Reggae Music

There is a paper in Jamaica call rizla that is what everybody there uses

He got shot at a political violence. then moved to Miami.

yes. yes there is..

Frankie Paul. it's on Trojan Records anthology

Tanisha Scott

yes he is he's married to Esa Marley

Could you be loved and be loved, Just a thought but maybe it means could yoo love again after being burned in a previous relationship

February 6, 1945 in the villiage of Nine Mile in the mountains of St. Ann on the island of Jamaica

He showed the world that it doesn't matter who you are

Nigerian singer Alban Nwapa aka "Dr. Alban" is 60 years old (birthdate: August 26, 1957).

Jamaica.

there is only two groups .... goth or emo.... ot depends on how the person feels about life so if you see a goth or emo just leave them alone they are just trying to get the day over with just like you ......

goth/emo girl 14

This song is "So Amazing - X-Ray."

Bob Marley

I'm guessing you're trying to find the original song "Sweet Love".

It's difficult to answer your question regarding what you were listening to without more information. What is "a lot faster"? It's possible you were hearing ska but you could also have been hearing soca (which is very different from ska, rocksteady or reggae but it would fit with the "Caribbean sound" part of your description). Soca is derived mainly from calypso and is associated primarily with Trinidad (although soca is big on several other Caribbean islands). If you'd like some suggestions I can hook you up. As for your question concerning Jamaican music in general: the answer is potentially very long. I will, however, give you a quick crash course. Ska became popular in Jamaica in the early 1960s. When Jamaica gained its independence in 1962 there was a sudden desire amongst many Jamaicans to hear music with a strong Jamaican identity. Prior to independence, Jamaican music that did not closely resemble the music coming from the U.S. at the time was, in Jamaica, largely looked down upon. Ska was basically the product of musicians trained in jazz and exposed to, amongst other things, R&B and calypso. The horns were a big part of early ska and vocals were not a necessary ingredient. In 1966 there was a shift in Jamaican music. Rocksteady developed and became the dominant sound for approximately two years. The most obvious difference between rocksteady and ska is the tempo. While it was not unusual for ska recordings to sit between 110 and 135 beats per minute (BPM), rocksteady tended to sit between, say, 76 and 100 BPM. The rocksteady era was largely associated with vocal groups (trios especially) harmonizing in much the same way as American groups such as the Impressions (rocksteady was, in many ways, "singer's" music). It would seem that another distinction between ska and rocksteady was the bass lines. Whereas ska tended to feature walking bass lines, rocksteady incorporated the kinds of repeated "riff-like" lines commonly associated with reggae. The differences between rocksteady and reggae seem to be a little less clear cut. The term "reggae" came into being in 1968, I believe and, like the term "rocksteady" before it, became a catchword, appearing in numerous song titles and lyrics. Instead of "doing rocksteady" on the dance floor people were now "doing the reggae". Some have suggested that early reggae was faster than rocksteady but that isn't necessarily the case. One thing that does become more apparent in reggae are the references to Rastafarianism and the unabashed use of patois. If you listen to rocksteady and ska vocals, you'll hear that the they sound much less stereotypically "Jamaican" in terms of accents and slang usage than what began appearing in reggae. "Roots" reggae refers to reggae that is tied to the notions of Rastafarianism and Garveyism. Love of Jah and leaving "Babylon" are common themes in much "roots" reggae. From a technological standpoint, there were several developments that helped propel Jamaican music in new directions during the 1970s. The most radical and influential result of such developments was undoubtedly dub. In its initial stages, dub mixes involved little more than removing the vocal track of a recording, leaving an instrumental version of the song for DJs to talk/rhyme/chant over during their sets at the many dances that would occur throughout the country. As mix engineers such as Lee Perry and King Tubby got more creative behind their mixing desks, however, the dub mix became a musical statement unto itself. By fading various tracks (bass, vocals, guitar, etc.) in and out of the mix and adding effects (such as echo) in (oftentimes) copious amounts the dub took on an identity of its own, at once connected and removed from the original piece of music. Here, many would argue, lay the beginnings of the commercial remix. In the late 1970s the predominant sound in reggae was dancehall. Dancehall, unlike roots reggae, tended to emphasize less "heavy" themes lyrically speaking, focusing not so much on, for example, repatriation but instead on subjects such as dancing and women. The Roots Radics band are the studio band most often associated with early dancehall (for an idea of classic early dancehall you can check out any number of recordings produced by Henry "Junjo" Lawes). Ragga (meaning "digital" reggae, or reggae made with drum machines and synthesizers as opposed to live bands) came into being in 1985 with Wayne Smith's "Under Mi Sleng Teng". Not too long after, the dominant ragga vocal styling was that of the "rockstone"-voiced DJ (or MC, in American hip-hop parlance - in Jamaica disc-jockeys are often referred to as "selectors", while "DJ" refers to one who "chats" on the mic) - think Shabba Ranks, Bounty Killer or Buju Banton...

I'll let someone else take it from there as I should have been in bed an hour ago!

Edit: sorry about the lack of separate paragraphs...

Yes, Bob Marley was a revolutionary.

Three Little Birds" is a song by Bob Marley & The Wailers. It is the fourth track on side two of their 1977 album Exodus and was released as a single in 1980. The song reached the Top 20 in the UK, peaking at number 17. It is one of Bob Marley's most popular songs. The song has been covered by numerous other artists. One of the most notable covers was by British singer Connie Talbot, whose version reached number one on the Billboard Hot Singles Sales chart in 2008.

red red wine

"Whatever was on the radio, is what we listened to" - Bob Marley

Joe Higgs, The Skatalies, Toots and the Maytals, generally Ska music from Jamaica during the 1950's and '60's.

Also Bob was influenced by Mortimer 'Planno' Planner, his spiritual teacher, and most importantly, Jah RasTafarI.

Not quite sure what you mean, but pulis and komondors can have "cords" that look like dreadlocks....

17

Born in Kingston, Jamaica on a cold Wednesday morning, Fiona Robinson announced her arrival to the world. After the first five to six years of her life were spent with her grandmother in Tivoli Gardens, Fiona moved to Washington Gardens to be closer to her mother. It was during this time she realized her budding passion for music and singing. Surrounded by aunts and uncles who were in choirs, a father who is a drummer, another uncle who was a DJ on JBC radio and Power FM and family friends such as Dean Frazier, Fiona's musical journey was just about to begin. As an only child, Fiona enjoyed her own company, but also found herself loving the spotlight that went with it; the same spotlight that would soon join her on stage. On many Sundays she would listen to her uncle rotate his DJ selections for his upcoming radio slot. Soon, Fiona knew most of the songs she heard and had committed to memory including the Bob Marley special played by her Father when she was only three years old, and she could sing along with them as confidently as Bob Marley himself. A student of Mico Practicing All Age School, Fiona remembers prior student Nadine Sutherland visiting the school after she became a household name and watching her fellow students full of excitement. Fiona dreamed of the same success and became even more determined to make it as a singer, telling herself "I want to be her someday!" She began singing at Raleigh's Key Club while still at school and, as a poetic youngster, she found it easy to write lyrics, putting them to music from an early age. Influenced by some of the great divas of that time, Pam Hall, Marcia Griffiths, Chevelle Franklin, Gladys Knight, Aretha Franklin, Patti Labelle, Brandy and Monica amongst others, Fiona spent her spare time listening to and imitating these remarkable talented women, even now. During her young teens, Fiona participated in a concert program for young talent presented by Jamaica's JBC television station. Her audition piece was a rendition of a popular Regina Belle song, and this performance caught the producer's attention and earned her a regular spot on the weekly show "Concert Time." From there she was included in many similar productions including the premiere spot at the "Santa's Enchanted Village"- a Christmas type grotto, where she sang in several performances over the course of the evening. Fiona sang every song in accapella and wooed the audience evening after evening. She was discovered in her later teen years whilst relaxing at home. Answering the phone one afternoon, she was asked to hold the line for a moment; Fiona continued singing to herself without realizing that the person on the other end of the phone was producer Kelvin Simmons who returned to the phone thinking that the radio was playing. As soon as he discovered it was the same young lady who had answered the phone, he did not waste any time! Within days Fiona found herself in the studio recording her first single. She describes her first experience in the studio as a totally incredible, actually being in a studio where other great artists had probably stood and sang before her! Nevertheless, a natural in the studio, Fiona recorded her first single "You Mean The World To Me" previously done by Toni Braxton and, Fiona even sang her own backing vocals, something that the studio crew found quite remarkable for such a new artiste. Now a second home to her, Fiona found herself in the studio on a regular basis from 17 years of age, juggling a job and studio work. This led to her eventually meeting sound engineer Jason Sterling and producer Lloyd Campbell who were ready to take her to the next level of her career. Fiona's first recording on the Joe Frasier record label was "For You I Will" a cover version of a Monica song. This was musically her first big project in the studio, as she met with other vocalists who helped her develop her vocal skills. She also developed a deeper knowledge of backing vocals during this time and also a good strong work ethic. What she remembers most was how she felt so good to be surrounded by continuous positive vibes. Now that she was on her way forward, she had people around her who could really project her into the career she had always dreamt of being a part of. As Fiona's recording career grew, she found herself meeting and working with some of the best artists, producers, engineers and musicians in the industry. From Pam Hall who she describes as her teacher, and one of her biggest fans, to Richie Stevens, Tanto Metro & Devonte, Patrick Roberts, J.C. Lodge, the late Cynthia Sloss, Glen Washington, Lukie D, Mr.Lex, Singing Melody, Rik Rok, Shaggy, Kashief and Nikeisha Lindo, Willie Lindo, Kirk Davis (Little Kirk) Jon B. and the infamous Beenie Man, whom she had the privilege of being on tour with in Japan One of her most memorable occasions to date, was her performance at South Florida's Reggae Soca Awards in 2001. This is where Fiona won an award for "Female Vocalist Of The Year," her second award in this category and a very special moment for her receiving this award and, she took time to acknowledge her mother who flew in from Jamaica to be with her on this prestigious event, at which time Fiona broke into tears because her Mother plays the most important role in her life; her number one fan. Fiona took center stage and was able to perform a song she loved, in a style that her fans could really appreciate. "No More Lonely Nights" was the track she chose and it was received incredibly well by her audience. So several years later after Fiona first entered the recording studio, where is Fiona now compared to her peers? "Well there isn't any competition between us female singers, we all love each other" says Fiona. As the proud recipient of several music awards, it's obvious where her fans rate her. It isn't a competition to Fiona, who has worked alongside many of her female counterparts. Fiona has recently released a gospel album in the UK, aptly titled "He Cares" that boasts a different type of gospel music, not a traditional sound, but ranging from reggae through jazz, Hip Hop and R&B influences. Her first album released with Joe Frasier Records in 1999 "Fiona's Moment" is followed by her latest release "Wanna Make Love". An album that promises to take you on a musical journey from its opening melody to the very last beat. It boasts 18 superb songs on CD ranging from gospel inspired tracks, conscious lyrics, heart warming love songs to uplifting fast moving melodies, guaranteed to lift your mind, body and soul

Omeriah Malcom was his grandfather.