REGGAE NEWS - NOVEMBER 2007

Pressure Sounds will be releasing the Joe Higgs album 'Life of Contradiction' on the 18th of Feb 2008 with two additional bonus tracks on the CD. The LP will be a single vinyl album without the additional bonus tracks although the tracks (with versions) will be available on two separate 45s. The 45 of 'Let Us Do Something' is the original Elevation recording and not the later re-recorded version.

We (Pressure Sounds - RA) have decided to keep to the original artwork on the album as it’s so good!!! There will be a full CD booklet with sleeve notes. There will be more information on this release in the New Year. It's a great record and we hope you enjoy it.

CD Tracklisting
Come On Home
Got To Make A Way
Wake Up And Live
Life Of Contradiction
Who Brought Down The Curtains
There’s A Reward
Hard Times Don’t Bother Me
My Baby Still Loves Me
She Was The One
Song My Enemy Sings
Bonus track for CD only: Let Us Do Something
Bonus track for CD only: Freedom Journey – Karl Masters & Joe Higgs

source : pressure.co.uk

Deejay duo Michigan and Smiley enjoyed phenomenal success in the '70s and '80s.

They were among the first male duos to hit the scene and instantly made a hit of themselves with their quirky style.

Papa Michigan (Anthony Fairclough) and General Smiley (Errol Bennett) started out in the late '70s while still in school, scoring immediately with Rub a Dub Style and Nice up the Dance, two ubiquitous songs on the dancehall circuit.

One Love Jam Down became a popular anthem and 1982's Diseases established them as major stars, especially at the annual Reggae Sunsplash festivals.

However, they have not performed together for a while and The Sunday Gleaner caught up with the magical duo to see what has been keeping them away from the dancehall scene.

Sunday Gleaner: How did you get your name?
Michigan: Friends. They had a company that had a tractor called Michigan that was very powerful. So dem seh I'm powerful musically and lyrically. Smiley name Smiley 'cause him don't smile.

How did you and Smileyget together?
Michigan: We lived in the same community of Union Garden in Two Miles. I used to deejay on a sound called Third World and a friend of mine brought Smiley by.
After that, it was history. We got together and start deejay on the sound. We thought we could do a duet which was Rub A Dub Style at Studio One. We then did the song Nice Up Di Dance and an album together.

Were you alwaysinterested in music?
Michigan: Definitely. Friends of mine always said from I was a little boy going to church I was always singing. It wasn't a surprise to the family that I launched musically. They liked my positive route, clean lyrics.
Smiley: From an early age. When I was really young, I went to di country to spend time with my grandparents. My grandfather had a sound system. I was around that a lot growing up.

One of you guys talk more on stage than the other. Who is that, and why?
Michigan: (Laughs) It depends on the show. Sometimes I do more talking, sometimes Smiley does. I guess it's a balance.

Do you consider yourselves pioneers of the male duo?
Michigan: The whole world thinks so. I would have to say yes. We influence a lot of artistes. A lot of them come to us all the time, telling us that we inspired them. We help build di ting.
Smiley: Yeah, sure.

Why set you guys apart from other male duos at the time?
Michigan: Lyrical content did a lot dem times. A lot was going on around us. It was more intelligent, not simple. We tried using different words as such.
Smiley: They were no male duos at the time that we first started, only us in Jamaica. After us, others came 'bout in England and America. We started that.

What is the history ofthe song 'Diseases'?
Michigan: After dat song came out polio outbreak occurred, the first time it happened in Jamaica. Let me set the record straight; I had nothing to do with it. A lot of diseases start happen ... It was just prophetic.

What are your latest projects?
Michigan: Mi have a whole heap of songs. I have a song going on in Europe called Rude Boy Date. I have an album entitled It's All Good. It get a good review. Me and Smiley working on a new album to come out now.
Smiley: Well, we did the 'Dub Club'; now, we suppose to do the 'Belly Up' in San Diego. We suppose to go to Chicago this year and next year.

Is there anything you regret in your career?
Michigan: No man. Mi spiritual and when tings happen they just happen, it was meant to happen.
Smiley: No, cause everything is part of my experience.

What has changed mostin the music businesssince you first began?
Michigan: Now, technology has created the platform to have mini studios set up in people's houses to work on dem album. That's a big plus. More money being made now. But some tings are still di same, Sean Paul and Shaggy up dere like Bob Marley, Peter Tosh and Bunny Wailer were up dere.
Yuh always had negative dancehall, but dancehall and reggae get recognise by Grammys now.
Smiley: What happen now we can have our studios to make riddims. That is a great ting for today. Yu can even work while on di road.

Krista Henry

source : jamaica-gleaner.com

Wayne Jobson and his brother Brian, in 1978, started a band called Native in their native Ocho Rios. Playing a unique blend of reggae fused with rock, their sound, was at the time, a bold step in the Jamaican musical ethos. Two years later, Native was one of the fastest rising bands around.

The outcome of their creative assimilation, was a new sound as far as most Jamaicans were concerned. Be that as it may, by June of 1980, with their debut self-titled album, Native landed a deal with Arista/Ariola Records in Europe, while RCA and CBS/GTO were responsible for distribution in the United States and other territories.

At that time, Native's brand of crossover reggae, stood out especially in the arena of new wave music that was sweeping the USA, Canada and Europe, driven by punk groups like Clash, Police, Sex Pistols and Specials to name a few who were at the forefront of this alternative musical craze.

However, with the decline of that trend over time, Native who put out their last album, No Boundry, in 1990, gradually faded from the scene, but that is only in terms of the musical outfit comprising Jobson's brothers - Brian and Wayne - bass and rhythm guitarists respectively; keyboardist Peter Couch who is now CEO of Whats On Jamaica.com; saxophonist/guitarist Warren Mendes; drummer Richard Sinclair and vocals/percussionist Chris Lopez. Brian Jobson is now a music consultant/artiste manager/show producer.

Sibling Wayne, a lawyer, has gone on to become arguably one of the hardest working agents of reggae at this point in time. Billboard Magazine - widely regarded as the reggae Bible - dubbed Jobson 'The Reggae Authority', while hitmaker Fergie (of Black Eyed Peas fame) refers to him as 'the reggae expert'. Jobson assisted in the production of two of the artiste's songs when she was with her old band Wild Orchid.

The reggae authority also has to his credit a weekly reggae show on Indie 103.1. The station, where Jobson holds down the 4:00-6:00 pm slot on Sundays, was chosen by Rolling Stone Magazine as 'The Coolest Station' in America.

But even more importantly, Jobson - who also did a radio stint on KROG Radio Station before he went on to set up the Washington-based XM Satellite Radio, on which veteran Jamaican musicologist, Dermott Hussey, can be heard - was instrumental in the Peter Tosh documentary Red X and is now in the process of taking it to another level with the creation of a full-length movie on the 'Stepping Razor'.

Wayne Jobson is no less excited about his present project for which he is director/ consultant, than when he was a member of the band. As Bob Marley is to many, Peter Tosh is his musical idol, and his energy today is driven by a passion to keep Tosh's name alive. "In 1973, I met the Wailers, Bob Marley, Peter Tosh, Bunny Wailer. But it was Peter that fascinated me most with his incredible sense of humour and his intellect," Jobson confessed.
"Jamaica has a lot of great musicians, and some of the greatest musicians in the world are in Jamaica, but his humour and his intellect, separates Peter Tosh from the rest of the musicians that came out of Jamaica," he asserted.

Added Jobson: "He (Tosh) was the most well-read reggae artiste ever, and the brilliance of his mind, that really fascinated me. and when he was assassinated in '87, of course I was devastated, and three years after Peter was assassinated I kept thinking about him, and when I went into every record shop in America and even here in Jamaica, you couldn't find Peter Tosh records anywhere, the whole world had forgotten all about him. And all I heard about everywhere I go, is just Bob Marley. So I said let me put together something so as to keep Peter Tosh's memory alive.

"So what I did is, I put together the film and went to the family. and they said 'well, we've these tapes we don't know if you would be interested in it', but when I listened to the tapes, it was the Red X tapes. Peter had intended to write his life story in a book, so he sat down and taped off his whole life story. So I basically had the Red X tape, and for me this was like finding the Lost Ark of the Covenant.

"So I said 'well, can't make a feature film so let's make a feature documentary', so I just had Peter narrating the whole film and just recreated the images. For three years we shot and edited, and finally came up with a great film and it was picked as one of the great films at the Toronto Film Festival in 1994 and then we got nominated for the Canadian Academy Award for the Best Documentary."

The worldwide response to the Red X documentary has encouraged Jobson to go all the way, full speed ahead, to borrow what has now become a political jargon. "So we showed it around the world and got a lot of respect. After that, I then took another 13 years trying to get the feature together with actors and now everybody turned me down again like when I was trying to do it the first time," he recalled.

Jobson explained, that luck finally came his way when he met film maker, Academy Award winner, Ridley Scott. "I was lucky enough to come across one of the great film makers of our time, Ridley Scott and his company RSA and his son Jake and we're putting together the Peter Tosh feature which we may call Get Up Stand Up the working title and we're just working on the script now to get it together.

"Basically, my mission is to never let the world forget the power of the great poet, shaman, revolutionary and the freedom fighter that Peter Tosh was. And I want to appeal to the government and urge the minister of culture Babsy Grange to give respect where it is due to the great Bush Doctor, and I hope next year this time, all of us will be calling him the honourable Peter Tosh."

Get Up Stand Up (if the movie is so called), will highlight all aspects of the life of the reggae monolith whose brutal slaying 20 years ago, robbed the music world of one of its most militant voices. But the main focus of the flick is that phase of Tosh's experiences shortly before his departure from the Wailers to that fateful night when the forces of evil brought an end to his stridency.

"We're just working on the script now and it's hard, in terms of which part of his life to tell because it is such an amazing, interesting life, that to tell the whole thing would be like a four hour movie. So we're trying to pick which slice of his life is the most interesting one.

We're going to have everything in chronology, but we've to focus a little bit on his youth, and then focus mostly on when he leaves the Wailers. a little bit of Wailers and a little bit of Bob Marley, but mostly it will be showing the power of Peter and his music and his message and how he touched the world, because he was a special artiste," explained producer Wayne Jobson .

Director of the Peter Tosh movie is Jake Scott, son of Ridley Scott, the Academy Award winning producer/director whose company put out the feature film starring Denzel Washington called American Gangster, now in local cinemas.

"I've been working on this (Peter Tosh's movie) for 17 years and it's like my dream really, make this great film about this great artiste and I've met every musicians in the world from. the Stones, the Beatles and the Police and anybody you can name, and I still think the greatest rock star of all times and the most meaningful and powerful musicians - as far as being a revolutionist - is Peter Tosh. He has the most interesting story. Peter was a revolutionary, if you listen to him there's no compromise. It was the great mind of this great artiste that the world needs to know. and the people who don't know about it, need to discover him," Jobson advised.

Presently, Wayne Jobson is in Los Angeles working full time with Chris Blackwell as a consulting producer in the production of a documentary on the history of Jamaican music.

"We're going to be down here [in Jamaica] the whole month of December shooting," he said. "We've already interviewed Third World, Steel Pulse and Aston 'Familyman' Barrett and Black Uhuru. We just going to interview everybody in the history of reggae and then collect all the great footage and put together the first big official documentary on the history of Jamaican Music."

He added that the flick - for which Chris Blackwell is executive producer and Ondi Timonerhas, director (he directed the Sundance Film Festival award winning Dig) - has not yet been given a name or a working title.

Turning to his adventure with Lee Scratch Perry, from which came the recently released set, he told Yesterday's Notes: "This album was from 30 years ago when I did my first demo with Lee Scratch Perry at Scratch's Black Ark Studio before he burnt it down. I did record like five songs and I went to England and I did a deal with Arista Records, using a demo, for me to come and record the album with Scratch. But by the time I came back, he had gone crazy and him burn down the whole studio. So I ended up producing the first album myself, but I never really released the Scratch's tape. Since it is 30 years now, a company in England heard them and want to put them out. So I just released it in England."

Basil Walters

source : jamaicaobserver.com

Plans are in the pipeline for the establishment of a museum and foundation in honour of the late Clement Seymour 'Sir Coxsone' Dodd, one of the pioneers who contributed tremendously to the growth and development of Jamaican music.

Sir Coxsone's widow, Norma Dodd, told The Sunday Gleaner in a recent interview that she had plans to establish a museum and foundation in her late husband's name.

"Well, we are going to open up a museum for him and put like some of his earlier work, like the two-track, reel to reel coming right up through the years until he reach where he reached … and we have other stuff in store to do like a foundation donating scholarships to places like the Edna Manley School and Alpha Boys' School (where Dodd went to school), which he was very close to," Mrs. Dodd says.

While Mrs. Dodd says that the plans are still a work in progress as
"persons were already approached", she promises "as soon as things are finalised I will let everyone know what's happening."

coxsone's wishes

These, among other things, are the wishes of the late Sir Coxsone, Bunny Goodison said, speaking on the first anniversary of Sir Coxsone Dodd's death.

"A museum on the premises (13 Brentford Road) was always his wish, a Studio One Museum. We have the space, we have the items and we are going to search for others," he said.

He also noted that things like early sound-system boxes and amplifiers would be among the items in the museum.

Already, Mrs. Dodd has handed over donations to the Alpha Boys' School, as well as funds to support a three-year scholarship at the School of Music, Edna Manley College of the Visual and Performing Arts. The scholarship funding will go towards a music teacher at an institution from where Mrs. Dodd said most of the musicians who played for her late husband came.

proud of recognition

Mrs. Dodd said she was "overwhelmed with pride" as her late husband's work was now "well recognised".

On National Heroes Day 2007 the Jamaican Government recognised the outstanding work of Sir Coxsone Dodd for his contribution to music at the Ceremony of Investiture and Presentation of National Honours and Awards, held at King's House.

He was honoured with a post-humous award for service to the Jamaican music industry, collected by his widow.

"I'm very grateful for it (the award) and if he was alive he would be well pleased and I know he is looking down … He is well pleased," she said.

Dodd, who was born in 1932, started out in the music business in the 1950s, with his sound system, Sir Coxsone's Downbeat, which became popular in dances and clubs all over Kingston.

recorded dance music

Dodd was among the first to start recording popular dance music like shuffle beat and ska in the early '50s and '60s and in 1963 opened Studio One, Jamaica's first black-owned music studio.

He also helped to hone many of Jamaica's music greats, including Bob Marley, Lee 'Scratch' Perry, Freddie McGregor, The Skatalites, and many others who started their careers at Studio One.

The Jamaican Government recognised Dodd's contribution to Jamaican culture in 1991, when he was awarded the Order of Distinction, the country's third highest honour, and in 2002 was honoured with a series of celebrations marking the 50th anniversary of his genesis in music.

"persons were already approached", she promises "as soon as things are finalised I will let everyone know what's happening."

Teino Evans

source : jamaica-gleaner.com

"This station rules the nation with version!" declared Ewart 'U Roy' Beckford, OD on his way-back-in-the-day tune (somewhere between 1969 and 1970.) That original declaration has been copied and sampled a number of times in various versions, the most popular of which was by the short-lived group Musical Youth in 'Pass the Dutchie' - their version of the Mighty Diamonds' 'Pass the Cutchie'.

Still, when it comes to version, we run things. We can cut a version of a version from any version and make it more original than the original. Yeah man, but as those English youths proved, the version thing works both ways. So while we are busy making versions of other people's things, is same way other people busy making versions of our things.

The weird thing though, is that sometimes the people who copy our things end up making more money and fame off the version than we could ever make from the original. You want example? Check UB40's version of Lord Creator's Kingston Town or Bony M's version of The Melodians' Rivers of Babylon or Mick Jagger's versions of Half Pint's Winsome and Eric Donaldson's Cherry oh Baby.

And hear the next thing 'bout versions now: some recorded versions or performed renditions actually end up being so popular, that people forget to give credit to the original. Of course, there are times when credit is given to a version at the expense of the original and it has less to do with the quality of the rendition and more to do with plain old ignorance. Like the time I overheard this man declaring "a so mi know say Noddy Virtue is a big star, mi just hear di famous Jimmy Cliff a sing over Noddy tune weh name the rebel in me." Poor him and Noddy! Actually, Noddy does a passionate and exciting version, but I personally prefer Mr. Cliff's original.

Totally eclipse original

There are a few reggae versions though, that in my humble opinion totally eclipse the overseas originals in terms of appeal. These include Benji Myaz version of I love you higher, Frankie Paul's version of Sarah and Dennis Brown's version of Silhouettes. Ah bwoy, Silhouettes bring back memories! I remember an era when our music, whether version or original, had more substance and soul and guttural truth. And I sense contemporary versions of that in the music of people like Junior Kelly, Chuck Fender, Tarrus Riley and quite a few others.

Sadly, they are not the majority. Nah sah! We still have nuff man a yard who are delinquents posing as musicians; and some of them busy trying to massacre reggae music with their bling, misogyny and violence. At the same time there are artistes from outside Jamaica who, strongly influenced by our music, are creating works that have genuine echoes of the real old time thing: the original version. You should check out an Ethiopian reggae singer called Johnny Ragga, or a Rasta Band from the Virgin Islands called Midnite.

And you have people like Gentleman from Germany and Alberosie from Italy who go way beyond version or imitation; they've completely assimilated Jamaican music, language and culture. Some wise or otherwise quotable person once said that imitation is the sincerest form of flattery. What says you?

Blakka

source : jamaica-star.com

Lee “Scratch” Perry is one of the most important musical figures of the 20th Century and a unique entity whose works have forever changed the way we think about recorded sound. Perry is rightly hailed as a true originator through the sonic innovations he pioneered at his legendary Black Ark studio during the late 1970s. However, few have heard the incredible first set of recordings he made in the ska years at Studio One during the early to mid 1960s. We are particularly pleased to now present Chicken Scratch Deluxe Edition with a number of bonus tracks from the same era and, for the first time on CD, the original single mixes of 13 of these ska scorchers.

1. Feel Like Jumping 2:28 (Original single mix, previously unreleased on CD)
2. Chicken Scratch 2:50
3. Please Don’t Go Lee Perry & the Soulettes 3:12 (Original single mix, previously unreleased on CD)
4. Solid as a Rock 2:40
5. By Saint Peter Lee Perry & the Soulettes 2:31 (Original single mix, previously unreleased on CD)
6. Tackoo 2:09
7. Roast Duck Lee Perry & the Dynamites 2:32
8. Hand to Hand Lee Perry & the Wailers 2:25 (Original single mix, previously unreleased on CD)
9. Gumma Lee “King Scratch” Perry & the Dynamites 1:58 (Original single mix, previously unreleased on CD)
10. Rape Bait aka Jane Ann and the Pumpkin 1:53 (Original single mix, previously unreleased on CD)
11. Just Keep It Up 2:49 (Original single mix, previously unreleased on CD)
12. Open Up (Cook Book) aka Puss in Bag Lee “King” Perry 2:47 (Original single mix, previously unreleased on CD)
13. Mother in Law 3:13 (Original single mix, previously unreleased on CD)
14. Madhead 2:52 (Original single mix, previously unreleased on CD)
15. Help the Weak Lee “King” Perry 2:38 (Original single mix, previously unreleased on CD)
16. Cannot Wrong (And Get Right) 2:23 (Original single mix, previously unreleased on CD)
17. John Tom Lee Perry & the Dynamites 2:35 (Original single mix, previously unreleased on CD)
18. Run Rudie Run Lee “King” Perry & the Gaylads 2:50

Heartbeat 116 617 839-2 (HB 339)
Street Date: January 29, 2008

source : roots-archives.com

The run-up to this month’s Boss Sounds Reggae Festival allows a little time to focus on some of the key performers in this, the third internationally-renowned gathering in Newcastle.

The genesis of the Caribbean music, from blue-beat, ska, rock-steady to reggae and later forms like dub, has required the intervention and guidance of some key musicians.

Few, if any, figure higher in the pantheon than guitarist, producer and arranger, Ernest Ranglin. Others, notably Bob Marley, took the music to a whole new audience – but Ranglin could justifiably claim to be the musical doctor at the birth of the genre.

Ranglin was born in rural Jamaica some 75 years ago and as a child played the fairly unfashionable ukulele. He took to the guitar in his early teens and was soon in the 1950s dance band scene with the likes of Joe Harriott and Eric Dean’s Orchestra.

It taught the young, jazz-influenced Ranglin much about arranging and orchestration – skills he would put to good use as his career progressed.

Ranglin’s Shuffling Bug is often cited as the first ska record. He was also the first performer to have a release with Island Records, featuring pianist Lance Heywood on the other side.

In an interview with Ernest from his Florida home I asked if he was aware of the significance of those early, ground-breaking recordings.

“No, not to any great extent, but I knew we were trying to do something different from what I’d been hearing, creating a sound of our own, but I didn’t know how well it was going to take. It was an adventure.”

Around this time, he met the man who was to become boss of Island Records, Chris Blackwell, and Ranglin remembers the exact location: “1958, Half Moon Hotel. I had my own quintet at that time. We played standards and we had to play to a good standard!”

He is equally aware of the first contact with Bob Marley, too: “Bob was the first one I did things for. Jimmy Cliff came a good while after that. When I did Bob, he was very young, before he was known.

Ninety per cent of the artists who came through Studio One were under my supervision. Even when I wasn’t there, Coxsone would leave a pile of recordings for me and I’d go through them and do what was necessary – add some guitar, take out some bass or whatever was necessary.”

Ranglin also worked with Monty Alexander, Prince Buster and the Skatallites, performed live with Ray Charles and was on the 1964 recording by Millie, My Boy Lollipop.

As to future projects, Ernest would like to turn the clock back. He explains: “ I’d really like to go back to what I did in Senegal (with world-music star, Baaba Maal). I’m really interested in those kind of rhythms. I’m hoping to get back to something like that because it’s exciting to me, something new. And I like to tackle new things. When you stop learning, you know, it’s finished.”

THERE is plenty of attractive stuff before then, though. Tonight, The Cluny in Ouseburn, Newcastle, has the excellent singer/songwriter and former frontman with the Bible, Boo Hewerdine.

Jazz fans can catch another septuagenarian, pianist Kirk Lightsey, with his trio at Gateshead’s Caedmon Hall. Lightsey has been in the very best of company over the years, touring and recording with Dexter Gordon and Chet Baker, to name but two from an extensive list. Ticket info from (0191) 433 8420.

Young folk band Last Orders take to the stage at Durham City’s Gala Theatre on Sunday, demonstrating once again that this region has a wealth of talent on tap.

If blues-rock is your thing, then The Cluny next Monday should be in your diary as Canadian axeman, Pat Travers, will be there to rock the place.

Jazz fans can see one of the finest UK collectives when the four-piece Mujician play The Sage Gateshead’s Hall Two next Thursday. The quartet make a rare appearance in the region and the show is to be recorded for transmission for the BBC’s Jazz on 3.

The line-up features pianist Keith Tippett, Paul Dunmall (reeds), Tony Levin (drums) and French-resident Paul Rogers on his distinctive seven-string bass.

Two North East guitarists also have gigs worth a mention. The James Birkett Quintet fill the guest slot at the Blaydon Jazz Club, at the Sports & Social Club, off Whitmore Road, next Thursday.

On Saturday, November 10, the much-vaunted blues guitarist John Whitehill takes his band to the Buddle Arts Centre in Wallsend.

John, a long-time member of Paul Lamb & the Kingsnakes and The Blues Burglars, has won the UK’s Blues Guitarist of the Year award on four occasions, including three years in succession, and is the possessor of a tone that many have strived for but few attain.

His mix of originals and a judicious choice of covers highlights the potency of his playing and why he is held in such esteem. Comparisons with Peter Green are not, in my opinion, over-stated. Ticket info from (0191) 200 7026/7132.

FINALLY, another stalwart of the local scene, Archie Brown, takes his trio to The Cluny next Friday when he will open for the excellent Canadian singer, Oh Susanna.

The lady in question is Suzie Ungerleider and she has a new album, Short Stories (Outside Music), to promote. The US magazine Billboard raved about the Vancouver girl, thus: “Her solo show is a spine-chilling event”.

Alan Nichol

source : chronicelive.co.uk

Roots Man Dub is centered around the Dudley “Manzie” Swaby-produced LP which was originally released in 1979 on the GG’s label. The Heartbeat reissue features remastered sound and bonus tracks produced by Alvin Ranglin, plus an entire album of bonus dubs. It’s available on 2 CDs or 2 LPs. On the podcast, you’ll hear some original vocal cuts by the Maytones, the Starlights, and Gregory Isaacs followed by their dub counterparts.

Tracklist:
Revolutionaries - Macabak Rock
Maytones - Africa We Want To Go
GG’s All Stars - Over Africa
Maytones - Madness
GG’s All Stars - Mad Dub
Starlights - Born Again Rasta
GG’s All Stars - Dub Again Rasta
Gregory Isaacs - Want to Go
GG’s All Stars - See Me Dub
Gregory Isaacs - Each Day
GG’s All Stars - Each Day Dub

source : heartbeat reggae podcast #3

Sugar Minott launched his new webpage sugarminott.net including photos, bio, calendar, downloads and more.

Big up Sugar.

source : roots-archives.com