Historical perspective. Before there was a world wide web, I started a discussion group called rec.music.reggae under Usenet news. These are some of the questions that came up often in the group. mhp 11/29/23 rec.music.reggae FAQ (Frequently Asked Questions and their answers) Edited by Mike Pawka Nice Up Enterprises eznoh@niceup.com Contents [0]. Is there a Reggae Archives on the Internet? [1]. Dub Recommendations [2]. Can anyone recommend some books on reggae? [3]. What is "Dub" music anyway? [4]. Can anyone recommend some roots reggae? [5]. Live reggae recording recommendations [6]. Who was Marcus Garvey? [7]. Can you recommend some Dancehall? [8]. Is there a newsgroup that caters to those of us who enjoy soca, zouk, [9]. Books on Rastafarianism? [10]. What are the different reggae styles? [11]. Can anyone give me some info on the rasta culture? [12]. Could anyone out there suggest to me any albums which combine reggae and jazz? [13]. What is the significance of the "Two Sevens"? [14]. What's all this about Sound Systems, Clashes and Dubplates? [15]. Are there World Wide Web Sites for Reggae? [16]. What is RAW (Reggae Ambassadors Worldwide)? [17]. Why do purists look down on UB40? [18]. Can anyone recommend good female reggae vocalists (not dancehall). ? [19]. Please give an explanation of "One Drop" Style [20]. What are some reggae videos? [21]. What is a good way to find concert information? [22]. Where can I find some information about dreadlocks? [23]. Why shouldn't I post pictures or sounds to rec.music.reggae? [24]. Where can I find lyrics on the Internet? [25]. Where can I find information about Reggae Clubs? [26]. Where can I find information about Reggae Shops? [27]. Where can I get an RSS news feed about reggae? [28]. Where can I find Reggae podcasts? The Questions and Answers [0]. Is there a Reggae Archives on the Internet? The Jammin Reggae Archives is the gateway to reggae music on the Internet, it can be accessed on the Internet at http://niceup.com. At the archives you can get the latest news, listen to samples from recent releases, find dates for festivals and tour schedules, find links to all kinds of sites related to reggae music, read reviews of recent releases and access all kinds of reggae music information such as biographies, charts, playlists, discographies, clubs, shops and much more. [1]. Dub Recommendations Ok, here's a FAQ if I ever saw one: GIMME SOME DUB POINTERS! I've been there a bit already - got some LKJ, Agustus Pablo, Lee Perry, Upsetters, but I have yet to find the really mind searing spaced out heavy dub that I hear hints of once in awhile. I want loads of echo, pans and sounds like the universe is being ripped apart at the seams in front of me. Skip the drum machines unless they're very tastefully done, lay on the heavy bass and crank up the volume, kick back and close your eyes... Help me find it! My last try was ROIR's TOWERING DUB INFERNO and only a couple of tracks get close to as heavy as I'd hoped. I keep getting pointers to African Headcharge, but that stuff is very steeply priced - is it worth it? - malcolm --------- In article malcolm@wrs.com (Malcolm Humes) writes: >...but I have yet to find the really mind >searing spaced out heavy dub that I hear hints of once in awhile. >I want loads of echo, pans and sounds like the universe is >being ripped apart at the seams in front of me Two words: Mad Professor >I keep getting pointers to African Headcharge, but that stuff is >very steeply priced - is it worth it? Yes. The best stuff from their first four albums is out on two discs, titles I can't remember (they'll be obvious, though, they have "volume 1" and "volume 2" in the title). Also the CD _Songs of Praise_ is excellent, although it's not as twisted as the early stuff; it's more African in an On-U sort of way than spaced out in an On-U sort of way. You are also required to have much Prince Far I within easy reach at all times. ---------- In article malcolm@wrs.com (Malcolm Humes) writes: >Ok, here's a FAQ if I ever saw one: > >GIMME SOME DUB POINTERS! > >I've been there a bit already - got some LKJ, Agustus Pablo, >Lee Perry, Upsetters, but I have yet to find the really mind >searing spaced out heavy dub that I hear hints of once in awhile. I had a Prince Fari LP in New Zealand which seems to fit the bill - had to leave it with a friend as a parting gift since he was so in tune with it. Sorry, can't recall the name now! (it had a track called "Plant Up" which I was really into). Also try some Mad Professor albums. ---------- rfrance@umiacs.umd.edu (Robert B France) writes: >In article malcolm@wrs.com (Malcolm Humes) writes: >>Ok, here's a FAQ if I ever saw one: >> >>GIMME SOME DUB POINTERS! >> >>I've been there a bit already - got some LKJ, Agustus Pablo, >>Lee Perry, Upsetters, but I have yet to find the really mind >>searing spaced out heavy dub that I hear hints of once in awhile. For good spaced-out dub, try Dub Syndicate (On-U Sound). They're hard to find in the US - try the import or World Music section of your local mega-store. ---------- malcolm@wrs.com (Malcolm Humes) writes: >GIMME SOME DUB POINTERS! >Help me find it! My last try was ROIR's TOWERING DUB INFERNO >and only a couple of tracks get close to as heavy as I'd hoped. i liked TDI, but i can see what you mean... try any of the ON-U releases like PLAYGROUP (jazzy dub) or PARTY SOUNDS 1, etc. they're quite good. also, anything else Adrian Sherwood does by himself seems to be great dub. >I keep getting pointers to African Headcharge, but that stuff is >very steeply priced - is it worth it? in a word, yes. it's pretty steeply priced here, maybe not at Amoeba in Berkeley. your best bet is to write ON-U directly for better prices. this is what a friend of mine does. i'll send you the address via email when i get home and look on one of my ON-U cds. ----------- In article malcolm@wrs.com (Malcolm Humes) writes: >Ok, here's a FAQ if I ever saw one: > >GIMME SOME DUB POINTERS! > >I've been there a bit already - got some LKJ, Agustus Pablo, >Lee Perry, Upsetters, but I have yet to find the really mind >searing spaced out heavy dub that I hear hints of once in awhile. >I want loads of echo, pans and sounds like the universe is >being ripped apart at the seams in front of me. Skip the drum >machines unless they're very tastefully done, lay on the heavy >bass and crank up the volume, kick back and close your eyes... > >Help me find it! My last try was ROIR's TOWERING DUB INFERNO >and only a couple of tracks get close to as heavy as I'd hoped. > >I keep getting pointers to African Headcharge, but that stuff is >very steeply priced - is it worth it? > > - malcolm WOW!! excellent start!!!! You might try some Mad Proffesor Psychedelic Dub. Umm let me go look... well Iroy Crisis time (any Iroy rocks but dub..) also try more Perry, Satan's Dub, The Upsetter and The Beat, Scratch Attack.. The best dub (in my opinion) comes from bootlegs, Steel Pulse does some crazy stuff live: maybe you've heard versions of Roller Skates nana dub style. There are alot of flip side dubins on Bob singles. BTW how's African Headcharge coming out??? jafari ----------- Here are some things to look for from the discography in the back of Jon Savage's _England's Dreaming: Anarchy, Sex Pistols, Punk Rock, and Beyond_. He also says that Steve Barrow is working on what should be the definitive book on Reggae and Dub (looks like nothing available yet). (Most of this is Dub, since that's what I'm most interested in hearing, I think.) Aggrovators (mixed by King Tubby) Johnny in the Echo Chamber 1989 Atlantic Dub Justice 1990 ATLP Collections/Compilations The Harder They Come 1972 Island soundtrack King Tubby Meets the Upsetter at the Grass Roots of Dub 1976 Fay Music Keep On Coming Through the Door Trojan "talkover" U-Roy and Friends: With a Flick of My Musical Wrist Trojan? "talkover" 20 Reggae Classics 1987 Trojan CD Studio Kinda Cloudy 1988 Trojan Hudson prod. King Tubby's Special 1973-1976 1990 Trojan 30 tracks Culture Two Sevens Clash 1977 Joe Gibbs Rupert Edwards Irie Feelings 1990 Trojan CD 20 remixes Keith Hudson Pick A Dub 1975 Atra Torch of Freedom 1976 Virgin ? Rasta Communication 1978 Joint Records Junior Mervin (mixed by Lee Perry) Police and Thieves 1976 Island Lee "Scratch" Perry ("The Upsetter") Super Ape 1976 Island Lee Perry and Friends - Give Me Power 1988 Trojan The Upsetter Collection 1988 Trojan The Upsetter Compact Set 1988 Trojan Prince Far-I Heavy Manners 1976 Joe Gibbs Revolutionaries Dub Sensation Bamba in Dub 1977 Skynote Hordcore Dub 1990 OMLP The manufacturer of a lot of these records: Trojan Records 12 Thayer Street London W1M 6AU A distributor/shop which supposedly has or can get most or all of the Trojan reissues: Shanachie Records US Dalebrook Park Hohokus, New Jersey 07423 USA ---------- In article LB.NKA@isumvs.iastate.edu (Nubi Achebo) writes: >From: LB.NKA@isumvs.iastate.edu (Nubi Achebo) >Subject: Natty Dub Music >Date: Mon, 4 Jan 1993 19:32:16 GMT >Would anybody give me a list of some natty dub laden reggae music and >musicians. Also please include any mail order place you know to get these >albums since I live in a tiny city where the selection is very poor. > >I,ll also like to have the address of "Mango" - a record producing and >distribution company. > >Nubi Achebo. > Here's a list of 10 particularly fine dub albums by non-dub artists (in no particular order): 1. Black Uhuru - Dub Factor (Mango) Sly and Robbie team up with Paul 'Groucho' Smykle for a ferocious dub album. Almost like a heavy metal album in its intensity. 2. Prince Fari - Cry Tuff Dub Encounter chapter I (ROIR cassette, Danceteria CD), II (Virgin/Caroline reissue) III (Daddy Kool) IV (Trojan). The voice Moses heard on the mountain must have been similar to that of the late Prince Fari's. His dub albums rumble and boom as well. Especially fine is I where he hooks up with English dubmeister Adrian Sherwood. 3. UB40 - Present Arms in Dub (Virgin) Before UB40 sold its soul for mass pop-reggae stardom, they released Present Arms, a great album. In Dub is even better. Distinguished by its spare use of traditional dub effects (like echo), it combines a heavy bassline with crisp drums and UB40's best asset - their horn section. 4. Wailers - Tribute to Carly Barrett (Atra) Until Island relents in its pigheadedness and releases Dennis Thompson's dub mixes of the Marley catalog, check the Wailers spotlight on their late drummer. Carlton Barrett, wiped from creation in 1987, had a unique drum style which is mixed upfront on this dub of Horace Andy and Winston Jarrett tracks. Great supporting work from Tyrone Downie's organ and Bobby Ellis's horns. 5. Aswad - New Chapter of Dub (Mango) (Mikey) Dread at the Controls serving up a spacey dub of Aswad's English import New Chapter LP. Includes stellar horn work by Michael ' Bammie' Rose and Vin Gordon. 6. Bunny Wailer - Dub D'sco Vol. I and II (Solomonic). Unlike his partners, Bob and Peter, Bunny has released two superb dub albums. Vol. I features his vocals mixed high and then pushed/pulled in a wash of dub echo. Vol. II is a more traditional dub album. 7. Ras Michael and the Sons of Negus - Rastafari Dub (ROIR cassette, Crocodisc CD). Nyabinghi dub. Robbie Shakespeare's bass leads the way while the akete, funde and repeater drums complement him against Earl 'Chinna' Smith's flange guitar. Any extremely rare dub album reissued featuring Peter Tosh on clavinet! 8. Treasure Isle Dub Vol. I and II (Treasure Isle). Classic rock steady and early reggae tracks given the dub treatment; like John Holt's 'Ali Baba', Alton Ellis's 'Cry Tough' and the Melodians 'Come on Little Girl'. A good companion to Heartbeat's Duke Reid's Treasure Chest of '92. Check several of Studio One's dub albums as well. 9. Dr. Alimontado - Love Is (Keyman) Like Bunny Wailer's, this is more a vocalized dub album of tracks by one of reggae's most underrated toasters. A perfect example of how deejays have followed U Roy's example in incorporating dub. 10. Alpha and Omega - Watch and Pray (A & O, Greensleeves) Dub's new wave: borrowing a little from Jah Shaka and ON U sound's African Headcharge, Alpha and Omega combine haunting female vocals, spacey dub effects, bonecrushing bass and salutations to Jah for an ethereal mix. Possibly an acquired taste. Bonus: Kings of Reggae featuring Chris Hinze (Keytone) More of an instrumental album. Some cheezy flute player from Holland (Hinze) goes down a yard and teams up with the best of Jamaica's session men: Sly and Robbie, Mikey Chung, Sticky. While the premise for this sounds horrofic, the result is a masterpiece: Sly and Robbie rock hard, the unknown female backups sound great and as a bonus Peter Tosh warbles on a couple of tracks. One more reason reggae music will suprise you every time. ---------- Probably the finest single dub album I own is a double LP on Trojan called "King Tubby Special." It consists, of course, of classic tracks dubbed up by the King himself. Kicks butt big time. Also, there is a Prince Far I CD available from Trojan called "Voice of Thunder," and it's essential. Keep an eye out for the Bunny Lee reissues coming out on RAS these days. There's a very nice U-Roy disc ("Rock with I", RASCD 3219), which features U-Roy toasting over gutbusting dub tracks, and also a great collection of instrumental tracks by the Aggrovators which isn't strictly dub but features Bunny's dubwise production style. ----------- From: Robert Nelson (rnelson@alexandria.lib.utah.edu Prince Fari has always been one of my all time favorites. His voice sounds like he used to drink Drano :-). He chanted my all time favorite reggae lyric, "The humble cow gives the most milk." I probably feel sadder about his death than Marley's overall. The Cry Tuff album that was produced by Adrian Sherwood was the first Cry Tuff Dub Encounter. It came out in 1978 on the Hitrun label and features the Arabs as the musicians. (In actuality I think the Arabs were really Dub Syndicate). ROIR has released this on cassette and Danceteria has the CD. It's a great dub album, with lots of special effects. Lions roaring that sort of thing; great for your answering machine message :-) The Virgin/Caroline compilation called "Dubwize" has 4 unreleased singles/ versions & Cry Tuff Chap II. There are 8 songs listed for II. These Caroline reissues were notorious for leaving various tracks from the original albums off of the CD reissues. Does anyone out there have Cry Tuff II on vinyl? Did they leave off anything? Here's a Prince Fari discography: *Cd availability Cry Tuff Dub Ch. 1 (Roir/Danceteria)* Cry Tuff Dub Ch. 3 (Daddy Kool) Cry Tuff Dub Ch. 4 (Trojan) Dubwize (Virgin/Caroline)* Voice of Thunder (Trojan)* Umkhonto we Sizwe - Spear of the Nation (Wambesi)* Musical Revue (ROIR/Danceteria)* - live with the Suns of Arka Black Man Land (Virgin/Caroline)* - tracks from Message from the King & Livity Under Heavy Manners (Joe Gibbs) Psalms For I (Carib Gems) - Bible verses chanted over reggae beats Jamaican Heroes (Trojan) Free From Sin (Trojan) Musical History (Trojan) Here's some more I only know about, (if anyone has these and would like to do a trade swap, please mail me) Message from the King (Virgin) Long Life (Virgin) Livity (Pre) Rockers in a Suitcase (Pre) Fari also did stellar work with Sherwood's Singers and Players: Golden Greats (ON U)* War of Words (ON U) Staggering Heights (ON U) Plus there is a nice Prince Fari love song where he sings and a DJ toasts over HIM on the ON U release Reggae Archives Vol 1. If I've left anything out, please let us know. Robert. From: pandit@news.delphi.com (PANDIT@DELPHI.COM) Subject: Re: Dub Reggae Reccomendations Well, where do we start? I guess I'll limit this too stuff that is in print... Dub Syndicate/African Headcharge/SIngers and Players -- some of the spaciest and furthest out dub, produced by Brit A. Sherwood, available on import from UK on On-U-SOund. Mad Professor - DUb me Crazy Series, esp. 2, 4, 5, and 6. Wild, playfull, slightly more electro dub from UK. Available domestically from RAS. Burning Spear - Living Dub I and II. REmixes are not as good as originals but what are you going to do? RAS. Scientist - whatever is available. It's all good. Prince Jammy - likewise - except for the electro stuff. Dennis Bovell - some great stuff, some not so great. Lee Perry - Blood Vapour, Blackboard Jungle Dub, SUper Ape, Trojan Box Sets. One of the founding fathers. Prince Far-I - I don't know what's in print, but most dub titles are excellent. That's probably about it. Unfortunatley, most of the best stuff is long out of print, available only on small JA or UK labels on LP, and all us collectors beat you to it. Regards, Pandit --------- From: pandit@news.delphi.com (PANDIT@DELPHI.COM) How could I forget? Black Uhuru's Dub Factor and SLy and RObbie's Reggae Greats. Pandit ---------- From: eznoh@niceup.com 30 Years of Dub on the Go, 2 CD set from Rhino. King Tubby, King Jammy, Scientist and The Mad Professor. ---------- Subject: Re: What's your favorite DUB????? I have to agree, Mad Professor's dubs are among the VERY best. I rate Dub Me Crazy Part 2 (Beyond the Realms of Dub) as his best album by a long chalk. But I haven't heard many of the later ones... Other than that, most Scientist is great (especially Dub Landing), as is most of Jah Shaka's output. Cheers, |> |> On And In Dub ... |> -Echomania is the most recent Dub Syndicate album. Most everything on the |> On-U Sound label is worthwhile and they're now re-releasing old stuff at |> quite a clip. The Dub Syndicate Classic Selections and African Head Charge |> Vintage Selections are good value. |> -One very fine NEW DUB compilation is Time Warp Dub Clash (Island Records). |> The first half is old Sly & Robbie Dubs, but the latter part is a bunch of |> fine new tracks from Jah Shaka,Manasseh, etc. Also check out Jah Shaka's |> Dub Symphony (Mango) |> In terms of classics, my favourite dub album of all time is Johnny In the |> Echo Chamber by the Aggrovators (trojan Records), produced by King |> Tubby.Also look for Lee Perry, Scientist (his 'Tribute to King Tubby' thru |> ROIR Records in New York is cool - it got me thru a seven-hour traffic jam |> trying to get to Glastonbury once.) |> If it's dubwise but not strictly dub yer after, try anything by THE ORB. |> Which is ambient dub, but hey, let's not get into that É From: stevem@dcs.gla.ac.uk (Steve McGowan.) Subject: Re: U.K. Reggae Top 40 >|> >|> >1 Various - 30 Years Of Dub Music On The Go (2 CD) (Rhino UK) >|> Mike, I've seen a lot of requests for more information on this dub CD - maybe the track listing ought to go in the FAQ??? ~Title: "30 years of dub music on the go" - various artists. Producer: Bunny Lee. Recorded at various studios in Jamaica. Label: Rhino Records (RNCD 2046). (KT=King Tubby, KJ=King Jammy, CMP=Crazy Mad Professor, S=Scientist) CD1 CD2 --- --- Zion gate dub - KT Natural dub - KT Money dub - KT Hard core dub - CMP Forward home dub - KJ Pretty dub - CMP Something on my mind dub - S Slow motion dub - KJ Mellow dub - CMP Jump song dub - KJ Ten to one dub - KJ Good dub - S Glad tidings dub - KT Baltimore dub - KT Happy dub - S Reggaematic dub - KT Hold on dub - CMP Confusion dub - KJ Marcus dub - KT Dark destroyer dub - KJ Fittest of the fittest dub - KJ Penetrating dub - CMP Movie star dub - S Time dub - CMP Graceful dub - KT Just say who dub - KT Different style dub - KJ Impulsive dub - KT Blood danza dub - S Blood & Fire's "Tappa Zukie In Dub" - BAFCD 008 From: "c.sassen" the best Tubbys dub comp has got to be King Tubby and friends Dub Explosion 22 roots classics cdtrl 366 ,crap sleeve notes , released in 1995,but an awesome selection of rare dub plates ,also Return to Umoja on Conqeuror a re release of DEB dub plates every one a bass bin killer!! From: "Smart, Dana" I've seen many recommendations for modern dub mixes a la Mad Professor, African Headcharge and the On-U Sounds crew. I find traditional roots dub of the '70s far more mind blowing. I recommend the following: Augustus Pablo "Classic Rockers" [Island Jamaica / US]: Having the classic dub "King Tubbys Meets The Rockers Uptown" and its vocal side, Jacob Miller's "Baby I Love You So," is worth the price of the CD alone. Lee Perry "Voodooism" [Pressure Sounds / UK]: Mind altering sides from Perry's Black Ark. Tappa Zukie "Tappa Zukie in Dub" [Blood & Fire / UK] King Tubby & Friends "Dub Gone Crazy" [Blood & Fire / UK] King Tubby & Prince Jammy "Dub Gone 2 Crazy" [Blood & Fire / UK] The Upsetters "Blackboard Jungle Dub" [Coxsone's Music City / JA]: Try to find the Coxsone vinyl pressing in the red sleeve. Has 14 cuts (compared to the 12 on later CD pressings), despite the erroneous 12 tracks listed on the back of the sleeve. "Harry Mudie Meets King Tubby in Dub Conference" [Moodisc / US]: Tubbys mixing technique combined with Mudie's use of string orchestrations in his productions makes for some of the most beautiful dub around. Prince Far-I "Cry Tuff Dub Encounter Chapter 3" [Pressure Sounds / UK]: Some of the tuffest versions around. Also, check out the recently published "Reggae: The Rough Guide." An excellent record/history book on reggae. One full, 32-page chapter dedicated to dub. From: Jeff Williams Garvey's Ghost- by burning spear is the classic dub record for me From: rperry@runet.edu Bunny Wailer: Dubd'sco Volumes 1&2 on RAS ----------- [2]. Can anyone recommend some books on reggae? See the books page at the Jammin Reggae Archives: http://niceup.com/books.html ----------- [3]. What is "Dub" music anyway? Look at the B-sides of Jamaican 45s beginning with rock steady, and you'll notice many of them say "Version". This is "dub", a simple instrumental remix of the A-side that may also include a few scraps of the vocals. The singers are "dubbed out", but in most other respects the version is identical to the A-side. Begun as a test for sound levels during the record-mastering process, version later became vogue. The Jamaican public developed an avid taste for version, and the scat-singing sound-system deejays took to recording their master-of-ceremonies raps over the hit-backing rhythms. "Reggae International", Davis and Simon Chapter 8, X-Ray Music The version was originally no more than an instrumental backing-track - the B-side of a jamaican single with the vocal removed. But King Tubby helped turn the simple version into a dazzling art form that became known as dub. In the hands of such a master, dub at it's best could be as complex and rich in musical interest as the original vocal. Tubby would strip the track down to it's raw drum and bass and put it back together as something haunting and strange, using fragments of the vocal as an instrument, in complex interplay with the other instruments. He would build the tension with amplified cymbal shots and thundering drum crashes, using reverb, echo and phasing in ways that anticipated the experiments of contemporary dance music. Geoff Parker Feb. 99 Liner Notes: The Sound of Channel One: King Tubby Connection dub music was originally instrumentals of reggae tracks (also known as "version"), usually put on the b-side of the single it was taken from, much like rap and r&b singles of today. the name "dub" comes from the fact that the vocals were "dubbed" out. as this style grew, many soundsystem dj's would have mc's lay down scatting and rythmic poetry to the tracks (also known as "toasting"), and many people credit dub with being one of the foundations for early rap music. king tubby, usually said to be the first known "dub producer", turned this into an all around musical genre, using parts of the vocal tracks as instruments, applying reverb, delay, echo, and phaser effects to them. modern dub takes mostly from king tubby's style, but can also contain elements of trance, house, raga-style drum 'n' bass, and hip hop. (i don't really consider this to be true dub, but whatever.) dub eventually gave way to dancehall reggae and has influenced jungle in a large part. sam cercone ---------- [4]. Can anyone recommend some roots reggae? I always recommend the samplers, that way you can choose what sounds interesting and branch out from there. I highly recommend the Greensleeves, Heartbeat, RAS, and Mango samplers, although there are many others. EZ Noh, mike From: mart@csa.bu.edu (borja larrumbide) Newsgroups: rec.music.reggae Subject: Re: New Groups, Any ideas? If you like Steel Pulse you will definitely enjoy Aswad. They both sound very alike, especially in albums like Aswad(live, Hulet,...).Try to avoid its most recent stuff and check first its old albums. If you hear Bob Marley then you should check Peter Tosh(Wanted Dread or Alive,...). Other groups I would recommend would be Black Uhuru, Alpha Blondy(It been considered to follow the trends of Bob Marley. Although that's a matter of opinion). Another choice could be Burning Spear(live in Paris, Mek We Dweet,...). There are many more and the list too long. I hope this helps! Long live reggae! From: fiddick@condor.ucsb.edu (Laurence Fiddick;) Newsgroups: rec.music.reggae Subject: Re: recommendations here goes: if it's on studio one buy it. in particular you might look for burning spear's 'studio one presents' and 'rocking time', the heptones' 'on top', the carlton and the shoes' lp--generally you can't go wrong with studio one. not on studio one, look for: augustus pablo 'original rockers' augustus pablo 'king tubby meets rockers uptown' augustus pablo 'east of the river nile' culture 'two sevens clash' culture 'harder than the rest' culture 'cumbolo' black uhuru 'red' black uhuru 'showcase/guess who's coming to dinner' linton kwesi johnson 'dread, beat an blood' linton kwesi johnson 'making history' dennis brown 'visions' bob marley 'rasta revolution' bob marley 'african herbsman' count ossie and the mystic revelation of rastafari 'grounation' burning spear 'marcus garvey' burning spear 'social living' hugh mundell 'africa must be free by 1983' various 'wiser dread' i'm sure others can add more to this list. Newsgroups: rec.music.reggae Subject: Re: recommendations No self-respecting reggae fan should be without a few Lee Perry albums (either ones that he's produced or recorded - or both) Best ones include... Heart of the Ark (Vols I and II) Megaton Dub (Vols I and II) Super Ape Return of the Super Ape Excaliburman George Faith - 'To be a Lover' (Lee Perry Produced)** highly recommended Build the Ark -| Open the Gate -|--- All three are three-album boxed sets Upsetters -| (There's lots more, but these are the ones that you should investigate first, especially the George Faith album. I do think, however, that this album is now deleted [at least on vinyl], so the only place you may come across it are in 2nd-hand record shops or record fares - but it's a classic album which you *must* try and listen to. I got my copy from a record fare a few years ago - for a paltry 3 pounds.) From: rnelson@alexandria.lib.utah.edu (Robert Nelson) Subject: Re: New Groups, Any ideas? Here's a list of 10 albums that will give anyone a simple introduction to reggae music. (These are all readily available from most record stores/chains). I'll assume that you'll want to pick up most of the Marley catalog, especially since most of the titles cost about $8 now on CD. 1. Burning Spear - Marcus Garvey/Garvey's Ghost (on CD) (Mango label) 2. Bunny Wailer - Blackheart Man (Mango Label) 3. Black Uhuru - Guess Who's Coming to Dinner (Heartbeat) 4. Peter Tosh - Legalize It (CBS) 5. Aswad - To the Top (Mango or Simba) 6. Steel Pulse - True Democracy (Elektra) 7. Eek a Mouse - Wa Do Dem (Shan. or Greensleeves) 8. Alpha Blondy - Jerusalem (Shan.) 9. Gregory Isaacs - Night Nurse (Mango) 10. Judy Mowatt - Black Woman (Shan.) This only scratches the surface, each one of these artists has many more killer titles all reggae lovers should own. Robert. [For more recommendations from Robert Nelson, check out his list of 250 albums in the Jammin Reggae Archives, the file is in the 'discographies' directory: 'roots_reggae_core_list' ] From: d2domer@dtek.chalmers.se (Erik Domstad) Culture- 'Culture in Culture' Mighty Diamonds- 'The Real Enemy' Black Uhuru- 'Anthem' Bunny Wailer- 'Liberation' Burning Spear- 'Resistance' Israel Vibration- 'Praises' Wailing Souls- 'Fire house rock' Ini Kamoze- 'Pirate' Ijahman- 'Haile I hymn' Erik ixtst+@pitt.edu (Isaac Thompson) writes: What (reggae) life has taught me, I would like to share with you.--Haile Selasie. The following are reggae artists I think true, dyed-in-the-wool reggae heads must have: >Mutabaruka (Ja.--roots poetry, plenty of brain food) >Linton Kwesi Johnson (Ja.--ditto) >Luky Dube (South Africa) >Evi Edna (Nigeria--female, terrific voice, great voice, down right rootsy!) >Identity (US--group of West Indians) >Cidre Negra (Brazil--def!) >Sandee (Japan) >Check them out. From: dhoffman@spot.Colorado.EDU (David Hoffman) Couldn't let this one go without adding my essentials: Junior Murvin - the record with "Police and Thieves" Gregory Isaacs, esp. early releases Sugar Minott Black Uhuru - check out "Sinsemilla" Judy Mowatt June Lodge just a few suggestions! Dave From: linden@fanout.et.tudelft.nl (Hans van der Linden) Name for his style: IJahMan Levi's music. Compare him? It's said that Chris Blackwell decided for him to be THE successor of Bob Marley ("sign me your publishings and I make you a wealthy man").... yet IJahman did go his own way. But of similar musical and lyric-wise level and similar sort of music/lyrics I'd say: A lot of Pablo Moses' (esp. older: Revolutionary Dream and such) work (also still around and hot), also Sugar Minott's work on studio One, Junior Byles (Jordan), Lee Scratch Perry's Heart of the Ark collection, Yabby You's One Love, One Heart (also GREAT), side A of Singers and Players' Leaps and Bounds, Israel Vibration, Wiss, and such. Albums and tapes I have, so I can tell about (not in specific order): `Are We A Warrior?' 1979 (still Island:-) [title song esp. great (7:33min)] `Haile I Hymn (chapter 1)' (ALL 4 NUMBERS PERFECT) (yet still Island) esp. numbers: `Jah Heavy Load' and `Jah Is No Secret' are PERFECT+ `Tell It To The Children' (again very great) `Levi Inside Out' (very great again, incl. 2 love songs, and a new version of `Jah Heavy Load') JMI 1100 (Tree Roots prod. 1989) `Lilly Of My Valley' (lot of love songs, yet VERY good) JMI 500 (Tree R. '85) `IJahman & Friends' (VERY VERY good, esp. most numbers:-) (some guests, like Black Uhuru and His Majesterian appear) JMI 900, Tree Roots '88 `Africa' (to bore you all...again ALL BRILLIANT, great blazing, as usual) JMI 400, Tree Roots '84 Very recently (dedicated to 100th Anniversary of Haile Sellasie) my gf gave me the album: `KingFari', I love side A, side B (love songs) I like.(JMI 1400 Tree Roots '92) (Oh yes, I recorded [from radio!] `Live in Paradiso '87, guess that will not be found worldwide though:-) From: Richard W Anglin Well at the top of my list is BURNING SPEAR!! Anything of Burning Spear up to the late 1980's. Especially the new compilation HAIL H.I.M. CULTURE also primo... newly released BABYLON BRIDGE LINTON KWESI JOHNSON THE GLADIATORS THE ABBYSINIANS....check out their compilation on the HEARTBEAT label..SATTA MASSAGNA it is now considered to be a colector's item. THE MEDITATORS THE ORIGINAL WAILERS.... BOB MARLEY and the WAILERS when they were called the WAILERS U-ROY JACOB MILLER... an unsung HERO! INI KAMOSI.... "BEFORE he went to jail" basically I recommend all roots reggae before the mid to late 1980's In article <3dqelm$43o@newsbf02.news.aol.com>, papalee@aol.com (Papa Lee) writes: |> >I buy the CD's for a public library and I am trying to build up the |> reggae |> >collection. We have about 30 reggae CD's right now and I would like to |> buy |> >a lot more. Any suggestions for some great reggae CD's would be |> appreciated. |> >irie |> |> This is a pretty interesting question, because the implications of buying |> for a library are very different than buying for a private collection. |> I'd have to start off with Island's Tougher than Tough Compilation, The |> Trojan Story V1 and the Trojan Story V2, Duke Reid's Treasure Chest, |> Mango's Pressure Drop, Coxsone's Ska Bonanza (on Heartbeat). Respect to |> Studio One and Original Jamaican Classics, Hearbeat's Channel One: |> Hitbound, Joe Gibbs/Mighty Two, Virgin's Natty Rebel Roots, Bob Marley's |> Songs of Freedom and the Wailers One Love, Peter Tosh's Equal Rights, |> Bunny Wailers Blackheart Man and Marcia Griffiths Naturally. Maybe |> Heartbeat's Dee Jay Explosion. Niney's Observation Station. Clancy |> Eccles' Fatty Fatty. Any two of VP's Strictly the Best and Jet Star's |> Reggae Hits series for contemporary balance. Something by Dennis Brown |> (Some Like It Hot or anything on the Joe Gibbs label would be a good |> start), something by Gregory Isaacs (anything before 1982), something by |> Big Youth (on Trojan) and something by U Roy (before 1978). A |> collection like that would touch on most of the salient points of reggae's |> history with a touch of contemporary material as well. This material is |> fairly available in the US as well. |> |> Hope this helps. |> One Love, |> Lee O'Neill In article , Lieschen Montaner writes: |> mango records has a collection of records called reggae greats. sly and |> robbie's reggae greats album is a great album indeed.it features dub |> tracks from their work with black uhuru in the 80's. some of the best |> reggae in history was created by the combination of sly and robbie and |> black uhuru. |> one love, beto. |> |> |> Here are a few records that any reggae fan should own - I tried to keep it |> it to stuff that's currently available in the USA on CD and is sort of |> rootsy. |> |> Upsetters "Super Ape" - most people on this newsgroup agree that Lee Scratch |> Perry is the greatest reggae producer ever. He's been very prolific, and |> this is one of his absolute classics. |> |> Gregory Isaacs "The Best Of . . ." - 20 classics from the Cool Ruler. When |> he's not getting hassled by the man, the Lonely Lover's charming all the |> ladies. Gregory has real style, an impeccable voice and great tunes. |> This is my favourite record of his - 20 classic hits. |> |> Culture "Two Sevens Clash" - you just can't beat this for great vocals and |> all around righteousness. It's kind of a roots concept album, as is: |> Burning Spear "100th Anniversary" - this is the Spear's most famous album, |> "Marcus Garvey", plus its dub "Garvey's Ghost" on one CD. Unbeatable. |> |> I'd also recommend just about any compilation of old stuff on the Heartbeat |> label. They usually have great sound, good liner notes, and a fantastic |> selection of songs. Good way to hear a range of artists for little $$. |> Best in my opinion are: |> |> "Channel One / Hit Bound: The Revolutionary Sound" |> "Soul Defenders At Studio One" |> or any of the three "Best Of Studio One" single CDs. |> |> The great thing about reggae (well, one of them) is that you can start |> with a few titles and expand from there pretty easily - you'll find that |> you can trust some labels pretty consistently, that you'll develop have a |> fondness for the work of certain producers at certain times (give me mid-'70s |> Lee Perry or Joe Gibbs, anytime!) and some artists almost never let you down. ----------- [5]. Live reggae recording recommendations From: geofh@meibm4.cen.uiuc.edu () Subject: Re: Recommendations for LIVE reggae productions Geof's favorite live discs- Black Uhuru "Tear It Up- Live" on Mango <-- An incredible release featuring my favorite BU lineup (Michael Rose, Ducky Simpson, Puma) with Sly and Robbie rhythm section. Classic rockers A must have. Burning Spear "Live in Paris '88" on Slash/Blue Moon <--- There's been talk of this album on the net before. Whichever version you end up with is a killer one. Toots and the Maytals "Live (at the Hammersmith Palace)" <--- You want great crowd interaction? Check out the 11 (?) minute "54-46 That's my Number" These guys have got soul. The must have recommendation is a given for all of these selections. Peter Tosh "Captured Live" on ??? (this is all from the top of my head) <--- Killer. Relatively easy to find. Bunny Wailer "Live" on Solomonic <--- I've only seen this on vinyl with a pretty low sound quality. Includes stuff from "Blackheart Man" and "Rootsman Skankin' (sorry) and an "I'm the Toughest" cover. Anyone seen this on disc? It's definitely worth it. BMW "Live" <--- The prototype live reggae album. From: bbe001@acad.drake.edu Well I'm mostly roots myself, but just by chance I was listening to a "live" dancehall record tonight- Charlie Chaplin's "Take Two." I know this might not be the new NEW dancehall you're talking about, i.e. Ninjaman, Shabba, etc. But Chaplin's the MAN and he's backed by Roots Radics here. I say "live" cause it's live in the studio, but he's got plenty of people whistling and shouting. "Take Two" is 1990 on RAS. More good live stuff would of course be any of the Sunsplashes! I have Eek-A-Mouse w/ Michigan and Smiley from the '84 Sunsplash and Yellowman at the '83. They both slam but try to get the Eek-A-Mouse disc if you have to choose. That's all I can think of for now... ites, Brad From: oweng@aston.ac.uk (Gareth Owen) Subject: Re: Recommendations for LIVE reggae productions Misty In Roots - Live at the Counter Eurovision '78 (on People Unite) Wonderful stuff -- From: dudley@treefort.Corp.Sun.COM (Dudley Gaman) You probably have Marley's _Talkin' Blues_. If not, you must get it. Burning Spear's _Live in Paris_ is very good. My favorite live reggae album is _Gregory Issacs Live_ from the Reggae Greats collection. It was released 8 or 10 years ago, but I still listen to it when I need a dose of Gregory at his best. Dudley From: rnelson@alexandria.lib.utah.edu (Robert Nelson) Subject: Re: Recommendations for LIVE reggae productions I've got a 2 album bootleg of Peter Tosh called "Dealing with the Shytstem". With a wicked version of Babylon Queendom. There are a couple of other Marley bootlegs in circulation as well: The Lion's Domain Wailing For the Last Time. (I don't feel too bad about picking up bootlegs, since Island shortchanged alot of the rarities on Songs For Freedom; dem maga dogs!) Robert. From: eznoh@niceup.com (mike pawka) Subject: Re: Recommendations for LIVE reggae productions My favorite "live" CD is Mighty Diamonds "Live In Tokyo", although good luck in finding it. It's a Japanese Import, I found it at Tower for $22.50 one day, grabbed it and haven't seen a copy since. I think the performance is from about 1980. From: barstow@cv.hp.com (Art Barstow) Subject: Re: Recommendations for LIVE reggae productions A few of my favorites that have not been mentioned: o Bob Marley and the Wailers: Babylon By Bus o Lucky Dube: Captured Live o Pato Banton: I think it is 'American Revolution' or 'Reggae Revolution'; it was recorded in San Fran. and has a good version of "Niceness" and "Don't Sniff ...". Reply-To: coker@artiste.sitka.sun.com Well, once again to address real reggae, lovers rock and the dancehall, the 25th Anniversary Album from Alton Ellis is an all-time favorite live album. From: linden@fanout.et.tudelft.nl (Hans van der Linden) Subject: Re: Recommendations for LIVE reggae productions Though most of my favourites have yet been mentioned, still missing is the great: Chalice - Live at Reggae Sunsplash 1982 (VSLP 8902, Vista Records) Greetings, Hans From: mark griffis , walker@uvm.edu (Sherrett O Walker) writes: |> |> Can someone send me email on the newest and classic dancehall favorites??? |> Thanks in advance. |> It's always difficult to determine what is the "latest" dancehall: it always depends on how soon you were able to get to the local reggae store before the last shipment done!! Anyway: -"Oh Carolina," Various Artists, King Jammy's version (Which is substantially faster and different from the Signet (Sting Int'l) version. -"Ghetto Vibes" Various Artists, also of Jammy's. Features D. Brown, Courtney Melody/Risto Benjy, Bounty Killer etc. -Sound Boy Burial - Trouble, Tan Yah records -Welfare/Good Enough - Blacka Ranks/ the late great Alton Black, Tan Yah. -People - Gen. Degree, Penthouse -Creator - Tony Rebel, Penthouse _Operation Ardent = Buju, Penthouse -You a lead/??? - Nardo/Galaxy P, Penthouse -Love will lead you back - Wayne Wonder, Penthouse -Excellence - Louie Culture, Madhouse I will check on some new stuff that I just got in the last month and give you the names. Also let me know how far back you mean (1993 stuff, last month, etc..) As for classic favorites - I'll just name some of mine: "Here I come" - Dennis Brown "Pumpkin Belly," "Ring the Alarm" - Tenor Saw "Bam Bam" - Muma (then Sister) Nancy, Techniques (Winston Riley's - its on the same rhythm as Tenor Saw's Ring the alarm and more recently Buju's "Do dem sup'm". Big Beat recently rereleased it with a *Phizattt* hip-hop remix as well as the original.). "Murderer," "Under me Sensi" - Barrington Levy "Night Nurse," "Mr. Brown" - Gregory Isaacs "Loving Pauper" - Dobby Dobson "No,no,no" (You don't love me and I know) - Ken Boothe "Greetings" "Level the vibes" - Half Pint "Bobo Dread," "Leggo me hand" - Josey Wales "Gunman Connection," "Suzy Q" - Nicodemus Innumerable Yelloeman, especially with Fat head (e.g BAM BAM) "Cry fi the Youth", "Mud up," "Sweet for my sweet," "Under Pressure," "Boops" - Super Cat. "Synthersizer voice" - Pampidoo "Gi me punany," "Think me did done" (part II), "Big Belly Man" - Adm. Bailey "Big Batty Gal," "Jump Spread out" - Flourgon "Ram Dancehall," "Boombastic," "No wanga gut," "Mi lover mi lover" - Tiger Any pre-Atlantic record of Lieutenant Stitchie After: "Father Beat me hot, Old Confession, All nations, Wear yu size" "Pretty Looks done" - Major Mackerel "Cover Me" - Ninja Man/Tinga Stewart Etc. etc... Selector Dudu Black From: ac999a11@umbc2.umbc.edu Subject: RE: dancehall Here are a few more to add: Zion in a vision - Garnet Silk Love of a lifetime - ??? Love how de gal dem flex - Buju If I ever fall in love again (cover) - Pinchers Why so much gun and ammunition - Tony Rebel They're not brand new, but are among some of the better '93 selection to come out. >As for classic favorites - I'll just name some of mine: > > Some to add here would be: Jump Up - Tiger Babylon Boops - Lovindeer Computer Burial - ??? Sorry - Foxy Brown Love the life you live - Colonel Mite and Frighty Gun Talk - Tony Rebel Dolly My Baby (Original Version) - Super Cat Cuff - Shelly Thunder She a Trickster - ??? Love the Ghetto Youth - Admiral Bailey Telephone Lover - J.C. Lodge One Blood - ??? >Selector Dudu Black Some Stuff That Came out in 92 that may be classic soon: Ting-a-ling - Shabba Boom Bye Bye - Buju Murder She Wrote - Shaka Demus and Pliers Lord, Me Can't Take it No More - General Degree Granny - ??? (Same Version as that above) Falling in Love All Over Again - Beres Hammond Big Up Big Up - ??? Murderation - Capleton Dem A Bleach - Nardo Ranks Hot This Year - ??? Love is Guaranteed - Reggie Stepper Richard Thomas ac999a11@umbc2.umbc.edu ---------- Also, you'd asked about updating the dancehall FAQ recently. I think of course the selectors like Mr. Black are most qualified to do so, but I do think for '94 anyhow, the new Pepperseed Riddim should get some mention Stress Michigan and Smiley Tickle Her Body Baja Jedd Big Speech Frisco Kid Wifee Dugsey Ranks Dappa Donovan Steele, Daddy Screw Big Thing a Gwan " " Kotch, #2 Terror Fabulous Cocoa Tea He's been making great music since 1982, sings conscious lyrics and is better than ever right now. In addition he's now got his own label, Roaring Lion, which is releasing a stack of great tunes. Despite this he still seems to be underrated. My top ten favorite songs of his are, not in order: Hurry Up & Come (Xterminator) Burn Satan (Xterminator) Bun Dem Good Life (Xterminator) Love Rain 18 & Over (Xterminator) Take Time (Digital B) On Top of The World (Arrival) Rocking Dolly (Arrival) She Loves Me Now (Xterminator) And in combination, my top 5: With Buju Banton Too Young (Xterminator) With Shabba Ranks Love Me Truly (Digital B) With Shaka Shamba One Love (Junjo) With Jesse Jender She's Got the Love (Xterminator) With Tony Rebel Grow Youre Locks (Penthouse) Peter [8]. Is there a newsgroup that caters to those of us who enjoy soca, zouk, salsa, or merengue? Try soc.culture.caribbean and soc.culture.caribbean ---------- [9]. Books on Rastafarianism? The title says it all. I currently have Leonard E. Barrett's book. Anyone know of other reputable titles? From: "richard paul" Well Steve... it's been a while since I have been up on the topic... ( moved back to Toronto Canada after working in Jamaica in 1979-80), but you may wish to check out Joseph Owens, DREAD: The Rastafarians of Jamaica. Published by Sangsters (Jamaica) in 1979. Rex Nettleford also has some interesting things to say in his book, Caribbean Cultural Identity: The Case of Jamaica - AN Essay in Cultural Dynamics (1978) Institute of Jamaica I seem to recall a professor at York University in Toronto - Carol Yawney I beleive working on her PhD. dissertation on this very topic. If you have access to interlibrary loan, you may be able to get hold of this work. From: bb@generali.harvard.edu (Brent Byer) Steve Mcgowan wrote: > > .... I currently have Leonard E. Barrett's book. > Anyone know of other reputable titles? Check for: "Rasta and Resistance" (From Marcus Garvey to Walter Rodney) By: Horace Campbell Publisher: Africa World Press, Inc. PO Box 1892 Trenton, NJ 08607 Phone: (609) 695-3766 ISBN: 0-86543-035-7 (paper, 234 pg, $12.) c1987; 3rd printing, 1990 ---- From the back cover: "Rasta and Resistance" is a study of the Rastafarian Movement in all its manifestations, from its evolution in the hills of Jamaica to its present manifestations in the streets of Birmingham and the Shashamane Settlement of Ethiopia. It traces the cultural, political and spiritual sources of this movement of resistance, highlighting the quest for change among an oppressed people. This book serves to break the intellectual traditions which placed the stamp of millenarianism on Rasta. ---- From close of Chapter 3: "The symbols of the flag, the lion, the drum, the chalice, the locks, and the distinctive language were reflections of a style of resistance. The Rasta were neither crazy nor millenarian, for they were part of the sufferers who were making their own protest against the sickness of the colonial society. .... The Dreadlocks of the hills were making their imprint on the consciousness of the poor and it is to the evolution of the movement which we now turn. The Rastafari were creating the musical forms to strengthen the people to meet the violence and thuggery of neo-colonialism." >Dear fellow internet_er, > I am an anthropology student in Fredericton, Canada and I am >trying to obtain information about Rastafarianism. I would like to know >if this movement is a millinerian movement or if millinerian is just a >generalized title of the movement. I would appreciate any comments or >information pertaining to this debate. Check out the books.... AUTHOR: Barrett Leonard Emanuel TITLE: The Rastafarians IMPRINT: Kingston, Jamaica Sangster's Book Stores Ltd London Heinemann Educational 1977 PHYSICAL DESCRIPTION: ill SUBJECT: Ras Tafari movement History CLASSMARK: Theology AF 430 BAR Revised and Updated Edition, 1988, Beacon Press (Boston) BP795, ISBN 0-0870-1026-X ; ISBN 0-8070-1027-8 (paper) and.... AUTHOR: Cashmore Ernest TITLE: Rastaman the Rastafarian movement in England IMPRINT: London Allen & Unwin 1979 SUBJECT: Ras Tafari movement England * West Indians England CLASSMARK: Theology AF430 CAS * Adam Smith Lib 2 copies The first book goes into this subject in reasonable depth, and also gives valuable pointers to other sources. I've just started reading the second, so no great comments to give for that particular one... Maybe you should include this book in the archives... AUTHOR: Cashmore Ernest TITLE: Rastaman the Rastafarian movement in England IMPRINT: London Allen & Unwin 1979 SUBJECT: Ras Tafari movement England * West Indians England CLASSMARK: Theology AF430 CAS * Adam Smith Lib 2 copies --Steve. ----- |> Several books to look for: |> |> ITATIONS OF JAMAICA AND I RASTAFARI (First Itation) |> ISBN: 0-9512222-0-1 |> AUTHOR: Mihlawhdh Faristzaddi |> |> AND |> ITATIONS OF JAMAICA AND I RASTAFARI (Second Itation) |> ISBN: 1-962-3333-1-2 |> AUTHOR: Mihlawhdh Faristzaddi |> |> Both books explore and celebrate Rastafari culture in Jamaica and |> elsewhere with poetry, psalms, praises and wonderful photographs, |> including many from Ethiopia. These books are perfect companion |> pieces to Norman's insightful posts, which by the way, are respected |> as positive contributions to rmr. |> |> The books are available from: |> |> JUDAH ANBESA |> P.O. BOX 160998 |> MIAMI, FLORIDA 33116 USA |> Here are a few more that I found helpful and/or interesting: |> |> Title:Rastafari: The Healing of the Nation |> Author: Dennis Forsythe |> Date: 1983 |> Publisher: Ziaka Publications |> Box 405 |> Constant Springs P.O. |> Kingston, Jamaica |> /// I doubt if the address is still valid but I purchased it in JA last |> summer so, who knows./// |> |> Title: Roots of Rastafari |> Author: Virgia Lee Jacobs |> Date: 1985 |> Publisher: Avant Books |> Slawson Communications, Inc. |> 3719 Sixth Avenue |> San Diego, CA 92103-4316 |> IBSN: 0-932238-25-4 (pbk) |> |> Title: Race, Class, and Political Symbols: Rastafari and Reggae in |> Jamaican Politics. |> Author: Anita M. Waters |> Date: 1985; paperback edition 1989 |> Publisher: Transaction Publishers |> New Brunswick, NJ 08903 |> IBSN: 0-88738-632-6 (pbk) and 0-88738-024-7 (not pbk) |> |> ///This is a scholarly work--almost a textbook--thats appears to be a spin |> off of a PhD disertation. Nonetheless, there is a whole heap of valuable |> information and EXTENSIVE bibliography. |> |> I hope all of this helps. |> |> |> --Papa Pilgrim |> Reggae Ambassadors Worldwide |> pilgrim@xmission.com |> There's a pretty new book on Rasta out called "Rastafari: Roots and |> Ideology" by Barry Chevannes, a professor of Sociology at UWI. I haven't |> read it yet, but it might be in there. ISBN 0-8156-0296-0. |> |> Robert Nelson "Rastafari: Roots and Ideology" Author: Barry Chevannes Copyright (1994) Syracuse University Press Sewell, Tony. "Garvey's Children: The Legacy of Marcus Garvey". 1990, London, Macmillan Publishers Inc. ISBN 0-333-49124-6 _RASTAFARI: ROOTS AND IDEOLOGY_ by Barry Chevannes Syracuse University Press, 1994. 298pp A Rastafari View Of Marcus Mosiah Garvey by I Jabulani Tafari A valuable new addition to the body of work on Jamaica's most famous philosopher and activist, Marcus Garvey. This well written, well organized book assembles historical information on Garvey and the rise and fall of the UNIA within the parameters of a Rastafari view of African history. This book should be of interest to schools, colleges and all those who want to improve their understanding of contemporary black history, and the role played by Marcus Garvey. This review was taken from the weekly Gleaner Dec. 15 - 21. 1995. For ordering information call the Greatcompany Inc. at 305 746-7299, or write to: Greatcompany Inc. 2270 N.W 60 Terrace Sunrise, Fl. 33313 "I am a Rastafarian" (Children's Book) UK ISBN: 0 86313 260 X US ISBN : 0-531-10440-0 Lib of Congress Cat card no: 87-50455. printed in italy Malika Books 1116 Flatbush Avenue.Suite 340 Brooklyn.N.Y. 11236-6101 E-mail;Malikabook@aol.com Rastabooks@aol.com ----- [10.] What are the different reggae styles? From: Paul Harvey Subject: Re: Reggae styles In article jn163051@longs.LANCE.ColoState.Edu (Joel Nevison) writes: >One thing I am a bit fuzzy on is the defining characteristics of >the various styles of reggae; dancehall, rock steady, etc etc. >I have a grip on the difference between ska and dub, but those >are pretty obvbious. Could some of the experts here give an outline >of the musical characteristics of the various styles? Also helpful >would be a short list of titles that are good examples of or define >a particular style. I've been listening to reggae for so long, and >mainly break it down into two groups; love it, and okay. Seems I >ought to maybe think about it a little more now. I'll start but, it's not easy to do in writing. And I could probably stand some education myself, anyway: Ska - 50-60's, pioneered by the Skatalites? There is a thing called the ska beat, which I don't really know how to describe, maybe you take each beat and make it triplet with the two outer notes played by a guitar or keyboard or horn and the center note a drum hit. Anyway, much ska was just American pop of the 50-60's with a ska beat, but there was orginal stuff also and there were certainly a lot of variations in the basic ska beat. [For more info on Ska, check the alt.music.ska FAQ: ] Dub - is just dubing something, usually vocals, onto an instrumental version, often a B side. Rock Steady was late 60's and was a slowed down version of ska with more of a rock feel. Roots was sort of a cross between American Rock and Ska/Rock-Steady, The Wailers being the equivalent of the Beatles. Dancehall seems to be the catchall for 80's and 90's Jamaican music and is a varied as American Modern Rock/Pop music. Shabba Ranks is probably the big name here, but there are of course many others. There are lots of terms for sub-types of Dancehall. From: ld21@cunixf.cc.columbia.edu (Lee Dirks) Subject: Re: Reggae styles In article Paul Harvey) writes: >In article >jn163051@longs.LANCE.ColoState.Edu (Joel Nevison) writes: >>One thing I am a bit fuzzy on is the defining characteristics of >>the various styles of reggae; dancehall, rock steady, etc etc. >Ska - 50-60's, pioneered by the Skatalites? I'm not sure anyone can say exactly who pioneered ska, but the Skatalites were definitely right there at the beginning...and are still going strong! >Dub - is just dubing something, usually vocals, onto an instrumental >version, often a B side. As far as I know, Dub should probably come in later down in this list, but that is a minor point. >Rock Steady was late 60's and was a slowed down version of ska with more >of a rock feel. I think you could safely say early 60s... >Roots was sort of a cross between American Rock and Ska/Rock-Steady, The >Wailers being the equivalent of the Beatles. Good call. Fitting in after Roots (chronologically) would be Lover's Rock and the man Gregory Isaacs, along with many other smooth singers of this style. Before we jump on to dancehall, I think you should mention its origins, those being Toasting and DJ. At least I would say these are the precursors, or the given to dancehall before it was called dancehall. Toasting: U-Roy would probably be one of the grand-daddys of this musical form (Big Youth as well?), working the sound systems and chanting and toasting over dub versions of other popular tunes of their day. Then, that was followed by the DJ style popularized by The King (in his day) Yellowman; this style glided straight into Dancehall as we know it today. At least, this is my take on the situation. I'm more a roots man myself, so I'm not exactly taking about my field here. >Dancehall seems to be the catchall for 80's and 90's Jamaican music and >is a varied as American Modern Rock/Pop music. Shabba Ranks is probably >the big name here, but there are of course many others. There are lots >of terms for sub-types of Dancehall. I think this idea of drawing up catageories and writing descriptions and listing artists which define the style is a good idea which should be continued by all who wish to contribute. This could develop into a file worth saving. Let's keep filling in the blanks!! From: bbe001@acad.drake.edu Subject: Re: Reggae styles In article <1993Mar10.153518.4235@news.columbia.edu>, ld21@cunixf.cc.columbia.edu (Lee Dirks) writes: > In article Paul Harvey writes: > >>In article >>jn163051@longs.LANCE.ColoState.Edu (Joel Nevison) writes: >>>One thing I am a bit fuzzy on is the defining characteristics of >>>the various styles of reggae; dancehall, rock steady, etc etc. > >>Ska - 50-60's, pioneered by the Skatalites? > > I'm not sure anyone can say exactly who pioneered ska, but the Skatalites > were definitely right there at the beginning...and are still going strong! Most people contribute it to Laurel Atikan (I know I spelled that wrong). >>Dub - is just dubing something, usually vocals, onto an instrumental >>version, often a B side. Ah but so much more brah. It started out with people like King Tubby and Augustus Pablo taking the instrumental tracks from the A-sides, then pumping up the bass, using delay (like an echo) effects on the instruments and sometimes maybe a snatch of vocals for the B-sides. If it was just stripping the vocals o ff, then it's just a "version" record. This is why some songs use the same ridd ims. But then, they just started having studio musicians provide the music. Now, with the new techno-dub, for lack of a better word, the drum machines and synths are doing a lot of it- like Jah Shaka and King (used to be Prince) Jammy's newer stuff. > As far as I know, Dub should probably come in later down in this list, but > that is a minor point. > >>Rock Steady was late 60's and was a slowed down version of ska with more >>of a rock feel. > > I think you could safely say early 60s... > >>Roots was sort of a cross between American Rock and Ska/Rock-Steady, The >>Wailers being the equivalent of the Beatles. > > Good call. Fitting in after Roots (chronologically) would be Lover's Rock > and the man Gregory Isaacs, along with many other smooth singers of this style. > > Before we jump on to dancehall, I think you should mention its origins, those > being Toasting and DJ. At least I would say these are the precursors, or the > given to dancehall before it was called dancehall. Toasting: U-Roy would > probably be one of the grand-daddys of this musical form (Big Youth as well?), > working the sound systems and chanting and toasting over dub versions of other > popular tunes of their day. Then, that was followed by the DJ style > popularized by The King (in his day) Yellowman; this style glided straight > into Dancehall as we know it today. At least, this is my take on the > situation. I'm more a roots man myself, so I'm not exactly taking about my > field here. > >>Dancehall seems to be the catchall for 80's and 90's Jamaican music and >>is a varied as American Modern Rock/Pop music. Shabba Ranks is probably >>the big name here, but there are of course many others. There are lots >>of terms for sub-types of Dancehall. Definately true- about the deejay style of the 80's before dancehall now. Like Eek-A-Mouse, Michigan and Smiley, and King Yello. For those of you interested in some CONSCIOUS DANCEHALL- check out Charlie Chaplin -"Take Two," etc. > > I think this idea of drawing up catageories and writing descriptions and > listing artists which define the style is a good idea which should be > continued by all who wish to contribute. This could develop into a file > worth saving. Let's keep filling in the blanks!! > I remeber reading about all these wierd names like "sleng-teng" and some others I don't remember. I think sleng-teng was real techno-synth stuff. And I still don't know what "inna yard style" is! Yeah yard is your house, but someone tell me an actual artist in the yardee style, if any. Respect, Brad From: mcbean@vax.oxford.ac.uk Subject: Re: Reggae styles Date: 13 Mar 93 07:29:05 GMT In article , stevem@dcs.glasgow.ac.uk (Steve McGowan) writes: > ld21@cunixf.cc.columbia.edu (Lee Dirks) writes: > >>In article Paul Harvey writes: > >>>In article >>>jn163051@longs.LANCE.ColoState.Edu (Joel Nevison) writes: >>>>One thing I am a bit fuzzy on is the defining characteristics of >>>>the various styles of reggae; dancehall, rock steady, etc etc. > > > I posted a very similar question a couple of months ago, but got > no replies. I asked if anyone knew how/where the music style > known as Mento fitted in with the development of reggae. > > I think Mento may have been more blues oriented than reggae (as we > know it today), but not so distant that reggae could not evolve > from it. > > Anyone shed some light? My understanding of mento was that it is more like calypso (old calypso as opposed to soca). It certainly sounds like it, more rhythmical lyrically, in a storytelling tradition which suggests that it is closer to the original African music forms. Some fuzzy memory tells me I'm on the right track but don't quote me definitely. It was probably more influenced by the folk music forms of England & great britain, since it comes from an era where dances like the quadrille were still prevalent. It definitely predates ska, and if you listen to ska then you can hear some of the mento influence coming through, and of course reggae comes out of the ska tradition. There is a Jamaican "musicologist" (whatever that is supposed to mean), Dermot Hussey, who has published several articles on this. Unfortunately residing in "Babylon" at present means I have no way of enlightening you:-) ----------- [11.] Can anyone give me some info on the rasta culture? Rastafarians {rah-stuh-far'-ee-uhnz} Rastafarians are members of a Jamaican messianic movement dating back to the 1930s; in 1974 they were estimated to number 20,000 in Jamaica. According to Rastafarian belief the only true God is the late Ethiopian emperor HAILE SELASSIE (originally known as Ras Tafari), and Ethiopia is the true Zion. Rastafarians claim that white Christian preachers and missionaries have perverted the Scriptures to conceal the fact that Adam and Jesus were black. Their rituals include the use of marijuana and the chanting of revivalist hymns. REGGAE music is the popular music of the movement. The Rastafarians, who stress black separatism, have exercised some political influence in Jamaica. Bibliography: Barrett, Leonard E., The Rastafarians: Sounds of Cultural Dissonance (1977); Sparrow, Bill, and Nicholas, Tracy, Rastafari: A Way of Life (1979). "In the beginning Jah created heaven and earth". This is what the the Bible says. Jah is the creator, Jah is God. Jah, Jahova, Jehova, Jahve are just different spelling of the name of God. In the beginning of this century, a man called Marcus Mosiah Garvey from Jamaica said "Look to Africa, where a black king shall be crowned". A little after that, Ras Tafari Makonnen was crowned, and became the Emperor of Ethiopa, His Imperial Majesty Haile Selassie I, King of Kings, Lord of Lords, conquering Lion of the tribe of Judah, Elect of God. Marcus Garvey started an organization with the aim to help black people in Babylon (the West World) cross river Jordan (the Atlantic Ocean) and go back to Zion (which is not Israel, but all of Africa, especially Ethiopia). People in Jamaica followed Marcus the prophet. This was the beginning of the Rasta movement. Rasta is of course short for Ras Tafari, the name of Haile Selassie. There is more to say, and I'm sure many others will add to and correct what I have written. Jah Love Bo [12.] Could anyone out there suggest to me any albums which combine reggae and jazz? From: dudley@treefort.Corp.Sun.COM (dudley) Just about every jazz/hip-hop fusion album has a couple of reggae numbers. Check out Us3, Arrested Development, or Dream Warriors. Of course, if you aren't into get-down funky groovin' dance music, you probably won't like the rest of the stuff on the albums. dudley . From: eznoh@niceup.com (Mike Pawka) I would suggest some Dean Fraser, in particular "Taking Chances". Along these lines, there is an interesting snippet in the current issue of The Beat about a sax player named Arturo Tappin and an album called "Strictly Roots Jazz". Anybody heard it? EZ Noh, mike From: ckhan@bbn.com (Chico Khan) I'd recommend Jamaican pianist Monty Alexander. Check out his Chesky release "Caribbean Circle". Chico. From: Kofi Apeagyei-Wiredu John P. Stevenson@coral. try rico rodriguez. From: ibsenj@govonca.gov.on.ca (Jeff Ibsen) I'm a big fan of a hitherto neglected sub-genre of reggae that I call "instrumental reggae" This type of reggae generally is very horn-heavy and contains lots of solos. It is frequently also heavily dubbed, and often the 'straight' and dubbed versions of songs are both included on the same album. Some examples of albums which I consider to belong to this category are: Aggrovators Meet Revolutionaries: Side 1 is straight instrumental stuff, lots of horn solos, side 2 has dub versions of the songs on side 1 Fatman Riddim Section Meets Downtown Horns: A great album with reggae versions of some well-known jazz standards. The Workers Speak To Their Slave Masters With STRIKE!: The best album title (and cover) in the known universe. I've never seen another copy of this one but it has great tunes, with titles like 'Better Working Conditions for Workers' and 'More Opportunity for Workers' Children'! A Studio 16/Winston Edwards production, all tracks played by the 'Well-Pack Band' Some tunes are dubbed versions. Count Ossie -:Tales of Mozambique: Not strictly instrumental, but lotsa horns and good soloing. Also, there is tons of early instrumental ska that contains extended soloing - anything by the Skatalites - Tommy McCook, Don Drummond, Roland Alphonso et. al. The jazz pianist George Shearing considered the late Don Drummond one of the best trombonists in the world. Jeff Ibsen Check out Arturo Tappin's "Java" on the SaxRoots Label!! Any fan of Jazz/Reggae should love this album ... Mike ---------- [13.] What is the significance of the "Two Sevens"? here is what the liner notes for the album has to say: "One day Joseph Hill had a vision, while riding a bus, of 1977 as a year of judgement -- when two sevens clash -- when past injustices would be avenged. Lyrics and melodies came into his head as he rode and thus was born the song "Two Sevens Clash" which became a massive hit in reggae circles both in Jamaica and abroad. The prophecies noted by the lyrics so profoundly captured the imagination of the people that on July 7, 1977 - the day when sevens fully clashed (seventh day, seventh month, seventy-seventh year) a hush descended on Kingston; many people did not go outdoors, shops closed, an air of foreboding and expectation filled the city." From: redingtn@athena.mit.edu (Norman H Redington) Subject: Re: Two Sevens Clash "Mi know prophet Marcus Garvey prophecI say: St. Jago de la Vega and Kingston is gonna meet. And I can see with mine own eyes It's only a housing scheme that divides. What a liv on bamba yay when the Two Sevens clash! Marcus Garvey was inside at Spanish Town District Prison, And when they were about to take him out He prophecied and said: As I have passed through this gate, No other prisoner shall enter and get through. And so it is until now: The gate has been locked. So what, What a liv on bamba yay when the Two Sevens clash!" --Culture Excerpts from a very interesting article by Beverly Hamilton in the June '91 _Jamaica Journal_: "...One version of the prophecy claimed that Garvey said there would be severe hardships, doom, and destruction 'when the two sevens meet'. Another was that Garvey said that if black people could pass through the seventies, they could pass through anything. A third claimed that Garvey said that the black man would rise up when the two sevens met. This prophecy received official sanction when Mr. Edward Seaga, the then-Leader of the Opposition and a noted sociologist, referred to it in his New Year's message. The idea gained further currency through the music of some reggae artists, especially Culture... "In 1977 I interviewed two Garvey elders about the prophecy. Z. Monroe Scarlett said quite clearly he had never heard Garvey make any specific statement about two sevens. What he remembered him saying was that if black people could pass through the seventies they could overcome all major difficulties. The other, Van Riel, a BITU veteran, explained: 'Him (Garvey) say 1977 will be a hard year. Yu see already. The Prime Minister say yu belt tight.' ... Two months later, Jamaica went to the International Monetary Fund for assistance. "...One must remember that this period followed the 1976 elections, the most violent in Jamaica up to that time. As 1977 progressed, different versions were added to the prophecy...finally it was a special day, July 7, 1977, when the 'four sevens' met. One even heard that blood was going to flow and that Manley's head would roll. A report in the _Daily Gleaner_ of July 7, 1977 [says]:'...The Combined Security Forces have been put on full alert so as to be prepared [for] possible trouble when the four 7s meet today (the 7th of the 7th month of '77), Minister of National Security Munn told the _Gleaner_ yesterday...' "There was a further official response. That day was used to launch a constitutional reform programme...with the Prime Minister scheduled to speak at 7 p.m. -- when the 'five sevens' met... "...Other Garvey prophecies are about Jamaica...Garvey is credited with predicting the twinning of Spanish Town, the capital of St. Catherine, with Kingston, the present capital of Jamaica. In the late sixties and early seventies, a massive housing development scheme known as Portmore was carried out in southern St. Catherine. A causeway was built across Kingston Harbour to link this development with Kingston, thus fulfilling Garvey's prophecy... "...Another prophecy relating to Garvey's stay in Spanish Town prison is that he is supposed to have put a seal on the prison door through which he left. Many claim that this door has been fastened to this day. Prisoners in the Spanish Town Penitentiary still tell of being shown the gate on which Garvey was supposed to have put this curse..." [from "The Legendary Marcus Garvey", by Beverly Hamilton, _Jamaica Journal_ 24(1)54, June 1991.] _________________________________________________________________________ COMMENT: I used to think that the Two Sevens was a classic example of failed prophecy. However several explanations have been offered. 1) Who knows what happened that day which didn't get noticed by the world? Maybe someone was born, for instance. 2) The mid Seventies were the high water mark of the Soviet Empire, which engulfed Ethiopia a little earlier and was on the move in the Caribbean along with its CIA mirror-image. In late 1976, an Orthodox monk named Seraphim Rose (who was almost certainly unaware of the Garvey prophecy) had a vision on the Day of the Seven Sleepers in which he saw a vast multitude singing the Easter Psalm ("Let God arise, let his enemies be scattered, as smoke vanishes so let them vanish, as wax which melts before the fire!"). It was explained in the vision that for one particular enemy - the Soviet Empire - this would "now" be fulfilled: it would vanish. In 1977, people doubted this prophecy, to say the least! 3) As Bop pointed out in his post, two sevens clash in Pharaoh's dream in Genesis. The clash reflects conflict and opportunity, as do the various versions of Garvey's prophecy. The clashing sevens saved Israel, because Joseph by correctly interpreting the dream went from being a slave (and on top of that, in jail and presumed dead by his relatives!) to Prime Minister of Egypt, able to save his people. But the Israelite migration into Egypt was a mixed blessing; they would end up as slaves and it would take Moses to get them back to Zion. All this is connected to the Garvey prophecy, which seen in this light is very much deeper than it appears. From atohakeem@aol.com Tue Jul 21 08:46 PDT 1998 The way Iman interpret the lyrics, has nothing to do with the Gregorian Calendar year 1977. There is nothing particularly magical or significant about the months or years as used in Europe, to my way of thinking. For example, the date July 7, 1977 in Ethiopia, was Senie 30, 1970 !!! (Senie being the 10th month) Rather, when I hear the song about Two Sevens Clash, I interpret it as total invironmantal downstruction of the Elemants. The two "sevens" are: the Seven Spirits of the Heavenly Faada, and the Seven Spirits of the Earth (see Rev. 1:20 & 4:5) who, while not opposed to one another, are bein downstroyed by the hand of humankind in many ways, as man pollutes the Air, Earth, Water, etc. & misuses it. The coming "clash" (& it has already begun) will result in more trees dying, until they "are so few even a child could count them" (Isaiah). If the end hasn't come by then, it will come when there are not enough forests left to produce the oxygen necessary to sustain animal life. Then, prophecy tells us there will be 1) Resurrection of the dead 2) Judgemant (especially on those responsible for the trees!) 3) Eternal Kingdom of JAH. **Im not makin this up, this was all foretold thousands of years ago. Peace & Raspect, Ras William I [14.] What's all this about Sound Systems, Clashes and Dubplates? >Dumb question...but here goes, >What is a sound system? >Hope this does not destroy my credability has a true reggae >music lover :-) A sound system, well consider it to be a glorified stereo system. Basically it is usually lots of base boxes lots of mid-range boxes and lots of high end boxes ( what I mean by boxes is large speaker cabinets). All this is driven by lots of amps to make it so loud that the base makes the hair on your neck move to the beat. You really haven't experienced true dancehall until you've been to a true yard dance like Stone Love at House of Leo (Kingston JA) In article <2qp6iv$s1k@bruce.uncg.edu> pennyr@hamlet.uncg.edu (Reginald Penny) writes: >Subject: sound systems >From: pennyr@hamlet.uncg.edu (Reginald Penny) >Date: 10 May 1994 23:49:51 GMT >Does anyone have a list (brief or massive) of what people are in what >sound system? Also what are the top 5 largest sound sytems in the world >or JA? >BTW - what exactly is meant by a clash? Is it when more than one SS battle? >R- Wow thats a tough question as to the top five. It would fall under personal pref. " Stone Love" is one of the best; the selectors are Rorey , Weepow and Cancer. "Bodygaurd" is another top sound, their main selector is Johnny and they are bringing in a few more. " Metromedia" is a more classic sound, selector is Skyjuice who is a performer in his own right -- you really haven't seen metro until you've seen Skyjuice take his shirt off. "Jamrock" is another big sound, I don't remember who the seletor is. There is straight outta NYC "Addis" with selector Baby Face; they were up in the top at the world cup. Innercity, with selectors Mark, Danny and Wally -- they rank right up there. There are tons of sound systems and I could go on for ever listing them. As far as a "clash" there can be at least two sounds clashing. It is best with two, a clash is like a strategic chess game. When sounds clash they try to out do each other, who can play the best "Garnett Silk" dubplate and who can get the crowd to respond more. You try to play what the people want to hear and the trick is to do it better than who you are clashing. Maybe I should explain what a dub plate is. A dub plate, aka "a special", is created when you take a tune and ask the artist to customize it for you, such as getting Buju Banton to do a version of Boom Bye Bye, but, change the lyrics to Boom Bye Bye in a sound boy's head. In other words they customize the lyrics of there songs to put either the sound systems name in it or the sound system that the are clashing's name in it. None of this is free -- it costs dollars unless you have connections but it still costs dollars. I hope this all makes some sense and that I havn't totally confused you if you have any quetions post them and I will try ro answer them. From: djspleece@aol.com (DJ Spleece) In a Message Dated: Thu, 03 June 1999 08:11 AM EDT, paddy_maher@my-deja.com Wrote: >I know the basic idea but can someone give me a >detailed explanation of how a soundclash works ie A soundclash is when two or more DJ's/ Sound Systems come together and "battle" over who has the best/ most current/ rarest records. >who decides which side plays when and for how long? The way we normally do this is to split time evenly at first and flip a coin, but the one spinning the hottest stuff (audience reaction) is usually who is going to spin the most/ longest in the end. The winner of the clash is usually judged on the best records, the way they are mixed/ played (in my neck of the woods we like to be creative), and who has the best "specials" or Dub plates. >etc?? Sounds Clashes are always done in fun. Often, it will appear as though the DJ's are "insulting" one another, but this is all just part of the show. Some DJ's will even record there insults and cut them onto a Dub plate to work them into the musical mix. Peace! ********************************* DJ Spleece (RAW #911) ---------- [15.] Are there World Wide Web Sites for Reggae? Actually there a hundreds, check the Jammin Reggae Archives Web page for links for many of them: http://niceup.com ---------- [16.] What is RAW (Reggae Ambassadors Worldwide)? What is Reggae Ambassadors Worldwide? Reggae Ambassadors Worldwide (RAW) began with a seed planted in 1990 by Inner Circle guitarist Roger Lewis. In a casual conversation he mentioned that everywhere they performed they met a "Papa Pilgrim," that is, someone familiar with local runnings and committed to the growth of Reggae music. He suggested that we begin linking up and do some serious networking. In the ensuing years Roger would again mention networking each time we met. During the summer of '92 I had a chance contact with Rastaman Nane' of Grand Rapids, Michigan. As we chatted I mentioned Roger's suggestions. Nane's response was "Let's do it." When I put him off because I was "too busy," he countered with "When I want to get something done I give it to the busiest person." How could I refuse? Grand Rapids was selected as a meeting place because of Nane's certainty that that city's Reggae community would endorse such a gathering. Encouraged by Nane's enthusiasm, support, and confidence, letters were written, phone calls made, and off we went. As Nane' said, "Even if there are only two of us, that's a start." On December 11-13, 1992 more than fifty conferees representing the grass roots of Reggae met in Grand Rapids to forge the beginning of an exciting new direction for popularizing Reggae music. This meeting, which came to be known as Conference '92, represented the fruition of that seed planted by Roger Lewis. Our combined vision was that Reggae music, given the media support it so richly deserves, would become as mainstream as rock, country and other "Top 100" genres. Further, we wanted to actively contribute to increasing the public's awareness of Reggae artists living both in and out of Jamaica and to provide increased opportunities for unsigned performers. Borrowing the concept from Third World's hit of the same name, Reggae Ambassadors Worldwide was "born." Performing artists, deejays, promoters, club owners, writers, label representatives and others met and began forming a networking system aimed at having Reggae music achieve 100% parity with other genres. With so many facets of the business of Reggae coming together, we realized we were doing something right and we were doing it with a sense of purpose, commitment, optimism, and unity . The bottom line for each participant seemed to be to "Forward the Reggae Vibe...Everytime!" Conference '93 was again held in Grand Rapids August 13-15. More than one hundred Ambassadors and other conferees shared visions, created ideas, and networked. Foundations were laid for an album release and tour showcasing member artists. Committees were formed to assist with various tasks and a decision made to seek non-profit incorporation. Conference '94, in Wichita, Kansas brought the grassroots of Reggae to the Heartland of America. More RAW business was conducted along with a whole heap of Networking. Reggae Ambassadors Worldwide, the world's largest Reggae network, is hosting Convention '95 in Las Vegas, Nevada August 25-27, 1995. This year's theme is "Networking Works" and the focus will be on Education, Entertainment and Networking. Invited keynote speaker is world reknowned author and Marley lecturer Roger Steffens. Three nights of RAW members artist showcase will be at the Fremont Street Reggae & Blues Club. For more information on this once a year Networking opportunity that you can't afford to miss contact the following. Rastaman Nane' at 702-256-4532 (phone/fax); e-mail <70431.615@CompuServe.com> or Papa Pilgrim at 801-355-1405 (phone/fax); e-mail . RAW Mission Statement: ^^^^^^^^^^^^^^^^^^^^^ Reggae Ambassadors Worldwide is an international network of Committed Reggae Enthusiasts who have joined forces to spread the positive vibe of Reggae music. Daily we will move forward educating humankind about our music, always remembering the vision of One Love! RAW Vision: To be the primary reference for the Reggae Industry. ^^^^^^^^^^ Annual membership fees range from $15 to $50 depending upon membership category. Lastly, in conversations with Ambassadors from around the world, I and others are beginning to sense that the growth potential of Reggae Ambassadors Worldwide is limitless. We are growing because of your efforts. Ambassadors are helping Amassadors! If you want more information about Reggae Ambassadors Worldwide e-mail me your postal mail address. Forwarding the Reggae Vibe...Everytime! ----papa pilgrim reggae ambassadors worldwide pilgrim@xmission.com Finger for more info. ------------ [17.] Why do purists look down on UB40? From: tomdp@selway.umt.edu (Thomas D Potterf) UB40 has consistently released albums with intelligent lyrics, though sometimes Ali Campbell's enunciation is not that great! My question, why do so many "reggae purists" consider the UB's contribution to the genre as minimal at best? Their lyrics speak about individual power, fighting injustice, and are backed by a solid reggae beat. Is it because they seldom refer to Jah? -- From: hbowser@bianca.amd.com (Horace Bowser) Subject: Re: UB40: concious reggae Nah, homey... It's the sound... the sound... the One Drop, Heartbeat Riddim I Ya! No doubt, lyrics are important and, from what you say, their's seem to be on the one. But it's about the music. From: walkup@phyast.nhn.uoknor.edu (John Walkup) Subject: Re: UB40: concious reggae The way UB40 "reggaefies" mainstream songs annoys me. From: eznoh@niceup.com (EZ Noh Mikey) Subject: Re: UB40: concious reggae For me it's how lame their new stuff sounds compared with their early eighties tunes like "Madame Medusa", "Tyler", "Burden of Shame" and "My Way of Thinking". EZ Noh, mike From: bobko@nunki.usc.edu (Ryan Bobko) Subject: Re: UB40: concious reggae I'm not too sure, but I'm almost certain Elvis wasn't writing {insert UB40's last remake} in the mindset of a poor Jamaican fighting oppression in his homeland. Not that much oppression of Jamaica in Tennessee... From: TIMRAS@aol.com it might have more to do with the fact that Campbell is white. I think they have had a major influence in popularizing the genre/music, and their earlier releases (pre Rat in the Kitchen) were representive of the whole Steel Pulse/Naturlites UK roots-dub sound. Political lyrics, horns, bass heavy dub mixes while Junjo and Phang and their dancehall style was the style in Jamaica. When UB40 got more "pop"ular in their sound, "I Got You Babe" - "Red Red Wine", which was around when their mixer/producer Pablo Falconer? , the bass players brother, died (in a car crash?), they lost all alot of their old fans, me included. I still think they are great for what they do, but "Signing Off" thru "UB44" were genius, and the 12" mixes from that time are really great. Ultimately race and success may have been their un-doing in the eyes of the so called reggae "purest" For me the best reggae is often the most un-pure. Give me Everly Brother covers and harmonica and banjo riffs to keep the sound the mix of influences that first turned me on to that funky music from Jamdown. From: kmayall@cousteau.uwaterloo.ca.uwaterloo.ca (Kevin Mayall) In article , John Walkup wrote: > >The way UB40 "reggaefies" mainstream songs annoys me. The way UB40/35 "mainstreams" reggae songs annoys me. :) Cool..................... Kev ---------- From: papalee@aol.com (Papa Lee) Subject: Re: UB40: concious reggae I can't resist responding to this question. I think that there are many minor reasons as to why UB40 has is so disrespected by reggae "purists" but there are also a couple of serious reasons that many people probably don't want to deal with. First, the easy stuff (1) They did their most serious work and some think their best work before A&M picked them up so many of their best and most conscious songs were not heard until the poppier material gave them their image. (2) They really haven't done much interesting songwriting in about seven or eight years. (3) They don't sing about Rasta themes and don't use Rasta iconology (4) They don't connect in any way with Jamaica (5) There is a natural inclination among purists of all genres to dismiss those who achieve success on a more universal level (George Benson, anyone?) (6) There is also a fundamental distrust of any act that even deals on a global level. Although I believe Third World's last two or three records among their best and some of Steel Pulse's flirtations with modern R&B to be exciting, there are too many people who pine away for the good old days when they were on Mango. UB40, on A&M and Virgin, "suffers" from the same attitude (7) They emerged at the same time that the Two-Tone movement was peaking and to many are indelibly linked to Madness, the Specials and that ilk. The relationship of those acts to "real" ska is tenuous at best but it can influence the perception of the connection between UB40 and "real" reggae. On a deeper level, I believe that there is a certain amount of racism involved here and I also believe that many people come to reggae with a very specific cultural perspective that is not entirely musical. On the issue of racism, I've seen this over and over again in the criticism and literature of different musics that were invented or developed out of various black communities. Jazz, soul and blues have all had passionate arguments over the issue of white musicians within those genres and while it is undoubtedly true that jazz is fundamentally a black based musical style, that doesn't mean that Bill Evans, Stan Getz and Art Pepper aren't creative, innovative and exciting musicians. The same arguments have raged over Stevie Ray Vaughn, Paul Butterfield and Joe Cocker and they are equally pointless there as well. As regards UB40, I have to believe that at least in their material from Signing Off to Labour of Love (and Rat in the Kitchen as well), that the very fact that they are (predominantly) white works against them within the reggae community. One other band that I think suffered from this kind of racism was the Blue Riddim Band, a truly excellent American band from the early 1980s that never quite got the recognition they deserved despite a tremendous talent and devotion to classic reggae. Finally, I believe that there are distinctions to be made between reggae and Rasta and reggae and Jamaica. The three are not identical and it is important to keep their identities somewhat separate. Reggae is a *musical* form that was born out of commercial necessity and grew up in a competitive, commercial environment. It has consistently adapted influences from all over the place and had grown tremendously in content and popularity. The fact that many international listeners "discovered" reggae in an era in which most musicians were dedicated to Rasta themes or came to find the music through Bob Marley has caused them to identify the music with that specific culture. That's a mistake. Reggae is much broader than the music of Bob Marley would indicate just as the culture is broader than reggae. Yet because UB40 exists completely outside of the culture defined by Bob Marley they are dismissed by those who define reggae by Marley's standards. That's unfortunate because UB40 are excellent musicians who are often capable of powerful songs (although their last three records have left me pretty cold). One Love, Lee O'Neill Date: Fri, 23 Sep 1994 19:40:03 -0700 (PDT) From: Allen Kaatz Subject: Re: UB40: concious reggae > UB40 has consistently released albums with intelligent lyrics, though >sometimes Ali Campbell's enunciation is not that great! My question, why >do so many "reggae purists" consider the UB's contribution to the genre >as minimal at best? Their lyrics speak about individual power, fighting >injustice, and are backed by a solid reggae beat. Is it because they >seldom refer to Jah? I like UB40, myself, but the only record I own by them is a single of "Red Red Wine", which I knew would be a hit the first time I heard it, I thought they did a great job with that song. A long of reggae fans prefer more rootsy Jamaican reggae, I guess. I don't know why people waste so much energy putting them down... maybe it's easier than saying something positive for some people. I think UB40's records have helped a lot of younger people get turned on to reggae in general, which is a good thing. The band themselves are always very honest about their roots, having recorded two albums worth of older Jamaican songs (Labour Of Love). I think that UB40 are just another facet of the modern reggae scene, they love the music, and have as much right to play it as anyone else. As far as the rastafarian aspect, there are plenty of non-rasta Jamaican artists who get respect in Jamaica. Reggae is a musical form, not a religion, and although the rastafarian movement has had obvious influences on reggae music, it is far from the only influence on Jamaican music. American rhythm & blues, mento, calypso, etc. are some of the others. I have heard musicians in Jamaica mention UB40 with respect, they seem to be accepted there, if not a favorite. Many Jamaicans, including recording artists, seem to be proud that musicians from other countries are interested in their music. Another point in UB40's favor is that when they record material by Jamaican artists they have gone out of their way to made sure that the original writer gets paid. This type of thing does not go un-noticed by musicians & artists in Kingston. Al *Allen Kaatz* From tpj@de-montfort.ac.uk Fri Sep 30 09:39:48 1994 Interesting question, this. At a guess I would say that UB40 are loved and hated in roughly equal proportions! I think it is not really UB40 who are perceived as the problem, but they do tend to get a lot of flak as the result of a more general problem. It is clear that UB40 have achieved a level of success exceeding their abilities as a reggae band. I have nothing against them musically, except to say that they are very ordinary. A similar case can be made concerning ex-Simply Red's Mick Hucknall. He's got a good voice, but not the best, and his style is basically an good imitation of other people's music. Also Lisa Stansfield (sorry these are all English examples), the soul singer- good singer, but not *that* good... the list goes on. Why is this? Check out the old Macka-B song that says something like, "UB40 a-make the most millions." In there, I don't think he's criticisng them personally, but using them as an example of something more general a lot of black artists have been complaining about for years. Their argument is that the music they produce is marginalised and marketed as something alien, to then be replaced in the mainstream by weak imitations by white artists (or at least partly white, in UB40's case). However, if this is indeed the case (I would tend to agree) I think that the 'consumers' and not just the marketers of the music must shoulder some of the responsibility for this phenomenon. Most people, and I certainly, with hindsight, must include myself among them at some times naturally aren't aware of this bias for whatever reasons. They genuinely think that lisa, Mick, Ali or whoever are the better artists. That's the opinion of this purist, anyways. Best wishes, all. Tom (tpj@uk.ac.dmu) From kaleek@ibm.net Sat Apr 11 12:10:24 1998 I'm not even a purist and I have always thought this band was the definition of cheese. Here are some reasons. (A) Mainstream radio airplay. These days when an artist is doing some sort of quality "rebel" music, you can be assured that it will not be on radio. This is directly because the mass audience will not relate to it, or enjoy it. (B) The vocals. They are so whiney. It just makes me want to puke. (C) They are unquestionably the artist of choice when hanging out with the surfy crowd. Them and Depeche Mode. (D) They look like they are about to go in for an interview at GQ magazine. If you are so damn dread, what is the need for hair gel? (E) Personally, I think many artists have been sucked into this menatlity that if you want to break it big then you have to look at what popular American radio is doing. Who are the leaders of this train of thought? UB40. Sadly, many great bands have pursued this route to fame and money and in turn have failed miserably. I can honestly say that I have not seen a reggae show rock my world hard in about ten years or more. The only exception has been the Skatalites. For some reason they seem to understand that what made them popular in the first place is what will keep them popular regardless of the fads in the states. I remember the first time I saw Steel Pulse in 1985 and I was blown away. By the late eighties they were coming out with renditions of Bobby Brown's "It's My Perogative." What the hell is that? It sounds like someone got signed to an American label. It is really sad to see such extremely talented bands just go to pot. Look at the line ups for Reggae Sunsplash. They are just awful. Bands like Big Mountain headlining? I work at a college radio station and we get so many crappy American focused releases of reggae. I was in a shoe store a few months ago and they had MTV on and all of a sudden I recognized a voice. I looked up to my dismay and disgust to see one of the guys from Black Uhuru in some awful rap video. There is a big reason that I simply do not buy new releases of reggae, espaeciialy from older artists. That is because they just suck really bad. I don't think it is because these artists don't know how to make good music, I think it is because they have some UB40 listening manager and record label executives telling them what will sell. If anyone knows these older artists please beg them for some roots. End the UB40ization of what once was some of the best music ever. --------------- [18.] Can anyone recommend good female reggae vocalists (not dancehall). ? A friend turned me on to Annette Brissett and the Taxi Gang's "Annette." He's crazy about her and since he's got a birthday coming up I was wondering if any kind souls could offer suggestions? Thanks in advance for the help. From: eznoh@niceup.com Check out Sophia George, either the "For Everyone" or "Latest Slang" CD. Also "Black Woman" by Judy Mowatt. EZ Noh, mike From: sppcarso@ultrix.uor.edu (Bush Doktor) Try one of my faves... Kofi Her first cd is great, I believe it's called "with sugar". Try Ernie Bsssssss, he has it. BUSH DOKTOR sppcarso@ultrix.uor.edu From: deen@primenet.com (Deen Ipaye) Judy Mowatt's "Look At Love" CD is a recent favorite Marcia Griffith's "Naturally" is a mellow classic Rita Marley's "Who Feels It" LP with "One Draw" track is another good one Martha Velez's "Escape From Babylon"--Produced by Bob Marley (If you can find it!) TAKE YOUR PICK... I'm sure there are lots more! [dEEN] From: papalee@aol.com (Papa Lee) Marcia Griffiths is an amazingly talented singer and almost any record she's ever made is worthwhile. Judy Mowatt (Griffiths, Mowatt and Rita Marley were members of the I-Threes, the harmony singers for Bob Marley) is good songwriter and singer and her Black Woman album is one of the greatest of all time. Hortense Ellis is another great female singer, although finding her records is getting to be very difficult these days. I'd also recommend Doreen Shaffer and Dawn Penn unequivocally. I also love JC Lodge and Carlene Davis, although both have a tendency to get a bit mawkish. And before I forget, there's Sandra Cross, Janet Kay, Carroll Thompson and Susan Cadogan from England. Happy hunting, Lee O'Neill From: highnote@eskimo.com (Allen Kaatz) Marcia Griffith's Studio One LP is a classic... I think it is currently available, although the music is older style... Al From: d2domer@dtek.chalmers.se (Erik Domstad) I would recommend Aisha, either "High Priestess" or "Daughters of Zion". Nice roots style, Mad Professor at the controls.... Erik [19]. Please give an explanation of "One Drop" Style In article <3lkbp7$bpm@newsbf02.news.aol.com>, lcarmean@aol.com (L Carmean) writes: |> My understanding of the one drop style is that the drummer doesn't strike |> any of the drums on the first beat of a four beat bar or measure. Then on |> the third beat the drummer will usually strike the snare drum and bass |> drum at the same time. However, he/she might hit only the snare or bass |> drum on the third beat. |> |> The drummer might strike the high hat on the first beat, but he/she |> "drops" the first beat as far as the drums are concerned and instead |> emphasizes the third beat with the drums. Frequently the bass will make |> up for the dropped first beat by landing on it with a strong bass note. |> |> If anyone has a better explanation I would be happy to hear it. |> |> Larry Carmean |> RAW #336 |> This is a pretty good explanation of one drop - but the bass also often |> misses the first beat too. Ska was the original "one drop" rhythm... |> leaving off the down beat with the bass drum is one of the things that |> made Jamaican music so unique and instantly recognizable. American R&B |> and rock drummers are habituated to hitting the downbeat really strong |> with the bass drum - this is one of the reasons it is so hard for them to play |> authentic-sounding reggae. |> |> Reggae lost the "one drop" feel somewhat when Sly Dunbar started using |> different patterns that he adapted from funk & rock beats... this created |> the rockers style, where the bass drum hits all four beats, and led to a |> "heavier" style that you can hear on a lot of the late 70's/early 80's |> records that SLy & Robbie played on & produced, where the drum pattern |> is almost like a simple, slowed down rock beat. I miss the one-drop |> beat, a lot of the modern dance-hall records don't use it anymore, but |> you do still hear it sometimes. IMHO it is the classic reggae beat. |> |> Al |> |> -- |> ~~~~~~~~~~ Allen Kaatz (highnote@eskimo.com) ~~~~~~~~~~~~~ [20]. What are some reggae videos? Reggae and Related Video Information 1. ASWAD Live Island # 082 987 3 (1991) 70 minutes, live at the Hammersmith Odeon - London Justice, Chasing for the Breeze, Need Your Love, Roots Rockin', Don't Turn Around, Bubbling, 54/46 That's My Number, Tradition, Smokey Blues, Give a Little Love, Feelings, African Children, One Love, Set Them Free. 2. ASWAD Always Wicked Island #440 083 221 3 (1991) 42 minutes (Studio Videos) 54/46 That's My Number, Chasing For The Breeze, Give A Little Love, Set Them Free, Don't Turn Around, Beauty's Only Skin deep, On and On, Next To You, Smile, Set Them Free (LIVE @ Hammersmith Odeon). 3. Aswad Live ROCK n DOCK Limelight Studios London (1985) Japanese Import No Notes Available. 4. Black Uhuru - Tear It Up - LIVE @ the Rainbow Theatre, London (1981) ISLAND # 440-082 991 3 Shine Eye Gal, Plastic Smile, Puff She Puff, I Love King Selassie, Youth of Eglington, Push Push, General Penitentiary, Happiness, World Of Reggae, Sponji Reggae, Sensimilla. Micheal Rose, Puma Jones, Duckie Simpson, Sly Dunbar, Robbie Shakespeare, Mikey Chung, Darryl Thompson, Skyjuice, Keith Sterling. 5. Lucky Dube LIVE in Concert Shanachie# 1021 (1993) 90 minutes Feel It, The Hand That Giveth, Natural Man, Back To My Roots, I've Got You Babe, Together As One, Prisoner, House Of Exile, Dracula, It's Not Easy, Reggae Strong, Don't Cry, War And Crime, Remember Me, Truth In The World Lucky Dube - Vocals, Thuthukani Cele - Synthesizer, Eugene Mthethwa - Synthesizer, Chris Diamini - Percussion, Vulindela Yeni - Brass, Robert Jabu Mdluli - Brass, Ndumiso Nyovane - Brass, Jabulani Sibumbe - Bass, Sandile Dhlamini - Lead Guitarist, Innocent Mathunjwa - Drums, Nolusindiso Gaeza, Cynthia Malope, Kabanina Ntsele - Backing Vocals, Richard Siluma - Manager 6. Bob Marley and the Wailers Caribbean Nights 100 mins.(1988) Island # 440 082 373 3 No Woman No Cry, Bad Card, Trenchtown Rock, Stir It Up, Rastaman Chant, Slave Driver, Concrete Jungle, Lively Up Yourself, War, Jammin', Zimbabwe, Redemption Song, Could You Be Loved. 7. Bob Marley And The Wailers Live At The Santa Barbara County Bowl - Copyright 1981 No Notes Available 8. Bob Marley And The Wailers LIVE! (Rainbow Theatre London, 1977) 72 mins. Island #082 971 3 Trenchtown Rock, Them Belly Full (But We Hungry), I Shot The Sheriff, Rebel Music (3 O'Clock Road Block), Lively Up Yourself, Crazy Baldhead, War, No More Trouble, The Heathen, No Woman No Cry, Jamming, Get Up Stand Up, Exodus. 9. Bob Marley And The Wailers Legend (Best Of) (1991) Island #082 965 3 Want More, Is This Love, Jamming, Could You Be Loved, No Woman No Cry, Stir It Up, Get Up Stand Up, Satisfy My Soul, I Shot The Sheriff, Buffalo Soldier, Exodus, Redemption Song, One Love/People Get Ready. 10. Bob Marley Time Will Tell 90 mins. (1992) Island/Tuff Gong # 440 060 100 5 Archive footage featured: Coming In From The Cold 1980 Essex House, Concrete Jungle 1973 BBC Old Grey Wistle Test, Curfew/Burnin' & Lootin' 1974 Sheltervision, Them Bellyfull 1976 Exeter/1977 Rainbow, Lion Of Judah 1978 Peace Concert, Forever Loving Jah 1980 Tuff Gong Studio, I Shot The Sheriff 1979 Santa Barbara/1980 Rockpalast, Lively Up Yourself 1980 New Zealand, So Much Trouble 1978 Tuff Gong Studio, War 1977 Rainbow/1980 Rockpalast, Revolution 1980 Tuff Gong Studio, Ambush In The Night 1979 Santa Barbara, Running Away 1980 Zimbabwe, Jammin' 1978 Peace Concert, No Woman No Cry 1977 Rainbow, Could You Be Loved 1980 Tuff Gong Studio, Exodus 1977 Rainbow, Africa Unite 1979 Santa Barbara, Zimbabwe 1980 Zimbabwe, Redemption Song 1980 Miami Rehearsal, Coming In From The Cold 1980 Essex House, Natural Mystic 1980 Rockpalast, Get Up Stand Up 1973 Edmonton/1974 Sheltervision/1976 Exeter/1976 Smile Jamaica/1977 Rainbow/1979 Sunsplash/1979 Santa Barbara/1980 Zimbabwe/1980 Rockpalast. 11. Ziggy Marley and The Melody Makers Concious Party Live At The Palladium 60 mins. (1988) Virgin Music Video # 3 50127 Concious Party, Tomorrow People, Tumblin' Down, Lee & Molly, We Propose, What's True, Rat Race, Time Will Tell, Unuh Nuh Listen Yet, We Love Reggae Music: Give It All You Got, Lord We A Come. 12. Third World Prisoner In The Street (1979) Mono Sony/Island/CBS Japanese Import 70 mins. Now That We've Found Love, Slavery Days, Third World Man, Give A Little Something, Talk To Me, Cold Sweat, Irie Ites, Tribal War, African Woman, Street Fighting, Satta Masagana, 96 Degrees In The Shade, Prisoner In The Street. 13. Peter Tosh LIVE (at The Greek Theatre August 23, 1983) Japanese Import EMI/Picture Music 1984 Intro, Start All Over, African, Comin' In Hot, Not Gonna Give Up, Rastafari Is, Where You Gonna Run, Glass-House, Equal Rights/Downpresser Man, Johnny B. Goode, Get Up Stand Up. Peter Tosh and Word, Sound and Power. Donald Kinsey - Lead Guitar, Carlton "Santa" Davis - Drums, Keith Sterling - Keyboards, Stevie Golding - Rhythm Guitar, George "Fully" Fullwood - Bass, "Vision" Walker - Percussion, Winston Morgan - Percussion. 14. Bunny Wailer In Concert (1986 Madison Square Garden concert) 80 mins. Shanachie #104 Old Dragon, Blackheart Man, Dreamland, Love Fire, Struggle, Rise And Shine, Dance Rock Runnings, Galong So, Ram Dancehall, Ballroom Floor, Walk The Proud Land, Rudie, I Stand Predominate, I'm The Toughest, Hypocrites Together Again. Backed by the 13 piece Reggaestra (including Roots Radics band and backing vocalistsPsalms (formerly the Gaylad), the Umojah Dance Ensembe, The Switch Dancers, MC: Bagga Brown. 15. Heartland Reggae (1983) 95 mins. Palm Beach Entertainment #8002 (shot 1977/78) Bob Marley and the Wailers, The I-Threes, Peter Tosh, Jacob Miller, Judy Mowatt, Dennis Brown, U-Roy, Junior Tucker, Lloyd Parks. 16. Rockers Its Dangerous (1977 re-released 1993) Rockers Film Corp. Burning Spear, Bunny Wailer, Third World, Peter Tosh, Jacob Miller, Kiddus I, Junior Mervin, Inner Circle, The Heptones, Grgory Isaacs, The Abyssinians, Big Youth,Leroy Smart, Dillinger, Rockers All Star Band: Robbie Shakespeare - Bass, Leroy "Horsemouth" Wallace - Drums, Earl (Chinna) Smith - Guitar, Earl (Wire) Lindo -Keys, Bernard (Touter) Harvey - Keys, Bertram McLean (Ranchie) - Guitar, Tommy McCook - Flute and Sax, Herman Marquis - Sax, Richard (Dirty Harry) Hall - Sax, Bobby Ellis - Trumpet, Vin Gordon (Tramie) - Trombone, Skully - Percussion. 17. Land Of Look Behind (1982) 88 mins. Rhapsody Films Directed by Alan Greenberg Gregory Isaacs, Bob Marley, Mutabaruka, Lui Lepke. 18. Bongo Man (1981) Castle Hendring Communications # HEN 2018 Starring Jimmy Cliff and more. Bongo Man, It's a Hard Road To Travel, Stand Up - Fight Back, Viet Nam, She Is A Woman, The Harder They Come, That's My Philosophy, Wanted Man, Fundamental Reggae, I'm The Living, No Woman No Cry, Going Back West, Let's Turn The Tables. 19. The Harder They Come (1973) Island #440 083 743 3 Starring Jimmy Cliff, more. 20. Reggae Got Soul Japanese Import Various Artists - No Further Info Now Available. 21. Splashin' The Palace - (Sunsplash 1984) Various Artists - No Further Info Now Available. 22. Roots, Rock Reggae (Shanachie #1202) Various Artists 55 min. 23. Best Of Sunsplash 1991 (1991) 60 mins. A*VISION Entertainment #50260 3 Coco Tea - Riker's Island, Ziggy Marley - Small People; Drastic, Lucky Dube - Back To My Roots, I-Three - Jealosy, Third Worls - Reggae Ambassador, Shabba Ranks/Maxi Priest - False Pretender, Barrington Levy - Too Experienced, Shinehead - Strive, Mutabaruka - Dis Poem, Frankie Paul - Rock With Me, Gregory Isaacs - Medley, Dennis Brown - Here I Come. 24. Best Of Reggae Sunsplash Part II (1991??) Various Artists. No Further Info Now Available. 25. Reggae Sunsplash 1981 A Tribute To Bob Marley (1981) Various Artists. No Further Info Available. 26. All Time Best Of Reggae Sunsplash Collector's Edition (1991) 90 mins. A*VISION 50304 3 Bob Marley - Get Up Stand Up, Ziggy Marley - Small People, Maxi Priest - Wild World, Shabba Ranks - Trailer Load, Bunny Wailer - Gotta Keep On Moving, Toots & The Maytals - Medley: Sweet & Dandy/Bah Bah/Pomp & Pride, I-Three - Lively Up Yourself, Black Uhuru - General Penetentiary, Skatellites - Latin Goes Ska, Aswad - Roots Rockin', Yellowman - This Old Man, Blue Riddim - Nancy Reagan, Steel Pulse - Raid I Blues, Burning Spear - Slavery Days, Third World - Forbidden Love, Ninjaman - Listen To The Don, Lucky Dube - No Truth In This World, Barrington Levy - Teach The Youth; Mandela, Frankie Paul - Tidal Wave; All My Love, Dennis Brown - Revolution. 27. The All Star Reggae Session (1988) 60 mins HBO/A*VISION #50211 3 Jimmy Cliff, Toots Hibbert, Chrissie Hynde, Grace Jones, I Three, Ziggy Marley & the Melody Makers, The Neville Brothers, Carlos Santana, Sly & Robbie, Bunny Wailer, Coati Mundi, Tyrone Downie, Stephen "Cat" Coore, 809 Band, Solomonic All Stars, Dallol, Oneness. Songs: Buffalo Soldier, Roots,Radics, Rockers and Reggae, Rise And Shine, Concious Party, Waiting In Vain, Steppin' Razor, Country Roads, 5446 Was My Number, My Jamaican Guy, My Blood In South Africa, It Ain't No Use, Hanging Fire, Love Me, Love Me, The Harder They Come. 28. Buried Treasures Vol. 2 - Reggae Classics (1991) 30 mins. Island #440 083 871 3 Toots & The Maytals - Reggae Got Soul, Third World - Now That We've Found Love, Black Uhuru - Solidarity, Ini Kamoze - Call The Police, Sly & Robbie - Boops (Here To Go), R.P.O. - Minnie The Moocher, Benjamin Zephaniah - Us An Dem, Burning Spear - Great Men, Bob Marley and The Wailers - Could You Be Loved. Other Videos Of Interest Rhythyms Of The World Anthology (1991) Island # 440 083 873 3 Hosted by Peter Gabriel & Bobby McFerrin Salif Kieta, Dede St. Prix, Fela Kuti, Ray Lema, Buckwheat Zydeco, King Sunny Ade, Los Van Van, Kanda Bongo Man, Ntsikane, Joe Arroyo Y La Verdad, Malombo, Boukman Eksperyans, Soul Brothers, Baba Maal, Irakere, Abdullah Ibrahim, Oscar D'Leon, Malathini & Mahotella Queens. Ju Ju - African Music - King Sunny Ade etc. FELA KUTI- Teacher Don't Teach Me Nonsense UB40 -CCCP, Live, various other videos available. -------- [21]. What is a good way to find concert information? Check: JAMMIN REGGAE ARCHIVES http://niceup.com/tours.html http://niceup.com/regional.html http://niceup.com (Events on main page) Reggae Source http://reggaesource.com Reggae Train http://reggaetrain.com Pollstar On-Line http://www.pollstar.com/ Reggae Festival Guide http://www.reggaefestivalguide.com Read rec.music.reggae Join RAW Scotti B RAW 596 i have 2 tour search programs on my homepage http://web.syr.edu/~affellem they are not just for reggae but pretty good.hope this helps. adam ---------- [22.] Where can I find some information about dreadlocks? http://www.mydreadlocks.com/dreadlocks-info http://www.dreadheadhq.com http://www.knottyboy.com ---------- [23]. Why shouldn't I post pictures or sounds to rec.music.reggae? It's not a good idea to post "binary" files, such as pictures or sound files, to the newsgroup. Binary files are usually HUGE-- many times the size of normal text files. They can take forever to download and can break some people's newsreaders. Also, if you get charged by the time it takes to download a message, or the size of the messages you download, that's a LOT more money paid by the unsuspecting newsgroup reader! Also, if enough poeple start posting binaries in this newsgroup, news server admins may decide that it's a binary newsgroup and articles will get flushed much faster, that is they will only stay around for a day or two. Please post binary files to the most appropriate binaries newsgroup ONLY. Here are a few places to get you started (warning-- the files may take a LONG time to download due to their size!): alt.binaries.pictures.misc (news:alt.binaries.pictures.misc) alt.binaries.sounds.misc (news:alt.binaries.sounds.misc) You can post a note in a group that you've sent a binary file to another newsgroup, but please don't crosspost that file or the note between the groups or post the files here. If you post pointers to the groups where readers might be interested, and only post the binaries in binaries newsgroups, everything works out fine. :) ----------- [24]. Where can I find lyrics on the Internet? Jammin Reggae Archives Lyrics directory http://niceup.com/lyrics Peter Tosh Lyrics http://www.fortunecity.com/tinpan/metallica/471/index.html Bob Marley Lyrics Library http://members.tripod.com/~Herbs_Pirate/ Reggaelyrics Archive http://hjem.get2net.dk/sbn/reggae.htm The Lyrics Lounge http://www.verse.freeservers.com AC's Roots Reggae Lyrics http://www.acroots.com/roots/albums/lyrics.htm ---------- [25]. Where can I find information about Reggae Clubs? See the clubs page at the Jammin Reggae Archives: http://niceup.com/clubs.html ----------- [26]. Where can I find information about Reggae Shops? See the shops page at the Jammin Reggae Archives: http://niceup.com/shops.html ----------- [27]. Where can I get an RSS news feed about reggae? Paste the URL "http://niceup.com/niceup.rss" into your reader or drag the RSS icon from the news section of the main page. ----------- [28]. Where can I find Reggae podcasts? Jammin Reggae Virtual Radio - plug this URL into Itunes or other podcasting software: http://niceup.com/podcast.rss Big Up Radio: http://bigupradio.com/ Search for "Reggae" at these podcast sites: The Podcast Directory: http://www.podcast.net/ Podcasting News: http://www.podcastingnews.com/ Podcasting Tools: http://www.podcasting-tools.com -----------