Tony McKay aka EXUMA, born on the Bahamas in 1942, died in England in 1997, the Obeah Man, the master of voodoo folk, has been very active in the early 70s with seven albums alone from 1970 to 1973. Previously I only had a copy of his masterpiece „Snake“ from 1972 but now as I got introduced to his 1970 debut album I really begin to understand his spiritual transformation from Tony McKay, the musician to Exuma, the Obeah Man each time he played his songs. And these are not just simple songs. Already the second track on this album, „Dambala“, is an eruption of melancholy that speaks of the worship for the demon with the same name. Exuma screams and shouts upon a swirling drone of mantric chants from obviously possessed disciples while a musical substraction of acoustic guitars, bongos, bells and the one or another occasional flute create a thick and hazy atmosphere. The following track „Mama Loi, Papa Loi“ shows the same qualities and spiritual depth. Exuma is the priest and sings to his followers while some gnarling demon spits out words that are not of earthly origin. The whole tune is an anthem with a hypnotizing approach. At this point you as the person in front of the stereo are far from just listening to music. You have entered the ceremony and are part if not victim of the ritual. A beautiful way to be sacrificed to the gods of the underworld. Elements of Latin music round up the whole picture. Samba rhythms and thundered whistles, cow bells, harmonicas, everything joining a massive groove that takes you to the streets of Rio De Janeiro at the heydays of carnival. It feels more like a spontaneous gathering of people creating a beat than a professional music recording in the studio but this is exactly what makes the magic of this record. If Richie Havens and Dr. John would have jammed some beautiful ritualistic voodoo stuff together it might have sounded like this. All this chiming and clapping that accompanies Exumas quite often really insane voice performances and his story telling makes you feel haunted. This is an album too far out for the average folk and singer / songwriter freak but those who love the occult improvisation music that was hip in the early 70s will certainly love this and if you dig beneath the occult and ritualistic veil you will discover melodies so pure and enchanting that they will set your doomed soul ablaze immediately. This is just freaking awesome.