Friday 23 December 2011
Thursday 22 December 2011
The World Of Marcia J Ball
When we migrated to Florida the group went their separate ways. Marcia's dream of pursuing her solo career never seized. She got her next big break when she performed in concert with J.C. Lodge, Admiral Bailey, Barrington Levy and Freddy McGregor to a crowd of approximately 10,000 people at Miami's Marine Stadium.
Her first single call “Tell Me” was released in 1990 by her brother and producer George (Meco7) Ball. She was approached by a disc jockey, John T of WAVS radio, who introduced her to one of Jamaica's biggest female vocalist, Marcia Griffiths. This was the beginning of a new era where Marcia's talent was being recognized as she became one of Ms. Griffiths' background vocalists. While on tour she met and shared the stage with other artists such as: Beres Hammond, Judy Mowatt, Dean Frazier, Glen Washington and many others. She has also shared stage and did background recordings for some of the great and late great ones such as: Dennis Brown, Alton Ellis, Gregory Isaacs, Sugar Minott and Stanley from the Turbines, Michael Rose, Nadine Sutherland, George Nooks, Tinga Stewart and few others that has gone before us. She also worked and recorded with some veteran artists such as: Bob Andy, Ken Boothe, Frankie Paul, Leroy Sibbles, John Holt, Calypso Rose, Professor Nuts and Sister Carol.
As she became more familiar on the reggae scene, she met producer/DJ Roger Ranks with whom she did her first duet album in 1996. Marcia J. Ball also had the pleasure of working with other producers such as Taurus Alfonso, Isaiah (Sound Vision Records), Hopeton (The Pen) Lindo, Rupert (Silver Dove Records), Dr. Paul & Danny Breckenridge.
After the release of her first album, subsequently Marcia alongside Roger Ranks were releasing singles after singles and doing concerts as well. In 2000 she was approached by Frenchie of Ras and Frenchie’s Productions to do background vocals for Culture D whose album was released in 2000. In the latter part of 2001 he urged her to begin working on an album of her own.
In the early part of 2003, Marcia launched a new single called “Drive me Crazy” arranged by Dr. Paul and produced by Rupert Graham (Silver Dove Records) and Althea Brown.
In 2004, Marcia completed her second album “Right on Time” produced by John Samuels of Tabbath Productions which saturated the airways in the latter part of 2004.
In 2006, Marcia’s third album “Choices and Changes” produced by her brother/producer George (Meco7) Ball for Prajek 9 Productions and Samuel (Genius) Dyatt (One Harmony Records) and Althea Brown for Pops Girl Productions.
At this present time, singles after singles are coming out and she is about to release her latest album Marcia J. Ball “UNVEILED” a lover’s rock album produced by Sirkus Phreecz for P9MG, Jan 05, 2011. Presently Marcia J. Ball’s voice and music is being heard as far as; Jamaica, West Africa, Europe, Asia and parts of the Middle East.
Janet Kay
Janet Kay, was born Janet Kay Bogle (the first of 6 children) in London to Jamaican parents, Clifton and Monica Bogle. Janet is a descendant of the Jamaican National Hero the Rt Excellent Deacon Paul Bogle.
As a sixties child, Janet was exposed to the singing greats, especially those from the Tamla Motown stable and as a result of the exposure and inspiration, Janet's love for singing was born.
In 1977, whilst in Secretarial College, Janet was invited by her school friend Sonia Ferguson (who recorded a cover version of Smokey Robinson's 'Oh Baby Baby' in the late 70's) to a band rehearsal. Destiny saw to it that band member Tony Gad heard Janet singing in the rehearsal room. He was so impressed with the sweetness of Janet's voice that he introduced her to the reggae legend, the Late Great Alton Ellis.
That meeting resulted in Janet recording a cover version of Minnie Ripperton's 'Loving You'(produced by Alton Ellis), which became a reggae smash hit spending many weeks at No. 1 in the reggae charts.
The following year, 1978, saw Janet record 2 more cover versions, 'I Do Love You' and 'That's What Friends Are For', again, both spending weeks at No. 1 in the reggae charts.
In 1979, Janet made history by becoming the first British born black female to have a reggae song at the top of the British charts. The song 'Silly Games', (produced by Dennis Bovell) was a hit not only in the UK but also in Europe. Janet's history making has been recorded in the Music Guiness Book of Records.
Janet's songwriting prowess became evident on the release of her first album 'Capricorn Woman'. The album was, and still is a best seller. All the songs except 2 were penned by Janet Kay.
By now, Janet had become known as the 'Queen of Lover's Rock'. In that same year Janet was presented with the awards for Best 7" single, Best 12" single and Best Female Vocalist 1979 by Black Echoes Music Newspaper.
Janet's voice was not exclusive to only reggae music and in the early 80's she also penned and sung the soulful 'Eternally Grateful' which became an underground hit.
The early 80's also saw the collaboration between Janet and reggae legend the Late Jackie Mittowith the Randy Crawford classic, 'You Bring The Sun Out'.
In 1980, after a chance meeting with actor/singer Victor Romero Evans, Janet was introduced to the theatre company 'Black Theatre Co-operative'. A successful audition saw the birth of Janet's theatrical career, in the play 'Mama Dragon' by Faroukh Dhondy's which toured England and Europe.
Janet has since appeared in several films, numerous TV appearances, theatre plays touring the UK and Europe and radio plays.
In 1981, Janet also starred in the 'Black Theatre Co-operative's' TV sitcom 'No Problem'(LWT/Channel 4), the first black TV show which was created and conceived by a black theatre company. The show became a cult classic.
The late 80's saw Janet's collaboration with the singer/producer Lloyd Charmers with the cover album'Sweet Surrender'.
In 1990 Janet collaborated with Beats International (Norman Cook aka Fat Boy Slim) on their track Burundi Blues. Following this collaboration, Janet was invited to feature on Lindy Layton's version of Silly Games.
In the early 90's Janet, along with fellow actresses Judith Jacob, Suzanne Packer, Suzette Llewellyn, Beverley Michaels, Josephine Melville and the Late Joanne Campbell formed the highly successful female theatre company the Bibi Crew. All the shows were written produced and directed by the Crew.
In 1991, the album 'Sweet Surrender' was renamed 'Lovin' You, Best of Janet Kay', (which included a newly recorded version of 'Lovin' You'), and was released in Japan.; The track 'Lovin' You' propelled Janet to stardom in Japan. Janet subsequently signed to Sony Music (Japan).
Over the years Janet has collaborated with top producers, Drummie Zeb and Tony Gad (Aswad),Junior Giscombe ('Mama Used To Say'), Jeremy Meehan, Shinichi Osawa (Japan), Kodama & Gota (Japan), Omar and Sly and Robbie. Janet's albums have sold in excess of a million copies in Japan, 'Love You Always' selling over 400 thousand copies in its first year alone.
Japan entitled 'La Dolce Vita', alongside the renowned Japanese composer Taro Iwashiro.
Janet has visited Japan at least once a year every year since 1990.
In recent years Janet has visited Japan, performing at the exclusive Blue Note Night Club for 2 to 3 weeks at a time in Fukuoka, Osaka, Yokohama, Nagoya and Tokyo.
In 2006/7 Janet returned to theatre, where she appeared as the Fairy Godmother in Hackney Empire's Pantomime, 'Cinderella', which the Evening Standard rated the best 'Panto of the season'. Janet is currently promoting and performing, along with Victor Romero Evans and Carroll Thompson, their newly devised ‘Lover’s Rock Unplugged’ shows.
Janet has recently recorded a cover version of ‘Take A Bow’ which appears as the No. 1 track on the ‘Covers for Reggae Lovers’ album on the VP Label. Janet has also crossed genres by recording and releasing a Funky House track entitled ‘So Good’ where she features along side Spoonface(available for download only).
Janet's creativity is not exclusive to singing and drama, but extends to the dexterous world of Arts and Crafts where she is an accomplished Machine Knitter/Hand Knitter/Designer and Lacemaker and her works have been published in craft editorials. Janet has also embraced the digital revolution, becoming highly skilled in web and graphic design (enabling her to build her own website as well as others), music technology (enabling her to record her own vocals on her last album), as well as 3D logo animation and video editing. Janet has co-edited a short feature film by Clive Gandison ('Evergreen Man'), starring Victor Romero Evans, which was nominated for an award by the BFM.
Janet has been voted one of Britain’s Top 100 Black Britains by the Evening Standard and she has also been presented with many awards over the years including, Silver Disc for Silly Games,Best Female Singer, Best 7” and Best 12” Single (1979), Memorial Disc to Commemorate the overall success of Janet Kay Albums in Japan, presented by Sony Music Japan (1995), Women of Merit by Darker than Blue in Association with Barclays (2002), Contribution to British Black Music Industry (2001) and Outstanding Contribution to British Reggae (2009) to name but a few.
Janet's sweet, heart warming vocals has and continues to win her many friends and fans around the world. Her songs, 'Silly Games' and 'Lovin' You', reaching anthemic heights, on this side and the other side of the globe.
May the sweetness of Janet's vocals continue to warm the hearts of each and everyone!
JANET KAYSonia Pottinger
sonia pottinger
Born: 13 june 1931
kingston jamaica
died : 3 nov 2010
Sonia Eloise Pottinger OD (June 1931 – 3 November 2010) was a Jamaican reggae record producer.
The most important Jamaican woman involved in music business, Sonia Pottinger was the first female Jamaican record producer and produced artists from the mid 1960s until the mid 1980s.
Married to music producer Lyndon Pottinger, she opened her Tip Top Records Shop in 1965 and started to record musicians in 1966. The first single she issued was “Every Night” by Joe White & Chuck. Other artists recorded during this period include Roland Alphonso. Throughout the rock steady and early reggae eras, she became very prolific with hits by The Ethiopians (“The Whip”), Delano Stewart, The Melodians (“Swing And Dine”), Ken Boothe, Alton Ellis and Toots & the Maytals, released on her Gay Feet, Tip Top, Rainbow, and High Note labels.In the early 1970s her work was less prolific, but in 1974 she bought the Treasure Isle label from long time friend Duke Reid shortly before his death. Her rights to the label’s recordings were challenged by the Jamaica Recording and Publishing Studio Limited (the company created by Reid’s rival Clement “Coxsone” Dodd), Reid’s son Anthony and his company Treasure Isle Records International Limited, and Edward “Bunny” Lee, but the case was decided in her favour in 2009.
In the 1970s, she produced albums by Bob Andy, Marcia Griffiths, Culture, U Roy and Big Youth. Her most well known production is Culture’s Harder Than The Rest album, released in 1978.
In the dancehall era show produced Archie & Lynn’s “Rat in the Centre”. She retired from the music business in 1985.
Sonia Pottinger died at her home in Kingston on 3 November 2010, after suffering for some time with Alzheimer’s disease A thanksgiving service in her honour was held on 19 November 2010, attended by Minister of Culture Olivia ‘Babsy’ Grange and major figures from the Jamaican music industry including Judy Mowatt, Alvin Ranglin, Donovan Germain, and Tommy Cowan.
SONIA POTTINGER
Sugar Minott
Born: May 25, 1956
Kingston,Jamaica
Died: july 10,2010
Veteran singer, songwriter, musician and producer Sugar Minott – born Lincoln Barrington Minott – from Kingston, Jamaica has been a driving force in pioneering the creation of reggae music. Contributing his indoctrination to the reggae music from growing up near a dancehall where some of the best sounds of the day used to play.
From this exposure he began to build a repertoire and entered talent contests like the Little Theatre Company. When finished school he began his journey in the music business selling records and playing in a sound named, Sound of Silence Keytone.
Sugar then started his own sound by the name of Black Roots which then led to the creation of Youthman Promotion.
In 1969 Sugar teamed up with Tony Tuff and Derrick Howard and formed the group the African Brothers. Tony was the lead singer and they recorded for Micron Music which was run by Mick Johnson and Ronny Burke of Sunsplash fame. The group then recorded for other producers from the likes of Keith Weston, Winston “Marrytone” Blake, Rupie Edwards and Coxsone Dodd. Some of the releases were “Lead us father”, Mystery of nature”, Party time” and”Righteous kingdom”.
The group sprang up from the gathering at Delacree Rd. and Delamar Ave. corner, properly known as Tony Martin corner where many aspiring artists would mass. Due to strong cultural content of the lyrics the group did not receive the type of publicity it deserved so they all decided to pursue solo careers.
In 1974 Sugar teamed up with Ace producer Coxsone Dodd “Studio One”. Bringing the label back to life after the loss of John Holt, Ken Boothe, and Alton Ellis to other studio’s, His first hit for “studio One” was “Vanity” followed by “Mr DC”, “House is not a Home” and “Hang on Natty”, which led to his first solo album “Live Loving”.
In 1979 he left Studio One to form his own label – “Black Roots” which led to the foundation of the Youth Promotion crew, recoding artist’s like Little John, Triston Palmer, Barry Brown and Tony Tuff.
Youth Promotion started back in 1979, in the Maxfield park area of Kingston, Jamaica. Known as the Ghetto sound by the youths of the area. Started by Lincoln “Sugar” Minott the Veteran singer, songwriter, musician and producer. The sound system was the opportunity of the youths to be heard by the masses.
The Sound Youthman Promotion began to dominate the Dancehall scene by voiceing artist’s like Junior Reid, Yami Bolo, Don Angelo, the lateTenor Saw, Nitty Gritty and Garnet Silk who did his first recording for the Black Roots Label. The list of Artists goes on – Tony Rebel, Colorman, Daddy Freddie, Johnny Osbourne, Steve “Shalom” Harper and many more.
SUGAR MINOTTWilli Williams
Willi Williams, original foundation member of Roots Reggae Music and reknown writer and singer of "Armagideon Time," a beloved and popular reggae anthem covered by The Clash and other artiste from various genre. Over his forty plus year career, he has contributed consistently to the greater body of Jamaican reggae music, collaborating with many of the music's luminary figures, the likes of Gregory Issacs, Dennis Brown, Marcian Griffiths, Aswad, and many othersAfter His introduction by Jamaica's and International singer and song writer, Superstar Bob Andy, he started recording "Calling" for Coxson Dodd's Studio One in 1966, Williams' career grew steadily as he and Bobby Kalphat established the Soul Sounds label in 1969 and produced artists including Delroy Wilson, The Versatiles, and the legendary Barrett Brothers (as Rhythm Force), who would become the engine of Bob Marley's regular backing band.Through much of his career, Williams split his time between Kingston, Jamaica and Toronto, Canada, where he formed a close association with Jamaican keyboard legend Jackie Mittoo. Mittoo, perhaps the single most influential musician in Jamaican music history, recorded frequently with Williams in the 70s and contributed significantly to Williams' outstanding album Messenger Man, released in 1978.Williams voiced the breakthrough track "Armagideon Time" in 1979. "Jackie Mittoo and myself were working on some projects, and we went to New York and met up with Coxson [Dodd]," Williams recalls. "I had a song at the time that was getting good coverage ['Messenger Man']. [Dodd] heard the song and he wanted to continue recording with me. He mentioned that when we started out in the early days, he didn't have enough time and ammunition to work with me how he wanted. So he wanted me to go back into the studio."Williams' original recording of "Armagideon Time" has remained a reggae standard and was included on the comprehensive four-disc set, Tougher Than Tough: The Story of Jamaican Music, released by Mango Records in 1993. "Armagideon Time" also found its way back into popular culture in recent years via the 1999 Jim Jarmusch film Ghost Dog: The Way of the Samurai."Armagideon Time" utilized the recognizable Studio One backing track known as "Real Rock." Willi Williams' cut of the rhythm helped propel it to become the most "versioned" or recycled in all of reggae history. Punk legends The Clash helped internationalize "ArmagideonTime" in 1979 as a b-side to its "London Calling" single and a standard part of its live performances.Far from being a one-hit wonder, Williams' reggae career has been substantial and prolific with frequent tours around the world, throughout the years. His work with singer/producer Yabby You has marked his reputation, as well as his later efforts with producer, instrumentalist, and dub icon Augustus Pablo. In the 80s, Williams recorded See Me and Natty With A Cause for the London-based, soundsystem giant Jah Shaka and Gordy Johnson, of Canadian rock group, Big Sugar.Most recently, the rock band Government Mule adapted and recorded Williams' composition "Natty With A Cause" as "Rebel With A Cause," which features Williams' voice along with that of singer Warren Haynes in a reggae-rock style.Williams' most recent album is Di Real Rock (Drum Street), a collection of new and old productions. Since 2000, Williams has also overseen the production of Full Time Love, released through M10 Records in France. The set features a live backing band, The Drum Street Crew, and Jamaican keyboardist Bobby Kalphat, another of Williams' notable musical associates. Full Time Love captures the full-band sound of reggae's past, but with a contemporary production touch. "When you get that live drum and bass you justhear something that . . . you can't imitate it with a computer," says Williams. His music is ditributed on his own labels, Drum Street, and Soul Sound.Catalog titles by Williams include:Armagideon Time (Heartbeat/Studio One),Thanks and Devotion (Drum Street),Jah Will (Drum Street),Messenger Man (Jet Star/Drum Street),Unity (Drum Street),Thanks & Devotion (Drum Street),See Me (Jah Shaka),Natty With A Cause (Jah Shaka),From Studio One To Drum Street (M10),From Studio One to Drum Street Volume II (Drum Street),Di Real Rock (Drum Street).
Junior Murvin
Junior Murvin achieved fame as the falsetto singer of "Police And Thieves" which was an international hit for him and innovative reggae production artiste Lee "Scratch" Perry. The song has been covered by artists as diverse as The Clash and Boy George, and he has maintained his profile over twenty years after it was made. In the dancehalls Junior Murvin has scored with hits: the ultra easy skank of "Miss Kushie", the seminal "Cool Out Son", and others like "I'm In Love", "Bad Man Posse" and "Muggers In The Street"; releasing enough material to maintain his reputation, without ever flooding the market. In late 1998 London-based Dubwise Productions were visiting Port Antonio in Jamaica where they were introduced to Junior Murvin. This led to the recording of the solid "Wise Man", currently available on a 10" single. Time to look back at the veteran singer's musical career, who has indeed 'come from very far'.
Junior Murvin was born Murvin Junior Smith. His father was a tailor and singer of ballads from St. James in Montego Bay. When he died Junior's mother relocated the family to Port Antonio in the parish of Portland, where she was originally from. Junior Murvin began his singing career after going to school in Port Antonio and then in Montego Bay. He sang on stage shows in Montego Bay backed by either A.J. Brown or E.T. Webster. He remembers his first show was at Christmas promoted by Fanso.
He graduated to do mechanics at the Montego Bay Technical High School but "changed the vibe - music take over. From mi born me start sing y'know, when mi small me just have a talent, when I was growin' up reach all 7 or 9 years old, used to sing Billy Eckstein songs and those big songs. Me find myself singing all different kind of voice - bass, treble y'know". Junior's main influences in his youth were ballads and soul classics by the likes of Billy Eckstein, Nat King Cole, Curtis Mayfield, Ben E. King, Sam Cooke, Brook Benton, Roy Hamilton and others.
. Junior soon moved to Kingston where the growing recording industry was based:
He began his recording career as Junior Soul recording first for Sonia Pottinger's Gayfeet label with "Miss Kushie" in 1966, and then "Slipping" and "Jennifer". Derrick Harriott's Crystal imprint also showcased this new talent with tunes like "Solomon" (written by Junior, re-recorded it became a hit for producer/singer Derrick Harriott), "One Wife", "Hustler", "Magic Touch", "Big Boy", "Glendevon Special", "Chatty Chatty", "Yellow Basket" and "Rescue Children" (which he later recorded for Lee Perry along with "Solomon"). While he was recording he also joined several live bands touring Jamaica playing to both locals and tourists, attracted by the fledging tourist industry. He was at one time part of the Hippy Boys singing with Max Romeo and backed by the riddim of Carlton and Familyman Barrett, and later the Mighty Falcons doing covers of the Stylistics, Chi-lites and Curtis Mayfield tunes. Other members of this last band included Dennis Brown, Noel Brown (of the Chosen Few) and Cynthia Schloss.
Junior Murvin continued to concentrate on live work with the Tornadoes who later became the Young Experience Band. These bands included Linford Richards, guitarist in Burning Spear's band, female singer Carol "Passion" Nelson - who today, together with Barry O'Hare, runs the Ocho Rios-based X-Rated label - and bassist Earl Jackson from Native Studios amongst others. He played the hotel circuit and Kingston clubs like Merritone Discotek and The Sombrero, until the mid-seventies when the band became defunct and he had an idea for a song which had special qualities. At this time he needed a name change as there was another Junior Soul based in New York. Derrick Harriott who he had returned to see in Kingston suggested Junior Murvin. Co-incidentally Lee Perry also suggested Junior Murvin and that settled the name.
. Perry had recently contracted to do work for Island Records and so they began working on an album, which resulted in the classic "Polives And Thieves" set. The songs were written by both Perry and Junior, who sees writing songs as . . Junior and Scratch developed a relationship where they counteracted each other: . Together he and Scratch developed "Police And Thieves" and by its popularity was to prove the cry of the Jamaican people in the strife torn mid-seventies and early eighties. . He had come to Kingston to look for a producer for his song and this is how it happened: He had met Perry years before when Scratch auditioned singers who wanted to record at Coxsone Dodd's Studio One. Scratch introduced Junior Murvin to Coxsone Dodd as a singer with potential. Coxsone heard the song and told Junior to learn another verse to his song. Junior never returned and never recorded at Studio One.
. The songs on this classic album were "Roots Train", the title track, "Solomon", "Rescue Jah Children", "Tedious", "False Teachin'", "Easy Task", "Lucifer", "Workin' In The Cornfield" and "I Was Appointed". Island Records also released "Police And Thieves", "Tedious" / "Memories" and "Closer Together" (written by Curtis Mayfield), on the 12 inch format with extended Upsetter mixes. The Upsetter sound was unique and as Junior Murvin says:
At this time further releases on 12 and 7 inch format came out on Jamaican pressings. These included two on the "Police And Thieves" riddim, titled "Bad Weed" and "Philistines On The Land", alternative mixes of Tedious", "False Teachin'" and "Roots Train" with Dillinger as the toaster on the extended mix. In 1980 a 12 inch on Black Ark International emerged with two further tracks "Crossover" and "I'm In Love", which have the sound of those classic sessions. After the success of the first album Scratch asked Junior Murvin to find a backing band - who became known as the Apostles aka Jahpostles - a further album's worth of material was recorded that still lies on master tape.
*) and the idea for the song just followed - cool out son. With success Junior Murvin was in demand, and he went on to record songs with the Mighty Two - Joe Gibbs and the late Errol Thompson - including "Time Stiff", "Right Lick", "Idle Dog Worry Sheep" and the impassioned dancehall favourite on the Real Rock riddim, "Cool Out Son". The song began when the guitarist in one of the touring bands Junior was in, was feeling downhearted after too many rehearsels. junior said to him He returned with "Load Shedding" with GG Ranglin in 1978. In the early eighties he made an album with Mikey "Dread At The Controls" Dread called "Bad Man Posse", with the title track asking young men to stay away from bad posses in this turbulent time. He recorded again in the mid-eighties with Henry "Junjo" Lawes, who released the album "Muggers In The Street" and the singles "Strike And Demonstration", "Poison Dart", "Jamaican Girl" and the title track, a recut of "Police And Thieves". Soon after this, in 1986, he began a project with Prince Jammy who was the top producer at the time. The album "Apartheid" was released along with the singles "On The Level" on the Boxing riddim, "Lawman And Gunman" and the heavy "Cool Down The Heat" over the riddim that Nitty Gritty masterfully sang "Run Down The World". . Beres Hammond was present at this session. Junior Murvin recorded "Make It And Set It" on King Tubby's Saurus label and "I'm Fresh" on Sunset in 1987. He reappeared in 1989 with an album produced by Al Campbell called "Signs And Wonders". Junior has also recorded material for Bobby "Digital" Dixon, the New Name label, Freddie McGregor's studio, and other studio's / producers, some of which is still unreleased. In the last few years Junior Murvin has been recording again. He has recorded a self-produced album called "World Cry" for the Sunvibes label, who he did a tour with in Germany in the mid-nineties. Recently he voiced two as yet unreleased tracks for a German label, which he called "Weapon Of Destruction" and "Keep Your House In Order". . He has also released a number of 7 inch titles on his Murvin label including recuts of "Bad Man Posse" and "Police And Thieves", and new titles "Go For It", "Girl Come On Back" and "Puss And Dog". Junior has maintained a presence in the dancehalls recording specials for local sounds Love Stone and Mandela, as well as bigger sounds like Exodus, Killamanjaro, Saxon, 4 By 4 and others. Junior Murvin attributes his longevity to healthy living -
JUNIOR MURVINMarcus Garvey
Marcus Mosiah Garvey
(1887-1940) leader of the Universal Negro Improvement Association, first African-American leader in American history to organize masses of people in a political movement
Garvey was born in Jamaica and immigrated to Harlem in 1916 at the age of 28. In his homeland he had been an admirer of Booker T. Washington's philosophy of self-improvement for people of African descent and had formed the Jamaica Improvement Association. When he arrived in America his ideas expanded and he became a Black Nationalist. For him, Africa was the ancestral home and spiritual base for all people of African descent. His political goal was to take Africa back from European domination and build a free and United Black Africa. He advocated the Back-to-Africa Movement and organized a shipping company called the Black Star Line which was part of his program to conduct international trade between black Africans and the rest of the world in order to "uplift the race" and eventually return to Africa.
Garvey studied all of the literature he could find on African history and culture and decided to launch the Universal Negro Improvement Association with the goal of unifying "all the Negro peoples of the world into one great body and to establish a country and government absolutely on their own". The motto of the U.N.I.A. was "One God! One Aim! One Destiny." The Negro World was the U.N.I.A. weekly newspaper founded in 1918. It was published in French and Spanish as well as English. In it African history and heroes were glorified.
The ranks of the U.N.I.A. were comprised of African "nobility" - knights of the Nile, dukes of the Niger and Uganda; knights of Ethiopia, duchesses, etc. Garvey himself was the "Provisional President of Africa" and he and the members of his empire paraded in elaborate military uniforms. Harlem loved parades and street ceremonies, and the U.N.I.A. gave the grandest. During their annual conventions, thousands of delgates from all over the United States, the Caribbean, Central America and Africa marched up and down the streets of Harlem with their banners, uniforms and colorfully decorated cars. Garvey travelled throughout the United States speaking and meeting with African-American leaders. In the post World War I economic crisis and with racial discrimination, lynching and poor housing, the masses of Black people were ready for a leader who was aggressive and had a plan to "uplift the race". The U.N.I.A. grew quickly. By 1919 there were over 30 branches throughout the United States, the Caribbean, Latin America and Africa. Garvey claimed over a milllion people had joined his organization in 3 years.
In nine years Garvey built the largest mass movement of people of African descent in this country's history. It began to fail after he was convicted of mail fraud and was deported from the U.S. The Black Star Line failed because of purported mismanagement and lack of sufficient funds. However, the U.N.I.A. still survives today and Garvey left a legacy of racial pride and identification with a glorious African heritage for African Americans.
MARCUS MOSIAH GARVEYHelen Rogers
Helen Rogers attended the prestigious Italia Conti Academy for performing arts and nurtured dreams of becoming an actress, appearing in music videos for 70's pop stars Gary Numan and Godley andCreme of 10cc. However, her love of music in general, and Lovers Rock in particular led her at the age of 18 to independent record label, One Stop Music, where alongside Eric Gordon, Natural Touch and Spy (Investigators) she began what would become an exciting and varied career in the music industry.
Helen's first recording at the age of 19 was with reggae Legend Mr Ken Parker doing backing vocals on his album 'Sacred Songs' around the same time she did her first live performances in South London with a band that would evolve into reggae chart toppers Natural Touch.
In 1982 she joined Brit Funk band Direct Drive who loved her Lovers Rock vocal style and used it to great effect on their songs 'In The Middle of Spring', 'Pass the Paper' and the NO 1 Soul Chart hit 'Anything' The band signed to Polydor records due to the runaway success of this song.
Paul Hardcastle, who was a former member of Direct Drive had noticed Helen's vocals and began to invite her to do session work for him. Notably on his version of Junior Walkers 'Walk in the Night'and his remix of Third World' s 'Now That We've Found Love' both of which charted nationally.
Helen also sang on comedian Rory Bremner's spoof version of Paul's massive hit '19' which charted nationally and led to appearances for Helen on those great old programmes Top of The Pops and the Wogan show.
In the mid 80's Helen was very active on the London live and session circuit working with bands including East London's funk outfit 7th Heaven and South London's Lee Fardon also writing with Direct Drive's Pete Quinton two of Pete's songs featuring Helen on vocals appeared on the soundtrack of the movie 'Sammy and Rosie Get Laid' and beginning a long standing musical relationship with Black Steel which eventually resulted in an album of reggae covers of choice pop hits called Homage produced by Lindel Lewis.
In the early 90's Helen again began to work with Paul Hardcastle who invited her to join his Jazzmasters project. This was a hugely successful venture throughout the 90's in both the United States and Japan, with songs co-written by Paul and Helen hitting multiple number one spots in both countries.
They also collaborated on his eponymous project which ran simultaneously to the Jazzmasters.
In 2004 Helen decided to take the lead and begin a musical project this turned out to be a departure in style and evolved into the 'Eyes Like Midnight' EP, which remained a best seller on CD Baby for many months she also performed live around London with co-writer and guitarist Tony Qunta.
The 00's also became a time when Helen wanted to give something back and share all the knowledge she had accumulated in the music biz so she began to run vocal workshops and put on musical events which raised money for charities like Kids Company, Barnardo's and Oxfam. One of her events resulted in 5 artists being shortlisted for MTV'S Get Seen Get Heard competition in collaboration with OXJAM one of those singers IFE made it to the final and was filmed in MTV'S documentary of the venture.
In the meantime Helen had remained good friends with Direct Drive and as so often happens in life things were coming full circle. Not only did Helen and Direct Drive start to think of writing and recording after many years but Helen's yearning to be singing Lovers Rock again was realised when she and producer Lindel Lewis decided to record an album of select covers and original songs.
Direct Drive therefore released their first new single in 25 years 'Latin Satin' in June 2011 and Helen and Lindel Lewis are recording a Lovers Rock album to be released in 2012. 'Pass The Paper' was No.1 on CD Baby's smooth reggae chart for three weeks and 'Let Be Your Angel' got into the itunes top 40 in Luxembourg , also both songs will be featured on the new album......Watch this space!!
Marcia J Ball
Derby, England the singer/songwriter began her distinguish musical career at the
tender age of 6. As she received vocal training from her mother, at the time her mother was the main singer of the family. With Marcia and her sister providing background vocals. Marcia's childhood was surrounded with music and musicians in the home. The family formed a group called Rumbling Express consisting of all Marcia's siblings. They were headquartered at Queens, New York. In 1976 her singing career took a fortunate turn when Edna Sievwright, a concert promoter and disc jockey on WLIB radio, offered Rumbling Express an opportunity to performed as a backing band/vocals to such as artists as: Dobby Dobson, The Israelites, Pat Kelly, Cornell Campbell, Don Bloom, Norris Weir of the Jamaicans, Tyrone Taylor, GT Taylor and Jimmy Riley, amongst others. The group toured the surrounding areas of New York, Boston and Connecticut until 1982.
When we migrated to Florida and the group went there separate ways, Marcia's dream of pursuing her solo career never seized. She got her next big break when she performed in concert with J.C. Lodge, Admiral Bailey, Barrington Levy and Freddy McGregor to a crowd of approximately 10,000 people at Miami's Marine Stadium.
Her first single call “Tell Me” was released in 1990 when she was approached by a disc jockey, John T of WAVS radio, who introduced her to one of Jamaica's biggest female vocalist, Marcia Griffiths. This was the beginning of a new era where Marcia's talent was being recognized as she became one of Ms. Griffiths' background vocalist. While on tour she met and shared the stage with other artists such as: Beres Hammond,, Judy Mowatt, Dean Frazier, Glen Washington and many others. She has also shared stage and did background recordings for some of the great and late great ones such as: Bob Marley, Dennis Brown, Alton Ellis, Gregory Isaacs, Sugar Minott and Stanley from the Turbines, Michael Rose, Nadine Sutherland, George Nooks, Tinga Stewart and Papa Michigan and General Smiley and few others that has gone before us. She also worked with some veteran artists such as: Bob Andy, Ken Boothe, Frankie Paul, Leroy Sibbles, John Holt, Calypso Rose, Professor Nuts, Siste
A Record Producer
A record producer is an individual working within the music industry, whose job it is to oversee and manage the recording (i.e. "production") of an artist's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, selecting songs and/or musicians, coaching the artist and musicians in the studio, controlling the recording sessions, and supervising the entire process through mixing and mastering. Producers also often take on a wider entrepreneurial role, with responsibility for the budget, schedules, and negotiations.
Today, the recording industry has two kinds of producers: executive producer and music producer; they have different roles. While an executive producer oversees a project's finances, a music producer oversees the creation of the music.
A music producer can, in some cases, be compared to a film director, with noted practitioner Phil Ek himself describing his role as "the person who creatively guides or directs the process of making a record, like a director would a movie. The engineer would be more the cameraman of the movie."[2] The music producer's job is to create, shape, and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will typically develop an overall vision for the album and how the various songs may interrelate.
In the UK, before the rise of the record producer, someone from A&R would oversee the recording session(s), assuming responsibility for creative decisions relating to the recording.
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