The Skatalites - Au Duchet Du Luxembourg
For more than 30 years, Ska survives, regenerates,outfachions, Headlines again, implying rockeurs, followers of reggae, of dub, the punks… Skatalites, they, are always there, escaping the influence of time. Lead by a little insane trombonist that was Don Drummond, the group gave birth to this mélodioux and rich Ska which tainted with various musical inspirations, mixture of R& B, African rastafaris rhythms and Cuban percussions. Marked of an open-minded incomparable, Skatalites picked in all the musical universes which they know, also collaborating with Prince Buster or Toots Hibbert, which with a jazzband…. With more than thirty albums to the meter, the combo became a true mythical group, writing some of the most beautiful pages of the ska jamaïcain. Their beginnings with today, original band with the current formation off perdurent titles like “Guns Navarone”, “City Phoenix” or “James Bond Theme”. Titles never unfashionable, like their authors.| SOURCE | AUD | SOUND QUALITY | A | FORMAT | Mp3 | BITRATE | 192 | TRACKS # | ? |
| LOCATION / VENUE | Luxembourg | DATE | 2008 | ||||||
| NOTES: | The Show posted was recorded by Wojtek in Luxembourg in 2008. It Is 95 minutes of pure Ska Live!!! Thank you for your email and for sharing. | ||||||||
Labels: REGGEA, Skatellites;the
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posted by zazafromjohor at 9:05 PM
1 comments
Reggae music has been searching a long time for a saviour. It seeks an acceptable antidote to the nihilistic braggarts offered up by dancehall, itself the enfant terrible offspring of the roots music that was once the inspirational staple of Bob Marley, Dennis Emmanuel Brown, Peter Tosh and the like.
Buju Banton was one of the most popular dancehall reggae artists of the '90s. Debuting with a series of popular "slack" singles, which drew criticism for their graphic sexuality and homophobia, Banton converted to Rastafarianism and revolutionized dancehall by employing the live instrumentation and social consciousness of classic roots reggae. He first adopted the approach on his 1995 classic 'Til Shiloh, which raised hopes among his fans that he would become dancehall's great international ambassador, as Bob Marley had been for roots reggae. While that never quite materialized, Banton remained a high-profile star into the new millennium. Buju Banton was born Mark Anthony Myrie on July 15, 1973, in the Kingston slum of Salt Lane. Buju was his childhood nickname, a word for breadfruit that was often applied to chubby children; he would later adopt Banton in tribute to one of his earliest musical influences, Burro Banton. He was one of 15 children; his mother was a street vendor, and he was directly descended from the colonial-era freedom fighters known as the Maroons. Banton first tried his hand at DJing and toasting at age 13, performing with local sound systems. He made his first recording not long after, with the 1986 Robert Ffrench-produced single "The Ruler." He continued to record through 1987, then took some time off to allow his voice to mature. He returned in the early '90s with a rough growl comparable to that of Shabba Ranks. In 1991, Banton began recording for Donovan Germain's Penthouse label, often teaming with engineer/producer/songwriter Dave "Rude Boy" Kelly. Debuting for the label with "Man Fi Dead," his first major hit was "Love Mi Browning," an ode to light-skinned women that drew the ire of Jamaica's sizable darker-skinned population. As penance, he released a follow-up single called "Love Black Woman," but courted even more controversy with "Boom Bye Bye," a notoriously homophobic track that seemingly advocated violence against gays. Other hits of the period included "Batty Rider," "Bogle," and "Women Nuh Fret," among many others; in fact, 1992 saw Banton break Marley's record for the most number one singles in one year. His debut album, Mr. Mention, was a smash hit that year as well, and he signed an international major-label deal with Mercury. The Voice of Jamaica album, released in 1993, introduced Banton to the world outside Jamaica, and gave him a huge hit in the celebratory safe-sex anthem "Willy (Don't Be Silly)." Other singles from the album included "Operation Ardent," a critique of police corruption, and "Deportees (Things Change)," which castigated emigrants who refused to share their overseas earnings with the family back in Jamaica. In early 1994, Banton released the monumental single "Murderer," an impassioned indictment of dancehall culture and gun violence recorded after the shooting deaths of fellow dancehall DJs Panhead and Dirtsman. As well-received as Voice of Jamaica was, it was the 1995 follow-up, 'Til Shiloh, that would rank as Banton's masterpiece. A fusion of dancehall with live instrumentation and classic roots reggae, 'Til Shiloh consolidated Banton's move into social awareness and adopted a more mature, reflective tone that signaled Banton's arrival as an artist able to make major creative statements. 
Black Uhuru was the leading second generation reggae vocal groups, and was formed in Jamaica in 1974 by Euvin "Don Carlos" Spencer, Rudolph "Garth" Dennis, and Derrick "Duckie" Simpson. These three grew up in the famed "Waterhouse" district of Kingston, Jamaica (a hot bed for reggae artists over the years). After a couple of years the group as it was originally known grew apart as Don Carlos went on to a solo career, and Garth Dennis went on to sing with another of the great Waterhouse group, the Wailing Souls. Duckie Simpson continued to work under the Black Uhuru name (Uhuru means Freedom in the Swahili language of Africa), and he enlisted an up and coming singer, Michael Rose, and Errol "Jay's Wilson to record the "Love Crisis" album with producer Prince Jammys (then a protege of the famed pioneering reggae producer, King Tubbys). One of the best known best tracks from this album, "I Love King Selassie," has survived to become a bonafide reggae anthem. This Black Sounds of Freedom album is a remixing of the Love Crisis album and was eventually released in the UK in 1980 on the Greensleeves label. After that period, American expatriate, Sandra "Puma" Jones, joined Michael and Duckie to add haunting high harmonies to the group, and Black Uhuru joined forces with Sly and Robbie, releasing some the best reggae music of the 1980's and were the first group to win a Grammy award when the Reggae category was introduced in 1985. Michael Rose left the group for a solo career in the late 80's and another young "Waterhouse" area singer Junior Reid joined the group for three years starting in1986. Puma Jones passed away in 1990, and about that same time the original three members Don, Garth, and Duckie joined together one again to record and tour throughout the early and mid-Nineties. Black Uhuru continues today under the direction of Duckie Simpson and with another "Waterhouse" product named Andrew Bees. Black Sounds of Freedom is a crucial album that showcased the raw power of Reggae groups in the Rockers period of Jamaican music in the late 70's, and is one of the cornerstone albums that is laid in Reggae music's foundation. 
Morgan Heritage is a reggae band formed by five children of famed reggae-artist Denroy Morgan. Despite their relative youth, they have been referred to as "reggae royalty". Having grown up in their father's music studio in the U.S. the group, then consisting of eight of the children, made their first appearance at Reggae Sunsplash in Jamaica. They were subsequently signed by MCA and released their debut album Miracles in 1994. They have since criticized Miracles as being overly pop-influenced.
A year later the family moved to Denroy's homeland of Jamaica. In this period, three family members left the group. In Jamaica, Morgan Heritage began working with famed reggae producers Bobby Dixon and Lloyd James, resulting in the release of the critically acclaimed album Protect Us Jah (1997), followed by One Calling (1998), and the spiritually-inclined Don't Haffi Dread (1999). They released two albums by "The Morgan Heritage Family and Friends", and the Live in Europe! album recorded on their 2000 tour. Morgan Heritage toured in Europe again following the release of their 2001 album More Teachings... Their sixth studio album, Three in One, came out in 2003. They have released two DVDs (Live In London and Live Over Europe 2003) with good success and "Full Circle" (2005)
There is a sibling band called LMS (comprised of other Morgan siblings) which is more hip-hop influenced. LMS often tours with Morgan Heritage.
Ziggy 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 towards pop music, resulting in derision from reggae purists. Poor sales, combined with EMI's public desire to market Marley as a solo act, prompted the band 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.