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Sabtu, 19 Mei 2018


Ziggy Marley “Rebellion Rises”  2018 Jamaica Reggae new album released 18-05-2018 
Ziggy Marley ” Rebellion Rises” (Official Lyric Video) on vimeo
https://vimeo.com/263177874

full spotify

https://open.spotify.com/album/6dIsQaRQ8brUZkbI4TiZpm

full discography on spotify

https://open.spotify.com/artist/0o0rlxlC3ApLWsxFkUjMXc

official website

http://ziggymarley.com/


“The better side of humanity, cannot let the side of humanity that push negativity and hatred be more willing,” Marley explained in a recent interview. “It cannot happen. It’s a battle of wills. We’ve got to have more will.” …..~


On his 2016 eponymous album, reggae star Ziggy Marley’s songwriting moved away from personal themes to political ones, calling for love and unity in the face of conflict across the world. This follow-up was recorded with global tensions higher than ever—which has seemingly only strengthened his belief in the power of positivity. Absorbing musicianship lessons he says he learned while working on the reissue of his father’s Exodus album in 2017, the Marley scion seeds rebel spirit into uplifting and fiercely melodic reggae, dismissing politicians with a stirring blast of horns on “See Dem Fake Leaders,” allowing piano and acoustic guitars to lead equality anthem “I Am a Human,” and championing solidarity over the title’s track’s sharply funky groove…..~


The oldest son of reggae legend Bob Marley and his wife Rita, Ziggy Marley was the natural heir to the throne left vacant by his father’s untimely death in 1981. Along with backing band the Melody Makers, a unit comprising his brothers and sisters, he successfully carried on the tradition of communicating the music’s message to a growing global audience, even scoring a U.S. Top 40 single in the process – a claim neither of his parents could make. Born David Marley in Kingston, Jamaica on October 17, 1968, he received guitar and drum lessons from his father, and began sitting in on Wailers recording sessions at the age of ten. In 1979, Ziggy, his sister Cedella, brother Stephen, and half-sister Sharon all joined Bob in the studio to record the single “Children Playing in the Streets.” Christened the Melody Makers, the four siblings continued playing together at family events, and even performed at their father’s state funeral. 

Marley was not even 17 when he and the Melody Makers issued their EMI debut LP, Play the Game Right. The burdens of becoming a second-generation star weighed heavily on the youth – who looked and sounded almost eerily like his father – and he allowed the record and its 1986 follow-up, Hey World!, to veer closely toward pop music, resulting in derision from reggae purists. Poor sales, combined with EMI’s public desire to market Ziggy Marley as a solo act, prompted Marley & the Melody Makers to jump to the Virgin label, where they entered the studio to record their masterpiece, 1988’s Conscious Party. Produced by Talking Heads’ Chris Frantz and Tina Weymouth, the album was both a critical and commercial smash, with the single “Tomorrow People” reaching number 39 on the pop charts. The follow-up, 1989’s One Bright Day, continued the Melody Makers’ artistic growth; it was also their best-selling effort to date, cracking the Top 20 and, like its predecessor, winning a Grammy. 

Marley & the Melody Makers resurfaced in 1991 with Jahmekya, another assured and creative effort. It sold well, edging into the Top 20, but failed to generate much radio or video airplay. Released in 1993, Joy and Blues barely charted, despite adding elements of contemporary dancehall (a showcase for Stephen’s rapping skills). The latter record was the Melody Makers’ last release for Virgin, and they moved to Elektra for 1995’s Free Like We Want 2 B. Fallen Is Babylon followed in 1997, and scored a third Grammy. Like his father, Marley eventually emerged as a leading political voice, and was named a Goodwill Youth Ambassador for the United Nations; at home in Kingston, he also founded his own record label, Ghetto Youths United, created to spotlight the next generation of reggae talent. 

In addition to the four siblings in the Melody Makers, three other Marley children – Damian, Julian, and Ky-Mani – also pursued careers in music. The music continued into the new millennium, as Marley released Ziggy Marley & the Melody Makers Live, Vol. 1 in fall 2000. Without the Melody Makers, Dragonfly was released as his first official solo album in 2003, but its 2006 follow-up, Love Is My Religion, was the one with the hit, as the album’s title track put Ziggy back on reggae radio throughout the globe. His 2009 effort, Family Time, was a charming children’s album, while 2011’s Wild and Free returned to the socially conscious reggae that launched his career. In 2012, he released his first comic book featuring the hero Marijuanaman, and followed it in 2013 with the live album In Concert. The diverse Fly Rasta followed a year later and featured a Melody Makers reunion thanks to guest appearances from Erica Newell plus Sharon and Cedella Marley. The album won Best Reggae Album at the 57th Grammy Awards. In 2016 he returned with his sixth solo – but first self-titled – album, which featured the single “Weekend’s Long.” Returning in 2018, Marley’s self-produced seventh album, Rebellion Rises, was directed toward themes of activism and social change. ~ Jason Ankeny….~


Eight-time Grammy Award-winning musician Ziggy Marley will release his seventh full-length solo studio album, Rebellion Rises, on May 18 through Tuff Gong Worldwide and it will be distributed in Jamaica and the Caribbean by Tuff Gong International. 
Fully written, recorded and produced by Marley, this new collection of music encourages people to stand together in activism through love. 
“The rebellion begins in the mind, the melody, and the music,” assures Marley. “We are a conduit of that. The rebellion is consciousness. Now the consciousness starts spreading, we become aware and we rise.” 
No track embodies this message better than the album’s title track and official first single Rebellion Rises. The song encourages its listeners to use the power humans have as instruments of positive change around the world. 
“The better side of humanity cannot let the side of humanity that push negativity and hatred be more willing,” Marley explained in a recent interview. “It cannot happen. It’s a battle of wills. We’ve got to have more will.” 

Rebellin Rises marks Marley’s first studio release in two years, following 2016’s critically acclaimed self-titled project which took home the 2016 Grammy for Best Reggae Album and marked his fourth consecutive debut at #1 on the Billboard Top Reggae Album Chart. Digital pre-orders will be available starting today. All digital pre-orders will include an instant free track of Rebellion Rises, which is also now available for streaming on Spotify, Pandora and Apple Music. 
This June, Marley will embark on the first leg of his North American tour with stops in a number of west coast markets including Napa, Seattle, Portland, and San Francisco. The tour will then make its way to Europe beginning June 29 where it opens in Legnano, Italy……~


Finding a connection to all humanity, it is a battle for love and peace, rising above the chaos. Absorbing that for a moment, the 8-time Grammy winning Ziggy Marley’s Rebellion Rises is set to drop through Tuff Gong Worldwide on Friday, May 18, 2018. 

Immersion in music from an early age has created a humanitarian, writer, musician, and artist that has crossed cultures and generations. Marley’s first children’s album, Family Time, won a Grammy Award for “Best Children’s Album” in 2009, while another children’s book, I Love You Too, earned the artist a 2012 Daytime Emmy for a special sharing the same name. Now, a battle-cry in Rock/Reggae style, Marley’s seventh studio album is also his first release in two years following 2016’s self-titled solo effort, which won Grammy gold for “Reggae Record of the Year.” 

This time around, the backstory for the 49-year-old’s latest began when his solo career created an opportunity to channel the soul of his father, now blending in Rock sensibilities after working with Flea and John Frusciante of Red Hot Chili Peppers on “Rainbow In the Sky” from 2003’s DragonFly. He also worked with Chris Frantz and Tina Weymouth of the Talking Heads with Ziggy Marley and The Melody Makers, and exposure to this is reflective in the groove created on this record. Rebellion Rises was written, recorded, and produced by Marley, who, surrounded by the power of the family and the ideology he was brought up with, shaped a musical revolution onto record. 

The method for delivering the message may change, but the solutions Marley offers up stay the same regardless of the artist’s medium. On Rebellion Rises, from the opening notes of “See Dem Fake Leaders,” it is obvious this is a political slasher-fest. The beauty here is the message. Now a father of four, Marley is pushing back in the name of love and unity; while fear might permeate every aspect of humanity, love can conquer all. A man of not just words but also action, Marley’s foundation U.G.R.E. (Unlimited Resources Giving Enlightenment) connects communities with children in need of help. 

Contrary to Childish Gambino and his message that has brilliantly exploded thanks to a video for “This Is America,” directed by Hiro Murai and produced by Jason Cole, this is a revolution that will smash together each belief system and arrive at a truth. Then there is “Storm Is Coming” with its lilting attempt at illumination, a call to batten down the hatches. Placing a lyrical focus on the earth and its destruction, this is a trip set to soaring guitar; placing Marley’s talents in the spotlight and offering up some great guitar-work to punctuate the message. 

Following it up with “World Revolution,” this cut is Marley at the songwriter’s finest. Putting the spotlight on the generations to follow, each illusion of chaos created by political, social, and religious institutions take all the lies and toss them out into a pile. Listeners can sort out their own truths, but Marley suggests that to build that wall of positivity, leave the crap behind. 

It would not be very hard to argue the point that humanity has forgotten what commonality and common decency are. Nearly halfway through the ten-song album, “Your Pain Is Mine” soars with this emotional connection; black or white, our skin color really should be irrelevant in a perfect world. Life is tough enough and this cut is a burden shared in song. Another link, “Change Your World” is a flashback to “Is This Love” by Bob Marley from his 1978 release Kaya, possibly the most influential Reggae love song, also released through Tuff Gong. Now set to take his place alongside his legendary father, this track could change listeners into Ziggy Marley lovers, provided they have not already been touched by the magic. 

Met with horns right off, “I Will Be Glad” is a celebration set to music. Simple and soothing, the truth is sung in a chorus of love, blessing listeners; this is beautifully simple, authentic vocals with hope the underlying wave. Following with “High On Life,” this cut is like sunrise at the ocean, its spiritual essence an undeniable rhythm; positivity breeds positivity. Feel the Jamaican sway of the ocean breeze with its salt air and crashing waves; it is here, alive in the music. 

The final three songs are a call to action: a coming together for dreams to come true set to a calypso beat with kettle drums and spoken word. With its message of peace, togetherness, and strength in numbers, there is a reason this album is called Rebellion Rises after all. Driving that point home, “I Am A Human” picks apart every reason society gives for wars, conflict, and social injustice. Musically rich instrumentation does not overshadow the message; rather each piece fits together, working perfectly to create a beautiful tapestry of sound. Stunning to the ears of this listener, this is a cut above the rest in its battle-cry of peace and love. 

Closing out, the title-track “Rebellion Rises” is a Pied Piper call to positive action; a collective conga line with reverb and bongos, simple statements to battle hate with love. Ziggy Marley is a humanitarian musician on a mission here: believing that love is a connective tissue and positivity will conquer all, as it will always spread faster than fear or hate. Starting with children and grooving up through the ages, love is the answer. 

Politically and socially relevant, Rebellion Rises is a war of music, creating peace with a purpose. For this, CrypticRock gives Ziggy Marley’s Rebellion Rises 5 out of 5 stars….Cryptic Rock….~


Tracklist: 
01. See Dem Fake Leaders 
02. The Storm Is Coming feat. Gideon Marley 
03. World Revolution feat. Samuill Kalonji 
04. Your Pain Is Mine 
05. Change Your World 
06. I Will Be Glad 
07. High On Life 
08. Circle Of Peace feat. Stephen Marley 
09. I Am A Human 
10. Rebellion Rises

Senin, 14 Mei 2018


Exile One  "Exile One" 1974  excellent Guadeloupe Afro Funk Soul Reggae..recommended…~
Exile One “ Don’t Bite The Hand (That Feeds You) 1974  dailymotion
https://www.dailymotion.com/video/x6jj4ok

full vk

https://vk.com/wall312142499_10588



Credits 
Bass Guitar, Vocals – Vivian Wallace 
Congas – Sonor Blirando 
Drums – Oliver Cruickshank (Funky Crookie)* 
Electric Piano, Organ, Vocals – Fitzroy Williams 
Engineer, Mixed By – Henri Debs, Robert Bruno 
Horns, Vocals – Kremlin Fingal 
Lead Guitar, Vocals – Julie Mourillon 
Percussion – Eddie Wilson (11) 
Trumpet, Trombone – Richard Descieux 
Vocals, Percussion – Hippomene Leauva* 
Written-By, Composed By, Arranged By, Lead Vocals – Gordon Henderson







Tracklist 
A1 Funky Crookie 3:33 
A2 If You Turn Your Back 3:51 
A3 Where’s The World Gettin To? 2:58 
A4 Miss Tomorrow 4:47 
B1 Amidst The Lonely 3:41 
B2 Which One Is Me Home? 2:32 
B3 Getting Ahead 3:58 
B4 Don’t Bite The Hand (That Feeds You) 5:21 

 Cedric I’m Brooks "United Africa" 1978 Jamaica Reggae,Jazz Funk
full vk

Classic roots / funk / jazz album from Cedric Im Brooks. Long out of print. “Satta-Masa-Ganna” & the killer “Silent Force”….~


Cedric I’m Brooks was a Jamaican saxophonist and flutist known for his solo recordings and a member of major jazz groups such as The Mystic Revelation of Rastafari, The Sound Dimensions, The Light of Saba, and The Skatalites. 
An artist whose fantastic technique and different, brought another air to jazz. “United Africa” track from the album that gets the same name is one of Brooks’ masterpieces. An odd musical quality. The harmony contained in this song where he mixes jazz with some Jamaican moods makes this single something unusual that deserves to be heard…..~





Though chiefly known as a virtuoso saxophonist, Brooks was also a talented arranger whose approach yielded some of the most complex and challenging works of the roots reggae era of the 1970s. He was also an intense spiritualist with an individual interpretation of Rastafari, another reggae magus who pursued ethereal connections in an effort to link spiritual devotion with musical expression. Meeting this quietly contemplative yet forceful man in person, it was easy to understand why he named his band the Mystics during a time when most other Jamaican groups were concentrating on love ballads and dance tunes.
Cedric Brooks was born in 1943 in the west Kingston slum of Denham Town, which borders onto the more famous Trench Town. He was raised in the same household as the noted trumpeter, Baba Brooks, and the dwelling was owned by a Salvation Army major, so both church music and secular songs were rehearsed at the space throughout his youth.
At the age of eight he was sent by to the Alpha Boy’s School, the infamous Catholic charitable home for wayward or abandoned youth, which had a strong element of musical instruction for selected students thanks to the resident jazz-mad nun and erstwhile sound system selector, Sister Mary Ignatius Davies. Brooks started on piano and clarinet at Alpha, benefiting from the tutelage of bandmasters Ruben Delgado and Charles Clarke, as well as the great Lennie Hibbert, who would later cut excellent vibraphone albums at Studio One. Training was rigorous at Alpha and young Cedric showed strong musical aptitude.
After Alpha, Brooks joined the Jamaica Military Band on clarinet. In 1961, while still a teenager, he travelled with the Jamaican Military Band to perform in distant Newfoundland in Canada, and by the time of the trip he’d already found his way into the Vagabonds, which swiftly became one of the most popular nightclub and hotel acts of the day. He switched to tenor saxophone while in this group, finally finding his way to the instrument on which he would truly excel, though at this point, he was still mostly playing popular foreign cover tunes in a live setting. Brooks cut a few debut recordings with the Vagabonds at this time, including the fast-paced instrumental single ‘Hula Twist,’ which he composed and led.
In 1964, after connecting with Canadian manager Roger Smith, the Vagabonds moved to London, but Brooks stayed behind to enjoy tenures in all of Jamaica’s leading live jazz acts. He was initially playing with Sonny Bradshaw’s big band, as well as Kes Chin and the Souvenirs, but then joined the Granville Williams Orchestra on baritone sax, rubbing shoulders in that group with fellow saxophonists Roland Alphonso and Tommy McCook, as well as guitarist Ernest Ranglin.
Brooks then spent a year in the house band at Montego Bay’s Club 35 with keyboardist Leslie Butler and guitarist Headley Jones, before briefly joining Cecil Lloyd’s group at the Playboy Club in Oracabessa, only to leave shortly thereafter for the Bahamas in Carlos Malcolm’s Afro-Jamaican Rhythms. Brooks subsequently backed Jamaican lounge music specialist Teddy Greaves at a hotel in Freeport, and played for a time at Peanuts Taylor’s club in Nassau, but soon tired of performing for tourists.
Thinking of Brooks’ mindset in the ‘60s, he can be considered a true pioneer of ‘world music’. In addition to jazz players from the black American avant-garde such as John Coltrane and Pharaoh Sanders, Brooks was highly inspired by an early compilation of Ethiopian music he encountered at this time, which opened his mind to the possibility of non-Western melodies, chord structures and time signatures.
A major artistic and personal turning point came with his move to Philadelphia in 1968, where he enrolled at the esteemed Combs College of Music. Meeting saxophonist Sonny Rollins, avant-garde vocalist Leon Thomas, and perhaps most importantly, members of Sun Ra’s outer-worldly Arkestra, expanded Brooks’ musical and philosophical horizons, and he subsequently sought to draw the two spheres together to express an unorthodox spiritual philosophy which drew from an awareness of a denigrated African heritage.
When Brooks returned to Jamaica in 1970, his head was bald and he wore a prominent beard, visible trappings of his Philadelphian transformation. He began recording at Studio One, making an instant impact in the chilling horn fanfare that frames Burning Spear’s landmark single, ‘Door Peep’. Teaming with trumpeter David Madden as Im & David (the ‘Im’ referencing his adoption of the Rastafari faith in an abbreviated form of Halie Selassie’s ‘Imperial Majesty’ appellation), Brooks recorded a handful of intense instrumentals at Studio One, with ‘Money Maker’ causing the greatest impact, followed by the popular ‘Candid Eye’ and other more challenging creations..
Determined to start an Afrocentric group that would explore Jamaica’s rich musical traditions more overtly, Brooks then formed the Mystics with Madden and a handful of other players that were not particularly known at the time, including Lloyd ‘Gitsy’ Willis (who passed through the Upsetters, and who would later play with Sly and Robbie, among others), the upright bassist and poet Joe Rugglus, plus drummer Danny Mowatt and a singer called Chuku, aiming to push the boundaries of reggae by incorporating elements of free-form jazz.
In April 1971 the group gave a collaborative performance with Count Ossie’s Rastafarian drum troupe, and the end result was a fusion of the two entities, known as the Mystic Revelation of Rastafari (though Madden and several other members then broke away to form Zap Pow, displeased by the move towards non-standard forms of spirituality). Hugely influential in Jamaica and the broader Caribbean, the Mystic Revelation of Rastafari toured Guyana, Trinidad, Canada and the USA in 1972, and later performed during the official state visits of African leaders to Jamaica, including Mozambique’s Samora Machel. Their debut album, the incredibly raw three-LP set, Grounation, was unlike anything that had preceded it, being a wild, no-holds-barred expression of Rastafari consciousness and free jazz, inspired by the African motherland. Brooks played a prominent role in the creation of the album, and in nearly all of their subsequent releases.
In 1973, Brooks began running musical workshops at the University of the West Indies’ Mona campus, and soon formed a new group called the Divine Light, which was closely connected to the Ethiopian Orthodox Church and modelled somewhat on Sun Ra’s Arkestra, with Fela Kuti and Hugh Masakela among the other prominent musical influences. In addition to their grounding at the Ethiopian Orthodox Church on Maxfield Avenue, the group performed regularly at the uptown Turntable club, as well as at Brooks’ home, and their debut album, From Mento to Reggae to Third World Music, explored the evolution of the island’s traditional folk forms as they moved into ska, rocksteady and reggae, serving as a recorded parallel to the popular lectures Brooks gave in this era at the Institute of Jamaica in downtown Kingston.
The group was renamed Light of Saba in 1974, using an alternate appellation for Ethiopia, and the self-titled album that was soon issued took the form of a complex stew of instrumental reggae jazz with African rhythmic underpinnings. The following year the group toured Cuba at the request of Fidel Castro, and Brooks was prominently featured on the Mystic Revelation of Rastafari’s wonderful second album, Tales of Mozambique, being responsible as well for its musical arrangements.
The following year saw the issue of The Light of Saba’s In Reggae, another superb set, and although less grand in structure, Brooks’ 1977 Studio One solo album, Im Flash Forward, was also excellent, highlighting the emotive power of the melodies he blew over classic Studio One rhythms; One Essence was another tremendous set to surface that same year.
Like many of his peers, Brooks also moonlighted as a session player for much of his career, which is why he was present on classic roots reggae albums such as the Abyssinnians’ Arise, Ernest Ranglin’s Ranglin Roots, Beres Hammond’s Soul Reggae, Junior Delgado’s Taste of the Young Heart, Culture’s Cumbolo, Rico Rodriguez’s That Man Is Forward, and Rita Marley’s Who Feels It Knows It. But Brooks did more than simply play on records like these. He took a far more active role at such sessions, greatly influencing the overall result.
By the time Light of Saba’s Sabebe album was released in 1979, Brooks had formed United Africa, a huge conglomerate of over 30 members, their sole album a masterpiece of Afrocentric big band reggae jazz. Brooks also appeared prominently on another MRR album, the mysterious One Truth, which may have been cut significantly earlier. Following his subsequent relocation to New York, his musical output inevitably slowed, though this is partly because he spent long periods in Ethiopia, studying spiritual matters and becoming acquainted with the music and culture of the country.
Brooks recorded with Carlos Malcolm in Los Angeles in 1998, and also collaborated with the California-based Rhythm Doctors on a 2004 single, ‘Mad Dog’. A new album surfaced early in the new millennium too, A No Nut’n, which had some inspired melodies from Brooks, but the musical backing was largely lacklustre. Following the death of Roland Alphonso, Brooks also became a longstanding member of the reformed Skatalites, and toured widely with them before being hospitalised himself in 2010, suffering from diabetes, hypertension, and eventually pneumonia, which ultimately led to his death in May 2013.
Here are a baker’s dozen of Cedric Brooks’ most outstanding moments, each an example of the impact he brought to bear through his unusual playing style and incomparable arranging skills…..BY DAVID KATZ….~



Credits 
Alto Saxophone – Gerrard Salmon 
Bass – Boris Gardiner 
Bass Drum – Desmond Jones 
Bass Drum, Percussion – Lloyd Barnes 
Bass Drum, Voice – Aston Russell 
Bass, Voice – Tony Allen (3) 
Clarinet – Maxine Mitchell 
Drum [Funde], Percussion, Voice – Gilbert Golding 
Drum [Funde], Voice – Austin Ricketts 
Drum [Repeater] – Joel Crawville 
Drums [Traps] – Calvin McKenzie, Nelson Miller 
Guitar – Ernest Ranglin, Lennox Gordon 
Organ – Leslie Butler 
Percussion – Alvin Haughton, Beres Hammond 
Piano – Harold Butler 
Soprano Saxophone – Dean Frasier* 
Tenor Saxophone, Drum [Repeater] – Cedric ‘Im’ Brooks* 
Trombone – Al Ahmad, Calvin Cameron*, Joe McCormak* 
Trumpet – Arnold Brakenridge*, David Madden, Jackie Willacy, Vivian Hall 
Voice – Cedric Brooks*, Joan Francis, Marcia Bailey, Paulette Chambers, Sandra Brooks


Tracklist 
A1 Satta Masa Ganna 7:10 
A2 United Africa 5:05 
A3 African Medley 4:40 
B1 Silent Force 6:21 
B2 River Jordan 2:13 
B3 Praises 4:27 
B4 Elehreh 3:27