Strictly vinyl mix from main man BissoMan with 50 crucial cuts of Bob Marley.
Tracklist: 1. Judge Not (Beverley’s Records) 2. Love and Affection (CBS) 3. Simmer down (CBS) 4. One Love (Studio One) 5. Mellow Mood (Wail ‘n Soul ‘M) 6. Stir It Up (Island) 7. Rock My Boat (Upsetter) 8. No Water (Mcps) 9. Reaction (Upsetter) 10. It’s All Right (Mcps) 11. Sugar Sugar (Impact!) 12. Mr Chatter Box (Striker Lee) 13. Soul Shake Down Party (Upsetters) 14. Soul Captives (Imperial International) 15. African Herbman (Babylon) 16. Sun Is Shining (Island) 17. Concrete Jungle (Randy’s) 18. Mr Brown (Mcps) 19. Kaya (Babylon) 20. Gonna Get You (Wea) 21. Do It Twice (Fonit-Cetra Internatinal) 22. Lively Up Yourself (Mcps) 23. Bunin’ and Lootin’ (Island) 24. Rastaman Chant (Island) 25. Rebel Music (‘3 o’Clock Road Block) (Island) 26. Them Belly Full (Island) 27. No Woman No Cry (Island) 28. Jah Live (Tuff Gong) 29. War (Island) 30. I Shot The Sheriff (Island) 31. Punk Reggae Party (Island) 32. Guiltiness (Island) 33. Want More (Island) 34. Rastaman Live up (Tuff Gong) 35. One Drop (Island) 36. Jammin’ (Long Version) (Island) 37. So Much Trouble In The World (Tuff Gong) 38. Exodus (Island) 39. Easy Skanking (Island) 40. Ambush in the night (Island) 41. Time Will Tell (Island) 42. Natural Mystic (Island) 43. Redemption Song (Island) 44. Rat Race (Island) 45. Work (Island) 46. Coming From The Cold (Tuff Gong) 47. Pimper’s Paradise (Island) 48. Could Be Love (Island) 49. Buffalo Soldier (Tuff Gong) 50. Iron Lion Zion (Collection Series)
Rastafarians have as common parlance the philosophy that word sound is power! After the 1960s, one can identify the development of a fraternity of Rastafari faithful, taking their message into musical expression. In much the same way perhaps that the Psalms are constructed as sacred records of the ‘livity’ of the Old Testament patriarchs. The philosophy of the Movement moved to some extent (but not entirely) off the street corners, due partly to colonial repression and police brutality, into ‘the mixing lab-Oratory’ to create music that would teach the lessons of Redemption of the African. Planno, in philosophizing to his students who would congregate in his yard in Trench town, West Kingston (including ones such as Don Drummond, Bob Marley and the Wailers, Ras Michael and the Sons of Negus, Alton Ellis and Jimmy Cliff ) taught them to ‘tell out King Rasta doctrine around the whole world . . . Get your bible and read it, read it with understanding’ as his basic guide and teaching on liberating the individual. He would conduct his class room in the informal gatherings in his yard as together they built verses animating the experiences, ideals and aspirations of the Movement. The King James Bible consisting of its 66 books, the laws, Prophets, wisdom songs into the Revelation provided a source of reading, reasoning – analysis and interpretation. It was from this source that the Knowledge of liberation was to come, in particular from the Revelations in the Bible – revealing the identity of the Ethiopian Emperor, Haile Sellassie I, the Power of the Trinity as the returned Messiah. Planno and a number of other brethren were to develop on the earliest teachings brought by the elders of the 1930s, a multifaceted cultural approach, and a network of over 60 bases in the west Kingston and the surrounding corporate area.
At these bases, the hitherto wayward – brothers in particular – became transformed, they could ﬁnd hope, a receptive environment to mould and teach themselves about their identity, their history, the politics of the time, self-sufﬁciency and most importantly in the context of their survival how to develop a habit of industry – mostly focused on the development of self-employment ideas, and especially music that when it hit ‘yu feel no pain’. Music has been the product emanating from what has been described as the business of hardship resulting out of the Poverty Laboratory.
These bases provided vibrant centres for debates on life, philosophy, the politics of Jamaica and the globe especially as far as it affected the people of Africa, some centres even provided training in Amharic, the ofﬁcial language of Ethiopia. The community bases also provided shelter, humble though this may have been, where warm meals (often a one pot of porridge or ‘a sip’/soup) for all who came, books and newspapers, instruments, recording devices and of course the Wisdom Herb as sacrament to inspire the meditation and reasoning a way forward.
Soon west Kingston was to develop a reputation as a Mecca for musicians and scholars from all across Jamaica and surely enough became a fascination for researchers from around the world, the attraction being the Rastafarians and secondarily their cultural panacea – the emerging institution/industry of reggae music.
Excerpt from: Jalani Niaah (2003) Poverty (lab) oratory:Rastafari and cultural studies, Cultural Studies.
McPullish outta Texas releases 2015 “Journey” recording of late and great Judah Eskender Tafari featuring steppers anthem cut and fitting “niyacoustic” mix meditation mix in limited color sleeve 300 7″ vinyl.
From press release:
Judah Eskender Tafari’s musical journey began at Studio One (Jamaica) in 1978, voicing now-classic songs such as “Danger in Your Eyes,” “Rastafari Tell You,” “Jah Light,” “Always Trying” and many others. He worked with many producers and musicians over the course of his impressive music career.
In 2015 Judah traveled to Austin, TX to perform and work with McPullish at his Dubhaus studio. “Journey” is a co-production between these two friends that has stood the test of time and become a favorite, beginning or ending almost every McPullish live dub set in recent years. Judah was not only a great singer but a genuine and caring person who mentored McPullish and many others, always willing to share his musical knowledge and kind spirit with whoever he met. Judah Eskender Tafari passed away in 2020 and is greatly missed, celebrated by his many friends, family and fans.
In 2022 McPullish reached out to Dan I Locks (musician, producer and operator of Deng Deng Hi Fi in Sweden) to record Niyabinghi drums and percussion for a more acoustic version of the song which is featured as the B side.
King Dubmatix coming in with brand new album out on Echo Beach label. 11 vocal tracks with plethora of riddim riders in all kinds of styles and shapes. Including lovely Blue Monday rendition by none other than Barry Ashworth outta Dub Pistols institution, alongside 3 closing dubwise instrumental tracks. This musical delivery sounds groovy, phat, bouncing and flowing in perfect blend of fresh forward roots and solid foundation future classics.
Tiny desk concerts from NPR music are tiny concerts in small rooms. This time it’s Adrian Sherwood’s living room jamming with legendary Andy Horace supported by drums, cello, guitar, bass, keys, trumpet, guitar and cello while dubbing FXs are preformed by maestro himself. Fulljoy!
Dominant and subversive versions of Africa and African history reproduced the dynamic outlined above but on an international scale. In Britain in the 1980s imperial relations were being re-imagined in the context of humanitarian aid. Black youths in Britain wielded their African heritage as a tool to build their communities and give voice to their analysis. Meanwhile the mainstream press, and charitable structures,were also building a version of Africa; one of helpless victims of natural disasters.
Given such a context, the ‘performance’ that is being considered here contains dialogues that traverse the African diaspora and are based on the acquisition of‘oral skills’ in Creolised language, which acted as a mode of response to the imposition of European culture on non-European peoples. Resistance became most evident in the contested spaces constructed around specific types of language-use that expressed an alternative black subjectivity that bridged intergenerational gaps within black communities.
The use of particular linguistic forms, both oral and scribal, continued the type of ‘pan Caribbean consciousness‘ that was necessary for the Windrush Generation’s survival and was passed down to the generations born in Britain thereafter. For many deejays, therefore, the world view expressed through the usage of Standard English reduced them to the voiceless, passive victims of a Eurocentric historical bias. By blending several aspects of Jamaican oral culture with their own local argot, deejays verbally presented critiques of certain entrenched ideas, for instance, poetry as an exclusively white domain.
This type of engagement was exemplifed in a lyric performed on Diamonds Sound System by the British deejay Papa Benji, which suggested that ‘poetry me better than Shakespeare, and me voice gone clear everywhere’.
The deejay thus became the veritable keeper of memories, for once the word was performed, recorded and disseminated, it became an artefact; a historical document. It also enabled the performers to present their own arguments, in their own words and on their own terms in a ‘commonly agreed language’ that countered their ‘social problem’ status.
Privileged to listen to some early mixes in the making of this master piece, Jah Billah confirms this album opens up a new chapter for Balkan regggae.
Mr. Pilton says:
After two years brand new reggae album is here.
HARIS PILTON meets legendary JOSEPH COTTON aka JAH WALTON on an album called MR CLASSIC. The album includes 14 songs in an old fashion reggae style.
From press release:
MR CLASSIC is the latest album from Joseph Cotton in collaboration with producer Haris Pilton.
Legend Joseph Cotton aka Jah Walton (born Silbert Walton, 1957, St. Ann, Jamaica) is a reggae deejay and singer active since the mid-1970s. He recorded his first song named “Gourmandizer” with Joe Gibbs in 1976, under the name Jah Walton. He then moved to Harry Mudie owner of Moodisc label, recording popular tracks such as “Stay A Yard And Praise God” and “Touch Her Where She Want It Most” (the title track from his debut album).
In the mid-1980s he began recording under the name Joseph Cotton, immediately having success. He reached No.1 in the UK charts with “No Touch The Style”, leading to a television appearance on Channel 4’s Club Mixprogramme in 1987. Several more reggae chart hits followed in the form of “Things Running Slow”, “Pat Ha Fe Cook”, “Tutoring”, “Judge Cotton”, and “What Is This”.
Cotton continued to perform and record into the 1990s, 2000s and the present day. He now lives in France where he performs at venues throughout the country and elsewhere in Europe both solo and in collaboration with other reggae artists