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Format: 2LP
Label: Soul Jazz Records
Year: 2018
Condition: New
TRACKS:
A1 Horace Andy: Illiteracy
A2 The Heptones: Be A Man
A3 The Manchesters: Natty Gone
A4 The Gladiators: Down Town Rebel
A5 Willie Williams: Calling
B1 Roland Alphonso & Brentford All Stars: Sir D Special
B2 Keith Wilson: God I God I Say
B3 Alton Ellis: Almost Anything
C1 Bobby Kalphat & The New Establishment: Adis A Wa Wa
C2 Peter Broggs: Sing a New Song
C3 Mystic Revelations Of Rastafari: Let Freedom Reign
C4 Larry & Alvin: Free I Lord
C5 Jackie Mittoo: Happy People
D1 Ernest Wilson & The Sound Dimension: Freedom Fighter
D2 Prince Lincoln: Daughters Of Zion
D3 High Charles: Zion
D4 Winston Jarrett: Love Jah Jah
Classic music from some of the most important figures in reggae music--Alton Ellis, The Heptones, Jackie Mittoo, The Gladiators--alongside a host of rarities and little-known recordings, such as a truly rare Mystic Revelation of Rastafari seven-inch single, Willie Williams first ever recording Calling, and Horace Andys righteous (and equally rare) masterpiece Illiteracy.
Black Mans Pride 2 extends the legacy of Studio One's ground-breaking path in roots reggae which began at the end of the 1960s and continued throughout the 1970s. The album tells the story of how the rise of Studio One Records and the Rastafari movement were interconnected, through the adoption of the Rastafari faith by key reggae artists everyone from the Skatalites and Wailers in the 1960s, major singers such as Alton Ellis and Horace Andy at the end of the decade, through to major roots artists such as The Gladiators in the 1970s and how Clement Dodd consistently recorded this heavyweight roots music throughout Studio Ones history.
The sleeve-notes to this album also discuss the links between Rastafari and Studio One in time and place, noting how both the religion and Clement Dodds musical empire had their roots in the intense period of pre-independence Jamaica in Kingston, expanded in the 1960s following the visit of Haile Selassie in 1966, and how roots music then came to dominate reggae music in the early 1970s. Also discussed is how the outsider stance of both reggae music and the Rastafari movement relate back many hundreds of years to the original rebel stance of the Maroons, escaped slaves who set up self-sufficient enclaves in the hills of the Jamaican countryside.
Label: Soul Jazz Records
Year: 2018
Condition: New
TRACKS:
A1 Horace Andy: Illiteracy
A2 The Heptones: Be A Man
A3 The Manchesters: Natty Gone
A4 The Gladiators: Down Town Rebel
A5 Willie Williams: Calling
B1 Roland Alphonso & Brentford All Stars: Sir D Special
B2 Keith Wilson: God I God I Say
B3 Alton Ellis: Almost Anything
C1 Bobby Kalphat & The New Establishment: Adis A Wa Wa
C2 Peter Broggs: Sing a New Song
C3 Mystic Revelations Of Rastafari: Let Freedom Reign
C4 Larry & Alvin: Free I Lord
C5 Jackie Mittoo: Happy People
D1 Ernest Wilson & The Sound Dimension: Freedom Fighter
D2 Prince Lincoln: Daughters Of Zion
D3 High Charles: Zion
D4 Winston Jarrett: Love Jah Jah
Classic music from some of the most important figures in reggae music--Alton Ellis, The Heptones, Jackie Mittoo, The Gladiators--alongside a host of rarities and little-known recordings, such as a truly rare Mystic Revelation of Rastafari seven-inch single, Willie Williams first ever recording Calling, and Horace Andys righteous (and equally rare) masterpiece Illiteracy.
Black Mans Pride 2 extends the legacy of Studio One's ground-breaking path in roots reggae which began at the end of the 1960s and continued throughout the 1970s. The album tells the story of how the rise of Studio One Records and the Rastafari movement were interconnected, through the adoption of the Rastafari faith by key reggae artists everyone from the Skatalites and Wailers in the 1960s, major singers such as Alton Ellis and Horace Andy at the end of the decade, through to major roots artists such as The Gladiators in the 1970s and how Clement Dodd consistently recorded this heavyweight roots music throughout Studio Ones history.
The sleeve-notes to this album also discuss the links between Rastafari and Studio One in time and place, noting how both the religion and Clement Dodds musical empire had their roots in the intense period of pre-independence Jamaica in Kingston, expanded in the 1960s following the visit of Haile Selassie in 1966, and how roots music then came to dominate reggae music in the early 1970s. Also discussed is how the outsider stance of both reggae music and the Rastafari movement relate back many hundreds of years to the original rebel stance of the Maroons, escaped slaves who set up self-sufficient enclaves in the hills of the Jamaican countryside.