Folio 90 July - Dec 2013
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THE ALLNITERS Will Always Be Remembered for Their Big Sound, Cracking Tunes and Eccentric Exuberance
THE ALLNITERS will always be remembered for their big sound, cracking tunes and eccentric exuberance. Mischievous and a little bit cheeky, they’re the most successful ska act in Australian history and they’re back: bigger, bolder and brassier than ever after over 30 years, proving once and for all that THE ALLNITERS are Allriters … and evidently ska’d for life. It all began back in 1980 when a group of eight lads and one rude girl gravitated towards charismatic founding member Marty Fabok as the inner-city mod scene was percolating. They nattered, laughed and riffled through their favourite reggae, blues; disco, Jamaican blue beat and rock steady vinyl collections. Jaunty brass and tight rhythm sections were forged and THE ALLNITERS had officially arrived, donning their porkpie hats, braces and Doc Martens and chomping at the bit to burn up the live circuit with upbeat rhythms, walking bass-lines and contagious jocularity. The band cut its teeth as a live act at Sydney’s legendary Sussex Hotel and went on to become one of the hardest touring acts in the country. Attendance records were broken, as were stages, with audience members sometimes storming the stage to out-number the band, egged on by those spilling out the doors, thus threatening structural collapse. Regardless, THE ALLNITERS never failed to amuse, with hysterical, quick-witted onstage banter between vocalists Peter Travis and Brett Pattinson rivaling that of The Two Ronnie’s. The band rapidly became as renowned for their energetic sense of playfulness as for their larger than life new wave sound. -
Basslines 6: Roots, Dancehall, and Karaoke
Basslines 6: Roots, Dancehall, and Karaoke Column in zweikommasieben Magazin #15, 2017 (www.zweikommasieben.ch ) Annotated version with sound and text references Text: Marius ‚Comfortnoise‘ Neukom ( www.comfortnoise.com ) With his 2000 book Bass Culture: When Reggae was King , Lloyd Bradley presented the most comprehensive, varied, and entertaining history of reggae to date. In its last section, however, the book takes a surprising turn – Bradley argued that the history of reggae came to an end in the mid-80s, and left was without any notable offshoots. This is an astonishing thesis, especially coming from an author like him. What were the arguments behind it, and what kind of light do the fifteen+ years since the book’s pub- lication shed on its legitimacy? In the early 1970s, after ska and rocksteady 1, Jamaica found in reggae a style that was distinctive in both musical profile and content. It was a style that would go on to influ- ence the identity of a generation and that was characterized by the social and political 1 The origins lie in the boom of the still colonial Jamaica of the 50s, when first sound systems (loud- speakers placed under free sky) were playing mento, calypso, r&b, jazz and soul. At the end of the 50s in the ghettos of Kingston, ska (https://en.wikipedia.org/wiki/Ska ) emerged: a mixture of the aforementioned music styles that became the first genuine Jamaican genre. With the high pace of ska, its emphasis on the rhythm and by broaching the issue of everyday life in the ghetto, the first gangsters entered the stage. -
Reggae Bass Pdf, Epub, Ebook
REGGAE BASS PDF, EPUB, EBOOK Ed Friedland | 32 pages | 01 Nov 1998 | Hal Leonard Corporation | 9780793579945 | English | Milwaukee, United States Reggae Bass PDF Book Reggae Rock. Here's a cool trick I learned to get super sub dubby bass tone: use an envelope filter, but turn the sensitivity all the way down so that it never opens. Print this page Do you know your Reggae Bass? No effects. May 26, Chapel Hill, NC. Fender Mustang Amp Review. Walking lines and swung bass lines in reggae tend to stay behind the beat and generally play very relaxed. Reggae Guitar. Reggae Love Songs. All rights reserved. You can accomplish everything with a few basic EQ and technique changes. Mostly no effects, it is really about the groove, not the tone. Do you use effects in reggae? It was also during this time that bass players were given a little bit more musical freedom and bass lines during this period began to become more intricate — relatively speaking bearing the standards set by ska and rocksteady in mind from before. Extra sustain and super round, phat but clean bass. Reggae Bass Scales. Use the previous reggae grooves as a blueprint for creating your own and listen to a lot of reggae bands for inspiration. Reggae Instrumental. The earliest form of music to come from Jamaica was a mid-tempo style of music called ska. While the One Drop Rhythm is fundamentally a single strike of the kick and the snare at the same time, there is some ambiguity on whether or not the drop is on beat three or just on beats two and four. -
Carlton Barrett
! 2/,!.$ 4$ + 6 02/3%2)%3 f $25-+)4 7 6!,5%$!4 x]Ó -* Ê " /",½-Ê--1 t 4HE7ORLDS$RUM-AGAZINE !UGUST , -Ê Ê," -/ 9 ,""6 - "*Ê/ Ê /-]Ê /Ê/ Ê-"1 -] Ê , Ê "1/Ê/ Ê - "Ê Ê ,1 i>ÌÕÀ} " Ê, 9½-#!2,4/."!22%44 / Ê-// -½,,/9$+.)"" 7 Ê /-½'),3(!2/.% - " ½-Ê0(),,)0h&)3(v&)3(%2 "Ê "1 /½-!$2)!.9/5.' *ÕÃ -ODERN$RUMMERCOM -9Ê 1 , - /Ê 6- 9Ê `ÊÕV ÊÀit Volume 36, Number 8 • Cover photo by Adrian Boot © Fifty-Six Hope Road Music, Ltd CONTENTS 30 CARLTON BARRETT 54 WILLIE STEWART The songs of Bob Marley and the Wailers spoke a passionate mes- He spent decades turning global audiences on to the sage of political and social justice in a world of grinding inequality. magic of Third World’s reggae rhythms. These days his But it took a powerful engine to deliver the message, to help peo- focus is decidedly more grassroots. But his passion is as ple to believe and find hope. That engine was the beat of the infectious as ever. drummer known to his many admirers as “Field Marshal.” 56 STEVE NISBETT 36 JAMAICAN DRUMMING He barely knew what to do with a reggae groove when he THE EVOLUTION OF A STYLE started his climb to the top of the pops with Steel Pulse. He must have been a fast learner, though, because it wouldn’t Jamaican drumming expert and 2012 MD Pro Panelist Gil be long before the man known as Grizzly would become one Sharone schools us on the history and techniques of the of British reggae’s most identifiable figures. -
Sooloos Collections: Advanced Guide
Sooloos Collections: Advanced Guide Sooloos Collectiions: Advanced Guide Contents Introduction ...........................................................................................................................................................3 Organising and Using a Sooloos Collection ...........................................................................................................4 Working with Sets ..................................................................................................................................................5 Organising through Naming ..................................................................................................................................7 Album Detail ....................................................................................................................................................... 11 Finding Content .................................................................................................................................................. 12 Explore ............................................................................................................................................................ 12 Search ............................................................................................................................................................. 14 Focus .............................................................................................................................................................. -
The Byron Shire Echo
THE BYRON SHIRE Volume 28 #39 The Tuesday, March 11, 2014 Phone 02 6684 1777 Fax 02 6684 1719 [email protected] [email protected] Arts www.echo.net.au CAB 23,200 copies every week AUDIT HISTORY IS A RACE BETWEEN EDUCATION AND DISASTER: HG WELLS Inside Mungo Ex-Byron More Belongil Newest of It’s not The best Byron Shire this speaks president talks kerfuffl e the new for Mandy’s damn gig Council Notices week – p8 bypass – p5 – p10 you – p12 fault – p15 guide – p19 Page 32–33 Bikies face crackdown It’s a nude pedal! Police have asked the Tweed and in light of the announcement. Byron Bay liquor accords to not Mr Secord said, ‘Th e comments admit motorcycle gang members by senior police are very embarrass- who wear gang colours or related ing for National Party parliamentar- paraphernalia to their venues. ians, who said that have repeatedly It’s a move that appears to be denied the presence of bikie gangs.’ aimed not just at local gang members Inspector Jim Kain from Tweed/ but those coming down from QLD. Byron Local Area Command told Byron Accord chair, Hannah The Echo the push was part of a Spalding, told The Echo that some statewide general trend. venues already have such policies He confi rmed that two club hous- in place, and that ‘members of the es remaining in the region belong to Accord that were asked were happy the Mongols at Chinderah and Odin’s to support the request.’ Warriors in South Tweed Heads. -
The Swell and Crash of Ska's First Wave : a Historical Analysis of Reggae's Predecessors in the Evolution of Jamaican Music
California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses 2014 The swell and crash of ska's first wave : a historical analysis of reggae's predecessors in the evolution of Jamaican music Erik R. Lobo-Gilbert California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes Recommended Citation Lobo-Gilbert, Erik R., "The swell and crash of ska's first wave : a historical analysis of reggae's predecessors in the evolution of Jamaican music" (2014). Capstone Projects and Master's Theses. 366. https://digitalcommons.csumb.edu/caps_thes/366 This Capstone Project is brought to you for free and open access by Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. Unless otherwise indicated, this project was conducted as practicum not subject to IRB review but conducted in keeping with applicable regulatory guidance for training purposes. For more information, please contact [email protected]. Erik R. Lobo-Gilbert CSU Monterey Bay MPA Recording Technology Spring 2014 THE SWELL AND CRASH OF SKA’S FIRST WAVE: A HISTORICAL ANALYSIS OF REGGAE'S PREDECESSORS IN THE EVOLUTION OF JAMAICAN MUSIC INTRODUCTION Ska music has always been a truly extraordinary genre. With a unique musical construct, the genre carries with it a deeply cultural, sociological, and historical livelihood which, unlike any other style, has adapted and changed through three clearly-defined regional and stylistic reigns of prominence. The music its self may have changed throughout the three “waves,” but its meaning, its message, and its themes have transcended its creation and two revivals with an unmatched adaptiveness to thrive in wildly varying regional and sociocultural climates. -
Jamaican Dancehall in the 21St Century
Pon de Dancefloor: Jamaican Dancehall in the 21st Century Stephanie R. Espie University of Delaware [email protected] Abstract The history of Jamaican music includes Roots, Mento, Ska, Rocksteady and Reggae styles - setting the stage for the origination of the Dancehall genre in the early 1980s. While a wide range of ethnographic literature has been published on these musical foundations, few publications exist on the evolution of Dancehall in Jamaica. Dancehall has expanded in the past 10-15 years due to increasing effects of collaboration between American and Jamaican artists and DJs along with the ease of musical transmission through technology. In this ethnographic research, I have studied the evolution of Dancehall to create a portrayal of musical trends leading to the predominance of Dancehall in Jamaica. I collected data over 10 days of fieldwork in Portland, Jamaica in June of 2015. The music played by four club DJs was chosen as the focus of study because of its influence on Portland’s musical culture. Data consisted of observational field notes and 10 hours of audio recordings of local DJs in club settings. Audio recordings were analyzed for traditional beats, song length, production year, language choice, and added effects. Field notes were used as a secondary source to confirm/disconfirm the emerging musical themes from across these DJs. Findings have been compared to the existing literature to create an updated trajectory of musical trends within Dancehall. Along with contributions to the field of ethnomusicology, this research can be used in music education in informal music learning on a domestic and international level. -
Music, Mas, and the Film and Video Segments
Entertainment Services with Special Reference to MUSIC, MAS, AND THE FILM AND VIDEO SEGMENTS Submitted to: MR. HENRY S. GILL Communications Director/Team Leader CARICOM Trade Project Caribbean Regional Negotiating Machinery (RNM) "Windmark", First Avenue, Harts Gap Hastings, Christ Church Barbados Submitted by: MS. ALLISON DEMAS AND DR. RALPH HENRY December 2001 Entertainment Services with Special Reference to Music, Mas, and the Film & Video Segments i Contents EXECUTIVE SUMMARY........................................................................................................VI SECTION I 1.0 INTRODUCTION .......................................................................................................... 1 1.1 Objectives of Study........................................................................................................ 2 1.2 Delimitations and Limitations....................................................................................... 2 1.3 Outline of Study............................................................................................................. 3 1.4 Intellectual Property Rights.......................................................................................... 4 1.5 Industrial Organisation ................................................................................................ 7 1.6 Music........................................................................................................................... 11 1.7 Street Festivals........................................................................................................... -
Theuppertones.Com
The Uppertones is a powerful trio of trombone, vocals, piano, & drums dedicated to the sound of the 50's in Jamaica, the Jamaican R'n'B, Jamaican boogie, calypso, & mento. The kick start to homegrown Jamaican music in the 50s came from American rock'n'roll and R'n'B. At that time it was the birth of Ska, which originated rocksteady, reggae etc. This trio aims to please crowds with a stompin' swing style mixed with the Jamaican edge and style. Mr.T-Bone is a well known singer, composer, and trombone player in the international ska scene who has released 8 solo albums in the last 12 years and has toured Europe, USA, Canada, Indonesia, Brazil and Mexico. He has been a major contributor to the Italian ska & reggae scene for over a decade now. Peter Truffa a is a fabulous piano player & singer from New York. With his blues, jazz, and ska roots, he toured for years with The New York Ska-Jazz Ensemble and with Giuliano Palma and the Bluebeaters. Ferdinando Count Ferdi Masi is the best drummer you can have for this kind of music, he's an Italian ska and rocksteady pioneer founder of The Casino Royale the first italian ska band and The Bluebeaters. He plays with Mr.T-Bone since 1992 in many different projects. Their first album Closer To The Bone was released in 2015. This album was a selection of 12 tunes from the marvelous sound of the 50’s. After releasing it they immediately toured Europe for two years no stop playing 200 shows in twelve European countries. -
2013 ANNUAL REPORT PATRONS Hon
2013 ANNUAL REPORT PATRONS Hon. John Cain Rt. Hon. Malcolm Fraser AC CH GCL PC BOARD Chairman Stefan Romaniw OAM Deputy Chair Natalia Moravski Deputy Chair Dr Geraldine Kennett Treasurer Dr Brad Potter Secretary Ronald Koo Members Marcello D’Amico Prof Ruth Rentschler OAM Kay Nattrass Hilary Bucumi Karen Toohey Miriam Suss OAM Katie McLeish Finance, Risk & Audit Subcommittee Dr Brad Potter Brad Price Dr Geraldine Kennett Hung Nguyen Constitution Subcommittee Natalia Moravski Ronald Koo Jill Morgan AM Philanthropy & Fundraising Subcommittee Miriam Suss OAM Kay Nattrass Jill Morgan AM Kat Vane Tempest STAFF Chief Executive Officer Jill Morgan AM Artistic Program Managers Anita Larkin Paul Petran Finance, Office & ICT Manager Hung Nguyen An Thuy Mai Marketing & Development Claudia Escobar Fundraising & Philanthropy Kat Vane Tempest Admin, Publicity & Design Deshani Wickremasinghe Adriana Bernardo Social Enterprise & Events Meg Larkin Events & Operations Andrea Makris Kate Hayes Project Officers Jess Fairfax Anne Harkin Trinidad Estay Project Officer Youth Sukdeep Singh Sarah Williams Krystal Wani Rebecca March Project Officer Hubs Ekaterini Floratos Emerge Cultural Hubs Trainee Aysa Hajtamiri Video & Multimedia Sebastian Avila Consulting Curator Damian Smith International Marketing Internship Claudia Cazeres (Mexico) Rilda Amalia (Indonesia) Marketing Internships Man Luo Robyn Gawenda Josh Littmann Accounting Internships Steny Lukose Lan Nguyen Work Experience Jinuka Binaragama John Nguyen Andoni Laguna- Albert Manav Gogoi VOLUNTEERS & PLACEMENTS -
Dynaudio Emit M30 Loudspeakers
ON TEST DYNAUDIO EMIT M30 LOUDSPEAKERS ynaudio has come a house—and largely by hand—in Denmark. the same time using just a single piece of long way since it fi rst Peel the front grille from a Dynaudio loud- MSP, and also ensures that the cone is rein- came into being in speaker and you’ll immediately recognise it’s forced close to where it meets the voice-coil Skandeborg, Denmark, made by Dynaudio, even if there’s no man- former, a technique that improves both the in 1976, where it was ufacturer’s badge in sight. The fi rst giveaway frequency response and the phase response of founded by Ejvind is the use of a magnesium silicate polymer the driver. Skaaning and Gerhard (MSP) material for the bass and midrange As for that voice coil, Dynaudio uses some Richter, but despite improvements in mate- cones and the second is the unique manner of the largest-diameter voice coils in the busi- Drials and manufacturing technologies—and by which the very large dust-cap is attached ness (relative to cone size), with the coil on that the company is now owned by Chinese to those cones, via a series of tabs rather than even the smallest cones measuring 75mm in giant GoerTek Inc.—Dynaudio products are the usual continuous plastic weld. diameter rather than the 25–30mm diameter still very much and very uniquely Danish—in This ‘tab’ technique was developed by coils used by most other driver manufac- fact we’re reliably informed that despite Go- Mark Thorup, of Dynaudio.