DJ-Kicks: Will Saul. Dark Arc by Saintseneca. William Onyeabor Remixed. Pain in My Heart by Otis Redding.
Love Sign by Free Energy. The Sea of Memories by Pallers. Dark and Stormy by Hot Chip. Tales of Brave Ida by Ida. Swisher by Blondes. Swoon by Dott. Fugue by Tape and Bill Wells. Comet, Come to Me by Meshell Ndegeocello. Posing as Love by Old Monk. A Tyrant and Lamb by Saul Conrad.
Dimensional Space by Cv Little Red by Katy B. Under Color of Official Right by Protomartyr. Morning Phase by Beck. Benji by Sun Kil Moon. Dubcatcher by DJ Vadim. Love Letters by Metronomy. Asiatisch by Fatima Al Qadiri. Supermigration by Solar Bears. Legacy by RP Boo. My Krazy Life by YG. All Her Fault by Holly Golightly. Hush or Howl by Black Pistol Fire.
Soapbox by The Crookes. Churches Schools and Guns by Lucy. As Plantas Que Curam by Boogarins. Changing Light by Mirah. Odludek by Jimi Goodwin. Wonderland by CEO. Daughter of Everything by Vertical Scratchers. Grass Punks by Tom Brosseau.
Trust by Gambles. Apar by Delorean. Free Your Mind by Cut Copy. Doubled Exposure by D. Thing III. ABC by Kreidler. Farmer's Corner by Wooden Wand. Dubna by Vtgnke [LP]. Caramel by Connan Mockasin [LP]. The Outsiders by Eric Church. Dear Mark J. The Highway by Holly Williams. Southeastern by Jason Isbell. Cosmos by Yellow Ostrich. Ibibio Sound Machine. Prince Fatty vs. Mungo's Hi-Fi. Hey Daydreamer by Sally Seltmann. DJ-Kicks by John Talabot. The River and the Thread by Rosanne Cash. Lucky by Suzy Bogguss.
Boy by Carla Bozulich. Along the Way by Mark McGuire. Somewhere Else by Lydia Loveless. I'm A Dreamer by Josephine Foster. Scraps by Electric Ocean. Plucklings by Howe Gelb. The Family Crest by Beneath the Brine. Effra Parade by The Melodic. String Figures by Boonlorm. Major Arcana by Speedy Ortiz. Personal Appeal by R. Stevie Moore. Inner Fire by Souljazz Orchestra. Bluebird by Dawn Landes. The Inheritor s by Holden.
Mouthfuls by Fruit Bats [LP]. In Roses by Gem Club. Minutes of Sleep by Francis Harris. The Pitcher by Christian Kjellvander. Vapor City by Machinedrum. Hardcore Traxx: Dance Mania Record New Ways by Solvent. Black Panties by R. Nomad by Bombino. Twelve Stories by Brandy Clark.
Songs for Slim: Rockin Here Tonight. The Coincidentalist by Howe Gelb. Personal Record by Eleanor Friedberger. Woman by Rhye [LP]. Cupid Deluxe by Blood Orange. Old by Danny Brown. Run The Jewels. Generation Club by Love Inks. Love's Crushing Diamond by Mutual Benefit. Spit by Ron Morelli. DJ-Kicks by Breach. A Friend in the World by Lovers. The Electric Lady by Janelle Monae. Electricity by Candlelight by Alex Chilton. Synaesthesia by Hands. Always by Panama. Everlast by Perera Elsewhere.
Partygoing by Future Bible Heroes. Nepenthe by Juliana Barwick [LP]. Moon Tide by Pure Bathing Culture. The Silver Gymnasium by Okkervil River. Fuse by Keith Urban. Under the Covers Vol. Gone Away Backward by Robbie Fulks. Denderah by Jyoti. Nobody Knows. Impersonator by Majical Cloudz. In Focus? Mediation of Ecstatic Energy by Dustin Wong.
We Are Loud Whispers by Suchness. Perpetual Surrender by Diana. Love of Mine by Vic and Gab. Silence Yourself by Savages. II by United Mortal Orchestra. Tape Deck Heart by Frank Turner. In a Manner of Sleeping by Safety Scissors. A Blink of an Eye by Syclops. Extensions of Yesterday by Franck Roger. Live from Festival au Desert, Timbuktu. Helsinki Beat Tape by Dfalt. Small Reveal by Aidan Knight. Shaking the Habitual by The Knife. Live with the Britten Sinfonia by Jaga Jazzist.
Electro Blues, Vol. Thieves by Zongo Junction. A Different Time by John Medeski. Departure and Farewell by Hem. Devotion by Jessie Ware. Obsidian by Baths. Limits of Desire by Small Black. The Lost Tapes by Rodion G. My Gard en State by Glenn Jones.
In Time by The Mavericks. Woman by Rhye. Lesser Evil by Doldrums. Time Can Change by Seth Walker. The Stand-In by Caitlin Rose. FM Sushi by Rainbow Arabia. Aetherea by Sondra Sun-Odeon. Centralia by Mountains. Eu Preciso de um Liquidificador by Graveola. Semi-Sweet by Tijuana Panthers. General Dome by Buke and Gase. Light Up Gold by Parquet Courts. Songs for Christmas by Sujan Stevens. The North Borders by Bonobo. Dagger Beach by John Vanderslice. Rat On! Minute by Minute by the James Hunter Six.
Nocturnes by Little Boots. Weird Work by Adventure. Figure 8 by Elliott Smith [LP]. Moon Safari by Air [LP]. Wondrous Bughouse by Youth Lagoon. In and Out of Weeks by Highasakite. The Invisible Way by Low. Honeys by Pissed Jeans. Artist Proof by Chris Darrow. Haw by Hiss Golden Messenger. Falling Light by Darshan Ambient. The Who Sings My Generation. The Waiting Room by Lusine.
Commotus by Lucrecia Dalt. Incubation by Function. Petra Haden and Bill Frisell. Wormfood by Jamaican Queens. I Know What Love Isn't. Seven Stevens. Yesterday was Lived and Lost by New Build. Home by Nosaj Thing. The Laughing Man by Una. Images du Futur by Suuns. JourneyDance with Toni Bergins. Shut Down The Streets by A. Somewhere Else by Sally Shapiro. Flowers by Sin Fang. Twosomeness by Pascal Pinon. Pre-Transmission by Terrible Things.
Homosapien by PVT. The Archer Trilogy Pt. Manifestra by Erin McKeown. Don't Bend Ascend by Godspeed You!
E Dokument. I Love You. Have An Awesome Day! Over and Over by the Legends "M. Team Healthy Clips [3. Bleachers: "I Wanna Get Better". Thumpers: "Unkinder A Tougher Love ". Jenny Lewis: "Head Underwater". Love Dollhouse: "Can I". Jack White: "Lazaretto". The album is a great exercise in roots-rock and blues piano. Featuring the songs, vocals and piano magic of Chris Nole, It Be What It Be is a one of the best vintage piano-based blues albums of Released on her own Tuscan Sun label, the twelve song CD evokes the musical grandeur of say New Age goddess of song Enya, amped up through the magic of a more pure form of Americana-based New Age.
New Age music fans looking for an album of sumptuous vocal music that is also keenly orchestral in scope should give a listen to Seay and her magical sounding album In The Garden. Reid was a huge star Quiet Ecstacy - Sun Ra - Aurora Borealis (Vinyl his time who, like Donovan, was produced by the late, great Mickie Most. The Jigsaw Seen is one of the great American pop bands of the past twenty years, so this brief single only release is a most welcome return for Reid and anything by the Jigsaw Seen is of interest to pop fans worldwide.
In the in between years, Nelson honed his guitar chops even more working with the late great Johnny Winter and that same rip-roaring blues rock sound can be heard on the 12 track Badass Generation. Badass Generation boasts excellent audio quality and creative CD packaging.
It is a privilege to carry those prayers into the world. It is my hope that they will be a blessing to all who hear them. Clocking in at 65 minutes, the eleven track Awaken Me is one of the finest New Age pop albums of the year.
On Twelve For The Road, Mike handles all the keyboard work and the flugelhorn is only added to one track. The process has become too expensive and stressful, and the ratio of downloads to sales of my CDs is literally 5 to one. Talk about a homemade CD On Twelve For The Road, jazz legend Mike Metheny has crafted an album that brings his inventive musical craft alive and well into the 21st century.
In the spirit of his earlier releases, Circles Of 8 is filled with melodic and soaring instrumental music that combines symphonic sounds within the context of New Age music. In addition to his keys and synths, Holland also adds in acoustic and electric guitars on several tracks here.
Also on board is the sax work of Paul Christensen. In Durant joined forces with Colin Edwin for the first self-titled album by Burnt Beliefand in they return for their third set, with Emergent. In Burnt Belief, Durant and Edwin are joined by drummer Vinnie Sabatino and the result is yet again an amazing journey into the world of progressive guitar fusion music. We simply have to be honest about the music we make, and that should shine through loud and clear.
So, when I am writing these pieces, my idea is to create melodies that are memorable, but not obvious. One of the top instrumental rock fusion albums ofEmergent should be played many times to fully absorb its kaleidoscopic moods and sounds. As a guitarist, Arun stakes out some unique sonic ground on A Stagey Bank Affair, leading his band through a range of instrumental music that quite tastefully combines jazz-rock, world groove fusion, funk, neoclassical chill, soundtracks and more.
Speaking about his album album, Arun tells mwe3. Right from the onset, it was designed to be a concept album. Fact or folklore, we do not know, but it has given wings to our imagination to create a concept album around fairgrounds. A Stagey Bank Affair, is thus a metaphor for a place which used to be a fun fair, and now means a messy affair, kind of like adulthood is. Growing up just means we stop growing and stop having fun. Commenting on his unique approach towards composing, writing and recording his music, Ken tells mwe3.
But like Chopin, I intend them to all have artistic as well as pedagogical value. Some of the Preludes are more technically challenging than others, but I intend them all to be more about the music than calisthenics. And they are all designed to be playable for most fingerstyle players that know the fingerboard and can read traditional musical notation.
The amazing thing is that the 12 Preludes CD is combined with the meticulously printed and packaged sheet music for all the songs Ken plays here. After a number of releases, EITS have sort of hit their stride. Nothing exuberantly melodic here so this is much more in the Teutonic mold of cosmic electric guitars ala Faust or Neu! Featuring a range of compositions composed by different band members, the Ison CD is well packaged and the sound is first rate.
Orbit Stern is more influenced by electronica masters such as Jean Michel Jarre. In Samuel returned again with the first of his trilogy of albums called Variety Of Live. It's basically my "solo" project, where I invite musicians that never played together before from different musical- and geographical backgrounds.
Orbit Stern is Frederik Hauch and I, writing the material together. We actually developed a slightly different approach after doing 3 Japan tours, sometimes working with improvising musicians and meeting people from the punk- jazz- free improv- noise- prog scene.
Progressive rock fans looking for new and exciting avenues of progressive 21st century music, should check out the electrifying sounding Variety Of Live.
Baumann of course was a member of electronic music legends Tangerine Dream during their to heyday. With Baumann meeting long time T.
The Romanian who left his homeland to get the full impact of the American dream, is convincing jazz audiences world wide with his 13 track CD. The album also features a range of music arrangers including Tom Zinkco-producer Dan Siegel, Michel Camilo and many others. Ward - - Transfiguration of Quiet Ecstacy - Sun Ra - Aurora Borealis (Vinyl m. A shot at glory mark knopfler - The.
And the Ever Expanding Universe mostly autumn - - for all we shared mostly autumn - - the spirit of autumn past mostly autumn - - music inspired by the lord of the rings mostly autumn - - The Last Bright Light mostly autumn - - The Story So Far mostly autumn - - Passangers Mostly Autumn - - Catch the Spirit complete anthology 02 discs set mostly autumn - - Pink Floyd Revisited mostly autumn - - Storms Over Still Waters mostly autumn - - Heart Full Of Sky limited edition 02 discs box set mostly autumn - - glass shadows Motek - - Port Sunshine moth vellum - - moth vellum Mother Mallard's Portable Masterpiece Co.
Bungle - - Bowel of Chiley demo Mr. Bungle - - Goddammit I Love America! Bungle - - OU demo Mr. Bungle - - Disco Volante Mr. Bungle - - California Mr. Bungle - - Bizarre Festival live mr.
I lead me lord neal morse - - cover to cover neal morse - - worship sessions vol. S new trolls - - america ok new trolls - - tour dal vivo, include il singolo faccia di cane New Trolls - - Concerto Grosso N. One Summer Night paco de lucia - - Siroco paco de lucia - - Fantasia Flamenca paco de lucia - - Antologia vol. A cook's renamed edition premiata forneria marconi - - Chocolate Kings premiata forneria marconi - - Jet Lag premiata forneria marconi - - Passpart— premiata forneria marconi - - Suonare Suonare premiata forneria marconi - - Come Ti Va In Riva Alla Citt… premiata forneria marconi - - Live Bobo Club [bootleg] premiata forneria marconi - - Story premiata forneria marconi - - L'inizio tour italiano '72 premiata forneria marconi - - Serendipity premiata forneria marconi - - Stati de Imaginazione premiata forneria marconi - - Live In Japan 02 discs box set premiata forneria marconi - chocolate kings tour in giro per il mondo premiata forneria marconi - Ulisse presto ballet - - Peace Among The Ruins pretty things the - - s.
Sebastiao ep quarteto - - Balada Para D. The Great American Songbook vol. Jobim Instrumental 1 songbooks - - Ant. Mikael - - Psychocosmic Songs st. Don't Do It! King Jammy left and a friend, Figure King Tubby at the board of his new studio, late s Figure Adrian Sherwood, Figure Dennis Bovell. My first thanks to the two friends who made me aware of dub music back inTony Sims and Willy D.
Special thanks to Gage Averill, who advised this work through its disserta- tion stage at Wesleyan University, and who provided my entry into academia. I also thank Mark Slobin and Su Zheng. If you take as your cultural polarities Africa on the one side, and North America on the other side, you have two extremely heavy cultures balanc- ing each other. And that connection, I think, is Jamaica. But even though Jamaica has been making its musical presence felt in.
Today, the sounds and techniques of classic dub music have been stylisti- cally absorbed into the various genres of global electronic popular music such as hip-hop, techno, house, jungle, ambient, and trip-hopand con- ceptually absorbed into the now commonplace practice of song remixing.
Few people are aware that dub, a style built around fragments of sound over a hypnotically repeating reggae groove, was a crucial forerunner of these genres and that much of what is unique about contemporary dance music is directly traceable to the studio production techniques pioneered in Kingston beginning in the late s. It is not overstating the case to suggest that this music has changed the way the world conceives of the popular song.
Fur- ther, I intend to show the extent to which this music despite its creation in the hermetic setting of the recording studio is in fact a potent metaphor for the society and times within which it emerged, and for global culture at the new millenium. The Post—World War II Transformation of the Euro-American Popular Song If we can speak of a transformation of the popular song at the turn of the twenty-first century, it is important to acknowledge that the Jamaican creators of dub were by no means the only musicians responsible.
During the s, for example, the experiments of post—World War II composers. The fusion of harmonic modalism and electronic textures in turn influenced a wide variety of popular musical forms. Gener- ally, the goal was to stretch the boundaries of songs beyond their radio- formatted length of three minutes in accordance with the extended play requirements of dance clubs and discotheques. Producers of disco and house music extended tracks through remixing and the construction of tape loops.
What these ef- forts demonstrate is that outside of the requirements of selling and broad- casting, the duration of commercially recorded dance music is often fixed within highly artificial limits. Jamaican dub is argu- ably particularly significant and fundamental in this process. Marley was tremendously successful in courting this audience but tragically, he became terminally ill just as he was preparing to court African American audiences through a joint tour with Stevie Wonder.
Nevertheless his suc- cess, as well as the emigration of thousands of Jamaicans to American and British cities after World War II, significantly expanded the market for Ja- maican music in the major urban centers of the United States and Europe, and laid the foundation for the structural influence of Jamaican pop on global dance music.
The stylistic evolution of Jamaican popular music along both local and transnational lines was a complex and intertwined process; in terms of the aesthetics of production, however, reggae developed in two general direc- tions during the s. One direction was represented by musicians like Marley, Peter Tosh, Toots and the Maytals, Jimmy Cliff, and others: these were the figureheads anointed by the multinational record industry to in- troduce Jamaican popular music to the international audience.
As with most pop music, there was a strong emphasis on singing, and specific songs tended to be associated with specific performers. Song lyrics tended toward themes of social and political justice filtered through the religious vision of Rastafari. The biblical undertones of this vision translated onto the world stage as a universalist sentiment that struck a strong chord with post—World War II American and European rock audiences.
They were listening to more rootsier sounds. The kind of music Bob Marley was singing, the rhythm tracks were not like what was currently taking place in Ja- maica at that time. Although it also came to sell significantly abroad, another direction in which reggae developed was represented by musicians producing music largely aimed at the Quiet Ecstacy - Sun Ra - Aurora Borealis (Vinyl Jamaican audience, associated during the s and early s with producers like Bunny Lee, Linval Thompson, Joe Gibbs, Junjo Lawes, and the Hookim brothers.
How did this music differ from that of performers like Marley and Tosh? DJs—vocalists who rapped over rhythm tracks—were becoming nearly as popular as singers inside of Jamaica; in terms of song lyrics, however, the difference was not always so pronounced.
The Rastafari-inspired lyrical themes were shared by both camps, such as those addressing African repatriation, the benefits of ganja marijuana smoking, the heroism of Marcus Garvey, quotations of Scrip- ture, or the divinity of Ethiopian emperor Haile Selassie. One clearly important difference between local and interna- tional reggae was in their respective sites of consumption. As opposed to attending the concerts staged abroad by musicians like Marley and Tosh, most Jamaicans enjoyed music in dancehalls and at outdoor dances at which recorded music was provided by mobile entertainment collectives known as sound systems.
Possibly the clearest difference between the two types of reggae was in the sound, and it is the sound of Jamaican reggae that I primarily address in this book. These Jamaican singers did reggea internacional: banda vs djs y mc. The vocals also sometimes seemed strangely discontinuous; no sooner would a singer complete a stanza of a song, before a different vocalist usually a DJ began shouting over the music in apparent disregard of the original vocalist; the varying fidelity made it clear that these vocalists did not record their parts at the same time.
The music also seemed oddly mixed. The bass sounded unusually heavy and the equalization strangely inconsistent, as the sound veered back and forth from cloudy and bass-heavy to sharp and tinny. At a dance or on the radio, it seemed as if you could hear the same rhythm track for hours on end.
That was the kind of perception of it. Be- cause in those times, you had all of those progressive rock bands. So it was very much derided. But a lot of the people that had derided it changed their tune after the advent of Bob Marley. As such, they are largely absent from the Jamaican music most familiar to non-Jamaicans. The approach Jamaican producers and recording engineers took to the production of music would make a subtle, structural, and long- term impact on world popular music in subsequent years, providing open- ings for new practice in the areas of form, structure, harmony, orchestra- tion, and studio production.
It illustrates that postindependence Jamaica. My own fasci- nation with dub music dates to the early s, immediately following the international success of Bob Marley.
Who no waan come cyaan stay You can stay for I am going Who no waan come cyaan stay. Yet all this, as it turned out, was only half of what the music had to offer. The rhythm section was treated sim- ilarly: sometimes audible, at other times dissolving into passages of pure am- bient sound.
In this remixed version of the song, reverberation seemed to be the central compositional element, as the music moved back and forth between music and echoes of music. Even these echoes were themselves ma- nipulated until the track seemed at times to lapse into clouds of pure noise. At this point the mixer would reintroduce the rhythm section, and the music became once again earthbound. It was as if the music was billowing out from the speakers in clouds, dissolving and reconstituting itself before our ears.
Brownand from that mo- ment on I was hooked on dub music. In alternating snatches, dub seemed to convey the stereotypically optimistic and melodious quality of much Caribbean music, the improvisational disposition of jazz, the contempla- tive dreaminess of pop psychedelia, the ominous undertones of black in- surgence, and the futuristic soundscapes of experimental electronic music and science fiction.
This fusion of dance music, improvisation, and abstract soundscaping was right in line with my own musical interests, as I listened avidly to reggae, jazz, and experimental electronic music. Rooted in the aesthetics and communal imperatives of black dance music, while fore- grounding the creative use and misuse of sound technology, this music could satisfy all three tastes. Boston, where I attended the Berklee College of Music in the early s, was a city with a strong audience for roots reggae music.
Some of this interest was traceable to the residual impact of Marley, who had played the city several times, including a legendary benefit concert at Harvard Sta- dium in ;21 one of his very last concerts was at the Hynes Auditorium in the fall of Jazz and popular music were the dominant student inter- ests at Berklee, but there was also a strong subculture of reggae enthusiasts.
In fact, a number of my classmates joined local reggae bands such as One People, the I-Tones, and Zion Initation, and others went on to play with renowned reggae artists such as Burning Spear, the re-formed Skatalites, and Sugar Minott. But what I remember most is listening to reggae for hours with my friend Willy D. Wallace, analyzing and dissecting the finer points of dub mixes by Scientist, King Tubby, and others.
A true music of our modern spheres—if those spheres are understood to be streaked by an infinitude of invisibly compet- ing broadcast signals,22 intermittently canceling each other out. Besides the music itself, I found the ethos surrounding it equally intri- guing. Recording engineers have certainly never been the star personal- ities of popular music; like the subterranean graffiti murals that graced subway cars in New York City as they dipped in and out of public view during the s and s, dub mixes seemed to issue from a subaltern location in the most literal sense.
They seemed to exist as shadow ver- sions of popular themes: sometimes heard, sometimes not, anonymous- sounding in their skeletal spookiness.
Who was creating this strange music, and where was it being created? The first was an elusive and introspective Rasta producer and session musician whose heavy dub rhythms were graced with his wistful melodica improvisations and whose devout faith imparted to his dub music a feeling of meditation and devotion.
The second, a vocalist possessed by postcolonial visions of biblical apocalypse, found in dub a sonic complement to his excoriating sermonizing. In the context of the rapid corporatization and standardization of the popu- lar song that was taking place during the s, I heard dub music as a.
And although as I shall discuss in the final chapter most of the techniques of dub music have been subsequently subsumed into the common practice of popular song composition, this music con- tinues to stand out today as a provocative intervention into the global conception of the popular song.
Kingston It was my enthusiasm for dub music that eventually inspired me to write this book. Part of this project involved getting to know some of the many Jamaican musicians who had emigrated to New York City and other parts of the United States. Eventually, I made several trips to Jamaica between and The area struck me as somewhat of a tropical war zone: its crum- bling buildings, debris-strewn lots, and treacherously potholed streets would be better traversed by a military jeep than a conventional automo- bile.
My cab driver pointed to two indentations above each of his ears, proud of the fact that he had survived a direct gun- shot wound to the temple while being robbed in this very area. Tubby had been tragically murdered during a robbery inand his family closed the studio shortly thereafter. On a later visit, however, I was met outside by a young boy returning home from school, who lived in the house with his family.
In a way, that simple sentence became a recurrent theme during my trips to Kingston. The challenges and occasional surreality of researching a music that had reached its social, commercial, and stylistic apogee more than two decades earlier was compounded by the fact that many of its most important practitioners had since perished in the violent climate of King- ston.
I had the impression that I was sometimes researching in a ghost town, despite the profusion of life—including musical life—at every turn. Ironically, this impression was reinforced by the reverberating sound of the dub music I listened to following my daily travels around the city.
As far back as my aforementioned college years, my friends and I had re- mained largely unaware that Jamaica of the early s was a very different place than the Jamaica of the s that had given birth to roots reggae. Some of us were indirectly aware of the violence that accompanied the elections as Edward Seaga ousted Michael Manley from office, but our awareness of Jamaica was primarily developed through its music, and what we heard was largely Rastafarian-themed music of the roots era.
For the most part, the radio stations in New York continued to play a substantial amount of Rasta-themed music, and the Jamaican performers who toured high-profile U. For those of us judging the country by its music, our understanding of Jamaica would change dramatically inwhen seemingly out of nowhere. And this re-visioning had as much to do with the concrete political realities of Jamaican culture as it did the global marketing of Jamaican music at that time. My point here is that, similarly to my friends and me in the early s, many Jamaican music lovers outside of the Caribbean have no idea of the tough climate that spawned the music that so passionately speaks of peace, love, and brotherhood.
A mere roll call of the great Jamaican musicians who have met violent deaths will make this clear—and for both economic extremes of the Jamaican music industry. Lucia Road encompassing a re- cording complex, a leading sound system, and several record labels.
The brightly lit, air-conditioned lobby is gleaming with white tile, furnished with a fish tank, and staffed by a friendly receptionist seated be- hind a stylishly curved office desk.
In fact, King Tubby had also been producing digital music at his studio during the four years prior to his death, but did not live to consolidate this new phase in full. So in both. Although Perry has lived outside of Jamaica for some twenty-five years now, the remains of his studio still stand in the back of his old home, located at the end of quiet Cardiff Crescent in the Kingston suburb of Washington Gardens.
The neighborhood seems a world away from the West Kingston ghetto where King Tubby lived and worked, and reflects the period of affluence Perry enjoyed while he was the producer for such legends of reggae music as Bob Marley, Augustus Pablo, The Meditations, The Heptones, The Mighty Diamonds, and others.
The Black Ark studio itself remains a burnt-out, rubble-filled shell of a building, although the carport leading to it has been refurbished with outdoor fish tanks, drawings, paintings, and an array of multicolored light bulbs. For some time, it has been rumored that Perry is on the verge of re- viving the Black Ark as an actual recording facility; only time will tell if he will actually bring this to fruition.
For the moment, the embers of his bril- liance continue to smolder in the eccentric trappings that garnish the charred remains of his studio. Both local politics and global economics have ex- tracted a heavy toll here, and it takes a powerful music to transform the harsher aspects of this reality.
That is exactly what King Tubby, Lee Perry, and other producers of dub music accomplished during the s. All the talk of circuits, knobs, and switches can distract one from the fundamental reality that what these musicians were doing was synthesizing a new popu- lar art form, creating a space where people could come together joyously despite the harshness that surrounded them. Nevertheless, this book will focus. Broader Themes Post-Colonial Jamaica Roots reggae reflected a unique moment in Jamaican history and, as such, intersects with a number of themes that shape this narrative on a broader level.
From the period of urbanization that began in the s, Kingston life had progressively differentiated along class lines. This atti- tude began to change during the s.
But what was taking place in Jamaica reflected changes in the world at large. Cultural and political consciousness was on the rise in many developing countries, inspired by the nearby Cuban revolution, the civil. Regional political activists in the Caribbean like Walter Rodney and Maurice Bishop were dismantling the ideological foundations of colonialism and white supremacy, while artists and intellectuals like C.
The religion of Rastafari had long been considered a fringe movement of Jamaican society since its inception in the s and Rastas, as adherents were known, were generally looked upon with con- tempt and disdain by the larger society.
Nevertheless, the millenarian and utopian aspects of Rasta theology, heralding the destruction of an evil world, the ultimate victory of the weak over the strong and of good over evil, resonated dynamically within the sociopolitical turbulence of post— World War II Jamaica.
From the s, the religion grew substantially in popularity and influence and began to make inroads among the urban poor in Kingston, a process that accelerated after leading reggae musicians such as Bob Marley and Peter Tosh became adherents in the late s.
Rastafari also held, among other things, that the Old Testament of the Bible was a coded history of black people, that the Messiah prophesied in the biblical book of Revelation was the reigning emperor of Ethiopia, Haile Selassie — ; that Rastafarians were modern descendants of the Old Testament. Although there were abundant love songs, novelty songs, slackness songs, and instrumentals, the Rastafarian influence was dominant in the popular reggae of the era.
Eventually, through the medium of music and charismatic reggae performers such as Marley and Tosh, Rastafari grew to become the most globally diffused of all the indigenous Caribbean religions. The musical structure of roots reggae, built upon a hybrid of neo- African and progressively Africanized Euro-American traits, represent a second component; the hybridized redeployment of European musical traits in an Africanized musical agenda is encoded with the self-determination at the heart of the nationalist and postcolonial projects.
In this book, I argue that beyond traditional textual and structural concerns, the additional transformations wrought by studio engineers in the mixing of dub music represent a third and, in the long run, profoundly transformative musical arena. At their most radical, the textural and syntactic qualities of the music. The Ganja Factor As the central sacrament to Rastafarians, the importance of ganja mari- juana has been well documented and this importance extends into the sphere of Rasta-influenced Jamaican music.
Yet while it would probably be difficult to find a Jamaican musician of the roots era who was avowedly anti-ganja, some Jamaican musicians nevertheless felt that the prominence of this theme led to a distorted view of reggae in the world at large, as musicians played to the expectations of their international audi- ences.
Ganja was declared illegal in Jamaica in and for the decades since, its illegality has been a primary tool used by the ruling class in the social control of working-class Jamaicans. As such, it is not surprising that ganja played a central role in the blended class, cultural, and political content that exploded in Jamaica in the s and that arguably found its most powerful and passionate articulation in roots reg- gae. That is ganja business. We do those things like we are revolutionary.
We put forty bag on a plane and feel good. We send those so people in America could smoke the good ganja, not just for money alone. As Rasta-influenced reggae musicians extolled the virtues of ganja to the inter- national audience, Jamaica, roots reggae, and ganja essentially became interchangeable advertisements for each other, with the latter rivaling legal exports such as bauxite, sugar cane, and bananas.
Despite the religious rhetoric, then, a deeper reason for the sacralization of ganja in Jamaica might be the huge economic benefit it brings to the island.
Bonham Rich- ardson concluded:. A Jamaican narcotics squad patrols warehouses, sabotages clandestine airstrips, and intimidates growers, and the Jamaican government has sponsored helicopter flights over parts of the is- land to burn ganja fields.
Yet these campaigns from a Jamaican government pres- sured by US politicians are not appreciated by the majority of Jamaicans; a recent poll indicated that 62 percent of all Jamaicans opposed the curtailment of marijuana exportation to the United States, in part because so many benefit from it.
As I shall discuss in chapter 2, ganja was an important catalyst in the sound of dub music. Basically, then, this book is about a particular type of art realized in the re- cording studios of Kingston: its sound, its broader resonance for Jamaican and diasporic African culture, and its influence on the language of popular music worldwide.
The book can be considered a history of a subgenre of reggae music with a substantial oral history component, a sonic analysis of what I hear as unique about Jamaican studio craft, and a work of cultural interpretation.
The book examines the impact of dub music on several lev- els. Chapter 1 foreshadows the emergence of dub by provid- ing a brief historical overview of Jamaican music and an exploration of the theme of electronic music as viewed through the prism of Jamaican music.
Chapter 2 examines the economic, stylistic, and technological forces that were catalysts in the emergence of dub as a genre, the formal strategies of the dub mix, and includes the voices of several of the musicians central to its rise. Given the extent to which advances in sound technology have opened up new sonic parameters in music, my analysis in chapters 2 though 6 is an attempt however preliminary and narrative-based to fashion a lan- guage to address the qualities of this music on its own terms.
And my own work necessarily ties into similar efforts in the spheres of experimental music, free jazz, various world musics, and other forms of electronic popu- lar music. Chapter 2 will most likely interest readers who wish to under- stand what distinguishes dub from the rest of roots reggae music, as well as those interested in its processes of realization.
While this section of the book can be read straight through from beginning to end, it might be more comfortably read a chapter at a time—ideally, while listen- ing to the various dub mixes that are discussed. Unfortunately, clearance is- sues proved prohibitive in the release of a CD to accompany this book, but CD sources for all music discussed in this text are provided in the notes and the appendix of recommended listenings.
Chapter 7 briefly chronicles the final years of the roots reggae era, and examines the legacy of dub music in Jamaica and its influence on the digital era of Jamaican music, which began in the mids.
Chapter 8 largely. Rather, it seeks to uncover the processes by means of which certain people—socially- situated and culturally-determined actors—invest certain sounds with meanings. Chapter 8 will be of most interest to those readers who ap- proach the topic of dub music with an interest in black cultural studies, di- aspora studies, or postcolonial studies.
Having moved beyond the boundaries of Jamaican cul- ture, this coda makes a claim for dub as an influential musical subculture of global popular music at the turn of the twenty-first century. Because this book, for the most part, focuses on dub in its original Jamaican context, I do not attempt to examine the non-Jamaican varieties of dub in the same amount of detail as I devoted to the Jamaican context; I merely provide enough material to give the reader an overview of how dub has influenced musical developments outside of Jamaica.
In the end, there are two themes in this book. Nascence of the Imperium. Written and recorded in to explore the drama of a time and empire that continues to shape the world and foretell the zenith and nadir of civilization.
Celebrate beauty and venerate love. Cherish the battle and welcome death. Limited edition of copies. Comes as 6-panel digipak and CD with pit-art. The other part is a silent scream of the same young man terrified, hungry, covered in trench mud, longing for home and warmth of woman's body.
Comes as 6-panel digipak. Resurrected from Ahbez's unrecorded sheet music, ca. They are joined by a host of guest artists, including nine of Ahbez's friends and former collaborators, as well as contemporary performers Kadhja Bonet, Xenia Kriisin, and King Kukulele.
The composer's own handmade drums and bamboo flutes also appear throughout the recordings. Another exciting chapter in the Four Flies jazz series, this is the first full-album release of the long-forgotten soundtrack composed by Armando Trovajoli for Piero Vivarelli's movie 'Il Vuoto'.
Here, elegant and nocturnal cool jazz alternates with more rhythm-oriented tracks influenced by groovy Brazilian vibes and raw rock'n'roll. All tracks are performed by a sextet featuring Trovajoli himself on piano, Carlo Zoffoli on vibraphone, Gino Marinacci on baritone sax and flute, Enzo Grillini on electric guitar, Berto Pisano on double bass, and Sergio Conti on drums and percussion.
Finally rescued from the historical archives of CAM, this exquisite soundtrack offers a special insight not only into the history of Italian jazz, but also into the penetration of the genre into Italian film music.
This single is a great example of what these musicians stand for. Apparently he has been around the music business for decades, but oddly enough, he has left only a few traces of his presence.
Like a skilled alchemist, Barton Think combines soulful beats and jazzy downtempo into a unique sound that takes those genres into bold new territories. Together they played a significant role in the UK dub Album) and produced Album) of the most distinctive instrumental dub music in that era, which shows significant influence in today's dub and electronic music. This 12" was originally released on Boom Shacka Lacka and sees a limited reissue.
This album brings several international artists of six different nationalities together. Khalia - No Better Day Denyque - I Found Me LMK - So Real 2. Sophia Squire - Vibez So Nice Queen Omega - Strong Woman Ikaya - Perilous Time Sumerr - 3rd Eye Pressure - Complete Me Jah Vinci - Officer Blacko - Love is All We Need Million Stylez - Holding On Pressure - Know More Turbulence - Hands in Mine Stranjah Miller - Jah Light Riflah - Kensei Charly B - Love Instead.
Throughout his career, he would play with jazz legends such as Dizzy Gillespie, Lester Young, Lou Bennett and Lucky Thompson, but he remained virtually unknown outside Belgium due to his reluctance to leave Antwerp. This 2LP 'Minor Works' is a collection of rare and previously unreleased recordings which pays tribute to the life and jazz of Jack Sels.
Comes on red vinyl. Artwork by Massimo Missoni. File under future jazz, urban, nu soul. This album plays in the way of a metaphysical seance and according to Jeff Mills, it should be played in a silent space, free of outside noise, chatter or talking and other visual distractions.
They disbanded in A collection of B-sides from hard to find 45s that never made it onto the albums during the singer's psychedelic period. Akbayram glued together disparate arrangements that combines noteworthy analogue synthesizers with mystic poetry from hundreds of years ago. Anatolian melodies with western touches, like breakdowns for cosmic whispering, slammin' organ, or wild phasing effects on folk instruments.
Comes with remastered sound and an insert featuring photos and liners. Limited to copies only. Eddie and Gary Weiss then put together 3-piece Buzzsaw. Sadly, Buzzsaw only released one 45 during their short lifespan. This Buzzsaw double vinyl retrospective includes all the tracks from the previous 'From Lemon Drops To Acid Rock' CD, plus some amazing songs from recently discovered acetates and unreleased master tapes.
The music is orgasmic '71 heavy-psych and proto-grunge in the style of Hendrix and Blue Cheer, with killer fuzz-wah guitar parts and melodic vocals. This double-LP comes with remastered sound and liner notes by Roger Weiss. LP contains inlay with lyrics.
Limited to copies only! Featuring a raw sound, the album presents a band playing with a loose approach, and drawing on a. Through the years several bootlegs appeared, but now finally there's an official reissue.
I Trance You (Original 12 Mix) - Gypsy (4) - I Trance You (Vinyl), Szomjasak Vagyunk - Junkies (2) - Váll-lógatás (CD), Just Between You And Me And The Wall, Youre A Fool - The Amazing Rhythm Aces - Toucan Do It Too (Vin, Modern Philosopy - Facez Of Death - Songs From FOD (Cassette), Cevin Fisher & Jason Jinx vs. Armand Van Helden & The Horse - The Way We Used To / Ghetto Ho, Over The Limit, Watermelon - Leo Kottke - 6- & 12-String Guitar (Vinyl, LP, Album), Farra (Deetron Edit) - Various - Kontor Sunset Chill 2011 (CD), Apeiron (2) - Twilight People (Cassette, Album), Alright, Alright, Alright - Mungo Jerry - MP3 Collection (CDr), Strangers Within (Original Mix) - Various - Monster Tunes Amsterdam 2013 (Mixed By Photographer &, Random But Raw - Raiden (File, MP3)