#reality riddim

[nctrnm]

#NowPlaying: "KTM - UNIVERSAL" by Audio Cure

[explosivebeatz]

🎵🔥 DJ Paris Walker's latest release, 'Reality Check Riddim'.🎵🔥

[omegaplus]

# 4,332

Chaka Demus & Pliers: “Murder She Wrote” (1992)

The sixth or seventh time is charm, as they say. Five years of attempts over so many producers is what it took to make “Murder She Wrote” a reality. In 1987, Pliers used Shabba Ranks’ “Original (Fresh)” riddim produced by Harry J., then with Clifton “Specialist” Dillon and then with Jack Scorpio. He then came to the iconic Sonic Sounds label in 1992 where he took pieces of a Bobby Digital- produced track (not referring to as RZA) and gave it to Sly & Robbie and engineer Jason Lee. That was where both Pliers and Chaka Demus passed around vocal duties and toasts over the mixing board, melting those toasts and melodic verses together and created the “Bam Bam” rhythm. 

But most of the real meat comes from Chaka- and Pliers’ subject: a girl of Maxine which the duo paint her as the sweet-and-innocent yet devious type. They not only show her care-free promiscuity, but also learn that she’s had many an abortion. Even in one case Pliers realized that she’s had another one six months in. That’s where the song title, “Murder She Wrote”, comes in, which it means someone who is so cunning and slick in doing such things and gets away with it. It was named and chosen by Pliers who happened to be a big fan of the show (1984-1996) and often thought of when hearing this single. 

Obviously, we can’t leave Angela Lansbury behind when asked about one of dancehall’s all-time greatest songs named after her show: "Oh, reggae! Oh, I'm thrilled to be part of reggae. Of course." Yeah, you fucking go, Angela.

[soundsystemcultureblog]

Sound System Culture Mini Festival

Sunday 15 September 2024

Review by Gopal Dutta

It’s a rainy September afternoon in the centre of Huddersfield, and I’m on Wood Street for the Sound System Culture Mini Festival, part of the nationwide Heritage Open Days programme.

The street transforms into a vibrant, colourful space where everyone is welcome. Gazebos shelter the Zion Inna-Vision Sound System, alongside several stalls catering to the daytime crowd who have braved the showers. There’s face-painting, vegan food and cakes, cards, and books on offer. Rainbow-coloured bunting flutters in the wind, the whole scene giving me that “festival” vibe despite the poor weather.

In the glowing, cave-like atmosphere of the Northern Quarter bar, a steady stream of people take their seats around the large pull-down screen that has been especially set up, and an air of expectancy pervades the air. “Filling up nicely,” says Professor Julian Henriques, visiting from London to present a programme of documentaries commissioned by his research unit, Sonic Street Technologies, at Goldsmiths University. Every seat is soon occupied, and more attendees line the walls or sit on the steps, eager to share in this collective experience. The distant siren from the outdoor sound system blends into the indoor atmosphere, merging the worlds of film and reality.

Introducing the first film, a fascinating documentary about Gabre Selassie and the formation of the Kingston Dub Club, Julian acknowledges the importance of Huddersfield in reggae history, mentioning the legendary Venn Street nightclub and declaring that “Huddersfield in the 80s was the epicentre of reggae in the UK.”

The film programme is an excellent whistle-stop tour of the current landscape of sound systems around the world, taking in Jamaica, India, Colombia, Brazil, Australia, and finishing, with a poetic circularity, in South Africa. All of the films highlight reggae music’s power as a force for self-empowerment, community building, and as a social safety valve.

Throughout the screening, more people continue to file into the venue. Each time the door opens and closes, you can hear the outdoor sound system and the lively Brazilian drums performance by Grupo de Gringos Percussion.

As the films end to a warm applause from the audience, we are at standing room only, with a diverse mix of young and old, a wide range of races and cultures represented—Huddersfield’s diversity in all its glory.

The scene inside mirrors what’s depicted on screen inside: a dimly lit, atmospheric room with a diverse crowd, food, and drink being served. The team have done a great job recreating the vibe of a dub club.

As the energy from the films flows out into the street, the same heavy bassline fills the air, with people chatting, dancing, laughing, eating, and drinking, with DJ Andi G on the decks and Marshall on mic duties.

Eventually, the sun makes an appearance, and over the next few hours, more people arrive, swaying to reggae bassline. The free entry means many passersby pop in, drawn by the sweet music and vibrant atmosphere. Conversations flow, with strangers bonding over their shared love for the music, their faces lighting up as familiar tracks play. There is a collective cheer as Marshall exclaims, “We don’t want no rain no more,” echoing the crowd’s mood.

Riddim Master from Ras Ambassador Sound System then takes control of the decks, delivering an all-vinyl set that opens with Rod Taylor’s unmistakable "His Imperial Majesty" and the warm crackle of dub. Next up is Bigga Puss from Shakatone Esquire Sound System, warming up the crowd with a seamless selection of ska, rocksteady, and roots. As the familiar tones of “Kunta Kinte Dub” by The Revolutionaries fade in, a moment of recognition sweeps through the crowd. Finally, the legendary Papa Burkey, pioneer of the Earth Rocker Sound System from the 80s, takes over, keeping the energy high as the dancing continues, alongside Ras Sis Highness and Dee Bo General on the mic.

Well done to the event team for creating such a vibrant festival, much-needed entertainment in the heart of Huddersfield.

[maximuswolf]

A list of little-known pop and easy listening gems from Universial Music from 2015-2022

A list of little-known pop and easy listening gems from Universial Music from 2015-2022 Those are apparently by Warner Music because they appeared in a local production of "The Bachelor" reality TV show. I was surprised how nice some of them sound despite being just filler music for a TV show. Sorry, I couldn't find links for all of them so I'm pasting a list, you can Google most of them. Hope you like them!Liquid Cinema - Eternal Sonata (2019)Lee Darkin-Miller & Hypersonic Music - Sworn AllegianceGracie Gigi Ogun, Nicholas Michael Hill, Von Hemingway, William Riddims - Heart Break (2021)Florian Moenks, Matthew Anderson - Everything You Can Imagine (2021)Justin Byrd & River Saint June - Here (2017)Nikki Lorenzo - Work That Charm (2013) - the sole pre-2015 song?Franck Sarkissian - Puzzling Riddle (2022)Christopher Edmund Elmsie & Stuart Roslyn - Running The Gauntlet (2020)James Norman - Volante (2021)Liquid Cinema - Dawn Of Venus (2019)Giovanni Antonio Parricelli - One Story At A Time (2008)Liquid Cinema - Make A WayJon Buster Cottam - Found Love (2020)Dan Phillipson - When The Morning Comes (2020)Louise Bernadette Dowd - Heaven or Hell (2022)Dotcom & Marius De Le Mer - Waiting (2019)Dean Wagg - I Believe In You [Backing Vocals Only] (2021)Aubrey Whitfield - Free to Love Again (2022)Aubrey Whitfield - The One That Got Away (2022) - I ❤️ this ballad!Vance Westlake - Yes I Can (2022)Kaiden Adams - All I Need (2020)Vanessa Campagna & Boris Nonte - There Will Be Fire (2021)Jake Warren - Spellbound (2021)Louise Bernadette Dowd - Learning to Run (2022)Richard Michael Walker - I Remember You (2020)Davy Nathan, Krysta Youngs, Matthew A. Thomas, Ryan William Keaton, Yan Perchook - Never Let Go (2015), from an album called "Dark Songs & Electro Pop"Jacob Miller, Matt Naylor, Steven Stern - Slipping AwayLouise Dowd & Toni Halliday - Call the Shots (2016)Jacob Miller - This One for You (2015)Fritz Doddy - Casting Dreams (2018)Boris Nonte - Want It All (2016)Vance Westlake - We're Ready Now (2021)David Thomas Connolly - Never Thought It Could Be You (2020)Universal Production Music - We Are the Immortals (2022)Henrik Wikstrom - Golden Armour (2016)Universal Production Music - Got My Eyes on You (2022)Paul Whitehead - Rise Above (2022)Lukas Knoebl - Believe In MiraclesLani Misalucha - I Rise To The Top (2020)Cherrypicked - You'll Be Mine (2021)Kenny Ray Moron - Miracle (2019)Virginie Peraldi - World Love - during the end credits of the 1st season finale Submitted July 29, 2024 at 11:58AM by Appropriate_Way2836 https://ift.tt/jwbqgDm via /r/Music

[karamanti]

Yu know how long me a pree da riddim ya

Da one ya bad iyah

Analyze di ting and now di queen a come with bay fyah

Check in wid di King Yu know mi ting dat a di Messiah 

Affi get di word before me step out inna hell fiyahhhhhhhh

figet wey Yu heard yo me no retire

Mi did a tek a break a chill wid mi father

But now that Daddy good and him a get better

Mi come back fi mi throne a fi mi own mi naa go lef it sah

Naa

Boom

Karamanti

Low key neva fancy

Reality

[aurowrites]

The Wirrel Phenomenon

People tend to overhear the sheer beauty that sound waves may produce. Most will never realize this in their lifetime. However, once in a while, a phenomenon happens where people get to the point where they begin to realize there is more to it than initially heard. And that one night in a small venue in Antwerp, it happened.

They Who summoned The Waves They stand for, made us witness a point where you only can travel to through the dimension of sound. Through one path of many, we stumbled upon a foundation that was simply that solid, they needed to let us hear the way how they wanted to walk this path. And what we got, is nothing short of a miracle. Undeniable proof of their conviction in the world that this unique subspectrum offers. A world they joyfully leaded us into, making us behold the true brilliance of these vibrations to be found on this one particular path. During this route, you may find one thought that stands out above any others, and that one is all that matters:

“THIS IS WHY WE FUCKING LOVE RIDDIM! “

Somehow, it may ( or may not ) appear that a rather intriguing feeling of connection has been set into your mind after witnessing this phenomenon. Makes one wonder what exactly they were connected with... Most likely it depends on how deep your bond is with the subspectrum they call: Riddim. But what we know for certain is that: It is there. It can be found within these seemingly absurd conditions. And once it’s at that point, it’s all around us kablooming into reality. How wonderful this pursuit of crashing sound waves is!

Auro

[gerogerigaogaigar]

We are 100 albums down into the Rolling Stone 500 greatest albums list. I thought I might offer some thoughts so far since, quite obviously, I disagree to some extent with this stupid idiot list. The most important thing to note is that making an objective greatest albums list is futile. What criteria determine that they are the greatest? Most popular? Most influential? Most artistically valid? There are simply no criteria that are subject to the baleful whims of subjectivity. Once the subjective is embraced then making this list is easy, just put anything you like on it. But that clearly isn't what Rolling Stone wants. If it was then they would not have revised it twice. No they want to be as inclusive and diverse as possible. They want some sort of objectivity, but they are limited by their perception. The qualia of any given rolling stone editor is one in which the only mark of significance is popularity in the west, the only influence that matter is influence over white western artists. If they were to be truly honest with themselves the list would just be Sgt Pepper's Lonely Hearts Club Band repeated 500 times. But there is no room for honesty in the wretched hearts of music critics.

The thing that is most obvious is that, although they do mix in a few women and Latino artists, the only marker for diversity they understand is blackness. The overwhelming prominence of Motown and Stax artists on the list is so obviously the result of them simply not knowing that many black artists from outside their comfort zone. So they double dip again and again, choosing albums like Al Green's Greatest Hits and Marvin Gaye's Here My Dear. They could of course be choosing some Asian artists, J-Pop and K-pop have been very popular and influential and City Pop is even surfacing as a popular hipster genre in the west. Why ignore these? It's because they don't see any music that didn't hit the UK or US as being culturally relevant.

There is another marker for diversity though. One that I think is almost more offensive to have ignored if only because this is a music publication talking about music. Genre. Rock, prog, punk, funk, disco, pop, R&B, Hip-hop, all represented here. But there has only been one metal album and literally zero electronic music. No house, techno, drum and bass, jungle, juke, dubstep, riddim, trance, there are so many subsets of electronic music that should be represented here. Show me Jeff Mills, Juan Atkins, Carl Craig. Show me Aphex Twin, Autechre, Plaid. Orbital, The Field, Shpongle, Laurel Halo, Alec Empire! For the love of God show me anything! But what would old men who suckle upon the cock of John Lennon know of electronic music. Electronic music is fundamentally black, and it only really goes on to heavily influence other black music. The reality of all that Motown on this list is that it influences white people and is therefore valid. Keep that in mind and the list becomes easier to understand. If you see anything other than a cisgender white male artist on here then you can safely assume they must have been influencial to some other cis white guy.

[curryvillain]

.@OriginalKoffee's "Toast" Featured In Trailer For @LoveAndHipHop: Family Reunion!

.@OriginalKoffee’s “Toast” Featured In Trailer For @LoveAndHipHop: Family Reunion!

For those who love the drama, your screens come alive as the popular VH1 series “Love & Hip Hop” returns with another season. This time around, they reunite some of the original cast members in a series called, “Family Reunion“. Featuring some of your favourites from Atlanta, Miami, New York, and Los Angeles, viewers will be tuning in for a lot of fights, outbursts, tears, and laughs while the…

[blakjak-theyshouldknow]

Active @djrooki Mi General: NUTTN LESS, Full Song On YouTube @blakjak.theyshouldknow #nuttnless ⬅☑ #theyshouldknow #blakjaktheyshouldknow #blakjak #jamaicanmusic #dancehallmusic #dancehallreggae #dancehallartist #reggaemusic #sikkarymes #Riddim #july2021 #newsongs #YouTube #blakjaktheyshouldknow #dancehall #instant #lyrics #reggae #reality #jamaicavideo #motivation #dancehallmix #beats #life #chilling #music #worldwide #dancehalldaily #tiktok #jamaicans https://www.instagram.com/p/CQ88Zw4hpan/?utm_medium=tumblr

[phenomenal1500]

Toxic Love | Erik Killmonger

Chapter 2: ~Imagination VS Reality~

For Chapter 1: ~The Grim Reaper~ click here.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Her head shot to the side, afraid she would get caught with a man standing this close to her and she wanted to push the stranger away only to find out he was gone.... completely gone. There were no trails of anyone being with her at all.

Was she going crazy?

~~~

After the strange encounter in the hallway, Delaney couldn't stop thinking about the mysterious stranger. Even at the important meetings she had to attend with her father or at the party itself after that, she couldn't focus and her mind kept wandering back to the man. His scent was following her everywhere she went, making her dizzy and urging for more, and his voice was imprinted into her brain.

Does it really matter?

Shaking her head, she tried to stop the repeated question in her mind as she stared at her father's guards from a distance, hoping they would get drunk enough for her to sneak away. She was currently just leaning against a pillar far away from everyone, AirPods in and humming to Love Riddim by Rotimi since she hated the classic music that was playing.

"Stop avoiding me." Her head shot to the side, shocked by the sudden appearance of the stranger next to her again. "Calm down, girl. It's just me." He reassured her, removing one of her AirPods to make sure she could hear him better.

"Me avoiding you? You're the one playing hide and seek." She stopped her music and gave him an annoyed glare.

"I'm not playing a game with you just yet." He shrugged, his hand finally making contact with her body when he held onto her hip. It made a strange feeling of ecstasy shoot through her body at the contact and her pupils dilated. "Not until you give me permission, but it's not just simply saying yes. You have to do some shit to be able to give me permission."

"Like what?" She furrowed her brows, her hand going up to touch his chest.

"You'll figure it out." He gave her a slight smirk and bowed his head, his dark beautiful eyes closing.

"Delaney! Who are you talking to?!" She looked up at Jay, the head of her father's body guards, and then pointed at just air.... right where the stranger just was. "What in the hell are you pointing at?" He walked up to her while watching her hand in the air.

Delaney panicked slightly and made a small wrist movement to make it look like she was stretching her wrist before pointing up at her left airpod.

"Calling Reyna to ask where she is because she's way too late." She whispered and then laughed at a 'delightful response she got from her best friend', faking a response back so it would look like she was really talking to her.

"She's having traffic problems?" He raised his brow, crossing his arms too to try and intimidate her in the hope she would make a mistake. The woman didn't though because she was used to the lying and playing along since she grew up with way too many rules and she nodded.

"Yeah, it's very busy on the roads around this time." She lied with a smile and the man nodded back.

"Tell her hi for me alright?" He narrowed his eyes and turned his back to her, waving at her for a second before returning to his former position.

"I will." She shouted back and sighed out of relief after Jay left, saying hi to 'Reyna' to make her lie even more realistic before 'hanging up'. After that she looked around her surroundings, feeling like she was getting more and more paranoia with the seconds passing by. However, she knew she couldn't be hallucinating.... she had felt the man, smelled the man, heard the man.... Reaching up to her right ear, her right AirPod was gone too and she rubbed her eyes, feeling like she could pass out by the frustrations.

She had no idea what was going on.

When she thought it couldn't get any worse though, Reyna arrived with the widest grin she had ever seen. Her eyes were almost popping out of her head from excitement.

"Why is everyone acting so goddamn weird today?" Delaney sighed and Reyna chuckled as she stopped beside her.

"If you hear what I heard, your face will turn into a smile too girl."

"And what's that?" She crossed her arms while waiting for the answer, but her friend shook her head.

"You have to see it for yourself.... and you were planning to sneak away anyway so let's go." Reyna grabbed her friend's arm and dragged her away from the courtyard, signing to the guards they were going to the restroom. It always made the guards uncomfortable and so it was the perfect way to sneak away.

"Where are we going?" Delaney struggled for a second before she followed Reyna by herself, in the meantime letting her hair down from the messy bun after her head was starting to hurt.

"The mansion's attic." She rolled her eyes at her friend who was dramatically shaking her hair back and forth like she was a model. "Come on, hurry girl. I promise those curls are still fantastic." She grabbed her wrist again to pull her onto the staircase. Slowly, they both made their way up to the attic, a group of different strangers appearing to be sitting in a circle in the dusty and vintage room.

"What is this, Reyna?" Delaney watched the black and red candles lighting up a path to the circle that they walked to, the rest of the room robbed from its light.

"We found an Ouija Board here...." She whispered, clearly not wanting to disturb the creepy group's peace.

"This looks like a fucking cult." The woman whined softly while playing with her curls before she was pulled to the floor by her friend to sit down. "I prefer to go."

Do you?

Delaney's eyes widened hearing the hot stranger's voice echoing through her head once again and she bit her lip, quickly checking her surroundings. He was nowhere to be seen though and she slowly shook her head to see if he would react again.

Ask it something. Go ahead. Don't be afraid.

"How does this work?" She tapped someone of the group on their shoulder, curious to how the board worked and to see if she could use it too. "Do I just ask it for something?"

"If you want something, then yes." He whispered back to her and the whole group turned silent when they heard her question. Like they were all programmed to listen to the one who wanted to use it.

"Um, okay, well." She scooted closer to the ouija board. "I want.... uh.... I want to give permission to a certain man who asked for it."

[yukarishoodie]

Digital Stars 2022: Vibes Rundown

I've finally finished listening to the entire thing! Hard to call this a proper review since I've only listened in once, so it's a Vibes Rundown™ instead. 9 guests, 6+ hours, and a ton of bangers ahead. (subject to edits as I figure out who the original song(s) belong to and give proper credits)

Set 1: Oddrella

We open with a pretty chill set, and a lot of underrated and surprisingly diverse list of Vocaloid songs. Definitely a great way to set the stage for a Vocaloid-centric event. Beyond their Zombee remix on the DS2022 album, this is my first time listening to Oddrella, and I left with a good impression.

Personal Notes: I can't question the taste of someone who likes DATEKEN, Kikuo, Giga and nakano4 (I think? Haven't double-checked), and I can't question the skill of someone who managed to string their songs together into a cohesive set. The me of 7-8 years ago would've had the time of their lives with this set for sure.

Set 2: Nyankobrq

Picked up where Oddrella left off in vibes and ramps it up. Probably the set with the biggest amount of non-Vocaloid songs in the event, so not much for me to comment on here (not because it was bad for sure).

Personal Notes: Putting Fly to night, tonight and Giga's Electric Angel remix back-to-back should be banned, I could've died.

Set 3: Alpaca

*Bee Movie voice* You like trance? A dance-y first half gives way to trance on the second half, while keeping up the high energy.

Personal Notes: I enjoy VocaTrance, so my only thoughts are :) Trance Good :)

Set 4: gaburyu

Coming in strong with a Rolling Girl remix and keeping it up. A variety of electronic music, and a decent amount from gaburyu's own considerable discography.

Personal Notes: Hollow is in! The song that introduced me to him (yeah yeah, late to the party and all) and still one of my faves. Nice to see it featured here.

Set 5: Yoshihisa Hirata

Time to chill out with some RnB, city pop, and laid back jazzy songs. Smooth pianos, and an interesting mix of Miku and human vocals.

Personal Notes: The first half was full of songs with Miku on the melody and a human vocalist rapping. They were all unknown to me, but I'm going to enjoy hunting them down later. Also, I'd never thought I'd hear NioP's Yosogoto again, especially in an event like this. That song was foundational to introducing jazz for my baby Vocaloid listener self.

Set 6: NUU$HI

Ramping up the energy again with electrohouse, dubstep, and is that riddim I hear? Plenty of instrumental tracks in this one.

Personal Notes: Having Tsumi to Batsu and To my Husband Android be one of the few Vocaloid tracks playing is incredibly based.

Set 7: UtsuP

One of the most awaited sets of the event, and for good reason: UtsuP's DJing abilities is as good as the metal he's known for. A Vocaloid heavy set with equally heavy drops and metal. Not gonna lie, listening to this after 4 hours of listening was kinda tough, I'm glad my first listen-though was after a couple hours break.

Personal Notes: Those Hyper Reality Show, Vermin and Leia remixes was sick, hope it releases somewhere. The nearly-unedited Corpse Attack!! was also great, but that's just me liking the song.

Set 8: hirihiri

Despite heavily featuring Porter Robinson and Madeon, the set feels heavy and loud. Maybe it's the hyperpop mixed in.

Personal Notes: Congratulations for Vocaloid Become Human (hirihiri remix) for being the first song being played twice in this event! Deserved tbh, it's my favorite remix in the album. Also, obligatory World is Mine.

Set 9 : colate

The event closes off with a set from another eagerly awaited producer. Sweet, fluffy pop and disco. The only 100% Vocaloid set in the event.

Personal Notes: The two siinamota songs (I forgot what the other one was called) really gave the feels. Also congratulations to Finder for being the second song played twice in this event.

[musicarenagh]

Chill City: “London Summer Loving” by The Wise Bloods The Wise Bloods are back with the sun-soaked riddim of "London Summer Loving," immersing us in a paradoxical blend of chilled-out vibes and poignant urban tales. Now imagine kicking off your shoes after a day's hustle, closing your eyes to this tune - feels like an unexpected summer breeze drifting through London's cobblestone alleys, doesn't it? https://open.spotify.com/album/3FNE4WxBseV3A0nAFhAiuK?si=76bgzFlwTt2lQnegGjId5w Striking that delicate balance between easy listening and deep thematic grooves, these masters of modern reggae fuse mellow beats with sharp social lenses. It’s as if Bob Marley took a stroll through Brixton Market; the track is super catchy without sacrificing substance. From their new project "Eye Out For The Devil," this third single paints inner-city strokes on a canvas traditionally reserved for sunnier shores. [caption id="attachment_52734" align="alignnone" width="1152"] Chill City: “London Summer Loving” by The Wise Bloods[/caption] The production here is cleaner than my nan's Sunday silverware yet retains all the warmth you'd expect from homegrown Roots -- it has that unique 'just-right' toastiness. Each instrument plays ally to the vocals; they’re neither overshadowed nor overpowering - talk about synergy! Vocally? Spot-on! Imbued with authenticity, each note carries weight while dancing nimbly atop vibrant melodies—a street poet’s grace wrapped in harmonies. https://youtu.be/aLNYqV5g1Ts "London Summer Loving" isn’t just another tune; it cradles multicultural symphonies amid stark reality checks. Like sipping iced tea at a Notting Hill carnival – refreshing but real – nestled vigorously within deep roots tender enough for any playlist aimed at serious unwinding or contemplation beneath swaying trees—urban canopies showing off their own kind of stars. So pull up that lawn chair and let The Wise Bloods light up your evening sky—urban summer never sounded so invitingly complex. Follow The Wise Bloods on Website, Facebook, Instagram, SongKick and TikTok.

[ndtcjamaica]

Part 1: In Tribute to Reggae Month

The use of reggae music by choreographers of the National Dance Theatre Company (NDTC) is as old as the music itself. The NDTC, which was founded in 1962 before the flowering of reggae, grew up with the music in its progress from ska to rock steady through to its present manifestation.

Back in 1972, Tommy Pinnock created Desperate Silences, a work which drew on the music of Burning Spear, largely to provide ambiance for the piece, which caught the anguish and dread reality of Kingston inner-city.

Original Dancers (Desperate Silences): Madge Broderick, Monica McGowan, Audley Butler, Tony Wilson, Thomas Pinnock

Three years prior Pinnock’s experimentations, Rex Nettleford explored the riddim in his All God’s Children (1969) using it for the downtown characters.

Original Dancers (All God’s Children): Yvonne daCosta/Noelle Chutkan (Hostess), Dorothy Fraser, Bridget Casserley, Mavis Stoppi, Andrea Anderson, Barbara Requa, Barry Moncrieffe, Bert Rose, Audley Butler (Uptowners); Dorothy Sanguinetti, Jean Binns, Fredericka Byfield, Tommy Pinnock, Noel Hall, Jackie Guy (Downtowners); Beverly Kitson, Gertrude Sherwood Joyce Campbell Cheryl Ryman, Dennis Scott (Spirits of the Weed)

By 1973, reggae was in full swing, and the NDTC adopted to the challenge. Rex Nettleford’s Street People (1973) mixed Desmond Dekker’s “Poor Me, Israelites” with Ernie Smith’s “Ben Dung”. The work portrays scenes from the life in the streets of urban Kingston.

Original Dancers (Street People): Jackie Guy (Sufferer); Yvonne Ffrench/Marylin Sanguinetti (Madam Bag-and Pan); Fitzroy Hunt (Bredda Man); Audley Butler (Mr, S-90); Bridget Spaulding, Pansy Hassan (Ladies of the Night); Jean Binns (The Unsaved Girl); Joyce Campbell (Madam Saviour)

In 1974, Nettleford created Tribute to Cliff, a work dedicated to Jamaican composer and singer, Jimmy Cliff. The music which inspired the work were “Price of Peace”, “On My Life”, “Sitting in Limbo”, and “Many Rivers To Cross”.

Original Dancers (Tribute to Cliff): Bridget Spaulding, Pansy Hassan, Monica McGowan, Andrea Nash, Melanie Graham, Patsy Ricketts, Judith Pennant, Neil Summers, Noelle Chutkan, Bert Rose, Barry Moncrieffe, Jackie Guy, Tony Wilson

Reggae artists who have provided much musical inspiration in the mid 1970′s included Bob Marley for the critically acclaimed Court of Jah (1975) choreographed by Rex Nettleford and Toots Hibbert‘s compositions for Backlash (1975) also created by Nettleford.

Marley’s “Rebel Music”, “No Woman No Cry” and “Suh Jah Seh” provided the score for Court of Jah. The work won critical acclaim when the NDTC appeared at City Center in New York and later when Clive Thompson Dance Company, based in Staten Island, performed the work at Lincoln Center, NY.

Backlash utilised “What A Bam Bam” and Toots’ “Christmas Song”. The programme note read: 

The gaolers and the gaoled are really all prisoners together. So out of agony of repression and brutality come protest, violence even madness but also individual compassion and hope for redemption...

Original Dancers (Backlash): Rex Nettleford/Michael Richardson, Barry Moncrieffe, Bert Rose, Jackie Guy, Neil Summers, Fitzroy Hunte, Michael Binns, Calvin McDonald, Tony Wilson (as boy with the knife), Noelle Chutkan (Chief Visitor), Joyce Campbell, Barbara Requa, Pansy Hassan, Madge Broderick, Cheryl Ryman, Dorothy Sanguinetti, Gertrude Sherwood, Judy Cunningham, Yvonne Ffrench, Patsy Ricketts, Bridget Spaulding, Monica McGowan, Jean Binns, Melanie Graham, Sandra McLeod, Judith Pennant, Denise Francis, Alison Symes, Pauline Khan

In 1981, Rex Nettleford turned to Marley’s music “Work” and “Redemption Song” for the dance-satire Rockstone Debate. The work appeared in four movements:

(i) Parliament

(ii) The Stonebreakers

(iii) Redemption

(iv) Hope

Original Dancers (Rockstone Debate): Joyce Campbell, Melanie Graham, Pansy Hassan, Monica McGowan, Sandra Minott, Arlene Richards, Alison Symes, Alaine Grant, Gabrielle Harban, Judith Pennant, Cheryl Ryman, Barry Moncrieffe, Jackie Guy, Samuel Bailey, Duran Hylton, Fitzroy Hunt, Oswald Blackwood, Carson Cumberbatch, Christopher Morrison, Glen Dhyll

By 1984, Rex Nettleford’s Vibrations had gone full throttle in the rhythms, sounds, and sensibility of the reggae universe. The work drew on the music from Ya Ya — “Hold Fast”, R. Bromfield and Franklyn — “Namibia”, Gregory Isaac's — “Cool Down The Dub” and Papa Levi “Mi God Mi King”.

Original Dancers (Vibrations): Joyce Campbell, Melanie Graham, Judith Pennant, Monica McGowan, Alaine Grant, Sandra Minott, Jacquie Smith, Gabrielle Harban, Arlene Richards, Alison Symes, Denise Robinson, Judy Wedderburn, Carole Murdoch, Paula Monroe, Monica Potts-Lawrence, Sita Dixon, Tony Wilson, Adrian Fletcher, Fitroy Hunt, Christopher Morrison, Delroy Rose, Glenford Brown, Dwight Lee Eisenhower Williams, Monty Williams

The next major dance-work by the National Dance Theatre Company (NDTC) that utilised reggae music was Children of Mosiah (1987). The work of Bob Marley and Jimmy Cliff dominated the piece, but the choreographer saw others like Burning Spear, Peter Tosh and Mutabaruka. Nettleford’s Children of Mosiah paid tribute to the Rt. Excellent Marcus Mosiah Garvey, and was presented on the Hundredth Anniversary of his birth.

Original Dancers (Children of Mosiah): Joyce Campbell, Monica McGowan, Melanie Graham, Judith Pennant, Alison Symes, Denise Robinson, Sandra Minott, Arlene Richards, Jacquie Smith, Judith Wedderburn, Alaine Grant, Carol Murdock, MoniKa Lawrence, Paula Monroe, Sita Littlewood, Barry Moncrieffe (Narrator), Tony Wilson, Adrian Fletcher, Christopher Morrison, Deroi Rose, Mark Ramsay, Eisenhower Williams, Glen Brown

[randomvarious]

Black Uhuru - “Brutal” Três Décadas De Reggae Vol.1 Song released in 1986. Compilation released in 1996. Reggae

The legendary reggae group Black Uhuru are known for a few things. One, they're regarded by many as the spiritual successors to Bob Marley & The Wailers; two, they won the first ever reggae Grammy; three, they counted superstars Sly & Robbie as members, who ended up developing both Black Uhuru's signature sound as well as their own; and four, for one reason or another, they've rotated through a handful of lead singers throughout their history.

All of those facts came into play for the group's 1986 album, Brutal. BU's previous LP, 1983's Anthem, took home the Grammy for Best Reggae Album, but after it was released, tensions within the band boiled over and caused lead singer Michael Rose to depart. But arriving in his stead was the not-yet-exalted, but nonetheless similar-sounding Junior Reid. Reid would only last with BU for a couple albums, but he would deliver a notable dancehall flavor with his vocals to a band that was otherwise known for its rootsiness. As a result, Brutal would earn BU another Grammy nom and produce five singles, however, oddly enough, none of those singles were the album's title track.

In the Biography section of Black Uhuru's Facebook page, they write that, "together," Sly & Robbie "developed a musical style full of deep bass thumps, loud drum slaps, sharp keyboards, long instrumentals with guitar riffs, whirly back round noises, echos and the signature'woh oh oh's' creating they're 'classic' sound." And you'll find all of those ingredients on "Brutal," a song on which Reid laments the world's deplorable social conditions ("Public sector hot like hell, private sector armed at the bell").

I think one of the main things that makes "Brutal" such a nice track is its drums. I mean, just listen to how those things pound and how they're arranged. Sly Dunbar's ever-changing riddims are so nice and weird and unique. And they're so integral to the track, too. There's a lot of different pieces in here (blaring guitar haze, Reid's reggae scat, insertion of string synths, a light layer of uncredited ?xylophone?), but without those drums, this song isn't worth shit, no matter how right-on its lyrics are.

"Brutal" is also a song that's sort of a lesson in reggae tone (not reggaeton, a music genre that's more than overstayed its welcome) and how little it really takes to give a tune its mood. The only instrument on this song that consistently carries a note is the keyboard, and because its chords have a little darkness to them, "Brutal" is able to sound a bit more ominous than most other reggae tracks. It's a little thing, sure, but it's also a pretty big deal. Everything on this song could remain the same, but if you raised those keyboard notes an octave or two, the overall disposition would definitely be sunnier, even if the lyrics reflect reality's brutality.

Awesome mid-80s tune from this big-time reggae band.

[jiladdis]

https://fanlink.to/hardanddread Available from today ! Dats our third collaboration with the crucial artist named VYSIONAER. This one is on the "Blaze" riddim (becoming famous from the Onton “Blaze” & Steve Machete “Konkarah” tracks). Feat. Stuf on bass, Mitchum Khan Chin on guitar and Jiladdis on drums, keys and production on a whole. Earl Smith Jr. & Maria Smith Hines on the backing vocal & Umberto Echo on the mix. Vysionaer hit with a reality lyrics about the current world situation and sing: "..Hard and Dread but my people still rocking.." Check it on your favorite platform