Zion Train Biography 2006

Total Page:16

File Type:pdf, Size:1020Kb

Zion Train Biography 2006 One of the most unique and enjoyable live dub acts on the planet, their use of dynamic onstage dub mixing whilst performing alongside acoustic instruments and exceptional vocalists, make Zion Train one of a kind. • Will celebrate 30 years in 2018! • Have played well over 2750 shows • Including Woodstock (Poland), Madasound (Martinique), Fusion Festival (Germany), Sierra Nevada World Music Festival (USA), Rototom Sunsplash (Italy/Spain), Outlook (Croatia), Boomtown (UK), Glastonbury Festival (UK) 14 TIMES , Seasplash Festival (Croatia), Bababoom Festival (Italy), Wickerman Festival (UK), Reggae Geel (Belgium), Universo Parallelo (Brazil), Reggae Sun Ska (France), Ostrada Reggae Festival (Poland), Asigiri Jam (Japan), Woodstock Festival (Poland), Sziget (Hungary), Exit (Serbia), Bielawa (Poland), Solipse (Zambia), Universo Parallelo (Brazil), Island Vibes and Rainbow Serpent (Australia) • Own and operate their Abassi Sound System • Run the Universal Egg and Deep Root independent record labels Albums Versions (2016) Land Of The Blind (2015) State Of Mind (2011) Dub Revolutionaries(2011) Live As One Remixed (2009) Live As One (2007) ) Original Sounds Remixed (2004) Original Sounds of the Zion (2002) Love Revolutionaries (1999) Grow Together (1996) Homegrown Fantasy (1994) Secrets Of The Animal Kingdom In Dub(1995) Siren (1994) Natural Wonders of the World in Dub (1993) Passage to Indica (1991) Studio Collaborations (Production and Remix) UB40, Gentleman, Gregory Isaacs, Beenie Man, Tippa Irie, Mad Professor, The Ruts DC, 99 posse, Raiz, Almamegretta, New Model Army, On U Sound, Jah9, plus many more. http://www.wobblyweb.com/ http://soundcloud.com/zion-train http://www.mixcloud.com/ziontrainindub/ http://www.youtube.com/user/neilperch https://www.instagram.com/ziontrainindub https://www.facebook.com/ZionTrainInDub https://ziontrain.bandcamp.com @ziontrainindub.
Recommended publications
  • Annual Report and Accounts 2014-2015
    Annual Report and Accounts 2014-2015 Working together for a safer Scotland Laid before the Scottish Parliament by Mister Paul Wheelhouse MSP under Section 42A(1) of the Fire (Scotland) Act 2005 (inserted by section 118 of the Police and Fire Reform (Scotland) Act 2012) xxxxxxxxx2015 SG-2014-277 Contents Page Welcome and Introduction 1 Management Commentary: Strategic Report 4 > The Scottish Fire and Rescue Service 5 > Our vision, values and targets 6 > Strategic Plan 2016-19 7 > Financial Review 7 > Performance Scorecard 8 > Strategic Aim 1: Improved safety of our communities and staff 22 > Strategic Aim 2: More equitable access to fire and rescue services 32 > Strategic Aim 3: Improved outcomes through partnership 38 > Strategic Aim 4: Develop a culture of continuous improvement 44 Sustainability Report 51 Directors Report 59 Remuneration Report 62 Annual Governance Statement 71 Business Risks 80 Statement of Accountable Officer’s Responsibilities 82 Independent Auditors Report 83 Annual Report and Accounts 85 To find out more, visit our website at www.firescotland.gov.uk Welcome and Introduction One of the things we are most pleased about is our community safety work which demonstrates the true value of our public service. PAT WATTERS Chair Scottish Fire and Rescue Service Board It gives us great pleasure to introduce our annual report Collaboration with the Scottish Government and for 2014-15. Within this document, you will find details engagement with a range of internal and external of the progress made by the Scottish Fire and Rescue stakeholders will ensure that as we move forward our Service (SFRS) in its second year operating as a national strategic direction and priorities continue to deliver organisation.
    [Show full text]
  • Scotland the Perfect Stage Scotland’S Events Strategy 2015-2025 Scotland the Perfect Stage Scotland’S Events Strategy 2015-2025 // Contents
    SCOTLAND THE PERFECT STAGE SCOTLAND’S EVENTS STRATEGY 2015-2025 SCOTLAND THE PERFECT STAGE SCOTLAND’S EVENTS STRATEGY 2015-2025 // CONTENTS // MOUNTAIN BIKE WORLD CUP, FORT WILLIAM © GARY WILLIAMSON ii// SCOTLAND THE PERFECT STAGE // SEPTEMBER 2015 // VISION FOR SCOTLAND //01// MINISTERIAL FOREWORD //03// INDUSTRY FOREWORD //05// 1 // DEVELOPING THE STRATEGY //07// 2 // WHAT WILL MAKE SCOTLAND THE PERFECT STAGE? //09// 3 // STRATEGY FOR SCOTLAND //13// 4 // DELIVERING THE STRATEGY //17// 5 // DEVELOPING PORTFOLIO OF EVENTS //19// 6 // DEVELOPING EVENTS – EVENT IMPACT //21// 7 // DEVELOPING EVENTS – INVESTMENT AND SUPPORT //27// 8 // DEVELOPING THE INDUSTRY – PARTNERSHIP AND COLLABORATION //29// 9 // DEVELOPING THE INDUSTRY – EDUCATION AND KNOWLEDGE SHARING //31// 10 // DEVELOPING THE INDUSTRY – QUALITY ORGANISATION AND DELIVERY //33// 11 // DEVELOPING SCOTLAND – INFRASTRUCTURE AND SERVICES //35// 12 // DEVELOPING SCOTLAND – REPUTATION //39// 13 // DEVELOPING SCOTLAND – VISITOR ECONOMY //43// 14 // COMMUNICATION //45// 15 // REPORTING AND REVIEW //47// SCOTLAND THE PERFECT STAGE //iii VISION FOR SCOTLAND SCOTLAND’S REPUTATION AS THE PERFECT STAGE FOR EVENTS IS RECOGNISED NATIONALLY AND INTERNATIONALLY. MISSION TO DELIVER THIS VISION TO DEVELOP, THROUGH A ONE SCOTLAND APPROACH, A STRONG AND DYNAMIC EVENTS INDUSTRY PRODUCING A PORTFOLIO OF EVENTS AND FESTIVALS THAT DELIVERS SUSTAINABLE IMPACT AND INTERNATIONAL PROFILE FOR SCOTLAND. 01// SCOTLAND THE PERFECT STAGE THE KELPIES, FALKIRK BY ANDY SCOTT SCOTLAND THE PERFECT STAGE //02 // MINISTERIAL FOREWORD // THE ROYAL NATIONAL MÒD © GRAHAM HOOD When Scotland the Perfect Stage was first Among the many legacy benefits secured for published in 2008, it set out this Government’s Scotland through the early planning and delivery vision for events and it highlighted the range of of these events, was the knowledge built, lessons benefits that a strong portfolio of events can yield learned and partnerships forged across the public, for Scotland.
    [Show full text]
  • Scotland the Perfect Stage Scotland’S Events Strategy 2015-2025 Scotland the Perfect Stage Scotland’S Events Strategy 2015-2025 // Contents // // September 2015
    SCOTLAND THE PERFECT STAGE SCOTLAND’S EVENTS STRATEGY 2015-2025 SCOTLAND THE PERFECT STAGE SCOTLAND’S EVENTS STRATEGY 2015-2025 // CONTENTS // // SEPTEMBER 2015 // VISION FOR SCOTLAND //01// MOUNTAIN BIKE WORLD CUP, FORT WILLIAM © GARY WILLIAMSON MINISTERIAL FOREWORD //03// INDUSTRY FOREWORD //05// 1 // DEVELOPING THE STRATEGY //07// 2 // WHAT WILL MAKE SCOTLAND THE PERFECT STAGE? //09// 3 // STRATEGY FOR SCOTLAND //13// 4 // DELIVERING THE STRATEGY //17// 5 // DEVELOPING PORTFOLIO OF EVENTS //19// 6 // DEVELOPING EVENTS – EVENT IMPACT //21// 7 // DEVELOPING EVENTS – INVESTMENT AND SUPPORT //27// 8 // DEVELOPING THE INDUSTRY – PARTNERSHIP AND COLLABORATION //29// 9 // DEVELOPING THE INDUSTRY – EDUCATION AND KNOWLEDGE SHARING //31// 10 // DEVELOPING THE INDUSTRY – QUALITY ORGANISATION AND DELIVERY //33// 11 // DEVELOPING SCOTLAND – INFRASTRUCTURE AND SERVICES //35// 12 // DEVELOPING SCOTLAND – REPUTATION //39// 13 // DEVELOPING SCOTLAND – VISITOR ECONOMY //43// 14 // COMMUNICATION //45// 15 // REPORTING AND REVIEW //47// ii// SCOTLAND THE PERFECT STAGE SCOTLAND THE PERFECT STAGE //iii THE KELPIES, FALKIRK BY ANDY SCOTT VISION FOR SCOTLAND SCOTLAND’S REPUTATION AS THE PERFECT STAGE FOR EVENTS IS RECOGNISED NATIONALLY AND INTERNATIONALLY. MISSION TO DELIVER THIS VISION TO DEVELOP, THROUGH A ONE SCOTLAND APPROACH, A STRONG AND DYNAMIC EVENTS INDUSTRY PRODUCING A PORTFOLIO OF EVENTS AND FESTIVALS THAT DELIVERS SUSTAINABLE IMPACT AND INTERNATIONAL PROFILE FOR SCOTLAND. 01// SCOTLAND THE PERFECT STAGE SCOTLAND THE PERFECT STAGE //02 // MINISTERIAL FOREWORD // THE ROYAL NATIONAL MÒD © GRAHAM HOOD Following the successful delivery of these and The revised Scotland the Perfect Stage aims many other events and the appointment of a new to provide the strategic focus for all involved in First Minister, the One Scotland Programme for any aspect of planning, securing, supporting and Government was published, setting out the key delivering events of all sizes in Scotland for the priorities of creating more, better paid jobs in a next decade.
    [Show full text]
  • Events, Festivals & Cultural Tourism
    Events, Festivals & Cultural Tourism in Scotland opportunities 10for growth EVENTS, FESTIVALS & CultuRAL TOURISM... Contents Scotland’s events, festivals, culture and heritage are huge 1 Introduction 04 selling points and something we should be rightly proud of. The very best of our heritage and culture is currently being celebrated in the ‘Winning Years’, leading up to 2014 when Scotland will host 2 Overview of events, festivals mega events including The Ryder Cup and Glasgow Commonwealth and cultural tourism in Scotland 08 Games, as well as the second Year of Homecoming. “ 3 Who are our ‘culture’ visitors? 20 Such a global stage presents a fantastic opportunity to showcase Innovation in product and service development, and in business processes, is key the very best of Scotland to the rest of the world. We can only do to the future competitiveness of the Scottish tourism industry. In this fast-moving this successfully, however, if the whole industry comes together consumer marketplace, Scotland needs to continually make the most of its distinctive 4 Getting involved with to turn our cultural strengths into an appealing range of visitor strengths and keep up with growing competition. The more you know about your existing opportunities 28 experiences which are promoted to this global audience in an customers, the better you can cater for them, the more satisfied they will be and the imaginative and creative way. more money they are likely to spend with you. 5 Working together: tourism businesses, The new strategy for Scottish tourism outlines ways we can Gathering and using good market intelligence to drive innovation is a quick, easy, cultural providers and event organisers 34 achieve this, and it is therefore incumbent on destinations, cheap and effective way to improve your business.
    [Show full text]
  • Is It Just the Music? Towards an Understanding of Festival-Goers and Their Experience at UK Music Festivals
    Is it just the Music? Towards an Understanding of Festival-goers and their Experience at UK Music Festivals by Alyssa Eve Brown PGCert, BA (Hons), FHEA A thesis submitted in partial fulfilment for the requirements for the degree of Doctor of Philosophy at the University of Central Lancashire April 2019 i STUDENT DECLARATION FORM Concurrent registration for two or more academic awards I declare that while registered for the research degree, I was with the University’s specific permission, an enrolled student for the following awards: Post Graduate Certificate in Business and Management Research Methods Post Graduate Certificate in Teaching and Learning in Higher Education Material submitted for another award I declare that no material contained in the thesis has been used in any other submission for an academic award and is solely my own work Signature of Candidate ______________________________________________________ Type of Award PhD__________________________________________________ School Lancashire School of Business and Enterprise ii Abstract Festivals are an adventure of the emotional and physical senses and can create unforgettable, exciting and thrilling memories of unfamiliar and unique experiences. With music festivals in particular, there is an additional emphasis on the chance to experience live music by often idolised musicians within a temporary community of shared musical interests. However, whilst a music festival may attract visitors through advertising an attractive and appealing line-up of popular acts, this far from guarantees a happy customer. There are many other elements that contribute to and impact upon the experience of the festival-goer (Morgan, 2008: 83). If these elements are managed well, this can result in benefits for both the consumer, through positive emotional and cognitive experiences, and for the organisation through repeat custom, recommendations and increased sales.
    [Show full text]
  • Into the Zone
    chapter 1 Into the Zone By the time I first got to Burning Man in 1996— which turned out to be a pivotal year for the event— it had already changed dramatically from its humble beginnings a decade before. On summer solstice eve in 1986, a man named Larry Harvey and his friend Jerry James decided, for no premeditated reason, to host an impromptu gathering on San Fran- cisco’s Baker Beach, where they constructed a primitive wooden effigy and burned it. Having invited just a handful of friends to join them, they were delighted to discover that as they set flame to the eight- foot- high sculpture, the spectacle attracted onlookers from up and down the beach. As Harvey tells the often-repeated tale, someone began to strum a gui- tar, others began to dance and interact with the figure, and a spontaneous feeling of community and connectedness came upon those gathered— friends and strangers alike (see DVD, chap. 1). Flushed with the unan- ticipated success of the gathering, Harvey and James soon decided to hold it again the next year; with each subsequent iteration, both the crowd and the sculpture grew substantially. Numerous legends have accumulated around the birth of the festival and— as is often the case with largely oral traditions—the elements of the narrative have shifted with each retelling, as some aspects have been emphasized and others lost in the dust. For his part, Harvey insists that he had no consciously preconceived ideas about the meaning of the Burning Man, let alone about starting a global movement.
    [Show full text]
  • New Music It Has Worked out Well
    44 ............... Sunday, December 3, 2017 1SM MUSIC KASABIAN guitarist Serge Pizzorno loves I dream of his rock ‘n’ roll lifestyle — but admits he wouldn’t mind moving out of the spotlight to live on a remote Scot- tish island. escaping The musician, right, fancies pulling a Paul McCartney, who bought hideaway Home Farm on Mull of Kintyre to escape the hec- tic world of showbiz. Serge says: “I wouldn’t rule crazy life out moving to Scotland. “Now and again I have these romantic ideas of escaping like McCartney did — buy a farm- house there in the middle of nowhere. in showbiz “I’d get a little studio and disap- pear for a bit. It sounds great.” Serge also talks of his pride at pal Noel Fielding’s hosting skills on the newest series of The Great British Bake-Off, above. GBBO co-host Noel previously revealed it was Serge who con- vinced him to take the gig. The show, which crowned winner Sophie Faldo last month, proved a huge hit after moving from BBC2 to Channel 4. And Serge thinks a lot of that is thanks to his comedian mate. He says: “I am sure people assumed he was going to turn up like he was in the Wicker Man, Morris danc- ing and everything, but when you know him he is really the sweetest guy and really intelligent. “And I knew he would get on with people and reckons one of the best gigs But Serge, who has stuntman would jump 20 cars — music”. But Serge insists the for- be a support for the con- ever was at the maiden Italian heritage, adds: is probably Martin Compston,.
    [Show full text]
  • The Jams' and the KLF's Invocation of Mu
    CHART MYTHOS The JAMs’ and The KLF’s Invocation of Mu [Received August 18th 2016; accepted September 22nd 2016 – DOI: 10.21463/shima.10.2.07] Jon Fitzgerald <[email protected]> Southern Cross UniversitY Philip Hayward <[email protected]> Kagoshima UniversitY Research Center for the Pacific Islands and UniversitY of TechnologY SYdneY ABSTRACT: The JAMs and The KLF, two overlapping popular music ensembles led by British multi-media performers JimmY CautY and Bill Drummond, were notable for both the success theY had with a batch of singles in the late 1980s and early 1990s and the complex mythologY theY constructed and celebrated in song lYrics, music videos, press releases and short films. KeY to their mYthological project was their association with the fictional lost island-continent of Mu (with the band name JAMs being an abbreviation for ‘Justified Ancients of Mu Mu’). The latter identitY was derived from Robert Shea and Robert Anton Wilson’s Illuminatus trilogY of novels in which the aforementioned “ancients” were a secret brotherhood involved in combatting the rival Illuminati, who originated in Atlantis. As the JAMS’ and KLF’s oeuvres progressed, aspects of Mu and Atlantis were synthesised by CautY and Drummond with elements of other actual and fictional islands. The article traces the initial imagination and representation of Mu in esoteric crYpto-historical literature, its rearticulation in Shea and Wilson’s counter-cultural novels and its invocation and function in CautY and Drummond’s work with The JAMs and The KLF. KEY
    [Show full text]
  • The VIP-Booking European Live Entertainment Book Advertising in the VIP Book Will Make You Visible to 10.000 Business Professionals All Over Europe
    WWW.VIP-BOOKING.coM VIP- News›› ›› PREmiUM VOL. 137 JUNE 2011 McGowan’s Musings: So there I was, crossing a wide and fast collectively known, strangely enough, as flowing river on bridge that looked per- Music Festivals. Encouraged by a Hop Farm fectly solid from the river bank but began sell-out with Prince, extending this year’s to sway from side to side in a strangely edition in July by a day, Power has filed the disturbing fashion when supporting the application for Music Festival’s admission weight of a man in full Scottish highland to Aim, the London Stock Exchange’s inter- dress playing the bagpipes and being national market for smaller growing com- followed by a trail of music industry folk panies, which will raise £6.5m. (See Busi- looking forward to the first drink of the ness News in this issue) Although there are evening. I was however temporarily dis- some worries being expressed about the tracted from concerns about the stability fortunes of many of this season’s events Allan McGowan of the bridge by the sight of the man up to with Reading tickets selling for less than his chest in the centre of this rushing river face value on the secondary market and unconcernedly wielding a very substantial Music and Arts Festival in Manchester, audiences being spread thin by a combi- fishing rod and also wearing a highland Tennessee, temperatures stayed in the 90s nation of a lack on new acts on the bills ‘bunnet’ while he attempted to catch fish (F), 30s (C) for almost the whole four days and increased competition (there were on their way to the one and only Loch Ness.
    [Show full text]
  • How Do the Promoters of Independent UK Music Festivals Organise And
    How do the promoters of independent UK music festivals organise and implement events? Danny Hagan BA (Hons), MA SuBmitted in fulfilment of the requirements for the Degree of Doctor of Philosophy London College of Music University of West London August 2019 Abstract The promoters of music festivals form part of an under-researched and somewhat neglected topic in the academic literature. Focus on events has largely centred on the needs and motivations of audiences, and on the consumption of festivals within a participatory culture. The emphasis in music studies has also Been concentrated on the recorded music industry, with the live sector often viewed as a secondary or less important area of study, despite the continued growth of the music festival industry. This thesis, therefore, redresses the Balance in Both these related areas, By exploring the practices and motivations of the Behind-the-scenes promoters who organise and implement these social and cultural events. The thesis looks first at the structures of the contemporary music industry and the place of independent UK music festivals in the live music ecology. It then considers, through the phenomenological perspective of the promoters, how music festivals are organised through a weB of social, economic and political relations and initiatives, and argues for the key role of the promoters in the production and distriBution of these experiential goods. Finally, it considers the individual practices and motivations of the festival promoters as the mediators of physical and social spaces, and questions the effects of implementing events on their mental health and wellBeing. 2 Table of contents Abstract ..........................................................................................................
    [Show full text]
  • Alex Biog and CV 2017.Pages
    Alex Rigg ! ! Alex Rigg is an artist working in a number of different disciplines. His work is often of a large scale and developed for a specific context or location. He makes performance events with his company, Oceanallover, and has designed set, costumes and choreography for many other companies, including NVA, Theatre Cryptic, Theatre Babel, Nation, Al Seed, Ramesh Meyapaan and Process 10:28. He designs and builds green oak structures that are functional and sculptural, making use of traditional framing techniques. Together with Trevor Leat, he designs and build large willow structures, including The Wickerman for the Wickerman Music Festival in Galloway and pyrotechnic sculptures for Carlton Hill as part of Edinburgh’s Hogmanay celebrations. Much of what he makes !involves collaboration with other artists, musicians and craftsmen. !Education: BA Fine Art (Hons) First Class – Glasgow School of Art - 1992 !MA Fine Art – Belfast – 1994 !Web-sites: !www.oceanallover.co.uk !www.leatrigg.co.uk ! Auchenstroan; Moniaive; Thornhill; Dumfriesshire; DG3 4JD; Scotland 00 44 (0)1848 200 357 [email protected] Alex Rigg ! ! ! !Teaching Alex is in demand as a mentor and teacher. He currently runs a course in Scotland called “Embodied Theatre” which teaches advanced theatre practice at a professional level. He has taught design and performance at the Royal Scottish Conservatoire and Glasgow School of Art. He has worked on educational projects with Scottish Ballet and for Artlink Central. His projects frequently !involve teaching classes and workshops in making and performing. !Design and Making - Excerpts Date Project ! 1982 - Orkney – 1989 !Archaeological illustrator, Howe of Howe excavation.
    [Show full text]
  • SB-4307-January 2020
    Scottishthethethethe www.scottishbanner.com Banner 37 Years StrongScottishScottishScottish - 1976-2013 Banner A’BannerBanner Bhratach Albannach 44 Volume 36 Number 11 The world’s largest international Scottish newspaper May 2013 Years Strong - 1976-2020 www.scottishbanner.com A’ Bhratach Albannach Volume 36 Number 11 The world’s largest international Scottish newspaper May 2013 VolumeVolumeVolume 43 36 36 Number Number Number 7 11 The 11 The Theworld’s world’s world’s largest largest largest international international international Scottish Scottish Scottish newspapernewspaper newspaper May January May 2013 2013 2020 Celebrating US Barcodes Burns Night » Pg 8 7 25286 844598 0 1 7 25286 844598 0 9 7 25286 844598 0 3 7 25286 844598 1 1 2020-A Year in Piping 7 25286The 84459 Year8 1 2 of » Pg 27 Scotland in Glasgow crowned Australia 2020 the UK’s top cultural » Pg 16 and creative city USAustralia Barcodes $4.50; N.Z. $4.95 » Pg 10 In the Shadow of Icons .......... » Pg 14 Celebrating 350 years of the Royal Plan your wedding Botanic Garden Edinburgh ... » Pg 28 New attractions and only in Scotland in Scotland experiences for 2020 .................. » Pg 30 7 25286 844598 0 1 » Pg 11 7 25286 844598 0 9 7 25286 844598 0 3 7 25286 844598 1 1 7 25286 844598 1 2 THE SCOTTISH BANNER Volume 43 - Number 7 Scottishthe Banner The Banner Says… Volume 36 Number 11 The world’s largest international Scottish newspaper May 2013 Publisher Offices of publication Valerie Cairney Australasian Office: PO Box 6202 Editor Marrickville South, Sean Cairney NSW, 2204 Tel:(02) 9559-6348 Robert Burns EDITORIAL STAFF Jim Stoddart [email protected] The National Piping Centre North American Office: The heaven taught ploughman David McVey Lady Fiona MacGregor [email protected] Eric Bryan David C.
    [Show full text]