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Subject: rec.music.reggae Frequently Asked Questions (3/3)

This article was archived around: Wed, 28 Feb 2007 08:00:24 -0800

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[14.] What's all this about Sound Systems, Clashes and Dubplates? >Dumb question...but here goes, >What is a sound system? >Hope this does not destroy my credability has a true reggae >music lover :-) A sound system, well consider it to be a glorified stereo system. Basically it is usually lots of base boxes lots of mid-range boxes and lots of high end boxes ( what I mean by boxes is large speaker cabinets). All this is driven by lots of amps to make it so loud that the base makes the hair on your neck move to the beat. You really haven't experienced true dancehall until you've been to a true yard dance like Stone Love at House of Leo (Kingston JA) In article <2qp6iv$s1k@bruce.uncg.edu> pennyr@hamlet.uncg.edu (Reginald Penny) writes: >Subject: sound systems >From: pennyr@hamlet.uncg.edu (Reginald Penny) >Date: 10 May 1994 23:49:51 GMT >Does anyone have a list (brief or massive) of what people are in what >sound system? Also what are the top 5 largest sound sytems in the world >or JA? >BTW - what exactly is meant by a clash? Is it when more than one SS battle? >R- Wow thats a tough question as to the top five. It would fall under personal pref. " Stone Love" is one of the best; the selectors are Rorey , Weepow and Cancer. "Bodygaurd" is another top sound, their main selector is Johnny and they are bringing in a few more. " Metromedia" is a more classic sound, selector is Skyjuice who is a performer in his own right -- you really haven't seen metro until you've seen Skyjuice take his shirt off. "Jamrock" is another big sound, I don't remember who the seletor is. There is straight outta NYC "Addis" with selector Baby Face; they were up in the top at the world cup. Innercity, with selectors Mark, Danny and Wally -- they rank right up there. There are tons of sound systems and I could go on for ever listing them. As far as a "clash" there can be at least two sounds clashing. It is best with two, a clash is like a strategic chess game. When sounds clash they try to out do each other, who can play the best "Garnett Silk" dubplate and who can get the crowd to respond more. You try to play what the people want to hear and the trick is to do it better than who you are clashing. Maybe I should explain what a dub plate is. A dub plate, aka "a special", is created when you take a tune and ask the artist to customize it for you, such as getting Buju Banton to do a version of Boom Bye Bye, but, change the lyrics to Boom Bye Bye in a sound boy's head. In other words they customize the lyrics of there songs to put either the sound systems name in it or the sound system that the are clashing's name in it. None of this is free -- it costs dollars unless you have connections but it still costs dollars. I hope this all makes some sense and that I havn't totally confused you if you have any quetions post them and I will try ro answer them. From: djspleece@aol.com (DJ Spleece) In a Message Dated: Thu, 03 June 1999 08:11 AM EDT, paddy_maher@my-deja.com Wrote: >I know the basic idea but can someone give me a >detailed explanation of how a soundclash works ie A soundclash is when two or more DJ's/ Sound Systems come together and "battle" over who has the best/ most current/ rarest records. >who decides which side plays when and for how long? The way we normally do this is to split time evenly at first and flip a coin, but the one spinning the hottest stuff (audience reaction) is usually who is going to spin the most/ longest in the end. The winner of the clash is usually judged on the best records, the way they are mixed/ played (in my neck of the woods we like to be creative), and who has the best "specials" or Dub plates. >etc?? Sounds Clashes are always done in fun. Often, it will appear as though the DJ's are "insulting" one another, but this is all just part of the show. Some DJ's will even record there insults and cut them onto a Dub plate to work them into the musical mix. Peace! ********************************* DJ Spleece (RAW #911) ---------- [15.] Are there World Wide Web Sites for Reggae? Actually there a hundreds, check the Jammin Reggae Archives Web page for links for many of them: http://niceup.com ---------- [16.] What is RAW (Reggae Ambassadors Worldwide)? What is Reggae Ambassadors Worldwide? Reggae Ambassadors Worldwide (RAW) began with a seed planted in 1990 by Inner Circle guitarist Roger Lewis. In a casual conversation he mentioned that everywhere they performed they met a "Papa Pilgrim," that is, someone familiar with local runnings and committed to the growth of Reggae music. He suggested that we begin linking up and do some serious networking. In the ensuing years Roger would again mention networking each time we met. During the summer of '92 I had a chance contact with Rastaman Nane' of Grand Rapids, Michigan. As we chatted I mentioned Roger's suggestions. Nane's response was "Let's do it." When I put him off because I was "too busy," he countered with "When I want to get something done I give it to the busiest person." How could I refuse? Grand Rapids was selected as a meeting place because of Nane's certainty that that city's Reggae community would endorse such a gathering. Encouraged by Nane's enthusiasm, support, and confidence, letters were written, phone calls made, and off we went. As Nane' said, "Even if there are only two of us, that's a start." On December 11-13, 1992 more than fifty conferees representing the grass roots of Reggae met in Grand Rapids to forge the beginning of an exciting new direction for popularizing Reggae music. This meeting, which came to be known as Conference '92, represented the fruition of that seed planted by Roger Lewis. Our combined vision was that Reggae music, given the media support it so richly deserves, would become as mainstream as rock, country and other "Top 100" genres. Further, we wanted to actively contribute to increasing the public's awareness of Reggae artists living both in and out of Jamaica and to provide increased opportunities for unsigned performers. Borrowing the concept from Third World's hit of the same name, Reggae Ambassadors Worldwide was "born." Performing artists, deejays, promoters, club owners, writers, label representatives and others met and began forming a networking system aimed at having Reggae music achieve 100% parity with other genres. With so many facets of the business of Reggae coming together, we realized we were doing something right and we were doing it with a sense of purpose, commitment, optimism, and unity . The bottom line for each participant seemed to be to "Forward the Reggae Vibe...Everytime!" Conference '93 was again held in Grand Rapids August 13-15. More than one hundred Ambassadors and other conferees shared visions, created ideas, and networked. Foundations were laid for an album release and tour showcasing member artists. Committees were formed to assist with various tasks and a decision made to seek non-profit incorporation. Conference '94, in Wichita, Kansas brought the grassroots of Reggae to the Heartland of America. More RAW business was conducted along with a whole heap of Networking. Reggae Ambassadors Worldwide, the world's largest Reggae network, is hosting Convention '95 in Las Vegas, Nevada August 25-27, 1995. This year's theme is "Networking Works" and the focus will be on Education, Entertainment and Networking. Invited keynote speaker is world reknowned author and Marley lecturer Roger Steffens. Three nights of RAW members artist showcase will be at the Fremont Street Reggae & Blues Club. For more information on this once a year Networking opportunity that you can't afford to miss contact the following. Rastaman Nane' at 702-256-4532 (phone/fax); e-mail <70431.615@CompuServe.com> or Papa Pilgrim at 801-355-1405 (phone/fax); e-mail <pilgrim@xmission.com>. RAW Mission Statement: ^^^^^^^^^^^^^^^^^^^^^ Reggae Ambassadors Worldwide is an international network of Committed Reggae Enthusiasts who have joined forces to spread the positive vibe of Reggae music. Daily we will move forward educating humankind about our music, always remembering the vision of One Love! RAW Vision: To be the primary reference for the Reggae Industry. ^^^^^^^^^^ Annual membership fees range from $15 to $50 depending upon membership category. Lastly, in conversations with Ambassadors from around the world, I and others are beginning to sense that the growth potential of Reggae Ambassadors Worldwide is limitless. We are growing because of your efforts. Ambassadors are helping Amassadors! If you want more information about Reggae Ambassadors Worldwide e-mail me <pilgrim@xmission.com> your postal mail address. Forwarding the Reggae Vibe...Everytime! ----papa pilgrim reggae ambassadors worldwide pilgrim@xmission.com Finger for more info. ------------ [17.] Why do purists look down on UB40? From: tomdp@selway.umt.edu (Thomas D Potterf) UB40 has consistently released albums with intelligent lyrics, though sometimes Ali Campbell's enunciation is not that great! My question, why do so many "reggae purists" consider the UB's contribution to the genre as minimal at best? Their lyrics speak about individual power, fighting injustice, and are backed by a solid reggae beat. Is it because they seldom refer to Jah? -- From: hbowser@bianca.amd.com (Horace Bowser) Subject: Re: UB40: concious reggae Nah, homey... It's the sound... the sound... the One Drop, Heartbeat Riddim I Ya! No doubt, lyrics are important and, from what you say, their's seem to be on the one. But it's about the music. From: walkup@phyast.nhn.uoknor.edu (John Walkup) Subject: Re: UB40: concious reggae The way UB40 "reggaefies" mainstream songs annoys me. From: eznoh@niceup.com (EZ Noh Mikey) Subject: Re: UB40: concious reggae For me it's how lame their new stuff sounds compared with their early eighties tunes like "Madame Medusa", "Tyler", "Burden of Shame" and "My Way of Thinking". EZ Noh, mike From: bobko@nunki.usc.edu (Ryan Bobko) Subject: Re: UB40: concious reggae I'm not too sure, but I'm almost certain Elvis wasn't writing {insert UB40's last remake} in the mindset of a poor Jamaican fighting oppression in his homeland. Not that much oppression of Jamaica in Tennessee... From: TIMRAS@aol.com it might have more to do with the fact that Campbell is white. I think they have had a major influence in popularizing the genre/music, and their earlier releases (pre Rat in the Kitchen) were representive of the whole Steel Pulse/Naturlites UK roots-dub sound. Political lyrics, horns, bass heavy dub mixes while Junjo and Phang and their dancehall style was the style in Jamaica. When UB40 got more "pop"ular in their sound, "I Got You Babe" - "Red Red Wine", which was around when their mixer/producer Pablo Falconer? , the bass players brother, died (in a car crash?), they lost all alot of their old fans, me included. I still think they are great for what they do, but "Signing Off" thru "UB44" were genius, and the 12" mixes from that time are really great. Ultimately race and success may have been their un-doing in the eyes of the so called reggae "purest" For me the best reggae is often the most un-pure. Give me Everly Brother covers and harmonica and banjo riffs to keep the sound the mix of influences that first turned me on to that funky music from Jamdown. From: kmayall@cousteau.uwaterloo.ca.uwaterloo.ca (Kevin Mayall) In article <walkup.780270352@phyast>, John Walkup <walkup@phyast.nhn.uoknor.edu> wrote: > >The way UB40 "reggaefies" mainstream songs annoys me. The way UB40/35 "mainstreams" reggae songs annoys me. :) Cool..................... Kev ---------- From: papalee@aol.com (Papa Lee) Subject: Re: UB40: concious reggae I can't resist responding to this question. I think that there are many minor reasons as to why UB40 has is so disrespected by reggae "purists" but there are also a couple of serious reasons that many people probably don't want to deal with. First, the easy stuff (1) They did their most serious work and some think their best work before A&M picked them up so many of their best and most conscious songs were not heard until the poppier material gave them their image. (2) They really haven't done much interesting songwriting in about seven or eight years. (3) They don't sing about Rasta themes and don't use Rasta iconology (4) They don't connect in any way with Jamaica (5) There is a natural inclination among purists of all genres to dismiss those who achieve success on a more universal level (George Benson, anyone?) (6) There is also a fundamental distrust of any act that even deals on a global level. Although I believe Third World's last two or three records among their best and some of Steel Pulse's flirtations with modern R&B to be exciting, there are too many people who pine away for the good old days when they were on Mango. UB40, on A&M and Virgin, "suffers" from the same attitude (7) They emerged at the same time that the Two-Tone movement was peaking and to many are indelibly linked to Madness, the Specials and that ilk. The relationship of those acts to "real" ska is tenuous at best but it can influence the perception of the connection between UB40 and "real" reggae. On a deeper level, I believe that there is a certain amount of racism involved here and I also believe that many people come to reggae with a very specific cultural perspective that is not entirely musical. On the issue of racism, I've seen this over and over again in the criticism and literature of different musics that were invented or developed out of various black communities. Jazz, soul and blues have all had passionate arguments over the issue of white musicians within those genres and while it is undoubtedly true that jazz is fundamentally a black based musical style, that doesn't mean that Bill Evans, Stan Getz and Art Pepper aren't creative, innovative and exciting musicians. The same arguments have raged over Stevie Ray Vaughn, Paul Butterfield and Joe Cocker and they are equally pointless there as well. As regards UB40, I have to believe that at least in their material from Signing Off to Labour of Love (and Rat in the Kitchen as well), that the very fact that they are (predominantly) white works against them within the reggae community. One other band that I think suffered from this kind of racism was the Blue Riddim Band, a truly excellent American band from the early 1980s that never quite got the recognition they deserved despite a tremendous talent and devotion to classic reggae. Finally, I believe that there are distinctions to be made between reggae and Rasta and reggae and Jamaica. The three are not identical and it is important to keep their identities somewhat separate. Reggae is a *musical* form that was born out of commercial necessity and grew up in a competitive, commercial environment. It has consistently adapted influences from all over the place and had grown tremendously in content and popularity. The fact that many international listeners "discovered" reggae in an era in which most musicians were dedicated to Rasta themes or came to find the music through Bob Marley has caused them to identify the music with that specific culture. That's a mistake. Reggae is much broader than the music of Bob Marley would indicate just as the culture is broader than reggae. Yet because UB40 exists completely outside of the culture defined by Bob Marley they are dismissed by those who define reggae by Marley's standards. That's unfortunate because UB40 are excellent musicians who are often capable of powerful songs (although their last three records have left me pretty cold). One Love, Lee O'Neill Date: Fri, 23 Sep 1994 19:40:03 -0700 (PDT) From: Allen Kaatz <highnote@eskimo.com> Subject: Re: UB40: concious reggae > UB40 has consistently released albums with intelligent lyrics, though >sometimes Ali Campbell's enunciation is not that great! My question, why >do so many "reggae purists" consider the UB's contribution to the genre >as minimal at best? Their lyrics speak about individual power, fighting >injustice, and are backed by a solid reggae beat. Is it because they >seldom refer to Jah? I like UB40, myself, but the only record I own by them is a single of "Red Red Wine", which I knew would be a hit the first time I heard it, I thought they did a great job with that song. A long of reggae fans prefer more rootsy Jamaican reggae, I guess. I don't know why people waste so much energy putting them down... maybe it's easier than saying something positive for some people. I think UB40's records have helped a lot of younger people get turned on to reggae in general, which is a good thing. The band themselves are always very honest about their roots, having recorded two albums worth of older Jamaican songs (Labour Of Love). I think that UB40 are just another facet of the modern reggae scene, they love the music, and have as much right to play it as anyone else. As far as the rastafarian aspect, there are plenty of non-rasta Jamaican artists who get respect in Jamaica. Reggae is a musical form, not a religion, and although the rastafarian movement has had obvious influences on reggae music, it is far from the only influence on Jamaican music. American rhythm & blues, mento, calypso, etc. are some of the others. I have heard musicians in Jamaica mention UB40 with respect, they seem to be accepted there, if not a favorite. Many Jamaicans, including recording artists, seem to be proud that musicians from other countries are interested in their music. Another point in UB40's favor is that when they record material by Jamaican artists they have gone out of their way to made sure that the original writer gets paid. This type of thing does not go un-noticed by musicians & artists in Kingston. Al *Allen Kaatz* <highnote@eskimo.com> From tpj@de-montfort.ac.uk Fri Sep 30 09:39:48 1994 Interesting question, this. At a guess I would say that UB40 are loved and hated in roughly equal proportions! I think it is not really UB40 who are perceived as the problem, but they do tend to get a lot of flak as the result of a more general problem. It is clear that UB40 have achieved a level of success exceeding their abilities as a reggae band. I have nothing against them musically, except to say that they are very ordinary. A similar case can be made concerning ex-Simply Red's Mick Hucknall. He's got a good voice, but not the best, and his style is basically an good imitation of other people's music. Also Lisa Stansfield (sorry these are all English examples), the soul singer- good singer, but not *that* good... the list goes on. Why is this? Check out the old Macka-B song that says something like, "UB40 a-make the most millions." In there, I don't think he's criticisng them personally, but using them as an example of something more general a lot of black artists have been complaining about for years. Their argument is that the music they produce is marginalised and marketed as something alien, to then be replaced in the mainstream by weak imitations by white artists (or at least partly white, in UB40's case). However, if this is indeed the case (I would tend to agree) I think that the 'consumers' and not just the marketers of the music must shoulder some of the responsibility for this phenomenon. Most people, and I certainly, with hindsight, must include myself among them at some times naturally aren't aware of this bias for whatever reasons. They genuinely think that lisa, Mick, Ali or whoever are the better artists. That's the opinion of this purist, anyways. Best wishes, all. Tom (tpj@uk.ac.dmu) From kaleek@ibm.net Sat Apr 11 12:10:24 1998 I'm not even a purist and I have always thought this band was the definition of cheese. Here are some reasons. (A) Mainstream radio airplay. These days when an artist is doing some sort of quality "rebel" music, you can be assured that it will not be on radio. This is directly because the mass audience will not relate to it, or enjoy it. (B) The vocals. They are so whiney. It just makes me want to puke. (C) They are unquestionably the artist of choice when hanging out with the surfy crowd. Them and Depeche Mode. (D) They look like they are about to go in for an interview at GQ magazine. If you are so damn dread, what is the need for hair gel? (E) Personally, I think many artists have been sucked into this menatlity that if you want to break it big then you have to look at what popular American radio is doing. Who are the leaders of this train of thought? UB40. Sadly, many great bands have pursued this route to fame and money and in turn have failed miserably. I can honestly say that I have not seen a reggae show rock my world hard in about ten years or more. The only exception has been the Skatalites. For some reason they seem to understand that what made them popular in the first place is what will keep them popular regardless of the fads in the states. I remember the first time I saw Steel Pulse in 1985 and I was blown away. By the late eighties they were coming out with renditions of Bobby Brown's "It's My Perogative." What the hell is that? It sounds like someone got signed to an American label. It is really sad to see such extremely talented bands just go to pot. Look at the line ups for Reggae Sunsplash. They are just awful. Bands like Big Mountain headlining? I work at a college radio station and we get so many crappy American focused releases of reggae. I was in a shoe store a few months ago and they had MTV on and all of a sudden I recognized a voice. I looked up to my dismay and disgust to see one of the guys from Black Uhuru in some awful rap video. There is a big reason that I simply do not buy new releases of reggae, espaeciialy from older artists. That is because they just suck really bad. I don't think it is because these artists don't know how to make good music, I think it is because they have some UB40 listening manager and record label executives telling them what will sell. If anyone knows these older artists please beg them for some roots. End the UB40ization of what once was some of the best music ever. --------------- [18.] Can anyone recommend good female reggae vocalists (not dancehall). ? A friend turned me on to Annette Brissett and the Taxi Gang's "Annette." He's crazy about her and since he's got a birthday coming up I was wondering if any kind souls could offer suggestions? Thanks in advance for the help. From: eznoh@niceup.com Check out Sophia George, either the "For Everyone" or "Latest Slang" CD. Also "Black Woman" by Judy Mowatt. EZ Noh, mike From: sppcarso@ultrix.uor.edu (Bush Doktor) Try one of my faves... Kofi Her first cd is great, I believe it's called "with sugar". Try Ernie Bsssssss, he has it. BUSH DOKTOR sppcarso@ultrix.uor.edu From: deen@primenet.com (Deen Ipaye) Judy Mowatt's "Look At Love" CD is a recent favorite Marcia Griffith's "Naturally" is a mellow classic Rita Marley's "Who Feels It" LP with "One Draw" track is another good one Martha Velez's "Escape From Babylon"--Produced by Bob Marley (If you can find it!) TAKE YOUR PICK... I'm sure there are lots more! [dEEN] From: papalee@aol.com (Papa Lee) Marcia Griffiths is an amazingly talented singer and almost any record she's ever made is worthwhile. Judy Mowatt (Griffiths, Mowatt and Rita Marley were members of the I-Threes, the harmony singers for Bob Marley) is good songwriter and singer and her Black Woman album is one of the greatest of all time. Hortense Ellis is another great female singer, although finding her records is getting to be very difficult these days. I'd also recommend Doreen Shaffer and Dawn Penn unequivocally. I also love JC Lodge and Carlene Davis, although both have a tendency to get a bit mawkish. And before I forget, there's Sandra Cross, Janet Kay, Carroll Thompson and Susan Cadogan from England. Happy hunting, Lee O'Neill From: highnote@eskimo.com (Allen Kaatz) Marcia Griffith's Studio One LP is a classic... I think it is currently available, although the music is older style... Al From: d2domer@dtek.chalmers.se (Erik Domstad) I would recommend Aisha, either "High Priestess" or "Daughters of Zion". Nice roots style, Mad Professor at the controls.... Erik [19]. Please give an explanation of "One Drop" Style In article <3lkbp7$bpm@newsbf02.news.aol.com>, lcarmean@aol.com (L Carmean) writes: |> My understanding of the one drop style is that the drummer doesn't strike |> any of the drums on the first beat of a four beat bar or measure. Then on |> the third beat the drummer will usually strike the snare drum and bass |> drum at the same time. However, he/she might hit only the snare or bass |> drum on the third beat. |> |> The drummer might strike the high hat on the first beat, but he/she |> "drops" the first beat as far as the drums are concerned and instead |> emphasizes the third beat with the drums. Frequently the bass will make |> up for the dropped first beat by landing on it with a strong bass note. |> |> If anyone has a better explanation I would be happy to hear it. |> |> Larry Carmean |> RAW #336 |> This is a pretty good explanation of one drop - but the bass also often |> misses the first beat too. Ska was the original "one drop" rhythm... |> leaving off the down beat with the bass drum is one of the things that |> made Jamaican music so unique and instantly recognizable. American R&B |> and rock drummers are habituated to hitting the downbeat really strong |> with the bass drum - this is one of the reasons it is so hard for them to play |> authentic-sounding reggae. |> |> Reggae lost the "one drop" feel somewhat when Sly Dunbar started using |> different patterns that he adapted from funk & rock beats... this created |> the rockers style, where the bass drum hits all four beats, and led to a |> "heavier" style that you can hear on a lot of the late 70's/early 80's |> records that SLy & Robbie played on & produced, where the drum pattern |> is almost like a simple, slowed down rock beat. I miss the one-drop |> beat, a lot of the modern dance-hall records don't use it anymore, but |> you do still hear it sometimes. IMHO it is the classic reggae beat. |> |> Al |> |> -- |> ~~~~~~~~~~ Allen Kaatz (highnote@eskimo.com) ~~~~~~~~~~~~~ [20]. What are some reggae videos? Reggae and Related Video Information 1. ASWAD Live Island # 082 987 3 (1991) 70 minutes, live at the Hammersmith Odeon - London Justice, Chasing for the Breeze, Need Your Love, Roots Rockin', Don't Turn Around, Bubbling, 54/46 That's My Number, Tradition, Smokey Blues, Give a Little Love, Feelings, African Children, One Love, Set Them Free. 2. ASWAD Always Wicked Island #440 083 221 3 (1991) 42 minutes (Studio Videos) 54/46 That's My Number, Chasing For The Breeze, Give A Little Love, Set Them Free, Don't Turn Around, Beauty's Only Skin deep, On and On, Next To You, Smile, Set Them Free (LIVE @ Hammersmith Odeon). 3. Aswad Live ROCK n DOCK Limelight Studios London (1985) Japanese Import No Notes Available. 4. Black Uhuru - Tear It Up - LIVE @ the Rainbow Theatre, London (1981) ISLAND # 440-082 991 3 Shine Eye Gal, Plastic Smile, Puff She Puff, I Love King Selassie, Youth of Eglington, Push Push, General Penitentiary, Happiness, World Of Reggae, Sponji Reggae, Sensimilla. Micheal Rose, Puma Jones, Duckie Simpson, Sly Dunbar, Robbie Shakespeare, Mikey Chung, Darryl Thompson, Skyjuice, Keith Sterling. 5. Lucky Dube LIVE in Concert Shanachie# 1021 (1993) 90 minutes Feel It, The Hand That Giveth, Natural Man, Back To My Roots, I've Got You Babe, Together As One, Prisoner, House Of Exile, Dracula, It's Not Easy, Reggae Strong, Don't Cry, War And Crime, Remember Me, Truth In The World Lucky Dube - Vocals, Thuthukani Cele - Synthesizer, Eugene Mthethwa - Synthesizer, Chris Diamini - Percussion, Vulindela Yeni - Brass, Robert Jabu Mdluli - Brass, Ndumiso Nyovane - Brass, Jabulani Sibumbe - Bass, Sandile Dhlamini - Lead Guitarist, Innocent Mathunjwa - Drums, Nolusindiso Gaeza, Cynthia Malope, Kabanina Ntsele - Backing Vocals, Richard Siluma - Manager 6. Bob Marley and the Wailers Caribbean Nights 100 mins.(1988) Island # 440 082 373 3 No Woman No Cry, Bad Card, Trenchtown Rock, Stir It Up, Rastaman Chant, Slave Driver, Concrete Jungle, Lively Up Yourself, War, Jammin', Zimbabwe, Redemption Song, Could You Be Loved. 7. Bob Marley And The Wailers Live At The Santa Barbara County Bowl - Copyright 1981 No Notes Available 8. Bob Marley And The Wailers LIVE! (Rainbow Theatre London, 1977) 72 mins. Island #082 971 3 Trenchtown Rock, Them Belly Full (But We Hungry), I Shot The Sheriff, Rebel Music (3 O'Clock Road Block), Lively Up Yourself, Crazy Baldhead, War, No More Trouble, The Heathen, No Woman No Cry, Jamming, Get Up Stand Up, Exodus. 9. Bob Marley And The Wailers Legend (Best Of) (1991) Island #082 965 3 Want More, Is This Love, Jamming, Could You Be Loved, No Woman No Cry, Stir It Up, Get Up Stand Up, Satisfy My Soul, I Shot The Sheriff, Buffalo Soldier, Exodus, Redemption Song, One Love/People Get Ready. 10. Bob Marley Time Will Tell 90 mins. (1992) Island/Tuff Gong # 440 060 100 5 Archive footage featured: Coming In From The Cold 1980 Essex House, Concrete Jungle 1973 BBC Old Grey Wistle Test, Curfew/Burnin' & Lootin' 1974 Sheltervision, Them Bellyfull 1976 Exeter/1977 Rainbow, Lion Of Judah 1978 Peace Concert, Forever Loving Jah 1980 Tuff Gong Studio, I Shot The Sheriff 1979 Santa Barbara/1980 Rockpalast, Lively Up Yourself 1980 New Zealand, So Much Trouble 1978 Tuff Gong Studio, War 1977 Rainbow/1980 Rockpalast, Revolution 1980 Tuff Gong Studio, Ambush In The Night 1979 Santa Barbara, Running Away 1980 Zimbabwe, Jammin' 1978 Peace Concert, No Woman No Cry 1977 Rainbow, Could You Be Loved 1980 Tuff Gong Studio, Exodus 1977 Rainbow, Africa Unite 1979 Santa Barbara, Zimbabwe 1980 Zimbabwe, Redemption Song 1980 Miami Rehearsal, Coming In From The Cold 1980 Essex House, Natural Mystic 1980 Rockpalast, Get Up Stand Up 1973 Edmonton/1974 Sheltervision/1976 Exeter/1976 Smile Jamaica/1977 Rainbow/1979 Sunsplash/1979 Santa Barbara/1980 Zimbabwe/1980 Rockpalast. 11. Ziggy Marley and The Melody Makers Concious Party Live At The Palladium 60 mins. (1988) Virgin Music Video # 3 50127 Concious Party, Tomorrow People, Tumblin' Down, Lee & Molly, We Propose, What's True, Rat Race, Time Will Tell, Unuh Nuh Listen Yet, We Love Reggae Music: Give It All You Got, Lord We A Come. 12. Third World Prisoner In The Street (1979) Mono Sony/Island/CBS Japanese Import 70 mins. Now That We've Found Love, Slavery Days, Third World Man, Give A Little Something, Talk To Me, Cold Sweat, Irie Ites, Tribal War, African Woman, Street Fighting, Satta Masagana, 96 Degrees In The Shade, Prisoner In The Street. 13. Peter Tosh LIVE (at The Greek Theatre August 23, 1983) Japanese Import EMI/Picture Music 1984 Intro, Start All Over, African, Comin' In Hot, Not Gonna Give Up, Rastafari Is, Where You Gonna Run, Glass-House, Equal Rights/Downpresser Man, Johnny B. Goode, Get Up Stand Up. Peter Tosh and Word, Sound and Power. Donald Kinsey - Lead Guitar, Carlton "Santa" Davis - Drums, Keith Sterling - Keyboards, Stevie Golding - Rhythm Guitar, George "Fully" Fullwood - Bass, "Vision" Walker - Percussion, Winston Morgan - Percussion. 14. Bunny Wailer In Concert (1986 Madison Square Garden concert) 80 mins. Shanachie #104 Old Dragon, Blackheart Man, Dreamland, Love Fire, Struggle, Rise And Shine, Dance Rock Runnings, Galong So, Ram Dancehall, Ballroom Floor, Walk The Proud Land, Rudie, I Stand Predominate, I'm The Toughest, Hypocrites Together Again. Backed by the 13 piece Reggaestra (including Roots Radics band and backing vocalistsPsalms (formerly the Gaylad), the Umojah Dance Ensembe, The Switch Dancers, MC: Bagga Brown. 15. Heartland Reggae (1983) 95 mins. Palm Beach Entertainment #8002 (shot 1977/78) Bob Marley and the Wailers, The I-Threes, Peter Tosh, Jacob Miller, Judy Mowatt, Dennis Brown, U-Roy, Junior Tucker, Lloyd Parks. 16. Rockers Its Dangerous (1977 re-released 1993) Rockers Film Corp. Burning Spear, Bunny Wailer, Third World, Peter Tosh, Jacob Miller, Kiddus I, Junior Mervin, Inner Circle, The Heptones, Grgory Isaacs, The Abyssinians, Big Youth,Leroy Smart, Dillinger, Rockers All Star Band: Robbie Shakespeare - Bass, Leroy "Horsemouth" Wallace - Drums, Earl (Chinna) Smith - Guitar, Earl (Wire) Lindo -Keys, Bernard (Touter) Harvey - Keys, Bertram McLean (Ranchie) - Guitar, Tommy McCook - Flute and Sax, Herman Marquis - Sax, Richard (Dirty Harry) Hall - Sax, Bobby Ellis - Trumpet, Vin Gordon (Tramie) - Trombone, Skully - Percussion. 17. Land Of Look Behind (1982) 88 mins. Rhapsody Films Directed by Alan Greenberg Gregory Isaacs, Bob Marley, Mutabaruka, Lui Lepke. 18. Bongo Man (1981) Castle Hendring Communications # HEN 2018 Starring Jimmy Cliff and more. Bongo Man, It's a Hard Road To Travel, Stand Up - Fight Back, Viet Nam, She Is A Woman, The Harder They Come, That's My Philosophy, Wanted Man, Fundamental Reggae, I'm The Living, No Woman No Cry, Going Back West, Let's Turn The Tables. 19. The Harder They Come (1973) Island #440 083 743 3 Starring Jimmy Cliff, more. 20. Reggae Got Soul Japanese Import Various Artists - No Further Info Now Available. 21. Splashin' The Palace - (Sunsplash 1984) Various Artists - No Further Info Now Available. 22. Roots, Rock Reggae (Shanachie #1202) Various Artists 55 min. 23. Best Of Sunsplash 1991 (1991) 60 mins. A*VISION Entertainment #50260 3 Coco Tea - Riker's Island, Ziggy Marley - Small People; Drastic, Lucky Dube - Back To My Roots, I-Three - Jealosy, Third Worls - Reggae Ambassador, Shabba Ranks/Maxi Priest - False Pretender, Barrington Levy - Too Experienced, Shinehead - Strive, Mutabaruka - Dis Poem, Frankie Paul - Rock With Me, Gregory Isaacs - Medley, Dennis Brown - Here I Come. 24. Best Of Reggae Sunsplash Part II (1991??) Various Artists. No Further Info Now Available. 25. Reggae Sunsplash 1981 A Tribute To Bob Marley (1981) Various Artists. No Further Info Available. 26. All Time Best Of Reggae Sunsplash Collector's Edition (1991) 90 mins. A*VISION 50304 3 Bob Marley - Get Up Stand Up, Ziggy Marley - Small People, Maxi Priest - Wild World, Shabba Ranks - Trailer Load, Bunny Wailer - Gotta Keep On Moving, Toots & The Maytals - Medley: Sweet & Dandy/Bah Bah/Pomp & Pride, I-Three - Lively Up Yourself, Black Uhuru - General Penetentiary, Skatellites - Latin Goes Ska, Aswad - Roots Rockin', Yellowman - This Old Man, Blue Riddim - Nancy Reagan, Steel Pulse - Raid I Blues, Burning Spear - Slavery Days, Third World - Forbidden Love, Ninjaman - Listen To The Don, Lucky Dube - No Truth In This World, Barrington Levy - Teach The Youth; Mandela, Frankie Paul - Tidal Wave; All My Love, Dennis Brown - Revolution. 27. The All Star Reggae Session (1988) 60 mins HBO/A*VISION #50211 3 Jimmy Cliff, Toots Hibbert, Chrissie Hynde, Grace Jones, I Three, Ziggy Marley & the Melody Makers, The Neville Brothers, Carlos Santana, Sly & Robbie, Bunny Wailer, Coati Mundi, Tyrone Downie, Stephen "Cat" Coore, 809 Band, Solomonic All Stars, Dallol, Oneness. Songs: Buffalo Soldier, Roots,Radics, Rockers and Reggae, Rise And Shine, Concious Party, Waiting In Vain, Steppin' Razor, Country Roads, 5446 Was My Number, My Jamaican Guy, My Blood In South Africa, It Ain't No Use, Hanging Fire, Love Me, Love Me, The Harder They Come. 28. Buried Treasures Vol. 2 - Reggae Classics (1991) 30 mins. Island #440 083 871 3 Toots & The Maytals - Reggae Got Soul, Third World - Now That We've Found Love, Black Uhuru - Solidarity, Ini Kamoze - Call The Police, Sly & Robbie - Boops (Here To Go), R.P.O. - Minnie The Moocher, Benjamin Zephaniah - Us An Dem, Burning Spear - Great Men, Bob Marley and The Wailers - Could You Be Loved. Other Videos Of Interest Rhythyms Of The World Anthology (1991) Island # 440 083 873 3 Hosted by Peter Gabriel & Bobby McFerrin Salif Kieta, Dede St. Prix, Fela Kuti, Ray Lema, Buckwheat Zydeco, King Sunny Ade, Los Van Van, Kanda Bongo Man, Ntsikane, Joe Arroyo Y La Verdad, Malombo, Boukman Eksperyans, Soul Brothers, Baba Maal, Irakere, Abdullah Ibrahim, Oscar D'Leon, Malathini & Mahotella Queens. Ju Ju - African Music - King Sunny Ade etc. FELA KUTI- Teacher Don't Teach Me Nonsense UB40 -CCCP, Live, various other videos available. -------- [21]. What is a good way to find concert information? Check: JAMMIN REGGAE ARCHIVES http://niceup.com/tours.html http://niceup.com/regional.html http://niceup.com (Events on main page) Reggae Source http://reggaesource.com Reggae Train http://reggaetrain.com Pollstar On-Line http://www.pollstar.com/ Reggae Festival Guide http://www.reggaefestivalguide.com Read rec.music.reggae Join RAW Scotti B RAW 596 i have 2 tour search programs on my homepage http://web.syr.edu/~affellem they are not just for reggae but pretty good.hope this helps. adam ---------- [22.] Where can I find some information about dreadlocks? http://www.mydreadlocks.com/dreadlocks-info http://www.dreadheadhq.com http://www.knottyboy.com ---------- [23]. Why shouldn't I post pictures or sounds to rec.music.reggae? It's not a good idea to post "binary" files, such as pictures or sound files, to the newsgroup. Binary files are usually HUGE-- many times the size of normal text files. They can take forever to download and can break some people's newsreaders. Also, if you get charged by the time it takes to download a message, or the size of the messages you download, that's a LOT more money paid by the unsuspecting newsgroup reader! Also, if enough poeple start posting binaries in this newsgroup, news server admins may decide that it's a binary newsgroup and articles will get flushed much faster, that is they will only stay around for a day or two. Please post binary files to the most appropriate binaries newsgroup ONLY. Here are a few places to get you started (warning-- the files may take a LONG time to download due to their size!): alt.binaries.pictures.misc (news:alt.binaries.pictures.misc) alt.binaries.sounds.misc (news:alt.binaries.sounds.misc) You can post a note in a group that you've sent a binary file to another newsgroup, but please don't crosspost that file or the note between the groups or post the files here. If you post pointers to the groups where readers might be interested, and only post the binaries in binaries newsgroups, everything works out fine. :) ----------- [24]. Where can I find lyrics on the Internet? Jammin Reggae Archives Lyrics directory http://niceup.com/lyrics Peter Tosh Lyrics http://www.fortunecity.com/tinpan/metallica/471/index.html Bob Marley Lyrics Library http://members.tripod.com/~Herbs_Pirate/ Reggaelyrics Archive http://hjem.get2net.dk/sbn/reggae.htm The Lyrics Lounge http://www.verse.freeservers.com AC's Roots Reggae Lyrics http://www.acroots.com/roots/albums/lyrics.htm ---------- [25]. Where can I find information about Reggae Clubs? See the clubs page at the Jammin Reggae Archives: http://niceup.com/clubs.html ----------- [26]. Where can I find information about Reggae Shops? See the shops page at the Jammin Reggae Archives: http://niceup.com/shops.html ----------- [27]. Where can I get an RSS news feed about reggae? Paste the URL "http://niceup.com/niceup.rss" into your reader or drag the RSS icon from the news section of the main page. ----------- [28]. Where can I find Reggae podcasts? Jammin Reggae Virtual Radio - plug this URL into Itunes or other podcasting software: http://niceup.com/podcast.rss Big Up Radio: http://bigupradio.com/ Search for "Reggae" at these podcast sites: The Podcast Directory: http://www.podcast.net/ Podcasting News: http://www.podcastingnews.com/ Podcasting Tools: http://www.podcasting-tools.com ----------- Mike Pawka eznoh@niceup.com RAW #94 Jammin Reggae Archives Cybrarian niceup.com Jammin Reggae Virtual Radio Cyber-DJ reggaeradio.org Nice Up Enterprises FAX/PH: 619-226-6108