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Category: reggae

Tuesday, 11/9/10

Gregory Isaacs, July 15, 1951-October 25, 2010

[Gregory Isaacs’ friend and former manager Don Hewitt] said of Keith Richards of the Rolling Stones that when he was introduced to Mr. Isaacs, “he carried on like he’d met Jesus.”

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In a 2001 interview, Mr. Isaacs reflected on his legacy. “Look at me as a man who performed works musically,” he said. “Who uplift people who need upliftment, mentally, physically, economically—all forms. Who told the people to live with love ’cause only love can conquer war, and to understand themselves so that they can understand others.”

—Rob Kenner, New York Times (obituary, 10/25/10)

Live, London (Brixton Academy), 1984

“Number One”

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“Night Nurse”

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“Border”

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“Sad Mood Tonight” (1994)

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“Kingston 14” (Made in Jamaica, 2006)

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Want more? Here: “Gregory Isaacs Memorial Broadcast,” Eastern Standard Time, WKCR-FM (broadcasting from Columbia University), 11/6/10.

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lagniappe

reading table

No battle that can be won is worth fighting.

T Bone Burnett (blog comment, 10/9/10)

Saturday, 10/9/10

If you ain’t losing, you’re winning.

That’s something I’ve always believed, as a criminal defense lawyer, and it’s something that may be going through the mind of this guy, whose federal trial in Tampa, on drug charges, recently ended in a hung jury and mistrial.

He’d been charged with trying to buy five kilos of cocaine. The defense, apparently, was that he’d been set up (or, in legal parlance, entrapped). A retrial is expected soon.

Bob Marley’s son, Stephen, appearing as a character witness, called him the “voice of the people”—the “voice of Jamaica.”

Buju Banton

“Wanna Be Loved” (1995)

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“Bondage” (2010)

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radio interview (from jail), 3/17/10

Saturday, 9/25/10

I’ll take some of whatever he’s having.

Hylton The Whistler Brown, Reggae Radio Show, 2007

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lagniappe

radio gems: sounds of Jamaica (reggae, rocksteady, ska)

Eastern Standard Time
WKCR-FM
New York (Columbia University)

Saturday, 6-10 a.m. (EST)
(archived shows)

Friday, 9/24/10

Career plan for the next life, if tap-dancer and rubboard player don’t pan out: reggae bassist.

Lee “Scratch” Perry, Junior Murvin, The Heptones, The Congos, The Upsetters, “Play On Mr. Music,” live, Jamaica (Roots Rock Reggae [1977]),

Friday, 12/11/09

Wednesday’s featured artist, Curtis Mayfield, was so popular and influential among Jamaican musicians, including the early Wailers (back when the group included Peter Tosh and Bunny Wailer [before becoming “Bob Marley and . . .”]), that one British deejay dubbed him the “Godfather of Reggae.”

The Wailers (with Bob Marley, Peter Tosh, and Bunny Wailer), “Keep On Moving” (1972)

Want more? Here (don’t miss “Soul Shakedown Party”).

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The Impressions (with Curtis Mayfield), “I Gotta Keep on Moving” (1964)

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reading table

It’s odd to think back on the time—not so long ago—when there were distinct stylistic trends, such as “this season’s colour” or “abstract expressionism” or “psychedelic music.” It seems we don’t think like that any more. There are just too many styles around, and they keep mutating too fast to assume that kind of dominance.

As an example, go into a record shop and look at the dividers used to separate music into different categories. There used to be about a dozen: rock, jazz, ethnic, and so on. Now there are almost as many dividers as there are records, and they keep proliferating.

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We’re living in a stylistic tropics. There’s a whole generation of people able to access almost anything from almost anywhere, and they don’t have the same localised stylistic sense that my generation grew up with. It’s all alive, all “now,” in an ever-expanding present, be it Hildegard of Bingen or a Bollywood soundtrack. The idea that something is uncool because it’s old or foreign has left the collective consciousness.

I think this is good news. As people become increasingly comfortable with drawing their culture from a rich range of sources—cherry-picking whatever makes sense to them—it becomes more natural to do the same thing with their social, political and other cultural ideas. The sharing of art is a precursor to the sharing of other human experiences, for what is pleasurable in art becomes thinkable in life.—Brian Eno, 11/18/09

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MEMO

To: Elliott Carter

From: MCOTD

Happy 101st Birthday!

Thursday, 12/10/09

This is the kind of guy who gives discographers fits. According to Wikipedia: “On recordings, he is credited under many different names, including: Noel ‘Scully’ Simms, Noel ‘Skully’ Simms, Scully, Scully Simms, Skullie, Skully, Skully Simms, Zoot ‘Scully’ Simms, Mikey Spratt, Scollie, Zoot Sims, and Skitter.” Even in the course of a single book, Lloyd Bradley’s This Is Reggae Music, his name’s spelled two different ways (Skully, Scully).

Noel “Skully” Simms, live (recording session, Horace Andy, Livin’ It Up [2007])

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mail

Tuesday I emailed Oran Etkin, letting him know that his music was being featured here, and he sent this response: “That is great. Thank you. Are you the writer of the blog? I like the melodic rhythm and rhythmic melody idea.” In a later message, he added: “Great stuff. I’m checking out the 3-part Lacy interview. Checked out the Malian drumming and gospel sax stuff too.”