Central Florida Future, Vol. 26 No. 31, May 18, 1994
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Lila Iké | Biography Lila Ike (Pronounced Lee-Lah Eye-Kay) Is on the Brink of Stardom. the 26-Year-Old Jamaican Songbird
Lila Iké | Biography Lila Ike (pronounced Lee-lah Eye-kay) is on the brink of stardom. The 26-year-old Jamaican songbird has an edge and ease in her voice that creates an immediate gravitational pull with her listener, fusing contemporary reggae with elements of soul, hip-hop and dancehall. The free-spirited, easy-going singer has already released a handful of velvety smooth songs through In.Digg.Nation Collective, a record label and talent pool for Jamaican creatives, founded by reggae star Protoje. The ExPerience will be Lila Iké’s debut EP for Six Course/RCA Records in a new partnership with In.Digg.Nation Collective. She breathes a delicate testimony of love, infatuation, and spiritual guidance in the 7-track release out this Spring. The EP is padded with previously-released songs such as “Where I’m Coming From” and “Second Chance.” Pivoting from the singles that earned her international acclaim in 2018 and 2019, Lila Iké unveils playful seduction on “I Spy,” her first release of 2020 produced by Izy Beats (the hitmaker behind Koffee’s “Toast”). Beckoning with innocent flirtation over soft guitar licks, Lila in a sweet falsetto sings, “I spy I spy, that you see something you might like. Won’t you come over if you really mean it.” The layers to Lila are in full bloom as she opens up about the daily pressures she faces through her interaction with people and wanting peace of mind in “Solitude” — . On “Stars Align,” Lila flips the instrumental from Protoje’s “Bout Noon” into an anthem about falling in love through the metaphor of making music. -
Shilliam, Robbie. "Dread Love: Reggae, Rastafari, Redemption." the Black Pacific: Anti- Colonial Struggles and Oceanic Connections
Shilliam, Robbie. "Dread Love: Reggae, RasTafari, Redemption." The Black Pacific: Anti- Colonial Struggles and Oceanic Connections. London: Bloomsbury Academic, 2015. 109–130. Bloomsbury Collections. Web. 23 Sep. 2021. <http://dx.doi.org/10.5040/9781474218788.ch-006>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 23 September 2021, 11:28 UTC. Copyright © Robbie Shilliam 2015. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 6 Dread Love: Reggae, RasTafari, Redemption Introduction Over the last 40 years roots reggae music has been the key medium for the dissemination of the RasTafari message from Jamaica to the world. Aotearoa NZ is no exception to this trend wherein the direct action message that Bob Marley preached to ‘get up stand up’ supported the radical engagements in the public sphere prompted by Black Power.1 In many ways, Marley’s message and demeanour vindicated the radical oppositional strategies that activists had deployed against the Babylon system in contradistinction to the Te Aute Old Boy tradition of tactful engagement. No surprise, then, that roots reggae was sometimes met with consternation by elders, although much of the issue revolved specifically around the smoking of Marijuana, the wisdom weed.2 Yet some activists and gang members paid closer attention to the trans- mission, through the music, of a faith cultivated in the Caribbean, which professed Ethiopia as the root and Haile Selassie I as the agent of redemption. And they decided to make it their faith too. -
Sly & Robbie – Primary Wave Music
SLY & ROBBIE facebook.com/slyandrobbieofficial Imageyoutube.com/channel/UC81I2_8IDUqgCfvizIVLsUA not found or type unknown en.wikipedia.org/wiki/Sly_and_Robbie open.spotify.com/artist/6jJG408jz8VayohX86nuTt Sly Dunbar (Lowell Charles Dunbar, 10 May 1952, Kingston, Jamaica, West Indies; drums) and Robbie Shakespeare (b. 27 September 1953, Kingston, Jamaica, West Indies; bass) have probably played on more reggae records than the rest of Jamaica’s many session musicians put together. The pair began working together as a team in 1975 and they quickly became Jamaica’s leading, and most distinctive, rhythm section. They have played on numerous releases, including recordings by U- Roy, Peter Tosh, Bunny Wailer, Culture and Black Uhuru, while Dunbar also made several solo albums, all of which featured Shakespeare. They have constantly sought to push back the boundaries surrounding the music with their consistently inventive work. Dunbar, nicknamed ‘Sly’ in honour of his fondness for Sly And The Family Stone, was an established figure in Skin Flesh And Bones when he met Shakespeare. Dunbar drummed his first session for Lee Perry as one of the Upsetters; the resulting ‘Night Doctor’ was a big hit both in Jamaica and the UK. He next moved to Skin Flesh And Bones, whose variations on the reggae-meets-disco/soul sound brought them a great deal of session work and a residency at Kingston’s Tit For Tat club. Sly was still searching for more, however, and he moved on to another session group in the mid-70s, the Revolutionaries. This move changed the course of reggae music through the group’s work at Joseph ‘Joe Joe’ Hookim’s Channel One Studio and their pioneering rockers sound. -
Rastalogy in Tarrus Riley's “Love Created I”
Rastalogy in Tarrus Riley’s “Love Created I” Darren J. N. Middleton Texas Christian University f art is the engine that powers religion’s vehicle, then reggae music is the 740hp V12 underneath the hood of I the Rastafari. Not all reggae music advances this movement’s message, which may best be seen as an anticolonial theo-psychology of black somebodiness, but much reggae does, and this is because the Honorable Robert Nesta Marley OM, aka Tuff Gong, took the message as well as the medium and left the Rastafari’s track marks throughout the world.1 Scholars have been analyzing such impressions for years, certainly since the melanoma-ravaged Marley transitioned on May 11, 1981 at age 36. Marley was gone too soon.2 And although “such a man cannot be erased from the mind,” as Jamaican Prime Minister Edward Seaga said at Marley’s funeral, less sanguine critics left others thinking that Marley’s demise caused reggae music’s engine to cough, splutter, and then die.3 Commentators were somewhat justified in this initial assessment. In the two decades after Marley’s tragic death, for example, reggae music appeared to abandon its roots, taking on a more synthesized feel, leading to electronic subgenres such as 1 This is the basic thesis of Carolyn Cooper, editor, Global Reggae (Kingston, Jamaica: Canoe Press, 2012). In addition, see Kevin Macdonald’s recent biopic, Marley (Los Angeles, CA: Magonlia Home Entertainment, 2012). DVD. 2 See, for example, Noel Leo Erskine, From Garvey to Marley: Rastafari Theology (Gainesville, FL: University Press of Florida, 2004); Dean MacNeil, The Bible and Bob Marley: Half the Story Has Never Been Told (Eugene, OR: Cascade Books, 2013); and, Roger Steffens, So Much Things to Say: The Oral History of Bob Marley, with an introduction by Linton Kwesi Johnson (New York and London: W.W. -
Black Uhuru Tear It up - Live Mp3, Flac, Wma
Black Uhuru Tear It Up - Live mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Reggae Album: Tear It Up - Live Country: Canada Released: 1982 Style: Reggae, Roots Reggae MP3 version RAR size: 1689 mb FLAC version RAR size: 1153 mb WMA version RAR size: 1113 mb Rating: 4.3 Votes: 124 Other Formats: ADX AAC AA VOX AA AHX WMA Tracklist Hide Credits Shine Eye Gal A1 4:24 Written-By – D. Simpson*, M. Rose* Plastic Smile A2 3:34 Written-By – M. Rose* Abortion A3 5:25 Written-By – D. Simpson*, M. Rose* General Penitentiary A4 5:11 Written-By – M. Rose* Guess Who's Coming To Dinner B1 3:46 Written-By – M. Rose* I Love King Selassie B2 4:20 Written-By – D. Simpson*, M. Rose* Sinsemilla B3 3:20 Written-By – M. Rose* Leaving For Zion B4 7:50 Written-By – M. Rose* Companies, etc. Mixed At – Fallout Shelter Credits Bass Guitar – Robbie Shakespeare Design [Sleeve Design] – Bruno Tilley Drums – Sly Dunbar Engineer [Mobile Recording] – Alex Sadkin Harmony Vocals – Duckie Simpson, Puma Jones Keyboards – Keith Sterling Lead Guitar – Darryl Thompson Lead Vocals – Michael Rose Mixed By, Other [Live Sound] – Godwin Logie Percussion – Skyjuice* Photography By – Adrian Boot, Peter Murphy Rhythm Guitar – Mikey Chung Notes Recorded on tour in Europe 1981. / Mixed at Fallout Shelter, London. This release is a part of The "Island Life Collection" was released 1984 or later. (Island Records Celebrating Their 25 Years). ℗ 1982 Original Sound Recording / © 1982 Island Records Ltd. / Made by Island Inc. Barcode and Other Identifiers Barcode: 4 007192 043675 Label Code: -
Dennis Brown ARTIST: Dennis Brown TITLE: The
DATE March 27, 2003 e TO Vartan/Um Creative Services/Meire Murakami FROM Beth Stempel EXTENSION 5-6323 SUBJECT Dennis Brown COPIES Alice Bestler; Althea Ffrench; Amy Gardner; Andy McKaie; Andy Street; Anthony Hayes; Barry Korkin; Bill Levenson; Bob Croucher; Brian Alley; Bridgette Marasigan; Bruce Resnikoff; Calvin Smith; Carol Hendricks; Caroline Fisher; Cecilia Lopez; Charlie Katz; Cliff Feiman; Dana Licata; Dana Smart; Dawn Reynolds; [email protected]; Elliot Kendall; Elyssa Perez; Frank Dattoma; Frank Perez; Fumiko Wakabayashi; Giancarlo Sciama; Guillevermo Vega; Harry Weinger; Helena Riordan; Jane Komarov; Jason Pastori; Jeffrey Glixman; Jerry Stine; Jessica Connor; Jim Dobbe; JoAnn Frederick; Joe Black; John Gruhler; Jyl Forgey; Karen Sherlock; Kelly Martinez; Kerri Sullivan; Kim Henck; Kristen Burke; Laura Weigand; Lee Lodyga; Leonard Kunicki; Lori Froeling; Lorie Slater; Maggie Agard; Marcie Turner; Margaret Goldfarb; Mark Glithero; Mark Loewinger; Martin Wada; Melanie Crowe; Michael Kachko; Michelle Debique; Nancy Jangaard; Norma Wilder; Olly Lester; Patte Medina; Paul Reidy; Pete Hill; Ramon Galbert; Randy Williams; Robin Kirby; Ryan Gamsby; Ryan Null; Sarah Norris; Scott Ravine; Shelin Wing; Silvia Montello; Simon Edwards; Stacy Darrow; Stan Roche; Steve Heldt; Sujata Murthy; Todd Douglas; Todd Nakamine; Tracey Hoskin; Wendy Bolger; Wendy Tinder; Werner Wiens ARTIST: Dennis Brown TITLE: The Complete A&M Years CD #: B0000348-02 UPC #: 6 069 493 683-2 CD Logo: A&M Records & Chronicles Attached please find all necessary liner notes and credits for this package. Beth Dennis Brown – Complete A&M Years B0000348-02 1 12/01/19 11:49 AM Dennis Brown The Complete A&M Years (CD Booklet) Original liner notes from The Prophet Rides Again This album is dedicated to the Prophet Gad (Dr. -
Newsletter 1993A
SMOKEY'S RECORDS N E w s L E T T E R VOLUME ONE, NUMBER THREE SPRING, 1993 OUR FAVORITE PICKS We thought you might be interested in what we are listening to here at Smokey's, so we asked each employee to list their favorite album of the moment. Here are their responses: --:-.r:-•"'~~ t . -. ;:/"~/~ Tetevision j o=-~>'"'Ji ~ . ·. ~ ' ·.·· ~// !.'t~~.... ~; ~/ l ~ -~ ~ ':<. ~\.>··· "~ I I• " . ll ,-,.P/j ,) \1! ·..{~ 'l: ,.. ;t MYRA JOES. Neil Young: Harvest Moon Television gems include his playful duet with the Mills Reprise 45057 Capitol 98396 Brothers on "Dinah" and one of the greatest Neil Young's new album harkens back to The legendary band Television returns jazz recordings of all time on "Sweet his work of old, like After the Gold Rush, after a hiatus of nearly 15 years with Tom Georgia Brown." Harvest and Comes a Time. Actually, it's Verlaine and Richard Lloyd once again even more mellow than most, complete trading gorgeous guitar leads over a solid with Neil's good old musical stock in trade: rhythm section. straight harp, lazy rhythms and that sleepy Verlaine's lyrics are as elliptic as ever and SMOKEY southern California sound reminiscent of his "been there done that" vocals sound like Lo Mejor De Jose Alfredo Jiminez most of his earlier work. Once again an Arlo Guthrie for the 90s. This is the 33 Grandes Exitos showing his political folk roots, this album band that inspired a · generation of RCA Int'l 2254 shows that his dedication to political alternative rockers. It's great to welcome In keeping with my current infatuation involvement hasn't waned since 1969 and them back. -
Wavelength (September 1983)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 9-1983 Wavelength (September 1983) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (September 1983) 35 https://scholarworks.uno.edu/wavelength/35 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. N E W I N E ISSUE NO. 35 • "I'm not sure, but I'm almost positive, You don't want to that all music came from New Orleans." miss Lafayette's Ernie K-Doe, 1979 Festivals Acadiens, eight celebrations rolled into one to Features showcase and savor the Ivan Neville . .................. 8 Acadian culture. Sample the delectable Lenny Zenith . ................ 11 Cajun cuisine, tap your Festivals Acadiens............. 13 foot to Acadian music, walk back through the centuries into the Columns Cajun mystique. Letters ........................ 3 Come join the fun in September . .................... 4 the heart of French Louisiana, where we Art. ......................... 15 have the recipe for Caribbean . ................... 17 joyful living! Cajun ....................... 19 For more information contact the Lafayette Reviews ........... .. ......... 20 Convention and Listings . ..................... 24 Visitors Commission, C/assifieds . .................. 29 P. 0. Box 52066, Dept. WL, Lafayette, LA Last Page . ................... 30 7050513181232-3808. Allons a Festivals Acadiens September 17- 18, 1983 r r r ;- dsf r ; '/2 Price ~~5~ J r rqq<;.- · r r j Select from Thousands of Lps NEW· OUT-OF-PRINT r COLLECTOR'S ITEMS r ) Publisher, Nauman S. -
Billboard-1997-07-19
$5.95 (U.S.), $6.95 (CAN.), £4.95 (U.K.), Y2,500 (JAPAN) IN MUSIC NEWS IBXNCCVR **** * ** -DIGIT 908 *90807GEE374EM002V BLBD 589 001 032198 2 126 1200 GREENLY 3774Y40ELMAVEAPT t LONG BEACH CA 90E 07 Debris Expects Sweet Success For Honeydogs PAGE 11 THE INTERNATIONAL NEWSWEEKLY OF MUSIC, VIDEO AND HOME ENTERTAINMENT ADVERTISEMENTS RIAA's Berman JAMAICAN MUSIC SPAWNS Hit Singles Is Expected To DRAMATIC `ALTERNATIVES' Catapult Take IFPI Helm BY ELENA OUMANO Kingston -based label owner /artist manager Steve Wilson, former A &R/ Colvin, Robyn This story was prepared by Ad f , Mention "Jamaica" and most people promotion manager for Island White in London and Bill Holland i, think "reggae," the signature sound of Jamaica. "It means alternative to BY CHUCK TAYLOR Washington, D.C. that island nation. what's traditionally Jamaicans are jus- known as Jamaican NEW YORK -One is a seasoned tifiably proud of music. There's still veteran and the other a relative their music's a Jamaican stamp Put r ag top down, charismatic appeal on the music. The light p the barbet Je and its widespread basslines and drum or just enjoy the sunset influence on other beats sound famil- cultures and iar. But that's it. featuring: tfri musics. These days, We're using a lot of Coen Bais, Abrazas N all though, more and GIBBY FAHRENHEIT blues, funk, jazz, Paul Ventimiglia, LVX Nava BERMAN more Jamaicans folk, Latin, and a and Jaquin.liévaao are refusing to subsume their individ- lot of rock." ROBYN COLVIN BILLBOARD EXCLUSIVE ual identities under the reggae banner. -
Black Uhuru Red Mp3, Flac, Wma
Black Uhuru Red mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Reggae Album: Red Country: Netherlands Released: 1981 Style: Roots Reggae MP3 version RAR size: 1699 mb FLAC version RAR size: 1564 mb WMA version RAR size: 1950 mb Rating: 4.9 Votes: 472 Other Formats: MIDI RA AC3 MP4 MMF FLAC AA Tracklist Hide Credits Youth Of Eglington A1 5:01 Written-By – M. Rose* Sponji Reggae A2 4:56 Written-By – M. Rose* Sistren A3 4:33 Written-By – D. Simpson*, M. Rose* Journey A4 5:23 Written-By – D. Simpson* Utterance B1 3:32 Written-By – M. Rose* Puff She Puff B2 5:09 Written-By – M. Rose* Rockstone B3 4:39 Written-By – D. Simpson*, M. Rose* Carbine B4 6:06 Written-By – M. Rose* Companies, etc. Recorded At – Channel One Recording Studio Recorded At – Compass Point Studios Phonographic Copyright (p) – Island Records Inc. Copyright (c) – Island Records Ltd. Distributed By – Ariola Benelux B.V. Credits Bass Guitar – Robert "Robbie" Basspeare* Drums, Performer [Syndrums] – Sly Drumbar* Engineer [Guitar Overdubs] – Kendall Stubbs Engineer [Sound] – Soldgie Engineer [Vocals] – Maxie* Executive-Producer – Chris Blackwell Lead Guitar – Barry Reynolds, Dougie Bryan* Mixed By – Robert Shakespear & Sly Dunbar*, Steven Stanley Percussion – Sticky Thompson* Piano – Keith Sterling, Robert Lyn*, Robbie Shakespeare Producer – Sly Dunbar And Robbie Shakespear* Rhythm Guitar, Lead Guitar – Ranchie McLean*, Mikey Chung Vocals – Duckie Simpson, Michael Rose, Puma Jones Notes Similar to Red at first sight but with English rim text and and a "." in cat.# ℗ 1981 Original -
Tony Chin Earl Zero Derrick Lara Papa Michigan Johnny Dread Anthony John Fully Fulwood Mellow Movement Iriemag.Com
DEC 2015 CA 01.04 T R A X ROOTS / ROCK / REGGAE / RESPECT featuring HOUSE OF SHEM ARMY RAS D Z-MAN TONY CHIN EARL ZERO DERRICK LARA PAPA MICHIGAN JOHNNY DREAD ANTHONY JOHN FULLY FULWOOD MELLOW MOVEMENT IRIEMAG.COM CA ISSUE #01.04 / DECEMBER 2015 “ If you haven’t confidence in self, you are twice defeated in the race of life. With confidence, you have won even before you have started.” - Marcus Garvey Nicholas ‘Nico’ Da Silva Founder/Publisher & Editor in Chief IRIEMAG.COM MERCH. The Official ‘Rockers’ Tee from Irie Magazine Available in T-Shirts & Hoodies for Men/Women Two styles to choose from: Jamaica or Ethiopia IRIEMAG.COM House of Shem Derrick Lara Papa Michigan Ras D New Zealand Jamaica Jamaica Jamaica Army Fully Fulwood Tony Chin Johnny Dread U.S. Virgin Islands Jamaica Jamaica United States Earl Zero Anthony John Mellow Movement Z-Man United States Jamaica United States United States NZL HOUSE OF SHEM IRIEMAG.COM REGGAE HOUSE OF SHEM House Of Shem is an Aotearoa (New Zealand) based harmony trio comprised of Carl Perkins and his FOLLOW two sons, Te Omeka Perkins and Isaiah Perkins, who are each multi-instrumentalist and producers. House of Shem Formed 2005 in the rural area of Whanganui, the band embodies elements of roots reggae, pacific reggae and traditional maori music with relatable song-writing that connects powerfully with not only New Zealand and Australia audiences, but reggae listeners globally attracting fans from all Featured Album areas of the world. Since bursting onto the music scene with their debut album ‘Keep Rising’ in 2008, House of Shem has released three very successful Albums and built a rapidly growing loyal fan base. -
Naming in Reggae Culture, the Example of Dub Poetry
Commonwealth Essays and Studies 36.1 | 2013 Appelation(s) “Dis Poem Shall Call Names Names”: Naming in Reggae Culture, the Example of Dub Poetry David Bousquet Electronic version URL: https://journals.openedition.org/ces/5274 DOI: 10.4000/ces.5274 ISSN: 2534-6695 Publisher SEPC (Société d’études des pays du Commonwealth) Printed version Date of publication: 1 September 2013 Number of pages: 45-55 ISSN: 2270-0633 Electronic reference David Bousquet, ““Dis Poem Shall Call Names Names”: Naming in Reggae Culture, the Example of Dub Poetry”, Commonwealth Essays and Studies [Online], 36.1 | 2013, Online since 16 April 2021, connection on 22 July 2021. URL: http://journals.openedition.org/ces/5274 ; DOI: https://doi.org/10.4000/ces. 5274 Commonwealth Essays and Studies is licensed under a Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. “Dis Poem Shall Call Names Names” Naming in Reggae Culture, the Example of Dub Poetry The question of names and naming emerged as a crucial concern in the cultures of the African diaspora as a way to resist the anonymity and loss of identity imposed upon slaves. Through examples taken from reggae culture and the subgenre known as dub poetry, this paper looks at how names imply a political and poetic use of language in black At- lantic cultures. This is what I call cultural identity. An identity on its guard, in which the relationship with the Other shapes the self without fixing it under an oppressive force. That is what we see everywhere in the world: each people wants to declare its own identity.