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United Reggae Magazine #7
MAGAZINE #12 - October 2011 Queen Ifrica INTERVIEW FRANZ JOB SOLO BANTON DAWEH CONGO JOHNNY CLARKE JUNIOR MURVIN DON CORLEON, PRESSURE AND PROTOJE Sugar Minott - Dennis Brown - Peter Tosh - Tony Rebel J-Boog - Ce’Cile - Ruff Scott - I-Wayne - Yabass - Raging Fyah Bunny Lee and The Agrovators - Sly and Robbie - Junior Reid United Reggae Magazine #12 - October 2011 Want to read United Reggae as a paper magazine? Now you can... In addition to the latest United Reggae news, views and videos online each month you can now enjoy a SUMMARY free pdf version packed with most of United Reggae content from the last month. 1/ NEWS EDITORIAL by Erik Magni 2/ INTERVIEWS • Don Corleon, Pressure and Protoje 16 • Solo Banton 18 • Johnny Clarke 23 • Daweh Congo 25 • Queen Ifrica 29 • Franz Job 32 • Junior Murvin 35 3/ REVIEWS • The Upsessions - Below The Belt 41 • J-Boog - Backyard Boogie 42 • CeCile - Jamaicanization 44 Discover new music • Ruff Scott - Roots And Culture 45 • I-Wayne - Life Teachings 46 In the heydays of music magazines in the 90’s and early 2000’s getting a complimentary • Yabass - Back A Yard Dub 47 music CD was a regular pleasure. I for one found several new artists and groups due to • Bunny Lee and The Agrovators - Dub Will Change Your Mind 48 this promotional tool. Since then the music and publishing businesses have radically • Raging Fyah - Judgement Day 49 changed. Consumers have taken their reading and listening habits online and this has • The Bristol Reggae Explosion 2: The 1980s 50 lead to a dramatic decrease in sold physical units. -
Articulation of Rastafarian Livity in Finnish Roots Reggae Sound System Performances
Listening to Intergalactic Sounds – Articulation of Rastafarian Livity in Finnish Roots Reggae Sound System Performances TUOMAS JÄRVENPÄÄ University of Eastern Finland Abstract: Rastafari is an Afro-Jamaican religious and social movement, which has since the 1970s spread outside of the Caribbean mainly through reggae music. This paper contributes to the academic discussion on the localization processes of Rastafari and reggae with an ethnographic account from the Nordic context, asking how Finnish reggae artists with Rastafarian conviction mobilize this identification in their per- formance. The paper focuses on one prominent Finnish reggae sound system group, Intergalaktik Sound. The author sees reggae in Finland as divided between contemporary musical innovation and the preservation of musical tradition. In this field, Intergalaktik Sound attempts to preserve what they consider to be the traditional Jamaican form of reggae sound system performance. For the Intergalaktik Sound vocalists, this specific form of perfor- mance becomes an enchanted space within a secular Finnish society, where otherwise marginal Rastafarian convictions can be acted out in public. The author connects the aesthetic of this performance to the Jamaican dub-music tradition, and to the concept of a ‘natural life’, which is a central spiritual concept for many Finnish Rastafarians. The article concludes that these sound system performances constitute a polycentric site where events can be experienced and articulated simultaneously as religious and secular by different individuals in the same space. Keywords: Rastafari, sound system, localization, re-enchantment, ethnography Reggae, in its various forms, has emerged during the past decade as one of the most visible and vibrant forms of Finnish popular music. -
Sonic Spaces, Spiritual Bodies
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Institutional Knowledge at Singapore Management University Singapore Management University Institutional Knowledge at Singapore Management University Research Collection School of Social Sciences School of Social Sciences 9-2018 Sonic spaces, spiritual bodies: The ffeca tive experience of the roots reggae soundsystem Orlando WOODS Singapore Management University, [email protected] DOI: https://doi.org/10.1111/tran.12270 Follow this and additional works at: https://ink.library.smu.edu.sg/soss_research Part of the Digital Humanities Commons, and the Religion Commons Citation WOODS, Orlando.(2018). Sonic spaces, spiritual bodies: The ffea ctive experience of the roots reggae soundsystem. Transactions of the Institute of British Geographers, , 1-14. Available at: https://ink.library.smu.edu.sg/soss_research/2685 This Journal Article is brought to you for free and open access by the School of Social Sciences at Institutional Knowledge at Singapore Management University. It has been accepted for inclusion in Research Collection School of Social Sciences by an authorized administrator of Institutional Knowledge at Singapore Management University. For more information, please email [email protected]. Published in Transactions of the Institute of British Geographers, 2018 September, Pages 1-14 https://doi.org/10.1111/tran.12270Accepted: 26 July 2018 DOI: 10.1111/tran.12270 REGULAR PAPER Sonic spaces, spiritual bodies: The affective experience of the roots reggae soundsystem Orlando Woods School of Social Sciences, Singapore This paper advances a new understanding of spirituality within the geographies of Management University, Singapore, Singapore religion. It builds on the premise that spirituality is latent within every body and argues that it becomes manifest in response to an affective experience. -
The Dub Issue 24 May 2018
1 BJ aka Ras Brother John Rest In Power 26 May 1960 - 28 March 2018 2 Editorial Dub Front cover – Heritage HiFi, built and restored by Dr Huxtable of Axis Sound System Dear Reader, Welcome to issue 24 for the month of Simeon. This month has been one of meeting many people, renewing old friendships and sadly saying goodbye to some no longer with us. The Dub this month is packed like never before. We have in depth interviews with Earl 16 and Zion Train’s Neil Perch, live reviews of Reading Dub Club and African Head Charge, coverage of April’s Reggae Innovations Conference in Birmingham, our regular features from Pete Clack and Cornerstonemusik as well as previews for the Boomtown and One Love Festivals later this year. We will have some of our team at both those festivals, so there should be reviews of some of the artists in issues yet to come. Salute as always to Marco Fregnan of Reggaediscography and Sista Mariana of Rastaites for keeping The Dub flowing. Welcome to The Dub Editor – Dan-I [email protected] The Dub is available to download for free at reggaediscography.blogspot.co.uk and rastaites.com The Dub magazine is not funded and has no sponsors. While this allows for artistic freedom, it also means that money for printing is very limited. If anyone is interested in printed copies, they should contact me directly and I can ask our printers, Parchment of Oxford, to get some of the issues required for the cost of £2.50 each. -
Speech Given at Afrika Eye Film Festival – 12 Nov 2016
SPEECH GIVEN AT AFRIKA EYE FILM FESTIVAL – 12 NOV 2016 Five Corners of Reggae: what reggae music means to me Dr Shawn-Naphtali Sobers Welcome to the Afrika Eye film festival screening of Roots, Reggae, Rebellion, the documentary on the history or reggae music presented by Akala. Today we are honoured to have Mykaell Riley from the legendary reggae band Steel Pulse with us, who features in the film. I’ll be interviewing Mykaell after the screening about his experience of Steel Pulse and what he’s doing now, in his new career as a scholar of music, an academic at the University of the Westminster, and please do ask him lots of questions. We also have a video message by the director of the film, James Hale, after this short introduction I have been asked to give, which I was honoured to accept. I’d like to share with you a personal exploration of reggae music means to me, especially in my formative teenage years, the impact it had on me and that I could see happening, and its significance across five aspects of life – which I call the Five Corners of Reggae Music. 1 - Cultural / Educational Music with a message of a proud Black African identity. Talking about the slavery in a way that was different to school, and singing names such as of Marcus Garvey and Haile Selassie, using words such as Sattamassagana, (an Amharic word meaning ‘give thanks and praises’). Infused with Biblical quotes and codes - roots reggae became like text-books for those of who were inspired by the music’s teaching and wanted to take it further. -
It a Go Dread Inna Switzerland 1
It a go dread inna Switzerland 1 It a go dread inna Switzerland a.1. Introduction Pour tous ceux, et ils sont nombreux, qui découvrent le reggae en Suisse aujourd’hui, en plein retour en force du genre, tout peut sembler une évidence : cette musique est mondialement connue, son plus illustre représentant une icône planétaire que certains n’hésitent pas à exploiter pour vendre des chaussures ou du savon. Plusieurs magasins spécialisés existent à travers le pays, les concerts se succèdent semaine après semaine, sans même parler des soirées qui fleurissent dans les lieux les plus improbables. Des Suisses écoutent du reggae, en collectionnent, en passent en soirées, en jouent au sein de groupes, en produisent sur leur propre label, promeuvent des artistes jamaïquains. Et même parmi les, très largement majoritaires, non-amateurs, rares sont ceux pour qui l’évocation de ce genre musical n’évoque ne serait-ce qu’un réducteur tissu de clichés. Quoi de plus naturel en apparence ? Cependant, si l’histoire s’encombrait de calculs de probabilités, les chances pour que la musique des ghettos de Kingston arrive jusqu’à des oreilles helvétiques étaient pour ainsi dire nulles. En effet, mis à part le lien musical qui fait l’objet de ce mémoire, tenter de tracer une ligne directe entre ces deux pays distants de dix mille kilomètres paraît laborieux. Géographiquement, historiquement, culturellement et économiquement, rappelons que le PIB par habitant de la Suisse est vingt-quatre fois supérieur à celui de la Jamaïque1, ils n’ont rien en commun. Il existe certes, pour un œil ou une oreille avertis, quelques minces, et somme toute anecdotiques, liens transatlantiques entre deux terres que tout oppose. -
Culture in the Dance the Roots and Dub Sound System Movement
CULTURE In The Dance THE ROOTS AND DUB SOUND SYSTEM MOVEMENT by Peter Lionheart, Lionheart Sounds As the first tune ends and the selector, As I step into London’s legendary Southall Community Center, the first thing I feel is Mikey Dread, pulls the needle off the the bass. Pouring out of the scoop-bins on the far side of the room, it hits me in the chest, record, the void of sound after the enveloping me with a warm and deep feeling. I continue into the hall, finding a sweet full immersion is striking. Immediately spot in front of the 10’ by 10’ speaker stack, and move to the side where the selector is voices call out, “Gwaan Mikey,” and playing records, controlling the amps, EQ and sound effects. I look around at a diverse “Yes Channel One,” encouraging him crowd of people: Indians, Africans and Europeans; baldheads, dreadlocks and turbans to continue. The anticipation grows as – all enjoying the music. the needle hits the wax, and the warm distinctive hiss of a well-played record Top: Jah Observer selecting tunes at Dub Station fills the space. A drum roll rings out and Garance 2010 by JB, Dub Livity Sound System the riddim comes alive in the air, and Left: Channel One stack and crowd at Southall in all those present. As the sweet voice Community Center March 2010 by Peter Lionheart, Lionheart Sounds of Rod Taylor cries out, “Jah Jah see / and knowing / every little thing…” the Below: Aba Shanti-I in Caen, France w/Dub Livity omniscient presence of the Most High is Sound by JB, Dub Livity Sound System brought into conscious focus. -
Sonic Diaspora, Vibrations and Rhythm Thinking Through The
Sonic Diaspora, Vibrations and Rhythm Thinking through the sounding of the Jamaican dancehall session Julian Henriques, Goldsmiths, University of London [email protected] The propagation of vibrations may provide a better way of understanding diasporic spread than the conventional focus on the circulation of products (Hall 1980, Appadurai 1986, 1996, Gilroy 1993a, Brah 1996). Jamaican sound systems operate as a broadcast medium and a source of CDs, DVDs and other commercial products (Henriques 2007a). But the dancehall sound system session also propagates a broad spectrum of frequencies diffused through a range of media and activities - described as “sounding” (following Small’s 1998 concept of “musicking”). These include the material vibrations of the signature low-pitched auditory frequencies of Reggae as a bass culture (Johnson 1980), at the loudness of “sonic dominance” (Henriques 2003). Secondly a session propagates the corporeal vibrations of rituals, dance routines and bass-line “riddims” (Veal 2007). Thirdly it propagates the ethereal vibrations (Henriques 2007b), “vibes” or atmosphere of the sexually charged popular subculture by which the crowd (audience) appreciate each dancehall session as part of the Dancehall scene (Cooper 2004). The paper concludes that thinking though vibrating frequencies makes it easier to appreciate how audiences with no direct or inherited connection with a particular music genre can be energetically infected and affected - to form a sonic diaspora. Keywords: sound system, bodies, bass Diasporas are most commonly considered as the migration of peoples, often accompanied by their musicians, instruments or recordings. Mapping continents and centuries, sounds are the foot-loose bearers of musical culture. They carry feelings; they traffic the airwaves as signifiers of youth tribes and nations; they tour with DJs and sound systems; are exchanged as peer-to-peer MP3 downloads; and shuffle the musical associations and feelings of our personal play-lists. -
IRIE RECORDS New Release Catalogue 04-08 #2
IRIE RECORDS GMBH IRIE RECORDS GMBH BANKVERBINDUNG: EINZELHANDEL NEUHEITEN-KATALOG NR. 241 RINSCHEWEG 26 IRIE RECORDS GMBH (CD/LP/10"&12"/7"/DVDs/MAGs) 48159 MÜNSTER KONTO NR. 35 60 55, (VOM 05.04.2008 BIS 25.04.2008) GERMANY BLZ 400 501 50 TEL. 0251-45106 SPARKASSE MÜNSTERLAND OST SCHUTZGEBÜHR: 0,50 EUR (+ PORTO) EMAIL: [email protected] HOMEPAGE: www.irie-records.de GESCHÄFTSFÜHRER: K.E. WEISS/SITZ: MÜNSTER/HRB 3638 ______________________________________________________________________________________________________________ IRIE RECORDS GMBH: DISTRIBUTION - WHOLESALE - RETAIL - MAIL ORDER - SHOP - YOUR SPECIALIST IN REGGAE & SKA -------------------------------------------------------------------------------------------------------------- GESCHÄFTSZEITEN: MONTAG/DIENSTAG/MITTWOCH/DONNERSTAG/FREITAG 13 – 19 UHR; SAMSTAG 12 – 16 UHR ______________________________________________________________________________________________________________ CD CD CD CD CD CD CD CD CD CD CD CD IRIE RECORDS GMBH NEW RELEASE-CATALOGUE 04/2008 #2 SEITE 2 *** CDs *** ANCIENT KING...................... JUDGEMENT (V.I. ROOTS)........ FULL GROWN..... (USA) (07/08). 17.99EUR ANTHONY CRUZ...................... FIGHT WITH ALL YOUR MIGHT..... VP/PENTHOUSE... (USA) (08/08). 13.99EUR DE APOSTLE (feat. MORGAN HERITAGE/ENO/JAH RONIE/LUCIANO/TURBULENCE/SIZZLA). KING OF THE V.I............... KINGDOM CROIX.. (USA) (08/08). 17.99EUR DEVASTATORS....................... BETTER DAYS (+ 4 DUBS)........ PEAKS & VALLEYS (USA) (07/08). 15.99EUR DRASTICS......................... -
The Reggae Sound System: Sound, Space and Politics
The Reggae Sound System: Sound, Space and Politics source: anonymousartofrevolution.com Alexandre Fintoni 201049161 Dissertation submitted in part fulfilment of requirements for the degree of Bachelor of Arts, Faculty of Humanities and Social Sciences, University of Strathclyde March 2014 Word Count: 10 993 i Abstract: As the popularity and scope of reggae has grown in the recent decades, most studies involving the genre have produced debates relating to gender, identities, racial and politico-religious struggles, as well as simple historical accounts. However, there has been very little geographical academic analysis on the space of the sound system: the dancehall. Following post-anarchist theory on radical spaces, this dissertation puts forwards the argument that the space of the sound system session can be understood as an ‘insurrectional space’, by looking at how the dancehall is effectively produced and what it represents for the crews behind the sound systems. Drawing on qualitative interviews with crews both from the United Kingdom and France, this paper explores how these spaces are created and how this space becomes part of a wider oppositional discourse; finding that they effectively create a temporary autonomous zone which covertly resists modernist and capitalist conceptions and relationships between the body, space and perception. ii Acknowledgements I would like to thank the following people for their contribution to this study: Lion Roots Sound System, Mungo’s HiFI, OBF Sound System, Welders HiFi, After All Sound System, Argonauts Sound, Earl Gateshead and Bass Alliance Sound System for their time in taking part in the interviews; Calum Edenborough and Jamie Brotherston for their advice and input; Alex See for his photography; Roots Activist and the Natural Bashy Sound System crew for their support and enthusiasm despite being on the other side of the channel; and Dr Anna Mclaughlan for her supervision and advice. -
A Guide to Reggae Worksheet
ORIGINS & INFLUENCES The term ‘Reggae’ is really only supposed to cover the period in Jamaican music from 1969 to about 1979. There are several other very important genres of Jamaican music (or at least, genres that originated from Jamaica) that appeared prior to the style we call ‘Reggae’ today. Once again, blues and R&B are very important influences, not just musically but also socially: both reggae and blues originated as musical expressions of hardship. It only took until the 1940s for Jamaicans to become familiar with the sound of dance hall R&B, both in terms of the jazzy rhythms and the instrumentation. Exposure to this style came through radio and home made ‘sound systems’. The traditional calypso Jamaican folk music – mento – ‘cross pollinated’ with these R&B forms giving birth to Ska, the precursor to Rocksteady and Reggae. Reggae is often associated with the Rastafari movement, which influenced many prominent reggae musicians in the 1970s and 1980s. Very generally, the subject matter of reggae songs deals with many subjects other than Rastafari, with love songs, sexual themes and broad social commentary being common. SKA ORIGINS & influences Ska is the first major local Jamaican genre, flourishing from 1961 or 62 to around 1966. The genre gave birth to Rocksteady and then Reggae in around 1968. Ska can be divided into three waves. Ska's popularity has gone up and down since its original creation, and has had revivals of note in England in the 1980s and another wave of popularity in the 1990s. First Wave When New Orleans-style R&B fell out of favor by 1960, Jamaican artists began recording their own version of it, and this became Ska. -
Sound System
Sound System Definition: A Sound System is the equipment and associated personnel used to broadcast music within a specific location. Typically it would consist of a means of playing music (record player or more recently CD players and laptops), amplifiers, speakers and Deejays (mic men), operators (equipment controllers), selectors (selecting what music to play) and so on. By the late 90's onwards the exact definition has been disputed as the term Sound System has been employed more as a marketing term and by individuals/groups who operate a full sound system in the traditional sense, see the Soul Jazz Sound System for example. History The 50's to the 60's Sound Systems began as a way of playing amplified music to outside gatherings in Jamaica. Initially this was just a small gramophone and speakers on a street corner or private land used to entertain friends or attract business to commercial establishments such as liquor stores. By the late 40's/early 50's larger dedicated sound systems emerged to provide popular music (mainly Rhythm & Blues) at larger outdoor gatherings and parties. Early prominent sound systems included Tom the Great Sebastian, Count Nick The Champ and Count Jones. With the start of mass emigration to the UK in the late 50's the tradition of Sound Systems was transported to the UK. The UK Sound Systems tended to play exclusively inside; the lack of other suitable entertainment for West Indian emigrants encouraged the development of blues parties, where the UK Sound Systems flourished. By the late 50's Sound Systems were big business in Jamaica and sounds of varying sizes and popularity were to be found in every Jamaican parish, and the larger sounds, such as Coxsone Downbeat had two to three sets so they could play in several locations on the same night.