HEATWAVE V SUPAROCK 88 PT 2

HEATWAVE VS SUPAROCK 1988

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Youthman Promotion ft Nitty Gritty, Tenor Saw, Sugar Minott 1985

Youthman Promotion ft Nitty Gritty, Tenor Saw, Sugar Minott 1985

Nitty Gritty
Glen Augustus Holness, 1957, August Town, Kingston, Jamaica, West Indies, d. 24 June 1991, Brooklyn, New York, USA. As computerized rhythms became popular in Jamaica, Nitty Gritty rose to fame alongside Tenor Saw, King Kong and Anthony Red Rose. The latter’s vocal delivery was similar in style to Nitty Gritty’s own gospel-tinged wail. The second eldest of 11 children of church-going parents, he trained as an electrician before forming the Soulites. He sang ‘Let The Power Fall On I’ in 1973 with Dennis Brown, George Nooks and the Mighty Diamonds for Joe Gibbs. His first solo recording, ‘Every Man Is A Seller’, recorded for Sugar Minott’s Youth Promotion label, was not released for another 10 years. He recorded several tracks at Channel One after working briefly with Danny Dread on the Zodiac sound system, and he also recorded two tracks for Derrick ‘Bubbles’ Howard of the African Brothers before moving to George Phang in 1984. He joined King Jammy in 1985. Their first release, ‘Hog Inna Minty’, was an instant success. Subsequent releases, ‘Good Morning Teacher’, ‘Sweet Reggae Music’, ‘Run Down The World’ and ‘Gimme Some Of Your Something’, were all significant hits. In 1986, his debut set Turbo Charged was released. He shared the credit with King Kong for Musical Confrontation in the same year. He relocated to New York shortly after this, and his work became more varied as a result. He made singles for Uptempo, Black Solidarity and Skengdon. General Penitentiary, recorded with the Studio One band in 1987, showed Nitty Gritty back on form. In 1989, an album for Blacker Dread was released, including material dating back to his first visit to the UK in 1986, but after this his musical activity declined somewhat. Sadly, he was shot dead at the age of 34 in Brooklyn, New York, outside Super Power record shop.


Tenor Saw
One of the most important figures in early ragga and dancehall, Tenor Saw (born Clive Bright, 1966, Kingston, Jamaica) is best-known for his 1985 hit "Ring the Alarm," a song based on the then-ubiquitous "Stalag 17" rhythm which proved to be one of the biggest -- and catchiest -- hits to come out of reggae's transition into the electronic age. Tenor Saw followed it up with Fever, an LP that -- while it didn't contain his signature song -- proved to be a minor classic of early dancehall, full of simple, catchy melodies, synthesized rhythm-section parts, and Tenor Saw's floating vocals. (The CD reissue of Fever also appended dub versions of most of the original tracks.) With such a promising start to his career, it seemed Tenor Saw would be around for quite a long time; sadly, his life was cut short in August 1988, when he was hit by a car in Houston, TX, and killed. The album Wake the Town was released posthumously in 1992.


Sugar Minott
Lincoln Barrington Minott was born in Kingston, Jamaica, on May 25, 1956. He began his career in the sound systems while still a child, working as a selector for the Sound of Silence Keystone outfit, before launching his own Gathering of Youth sound system just as he hit his teens. There, too, he carried on merely as the selector. However, in 1969, Minott decided to take the mike himself, not as a DJ, but as a singer, one third of the African Brothers roots trio, alongside Tony Tuff and Derrick Howard. The group initially made its way around the amateur talent show circuit, but eventually linked up with the Micron label. African Brothers released a number of singles over the next few years, including "Party Night," "Gimme Gimme African Love," and "A Di System" cut with producer Jah Bunny. The trio also began self-producing (its first attempt was "Torturing"), and then launched its own Ital label. By this time, the trio's Abyssinians influence was becoming prominent, as can be heard on "Righteous Kingdom," "Youths of Today," and "Lead Us Father."

In 1974, African Brothers cut "Mysterious Nature" with producer Rupie Edwards, which brought them to the attention of Studio One. Their debut song for that label, "No Cup No Broke, was also their last, and the trio split to pursue solo careers. (Tony Tuff would continue his cultural career before switching with great success to dancehall.) In 1987, the Uptempo label gathered up the African Brothers singles for the compilation album Collectors Item, crediting it to Sugar Minott & the African Brothers. Coxsone Dodd was keen to keep Minott, whose talents extended beyond vocals and into session work as both a guitarist and drummer. However, the artist had an even more innovative talent tucked away -- an extraordinary ability to compose new lyrics to old songs.

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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 History: Major Mackerel - Exclusive Interview 2018

Official Reggae History: Major Mackerel - Exclusive Interview 2018

The Mackerel (born December 25, 1967) was a popular entertainer during the digital era of Jamaican dancehall music, most famous for his screeching sounds when he performed live or in studio. This style has also been adopted by female DJ Lady Mackerel, now known as Macka Diamond.

Major Mackerel has done his fair share of putting reggae on the map. He is known for hits such as "Pretty Looks Done", "Dutty Bungle", "Hot", "Inna Di Party" among other amazing songs.

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Exclusive Rub A Dub Camp king Stur Gav ft Daddy U Roy, Ninja Man & Charl...

Official Reggae Sound Clash: Bass Odyssey vs Stone Love vs King Jammys v...

Official Reggae Sound Clash: Bass Odyssey vs Stone Love vs King Jammys vs Jamrock

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.

Bass Odyssey is best known outside Jamaica for their clashes. Selectors on Bass Odyssey are Mark, Worm, Squingy, Dameion, Dwayne, Charly Blacks, Lexxy, Keithy, Harry D and Shootah. The sound system features a large amount of Bounty Killer, Buju Banton, Luciano and Garnett Silk dubplates.

Besides playing in Jamaica and the United States, the sound has performed in Europe on several occasions, including David Rodigans birthday bash and the Riddim Clash, a yearly sound clash sponsored by the German reggae magazine Riddim. Bass Odyssey have played and won the UK Cup Clash in 2006 and 2007 also the 2008 title making it three consecutive years.

King Jammy, born Lloyd James in Montego Bay, Jamaica, was the undisputed king of computerized digital reggae music during the '80s, as well as a highly reputable producer of dub and roots reggae throughout his lengthy, monumental career. While he established his credentials during the '70s and early '80s (when he was known as Prince Jammy) through seminal production work for Black Uhuru and Sugar Minott as well as dub albums with genre pioneers King Tubby and Scientist, he singlehandedly changed the face of reggae with his all-electronic production of Wayne Smith's 1985 hit "Under Me Sleng Teng," ushering in the digital dancehall era. Following Tubby's untimely death in 1989, Jammy took the crown, and continued to be one of reggae's most prolific, innovative producers. He worked with dancehall stars such as Beenie Man and Bounty Killer during the '90s and 2000s, while making off-the-wall dub albums, including collaborations with Mad Professor and Dry & Heavy. He remained active into his seventies, working with roots and dancehall artists like Alborosie and U-Roy on 2016's New Sounds of Freedom, and continuing to push the limits of dub with 2017's Waterhouse Dub.
Lloyd James was born in 1947. Interested in little else but the sound system business from a very early age, James began by building amplifiers and repairing electrical equipment from his mother's house in the Waterhouse area of downtown Kingston, and was soon playing live with his own sound system. His prowess earned him a deserved local reputation, and as Prince Jammy he built equipment for many Waterhouse sounds. He was even acknowledged by the legendary King Tubby, another Waterhouse resident, with whom Jammy often worked.

In the early '70s Jammy left Jamaica to work in Canada, where his reputation had preceded him, and he was soon working in live stage shows and employed in various studio activities and sound system work. He stayed for a few years but returned to Kingston and set up his first studio (with extremely limited facilities) at his in-laws' home in Waterhouse. At the same time, Tubby's top engineer, Phillip Smart, left for New York and Jammy joined Tubby's team. It was during his time with Tubby that Jammy met the most influential people in reggae; he acknowledges, in particular, the inspiration provided by Bunny Lee and Yabby You. Jammy was continually expanding his own studio and sound system, and in the late '70s he began to release his own productions, including Black Uhuru's 1977 debut album, coming into contact with many rising dancehall artists such as Half Pint, Junior Reid, and Echo Minott. He also became a prolific producer of dub records, and was noted for his clear sound and creative usage of effects. His early albums include 1978's Jammies in Lion Dub Style (on his own Jammys Records) and 1979's Kamikazi Dub (on Trojan).

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Official Reggae Sound Clash Inner City vs Killamanjaro vs Aries 1989

Official Reggae Sound Clash Inner City vs Killamanjaro vs Aries 1989


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Shaggy & Friends - Save A Life (Official Video)

Shaggy & Friends - Save A Life (Official Video)

Shaggy, Sean Paul, Elephant Man, Gramps, Chris Martin, Tessanne Chin, Etana, Daville, Luciano, Marcia Griffiths, D Major, Freddy Mcgregor & DLYNX unite

On January 3, 2009, the Shaggy and Friends concert was staged, with Shaggy as host, promoter, show producer and headliner, along with performances from a slew of local and international artistes who donated their talent for the success of the concert and to ultimately benefit the childrens hospital. An unprecedented event where cross sponsorship in media, beverages etc (eg. The Gleaner and the Observer, RJR Group and CVM TV etc) all came together as a force to help the cause. It was a magnificent team effort all around that managed to raise approximately US$270,000 which will help supply only a few of the necessary machines that the hospital so desperately requires. However, with only eight (8) weeks of planning for a show that usually would have taken months to organize, its amazing he and his team pulled it off. The Shaggy & Friends Benefit Concert was the first fundraiser of
his recently established Shaggy Make a Difference Foundation. The event is one which he intends to continue as an annual charity event.

Following the show, the foundation took on the task of sourcing the equipment for the Hospital. Working alongside the CEO, SMO and medical staff at Bustamante, we managed to narrow the list down to pieces which we could afford and would be immediately beneficial to the Hospitals functions. Finding a reputable supplier in the United States responsible for furnishing such hospitals as Jackson Memorial, we worked very closely with them and the Hospital in hopes of securing the best and most up to date refurbished and brand new equipment available. After months of research, deliberation and final selection, the equipment was purchased and arrived this August. The Shaggy & Friends Benefit Concert is slated for Saturday, January 2nd 2010.


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Live & Direct @ Buzwakk Studios Brixton ft Bucky Jo, Errol Dunkley, Robe...

Live & Direct @ Buzwakk Studios Brixton ft Bucky Jo, Errol Dunkley, Robert Lee, Christopher Ellis

Errol Dunkley
One of reggae's early performers, Errol Dunkley bridged the roots music of Jamaica, in the 1960s, and London's Brit-reggae scene of the ‘70s. His biggest hit, a remake of John Holt's "OK Fred", which barely missed the UK top ten in 1978, was re-recorded, as a duet with Queen Sister *N*, in 1996.

Eleven years old when he made his recording debut, Dunkley went on to work with many of Jamaica's greatest producers. His debut 1964 recording, "My Queen", was produced by Prince Buster, while Joe Gibbs oversaw the recording of his first hit, You're Gonna Need Me", in 1967. Although he recorded several tunes for Clement "Coxsone" Dodd's Studio One and Bunny Lee, none became a hit. He fared much better with "Three In One", produced by Rupie Edwards, in 1969, and dancehall anthem, "Black Cinderella", produced by Jimmy Rodway, in 1972. His first album, Presenting Errol Dunkley, followed shortly afterwards.

BUCKY JO a young progressive and determined (C.E.O/ PRODUCER/ ARTIST) @ BUZWAKK RECORDS started in the music industry at a tender age of ten singing at church and also adapting skill’s as a player of instruments. From a young age playing Dad's large collection of records from a toddler and loving sound systems, BUCKY JO formed his own sound system (BLACKHAWK INT) at fifteen playing throughout London and the UK with many top sound’s from all over the world. At the age of sixteen he was introduced to the studio field while voicing dub plates at local Recording studio’s and it’s there he went on to be schooled by top engineers working in the UK. BUCKY JO quickly progressed in this field and went on to build his own Recording studio.
In 2008 BUCKY JO teamed up with RENK (Manager @ STRENT2STRENT) on their very progressive production’s (STRENT2STRENT PRODUCTIONS) and also BUCKY JO's own BUZWAKK PRODUCTION, which consists of Dj's, Singer's such as REAL AFRICAN & QUEENY and also Players of instruments. He has also gone on to teaching & Mentoring young and talented artist's around him and worked with many top Artist’s & Musicians in UK and around the world such as: GYPTIAN, JUNIOR CAT, MR EASY, HARRY TODDLER, JUNIOR REID, ERROL DUNKLEY, ROBERT LEE, JAH MASON, JIMMY LONDON, BUNNY LIE LIE, GAPPY

Christopher Ellis was born the youngest male progeny to “The Godfather of Jamaican Rocksteady”, the late ALTON ELLIS. Talented in his own right, the soulful 28 year-old Roots Reggae, R&B crooner has been astounding audiences with his incredibly natural, smooth vocal stylings since the age of 11. The Jamaica Gleaner notes, “His look and sound closely mirror those of his dad, he has beyond a doubt inherited the soulful vocals of his father.”

Born on March 12, 1982 in London , England , CHRISTOPHER ELLIS frequently performed with his legendary father on world tours, leaving lasting impressions on international audiences across the globe, including in the territories of : Jamaica, New York City , Italy , Germany , London, Spain and Canada , to name but a few. But, it wasn’t until the fledgling songbird was about 14 years old that he started to realize how groundbreaking his father’s legacy was, what his father meant to the country of Jamaica and the enormous influence that his father had on the development of the reggae and dancehall music genres.


Christopher Ellis was born the youngest male progeny to “The Godfather of Jamaican Rocksteady”, the late ALTON ELLIS. Talented in his own right, the soulful 28 year-old Roots Reggae, R&B crooner has been astounding audiences with his incredibly natural, smooth vocal stylings since the age of 11. The Jamaica Gleaner notes, “His look and sound closely mirror those of his dad, he has beyond a doubt inherited the soulful vocals of his father.”

CHRISTOPHER ELLIS frequently performed with his legendary father on world tours, leaving lasting impressions on international audiences across the globe, including in the territories of : Jamaica, New York City , Italy , Germany , London, Spain and Canada , to name but a few. But, it wasn’t until the fledgling songbird was about 14 years old that he started to realize how groundbreaking his father’s legacy was, what his father meant to the country of Jamaica and the enormous influence that his father had on the development of the reggae and dancehall music genres.

Robert Lee was also one of the in-demand singers at Jammys because of his characteristically 'out of key' singing style. Here the King Tubby produced 'Tempo' rhythm was rearranged by Jammys and Robert Lee calmly liberate his flow with his aggressive lyrical expression to create another killer song.


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