Podcasts about black ark

September 28's edition of The Goods newsletter features a weekly roundup of concerts and events to check out, like D2x, Senite and SONNY's show at Subterranean on Sep. 28. Grammy nominees Tank & The Bangas is also set to perform this weekend, hitting the stage Sep. 30 alongside the Chicago Philharmonic at the Auditorium Theatre. Other notable inclusions are the West Town Art Walk, Filter Photo Festival, and the final activation of Gary Simmons' ‘Recapturing Memories of the Black Ark' on Sep. 29, celebrating 50 years of hip-hop with a lineup of performances and discussions curated by local artist Sam Thousand. Vocalo digital producer Morgan Ciocca stopped by the studio to break down this week's newsletter and included playlist (featuring 17 new releases from September). The Goods is Vocalo's weekly arts and culture newsletter, delivering a digest of music, arts, culture and community events to your inbox every Thursday. Subscribe now to receive next week's edition at Vocalo.org. This segment originally aired on 91.1 FM during Nudia In The Afternoons on Thursday, September 28. It was produced by Nudia Hernandez. Keep up with Vocalo by following us @Vocalo on all platforms.

Intro 00:00 Chapter 6: 2:30 Loewe and Black Ark 20:45 Lord of Phantasma and Rufina 28:00 Chapter 7 46:30

Cette semaine dans la traque, escale au 5 Cardiff Crescent, dans le quartier de Washington Gardens à Kingston, Jamaïque, adresse du studio Black Ark.Black Ark, c'est un laboratoire de scientifique fou, c'est un lieu de culte, c'est un organe de presse contestataire, mais surtout, c'est l'extension du corps de Lee Scratch Perry, pionnier du dub et du reggae qui entretient un rapport organique, spirituel et politique avec le son. Érigée en 73, cette arche noire montée dans le jardin de la maison familiale du Mad Scientist a abrité des expérimentations farfelues, était le théâtre de rituels, et a vu passer un casting impressionnant de musiciens emblématiques du reggae jamaïcain (Max Romeo, Bob Marley, The Heptones, The Congos...), a permis des mélanges inédits dans la sono mondiale (Seke Molenga & Kalo Kawongolo, The Full Experience) et a laissé tout le loisir à Lee Scratch Perry de bosser sur ses productions solo. Du rapport au son de Scratch, façonné dans les chantiers rocailleux, à l'incendie qui a consumé une partie de Black Ark et ses bandes magnétiques, en passant par l'épisode paranoïaque qui va isoler socialement Lee Perry, on vous raconte l'histoire de cette arche noire de la musique jamaïcaine, à grand coup de réverbérations dub. 

I had a chance to catch up with Eddie Lou, who is the Founder of Sandman Studios and Director of Sandbox Immersive Festival that's based in China. I get an update as to what's happening with the Chinese ecosystem for immersive stories, how he's bring Western stories to China within a location-based entertainment context, his plans for bringing back the Sandbox Immersive Festival as a physical exhibition with international presence, their work on a social VR platform based on Unreal Engine called Vast (which was used on Mandala that premiered at Venice 2022), and their work on bringing Chinese musical acts into immersive spaces with the browser-based, pixel-streaming experience called Neo-Wulin: The Era of Black Ark that was showing as a special exhibition at SXSW. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Lee Perry fue un productor lleno de talento, pero también extravagante y rupturista. A veces incomprendido, pero siempre genial, supo reconducir su carrera a pesar de los obstáculos que se le apostaron en el camino. Empezó trabajando para grandes productores como Clement Dodd o Joe Gibbs, pero decidió crear su propio sello, su legendario estudio "Black Ark", pero dicen que acabó prendiéndole fuego. A partir de su éxodo a Europa siguió labrando esa carrera con gran número de producciones y esas incomparables actuaciones en directo en las que daba muestras de esa excentricidad que le convertiría en alguien único. Esta noche es tiempo de recordarle. Escuchar audio

durée : 00:29:29 - La Série musicale - par : Simon Rico - Dans ce quatrième épisode, nous allons bientôt quitter la moiteur de Kingston pour les frimas de New York et de Londres. Mais avant d'entamer ce long voyage en compagnie de Lee Scratch Perry, enfermons-nous encore un temps dans la cabine enfumée du Black Ark.

durée : 00:29:29 - La Série musicale - par : Simon Rico - Dans ce quatrième épisode, nous allons bientôt quitter la moiteur de Kingston pour les frimas de New York et de Londres. Mais avant d'entamer ce long voyage en compagnie de Lee Scratch Perry, enfermons-nous encore un temps dans la cabine enfumée du Black Ark.

durée : 00:29:51 - La Série musicale - par : Simon Rico - Fini le ska, le rocksteady et les prémisses du reggae, dans ce troisième épisode, nous allons pénétrer dans l'antre de Lee Perry, le studio Black Ark, qu'il bâtit à partir de 1973 dans l'arrière-cour de sa maison de Washington Gardens, un quartier assez chic de l'ouest de Kingston.

durée : 00:29:51 - La Série musicale - par : Simon Rico - Fini le ska, le rocksteady et les prémisses du reggae, dans ce troisième épisode, nous allons pénétrer dans l'antre de Lee Perry, le studio Black Ark, qu'il bâtit à partir de 1973 dans l'arrière-cour de sa maison de Washington Gardens, un quartier assez chic de l'ouest de Kingston.

Jamaican record producer Lee 'Scratch' Perry is widely celebrated as one of the most important creative figures to emerge in the late-20th Century. In 'I Am The Upsetter: The Sonic Innovation of Lee 'Scratch' Perry,' producer David Katz, who is Perry's authorized biographer, draws on archive interviews to explore his incredible career, which began in the early 1960s and continued until August 2021, only ending when Perry died, aged 85. One of Bob Marley's most important mentors, Perry's Black Ark studio used substandard equipment, but the innovative work he produced there with Max Romeo, Junior Murvin and others inspired a range of artists active in other genres, including Paul McCartney, the Clash, and the Beastie Boys. APWW #848 Produced by David Katz

En el segundo episodio dedicado a Lee Perry, seguimos escuchando alguna de sus maravillosas creaciones a los mandos de los estudios de grabación de Black Ark. Sonarán grupos y solistas como Max Romeo, The Heptones o Junior Byles. Pero avanzamos en el tiempo y nos adentramos en el dub electrónico, en cómo el legado de Perry inspiró a nuevas generaciones y cómo él siempre ha querido mantenerse en contacto con estas. De Mad Proffesor a New Age Doom, el arquitecto nos da una clase maestra.

Esta semana rendimos homenaje a Lee Perry, el gran músico y productor jamaicano fallecido recientemente. Una de las figuras más grandes e influyentes en el devenir de la música en las últimas décadas en diversos géneros, desde el reggae, hasta el rap o la electrónica. Esta semana transicionamos: del ladrido del perro al rugido del león y de la dictadura del punk a la dictadura del dub. Perry fue genio y genial, también estrafalario y polémico, yendo siempre por la vía de servicio de la cordura, lo que le permitió trabajar el sonido como nadie lo había hecho antes. Una especie de mago en el estudio, o de druida, con poción mágica incluída. Decía Keith Richards que «Lee Perry es el Salvador Dalí de la música». Este programa, ya decimos, es nuestro homenaje y también un ejercicio para intentar comprender su enorme legado y, en la medida de nuestras posibilidades, también difundirlo. ¿Por qué este homenaje? Porque Lee Perry nos ha acompañado con sus grabaciones durante décadas en nuestro camino por disfrutar y entender la música, tanto directamente en los discos que ha participado como indirectamente a través de las bandas a las que también ha influenciado y que nos han hecho disfrutar igualmente. Pero nos dejó hace unas semanas. El 29 de agosto de este año fallecía en el hospital Noel Holmes de Lucea, una localidad cercana a Negril, en el noroeste de la isla de Jamaica. Ya hemos hecho otros monográficos sobre bandas, y aunque siempre quedan cosas fuera y es imposible resumir la vida de alguien en dos horas. En el mejor de los casos más o menos logramos hacernos una idea de la dimensión del artista. Pero en esta ocasión sí que nos vamos a quedar muy muy muy cortos. Perry es un artista muy prolífico y su trayectoria se ha extendido durante décadas. Su discografía es prácticamente imposible de compilar, porque muchas veces trabajaba como ‘negro’, es decir, sin estar acreditado. Se le conoce fundamentalmente como productor, intérprete e ingeniero, pero en realidad ha pasado por todas las facetas del mundo del bisnes musical. Ha prensado, distribuido y vendido discos. Ha producido, arreglado, grabado, mezclado, compuesto y cantado infinidad de canciones. Decir que ha participado en miles de discos no es exagerar. Otro dato: La biografía oficial escrita por David Katz, «People Funny Boy», es de casi 500 páginas de letra menuda e interlineado sencillo. Y el propio autor dice en el prólogo que le da la sensación de haber arañado la superficie de Lee Perry. Quizá sus trabajos más populares están ligados a artistas de renombre, como Bob Marley, Junior Murvin o The Congos, sin comernos de vista las colaboraciones con The Clash, Beastie Boys o el mismísimo Paul McCartney. Pero quizá donde más explotó la creatividad incontenible de Lee Perry fue en las infinitas horas de grabación y remezcla con su banda, The Upsetters, en el estudio Black Ark. Y no nos comamos de vista su trabajo en las últimas dos décadas, ya convertido en una figura viviente de la historia de la música, colaboró con decenas de artistas aprovechando la potencia de los estudios digitales de los que no gozó en su juventud, con la misma creatividad y locura de la que hizo gala durante toda su vida. This is dub revolution.

When Lee "Scratch" Perry left this world on August 29th, we lost a towering figure of 20th century culture as a producer, singer, and trailblazer who spent decades at the forefront of Jamaican music. And while there has been a wave of articles celebrating the legacy of "The Upsetter," Saxon and Sam thought there had been far too little examination of the economic, political, social, religious and cultural background that structured his career, shaped his genius and cultivated his eccentric persona. Just how did Perry go from being born in a poverty-stricken rural part of Jamaica and raised on lasting Yoruba traditions in a post-slavery, heavily-colonized island to becoming a major player in the rise of reggae, Bob Marley, dub and the Jamaican music industry? Along the way they also discuss Jamaican political violence caught in a cold-war struggle, the neocolonial character of a predatory western music industry, Rastafarian politics, the cottage music scene of Kingston, the anti-colonial resonances of Perry's lyrical style and how the man was to eventually capitalized on the heavily-commodified global reggae market we know today. Come for the legend of Black Ark--stay for Mr. Brown and his coffin.    Further Reading: "People Funny Boy" by David Katz   Further listening: 33 Hour Lee "Scratch" Perry Playlist

Thanks to the man called Ras Zomer who delved deep into the Balaganjah archives & pulled out this one from the very early days - Yigal Ganjah Vibes inna tribute to Lee Perry @ the legendary Black Ark studio. RIP Scratch. Yigal we miss you.~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~The Upsetter - All Combine Part 1 & 2Bob Marley - KayaAugustus Pablo & The Upsetters - Vibrate OnJunior Marvin -  False TeachingThe Black Notes - African StyleThe Meditations - No PeaceEric Donaldson - Stand UpAura Msimang & Full Experience - At MidnightSangie Davis & Lee Perry - WordsAugustus Pablo - Our Man FlintThe Gladiators - TimeMax Romeo - Melt AwayLee Scratch Perry - Judgement In A BabylonSam Carty - Milte Hi Ankhen

A cantora Yvonne Sterling foi homenageada com um mural na "125 Orange Street", conhecida popularmente como "Beat Street". A Rua é famosa por concentrar os lendários estúdios "Black Ark", "Studio One" e Record Shack". Mama Sterling sofreu um derrame e morreu no dia 18 de janeiro de 2021. Ela será sepultada neste domingo (07/02) no Memorial Gardens, na Jamaica. Saiba mais aqui.

Southbound Records' Troy is in with his latest recommendations. This week he reckons you should check out Nat Birchall's Black Ark, Turbotito's Heart and Soul, and The Bug ft Dis Fig's destory me. Whakarongo mai! 

On Christmas Day of 2020, the best year ever, we decided to celebrate by creating a new edition of Hemorrhage in Dub, our spin-off Jamaican 70s dub podcast. This 8th episode follows adventures in the Black Ark and King Tubby's Studio and around greater Kingston and elsewhere, with gems from the likes of Barrington Levy, Skin Flesh & Bones, Rico, Horace Andy, Glenmore Brown and much more. Track listing:SKIN FLESH AND BONES- Spider Man WebLEE “SCRATCH” PERRY - Returning WaxGLENMORE BROWN - Barro Street DrumsRICO - Man From Wareika DubTOMMY McCOOK & THE SUPERSONICS - Dub With StringsAUGUSTUS PABLO - 555 Dub Street BLACK ARK PLAYERS - Jah HORACE ANDY - Dub The LightJOE GIBBS - He Prayed VersionROOTS RADICS - Set Your Dub on FireBARRINGTON LEVY - Trod With Jah DubJAH THOMAS - ColliePRINCE JAMMY - Waterfront Gang WarSTUDIO ONE - Darker BlackGLEN BROWN & KING TUBBY - World Dub: Away With The BadWINNER ALL STARS - Girl Rush

From his isolation pod in Mountjoy Square West, Dónal Dineen presents an illustrated guide to the musical universe.  This episode looks at the unlikely first use of electronic sound in music, as well as the explosive collaboration between Congolese musicians Seke Molenga and Kala Kawangolo and Lee Scratch Perry at the Black Ark studio in 1978...

In 1973, Perry built a studio in his back yard, the Black Ark, to have more control over his productions and continued to produce notable musicians such as Bob Marley & the Wailers, Junior Byles, Junior Murvin, the Heptones, the Congos and Max Romeo. He also started the Black Art label, on which many of the productions from the studio appeared. With his own studio at his disposal, Perry's productions became more lavish, as the energetic producer was able to spend as much time as he wanted on the music he produced. Virtually everything Perry recorded in The Black Ark was done using basic recording equipment; through sonic sleight-of-hand, Perry made it sound unique. Paul Douglas mentions: Scratch had a particular sound and everybody was fascinated by his sound. He had this way of putting things together; it was just his sound and it influenced a lot of people. I've even gone to the Black Ark with Eric Gale for that Negril album; I remember myself and Val Douglas, we laid some tracks there, Eric Gale overdubbed stuff on there, but I honestly don't remember what happened to it Perry remained behind the mixing desk for many years, producing songs and albums that stand out as a high point in reggae history. By 1978, stress and unwanted outside influences began to take their toll: both Perry and The Black Ark quickly fell into a state of disrepair. Eventually, the studio burned to the ground. Perry has constantly insisted that he burned the Black Ark himself in a fit of rage.

Sun Ark, the name that Cameron Stallones has given to his record label, is most likely derived from the synthesis of two mythical stories: Black Ark, the Jamaican recording studio built and owned by reggae and dub producer Lee Perry, and Sun Ra, the afro-american free-jazz-cosmic composer. Although the Californian label leaded by Stallones — also known for his artistic alias Sun Araw — is undoubtedly not devoted to reggae-dub and neither to free-jazz, but for sure derived its experimental, freak, curious and avant-garde approach to its predecessors. The episode features: Galaxy Express 555, Aylu, Samuli Tanner, Sun Araw, Visible Cloaks, Randall McClellan, SK Kakraba, Rob Magill, High Wolf and Samuli Tanner.

6.11.19 #RolandMartinUnfiltered: Black Arkansas voters denied voice in judges' election; Flint citizens face insane water liens and could be removed from their homes as a result; Former Essence editor launches a new platform for women of color; Former NFL Player Kellen Winslow was convicted of raping a homeless woman; Black Missouri drivers are 91% more likely to be pulled over by cops; Former Baltimore cop convicted of 2nd-degree assault. - #RolandMartinUnfiltered partner: 420 Real Estate, LLC To invest in 420 Real Estate’s legal Hemp-CBD Crowdfunding Campaign go to http://marijuanastock.org -

In the early #1970s, Perry was one of the producers whose mixing board experiments resulted in the creation of dub. In 1973, Perry built a studio in his back yard, The Black Ark, to have more control over his productions and continued to produce notable musicians such as Bob Marley & the Wailers, Junior Byles, Junior Murvin, The Heptones, The Congos and Max Romeo. With his own studio at his disposal, Perry's productions became more lavish, as the energetic producer was able to spend as much time as he wanted on the music he produced. Virtually everything Perry recorded in The Black Ark was done using basic recording equipment; through sonic sleight-of-hand, Perry made it sound unique. Perry remained behind the mixing desk for many years, producing songs and albums that stand out as a high point in #reggae history.Reggae music from Jamaica the Best of the Best Oldies 60s70s80s90s

"Recapturing Memories of the Black Ark" is a stack of speakers constructed out of salvaged wood from post-Katrina New Orleans. Performers rearrange the speakers and play music. Videos of the performances play on a loop, and the cigarette butts and beer bottles from the audience are left in place. LA-based artist Gary Simmons, known for his "erasure drawings," explains how the installation ties together dub pioneer Lee "Scratch" Perry, the Coachella festival, and the "Shangri-la" quality of the area.

Lee "Scratch" Perry OD (born Rainford Hugh Perry; 20 March 1936 in Kendal, Jamaica) is a Jamaican music producer and inventor noted for his innovative studio techniques and production style. Perry was a pioneer in the 1970s development of dub music with his early adoption of remixing and studio effects to create new instrumental or vocal versions of existing reggae tracks. He has worked with and produced for a wide variety of artists, including Bob Marley and the Wailers, Junior Murvin, the Congos, Max Romeo, Adrian Sherwood, the Beastie Boys, Ari Up, and many others.After the demise of the Black Ark in the early 1980s, Perry spent time in England and the United States, performing live and making erratic records with a variety of collaborators. His career took a new path in 1985 when he met Mark Downie (Marcus Downbeat) with whom he worked on the 1986 album "Battle Of Armagideon" for Trojan. It was not until the late 1980s, when he began working with British producers Adrian Sherwood and Neil Fraser (who is better known as Mad Professor), that Perry's career began to get back on solid ground again. Perry also has attributed the recent resurgence of his creative muse to his deciding to quit drinking alcohol and smoking cannabis. In his earlier days, the act of producing for Perry was a frenzied and ritualistic one where he stated that "he blew smoke into the microphone so that the weed would get into the song. Perry stated in an interview that he wanted to see if "it was the smoke making the music or Lee Perry making the music. I found out it was me and that I don't need to smoke

Bradley j. Karnish has started his own magazine entitled Black Ark that focuses on all things horror, he also has started his own podcast under that label. Hear all about his projects this week.  Also a field report from this weekends Stockton Con. 

Clinton Fearon is a composer, songwriter, singer and player of instruments since his early teens.He was born in Jamaica and become the bassist, vocalist and lyricist for the mythic Gladiators, as well as a session musician for Coxsonne Dodd in Studio One and Lee 'Scratch' Perry's at Black Ark, two of the main producers on the island at this time. He also composed some everlasting bass lines for well-known artists like Yabby You, Jimmy Riley, Max Romeo, Junior Byles and many others.After leaving Jamaica 1987, Clinton Fearon start a new career from Seattle. With other musicians of the Gladiators, he decided to stay in the US and to found The Defenders. Clinton Fearon formed the Boogie Brown Band with local musicians in 1993. th just vocal and guitar, Clinton is playing his music all over the world, in the United States, in France and Europe but also Brazil, Kenya, Peru etc.Clinton Fearon continues to meet new public with solo perfomance in acoustic.In 2012, Clinton Fearon released his second acoustic opus: Heart And Soul. The album gathers 16 songs wrote between 1969-1984, while Clinton was a strong member of the Gladiators. To celebrate these memories, Clinton invited friends for a special tour with Clinton Rufus and Gallimore Sutherland from The Gladiators, and Ire Taylor and Mark Oi from Boogie Brown Band.Clinton Fearon & Friends today is a trio with Clinton Fearon, Clinton Rufus and Mark Oi.  In 2014 Clinton Fearon is playing in solo acoustic at the prestigious WOMAD festival, both in Caceres, Spain and in Malesbury, England.

Prospect New Orleans, a city-wide international art exhibition in its third iteration, is starting to feel at home. This episode features two project sites where we found a deep connection between art and community. In the order of their appearance, Timothy Levitch, Tavares Strachan, Margaret Thomas, and Gary Simmons reveal why Prospect makes perfect sense for the Crescent City. Sound Editor: Kris McConnachie  Episode sound: The Roots of Music Brass Band's performance of “Go to the Mardi Gras” by Professor Longhair during the live WWOZ broadcast from Jazz Fest on May 1, 2014; and Beans performing for Gary Simmons “Recapturing Memories of the Black Ark,” 2014, at Tremé Market Branch on the occasion of the opening of Prospect.3: Notes for Now, New Orleans, October 25, 2014.

, Bronco Knowledge (Delroy Fowlin ), grew  un in Trench Town around the greatest: Bob Marley, Peter Tosh, Bunny Wailer, Alton Ellis and his uncle Scully Sims among others. Bronco Knowledge is a founding member of the group Knowledge in the 70s, which comprises :Anthony Doyley, Michael Samuels, Errol Mcfarlane, Michael Smith and of course himself. Delroy first album “hail dread” recorded at Lee Scratch Perry ‘s Black Ark studio and produced by Tappa Zukie was distributed by A&M compagny then reedited by French label Makasound under the name “Straight outta trenchtown”.Delroy compose and write   2 essential roots “Sentry” and “Zion.” With Knowledge bronco participated in different shows as WHITE RIVER REGGAE BASH, and went on tour in Trinidad alongside Bunny wailer, Mutabaruka, Judy Mowatt, Scully Sims and many others …After the tragic death of two members of the group and the departure for England of Anthony Doyley, Bronco recorded during the '80s and '90s solo pieces that will compile on his album “Tell me something” album released in late 2000 by Jet Star . albums recorded in the Lagos and tuff gong studios ; with Earl China Smith, his companion of Trenchtown school Dean Fraser and his uncle Scully Sims as harmonies and percussion. Bronco in 2010 recorded his latest album “More Knowledge for the people” bringing together some of the best reggae musicians in France. “Tell me Something” and “More knowledge for the people” are available on Indiz.fr and soon on all Legal platforms. Bronco currently working on two other albums. www.crsradio.com/ www.caribbeanradioshow@gmail.com 661-467-2407 #Reggae, #Deejay (Jamaican), #Ragga, #Roots reggae, #Dub (music), #Rocksteady, #Lovers rock, #Reggaeton, #Music of Jamaica, #Dancehall

The Congos are a reggae vocal group from Jamaica which formed as the duo "Ashanti" Roy Johnson (tenor) b. Roydel Johnson, 1947, and Cedric Myton (falsetto) b. 1947,  later becoming a trio with the addition of Watty Burnett (baritone) b.early 1950s, have been active on and off from the mid-1970s until the present day. They are best known for their Heart of the Congos album, recorded with Lee "Scratch" Perry.Myton had previously been a member of The Tartans in the late 1960s (along with Prince Lincoln Thompson, Devon Russell and Lindburgh Lewis), and Ras Michael's group, and had recorded with Thompson's Royal Rasses in the mid-1970s. He formed the Congos, initially as a duo with Johnson, recording the single "At the Feast" for Lee "Scratch" Perry. Perry expanded the group to a trio with the addition of Burnett, this line-up recording the classic roots reggae album Heart of the Congos in 1977 at Perry's Black Ark studio. The album featured illustrious backing singers such as Gregory Isaacs, The Meditations, and Barry LLewellyn and Earl Morgan of The Heptones.The album has been described as "the most consistently brilliant album of Scratch's entire career".Perry's previous productions by Max Romeo and Junior Murvin had been huge commercial successes thanks to a deal with Island Records, but Perry was in dispute with Island at the time the Congos' album was finished, so it was released on his own Black Ark label, limiting its success overseas, and causing a rift with the group. www.crsradio.com call- 661-467-2407 caribbeanradioshow@gmail.com

Beverly Kelso the only Female Wailer of Bob Marley and the Wailers wil tell her of her history with Bob Marley . Jamaican Born Clinton Fearon is a composer, songwriter, singer and player of instruments, and a professional since the age of 19.  He become the bassist, vocalist and lyricist for the mythic Gladiators and  session musician for Coxsonne Dodd in Studio One and Lee ‘Scratch' Perry's at Black Ark.  He also composed some everlasting bass lines for wellknown artists like Yabby You, Jimmy Riley, Max Romeo, Junior Byles and many others . Clinton Fearon formed the Boogie Brown Band with local musicians in 1993. They recorded 7 albums: Disturb The Devil (1995), Mystic Whisper (1997), What A System (1999), Give And Take (2004), Vision (2006), Faculty Of Dub (2008) and Mi Deh Yah. The Boogie Brown band count 6  Clinton Fearon: Alex George on bass, Davee C , Ire Taylor on , Izaak Mills, Leif Dalan , Mark Oï.Clinton Fearon also recorded a solo acoustic album Mi An' Mi Guitar in 2005.  In 2012,  his second acoustic album, Heart And Soul, which most of the songsfrom  time spent with the Gladiators. Clifton and friends did an historical tour in Europe in Fall 2012..Clinton Fearon is counted among Jamaica's most talented musicians by peers and professionals in the Reggae music industry. Beverley Kelso, born 20 December 1945 in Western Kingston, is a Jamaican singer. She was a backing vocalist, and one of the founding members of The Wailers (between 1963 and 1966).Kelso emigrated to the United States in 1979.The death of Junior Braithwaite in 1999 and the death of Cherry Smith in 2008 left Kelso and Bunny Wailer as the only surviving founding members of the Wailers.In 2012 she stated that she was planning to write a book about her time in The Wailers www.caribbeanradioshow@gmail.com www.crsradio.com www.caribbeanradioshow.com  call in  on 661-467-2407

Counterspells Against Bullshit and Jive by Brightmoments on Mixcloud Light My Fire: A Counterspell Against Bullshit and Jive Shadow and Light. Shadow and Act. Faulkner and Ellison. Shade Tree and Time to Face the Sun. The rugged elegance of fame and fortune the hood rich way can lure anyone through the nondescript back door of his wildest dreams come true, toward rituals so sordid and raw he wonders if it was curiosity or a brisk curse that brought him there. But everything’s groovy for a while. Wine, weed, and women are flowing and you learn to make music on the monkey’s back, on that high ‘ocean-style’ wave.  That’s where Lee Perry sat or huddled or flew or dove in from; in the proud/prowed heart of Kingston, Jamaica’s finest recording studio, just before he torched it, set unapologetic fire to his own creation, the renown Black Ark. He was seated g-like, at the mouth of the fountain in audiocolor, quenched, shunning the show-tunes and battle hymns and monkeys on his mind, (by monkeys I mean anxieties, or the fear of fulfilling the white man’s onerous stereo/and radio/ types of the black man) so he sat there as a king and god and champion of black dignity, in a most plush and throne-like chair he could see, surrounded by such lucky machines and admirers and mirrors from dusk until dawn they were shoving songs into his heart like daggers and dragging his mind into the hive. It could all be so much simpler, he realized, as he burnt the whole thing down that lucky day. Every record, every vibration, every burden disguised as relief or comfort, every perfect circle of wax and wane we call a LongPlay: all into cinders and smoke until broken was the curse and revolving door of a life course superimposed on him by ambition, until he could make healing music again. This emission of the Feed comprises pieces that Lee Perry rescued from the rubble and reassembled. He brought the Ark out of the rouge and into the rain or reign (see also reine) where it is rendered an agent of hope and deliverance. Most basically, he cleared the party of bullshit and jive, he acted like a true Black Cop, and when the unwanted presences turned the quiet corner, he started the music again. He proved that we don’t always need electricity for black music, for we are electricity. So, here we enter his self-made universe in its Era of Good Feelings, in the rejuvenating discomfort of themes such as: How to celebrate a loss, how to eliminate the semantic structure that inverts loss and gain, how to be your own forest, how destruction is a myth or just a flipside of creation, positive, a pause/reset just when things get too theatrical or ridiculous, how to catch on fire and use the rising tempo to access a higher vibration until you’re a bundle of interdependent elements rolling across an omniscient void that is your total mind, how that changes the meaning of end of Spike Lee’s Do the Right Thing which I like to call by its nickname Do the Riot Thing, how misconstrued archetypes such as the diva (or the divine) and the collective (check out the Emerald Tablet) are meant to interact, how collectivity defragments (in and of and as) the black imagination, how that collectivity manifests today in both the ‘real’ and ‘cyber’ worlds, how they are different worlds, acting co-dependant though in need of behavior that honors their interdependency, how what they share is a commons, how their whole body is an ear, how to reread Gwendolyn Brooks’ The Preacher Ruminates Behind the Sermon in that context, how the diva takes one for the team by showing up in the places where gathering, especially gathering to listen to things together, feels most ominous, locations such as, in the fire, in the water, in the poem, in the music, in the moment, in the white man, as Frank O’Hara, or Kennedy, or King, or half-breed between these things, or their shared fantasy, which doubles as their shared fear, or All of these at once.

Paris DJs Soundsystem presents The Silvertones 1965-1979 (MP3 Podcast on www.ParisDJs.com) 2013-01-24 Paris DJs is celebrating the imminent release of The Silvertones' new album 'Keep On Rolling', with a 27mn mix of their hits and past recordings, from the Ska years in the 60s (with Duke Reid at Treasure Isle), to the Roots Reggae tunes from the 70s (with Lee Perry at Black Art, or Coxsone Dodd at Studio One). After albums for rubadub deejay The Lone Ranger, or sweet and soulful reggae singer Carlton Livingston, French multi-instrumentalist/sound engineer Grant Phabao keeps on bringing back legends of Jamaican music into the spotlight, so stay connected for this upcoming 15th release on the Paris DJs label! Meanwhile, enjoy this half hour history class of classic Jamaican vibes, extracted from old vinyl 45s, mixed and mastered for your optimized audio pleasure. PS Note that the podcast of mixes has ended with mix #400, but we're still publishing some new stuff on the "virtual releases" podcast, including free singles, remixes or sometimes even some mixes such as this one. Subscribe here. Tracklisting : 01. The Silvertones with Lynn Tait and The Boys - It's Real (from 'Storm Warning' 7 inch, 1966 / Treasure Isle/Doctor Bird) produced by Duke Reid 02. The Silvertones - Rejoice Jah Jah Children (from 'Rejoice Jah Jah Children' 7 inch, 1976 / Black Ark) produced by Lee Perry 03. Duke Reid and The Silvertones - True Confession (from 'True Confession' 7 inch, 1965 / Treasure Isle) produced by Duke Reid 04. Muskyteers - Kiddyo (from 'Kiddy-O' 7 inch, 1969 / Upsetter) produced by Lee Perry 05. The Silvertones - What a Situation (from 'What A Situation' 7 inch, 1977 / Trojan) produced by Jerry Maytals 06. Muskyteers - Endlessly (from 'Kiddy-O' 7 inch, 1969 / Upsetter) produced by Lee Perry 07. The Silvertones with Tommy McCook - In The Midnight Hour (from 'In The Midnight Hour' 7 inch, 1968 / Treasure Isle) produced by Duke Reid 08. The Silvertones - Smile (from 'Smile' 7 inch, 1979 / Studio One) produced by Coxsone S. Dodd 09. The Silvertones - Financial Crisis (from 'Financial Crisis' 7 inch, 1974 / Orchid) produced by Lee Perry 10. The Silvertones - He Don't Love You (from 'He Don't Love You' 7 inch, 1968 / Upset) produced by Lee Perry Total time : 27mn 05s All the original cover artworks are available on the Paris DJs blog Credits : Selection by Djouls from the Paris DJs Soundsystem (parisdjs.com) Mix and audio mastering by Grant Phabao (grantphabao.com) Artwork inspired from The Silvertones' album 'Silver Bullet' (Trojan, 1973) Links : The Silvertones : discogs | facebook | juno | myspace | wikipedia Paris DJs : parisdjs.com | bandcamp | facebook | juno | pinterest | soundcloud | twitter | youtube

Soul Journey 6……Know Yourself from the Ark to The Goldmine Welcome to the 6th show, a sweeping Journey from the mournful Blue Note jazz of Donald Byrd, through to the heady days of Essex Soul Boys, with an excursion to Jamaica, Studio 1 & the Black Ark. Trackliting;- Donald Byrd- Cristo Redentor Lou Rawls- You Made Me So Very Happy Renee Geyer- Two Sides To Every Story Nitin Sawhney feat Roxanne Tataei- Distant Dreams Dengue Fever- Sober Driver Prince Lincoln- True Experience Max Romeo- Melt Away Cuss Cuss dubplate lick Robert Emmanuel- Jah Is My Light Larry Marshall- Run Babylon Vin Gordon- Babylon Rock Tena Stelin- Jah Vibes/Version Wildfiyah Rootikal- Oh Jah Air- Baby, I Don’t Know Where Love Lorez Alandria- Baltimore Oriole Nina Simone- Save Me Dianne reeves & Grant Green- Down Here On The Ground George Benson- The Ghetto/El Barrio Ramona Brooks- I Don’t Want You Back Gene Ammons- Jungle Strut Hudson People- Trip To Your Mind