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

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See reader questions & answers on this topic! - Help others by sharing your knowledge
[14.] What's all this about Sound Systems, Clashes and Dubplates? 

>Dumb question...but here goes,
>What is a sound system?
>Hope this does not destroy my credability has a true reggae
>music lover :-)

A sound system, well consider it to be a glorified stereo system.  Basically 
it is usually lots of base boxes lots of mid-range boxes and lots of high end 
boxes ( what I mean by boxes is large speaker cabinets).  All this is driven 
by lots of amps to make it so loud that the base makes the hair on your neck 
move to the beat.  You really haven't experienced true dancehall until you've 
been to a true yard dance like Stone Love at House of Leo (Kingston JA)


In article <2qp6iv$s1k@bruce.uncg.edu> pennyr@hamlet.uncg.edu (Reginald Penny)
writes:
>Subject: sound systems
>From: pennyr@hamlet.uncg.edu (Reginald Penny)
>Date: 10 May 1994 23:49:51 GMT

>Does anyone have a list (brief or massive) of what people are in what 
>sound system?  Also what are the top 5 largest sound sytems in the world 
>or JA?  

>BTW - what exactly is meant by a clash?  Is it when more than one SS battle?

>R-

Wow thats a tough question as to the top five.  It would fall under personal 
pref. " Stone Love" is one of the best; the selectors are Rorey , Weepow and 
Cancer.  "Bodygaurd" is another top sound, their main selector is Johnny and 
they are bringing in a few more. " Metromedia" is a more classic sound, 
selector is Skyjuice who is a performer in his own right -- you really haven't 
seen metro until you've seen Skyjuice take his shirt off. "Jamrock" is 
another big sound, I don't remember who the seletor is.  There is straight 
outta NYC "Addis" with selector Baby Face; they were up in the top at the 
world cup.  Innercity, with selectors  Mark, Danny and Wally -- they rank 
right up there.  There are tons of sound systems and I could go on for ever 
listing them.
As far as a "clash"  there can be at least two sounds clashing.  It is best 
with two, a clash is like a strategic chess game.  When sounds clash they try 
to out do each other, who can play the best "Garnett Silk" dubplate and who 
can get the crowd to respond more.   You try to play what the people want to 
hear and the trick is to do it better than who you are clashing.  Maybe I 
should explain what a dub plate is.   A dub plate, aka "a special", is created 
when you take a tune and ask the artist to customize it for you,  such as 
getting Buju Banton to do a version of Boom Bye Bye, but, change the lyrics to 
Boom Bye Bye in a sound boy's head.  In other words they customize the lyrics 
of there songs to put either the sound systems name in it or the sound system 
that the are clashing's name in it.  None of this is free -- it costs dollars 
unless you have connections but it still costs dollars. 
I hope this all makes some sense and that I havn't totally confused you if you 
have any quetions post them and I will try ro answer them.

From: djspleece@aol.com (DJ Spleece)

In a Message Dated: Thu, 03 June 1999 08:11 AM EDT, paddy_maher@my-deja.com
Wrote:

>I know the basic idea but can someone give me a
>detailed explanation of how a soundclash works ie

A soundclash is when two or more DJ's/ Sound Systems come together and "battle"
over who has the best/ most current/ rarest records.  

>who decides which side plays when and for how long?

The way we normally do this is to split time evenly at first and flip a coin,
but the one spinning the hottest stuff (audience reaction) is usually who is
going to spin the most/ longest in the end. The winner of the clash is usually
judged on the best records, the way they are mixed/ played (in my neck of the
woods we like to be creative), and who has the best "specials" or Dub plates.

>etc??

Sounds Clashes are always done in fun.  Often, it will appear as though the
DJ's are "insulting" one another, but this is all just part of the show.  Some
DJ's will even record there insults and cut them onto a Dub plate to work them
into the musical mix.  Peace!

*********************************
DJ Spleece (RAW #911)

----------
[15.] Are there World Wide Web Sites for Reggae?

	Actually there a hundreds, check the Jammin Reggae Archives
Web page for links for many of them:

	http://niceup.com

----------
[16.] What is RAW (Reggae Ambassadors Worldwide)?
 
What is Reggae Ambassadors Worldwide?
 
Reggae Ambassadors Worldwide (RAW) began with a seed planted in 1990 by
Inner Circle guitarist Roger Lewis. In a casual conversation he mentioned
that everywhere they performed they met a "Papa Pilgrim," that is, someone
familiar with local runnings and committed to the growth of Reggae music.
He suggested that we begin linking up and do some serious networking. In
the ensuing years Roger would again mention networking each time we met. 

During the summer of '92 I had a chance contact with Rastaman Nane' of
Grand Rapids, Michigan. As we chatted I mentioned Roger's suggestions.
Nane's response was "Let's do it." When I put him off because I was "too
busy," he countered with "When I want to get something done I give it to
the busiest person." How could I refuse?  Grand Rapids was selected as a
meeting place because of Nane's certainty that that city's Reggae
community would endorse such a gathering.  Encouraged by Nane's
enthusiasm, support, and confidence, letters were written, phone calls
made, and off we went. As Nane' said, "Even if there are only two of us,
that's a start." 

On December 11-13, 1992 more than fifty conferees representing the grass
roots of Reggae met in Grand Rapids to forge the beginning of an exciting
new direction for popularizing Reggae music. This meeting, which came to
be known as Conference '92, represented the fruition of that seed planted
by Roger Lewis. Our combined vision was that Reggae music, given the media
support it so richly deserves, would become as mainstream as rock, country
and other "Top 100" genres. Further, we wanted to actively contribute to
increasing the public's awareness of Reggae artists living both in and out
of Jamaica and to provide increased opportunities for unsigned performers.
Borrowing the concept from Third World's hit of the same name, Reggae
Ambassadors Worldwide was "born." 

Performing artists, deejays, promoters, club owners, writers, label
representatives and others met and began forming a networking system aimed
at having Reggae music achieve 100% parity with other genres. With so many
facets of the business of Reggae coming together, we realized we were
doing something right and we were doing it with a sense of purpose,
commitment, optimism, and unity . The bottom line for each participant
seemed to be to "Forward the Reggae Vibe...Everytime!"

Conference '93 was again held in Grand Rapids August 13-15. More than one
hundred Ambassadors and other conferees shared visions, created ideas, and
networked. Foundations were laid for an album release and tour showcasing
member artists. Committees were formed to assist with various tasks and a
decision made to seek non-profit incorporation. 

Conference '94, in Wichita, Kansas brought the grassroots of Reggae to 
the Heartland of America.  More RAW business was conducted along with a 
whole heap of Networking.

Reggae Ambassadors Worldwide, the world's largest Reggae network, is
hosting Convention '95 in Las Vegas, Nevada August 25-27, 1995.  This
year's theme is "Networking Works" and the focus will be on Education,
Entertainment and Networking.  Invited keynote speaker is world reknowned
author and Marley lecturer Roger Steffens.  Three nights of RAW members
artist showcase will be at the Fremont Street Reggae & Blues Club.  For
more information on this once a year Networking opportunity that you
can't afford to miss contact the following.  Rastaman Nane' at
702-256-4532 (phone/fax); e-mail <70431.615@CompuServe.com> or Papa
Pilgrim at 801-355-1405 (phone/fax); e-mail <pilgrim@xmission.com>.

RAW Mission Statement:
^^^^^^^^^^^^^^^^^^^^^
Reggae Ambassadors Worldwide is an international network of
Committed Reggae Enthusiasts who have joined forces to spread the positive
vibe of Reggae music.  Daily we will move forward educating humankind
about our music, always remembering the vision of One Love!

RAW Vision: To be the primary reference for the Reggae Industry. 
^^^^^^^^^^

Annual membership fees range from $15 to $50 depending upon
membership category. Lastly, in conversations with Ambassadors from around
the world, I and others are beginning to sense that the growth potential
of Reggae Ambassadors Worldwide is limitless. We are growing because of
your efforts. Ambassadors are helping Amassadors! 
 
If you want more information about Reggae Ambassadors Worldwide e-mail me 
<pilgrim@xmission.com> your postal mail address.  
 



Forwarding the Reggae Vibe...Everytime!   ----papa pilgrim
					  reggae ambassadors worldwide
					  pilgrim@xmission.com
                                          Finger for more info.
 
------------
[17.] Why do purists look down on UB40?

From: tomdp@selway.umt.edu (Thomas D Potterf)

  UB40 has consistently released albums with intelligent lyrics, though 
sometimes Ali Campbell's enunciation is not that great!  My question, why 
do so many "reggae purists" consider the UB's contribution to the genre 
as minimal at best?  Their lyrics speak about individual power, fighting 
injustice, and are backed by a solid reggae beat.  Is it because they 
seldom refer to Jah?
-- 

From: hbowser@bianca.amd.com (Horace Bowser)
Subject: Re: UB40: concious reggae

Nah, homey... It's the sound... the sound... the One Drop, Heartbeat Riddim 
I Ya!  No doubt, lyrics are important and, from what you say, their's seem
to be on the one.  But it's about the music.

From: walkup@phyast.nhn.uoknor.edu (John Walkup)
Subject: Re: UB40: concious reggae


The way UB40 "reggaefies" mainstream songs annoys me.

From: eznoh@niceup.com (EZ Noh Mikey)
Subject: Re: UB40: concious reggae

	For me it's how lame their new stuff sounds compared with their early
eighties tunes like "Madame Medusa", "Tyler", "Burden of Shame" and "My Way of
Thinking".

					EZ Noh,		mike

From: bobko@nunki.usc.edu (Ryan Bobko)
Subject: Re: UB40: concious reggae

I'm not too sure, but I'm almost certain Elvis wasn't writing {insert UB40's
last remake} in the mindset of a poor Jamaican fighting oppression in his 
homeland.  Not that much oppression of Jamaica in Tennessee...

From: TIMRAS@aol.com

it might have more to do with the fact that
Campbell is white.  I think they have had a major
influence in popularizing the genre/music, and their
earlier releases (pre Rat in the Kitchen) were representive
of the whole Steel Pulse/Naturlites UK roots-dub sound.
Political lyrics, horns, bass heavy dub mixes while
Junjo and Phang and their dancehall style was the style
in Jamaica. When UB40 got more "pop"ular in their sound,
"I Got You Babe" - "Red Red Wine", which was around when
their mixer/producer Pablo Falconer? , the bass players
brother, died (in a car crash?), they lost all alot of their old fans,
me included. I still think they are great for what they do,
but "Signing Off" thru "UB44" were genius, and the 12"
mixes from that time are really great.
Ultimately race and success may have been their un-doing
in the eyes of the so called reggae "purest"
For me the best reggae is often the most un-pure.
Give me Everly Brother covers and harmonica and banjo
riffs to keep the sound the mix of influences that first
turned me on to that funky music from Jamdown.

From: kmayall@cousteau.uwaterloo.ca.uwaterloo.ca (Kevin Mayall)

In article <walkup.780270352@phyast>,
John Walkup <walkup@phyast.nhn.uoknor.edu> wrote:
>
>The way UB40 "reggaefies" mainstream songs annoys me.

The way UB40/35 "mainstreams" reggae songs annoys me.

:)

Cool.....................

	Kev

----------
From: papalee@aol.com (Papa Lee)
Subject: Re: UB40: concious reggae

I can't resist responding to this question.  I think that there are many
minor reasons as to why UB40 has is so disrespected by reggae "purists"
but there are also a couple of serious reasons that many people probably
don't want to deal with.  

First, the easy stuff (1) They did their most serious work and some think
their best work before A&M picked them up so many of their best and most
conscious songs were not heard until the poppier material gave them their
image.   (2) They really haven't done much interesting songwriting in
about seven or eight years.  (3) They don't sing about Rasta themes and
don't use Rasta iconology (4) They don't connect in any way with Jamaica
(5) There is a natural inclination among purists of all genres to dismiss
those who achieve success on a more universal level (George Benson,
anyone?) (6) There is also a fundamental distrust of any act that even
deals on a global level.  Although I believe Third World's last two or
three records among their best and some of Steel Pulse's flirtations with
modern R&B to be exciting, there are too many people who pine away for the
good old days when they were on Mango.  UB40, on A&M and Virgin, "suffers"
from the same attitude (7) They emerged at the same time that the Two-Tone
movement was peaking and to many are indelibly linked to Madness, the
Specials and that ilk.  The relationship of those acts to "real" ska is
tenuous at best but it can influence the perception of the connection
between UB40 and "real" reggae.

On a deeper level, I believe that there is a certain amount of racism
involved here and I also believe that many people come to reggae with a
very specific cultural perspective that is not entirely musical.

On the issue of racism, I've seen this over and over again in the
criticism and literature of different musics that were invented or
developed out of various black communities.  Jazz, soul and blues have all
had passionate arguments over the issue of white musicians within those
genres and while it is undoubtedly true that jazz is fundamentally a black
based musical style, that doesn't mean that Bill Evans, Stan Getz and Art
Pepper aren't creative, innovative and exciting musicians. The same
arguments have raged over Stevie Ray Vaughn, Paul Butterfield and Joe
Cocker and they are equally pointless there as well.  
As regards UB40, I have to believe that at least in their material from
Signing Off to Labour of Love (and Rat in the Kitchen as well), that the
very fact that they are (predominantly) white works against them within
the reggae community.  One other band that I think suffered from this kind
of racism was the Blue Riddim Band, a truly excellent American band from
the early 1980s that never quite got the recognition they deserved despite
a tremendous talent and devotion to classic reggae. 

Finally, I believe that there are distinctions to be made between reggae
and Rasta and reggae and Jamaica.  The three are not identical and it is
important to keep their identities somewhat separate.  Reggae is a
*musical* form that was born out of commercial necessity and grew up in a
competitive, commercial environment.  It has consistently adapted
influences from all over the place and had grown tremendously in content
and popularity.  The fact that many international listeners "discovered"
reggae in an era in which most musicians were dedicated to Rasta themes 
or came to find the music through Bob Marley has caused them to identify
the music with that specific culture.   That's a mistake.  Reggae is much
broader than the music of Bob Marley would indicate just as the culture is
broader than reggae.  Yet because UB40 exists completely outside of the
culture defined by Bob Marley they are dismissed by those who define
reggae by Marley's standards.  That's unfortunate because UB40 are
excellent musicians who are often capable of powerful songs (although
their last three records have left me pretty cold).  

One Love,

Lee O'Neill

Date: Fri, 23 Sep 1994 19:40:03 -0700 (PDT)
From: Allen Kaatz <highnote@eskimo.com>
Subject: Re: UB40: concious reggae 

>  UB40 has consistently released albums with intelligent lyrics, though 
>sometimes Ali Campbell's enunciation is not that great!  My question, why 
>do so many "reggae purists" consider the UB's contribution to the genre 
>as minimal at best?  Their lyrics speak about individual power, fighting 
>injustice, and are backed by a solid reggae beat.  Is it because they 
>seldom refer to Jah?
 
I like UB40, myself, but the only record I own by them is a single of 
"Red Red Wine", which I knew would be a hit the first time I heard it, I 
thought they did a great job with that song.  A long of reggae fans 
prefer more rootsy Jamaican reggae, I guess.  I don't know why people 
waste so much energy putting them down... maybe it's easier than saying 
something positive for some people.  I think UB40's records have helped a 
lot of younger people get turned on to reggae in general, which is a good 
thing.  The band themselves are always very honest about their roots, 
having recorded two albums worth of older Jamaican songs (Labour Of 
Love).  I think that UB40 are just another facet of the modern reggae 
scene, they love the music, and have as much right to play it as anyone 
else.  As far as the rastafarian aspect, there are plenty of non-rasta
Jamaican artists who get respect in Jamaica.  Reggae is a musical form, 
not a religion, and although the rastafarian movement has had obvious 
influences on reggae music, it is far from the only influence on Jamaican 
music.  American rhythm & blues, mento, calypso, etc. are some of the others.

I have heard musicians in Jamaica mention UB40 with respect, 
they seem to be accepted there, if not a favorite.  Many Jamaicans, 
including recording artists, seem to be proud that musicians from 
other countries are interested in their music.  Another point in UB40's 
favor is that when they record material by Jamaican artists they have gone 
out of their way to made sure that the original writer gets paid.  This 
type of thing does not go un-noticed by musicians & artists in Kingston.  

Al

*Allen Kaatz* <highnote@eskimo.com>


From tpj@de-montfort.ac.uk Fri Sep 30 09:39:48 1994

Interesting question, this. At a guess I would say that UB40 are loved and
hated in roughly equal proportions! I think it is not really UB40 who are
perceived as the problem, but they do tend to get a lot of flak as the result
of a more general problem. 

It is clear that UB40 have achieved a level of success exceeding their
abilities as a reggae band. I have nothing against them musically, except
to say that they are very ordinary.


A similar case can be made concerning ex-Simply Red's Mick Hucknall. He's
got a good voice, but not the best, and his style is basically an
good imitation of other people's music. Also Lisa Stansfield (sorry these are
all English examples), the soul singer- good singer, but not *that* good...
the list goes on. 

Why is this?

Check out the old Macka-B song that says something like, "UB40 a-make the
most millions." In there, I don't think he's criticisng them personally,
but using them as an example of something more general a lot of black
artists have been complaining about for years. Their argument is that the
music they produce is marginalised and marketed as something alien, to
then be replaced in the mainstream by weak imitations by white artists
(or at least partly white, in UB40's case).


However, if this is indeed the case (I would tend to agree) I think that
the 'consumers' and not just the marketers of the music must shoulder some
of the responsibility for this phenomenon. Most people, and I certainly,
with hindsight, must include myself among them at some times naturally
aren't aware of this bias for whatever reasons. They genuinely think that
lisa, Mick, Ali or whoever are the better artists. 

That's the opinion of this purist, anyways.
Best wishes, all. 

Tom (tpj@uk.ac.dmu)

From kaleek@ibm.net Sat Apr 11 12:10:24 1998

I'm not even a purist and I have always thought this band was the
definition of cheese. Here are some reasons.
(A) Mainstream radio airplay. These days when an artist is doing some
sort of quality "rebel" music, you can be assured that it will not be on
radio. This is directly because the mass audience will not relate to it,
or enjoy it.
(B) The vocals. They are so whiney. It just makes me want to puke.
(C) They are unquestionably the artist of choice when hanging out with
the surfy crowd. Them and Depeche Mode. 
(D) They look like they are about to go in for an interview at GQ
magazine. If you are so damn dread, what is the need for hair gel?  
(E) Personally, I think many artists have been sucked into this
menatlity that if you want to break it big then you have to look at what
popular American radio is doing. Who are the leaders of this train of
thought? UB40. Sadly, many great bands have pursued this route to fame
and money and in turn have failed miserably. I can honestly say that I
have not seen a reggae show rock my world hard in about ten years or
more. The only exception has been the Skatalites. For some reason they
seem to understand that what made them popular in the first place is
what will keep them popular regardless of the fads in the states. I
remember the first time I saw Steel Pulse in 1985 and I was blown away.
By the late eighties they were coming out with renditions of Bobby
Brown's "It's My Perogative." What the hell is that? It sounds like
someone got signed to an American label. It is really sad to see such
extremely talented bands just go to pot. Look at the line ups for Reggae
Sunsplash. They are just awful. Bands like Big Mountain headlining? I
work at a college radio station and we get so many crappy American
focused releases of reggae. I was in a shoe store a few months ago and
they had MTV on and all of a sudden I recognized a voice. I looked up to
my dismay and disgust to see one of the guys from Black Uhuru in some
awful rap video. There is a big reason that I simply do not buy new
releases of reggae, espaeciialy from older artists. That is because they
just suck really bad. I don't think it is because these artists don't
know how to make good music, I think it is because they have some UB40
listening manager and record label executives telling them what will
sell. If anyone knows these older artists please beg them for some
roots. End the UB40ization of what once was some of the best music ever.

---------------
[18.] Can anyone recommend good female reggae vocalists (not dancehall). ?

 A friend turned me on to Annette Brissett and the Taxi Gang's
"Annette."  He's crazy about her and since he's got a birthday coming
up I was wondering if any kind souls could offer suggestions?  Thanks
in advance for the help.

From: eznoh@niceup.com
 

	Check out Sophia George, either the "For Everyone" or "Latest Slang" CD.
Also "Black Woman" by Judy Mowatt.

					EZ Noh,		mike

From: sppcarso@ultrix.uor.edu (Bush Doktor)

   Try one of my faves... Kofi  Her first cd is great, I believe it's
called "with sugar".  Try Ernie Bsssssss, he has it.

BUSH DOKTOR  sppcarso@ultrix.uor.edu

From: deen@primenet.com (Deen Ipaye)

  Judy Mowatt's "Look At Love" CD is a recent favorite

  Marcia Griffith's "Naturally" is a mellow classic

  Rita Marley's "Who Feels It" LP with "One Draw" track is another good one

  Martha Velez's "Escape From Babylon"--Produced by Bob Marley
                 (If you can find it!)

  TAKE YOUR PICK... I'm sure there are lots more!

  [dEEN]
  
From: papalee@aol.com (Papa Lee)

Marcia Griffiths is an amazingly talented singer and almost any record
she's ever made is worthwhile.  Judy Mowatt (Griffiths, Mowatt and Rita
Marley were members of the I-Threes, the harmony singers for Bob Marley)
is good songwriter and singer and her Black Woman album  is one of the
greatest of all time.  Hortense Ellis is another great female singer,
although finding her records is getting to be very difficult these days. 
I'd also recommend Doreen Shaffer and Dawn Penn unequivocally.  I also
love JC Lodge and Carlene Davis, although both have a tendency to get a
bit mawkish.  And before I forget, there's Sandra Cross, Janet Kay,
Carroll Thompson and Susan Cadogan from England.  

Happy hunting, 
Lee O'Neill

From: highnote@eskimo.com (Allen Kaatz)

Marcia Griffith's Studio One LP is a classic... I think it is currently 
available, although the music is older style...

Al

From: d2domer@dtek.chalmers.se (Erik Domstad)

  I would recommend Aisha, either "High Priestess" or "Daughters of Zion".
Nice roots style, Mad Professor at the controls....

   Erik

[19]. Please give an explanation of "One Drop" Style

In article <3lkbp7$bpm@newsbf02.news.aol.com>, lcarmean@aol.com (L Carmean)
writes:
|> My understanding of the one drop style is that the drummer doesn't strike
|> any of the drums on the first beat of a four beat bar or measure.  Then on
|> the third beat the drummer will usually strike the snare drum and bass
|> drum at the same time.  However, he/she might hit only the snare or bass
|> drum on the third beat.
|> 
|> The drummer might strike the high hat on the first beat, but he/she
|> "drops" the first beat as far as the drums are concerned and instead
|> emphasizes the third beat with the drums.  Frequently the bass will make
|> up for the dropped first beat by landing on it with a strong bass note.
|> 
|> If anyone has a better explanation I would be happy to hear it.
|> 
|> Larry Carmean
|> RAW #336

|> This is a pretty good explanation of one drop - but the bass also often 
|> misses the first beat too.  Ska was the original "one drop" rhythm... 
|> leaving off the down beat with the bass drum is one of the things that 
|> made Jamaican music so unique and instantly recognizable.  American R&B 
|> and rock drummers are habituated to hitting the downbeat really strong 
|> with the bass drum - this is one of the reasons it is so hard for them to
play 
|> authentic-sounding reggae. 
|> 
|> Reggae lost the "one drop" feel somewhat when Sly Dunbar started using 
|> different patterns that he adapted from funk & rock beats... this created 
|> the rockers style, where the bass drum hits all four beats, and led to a 
|> "heavier" style that you can hear on a lot of the late 70's/early 80's 
|> records that SLy & Robbie played on & produced, where the drum pattern 
|> is almost like a simple, slowed down rock beat.  I miss the one-drop 
|> beat, a lot of the modern dance-hall records don't use it anymore, but 
|> you do still hear it sometimes.  IMHO it is the classic reggae beat.
|> 
|> Al
|> 
|> -- 
|>         ~~~~~~~~~~   Allen Kaatz (highnote@eskimo.com)  ~~~~~~~~~~~~~

[20]. What are some reggae videos?

Reggae and Related Video Information

1. ASWAD Live Island # 082 987 3 (1991) 70 minutes, live at the Hammersmith
Odeon - London
Justice, Chasing for the Breeze, Need Your Love, Roots Rockin', Don't Turn
Around, Bubbling, 54/46 That's My Number, Tradition, Smokey Blues, Give a
Little Love, Feelings, African Children, One Love, Set Them Free.

2. ASWAD Always Wicked Island #440 083 221 3 (1991) 42 minutes (Studio Videos)
54/46 That's My Number, Chasing For The Breeze, Give A Little Love, Set Them
Free, Don't Turn Around, Beauty's Only Skin deep, On and On, Next To You,
Smile, Set Them Free (LIVE @ Hammersmith Odeon).

3. Aswad  Live ROCK n DOCK Limelight Studios London (1985) Japanese Import
No Notes Available.

4. Black Uhuru - Tear It Up - LIVE @ the Rainbow Theatre, London (1981)
ISLAND # 440-082 991 3
Shine Eye Gal, Plastic Smile, Puff She Puff, I Love King Selassie, Youth of
Eglington, Push Push, General Penitentiary, Happiness, World Of Reggae,
Sponji Reggae, Sensimilla.
Micheal Rose, Puma Jones, Duckie Simpson, Sly Dunbar, Robbie Shakespeare,
Mikey Chung, Darryl Thompson, Skyjuice, Keith Sterling.

5. Lucky Dube LIVE in Concert Shanachie# 1021 (1993) 90 minutes
Feel It, The Hand That Giveth, Natural Man, Back To My Roots, I've Got You
Babe, Together As One, Prisoner, House Of Exile, Dracula, It's Not Easy,
Reggae Strong, Don't Cry, War And Crime, Remember Me, Truth In The World
Lucky Dube - Vocals, Thuthukani Cele - Synthesizer, Eugene Mthethwa -
Synthesizer, Chris Diamini - Percussion, Vulindela Yeni - Brass, Robert Jabu
Mdluli - Brass, Ndumiso Nyovane - Brass, Jabulani Sibumbe - Bass, Sandile
Dhlamini - Lead Guitarist, Innocent Mathunjwa - Drums, Nolusindiso Gaeza,
Cynthia Malope, Kabanina Ntsele - Backing Vocals, Richard Siluma - Manager

6. Bob Marley and the Wailers  Caribbean Nights  100 mins.(1988) Island #
440 082 373 3
No Woman No Cry, Bad Card, Trenchtown Rock, Stir It Up, Rastaman Chant,
Slave Driver, Concrete Jungle, Lively Up Yourself, War, Jammin', Zimbabwe,
Redemption Song, Could You Be Loved.

7. Bob Marley And  The Wailers  Live At The Santa Barbara County Bowl -
Copyright 1981
No Notes Available

8. Bob Marley And The Wailers LIVE! (Rainbow Theatre London, 1977) 72 mins.
Island #082 971 3
Trenchtown Rock, Them Belly Full (But We Hungry), I Shot The Sheriff, Rebel
Music (3 O'Clock Road Block), Lively Up Yourself, Crazy Baldhead, War, No
More Trouble, The Heathen, No Woman No Cry, Jamming, Get Up Stand Up, Exodus.

9. Bob Marley And The Wailers Legend (Best Of) (1991) Island #082 965 3
Want More, Is This Love, Jamming, Could You Be Loved, No Woman No Cry, Stir
It Up, Get Up Stand Up, Satisfy My Soul, I Shot The Sheriff, Buffalo
Soldier, Exodus, Redemption Song, One Love/People Get Ready.

10. Bob Marley Time Will Tell 90 mins. (1992) Island/Tuff Gong # 440 060 100 5
Archive footage featured: Coming In From The Cold 1980 Essex House, Concrete
Jungle 1973 BBC Old Grey Wistle Test, Curfew/Burnin' & Lootin' 1974
Sheltervision, Them Bellyfull 1976 Exeter/1977 Rainbow, Lion Of Judah 1978
Peace Concert, Forever Loving Jah 1980 Tuff Gong Studio, I Shot The Sheriff
1979 Santa Barbara/1980 Rockpalast, Lively Up Yourself 1980 New Zealand, So
Much Trouble 1978 Tuff Gong Studio, War 1977 Rainbow/1980 Rockpalast,
Revolution 1980 Tuff Gong Studio, Ambush In The Night 1979 Santa Barbara,
Running Away 1980 Zimbabwe, Jammin' 1978 Peace Concert, No Woman No Cry 1977
Rainbow, Could You Be Loved 1980 Tuff Gong Studio, Exodus 1977 Rainbow,
Africa Unite 1979 Santa Barbara, Zimbabwe 1980 Zimbabwe, Redemption Song
1980 Miami Rehearsal, Coming In From The Cold 1980 Essex House, Natural
Mystic 1980 Rockpalast, Get Up Stand Up 1973  Edmonton/1974
Sheltervision/1976 Exeter/1976 Smile Jamaica/1977 Rainbow/1979
Sunsplash/1979 Santa Barbara/1980 Zimbabwe/1980 Rockpalast.

11. Ziggy Marley and The Melody Makers Concious Party Live At The Palladium
60 mins.
(1988) Virgin Music Video # 3 50127
Concious Party, Tomorrow People, Tumblin' Down, Lee & Molly, We Propose,
What's True, Rat Race, Time Will Tell, Unuh Nuh Listen Yet, We Love Reggae
Music: Give It All You Got, Lord We A Come.

12. Third World Prisoner In The Street (1979) Mono Sony/Island/CBS Japanese
Import 70 mins.
Now That We've Found Love, Slavery Days, Third World Man, Give A  Little
Something, Talk To Me, Cold Sweat, Irie Ites, Tribal War, African Woman,
Street Fighting, Satta Masagana, 96 Degrees In The Shade, Prisoner In The
Street.

13. Peter Tosh LIVE (at The Greek Theatre August 23, 1983) Japanese Import
EMI/Picture Music 1984
Intro, Start All Over, African, Comin' In Hot, Not Gonna Give Up, Rastafari
Is, Where You Gonna Run, Glass-House, Equal Rights/Downpresser Man, Johnny
B. Goode, Get Up Stand Up.
Peter Tosh and Word, Sound and Power. Donald Kinsey - Lead Guitar, Carlton
"Santa" Davis - Drums,
Keith Sterling - Keyboards, Stevie Golding - Rhythm Guitar, George "Fully"
Fullwood - Bass, "Vision" Walker - Percussion, Winston Morgan - Percussion.

14. Bunny Wailer In Concert (1986 Madison Square Garden concert) 80 mins.
Shanachie #104
Old Dragon, Blackheart Man, Dreamland, Love Fire, Struggle, Rise And Shine,
Dance Rock Runnings, Galong So, Ram Dancehall, Ballroom Floor, Walk The
Proud Land, Rudie, I Stand Predominate, I'm The Toughest, Hypocrites
Together Again.
Backed by the 13 piece Reggaestra (including Roots Radics band and backing
vocalistsPsalms (formerly the Gaylad), the Umojah Dance Ensembe, The Switch
Dancers, MC: Bagga Brown.

15. Heartland Reggae (1983) 95 mins. Palm Beach Entertainment #8002 (shot
1977/78)
Bob Marley and the Wailers, The I-Threes, Peter Tosh, Jacob Miller, Judy
Mowatt, Dennis Brown, U-Roy, Junior Tucker, Lloyd Parks.

16. Rockers Its Dangerous (1977 re-released 1993) Rockers Film Corp.
Burning Spear, Bunny Wailer, Third World, Peter Tosh, Jacob Miller, Kiddus
I, Junior Mervin, Inner Circle, The Heptones, Grgory Isaacs, The
Abyssinians, Big Youth,Leroy Smart, Dillinger, Rockers All Star Band: Robbie
Shakespeare - Bass, Leroy "Horsemouth" Wallace - Drums, Earl (Chinna) Smith
- Guitar, Earl (Wire) Lindo -Keys, Bernard (Touter) Harvey - Keys, Bertram
McLean (Ranchie) - Guitar, Tommy McCook - Flute and Sax, Herman Marquis -
Sax, Richard (Dirty Harry) Hall - Sax, Bobby Ellis - Trumpet, Vin Gordon
(Tramie) - Trombone, Skully - Percussion.

17. Land Of Look Behind (1982) 88 mins. Rhapsody Films Directed by Alan
Greenberg
Gregory Isaacs, Bob Marley, Mutabaruka, Lui Lepke. 

18. Bongo Man (1981) Castle Hendring Communications # HEN 2018
Starring Jimmy Cliff and more.
Bongo Man, It's a Hard Road To Travel, Stand Up - Fight Back, Viet Nam, She
Is A Woman, The Harder They Come, That's My Philosophy, Wanted Man,
Fundamental Reggae, I'm The Living, No Woman No Cry, Going Back West, Let's
Turn The Tables.

19. The Harder They Come (1973)  Island #440 083 743 3
Starring Jimmy Cliff, more.

20. Reggae Got Soul Japanese Import Various Artists - No Further Info Now
Available.

21. Splashin' The Palace - (Sunsplash 1984) Various Artists - No Further
Info Now Available.

22. Roots, Rock Reggae (Shanachie #1202) Various Artists 55 min. 

23. Best Of Sunsplash 1991 (1991) 60 mins. A*VISION Entertainment #50260 3
Coco Tea - Riker's Island, Ziggy Marley - Small People; Drastic, Lucky Dube
- Back To My Roots, I-Three - Jealosy, Third Worls - Reggae Ambassador,
Shabba Ranks/Maxi Priest - False Pretender, Barrington Levy - Too
Experienced, Shinehead - Strive, Mutabaruka - Dis Poem, Frankie Paul - Rock
With Me, Gregory Isaacs - Medley, Dennis Brown - Here I Come.

24. Best Of Reggae Sunsplash Part II (1991??) Various Artists. No Further
Info Now Available.

25. Reggae Sunsplash 1981 A Tribute To Bob Marley (1981) Various Artists. No
Further Info Available.

26. All Time Best Of Reggae Sunsplash Collector's Edition  (1991) 90 mins.
A*VISION 50304 3
Bob Marley - Get Up Stand Up, Ziggy Marley - Small People, Maxi Priest -
Wild World, Shabba Ranks - Trailer Load, Bunny Wailer - Gotta Keep On
Moving, Toots & The Maytals - Medley: Sweet & Dandy/Bah Bah/Pomp & Pride,
I-Three - Lively Up Yourself, Black Uhuru - General Penetentiary,
Skatellites - Latin Goes Ska, Aswad - Roots Rockin', Yellowman - This Old
Man, Blue Riddim - Nancy Reagan, Steel Pulse - Raid I Blues, Burning Spear -
Slavery Days, Third World - Forbidden Love, Ninjaman - Listen To The Don,
Lucky Dube - No Truth In This World, Barrington Levy - Teach The Youth;
Mandela, Frankie Paul - Tidal Wave; All My Love, Dennis Brown - Revolution.

27. The All Star Reggae Session (1988) 60 mins HBO/A*VISION #50211 3
Jimmy Cliff, Toots Hibbert, Chrissie Hynde, Grace Jones, I Three, Ziggy
Marley & the Melody Makers, The Neville Brothers, Carlos Santana, Sly &
Robbie, Bunny Wailer, Coati Mundi, Tyrone Downie, Stephen "Cat" Coore, 809
Band, Solomonic All Stars, Dallol, Oneness.
Songs: Buffalo Soldier, Roots,Radics, Rockers and Reggae, Rise And Shine,
Concious Party, Waiting In Vain, Steppin' Razor, Country Roads, 5446 Was My
Number, My Jamaican Guy, My Blood In South Africa, It Ain't No Use, Hanging
Fire, Love Me, Love Me, The Harder They Come.

28. Buried Treasures Vol. 2 - Reggae Classics (1991) 30 mins. Island #440
083 871 3
Toots & The Maytals - Reggae Got Soul, Third World - Now That We've Found
Love, Black Uhuru - Solidarity, Ini Kamoze - Call The Police, Sly & Robbie -
Boops (Here To Go), R.P.O. - Minnie The Moocher, Benjamin Zephaniah - Us An
Dem, Burning Spear - Great Men, Bob Marley and The Wailers - Could You Be Loved.

Other Videos Of Interest 

Rhythyms Of The World Anthology (1991) Island # 440 083 873 3
Hosted by Peter Gabriel & Bobby McFerrin
Salif Kieta, Dede St. Prix, Fela Kuti, Ray Lema, Buckwheat Zydeco, King
Sunny Ade, Los Van Van, Kanda Bongo Man, Ntsikane, Joe Arroyo Y La Verdad,
Malombo, Boukman Eksperyans, Soul Brothers, Baba Maal, Irakere, Abdullah
Ibrahim, Oscar D'Leon, Malathini & Mahotella Queens.

Ju Ju - African Music - King Sunny Ade etc.

FELA KUTI- Teacher Don't Teach Me Nonsense

UB40  -CCCP, Live, various other videos available.
--------
[21]. What is a good way to find concert information?

Check:

JAMMIN REGGAE ARCHIVES   http://niceup.com/tours.html

http://niceup.com/regional.html

http://niceup.com (Events on main page)
Reggae Source   http://reggaesource.com
Reggae Train   http://reggaetrain.com
Pollstar On-Line         http://www.pollstar.com/
Reggae Festival Guide    http://www.reggaefestivalguide.com 
Read rec.music.reggae
Join RAW

Scotti B
RAW 596

i have 2 tour 
search programs on my homepage  http://web.syr.edu/~affellem

they are not just for reggae but pretty good.hope this helps. adam

----------
[22.] Where can I find some information about dreadlocks?

http://www.mydreadlocks.com/dreadlocks-info
http://www.dreadheadhq.com
http://www.knottyboy.com

----------
[23]. Why shouldn't I post pictures or sounds to rec.music.reggae?

It's not a good idea to post "binary" files, such as pictures or sound
files, to the newsgroup. Binary files are usually HUGE-- many times the
size of normal text files.  They can take forever to download and can
break some people's newsreaders.  Also, if you get charged by the time
it takes to download a message, or the size of the messages you
download, that's a LOT more money paid by the unsuspecting newsgroup
reader!

Also, if enough poeple start posting binaries in this newsgroup, news
server admins may decide that it's a binary newsgroup and articles
will get flushed much faster, that is they will only stay around
for a day or two.

Please post binary files to the most appropriate binaries newsgroup ONLY.
Here are a few places to get you started (warning-- the files may take a
LONG time to download due to their size!):

    alt.binaries.pictures.misc    (news:alt.binaries.pictures.misc)
    alt.binaries.sounds.misc      (news:alt.binaries.sounds.misc)

You can post a note in a group that you've sent a binary file to another
newsgroup, but please don't crosspost that file or the note between the
groups or post the files here. If you post pointers to the groups where
readers might be interested, and only post the binaries in binaries
newsgroups, everything works out fine. :)

-----------
[24]. Where can I find lyrics on the Internet?

Jammin Reggae Archives Lyrics directory     http://niceup.com/lyrics
Peter Tosh Lyrics     http://www.fortunecity.com/tinpan/metallica/471/index.html
Bob Marley Lyrics Library     http://members.tripod.com/~Herbs_Pirate/
Reggaelyrics Archive     http://hjem.get2net.dk/sbn/reggae.htm
The Lyrics Lounge    http://www.verse.freeservers.com
AC's Roots Reggae Lyrics    http://www.acroots.com/roots/albums/lyrics.htm
----------
[25]. Where can I find information about Reggae Clubs?

See the clubs page at the Jammin Reggae Archives:

http://niceup.com/clubs.html

-----------
[26]. Where can I find information about Reggae Shops?

See the shops page at the Jammin Reggae Archives:

http://niceup.com/shops.html

-----------
[27]. Where can I get an RSS news feed about reggae?

Paste the URL "http://niceup.com/niceup.rss" into your reader or drag the RSS
icon from the news section of the main page.

-----------
[28]. Where can I find Reggae podcasts?

Jammin Reggae Virtual Radio - plug this URL into Itunes or other podcasting
software: http://niceup.com/podcast.rss

Big Up Radio: http://bigupradio.com/

Search for "Reggae" at these podcast sites:

The Podcast Directory: http://www.podcast.net/
Podcasting News: http://www.podcastingnews.com/
Podcasting Tools: http://www.podcasting-tools.com

-----------

Mike Pawka       eznoh@niceup.com   RAW #94
Jammin Reggae Archives Cybrarian  niceup.com
Jammin Reggae Virtual Radio Cyber-DJ  reggaeradio.org
Nice Up Enterprises   FAX/PH: 619-226-6108

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Last Update March 27 2014 @ 02:11 PM