Podcasts about coxsone

(Re)découvrez l'envers du décor d'un couple de musiciens : Rita Anderson et Bob Marley. Cet amour, né dans la pauvreté et marqué par la spiritualité rasta, a accompagné la légende du reggae jusqu'à son dernier souffle. Mais entre ses multiples maîtresses et son besoin de contrôle, le chanteur a imposé bien des épreuves à la femme de sa vie… S'aimer au cœur du ghetto En cette matinée du printemps 1965, il fait déjà chaud à Kingston. Dans le quartier sud de la capitale jamaïcaine, Alpharita Constantia Anderson, mieux connue sous le nom de Rita, se dirige avec empressement vers le Coxsone studio, un des studios d'enregistrement les plus réputés de la ville. Elle fait son entrée en compagnie des deux autres membres de son groupe de blues, les Soulettes. Au fond de la pièce, elle aperçoit celui que l'on appelle alors Robbie – le diminutif de Robert Nesta Marley –, un jeune homme de 20 ans à la peau claire qui doit les accompagner à la guitare pendant l'enregistrement. Mais dans les années 60, le couple qui va se former doit lutter pour échapper à la pauvreté. Robbie n'est pas encore Bob Marley, et leur quotidien est encore loin des paillettes et de la célébrité. Écoutez la saison précédente : Pamela Anderson et Tommy Lee : un amour hors de contrôle Un podcast Bababam Originals Production : Bababam Ecriture : Lucie Kervern Voix : François Marion, Lucrèce Sassella Réalisation : Sacha Rapin Suivez-nous sur Flipboard Première diffusion : 13 février 2024 SOURCES : Le livre Ma vie avec Bob Marley: No woman, no cry de Rita Marley (City Editions, 15 septembre 2004) L'interview de Rita Marley en 1991 : https://www.youtube.com/watch?v=ccdZwxvICz4 L'article "Comme un rasta dans son harem" par Stephen Davis paru dans Libération le 9 mai 2001 L'article "Rita Marley : Bob était un homme très romantique" paru dans Le Parisien paru le 24 juillet 2012 L'article "Entre Bob Marley et Pascaline Bongo, une histoire d'amour et d'Afrique restée secrète" par Ambre Philouze-Rousseau paru dans La Nouvelle République le 26 mai 2021 Learn more about your ad choices. Visit megaphone.fm/adchoices

Dans cette nouvelle saison, découvrez l'envers du décor d'un couple de musiciens : Rita Anderson et Bob Marley. Cet amour, né dans la pauvreté et marqué par la spiritualité rasta, a accompagné la légende du reggae jusqu'à son dernier souffle. Mais entre ses multiples maîtresses et son besoin de contrôle, le chanteur a imposé bien des épreuves à la femme de sa vie… S'aimer au coeur du ghetto En cette matinée du printemps 1965, il fait déjà chaud à Kingston. Dans le quartier sud de la capitale jamaïcaine, Alpharita Constantia Anderson, mieux connue sous le nom de Rita, se dirige avec empressement vers le Coxsone studio, un des studios d'enregistrement les plus réputés de la ville. Elle fait son entrée en compagnie des deux autres membres de son groupe de blues, les Soulettes. Au fond de la pièce, elle aperçoit celui que l'on appelle alors Robbie – le diminutif de Robert Nesta Marley –, un jeune homme de 20 ans à la peau claire qui doit les accompagner à la guitare pendant l'enregistrement. Mais dans les années 60, le couple qui va se former doit lutter pour échapper à la pauvreté. Robbie n'est pas encore Bob Marley, et leur quotidien est encore loin des paillettes et de la célébrité. Ecoutez la saison précédente : Pamela Anderson et Tommy Lee : un amour hors de contrôle Un podcast Bababam Originals Production : Bababam Ecriture : Lucie Kervern Voix : François Marion, Lucrèce Sassella Réalisation : Sacha Rapin SOURCES : Le livre Ma vie avec Bob Marley: No woman, no cry de Rita Marley (City Editions, 15 septembre 2004) L'interview de Rita Marley en 1991 : https://www.youtube.com/watch?v=ccdZwxvICz4 L'article "Comme un rasta dans son harem" par Stephen Davis paru dans Libération le 9 mai 2001 L'article "Rita Marley : Bob était un homme très romantique" paru dans Le Parisien paru le 24 juillet 2012 L'article "Entre Bob Marley et Pascaline Bongo, une histoire d'amour et d'Afrique restée secrète" par Ambre Philouze-Rousseau paru dans La Nouvelle République le 26 mai 2021 Learn more about your ad choices. Visit megaphone.fm/adchoices

In 1972, Bob Marley signed with CBS Records in London and embarked on a UK tour with soul singer Johnny Nash.While in London the Wailers asked their road manager Brent Clarke to introduce them to Chris Blackwell, who had licensed some of their Coxsone releases for his Island Records. The Wailers intended to discuss the royalties associated with these releases; instead, the meeting resulted in the offer of an advance of £4,000 to record an album.Since Jimmy Cliff, Island's top reggae star, had recently left the label, Blackwell was primed for a replacement. In Marley, Blackwell recognized the elements needed to snare the rock audience: "I was dealing with rock music, which was really rebel music. I felt that would really be the way to break Jamaican music. But you needed someone who could be that image. When Bob walked in he really was that image."The Wailers returned to Jamaica to record at Harry J's in Kingston, which resulted in the album Catch a Fire. The Wailers' first album for Island, Catch a Fire, was released worldwide in April 1973, packaged like a rock record with a unique Zippo lighter lift-top. Initially selling 14,000 units, it received a positive critical reception. It was followed later that year by the album Burnin' which included the song "I Shot the Sheriff". Eric Clapton was given the album by his guitarist George Terry in the hope that he would enjoy it. Clapton was impressed and chose to record a cover version of "I Shot the Sheriff" which became his first US hit since "Layla" two years earlier and reached number 1 on the Billboard Hot 100 on 14 September 1974.Many Jamaicans were not keen on the new reggae sound on Catch a Fire, but the Trenchtown style of Burnin found fans across both reggae and rock audiences. The Wailers were scheduled to open 17 shows in the US for Sly and the Family Stone. After four shows, the band was fired because they were more popular than the acts they were opening for. In July 1977, Marley was diagnosed with a type of malignant melanoma under his right big toe.Contrary to urban legend, this lesion was not primarily caused by an injury during a football match that year, but was instead a symptom of already-existing cancer. He had to see two doctors before a biopsy was done, which confirmed acral lentiginous melanoma. Unlike other melanomas, which usually appear on skin exposed to the sun, acral lentiginous melanoma occurs in places that are easy to miss, such as the soles of the feet, or under toenails. Although it is the most common melanoma in people with dark skin, it is not widely recognized and was not mentioned in the most popular medical textbook of the time. Marley rejected his doctors' advice to have his toe amputated (which would have hindered his performing career), citing his religious beliefs, and instead, the nail and nail bed were removed and a skin graft was taken from his thigh to cover the area.Despite his illness, he continued touring and was in the process of scheduling a 1980 world tour. The album Uprising was released in May 1980. The band completed a major tour of Europe, where it played its biggest concert to 100,000 people at San Siro stadium in Milan, Italy. After the tour, Marley went to the United States, where he performed two shows at Madison Square Garden in New York City as part of the Uprising Tour.He collapsed while jogging in Central Park and was taken to the hospital, where it was found that his cancer had spread to his brain, lungs, and liver.Marley's last concert took place two days later at the Stanley Theater (now The Benedum Center For The Performing Arts) in Pittsburgh, Pennsylvania, on 23 September 1980. His Message (Don't Gain The World & Lose Your Soul, Wisdom Is Better Than Silver Or Gold. Love the life you live. Live the life you love. The greatness of a man is not in how much wealth he acquires, but in his integrity and his ability to affect those around him positively) Remember One Love, One Heart...

This week in Bass Candy we have a reggae special. Almost in a chronological way, Tropico Beats starts with Coxsone and Studio One 7” records before paying tribute to perhaps one of his favorite artists ever, the great Bob Marley. For those of you who don't know, our host started his career as a vinyl Dj collecting Jamaican 45 rpm records he bought in the many record stores around NYC. Then comes the dub, some B sides and versions, including the legendary Lee “Scratch” Perry's ‘Dub in Peace' and the likes of Mad Professor and Lone Ranger. After playing some contemporary reggae music, and going into the Dancehall era, Tropico closes the special with Reggae's brother in arms, punk rock, with a live classic from Queens very own, The Ramones.Tune into new broadcasts of Bass Candy, LIVE, 3rd Friday from 6 - 8 PM EST 11 -  1 AM GMT. (Saturday)For more info visit: https://thefaceradio.com/bass-candy//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Nunca se fue, sencillamente va a su ritmo. Winston Rodney empezó a dar sus primeros pasos con unos amigos músicos y en una audición para el legendario Clement "Coxsone" Dodd deslumbrando inmediatamente por su talento. En la primera mitad de los años setenta despuntó como un cantante lleno de espiritualidad y consciencia. A partir de ahí, y tras separarse del citado colectivo, emprende su carrera en solitario y edita un sinfín de sencillos y álbumes que podríamos calificar como de imprescindibles. Algunos, por ejemplo, con Aswad como músicos de acompañamiento, otros en directo y todos con pura genialidad. El 22 de agosto veremos esa magia en Rototom...y eso no habrá que perdérselo. Escuchar audio

Language used for the narrative of the show is Spanish Blurb Este show es mi homenaje a una de las compañías discográficas más importantes del mundo. Studio One es un sello jamaicano activo desde 1954. Su influencia en la música Pop ha sido masiva. Studio One no sólo ha cambiado la forma en que se produjo la música en Jamaica, sino que también ha tenido un tremendo impacto en el mundo. Su fundador fue Clement Dodds, conocido como Sir Coxsone. Coxsone fue una figura fundamental en el negocio de la música jamaicana y un catalizador para todos los cambios que la producción de Studio One produjo. Riddim, Toasting y Dub fueron parte de los experimentos que se originaron en Studio One. Ska, Rock Steady, Dub music, Dancehall y Reggae fueron géneros de música pioneros de Studio One. Este show contiene 20 temazos. My show is my tribute to one of the most important record companies in the world. Studio One is a Jamaican record company active since 1954. Its influence on Pop music has been massive. Studio One has not only changed the way music was produced in Jamaica but has also had a tremendous impact on the world. Its founder was Clement Dodds, as known as Sir Coxsone. Coxsone was a pivotal figure in the Jamaican music business and a catalyst for all the changes that the output of Studio One produced. Riddim, Toasting and Dub were part of the experimentations that originated in Studio One. Ska, Rock Steady, Dub music, Dancehall and Reggae were genres of music that Studio One pioneered. This show contains 20 Killer tunes Playlist Studio One Show 1- Christine Keeler - THE SKATALITES 2- Ting a ling - THE HEPTONES 3- Quarter of pound of Ishem- THE ROYALS (Part II) 4- Upsetters dream - SOUND DIMENSION 5- Still water - JERRY JONES 6- Come on home - SUGAR MINOTT 7- Jah promise - JOHNNIE OSBOURNE 8- I'll be around - STUDIO ONE DUB 9- We need love - JOHNNIE OSBOURNE 10- Totally together - JACKIE MITTOO 11- We'll get over it - LLOYD PARKS 12- Hail Don D - SOUND DIMENSION 13- The first cut is the deepest - NORMA FRASER 14- Wise words - FREEDIE McGREGOR 15- Melody life - MARCIA GRIFFITHS 16- Woman of the ghetto - PHYLLIS DILLON 17- I'm still in love with you - ALTON ELLIS 18- Declaration of rights - THE ABYSSINIANS 19- Armageddon Time - WILLIE WILLIAMS 20- Simmer down - THE WAILERS

Episode 50 Reggae Loves Electronic Keyboards   Playlist The Wailers, “Lonsome Feelings” (sp) from The Wailers, The Mighty Vikings ‎– Lonsome Feelings/There She Goes (1964 Wincox). 45 RPM. Combo organ. Glen Adams, “Warming Up The Scene” from Roy Shirley/Glen Adams ‎– Warming Up The Scene/Lonely Girl (1968 Giant) 45 RPM. Combo organ. The Mellotones, “Uncle Desmond” from Sir Lord Comic & The Upsetters/The Mellotones ‎– Bronco (Django Shoots First)/Uncle Desmond (1968 Upsetter). 45 RPM. Combo organ. Lester Sterling, “Reggie In The Wind” from Lester Sterling/The Soul Set (3) ‎– Reggie In The Wind/Try Me One More Time (1968 Gas). 45 RPM. Combo organ riffs. A reggae version of Dylan's “Blowing in the Wind” by Jamaican saxophonist Sterling. The Upsetters, “Soul Juice” from Dave Barker/The Upsetters ‎– Prisoner Of Love/Soul Juice (1968 Upsetter) 45 RPM. Piano and combo organ. Eric Barnet, “The Horse” from Eric Barnet ‎– The Horse/Action Line (1968 Gas). 45 RPM. Combo organ, chords and riffs. Winston Wright and King Stitt, “Fire Corner” from The Dynamites ‎– Fire Corner (1969 Trojan). LP featuring keyboardist Wright. Likely a Hammond organ. The Upsetters, “Medical Operation” from The Upsetters ‎– Night Doctor/Medical Operation (1969 Upsetter). 45 RPM. Produced by Lee Perry. Probably a Hammond organ. Reggaeites, “Harris Wheel” from Derrick Morgan/Reggaeites ‎– Moon Hop/Harris Wheel (1969 Crab). 45 RPM. Combo organ. Upsetters, “Drugs And Poison” from Upsetters ‎– Stranger On The Shore/Drugs And Poison (1969 Upsetter). Probably a Hammond Organ. Winston Wright? Produced by Lee Perry. Ansel Collins, “Night Of Love” from Derrick Morgan/Ansel Collins ‎– Copy Cat/Night Of Love (1969 Beverley's Records). 45 RPM. Hammond organ. Ansel Collins, “Staccatto” from Pam Brooks/Ansell Collins ‎– Oh Me Oh My/Staccatto (1970 Big). 45 RPM. Hammond organ. Joe Gibbs, “Common People Reggae” from Nicky Thomas/Joe Gibbs ‎– Don't Touch Me/Common People Reggae (1970 Jogibs). 45 RPM. Produced by Joe Gibbs. The B side is a Hammond organ instrumental of “Love Of The Common People” by Nicky Thomas. Lord Comic, “Rhythm Rebellion” from Lord Comic/Roy Richards ‎– Rhythm Rebellion/Reggae Reggae Children (1970 Coxsone). 45 RPM. Hammond organ. I love the rap-like rhymes in the vocal. Bob Marley & The Wailers, “Soul Rebel” from Soul Rebels (1970 Trojan). LP. Produced by Lee Perry. Maybe Glen Adams on combo organ. Zorro Five, “Reggae Meadowlands”from Zorro Five ‎– Reggae Shhh!/Reggae Meadowlands (1970 Decca). 45 RPM. Combo organ. Lee Perry & The Upsetters, “Son Of Thunder” from Bob Marley & The Wailers/Lee Perry & The Upsetters ‎– My Cup/Son Of Thunder (1970 Upsetter). 45 RPM. Produced by Lee Perry, with lots of reverb for the voice and a bubbling organ part. The Maytals, “Peeping Tom” from The Maytals/Beverley's All-Stars* ‎– Peeping Tom (1970 Beverley's Records). 45 RPM. Combo organ. This piece plays twice but is part of an original single—the second part is instrumental and the organ is prominent. Robert Lynn & Sound Dimension, “Zip Code” from Robert Lynn & Sound Dimension/Carl Bryan & Sound Dimension ‎– Zip Code/Cover Charge (1971 Banana). Hammond organ, around the time that the reggae synthesizer appeared. Vulcans, “Joe Kidd” from Star Trek (1972 Trojan). LP. Guitar, Trevor Starr; keyboards, Joe Sinclair; Minimoog and ARP synthesizers, Ken Elliot. Vulcans, “Journey into Space” from Star Trek (1972 Trojan). LP. Guitar, Trevor Starr; keyboards, Joe Sinclair; Minimoog and ARP synthesizers, Ken Elliot. Vulcans, “Star Trek” from Star Trek (1972 Trojan). LP. Guitar, Trevor Starr; keyboards, Joe Sinclair; Minimoog and ARP synthesizers, Ken Elliot. Colonel Elliott & The Lunatics, “Guns Of The Martian Giants (Guns Of Navarone)” from Interstellar Reggae Drive (1973 Rhino). LP. Synthesizers, Ken Elliot. Jimmy Cliff, “World of Peace” from Unlimited (1973 EMI). LP. Hammond organ, Winston Wright; Mellotron, Flute, Strings, Cello, Synthesizer, Leslie Butler; Bass, Jackie Jackson; Drums, Winston Grennan; Piano; Gladstone Anderson; Lead Guitar, Hux Brown ; Percussion, Bingi Bunny, Bongo Herman, Denzil Laing, Sticky; Rhythm Guitar; Hux Brown; Tenor Saxophone, Flute, Tommy McCook Trombone, Alto Saxophone, Ron Wilson; Trumpet, Bobby Ellis; Backing Vocals, Bob Taylor, Glenton Taylor, Jean Watt, Judy Mowatt, Nora Dean, Ralston Webb, Rita Marley, Tesfa McDonald, The Heptones, Zoot Simms. Jimmy Cliff, “I've Been Dead 400 Years” from House Of Exile (1974 EMI). LP. Bass, Jackie Jackson; Hammond organ, Synthesizer, Clavinet, Winston Wright; Guitar, Hux Brown, Dad (Duggy) Bryan; Piano, Gladstone Anderson; Saxophone, Flute, Tommy McCook; Trumpet, Bobby Ellis. Ansel Collins, ‎”Far East Special” from The Admirals/Ansel Collins ‎– Natty Should Be Free/Far East Special (1975 Angen). This sounds like a synth and a Clavinet using a Wah Wah and echo. Very cool, Ansel. Bob Marley & The Wailers, “Positive Vibration” from Rastaman Vibration (1976 Island). LP. Backing Vocals, I Threes; Bass, Guitar, Percussion, Aston "Family Man" Barrett; Drums, Percussion, Carlton Barrett; Engineer, Alex Sadkin, Errol Thompson, Jack Nuber; Keyboards, possibly a Wurlitzer Omni 6500 dual keyboard synthesizer, Bass, Percussion, Backing Vocals, Tyrone Downie; Lead Guitar, Donald Kinsey; Lead Guitar, Rhythm Guitar, Percussion, Earl Smith*; Lead Vocals, Rhythm Guitar, Acoustic Guitar, Percussion, Bob Marley; Mixed By, Aston Barrett*, Chris Blackwell; Percussion, Alvin "Seeco" Patterson; Producer, Bob Marley & The Wailers. Third World, “Sun Won't Shine” from Third World (1976 Island). Bass, Richie; Drums, Cornel; Keyboards and synthesizers, Ibo; Lead Guitar, Cat; Lead Vocals, Prilly; Percussion, Carrot. Culture, “Two Sevens Clash” from Two Sevens Clash (1977 Joe Gibbs Record Globe). Alto Saxophone; Herman Marquis; Arranged by Errol T., Joe Gibbs; Bass, Lloyd Parks; Drums,  Noel Dunbar (Sly); Guitar,  Eric Lamout, Lennox Gordon, Robert Shakespear; Keyboards,  Errol Nelson, Franklyn Waul, Harold Butler; Percussion,  Sticky; Producer,  Errol T., Joe Gibbs; Tenor Saxophone,  Tommy McCook; Trombone,  Vin Gordon; Trumpet,  Bobby Ellis. Babatunde Tony Ellis, “Ire” from Babatunde Tony Ellis ‎– Disco Baby/Ire (1980 MNW). Backing Vocals, Monica Bring; Bass, Backing Vocals, Virimuje "Willie" Mbuende; Drums, Performer [Siren], Backing Vocals, Bosse Skoglund; Guitar, Minimoog, Hammond Organ, Clavinet, Piano, Percussion, Vocals; Tony Ellis; Percussion; Per Cussion; Trombone;  Anders Nordkvist, Renzo Spinetti; Trumpet, Tomas Sjögren. Delroy Wilson, “Hard to Say I'm Sorry” from Reggae Classics (1984 top Rank). ; Synthesizer, Robert Lyn; Backing Vocals, Dean Fraser, Dessie Roots, Junior Chin, Rudy Thomas; Bass,  Derrick Barnett, Lloyd Parkes; Drums,  Sly Dunbar; Horn,  Dean Fraser, Junior Chin; Lead Guitar,  Willie Lindo; Lead Vocals,  Delroy Wilson; Organ,  Robert Lyn, Winston Wright; Piano,  Robert Lyn; Rhythm Guitar,  Willie Lindo. Burning Spear, “Resistance” from Resistance (1985 Wea International). LP. Synthesizer; Richard Johnson, Robby Lyn; Written-By, Co-producer, Vocals, Drums [Akete]; Winston Rodney; Bass;  Anthony Bradshaw; Lead Guitar;  Lenford Richards*; Percussion;  Alvin Haughton; Piano, Organ, Keyboards [Casio Mt40 & Fender Rhodes];  Richard Johnson (2); Rhythm Guitar;  Devon Bradshaw; Saxophone;  Dean Frazer*; Trombone;  Nambo Robinson*; Trumpet;  Bobby Ellis, David Madden. Keith Sterling & The Turbos, “Computer Broom” from Computer (1985 Sunset Records). LP. Synthesizers, Keith Stirling. Collection of cover versions using the “Sleng Teng Riddim,” originally a Rock preset on the 1985 Casiotone MT-40 keyboard. It helped bring reggae into the digital era. This is an entire album of variations using the preset. Background music: The Dynamites, “John Public (Tom Hark)” from Trojan Records Instrumental Reggae Volume 1 (2015 Trojan). Originally released as a single in 1969. The Beverley's All Stars, “The Monster” from Trojan Records Instrumental Reggae Volume 1 (2015 Trojan). Originally released as a single in 1970. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog Noise and Notations.

This Episode Is Powered By: https://soundcloud.com/bad-ruckusThe legendary 80's Dancehall dj SQUIDDLY RANKS pulled up to the Entertainment Report Podcast for an EPICCCCCC conversation about his career. Squiddly Ranks spoke about his older brother Peter Metro, getting to Gemini Disco, clashing Super Cat on Killamanjaro, friendly clashes with Yellowman, Gemini vs Saxon and Coxsone in the UK, Youthman Promotion, Welton Irie, Johnny Ringo, Lee's Unlimited from St. Thomas, not wanting to clash Papa San, Metro Media, Jack Ruby, getting locked up abroad twice, getting to Stone Love, a serious incident with Ninjaman and sooooooo much more. THIS IS A MUST WATCH!!! Don't Forget To Subscribe. Enjoy!

This week’s episode looks at “My Boy Lollipop” and the origins of ska music. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “If You Wanna Be Happy” by Jimmy Soul. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Resources As usual, I have created a Mixcloud playlist containing every song heard in this episode — a content warning applies for the song “Bloodshot Eyes” by Wynonie Harris. The information about ska in general mostly comes from Bass Culture: When Reggae Was King by Lloyd Bradley, with some also from Reggae and Caribbean Music by Dave Thompson. Biographical information on Millie Small is largely from this article in Record Collector, plus a paywalled interview with Goldmine magazine (which I won’t link to because of the paywall). Millie’s early recordings with Owen Gray and Coxsone Dodd can be found on this compilation, along with a good selection of other recordings Dodd produced, while this compilation gives a good overview of her recordings for Island and Fontana. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Erratum I refer to “Barbara Gaye” when I should say “Barbie Gaye” Transcript Today, we’re going to take our first look at a form of music that would go on to have an almost incalculable influence on the music of the seventies, eighties, and later, but which at the time we’re looking at was largely regarded as a novelty music, at least in Britain and America. We’re going to look at the birth of ska, and at the first ska record to break big outside of Jamaica. We’re going to look at “My Boy Lollipop” by Millie: [Excerpt: Millie, “My Boy Lollipop”] Most of the music we’ve looked at so far in the podcast has been from either America or Britain, and I’m afraid that that’s going to remain largely the case — while there has been great music made in every country in the world, American and British musicians have tended to be so parochial, and have dominated the music industry so much, that relatively little of that music has made itself felt widely enough to have any kind of impact on the wider history of rock music, much to rock’s detriment. But every so often something from outside the British Isles or North America manages to penetrate even the closed ears of Anglo-American musicians, and today we’re going to look at one of those records. Now, before we start this, this episode is, by necessity, going to be dealing in broad generalisations — I’m trying to give as much information about Jamaica’s musical culture in one episode as I’ve given about America’s in a hundred, so I am going to have to elide a lot of details. Some of those details will come up in future episodes, as we deal with more Jamaican artists, but be aware that I’m missing stuff out. The thing that needs to be understood about the Jamaican music culture of the fifties and early sixties is that it developed in conditions of absolute poverty. Much of the music we looked at in the first year or so of the podcast came from extremely impoverished communities, of course, but even given how utterly, soul-crushingly, poor many people in the Deep South were, or the miserable conditions that people in Liverpool and London lived in while Britain was rebuilding itself after the war, those people were living in rich countries, and so still had access to some things that were not available to the poor people of poorer countries. So in Jamaica in the 1950s, almost nobody had access to any kind of record player or radio themselves. You wouldn’t even *know* anyone who had one, unlike in the states where if you were very poor you might not have one yourself, but your better-off cousin might let you come round and listen to the radio  at their house. So music was, by necessity, a communal experience.  Jamaican music, or at least the music in Kingston, the biggest city in Jamaica, was organised around  sound systems — big public open-air systems run by DJs, playing records for dancing. These had originally started in shops as a way of getting customers in, but soon became so popular that people started doing them on their own. These sound systems played music that was very different from the music played on the radio, which was aimed mostly at people rich enough to own radios, which at that time mostly meant white British people — in the fifties, Jamaica was still part of the British Empire, and there was an extraordinary gap between the music the white British colonial class liked and the music that the rest of the population liked.  The music that the Jamaican population *made* was mostly a genre called mento. Now, this is somewhere where my ignorance of this music compared to other musics comes into play a bit. There seem to have been two genres referred to as mento. One of them, rural mento, was based around instruments like the banjo, and a home-made bass instrument called a “rhumba box”, and had a resemblance to a lot of American country music or British skiffle — this form of mento is often still called “country music” in Jamaica itself: [Excerpt: The Hiltonaires, “Matilda”] There was another variant of mento, urban mento, which dropped the acoustic and home-made instruments and replaced them with the same sort of instruments that R&B or jazz bands used. Everything I read about urban mento says that it’s a different genre from calypso music, which generally comes from Trinidad and Tobago rather than Jamaica, but nothing explains what that difference is, other than the location. Mento musicians would also call their music calypso in order to sell it to people like me who don’t know the difference, and so you would get mento groups called things like Count Lasher and His Calypsonians, Lord Lebby and the Jamaica Calypsonians, and Count Owen and His Calypsonians, songs called things like “Hoola Hoop Calypso”, and mentions of calypso in the lyrics. I am fairly familiar with calypso music — people like the Mighty Sparrow, Lord Melody, Roaring Lion, and so on — and I honestly can’t hear any difference between calypso proper and mento records like this one, by Lord Power and Trenton Spence: [Excerpt: Lord Power and Trenton Spence, “Strip Tease”] But I’ll defer to the experts in these genres and accept that there’s a difference I’m not hearing. Mento was primarily a music for live performance, at least at first — there were very few recording facilities in Jamaica, and to the extent that records were made at all there, they were mostly done in very small runs to sell to tourists, who wanted a souvenir to take home. The music that the first sound systems played would include some mento records, and they would also play a fair number of latin-flavoured records. But the bulk of what they played was music for dancing, imported from America, made by Black American musicians, many of them the same musicians we looked at in the early months of this podcast. Louis Jordan was a big favourite, as was Wynonie Harris — the biggest hit in the early years of the sound systems was Harris’ “Bloodshot Eyes”. I’m going to excerpt that here, because it was an important record in the evolution of Jamaican music, but be warned that the song trivialises intimate partner violence in a way that many people might find disturbing. If you might be upset by that, skip forward exactly thirty seconds now: [Excerpt: Wynonie Harris, “Bloodshot Eyes”] The other artists who get repeatedly named in the histories of the early sound systems along with Jordan and Harris are Fats Domino, Lloyd Price, Professor Longhair — a musician we’ve not talked about in the podcast, but who made New Orleans R&B music in the same style as Domino and Price, and for slow-dancing the Moonglows and Jesse Belvin. They would also play jazz — Dizzy Gillespie, Duke Ellington, and Sarah Vaughan were particular favourites. These records weren’t widely available in Jamaica — indeed, *no* records were really widely available . They found their way into Jamaica through merchant seamen, who would often be tasked by sound men with getting hold of new and exciting records, and paid with rum or marijuana. The “sound man” was the term used for the DJs who ran these sound systems, and they were performers as much as they were people who played records — they would talk and get the crowds going, they would invent dance steps and perform them, and they would also use the few bits of technology they had to alter the sound — usually by adding bass or echo. Their reputation was built by finding the most obscure records, but ones which the crowds would love. Every sound man worth his salt had a collection of records that nobody else had — if you were playing the same records that someone else had, you were a loser. As soon as a sound man got hold of a record, he’d scratch out all the identifying copy on the label and replace it with a new title, so that none of his rivals could get hold of their own copies. The rivalry between sound men could be serious — it started out just as friendly competition, with each man trying to build a bigger and louder system and draw a bigger crowd, but when the former policeman turned gangster Duke Reid started up his Trojan sound system, intimidating rivals with guns soon became par for the course. Reid had actually started out in music as an R&B radio DJ — one of the few in Jamaica — presenting a show whose theme song, Tab Smith’s “My Mother’s Eyes”, would become permanently identified with Reid: [Excerpt: Tab Smith, “My Mother’s Eyes”] Reid’s Trojan was one of the two biggest sound systems in Kingston, the other being Downbeat, run by Coxsone Dodd. Dodd’s system became so popular that he ended up having five different sound systems, all playing in different areas of the city every night, with the ones he didn’t perform at himself being run by assistants who later became big names in the Jamaican music world themselves, like Prince Buster and Lee “Scratch” Perry. Buster performed a few other functions for Dodd as well — one important one being that he  knew enough about R&B that he could go to Duke Reid’s shows, listen to the records he was playing, and figure out what they must be — he could recognise the different production styles of the different R&B labels well enough that he could use that, plus the lyrics, to work out the probable title and label of a record Reid was playing. Dodd would then get a merchant seaman to bring a copy of that record back from America, get a local record pressing plant to press up a bunch of copies of it, and sell it to the other sound men, thus destroying Reid’s edge. Eventually Prince Buster left Dodd and set up his own rival sound system, at which point the rivalry became a three-way one. Dodd knew about technology, and had the most powerful sound system with the best amps. Prince Buster was the best showman, who knew what the people wanted and gave it to them, and Duke Reid was connected and powerful enough that he could use intimidation to keep a grip on power, but he also had good enough musical instincts that his shows were genuinely popular in their own right. People started to see their favourite sound systems in the same way they see sports teams or political parties — as marks of identity that were worth getting into serious fights over. Supporters of one system would regularly attack supporters of another, and who your favourite sound system was *really mattered*. But there was a problem. While these systems were playing a handful of mento records, they were mostly relying on American records, and this had two problems. The most obvious was that if a record was available publicly, eventually someone else would find it. Coxsone Dodd managed to use one record, “Later For Gator” by Willis “Gatortail” Jackson, at every show for seven years, renaming it “Coxsone Hop”: [Excerpt: Willis “Gatortail” Jackson, “Later For Gator”] But eventually word got out that Duke Reid had tracked the song down and would play it at a dance. Dodd went along, and was allowed in unmolested — Reid wanted Dodd to know he’d been beaten.  Now, here I’m going to quote something Prince Buster said, and we hit a problem we’re likely to hit again when it comes to Jamaica. Buster spoke Jamaican Patois, a creole language that is mutually intelligible with, but different from, standard English. When quoting him, or any other Patois speaker, I have a choice of three different options, all bad. I could translate his words into standard English, thus misrepresenting him; I could read his words directly in my own accent, which has the problem that it can sound patronising, or like I’m mocking his language, because so much of Patois is to do with the way the words are pronounced; or I could attempt to approximate his own accent — which would probably come off as incredibly racist. As the least bad option of the three, I’m choosing the middle one here, and reading in my own accent, but I want people to be aware that this is not intended as mockery, and that I have at least given this some thought: “So we wait. Then as the clock struck midnight we hear “Baaap… bap da dap da dap, daaaa da daap!” And we see a bunch of them down from the dancehall coming up with the green bush. I was at the counter with Coxsone, he have a glass in him hand, he drop it and just collapse, sliding down the bar. I had to brace him against the bar, then get Phantom to give me a hand. The psychological impact had knocked him out. Nobody never hit him.” There was a second problem with using American records, as well — American musical tastes were starting to change, and Jamaican ones weren’t. Jamaican audiences wanted Louis Jordan, Fats Domino, and Gene & Eunice, but the Americans wanted Elvis and Jerry Lee Lewis and Bobby Darin. For a while, the sound men were able to just keep finding more and more obscure old R&B and jump band records, but there was a finite supply of these, and they couldn’t keep doing it forever. The solution eventually became obvious — they needed Jamaican R&B. And thankfully there was a ready supply. Every week, there was a big talent contest in Kingston, and the winners would get five pounds — a lot of money in that time and place. Many of the winners would then go to a disc-cutting service, one of those places that would record a single copy of a song for you, and use their prize money to record themselves. They could then sell that record to one of the sound men, who would be sure that nobody else would have a copy of it. At first, the only sound men they could sell to were the less successful ones, who didn’t have good connections with American records. A local record was clearly not as good as an American one, and so the big sound systems wouldn’t touch it, but it was better than nothing, and some of the small sound systems would find that the local records were a success for them, and eventually the bigger systems would start using the small ones as a test audience — if a local record went down well at a small system, one of the big operators would get in touch with the sound man of that system and buy the record from him. One of the big examples of this was “Lollipop Girl”, a song by Derrick Harriott and Claudie Sang. They recorded that, with just a piano backing, and sold their only copy to a small sound system owner. It went down so well that the small sound man traded his copy with Coxsone Dodd for an American record — and it went down so well when Dodd played it that Duke Reid bribed one of Dodd’s assistants to get hold of Dodd’s copy long enough to get a copy made for himself. When Dodd and Reid played a sound clash — a show where they went head to head to see who could win a crowd over — and Reid played his own copy of “Lollipop Girl”, Dodd pulled a gun on Reid, and it was only the fact that the clash was next door to the police station that kept the two men from killing each other. Reid eventually wore out his copy of “Lollipop Girl”, he played it so much, and so he did the only sensible thing — he went into the record business himself, and took Harriott into the studio, along with a bunch of musicians from the local big bands, and cut a new version of it with a full band backing Harriott. As well as playing this on his sound system, Reid released it as a record: [Excerpt: Derrick Harriott, “Lollipop Girl”] Reid didn’t make many more records at this point, but both Coxsone Dodd and Prince Buster started up their own labels, and started hiring local singers, plus people from a small pool of players who became the go-to session musicians for any record made in Jamaica at the time, like trombone player Rico Rodriguez and guitarist Ernest Ranglin. During the late 1950s, a new form of music developed from these recordings, which would become known as ska, and there are three records which are generally considered to be milestones in its development. The first was produced by a white businessman, Edward Seaga, who is now more famous for becoming the Prime Minister of Jamaica in the 1980s. At the time, though, Seaga had the idea to incorporate a little bit of a mento rhythm into an R&B record he was producing. In most music, if you have a four-four rhythm, you can divide it into eight on-beats and off-beats, and you normally stress the on-beats, so you stress “ONE and TWO and THREE and FOUR and”. In mento, though, you’d often have a banjo stress the off-beats, so the stresses would be “one AND two AND three AND four AND”. Seaga had the guitarist on “Manny Oh” by Higgs and Wilson do this, on a track that was otherwise a straightforward New Orleans style R&B song with a tresillo bassline. The change in stresses is almost imperceptible to modern ears, but it made the record sound uniquely Jamaican to its audience: [Excerpt: Higgs and Wilson, “Manny Oh”] The next record in the sequence was produced by Dodd, and is generally considered the first real ska record. There are a few different stories about where the term “ska” came from, but one of the more believable is that it came from Dodd directing Ernest Ranglin, who was the arranger for the record, to stress the off-beat more, saying “play it ska… ska… ska…” Where “Manny Oh” had been a Jamaican sounding R&B record, “Easy Snappin'” is definitely a blues-influenced ska record: [Excerpt: Theo Beckford, “Easy Snappin'”] But Duke Reid and Coxsone Dodd, at this point, still saw the music they were making as a substitute for American R&B. Prince Buster, on the other hand, by this point was a full-fledged Black nationalist, and wanted to make a purely Jamaican music. Buster was, in particular, an adherent of the Rastafari religion, and he brought in five drummers from the Rasta Nyabinghi tradition, most notably Count Ossie, who became the single most influential drummer in Jamaica, to record on the Folkes brothers single “Oh Carolina”, incorporating the rhythms of Rasta sacred music into Jamaican R&B for the first time: [Excerpt: The Folkes Brothers, “Oh Carolina”] 1962 was a turning point in Jamaican music in a variety of ways. Most obviously, it was the year that Jamaica became independent from the British Empire, and was able to take control of its own destiny. But it was also the year that saw the first recordings of a fourteen-year-old girl who would become ska’s first international star. Millie Small had started performing at the age of twelve, when she won the Vere Johns Opportunity Hour, the single biggest talent contest in Kingston. But it was two years later that she came to the attention of Coxsone Dodd, who was very interested in her because her voice sounded spookily like that of Shirley, from the duo Shirley and Lee. We mentioned Shirley and Lee briefly back in the episode on “Ko Ko Mo”, but they were a New Orleans R&B duo who had a string of hits in the early and mid fifties, recorded at Cosimo Matassa’s studio, pairing Leonard Lee’s baritone voice with Shirley Goodman’s soprano. Their early records had been knock-offs of the sound that Little Esther had created with Johnny Otis and his male vocalists — for example Shirley and Lee’s “Sweethearts”: [Excerpt: Shirley and Lee, “Sweethearts”] bears a very strong resemblance to “Double-Crossing Blues”: [Excerpt: Little Esther, Johnny Otis, and the Robins, “Double-Crossing Blues”] But they’d soon developed a more New Orleans style, with records like “Feel So Good” showing some of the Caribbean influence that many records from the area had: [Excerpt: Shirley and Lee, “Feel So Good”] Shirley and Lee only had minor chart success in the US, but spawned a host of imitators, including Gene and Eunice and Mickey and Sylvia, both of whom we looked at in the early months of the podcast, and Ike and Tina Turner who will be coming up later. Like much New Orleans R&B, Shirley and Lee were hugely popular among the sound system listeners, and Coxsone Dodd thought that Mille’s voice sounded enough like Shirley’s that it would be worth setting her up as part of his own Shirley and Lee soundalike duo, pairing her with a more established singer, Owen Gray, to record songs like “Sit and Cry”, a song which combined the vocal sound of Shirley and Lee with the melody of “The Twist”: [Excerpt: Owen and Millie, “Sit and Cry”] After Gray decided to continue performing on his own, Millie was instead teamed with another performer, Roy Panton, and “We’ll Meet” by Roy and Millie went to number one in Jamaica: [Excerpt: Roy and Millie, “We’ll Meet”] Meanwhile, in the UK, there was a growing interest in music from the Caribbean, especially Jamaica. Until very recently, Britain had been a very white country — there have always been Black people in the UK, especially in port towns, but there had been very few. As of 1950, there were only about twenty thousand people of colour living in the UK. But starting in 1948, there had been a massive wave of immigration from other parts of what was then still the British Empire, as the government encouraged people to come here to help rebuild the country after the war. By 1961 there were nearly two hundred thousand Black people in Britain, almost all of them from the Caribbean.  Those people obviously wanted to hear the music of their own culture, and one man in particular was giving it to them. Chris Blackwell was a remarkably privileged man. His father had been one of the heirs to the Crosse and Blackwell fortune, and young Chris had been educated at Harrow, but when not in school he had spent much of his youth in Jamaica. His mother, Blanche, lived in Jamaica, where she was a muse to many men — Noel Coward based a character on her, in a play he wrote in 1956 but which was considered so scandalous that it wasn’t performed in public until 2012. Blanche attended the premiere of that play, when she was ninety-nine years old. She had an affair with Errol Flynn, and was also Ian Fleming’s mistress — Fleming would go to his Jamaican villa, GoldenEye, every year to write, leaving his wife at home (where she was having her own affairs, with the Labour MPs Hugh Gaitskell and Roy Jenkins), and would hook up with Blanche while he was there — according to several sources, Fleming based the characters of Pussy Galore and Honeychile Ryder on Blanche. After Fleming’s death, his wife instructed the villa’s manager that it could be rented to literally anyone except Blanche Blackwell, but in the mid-1970s it was bought by Bob Marley, who in turn sold it to Chris Blackwell. Chris Blackwell had developed a fascination with Rasta culture after having crashed his boat while sailing, and being rescued by some Rasta fishermen, and he had decided that his goal was to promote Jamaican culture to the world. He’d started his own labels, Island Records, in 1959, using his parents’ money, and had soon produced a Jamaican number one, “Boogie in My Bones”, by Laurel Aitken: [Excerpt: Laurel Aitken, “Boogie in My Bones”] But music was still something of a hobby with Blackwell, to the point that he nearly quit it altogether in 1962. He’d been given a job as a gopher on the first James Bond film, Dr. No, thanks to his family connections, and had also had a cameo role in the film. Harry Saltzman, the producer, offered him a job, but Blackwell went to a fortune teller who told him to stick with music, and he did. Soon after that, he moved back to England, where he continued running Island Records, this time as a distributor of Jamaican records. The label would occasionally record some tracks of its own, but it made its money from releasing Jamaican records, which Blackwell would hand-sell to local record shops around immigrant communities in London, Manchester, and Birmingham. Island was not the biggest of the labels releasing Jamaican music in Britain at the time — there was another label, Blue Beat, which got most of the big records, and which was so popular that in Britain “bluebeat” became a common term for ska, used to describe the whole genre, in the same way as Motown might be. And ska was becoming popular enough that there was also local ska being made, by Jamaican musicians living in Britain, and it was starting to chart. The first ska record to hit the charts in Britain was a cover of a Jimmy Cliff song, “King of Kings”, performed by Ezz Reco and the Launchers: [Excerpt: Ezz Reco and the Launchers, “King of Kings”] That made the lower reaches of the top forty, and soon after came “Mockingbird Hill”, a ska remake of an old Les Paul and Mary Ford hit, recorded by the Migil Five, a white British R&B group whose main claim to fame was that one of them was Charlie Watts’ uncle, and Watts had occasionally filled in on drums for them before joining the Rolling Stones: [Excerpt: Migil Five, “Mockingbird Hill”] That made the top ten. Ska was becoming the in sound in Britain, to the point that in March 1964, the same month that “Mockingbird Hill” was released, the Beatles made a brief detour into ska in the instrumental break to “I Call Your Name”: [Excerpt: The Beatles, “I Call Your Name”] And it was into this atmosphere that Chris Blackwell decided to introduce Millie. Her early records had been selling well enough for him that in 1963 he had decided to call Millie’s mother and promise her that if her daughter came over to the UK, he would be able to make her into a star. Rather than release her records on Island, which didn’t have any wide distribution, he decided to license them to Fontana, a mid-sized British label. Millie’s first British single, “Don’t You Know”, was released in late 1963, and was standard British pop music of the time, with little to distinguish it, and so unsurprisingly it wasn’t a hit: [Excerpt: Millie, “Don’t You Know”] But the second single was something different. For that, Blackwell remembered a song that had been popular among the sound systems a few years earlier; an American record by a white singer named Barbara Gaye. Up to this point, Gaye’s biggest claim to fame had been that Ellie Greenwich had liked this record enough that she’d briefly performed under the stage name Ellie Gaye, before deciding against that. “My Boy Lollipop” had been written by Robert Spencer of the Cadillacs, the doo-wop group whose biggest hit had been “Speedoo”: [Excerpt: The Cadillacs, “Speedoo”] Spencer had written “My Boy Lollipop”, but lost the rights to it in a card game — and then Morris Levy bought the rights from the winner for a hundred dollars. Levy changed the songwriting credit to feature a mob acquaintance of his, Johnny Roberts, and then passed the song to Gaetano Vastola, another mobster, who had it recorded by Gaye, a teenage girl he managed, with the backing provided by the normal New York R&B session players, like Big Al Sears and Panama Francis: [Excerpt: Barbie Gaye, “My Boy Lollipop”] That hadn’t been a hit when it was released in 1956, but it had later been picked up by the Jamaican sound men, partly because of its resemblance to the ska style, and Blackwell had a tape recording of it. Blackwell got Ernest Ranglin, who had also worked on Dr. No, and who had moved over to the UK at the same time as Blackwell, to come up with an arrangement, and Ranglin hired a local band to perform the instrumental backing. That band, Jimmy Powell and the Five Dimensions, had previously been known as the Moontrekkers, and had worked with Joe Meek, recording “Night of the Vampire”: [Excerpt: The Moontrekkers, “Night of the Vampire”] Ranglin replaced the saxophone solo from the original record with a harmonica solo, to fit the current fad for the harmonica in the British charts, and there is some dispute about who played it, but Millie always insisted that it was the Five Dimensions’ harmonica player, Rod Stewart, though Stewart denies it: [Excerpt: Millie, “My Boy Lollipop”] “My Boy Lollipop” came out in early 1964 and became a massive hit, reaching number two on the charts both in the UK and the US, and Millie was now a star. She got her own UK TV special, as well as appearing on Around The Beatles, a special starring the Beatles and produced by Jack Good. She was romantically linked to Peter Asher of Peter and Gordon. Her next single, though, “Sweet William”, only made number thirty, as the brief first wave of interest in ska among the white public subsided: [Excerpt: Millie, “Sweet William”] Over the next few years, there were many attempts made to get her back in the charts, but the last thing that came near was a remake of “Bloodshot Eyes”, without the intimate partner violence references, which made number forty-eight on the UK charts at the end of 1965: [Excerpt: Millie, “Bloodshot Eyes”] She was also teamed with other artists in an attempt to replicate her success as a duet act. She recorded with Jimmy Cliff: [Excerpt: Millie and Jimmy Cliff, “Hey Boy, Hey Girl”] and Jackie Edwards: [Excerpt: Jackie and Millie, “Pledging My Love”] and she was also teamed with a rock group Blackwell had discovered, and who would soon become big stars themselves with versions of songs by Edwards, on a cover version of Ike and Tina Turner’s “I’m Blue (the Gong Gong Song)”: [Excerpt: The Spencer Davis Group, “I’m Blue (The Gong Gong Song)”] But the Spencer Davis Group didn’t revive her fortunes, and she moved on to a succession of smaller labels, with her final recordings coming in the early 1970s, when she recorded the track “Enoch Power”, in response to the racism stirred up by the right-wing politician Enoch Powell: [Excerpt: Millie Small, “Enoch Power”] Millie spent much of the next few decades in poverty. There was talk of a comeback in the early eighties, after the British ska revival group Bad Manners had a top ten hit with a gender-flipped remake of “My Boy Lollipop”: [Excerpt: Bad Manners, “My Girl Lollipop”] But she never performed again after the early seventies, and other than one brief interview in 2016 she kept her life private. She was given multiple honours by the people of Jamaica, including being made a Commander in the Order of Distinction, but never really got any financial benefit from her enormous chart success, or from being the first Jamaican artist to make an impact on Britain and America. She died last year, aged seventy-two.

This week's episode looks at "My Boy Lollipop" and the origins of ska music. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "If You Wanna Be Happy" by Jimmy Soul. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- Resources As usual, I have created a Mixcloud playlist containing every song heard in this episode -- a content warning applies for the song "Bloodshot Eyes" by Wynonie Harris. The information about ska in general mostly comes from Bass Culture: When Reggae Was King by Lloyd Bradley, with some also from Reggae and Caribbean Music by Dave Thompson. Biographical information on Millie Small is largely from this article in Record Collector, plus a paywalled interview with Goldmine magazine (which I won't link to because of the paywall). Millie's early recordings with Owen Gray and Coxsone Dodd can be found on this compilation, along with a good selection of other recordings Dodd produced, while this compilation gives a good overview of her recordings for Island and Fontana. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Erratum I refer to "Barbara Gaye" when I should say "Barbie Gaye" Transcript Today, we're going to take our first look at a form of music that would go on to have an almost incalculable influence on the music of the seventies, eighties, and later, but which at the time we're looking at was largely regarded as a novelty music, at least in Britain and America. We're going to look at the birth of ska, and at the first ska record to break big outside of Jamaica. We're going to look at "My Boy Lollipop" by Millie: [Excerpt: Millie, "My Boy Lollipop"] Most of the music we've looked at so far in the podcast has been from either America or Britain, and I'm afraid that that's going to remain largely the case -- while there has been great music made in every country in the world, American and British musicians have tended to be so parochial, and have dominated the music industry so much, that relatively little of that music has made itself felt widely enough to have any kind of impact on the wider history of rock music, much to rock's detriment. But every so often something from outside the British Isles or North America manages to penetrate even the closed ears of Anglo-American musicians, and today we're going to look at one of those records. Now, before we start this, this episode is, by necessity, going to be dealing in broad generalisations -- I'm trying to give as much information about Jamaica's musical culture in one episode as I've given about America's in a hundred, so I am going to have to elide a lot of details. Some of those details will come up in future episodes, as we deal with more Jamaican artists, but be aware that I'm missing stuff out. The thing that needs to be understood about the Jamaican music culture of the fifties and early sixties is that it developed in conditions of absolute poverty. Much of the music we looked at in the first year or so of the podcast came from extremely impoverished communities, of course, but even given how utterly, soul-crushingly, poor many people in the Deep South were, or the miserable conditions that people in Liverpool and London lived in while Britain was rebuilding itself after the war, those people were living in rich countries, and so still had access to some things that were not available to the poor people of poorer countries. So in Jamaica in the 1950s, almost nobody had access to any kind of record player or radio themselves. You wouldn't even *know* anyone who had one, unlike in the states where if you were very poor you might not have one yourself, but your better-off cousin might let you come round and listen to the radio  at their house. So music was, by necessity, a communal experience.  Jamaican music, or at least the music in Kingston, the biggest city in Jamaica, was organised around  sound systems -- big public open-air systems run by DJs, playing records for dancing. These had originally started in shops as a way of getting customers in, but soon became so popular that people started doing them on their own. These sound systems played music that was very different from the music played on the radio, which was aimed mostly at people rich enough to own radios, which at that time mostly meant white British people -- in the fifties, Jamaica was still part of the British Empire, and there was an extraordinary gap between the music the white British colonial class liked and the music that the rest of the population liked.  The music that the Jamaican population *made* was mostly a genre called mento. Now, this is somewhere where my ignorance of this music compared to other musics comes into play a bit. There seem to have been two genres referred to as mento. One of them, rural mento, was based around instruments like the banjo, and a home-made bass instrument called a "rhumba box", and had a resemblance to a lot of American country music or British skiffle -- this form of mento is often still called "country music" in Jamaica itself: [Excerpt: The Hiltonaires, "Matilda"] There was another variant of mento, urban mento, which dropped the acoustic and home-made instruments and replaced them with the same sort of instruments that R&B or jazz bands used. Everything I read about urban mento says that it's a different genre from calypso music, which generally comes from Trinidad and Tobago rather than Jamaica, but nothing explains what that difference is, other than the location. Mento musicians would also call their music calypso in order to sell it to people like me who don't know the difference, and so you would get mento groups called things like Count Lasher and His Calypsonians, Lord Lebby and the Jamaica Calypsonians, and Count Owen and His Calypsonians, songs called things like "Hoola Hoop Calypso", and mentions of calypso in the lyrics. I am fairly familiar with calypso music -- people like the Mighty Sparrow, Lord Melody, Roaring Lion, and so on -- and I honestly can't hear any difference between calypso proper and mento records like this one, by Lord Power and Trenton Spence: [Excerpt: Lord Power and Trenton Spence, "Strip Tease"] But I'll defer to the experts in these genres and accept that there's a difference I'm not hearing. Mento was primarily a music for live performance, at least at first -- there were very few recording facilities in Jamaica, and to the extent that records were made at all there, they were mostly done in very small runs to sell to tourists, who wanted a souvenir to take home. The music that the first sound systems played would include some mento records, and they would also play a fair number of latin-flavoured records. But the bulk of what they played was music for dancing, imported from America, made by Black American musicians, many of them the same musicians we looked at in the early months of this podcast. Louis Jordan was a big favourite, as was Wynonie Harris -- the biggest hit in the early years of the sound systems was Harris' "Bloodshot Eyes". I'm going to excerpt that here, because it was an important record in the evolution of Jamaican music, but be warned that the song trivialises intimate partner violence in a way that many people might find disturbing. If you might be upset by that, skip forward exactly thirty seconds now: [Excerpt: Wynonie Harris, "Bloodshot Eyes"] The other artists who get repeatedly named in the histories of the early sound systems along with Jordan and Harris are Fats Domino, Lloyd Price, Professor Longhair -- a musician we've not talked about in the podcast, but who made New Orleans R&B music in the same style as Domino and Price, and for slow-dancing the Moonglows and Jesse Belvin. They would also play jazz -- Dizzy Gillespie, Duke Ellington, and Sarah Vaughan were particular favourites. These records weren't widely available in Jamaica -- indeed, *no* records were really widely available . They found their way into Jamaica through merchant seamen, who would often be tasked by sound men with getting hold of new and exciting records, and paid with rum or marijuana. The "sound man" was the term used for the DJs who ran these sound systems, and they were performers as much as they were people who played records -- they would talk and get the crowds going, they would invent dance steps and perform them, and they would also use the few bits of technology they had to alter the sound -- usually by adding bass or echo. Their reputation was built by finding the most obscure records, but ones which the crowds would love. Every sound man worth his salt had a collection of records that nobody else had -- if you were playing the same records that someone else had, you were a loser. As soon as a sound man got hold of a record, he'd scratch out all the identifying copy on the label and replace it with a new title, so that none of his rivals could get hold of their own copies. The rivalry between sound men could be serious -- it started out just as friendly competition, with each man trying to build a bigger and louder system and draw a bigger crowd, but when the former policeman turned gangster Duke Reid started up his Trojan sound system, intimidating rivals with guns soon became par for the course. Reid had actually started out in music as an R&B radio DJ -- one of the few in Jamaica -- presenting a show whose theme song, Tab Smith's "My Mother's Eyes", would become permanently identified with Reid: [Excerpt: Tab Smith, "My Mother's Eyes"] Reid's Trojan was one of the two biggest sound systems in Kingston, the other being Downbeat, run by Coxsone Dodd. Dodd's system became so popular that he ended up having five different sound systems, all playing in different areas of the city every night, with the ones he didn't perform at himself being run by assistants who later became big names in the Jamaican music world themselves, like Prince Buster and Lee "Scratch" Perry. Buster performed a few other functions for Dodd as well -- one important one being that he  knew enough about R&B that he could go to Duke Reid's shows, listen to the records he was playing, and figure out what they must be -- he could recognise the different production styles of the different R&B labels well enough that he could use that, plus the lyrics, to work out the probable title and label of a record Reid was playing. Dodd would then get a merchant seaman to bring a copy of that record back from America, get a local record pressing plant to press up a bunch of copies of it, and sell it to the other sound men, thus destroying Reid's edge. Eventually Prince Buster left Dodd and set up his own rival sound system, at which point the rivalry became a three-way one. Dodd knew about technology, and had the most powerful sound system with the best amps. Prince Buster was the best showman, who knew what the people wanted and gave it to them, and Duke Reid was connected and powerful enough that he could use intimidation to keep a grip on power, but he also had good enough musical instincts that his shows were genuinely popular in their own right. People started to see their favourite sound systems in the same way they see sports teams or political parties -- as marks of identity that were worth getting into serious fights over. Supporters of one system would regularly attack supporters of another, and who your favourite sound system was *really mattered*. But there was a problem. While these systems were playing a handful of mento records, they were mostly relying on American records, and this had two problems. The most obvious was that if a record was available publicly, eventually someone else would find it. Coxsone Dodd managed to use one record, "Later For Gator" by Willis "Gatortail" Jackson, at every show for seven years, renaming it "Coxsone Hop": [Excerpt: Willis "Gatortail" Jackson, "Later For Gator"] But eventually word got out that Duke Reid had tracked the song down and would play it at a dance. Dodd went along, and was allowed in unmolested -- Reid wanted Dodd to know he'd been beaten.  Now, here I'm going to quote something Prince Buster said, and we hit a problem we're likely to hit again when it comes to Jamaica. Buster spoke Jamaican Patois, a creole language that is mutually intelligible with, but different from, standard English. When quoting him, or any other Patois speaker, I have a choice of three different options, all bad. I could translate his words into standard English, thus misrepresenting him; I could read his words directly in my own accent, which has the problem that it can sound patronising, or like I'm mocking his language, because so much of Patois is to do with the way the words are pronounced; or I could attempt to approximate his own accent -- which would probably come off as incredibly racist. As the least bad option of the three, I'm choosing the middle one here, and reading in my own accent, but I want people to be aware that this is not intended as mockery, and that I have at least given this some thought: "So we wait. Then as the clock struck midnight we hear “Baaap… bap da dap da dap, daaaa da daap!” And we see a bunch of them down from the dancehall coming up with the green bush. I was at the counter with Coxsone, he have a glass in him hand, he drop it and just collapse, sliding down the bar. I had to brace him against the bar, then get Phantom to give me a hand. The psychological impact had knocked him out. Nobody never hit him." There was a second problem with using American records, as well -- American musical tastes were starting to change, and Jamaican ones weren't. Jamaican audiences wanted Louis Jordan, Fats Domino, and Gene & Eunice, but the Americans wanted Elvis and Jerry Lee Lewis and Bobby Darin. For a while, the sound men were able to just keep finding more and more obscure old R&B and jump band records, but there was a finite supply of these, and they couldn't keep doing it forever. The solution eventually became obvious -- they needed Jamaican R&B. And thankfully there was a ready supply. Every week, there was a big talent contest in Kingston, and the winners would get five pounds -- a lot of money in that time and place. Many of the winners would then go to a disc-cutting service, one of those places that would record a single copy of a song for you, and use their prize money to record themselves. They could then sell that record to one of the sound men, who would be sure that nobody else would have a copy of it. At first, the only sound men they could sell to were the less successful ones, who didn't have good connections with American records. A local record was clearly not as good as an American one, and so the big sound systems wouldn't touch it, but it was better than nothing, and some of the small sound systems would find that the local records were a success for them, and eventually the bigger systems would start using the small ones as a test audience -- if a local record went down well at a small system, one of the big operators would get in touch with the sound man of that system and buy the record from him. One of the big examples of this was "Lollipop Girl", a song by Derrick Harriott and Claudie Sang. They recorded that, with just a piano backing, and sold their only copy to a small sound system owner. It went down so well that the small sound man traded his copy with Coxsone Dodd for an American record -- and it went down so well when Dodd played it that Duke Reid bribed one of Dodd's assistants to get hold of Dodd's copy long enough to get a copy made for himself. When Dodd and Reid played a sound clash -- a show where they went head to head to see who could win a crowd over -- and Reid played his own copy of "Lollipop Girl", Dodd pulled a gun on Reid, and it was only the fact that the clash was next door to the police station that kept the two men from killing each other. Reid eventually wore out his copy of "Lollipop Girl", he played it so much, and so he did the only sensible thing -- he went into the record business himself, and took Harriott into the studio, along with a bunch of musicians from the local big bands, and cut a new version of it with a full band backing Harriott. As well as playing this on his sound system, Reid released it as a record: [Excerpt: Derrick Harriott, "Lollipop Girl"] Reid didn't make many more records at this point, but both Coxsone Dodd and Prince Buster started up their own labels, and started hiring local singers, plus people from a small pool of players who became the go-to session musicians for any record made in Jamaica at the time, like trombone player Rico Rodriguez and guitarist Ernest Ranglin. During the late 1950s, a new form of music developed from these recordings, which would become known as ska, and there are three records which are generally considered to be milestones in its development. The first was produced by a white businessman, Edward Seaga, who is now more famous for becoming the Prime Minister of Jamaica in the 1980s. At the time, though, Seaga had the idea to incorporate a little bit of a mento rhythm into an R&B record he was producing. In most music, if you have a four-four rhythm, you can divide it into eight on-beats and off-beats, and you normally stress the on-beats, so you stress "ONE and TWO and THREE and FOUR and". In mento, though, you'd often have a banjo stress the off-beats, so the stresses would be "one AND two AND three AND four AND". Seaga had the guitarist on "Manny Oh" by Higgs and Wilson do this, on a track that was otherwise a straightforward New Orleans style R&B song with a tresillo bassline. The change in stresses is almost imperceptible to modern ears, but it made the record sound uniquely Jamaican to its audience: [Excerpt: Higgs and Wilson, "Manny Oh"] The next record in the sequence was produced by Dodd, and is generally considered the first real ska record. There are a few different stories about where the term "ska" came from, but one of the more believable is that it came from Dodd directing Ernest Ranglin, who was the arranger for the record, to stress the off-beat more, saying "play it ska... ska... ska..." Where "Manny Oh" had been a Jamaican sounding R&B record, "Easy Snappin'" is definitely a blues-influenced ska record: [Excerpt: Theo Beckford, "Easy Snappin'"] But Duke Reid and Coxsone Dodd, at this point, still saw the music they were making as a substitute for American R&B. Prince Buster, on the other hand, by this point was a full-fledged Black nationalist, and wanted to make a purely Jamaican music. Buster was, in particular, an adherent of the Rastafari religion, and he brought in five drummers from the Rasta Nyabinghi tradition, most notably Count Ossie, who became the single most influential drummer in Jamaica, to record on the Folkes brothers single "Oh Carolina", incorporating the rhythms of Rasta sacred music into Jamaican R&B for the first time: [Excerpt: The Folkes Brothers, "Oh Carolina"] 1962 was a turning point in Jamaican music in a variety of ways. Most obviously, it was the year that Jamaica became independent from the British Empire, and was able to take control of its own destiny. But it was also the year that saw the first recordings of a fourteen-year-old girl who would become ska's first international star. Millie Small had started performing at the age of twelve, when she won the Vere Johns Opportunity Hour, the single biggest talent contest in Kingston. But it was two years later that she came to the attention of Coxsone Dodd, who was very interested in her because her voice sounded spookily like that of Shirley, from the duo Shirley and Lee. We mentioned Shirley and Lee briefly back in the episode on "Ko Ko Mo", but they were a New Orleans R&B duo who had a string of hits in the early and mid fifties, recorded at Cosimo Matassa's studio, pairing Leonard Lee's baritone voice with Shirley Goodman's soprano. Their early records had been knock-offs of the sound that Little Esther had created with Johnny Otis and his male vocalists -- for example Shirley and Lee's "Sweethearts": [Excerpt: Shirley and Lee, "Sweethearts"] bears a very strong resemblance to "Double-Crossing Blues": [Excerpt: Little Esther, Johnny Otis, and the Robins, "Double-Crossing Blues"] But they'd soon developed a more New Orleans style, with records like "Feel So Good" showing some of the Caribbean influence that many records from the area had: [Excerpt: Shirley and Lee, "Feel So Good"] Shirley and Lee only had minor chart success in the US, but spawned a host of imitators, including Gene and Eunice and Mickey and Sylvia, both of whom we looked at in the early months of the podcast, and Ike and Tina Turner who will be coming up later. Like much New Orleans R&B, Shirley and Lee were hugely popular among the sound system listeners, and Coxsone Dodd thought that Mille's voice sounded enough like Shirley's that it would be worth setting her up as part of his own Shirley and Lee soundalike duo, pairing her with a more established singer, Owen Gray, to record songs like "Sit and Cry", a song which combined the vocal sound of Shirley and Lee with the melody of "The Twist": [Excerpt: Owen and Millie, "Sit and Cry"] After Gray decided to continue performing on his own, Millie was instead teamed with another performer, Roy Panton, and "We'll Meet" by Roy and Millie went to number one in Jamaica: [Excerpt: Roy and Millie, "We'll Meet"] Meanwhile, in the UK, there was a growing interest in music from the Caribbean, especially Jamaica. Until very recently, Britain had been a very white country -- there have always been Black people in the UK, especially in port towns, but there had been very few. As of 1950, there were only about twenty thousand people of colour living in the UK. But starting in 1948, there had been a massive wave of immigration from other parts of what was then still the British Empire, as the government encouraged people to come here to help rebuild the country after the war. By 1961 there were nearly two hundred thousand Black people in Britain, almost all of them from the Caribbean.  Those people obviously wanted to hear the music of their own culture, and one man in particular was giving it to them. Chris Blackwell was a remarkably privileged man. His father had been one of the heirs to the Crosse and Blackwell fortune, and young Chris had been educated at Harrow, but when not in school he had spent much of his youth in Jamaica. His mother, Blanche, lived in Jamaica, where she was a muse to many men -- Noel Coward based a character on her, in a play he wrote in 1956 but which was considered so scandalous that it wasn't performed in public until 2012. Blanche attended the premiere of that play, when she was ninety-nine years old. She had an affair with Errol Flynn, and was also Ian Fleming's mistress -- Fleming would go to his Jamaican villa, GoldenEye, every year to write, leaving his wife at home (where she was having her own affairs, with the Labour MPs Hugh Gaitskell and Roy Jenkins), and would hook up with Blanche while he was there -- according to several sources, Fleming based the characters of Pussy Galore and Honeychile Ryder on Blanche. After Fleming's death, his wife instructed the villa's manager that it could be rented to literally anyone except Blanche Blackwell, but in the mid-1970s it was bought by Bob Marley, who in turn sold it to Chris Blackwell. Chris Blackwell had developed a fascination with Rasta culture after having crashed his boat while sailing, and being rescued by some Rasta fishermen, and he had decided that his goal was to promote Jamaican culture to the world. He'd started his own labels, Island Records, in 1959, using his parents' money, and had soon produced a Jamaican number one, "Boogie in My Bones", by Laurel Aitken: [Excerpt: Laurel Aitken, "Boogie in My Bones"] But music was still something of a hobby with Blackwell, to the point that he nearly quit it altogether in 1962. He'd been given a job as a gopher on the first James Bond film, Dr. No, thanks to his family connections, and had also had a cameo role in the film. Harry Saltzman, the producer, offered him a job, but Blackwell went to a fortune teller who told him to stick with music, and he did. Soon after that, he moved back to England, where he continued running Island Records, this time as a distributor of Jamaican records. The label would occasionally record some tracks of its own, but it made its money from releasing Jamaican records, which Blackwell would hand-sell to local record shops around immigrant communities in London, Manchester, and Birmingham. Island was not the biggest of the labels releasing Jamaican music in Britain at the time -- there was another label, Blue Beat, which got most of the big records, and which was so popular that in Britain "bluebeat" became a common term for ska, used to describe the whole genre, in the same way as Motown might be. And ska was becoming popular enough that there was also local ska being made, by Jamaican musicians living in Britain, and it was starting to chart. The first ska record to hit the charts in Britain was a cover of a Jimmy Cliff song, "King of Kings", performed by Ezz Reco and the Launchers: [Excerpt: Ezz Reco and the Launchers, "King of Kings"] That made the lower reaches of the top forty, and soon after came "Mockingbird Hill", a ska remake of an old Les Paul and Mary Ford hit, recorded by the Migil Five, a white British R&B group whose main claim to fame was that one of them was Charlie Watts' uncle, and Watts had occasionally filled in on drums for them before joining the Rolling Stones: [Excerpt: Migil Five, "Mockingbird Hill"] That made the top ten. Ska was becoming the in sound in Britain, to the point that in March 1964, the same month that "Mockingbird Hill" was released, the Beatles made a brief detour into ska in the instrumental break to "I Call Your Name": [Excerpt: The Beatles, "I Call Your Name"] And it was into this atmosphere that Chris Blackwell decided to introduce Millie. Her early records had been selling well enough for him that in 1963 he had decided to call Millie's mother and promise her that if her daughter came over to the UK, he would be able to make her into a star. Rather than release her records on Island, which didn't have any wide distribution, he decided to license them to Fontana, a mid-sized British label. Millie's first British single, "Don't You Know", was released in late 1963, and was standard British pop music of the time, with little to distinguish it, and so unsurprisingly it wasn't a hit: [Excerpt: Millie, "Don't You Know"] But the second single was something different. For that, Blackwell remembered a song that had been popular among the sound systems a few years earlier; an American record by a white singer named Barbara Gaye. Up to this point, Gaye's biggest claim to fame had been that Ellie Greenwich had liked this record enough that she'd briefly performed under the stage name Ellie Gaye, before deciding against that. "My Boy Lollipop" had been written by Robert Spencer of the Cadillacs, the doo-wop group whose biggest hit had been "Speedoo": [Excerpt: The Cadillacs, "Speedoo"] Spencer had written “My Boy Lollipop”, but lost the rights to it in a card game -- and then Morris Levy bought the rights from the winner for a hundred dollars. Levy changed the songwriting credit to feature a mob acquaintance of his, Johnny Roberts, and then passed the song to Gaetano Vastola, another mobster, who had it recorded by Gaye, a teenage girl he managed, with the backing provided by the normal New York R&B session players, like Big Al Sears and Panama Francis: [Excerpt: Barbie Gaye, "My Boy Lollipop"] That hadn't been a hit when it was released in 1956, but it had later been picked up by the Jamaican sound men, partly because of its resemblance to the ska style, and Blackwell had a tape recording of it. Blackwell got Ernest Ranglin, who had also worked on Dr. No, and who had moved over to the UK at the same time as Blackwell, to come up with an arrangement, and Ranglin hired a local band to perform the instrumental backing. That band, Jimmy Powell and the Five Dimensions, had previously been known as the Moontrekkers, and had worked with Joe Meek, recording "Night of the Vampire": [Excerpt: The Moontrekkers, "Night of the Vampire"] Ranglin replaced the saxophone solo from the original record with a harmonica solo, to fit the current fad for the harmonica in the British charts, and there is some dispute about who played it, but Millie always insisted that it was the Five Dimensions' harmonica player, Rod Stewart, though Stewart denies it: [Excerpt: Millie, "My Boy Lollipop"] "My Boy Lollipop" came out in early 1964 and became a massive hit, reaching number two on the charts both in the UK and the US, and Millie was now a star. She got her own UK TV special, as well as appearing on Around The Beatles, a special starring the Beatles and produced by Jack Good. She was romantically linked to Peter Asher of Peter and Gordon. Her next single, though, "Sweet William", only made number thirty, as the brief first wave of interest in ska among the white public subsided: [Excerpt: Millie, "Sweet William"] Over the next few years, there were many attempts made to get her back in the charts, but the last thing that came near was a remake of "Bloodshot Eyes", without the intimate partner violence references, which made number forty-eight on the UK charts at the end of 1965: [Excerpt: Millie, "Bloodshot Eyes"] She was also teamed with other artists in an attempt to replicate her success as a duet act. She recorded with Jimmy Cliff: [Excerpt: Millie and Jimmy Cliff, "Hey Boy, Hey Girl"] and Jackie Edwards: [Excerpt: Jackie and Millie, "Pledging My Love"] and she was also teamed with a rock group Blackwell had discovered, and who would soon become big stars themselves with versions of songs by Edwards, on a cover version of Ike and Tina Turner's "I'm Blue (the Gong Gong Song)": [Excerpt: The Spencer Davis Group, "I'm Blue (The Gong Gong Song)"] But the Spencer Davis Group didn't revive her fortunes, and she moved on to a succession of smaller labels, with her final recordings coming in the early 1970s, when she recorded the track "Enoch Power", in response to the racism stirred up by the right-wing politician Enoch Powell: [Excerpt: Millie Small, "Enoch Power"] Millie spent much of the next few decades in poverty. There was talk of a comeback in the early eighties, after the British ska revival group Bad Manners had a top ten hit with a gender-flipped remake of "My Boy Lollipop": [Excerpt: Bad Manners, "My Girl Lollipop"] But she never performed again after the early seventies, and other than one brief interview in 2016 she kept her life private. She was given multiple honours by the people of Jamaica, including being made a Commander in the Order of Distinction, but never really got any financial benefit from her enormous chart success, or from being the first Jamaican artist to make an impact on Britain and America. She died last year, aged seventy-two.

Playlist : Jacob Miller- Let me love you 1968 Coxsone musical fever 1967 1968 Dave Robinson - Moving away - 1977 - Bad Gong Records ( Jam ) Freddie McKay - Guide us Jah Jah 1980s/ out in 2019 Thompson Sound Phillip Frazer - Moses - Lp In a Dance Hall style - Mid 80' - Label Corner Stone (Jam ) Paul Whitman - Say So - 1996 - Rockers Inter ( Jam ) Soul power & Sound - Trample Romans- 1981 Ini Kamoze – Settle with me 1984 Island album Statement Junior Murvin - cool down the heat 1986 Greensleeves Records producer Prince Jammy Al Campbell - Don't take your gun to town 1986 Jammys -------------------------------- Spécial top ranking repress : Brave New World – Marcos 1986 Traxin – Why 1985 Womankind - Monkey money 1988 Danton Heslop - No problem 1988 ------------------------------ Roger Robin - Blood sweat and tears 1992 Spider Bushman - Can't please 1999 Jammys Gregory Isaac - Coward 1997 jammy's Raphie Arenas – You Got Me 2020 Strictly Rockers Sound Vivian Jones - Sell we out - 2020 - Wise & Dubwise Recordings ( Fr )

Crucial Reggae Time #14722112020 Oldies 70s et 80s + brand new tunes de 2020 Sowell Radics - All Nite Jammin - 1981 Dread at the control - 12'' Linval Thompson - Are you ready - Lp Look How Me Sexy - 1982 - Greensleeves Otis Gayle - What you wont do for love 1982 - Coxsone - 7 ‘' Third World - Lagos Jump - Lp All the way strong - 1983 - Columbia Culture - Peace and Love - Lp Culture in culture - 1986 - Music Track Sammy Levy - Why cant they leave us alone - 1986 - DubTone Muzik - 12'' Gregory Isaacs - Victim - Lp même nom - 1987 - Redman International Junior Delgado - Please lady let me love you - Lp Dub School: A Junior Delgado Showcase - 1989 - Buffalo Music Production The Gladiators - We Want To Be On The Right Track - Lp On the right track - 1989 - Heartbeat Records Twinkle Brothers - All is well - Lp du même nom - 1990 - Twinkle Music Israel Vibration - Poor man cry - Lp Forever - 1991 - Real Authentic Sound Midnite - Leaders Be - Lp He his Jah - 2003 - Rastafaria Label Dennis Alcapone - Tribute To Gregory 2020 Night Nurse Riddim Kingsley Salmon - In The Ghetto 2020 Barleyfield Records Ras Tavaris – Refugee 2020 Wailing Trees - Nos jours égarés 2019 Ilements - Glory To The Most High 2020 Street Rockaz Family Kabaka Pyramid - Trample Dem 2020 Bebble Rock Music and Ghetto Youths International Mista Savona & Cimafunk - Beat Con Flow 2020 Essah – Irie 2020 Taiwan MC feat. Anouk Aïata - One Last Dance 2014 Chinese Man Records Johnny Go Figure – Crucial 2020 Scotch Bonnet Records Mungo's Hi Fi ft Gardna & Charli Brix - In My Zone 2020 Scotch Bonnet Ernest Wilson Do Good 2020 Zedek Records African Brothers - Righteous Kingdom 1973 Black Roots reissue Ital Gideon Jah Rubbaal - Judgement Time 1977 sorti en 2009 Jah Rubbaal sur l'album Free Us Now Sheila Hylton – House on the rock 1981 Harry J Dennis Brown – Border 1990s Scorcher Universal Tribulation - Heartical Label 2020 : Sun I Tafari “Universal Tribulation (Tribute to Gregory Isaacs)”/ Macka B “Humble We Humble/ Carlton Livingston “Baby Please”/ Rod Taylor/Badoo/Daweh Congo/Guive/ Troublesome & Cerose “U.N.I.T.Y”/ Rootsamala “Believe In Yourself”/ General Levy “Twists & Turns”/ B D F Band & James Zugasti “Universal Dub Tribulation” Luciano - State of Emergency 2020 Addis Records Trevor Junior Dougie Conscious - Hold on 2020 Diop Side Saralene – Mama nature 2020 Jah Chalice Records mixé par aDUBta R.esistence in Dub meets Longfingah – Come dance 2020 GuerillJah Productions R.esistence in Dub meets Longfingah – Warning D.M.Tafari - Knowledge We Dubbing For 2020 Reality Sound System Records

The fathoms you plunder the more you get, the more you realise. The harder they drop, the deeper they fall on the wheels of steel… the more you go back to olde ways, to the fathomless mystifying sound of the Brentford Road Posse the greater the epiphany. Coxsone was a Wizard of Time and Space. Foundations isn’t even the works, foundation stone, head corner stone, is just the first building block, but the house of Reggae is built upon and within the Earth and the soil, and the beating heart and lungs of that earth . . . Was Studio One. Here is a selection to cease your objection to any other direction of Argue-ment, Record money well spent… forward with the rhythm of life. Run it . . . . p.s I’m sure that Lone Ranger says ‘Mi Friend Seth Blatter’ on Now the Gate Fly..! 1. Reggae Galore - Jim Nastic - Studio One 7” Single 2. Majic Spell - Cornell Campbell - Studio One Lp - Majic Spell 3. Baby Why - The Cables - Studio One 7” Single 4. Fear Not - Winston Jarrett - Studio One 7” Single 5. Skank Corner - King Stitt - Studio One 7” Single 6. Make A Joyful Noise - Silvertones - Studio One 7” Single 7. Freddie McGregor - Rastman Camp + Version - Studio One 7” Single 8. Johnny Osbourne - Truths and Rights - Studio One 7” Single 9. Lone Ranger - Now The Gate Fly - Studio One 7” Single 10. Blackstones - Tribute To Studio One - Studio One 7” Single 11. Bop and the Belltones - Smile Like An Angel - Coxsone 7” Single 12. The Heptones - Ting A Ling - Studio One 7” Single 13. Lascelles Perkins - Tell It All Brother - Studio One 7” Single 14. Cedric ‘Im Brooks - The Chicken - Studio One / Soul Jazz 7” Single 15. Roland Alphonso and the Sound Dimensions - Freedom Street - Rock a Shacka (C&N) Revive 7” Single 16. Carey Johnson - Correction Train - Money Disc 7” Single 17. Alexander Henry - Please Be True - Studio One 7” Single 18. Johnny Osbourne - Lend Me The Sixteen - 7” Studio One Single 19. Senior Pablo - Seniorita - Studio One 7” Single 20. Jackie Opel - Old Rocking Chair - Coxsone 7” Single 21. Clarendonians - Rudie Bam Bam - Coxsone 7” Single 22. Pablove Black - Chaunting Dread - Studio One 7” Single 23. Prince For I - Natty Farmyard - Coxsone 7” Single 24. Cornell Campbell - Natty Don’t Go - Studio One 7” Single 25. Dennis Brown - Easy Take It Easy - Studio One 7” Single 26. Freddy McKay - Picture On The Wall - Money Disc 7” Single 27. Cornell Campbell - Stars - Nu-Beat 7” Single 28. Mystery Track - Paul Rodgers with ‘The Maytals’ - I just Want To See You Smile, a One Away special recorded while Paul Rodgers was on Holiday in Jamaica 1972, offered as a tribute to the now late great Toots of Toots and the Maytals, long may he rest in utter Peace. We don’t do the normal shite.. If you fancy helping the show out you can send money via PayPal. Don’t use Patreon it’s horrible. Send it via the link on the show page on Podomatic, this show is available on iTunes, Podomatic and Mixcloud. I thank you, this money is used to keep the servers pumping out the show, and occasionally to purchase a new tune to play you all.

Today I am speaking with Alexis Robillard. Alexis has been working in the cosmetic industry for over 15 years in Paris, working for several international fragrance or skincare brands including Dior, Burberry, Jimmy Choo fragrances. He is now the founder of ALL TIGERS:  100% natural, vegan and ferociously stylish lipsticks and nail lacquers.This series features conversations I conducted with individuals who have dedicated their work and lives to Vegan research, businesses, art, and society. This podcast series is hosted by Patricia Kathleen and Wilde Agency Media. https://en.all-tigers.com/@alltigers_organics TRANSCRIPTION[00:00:10] Hi, I'm Patricia. And this is investigating Vegan life with Patricia Kathleen. This series features interviews and conversations I conduct with experts from food and fashion to tech and agriculture, from medicine and science to health and humanitarian arenas. Our inquiry is an effort to examine the variety of industries and lifestyle tenants in the world of Vegan life. To that end. We will cover topics that have revealed themselves as Kofman and integral when exploring veganism. The dialog captured here is part of our ongoing effort to host transparent and honest rhetoric. For those of you who, like myself, find great value in hearing the expertize and opinions of individuals who have dedicated their work and lives to their ideals. You can find information about myself and my podcast at Patricia Kathleen dot com. Welcome to Investigating Vegan Life. Now let's start the conversation.  [00:01:13] Hi, everyone, and welcome back. I am your host, Patricia. And today I am sitting down with Alexis Robillard.  [00:01:20] He is the founder of All Tigers, which is a hundred percent natural Vegan and ferociously stylish lipstick and nail liqueurs line. You can find them online at e n dot all hyphen tigers' dot com. That is e n dot all hyphen t ig e r s dot com. Welcome, Alexis.  [00:01:42] Thank you for having me. Absolutely. I'm very excited to climb through.  [00:01:46] You the first French Vegan company that we've spoken to. I've spoken to Irish and Australian. So I can't wait to climb through everything. And for everyone listening. I'm going to read a bio on Alexis to give everyone a good platform for where he's coming from. But before I do that, a roadmap of today's podcast will first look at Alexis's history and brief background on academia and his prolific professional life in the cosmetic and beauty industry. And then we'll start unpacking all tigers. The impetus for why it was founded, as well as some of the logistics of the who, what, when, where hot while and why, such as funding, co-founders, those types of things. And then we'll get further into the philosophy and the ethos behind the line, why Alexis chose to make it Vegan the story behind it and all of those questions within that. We'll wrap everything up with advice that Alexis may have, an information he can share with those of you who are looking to get involved with what he's doing, purchases, items and perhaps emulate some of his career success. A quick bio on Alexis before I pepper him with questions. Alexis is a French citizen who has been working in the cosmetic industry for over 15 years in Paris, working for several international fragrances or skincare brands including Dior, Burberry, Jimmy Choo fragrances. The idea came to him when his pre-teen daughter started to get into makeup.  [00:03:07] He noticed that it was either really trendy but not very green or green and not really trendy. And there was also a kind of Vegan challenge. The Vegan claim often used as camouflage for highly synthetic formulas. Why not have both? Alexis asked himself. Plant based formulas and Vegan  formulas.  [00:03:27] He then realized that all women around him were confronted with the same exact issues. That was the starting point for all Tiger's natural Vegan and ferociously stylish makeup. So, Alexis, I love that the impetus and I really look forward to kind of unpacking all tigers and get further into the story about what you've discovered with your daughter, with the information you have on your website. But before we do that, could you draw us a history, a brief professional history and academic background? I mean, you were hanging out in Paris at dawn, Burberry and Jimmy Choo, some of the iconic moments of makeup, cosmetics and fashion. Can you kind of dress the history of your professional life bringing you to all tigers?  [00:04:10] Yes. Well, I have worked for 15 years in the cosmetics industry, so much in marketing positions for beautiful brands, as you said. So I started that perfunctory job as a young product that people are parents in care and fragrances. And then I moved to a license to of Burberry and Jimmy Choo fragrances, which is in Paris as well. And finally, I worked for a few years for French brands like Issues Can Care and Hope to get into the French wellness brand that are sold in pharmacies in Europe. So it might not sounds like it, but when we have my back, when that actually I've worked on many projects that were linked to natural beauty formulas. But as you may know, the this kind of project where I was never launched into WhiteWave is a way to focus to the rockets were not ready maybe or consumers were not ready. So over these years, I had some frustration that I was quite convinced that we could do much better on this on natural plant based formula. That's why I actually I I came at a point where I wanted to watch a more personal story. And this is where the idea of all Tiger's natural makeup came up.  [00:05:19] OK, so let's get into the logistics. Get those out of the way. When was it founded?  [00:05:24] Did you have any other founders and did you take any kind of financial funding, be it loans or venture capitalists or tigers?  [00:05:34] No, we are a small team of sweet people to David. It was actually your own near to your story. I started at the end of 2017. Well, actually, I found a supplier of the ideal supplier, Faltu, to work on natural makeup. And it was purely self-funded at the beginning, know in 2017. And I waste a little of money on the way. But still, it is Stela. I worked on a valve that actually financed most of our spendings now. So. So, yes. So we'll launch the actual launch came after a crowdfunding campaign. So it was planned at the beginning, at the end of 2017, beginning of 2018. I started the project and actually I did two quotes on this campaign. At the end of 2019. And then I was always there to look for money under way. But most of our spendings today are friends by our turnover and organically.  [00:06:35] OK. And I'm wondering, finding I know Vegan companies in the United States go through a plethora of venues and there are different indexes. They find their manufacturers and distributors and things like that.  [00:06:48] What was the journey like for you researching people to help you manufacture Vegan products? How is that interviewing process where there are a lot to choose from? Well, very few, actually.  [00:07:00] I wanted to make makeup that could be at the same time so natural. And again, as we said, as you said before, actually you can do Vegan when it's one of the Coxsone synthetic ingredients. But I wanted to be natural makeup and natural formulas. So it was quite complicated here because it's not an expense, as you find everywhere. It's only a few suppliers in Europe doing plant based makeup. And again, makeup is on the other side. So actually, that was very few they that to play football. So I did some interview. As you said, it was quite some research, but at the end of the day, you don't have so much choice. So, yeah, what is great is that actually it was love love at first sight with a supplier. So at least on a personal level, we were super in line. And they're quite easy to actually grant the some vision.  [00:07:47] Absolutely. And you're drawing up an interesting point, and I'm glad for that clarification. I kind of want you to enumerate on that, expand further for our audience. It's it's something that your website addresses very elegantly.  [00:07:59] But there is an absolute distinction between something being Vegan and still very synthetic and processed. You have this emphasis towards 100 percent natural. Can you kind of speak to those differences or how they go? Hand-in-hand, but not necessarily always.  [00:08:14] Yes, of course. Actually, when I when I started in the cosmetic industry, we were not questioning that much. The formulation itself, actually, cosmetics have a long history of synthetic ingredients that are easy to supply of debate over time. So the majority of cosmetics is city based and natural ingredients are quite an exception, actually. And there is also the question of animal derived ingredients like, you know, collision yellow and see so much more. I got interested Step-By-Step in Green Beauty, but I was super convinced that we should do both, actually. So at the same time, it's more natural ingredients and also not using animal derived ingredients. So I think that, yes, the main challenge is actually to do both. You say if I just use the example of lipstick, for instance, this is that a woman would eat up to two kilos of lipstick of our lifetime. So you would expect most brands to select very wisely their ingredients, particularly super healthy. But when you look into the ingredient list on the lipstick packaging, there is nothing you would like to put on. I don't know your daughter's leap's or your models or your wives or your sisters. It is quite nonsense. It's two kilos of crude oil in its petrochemical based silicones. It's very a lot of questionable chemicals, ingredients and animal derived stuff as well, which is quite. Here, when you read on the level of the packaging. So, as you say, it's when went in the lipstick, for instance, on animal derived ingredients, you will find beeswax or these products often come from far away where the conditions are quite controversial. These are raised in the box and said with cause and no flowers, no query, no nice beekeeper in love with me. So it is unethical. For once in a lipstick, you can also find a wet pigment called the chow mein, which does not Vegan it comes from female Chinese. So there the sun dried and crushed. So another ethical issue, you don't really want to see the animal or insect to actually create a lipstick. And we want to put actually that on your lips, so. The alternative would be to just replace banks into thinking we just have a 100 percent synthetic lipstick. But it is the same actually you don't want to eat two killers of synthetic ingredients. So you see what was important for me. You ready to get to natural end again and make only Vegan, which also could mean actually. It really is.  [00:10:49] And this is where the Vegan as natural 100 percent kind of meets up with it.  [00:10:55] There is a parallel in the food based world where people are talking about being whole plant food based vegans as opposed to just being vegan. There's that junk food vegan person out there and there's this parallel after I was researching the work that you've done in your company at all, Tigers, and I was looking into and kind of rethinking. I had been taught from a very young age that to have a you, it was impossible to have a vegan cosmetics line because there was nothing that created the preservatives that the items would tarnish or become rotten before one could use them all. And there weren't medium's platforms to deliver the same consistency on. And there was this kind of understanding, even as you know, as someone who is very well versed in the Vegan community, that there was just an inability to have cosmetics be 100 percent natural and Vegan you could have them Vegan, but they were going to have these chemicals in them and things like that. And it does sound as you're describing everything out there that isn't 100 percent natural and or Vegan it sounds like there aren't any mediums left, the people you're working with, the people that are, you know, manufacturing it. Are they flagships? Are they people who are like the first in their industry? Or are there a lot of companies out there that have these alternative ingredients that we just don't know about?  [00:12:14] I think it's you have a lot of alternatives and you have a lot of brands working on that. But as you say, it's much more like local small brands. It's never like to big luxury brands, probably because actually it's not as easy to. Created an industrial process for very large frontages on a natural formula, because actually it requires some specific attention. And you can have very fast process, for instance. So I think that's why actually most of the companies don't want to put there, because it would actually raise the costs because, of course, natural ingredients are more expensive than most of the synthetic into alternatives. And also, it's as impact on cheating, on industrial pressure as and so on. So it makes it much more complicated. And if it's complicated, it's more costly. So I think that's a reason why it is still small brands or local brands. It's more complicated to industrialize a product for sure. It would be more costly. So natural ingredients are much more costly as well. So I think that the secret of it and why actually it still is a small companies that actually go for it because it gives even the consumers that they want to invest in the consumers.  [00:13:34] Yeah, absolutely. I'm curious. And you're and I want to restate what you said, because I read it on your website and gasped.  [00:13:41] And the average woman will consume, ingest, swallow two kilos of lipstick in her lifetime, which, you know, and I had never even really clarified. Even the most natural of lipsticks, whether or not I want to take two kilos of that going through my digestive track over my lifetime. And your story is interesting. It starts with your daughter coming of age and getting into cosmetics and all of that. You kind of speak more to that. How did that whole thing transition into you kind of thinking about what products you did want her using?  [00:14:15] Yeah, actually, the idea of all tigers came, as you said, it was my daughter. She is 14 today. And so she was a teenager at the time and she was planning summercamp. And, you know, at the end of a summer camp, there was a party. And when you were eleven or twelve, you planned this event as if it was the Emmy Awards night. So. So she was looking for a lipstick. I'm joking. How serious?  [00:14:39] And when we looked together, I was quite surprised because we noticed it was either a really trendy but not that we know who we not fully 20s, as you said before. And I realized that all the women around me were confronted with the same exact issues where they wanted more natural lipstick that they didn't want which brand choosing which ones I should choose or which retail they should go to to find this kind of product and use using use of product is they were not to choose this kind of the look and feel of the products were not that attractive. So there were a lot of issues that I thought at the time we could actually solve. And through my process was very simple. I just thought about the women and I asked women what they wanted. So I did a lot like a lot of one to one interviews to actually understand what works for them, do the best they could. And actually, I opened very early an Instagram page, asking women to actually help me to to create the perfect lipstick in that room. So perfect lipstick. That would mean, of course, to get close to perpetrate a great old, long lasting Caros, but also natural ingredients. And again, actually, so the Vegan aspect was quite important for only a part of them. But I thought that was important because actually even this minority of women would be we could address them with this kind of product. Actually, I made a promise to actually do the best activity. So I said I should be faithful to this premise. So I went to Vegan. I was not so clear about what was it on at the time. And actually, on a personal level, I have transitioned a lot from that. So it's an interesting travel.  [00:16:24] Yeah. It's a dialog. It's a philosophy that kind of starts to permeate all areas of life, even for me.  [00:16:31] Ten years. And I'm wondering when you designed it.  [00:16:34] I love this idea of collecting intel and doing this market research with the French Parisian woman. When you designed your your lipstick and nail lock your or was your target audience solely the French woman or feme identified anyone who wants to wear lipstick and nail Lacau? Or did you think eventually you might try and expand it to other European countries or even globally?  [00:17:00] Yeah, it's it's a really good question. But for sure, I thought about it internationally because I think that's what we stand for actually can equal many women around the world. I would be there. I would try to be in the UK, in the US and Canada and Asia. Actually, I would I would be there with production because I, I feel what we stand for could help many women transition to a greener. It's called, again, lifestyle. And it's not a question of the. Ranch. Hate to here's a view like that.  [00:17:34] I've Francis, always used as the icon. So I don't think it hurts to be, you know, to launch from there. From the beauty industry and cosmetics line, I do like the push, the impetus for your story, this inspiration of your daughter.  [00:17:47] It points towards I want all women to be healthy, but most importantly, I want to bring up my daughter's generation shore in a different light than your mind or my mother's or my grandmothers. And so I think getting this new generation very aware of the ingredients and what they're putting on themselves is key. And companies like yours that do that are paramount for the next generation and their generation after that.  [00:18:13] I'm wondering, do you how is we talked off the record.  [00:18:18] I told you I was going to ask you about this, but the relationship that I can kind of if I can speak for my country, which I'm sure most would prefer I not, but the relationship between the Americas, American woman and cosmetic buyer and consumer and that two products that are considered Vegan. And I said Vegan originally, but 100 percent organic and eco sustainable and things of that nature is this idea of luks. You know, there are a lot of environmentally conscious people, but a lot of people see that and they think that not only is it environmentally friendly, they immediately assume it's going to be better for their body. Therefore, they're prepared to pay more. And also, it feels more expensive. They expect more out of the product of the packaging, even if you will, those types of things that the packaging, the eco sustainable. There's all of these attachments, these relationships that go along with something that's Vegan and 100 percent organic. And I'm wondering what the Parisian conversation is, if you would be so bold as to do the same for your country. Is the reception of Vegan and 100 percent organic products cosmetics in France received on the same level? Or can you kind of speak to how the French citizen might view that and what the relationship is?  [00:19:34] So I think it's organic. I think it's already widespread in France. You have historical brands that were already there for a long time.  [00:19:43] I think on the organic part, I think it's already been widespread because you have a lot of historical brands or with younger market and it's nothing personal, actually.  [00:19:52] You do have a lot of organic stores already. Glenzer so organic, I think was not that exceptional.  [00:20:00] Vegan is a different story because again, no state has a recent history in France.  [00:20:04] Four years ago it was only one percent of the population itself begins with very small. And last year, two or three persons that you see that. And there was one person that saw that again and took us 10 percent saying that there would be interesting Vegan products. So you see, it's recent, but it's doing very fast. And once you in that direction, I think there is no way back.  [00:20:25] I see myself I have done some big steps on that. And for sure, I want to go back. So.  [00:20:33] I think that you can get into the subject for various reasons. It can be.  [00:20:38] I don't know, medical because you're lactose intolerant or because you're into more respectful animal or because of the environmental impacts. Many, many reasons that for sure, it is more about being an educated and aware consumers about the impacts. Is showing part of that. It's.  [00:20:57] If we talk about beauty products, you have Vegan products at every place, so it can be a luxury, but it's also a question of, I think education values ethics on the social ladder on the planet.  [00:21:09] I agree. And as the need goes up, you know, the price will come down. It's the same thing with shopping and food industry once these ingredients become available.  [00:21:18] And as free flowing as eggs and milk, then the prices come down. I'm wondering with the different items that you have. So when you launched how many you have lipsticks and nail Lacau a lacquer and how many of each did you launch with? Did you immediately grow? How many of each do you now have? Can you kind of speak to the product line?  [00:21:43] Yes. So we started with a range of twelve shades of metallic lipsticks, so metallic six. And the formula is one other person to begin. Of course, it's up to one person. Not sure because when y one of two went under. I think it's because sometimes on some pigments we don't have alternatives either. Natural.  [00:22:06] See you started off with 12 lipsticks and did you have no lacquer at the same time or did that come later?  [00:22:13] Sorry. Yes. So we started using twelve sheets of metal. Then we launched the. Then they let go 20 second step because actually, you know, we ask the community, especially on Instagram, for every big step section and we ask the community what should be the next step. So then we speak and they say for sure it's like yours because it's full of controversial ingredients and so on.  [00:22:36] And we you can do much better. So actually, we took a big step into a new plan based ingredients that are super interesting, actually. You know, like those we have great colors to pound on, super shine and the super political to to use and apply. So people actually listen with no difference. You want no licorice and steel. It is up to 83 percent of natural ingredients.  [00:23:08] Yeah. And that seems like a tricky one. The nail polish industry in the United States is by far exceeded all of their cosmetics products over the past five years.  [00:23:18] It went from a ridiculously mediocre climate to the next booming, you know, hundreds of trillions of dollars a year. And I know that with that, there are very few people actually considering the ingredients. And it's one of the few things that I think people think that the nail is not necessarily placing it on the body. There's been a lot of talk, too, that the problems with that and people viewing that and I've spoken to a Vegan nail polish industry maker here in the United States, in Nevada, and she said the difficulty for her in developing it, she was actually developing formulas, which was getting these long lasting long stays, the styles and the the traditional industry had been mixing in. So I know that it's it's you know, it's a booming industry. But to get a really good Vegan, 100 percent natural one would be a UNICOR. How do you feel about your product with the nail liquor?  [00:24:16] Do you feel like it says it's as good as its counterparts that are not Vegan and 100 percent organic?  [00:24:23] I think I think it's the same for lipstick and the same for nailer girls. What surprised our consumers that are used to maybe luxury brands or conventional brands, for instance? Is that actually they find the same service. It's the same thing. Intense clothes and along the whole colors and and shining into your exemplars. And they lacquers. It is not what they expected from natural makeup, to be honest, is the sort that they would have to compromise on quality. And what is great is that actually a love? It's. And that's why you actually know we have many products on ice and complexion and so on who can make a lot of good stuff with natural ingredients and from base ingredients in a Vegan way. And actually bringing exactly the same service that they are used to with their curan range.  [00:25:13] So what's next? What do you think you've gone into? You reached out to your people. They asked for a nail lacquer. What's next? Will you do anything else? Will you stay within just those two product zones or do you think you'll keep expanding?  [00:25:27] For sure. We will keep extending. I'm sure. I'm sure of that. So actually, we are making Brand. So we want to go to our two eyes and skin for sure, because we want to offer a community a very easy, attractive solution to transition to a new lifestyle in the U.S. So I feel this is our mission, and especially in this period of time before what we are going through is a. Nineteen, I feel and I hope people will feel even more connected to the planet to live in general, and that daily products that help make the world a better place with five. And and I feel that actually we were kind of put it all, take us, put it have something to do with that. Some contribute to that for our consumers.  [00:26:13] Absolutely. Well, what do you know about your packaging? Is there anything particularly special that you addressed with the packaging or the vessels that the products are delivered in?  [00:26:25] Yes, of course, actually. We wanted to make something bluebirds, actually the point since a cat unbox of the products. There are. Low carbon Accattone coming from sustainable forests. So the idea is really to have no particular varnishes metallic elements that would actually reduce the risk that we cyclicity. So the idea is to have a cut on drugs that you can really easily recycle. For instance, of plastic reuse is recyclable as well. We use aluminum caps, which is purely recyclable as well, glass. But also the idea is really to be insides. What you watch in Europe, you have a natural LaBella's that actually it did some kind of a playbook on packaging. So we tried to really follow all the rules to make sure I think, should you make the best choices. Also on the on every element of the packaging.  [00:27:27] Yeah, that's fantastic. And I'm wondering about the name. Oh, yes. How did all come up? I love it. I think it's fantastic. But where did it come from?  [00:27:39] Oh, it's it's it's a long story, actually, because as I said, actually, I was meeting women a lot when I was starting to to understand their needs and to design the perfect lipstick. And one of them actually told me, I feel that women on that note, who you listen to by custardy brands. That's why formulas are nonsense as well. So because actually, if you ask a woman what she wants to, you know, a product, she would probably tell you a natural natural ingredient for sure. So actually, tell me what you're doing with this product and a strong feminist dimension that actually I totally agree with that. And we are talking about feminism and cosmetics and this foundation. Tony, what is a paradox is that being a feminist is feeding at the same time very strong. They will prove a fool. And at the same time, Zuby threatens. And I said, oh, okay, okay. So just like Tiger actually, you just you Bucho a fool. And then your species. And she told me exactly. We are all tigers. And that's how the name was Monceau became. We are all tigers. I'll tell you also today, actually, we are proud, proud member of international organization, one positive for the planet. And we give back one percent of total sales for wild tiger preservation in Asia. But it's a very complete program. Protects tigers, but also the eco system, which is very certain this over years. Do you see that? We wanted to show also our respect to the living in every way. So not only the tiger as a as an icon, as a symbol, but also in a very concrete way. And when we see it all, Tiger, which is nice, that's for women, it's not about seduction. Like in many make a brand, actual Tiger Woods is a celebration of strong women. We celebrate their sweat trends. COAG fashion each make a career as a nickname, which is like you hit it big. Call me Queen Himuro. So it's a men's for something you say to feel good and strong for the day. So really want to inspire women in the different ways unconventional make it. And not just about superficiality, but something that comes very deep inside.  [00:29:44] Yeah, I really appreciate the and the dialog and the rhetoric that you're having with your your friends and colleagues and clients about feminism and kind of divorcing this concept between cosmetics and the the male gaze or show this idea of seduction and and things like that, and it reaching more into the community in which it lays upon, you know, which is women are female identified or men that are looking to engage in this, returning the use back to the user and the power and the dynamic between the relationship of the product and the user back to them is paramount. I think when you're looking at makeup that is moving forward into our daughter's generation, you know, shortening that the association and the utility of it back to them is really, really powerful. And I appreciate that. I'm curious. Well, first of all, before I forget, because I do tend to forget the logistics when someone is shopping for your product. Do you have a brick and mortar store? Do you have an online presence? Do you have third party retailers that sell your products? Where can people look for it?  [00:30:49] So actually, we have. When you shop, which is the end, that old iPhone tigers' dot com, which is in French and English and which is our first or today, and we deliver what today. And we are also sold by partners in 10 countries in Europe in about 300 doors.  [00:31:08] It's a mix of online offline concept stores. The Fumo use department store pharmacies, beauty spa.  [00:31:15] What is important to me is that we share the same interests for natural beauty that a natural beauty customer actually can go there and shop. So the white product not only ours, but interesting brands as well. So yes, we are we are quite available, but today, mostly in Europe. Do you see internationally. Sure. From. We shop, we we shop, we ship everywhere. Monophone.  [00:31:39] So everyone jump on. Everyone listening. I want to wrap everything up with him. The most recent climate. I don't like to avoid it. And I'm in if you haven't had a significant dialog with yourself or the company.  [00:31:51] That's all right, too. However, I'm wondering what the conversation that you have between your customers or if you've tried to kind of address the covered 19 pandemic and and how you have such a very specific product that has a relationship with the environment and things of that nature that have an inherent dialog with things like pandemic and things that come about from disturbing natural ecosystems and things of that nature. Have you had any kind of marketing or overt conversation or any personal dialog with yourself about how it might move all tigers forward or change your dialog and how you market with your customers?  [00:32:32] Yes, because actually it's a lock down. I actually came quite suddenly and being in touch on a constant basis with our community was, for me, actually a way to keep a positive mood and feeling and seeing seeing a useful to people. So, for instance, all tigers distributed. We are we are today distributed in some pharmacies with a strong natural offer in France. And those pharmacies, we are at the forefront of Kivett 19. So we produce 10 cents. I'd good just to be supplied for free to house workers. And there we are. So for me, pharmacies are part of our community. People love us in another way. Actually, people love Zulay hands of our packaging because it's a lovely drawing with our white Tiger Woods and the colored jungle. So we edited the clothing version that actually you can control yourself for grownups or kids and you could do a need for download for free and print on their website. I also organized a livestock's on Integrate Instagram with French entrepreneurs in beauty and fashion, and we explored the Tiger's view. It's a mix of passion, energy, resilience. You need to build projects. And that was really inspiring acting for me, of course, but also for all the people. Election year following their life left.  [00:33:51] And we made a lot of contests with other ethical brands on Instagram to have them discovered by the community and show them that it's not only about makeup, but it's only about fashion and skincare and other ways that those brands are amazing and nobody knows them and they should actually be no everywhere. So in two different ways. Some are more serious. So some were more entertaining.  [00:34:15] But we were very active to our community and we wanted to support everywhere. Our shop was closed a little bit because at the beginning of logistician had to deal with more, I would say necessary products and makeup, but then we could be open. And since we opened, actually we saw very strong dynamic. So I assume it's the same for a lot of retailers. But I feel people actually will actually need in this kind of period this feel that the brands they believe in and the trust actually helps them go through this kind of period.  [00:34:50] Absolutely. And I appreciate that dialog. It sounds like you've had so much movement on so many different fronts.  [00:34:55] A lot of people feel and paralyzed, you know, with how to address it, with how to look at their industries, their communities, how to to incorporate that dialog into what they're doing. And it sounds like you've done it so gracefully. I'm curious, from a personal standpoint, do you identify yourself as Vegan?  [00:35:15] Oh, yes, actually, yes, you're right. I didn't mention that before. But that's an important question, actually. When I started untangles, I did the new, as I said, so much about the Vegan. So it was quite a discovery for me. And it was led to like the base that I was at the time that they were big meat eaters. So to be honest, I was not Vegan at all. And I did know so much about it. So I got interested. I said quite positive about Vegan. I get a lot about it. But even if you know that it is more ethically and I'm the one that is friendly, I think it is not and actually began is not about a question of motivation. It cannot be only a rational process. It's something that you have to feel deep inside. So you have to feel deep inside that it's it's fair that it is right, though, to be honest. It came step by step. So I stopped eating lambs and then Couzens and also just step by step process. And probably I will discover new elements. But each step was a small evolution on the decimal level. And to be honest, I see that the only and pleasing thing about it is that everybody around you have something to say about it. And in fact, they use less because they all want to give you advice and then say. Stupid to go there. But so best the New Orleans intimates, it's actually a rational discussion. Can really make you change your mind. So anyway, at some point, no, I can really. Yes. I don't if I do the big community.  [00:36:48] Yeah. And it's an interesting time.  [00:36:50] You know, I think the one thing that unifies us from Vegan all across the world is that exact social dynamic of the ostracization. I've never angered anyone more that I didn't know. And then by telling them that I was Vegan, you know, a waiter, too. It's the most amazing statement in the world. And to bear that all the time is can be exhausting. However, what I will say and I tell my children all of the time, which is in your lifetime. What is happening not just with the tragic pandemic and things like that, it will come to fruition as being at least a very logical and sustainable lifestyle. And that questioning and discrimination ought to subside like before your very eyes. And how I lived will not necessarily hopefully be how you lived. So that will be interesting, to say the very least. I'm curious.  [00:37:43] That's what I didn't say that. It's important to say to your listeners know that even if you're not getting food, you should actually go for it. Again, beauty, because it's a question of transparency. You just want to know what is in their product. And you never think that it would be animal based. So for sure, for just that reason. It's interesting. I tried to get them to begin looking for show.  [00:38:04] I concur.  [00:38:05] And I think the majority of of women and men that I know that wear makeup and and do use Vegan and try to use plant based products are not Vegan. They just they really do care about and I like what you said, the transparency, you know, understanding the ingredients, or at very least when you Google them, not being horrified at what they are. Should be something we demand of our products, right?  [00:38:30] Yes, sure. In France, you have many mobile apps that help you to decode, decipher resistant ingredients needs for cosmetics. And the foreshores is the trend of seeing green products. But most of the time, people are very, very amazed about what they find and surprise. But what defines a population even full, put it is for you. So I think it's important that actually people just getting read get away with it. And transparency's for sure the key. It's a key value.  [00:38:59] I do, too. I completely concur. I like to sign off all of my podcasts with kind of reaching into you as a person, as a business owner, as a founder, as a father. We've been in interesting times and and it's been, you know, a lot of people. It sounds like yourself highly included in that have done a lot of self reflection, have looked at their own industries, even if they were beneficial in the past, even if they prospered during the pandemic and had created a new dialog with themselves about what it means now. You know, to be kind of surfing out this pandemic and even looking forward to hopefully the cessation. Do you have, like a top piece of advice or two pieces of advice that you give yourself or your community or your daughter regularly that you've kind of honed in to the tincture or the next year the nectar of of what is good and what to drive your life by?  [00:39:55] What to sail your ship by?  [00:39:58] Well, I I don't know if it will be your words of wisdom, but actually I, I always say be aware and do good. I mean, by that that's I think you should know what you are doing. Know what you're eating. Know what you're actually puts on your lips, on your skin. Know the consequences of what you know, Che's health. What is he done? May be behind what you purchase and do goods. I mean by that, doing the right choices and trying to do something fair. Something that is why it's something that you feel is why. It's something that is completely aligned with your values and convictions. And I think that is the main point. So that's why I said to my children, I have one daughter and two sons. So to my children. And for Scheu is something that actually gave me also now saying that if you if you get into an entrepreneurial product, it's for creating something new. And this new stuff has to be aware and do goods, do some good in a way. So that's actually something that gets me in every actions.  [00:41:04] I love that. I think that's absolutely perfect. I'm going to quote you on that when I quote his podcast and do good. The more simple them are more profound, as are Buddhist philosophers and lay out zoo have proven. Alexis, we are out of time, but I wanted to say thank you so much for speaking with us today and giving us all the information about your life and your company.  [00:41:27] Thank you very much.  [00:41:28] Absolutely. And for everyone listening, we have been speaking with Alexis Robillard. He is the founder of All Tigers'. You can find them online. It's E n dot, all hyphen, tigers', dot com. I encourage everyone to get on and check it out. This story you can look into further is fascinating. And for those of you listening, thank you so much for giving us your time today until we speak again next time.  [00:41:53] Remember to stay safe, be well and always bet on yourself. 

Blacker Dread was a member of the legendary Coxsone soundsystem, as well as being a music producer, record shop owner and co-founder of Splash. This exclusive interview was recorded in Brixton, South London following Blacker's release from prison, where he hosted National Prison Radio's weekly reggae show, Bob and Beyond.  

Mathieu Girod est parti rencontrer le musicien iconique du reggae, Clinton Fearon. Véritable gardien du temple de cette musique, le chanteur, guitariste et bassiste jamaïcain fait parti des pionniers du Reggae Roots. C'est en 1969 qu'il rejoint le légendaire groupe The Gladiators, au chant, mais aussi à la basse et à la guitare. Une formation qui deviendra emblématique dès les années 70 avec des titres comme "Chatty Chatty Mouth" et "Rich Man Poor Man" devenus cultes aujourd'hui, et dont Clinton Fearon était l'interprète.Dans cette période, on le retrouvera en tant que musicien de session au Studio One de Coxsone et au Black Art Studio du légendaire Lee "Scratch" Perry. À la fin des années 80, lors d'une tournée aux Etats-Unis avec les Gladiators, Clinton décide de rester là-bas et de s'aventurer en solo. Il formera tout d'abord The Defenders avec quelques membres du groupe puis son propre projet solo accompagné d'une nouvelle formation, The Boogie Brown Band. Depuis les années ont passé, une quinzaine d'albums à son actif, dont son nouveau, History Say (Baco Records), un disque où le chanteur raconte cinq décennies d'histoire du reggae et de la musique de son île. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

En cette fin d’année, deux poids lourds de la musique jamaïcaine prennent place aux platines du Novamix. D’un côté Lee Scratch Perry, producteur possédé dont les techniques de production ont… See acast.com/privacy for privacy and opt-out information.

Clement “Coxsone” Dodd dopo aver iniziato a spopolare in Giamaica con il suo sound system, il Downbeat, alla fine degli anni 50, inizia a pubblicare 45 giri esclusivi per le sue serate, e in un secondo tempo, per il mercato discografico. Venne naturale creare uno studio di registrazione, a TrenchTown, per le produzioni, fino al 1965 gli Skatalites lavoravano a tempo pieno come backing band sostituiti poi dai Sound Dimension con la direzione artistica di Jackie Mittoo...Definita “La Motown della Giamaica”, Studio One negli anni ‘60 e ‘70 testimonia l’essenza dello ska, rocksteady, reggae, dub e dancehall...Il modello imprenditoriale di Coxsone si ispirava alle etichette discografiche americane, creando contratti in esclusiva con gli artisti, ma la vera novità è nel sound, apparentemente più grezzo, ma che contiene tutti gli elementi per far ballare...TRACKLIST..1 Hugh Godfrey Mad World..2 The Skatalites Exodus (MSR edit)..3 Willie Williams Addis-A-Baba ..4 Andy/Joey You're Wondering Now..5 The Wailers I'm Gonna Put It On..6 Ken Boothe/Stranger Cole Arte Bella..7 Dawn Penn No No No ..8 Marcia Griffiths My Ambition..9 Cornell Campbell Natty Dont Go..10 Johnny Osbourne Murderer..11 Horace Andy Every Tongue Shall Tell..12 Horace Andy Skylarking..13 Alton Ellis It's a shame..14 Freddie McGregor Bobby Babylon ..15 Johnny Osbourne Truth and Rights..16 Sound Dimension Real Rock

Clement “Coxsone” Dodd dopo aver iniziato a spopolare in Giamaica con il suo sound system, il Downbeat, alla fine degli anni 50, inizia a pubblicare 45 giri esclusivi per le sue serate, e in un secondo tempo, per il mercato discografico. Venne naturale creare uno studio di registrazione, a TrenchTown, per le produzioni, fino al 1965 gli Skatalites lavoravano a tempo pieno come backing band sostituiti poi dai Sound Dimension con la direzione artistica di Jackie Mittoo...Definita “La Motown della Giamaica”, Studio One negli anni ‘60 e ‘70 testimonia l’essenza dello ska, rocksteady, reggae, dub e dancehall...Il modello imprenditoriale di Coxsone si ispirava alle etichette discografiche americane, creando contratti in esclusiva con gli artisti, ma la vera novità è nel sound, apparentemente più grezzo, ma che contiene tutti gli elementi per far ballare...TRACKLIST..1 Hugh Godfrey Mad World..2 The Skatalites Exodus (MSR edit)..3 Willie Williams Addis-A-Baba ..4 Andy/Joey You're Wondering Now..5 The Wailers I'm Gonna Put It On..6 Ken Boothe/Stranger Cole Arte Bella..7 Dawn Penn No No No ..8 Marcia Griffiths My Ambition..9 Cornell Campbell Natty Dont Go..10 Johnny Osbourne Murderer..11 Horace Andy Every Tongue Shall Tell..12 Horace Andy Skylarking..13 Alton Ellis It's a shame..14 Freddie McGregor Bobby Babylon ..15 Johnny Osbourne Truth and Rights..16 Sound Dimension Real Rock

G Cole, a lover of Reggae, the culture and the legends before him, relishes the opportunity to sit down and talk with Studio One legend, Singer/Songwriter Mr Winston Francis to hear the stories of Sir Clement Coxsone Dodd, Bob Marley and his own adventures growing up in Jamaica in the 60's and 70's when the music and the love was pure. All while enjoying tunes from Winston's stellar catalog. www.March4MusicEd.org www.alphaboysschool.org

Before Sir Lloyd Coxsone ruled UK sound system culture, here is his story.

Apologies to all for my long absence! I have moved to Tokyo and have not had my turntables all set up. Big Thanks to Chii Irie for letting me use his set-up to record this one! Unfortunately, the first half of this mix was damaged and could not be uploaded, but rather than admit I wasted the day, I am just going to post up this short mix (the second half!) Hope you all enjoy and stay tuned as my shit will be set up soon and ready to go! Tracklist: Heptones - Our Day Will Come (Prince Buster) / King Alpha - Marching to Zion (Blank) / Barry Heptone - Law Of The Land (Morwell Esq) / Prince Allah - Born A Fighter (Makosa) / Jerry Johnson - Zion Rock (City Line) / Rico - Take Five (Island 12") / Reggae Clinic 65 - Take Five (EMI), Val Bennett - The Russians are Coming (Lee) / Prince Lincoln - Humanity (Clocktower) / Ray Darwin - Nothing Can'Touch My 45 (Love Tank) / Terror Fabulous - Have You Ever Seen a 45 Dubplate / Chronixx - Spanish Town (Chronixx) / Sound Dimension - Joe Frazier (Blank) / Singing Melody - Dubplate to a Sound (Roof) / Hammer Mouth - Selassie (Young Scorpio) / Mison B (Club Cactus)

Dennis Brown - Out Of The Funk Edit By Petko Turner Dennis Brown was born on 1 February 1957 at Jubilee Hospital in Kingston, Jamaica. His father Arthur was a scriptwriter, actor, and journalist, and he grew up in a large tenement yard between North Street and King Street in Kingston with his parents, three elder brothers and a sister, although his mother died in the 1960s. He began his singing career at the age of nine, while still at junior school, with an end-of-term concert the first time he performed in public, although he had been keen on music from an even earlier age, and as a youngster was a keen fan of American balladeers such as Brook Benton, Sam Cooke, Frank Sinatra, and Dean Martin. He cited Nat King Cole as one of his greatest early influences. He regularly hung around JJ's record store on Orange Street in the rocksteady era and his relatives and neighbours would often throw Brown pennies to hear him sing in their yard. Brown's first professional appearance came at the age of eleven, when he visited a local club where his brother Basil was performing a comedy routine, and where he made a guest appearance with the club's resident group, the Fabulous Falcons (a group that included Cynthia Richards, David "Scotty" Scott, and Noel Brown). On the strength of this performance he was asked to join the group as a featured vocalist. When the group performed at a JLP conference at the National Arena, Brown sang two songs - Desmond Dekker's "Unity" and Johnnie Taylor's "Ain't That Loving You" - and after the audience showered the stage with money, he was able to buy his first suit with the proceeds.[4] Bandleader Byron Lee performed on the same bill, and was sufficiently impressed with Brown to book him to perform on package shows featuring visiting US artists, where he was billed as the "Boy Wonder". As a young singer Brown was influenced by older contemporaries such as Delroy Wilson (whom he later cited as the single greatest influence on his style of singing), Errol Dunkley, John Holt, Ken Boothe, and Bob Andy.[4] Brown's first recording was an original song called "Lips of Wine" for producer Derrick Harriott, but when this was not released, he recorded for Clement "Coxsone" Dodd's Studio One label, and his first session yielded the single "No Man is an Island", recorded when Brown was aged twelve and released in late 1969. The single received steadily increasing airplay for almost a year before becoming a huge hit throughout Jamaica. Brown recorded up to a dozen sessions for Dodd, amounting to around thirty songs, and also worked as a backing singer on sessions by other artists, including providing harmonies along with Horace Andy and Larry Marshall on Alton Ellis's Sunday Coming album. Brown was advised by fellow Studio One artist Ellis to learn guitar to help with his songwriting, and after convincing Dodd to buy him an instrument, was taught the basics by Ellis. These Studio One recordings were collected on two albums, No Man is an Island and If I Follow my Heart (the title track penned by Alton Ellis), although Brown had left Studio One before either was released. He went on to record for several producers including Lloyd Daley ("Baby Don't Do It" and "Things in Life"), Prince Buster ("One Day Soon" and "If I Had the World"), and Phil Pratt ("Black Magic Woman", "Let Love In", and "What About the Half"), before returning to work with Derrick Harriott, recording a string of popular singles including "Silhouettes", "Concentration", "He Can't Spell", and "Musical Heatwave", with the pick of these tracks collected on the Super Reggae and Soul Hits album in 1973. Brown also recorded for Vincent "Randy" Chin ("Cheater"), Dennis Alcapone ("I Was Lonely"), and Herman Chin Loy ("It's Too Late" and "Song My Mother Used to Sing") among others, with Brown still at school at this stage of his career

HISTOIRES DE # 7 Parler de Sound sytems jamaïcains est un pléonasme, mais votre épisode de ce mercredi 05 avril pose ses platines dans une ancienne colonie anglaise, l’île de la Jamaïque.   Histoires de va s'intéresser à la Jamaïque des années 1960-1970, celle qui a vu la naissance de ces sound systems. Tenez est-ce que vous saviez par exemple que la fonction même de DJ (disc jockey) vient de cette île ? C’est en effet à ces sound systems que l’on doit cette invention. Entre COXSONE et DUKE REID, focus de quelques minutes sur les plus gros sound systems de la Jamaïque !   PLAYLIST  Jackie Mitoo - Ghetto Organ Alton Ellis - I'm Still  In Love with You Girl Clue J et his Blues Blasters - Shuffling Jug  Phyllis Dillon - Don't stay anyway  Alton Ellis - Dance Crasher  U Roy - Happy to lucky girl  The Heptones - Fattie, fattie A VOIR L'exposition "Jamaica, Jamaica !" à La Cité de La Musique.   A LIRE Bass Culture : quand le reggae était roi de Lloyd Bradley aux éditions ALLIA Le Rap est né en Jamaïque de Bruno Blum aux éditions Le Castor Astral    

HISTOIRES DE # 7 Parler de Sound sytems jamaïcains est un pléonasme, mais votre épisode de ce mercredi 05 avril pose ses platines dans une ancienne colonie anglaise, l’île de la Jamaïque.   Histoires de va s'intéresser à la Jamaïque des années 1960-1970, celle qui a vu la naissance de ces sound systems. Tenez est-ce que vous saviez par exemple que la fonction même de DJ (disc jockey) vient de cette île ? C’est en effet à ces sound systems que l’on doit cette invention. Entre COXSONE et DUKE REID, focus de quelques minutes sur les plus gros sound systems de la Jamaïque !   PLAYLIST  Jackie Mitoo - Ghetto Organ Alton Ellis - I'm Still  In Love with You Girl Clue J et his Blues Blasters - Shuffling Jug  Phyllis Dillon - Don't stay anyway  Alton Ellis - Dance Crasher  U Roy - Happy to lucky girl  The Heptones - Fattie, fattie A VOIR L'exposition "Jamaica, Jamaica !" à La Cité de La Musique.   A LIRE Bass Culture : quand le reggae était roi de Lloyd Bradley aux éditions ALLIA Le Rap est né en Jamaïque de Bruno Blum aux éditions Le Castor Astral    

Mix Called Love is Funny Sometimes... This one is a rather random mixture of some serious obscurities ranging from ska acetates to sweet rocksteady to country man roots all the way up to some hard-hitting 80s digital. As Always this ya mix is live and direct - 2 turntables and vinyl! Andy and Joey - You Wondering Now (Acetate) / Charly Organaire - Ska Bo (Acetate) / Ken Boothe - Come Running Back (Studio One) / Castle Sisters - Solid as a Rock (Studio One) / Derrick & Patsy - Turn Me Loose (Prince Buster VOP) / George Dekkar - Run Them (BL Pre) / Belltones - No More Heartaches (blank) / Gaylads - Aren't You The Guy (Links Pre) / Owen Gray - Am Satisfy (Sir Collins) / Larry & Alvin - Your Cheating Heart (Coxsone pre) / John Holt - Wooden Heart / Gaylads - Looking For a Girl (Links Pre) / Vin Gordon - Soul Trombone (Coxsone Pre) / Ken Boothe - The Girl I Left Behind (Studio One) / Collins Band - Sweet Music ( Sir Collins) / Little WILLIE FRANCIS - JUST LIKE ME / BLACK BROTHERS - LOVE IS FUNNY (STUDIO ONE) / Trevor Belltone - Life (Coxsone) / Ken Boothe - From The Day I Know Myself (Sun Shot) / Larry Marshall - Susopicion (Studio One) / Bill & Dickey - Darling its You (Queen) / Milton McLean - Brimstone (Vision) / Fredrick Dookie - Black People (Sing & Swing) / Peacemakers - Hear Me Calling (Work Shop 12) / Mighty Revelation - Smoking Race (Wag Intl) / David Anthony - Make Haste (Sonjohn) / Delroy Wilson - any Heart Can Be Broken (Jackpot) / Delroy Wilson - Go Away Little Girl (Sounds United) / Delroy Wilson - Don't Be Untrue (Attack) / Joy White _Feding Time (Success) / Eli Reynolds - Car Man (Mr. Car Man) / Johnny Lover - Don't Rocky My Boat (Tuff Gong) / Dennis Brown - Life Goes In Circles (Starapple) / Wayne Jarrett - Anyone Who Have a Heart (South East) / Leroy Smart - Faith (Andinet) / Jr. Byles - Long Way Dub (Clocktower) / Silford Walker - Eternal Day (South East) / Deadly Headly - Drums of the Arab (Cry Tuff) / Dennis Alcapone - Ital Girl (Justice) / Itals - In a Dis Ya Time (Hopewell Survivors) / Barry Brown - Jah Loves Everyone (YEs) / Dick Palmar - In The Dance (Dick) / Pat Mar - she Ready for the World (Nura) / Justin Hinds - Marcus Tradtion (Fort) / Super Toney & Robert Levy - Mi Lonely (Top 10) / Scooby - No Mash Up Dance (Digitech) / Geritol - No Stocky Shop (Upsetter Jr.) / Johnny Clarke - Jah Bless The Man (Charm)

2016 was beyond shitty...Too many people lost. Too much insanity in the world. So, as a final goodbye to a historically shit year, we give you a bunch of sweet rocksteady and early reggae! Enjoy! Track List -- Rulers - Let My People Go (JJ Reissue) / Termites - We Gonna Make It (Merritone) / Desmond Dekkar - Fu Manchu (Beverly's Reissue) / Prince Buster - All My Loving (Fab) / Keith & Tex - Hypnotizing Eyes (Derricks Pre) / Mr Foundation - Timo Oh (Studio One Pre) / Stephen Chang - Always Together (Sunshine Reissue) / Hortense Ellis - Somebody Help Me (Fab) / Eric Morris - Play It Cool (Gay Feet) / Hamlins - Why You want To Walk This Way (Dutchess/Push Music) / Jimmy Riley - You Should Have Known (Studio One) / Gaylads - Fall In Love (Links Pre) / Entertainers - ? (Coxsone Pre) / Hopeton Lewis & Winston Frazer - Finders Keepers (Merritone Pre) / Hopeton Lewis - Skinny Leg Girl (Merritone Pre) / Desmond Dekkar - Sabotage (Pyramid) / Gaylads - Mama Look Pon (Links pre) / Dermot Lynch - Cool It (Gay Feet) / Entertainers - Great 68 (Coxsone Pre) / Glen Adams - Cool Down (Harry J Pre) / Ethiopians - Linger You Linger (Studio One pre) / Pat Kelly - Little Boy Bllue (Lees Pre) / Termites - Miss Stella (Olympic) / Ken Parker - I Cant Hide (Treasure Isle Pre) / Dennis & Lizzy - Ba Ba Ri Ba (Duke Reid) / Termites - Show Me The Way (Olympic) / Phyllis Dillon - Love Was All I Have (Treasure Isle) / Unknown Studio 17 Blank / Winston Turner - Appolo 13 Explosion (Pisces) / Family Man - Unknown Godfather Blank

Some Obscurities coming from Studio First ... Mixed as always live and direct with vinyl sweet vinyl! Track ListDon Evans – How Sweet it is (Studio One) / Claudette – Give Love Another Chance (Studio One) / Gaylads – Slipping and Sliding (Studio One) / Alton Ellis – Hurting Me (Coxsone) / King Stitt – Skank Corner (Coxsone) / DJ Dawn & The Ranking Queens – Peace Truce (Studio One 12”) / Freddie McGreogor – I shall Be Released (Studio One) / Jah T – Downpresser man (Studio One 12”) / Field Marshall Haye – Roots and Herb Style (Studio One) / Soul Vendors – Big Daddy Rock (Studio One 12”) / Roland Alphonso – Death In The Arena (Studio One 12”) / Jay Tees – Come to Me (Studio One 12”) / Pablove Black - High Locks (Studio One) / Black Brothers – School Children (Studio One) / Tony Brown – Inflation (Studio One) / Hortense Ellis – Life (Studio One) / Angela Prince – My Man Is Gone (Studio One) / Silvertones – Make A Joyful Noise (Studio One) / Willie Williams – Jah Righteous Plan (Music Lab 10”) / Judah Eskender Tafari – Danger In Your Eyes (Studio One) / Larry & Alvin – Hush Up (Studio One) / Delroy Wilson – Riding For a Fall / Johnny Osbourne – Jealousy, Hatred, Heartache and Pain (Studio One) / Hi Teens – Hey You (Studio One) / Delroy Wilson – I Don't Why (Studio One) / Heptones – Back In Your Arms (Studio One) / Sound Dimension – Funky (Blank) / Ken Boothe – Keep Me Hanging On (Studio One 12”) / Albert Tomlinson – Second That Emotion (Studio One 12”) / Dynamic Two – Let Love In (Studio One) / The Clarendonians – He Who Laughs Last (Studio one)

++ Tribute to the Fallen ++ R.I.P. to the great Prince Buster! 2016 is shaping up to be one of the worst -- snatching our heroes left and right! This Podcast is a tribute to those who we have lost -- mixed, as always, live and direct with Vinyl sweet Vinyl! Tracklist:Prince Buster - Al Capone (Blue Beat) / Prince Buster - Skahara (Prince Buster VOP reissue) / Prince Buster - Sunshine With My Girl (Prince Buster VOP) / Roland Alphonso - Istanbul (Duke Reid / Push Music Reissue) / Hopeton lewis - Black Man Time (Treasure Isle / Push Music Reissue) / Trevor Clarke - Giving Up on Love (Studio One Pre-Release) / Silvertones - Down By The Shore (Studio One 12") / Heptones - In The Mood (Coxsone) / Reuben Alexander - Big Daddy Rock (Studio One 12") / Tommy McCook - Tunnel One (Downbeat The Ruler LP) / Unknown (Studio 17 Blank) / Unknown (Old South Blank) / Johnny Clarke - Golden Snake (Atom) / Dennis Alcapone & Inversions - Shake Your Body (Swing a Ling) / Vin Gordon - Freedom Call (CB) / Al Campbell - When Spring Is Around (Sunshot) / Eric Morris & Shocking Heights - Love I (Sure SHot) / Bob & Rita - Hold on to This Feeling (Tuff Gong) / Ras Monk All Stars - Super Cool Pt.2 (Sound By Monk) / Super Soul aka Jr. Murivin - Super Love (Sounds By Monk) / Super Roy - Flying High (Sounds By Monk) / Bongo Herman - Super Cool (Sounds By Monk) / Bunny Clarke - Be Thankful (Clocktower) / Kezie & Augustus Pablo - Clean Sweep (Attack) / Horace Andy - Aint No Sunshine (Justice) / Jacob Miller - False Rasta (Thompson Sound) / Gatherers - Words of My Mouth (Orchid) / Debra Keese and Black Five - Travelling (Orchid) / Lord Sassafrass - Green Bay Inquest (Upsetter) / Ras Michael - None of Jah Jah Children (Starapple) / Prince Far I and Culture - Message From The King (Cry Tuff) / Dillinger - Dread No Warrior (Gorgon) / Big Joe - Natty Survivor (Gorgon) / Earl Zero - Righteous Works (Addis Ababa) / Jimmy Riley - Prophecy ( Romax) / Johnny Osbourne - Purify Your Heart (Techniques) / The Far East - Can We Make It Up (Channel Tubes) / Al Campbell - Judegment Day (Channel One) / Clint Eastwood - Roots Rock Reggae (Cord) / Ranking Devon - Farmers Choice (Reggae Connection) / Hugh Griffiths - Jah Bible (Ujama/Deadly Dragon) / ?? (Coxsone Music City Blank) / Jim Brown - ? (Coxsone Music City Blank)

A whole heap of a tunes from Rocksteady to Digital and everything in between for your listening pleasure! As always mixed 100% live and direct from vinyl sweet vinyl! ENJOY! Roland Alphonso - Ethiopian War (HighNote) / Im & Brentford Rockers - Everyday Skank (Studio One) / Techniques - heart of a Man (Treasure Isle / Push Music) / Dudley Sibley - We're Having a Party (Studio One Pre) / Boomshot! - Cower and Bend (Boomshot) / Sound Dimension - Park View (Sold Gold LP) / Fabulous Flames - Lovitis (Clandisc) / Bobby Ellis - Shuntin (Song Bird) / Alton Ellis - Arise Blackman (Aquarius Pre) / Rupie Edwards - Romp In this Room (Success) / Rupie Edwards - Success Pleasure (Success) / Rupie Edwards - Another Pleasure (Success) / Errol Dunkley - Mr. Smiley (Sydna) / Carlos Malcom - Sublime Dream (MAL) / Lennox Miller - Got To Be a Winner (Iron side) / I Roy - My Food Is a Ration (Sunshot) / Big Youth - Big Score (Terminal) / I Roy - Native Land (The Thing) / Ranking Starcky - Phenzic (Flames) / Tony Brown - Inflation (London records) / Stranger Cole - it Takes Time (Aires) / Cornell Campbell - Be Thankful For What You Got (Hitthout) / Henry James - Vampire (Quarter Mile) / Peter Broggs - I A Field Marshall (Cry Tuff) / Rod Taylor - Run Run (Cry Tuff) / Roman Stewart - Fire at your Heels (Faith) / Patrick Andy - Living in Mount Zion (Grove Music) / Tony Tuff - Love Can Conquer (Gorgon) / Jah Stitt - Dragon, Snake and Spider (Gorgon Pre) / Michael Rose - Archibella (Taxi) / Black Uhuru - Sun Is Shining (Carib Gems) / Barrington Levy - Warm and Sunny Day (Black and White) / Patrick Andy - Every Tongue Shall Tell (Prophet) / Michael Prophet - Nice Children of Israel (Lightning) / Black Uhuru - Guess Who Is Coming to Dinner (Taxi) / Edi Fitzroy - Youthman Penitentiary (Musical Ambassador) / Johnny Osbourne - No Lollipop No Sweet So (Jah Guidance) / Johnny Osbourne - No Ice Cream Dub / Horace Andy - Prophecy (Wackies) / Barry Brown - Rich Man (Incredible Hulk) / King Kong - Agony And Pain (Jah Lifetime) / Corna Stone - In this Town (Supreme) / Nuthead - Tenement Yard (Park Heights/ Deadly Dragon) / Roland Burrell - Dont Think About Tomorrow (Park Heights / Deadly Dragon) / Freddy Roy - Loud & Clear (Center Cut) / Yami Bolo & Blacka T - Waiting For a Sound (Rockers)

Mix Called Sweetness For Roughness -- Roots, Breaks and Digital for your listening pleasure! Mixed live and direct by Deadly Dragon in pure vinyl style! Check www.deadlydragonsound.com for all your reggaematic needs! Track Listing: Clive Matthews - No Apology Dub (Rootikal)/ The Maytals - Black Rose (Toots Presents the Maytals LP) /Pat Francis - Pound Get a Blow (Teem) / Glen Brown - Crisp as a Ball (African Museum) / Gregory Isaacs - One One Cocoa (Dwyer pre-release) / Freddie McGregor - Rasta Time (Blank) / Max Romeo - Word, Sound and Power (Prince Buster) /Max Romeo - Drive Them Away (Romax 12")/ Augustus Pablo - Pablo Dread in a Red (TR Groovemaster) / Yabby You - Conquering Lion (Prophet) / Yabby Youth - Beware Jah Is Watching You (TR Groovemaster)/ Don D Drummond - Movie Swing (Shacks)/ Cornell Campbell - Just a Moment (Monicas) / Johnny Lover - Our Love (Love) / Unknown - Can't Get Next To You (Harry J Pre) / Tommy McCook - Sidewalk Doctor (SRS) / I Roy - Sidewalk Killer (SRS) / Wayne Jarrett - African Woman (Versatile ) / Baba Leslie and Mark - Black Horns (Tribes Man) / Tschaka Tonge - Life is a Festival (Hevyaka 12")/ Linval Thompson - Sukumaka (Prophets Studio B) / Ranking Devon - Peaceful Dreadlocks (Abeng) / Sister Nancy - Telephone Chalice (Volcano) / Lone Ranger - Jamaica Weed (Thrillseekers) / Lui Lepke - Wa Da Da Die (Gorgon)/ Simple Simon - Creator (Rebel Force) / Early B - Stop The Robber (Rebel Force) / Plyers - Jahovia (Studio One) / Love Joys - Give Me Back (Wackies 12") / Don Evans - Haji Ba Ba (Shade 12") / Massive Horns - Rocking Easy (Fashion) / Danny Red - Dance Get Hot (Riz)/ Reprobates - Chapter 2 (Fashion) / Boombastic Crew - Automatic Sound Killer (Riz 12") / Hax Saw - Nuh Fatten Roach for Fowl (Leggo 12")

++ Mix Called Patta Patta Revolution ++ This one to bless up the coming of Summer -- a mix of late ska, Rocksteady, stone grooves and some roots! As always all tracks mixed live and direct with vinyl, sweet vinyl! Track List:Ken Boothe - You Keep Me Hanging On (Studio One 12") / Jamaicans - Chain Gang (Studio One Pre) / Stranger Cole - Drop The Ratchet (Gay Feet) / Delroy Wilson - Get Ready (Studio One Pre) / Glen Brown - Ska Diap (Studio One Reissue) / Dandy - You're No Hustler (Ska Beat) / Patsy - Hangin On (Gay Feet) / Patsy - Pata Pata Rocksteady (Gay Feet Pre-release) / Paulette and Derrick - Stop The Wedding (Hop Reissue) / Vic Taylor & Supersonics - Heartaches (Treasure Isle) / Soul Tops - Good Things (Pre-release) / Basses - Big Mistake (LP Cut) / Sir Harry - Music School (Pre-release) / Dreadlocks - Gun Fever (Natty) / Ethiopians - Do It Sweet (Pre-release) / Prince Buster and Teddy King - Shepperd Beng Beng (Fab) / Prince Buster - Things is Changing (Prince Buster) / Johnny & Attractions - Coming on the Scene (Gay Feet/Only Roots Reissue) / Alton Ellis - I'll Be Waiting (Techniques Pre) / Carlton and Shoes - Love (Studio One) / Delia Humphrey - Dreamland (Dreamland) / Magnetos - Eternal Love (Studio One pre) / Alton Ellis - She Boom (Coxson) / Leroy Sibbles - Express YourselfCoxsone) / Owen Grey - Nothing Can Seperate Us (Camel) / Ken Boothe - I Wish It Could Be peaceful Again (Summit) / The Cables - Salt of the Earth (Harry J ) / Flaming Phonics - Hey Baby Delay (Total Sounds) / Unknown - Travelling Man (Pre-release) / Bunny Clarke - Be Thankful (Clocktower) / Marcus Reid - Poor Man Cry (Soul Fire / King Rocky reissue) / Augustus Pablo - African Rock (Scorpio) / Glen Brown - Sunshine Showdown (Dwyer) / Jackie Edwards - Invasion (High Note) / Dennis Brown - Changing Times (Crystal) / Ray I - Kunte Kinte Black Roots (Crystal)/ Super T - West Bound Train (Wackie 10") / Breezy - Riding on a High and Windy Way (Keiths) / Errol Dunkley - My Baby Is Gone (Silver Ring) / Horace Andy - Lonely Woman (Crystal) / Delano Stewart - Heart Of Stone (Timbrell) / Augustus Pablo - Rockers Special (Yard Music) / Bobby Kalphat - Lion Head (Leo) / Gregory Isaacs - Mr Know It All (Up Front) / Ranking Joe - Zion (Cash & Carry ) / Matic Horns - LEt Him Blow (Rootikal) / Jerry Johnson - Saxman Special (Bullwackies 12")

++ COLD DAYS, WARM NIGHTS ++ This one dedicated to all the Winter sufferers -- the snow-bound, the slipping on ice on the way back home folks: Yes indeed 2 plus hours of sweet 70s lovers, roots, soul-covers, Dj verses, instrumentals and more to warm you up when you finally get back home! This one is LONG -- perfect for making dinner to, drinking rum to, sitting on the couch to, whatever! As always this one mixed live and direct with vinyl sweet vinyl -- check www.deadlydragonsound.com for more great tunes! Lennox Brown - Trial Of Babylon (Jackpot Pre-release) /Delroy Wilson - Doing My Thing (Jackpot) / U Roy - Doing My Thing DJ verse (Jackpot Pre-release) / cornell Campbell - She is a Devil In Bed (Jackpot) / Cornell Campbell - My Confession (Panther) / Winston Wright - Peace and Love (Jogib) / Soul Mates - Peace Maker (Pressure Beat) / Carlton & Shoes - Love (Studio One) / Michael Rangling - Treasure Rock (Mellotone) / The Immortals - You Cant Keep a Good Man Down (Mellotone) / Heptones - Love is a Special Feeling (Studio One Pre) / John Holt - Work All Day (Treasure Isle) / Slim Smith - Rain From the Skys (Justice) / Augustus Pablo - Melodica (Jaguar) / Winston Heywood - Bam So Ba (Jaguar) / Dennis Alcapone - Go Johnny Go (Jaguar) / Lloyd Charmers - What Can I Do (Splash Pre) / I Roy - What Can I Do Dj Verse (Splash Pre) / Lloyd Parks - Stars (Impact) / Cornell Campbell - Stars (Jackpot Pre) / Errol Dunkley - Baby I Love You (Blank) / U Roy & Errol Dunkley - The Higher The Mountain (Gussie)/ Lloyd Young - Station to Station (High School Pre) / Bongo Herman - Puss In Boots (High School Pre) / Stranger Cole - Crying Every Night (Treasure Isle Reissue) / Tommy McCook - Mighty Alley (Treasure Isle Reissue) / Sound Dimension - Tom Tom (Supreme Pre) / Cables - Baby Why (Studio One) / Dennis Alcapone - Baby Why Dj Verse (Supreme Pre) / Sir Harry - Uptown Rock (Electro) / Dave Barker - Johnny Dollar (Pee) / Laurel Aitken - Landlords and Tennets (Lee Pre) / Dave Barker - Double Havy (Pee) / Lizzy - Musical Heartache (Harry J) / Harry J All Stars - Musical Weather (Harry J) / King Stitt - I for I (Clan Disc) / Alton Ellis - Slip Away (Clintones) / Hugh Hendricks - Zylon (Randys) / Harry J - Skank Indigo (Horse) / Errol Dunkley - Clar (Impact) / Heptones - Im In The Mood For Love (Right On Pre-release) / Alton Ellis - Breaking Up (Soul Beat) / Ronnie Davis - World Is a Stage (Puzzle Pre Release) / Ronnie Daviz & Lizzy - World is a Stage Dj Verse (Puzzle) / Willie Francis - Ripe Sour Sop (Little Willie) / Max Romeo - My Jamaican Collie (Impact) / Conscious Minds - Jamaican Boy (Big)/ Heptones - Every Day Every Night (Island) / Neville Hinds - Delivered (Matador) / Alton Ellis Deliver us To Africa (Matador) / ? - Especially For You (Matador) / Little Roy - Nyah Melody (Matador) / Dennis Brown - Baby Don't Do It (Matardor) / Neville Hinds - Musical Spledour (Matador) / Hugh Roy Jr. - Live it Up (Matador) / Errol Dunkley - Down Below (Opportunity) / Trevor Byfield - Told Me That you Love Me (Mistic) / Clive Matthews - Apology (Fox Fire reissue) / Trevor Byfield Dub / Rupie Edwards - Electric Dub (blank) / Mavlinks - By The Sweat of your Brow / Alric Forbes - Morning Train (Forbes) / Calman Scott - Hard Times (Power) / Cornell Campbell - Two Faced Rasta (Barbell) / Soulites - Rise and Shine (Gemini) / Crealoe - Beware (Channel One) / ? - Beware of Jah (Jam Sounds) / Keith Rowe - Out of Many (Far Records) / Gregory Isaacs - Thief a Man (Advance) / Heptones - Mr. T (Right On) / dennis Brown - Set Your Heart Free (Right On) / Freddy McKay - Keep Your Big Mouth Shut (GG) / KC WHite - Man No Dead (Marts) / Presley Cole & Hilites - Don't You Know (Brick Sounds) / Dennis Brown - Changing Times (Crystal) / Dennis Brown - Things in Life (Mistic) / I Roy - Problems in Life (Mistic) / Horace Andy - Lonely Woman (Crystal) / Gene Rondo - Prisoner of Love (Double B) / Karl Bryan & Count Ossie - Black Up (Coxsone) / Jackie Mittoo - Who Done It (Coxsone) / Lloyd Charmers - Who Don It (Splash) / Owen Gray - Nothing Can Separate Us (Camel) / Harry J All Stars - Liquidator (Blank) / Bongo Herman - to The Bump ( Wild Flower) / Crystalites - Acid Version (Move & Groove) / Ian Robinson - T Bone Girl (Moodisc) / Big Joe - Run Girl (Moodisc) / Joe Gibbs All Stars - Hot Dog (Jogib) / Peter Tosh (Maga Dog (Pressure Beat) / Joe Gibbs All Stars - Maingy Dog (Jogib) / Barry Heptones - Law of the Land (Morwell Esq) / Paragons - World is a ghetto (Paragon) / Don Evans and Paragons - Danger in Your Eyes (Coxsone) / Alton Ellis - Breaking Up (Chart Sounds) / Alton Ellis - I Dig You baby (Well Charged) / Hortense Ellis - Lady Lady (Marts) / Chosen Few - You're a Big Girl Now (Crystal) / Derrick harriot - Don't Rock the Boat (Crystal) / Derrick harriot - Day By Day (Crystal) / Lloyd Charmers and Hortense Ellis - You Are Everything (Splash) / Delroy Wilson - Its A Shame (Disco Mix) / I Roy - Fire Burn (Well Charged) / Milton Henry - What Can I Do (Success)

++ TRIBUTE TO JOHN HOLT ++ John Holt passed this week and as his golden voice touched us so deeply we felt it necessary to drop a tribute mix to the man. The Paragons seduced us with Rock Steady - the soaring harmonies and raw emotions of Left With A Broken Heart. We swayed to a solo John Holt as he teamed up with Bunny Lee to Stick By You. He lent his polish to a few roots tune that drove me with flying cymbals. And then he teamed up with Junjo Lawes to drop Police & Helicopter and that yearning romanticism turned dark, militant, unforgiving and mirrored so perfectly the dark under-currents of the time that it almost took my breath away in its utter artistic transformation. To cover the man's career would be impossible, so I just chose a few of my favorite tracks in full acknowledgement of all the ones I will be kicking myself later for not adding. Big Ups to THUNDERLIONS ( http://www.thunderlions.com/ )for their special Deadly Dragon Tribute to John Holt Dubplate that finishes off this mix. R.I.P. John Holt. Track List: Ali Baba Dub Plate / Paragons - Look What Love Has Done (Tresure Isle) / Paragons - Talking Love (Merritone) / Paragons - Same Song (Treasure Isle) / Paragons - Only a Smile (Treasure Isle) / Paragons - On The Beach (Duke Reid Pre-Release) / Paragons - The Number One (Clocktower) / Paragons - Riding On A High And Windy Way (Trasure Isle Pre-Release) / Paragons - Quiet Place (Andys) / Paragons - Left With a Broken Heart (Andys) / Paragons - Happy Go Lucky (Treasure Isle) / Paragons - Mercy Mercy (Treasure Isle Pre-Release) / Paragons - If I Were You (Merritone) / Paragons - My Satisfaction (Studio One) / John Holt - Stranger In Love (Studio One) / John Holt - Stealing Stealing (Treasure Isle) / Paragons - Have You Ever Been In Love (Studio One) / John Holt- Ali Baba (Treasure Isle) / Paragons - Change Your Style (Studio One) / John Holt - Rain From The Sky (Prince Buster) / John Holt - If I Ruled The World (Prince Buster) / John Holt - Riding For a Fall (Jack Pot) /John Holt - My Heart Is Gone (Sunshot) / John Holt - Strange Things (Tranquility) / John Holt & King Stitt - Redder Than Red (Studio One) / John Holt - Love I Can Feel (Studio One) / John Holt - Gone Is Love (Moodisc) / John Holt - You'll Never Find (Attack) / John Holt - Young and in Love (Tappa) / John Holt - I Need a Veggie (Striker Lee) / John Holt - Dont Fight Your Brothers (HitBound) / John Holt - Chanting (Volcano) / John Holt - Police & Helicopter (Holt) / John Holt - Fat You Fat (Jah Guidance) / Love I Can Feel Dub / John Holt - Don't Worry Your Foreign Mind and Local Body (Arrival) /Thunderlions Smoke Dubplate (John Holt Tribute)

++ MIX CALLED MIDNIGHT RAVING ++I know...I Know!!! It has been awhile since I posted a new, original mix! Where the time goes, I don't know...Well to make up for it this ya one is an extra special and LONG mix from Rocksteady right up to some present day bubblers!!! Unfortunately I could not find my mic so you don't get the extra special intro and outro...but perhaps that is a good thing. As always this was mixed live and direct with 2 turntables and a mixer and vinyl, sweet vinyl! Remember to check www.deadlydragonsound.com for all your reggaematic needs! Track List -- Prince Buster - Dancing Time (Soulsville) // Glen Brown & Hopeton Lewis - Live Like King (Merritone Pre-release) // Alfred Tomlinson - Don't Wait For Me (Studio One) // Invaders - Sweet Soul Rocking (Studio One - Reissue) // Ernie Ranglin - Straight Flush (Coxsone) // Alton Ellis & Dave - Give me Your Love (SuperSonic) // Jackie Mittoo - Summertime (Coxsone Pre-release) // Techniques - Man of my Word (Techniques) // Cold Spot 8 - Man's Kingdom (Dynamite) // Gaylads - Having A Party (Blank) // Lloyd Willis - Mad Rooster (JoGibbs) // Rad Bryan - Jumping Jack (Wings) // Byron Lee -- // Lloyd Charmers - Dollars and Bond (Splash) // Unknown Blank // Upsetters - Chockadelic (Upsetter Pre-release) Joya Landis - When the Lights are Low (Barons) // Jackie Taylor - Midnight Organ (Portland ) // Version // Freddy McKay -- Free Man (Iron Side) // Debonaires -- In The Rain (Tobin) // Johnny Osbourne - Right Right Time (Summer Records) // Mighty Maytone - Unchangable Love (Rocking Time) // Horace Andy - Problems ( Hot Shot) // Don D Jr - Zion Rock (La Da Ful) // Cornell Campbell - Magic Spell (Jackpot) // Tyrone Evans - You're So Cold & Dub (Clock tower) // Heptones - Meaning Of Life (Teems - Reissue) // Freddy McKay - Cool Down Your Temper (Marsha Music) // In Crowd - Milk & Honey (Iroko Reissue) // Freddy McKay - Exodus (Rootical Dubbers) // Jr. Dan - Red Green Gold (Jah Light) // Henry and the Revolutionaries - Jumping (Impact) // Mau Mau -- Cemetary (Sky High) // Unknown Blank // Errol Holt - Congo Dread (Lion ) // Linval Thompson - Sukuyama (Prophets Studio B) // Cornell Campbell - Two Timer (Joe Gibbs) // Barrington Levy - Love of Jah (Gorgon) // Little John - Youths of Today (Jimpy) // Little John - Ghetto Living (Jah Banner) // Triston Palmer - Blank // Bobby Melody - Fussy Fussy (Future Able) // Bobby Melody - Hide & Seek (Future Able) // Barrington Levy - The Winner (HitBound) // Frankie Paul - Wicked ah Go Feel It (DubPlate) // Johnny Osbourne - Let There Be Love (Version city) // Jah Nine - Streamers a Bubble (Hitbound) // Michael Prophet - Been Talking (Sip a Cup) // Sean AC aka Jungle Jim - Pressure (Munchy Pop) // Little John - Mix Up (Music Parade) // Gilly Buchanan - Vigalante (Tachyon) // Sean AC aka Jungle Jim - Throw Us Down (Muchy Pop) // Wayne Marshall - Vibes and Tribulations (Jah Life) // Eek a Mouse - Rude boys a foreign (Black Beard) // Cocoa Tea - Crab Dem (Early Days) // Notis & Iba Mahr - Diamond Sox (Notice)

On July 25th Dub Stuy and Deadly Dragon Sound teamed up for ROOTS OF SOUND SYSTEM PART 4 - TRIBUTE TO STUDIO ONE with Special Guests - JAH WISE, DOWNBEAT THE RULER, CARLTON LIVINGSTONE, RANKING JOE and SCREECHY DAN. This is the Opening sets with Scratch Famous followed by the Teacher JAH WISE!

On July 25 DUB STUY RECORDS and DEADLY DRAGON put on ROOTS OF SOUND SYSTEM Pt.4: TRIBUTE TO STUDIO 1 with special guests JAH WISE, DOWNBEAT THE RULER, CARLTON LIVINGSTONE, RANKING JOE and SCREECHY DAN. This is DOWNBEAT's selection.

On July 25 DUB STUY RECORDS and DEADLY DRAGON put on ROOTS OF SOUND SYSTEM Pt.4: TRIBUTE TO STUDIO 1 with special guests JAH WISE, DOWNBEAT THE RULER, CARLTON LIVINGSTONE, RANKING JOE and SCREECHY DAN. This is the STAR TIME selection with Carlton Livingston, Ranking Joe, Screechy Dan and passing thru - James Bond!

REGGAE MUSIC Celebrity Link-Celebrating  The Reggae Icons THE HEPTONES The Heptones are a Jamaican rocksteady and reggae vocal trio most active in the 1960s and early 1970s. They were one of the more significant trios of that era, and played a major role in the gradual transition between ska and rocksteady with their three-part harmonies. Leroy Sibbles, Earl Morgan and Barry Llewellyn first came together as "The Hep Ones" in 1965 in Kingston but they soon changed their name to "The Heptones". The name was chosen by Morgan after seeing a Heptones Tonic bottle lying in a pile of refuse. The Heptones recorded for major Jamaican record producers at the time. They began their career, after one unsuccessful single. for Ken Lack's "K Calnek" label, under the watchful eye of Coxsone Dodd of Studio One. The Heptones had a number of Jamaican hits for Studio One, beginning with "Fattie Fattie", their first Studio One single in 1966. This began a long run of success for Coxsone, including "Pretty Looks Isn't All", "Get In The Groove", "Be a Man", "Sea of Love" (a cover of the Phil Phillips and the Twilights doo-wop classic), "Ting a Ling", "Party Time" and "I Hold the Handle." They were the chief rivals to The Techniques, who recorded for Arthur "Duke" Reid, as the top vocal act of the rocksteady era.#reggae #reggaebillboardchart #nowplaying www.crsradio.com  www.caribbeanradioshow@gmail.com 661-467-2407  

++ MIX CALLED ONE AWAY STYLE ++ That's right this ya one comes live and Direct inna One Away Style -- some unique tunes that have been running thru my brain the last month. I want to dedicate this mix to the memory of the great Wayne Smith who passed last month -- he was a great artist, great singer and a great person. Rest In Power, Rest In Peace. As always this mix was done LIVE with vinyl and a mixer. Track List: Derrick Harriot - I Got To Find My Baby (Blank) / Alton Ellis - If I Ruled The World (Treasure Isle) / Prince Buster - Sounds and Pressure (Prince BUster) / Tony & Howie - Fun It Up (Bongo Man) / Cornell Campbell - Let the Music Play (Upset) / Alton Ellis - Since I Fell For You (Prince Buster) / John Holt - Riding For a Fall (Jackpot) / Vin Gordon - Riding for a Fall (Blanck) / Big Youth - Phil Pratt Special (Terminal) / Vin Gordon - Riding for a Fall pt. 2 (Blank) / The Pebbles - Black Soul (Black Soul) / Rupie Edwards - Dub Master (Soul City) / Alton Ellis - Black On Black (Soul Beat) / Lloyd Forrest - Where Its At (Bongo Man) / Count Ossie and Lennie HIbbert - Chinese Beauty (Studio One blank) / Dynamic 4 - Lets Make Love (Faze Four) / Cornell Campbell - Give Me Love (Blank) / Ken Boothe - Aint No Sunshine (Splash) / Dennis Brown - Stages in Life (Clintones) / Dennis Brown - Lately Girl (DEB) / Freddy McKay - Drunking Sailor (Money Disc) / Ronald Merrils - danger In Your Eye (Studio One) / Archie McKay - Pick Up the Pieces (Scorpio) / Lloyd Parks - Ordinary Man (Giant) / Gene Rondo - Declaration of Rights (Third World) / I Roy - Tougher Than Tough (Crystal ) / Nairobi Sisters - Promised Land Dub (Flames) / Baba Leslie - Black Horns (Tribesman) / J Frankie - Ghetto Feelings (Solid Sound) / Sam Bromwell - It ago Dead In Babylon (Revolutionary Sounds ) / Earl Cunningham - One Away Man (GG's Hit) / Wayne Smith - Time is a Moment In Space (Pressure Sounds Reissue) Thanks to all and be sure to check www.deadlydragonsound.com for all your reggaematic needs!

++ DEADLY DRAGON - MY ORGAN WEIGHS A TON ++ Last Minute END-OF-THE-YEAR mix to play on your New Years party, in your car or just whenever you are feeling like some serious organ driven reggaematic Scorchers!!!! This mix was done a few months ago for our good friends at NICE UP aka http://niceup.org.nz/ and now we thought we would ahre it with everyone before the NEw Years kicks in. I totally blanked on the play list so You'll Just have to enjoy!!! Check www.deadlydragonsound.com for LOTS of killer tunes!

With the classic recordings “Baby Why” and “What Kind of World” the legendary Jamaican harmony vocal group The Cables secured their place in music history. It was in 1968 when the group rocketed to stardom when Clement “Sir Coxsone” Dodd took them into Studio One recording studios. Founded by lead vocalist Keble Drummond, along with harmony singers, Vince Stoddart, tenor, and Elbert “Stewie” Stewart, baritone, the Cables brought with them the lyrics and the upbeat, lilting melody of “Baby Why”. The tune was a sensation on the Jamaican sound system circuit before being released on Coxsone's Studio One label where it soon established itself as the number one hit on all charts for four weeks. Also recorded on the same session was “What Kind of World,” a Vince Stoddart composition. Coxsone continued as The Cables' producer, and the result was a long string of consistently strong tracks. The Cables first LP, “What Kind of World”, released in 1970, is a compilation of their Studio One achievements. Since then the album was re-released on Heartbeat Records in 1987 and is now a steady international seller in CD format. “Baby Why” is the first track on Heartbeat's sought after “Best of Studio One” disk, and “What Kind of World” is featured on Heartbeat's “Full Up, More Hits From Studio One”. The tunes are entrenched in Jamaican music consciousness as the rhythm tracks have been revitalized by dee jays such as Dennis Alcapone and Prince Jazzbo, as well as other vocal groups and singers, including the Gladiators, The Mighty Diamonds, Freddie MacGregor, Sanchez, Morgan Heritage and Barrington Levy.   (c) 2013 copyright www.caribbeanradioshow.com/www.crsradio.com  All Rights Reserved

Just in time for your Halloween party!!! Here's a likkle mix of the creepier, spookier and goofier side of the reggaematic experience! ENJOY!!!!As always this mix was mixed live and direct with sweet vinyl! For alla your scary reggae needs check www.deadlydragonsound.com Track List: Prince Buster - Haunted House // Prince Buster - Ghost Dance // Charles Hana - Dark Shadows // King Horror - Loch Ness Monster // Bob Marley and Wailers - Mr. Brown // Inn Keepers - Duppy Serenade // Bob Marley - Duppy Conqueror // Count Lasher - Font Hill Duppy // Observers - Quiet // Upsetters - Dub Plate Pressure // Upsetters - Black Bat // Leo Graham - Doctor Demand // Leo Graham - Black Candle // Roy Shirley - Praying for the Problem // Cordills - Sweet & Happy // Levi Williams - Duppy Jamboree // Silver Shadows // John Holt - Strange Things // Horace Andy - Rock To Sleep // Wayne Wade - Man Of The Living // Rosylyn Sweat & Paragons - Blackbird Singing // Peter Tosh - Burial // Burning Spear - Resting place // Dillinger - Duppy Boasty // Duppy Conquerors - Taking Control // Sancho - Chase Vampire // Roland Alphonso - Song For Rollie // Prince Buster - Hard Man Fi Deadwww.deadlydragonsound.com

Prince Jazzbo is a Jamaican DJ and was very successful as a Producer in Reggae music with his Ujama record label. Jazzbo started as a DJ on Killa Whip sound in the Homestead area of Spanish Town. At A dance between Killa Whip and Ruddy's Sound in 1971, Jazzbo "clashed" with the great I-Roy. This clash was the start of some of the first musical "beef" between artists - well before Beenie and Capleton and Tupac and Biggie. More importantly, it was a patron by the name of Coxsone Dodd who was at that dance, that invited Jazzbo to Studio One to record the very next morning. Jazzbo was there at 5:00am waiting for Coxsone. Prince Jazzbo is from the original school of toasters in Jamaica - alongside U-Roy, I-Roy, Big Youth, Lizzy, Dennis Alcapone, and others. The style of Dj'ing has a unique sound and style in that era. At the time of this interview Jazzbo was actively producing the artists Horace Ferguson, Horace Andy, Buzz Parker, Little Jazzbo (his son), and Black Thunder out of Belgium. Visit the source: https://www.facebook.com/pages/Prince-Jazzbo/540441745982050 Now, if you like what you hear, we encourage you to seek out and purchase great Prince Jazzbo music. Buy his albums in the shops, on I-Tunes, and via Ernie B reggae.

On Saturday, August 3rd, 2013 Deadly Dragon Sound and Dub Stuy Records present... ROOTS OF SOUND SYSTEM featuring TONY SCREW (Downbeat the Ruler), JAH WISE (Tippa Tone Hi-Fi), TOMMY FAR EAST (Solid Rock Japan) and Deadly Dragon Sound. Every year we throw a BIG ASS party in honor of Jamaican Independence and this year we are coming, once again, with a really killer event celebrating the foundation styles of Soundsystem culture: Ska, Rocksteady and Early Reggae. To this end we joined up with Dub Stuy records to present some of the greatest collectors and selectors of Early Jamaican music digging deep into their vaults, playing some of their most vital and rare records through the “Tower of Sound”, Dub-Stuy’s custom-built hi-fidelity sound system - making The Roots of Sound System perhaps the first-ever proper Revive Dance to be held in New York City. First up we haveTony Screw - DownBeat the Ruler. Since the early 70s DownBeat has been entertaining and educating crowds from Brooklyn to Berlin with his inimitable blend of stage presence, exclusive dubplates and a second sense for keeping a dance floor packed. Downbeat the Ruler Sound has introduced generations of reggae fans to the sounds of Studio One, the blueprint of Jamaican music. Next up, we are proud to present, for the first time in NYC, TOMMY FAR EAST (SOLID ROCK JAPAN): Hailing from Tokyo, Japan and the youngest selector on the bill, Tommy Far East has become known throughout the world for both his tremendous archive of original Ska and Rocksteady vinyl and the absolute joy he has in sharing it with audiences throughout the world. And finally a man who has taught we here at Deadly Dragon so much about music, about tunes, about that weird alternate cut to that Studio One selection that you can never remember the name of -- JAH WISE of TIPPATONE SOUND. JAH WISE has been involved in Jamaican music ever since Ska was first invented. Growing up in West Kingston, Jamaica with his brother, singer Cornell Campbell, he has been continually playing with sound systems since 1967. As the top selector for Tippatone, Jah Wise has selected for every legendary deejay from Big Youth to Dr. Alimantado and beyond. And of course, we Deadly Dragon folks will be flinging down a few tunes to keep things proper! ROOTS OF SOUNDSYSTEM at THE PAPER BOX A Jamaican Independence Day Celebration Saturday | August 3rd, 2013 | 9pm to 3am @ The Paper Box 17 Meadow Street, Williamsburg $15 advance / $20 door Ticketing: http://www.ticketfly.com/event/321609-dub-stuy-records-deadly-brooklyn/ Transportation: L Train to Grand https://www.facebook.com/events/381085045336403/ And in honor of this Event we give to you a crucial mix of Ska and Rock Steady that we made back in 2007. 1. Baba Brooks - Dreadnaught 2. Don Drummond & Skatalites - Chinatown 3. Skatalites - Exodus 4. Ernest Ranglin Combo - Exodus 5. Skatalites - Love in the Afternoon 6. Skatalites - Sudden Destruction 7. ????? 8. ????? 9. KEn Booth & Stranger Cole - Artibella 10. Ken Booth - you're no good 11. Rita Marley & Soulettes - Come To Me 12. The Sensations - Juvenile Deliquent 13. Alton Eliis -- The Preacher 14. Prince Buster - Dont Throw Stones 15. Prince Buster - Al Capone 16. Baba Brooks - Teenage Ska 17. Prince Buster - Black Dragon 18. Prince Buster - One Step Beyond 19. Roland Alphonso - Tune for Rollo 20. Prince Buster - Hard Man Fe Dead 21. Prince Buster - Prince of Peace 22. Joe Higgs - Dinah 23. Clarendonians - Table Gonna Turn 24. Wailers - Let Him Go 25. Alton Ellis - Rude at Last 26. Alton Ellis Cry Tough Dub Plate 27. Zoot Simms as Mr. Foundation - See Them a Come 28. Dandy Livingstone - We Are Still Rude 29. Tartens - Save a Little Bread 30. ??????? 31. Eric Mony Morris - Play It Cool 32. Justin Hinds - Save A Bread 33. Ken Booth - Swinging King 34. Sensations - Shake It 35. The Soul Agents - GEt Ready To Rocksteady 36. Alton Ellis Dubplate 37. Slim Smith - People Get Ready 38. Slim Smith - Hip Hug 39. Dawn Penn - Blue Yes Blue 40. Heptones - Crying Over You 41. Keith & Tex - Hypnotizing Eyes 42, Helmsley Morris - Little Things 43. Ken Booth - The One I Love 44. Desmond Dekker - Fu Manchu 45. PEter Tosh - Stepping Razor 46. Al Campbell & The Thrillers - Dont Run Away 47. Errol Dunkley -- You Gonna Need Me 48. Anthony Ellis - The Ruler 49. Heptones - Ive Got A Feeling 50. Bob Andy - Unchained 51. Carlton & Shoes - Love me Forever 52. Bob Andy - Experience 53. Heptones - Sea Of Love 54. Slim Smith & Dave Barker 55. Ken Booth - Home Home Home 56. Freddie McKay - High School Dance 57. The Consumates - What is It

++ Mix Called ALL I NEED... ++ Yes Indeed -- once again we are beaming out a mix celebrating the sweeter side of life with a hefty mix of lovers, dubs, instrumentals, and roots mixed in a big man style -- strictly vinyl!! 1. Cat Campbell - By The River Brown Sugar (Pressure Beat) 2. Uniques - Conversation (Lees) 2. Heptones - Give Me The Right (Circle Pre-Release) 3. Rasta Man - From Africa With Love (Pressure Beat) 4. Ansel Collins - Stalag 18 (Romax) 5. Counteraction Dub (Techniques) 6. Heptones - Drifting Away - Teem 7. Jah Lloyd - Sunshine Girl (Teem 7") 8. Don D Jr. - Reble Rock (Teem 7") 9. Horetense Ellis - With all My Hart (Top Studio ) 10. Skin, Flesh & Bones - Jazz Power (Spiderman)11. ITAL VITAL DUB (Rhythm)12. Sounds Unlimited - Darker Shade of Red (Scorpio 7") 13. Dynamic - Love Forever (Sun Dew)14. Ken Boothe - Speak Softly Love (Staraplle) 15. Roy Shirley - If you Loved (Blank) 16. Pat Francis - Guys Get a Blow (Over Due 7") 17. Determination - Too Much Oppression (D'Nation 12") 18. Kevin Eastwood - Live & Learn (Jupitar) 19. Johnny Osbourne - Purify Your Heart (Techniques) 20. Soul Sister - Touch a Hnd (The Blaze) 7" 21. Dennis Alcapone - Ten commandments (Gee) 22. King Sporty - Rhythm Version (Shacks) 23. Roy Shirley - Muhammed Ali (Public) 24. Mexicano - Huhammed Ali (Ice) 25. MErging Traffic - Mister Magic 26. Randys All Stars - Mission Impossible (Randys Pre) 27. Soul Defender - A Little Bit (Studio One) 28. Chosen People - Psychedelic Train Chapter 3 29. Scotty - Clean Race (Crystal)30. Scotty - Skank in Bed (Harry J) 31. Graduates - Dark Shadow (Graduate) 32. Pioneers - Some Having a Ball (Amalgamated) 33. Tartens - Make Haste (caltone) 34. Junior Soul - The Hustler (Derrick's Blank)35. Bongo Herman - Home Sweet Home (Derricks reissue) 36. Owen Grey - Just give me little sign (Studio One Reissue)

Deadly Dragon Sound here with a mix aimed at alla the Badminds out there! Ruff tunes in all asepect -- Roots, Ska, rock steady rub a dub all mixed inna live and direct style! Check www.deadlydragonsound.com for all of reggaematic needs! Track List: Unknown – What’s the Name of the Sound (Blank) / Young Stitch - Duck and Come (Naki Saki 12”) / R. Hylton – Keep Trying / Maddo – King in the Ring (Sunsplash 12")/ papa San – Life in the ghetto (Sunsplash 12")/Triston Palmer - Bad Minded (Black Solidarity) // Al Campbell – Gone Down The Drain (Reggae Road 12") // Wailing Souls – Jah gave Us Life To Live (Disco Mix 12")// Keith Goode – Jah Jah Deliver Us (Pressure Sounds reissue 7") // Errol Dunkley – Keep The Pressure Down (Fe Me Time 7") // Don Prendes - Ska Ba Do-Be Day (Pressure Sounds 7" Reissue) // Hamlins – People Get Ready (Supreme 7") // Prince Buster – Hypocrite (Prince Buster blank) // Skatalites – Last Call (Studio One blank) // Prince Buster – Jealous (Prince Buster Blank) // Barrington – Collie Weed (Roots From the Yard 7")// Shelene, Nigh Plains Drifter and Barrington – Best Collie (Grade One) // Patrick Andy – Tired to Lick It In A Bush (Hit Bound 7") / Michale Palmer – Don’t Smoke the Seed (Hitbound 7")// Wayne Jarrett – Come Let’s Go (City Line / Deeper Knowledge reissue 7") // Reggae George – Fig Root (High Note 7")// Horace Andy – Come Rock me Pretty Baby (sic) (On Top 7") // Vernie – Ghetto Days (Reality) // Napthalie – Hold Up a Hand (Vibes Sound reissue) // Ackee – Call Me Rambo (Heavyweight 12") // Culture D – Kick Up A Guy (Pioneer Intl 12") // Little John – Mash Up a Whole A Dem (Revolutionary Sounds 12") // Carlton Livingstone – Fade Away // Diplomat – Mr. Dead // Johnny Osbourne – Lend me 16 / Frankie Wilmot – Won’t give Unknown – What’s the Name of the Sound (Blank) / Duck and Come 12” / R. Hylton – Keep Trying / Maddo – King in the Ring / papa Sa – Life in the ghetto / Al Campbell – Gone Down The Drain // Wailing Souls – Jah gave Us Life To Live // Keith Goode – Jah Jah Deliver Us // Errol Dunklye – Keep The Pressure Down // Skabadoo // Hamlins – People Get Ready // Prince Buster – Hypocrite // Skatalites – Last Call // Prince Buster – Jealous // Barrington – Collie Weed // Shelene, Nigh Plains Drifter and Barrington – Best Collie // Patrick Andy – Tired to Lick It In A Bush / Michale Palmer – Don’t Smoke the Seed // Wayne Jarrett – Come Let’s Go // Reggae George – Fig Root // Horace Andy – Hey Pretty Girl // Ferdie – Ghetto Living // Napthalie – Hold Up a Hand // Ackee – Call Me Rambo // Culture – Kick Up A Guy // Little John – Mash Up a Whole A Dem // Carlton Livingstone – Fade Away (Grade One 12") // Diplomat – Mr. Dead (Blank)// Johnny Osbourne – Lend me 16 (Studio One 7")/ Frankie Wilmot – Won’t give Up (King Culture)www.deadlydragonsound.com

Podcast Called LOVER or STALKER? Yess indeed Jamaican Music has always resonated with some of the most killer love chune ever cut and some of the saddest, most heartbreaking love chune ever cut...And then existing somewhere in between the two are the true Lover/Stalker cuts. And that is what this mix is all about -- From Rocksteady to Digital to everything in between, this is an exploration of the dark side of love! Of course, this Podcast was mixed live and direct with VINYL, SWEEEET vinyl! And remember -- check www.deadlydragonsound.com for all you scary lovers tracks!TRACK LIST:Junior English - My One and Only Lover (Gee's) / Peter Tosh - Brand New Second Hand (Intel Diplo Reissue) / Gregory Isaacs - Love is Overdue (GGs) / Ken Booth - Artibella (Sun Shot Blank) / Artibella Organ (Rhythm Force) / Joe White - Mumbling & Grumbling (D.W. May's) / Winston Heywood - I'll Never Fall In Love (La-Fud-Del) / Fud & Del - Dr. Fud (Fud's) / Silvertones - Hard Love (Studio One) / Heptones - Sea of Love (Coxsone) / Ken Boothe - When I Fall In Love (Studio One) / Douglas Boothe - When I Fall In Love (Golden Heart) / Phil Pratt & Ken Booth - Sweet Song for my Baby (Caltone Reissue) / Bobby Sarkie - Give my Heart for Sure (Young Tubby's Officially) / The Selectors - Pleading for Your Love (Blank) / Bobby Aiken - Give me a Chance (Blank) / Carlton & The Shoes - You & Me (Coxsone Pre) / Carlton & Shoes - You & Me (Trinity) / Errol Dunkley - You'll Never Know (Gay Feet) / Horace Andy - Rock To Sleep (Rockers) / The Eternals - Push me in the Corner (Moodisc) / Ken Parker - Down Low (Moodisc) /Phillip Fraser - This Time Deadly Dragon a go Kill You Dubplate / Ronnie Davis & Lizzie - Run Around Girl (Ultrasonic) / Clive Matthews - My Girl Has Gone (Fox Fire) / John Holt - Love is Gone (Moodsic) / Leval Thompson - Another Man (Marts) / Horace Andy - Tear Drops (Sun Shot) / Freddy McKay - Tears Won't Help (Kismet) / Paulette & Gee - How Long Will You Stay (GG) / Johnny Clarke - Running Back To You (Crown) / Neville Reds - Rosey Belle (Black Cancer) / Jolly Stewart - Angie (Target) / Little Howie - Strange Things are Happening (Blue Trac) // Robert Marshall - Bad Girl (Grass Quit) / Ricky Storm aka I Kong - The Way It Is (Top Cat) // Derrick Harriot - Walk The Streets (Crystal) // Dave Barker & Slim Smith - Nobody Loves Me (Success) / Hortense Ellis - Hell & Sorrow (Fe Me Time) / Enos McLeod - By The Look (Oakley Hi Fi) / Clarendonians - Moonlight Owl (High School)

++END OF THE WORLD INNA HOLIDAY STYLE MIX!++ All blessing be to 2012 and if we make it to 2013 we wanted to post one last mix and this is the one -- Deadly Dragon Sound dropping a mix live with vinyl sweet vinyl of Christmas Tunes, Rock Steady, Roots, Rub a Dub and Digital for your holiday listening pleasure! Remember! Always check www.DeadlyDragonsound.com for all your reggae needs! Jackie Mittoo - Christmas Rock // Unknown Prince Buster 7" // Zoot Simms a.k.a. Mr. Foundation - Rudies In Jail // Tomorrow's Children - Bang Bang Rocksteady // Yvonne Harrison - Near to You // Joe Nolan - Cool Cool Reggae // Heptones - If You Knew // KEith & Tex - Run To The Rocks // Bobby Floyd - Sound Doctor // John Holt - Rain From The Skies // Prince Garthie - Raindrops // Big Joe - Black Stick Rock // Conscious Minds - Africa Is Paradise // Roman Stewart - Why // Observer All Stars - Skeng Skeng // Simplicity People - Gussie Special // Soul Tops - Warning Sounds // Donovon Drummond & The Cordill - Sweet & Happy // Iron Phoenix - Natty Dread Christmas // I Kong - Trod Along Zion's Pathway // Dave Robinson - Bet You Dont Know // Viceroys - Slogans on the Wall // Wailing Souls - Stick Together // Rod taylor - Night In September // African Youths - Forward Down To Channel One // John Wayne - Racket Girls in Jacket // Barry Brown - Girl Friend // Ken Quatty - Jah Lion // General Echo - Lover's Corner // Jr Byles - Dreadlocks Time // Rod Taylor - Independent Boom // Triston Palmer - Buy Out the Bar // Tony Tuff - Get Ready // Scooby Doo - Christmas Time // Major Mackarel - Down in the Sea // Beeny Man - Granny Cooking // Collie Weed - Feelings // Ini Kamoze - All I Want For Christmas

++ PODCAST CALLED ONE ONE COCOA FULL BASKET ++ Yesss...Live and Direct! Deadly Dragon coming with a full basket of musical selections mixed straight inna big people style with vinyl, sweet vinyl, and no nonsense!!Tracklist:Vivian Hall - Toronto Rock (Bunjo 7") // Dillinger - Money Done (Parks 7") // Horace Andy - Tear Drops (Sunshot 7") // Stranger Cole - I Want To Love You (Clock Tower 7") // Gregory Issacs - One One Cocoa (Dwyer 7") // John Holt - I Need a Veggie (Striker Lee 7" repress) // Merging Traffic - Tonight (Midwood Records 7") // Cornell Campbell - Bandulo (Justice reissue) // Neville Brown - Right Time (Justice reissue) // Itals - In a Dis Ya Time (Hopewell Survivors Production) // Cornell Campbell - Jah Jah Me Horn Yah (Wimpex 7") // Ghetto Connection - Strugglers Time (Dub Irator 7" Reissue) // Liberation Group - Namibia (Forward 7") // Ranking Trevor - Jah Vengence (Vivian jackson 7") // H. One - Peace in the City (House One Reissue) // Tommy Shakspear - Rolling Stone (Roosevelt 7") // Dillinger - Cup Of Tea (Shaolin Temple 7") // Big Joe - Mas Gan (Secret Agent 7") // The Eternals - Push me in the Corner (Moodisc 7") // The Immortals - You Cant Keep a Good Man Down (Mellotone 7") // Basil Gabbidon - I Bet You Don't Know (Island 7") // Bobby Ellis - Step Softly (Crystal 7") // Prince Buster - Tribute to the Toughest - Ghost Dance (Blue Beat 7") // Peter Tosh - Simpleton 7" (Blank 7") // Merritone Singers -- Rude Boy a Wail (Merritone 7" reissue) // Cecil Byrd & Blue Bells - All Dem Gal (Blank 7") // Freddy McKay - So Long Farewell (Beverlys 7" Reissue) // Tommy McCook - Goodnight Tonight (Treasure Island Blank) // Jo Jo Bennett - Ten Steps Soul (Moodisc 7") // Roman Stewart & Dave - Changing Times (Crystal 7") // Ray I - Kunta Kinte Black Roots (Crystal 7") // Dennis Brown - In His Own Way (Blank 7") // Bob Marley - Lick Samba (Tuff Gong 7") // Ken Parker - Down Low (Moodisc 7") // Im & Count Ossie - Right Onn Rasta (Iron Side 7") // Sister Verna -- Population (Photographer 7") // Pat Mar - Ready For the World (Nura 7") // General Plough -- Toughest (Black Originator 7") // Rod taylor - Mr. Music (R.T. & K.C. 7") //Early B - Stop The Robbin (Power Force 7") // George Nooks - Criticise (All Sport 7") // Johnny Osbourne Dub

Yeassss...in these Hazy Days of early Summer a mix of nuff vibes, nuff dubbed out sounds to make reality shake and shimmer like the sun reflecting light off the pavement. Tracklist: Augustus Pablo - Kid Ralph (Jaguar 7") // ?? - Movie Star Piano Version (Blank 7") // Don D Junior - Movie Swing (Shacks 7") // Errol Dunkley - Movie Star (African Museum) // Chinna? - Movie Star Guitar Version (Blank 7") // Augustus Pablo - 123 Special (Hot Stuff Blank) // Augustus Pablo - Dub Organizer (Impact 7") // Upsetters - Dub Organizer (Justice league 7") // Augustus Pablo - Bells of Death (Crystal 7") // Lee Perry - Underground Roots (Super Ape LP) // Bongo Herman - ? (Richie Rich 7") // Augustus Pablo - Black Cup (Techniques 7') // Interns - Mission Impossible (Techniques 7") // Techniques All Stars - Zion I (Techniques 7") // Bobby Kalphat & New Establishment - Adis a Wa Wa (Bongo Man 7") // Cornell Campbell - Stars (Deadly Dragon Dub Plate) // Dolly Man - Trigger Happy (Studio One 7") // Alton Ellis - I can't Stand It (High Note 12") // Thriller - #1 Sound (Powerhouse 7") // Welton Irie - Hard Sound fi Dead (Powerhouse 7") // Field Marshall Haye - Roots & Herb Style (Studio One 7") // The Jayes - Bucktown Corner (Studio One 7") // Jah Scotchie - Man of Creation (Coxsone 7") // Tony Tuff - Cool It (Studio One 7") Trinity - Psalms (Striker Lee 7") // Ken Booth - Satta Massa Gana (Roots From The Yard 7") // Bob Marley - Ammunition (Tuff Gong 7") // Johnny Lover - Sun Is Shining (Tuff Gong) // Jerry Brown - Dreadlock lady Dub (Summer 12") // Family Man & Knotty Roots - Distant Drums (Fams 7") // Vivian Jackson & Defenders - Love Thy Neighbor (Defenders 7") // Yabby You - Blank (Defenders 7") // Wayne Wade - Lord of Lords (Prophet 7") // Don Drummond Jr. - Fisher Man Special (Globe Intl 7") // Augustus Pablo - Pablo Dread in a Red (TR Groovemaster) // The Prophets - Judgement on the Land (Vivian Jackson 7") // The Actions - Holy Mount Zion (Demon 7") // Well Pleased & Satisfy - Open the gate Bobby Bower (Total Sounds 12") // Keith Hudson & Chuckles - Satan Side (Duke Record 7" - UK reissue) // Earl Flute & Horace Andy - Peter & Judas (Mafia 7" - reissue) // I Roy - Silver Platter ( Mafia 7") // Barry Brown - Belly Gal (Ital 7") // Skankkie Boo - Rollinton Town Skank (Giant 7") // I Roy - Tiger From Bengalie (Success 7") // Horace Andy - The Earth Must Be Hell ( Corporative Sounds 7") // Barrington Levy - Love of Jah (Gorgon 7") // Dillinger - Cup Of Tea (Scandal bag 7") // Bobby Ellis - Tension (Afrajam 7") // Ronald Downer & Count Ossie - Ethiopian Kingdom (SP pre-release) // Stephen Chang - Always Together (Sunshine 7" - Reissue) // Bassies - Big Mistake (Get Ready Rock Steady LP) // Hopeton Lewis - I Don't Want Trouble (Merritone 7" - Reissue) // Roland Alphonso - El Toro (Beverlys blank) // The Soul Brothers - Train To Ska-ville (Ska Beat 7") // Granville Williams Orchestra - Honky Tonk Ska (GWO Records 7") // Prince Buster - Dog War (Prince Buster 7" reissue ) // Alan Wallace - Melona (Wallace 7") // Slim Smith - Do Dang Do (Coxsone 7") The Ya One (AS ALWAYS) MIXED LIVE with turntables, mixer and sound effects (Dub Siren I Phone App & Deadly Dragon Sound Killer Sound FX box) with VINYL SWEET VINYL. Accept no substitutes!!!! And for alla your reggaematic needs check www.deadlydragonsound.com -------------------------------------- DeadlyDragonSound.com 102-B Forsyth Street New York, NY 10002 info@deadlydragonsound.com Deadly Dragon Sound Blog! http://deadlydragonsounds.blogspot.com/ Deadly Dragon Sound on Myspace! http://www.myspace.com/deadlydragonsound Deadly Dragon Sound on Twitter! http://twitter.com/deadlydragon Deadly Dragon Sound on Facebook! http://www.facebook.com/pages/Deadly-Dragon-Sound-System/80795465390 Deadly Dragon Sound Podomatic! http://deadlydragonsoundsystem.podomatic.com/ Deadly Dragon Sound You Tube! http://www.youtube.com/deadlydragonsound

This One Called Vibes & Vibes, Chune a Chune mix a mix that moves from sick instrumentals to roots to rocksteady to digital while touching on everything in between. This one dedicated to the great Buck a.k.a. Papa Iron who shared with me so many great chunes over the years. Nuff Respect! ++ Playlist: The New Establishment - The People Skanking (Bongo Man 7") / Jackie Mittoo - Unknown (Chappy pre-release 7") / Soul Syndaicate - I am the Greatest Says Muhammad Ali (Ital 7") / Augustus Pablo - Hot & Cold Version 1 (Black Art Reissue 7") / Milton Henry - Follow Fashion (Globe / Deeper Knowledge reissue 7") / Devon Russell - Famine Time (Globe / Deeper Knowledge Reissue 7") / Unknown Blank / Leroy Brown - Ranking Byron (Faithful Few 7") / The Abbysinians - Love Comes & Goes (Arab 7") / N. Elliot & N. Bailey - People Let Love Shine (Afro 7") / Reggae George - Read The Bible (MCM 7") / Sly & Revolutionaries - 21 Gun Salute (Moses 7") / Dillinger - Run Come Quick (Clocktower 12") / Pablo Ranking - Naw Plea Guilty (Rapid 7") / Dennis Brown - Westbound Train (Observer Reissue 7") / Ansel Collins - In Bound Train (Destroyer 7") / Don D Junior - Reble Rock (Teem 7") Hortense Ellis - Hell & Sorrow (Fe Me Time 7") / Leroy Smart - Happiness is My Desire (Capricorn Rising 7") / Bobby Ellis - Mr. Ellis (Fe Me Time 7") / Scunner Jays - Love You Only (Young Tubbys 12") / Channel 5 - Old Kent Road (Pee 7") / Heptones - Give Me The Right (Circle pre 7") / I Roy - The Devil's Brother In Law (Andy's 7") / Bunny & Skitter - Lumumbo ( Studio One 7") / The Rulers - Let My People Go (JJ reissue 7") /Alton & Zoot - Oppression Over (Coxsone 7")/ Roy Shirley - Praying For Peace (Smith pre) / Bobby Kalphat - Addis a Wa Wa (Bongo Man 7") / Errol Dunkley - Black Cinderella (Fe Me Time 7") / Augustus Pablo - Cinderella in Black (Fe Me Time 7") / Madoo - Backway Mr Landlord (Town & Country 7") / Cornell Campbell - Boxing Around (Joe Gibbs 12') / Johnny Osbourne - Yo Yo (Narrows 12") / Didle Oley Dillinger - Yo Yo Dj Cut (Black Zodiac 12") / Welton Irie - How Yo Keep a Dance (Oak Sound 12") / Early B - Wheely Wheely (56 Hope Rd 12") / Danny Dread - Spar With Us (Black Zodiac 7") / Delton Screechy - bag Up (56 Hope Road 12") / Skelly Vibes - Natural Mystic ( grade One 12") / Barrington Levy - ReMurder (Raggamuffin LP - Life Music) / Winston Hussey - Ghetto Man Problem (Live and Learn 7") / Pam Hall - Son of a Preacher Man (Eclipse 12") / Lily Melody - Gimme Back (Eclipse 12") / Super Cat - Mandela Land (Eclipse 12")This mix was done live with vinyl sweet vinyl. Accept no substitutes. Deadly Dragon Sound Blog! http://deadlydragonsounds.blogspot.com/ Deadly Dragon Sounds on East Village Radio! http://www.eastvillageradio.com/show/deadlydragonsounds Deadly Dragon Sound on Myspace! http://www.myspace.com/deadlydragonsound Deadly Dragon Sound on Twitter! http://twitter.com/deadlydragon Deadly Dragon Sound on Facebook! http://www.facebook.com/pages/Deadly-Dragon-Sound-System/80795465390 Deadly Dragon Sound Podomatic! http://deadlydragonsoundsystem.podomatic.com/ Deadly Dragon Sound You Tube! http://www.youtube.com/deadlydragonsound

The old and dusty sound with fierce basslines and strong horn sessions from the number ONE studio at Brentford Road Kingston! Studio One with Mr Clement "Coxsone" Dodd at the controls: 01 Oh My / Ernest Ranglin (Your jamaican girl) LP 02 What Difference Does It Make (Freddy McGregor Bobby Babylon) LP 03 Searching Mind/ I`M & Dave (Your Jamican Girl) LP 04 True Experience / Prince Lincoln (Studio One Roots 2) LP 05 Journey (Burning Spear) LP 06 Jah Jah Way / Jackie Bernard (Studio One Roots 2) LP 07 In Love With You / Heptones (Ride Me Donkey) LP 08 Go Away Pretty Girl (Freddy McGregor Bobby Babylon) LP 09 Little Green Apples / Sound Dimension (Your Jamican Girl) LP 10 Consider Me v/ Jennifer Lara (Studio One Classics) Lp 11 Moving Away / Ken Boothe (Orginal Jamican Vol 3) Lp 12 Natty FarmYard / Prince Far I (Studio One Dj´s) LP 13 Natty Kung Fu / Dillinger/C.Dodd (Studio One Dj´s)LP Studio One Time !! Good Time! Jah Jah Way #RevolutionSound# Free download at Revolutionsound.podomatic.com ---------------

Deadly Dragon Sound presents a podcast called "SUMMER's END". This one a mixture of roots, rocksteady, reggae and tuff DJ cuts that just had that slight tinge of melancholy of the glorious summer days slip into Fall. As always this Podcast is done live - 2 turntables, mixer, Sound FX (Benidub Siren, Dub Siren I Phone App) and a bunch of sweet vinyl! Track List: HEptones - Love is Gone (Jungle) / John Holt - Love is Gone (Moodisc) / Inge Larsen - Gone is Love (Moodisc) / Prince Heron - Spanish Town Rock (Moodsic 12") / Rupie Edwards - Feeling High (Success) / Johnny Clarke - Wondering (Big Hit) / Rupie Edwards - Feeling High (Sensation Sounds 12") / Unknown DJ verse (Sensation Sounds) / Jah Masa - MoBay Special (Ace Tone) / Rita Marley - Play Play Play (Blank) / Eric "Monty" Morris - Love I (Sure Shot) / Strugglers - Light My Fire (First Time Around) / Unknown Drifter Cut (Moodisc) / Jazzbo - Mr. Funny / Unknown - Cassius Clay (attack) / Winston Turner & Untouchables - Appollo 13 Explosion (Pisces) / Bunny & Ricky - Freedom Fighter (Upsetter) / Jah T - Lion Of Judah (upsetter)/ ernest wilson - know myself / Jah Bible - Babylon fight against you (Roots Tradition) / Dennis Brown - Foot Of the Mountain (Down Town) / Johnny OSbourne - Fish Mouth (white label) / Silvertones - War Boat (Wings ) / Paragons - Quiet Place (Andys) / Little Sport - There is a Mountain (Rocksteady) / Freddy McKay - So Long Farewell / Joe Gibbs - Nevada Joe (JoGibbs Pre) / Winston Heywood & La Da Ful All Stars - I'll Never Fall In Love (Camel) / La Da Ful Sll Stars - Flight 404 (La Da Ful) / Dennis Brown - Jah Is Watching (Observer 12") / Barry Brown - From Creation (Justice 12") / Linval Thompson - Mr Bog Shot (Strong Like sampson 12") / Beverly Bailey - I Fell In Love (Joe Gibbs 12") / Gregory - Rock On (Observer 12") / Johnny Osbourne - Love Makes The World Go Around (Summer) Check www.deadlydragonsound.com for alla the big chunes! --------------------------------------

Rock Steady TAKE OVER!!! Straight from the deep vaults of Deadly Dragon comes this here mix of late ska, cool rocksteady and some early reggae. All tunes played in Big Man style -- all vinyl, no edits, no cds, no serrato, no bullshit -- 2 turntables, mixer, effects and mic! Check WWW.DeadlyDragonSound.com for all the serious Tunes! Track List: 1. Jo Jo Bennett - Living Soul (Gay Feet - Rock a Shocka Reissue) 2. Bobby Aitken - Give Me A Chance ( SEP Pre-Release) 3. Danny Simpson & Tommy McCook - Mary Poppins (Treasure Isle) 4. The Gay Lads - If You Knew (Coxsone) 5. Lord Creator - Such Is Life (Randys / Rock a Shocka Reissue) 6. Three Tops - Man Of Chances (Coxsone UK) 7. Hopeton Lewis - This Music Got Soul (Merritone Blank) 8. Lloyd & Glen - You Got Me Going (Crystal Blank) 9. Henry 3rd a.k.a. Henry Buckley - You Never Could Be True (Merritone) 10. Alfred Tomlinson - Don't Wait for Me (Studio One) 11. Sensations - Sweets For My Sweet (Wirl) 12. Lloyd Charmers - Things Going Wrong (Strudio One) 13. Johnny & Attractions - Let's Get Together (Gay Feet - Rock a Shocka Reissue) 14. Termites - I Made a Mistake (Coxsone) 15. Carlton & Shoes - This Feelings (coxsone) 16. Ken Parker - Change Gonna Come (Lees Blank) 17. Honey Boy Martin - Dreader Than Dread (Caltone Blank) 18. Errol Dunkley - The Scorcher (Amalgamated) 19. The Originators - Hot Iron (SEP) 20. Emotions - Rude Boy Confession (Caltone) 21. Winston Samuels - Im The Greatest (Coxsone) 22. Hamlins - Trying To Keep a Good Man Down (Coxsone) 23. Roy Shirley - The Prophet (Fire) 24. Roy Shirley - The Winner (Star pre-release) 25. Justin Hinds & Dominos - Carry Go Bring (Treasure Isle) 26. Peter Austin - Lonely Heartaches (Shockin) 27. Lloyd & Glen - That Girl (Crystal Blank) 28. Hortense Ellis - Groovy Kind of Love (Coxsone UK) 29. Phillis Dillon - Don't Stay Away (Doctor Bird) 30. Lord Creator - Come Down 68 (Randys - Rock a Shocka Reissue) 31. Errol Dunkley - Dub Plate Special 32. Paragons - My Number One (Super Tone) 33. Alton Ellis - Laba Laba (Duke Reid) 34. Ken Booth - In Love With Another Man (Coxsone Blank) 35. Ken Parker - True True True (Treasure Isle) 36. Heptones - Message From A Black Man (Coxsone) 37. Sir Harry - Sound No. 1 (Sir Harry) 38. Slim Smith - Burning Desire (Unity) 39. Jackie Mittoo - Jericho Skank (Studio One)

This version of jamaica Way Reggae Podcast is spoken word only. It features discussions about the great Coxsone Dodd and Studio One. We are pleased to offer interviews for you to listen to from Monty Alexander, Don One, Dennis Brown, Ken Boothe, Coxsone Dodd, Freddie McGregor, Tony Screw, Keith Lyn (of Byron Lee & The Dragonaires), Sister Ignatius of Alpha School, and the great engineer Graeme Goodall (Mr. Goody"). This collection of interviews were all completed by Rich Lowe of WRUW Radio and The Reggae Directory Magazine. Years ago we published a issue of The Reggae Directory that consisted completely about Coxsone Dodd. Interviews are strung together and are on the topics of Studio One. We hope that you enjoy this slightly different version of The Jamaica Way Reggae Podcast. There is a lot of great information here. Subjects include: Jamaica Brentford Road, Kingston, reggae, ska, rocksteady, mento, Musik City, Downbeat sound, piano styling, Federal Studios, The Clarendonians, Alpha School, The Skatalites, Don Drummond, and much more, Enjoy - more to come.... Rich Lowe

All hail to the Hot and Sticky season called SUMMERTIME!!! Yes summertime!!! Me Love it!!! So We did a little podcast blessing up all that we associate with the summer....sooo...ROOTS + Killer Digital + RubAdub! Big Tings!! And always this ya mix is 100% vinyl mixed inna big people style - 2 turntables, mixer, effects!!! No Cds, No Serato, no Computer Edits! Check www.Deadlydragonsound.com for all the wicked tracks! Track Listing: 1. Yabby You - Beware Jah Is Watching You (TR Groovemaster 7") 2. General Plough - Many Rivers To Cross (Black Ovation 7") 3. Augustus Thomas - Warn Them Jah Jah (Moneys Worth 12") 4. Everton Dacres - Jah Jah a Come (Valerie 7") 5. Silvertones - African Dub (Black Eagle 7") 6. Leroy Brown - Blood Ago Run (Root Down 7") 7. Judah Eskender Tafari - Jah Light (Studio One 7") 8. Sound Dimension - Rockfort Rock (Studio One 7") 9. Azul - Rock Fort Rock (Wackies 12") 10. Barry Brown - Mafia (12 Star 7")10. Barrington Levy - Juggling Soldier (Live & Learn 7")11. Jr. Reid - Thanks & Praise (W.O.W. 12")12. Errol Dunkley - A Little Way Different 13. Freddie McKay - Rock A Bye Baby (Keith 7") 14. Horace Andy - Ital Vital (Rhythm 7") 15. Don Carlos - Fight Fight (Hitbound 7") 16. Wayne Smith - Ism Skism (Black Joy 12")17. Michael Prophet - Been Talking (Volcano 7") 18. Mr Brown - Babylon Gates (Express 10") 19. Horace Andy - Trying To Conquer (Rosie Uprsing 7") 20. Ronnie Davis - We got to Change (Uncle Tom 7") 21. Conroy Smith - Last Ride (Spenguy 7") 22. Eek A Mouse - For Hire & Removal (Volcano 12") 23. Lee Van Cliff - Slow Motion (Solid Gold 12") 24. Little Howie - Original Loving (Look To Africa 12") 25. Courtney Melody - No Darkness (Chopper/Digikiller 7") 26. Don Hickey - Cooperate (Chopper / Digikiller 7") 27. Cocoa Tea - Girl You Ready (Moodies 12") 28. Little Kirk - Don't Touch The Crack (Live and Learn 12") 29. Robert French - Youthman (Mes Jam 12") 30. Yami Bolo - Roots On The Corner (Youth Promotion 7") 31. Scion Success - Jah Is My Hero (Jah Life 12") 32. Lucan Scissors - Donate (Dancehall Sizzling - Tachyon) 33. Earl Anthony - Sensi Man Rock (Look To Africa 12") 34. The Hax - Gimme the Wuk (Leggo 7") 35. Little Rose & Thriller U - Just a Work (Vena 7") 36. Supah Major - Lazy Man (Fat Man 7") 37. Colonel Fluxy - Pirate (Raiders LP) 38. Tad Hunter - Thanks & Praise (Stingray 7") 39. Glen Washington - One Bright Morning (Stingray 7") 40. Freddie McGregor - Hands In The Fire (Stingray 7") 41. Glen Washington - Repatriation Time (3 Kings 7") 42. Crime Stoppa - Don't Touch Crack (Mixing Lab 7")

A few months back we concocted this killer mix of RUDE BWOY SKA for the great shop and website called OI POLLOI -- WWW.OIPOLLOI.COM -- out of Manchester, ENGLAND. When Oi Polloi asked us if we would do a CD for them, we were thrilled as it is a shop with a true sense of identity and aesthetics that we felt meshed well with us here at Deadly Dragon Sound. For this CD we reached way deep into the vaults for vocal and instrumental Jamaican R&B, Ska and early Rocksteady that spoke of the rudebwoy culture that was developing in Kingston in the mid to late 60s. As always Deadly Dragon plays chune the way chune supposed to be played -- Pure vinyl thing...no serato...no CDs...no Computer Edits -- 2 turntables, mixer and effects - BIG PEOPLE STYLE! Check www.deadlydragonsound.com for alla your reggae needs! And make sure to check www.eastvillageradio.com each and every Monday from 6-8 pm for Deadly Dragon Sounds live and direct! Nuff Respect! And thanks to OI POLLOI for sponsoring this mix!*******************************1. Higgs & Wilson - Gun Talk Eric "Monty" Morris - Me and My 45 Baba Brooks - Gun Fever Prince Buster - Don't Throw Stones Skatalites - Tribute To NehruSkatalites - ConfusciousPrince Buster - Down Beat Burial Don Drummond - Coolie BoySkatalites - Dragon WeaponBobby Ellis - ThunderballPrince Buster - Chinaman SkaEric Monty Morris - Words of my Mouth Maytals & Skatalites - My Daily Food Silvertones - True ConfessionSilvertones - Its Real Joe Higgs - I Am The Song That My Enemies Sing Laurel Aitken - Looking for my Baby Delroy Wilson - Trouble Man Joe White - Rudie All Around Roy Panton - Mighty Ruler Jackie Opel - You Can't Catch Me Eric Monty Morris - Sammy Dead Clancy Eccles - Sammy No Dead Don Drummond - Man In The Streets Stranger Cole - Rudies All Around Stranger Cole - Rough & Tough Andy & Joey - You're Wondering Now Dandy - Message to You Roy Panton - Beware Rudie Henry Buckley - Beware Of The RudiesSlim Smith & Delroy Wilson - Look Who's Back AgainAlton Ellis, Zoot Simms & Bob Marley - Rudeboy Prayer Lloyd & Glen - Rudie Give Up Lloyd & Glen - No More Trouble Hopeton Lewis - Deh Pon Dem Soulettes - Deh Pon Dem Junior Mervin - The Hustler Prince Buster - Johnny Cool Gaylads - I Am Going To Cool IT Hopeton Lewis - Cool Cool Collie Dudley Sibley - Run Boy Run

Boofen Baffen Biffen! Like a Joe Frazier hook to the ribs this ya podcast come hard, hard, hard! Yess indeed Deadly Dragon goes back to Studio One with Scratch Famous digging deep into the musical coco box for some of Sir Coxsone Dodd's most obscure instrumentals, DJ cuts, rocksteady wonders and 80s relicks! Big Respect to the one Jah Wise of Tippa Tone Sound whose own instrumental and Deejay sets opened my ears to a whole heap a tune!As always Deadly Dragon plays chune the way chune supposed to be played -- Pure vinyl thing...no serato...no CDs...no Computer Edits -- 2 turntables, mixer and effects - BIG PEOPLE STYLE! Check www.deadlydragonsound.com for alla your reggae needs! And make sure to check www.eastvillageradio.com each and every Monday from 6-8 pm for Deadly Dragon Sounds live and direct! Nuff Respect! Play List: Jackie Mittoo - El Bang BangMagnificent Seven - Jack JohnsonSound Dimension - Funky Pablove Black & New Establishment - Pocco Tempo Zoot Simms - African ChallengeAlton Ellis - Hurting MeBurning Spear - Joe Frazier Black Ivories - Smokin JoePrince Garthie - Apples Inn Keepers - Duppy Serenade Leroy Wallace - Far Beyond Horace Andy - See A Man's Face Wildman Johnson - Face Man Rheuban Alexander - Happy Valley Dennis Alcapone - Joe Frazier Round 2 Freddy McKay & Prince Junior - Picture on the Wall Version 3The Enforcers - Musical Fever Ethiopians - LocustJackie Mittoo - Baba Boom Cyclones & Count Ossie - MeditationLennie Hibbert - Montego RockSilvertones - Foolish MindAngela Prince - You Are a Fool Boy Jah Jesco - WarningHorace Andy - Something on my MindSoul Vendors - Get With ItJackie Mittoo - Je t'aime, moi non plusWinston Holness - You Shouldn't Be The OneParagons - Change Your Style Soul Vendors - Grooving Steady-------------------------------------- DeadlyDragonSound.com 102-B Forsyth Street New York, NY 10002 info@deadlydragonsound.com Deadly Dragon Sound Blog! http://deadlydragonsounds.blogspot.com/ Deadly Dragon Sounds on East Village Radio! http://www.eastvillageradio.com/shows/nowplaying.aspx?contentid=1210&showid=2120 Deadly Dragon Sound on Myspace! http://www.myspace.com/deadlydragonsound Deadly Dragon Sound on Twitter! http://twitter.com/deadlydragon Deadly Dragon Sound on Facebook! http://www.facebook.com/pages/Deadly-Dragon-Sound-System/80795465390 Deadly Dragon Sound Podomatic! http://deadlydragonsoundsystem.podomatic.com/

Winter time in the UK, my usual mix of reggae & soulful things. Van Morrison-Spanish Steps, John Barry-Alpine Drive, Marlena Shaw-Woman Of The Ghetto, Pablove Black-Poco Tempo, itopia-Creation, Soft Touch-plenty action, Dorothy Ashby-moving finger, Steve Parks, still thinking of you, Pacesetters- what about me, Terry Callier-darker than shadows, Jonathon Jeremiah-see, Groundation-Babylon rule dem, Abassai allstars-Stem The Tide, dennis Brown- Jah is watching you, Sharon Jones-this Land, Sombory Jazz- Nanania, Rox-No Going Back, Marvin Gaye-Symphony, archie bell-where will you go

Boom Blast! Thing so nice we had to do it twice. This ya one called Deadly Dragon Inna Rub a Dub style Part 2. Yess indeed Deadly Dragon's Scratch Famous comes with a sound tuff like metal as he reaches back into the 70s and 80s for those foundation rub a dub classics! Pure vinyl thing...no serato...no CDs...no Computer Edits -- 2 turntables, mixer and effects - BIG PEOPLE STYLE! Check www.deadlydragonsound.com for alla your reggae needs! And make sure to check www.eastvillageradio.com each and every Monday from 6-8 pm for Deadly Dragon Sounds live and direct! Nuff Respect! TRACK LISTING:1. Dave Brubeck - Take Five (Columbia)2. Top Ranking All Star Stars - Take Five (Top Ranking) 3. Maddoo - Hands in the Air (Silver Camel) 4. General Echo - Suzanne (Gorgon) 5. Lone Ranger - Africa (Silver Camel) 6. Willie Williams - Righteous Man (Uptempo 10") 7. Simple Simon - Revolutionary Fighters (Striker lee / DeadlyDragonSound.com)8. Johnny Osbourne - Give A Little Love (Arrival) 9. Little John - Sometimes I am Shy (White Label 12") 10. Al Campbell - Fight I Down (Narrows 12") 11. Barrington LEvy - Money Man (Well Charged) 12. Sugar Minott - Too Much Back Biting (Hit Bound) 13. Little John - Joyce Gone (Greensleeves 12") 14. Lone Ranger - Collie Dub (Techniques) 15. Roland Burrell - Collie (Intelligence) 16. Michael Palmer - Smoke the Seed(Hit Bound) 17. Super Chick - Roach Killer (Techniques 10") 18. Simple Simon - Hey Bad Boy (Striker Lee / Deadlydragonsound.com ) 19. Junie Ranks - Ready Fi Them (Techniques) 20. Rappa Robert & Jim Brown - Pirate (Coxsone) 21. Eddie Constantine - Tenement Yard (Studio One) 22. K Vibes - Frenenimies (Studio One) 23. Jr. Cat - Skengdon Bring Culture Music (Skengdon 12") 24. Midnite Riders - Me ah Nah Gunman (Jimpys 12")25. Chosen People Band - Rub a Dub In Your Area(Reggae International) 26. Al Campbell - Dancehall Style (Prophets Studio B)27. Clarence Parks - Run Up and Down in the Dance (Roller 7") 28. Derland Byfield - Bomb (Maepnaij Phanton) 29. Horace Martin - Shock Dem a Shock (Dennis Star / Deadly Dragon Sound) 30. Jug Head - Get Up Fight (Romantic) 31. Righteous Flames - Solid Foundation (Coxsone)

Deadly Dragon's resident Studio One Maven - Mr. K. takes to the control board for this one: a celebration of the power of Studio One! One hour of pure Coxsone firepower! Photo courtesy of www.davidcorio.com Tracks: Heptones - be a man / Dennis - No Man is an island / Dennis Brown - Make It Easy / Dennis Brown - If I Follow My Heart / Doreen Schaefer - Sugar Sugar / Heptnes - Fattie fattie / Slim Smith - Rougher Yet / Lone Ranger - Love Bump / Barry Brown - Give Love / Earl 16 - Love is a Feeling / Mad LAds - Ten To One / Larry Marshall - Mean Girl / Sugar Minott - Roof over My Head / Sugar Minott - Hang On Natty / Heptones - Get in The Groove / larry Marshall - Throw Me Corn / Marcia Griffiths - Feel Like Jumping / Willie Williams - Armeggedon Time / Silvertones - Bad Boy / Sugar Minott - Vanity / Alton Ellis - I'm Just a Guy / Alton - LEt Them Try / Silvertones - Smile / Larry Marshall - Hush Up / Carlton & Shoes - Happy Land/ Carlton & Shoes - Love me Forever / Cornell Campbell - Stars / Silvertones - Make a Joyful Noise / Freedie McGregor - When I Am Ready / John Holt - A Love I can Feel / John Holt - Stranger In Love / Ken Booth - Mving Away / Bob & Marcia - Always Together / Ernest Wilson - If I Was a Carpenter / Paragons - My Satisfaction / Slim Smith - Never Let Go -- For some of these tunes and thousands more like it check www.deadlydragonsound.com for the best in Vintage Jamaican Music

Podcast # 4- Seven Wonders……Starting off with the very rare & often unknown Prince Buster track from 1968. The Eastern style organ intro sets the mood for the mix in that it is a reggae track infused with soul. Listening back to the mix, it seems that most of the tracks have a big intro & could all be pulled up with the shout ‘Call for the rewind’. Enjoy the trip. Tracklisting Prince Buster- 7 Wonders Of The World Desmond Dekker- Fu Man Chu Jackie Wilson- Light My Fire Betty Swann- My Heart Is Closed For The Season Impressions- Emotion Junior Soul- Super Love Alton Ellis- Blackish White Unknown- Stranger (wackies?) Johnny Osbourne- We Need Love Sugar Minott- Love Gonna Pack Up Mighty Stones- Penetrate Michael Anthony- Living In Sorrows Spanky Wilson- Sunshine Of Your Love Tony Newman- Soul Thing Pacesetters- What About Me Baby Donny Hathaway- I Love You More’

1) Muriel - w/Eddy 1960 - Coxsone 2) Lullaby Angel - w/Eddy 1960 - Coxsone 3) I Am Never Gonna Cry - w/Eddy 1961 - Coxsone 4) My Heaven - w/Eddy - 1961 - Coxsone 5) Let Me Dream - w/Eddy - 1962 - Randy's 6) I'm In Love - w/Hortense 1963 - Coxsone 7) Sand Of The Sea - 1964 - Sir Mike's 8) Mouth A Massi - w/John Holt 1965 - Randy's 9) Dance Crasher - w/Flames - 1965 - Duke Reid 10) Ska Beat - w/John Holt 1965 - Randy's 11) Don't Trouble People - w/Flames 1966 - Duke Reid 12) The Preacher - w/Flames 1966 - Duke Ried 13) Blessings Of Love - w/Flames 1966 - Duke Reid 14) Rudeboy Prayer - w/Scully & Peter Austin 1966 - Coxsone 15) Cry Tough - w/Flames 1967 - Duke Reid 16) Easy Squeeze - w/Hortense 1966 - Coxsone 17) Let Them Try - 1968 - Coxsone 18) English Talk - 1969 - Duke Reid 19) What Does It Take - 1970 - Duke Reid 20) Better To Be Loved - 1970 - Randy's 21) I Don't Want To Be Right - 1972 - Coxsone 22) Reasons In The Sky - 197 - Coxsone

A ska mix featuring the productions of the great Sir Coxsone Dodd. 1) Sampson - Tommy McCook 2) You Bend My Love - Delroy Wilson 3) I Don't Know - Lacelles Perkins 4) Never Get Weary - Lee Perry 5) I Love You - Winston & Barbara 6) Scrap Iron - Don Drummond 7) Peace And Love - Lester Sterling 8) Lena Belle - Eric Morris 9) Hello Honey - Maytals 10) Treat Me Bad - Maytals 11) There's A Reward - Higgs & Wilson 12) Get On The Right Side - Mighty Vikings 13) Christine Keeler - Roland Alphonso 14) Cleopatra - Don Drummond 15) The Lord Is With Me - Jackie Opel 16) Play Boy - Wailers 17) Hooligan - Wailers 18) Message To My Girl - Gaylads 19) Searching - Delroy Wilson 20) I Am A Fool - Ken Booth