Posts Tagged ‘reggae’

Connie Bell: Roots & Culture Style…

Tuesday, February 16th, 2010

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Still waters run deep and Connie Bell is no exception. While most of us know her for keeping things together as Heads High’s host and vocalist in chief, not many know that the end of ‘09 saw more than a few late night studio excursions by our favourite Jamaican songstress.

Her cover has officially been blown now as the first of many products of those sessions hits the streets in the form of the awesome ‘Vampires’ on UK Roots imprint ‘Top-A-Top”. Riding a fresh reimagining of a classic Lee Perry rhythm, Ms Bell gets raw on those who choose to take without giving. With a dangerous dub on the flip to seal the deal, it’s all about supporting music of substance in 2010…

Cop the freshness here….And if you missed her first release for the label, here’s what could have been yours…

Event: Johnny Clarke inna London Town!

Tuesday, December 15th, 2009

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Roots reggae is a deep thing. Despite virtually no mainstream support, it has managed to survive and reach out to a global audience for nearly 40 years. This Friday, the mighty Johnny Clarke steps out to bless the people with his outstanding vocal talents at Dalston’s much-loved Passing Clouds.

If you were to write a list of true school roots legends, Johnny Clarke would be somewhere near the top. Born in Whitfield Town, Jamaica in January 1955, he began his career winning the 1971 Tony Mack’s talent show, subsequently linking him up with producer Clancy Eccles. Eventually Leaving Eccles to hook up with producer Rupie Edwards, Clarke scored a clutch of hits including”Irie Feelings” the 1973 single that provided the template for the producer’s own massive success with “Ire Feelings (Skanga).”

The following year, Clarke cut a number of singles for a variety of different producers. Although he was already well-known, it was only after he joined forces with producer Bunny Lee that the singer reached his full potential. Lee,  famous for introducing the “flying cymbal” sound that swiftly became his trademark, delved into the possibilities of dub and helped inaugerate the shift from Rocksteady to the slower swing of Reggae. Together, the two men would unleash a host of unforgettable singles, opening with the massive hit “None Shall Escape the Judgement.”

Over the next two years, Johnny inundated Jamaica with hit singles including “Move Out of Babylon Rastaman,” “Rock With Me Baby“, “Enter Into His Gates With Praise“, “Too Much War”, “Joyful Festival.” and a cover of Bob Marley’s “No Woman No Cry,”.  The singer’s first two albums, 1974’s None Shall Escape the Judgement and the following year’s Moving Out, were both hits-heavy collections. There was little surprise when Clarke clinched the artist of the Year award in 1975 and 1976 (and then annually for another three years after that).

By 1976, the singer had come to the attention of the Virgin label’s Front Line subsidiary, to whom he now signed. The new relationship was cemented with the fabulous Authorized Version album, again produced by Bunny Lee and boasting another big hit, “Roots Natty Roots Natty Congo.” That album was masterful; Rockers Time Now was an absolute masterpiece. Lee’s house band, the Aggrovators, laid down a potent mix of roots, rock, reggae, whilst King Tubby added his raw heavy dub to the proceedings. The record remains one of the crucial releases of the roots era.

As the ’80s dawned, Clarke moved effortlessly into the age of dancehall with his Johnny Clarke meets Cornell Campbell in a New Style Collection. He left Jamaica for London town in 1983, hooking up with producer Neil “Mad Professor” Fraser and recording Yard Style, which included such crucial cuts as “Mount Zion” and “Nuclear Weapon.”. Over the rest of the decade, Clarke continued cutting excellent singles in partnership with longtime collaborator King Tubby (responsible for many of the singer’s B-sides), and more dancehall-flavored offerings with both Prince Jammy and Errol Thompson.

The reason I just dropped the paragraphs above is simple – the man’s contribution deserves to be recognised. Follow the links, listen to the music (if you don’t already know it) and know that if you miss this Friday’s session, you be missing something special.

Oh, did I mention that the Red Earth/Soothsayers crew will be in the house to lay down the backing tracks…..or that yours truly is spinning inna roots and culture style throughout the evening? You know what to do…info is below:

JohnnyClarke

Insight: The Culture of Creation…

Thursday, December 3rd, 2009

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‘Told you we aint dead yet, we been livin’ through your internet. You don’t have to believe everything you think, we’ve been programmed, wake up, we miss you.’

As part of an underground creative network, we take pride in supporting, creating and exporting ‘progressive/forward-thinking/different-from-the-norm’ music. Noble principles. There is a deep value in this….. but when did we decide to dissociate these lofty principles from the rest of our lives?

I’ve been observing the musical blogoshpere for a minute now and it has been a bipolar experience of delight and disappointment. Delight in the amazing creations we are continually blessed with and disappointment that there are virtually zero heads out there (Heads High included) that are willing to talk about much else but the music itself, or its associated media. Breaking bread with industry friends,it seems that any kind of vaguely political or spiritual topics have slim place in certain musical spheres – that people don’t want to be preached to. They’re right. But who are we if as tastemakers and opinion shapers, we’re too afraid to say anything apart from big up or take down the endless stream of product coming through our hands?

Our culture has been structured in a way that allows us to blot out realities in favour of consuming more of the same – in a different package. This particular thought stream was triggered by ‘The Story Of Stuff‘, a 20 minute treatise on the harsh realities of the production process which you’ll have heard of somewhere over the past year or so. Don’t worry, I’m not going to launch into a tirade against the evils of consumerism….I think we all get the picture on that….what does interest me though is the idea that cultures are created, maintained and perpetuated with the goal of neutralizing peoples opinions on things that matter.

I figure 90% of you reading this are music lovers….the word culture is almost holy ground to us.  We all take pride in the (sub)cultures we are part of. More than that, we actively direct and extend these cultures. So in truth, we’re in a curious space where we simultaneously control and are controlled by our cultural ‘norms’.

Back to the Story of Stuff. If you’ve seen it, you’ll agree that one of the most unsettling moments is the quote below:

The Real Meaning of Consumer Demand

Our enormously productive economy demands that we make consumption our way of life, that we convert the buying and use of goods into rituals, that we seek our spiritual satisfactions,our ego satisfactions, in consumption. The measure of social status, of social acceptance, of prestige, is now to be found in our consumptive patterns. The very meaning and significance of our lives today expressed in consumptive terms…. We need things consumed, burned up, worn out, replaced, and discarded at an ever increasing pace. We need to have people eat, drink, dress, ride, live, with ever more complicated and, therefore, constantly more expensive consumption.’

Sound like a familiar situation to you? A market analyst named Victor Lebow dropped this in his ‘Journal of Retaling’ which was published way back in 1955. An era which saw the rise of youth culture on both sides of the Atlantic. A generation which prided itself on its autonomous rule and individual identity while in actuality feeding the very same model described by Mr Lebow above. Sadly, in this respect at least, I feel we have progressed little in the past half century.

My basic point is, as Erykah says, we need to wake up. Technology has afforded our generation(s) a ridiculously high level of creative output but we seem to be wielding this potentially world altering weapon like children with toy swords.  Art is exceptionally important, and we celebrate it accordingly, but we are lost in a maze of the next big thing. The exact maze that Mr Lebow describes in his quote. The longer we remain lost, the longer our voices are ineffectual in the reshaping of a world which, in number at least, we should be in control of. When I flick through the new posts on my RSS feed reader, I can’t help but feel a little bit of shame. Shame at the fact that after an evolution on this planet of circa 300,000 years (the official figure), the majority of us appear to have limited our infinite capacities (including our creative vision) to boundaries set by those whose aim is for us to continue to walk in self-perpetuating circles.

I don’t believe it’s an accident that some of the most enduring icons are those which used their art to speak beyond the surface. Cats like Fela Anikulapo Kuti and Peter Tosh. who composed for human rights, John Lennon, who made noise for peace, and Sun-Ra, who stood out on a limb and opened minds to new realities – if they were ready. We’ve got our share of truth speakers now. Sa Ra, Georgia Ann Muldrow and Dudley Perkins are flying the flag for peaceful spiritual frontiers amongst others.  Heads like Mos Def and Immortal Technique are dropping truth on the lies of the men in suits and even Stones Throw’s James Pants has turned his attention to the esoteric with his latest ‘Seven Seals‘ offering. It would have been easier for any one of these artists not to have broached uncomfortable subjects, just as it is easier, and infinitely more socially acceptable, for us to talk air rather than truth.  I’m not saying that every song or blog post needs to be chanting down Babylon and discussing the nature of multi-dimensional reality, but I really do believe its time for our media educated generation to consider their purpose and objectives in a world which needs direction now more than ever.  We all have truth to tell. I for one would like to look back on what we produced in word, sound and image and know that it actually meant something….

‘We’ve been programmed, wake up, we miss you…..’

News: Creation Stepper

Thursday, November 19th, 2009

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Those of you who have been with us for more than a minute will remember that we’ve appeared more than once alongside the mighty Will Stepper. Unfortunately, I learned yesterday that Will is no longer with us having passed away this Monday.

Revered in the roots scene for his distinctive brand of sweet yet melancholic vocals, Will aka Creation Stepper first hit the wax as part of the Fred Lock & The Creation Steppers outfit on their 1982 cut ‘Love and Only Love’. Although he continued to record, he’s best known for his mic work with UK roots soundsystems Jah Tubbys, Dubateers and Keety Roots.

Anyone who remembers the Dj session he played with us at Herbal a couple of years back or his energetic live show at Passing Clouds know that his unique tone and infectious personality will be sorely missed…

RIP Stepper. Our thoughts are with you on the next stage of your journey…

Roots Ambassador: Mikey Dread

Thursday, August 13th, 2009

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It sounds played out but life truly is a continuous learning curve…especially where music and culture are concerned. I wrote a piece for Shook Magazine a little while back delving into the subsonic realm of Sound-system culture in the UK. As part of my research, I talked to Mikey Dread from Channel One Soundsystem about his experiences and contributions to the scene. His story was especially interesting to me. Although he is a Roots purist in the purest sense, when the demand for Roots Reggae crashed in the early 80s he kept it moving, finding new, diverse and dare I say it, atypical crowds to enter the covenant of bass. Until then, I was completely ignorant about how he came to be where he is today, I just knew he had a great sound and he’d been playing it for a LONG time. Most of his personal story didn’t make the Shook piece but I figured if I learnt something, you might too. So here we are, presenting….Mikey Dread. (more…)

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Podcast #12: Duke Etienne 16/07/09

Wednesday, August 5th, 2009

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Direct from the Sirian Mothership Duke Etienne delivers another session of selective vibration for you aural delectation….word is reborn…

Heads-High-Radio-16.07.09-Duke-Etienne

 

Tracklisting

Poem – Bobby Konders ft. Mutabaruka
Arigato – Bodycode
Fall – Blue Daisy
J&W Beat – Floating Points
Dancing On Holiday – Souled
Galaxy – Visions of Tomorrow
Adventures In Success (Dub Copy) – Will Powers
Revelations – Mos Def
Get Dollars – The Beat Konducta
Nirvana – Shafiq Husayn
The Underground Reprise – Amede the Soundsmith
Sole Sweat (Reso Remix) – Debruit
551 Blues – ????????
Sweat – Untold
Emora – The Clonious
Sagittarius Black – Timothy McNealty
Musical Revolution – Carlton Coffie & the Natural Elements
I’m a Levi – Ijahman Levi
Fort Augustus – Junior Delgado
Roots Upon Yuh Corner – Yami Bolo
Oil Ting (Version) – Coco T
Ride Pon De Riddim – Mikey Murka
You Too Good – General Trees
Jah Station – Johnny Lover
Private Life – Grace Jones
Queen Dub – Ticklah ft Rob Simeon
Marcus Garvey – Hypnotic Brass Ensemble
When The Sun Breaks Through – Karl Hector & The Malcouns
Addis Black Widow – Mulatu & The Heliocentrics
Jazz Note – Dj Krust
I Wanna Be There (Waxdoctor Remix) – Model 500
Solar Feelings (J Majik Remix) – Jacobs Optical Stairway
Consciosness – Photek

Back to the Root…

Tuesday, July 21st, 2009

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If you’re interests span music, spirituality and religious denomination then you may well have picked up on Rastafarianism’s strong focus on Ethiopia as a spiritual homeland. Those of you with adventurous minds may even have pondered on possible outcomes of a cross cultural fusion of Reggae, the voice of Rastafari with the traditional instruments and lyrical stylings of Africa’s eastern jewel….no?…well now’s your chance to consider it as not just a possiblity, but a hard fact.

Born of the vision of one time Steel Pulse collaborator Dubulah (aka Nick Page), Dub Colossus is an ambitious fusion of deep meditative dub, nyabinghi drumming and traditional instruments like the Messenqo (one-string fiddle) and Krar (Harp). Entitled ‘A Town Called Addis’, the album was inspired by Nick’s meeting, writing and working with Ethiopian singers and musicians in Addis Ababa in August 2006. The collaboration between Dub Colossus and these amazing musicians covers Azmari and traditional styles as well as the popular singing styles of the 60s and 70s.In addition to the traditional instruments mentioned, the album also features Addis based musicians Feleke Hailu (saxophone, classical composer, lecturer and Head of Music at the Yared Music School), Samuel Yirga (piano) and vocalists Sintayehu ‘Mimi’ Zenebe (the Edith Piaf” of Ethiopian song) and Tsedenia Gebremarkos, (performer radio presenter, and winner of a Kora award as the best female singer in East Africa).

Having been put onto the album a while back by Paul Bradshaw (Straight No Chaser), I was very pleased to get an email from Heads High’s own Cal Jader letting me know we’d been offered supporting DJ roles at their London show. I’m not sure if the HH site will go live in time for the show (i’m currently posting articles in a kind of self-absorbed digital limbo) but if it does, make sure you get down to Dingwalls on Weds 8th July and check it out. If the time has passed, all is not lost, click here to get yourself a copy of the album.