#tyrone downie

[musickickztoo]

Tyrone Downie  † November 5, 2022

[the-hottest-band-tournament]

Round Two

Bob Marley and the Wailers

Defeated opponents: Max Webster

Formed in: 1963

Genres: Reggae, ska, rocksteady

Lineup: Bob Marley – lead vocal, rhythm guitar, acoustic guitar

Aston "Family Man" Barrett – bass, piano, guitar, percussion

Carlton Barrett – drums, percussion

Carlton "Santa" Davis – drums

Tyrone Downie – keyboards, backing vocal

Alvin Patterson – percussion

Junior Marvin – lead guitar, backing vocal

Earl Lindo – keyboards

Al Anderson – lead guitar

I Threes (Rita Marley, Marcia Griffiths and Judy Mowatt) – backing vocals

Albums from the 80s:

Uprising (1980)

Confrontation (1983)

Legend (1984)

Rebel Music (1986)

Propaganda: 

Talking Heads 

Defeated opponents: Los Lobos

Formed in: 1975

Genres: New Wave 

Lineup: David Byrne- lead vocals/guitar

Chris Frantz- drums

Tina Weymouth- bass

Jerry Harrison- keyboard/guitar

Albums from the 80s: 

Remain in Light (1980)

Speaking in Tongues (1983)

Little Creatures (1985)

True Stories (1986)

Naked (1988)

Propaganda:

[spilladabalia]

Tom Tom Club - Genius Of Love - Live 1982

[culturalappreciator]

Former Wailer Tyrone Downie Recalls Tour Life, Bob Marley & More

Interview | Bob Marley and Tyrone Downie (1980)

[myvinylplaylist]

Bob Marley & The Wailers: Kaya (1978)

Tuff Gong

Island Records

[afrotumble]

Bob Marley, Mike Mhundwa and one member of the Wailers [Tyrone Downie].

Zimbabwe Settings 1980

[nicocota]

- Tyrone Downie

- Julian “Junior” Marvin

- Earl “Wire” Lindo

- Alvin “Seeco” Patterson

- Carlton Barrett

- Bob Marley

- Allan “Al” Anderson

- Aston “Family Man” Barrett

[consanguinitatum]

David Tennant in 'The Slab Boys Trilogy' (1994)

A lot of you know (or may not know but are just finding out!) I've done tons of research on DT's early Scottish theatre work (80s/90s) for a developing podcast to share my discoveries. Today let's veer off and talk about a play DT alluded to in a recent interview, shall we? In a interview with Kelly-Anne Taylor on The Radio Times Podcast, David spoke about his first job when he moved to London. "I worked at the Young Vic, that seemed unspeakably glamorous to a boy from Paisley. I mean I was doing a play set in Paisley, so I was pretty good casting!" The play he's referring to was called THE SLAB BOYS TRILOGY - which, as it sounds, was actually a set of three plays by Scottish playwright John Byrne. The first play in the set was called "The Slab Boys". The second was "Cuttin' A Rug", and the third was "Still Life." This trilogy of plays was set in Paisley, Scotland - surprise surprise! But why? Because John Byrne is from Paisley, too, and he worked as a slab boy in a carpet factory. And what's a slab boy? They're the fellows who mix and grind colors for a company's design department. John Byrne's a Scottish cultural institution. Byrne graduated from The Glasgow School of Art. He was once commissioned to design a possible cover for the Beatles' White Album but his design - though rejected at the time - was used on the 1980 "Beatles Ballads" LP. But I digress! (...though seriously, check him out! He designed other LP covers, too, like for Gerry Rafferty and Donovan! He's an interesting character indeed. And he was once Tilda Swinton's partner, too, so yeah...) But back to the play(s)! It's May 1994. David's just finished his run as Edmund Tyrone in "Long Day's Journey Into Night" at the Dundee Rep. Playing his mother was the grande dame of Scottish theatre, Edith MacArthur, better known in the fandom as the predictor of DT's future stardom. For those who don't know - MacArthur spotted David's talent when she saw him perform as a child in a school play called 'Gypsum's Journey'. MacArthur told his parents she predicted he'd be a successful stage actor & she'd probably play his mother. She was right. She did. Twice! So...it's May 1994. David had filmed "Takin' Over The Asylum" - he finished filming that in late Oct of 1993, where he had met Arabella Weir - and then did "Long Day's Journey Into Night." So now, given the chance to become Arabella's tenant, he made his famous move to London. David had met another lovely lady filming "Takin' Over The Asylum" - Katy Murphy (Francine). Though I don't know exactly how David heard about or got the job on The Slab Boys, it's important to note Katy Murphy had a role too. Did one hear about it & tell the other? Seems likely!

So what are the plays about? In short, The Slab Boys Trilogy spans the 1950s-1970s and is about three working class young men (Phil, Spanky and Hector) who have jobs in the slab room of a carpet manufacturer.

According to the National Library of Scotland: "It is a Friday in 1957. Phil, Spanky and Hector are young lads working in a Paisley carpet factory as 'slab boys'. They should be grinding up powder for the paint slabs, but they prefer to do as little work as they can and smoke as much as possible. Young, sharp and bored, they discuss their aspirations. Phil dreams of a place at Glasgow Art School, while Spanky wants to go to America and become the next Elvis. Hector dreams of taking Lucille from the mail room to the staff dance – which is also on Spanky's agenda."

David got the role of Alan Downie in "The Slab Boys" and "Cuttin' A Rug." Alan was better-off than the others; his father knew the boss, and he went to work in the slab room temporarily before going off to university. The others didn't like Alan.

Katy Murphy played Lucille.

In the second play, "Cuttin' A Rug" (set on the evening immediately following the action of The Slab Boys), the boys are off to the annual factory staff dance. David's character Alan had begun university and shows up in his father's car with Lucille.

(The third play of the trilogy, "Still Life", was set in a cemetery on the morning of a winter's day in 1967 for Act One, and Act Two on a winter's afternoon in 1972. David wasn't a part of this one, so I don't have as many facts on it as I do the others.)

Now we've established what the plays were about, let's talk about how they were received. All three plays ran at London's Young Vic from 9 Sep 1994 til 12 Nov 1994. Directed by Tim Supple, the set and costume designer was John Byrne himself!

During the week the three plays were in rep - meaning each was performed on successive nights - except for Saturdays, when all were back to back: "The Slab Boys" began at 11a, "Cuttin' A Rug," at 2:30p, and "Still Life" at 7:30p. You could see the set for £24, or each for £6-£12.

Reviews were generally good ("an exhilarating example of true ensemble work" and "performed with considerable power"). But it wasn't a box office win, and only drew in less than 40% of the revenue it needed to break even. It wasn't of great benefit to the Young Vic.

But - along with the premiere of "Takin Over The Asylum" in late Sep 1994, which introduced David to the world at large - "The Slab Boys" has the distinction of being the first theatre job DT got upon moving to London. His second was "What The Butler Saw." But that's for later.😁

Now if you've stuck with me this long, you deserve a goodie! Official photographs for the play's run at the Young Vic were taken by Billy Cooper (and a few from the play with David in them float about out there.) The goodie today is this: this is a clip from STV doing a feature on John Byrne at the time of the run at the Young Vic. If you look really close, you can see a brief (like "if-you-blink-a-few-times-you'll-miss-him") video of David in the play! He'll be the fellow in the white coat.

[whileiamdying]

Grace Jones’ 20 greatest songs – ranked!

With the 40th anniversary of Jones’s masterful fifth album Nightclubbing approaching, we rank her best work

by Alexis Petridis Thu 29 Apr 2021 11.00 EDT

20. I Need a Man (1975)

Jones’s debut single was joyous, cantering mid-70s Eurodisco, its lyrics clearly written with one eye on the dancecfloors of gay clubs. It was rerecorded for Jones’s 1977 debut album, Portfolio, with an arrangement by the Salsoul Orchestra’s Vince Montana and a stronger vocal, but the original drips with slightly shonky period charm.

19. The Hunter Gets Captured By the Game (1980)

Warm Leatherette, released in 1980, relocated Jones to Nassau’s Compass Point studios, introduced reggae rhythm section Sly and Robbie and saw her covering Roxy Music and post-punk. Jones’s take on the old Marvelettes hit is closer to her old self, but it’s fantastic: gently reggae-influenced, post-disco dance music.

18. Victim (1995)

During the period between Jones’s 1989 flop Bulletproof Heart and 2008 comeback Hurricane, she briefly reunited with producer Tom Moulton. The solitary track they completed (but never officially released), a cover of a 1978 Candi Staton single, is a disco-house delight that Moulton claimed was the best thing they ever did together.

17. Am I Ever Gonna Fall in Love in New York City? (1978)

As a man who started out making mixtapes for the Sandpiper, a cornerstone of the gay party scene on Fire Island, Moulton knew the audience Jones was initially targeted at. He insisted she record showtunes, while the original material they made together had a hint of Broadway, as evidenced by this glorious slice of lovelorn high camp.

16. She’s Lost Control (1980)

Jones appears to turn Joy Division’s classic on its head: she recites the words in a blank sprechgesang at odds with Ian Curtis’ mournful delivery and changes the lyrics so the song’s narrator is its subject rather an observer. But its conclusion, where her voice becomes a terrified scream, is every bit as harrowing and bleak as the original.

15. The Apple Stretching (1982)

For all Jones’s fierce image – and the verses in this Melvin Van Peebles-written song about hookers, gun-toting cops and air that smells of “bagels and pollution” – there’s a real softness and warmth about her delivery of the chorus; the New Yorker’s love-hate relationship with the city encapsulated in a song.

14. Warm Leatherette (1980)

Jones’s cover of this JG Ballard-influenced, Throbbing Gristle-esque 1978 single by Daniel Miller’s project the Normal was an inspired move, killing off her disco diva image at a stroke in favour of something darker and harder. Is there a more Grace Jones 2.0 lyric than “quick, let’s make love before we die”?

13. Atlantic City Gambler (1979)

Muse, Jones’s third and final album with Moulton, was a commercial failure, but deserves reappraisal. Side one’s suite of songs offers a tougher and starker take on disco than its predecessors, while on the super-cool, reggae-influenced Atlantic City Gambler, the opening song of side two, you can distinctly hear the roots of what was to follow.

12. Victor Should Have Been a Jazz Musician (1987)

The making of 1987’s Inside Story was fraught – Jones and co-producer Nile Rodgers didn’t get on – and its sound veered close to straightforward mainstream pop, but it had its moments. The understated, small-hours romance of this ballad is just beautiful.

11. My Jamaican Guy (1982)

A patois-thick depiction of Jones’s love for Bob Marley’s keyboard player Tyrone Downie that doesn’t preclude mocking him as a hopeless stoner – “stretching out ’pon the floor, that way ’im don’t fall over” – the sweaty relentlessness of My Jamaican Guy’s bass-heavy backing seems to mirror the unrequited nature of her obsession.

10. Demolition Man (1981)

The first single from Jones’s masterpiece Nightclubbing was written by Sting – she’d requested a song from him, so he sent a demo for this, which the Police hadn’t got around to recording. It vanished without a trace, but its quality – boastful lyrics set to relentless Suicide-esque synths and guitar noise – is there for all to hear.

9. Nightclubbing (1981)

Iggy Pop and David Bowie’s paean to seedy Berlin nightlife might have been written for Jones, a nightclub fixture throughout the late 70s and 80s. She squeezes every drop of decadence out of the lyrics, shifting the song’s rhythm from diseased glam stomp to eerie dub.

8. Nipple to the Bottle (1982)

“I won’t give in and I won’t feel guilty – you rant and rave to manipulate me” – today, Nipple to the Bottle’s topic would be called misogynistic gaslighting. Its depiction of a love affair gone sour is set to hard, spare funk; Jones, meanwhile, is in commanding, enough-of-your-bullshit form.

7. Do or Die (1978)

The work of the songwriters behind Tina Charles’s chart-topping I Love to Love – and Gloria Gaynor’s fantastic (If You Want It) Do It Yourself – Do or Die was the apotheosis of disco-era Jones. It’s lengthy and lavishly orchestrated, with the singer playing up to her tough image: “I’ve been called an operator, I can sell an Eskimo snow.”

6. Williams’ Blood (2008)

After 19 years of stalled projects (a shelved album, Black Marilyn; a collaboration with Tricky), Hurricane was Jones’s triumphant return, a sharp retooling of the Compass Point sound that stirred industrial music into the mix. The autobiographical Williams’ Blood was its highlight: an epic remix by Aeroplane was the late 00s nu-disco movement at its height.

5. I’ve Seen That Face Before (Libertango) (1981)

Used to striking effect in the 1988 movie Frantic, I’ve Seen That Face Before is a stunning reggae remake of an Argentinian tango classic, topped with Jones’s own dark lyrics about sleazy Parisian nightlife. The video, meanwhile, featured a flat-topped, suit-sporting, accordion-playing Jones dwarfed by her own shadow: among the most iconic images of her career.

4. La Vie en Rose (1977)

Reinterpreting Edith Piaf’s signature song as bossa nova – complete with a musical nod to Jimmy Webb’s MacArthur Park – was inspired; emotive, but breezy at the same time. It launched Jones as a European star and became a staple of “sleaze” sets – which dropped the tempo as the night wore on – in US gay clubs.

3. Private Life (1980)

The Pretenders’ original is trash-talking, reggae-influenced new wave, a perfect fit for the icy persona Jones had already begun projecting on 1979’s Muse. Sly and Robbie turn the music into reggae proper, Jones oozes contemptuous, bored hauteur – “I’m very superficial” – with incredible results: a star was (re)born.

2. Pull Up to the Bumper (1981)

The pinnacle of Jones’s Compass Point years, Pull Up to the Bumper exists in its own fabulous, humid musical space, its mid-tempo groove equidistant from funk and reggae. The lyrics are preposterous cars/sex double-entendre filth, lent an appealing edginess by Jones’s stentorian vocal. Forty years on, it hasn’t dated.

1. Slave to the Rhythm (Blooded) (1985)

Only ZTT – the label behind Frankie Goes to Hollywood’s umpteen 12in remixes – would have considered rebooting Jones’s career with an album consisting entirely of versions of one song. Researchers for an unreleased box set discovered that star producer Trevor Horn had recorded more than 70 versions of Slave to the Rhythm. Releasing them all would have been a ridiculous exercise had the track itself not been the best thing either Jones or Horn ever made. A supremely sophisticated sample-heavy concoction, the song glides elegantly over a rhythm rooted in go-go – the funk sub-genre that counted as the hippest dance music of the mid-80s – while her vocal is by turns tender and imperious. The original 12in mix is the keeper.

[musickickztoo]

Tyrone Downie *May 20, 1956

[kneehoming-knee]

JUGGERNAUT CRUSH]]]]]}}]]]]]🥔💭"wc"

"Know She Gets Wic"" "hater bih" 1ha r vey

"Real Niggardly, Oyvey" OBEY™ "PEPSI"

The Atlanta Falcons, Tyrone Coke Company. The Radiation And Electric Marijuana Maurice Don't*Earth Shaking, ':B:' SUP" HEY What's up one time 4406S.A.E Time Lord Screwed Barber, Trump Half Bernard Krystal, Hell Brutality Biden That's My Ticket Punches"Err" 😂 Dang Quest Before Cops Pops5 Oops, K&P AD'TIMING'_YAH-"':B:' South Park German Shepherd... rain wtf... Hazardous Duty Cock Sucker Pay. Sarah! CARDI.: HUH XYIU ASKED WNAS SOSA THE PRESIDENT "CHIEF KEEF DOWNY SHIT THE MIXTAPE MR OFFICER TACKLEBOX, GAWD GOT DAWGS? AL B;! "L" SONIC WING FORTRESS"HOLY < SHIT'_✓LEG 😂

[spilladabalia]

Concrete Jungle - Bob Marley & The Wailers play live 1979

[culturalappreciator]

RIP to reggae icon & member of Bob Marley & The Wailers,

Tyrone Downie (1956-2022)

[agendaculturaldelima]

#ProyeccionDeVida

🎬 “BOB MARLEY. ONE LOVE” [Bob Marley, la leyenda] ☮️💚💛❤️✊

🔎 Género: Drama / Biográfico / Música

⌛️ Duración: 104 minutos

✍️ Guión: Terence Winter, Reinaldo Marcus Green, Frank E. Flowers y Zach Baylin.

📕 Historia: Terence Winter y Frank E. Flowers

🎼 Música: Kris Bowers

📷 Fotografía: Robert Elswit

🗯 Argumento: Una celebración de la vida y la música de un icono que inspiró a generaciones a través de su mensaje de amor y unidad. Por primera vez en la gran pantalla, descubrimos la impactante historia de superación de la adversidad de Bob y la travesía que subyace a su música revolucionaria.

👥 Reparto: Kingsley Ben-Adir (Bob Marley), Lashana Lynch (Rita Marley), James Norton (Chris Blackwell), Umi Myers (Cindy Breakspeare), Jesse Cilio (Norval Sinclair Marley), Sevana (Judy Mowatt), Tosin Cole (Tyrone Downie), Michael Gandolfini, Nadine Marshall y Anthony Welsh

📢 Dirección: Reinaldo Marcus Green

© Productoras: Paramount Pictures, Tuff Gong Pictures & Plan B Entertainment

💻 Distribuidora: Paramount Pictures

🌎 País: Estados Unidos

📅 Año: 2024

📌 ESTRENO:

📆 Miércoles 14 de Febrero

📽 Cartelera Nacional: Cineplanet / Cinemark Perú / Cinépolis / Multicines Cinestar

[rastavibes-reggae-shop]

Singles Fruits Eu - Roots Architects Ernest Ranglin Tyrone Downie - Memories Of Old Version

reggae shop NEWS Singles Fruits Eu - Roots Architects Ernest Ranglin Tyrone Downie - Memories Of Old Version http://www.rastavibes.net/reggae-shop/?lang=en&p=catalogue&format=7p&item=17450 http://dlvr.it/T0X4bT

[jeremiekroubodagnini]

Table ronde en hommage à Tyrone “Organ D” Downie. Avec Michel Jovanovic (Mediacom reggae music agency) et Jimaï (du groupe Kayans) à la médiathèque Jean Falala (Reims).