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Hello this is my first of many podcasts about ska and other types of music that derrived from ska. I will add link to my fb if you want to add me and give me suggestions or topics to talk about
Skanking With The Enemies
The Local Idiots
We got the chance to sit down with "Rocksteady" Alex Vega prior to Alpha-1 Wrestling's Chaos Cup to discuss PLENTY of topics including the Chaos Cup itself where he revealed he had another challenger for his Zero Gravity Title match, Squared Circle Live's Adrenaline Cup where he teams up with Johnny Wave to take on the superkick-throwin' Young Bucks, his match at Smash Wrestling's HUGE Any Given Sunday 2 show where he takes on Brent Banks & MUCH more!
Music historians typically divide the history of ska into three periods: the original Jamaican scene of the 1960s; the English 2 Tone ska revival of the late 1970s, which fused Jamaican ska rhythms and melodies with the faster tempos and harder edge of punk rock; and the third wave of ska, which involved bands from the UK, other European countries (notably Germany), Australia, Japan, South America and the US, beginning in the 1980s and peaking in the 1990s
Ken Boothe's musical career began in the early sixties. When Ken Boothe was only eight years old he won his first singing contest and has never looked back. He has never lost his focus, even if it may have appeared blurred at times to the outside world. His aim has always been to sing and perform to the best of his ability. Boothe began his recording career with Winston 'Stranger' Cole in the duo Stranger And Ken, releasing titles including 'World's Fair', 'Hush', 'Artibella' and 'All Your Friends' during 1963-65. Thereafter he released a series of hits on Clement Dodd's Studio One Label. When the rocksteady rhythm began to evolve during 1966 Boothe recorded 'Feel Good'. In 1968 at the age of 17, Ken Boothe released his first album "Mr. Rock Steady", which included numerous hits such as "The Girl I Left Behind", "When I Fall In Love", "I Don't Want to See You Cry", "Home, Home, Home", and the title many regard as one of Boothe's best exponents of song, "Puppet On A String". Journalist Alphea Saunders, in writing about Boothe and this song said, "He is one of the best of the very best". During this period he was often referred to as the Wilson Pickett of Jamaican music. He continued recording with Dodd until 1970, releasing some of his best and biggest local hits. He also made records for other producers at the same time, including Sonia Pottinger's Gayfeet label, for which he recorded the local hit 'Say You" and "Lady With the Starlight". in 1968. In 1971, he inspired the world with his hit song "Freedom Street" on Leslie Kong's Beverley's label. This classic was co-written with BB Seaton, whom Ken had worked with from their Studio One days. www.crsradio.com www.caribbeanradioshow.com 661- 467 -2407
Vivienne Tanya Stephenson
Tanya Stephens, (born 2 July 1973, Kingston, Jamaica, as Vivienne Tanya Stephenson (although some sources say Vivienne Tanya Stephens)) is an influential reggae artist who emerged in the late 1990s. Stephens is most known for her hits "Yuh Nuh Ready Fi Dis Yet" — the single was later featured on the Reggae Gold 1997 compilation album — and "It's a Pity", which achieved Tanya international recognition. She and life partner Andrew Henton have together co-founded Tarantula Records.
Uziah "Sticky" Thompson (1 August 1936 – 25 August 2014) was a Jamaican percussionist, vocalist and deejay active from the late 1950s. He worked with some of the best known performers of Jamaican music and played on hundreds of albums.
Thompson found employment with Clement "Coxsone" Dodd, assisting him with running his sound system, in time becoming a deejay with the system under the name "Cool Sticky". He became one of the earliest men to record in the new deejay style, using his mouth to make clicks and other percussive sounds. As a deejay he recorded with The Skatalites and can be heard on the tracks "Ball Of Fire", "El Cat Ska", "Guns of Navarone", as well as others. While working for Dodd he became friends with Lee "Scratch" Perry, and Thompson recorded as a deejay for Perry, and for Joe Gibbs in the late 1960s, on tracks such as "Train to Soulsville.
Born in Kingston, Jamaica, Lewis sang in church from an early age . forming a singing group called The Regals. By the mid-1960s, he began recording and had one of the earliest rocksteady hits with "Take It Easy" in late 1966.The track was recorded with Lynn Taitt and the Jets and is regarded as one of the first rocksteady singles.the first 'herb' song ever recorded in Jamaica, "Cool Collie". He worked for Duke Reid as an arranger and backing vocalist, and won the Festival Song Contest in 1970 with "Boom Shaka Lacka". He began working as a singer with Byron Lee & the Dragonaires, and in 1971 had a hit with "Grooving Out On Life".
Lewis continued to release records, but his success after the early 1970s was limited. Lewis released This Is Gospel in 1996 on his own label, Bay City Music, founded in the 1980s.
The Celebrity Link: #1 songs by Jamaicans reaching UK Singles National Chart
The incidence of Jamaican recordings reaching the United Kingdom charts and impacting British culture has become commonplace.
Millie Small’s 1964 remake of Barbie Gaye’s 1957 R&B hit, My Boy Lollipop set the trend when it climbed to No. 2 on the British charts.
It effectively opened the floodgates for a deluge of Jamaican recordings to flow incessantly onto the British charts.
Earlier, others like Laurel Aitken and Dandy Livingstone created an initial impact, with Aitken’s Boogie in My Bones and Little Sheila in 1957 becoming the first Jamaican-made recordings to be distributed in England.
A couple years after Millie Small’s hit, ska legend Prince Buster burst onto the UK music scene with the ultimate rude-boy song, Al capone Guns Don’t Argue, which established his career in Britain.
The year 1967 saw the biggest Jamaica-UK hit of that period, when Desmond Dekker’s 007 (Shanty Town) found its way to the No. 14 slot on the charts.
Dekker, who had ushered in a more conscious form of Jamaican rocksteady, revealed to the outside world, through the recording, the condition of ghetto dwellers and gun-toting hoodlums in a society going through a transition:
Two years later, Dekker and the Aces would return to register Jamaica’s greatest impact on the UK charts and the first Jamaican record to hit the No. 1 spot there — Israelites.
Although few could understand its lyrics, it became a timeless masterpiece, merely on the strength of its intense reggae beat, reaching the top in April 1969.http://www.herald.co.zw/jamaican-music-rules-uk/ 661-467-2407 www.crsradio.com
Mighty Diamonds are a Jamaican harmony trio, recording roots reggae with a strong Rastafarian influence. was formed in 1969 and remains together as of 2012. They are best known for their 1976 debut album Right Time produced by Joseph Hoo Kim and the 1979 release Deeper Roots.Formed in 1969 in the Trenchtown area of Kingston, the group comprises lead vocalist Donald "Tabby" Shaw, and harmony vocalists Fitzroy "Bunny" Simpson and Lloyd "Judge" Ferguson. They had become friends at school in the mid-1960s, and were originally called The Limelight, adopting 'The Mighty Diamonds' after Shaw's mother started referring to them as "the diamonds". Their smooth harmonies and choreographed stage show were inspired by Motown vocal groups of the 1960s, with Shaw listing The Temptations, The Stylistics, The Impressions, and The Delfonics as influences as well as Jamaican rocksteady artists such as John Holt and Ken Boothe.
Their early recordings were produced by Pat Francis, Stranger Cole ("Girl You Are Too Young" (1970), "Oh No Baby"), Derrick Harriott ("Mash Up"), Bunny Lee ("Jah Jah Bless the Dreadlocks", "Carefree Girl"), Lee "Scratch" Perry ("Talk About It"), and Rupie Edwards, but it was in 1973 that they had their first hit single with the Francis-produced "Shame and Pride", recorded at the Dynamic Sounds studio. It was their mid-1970s work with producer Joseph Hoo Kim that gave them their real breakthrough. "Country Living" and "Hey Girl", were recorded and released by the Channel One label. "Right Time" followed, on Hoo Kim's Well Charge label, and cemented their status as one of the top Jamaican groups of the time www.crsradio.com 661-467-2407 firstname.lastname@example.org
The Celebrity Link- Exploring the Popular Dance Styles of Jamaica over the years
Reggae is a music genre first developed in Jamaica in the late 1960s. While sometimes used in a broad sense to refer to most types of popular Jamaican dance music , the term reggae more properly denotes a particular music style that evolved out of t..
Jamaican Ska is another music genre which emanated out of Jamaica during the late 1950s to early 1960s. Jamaica Ska is precursor to Rocksteady another popular Jamaican music genre. Rooted in Mento, American jazz and R&B Jamaica Ska gain recognition across the international music fraternity rapidly.
Jamaica Ska music is played with a combination of many instruments. The guitar, bass guitar, trumpet, trombone, saxophone, piano, drums and organ are just some of the musical instruments used. The Jamaica Ska music is quite identifiable by the walking bass line on the offbeat. Jamaica Ska first and foremost was dance music in its inception. The music was then exported via immigrants to the U.K first before spreading throughout the world. Jamaica Ska was also known as blue beet music in the U.K during those years.
Although Jamaica Ska is dance music the first set of songs was heavily rooted in religious lyrics. Then there were nursery rhymes types of lyrics with a touch of Jamaican dialect. The third lyrics type was the rude boy and political which was then reflecting the social fabric of Jamaica.
By the early 1960s Jamaica Ska gave way to Rocksteady which is much slower rhythmically. However, around 1979 Ska rose again but this time out of England and spreading to other European countries and Australia. The third wave was when Jamaica Ska music had risen again during the 1990s engulfing many other countries.
Holt was born in Kingston in 1947. He recorded his first single in 1963 with "I Cried a Tear" for record producer Leslie Kong, and also recorded duets with Alton Ellis. He achieved prominence in his home country as lead singer of The Paragons and they cut a succession of singles for Duke Reid at his Treasure Isle Studio and enjoyed a string of hits, including "Ali Baba", "Tonight", "I See Your Face", and the Holt penned "The Tide Is High" (later made famous by Blondie and also covered by Atomic Kitten). "Wear You to the Ball" was another of his hits with The Paragons, and hit the charts again when U-Roy added a Deejay verse to it. During his time with the Paragons, he also recorded solo material for Studio One (including "Fancy Make-up", "A Love I Can Feel", "Let's Build Our Dreams" and "OK Fred") and Prince Buster ("Oh Girl", and "My Heart Is Gone").
Holt left the Paragons in 1970. By the early 1970s, he was one of the biggest stars of reggae, and his "Stick By Me" was the biggest selling Jamaican record of 1972, one of a number of records recorded with producer Bunny Lee. His 1973 album, Time Is The Master, was successful, with orchestral arrangements recorded in London. The success of the string-laden reggae led to Trojan Records issuing a series of similarly arranged albums produced by Bunny Lee starting with the 1,000 Volts of Holt in 1973, a compilation of Holt's reggae cover versions of popular hits (and later followed by similarly named releases up to 3,000 Volts of Holt). 1,000 Volts spawned the UK Top 10 hit "Help Me Make It Through the Night" (written by Kris Kristofferson), which peaked at number 6, and included covers of Billy Joel's "Just the Way You Are" and "Touch Me in the Morning" by Diana Ross.
Dawn Penn's earliest recordings were composed and written by Dawn Penn around 1966 using session musicians. In 1967 she recorded the rocksteady single, "You Don't Love Me" produced by Coxsone Dodd at Studio One. She also recorded "Why Did You Leave" at Studio One, "Broke My Heart" for Bunny Lee, "I Let You Go Boy" and covers of "To Sir with Love" and "Here Comes the Sun".By 1970 Penn had left the music industry and had moved to the Virgin Islands.In 1987, however, she returned to Jamaica and to music.
In the summer of 1992 she was invited to appear on stage at a Studio One anniversary show, where she performed the song "You Don’t Love Me" with Steely & Clevie as backing musicians. The performance was a success, and she returned to the recording studio to re-record the song for the tribute album Steely & Clevie Play Studio One Vintage. It was released as the single "You Don't Love Me (No, No, No)" over a year later, reaching the charts in the U.S. and Europe, plus hitting #1 in her native Jamaica, and making #3 in the UK Singles Chart. Penn's next album, No, No, No, was released on Big Beat Records in 1994.
Subsequently, "You Don't Love Me (No, No, No)" has been sampled and covered by the artists Kano, Hexstatic, Jae Millz, Ghostface Killah, Mims, Eve featuring Stephen Marley and Damian Jr. Gong Marley. Their versions were all renamed as "No, No, No", bar Ghostface's, which was named "New Splash". The song was performed by Blue King Brown on the Australian youth radio network Triple J programme "Like a Version" 2006.