A Brief History of Reggae Music

A Brief History of Reggae Music narrated by a "south-park-esk" character named Jah. This was a piece of a presentation I gave for a Contemp. Pop. Music, with the help of Dan Hall and Mike Manning

A Brief History Of Ska

This is a short documentary of the 3 waves of ska music.We must know about our lovely music!

Main Street Ska Band - Skaravan

What do you think about this ska band? band from tokyo!~

This is ska band from malaysia!
for download,just clik the link below!

This is sKa tHe bEginniNg


01. This is sKa
02. Inilah sKa
03. Cahaya
04. Do The Ska A-Lyp-So
05. Hidup Ini
06. Johnny Reggae
07. Penindasan Golongan Bawahan
08. Ritma Cahaya
09. Sweet Melody
10. Teman ku
11. Tiada Yang Lain

Reggae - mix

I foundt this video on youtube.This is awesome mix reggae music! Really2 enjoy it babe!
he best reggae mix ever!

Wayne Wade - Lady
Maxi Priest - Wild World
Steve Kekana - Raising My Family
UB40 - Red Red Wine
Inner Circle - Bad Boys
Bill Lovelady - One More Reggae For The Road

Good Reggae Tunes!

there's a new playlist on this radiostations, with great reggaetunes!

www.live365.com/stations/sirgibbs

enjoy!:)

Bob Marley & the Wailers - Catch a Fire 1999 part 6

When Bob Marley, Bunny Livingston (Wailer), and Peter McIntosh (Tosh)entered the studio and began recording Catch a Fire in 1972, they had already established an impressive track record on the island of Jamaica. But when they signed to Chris Blackwell's Island label, their music reached a new level. While reggae music had not been tremendously popular at this time, The Wailers proved their style of reggae was strong enough to carry a full-length album.

UB40 Red Red Wine 1983

UB40's Lead Singer Releases Solo Album Running Free, the new album from UB40's frontman Ali Campbell, is a reggae-soul-pop tour de force. It features The World's Greatest Rhythm Section, Sly Dunbar and Robbie Shakespeare, collaborations with some legendary singers and musicians, several sublime cover versions, and the unique voice and songwriting excellence of Mr Red Red Wine himself.

With so many famous names on the record, and so many great songs, both originals and covers, Running Free, only Ali's second solo album (the follow-up to 1995's Big Love), is bound to dominate the airwaves on its release. There will even be a duet concert next year at the Royal Albert Hall guest-starring the various singers who appeared on the album, while every one of the artists has been filmed for a special 'Making Of' documentary for TV broadcast later this year.

Talking of Red Red Wine, Running Free is the natural successor to UB40's best-loved album, the appropriately titled Labour Of Love, on which Birmingham's finest covered songs by their musical idols in their own inimitable style. On Running Free, Ali goes one better by inviting his musical idols to sing with him.

"They were a joy to work with," says Ali of his team-ups with soul icon Smokey Robinson and reggae giants Aston "Family Man" Barrett and Ernest Ranglin. It's not surprising that Ali is so enthused: "This is a classic party record with great people on it," he says. "And it's a bunch of great songs."

True enough, every track on Running Free has something to offer, whether it's partnerships with some of music's all-time greats or collaborations with no less talented though relative newcomers from all areas of the contemporary music scene such as Mick Hucknall, Bitty McLean, Beverley Knight, Lemar and Katie Melua.

And each track, recorded at Jamaica's Anchor studio and Eden in West London, is filled with melodic delights. There's the version of Johnny Nash's 1968 Top 5 hit, Hold Me Tight, whose infectious skank has already been wowing audiences across Europe. I'll Be Standing By, a cover of the Al Green song, features guest vocals from Lemar and is another superb example of lilting Lovers Rock, the contrast between the sweet vocals and tuff beats, plus the solid rhythms and crystalline production, making this one of many contenders for single release on Running Free.

The title track, a faster-paced original composition, is a duet with UK soul diva Beverley Knight, and the male/female vocals work superbly well together. There are other boy-girl duets on Running Free: Cold Around My Heart is an original tune with a swooping, elegant melody. Don't Try This At Home, another original song, this one featuring Katie Melua, could also easily be lifted off the album for single release, with its infectious rhythm and pretty chord sequence.

Then the men get a chance to shine. On Would I Lie To You, Bitty McLean, a former tape op at UB40's Dep International studios, helps turn the Charles & Eddie song, one of the most-admired latterday soul tunes, into a beautiful slice of lilting reggae.

Hallelujah Time, the Bob Marley song, is no less than a Motown summit meeting, featuring as it does vocal contributions from Smokey Robinson and awaiting a vocal addition from Stevie Wonder . Don't Go, a version of the Drifters song that he's always wanted to cover, features Ali solo he even does the basso profundo "don't go's"! It's another great party tune.

I Want One Of Those is another original composition, and shows Ali soaring gracefully over the melody. There's a version of Smokey's 1981 Number 1 smash, Being With You, this time with Mick Hucknall on the mic. Brave are the men who tackle Stevie's vintage Village Ghetto Land ¬ step forward, Aston "Family Man" Barrett, Ernest Ranglin and Don Yute, with extra toasting from the studio engineer's kids as Ali's social conscience shines through. Finally, Ali's brother Robin joins him for a poignant rendition of the Campbell boys' childhood favourite, Devoted To You by the Everly Brothers.

"There was no compromise," says Ali of Running Free and the sense of freedom he enjoyed during recording. "I was in control. I was as happy as a pig in shit, working with my heroes. In fact, I haven't been this excited about a record since Labour Of Love."

Ali Campbell
Running Free - album release October 1st
Hold Me Tight -- single release September 24th Running Free Track Listing 1. Hold Me Tight
2. I'll Be Standing By feat. Lemar
3. Running Free feat. Beverley Knight
4. Cold Around My Heart
5. Don't Try This At Home feat. Katie Melua
6. Would I Lie To You feat. Bitty McLean
7. Hallelujah Time feat. Smokey Robinson & Stevie Wonder
8. Don't Go
9. I Want One Of Those
10. Being With You feat. Mick Hucknall
11. Village Ghetto Land feat. Aston Barrett, Ernest Ranglin & Don Yute
12. Devoted To You feat. Robin Campbell
http://www.alicampbell.net/

Rudeboy

Rudeboy, rudie, rudi or rudy is a common term for juvenile delinquents and criminals in the 1960s in Jamaica.

Rude boys were associated with the poorer sections of Kingston, where ska and rocksteady were the popular form of music. They dressed in the latest fashions at dancehalls and on the streets. Many of these rudies started wearing sharp suits, thin ties, and pork pie or Trilby hats; inspired by United States gangster movies, jazz musicians and soul music artists. In the 1960s, disaffected unemployed Jamaican youths sometimes found temporary employment from sound system operators to disrupt competitors' dances (leading to the term dancehall crasher). This — and other street violence — became an integral part of rudeboy lifestyle, and gave rise to the political gang violence seen in Jamaica today.

As the Jamaican diaspora grew in the United Kingdom in during the 1960s, Jamaican youth or "rude boy" music and fashion became a strong influence on the skinhead subculture. During the 1970s 2 Tone ska revival in England, the terms rude boy and rude girl were often used to describe fans of that genre, and this revised use of the term continued with the third wave ska movement. In these two contexts, the term rude boy was long separated from the term's tough, gangster past. In the United Kingdom in the 2000s, the terms rude boy and rude girl have come to refer mainly to Afro-Caribbean youths who follow the latest trends and fashions in African American or Afro-Caribbean culture, such as those associated with the hip hop culture. The terms are often used in a derogatory sense to describe youths from poorer backgrounds who attempt to emulate such fashions.

How You Want to be a Rude Boy?

How You Want to be a Rude Boy?

Noah Wildman examines the history of Jamaican music, and the rude boy culture of yesterday and today.

What is a rude boy? What is a rude girl? What does 'to be rude' mean? Today, it simply means that you're a dedicated member of the ska scene. If you have a good ska collection, if you dress up in a way that indicates that you like ska, if your style and taste makes it obvious to others that you're in with the ska, you are therefore 'rude' by the definition of ska crowd.

Where did the term come from? I recently spoke to Tommy McCook, the founder, leader and tenor saxophonist of the original ska band, the Skatalites. When I asked him about rude boys coming to Skatalites in the early Sixties, McCook said: "Actually in our tenure as the Skatalites, in the time of the ska music, we did not have any violence. We didn't have any rude boys, so to speak. The violence came around 1966. I remember when rock steady just came in, in late '65. Then in '66 violence broke out wickedly across the island, so much so that we had to have a curfew in Western and Eastern Kingston. So, that's when the rude boy thing came out."

The truth is that 'rudeness' and the original 'rude boys' had absolutely nothing to do with ska. The rude boy came AFTER ska music, during the time of rock steady! Rude boys were the name given to a subculture of young street corner hoodlums, gangsters and other unemployables. In emigrating to England, the rude boys helped spread Jamaican music to the working-class skinheads, another youth subculture. When the 2Tone sound of ska (the second wave of ska in the late Seventies) made it into the popular media, youth subculture changed with it. Today , a new American subculture revolves around the images of the 'rude boy' and 'skinhead.'

The rude boy was not the first subculture of Jamaica, but it was the first youth subculture. After independence in the early Sixties (which gave birth to the nationalist 'ska' music), over-population was putting extreme demands on the basics of life---housing, work and food. The response to these conditions was the start of a creation of a new subculture, unofficially called scufflers. Scuffling was just scrounging to get by, by any means necessary. This often meant involvement in the underground economy. Pimping and prostitution, begging and stealing became the unofficial economic activities in the shanty towns of West Kingston.

The squatter camps of Trenchtown and Back O'Wall existed on the fringe of the city since the Thirties, but population pressures enlarged them and a hurricane in 1951 allowed the squatters to capture nearby government land that was cleared for re-housing. People lived in packing crates, fish barrels, cardboard boxes and polystyrene packing pieces. Fire hydrants and open-air pit latrines supplied basic amenities. Living in these parts was a social stigma that guaranteed unemployment. Diseases of overcrowding---tuberculosis and typhoid---remained in the camps even though public health improvement in the 1930s put these in check elsewhere on the island.

By the Sixties, the economic boom of the 1950s was receding, the Trenchtown poor were no better off than before. Independence may have given a sense of optimism to the population. But a lack of any major change lead to riots and protest movements by the end of the decade. Within this decade, the sub-culture of the scuffling rude boy emerged. These rude boys defined their own personal style. These youths, boys from fourteen to twenty-five years, carried German ratchet knives and handguns. They came from all over West Kingston. With deteriorating living conditions, these rude boys were, above all, angry.

They wore sharp 3-button tonic suits and "stingy brim," or pork-pie hats, in imitation of the upper-classes. The gangster image and sunglasses at all hours gave them a facade of 'cool,' a new and distinctly modern value. If you lived in Trenchtown and scuffled for a living, dressing in this manner would certainly bring attention from neighbors, and suspicion from the upper classes.

According to the Jamaican census of 1960, over one-third of the entire population were unemployed and looking for their first job, about 10,000 people. On the other hand, 70% were under the age of 21, from where the rude boys came.

First at the blues dances of the Fifties and later at the outdoor sound systems of the Sixties, it was the rude boys who would draw the knives and guns first, smash bottles for no particular reason, and cause fear when the pressure would heat up at the events. They would inspire a whole sub-genre within ska music---rude boy songs---which would either condone or condemn them.

One ska artist, Prince Buster, celebrated the rude boy for their "rough n' toughness." In the lyric to the early-Sixties ska song, "Too Hot," he sings:

  Rude boys never give up their guns,
No one can tell them what to do.
Pound for pound they say they're ruder than you.
Get out insurance and make up your will
If you want to fight them.

Not all artists universally endorsed the sub-culture, as in the Ruler's 1966 song, "Don't Be A Rudeboy:"

  I don't want to be no rude boy,
I just want to be a good boy.
Why don't you change your way rude boy,
Try to be a good boy.
Because if you don't change your way,
You're going to be killed by mistake someday.
And when you grow to be a man,
You don't spend your days in the camps,
And when you walk down the street,
People will respect the man they meet.

Either way, the rude boys were a strong presence on the scene in Jamaica, and a popular image that followed the music. You can translate music, style and attitude from country to country, you can even translate class-standing nationally, but for the very specific economic, political and social forces that made the rude boys truly rude, these things can not be copied.

The 2Tone (ska revival) movement in the Seventies saw kids both black and white dressing sharp and calling themselves rude boys, as one way to identify with the true Jamaican roots of bands like the Specials, the Selecter and Madness. Today, kids are dressing 'rude' not to give props to the Jamaican roots, but to '2Tone' each other.

I got a big chuckle when I read a magazine piece that started off something like, "Rude boys: them no loot; them no shoot; what the fuck do they do?" They're just ska fans, man, chill. Forgive them their lack of knowing the roots. Teach the young rude boy the way, and today's ska music will benefit.