The Sweet Hour Of Soul Reggae Mix By Dj Influence Mp3 __FULL_

Disco Reggae Rockers features wicked reggae disco versions of funk, soul and disco classics! This new album follows on from Soul Jazz Records' earlier highly successful 'Hustle: Disco Reggae.' and features reggae covers of classic songs by Earth, Wind and Fire, Michael Jackson, The Isley Brothers, Candi Staton, Curtis Mayfield and more as performed by Derrick Harriott, Devon Russell, Hortense Ellis, Glen Adams, Dave Barker and others

But the lesser known story is how this influence continued throughout the 1970s and 1980s. And as Jamaicans started to migrate to across the world, especially to the major cities of New York, London and Toronto, new micro-pockets of Jamaican culture laid seed to even more fertile new styles as first and second-generation Jamaican migrs grew up influenced by both their original and that of their adopted cultures. Importantly for the UK, this gave rise to lovers rock (a combination of reggae and soul music). It also later laid the foundations for the emergence of hip-hop in the US, created by migr Jamaican and Caribbean producers and DJs: these include Kool Herc (Jamaican), Grandmaster Flash (Barbadian) and Afrika Bambaataa (Jamaican and Barbadian parents).

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Born in 1963, Pliers got in touch with reggae and dancehall music at an early age through his brothers, who were singers under the monikers of Spanner Banner, Snatcher Lion, and Richie Spice. At the age of 24, Pliers officially began recording for the Black Scorpio label, a record label that was, besides reggae, also heavily influenced by 70s soul.

It also gathers up a second singer. After the first verse, a different tough-guy voice chimes in -- the man Grey calls his "greatest living musical influence," reggae giant and Maytals leader Toots Hibbert. "The Sweetest Thing" functions as a vehicle for two talented singers to swap verses, harmonize and egg each other on. And in this battle of the brotherly baritones, the Jamaican-tinged lilt and worn-yet-piquant quality of Hibbert's vocals gives him a slight edge over gritty Grey. Hibbert's vocals really are the sweetest thing.

'The Nature' represents an antipodean landscape of Australian voices. A melting pot of sultry depictions, deep embraces from beyond & groove reflections. The landscape vast, the influences many, but soul unites as common ground.

The director is Morgan Neville, who won an Academy Award two years ago with his uplifting documentary about unsung backing singers, 20 Feet From Stardom. Ostensibly a celebration of the blues, soul, reggae and country music that inspired Richards throughout his career, Under The Influence feels like a logical sister film. But it is also a much slighter affair, fawning in tone, unrevealing about its star, and ultimately little more than an extended commercial for his new album. That said, it is an effortless pleasure to watch, with a huge readymade audience among Netflix subscribers. Long-standing Stones fans are also likely to indulge the grizzled old goat one more time, just like we have done for the last three decades or more.

Journey through an incredible forest of flavors largely influenced by Caribbean cuisine and check out the vast collection of rich and authentic dishes such as sweet chili salmon bites, braised oxtail, and the jungle special: jerk salmon pasta.

A.R. Kane was a British band formed by childhood friends Alex Ayuli and Rudy Tambala. Growing up in the East End of London, the two spent their childhood devouring music\u2014jazz and disco, soul and funk, dub reggae and ska\u2014through family members, local parties, and imported records. The two would form A.R. Kane and release their first 12-inch, When You\u2019re Sad, on One Little Indian in 1986. Soon, they would make their way to 4AD where they collaborated with Colourbox on the 1987 chart-topping single \u201CPump Up the Volume.\u201D Eventually, the group would land on Rough Trade and release the best music of their career, including the Up Home EP (1988), 69 (1988), and \u201Ci\u201D (1989). These three releases are compiled on A.R. Kive, a new remastered box set released by Rocket Girl.

Weeks were quite intense because there was school and home and dinner and study, but weekends were crazy (laughter). We had friends over, we always had music playing. I remember seeing Boyz n the Hood (1991) and there\u2019s one scene where the kids are running around the streets and Dr. Buzzard & The Savannah Band\u2019s \u201CSunshower\u201D playing in the background\u2014that was our life. We had all this soul music imported from America, all this disco, jazz, jazz-funk. My mom would be playing pop music, reggae, ska, classical. Our life was very musical. Everyone in my family, apart from my dad, absolutely loved music, though my dad would sing when he was happy (laughter). He would sing songs from movies he\u2019d seen. My mom loved classical music and pop music, and she loved to party.

My oldest brother Kelvin was the first one to go into a musical movement before ska and reggae. This was in the 1960s. And later on as we grew, the American soul scene hit London, so people were into soul\u2014not Motown, but like Philly sound. And then there was jazz-funk and jazz and disco. It was always this current of Black American culture in our family. We listened to Richard Pryor for the comedy, we listened to Stevie Wonder for the soul.

All kids are the same, they just get on, even though the parents may not. When you get to about 12, you start to notice the differences. And I think what a lot of immigrant families notice is that they\u2019re not accepted, and so you look for an identity. A lot of West Indian kids would have looked to Jamaican or West Indian roots, and would have gotten into reggae. Though we were exposed to the reggae scene, what we identified with was Black American culture. And that was through my oldest brother, he\u2019d buy Ebony magazine, Blues & Soul magazine, and come back with American-import soul records that we religiously listened to.

It was all in there. It\u2019s almost like under the surface\u2026 Alex being in sound systems and being with his older brother Chris who made speaker boxes and circuit boards and shit, and there was me going clubbing with my brother when I was really young. I\u2019m the same height as I am right now, but I was a stick, and could get into 18+ or 21+ clubs even though I was 13. So there was the soul background, the jazz background, the jazz-funk, reggae, ska\u2014all of that dance stuff. When I went into uni, and I think it was similar with Alex, we were exposed to this white middle-class music. There was Public Image Ltd., Joy Division, Cocteau Twins, all of this kind of stuff. Suddenly, we were getting this indie sensibility while having this Black music background.

We were big fans of PiL. One of Alex\u2019s prized possessions was Metal Box (1979) in a metal box. I had the self-titled album with \u201CAnnalisa\u201D on it. They were probably a precedent for us because with Jah Wobble and the big bass, it was kind of like a rock-y dub bass.. We also listened to a lot of John Peel and we\u2019d pick out a lot of things from that. So there was Public Image Ltd and New Age Steppers, and Adrian Sherwood stuff. There was all this stuff going on with the Slits, and as kids we loved the Police. Anything with reggae in it, like the Clash. The reggae thing carried through, and with Public Image Ltd, Keith Levene\u2019s mad guitar\u2026 there\u2019s one song on \u201Ci\u201D (1989) called \u201CInsect Love\u201D where I\u2019m trying to play like Keith Levene, like really fast thrashy punk with a dub bassline. We did that one live. He died recently and I was really sad because I was in contact with the guy who was working with him; we were talking about doing a project together but he got really ill. So yeah, Public Image Ltd was a huge influence.

I\u2019m interested to hear you talk more about the dub reggae influences. Before you made the Up Home EP (1988), you two had already known Adrian Sherwood, right?

There were a couple youth clubs we\u2019d go to in the East End of London and they would play that disco and soul music in the first part of the evening, but when it got late\u2014as in like 10PM, because you\u2019re like 12 years old and that\u2019s late\u2014they\u2019d play reggae and dub. We all grew up with that reggae culture. Everyone would draw pictures of Rastas smoking spliffs on their exercise books at school and stuff like that. It was that culture\u2014the red, gold, and green. And then Bob Marley came along and made it acceptable for so many other people. I didn't buy reggae or dub records\u2014it was all soul in my house\u2014but Alex\u2019s brother used to get a lot of stuff and he\u2019d get a dubplate flown in from Jamaica and that was a prized thing.

Caribbean The music of the Caribbean is a diverse grouping of musical genres. They are each syntheses of African, European, Indian and native influences. Some of the styles to gain wide popularity outside of the Caribbean include reggae, zouk, salsa and calypso. Areas include: The Bahamas, Cuba, Dominican Republic, Haiti, Jamaica, Martinique, Puerto Rico, Trinidad

Comprised of Colin Padalecki and Forrest Frank, Surfaces produces the most delightful fusion of jazz, pop, soul, reggae, and calypso we've heard in recent memory. The Texas natives met over the Internet when the songs Padalecki had uploaded onto SoundCloud as a solo endeavor were brought to Frank's attention. From there, the two began collaborating through iPhone voice memos while studying at universities 90 miles away from each other.

A fusion of rock, funk, blues, folk and reggae, IBW emerged from the foothills of El Dorado County in 2004. As solid contributors to the local music scene in and around Sacramento for over a decade, Island of Black and White has established itself as a soulful, musical powerhouse. Having played for the heaving crowd of thousands, their music has gained a substantial and loyal following. IBW delivers high energy performances, playing a large variety of music, including originals and covers. 2351a5e196