Archive-name: music/reggae/part1
Posting-Frequency: monthly

  Contents

[0]. Is there a Reggae Archives on the Internet?
[1]. Dub Recommendations
[2]. Can anyone recommend some books on reggae?
[3]. What is "Dub" music anyway?
[4]. Can anyone recommend some roots reggae?
[5]. Live reggae recording recommendations
[6]. Who was Marcus Garvey?
[7]. Can you recommend some Dancehall?
[8]. Is there a newsgroup that caters to those of us who enjoy soca, 
zouk, 
[9]. Books on Rastafarianism?
[10.] What are the different reggae styles?
[11.] CARIBANA FAQ
[12.] Can anyone give me some info on the rasta culture?
[13.] Could anyone out there suggest to me any albums which combine 
reggae and
      jazz?
[14.] Caribbean Clubs FAQ
[15.] What is the significance of the "Two Sevens"?
[16.] What's all this about Sound Systems, Clashes and Dubplates?
[17.] Is there a World Wide Web Server for Reggae?
[18.] Is there a Gopher Server for Reggae?
[19.] What is RAW (Reggae Ambassadors Worldwide)?
[20.] Why do purists look down on UB40?
[21.] Can anyone recommend good female reggae vocalists (not 
dancehall). ?


  The Questions and Answers

[0]. Is there a Reggae Archives on the Internet?

        The Jammin Reggae Archives are located at jammin.nosc.mil 
        (128.49.28.5). The archives can be accessed in several ways:
 
        1. Gopher Server - gopher jammin.nosc.mil
        2. WWW (World Wide Web) using the Jammin Home Page:
           http://jammin.nosc.mil/jammin.html
           Or other home pages:
           Reggae Down Babylon Home Page:
           http://nyx10.cs.du.edu:8001/~damjohns/reggae.html
           http://wsogata.cc.u-tokai.ac.jp
           http://www.biologie.uni-freiburg.de/data/reggae/reggae.html
        3. Anonymous FTP -  To access the archives, ftp to 
jammin.nosc.mil
           and login with username anonymous, use your email userid 
and 
           address as the password. After logging in,change directory 
to 
           pub/reggae. Use the "DIR" command to see what's there and 
the
           "get" command to download files. Don't forget to set binary
           transfer mode with the "bin" command for pictures or sound 
files. 
        4. Mail Server - To access the mailserver, send a message to 
           mailserv@jammin.nosc.mil with a message body:

    send file

 The files are arranged as follows:

audio  Sound sample files directory
faq  This file
pics  Pictures directory
Incoming For uploading
catalogs Record catalogs
lyrics  Song lyrics
radioshows 
clubs
mailorder

 If you have any problems or anything to contribute, like radio shows 
in
your local area or pics, post to rec.music.reggae or mail me at 
mikey@nosc.mil. Files may be uploaded to the archives by anonymous
ftp to jammin in directory pub/reggae/Incoming.

      
[1]. Dub Recommendations

Ok, here's a FAQ if I ever saw one:

GIMME SOME DUB POINTERS! 

I've been there a bit already - got some LKJ, Agustus Pablo, 
Lee Perry, Upsetters, but I have yet to find the really mind
searing spaced out heavy dub that I hear hints of once in awhile. 
I want loads of echo, pans and sounds like the universe is
being ripped apart at the seams in front of me. Skip the drum
machines unless they're very tastefully done, lay on the heavy
bass and crank up the volume, kick back and close your eyes...

Help me find it! My last try was ROIR's TOWERING DUB INFERNO 
and only a couple of tracks get close to as heavy as I'd hoped. 

I keep getting pointers to African Headcharge, but that stuff is
very steeply priced - is it worth it? 

  - malcolm  

---------
In article <malcolm.725007752@wrs.com> malcolm@wrs.com (Malcolm Humes) 
writes:
>...but I have yet to find the really mind
>searing spaced out heavy dub that I hear hints of once in awhile. 
>I want loads of echo, pans and sounds like the universe is
>being ripped apart at the seams in front of me


Two words: Mad Professor


>I keep getting pointers to African Headcharge, but that stuff is
>very steeply priced - is it worth it? 

Yes.  The best stuff from their first four albums is out on two discs,
titles I can't remember (they'll be obvious, though, they have "volume 
1"
and "volume 2" in the title).  Also the CD _Songs of Praise_ is 
excellent,
although it's not as twisted as the early stuff; it's more African in 
an On-U sort of way than spaced out in an On-U sort of way.

You are also required to have much Prince Far I within easy reach at 
all
times.

----------
In article <malcolm.725007752@wrs.com> malcolm@wrs.com (Malcolm Humes) 
writes:
>Ok, here's a FAQ if I ever saw one:
>
>GIMME SOME DUB POINTERS! 
>
>I've been there a bit already - got some LKJ, Agustus Pablo, 
>Lee Perry, Upsetters, but I have yet to find the really mind
>searing spaced out heavy dub that I hear hints of once in awhile. 

I had a Prince Fari LP in New Zealand which seems to fit the bill - 
had to
leave it with a friend as a parting gift since he was so in tune with
it. Sorry, can't recall the name now! (it had a track called "Plant 
Up"
which I was really into). Also try some Mad Professor albums.

----------
rfrance@umiacs.umd.edu (Robert B France) writes:

>In article <malcolm.725007752@wrs.com> malcolm@wrs.com (Malcolm 
Humes)
writes:
>>Ok, here's a FAQ if I ever saw one:
>>
>>GIMME SOME DUB POINTERS! 
>>
>>I've been there a bit already - got some LKJ, Agustus Pablo, 
>>Lee Perry, Upsetters, but I have yet to find the really mind
>>searing spaced out heavy dub that I hear hints of once in awhile. 

For good spaced-out dub, try Dub Syndicate (On-U Sound).  They're hard
to find in the US - try the import or World Music section of your
local mega-store.

----------
malcolm@wrs.com (Malcolm Humes) writes:
>GIMME SOME DUB POINTERS! 

>Help me find it! My last try was ROIR's TOWERING DUB INFERNO 
>and only a couple of tracks get close to as heavy as I'd hoped. 

i liked TDI, but i can see what you mean... try any of the ON-U
releases like PLAYGROUP (jazzy dub) or PARTY SOUNDS 1, etc. they're
quite good. also, anything else Adrian Sherwood does by himself
seems to be great dub.

>I keep getting pointers to African Headcharge, but that stuff is
>very steeply priced - is it worth it? 

in a word, yes. it's pretty steeply priced here, maybe not at Amoeba
in Berkeley. your best bet is to write ON-U directly for better
prices. this is what a friend of mine does. i'll send you the address
via email when i get home and look on one of my ON-U cds.

-----------
In article <malcolm.725007752@wrs.com> malcolm@wrs.com (Malcolm Humes) 
writes:
>Ok, here's a FAQ if I ever saw one:
>
>GIMME SOME DUB POINTERS! 
>
>I've been there a bit already - got some LKJ, Agustus Pablo, 
>Lee Perry, Upsetters, but I have yet to find the really mind
>searing spaced out heavy dub that I hear hints of once in awhile. 
>I want loads of echo, pans and sounds like the universe is
>being ripped apart at the seams in front of me. Skip the drum
>machines unless they're very tastefully done, lay on the heavy
>bass and crank up the volume, kick back and close your eyes...
>
>Help me find it! My last try was ROIR's TOWERING DUB INFERNO 
>and only a couple of tracks get close to as heavy as I'd hoped. 
>
>I keep getting pointers to African Headcharge, but that stuff is
>very steeply priced - is it worth it? 
>
>  - malcolm  

WOW!! excellent start!!!! You might try some Mad Proffesor Psychedelic 
Dub.
Umm let me go look... well Iroy Crisis time (any Iroy rocks but dub..)
also try more Perry, Satan's Dub, The Upsetter and The Beat, Scratch 
Attack..
The best dub (in my opinion) comes from bootlegs, Steel Pulse does 
some crazy
stuff live: maybe you've heard versions of Roller Skates nana dub 
style.
There are alot of flip side dubins on Bob singles.
BTW how's African Headcharge coming out???
jafari
-----------
Here are some things to look for from the discography in the back of
Jon Savage's _England's Dreaming: Anarchy, Sex Pistols, Punk Rock, and
Beyond_.  He also says that Steve Barrow is working on what should be
the definitive book on Reggae and Dub (looks like nothing available
yet).  (Most of this is Dub, since that's what I'm most interested in
hearing, I think.)

Aggrovators (mixed by King Tubby)
  Johnny in the Echo Chamber               1989   Atlantic
  Dub Justice                              1990   ATLP

Collections/Compilations
  The Harder They Come                     1972   Island       
soundtrack
  King Tubby Meets the Upsetter at the
    Grass Roots of Dub                     1976   Fay Music
  Keep On Coming Through the Door                 Trojan       
"talkover"
  U-Roy and Friends: With a Flick of My
    Musical Wrist                                 Trojan?      
"talkover"
  20 Reggae Classics                       1987   Trojan CD
  Studio Kinda Cloudy                      1988   Trojan       Hudson 
prod.
  King Tubby's Special 1973-1976           1990   Trojan       30 
tracks

Culture
  Two Sevens Clash                         1977   Joe Gibbs

Rupert Edwards
  Irie Feelings                            1990   Trojan CD    20 
remixes

Keith Hudson
  Pick A Dub                               1975   Atra
  Torch of Freedom                         1976   Virgin ?
  Rasta Communication                      1978   Joint Records

Junior Mervin (mixed by Lee Perry)
  Police and Thieves                       1976   Island

Lee "Scratch" Perry ("The Upsetter")
  Super Ape                                1976   Island
  Lee Perry and Friends - Give Me Power    1988   Trojan
  The Upsetter Collection                  1988   Trojan
  The Upsetter Compact Set                 1988   Trojan

Prince Far-I
  Heavy Manners                            1976   Joe Gibbs

Revolutionaries
  Dub Sensation                            
  Bamba in Dub                             1977   Skynote
  Hordcore Dub                             1990   OMLP


The manufacturer of a lot of these records:

     Trojan Records
     12 Thayer Street
     London W1M 6AU

A distributor/shop which supposedly has or can get most or all of the
Trojan reissues:

     Shanachie Records US
     Dalebrook Park
     Hohokus, New Jersey  07423
     USA
----------
In article <C0CGxt.1A8@news.iastate.edu> LB.NKA@isumvs.iastate.edu 
(Nubi
Achebo) writes:
>From: LB.NKA@isumvs.iastate.edu (Nubi Achebo)
>Subject: Natty Dub Music
>Date: Mon, 4 Jan 1993 19:32:16 GMT
>Would anybody give me a list of some natty dub laden reggae music and
>musicians.  Also please include any mail order place you know to get 
these
>albums since I live in a tiny city where the selection is very poor.
>
>I,ll also like to have the address of "Mango" - a record producing 
and
>distribution company.
>
>Nubi Achebo.
>

Here's a list of 10 particularly fine dub albums by non-dub artists 
(in no 
particular order):

1. Black Uhuru - Dub Factor (Mango)
 Sly and Robbie team up with Paul 'Groucho' Smykle for a ferocious 
dub album.  Almost like a heavy metal album in its intensity.

2. Prince Fari -  Cry Tuff Dub Encounter chapter I (ROIR cassette, 
Danceteria CD), II (Virgin/Caroline reissue) III (Daddy Kool) IV 
(Trojan).
 The voice Moses heard on the mountain must have been similar to that 
of the late Prince Fari's.  His dub albums rumble and boom as well. 
Especially fine is I where he hooks up with English dubmeister Adrian 
Sherwood.

3. UB40 - Present Arms in Dub (Virgin)
 Before UB40 sold its soul for mass pop-reggae stardom, they released 
Present Arms, a great album.  In Dub is even better.  Distinguished by 
its 
spare use of traditional dub effects (like echo), it combines a heavy 
bassline with crisp drums and UB40's best asset - their horn section.

4. Wailers - Tribute to Carly Barrett (Atra)
 Until Island relents in its pigheadedness and releases Dennis 
Thompson's dub mixes of the Marley catalog, check the Wailers 
spotlight on 
their late drummer.  Carlton Barrett, wiped from creation in 1987, had 
a 
unique drum style which is mixed upfront on this dub of Horace Andy 
and 
Winston Jarrett tracks.  Great supporting work from Tyrone Downie's 
organ 
and Bobby Ellis's horns.

5. Aswad - New Chapter of Dub (Mango)
 (Mikey) Dread at the Controls serving up a spacey dub of Aswad's 
English import New Chapter LP.  Includes stellar horn work by Michael 
'
Bammie' Rose and Vin Gordon.

6. Bunny Wailer - Dub D'sco Vol. I and II (Solomonic).
 Unlike his partners, Bob and Peter, Bunny has released two superb 
dub albums.  Vol. I features his vocals mixed high and then 
pushed/pulled in 
a wash of dub echo.  Vol. II is a more traditional dub album.

7. Ras Michael and the Sons of Negus - Rastafari Dub (ROIR cassette, 
Crocodisc CD).
 Nyabinghi dub.  Robbie Shakespeare's bass leads the way while the 
akete, funde and repeater drums complement him against Earl 'Chinna' 
Smith's
flange guitar.  Any extremely rare dub album reissued featuring Peter 
Tosh 
on clavinet!

8. Treasure Isle Dub Vol. I and II (Treasure Isle).
 Classic rock steady and early reggae tracks given the dub 
treatment; like John Holt's 'Ali Baba', Alton Ellis's 'Cry Tough' and 
the 
Melodians 'Come on Little Girl'. A good companion to Heartbeat's Duke 
Reid's
Treasure Chest of '92.  Check several of Studio One's dub albums as 
well.

9. Dr. Alimontado - Love Is (Keyman)
 Like Bunny Wailer's, this is more a vocalized dub album of tracks by 
one of reggae's most underrated toasters.  A perfect example of how 
deejays 
have followed U Roy's example in incorporating dub.

10. Alpha and Omega - Watch and Pray (A & O, Greensleeves)
 Dub's new wave: borrowing a little from Jah Shaka and ON U sound's 
African Headcharge, Alpha and Omega combine haunting female vocals, 
spacey 
dub effects, bonecrushing bass and salutations to Jah for an ethereal 
mix.  
Possibly an acquired taste.

Bonus:  Kings of Reggae featuring Chris Hinze (Keytone)
 More of an instrumental album.  Some cheezy flute player from 
Holland (Hinze) goes down a yard and teams up with the best of 
Jamaica's 
session men: Sly and Robbie, Mikey Chung, Sticky.  While the premise 
for 
this sounds horrofic, the result is a masterpiece: Sly and Robbie rock 
hard, 
the unknown female backups sound great and as a bonus Peter Tosh 
warbles on 
a couple of tracks.  One more reason reggae music will suprise you 
every 
time.
----------

  Probably the finest single dub album I own is a double LP on Trojan 
called
"King Tubby Special."  It consists, of course, of classic tracks 
dubbed up by
the King himself.  Kicks butt big time.
  Also, there is a Prince Far I CD available from Trojan called "Voice 
of
Thunder," and it's essential.
  Keep an eye out for the Bunny Lee reissues coming out on RAS these 
days.
There's a very nice U-Roy disc ("Rock with I", RASCD 3219), which 
features
U-Roy toasting over gutbusting dub tracks, and also a great collection 
of
instrumental tracks by the Aggrovators which isn't strictly dub but 
features
Bunny's dubwise production style.
-----------
From: Robert Nelson (rnelson@alexandria.lib.utah.edu

Prince Fari has always been one of my all time favorites. His voice 
sounds 
like he used to drink Drano :-). He chanted my all time favorite 
reggae 
lyric, "The humble cow gives the most milk." I probably feel sadder 
about 
his death than Marley's overall.

The Cry Tuff album that was produced by Adrian Sherwood was the first 
Cry 
Tuff Dub Encounter. It came out in 1978 on the Hitrun label and 
features the 
Arabs as the musicians. (In actuality I think the Arabs were really 
Dub 
Syndicate).  ROIR has released this on cassette and Danceteria has the 
CD.


It's a great dub album, with lots of special effects. Lions roaring 
that 
sort of thing; great for your answering machine message :-)

The Virgin/Caroline compilation called "Dubwize" has 4 unreleased 
singles/
versions & Cry Tuff Chap II. There are 8 songs listed for II. These 
Caroline 
reissues were notorious for leaving various tracks from the original 
albums off of the CD reissues. Does anyone out there have Cry Tuff II 
on 
vinyl? Did they leave off anything?

Here's a Prince Fari discography: *Cd availability

Cry Tuff Dub Ch. 1 (Roir/Danceteria)*
Cry Tuff Dub Ch. 3 (Daddy Kool)
Cry Tuff Dub Ch. 4 (Trojan)
Dubwize (Virgin/Caroline)*
Voice of Thunder (Trojan)*
Umkhonto we Sizwe - Spear of the Nation (Wambesi)*
Musical Revue (ROIR/Danceteria)* - live with the Suns of Arka
Black Man Land (Virgin/Caroline)* - tracks from Message from the King 
& 
                                    Livity
Under Heavy Manners (Joe Gibbs)
Psalms For I (Carib Gems) - Bible verses chanted over reggae beats
Jamaican Heroes (Trojan)
Free From Sin (Trojan)
Musical History (Trojan)

Here's some more I only know about, (if anyone has these and would 
like to 
do a trade swap, please mail me)

Message from the King (Virgin)
Long Life (Virgin)
Livity (Pre)
Rockers in a Suitcase (Pre)

Fari also did stellar work with Sherwood's Singers and Players:

Golden Greats (ON U)*
War of Words (ON U)
Staggering Heights (ON U)
Plus there is a nice Prince Fari love song where he sings and a DJ 
toasts 
over HIM on the ON U release Reggae Archives Vol 1.

If I've left anything out, please let us know.

Robert.

From: pandit@news.delphi.com (PANDIT@DELPHI.COM)
Subject: Re: Dub Reggae Reccomendations

Well, where do we start?  I guess I'll limit this too stuff that is in
print...

Dub Syndicate/African Headcharge/SIngers and Players  -- some of the 
spaciest and furthest out dub, produced by Brit A. Sherwood, 
available on import from UK on On-U-SOund.

Mad Professor - DUb me Crazy Series, esp. 2, 4, 5, and 6.  Wild,
playfull, slightly more electro dub from UK. Available domestically
from RAS.

Burning Spear - Living Dub I and II.  REmixes are not as good as 
originals 
but what are you going to do?  RAS.

Scientist - whatever is available.  It's all good.

Prince Jammy - likewise - except for the electro stuff.

Dennis Bovell - some great stuff, some not so great.

Lee Perry - Blood Vapour, Blackboard Jungle Dub, SUper Ape,
Trojan Box Sets.  One of the founding fathers.

Prince Far-I - I don't know what's in print, but most
dub titles are excellent.

That's probably about it.  Unfortunatley, most of the best
stuff is long out of print, available only on small JA or
UK labels on LP, and all us collectors beat you to it.
Regards,
Pandit
---------
From: pandit@news.delphi.com (PANDIT@DELPHI.COM)

How could I forget?  Black Uhuru's Dub Factor and SLy and RObbie's
Reggae Greats.
Pandit
----------

From: mikey@monkfish.nosc.mil

30 Years of Dub on the Go, 2 CD set from Rhino. King Tubby, King 
Jammy,
Scientist and The Mad Professor.

----------
Subject: Re: What's your favorite DUB?????

I have to agree, Mad Professor's dubs are among the VERY best.  I rate 
Dub Me
Crazy Part 2 (Beyond the Realms of Dub) as his best album by a long 
chalk.
But I haven't heard many of the later ones...

Other than that, most Scientist is great (especially Dub Landing), as 
is most
of Jah Shaka's output.

Cheers,

|> 
|> On And In Dub ...
|> -Echomania is the most recent Dub Syndicate album. Most everything 
on the
|> On-U Sound label is worthwhile and they're now re-releasing old 
stuff at
|> quite a clip. The Dub Syndicate Classic Selections and African Head 
Charge
|> Vintage Selections are good value.
|> -One very fine NEW DUB compilation is Time Warp Dub Clash (Island 
Records).
|> The first half is old Sly & Robbie Dubs, but the latter part is a 
bunch of
|> fine new tracks from Jah Shaka,Manasseh, etc. Also check out Jah 
Shaka's
|> Dub Symphony (Mango)
|>  In terms of classics, my favourite dub album of all time is Johnny 
In the
|> Echo Chamber by the Aggrovators (trojan Records), produced by King
|> Tubby.Also look for Lee Perry, Scientist (his 'Tribute to King 
Tubby' thru
|> ROIR Records in New York is cool - it got me thru a seven-hour 
traffic jam
|> trying to get to Glastonbury once.)
|> If it's dubwise but not strictly dub yer after, try anything by THE 
ORB.
|> Which is ambient dub, but hey, let's not get into that 

From: stevem@dcs.gla.ac.uk (Steve McGowan.)
Subject: Re: U.K. Reggae Top 40
>|> 
>|> >1  Various - 30 Years Of Dub Music On The Go (2 CD) (Rhino UK)
>|> 

Mike, I've seen a lot of requests for more information on
this dub CD - maybe the track listing ought to go in the FAQ???

 
~Title: "30 years of dub music on the go" - various artists.
Producer: Bunny Lee.
Recorded at various studios in Jamaica.
Label: Rhino Records (RNCD 2046).
 
 
(KT=King Tubby, KJ=King Jammy, CMP=Crazy Mad Professor, S=Scientist)
 
 
CD1                                     CD2     
---                                     ---
 
Zion gate dub - KT                      Natural dub - KT
Money dub - KT                          Hard core dub - CMP
Forward home dub - KJ                   Pretty dub - CMP
Something on my mind dub - S            Slow motion dub - KJ
Mellow dub - CMP                        Jump song dub - KJ
Ten to one dub - KJ                     Good dub - S
Glad tidings dub - KT                   Baltimore dub - KT
Happy dub - S                           Reggaematic dub - KT
Hold on dub - CMP                       Confusion dub - KJ
Marcus dub - KT                         Dark destroyer dub - KJ
Fittest of the fittest dub - KJ         Penetrating dub - CMP
Movie star dub - S                      Time dub - CMP
Graceful dub - KT                       Just say who dub - KT
Different style dub - KJ                Impulsive dub - KT
Blood danza dub - S
 
 
-----------
[2]. Can anyone recommend some books on reggae?

1. Catch a Fire - The Life of Bob Marley. Timothy White. Holt, 
Rinehart and
   Winston. 1983

2. Reggae Bloodlines - In Search of the Music and Culture of Jamaica. 
Stephen
   Davis and Peter Simon. Heinemann Educational Books Ltd. 1977

3. Reggae International. Stephen Davis and Peter Simon. Rogner & 
Bernhard GMBH

   & Co. 1982

4. The Harder They Come - Michael Thelwell

5. "Bob Marley" by Stephen Davis, published by Schenkman Books, INC
   ISBN: 0-87047-045-0, 087047-044-2 (pbk)
   A good biography about Bob's life, mentions all the albums and a 
lot
   of concerts, Bob made. A must for the real Marley-fan.

6.  Derek Bishton  "Blackheart Man"
7.  Leonard Barrett     "The Rastafarians"
8.  Adrian Boot/
    Michael Thomas "Jamaica: Babylon on a Thin Wire"
9.  Adrian Boot/
    Michael Thomas "Jah Revenge: Jamaica Revisited"
10.  Howard Johnson/ "Reggae: Deep Roots Music
     Jim Pines 
11.  Malika Lee Whitney/ "Bob Marley: Reggae King of the World
     Dermott Hussey
12.  Dick Hebdige "Cut n Mix"
                         Published 1987 by Methuen & Co. 
                         29 West 35th St., NY, NY 10001. 
                         ISBN: 0906890993 (paperback) and 1851780297
(hardback).
     From the back cover:  "This is a book about the music of the             
                            Caribbean--from calypso and ska through to 
reggae 
                            and Caribbean club culture."
13.  Rebekah M. Mulvaney "Rastafari and Reggae: A Dictionary & 
Sourcebook"
14.  Joseph Owens "Dread: The Rastafarians of Jamaica"

From Lee O'Neill:

|> 
|> I also thought that while I'm at it, I should post a reggae 
bibliography. 
|> These are the books that I know about that pertain to Jamaican 
music. 
|> There are many other useful books that deal with Jamaica or 
Rastafari that
|> are a bit outside the self-imposed limits of this compilation.  If 
anyone
|> has any additions, please let me know via email.
|> 
|> Boot, Adrian & Thomas, Michael BABYLON ON A THIN WIRE (Schocken, 
1976)
|> Boot, Adrian & Goldman, Vivien BOB MARLEY: SOUL REBEL-NATURAL 
MYSTIC 
|>      (St.Martin's Press, 1982)
|> Clarke, Sebastian JAH MUSIC (Heinemann, 1980)
|> Chapman, Rob NEVER GROW OLD 2ed. (1992)
|> Davis, Stephen BOB MARLEY (Doubleday, 1985) (reissued Schenkmann, 
1990)
|> Davis, Stephen & Simon, Peter REGGAE INTERNATIONAL (Random House, 
1982)
|> Davis, Stephen & Simon, Peter REGGAE BLOODLINES (Doubleday, 1977)
|> (reissued
|>      DaCapo,1992)
|> Hebdige, Dick CUT 'N' MIX (Comedia, 1987)
|> Jahn, Brian & Weber, Tom REGGAE ISLAND (Kingston, 1992)
|> Johnson, Howard, & Pines, Jim REGGAE (Proteus, 1982)
|> Kaski, Tero & Vuorinen, Pekka REGGAE INNA DANCE HALL STYLE (Black 
Star,
|> 1984)
|> Larkin, Colin, ed. GUINNESS WHO'S WHO OF REGGAE (Guinness, 1994)
|> Marre, Jeremy BEATS OF THE HEART (Pantheon, 1985)
|> McCann, Ian COMPLETE GUIDE TO THE MUSIC OF BOB MARLEY (Omnibus, 
1994)
|> Mulvaney, Rebekah Michele RASTAFARI & REGGAE (Greenwood, 1990)
|> Observer Station BOB MARLEY: THE ILLUSTRATED DISCO/BIOGRAPHY 
(Omnibus,
|>      1985)
|> Scrivener, Jean RHYTHM WISE (Black Star)
|> Scrivener, Jean RHYTHM WISE 2 (Black Star, 1990)
|> Scrivener, Jean RHYTHM WISE 3 (Black Star, 1992)
|> Thelwell, Michael HARDER THEY COME (Grove, 1980)
|> Waters, Anita M. RACE, CLASS & POLITICAL SYMBOLS: RASTARARI & 
REGGAE IN
|>      JAMAICAN POLITICS (Transaction , 1985)
|> White, Timothy CATCH A FIRE (Henry Holt, 1983, revised 1989)
|> Whitney, Malika & Hussey, Dermott BOB MARLEY: REGGAE KING OF THE 
WORLD
|>      (Dutton, 1984)
|> 

From: Richard W Anglin <anglin@acsu.buffalo.edu>

RASTA AND RESISTANCE by Horrace Campbell, published by The African 
World
Press, 
gives a history and the situations that led up to and caused to birth 
of 
reggae.

The Guiness Who's Who of Reggae
Publisher: Guiness
ISBN: 0-85112-734-7

Welch, Chris BOB MARLEY
CD Books
ISBN 1-85868-057-3

 Reggae Magazines

Roots & Culture
Published by Impact Graphics
10800 N. Military Trail #233
Palm Beach Gardens, FL 33410
407-624-3818
FAX 407-624-5000

Dub Missive
PO Box 677850
Orlando, FL 32867-7850
Voice/FAX 407-381-9907

The Beat
Bongo Productions
PO Box 65856
Los Angeles, CA 90065

Reggae Report
PO Box 2722
Hallandale, FL 33008-2722
305-933-1178
FAX 305-933-1077
Email: 74467.3070@compuserve.com

Reggae Trade Magazine
63a Bruce Grove
Tottenham, London  N17 6RN
(081) 808-4554
----------

[3]. What is "Dub" music anyway?

 Look at the B-sides of Jamaican 45s beginning with rock steady, and
you'll notice many of them say "Version". This is "dub", a simple 
instrumental
remix of the A-side that may also include a few scraps of the vocals. 
The 
singers are "dubbed out", but in most other respects the version is 
identical 
to the A-side. Begun as a test for sound levels during the record-
mastering 
process, version later became vogue. The Jamaican public developed an 
avid 
taste for version, and the scat-singing sound-system deejays took to 
recording

their master-of-ceremonies raps over the hit-backing rhythms.

  "Reggae International", Davis and Simon
  Chapter 8, X-Ray Music

----------
[4]. Can anyone recommend some roots reggae?

 I always recommend the samplers, that way you can choose what sounds
interesting and branch out from there. I highly recommend the 
Greensleeves,
Heartbeat, RAS, and Mango samplers, although there are many others.

      EZ Noh,  mike


From: mart@csa.bu.edu (borja larrumbide)
Newsgroups: rec.music.reggae
Subject: Re: New Groups, Any ideas?

If you like Steel Pulse you will definitely enjoy Aswad. They both 
sound very
alike, especially in albums like Aswad(live, Hulet,...).Try to avoid 
its most
recent stuff and check first its old albums. If  you hear Bob Marley 
then you
should  check Peter Tosh(Wanted Dread  or Alive,...). Other  groups  I  
would 
recommend would be Black Uhuru, Alpha Blondy(It been considered to 
follow the
trends of Bob Marley. Although that's a matter of opinion). Another 
choice 
could be Burning Spear(live in Paris, Mek We Dweet,...). There are 
many more
and the list too long. I hope this helps!

       Long live reggae! 

From: fiddick@condor.ucsb.edu (Laurence Fiddick;)
Newsgroups: rec.music.reggae
Subject: Re: recommendations

here goes:

if it's on studio one buy it. in particular you might look for burning
spear's 'studio one presents' and 'rocking time', the heptones' 'on 
top',
the carlton and the shoes' lp--generally you can't go wrong with 
studio
one.

not on studio one, look for:

augustus pablo 'original rockers'
augustus pablo 'king tubby meets rockers uptown'
augustus pablo 'east of the river nile'
culture 'two sevens clash'
culture 'harder than the rest'
culture 'cumbolo'
black uhuru 'red'
black uhuru 'showcase/guess who's coming to dinner'
linton kwesi johnson 'dread, beat an blood'
linton kwesi johnson 'making history'
dennis brown 'visions'
bob marley 'rasta revolution'
bob marley 'african herbsman'
count ossie and the mystic revelation of rastafari 'grounation'
burning spear 'marcus garvey'
burning spear 'social living'
hugh mundell 'africa must be free by 1983'
various 'wiser dread'

i'm sure others can add more to this list.

Newsgroups: rec.music.reggae
Subject: Re: recommendations

 No self-respecting reggae fan should be without a few Lee Perry
 albums (either ones that he's produced or recorded - or both)

 Best ones include...


 Heart of the Ark (Vols I and II)
 Megaton Dub (Vols I and II)
 Super Ape
 Return of the Super Ape
 Excaliburman
 George Faith - 'To be a Lover' (Lee Perry Produced)** highly
        recommended
 Build the Ark -|
 Open the Gate -|--- All three are three-album boxed sets
 Upsetters -|


 (There's lots more, but these are the ones that you should 
investigate
 first, especially the George Faith album. I do think, however, that
 this album is now deleted [at least on vinyl], so the only place you
 may come across it are in 2nd-hand record shops or record fares - but
 it's a classic album which you *must* try and listen to. I got my 
copy
 from a record fare a few years ago - for a paltry 3 pounds.)

From: rnelson@alexandria.lib.utah.edu (Robert Nelson)
Subject: Re: New Groups, Any ideas?

Here's a list of 10 albums that will give anyone a simple 
introduction to reggae music. (These are all readily available from 
most 
record stores/chains). I'll assume that you'll want to pick up most of 
the 
Marley catalog, especially since most of the titles cost about $8 now 
on CD.




1. Burning Spear -  Marcus Garvey/Garvey's Ghost (on CD) (Mango label)
2. Bunny Wailer -  Blackheart Man (Mango Label)
3. Black Uhuru - Guess Who's Coming to Dinner (Heartbeat)
4. Peter Tosh - Legalize It (CBS)
5. Aswad - To the Top (Mango or Simba)
6. Steel Pulse - True Democracy (Elektra)
7. Eek a Mouse - Wa Do Dem (Shan. or Greensleeves)
8. Alpha Blondy - Jerusalem (Shan.)
9. Gregory Isaacs - Night Nurse (Mango)
10. Judy Mowatt - Black Woman (Shan.)

This only scratches the surface, each one of these 
artists has many more killer titles all reggae lovers 
should own.

Robert.   

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

Culture-   'Culture in Culture'
Mighty Diamonds-  'The Real Enemy'
Black Uhuru-      'Anthem'
Bunny Wailer-     'Liberation'
Burning Spear-    'Resistance'
Israel Vibration- 'Praises'
Wailing Souls-    'Fire house rock'
Ini Kamoze-       'Pirate'
Ijahman-          'Haile I hymn'


  Erik

ixtst+@pitt.edu (Isaac Thompson) writes:

  What (reggae) life has taught me, I would like to share with you.--
Haile 
Selasie.  The following are reggae artists I think true, dyed-in-the-
wool 
reggae heads must have:

>Mutabaruka (Ja.--roots poetry, plenty of brain food) 
>Linton Kwesi Johnson (Ja.--ditto)  
>Luky Dube (South Africa)
>Evi Edna (Nigeria--female, terrific voice, great voice, down right 
rootsy!)
>Identity (US--group of West Indians) 
>Cidre Negra (Brazil--def!)
>Sandee (Japan)

>Check them out.

From: dhoffman@spot.Colorado.EDU (David Hoffman)

Couldn't let this one go without adding my essentials:

Junior Murvin - the record with "Police and Thieves"
Gregory Isaacs, esp. early releases
Sugar Minott
Black Uhuru - check out "Sinsemilla"
Judy Mowatt
June Lodge

just a few suggestions!

Dave

From: linden@fanout.et.tudelft.nl (Hans van der Linden)

Name for his style: IJahMan Levi's music.

Compare him?  It's said that Chris Blackwell decided for him to be THE
successor of Bob Marley ("sign me your publishings and I make you a
wealthy man").... yet IJahman did go his own way. 
But of similar musical and lyric-wise level and similar sort of 
music/lyrics
I'd say: A lot of Pablo Moses' (esp. older: Revolutionary Dream and 
such)
work (also still around and hot), also Sugar Minott's work on studio 
One,
Junior Byles (Jordan), Lee Scratch Perry's Heart of the Ark 
collection,
Yabby You's One Love, One Heart (also GREAT), side A of Singers and
Players' Leaps and Bounds, Israel Vibration, Wiss, and such. 

Albums and tapes I have, so I can tell about (not in specific order):
`Are We A Warrior?' 1979 (still Island:-) [title song esp. great 
(7:33min)]
`Haile I Hymn (chapter 1)' (ALL 4 NUMBERS PERFECT) (yet still Island)
        esp. numbers: `Jah Heavy Load' and `Jah Is No Secret' are 
PERFECT+
`Tell It To The Children' (again very great)
`Levi Inside Out' (very great again, incl. 2 love songs, and a new 
version of
        `Jah Heavy Load')        JMI 1100 (Tree Roots prod. 1989)
`Lilly Of My Valley' (lot of love songs, yet VERY good) JMI 500 (Tree 
R. '85)
`IJahman & Friends' (VERY VERY good, esp. most numbers:-) (some 
guests, like
        Black Uhuru and His Majesterian appear) JMI 900, Tree Roots 
'88
`Africa' (to bore you all...again ALL BRILLIANT, great blazing, as 
usual)
        JMI 400, Tree Roots '84
    Very recently (dedicated to 100th Anniversary of Haile Sellasie) 
my gf    
    gave me the album:   
`KingFari', I love side A, side B (love songs) I like.(JMI 1400 Tree 
Roots
'92)
    (Oh yes, I recorded [from radio!] `Live in Paradiso '87, guess 
that will 
    not be found worldwide though:-)

From: Richard W Anglin <anglin@acsu.buffalo.edu>

 Well at the top of my list is BURNING SPEAR!!
Anything of Burning Spear up to the late 1980's.  Especially the new
compilation
HAIL H.I.M.
 CULTURE also primo... newly released BABYLON BRIDGE
 LINTON KWESI JOHNSON
 THE GLADIATORS
 THE ABBYSINIANS....check out their compilation on the HEARTBEAT
label..SATTA MASSAGNA it is now considered to be a colector's item.
 THE MEDITATORS
 THE ORIGINAL WAILERS.... BOB MARLEY and the WAILERS when they were 
called
the WAILERS
 U-ROY
 JACOB MILLER... an unsung HERO!
 INI KAMOSI.... "BEFORE he went to jail"
basically  I recommend all roots reggae before the mid to late 1980's

-----------
[5]. Live reggae recording recommendations

From: geofh@meibm4.cen.uiuc.edu ()
Subject: Re: Recommendations for LIVE reggae productions

 Geof's favorite live discs-

 Black Uhuru  "Tear It Up- Live"  on Mango <-- An incredible release
  featuring my favorite BU lineup (Michael Rose, Ducky Simpson,
  Puma) with Sly and Robbie rhythm section.  Classic rockers 
  A must have.
 Burning Spear  "Live in Paris '88"  on Slash/Blue Moon  <--- There's
  been talk of this album on the net before.  Whichever version
  you end up with is a killer one.
 Toots and the Maytals  "Live (at the Hammersmith Palace)"  <---  You
  want great crowd interaction?  Check out the 11 (?) minute
  "54-46 That's my Number"  These guys have got soul.  The 
  must have recommendation is a given for all of these selections. 
Peter Tosh 
"Captured Live"  on ??? (this is all from the top of my head)
  <---  Killer.  Relatively easy to find.
 Bunny Wailer  "Live" on Solomonic  <---  I've only seen this on vinyl
  with a pretty low sound quality.  Includes stuff from 
  "Blackheart Man" and "Rootsman Skankin'
  (sorry) and an "I'm the Toughest" cover.  Anyone seen this on
  disc?  It's definitely worth it.
 BMW "Live"  <---  The prototype live reggae album.

From: bbe001@acad.drake.edu

Well I'm mostly roots myself, but just by chance I was listening to a 
"live"
dancehall record tonight- Charlie Chaplin's "Take Two." I know this 
might
not be the new NEW dancehall you're talking about, i.e. Ninjaman, 
Shabba, etc.
But Chaplin's the MAN and he's backed by Roots Radics here. I say 
"live" cause
it's live in the studio, but he's got plenty of people whistling and 
shouting.
"Take Two" is 1990 on RAS. 
More good live stuff would of course be any of the Sunsplashes! I have
Eek-A-Mouse w/ Michigan and Smiley from the '84 Sunsplash and 
Yellowman at the
'83. They both slam but try to get the Eek-A-Mouse disc if you have to 
choose.
That's all I can think of for now...
ites,
Brad

From: oweng@aston.ac.uk (Gareth Owen)
Subject: Re: Recommendations for LIVE reggae productions

Misty In Roots - Live at the Counter Eurovision '78 (on People Unite)

Wonderful stuff

-- 

From: dudley@treefort.Corp.Sun.COM (Dudley Gaman)

You probably have Marley's _Talkin' Blues_.  If not, you must get it.
Burning Spear's _Live in Paris_ is very good.  My favorite live reggae
album is _Gregory Issacs Live_ from the Reggae Greats collection.  It
was released 8 or 10 years ago, but I still listen to it when I need
a dose of Gregory at his best.

Dudley

From: rnelson@alexandria.lib.utah.edu (Robert Nelson)
Subject: Re: Recommendations for LIVE reggae productions

I've got a 2 album bootleg of Peter Tosh  called "Dealing with the 
Shytstem".  With a wicked version of Babylon Queendom.

There are a couple of other Marley bootlegs in circulation as well:

The Lion's Domain
Wailing For the Last Time.

(I don't feel too bad about picking up bootlegs, since Island 
shortchanged 
alot of the rarities on Songs For Freedom; dem maga dogs!)

Robert.

From: mike@jammin.nosc.mil (mike pawka)
Subject: Re: Recommendations for LIVE reggae productions

 My favorite "live" CD is Mighty Diamonds "Live In Tokyo", although 
good
luck in finding it. It's a Japanese Import, I found it at Tower for 
$22.50 one
day, grabbed it and haven't seen a copy since. I think the performance 
is from
about 1980.


From: barstow@cv.hp.com (Art Barstow)
Subject: Re: Recommendations for LIVE reggae productions

A few of my favorites that have not been mentioned:

o  Bob Marley and the Wailers: Babylon By Bus

o  Lucky Dube: Captured Live

o  Pato Banton:  I think it is 'American Revolution' or 'Reggae 
Revolution';
     it was recorded in San Fran. and has a good version of "Niceness"
     and "Don't Sniff ...".

Reply-To: coker@artiste.sitka.sun.com

Well, once again to address real reggae, lovers rock and the 
dancehall, the
25th Anniversary Album from Alton Ellis is an all-time favorite live 
album.

From: linden@fanout.et.tudelft.nl (Hans van der Linden)
Subject: Re: Recommendations for LIVE reggae productions

Though most of my favourites have yet been mentioned, still missing is 
the
great:   Chalice - Live at Reggae Sunsplash 1982  (VSLP 8902, Vista 
Records)
Greetings, Hans
-----------
[6]. Who was Marcus Garvey?

 Excerpted from "Reggae International", Stephen Davis and Peter Simon.

Ethiopianism includes the appreciation of Ethiopia's ancient
civilization as well as its role in the Bible. To blacks, Africa
(interchangeable with Ethiopia) became a glorious, Biblical home-
land equated with Zion. The recognition of African roots and the
desire for repatriation has been a central theme in New World
black religion before and since emancipation. Ethiopianism became
a "black religious reaction to pro-slavey propaganda."

Marcus Garvey's "Back to Africa" movement developed the spirit of
Ethiopianism to its fullest extent.

....since the white people have seen their God through white
spectacles, we have only now started out (late though it be) to
see our God through our own spectacles. Tbe God of Isaac and the
God of Jacob let him exist for the race that believe in the God
of Isaac and the God of Jacob. We Negroes believe in the God of
Ethiopia, the everlasting God--God the Son, God the Holy Ghost,
tbe one God of all ages. That is the God in whom we believe, but
we sball worship him througb the spectacles of Ethiopia.

A. J. Garvey, The Philosophy and Opinions of Marcus Garvey

Garvey's words planted the seeds for most "Black Cod" movements
in the US and Caribbean. Stressing the superiority of the ancient
Africans and the dignity of the black race, he inspired many
successful nationaiist movements and numerous African leaders
from Kenyatta to Nyerere.

Marcus Mosiah Garvey was born in St. Ann, Jamaica, in 1887,
descended from the fiercely proud Maroons. He founded the
newspaper The Negro World, which took as its motto his
nationalist cry,  "One God, One Aim, One Destiny." In 1917, he
founded UNIA (Universal Negro Improvement  Association) in
Harlem. Its aims were described in a speech delivered by Garvey
in 1924 at Madison Square Garden, New York:

The Universal Improvement Association represents the hopes and
aspirations of tbe awakened Negro. Our desire is for a place in
tbe world, not to disturb the tranquility of other men, but to
lay down our burden and rest our weary backs and feet by the
banks of the Niger and sing our songs and chant our hymns to the
God of Ethiopia.

Garvey's goal of repatriation was expressed in his famous slogan
"Africa for the Africans." His well-known Black Star Line
steamship company was established to trade and eventually carry
New World blacks to Africa. This prophet of African redemption
was not always successfull in his countless business ventures,
but by the 1920s Garvey was the most powerful leader among the
black masses in the United States.

In 1916, before he left for his US campaign, Garvey's farewell
address to Jamaicans included the words "Look to Africa for the
crowning of a Black king; he shall be the Redeemer."
----------
[7]. Can you recommend some Dancehall?

Profile's "Dancehall Stylee" Volumes I-III
VP's "Strictly The Best"  Volumes 1-8
Mango's "Ram Dancehall"

+------------------------------------------------------------------+
| Scott Cairns            |   email: scairns@fsg.com         |

My own current dancehall faves, if yuh interested:

"Gal Wine" - Chakademus / Pliers
"Wear Yuh Size" - Lt. Stitchie
"Hypocrites" - Michael Prophet / Daddy Freddy
"Ruling Cowboy" - Cocoa Tea
"Fresh Vegetable" - Tony Rebel
"Love Fever" - Cobra
"Bandaleros" - Pinchers
"Jump Up" - Admiral Bailey
"Talk Tough" - Bobo General / Culture Lindsay

+------------------------------------------------------------------+
| DJ Scotty Ranks         |   email: scairns@fsg.com         |

To show respect to the broad field of dancehall stylees I compiled a 
list 
of `Big' DJ/dancehall names (over the years, I guess somewhat since 
78).
These man and man have settled their names in many ppl's memories and 
have
made more than a couple of albums. I added one of my favourite albums 
for
each of them. I must have missed great ones by lots and must have 
selected
semi-optimal albums for many of them, so lets grow this list please. 
Also
a LOT of more temporary starts have made HOT ridims and lyrics, but 
including
them (Ashanti Waugh, Peter Culture, Scion Sashay Success, Tapper Zukie 
etc etc

etc) would make this list endless.

I roy - The General
U roy - Natty Rebel (++)
Papa/General Echo - 12" of Pleasure (man died too young, hear next 
album)
Clint Eastwoord & General Saint - Two Bad DJ
Michigan & Smiley -   Downpression
Yellowman & Fathead - I Cant take it (if live was a thing money coulda 
buy)
Yellowman & Home-T4 - Mr.Consular    (this one and previous are 12")
Barrington Levi - Here I Come
Mikey Dread - World War III
Sugar Minott - Time Longer Than Rope
Big Youth - Dread Locks Dread
Jah Thomas - Dance Hall Connection
Jah Woosh - Chalis blaze
Little John - True Confession
Max Romeo - Holding Out My Love To You (maybe not everyone finds this
dancehall)
Winston Reedy - Crossover
Maxie Priest (slightly disco-ish) - You're Safe
Dr. Alimentado (not really dancehall)  - Best Dressed Chicken In Town 
*
Eek-A-Mouse (singing DJ) (some like it some hate it)) - Skidip
Dillinger - (SORT of, various experiments) I did like CB200 
(ocassionally
still)

With the very many names over the years samplers are especially useful 
for
selecting your taste here.  Nice samplers, i.e. `Super Fresh', `Sure 
Shot',
Very nice live samplers: a series called: `Live Dance Hall Session 
with ...',
where ... is `Aces International' or `Lees Unlimited' etc.

*) Sons of Thunder is better, yet less dancehall-ish

As I didn't purchase much dancehall the last few years, I missed the 
latest
great names. Also some stuff lost some actuality. All titles above are 
(for
me at least) timeless anyway. Oh yes, now we're on it. On MTV I saw 
Shabba,
Snow, and Shaggy on 3, 2, 1 in English chart as well. In Holland they 
must 
also be in top 5, accompanied by Dr.Alban (reggae from sweden [or 
danmark?]).
BTW, wouldn't someone be able and willing to post a Jamaican chart on 
this
group sometimes? Even with some delay it might keep us informed of 
what is
hot in Jamaica much quicker.

OK, sorry for the length of this, Greetings, Hans (flashbacks will 
change my 
musical diet for some days, and they are already doing so:-)


 Yes, it's one of the dusty, sleepy nyah mon making a dancehall
recommendation: Check out the ROIR/RAS CD, "Nice Up Dancee" featuring 
Sanchez,
Flourgon, Little Lenny, Johnny P., Tiger, Tippa Lee & Rappa Robert, 
Foxy
Brown,
Little Kirk, Paul Blake & Bloodfire Posse, Super Glen, and Natural 
Beauty.
Also Two Tough Record's "Dancehall Boomshots". 

      EZ Noh,  mike

Newsgroups: rec.music.reggae
Subject: Re: dancehall

In article <1993Jun7.012035.27087@uvm.edu>, walker@uvm.edu (Sherrett O 
Walker)
writes:
|> 
|> Can someone send me email on the newest and classic dancehall 
favorites???
|> Thanks in advance.
|> 

 It's always difficult to determine what is the "latest" dancehall: it
always depends on how soon you were able to get to the local reggae 
store
before
the last shipment done!!  Anyway:

-"Oh Carolina," Various Artists, King Jammy's version (Which is 
substantially
faster and different from the Signet (Sting Int'l) version.
-"Ghetto Vibes" Various Artists, also of Jammy's.  Features D. Brown, 
Courtney
Melody/Risto Benjy, Bounty Killer etc.
-Sound Boy Burial - Trouble, Tan Yah records
-Welfare/Good Enough - Blacka Ranks/ the late great Alton Black, Tan 
Yah.
-People - Gen. Degree, Penthouse
-Creator - Tony Rebel, Penthouse
_Operation Ardent = Buju, Penthouse
-You a lead/??? - Nardo/Galaxy P, Penthouse
-Love will lead you back - Wayne Wonder, Penthouse


-Excellence - Louie Culture, Madhouse

I will check on some new stuff that I just got in the last month and 
give you
the
names.  Also let me know how far back you mean (1993 stuff, last 
month, etc..)

As for classic favorites - I'll just name some of mine:

"Here I come" - Dennis Brown
"Pumpkin Belly," "Ring the Alarm" - Tenor Saw
"Bam Bam" - Muma (then Sister) Nancy, Techniques (Winston Riley's - 
its on the
same rhythm as Tenor Saw's Ring the alarm and more recently Buju's "Do 
dem
sup'm".  Big Beat recently rereleased it with a *Phizattt* hip-hop 
remix as
well
as the original.).
"Murderer," "Under me Sensi" - Barrington Levy
"Night Nurse," "Mr. Brown" - Gregory Isaacs
"Loving Pauper" - Dobby Dobson
"No,no,no" (You don't love me and I know) - Ken Boothe
"Greetings" "Level the vibes" - Half Pint
"Bobo Dread," "Leggo me hand" - Josey Wales
"Gunman Connection," "Suzy Q" - Nicodemus
Innumerable Yelloeman, especially with Fat head (e.g BAM BAM)
"Cry fi the Youth", "Mud up," "Sweet for my sweet," "Under Pressure," 
"Boops"
-
Super Cat.
"Synthersizer voice" - Pampidoo
"Gi me punany," "Think me did done" (part II), "Big Belly Man" - Adm. 
Bailey
"Big Batty Gal," "Jump Spread out" - Flourgon
"Ram Dancehall," "Boombastic," "No wanga gut," "Mi lover mi lover" - 
Tiger
Any pre-Atlantic record of Lieutenant Stitchie After: "Father Beat me 
hot, Old
Confession, All nations, Wear yu size"
"Pretty Looks done" - Major Mackerel
"Cover Me" - Ninja Man/Tinga Stewart


Etc. etc...

Selector Dudu Black

From: ac999a11@umbc2.umbc.edu
Subject: RE: dancehall

Here are a few more to add:

Zion in a vision - Garnet Silk
Love of a lifetime - ???
Love how de gal dem flex - Buju
If I ever fall in love again (cover) - Pinchers
Why so much gun and ammunition - Tony Rebel

They're not brand new, but are among some of the better '93 selection 
to come
out.

>As for classic favorites - I'll just name some of mine:
> 
> 
Some to add here would be:

Jump Up - Tiger
Babylon Boops - Lovindeer
Computer Burial - ???
Sorry - Foxy Brown
Love the life you live - Colonel Mite and Frighty
Gun Talk - Tony Rebel
Dolly My Baby (Original Version) - Super Cat
Cuff - Shelly Thunder
She a Trickster - ???
Love the Ghetto Youth - Admiral Bailey
Telephone Lover - J.C. Lodge
One Blood - ???

>Selector Dudu Black

Some Stuff That Came out in 92 that may be classic soon:

Ting-a-ling - Shabba
Boom Bye Bye - Buju
Murder She Wrote - Shaka Demus and Pliers
Lord, Me Can't Take it No More - General Degree
Granny - ??? (Same Version as that above)
Falling in Love All Over Again - Beres Hammond
Big Up Big Up - ???
Murderation - Capleton
Dem A Bleach - Nardo Ranks
Hot This Year - ???
Love is Guaranteed - Reggie Stepper

Richard Thomas

ac999a11@umbc2.umbc.edu
----------

Also, you'd asked about updating the dancehall FAQ recently. I think 
of course
the selectors like Mr. Black are most qualified to do so, but I do 
think for
'94 anyhow, the new Pepperseed Riddim should get some mention

Stress                 Michigan and Smiley
Tickle Her Body        Baja Jedd
Big Speech             Frisco Kid
Wifee                  Dugsey Ranks
Dappa                  Donovan Steele, Daddy Screw
Big Thing a Gwan       "    "
Kotch, #2              Terror Fabulous


                                           

@SUBJECT:rec.music.reggae Frequently Asked Questions (2/3)            
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Subject: rec.music.reggae Frequently Asked Questions (2/3)
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news.answers:32466


Archive-name: music/reggae/part2
Posting-Frequency: monthly

[8]. Is there a newsgroup that caters to those of us who enjoy soca, 
zouk, 
   salsa, or merengue?

Try rec.music.afro-latin

----------

[9]. Books on Rastafarianism?

The title says it all. I currently have Leonard E. Barrett's book. 
Anyone
know of other reputable titles?

From: "richard paul" <richard.paul@canrem.com>

Well Steve... it's been a while since I have been up on the topic... ( 
moved
back to Toronto Canada after working in Jamaica in 1979-80), but you 
may
wish to check out Joseph Owens, DREAD: The Rastafarians of Jamaica. 
Published by Sangsters (Jamaica) in 1979.

Rex Nettleford also has some interesting things to say in his book,
Caribbean Cultural Identity: The Case of Jamaica - 
AN Essay in Cultural Dynamics (1978) Institute of Jamaica

I seem to recall a professor at York University in Toronto - 
Carol Yawney  I beleive working on her PhD. dissertation on this very 
topic. 
If you have access to interlibrary loan, you may be able to get hold 
of this 
work.

From: bb@generali.harvard.edu (Brent Byer)

Steve Mcgowan wrote:
>
> .... I currently have Leonard E. Barrett's book.
> Anyone know of other reputable titles?

Check for:  "Rasta and Resistance" (From Marcus Garvey to Walter 
Rodney)
       By:  Horace Campbell
Publisher:  Africa World Press, Inc.
            PO Box 1892
            Trenton, NJ 08607
              Phone: (609) 695-3766
ISBN: 0-86543-035-7  (paper, 234 pg, $12.)  c1987;  3rd printing, 1990

----
From the back cover:

  "Rasta and Resistance" is a study of the Rastafarian Movement in
  all its manifestations, from its evolution in the hills of Jamaica
  to its present manifestations in the streets of Birmingham and
  the Shashamane Settlement of Ethiopia.  It traces the cultural,
  political and spiritual sources of this movement of resistance,
  highlighting the quest for change among an oppressed people.
  This book serves to break the intellectual traditions which
  placed the stamp of millenarianism on Rasta.

----
From close of Chapter 3:

"The symbols of the flag, the lion, the drum, the chalice, the locks,
 and the distinctive language were reflections of a style of 
resistance.
 The Rasta were neither crazy nor millenarian, for they were part of 
the
 sufferers who were making their own protest against the sickness of
 the colonial society.
   ....
 The Dreadlocks of the hills were making their imprint on the 
consciousness
 of the poor and it is to the evolution of the movement which we now 
turn.
 The Rastafari were creating the musical forms to strengthen the 
people
 to meet the violence and thuggery of neo-colonialism."

>Dear fellow internet_er, 
>       I am an anthropology student in Fredericton, Canada and I am 
>trying to obtain information about Rastafarianism. I would like to 
know 
>if this movement is a millinerian movement or if millinerian is just 
a 
>generalized title of the movement. I would appreciate any comments or 
>information pertaining to this debate.


Check out the books....

AUTHOR: Barrett Leonard Emanuel
TITLE: The Rastafarians
IMPRINT: Kingston, Jamaica Sangster's Book Stores Ltd London Heinemann
          Educational 1977
PHYSICAL  DESCRIPTION: ill
SUBJECT: Ras Tafari movement History
CLASSMARK: Theology AF 430 BAR
   Revised and Updated Edition, 1988, Beacon Press (Boston) BP795,
      ISBN 0-0870-1026-X ; ISBN 0-8070-1027-8 (paper) 


and....


AUTHOR: Cashmore  Ernest
TITLE: Rastaman the Rastafarian movement in England
IMPRINT: London Allen & Unwin 1979
SUBJECT: Ras Tafari movement England * West Indians England
CLASSMARK: Theology AF430 CAS * Adam Smith Lib 2 copies


The first book goes into this subject in reasonable depth, and also 
gives
valuable pointers to other sources. I've just started reading the 
second, so
no
great comments to give for that particular one...

Maybe you should include this book in the archives...

 
AUTHOR: Cashmore  Ernest
TITLE: Rastaman the Rastafarian movement in England
IMPRINT: London Allen & Unwin 1979
SUBJECT: Ras Tafari movement England * West Indians England
CLASSMARK: Theology AF430 CAS * Adam Smith Lib 2 copies
 

--Steve.

-----
|>  Several books to look for:
|> 
|>   ITATIONS OF JAMAICA AND I RASTAFARI (First Itation)
|>         ISBN: 0-9512222-0-1
|>         AUTHOR: Mihlawhdh Faristzaddi
|>  
|>  AND          
|>   ITATIONS OF JAMAICA AND I RASTAFARI (Second Itation)  
|>         ISBN: 1-962-3333-1-2                 
|>         AUTHOR: Mihlawhdh Faristzaddi
|>          
|>   Both books explore and celebrate Rastafari culture in Jamaica and
|>   elsewhere with poetry, psalms, praises and wonderful photographs,
|>   including many from Ethiopia.  These books are perfect companion
|>   pieces to Norman's insightful posts, which by the way, are 
respected
|>   as positive contributions to rmr.
|> 
|>   The books are available from:
|> 
|>         JUDAH ANBESA
|>         P.O. BOX 160998
|>         MIAMI, FLORIDA 33116 USA

|> Here are a few more that I found helpful and/or interesting:
|> 
|> Title:Rastafari: The Healing of the Nation
|> Author: Dennis Forsythe
|> Date: 1983
|> Publisher: Ziaka Publications
|>     Box 405
|>     Constant Springs P.O.
|>            Kingston, Jamaica
|> /// I doubt if the address is still valid but I purchased it in JA 
last
|> summer so, who knows.///
|> 
|> Title:  Roots of Rastafari
|> Author: Virgia Lee Jacobs
|> Date:   1985
|> Publisher:  Avant Books
|>             Slawson Communications, Inc.
|>      3719 Sixth Avenue
|>      San Diego, CA 92103-4316
|> IBSN: 0-932238-25-4 (pbk)
|> 
|> Title: Race, Class, and Political Symbols: Rastafari and Reggae in
|> Jamaican Politics.
|> Author: Anita M. Waters
|> Date: 1985; paperback edition 1989
|> Publisher: Transaction Publishers
|>     New Brunswick, NJ 08903
|> IBSN: 0-88738-632-6 (pbk) and 0-88738-024-7 (not pbk)
|> 
|> ///This is a scholarly work--almost a textbook--thats appears to be 
a spin
|> off of a PhD disertation.  Nonetheless, there is a whole heap of 
valuable
|> information and EXTENSIVE bibliography.
|> 
|> I hope all of this helps.
|> 
|> 
|>      --Papa Pilgrim
|>      Reggae Ambassadors Worldwide
|>      jjk1054@u.cc.utah.edu

-----
[10.] What are the different reggae styles?

From: pharvey@quack.kfu.com (Paul Harvey)
Subject: Re: Reggae styles

In article <Mar08.171038.66404@yuma.ACNS.ColoState.EDU> 
jn163051@longs.LANCE.ColoState.Edu (Joel Nevison) writes:
>One thing I am a bit fuzzy on is the defining characteristics of
>the various styles of reggae; dancehall, rock steady, etc etc.
>I have a grip on the difference between ska and dub, but those
>are pretty obvbious.  Could some of the experts here give an outline
>of the musical characteristics of the various styles?   Also helpful
>would be a short list of titles that are good examples of or define
>a particular style.   I've been listening to reggae for so long, and
>mainly break it down into two groups; love it, and okay.  Seems I
>ought to maybe think about it a little more now.

I'll start but, it's not easy to do in writing. And I could probably
stand some education myself, anyway:

Ska - 50-60's, pioneered by the Skatalites? There is a thing called 
the
ska beat, which I don't really know how to describe, maybe you take 
each
beat and make it triplet with the two outer notes played by a guitar 
or
keyboard or horn and the center note a drum hit. Anyway, much ska was
just American pop of the 50-60's with a ska beat, but there was 
orginal
stuff also and there were certainly a lot of variations in the basic 
ska
beat.

Dub - is just dubing something, usually vocals, onto an instrumental
version, often a B side.

Rock Steady was late 60's and was a slowed down version of ska with 
more
of a rock feel.

Roots was sort of a cross between American Rock and Ska/Rock-Steady, 
The
Wailers being the equivalent of the Beatles.

Dancehall seems to be the catchall for 80's and 90's Jamaican music 
and
is a varied as American Modern Rock/Pop music. Shabba Ranks is 
probably
the big name here, but there are of course many others. There are lots
of terms for sub-types of Dancehall.


From: ld21@cunixf.cc.columbia.edu (Lee Dirks)
Subject: Re: Reggae styles

In article <f0lZvYp@quack.kfu.com> pharvey@quack.kfu.com (Paul Harvey) 
writes:

>In article <Mar08.171038.66404@yuma.ACNS.ColoState.EDU> 
>jn163051@longs.LANCE.ColoState.Edu (Joel Nevison) writes:
>>One thing I am a bit fuzzy on is the defining characteristics of
>>the various styles of reggae; dancehall, rock steady, etc etc.

>Ska - 50-60's, pioneered by the Skatalites?

I'm not sure anyone can say exactly who pioneered ska, but the 
Skatalites 
were definitely right there at the beginning...and are still going 
strong!

>Dub - is just dubing something, usually vocals, onto an instrumental
>version, often a B side.

As far as I know, Dub should probably come in later down in this list, 
but
that is a minor point.

>Rock Steady was late 60's and was a slowed down version of ska with 
more
>of a rock feel.

I think you could safely say early 60s...

>Roots was sort of a cross between American Rock and Ska/Rock-Steady, 
The
>Wailers being the equivalent of the Beatles.

Good call.  Fitting in after Roots (chronologically) would be Lover's 
Rock
and the man Gregory Isaacs, along with many other smooth singers of 
this
style.

Before we jump on to dancehall, I think you should mention its 
origins, those
being Toasting and DJ.  At least I would say these are the precursors, 
or the
given to dancehall before it was called dancehall. Toasting: U-Roy 
would 
probably be one of the grand-daddys of this musical form (Big Youth as 
well?),
working the sound systems and chanting and toasting over dub versions 
of other
popular tunes of their day.  Then, that was followed by the DJ style 
popularized by The King (in his day) Yellowman; this style glided 
straight
into Dancehall as we know it today.  At least, this is my take on the 
situation.  I'm more a roots man myself, so I'm not exactly taking 
about my 
field here.

>Dancehall seems to be the catchall for 80's and 90's Jamaican music 
and
>is a varied as American Modern Rock/Pop music. Shabba Ranks is 
probably
>the big name here, but there are of course many others. There are 
lots
>of terms for sub-types of Dancehall.


I think this idea of drawing up catageories and writing descriptions 
and 
listing artists which define the style is a good idea which should be 
continued by all who wish to contribute.  This could develop into a 
file
worth saving.  Let's keep filling in the blanks!!

From: bbe001@acad.drake.edu
Subject: Re: Reggae styles

In article <1993Mar10.153518.4235@news.columbia.edu>,
ld21@cunixf.cc.columbia.edu (Lee Dirks) writes:
> In article <f0lZvYp@quack.kfu.com> pharvey@quack.kfu.com (Paul 
Harvey)
writes:
> 
>>In article <Mar08.171038.66404@yuma.ACNS.ColoState.EDU> 
>>jn163051@longs.LANCE.ColoState.Edu (Joel Nevison) writes:
>>>One thing I am a bit fuzzy on is the defining characteristics of
>>>the various styles of reggae; dancehall, rock steady, etc etc.
> 
>>Ska - 50-60's, pioneered by the Skatalites?
> 
> I'm not sure anyone can say exactly who pioneered ska, but the 
Skatalites 
> were definitely right there at the beginning...and are still going 
strong!
Most people contribute it to Laurel Atikan (I know I spelled that 
wrong).
>>Dub - is just dubing something, usually vocals, onto an instrumental
>>version, often a B side.
Ah but so much more brah. It started out with people like King Tubby 
and
Augustus Pablo taking the instrumental tracks from the A-sides, then 
pumping
up
the bass, using delay (like an echo) effects on the instruments and 
sometimes
maybe a snatch of vocals for the B-sides. If it was just stripping the 
vocals
o
ff, then it's just a "version" record. This is why some songs use the 
same
ridd
ims. But then, they just started having studio musicians provide the 
music.
Now, with the new techno-dub, for lack of a better word, the drum 
machines and
synths are doing a lot of it- like Jah Shaka and King (used to be 
Prince)
Jammy's newer stuff.
> As far as I know, Dub should probably come in later down in this 
list, but
> that is a minor point.
> 
>>Rock Steady was late 60's and was a slowed down version of ska with 
more
>>of a rock feel.
> 
> I think you could safely say early 60s...
> 
>>Roots was sort of a cross between American Rock and Ska/Rock-Steady, 
The
>>Wailers being the equivalent of the Beatles.
> 
> Good call.  Fitting in after Roots (chronologically) would be 
Lover's Rock
> and the man Gregory Isaacs, along with many other smooth singers of 
this
style.
> 
> Before we jump on to dancehall, I think you should mention its 
origins,
those
> being Toasting and DJ.  At least I would say these are the 
precursors, or
the
> given to dancehall before it was called dancehall. Toasting: U-Roy 
would 
> probably be one of the grand-daddys of this musical form (Big Youth 
as
well?),
> working the sound systems and chanting and toasting over dub 
versions of
other
> popular tunes of their day.  Then, that was followed by the DJ style 
> popularized by The King (in his day) Yellowman; this style glided 
straight 
> into Dancehall as we know it today.  At least, this is my take on 
the 
> situation.  I'm more a roots man myself, so I'm not exactly taking 
about my 
> field here.
> 
>>Dancehall seems to be the catchall for 80's and 90's Jamaican music 
and
>>is a varied as American Modern Rock/Pop music. Shabba Ranks is 
probably
>>the big name here, but there are of course many others. There are 
lots
>>of terms for sub-types of Dancehall.
Definately true- about the deejay style of the 80's before dancehall 
now. Like
Eek-A-Mouse, Michigan and Smiley, and King Yello. For those of you 
interested
in some CONSCIOUS DANCEHALL- check out Charlie Chaplin -"Take Two," 
etc.
> 
> I think this idea of drawing up catageories and writing descriptions 
and 
> listing artists which define the style is a good idea which should 
be 
> continued by all who wish to contribute.  This could develop into a 
file
> worth saving.  Let's keep filling in the blanks!!
>
I remeber reading about all these wierd names like "sleng-teng" and 
some
others
I don't remember. I think sleng-teng was real techno-synth stuff. And 
I still
don't know what "inna yard style" is! Yeah yard is your house, but 
someone
tell
me an actual artist in the yardee style, if any.


Respect,
Brad

From: mcbean@vax.oxford.ac.uk
Subject: Re: Reggae styles
Date: 13 Mar 93 07:29:05 GMT

In article <C3pyGB.sq@dcs.glasgow.ac.uk>, stevem@dcs.glasgow.ac.uk 
(Steve
McGowan) writes:
> ld21@cunixf.cc.columbia.edu (Lee Dirks) writes:


> 
>>In article <f0lZvYp@quack.kfu.com> pharvey@quack.kfu.com (Paul 
Harvey)
writes:
> 
>>>In article <Mar08.171038.66404@yuma.ACNS.ColoState.EDU> 
>>>jn163051@longs.LANCE.ColoState.Edu (Joel Nevison) writes:
>>>>One thing I am a bit fuzzy on is the defining characteristics of
>>>>the various styles of reggae; dancehall, rock steady, etc etc.
> 
> 
> I posted a very similar question a couple of months ago, but got 
> no replies.  I asked if anyone knew how/where the music style 
> known as Mento fitted in with the development of reggae.
> 
> I think Mento may have been more blues oriented than reggae (as we
> know it today), but not so distant that reggae could not evolve
> from it.
> 
> Anyone shed some light?

My understanding of mento was that it is more like calypso (old 
calypso as
opposed to soca).  It certainly sounds like it, more rhythmical 
lyrically, in
a
storytelling tradition which suggests that it is closer to the 
original
African
music forms.  Some fuzzy memory tells me I'm on the right track but 
don't
quote
me definitely.  It was probably more influenced by the folk music 
forms of
England & great britain, since it comes from an era where dances like 
the
quadrille were still prevalent.

It definitely predates ska, and if you listen to ska then you can hear 
some of
the mento influence coming through, and of course reggae comes out of 
the ska
tradition.

There is a Jamaican "musicologist" (whatever that is supposed to 
mean), Dermot
Hussey, who has published several articles on this.  Unfortunately 
residing in
"Babylon" at present means I have no way of enlightening you:-)

-----------
[11.] CARIBANA FAQ

            CARIBANA '93 - FREQUENTLY ASKED QUESTIONS (FAQ)
               Version 1.00 - Last updated July 14, 1993

Compiled by Steve Frampton <frampton@vicuna.ocunix.on.ca> with help 
from
several contributors (listed at the end of this document, section "Q-
15").

This document is copyright 1993 by Steve Frampton (on behalf of 
himself and 
all the contributors) but is freely distributable to the benefit of
Caribana '93 and the West Indian communities in Toronto and 
surrounding
areas.

---===

Q-00. Do you have any legal disclaimers to get out of the way first?
Q-01. What the #&*$! took you so long to release this FAQ!?
Q-02. What the heck is "Caribana", anyway?
Q-03. When will Caribana '93 take place?
Q-04. What is the schedule of Caribana '93 events?
Q-05. Sounds great, now where can I purchase tickets?
Q-06. Can you recommend some nice and affordable accomodations?
Q-07. Which forms of transportation should I use to get around?
Q-08. What kind of musical styles (and who is playing!) will be 
featured?
Q-09. Where are some good places to get authentic West Indian food?
Q-10. Caribana aside, what are some good Caribbean clubs in the area?
Q-11. Which Caribbean radio stations can I listen to while I'm in 
Toronto?
Q-12. How can I get more information about this wonderful event?
Q-13. I'm too far away for Caribana -- do you know of any similar 
events?
Q-14. Any "Quotable Quotes" from past attendees you want to share?
Q-15. Who contributed to this FAQ document?
Q-16. In the perspicacious words of Janet Jackson, "Is that the end?"

---===

Q-00. Do you have any legal disclaimers to get out of the way first?

Neither myself (Steve Frampton) nor any of the contributors (listed at
the end of this document) shall be held liable for any damages caused 
by
the information (or mis-information, as the case may be) contained 
within
this document, including but not limited to, special, incidental,
consequential, or other damages.

Although every attempt has been made to ensure a reasonable degree of
accuracy is contained herein, this document has been prepared more as 
a
general guide and is not intended to be used as a definitive "bible" 
of
the events at large.  You are encouraged to contact any of the people 
listed under section "Q-12" for more information on Caribana '93 
before 
making any plans.

In short, USE THIS INFORMATION AT YOUR OWN RISK.

---===

Q-01. What the #&*$! took you so long to release this FAQ!?

This is the first-ever release of the Caribana FAQ.  The information
gathering took a lot longer than I had expected, due not only to the
fact that Caribana planning seems to be delayed until the last minute,
but also due to my excessive procrastination.  :-)

I'd like to take this opportunity to thank everyone who kept in 
constant
contact with me to get this thing done, and also to apologize to the 
net
for the incessant delays in releasing this FAQ, as well as some of the 
information being unavailable for inclusion.

Much of the information herein will hold true for future Caribana
events, so I'll be able to release this FAQ in coming years much 
earlier
than this one.  In short, we'll get it right for Caribana '94!  :-)

Thanks for your patience, and on behalf of myself and all who
contributed, good luck and have a blast at this year's Caribana!

---===

Q-02. What the heck is "Caribana", anyway?

Caribana is an annual event, founded 26 years ago by Toronto's 
Trinidadian 
community as the Northern version of Trinidad's Carnival.  As Caribana 
increased in popularity, other West Indian communities contributed to 
the 
festivities, and recently the Latin and African communities joined in 
as 
well.  

During the last two and half decades, Caribana's popularity has been
increasing exponentially.  25 years ago it was a celebration of only a
few thousand.  Last year, Caribana celebrated it's 25th anniversity --
and over 2,000,000 people were in attendance to make it the most 
successful 
year for Caribana so far.

According to a past member of the Caribana Cultural Committee, the 
Mardi
Gras in New Orleans had approximately 4,000,000 people attend in 1991.
At Caribana's current rate of growth, Caribana will surpass this 
famous 
carnival within only a couple of years.

Caribana is the success it is because of the people who attend -- and 
they
come from all over the world, often to meet with family who are also 
in
attendance or living in the area.  A publication that was released for 
Caribana '92 indicated that many people plan family reunions.  During 
past
years, people made plans to meet at specific street corners on the 
parade
route.  In 1991, however, the route was changed to follow the lake 
shore,
where there were no specific buildings or corners.  Luckily, some 
bright
individual noticed that each lamp post had unique code numbers 
affixed,
and the word went out that this would be an ideal method used for 
meeting 
family and friends.

---===

Q-03. When will Caribana '93 take place?

Caribana is a two week period of events beginning in the latter part 
of
July, ending with a major blowout on the long weekend (Canadian Civic 
holiday) at the beginning of August.

Although many people believe that Caribana is only a single weekend
consisting of the parade on Saturday and the island picnics on Sunday,
it is actually two weeks in length!  There are many events that are
held during this period, including the Junior Carnival, and the King &
Queen's Pageant to name only a couple.

---===

Q-04. What is the schedule of Caribana '93 events?

There are all kinds of parties and activities at Caribana that will 
take
place all around Toronto.  Here is the schedule and pricing 
information:

MONDAY, JULY 19, 12:00 PM - 2:00 PM:  OFFICIAL FESTIVAL LAUNCH 
Nathan Phillips Square, City Hall / Cost = FREE
Entertainment will include "Massive Chandelier", "Lady Pearl", "Pan
Fantasy Steelband", as well as "The Scarborough Caribbean Youth Dance
Ensemble".

FRIDAY, JULY 23, 7:30 PM - 11:30 PM:  WARM-UP PARTY
Nathan Phillips Square, City Hall / Cost = FREE
Entertainment includes "Massive Chandelier", "Moss International", 
"Lady
Pearl", "Elsworth James", "The Caribbean Folk Performers", "Metrotones 
Steelband", "Brother Resistance", and the Rap and Step Dance winners
from a previous CCC event.

SUNDAY, JULY 25, 2:00 PM - 8:00 PM:  JUNIOR CARNIVAL
Lamport Stadium, 1155 King Street West
Cost = $12.00 adults, $5.00 seniors & children
(Competition of children's carnival costumes).
Entertainment includes "Tropical Youth Dancers", "Panatics Steel 
Band",
Rap-Off 1st runner-up, step dance, and D.J. Frankie, D.J. Lee.

MONDAY-FRIDAY, JULY 26-30, 7:30 PM - 11:30 PM:  SUNSET CRUISES
The Trillium / Cost = $25.00 adults (excluding bar & meals)
Cruise on Lake Ontario while you dance as the sun sets.  Board the 
ferry
at the foot of Bay Street.  Featuring Caribbean cuisine and a cash 
bar.
Entertainment varies depending on evening:  Monday is "Massive
Chandelier" and "D.J. Lee", Tuesday "Pelham Goddard & Charlies Roots"
and "D.J. Bad Lad", Wednesday "Atlantik" and "D.J. Bad Lad", Thursday
"Carribbean Traffic Jam" and "D.J. Frankie", and Friday is "Moss
International" and "D.J. Lee".

WEDNESDAY-FRIDAY, JULY 28-30, 12:00 PM - 4:00 AM:  CASINO CARIBANA
Regal Constellation Hotel, 900 Dixon Road / Cost = FREE
Casino gambling; $10.00 maximum bets (Rapid Blackjack up to $100), Las
Vegas style rules, professional dealers.

THURSDAY, JULY 29, 8:30 PM - 1:00 AM:  KING AND QUEEN OF THE BANDS
Lamport Stadium, 1155 King Street West
Cost = $15.00 adults, $5.00 seniors & children
A competition for the King, Queen & Individual of the bands.  Features
spectacular display of costumes, Caribbean cuisine.
Entertainment includes "Silhouettes Steelband", and "D.J. Bad Lad".

FRIDAY, JULY 30, 8:30 PM - 2:00 AM:  CARNIVAL DANCE
Toronto Airport Hilton, 5875 Airport Road / Cost = $25.00 adults only
Dance all night long to the music of "Pelham Goddard & Charles Roots",
"Brass Trazx", "D.J. Bad Lad".
Chance to win family accomodation for 4 nights at Caribana '94 at the
Toronto Airport Hilton (winner to be announced night of this event).

SATURDAY, JULY 31, 10:00 AM - 6:00 PM:  CARIBANA PARADE
Exhibition Stadium, Lakeshore Blvd. West
Cost = $10.00 adults, $5.00 seniors & children, $26.00 family of four
The most well-known event of Caribana.  Thousands of masqueraders in
colourful costumes parade before panel of judges.  Dance to the
Caribbean's pulsating music, as the bands play west along the 
Lakeshore
to Parkside Drive.

SATURDAY, JULY 31, 8:30 PM - 2:00 AM:  CARIBANA 'LAS' LAP' DANCE
Delta Toronto Airport, 801 Dixon Road / Cost = $15.00 adults only
After the parade dance to the rhythms of "Shandu", and "D.J. Lee".

SUNDAY, AUGUST 1, 8:00 PM - 2:00 AM:  KAISOFEST
Skyline Hotel, 655 Dixon Road / Cost = $15.00 adults only
Featuring local Calypsonians, cash bar.

SUNDAY-MONDAY, AUGUST 1-2, 12:00 PM - 8:00 PM:  
     OLYMPIC ISLAND CARIBBEAN MUSIC FESTIVAL 
Take the ferry at the foot of Bay Street to Olympic Island
Cost each day = $15.00 adults, $5.00 seniors & children
This is a 2 day festival featuring Caribbean music, dances, craft
exhibitions, and Caribbean cuisine, as well as a beer garden.
Entertainment varies depending on day; on Sunday: "Atlantik", "Pelham
Goddard & Charles Roots", "Sparrow", "David Rudder", "United Sisters",
"Iwer George", "Anslem Douglas", "Show-Do-Man", "Triveni Brass", "Hit
Squad", "Jayson", "Jones & Jones", "Jackie James", "Chester Miller",
"Los Karachis", "Tommy Joseph", "Ballet Creole", "Afro Pan", and
"Protector".  On Monday: "Atlantik", "Second Imij", "Sparrow", "David
Rudder", "United Sisters", "Rikki Jai", "Anslem Douglas", "Instant 
Jam",
"Elsworth James", "Tabaruk", "Devon Irie", "Inspector Lenny", "Dance
Caribe", "Pan Fantasy", "Ramabai Espinet & Sudharshan", "Tommy 
Joseph",
"Protector", "Jones & Jones", "Military Force", "Simply Majestic", as
well as the Rap-off winner from a previous CCC event.

---===

Q-05. Sounds great, now where can I purchase tickets?

Tickets for any of the events can be purchased in any of the following
outlets:

* Toronto Central *

Caribana Carnival Shop                 Pizzazz Unlimited
& Main Ticket Outlet                   1266 Danforth Ave. (near 
Greenwood)
College Park, 444 Yonge St.            Toronto, Ontario
(at College Subway)                    (416) 465-6738
(416) 977-8337

The Official Caribana Store #1         The Bay, Queen St.
College Park, 444 Yonge St.            401 Bay Street
(inside mall)                          Toronto, Ontario  M5H 2Y4
(416) 977-8337                         (416) 861-9111

The Official Caribana Store #2         Rock Wells
301 Yonge St. @ Dundas St.             301 Yonge St.
Toronto, Ontario                       Toronto, Ontario  M5B 1R2
(416) 974-9888                         (416) 974-9888

* North Central *

Loxx Hair Design & Esthetics
4844A Yonge Street
(1 block north of Sheppard)
North York, Ontario
(416) 222-0311

* West *

Climax Records Promotions              Mr. Jerk
8 & 10 MacDonnell Ave.                 1552 Eglington Ave. W. @ 
Dufferin
(Queen & Lansdowne)                    Toronto, Ontario
Toronto, Ontario                       (416) 783-1367
(416) 588-5372

Elma's Spice Corner                    Nappy's
255 Dundas St. West, Unit 4A           267 Queen St. East
(Parker Hill Centre)                   Brampton, Ontario
(416) 277-0557                         (416) 453-3037

Fade II Black                          Nappy's
Main Mall Level                        20 Dundas St. East
140 King St. East                      Mississauga, Ontario
Hamilton, Ontario                      (416) 949-6787
(416) 527-3233

Northern Lights Records Tapes & Discs
3-1750 The Queensway, Suite 1329
Etobicoke, Ontario
(416) 674-3836

* East *

Mello Music                            Network Records
Liberty Square Plaza                   2918 Sheppard Ave. East
2388 Eglington Ave. East               (at Victoria Park Ave.)
Scarborough, Ontario                   North York, Ontario
(416) 757-7812                         (416) 489-0938

Mr. Jerk
3050 Don Mills Road
North York, Ontario
(416) 491-3593

---===

Q-06. Can you recommend some nice and affordable accomodations?

Accomodation can be tight, with most hotels usually being fully booked 
for
at least the final weekend.  Because of this, it is very important 
that you
make hotel reservations *well in advance*.

It cannot be stressed enough:  MAKE RESERVATIONS WELL IN ADVANCE!  It 
is
recommended you make reservations as much as 2 months in advance of 
your
intended stay.  (You'll of course be able to do this for Caribana '94
when this FAQ is released a *lot* earlier).

Another thing to consider is that generally accomodation rates raise 
for
the event.  Accomodation rates right in the downtown area can go as 
high
as $140 CDN per night.

Some good ideas to help keep accomodation costs down are to make plans 
to
stay with friends or relatives if possible, or perhaps find others who 
may
with to join you in sharing the cost of a room.

Another way to keep costs down is to stay in a hotel near the airport, 
or
even stay in Mississauga, Brampton, Oshawa, or any other of the cities 
outside of Toronto.  This could save you plenty; and most of these 
areas 
have reasonably efficient public transportation to take you back and 
forth 
to Caribana.
  
If money isn't a big concern with you, then staying in downtown 
Toronto
is probably the best bet, as you would be within walking distance to 
many
of the events!

Below are a few places you may wish to consider for your accomodation
needs.  Prices should not be taken as absolute; they are more of a 
range
of prices you can expect.  You are recommended to contact any of the 
hotels
for actual prices.  Don't forget to inquire about weekend package 
deals.

Prices and phone numbers subject to change without notice.  If you 
find
an error in this FAQ document, please e-mail the correct information 
to
the FAQ maintainer.  In addition, if you can find it the e-mail 
address
of a particular hotel (if available) I would appreciate it if you can
pass the information on so it can be included here.

* Toronto Downtown *

BEST WESTERN PRIMROSE HOTEL - (416) 977-8000 or FAX (416) 977-6323
111 Carlton Street          - Single $ 99-$129
Toronto                     - Double $109-$159

BOND PLACE HOTEL            - (416) 360-6406
65 Dundas Street East       - Single $ 59-$ 89
Toronto                     - Double $ 69-$109

CARLTON INN                 - (416) 977-6655 or FAX (416) 977-0502
30 Carlton Street           - Double $ 69-$ 79
Toronto          

HOLIDAY INN ON KING         - (416) 599-4000
370 King Street West        - $ 70-$124
Toronto

HOTEL IBIS                  - (416) 593-9400 or FAX (416) 593-8426
240 Javis Street            - Single $ 94
Toronto                     - Double $109

HOTEL VICTORIA              - (416) 363-1666 or FAX (416) 363-7327
56 Yonge Street             - Single $ 99-$120
Toronto                     - Double $114-$135

STRATHCONA HOTEL            - (416) 363-3321 or FAX (416) 363-4679
60 York Street              - Single $ 59
Toronto                     - Double $ 69


* Toronto Airport *

Suggestions would be appreciated.


* Hotels Around Vicinity *

BROWNSTONE HOTEL            - (800) 263-8967, (416) 924-7381
15 Charles Street East      - Single $ 90-$110


Yorkville                   - Double $100-$120

HOTEL SELBY                 - (416) 921-3142 or FAX (416) 923-3177
592 Sherbourne Street       - Single $ 45-$ 55
Toronto                     - Double $ 55-$ 75

JOURNEY'S END               - (416) 968-0010 or FAX (416) 968-7765
280 Bloor Street West       - Single $ 94
Yorkville                   - Double $109

VENTURE INN                 - (416) 964-1220 or FAX (416) 964-8692
89 Avenue Road              - Single $ 89
Yorkville                   - Double $ 99


* Toronto North Vicinity *

ROEHAMPTON HOTEL            - (416) 487-5101 or FAX (416) 487-5390
808 Mount Pleasant Road     - Single $ 85-$ 95
Toronto                     - Double $ 85-$ 95


* East North Vicinity *

THE SHERATON TORONTO EAST   - (416) 299-1500 or FAX (416) 299-8959
2035 Kennedy Road           - Single $ 89-$135
Scarborough                 - Double $ 85-$160


* Pickering *

Suggestions would be appreciated.


* Mississauga *

Suggestions would be appreciated.


* Oshawa *

Suggestions would be appreciated.

---===

Q-07. Which forms of transportation should I use to get around?

Caribana events are held in locations all around Metro Toronto, and 
for
many of them, transportation is required.

During the day, you are strongly urged to take public transportation 
to
and from the various events.  Toronto is quite convenient as far as 
public
transportation is concerned, offering subway, bus, and streetcar to 
get
you where you want to go.  GO trains are also available to transport 
you
from some of the more distance areas (for example if you have arranged
accomodations in Oshawa).  All parking at GO stations is free, so a 
good
idea might be to drive to a GO station and take the train in.

In Metro Toronto, the subway system runs until ??:?? am, with the 
busses 
running until ??:?? am.  This is pretty convenient, but if you're 
planning
to wind your waist well into the night, a car will probably be 
required.
Phone the Toronto Transit Commission (TTC) at (416) 393-INFO for 
special
information on the Caribana route.

A word to the wise:  Do NOT drive a car on the final weekend 
(Saturday,
the day of the parade).  There will be *lots* of people in Toronto for
this event, and it is pretty sure that driving will be a headache and
parking will be a nightmare.

---===

Q-08. What kind of musical styles (and what bands!) will be featured?

If it has any relevance to the Caribbean, it will be featured.  
Calypso,
rap, reggae, soca, even some dancehall will all be offered, whether at
Caribana or at any other of the great Caribbean clubs in the area.

By far, the best deal is to go to Nathan Phillips Square.  Everybody 
shows 
up to perform, and it only costs about $15.  For more information on
this or any other musical event, see question "Q-04", schedule of 
events.

---===

Q-09. Where are some good places to get authentic West Indian food?

Good news!  West Indian food is in abundance at any time of the year 
in
Toronto, but even more so when Caribana comes to town.

You can find good West Indian restaurants with great food at 
reasonable
prices.  Toronto is an expensive city though, so the finer restaurants 
will
set you back a bit.  There are also many street vendors providing West
Indian delicacies at Caribana events.

Toronto is the city and Caribana is the event where you can act out 
all
your culinary fantasies!  Imagine if you will, curry goat with fried
dumplings.  How about some spicy beef roti, or perhaps some jerk 
chicken
to put fire in your eyes.  All the good restaurants and night clubs 
are
situated in a relatively small area, so they are all easy to get to.

Caribbean Restaurants/Cafes:

   The Real Jerk Pit
   ????
   
   Roti Palace
   Bathurst Street, about a block south of "Honest Ed's"

   Supreme Restaurant & Tavern          Michidean's Take Out
   1559 Eglinton Avenue West            758 Dovercourt Road
   Toronto                              Toronto       
   Phone: (416) 782-1470                (416) 531-1474

   Ali's West Indian Roti Shop 
   1446 Queen Street
   Toronto
   (416) 532-7701
  

Caribbean Grocery/Specialty Stores:

   Mr. $aver - Signature Plaza          Wire's Variety
   1366 Weston Road                     753 Dovercourt Road
   Toronto                              Toronto
   (416) 241-9470                       (416) 531-2616

   Danforth Variety/Fruit Market        Tower Fresh Fruit Market
   2742 Danforth Avenue                 10-12 Tower Drive
   Toronto                              Scarborough
   (416) 690-5579                       (416) 750-8599

   Caribbean Corner Variety
   1032 Brock Street, Unit 2
   Whitby
   (416) 430-6275

---===

Q-10. Caribana aside, what are some good Caribbean clubs in the area?

I was able to get names of the nicer clubs but unfortunately not the
addresses for the majority of them.  Look them up in the phone book if 
you want to patronize them, hopefully I'll be able to include further
information next year.

- California Dreams, downtown Toronto, near Yonge & Bloor.

- Rockit, downtown Toronto, near Yonge & Bloor.

- Jaguar (Fridays & Sundays), downtown Toronto, near Yonge & Bloor.

- Vertigo, near Dufferin & Finch.

- Cutty's Hideaway in Scarborough, 538 Danforth Avenue, west of 
Carlaw.

- Crystal Palace, north-end of Toronto.

- Club Trinidad, downtown Toronto, around Church Avenue.  A favorite
hangout of many Torontonians, this 2-floor establishment seems to be 
always featuring well-known calypso artists.

---===

Q-11. Which Caribbean radio stations can I listen to while I'm in 
Toronto?

The Canadian Radio Television Commission (CRTC) has not yet allowed 
the
establishment of a dance/black radio station in Toronto, so the 
station
of choice is an American station (WBLK 93.7 FM) in Buffalo, New York.

Another good choice would be a station based in St. Catherines, 
Ontario,
at 107.9 on your FM dial.  They offer a reggae/calypso show on 
Saturday
afternoons.

There is a student-run radio station (CKNL 88.1 FM) based at Ryerson 
Polytechnical Institute.  They are mandated to follow an alternative 
format so they do cater to a variety of different cultures.

Finally, another station of unknown origin has been discovered (105.?? 
FM)
which also caters to a variety of musical tastes.  They offer a 
reggae/
calypso program, usually on Sunday evenings.  The signal is fairly 
weak in
Toronto, however.

---===

Q-12. How can I get more information about this wonderful event?

I suggest, when you get to Toronto, pick up a copy of "Share" to find 
out 
what is available.  Share is a West Indian community newspaper that is 
distributed free and is available many places throughout Metro.

Official Contacts:

   Caribbean Cultural Committee
   171 Carlton Street, Suite 200
   Toronto, Ontario M5A 2K3
   (416) 925-5435    FAX (416) 925-1108

Or feel free to contact any of:

   Toronto Tourist Bureau/Board of Trade
   <address unknown>
   (416) 366-6811

   Afro-Caribbean Students' Association
   44 St. George Street
   Toronto, Ontario
   M5S 2E4

   Indo-Caribbean Students' Association
   University of Toronto
   12 Hart House Circle
   Toronto, Ontario
   M5S 1A1

Caribbean Student Associations (e-mail contacts):

   SCA@biology.watstar.uwaterloo.ca
   Sandra M. <sosc1055@reader.yorku.ca>
   <more of these would be appreciated>

---===

Q-13. I'm too far away for Caribana -- do you know of any similar 
events?

The most famous event that is similar to Caribana (and in fact, 
Caribana
is *based* on this event) is called "Carnival" and is held annually in
Trinidad, around the time of Ash Wednesday.

Montreal has an event called "Carifete" which is similar to Caribana.  
It
is held in the month of June(?), and ... [further information would be
appreciated].

This section could benefit from some further information.  :-)

---===

Q-14. Any "Quotable Quotes" from past attendees you want to share?

"For anyone stuck in Canada and unable to get any `regular' cultural
stuff, (as compared to New York City, for example), this is the 
*wildest*
time one can have." - Gerry George

"Must-see include the Brazillian float - Oh Gawd!!!!" - [ Unknown :-( 
]

"Last year's Caribana was almost Trini style, of course there was the 
Canadian conservatism and no whining and GRINDING." - Ian Murray

"Between the various concerts, picnics, dances and parades there was 
music
everywhere." - <richards@sco.COM>

If you have something to say about Caribana send it to the FAQ 
maintainer
(currently <frampton@vicuna.ocunix.on.ca>) and it will be considered 
for 
inclusion herein.

---===

Q-15. Who contributed to this FAQ document?

This document would not have been possible without the generous and
informative contributions made by the following people:

     Calvin Henry-Cotnam <cal@ee.ryerson.ca>
     Tricia "Trish-E" Graham <TRISHE@vms.cis.pitt.edu>
     Evelyn Walker <ewalker@magnus.acs.ohio-state.edu>

     George Chow <george@ucs.ubc.ca>
     Ian Murray <murrayian@phibred.com>
     richards@sco.COM
     Gerry George <ggeorge@acs.bu.edu> 
     Patrice A. Simon <simon@acsu.buffalo.edu>

     ... apologies to anyone I forgot to mention ...

Mr. Henry-Cotnam stands out among the others, because not only did he 
provide an enormous amount of information for this document, he has 
also 
served on the Caribana Cultural Committee in past years and has 
volunteered 
much of his time, helping to make Caribana a reality.

Ms. Graham also holds an honoured place in the above list, because she
provided a great deal of first-hand experience about Caribana as well 
as
information about many notable West Indian establishments in the 
Toronto
area.

Finally, Ms. Walker must be thanked for doing the legwork of finding 
out
accomodation information in Toronto and surrounding areas.

---===

Q-16. In the perspicacious words of Janet Jackson, "Is that the end?"

Yes it is.  Thank you for reading.

-----------
[12.] Can anyone give me some info on the rasta culture?

     Rastafarians
     
     {rah-stuh-far'-ee-uhnz}
     
          Rastafarians are members of a Jamaican messianic movement 
dating
back
     to the 1930s; in 1974 they were estimated to number 20,000 in 
Jamaica.
     According to Rastafarian belief the only true God is the late 
Ethiopian
     emperor HAILE SELASSIE (originally known as Ras Tafari), and 
Ethiopia is
     the true Zion. Rastafarians claim that white Christian preachers 
and
     missionaries have perverted the Scriptures to conceal the fact 
that Adam
     and Jesus were black. Their rituals include the use of marijuana 
and the
     chanting of revivalist hymns. REGGAE music is the popular music 
of the
     movement. The Rastafarians, who stress black separatism, have 
exercised
     some political influence in Jamaica.
     
     Bibliography:
     Barrett, Leonard E., The Rastafarians: Sounds of Cultural 
Dissonance
     (1977); Sparrow, Bill, and Nicholas, Tracy, Rastafari: A Way of 
Life
     (1979).


   "In the beginning Jah created heaven and earth". 

   This is what the the Bible says. Jah is the creator, Jah is God. 
Jah,
Jahova, Jehova, Jahve are just different spelling of the name of God. 
   In the beginning of this century, a man called Marcus Mosiah Garvey
from Jamaica said "Look to Africa, where a black king shall be 
crowned". A
little after that, Ras Tafari Makonnen was crowned, and became the 
Emperor
of Ethiopa, His Imperial Majesty Haile Selassie I, King of Kings, Lord 
of
Lords, conquering Lion of the tribe of Judah, Elect of God. 
   Marcus Garvey started an organization with the aim to help black 
people
in Babylon (the West World) cross river Jordan (the Atlantic Ocean) 
and go
back to Zion (which is not Israel, but all of Africa, especially
Ethiopia). People in Jamaica followed Marcus the prophet. This was the
beginning of the Rasta movement. Rasta is of course short for Ras 
Tafari,
the name of Haile Selassie.
   There is more to say, and I'm sure many others will add to and 
correct
what I have written.

Jah Love

Bo


                                                                                                                     

@SUBJECT:rec.music.reggae Frequently Asked Questions (3/3)            
@PACKOUT:12-03-94                                                     
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[13.] Could anyone out there suggest to me any albums which combine 
reggae 
      and jazz?

From: dudley@treefort.Corp.Sun.COM (dudley)

Just about every jazz/hip-hop fusion album has a couple of reggae
numbers.  Check out Us3, Arrested Development, or Dream Warriors.

Of course, if you aren't into get-down funky groovin' dance music,
you probably won't like the rest of the stuff on the albums.

dudley
.
From: mikey@monkfish.nosc.mil (Mikey I)

 I would suggest some Dean Fraser, in particular "Taking Chances".

 Along these lines, there is an interesting snippet in the current 
issue
of The Beat about a sax player named Arturo Tappin and an album called
"Strictly 
Roots Jazz".  Anybody heard it?

      EZ Noh,  mike


From: ckhan@bbn.com (Chico Khan)

I'd recommend Jamaican pianist Monty Alexander.  Check out his Chesky 
release "Caribbean Circle".

Chico.

From: Kofi Apeagyei-Wiredu <ka27+@andrew.cmu.edu>
John P. Stevenson@coral. 


    try rico rodriguez.

From: ibsenj@govonca.gov.on.ca (Jeff Ibsen)


 I'm a big fan of a hitherto neglected sub-genre of reggae that
 I call "instrumental reggae" This type of reggae generally is very
 horn-heavy and contains lots of solos. It is frequently also heavily
 dubbed, and often the 'straight' and dubbed versions of songs are
 both included on the same album. Some examples of albums which I
 consider to belong to this category are:

 Aggrovators Meet Revolutionaries: Side 1 is straight instrumental
 stuff, lots of horn solos, side 2 has dub versions of the songs
 on side 1

 Fatman Riddim Section Meets Downtown Horns: A great album with
 reggae versions of some well-known jazz standards.

 The Workers Speak To Their Slave Masters With STRIKE!: The best
 album title (and cover) in the known universe. I've never seen
 another copy of this one but it has great tunes, with titles
 like 'Better Working Conditions for Workers' and 'More Opportunity
 for Workers' Children'! A Studio 16/Winston Edwards production,
 all tracks played by the 'Well-Pack Band' Some tunes are dubbed
 versions.

 Count Ossie -:Tales of Mozambique: Not strictly instrumental,
 but lotsa horns and good soloing.

 Also, there is tons of early instrumental ska that contains
 extended soloing - anything by the Skatalites - Tommy McCook,
 Don Drummond, Roland Alphonso et. al. The jazz pianist George
 Shearing considered the late Don Drummond one of the best
 trombonists in the world.
 

 Jeff Ibsen 

----------
[14.] Caribbean Clubs FAQ

           CARIBBEAN CLUBS - FREQUENTLY ASKED QUESTIONS (FAQ)
               Version 1.01 - Last updated March 25, 1994

Compiled by Steve Frampton <frampton@vicuna.ocunix.on.ca> with help 
from
several contributors (listed at the end of this document, section "S-
06").

This document is copyright 1994 by Steve Frampton (on behalf of 
himself and 
all the contributors) but is freely distributable to the benefit of
lovers of Caribbean culture world-wide.

---===

S-00. Legal disclaimers and important information.
S-01. Caribbean restaurants in the United States and Canada.
S-02. Caribbean restaurants in other parts of the world.
S-03. Caribbean (music) clubs in the United States and Canada.
S-04. Caribbean (music) clubs in other parts of the world.
S-05. Notable future (next 6 months) live performances in clubs world-
wide.
S-06. List of contributers to this FAQ document.
S-07. Where to send your club FAQ submissions to.
S-08. And so endeth this document.

---===

S-00. Legal disclaimers and important information.

Neither myself (Steve Frampton) nor any of the contributors (listed at
the end of this document) shall be held liable for any damages caused 
by
the information (or mis-information, as the case may be) contained 
within
this document, including but not limited to, special, incidental,
consequential, or other damages.

It would not be possible to guarantee a 100% degree of accuracy for 
the
establishments listed herein.  These clubs and restaurants are bound 
to
move, shut down, change prices or hours, etc. without notice.  A
telephone call made first before paying a visit may prevent 
considerable
inconvenience and aggravation.

In short, USE THIS INFORMATION AT YOUR OWN RISK.

---===

S-01. Caribbean restaurants in the United States and Canada.

This section includes full restaurants which MAY or MAY NOT have 
clubs.

UNITED STATES:

"Caribee Dance Center"  14th & Webster Streets, Oakland, CA
Phone: (510) 835-4006
Features:  Small cafe-type operation with all cooking done off-site is
open Wed-Sat nights with limited menu (curry goat, jerk chicken, 
escovitch
fish, and Veggie Curry, etc.)  Club open Wednesday to Saturday, and
sometimes on Sunday 9:00pm-1:00am, with reggae, dancehall, and one
salsa/latin night.  Live bands occasionally.  Alcohol available but 
club
is equally friendly towards non-drinkers with a wide variety of
non-alcoholic beverages.
Cover: $5 Wed, $5-$8 Thu-Sat.

"Caribbean Experience"   2897 Bailey Avenue, Buffalo, NY
Phone: (716) 838-5131
Features: Great food, bar, dance floor, experience

"Dr Bird Inc"           842 Delevan Avenue, Buffalo, NY
Phone: (716) 892-7454
Features: Food, groceries (ie, not a club)

"Nagasaki's Restaurant & Nightclub"     276 Fulton Ave., Hempstead, NY
Phone: (516) 292-9200
Features: Restaurant daily, featuring West Indian and Asian dishes, 
reasonably priced, good eating atmosphere.  Weekends club featuring
mainly dancehall, reggae and soca, with some r&b, hip-hop, etc.,
Club Cover - Friday:   men free before 9pm, ladies free b/f 10pm
                       $5 until 12am, $10 after
           - Saturday: $5 b/f midnight, $15 after

---===

S-02. Caribbean restaurants in other parts of the world.

This section includes full restaurants which MAY or MAY NOT have 
clubs.

Submissions would be appreciated.

---===

S-03. Caribbean (music) clubs in the United States and Canada.

This section includes full dance clubs, which MAY or MAY NOT serve
limited food items.

UNITED STATES:

"Alberto's"             736 W. Dana Street, Mountain View, CA
Phone: (415) 968-3007
Features: Dance club specializing in live dance music of all types; 
styles 
include Reggae, Latin, Brazilian, Soca, Calypso, Tango, Cajun.  Many 
shows 
include free dance lessons.
Cover: from $4 to $10.


"Western Front"        Western Ave. & Putnam St., Cambridge, MA
Phone: n/a
Features: Styles include reggae, calypso, soca, etc.  Live 
performances
most nights - gets both local talent, regional bands, and sometimes 
bigger 
name musicians like Eeek-a-Mouse and Mutaburuka.  Friendly, laid back,
nice atmosphere.
Cover: from $10 to $20


"Club Eclipse"          247 Fabyan Place, Newark, NJ
Phone: (201) 923-5869
Features: reggae, dancehall, a small amount of soca, etc.
Cover: $10


"Club Illusion"         103 Empire Boulevard, Brooklyn, NY
Phone: (718) 941-7220
Features: mostly Jamaican music, dancehall, reggae, etc.  Very 
popular.
Cover: n/a


"Tilden Hall"           Tilden Avenue, Brooklyn, NY
Phone: n/a
Features: a variety of DJ's
Cover: n/a


"Callalloo II"          ** address unknown **, Brooklyn, NY
Phone: n/a
Features: lots of Trinidadians, food also available
Cover: n/a


"Starlight Ballroom"    4016 Church Avenue, Brooklyn, NY
Phone: n/a
Features: Nightclub weekends, featuring dancehall, reggae and soca, 
r&b, 
hip-hop, house, etc.  Performers & sound systems occasionally


"Club SOB's"            Varick & Houston, Manhattan, NY
Phone: n/a
Features: always have live music, sometimes Caribbean performers such 
as 
Mighty Sparrow or reggae music, etc.
Cover: depending on performance, $12 or more.


"China Club"            Broadway, between 74th & 75th, Manhattan, NY
Phone: (212) 877-1166
Features: Nightclub, Wednesday thru Sunday with dancehall, reggae and 
soca, 
r&b, hip-hop, house, etc.  Performers frequently; local radio stations
(either WRKS or WBLS) broadcast from the club weekly.
Sundays: Sheek Sundays - "for mature reggae crowds" (23 & over) - 
                       - $5 b/f midnight, $10 after


"The Arena"             24th Street between 5th & 6th Ave., Manhattan, 
NY
Phone: n/a
Features: Nightclub weekends, two floors of music:  1st floor - 
calypso & soca
2nd floor - dancehall & reggae, Fridays for the afterwork crowd


"Bentley's"             40th Street & Madison Avenue, Manhattan, NY
Phone: n/a
Features: Nightclub Friday & Saturday, two floors of music - 1st 
floor: r&b, 
hip-hop, house, etc.  2nd floor: reggae, soca, dancehall, etc.  Local 
radio 
station WBLS broadcasts from here every Saturday.  Performers 
occasionally.
Cover: from $10 to $15


"Club Harambe"          127 W. 43rd Street., Manhattan, NY
Phone: (212) 819-1123
Features: Nightclub weekends, featuring dancehall, reggae and soca, 
plus 
some r&b, hip-hop, house, etc.


"Club S.I.B.'s"         92-32 Union Hall St., Queens, NY
Phone: (718) 291-2969
Features: Nightclub weekends, featuring dancehall, reggae and soca, 
r&b, 
hip-hop, house, etc., 
Cover: from $5 to $15; After work Wednesdays - $5


"Krystal's"             Hillside & Merrick Avenues, Queens, NY
Phone: n/a
Features: Nightclub weekends, featuring dancehall, reggae and soca, 
plus 
some r&b, hip-hop, house, etc.  Performers frequently; Music 
(normally)
by Sting International
Cover: from $10 to $15 Friday & Saturday, $1 Sunday (yes, $1!!)


"Cue (Q?) Club"         93-37 150 Street, Queens, NY
Phone: n/a
Features: Nightclub weekends, featuring dancehall, reggae and soca, 
r&b, 
hip-hop, etc.  Performers frequently; sound systems occasionally
Cover: Ladies $1 b/f midnight, $10 - $15 otherwise


"Infinity"              3878 Bay Boulevard, Queens, NY
Phone: (718) 631-1500
Features: Nightclub Friday & Saturday, featuring dancehall, reggae and 
soca,
r&b, hip-hop, etc.  Local radio broadcasts from here occasionally.


"Trafalgar Square"      91-12 144th Place Archer Ave., Queens, NY
Phone: (718) 291-1234
Features: Nightclub Wednesdays, featuring mostly dancehall, reggae, 
and 
soca, in the V.I.P. Louge, and on most weekends featuring dancehall, 
reggae
and soca, r&b, hip-hop, house, etc.  Performers frequently



CANADA:

"Rockit"                120 Church Street, Toronto, Ontario, CANADA
Phone: (416) 947-9555
Featuring: Dancehall music, drinks


"Opera House"           735 Queen Street East, Toronto, Ontario, 
CANADA
Phone: (416) 466-0313
Featuring: Dancehall music, drinks


"St. Lawrence Market"   92 Front Street East, Toronto, Ontario, CANADA
Phone: (416) 781-1695 or (416) 286-0207
Featuring: Dancehall music, drinks


"Twilight Zone"         491 College Street, Toronto, Ontario CANADA
Phone: n/a
Featuring: Dancehall music, drinks


"Phoenix"               Sherbourne & Carlton Ave., Toronto, Ontario, 
CANADA
Phone: n/a
Featuring: Dancehall music, drinks


"Limelight"             250 Adelaide Avenue, Toronto, Ontario, CANADA
Phone: n/a
Featuring: Dancehall music, drinks

"Tropicana"             686 Princess Street, Kingston, Ontario, CANADA
Phone: (613) 542-0014
Featuring: Mostly soca, latin, some dancehall.  Sometimes live calypso 
bands,
usually from Toronto.  Some light, simple foods are available.

---===

S-04. Caribbean (music) clubs in other parts of the world.

This section includes full dance clubs, which MAY or MAY NOT serve
limited food items.

"Rastatoo"              La Gasca 120, Madrid, SPAIN
Phone: n/a
Features: Roots and some Dancehall style, reggae videos from live 
concerts 
and interviews.
Cover charge: Usually none.

---===

S-05. Notable future (next 6 months) live performances in clubs world-
wide.

This section lists NOTABLE (ie. big-name) live performances in clubs
world-wide for the period from March 1, 1994 until August 31, 1994.

Submissions would be appreciated.

---===

S-06. List of contributers to this FAQ document.

This document would not have been possible if the following people
hadn't taken the time to submit club information:

     Calvin and Donnia Henry-Cotnam <cal@ee.ryerson.ca>
     Tricia "Trish-E" Graham <TRISHE@vms.cis.pitt.edu>
     Evelyn Walker <ewalker@magnus.acs.ohio-state.edu>
     George Chow <george@ucs.ubc.ca>
     Ian Murray <murrayian@phibred.com>
     Albertos <albertos@sunpath.Stanford.EDU>
     <richards@sco.COM>
     Raun Kupiec  <rkupiec@athena.mit.edu>
     Barbara Caramba-Coker <Barbara.Carambacoker@Eng.Sun.COM>
     Gerry George <ggeorge@acs.bu.edu> 
     Patrice A. Simon <simon@acsu.buffalo.edu>
     Jeffrey R. Meade <meade@acsu.buffalo.edu>
     Borja Larrumbide Martinez <mart@cs.bu.edu>
     Dudley Gaman <Dudley.Gaman@Corp.Sun.COM>
     George Elkins <elkins@remus.rutgers.edu>

     ... apologies to anyone I forgot to mention ...



---===

S-07. Where to send your club FAQ submissions to.

If you have some club information you would like to see listed in the
FAQ, you may send your submission to:  <CLUB-FAQ@vicuna.ocunix.on.ca>.

Please try and stick to the format used in this FAQ, it makes for 
easier
editing.  Too much information, and you risk being severely edited, 
and
too little and you aren't helping us.  :-)

---===

S-08. And so endeth this document.

Please send in some club information!

------------------------------------------------------------

Steve Frampton        E-mail: <frampton@vicuna.ocunix.on.ca>
----------

[15.] What is the significance of the "Two Sevens"?

 here is what the liner notes for the album has to say:

"One day Joseph Hill had a vision, while riding a bus, of 1977 as a 
year of 
judgement -- when two sevens clash -- when past injustices would be 
avenged. 
Lyrics and melodies came into his head as he rode and thus was born 
the song
"Two Sevens Clash" which became a massive hit in reggae circles both 
in
Jamaica 
and abroad. The prophecies noted by the lyrics so profoundly captured 
the 
imagination of the people that on July 7, 1977 - the day when sevens 
fully 
clashed (seventh day, seventh month, seventy-seventh year) a hush 
descended on

Kingston; many people did not go outdoors, shops closed, an air of 
foreboding 
and expectation filled the city."

From: redingtn@athena.mit.edu (Norman H Redington)
Subject: Re: Two Sevens Clash

"Mi know prophet Marcus Garvey prophecI say:
 St. Jago de la Vega and Kingston is gonna meet.
 And I can see with mine own eyes
 It's only a housing scheme that divides.
 What a liv on bamba yay when the Two Sevens clash!

 Marcus Garvey was inside at
 Spanish Town District Prison,
 And when they were about to take him out
 He prophecied and said:
 As I have passed through this gate,
 No other prisoner shall enter and get through.
 And so it is until now:
 The gate has been locked. So what,
 What a liv on bamba yay when the Two Sevens clash!"

                           --Culture

Excerpts from a very interesting article by Beverly Hamilton
in the June '91 _Jamaica Journal_:

"...One version of the prophecy claimed that Garvey said there
would be severe hardships, doom, and destruction 'when the two
sevens meet'. Another was that Garvey said that if black people
could pass through the seventies, they could pass through anything. 
A third claimed that Garvey said that the black man would rise up
when the two sevens met. This prophecy received official sanction
when Mr. Edward Seaga, the then-Leader of the Opposition and a
noted sociologist, referred to it in his New Year's message. The
idea gained further currency through the music of some reggae artists,
especially Culture...

"In 1977 I interviewed two Garvey elders about the prophecy. Z. Monroe
Scarlett said quite clearly he had never heard Garvey make any 
specific
statement about two sevens. What he remembered him saying was that if
black people could pass through the seventies they could overcome all
major difficulties. The other, Van Riel, a BITU veteran, explained: 
'Him (Garvey) say 1977 will be a hard year. Yu see already. The Prime
Minister say yu belt tight.' ... Two months later, Jamaica went to the
International Monetary Fund for assistance.

"...One must remember that this period followed the 1976 elections, 
the
most violent in Jamaica up to that time. As 1977 progressed, different 
versions were added to the prophecy...finally it was a special day, 
July
7, 1977, when the 'four sevens' met. One even heard that blood was 
going
to flow and that Manley's head would roll. A report in the _Daily 
Gleaner_
of July 7, 1977 [says]:'...The Combined Security Forces have been put 
on
full alert so as to be prepared [for] possible trouble when the four 
7s
meet today (the 7th of the 7th month of '77), Minister of National 
Security
Munn told the _Gleaner_ yesterday...'

"There was a further official response. That day was used to launch a
constitutional reform programme...with the Prime Minister scheduled to
speak at 7 p.m. -- when the 'five sevens' met...

"...Other Garvey prophecies are about Jamaica...Garvey is credited 
with
predicting the twinning of Spanish Town, the capital of St. Catherine, 
with Kingston, the present capital of Jamaica. In the late sixties and
early seventies, a massive housing development scheme known as 
Portmore
was carried out in southern St. Catherine. A causeway was built across
Kingston Harbour to link this development with Kingston, thus 
fulfilling
Garvey's prophecy...

"...Another prophecy relating to Garvey's stay in Spanish Town prison
is that he is supposed to have put a seal on the prison door through
which he left. Many claim that this door has been fastened to this 
day.
Prisoners in the Spanish Town Penitentiary still tell of being shown
the gate on which Garvey was supposed to have put this curse..."

[from "The Legendary Marcus Garvey", by Beverly Hamilton, _Jamaica 
Journal_
24(1)54, June 1991.]

______________________________________________________________________
___

COMMENT: I used to think that the Two Sevens was a classic example of
failed prophecy. However several explanations have been offered.

1) Who knows what happened that day which didn't get noticed by the
world? Maybe someone was born, for instance.

2) The mid Seventies were the high water mark of the Soviet Empire,
which engulfed Ethiopia a little earlier and was on the move in the
Caribbean along with its CIA mirror-image. In late 1976, an Orthodox
monk named Seraphim Rose (who was almost certainly unaware of the 
Garvey
prophecy) had a vision on the Day of the Seven Sleepers in which he
saw a vast multitude singing the Easter Psalm ("Let God arise, let his
enemies be scattered, as smoke vanishes so let them vanish, as wax 
which
melts before the fire!"). It was explained in the vision that for one
particular enemy - the Soviet Empire - this would "now" be fulfilled:
it would vanish. In 1977, people doubted this prophecy, to say the 
least!

3) As Bop pointed out in his post, two sevens clash in Pharaoh's dream 
in
Genesis. The clash reflects conflict and opportunity, as do the 
various
versions of Garvey's prophecy. The clashing sevens saved Israel, 
because
Joseph by correctly interpreting the dream went from being a slave 
(and on 
top of that, in jail and presumed dead by his relatives!) to Prime 
Minister
of Egypt, able to save his people. But the Israelite migration into 
Egypt
was a mixed blessing; they would end up as slaves and it would take 
Moses
to get them back to Zion. All this is connected to the Garvey 
prophecy,
which seen in this light is very much deeper than it appears.   

[16.] 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.
Robin

----------
[17.] Is there a World Wide Web Server for Reggae?

Yes, there are several Home Pages: 

 http://jammin.nosc.mil/jammin.html
 http://nyx10.cs.du.edu:8001/~damjohns/reggae.html
 http://wsogata.cc.u-tokai.ac.jp
 http://www.biologie.uni-freiburg.de/data/reggae/reggae.html

----------
[18.] Is there a Gopher Server for Reggae?

Yes, the Jammin Reggae Archvies features such a server, gopher to
jammin.nosc.mil (128.49.28.5)

----------
[19.] What is RAW (Reggae Ambassadors Worldwide)?

 
Reggae Ambassadors Worldwide 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.
Then, 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
vibeEverytime!" 
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. Our Mission Statement
reads "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!" Our 
Vision:
To be the primary reference for the Reggae Industry.
At the end of 1993 Reggae Ambassadors Worldwide members represent 14
countries including 28 American states and the District of Colombia.
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. So, let us know of your creative endeavors and remember, 
Forward
the Reggae VibeEverytime!
__________________________
 
Today (8/29/94) RAW membership represents 20 Countries and 34 American
states and the District of Colombia.  This includes 122 Peforming 
Artists,
59 deejays, 10 writers, and 34 Committed Reggae Fans.
 
If you want more information about Reggae Ambassadors Worldwide e-mail 
me
<jjk1054@u.cc.utah.edu> your postal mail address.
 
Forward the Reggae Vibe...Everytime!
 
--Papa Pilgrim
Reggae Ambassadors Worldwide

------------
[20.] 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: mikey@monkfish.nosc.mil (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: tafari@netcom.com (Ras Mikael Enoch)
Subject: Re: UB40: concious reggae

   UB35:  Manipulative opportunists who have been pushed and 
pedestalised
          by the white controlled music industry - with need for white
          stars/bands/with token black backdrops.  And in their top
          position, they now vilify RasTafarians in the scene, and
          the influence it has in reggae.  They are Pomie Ras Clots
          that's all - what other mind set would you expect from a
          bunch of shaved faced, baldhead poms - that are more than
          proud to be citizens of England?  We are all happy for them,
          and their preferential treatment that they have received.
          Always sounds like an inside job to the I.

          It's a pomie creation, invention, outward push to the world.
         
          For we know about all of the shunned Jamdown artists, who
          are replaced with phoney chart pushed of Snow, Vanilla Ice,
          UB35, Ace of Base, New Kidsionne of the Block.

          Anti-Jah, Anti Ras Tafarians - that is UB35.  Their vocal
          expressions against such, will always be their downfall -
          and but a constant pagenote on the Internet - so let the
          world know, of the eradicated truly Jamaican style, fashion,
          artists.

          Ras Mikael Enoch

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

I can't resist responding to this question.  I think that there are 
manyf


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>
To: mikey@monkfish.nosc.mil
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
To: mikey@monkfish.nosc.mil (EZ Noh Mikey)

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)

---------------
[21.] 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: mikey@monkfish.nosc.mil (EZ Noh Mikey)
 

 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



                                                                                                                 
