Jamaican guitarist and composer
POPULARITY
10 episodes with Ernest Ranglin
3 episodes with Ernest Ranglin
3 episodes with Ernest Ranglin
3 episodes with Ernest Ranglin
2 episodes with Ernest Ranglin
3 episodes with Ernest Ranglin
2 episodes with Ernest Ranglin
2 episodes with Ernest Ranglin
2 episodes with Ernest Ranglin
This weeks show is part one of our look back at Reggae music in 2024. You will hear music from Linval Thompson, Perfect Giddimani, Tristan Palmer, Abijah and Mikey Melody, TravelerZ, Mosiah, Barrington Levy, Lutan Fyah, Sean Paul, Carlton Livingston, Macka B, Kimeco & Little Lion Sound, Mikey Dub and Don Hartley, Essah, Busy Signal, Dukes Of Roots, EyeGen, Rokkku, Kazayah, Christos DC, Exco Levi, Solo Banton, Black Roots, Romain Virgo, Luciano, Ini Kamoze with Lila Ike', The Co-Operators, Robert Lee & Admiral Tibet, Teacha Dee, Mighty Joshua, Ras Jem & Jah T Jr., Ka'ra, Don Dada, Dub idren, Roots Architects, Sammy Dread with Nazamba and OBF. Pluss Many Many More. Enjoy! Linval Thompson & Little Lion Sound - Dem A Come - Evidence Music Perfect Giddimani Meets House Of Riddim - Reggae Saved My Live - House Of Riddim Terry Linen & Anthony Red Rose - No Heathen - Tad's Records Triston Palma & Irie Ites - Happy Times/Happy Dub - Zion Garden Riddim - Irie Ites Records Abijah - The World - Rescue The World Ep - Taitu Records Mikey Melody - Rescue - Rescue The World Ep - Taitu Records TravelerZ - Tears On Fire - Culture Dub Records Mosiah - More Than Gold - I-Frequency - Ragatac Music Barrington Levy - Tell Dem Already - Murda Dem Riddim - Irie Ites Records Lutan Fyah - None Shall Escape - Big Bus Records Sharon Marley & Big Youth - Steppah - Gong Gyal Entertainment/Tuff Gong International Sean Paul - No Evil - Dutty Rock Productions Carlton Livingston - Marcus Mosiah Garvey - Walls Of Jerusalem Riddim - Heartical Sound & BDF Macka B - No Bad Vibes - Walls Of Jerusalem Riddim - Heartical Sound & BDF Basque Dub Foundation - Walls Of Dub - Walls Of Jerusalem Riddim - Heartical Sound & BDF Subajah - Lion - Dashan Records Kimeco & Little Lion Sound - Frontline - Uhuru Riddim - Evidence Music Mikey Dub & Don Hartley - Causeless Shall Not Come/Causeless Shall Not Dub- Dubophonic Records Indra - Nuttin They Can Say - Reality Shock Records Geo - Ackee Tree - Geo Music Eesah - Behold The Conquering Lion - Deep Medz - King I-Vier Music/Loud City Busy Signal - Jah You Know - Brimstone Riddim - Dutty Rock Productions Marcus I - War Zone - Brimstone Riddim - Dutty Rock Productions Quan-Dajai - Brimstone - Brimstone Riddim - Dutty Rock Productions Dukes Of Roots feat. Stephen Marley - Stick With Love - Dukes Of Roots - Migration Records/Young Pow Productions EyeGen - All Right - Musically Unifying Skygrass & Mykal Rose - Sensi - Future Sounds Of Reggae Vol. 3 - Future Sound Of Reggae Rokkku - Target On Lock - Rokkku Music Kazayah - Ready Fi Di Road - The Road Riddim - Jah T Jr. Christos DC - Dread & Alive - Kung Fu Action Theatre - Honest Music Exco Levi - H.I.M. - Born To Be Free - Penthouse Productions Jesse Royal - Roots And Culture - Roots And Culture Riddim - Silly Walks Discotheque Reemah - As Far As I Can See - Roots And Culture Riddim - Silly Walks Discotheque Black Roots - So Many Things - Roots - Nubian Records Solo Banton feat. Joe Yorke - Acting Like That - In This Time - Irie Ites Records TrueSounds w/Jah Mirikle & Lone Ranger - Time Get Ruff - X Files Riddim - True Sounds Romain Virgo feat. Jesse Royal - Bridges - The Gentle Man - VP Records Don Hartley & I-niverse - Orthodox Soldier - Song Of Creation - Don Hartley Music Luciano - Roots - Twisted Reality Riddim - Mildenburg Records Ini Kamoze feat. Lila Ike' - I Want You - XTM Nation O.B.F. & Iration Steppas - What A Ting - Revelation Time - Dubquake Records Linval Thompson w/ JonQuan & Victor Rice - Cultivator/Ganja Dub - Easy Star Records Abka Kaba - Mighty People - Abendigo Records The Co-Opertaors feat. Joe Yorke - Hard Road - Sounds From The Fridge - Waggle Dance Records The Co-Operators feat. Kitma - Nefarious - Sounds From The Fridge - Waggle Dance Records Carlton Livingston - Any Day - South Rockers Records Robert Lee - Sound A Go Dead - Grubby Mitts Admiral Tibet - Dem A Fight (dubplate mix)/Knockout Dub - Grubby Mitts Teacha Dee Meets House Of Riddim - City Life - House Of Riddim Inna Vision w/Mr. 83 & Bengali Arkangel - Roots Like This - Reggae Lives Kingston Express feat. Cheshire Cat - War Among The Poor - Foundation Rock - Kingston Express Records Mighty Joshua - Ital Way - Dreaducation - Mighty Music Mighty Joshua - Iron Sharpen Iron - Dreaducation - Mighty Music Ras Jem - Cutlass - Royalty - Jah T Jr. Jah T Jr. - Cutlass Dub - Royalty Dub - Jah T Jr. Linval Thompson - Ganja Man - Ganja Man - Irie Ites Linval Thompson & Irie Ites - What Time Is It/Time To Dub - Ganja Man - Irie Ites Records Ka'ra - True Love - Black Wadadah/Dove Muzik Don Dada - Rise Up - The Heart & The Mind - Ruff Cutt Studio Dub Idren - Public Enemy - Dubophonic Records Roots Architects feat. Vin Gordon, Ernest Ranglin & Karl Bryan - Squirrel Inna Barrel - From Then Til Now - Fruits Records JungleGod - Kiki - JungleGod Music Dr. Ring Ding - Follow Dis on Yah Sound - Bass Jam - Anaves Music Sammy Dread, Nazamba, & OBF - Evening Love/She Nah Lie/Morning Dub - Dubquake Records U-Brown & The Ligerians - Rootsman Party/Rootsman Dub - Still Chanting Rub A Dub - Irie Ites Records
Bienvenido Bastarnauta a una edición más de tus Bastardos favoritos. Sumérgete en cabina en esta noche relajada para bienvenir el invierno con el dulce elixir del vermouth. Participa de la banalidad absoluta entre las cosas que en otros se ven bien pero tú no te atreverías a hacer. En la sabiduría encerrada en frases y dichos populares y otras estupideces que relajarán tu neurona al ritmo de exquisita banda sonora. Disfruta este dúo dinámico de Ernest Ranglin, seguida de una dupla rítmico exquisita: la primera de Dr. Banard y la segunda de Richard in your mind. Así que peínate las patillas, desabróchate el cinturón, saca la panza y suéltate la greña para disfrutar un rato más en compañía de los Bastardos con Suerte.
Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: White and Nerdy by Weird Al Yankovic (2006)Song 1: Magic by Michael Nesmith (1979)Song 2: I Don't Want to Die Tonight by Anthony Green (2022)Song 3: Surfin' by Ernest Ranglin (1996)Song 4: Rocker by Miles Davis (1957)Song 5: Bear Creek Blues by John Prine (2005)Song 6: Wonderboy by Tenacious D (2001)Song 7: Tilted by Christine & the Queens (2015)Song 8: Insomnia by Parannoul (2023)Song 9: Heather by Conan Gray (2020)Song 10: This Will Be Our Year by The Zombies (1968)
This weeks show starts off with music from Fantan Mojah, Sanchez, Garnet Silk, Luciano, The Roots Architects, Bob Marley & The Wailers, Freddie McGregor, Leroy Smart, Alric Forbes, Burning Spear, King Kong, Black Uhuru, Lucky Dube, Barrington Levy, John Holt & Alton Ellis, Wayne Smith, and Little John. New music this week comes from I-Taweh, Ranking Joe, Taj Weekes and Zion Albert, Nagai, Pasnbesa, Bugle, Etana with Big Youth, Capleton, Bayonics, Imeru Tafari, Peetah Morgan, Ondubground featuring Brother Culture, Naya Rockers with Clinton Fearon, Macka B, Christopher Ellis, Skari, Gappy Ranks, and Skarra Mucci. Enjoy! Fantan Mojah - Hail The King - Hail The King - Greensleeves Sanchez - Never Dis The Man - One In A Million: The Best Of Sanchez - VP Records Garnet Silk - Bless Me - Reggae Anthology: Music Is The Rod - VP Records Cocoa Tea - Bust Outta Hell - Reggae Anthology: The Sweet Sound Of Cocoa Tea - VP Records Luciano - Who Could It Be - Where There Is Life - Island Jamaica Luciano - Love Jah And Live - Rough Inna Town: The Xterminator Sound - Maximum Pressure Luciano - Love Jah and Live Dub - Xterminator Presents: MLK Dub - Ras Records/Xterminator Roots Architects feat. Vin Gordon, Ernest Ranglin & Karl Bryan - Squirrel Inna Barrel - From Then Til Now - Fruits Records Bob Marley & The Wailers - Sun Is Shining - Kaya - Tuff Gong Freddie McGregor - Run Come Rally - Roots Vibration 12” Leroy Smart - Jehovah - The Best Of Leroy Smart - Channel One Alric Forbes - To Jah - Forbes Label 7” Burning Spear - Distant Drum - People Of The World - Burning Music King Kong - Come Down - Jah Almighty 7” Black Uhuru - Eden Out Deh - Black Sounds Of Freedom Deluxe - Greensleeves I-Taweh - Cease Fire - Evidence Music Lucky Dube - Crime and Corruption - Retrospective - Gallo Records Barrington Levy - Prison Oval Rock - Greensleeves John Holt & Alton Ellis - Live & Love - Parish 7” Wayne Smith - Ism Skism - Youthman Skanking - VP Records Little John - Work To Do/Work To Do Version - Papa Roots Ranking Joe - Too Much Blood Stain - Top Ranking - Tabou1 Taj Weekes & Zion Albert - Corner Stone - Eyes To See - Skank Records/Jatta Records Nagai - Jah Love - Back To My Roots - Kaboum Music Pasnbesa - No Peace/No Peace Dub - Ministry Of Reggae Sound Bugle - Upside Down - Apex - An9ted Ent./Evidence Music Gee Vibes - Babylon Is Crumbling - Entrance Riddim - Mafia & Fluxy Macka B - Humble Warrior - Entrance Riddim - Mafia & Fluxy Alborosie - Rocky Road - Freedom & Fyah - Greensleeves Alborosie - Rocky Dub Road - Freedom In Dub - Greensleeves Etana feat. Big Youth - Jah Never Fail - Nectar Of The Gods - Freemind Music Samory I feat. Lila Ike - Outside - Strength Deluxe - Overstand Entertainment/Easy Star Records Capleton - Jah Guide My Step - Brimstone Riddim - Dutty Rock Productions Bayonics - Beyond Your Means - Levantamiento - Bayonics Music Zion I Kings feat. Imeru Tafari - 1930 - Full Bloom Riddim - Zion High Productions Zion I KIngs feat. Peetah Morgan - Who Run The World - Full Bloom Riddim - Zion High Productions Zion I Kings - Full Bloom Dub - Full Bloom Riddim - Zion High Productions Junior Roy & Dub Shepherds feat. Jahno - Cryin/Cryin Dub - Junior Roy At Bat Records - Bat Records I -Tek Paul - Sunshine Dub - Harry Mudie Presents I-Tek Paul In Dub Conference - Moods International I. David & Dougie Conscious - Pillar Dub - Conscious Sounds Presents Dub Confliction - Conscious Sounds Rolling Lion Studio - Lion Rock Riddim - House Of Dread - Renegade Media Ranking Joe & Tristan Palma - Bring The Sensi Come - Dub Club: Foundation Come Again - Stones Throw Records Dub Club - Bring The Dub Again - Volume 2: Bubble Dub - Stones Throw Records The 18th Parallel feat. The Silvertones & Westfinga - Wonderland Of Green/Wonderland Of Dub - Fruits Records Horace Andy - Mr. Bassie - Midnight Rocker - On U Sound Horace Andy feat. Daddy Freddy - More Bassy - Midnight Scorchers - On U Sound Bush Chemists - Flying Cymball - Raw Raw Dub - Roir Records Vibronics feat. Soulsteppa - Eastern Heights - Woman On A Mission 2 - Scoops Prince Alla & Jah Warrior - Cities/Dub With No Pity - Glory - Jah Warrior Ondubground feat. Brother Culture - Ghetto War (Roots Raid remix) - Remixed - ODGProd Carlton Livingston & Lone Ranger - Exit/Dub It Deh - Legsman Records 12” Naya Rockers feat. Clinton Fearon - Come With Us - Naya Records Macka B feat. Don Richie Music - Still Look Good - Don Richie Music Christopher Ellis - Miss You - Ghetto Youths International Skari - September Morning - Tad's Records Gappy Ranks - Broken Hearted - King Remo Music Skarra Mucci & Krak In Dub - Greedy For Vanity - Evidence Music Tippa Lee - Rasta Dance - Cultural Ambassador Deluxe - Stones Throw Records U Brown & The Ligerians - Rootsman Party/Rootsman Dub - Irie Ites Zion I Kings feat. Lloyd Brown - Musical Warrior - H.I.M. Teachings Riddim - Zion High Productions
Narada speaks with Musician and Drummer Aubrey Dayle. Many high profile artists have worked and played with Aubrey since he became a New York-based freelance musician. His diverse experience has allowed him to perform with Garland Jeffreys, Sam Rivers, Sonny Rollins, David Murray, Chico Freeman, Oliver Lake, Lonnie Plaxico and Ernest Ranglin among many others. He has also worked on “Bring In Da Noize, Bring In Da Funk” as a Broadway musician.Visit Narada at his website and socials and leave a comment, like and subscribe if you enjoyed the podcast!Website: https://www.naradamichaelwalden.com/allinpodcastInstagram: https://www.instagram.com/officialnaradaApple Music https://podcasts.apple.com/us/podcast/all-in-with-narada-michael-walden/id1470173526Spotify: https://open.spotify.com/show/5agWJLSreLNze8Sjxit4Na?si=928a8dd6316d4986
Its been a while since I have updated you all here. Truth is after I get the live show done I am usually pretty done. Plus the time I would normally sped doing this at home is spent doing other things. And because I have always been all about the quality of the show, posting suffered. But from now of I will try to forgo the the quality as long as the music continues to be amazing. For now enjoy Episode 95 a well rounded show of music from throughout the genre. Listen Live on www.BootBoyRadio.net Sunday (6:00 pm - 8:00 pm EST - 00:00 - 22:00 GMT) (Rocksteady Tonight Live) Wednesday (7:00 pm - 9:00 pm EST - 00:00 - 02:00 GMT) (Paddy Rock Live) As always thanks for listening Rocksteady Tonight is available iTunes: The Playlist is as follows: The Dualers I'd Love You To Want Me Millie Small Tom Hark Neville Staple Johnny Too Bad Harry J Allstars Liquidator Chainska Brassika Mind Soul Body The Bodysnatchers Too Experienced Dandy Livingstone Suzanne Beware of the Devil Clancy Eccles Don't Brag, Don't Boast Sunny Coast Rude Boys Rudeboy Takeover Death Of Guitar Pop Do You Remember What I Told You Last Night? Dennis Brown Money In My Pocket The Dualers Sunny Days The Scofflaws Rudy's Back Judge Dread Big Seven Prince Buster Enjoy Yourself Hub City Stompers Suffer the Children The Magnetics Baby Come On Mr. Review One Way Ticket Let's Go Bowling Mayhem The Loafers The Undertaker The Offenders Dagger in the Belt The Prizefighters Kick the Can Dubmatix Rocksteady Freddie Bob Andy You Don't Know The Inversions w/ Victor Axelrod Conscience is Heavy Tommy Tornado Armagideon Time Roots Architects; w/ Ernest Ranglin & Tyrone Downie Memories Of Old Night Owls; Destani Wolf After Laughter Jackie Mittoo & The Aggrovators Tough Life Stranger Cole Crying Every Night Prince Buster Rock and Shake Bobby Ellis Sweet Lorna Tommy Tornado w/Crucial T Pempelem Phoenix City All-Stars The Prince Symarip Phoenix Reggae (Phoenix City) The Cimarons Skinheads a Mash up London Town Le Grand Miercoles Western Standart Time
This weeks show starts off with music from Bob Marley & The Wailers, Talisman, Misty In Roots, Cornel Campbell, Ras Michael, Judah Eskender Tafari, The Heptones, The Wailing Souls, Culture, Israel Vibration, Black Uhuru, Ijahman Levi, Patrick Andy and Yabby You, Dennis Brown, Calton Coffee, and Apple Gabriel. New music this week comes from Roots Architects, Linval Thompson, Jazzy D and FireVerse, The Co-Operators featuring Dennison Joseph, Kush McAnuff, Jah Lil, Roots Powa and Awa Fall, Madipao, Mikey Dub and Devon Khemis, The Skatalites, JungleGod, Expo Levi, Kiddus I, Kingston Express with Macka B, Ranking Joe, and Amelia Harmony, JA13, Subatomic Sound with Mykal Rose and Hollie Cook, Mosiah and Brainfood Intl., Marcus Gad and Zulu Viibes, Jah Warrior, Mighty Joshua, MoneyDonRed, and Luciano with the Upper Cut Band. Enjoy! Bob Marley & The Wailers - No More Trouble - Catch A Fire Deluxe - Tuff Gong Talisman - Nothing Change - Sugar Shack Records Misty In Roots - Dance Hall Babylon - Roots Controller - Real World Records Cornel Campbell - New Scroll/New Scroll Dub - New Scroll - Zion High Productions Roots Architects feat. Vin Gordon, Ernest Ranglin, & Karl Bryan - Squirrel Inna Barrel - From Then Til Now - Fruits Records Linval Thompson - What Time Is It?/Time To Dub - Ganja Man - Irie Ites Ras Michael - Zion Land - Zion Land - Culture Press Judah Eskender Tafari - Long Suffering - Long Suffering - Rhygin Records Judah Eskender Tafari - Wicked Man - Long Suffering - Rhygin Records Burro Banton - Praise Jah - Stereo One 7” The Heptones - Everyday Life - Deep In The Roots - Heartbeat Records The Wailing Souls & Ranking Trevor - War (Extended 12” Disco Mix) - Wailing Souls At Channel One - Pressure Sounds Culture - Love Shines Brighter - Baldhead Bridge - Joe Gibbs Israel Vibration - Red Eyes - Power Of The Trinity: Skelly Vibes - Ras Records Israel Vibration - Seeing Dub - I.V. Dub - Ras Records The Co-Operators feat. Dennison Joseph - More Fire - Sounds From The Fridge - Waggle Dance Records Madipao - Hari Om Tat Sat - Dub Proof Music Black Uhuru - Leaving To Zion - Guess Who's Coming To Dinner - Heartbeat Records Ijahman Levi - Jah Heavy Load - Island Presents Roots: 37 Essential Roots Anthems - Island Records Patrick Andy & Yabby You - Got To Give Some Help/Got To Give Some Help Dub - Living In Mount Zion - Pressure Sounds Kush McAnuff - Run Way Negative - Tattoin Beat Jah Lil - Step By Step - Out Deh Records Busy Signal - Jah You Know - Brimstone Riddim - Dutty Rock Productions Awa Fall Meets Roots Powa - Mount Zion - Amoul Bayi Mikey Dub Meets Devon Khemis - Against The Wall/Against The Wall Dub - Dubophonic Records Dennis Brown - Trials and Crosses - You Satisfy My Soul - Fat Man Sandawana - Egg In A Basket - Standing On The Peak 1 Calton Coffee - Everything Is Everything - Serious Times: Bobby Digital Anthology Vol. 2 - VP Records Apple Gabriel - In The Jungle (Tuff Gong Version) / Dubbing In The Jungle - King Of The Dub Rock 3 - Jah Solid Rock The Skatalites - Ska Train - Tuff Gong International Kiddus I feat. Bazbaz & Tchiky - The Salmon (Ska Version) - X Ray Production Exco Levi - Fine Tooth Comb - Born To Be Free - Penthouse Productions JungleGod - Kiki - JungleGod Jazzy D feat. FireVerse - Keep It Kool - Jazzy D Productions Delroy Wilson - Trying To Wreck My Life - The Cool Operator - VP Records Alton Ellis - I Can't Stand It - The Pama Years: Alton Ellis The Godfather Of Rocksteady - Pama Records Lord Tanamo - Keep On Moving - Studio One Sound - Soul Jazz Records Freddie McKay - La La Bye Woman/Rock A Bye Dub - Creation - VP Records King Tubby Meets Tommy McCook - King Tubby Dub - Bunny Lee: Dreads Enter The Gates With Praise - Soul Jazz Records King Tubby - Psalms Of Drums - Black & White 7” King Tubby - Everybody Needs Dub - King Tubby & Friends: Dub Like Dirt 1975-1977 - Blood & Fire Frankie Diamond & Pablove Black & Carl Fletcher - You Coulda Beat Me/Licking Version - Uprising 7” Kingston Express feat. Macka B - Why Are You Waiting/Dub Are You Waiting - Foundation Rock - Kingston Express Records JA-13 - Rude Boy Gone - World Radio Dub (Chapter One) - Jamdown Hummingbird & Ras Soto - Better Days Dub - Culture Dub Records Subatomic Sound feat. Mykal Rose & Hollie Cook - Put Down The Gun/Put Down The Gun Dub - DubShot Records Mosiah - More Than Gold - I-Frequency - Ragatac/Mystic Rockaz Mosiah - More Than Gold Dub Mix - Brainfood Intl. Morgana Souljah & Jah Warrior - World War Three/Third World War Dub - Jah Warrior Marcus Gad & Zulu Vibes - Babylon Nuh Care/Dubbing Babylon - Zulu Vibes Perfect Giddimani - Tear No Man Down - Higher Grounds Riddim - Chinaman Yard Mighty Joshua - Jah Sunset - Dreaducation - Mighty Joshua Music MoneyDonRed - Jah Live Forever - Bread Organization Records Luciano & The Upper Cut Band - Bear Jah Fruit - Upper Cut Band Kingston Express feat. Ranking Joe & Amelia Harmony - Born Hustla - Foundation Rock - Kingston Express Records Sub Alpine w/ Natty Campbell & El Fata - Bubblin'/Rub A Dub Soldiers - Rub A Dub Soldiers - Nice Up Records
This weeks show starts off with music from Burning Spear, Fred Locks, Dennis Brown, Johnny Clarke, Jacob Miller, Frankie Paul, Peter Tosh, Culture, Clinton Fearon, Pablo Moses, Midnite, Keith Hudson, The Heptones, Ronnie Davis, and Tyrone Evans. New music this week comes from Zoe Mazah, Sean Paul, Ras Teo, Owl Trackers, Jah Izrehl, Kabaka Pyramid, Ras-I, Mosiah, Soul Rebel Project featuring Josh Heinrichs, Geo, Linval Thompson and Naram, and Mikey Melody and Russ D. Also this week we ride the Moving Up Riddim and the Murda Dem Riddim featuring artists like Chezidek, Fyah Bubbles, Don 1, King Kong, Eek A Mouse, and Barrington Levy. Enjoy! Burning Spear - We Are Going - People Of The World - Burning Music Productions Fred Locks - Black Star Liners - Black Star Liner - VP Records Dennis Brown - Black Liberation - The Best Of Dennis Brown: The Niney Years - Heartbeat Records Johnny Clarke - African Roots - Dreader Dread 1976-1978 - Blood & Fire Jacob Miller & Fatman Riddim Section - Standing Firm In Babylon/Straight To The Vampires Head - Top Ranking 7” Roots Architects w/Ernest Ranglin & Tyrone Downie - Memories Of Old - Fruits Records Frankie Paul - Music Is The Staff Of Life - Pass The Tu-Sheng Peng/Tidal Wave - Greensleeves Peter Tosh - Pick Myself Up - Bush Doctor - Rolling Stones Records Culture - Get Ready To Ride The Lion To Zion - Two Sevens Clash: The 30th Anniversary Edition - Shanachie Clinton Fearon - Rock An A Hard Place - Mi Deh Yah - Makasound Pablo Moses - More Than You Can Chew - The Rebirth - House Of Moses Pablo Moses - More Than You Can Chew Dub - The Rebirth In Dub - House Of Moses Midnite - Jah Feed I - Scheme A Things - Rastafaria Keith Hudson - Civilisation - Too Expensive - Virgin The Heptones - Everyday Life/Way Of Life Dub - Observer Ronnie Davis - World By Myself - Roots From The Record Smith: Lloydie Slim Productions 1973-1976 - Bond Export/DKR The Aggrovators - World By Myself Part 2 - Roots From The Record Smith In Dub: Lloydie Slim Productions 1973-1976 - Bond Export/DKR Tyrone Evans - Freedom Song w/Version - Park Heights 7” Zoe Mazah - Peace Begins Within - Sid Buck Records Soom T - Walk The Earth - The Louder The Better - X Ray Production Sean Paul - No Evil - Dutty Rock Productions Manudigital feat. Jolly Joseph - This World Is A Hell - Step Up - X Ray Production Joe Yorke & The Eastonian Singers - Gentrification/Invasion Dub - Happy People Records Ras Teo - Ancient Of Days - Ion Man - Forward Bound Records Akae Beka & Mykal Rose - Son/Son Dub - Glory - Zion High Productions Owl Trackers feat. Flowbeez - Red Glasses - The Bright Side - Culture Dub Records Iotosh feat. Protoje - Fill My Cup - Sound Ting Samory I feat. Lila Ike' - Outside - Strength - Overstand Entertainment/Easy Star Records Protoje & Zion I Kings feat. Popcaan - In Life - In Search Of Zion - Indiggnation Collective/RCA Jah Izrehl - Repatriation - Tad's Records Chezidek - Moving Up - Moving Up Riddim - Pzed Music Fyah Bubbles - Motivation - Moving Up Riddim - Pzed Music Don 1 - Nice Again - Moving Up Riddim - Pzed Music Kabaka Pyramid - Start My Day - Full Bloom Riddim - Zion High Productions Ras-I feat. Drew Keys - Days & Months - Ras-I Musique/Dub Shot Records Bitty McLean & The Supersonics - Walk Away From Love - On Bond Street - Peckings Sanchez - Old Friend - Reggae Anthology: Redman International: We Run Things - VP Records Courtney Melody - She Turn Me On - Modern Girl - AO Records Gregory Isaacs - Cool Down The Pace/Cool Down The Dub - Night Nurse Remastered - Island Records Prince Fatty - Jah Jah Dub The Conqueror -Prince Fatty Meets The Gorgon In Dub - VP Records Johnny Clarke & The Aggrovators - Poor Marcus Version - Jamaican Recordings 7” The Observers - Quiet (dubplate mix) - Observer 7” Rockers All Stars - Rockers Youths - Rockers 7” Sky High & The Mau Mau - Love Rasta - Skyhigh In Dub Land Vol. 1 - Sky High Productions Mikey Dread - Israel (12 Tribe Style) - Beyond World War III - Heartbeat Records Ashanti Waugh - Jah Love/Jah Dub - Roots and Dub - Smugg Records Owl Trackers feat. Mighty Bone - Detective - The Bright Side - Culture Dub Records King Operator Sound System feat. Tony Tuff - Jah Almighty/Jah Almighty Dub - King Operator Sound Sandeeno & King General - Wicked Run Away/Wicked Dub Away - Calling For Roots - Chouette Records Barry Isaac w/ UK Pricipal & Peetah Sunday - Rastafari Army/Mistry Babylon/Mistry Dub - I-Tal Soup 12” Mosiah - More Than Gold - I-Frequency - Ragatac/Mystic Rockaz Soul Rebel Project & Josh Heinrichs - Kush - Soul Rebel Project Geo - Ackee Tree - Geo Music King Kong - Money Could A Buy - Murda Dem Riddim - Irie Ites Records Eek A Mouse - Musical Ambassador - Murda Dem Riddim - Irie Ites Records Barrington Levy - Tell Dem Already - Murda Dem Riddim - Irie Ites Records Linval Thompson & Naram - Gimmie Marijuana/Gimmie Marijuana Version - Rick Records Gyptian - Sensi - Hi Grade Ganja Anthems Vol. 3 - Greenlseeves Ranking Joe & Tristan Palma - Bring The Sensi Come - Dub Club: Foundation Come Again - Stones Throw Records Dub Club - Bring The Dub Again - Bubble Dub Vol. 2 - Stones Throw Records Danny T & Tradesman feat. David Boomah & Parly B - First Choice - Bulit For Sound - Scotch Bonnet Records Mikey Melody & Russ D - Rescue/Rescue Dub - Rescue The World - Taitu Records
Obrim el programa escoltant el “Moonlight lover” de Joya Landis. Seguim repassant les novetats de les darreres setmanes: Nou single de Mango Wood “Never ever”; Nou single de Roots Architects with Ernest Ranglin & Tyrone Downie: “Memories of Old”; Nou … Continua llegint →
This weeks show starts off with music from Cocoa Tea, Sanchez, Jahmali, Robert Ffrench, Ini Kamoze, Luciano, Horace Andy, Barry Brown, Tony Tuff, Willi Williams, Culture, Devon Irons, The Heptones, Jacob Miller, The Mighty Diamonds, Yabby You, Flabba Holt, and Sly and Robbie. New music this week comes from Carlton Livingston, Akae Beka, Micah Shemaiah, The Viceroys, Drew Dean, Linval Thompson, Dougy, Terry Linen and Anthony Red Rose, Mosiah, Protoje and the Zion I Kings, Roots Architects featuring Ernest Ranglin and Tyrone Downie, Owl Trackers, JAR, Mikey Melody and Russ D, Damian Marley with Killer Mike, Ka$e, Rootz Radicals, Bri Lyphe, Jah Mason, Chezidek, Anthony B, and The Magnificent. Enjoy! Cocoa Tea - Israel's King - Reggae Anthology: The Sweet Sound Of Cocoa Tea - VP Records Sanchez - Leave Out Of Babylon - Flag Flown High: The Best Of Bobby Digital's Roots Productions - Maximum Pressure Jahmali - El Shaddai - El Shaddai - Penthouse Records Robert Ffrench - Calling All Rastaman - Harmony House Verse 1 - VP Records Ini Kamoze - General - Here Comes The Hotstepper - Columbia Luciano - Gunzalis - Rough Inna Town: The Xterminator Sound - Maximum Pressure Luciano - Weaponist Dub - Xterminator Presents: MLK Dub - Ras Records Tommy McCook & The Observers - One Trainload Of Collie - Head Shot: Reggae Instrumentals, Dubs, and Other Oddities - Heartbeat Horace Andy - Mr. Bassie - Good Vibes 1975-1979 - Blood & Fire Barry Brown - Pass Up The Chalice - A Blackbeard Production: Too Much Iron In The Fire - Trojan Records Tony Tuff & Jah Thomas - Ease Up The Pressure/Answer The Telephone - Jamaican Gold - Moll-Selekta Willi Williams & Lone Ark Riddim Force feat. Ras Telford - Don't Show Off/The Nansa Heritage - Glory To The King - A Lone Productions Culture - Natty Dread Taking Over - Two Sevens Clash: The 30th Anniversary Edition - Shanachie Lee Scratch Perry feat. Devon Irons - When Jah Come - Super Ape/Return Of The Super Ape - Trojan Records Jacob Miller & Pablo All Stars - Who Say Jah No Dread /Jah Dread - Rockers International The Heptones - Better Days - Niney The Observer: Deep Roots Observer Style - VP Records Mighty Diamonds - Eyes On Africa - Reggae Anthology: Pass The Knowledge - VP Records Vivian Jackson & The Prophets & King Tubby - Walls Of Jersusalem/Jerusalme Dub - Yabby You: Jesus Dread 1972-1977 - Blood & Fire Carlton Livingston - Marcus Mosiah Garvey - Walls Of Jerusalem Riddim - Heartical Sound Flabba Holt - Danger Zone - Crucial Reggae: Driven By Sly & Robbie - Mango Records Sly & Robbie - Skull & Crossbones - A Dub Experience - Island Records Akae Beka - Who Will Go For Us - Living Testament - Trinity Farm Music/Before Zero Records/I Roots Records Micah Shemaiah & Derrick Sound - Shifting Floors - Evidence Music Lewis Bennett & The Viceroys - Universal Love/Universal Dub - Burning Bug Records Drew Dean feat. Jeremy Vanterpool - Light & Love - Viral Riddim - Siven Rock Rebel Control - Things - Love, People, Power - Rebel Control George Palmer - Vampire - Time To Roots Terry Linen & Anthony Red Rose - No Heathen - Tad's Records Linval Thompson & Little Lion Sound - Dem A Come - Evidence Music Dougy & Little Lion Sound - Feel The Vibration - Evidence Music Isha Bel w/ Jil & Stuf - Cost Of Living/Riddim of Living - Addis Records Mosiah - More Than Gold - Rag Tag Music King Kong - Money Could A Buy - Murda Dem Riddim - Irie Ites Records The Co-Operators feat. Kitma - Flea Bite/Return Of The Flea - Waggle Dance Records Gregory Isaacs - Material Man - Night Nurse - Island Records The Tamlins & Sly & Robbie - Real Love/Real Love Version - Unmetered Taxi - Pressure Sounds Johnny Osbourne - In Your Eyes - Right Right Time - Baco Records Protoje & Zion I Kings feat. Lila Ike' - Still Bloom/Still Bloom Dub - In Search Of Zion - Indiggnation Collective/RCA Roots Architects feat. Ernest Ranglin & Tyrone Downie - Memories Of Old - Fruits Records Pachyman - Midcity Rockers - The Return Of Pachyman - ATO Records The Giants - Dedicated To Flabba Dub - Reel 1 & 2 Adapted Chapter - Duke Production JAR - Rolling Dice/Rolling Dub - Rolling Dice - N Gage Productions Mungo's Hi Fi feat. Charlie P - Traveller - Serious Time - Scotch Bonnet Records Mungos Hi Fi - Traveller Dub - Serious Dubs - Scotch Bonnet Records Owl Trackers feat. Mighty Bone - Detective - The Bright Side - Culture Dub Records Danny Red - Calling For Roots/Calling For Dub - Chouette Records Mikey Melody & Russ D - Rescue/Rescue Dub - Rescue The World - Taitu Records Damian Marley & Killer Mike - Run Remix/Run Instrumental - Loma Vista/Concord Ka$e - Perfect Storm - Creative Tribe Rootz Radicals feat. Rebellion Recaller - Kingston Elite - Together As One - Rootz Radicals Bri Lyphe - Chatty Chatty - Bri Lyphe Music Skarra Mucci feat. Derrick Sound - Who Fool Dem - Perfect Timing - X Ray Production Jah Mason - The Motive - Saga Riddim - Dub Stuy Records Chezidek - Blind Love - Saga Riddim - Dub Stuy Records The Magnificent - Vibes I Send - Viking Sound Anthony B - Trodding - Massive B Dave Bailey - Runnings - Reggae Anthology: Redman International: We Run Things - VP Records Joseph Cotton - Music Dem Want/Trumpet Dem Want - Music Dem Want - Patate Records
Junto a nuestros favoritos de este año - Aphrose, Bahama Soul Club Devon Gilfillian, Britti... - insistimos en el disco que está marcando diferencias: “Solar Music” de Butcher Brown y en las novedades: The Bamboos, Drake, TheEES o Maiiah & The Angels Of Libra. Recordamos un descanso de Angie Stone y al guitarrista jamaicano Ernest Ranglin. DISCO 1 KERBSIDE COLLECTION Fleet streakDISCO 2 THE BAMBOOS Ex-FilesDISCO 3 DRAKE In My FeelingsDISCO 4 THeEES & Juliet Ada Mother Earth DISCO 5 MAIIAH & THE ANGELS OF LIBRE Turn The Page!DISCO 6 EROBIQUE & Sophie Kennedy SynaesthesieDISCO 7 BUTCHER BROWN & Jay Prince Move (Ride)DISCO 8 DEVON GILFILLIAN Imma Let My Body MoveDISCO 9 ANGIE STONE VisionsDISCO 10 ERNEST RANGLIN AlpinosDISCO 11 BAHAMA SOUL CLUB & Ally Garrido Just Dancin’DISCO 12 GLENN FOLLOWS & MICHELLE DAVID SavedDISCO 13 BRITTI Nothing Compares To YouEscuchar audio
Tony Allen is among the greatest drummers of the past century. His sudden death at 79 in April, 2020, was a shock felt around the world. In addition to his seminal work with the king of Afrobeat Fela Kuti, Allen had a prolific solo career and performed and recorded with artists from Angelique Kidjo, Ray Lema, Ernest Ranglin and Oumou Sangare to Damon Albarn, Brian Eno and Jeff Mills. In this program we salute a towering career in global music, with insights from Michael Veal, co-author of Allen's autobiography. Produced by Banning Eyre. APWW #815
I Don't Wanna Hear It Podcast230 - Matt Moment: SKAlarMikey: I moved 'studios' (rooms) two days prior to recording this one and I also upgraded my microphone to cut down on background noise. But there are some plosives (some p's poppin' and some b's boppin') on my end this week because I THOUGHT I didn't need my pop filter. I'M SORRY I'M NOT AN ENGINEER. It'll be fixed for the next episodeSTOPDON'TFREAKOUT.Anyway, Shane is greasing palms and drinking blood in D.C. at the moment, HENCE Matt Moment has joined me so we can give you more of what you never wanted. Hup, hup, hup! PickituppickituppickituuuuuupppOH FUCK YOU.Also, we've included a tour update direct from the Contact minivan. It's very uplifting.Check out more of our stuff at I Don't Wanna Hear It and join the Patreon, jabroni. I mean, if you want. Don't be weird about it. Oh, and we publish books now at WND Press because we want to be bankrupted by a dying medium.We now have a Big Cartel where you can buy shirts, pins, mugs, and coffee.Aaannnddd... our good buddy and frequent third host Matt Moment is in a great hardcore band called Contact. Check 'em out! You can preorder their upcoming record, Before and Through and Beyond All Time right here from Patient Zero Records.Episode Playlists:Do the Ska: A Jamaican Ska Playlist by Matt MomentSka Snobs: Traditional Ska From Third Wave ArtistsEpisode Links:Time HeistWith HonorSome of our old bands are on Spotify:Absent FriendsWe're Not DeadYears From NowMusical Attribution:Licensed through NEOSounds. License information available upon request.“5 O'Clock Shadow,” “America On the Move,” “Baby You Miss Me,” “Big Fat Gypsy,” “Bubble Up,” “C'est Chaud,” “East River Blues,” “The Gold Rush,” “Gypsy Fiddle Jazz,” “Here Comes That Jazz,” “I Wish I Could Charleston,” “I Told You,” “It Feels Like Love To Me,” “Little Tramp,” “Mornington Crescent,” “No Takeaways.”
I Don't Wanna Hear It Podcast229 – Deep Dives For Dummies: Third Wave Ska (Part 2)After a prolonged absence, we have returned to pick up what we put down.Check out more of our stuff at I Don't Wanna Hear It and join the Patreon, jabroni. I mean, if you want. Don't be weird about it. Oh, and we publish books now at WND Press because we want to be bankrupted by a dying medium.We now have a Big Cartel where you can buy shirts, pins, mugs, and coffee.Also, you should listen to our 2021 Christmas special: A Black Metal Christmas Carol, our 2022 Halloween special: Ghoulie Ghoulie Ghoul, Where Are You?, our 2022 Christmas Special: How the Stench Stole Christmas, as well as Mikey's true crime podcast, Wasteland and Shane's psychology podcast, Why We Do What We Do.Aaannnddd... our good buddy and frequent third host Matt Moment is in a great hardcore band called Contact. Check 'em out! You can preorder their upcoming record, Before and Through and Beyond All Time right here from Patient Zero Records.Episode Playlists:First Wave Ska (great public playlist)Best of 2-Tone Ska (another great public playlist)Third Wave SkaSka Snobs: Traditional Ska From Third Wave ArtistsYes, We Know the Name Is A ProblemEpisode Links:SPINEMidnightSome of our old bands are on Spotify:Absent FriendsWe're Not DeadYears From NowMusical Attribution:Licensed through NEOSounds. License information available upon request.“5 O'Clock Shadow,” “America On the Move,” “Baby You Miss Me,” “Big Fat Gypsy,” “Bubble Up,” “C'est Chaud,” “East River Blues,” “The Gold Rush,” “Gypsy Fiddle Jazz,” “Here Comes That Jazz,” “I Wish I Could Charleston,” “I Told You,” “It Feels Like Love To Me,” “Little Tramp,” “Mornington Crescent,” “No Takeaways.”
This week: Music from Jamaica of all different styles and fashions. We have tunes featuring Augustus Pablo, Ernest Ranglin, and Lynn Taitt in the first hour, plus Reggae covers of Lionel Richie in the second hour. Tune into new broadcasts of Coconut Grove, LIVE Tuesday from 8 - 10 PM EST / 1 - 3 AM GMT (Wednesday)For more info visit: https://thefaceradio.com/coconut-grove///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.
I Don't Wanna Hear It Podcast228 – Deep Dives For Dummies: Third Wave Ska (Part 1)For this little summary, I was going to rephrase the classic spoken part of Madness's "One Step Beyond" to be about podcasts. But it sounded really stupid. Whatever. We're talking about ska today, shut-up.Check out more of our stuff at I Don't Wanna Hear It and join the Patreon, jabroni. I mean, if you want. Don't be weird about it. Oh, and we publish books now at WND Press because we want to be bankrupted by a dying medium.We now have a Big Cartel where you can buy shirts, pins, mugs, and coffee.Also, you should listen to our 2021 Christmas special: A Black Metal Christmas Carol, our 2022 Halloween special: Ghoulie Ghoulie Ghoul, Where Are You?, our 2022 Christmas Special: How the Stench Stole Christmas, as well as Mikey's true crime podcast, Wasteland and Shane's psychology podcast, Why We Do What We Do.Aaannnddd... our good buddy and frequent third host Matt Moment is in a great hardcore band called Contact. Check 'em out! You can preorder their upcoming record, Before and Through and Beyond All Time right here from Patient Zero Records.Episode Playlists:First Wave Ska (great public playlist)Best of 2-Tone Ska (another great public playlist)Episode Links:Jeromes DreamTemple GuardSome of our old bands are on Spotify:Absent FriendsWe're Not DeadYears From NowMusical Attribution:Licensed through NEOSounds. License information available upon request.“5 O'Clock Shadow,” “America On the Move,” “Baby You Miss Me,” “Big Fat Gypsy,” “Bubble Up,” “C'est Chaud,” “East River Blues,” “The Gold Rush,” “Gypsy Fiddle Jazz,” “Here Comes That Jazz,” “I Wish I Could Charleston,” “I Told You,” “It Feels Like Love To Me,” “Little Tramp,” “Mornington Crescent,” “No Takeaways.”
Nigel Woodberry is a son, a brother, and -- among many other things -- an awesome dude. He's also the host of the Beers with Nigel podcast, though, and he was kind enough to swing by and record Episode #68 with me.We talked a good bit about his podcast, a little bit about his background and his many lives, but we also talked about a few of his favorite records, and they are these:Van Halen's 1984 (1984)Spellbound, Joe Sample (1989)Babyface's Tender Lover (1989)Reasonable Doubt, Jay-Z (1996)Drake's Nothing Was the Same (2013)So, please check out our conversation, and please check out Beers with Nigel. Thank you for stopping by. Buy some Merch'!copyright disclaimer: I do not own the rights to either the promo or the intro/outro audio. They are clips from an Ernest Ranglin track called, "54-46 Was My Number" from his 1996 release, Below the Bassline (c/o Island Records, a division of Universal Music Operations Limited), and Holy Wave's, "California Took My Bobby Away" off of their 2016 album, Freaks of Nurture (c/o Suicide Squeeze Records).
Año prolífico el 2023 para Achilitime. Segundo programa de novedades y sólo llevamos cuatro meses en 2023. Relevante retorno de los nuevos clásicos de la rumba catalana de inicio, Luego más rumbatón y electrónica previsible. Pero por encima de todos brilla el proyecto de funk aflamencado rumbero de La Plazuela, los Chromeo flamencos. La ecuación Achilifunk bien resuelta. Los triunfadores del 2023, según la predicción de nuestro experto Txarly Brown. Que sepamos, no acierta una.Arrancamos con rumba a la jamaicana. El combo de nuestro selector enciende la mecha con una preciosa versión del My Time, de Bob Andy, llevada a la suntuosidad jazz flamenco rumbera. Gran inició que da paso a la vuelta de los rumberos catalanes, que siguen perdiendo comba frente al rumbatón. Si escucharan más Achilitime quizás un día lo entenderían todo. Vamos con la rumba ortodoxa. Retorno de Dijous Paella, rareza recién aparecida en redes, sentido y sensibilidad. Tras ellos el combo del omnipresente Sicus Carbonell llevando el himno antifascista Bella Ciao al terreno rumbero cantado en italiano: igual la canción se vuelve a poner de moda gracias a la teleserie La Casa de Papel. Fijo. Volvemos al catalán. Macaco se alía a Gertrudis para mezclar balkan beats y pop con algo de rumbatón con letra en catalán e inglés, todo en tres minutos. Sorpresa a continuación: David Torras, payo rumbero histórico de los que estuvo en Ai Ai Ai y Sabor de Gràcia se planta ante el micro para recitar en tono rumba el repertorio entero de Gato Pérez en forma de homenaje nomenclaturado. Bravo por él.Cambio de tercio, llega el tramo de moderneo cañí. Empieza Queralt Lahoz con electrónica y breaks y le sigue el proyecto RomeroMartín con la Rumba de 1914. ¿Cómo os quedáis? Achilitime es de los pocos programas donde puedes oír cosas así, eso es seguro. Tras ellos Califato 3/4, que intentan llegar al mismo punto pero por senderos más comunes. Aún nos faltan etiquetas para RomeroMartín; sirve ¿Future Flamenco Funk?. Pregúntale a La Plazuela. Y es que sin darnos cuenta con Califato hemos vuelto al ritmo de moda, el rumbatón. Les sigue Fondo Flamenco, Jose Payán, etc.. Y volvemos al experimentalismo que triunfa: La Plazuela, esa interesante combinación entre los Delinquentes y Bruno Mars. Primero con el Colectivo da Silva (del palo "bachatita flamenca con reggaeton") y luego solos presentando La Primerica Helá del nuevo y formidable disco Roneo Funk Club. La Plazuela. Atentos que no les estén llamando ya los avispados de la industria "flamenco urban" tipo Tangana o Rosalía. Ya tardan. Por el camino habrá sonado Cathy Claret apuntándose al rumbaton afrancesado, Laéne -rumbaton ortodoxo- y Canijo de Jerez con Uña y Carne, el proyecto garrapatero de Carlos "Criando Ratas" Salado. Y para acabar el programa una bulería a lo Frank Zappa de Juanfe Pérez de su disco Prohibido el toque, editado en vinilo este mismo mes por Gutifunk-Achilisound. Hemos empezado con rumba jazz a lo Ernest Ranglin y acabamos con flamenco jazz a lo Mothers of Invention. Quien no lo entienda que se documente, o simplemente disfrute.
Fuego en la Pista de Baile, los éxitos y las novedades mas underground en www.ipopfm.com, cada miércoles de 20 a 21 horas. Hoy te invitamos a bailar al ritmo jamaiquino por excelencia: el Ska, junto al Soul y R 'n B! 🎤 Déjate seducir por el programa más underground de iPOPfm. Déjate seducir por Fuego En La Pista de Baile! Han sonado: 1. Shenley Duffas, Anette – Million Dollar Baby 2. Stranger and Gladdy – Mally Sally 3. Roy Ellis – A Love Song Gone Wrong 4. Woodfield RD All Stars – Double Attack 5. Soul Revivers, Alexia Crowley – Futile Cause 6. George Dekker – Take Me Home 7. Shots In The Dark – Shame 8. Ernest Ranglin’ – Bourbon Street Skank 9. Shots In The Dark – Can’t Lock My Door 10. Shots In The Dark – The Sound Goes High 11. Big Boss Man – Double Groovy 12. The Meltdown – Hold On To Hope 13. The Meltdown – Lie To Me 14. Earl King – Those Lonely, Lonely Nights 15. Barbara George – You Talk About Love 16. The Fabulous Peps – Gipsy Woman 17. Lee Fields – I Should Have Let You Be 18. Joel Sarakula – Tragic 19. Fundación Tony Manero – Femme Fatale
OUAJS #36 (spéciale ethno-jazz, world jazz) 06/10/22 Once Upon A Jazz Show sur radio 162 vous propose en sommaire de cette semaine : Commençons le mélange des genres en écoutant l'hypnotique titre d'inspiration ougandaise « pygmy » orchestré et joué par les talentueux japonais Akira Ishikawa et Count Buffalos . Partons ensuite à la découverte du sextet Alula qui nous fera voyager à l'autre bout du monde grâce à leurs rythmes irrésistibles et à la voix envoûtante de Swala Emati sur le titre Khadabsakar. Puis nous surferons sur la vague du reggae jazz initié par le célèbre guitariste Ernest Ranglin . Nous nous mouverons au rythme des flots sur le titre Surfin' ! Dans la continuité des sports extrêmes nous ferons un vol plané au son de l'arab jazz fusion représenté par Anis Benhallak et Youba Adjrad et leur titre savant Pycnonotus . Le pays du soleil levant nous tendra à nouveau les bras puisque Toshiaki Yokota et sa flûte enchantée accompagné de The beat Generation nous mettront en joie avec leur titre Clair déluge. Intro 1/Akira Ishikawa & Count Buffalos - Pygmy 2/ALULA – Khadabsakar ( live 2021) 3/Ernest Ranglin - Surfin' 4/Anis Benhallak Feat Youba Adjrad - Pycnonotus 5/Toshiaki Yokota And The Beat Generation – Clair déluge 6/United Vibrations - Grow Nous terminerons notre voyage au cœur des jazz sous les bonnes vibes du quartet anglais United Vibrations qui nous fera danser sur les rythmes effrénés du titre Grow.
Nos mueve el Caribe, el Mediterráneo, Brasil, Jamaica, para programar esta colección de canciones animadoras. Las guitarras del californiano Lee Ritenour o del jamaicano Ernest Ranglin. Descubre una marcianada maravillosa de Rita Marley y sus compinches madrileños. Descubre al canadiense Alex Cuba o la veterana “Marlette” Judy Mowatt. Pasemos unos momentos de calma y bienestar. ¿Marisa Monte? ¿Esperanza Spalding? ¿Henri Salvador? ¿Chico Cesar? Si, Chico vendrá a finales de septiembre de gira española. DISCO 1 ERNEST RANGLIN Soulful Moments (1) DISCO 2 PHIL PERRY & Lee Ritenour Stir It Up (A TWIST OF MARLEY - 12) DISCO 3 LEE RITENOUR & MAXI PRIEST Waiting In Vain (5) DISCO 4 RITA MARLEY NACHO SCOLA & GREGORIO PANIAGUA Behaving Like Two Fools (1) DISCO 5 ALEX CUBA Directo (1) DISCO 6 MARISA MONTE Satisfeito (11) DISCO 7 HENRI SALVADOR Jazz Méditerranée (6) DISCO 8 JEFF GOLUB & BRIAN AUGER & DAVID PACK Walking On The Moon (10) DISCO 9 CHICO CESAR Papo Cabeça (4) DISCO 10 JUDY MOWATT Put It On (2) DISCO 11 BOBBY MCFERRIN & ESPERANZA SPALDING Everytime (1) DISCO 12 TILLL BRÖNNER & VANESAS DA MATA O Que Sera? (2) Escuchar audio
HIDDEN SHADOWS #24 I was asked the other day to do a warm up set for Ziggy Marley and his band playing in Norway later this week. So for this Months Hidden Shadow I wanted to explore some of the records that have been luring around my bag for a while, looked for an opportunity to jump on the syncopated soul train. Before digging deep into minimal dubscapes from around the 44 minute mark, and a series of drum'n'bass classics and newbies (kickstarted by a rare 1999 Frédéric Galliano 10" from from around 1:05:30), let's establish a foundation of laid back, soulful reggae. Free assosiative eclectic mix, mostly on vinyl. Hope you like it. Hear music from the Burial remixes of Rhythm & Sound, Ernest Ranglin, Linton Kwesi Johnson, Stereotyp meets Tikiman, Lone, LTJ Bukem, The Mikey Dread Show Dubwise , Junior Murvin, Cedric Im Brooks and others.
Fuego en la Pista de Baile, los éxitos y las novedades mas underground en www.ipopfm.com, cada miércoles de 20 a 21 horas. Hoy te invitamos a un programa variado y cargado de ska y sus variedades, únete! Déjate seducir por el programa más underground de iPOPfm. Déjate seducir por Fuego En La Pista de Baile! Han sonado: 1. Mango Wood – Bangarang 2. Keith and Tex – Can’t You See 3. Keith and Tex – Reggae On The Rocks 4. The Oldians y Javier Martín Boix – Big Bussiness 5. Ernest Ranglin’ – Free Form 6. Roy Ellis y Cosmic Shuffling – Shine a Light On Me 7. New York Ska-Jazz Ensemble – Moby Dick 8. Amusic Skazz Band – Why Do Lovers 9. The Prizefighters – Joe Hill 10. Slim Smith – Rougher Yet 11. The Paragons – Island In The Sun 12. Winston and George – Keep The Pressure On 13. Lord Creator – Big Bamboo 14. Max Iss and The Minions – Lord Cumiana 15. Curtis Baker and The Bravehearts – Wang Dang Doodle 16. Johnny Guitar Watson – Highway 60 17. Bobby Kingdom and The Blue Beats – Go Pretty Baby Go 18. Fats Domino – No No Baby 19. The Vanguards – Good Times, Bad Times 20. Reparata and the Delrons – Panic 21. Sandi Sheldon – You’re Gonna Make Me Love You
This weeks show starts off with music from Brigadier Jerry & Ranking Joe, Burning Spear, The Wailing Souls, Michael Prophet, Sylford Walker, Peter Tosh, Don Carlos, Dr. Alimantado, Lone Ranger, Culture and Bob Marley & The Wailers. New music featured this week comes from Dean Fraser and Ernest Ranglin, Nature Ellis, Nadia McAnuff, Mikey Spice, Keith & Tex, Clinton Fearon, Soothsayers and Victor Rice, Ilements, Brother Culture, L'Entourloop feat.Kabaka Pyramid, Chezidek, and George Palmer Enjoy! Brigadier Jerry & Ranking Joe "Meditation Chant" from Dub Club: Foundation Come Again on Stones Throw Records Dub Club "Chant Dub" from Signs & Wonders In Dub on Stones Throw Records Burning Spear "The Force" from Resistance on Burning Music Wailing Souls "Kingdom Rise Kingdom Fall" from Fire House Rock on Greensleeves Records Michael Prophet "Same Almighty" from Same Almighty - Single on Tuff Scout Michael Prophet "Same Almighty (Hurricane Version)" from Same Almighty - Single on Tuff Scout Dean Fraser & Ernie Ranglin "Lightning From De East" from Two Colors on Tad's Records N Sylford Walker "Deuteronomy" from Lamb's Bread International on Blood & Fire Peter Tosh "The Poor Man Feel It" from Wanted Dread and Alive on Rolling Stones Records Israel Vibration "Poor Man Cry" from Cool and Calm on Ras Records Michael Prophet "Rich Man Poor Man" from Rub A Dubble Reggae on CSA Records Don Carlos "Mr. Sun" from Roots & Culture on VP Records Dr. Alimantado "Born For A Purpose" from Born For A Purpose on Greensleeves Lone Ranger "Natty Burial" from Reggae Anthology - The Channel One Story on VP Records Culture "(Living) Too Long in Slavery [12" Mix]" from Children of Zion - The High Note Singles 1977 - 1981 on Doctor Bird Bob Marley & The Wailers "Kaya" from Kaya 40 on Tuff Gong Teacha Dee "Rastafari Way" from Rastafari Way on Tenfloor Records Jahmali "El Shaddai" from El Shaddai on Penthouse Records Garnet Silk "Bless Me" from Reggae Anthology: Music Is the Rod on VP Records Mark Wonder "People Need Security (Reggae Mix)" from People Need Security - Single on Evidence Music Nature Ellis "Tradition" from Ready or Not on Black Metro Music N Nadia McAnuff & The Ligerians "So Jah Seh" from Nadia McAnuff & The Ligerians - EP on Soul Nurse Records N Mikey Spice "Oh Father" from Slow Down on Stingray Records N Clinton Fearon "Breaking News" from Breaking News on Boogie Brown Productions N Keith & Tex "My Sweet Love" from Freedom on Liquidator Music N The Frightnrs "All My Tears" from Nothing More To Say on Daptone Records Alton Ellis "If I Could Rule This World" from The Duke Reid Collection on Observer Music The Loving Paupers "Myself, Alone" from The Loving Paupers - EP on The Loving Paupers The Loving Paupers "Alone Dub" from The Loving Paupers - EP on The Loving Paupers Tarrus Riley "Burning Desire" from Love Situation on Cannon/Jukeboxx/BSMG Productions/Zojak World Wide Courtney Melody "She Turn Me On" from Modern Girl on Artists Only! Records North East Ska Jazz Orchestra & Wicked Dub Division "Lion" from Wicked Dub Division Meets North East Ska Jazz Orchestra ((Live Studio Session #1)) on Brixton Records N Soothsayers & Victor Rice "Last Days/Last Days Dub" from Soothsayers Meet Victor Rice & Friends on Red Earth N Misty In Roots "Poor & Needy" from 12" on People Unite Slimmah Sound feat Lyrical Benji "Live Your Life/Dub Soldier" from Firm In Jah on Roots Tribe Records Ilements "Take It Easy (feat. Street Rockaz Family)" from Take It Easy (feat. Street Rockaz Family) - Single N Irie Ites & Brother Culture "Build up a House" from ASAP Riddim N Chezidek "Champion" from Sound Killer Riddim on Evidence Music N L'Entourloop "Rock Mi Nice (feat. Kabaka Pyramid)" from La clarté dans la confusion on X Ray Production N George Palmer & Irie Ites "Love In The Dance" from Working Man on Evidence Music
Vamos a ofrecerte un episodio de Conexión Jamaica que arranca con las últimas novedades de esa casa indispensable para los amantes de este género que es el sello madrileño Liquidator. En el tramo final recordamos la figura de Ernest Ranglin, músico de sesión, maestro del ska jazz y una de las mayores leyendas a la guitarra de la música jamaicana. Playlist; KEITH and TEX “Freedom” (Freedom, 2022) KEITH and TEX “Uptown girl” (Freedom, 2022) KEITH and TEX “How much longer” (Freedom, 2022) MANGO WOOD “Bangarang” (7’’, 2022) SKA JAZZ MESSENGERS “It’s alright” (7’’, 2022) ALVARO S.S. and HIS JAMMIN SESSIONS “Ska Cha Cha para ti” (Vol.1, 2022) SMOKE and MIRRORS SOUNDSYSTEM “I’m a man” (7’’, 2022) THE OLDIANS “Big Business” (Guit-Art tribute to the great Ernest Ranglin 7’’, 2022) ERNEST RANGLIN “Surfin’” (Below the bassline, 1996) MILLIE SMALL “My boy lollipop” (1964) THE WAILERS “It hurts to be alone” (1964) ERNEST RANGLIN “You won’t see me” (1966) ERNEST RANGLIN “Ball of fire” (Below the bassline, 1996) Escuchar audio
This weeks show starts off with music from Jalifa, Misty In roots, Luciano and Capleton, Cornell Campbell, Raging Fyah, Black Roots, Patrick Andy, Dennis Bovell, Max Romeo, Johnny Clarke, I Roy, and Jacob Miller with Augustus Pablo. New music this week comes from Dean Fraser and Ernest Ranglin, Yaadcore, Horace Ferguson, Keith and Tex, Kabaka Pyramid, Clinton Fearon, Roger Rivas, Essah, Twiggi, Queen Omega, Mellow Mood, Koffee, Chezidek, Anthony B, Busy Signal, and Jah Thunder with Soul Medic. In The Dub Zone you will hear dubs from Zion I Kings, Dub Wizards, Duthie Gold and Kaleya, Creation Rockers, Massaia DubKillah, and Kosmo Sound. Extended dub mixes feature Johnny Clarke, Wellette Seyon and King Alpha, Keith Rowe, and I-Taweh. Enjoy! Jalifa - Hear Ye - Incient Ras - Zion High Productions Luciano feat. Capleton - Hail King Selassie - Serve Jah - VP Records Misty In Roots - New Day - Roots Controller - Real World Scepta & Bazil Gayle - Mt. Zion Street - Shine Your Light - Orthodox Music Cornell Campbell - New Scroll/New Scroll Dub - New Scroll - Zion High Productions Dean Fraser & Ernie Ranglin - Rangos - Two Colors - Tad's Records Yaadcoore - Reggaeland - Reggaeland - 12 Yaad Records/Delicious Vinyl Island Raging Fyah - Judgement Day - Judgement Day - Raging Fyah Horace Ferguson - I'm A Rebel - Ezekiahrose Productions Black Roots - Survival - On The Frontline - Makasound Keith & Tex - Freedom - Freedom - Liquidator Music Dennis Bovell & The 4th Street Orchestra - Run Dem Out - The Dubmaster: The Essential Anthology - Trojan Records Patrick Andy - What A Sufferation - Yabby You Dread Prophecy: The Strange and Wonderful Story Of Yabby You - Shanachie Max Romeo - Valley Of Jehosaphat - Open The Iron Gate - 1973-1977 - Blood & Fire Johnny Clarke - Live Up Jah Man - Dreader Dread 1976-1978 - Blood & Fire I-Roy - Get Up Stand Up - The Dub Master: The Essential Anthology - Trojan Records Jacob Miller w/Jah Butty & Augustus Pablo - False Rasta/Commercial Rasta/555 Crown Street - Who Say Jah No Dread: The Classic Augustus Pablo Sessions 1974-1975 - VP Records Teacha Dee - Reggae Mood - Time Machine - Ten Floor Records Kabaka Pyramid - Make Things Work - Ghetto Youths International Clinton Fearon - Trod On - Breaking News - Boogie Brown Productions Jahmali - Sekkle Down - Rumpus Riddim - Addis Records Keith & Tex - The Race - Freedom - Liquidator Music Roger Rivas - 10 Plagues/Plagues Of Dub - Happy People Records Eesah - Easy Skankin' - King Ivier Music/Loud City Dennis Brown w/ Kojak & Liza - Ain't That Loving You/Hole In The Bucket - Old To The New: A Steely & Clevie Tribute To Joe Gibbs - VP Records Randy Valentine - Me And My Lioness - Lion Roar Vol. II - Royal Order Music Twiggi - Love Lost - Zylex Music Queen Omega & Little Lion Sound - No Love - Evidence Music Soom T - One Real Friend - Good - X Ray Productions Dub Zone featuring Strictly Dubwize & Extended Dub Mixes Zion I Kings - Dolphin Bay Dub - Future Oceans Echo - Lustre Kings Productions Jalifa - Hear Ye Dub - Incient Ras - Zion High Productions Dub Wizards - Timeless Dub - Timeless Dub - Time To Roots Dutchie Gold & Kaleya Meet Wosui - Been There and Seen (Wosui Remix)/Been There and Seen (Wosui Dub) - Dubophonic Records Creation Rockers - Jah Light Dub - Let's Make Waves - Dubophonic Records Massaia DubKillah - Fyahz/Fyah (feat. Hornsman Coyote - Freedom & Justice - Culture Dub Records Kosmo Sound - Furious Dub - Zephyrus Records Johnny Clarke & Libertad Sound System - To Be Prayed/To Be Dubbed - Libertad Records Wellette Seyon & King Alpha - The Youth's/Youths Dub - Abendigo Records Keith Rowe - Be Yourself/Be Yourself Dub - Keith's Archives - Rebel Sound Records I-Taweh - Straight Fyah Bun/Straight Fyah Dub - Irie Sounds International ====================================== Koffee - Lonely - Gifted - Promised Land Recordings Soul Revivers feat. Alexia Coley - Gone Are The Days - On The Grove - Acid Jazz Mellow Mood feat. The Emeterians, Alborosie, and Anthony B - I & I Chant Remix - Ineffable Records My Boyz Beatz feat. Macka B & Members Of Steel Pulse - The Youths Are Being Hypnotized - The Discussion Riddim - GT's Records Chezidek - Nothing Else Matter - Never Give Up Riddim - Street Rockaz Family Ilements & General Levy - Nah Give Up - Never Give Up Riddim - Street Rockaz Family Horace Andy - Mr. Bassie - Midnight Rocker - On U Sound Akae Beka feat. Chronixx - Black Carbon (Eric Hilton Remix) - I Grade Red Feathers feat. Da Hotel Labi - Only You Know - Dread Time Riddim - Rebel Sound Records Major Mackerel - How Long - Dread Time Riddim - Rebel Sound Records Nuttea feat. Beenie Man & King Kong - Dangerous - ASAP Riddim - Irie Ites Records Perfect Giddimani & Spectacular - ASAP - ASAP Riddim - Irie Ites Records Anthony B - Raggamuffin - ASAP Riddim - Irie Ites Records Queen Omega - Thunder Storm - ASAP Riddim - Irie Ites Records Protoje feat. Popcaan - Like Royalty - In Search Of Lost Time - Indiggnation Collective Yaadcore feat. Pressure Busspipe & I Wayne - Ready Now - Reggaeland - 12 Yaad Records/Delicious Vinyl Island Jah Thunda & Soul Medic - Man Of The Century - House Of Riddim Busy Signal - Thank You Jah - Love and Love Alone Riddim - Maximum Sound Gregory Morris - Dub and Dub Alone - Love and Love Alone Riddim - Maximum Sound
This weeks show starts off with classics from Johnny Clarke, Dennis Bovell, Culture, Israel Vibration, Mighty Diamonds, Black Uhuru, Edi Fitzroy, Linval Thompson, Johnny Osbourne, and Pablo Moses. New music this week comes from Clinton Fearon, Beniam Willing, Xana Romeo, I-Taweh, Lutan Fyah, Mutabaruka, Koffee and Marshall Neeko, Zulu Bob, Horace Andy, Protoje, Skip Marley, Jalifa, Daman with Max Romeo, Soom T, Dawitt, Tomawok, and Nuttea with Bernie Man and King Kong. In the Dub Zone this week you will hear dubs from King Tubby, Soul Syndicate, Augustus Pablo, Zion I Kings, King Jammy, and Soul Revivers featuring Ernest Ranglin. Extended dub mixes feature Tristan Palma and The Roots Radics, Mike Brooks, Errol Dunkley, GT Moore, and Kiko Bun. Enjoy! Johnny Clarke - Peace and Love In The Ghetto - Creation Rebel - VP Records The Officials - Babylonian - Stand & Give Praise: Roots Reggae - Trojan Dennis Bovell & The 4th Street Orchestra - Za-Ion/Halfway To Za-Ion (Za-Ion Dub) - The Dub Master: The Essential Anthology - Trojan Records Clinton Fearon - Trod On - Breaking News - Boogie Brown Productions Culture & The Revolutionaries - Work On Natty/Natty Dub - Children of Zion The High Note Singles Collection - Doctor Bird Tom Robinson - Afrotheria (Sax Dub) - Afrotheria - Music For Life Israel Vibration - Same Song - Power Of The Trinity: Skelly Vibes - Ras Records Black Uhuru - Endurance - Sinsemilla - Island Records Mighty Diamonds - Chant Down War - The Real Enemy - Greensleeves Edi Fitzroy - Work On Mr. Farmer - Youthman Penitentiary - Alligator Linval Thompson - Dread Are The Controller - The Early Sessions 1974-1982 - Thompson Sound Barrington Levy - Blackheart Man - Junjo Presents: Big Showdown At King Tubbys 1980 - Greensleeves Johnny Osbourne & Scientist - Never Stop Fighting/Dangerous Match Six - Junjo Presents: Wins The World Cup - Greensleeves Pablo Moses - Dubbing Is A Must - The Revolutionary Years 1975-1983 - Grounded Music Beniam Willing - Jah Roots - Jah Roots - Abendigo Records Xana Romeo - Tafari The Captain - Reggae Roads Records Lone Ark Meets The 18th Parallel - Snake In The Grass - Showcase Vol. 1 - Fruits Records I-Taweh - Straight Fyah Bun/Straight Fyah Dub - Irie Sounds International Lutan Fyah - Trouble - Generation Gap Riddim - Red A Red Music Group Mutabaruka - I Am - Generation Gap Riddim - Red A Red Music Group Buju Banton - Untold Stories - Til Shiloh - Island Records Buju Banton - Hills And Valleys - Inna Heights: 10th Anniversary - VP Records Zulu Bob - Holding On - ChinaMan Yard Records Koffee Meets Marshall Neeko - Shine (Marshall Neeko Remix) - Marshall Neeko Horace Andy - Rock To Sleep - Midnight Rocker - On U Sound Keith & Tex - Tonight - Keith & Tex: Redux - Soul Beats Rudy Mills - John Jones - Greatest Hits - Rebel Sound Records John Holt - Ali Baba - Like A Bolt - Cherry Red Records Don Carlos - Lazer Beam - Tribulation - Attack Dub Zone featuring Strictly Dubwize & Extended Dub Mixes King Tubby & Soul Syndicate - Dub In The Right Way (Dreadzone Remix) - Select Cuts From Blood & Fire - Select Cuts King Tubby - Dread Locks Dub - King Tubby Presents: The Roots Of Dub - Jamaican Recordings King Tubby - Rude Boy Dub - King Tubby Presents: The Roots Of Dub - Jamaican Recordings Jacob Miller - Baby I Love You - The Rockers Story: The Mystic World Of Augustus Pablo - Shanachie Augustus Pablo - Casava Piece - The Rockers Story: The Mystic World Of Augustus Pablo - Shanachie Augustus Pablo - Kinng Tubby Meets Rockers Uptown - The Rockers Story: The Mystic World Of Augustus Pablo - Shanachie Zion I Kings - Manta Ray Canyons - Future Oceans Echo - Lustre Kings Productions Soul Revivers feat. Ernest Ranglin - Harder - On The Grove - Acid Jazz King Jammy - Dubbing From Home - King Jammy Destroys The Virus With Dub - VP Records Triston Palma & Roots Radics - Time So Hard/Dubbing Time - Showcase In A Roots Radics Drum & Bass - Abraham Mike Brooks - No Hope/No Hope Dub - Book Of Revelation - Nocturne Errol Dunkley feat. Julio “Dreadful” Finn - A Little Way Different/Differentah - The Dub Master: The Essential Anthology - Trojan Records G.T. Moore - Utopia - The Harry J Sessions - Partial Records Kiko Bun - Too Dangerous/Dangerous Dub - Panamah Records ==================================== Protoje - Hills - Indiggnation Collective/RCA Inna Vision feat. Bengali Arkangel - Troubles Behind - Reggae Lives Skip Marley - Change - Tuff Gong International Riddim Nation - Stay Positive - They All Sing Reggae - Rebel Sound Records Jalifa - Reggaelize It/Reggaelize It Dub - Incient Ras - Zion High Productions Daman feat. Max Romeo - Hurt - Life - Soul Beats Records Soom T - Bring Them Down - Good - X-Ray Production Dawitt - Pollution - Time To Roots Records AjahFyah - Warning Warning - Ruff Than Dem - Street Rockaz Family Ras Marcus Benjamin - Dread Inna Babylon - Dread Time Riddim - Rebel Sound Records Nuttea feat. Beenie Man & King Kong - Dangerous - Irie Ites Tomawok feat. MC Duc - Warning - Road To Wisdom - Tomawok Records Old Captial feat. King Daddy, Yod, Tomawok, & Lilly Melody - Soundclash Time Melody - Evidence Music L'Entourloop feat. Lyricson, Queen Omega, & Red Fox - Florilege - X Ray Production Sugar Minot w/ Luciano & Numa Crew - No Solution/No Solution Dub - More Life Records
This weeks show starts off in a classic style with music from Steel Pulse, Talisman, Black Roots, Joshua Moses with Dennis Bovell, Burning Spear, Pablo Moses, Third World, Barry Brown, Sugar Minott, Garnet Silk, Bob Andy, Ken Boothe, and Junior Murvin. New music this week comes from Horace Andy, Keith Rowe, Clinton Fearon, Jalifa, Soom T, Jah Lil, Soul Revivers featuring Earl 16, Daman, Koffee, Etana, Lila Ike', Jaz Elise, Naomi Cowan, Ginjah, RSNY, Mighty Mystic, Jah Tung, and Major Mackerel. In The dub zone this week you will hear dubs from Augustus Pablo, Pachyman, Jackie Mittoo, Zion I Kings, King Jammy, Muflon Dub Sound System, and Dean Frasrer with Ernest Ranglin and Big Youth. Extended dub mixes feature Barrington Levy and Roots Radics, Mutabaruka with Autarchii, The 18th Parallel with the Silvertones, and Sir Racha with Mighty Sharp. Enjoy! Steel Pulse - Steppin' Out - Rastanthology - Wise Man Doctrine Talisman - She Look Like Reggae - Don't Play With Fyah - Sugar Shack Records Black Roots - Juvenile Delinquent - On The Frontline - Makasound Joshua Moses - Africa Is Our Land - Dennis Bovell: The Dub Master: The Essential Anthology - Trojan Records Burning Spear - On The Inside - The World Should Know - Heartbeat Records Burning Spear - I Am In - The Burning Spear Experience - Burning Music Zion I Kings - Seahorse Bubblin' - Future Oceans Echo - Lustre Kings Productions Pablo Moses - I Love I Bring - The Revolutionary Years 1975-1983 - Grounded Music Third World - Lagos Jump - Reggae Ambassadors: 20th Anniversary Collection - Mercury Barry Brown - Guide and Protect Us - Right Now - Greensleeves Sugar Minott - Give The People What They Want - Jammy's From The Roots 1977-1985 - Greensleeves King Jammy - Quarantined In Dub - King Jammy Destroys The Virus With Dub - VP Records Garnet Silk - Love Is The Answer - Reggae Anthology: Music Is The Rod - VP Records Bob Andy - Ghetto Stays In The Mind - High Note 7” Ken Boothe - Is It Because I'm Black - Darker Than Blue: Soul From Jamdown - Blood & Fire Junior Murvin - Defuse The Bomb - Mervin Horace Andy - Safe From Harm - Midnight Rocker - On U Sound The Meditations feat. Al Campbell - Ah De Same Mouth - Smile Again - Mediations Music Luciano - War A Gwan - MM Productions Keith Rowe - Strange World - They All Sing Reggae - Rebel Sound Records Crazy Baldhead feat. Dan Klein - Save A Bullet/Save A Dub - Happy People Records Mighty Diamonds - I Need A Roof - Inna De Yard - Makasound Clinton Fearon feat. Sly & Robbie - The Human Chain - Havana Meets Kingston 2 - Cumbancha Jalifa - Hear Ye/Hear Ye Dub - Incient Ras - Zion High Productions Soom T - Get The Fruit - Good - X Ray Productions Jah Lil - Trouble Bubble - Silly Walks Discotheque Soul Revivers feat. Earl 16 - Got To Live - Acid Jazz Daman backed by Roots Heritage - Blood Ago Run - Life - Soulbeats Records Kenyatta Hill - More Vacancy/Culture Riddim Version - Culture Riddim - Honest Music Dub Zone featuring Strictly Dubwize & Extended Dub Mixes Augustus Pablo - Real Rock - Rockers Pachyman - Foundation Sound - The Return Of Pachyman - ATO Records Jackie Mittoo - Wall Street - The Keyboard King At Studio One - Soul Jazz Zion I Kings - Irish Moss Dub - Future Oceans Echo - Lustre Kings Productions King Jammy - A New Normal In Dub - King Jammy Destroys The Virus With Dub - VP Records Muflon Dub Sound System - Journey Goes Dub - MOC - Dubophonic Records Dean Fraser & Ernest Ranglin feat. Big Youth - De Ranglin - Tad's Records Barrington Levy & Roots Radics - Robin Hood/Upper Cut - Junjo Presents: Heavyweight Dub Champion - Greensleeves Mutabaruka - I Am - Generation Gap Riddim - Red A Red Music Group Autarchii - 2000 Years/Generation Gap Dub - Generation Gap Riddim - Red A Red Music Group The 18th Parallel feat. The Silvertones - Wonderland Of Green - Fruits Records The 18th Parallel & Horns Of Guiding Star Orchestra - Dubland - Fruits Records Sir Racha Meets Mighty Sharp - Gimme The Weed/Dub The Weed - Gimme The Weed - Dubophonic Records ===================================== Etana - Young Gifted & Black - Celebrating Nina: A Reggae Tribute To Nina Simone - Ghetto Youths International Koffee - Lonely - Gifted - Promised Land Recordings Christopher Ellis - Rub A Dub - Ghetto Youths International Lila Ike' - True Love - Indiggntion Collective Jaz Elise - Gratitude - Gratitude Riddim - Overstand Entertainent Naomi Cowan - The Voice - Gratitude Riddim - Overstand Entertainent Perfect Giddimani - Hail The King - Love U Riddim - May B Unity Jahbalance - No Love - Love U Riddim - May B Unity Sizzla - Be Strong - Drop Leaf Riddim - Don Corleon 7” Ginjah - Joy Train - GT Muzik RSNY - Memba Them Days - RSNY Music Mighty Mystic - Champion - Giant - Mighty Mystic Music Jah Tung - Rumours - Reality Chant Productions Inna Vision feat. Bengali Arkangel - Trouble Behind - Reggae Lives Major Mackerel - How Long - Dread Time Riddim - Rebel Sound Riddim Julien Daian Quintet feat. Luciano & Mikey General - Bring Some Love (Hardcore Stepper Remix) - Rub A Dub Market Seanie T & Aldubb - Armagideon Time (RSD Remix) - Echo Beach Dennis Brown - Fussing & Fighting - Yvonne's Special
| Horace Silver | Senior Blues | Oscar P eterson | Isnt it Romantic | Ernest Ranglin | Below the bassline | Hip spanic allstars | Who Dat | Orchestra Harlow | Lamenta de un Guajira | Cheo Feliciano | Pa que Afinquen | Kokolo Afrobeat | Girls on Film | Sadik Hakim | Greek Street Break in | Hank Crawford | Corazon | Steely Dan | The Fez
Tony Allen is among the greatest drummers of the past century. His sudden death at 79 in April, 2020, was a shock felt around the world. In addition to his seminal work with the king of Afrobeat Fela Kuti, Allen had a prolific solo career and performed and recorded with artists from Angelique Kidjo, Ray Lema, Ernest Ranglin and Oumou Sangare to Damon Albarn, Brian Eno and Jeff Mills. In this program we salute a towering career in global music, with insights from Michael Veal, co-author of Allen's autobiography. Produced by Banning Eyre.
Albums discussed are Ernest Ranglin's 'Below The Baseline' (15:46), and Titus Andronicus' 'The Monitor.' (39:22) We also talk about our mission to get Gang Of. Youths and Daniel Johns on the podcast. Please send your favorite 5 songs of the year to carllandryrecordclub@gmail.com. This week's listener album suggestion came from Apple Podcasts users Stephen5511, Gabriel_perez26 and cautious podcast. To suggest an album for CLRC, leave a review on Apple Podcasts with the artist and title (five stars always helps). For playlists and podcasts, visit us on the web at carllandryrecordclub.com and on Twitter @CLRCPod. The theme song for Carl Landry Record Club is "I Should Let You Know" by Marian Hill. This is CLRC episode #54.
This week Dermot talks with Ernest Ranglin. He talks about how he learned the guitar and his early work, with producers Clement Dodd and Chris Blackwell.
This week featuring music from, Carbon Deep, Ernest Ranglin, Theon Cross and more... Gloria Ann Taylor - Love Is A Hurtin' Thing https://www.discogs.com/Gloria-Ann-Taylor-Love-Is-A-Hurtin-Thing/release/7771988 Ernest Ranglin - In The Rain https://emotional-rescue.bandcamp.com/track/in-the-rain Rodrigo y Gabriela, Vicente Amigo - Oblivion https://rodrigoygabriela.bandcamp.com/track/oblivion-2 Theon Cross - Forward progression II https://theoncross.bandcamp.com/album/intra-i-2 Carbon Deep - Darker Than Blue (Harry Mindgame Edit) https://tidal.com/browse/track/196049857 Gershon Jackson, Sio Blackwidow, DJ - Ecylps (Blacklight Afro Remix) http://www.beatport.com/track/how-did-we-get-here-feat-sio-blackwidow/7719332 Candice Hoyes - Zora's Moon (Natasha Diggs Remix Radio Edit) https://candicehoyes.bandcamp.com/track/zoras-moon-natasha-diggs-extended-remix Genius of Time - Peace Bird https://geniusoftime.bandcamp.com/album/peace-bird-ep Cover art (Family archive series, Mother circa 1962)
**STILL CARVING OUT THOSE SKA WAVES FOR THE REST TO FOLLOW** HAVE YOU BOUGHT THE "SAVE THE SKA SHOW" ALBUM YET? Get it at theskashowwithbeefy.bandcamp.com/release - Or Just Buy The Show Naming Rights Sponsorship - It's Going Cheap!!!! Or just buy me a coffee to keep me awake here - https://www.buymeacoffee.com/Beefyskashow Broadcast live from Melbourne to Australia and the rest of the world on 88.3 Southern FM. The second SkaPod of the week is always freakin' special and just a little bit different! The World famous SKA covers segment kicks off the show with tracks from Sunny Coast Rude Boys, Tony Hawk, Mikey & His Uke, Alpha Boys School, Tropa Vibes and then pure skanking gold from Ernest Ranglin & The Alpharians, Abraskadabra, O Leopardo, Thirteen Towers, Louis Lingg & The Bombs, General Rudie, The Brodys, Mighty Mighty Bosstones, Laurel Aitken & The Loafers plus Soupy George brings #SkaPod #2 home for another week. Check out The Ska Show with Beefy Facebook page for playlists and other fun stuff! Send me your music if you're in a band - do it & I'll play it. It's Ska Radio Jim, but not as you know it!
Jason Wilson is a two-time Juno-Awards nominee, Canadian Reggae Music Award winner, four-time Reggae Music Achievements Award nominee and Best-Selling Canadian historian from Downsview, Ontario. In 2007, Wilson became the first recipient of the Karl Mullings Memorial Award for commitment to reggae in Canada. The protégé of Studio One keyboardist Jackie Mittoo, Jason has performed and recorded with UB40, Alanis Morissette, Sly & Robbie, Ron Sexsmith, Ernest Ranglin, Brinsley Forde, Pee Wee Ellis, Martin Carthy and Dave Swarbrick. Wilson is a multi-instrumentalist though is perhaps best known for piano and voice. An Adjunct-Professor of history at the University of Guelph, Dr. Wilson has six books to his name, including the Toronto Maple Leafs' official centenary book. – jasonwilsonmusic.com/
Jason Wilson is a two-time Juno-Awards nominee, Canadian Reggae Music Award winner, four-time Reggae Music Achievements Award nominee and Best-Selling Canadian historian from Downsview, Ontario. In 2007, Wilson became the first recipient of the Karl Mullings Memorial Award for commitment to reggae in Canada. The protégé of Studio One keyboardist Jackie Mittoo, Jason has performed and recorded with UB40, Alanis Morissette, Sly & Robbie, Ron Sexsmith, Ernest Ranglin, Brinsley Forde, Pee Wee Ellis, Martin Carthy and Dave Swarbrick. Wilson is a multi-instrumentalist though is perhaps best known for piano and voice. An Adjunct-Professor of history at the University of Guelph, Dr. Wilson has six books to his name, including the Toronto Maple Leafs' official centenary book. - https://jasonwilsonmusic.com/
Joey Altruda is an American musician, composer, producer and bandleader from Los Angeles. Formed In 1989, his band Jump With Joey became a keystone in the revival of traditional Jamaican Ska, Rocksteady, and Reggae. Jump With Joey filled the dance floors backing Jamaican musicians such as Roland Alphonso, Laurel Aitken, Ernest Ranglin, Rico Rodriguez, Ken Lazarus. In 2006 Altruda was awarded a lifetime achievement award for the Preservation Of Jamaican Music and Culture. In the past 35 years he has worked with a wide spectrum of artists including Seu Jorge, Screamin' Jay Hawkins, Bo Diddley, El Gran Fellove, Joe Houston, Don & Dewey, Rose Maddox, Levi Dexter, Tom Waits, Joe Strummer, Plas Johnson, Les Baxter, as well as Studio One's main man, Sir Coxsone Dodd. Tune into www.TheReggaePodclash.com Wednesday, Jun 23, 2021 at 6pm PT as we talk all things including his latest collaboration with Tom Zé!ENTER TO WIN - AUGUSTUS PABLO "RISING SUN" LP courtesy of VP Records:https://gleam.io/lrZQh/win-an-augustus-pablo-rising-sun-lp-from-the-reggae-podclashSHOP PODCLASH MERCH! Every sale helps support the show. Thank you. https://rootfire-intl.myshopify.com/collections/the-reggae-podclashListen to Past Episodes: https://podlink.to/ReggaePodclash***Man-Like-Devin and Roger Rivas talk all things reggae with original and modern artists in the scene on http://Rootfire.net/tv.#RootfireTV #TheReggaePodclash #JoeyAltrudaSupport the show (https://rootfire.net/tv/)
Hver uge retter P8 JAZZ-værterne spotlyset mod ét specifikt jazzalbum, folder historierne ud og spiller musikken fra start til slut. Sæt streamingtjenesternes blandede spillelister på pause og fordyb dig i et jazzværk. Vært: Niels Christian Cederberg. www.dr.dk/p8jazz
Die Brainwashed - Radio Edition ist eine einstündige Show mit Musik von den Künstlern und Labels auf Brainwashed.com. 1. Peter Murphy, "Tale of the Tongue (single edit)" (Tale of the Tongue / The Last and Only Star (Rarities)) 1985 Beggars Banquet / 2021 Beggars Arkive 2. Laura Cannell and Kate Ellis, "Harts Blood" (January Sounds) 2021 Brawl 3. Kareem, "Megalithic Architect" (Zones of Significant Time) 2021 Zhark 4. Four Tet, "0000 871 0007" (871) 2020 Text 5. Michele Bokanowski, "Rhapsodia (excerpt)" (Rhapsodia / Battements solaires) 2021 Recollection GRM 6. Loren Connors and David Grubbs, "Blossom Time" (Arborvitae) 2003 Hapna / 2021 Improved Sequence 7. Luke Solomon featuring Amy Douglas and Queen Rose, "Love. Hope. Happiness (Extended Happiness Mix)" (Love. Hope. Happiness) 2020 Classic Music Company 8. Dntel, "Fall In Love" (The Seas Trees See) 2021 Les Albums Claus / Morr Music 9. Ernest Ranglin, "In The Rain (Mukatsuku Dub)" (Disco Reggae Lovers : In The Rain) 2021 Emotional Rescue 10. serpentwithfeet, "Fellowship" (Deacon) 2021 Secretly Canadian * Sendung vom 14. Februar 2021 ## Brainwashed - Radio Edition Email podcast at brainwashed dot com to say who you are; what you like; what you want to hear; share pictures for the podcast of where you're from, your computer or MP3 player with or without the Brainwashed Podcast Playing; and win free music! We have no tracking information, no idea who's listening to these things so the more feedback that comes in, the more frequent podcasts will come. You will not be put on any spam list and your information will remain completely private and not farmed out to a third party. Thanks for your attention and thanks for listening. *
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…)
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.
Episode 505: February 14, 2021 playlist: Peter Murphy, "Tale of the Tongue (single edit)" (Tale of the Tongue / The Last and Only Star (Rarities)) 1985 Beggars Banquet / 2021 Beggars Arkive Laura Cannell and Kate Ellis, "Harts Blood" (January Sounds) 2021 Brawl Kareem, "Megalithic Architect" (Zones of Significant Time) 2021 Zhark Four Tet, "0000 871 0007" (871) 2020 Text Michele Bokanowski, "Rhapsodia (excerpt)" (Rhapsodia / Battements solaires) 2021 Recollection GRM Loren Connors and David Grubbs, "Blossom Time" (Arborvitae) 2003 Hapna / 2021 Improved Sequence Luke Solomon featuring Amy Douglas and Queen Rose, "Love. Hope. Happiness (Extended Happiness Mix)" (Love. Hope. Happiness) 2020 Classic Music Company Dntel, "Fall In Love" (The Seas Trees See) 2021 Les Albums Claus / Morr Music Ernest Ranglin, "In The Rain (Mukatsuku Dub)" (Disco Reggae Lovers : In The Rain) 2021 Emotional Rescue serpentwithfeet, "Fellowship" (Deacon) 2021 Secretly Canadian Email podcast at brainwashed dot com to say who you are; what you like; what you want to hear; share pictures for the podcast of where you're from, your computer or MP3 player with or without the Brainwashed Podcast Playing; and win free music! We have no tracking information, no idea who's listening to these things so the more feedback that comes in, the more frequent podcasts will come. You will not be put on any spam list and your information will remain completely private and not farmed out to a third party. Thanks for your attention and thanks for listening.
Dedicamos el programa a la edición en papel de un nuevo número de Más Jazz, complementando sus contenidos con música. En este caso, el número 50 de esta estupenda revista. El programa es muy variado, y empezamos por un disco grabado por dos grandes, Jorge Pardo y Gil Goldstein, flauta y piano en unas sesiones realizadas en Brooklyn que dan mucho de sí. También tendremos el protagonismo de uno de los grandes músicos de nuestro jazz, Pedro Iturralde, recientemente fallecido, y del que escucharemos varios temas de diferentes épocas de su interesante vida. Otro saxofonista, en este caso el malagueño Ernesto Aurignac, también tiene su momento en el programa, que dedicaremos a una de sus últimas creaciones, Plutón. La escena actual del jazz británico estará representada por dos de sus baluartes ahora mismo, la saxofonista Nubya García y el batería Moses Boyd. Nuestra batería Lucía Martínez representará al jazz gallego y de vanguardia, y escucharemos también algo de su último proyecto, Lucía Martínez & The Fearless. Siguiendo con maestros de las baquetas, pero en este caso muy veterano y cruzando el charco, prestaremos atención al gran Tino Contreras, un inmejorable representante del jazz que se hace desde hace décadas en México. Y, finalizando el programa, viajaremos a Jamaica para escuchar a dos grandes originarios de esos lares, el guitarrista Ernest Ranglin y el pianista Monty Alexander. Un programa de los más variados de todos los realizados hasta el momento en El Faro del Jazz, en el que vais a tener ocasión de escuchar muy diversas formas de afrontar esta maravillosa música que es el jazz. ¡¡¡ Que lo disfrutéis !!!
This episode we interview Mystic Bowie of Talking Dreads and talk about surviving 2020, his favorite strain,new music and funny tour stories.Well-schooled in the world of reggae and other Caribbean musical genres, it would be a performance in 1991 that opened a new path for him, a collaboration that would shape his future in more ways than one. Scheduled to perform on the Mardi Gras Fest bill at Tramps (NYC), Mystic had the opportunity to perform with the founding members of the Tom Tom Club as his backing band. Thanks to his performance with Tina Weymouth and Chris Frantz (Talking Heads), it evolved into a partnership that has lasted to this day. Mystic has worked steadily with the Tom Tom Club since 1992. With the release of their album, "The Good, The Bad and The Funky" (2000), featuring his vocals on the dub-heavy tracks "Time to Bounce"and a remake of Lee Perry's "Soul Fire", Mystic Bowie emerged as a force in his own right as their lead singer. Touring worldwide with the Tom Tom Club since 2000, Mystic's performances have been praised for his seemingly ceaseless supply of energy and the excitement he generates with crowds everywhere. The irresistible vibe of this tour, and Mystic's performances, has been captured magically on the Tom Tom Club's "Live at the Clubhouse" CD (2002). Songs from this period also appear on the Tom Tom Club's DVDs, "Time to Bounce" and "In a Bootleg Style. Mystic also performs solo where he lives in Connecticut, using portions of his proceeds to fund the project he started in Jamaica to bring music to the children through building a youth center to give them somewhere to go where they will learn music and have a place to go where they can keep out of trouble. He has performed at many SONO ArtsFests in Norwalk, CT as the headliner. His energetic vivacious style together with his easy approachability make him a favourite with area fans, Talking Dreads is the brainchild of Head Dread, Mystic Bowie, a Jamaican artist whose long and close relationship with Chris Franz and Tina Weymouth,founding members of Talking Heads and Tom Tom Club, began when he joined the latter group as a singer in 1996. He then recorded and performed with Tom Tom Club for nearly twenty years and continues to bear fruit from their unending collaborations. This inaugural effort from Talking Dreads features an amazing lineup of stellar reggae stalwarts including Freddie McGregor (‘Rastaman Camp', Bobby Babylon), ska-guitar master Ernest Ranglin (session player and arranger of Millie's smash ‘My Boy Lollipop', the Melodians ‘Rivers Of Babylon', and countless other tracks), and Tarrus Reilly ('Start Anew', ‘Good Girl Gone Bad') as well as a little help from punk-pop diva Cindy Wilson of the B-52's (‘Rock Lobster', ‘Love Shack'). Talking Heads' music was a formative influence on Mystic Bowie since childhood. For more info
This weeks show starts off with music from Luciano, Misty In Roots, Israel Vibration, Linval Thompson, Ernest Ranglin, Dennis Brown & I Roy, Garnet Silk, Freddie McGregor, Oku Onuora, Talisman, Pacey, Ramon Judah, Gregory Isaacs, Bob Marley and the Wailers, Culture, Earl Zero, and Jimmy Cliff. New music this week comes from Busy Signal, Lin Strong, Black Am I, Kailash Irie, Sister Carol, Perfect Giddimani, Clatta Bumboo, Blvk H3ro, Mystc Revealers, Bulby York with Busy Signal and CeCile, Danglin, Taiwan MC, Resistance In Dub with Longfingah, and Liondub Intl. featuring Blackout JA, Kandiman, and Rumble. In the Dub Zone this week you will hear dubs from Nat Birchall & Al Breadwinner, Kingston Echo, Prince Fatty, The 18th Parallel with Westfinga, Russ Disciple, High & I, and Dr. Dubenstein. Extended Dub mixes feature Don Carlos, Monyaka Band, Al Campbell with Barry Brown and King Tubby, Oba Simba and Robert Dallas with JamTone. Enjoy! Luciano - The Answer - The Answer - Oneness Records Misty In Roots - Dreadful Dread - Roots Controller - New World Israel Vibration - Vultures - Power Of The Trinity: Wiss Vibes - Ras Records Linval Thompson - Whom Shall I Fear - Strong Like Sampson 10” Ernest Ranglin - Surfin’ - Surfin’ - Tropic Dennis Brown & I Roy - Take A Trip/Fresh & Clean - Observer Gold 10” Garnet Silk - Bless Me - Reggae Anthology: Xtra Wicked: Bobby Digital - VP Records Freddie McGregor - Hand In De Fire - Signature - VP Records Oku Onuora - If Not Now - I’ve Seen - Fruits Records Talisman - Nothing Change - Sugar Shack Records Pacey - Jah Is My Light - Higher Mountain Records Ramon Judah & Conscious Sounds - Deliver Me/Deliver Me Dub - Reggae Roast Al Campbell - Babylon - Universal Love - Peckings Gregory Isaacs - Warriors - Extra Classic - Trojan Records Bob Marley & The Wailers - Caution - Songs Of Freedom - Tuff Gong Culture - The International Herb - International Herb - Shanachie Earl Zero & King Tubby - Please Officer/King Tubby’s Version - Jah Fingers 12” Jimmy Cliff - The Harder They Come - Ultimate Collection - Hip O Barrington Levy - Times Hard - Acousticalevy - Doctor Dread Busy Signal - Seen It Before - VP Records Kabaka Pyramid - Black Liberation - Black Vein Riddim - Sajay Productions Lin Strong - Hype Dem - Lin Strong - Bik Band Black Am I - The Edge - Ghetto Youths International Macka B & Ted Ganung - Stop It, Idiot Ting - Deeper Vision Recordings Damian Marley - Autumn Leaves - Stony Hill - Ghetto Youths International Kailash Irie - Jah Is I Rock - Night Nurse Riddim - African Museum Dennis Brown - Angel In Disguise - ShartyB Sister Carol - Get Up! - Opportunity - Tafari Records Cornell Campbell - Keep on Running - When Jah Shall Come - Pressure Sounds Freddie McGregor & Sound Dimension - Africa Here I Come - Studio One Dub Zone featuring Strictly Dubwize & Extended Dub Mixes Nat Birchall Meets Al Breadwinner - Tribute To The Great Tommy McCook - Upright Living - Tradition Disc Kingston Echo feat. Nga Han & The Hi Flyers - One Dub Analogue Style - Submergence - Kingston Echo Prince Fatty feat. Shniece McMenamin - Black Rabbit Dub - Evergreen Recordings The 18th Parallel & Westfinga - Wonderland Of Dub - Wonderland Of Green - Fruits Records Judah Eskender Tafari & Russ D - Divine Right Dub - Divine Right - Black Redemption Productions High & I - Vampires Dub - Almighty Thunder - Dubophonic Records Dr. Dubenstein - Duga 3 - Echo Beach Don Carlos - Nice Time (Late Night Blues) - Dub Version - Dressed To Kill Monyaka Band - Rocking Time - Hornin Sounds 12” Al Campbell - One Room Shack - When Jah Shall Come - Pressure Sounds Barry Brown - Step It Up - Lets Go To The Blues - Kingston Records King Tubby - Step it Up In Dub - King Tubby & Friends Dub Gone Crazy - Blood & Fire Oba Simba - I’ve Found Rastafari/I’ve Found Rastafari Dub - The Arrival - Sunvibes Music Robert Dallas & JamTone - Be Careful/Careful Dub - Showcase Vol. 1 - Jam Tone Records ====================================== Clatta Bumboo - Heartache - Future Water - Black River Sonics Perfect Giddimani & Soulnation - Inna Marcus Name - Dumplin’ Shop - Evidence Music Blvk H3ro & Wayne J - The Ruler - New Millennium - Delicious Vinyl Island Wailing Souls - In The House Of Jah - Back A Yard - VP Records Mystic Revealers - Jah Jah People - Jah Jah People - Mystic Revealers Jacap Richie Spice feat. Dre Island - Murderer - Strictly The Best Vol. 61 - VP Records Bramma - Rugged & Deadly - Rugged & Deadly - VP Records Eddie Skuller - Trust The Rhythm Track (Victor Rice remix) - Eddie Skuller Music Joe Yorke & The Eastonian Singers - Tonight - Happy People Records Bulby York feat. Busy Signal & CeCile - Stay Home Tonight - Heartcrafted - VP Records Tessellated - Me & My Lady - Tessellated Music Danglin - Ms. 2020 - Groove Galore Productions Wayne Marshall - Lot’s Of Sign - Dancehall Anthems - VP Records Taiwan MC feat. Dapatch & Mr. Williamz - Nuh Leave Me Corner - Special Request - Chinese Man Records R.esistence In Dub Meets Longfingah - Warning/Warning Dub - The Longfingah Attack - Evidence Music Blackout Ja, Kandiman, Liondub & Rumble - High Grade/Skandal Bag Riddim - Liondub International Reggae Roast & Top Cat - Turn Up The Heat - Turn Up The Heat - Trojan Reloaded
This weeks show starts off with classic selections from Ini Kamoze, Jacob Miller, Cornell Campbell, Ossie Dellimore, Max Romeo, Frankie Paul, Linval Thompson, Eek A Mouse, The Mighty Diamonds, U Roy, Bob Marley & The Wailers, Joseph Hill and The Soul Defenders, Junior Byles, and Burning Spear. New music this week comes from The Wailing Souls, Toots & The Maytals, Keith Poppin, Beres Hammond, Luciano, Nga Han, Danny Kalima, Tarrus Riley, Macka B, Shinehead, Protoje, Fyakin, Super Cat, Laury Webb, and Mungo's Hi Fi with Marina P, Tippa Irie, and Dennis Alcapone. Also this week we feature a Studio One Set with music from Jackie Bernard, Alf & Teep, Freddie McGregor, Ernest Ranglin, Horace Andy, Prince Jazzbo, Dawn Penn and more. In The Dub Zone this week you will hear dubs from Mad Professor, Nat Birchall and Al Breadwinner, Tommy McCook, Principal, Haze St. Dub, and Mafia & Fluxy. Extended dub mixes come from Freddie McKay, Johnny Clarke, Barrington Levy & Ranking Joe, Jah Mel, Tristan Palmer and Roots Radics, and Bunny Wailer. Enjoy! Ini Kamoze - Hail Mi Idren - Ini Kamoze - Taxi Ossie Dellimore - Time Has Come - Freedoms Journal - AB Records Wailing Souls - In The House Of Jah - Back A Yard - VP Records Jacob Miller - I’m A Natty - Reggae Anthology: Joe Gibbs Scorchers From The Mighty Two - VP Records Cornell Campbell - Forward Natty Dread - I Shall Not Remove 1975-1980 - Blood & Fire Max Romeo - Melt Away - Open The Iron Gate 1973-1977 - Blood & Fire Prince Far I - Back Weh - Kingston Shuffle: Funky Sounds & Beats From Kingston Jamaica - Pressure Sounds Frankie Paul - Music Is The Staff Of Life - Pass The Tu Sheng Peng/Tidal Wave - Greensleeves Cocoa Tea - Rocking Dolly - Rocking Dolly - Ras Records Linval Thompson - Long Long Dreadlocks - Ride On Dreadlocks 1975-1977 - Blood & Fire Eek A Mouse - For Hire & Removal 12” Mix - Reggae Anthology: Eek ology - VP Records The Mighty Diamonds - Right Time - Reggae Anthology: Pass The Knowledge - VP Records U Roy - Full Time - The Lost Album: Right Time Rockers - Ras Records Bob Marley & The Wailers - Africa Unite - Survival - Tuff Gong Joseph Hill & The Soul Defenders - Behold (Tk.3) - Studio First: From The Vaults Volume 2 - Studio One Junior Byles - Rasta No Pick Pocket - Beat Down Babylon - Doctor Bird Toots & The Maytals - Got To Be Tough - Got To Be Tough - Trojan Jamaica Keith Poppin - One More River To Cross - One More River To Cross - Keith Poppin Music Burning Spear - As it Is - Calling Rastafari - Heartbeat Records Burning Spear - Hit Dub - Living Dub Vol.5 - Burning Music Beres Hammond - Call To Duty - VP Records Luciano - Take Me To The Place - The Answer - Oneness Records Nga Han & Roots Unity - The Living Stream - Roots Unity Presents The Living Stream Chapter 1 - Roots Unity Danny Kalima feat. The Raw Rhythm Section - London Bridge - Roots Unity Productions Wailing Souls - Down In Trenchtown - Back A Yard - VP Records Buju Banton - Rising Up - Upside Down 2020 - Gargamel Music/ Roc Nation Tarrus Riley feat. Teejay & Dean Fraser - Babylon Warfare - Healing - Juke Boxx Productions Macka B & Ted Ganung - Stop It Idiot Ting - Deeper Vision Recordings Sound Dimension - Real Rock - Studio One Rockers - Soul Jazz Records Jackie Bernard - Torture & Flames - Studio First: From The Vaults Vol. 2 - Studio One Alf & Teep - Freedom, Justice Equality - Studio First: From The Vaults Vol. 2 - Studio One Freddie McGregor - Bobby Babylon - Studio One Rockers - Soul Jazz Records Ernest Ranglin - Surfin - Studio One Rockers - Soul Jazz Records Horace Andy - Skylarking - Studio One Rockers - Soul Jazz Records Prince Jazzbo - Crabwalking - Studio One Rockers - Soul Jazz Records Lennie Hibbert - Village Soul - Studio One Rockers - Soul Jazz Records Dawn Penn - No, No, No - Studio One Rockers - Soul Jazz Records Larry Marshall - I Need You Girl - Studio First: From The Vaults Vol. 2 - Studio One The Soul Vendors - Darker Shade Of Black - Studio First: From The Vaults Vol. 2 - Studio One Marcia Griffiths - Feel Like Jumping - Studio One Rockers - Soul Jazz Records Sound Dimension - Full Up - Full Up The Best Of Studio One Vol. 2 - Heartbeat Records Dub Zone featuring Strictly Dubwize & Extended Dub Mixes Mad Professor - Kunte Kinte The African Warrior - Beyond The Realms Of Dub: Dub Me Crazy The Second Chater - Ariwa Nat Birchall Meets Al Breadwinner - Tribute to the Great Tommy McCook - Upright Living - Tradition Disc Tommy McCook - Grass Roots - Kingston Shuffle: Funky Sounds & Beats From Kingston Jamaica - Pressure Sounds Principal - Dubsteady - Treacherous Dub - Stereo Royal Haze St. Dub - Supernova - A New Beginning - Haze St. Studios Mafia & Fluxy feat. The Pharmacist - King Nah Bow - Mafia & Fluxy Remembers King Tubby: King Of Dub - Mafia and Fluxy Freddie McKay - Guide Us Jah Jah - Thompson Sound All Stars: Linval Thompson & Friends Vol. 1 - Thompson Sound Johnny Clarke - Roots Natty Congo - Creation Rebel - VP Records Johnny Clarke - Congo Natty Roots Dub - Dancehall Selection With Deejays & Dubs - Attack Barrington Levy & Ranking Joe- River Jordan (crucifixtion) /River Jordan - The Biggest Dancehall Anthems 1979-1982 - Greensleeves Jah Mel - Sinking Sand - Iroko Records 12” Tristan Palmer & Roots Radics - Time So Hard/Dubbing Time - Showcase: In a Roots Radics Drum & Bass - Abraham Bunny Wailer - Rule Dancehall/Rule Dancehall Version - Solomonic Singles 2: Rise & Shine 1977-1986 - Dub Store Records/Solomonic ======================================== Shinehead - Tribulation - Golden Cartel Protoje - Self Defense - In Search Of Lost Time - Indiggnation Collective/RCA Kumar feat. Agent Sasco - Grain of Sand - Kulture Walk - Kulture Walk Music Shabba Ranks - Heart Of A Lion - Reggae Anthology: Serious Times Bobby Digital - VP Records Arkaingelle feat. Kabaka Pyramid & Pressure Busspipe - Light Tha Torch - Zion High Productions Eljai - War - High Rise Riddim - Synthedicate Music Eesah - Kingston Town - Caribic Night Records Skip Marley - My World - Higher Place - Tuff Gong International Protoje - Same So - In Search Of Lost Time - Indiggnation Collective/RCA Anthony B - Easy Rocking - Juicy Empire Records Fyakin - Reggae Vibes - Real Don Dada Riddim - Nyle Banks Music Super Cat & Salaam Remi - Push Time - Louder Than Life Records Kabaka Pyramid - Nice Up The Dance - Dancehall Anthems - VP Records Pad Anthony - Shake Dem Down - Digital B -80’s Vol.1 - VP Records Toots & The Maytals - Struggle - Got To Be Tough - Trojan Jamaica Laury Webb - Gone Up - Lynsam Entertainment Mungo’s Hi Fi feat. Marina P, Tippa Irie & Dennis Alcapone - The Beat Goes Ska/Ivory Coast - Scotch Bonnet Records Luciano & Runkus - Use Jah Words - The Answer - Oneness Records
Este mixtape contiene una selección de temas instrumentales de reggae. El reggae es un género que evolucionó del Rocksteady y del Ska, géneros originados en Jamaica, pero que definitivamente devinieron del Jazz. Por lo tanto, es lógico que existan muchas bandas que ejecuten reggae instrumental (distinto al Dub). En este mixtape, buscamos incluir algunos grandes del reggae instrumental como Augustus Pablo, Ernest Ranglin, Jackie Mittoo, Don Drummond, Lyn Taitt, Gladstone Anderson y algunos excelentes artistas más actuales como Tuff Lion, Addis Pablo, Cultura Profética, Los Calypsos y La Renken. Esperamos disfruten de esta selección. // Versión Playlist: https://open.spotify.com/playlist/21aqdQjGYvIVEM1Np2n1qX?si=oXdwsh6gQFyM-Ho564hMswTracklist: //1. Tuff Lion - Vibes Preservation //2. Addis Pablo, Tesfar - Niyabinghi Melody //3. Ernest Ranglin - Below the Bassline //4. Los Calypsos - A la Deriva //5. Jackie Mittoo - Black Organ //6. Augustus Pablo - Well Red //7. Clinton Fearon - Focus //8. Cultura Profética - Mr. Swing y el Tres Pasitos Jazz Ensemble //9. La Renken - El Fenómeno de la Niña //10. Ansel Collins - Sunday Sunday //11. Los Calypsos - Astral //12. Tuff Lion - Zion Awake //..//..https://www.palcastpodcast.com/instagram: @palcastpodcastfacebook.com/palcastpodcast/..//..https://www.pallqamusic.com/instagram: @pallqa_music..//..https://www.toquesdereggae.com/
Tony Allen is among the greatest drummers of the past century. His sudden death at 79 in April, 2020, was a shock felt around the world. In addition to his seminal work with the king of Afrobeat Fela Kuti, Allen had a prolific solo career and performed and recorded with artists from Angelique Kidjo, Ray Lema, Ernest Ranglin and Oumou Sangare to Damon Albarn, Brian Eno and Jeff Mills. In this program we salute a towering career in global music, with insights from Michael Veal, co-author of Allen’s autobiography. Produced by Banning Eyre.
Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ Just For You by letherette on Mander House Edits (Wulf) 3′13″ Light Up The Sky by Bibio on A Mineral Love (Warp Records) 7′02″ Stand Up by Blue Lab Beats on Voyage (Blue Adventure) 9′16″ Summon The Fire by The Comet Is Coming on Trust is The Lifeforce of the Deep Mystery (UMG Recordings) 14′39″ Skull Session by Oliver Nelson on Skull Session (Ace Records) 18′04″ Bubbles by Herbie Hancock on Man-Child (Sony Music) 24′17″ Maiden Voyage / Everything Is Right by Robert Glasper on In My Element (The Blue Note Label Group) 28′58″ Park Bench People by Jose James on The Dreamer (Rainbow Blonde Records) 1357′47″ Wake The Town by U-Roy (Trojan) 1358′18″ African, Rock Reggae by Dillinger on Under Heavy Manners: The Best of Dillinger (Fuel 2020) 1361′08″ Your Teeth In My Neck by Scientist on The Scientist Rids the World of the Evil Curse of the Vampire (Dubmusic) 1362′34″ Disco Devil by Lee Scratch Perry on The Best of Lee Perry (Trojan) 1366′10″ Sensee Party by Eek-a-Mouse on Skidip (Greensleeves) 1369′15″ War Ina Babylon by Max Romeo on War Ina Babylon (Island Def Jam) 1371′40″ In The Rain by Ernest Ranglin on Be What You Wanna Be (Konduko Records) 1377′55″ Born for a Purpose/Reason for Living by Dr. Alimantado on Born for a Purpose (Keyman Record) 1381′05″ Don't Let Me Down by Marcia Griffiths on Play Me Sweet and Nice (Trojan Recordings) 1383′11″ Lazer Beam by Don Carlos on Tribulation (Attack) 1386′30″ Slow Down (remix feat. H.E.R. and Wale) by Skip Marley (Island) 1391′49″ Lockdown by Anderson .Paak (Aftermath) 1395′36″ Hard Life by Sault on Untitled (Black Is) (Forever Living Originals) 1399′20″ Nont for Sale by Sudan Archives on Sink (Stones Throw) 1402′57″ Wet by Shabazz Palaces on The Don of Diamond Dreams (Sub Pop) 1407′09″ Fire Is Coming (feat. David Lynch) by Flying Lotus on Flamagra (Warp) 1409′34″ Woop Baby by Letherette on Brown Lounge, Vol. 4 (Wulf) 1412′58″ Carry Me Home by Kokoroko on Carry Me Home (Brownswood Recordings) 1415′48″ Miles runs the voodoo down by Miles Davis on Bitches Brew (Sony) 1419′20″ WhereYouGonnaGo? by Jitwam on TJDOO6 (The Jazz Diaries) 1433′13″ I Can't Kick This Feeling When It Hits by Moodyman on I Can't Kick This Feelin When It Hits / Music People (KDJ) 1437′05″ Believer by Dam-Funk on DJ-Kicks (!K7 Records)
Sintonía: "Sunday Kind of Love" (1970) - Art Van Damme "Sunshine of your Love" (1970) - Ella Fitzgerald; "Take off your Clothes to Feel the Setting Sun" (1969) - Wolfgang Dauner; "Love and Happiness" (1974) - Ernest Ranglin; "Uptown Dance" (1972) - Nelson Riddle Orchestra; "Un grao de areia" (1969) - Clarke-Boland Big Band; "See You Later" (1978) - Joanne Grauer & Lorraine Feather; "Stone Ground Seven" (1977) - The Singers Unlimited; "Follow Me" (1969) - Dieter Reith; "Big Schlepp" (1971) - The Dave Pike Set; "Mindwill" (1974) - Volker Kriegel Escuchar audio
You venture the long journey from Belsize to the Head Shop, situated just outside Alpha Centauri. It's time to try on some Deep Purple, suddenly the Crystal Telephone rings and you answer and a voice bellows "Is that The Lost Man? It's a Beautiful Day and Daddy's Here with a Story Book"
Tim Baker performs his slam-poem story 'A Surfer's Paradise'. It explores his move to the Gold Coast as young surf writer, the initial disconnect and the growing love for the GC over the decades. The music is inspired by Gansta rap, surf rock and the jangly, muted guitar stylings of Ernest Ranglin. Fletch (aka Cold Ghost) and Tim are joined on stage by drummer Jake Morton with Bern Young introducing. The story comes with apologies to Coolio and Jim Cavill.
Idris Muhammad's birthday was November 13, and so I thought I'd do a tribute episode to the legendary drummer (RIP) whose sound shaped so much of jazz, soul, funk, rock and later hip-hop. I was very lucky to witness his greatest once, several years ago at the Blue Note when he was playing with Ahmad Jamal's group. So here's a few tunes - only one from his own releases, while the rest are records he played on and shaped in his own way. I tried to stay away from the well-known classics but don't worry, it's all super funky. Tracklist: Idris Muhammad, Horace Silver, Charles Kynard, Grant Green, Shirley Scott, Leon Spencer, Eugene McDaniels, Ernest Ranglin
Barry Vincent es guitarrista y arreglista profesional. Compositor publicado. 1974-75 Asiste a la Escuela de Música de Jamaica, estudiando Arreglos y Composición bajo la dirección de Melba Liston y guitarra bajo la dirección de Ernest Ranglin. Berklee College of Music estudiando Arreglos y Composición 19879-82. Audicionó y tocó con Bob Marley en Hope Rd Kingston, Peter Tosh en Nueva York, Jimmy Cliff y Earl Chinna Smith en Jamaica. Guitarrista de foso en la obra “Mama I Want To Sing” de Off-Broadway Gospel. Manhattan NYC, EE.UU. Compuso, arregló, dirigió y tocó en el proyecto de 8 composiciones originales tituladas “Coast To Coast” en el sello de Themes International library. Publicado por EMI music worldwide. Producido, compuesto, arreglado y tocado en el single ‘Only You’ del artista Fumme en los discos de Sanity. Profesionalmente afiliado y/o trabajado con Bob Marley, Jimmy Cliff, Dennis Brown, Alton Ellis, Junior Delgado, Sugar Minott, Abyssinians, Eek-A-Mouse, Carron Wheeler, Caroll Thompson, Tashan, Loose Ends… Actualmente Barry Vincent es guitarrista de sesión en Londres, Reino Unido.
durée : 01:54:35 - Retour de plage du jeudi 08 août 2019 - par : Thierry Jousse - Une programmation riche aujourd'hui dans notre émission Retour de plage, avec Herbie Mann, Willie Bobo, Domenico Modugno ou encore Ernest Ranglin pour ne citez qu'eux ! - réalisé par : Davy Travailleur
Reggae Jazz (1ª part): Medeski Martin & Wood; Roberto Rodriguez; Kirk Knuffke Trio; Roland Alphonso; Ernest Ranglin; Jackie Mittoo; Jeremy Taylor; Nicole Mitchell’s Black Earth Ensemble; Joe Armon-Jones.
It is officially June and we are kicking of the summer vibes with music by Neil Diamond, Boy Pablo, Joe Henderson, Ernest Ranglin, 311, Keane, Beck, Laura Nyro, Dave Van Ronk, Frankie Valli and the Four Seasons, and Neil Young! L SUBSCRIBE: iTunes TWITTER: @MusicFirstPcast FACEBOOK: Music First Podcast INSTAGRAM: MusicFirstPodcast EMAIL: MusicFirstPodcast@gmail.com
In this episode I share my notes on Denver's impressive win over the San Antonio Spurs in game 5. Jamal Murray played one of the most complete games of his career, Gary Harris continued to put the locks on Derrick White, and Nikola Jokic was his usual brilliant self. I talk about why I've been so impressed with Michael Malone and his staff in this series and wonder if the Nuggets are truly back to their best self. The game couldn't have been more positive for the Denver Nuggets. Music: Riza Penjoel, Ernest Ranglin, and Outspoken Beats Learn more about your ad choices. Visit podcastchoices.com/adchoices
In this episode I share my notes on Denver's impressive win over the San Antonio Spurs in game 5. Jamal Murray played one of the most complete games of his career, Gary Harris continued to put the locks on Derrick White, and Nikola Jokic was his usual brilliant self. I talk about why I've been so impressed with Michael Malone and his staff in this series and wonder if the Nuggets are truly back to their best self. The game couldn't have been more positive for the Denver Nuggets. Music: Riza Penjoel, Ernest Ranglin, and Outspoken Beats Learn more about your ad choices. Visit megaphone.fm/adchoices
Les Tympans de Magellan, c'est un podcast mensuel qui fait voyager vos oreilles. Chaque mois, un nouveau pays mis à l'honneur à travers une liste de morceaux soigneusement choisis. Le pays du mois : Pour ce onzième épisode, on s'éloigne du froid islandais pour retourner vers plus de chaleur et on vous emmène en Jamaïque ! Tracklist : Various artists - "Fire Burn" King Tubby - "Invasion" Ernest Ranglin - "Mento-Time in Jamaica" The Bug feat. Warrior Queen - "Insane" Black Uhuru - "Leaving to Zion" Ras Michael & The Sons of Negus - "Hear River Jordan Roll" Dan-I - "Monkey Chop" Keith Hudson - "Trust & Believe" Sly & Robbie Meet Nils Petter Molvær Feat Eivind Aarset And Vladislav Delay - "Was in the Blues" Wayne Smith - "E20" Poet and The Roots - "Doun Di Road" Singers & Players - "Fit to Survive" Count Ossie and The Mystic Revelation Of Rastafari - "Song" Equiknoxx - "Congo Get Slap Like A Congo Get Slap" Envoyez vos morceaux Vous avez jusqu'au 16 novembre 2018 23:59 pour envoyer un titre jamaïcain accompagné de votre commentaire à wazoo@xsilence.net Nous sélectionnerons certains des morceaux reçus pour les diffuser et lirons le commentaire associé. • Générique de début : Depeche Mode - "World in My Eyes"• Générique de fin : Wyatt / Atzmon / Stephen - "What a Wonderful World" Retrouver le podcast : XSilence | Facebook | Twitter | iTunes | Podcloud
Rob and Seth return to Terminal West to pick Eddie Roberts’ brain about all things New Mastersounds. However, the conversation kicks off with Eddie explaining how his new band Matador came together, and how he and the other musicians (Alan Evans, Kevin Scott, Chris Spies, Adryon de Leon and Kimberly Dawson) came together and that they plan on making this a permanent band, as opposed to a mere, "project." They also talk about how the most recent New Mastersounds cd Renewable Energy is appropriately-titled, and how it represented a number of firsts for the band. We learn about how some of the songs were inspired and titled, particularly “Chicago Girl” - and how the Chicago Girl suggested a cover with which none of the band members were familiar, yet which still made the record. Eddie also explains how de Leon’s creative input on this record is different from how he expects it will continue to be in Matador, and about why tNM is starting to become more interested in recording records “live” in the studio. We learn how the band’s songwriting has evolved from Eddie being the clear principal source to its current predominantly collaborative nature. Eddie talks about how his picking style comes from his jazz and classical background, and why his playing style is closer to that of a bluegrass player than a rock player. He also relates about how John Scofield almost lost a gig to a storm that happened while Eddie was dining with him, and shares some Sco insight. This leads to a discussion about Miles Davis which in turn leads to Eddie comparing and contrasting one way his approach differs from that of the virtuosic organist, Robert Walter. He also relates some of his experiences with Corrine Bailey Rae as Eddie has known her since she was a bartender and watched her have repeated success starting with her being only the fourth British act in history to have her debut cd debut at Number 1 on the Billboard charts. Eddie also explains some of the ways tNM's early days playing in London impacted the type of players they are today (for more on this, check out Episode 15 with tNM drummer Simon Allen). We also find out what motivated Eddie to start his successful charitable organization, The Payback and about how Eddie felt about getting to work with heroes of his like Ernest Ranglin and The Meters. wTnS is Produced by Rob Turner and Engineered by Josh Thane of Wonder Dog Sounds Studio. www.joshthaneproductions.com www.wonderdogsounds.com All social media management, promotion and website maintenance/building done by Harris Sullivan. wTnS is a proud partner of the Osiris Podcast Network. Osiris is a global community connecting passionate music fans with podcasts about music, artists, and culture; currently consisting of 15 link-minded podcasts and more can be found at www.osirispod.com wTnS Sponsors: Polay + Clark 21st Century Accounting (Don't wait till April and get screwed, get Polayed) www.polayclark.com InsideOutwTnS.com Twitter: @InsideoutWTNS Instagram: @InsideOutwTnS Facebook: www.facebook.com/insideoutwTnS See acast.com/privacy for privacy and opt-out information.
Ernest Ranglin and the Alpharians feat Tan Tan , Dinner Time Riddim , Ego by Charly B , Tapalapa Riddim , 90's Masquerade Riddim , B52 Bomber Riddim , Black Jeans Riddim , ZULU RIDDIM , Party Heaven by BUSY SIGNAL , Monkey Steel Riddim
Ernest Ranglin and the Alpharians feat Tan Tan , Dinner Time Riddim , Ego by Charly B , Tapalapa Riddim , 90's Masquerade Riddim , B52 Bomber Riddim , Black Jeans Riddim , ZULU RIDDIM , Party Heaven by BUSY SIGNAL , Monkey Steel Riddim
Ernest Ranglin and the Alpharians feat Tan Tan , Dinner Time Riddim , Ego by Charly B , Tapalapa Riddim , 90's Masquerade Riddim , B52 Bomber Riddim , Black Jeans Riddim , ZULU RIDDIM , Party Heaven by BUSY SIGNAL , Monkey Steel Riddim
Sentim sis propostes de casa nostra, sis compositors amb or
Hop on the Worldwide Hour with DJ Wynn and get ready for the beach with global melodies from Ernest Ranglin, The Chakachas, Femi Kuti, Casiokids, and Seu Jorge. Ernest Ranglin Amadou & Mariam Manu Dibango 00:00 - DJ Wynn 01:15 - Below The Bassline - Ernest Ranglin 05:49 - El Son Te Llama - Orchestra Baobab 11:13 - Mania de Peitao - Seu Jorge 13:49 - La Lucha Sigue - Adrian Quesada and Ocote Soul Sounds 16:54 - Rythmes Gitans - Patrick Saussions and Alma Sinti 19:11 - I'M Not A Fool - Sierra Leone Refugee All Stars 23:34 - Thina Siyakhanyisa - Mahotella Queens 26:36 - DJ Wynn 26:59 - Camions Sauvages - Amadou & Mariam 31:06 - Entrange - DobaCaracol 34:40 - Togens Hule - Casiokids 38:28 - Je Veux Te Voir - Yelle 42:47 - Carry On Pushing On - Femi Kuti 47:42 - Forrowest - Forro In The Dark 52:24 - Hot Chicken - Manu Dibango 56:45 - DJ Wynn 57:21 - Jungle Fever - The Chakachas 61:40 - Finish
Original Ska Artists 50s. Aubrey Adams,Laurel Aitken,Roland Alphonso,Theophilus Beckford,Val Bennett,Baba Brooks, The Blues Busters,Prince Buster,The Clarendonians,Jimmy Cliff,Clue J & His Blues Blasters, Stranger Cole,Desmond Dekker,Don Drummond,Jackie Edwards,Alton Ellis,The Ethiopians Owen Gray,Derrick Harriott,Justin Hinds,Jah Jerry Haynes,Lloyd Knibb,Byron Lee & the Dragonaires Count Machuki,Carlos Malcolm,Tommy McCook,The Melodians,Johnny "Dizzy" Moore, Derrick Morgan,Eric "Monty" Morris,Jackie Opel,The Paragons,Lee "Scratch" Perry Lord Tanamo,The Pioneers,Ernest Ranglin,Rico Rodriguez,The Skatalites The Silvertones,Millie Small,Symarip,Lynn Taitt,Toots & the Maytals.The Wailers Delroy Wilson
Some of the original Ska Musicians Aubrey Adams,Laurel Aitken,Roland Alphonso,Theophilus Beckford,Val Bennett,Baba Brooks,The Blues Busters,Prince Buster,The Clarendonians,Jimmy Cliff,Clue J & His Blues Blasters,Stranger Cole,Desmond Dekker,Don Drummond,Jackie Edwards.Alton Ellis,The Ethiopians,Owen Gray,Derrick Harriott,Justin Hinds,Jah Jerry Haynes,Lloyd Knibb,Byron Lee & the Dragonaires,Count Machuki,Carlos Malcolm,Tommy McCook,The MelodiansmJohnny "Dizzy" Moore,Derrick Morgan,Eric "Monty" MorrismJackie Opel,The Paragons,Lee "Scratch" Perry,Lord Tanamo,The Pioneers,Ernest Ranglin,Rico Rodriguez,The Skatalites,The Silvertones,Millie Small,Symarip,Lynn Taitt,Toots & the Maytals,The Wailers,Delroy Wilson
Some of the original Ska Musicians Aubrey Adams,Laurel Aitken,Roland Alphonso,Theophilus Beckford,Val Bennett,Baba Brooks,The Blues Busters,Prince Buster,The Clarendonians,Jimmy Cliff,Clue J & His Blues Blasters,Stranger Cole,Desmond Dekker,Don Drummond,Jackie Edwards.Alton Ellis,The Ethiopians,Owen Gray,Derrick Harriott,Justin Hinds,Jah Jerry Haynes,Lloyd Knibb,Byron Lee & the Dragonaires,Count Machuki,Carlos Malcolm,Tommy McCook,The MelodiansmJohnny "Dizzy" Moore,Derrick Morgan,Eric "Monty" MorrismJackie Opel,The Paragons,Lee "Scratch" Perry,Lord Tanamo,The Pioneers,Ernest Ranglin,Rico Rodriguez,The Skatalites,The Silvertones,Millie Small,Symarip,Lynn Taitt,Toots & the Maytals,The Wailers,Delroy Wilson
Some of the original Ska Musicians Aubrey Adams,Laurel Aitken,Roland Alphonso,Theophilus Beckford,Val Bennett,Baba Brooks,The Blues Busters,Prince Buster,The Clarendonians,Jimmy Cliff,Clue J & His Blues Blasters,Stranger Cole,Desmond Dekker,Don Drummond,Jackie Edwards.Alton Ellis,The Ethiopians,Owen Gray,Derrick Harriott,Justin Hinds,Jah Jerry Haynes,Lloyd Knibb,Byron Lee & the Dragonaires,Count Machuki,Carlos Malcolm,Tommy McCook,The MelodiansmJohnny "Dizzy" Moore,Derrick Morgan,Eric "Monty" MorrismJackie Opel,The Paragons,Lee "Scratch" Perry,Lord Tanamo,The Pioneers,Ernest Ranglin,Rico Rodriguez,The Skatalites,The Silvertones,Millie Small,Symarip,Lynn Taitt,Toots & the Maytals,The Wailers,Delroy Wilson
There are multiple theories about the origins of the word ska. Ernest Ranglin claimed that the term was coined by musicians to refer to the "skat! skat! skat!" scratching guitar strum. Ranglin asserted that the difference between R&B and ska beats is that the former goes "chink-ka" and the latter goes "ka-chink". Another explanation is that at a recording session in 1959 produced by Coxsone Dodd, double bassist Cluett Johnson instructed guitarist Ranglin to "play like ska, ska, ska", although Ranglin has denied this, stating "Clue couldn't tell me what to play!" A further theory is that it derives from Johnson's word skavoovie, with which he was known to greet his friends. Jackie Mittoo insisted that the musicians called the rhythm Staya Staya, and that it was Byron Lee who introduced the term "ska". Derrick Morgan said: "Guitar and piano making a ska sound, like 'ska, ska,"
He’s a talented singer, songwriter and showman, but Felix Riebl has had a lifetime of constant push and pull in his relationship with music. It began with the search for identity, then the struggle for expression and these days it’s about allowing himself to enjoy the mystery of the language of music. Felix shares some of the moments that have shaped his journey, his secret burning six string regret & the song by Jamaican guitarist Ernest Ranglin that opened up a whole world of music to him.
History of Jamaican Music Long before Reggae and Dancehall Even before Ska, many will argue that the origins of Jamaican music could be heard from the rural areas with sounds of folk music. This folk music was then followed by the first recorded Jamaican music -- Mento -- which includes the work of pioneers such as Stanley Motta. In fact, mento bands can still be found performing in hotels throughout the island. The renowned Sir Coxsone Dodd was one of the influential figures in the early years of the sound system. Jazz was also a popular music form in Jamaica, and many well-known jazz musicians hailed from Jamaica such as Joe Harriott, Ernest Ranglin and Monty Alexander.
There are multiple theories about the origins of the word ska. Ernest Ranglin claimed that the term was coined by musicians to refer to the "skat! skat! skat!" scratching guitar strum. Ranglin asserted that the difference between R&B and ska beats is that the former goes "chink-ka" and the latter goes "ka-chink". Another explanation is that at a recording session in 1959 produced by Coxsone Dodd, double bassist Cluett Johnson instructed guitarist Ranglin to "play like ska, ska, ska", although Ranglin has denied this, stating "Clue couldn't tell me what to play!" A further theory is that it derives from Johnson's word skavoovie, with which he was known to greet his friends. Jackie Mittoo insisted that the musicians called the rhythm Staya Staya, and that it was Byron Lee who introduced the term "ska". Derrick Morgan said: "Guitar and piano making a ska sound, like 'ska, ska,"
Shock World Service 65: Guitar Side Of The Divide by Spaces 13/7/16 London, United Kingdom Label: goo.gl/6VXilY Twitter: twitter.com/shockws 1. The Wailers - Don't Ever Leave Me This guitar solo by Ernest Ranglin is possibly the best ever. 2. Elizabeth Cotten - Freight Train Version straight from YouTube is probably rawer than the live studio album. 3. Fripp & Eno - Wind On Water If you're forced to take a flight on your own listen to this on headphones. 4. Brian Eno - Third Uncle When I was young I remember trying to run really fast and almost falling forward mid-run. This song hurtles along so fast it sounds like exactly that. 5. Luciano Cilio - Della Conoscenza The vocals in this are up there with Ligeti's Lux Aeterna. 6. The Sonics - The Witch It was a toss up between this and Strychnine. 7. Neil Young - Guitar Solo, No. 1 The opener from the Dead Man soundtrack. The sleeve notes have great photos of a gurning Neil Young in front of a big screen, scoring the film with just an electric guitar. Or maybe I'm imagining that 8. Bill Frisell - Effects Pedal Demonstration (I actually like this.) 9. Phoenix - If I Ever Feel Better (And this.) 10. Laurie Anderson - The Puppet Motel A less well known Laurie Anderson song from the Bright Red album. Actually there's not really any guitar in here… 11. Julee Cruise - Floating| Not the normal guitar lick associated with Julee Cruise/Twin Peaks but close enough to raise all sorts of Laura Palmer-based hallucinations. 12. Neil Young - Organ Solo/Do You Know How To Use This Weapon? This gets in because he plays the organ like he plays the guitar. Haunting and stays with you. 13. Battant - Old School Baby Battant suffered an abrupt and tragic end in 2011 with the death of Joel Dever, this version of the Nena/Westbam is less polished but rawer. 14. Donal Keating & John Flynn - KLG Recently blown the dust of my guitar to add some bits to the tracks my musical twin Donal Keating has been sending me across the globe. 15. Pete Thorn - Guitar Picks (I don't actually like this.) 16. Wes Montgomery - No Blues Found this relatively late too. The way the album's mixed it sounds like Wes' amp is right next to you.
As Blur and Gorillaz front man Damon Albarn joins the Orchestra of Syrian Musicians to open the Glastonbury Festival, John talks to Damon and Lebanese-Syrian rapper Eslam Jawaad about working and performing with the orchestra.In Inspiring Impressionism, the National Galleries of Scotland will stage the first ever large-scale exhibition to examine the important relationship between the landscape painter Charles-François Daubigny and the Impressionists, including Claude Monet and Vincent Van Gogh. Curators Lynne Ambrosini and Frances Fowle discuss.The Bethlem Museum of the Mind in South London is one of five museums and galleries in the UK to make the shortlist for Museum of the Year. In the third of our reports from the shortlisted venues, John Wilson visits the museum which cares for an internationally-renowned collection of archives, art and historic objects relating to the history of mental healthcare and treatment. The Jamaican guitarist and composer Ernest Ranglin is probably best known for Millie Small's 1964 ska version of My Boy Lollipop, but during his long career he has worked with the likes of Jimmy Cliff, Bob Marley, and jazz pianist Monty Alexander. At the age of 83, Ernest is embarking on his farewell tour, starting with an appearance at this year's Glastonbury Festival. Music journalist Kevin Le Gendre looks back on the career of the musician, and explains why he's still a hot ticket after thousands of gigs and recording sessions over almost seven decades. Presenter: John Wilson Producer: Rebecca Armstrong.
Ska (/'sk??/, Jamaican [skjæ]) is a music genre that originated in Jamaica in the late 1950s and was the precursor to rocksteady and reggae. Ska combined elements of Caribbean mento and calypso with American jazz and rhythm and blues. It is characterized by a walking bass line accented with rhythms on the upbeat..Aubrey Adams,Laurel Aitken,Roland Alphonso,Theophilus Beckford,Val Bennett,Baba Brooks,The Blues Busters,Prince Buster,The Clarendonians,Jimmy Cliff,Clue J & His Blues Blasters Stranger Cole,Desmond Dekker,Don Drummond,Jackie Edwards,Alton Ellis,The Ethiopians,Owen Gray,Derrick Harriott,Justin Hinds,Jah Jerry Haynes,Lloyd Knibb,Count Machuki,Carlos Malcolm,Tommy McCook,The Melodians,Johnny "Dizzy" Moore'Derrick Morgan,Eric "Monty" Morris,Jackie Opel,The Paragons,Lee "Scratch" Perry,Lord Tanamo,The Pioneers,Ernest Ranglin,Rico Rodriguez,The Skatalites,The Silvertones,Millie Small,Symarip,Lynn Taitt,Toots & the Maytals,The Wailers,Delroy Wilson,Desmond Dekker,Don Drummond,Jackie Edwards,Alton Ellis,The Ethiopians,Owen Gray,Derrick Harriott,Justin Hinds,Jah Jerry Haynes,Lloyd Knibb,Byron Lee & the Dragonaires,https://www.facebook.com/jaSkafestival/
Ska (/'sk??/, Jamaican [skjæ]) is a music genre that originated in Jamaica in the late 1950s and was the precursor to rocksteady and reggae. Ska combined elements of Caribbean mento and calypso with American jazz and rhythm and blues. It is characterized by a walking bass line accented with rhythms on the upbeat..Aubrey Adams,Laurel Aitken,Roland Alphonso,Theophilus Beckford,Val Bennett,Baba Brooks,The Blues Busters,Prince Buster,The Clarendonians,Jimmy Cliff,Clue J & His Blues Blasters Stranger Cole,Desmond Dekker,Don Drummond,Jackie Edwards,Alton Ellis,The Ethiopians,Owen Gray,Derrick Harriott,Justin Hinds,Jah Jerry Haynes,Lloyd Knibb,Count Machuki,Carlos Malcolm,Tommy McCook,The Melodians,Johnny "Dizzy" Moore'Derrick Morgan,Eric "Monty" Morris,Jackie Opel,The Paragons,Lee "Scratch" Perry,Lord Tanamo,The Pioneers,Ernest Ranglin,Rico Rodriguez,The Skatalites,The Silvertones,Millie Small,Symarip,Lynn Taitt,Toots & the Maytals,The Wailers,Delroy Wilson,Desmond Dekker,Don Drummond,Jackie Edwards,Alton Ellis,The Ethiopians,Owen Gray,Derrick Harriott,Justin Hinds,Jah Jerry Haynes,Lloyd Knibb,Byron Lee & the Dragonaires,https://www.facebook.com/jaSkafestival/
Hopeton Brown presents Fred Campbell and his new band Skajamz Wednesday, April 27, 2016 @ 9:000 pm Call in: 661-467-2407 Fred Campbell started playing congos while he was still in high school. After graduation he stumbled on Kes Chin and there he met Lester Sterlin, Keith Studdart, Winston Turner and Rupert Bent. These musicians would continue to be a part of his musical journey. He then went to CarlosMalcolm and the Afro Jamaican Rhythms. There he recorded songs like Rucumbine, Run For Cover and a mento medley, all with Carlos. He made the transition to the north coast, playing in the hotels. Here he met and worked with Leslie Butler and his wife Janet, who is an accomplished guitarist. This led to not only playing north coast hotels but top notch clubs in the Bahamas. He returned to Jamaica to play at the Glass Bucket club with an all star band with Ernest Ranglin, Leslie Butler and Roland Alphonso. Next was his migration to the USA where he gave up music and started a business. After a good and prosperous ten years or so, Fred declared "Now it's my time", and with that, Skajamz was born.Skajamz is his today and tomorrow.
Fred Campbell started playing congos while he was still in high school. After graduation he stumbelled on Kes Chin and there he met Lester Sterlin, Keith Studdart, Winston Turner and Rupert Bent. These musicians would continue to be a part of his musical journey. He then went to CarlosMalcolm and the Afro Jamaican Rhythms. There he recorded songs like Rucumbine, Run For Cover and a mento medley, all with Carlos and as a side gig, recorded most of the top local singers. With Carlos he toured almost every island in the Caribbean. He then got married and made the transition to the north coast, playing in the hotels. Here he met and worked with Leslie Butler and his wife Janet, who is an accomplished guitarist. This lead to not only playing north coast hotels but top notch clubs in the Bahamas. He returned to Jamaica to play at the Glass Bucket club with an all star band with Ernest Ranglin, Leslie Butler and Roland Alphonso. He then started his own band and went back to the north coast. Here he met Richard White, Devon James, Orville Hammond and a few other rising stars. Next was his migration to the USA. Here he gave up music and started a business, all to please his wife. After a good and prosperous ten years or so, Fred declared "Now it's my time", and with that, Skajamz was born.Skajamz is his today and tomorrow.
This week's edition of The Coast Highway Shuffle features a return of guest co-host Q Brickell, who again brings in eclectic new music to create a set list featuring artists including Richie Havens, Trampled by Turtles, Greensky Bluegrass, Ibeyi, Nick Mulvey, The Main Squeeze, Chet Faker, Ernest Ranglin and MANY more! Enjoy!!!!
The history of Jamaica's music is a fascinating one, and seldom has a nation's pop music been so celebratory, political, and concerned with civil rights, all rolled into an upside-down one-drop rhythm that is as recognizable as it is pervasive. Part mento, part African drums, part American jazz, soul, and R&B, part a Marcus Garvey-derived treatise on human rights and repatriation, Jamaica's reggae is pop music with clear revolutionary goals, intent on dancing in the face of Babylon while forthrightly chanting it down. This Is Reggae Music hits most of the historical high points, including Jamaica's entry into the international pop market with early hits like Millie Small's "My Boy Lollipop" (arranged by the venerable Ernest Ranglin) and Desmond Dekker's "Israelites," following these up with key tracks from Jimmy Cliff's The Harder They Come soundtrack (including Cliff's own "Many Rivers to Cross," the Maytals' "Pressure Drop," the Melodians' "Rivers of Babylon," and the Slickers' immortal "Johnny Too Bad" and some early reggae gems like Marley's "Duppy Conqueror" (produced by Lee "Scratch" Perry), the Heptones' "Hypocrite," and Cliff's "Vietnam." The final disc finds reggae poised to take over the world (on the wings of one Bob Marley), and includes essential tracks like Delroy Wilson's "Better Must Come," Zap Pow's bit of reggae-meets-Stax, "This Is Reggae Music," Slim Smith's stunningly beautiful "The Time Has Come," and the concluding song, the classic Jack Ruby-produced "Marcus Garvey" by Burning Spear.www.crsradio.com www.caribbeanradio.com
The history of Jamaica's music is a fascinating one, and seldom has a nation's pop music been so celebratory, political, and concerned with civil rights, all rolled into an upside-down one-drop rhythm that is as recognizable as it is pervasive. Part mento, part African drums, part American jazz, soul, and R&B, part a Marcus Garvey-derived treatise on human rights and repatriation, Jamaica's reggae is pop music with clear revolutionary goals, intent on dancing in the face of Babylon while forthrightly chanting it down. This Is Reggae Music hits most of the historical high points, including Jamaica's entry into the international pop market with early hits like Millie Small's "My Boy Lollipop" (arranged by the venerable Ernest Ranglin) and Desmond Dekker's "Israelites," following these up with key tracks from Jimmy Cliff's The Harder They Come soundtrack (including Cliff's own "Many Rivers to Cross," the Maytals' "Pressure Drop," the Melodians' "Rivers of Babylon," and the Slickers' immortal "Johnny Too Bad" and some early reggae gems like Marley's "Duppy Conqueror" (produced by Lee "Scratch" Perry), the Heptones' "Hypocrite," and Cliff's "Vietnam." The final disc finds reggae poised to take over the world (on the wings of one Bob Marley), and includes essential tracks like Delroy Wilson's "Better Must Come," Zap Pow's bit of reggae-meets-Stax, "This Is Reggae Music," Slim Smith's stunningly beautiful "The Time Has Come," and the concluding song, the classic Jack Ruby-produced "Marcus Garvey" by Burning Spear.www.crsradio.com www.caribbeanradio.com
The history of Jamaica's music is a fascinating one, and seldom has a nation's pop music been so celebratory, political, and concerned with civil rights, all rolled into an upside-down one-drop rhythm that is as recognizable as it is pervasive. Part mento, part African drums, part American jazz, soul, and R&B, part a Marcus Garvey-derived treatise on human rights and repatriation, Jamaica's reggae is pop music with clear revolutionary goals, intent on dancing in the face of Babylon while forthrightly chanting it down. This Is Reggae Music hits most of the historical high points, including Jamaica's entry into the international pop market with early hits like Millie Small's "My Boy Lollipop" (arranged by the venerable Ernest Ranglin) and Desmond Dekker's "Israelites," following these up with key tracks from Jimmy Cliff's The Harder They Come soundtrack (including Cliff's own "Many Rivers to Cross," the Maytals' "Pressure Drop," the Melodians' "Rivers of Babylon," and the Slickers' immortal "Johnny Too Bad" and some early reggae gems like Marley's "Duppy Conqueror" (produced by Lee "Scratch" Perry), the Heptones' "Hypocrite," and Cliff's "Vietnam." The final disc finds reggae poised to take over the world (on the wings of one Bob Marley), and includes essential tracks like Delroy Wilson's "Better Must Come," Zap Pow's bit of reggae-meets-Stax, "This Is Reggae Music," Slim Smith's stunningly beautiful "The Time Has Come," and the concluding song, the classic Jack Ruby-produced "Marcus Garvey" by Burning Spear.www.crsradio.com www.caribbeanradio.com
The history of Jamaica's music is a fascinating one, and seldom has a nation's pop music been so celebratory, political, and concerned with civil rights, all rolled into an upside-down one-drop rhythm that is as recognizable as it is pervasive. Part mento, part African drums, part American jazz, soul, and R&B, part a Marcus Garvey-derived treatise on human rights and repatriation, Jamaica's reggae is pop music with clear revolutionary goals, intent on dancing in the face of Babylon while forthrightly chanting it down. This Is Reggae Music hits most of the historical high points, including Jamaica's entry into the international pop market with early hits like Millie Small's "My Boy Lollipop" (arranged by the venerable Ernest Ranglin) and Desmond Dekker's "Israelites," following these up with key tracks from Jimmy Cliff's The Harder They Come soundtrack (including Cliff's own "Many Rivers to Cross," the Maytals' "Pressure Drop," the Melodians' "Rivers of Babylon," and the Slickers' immortal "Johnny Too Bad" and some early reggae gems like Marley's "Duppy Conqueror" (produced by Lee "Scratch" Perry), the Heptones' "Hypocrite," and Cliff's "Vietnam." The final disc finds reggae poised to take over the world (on the wings of one Bob Marley), and includes essential tracks like Delroy Wilson's "Better Must Come," Zap Pow's bit of reggae-meets-Stax, "This Is Reggae Music," Slim Smith's stunningly beautiful "The Time Has Come," and the concluding song, the classic Jack Ruby-produced "Marcus Garvey" by Burning Spear.www.crsradio.com www.caribbeanradio.com
The history of Jamaica's music is a fascinating one, and seldom has a nation's pop music been so celebratory, political, and concerned with civil rights, all rolled into an upside-down one-drop rhythm that is as recognizable as it is pervasive. Part mento, part African drums, part American jazz, soul, and R&B, part a Marcus Garvey-derived treatise on human rights and repatriation, Jamaica's reggae is pop music with clear revolutionary goals, intent on dancing in the face of Babylon while forthrightly chanting it down. This Is Reggae Music hits most of the historical high points, including Jamaica's entry into the international pop market with early hits like Millie Small's "My Boy Lollipop" (arranged by the venerable Ernest Ranglin) and Desmond Dekker's "Israelites," following these up with key tracks from Jimmy Cliff's The Harder They Come soundtrack (including Cliff's own "Many Rivers to Cross," the Maytals' "Pressure Drop," the Melodians' "Rivers of Babylon," and the Slickers' immortal "Johnny Too Bad" and some early reggae gems like Marley's "Duppy Conqueror" (produced by Lee "Scratch" Perry), the Heptones' "Hypocrite," and Cliff's "Vietnam." The final disc finds reggae poised to take over the world (on the wings of one Bob Marley), and includes essential tracks like Delroy Wilson's "Better Must Come," Zap Pow's bit of reggae-meets-Stax, "This Is Reggae Music," Slim Smith's stunningly beautiful "The Time Has Come," and the concluding song, the classic Jack Ruby-produced "Marcus Garvey" by Burning Spear.www.crsradio.com www.caribbeanradio.com
Live Chat with Reggae star Kazam Davis from Jamaica His birth name, Girma Jahleel Davis, was given to him by John Davis (His Father) as well as his stage name “Kazam”.At fourteen (14) years, music became a major part of his life. He started writing his feelings in books and on scraps of paper. His hidden talents were discovered by his father, who was amazed by his spiritual, emotional and inspirational. lyrics . On his 21st birthday, Kazam was given an acoustic guitar by his father. He later joined a band called “Jah Children” that included Micah “Shemaiah” Abrahams as the lead singer, Joel “Jahwara” Ellis, dub poet and Kazam the lead guitarist. On January 16, 2002, he recorded his first single “On my own” at Anchor Recording Studio. He worked with musicians like Dalton Browne, Earl “Bagga” Walker, Sangie Gad Davis, Hon. Ernest Ranglin and Robbie Lyn. Bob Marley” with Alton Ellis were released. www.caribbeanradioshow.com the number Jamaica reggae music show online listen to web radio reggae caribbean radio station
His birth name, Girma Jahleel Davis, was given to him by John Davis (His Father) as well as his stage name “Kazam”.At fourteen (14) years, music became a major part of his life. He started writing his feelings in books and on scraps of paper. His hidden talents were discovered by his father, who was amazed by his spiritual, emotional and inspirational. lyrics . On his 21st birthday, Kazam was given an acoustic guitar by his father. He later joined a band called “Jah Children” that included Micah “Shemaiah” Abrahams as the lead singer, Joel “Jahwara” Ellis, dub poet and Kazam the lead guitarist. On January 16, 2002, he recorded his first single “On my own” at Anchor Recording Studio. He worked with musicians like Dalton Browne, Earl “Bagga” Walker, Sangie Gad Davis, Hon. Ernest Ranglin and Robbie Lyn. Bob Marley” with Alton Ellis were released. PROPHECY It takes a man of vision and character to bear the name of “Prophecy.” Jamaica especially is renowned for its musical prophets, except we're now witnessing the emergence of a singer who feels it's not enough to rely upon well-worn clichés in bringing about lasting change. By declaring his willingness to get involved and participate in just causes, Prophecy has set himself apart from most other reggae acts,who rely on music alone to spread a positive message.
[Enhanced Podcast] Music from: Jazzanova, Beanfield, Boom Bip, Automator, Boards Of Canada, Bonobo featuring Andreya Triana, Lovage, DJ Krush, Kruder and Dorfmeister featuring: Roni Size, Friend, Ruby, Portishead, Ernest Ranglin, Thievery Corporation, AIR, Leftfield, Massive Attack, and RJD2.
Durante su visita a Barcelona con motivo de las Jornadas KRAX 3.0 conocimos a la gente de los colectivos Iconoclasistas y Toronto School of Creativity & Inquiry. El trabajo en Argentina de Iconoclasistas se centra en la elaboración de mapas; en su práctica artística, los mapas funcionan como herramientas para construir colectivamente un conocimiento y unas representaciones contra-hegemónicas, es decir, mapas que expliquen aquellos hechos que los medios de comunicación masivos ignoran, ocultan o distorsionan. Por su parte, el colectivo canadiense de la Toronto School of Creativity & Inquiry (TSCI) se ha dedicado a estudiar la ciudad de Toronto desde diferentes perspectivas y en relación a fenómenos como la migración, la gentrificación, la vivienda o la ecología; para ello organizan grupos de lectura, conferencias y otro tipo de plataformas educativas y culturales a las que invitan a participar a diversos colectivos, a veces ocupando espacios públicos en desuso, c omo en el evento Entangled Territories (pdf)">, durante el que ocuparon un parking de coches vacío. Como l+s alumn+s del CEIP El Martinet han realizado mapas y estudiado el barrio de Can Mas (Ripollet) durante su participación en la primera fase de investigación del proyecto Open-roulotte nos pareció una buena idea compartir las respectivas experiencias y aprender mútuamente, así que organizamos un breve encuentro durante el que charlamos tod+s junt+s sobre estas cuestiones y experiencias. De esa grabación resulta ¡el primer episodio del podcast Open-roulotte Ràdio! Aprovechamos para agradecer su traducción a Javier Rodrigo, a quien atracamos a salto de mata. También decir que en el podcast podréis escuchar, en orden de aparición, música de los Jesters, Nadja, Four Tet, Edan, Jackie Mittoo & Ernest Ranglin, Ja'afar Hassan, Wizardzz, Grabba Grabba Tape, Grouper, Hella y Gal Costa. ¡Que lo disfrutéis!
© 2020-2025 Ivy Podcast Discovery LLC
