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.
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!
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
By 1960, several Jamaican institutions had begun to show an interest in the counterculture, and to contribute to the demarginalisation of the Rastafari movement which had previously been repressed. One such institution was the University of the West Indies, which put the Rastafari on its agenda. In the course of these trajectories, Jamaican public opinion, which had predominantly perceived the Rastafari movement to be a crowd of violent criminals, fools and outcasts, changed successfully.
Particularly, reggae music (as the emancipation of Jamaican popular music) was co-opted. The result of the blending of Afro-Jamaican Burru and Kumina drum techniques and folk traditions with Afro-American musical styles (including jazz, gospel, rhythm and blues, soul and swing) led to the creation of mento, ska, rocksteady and reggae styles like dancehall, dub, lovers, raggamuffin, rockers and roots, which ‘exerted a tremendous influence on the development of post- World War II popular music globally’. The musical film The harder they come (1972), starring Jimmy Cliff, contributed enormously to the transnationalisation, popularisation and commercialisation of roots reggae. Not until this style developed, did reggae lyrics exhibit the spirituality and socio-political engagement that came to be seen as the hallmark of roots reggae. And, clearly no one represented the Rastafari rhetoric and feelings of this genre to the world more ably and persuasively than Bob Marley.
In fact, conscious reggae music, with its recreational, critical and inspirational dimensions, would soon transcend the Rastafari milieu and succeed in conquering a global audience. Today, Rastafari not only has observer status in the United Nations, but even more importantly it has become part of everyday culture in Jamaica, and even abroad. However, the various Rastafari mansions relate differently to reggae music: whereas Boboshanti reject reggae as part of their culture and only consider drumming and chanting as true Rastafari music, the Theocracy Reign Order of the Nyahbinghi describes its relationship to reggae through the metaphor:
DJ Kool Herc, the chief architect of hip-hop, was born Clive Campbell in Kingston, Jamaica. At the age of twelve, in the winter of 1967, Campbell moved to Bronx, New York. The year he migrated to America, sound-system culture in Jamaica had a ubiquitous presence in Kingston’s lower-class neighbourhoods. As a twelve-year-old preteen now living in the Bronx, Campbell already possessed a persistent reggae and sound-system consciousness having experienced the innovative music of Prince Buster, the Skatalites, Don Drummond, and dancehall deejay U-Roy.
At eighteen, Campbell attempted to recreate the Jamaican dancehall experience in the Bronx by spinning the latest Jamaican reggae records at neighbourhood parties, but his young African-American audience was not feeling the reggae beat and did not comprehend the Jamaican patois rhymes of sound-system MCs known as toasters. As DJ Kool Herc, Campbell shifted to playing funk records, but his reggae background caused him to favour funk with heavy-weight bass lines and lively percussive drumming. Kool Herc’s record selections were transmitted through hi-fi stereo equipment that spoke with the same awesome power and sonic quality of a roots Jamaican sound system. The selector, as a deejay is called on a reggae sound system, though using one turntable-the norm during the ’60s and ’70s- was still capable of altering the arrangement of a tune spinning off a record on the turntable platter. The selector skillfully inflicted a completely different sound context on a roots reggae recording by manipulating the controls on the sound system’s amplifier to briefly remove the bass on a tune, accentuate the singing of the song’s vocalist, and highlight the harmony of trumpet, saxophone, and trombone. The selector would create tension in a live remix by bringing back the bass booming like a compact implosion. By the ’70s, the selector had the ability to vary the sonic texture of the recording by creatively deploying reverb and echo chamber to repeat the sweetest elements of a vocal or horn solo and as a special sound effect that dramatized certain aspects of the recording with a live feel.
Kool Herc’s approach to creating something fresh from pre recorded funk on vinyl was different because he used two turntables. But his approach was similar in that he shared the same objective as the selector, which was to do a live remix of the record to heighten the entertainment of his audience. He extended the intoxicating rhythmic feel of percussive conga, bongo, or trap drums sizzling the break of records like Mandrill’s“Fencewalk,” the Incredible Bongo Band’s“Apache,” and the live version of James Brown’s“Give It Up, Turn It Loose” by playing the same record on two turntables using a sound mixer to seamlessly prolong the percussive breakbeats.
Herc pioneered the innovative use of two turntables and a sound mixer as active instruments that became more than passive facilitators, more than just pieces of electronic equipment that merely played what was recorded on vinyl.
These electronic instruments were now used to rearrange prerecorded music to suit the immediate needs of the disco and the dance floor. When DJ Kool Herc rocked a block party, dispatching African American funk with the overwhelming sonic power of a reggae sound system, no other deejay dared to compete.
Heavyweight combination with Hornsman Coyote brass section, Digitron steppas and Haris Pilton flavor and styles results in 11 track mixes including Dubolik dub and vocals by Tadiman, MC Lipin, Jahmadeus and Berise. Nah miss!