I have come from Jah which made heaven on earth. By his protection the sun shall not smite me by day nor the moon by night. My group. And later for Rupie Edwards me and Joe Higgs sing it and he say him write it.
I saw a canoe passing, which him row with two stick. The old-time canoe, they row them with stick. Me used to love the sea Sunday morning time. Where it come from. They only sing it. And gone home. And the Congoes record it and say it is them write it. I have a lot of songs that I write which I never get credit for because I never know much about performing rights.
But the rights of them, the original work, is mine. But we do some great works at Upsetter studio. Nuff songs. Nuff song that people create them not even know where it come from.
Scratch always had enough words. He called me Jah Lion. But he called me Jah Lion different from Jah Lloyd…. This interview was first published in The Beat in DanceCrasher would like to thank Mike Turner for giving us the opportunity to reproduce it.
Respect to Jah Lion. Francis began his singing career with the Mediators in the mids. At the end of the decade, he recorded for Rupie Edwards and Lee Perry. For a while, Francis became their record salesman, frequenting the studios and getting closer to King Tubby, with whom he studied the technical aspect of music.
In the early 70s, Pat Francis started producing and founded his Teem label. On the refined rythm of Ain't no sunshine, Jah Lloyd performs an ample and energetic toast while the second side features a masterful version of the legendary trombonist Vin Gordon with the superb Rebel Rock. Great music. Muddy Ibe is legendary with his unique way of rendering his highlife. He lives on. The dada is full of music, inspiration, composition and admonition. His genres include highlife, country, folks and world music.
He had a unique voice that set him different from other highlife artists. He always talked about enemy pursuing him in his song. Igbo highlife artists who had disagreements would use music to sub each other back in the days. Captain Muddy Ibe was a great man. The musical instruments he employed always make his songs unique and every head nods to the rhythmic patterns of them. Captain Muddy Ibe is dead but his son Otigba Ibe has taken the wheel of microphone after him.
Honolulu, Hawaii. This soothing audio head massage is much needed in these stressful times. Probably not. This one is. We had to reference three different sources to get the best sound: reels, vinyl and cassette. Operating from his lifelong base of Honolulu, Hawaii, Lyman and the musicians he worked with released a large quantity of albums over a near year period that brought his particular mixture of Polynesian sounds and Afro-Cuban rhythms to a wide audience, all across the planet.
Thanks to the efforts of Roger Bong's Aloha Got Soul label, we can now enjoy all that it offers once again, though vinyl and digital reissues. Given the contributions Lyman made to fantasy fueled sounds of exotica over the course of his lifetime, the album is drenched with subtle melodies that recall a litany of television shows, films and library music albums.
If you need some time out, you'll find it here. Ersatz soundtracks for armchair safaris and shangri-las. At the end of this month, Aloha Got Soul, will reissue the late, lamented, vibraphone and marimba maestro Lyman's last solo commercial recording, the LP Island Vibes. A seamlessly segued suite of nine pieces, it consists almost exclusively of stripped back serenades for sampled, soothing, gently crashing, surf and Lyman's trademark instruments.
There are no strings, no percussion, no orchestration, just harmonic hymns and lullabies hammered out by his virtuoso four felt mallets on metal and wooden tongues. The odd steel sheet is shaken to mimic the thunder of electrical storms, or the roar of the torrent of a secluded waterfall. The even odder horn sounds, like that of an approaching pleasure cruiser, homing into view, heading for harbour, toward honeymoon hideaways, fantasy islands, and blue lagoons.
When Martin Denny held a residency as hotel band leader in Honolulu — where he employed Lyman on vibes — the calls and cries of the local wildlife were incorporated, integral to their evening performances. A welcomed sonic transport to paradise, much needed in a post- pandemic world. At eight years old, Arthur Lyman's music was already being played in public spaces via a toy marimba performance on the radio. While Lyman laughed about the experience, he would continue performing and ultimately debuted professionally at 14 with a jazz group.
His skills earned him a place as a vibraphonist alongside exotica pioneer Martin Denny, although Lyman would leave the Denny's group soon after to pursue a solo career. Posted by Jillem on Tuesday, September 28, Labels: Arthur Lyman - Island Vibes Rotterdam, The Netherlands. Niew Hip Stilen Simply fantastic Album) me, these guys were the best post-punk band from Rotterdam, maybe from Holland, way ahead of their time.
It consists of multimedia works produced in conjunction with video art and dance theater between and The first track is The End - Zombie Jihad - Long Bloody Road Into Heaven (CD 2," which has a deep repetitive hammer beat.
In addition, there are nine other tracks, ranging from minimal music variants to odd-shaped electro, that are full of creativity. The members were involved in out-of-the-way improvisational groups such as the Jozef Kip Quartet and the local post-punk scene. Highly recommended!
Quite curious for me what is avantgarde jazz rock in collaboration with electrinika, and it was quite amazing indeed. Suitable to call their electronic creation is percussive and psychedelic, not danceable nor pop at all. Rutger's flexible, human heartwarming really saxophone play completely sticks to the rhythm section "percussively". The combination of saxophones and synthesizers should be thought as the main dish in this album, let me say.
Rutger's flexibility for managing saxophone can be heard via the sound texture, that sometimes The End - Zombie Jihad - Long Bloody Road Into Heaven (CD eccentric, sometimes sensual, sometimes primeval, and sometimes novel. Maarten's inorganic whispering voices are funky spice for the production. And the rhythm section including percussive synthesizer punches is pretty precise and strict, never beaten by other instruments.
Every other track, with the exception of B4, is an instrumental. The first twenty five or so seconds of A3 feature Album) Zappa-on-crack totally unnatural syncopation of the techiest djent or avant-prog, using just a saxophone and what sounds like a Yamaha RX11 before the vocalist comes in and things get endearingly stupid. A guitar shows up on B1, and an electric bass shows up on B2, the latter of which is loaded with sound effects from a pinball game.
I got curious and did some digging, and it turns out it's a table called Pinball Champ '82 from an Italian company called Zaccaria. B3's a nine minute long track featuring a drum machine, an acoustic bass, and a piano. It's got mild smokey dark jazz vibes, but it's way, way too long and too repetitive. And that closer is segmented as follows: multiple unaccompanied overdubbed saxophones playing an almost liturgical theme, unaccompanied spoken word in Italian, the only time that language is spoken on the CDdrums and saxophone, then the overdubbed saxes again.
It's very, very odd. Not like New wave's completely wrong. Avant-prog The End - Zombie Jihad - Long Bloody Road Into Heaven (CD closer, but a bit misleading.
This gets The End - Zombie Jihad - Long Bloody Road Into Heaven (CD really proggy only two or three times, the rest being I dunno, the music in the lobby of the Dutch embassy in Morocco run entirely by street jazzbos and robot butlers? Get the most effortless audio entertainment for you.
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