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      <pubDate>Tue, 14 Feb 2012 04:48:09 -0800</pubDate>
      <title>The Pioneers - Long Shot Kick The Bucket &amp; Pusherman</title>
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&lt;img alt="Thepioneers" height="377" src="http://getfile4.posterous.com/getfile/files.posterous.com/skarumble/P1zJnzfjlmOUPZipIKy02fDuMlICdGGJ9OSrkMtAlCqwVsMGgBcLcsN4G3cB/ThePioneers.jpg.scaled600.jpg" width="500" /&gt;
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&lt;p&gt;&lt;iframe src="http://www.youtube.com/embed/nL1eNDab7Nw?wmode=transparent" allowfullscreen frameborder="0" height="417" width="500"&gt;&lt;/iframe&gt;&lt;p /&gt;&lt;iframe src="http://www.youtube.com/embed/3FSljx28TNg?wmode=transparent" allowfullscreen frameborder="0" height="417" width="500"&gt;&lt;/iframe&gt;&lt;p /&gt; &lt;/p&gt;&lt;h3&gt;&lt;span class="mw-headline"&gt;Founding and early years: 1962-1967&lt;/span&gt;&lt;/h3&gt;The Pioneers were formed in 1962 by &lt;a href="http://en.wikipedia.org/wiki/Sibling" title="Sibling"&gt;brothers&lt;/a&gt; &lt;a href="http://en.wikipedia.org/wiki/Sydney_Crooks" title="Sydney Crooks"&gt;Sydney&lt;/a&gt; and Derrick Crooks, and their friend Winston Hewitt.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/The_Pioneers_%28band%29#cite_note-AMG-0"&gt;&lt;span&gt;[&lt;/span&gt;1&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Their early recordings &amp;quot;Good Nanny&amp;quot; and &amp;quot;I&amp;#39;ll Never Come Running Back to You&amp;quot; were self-produced at the Treasure Isle studio using money lent to the Crooks brothers by their mother and appeared on &lt;a href="http://en.wikipedia.org/wiki/Ken_Lack" title="Ken Lack"&gt;Ken Lack&lt;/a&gt;&amp;#39;s Caltone label.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/The_Pioneers_%28band%29#cite_note-KatzSF-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/The_Pioneers_%28band%29#cite_note-KatzPFB-2"&gt;&lt;span&gt;[&lt;/span&gt;3&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;Several other singles followed, none of them hits, before Hewitt emigrated to &lt;a href="http://en.wikipedia.org/wiki/Canada" title="Canada"&gt;Canada&lt;/a&gt; in 1966. Hewitt was replaced for around a year by former &lt;a href="http://en.wikipedia.org/wiki/The_Heptones" title="The Heptones"&gt;Heptone&lt;/a&gt; &lt;a href="http://en.wikipedia.org/wiki/Glen_Adams" title="Glen Adams"&gt;Glen Adams&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/The_Pioneers_%28band%29#cite_note-KatzSF-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;The Pioneers&amp;#39; early singles were not successful, and Sydney began promoting concerts, while Derrick took up a job with the Alcoa bauxite company.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/The_Pioneers_%28band%29#cite_note-KatzSF-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; The group broke up in mid-1967.&lt;span class="editsection"&gt;&lt;/span&gt;&lt;p&gt; &lt;span class="editsection"&gt;&lt;/span&gt; &lt;b&gt;&lt;span class="mw-headline"&gt;The Pioneers revived: 1967-1968&lt;/span&gt;&lt;/b&gt;&lt;/p&gt; &lt;p&gt;Sydney began working at &lt;a href="http://en.wikipedia.org/wiki/Joe_Gibbs_%28record_producer%29" title="Joe Gibbs (record producer)"&gt;Joe Gibbs&lt;/a&gt;&amp;#39; record shop, and through Gibbs, returned to recording. At his first session (to record &amp;quot;Give Me Little Loving&amp;quot;), with the other members of The Pioneers gone, Crooks recruited &lt;a href="http://en.wikipedia.org/wiki/Jackie_Robinson_%28musician%29" title="Jackie Robinson (musician)"&gt;Jackie Robinson&lt;/a&gt;, who he found outside the studio just before recording began.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/The_Pioneers_%28band%29#cite_note-KatzSF-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Crooks later said of the encounter:&lt;/p&gt; &lt;blockquote&gt; &lt;p&gt;&amp;quot;When I was about to voice the song I looked outside the studio and I saw a little boy sitting on a stone. I said &amp;#39;Hey, come here man, you can sing?&amp;#39; He sung the harmony for &amp;#39;Give Me Little Loving&amp;#39; and his name was Jackie Robinson. After that I said to him &amp;#39;You are one of the Pioneers from today&amp;#39; and he became the lead singer of the Pioneers&amp;quot;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/The_Pioneers_%28band%29#cite_note-KatzPFB-2"&gt;&lt;span&gt;[&lt;/span&gt;3&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt; &lt;/blockquote&gt; &lt;p&gt;The new version of The Pioneers enjoyed success with singles such as &amp;quot;Longshot&amp;quot; (a track written and produced by &lt;a href="http://en.wikipedia.org/wiki/Lee_%22Scratch%22_Perry" title="Lee &amp;quot;Scratch&amp;quot; Perry"&gt;Lee &amp;quot;Scratch&amp;quot; Perry&lt;/a&gt; on Gibbs&amp;#39; behalf about a long-lived but unsuccessful racehorse),&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/The_Pioneers_%28band%29#cite_note-Thompson-3"&gt;&lt;span&gt;[&lt;/span&gt;4&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; &amp;quot;Jackpot&amp;quot;, &amp;quot;Catch the Beat&amp;quot;, and &amp;quot;Pan Yu Machete&amp;quot; (an attack on Perry, who left Gibbs in 1968 to start woking on his own productions).&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/The_Pioneers_%28band%29#cite_note-KatzSF-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Crooks and Robinson also recorded as The Soul Mates in 1967.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/The_Pioneers_%28band%29#cite_note-Thompson-3"&gt;&lt;span&gt;[&lt;/span&gt;4&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; The group parted ways with Gibbs after an argument and moved on to work with &lt;a href="http://en.wikipedia.org/wiki/Leslie_Kong" title="Leslie Kong"&gt;Leslie Kong&lt;/a&gt;, the first recording for Kong being &amp;quot;Samfie Man&amp;quot;, a song about a confidence trickster, which topped the Jamaican singles chart.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/The_Pioneers_%28band%29#cite_note-KatzSF-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;span class="editsection"&gt;&lt;/span&gt;&lt;/p&gt; &lt;p&gt;&lt;span class="editsection"&gt;&lt;/span&gt;&lt;b&gt;&lt;span class="mw-headline"&gt;The classic trio, and the move to the UK: 1969-1977&lt;/span&gt;&lt;/b&gt;&lt;/p&gt; &lt;p&gt;After a few further singles with Kong, the group recruited &lt;a href="http://en.wikipedia.org/wiki/Desmond_Dekker" title="Desmond Dekker"&gt;Desmond Dekker&lt;/a&gt;&amp;#39;s half-brother George Agard to become a trio again.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/The_Pioneers_%28band%29#cite_note-KatzSF-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Sydney Crooks and his former Pioneer brother Derrick, along with Winston Bailey also recorded as &lt;a href="http://en.wikipedia.org/wiki/The_Slickers" title="The Slickers"&gt;The Slickers&lt;/a&gt;,&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/The_Pioneers_%28band%29#cite_note-Moskowitz-4"&gt;&lt;span&gt;[&lt;/span&gt;5&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; recording &amp;quot;Nana&amp;quot; for producer Neremiah Reid. The Pioneers scored again with a sequel to &amp;quot;Long Shot&amp;quot;, &amp;quot;Long Shot (Kick De Bucket)&amp;quot;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/The_Pioneers_%28band%29#cite_note-AMG-0"&gt;&lt;span&gt;[&lt;/span&gt;1&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; When Kong heard that the horse had died (during its 203rd race),&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/The_Pioneers_%28band%29#cite_note-Chang-5"&gt;&lt;span&gt;[&lt;/span&gt;6&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; he insisted that the group write a song about it; The song was written and recorded quickly and became an instant hit.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/The_Pioneers_%28band%29#cite_note-KatzSF-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt; &lt;p&gt;The band was popular in the &lt;a href="http://en.wikipedia.org/wiki/United_Kingdom" title="United Kingdom"&gt;United Kingdom&lt;/a&gt;, particularly among &lt;a href="http://en.wikipedia.org/wiki/Skinhead" title="Skinhead"&gt;skinheads&lt;/a&gt;. &amp;quot;Long Shot Kick de Bucket&amp;quot; was a big hit in 1969, and led to a tour of the UK, during which they resolved to relocate there.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/The_Pioneers_%28band%29#cite_note-KatzSF-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Their &lt;a href="http://en.wikipedia.org/wiki/Cover_version" title="Cover version"&gt;cover&lt;/a&gt; of &lt;a href="http://en.wikipedia.org/wiki/Jimmy_Cliff" title="Jimmy Cliff"&gt;Jimmy Cliff&lt;/a&gt;&amp;#39;s &amp;quot;Let Your Yeah Be Yeah&amp;quot; made #5 as a &lt;a href="http://en.wikipedia.org/wiki/Single_%28music%29" title="Single (music)"&gt;single&lt;/a&gt; in 1971.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/The_Pioneers_%28band%29#cite_note-AMG-0"&gt;&lt;span&gt;[&lt;/span&gt;1&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/The_Pioneers_%28band%29#cite_note-British_Hit_Singles_.26_Albums-6"&gt;&lt;span&gt;[&lt;/span&gt;7&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;The band did indeed move to the UK in 1970. Their third UK hit was &amp;quot;Give and Take&amp;quot;, which reached #35 in January 1972.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/The_Pioneers_%28band%29#cite_note-British_Hit_Singles_.26_Albums-6"&gt;&lt;span&gt;[&lt;/span&gt;7&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; In 1975 they were the first reggae band to &lt;a href="http://en.wikipedia.org/wiki/Concert_tour" class="mw-redirect" title="Concert tour"&gt;tour&lt;/a&gt; in &lt;a href="http://en.wikipedia.org/wiki/Japanese_reggae" title="Japanese reggae"&gt;Japan&lt;/a&gt;.&lt;span class="editsection"&gt;&lt;/span&gt;&lt;/p&gt; &lt;p&gt;&lt;span class="editsection"&gt;&lt;/span&gt;&lt;b&gt;&lt;span class="mw-headline"&gt;Soul Years: 1976-1979&lt;/span&gt;&lt;/b&gt;&lt;/p&gt; &lt;p&gt;In 1976 the Pioneers teamed up with &lt;a href="http://en.wikipedia.org/wiki/Eddie_Grant" class="mw-redirect" title="Eddie Grant"&gt;Eddie Grant&lt;/a&gt; for an album for &lt;a href="http://en.wikipedia.org/wiki/Mercury_records" class="mw-redirect" title="Mercury records"&gt;Mercury records&lt;/a&gt; called &amp;#39;Feel The Rhythm&amp;#39;. Grant preferred to produce them as a soul group and they released a number of singles of that idiom including &amp;#39;Broken Man&amp;#39;, &amp;#39;Feel The Rhythm&amp;#39; and &amp;#39;My Good Friend James&amp;#39; The change of style was a critical but not a commercial success and the band split up for a time in the late 1970s, with Crooks concentrating on production work and continuing with his brother in The Slickers, while Agard and Robinson continued to record, together on the album &lt;i&gt;George &amp;amp; Jackie Sing&lt;/i&gt;, and separately.&lt;span class="editsection"&gt;&lt;/span&gt;&lt;/p&gt;&lt;p&gt;&lt;span class="editsection"&gt;&lt;/span&gt;&lt;b&gt;&lt;span class="mw-headline"&gt;First Reformation: 1979-1989&lt;/span&gt;&lt;/b&gt;&lt;/p&gt; &lt;p&gt;The group reformed in the late 1970s and continued until 1989, when they split again to concentrate on separate careers. &amp;quot;Long Shot Kick de Bucket&amp;quot; was a minor UK &lt;a href="http://en.wikipedia.org/wiki/Record_chart" title="Record chart"&gt;chart&lt;/a&gt; hit again in 1980 upon re-issue.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/The_Pioneers_%28band%29#cite_note-British_Hit_Singles_.26_Albums-6"&gt;&lt;span&gt;[&lt;/span&gt;7&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; At the same time, &amp;quot;Long Shot Kick de Bucket&amp;quot; was &lt;a href="http://en.wikipedia.org/wiki/Cover_version" title="Cover version"&gt;covered&lt;/a&gt; by &lt;a href="http://en.wikipedia.org/wiki/The_Specials" title="The Specials"&gt;The Specials&lt;/a&gt; on their &lt;i&gt;&lt;a href="http://en.wikipedia.org/wiki/The_Special_AKA_Live%21" title="The Special AKA Live!"&gt;The Special AKA Live!&lt;/a&gt;&lt;/i&gt; &lt;a href="http://en.wikipedia.org/wiki/Extended_play" title="Extended play"&gt;EP&lt;/a&gt;, which was a UK &lt;a href="http://en.wikipedia.org/wiki/Chart-topper" class="mw-redirect" title="Chart-topper"&gt;#1&lt;/a&gt; hit in 1980.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/The_Pioneers_%28band%29#cite_note-British_Hit_Singles_.26_Albums_2-7"&gt;&lt;span&gt;[&lt;/span&gt;8&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;The Pioneers song &amp;quot;Starvation&amp;quot; was also covered on the &amp;quot;&lt;a href="http://en.wikipedia.org/wiki/Starvation/Tam_Tam_Pour_L%27Ethiopie" title="Starvation/Tam Tam Pour L&amp;#39;Ethiopie"&gt;Starvation/Tam Tam Pour L&amp;#39;Ethiopie&lt;/a&gt;&amp;quot; &lt;a href="http://en.wikipedia.org/wiki/Charitable_organization" title="Charitable organization"&gt;charity&lt;/a&gt; single released in 1985, which peaked at UK #33. The Pioneers shared lead vocal duties on the single with members of &lt;a href="http://en.wikipedia.org/wiki/UB40" title="UB40"&gt;UB40&lt;/a&gt;, with backing vocals by &lt;a href="http://en.wikipedia.org/wiki/General_Public" title="General Public"&gt;General Public&lt;/a&gt;.&lt;span class="editsection"&gt;&lt;/span&gt;&lt;/p&gt; &lt;p&gt;&lt;span class="editsection"&gt;&lt;/span&gt; &lt;b&gt;&lt;span class="mw-headline"&gt;Second Reformation: 1999-present&lt;/span&gt;&lt;/b&gt;&lt;/p&gt; &lt;p&gt;In 1999, the group reformed again and have continued to perform together since. In 2005, the Pioneers performed at the &lt;a href="http://en.wikipedia.org/wiki/Maranh%C3%A3o" title="Maranhão"&gt;Maranhão&lt;/a&gt; Roots Reggae Festival in &lt;a href="http://en.wikipedia.org/wiki/S%C3%A3o_Lu%C3%ADs,_Maranh%C3%A3o" title="São Luís, Maranhão"&gt;São Luís&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/Brazil" title="Brazil"&gt;Brazil&lt;/a&gt; before 15,000 &lt;a href="http://en.wikipedia.org/wiki/Fan_%28person%29" title="Fan (person)"&gt;fans&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/The_Pioneers_%28band%29#cite_note-Pioneers-8"&gt;&lt;span&gt;[&lt;/span&gt;9&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; The following year they appeared at the &lt;a href="http://en.wikipedia.org/wiki/Godiva_Festival" title="Godiva Festival"&gt;Godiva Festival&lt;/a&gt; in the &lt;a href="http://en.wikipedia.org/wiki/War_Memorial_Park,_Coventry" title="War Memorial Park, Coventry"&gt;War Memorial Park&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/Coventry" title="Coventry"&gt;Coventry&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/England" title="England"&gt;England&lt;/a&gt;. &amp;quot;Long Shot Kick de Bucket&amp;quot; was used in the 2008 &lt;a href="http://en.wikipedia.org/wiki/Film" title="Film"&gt;film&lt;/a&gt;, &lt;i&gt;&lt;a href="http://en.wikipedia.org/wiki/The_Wackness" title="The Wackness"&gt;The Wackness&lt;/a&gt;&lt;/i&gt;.&lt;/p&gt;
	
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      <pubDate>Fri, 10 Feb 2012 11:28:29 -0800</pubDate>
      <title>Ever wonder what happens at a Slackers rehearsal?</title>
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      <pubDate>Sat, 21 Jan 2012 07:13:00 -0800</pubDate>
      <title>R.I.P. Reggae Icon Winston Riley</title>
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&lt;p&gt;&lt;span style="font-size: x-small;"&gt;Celebrated reggae producer Winston Riley has died, months after he was shot in the head in his native Jamaica. Riley fell into a coma after he was&amp;nbsp;shot in Kingston on Nov. 1,&amp;nbsp;and he&amp;nbsp;died Thursday. He was 65. Widely recognized as one of the most successful reggae producers of all time, Riley began his career as a singer at the age of 16, when he formed his&amp;nbsp;band the Techniques. They recorded with producers Byron Lee and Duke Reid before Riley quit the group and moved behind the soundboard to try his hand at beatmaking. &lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-size: x-small;"&gt;He went on to work with reggae acts including Boris Gardiner and Johnny Osbourne and scored international success in 1971 with Dave and Ansell Collins' hit "Double Barrel." Riley became known for creating the popular Stalag beat and later helped&amp;nbsp;launch the careers of Buju Banton, Lone Ranger and Frankie Paul. Riley's Stalag&amp;nbsp;rhythm is estimated to have&amp;nbsp;provided the music foundation for an estimated 400 songs.&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-size: x-small;"&gt;Riley had been targeted in a number of vicious attacks in the past year. He was shot in August and stabbed repeatedly in an incident in September. Police have struggled to establish a motive for any of the attacks. Riley's son, radio DJ Kurt Riley, remains equally baffled by the shocking wave of violence. He&amp;nbsp;told the Jamaica Observer newspaper, "Unfortunately, Daddy didn't wake up so we could talk to him to find out if there was something he was not telling us. He was a straightforward man who was allergic to hypocrisy."&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-size: x-small;"&gt;Winston Riley is survived by several children and grandchildren.&lt;/span&gt;&lt;/p&gt;
&lt;h2&gt;&lt;span class="mw-headline" style="font-size: x-small;"&gt;Biography&lt;/span&gt;&lt;/h2&gt;
&lt;h2 style="font-weight: normal;"&gt;&lt;span style="font-size: x-small;"&gt;&lt;span&gt;Riley was born in &lt;a href="http://en.wikipedia.org/wiki/Kingston,_Jamaica" title="Kingston, Jamaica"&gt;Kingston, Jamaica&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Winston_Riley#cite_note-1"&gt;[2]&lt;/a&gt;&lt;/sup&gt; His entry into the &lt;a href="http://en.wikipedia.org/wiki/Music_industry" title="Music industry"&gt;music industry&lt;/a&gt; was at 16 years old in 1962, when he formed &lt;a href="http://en.wikipedia.org/wiki/The_Techniques" title="The Techniques"&gt;The Techniques&lt;/a&gt; &lt;a href="http://en.wikipedia.org/wiki/Harmony" title="Harmony"&gt;harmony&lt;/a&gt; group, which recorded their first tracks for Byron Lee, and then later recorded for &lt;a href="http://en.wikipedia.org/wiki/Duke_Reid" title="Duke Reid"&gt;Duke Reid&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Winston_Riley#cite_note-Jamaica_Gleaner-0"&gt;[1]&lt;/a&gt;&lt;/sup&gt; In 1968, he left the group and formed his own Techniques &lt;a href="http://en.wikipedia.org/wiki/Record_label" title="Record label"&gt;record label&lt;/a&gt;, moving into production, producing artistes like &lt;a href="http://en.wikipedia.org/wiki/Boris_Gardiner" title="Boris Gardiner"&gt;Boris Gardiner&lt;/a&gt;, The Escorts, &lt;a href="http://en.wikipedia.org/wiki/Alton_Ellis" title="Alton Ellis"&gt;Alton&lt;/a&gt; and &lt;a href="http://en.wikipedia.org/wiki/Hortense_Ellis" title="Hortense Ellis"&gt;Hortense Ellis&lt;/a&gt;, and &lt;a href="http://en.wikipedia.org/wiki/Johnny_Osbourne" title="Johnny Osbourne"&gt;Johnny Osbourne&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Winston_Riley#cite_note-Jamaica_Gleaner-0"&gt;[1]&lt;/a&gt;&lt;/sup&gt;&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Winston_Riley#cite_note-Thompson-2"&gt;[3]&lt;/a&gt;&lt;/sup&gt; His own &lt;a href="http://en.wikipedia.org/wiki/Song" title="Song"&gt;song&lt;/a&gt;, "&lt;a href="http://en.wikipedia.org/wiki/Double_Barrel" title="Double Barrel"&gt;Double Barrel&lt;/a&gt;", performed by &lt;a href="http://en.wikipedia.org/wiki/Dave_and_Ansell_Collins" title="Dave and Ansell Collins"&gt;Dave and Ansell Collins&lt;/a&gt; under Riley's own production, was one of the first international &lt;a href="http://en.wikipedia.org/wiki/Reggae" title="Reggae"&gt;reggae&lt;/a&gt; &lt;a href="http://en.wikipedia.org/wiki/Hit_record" title="Hit record"&gt;hits&lt;/a&gt;, reaching #1 in the Dutch and &lt;a href="http://en.wikipedia.org/wiki/UK_Singles_Chart" title="UK Singles Chart"&gt;UK Singles Chart&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Winston_Riley#cite_note-Thompson-2"&gt;[3]&lt;/a&gt;&lt;/sup&gt;&lt;/span&gt;&lt;/span&gt;&lt;/h2&gt;
&lt;p&gt;&lt;span style="font-size: x-small;"&gt;His "Stalag" &lt;a href="http://en.wikipedia.org/wiki/Riddim" title="Riddim"&gt;riddim&lt;/a&gt; has often been used. The rhythm was first released in 1973, as the &lt;a href="http://en.wikipedia.org/wiki/Instrumental" title="Instrumental"&gt;instrumental&lt;/a&gt; &lt;a href="http://en.wikipedia.org/wiki/Ansell_Collins" title="Ansell Collins"&gt;Ansell Collins&lt;/a&gt; track, "Stalag 17", named after the &lt;a href="http://en.wikipedia.org/wiki/World_War_II" title="World War II"&gt;World War II&lt;/a&gt; &lt;a href="http://en.wikipedia.org/wiki/Film" title="Film"&gt;film&lt;/a&gt; of the &lt;a href="http://en.wikipedia.org/wiki/Stalag_17" title="Stalag 17"&gt;same name&lt;/a&gt;. It reappeared later as "Stalag 18", "Stalag 19", "Stalag 20" and "Ring the Alarm Quick". Riley produced &lt;a href="http://en.wikipedia.org/wiki/General_Echo" title="General Echo"&gt;General Echo&lt;/a&gt;'s hugely influential &lt;em&gt;The Slackest&lt;/em&gt; album in 1979, and he went on to launch the careers of &lt;a href="http://en.wikipedia.org/wiki/Sister_Nancy" title="Sister Nancy"&gt;Sister Nancy&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/Buju_Banton" title="Buju Banton"&gt;Buju Banton&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/Cutty_Ranks" title="Cutty Ranks"&gt;Cutty Ranks&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/Lone_Ranger_%28musician%29" title="Lone Ranger (musician)"&gt;Lone Ranger&lt;/a&gt;, and &lt;a href="http://en.wikipedia.org/wiki/Frankie_Paul" title="Frankie Paul"&gt;Frankie Paul&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Winston_Riley#cite_note-Thompson-2"&gt;[3]&lt;/a&gt;&lt;/sup&gt;The &lt;a href="http://en.wikipedia.org/wiki/Band_%28music%29" class="mw-redirect" title="Band (music)"&gt;band&lt;/a&gt; &lt;a href="http://en.wikipedia.org/wiki/Widespread_Panic" title="Widespread Panic"&gt;Widespread Panic&lt;/a&gt; &lt;a href="http://en.wikipedia.org/wiki/Sound_recording_and_reproduction" title="Sound recording and reproduction"&gt;recorded&lt;/a&gt; his song "Arlene", and have performed many versions of it at their &lt;a href="http://en.wikipedia.org/wiki/Concert" title="Concert"&gt;concerts&lt;/a&gt;.&lt;/span&gt;&lt;/p&gt;
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      <pubDate>Thu, 05 Jan 2012 08:34:00 -0800</pubDate>
      <title>THE BEAT - ON TOUR IN HOLLAND &amp; BELGIUM</title>
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&lt;p&gt;&lt;span style="font-size: x-large;"&gt;&lt;a href="http://www.thebeatofficial.com/homepage.html"&gt;The Beat&lt;/a&gt; -&amp;nbsp; On tour in Holland &amp;amp; Belgium &lt;/span&gt;&lt;p /&gt; &lt;span style="font-size: x-large;"&gt;Januari 26th&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&lt;a href="http://www.lvc.nl/"&gt; LVC&lt;/a&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp; &lt;a href="http://maps.google.nl/maps?q=Breestraat+66+2311+CS+Leiden&amp;amp;oe=utf-8&amp;amp;rls=org.mozilla:en-US:official&amp;amp;client=firefox-a&amp;amp;um=1&amp;amp;ie=UTF-8&amp;amp;hq=&amp;amp;hnear=0x47c5c6ed59e732ad:0xc411f7c5c4938507,Breestraat+66,+Leiden&amp;amp;gl=nl&amp;amp;ei=q84FT6OBO8qA-wavsYWwAQ&amp;amp;sa=X&amp;amp;oi=geocode_result&amp;amp;ct=title&amp;amp;resnum=1&amp;amp;ved=0CB8Q8gEwAA"&gt;Leiden&lt;/a&gt;&lt;br /&gt; Januari 27th&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp; &lt;a href="http://www.dynamo-eindhoven.nl/"&gt;Dynamo&lt;/a&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp; &lt;a href="http://maps.google.com/maps?f=q&amp;amp;source=s_q&amp;amp;hl=en&amp;amp;geocode=&amp;amp;q=Catharinaplein+21,+Eindhoven,+The+Netherlands&amp;amp;sll=37.649034,-95.712891&amp;amp;sspn=35.110807,74.707031&amp;amp;ie=UTF8&amp;amp;t=h&amp;amp;view=map"&gt;Eindhoven&lt;/a&gt;&lt;br /&gt; Januari 28th&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp; &lt;a href="http://www.poppodiumromein.nl/"&gt;Romein&lt;/a&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp; &lt;a href="http://maps.google.nl/maps?q=Bagijnestraat+59+8911+DN+Leeuwarden&amp;amp;oe=utf-8&amp;amp;rls=org.mozilla:en-US:official&amp;amp;client=firefox-a&amp;amp;um=1&amp;amp;ie=UTF-8&amp;amp;hq=&amp;amp;hnear=0x47c8fe81648e2c9f:0x167effd189d24e49,Bagijnestraat+59,+Leeuwarden&amp;amp;gl=nl&amp;amp;ei=us0FT47II82r-gaRuuS5AQ&amp;amp;sa=X&amp;amp;oi=geocode_result&amp;amp;ct=title&amp;amp;resnum=1&amp;amp;ved=0CB8Q8gEwAA"&gt;Groningen&lt;/a&gt;&lt;br /&gt; Januari 29th&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp; &lt;a href="http://www.hetdepot.be/"&gt;Het Depot&lt;/a&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp; &lt;a href="http://maps.google.nl/maps?q=Kapucijnenvoer+47+3000+Leuven&amp;amp;oe=utf-8&amp;amp;rls=org.mozilla:en-US:official&amp;amp;client=firefox-a&amp;amp;um=1&amp;amp;ie=UTF-8&amp;amp;hq=&amp;amp;hnear=0x47c160dfb9d8f71b:0x84f25ce5e74c0fef,Kapucijnenvoer+47,+3000+Leuven,+Belgi%C3%AB&amp;amp;gl=nl&amp;amp;ei=V88FT73jH4no-gbu2eTYAQ&amp;amp;sa=X&amp;amp;oi=geocode_result&amp;amp;ct=title&amp;amp;resnum=1&amp;amp;ved=0CB8Q8gEwAA"&gt;Leuven&lt;/a&gt;&lt;/span&gt;&lt;p /&gt; &lt;iframe src="http://www.youtube.com/embed/f_-7fqUMuyg?wmode=transparent" allowfullscreen frameborder="0" height="417" width="500"&gt;&lt;/iframe&gt;&lt;/p&gt;
&lt;p&gt;Formed in the working class suburbs of industrial Birmingham in England in 1978 The Beat arose at a time of high unemployment and social upheaval. From the outset the band offered messages of hope and peace with an insight into sociopolitical topics would later alongside The Specials see them heralded as forerunners of the whole 2-Tone Ska movement.&lt;/p&gt;
&lt;p&gt;Ranking Roger and Dave Wakeling led with vocal duties while Andy Cox and David Steele took guitar and bass duties with Everett Morton supplying the most distinctive of drumming styles. Added to this mix was the renowned saxophonist&lt;span&gt; Saxa&lt;/span&gt;, adding the deliciously warm Jamaican ska instrumental flavour that is forever associated with the bands sound. Having played saxophone with Prince Buster, Laurel Aitken and Desmond Dekker in the first wave of ska The Beat on formation seemed to immediately come of age.&lt;/p&gt;
&lt;p&gt;The Beat's first single was the infectious cover of Smokey Robinson's &lt;em&gt;'Tears of A Clown'&lt;/em&gt; which on release went straight into the National Top 10 at No.6. The record, an effortless like fusion between a number of different musical styles such as Ska, Punk, Pop, Soul and Reggae, immediately saw the band finding themselves an overnight success.&lt;/p&gt;
&lt;p&gt;Further hit singles from the first album included &lt;em&gt;'Mirror In The Bathroom'&lt;/em&gt;, &lt;em&gt;'Can't Get Used to Losing You'&lt;/em&gt;, &lt;em&gt;'Hands Off... She's Mine'&lt;/em&gt; and &lt;em&gt;'Best Friend'&lt;/em&gt;, and with a catalogue such as this it was easy to see why the The Beat would become one of the most popular recording and live acts in the UK.&lt;/p&gt;
&lt;p&gt;Huge radio airplay followed in the US which saw The Beat head stateside and then further with world tours alongside some of the biggest performing artists such as &lt;a href="http://www.theclashonline.com/" target="_blank"&gt;The Clash&lt;/a&gt;, &lt;a href="http://www.thepolice.com/" target="_blank"&gt;The Police&lt;/a&gt;, &lt;a href="http://remhq.com/" target="_blank"&gt;REM&lt;/a&gt;, &lt;a href="http://www.talking-heads.net/" target="_blank"&gt;Talking Heads&lt;/a&gt;, &lt;a href="http://www.pretendersarchives.com/" target="_blank"&gt;The Pretenders&lt;/a&gt; and of course &lt;a href="http://www.thespecials.com/" target="_blank"&gt;The Specials&lt;/a&gt;.&lt;/p&gt;
&lt;p&gt;While The Beat could deliver with what almost seemed effortless ease songs of Love, Peace and Unity. Songs such as &lt;em&gt;'Stand Down Margaret'&lt;/em&gt; saw them spearhead a movement wanting real social change and multicutural inclusion. The thousands that sang along in unison with the band at nuclear disarmament marches bear testament to the uplifting feeling the band could evoke with their musical swagger and genuine care for humanity.&lt;/p&gt;
&lt;p&gt;After 3 Gold and Platinum top selling albums worldwide with &lt;em&gt;'I Just Cant Stop It'&lt;/em&gt;, &lt;em&gt;'Wh'appen'&lt;/em&gt;, and &lt;em&gt;'Special Beat Service'&lt;/em&gt; - The Beat's musical fluidity and openess, delivered in their explosive all encompassing live shows allowed them to reach hundreds of thousands of fans across the world, communicating positivity and freedom through not only their music, but their actions and genuine commitment to causes.&lt;/p&gt;
&lt;p&gt;Almost in reaction to the height of their fame The Beat to the disbelief of many disbanded with Ranking Roger and Dave Wakeling forming General Public with Mickey Billingham of Dexys Midnight Runners and Andy Cox and David Steele putting together the Fine Young Cannibals. Though both enjoyed phenomenal success, no other artist has sounded like The Beat or indeed is ever likely too. Ranking Roger also briefly joined Mick Jones' post-Clash band Big Audio Dynamite injecting his toasting and vocal style that to this day remains his trademark.&lt;/p&gt;
&lt;p&gt;After numerous offers to return to the stage The Beat returned in 2003 for a sell out show at The Royal Festival Hall with the inclusion of Ranking Jnr taking vocal duties to an accolade of critical acclaim. With Dave Wakeling heading to the US Ranking Roger alongside Everett Morton, Ranking Jnr and Mickey Billingham returned to their roots with deeper rhythms, a wall of sound that transcends time and an unwavering dedication to real unity and love that leaves the future still to be written, there can be no question...&lt;p /&gt; &lt;strong&gt;...The Beat are back!&lt;/strong&gt;&lt;/p&gt;
&lt;table class="bit-events"&gt;

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&lt;td class="bit-date"&gt;&lt;br /&gt;&lt;iframe src="http://www.youtube.com/embed/yzHAOHRKyGE?wmode=transparent" allowfullscreen frameborder="0" height="417" width="500"&gt;&lt;/iframe&gt;&lt;br /&gt;&lt;/td&gt;
&lt;td class="bit-venue"&gt;&lt;br /&gt;&lt;/td&gt;
&lt;td class="bit-location"&gt;&lt;br /&gt;&lt;/td&gt;
&lt;td class="bit-tickets"&gt;&lt;br /&gt;&lt;/td&gt;
&lt;td class="bit-comment"&gt;&lt;a name="bit-comments-button-1325779339624" href="http://www.thebeatofficial.com/tour.html#" class="bit-comment"&gt;&lt;/a&gt;&lt;/td&gt;
&lt;td&gt;&lt;br /&gt;&lt;/td&gt;
&lt;/tr&gt;

&lt;/table&gt;
	
&lt;/p&gt;

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      <pubDate>Thu, 15 Dec 2011 02:00:38 -0800</pubDate>
      <title>CLANCY ECCLES - Bag-A-Boo &amp; Uncle Joe</title>
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&lt;img alt="Eccles" height="249" src="http://getfile8.posterous.com/getfile/files.posterous.com/skarumble/WVEBfcnpBC84XMBtHPW4IzHELOBr2UaX9XKM8kD0jeq4WRmczHil9IL1fzyn/Eccles.jpg.scaled600.jpg" width="210" /&gt;
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&lt;p&gt;&lt;iframe src="http://www.youtube.com/embed/wa8cCB0Dcig?wmode=transparent" allowfullscreen frameborder="0" height="417" width="500"&gt;&lt;/iframe&gt;&lt;p /&gt;&lt;iframe src="http://www.youtube.com/embed/KRawIC-RqSc?wmode=transparent" allowfullscreen frameborder="0" height="417" width="500"&gt;&lt;/iframe&gt;&lt;p /&gt;&lt;/p&gt;&lt;p&gt;Son of a tailor and builder, Eccles spent his childhood in the countryside of the parish of &lt;a href="http://en.wikipedia.org/wiki/Saint_Mary,_Jamaica" class="mw-redirect" title="Saint Mary, Jamaica"&gt;Saint Mary&lt;/a&gt;. Eccles had an itinerant childhood due to his father&amp;#39;s need to travel Jamaica seeking work.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Clancy_Eccles#cite_note-Katz-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; He used to regularly attend church, and he became influenced by &lt;a href="http://en.wikipedia.org/wiki/Spiritual_%28music%29" title="Spiritual (music)"&gt;spiritual&lt;/a&gt; singing; In his words: &amp;quot;One of my uncles was a spiritual revivalist, who always did this heavy type of spiritual singing, and I got to love that&amp;quot;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Clancy_Eccles#cite_note-Barrow109-2"&gt;&lt;span&gt;[&lt;/span&gt;3&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Eccles&amp;#39;s professional singing career began as a teenager, working the north-coast hotel circuit in the mid-1950s.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Clancy_Eccles#cite_note-Katz-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; In his late teens, he moved to &lt;a href="http://en.wikipedia.org/wiki/Ocho_Rios" title="Ocho Rios"&gt;Ocho Rios&lt;/a&gt;, where he performed at night in various shows, with artists such as &lt;a href="http://en.wikipedia.org/wiki/The_Blues_Busters" title="The Blues Busters"&gt;The Blues Busters&lt;/a&gt;, Higgs &amp;amp; Wilson and Buster Brown. He moved to &lt;a href="http://en.wikipedia.org/wiki/Kingston,_Jamaica" title="Kingston, Jamaica"&gt;Kingston&lt;/a&gt; in 1959, where he started his recording career. He first recorded for &lt;a href="http://en.wikipedia.org/wiki/Coxsone_Dodd" title="Coxsone Dodd"&gt;Coxsone Dodd&lt;/a&gt;, who had organized a &lt;a href="http://en.wikipedia.org/wiki/Talent_show" title="Talent show"&gt;talent show&lt;/a&gt; in which Eccles took part.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Clancy_Eccles#cite_note-Katz-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Clancy_Eccles#cite_note-Barrow109-2"&gt;&lt;span&gt;[&lt;/span&gt;3&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Clancy_Eccles#cite_note-3"&gt;&lt;span&gt;[&lt;/span&gt;4&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt; &lt;p&gt;Eccles had a Jamaican hit in 1961 with the early &lt;a href="http://en.wikipedia.org/wiki/Ska" title="Ska"&gt;ska&lt;/a&gt; song &amp;quot;Freedom&amp;quot;, which was recorded in 1959, and was featured on Dodd&amp;#39;s &lt;a href="http://en.wikipedia.org/wiki/Sound_system_%28Jamaican%29" title="Sound system (Jamaican)"&gt;sound system&lt;/a&gt; for two years before it was released.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Clancy_Eccles#cite_note-Larkin90-4"&gt;&lt;span&gt;[&lt;/span&gt;5&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; It was one of the first Jamaican songs with socially-oriented lyrics. The song discussed the concept of repatriation to &lt;a href="http://en.wikipedia.org/wiki/Africa" title="Africa"&gt;Africa&lt;/a&gt;, an idea developed by the growing &lt;a href="http://en.wikipedia.org/wiki/Rastafari_movement" title="Rastafari movement"&gt;Rastafari movement&lt;/a&gt;. The song became the first Jamaican hit to be used for political purposes; &lt;a href="http://en.wikipedia.org/wiki/Alexander_Bustamante" title="Alexander Bustamante"&gt;Alexander Bustamante&lt;/a&gt;, founder of the &lt;a href="http://en.wikipedia.org/wiki/Jamaican_Labour_Party" class="mw-redirect" title="Jamaican Labour Party"&gt;Jamaican Labour Party&lt;/a&gt; and at that time &lt;a href="http://en.wikipedia.org/wiki/Chief_Minister_of_Jamaica" class="mw-redirect" title="Chief Minister of Jamaica"&gt;Chief Minister of Jamaica&lt;/a&gt; adopted it for his fight against the &lt;a href="http://en.wikipedia.org/wiki/Federation_of_the_West_Indies" class="mw-redirect" title="Federation of the West Indies"&gt;Federation of the West Indies&lt;/a&gt; in 1960. In the following years, Eccles had other successful songs, mixing &lt;a href="http://en.wikipedia.org/wiki/Boogie" title="Boogie"&gt;boogie&lt;/a&gt;/&lt;a href="http://en.wikipedia.org/wiki/Rhythm_and_blues" title="Rhythm and blues"&gt;rhythm and blues&lt;/a&gt; influences with ska rhythms, such as &amp;quot;River Jordan&amp;quot; and &amp;quot;Glory Hallelujah&amp;quot;.&lt;/p&gt; &lt;p&gt;In 1962, he started promoting concerts and set up his &lt;i&gt;Christmas Morning&lt;/i&gt; talent show; first with Dodd, then on his own.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Clancy_Eccles#cite_note-Walters-5"&gt;&lt;span&gt;[&lt;/span&gt;6&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; He organized concerts for &lt;a href="http://en.wikipedia.org/wiki/The_Clarendonians" title="The Clarendonians"&gt;The Clarendonians&lt;/a&gt; in 1963, and for &lt;a href="http://en.wikipedia.org/wiki/The_Wailers_%281963-1974_band%29" class="mw-redirect" title="The Wailers (1963-1974 band)"&gt;The Wailers&lt;/a&gt; in 1964 and 1965. He launched other talent search contests, with &lt;i&gt;Battle of the Stars&lt;/i&gt;, &lt;i&gt;Clancy Eccles Revue&lt;/i&gt;, &lt;i&gt;Independent Revue&lt;/i&gt; and &amp;quot;Reggae Soul Revue&lt;i&gt;,&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Clancy_Eccles#cite_note-Walters-5"&gt;&lt;span&gt;[&lt;/span&gt;6&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; from which emerged stars such as &lt;a href="http://en.wikipedia.org/wiki/Barrington_Levy" title="Barrington Levy"&gt;Barrington Levy&lt;/a&gt; and &lt;a href="http://en.wikipedia.org/wiki/Culture_%28band%29" title="Culture (band)"&gt;Culture&lt;/a&gt;.&lt;/i&gt;&lt;/p&gt; &lt;p&gt;Starting in 1963, he recorded with producers such as Charlie Moo (&lt;a href="http://en.wikipedia.org/wiki/Leslie_Kong" title="Leslie Kong"&gt;Leslie Kong&lt;/a&gt;&amp;#39;s business partner) and the husband of &lt;a href="http://en.wikipedia.org/wiki/Sonia_Pottinger" title="Sonia Pottinger"&gt;Sonia Pottinger&lt;/a&gt;, Lyndon.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Clancy_Eccles#cite_note-Larkin90-4"&gt;&lt;span&gt;[&lt;/span&gt;5&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; He couldn&amp;#39;t make a living from his music, so he quit in 1965 to work as a &lt;a href="http://en.wikipedia.org/wiki/Tailor" title="Tailor"&gt;tailor&lt;/a&gt; in Annotto Bay. During this period, he made stage outfits for musicians such as Kes Chin, The Mighty Vikings, &lt;a href="http://en.wikipedia.org/wiki/Byron_Lee_and_the_Dragonaires" title="Byron Lee and the Dragonaires"&gt;Byron Lee and the Dragonaires&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/Carlos_Malcolm" title="Carlos Malcolm"&gt;Carlos Malcolm&lt;/a&gt; and &lt;a href="http://en.wikipedia.org/wiki/The_Blues_Busters" title="The Blues Busters"&gt;The Blues Busters&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Clancy_Eccles#cite_note-Walters-5"&gt;&lt;span&gt;[&lt;/span&gt;6&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt; &lt;p&gt;He went back to music in 1967, producing his own recordings as well as those of other artists.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Clancy_Eccles#cite_note-Thompson-6"&gt;&lt;span&gt;[&lt;/span&gt;7&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; He scored a hit with Eric &amp;#39;Monty&amp;#39; Morris&amp;#39; reggae song &amp;quot;Say What You&amp;#39;re Saying&amp;quot;, and with his own song &amp;quot;Feel The Rhythm&amp;quot;, one of several records that were instrumental in the shift from &lt;a href="http://en.wikipedia.org/wiki/Rocksteady" title="Rocksteady"&gt;rocksteady&lt;/a&gt; to reggae.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Clancy_Eccles#cite_note-Thompson-6"&gt;&lt;span&gt;[&lt;/span&gt;7&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Eccles has also been credited with deriving the name &amp;#39;reggae&amp;#39; from &amp;#39;streggae&amp;#39;, Kingston slang for a good-time girl.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Clancy_Eccles#cite_note-Barrow108-7"&gt;&lt;span&gt;[&lt;/span&gt;8&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Eccles&amp;#39; first hit, &amp;quot;What Will Your Mama Say&amp;quot; which was released by the recently-created &lt;a href="http://en.wikipedia.org/wiki/United_Kingdom" title="United Kingdom"&gt;United Kingdom&lt;/a&gt; &lt;a href="http://en.wikipedia.org/wiki/Recording_label" class="mw-redirect" title="Recording label"&gt;label&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/Pama_Records" title="Pama Records"&gt;Pama Records&lt;/a&gt;. In 1968, his song &amp;quot;Fattie Fattie&amp;quot; became a &lt;a href="http://en.wikipedia.org/wiki/Skinhead" title="Skinhead"&gt;skinhead&lt;/a&gt; reggae classic, along with his productions of recordings by the &lt;a href="http://en.wikipedia.org/wiki/Deejaying" title="Deejaying"&gt;toasting DJ&lt;/a&gt; &lt;a href="http://en.wikipedia.org/wiki/King_Stitt" title="King Stitt"&gt;King Stitt&lt;/a&gt; (&amp;quot;Fire Corner&amp;quot;, &amp;quot;Van Cleef&amp;quot;, &amp;quot;Herbman Shuffle&amp;quot;). Eccles recorded many &lt;a href="http://en.wikipedia.org/wiki/Organ_%28music%29" title="Organ (music)"&gt;organ&lt;/a&gt;-led instrumentals with his session band The Dynamites (same band has &lt;a href="http://en.wikipedia.org/wiki/Derrick_Harriott" title="Derrick Harriott"&gt;Derrick Harriott&lt;/a&gt;&amp;#39;s Crystalites), featuring &lt;a href="http://en.wikipedia.org/w/index.php?title=Winston_Wright&amp;amp;action=edit&amp;amp;redlink=1" title="Winston Wright (page does not exist)" class="new"&gt;Winston Wright&lt;/a&gt;. In 1970, Eccles helped pave the way to the &lt;a href="http://en.wikipedia.org/wiki/Dub_music" class="mw-redirect" title="Dub music"&gt;dub music&lt;/a&gt; genre by releasing an instrumental version of &amp;quot;Herbman Shuffle&amp;quot; called &amp;quot;Phantom&amp;quot;, with a mix focusing on the bass line.&lt;/p&gt; &lt;p&gt;Eccles launched different record labels for his works: Clansone, New Beat and Clandisc (the latter also the name of a sub-label set up by &lt;a href="http://en.wikipedia.org/wiki/Trojan_Records" title="Trojan Records"&gt;Trojan Records&lt;/a&gt; for Eccles&amp;#39; UK releases).&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Clancy_Eccles#cite_note-Larkin91-8"&gt;&lt;span&gt;[&lt;/span&gt;9&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; He recorded artists such as &lt;a href="http://en.wikipedia.org/wiki/Alton_Ellis" title="Alton Ellis"&gt;Alton Ellis&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/Joe_Higgs" title="Joe Higgs"&gt;Joe Higgs&lt;/a&gt;, the &lt;a href="http://en.wikipedia.org/wiki/Trinidad" title="Trinidad"&gt;Trinidian&lt;/a&gt; Lord Creator (&amp;quot;Kingston Town&amp;quot;), &lt;a href="http://en.wikipedia.org/wiki/Larry_Marshall_%28singer%29" title="Larry Marshall (singer)"&gt;Larry Marshall&lt;/a&gt;, Hemsley Morris, Earl Lawrence, The Beltones, Glen Ricks, &lt;a href="http://en.wikipedia.org/wiki/Cynthia_Richards" title="Cynthia Richards"&gt;Cynthia Richards&lt;/a&gt;, Buster Brown and &lt;a href="http://en.wikipedia.org/wiki/Beres_Hammond" title="Beres Hammond"&gt;Beres Hammond&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Clancy_Eccles#cite_note-Thompson-6"&gt;&lt;span&gt;[&lt;/span&gt;7&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Clancy_Eccles#cite_note-Larkin91-8"&gt;&lt;span&gt;[&lt;/span&gt;9&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Appreciated by musicians for his fairness and sense of equity, he helped &lt;a href="http://en.wikipedia.org/wiki/Lee_Perry" class="mw-redirect" title="Lee Perry"&gt;Lee Perry&lt;/a&gt; set up his Upsetter record label in 1968 after Perry left Dodd&amp;#39;s employment, and helped &lt;a href="http://en.wikipedia.org/wiki/Niney_the_Observer" title="Niney the Observer"&gt;Winston &amp;#39;Niney&amp;#39; Holmes&lt;/a&gt; (later known as &amp;#39;The Observer&amp;#39;) record his first hit as a producer in 1971 (&amp;quot;Blood &amp;amp; Fire&amp;quot;).&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Clancy_Eccles#cite_note-Thompson-6"&gt;&lt;span&gt;[&lt;/span&gt;7&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Clancy_Eccles#cite_note-Barrow110-9"&gt;&lt;span&gt;[&lt;/span&gt;10&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt; &lt;p&gt;A &lt;a href="http://en.wikipedia.org/wiki/Socialism" title="Socialism"&gt;socialist&lt;/a&gt; militant, Eccles was appointed as an adviser on the music industry to &lt;a href="http://en.wikipedia.org/wiki/Michael_Manley" title="Michael Manley"&gt;Michael Manley&lt;/a&gt;&amp;#39;s &lt;a href="http://en.wikipedia.org/wiki/People%27s_National_Party" title="People&amp;#39;s National Party"&gt;People&amp;#39;s National Party&lt;/a&gt; (PNP) and took part in Jamaica&amp;#39;s 1972 prime ministerial elections by organizing a &amp;quot;Bandwagon&amp;quot; featuring musicians such as &lt;a href="http://en.wikipedia.org/wiki/Bob_Marley" title="Bob Marley"&gt;Bob Marley&lt;/a&gt; &amp;amp; the Wailers, &lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown" title="Dennis Brown"&gt;Dennis Brown&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/Max_Romeo" title="Max Romeo"&gt;Max Romeo&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/Delroy_Wilson" title="Delroy Wilson"&gt;Delroy Wilson&lt;/a&gt; and &lt;a href="http://en.wikipedia.org/wiki/Inner_Circle_%28reggae_band%29" title="Inner Circle (reggae band)"&gt;Inner Circle&lt;/a&gt;, performing around the island in support of Manley&amp;#39;s campaign.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Clancy_Eccles#cite_note-Walters-5"&gt;&lt;span&gt;[&lt;/span&gt;6&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Throughout the 1970s, he remained close to Manley and wrote several songs in praise of the PNP program, including his hits &amp;quot;Power For The People&amp;quot;, &amp;quot;Rod Of Correction&amp;quot; or &amp;quot;Generation Belly&amp;quot;.&lt;/p&gt; &lt;p&gt;Eccles&amp;#39; political interests meant that he spent less time on music, although in the late 1970s, Eccles had further success as a producer with recordings by Tito Simon and Exuma the Obeah Man, as well as collaborations with &lt;a href="http://en.wikipedia.org/wiki/King_Tubby" title="King Tubby"&gt;King Tubby&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Clancy_Eccles#cite_note-Katz-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; After the 1970s, new Eccles recordings were rare, and he concentrated on live concert promotion and re-issues of his back catalogue.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Clancy_Eccles#cite_note-Katz-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; In the 1980s, Eccles slowed down his musical activities, and he never met success again, apart from a few political songs, such as &amp;quot;Dem Mash Up The Country&amp;quot; in 1985. Eccles died on June 30, 2005 in Spanish Town Hospital from complications of a &lt;a href="http://en.wikipedia.org/wiki/Myocardial_infarction" title="Myocardial infarction"&gt;heart attack&lt;/a&gt;.&lt;/p&gt; &lt;p&gt;Eccles&amp;#39; son, Clancy Eccles Jr., has followed his father into the music business, initially performing as simply &amp;quot;Clancy&amp;quot;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Clancy_Eccles#cite_note-10"&gt;&lt;span&gt;[&lt;/span&gt;11&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Clancy_Eccles#cite_note-11"&gt;&lt;span&gt;[&lt;/span&gt;12&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt;
	
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      <pubDate>Thu, 08 Dec 2011 05:05:34 -0800</pubDate>
      <title>DENNIS BROWN - No man is an island, Let Love In &amp; Money In My Pocket</title>
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&lt;img alt="Dennis-brown1" height="397" src="http://getfile4.posterous.com/getfile/files.posterous.com/skarumble/C66q7rrWQqFFkpkS2sxu2lRbekM6ACIxhGL22cLwvbHw4Mta0ijr8AgW9lcJ/Dennis-Brown1.gif.scaled600.gif" width="445" /&gt;
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&lt;p&gt;&lt;iframe src="http://www.youtube.com/embed/ZNBzxLhUeQQ?wmode=transparent" allowfullscreen frameborder="0" height="417" width="500"&gt;&lt;/iframe&gt;&lt;p /&gt;&lt;iframe src="http://www.youtube.com/embed/hKlCJyptJ9U?wmode=transparent" allowfullscreen frameborder="0" height="417" width="500"&gt;&lt;/iframe&gt;&lt;p /&gt;&lt;iframe src="http://www.youtube.com/embed/XDvzigpBuwE?wmode=transparent" allowfullscreen frameborder="0" height="417" width="500"&gt;&lt;/iframe&gt;&lt;p /&gt; &lt;/p&gt;&lt;p&gt;Dennis Brown was born on 1 February 1957 at Jubilee Hospital in &lt;a href="http://en.wikipedia.org/wiki/Kingston,_Jamaica" title="Kingston, Jamaica"&gt;Kingston, Jamaica&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel09-3"&gt;&lt;span&gt;[&lt;/span&gt;4&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; His father Arthur was a &lt;a href="http://en.wikipedia.org/wiki/Screenwriter" title="Screenwriter"&gt;scriptwriter&lt;/a&gt;, actor, and journalist, and he grew up in a large tenement yard between North Street and King Street in Kingston with his parents, three elder brothers and a sister, although his mother died in the 1960s.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel09-3"&gt;&lt;span&gt;[&lt;/span&gt;4&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Simmonds-4"&gt;&lt;span&gt;[&lt;/span&gt;5&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; He attended Central Branch Primary School and later St. Stephens College. He began his singing career at the age of nine, while still at junior school, with an end-of-term concert the first time he performed in public, although he had been keen on music from an even earlier age, and as a youngster was a keen fan of American balladeers such as &lt;a href="http://en.wikipedia.org/wiki/Brook_Benton" title="Brook Benton"&gt;Brook Benton&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/Sam_Cooke" title="Sam Cooke"&gt;Sam Cooke&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/Frank_Sinatra" title="Frank Sinatra"&gt;Frank Sinatra&lt;/a&gt;, and &lt;a href="http://en.wikipedia.org/wiki/Dean_Martin" title="Dean Martin"&gt;Dean Martin&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel09-3"&gt;&lt;span&gt;[&lt;/span&gt;4&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; He cited &lt;a href="http://en.wikipedia.org/wiki/Nat_King_Cole" title="Nat King Cole"&gt;Nat King Cole&lt;/a&gt; as one of his greatest early influences.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel09-3"&gt;&lt;span&gt;[&lt;/span&gt;4&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; He regularly hung around JJ&amp;#39;s record store on Orange Street in the &lt;a href="http://en.wikipedia.org/wiki/Rocksteady" title="Rocksteady"&gt;rocksteady&lt;/a&gt; era and his relatives and neighbours would often throw Brown pennies to hear him sing in their yard.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel09-3"&gt;&lt;span&gt;[&lt;/span&gt;4&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Brown&amp;#39;s first professional appearance came at the age of eleven, when he visited a local club where his brother Basil was performing a comedy routine, and where he made a guest appearance with the club&amp;#39;s resident group, the Fabulous Falcons (a group which included &lt;a href="http://en.wikipedia.org/wiki/Cynthia_Richards" title="Cynthia Richards"&gt;Cynthia Richards&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/Scotty_%28musician%29" title="Scotty (musician)"&gt;David &amp;quot;Scotty&amp;quot; Scott&lt;/a&gt;, and &lt;a href="http://en.wikipedia.org/wiki/Noel_Brown" title="Noel Brown"&gt;Noel Brown&lt;/a&gt;).&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel09-3"&gt;&lt;span&gt;[&lt;/span&gt;4&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; On the strength of this performance he was asked to join the group as a featured vocalist.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel09-3"&gt;&lt;span&gt;[&lt;/span&gt;4&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; When the group performed at a &lt;a href="http://en.wikipedia.org/wiki/Jamaica_Labour_Party" title="Jamaica Labour Party"&gt;JLP&lt;/a&gt; conference at the National Arena, Brown sang two songs - &lt;a href="http://en.wikipedia.org/wiki/Desmond_Dekker" title="Desmond Dekker"&gt;Desmond Dekker&lt;/a&gt;&amp;#39;s &amp;quot;Unity&amp;quot; and &lt;a href="http://en.wikipedia.org/wiki/Johnnie_Taylor" title="Johnnie Taylor"&gt;Johnnie Taylor&lt;/a&gt;&amp;#39;s &amp;quot;Ain&amp;#39;t That Loving You&amp;quot; - and after the audience showered the stage with money, he was able to buy his first suit with the proceeds.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel09-3"&gt;&lt;span&gt;[&lt;/span&gt;4&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Bandleader &lt;a href="http://en.wikipedia.org/wiki/Byron_Lee" title="Byron Lee"&gt;Byron Lee&lt;/a&gt; performed on the same bill, and was sufficiently impressed with Brown to book him to perform on package shows featuring visiting US artists, where he was billed as the &amp;quot;Boy Wonder&amp;quot;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel09-3"&gt;&lt;span&gt;[&lt;/span&gt;4&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; As a young singer he was influenced by older contemporaries such as &lt;a href="http://en.wikipedia.org/wiki/Delroy_Wilson" title="Delroy Wilson"&gt;Delroy Wilson&lt;/a&gt; (who he later cited as the single greatest influence on his style of singing),&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Walker-5"&gt;&lt;span&gt;[&lt;/span&gt;6&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; &lt;a href="http://en.wikipedia.org/wiki/Errol_Dunkley" title="Errol Dunkley"&gt;Errol Dunkley&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/John_Holt_%28singer%29" title="John Holt (singer)"&gt;John Holt&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/Ken_Boothe" title="Ken Boothe"&gt;Ken Boothe&lt;/a&gt;, and &lt;a href="http://en.wikipedia.org/wiki/Bob_Andy" title="Bob Andy"&gt;Bob Andy&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel09-3"&gt;&lt;span&gt;[&lt;/span&gt;4&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Brown&amp;#39;s first &lt;a href="http://en.wikipedia.org/wiki/Sound_recording_and_reproduction" title="Sound recording and reproduction"&gt;recording&lt;/a&gt; was an original song called &amp;quot;Lips of Wine&amp;quot; for producer &lt;a href="http://en.wikipedia.org/wiki/Derrick_Harriott" title="Derrick Harriott"&gt;Derrick Harriott&lt;/a&gt;, but when this was not released, he recorded for &lt;a href="http://en.wikipedia.org/wiki/Clement_%22Coxsone%22_Dodd" class="mw-redirect" title="Clement &amp;quot;Coxsone&amp;quot; Dodd"&gt;Clement &amp;quot;Coxsone&amp;quot; Dodd&lt;/a&gt;&amp;#39;s &lt;a href="http://en.wikipedia.org/wiki/Studio_One_%28record_label%29" title="Studio One (record label)"&gt;Studio One&lt;/a&gt; label, and his first session yielded the &lt;a href="http://en.wikipedia.org/wiki/Single_%28music%29" title="Single (music)"&gt;single&lt;/a&gt; &amp;quot;No Man is an Island&amp;quot;, recorded when Brown was aged twelve and released in late 1969.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel10-6"&gt;&lt;span&gt;[&lt;/span&gt;7&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; The single received steadily increasing airplay for almost a year before becoming a huge hit throughout Jamaica.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel10-6"&gt;&lt;span&gt;[&lt;/span&gt;7&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Brown recorded up to a dozen sessions for Dodd, amounting to around thirty songs, and also worked as a backing singer on sessions by other artists, including providing harmonies along with &lt;a href="http://en.wikipedia.org/wiki/Horace_Andy" title="Horace Andy"&gt;Horace Andy&lt;/a&gt; and &lt;a href="http://en.wikipedia.org/wiki/Larry_Marshall_%28singer%29" title="Larry Marshall (singer)"&gt;Larry Marshall&lt;/a&gt; on &lt;a href="http://en.wikipedia.org/wiki/Alton_Ellis" title="Alton Ellis"&gt;Alton Ellis&lt;/a&gt;&amp;#39;s &lt;i&gt;Sunday Coming&lt;/i&gt; album.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel10-6"&gt;&lt;span&gt;[&lt;/span&gt;7&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Foster244-7"&gt;&lt;span&gt;[&lt;/span&gt;8&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Brown was advised by fellow Studio One artist Ellis to learn guitar to help with his songwriting, and after convincing Dodd to buy him an instrument, was taught the basics by Ellis.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel10-6"&gt;&lt;span&gt;[&lt;/span&gt;7&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; These Studio One recordings were collected on two albums, &lt;i&gt;&lt;a href="http://en.wikipedia.org/wiki/No_Man_is_an_Island_%28album%29" class="mw-redirect" title="No Man is an Island (album)"&gt;No Man is an Island&lt;/a&gt;&lt;/i&gt; and &lt;i&gt;If I Follow my Heart&lt;/i&gt; (the title track penned by Alton Ellis), although Brown had left Studio One before either was released.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel12-8"&gt;&lt;span&gt;[&lt;/span&gt;9&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; He went on to record for several producers including &lt;a href="http://en.wikipedia.org/wiki/Lloyd_Daley" title="Lloyd Daley"&gt;Lloyd Daley&lt;/a&gt; (&amp;quot;Baby Don&amp;#39;t Do It&amp;quot; and &amp;quot;Things in Life&amp;quot;), &lt;a href="http://en.wikipedia.org/wiki/Prince_Buster" title="Prince Buster"&gt;Prince Buster&lt;/a&gt; (&amp;quot;One Day Soon&amp;quot; and &amp;quot;If I Had the World&amp;quot;), and &lt;a href="http://en.wikipedia.org/wiki/Phil_Pratt" title="Phil Pratt"&gt;Phil Pratt&lt;/a&gt; (&amp;quot;Black Magic Woman&amp;quot;, &amp;quot;Let Love In&amp;quot;, and &amp;quot;What About the Half&amp;quot;), before returning to work with Derrick Harriott, recording a string of popular singles including &amp;quot;Silhouettes&amp;quot;, &amp;quot;Concentration&amp;quot;, &amp;quot;He Can&amp;#39;t Spell&amp;quot;, and &amp;quot;Musical Heatwave&amp;quot;, with the pick of these tracks collected on the &lt;i&gt;Super Reggae and Soul Hits&lt;/i&gt; &lt;a href="http://en.wikipedia.org/wiki/Record_album" class="mw-redirect" title="Record album"&gt;album&lt;/a&gt; in 1973.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel13-9"&gt;&lt;span&gt;[&lt;/span&gt;10&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Brown also recorded for &lt;a href="http://en.wikipedia.org/wiki/Vincent_%22Randy%22_Chin" title="Vincent &amp;quot;Randy&amp;quot; Chin"&gt;Vincent &amp;quot;Randy&amp;quot; Chin&lt;/a&gt; (&amp;quot;Cheater&amp;quot;), &lt;a href="http://en.wikipedia.org/wiki/Dennis_Alcapone" title="Dennis Alcapone"&gt;Dennis Alcapone&lt;/a&gt; (&amp;quot;I Was Lonely&amp;quot;), and &lt;a href="http://en.wikipedia.org/wiki/Herman_Chin_Loy" title="Herman Chin Loy"&gt;Herman Chin Loy&lt;/a&gt; (&amp;quot;It&amp;#39;s Too Late&amp;quot; and &amp;quot;Song My Mother Used to Sing&amp;quot;) among others, with Brown still at school at this stage of his career.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel17-10"&gt;&lt;span&gt;[&lt;/span&gt;11&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt; &lt;h3&gt;&lt;span class="editsection"&gt;&lt;/span&gt;&lt;span class="mw-headline"&gt;International success&lt;/span&gt;&lt;/h3&gt; &lt;p&gt;In 1972, Brown began an association that would result in his breakthrough as an internationally successful artist; He was asked by &lt;a href="http://en.wikipedia.org/wiki/Joe_Gibbs_%28record_producer%29" title="Joe Gibbs (record producer)"&gt;Joe Gibbs&lt;/a&gt; to record an album for him, and one of the tracks recorded as a result, &amp;quot;Money in my Pocket&amp;quot;, was a hit with UK reggae audiences and quickly became a favourite of his live performances. This original version of &amp;quot;Money in my Pocket&amp;quot; was in fact produced by &lt;a href="http://en.wikipedia.org/wiki/Winston_Holness" class="mw-redirect" title="Winston Holness"&gt;Winston &amp;quot;Niney&amp;quot; Holness&lt;/a&gt; on behalf of Gibbs, with musical backing from the &lt;a href="http://en.wikipedia.org/wiki/Soul_Syndicate" title="Soul Syndicate"&gt;Soul Syndicate&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel19-11"&gt;&lt;span&gt;[&lt;/span&gt;12&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; In the same year, Brown performed as part of a Christmas morning showcase in &lt;a href="http://en.wikipedia.org/wiki/Toronto" title="Toronto"&gt;Toronto&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/Canada" title="Canada"&gt;Canada&lt;/a&gt;, along with Delroy Wilson, Scotty, Errol Dunkley, and the Fabulous Flames, where he was billed as the &amp;quot;Boy Wonder of Jamaica&amp;quot; and was considered the star of the show in a local newspaper review.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel19-11"&gt;&lt;span&gt;[&lt;/span&gt;12&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; The song&amp;#39;s popularity in the UK was further cemented with the release a &lt;a href="http://en.wikipedia.org/wiki/Deejay" title="Deejay"&gt;deejay&lt;/a&gt; version, &amp;quot;A-So We Stay (Money in Hand)&amp;quot;, credited to &lt;a href="http://en.wikipedia.org/wiki/Big_Youth" title="Big Youth"&gt;Big Youth&lt;/a&gt; and Dennis Brown, which outsold the original single and topped the Jamaican singles chart.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel19-11"&gt;&lt;span&gt;[&lt;/span&gt;12&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Brown and Holness became close, even sharing a house in Pembroke Hall.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Foster244-7"&gt;&lt;span&gt;[&lt;/span&gt;8&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Brown followed this with another collaboration with Holness on &amp;quot;Westbound Train&amp;quot;, which was the biggest Jamaican hit of summer 1973,&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel20-12"&gt;&lt;span&gt;[&lt;/span&gt;13&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; and Brown&amp;#39;s star status was confirmed when he was voted Jamaica&amp;#39;s top male vocalist in a poll by &lt;i&gt;Swing&lt;/i&gt; magazine the same year.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel20-12"&gt;&lt;span&gt;[&lt;/span&gt;13&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Brown followed this success with &amp;quot;Cassandra&amp;quot; and &amp;quot;No More Will I Roam&amp;quot;, and tracks such as &amp;quot;Africa&amp;quot; and &amp;quot;Love Jah&amp;quot;, displaying Brown&amp;#39;s &lt;a href="http://en.wikipedia.org/wiki/Rastafari" class="mw-redirect" title="Rastafari"&gt;Rastafari&lt;/a&gt; beliefs, became staples on &lt;a href="http://en.wikipedia.org/wiki/London" title="London"&gt;London&lt;/a&gt;&amp;#39;s &lt;a href="http://en.wikipedia.org/wiki/Sound_system_%28Jamaican%29" title="Sound system (Jamaican)"&gt;sound system&lt;/a&gt; scene.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel20-12"&gt;&lt;span&gt;[&lt;/span&gt;13&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; In 1973, Brown was hospitalized due to fatigue caused by overwork, although at the time rumours spread that he only had one lung and had only a week to live, or had contracted &lt;a href="http://en.wikipedia.org/wiki/Tuberculosis" title="Tuberculosis"&gt;tuberculosis&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel20-12"&gt;&lt;span&gt;[&lt;/span&gt;13&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; He was advised to take an extended break from performing and concentrated instead on his college studies.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel20-12"&gt;&lt;span&gt;[&lt;/span&gt;13&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt; &lt;p&gt;Brown returned to music and toured the United Kingdom for the first time in late summer 1974 as part of a Jamaican showcase, along with &lt;a href="http://en.wikipedia.org/wiki/Cynthia_Richards" title="Cynthia Richards"&gt;Cynthia Richards&lt;/a&gt;, Al Brown, &lt;a href="http://en.wikipedia.org/wiki/Sharon_Forrester" title="Sharon Forrester"&gt;Sharon Forrester&lt;/a&gt;, and &lt;a href="http://en.wikipedia.org/wiki/The_Maytals" class="mw-redirect" title="The Maytals"&gt;The Maytals&lt;/a&gt;, after which he was invited to stay on for further dates (where he was backed by &lt;a href="http://en.wikipedia.org/wiki/The_Cimarons" title="The Cimarons"&gt;The Cimarons&lt;/a&gt;, staying in the UK for another three months.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel23-13"&gt;&lt;span&gt;[&lt;/span&gt;14&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; While in the UK, he recorded for the first time since his hospitalization, working with producer &lt;a href="http://en.wikipedia.org/wiki/Sydney_Crooks" title="Sydney Crooks"&gt;Sydney Crooks&lt;/a&gt;, and again backed by the Cimarons.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel23-13"&gt;&lt;span&gt;[&lt;/span&gt;14&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; While Brown was in the UK, Gibbs released an album collecting recordings made earlier in Jamaica, released as &lt;i&gt;The Best of Dennis Brown&lt;/i&gt;, and Brown&amp;#39;s first single to get a proper UK release was issued on the Synda label - &amp;quot;No More Will I Roam&amp;quot;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel25-14"&gt;&lt;span&gt;[&lt;/span&gt;15&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; He returned to Jamaica for Christmas, but six weeks later was back in the UK, now with Holness in tow as his business manager, to negotiate a record deal with &lt;a href="http://en.wikipedia.org/wiki/Trojan_Records" title="Trojan Records"&gt;Trojan Records&lt;/a&gt;, the first Brown album to be released as a result being &lt;i&gt;Just Dennis&lt;/i&gt;, although the pair would be left out of pocket after Trojan&amp;#39;s collapse and subsequent buyout by Saga Records.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel27-15"&gt;&lt;span&gt;[&lt;/span&gt;16&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; On their return to Jamaica, Brown and Holness resumed recording in earnest with tracks for a new album, including &amp;quot;So Long Rastafari&amp;quot;, &amp;quot;Boasting&amp;quot;, and &amp;quot;Open the Gate&amp;quot;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel28-16"&gt;&lt;span&gt;[&lt;/span&gt;17&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; During 1975, Brown also recorded one-off sessions for &lt;a href="http://en.wikipedia.org/wiki/Sonia_Pottinger" title="Sonia Pottinger"&gt;Sonia Pottinger&lt;/a&gt; (&amp;quot;If You leave Me&amp;quot;) and &lt;a href="http://en.wikipedia.org/wiki/Bunny_Lee" title="Bunny Lee"&gt;Bunny Lee&lt;/a&gt; (&amp;quot;So Much Pain&amp;quot;, a duet with &lt;a href="http://en.wikipedia.org/wiki/Johnny_Clarke" title="Johnny Clarke"&gt;Johnny Clarke&lt;/a&gt;), and the first recordings began to appear on Brown&amp;#39;s new DEB Music label.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel30-17"&gt;&lt;span&gt;[&lt;/span&gt;18&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; In the wake of the Trojan collapse, Brown and Holness arranged a deal with local independent label owners Castro Brown (who ran Morpheus Records) and Larry Lawrence (Ethnic Fight) to distribute their releases in the UK.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel31-18"&gt;&lt;span&gt;[&lt;/span&gt;19&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Brown saw the UK as the most important market to target and performed for five consecutive nights at the Georgian Club in &lt;a href="http://en.wikipedia.org/wiki/Croydon" title="Croydon"&gt;Croydon&lt;/a&gt; to raise funds to start his new DEB Music label with Castro Brown.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel33-19"&gt;&lt;span&gt;[&lt;/span&gt;20&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; In early 1976, Castro secured a deal with &lt;a href="http://en.wikipedia.org/wiki/Radio_London" title="Radio London"&gt;Radio London&lt;/a&gt; &lt;a href="http://en.wikipedia.org/wiki/Disc_jockey" title="Disc jockey"&gt;disc jockey&lt;/a&gt; &lt;a href="http://en.wikipedia.org/wiki/Charlie_Gillett" title="Charlie Gillett"&gt;Charlie Gillett&lt;/a&gt; for Morpheus (and hence DEB) output to be issued through the latter&amp;#39;s Oval Records, which had a distribution deal with &lt;a href="http://en.wikipedia.org/wiki/Virgin_Records" title="Virgin Records"&gt;Virgin Records&lt;/a&gt;, but after a dispute over Castro&amp;#39;s separate supply of these records to London record shops, the deal was scrapped and the early DEB releases suffered from a lack of promotion.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel35-20"&gt;&lt;span&gt;[&lt;/span&gt;21&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Later that year, Brown voiced two tracks at &lt;a href="http://en.wikipedia.org/wiki/Lee_%22Scratch%22_Perry" title="Lee &amp;quot;Scratch&amp;quot; Perry"&gt;Lee &amp;quot;Scratch&amp;quot; Perry&lt;/a&gt;&amp;#39;s &lt;a href="http://en.wikipedia.org/wiki/Black_Ark" class="mw-redirect" title="Black Ark"&gt;Black Ark&lt;/a&gt; studio, &amp;quot;Take a Trip to Zion&amp;quot; and &amp;quot;Wolf and Leopard&amp;quot;, the latter of which was a massive hit in Jamaica and would prove to be one of Brown&amp;#39;s most popular songs, with a lyric criticizing those criminals who &amp;quot;rode the natty dread bandwagon&amp;quot;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel39-21"&gt;&lt;span&gt;[&lt;/span&gt;22&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Brown confirmed in an interview in &lt;i&gt;&lt;a href="http://en.wikipedia.org/wiki/Black_Echoes" title="Black Echoes"&gt;Black Echoes&lt;/a&gt;&lt;/i&gt; that he had parted company with Holness, stating that &amp;quot;I was going along with one man&amp;#39;s ideas for too long. Niney was trying to find a new beat at all times, which was disconcerting, so I hadn&amp;#39;t been working with my true abilities. Now I know that I can produce myself&amp;quot;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel44-22"&gt;&lt;span&gt;[&lt;/span&gt;23&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt; &lt;p&gt;Brown began working again with Joe Gibbs, with an agreement that in return for studio time for his own productions, Brown would allow Gibbs use of any rhythm recorded in the process.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel45-23"&gt;&lt;span&gt;[&lt;/span&gt;24&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; The first album from this arrangement, the 1977 release &lt;i&gt;&lt;a href="http://en.wikipedia.org/wiki/Visions_of_Dennis_Brown" title="Visions of Dennis Brown"&gt;Visions of Dennis Brown&lt;/a&gt;&lt;/i&gt;, gave him his biggest success so far, blending conscious themes and love songs, and confirming Brown&amp;#39;s transformation from child star to grown up artist.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel55-24"&gt;&lt;span&gt;[&lt;/span&gt;25&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; The biblical-themed sleeve and portrait of &lt;a href="http://en.wikipedia.org/wiki/Haile_Selassie" class="mw-redirect" title="Haile Selassie"&gt;Haile Selassie&lt;/a&gt; on the back complemented the &lt;a href="http://en.wikipedia.org/wiki/Roots_reggae" title="Roots reggae"&gt;roots reggae&lt;/a&gt; tracks on the album, including &amp;quot;Repatriation&amp;quot;, &amp;quot;Jah Can Do it&amp;quot;, and &lt;a href="http://en.wikipedia.org/wiki/Cover_version" title="Cover version"&gt;cover versions&lt;/a&gt; of &lt;a href="http://en.wikipedia.org/wiki/Earl_16" class="mw-redirect" title="Earl 16"&gt;Earl 16&lt;/a&gt;&amp;#39;s &amp;quot;Malcolm X&amp;quot; and &lt;a href="http://en.wikipedia.org/wiki/Clive_Hunt" title="Clive Hunt"&gt;Clive Hunt&lt;/a&gt;&amp;#39;s &amp;quot;Milk and Honey&amp;quot;. The album immediately entered the &lt;i&gt;Black Echoes&lt;/i&gt; chart and stayed there well into the following year, although it was only available in the UK as an expensive import.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel57-25"&gt;&lt;span&gt;[&lt;/span&gt;26&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; &lt;i&gt;Visions...&lt;/i&gt; was voted reggae album of the year by &lt;i&gt;&lt;a href="http://en.wikipedia.org/wiki/Melody_Maker" title="Melody Maker"&gt;Melody Maker&lt;/a&gt;&lt;/i&gt; writers and was given the same award by readers of &lt;i&gt;Black Echoes&lt;/i&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel57-25"&gt;&lt;span&gt;[&lt;/span&gt;26&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; A reissued &amp;quot;Wolf and Leopard&amp;quot; single, and the eventual album release of the same name also sold well in the UK, both topping the &lt;i&gt;Black Echoes&lt;/i&gt; chart.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel60-26"&gt;&lt;span&gt;[&lt;/span&gt;27&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt; &lt;div class="thumb tright"&gt; &lt;div class="thumbinner" style=""&gt;&lt;a href="http://en.wikipedia.org/wiki/File:NMECover19790224.jpg" class="image"&gt;&lt;img class="thumbimage" src="http://upload.wikimedia.org/wikipedia/en/thumb/5/58/NMECover19790224.jpg/220px-NMECover19790224.jpg" height="310" alt="" width="220" /&gt;&lt;/a&gt; &lt;div class="thumbcaption"&gt; &lt;div class="magnify"&gt;&lt;a href="http://en.wikipedia.org/wiki/File:NMECover19790224.jpg" title="Enlarge" class="internal"&gt;&lt;img src="http://bits.wikimedia.org/skins-1.18/common/images/magnify-clip.png" height="11" alt="" width="15" /&gt;&lt;/a&gt;&lt;/div&gt; NME cover from 24 February 1979&lt;/div&gt; &lt;/div&gt; &lt;/div&gt; &lt;p&gt;Brown toured the UK in Autumn 1977 with Big Youth, and described the tour: &amp;quot;It&amp;#39;s like I was appointed to deliver certain messages and now is the time to deliver them&amp;quot;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel66-27"&gt;&lt;span&gt;[&lt;/span&gt;28&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; He had also begun producing recordings by his protege, &lt;a href="http://en.wikipedia.org/wiki/Junior_Delgado" title="Junior Delgado"&gt;Junior Delgado&lt;/a&gt;. In 1978, Brown moved to live in London, and set up premises in Battersea Rise, near &lt;a href="http://en.wikipedia.org/wiki/Clapham_Junction" class="mw-redirect" title="Clapham Junction"&gt;Clapham Junction&lt;/a&gt; to relaunch the DEB Music label with Castro Brown, with artists featured on the label including Junior Delgado, &lt;a href="http://en.wikipedia.org/w/index.php?title=15.16.17&amp;amp;action=edit&amp;amp;redlink=1" title="15.16.17 (page does not exist)" class="new"&gt;15.16.17&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/Bob_Andy" title="Bob Andy"&gt;Bob Andy&lt;/a&gt;, Lennox Brown, and later, &lt;a href="http://en.wikipedia.org/wiki/Gregory_Isaacs" title="Gregory Isaacs"&gt;Gregory Isaacs&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel69-28"&gt;&lt;span&gt;[&lt;/span&gt;29&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Brown had further success himself with a &lt;a href="http://en.wikipedia.org/wiki/Discomix" title="Discomix"&gt;discomix&lt;/a&gt; of &amp;quot;How Could I Leave You&amp;quot;, a version of The Sharks&amp;#39; rocksteady standard &amp;quot;How Could I Live&amp;quot; with accompanying toast by &lt;a href="http://en.wikipedia.org/wiki/George_Nooks" title="George Nooks"&gt;Prince Mohamed&lt;/a&gt;. In March 1978, Brown flew to Jamaica, where he was booked at the last minute to perform at the &lt;a href="http://en.wikipedia.org/wiki/One_Love_Peace_Concert" title="One Love Peace Concert"&gt;One Love Peace Concert&lt;/a&gt; at the National Arena, backed by &lt;a href="http://en.wikipedia.org/wiki/Lloyd_Parks" title="Lloyd Parks"&gt;Lloyd Parks&lt;/a&gt;&amp;#39; We The People Band.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel81-29"&gt;&lt;span&gt;[&lt;/span&gt;30&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; &lt;i&gt;Visions of Dennis Brown&lt;/i&gt; was given a wider distribution via a deal between Lightning Records and &lt;a href="http://en.wikipedia.org/wiki/Warner_Music_Group" title="Warner Music Group"&gt;WEA&lt;/a&gt; and topped the UK reggae album chart in September 1978, this chart run lasting for five months.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel84-30"&gt;&lt;span&gt;[&lt;/span&gt;31&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; In August 1978, Brown returned to the UK, bringing Junior Delgado with him, and DEB Music released a series of singles, although they sold moderately compared to the label&amp;#39;s earlier successes, but in the same month, Brown&amp;#39;s breakthrough single was first released. Initially released as a discomix featuring a new version of &amp;quot;Money in my Pocket&amp;quot; and the deejay version &amp;quot;Cool Runnings&amp;quot; by Price Mohamed, which became unavailable for a time after quickly selling out its first pressing, this single gave Brown his first &lt;a href="http://en.wikipedia.org/wiki/UK_Singles_Chart" title="UK Singles Chart"&gt;UK Top 40&lt;/a&gt; &lt;a href="http://en.wikipedia.org/wiki/Hit_record" title="Hit record"&gt;hit&lt;/a&gt;, reaching #14 the following year and becoming one of the biggest international hits in Jamaica&amp;#39;s history,&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-British_Hit_Singles_.26_Albums-31"&gt;&lt;span&gt;[&lt;/span&gt;32&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Thompson44-32"&gt;&lt;span&gt;[&lt;/span&gt;33&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; after crossing over first into &lt;a href="http://en.wikipedia.org/wiki/Soul_music" title="Soul music"&gt;soul&lt;/a&gt; clubs and then &lt;a href="http://en.wikipedia.org/wiki/Rock_music" title="Rock music"&gt;rock&lt;/a&gt; clubs.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Reel88-33"&gt;&lt;span&gt;[&lt;/span&gt;34&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; This success led to Brown featuring on the cover of the &lt;i&gt;&lt;a href="http://en.wikipedia.org/wiki/NME" title="NME"&gt;NME&lt;/a&gt;&lt;/i&gt; in February 1979.&lt;/p&gt; &lt;p&gt;Brown&amp;#39;s next two albums were both released on DEB - &lt;i&gt;So Long Rastafari&lt;/i&gt; and &lt;i&gt;Joseph&amp;#39;s Coat of Many Colours&lt;/i&gt;, although the label was closed down in 1979, after which Brown again did the rounds of Jamaica&amp;#39;s top producers, as well as continuing self-productions with singles such as &amp;quot;The Little Village&amp;quot; and &amp;quot;Do I Worry?&amp;quot; in 1981.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Thompson45-34"&gt;&lt;span&gt;[&lt;/span&gt;35&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt; &lt;h3&gt;&lt;span class="editsection"&gt;&lt;/span&gt;&lt;span class="mw-headline"&gt;A&amp;amp;M and the dancehall era&lt;/span&gt;&lt;/h3&gt; &lt;p&gt;With continuing commercial success, Brown signed an international deal with &lt;a href="http://en.wikipedia.org/wiki/A%26M_Records" title="A&amp;amp;M Records"&gt;A&amp;amp;M Records&lt;/a&gt; in 1981, and now based permanently in the UK, his first album release for the label was the Gibbs-produced &lt;i&gt;&lt;a href="http://en.wikipedia.org/wiki/Foul_Play_%28album%29" title="Foul Play (album)"&gt;Foul Play&lt;/a&gt;&lt;/i&gt;, which while not wholly a success included the roots tracks &amp;quot;The Existence of Jah&amp;quot; and &amp;quot;The World is Troubled&amp;quot;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Thompson47-35"&gt;&lt;span&gt;[&lt;/span&gt;36&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; This was followed in 1982 by &lt;i&gt;Love Has Found its Way&lt;/i&gt;, a Gibbs/Brown/&lt;a href="http://en.wikipedia.org/w/index.php?title=Willie_Lindo&amp;amp;action=edit&amp;amp;redlink=1" title="Willie Lindo (page does not exist)" class="new"&gt;Willie Lindo&lt;/a&gt; production which blended lovers rock with a more &amp;#39;&lt;a href="http://en.wikipedia.org/wiki/Pop_music" title="Pop music"&gt;pop&lt;/a&gt;&amp;#39; sound, and again was not a great success.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Thompson47-35"&gt;&lt;span&gt;[&lt;/span&gt;36&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; His final album with the label, 1983&amp;#39;s &lt;i&gt;The Prophet Rides Again&lt;/i&gt; again mixed roots themes with commercial R&amp;amp;B style tracks, and proved to be his swansong with the label.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Thompson47-35"&gt;&lt;span&gt;[&lt;/span&gt;36&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; While his association with A&amp;amp;M had taken him in a more commercial pop direction, Kingston&amp;#39;s music scene had shifted towards the new &lt;a href="http://en.wikipedia.org/wiki/Dancehall" title="Dancehall"&gt;dancehall&lt;/a&gt; era, and Brown enthusiatically adapted to the new sound, recording for some of the genre&amp;#39;s major producers including &lt;a href="http://en.wikipedia.org/wiki/Prince_Jammy" class="mw-redirect" title="Prince Jammy"&gt;Prince Jammy&lt;/a&gt; and &lt;a href="http://en.wikipedia.org/wiki/Gussie_Clarke" title="Gussie Clarke"&gt;Gussie Clarke&lt;/a&gt;. In the early 1980s he also started a new label, Yvonne&amp;#39;s Special, dedicated to his wife.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Foster246-36"&gt;&lt;span&gt;[&lt;/span&gt;37&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; In 1984, he collaborated with Gregory Isaacs on the album &lt;i&gt;Two Bad Superstars Meet&lt;/i&gt; and the hit single &amp;quot;Let aaf Sum&amp;#39;n&amp;quot;, recorded with &lt;a href="http://en.wikipedia.org/wiki/Sly_%26_Robbie" class="mw-redirect" title="Sly &amp;amp; Robbie"&gt;Sly &amp;amp; Robbie&lt;/a&gt; and Jammy, which was followed by a second album featuring the two stars, &lt;i&gt;Judge Not&lt;/i&gt;, in 1985.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Thompson46-37"&gt;&lt;span&gt;[&lt;/span&gt;38&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Brown released a huge amount of work through the 1980s, including the 1986 Jammy-produced album &lt;i&gt;The Exit&lt;/i&gt;, but his biggest success of the decade came in 1989 with the Gussie Clarke-produced duet with Isaacs &amp;quot;Big All Round&amp;quot;, and the album &lt;i&gt;Unchallenged&lt;/i&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Thompson46-37"&gt;&lt;span&gt;[&lt;/span&gt;38&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; He continued to record prolifically in the 1990s, notably on the &lt;i&gt;Three Against War&lt;/i&gt; album in 1995 with &lt;a href="http://en.wikipedia.org/wiki/Beenie_Man" title="Beenie Man"&gt;Beenie Man&lt;/a&gt; and &lt;a href="http://en.wikipedia.org/wiki/Triston_Palmer" title="Triston Palmer"&gt;Triston Palmer&lt;/a&gt;, and on albums produced by Mikey Bennett, and his profile in the United States was raised by a series of album releases on &lt;a href="http://en.wikipedia.org/wiki/RAS_Records" title="RAS Records"&gt;RAS Records&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Thompson46-37"&gt;&lt;span&gt;[&lt;/span&gt;38&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; In the late 1990s he was managed by &lt;a href="http://en.wikipedia.org/wiki/Tommy_Cowan" title="Tommy Cowan"&gt;Tommy Cowan&lt;/a&gt;, who contrasted Brown to Bob Marley, who he had also managed, stating &amp;quot;Bob Marley was a serious businessman, I don&amp;#39;t think Dennis was as serious when it came to investment. Dennis was like a community person, he would earn money and in one hour he would give it away.&amp;quot;&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Campbell-38"&gt;&lt;span&gt;[&lt;/span&gt;39&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Brown said of his approach to songwriting in the late 1990s:&lt;/p&gt; &lt;blockquote&gt; &lt;p&gt;&amp;quot;When I write a song I try to follow Joseph&amp;#39;s way - deliverance through vision from all - true vibration. I want to be a shepherd in my work, teaching and learning, really singing so much. I don&amp;#39;t want to sing and not live it. I must live it. If I can sing songs that people can watch me living, then they can take my work&amp;quot;&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Chang-39"&gt;&lt;span&gt;[&lt;/span&gt;40&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt; &lt;/blockquote&gt; &lt;p&gt;Brown&amp;#39;s 1994 album &lt;i&gt;Light My Fire&lt;/i&gt; was nominated for a &lt;a href="http://en.wikipedia.org/wiki/Grammy_Award" title="Grammy Award"&gt;Grammy Award&lt;/a&gt;, as was the last album recorded by Brown, &lt;i&gt;Let Me Be the One&lt;/i&gt; (in 2001).&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Moskowitz-40"&gt;&lt;span&gt;[&lt;/span&gt;41&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Kenner-41"&gt;&lt;span&gt;[&lt;/span&gt;42&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt; &lt;h3&gt;&lt;span class="editsection"&gt;&lt;/span&gt;&lt;span class="mw-headline"&gt;Death&lt;/span&gt;&lt;/h3&gt; &lt;p&gt;In the late 1990s, Brown&amp;#39;s health began to deteriorate, with longstanding respiratory problems exacerbated by &lt;a href="http://en.wikipedia.org/wiki/Cocaine" title="Cocaine"&gt;cocaine&lt;/a&gt; use leading to him being taken ill in May 1999, after touring in &lt;a href="http://en.wikipedia.org/wiki/Brazil" title="Brazil"&gt;Brazil&lt;/a&gt; with other reggae singers, where he was diagnosed with &lt;a href="http://en.wikipedia.org/wiki/Pneumonia" title="Pneumonia"&gt;pneumonia&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Moskowitz-40"&gt;&lt;span&gt;[&lt;/span&gt;41&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; After returning to &lt;a href="http://en.wikipedia.org/wiki/Kingston,_Jamaica" title="Kingston, Jamaica"&gt;Kingston, Jamaica&lt;/a&gt;, on the evening of June 30, 1999, he was rushed to Kingston&amp;#39;s &lt;a href="http://en.wikipedia.org/wiki/Teaching_hospital" title="Teaching hospital"&gt;University Hospital&lt;/a&gt;, suffering from &lt;a href="http://en.wikipedia.org/wiki/Cardiac_arrest" title="Cardiac arrest"&gt;cardiac arrest&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Cooksey-42"&gt;&lt;span&gt;[&lt;/span&gt;43&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Brown died the next day, and the official cause of his death was a &lt;a href="http://en.wikipedia.org/wiki/Pneumothorax" title="Pneumothorax"&gt;collapsed lung&lt;/a&gt;,&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Cooksey-42"&gt;&lt;span&gt;[&lt;/span&gt;43&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; although his cocaine habit was considered a contributing factor.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Thompson46-37"&gt;&lt;span&gt;[&lt;/span&gt;38&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-43"&gt;&lt;span&gt;[&lt;/span&gt;44&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-44"&gt;&lt;span&gt;[&lt;/span&gt;45&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-45"&gt;&lt;span&gt;[&lt;/span&gt;46&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Sitting &lt;a href="http://en.wikipedia.org/wiki/Prime_Minister_of_Jamaica" title="Prime Minister of Jamaica"&gt;Jamaican Prime Minister&lt;/a&gt; &lt;a href="http://en.wikipedia.org/wiki/P._J._Patterson" title="P. J. Patterson"&gt;P. J. Patterson&lt;/a&gt; and former prime minister, serving at the time as opposition leader, &lt;a href="http://en.wikipedia.org/wiki/Edward_Seaga" title="Edward Seaga"&gt;Edward Seaga&lt;/a&gt; of the &lt;a href="http://en.wikipedia.org/wiki/Jamaica_Labour_Party" title="Jamaica Labour Party"&gt;Jamaica Labour Party&lt;/a&gt; both spoke at Brown&amp;#39;s funeral, which was held on July 17, 1999 in Kingston. The service, which lasted for three hours, also featured live performances by &lt;a href="http://en.wikipedia.org/wiki/Maxi_Priest" title="Maxi Priest"&gt;Maxi Priest&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/Shaggy_%28artist%29" class="mw-redirect" title="Shaggy (artist)"&gt;Shaggy&lt;/a&gt;, and five of Brown&amp;#39;s sons. Brown was then buried at Kingston&amp;#39;s &lt;a href="http://en.wikipedia.org/wiki/National_Heroes_Park" title="National Heroes Park"&gt;National Heroes Park&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-46"&gt;&lt;span&gt;[&lt;/span&gt;47&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Brown was survived by his wife Yvonne and thirteen children.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Adebayo-2"&gt;&lt;span&gt;[&lt;/span&gt;3&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Jamaica&amp;#39;s Prime Minister &lt;a href="http://en.wikipedia.org/wiki/P._J._Patterson" title="P. J. Patterson"&gt;P. J. Patterson&lt;/a&gt; paid tribute to Brown, saying &amp;quot;Over the years, Dennis Brown has distinguished himself as one of the finest and most talented musicians of our time. The Crown Prince of Reggae as he was commonly called. He has left us with a vast repertoire of songs which will continue to satisfy the hearts and minds of us all for generations to come.&amp;quot;&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Dennis_Brown#cite_note-Gleaner-47"&gt;&lt;span&gt;[&lt;/span&gt;48&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt;
	
&lt;/p&gt;

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      <pubDate>Thu, 01 Dec 2011 04:30:06 -0800</pubDate>
      <title>Stranger Cole - Things come to those that wait &amp; Rough and Tough</title>
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	&lt;div class='p_embed p_image_embed'&gt;
&lt;img alt="Stranger" height="420" src="http://getfile4.posterous.com/getfile/files.posterous.com/skarumble/4MalPGIhwsTzLT25aCb9sd33FuRYDo4277GRdJ9166fyVBePmWX5vARI0RDT/stranger.jpg.scaled600.jpg" width="512" /&gt;
&lt;/div&gt;
&lt;p&gt;&lt;iframe src="http://www.youtube.com/embed/CYBVTjrYxls?wmode=transparent" allowfullscreen frameborder="0" height="417" width="500"&gt;&lt;/iframe&gt;&lt;p /&gt;&lt;iframe src="http://www.youtube.com/embed/EKbMBXecUmI?wmode=transparent" allowfullscreen frameborder="0" height="417" width="500"&gt;&lt;/iframe&gt;&lt;p /&gt; &lt;/p&gt;&lt;p&gt;Cole was born in &lt;a href="http://en.wikipedia.org/wiki/Kingston,_Jamaica" title="Kingston, Jamaica"&gt;Kingston, Jamaica&lt;/a&gt; in 1945 and nicknamed &amp;quot;Stranger&amp;quot; by his family, as they considered that he didn&amp;#39;t resemble any member of his kin.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Stranger_Cole#cite_note-Thompson-0"&gt;&lt;span&gt;[&lt;/span&gt;1&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Cole was initially successful as a songwriter, writing &amp;quot;In and out the Window&amp;quot;, which was a hit for Eric &amp;quot;Monty&amp;quot; Morris.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Stranger_Cole#cite_note-Boehm-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; This success gave him the chance to make his recording debut in 1962, instantly finding success with singles such as &amp;quot;Rough and Tough&amp;quot; and &amp;quot;When You Call My Name&amp;quot; (a duet with &lt;a href="http://en.wikipedia.org/w/index.php?title=Patsy_Todd&amp;amp;action=edit&amp;amp;redlink=1" title="Patsy Todd (page does not exist)" class="new"&gt;Patsy Todd&lt;/a&gt;) for producer &lt;a href="http://en.wikipedia.org/wiki/Duke_Reid" title="Duke Reid"&gt;Arthur &amp;quot;Duke&amp;quot; Reid&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Stranger_Cole#cite_note-Larkin-2"&gt;&lt;span&gt;[&lt;/span&gt;3&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Further success followed with singles for Reid through to the mid-1960s, and he also worked with other producers at this time, including &lt;a href="http://en.wikipedia.org/wiki/Clement_%22Coxsone%22_Dodd" class="mw-redirect" title="Clement &amp;quot;Coxsone&amp;quot; Dodd"&gt;Clement &amp;quot;Coxsone&amp;quot; Dodd&lt;/a&gt; (a duet with &lt;a href="http://en.wikipedia.org/wiki/Ken_Boothe" title="Ken Boothe"&gt;Ken Boothe&lt;/a&gt; on &amp;quot;Worlds Fair&amp;quot;), and &lt;a href="http://en.wikipedia.org/wiki/Prince_Buster" title="Prince Buster"&gt;Prince Buster&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Stranger_Cole#cite_note-Larkin-2"&gt;&lt;span&gt;[&lt;/span&gt;3&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Further duets included recordings with &lt;a href="http://en.wikipedia.org/wiki/Gladstone_Anderson" title="Gladstone Anderson"&gt;Gladstone Anderson&lt;/a&gt; (on &amp;quot;Just Like a River&amp;quot;)&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Stranger_Cole#cite_note-Leggett-3"&gt;&lt;span&gt;[&lt;/span&gt;4&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; and &lt;a href="http://en.wikipedia.org/wiki/Hortense_Ellis" title="Hortense Ellis"&gt;Hortense Ellis&lt;/a&gt;, the tendency to record duets apparently due to his shyness when it came to singing alone.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Stranger_Cole#cite_note-Thompson-0"&gt;&lt;span&gt;[&lt;/span&gt;1&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; In the late 1960s and early 1970s he recorded with several producers, including &lt;a href="http://en.wikipedia.org/wiki/Bunny_Lee" title="Bunny Lee"&gt;Bunny Lee&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/Lee_%22Scratch%22_Perry" title="Lee &amp;quot;Scratch&amp;quot; Perry"&gt;Lee &amp;quot;Scratch&amp;quot; Perry&lt;/a&gt;, and &lt;a href="http://en.wikipedia.org/wiki/Sonia_Pottinger" title="Sonia Pottinger"&gt;Sonia Pottinger&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Stranger_Cole#cite_note-Moskowitz-4"&gt;&lt;span&gt;[&lt;/span&gt;5&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; These included further material with Todd as Stranger &amp;amp; Patsy. In 1971 he emigrated to England, where he toured extensively, and moved on again to Canada in 1973, settling in &lt;a href="http://en.wikipedia.org/wiki/Toronto" title="Toronto"&gt;Toronto&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Stranger_Cole#cite_note-Larkin-2"&gt;&lt;span&gt;[&lt;/span&gt;3&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; He worked as a machinist in the Tonka Toy factory in Toronto and later opened the first Caribbean record shop in Toronto His first album, &lt;i&gt;&amp;quot;Foward&amp;quot; in the Land of Sunshine&lt;/i&gt;, was released in 1976, with a handful of further albums released over the next ten years, most on his own label.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Stranger_Cole#cite_note-Larkin-2"&gt;&lt;span&gt;[&lt;/span&gt;3&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; In 2006, Cole released his first album in twenty years, &lt;i&gt;Morning Train&lt;/i&gt;, a collaboration with &lt;a href="http://en.wikipedia.org/wiki/Jah_Shaka" title="Jah Shaka"&gt;Jah Shaka&lt;/a&gt;. Cole is featured in the 2009 documentary &lt;i&gt;Rocksteady: The Roots of Reggae&lt;/i&gt;, in which he and other stars of the rocksteady era reunited to record a new album of the same name, released in August 2009.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Stranger_Cole#cite_note-Braun-5"&gt;&lt;span&gt;[&lt;/span&gt;6&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt; &lt;p&gt;Cole&amp;#39;s son, Squiddly, followed him into a music career, working as a &lt;a href="http://en.wikipedia.org/wiki/Drummer" title="Drummer"&gt;drummer&lt;/a&gt; for artists including &lt;a href="http://en.wikipedia.org/wiki/Ziggy_Marley" title="Ziggy Marley"&gt;Ziggy Marley&lt;/a&gt; and &lt;a href="http://en.wikipedia.org/wiki/Mutabaruka" title="Mutabaruka"&gt;Mutabaruka&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Stranger_Cole#cite_note-Moskowitz-4"&gt;&lt;span&gt;[&lt;/span&gt;5&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt;
	
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      <pubDate>Tue, 29 Nov 2011 02:40:20 -0800</pubDate>
      <title>Origins of Ska: the Mento</title>
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&lt;p&gt;&lt;table border="0" width="700" style="border-collapse: collapse;"&gt;&lt;tr&gt;&lt;td width="400"&gt;Massive thanks to &lt;a href="http://www.mentomusic.com"&gt;www.mentomusic.com&lt;/a&gt;&lt;br /&gt; &lt;/td&gt; &lt;td width="27"&gt;&lt;br /&gt;&lt;/td&gt; &lt;td align="right" valign="bottom" width="273"&gt;&lt;br /&gt;&lt;/td&gt; &lt;/tr&gt; &lt;/table&gt; &lt;/p&gt;&lt;p&gt;&lt;br /&gt;&lt;/p&gt;&lt;p&gt;&lt;iframe src="http://www.youtube.com/embed/1wPoVXIjI_M?wmode=transparent" allowfullscreen frameborder="0" height="417" width="500"&gt;&lt;/iframe&gt;&lt;/p&gt;&lt;p&gt;&lt;br /&gt;&lt;/p&gt;&lt;p&gt;&lt;iframe src="http://www.youtube.com/embed/G51MaeeFs-o?wmode=transparent" allowfullscreen frameborder="0" height="417" width="500"&gt;&lt;/iframe&gt;&lt;/p&gt; &lt;p&gt;&lt;br /&gt;&lt;span style="font-family: Comic Sans MS;"&gt; &lt;/span&gt;&lt;/p&gt;&lt;p&gt;&lt;span style="font-family: Comic Sans MS;"&gt;Mento music had its beginnings in Jamaica in the 19th century, and was  	uniquely Jamaican &lt;a href="http://www.mentomusic.com/roadmap.htm"&gt;fusion of African and European 	musical traditions&lt;/a&gt;. In mento&amp;#39;s recorded history pre-history, from the 1920s 	through the 1940s, a number of Jamaican songs were put to wax by &lt;a href="http://www.mentomusic.com/samManning.htm"&gt;Caribbean jazz 	artists&lt;/a&gt;. &lt;a name="slimAndSam"&gt;&lt;/a&gt;In the 1930 and 1940s, &lt;i&gt;Slim and Sam,&lt;/i&gt; a mento group who performed in Kingston, gained renown and are 	recalled today. They&amp;#39;re  remembered for their originals, and sold 	&amp;quot;tracts&amp;quot; -- printed lyrics -- at their performances. (&lt;/span&gt;The 	book &amp;quot;Reggae Routes&amp;quot; by Kevin O&amp;#39;Brien Chang and Wayne Chen lists the names 	of some of these originals, and  has additional information and even a 	picture of Slim and Sam.)&lt;/p&gt; 	&lt;p&gt;&lt;span style="font-family: Comic Sans MS;"&gt; 	&lt;img src="http://www.mentomusic.com/images/ritmoMan.jpg" border="0" height="208" align="left" width="86" /&gt;&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;&lt;img src="http://www.mentomusic.com/images/shim.gif" border="0" height="205" align="left" width="5" /&gt;&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;But it wasn&amp;#39;t until the early 1950s that true mento recordings first began to appear on 78 RPM discs. T&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;his decade was mento’s 	&lt;i&gt;golden age&lt;/i&gt;, as &lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;a variety of&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; artists recorded mento songs in a&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;n assortment&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; of rhythms and styles&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;.&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; It was the peak of mento&amp;#39;s creativity and popularity in Jamaica and the 	birth of Jamaica&amp;#39;s recording industry.&lt;/span&gt;&lt;/p&gt; &lt;p&gt;&lt;span style="font-family: Comic Sans MS;"&gt;These 	recordings reveal mento to be a diverse musical genre, sometimes played with reckless abandon and other times with orderly precision. In addition to mento&amp;#39;s African and European roots, by this time, it had also encompassed pan-Caribbean influences, 	as well as from American jazz. Although it was informed by a world of music, 	mento is clearly, uniquely Jamaican. And as Jamaica&amp;#39;s original music, all 	other Jamaican music can trace its roots to mento.&lt;/span&gt;&lt;/p&gt; &lt;p&gt;&lt;span style="font-family: Comic Sans MS;"&gt; 	&lt;img src="http://www.mentomusic.com/images/oilpainting.jpg" border="0" height="199" align="right" width="141" /&gt;&lt;img src="http://www.mentomusic.com/images/shim.gif" border="0" height="205" align="right" width="5" /&gt;Some &lt;/span&gt; &lt;span style="font-family: Comic Sans MS;"&gt; styles of&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; &lt;/span&gt; &lt;span style="font-family: Comic Sans MS;"&gt; mento&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; &lt;/span&gt; &lt;span style="font-family: Comic Sans MS;"&gt; would&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; &lt;/span&gt; &lt;span style="font-family: Comic Sans MS;"&gt; evolve into&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; ska and reggae. (As a matter of fact, some &lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; mento&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; songs are still being recorded &lt;i&gt;inna &lt;a href="http://www.mentomusic.com/covers.htm#dancehall"&gt;dancehall&lt;/a&gt; stylee&lt;/i&gt; today.) Other styles, while purely mento,&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; seem to have done less&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; to contribute to the development of &lt;/span&gt; &lt;span style="font-family: Comic Sans MS;"&gt;later&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; Jamaican music.&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; &lt;/span&gt;&lt;/p&gt; &lt;p&gt;&lt;span style="font-family: Comic Sans MS;"&gt; During this time, Trinidadian calypso was the Caribbean’s top musical export, and &lt;/span&gt; &lt;span style="font-family: Comic Sans MS;"&gt; the term &lt;/span&gt; &lt;span style="font-family: Comic Sans MS;"&gt; &amp;quot;Calypso&amp;quot; was used generically &lt;/span&gt; &lt;span style="font-family: Comic Sans MS;"&gt; applied&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; &lt;/span&gt; &lt;span style="font-family: Comic Sans MS;"&gt; to Jamaican&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; &lt;/span&gt; &lt;span style="font-family: Comic Sans MS;"&gt; mento as well&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;. &lt;/span&gt; &lt;span style="font-family: Comic Sans MS;"&gt;Far m&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;ore often than it was called by its proper name, mento was called &amp;quot;calypso&amp;quot;, &amp;quot;kalypso&amp;quot; or &amp;quot;mento calypso&amp;quot;. Adding to the confusion, &lt;/span&gt; &lt;span style="font-family: Comic Sans MS;"&gt;Jamaica had its own calypso singers that did not record mento, such as &lt;i&gt;Lord Creator&lt;/i&gt;. (The 	Trinidad-born Creator later became a ska singer for &lt;i&gt;Studio 1.&lt;/i&gt;) And &lt;/span&gt; &lt;span style="font-family: Comic Sans MS;"&gt;mento artists would &lt;/span&gt; &lt;span style="font-family: Comic Sans MS;"&gt;often&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; &lt;/span&gt; &lt;span style="font-family: Comic Sans MS;"&gt;perform&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; calypso songs in the mento style, or record a mento song with calypso &lt;/span&gt; &lt;span style="font-family: Comic Sans MS;"&gt; influence&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;. &lt;/span&gt; &lt;span style="font-family: Comic Sans MS;"&gt; Some mento artists followed the calypsonian practice of adding a title such as &amp;quot;Count&amp;quot; or &amp;quot;Lord&amp;quot; to their name. &lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; But make no mistake, mento &lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; is&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; &lt;/span&gt; 	&lt;span style="font-family: Comic Sans MS;"&gt; a &lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; distinctly different sound from calypso&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;, with its own instrumentation, rhythms, pacing, vocal styles, harmonies, and lyrical concerns.&lt;/span&gt;&lt;/p&gt; &lt;p style="color: rgb(0, 0, 0);"&gt;&lt;span style="font-family: Comic Sans MS;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;/p&gt;&lt;p style="color: rgb(0, 0, 0);"&gt;&lt;span style="font-family: Comic Sans MS;"&gt;The Classic Rural Sound&lt;/span&gt;&lt;/p&gt; &lt;h6&gt;&lt;span style="font-weight: 400;"&gt; &lt;span style="font-family: Comic Sans MS;"&gt; &lt;img src="http://www.mentomusic.com/images/instruments.jpg" border="0" height="132" align="right" width="178" /&gt;&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;T&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;he classic mento sound is the acoustic, informal&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;,&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; folksy &lt;i&gt;rural&lt;/i&gt;&lt;/span&gt;&lt;i&gt;&lt;span style="font-family: Comic Sans MS;"&gt; &lt;/span&gt; 	&lt;/i&gt;&lt;span style="font-family: Comic Sans MS;"&gt; &lt;i&gt;style&lt;/i&gt;.&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; Still sometimes referred to as &lt;i&gt;country music&lt;/i&gt; in Jamaica, it&amp;#39;s easy to imagine farmers and their families celebrating harvest with a mento dance.&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; Typical instruments include&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;d&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; banjo, acoustic guitar, &lt;/span&gt; &lt;span style="font-family: Comic Sans MS;"&gt;a home-made&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; &lt;/span&gt; &lt;span style="font-family: Comic Sans MS;"&gt;saxophone, clarinet or flute made from bamboo&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;, a variety of hand &lt;/span&gt; &lt;span style="font-family: Comic Sans MS;"&gt;percussion&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; and a &lt;/span&gt; &lt;span style="font-family: Comic Sans MS;"&gt;rumba box&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;.&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; &lt;/span&gt; &lt;span style="font-family: Comic Sans MS;"&gt; Often, these songs had a 	proto-reggae beat, and sounded like an acoustic antediluvian form of reggae. 	(The mento proto-reggae beat was especially reminiscent of reggae where the 	dub echo doubles the guitar chop. &lt;i&gt;Bob Marley&amp;#39;s&lt;/i&gt; &amp;quot;Sun Is Shining&amp;quot; from 	&amp;quot;Kaya&amp;quot; is an example that leaps to mind.)&lt;/span&gt;&lt;/span&gt;&lt;/h6&gt; &lt;p&gt;&lt;span style="font-family: Comic Sans MS;"&gt;The frequent use of banjo in mento may come as a surprise, since this did not carry over into later Jamaican music. This is strange, considering how great this instrument sounds in mento, and how many different ways it was played. It &lt;a href="http://www.mentomusic.com/clips/Count%20Lasher%20-%20Sam%20Fi%20Man.ram"&gt;strummed the rhythm similarly to the role of guitar in reggae&lt;/a&gt;. It was a &lt;a href="http://www.mentomusic.com/clips/Boysie%20Grant%20with%20Reynolds%20Calypso%20Band%20-%20Noisy%20Spring2.ram"&gt;lead instrument&lt;/a&gt;, sometimes played 	very precisely and sometimes very loosely. It could &lt;a href="http://www.mentomusic.com/clips/Lord%20Tanamo%20-%20Sweet%20Jamaica.ram"&gt;riff wildly&lt;/a&gt;, or be played as &lt;a href="http://www.mentomusic.com/clips/Lord%20Messam%20-%20Mango%20Walk;%20Give%20Me%20Back%20My%20Shilling;%20Chi%20Chi%20Bud;%20Hog%20in%20My%20Minty.ram"&gt;orderly and 	pointillisticly as a music box&lt;/a&gt;. Sometimes it &lt;a href="http://www.mentomusic.com/clips/Lord%20Tanamo%20-%20Nothing%20in%20the%20World.ram"&gt;chimed like a steel drum&lt;/a&gt;, other times it sounded like a mandolin. But banjo &lt;b&gt;always&lt;/b&gt; 	brightened up the song. &lt;/span&gt;&lt;/p&gt; 	&lt;p&gt;&lt;span style="font-family: Comic Sans MS;"&gt;One thing 	mento banjo doesn&amp;#39;t sound like is the banjo playing heard in bluegrass or 	other American musical traditions. Mento banjo had different 	approaches. &lt;/span&gt;&lt;/p&gt; 	&lt;p&gt;&lt;span style="font-family: Comic Sans MS;"&gt;Although you 	can count on one hand the number of reggae songs that feature banjo, some 	guitar techniques heard in reggae, such as the picked rhythmic playing 	employed by many Jamaican  guitarists sound as if they have their roots 	in the banjo playing of the island&amp;#39;s past. &lt;/span&gt;&lt;/p&gt; &lt;p&gt;&lt;span style="font-family: Comic Sans MS;"&gt;Acoustic 	guitar was typically a strummed rhythm instrument. Banjo or winds most 	typically handled any soloing.&lt;/span&gt;&lt;/p&gt; &lt;p&gt;&lt;span style="font-weight: 400;"&gt; &lt;span style="font-family: Comic Sans MS;"&gt;The &lt;a href="http://www.mentomusic.com/clips/bamboo.ram"&gt;bamboo sax&lt;/a&gt; had a distinctive, organic sound. The &lt;a href="http://www.mentomusic.com/sugar.htm"&gt;Sugar Belly&lt;/a&gt; page has information, pictures and even video of this instrument in action.&lt;/span&gt;&lt;/span&gt;&lt;/p&gt; &lt;p&gt;&lt;span style="font-weight: 400;"&gt; &lt;span style="font-family: Comic Sans MS;"&gt;&lt;a href="http://www.mentomusic.com/images/rumbabox2.jpg"&gt; &lt;img src="http://www.mentomusic.com/images/rumbabox2small.jpg" border="0" height="185" align="left" width="225" /&gt;&lt;/a&gt;&lt;/span&gt;&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;&lt;img src="http://www.mentomusic.com/images/shim.gif" border="0" height="190" align="left" width="4" /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;&lt;span style="font-family: Comic Sans MS;"&gt;The rumba box is a &lt;/span&gt; &lt;span style="font-family: Comic Sans MS;"&gt;large thumb piano &lt;/span&gt; &lt;span style="font-family: Comic Sans MS;"&gt;built from from a wooden box. A large circular sound hole is cut into the front, over which are a number of tuned metal tines. These are plucked to produce bass notes. &lt;/span&gt;&lt;/span&gt; &lt;span style="font-family: Comic Sans MS;"&gt;One of reggae&amp;#39;s hallmarks is a sparse, thunderous bass-line. The &lt;a href="http://www.mentomusic.com/clips/King%20Barou%20-%20Calypso%20Cha%20Cha%20Cha.ram"&gt;rumba box 	provided much the same&lt;/a&gt; for mento, albeit in a more rudimentary form.&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;&lt;span style="font-family: Comic Sans MS;"&gt; Depending on how the tines were plucked, the rumba box could also produce 	&lt;a href="http://www.mentomusic.com/clips/ten.ram"&gt;a rich and unusual percussive sound&lt;/a&gt;. &lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; T&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;he rumba box is typically sat on as &lt;/span&gt; &lt;span style="font-family: Comic Sans MS;"&gt;it &lt;/span&gt; &lt;span style="font-family: Comic Sans MS;"&gt;is&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; &lt;/span&gt; &lt;span style="font-family: Comic Sans MS;"&gt; played&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;.&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; 	Scaled-down &lt;a href="http://www.mentomusic.com/Souvenirs.htm#Rumba"&gt;souvenir rumba boxes&lt;/a&gt; were 	available to tourists in Jamaica during the 1950s and 1960s.&lt;/span&gt;&lt;/span&gt;&lt;/p&gt; &lt;p&gt;&lt;span style="font-family: Comic Sans MS;"&gt; &lt;img src="http://www.mentomusic.com/images/SBlinsteadBanner.jpg" border="0" align="right" /&gt;&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;T&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;he type of percussion heard on these recordings is another important feature of mento&amp;#39;s&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; unique sound. A full drum set would have been impractical, too expensive and a poor fit for such a &lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; rural, acoustic&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; and&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; informal&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; music. Instead, if drums were present on a rural recording, a single hand drum was typically used. But as is often the case in mento, less is more. The single drum could really open up the music, by &lt;a href="http://www.mentomusic.com/clips/Boysie%20Grant%20with%20Reynolds%20Calypso%20Band%20-%20Noisy%20Spring%20DRUM.ram"&gt;playing a solo&lt;/a&gt; or by &lt;a href="http://www.mentomusic.com/clips/Count%20Lasher%20-%20Mango%20Time.ram"&gt;its playing throughout a song&lt;/a&gt;. Sometimes, a second percussion instrument would be added, such as maracas (which were typical) or wood blocks. Hand drumming developed further in later Jamaican music, as African-influenced Rastafarian nyabhinghi drumming became an important ingredient in reggae.  &lt;/span&gt;&lt;/p&gt; &lt;p&gt;&lt;span style="font-weight: 400;"&gt;&lt;span style="font-family: Comic Sans MS;"&gt; Additional &lt;/span&gt; &lt;span style="font-family: Comic Sans MS;"&gt; instruments &lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; (such as &lt;a href="http://www.mentomusic.com/clips/Lord%20Tanamo%20-%20Crinoline%20Incident.ram"&gt;harmonica&lt;/a&gt;, 	fiddle, &lt;a href="http://www.mentomusic.com/clips/fife.ram"&gt;fife or penny whistle&lt;/a&gt;, and others) were also &lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; p&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;art of rural mento and &lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; found their way into &lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; many &lt;/span&gt; &lt;span style="font-family: Comic Sans MS;"&gt; recordings&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; from this era&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;. &lt;/span&gt; 	&lt;span style="font-family: Comic Sans MS;"&gt;It seems to be a rule that if a 	mento song features harmonica, it would be a fantastically upbeat recording. 	Likewise, if it featured fiddle, it sounded very country to my ears.&lt;/span&gt;&lt;/span&gt;&lt;/p&gt; &lt;p&gt;&lt;span style="font-family: Comic Sans MS;"&gt;In the late 1950s and early 1960s, the popularity of R&amp;amp;B in Jamaica would effectively filter out banjo, bamboo instruments, clarinet, rumba box, flute, fife and penny whistle from later Jamaican music.&lt;/span&gt;&lt;/p&gt; &lt;p style="color: rgb(0, 0, 0);"&gt; &lt;span style="font-family: Comic Sans MS;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;/p&gt;&lt;p style="color: rgb(0, 0, 0);"&gt;&lt;span style="font-family: Comic Sans MS;"&gt;The Urban Mento Style&lt;/span&gt;&lt;/p&gt; &lt;p&gt;&lt;span style="font-family: Comic Sans MS;"&gt; With lineage back to the &lt;a href="http://www.mentomusic.com/samManning.htm"&gt;Caribbean-jazz bands of the 1920s,&lt;/a&gt; there was a second style of mento. &lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; T&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;his was &lt;/span&gt; &lt;span style="font-family: Comic Sans MS;"&gt; the more urban, polished&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;, 	jazzy&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; &lt;a href="http://www.mentomusic.com/clips/Hubert%20Porter%20with%20George%20Moxey%27s%20Calypso%20Quintet%20-%20Monkey%20Talk.ram"&gt; &lt;i&gt;dance band&lt;/i&gt; style&lt;/a&gt;&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;. (This term came from &lt;a href="http://www.mentomusic.com/links.htm#DanNeely"&gt;Dan Neely&amp;#39;s&lt;/a&gt; liner 	notes in the compilation CD, &amp;quot;&lt;a href="http://www.mentomusic.com/buy.htm#boogu"&gt;Boogu Yagga Gal&lt;/a&gt;&amp;quot;) If you are looking at a mento label and the word &amp;quot;Orchestra&amp;quot; appears in the artist&amp;#39;s name, it&amp;#39;s most probably a dance band recording.  &lt;/span&gt; &lt;/p&gt; &lt;p&gt;&lt;a href="http://www.mentomusic.com/images/buffbay.jpg"&gt; 	&lt;img src="http://www.mentomusic.com/images/buffbaySmall.jpg" border="0" height="166" align="left" width="250" /&gt;&lt;/a&gt;&lt;span style="font-family: Comic Sans MS;"&gt;&lt;img src="http://www.mentomusic.com/images/shim.gif" border="0" height="163" align="left" width="22" /&gt;&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;In dance band mento, &lt;/span&gt; &lt;span style="font-family: Comic Sans MS;"&gt; home&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;-&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;made instruments&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt; were replaced by professional saxes and clarinets and basses. Often, banjo was left behind in 	favor of electric guitar. Along with clarinet, piano was often a featured instrument, as the music became overtly jazzy. Percussion was less rustic, and sometimes had a Latin feel. Almost all of the rural style&amp;#39;s rough edges were smoothed out. In the 1960s, a calypso inflection was often heard in urban reggae, replacing the jazz sound. Dance band mento seems to have largely died out by the 70s, while the original rural style continued. However, the musicians of this style of mento contributed greatly 	to the jazz that was such an important element of ska.&lt;/span&gt;&lt;/p&gt; &lt;p&gt; &lt;span style="font-family: Comic Sans MS;"&gt;The Lyrics&lt;/span&gt;&lt;/p&gt; &lt;p&gt;&lt;span style="font-family: Comic Sans MS;"&gt;&lt;img src="http://www.mentomusic.com/images/kalypsoLogo.jpg" border="0" height="87" align="right" width="147" /&gt;&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;&lt;img src="http://www.mentomusic.com/images/shim.gif" border="0" height="92" align="right" width="12" /&gt;&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;Though 	mento bands recorded a handful of quadrille and mento instrumentals, most 	mento songs had vocals. Mento&amp;#39;s lyrics are typically a lot of fun. As a whole, they portray the issues, large and small, of life in Jamaica. Some songs are about Jamaica itself. Some described Jamaican foods and recipes -- just one way that mento 	gave you a real slice of Jamaican life in the 1950s. (There were so many songs about various fruits, 	it could be considered a sub-genre.) The trials and tribulations of Jamaicans migrating to England 	was a popular topic. All manner of relationships between people are explored, as is the problematic and comic relationship between man and animal. Though there a few serious or sad songs, the great majority were happy and 	positive. &lt;/span&gt;&lt;/p&gt; 	&lt;p&gt;&lt;span style="font-family: Comic Sans MS;"&gt; 	&lt;a href="http://www.mentomusic.com/images/dance.jpg"&gt; 	&lt;img src="http://www.mentomusic.com/images/danceSmall.jpg" border="0" height="312" align="left" width="400" /&gt;&lt;/a&gt;&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;&lt;img src="http://www.mentomusic.com/images/shim.gif" border="0" height="308" align="left" width="18" /&gt;&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;Humor was integral to many mento songs. This sometimes includes ribald lyrics, filled with double entendres, which delighted Jamaicans and tourists alike. These songs were very popular, and can be seen as the beginning of what grew into the explicit &lt;i&gt;slackness&lt;/i&gt; lyrics in reggae. 	&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;Though, by today&amp;#39;s standards, mento naughtiness is very mild. Yet, the popularity of 	these records led to a scare where the Jamaican government considered 	&lt;a href="http://www.mentomusic.com/chins.htm#everartinterview"&gt;banning&lt;/a&gt; native &amp;#39;calypso&amp;#39; records! There were also topical songs describing and commenting on the latest styles and news stories. This may be the earliest song writing tradition in mento, along with adapting &lt;a href="http://www.mentomusic.com/edricConner.htm"&gt;Jamaican folk songs&lt;/a&gt;. Two mento 	lyricists stand out: &lt;i&gt;&lt;a href="http://www.mentomusic.com/lasher.htm"&gt;Count Lasher&lt;/a&gt;&lt;/i&gt; and &lt;i&gt; 	&lt;a href="http://www.mentomusic.com/chins.htm"&gt;Everard Williams&lt;/a&gt;,&lt;/i&gt; who each wrote a bushel of 	classic songs. There are very few of what could be described as a traditional love song in mento. Also refreshingly absent are self aggrandizing lyrics. Mento artists had enough to say without singing about their own preeminence. &lt;/span&gt;&lt;/p&gt; &lt;p&gt;&lt;span style="font-family: Comic Sans MS;"&gt;In addition to songs of Jamaican origin, many Trinidadian calypso songs made their way into the mento repertoire. For example, &amp;quot;Hold &amp;#39;em Joe&amp;quot; was first recorded by &lt;i&gt; 	Lord Executioner&lt;/i&gt; in the 1910s. But while a number of songs found their way to Jamaica&amp;#39;s shores, the calypso practice of extemporaneously improvising lyrics did not. Mento songs aimed specifically at Jamaica&amp;#39;s tourists, such as 	&amp;quot;&lt;a href="http://www.mentomusic.com/songs.htm#take"&gt;Take Her To Jamaica (Where The Rum Comes From)&lt;/a&gt;&amp;quot; 	where also part of the mix.&lt;/span&gt;&lt;/p&gt; &lt;p&gt;&lt;span style="font-family: Comic Sans MS;"&gt; Recording more than one vocal performance to the same musical backing is a 	quintessentially reggae practice. But it appears to have originated in 	mento, where this was not uncommon. Old folk and mento melodies would 	sometimes acquire altered, or an entirely new set of lyrics. (The melody 	from &amp;quot;Rucumbine&amp;quot; proved to be especially reusable.) Those who have acquired these recordings 	described on the &lt;a href="http://www.mentomusic.com/buy.htm"&gt;Can I Buy Mento Music?&lt;/a&gt; page can compare &amp;quot;Naughty Little Flea&amp;quot; from &lt;a href="http://www.mentomusic.com/flea.htm#capital"&gt;&lt;i&gt;Lord Flea’s&lt;/i&gt; &amp;quot;Swinging Calypsos&amp;quot;&lt;/a&gt; to &amp;quot;Nebuchadnezzar&amp;quot; from &lt;a href="http://www.mentomusic.com/buy.htm#laurel"&gt;&lt;i&gt;Laurel Aitken’s&lt;/i&gt; &amp;quot;The Pioneer of Jamaican Music&amp;quot;&lt;/a&gt;. The lyrical content and vocal style couldn’t be more different, but the music is essentially the same. Or compare &lt;/span&gt;the two Lord Composer clips, &lt;a href="http://www.mentomusic.com/clips/Lord%20Composer%20and%20the%20Silver%20Seas%20Hotel%20Orchestra%20-%20Galag%20Gully;%20Matilda.ram"&gt; Galag Gully; Matilda&lt;/a&gt; and &lt;a href="http://www.mentomusic.com/clips/Lord%20Composer%20and%20the%20Silver%20Seas%20Hotel%20Orchestra%20-%20Hill%20and%20Gully%20Ride;%20Mandeville%20Road.ram"&gt; Hill and Gully Ride; Mandeville Road&lt;/a&gt;. As in reggae, this practice does nothing to take away from the enjoyment of these recordings. &lt;/p&gt; &lt;p&gt; &lt;span style="font-family: Comic Sans MS;"&gt;&lt;a name="vocal"&gt;&lt;/a&gt;&lt;span style="color: rgb(0, 0, 0);"&gt;&lt;br /&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;&lt;p&gt;&lt;span style="font-family: Comic Sans MS;"&gt;&lt;span style="color: rgb(0, 0, 0);"&gt;The Vocals&lt;/span&gt;&lt;/span&gt;&lt;img src="http://www.mentomusic.com/images/dukeDetailSmall.jpg" border="0" height="222" align="right" width="339" /&gt;&lt;span style="font-family: Comic Sans MS;"&gt;&lt;img src="http://www.mentomusic.com/images/shim.gif" border="0" height="230" align="right" width="14" /&gt;&lt;/span&gt;&lt;/p&gt; &lt;p&gt;&lt;span style="font-family: Comic Sans MS;"&gt;Mento&amp;#39;s vocalists sang in a variety of styles and pitches. But if there is one style that sounds most mento of all, it&amp;#39;s the nasal, rural sound that some mento singers possessed. 	It&amp;#39;s a sound with strong echoes of African heritage. Listen to the intonation, &lt;/span&gt; 	&lt;span style="font-family: Comic Sans MS;"&gt;phrasing and melodic approach that 	&lt;i&gt;&lt;a href="http://www.mentomusic.com/harold.htm"&gt;Harold Richardson&lt;/a&gt;&lt;/i&gt; displays in the opening line of, &amp;quot;&lt;a href="http://www.mentomusic.com/clips/Harold%20Richardson%20and%20the%20Ticklers%20-%20Dont%20Fence%20Her%20in.ram"&gt;Don&amp;#39;t&lt;/a&gt;&lt;/span&gt;&lt;span style="font-family: Comic Sans MS;"&gt;&lt;a href="http://www.mentomusic.com/clips/Harold%20Richardson%20and%20the%20Ticklers%20-%20Dont%20Fence%20Her%20in.ram"&gt; Fence Her In&lt;/a&gt;&amp;quot;, or in, &amp;quot;&lt;a href="http://www.mentomusic.com/clips/Harold%20Richardson%20and%20the%20Ticklers%20-%20Glamour%20Girl.ram"&gt;Glamour Gal&lt;/a&gt;&amp;quot;. That is a great mento voice. Then, listen to &lt;i&gt;Alert Bedasse&lt;/i&gt;, the lead singer in &lt;/span&gt; 	 &lt;i&gt;&lt;a href="http://www.mentomusic.com/chins.htm"&gt;Chin&amp;#39;s Calypso Sextet&lt;/a&gt; &lt;/i&gt;on such songs as &amp;quot;&lt;a href="http://www.mentomusic.com/clips/Chins%20-%20Adam%20and%20Eve.ram"&gt;Adam and Eve&lt;/a&gt;&amp;quot; and &amp;quot;&lt;a href="http://www.mentomusic.com/clips/Chins%20-%20Not%20Me%20Again.ram"&gt;Not Me Again&lt;/a&gt;&amp;quot;. You will hear a &lt;b&gt;very&lt;/b&gt; mento voice. (You will also hear bamboo sax, a very mento instrument.) Some reggae singers posses something of these vocal qualities, but (with the exception of the 	heavily mento influences &lt;i&gt;&lt;a href="http://www.mentomusic.com/stanley.htm"&gt;Stanley Beckford&lt;/a&gt;&lt;/i&gt;) never really matched this sound.&lt;/p&gt; &lt;p style="color: rgb(0, 0, 0);"&gt;&lt;br /&gt;&lt;/p&gt;&lt;p style="color: rgb(0, 0, 0);"&gt;The 	Venues and Festivals&lt;/p&gt; 	&lt;p&gt;&lt;span style="font-family: Comic Sans MS;"&gt;Mento was 	everywhere in Jamaica, live and recorded, in the country and the city, 	uptown and downtown, at work, at dances, at funerals, at burlesque shows, at 	tourist resorts, as an added attraction at the movie theater, at bars, at the 	airport, at markets, at night clubs and at festivals and contests. Basically, any public 	gathering might include a mento band as entertainment. But it was at the 	festivals and competitions where one could have been treated to incredible multi-act 	bills.&lt;/span&gt;&lt;/p&gt; 	&lt;p&gt;&lt;span style="font-family: Comic Sans MS;"&gt; 	&lt;a name="competition"&gt;&lt;/a&gt;For example, 	in 1953, the Ward Theatre hosted the First Annual All-Island Calypso Band 	Contest. Thirteen bands competed, including first place winner &lt;i&gt; 	&lt;a href="http://www.mentomusic.com/songs.htm#power"&gt;Lord Power&lt;/a&gt;&lt;/i&gt;, second place winner &lt;i&gt; 	&lt;a href="http://www.mentomusic.com/messam.htm"&gt;Lord Messam&lt;/a&gt;&lt;/i&gt;. There was a tie for third between 	&lt;i&gt;Lord Food and His Firehouse Four&lt;/i&gt; and &lt;i&gt;Clyde Hoyte and his Sunbeams 	&lt;/i&gt;. &lt;i&gt;&lt;a href="http://www.mentomusic.com/sugar.htm"&gt;Sugar Belly&lt;/a&gt;&lt;/i&gt; won a consolation prize, as 	the controversial scoring was said to have penalized him. Power&amp;#39;s raucous 	set was lauded, but Messam&amp;#39;s set was said to be tame because he was too used 	to catering to the tastes of tourists. Hoyte&amp;#39;s set was said to be suited for 	a nightclub and Lord Food (I wonder if this is &lt;i&gt; 	&lt;a href="http://www.mentomusic.com/1scans.htm#foodoos"&gt;Lord Foodoos&lt;/a&gt;&lt;/i&gt;) performed &amp;quot;Mother Love&amp;quot;.&lt;/span&gt;&lt;/p&gt; 	&lt;p&gt;&lt;span style="font-family: Comic Sans MS;"&gt;An even more 	impressive collection of talent was assembled at the 1955 Calypso Pepper Pot show, 	again a the Ward Theatre, as seen below left. &lt;i&gt; 	&lt;a href="http://www.mentomusic.com/3scans.htm#silverSeas"&gt;Silver Seas&lt;/a&gt;&lt;/i&gt;, &lt;i&gt; 	&lt;a href="http://www.mentomusic.com/LordLebby.htm"&gt;Lord Lebby&lt;/a&gt;, 	&lt;a href="http://www.mentomusic.com/messam.htm"&gt;Lord Messam&lt;/a&gt;, &lt;a href="http://www.mentomusic.com/lasher.htm"&gt;Count Lasher&lt;/a&gt;&lt;/i&gt;, visiting Trinidadian calypsonians, 	renown Jamaican jazz band &lt;i&gt;Eric Deans and His Orchestra&lt;/i&gt; and many more performed, 	including &lt;i&gt;&lt;a href="http://www.mentomusic.com/tanamo.htm"&gt;Lord Tanamo&lt;/a&gt;&lt;/i&gt; and &lt;i&gt; 	&lt;a href="http://www.mentomusic.com/2scans.htm#morgan"&gt;Sir Horace&lt;/a&gt;&lt;/i&gt;, both of whom were not part of the 	advertisement. Judges included &lt;i&gt;&lt;a href="http://www.mentomusic.com/edricConner.htm#LouiseBennett"&gt;Louise Bennett&lt;/a&gt;&lt;/i&gt;, 	&lt;i&gt;&lt;a href="http://www.mentomusic.com/3scans.htm#mapletoft"&gt;Mapletoft Poulle&lt;/a&gt;&lt;/i&gt; and 	&lt;i&gt;&lt;a href="http://www.mentomusic.com/1scans.htm#mrsAlbums"&gt;Stanley Motta&lt;/a&gt;&lt;/i&gt;. The winner was &lt;i&gt;Silver Seas 	&lt;/i&gt;for their song &amp;quot;Chinese Cricket&amp;quot;. 	Second place was &lt;i&gt;Count Barry&lt;/i&gt; featuring lead vocalist &lt;i&gt;Lord Lebby&lt;/i&gt;. Third place was 	has by &lt;i&gt;Count Lasher &lt;/i&gt;for his performance of &amp;quot;History of Jamaica&amp;quot; and &amp;quot;Calypso 	Cha Cha.&amp;quot; &lt;i&gt;Lord Messam &lt;/i&gt;won best costume and performed &amp;quot;If You&amp;#39;re Not White, 	You&amp;#39;re Considered Black&amp;quot;.&lt;/span&gt;&lt;/p&gt; 	&lt;table border="0" width="700" style="border-collapse: collapse;"&gt; &lt;tr&gt; &lt;td valign="top" width="302"&gt; &lt;p align="center"&gt;Two advertisements from &lt;br /&gt; 	The Daily Gleaner appearing  &lt;br /&gt; 	June 1, 1955 and June 10, 1956&lt;/p&gt; 	&lt;p align="center"&gt;&lt;a href="http://www.mentomusic.com/images/g550601.jpg"&gt; 	&lt;img src="http://www.mentomusic.com/images/g550601small.jpg" border="0" height="362" width="300" /&gt;&lt;/a&gt;&lt;/p&gt;&lt;/td&gt; &lt;td valign="top" width="97"&gt; &lt;/td&gt; &lt;td rowspan="3" valign="top" width="270"&gt; 	&lt;p align="center"&gt;&lt;a href="http://www.mentomusic.com/images/g560610.jpg"&gt; 	&lt;img src="http://www.mentomusic.com/images/g560610small.jpg" border="0" height="499" width="300" /&gt;&lt;/a&gt;&lt;/p&gt;&lt;/td&gt;&lt;/tr&gt;&lt;/table&gt;
	
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      <pubDate>Sun, 27 Nov 2011 04:58:29 -0800</pubDate>
      <title>PHYLLIS DILLON - DON ' T TOUCH MY TOMATO &amp; ONE LIFE TO LIVE, ONE LOVE TO GIVE</title>
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&lt;img alt="Phyllis_dillon" height="300" src="http://getfile5.posterous.com/getfile/files.posterous.com/skarumble/9VeUvpgZ2VqWzqUmgtCeMpNj9Lr0zElNnH4tQOiFVvP3rBAOEzTiGYaVhcsX/Phyllis_Dillon.jpg.scaled600.jpg" width="200" /&gt;
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&lt;p&gt;&lt;iframe src="http://www.youtube.com/embed/mCDfBUye4u4?wmode=transparent" allowfullscreen frameborder="0" height="417" width="500"&gt;&lt;/iframe&gt;&lt;p /&gt;&lt;iframe src="http://www.youtube.com/embed/qfJQ9aos5eY?wmode=transparent" allowfullscreen frameborder="0" height="417" width="500"&gt;&lt;/iframe&gt;&lt;p /&gt; &lt;/p&gt;&lt;p&gt;Dillon was born in 1948 in Linstead, &lt;a href="http://en.wikipedia.org/wiki/Saint_Catherine_Parish,_Jamaica" class="mw-redirect" title="Saint Catherine Parish, Jamaica"&gt;St. Catherine&lt;/a&gt;, Jamaica.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Phyllis_Dillon#cite_note-amg-0"&gt;&lt;span&gt;[&lt;/span&gt;1&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Influenced by American singers &lt;a href="http://en.wikipedia.org/wiki/Connie_Francis" title="Connie Francis"&gt;Connie Francis&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/Patti_Page" title="Patti Page"&gt;Patti Page&lt;/a&gt; and &lt;a href="http://en.wikipedia.org/wiki/Dionne_Warwick" title="Dionne Warwick"&gt;Dionne Warwick&lt;/a&gt;, she began singing in talent contests. It was during a performance at the Glass Bucket Club in &lt;a href="http://en.wikipedia.org/wiki/Kingston,_Jamaica" title="Kingston, Jamaica"&gt;Kingston, Jamaica&lt;/a&gt; with the group The Vulcans, that Duke Reid&amp;#39;s &lt;a href="http://en.wikipedia.org/wiki/Session_musician" title="Session musician"&gt;session&lt;/a&gt; &lt;a href="http://en.wikipedia.org/wiki/Guitarist" title="Guitarist"&gt;guitarist&lt;/a&gt; &lt;a href="http://en.wikipedia.org/wiki/Lynn_Taitt" title="Lynn Taitt"&gt;Lynn Taitt&lt;/a&gt; discovered Dillon.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Phyllis_Dillon#cite_note-amg-0"&gt;&lt;span&gt;&lt;/span&gt;&lt;span&gt;&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt; &lt;p&gt;Dillon was 19 when she recorded her first &lt;a href="http://en.wikipedia.org/wiki/Gramophone_record" title="Gramophone record"&gt;record&lt;/a&gt; for Duke Reid. In 1967, Reid released Dillon&amp;#39;s &amp;quot;Don’t Stay Away&amp;quot;. While most of Dillon’s subsequent recordings would be &lt;a href="http://en.wikipedia.org/wiki/Cover_version" title="Cover version"&gt;covers&lt;/a&gt; of popular and obscure American songs including &lt;a href="http://en.wikipedia.org/wiki/Bettye_Swann" title="Bettye Swann"&gt;Bettye Swann&lt;/a&gt;&amp;#39;s &amp;quot;Make Me Yours&amp;quot;, &lt;a href="http://en.wikipedia.org/wiki/Perry_Como" title="Perry Como"&gt;Perry Como&lt;/a&gt;&amp;#39;s &amp;quot;Tulips and Heather,&amp;quot; &lt;a href="http://en.wikipedia.org/wiki/The_Grass_Roots" title="The Grass Roots"&gt;The Grass Roots&lt;/a&gt;&amp;#39; &amp;quot;&lt;a href="http://en.wikipedia.org/wiki/Midnight_Confessions" title="Midnight Confessions"&gt;Midnight Confessions&lt;/a&gt;,&amp;quot; and &lt;a href="http://en.wikipedia.org/wiki/Stephen_Stills" title="Stephen Stills"&gt;Stephen Stills&lt;/a&gt;&amp;#39;s &amp;quot;&lt;a href="http://en.wikipedia.org/wiki/Love_the_One_You%27re_With" title="Love the One You&amp;#39;re With"&gt;Love the One You&amp;#39;re With&lt;/a&gt;&amp;quot;; &amp;quot;Don&amp;#39;t Stay Away&amp;quot; was an original composition featuring &lt;a href="http://en.wikipedia.org/wiki/Tommy_McCook" title="Tommy McCook"&gt;Tommy McCook&lt;/a&gt; and the Supersonics as the backing &lt;a href="http://en.wikipedia.org/wiki/Band_%28music%29" class="mw-redirect" title="Band (music)"&gt;band&lt;/a&gt;.&lt;/p&gt; &lt;p&gt;Another original song, &amp;quot;It’s Rocking Time&amp;quot; would later be turned into the &lt;a href="http://en.wikipedia.org/wiki/Alton_Ellis" title="Alton Ellis"&gt;Alton Ellis&lt;/a&gt;&amp;#39; &lt;a href="http://en.wikipedia.org/wiki/Hit_record" title="Hit record"&gt;hit&lt;/a&gt; &amp;quot;Rocksteady&amp;quot;. While these early recordings demonstrate Dillon&amp;#39;s mastery of the &lt;a href="http://en.wikipedia.org/wiki/Rocksteady" title="Rocksteady"&gt;rocksteady&lt;/a&gt; sound, a much slower, soulful, response to the sultry weather that made ska&amp;#39;s upbeat rhythm and tempo undesirable even impracticable, it was no indication of her greatest performance, 1967’s &amp;quot;&lt;a href="http://en.wikipedia.org/wiki/Perfidia" title="Perfidia"&gt;Perfidia&lt;/a&gt;&amp;quot;. Popularized by the American &lt;a href="http://en.wikipedia.org/wiki/Surf_rock" class="mw-redirect" title="Surf rock"&gt;surf rock&lt;/a&gt; band &lt;a href="http://en.wikipedia.org/wiki/The_Ventures" title="The Ventures"&gt;The Ventures&lt;/a&gt;, &amp;quot;Perfidia&amp;quot; is a 1940 song written by Alberto Domínguez and made popular by the &lt;a href="http://en.wikipedia.org/wiki/Cuba" title="Cuba"&gt;Cuban&lt;/a&gt; &lt;a href="http://en.wikipedia.org/wiki/Bandleader" title="Bandleader"&gt;bandleader&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/Xavier_Cugat" title="Xavier Cugat"&gt;Xavier Cugat&lt;/a&gt;.&lt;/p&gt; &lt;p&gt;At the end of 1967, Dillon moved to &lt;a href="http://en.wikipedia.org/wiki/New_York_City" title="New York City"&gt;New York&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Phyllis_Dillon#cite_note-amg-0"&gt;&lt;span&gt;[&lt;/span&gt;1&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; The following five years, she spent living a double life. She had a family and career in the United States, flying frequently back to Kingston, Jamaica to continue recording for Reid.&lt;/p&gt; &lt;p&gt;After a number of &lt;a href="http://en.wikipedia.org/wiki/Single_%28music%29" title="Single (music)"&gt;singles&lt;/a&gt; and an &lt;a href="http://en.wikipedia.org/wiki/Album" title="Album"&gt;album&lt;/a&gt; entitled &lt;i&gt;Living in Love&lt;/i&gt;, Dillon ended her recording career in 1971. She was 23 years old.&lt;/p&gt; &lt;p&gt;In 1991, Michael Bonnet, the entertainment director for the Oceanea Hotel in Kingston approached Dillon inviting her to sing. Her refusal at first was later rescinded and sparked a revitalized interest in performing and recording. In the years following, Dillion would tour the &lt;a href="http://en.wikipedia.org/wiki/United_Kingdom" title="United Kingdom"&gt;UK&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/Germany" title="Germany"&gt;Germany&lt;/a&gt; and &lt;a href="http://en.wikipedia.org/wiki/Japan" title="Japan"&gt;Japan&lt;/a&gt;.&lt;/p&gt; &lt;p&gt;In 1998 Phyllis Dillon returned to the &lt;a href="http://en.wikipedia.org/wiki/Recording_studio" title="Recording studio"&gt;recording studio&lt;/a&gt; with Lynn Taitt, marked by reinterest in ska music in the United States. She remained active until illness took hold.&lt;/p&gt; &lt;p&gt;Phyllis Dillon died on 15 April 2004 in New York, after a two year battle with cancer, at the age of 56.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Phyllis_Dillon#cite_note-amg-0"&gt;&lt;span&gt;[&lt;/span&gt;1&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt;
	
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      <pubDate>Sat, 26 Nov 2011 03:06:00 -0800</pubDate>
      <title>Pluto Shervington - Your Honour &amp; Laughter In The Rain</title>
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&lt;img alt="Plutoshervington" height="350" src="http://getfile6.posterous.com/getfile/files.posterous.com/skarumble/IG97ouZSahi81L9fuu0wSJvNaHjWiWVXs37dcGY16VUKfN95o2hpSX2SNow6/PlutoShervington.jpg.scaled600.jpg" width="220" /&gt;
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&lt;/p&gt;
&lt;p&gt;&lt;iframe src="http://www.youtube.com/embed/pzEwZ0AZoLI?wmode=transparent" allowfullscreen frameborder="0" height="417" width="500"&gt;&lt;/iframe&gt;&lt;p /&gt; &lt;iframe src="http://www.youtube.com/embed/7p7cR9zt5gw?wmode=transparent" allowfullscreen frameborder="0" height="417" width="500"&gt;&lt;/iframe&gt;&lt;p /&gt; &lt;/p&gt;
&lt;p&gt;Shervington began his career in the early 1970s as a member of the showband Tomorrow's Children.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Pluto_Shervington#cite_note-Larkin-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Inspired by the success of &lt;a href="http://en.wikipedia.org/wiki/Ernie_Smith_%28singer%29" title="Ernie Smith (singer)"&gt;Ernie Smith&lt;/a&gt;'s "Duppy or a Gunman" and &lt;a href="http://en.wikipedia.org/wiki/Tinga_Stewart" title="Tinga Stewart"&gt;Tinga Stewart&lt;/a&gt;'s "Play de Music", both delivered in heavy &lt;a href="http://en.wikipedia.org/wiki/Jamaican_Patois" title="Jamaican Patois"&gt;patois&lt;/a&gt;, he recorded "Ram Goat Liver" in a similar style.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Pluto_Shervington#cite_note-Larkin-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; The follow-up, &lt;a href="http://en.wikipedia.org/wiki/Single_%28music%29" title="Single (music)"&gt;single&lt;/a&gt; "Dat" - about a &lt;a href="http://en.wikipedia.org/wiki/Rastafari_movement" title="Rastafari movement"&gt;Rastafarian&lt;/a&gt; with a secret liking for &lt;a href="http://en.wikipedia.org/wiki/Pork" title="Pork"&gt;pork&lt;/a&gt;, contrary to his &lt;a href="http://en.wikipedia.org/wiki/Faith" title="Faith"&gt;faith&lt;/a&gt; - achieved considerable &lt;a href="http://en.wikipedia.org/wiki/Record_chart" title="Record chart"&gt;chart&lt;/a&gt; success internationally in 1976, reaching the number 6 in the &lt;a href="http://en.wikipedia.org/wiki/UK_Singles_Chart" title="UK Singles Chart"&gt;UK Singles Chart&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Pluto_Shervington#cite_note-Larkin-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; &lt;a href="http://en.wikipedia.org/wiki/Trojan_Records" title="Trojan Records"&gt;Trojan Records&lt;/a&gt; capitalized on this success by reissuing his first single, which peaked just outside the top 40 in the UK.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Pluto_Shervington#cite_note-Larkin-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt;
&lt;p&gt;Shervington moved to &lt;a href="http://en.wikipedia.org/wiki/Miami,_Florida" class="mw-redirect" title="Miami, Florida"&gt;Miami&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/Florida" title="Florida"&gt;Florida&lt;/a&gt; in the early 1980s, and continued recording, enjoying another big hit in 1982 with "Your Honour", which reached the UK top 20.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Pluto_Shervington#cite_note-Larkin-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; This song dealt with a &lt;a href="http://en.wikipedia.org/wiki/Prison" title="Prison"&gt;prisoner&lt;/a&gt;'s &lt;a href="http://en.wikipedia.org/wiki/Courtroom" title="Courtroom"&gt;courtroom&lt;/a&gt; pleas of &lt;a href="http://en.wikipedia.org/wiki/Innocence" title="Innocence"&gt;innocence&lt;/a&gt;, in the face of insurmountable evidence to the contrary. The song's somewhat racy nature, and &lt;a href="http://en.wikipedia.org/wiki/Comedy" title="Comedy"&gt;comical&lt;/a&gt; styling is in the best traditions of &lt;a href="http://en.wikipedia.org/wiki/Calypso_music" title="Calypso music"&gt;calypso&lt;/a&gt;, and many elements of reggae. Shervington often performs live in Miami, and periodically returns to his homeland for performances. As of 2007&lt;sup class="plainlinks noprint asof-tag update" style="display: none;"&gt;&lt;a href="http://en.wikipedia.org/w/index.php?title=Pluto_Shervington&amp;amp;action=edit" class="external text" rel="nofollow"&gt;[update]&lt;/a&gt;&lt;/sup&gt; he plays &lt;a href="http://en.wikipedia.org/wiki/Solo_%28music%29" title="Solo (music)"&gt;solo&lt;/a&gt; at Bahama Breeze in &lt;a href="http://en.wikipedia.org/wiki/Kendall,_Florida" title="Kendall, Florida"&gt;Kendall, Florida&lt;/a&gt;; and every other Sunday at Black Point Marina in &lt;a href="http://en.wikipedia.org/wiki/Cutler_Bay,_Florida" title="Cutler Bay, Florida"&gt;Cutler Bay&lt;/a&gt; with a five piece band. Pluto appeared at the &lt;a href="http://en.wikipedia.org/wiki/St._Kitts_Music_Festival" title="St. Kitts Music Festival"&gt;St. Kitts Music Festival&lt;/a&gt; on Friday 22 June 2007, sharing the bill with &lt;a href="http://en.wikipedia.org/wiki/Steel_Pulse" title="Steel Pulse"&gt;Steel Pulse&lt;/a&gt; and &lt;a href="http://en.wikipedia.org/wiki/Sean_Paul" title="Sean Paul"&gt;Sean Paul&lt;/a&gt;, amongst others.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Pluto_Shervington#cite_note-2"&gt;&lt;span&gt;[&lt;/span&gt;3&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt;
&lt;p&gt;In addition to his work as a singer, Shervington gained a reputation as a talented &lt;a href="http://en.wikipedia.org/wiki/Bass_guitarist" class="mw-redirect" title="Bass guitarist"&gt;bass guitarist&lt;/a&gt;, and as a &lt;a href="http://en.wikipedia.org/wiki/Recording_engineer" class="mw-redirect" title="Recording engineer"&gt;recording engineer&lt;/a&gt;, notably engineering &lt;a href="http://en.wikipedia.org/wiki/Little_Roy" title="Little Roy"&gt;Little Roy&lt;/a&gt;'s 1974 album, &lt;em&gt;Tafari Earth Uprising&lt;/em&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Pluto_Shervington#cite_note-roots-3"&gt;&lt;span&gt;[&lt;/span&gt;4&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt;
	
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      <pubDate>Tue, 22 Nov 2011 08:57:02 -0800</pubDate>
      <title>KING STITT ~ FIRE CORNER &amp; VAN CLEEF</title>
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&lt;img alt="King_stitt" height="300" src="http://getfile7.posterous.com/getfile/files.posterous.com/skarumble/R2Y8DHof39tERFJrtkl1G37bXZ34fgh7uW3jIsy72lXBJ9HV8hZCsFLhEK8W/king_stitt.jpg.scaled600.jpg" width="406" /&gt;
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&lt;p&gt;&lt;iframe src="http://www.youtube.com/embed/wzr8iOR_-mM?wmode=transparent" allowfullscreen frameborder="0" height="417" width="500"&gt;&lt;/iframe&gt;&lt;p /&gt;&lt;iframe src="http://www.youtube.com/embed/evuYPUFNQ_E?wmode=transparent" allowfullscreen frameborder="0" height="417" width="500"&gt;&lt;/iframe&gt;&lt;br /&gt; &lt;b&gt;King Stitt&lt;/b&gt;, born Winston Spark  (17 September 1940 in &lt;a href="http://en.wikipedia.org/wiki/Kingston,_Jamaica" title="Kingston, Jamaica"&gt;Kingston&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/Jamaica" title="Jamaica"&gt;Jamaica&lt;/a&gt;)&lt;br /&gt; &lt;/p&gt;&lt;p&gt;King Stitt is the oldest living Jamaican deejay. Sparkes was given the nickname Stitt as a boy and decided to use it as his stage name, becoming King Stitt when he was crowned &amp;#39;king of the deejays&amp;#39;.&lt;sup class="Template-Fact" style=""&gt;[&lt;i&gt;&lt;a href="http://en.wikipedia.org/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"&gt;&lt;span title="This claim needs references to reliable sources from April 2008"&gt;citation needed&lt;/span&gt;&lt;/a&gt;&lt;/i&gt;]&lt;/sup&gt; He began deejaying on &lt;a href="http://en.wikipedia.org/wiki/Coxsone_Dodd" title="Coxsone Dodd"&gt;Coxsone Dodd&lt;/a&gt;&amp;#39;s &lt;i&gt;Sir Coxsone&amp;#39;s Downbeat&lt;/i&gt; &lt;a href="http://en.wikipedia.org/wiki/Sound_system_%28Jamaican%29" title="Sound system (Jamaican)"&gt;Sound System&lt;/a&gt; in 1956 or 1957, influenced by &lt;a href="http://en.wikipedia.org/wiki/United_States" title="United States"&gt;American&lt;/a&gt; DJs heard on radio broadcasts from &lt;a href="http://en.wikipedia.org/wiki/Miami" title="Miami"&gt;Miami&lt;/a&gt; and &lt;a href="http://en.wikipedia.org/wiki/New_Orleans" title="New Orleans"&gt;New Orleans&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/King_Stitt#cite_note-Barrow-0"&gt;&lt;span&gt;[&lt;/span&gt;1&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; &lt;a href="http://en.wikipedia.org/wiki/Count_Machuki" class="mw-redirect" title="Count Machuki"&gt;Count Machuki&lt;/a&gt;, the original Jamaican deejay, noticed him for his dancing and offered him to try his hand on the mic.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/King_Stitt#cite_note-Barrow-0"&gt;&lt;span&gt;[&lt;/span&gt;1&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Born with a facial malformation, King Stitt took advantage of it and called himself &lt;i&gt;The Ugly One&lt;/i&gt;, in reference to the &lt;a href="http://en.wikipedia.org/wiki/Sergio_Leone" title="Sergio Leone"&gt;Sergio Leone&lt;/a&gt; &lt;a href="http://en.wikipedia.org/wiki/Western_%28genre%29" title="Western (genre)"&gt;western&lt;/a&gt; movie &lt;i&gt;&lt;a href="http://en.wikipedia.org/wiki/The_Good,_the_Bad,_and_the_Ugly" class="mw-redirect" title="The Good, the Bad, and the Ugly"&gt;The Good, the Bad, and the Ugly&lt;/a&gt;&lt;/i&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/King_Stitt#cite_note-Barrow-0"&gt;&lt;span&gt;[&lt;/span&gt;1&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt; &lt;p&gt;His first record releases came from producer Clancy Eccles with classic deejay tracks like &amp;quot;Fire Corner&amp;quot;, &amp;quot;Lee Van Cleef&amp;quot;, &amp;quot;Herbman Shuffle&amp;quot;, &amp;quot;Vigorton 2&amp;quot;, and &amp;quot;Dance Beat&amp;quot;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/King_Stitt#cite_note-Barrow-0"&gt;&lt;span&gt;[&lt;/span&gt;1&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/King_Stitt#cite_note-Larkin-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Upon the success of these releases, Sir Coxsone began to release his own recordings of Stitt on now scarce 7&amp;quot; singles. A full album was released by Coxsone entitled &lt;i&gt;Dancehall &amp;#39;63&lt;/i&gt; in the late 90&amp;#39;s of Stitt deejaying over old-school rhythms like Owen Grey&amp;#39;s &amp;quot;On the Beach&amp;quot;. A full CD of hard to find 7&amp;quot; singles called &lt;i&gt;Reggae Fire Beat&lt;/i&gt; was released on Jamaican Gold CD label.&lt;/p&gt; &lt;p&gt;King Stitt can be seen selecting &amp;amp; deejaying on the Soul Jazz DVD documentary of STUDIO ONE called &lt;i&gt;The Studio One Story&lt;/i&gt;. Also, King Stitt was seen as recently as 2002&amp;#39;s Legends of Ska concert series in &lt;a href="http://en.wikipedia.org/wiki/Toronto" title="Toronto"&gt;Toronto&lt;/a&gt;, where he selected and deejayed before, after, and between sets. A documentary of the Legends of Ska concert series was made but not yet released.&lt;/p&gt;
	
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      <pubDate>Mon, 21 Nov 2011 16:07:18 -0800</pubDate>
      <title>A History of Reggae</title>
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&lt;p&gt;&lt;/p&gt;&lt;div style="text-align: center;"&gt;By Anthony &amp;quot;The PostmOn&amp;quot; Postman&lt;/div&gt;&lt;p /&gt;Reggae is Jamaica&amp;#39;s largest cultural export, and since its humble beginnings from the ghettos of Kingston, reggae has grown to become a worldwide cultural and musical expression. There are reggae bands from every habitable continent of the world, and as with music from the Jamaican source, reggae is a vehicle to teach, uplift, and inspire. The music that came from the ghettos has been the most powerful voice of the downpressed, music that carries the cry from Trenchtown (the Kingston neighborhood so named for the open sewer trench) to the heavens—if you want to hear the heartbeat of The People, listen to Reggae music! Since the early days in Jamaica, and through to the present day worldwide, Reggae is filled with Social commentary, reflections on life (often by the poor and those marginalized by society), musings on systemic corruption- living in Babylon, a call to love, raising African consciousness, repatriation, teaching self-reliance, and of course—rejoicing the blessings of life, and giving praises and exaltations to Jah Rastafari... &lt;p&gt;Jamaica&amp;#39;s booming tourist industry is fueled largely by the world&amp;#39;s love and fascination for Reggae Music and Jamaican culture. Tourists come to enjoy Jamaica&amp;#39;s many festivals, including Sunsplash (which has also toured multiple times outside of Jamaica), Sumfest, Rebel Salute, Sting, White River Reggae Bash, among others. Not only has reggae become Jamaica&amp;#39;s largest cultural export, but the large Jamaican and Caribbean communities in the United Kingdom (London and Birmingham particularly) have made the UK the second-capitol for reggae. Germany, France, Italy, many parts of the US—especially the coasts, plus Hawaii...Brazil, Argentina...all of these nations are skankin&amp;#39; and swayin&amp;#39; to the beats of their own native reggae bands. Most notably throughout the past 5-7 years, the U.S. Virgin Islands have been producing a new wave of strictly conscious roots reggae music. &lt;/p&gt;&lt;p&gt;&lt;span class="sub"&gt;Bob Marley, The King Of Reggae&lt;/span&gt; &lt;img src="http://www.reggaefestivalguide.com/images/bob_marley.jpg" height="212" align="right" alt="Bob Marley" width="235" /&gt; &lt;/p&gt;&lt;p&gt;If there is any singular icon representing reggae music, it is Bob Marley. Many reggae fans are indoctrinated into the world of reggae by way of the music from &amp;quot;The King Of Reggae,&amp;quot; Bob Marley. Marley&amp;#39;s music and image can be found in all of the corners of the world, from college dorm rooms in the Midwest, to secluded beach cafes in Thailand, on the flags of freedom fighters in Africa, to stickers on the sides of festival drums in Brazil. It is said that his image is the most recognized of any celebrity or star throughout the entire world. His music strikes a chord with people of all races, colors, and creeds: &amp;quot;Get Up, Stand Up,&amp;quot; is a call to freedom fighters everywhere, just as &amp;quot;One Love&amp;quot; is a simple and unabashed call for unity amongst all people. &amp;quot;Waiting In Vain&amp;quot; is one of the best lovers&amp;#39; tracks in the whole cannon of love songs, reggae or otherwise. Time Magazine notes the EXODUS album as The Best Music Album of the 20th century. &lt;/p&gt;&lt;p&gt;Bob Marley started his singing career as one of the original Wailing Wailers, along side Peter Tosh and Bunny Wailer. They came up, as did so many of the Jamaican greats (such as Burning Spear, Joseph Hill of Culture, The Abyssinians, The Skatalites, Ken Boothe, John Holt, Alton Ellis, to name a few) under the wing of Coxsone Dodd and Studio One. The Wailing Wailers&amp;#39; early tracks were ska numbers, soon followed by the slightly slower rock steady, and finally The Wailers helped to originate what we now know as reggae—slower tempos, heavy bass, the rich syrupy musical feel, and most notably a spiritual emphasis centered in Rastafarian consciousness. Bob Marley still remains today arguably the biggest proponent for introducing Rastafari consciousness to the masses worldwide. Bob Marley actively incorporated elements of blues, rock, funk, and R&amp;amp;B into his music, in hopes of crossing over and reaching American, European, African, and ultimately worldwide audiences. Although Jimmy Cliff scored big hits in the United Kingdom before Marley, Bob was the first &amp;quot;Third-World&amp;quot; Superstar to reach the world stage. &lt;/p&gt;&lt;p&gt;Bob Marley is still considered the King Of Reggae, even more than twenty years after his passing. The music and message of Bob Marley continue to influence new generations of rock, blues, hip hop, and of course, reggae and dancehall musicians, as well as people from all walks of life. &lt;/p&gt;&lt;p&gt;&lt;span class="sub"&gt;Types of Reggae&lt;/span&gt; &lt;/p&gt;&lt;p&gt;&lt;span class="sub2"&gt;Ska&lt;/span&gt; The original sound of reggae (pre-reggae), played in Jamaica in the early 1960&amp;#39;s, originated largely by the island&amp;#39;s resort and studio players who came together to form The Skatalites. The early hits from The Wailing Wailers, such as &amp;quot;One Cup Of Coffee,&amp;quot; &amp;quot;Simmer Down,&amp;quot; and the original &amp;quot;One Love&amp;quot; are all great examples of ska featuring vocals. (A large part of original Jamaican ska was instrumental—check anything from The Skatalites! The Skatalites were the instrumental backing band for some of the early Wailers&amp;#39; tracks.) Ska relies heavily on the saxophone, trumpet, and trombone to carry the melodies, and has a prominent steady upbeat carrying the music forward. &lt;/p&gt;&lt;p&gt;&lt;span class="sub2"&gt;Rocksteady&lt;/span&gt; Rocksteady is similar to ska, yet with a slight slowing of the tempos: not quite as fast beat per-beat as ska. While the horn sections could still be heard in some of the rocksteady era, more importance is placed on the piano and guitar in both the rhythm section, as well as the melodic role. Rocksteady begins to slow the baselines down, and thickens the feel—a direct precursor to reggae. Alton Ellis (The King of rocksteady: &amp;quot;Girl I&amp;#39;ve Got A Date&amp;quot; a seminal rocksteady track, that thanks to U-Roy&amp;#39;s &amp;quot;Wake The Town,&amp;quot; would also form the basis for the dawn of the Deejay era), Bob Andy, Ken Boothe, Toots &amp;amp; The Maytals, The original Wailers are all performers of rocksteady &lt;/p&gt;&lt;p&gt;&lt;span class="sub2"&gt;Reggae&lt;/span&gt; Reggae, like ska and rocksteady, reggae emphasizes an off-beat, syncopated guitar, piano, or sometimes horn chop (known as the &amp;#39;skank&amp;#39; rhythm), only in reggae the tempo is slower, the skank is heavier than in ska and rocksteady, the bass even heavier and thicker. Reggae also has a greater predominance of lyrics dealing with spiritual calling, faith, poverty, systematic down-pression, Babylon tribulations, ganja, and—back to that spiritual calling: Rastafari! Much of Reggae is nothing short of a devotional form of music celebrating the teachings, life and works of His Imperial Majesty Haile Selassie I, praises to The King Of Kings, chants and exaltations to The Conquering Lion of The Tribe Of Judah, &amp;quot;sighted&amp;quot; or &amp;quot;seen&amp;quot; by Rasta to be &amp;quot;Christ in his Kingly Character.&amp;quot; (Rasta will differentiate &amp;#39;belief&amp;#39; in Selassie vs. &amp;#39;knowledge&amp;#39; of The King, saying that in belief there can still be doubt, while in knowledge there is only certainty.) Reggae in and of itself is still nowadays a general and broad description of style, wide-ranging, deep and wide in its breadth, and includes several sub-genres: &lt;/p&gt;&lt;p&gt;&lt;span class="sub2"&gt;Roots Reggae/ Foundation/ Roots &amp;amp; Culture&lt;/span&gt; Foundation is becoming the word nowadays for Roots Reggae, as it really encapsulates the sound and feel of the original form of Reggae. There is The Sound and The Message in Foundation. Roots Reggae/Foundation is exemplified by singers and groups such as: Burning Spear, Culture, The Abyssinians, The Mighty Diamonds, Gregory Isaacs, Dennis Brown, The Gladiators, The Heptones, and of course Bob Marley &amp;amp; The Wailers, to name a few. While many of the performers listed gave us timeless love songs, the Roots emphasis tends more towards spiritual messages: Rastafari praises, exaltations of Hailie Selassie I; self empowerment and reliance for black people; uplifting and uprising from slums and poor social conditions; breaking down systemic slavery, confusion, and corruption; peace among all peoples, non-violence, African consciousness, clean living, are all recurring themes within Foundation Roots Reggae. Many of the Foundation artists were vocal trios, a staple in the reggae form, exemplifying through harmony a way of life. &lt;/p&gt;&lt;p&gt;&lt;span class="sub2"&gt;Lovers&amp;#39; Rock&lt;/span&gt; The love songs have been there since the beginning, since ska and rocksteady, through Foundation to the present time. Roots/Foundation artists considered to be kings of the lovers&amp;#39; genre are none other than Dennis Brown and Gregory Isaacs, as well as Freddie McGregor and Beres Hammond. Lovers&amp;#39; Rock woos the listener with sweet singing and beautiful melodies. Maxi Priest, Sanchez, and Bitty McClean are some of the better-known modern Lovers&amp;#39; singers. &lt;/p&gt;&lt;p&gt;&lt;span class="sub2"&gt;Dub&lt;/span&gt; Dub is one of the wild sides of reggae—originally the B-sides, to be sure. Dub music started as instrumental versions (&amp;quot;version&amp;quot;) on the B-sides of popular 45rpm 7&amp;quot; singles. Early on, the sides were versions with the vocals dropped out, and not much if any other alteration. Dub quickly gave way to more experimentation as early pioneers King Tubby, Lee &amp;quot;Scratch&amp;quot; Perry began to play more with the levels in the mixes, dropping in and out the parts, and most importantly incorporating increasing amounts of reverb, delay, panning, and phasing—the engineer and mixer become the musical artist with clever deconstruction and re-construction of the original tracks—Dub would give rise to the Deejay styles (which would move into Dancehall/ Ragga), hip-hop, electro-dance styles, re-mix, and much more in the way of experimental and electronic forms of music. King Tubby, Scientist, Lee &amp;quot;Scratch&amp;quot; Perry, Linval Thompson, Gussie Clark are some of the classic dubbers, while Mad Professor, Bill Laswell, Adrian Sherwood, Dub Syndicate, and Twilight Circus Dub Sound System (among others) are some of the artists bringing dub into the 21st Century. &lt;/p&gt;&lt;p&gt;&lt;span class="sub2"&gt;Deejays&lt;/span&gt; The Deejays are the original rappers! These intrepid singers would get up and &amp;quot;toast&amp;quot; or chat and chant over dub-plates or instrumental versions of popular reggae riddims, usually played at sound-system dances. Not to be confused with radio host DJ&amp;#39;s (selectors), the Deejays, in the likes of U-Roy, Big Youth, Dennis Alcapone, and Lone Ranger, were pioneering a new vocal art form and style (styles!) as they performed. Most of their work was done over the B-side &amp;quot;versions&amp;quot; of 45&amp;#39;s being spun in the popular street dances and dancehalls in Jamaica starting in the early 70&amp;#39;s, and continuing through the 80&amp;#39;s to the present day. The original Deejays, from the U-Roy&amp;#39;s 1970 hit, &amp;quot;Wake The Town&amp;quot; precede hip-hop by about 10 years—it was the Deejays that began the art of mixing vocals over turntable tracks. While much of the Deejay work may still convey some of the messages from the Roots/Foundation sensibility, the Deejays tend to mix in more fun, playful lyrical elements, vocalizations, &amp;quot;bims, bings, brapps, and ripbits!&amp;quot; The songs indeed bring some of the tongue-and-cheek humorous traditions from calypso into the mix, reflections on the times through clever and wry lyrics; and of course—the self-aggrandizing reminder of how great the performer is on the soundsystem mic. The Deejays have a gift for delivering social commentary with a lick of fun too, a smile with your food for thought. &lt;/p&gt;&lt;p&gt;&lt;span class="sub2"&gt;Dancehall&lt;/span&gt; Some of the most distinguishing features of Dancehall versus Deejays include faster tempos, and a stripped-down approach to the riddims, including the introduction and growing predominance (from the early 80&amp;#39;s) of digital sounds and instrumentation. The Dancehall vocal style is still a Deejay or Singjay style, with a blending of chanting, chatting, or toasting infused with singing. Yellowman is an early king of Dancehall. Also bringing in the new era are performers such as Sugar Minott, Wayne Smith (with &amp;quot;Sleng Teng&amp;quot; heralding the digital age), Tenor Saw, Eek-A-Mouse, Supercat, Ninjaman, and Charlie Chaplin to name a few. &lt;/p&gt;&lt;p&gt;Dancehall is an interesting term for the genre, since so much of the development of classic reggae and deejay style took place IN the dancehalls and street dances. The dancehall is where The People heard, moved, grooved, listened to, and loved whatever fresh was coming out of the Kingston studios, from the ska days on forward. Perhaps this is where the term Dancehall surfaces as a genre, in that it is often the common experiences of life that are reflected in the subject matter of Dancehall. By the early &amp;#39;80&amp;#39;s, the Dancehall style is getting harder and more raw, reflecting the raw and harder economic and social times in Jamaica. Much of the subject matter strays away from the spiritual messages of Roots Reggae, focusing instead on gun and gangster themes, sexually explicit lyrics, homophobia, and hard-knocks living. Towards the early and mid &amp;#39;90&amp;#39;s, the rise of &amp;quot;conscious&amp;quot; lyrics, Rastafari consciousness, spiritual themes, and uplifting messages make a noticeable return through the works of artists such as Garnett Silk, Anthony B, Capleton, Sizzla, and Buju Banton, to name a few, who have in turn opened the doors for a new generation of &amp;quot;conscious&amp;quot; performers. &lt;/p&gt;&lt;p&gt;Today, many of the styles and sub-genres of Reggae converge to blur the lines, defying neat categorization and labeling. At its heart and root, Reggae music is still &amp;quot;Rebel Music,&amp;quot; not always easy to pigeon-hole. Artists and producers forge ahead, incorporating elements from Salsa music, flamenco, R&amp;amp;B, hip-hop, rock, electronic dance, and beyond, into the still-growing form that we call reggae. Dancehall deejays may voice over the deepest dub beats, or singers may make new melodies over classic riddims. Most notable on the world stage today are artists who uplift our consciousness and inspire with cultural and spiritual messages, and those who can deliver &amp;quot;reality lyrics&amp;quot; in a clean, edifying way. Luciano, Mikey General, Warrior King, Junior Kelly, The Marley Brothers (Damian &amp;quot;Jr. Gong,&amp;quot; Stephen, Ziggy, Julian, and Ky-Mani), Richie Spice, Everton Blender, Midnite, Bambu Station, Sister Carol, Queen Omega are just some of the artists who come to mind, but—the list goes on! Originators such as Toots &amp;amp; The Maytals, John Holt, Ken Booth, Bunny Wailer, The Abyssinians, The Wailers Band, Steel Pulse, and The Mighty Diamonds still perform (and some still record) to this day. Reggae music is reaching maturity as an art form, even as it still evolves. Reggae&amp;#39;s appeal is worldwide, and reggae is here to stay. &lt;/p&gt;&lt;p&gt;&lt;span class="sub"&gt;Rasta Culture&lt;/span&gt; &lt;/p&gt;&lt;p&gt;The Rasta ideal is centered in simplicity and a natural way of living; Self-reliance in favor of materialism; Peace, not war—respect for all living beings; Opposition to the Babylon system: slavery, corruption, downpression, wickedness, all institutionalized within political, governmental, religious, colonialist systems. The original Rastafarians were rooted in Pan-African consciousness as espoused by Marcus Garvey, Leonard P. Howell, and others. The dignity of black peoples, repatriation to Africa, and the divinity of Haile Selassie I, are all essential cornerstones upon which the Rastafari consciousness is founded. &lt;/p&gt;&lt;p&gt;Many of the ideals, precepts, and codes of living within the Rastafari culture are derived from the Bible, most specifically The Nazarite Vows. The Nazarite Vows include dietary codes, as well as the doctrine of not letting the razor (or scissors) touch one&amp;#39;s head and hair. Also contained within the vows is the instruction to avoid corpses and graves. The Nazarite has separated him/herself wholly unto Jah, consecrated to Jah through the &amp;quot;clearly uttered&amp;quot; vows, to &amp;quot;be Holy&amp;quot; in the eyes of Jah. (Paraphrased from Numbers 6:2-8.) &lt;/p&gt;&lt;p&gt;&lt;span class="sub"&gt;Ital Diet and Living&lt;/span&gt; &lt;/p&gt;&lt;p&gt;&amp;quot;And God said, Behold, I have given you every herb bearing seed, which is upon the face of all the earth, and every tree, in the which is the fruit of a tree yielding seed; to you it shall be for meat.&amp;quot; (Genesis 1:29). &lt;/p&gt;&lt;p&gt;&amp;quot;Ital&amp;quot; refers to diet, but also may infer a wider ideal of purity, all again stemming from that which is put into the body, or Jah&amp;#39;s temple, the &amp;quot;Structure.&amp;quot; An Ital diet includes natural vegetarian or vegan foods (avoidance of all animal and dairy products—although some Rastas do eat fish), prepared without salt, additives and preservatives, and no processed flour or sugar. Similar to a kosher diet, pork and shellfish are foods that are prohibited in the Ital diet. Strict avoidance of alcohol, fermented drinks and foods, as well as grapes and other foods from vines are also practiced. Also shunned is processed tobacco, but welcomed is Sensimilla, for both eating and smoking. Cannabis being an unadulterated herb (some bearing seed), is welcomed as a God-given gift, a sacrament unto The Most High Jah. Pure, organic foods, unrefined foods are central to the Ital diet, and are said to be closest to the essential Life Force, especially as no killing or blood is involved in Ital &amp;quot;livity&amp;quot; (Rasta living). As ordained in Genesis 1:29, the Ital diet is a natural path reaping only that which grows naturally upon the Earth. &lt;/p&gt;&lt;p&gt;&lt;span class="sub"&gt;Dreads&lt;/span&gt; &lt;/p&gt;&lt;p&gt;&lt;span style="font-style: oblique;"&gt;&amp;quot;Not every dread is a Rasta and not every Rasta is a dread...&amp;quot;&lt;/span&gt; (common Rasta saying/ wisdom) &lt;/p&gt;&lt;p&gt;Adherents to the Rastafarian faith let their hairs grow together, to &amp;quot;dread,&amp;quot; or &amp;quot;locks up.&amp;quot; Dreadlocks symbolize a Rasta&amp;#39;s covenant with The Creator, Jah, and natural ways of life and living. Although there are many cultures through time that have practiced dreading the hair, Rastas sight the Bible for the inspiration to let the hair form dreads. Many Rastas take The Nazarene vows (Numbers 6:5) which include the doctrine: &amp;quot;there shall no razor come upon his head. Until the days be fulfilled in that which he separated himself unto Jah, he shall be holy, and let the lock of the hair of his head grow long.&amp;quot; Also from Leviticus 21:5: &amp;quot;They shall not make baldness upon their head, neither shall they shave off the corner of their beard, nor make any cuttings in the flesh.&amp;quot; &lt;/p&gt;&lt;p&gt;Rastas may make the distinction between a &amp;quot;dread&amp;quot; (a person merely sporting dreadlocks as a style) and a &amp;quot;Rasta&amp;quot; (one who follows a clean, Ital way of life, and praises Hailie Selassie). &lt;/p&gt;&lt;blockquote&gt; &lt;p&gt;&lt;span style="font-style: oblique;"&gt;&amp;quot;You Don&amp;#39;t haffi dread to be Rasta,&amp;quot;&lt;/span&gt; (Morgan Heritage). &lt;/p&gt;&lt;p&gt;&lt;span style="font-style: oblique;"&gt;&amp;quot;Although I&amp;#39;ve lost my dread, I haven&amp;#39;t lost my sight. And until my day of rest, I will follow your light&amp;quot;&lt;/span&gt; (Pato Banton). &lt;/p&gt;&lt;p&gt;&lt;span style="font-style: oblique;"&gt;&amp;quot;It&amp;#39;s not the dread upon your head, but the love inna your heart, that mek ya Rastaman&amp;quot;&lt;/span&gt; (Sugar Minott).&lt;/p&gt;&lt;/blockquote&gt; &lt;p&gt;&lt;span class="sub"&gt;Patois&lt;/span&gt; &lt;/p&gt;&lt;p&gt;The language of Rastas is heard throughout reggae music, the Caribbean, and the world at large. Jamaican patois is a creole form, amalgamating English and African dialects, as well as Hindi, Spanish, and Portuguese. Many Jamaicans speak some degree of patois, depending on the formality of a given situation—seen in life as in music, patois is used to varying degrees within reggae. &lt;/p&gt;&lt;p&gt;The Rastafarian Patois tends to borrow and change words from English, uplifting some of the sounds found therein. 	&amp;quot;I&amp;quot; replaces me, and &amp;quot;I and I&amp;quot; for you. Rastafarian scholar E. E. Cashmore writes: &amp;quot;I and I&amp;quot; is an expression to totalize the concept of oneness, the oneness of two persons. So God is within all of us and we&amp;#39;re one people in fact. I and I means that God is in all men. The bond of Ras Tafari is the bond of God, of man. But man itself needs a head and the head of man is His Imperial Majesty Haile Selassie I (always pronounced as the letter &amp;quot;I,&amp;quot; never as the number one) of Ethiopia.&amp;quot; &lt;/p&gt;&lt;p&gt;Rastas will &amp;quot;livicate&amp;quot; instead of &amp;quot;dedicate,&amp;quot; taking &amp;quot;dead&amp;quot; out of the equation. &lt;/p&gt;&lt;p&gt;&amp;quot;Oppression&amp;quot; becomes &amp;quot;downpression,&amp;quot; as the &amp;quot;Up&amp;quot; sound is replaced by &amp;quot;down&amp;quot; in regards to physical, spiritual and/ or mental burden. &lt;/p&gt;&lt;p&gt;&amp;quot;Understanding&amp;quot; becomes &amp;quot;overstanding&amp;quot; as another term for elevating our conscious perspective. &amp;quot;Conscious&amp;quot; may become &amp;quot;I-scious&amp;quot; to avoid any &amp;quot;con&amp;quot; in the word— &amp;quot;I-scious&amp;quot; also becomes &amp;quot;Ishence&amp;quot; in reference to the Holy Herb ganja, which provides meditation, sacrament, and lifts the mind... &lt;/p&gt;&lt;p&gt;&amp;quot;Enjoy&amp;quot; becomes &amp;quot;full-joy,&amp;quot; as &amp;quot;En&amp;quot; takes on the sound of &amp;quot;end, or end-joy.&amp;quot; &amp;quot;Appreci-love&amp;quot; replaces &amp;quot;appreciate,&amp;quot; negating the sound of &amp;quot;hate&amp;quot; in &amp;quot;appreciate.&amp;quot; &lt;/p&gt;&lt;p&gt;For more on Rastafarian vocabulary, check: &lt;br /&gt; • &lt;a href="http://en.wikipedia.org/wiki/Rastafarian_vocabulary" class="type1" target="_blank"&gt;http://en.wikipedia.org/wiki/Rastafarian_vocabulary&lt;/a&gt;&lt;br /&gt; • &lt;a href="http://www.speakjamaican.com/glossary.html" class="type1" target="_blank"&gt;http://www.speakjamaican.com/glossary.html&lt;/a&gt;&lt;br /&gt; • &lt;a href="http://niceup.com/patois.txt" class="type1" target="_blank"&gt;http://niceup.com/patois.txt&lt;/a&gt;&lt;/p&gt;
	
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      <pubDate>Mon, 21 Nov 2011 06:31:14 -0800</pubDate>
      <title>Hopeton Lewis - I dont want no trouble &amp; Boom-Shacka-Lacka</title>
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	&lt;div class='p_embed p_image_embed'&gt;
&lt;img alt="Hopeton1" height="246" src="http://getfile2.posterous.com/getfile/files.posterous.com/skarumble/AJQut14k744wkb5N3Jsr0dfC6Ck60nBgbpBqFPl4UjQTFGFwwPgwnSPAQbDS/hopeton1.jpg.scaled600.jpg" width="195" /&gt;
&lt;/div&gt;
&lt;p&gt;&lt;/p&gt;&lt;p&gt;&lt;b&gt;&lt;iframe src="http://www.youtube.com/embed/uaKWMBFGwTo?wmode=transparent" allowfullscreen frameborder="0" height="417" width="500"&gt;&lt;/iframe&gt;&lt;br /&gt;&lt;/b&gt;&lt;/p&gt;&lt;p&gt;&lt;b&gt;&lt;iframe src="http://www.youtube.com/embed/BPXgZSWspTw?wmode=transparent" allowfullscreen frameborder="0" height="417" width="500"&gt;&lt;/iframe&gt;&lt;br /&gt; &lt;/b&gt;&lt;/p&gt;&lt;p&gt;&lt;b&gt;Hopeton Lewis&lt;/b&gt; (born 3 October 1947, &lt;a href="http://en.wikipedia.org/wiki/Kingston,_Jamaica" title="Kingston, Jamaica"&gt;Kingston&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/Jamaica" title="Jamaica"&gt;Jamaica&lt;/a&gt;&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Hopeton_Lewis#cite_note-0"&gt;&lt;span&gt;[&lt;/span&gt;1&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;) is a Jamaican &lt;a href="http://en.wikipedia.org/wiki/Singer" class="mw-redirect" title="Singer"&gt;singer&lt;/a&gt;. Lewis&amp;#39; rich &lt;a href="http://en.wikipedia.org/wiki/Baritone" title="Baritone"&gt;baritone&lt;/a&gt; has had a profound impact on Jamaican music, and his mixture of gospel and &lt;a href="http://en.wikipedia.org/wiki/Soul_music" title="Soul music"&gt;soul&lt;/a&gt; elements helped set the template for early &lt;a href="http://en.wikipedia.org/wiki/Rocksteady" title="Rocksteady"&gt;rocksteady&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Hopeton_Lewis#cite_note-AMG-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;  &lt;/sup&gt;&lt;br /&gt; &lt;/p&gt;&lt;p&gt;Lewis began recording in the mid-1960s, and had one of the earliest rocksteady &lt;a href="http://en.wikipedia.org/wiki/Hit_record" title="Hit record"&gt;hits&lt;/a&gt; with &amp;quot;Take It Easy&amp;quot; in late 1966.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Hopeton_Lewis#cite_note-Larkin-2"&gt;&lt;span&gt;[&lt;/span&gt;3&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Hopeton_Lewis#cite_note-Barrow-3"&gt;&lt;span&gt;[&lt;/span&gt;4&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; He had several more Jamaican hits in the late 1960s and early 1970s, including the first &amp;#39;herb&amp;#39; song ever recorded in Jamaica, &amp;quot;Cool Collie&amp;quot;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Hopeton_Lewis#cite_note-Barrow-3"&gt;&lt;span&gt;[&lt;/span&gt;4&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; He worked for &lt;a href="http://en.wikipedia.org/wiki/Duke_Reid" title="Duke Reid"&gt;Duke Reid&lt;/a&gt; as an &lt;a href="http://en.wikipedia.org/wiki/Arrangement" title="Arrangement"&gt;arranger&lt;/a&gt; and &lt;a href="http://en.wikipedia.org/wiki/Backing_vocalist" title="Backing vocalist"&gt;backing vocalist&lt;/a&gt;, and won the &lt;a href="http://en.wikipedia.org/wiki/Jamaica_Independence_Festival#Popular_Song_Competition" title="Jamaica Independence Festival"&gt;Festival Song Contest&lt;/a&gt; in 1970 with &amp;quot;Boom Shaka Lacka&amp;quot;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Hopeton_Lewis#cite_note-Larkin-2"&gt;&lt;span&gt;[&lt;/span&gt;3&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Hopeton_Lewis#cite_note-Barrow-3"&gt;&lt;span&gt;[&lt;/span&gt;4&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; He began working as a singer with &lt;a href="http://en.wikipedia.org/wiki/Byron_Lee_%26_the_Dragonaires" class="mw-redirect" title="Byron Lee &amp;amp; the Dragonaires"&gt;Byron Lee &amp;amp; the Dragonaires&lt;/a&gt;, and in 1971 had a hit with &amp;quot;Grooving Out On Life&amp;quot;.&lt;/p&gt; &lt;p&gt;Lewis continued to release &lt;a href="http://en.wikipedia.org/wiki/Gramophone_record" title="Gramophone record"&gt;records&lt;/a&gt;, but his success after the early 1970s was limited. Lewis started his own &lt;a href="http://en.wikipedia.org/wiki/Record_label" title="Record label"&gt;record label&lt;/a&gt;, Bay City Music, in the late 1980s and turned increasingly to &lt;a href="http://en.wikipedia.org/wiki/Gospel_music" title="Gospel music"&gt;gospel music&lt;/a&gt;, releasing &lt;i&gt;This Is Gospel&lt;/i&gt; in 1996, followed by &lt;i&gt;Reaching Out to Jesus&lt;/i&gt; in 2000. Since then Lewis stuck with gospel, and has released a prolific series of &lt;a href="http://en.wikipedia.org/wiki/Album" title="Album"&gt;albums&lt;/a&gt;, including &lt;i&gt;Lay Your Hands on Me Jesus&lt;/i&gt;, &lt;i&gt;Caribbean Gospel Jubilee&lt;/i&gt;, &lt;i&gt;Inner Peace&lt;/i&gt;, &lt;i&gt;Hopeton Lewis Sings Country Gospel&lt;/i&gt;, &lt;i&gt;The Many Moods of Gospel&lt;/i&gt; and &lt;i&gt;The Inspirational Hopeton Lewis&lt;/i&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Hopeton_Lewis#cite_note-AMG-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt;
	
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      <pubDate>Tue, 08 Nov 2011 06:32:00 -0800</pubDate>
      <title>Rihanna &amp; The Slackers - Rude boy Rider (Babylon Party Machine remix)</title>
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      <pubDate>Fri, 04 Nov 2011 14:47:09 -0700</pubDate>
      <title>DAVID HILLYARD ROCKSTEADY 7 ON TOUR IN ITALY, SLOVENIA &amp; AUSTRIA</title>
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&lt;a href="http://getfile1.posterous.com/getfile/files.posterous.com/skarumble/G2XbH9QgMfhcGlFkiaasxWvR1um0HGSPWUUDPJM4tkvk5cKquKTqkBmp1aUQ/david-hillyard--the-rocksteady.jpg"&gt;&lt;img alt="David-hillyard--the-rocksteady" height="450" src="http://getfile0.posterous.com/getfile/files.posterous.com/skarumble/G2XbH9QgMfhcGlFkiaasxWvR1um0HGSPWUUDPJM4tkvk5cKquKTqkBmp1aUQ/david-hillyard--the-rocksteady.jpg.scaled600.jpg" width="600" /&gt;&lt;/a&gt;
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&lt;p&gt;&lt;iframe src="http://www.youtube.com/embed/CrIJYsfc0sA?wmode=transparent" allowfullscreen frameborder="0" height="417" width="500"&gt;&lt;/iframe&gt;&lt;p /&gt;&lt;iframe src="http://www.youtube.com/embed/vI9BXZc5ORg?wmode=transparent" allowfullscreen frameborder="0" height="417" width="500"&gt;&lt;/iframe&gt;&lt;p /&gt; ROCKSTEADY 7 ON TOUR! NOV 30-DEC 10&lt;p /&gt;  NOV 30 - PIOZZO, IT - LE BALADIN &lt;br /&gt; &lt;a href="http://www.birreria.com/" rel="nofollow nofollow" target="_blank"&gt;www.birreria.com&lt;/a&gt;&lt;p /&gt; &lt;span class="text_exposed_hide"&gt;...&lt;/span&gt;&lt;span class="text_exposed_show"&gt; DEC 1 - TORINO, IT - JAZZ CLUB&lt;br /&gt; &lt;a href="http://www.jazzclub.torino.it/" rel="nofollow nofollow" target="_blank"&gt;&lt;span&gt;http://www.jazzclub.torino&lt;/span&gt;&lt;span class="word_break"&gt;&lt;/span&gt;.it/&lt;/a&gt;&lt;p /&gt;  DEC 2 -CHIERI, IT - PATCHANKA&lt;br /&gt; Centro Giovanile PATCHANKA&lt;br /&gt; Piazza Caselli, 19&lt;br /&gt; &lt;a href="http://www.patchanka.org/" rel="nofollow nofollow" target="_blank"&gt;http://www.patchanka.org/&lt;/a&gt;&lt;p /&gt;  DEC 3 -MONTECCHIO MAGGIORE, IT - E20 UNDERGROUND&lt;br /&gt; &lt;a href="http://www.myspace.com/e20underground" rel="nofollow nofollow" target="_blank"&gt;&lt;span&gt;www.myspace.com/e20undergr&lt;/span&gt;&lt;span class="word_break"&gt;&lt;/span&gt;ound&lt;/a&gt;&lt;br /&gt; &lt;a href="http://www.facebook.com/pages/e20-underground/177240168094" rel="nofollow" target="_blank"&gt;&lt;span&gt;http://www.facebook.com/pa&lt;/span&gt;&lt;span class="word_break"&gt;&lt;/span&gt;&lt;span&gt;ges/e20-underground/177240&lt;/span&gt;&lt;span class="word_break"&gt;&lt;/span&gt;168094&lt;/a&gt;&lt;p /&gt;  DEC 5 - GRAZ, AU - MUSIC HOUSE&lt;br /&gt; &lt;a href="http://www.music-house.at/" rel="nofollow nofollow" target="_blank"&gt;www.music-house.at/&lt;/a&gt;&lt;p /&gt;  DEC 6 - LJUBJANA, SLO - GALA HALA&lt;p /&gt;  DEC 7 - VIENNA, AU - OST kLUB&lt;br /&gt; &lt;a href="http://www.ost-klub.at/" rel="nofollow nofollow" target="_blank"&gt;www.ost-klub.at&lt;/a&gt;&lt;p /&gt;  DEC 8 - MILANO, IT - LEONCAVALLO&lt;br /&gt; &lt;a href="http://www.leoncavallo.org/" rel="nofollow nofollow" target="_blank"&gt;www.leoncavallo.org&lt;/a&gt;&lt;p /&gt;  DEC 10 - Ala di Stura (TO) - SACRIPANTE&lt;br /&gt; &lt;a href="http://www.facebook.com/groups/61570916585/" rel="nofollow" target="_blank"&gt;&lt;span&gt;http://www.facebook.com/gr&lt;/span&gt;&lt;span class="word_break"&gt;&lt;/span&gt;oups/61570916585/&lt;/a&gt;&lt;p /&gt;  &lt;p /&gt; &lt;/span&gt;Tenor and soprano saxophonist, David Hillyard is one of the innovators of the American ska scene. His group, the Rocksteady 7, mixes instrumental Jamaican “roots” rhythms ala the Skatalites, Burning Spear, and extended jazz improvisation ala David Murray, Charlie Haden, and Pharaoh Saunders. &lt;p /&gt;  His forthcoming cd, Get Back UP!, is a blinding tour de force of his Jamaican Jazz conception. The title track evokes the power of Coltrane&amp;#39;s Love Supreme and is a screaming triumph over adversity. Through the baldhead reggae of &amp;quot;Death Ride&amp;quot;, to the Brazillian Bingi, &amp;quot;Ca Purange&amp;quot;, and a confident ska version of the 60s classic, &amp;quot;Sunny&amp;quot;, Dave and his friends are at the top of their game. &lt;p /&gt;  Dave has been a professional musician for over 20 years. As a 17 year old youth he played with The Donkey Show, one of California’s pioneering ska bands. He also played with Hepcat which went onto become one of the biggest ska acts of the 1990&amp;#39;s. He has also performed with ska groups like the Stubborn All-Stars, Skinner box, reggae artists like Cornell Campbell, Congo ‘Ashanti’ Roy and Johnny Osbourne, jazz artists like Roy Campbell, blues artists like Simon Chardiet, soul singers like Archie Bell (“Do the Tighten Up&amp;quot; ), and even punkrockers like Rancid. &lt;p /&gt;  But Dave is best known for his work with the Slackers. He continues to be a key member of that organization and has appeared on their 10 cd releases and 1,000s of live gigs. With the Slackers, he currently averages about 120-150 gigs a year in the USA, Canada, Japan, Latin America, and Europe &lt;p /&gt;  Through his diverse experience, Dave has developed an unique style. A mix of the warm island tonalities of Roland Alphonso and Tommy McCook, the strident cries of John Coltrane, the smears of Sidney Bechet, the otherworldliness of Pharaoh Saunders, the honking blues of King Curtis, and the swing of Ben Webster, Lester Young, and Coleman Hawkins. As Jazziz magazine put it succinctly, “HILLYARD CAN PLAY ” &lt;p /&gt;  His band, Rocksteady 7, is a shifting collective of musicians featuring some of the best players in New York City. They have experience playing with everyone from Sting to the Skatalites. Senior among them is veteran percussionist, Larry McDonald. Larry began his career back at the inception of ska music with Carlos Malcolm’s Afro Jamaicans. He went on to perform on several classic reggae tracks such as Cherry Oh Baby, Funky Kingston, and Rivers of Babylon. Then he left Jamaica and played long stints with Taj Mahal and Gil Scott-Heron. &lt;p /&gt;  The Rocksteady 7&amp;#39;s debut cd, Playtime (Hellcat/Epitaph), was widely praised for its innovative mix of Jamaican “roots” rhythms with Jazz and Latin influences. The title track, Playtime, where nyabinghi drumming met a jazz Miles Davis-esque waltz, was widely played on the National Public Radio show, “Morning Becomes Eclectic.” &lt;p /&gt;  The Rocksteady 7&amp;#39;s second cd, United Front (Do Tell/Brixton), mixed free improvisation, reggae, and revolutionary rhetoric. The African Beat magazine referred to the group as “real musical revolutionaries” and stated that they “cut the competition.” Ragga magazine referred to them as “the magnificent 7.” &lt;p /&gt;  Their 3rd cd, Way Out East (Brixton), captured the powerful energy of the band live. Recorded in Jena, Germany this disc was noted by &lt;a href="http://www.msplinks.com/MDVodHRwOi8vV29ybGRtdXNpYy5jb20=?t=bL772tjvuyEgkJF_MfUHGZvpfDkkoXotUQXFSPWapdtO0BQd8VPryVx85VP076a8YsxzR9Fu6GfmjsC44xL1mQ" class="xlink" rel="nofollow" target="_blank"&gt;Worldmusic.com&lt;/a&gt; as a perfect Jazz/Reggae fusion and will leave fans of both in a &amp;quot;state of bliss.&amp;quot; &lt;p /&gt;  In the meantime, Dave put out a japanese release that still has to see the full light of day in the rest of the world. Entitled &amp;quot;Hits of Jackpot&amp;quot;, it features Dave playing over classic Bunny Lee and Lloyd Charmers rhythms. It was produced by Glen Adams of Wailers and Upsetters fame. &lt;p /&gt;  Currently, &amp;quot;GET BACK UP!&amp;quot;, should be out in may of 2009. &lt;p /&gt;  Dave’s band has played numerous venues in New York City from SOBs, the Knitting Factory, Wetlands, Bbkings, and the Bottom Line. For most of 2005, they were regulars at Detour, a small jazz club on the lower east side of New York. They have also played at Los Angeles’ Whisky A Go Go, Knitting Factory, Echoplex (dub club), and House of Blues; the Toronto Jazz Festival; and numerous club dates in the eastern United States and Canada. Since early 2004, they have also completed 3 European tours, playing in Spain, France, Belgium, Holland, Switzerland, and Germany. &lt;p /&gt;  Websites:&lt;br /&gt; &lt;a href="http://www.myspace.com/davidhillyardrocksteady7" target="_blank"&gt;www.myspace.com/davidhillyardrocksteady7&lt;/a&gt;&lt;br /&gt; &lt;a href="http://www.myspace.com/davehillyard" target="_blank"&gt;www.myspace.com/davehillyard&lt;/a&gt;&lt;p /&gt; &lt;p /&gt;&lt;/p&gt;
	
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      <pubDate>Wed, 02 Nov 2011 03:50:28 -0700</pubDate>
      <title>Count Machuki - Pepper pot &amp; Doctor Sappa too</title>
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&lt;img alt="Count" height="252" src="http://getfile6.posterous.com/getfile/files.posterous.com/skarumble/KiuQueAfplzpXCae4wRFSa3Xx9mpnv8SkP8NOg0Bp9FQwglWIvXw09UBYaOI/count.jpg.scaled600.jpg" width="252" /&gt;
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&lt;p&gt;&lt;iframe src="http://www.youtube.com/embed/rP3S5wO2opo?wmode=transparent" allowfullscreen frameborder="0" height="417" width="500"&gt;&lt;/iframe&gt;&lt;p /&gt;&lt;iframe src="http://www.youtube.com/embed/hLtZ5LqL8kM?wmode=transparent" allowfullscreen frameborder="0" height="417" width="500"&gt;&lt;/iframe&gt;&lt;p /&gt; &lt;b&gt;Winston Cooper&lt;/b&gt; (c.1939–1995), better known as &lt;b&gt;Count Matchuki&lt;/b&gt; or &lt;b&gt;Count Machuki&lt;/b&gt;, was the first &lt;a href="http://en.wikipedia.org/wiki/Jamaica" title="Jamaica"&gt;Jamaican&lt;/a&gt; &lt;a href="http://en.wikipedia.org/wiki/Deejay" title="Deejay"&gt;deejay&lt;/a&gt;. Cooper was born c.1939 in &lt;a href="http://en.wikipedia.org/wiki/Kingston,_Jamaica" title="Kingston, Jamaica"&gt;Kingston, Jamaica&lt;/a&gt;,&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Count_Machuki#cite_note-Moskowitz-0"&gt;&lt;span&gt;[&lt;/span&gt;1&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; and began working on &lt;a href="http://en.wikipedia.org/wiki/Sound_system_%28Jamaican%29" title="Sound system (Jamaican)"&gt;sound systems&lt;/a&gt; in the 1950s, when the music played was largely American &lt;a href="http://en.wikipedia.org/wiki/R%26B" class="mw-redirect" title="R&amp;amp;B"&gt;R&amp;amp;B&lt;/a&gt;. His stage name of Count Matchuki derived from his habit of chewing matchsticks.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Count_Machuki#cite_note-Larkin-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; He initially worked on Tom Wong&amp;#39;s &lt;i&gt;&lt;a href="http://en.wikipedia.org/wiki/Tom_the_Great_Sebastian" title="Tom the Great Sebastian"&gt;Tom the Great Sebastian&lt;/a&gt;&lt;/i&gt; system and later the &lt;i&gt;Tokyo the Monarch&lt;/i&gt; system, before moving on to &lt;a href="http://en.wikipedia.org/wiki/Clement_%22Coxsone%22_Dodd" class="mw-redirect" title="Clement &amp;quot;Coxsone&amp;quot; Dodd"&gt;Clement &amp;quot;Coxsone&amp;quot; Dodd&lt;/a&gt;&amp;#39;s &lt;i&gt;Downbeat&lt;/i&gt; Sound System.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Count_Machuki#cite_note-Katz-2"&gt;&lt;span&gt;[&lt;/span&gt;3&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Count_Machuki#cite_note-Barrow-3"&gt;&lt;span&gt;[&lt;/span&gt;4&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; He added talkovers to the songs, emulating the &lt;a href="http://en.wikipedia.org/wiki/Jive_talk" class="mw-redirect" title="Jive talk"&gt;jive talk&lt;/a&gt; of American radio &lt;a href="http://en.wikipedia.org/wiki/Disc_jockey" title="Disc jockey"&gt;DJ&lt;/a&gt;&amp;#39;s at the request of Dodd, who became familiar with the US style on his visits to the States to buy records to play on his sound system.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Count_Machuki#cite_note-Larkin-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; He thus originated a &lt;a href="http://en.wikipedia.org/wiki/Deejay" title="Deejay"&gt;deejay&lt;/a&gt; style that was later developed by artists such as &lt;a href="http://en.wikipedia.org/wiki/U-Roy" title="U-Roy"&gt;U-Roy&lt;/a&gt;, and which eventually led to &lt;a href="http://en.wikipedia.org/wiki/Rap_music" class="mw-redirect" title="Rap music"&gt;rap&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Count_Machuki#cite_note-Greenberg-4"&gt;&lt;span&gt;[&lt;/span&gt;5&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Matchuki started by adding spoken introductions to the records that were played, taking inspiration from the American magazine &lt;i&gt;Jive&lt;/i&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Count_Machuki#cite_note-Barrow-3"&gt;&lt;span&gt;[&lt;/span&gt;4&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; He has also been credited as the originator of &lt;a href="http://en.wikipedia.org/wiki/Beatboxing" title="Beatboxing"&gt;beatboxing&lt;/a&gt;, adding what he called &amp;quot;peps&amp;quot; to records that he thought sounded weak.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Count_Machuki#cite_note-Moskowitz-0"&gt;&lt;span&gt;[&lt;/span&gt;1&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Count_Machuki#cite_note-Barrow-3"&gt;&lt;span&gt;[&lt;/span&gt;4&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; In the late 1950s, the prevailing sound changed with the advent of &lt;a href="http://en.wikipedia.org/wiki/Ska" title="Ska"&gt;ska&lt;/a&gt;, and Matchuki added his deejay skills (often uncredited) to several records by &lt;a href="http://en.wikipedia.org/wiki/The_Skatalites" title="The Skatalites"&gt;The Skatalites&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Count_Machuki#cite_note-Larkin-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; He introduced &lt;a href="http://en.wikipedia.org/wiki/King_Stitt" title="King Stitt"&gt;King Stitt&lt;/a&gt; to Dodd&amp;#39;s sound system, and Stitt took over as lead deejay when Matchuki left to join &lt;a href="http://en.wikipedia.org/wiki/Prince_Buster" title="Prince Buster"&gt;Prince Buster&lt;/a&gt;&amp;#39;s &lt;i&gt;Voice of the People&lt;/i&gt; system. In the late 1960s, with little financial reward or recognition for his work, he left the music industry. He appeared in the &lt;i&gt;Deep Roots Music&lt;/i&gt; documentary in the late 1970s along with &lt;a href="http://en.wikipedia.org/wiki/Sir_Lord_Comic" title="Sir Lord Comic"&gt;Sir Lord Comic&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Count_Machuki#cite_note-Larkin-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; &lt;/p&gt;&lt;p&gt;U-Roy has cited Matchuki as a major influence on his work.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Count_Machuki#cite_note-Barrow-3"&gt;&lt;span&gt;[&lt;/span&gt;4&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt; &lt;p&gt;He died in 1995.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Count_Machuki#cite_note-Larkin-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt;
	
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      <pubDate>Tue, 25 Oct 2011 02:41:00 -0700</pubDate>
      <title>THE AGGROLITES – THE UNLEASHED EUROPEAN TOUR 2011</title>
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&lt;p&gt;&lt;span style="font-size: medium;"&gt;&lt;span style="font-family: Arial;"&gt;&lt;span style="font-size: 14px;"&gt;&lt;iframe src="http://www.youtube.com/embed/IAS2lJ2gEmE?wmode=transparent" allowfullscreen frameborder="0" height="417" width="500"&gt;&lt;/iframe&gt;&lt;p /&gt;&lt;span style="font-size: medium;"&gt;Brixton Records proudly announces the forthcoming European release of The Aggrolites&amp;rsquo; new album, Unleashed Live Vol. 1. Out November 2nd!&lt;/span&gt;&lt;p /&gt; &lt;span style="font-size: medium;"&gt; After eight years of touring the globe, Los Angeles-based band, The Aggrolites are proud to reveal their first live album, "Unleashed Live Vol. 1." With five previous studio releases under their belt the next logical move for the band was a compilation of their favourite songs recorded live from recent shows. "Unleashed Live Vol. 1" features songs from all previous studio releases plus a version of &amp;ldquo;Don&amp;rsquo;t Let Me Down&amp;rdquo; and &amp;ldquo;Banana&amp;rdquo;.&lt;/span&gt;&lt;p /&gt; &lt;span style="font-size: medium;"&gt; The Aggrolites are yet again headlining a tour around Europe in support of this live release. The band will start in Luxembourg on November 3rd making stops in: United Kingdom, France, Netherlands, Belgium, Switzerland, Italy and Germany:&lt;/span&gt;&lt;p /&gt; &lt;span style="font-size: medium;"&gt; THE AGGROLITES &amp;ndash; THE UNLEASHED EUROPEAN TOUR 2011&lt;/span&gt;&lt;p /&gt;  03/11 &amp;ndash; Esch-Sur-Alzette (LUX) Kulturfabrik &lt;br /&gt; 04/11 &amp;ndash; Brugge (BE) Cactus Club&lt;br /&gt; 05/11 &amp;ndash; Leuven (BE) Het Depot&lt;br /&gt; 06/11 &amp;ndash; Vlissingen (NL) De Piek&lt;br /&gt; 07/11 &amp;ndash; London (UK) Underworld&lt;br /&gt; 08/11 &amp;ndash; Manchester (UK) Moho Live&lt;br /&gt; 10/11 &amp;ndash; Besan&amp;ccedil;on (FR) La Rodia&lt;br /&gt; 11/11 &amp;ndash; Dordrecht (NL) Bibelot&lt;br /&gt; 12/11 &amp;ndash; Amsterdam (NL) Melkweg&lt;br /&gt; 13/11 &amp;ndash; Utrecht (NL) Tivoli&lt;br /&gt; 14/11 &amp;ndash; Hamburg (DE) Markthalle&lt;br /&gt; 15/11 &amp;ndash; Reutlingen (DE) Franz K&lt;br /&gt; 16/11 &amp;ndash; Solothurn (CH) Kofmehl&lt;br /&gt; 17/11 &amp;ndash; Schaffhausen (CH) Tap Tab&lt;br /&gt; 18/11 &amp;ndash; Corzes (IT) Vereinhaus&lt;br /&gt; 19/11 &amp;ndash; Colle Val d&amp;rsquo;Elsa (IT) Sonar&lt;br /&gt; 20/11 &amp;ndash; Roma (IT) Traffic Club&lt;br /&gt; 22/11 &amp;ndash; Strasbourg (FR) La Laiterie&lt;br /&gt; 23/11 &amp;ndash; Essen (DE) Zeche Carl&lt;br /&gt; 24/11 &amp;ndash; Dunkerque (FR) Les 4 Ecluses&lt;br /&gt; 25/11 &amp;ndash; Ivry Sur Seine (FR) Le Hangar &lt;br /&gt; 26/11 &amp;ndash; Massy (FR) Paul B&lt;p /&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;The Aggrolites are a &lt;a href="http://www.last.fm/tag/reggae" class="bbcode_tag" rel="tag"&gt;reggae&lt;/a&gt; band from Los Angeles, California. The Aggrolites are an amalgamation of two previous Los Angeles reggae and &lt;a href="http://www.last.fm/tag/ska" class="bbcode_tag" rel="tag"&gt;ska&lt;/a&gt; bands, &lt;a href="http://www.last.fm/music/The+Vessels" class="bbcode_artist"&gt;The Vessels&lt;/a&gt; and the &lt;a href="http://www.last.fm/music/Rhythm+Doctors" class="bbcode_artist"&gt;Rhythm Doctors&lt;/a&gt;, and were originally formed in 2002 as an in-concert backing band for reggae icon &lt;a href="http://www.last.fm/music/Derrick+Morgan" class="bbcode_artist"&gt;Derrick Morgan&lt;/a&gt;. The band were asked to record music for a new album for Morgan, and though the actual project was never released, the recording sessions inspired the Aggrolites to become a permanent band. The Aggrolites have also served as the backing band for &lt;a href="http://www.last.fm/music/Phyllis+Dillon" class="bbcode_artist"&gt;Phyllis Dillon&lt;/a&gt;, &lt;a href="http://www.last.fm/music/Prince+Buster" class="bbcode_artist"&gt;Prince Buster&lt;/a&gt;, and most recently &lt;a href="http://www.last.fm/music/Tim+Armstrong" class="bbcode_artist"&gt;Tim Armstrong&lt;/a&gt; for his solo album &amp;ldquo;A Poet&amp;rsquo;s Life&amp;rdquo;. &lt;span&gt;&lt;p /&gt;&lt;iframe src="http://www.youtube.com/embed/G_gPYMhjGok?wmode=transparent" allowfullscreen frameborder="0" height="417" width="500"&gt;&lt;/iframe&gt;&lt;br /&gt;&lt;/span&gt;&lt;/p&gt;
	
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      <pubDate>Fri, 21 Oct 2011 08:51:22 -0700</pubDate>
      <title>Johnny Osbourne - All i have is love &amp; Fally Lover</title>
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&lt;img alt="Jhonny_o" height="320" src="http://posterous.com/getfile/files.posterous.com/skarumble/FlKpJGm0Scf3LzXj9HYGa60Nchp6gfDykwFtSxnfVIGNOLwGcQ0WUKPKnH2I/jhonny_o.jpg.scaled600.jpg" width="320" /&gt;
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&lt;p&gt;&lt;iframe src="http://www.youtube.com/embed/yB0-HLFexfc?wmode=transparent" allowfullscreen frameborder="0" height="417" width="500"&gt;&lt;/iframe&gt;&lt;p /&gt;&lt;iframe src="http://www.youtube.com/embed/0b4rNClRKKI?wmode=transparent" allowfullscreen frameborder="0" height="417" width="500"&gt;&lt;/iframe&gt;&lt;p /&gt; Born Errol Osbourne in 1948 and raised in Jones Town, the Mecca of dancehalls in Kingston, he would become better known as &lt;strong&gt;&lt;span style="color: rgb(51, 204, 0);"&gt;Johnny Osbourne&lt;/span&gt;&lt;/strong&gt; when he rose to success in the late ‘70s and mid ‘80s and became the king of those same dancehalls.&lt;br /&gt; It was during 1967 that Osbourne first strode out as a singer when he became lead vocalist of The Wildcats. They recorded for producer Winston Riley but unfortunately nothing became of these works. The Wildcats&amp;#39; manager then financed a session at Coxsone Dodd&amp;#39;s Studio One, from which his debut single, ‘All I Have Is Love’, was released. In 1969 he recorded an album, ‘Come Back Darling’ with the Sensations and with Riley once again at the controls. On the day of the albums completion, Osbourne emigrated to Toronto, Canada, to join his family. Here he sang with various soul and reggae groups, finally becoming lead vocalist for Ishan People. He recorded two albums with them, before the group broke up in 1979 and Osbourne decided to return to Jamaica. &lt;p /&gt;On his return he joined back up with Coxsonne at Studio One recording ‘Forgive Them’ and ‘Jealousy, Heartache And Pain’ for the label. He continued recording extensively for Dodd into 1980 with these sessions culminating in the iconic ‘Truths And Rights’. Shortly after the release of this album he had a hit for the then Prince Jammy with ‘Folly Ranking’ and album of the same name soon followed. The success of these recordings made him one of the most in-demand vocalists in Jamaica and a glut of material was released. Along with many successful singles released over the next couple of years there were the Albums ‘Fally Lover’, ‘Warrior’, ‘Innah Disco Style’ and ‘Never Stop Fighting’ .&lt;br /&gt;In 1983 Osbourne began the year with two big hits, &amp;#39;Yo Yo&amp;#39; and &amp;#39;Lend Me A&lt;br /&gt;Chopper&amp;#39;, before enjoying further success with the popular ‘Water Pumping’, an adaptation of Hopeton Lewis&amp;#39; smash hit &amp;#39;Take It Easy&amp;#39;, which had also served as the basis for Johnny Clarke&amp;#39;s 1976 hit &amp;quot;Rockers Time Now&amp;quot;. The hits didn’t stop there with &amp;quot;Get Cracking&amp;quot;, &amp;quot;Check For You&amp;quot;, &amp;quot;Rewind&amp;quot; from 1984 and &amp;quot;Buddy Bye&amp;quot;, &amp;quot;No Sound Like We&amp;quot; and &amp;quot;In The Area&amp;quot; in 1985 all scoring large. &lt;p /&gt;A couple of lean years followed but he was back in the big time again in 1988 with the release of ‘Good Time Rock’ and ‘Rude Boy Skank’ recorded for Bobby Digital. These two songs were included on 1989’s ‘Rougher Than Them’. A few singles were recorded during this time as he continued to record for the likes of Coxsone Dodd, Ed Robinson and the now coronated King Jammy. Singles including &amp;#39;Keep That Light&amp;#39;, &amp;#39;Unity&amp;#39; and &amp;#39;A We Run Things&amp;#39; all saw the light of day, but regrettably a long-promised second album from Dodd never materialized&lt;br /&gt;Johnny has remained a popular artist to this day although his recording days have been somewhat greatly diminished since those days of both Johnny’s and Reggae’s glory days.&lt;br /&gt;&lt;/p&gt;
	
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      <pubDate>Thu, 20 Oct 2011 03:09:23 -0700</pubDate>
      <title>Alton Ellis - I'm Still In Love With You &amp; Girl I've Got A Date</title>
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&lt;img alt="081012-alton-ellis_0" height="194" src="http://posterous.com/getfile/files.posterous.com/skarumble/mdFrS1JpvzKeUpo0etof5h1m4f7Ee2iXDySCDQgaXos4OT522PyjEZ4NFwbF/081012-alton-ellis_0.jpg.scaled600.jpg" width="345" /&gt;
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&lt;p&gt;&lt;iframe src="http://www.youtube.com/embed/w3JqGtjuLJk?wmode=transparent" allowfullscreen frameborder="0" height="417" width="500"&gt;&lt;/iframe&gt;&lt;p /&gt;&lt;iframe src="http://www.youtube.com/embed/CvzthjJI9Xg?wmode=transparent" allowfullscreen frameborder="0" height="417" width="500"&gt;&lt;/iframe&gt;&lt;p /&gt; &lt;/p&gt;&lt;p&gt;Ellis was born in 1938 and grew up in Kingston&amp;#39;s &lt;a href="http://en.wikipedia.org/wiki/Trench_Town" class="mw-redirect" title="Trench Town"&gt;Trench Town&lt;/a&gt; district. Born into a musical family, he learned to play piano at a young age.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Alton_Ellis#cite_note-Altruda-5"&gt;&lt;span&gt;[&lt;/span&gt;6&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; He attended Ebeneezer and Boys&amp;#39; Town schools, where he excelled in both music and sport.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Alton_Ellis#cite_note-LCH-6"&gt;&lt;span&gt;[&lt;/span&gt;7&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; He initially sought fame as a dancer, competing on &lt;a href="http://en.wikipedia.org/wiki/Vere_Johns" title="Vere Johns"&gt;Vere Johns&lt;/a&gt;&amp;#39; &lt;i&gt;Opportunity Hour&lt;/i&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Alton_Ellis#cite_note-Chang-7"&gt;&lt;span&gt;[&lt;/span&gt;8&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; After winning a couple of competitions, he switched to singing, starting his career in 1959 as part of the duo &lt;i&gt;Alton &amp;amp; Eddy&lt;/i&gt; with &lt;a href="http://en.wikipedia.org/w/index.php?title=Eddy_Perkins_%28singer%29&amp;amp;action=edit&amp;amp;redlink=1" title="Eddy Perkins (singer) (page does not exist)" class="new"&gt;Eddy Perkins&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Alton_Ellis#cite_note-Larkin-8"&gt;&lt;span&gt;[&lt;/span&gt;9&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Ellis and Perkins recorded for &lt;a href="http://en.wikipedia.org/wiki/Coxsone_Dodd" title="Coxsone Dodd"&gt;Coxsone Dodd&lt;/a&gt; at &lt;a href="http://en.wikipedia.org/wiki/Studio_One_%28record_label%29" title="Studio One (record label)"&gt;Studio One&lt;/a&gt;, initially in the &lt;a href="http://en.wikipedia.org/wiki/R%26B" class="mw-redirect" title="R&amp;amp;B"&gt;R&amp;amp;B&lt;/a&gt; style, having a massive hit with &amp;quot;Muriel&amp;quot; (from Dodd&amp;#39;s first commercially-oriented recording session at Federal studios),&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Alton_Ellis#cite_note-Barrow-9"&gt;&lt;span&gt;[&lt;/span&gt;10&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; a song Ellis had written whilst working as a labourer on a building site&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Alton_Ellis#cite_note-LCH-6"&gt;&lt;span&gt;[&lt;/span&gt;7&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; and recording follow-ups with &amp;quot;My Heaven&amp;quot;, &amp;quot;Lullabye Angel&amp;quot;, &amp;quot;I Know It All&amp;quot;, &amp;quot;I&amp;#39;m Never Gonna Cry&amp;quot; and &amp;quot;Yours&amp;quot;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Alton_Ellis#cite_note-LCH-6"&gt;&lt;span&gt;[&lt;/span&gt;7&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; The duo also recorded a few tracks for &lt;a href="http://en.wikipedia.org/wiki/Vincent_%22Randy%22_Chin" title="Vincent &amp;quot;Randy&amp;quot; Chin"&gt;Vincent Chin&lt;/a&gt;&amp;#39;s Randy&amp;#39;s label, but came to an end when after winning a major talent contest, Perkins moved to the &lt;a href="http://en.wikipedia.org/wiki/United_States" title="United States"&gt;United States&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Alton_Ellis#cite_note-Larkin-8"&gt;&lt;span&gt;[&lt;/span&gt;9&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Ellis remained in Kingston, working as a printer and after losing his job, he restarted his music career, initially forming a new duo with &lt;a href="http://en.wikipedia.org/wiki/John_Holt_%28singer%29" title="John Holt (singer)"&gt;John Holt&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Alton_Ellis#cite_note-LCH-6"&gt;&lt;span&gt;[&lt;/span&gt;7&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; When Holt joined &lt;a href="http://en.wikipedia.org/wiki/The_Paragons" title="The Paragons"&gt;The Paragons&lt;/a&gt;, Ellis formed a new group, The Flames. Ellis continued to work for Dodd and also recorded for his arch-rival, &lt;a href="http://en.wikipedia.org/wiki/Duke_Reid" title="Duke Reid"&gt;Duke Reid&lt;/a&gt; on his Treasure Isle &lt;a href="http://en.wikipedia.org/wiki/Record_label" title="Record label"&gt;label&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Alton_Ellis#cite_note-Larkin-8"&gt;&lt;span&gt;[&lt;/span&gt;9&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; By the mid 1960s, &lt;a href="http://en.wikipedia.org/wiki/Ska" title="Ska"&gt;ska&lt;/a&gt; was moving on and the beat was slowing down to &lt;a href="http://en.wikipedia.org/wiki/Rocksteady" title="Rocksteady"&gt;rocksteady&lt;/a&gt; and becoming associated with the violent &lt;a href="http://en.wikipedia.org/wiki/Rude_boy" title="Rude boy"&gt;rude boy&lt;/a&gt; &lt;a href="http://en.wikipedia.org/wiki/Subculture" title="Subculture"&gt;subculture&lt;/a&gt; in Jamaican &lt;a href="http://en.wikipedia.org/wiki/Dancehall" title="Dancehall"&gt;dancehalls&lt;/a&gt;. Many artists made records referring to the rude boys, including Ellis, although his records were consistently anti-rudie, including &amp;quot;Don&amp;#39;t Trouble People&amp;quot;, &amp;quot;Dance Crasher&amp;quot;, and &amp;quot;Cry Tough&amp;quot;, in contrast to artists such as &lt;a href="http://en.wikipedia.org/wiki/Bob_Marley" title="Bob Marley"&gt;Bob Marley&lt;/a&gt;, whom Ellis blamed for glorifiying the rudies.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Alton_Ellis#cite_note-Barrow-9"&gt;&lt;span&gt;[&lt;/span&gt;10&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Recording with The Flames (the varying line-up of which included his brother Leslie Ellis, David &amp;quot;Baby G&amp;quot; Gordon and &lt;a href="http://en.wikipedia.org/wiki/Winston_Jarrett" title="Winston Jarrett"&gt;Winston Jarrett&lt;/a&gt;), Ellis scored big with the hits &amp;quot;Girl I&amp;#39;ve Got a Date&amp;quot;, &amp;quot;Cry Tough&amp;quot; and &amp;quot;Rock Steady&amp;quot;, which was the first song to refer to the name of the newer genre. As rocksteady dominated the Jamaican airwaves for the next two years, Ellis continued to score hits for Treasure Isle, working with artists such as &lt;a href="http://en.wikipedia.org/wiki/Lloyd_Charmers" title="Lloyd Charmers"&gt;Lloyd Charmers&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/Phyllis_Dillon" title="Phyllis Dillon"&gt;Phyllis Dillon&lt;/a&gt; and &lt;a href="http://en.wikipedia.org/wiki/The_Heptones" title="The Heptones"&gt;The Heptones&lt;/a&gt;. His &lt;i&gt;&lt;a href="http://en.wikipedia.org/wiki/Mr_Soul_of_Jamaica" title="Mr Soul of Jamaica"&gt;Mr Soul of Jamaica&lt;/a&gt;&lt;/i&gt; album is regarded as one of the definitive rocksteady albums.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Alton_Ellis#cite_note-Larkin-8"&gt;&lt;span&gt;[&lt;/span&gt;9&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt; &lt;p&gt;During the late 1960s and early 1970s, Ellis recorded for some of Jamaica&amp;#39;s top producers, having two huge hits with &lt;a href="http://en.wikipedia.org/wiki/Lloyd_Daley" title="Lloyd Daley"&gt;Lloyd Daley&lt;/a&gt; in &amp;quot;Deliver Us&amp;quot; and &amp;quot;Back to Africa&amp;quot; and recording for &lt;a href="http://en.wikipedia.org/wiki/Bunny_Lee" title="Bunny Lee"&gt;Bunny Lee&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/Keith_Hudson" title="Keith Hudson"&gt;Keith Hudson&lt;/a&gt;, and &lt;a href="http://en.wikipedia.org/wiki/Herman_Chin_Loy" title="Herman Chin Loy"&gt;Herman Chin Loy&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Alton_Ellis#cite_note-Larkin-8"&gt;&lt;span&gt;[&lt;/span&gt;9&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Ellis toured the &lt;a href="http://en.wikipedia.org/wiki/United_Kingdom" title="United Kingdom"&gt;United Kingdom&lt;/a&gt; in the 1967 with &lt;a href="http://en.wikipedia.org/wiki/Ken_Boothe" title="Ken Boothe"&gt;Ken Boothe&lt;/a&gt; and Studio One session band the &lt;a href="http://en.wikipedia.org/w/index.php?title=Soul_Vendors&amp;amp;action=edit&amp;amp;redlink=1" title="Soul Vendors (page does not exist)" class="new"&gt;Soul Vendors&lt;/a&gt; and on his return to Jamaica he worked with Dodd, recording the tracks that would be released as his debut album &lt;i&gt;Alton Ellis Sings Rock &amp;amp; Soul&lt;/i&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Alton_Ellis#cite_note-LCH-6"&gt;&lt;span&gt;[&lt;/span&gt;7&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; He also began to produce his own records, including &amp;quot;My Time Is The Right Time&amp;quot; and &amp;quot;The Message&amp;quot;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Alton_Ellis#cite_note-LCH-6"&gt;&lt;span&gt;[&lt;/span&gt;7&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt; &lt;p&gt;Ellis regularly returned to England, working with several London-based producers and after spending a few years in &lt;a href="http://en.wikipedia.org/wiki/Canada" title="Canada"&gt;Canada&lt;/a&gt;, from 1972 he based himself permanently in the UK.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Alton_Ellis#cite_note-Larkin-8"&gt;&lt;span&gt;[&lt;/span&gt;9&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Ellis continued to record and perform regularly, recording in the early 1980s for emerging producers including &lt;a href="http://en.wikipedia.org/wiki/Henry_%22Junjo%22_Lawes" title="Henry &amp;quot;Junjo&amp;quot; Lawes"&gt;Henry &amp;quot;Junjo&amp;quot; Lawes&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/Sugar_Minott" title="Sugar Minott"&gt;Sugar Minott&lt;/a&gt;, and &lt;a href="http://en.wikipedia.org/wiki/King_Jammy" title="King Jammy"&gt;King Jammy&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Alton_Ellis#cite_note-Barrow-9"&gt;&lt;span&gt;[&lt;/span&gt;10&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; He also opened up the &lt;i&gt;All-Tone&lt;/i&gt; record shop in &lt;a href="http://en.wikipedia.org/wiki/South_London" title="South London"&gt;South London&lt;/a&gt;, and started a record label of the same name.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Alton_Ellis#cite_note-allmusic-2"&gt;&lt;span&gt;[&lt;/span&gt;3&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Alton_Ellis#cite_note-Katz-10"&gt;&lt;span&gt;[&lt;/span&gt;11&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt; &lt;p&gt;The &amp;quot;Mad Mad&amp;quot; &lt;a href="http://en.wikipedia.org/wiki/Riddim" title="Riddim"&gt;riddim&lt;/a&gt;, first &lt;a href="http://en.wikipedia.org/wiki/Sound_recording_and_reproduction" title="Sound recording and reproduction"&gt;recorded&lt;/a&gt; by Ellis in 1967 would later be recycled in more than one hundred other &lt;a href="http://en.wikipedia.org/wiki/Song" title="Song"&gt;songs&lt;/a&gt;. The instantly recognizable three-note descending horn line was reinterpreted by &lt;a href="http://en.wikipedia.org/wiki/Henry_%22Junjo%22_Lawes" title="Henry &amp;quot;Junjo&amp;quot; Lawes"&gt;Henry &amp;quot;Junjo&amp;quot; Lawes&lt;/a&gt; and eventually became known widely as the &amp;quot;Diseases&amp;quot; &lt;a href="http://en.wikipedia.org/wiki/Reggae" title="Reggae"&gt;reggae&lt;/a&gt; riddim. &amp;quot;Diseases&amp;quot; is notably utilized in &lt;a href="http://en.wikipedia.org/wiki/Yellowman" title="Yellowman"&gt;Yellowman&lt;/a&gt;&amp;#39;s &lt;a href="http://en.wikipedia.org/wiki/Hit_record" title="Hit record"&gt;hit&lt;/a&gt; song &amp;quot;&amp;quot;Zungguzungguguzungguzeng&amp;quot;, which has in turn has been &lt;a href="http://en.wikipedia.org/wiki/Sampling_%28music%29" title="Sampling (music)"&gt;sampled&lt;/a&gt; and reinterpreted by a long list of popular &lt;a href="http://en.wikipedia.org/wiki/Hip_hop" title="Hip hop"&gt;hip hop&lt;/a&gt; artists including &lt;a href="http://en.wikipedia.org/wiki/KRS-One" title="KRS-One"&gt;KRS-One&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/The_Notorious_B.I.G." title="The Notorious B.I.G."&gt;The Notorious B.I.G.&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/Tupac_Shakur" title="Tupac Shakur"&gt;Tupac Shakur&lt;/a&gt; and &lt;a href="http://en.wikipedia.org/wiki/Blackstar" class="mw-redirect" title="Blackstar"&gt;Blackstar&lt;/a&gt;. This constant reinterpretation and referencing has made Ellis a major but little-known influence in the trajectory of dancehall, reggae and hip hop.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Alton_Ellis#cite_note-11"&gt;&lt;span&gt;[&lt;/span&gt;12&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt; &lt;p&gt;Ellis continued to be active on the reggae scene until his health began to deteriorate.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Alton_Ellis#cite_note-Taylor-12"&gt;&lt;span&gt;[&lt;/span&gt;13&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; His latest works include performing all over Europe with a French backing-band called ASPO (About Some Precioux Oldies) at the beginning of the 21st century. Recorded in Bordeaux, France, &lt;i&gt;Live with Aspo: Workin&amp;#39; on a Groovy Thing&lt;/i&gt; is the only live album Alton Ellis ever published (2001).&lt;/p&gt; &lt;p&gt;In 2004, Ellis was awarded the &lt;a href="http://en.wikipedia.org/wiki/Order_of_Distinction" title="Order of Distinction"&gt;Order of Distinction&lt;/a&gt; by the Jamaican government in recognition of his achievements.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Alton_Ellis#cite_note-LCH-6"&gt;&lt;span&gt;[&lt;/span&gt;7&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt; &lt;p&gt;In December 2007, he was admitted to hospital in &lt;a href="http://en.wikipedia.org/wiki/London" title="London"&gt;London&lt;/a&gt; for treatment of cancer of the &lt;a href="http://en.wikipedia.org/wiki/Lymphatic_system" class="mw-redirect" title="Lymphatic system"&gt;lymph&lt;/a&gt; glands, but he returned to live performance after receiving &lt;a href="http://en.wikipedia.org/wiki/Chemotherapy" title="Chemotherapy"&gt;chemotherapy&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Alton_Ellis#cite_note-PA-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Alton_Ellis#cite_note-13"&gt;&lt;span&gt;[&lt;/span&gt;14&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt; &lt;p&gt;Ellis died on 10 October 2008 at &lt;a href="http://en.wikipedia.org/wiki/Hammersmith_Hospital" title="Hammersmith Hospital"&gt;Hammersmith Hospital&lt;/a&gt;, west &lt;a href="http://en.wikipedia.org/wiki/London" title="London"&gt;London&lt;/a&gt;, of cancer.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Alton_Ellis#cite_note-14"&gt;&lt;span&gt;[&lt;/span&gt;15&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; His death prompted a statement from Jamaica&amp;#39;s Minister of Information, Culture, Youth and Sports, Olivia &amp;#39;Babsy&amp;#39; Grange, who said &amp;quot;even as we mourn the great Alton Ellis, we must give thanks for his monumental contribution to the development of Jamaica&amp;#39;s popular music&amp;quot;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Alton_Ellis#cite_note-15"&gt;&lt;span&gt;[&lt;/span&gt;16&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; A funeral service and celebration of his life was held on the 3rd of November, attended by family, fans, music industry personnel and government ministers, with tribute performances from stars including Winston &amp;#39;Fix It&amp;#39; Francis, &lt;a href="http://en.wikipedia.org/wiki/Tinga_Stewart" title="Tinga Stewart"&gt;Tinga Stewart&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/George_Nooks" title="George Nooks"&gt;George Nooks&lt;/a&gt;, Tony Gregory, &lt;a href="http://en.wikipedia.org/wiki/Ken_Boothe" title="Ken Boothe"&gt;Ken Boothe&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/Judy_Mowatt" title="Judy Mowatt"&gt;Judy Mowatt&lt;/a&gt; and &lt;a href="http://en.wikipedia.org/wiki/Carlene_Davis" title="Carlene Davis"&gt;Carlene Davis&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Alton_Ellis#cite_note-16"&gt;&lt;span&gt;[&lt;/span&gt;17&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt; &lt;p&gt;He was the older brother of the late &lt;a href="http://en.wikipedia.org/wiki/Hortense_Ellis" title="Hortense Ellis"&gt;Hortense Ellis&lt;/a&gt;, and the father of more than twenty children including Noel Ellis and Christopher Ellis, who are both reggae singers.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Alton_Ellis#cite_note-PA-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;span class="editsection"&gt;&lt;/span&gt; &lt;span class="mw-headline"&gt;&lt;/span&gt;&lt;/p&gt;
	
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&lt;img alt="Wilson_delroy_young" height="213" src="http://posterous.com/getfile/files.posterous.com/skarumble/keDHozBz18JL02gL5nliZHtqSk6tAS3svl94UwwkS2YmxUKqjbCYl0SpzL3w/wilson_delroy_young.png.scaled600.png" width="320" /&gt;
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&lt;p&gt;&lt;iframe src="http://www.youtube.com/embed/ESxQi98M448?wmode=transparent" allowfullscreen frameborder="0" height="417" width="500"&gt;&lt;/iframe&gt;&lt;p /&gt;&lt;iframe src="http://www.youtube.com/embed/BRYudo4XnMY?wmode=transparent" allowfullscreen frameborder="0" height="417" width="500"&gt;&lt;/iframe&gt;&lt;p /&gt; &lt;/p&gt;&lt;p&gt;Wilson released his first &lt;a href="http://en.wikipedia.org/wiki/Single_%28music%29" title="Single (music)"&gt;single&lt;/a&gt; &amp;quot;Emy Lou&amp;quot;&lt;sup class="Template-Fact" style=""&gt;[&lt;i&gt;&lt;a href="http://en.wikipedia.org/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"&gt;&lt;span title="This claim needs references to reliable sources from June 2008"&gt;citation needed&lt;/span&gt;&lt;/a&gt;&lt;/i&gt;]&lt;/sup&gt; in 1961 for &lt;a href="http://en.wikipedia.org/wiki/Record_producer" title="Record producer"&gt;record producer&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/Coxsone_Dodd" title="Coxsone Dodd"&gt;Clement &amp;quot;Coxsone&amp;quot; Dodd&lt;/a&gt;, at the age of thirteen. His early years with Coxsone yielded a number of ska hits, the biggest of which, the &lt;a href="http://en.wikipedia.org/wiki/Lee_%22Scratch%22_Perry" title="Lee &amp;quot;Scratch&amp;quot; Perry"&gt;Lee Perry&lt;/a&gt;-written &amp;quot;Joe Liges&amp;quot; was an attack on rival producer and former Dodd employee &lt;a href="http://en.wikipedia.org/wiki/Prince_Buster" title="Prince Buster"&gt;Prince Buster&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Delroy_Wilson#cite_note-Larkin-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; This was followed by another Perry-written attack on Buster, &amp;quot;Spit in the Sky&amp;quot;. Further singles followed, including &amp;quot;One Two Three&amp;quot;, &amp;quot;I Shall Not Remove&amp;quot;, &amp;quot;Look Who Is Back Again&amp;quot; (a duet with &lt;a href="http://en.wikipedia.org/wiki/Slim_Smith" title="Slim Smith"&gt;Slim Smith&lt;/a&gt;), and another anti-Buster song, &amp;quot;Prince Pharaoh&amp;quot;, notably the only record featuring the voice of Dodd himself.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Delroy_Wilson#cite_note-Larkin-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Delroy_Wilson#cite_note-Barrow-2"&gt;&lt;span&gt;[&lt;/span&gt;3&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt; &lt;p&gt;His voice matured as he left his teens, around the time of ska&amp;#39;s transition to &lt;a href="http://en.wikipedia.org/wiki/Rocksteady" title="Rocksteady"&gt;rocksteady&lt;/a&gt; and this period in the late 1960s produced many &lt;a href="http://en.wikipedia.org/wiki/Chart-topper" class="mw-redirect" title="Chart-topper"&gt;hits&lt;/a&gt; including one of the first rocksteady records, &amp;quot;Dancing Mood&amp;quot;, &amp;quot;Jerk in Time&amp;quot; (with the Wailers), &amp;quot;Feel Good All Over&amp;quot;, &amp;quot;I&amp;#39;m Not a King&amp;quot;, , &amp;quot;True Believer in Love&amp;quot;, &amp;quot;Rain From the Skies&amp;quot;, &amp;quot;Conquer Me&amp;quot; and &amp;quot;Riding For A Fall&amp;quot;. &amp;quot;Won&amp;#39;t You Come Home&amp;quot;, a duet with &lt;a href="http://en.wikipedia.org/wiki/Ken_Boothe" title="Ken Boothe"&gt;Ken Boothe&lt;/a&gt; on a rhythm originally cut by The Conquerors for &lt;a href="http://en.wikipedia.org/wiki/Sonia_Pottinger" title="Sonia Pottinger"&gt;Sonia Pottinger&lt;/a&gt; has become one of the most-versioned Jamaican tracks ever.&lt;sup class="Template-Fact" style=""&gt;[&lt;i&gt;&lt;a href="http://en.wikipedia.org/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"&gt;&lt;span title="This claim needs references to reliable sources from June 2008"&gt;citation needed&lt;/span&gt;&lt;/a&gt;&lt;/i&gt;]&lt;/sup&gt; After leaving &lt;a href="http://en.wikipedia.org/wiki/Studio_One_%28record_label%29" title="Studio One (record label)"&gt;Studio One&lt;/a&gt; he recorded for numerous other producers, with varying degrees of success, and set up his own short-lived &lt;i&gt;W&amp;amp;C&lt;/i&gt; label along with Wilburn Cole, and the similarly-fated &lt;i&gt;Links&lt;/i&gt; label with &lt;a href="http://en.wikipedia.org/wiki/Ken_Boothe" title="Ken Boothe"&gt;Ken Boothe&lt;/a&gt;, &lt;a href="http://en.wikipedia.org/wiki/The_Gaylads" title="The Gaylads"&gt;The Gaylads&lt;/a&gt; and &lt;a href="http://en.wikipedia.org/wiki/The_Melodians" title="The Melodians"&gt;The Melodians&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Delroy_Wilson#cite_note-allmusic-0"&gt;&lt;span&gt;[&lt;/span&gt;1&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; He enjoyed success with &lt;a href="http://en.wikipedia.org/wiki/Bunny_Lee" title="Bunny Lee"&gt;Bunny Lee&lt;/a&gt; in the late 1960s and early 1970s with tracks such as &amp;quot;This Old Heart of Mine&amp;quot;, &amp;quot;Footsteps of Another Man&amp;quot;, and &amp;quot;Better Must Come&amp;quot;. His double A-side &amp;quot;It Hurts&amp;quot;/&amp;quot;Put Yourself in My Place&amp;quot; was a skinhead favourite and narrowly missed &lt;a href="http://en.wikipedia.org/wiki/United_Kingdom" title="United Kingdom"&gt;UK&lt;/a&gt; chart success. He recorded a version of &amp;quot;Run Run&amp;quot;, a song he had originally recorded for Dodd, for maverick producer &lt;a href="http://en.wikipedia.org/wiki/Keith_Hudson" title="Keith Hudson"&gt;Keith Hudson&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Delroy_Wilson#cite_note-Barrow-2"&gt;&lt;span&gt;[&lt;/span&gt;3&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt; &lt;p&gt;1970 saw Wilson&amp;#39;s first tour of the UK, where he also &lt;a href="http://en.wikipedia.org/wiki/Sound_recording_and_reproduction" title="Sound recording and reproduction"&gt;recorded&lt;/a&gt; a number of &lt;a href="http://en.wikipedia.org/wiki/Song" title="Song"&gt;songs&lt;/a&gt; for the &lt;a href="http://en.wikipedia.org/wiki/Trojan_Records" title="Trojan Records"&gt;Trojan&lt;/a&gt; &lt;a href="http://en.wikipedia.org/wiki/Record_label" title="Record label"&gt;record label&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Delroy_Wilson#cite_note-allmusic-0"&gt;&lt;span&gt;[&lt;/span&gt;1&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt; &lt;p&gt;In 1972, &lt;a href="http://en.wikipedia.org/wiki/Michael_Manley" title="Michael Manley"&gt;Michael Manley&lt;/a&gt;&amp;#39;s &lt;a href="http://en.wikipedia.org/wiki/People%27s_National_Party" title="People&amp;#39;s National Party"&gt;People&amp;#39;s National Party&lt;/a&gt; chose Wilson&amp;#39;s &amp;quot;Better Must Come&amp;quot; as their election campaign song.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Delroy_Wilson#cite_note-Larkin-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; The same year saw the release of one of his most popular songs, &amp;quot;Cool Operator&amp;quot;, which became his nickname. He worked with a string of producers in the years that followed, including &lt;a href="http://en.wikipedia.org/wiki/Joe_Gibbs_%28record_producer%29" title="Joe Gibbs (record producer)"&gt;Joe Gibbs&lt;/a&gt; (&amp;quot;Mash Up Illiteracy&amp;quot;, &amp;quot;Pretty Girl&amp;quot;), &lt;a href="http://en.wikipedia.org/wiki/Gussie_Clarke" title="Gussie Clarke"&gt;Gussie Clarke&lt;/a&gt; (&amp;quot;Love&amp;quot;), &lt;a href="http://en.wikipedia.org/wiki/Niney_the_Observer" title="Niney the Observer"&gt;Winston &amp;quot;Niney&amp;quot; Holness&lt;/a&gt; (&amp;quot;Rascal Man&amp;quot;), &lt;a href="http://en.wikipedia.org/wiki/Harry_J" title="Harry J"&gt;Harry J&lt;/a&gt; (&amp;quot;Ask The Lonely&amp;quot;), and &lt;a href="http://en.wikipedia.org/wiki/Joseph_Hoo_Kim" title="Joseph Hoo Kim"&gt;Joseph Hoo Kim&lt;/a&gt; (&amp;quot;It&amp;#39;s a Shame&amp;quot;).&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Delroy_Wilson#cite_note-Larkin-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt; &lt;p&gt;In 1976, he recorded a cover of &lt;a href="http://en.wikipedia.org/wiki/The_Wailers_%281963-1974_band%29" class="mw-redirect" title="The Wailers (1963-1974 band)"&gt;The Wailers&lt;/a&gt;&amp;#39; &amp;quot;I&amp;#39;m Still Waiting&amp;quot; for &lt;a href="http://en.wikipedia.org/wiki/Lloyd_Charmers" title="Lloyd Charmers"&gt;Lloyd Charmers&lt;/a&gt;, which was hugely popular, and enjoyed some cross-over success, and was followed by the album &lt;i&gt;&lt;a href="http://en.wikipedia.org/wiki/Sarge_%28album%29" title="Sarge (album)"&gt;Sarge&lt;/a&gt;&lt;/i&gt;, which is considered one of his strongest.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Delroy_Wilson#cite_note-Barrow-2"&gt;&lt;span&gt;[&lt;/span&gt;3&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; Also a &lt;a href="http://en.wikipedia.org/wiki/Bob_Andy" title="Bob Andy"&gt;Bob Andy&lt;/a&gt; produced &lt;a href="http://en.wikipedia.org/wiki/Song" title="Song"&gt;song&lt;/a&gt;, &amp;quot;The Last Thing On My Mind&amp;quot; rose to &lt;a href="http://en.wikipedia.org/wiki/Chart-topper" class="mw-redirect" title="Chart-topper"&gt;number one&lt;/a&gt; in &lt;a href="http://en.wikipedia.org/wiki/Jamaica" title="Jamaica"&gt;Jamaica&lt;/a&gt;. Wilson continued the run of success until the end of the decade, but his career floundered during the early 1980s, with releases less common.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Delroy_Wilson#cite_note-Larkin-1"&gt;&lt;span&gt;[&lt;/span&gt;2&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; His fortunes revived in the digital age with releases for &lt;a href="http://en.wikipedia.org/wiki/King_Jammy" title="King Jammy"&gt;King Jammy&lt;/a&gt; (&amp;quot;Don&amp;#39;t Put The Blame On Me&amp;quot;) and Bunny Lee (&amp;quot;Ease Up&amp;quot;), with new albums following, but he again drifted out of the limelight, with his health declining, and is best remembered for his earlier work.&lt;/p&gt; &lt;p&gt;In 1994, Wilson&amp;#39;s enduring legacy to Jamaican music was recognized by a special plaque awarded him by the Jamaican government, and presented by the then Prime Minister, Patterson.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Delroy_Wilson#cite_note-allmusic-0"&gt;&lt;span&gt;[&lt;/span&gt;1&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt; &lt;p&gt;Delroy Wilson died on 6 March 1995 at &lt;a href="http://en.wikipedia.org/wiki/Kingston,_Jamaica" title="Kingston, Jamaica"&gt;Kingston&lt;/a&gt;&amp;#39;s UWI hospital, of complications from &lt;a href="http://en.wikipedia.org/wiki/Cirrhosis" title="Cirrhosis"&gt;cirrhosis&lt;/a&gt; of the &lt;a href="http://en.wikipedia.org/wiki/Liver" title="Liver"&gt;liver&lt;/a&gt;.&lt;sup class="reference"&gt;&lt;a href="http://en.wikipedia.org/wiki/Delroy_Wilson#cite_note-allmusic-0"&gt;&lt;span&gt;[&lt;/span&gt;1&lt;span&gt;]&lt;/span&gt;&lt;/a&gt;&lt;/sup&gt; He was 46 years old.&lt;/p&gt; &lt;p&gt;Delroy is referenced by &lt;a href="http://en.wikipedia.org/wiki/The_Clash" title="The Clash"&gt;The Clash&lt;/a&gt;, in &amp;quot;&lt;a href="http://en.wikipedia.org/wiki/%28White_Man%29_In_Hammersmith_Palais" title="(White Man) In Hammersmith Palais"&gt;(White Man) In Hammersmith Palais&lt;/a&gt;&amp;quot;.&lt;/p&gt;
	
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