Sunshine, Seventies 'Clash'

Hello, Sunshine 'clashes' from the seventies, todays names have all worked and argued with each other at one time, those were the ways back then in Jamaica..Everyone trying to do their own thing, and yet they a realised a creative music scene that produced a constant stream of music, some of which even made outside the border. Unfortunely the jamaican music biz dynamics often begat mistrust and caused financiel disagreements and if that werent enough the artists were targeted by criminals aswell, this caused Peter Tosh his life, the same happened to my first presentation here Prince Far I . Big Youth managed to coast and toast thru it all till this date, Lee Perry 'scratched his own niche as it where, but his maniacal ways got him recognised as a mad music genius aswell enemies. Burning Spear has gotten the most recognition of themusic industry after dropping some of his edge which made him stand out and loved by the reggaefans in the seventies. Joe Gibbs released some dubmusic together with his (studio) Professionals but as a producer together sound engineer Errol Thompson, "The Mighty Two", had lots of succes with a string of musicians , until his biggest hit ruined him. Sir Coxsone Dodd played a major role in the development of the Jamaican music scene, his Studio One being the starting point of many a career, Bob Marley to name one. Obviously the Heptones started out there aswell .

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Prince Far I - Silver & Gold 1973-1979
Big Youth - Dreadlocks Dread
Lee Perry - The Upsetter BoxSet
Burning Spear - Marcus Garvey / Garvey's Ghost
Joe Gibbs and The Professionals - Majestic Dub
VA - Best of Studio One
The Heptones - In Love With You
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Prince Far I - Silver and Gold 1973-1979 ( 05 * 256mb)

Prince far I ( Michael James Williams) actually started his career in the sound systems, DJing that didn't pay the bills, however, and the young man also worked as a security guard at Joe Gibbs' studio. Eventually, he was then employed by Coxsone Dodd as a bouncer for the producer's own Studio One sound system. There the bouncer got to take the mic standing in, the end result was the "Queen of the Minstrel" released under the moniker King Cry Cry,

The career progressed slowly and as the titles to his early singles show, he had yet to find his true voice. Even after producer Enos McLeod recommended changing his name to Prince Far I -- the Voice of Thunder, under which name he was credited on the "Let Jah Arise" single, the performer had yet to set the island alight. He did, however, chalk up another minor hit with the Coxsone Dodd-produced "Natty Farmyard," It wasn't until 1976 that Prince Far I recorded his debut album, Psalms for I. Produced by Lloydie Slim, it comprised ten tracks in all -- the Lord's Prayer and nine psalms, across which the artist first previewed the sermon-esque deliveries that would become his trademark.Producer Joe Gibbs finally supplied the missing ingredient in 1977 for the seminal single "Heavy Manners." Utilizing the rhythm from Naggo Morris' "Su Su Pon Rasta," the producer spun a deeply dubby sound, the bass line as heavy as a rhinoceros and just as dangerous. Over this fierce, dread backing, Prince Far I sarcastically addressed the trenchant of laws enacted by the government to stem the tide of violence that had covered the island. On his new album, Under Heavy Manners, Prince Far I delivered Rastafarian diatribes and scathing political comments, supported by The Roots Radics that laid down the thunderous rhythms, from which Gibbs created the doom-laden, dread-laced atmosphere. It got him a cult following in europe and a deal with the Virgin label's subsidiary Front Line. The first fruits of this new union appeared in 1978 with the Message From the King album. Self-produced, the record was nearly the equal to its predecessor.

Prince Far I launched his own label, Cry Tough in 1978, as a home for his own work and for other artists with a similar philosophy. Utilizing the superlative Roots Radics (who appear as the Arabs), Cry Tough unleashed a stream of ferocious singles.Meanwhile back in Britain, Adrian Sherwood, established his own Hit Run label, domestically releasing Cry Tuff singles. In 1979, Health and Strength should have been released, but wasn't because the master tapes disappeared from Front Line's London office, the album remained lost until 1998. In that year, a former employee came across an old cassette he had dubbed previous to the tapes vanishing. Prince Far I obviously was not very happy with Front Line and having now fulfilled his contract with them, he moved on.. To Trojan but from then on he would work alongside Adrian Sherwood. with the Creation Rebel and Singers and Players, he recorded a number of singles between 1979 and 1981, as well as the album Prince Far I & Singers and Players, which was released on Sherwood's new label On-U. (The Roots Radics, aka the Arabs, aka Dub Syndicate.also recorded for On U)

The following year's Voice of Thunder , with "Ten Commandments" of particular note is released aswell as the third and fourth volumes of Cry Tuff Dub Encounter featuring further scintillating voyages into the heaviest of dub's doom. In 1982, Prince Far I collaborated with the British band Sons of Arqa for the "Wadada Magic" single. Later that same year, the group and artist paired again during the Jamaican's British tour, this time on-stage in Manchester for a stunning show captured on The Musical Revue album. Prince Far I returned to Jamaica and released his final album in the new year, Musical History. The plans for future recordings with the Sons of Arqa never came about as on September 15, 1983, Prince Far I's lfe came to an abrupt end when he was killed during a robbery at his home. In 1991, Adrian Sherwood sampled some of the artist's old vocals for the Dub Syndicate's album, Stoned Immaculate. The band even took him on tour in 1996 and again, through the magic of sampling, Prince Far I lived on providing the thunderous vocals to the group's musical set.

01 - Johnny Get Worse (3:01)
02 - Yes Joshua (3:19)
03 - Let Jah Arise (3:09)
04 - Jah Dub Version (3:13)
05 - Silver & Gold (3:03)
06 - Silver & Gold Version (3:05)
07 - 354 Skank (4:01)
08 - 354 Version (3:57)
09 - Things Nuh Bright (3:12)
10 - Equality Version (3:10)
11 - Who Have Eyes To See (3:21)
12 - Ears To Hear Version (3:31)
13 - Talking Rights (2:32)
14 - Talking Rights Version (2:29)
15 - No More War (3:37)
16 - War Is Over (3:39)
17 - Gimme (2:44)
18 - Gimme Version (2:51)
19 - Yes Yes Yes (12" Mix) (7:41)

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Big Youth - Dreadlocks Dread ( 75 ^ 73mb)

Born in Kingston, Jamaica, on April 19, 1949, Manley Augustus Buchanan had his moniker long before he had picked up a mic. He was named Big Youth by his co-workers at the Kingston Sheraton hotel, where the tall teen was employed as a mechanic. After a number of misses with several producers he finally scored with "The Killer" single, a DJ toast over the rootsy Augustus Pablo number, and the result was magnificent, followed up with "Tippertone Rocking, another major hit.Big Youth was now in demand and a number of hits followed. Big Youth's debut album, Screaming Target, arrived in 1973. produced by Gussie Clarke, was stuffed with classic rhythms, and filled with hits.

In 1975, the Dreadlocks Dread album appeared, accompanied by Skin, Flesh & Bones Band, the album remains a masterpiece of dread roots and provocative cultural toasts. Dreadlocks Dread had a massive impact on the U.K., where it was picked up by the Klik label and prompted Big Youth to tour there the following year. 1976 brought two albums in its wake, Natty Cultural Dread and Hit the Road Jack, both self-produced by a self-confident Big Youth at the peak of his powers. Again the albums featured a clutch of Jamaican smashes -Having now signed to the Frontline label in the U.K., Big Youth's debut album for the Virgin subsidiary was 1978's Isaiah First Prophet of Old. The thoughtful and thought-provoking DJ, as his records proved time and time again began to be seen as too radical for Virgin, and the label chose not to release the DJ's next two albums, Progress and Rock Holy. Nor did they pick up on the former's dub companion, the excellent Reggae Gi Dem Dub.

Big Youth continued to record, but no longer ruled the charts, and most of his singles were now self-produced and released through his own labels. He remained in the pictuure performing at the big festivals-too muchacclaim, guest starred on many
an album thru the nineties . The new millennium saw the release in the U.K. of the compilation Tell It Black, a two-CD set that rounds up 31 seminal songs from 1972-1975. But that pales next to Natty Universal Dread, released by the British Blood & Fire label that same year. Three albums and a total of 51 tracks brilliantly wrap up the best from 1973-1979 and include a clutch of Negusa Negast singles that have never been reissued.

01 - Train To Rhodesia ( 3:31)
02 - House Of Dread Locks ( 3:15)
03 - Lightning Flash (Weak Heart Drop) ( 3:18)
04 - Natty Dread She Want ( 3:16)
05 - Some Like It Dread ( 3:00)
06 - Marcus Garvey Dread ( 3:00)
07 - Big Youth Special ( 2:27)
08 - Dread Organ ( 3:00)
09 - Black Man Message ( 2:50)
10 - You Don't Care ( 2:34)
11 - Moving On ( 3:05)

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Lee Perry - The Upsetter BoxSet

Lee Perry is a towering figure in reggae , some call him a genius, others claim he's a madman. Truth is, he's both, but more importantly, -- a producer, mixer, and songwriter who, along with King Tubby, helped shape the sound of dub and made reggae music such a powerful part of the pop music world. Along with producing some of the most influential acts (Bob Marley & the Wailers and the Congos to name but two) in reggae history, Perry's approach to production and dub mixing was breathtakingly innovative and audacious -- no one else sounds like him -- others may have invented dub, many argue that no one experimented with it or took it further than did Lee Perry.

Perry began his surrealistic musical odyssey in the late '50s, working with ska man Prince Buster selling records for Clement "Coxsone" Dodd's Downbeat Sound System. Soon he was producing and recording for Dodd at the center of the Jamaican music industry, Studio One. After a falling out with Dodd , Perry went to work at Wirl Records with Joe Gibbs, but not much chemistry there either so in 1968, Perry left to form his own label, called Upsetter. The first release on Upsetter was a single entitled "People Funny Boy," which sold extremely well in Jamaica, it was the first Jamaican pop record to use the loping, lazy, bass-driven beat that would soon become identified as the reggae "riddim" and signal the shift from the hyperkinetically upbeat ska to the pulsing, throbbing languor of "roots" reggae.

From this point through the 1970s, Perry released an astonishing amount of work under his name and numerous, pseudonyms he came a major force in reggae music together with his band the upsetters they worked with every performer in Jamaica. He started his own studio the black ark . Where he recorded marley and the wailers who were subsequently pick up bt Island leaving Perry standing. All the hard work in the seventies didnt do his mental state much good and it is said that he burned down the black ark studio himself as he was convinced satan had taken up resedency there..

These days he lives in switserland and produces and creates his psychedelic brew of music. Over the years a number of compilations have been released some not so good, and many of Perry's tapes were stolen. Some of these recordings have shown up on poorly mastered, and expensive, anthologies. This one however is all Trojan






Lee Perry - The Upsetter Box (Africa's Blood 72, Rhythm )   ( 85 ^ 401mb )

Africa's Blood
101 - Do Your Thing (Ft.Dave Barker )
102 - Dreamland
103 - Long Sentence
104 - Not Guilty
105 - Cool And Easy
106 - Well Dread - Version 3 (Ft.Addis Ababa Children )
107 - My Girl
108 - Sawdust
109 - Place Called Africa - Version 3 (Ft.Winston Prince)
110 - Isn't It Wrong (Ft The Hurricanes)
111 - Go Slow
112 - Bad Luck
113 - Move Me
114 - Surplus
Rhythm Shower
115 - Tighten Up (Ft.Dillinger )
116 - Django Shoots First (Ft.Sir Lord Comic )
117 - Uncle Charley
118 - Sokup
119 - Double Power
120 - Lover Version



201 - Rumpelsteelskin
202 - Skanking (Ft.Dillinger )
203 - Kuchy Skank
204 - Connection (Ft.Dillinger )
205 - Operation
Double Seven
206 - Kentucky Skank (Ft.Lee Perry )
207 - Double Six (Ft.U-Roy)
208 - Just Enough To Keep Me Hanging On (Ft.David Isaacs )
209 - In The Iaah
210 - Jungle Lion
211 - We Are Neighbours (Ft.David Isaacs )
212 - Soul Man (Ft.Lee Perry)
213 - Stick Together (Ft.U-Roy)
214 - High Fashion (Ft.I-Roy)
215 - Long Sentence
216 - Hail Stones (Ft.I-Roy)
217 - Ironside
218 - Cold Weather
219 - Wrap You Waa

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Burning Spear - Marcus Garvey + Garvey's Ghost ( 75/76 )

One of the most brilliant and respected roots artists in Jamaica's history, Burning Spear (aka Winston Rodney) has unleashed a host of classic dread records over the years. Part Rastafarian preacher, part black historian, more than any other roots artist, Burning Spear has illuminated Rastafarianism in song, sharing his beliefs with an avid public.

It was Bob Marley, who set Rodney off to Kingston and a fateful meeting with Studio One head Coxsone Dodd. Rodney with singing partner Rupert Willington in tow, auditioned three songs for the producer. Dodd immediately picked one, "Door Peep," as the pair's debut. Before its release, however, Rodney chose the name Burning Spear for the duo. It was a moniker heavy with history and had formerly been bestowed upon Jomo Kenyatta, the Mau Mau leader who eventually became the president of Kenya.

Soon after "Door Peep" landed in the shops, Burning Spear expanded to a trio with the enlistment of Delroy Hinds. It was with this lineup that Burning Spear released a series of singles on Studio One, including the 1972 Jamaican smash hit "Joe Frazier (He Prayed)." The following year brought the group's debut album, Studio One Presents Burning Spear, with Rocking Time coming hard on its heels in 1974. Rodney's lyrics were pregnant with emotions, righteous anger at oppression, but aglow with a deep sense of spirituality. In 1975, they split with Dodd and joined forces with producer Jack Ruby. Their initial session produced immediate results; "Marcus Garvey," meant for sound system play only, was so successful that Ruby was forced to release it as a single. Its follow-up, "Slavery Days," proved its predecessor was no fluke. Inevitably, Dodd sought to take advantage of his former trio's new-found popularity and released a clutch of singles in response, taken from Spear's earlier sessions with him. Meanwhile, the group began recording the Marcus Garvey album, one of the greatest Jamaica has ever unleashed. Its heavy roots sound, dreamy, haunting atmospheres, and powerful lyrics capture the imagination and never let go. It was after the album took Jamaica by storm that the Island label stepped in and signed Burning Spear. However, they immediately outraged the trio by remixing the record for white consumption. Thereupon Rodney set up his own label, Spear in order to keep control of his work.

By the end of 76, after the succesful follow up album Man in the Hills, Rodney broke not just with producer Ruby but with his two bandmates. Retaining the Burning Spear name, the singer now set out on his own and self-produced his next album, Dry and Heavy. By now, Burning Spear had amassed a sizeable following in the U.K. and in October of 1977, Rodney made his first appearance in the country, backed by the local reggae band Aswad

1985's Resistance, was the first album in a string of Grammy nominations which lasted till the end of the century, obviously his work had lost some edge , his live pressence however was as vivid as ever. Spear started his own record label, Burning Spear Records, and released Freeman in 2003, followed by the hopeful Our Music in 2005.

Now there's choice here, Burning Spear - Marcus Garvey + Garvey's Ghost 210k quality in one 100mb download or Marcus Garvey, Garvey's Ghost seperately in 320+k quality



Burning Spear - Marcus Garvey ( 75 ^ 373mb )

01 - Marcus Garvey (3:26)
02 - Slavery Days (3:32)
03 - The Invasion (3:19)
04 - Live Good (3:12)
05 - Give Me (3:09)
06 - Old Marcus Garvey (4:01)
07 - Tradition (3:30)
08 - Jordan River (2:58)
09 - Red, Gold & Green (3:12)
10 - Resting Place (3:08)
11 - The Ghost (3:54)
12 - I And I Survive (3:53)
13 - Black Wa-Da-Da (3:52)
14 - John Burns Skank (3:47)
15 - Brain Food (3:11)
16 - Farther East of Jack (4:26)
17 - 2000 Years (3:46)
18 - Dread River (3:12)
19 - Workshop (4:32)
20 - Reggaelation (3:41)

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Joe Gibbs and The Professionals - Majestic Dub ( ' 78 ^156mb)

After some time spent in the US as an electronic engineer, Gibbs went back to Kingston, and opened a repair TV shop where he soon started to sell records. The fast growth of the local music scene encouraged him to be more involved in the business, and in 1967 he started to record some artists in the back of his shop with a two-track tape machine with Lee Perry aboard who just dropped out with Dodd.
After Perry went away to set his own label "Upsetters", Gibbs enrole the young Winston "Niney" Holness (later known as Niney The Observer) who helped maintain Gibbs' production on the top of the charts. During the rock steady period til 1970, he met success with numerous smashing hits. He made a perfect switch into the reggae sound with his first international success "Love of the Common People" by Nicky Thomas In 1972, Gibbs set up a new one studio and started to work with the sound engineer Errol Thompson, for what is considered as one of the most prolific collaboration in the reggae history. Together, known as "The Mighty Two", along with his studio band known as The Professionals (that includes bassist Robbie Shakespeare, drummer Sly Dunbar and guitarist Earl "Chinna" Smith) they produced hundreds of singles.

The classic 1977 Culture album Two Sevens Clash is probably Gibbs' most internationally acclaimed production but there's been many more.too long to list here. Then in 1980 disaster struck:Gibbs had a monster international hit with J.C. Lodge's hit of "Someone Loves You Honey". Unfortunately, he never paid a cent of royalties to the song's writer, Charley Pride, who sued and won. Unable to pay the huge settlement ordered by the Court, Gibbs went out of business.

These days his son Carl, thru the rocky one label, is reissuing works of his enormous catalogue.



01 - Ten Commandments ( 3:20)
02 - Majestic Dub ( 3:04)
03 - Social Justice (3:47)
04 - Kings Of Dub (2:46)
05 - Bionic Encounter ( 5:48)
06 - Edward The Eight (3:25)
07 - International Treaty (3:05)
08 - Martial Law (2:57)
09 - Nations Of Dub (3:10)
10 - Embargo (3:50)

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VA - Best of Studio One ( 85 ^ 98mb)

Clement Seymour "Sir Coxsone" Dodd used to play records to the customers in his parents' shop. During a spell in the South of the United States he became familiar with the rhythm and blues music so popular there at the time. In 1954, back in Jamaica, he set up the Downbeat Sound System, being the owner of a amplifier, a turntable, and some U.S. records, which he would import from New Orleans and Miami. Dodd opened five different sound systems, each playing every night. To run his sound systems, Dodd appointed people like Lee "Scratch" Perry, who was Dodd's right hand man during his early career, U-Roy and Prince Buster. When the R&B craze ended in the United States, Dodd and his rivals were forced to begin recording their own Jamaican music in order to meet the local demand for new music, thus in 1959 he founded a record company called World Disc.
In 1963 Dodd opened Studio One in Brentford Road, Kingston. It was the first black-owned recording studio in Jamaica. He held regular Sunday evening auditions in search of new talent, and it was here he discovered Bob Marley, singing as a part of The Wailers. He gave the group a five-year exclusive contract, paying them £20 for each song they recorded. During the late 1960s and early 1970s, the "Studio One sound" was virtually synonymous with the sound of ska and rocksteady, and Dodd attracted some of the best of Jamaican talent to his stable during this time, including eventual legends such as Winston "Burning Spear" Rodney, Delroy Wilson, Horace Andy and Sugar Minott.

He continued to be active in the music business into his seventies, and on Friday, May 1, 2004 Kingston's Brentford Road was renamed Studio One Boulevard in a ceremony which paid tribute to his accomplishments as a producer. He died suddenly of a heart attack four days later while working at Studio One.



01 - Cables, The - Baby Why
02 - Termites, The - My Last Love
03 - Marcia Griffiths - Melody Life
04 - Alton Ellis - Can I Change My Mind
05 - Johnny Osbourne - Jah Promise
06 - Michigan & Smiley - Rub A Dub Style
07 - Dennis Brown - Impossible
08 - Heptones, The - Party Time
09 - Larry Marshall -Throw Me Corn
10 - Slim Smith - Born To Love
11 - Gladiators, The - Roots Natty
12 - Sugar Minott - Oh Mr. D.C.
13 - Judah Tarafi Eskender - Rastafari Tell You
14 - Wailing Souls - Row Fisherman Row

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The Heptones - In Love With You (77 ^ 69mb)

The Heptones were formed in Kingston in 1965, with a lineup of Sibbles, Barry Llewellyn, and Earl Morgan. At first they called themselves the Hep Ones, but a one-word name seemed to make more sense to fans, and the change was made accordingly. Things started to take off for the group in 1966 when they caught on at Clement "Coxsone" Dodd's Studio One, the pre-eminent hit factory of the rocksteady era. Dodd helped train the group in the art of harmony singing, and also guided budding songwriter Sibbles, who developed a sly, sarcastic sense of humor. The Heptones had their first hit later that year with "Fattie Fattie," that was banned from Jamaican radio but thus sold nonetheless. They went on to record vast amounts of material for Dodd over the next five years, including their first-ever LP, On Top, in 1970. As the hits piled up, Sibbles became a staff songwriter and arranger, played bass with the Studio One house band on a multitude of recordings, and worked as an assistant producer and talent scout as well. In 71 Sibbles decided it was time to move on and started cutting music with a range of producers In 1975 they released their label debut, Night Food, produced by Lee "Scratch" Perry which featured mostly new versions of old Studio One material. The follow-up, 1977's Party Time, followed a similar blueprint, and also included an eye-opening cover of Bob Dylan's "I Shall Be Released." It proved to be the group's biggest-selling album in the international market, but the 1978 follow-up, Better Days, sold disappointingly by comparison, and Sibbles departed for a solo career not long after. The remaining members soldiered on for some time without much success and that was it..until in 95 the original line up reunited and recorded Pressure !



01 - In Love With You (3:03)
02 - Talkative (2:47)
03 - Only Sixteen (3:09)
04 - Fatty Fatty (2:45)
05 - Sweet Talkin' (2:09)
06 - How Can I Leave You (3:09)
07 - In A Groove (2:50)
08 - Baby (2:52)
09 - Oh Glory (3:49)
10 - Suspicious Minds (2:54)

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