Don Sinclair Reggae Vibes New Official Website

Don Sinclair Reggae Vibes New Official Website

Don Sinclair Reggae Vibes is an original and ground-breaking platform which has been developed to promote Reggae culture globally. Its central focus is to showcase emerging artists within the genre to display their full range skills, be it singing, toasting or deejaying. Don Sinclair Reggae Vibes also provides the space for established musicians to further enhance their profile, in order that Reggae lovers of all ages can gain access to high quality material and content instantaneously.

The reputation Don Sinclair Reggae Vibes has attracted the attention of well known and well respected purveyors of Reggae music, such as Winston Francis – a collaborator and contemporary of Bob Marley and Sir Coxsone – one of the original Sound Systems to bring Reggae music to the UK, in addition to Burro Banton, Junior Cat, Eek-A-Mouse, Dawn Penn, General Levy, Tippa Irie, Dennis Bovell, A.J Franklin and others.

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Website: http://donsinclairreggaevibes.com/

Official Global Sound Clash Bass Odyssey vs Lord Gelly's vs Luv Injectio...

Official Global Sound Clash Bass Odyssey vs Lord Gelly's vs Luv Injection vs LP vs Judgement London 1999

Lord Gelly’s Sound
Back in Jamaica 1953, Fitzgerald Gelly started following a sound called King Lattibuddier which he eventually joined. In 1961, Fitzgerald came to England and started doing a blues spot and in 1964, Lord Gellys was formed.

Most of the sound members come from a musical or sound system background and a few were with other sounds prior to joining Lord Gellys. Although they all came from various places including Jamaica, Grenada, New York and London, there is a common bond that binds the sound together – their love of music and entertaining.

Since the sound’s inception a weekend can scarcely pass without Lord Gellys playing at a venue or featuring at an event. The sound has toured many countries including France, Belgium, Jamaica, America, Canada, Italy and of course the UK to name a few. Lord Gellys plays a variety of genres including Reggae, Dancehall, Revive, Bashment, Soul, Rare Groove, Dance, Grime, Hip-Hop, R&B and also Pop/Top 40 tracks.

Lord Gellys is a world class sound with world class DJ’s. An essential part of any event.


BASS ODYSSEY Sound System is the home of Jamaica’s best deejays & selectors. “Our musicians are trained to be best of both worlds in the sound system industry; and continue to captivate music lovers around the globe with the unique juggling and clashing of Reggae and Dancehall music.”

‘From way out in the country’ Bass Odyssey hails from the hills of St. Ann, also the birthplace of Reggae icons Bob Marley and Burning Spear, to represent Jamaica on a global scale. Arguably the most popular sound system, it is most respected and continues to dominate the Jamaican music arena after 23 years. Having won several sound clash titles over the years, most recent of which include War Territory 4 (Italy 2012), Sound Fi Dead (New York 2011), Guinness Sounds of Greatness (Jamaica 2010); Bass Odyssey is known as the ‘World Champion Sound’. In addition to sound clash appearances, Bass Odyssey has weekly performances around Jamaica, frequent in the Caribbean, United States and South America as well as tours in Europe, the United Kingdom, Japan and Canada. Also, increasing demand should result in tours of Africa and other lands in the near future.


Luv Injection are one of the premier Sound Systems in the UK with members Winston Mexican, King Zukie, Corporal Billy, Tin Tin, DJ Mexy, CoCo, Remy T, Vybrant Yute, Daddy King, Colin little, Fry.


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Official Lee Scratch Perry Musical Journey

Official Lee Scratch Perry Musical Journey

A notoriously eccentric figure whose storied reputation and colorful personality match the sheer strangeness of much of his recorded output, Lee Perry is unquestionably one of reggae's most innovative, influential artists. His mixing-board innovations, from his early use of samples to hallucinatory echo and reverb effects, set the stage for generations of musical experimentation, particularly throughout electronic music and alternative/post-punk, and his free-association vocal style is a clear precedent for rap. Active as a producer and vocalist since the early '60s, he helped guide Jamaican music's shift from ska and rocksteady to reggae with singles like "People Funny Boy" (1968). During the '70s, he became a super-producer, helming seminal works by Bob Marley & the Wailers, the Congos, and Junior Murvin, in addition to releasing dub albums such as Upsetters 14 Dub Blackboard Jungle (1973) and Super Ape (1976), often credited to his band the Upsetters. His work became popular in the U.K., and he collaborated with the Clash, broadening his audience. By the end of the '80s, he had begun recording extensively with dub acolytes such as Mad Professor and Adrian Sherwood. Compilations such as 1997's Arkology and acknowledgment from alternative acts like the Beastie Boys confirmed Perry's legendary status during the '90s. He remained highly active during the first two decades of the 21st century, touring often and collaborating with artists ranging from Andrew W.K. (2008's Repentance) to the Orb (2012's
The Orbserver in the Star House), in addition to revisiting earlier material on releases like 2017's Super Ape Returns to Conquer.
Born in the rural Jamaican village of Kendal in 1936, Perry began his surrealistic musical odyssey in the late '50s, working with ska man Prince Buster selling records for Clement "Coxsone" Dodd's Downbeat Sound System. Called "Little" Perry because of his diminutive stature (he stands at 4'11"), he was soon producing and recording at the center of the Jamaican music industry, Studio One. After a falling out with Dodd (throughout his career, Perry has a tendency to burn his bridges after he stops working with someone), he went to work at Wirl Records with Joe Gibbs. Perry and Gibbs never really saw eye to eye on anything, and in 1968, Perry left to form his own label, called Upsetter. Not surprisingly, Perry's first release on the label was a single entitled "People Funny Boy," which was a direct attack upon Gibbs. What is important about the record is that, along with selling extremely well in Jamaica, it was the first Jamaican pop record to use the loping, lazy, bass-driven beat that would soon become identified as the reggae "riddim" and signal the shift from the hyperkinetically upbeat ska to the pulsing, throbbing languor of "roots" reggae.

From this point through the '70s, Perry released an astonishing amount of work under his name and numerous, extremely creative pseudonyms: Jah Lion, Pipecock Jakxon, Super Ape, the Upsetter, and his most famous nom de plume, Scratch. Many of the singles released during this period were significant Jamaican (and U.K.) hits, instrumental tracks like "The Return of Django," "Clint Eastwood," and "The Vampire," which cemented Perry's growing reputation as a major force in reggae music. Becoming more and more outrageous in his pronouncements and personal appearance (when it comes to clothing, only Sun Ra could hold a candle to Perry's thrift-store outfits), Perry and his remarkable house band, also named the Upsetters, worked with just about every performer in Jamaica. It was in the early '70s after hearing some of King Tubby's early dub experiments that Perry also became interested in this form of aural manipulation. He quickly released a mind-boggling number of dub releases and eventually, in a fit of creative independence, opened his own studio, Black Ark.

It was at Black Ark that Perry recorded and produced some of the early, seminal Bob Marley tracks. Using the Upsetters rhythm section of bassist Aston "Familyman" Barrett and his drummer brother Carlton Barrett, Perry guided the Wailers through some of their finest moments, recording such powerful songs as "Duppy Conqueror" and "Small Axe."

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Official Jimmy Cliff Musical Journey

Official Jimmy Cliff Musical Journey

It's one of the music industry's great ironies that today, outside of reggae circles, Jimmy Cliff is perhaps better known for his film appearances than his music. Even after a string of hits, the singer never quite managed to break into the mainstream, although he seemed poised for international stardom during the late '60s/early '70s. The singer was born in St. James, Jamaica, on April 1, 1948, with the less prosaic name James Chambers. His talent was evident from childhood, and he began his career appearing at local shows and parish fairs. Feeling ready for the big time at the age of 14, he moved to Kingston and took the surname Cliff to express the heights he intended on reaching. Cliff recorded two unsuccessful singles before he was spotted by Derrick Morgan, who brought him to Leslie Kong. His first single for the budding producer, "Hurricane Hattie," was an instant hit. Unusually, Cliff remained with Kong until the producer's death; most Jamaican artists flit from studio to studio. The singer's loyalty was rewarded, however, by a string of follow-up hits. In the early years, the pair helped set the ska scene alight, both in Jamaica and in Britain, where the singer's singles were picked up by Island Records. "Miss Jamaica," "King of Kings," "One Eyed Jacks," and "Pride and Passion" have since become classics of the original ska era.

By 1964, Cliff's star was so bright that he was selected as one of Jamaica's representatives at the World's Fair. A successful residency in Paris followed, and Island head Chris Blackwell eventually convinced the singer to relocate to Britain. The label itself was in the process of shifting away from Jamaican music and into progressive rock, and thus Cliff began composing songs with an eye to cross over into that market.

It was a risky plan, but ultimately a successful one. In 1968, Cliff released his debut album, the excellent Hard Road, and won the International Song Festival with "Waterfall," a song that became a smash hit in Brazil. He swiftly moved to that country to take advantage of his success, but even greater heights were in the offing. The following year, "Wonderful World, Beautiful People" proved to be his international breakthrough. The single soared to number six on the British charts, and charmed its way into the Top 25 in the States. The song's anti-war follow-up, "Vietnam," proved to be less popular, even if Bob Dylan called it the best protest song he'd ever heard. Regardless, Cliff's new album, 1969's Wonderful World, was critically acclaimed, and saw the singer starting to build a following amongst the AOR crowd.

The Harder They Come [Original Motion Picture Soundtrack]The title track, a cover of Cat Steven's "Wild World," was another smash in 1970, and Desmond Dekker took Cliff's own "You Can Get It if You Really Want" to number two in Britain. And then tragedy struck. Leslie Kong, who had continued to oversee Cliff's career during this entire period, died unexpectedly of a heart attack in August 1971. The singer was at a loss, as he'd grown up under the producer's wing and was abruptly forced to fend for himself. Another Cycle, which arrived later that year, was proof that Cliff was beginning to get his career back on track. One of the last projects Kong had undertaken was overseeing the soundtrack to the movie The Harder They Come. Produced and written by Perry Henzell, this powerful film featured Cliff in the leading role, and upon its release swiftly became an underground classic. The soundtrack, which boasted a clutch of Cliff's own compositions, was an equally seminal record.
UnlimitedThis should have pushed the singer into the mainstream, but Island dropped the ball and turned their attention to Bob Marley instead. The timing was also off in the U.S., where the movie didn't see release until 1975. Cliff left Island's roster and signed to Reprise in the U.S. and EMI in the U.K., but fared no better on either label. 1973's Unlimited, 1974's Struggling Man, and the following year's Brave Warrior were unable to sustain the success of Another Cycle, never mind improve upon it. During this time, Cliff converted to Islam and traveled to Africa in search of his roots, and his newfound religious devotion began to heavily influence his music. In 1975, with the release of The Harder They Come in the U.S., Cliff's second album for the year, Follow My Mind, immediately grabbed America's attention and became his first album to reach into the bottom of the chart. Reprise then decided it was time for a greatest-hits collection, although this would be accomplished via a live album.

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The Official Marcus Mosiah Garvey, Jr Full Story

The Official Marcus Mosiah Garvey, Jr Full Story

Marcus Mosiah Garvey, Jr., ONH (17 August 1887 – 10 June 194, was a Jamaican political leader, publisher, journalist, entrepreneur, and orator who was a proponent of the Pan-Africanism movement, to which end he founded the Universal Negro Improvement Association and African Communities League (UNIA-ACL). He also founded the Black Star Line, a shipping and passenger line which promoted the return of the African diaspora to their ancestral lands.

Prior to the 20th century, leaders such as Prince Hall, Martin Delany, Edward Wilmot Blyden, and Henry Highland Garnet advocated the involvement of the African diaspora in African affairs. Garvey was unique in advancing a Pan-African philosophy to inspire a global mass movement and economic empowerment focusing on Africa known as Garveyism. Promoted by the UNIA as a movement of African Redemption, Garveyism would eventually inspire others, ranging from the Nation of Islam to the Rastafari movement (some sects of which proclaim Garvey as a prophet).

Garveyism intended persons of African ancestry in the diaspora to "redeem" the nations of Africa and for the European colonial powers to leave the continent. His essential ideas about Africa were stated in an editorial in the Negro World entitled "African Fundamentalism", where he wrote: "Our union must know no clime, boundary, or nationality… to let us hold together under all climes and in every country…

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Official Bunny Wailer Musical Journey

Official Bunny Wailer Musical Journey

As a founding member of the Wailers, and the trio's only surviving member, Bunny Wailer, has become a respected elder statesmen of the Jamaican music scene. His vocal and composing contributions to the Wailers had helped seen to that, while over the years Wailer has endeavored to keep the group's memory alive. But beyond the Wailers' legacy, and his own solo career, the artist has also made a significant mark beyond the music scene. Born Neville O'Riley Livingston on April 10, 1947, in Kingston, Jamaica, the young Livingston actually spent his earliest years in the village of Nine Miles in St. Ann's. It was there that he first met Bob Marley, and the two toddlers became fast friends. The boys both came from one parent families; Livingston was being brought up by his father, Marley by his mother. The two lone parents then had much in common, and together moved their families to Kingston in 1952. Around their corner lived singer Joe Higgs, who rose to stardom in the late '50s, both as a solo artist and as one half of the popular vocal duo Higgs & Wilson in partnership with Delroy Wilson. Only in his early twenties, Higgs was keen to help other young talent around the neighborhood, and gave singing lessons in his tenement yard on Third Street. There the two boys met up with another pair of equally keen youngsters, Peter Tosh and Junior Braithwaite. Initially, Marley intended on a solo career, but his hopes were dashed by a failed audition for producer Leslie Kong. The upshot was the four boys now joined forces, along with backing singers Cherry Green and Beverly Kelso, as the Teenagers. The band's name would change several times before they finally settled on the Wailers.

After a successful audition for Coxsone Dodd, their career took off immediately with their first single, the classic "Simmer Down." Early on, all four of the boys contributed songs to the group, which enabled the Wailers to continue without Marley after he left Jamaica in 1966, to seek work for a time in the U.S. By then, the group had been reduced to a trio with the departure of Braithwaite, Green, and Kelso, but the core unit was so talented, that the temporary loss of one member never threatened their ascendancy. Over time, however, Livingston's songwriting contributions to the group had lessened, although when he did turn his hand to composing, the results were never less than scintillating. Marley, of course, was more than happy to pick up the slack. By 1973, the Wailers were untouchable, the biggest reggae band in Jamaica, and on the verge of an international breakthrough. Which is when it all went to hell. Life on the road is tough at the best of times, but the group were used to traveling the tiny distances between Jamaican (mostly Kingston) clubs. Now they were off on their first headlining tour outside the island. The first leg was a three month jaunt across the U.K., followed by an outing to the U.S. Livingston would never make that second leg, he barely made it through the first. Tensions were rising within the Wailers, a situation exasperated by the tour. Livingston had enough, and upon the group's return to Jamaica, he announced that he would not accompany the band to the U.S. His real reasons remain unknowable, the one ofttimes given, that his religious beliefs did not permit the eating of processed food, and what else could one eat on the road, doesn't hold much water.

Burnin'Certainly the Wailers had somehow managed to obtain appropriate foodstuffs during the group's tour opening for Johnny Nash two years earlier. Whatever his true rationale, Livingston wanted off the road, at least outside the island, he intended to continue touring with the band in Jamaica. How this would have actually worked in the long run remains a moot point, before the year was out, Tosh had come to blows with Marley and quit the band. The Wailers were no more. (They would however make two final live appearances at benefit concerts after their official demise.) Livingston now began pursuing a solo career. He launched his own label, Solomonic, with his debut solo single "Searching for Love," in 1973. The next year saw four more join it, "Trod On," "Lifeline," "Arabs Oil Weapon" (which was actually released credited to the Wailers), and "Pass It On" (an alternate version to the one found on the Wailers' Burnin' album). In 1976, these releases were finally joined by Livingston's first solo album, the phenomenal Blackheart Man. The singer was accompanied by Tosh and the Barrett brothers -- the Wailers' own rhythm section, as well as Marley who joins in on a new version of the Wailers old number "Dreamland." Filled with a clutch of crucial songs, the album spun off two seminal singles, "Battering Down Sentence" and "Rasta Man."

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Official Stone Love Sound System 1991

Official Stone Love Sound System 1991


Stone Love is one of the most decorative sound system in Jamaica to date
It made its entry into the dancehall business in the early 1970's - It has been for the past 37 years the sound system with the most dancehall patrons.

Stone Love Sound System
Promoters are of the view that it is the best in the business. The House of Leo was where it played mostly in the 1980's and patrons would boast about going to hear stone love's entertainment.

Owned and operated by Winston "wee-pow" Powell this has been one of his best investment.

Powell was 17 years old when he purchased a component set from a technician. He continued to purchase and add equipment until he made them into a nice little sound.

From the start he had the support of his brother Cecil Powell and Winston Rooms.

Maintaining a sound is hard work and giving the perfect name is important. Wee-pow actually went through three names before finding his true love.

Sir Coxone, Pisces and Stone in love were actually the names he choose before find deciding to go with the current name.

This was mostly an uptown sound and was not introduce to the down town community also known as "Ghetto" until 1983.



This sound plays all genres of music and if you should attend any of its session, you are sure in for a treat.

Love is one of the most sought after sound system locally and internationally, Bookings sometimes are done up to 9 months in advance. " Quiet a demand".

An Anniversary dance is held every December. The sound was formerly sponsored by Guinness but now its under the sponsorship of Magnum. Selectors/DJ's are Wee-pow, G-Fuss, Billy Slaughter, Rory, Nico, Bill Cosby, Jet Lee, Duane Pow, Richie Feelings and Diamond. Its Headquarters are located at 41 Burlington Avenue Kingston.

Every week there are two parties held at the headquarter "Weddy Weddy" and "Uptown Monday" which attract a large turnout of dancehall fans.

The sound system spawned the Father Pow record labels that have released hits by the likes of Bounty Killer, Jigsy King and Tony Curtis, Capleton, Tanya Stephens, and Daddy Screw.

In August 2014 it was announced that Powell would receive the Order of Distinction in October that year.

On 30 October 2014, the movement appeared at the Red bull culture clash, clashing against Boy Better Know, A$AP Mob and Rebel Sound (David Rodigan, Shy FX and Chase & Status), MC Rage.

To celebrate its 42nd anniversary, the sound system toured the US in a series of performances that will culminate in an event on 27 December 2014 at the Red Stripe Oval in Kingston.


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Official Foundation Reggae Sound Clash: Emperor Faith Sound System vs Ar...

Official Foundation Reggae Sound Clash: Emperor Faith Sound System vs Arrows Sound System 1974

Emperor Faith was an early Jamaican sound system from the Red Hills Area of Kingston, Jamaica,[ one of the most popular sounds of the early 1970s. The sound was run by Mikey Faith, who was Bob Marley's accountant. Emperor Faith worked with producers such as Clive Chin. They occupied the corner of Rosemary Lane and Tower Street and often performed in the house of Roy Anthony Johnson.



Arrows the Ambassador (also known as Arrows International) was a Jamaican sound system from the east side of Kingston, Jamaica, with a sometimes violent following. Arrows worked with producers such as Clive Chin.The system was founded by Philip Linton, Sr., who operated it with his brother. The system broke up in the late 1980s, after which Linton founded Arrows Recording Company and later Arrows Studio, on Windward Road, Kingston which became "one of Jamaica's absolute full-service audio facilities."Members included Rupert Willington and Justin Hinds, who joined after breaking up with Winston Rodney.


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Official Reggae Sound Clash: Downbeat Sound System vs Soul Stereo Sound ...

Official Reggae Sound Clash: Downbeat Sound System vs Soul Stereo Sound System

Since the early 70’s, Tony Screw, a.k.a. Downbeat the Ruler, has been entertaining and educating crowds, from Brooklyn to Berlin, with his inimitable blend of stage presence, exclusive dubplates and a second sense for keeping a dance floor packed. Named in honor of Tony Screw’s musical mentor Sir Coxsone Dodd, Downbeat the Ruler Sound has introduced generations of reggae fans to the sounds of Studio One, the blueprint of Jamaican music.

For those who really don't know the history of Down Beat "The Ruler" here is the bio... New York City, home to a sizeable population of Jamaican emigrants, maintained a relatively low profile in the reggae world until the 1980's. Then, the music's transition from roots to dancehall was accompanied by explosive growth in New York's local reggae scene. In the Jamaican tradition, this scene was centered around locally-run sound systems, and of these, the sound now known as Downbeat the Ruler (originally called Downbeat International) has proved to be the most enduring. Founded in the seventies by selector Tony Screw, Downbeat rapidly became not only a regional force, but one that could compete with the strongest sounds from Jamaica. In the "rub-a-dub" era of the 1980's, sound systems were as much a showcase for live performances as they were for records, and Downbeat ensured its success by regularly featuring the best of Jamaica's microphone talent. Brigadier Jerry of Jah Love Muzik was a frequent visitor, and other top artists like Josey Wales, Charlie Chaplin, Super Cat, Shabba Ranks, Lone Ranger, Nicodemus, Early B, Jim Brown, Johnny Osbourne, Ninjaman, Papa San, Lieutenant Stitchie, Professor Nuts, Wolfman, Peter Metro, Ricky Sterio, Colin Roach, Major Mackerel, Michigan and Smiley, and more came to New York to perform for the sound. In addition to hosting these Jamaican performers, Downbeat provided exposure for New York's local artists, some of whom went on to achieve worldwide recognition. The core of the Downbeat crew included Shinehead, Louie Ranking, Sister Carol, and Santa Ranking, and other locals like Mikey Jarrett, Burru Banton, Alton Irie, Reverend Badoo, Verdi Green, Neville Valentine, and Brimstone would occasionally appear as well.

In addition to this large and varied supply of top-ranking live performers, Downbeat was also known to possess a deep box of "dubplates," exclusive recordings cut by artists for Downbeat alone to play. Featuring custom-built lyrics proclaiming Downbeat’s dominance, these dubplates served the sound well in sound clashes (face-offs in which opposing sound systems exchange exclusive tunes and improvised lyrics in attempts to win crowd support). Armed with its fearsome wax and sizeable host of artists, Downbeat successfully clashed not only American competitors like African Love and Papa Moke, but also top sound systems from Jamaica like Silverhawk, Black Scorpio, Volcano, and Stereo One, who would fly to New York to battle the local champion.

The Soul Stereo Sound was created in November 1998 by Fatta & Reeko who will be joined in 2003 by Tarzan…

The first Official Dance they kept was at Divan du Monde Paris in December 1998, since they have being keeping Thousands Shows all around France & Europe…

Many Artists appeared alongside Soul Stereo & came entertain during their set…

Many Reggae Legends did Tour with them, like Johnny Osbourne, Lone Ranger, Carlton Livingston, Luciano, Mickey Général, Junior Kelly, Morgan Heritage, Aidonia, Bitty McClean, Ras Demo, Anthony Red Rose, King Kong, John Wayne, Chronicle, Reggie Stepper, Echo Minott, Jim Brown, U-Roy, Alton Ellis, Dawn Penn, U Brown, Alpheus, Rod Taylor, Earl16, Joseph Cotton, Dennis Alcapone, Daddy Nuttea, Taiwan Mc, Marina P, Guive and many more…

They keep the Old Tradition of Live Shows on Sound System Style. During their career that took them to Jamaica many Times, Soul Stereo have recorded a lot of Dubplates regularly & finally enter the European Sound Clash Business in January 2004 when they won the South Clash2 against Heartical Sound. There, they prooved to the World that the Soul Stereo Sound is ready to take over the Dancehalls…

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They did the Studio One Revue in Garance Festival 2011 with more than 15 Studio One Artists, the Musical War with Downbeat the Ruler from NY at the Garance 2012 & with Killamanjaro from Kingston in Garance 2013…

They created also the Label Soul Vybz Records, released Riddims like the Sunrise, the National Front, the Rise or the GP with Artists like Capleton, Luciano, Barrington Levy, Anthony B, Busy Signal, Demarco, Pressure, Fantan Mojah, Junior Kelly & Chezidek…


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Official Reggae Sound Clash: Killamanjaro vs Jamrock pt1

Official Reggae Sound Clash: Killamanjaro vs Jamrock pt1


Founded in the summer of 1969, Killamanjaro is a Jamaican sound system best known for their clashes and large amount of classic reggae dubplates.

It is owned by Noel "Papa Jaro" Harper and named after Mount Kilimanjaro. The name was changed to "Killamanjaro" after having established a reputation of being a good clash sound.

"Jaro" is notable for being a top sound in both the live-artist era of the 1980s, where it launched the careers of top dancehall artists at the time, such as Early B, Super Cat, Jim Kelly, Burro Banton, Puddy Roots, and Ninjaman, and the 1990s dubplate era, where the sound went on a soundclash killing spree behind selector/mic man Ricky Trooper.

Killamanjaro have played globally, including winning the World Clash twice and touring the United States, Europe and Japan. They were also involved with what many consider the "greatest clash of all-time", King Addies (USA) vs. Killamanjaro (Jamaica).



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Official Toots & The Maytals Musical Journey

Official Toots & The Maytals Musical Journey

While they never achieved the commercial success or cultural impact of the Wailers, Toots & the Maytals were nearly as important in the history of Jamaican music; like the Wailers, the Maytals thrived as ska gave way to rocksteady and then evolved into reggae, they boasted one of the island's finest singers and most charismatic frontmen in the great Toots Hibbert, and they worked with many of the most important producers and sidemen on the island. The Maytals were also the band that most clearly demonstrated the links between Jamaican sounds and American R&B (Hibbert's rich, emotive vocal style was informed by Otis Redding, Wilson Pickett, and other soul icons), and the group's catalogue contains a number of crucial, frequently covered tracks, most notably the classic "Pressure Drop."

Never Grow OldToots & the Maytals were founded by Frederick "Toots" Hibbert, who was born in May Pen, Clarendon Parish, Jamaica in 1945. Hibbert was the youngest in a family of seven children and first took up singing as a member of the church choir. In 1961, Hibbert set out for Kingston and struck up a friendship with Nathaniel "Jerry" Matthias and Henry "Raleigh" Gordon, a pair of singers with a smattering of recording experience. The three formed a vocal group, and in 1962 they were discovered by producer Clement "Coxsone" Dodd, who signed them to his Studio One label. After releasing a debut single, "Hallelujah," under the name the Vikings, the trio became known as the Maytals, and beginning with "Fever," they issued a number of singles that were compiled into the 1963 album Never Grow Old. The Maytals' Studio One sides featured accompaniment by the legendary Jamaican band the Skatalites and were dominated by strong, gospel-influenced close harmonies and Hibbert's soulful lead vocals. After two years with Studio One, the Maytals briefly worked with producer and ska pioneer Prince Buster before signing on with another Jamaican record man of note, Byron Lee, in 1965. The Lee-produced material showed the Maytals were developing a more mature and polished approach, but the group hit a serious roadblock in 1966 when Hibbert was arrested for possession of marijuana; he was convicted and would serve a year behind bars.

The Harder They Come [Original Motion Picture Soundtrack]In 1967, Hibbert was a free man, and he reunited with Matthias and Gordon, renaming the group Toots & the Maytals. Hibbert's stay in prison coincided with ska fading from the musical landscape in Jamaica as the proto-reggae sounds of rocksteady took its place. The new style suited Toots & the Maytals, and they signed with producer Leslie Kong, with whom the group would record some of its biggest hits, including "Pressure Drop," "Sweet and Dandy," "Monkey Man," "54-46 (That's My Number)," and "Do the Reggay," the latter often cited as the song that gave the new style of music its name. When "Monkey Man" became a British hit in 1970, Toots & the Maytals began enjoying success outside Jamaica for the first time, and in 1972, "Pressure Drop" and "Sweet and Dandy" were featured on the soundtrack of the film The Harder They Come, starring Jimmy Cliff. The movie was a smash in Jamaica and became an art-house sensation in the United States, as the film and its soundtrack album helped make American listeners aware of the growing reggae phenomenon.

Funky Kingston In 1971, Leslie Kong died, and Warwick Lyn, Kong's primary recording engineer, took over as the group's producer; Chris Blackwell, whose Island Records label was enjoying success releasing reggae material in the U.K. and U.S. (particularly Bob Marley & the Wailers), also joined their production team, and before long he would sign the group to Island, releasing a revamped version of the album Funky Kingston in the United States in 1975. That same year, Toots & the Maytals made their American concert debut opening a tour for the Who, though their stateside audience gave Toots a cool reception. With the 1976 album Reggae Got Soul, Island hoped to open up Toots & the Maytals to the R&B audience in America, but while the album was well-received, their American following remained little more than a lively cult. Toots & the Maytals focused on pleasing their Jamaican and British fans with their next two albums, 1979's Pass the Pipe and 1980's Just Like That, and they made their way into The Guinness Book of World Records with their next release, Live; recorded during a concert at London's Hammersmith Palais, an early limited-edition release of the LP was available in shops within 24 hours of the performance is captured. By this time, a new generation of fans was discovering the Maytals after the Clash covered "Pressure Drop" and the Specials included "Monkey Man" on their debut album.


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Official King Tubby Musical Journey

Official King Tubby Musical Journey



King Tubby is to this day synonymous with dub. He was a man who had a passion for fiddling with sound equipment, and turned that passion into a new musical genre and a veritable art form. He may have started his career as a repairman, but before he was done, his name was one of the most respected around the world. He worked with virtually every artist in Jamaica, and his name on a remix was like gold, a seal of quality that was never questioned.



King Tubby was born under the more humble name of Osbourne Ruddock in Kingston, Jamaica, on January 28, 1941. Initially, the closest he got to the music scene was via the airwaves, as Ruddock spent his teens working as a radio repairman. In the mid-'50s, Jamaica was undergoing a revolution that saw the audiences move out of the dancehalls, which had once packed them in with live music provided by big bands, and onto the streets. There the sound systems ruled as traveling outfits set themselves up on a sociable street or corner and blasted records to crowds through a speaker. Initially they were small, but the sound systems quickly grew in size and legend; the competition extremely fierce and often violent. Speakers were the usual victims of these rivalries (sometimes along with the DJs, organizers, and even the audience). The people weren't the only ones who were damaged, which is why in the late '50s the operator of a Waterhouse sound system approached Ruddock for help. The repairman fixed that speaker, then another, and another, until he was providing first aid for a variety of sound systems around the city. A born tinkerer, Ruddock inevitably began coming up with ways to improve things as well. He spent years working on other people's sound systems, but by 1968, he was ready to open his own shop: the legendary Tubby's Home Town Hi Fi. The sound he provided there was nigh on perfect, which meant King Tubby himself was now beginning to look around for something new to fiddle with. Producer Duke Reid offered the perfect solution via a job at his Treasure Isle studio as a disc cutter. There, King Tubby began deconstructing and reconstructing music in the same way he had sound systems, but these early efforts were really remixes, an already old skill in Jamaica. The remix began as a "version" B-side, nothing more than an instrumental of a vocal track. Ruddy Redwood, a sound system MC and engineer at Treasure Isle, had taken the next logical step forward, physically remixing records in the rocksteady years to place the focus on the bass. King Tubby took this concept to a whole new level. He started stripping out not only the vocals, but cutting up instrumental parts, dropping them in and out of the tracks, adding new effects and sounds, while also making use of phasing, shifts, and echoes. Many of these experiments were pressed onto acetate dubplates and spun at his sound system. These stripped-down tracks were integral to the rise of the DJs, and King Tubby not only cut exclusive dubplates for his favorites, he also hired the best to perform at his sound system. U-Roy, I-Roy, and Big Youth were just some of the stars who made their mark toasting at Tubby's Hi Fi.



In 1971, King Tubby was ready to take another leap forward and opened his own studio. There, the experiments continued as the remixer turned engineer moved into the area of studio effects. The studio quickly became a favorite for the likes of Augustus Pablo, Lee Perry, Prince Tony Robinson, and Glen Brown. It was the latter man who history acclaims as the first to actually credit a King Tubby mix on record. The aptly titled "Tubby's at the Control" was a remix of "Merry Up" by God Sons (an alias for Tommy McCook and Rad Bryan). Robinson followed suit, releasing "Tubby's in Full Swing," on a song credited to Lloyd Robinson and Carey Johnson.



Dub from the RootsKing Tubby began turning out remixes in prolific numbers. Bunny Lee kept him busy with a constant stream of singles to remix and a batch were bundled up in 1974 as the seminal Dub From the Roots album, and more were featured on the follow-up, King Tubby Meets the Aggrovators at Dub Station. Years later, the British Klik label reissued most of Roots as Shalom Dub, buttressed with bonus tracks. Another U.K. label, Attack, has also released the King Tubby-fueled Dub Jackpot, featuring rarer remixes and dubs of Lee productions. Blood & Fire's If Deejay Was Your Trade: The Dreads at King Tubby's 1974-1977 also boasts Tubby's takes on Lee's productions, this time focusing exclusively on DJs, as did the French label Culture Press' Bunny Lee, King Tubby & the Aggrovators. Tubby also worked with Vivian Jackson after meeting in 1971 when Jackson handed him a rhythm and the remixer went to work.



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Official Desmond Dekker Musical Journey

Official Desmond Dekker Musical Journey



Reggae singer Desmond Dekker was born Desmond Adolphus Dacres in St. Andrew, Jamaica. He grew up in Kingston and attended the Alpha Boys' School.



His father moved him to St. Mary, and then St. Thomas after the death of his mother.



He first worked as a tailor before returning to Kingston to become a welder. Dekker was encouraged by co-workers to persue a singing career due to his constant singing on the job.



Desmond was a rocksteady, ska and reggae singer-songwriter and musician. The Aces, his backing group consisted of Wilson James and Easton Barrington Howard.



According to Wikipedia, before the ascent of Coxsone Dodd of Studio One Bob Marley, Dekker was one of the most popular musicians within Jamaica, and one of the best-known musicians outside it.



Neither and Duke Reid of Tresure Isle were impressed by his audition with them, but was sucessful at Leslie Kong's Beverley's record label.



Reggae singer Desmond Dekker began to record in 1963 with Kong and his first hit was "Honour Your Mother and Father", then "Sinners Come Home" and "Labour for Learning". The next hit "King of Ska", made him one of the island's biggest stars.



Recording music for over 40 years, he had some big hits, but his music changed from being respectable to the rude boy style. His songs did not go to the extremes, although some of his lyrics rested well with the the rude boys. Such songs include the famous "007 (Shanty Town)". This song convey Dekker as a rude boy icon.



He was the first Jamaican artist to have a major hit in the UK and other major Countries. The release of the "Isrealites", topped the UK charts.



The first reggae hit to do so, reaching #1 and reentering the charts that same year of 1968. This song also reached top ten on the US Billboard Hot 100. Dekker continued to record and toured the world, while living in the UK.



His career was a mixture of high and low times. One of his best recording was "You Can Get It If You Really Want", which was written by Jimmy Cliff and was reluctant to record, but was persuaded by Leslie Kong.



By the end of the 70's Dekker was signed with Stiff Records and recorded his album "Black and Dekker", featuring some of his previous hits.



He made the top ten Belgian Chart with the song "Isrealities", and was followed by Jimmy Cliff's "Many Rivers To Cross" and "Book of Rules".



Although his album "Compass Point" did not sell well he continued to tour and performed live.



In 1984, he was declared bankrupt and was reborned to the public, when his song the "Isrealities" was featured in a Maxwell advertisement.



Survived by a son and a daughter, Dekker died of a heart attack on May 26, 2006.



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Official Reggae History: Wally B Supertone Records - Exclusive Interview...

Official Reggae History: Wally B Supertone Records - Exclusive Interview [UNCUT] 2020



Supertone Sound System starts in 1969. We have always been one of the best entertaining and cultural sounds over the decades. We play in the UK and in Europe. We have never failed to entertain the people, that matter and still maintain our high standard.



Then, in August 1984 we decide to go into the record retail business. Today, with this record shop, we are one of the best reggae record outlet in the business. Well known through out the world, especially in the reggae industry for stocking upon LP' s, CD's, Cassettes of all the different artists, style and labels of reggae music.



We have many friends and customers all around the world, and we always try to satisfy our customer needs, so if you can't find your record, cd, etc. today we will always try to find it for you.





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Official Documentary: Trench Town The Forgotten Land [Jamaica]

Official Documentary: Trench Town The Forgotten Land  [Jamaica]



In Bob Marley's infamous Trench Town, we meet the kids who risk their lives every day to get to school. The constant turf wars, battle for control by the local dons and the fact that police are out-gunned, make this a real life tragedy of Hollywood proportions. Through the children's outlooks, aspirations and fears, we enter an otherwise no-go area.





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