Ras Michael (also known as Dadawah) is a famous Jamaican reggae singer and Nyabinghi specialist.

Born Michael George Henry in Kingston, Jamaica in 1943. In the 1960s he worked at Coxsone Dodd’s legendary Studio One as a session musician and released a number of singles. He was the first member of the Rastafari movement to have a reggae radio program in Jamaica ("The Lion of Judah Radio" program first aired in 1967). His band is called
The Sons of Negus and are known for their drumming. He performed with Bob Marley at the One Love Peace Concert in Jamaica in 1978. In addition to acting as an evangelist, ambassador and diplomat for the Ethiopian Orthodox Tawahido Church internationally, Ras Michael is one of the founders and president of the Rastafarian International/Marcus Garvey Culture Center in Los Angeles, and the Fly Away Culture Center in Kingston, Jamaica. Currently he lives in California.

What is Nyabinghi ??

The term Nyabinghi means black victory. Nya=black binghi=victory It was first used to describe an East African possession cult located in the areas of south Uganda and north Rwanda in 1700 AD (Hopkins 259). Early missionaries and anthropologists named the Uganda/Rwanda clans, the Nyabingi Cult, because their culture was based on the veneration of the goddess spirit, Nyabingi. The Nyabingi Cult is said to have thrived due to the possession of the goddess Nyabingi through dance and religious seances.

Various oral traditions exist that explain how Nyabingi became a revered goddess. One account states that in 1700 AD two tribes inhabited the Uganda/Rwanda area: the Shambo and Bgeishekatwa. Queen Kitami, who is said to have possessed a sacred drum of phenomenal power, ruled the Bgeishekatwa tribe. When Kitami died she was given immortal status and the name Nyabingi (Freedman 63). Another tradition states that Queen Nyabingi ruled the Northwestern Tanzani kingdom of Karagwe and married the chief of Mpororo from the southwestern kingdom of Uganda. Envious of the Queen’s power, the ruler ordered her death which is said to have brought “untold horrors to his kingdom” (Kiyaga-Mulindwa 1163). After her death, her spirit continued to be praised and to possess her followers for the next two centuries.

The Bgeishekatwa tribe was eventually defeated by the Shambo clan who adopted the Bgeishekatwa’s rituals for Nyabingi. A century later the Shambo were defeated by the cultivating Kiga clan (there are legends that the Shambo’s defeat is connected to the attempt to kill a woman who was possessed by Nyabingi) (Freedman 74). Once the Kiga tribe reigned over the land, Nyabingi became known as a matriarchal power, and the Kiga’s century-rule is characterized as the reign of the Nyabingi priestesses.

Kiga women who received Nyabingi’s blessings and were said to be possessed by Nyabingi came to be called bagirwas (Hopkins 259). Eventually the revered bagirwas gained political dominion and became governors of the Kiga people living a dual life of political and spiritual leadership. The bagirwas, including Muhumusa, remained governors of the Kiga people until 1930 after losing their land to British, German, and Belgian imperialists, which they fought for a period of twenty years. At some point, men became Nyabingi priests as well (Freedman 80-81).

The Niyabinghi Theocracy Government was named for a legendary Amazon queen of the same name, who was said to have possessed a Ugandan woman named Muhumusa in the 19th century. Muhumusa inspired a movement, rebelling against African colonial authorities. Though she was captured in 1913, alleged possessions by "Nyahbinghi" continued, mostly afflicting women.

Howsoever Niyabinghi don't has any linkage to or relationship with Ethiopian history or Haile Selassie, it is a part of the Rastafari movement and a manifestation of the wisdom of Jah. Niyabinghi are considered the strictest mansion of the Rastafari movement in Jamaica, preaching the ideals of a global theocracy to be headed by Emperor Haile Selassie I, whom they proclaim to be the promised Messiah and incarnation of Jah, the Supreme.


And Niyabinghi music ... ??

The Niyabinghi resistance inspired a number of Jamaican Rastas, who incorporated what are known as niyabinghi chants (also binghi) into their celebrations ("grounations"). The rhythms of these chants were eventually an influence of popular ska, rocksteady and reggae music. Three kinds of drums (called "harps") are used in niyabinghi: bass, also known as the "Pope Smasher" or "Vatican Basher", reflecting a Rasta association between Catholicism and Babylon, the middle-pitched funde and akete. The akete (also known as the "repeater") plays an improvised syncopation, the funde plays a regular one-two beat and the bass drum strikes loudly on the first beat, and softly on the third beat (of four). When groups of players get together, only one akete player may play at any one time. The other drums keep regular rhythms while the akete players solo in the form of a conversation. Count Ossie was the first to record niyabinghi, and he helped to establish and maintain Rastafari culture.

Niyabinghi drumming is not exclusive to the Niyabinghi order, and is common to all Rastafarians. Its rhythms are the basis of Reggae music, through the influential ska band, the Skatalites. It is said that their drummer revolutionized Jamaican music by combining the various Niyabinghi parts into a 'complete' "drum kit," which combined with jazz to create an entirely new form of music, known as ska. Niyabinghi rhythms were largely a creation of Count Ossie, who incorporated influences from traditional Jamaican Kumina drumming (especially the form of the drums themselves) with songs and rhythms learned from the recordings of Nigerian musician Babatunde Olatunji.

Binghi chanting typically includes recitation of the Psalms, but may also include variations of well-known Christian hymns. Though Count Ossie is clearly the most influential Binghi drummer, practically the thing inventing the genre of something in its present state, the recordings of Ras Michael and the Sons of Negus, as well as the Rastafari Elders, have contributed to the popularity of the music.

Though Niyabinghi music operates as a form of Rasta religious music outside of Reggae, musicians such as Bob Marley and even non-Rastas such Prince Buster and Jimmy Cliff (both Muslim) used the idiom in some songs. Recently, dancehall sensation Sizzla, American roots-Reggae artists such as Groundation and Jah Levi, and Hip hop have used Niyabinghi drums extensively in their recordings. Though sometimes claimed to be a direct continuation of an African cultural form, Niyabinghi drumming is best seen as the voice of a people rediscovering their African roots.

Combining Jamaican traditions with newly acquired African ones, Count Ossie and others synthesized his country's African traditions and reinvigorated them with the influences of Nigerian master-drummer Babatunde Olatunji, as a comparison of Count Ossie's Tales of Mozambique and Olatunji's earlier Drums of Passion will reveal. Indeed, it is that combination of inherited traditions and conscious rediscovery of lost African traditions that makes Niyabinghi drumming—and Rasta—so powerful.


Now enjoy
Ras Michael & The Sons Of Negus at Reggae TV


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The Mighty Diamonds are a Jamaican harmony trio, recording roots reggae with a strong Rastafarian influence. The group, which comprises Donald "Tabby" Shaw, Fitzroy "Bunny" Simpson, and Lloyd "Judge" Ferguson, was formed in 1969 and remains together as of 2008. They are best-known for their 1976 debut album Right Time produced by Joseph Hoo Kim and the 1979 release Deeper Roots.

Their first hit singles "Country Living" and "Hey Girl" were recorded on the Channel One label. Two of their greatest songs are "Go Seek Your Rights" and "I Need A Roof" both from the mid 1970s. The latter was remixed in a techno style in the mid 1990s. The classic Mighty Diamonds style is 'roots reggae', in their case characterised by close harmony lyrics, Tabby's relatively high-pitched lead vocals, and earnest, 'conscious' lyrical content. Instrumentation was not as bass-heavy as some of their contemporaries in the 70's.

"Pass the Kouchie", written by Leroy Sibbles and Jackie Mittoo, became an international hit twice, when first released and again when it was covered by Musical Youth and released as "Pass the Dutchie".

Tabby, Bunny and Judge have produced over 40 albums in their long career.




Here are The Mighty Diamonds Live at the WorldBeat Culture Center San Diego ... enjoy it!

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Anthony Que is one of a new generation of Jamaican singers continuing in the tradition of such acclaimed international reggae acts as Beres Hammond, Freddie McGregor or Luciano.
Like them, his songs are distinguished by peerless vocal expression and quality of production and material, leading some listeners to believe he's actually older. This is the maturity in his voice and songs that feed this impression but that's just a combination of good grooming and precious ability. In every other respect, Anthony Que is a new star on the rise and one now heavily tipped to play a crucial role in reggae's future development.
Born in Kingston to a family of ten children, Anthony spent most of his childhood in Belmont, located in the parish of St Andrew’s, Kingston Jamaica. He began singing when he was nine years old and first honed his rapport with live audiences by bringing the house down at school concert. By fourteen his friends were calling him Singing Q - itself an abbreviation of Singing Quality, and a sure indication of his promise.

 

From Beres School

With Beres Hammond, Luciano, Ducky Simpson of Black Uhuru and George Nooks all living nearby, Anthony never lack for musical inspiration, although there is gospel purity to his voice that could only come from the church. This said, his first steps into the music profession were with a gospel group called the Missionary Band, whom he joined after high school. Combining his musical ambitions with a local factory job, he was touring the Kingston Studios, and recorded in 1997 his debut single, "Early Morning" for Sugar Minott's Youth Promotion. That same year he went in Germany, Poland and England for a european tour alongside Daweh Congo. On his return to Jamaica he joined his friend Beres Hammond’s Harmony House stable, recording his second single "Spreading Jah Love" and other as yet releases gems including "Same Road" a duet with Jah Cure.

Que credited Beres Hammond with helping to develop his vocal technique but with the reggae superstar's role as producer limited by busy touring schedules, Anthony decided to return to the UK where he spent 5 years and came back in 2006 in Jamaica to promote his outstanding album "Recharge and Reload"
During his stay in England, he recorded with a lot of producers well known in Europe. He recorded songs for Mike Brooks Team Label "Lonely Cry Children", for Riverbank "So Many Years Of Pain" and "Revolution"

In 2003, he released a rootsy set album called "A Brighter Day Is Coming" and achieved a brilliant debut album "Right On Que" produced by Lloyd "Stamper Doctor" King and Colin "Steam Fish" NcNeish but never released. Both failed to connect him with the mainstream reggae audience he was born to serve.
It wasn’t until voicing his breakthrough hit, "No More Crying", for Tony Neuville of Notorious that he began to get the attention he deserved.

 

Emotionally charged songs

Anthony is an artist of rare talent, most of his songs are emotionally charged and provide a delight from start to finish. Every track is a potential single and sounds specially designed to highlight his formidable vocal and song writing skills. Every lyrics tells a story or sets a scene, no matter whether he's singing in a lovers rock, reggae, gospel or roots reality style, although love songs predominate, as you can expect.
"I'm from a poor family so I like working with down to earth and natural people; not those who take the music for a hype thing, because I am trying to spread a positive message across"
"Artists have a lot of influence over the younger generation. It's a responsible position and you have to live by what you sing."

In 2005, Anthony recorded a brilliant album with Jet Star, the Home Of Reggae Music. Right from the start of this album, it’s clear we’re in the presence of someone special. As told in the track Find Jah Love, ‘Whatever talent Jah gives you, you’ve got to show it.’ Well Anthony Que has certainly done that, and with Tony "Ruff Cutt" Phillips in the producer’s chair, all the ingredients are there for a genuine reggae classic. The Ruff Cutt Band who produced the album backed him several times for live performances in UK.

Anthony has also proved himself as a talented actor, playing the lead role in Devon Morgan's reggae musical play "Johnny Dollar" staring alongside the great Carl Jose Bradshaw and also played the leading role in the gospel musical play "Backslider, Oh Happy Days"
Back home after years, it seems like he’s now ready to take his place at the forefront of today’s reggae vocal scene, only with the added attraction of being a young and exciting talent with lyrical gifts to spare.

By John Masouri



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Anthony Que - Jamaica No Problems - More amazing videos are a click away

What happend when we get 64 ?





















Peace and
stay irie

Lorenzo Aitken (April 22, 1927 – July 17, 2005), better known as Laurel Aitken, was a singer and one of the originators of Jamaican ska music.
Career
Born in Cuba of mixed Cuban and Jamaican descent, Aitken and his family settled in Jamaica in 1938. After an early career working for the Jamaican Tourist Board singing mento songs for visitors arriving at Kingston Harbour, he became a popular nightclub entertainer. His first recordings in the late 1950s were mento tunes such as "Nebuchnezer", "Sweet Chariot" (aka the gospel classic "Swing Low, Sweet Chariot") and "Baba Kill Me Goat". Progressing to a pre-ska shuffle, Aitken's 1958 single "Little Sheila"/"Boogie in My Bones" was one of the first records produced by Chris Blackwell, who founded his Island Records label that year. Other rock and roll singles from this period include "Low Down Dirty Girl", "Drinkin' Whisky" and "More Whisky", produced by Duke Reid.
Aitken moved to London, England in 1960 and recorded both in the UK and Jamaica throughout the 1960s. This cemented his position as one of ska's leading artists and earned him the nicknames The Godfather of Ska and Boss Skinhead. He gained a loyal following not only among the West Indian community, but also among mods, skinheads and other ska fans. He had hit records in the United Kingdom and other countries in the 1950s through to the 1970s on labels such as Blue Beat, Pama, Trojan, Rio, Dr. Bird, Nu-Beat, Ska-Beat, and Dice. Some of his singles featured B-sides credited to his brother, guitarist Bobby Aitken. Aitken also recorded a few talk-over/deejay tracks under the guise of 'King Horror', such as "Loch Ness Monster", "Dracula, Prince of Darkness", and "The Hole". Aitken settled in Leicester with his wife in 1971. Aitken's career took in mento/calypso, R&B, ska, rock steady, and reggae, and in the 1990s he even turned his talents to dancehall. He performed occasional concerts almost until his death from a heart attack in 2005. After a long campaign, a blue plaque in his honour was put up at his Leicester home in 2007.

A good-hearted bredda has set the following album "Woppi King" (1969) into the net ... so here I give you the link:




Tracklist:

01-woppi king
02-everybody suffering
03-deliverance will come
04-babylon
05-big fight in hell stadium
06-pussy price
07-gimme back me dollar
08-have mercy
09-hailes selassie
10-heile heile(the lion)
11-freedom
12-babylon gone
13-suffering still
14-lanlords & tenants
15-jesse james
16-stop the war in vietnam
17-run powell run
18-tammering
19-blues dance
20-reggae prayer


Click on the cover for dl !!



Bonus:



Peace and
stay irie

John Holt (born John Kenneth Holt, 11 July 1947, Kingston, Jamaica) is a reggae singer and songwriter.
Holt was born in Kingston in 1947. By the age of 12, he was a regular entrant in talent contests run at Jamaican theatres by Vere Johns. He recorded his first single in 1963 with "I Cried a Tear" for producer Leslie Kong, and also recorded duets with Alton Ellis. He achieved prominence in his home country as lead singer of The Paragons, with whom he enjoyed a string of hits, including "Ali Baba", "Tonight", "I See Your Face", and the Holt-penned "The Tide Is High" (later made famous by Blondie and also covered by Atomic Kitten). "Wear You To The Ball" was another of his hits with The Paragons, later covered by U-Roy. During his time with the Paragons, he also recorded solo material for Studio One (including "Fancy Make-up", "A Love I Can Feel", "Let's Build Our Dreams", and "OK Fred") and Prince Buster ("Oh Girl", and "My Heart Is Gone").
Holt left the Paragons in 1970 and concentrated on his solo career full-time. By the early 1970s, he was one of the biggest stars of reggae, and his "Stick By Me" was the biggest-selling Jamaican record of 1972, one of a number of records recorded with producer Bunny Lee. His 1973 album, Time Is The Master, was hugely successful, with orchestral arrangements recorded in London. The success of the string-laden reggae led to Trojan Records issuing a series of similarly arranged albums produced by Bunny Lee starting with the 1,000 Volts of Holt in 1973, a compilation of Holt's reggae cover versions of popular hits (and later followed by similarly named releases up to 3,000 Volts of Holt). 1,000 Volts spawned the UK Top 10 hit "Help Me Make It Through The Night" (written by Kris Kristofferson), which peaked at number 6, and also included covers of Billy Joel's "Just the Way You Are" and Diana Ross's "Touch Me In The Morning", amongst others.
Holt's style, notably slower and more romantic than most of his contemporaries, is a recognisable forerunner of a style of reggae known as Lovers Rock which developed in the UK during the 1970s. "Don't Want To See You Cry" was one of Holt's many Jamaican hits. The lyrics about "moving to a far away land" and leaving loved ones behind must have rung true for many Jamaicans in the 1960s.
While Holt became well-known internationally for these lushly produced ballads, back in Jamaica he also recorded more roots-oriented material such as the "rockers" single "Up Park Camp", as well as a short-lived attempt at crossing over into disco. Holt further explored his more rootsy side on the album Police In Helicopter from 1983, the title song from which became a hit.
His song, "Man Next Door", has been covered by numerous other reggae artists including Dennis Brown and Horace Andy who also sang in a more electronic version of the Song for the Massive Attack album, Mezzanine.


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Enjoy it !!!


Peace and
stay irie

One of my very favourite Reggae bands of the last years is GROUNDATION.