Linton Kwesi Johnson Bass Culture Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Linton Kwesi Johnson Bass Culture mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Reggae Album: Bass Culture Country: Germany Style: Reggae, Dub Poetry MP3 version RAR size: 1221 mb FLAC version RAR size: 1437 mb WMA version RAR size: 1207 mb Rating: 4.5 Votes: 681 Other Formats: WMA AHX MMF AIFF AC3 MP3 XM Tracklist A1 Bass Culture 6:04 A2 Street 66 3:43 A3 Reggae Fi Peach 2:40 A4 Di Black Petty Booshwah 3:34 B1 Inglan Is A Bitch 5:25 B2 Loraine 4:07 B3 Reggae Sounds 3:10 B4 Two Sides Of Silence 2:12 Companies, etc. Recorded At – Gooseberry Sound Studios Lacquer Cut At – Sterling Sound Pressed By – Hauppauge Record Manufacturing Ltd. Credits Alto Saxophone – James Danton Artwork – Dennis Morris Bass – Floyd Lawson (tracks: A1, B2), Vivian Weathers (tracks: A2 to B1, B3, B4) Drums – Jah Bunny (tracks: A1, A3 to B4), Winston Curniffe (tracks: A2) Engineer – Dennis Bovell, John Caffrey*, Mark Lusardy* Flugelhorn – Dick Cuthell, Henry "Buttons" Tenyue* Guitar – John Kpiaye Harmonica – Julio Finn Keyboards – Dennis Bovell, Webster Johnson Mixed By – Dennis Bovell Percussion – Clinton Bailey, Everald "Fari" Forrest*, Jah Bunny Producer – Blackbeard , Linton Kwesi Johnson Tape Op – Sid Bucknor Tenor Saxophone – Henry "Buttons" Tenyue* Trombone – Rico* Trumpet – Dick Cuthell, Henry "Buttons" Tenyue* Vocals – Linton Kwesi Johnson Written-By – Linton Kwesi Johnson Notes Recorded at Gooseburry Sound Studios (London, UK). Barcode and Other Identifiers Matrix / Runout (Runout): (Side A) A-1 ∆ MLPS-9605-A K1 (Etched) Matrix / Runout (Runout): (Side B) A-1 ∆ MLPS-9605-B K1 (Etched) STERLING (Stamped) Other versions Category Artist Title (Format) Label Category Country Year Linton Kwesi Bass Culture (LP, Island ILPS 9605 ILPS 9605 UK 1980 Johnson Album) Records Island Linton Kwesi Bass Culture 402 211 Records, 402 211 Germany Unknown Johnson (Cass, Album) Mango Linton Kwesi Bass Culture (LP, Island ILPS 29605 ILPS 29605 South Africa 1981 Johnson Album) Records Linton Kwesi Bass Culture (LP, Island ILPS 9605 ILPS 9605 UK 1980 Johnson TP) Records Island 202 211, Linton Kwesi Bass Culture (LP, Records, 202 211, Netherlands 1980 202.211 Johnson Album) Island 202.211 Records Related Music albums to Bass Culture by Linton Kwesi Johnson Dennis Bovell And The Dub Band - Audio Active Linton Kwesi Johnson - In Concert With The Dub Band (The Best Of Linton Kwesi Johnson Live) Vivian Weathers - Just A Game Blackbeard - I Wah Dub Linton Kwesi Johnson - Forces Of Victory 15 16 17 / Dennis Bovell - Emotion / Castro Brown Speaks To Dennis Bovell Marie Pierre - Love Affair Linton Kwesi Johnson - Tings An' Times.

Copy Link

Recommended publications

The Dub Issue 15 August2017
AIRWAVES DUB GREEN FUTURES FESTIVAL RADIO + TuneIn Radio Thurs - 9-late - Cornerstone feat.Baps www.greenfuturesfestivals.org.uk/www.kingstongreenradi o.org.uk DESTINY RADIO 105.1FM www.destinyradio.uk FIRST WEDNESDAY of each month – 8-10pm – RIDDIM SHOW feat. Leo B. Strictly roots. Sat – 10-1am – Cornerstone feat.Baps Sun – 4-6pm – Sir Sambo Sound feat. King Lloyd, DJ Elvis and Jeni Dami Sun – 10-1am – DestaNation feat. Ras Hugo and Jah Sticks. Strictly roots. Wed – 10-midnight – Sir Sambo Sound NATURAL VIBEZ RADIO.COM Daddy Mark sessions Mon – 10-midnight Sun – 9-midday. Strictly roots. LOVERS ROCK RADIO.COM Mon - 10-midnight – Angela Grant aka Empress Vibez. Roots Reggae as well as lo Editorial Dub Dear Reader First comments, especially of gratitude, must go to Danny B of Soundworks and Nick Lokko of DAT Sound. First salute must go to them. When you read inside, you'll see why. May their days overflow with blessings. This will be the first issue available only online. But for those that want hard copies, contact Parchment Printers: £1 a copy! We've done well to have issued fourteen in hard copy, when you think that Fire! (of the Harlem Renaissance), Legitime Defense and Pan African were one issue publications - and Revue du Monde Noir was issued six times. We're lucky to have what they didn't have – the online link. So I salute again the support we have from Sista Mariana at Rastaites and Marco Fregnan of Reggaediscography. Another salute also to Ali Zion, for taking The Dub to Aylesbury (five venues) - and here, there and everywhere she goes.
[Show full text]
The Arts of Resistance in the Poetry of Linton Kwesi Johnson1
Revista África e Africanidades - Ano 3 - n. 11, novembro, 2010 - ISSN 1983-2354 www.africaeafricanidades.com The arts of resistance in the poetry of Linton Kwesi Johnson1 Jair Luiz França Junior2 Resumo: Este artigo analisa insubordinação e resistência manifestas na poesia pós-colonial contemporânea como forma de subverter os discursos dominantes no ocidente. Mais especificamente, a análise centra-se em estratégias textuais de resistência no trabalho do poeta britânico-jamaicano Linton Kwesi Johnson (também conhecido como LKJ). A qualidade sincretista na obra desse poeta relaciona-se com diáspora, hibridismo e crioulização como formas de re[escre]ver discursos hegemônicos com bases (neo)coloniais. Críticas pós- coloniais, em geral, irão enquadrar esta análise de estratégias de dominação e resistência, mas algumas discussões a partir do domínio de história, sociologia e estudos culturais também poderão entrar no debate. Neste sentido, há uma grande variedade de teorias e argumentos que lidam com as contradições e incongruências na questão das relações de poder interligada à dominação e resistência. Para uma visão geral do debate, este estudo compõe uma tarefa tríplice. Primeiramente, proponho-me a fazer um breve resumo autobiográfico do poeta e as preocupações sócio-políticas em sua obra. Em seguida, apresento algumas leituras críticas de seus poemas a fim de embasar teorias que lidam com estratégias de dominação e resistência no âmbito da literatura. Por fim, investigo como estratégias de resistência diaspórica e hibridismo cultural empregados na poesia de Linton Kwesi Johnson podem contribuir para o distanciamento das limitações de dicotomias e também subverter o poder hegemônico. Além disso, este debate está preocupado com a crescente importância de estudos acadêmicos voltado às literaturas pós-coloniais.
[Show full text]
The Arts of Resistance in the Poetry of Linton Kwesi Johnson
THE ARTS OF RESISTANCE IN THE POETRY OF LINTON KWESI JOHNSON AS ARTES DA RESISTÊNCIA NA POESIA DE LINTON KWESI JOHNSON JLFrança Junior* Resumo Este artigo analisa insubordinação e resistência manifestas na poesia pós-colonial contemporânea como forma de subverter os discursos dominantes no ocidente. Mais especificamente, a análise centra-se em estratégias textuais de resistência no trabalho do poeta britânico-jamaicano Linton Kwesi Johnson. A qualidade sincretista em sua obra relaciona-se com diáspora, hibridismo e crioulização como formas de re[escre]ver discursos hegemônicos com bases (neo)coloniais. Críticas pós-coloniais, em geral, irão enquadrar esta análise. Este estudo está organizado em três debates fundamentais: um breve relato biográfico do autor e a contextualização sociopolítica em que sua obra se insere, alguns exames críticos da poesia de LKJ e um estudo das estratégias de resistência diaspórica e hibridismo cultural empregados na sua poesia. Este artigo visa, portanto, a fazer uma análise literária de poemas pós-coloniais como técnicas estratégicas de descentramento da retórica ocidental dominante, a qual tenta naturalizar desigualdades e injustiças em ambos os contextos local e global. Palavras-chave: Poesia Contemporânea, Crítica Pós-colonial, Diáspora, Crioulização, Resistência. Abstract This paper analyses insubordination and resistance manifested in contemporary postcolonial poetry as ways of subverting dominant Western discourses. More specifically, I focus my analysis on textual strategies of resistance in the works of the British-Jamaican poet Linton Kwesi Johnson. The syncretistic quality in his oeuvre is related to diaspora, hybridity and creolisation as forms of writ[h]ing against (neo)colonially-based hegemonic discourses. Thus postcolonial critiques at large will frame this analysis.
[Show full text]
Linton Kwesi Johnson: Poetry Down a Reggae Wire
LINTON KWESI JOHNSON: POETRY DOWN A REGGAE WIRE by Robert J. Stewart for "Poetry, Motion, and Praxis: Caribbean Writers" panel XVllth Annual Conference CARIBBEAN STUDIES ASSOCIATION St. George's, Grenada 26-29 May, 1992 LINTON KWESI JOHNSON: POETRY DOWN fl RE66flE WIRE Linton Kwesi Johnson had been writing seriously for about four years when his first published poem appeared in 1973. There had been nothing particularly propitious in his experience up to then to indicate that within a relatively short period of time he would become an internationally recognized writer and performer. Now, at thirty-nine years of age, he has published four books of poetry, has recorded seven collections of his poems set to music, and has appeared in public readings and performances of his work in at least twenty-one countries outside of England. He has also pursued a parallel career as a political activist and journalist. Johnson was born in Chapelton in the parish of Clarendon on the island of Jamaica in August 1952. His parents had moved down from the mountains to try for a financially better life in the town. They moved to Kingston when Johnson was about seven years old, leaving him with his grandmother at Sandy River, at the foot of the Bull Head Mountains. He was moved from Chapelton All-Age School to Staceyville All-Age, near Sandy River. His mother soon left Kingston for England, and in 1963, at the age of eleven, Linton emigrated to join her on Acre Lane in Brixton, South London.1 The images of black and white Britain immediately impressed young Johnson.
[Show full text]
Dub Poetry - Culture of Resistance
DUB POETRY - CULTURE OF RESISTANCE Christian Habekost (Mannheim) It was the great Barbadian poet and literary critic Edward Kamau Brathwaite who wrote in his standard work on the development of a “Creole Society” about the emergence of a distinctive Caribbean culture: Whatever we did that was worthwile had to be blessed by Europe. And yet the folk tradition persisted. The drums beat from the blood, the people danced and spoke their un-English English until our artists, seeking at last to paint themselves, to speak themselves, to sing themselves, returned [...] to the roots, to the soil, to the sources.1 It is dub poetry that incorporates not only these elements of folk tradi tion Brathwaite is talking about, but blends several art forms like music, drama, poetry, literature and performance into one to produce a modern expression of pop culture that has achieved international recognition. Developing out of reggae music, which had already gained an interna tional status since Bob Marley & The Wailers had crossed the borders from 1975 on, dub poetry was able to reach an audience all around the world. The poetry took over the cultural values of the music, the revolu tionary spirit and its militant stance towards society and used the well- established channels reggae had already prepared. Yet even though dub poetry emerged when reggae was in fashion internationally, it still man aged to stay out of the vicious circle of artificial fads and promotional interests of the recording industry. Today, after reggae has returned to the ghettos where it once came from, dub poetry still enjoys international success and an increasing au dience in many countries of the world.
[Show full text]
"The Labels Pin Them Down"
"The labels pin them down" An Interview with Mervyn Morris by Pam Mordecail PA M Mo R 0 E C AI: There have been, I think, a fow definitions of dub poetry, and I would refer you to one that recently appeared in Ted Chamber /in 's Come Back To Me My Language.2 He talks about the business ofwhat the word "dub" originally means, which is putting just the music on the reverse side of a reggae piece and somebody else doing their own words to that music. And then he says: "Dubbing words over a musical background became common enough that dub poetry came to include any rendition incorporating reggae musical rhythms and any verse combining reggae rhythms with local speech. " How would you respond to that as a definition of dub? MERVYN MORRIS Thatmay do; I'll talk about Ted's thing in a moment. What might be more useful is for me to tell you when I first heard the tenn, and from whom under what circumstances. Because I first heard the tenn from Oku Onuora, whose name was then Orlando Wong, and his notion was that dub poetry, which he had started trying to write, was poetry that incorporated a reggae-rhythm; and you might find that you should be able to hear the reggae rhythm whether there was music playing behind the voice or not. That was sort of his central definition, which he gave me in 1979. Now, later on Oku, who personally I regard as the sort of source for a lot of my notions about what dub poetry is, because he has really been someone who's been thinking about it quite a long time - - I saw recently a documentary in Toronto, on dub poetry - and I hope I am not misinterpreting or misquoting them - but they said that dub poetry origi nated with Oku.
[Show full text]
Bartosz Wójcik Africanism in Linton Kwesi Johnson's Early Poetry
LUBELSKIE MATERIAŁY NEOFILOLOGICZNE NR 34, 2010 Bartosz Wójcik Africanism in Linton Kwesi Johnson's Early Poetry 1. The echo of the past Since “the etymology of diaspora suggests both routes (scattering) and roots (sowing)” (Procter 2003: 14), Afro-Caribbean and Black British dub poets, as represented by Jamaican-born Linton Kwesi Johnson, take heed of their artistic and anthropological ancestry, emphasising their shared Africanness. Individual aesthetic choices and philosophical differences notwithstanding, these poets both write back to the grand narrative of the British Empire, "provincialising Europe" (Boehmer 2007: 5) and in consequence acting as Afro-cultural guardians who, while "interrogating and revising the global map of contemporary modernity" (Boehmer 2007: 5), privilege African retentions and the history of the Black Atlantic. My paper is therefore an attempt to take a closer look at select African elements prevalent in Johnson's early poetic output, namely his first two collections: Voices of the Living and the Dead (1974) and Dread Beat An' Blood (1975). Though still to a degree present in Johnson's later publications, such as Tings an Times (1991), Africanism is supplanted by the poet's involvement “in a discourse of documentation” (Procter 2003: 94) of the toils and tribulations of the Black diaspora in the UK. Born “in August 1952 in Chapleton, a small town in the rural parish of Clarendon, Jamaica” (Johnson 1981: IV) and raised in “a 8 Bartosz Wójcik very poor [Afro-Jamaican] peasant family” (Morris 2005: 84), LKJ attended Tulse Hill Comprehensive School, Brixton, London in the 1960s. Then – “[a]bout '69, '70,” as Johnson recalls, he “began writing poetry” (Morris 2005: 86) and commenced the formative process of cultural discovery: “I didn't know there was such a thing as black literature.
[Show full text]
Goldsmiths, University of London Study Abroad Prospectus 2012 Entry
Goldsmiths, University of London Study Abroad Prospectus 2012 entry 107 years as part of the University of London 15 minutes by train from central London Over 23% of our students come from outside the UK 6 graduates who have won the prestigious Turner Prize 15 academic departments 5,805 undergraduates 3,422 postgraduates 1,519 staff 1 Goldsmiths About Goldsmiths > Contents 03 Contents About Goldsmiths Music 53 Introducing Goldsmiths ................................................................................................. 0 4 Politics and Economics 60 Location ................................................................................................................................ 0 6 Social life ............................................................................................................................... 0 8 Politics ................................................................................................................................... 60 Accommodation ................................................................................................................ 01 Economics ............................................................................................................................ 6 2 Course information ........................................................................................................... 12 Studying at Goldsmiths .................................................................................................. 14 Professional and Community Education (PACE)
[Show full text]
Postgraduate Guide 2019
GoldsmithsLondon Why Goldsmiths? 64 Anthropology StudyAtGold 02 Endless innovation, one inspiring legacy GoldsmithsUoL 66 Art 12 A world of choice, one life-changing decision GoldsmithsUoL 18 Thousands of individuals, one supportive community 68 Arts Administration & Cultural Policy 30 Limitless sights, one sensational city GoldsmithsUoL 38 All of London, one campus GoldsmithsUoL 70 Community Studies 46 Untold opportunities, one unforgettable experience 58 Countless paths, one destination 72 Computing 74 Creative & Cultural Entrepreneurship Our postgraduate degrees 76 Curating 62 Types of postgraduate course 64 Degree programmes 78 Design 108 Specialist programmes for international students 80 Education Next steps 82 English & Comparative Literature 116 How to apply 84 History 117 Entry requirements 119 Fees 86 Journalism 120 Scholarships and funding 122 Visas and immigration 88 Management 123 Index of programmes 90 Media, Communications & Cultural Studies 92 Music 94 Politics & International Relations 96 Psychology 98 Social Work 100 Sociology 102 Theatre & Performance 104 Therapeutic Studies 106 Visual Cultures LONDON THE EYE TAT E TOWER SOUTH LONDON BRIDGE BANK MODERN SHARD BRIDGE HALLS HALLS New Cross Gate HALLS HALLS HALLS New Cross HALLS GOLDSMITHS CAMPUS HALLS Our academic legacy stretches back to 1891, but we are always looking forward. Full of students and staff who are inventive, imaginative and original, Goldsmiths provides an environment where new ideas flourish. 02 03 History. It’s all about the past, right? But it’s important for the future. A future you can direct, improve, design. A blank canvas for all your challenging theories and ground-breaking ideas. We’ve got a reputation where all of that’s concerned.
[Show full text]
Writing on Public Themes Linton Kwesi Johnson
WRITING ON PUBLIC THEMES LINTON KWESI JOHNSON Literature is a public statement. Writing takes a private thought and puts it in the public domain. Carl Tighe Some writers are driven to write about urgent social and political issues. This can take the form of satire or of polemic; but in its form the comment can be almost anything - an essay, a novel, short story, poem, a film, a Banksy artwork on a public wall. What moves you in the contemporary political and social world? Is there some issue that makes you angry, upsets you, drives you to protest or speak out? How could you write about it? Literature is a public statement. Writing takes a private thought and puts it in the public domain. Some writers are driven to write about urgent social and political issues. This can take the form of satire or of polemic; but in its form the comment can be almost anything - an essay, a novel, short story, poem, a film, a Banksy artwork on a public wall. Dub-poet Linton Kwesi Johnson (born Jamaica, 1952) came to Britain in 1963. He lived in Brixton and joined the radical Black Panther movement, organising poetry readings and drumming work with his group, Rasta Love. He went on to study for a degree in sociology at Goldsmiths College and graduated in 1973. His literary honours include: C. Day-Lewis Fellowship, 1977; Associate Fellow of Warwick University, 1985; Honorary Fellow of Wolverhampton Polytechnic, 1987; an award at the XIII Premo Internazionale Ultimo Novecento from the city of Pisa for his contribution to poetry and popular music, 1990; the Premio Piero Ciampi Citta di Livorno Concorso Musicale Nazionale in Italy in 1998; an honorary fellowship from Goldsmiths College, University of London, 2003; Honorary Visiting Professor of Middlesex University, 2004; a silver Musgrave Medal from the Institute of Jamaica for distinguished eminence in the field of poetry, 2005; and the Golden PEN Award from English PEN for a Lifetime's Distinguished Service to Literature, 2012.
[Show full text]
Samuel Selvon and Linton Kwesi Johnson
Università degli Studi di Padova Dipartimento di Studi Linguistici e Letterari Corso di Laurea Magistrale in Lingue Moderne per la Comunicazione e la Cooperazione Internazionale Classe LM-38 Tesi di Laurea From the Caribbean to London: Samuel Selvon and Linton Kwesi Johnson Relatrice Laureanda Prof.ssa Annalisa Oboe Francesca Basso n° matr.1109406 / LMLCC Anno Accademico 2015 / 2016 TABLE OF CONTENTS PREFACE ................................................................................................... 3 FIRST CHAPTER - HISTORICAL BACKGROUND ............................. 5 1. The Rise and the Fall of the British Empire: An Overview ..........................5 2. Caribbean Migration to Great Britain: From the 1950s to the 1970s .............9 3. White Rejection: From the 1950s to the 1970s........................................... 12 SECOND CHAPTER - THE MIGRANT FROM THE CARIBBEAN .. 19 1. Identity ..................................................................................................... 19 1.1. Theoretical Overview ....................................................................... 19 1.2. Caribbean Identity ............................................................................ 21 2. Language .................................................................................................. 29 3. “Colonization in Reverse” ......................................................................... 37 THIRD CHAPTER - SAMUEL SELVON............................................... 41 1. Biography ................................................................................................
[Show full text]
Writin' and Soundin' a Transnational Caribbean Experience
Spring 2013 Dubbin’ the Literary Canon: Writin’ and Soundin’ A Transnational Caribbean Experience Warren Harding Candidate for Honors Africana Studies Africana Studies Honors Committee: Meredith Gadsby, Chair Gordon Gill Caroline Jackson Smith 2 ABSTRACT In the mid-1970s, a collective of Jamaican poets from Kingston to London began to use reggae as a foundational aesthetic to their poetry. Inspired by the rise of reggae music and the work of the Caribbean Artists Movement based London from 1966 to 1972, these artists took it upon themselves to continue the dialogue on Caribbean cultural production. This research will explore the ways in which dub poetry created an expressive space for Jamaican artists to complicate discussions of migration and colonialism in the transnational Caribbean experience. In order to do so, this research engages historical, ethnomusicological, and literary theories to develop a framework to analyze dub poetry. It will primarily pose the question, how did these dub poets expand the archives of Caribbean national production? This paper will suggest that by facilitating a dialogue among Jamaicans located between London and Kingston, dub poetry expanded the archives for Caribbean cultural production. In this expansion, dub poetry’s simultaneous combination of literary and sound genius not only repositioned geographical boundaries of Jamaican identity but also grounded the intersecting spaces of the written, spoken, recorded, and performed word. 3 Table of Contents Introduction………………………………………………………………………...4-9 Theories,
[Show full text]