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deep in the nooz Presents
((( WAKE THE TOWN! )))*
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DLC News Headlines Archive*
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DLC IndustryWatch®: deep in the nooz* presents WAKE THE TOWN!*
DLC News Headlines Archive*
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"Those Who Doubt And Underestimate The Lion Don't Know Any Better"
--Daddy Lion Chandell 2003
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PC & 10 FT.: Committed To Each Other
By Daddy Lion Chandell
Music & Entertainment Analyst and Historian/
Founder, Chairman, and CEO: DLC IndustryWatch®
--9/5/2003, NEW YORK: As if the two northeastern New England-based groups Pressure Cooker and 10 Ft. Ganja Plant (a now rather well-renowned extension of John Brown's Body) (two out of now three of which I referred to as the "Superheroes Of Reggae Music") didn't have enough in common already. Here in 2003, they both have new albums, both of which are their third, and they both have collaborations on each other's albums from each other's head element.
First off, Cambridge, Mass.-based Reggae/Ska band Pressure Cooker released their latest treat, the beautifully arranged Committed with a simple-looking, yet equally-striking album cover. Committed, released in May 2003, takes us on a slightly different trip than their previous two entries, Pressure Cooker and I Want To Tell You [Reely Pressing, 1999 and 2001, respectively], which both had songs that could evoke long-lasting memories of good times past. While Committed has more Reggae than Ska by far, some of the sounds on these new songs are blended in with a few extra elements, like "Queen Of The Scene" for instance, written by good friend, tenor saxophonist Michael O'Connor, who wrote half the album this time around. "Queen Of The Scene" takes on a bit of Rock N' Roll influence with a hint of biker club vibration. In another instance, Pressure Cooker experiments with Jazz with another O'Connor composition "Cookin' In The Kitchen".
On a more interesting note, someone wanted some "bangarang" (so to speak) and they got it when legendary trumpeteer Lester Sterling of The Skatalites came along to appear on this album. Sterling, probably best known for his collaborations with partner Stranger Cole, most especially "Bangarang" [Unity-Pama (UK), 1968], is featured on two O'Connor compositions--"Juicebox", a Ska instrumental, and the opening tune, "Originators", a sweetly-arranged smoothly-horned Reggae tribute to the pioneers of Ska and Reggae that began it all (including The Skatalites, of course). "Originators" was co-written by Pressure Cooker's raspy-voiced crooner, Craig Akira Fujita, and also it is his only composition on this album (which is almost a customary pattern on PC albums).
Why this album could also be called Committed, aside from being the name of one of five tunes written by keyboardist and chief songwriter Zack Brines, could be the ironic twist that all of the tracks were unfinished works in progress since the I Want To Tell You sessions, spanning from 2000 to 2002. And who better to bring in to mix the album than with former John Brown's Body engineer/dubmaster and reigning head of 10 Ft. Ganja Plant, Craig Welsch.
Welsch took the reins of mixing all tracks except for "Cookin' In The Kitchen" and "Nuthin' Better", a Brines composition. Interestingly enough, the only track that needed no touching up was a track Craig Welsch was already there for in August 2000, an instrumental scorcher composed by drummer Jeffrey Eckman called "Melody Ruler" that brings us back to the days of real rocking Reggae with just a hint of deejay vibes (in this case, by "Kreg" Fujita as he affectionately known).
Speaking of scorchers, the HR! Traklist* (or the strongest songs) on this new album include "Melody Ruler", "Criminal" (sure to be a well-to-do protest anthem for the natural herbalist), "Committed (A Crime)" (too beautiful for words), "Divided Mind", and finally the climax tune of the album (which Pressure Cooker always has toward the end of every album), the mindbending Michael O'Connor composition "NKA (No Known Address)", which for its subject matter would make Phil Collins' classic "Another Day In Paradise (Think Twice)" [Virgin (UK)/Atlantic-WEA (international), 1992] obsolete. The arrangement of this masterpiece, including the angelic harmony voice tracks by Theresa LaGamma, add to the pure, inescapable adrenaline this song effortlessly sends to the heart. Need we even mention Craig Fujita's raw emotion and impeccable performance where he just gives it his ALL, and I do mean his ALL! This song should seek various awards in the near future, including one of ours.
As far as the climax tracks on the past two albums are concerned, their debut album took us for a lonely trip on "Hope St." and their second album let us know we were "Never Alone"
As Pressure Cooker has lost some members throughout the last four years, expect some new ones pretty soon to be official, including Sarah Privler on trombone and Patrick Wroge on alto saxophone, who are featured on almost the entire album.
For those who wish to enjoy "Criminal" and "Committed (A Crime)" a little more, check for the corresponding dubs at the end of the album. The disappointing part is that "Crim-I-Dub" was pretty much cut by a good 1/3 of its entirety. For more information on Committed or to purchase it, go to http://www.pressurecooker.net.
Now, unlike Pressure Cooker's two year pattern for albums, Ithaca's own 10 Ft. Ganja Plant tends to have something happen every year. After celebrating their second album, Hillside Airstrip (now considered a classic) released both on CD in late 2001 and on vinyl (the first ever full-length on album on vinyl for I-Town Records) in late 2002, they have finally released their long-awaited follow-up, Midnight Landing, their third album, and their second joint project with New York City-based ROIR (Reachout International Records).
Both 10 Ft. and ROIR have been on a bit of a promotional move for this new project, what with the corresponding cut-off album cover title stickers they have going around town.
The formula remains the same for the most part: sweet bass-heavy original Roots vibration, mostly instrumentals with at least 3 vocal tracks, and 10 tracks--one for each foot.
It would seem that they have added an extra foot to this project, a visible foot to make 11 tracks on Midnight Landing, unlike the hidden extra foot on the last album.
While Craig Fujita of Pressure Cooker is no stranger to I-Town music projects, considering his vocal contribution to Adonai & I, a special project spearheaded by former JBB bassist David Gould, he has now joined with 10 Ft. to provide vocals for two songs, "Ganja Plane Rider" and a sweet gem entitled "Let The Music Hit", which incidentally is the subject of that extra foot, a dub version called "Sweet Country", the second to last tune on the album.
While sticking to most of their roots sound-wise, changes have been made after all in John Brown's Body, therefore giving just a SLIGHT difference in sound you've known for the last 3 years. These notable changes can be seen on the the highly-percussive "Midnight Landing" and the experimental and rather quiet "Chanting Nyahbinghi" (which interestingly has mostly strings in its base and virtually no African drumming on the track).
And while we would hear more from either JBB co-lead vocalist Kevin Kinsella or 10 Ft. resident lead vocalist Ras Jay Champay, we only get to hear Jay on one track this time around with "Mercy (Down On Me)" and while you thought you would find Kevin Kinsella's voice on this project, we are introduced to Rob Bellnier of upcoming group New Paradigm (whose voice is THE SPITTING IMAGE of Kevin's) on the bouncy, fast-paced "Shine Dub", which means that (aside from more unreleased material set for just the right time) we should expect more fire from JBB from their next album. Interestingly enough, you shouldn't be surprised if some of THESE were unreleased from the last couple years, as I can hear hints of David Gould in some the tracks.
The HR! Traklist* on Midnight Landing include "Kneel At The Feet", "Let The Music Hit/Sweet Country", "Mercy" "Shine Dub", "Wide Open", and "Righteous Dub", which definitely sounds like its been hidden in archives.
While any word on vinyl release for this one is unknown (as well as the some of the other players on this project), Midnight Landing is out now in stores everywhere.
Blackwell's "Mango": Back in the "Palm" of his hand
By Daddy Lion Chandell
Music & Entertainment Analyst and Historian/
Founder, Chairman, and CEO: DLC IndustryWatch®
--8/22/2003, NEW YORK: Many never thought the day would come when many of Island Records' original titles would be released at all on CD, much less period. Since back in 1999 when Universal Music purchased PolyGram (Island's parent company since 1984), many of those original titles have been ignored. And you would probably think that Island Def Jam Music Group and Universal Music Enterprises had their hands on the situation with as much of the original catalog as they are putting out. All imprints (most of which have never been activated again for the time being) and all affiliated labels and staff of Island (for the most part) have went with Blackwell after Island was acquired as part of PolyGram, including the otherwise long-gone Mango label. But Island's founder, Chris Blackwell took it a step further, by doing the inevitably unexpected - planting the seeds of Mango's resurrection and bringing it to his new company, Palm Pictures.
Palm, which was instantly formed in late 1998 during the Universal/PolyGram merger, as part of what was then the former Islandlife. The structure would take an interesting turn when he decided not too far into the forming of Palm to acquire the mysterious Massachusetts-based Rykodisc in late 1999 and put the companies together in a union that would be known as RykoPalm.
As much effort was put into it, in comparison to most deals, pacts, and mergers, the RykoPalm merger would end up as a sort of one-night stand, for lack of better classification. Ryko and Palm broke the union unexpectedly in early 2002 for reasons unknown; Ryko went back to normal operation in Massachusetts and Palm just barely moved locations in New York not too long before the breakup.
Back to the matter of history at hand, since Island the label (which was distributed by EMI in the UK for a little while into the early 1970s and launched a chapter of the label in the U.S. to be distributed through EMI's Capitol subsidiary from 1970 to 1973) was branching out more into other forms of music (particularly Progressive Rock) as well as Reggae, Mango was launched in 1972 as a strictly-Reggae sublabel of Island solely in America.
It was of amicable interest in many ways. In a relationship that almost equated Blackwell's partnership in the UK with Lee Gopthal to form Trojan Records (post-Duke Reid era, that is), Mango was formed (originally) in a partnership with Denny Cordell, the founder of Shelter Records, another distributed label of Capitol, whose claim to fame in Reggae was its 1970 release of Bob Marley & The Wailers' "Duppy Conqueror" in which the label read "DOPPY Conqueror".
Mango's first release was The Harder They Come: Original Soundtrack and given a Capitol Records-associated matrix number when it was released in 1973, and it is still the most recognized album release with the Mango name and original vinyl label design of a mango tree (without the fruit) adorning a shack shown foregrounding a light greenish sky.
Interestingly enough, if you pay careful attention to the album cover of The Harder They Come: Original Soundtrack, you will notice that same shack embedded in the artwork, clearly hinting that this was the first Mango release.
The Harder They Come, which was remastered and re-released in 2001, was just recently packaged into a Deluxe Edition and released in August 2003 by Universal Music.
The Mango label was almost never issued in the UK until the mid-1980s (more than likely the same 1984 when PolyGram bought Island and new imprints popped up to show Island's ecclecticity).
By the early 1980s, however, Island had already gathered a few World Beat acts together for Mango, the growth becoming more prevalent by around 1986. And by 1992, Mango had become a full-fledged Reggae Dancehall and World Beat music label.
That all would change however in 1994 since more attention Mango-wise would be directed toward World Beat, most especially with such stars in the genre as Angelique Kidjo and Baaba Maal. Incidentally a year later, Blackwell had devised a new imprint called Island Jamaica to pick up where Mango left off in the Reggae department.
From 1996 to 1999, while World Beat was still being released by Island, the Mango label had barely existed what with newer, greater structures surfacing within the company, plus more affiliates, distributed labels, and situations around them to come.
Now in mid-2003, the Mango label has been reactivated (so to speak) by way of a reissue campaign from the Palm record label has ALMOST NEVER put out any Reggae as of yet, one of their very few releases of the sort being the Third World Cop: Original Soundtrack from 2000 (the movie is a must to see).
In around July, Palm (which just recently changed their logo again) reissued 10 albums from the original Island/Mango catalogue, 3 of which are World Beat and 7 of which are Reggae, a couple of which were never even released originally on the Mango label anywhere in the world.
The seven albums at hand include three Black Uhuru releases--Chill Out [Mango-Island~PolyGram, 1983], Anthem [Island~Atco-Atlantic-WEA, 1984], and surprisingly enough, their compilation from Mango's Reggae Greats series [Mango-Island~PolyGram, 1985], not to mention yet another trip into the more modern sounds of what I call Caribfusion (unconventional sounds of Reggae, Dancehall, Hip-Hop, often times mixed with New York lounge vibrations) with Sly & Robbie's rare project Language Barrier, unsurprisingly produced by Bill Laswell [Island~Atco-Atlantic-WEA, 1986].
The three other releases are gems for real that are an ultimate must for your collection, including Burning Spear's landmark debut Island album, Marcus Garvey [Island, 1975], Party Time from The Heptones [Black Ark-Upsetter (JA)/Island (US/UK), 1976], the group's second album for Island and one of the label's rarest, hardest-to-find, well-treasured 1970s albums in history on both LP and CD! Listening to the album, it doesn't take a "genius" (so to speak) to figure out that the production came from Lee "Scratch" Perry around the inception of his Black Ark studio and label.
Lastly, the most interesting release from the Palm/Mango reissue campaign would have to be the legendary, well-renowned, and probably most talked-about Reggae soundtrack in recent days, the Rockers: The Original Soundtrack From The Film [Mango-Island (US), 1979]. This was the most surprising of all the releases since Universal Music (who owns Island, of course) had already released their own remastered version in late 2001.
The motion to make this otherwise conflicting move (which should mean nothing at all to Chris Blackwell OR Universal Music for that matter) should prove to be a useful one since, although the Universal version features updated and crisp artwork in the insert and the Palm version sticks to the original Island album cover ambiance, the Universal remastered version was released in extremely limited quantities and in very few chains, much less regular mom-and-pop stores. The Palm release will give more of the necessary availability to the consumer who seeks to rock on with this Reggae collector's required item.
On a final note, regarding the World Beat re-releases, while they did release two from Baaba Maal and one from Salif Keita, Mango's absolute supreme release of the genre, the unforgettable original soundtrack of the 1996 Island Pictures-financed documentary Mandela should have been included in the campaign. Let's just hope that good wheels are turning in the near future for the powers that be, so that we'll see it released again.
TUFF GONG NEWS:
Ghetto Youths return to Lightyear
to "Educate" the "Fools"
By Daddy Lion Chandell
Music & Entertainment Analyst and Historian/
Founder, Chairman, and CEO: DLC IndustryWatch®
A Special deep in the nooz Dancehall* Report
for ((( WAKE THE TOWN! )))
--8/22/2003, 9/3/2003, NEW YORK: In November 2002, we brought you the story1 regarding Ghetto Youths International (a section of Tuff Gong) joining forces with Brooklyn-based distributor Music Ambassador to release product, particularly vinyl single releases in the U.S. The end result of this relationship became the seven first U.S. domestic 45 RPM single releases for Ghetto Youths as a label, the first six of which were tracks on the "Educated Fools, Part 2" Dancehall rhythm by Stephen and Damian "Jr. Gong" Marley--Damian, of course, being the artist behind both parts 1 (with Capleton) and 2 (with Bounty Killer).
Well, now it's more official than ever, in more ways than one. First of all, Stephen and Damian have decided to put the 11 tracks (in the exact A-and-B-side order of which they were released), plus the rhythm track, into one major-market package, all together in an unexpected but brilliant move.
Second of all, even more unexpectedly, probably in a move by Tuff Gong US liaison and notorious behind-the-scenes Reggae music coordinator Cristy Barber (who also works projects for VP Records), Tuff Gong has decided to release Educated Fools as a rhythm album (the first of its kind for Tuff Gong ever) through their former distributor of four years, Lightyear Entertainment, of which they were once housed together from 1996 to 2000, when then President Cassandra Goins (who is now at Putumayo World Music) decided to leave the company. Thus, Educated Fools is the first Tuff Gong project released through Lightyear in three years. The time couldn't be any better to make an official release on this, especially in noting the special amount of press being given to an Asian youth named Sli, the first known Hip-Hop act ever on Tuff Gong who shocked us with his full Hip-Hop entry "You In Trouble". You can introduce yourself to Sli (so to speak) by way of his ads for Bob Marley Footwear, featured in various magazines right now. Interestingly enough, Mr. Mojo* & Laza**, two of the children from the heavily musical Morgan Clan (including Morgan Heritage* and LMS**, both groups born of their father who started it all, Denroy Morgan--one of the only, if not the first, Jamaican artist to have a major American Disco/R&B hit), have added a bit of Hip-Hop lyrical flavor with sweet harmonics on their track, "Put On Da Pressure".
Although news on Educated Fools is just getting around, the album, which is out now on both CD and Vinyl, was set to have been released May 20, 2003. The album cover was (unsurprisingly) designed by current VP Records art director Deron D. James. Plus, this album marks the official return of the landmark Tuff Gong International/Lightyear Entertainment distribution relationship, a bond which proved to be the strongest of all the labels distributed through the reputable entertainment company and independent label distribution system. Adding on to the good news, Julian Marley is said to be finally releasing his second album--his first album in nearly six years--tentatively titled A Time And Place and set for release in October 2003.
Lightyear Entertainment is distributed under WEA Distribution (a unit of the Warner Music Group), and has been since approximately 1996 after leaving their previous deal with BMG Distribution.
1 [DLC News Archives: WAKE THE TOWN!, November 16, 2002--"Ghetto Youths unite with 'Ambassadors'"]
TUFF GONG NEWS:
The Wailers: Live For The Third Time... For The Third Time
By Daddy Lion Chandell
Music & Entertainment Analyst and Historian/
Founder, Chairman, and CEO: DLC IndustryWatch®
--8/17/2003, LOS ANGELES/NEW YORK: It would seem that in some form or fashion that the people at Universal Music Enterprises, the former staff at Universal during its glorious, memorable period as PolyGram and the original Chris Blackwell-run Island Records had this one planned for 11 years.
As of July 2003, it is now official: Live At The Roxy is now the third official live album released from Bob Marley & The Wailers, and the process was a rather slow but steady one full of clues when you think about it.
We were first inadverently introduced to this album in 1992 when the unforgettable Songs Of Freedom Box Set was released. We heard the live recording of "No Woman, No Cry" from a 1976 performance at Los Angeles' legendary Roxy Theatre on West Hollywood's Sunset Strip, during the tour of their then-current album, Rastaman Vibration.
Ten years later in 2002, we were blazed with the entire performance on the second disc of the Rastaman Vibration: Deluxe Edition... or so we thought.
In July 2003, an amazing surprise revelation--Chronicles, the special unit of Universal Music Enterprises has released the live Roxy performance on its own as a 2-CD set, making it the first new Island Records Bob Marley catalogue release in 9 years (not including Bill Laswell's ambient dub project, Dreams Of Freedom [Tuff Gong + Axiom~Island-Universal Music (PolyGram), 1997]). First, we have the original performance on the first disc, and then, an unexpected special Encore of one tune by itself and an extensive 24-minute, back-and-forth three-song medley including "War" (which was then a new song), "No More Trouble", and "Get Up, Stand Up" on the second disc.
If you listen to the performance carefully and notice that all The Wailers at hand are not exactly performing with the usual high energy they always come with at live performances, you must understand that The Roxy was, especially then in 1976, quite reserved at the time and couldn't exactly hold a performance any more extremities than allowed (in other words, The Wailers were about bringing forth peace, rather than "disturbing the peace").
Live At The Roxy is a Tuff Gong~Island + Chronicles release out right now.
What the Trojan does RAS have to do with it?
By Daddy Lion Chandell
Music & Entertainment Analyst and Historian/
Founder, Chairman, and CEO: DLC IndustryWatch®
--5/30/2003, NEW YORK: Since UK-based mini-conglomerate Sanctuary Records Group bought Trojan Records in June 2001, it has proved itself well-determined and well-successful to raise the standards of the 36-year old company as, in the words of Trojan Chief Consultant Laurence Cane-Honeysett, "The World's Greatest Reggae Label". And while it's safe to say that Sanctuary is serious about Reggae music, Trojan being their most recognized brand perhaps aside from the Metal-is and Castle Music labels, no one exactly thought they were THIS serious about Reggae music.
Sanctuary Records now has TWO Reggae imprints under its wings, since it has secretly acquired Washington, D.C.-based Reggae label Real Authentic Sound or RAS Records for short, in February 2003. Currently there is no word as to all the reasons why Sanctuary sought interest in the 24-year-old company, well-known for its roster of prominent Reggae artists including Culture, J.C. Lodge, Black Uhuru, and most especially Israel Vibration, whose 1995 release On The Rock remains unforgettable as one of the first recordings to propel the return of the Roots Reggae movement at a time when there was almost nothing but Dancehall to define any category of Caribbean music, much less Reggae.
However, as with all acquisitions, there is almost always some connection between the companies. The connection between Sanctuary and RAS (founded by Gary "Doctor Dread" Himelfarb) would probably be the altered 1995 release of the 1970 album Double Barrel by Dave & Ansel Collins, which was purely a property of Trojan Records, as well as producer Winston Riley and his label Techniques Records, the originator of the recording.
Nonetheless, this new acquisition expands Sanctuary Records Group further with now two Reggae labels/brands strictly devoted to Reggae music, an unheard-of precedence in the major corporate music industry anywhere in the world, especially America. Needless to say, Himelfarb, the manager and occasional co-producer of Israel Vibration, will remain in charge of the company.
RAS Records has just recently released Israel Vibration's latest album Fighting Soldiers, as the third of the first four releases under the Sanctuary pact. The first two releases are two Bunny Wailer compilations--Retrospective: Classic Tracks From A Legendary Artist, and Crucial! Roots Classics, both previously released respectively in 1994 and 1995 by New Jersey-based Shanachie Entertainment, with which Bunny had a long-standing relationship with releasing material in the U.S. from his company, Solomonic Records, including the occasional Solomonic/Tuff Gong label. In fact, RAS Records acquired Shanachie's entire Bunny Wailer catalogue of ten album releases. Release dates on the other eight albums are currently unknown, but are bound to occur before the end of the year, more than likely to coincide with a Bunny Wailer reissue focus campaign devised by RAS.
DLC IndustryWatch® will update this story as it develops further.
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Various Artists:
Reggae Bible: Book Of Drifters
Old & New Testament
[Moodisc Records International,
1989/2000 (CD remaster)]
Highly Recommended!
The trademark rhythm of Harry Mudie's unconventional Reggae label is captured in this collection with now 13 selections, including two recent selections from Tinga Stewart and Sister Spice.
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Lord Mudie and The 13 Drifter Commandments
By Daddy Lion Chandell
Music & Entertainment Analyst and Historian/
Founder, Chairman, and CEO: DLC IndustryWatch®
(This story was updated and revised on
August 17, 2003 for WAKE THE TOWN!*)
--5/27/2003, NEW YORK: While rhythm albums are no stranger to us who listen to and know Jamaican music, they seem to be somewhat all the rave more today than ever before.
Unfortunately, while many rhythm albums currently in release are more so of a Dancehall nature, 7-inch singles have more of a balance between Dancehall and Original Reggae rhythms.
And then, a legendary and yet highly-underrated producer named Harry Mudie said "let there be riddim" and arose before the masses with two tablets of scriptures from the Book Of "Drifters". Thus was born a Moodisc Records International non-stop rhythm album with a brilliant concept and presentation utilizing its trademark rhythm "The Drifter" by way of the 1968 hit classic by Dennis Walks, which was released in England both under Trojan Records and on the Crab imprint of Pama Records between 1969 and 1970. Originally released in 1989, the ever-vigilant Moodisc (who, as of today, fully owns ALL of their recordings to date, after periods of time in litigation with such as licensors as Trojan Records) has christened this compilation with the name Reggae Bible: Book Of Drifters-Old & New Testament, now with eight versions of the original 1968 rendition played by The Rhythm Rulers as the "Old Testament" (two more than the six on the original release), and a sweet rocking upgraded 1978 revision of the rhythm in the "New Testament".
While most of the tunes are alternate dub mixes, some with special solo interpretations, including "Drifting With A Flute" with former Skatalites leader Tommy McCook, "Rocking The Drifter" with Gladstone "Gladdy" Anderson, and "Car Pound Drifter" with Bongo Herman, the vocals on this collection are bound to cause sweet vibrations in your system and your soul. Legendary toaster I-Roy appear twice on this collection, with a toast over the original "Drifter", plus on a brand new tune from upcoming artist Sister Spice called "Jah Jah Is The Ruler". Notable boss tracks include Dennis Walks' own 1978 remake of "The Drifter" (titled "Drifter In Fly Style"), a sweet deejay cut by Big Joe called "Drifters On The Ball" (also over the '78 rhythm), and the sweet lovelorn story "She Cry Tears" by Tinga Stewart, sung over the beautifully-orchestrated violin-laced "Mudie's Mood" version of the 1968 "The Drifter" rhythm, which is also featured by itself.
Surprisingly enough, you may want to watch out for a sweet Horace Andy track called "Mr. Talkative", recorded and released in 1992 on the original "Drifter" rhythm, which was NOT inscribed in the "Reggae Bible", so to speak. Originally released on 12", which would otherwise be a collector's item, it is otherwise occasionally available on 7" 45 RPM single.
Reggae Bible: Book Of Drifters - Old & New Testament is Highly Recommended!, is available in most stores that specialize in Reggae, and stays satisfying even for a mere 35 minutes. Vinyl aficionados and DJs/selectors can find many of the tracks on this collection on 7-inch singles, just as well. As far as those who do or shall own the CD, all you need to do is start the album all over again and drift on.
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There's a "Stubborn" little Easy Star
on the "Dub Side Of The Moon"
By Daddy Lion Chandell
Music & Entertainment Analyst and Historian/
Founder, Chairman, and CEO:
DLC IndustryWatch®
--2/12/2003: NEW YORK--The news was brought to the attention of DLC IndustryWatch® since the middle of 2002 that there would be a complete Reggae reconstruction project of Pink Floyd's 1973 classic Rock album, Dark Side Of The Moon [Harvest-Capitol-EMI, 1973]. The time has finally come, but there is a whole lot more to it than just meets the eye... or the hearsay, for that matter.
Born from an idea four years ago that took place in the mind of Lem Oppenheimer, one of the four founders of New York-based Easy Star Records, which will become six years old this year, and utilizing two years of time to complete this ultimate project, Dub Side Of The Moon was finished by the Summer, and officially complete by December 2002. The release date, however, was planned in advance for February 2003--namely, Tuesday the 18th, and has, thus far, gone through extensive promotion. Consider this article an extra bit of promotion with a little twist to it.
While Dub Side Of The Moon, credited albumwise to the Easy Star All-Stars, is an album of heavy Roots/original Reggae, there is one track played in Jungle (otherwise known to most as Drum & Bass). It features appearances from Corey Harris, Kirsty Rock of the group TruMystic, Dr. Israel, Sluggy Ranks whose latest recording activity is at a high peak, including new tracks for the Digital English and Ethiopian Taste labels to name a few, and The Meditations, the legendary group, best known for "A Woman Is Like A Shadow" [Well Charge-Channel One, 1975 approximately], who have an album with Easy Star-- 1999's Ghetto Knowledge.
Notable and Highly Recommended! reconstructions on Dub Side include the trademark tunes from the original Dark Side--"Money" is a scorcher from Gary "Nesta" Pine, current lead singer of The Wailers alongside dancehall deejay Dollarman in an excellent collaboration, and also "Time" by Corey Harris and veteran toaster Ranking Joe, one of the only deejays left to provide traditional toasting vibes. So much so this time around, that Joe lets off rapid-fire like never before in an excited charge of raw electricity. The same can be said for "Step It Pon The Rastaman Scene", his version of "Any Colour You Like". Amongst new material from his still-running-strong Ranking Joe International label, Ranking Joe has a current anthology out now entitled Armagideon Time in collaboration with and distributed by Jammyland Distribution.
Speaking of the latter, what makes this project more interesting is the surprising all-star behind-the-scenes cast. The musicians of the Easy Star All-Stars include Easy Star's head producer and co-founder Michael Goldwasser a.k.a. Michael G., as well as the team of The Victor Brothers -- Victor "Ticklah" Axelrod & Victor Rice, who was worked extensively with Easy Star since the beginning as well as with Stubborn Records, a Ska and Reggae label founded in New York in 1993 by Jeff "King Django" Baker, relocated to New Brunswick, New Jersey with remaining ties in New York, and home to the King Django and Version City labels, the latter of Stubborn is known by and of which an imprint was devised in Fall 2002 with a new 7" release, "Babywrong Low Way", from veteran artist Rocker-T, best known as the former lead singer of Ska Danks and even more so, for The High Times Cannabis Cup Band. "Babywrong Low Way", yet another tune praise to Rocker-T's favorite natural element, is a tune on the "Strikkly Vikkly" rhythm, released previously on the Version City Dub Clash album.
Michael G. and Ticklah serve as the producers of Dub Side Of The Moon, and also as engineers, alongside Victor Rice, as well as Ira Heaps, the owner of the aforementioned Jammyland Distribution, which, by the way, is NOT related to legendary Dancehall producer, Lloyd "King Jammy" James, the spearhead in computerized Reggae.
(FOOTNOTE: Dub Side Of The Moon has peaked at #1 in the Reggae charts and #2 on the International charts for sales on Amazon.com)
TUFF GONG NEWS
BMW: Rastaman Immortalization
(They "Want More")
By Daddy Lion Chandell
Music & Entertainment Analyst and Historian/
Founder, Chairman, and CEO:
DLC IndustryWatch®
--12/18/2002: NEW YORK/LOS ANGELES--Last year, we presented you with a feature report on the continuing immortalization of the music of Bob Marley & The Wailers by way of their remastered Island Records catalog, and most specifically, their Deluxe Editions.
While many could have expected the previous three Deluxe Editions from The Wailers:
--Catch A Fire [1973], which featured the original Jamaican mix of the album with 11 tracks full blast and sweet,
--Exodus [1977], Time Magazine's honored Album of The 20th Century which featured single mixes, an unreleased live performance, plus "Punky Reggae Party" and a rather unconventional radio advertisement for the album,
--and Legend: The Best Of Bob Marley & The Wailers [1984], the worldwide Diamond-selling compilation, which amongst the various alternate compilation mixes they put on the second disc, unfortunately does not include the wicked 1984 UK Mix of "Jamming", which was far better than the one released in the U.S...
...no one ever expected a Deluxe Edition for the 1976 gem Rastaman Vibration, as it was not necessarily considered a LANDMARK album. Nonetheless, it is here as of November 2002, and it is bound to be a landmark addition to the collection of Reggae fans and Wailers fans everywhere, especially as it is the album that was reflected one of the most tumultuous elements of Bob Marley's life--the infamous Jamaican political wars of 1976.
The Rastaman Vibration: Deluxe Edition contains unreleased single mixes, plus "Jah Live/Concrete (version)", "Smile Jamaica, Parts 1 & 2", plus an unreleased live performance from The Roxy in Los Angeles, for the exception of "No Woman, No Cry" released on Songs Of Freedom [1992].
WATCH OUT!!!:
DLC's prediction for the next Deluxe Edition is:
BURNIN' or KAYA
TUFF GONG NEWS:
Ghetto Youths unite with "Ambassadors"
By Daddy Lion Chandell
Music & Entertainment Analyst and Historian/
Founder, Chairman, and CEO: DLC IndustryWatch*®
--11/16/2002, NEW YORK: It would seem as if a long-time ambition has been fulfilled in a way. Ghetto Youths International, the lion cub subsidiary of Tuff Gong International run by Stephen Marley has linked an independent pressing and distribution deal with Brooklyn-based hotshot distributor Music Ambassador. This marks the very first deal of this kind with a U.S.-based company for Ghetto Youths ever, not to be mistaken with their artist deal with Motown Records.
So far, its first releases include eleven songs on a new rhythm produced by Stephen Marley & Damian "Jr. Gong" Marley, who shocked the world winning the Grammy for his 2001 sophomore album, Halfway Tree, the first album from the Ghetto Youths deal with Motown, and the first in four years. Speaking of which, one of the songs from the new rhythm include Damian's "Educated Fools, Part 2", a sequel to Halfway Tree's opening tune which features Bounty Killer, who himself has a song on the same rhythm called "No Pardon".
As the Ghetto Youths Crew tend to be often innovative-like in their mannerism of producing music, they have even included a Hip-Hop act called Sli, putting together the first song of its kind--a straight non-remix Hip-Hop track over a Dancehall rhythm--called "You In Trouble".
Other artists with tunes on this rhythm, currently with an unknown title, include Yami Bolo, Mr. Mojo and Laza, Daddigon, Capleton, and (for probably the first time on Ghetto Youths OR Tuff Gong) brother Kymani Marley (a Shang Music recording artist) alongside Spragga Benz with a song called "Set It Off".
To further unveil how many plans The Marley Brothers have had in hand, they have also released a separate tune by Julian Marley entitled "Systems", which marks his first solo recording ever released (outside of Jamaica, if anything) since his 1997 debut album, Lion In The Morning.
Music Ambassador itself, on the other hand, has been at its busiest making more of a name for itself in the Reggae world. Amongst inking nearly hundreds of pressing & distribution deals with various labels, both local and abroad, they have promoted and released two new albums--Under The Moonlight by ultra-falsetto artist Ghost in conjunction with his own label, Monster Shack, and Stronger, the new album from long-time crooner Tony Curtis. The move and the mannerism could very well bring the company to a caliber well in comparison with VP Records, the Queens-based powerhouse which recently inked a special distribution deal with Atlantic Records in November 2002.
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10 Ft. Ganja Plant:
Hillside Airstrip
[I-Town/ROIR, 2001/
I-Town/ROIR, 2002 (vinyl*)]
The sophomore classic release from the John Brown's Body spinoff collective, which was finally released the following year on vinyl, has become a much-talked about favorite amongst fellow DJs and selectors, especially Daddy Lion Chandell, who marks this release priority for his DJ appearances.
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"10 Foot Plant" hits 12-inch disk... FINALLY!!! [HR!]
By Daddy Lion Chandell
Music & Entertainment Analyst and Historian/
Founder, Chairman, & CEO: DLC IndustryWatch®
(This story was updated and revised on
May 30, 2003 and March 28, 2004 for WAKE THE TOWN!*)
--10/16/2002, NEW YORK: Well, it's about time indeed. By now, many of you have heard Hillside Airstrip, the second album by 10 Ft. Ganja Plant, the extended spinoff band of John Brown's Body led by former JBB dubmaster Craig Welsch. While both albums, including the previous 10 Ft. Ganja Plant Presents (released independently by I-Town Records in 2000) are made for the die-hard Roots Reggae DJ or collector, and needed desperately to have been pressed up on vinyl, it has been announced that Hillside Airstrip, a DLC IndustryWatch® ChoiceTM Album of The Year 2001 and nominee for 2002, has finally been pressed on vinyl! DJs, go out and do your shopping now!
Hillside Airstrip is a release from ROIR (Reachout International Records) in conjunction with I-Town Records and, like its predecessor, features a ten tracks--hence, one track for every "foot of the plant". Hillside Airstrip proved itself to be more of a scorcher than the first, especially revisiting the first album and taking along two previous tracks for the ride--the deep, dark "Jah Will Go On" and "Walkey Walk Tall". Bonafide hits/favorites also include the erotically charged "Pure Sugar" with JBB vocalists Kevin Kinsella and Elliot Martin on lead vocals, "Long Time Ago", "New Day", "Born Free" (a.k.a "We Were Born To Be Free"), and the rocking title track "Hillside Airstrip".
This vinyl album marks a milestone in history as it is the very first 12 inch vinyl release for I-Town Records. For all selectors, and eager fans, your best bet is to acquire both the vinyl and the CD, as the CD contains a hidden 7-minute-or-so tune within the trackspace of the last song "New Day". You may be able to find them at any upcoming I-Town performance coming up near you, or you can contact ROIR [http://www.roir-usa.com] or I-Town Records [http://www.itownrecords.com] for more information. If you're in New York, you may be able to find them at Jammyland Distribution on 60 East 3rd Street in the East Village with the largest selection of authentic Roots and Dub Reggae music on vinyl in NYC. Contrary to previous reports and certain beliefs, Jammyland IS NOT owned by the legendary dancehall producer Lloyd "King Jammy" James.
Speaking of Jammyland, for those who seek some new sounds from 10 Ft., observe their new tune on the B-side "Top Down" of the long-awaited third I-Town 45 backed on the A-side "Do Right" credited to New Paradigm. "Top Down" is a mellow track with I-Town/JBB entourage member Bert Scholl making his vocal debut, as his presence was otherwise was made known heavily on John Brown's Body's fourth album, Spirits All Around Us, a joint release between I-Town and Shanachie Entertainment, of which this would be their third album with.
As far as "Do Right", a slow and steady track that slightly resembles the 2000 10 Ft. Ganja Plant scorcher, "Jah Jah Teach I A Lesson" (led by Ras Jay Champay, a chief element of 10 Ft. who was the vocalist on "Jah Will Go On"), word is not confirmed as to whether the name New Paradigm represents a new group from I-Town or a new JBB spinoff. One confirmation has been made -- you would think that you're hearing Kevin Kinsella singing lead on "Do Right", but it's not! Instead, this PERFECT soundalike is an upcomer in the fold by the name of Rob Bellnier. Kevin Kinsella, in fact, does provide harmony on this tune. This, the "gold" single, as were the previous "red" and "green" singles, is distributed by Jammyland.
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Garland Jeffreys:
"Ghost Writer" Haunts Hometown before Halloween
By Daddy Lion Chandell
Music & Entertainment Analyst and Historian/
Founder, Chairman, & CEO: DLC IndustryWatch®
--10/16/2002-NEW YORK: For the early part of October, we had followed the busy activity of legendary Rock and Reggae artist Garland Jeffreys.
Most fans of Jeffreys, a Brooklyn native, know him for deep his down home roots and the feeling that shows in his Rock or Blues-oriented songs, including the hit song "Wild In The Streets" [Atlantic-WEA, 1973]. But most fail to celebrate his many achievements in Reggae music, most particularly from 1976 (when his trademark LP, and nickname-sake, Ghost Writer was released [A&M]) to 1992 (when his next landmark release, a powerful semi-autobiographical album of sorts, Don't Call Me Buckwheat was unleashed [RCA-BMG Music]).
He has been recording Reggae, however, since 1972--two years after his recording career began and one year before "Wild In The Streets", and for an American-born artist, he has experienced more in Reggae in the U.S. than most try to aspire to do.
His earlier sessions were recorded in Jamaica at Dynamic Sounds and some of his later work would take him to England, where he would work with master Reggae poet Linton Kwesi Johnson and his producer Dennis Bovell and his band, known for their smooth basslines and ruff, wicked rhythms. That time was 1981, and interestingly enough, his most powerful Reggae was found in their hands, as they recorded "Miami Beach" and "We The People", two songs on one side of a four-track EP bonus in yet another landmark Garland Jeffreys album, Escape Artist [Epic-Sony Music].
Although you will find at least one to two Reggae songs on almost all his releases, those who are just opening your eyes to the matter can find more recent key examples of Garland's prowess in Reggae (and some vocal experimentations in Hip-Hop, for that matter) on racially-themed Don't Call Me Buckwheat (his first album since Guts For Love, which was nine years prior and his last one for Epic Records), including "Color Line", "Murder Jubilee", and "Bottle Of Love"
If you can find it, there is a long out-of-print 12" single with a scorching slow-tempoed Reggae remix of "The Answer", which sounds more as if it sets the tone for a movie opening on the Buckwheat album.
For October 2002, Garland Jeffreys has been laying heavy groundwork for whatever's coming next, aside from another spectacular performance, event, or appearance. Garland always travels throughout the city, much less the world, and is always community-active, hence his knack for school appearances. For the first week of October, Jeffreys landed at New School University in New York City borderlining the Greenwich Village and Chelsea areas. He was there for a special class/discussion on Bob Dylan with Bob Fass, the host of Radio Unnameable on WBAI 99.5 FM, of which Garland appeared was to appear the next day. Two days later, he appeared at WBAI again, this time with David Rothenberg.
The WBAI appearances were in part to the promote his second NYC performance in almost a decade, the Saturday, October 12th performance at The Bottom Line, a musical haven of sorts in Greenwich Village where many a great artist, well-known or not, have performed, including Garland in his heyday. DLC IndustryWatch® deeply regrets that we were not able to attend the performance, and therefore cannot report the results.
But in light of what we have described to you, its time to explore some more of the man behind the loud, proud, waving voice with a message to all.
We at (((WAKE THE TOWN!))) would like to welcome you to the world of Garland Jeffreys. In our DLC ChoiceLinksTM, you will find links to his newly-revamped, and well-improved website (a far cry from the site of 1998), plus another "unofficial" site with a little more indepth information and history regarding the music of Garland Jeffreys.
If you happen to be or live in New York City and missed Garland Jeffreys at The Bottom Line, why not check for him at The Jazz Standard at 177 East 28th Street on Monday, October 28th at 8PM for a apecial benefit performance for the McBurney YMCA.
"Reggae Superheroes" join together in The Middle East; get "High" on East Coast
By Daddy Lion Chandell
Music & Entertainment Analyst and Historian/
Founder, Chairman, and CEO: DLC IndustryWatch®
--9/26/2002-NEW YORK: It was only discovered the day before September 19, that the groups John Brown's Body and Pressure Cooker--referred to affectionately by DLC IndustryWatch as "The Superheroes Of Reggae Music"--would be coming together again to perform in one night, which in this case was at The Middle East Downstairs in Cambridge, Massachusetts. News and opinions on the performance are unknown, although more than likely it was a scorcher.
However, the combination of the two groups, the collective known as Adonai & I, will arise once again on October 19 for the third time at Makor, a Jewish culture establishment complete with literature, stage, bar, and cafe in New York City.
JBB's fourth album, Spirits All Around Us (their third album--reluctantly--with Shanachie Entertainment, this time a joint project between them and JBB's homebase label, I-Town Records) was reported to have been nominated for a "Doobie", the special music awards given by the good folks at High Times Magazine, in this case, for the category of "Best Reggae Album Of The Year".
As DLC IndustryWatch attended the event, anxiously awaiting the Reggae Album category results, no sign was seen of any confirmation that JBB was nominated.
Spirits All Around Us is an album that takes a rather slightly alternative take on their brand of Roots Reggae, not to mention a new producer--a fellow by the name of Paul Saccucci-Morano. It somehow, also shows ultimate signs of change that may affect the legacy of JBB forever. Case in point, bass player David "Solid" Gould, the leader and spearhead of the aforementioned "Adonai & I" collective and saxophonist Lee Hamilton have both officially left John Brown's Body.
David has told DLC IndustryWatch that he is leaving the band due to exhaustion of constant traveling. Though it seems he may continue with Adonai & I, there is no confirmation on that as of yet. Lee has recently married, and in that light, he has decided to take the time out to tend to his marriage, stating that he may come out on occasion to play certain concerts and performances.
TUFF GONG NEWS:
Tuff Gong goes out of "Debt" and into "Life"
By Daddy Lion Chandell
Music & Entertainment Analyst and Historian/
Founder, Chairman, and CEO: DLC IndustryWatch®
(This story was revised on Sept. 5, 2002 for WAKE THE TOWN!)
--3/8/2002, NEW YORK: Words as seemingly cliche in general conversation or relationships as "we can make it work" tend to prove nevertheless to be some rather powerful words in the end when that appropriate action is taken. And just as well, when it comes to matters of Bob Marley & The Wailers, words as seemingly obscure as "we can make it work", as declared in 1980, can prove to be an ultimate testament to the work that ultimately needs to be done in today's world--not just in America, not just in Jamaica, but all over the world.
As the relationship between Tuff Gong International and Universal Music gets to be more and more, especially since Island Records is a part of this large conglomerate, and just as sure as the Ghetto Youths International label sector secured a deal with Motown in the Fall of 2001, the late part of the year also marked the officialization of a new distribution deal for Tuff Gong International (the foundation of Bob Marley by unity of the original members of The Wailers: Peter Tosh, Neville "Bunny Wailer" Livingstone, and, of course, Marley) with Universal Music Group, in this case acting as an independent label. Already throughout 2001, they already have made ultimate progress for growth and empowerment, not only in keeping the legacy and music of Bob Marley & The Wailers alive, but also in their world empowerment activities--not to be mistaken with globalization activities, the same ones as being the subject matter of the new independent motion picture and accompanying soundtrack, Life & Debt.
A co-production of Tuff Gong Pictures and New Yorker Films, Life & Debt (directed by Stephanie Black and already receiving high acclaim) takes a deep look at the systematic stigma of poverty and the further destruction of people, humanity, and way of living by means of globalization--the same subject matter of controversy at the recent World Economic Forum in New York City.
The soundtrack to Life & Debt, the first Tuff Gong independent release under the new Universal Music deal, gives enough of a visual already. The subject matter is clear, the message is blunt and direct, and just as well as the objective is strength, the soundtrack is not for the weak of heart or mind.
The Life & Debt soundtrack album, released in February 2002, which interestingly enough does not have all of the songs featured in the film, features tunes from Ziggy Marley & The Melody Makers, Luciano (whom my singing voice has been compared to twice--no kidding), Sizzla, and Buju Banton amongst others. The interesting heartstopping elements of this soundtrack include the implementation of Anthony B.'s 1996 powerful classic "Raid Di Barn" [Star Trail/VP, 1995/1996], as well as specific Bob Marley & The Wailers tracks like "Smile Jamaica" [1976] and the aforementioned "Work" [1980]. Also, the pure emotion is felt even more from fellow Wailers member Peter Tosh with a solo, ambient rendition of "Fools Die", originally titled "Wisdom", one of few tracks produced for The Wailers in 1969 by a virtually unknown Dutch producer named Ted Pounder. The original "Wisdom" was just as emotional in structure and feeling, and the basic lyrics became a staple in a probably more familiar Wailers tune, "Stiff Necked Fools", released in 1983 on the posthumous Confrontation album.
Be sure to look for a HINDSIGHT 360TM review on this album indefinitely and not a moment too soon, as we may all experience life AND debt all too soon.
Speaking of Tuff Gong...
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TUFF GONG NEWS:
Bob Marley & The Wailers:
The Immortal Legends...DELUXE!
By Daddy Lion Chandell
Music & Entertainment Analyst and Historian/
Founder, Chairman, and CEO: DLC IndustryWatch®
--4/5/2002, NEW YORK/LOS ANGELES: At first, when DLC IndustryWatch® broke the story of the 2001 activity on The Marley Family, one item of which was the May 2001 release of a special double-CD Deluxe Edition of Catch A Fire, the debut album for The Wailers in 1973 under the new Island Records contract given in 1972, we looked at it as something special and thought that that was pretty much it for a while.
Little did we know at the time that Universal Music Group was undergoing and overseeing a year-long Reggae campaign. And little did we know it was FAR from over!
In this special Reggae campaign, aside from remastered and (brilliantly) repackaged re-releases of the original soundtrack albums for Rockers [Mango-Island, 1983 (original release)], Countryman [Mango-Island, 1982 (original release)] and, most definitively, The Harder They Come [Mango-Island, 1972 (original release)], Universal Music Enterprises (or UME), a specialty division of Universal Music Group put out the entire catalog of original Bob Marley & The Wailers albums from Burnin to Confrontation, remastered and repackaged for a second time, this time with complete lyrics, photos, and full album ambiance that otherwise was overlooked and therefore not given that much the proper treatment when they were originally remastered in 1990. Then, of course, there was the Deluxe Edition of Catch A Fire, a beautiful combination of the version of the album released and the other disc featuring what was to be the original version of the album, said to be released primarily in Jamaica. One track on that album should be familiar as it is the melancholy ballad of hope "High Tide Or Low Tide", a Catch A Fire outtake which otherwise was released on the Songs Of Freedom box set album from 1992, if not for its more full extended version--a few extra seconds never heard on Songs Of Freedom, that is. The other outtake on the original version disc is a basic yet sweet and catchy song "All Day All Night (Nobody But You Babe)" which is sure to get set the heart afire.
The Catch A Fire single album remastered version was released months later. And just as well, if that wasn't enough, the Exodus single album wasn't released yet. To all questions on that, it was the October 2001 release of Exodus: Deluxe Edition that was the answer, featuring the original album plus "Roots", a B-side single never before released on an original full-length Wailers album and "Punky Reggae Party", the rarest Wailers track from the Island period, and five songs in an unreleased live promotional tour performance recorded only a few days after its official release, not to mention a treat to close the album--the original radio advertisement for Exodus, which of course was named "Album Of The Century" by Time Magazine.
Now, in April 2002, what began as unexpected became even more so with the release of Legend: Deluxe Edition featuring the original 14 tracks compiled from the various Island/Tuff Gong albums of The Wailers, plus two extra tracks including "Easy Skanking" from 1978's mellow mood album Kaya and "Punky Reggae Party". As always, the treat is on the other disc. Disc Two features the many remixes and renditions of the bulk of the Legend hits from such producers as including Eric "ET" Thorngren, and Paul "Groucho" Smykle.
Legend, which was released originally in 1984 has gone through quite a few different transitions unbeknownst to most people. Between the U.S. and the UK, its original lineup, although identical in order, were different in renditions. At that time, all the tracks featured were the single versions, and some of those same songs were remixed by those aforementioned other producers made the cut in England as opposed to the remix in America which received a different remix.
"Those Who Doubt And Underestimate The Lion Don't Know Any Better"
--Daddy Lion Chandell 2003
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