#punky reggae party

[mrbopst]

Today in Bopst Design/Promotion/Programming: 4/17/17

[page-28]

Sid Vicious with Don Lett’s brother Desmond Coy at the Roxy Covent Garden 1977

[maxiemartmanager]

Joe Strummer will always be important to me. Not just for the soundtrack if by youth ignited by my first concert, but for making me think. For making me look up the names and events referenced in their songs. Teaching me to pay attention. You’ll notice that their songs still seem as if they were written last week. Joe was the face of the Clash and, therefore is The Fonz, JFK, and John Lennon all in one.

Play his music on the 20th anniversary of his leaving.

[9misoundsystem]

Bob Marley - Punky Reggae Party (12" Version)

[nando161mando]

Bob Marley & The Wailers - Punky Reggae Party

[goodblacknews]

MUSIC MONDAY: "AfroPunk: Reggae Meets Punk" Playlist (LISTEN)

by Marlon West (FB: marlon.west1 Threads: @stlmarlonwest IG: stlmarlonwest Spotify: marlonwest) While Reggae is a true import from Jamaica, it really gained a global footing in England. It and Punk both arose out of the economic depression and social inequality in the late 1960’s and 1970’s. Many Reggae songs of the time like Bob Marley’s “Punky Reggae Party” and “Concrete Jungle” were overt…

[gotankgo]

1977

Bob Marley - Punky Reggae Party

[silvanio-rockers]

Bob Marley And The Wailers  – Legend (1984)

https://open.spotify.com/embed/track/1WgOedf4pKmgepml1CMW6o?utm_source=generator

[satgur]

Reggae Party Flyer Template - PSD

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[nashowda]

The PuNk Reggae Party . 🐐s ♾️ Anarchy Ovr Everything . 🤘🏻🅰️🧷

[boricuacherry-blog]

Rainford Hugh "Lee" Perry was born on March 20, 1936, in the rural sugar-cane fields of Kendal, Jamaica. The third of four children, Perry grew up watching his mother perform the Ettu dance - a ceremony held to commune with the spirits of the afterlife in which the devotees enter trancelike states. At 20, according to his biography, People Funny Boy, by David Katz, Perry left his village, eventually finding his way to the teeming capital of Kingston, where he got a job running errands at Studio One, the Motown of Jamaica. Perry worked his way through the organization by writing catchy songs like "Chicken Scratch," the popular dance anthem that gave him his nickname. In 1966, Perry left Studio One and subsequently produced the song "The Upsetter," marking the birth of his incendiary alter ego. In 1969, walking by a church, Perry was mesmerized by the soulful sound of the congregation's music. Inspired, he recorded "People Funny Boy" - a track widely credited as one of the first reggae songs. Decades before "sampling" became the norm, the tune featured a baby crying, hinting at Perry's future sonic surrealisms. "Reggae is a useful exercise I created to get the people skipping," Perry says.

That same year, a young and frustrated Bob Marley returned to Jamaica from the United States, where he had been working in a Delaware auto factory. After regrouping with bandmates Peter Tosh and Bunny Wailer, Marley came to Perry seeking musical and spiritual guidance. In Marley, Perry found the consummate vocal counterpart of the Upsetter sound. Under Perry's mentorship, who Ziggy Marley says was instrumental in his father's career, Marley recorded some of his early songs. However, when Perry allegedly sold the Wailers' music to a British label, the Wailers acrimoniously split from him and recorded "Trench Town Rock" as an insult to Perry.

The only surviving member of Marley's original band, Bunny Wailer, still holds a grudge. "Lee Perry did nothing for the Wailers," Wailer says. "He just sat there in the studio while we played our music, and then he screwed us. We never saw a dime from those albums we did with him. Records that other people have made millions from. Lee Perry's ignorance cost us a lot of money, and I never forgave him."

For his part, Perry says, "I'd rather not talk on Bunny Wailer - he's a miserable person."

Whatever their differences, for the rest of his life Marley would return to Perry in search of inspiration, advice and to occasionally collaborate on songs like "Jah Live." "The only person Bob worked with whom he really respected was Lee Perry," says Chris Blackwell, who would assume production responsibilities for the Wailers from Perry. Blackwell had the band re-record many of the original Perry tracks, removing some of the grit, weirdness and mysticism from songs like "Duppy Conquerer" and "Small Axe" for release in the U.S., taking Marley and reggae music into the mainstream.

In 1973, Perry built his legendary Black Ark Studio, a small backyard bunker behind his home in Kingston, and embarked on a five-year period of around-the-clock production increasingly fueled by marijuana and alcohol. Black Ark would become the birthplace of countless reggae and dub classics.

In 1976, as political turmoil erupted in Jamaica, Perry produced the classics War Ina Babylon with Max Romeo and Police and Thieves with Junior Murvin. The albums catapulted him into national acclaim. After the Clash covered "Police and Thieves," Perry worked as their producer in London, and was swept up by the punk scene. Inspired by the new sound and energy, Perry co-wrote "Punky Reggae Party" for Bob Marley. "If I want to spit here, I spit here," Perry has said. "If I want to piss there, I piss there. I am punk."

In 1978, Perry, who was always wildly eccentric, suffered a dramatic mental breakdown after his wife left him for a Rastafarian studio musician. The grounds of his property were cluttered with Rasta sycophants, and he was being extorted by the local gangs. Perry became convinced that Rastafarians were to blame. He rode through Kingston with a rotting, maggot-infested slab of pork as a hood ornament. He began to paint obsessively, covering the property with incoherent graffiti. In 1983, in the depth of his madness, convinced the studio was possessed by evil spirits, Perry set the Black Ark studio ablaze. He entered into a deep depression, and as a result blew $25000 on an antique set of silverware.

He is now content though. His one complaint in life is that he lacks rivalry. "You don't get to where you need to get without competition," he says. He has not driven a car in 30 years, but sometimes he gets restless, and will have someone drive him down to a 14th century monastery where, in hopes of unsettling the priests, he walks into the chapel with a giant snowball on his head.

Perry's teenage son and daughter, Gabriel and Shiva, saunter into the room. Perry has at least eight children with four women. He signals to his daughter: "She's 20, and she's a virgin. She knows what men want. She has to stay with us, forever!" Shiva shakes her head, unfazed by her father's humor. Perry also laments that he would be dead without his Swiss wife. He no longer smokes or drinks, but his wife still needs weed.

[page-28]

Too much posse

Punky reggae party

Gunter Grove

[maxiemartmanager]

RIP Terry Hall. Talented man whose band taught me to dance.

[9misoundsystem]

Chill Mafia - Marmitako x Punki Reggae Party

[stillunusual]

Small Axe (issue #1) YEAR: 1978 CREATED BY: Ray Hurford LOCATION: London SIZE: A5 WHAT'S INSIDE.... Small Axe was a zine created by Ray Hurford in 1978 with the aim of promoting reggae music, and the first issue features lengthy articles about Gregory Isaacs and Augustus Pablo, as well as reviews of recent releases by Bob Andy, Enos McCloud, Ken Boothe, The Heptones and The Meditations. The Augustus Pablo article raves about the groundbreaking "King Tubbys Meets Rockers Uptown" album (produced by Pablo and engineered by the legendary King Tubby in Tubby’s own studio), which was released in 1976. I can still remember hearing the title track for the first time on John Peel's evening show on BBC Radio 1 all those years ago, and decades later I still use a sample of it as the ringtone on my mobile phone.... Using very basic equipment, Jamaican dub pioneers like King Tubby, Lee Perry, Errol Thompson and others somehow managed to invent the art of remixing by deconstructing existing reggae tracks - stripping out most of the vocals, boosting the bass and drums, applying echo and reverb, bringing individual instruments in and out of the mix and sometimes adding various sound effects on top. These dub “versions” initially just appeared on the B sides of reggae singles - for example, "King Tubbys Meets Rockers Uptown" was originally the B side of a single by Jacob Miller (featuring Augustus Pablo’s Rockers Allstars) and is King Tubby’s masterful remix of the song on the A side, which is called "Baby I Love You So". However, dub soon became a vibrant sub-genre of reggae in its own right, and by turning their mixing desks into instruments, King Tubby and his peers also became artists in their own right. Removing most of the vocals meant that DJs could talk and sing over the B sides of popular tracks – adding their own unique take on the song - which led to the rise of what became known as “toasting”.  To say that dub has been a big influence on hip hop, techno, EDM, drum & bass, trip hop, dubstep and other genres of music would be an understatement.... Back in the late 1970s there was also a natural affinity between reggae and punk rock. Bands like The Clash, The Ruts, The Slits and Stiff Little Fingers played reggae covers or incorporated elements of reggae into their sound (with varying success) and when London’s first punk venue, The Roxy, opened in December 1976, house DJ Don Letts mainly played dub and roots reggae records in between band sets. From 1976 onwards, the Rock Against Racism organisation promoted gigs, carnivals and national tours all across the UK that featured punk, post-punk, reggae and ska bands, and brought black and white musicians and fans together with the explicit aim of discouraging young people from embracing racism. Bob Marley even wrote a song called "Punky Reggae Party".... On the other hand, issue #1 of Small Axe also includes some scathing criticism of the BBC for its lack of coverage of reggae. It was very rare to hear reggae - or punk - records during prime time, even though John Peel did play a significant role in popularising both genres. Another source of discontent was that reggae records were mainly sold via specialist shops and often didn't make it into the BBC's official music charts even when they sold more copies than some of the records that did. And as the punk rock explosion inspired the creation of independent record labels, shops and distribution channels, the same became true of many punk, post-punk and indie records. Click on the title above to see scans of all the zine's pages.... Ray kept the zine going until the late 1980s. Issue #11 (which also features a lengthy article about Gregory Isaacs) is in my box of 1980s fanzines. my box of 1970s fanzines flickr

[silvanio-rockers]

 Small Axe - Red, White And Blue (2021)

01. Jim Reeves - This World Is Not My Home

02. Gloria Jones - Tainted Love - Single Version

03. Jim Reeves - It Is No Secret (What God Can Do)

04. Al Green - Tired of Being Alone

05. Billy Joel - Uptown Girl

06. Beggar & Co. - (Somebody) Help Me Out

07. Al Green - How Can You Mend a Broken Heart

08. Marvin Gaye - Got To Give It Up

09. Grandmaster Flash, Grandmaster Melle Mel - White Lines (Don't Do It)

10. Planet Patrol - Play at Your Own Risk 

11. Al Green - For the Good Times

12. Alton Ellis - What Does It Take (To Win Your Love)

13. Pioneers - Big City Life

14. Bob Marley & The Wailers - Punky Reggae Party

15. Nakkia Gold, Wiz Khalifa, Bob Marley & The Wailers - Justice (Get Up, Stand Up)

16. Phyllis Dillon - The Love That a Woman Should Give a Man

17. The Jamaicans - Things You Say You Love

18. Jimmy Cliff - Many Rivers To Cross - Harder They Come

19. Sound Dimension - Soulful Strut

20. Cynthia Richards - Foolish Fool

21. Joya Landis - Love You True