Музыка Для Королей - стиль реггей! Reggae!

HORACE ANDY Natty Dread A Weh She Want
(2006 18-track CD album previously unreleased on CD] featuring his collaboration with producer Tapper Zukie who together produced one of the greatest Roots collections of all time and includes 8 Bonus Tracks augmenting the original selection).
released 19 June 2006

1. Ragga Muffet
2. Natty Dread A Weh She Want
3. If I Wasn't A Man
4. Love Me Baby
5. Treasure Of Love
6. Jah Rainbow
7. Freedom
8. This Must Be Hell
9. Run Babylon
10. Brutality
11. Easy Come Easy Go - Bonus Track
12. Ragga Muffet - 12" Mix - Bonus Track
13. Natty Dread A Weh She Want - 12" Mix - Bonus Track
14. If I Wasn't A Man - 12" Mix - Bonus Track
15. This Must Be Hell - 12" Mix - Bonus Track
16. Stop Your Brutality - 12" Mix - Bonus Track
17. Got To Be Sure (Of A Woman's Love) - 12" Mix - Bonus Track
18. Close To Me - Bonus Track

Down in Front
My Irie Lung
A Radiohead reggae tribute bewilders, while the real thing just beguiles

by Rob Harvilla
June 20th, 2006 12:36 PM

"Wonderful audience!" Menny More exclaims. Adapting the old adage that you dress for the job you want, not the job you have, he bounds around Brooklyn's Metrotech Commons outdoor stage in a brilliant all-white ensemble, while slight but steady rainfall collects in the tarp over his head and laps at the edges of monitors wrapped in garbage bags. His wonderful audience: A polite cadre of Thursday lunchbreakers huddled beetlesque beneath their black umbrellas. Appreciative, but a bit soggy and dour. So as the Easy Star All-Stars shift from spacey dub reggae to an ebullient ska bounce, he lets 'er rip with a song of cheerful optimism.
"Shell smashed!" Menny More beams. "Juices flowing! Wings clipped! Legs are going! Don't get sentimental! It always ends up drivel! One day! I am going to grow wings! A chemical reaction! Hysterical and useless! Hysterical!" And after a rousing chorus of "Let down and hanging around/Crushed like a bug in the ground," he gives way to a rousing trombone solo. Hysterical.

The All-Stars—a loose collective of NYC reggae big shots clustered around the indie label Easy Star—unleashed a massive crossover coup with 2003's Dub Side of the Moon, a track-by-track Caribbean hijacking of Pink Floyd. Result: Unprecedented sales (for indie or reggae, and certainly both), coupled with jovially grudging critical praise. "The majority of reviews said, 'This is something I wanted to hate—this is something that sounded really stupid, sounded really hokey,' " admits Easy Star co-founder–executive producer Eric Smith a week later at an East Village cafe. "We pretty much won everyone over with that, and particularly Pink Floyd fans."

Thus, late August brings us a sequel: Radiodread, a full reggae rebirth of Radiohead's OK Computer. Though Menny did a fabulous job with "Let Down" live, on record it's recast by none other than Toots & the Maytals—the original record's prettiest moment transformed into the ambitious remake's most delightfully jarring reinvention.

This is a tough sell, and the Easy Star brain trust knows it. "There is a lot of suffering and pain in reggae," Smith notes. "It's a struggler's, it's a sufferer's music. The casual fan sees reggae as a summer, spring-break-type music, and that's really far from what it's about. We like some of the darker areas of reggae, and one of our concerns with combining those two was, we'd have a really, really dark album on our hands."

And they do. Both Smith and All-Stars producer-arranger-guitarist Michael Goldwasser concur that the Dark/Dub Side experiment meshed oddly but beautifully: few chord changes, universal messages, and a few easy spots to drop a quick laugh. (Bong hits replace the cash register dings of "Money," for example.) But after a solid half-year tangling with Computer's avalanche of chords, time-signature stunts, and macabre imagery, Goldwasser sounds triumphant but still a bit bewildered. "I have to say that many of the guest artists who sang on the album came to me saying, 'Michael, what do these lyrics mean?' " he says over the phone. "They'd never heard anything like this before. They were really bugged out, but they all really got into it, once they could grasp it."

Indeed, Kirsty Rock gamely salutes "the unborn chicken voices in my head" and "kicking squealing Gucci little piggy" from the mighty "Paranoid Android," before hyperventilating horns trace the paths carved by the original's atonal guitar anti-solos. And from Horace Andy's relieved car wreck survival tale "Airbag" to Morgan Heritage preaching voodoo economics on "Electioneering," Radiodread's vocalists make opaque cries of technological dread seem warm and almost human. (As for "Fitter Happier," none other than Menny More translates Computer's self-indulgent monotone robot monologue into Jamaican patois—the phrase "a pig in a cage on antibiotics" rolls almost joyfully off his tongue.) At the rainy Brooklyn gig, the All-Stars also unveiled a re-spun "Climbing Up the Walls," OK Computer's most claustrophobic dirge, and made it seem like a perfectly reasonable reggae ballad to hear in a Brooklyn park on your lunch hour.

Ultimately Smith hopes the Easy Star versions transcend karaoke and stand on their own: "When they work the best, you're saying, 'Wow, this is a reggae song,' " he explains. That doesn't happen too often on Radiodread, but its most awkward culture clash moments are its most admirable and fascinating. Regardless, they've already converted one fan: Thom Yorke. The Radiohead frontman heard the Toots version of "Let Down" backstage at a recent Philadelphia gig and announced its excellence onstage later that night. To a presumably wonderful audience.



--------------------------------------------------------------------------------

Smith and Goldwasser scored free tickets to Radiohead's two-night stand last week at Madison Square Garden Theater, where Yorke did not repeat his praise. But Wednesday night's show reasserted why his band deserved such an outlandish tribute: They deployed the rad guitar freakouts of their/our youth (let's see the Easy Star guys write horn charts for "My Iron Lung") while turning insular, arty studio jams like Kid A's title track into arena-stomping triumphs just as visceral. "He's a bouncy little fella, ain't he?" noted my companion as Thom did his jittery jitterbug dance routines—Menny More would be proud.

New tunes made up a full third of the set, and like college freshmen fleeing a 4 a.m. dorm fire, they emerged in various states of undress and confusion, some fully formed, some barely realized. At least a few will emerge on record sanded down to a bone-chilling beauty, and one's already there: "Videotape," Thom pounding out a hypnotic piano loop that pulls guitars both lilting and hostile into its ascending orbit, a stirring ambient drone that slowly morphs into a full-blown rock anthem. Outstanding. It would make a terrible reggae song.



--------------------------------------------------------------------------------

rharvilla@villagevoice.com

http://villagevoice.com/music/0625,harvilla,73588,22.html

WAILER PULLS OUT OF REGGAE SHOW OVER PERRY SPAT

A much-anticipated reggae supershow in New York, which was to feature long-time rivals BUNNY WAILER and LEE 'SCRATCH' PERRY, has been postponed after the legends' dislike for each other came to a head. Wailer has reportedly pulled out of The Nice Revolution concert in Hunter Mountain on Sunday (25JUN06) after discovering Perry was on the bill. Sources tell Billboard.com that Wailer was not told his arch-foe would be on the bill until after he signed on to perform. It would have marked the first time the pair were on the same stage in decades. The two reggae greats have fought for years over Perry's sale of early Wailers recordings, which he produced. In a statement from show promoters Legendary Records, co-founder D'NISCIO BROOKS says, "We regret that Bunny chose to break his contract. We have nothing but the greatest respect for him as an artist and the musical history which he has helped to create. "We had no intention of slighting Bunny by the addition of Lee 'Scratch' Perry. We sought to recapture the spirit of unity and love which was the legacy of BOB MARLEY + THE WAILERS and sincerely hoped that he would be a part of this goal." Meanwhile, Wailer still plans to tour with former bandmate Marley's sons STEPHEN and ZIGGY on the upcoming Roots, Rock, Reggae Festival tour in America, which starts in August (06).
22/06/2006 03:58

http://www.contactmusic.com/new/xmlfeed.nsf/mndwebpages/wailer%20pulls%20out%20of%20reg...

Emboldened by Reggae, Jamaican Writers Bust Out

Colin Channer, left, and Marlon James at Hue-Man in Harlem.

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By DINITIA SMITH
Published: June 27, 2006
The story comes at you with hurricane force and an irresistible title, "How to Beat a Child in the Right and Proper Way." It is the creation of the Jamaican writer Colin Channer, who is also the editor of "Iron Balloons," an anthology of a new kind of Jamaican writing published by Akashic Books in May. On a recent Saturday, Mr. Channer read a section of the story at Hue-Man Bookstore & Cafe in Harlem.

"The Right and Proper Way" is a big breath of a piece, 54 pages long, and something of a tour de force, spoken in various registers of Jamaican English by Ciselyn, a 68-year-old Jamaican woman who works at Macy's and is giving a talk in a speech class she is taking.

One day in Jamaica in 1972, Ciselyn relates, she went to pick up her daughter, Karen, from school and Karen wasn't there. When Karen finally appeared, she was very rude.

At Hue-Man, Mr. Channer read Ciselyn's child-rearing philosophy as told to her speech class: "Sink them down again below the grass, and stand up over them like you have a machete in your hand. If they push up they head again before they time, don't hesitate. Take one swing and chop it off." "The Right and Proper Way" reaches a terrible and inevitable conclusion. "I paint her body red," Ciselyn cries. "I look at her and say, 'You think you is a woman in this place?' Whap. 'You think you is woman, eh?' Spa-DIE. 'What you have to hide?' Whap" And so on. And on.

"After that, let me tell you," Ciselyn says, "she see everything my way." And what's more, she tells us, Karen is now a senior vice president at J. P. Morgan Chase.

Mr. Channer's story, and the others that he has collected in "Iron Balloons," is raw and uncensored, unlike much of the Jamaican writing of previous generations. The writers in "Iron Balloons" take the multiple identities of the Jamaican diaspora for granted; some of them were not even born there. Above all they are influenced by the rhythms, the colloquialism and the self-confidence of reggae music.

Many of the stories in "Iron Balloons" were nurtured at the Calabash International Literary Festival in Jamaica, which was founded by Mr. Channer and the Ghanaian-Jamaican writer Kwame Dawes, who are still its artistic director and programmer. The festival's mission, said Mr. Channer, 42, is nothing less than "to transform literary art in the Caribbean."

It sponsors an annual gathering of writers every May — this year 5,000 attended — and holds workshops throughout the year. Its goal, Mr. Channer said, is to nurture a new generation of writers who are beyond post-colonialism, and who are riding on the power of the reggae movement.

" 'Iron Balloons' is a rim shot heard around the world," Mr. Channer wrote in an e-mail message after the reading. "The Jamaicans are coming."

Reggae "gave permission to tell narratives that use the Jamaican vernacular voice not as comedy," Mr. Channer said in an interview, adding, "Reggae combines spirituality, sensuality, comedy and politics without apology."

Mr. Channer, an assistant professor of English at the City University of New York's Medgar Evers College in Brooklyn, is author of the novels "Waiting in Vain" (1998) and "Satisfying My Soul" (2002) and the story collection "Passing Through"(2004); all are published by One World/Ballantine.

The literature of Jamaica, which has a population of about 2.5 million and a relatively small publishing industry, has existed as much off the island as on it until now. Traditionally Jamaican literature has been grounded in folklore and rural byways, or has consisted of chronicles of colonialism and of the island's violent political conflicts. Frequently the subject was migration, as in Andrew Salkey's novel "Escape to an Autumn Pavement" or in "The Last Enchantment," a novel by Neville Dawes, Kwame Dawes's father.

"Caribbean literature, especially in the case of Jamaica, in its first incarnation in the 20th century, was reacting to colonialism," Kwame Dawes said. Along with the independence movement came, "an effort to forge a cultural identity," he added. He cited the works of Roger Mais, John Hearne, Orlando Patterson and his own father, all of whom went abroad for their education. "They were acutely aware they were taken away from their own landscape," Mr. Dawes said. "They were trying to recapture the Jamaican experience."

At the same time "the unstated assumption is that people did not have a voice," he added.

Then in 1962 came Jamaica's independence and the rising popularity of reggae. Because of reggae, Mr. Channer said, "I can write with a confidence that reggae music has turned the ears of the world to Jamaica." And as the island has become more urban and American culture has made inroads into Jamaica's traditional culture, the country's literature has become more multinational.

Emboldened by Reggae, Jamaican Writers Bust Out

Published: June 27, 2006
(Page 2 of 2)

The 11 stories in "Iron Balloons," some by writers who have taken part in the Calabash workshops, have universal themes, stitched into a Jamaican fabric. The characters slip between patois and regular English. And the stories have none of the genteel Victorianism that has hung over Jamaican fiction in the past.

In Sharon Leach's story "Sugar," for instance, a maid in a tourist hotel has a three-way sexual encounter with a white tourist and his wife. In "A Little Embarrassment for the Sake of Our Lord," Konrad Kirlew, a doctor in Kingston, confronts an often-unspoken reality of Jamaican society, the fathering of children out of wedlock. Geoffrey Philp's "I Want to Disturb My Neighbor" takes the culture clash between reggae and the traditional religiosity of the island head on.

At Hue-Man in Harlem, Marlon James, another contributor to the anthology, read his story "The Last Jamaican Lion." It was about a former Jamaican prime minister, gone senile and haunted by his crimes and the ghosts of his political opponents. The story is about the failure of Jamaican politics after independence, to realize the ideal of revolution as embodied in the figure of Che Guevara.

"What you want, eh?" cries the old man when he is confronted by a grinning ghost from his past. "Is pound of flesh you come for?"

Mr. James said of the story: "It's going back to the past and stripping all the nostalgia from it. We tend to mythologize things from the past, that it was idyllic, that our political leaders were heroes."

Mr. James credits the Calabash workshop with getting his career started by encouraging him to try to publish his first novel, "John Crow's Devil," after it had received "70 to 80 rejections" he said. It was eventually bought by Akashic (www.akashicbooks.com), an independent Brooklyn publisher, which specializes in literary and noir fiction and writers of the Caribbean. The book, published in 2005, was a finalist for the Commonwealth Writers' Prize and the Los Angeles Times Book Prize.

Jamaica is a small place, and to succeed, Jamaican writers must break through to a wider English-language market. Mr. Channer was thinking about how tough that is, he said, when he tried to come up with a title for his new anthology.

He looked to Jamaican music, to its origins in the slum backyards of the island, its brutal competitiveness, the sheer difficulty of producing it in an impoverished place. The term "Iron Balloons," Mr. Channer said, is a music term that refers to performers who "don't seem to be able to 'bust out.' "

"They've been denied opportunities or they've been offered them and haven't seized them," he said. "You keep pricking them, but they don't bust out. We took this name as a point of pride."

http://www.nytimes.com/2006/06/27/books/27jama.html?pagewanted=2

Привет Всем!

Недавно решил собрать сборник "Реггей Всех Времен и Народов",
состоящий из реггей песен в исполнении НЕ реггей артистов.
Например, тот же "Шериф" Клэптона, "How Many People" и "Simple As That" Маккартни
Пока накопилось около 200 песен, но знаю, что многое пропустил.
Прошу помощи, пишите , кто что вспомнит.
Заодно можем пообщаться по поводу этих версий.

Lyudi, a black-u-huru - horoshaya gruppa? Stoit skachivat'? A to ya tol'ko Marley slyshal...

nazim***
Ты выложи свой список, и туда можно добавлять.Кое- что есть и в этой теме.А вообще-то таких песен наберётся многие тыщи:-).

to papan
Здесь только сотня, потому что не стал выкладывать спорные песни, в которых сомневаюсь я или мои знакомые. Хотел бы увидеть здесь подтверждение от других. Например, есть мнение, что Uriah Heep - Lady in black – реггей!
И еще, Заппа точно не все, рассматривался определенный период.

10cc - Don't Ask
10cc - Dreadlock Holiday
10cc - Feel The Love - Oomachasaooma
10cc - How'm I ever gonna say gonna g
10cc - Les Nouveaux Riches
10cc - Notell Hotel
10cc - Overdraft In Overdrive
10cc - Take This Woman
10cc - The Sacro-Iliac
10cc - Welcome to paradise
10cc - Yvonne's The One
Andy Gibb - Fool For A Night
Antonella Ruggiero - mister mandarino, banda osiris
Art Company - Suzana
Barclay James Harvest - Back To The Wall
Barry Gibb - It Makes No Difference
Bryan Ferry - (What A) Wonderful World
Bryan Ferry - Dance Away
Bryan Ferry - N.Y.C.
Bryan Ferry - New Town
Bryan Ferry - River Of Salt
Bryan Ferry - Slave To Love
Bryan Ferry - Valentine
Can - Don't Say No
David Bowie - Ashes To Ashes
David Bowie – Days
David Bowie - Don't Look Down
David Bowie - Tonight
David Bowie - Yassassin
ELO - The Lights Go Down
Elton John - Between Seventeen And Twenty
Elton John - Cold Highway
Elton John - Jamaica Jerk-Off
Fleetwood Mac - Forever
Fleetwood Mac - Oh Diane
Fool's Garden - Lemon Tree
Frank Zappa - Stick Together
Frank Zappa - Fine Girl
Frank Zappa - Goblin Girl
Frank Zappa - Now You See It - Now You Don't
Frank Zappa - Panty Rap
Frank Zappa - Stick Together
Frank Zappa - Mudd Club
Goran Bregovic - Gypsy Reggae
Iggi Pop - In The Death Car
Joe Cocker - JEALOUS GUY
Joe Cocker - THE JEALOUS KING
Joe Cocker - THE MAN IN ME
Jon Anderson - Surrender
Kate Bush - Kite
Kate Bush - The Dreaming
Kate Bush - Them Heavy People
Kate Bush - Them Heavy People
Linda McCartney - Mister Sandman
Linda McCartney - Seaside Woman
Linda McCartney - Sugartime
Linda McCartney - Wide Prairie
Manfred Mann - Happenstance Instrumental
Michael Bolton - Said I loved You But I Lied (Reggae Ver)
Mick Jagger - Sweet Thing
Morcheeba - End Theme
Morcheeba - Friction
Opus - Life Is Life
Ozric Tentacles - Iscence
Paul McCartney - Check My Machine
Paul McCartney - Darkroom
Paul McCartney - Good Times Coming-Feel The Sun
Paul McCartney - How Many People
Paul McCartney - Rough Ride
Paul McCartney - Rudolph The Red-Nosed Reggae
Paul McCartney - Simple As That
Phil Collins - We're Sons Of Our Fathers
Phill Lynott - Solo in Soho
Planet P Project - Why Me?
Robin Gibb - Robot
Rod Stewart - Attractive Female Wanted
Rod Stewart - So Soon We Change
Rod Stewart - Alright For An Hour
Roger Hodgson - London
Rolling Stones - Cherry oh Baby
Rolling Stones - Feel On Baby
Rolling Stones - Heaven
Rolling Stones - Hey, Negrita
Rolling Stones - Send It To Me
Rolling Stones - Too Rude
Rolling Stones - You Don't Have To Mean It
Smokie - it's your life
Smokie - It's your life
Smokie - No More Letters
Smokie - Oh Carol
Smokie - Petesey's Song
Smokie - Respect
Smokie - Strangers In Paradise
Stranglers - Peaches
Suzi Quatro - Four Letter Words
Suzi Quatro - The Race Is On
Suzi Quatro - Woman Cry
Tracy Chapman - She's Got Her Ticket
Traveling Wilburys - Last Night
Travis - Good Feeling
Yello - Fat Cry
Yes - Saving My Heart

FZ - That's Not Really A Reggae

2nazim:

>Например, есть мнение, что Uriah Heep - Lady
>in black – реггей!
Точно не регги.

Что-то мне 10СС Sacro-Iliac реггей ну никак не напоминает:)))

Smokie - Oh Carol
Mick Jagger - Sweet Thing
Rolling Stones - Hey, Negrita
Fool's Garden - Lemon Tree

и много чего ещё не регги
.

to papan
согласен со всем перечисленным, кроме Fool's Garden
чем "Лемонарий"-то не подешел?
"и много чего ещё не регги" - а подробнее?

to Pacific
а как насчет You've Gor A Cold, Memories, Code Of Silence из репертуара тех же 10cc

to all
а как Вы для себя определяете - реггей или нет? И еще - от себя добавления будут?

to afigegoznaet
Black Uhuru - группа хорошая, только сразу после Марли может показаться однообразной
попробуй сначала с сольников Michael Rose, они есть на сборнике Reggae part 4 (Фонотека в кармане)

Вот Led Zeppelin "D'yer Mak'er" подошла бы вполне, а также соответствующий кавер Шерил Кроу.
Но с Traveling Wilburys, Иххи Попом и нек-рыми др. яп воздержался.

А доводилось ли вам читывать ямайско-русский словарь?
http://odnapl1yazyk.narod.ru/2jamaica.htm

2nazim:

>to papan
>согласен со всем перечисленным, кроме Fool's Garden
>чем "Лемонарий"-то не подешел?
>"и много чего ещё не регги" - а подробнее?

Знаешь,есть песни стилизованные под регги.В отличие от Primal Scream я к таковым могу отнести Traveling Wilburys - Last Night.
Есть песни с элементами регги,напр. David Bowie - Ashes To Ashes .
И есть песни,не имеющие никакого отношения регги,как напр. Fool's Garden - Lemon Tree.Не регги также:
Bryan Ferry - Slave To Love
Bryan Ferry - N.Y.C.
David Bowie – Days
ELO - The Lights Go Down
Joe Cocker - JEALOUS GUY
Joe Cocker - Jealous Kind

2nazim:

>to Pacific
>а как насчет You've Gor A Cold, Memories, Code
>Of Silence из репертуара тех же 10cc

Это вроде из поздних не очень мною любимых альбомов. Надо освежить в памяти, послушать. Опосля отпишу.

Ищу одну песенку: вдруг у коллекционеров регги/даба отыщется?
Carl Patterson-Psalm Of Dub
Ежели есть и не трудно выслать - черкните в личное сообщение!
Заранее спасибо!

2nazim

Добавление к списку:

Sade Immigrant
Sade Slave Song
Sade Every Word

А ещё песня Lovers Rock... в стиле lovers rock (подробнее о нём в теме ранее)

Blondie Tide Is High

Что касается Заппы у него есть потрясающая концертная реггей-версия Whippin' Post...

и уже называвшаяся здесь Larks' Tongues In Aspic, Part II King Crimson