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Beres Hammond OJ (born Hugh Beresford Hammond; 28 August 1955, in Annotto Bay, Saint Mary, Jamaica)[2][3] is a Jamaican reggaesinger known in particular for his lovers rock music. While his career began in the 1970s, he reached his greatest success in the 1990s.
Born the ninth of ten children, Hammond grew up listening to his father's collection of American souland jazz music including Sam Cookeand Otis Redding.[3] He was further influenced by the native music of skaand rocksteady, in particular Alton Ellis.[3]
Hammond began participating in local talent contests from 1972 to 1973,[2] which led to his first recording, of Ellis' "Wanderer".[3] In 1975 he joined the band, Zap Pow, as lead singer,[4] leading to the hit 1978 single, "The System" under the Aquarius Records label. However, he simultaneously sought a solo career, releasing his debut album, Soul Reggae, in 1976.[3] His solo ballads "One Step Ahead" (1976) and Joe Gibbs produced "I'm in Love" (1978), were both hits in Jamaica.[3] He left Zap Pow in 1979 to pursue his solo career, and recorded two more albums Let's Make A Song in 1980 and Red Light 1981. He formed Tuesday's Children, a harmony group that toured but never recorded.[3]
Hammond formed his own record label, Harmony House Records, in 1985 for the release of his Make a Song album,[2] which had two Jamaican chart-toppers that were influenced by the emerging dancehall style: "Groovy Little Thing" and "What One Dance Can Do".[3] The latter, produced by Willie Lindo,[4] began to break Hammond into the international market. He scored another hit in 1986 with "Settling Down" on his eponymous release. He left his fame in Jamaica for New York City in 1987,[2] after being tied up as thieves ransacked his house during a home invasion.[3] There he recorded the Have a Nice Weekend album and the duet single "How Can We Ease the Pain" with Maxi Priest.[4]
Hammond returned briefly to Jamaica to record Putting Up Resistance, which was significantly harder than his typical ballads, produced by Tappa Zukie, which spawned the hits "Putting Up Resistance" and "Strange".[3] He signed with Penthouse Records in 1990 and returned to Jamaica permanently to record the dancehall smash "Tempted to Touch", with producer Donovan Germain.[4] This is perhaps his best known song in the United States and United Kingdom, and set the foundation for the hits "Is This a Sign" and "Respect to You Baby" on the 1992 A Love Affair album.[3] Also in 1992, Beres released the single "Fire". The song received critical acclaim within the Reggae music industry and it was an extremely sought after 7" single. Now garnering interest from major studios such as Elektra Records, Hammond recorded five more albums in the 1990s as well as several compilations, establishing himself as one of the top lovers rock artists. His first album of the new millennium was 2001's Music Is Life, which featured an appearance by Wyclef Jean, and contributions from Earl "Chinna" Smith and Flourgon. The album spawned several hits, including "They Gonna Talk", "Rockaway" and "Ain't It Good To Know".[2][3] The 2004 release Love Has No Boundaries, had guest spots by Buju Banton and Big Youth.[3]
City Splash is a 30,000 capacity festival that celebrates the impact of Caribbean and African culture in the UK and beyond; from the heritage of Roots, Dub and Dancehall to the birth of Jungle and Garage, right up to showcasing the most up-and-coming talent for today.
We pay homage to pioneering sounds that raised generations. We create a space for the community to unite, connect and create history. We are purveyors and advocates for Black music, food, dance and style.
City Splash; we, the home of culture.
Chinsea Lee, best known as Shenseea (Kingston, 1 October 1996), is a Jamaican singer-songwriter based in Kingston, Jamaica.
During a July 2022 interview for Billboard, the artist explained her early background and artistic path, saying quote:
Music was the only thing I aspired to do, and this is my dream ever since I was a kid. I’ve always seen myself as an international artist, something was just telling me that, “You’re going to be this, you’re going to be that.” But my family […] tried to drive me into different careers. I grew up in Jamaica, […] I usually moved around a lot during my high school years, because my mum was a singer. […] Music was definitely my first choice, there wasn’t a day that couldn’t pass and didn’t open up and say, “Music was all I ever wanted.” The first time I tried to write a song was in my eighth grade, and I couldn’t get past three lines, so I used to do a lot of covers, just going up throughout high school and singing other people’s songs, but [once] I gave birth to my son, it’s like the switch went on.
Shenseea first came to national and international attention following the release of her first hit single, “Loodi,” in 2017, building an ever-growing reputation within the Dancehall scene ever since.
11/29/2023 by Press Release
City Splash Festival returns to London's Brockwell park on May 27, 2024 to once again celebrate the impact of Caribbean and African culture in the UK and beyond. This year's line-up is another massive one with the likes of Capleton, Beenie Man, Shenseea, Busy Signal, Anthony B, Black Sherif, Ding Dong, Libianca, Lojay, Queen Omega, Busy Signal, WSTRN and many more all playing with further waves of names to come.
The much loved cultural gathering creates a space for the community to unite, connect and create history. City Splash, The Home of Culture, are renowned and authentic purveyors and advocates for Black music, food, dance and style that has made it one of the UK's most essential festival experiences.
It is a lush rolling green space with ornamental ponds, formal flower beds and a wall garden, lakes and plenty of sloping grounds to explore and relax in. The one day escapist haven is a superbly curated mix of authentic Caribbean and African culture with 45+ Black-owned food traders delivered in partnership with Black Eats LDN, plenty of authentic rum, and a creatives market as well as a wealth of engaging talks, panels and workshops by charity partners.
The first wave of headliners is another epic one with legendary Grammy nominated Jamaican reggae and dancehall musician Capleton. He will be joined by the one and only long-time reggae hit maker and magician of stage presence Beenie Man, dancehall superstar Shenseea and fellow Jamaican dancehall reggae star Busy Signal known for recent hits like Lady In Red. Also announced is Billboard Award nominee and Cameroonian-American singer Libianca, pioneering dub sound system crew Channel One, dancehall dons Iration Steppas, and renowned UK sound system Rampage Sound.
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World Bash comes to the UK poised to showcase the "biggest and baddest sound systems" in the world. A supercharged sound system stage show, and a star-studded line-up of some of the most significant players in the sound system industry.
World Bash is a celebration of sound culture, with a mix of classic anthems and good music, it's a show for dubplate lovers and champagne spillers alike
O2 Academy Birmingham 16 - 18 Horsefairs
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He is the Jamaican legend who liberated reggae, taking it out of Kingston, drenching it in horns – and giving it a joyous, spiritual kick. As Burning Spear hits the road, he looks back on his astonishing life Rodney was born in Saint Ann's Bay, Saint Ann, Jamaica. As a young man he listened to the R&B, soul and jazz music transmitted by the US radio stations whose broadcasts reached Jamaica. Curtis Mayfield is cited by Rodney as a major USmusical influence along with James Brown.[
GARAGE MIX 2022
In the United Kingdom, where jungle was very popular at the time, garage was played in a second room at jungle events. After jungle's peak in cultural significance, it had turned towards a harsher, more techstep influenced sound, driving away dancers, predominantly women. Escaping the 170bpm jungle basslines, the garage rooms had a much more sensual and soulful sound at 130bpm.[2]
DJs started to speed up garage tracks to make them more suitable for the jungle audience in the UK. The media started to call this tempo-altered type of garage music "speed garage", 4x4 and 2-step's predecessor. DJs would usually play dub versions (arrangements without vocals) of garage tracks, because pitch-shifting vocals could sometimes render the music unrecognizable (although sped up and time-stretched vocals were an important part of the early jungle sound, and later played a key role in speed garage). The absence of vocals left space in the music for MCs, who started rhyming to the records.
LIGHT MY FIRE FEATURING GWEN STEFANI.
Light My Fire" is a song recorded by Jamaican singer Sean Paul featuring guest vocals from American singer Gwen Stefani and Jamaican dancehall artist Shenseea. He wrote "Light My Fire" with Shenseea, Saul Alexander "AC" Castillo Vasquez, Gamal Kosh Lewis, Allan Peter Grigg, Rosina Russell, and Emily Warren. It was produced by Grigg, AC, and Paul's brother Jason Jigzag Henriques. In interviews, Paul revealed the collaboration was a result of his admiration of both Stefani and Shenseea. It was digitally released as a single by Island Records on 25 May 2022 in support of Paul's eighth studio album, Scorcha (2022).
"Light My Fire" is a reggae-heavy track that incorporates the individual musical styles of all three artists. Critically, it was regarded as a highlight collaboration on Scorcha. Several reviewers also noted the trio's chemistry on the track. The accompanying music video to "Light My Fire" was released on 13 July 2022, and directed by Quinn Wilson. It features the three artists hosting a house party featuring dancing, singing, and cooking. Stefani's Jamaican-inspired outfit proved controversial, with some critics accusing her of cultural appropriation. Paul and Savannah Baker, the video's stylist, came to Stefani's
"Light My Fire"Single by Sean Paul featuring Gwen Stefani and Shenseeafrom the album ScorchaReleased25 May 2022GenreReggaeLength3:22LabelIslandSongwriter(s)
Sean Paul singles chronology"No Fear"
(2022)"Light My Fire"
(2022)"Tic Tac"
(2022)Gwen Stefani singles chronology"Slow Clap"
(2021)"Light My Fire"
(2022)Shenseea singles chronology"Deserve It"
(2022)"Light My Fire"
(2022)Music video"Light My Fire" on YouTube
Dancehall is ultimately a celebration of the disenfranchised selves in postcolonial Jamaica that occupy and creatively sustain that space. Structured by the urban, a space that is limited, limiting, and marginal yet central to communal, even national, identity, dancehall's identity is as contradictory and competitive as it is sacred. Some of Jamaica's significant memories of itself are inscribed in the dancehall space, and therefore dancehall can be seen as a site of collective memory that functions as ritualized memorializing, a memory bank of the old, new, and dynamic bodily movements, spaces, performers, and performance aesthetics of the New World and Jamaica in particular.[38]
TWICE AS NICE DJ EZ FT Mc CREED 1/3/1998
Alister MorganSaturday 26 April 1997 00:02 BSTComments
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Twice as Nice at The Colosseum, 1 Nine Elms Lane, Vauxhall, London SW8 (0171-272 4185). 8pm-3am, pounds 4 before 10pm/pounds 8 after. Sunday
If London is the city that never sleeps, then Twice as Nice has to accept some of the blame. The capital's premier Sunday night has been pulsating south of the river since last September. The clubber's Sabbath is often a buffer day between the previous night's indiscretion and your 9-to-5 on Monday morning, but, hey, you can catch up on sleep when you're old.
Skyline radio station celebrates 20 years of service to the people of wolverhampton and surrounding areas.
Shauna McKenzie (born 22 May 1984), known by her stage name Etana, is a Jamaican reggae singer. Her debut studio album, The Strong One,[1] was released in June 2008. In December 2018, Etana was nominated for the 61st & 64th Annual Grammy Awards for Best Reggae Album.
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The Jamaican immigrant producer and entrepreneur, who is being honoured with a blue plaque this week, laid the foundations for a vibrant British reggae scene
Charis McGowanWed 26 Jul 2023 07.00 BST
Acouple of years after he arrived at Tilbury docks on the SS Manistee in 1958, Jamaican carpenter Sonny Roberts took the keys to a dusty, neglected basement at 108 Cambridge Road in Kilburn, London. Roughly 30 metres square and strewn with litter and discarded clothes, Roberts opened his trusty wooden toolbox, which he’d brought from Jamaica, and started to transform the space into Planetone, the UK’s first Black-owned music studio.
From 1961 to 1965, West Indian musicians flocked to the studio – visitors included iconic reggae trombonist Rico Rodriguez MBE, who went on to record with the Specials and Toots and the Maytals, chart-topping soul singer Jackie Edwards, Millie Small of ska-smash My Boy Lollipop fame, and rocksteady group the Marvels. The site is being honoured with a blue plaque today from the Nubian Jak Community Trust, an organisation that memorialises significant Black and minority ethnic people in the UK.
Musicians would play shoulder-to-shoulder in a cramped recording dock, while the tall, charismatic Roberts stood in the production box, towering over his mixer and recording-cutting machine. There was also a space with a kitchenette, some benches, and a single bed that was frequented by friends stopping by to listen and hang out (or as their Caribbean slang would have it, lime).
“When the musicians heard about 108 Cambridge Road, there was an influx,” says his wife Monica Roberts, who met Sonny in the studio while chaperoning her adolescent pianist niece, Ornell Welsh, for recording sessions. Sonny Roberts always made sure guests were warm and well fed. “Sonny would cook up lamb soup, or stewed pork, and give them a little something. Some of them didn’t have a job, y’know? Wages were small,” Monica recalls.
Monica and Sonny struck up a romance over ska and R&B grooves in the Planetone basement. They were married for 52 years, moving back to Jamaica in 1997, where they lived together until Sonny died in 2021. She says her husband and his studio were deeply valued by the community: “Sonny never turned anyone away. Even if they weren’t recording, they’d come sit and listen. It was like a home, a refuge.”
Planetone stood out as a safe space for Black musicians during a time of intense racial discrimination towards the newly arrived Windrush generation, who had predominantly settled in London’s north west. The studio was established in the backdrop of the Notting Hill race riots, and located less than a mile away from the racially aggravated 1959 murder of Antiguan man Kelso Cochrane.
Forced to navigate a hostile and segregated London, West Indians found solace in hand-built sound systems: mobile discos built from a vinyl player souped up to large speaker boxes. The sound systems were Roberts’ inroads into the music business: a skilled furniture maker and joiner, he crafted loudspeakers, eventually building his own sound system, Lavender. Named after his favourite wood polish, he’d bring Lavender to parties, seeing the opportunity in West Indians’ ever-growing demand for ska, reggae, mento and calypso sounds from home.
“There’s no clubs to go to. They’re having to create that scene and build that community,” says Mykaell Riley, director of the Black Music Research Unit at the University of Westminster. “Sonny had that entrepreneurial spirit that the Windrush generation arrived with: we’re going to do it, in spite of the challenges.”
Roberts rented the basement from Indian-Jamaican landlord Lee Gopthal, who lived in the upstairs. In 1963, Roberts told his friend Chris Blackwell,who he met through a furniture commission, about a ground-floor office available at 108 Cambridge Road that could suit Blackwell’s fledgling Island Records operation. Island Records moved on to the site, and Gopthal founded a music distribution company Beat & Commercial. West Indian music was the lifeblood of the building, rhythmically pulsating through each floor of the bustling three-storey house.
It was quite intimate!” says David Betteridge, who was Island Records’ managing director at the time. He remembers Roberts would pass by his office to get to his studio, which he recalls as a “pretty basic, four-track recording space with egg boxes on the ceiling to baffle the sound”. Attesting to the skill of Roberts’ carpentry knowhow, Betteridge does not recall hearing the muffled sounds of the brass and bongos played below. “I never had to say: Sonny, would you please shut up!” he laughs.
With an infant child and another baby on the way, Roberts closed the studio in 1965 to focus on the more lucrative carpentry gigs. The booming Island Records took over the former Planetone space, and by the late 60s, Gopthal and Blackwell teamed up to establish Trojan Records, spawning an era of chart-topping reggae, ska and rocksteady hits including Ken Boothe’s UK No 1 single Everything I Own, Dandy Livingstone’s A Message to You, Rudy, and Desmond Dekker’s You Can Get It If You Really Want.
In 1970, Roberts resuscitated his passion for music and opened Orbitone, a record shop in Harlesden that stocked reggae, ska, calypso, Afrobeat, merengue and jazz. Manning the shop from Monday to Saturday, Roberts recorded music in rented studio spaces on Sundays, producing Nigerian band the Nkengas’ Destruction album in 1971 – one of the earliest examples of Afrobeat music in the UK. He licensed Montserratian artist Arrow’s 1984 calypso hit Hot Hot Hot, before producing his highest-charting single in 1986 with St Vincent artist Judy Boucher’s soft reggae single Can’t Be With You Tonight – which was beaten to No 1 by Madonna’s La Isla Bonita.
Music moved him. He’d clench his fists, and you could see the ecstasy written on his face
Reuben Richards
Roberts was an instrumental figure to West Indian musicians in London throughout his decade-spanning, pioneering career. Soul singer Reuben Richards credits Roberts for hearing “dat ting” in his voice and recording his debut album in 1987. “Music moved him and he wasn’t afraid to express the way he was feeling,” he says. “He’d clench his fists, and you could see the ecstasy written on his face. He was a music lover.”
Renowned jazz guitarist Ciyo Brown also recalls Roberts as a “joyous” producer, who relayed his vision viscerally, despite not playing any instruments himself. “I felt the imagery of what he was saying, just his vibration,” he says. “Music is a frequency; it’s tones, colours, it’s emotive, and I felt it from him.”
In the 1980s, Roberts employed a young Paul Scott “General” Levy, now a veteran junglist MC, to flog records at an Orbitone pop-up shop in Notting Hill carnival. Levy recalls Orbitone as a haven for the Harlesden youth. “Some of the best artists come out from north-west London, because when we had that safe space, it helped the community grow.”
Multiple events have taken place throughout Britain this summer to mark the Windrush generation’s 75th anniversary in the UK. However, despite a recent push to recognise their cultural legacy, much of their achievements have been sidelined in British music history and Roberts remains a relatively obscure figure. “He should be held in high regard; I don’t think he was given the accolades he truly deserved,” says Richards. “He was a forward-thinking man, a genius.”
That is why for those who knew him, the blue plaque unveiling is a fitting, overdue, gesture. Monica Roberts has flown in from Jamaica to attend the event: “I’ll never regret the day I went to the studio and met that marvellous man,” she says.
"I do music because it is my first love and where my passion lies. For me, it's about a message... One of love, hope, kindness, selflessness, and also an opportunity to share a piece of myself with others" - Mortimer
Mortimers a Jamaican recording artist on the rise; a promising singer with an enthralling voice, who is equally comfortable creating traditional roots reggae as well as contemporary Jamaican music, and who dances between the two to reveal a sound that blends his old-soul sensibilities with progressive youthfulness. Mortimer’s voice effortlessly glides between a raspy, smoky alto and a silky falsetto, with an unhurried delivery that has become signature of his sound.
Born in Kingston, Jamaica, but raised in the rural district of Whitehall, St. Elizabeth, as a youth, Mortimer had dreams of becoming a soldier or an auto engineer, but these aspirations soon took a back seat to music.
How the development of reggae music expanded throughout the world . This is a great watch for all reggae fans.
Vintage Saturdays a brand new night out for all the reggae families, each and every Saturday.. watch our video. Stay tuned for the latest updates. 2024
JAMAICA'S REGGAE CHART TOP 25 SINGLES
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Good Vibes-90s Era Jamaican Reggae Dancehall T-Shirt
Reggae Crochet beach dress for over a swimsuit
Women's JA Sarong Set With Water Shoe, Mask, Sunglasses
The Best of Trojan Classic Reggae Vol. 1
House of Marley Record Player-Wireless-Bluetooth & Get Together 2 Portable Bluetooth Speaker
The JA Dancehall Top 25 is compiled by Richard “Richie B” Burgess, Veteran Broadcaster and Entertainment Personality. Sources: Sound Systems, Record Shops, Night Clubs & Radio Play
LW = Last Week; WOC = Weeks on Chart
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Beenie Man’s ‘Happy Life’ And Nine New Songs
There’s always time for good music, and in this iteration of our music roundup, we deliver all the good stuff in music you may have missed, from Skeng’s long-awaited return, Beenie Man’s latest summer adventures and offerings, and Alkaline’s inimitable self-confidence.
Check out the tracks below.
Beenie Man and Twinkle Brain deliver all the feel-good vibes for summer in their happy-go-lucky single, Happy Life. Produced by TP Records, the song, which is accompanied by a just-as-vibrant music video, captures the two artists in a fun-filled and light-hearted celebration of summer, at the center of which are the typical references to women, partying and having a good time
MUSIC NEWS & UPDATE s
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The MPS has been monitoring violent content online, including videos on YouTube since September 2015. Calling out rival gangs online takes place regularly and social media provides the ability for gangs to maintain disputes and tensions, which can result in homicides, serious assaults involving knives and firearms. Material posted online by gangs will then reference these incidents of violence, belittle victims and seek to humiliate opposing gangs, all with the intention of inciting a response. As a consequence, content appearing on social media will often act as a trigger for further violence within existing gang tensions and disputes.
Where officers believe online content will incite gang violence based on a range of information available to the police we will refer that material to a social media company or streaming site seeking its removal for breaching the company’s community guidelines. The MPS continues to work to understand the reality of the links between online activity and ‘real world’ offline offending, which includes working with social media companies and streaming sites.
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From Wikipedia, the free encyclopediaJump to navigationJump to searchDing Dong RaversBirth nameKemar Christopher Dwaine OtteyAlso known asDing DongBornKingston, JamaicaOriginNannyville, KingstonGenres
Occupation(s)Singer, Songwriter, DancerYears active2005 to presentLabelsRomeich EntertainmentWebsitewww.instagram.com/dingdongravers
www.facebook.com/dingdongraversja
Kemar Christopher "Ding Dong" Dwaine Ottey (born September 29, 1980) is a dancehall reggae artist and dancer. He was a dancer before becoming a Jamaican deejay (artiste) and dancehall reggae recording artist.[1][2] His most notable songs "Bad Man Forward / Bad Man Pull Up" (2005) "Fling" and "Genna Bounce" released in 2017 has assisted in his global appeal.[3] He founded the dancing syndicate Ravers Clavers..
we are featuring :
BY CREATAH // JUNE 8, 2022 TWEETSHARE
By Gerry McMahon
Compliments to J-Roots on his return to the Irish roots reggae scene, with an accomplished 13 track album entitled ‘Forward Ever’. Over more than three decades in the music business, this talented multi-instrumentalist has an impressive track record in writing, producing and recording from his ‘Humble Soundshack’ – including time served in Laurel Aitken’s backing band. On this delightful compilation, he adds a delectable-sounding horns section to guest vocal inputs for maximum impact. J-Roots has released 3 records to date, ‘Soapbox Fury’ (2012), ‘Universal Hoodwink’ (2016) and now ‘Forward Ever’, which he aptly and accurately describes as ‘an instrumental dub mash-up of his favourites from his previous two albums’.
This release opens with a nice lazy rootsy summer sunshine feel type track, entitled ‘Roots Connection’,where a subtle, sweet and seductive sax takes centre stage, with Lariman’s vocals intermittently interjecting. This is followed by another accomplished smooth sounding sax-drenched ‘Ode to the Spear’ – a track appropriately devoted to the recently rejuvenated reggae icon and roots reggae maestro Burning Spear. Next up, Players/Slayers offers a delightful melodic sound, with a captivating male: female love-laced vocal interplay from Kitty B. and High Def. The ‘Horns Version’ then sticks with the album’s breezy roots’ feel, as the full range of instruments – set to persistent percussion – sit easily with images of a lazy lumbering summer stretch.
Thereafter ‘Universal Hoodwink’ kicks in with an array of sweet sound effects keeping the rootsy vibe going, before the album’s title track ‘Forward Ever’ lends a nice bouncy feel to proceedings, allowing the synthesiser/organ to take centre stage. ‘A Dub for Scratch’ would have been well received by the wizard himself, as its steady beat and varied effects – including lazy horns and subtle vocal inputs – make for an accomplished track. Next up comes ‘Favourite Things’, where a sizzling and sometimes spiralling sax does full justice to the popular ‘My Favorite Things’ rhythm (from Hammerstein and Rodgers) as popularised by Julie Andrews in the ‘Sound of Music’. The sound returns to the roots reggae stable on ‘A Man Named Mittoo’, as the guitars lend a wonderful staccato feel to a steady rhythm, well capable of keeping the dancers on the floor and the late Jackie himself bopping above in heaven. As you’d expect, the tempo then accelerates on the ‘Night Train to Rootsville’, allowing the soothing vocal effects and tasty trombone inputs on ‘Sound Pressure’ to shine through to maximum effect thereafter. Likewise, the ‘Return To Zero’ track offers the listener a nice long lazy rootsy seductive sound effect, where the percussion and (rarely deployed) flute come to the fore.
Sadly, this classy compilation has to end, and so it does with ‘Creation Road’, taking the listener on a mystical magical musical journey, that may aptly summarise J-Roots’ own reggae odyssey. All round, this is an ideal sound accompaniment for what promises to be a post-Covid sweet, sizzling and reggae-filled summer. Nice work J-Roots. Keep them coming!
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0:32STAMPEDE STREET CHARTS DANCEHALL / REGGAE CHART
A new music documentary exploring the early years and development of grime in the UK is now available to stream on iPlayer as part of BBC Four's Storyville series.
8 Bar: The Evolution of Grime features a number of pioneers credited with pushing the sound of East London to the world, including Skepta, Kano, Dizzee Rascal, Jammer, D Double E, Slimzee and DJ Target. Made up of rare archive footage and recent interviews, it charts how a DIY culture emerged on pirate radio stations and at basement raves, sowing the seeds for iconic singles, albums and fashion that would define Britain in the first decade of the 21st Century.
(Also known as 'Lakshmi')A school student, who is passionate about dance, sets out to join a national-level competition without her mother’s knowledge. Starring: Aishwarya Rajesh, Ditya Bhande, Prabhu Deva
Pirate radio never died. Its golden age may have faded, but the DIY broadcasts that shaped a generation of UK rappers in the noughties are still going on. You just need to know where to look…
Based in Brentford, west London, are Kurupt FM, the group of dodgy DJs and inept MCs whose BBC mockumentary People Just Do Nothing first aired in 2014. Led by MC Grindah (played by Allan Mustafa), the core group of station co-founder DJ Beats (Hugo Chegwin), unpredictable weedhead Steves (Steve Stamp)
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Janet Kay Bogle was born in Willesden, North West London. She was discovered singing impromptu at a rehearsal studio by Tony "Gad" Robinson, the keyboardist from Aswad, who recommended Kay to Alton Ellis. The Jamaican-born Ellis, a successful rocksteady vocalist, had relocated permanently to London, where he continued to be involved with reggae music and was looking for a female vocalist to record a reggae cover of Minnie Riperton's song "Lovin' You".[3]
Johnny Gill Jr. (born May 22, 1966) is an American singer and actor.[1] He is the sixth and final member of the R&B/pop group New Edition and was also a member of the supergroup called LSG, with Gerald Levert and Keith Sweat.[2]Gill has released eight solo albums, three albums with New Edition, two albums with LSG, and one collaborative album with Stacy Lattisaw.
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