernice T. Evans
Flute [Cane Fife], Vocals – Othar Turner
Guitar [Bottleneck] – Luther Dickinson 

Credited to Othar Turner's Rising Star Fife & Drum Band, Everybody Hollerin' Goat is a collection of haunting, authentic Mississippi-born fife and drum blues from Turner, aged 90 at the time of recording this, his solo debut. A compilation of field recordings and home recordings, it was assembled by Luther Dickinson, the son of the legendary Memphis producer Jim Dickinson. ---Jason Ankeny, AllMusic Review

Veteran bluesman Otha Turner was the last surviving master of the Mississippi back-country fife and drum tradition. He was born in 1908, spending his adult life as a sharecropper in the city of Como, an area several miles northeast of the Delta region which also gave rise to musicians including Fred McDowell, R.L. Burnside, and Junior Kimbrough. Beginning his performing career around 1923, Turner initially played the blues as well before picking up the thread of the fife and drum tradition, a primitive take on African-American hymns and songs which dates back to the northern Mississippi hill country culture of the 1800s; mastering the fife (a hollow, flute-like instrument typically manufactured from bamboo cane), he toiled in relative obscurity for six decades while leading the Rising Star Fife & Drum Band, a loose confederation of relatives, friends, and neighbors which played primarily at picnics on his farm. (For a number of years, the group annually opened the Chicago Blues Festival as well.) With his contemporaries either deceased or infirmed, Turner was the final surviving link to fife and drum's roots by the '90s; in 1998, his music was finally preserved on the album Everybody Hollerin' Goat, recorded between 1992 and 1997 by producer Luther Dickinson. A follow-up, Senegal to Senatobia, appeared in 2000. Unlike his previous album, Senegal to Senatobia didn't play to rootsy expectations and instead paired the ancient fife player with several other musicians, including producer Dickinson on slide guitar and Senegalese kora player Morikeba Kouyate. It was the last album Turner would complete, he died February 26, 2003 at the age of 94. The impact of Turner's brief public revival of the fife and drum style was made apparent in 2002, when his "Shimmy She Wobble" was used in Martin Scorsese's historic epic Gangs of New York. ---Jason Ankeny, allmusic.com

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1 Shimmy She Wobble 	4:43 	
2 Station Blues 	4:56 	
3 Bounce Ball 	3:44 	
4 Shimmy She Wobble II 	5:14 	
5 Stripes 	10:38 	
6 Senegal To Senatobia 	8:52 	
7 Glory, Glory Hallelujah 	6:54 	
8 Sunu 	5:02

Otha Turner, Sharde Evans – flute (cane fife), vocals
Morikeba Kouyate – kora, vocals
Luther Dickinson – slide guitar
Abe Young, Andre Evans, Aubrey Turner, K.K. Freeman – percussion
Manu Walton, Musa Sutton, R.L. Boyce, Rodney Evans – percussion
Bernice T. Evans – percussion, vocals

Mississippi fife legend Turner is joined on this outing by a loose union of players billed as the Afrosippi All Stars. This makeshift band is comprised of members of Turner's family, visiting Senegalese musicians, a university percussion student/organizer, and slide guitarist/producer/North Mississippi All Star Luther Dickinson. Their sympathetic accompaniment on African percussion, kora, and bottleneck guitar give "Shimmy She Wobble," "Station Blues," and Bounce Ball -- reprised from his recording debut, Everybody Hollerin' Goat -- a depth lacking on his earlier versions. Traditional African drums exchange rhythms with marching-band snares and bass drums. Staccato kora melodies complement whining slide guitar riffs. And Turner's shrill, archaic fife floats freely over it all. The title track is the album's most distinctly African number, and probably the only track here easy on the listener's ears. The closing "Sunu" is five minutes of nothing but drums. This is hardly good-time music for casual blues listeners or weekend world music fans, but it's important music all the same, bridging, as it does, great distances between continents and traditions. --- Brian Beatty, allmusic.com

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