Dry & Heavy (album)
Dry & Heavy is an album by reggae artist Burning Spear. It was released in 1977 on Island Records. "Any River" - 3:19 "The Sun" - 3:42 "It's A Long Way Around" - 3:06 "I W. I. N." - 3:47 "Throw Down Your Arms" - 4:05 "Dry & Heavy" - 3:29 "Wailing" - 2:46 "Black Disciples" - 4:23 "Shout It Out" - 3:27 All songs written by W. Rodney except, 2 and 3 All songs published by Burning Spear Publishing except 2, 8 and 9 Arranged and produced by Winston Rodney Executive producer - Don Taylor Recorded at Harry J Studio Kingston, Jamaica Engineer - Sylvan Morris Mixed at Harry J Studio Kingston, Jamaica Winston Rodney - lead vocals and percussion Robbie Shakespeare - bass guitar Aston "Family Man" Barrett - bass guitar Leroy "Horsemouth" Wallace - drums Bernard "Touter" Harvey - keyboards Earl "Wire" Lindo – keyboards Earl "Chinna" Smith - lead and rhythm guitar Donald "Roots" Kinsey - lead guitar Bertram "Ranchie" McLean - rhythm guitar Noel "Skully" Simms - percussion Uziah "Sticky" Thompson – percussion Bobby Ellis - trumpet Richard "Dirty Harry" Hall - tenor sax Herman Marquis - alto sax Vincent "Trommie" Gordon – trombone
Blender was an American music magazine that billed itself as "the ultimate guide to music and more". It was known for sometimes steamy pictorials of celebrities, it compiled lists of albums and songs, including both "best of" and "worst of" lists. In each issue, there was a review of an artist's entire discography, with each album being analyzed in turn. Blender was published by Dennis Publishing; the magazine began in 1994 as the first digital CD-ROM magazine by Jason Pearson, David Cherry, Regina Joseph, acquired by Felix Dennis/Dennis Publishing, UK it published 15 digital CD issues, launched on the web in 1997. It started publishing a print edition again in 1999 in its most recent form. Blender CD-ROM showcased the earliest digital editorial formats, as well as the first forms of digital advertising; the first digital advertisers included Calvin Klein, Apple Computer and Nike. In June 2006, the Chicago Tribune named it one of the top ten English-language magazines, describing it as "the cool kid at the school of rock magazines".
Owner Alpha Media Group closed Blender magazine March 26, 2009, going to an online-only format in a move that eliminated 30 jobs and reduced the company's portfolio of titles to Maxim alone. Blender's final print issue was the April 2009 issue. Subscribers to the magazine were sent issues of Maxim magazine to make up for the unsent Blender issues; the Indian edition of Blender was the title's first venture outside the United States. It commenced publication with its May 2008 issue; the magazine was targeted at educated male city dwellers aged between 18 and 34. The magazine was launched through Dennis Media Transasia India, a joint venture between Dennis Publishing and Media Transasia, which publishes the Asian versions of Blender and Maxim; the joint venture was based in New Delhi with offices in Bangalore, Chennai and Mumbai
Winston Rodney OD, better known by the stage name Burning Spear, is a Jamaican roots reggae vocalist and musician. Burning Spear is a Rastafarian and one of the most influential and long-standing roots artists to emerge from the 1970s. Winston Rodney was born in Saint Ann's Bay, Saint Ann, Jamaica; as a young man he listened to the R&B, soul and jazz music transmitted by the US radio stations whose broadcasts reached Jamaica. Curtis Mayfield is cited by Rodney as a major US musical influence along with James Brown. Rodney was influenced as a young man by the views of the political activist Marcus Garvey with regard to the exploration of the themes of Pan-Africanism and self-determination. In 1969, Bob Marley, from Saint Ann, advised Rodney to approach Coxsone Dodd's Studio One label after Rodney sought his advice during a casual conversation. Burning Spear was Rodney's group, named after a military award given by Jomo Kenyatta, the first President of an independent Kenya, included bass singer Rupert Willington.
The duo auditioned for Dodd in 1969 which led to the release of their debut single "Door Peep". They were joined by tenor Delroy Hinds; the trio recorded several more singles for Dodd, two albums, before they moved on to work with Jack Ruby in 1975. Their first recording with Ruby, "Marcus Garvey", was intended as an exclusive track for Ruby's Ocho Rios–based Hi-Power sound system, but was released as a single, giving them an immediate hit, was followed by "Slavery Days"; these recordings featured the backing band The Black Disciples, which included Earl "Chinna" Smith, Valentine Chin, Robbie Shakespeare and Leroy Wallace. The group worked with Ruby on their third album, Marcus Garvey, successful and led to a deal with Island Records to give the album a wider release. Island remixed and altered the speed of some of the tracks, much to the annoyance of fans and the group, leading Rodney to set up his own Burning Music label for future releases where he would have full control, although further releases followed on Island including Garvey's Ghost, a dub album, the Man in the Hills album.
In late 1976, Rodney split from both Ruby and group members Willington and Hinds, from that point on used the name Burning Spear for himself alone. Dry and Heavy followed in 1977, self-produced but still on Island, with a sizeable following by now in the United Kingdom, he performed in London that year with members of Aswad acting as his backing band for a sold-out show at the Rainbow Theatre, recorded and released as the album Live!. Aswad provided backing on his next studio album, Social Living, which featured Sly Dunbar and Rico Rodriguez. A dub version of the album, Living Dub, was mixed by Sylvan Morris, his profile was raised further by an appearance in the film Rockers, performing "Jah no Dead". In 1980, Rodney left Island Records and set up the Burning Music Production Company, which he signed to EMI, debuting on the label with Hail H. I. M. co-produced by Aston Barrett. A Sylvan Morris dub version followed in the form of Living Dub Volume Two. In 1982, Rodney signed with Heartbeat Records with a series of well-received albums following, including the 1985 Grammy-nominated Resistance.
He returned to Island in the early 1990s. This arrangement in which Burning Music Productions delivered completed albums of music to EMI, Island and Heartbeat Records for worldwide distribution lasted for many years; when Heartbeat ceased releasing new material, Burning Music took matters into their own hands and began to release music through their own imprint. Albums released by Heartbeat through an agreement with Burning Music include: The World Should Know, Rasta Business, Appointment with His Majesty and the Grammy award winning Calling Rastafari, the last completed album to be pressed by an outside label. Burning Spear spent decades touring extensively, several live albums have been issued including Burning Spear Live, Live in Paris, Live in South Africa, Live in Vermont and Love Live, Live at Montreux Jazz Festival and live 1997. Touring the world time and time again, the band's live sound grew more sophisticated. While remaining rooted in reggae, accents of free jazz and psychedelic music were in evidence.
His 1999 album, Calling Rastafari brought his first Grammy Award in 2000, a feat which he repeated with Jah Is Real in 2009. In 2000 Home To My Roots Tour he performed in Cape Town, South Africa alongside other reggae icon Joseph Culture Hill. In 2002 he and his wife, Sonia Rodney who has produced a number of his albums, restarted Burning Music Records, giving him a greater degree of artistic control. Since the mid-1990s, he has been based in Queens in New York City. Burning Spear was awarded the Order of Distinction in the rank of Officer on 15 October 2007. Since establishing their own label and Sonia Rodney have released nearly forty singles, CDs, DVDs and vinyl albums on the Burning Music imprint. Many of these albums have been deluxe editions of albums available on other labels and include bonus tracks and DVD footage. In this way, Burning Music is able to assure the quality of the Burning Spear music available in the market and guarantee that music from all phases of Burning Spear's career is available for his listeners to hear.
Burning Spear has won two Grammy Awards for Best Reggae Album. He has been nominated for a total of 12 Grammy Awards. Nominations for Best Reggae Album: 1986 Res
Marcus Garvey (album)
Marcus Garvey is the third album by the reggae group Burning Spear, released in 1975 on Island Records, ILPS 9377. The album is named after Rastafari movement prophet Marcus Garvey. A dub version of it was released four months as Garvey's Ghost; this was the first album by the group recorded for Island Records, whose founder Chris Blackwell had been instrumental in breaking Jamaican reggae artists Jimmy Cliff and the Maytals, Bob Marley to an international audience. It was produced by Lawrence Lindo, better known by his handle taken from the assassin of Lee Harvey Oswald, Jack Ruby. Upon their first meeting and vocalist Winston Rodney realized the opening track to this album, "Marcus Garvey." The backing musicians, whom Lindo named the Black Disciples, had been assembled from the Soul Syndicate and the Wailers. On July 27, 2010, this album was remastered and released by Universal's Hip-O Records reissue imprint in tandem with the dub version on one compact disc; the album was listed in the 1999 book The Rough Guide: Reggae: 100 Essential CDs.
All tracks written by Phillip Fullwood except as indicated. "Marcus Garvey" — 3:27 "Slavery Days" — 3:34 "The Invasion" — 3:22 "Live Good" — 3:14 "Give Me" — 3:11 "Old Marcus Garvey" — 4:03 "Tradition" — 3:30 "Jordan River" — 3:00 "Red, Gold & Green" — 3:14 "Resting Place" — 3:10 Ed Ward in a 1976 review in Rolling Stone felt that the music was rootsy and compelling, but that it wouldn't be understood by American audiences, that the lead song about Marcus Garvey wouldn't make sense to anyone who didn't know Jamaican culture. Robert Christgau felt that it was the most African-sounding and most political reggae album to be released in America at the time. Jo-Ann Greene in an Allmusic retrospective summary feels that the album was a significant recording in roots reggae, though regrets that Island subsidiary Mango remixed the album too commercially, diluting some of the "haunting atmospheres" of producer Jack Ruby's original mix; the album was included in Robert Dimery's 1001 Albums You Must Hear Before You Die where Jim Harrington commented that he felt it had "a poignant blend of religious aspirations and cultural concerns".
Winston Rodney – lead vocals Delroy Hines – harmony vocals Rupert Willington – harmony vocals Bobby Ellis – trumpet Vincent "Trommie" Gordon – trombone, clavinet Carlton "Sam" Samuels – flute Herman Marquis – alto saxophone Richard "Dirty Harry" Hall – tenor saxophone Tyrone "Organ D" Downie – piano, organ Bernard "Touter" Harvey – piano, clavinet Earl "Chinna" Smith – lead guitar Valentine "Tony" Chin – rhythm guitar Robbie "Rabbi" Shakespeare – bass Aston "Family Man" Barrett – bass Leroy "Horsemouth" Wallace – drums Engineers: George Philpott and Errol Thompson Recorded at Randy's Recording Studio, North Parade, Jamaica Mixed at Joe Gibbs Studio, Retirement Crescent, Jamaica Special thanks to Lloyd Coxone Marcus Garvey at Radio3Net Marcus Garvey / Garvey's Ghost at Myspace
Collaborations (Sinéad O'Connor album)
Collaborations is a compilation album released by Irish singer Sinéad O'Connor in 2005. The album contains songs recorded throughout O'Connor's career on which she collaborated with a variety of artists, spanning several different genres of music. Many of these tracks appeared on the albums of the artists with; the tracks "Empire" and "Heroine" appear on So Far... The Best of Sinéad O'Connor, released in 1997. One Track had never been never released on CD before, was released as B-side on a 12" only; the album sold 500,000 copies worldwide. "Special Cases" – 3:48 "1000 Mirrors" – 4:54 "Empire" – 5:50 "Guide Me God" – 3:31 "Visions of You" – 4:21 "Release" – 4:14 "Wake Up and Make Love with Me" – 4:58 "Kingdom of Rain" – 5:51 "I'm Not Your Baby" – 5:50 "Tears from the Moon" – 4:18 "Blood of Eden" – 5:05 "Harbour" – 6:25 "Up in Arms" – 3:40 "It's All Good" – 4:23 "Heroine" – 4:25 "Monkey in Winter" – 5:01 "All Kinds of Everything" – 2:44 Asian Dub Foundation – Engineer Howie B – Producer, Mixing Louis Beckett – Organ, Engineer Paul Bergen – Photography Mark Borthwick – Photography David Bottrill – Engineer, Mixing Alan Branch – Mixing Michael Brook – Producer George Chin – Photography Nick Coplowe – Engineer Neil Davidge – Producer Robert "3D" Del Naja – Producer Pearse Dunne – Engineer The Edge – Producer Simon Emmerson – Producer Brian Eno – Guitar Paul Falcone – Assistant Flood – Producer Greg French – Assistant Rhys Fulber – Producer Peter Gabriel – Producer Chris Garcia – Engineer Reece Gilmore – Programming Richard Gottehrer – Producer Ian Grimble – Producer, Mixing Rachel Gutek – Artwork Terry Hall – Vocals, Producer Steve Howe – Guitar Don Hozz – Programming Mick Hutson – Photography Invaders of The Heart – Producer Matt Johnson – Producer Felix Kendall – Engineer, Mixing Kieran Kiely – Whistle, Tin Whistle Rob Kirwan – Assistant Clive Langer – Producer Daniel Lanois – Producer Claire Lewis – Assistant Engineer Steve Lillywhite – Remixing Warne Livesey – Producer James McNally – Producer Sonia Mehta – Vocals Marco Migliari – Assistant Engineer Moby – Producer, Mixing Kevin Moloney – Engineer Gil Norton – Remixing Rick Nowels – Producer Adam Nunn – Mastering Linda Nylind – Photography Ed O'Brien – Guitar Sinéad O'Connor – Vocals Rob OGeigheannaigh – Whistle Steve Osborne – Vocal Producer Q – Engineer Nigel Reeve – A&R Brian Reeves – Mixing John Reynolds – Producer, Vocal Engineer Carmen Rizzo – Programming Jake Rousham – Engineer Martin Russell – Producer, Engineer Al Scott – Engineer Adrian Sherwood – Mixing Tim Simenon – Producer, Mixing Dave Slevin – Engineer Mark "Spike" Stent – Engineer, Mixing Adrian Thrills – Liner Notes Randy Wine – Engineer Alan Winstanley – Producer Nick Wollage – Engineer Collaborations at Metacritic
Christgau's Consumer Guide: Albums of the '90s
Christgau's Consumer Guide: Albums of the'90s is a music reference book by American music journalist and essayist Robert Christgau. It was published in October 2000 by St. Martin's Press and collects 3,800 capsule album reviews written by Christgau between 1990 and 2000 for his "Consumer Guide" column in The Village Voice. Text from his other writings for the Voice, Rolling Stone and Playboy during this period was featured; the book is the third in a series of "Consumer Guide" collections, following Christgau's Record Guide: Rock Albums of the Seventies and Christgau's Record Guide: The'80s. As the music industry and record production expanded during the 1980s, Robert Christgau found himself overwhelmed by records to listen to and review for his "Consumer Guide" column in The Village Voice. In September 1990, he abandoned his original letter-grading scheme on a scale of A-plus to E-minus, which had B-plus records as the most reviewed and grades going lower than C-minus. Instead, he decided to focus on writing reviews for A-minus to A-plus albums, with A-minus becoming the most common and those that would have ranged from B-minus to C-plus ignored.
This change was made because, as Christgau said, "most of my readers—not critics and bizzers, but real-life consumers—used my primary critical outlet for its putative purpose. They wanted to know what to buy."In this new format, B-plus records were only reviewed and most were filed under an "Honorable Mention" section, featuring one short phrasal statement for each album alongside its recommended tracks. Records he considered poor were relegated to a list of ungraded "Duds" or featured in a special November column dedicated to negative reviews, with the highest possible grade a B-minus. Christgau refined his new format further as the 1990s progressed, anticipating the decade's rapid increase in music recording and the diversification of the CD into longer album lengths and archival releases. In 1992, he started a "Neither" category denoting albums unworthy of an "honorable mention" but better than "duds"; the following year, an argument with fellow critic Eric Weisbard persuaded Christgau to review in each column a "Dud of the Month", unlike the "Turkey Shoot", featured "a fair number of dull, disappointing, or overhyped B's".
In the book, Christgau advises consumers to regard anything graded B and lower as a failure. The book explains each grade as follows: A-plus: "a record of sustained beauty, insight, and/or googlefritz that has invited and repaid repeated listenings in the daily life of someone with 500 other CDs to get to."A: "a record that flags for more than two or three tracks. Not every listener will feel what it's trying to do, but anyone with ears will agree that it's doing it."A-minus: "the kind of garden-variety good record, the great luxury of musical micromarketing and overproduction. Anyone open to its aesthetic will enjoy more than half its tracks."B-plus: "remarkable one way or another, yet flirts with the humdrum or the half-assed." Honorable Mention: "an enjoyable effort consumers attuned to its overriding aesthetic or individual vision may well treasure." Honorable Mention: "an likable effort consumers attuned to its overriding aesthetic or individual vision may well enjoy." Honorable Mention: "a worthy effort consumers attuned to its overriding aesthetic or individual vision may well like."
Christgau clarified that the three- and two-star honorable mentions "are B pluses I adjudge unworthy of a full review. Neither: "may impress once or twice with consistent craft or an arresting track or two, it won't." When the "Neither" entries were republished on Christgau's website, they were indicated by a cartoon impassive face. Choice Cut: "a good song on an album that isn't worth your time or money--sometimes a Neither, more a Dud." The "choice cut" entries are indicated by cartoon scissors on Christgau's website. Dud: "a bad record whose details merit further thought. At the upper level it may be overrated, disappointing, or dull. Down below it may be contemptible." Album era 1990s in music Rockism and poptimism Spin Alternative Record Guide Christgau, Robert. Christgau's Consumer Guide: Albums of the'90s. St. Martin's Press. ISBN 0-312-24560-2. Christgau, Robert. "Xgau Sez". Robertchristgau.com. Archived from the original on January 1, 2019. Retrieved January 1, 2019. Murray, Noel. "Inventory: 17 Essential Books About Popular Music".
The A. V. Club. Retrieved August 20, 2018. Reviews and interviews about the book Cartwright, Garth. "Master of the rock review". The Guardian. Dansby, Andrew. "Critic Christgau Wraps the'90s". Rolling Stone. Klein, Joshua. "Robert Christgau: Christgau's Consumer Guide: Albums Of The'90s". The A. V. Club. Manzler, Scott. "Christgau's Consumer Guide To Albums Of The'90s". No Depression. Murray, Noel. "A Critical Matter". Nashville Scene. Pick, Steve. "The Pleasure Principle". Riverfront Times. Official website
Book of Micah
The Book of Micah is a prophetic book in the Tanakh / Old Testament, the sixth of the twelve minor prophets. It records the sayings of Micah, whose name is Mikayahu, meaning "Who is like Yahweh?", an 8th-century B. C. prophet from the village of Moresheth in Judah. The book has three major divisions, chapters 1–2, 3–5 and 6–7, each introduced by the word "Hear," with a pattern of alternating announcements of doom and expressions of hope within each division. Micah reproaches unjust leaders, defends the rights of the poor against the rich and powerful. While the book is short, it includes lament, hymnic prayer of petition and confidence, the "covenant lawsuit", a distinct genre in which Yahweh sues Israel for breach of contract of the Sinai covenant. At the broadest level, Micah can be divided into three equal parts: Judgment against the nations and their leaders Restoration of Zion. Within this broad three-part structure are a series of alternating oracles of judgment and promises of restoration: 1.1 Superscription 1.2–2.11 Oracles of judgment 2.12–13 Oracles of restoration 3.1–12 Oracles of judgment 4.1–5.15 Oracles of restoration 6.1–7.6 Oracles of judgment 7.7–20 Oracles of restoration The Heading: As is typical of prophetic books, an anonymous editor has supplied the name of the prophet, an indication of his time of activity, an identification of his speech as the "word of Yahweh", a generic term carrying a claim to prophetic legitimacy and authority.
Samaria and Jerusalem are given prominence as the foci of the prophet's attention. Judgment against Samaria: Drawing upon ancient traditions for depicting a theophany, the prophet depicts the coming of Yahweh to punish the city, whose sins are idolatry and the abuse of the poor. Warnings to the cities of Judah: Samaria has fallen, Judah is next. Micah describes the destruction of the lesser towns of Judah. For these passages of doom on the various cities, the device paronomasia is used. Paronomasia is a literary device on the sound of each word for literary effect. For example, the inhabitants of Beth-le-aphrah are told to "roll yourselves in the dust." 1:14. Though most of the Paronomasia is lost in translation, it is the equivalent of'Ashdod shall be but ashes,' where the fate of the city matches its name. Misuse of power denounced: Denounces those; the context may be the amassing wealth for its own sake, or could be connected with the militarisation of the region for the expected Assyrian attack.
Threats against the prophet: The prophet is warned not to prophesy. He answers that the rulers are harming God's people, want to listen only to those who advocate the virtues of wine. A promise: These verses assume that judgement has fallen and Israel is scattered abroad. Judgment on wicked Zion: Israel's rulers are accused of gaining more wealth at the expense of the poor, by any means; the metaphor of flesh being torn illustrates the length to which the ruling classes and socialites would go to further increase their wealth. Prophets are corrupt. Jerusalem's rulers believe that God will always be with them, but God will be with his people, Jerusalem will be destroyed. Zion's future hope This is a passage identical with Isaiah 2:2–4. Zion will be rebuilt, but by God, based not on violence and corruption but on the desire to learn God's laws, beat swords to ploughshares and live in peace. Further promises to Zion This is another passage, promising Zion that she will once more enjoy her former independence and power.
Deliverance from Distress in Babylon The similarities to Isaiah 41:15–16 and the references to Babylon suggest the period of this material, although it is unclear whether a period during or after the siege of 586 is meant. Despite their trials, God will not desert his people; the promised ruler from Bethlehem: This passage is dated to the exile. Although chapters 4:9–10 have said that there is "no king in Zion", these chapters predict the coming Messiah will emerge from Bethlehem, the traditional home of the Davidic monarchy, to restore Israel. Assyria will be stricken, Israel's punishment will lead to the punishment of the nations. A Covenant lawsuit: Yahweh accuses Israel of breaking the covenant through their lack of justice and honesty, after the pattern of the kings of Israel. Torah Liturgy: Micah speaks on behalf of the community asking what they should do in order to get back on God's good side. Micah responds by saying that God requires only "to do justice, to love mercy, to walk humbly with your God."
Thus declaring that the burnt offering of both animals and humans is not necessary for God. The City as a Cheat: The city is reprimanded for its dishonest trade practices. Lament: The first passage in the book in the first person: whether it comes from Micah himself is disputed. Honesty and decency have vanished, families are filled with strife. A song of fallen Jerusalem: The first person voice continues, but now it is the city who speaks, she recognises. The