Desmond Dekker & the Aces Wise Man / Middle East Mp3, Flac

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Desmond Dekker & The Aces Wise Man / Middle East mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Reggae Album: Wise Man / Middle East Country: UK Released: 1967 Style: Rocksteady MP3 version RAR size: 1614 mb FLAC version RAR size: 1738 mb WMA version RAR size: 1861 mb Rating: 4.7 Votes: 196 Other Formats: AC3 MIDI DXD AC3 DMF MMF AIFF Tracklist A –Desmond Dekker & The Aces Wise Man B –Roland Alphonso And The Beverly's All Stars* Middle East Other versions Category Artist Title (Format) Label Category Country Year Desmond Dekker & Beverley's S.R. 006 Wise Man (7") S.R. 006 Jamaica Unknown The Aces Records Roland Alphonso & Roland Alphonso & Beverley's All Stars / Beverley's All Stars Beverley's none Desmond Dekker & none Jamaica 1967 / Desmond Dekker Records The Aces - Middle East & The Aces / Wise Man (7", W/Lbl) Related Music albums to Wise Man / Middle East by Desmond Dekker & The Aces Desmond Dekker & The Aces - A It Mek Desmond Dekker & The Aces / Bruce Ruffin - 007 (Shanty Town) / Cecilia Desmond Dekker / Roland Alphonso & Beverley's All Stars - Keep A Cool Head / Charade Desmond Dekker - Rudeboy Train Desmond Dekker & The Aces / Small Faces - Israelites/Itchycoo Park Desmond Dekker And The Aces - Israelites Desmond Dekker & The Aces - Beautiful And Dangerous Desmond Dekker & The Aces - The Israelites Desmond Dekker & The Aces, Jimmy Cliff - You Can Get It If You Realy Want / Wild World Desmond Dekker & The Aces - Unity / You Can Get It If You Really Want.

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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.
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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.
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NEW RELEASE GUIDE September 17 September 24 ORDERS DUE AUGUST 13 ORDERS DUE AUGUST 20
ada–music.com @ada_music NEW RELEASE GUIDE September 17 September 24 ORDERS DUE AUGUST 13 ORDERS DUE AUGUST 20 2021 ISSUE 20 September 17 ORDERS DUE AUGUST 13 Daughtry, one of the most visible and best selling rock bands of the 21st Century, has sold out concerts across the globe. Their debut album, the self-titled Daughtry, was the top-selling album of 2007, and was the fastest-selling rock debut album in Soundscan history. It was also nominated for 4 Grammy Awards and won 4 American Music Awards and 7 Billboard Music Awards, including Album of the Year. The subsequent albums, Leave This Town (2009), Break The Spell (2011), and Baptized (2013) have all gone Platinum, with Cage To Rattle (2018) certiﬁed Gold. In 2020, Daughtry released their ﬁrst single from their forthcoming album, “World On Fire”, which marked a return to their rock roots and the top of the charts. Their current single, “Heavy is The Crown”, has been met with great enthusiasm, and is currently climbing the charts. ARTIST: DAUGHTRY T R A C K L I S T I N G TITLE: DEARLY BELOVED LABEL: DOGTREE RECORDS 1 - DESPERATION PRE-ORDER: JULY 16, 2021 2 - WORLD ON FIRE STREET DATE: SEPT. 17, 2021 3 - HEAVY IS THE CROWN LIST PRICE: $15.98 4 - CHANGES ARE COMING FORMATS: CD 5 - DEARLY BELOVED BOX LOT: 30 6 - CRY FOR HELP PACKAGING: JEWEL CASE 7 - EVIL UPC : 190296638299 8 - ASYLUM FILE UNDER: ROCK, ALTERNATIVE 9 - THE VICTIM FOR FANS OF: 3 DOORS DOWN, 10 - SOMEBODY NICKELBACK, SHINEDOWN, 11 - CALL YOU MINE BREAKING BENJAMIN, BON JOVI 12 - LIONESS PARENTAL ADVISORY: NO 13 - BREAK INTO MY HEART • Over 9M+ Albums and 32M+ Singles sold • Latest Hit Single “Heavy Is The Crown” #15 at Active Rock Radio • Fall U.S.
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55. Desmond Dekker and the Aces You Can Get It If You Really Want (For Unit 3 Developing Musical Understanding)
55. Desmond Dekker and the Aces You can get it if you really want (For Unit 3 Developing Musical Understanding) Background information and Performance Circumstances • This song was written by the Jamaican musician and composer, Jimmy Cliff. Born in 1948, he has had a long career in music, and his songs have been recorded by many artists. He has also appeared as an actor in films, most notably ‘The Harder they come’ (1972), in which he plays a reggae musician. • Desmond Dekker and the Aces made this recording, by some accounts rather unwillingly, in 1970, but it became a hit in the UK and America, reaching number 2 in the UK chart the same year. • The style is Rocksteady, a sub-genre of Reggae, which, along with Ska, began to make an impact in the musical world outside Jamaica in the early 1970’s. • The subject matter of the song is in line with that of much Reggae and can be interpreted as part of the fight for justice. One of the strengths of the song’s lyrics is that they can be applied to a variety of causes. • The song mixes influences freely: Cuban/Mexican style trumpet lines, Ska and rocksteady organ and bass parts, and ‘doo-wop’ backing vocals, derived from 1950s American music. Performing forces and their handling • Lead vocals (Dekker), joined in the chorus by female backing vocals, singing in rhythmic unison above the melody. The close harmony style here is influenced by 1950s American music. • Vocal lines are highly repetitive and use a relatively small range of notes, especially in the chorus.
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Desmond Dekker – … in Memoriam 1941 – 2006 (CD) Page 1 of 2
Desmond Dekker – …In Memoriam 1941 – 2006 (CD) Page 1 of 2 Find Category: Home > Reviews > Reggae > Desmond Dekker – …In Memoriam 1941 – 2006 (CD) Desmond Dekker – … Ads by Go In Memoriam 1941 – 2006 (CD) Downlo Desmon Sound: B Music: B Free De > Hart To Hart – The Dekker t Complete First + Second Trial with Season Sets obligatio > The Bob Newhart Show – Before his passing, the Reggae www.real.c The Complete Fourth Season pioneer Desmond Dekker >Chaos (2005) recorded his last album, which > Eleventh Hour (Acorn/Britain) is ironically a collection of his > The King of Queens - 6th best-known songs. 007 Jamaica Season (Shanty Town) was a huge hit > Left In Darkness Rington (2006/Horror) in 1967 and Israelites was Send thi > The Jeff Healey Band – Live popular enough to be a U.S., to your p At Montreux 1999 (DVD/CD Top Ten hit in 1969. What now! Set) RingRingM > Beowulf and Grendel might have seemed like > Canned Heat – Live At anomalies then for a genre that was considered to ethnic to ever succeed Montreux 1973 (DTS) worldwide and for decades after the fact are now landmark successes still > Grease – The Rockin’ Rydell Edition often only known among serious music fans. Desmond Dekker – …In Memoriam 1941 – 2006 became the title of the last untitled album by Video R > Riptide – The Complete B & B's First Season the man who might now be Reggae’s best-kept secret. > Bob Newhart – Button- Interacti Down Concert (DVD) with revi >Fuse (2003) Cut in January, 2004, the tracks are as follows: tips and > Uniform (2003/China) on B&B' > Let's Get Frank www.InnTh (Documentary) 1.
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Desmond Dekker, Jimmy Cliff & Co (Produktions-Nr. L72) Für Montag
Desmond Dekker, Jimmy Cliff & Co (Produktions-Nr. L72) für Montag, 24.11.2008 LEXIKADIO - Opener Hallo und Herzlich Willkommen zu zwei Stunden Reggae-Musik auf der 92fünf. Das heißt aber nicht, dass Lexikadio heute zwei Stunden auf Sendung ist. Stefan Hauschild und ich haben uns ein gemeinsames Thema ausgedacht, dass sowohl in Lexikadio als auch in “Käpt´n Momo ´s Ragga Mix” vorgetragen wird. Außerdem ist heute Montag, der 24. November 2008. Rund vier Wochen noch, dann ist Heiligabend. Es geht in den kommenden zwei Stunden um die Anfänge der Reggae- Musik, die in der zweiten Hälfte der 60er Jahre aus dem jamaikanischen Ska entstanden ist. In der ersten Stunde heißt das Thema “Desmond Dekker, Jimmy Cliff & Co”. Reggae-Musik gemischt mit Popklängen machte Jimmy Cliff bereits schon 1973. Hier ist ON MY LIFE. JIMMY CLIFF - On My Life (1973) Jimmy Cliff wurde am 1. April 1942 in Kingston, Jamaica geboren. Aus anderen Büchern ist zu entnehmen, daß er 6 Jahre später erst am 1. April 1948 in Somertone District of St. James als James Chambers das Licht der Welt erblickte. Wie dem auch sei, er war derjenige, der bei uns die Reggae-Musik so populär machte wie kein anderer und wurde auch als der “König des Reggae” genannt. Einer seiner Langspielplatten hieß demnach auch “King Of Reggae”. Seine Karriere begann 1965 in London, wo er in kleinen Clubs auftrat. Die erste Single, mit der Jimmy Cliff bei uns in Deutschland bekannt wurde, hieß HARD ROAD TO TRAVEL und erschien im Dezember 1967. JIMMY CLIFF - Hard Road To Travel (1967) Nicht “King Of Reggae”, sondern “King Of Ska” hieß eine Single von Desmond Dekker, die 1964 in Jamaika erschien.
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1 a Cultural Study of Two-Tone in the Socio
A CULTURAL STUDY OF TWO-TONE IN THE SOCIO-POLITICAL AND ECONOMIC CONTEXT OF THE 1970s by Susan Conduit A thesis submitted in partial fulfilment for the requirements for the degree of MA (by Research) at the University of Central Lancashire August 2017 1 STUDENT DECLARATION FORM Concurrent registration for two or more academic awards Either *I declare that while registered as a candidate for the research degree, I have not been a registered candidate or enrolled student for another award of the University or other academic or professional institution or *I declare that while registered for the research degree, I was with the University’s specific permission, a *registered candidate/*enrolled student for the following award: ______________________________________________________________ Material submitted for another award Either *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 or *I declare that the following material contained in the thesis formed part of a submission for the award of _______________________________________________________________ (state award and awarding body and list the material below): * delete as appropriate Collaboration Where a candidate’s research programme is part of a collaborative project, the thesis must indicate in addition clearly the candidate’s individual contribution and the extent of the collaboration. Please state below: Signature of Candidate _____________________________________________________ Type of Award ______________________________________________________ School _______________________________________________________ 2 ABSTRACT A CULTURAL STUDY OF TWO-TONE IN THE SOCIO-POLITICAL AND ECONOMIC CONTEXT OF THE 1970s My thesis concerns Two-tone music which emerged in the late 1970s and achieved the peak of its popularity around 1980.
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A Later Version of This Essay Appeared As 'Chris Blackwell and 'My Boy
(A later version of this essay appeared as ‘Chris Blackwell and ‘My Boy Lollipop’: Ska, Race and British Popular Music’ in Journal of Popular Music Studies, vol 22, no 4, 2010, pp. 436-465.) Chris Blackwell and “My Boy Lollipop”: Ska, Race and British Popular Music Ska evolved in Jamaica around 1960. I shall talk a little more about its development later. In 1964 there were three hits in the British top ten that utilized a ska beat. On March 14 Millie reached number 2 with “My Boy Lollipop.” A week later, the Migil 5’s ska version of “Mockin’ Bird Hill” reached number 10, its highest position. In December, Georgie Fame and the Blue Flames got to number 1 with the jazz track, “Yeh Yeh,” to which they gave a soft ska influence. Discussions of ska, and reggae, have tended to focus on the music’s Jamaican origins and have emphasized its qualities as black music. In this article my interest is in the relationship between ska and British popular music of the early 1960s. How did ska enter white Britons’ musical consciousness such that, by the late 1960s there were numerous ska hits and, by the late 1970s, there was a ska revival with groups such as Madness and the Two Tone groups including the Specials and Selector having chart hits? To this end I shall concentrate on the most popular of the three 1964 ska hits, Millie’s “My Boy Lollipop.” This song was first recorded as a rhythm and blues song in New York by Barbie Gaye about whom little is known other than that she was not black.
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“Doghouse Bass” Is the Eagerly Anticipated Third Studio Album by Traditional Ska / Reggae / Rocksteady Band INTENSIFIED, out on Grover Records
“Doghouse Bass” is the eagerly anticipated third studio album by traditional ska / reggae / rocksteady band INTENSIFIED, out on Grover Records. INTENSIFIED are guaranteed to get people dancing and raise the spirits of all around them. Playing authentic 60s style ska, rocksteady and reggae, the band’s good- time feel, obvious love of this music and confidence in its wide appeal has led to near legendary status. The quality of their songs and joy in playing them live has gained the band a large following and a reputation as one of the world’s finest of this genre. Three studio albums, an early compilation album and a live album, plus several 7” singles have received much critical acclaim in the music press, fanzine world, on the web and on radio stations across the globe. This in turn has meant a steady flow of gigging throughout Europe, with the band now a firm headline act. INTENSIFIED have been fortunate enough to share a stage with dozens of bands and singers, from Jools Holland to an authentic Zulu choir, including most of the contemporary ska favourites around the globe: Hepcat, The Slackers, The Toasters, Tokyo Ska Paradise Orchestra … 2 Tone stars such as The Selecter and Bad Manners … and original ska and reggae legends from the past and present including Prince Buster, Jimmy Cliff, Laurel Aitken, Desmond Dekker, Alton Ellis, Dennis Brown, Phylis Dillon, Morgan Heritage and the originators, Skatalites. The band has also had the pleasure of working on stage with Jamaican greats Rico, Dennis Alcapone and Dave Barker. The band remains standing defiant against a sea of pop, punk and other modern interpretations of original Jamaican sounds, not against progress or to put up musical limitations, but to continue sharing the pure, untampered and uplifting styles with the world.
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Globalisation and Commercialisation of Caribbean Music
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto Globalisation and Commercialisation of Caribbean Music Mike Alleyne Department of Recording Industry, Middle Tennessee State University In recent years globalisation has been identified, particularly by developing nations, as a source of major challenges, and in some cases a threat to their very survival. However, its musical manifestation precedes the widespread use of the term in political contexts, and the representation of the Caribbean’s popular music provides key evidence of this. A central concern of most small cultures is the assimilation and utilisation of foreign influences without distorting the content and representation of the local. Typically, the recording industry’s corporate motivations have been capitalist rather than cultural, rarely synthesising the two successfully. This raises concerns about the legitimate representation of the music and the communities from which it emerges, when commercialisation dilutes the art to the point where it may become only product. The homogenising tendencies of globalisation are frequently recognized, when, for example, the expansion of large corporations, such as McDonalds, impinge themselves upon the daily consciousness of the average person from Jamaica to Japan. However, where popular music is concerned, the encroachments of commerce are not always as readily evident, nor are their long-term consequences. This discussion attempts to shed some light on the historical and textual aspects of Anglophone Caribbean music and ways in which they are relevant to the music’s “authenticity”. Primarily, I will examine how some early forms of international commercialisation continue to influence the marketing and representation of Caribbean music, with a particular focus on the reggae era and the marketing of Bob Marley.
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Jimmy Cliff by ROB BOWMAN ^■ J
Jimmy Cliff BY ROB BOWMAN ^■ j Jimmy Cliff had done nothing but star in the the recordings, which they kept for exclusive use at their 1972 film The Harder They Come, he would sound-system dances. Shortly after he turned 14, Cliff merit induction into the Rock and Roll Hall convinced Leslie Kong, who with his two brothers owned [ of Fame. Masterfully playing the role of Ivan, Beverley’s - a combination restaurant, ice cream parlor, a country boy trying to break into the thor- cosmetics shop, and record store in downtown Kingston- oughlyI corrupt Jamaican music industry, Cliff embodied to enter the record business. Embracing the newly minted the hopes, aspirations, and sounds sounds of ska, Cliff’s first release on of roots reggae at its best. The four Beverley’s Records was “Hurricane songs he contributed to the sound' “The essence ofmy Hattie.” The single stormed its way track - “You Can Get It if You music is struggle. to the top of the Jamaican charts, kick-starting a string of hits writ Really Want,” “Sitting in Limbo,” W hat gives it the icing “Many Rivers to Cross,” and the ten and sung by Cliff and produced seminal title track - are, in their is the hope o f love.” by Kong, including “Miss Jamaica,” own ways, to reggae what “Johnny “One-Eyed Jacks,” and “King of B. Goode,” “I Want to Hold Your Kings.” At the same time Cliff was Hand,” “Like a Rolling Stone,” and “Jumpin’ Jack Flash” cutting hits for Beverley’s, he was also auditioning other are to rock 6s? roll.
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The Top 200 Greatest Reggae Songs
The top 200 greatest reggae songs 1. No Woman, No Cry - Bob Marley & the Wailers 2. Israelites - Desmond Dekker & the Aces 3. Stir It Up - Bob Marley & the Wailers 4. Pressure Drop - Toots & the Maytals 5. The Harder They Come - Jimmy Cliff 6. One Love - Bob Marley & the Wailers 7. 54-46 That's My Number - Toots & the Maytals 8. Satta Massagana - The Abyssinians 9. Funky Kingston - Toots & the Maytals 10. Montego Bay - Freddie Notes & The Rudies 11. Many Rivers To Cross - Jimmy Cliff 12. Marcus Garvey - Burning Spear 13. Legalize It - Peter Tosh 14. Redemption Song - Bob Marley & the Wailers 15. Here I Come - Dennis Brown 16. Get Up, Stand Up - Bob Marley & the Wailers 17. Rudy Got Soul - Desmond Dekker & The Aces 18. The Tide Is High - The Paragons 19. Three Little Birds - Bob Marley & the Wailers 20. Everything I Own - Ken Boothe 21. Night Nurse - Gregory Isaacs 22. You Don't Care - The Techniques 23. Vietnam - Jimmy Cliff 24. Rivers Of Babylon - The Melodians 25. Police & Thieves - Junior Murvin 26. Buffalo Soldier - Bob Marley & the Wailers 27. Red Red Wine - UB40 28. Cherry Oh Baby - Eric Donaldson 29. (I Am) The Upsetter - Lee "Scratch" Perry 30. Sitting & Watching - Dennis Brown 31. Jammin' - Bob Marley & the Wailers 32. Wear You To The Ball - U-Roy & The Paragons 33. Two Sevens Clash - Culture 34. I Shot The Sheriff - Bob Marley & the Wailers 35. Armagideon Time - Willie Williams 36. 007 Shanty Town - Desmond Dekker & The Aces 37. A Love I Can Feel - John Holt 38. Revolution - Dennis Brown 39. Queen Majesty - The Techniques 40.
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