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On Expo - Film - In concert
This month's blogs: 2005 March (6) | 2005 March (5) | 2005 March (4) | 2005 March (3) | 2005 March (2) | 2005 March (1)
"Method of this work:
I have nothing to say only to show."
(Passagenwerk (1927 - 1940) - Walter Benjamin)
2005, Mar 29; 12:54 ::: A house music index
Classic House vol. 1 (1994) - Various artists [Amazon.com] [FR] [DE] [UK]
Related: acid house - Chicago - dance - deep house - disco - disco sucks - discotheque - DJs - drum machine - electronic music - french house - garage - gay music - groove - Ibiza - micro house - mix - new beat - New York - producer - proto-house - remix - sample - soul - tech house - techno - twelve inch
Nightclubs: Body and Soul - Hacienda - Music Box - Music Institute - Paradise Garage - Shelter - Warehouse - Zanzibar
Recordings: String of Life - My Loleatta -
Recording artists: Blaze - Derrick Carter - Joe Claussell - Chez Damier - DJ Pierre - Larry Heard - Marshall Jefferson - Masters at Work - Roy Davis Jr - Todd Edwards - Farley 'Jackmaster' Funk - Gene Farris - Hot Mix 5 - Kenny Gonzalez - Terry Hunter - India - Boyd Jarvis - Curtis Jones - François Kevorkian - Lil Louis - Anthony Malloy - Robert Owens - Timmy Regisford - Jesse Saunders - Paul Simpson - Ten City - Romanthony - Ron Trent - Glenn Underground - Armand Van Helden - Louie Vega
DJs: John Benitez - Danny Krivit - Ron Hardy - Tony Humphries - Frankie Knuckles - Larry Levan - Todd Terry
Labels: Azuli - Emergency records - Jump Street records - EasyStreet - Movin records - Quark records - Sleeping Bag records - Trax
"You may be black, you may be white, you may be Jew, or Gentile. It don't make a difference in our house." -- Mr Fingers, Can U Feel It?, 1986
see also: a history of house music
2005, Mar 29; 10:18 ::: The "funky drummer" break - James Brown
In the Jungle Groove (1969-1971) - James Brown [Amazon.com] [FR] [DE] [UK]
The "funky drummer" break is one of the most used sampled drum loops in hip-hop and drum and bass music, together with the amen break, which is more related to drum-and-bass. The original song from which the break is sampled is James Brown's song "Funky Drummer" (recorded November 20, 1969 in Cincinnati, Ohio). The drums on the original song are played by Clyde Stubblefield, who was the drummer for Brown's band at that time. --http://en.wikipedia.org/wiki/Funky_drummer [Mar 2005]
Clyde Stubblefield is a drummer best known for his work with James Brown. He may be the most widely sampled (yet uncompensated) musician in the world - his "Funky drummer" groove was ubiquitous in the late 1980s/early 1990s. --http://en.wikipedia.org/wiki/Clyde_Stubblefield [Mar 2005]
see also: breaks - drummer - James Brown - sample - loop - 1969 - drum and bass
2005, Mar 29; 09:23 ::: Prelude, West End and Salsoul
Typical Prelude twelve inch sleeve
Typical Salsoul twelve inch sleeve
Typical West End twelve inch sleeve
see also: twelve inch single
2005, Mar 29; 09:00 ::: Love to Love you Baby (1975) - Donna Summer
Love to Love you Baby (1975) - Donna Summer [Amazon.com] [FR] [DE] [UK]
1975 was the year when disco really took off, with hit songs like Van McCoy's "The Hustle" and Donna Summer's "Love To Love You Baby" reaching the mainstream. 1975 also marked the release of the first disco mix on album, the A side of Gloria Gaynor's Never Can Say Goodbye. --http://en.wikipedia.org/wiki/Disco#Popularity [Mar 2005]
Summer recorded "Love to Love You Baby", which was a huge European hit. Casablanca Records soon began distributing the album in the United States, and it became a sensation there as well. This was followed by an album, Love to Love You Baby, critically acclaimed then and now, notable for including a seventeen-minute version of the title track. This established a pattern that made Summer unusual in the disco world: she focused just as much, if not more, on full-length albums instead of singles. --http://en.wikipedia.org/wiki/Donna_Summer [Mar 2005]
see also: Donna Summer - Giorgio Moroder
2005, Mar 28; 22:06 ::: Lech Majewski film posters
poster by Lech Majewski 1977 for Le Mouton enrage (1974)
sourced here. [Mar 2005]
About 500 more movie posters of the same site here. [Mar 2005]
A lot of patronizing drivel had been written about the 'Polish School' of poster design being a 'product' of a 'resistance to Communism' or some such (and by extension, of an overwhelming desire to breathe free under the learned guidance of a Bushmonkey-on-a-cheney). That view, espoused by Western writers who don't know any better, and Polish ones (who should know better) has been omnipresent lately. No matter that the idea of art as an expression of political circumstance is par excellence a classic communist one.
In fact, quite the opposite seems to be true : free from commercial stranglehold, these artists produced brilliant works over an extended period of time. A lot of talented people found themselves in the right place at the right time. Like any artistic movement (or 'school'), it had its own dynamics, peaks and valleys. Indeed, some of the most accomplished works were political (pro-socialist). And now the fact that Polish film poster is dead (and had been so since 1989 when the film distribution was privatized) is further evidence of that.
The golden decade of Polish film posters, from approximately the mid 50s to the mid 60s was preceded by the pioneering work of a trio of artists in the 1940s. Henryk Tomaszewski, Tadeusz Trepkowski and Eryk Lipinski were the original graphic designers commissioned in 1946 by Film Polski (a State film distribution monopoly) to design film posters.
Their work soon revolutionized this particular form of advertising. Rather than use the stereotypical images of movie stars and exclamation points, they employed a whole new arsenal of graphic interpretation to convey a shorthand essence of the film. Two terrific early examples are Tomaszewski' "Citizen Kane" 1948 poster, and Trepkowski' "Ostatni etap", also from 1948.
In 1948 the political climate changed and Social Realism was introduced. Few works from the 1949-1953 period retained the high standards established earlier. In the meantime more designers were drawn to the field : Wojciech Fangor, Waldemar Swierzy, Jan Lenica, Jerzy Treutler, Roman Cieslewicz, Wiktor Gorka, Jan Mlodozeniec, Julian Palka, Franciszek Starowieyski, Jozef Mroszczak, Wojciech Zamecznik - to mention the absolutely essential names. By 1955, the Stalinist policies were history and - with the restrictions gone - the field exploded with brilliant, classic works.
The golden period extended until 1965, more or less. Designs from the late 60s, while by no means regressing back to the corporate "art" of Hollywood, generally lack the freshness and boldness of the earlier pieces. At the same time, the variety of styles widened. Many new designers brought with them their own vision, spanning the spectrum from the lyrical impressionistic style of Maria Ihnatowicz, to the pop designs of Andrzej Krajewski; from the cyberpunk montages of Ryszard Kiwerski and Maciej Raducki, to minimalistic expressions of Bronislaw Zelek and Mieczyslaw Wasilewski.
In the mid-70s to mid-80s, the "Polish School" of poster design was suffering from atrophy of fresh ideas. Apart from the works of few artists who basically continued the previous trends, most posters from that period seem uninspired. In the 80s, the designs became politicized, with hardly any new designers entering the field. Some interesting trends emerged, signified by some works of Stasys Eidrigevicius and Wieslaw Walkuski, but overall quality of designs went rapidly downhill. Then came the 1990s, and the State monopoly ended. Suddenly the distribution of movies in Poland was taken over by Warner, Paramount, etc., and the Polish poster as we knew it ceased to exist. Nowadays, most films are released with the same sort of ad display as in the US - essentially a photo montage of stars with approved typeface. Very few designers try to continue their work, rarely issuing a very limited series of posters (300 to 500). These are never displayed on the streets, but are sold in galleries. --http://www.cinemaposter.com/index.html [Mar 2005]
2005, Mar 28; 20:52 ::: Euro girls
unidentified photo of Rosalba Neri
sourced here. [Mar 2005]
2005, Mar 28; 20:46 ::: Soledad Miranda in Eugenie De Sade (1970)
Soledad Miranda in Eugenie De Sade (1970)
Eugenie De Sade (1970) [Amazon.com] [FR] [DE] [UK]
2005, Mar 28; 19:59 ::: L'Histoire de Juliette (1797) - Marquis de Sade
Soledad Miranda in Juliette (1975)
image sourced here.
Juliette was written by the Marquis de Sade and published in 1797, and charts the exploits of Justine's sister. Whilst Justine - whose tale is told in Justine, or the Misfortunes Of Virtue - was a virtuous woman who consequently encountered nothing but despair and abuse, Juliette is an amoral nymphomaniac.
Juliette is raised in a convent, but at the age of 13 she is seduced by a woman who immediately explains that morality, religion and other such concepts are meaningless. There are plenty of similar philosophical rants during the book, all attacking the ideas of God, morals, remorse, love, etc, the overall conclusion being that the only aim in life is "to enjoy oneself at no matter whose expense." Juliette takes this to the extreme and manages to murder her way through a huge number of people, including various family members and friends.
During the novel, which follows Juliette through the ages of 13 to about 30, the wanton anti-heroine engages in virtually every form of depravity and encounters a series of like-minded libertines, such as the ferocious Clairwil, whose main passion is in murdering young men, and Saint Fond, a 50-year-old multi-millionaire who commits incest with his daughter, murders his father, tortures young girls to death on a daily basis and even plots an ambitious scheme to provoke a famine that will wipe out half the population of France.
Significantly, as with most of de Sade's work, it is the female protagonists who are the most interesting and colourful. The male characters are generally quite two-dimensional and often absurdly over-the-top, such as the Russian giant Minski, who lives in a huge castle in the middle of nowhere, with dungeons full of hundreds of women and children. --http://en.wikipedia.org/wiki/Juliette [mar 2005]
Juliette (1970) - Jess Franco
A woman is seducing men only to kill them, and afterwards confessing about her crimes at church. A man, witnessing her visits to the church, feels attracted to her and boards an appartment near hers and begins to watch her secretly.
Lead actress Soledad Miranda was killed in a car crash after shooting only around 40 minutes' worth of footage and the project had to remain unfinished. Director Jesus Franco still has the existing footage which could apparently be used to make an abridged version of the film, and eventually plans to release it as part of a tribute to Miranda. --http://www.imdb.com/title/tt0368819 [Mar 2005]
2005, Mar 28; 19:34 ::: Modernism
image sourced here.The rise of cinema and "moving pictures" in the first decade of the 20th century gave the modern movement an artform which was uniquely its own. --text sourced here. [Dec 2004]
2005, Mar 28; 18:45 ::: Boogaloo
Though boogaloo did not become mainstream nationwide until later in the decade, two early Top 20 hits came in 1963: Mongo Santamaria's "Watermelon Man" and Ray Barretto's "El Watusi".
Inspired by these two successes, a number of bands began imitating their infectious rhythms (which were Latinized R&B), intense conga rhythms and clever novelty lyrics. Some long-time veteran Latin musicians played an occasional boogaloo number, including Perez Prado and Tito Puente, but most of the performers were teenagers like The Latin Souls, The Lat-Teens, Pucho & His Latin Soul Brothers, Joe Bataan and The Latinaires.
The term boogaloo was probably coined in about 1966 by Richie Ray and Bobby Cruz. The biggest boogaloo hit of the 60s was "Bang Bang" by the Joe Cuba Sextet, which achieved unprecedented success for Latin music in the United States in 1966 when it sold over one million copies. Other hits included Johnny Colón’s "Boogaloo Blues," Pete Rodríguez’s "I Like It Like That," and Hector Rivera’s "At the Party".
Boogaloo also spread to Puerto Rico, where top band El Gran Combo released some material. Though the dance craze was over by the turn of the decade, boogaloo was popular enough that almost every major and minor Latin dance artist of the time recorded at least a few boogaloos on their albums. --http://en.wikipedia.org/wiki/Boogaloo#History [Mar 2005]
see also: Joe Bataan - Latin music
2005, Mar 28; 18:26 ::: Electro
Fantastic electro funk. It came out around 1987 and seems the one and only of this label. A must have!!!
image sourced here.
Some 200 more images of record labels here.
2005, Mar 28; 18:01 ::: Give the Drummers Some!: The Great Drummers of R&B, Funk & Soul (1996) - Jim Payne, Harry Weinger
Give the Drummers Some!: The Great Drummers of R&B, Funk & Soul (1996) - Jim Payne, Harry Weinger (Editor) [Amazon.com] [FR] [DE] [UK]
List of breaks
Amen break "Soul Pride" by James Brown (1969) "Tighten Up" by James Brown (1969) "Fencewalk" by Mandrill, used by Kool DJ Herc (ibid) "Funky Nassau" by The Beginning of the End (ibid) "Funky drummer" by James Brown (ibid) The Meters (ibid) Creative Source (ibid) The JBS (Toop, 1991) The Blackbyrds (ibid) Last Poets (ibid) "Scratchin'" by Magic Disco Machine (ibid) "Scorpio" by Dennis Coffey (ibid) "Super Sperm" by Captain Sky (ibid) "Mardi Gras" by Bob James, cover of Paul Simon's "Take Me to The Mardi Gras". Used by The Crash Crew on "Breaking Bells (Take Me To the Mardi Gras". (ibid) "Soul Makossa" by Manu Dibango (ibid) "Easy Dancin'" by Wagadu-Gu (ibid) "In The Bottle" by Gil Scott-Heron (ibid) "Apache" by the Incredible Bongo Band. Used by Kool DJ Herc, The Sugarhill Gang in "Apache", West Street Mob in "Break Dancin' - Electric Boogie". (ibid) Mickey Mouse Club Theme (ibid) "C Is For Cookie" (ibid) TeeVee Toons' Television's Greatest Hits Vols. 1-3 (ibid) "Think (about it)" by Lynn Colins
--http://en.wikipedia.org/wiki/Break_%28music%29 [Mar 2005]
see also: breaks - drummer
2005, Mar 28; 13:12 ::: Legs (2004) - Dave Naz, Nina Hartley
Legs (2004) - Dave Naz (Photographer), Nina Hartley (Photographer) [Amazon.com] [FR] [DE] [UK]
Flexible toes, high arches, full thighs and the seamless sheer pantyhose that adorn them; the girls in Dave Naz's world have legs that just won't quit. Unlike other compilations devoted to praising a particular body part, this collection showcases the entire woman, inviting us to see the whole person and not just the fetish object. Each model displays her own personality, her pleasure in being seen, the eternal dance between exhibitionist and voyeur, and Dave has done all the footwork. --via Amazon.com
see also: erotic photography
2005, Mar 28; 13:09 ::: Soft (2004) - Richard Kern
Soft (2004) - Richard Kern [Amazon.com] [FR] [DE] [UK]
Richard Kern is smarter than the average pornographer. What other shutterbug for Penthouse and Juggs also makes videos for Sonic Youth and Marilyn Manson and exhibits his shots of naked friends in high-toned galleries? But these artfully artless photos mark a new breakthrough for Kern. Best known for very hard-edged pictures and films--his DVD retrospective is entitled The Hard Core Collection--he now shows us a far softer side, which turns out to be even more unsettlingly transgressive than his violent stuff. The Soft photos are like a collaboration between himself and his punky young subjects, flirtily flaunting themselves in various states of come-hither undress. It's an art that conceals art: his skill in lighting, framing and staging his scenes coyly hides behind an unretouched do-it-yourself look, making the steamy scenes resemble what might happen if the amateur goth exhibitionists of the Suicidegirls website had all gone to art school. The girls loll and puff bong smoke into the ripe O of each others' mouths, blankly display nosebleeds, "accidentally" flash their panties, mockingly parody archetypes from Cindy Sherman, soft-core porn, and notorious candid tabloid "gotcha" snaps of celebrities: Catherine Zeta-Jones pregnant and smoking, Uma Thurman caught topless emerging from the surf. They play their parts with gleeful aplomb, in a fun, smutty (but not too smutty) conversation with the photographer. Institute of Contemporary Art curator Matthew Higgs supplies Artforum-style insights in his scholarly essay, but this is one book most folks won't read for the articles. --Tim Appelo
Beyond traditional portraiture, Richard Kern's new works manifest a strong eroticism while incorporating the cinematic power of his earlier "Transgression" theme. His recent photographs with saturated color and stark, atmospheric lighting accentuate his pretty-but-not-perfect young nudes. Inspired, unique, and "real," his approach is as daring as ever in Soft. Still sticking with the "no airbrush" motto, Kern's unpretentious, honest photos draw the viewer in close. Kern's longstanding relationship with the "No-wave" scene, which incorporated music, performance, feminist art, and the punk lifestyle, is reflected and distilled in these photographs. --via Amazon.com
see also: Richard Kern - erotic photography -
2005, Mar 28; 12:47 ::: Bathhouse celebrities and the Continental Baths
Continental Baths (New York)
image sourced here.
Bathhouse celebrities and the Continental Baths
Singer Bette Midler is well-known for getting her start at the famous Continental Baths in New York City the early 1970s, where she earned the nickname Bathhouse Betty. It was there, accompanied by pianist Barry Manilow (who, like the bathhouse patrons, sometimes wore only a white towel) that she created her stage persona "the Divine Miss M." In an interview in the Houston Voice, Midler said,Despite the way things turned out [with the AIDS crisis], I'm still proud of those days [when I got my start singing at the gay bathhouses]. I feel like I was at the forefront of the gay liberation movement, and I hope I did my part to help it move forward. So, I kind of wear the label of 'Bathhouse Betty' with pride. (10)
Other famous performers who appeared at the Continental include Melba Moore, Peter Allen, Cab Calloway, The Manhattan Transfer, John Davidson (singer) and Wayland Flowers. As word spread of these appearances more and more heterosexuals began to attend the shows, and the gay clientele began to go elsewhere. Realizing that it was losing its most important customers, the Continental made the decision to discontinue these performances at the end of 1974. Unable to lure back its original clientele, the Continental reopened as a straight swingers' club which closed in 1985. (11) --http://en.wikipedia.org/wiki/Gay_bathhouse#Bathhouse_celebrities_and_the_Continental_Baths [Mar 2005]
2005, Mar 28; 12:32 ::: A history of gay bathhouses
image sourced here.
Gay men have been meeting for sex in bathhouses since the late 19th and early 20th centuries in the United States. In California, as in other states, all homosexual acts were illegal and considered as "crimes against nature." As a result, men who were caught engaging in sexual acts with each other were subject to arrest and public humiliation. Numerous court records from the turn of the century contain cases of men who were arrested after neighbors, landlords, policemen and YMCA janitors looked through keyholes, or broke down doors to discover men having sex with each other. In an effort to evade arrest, gay men resorted to finding those little-known "cruise spots" around town where they could meet for sex and not get caught. These meeting places expanded as the rapidly growing cities of the 20th century created more and more public places where men could be anonymous and intimate with each other. The list of meeting places included public parks, alleys, YMCA facilities, public restrooms, train depots, balconies of silent movie theaters, cheap hotel rooms, and bathhouses. Historical records from the early 1900's tell the story of how some bathhouse owners tried to prevent their venues from becoming popular homosexual rendezvous by calling the police or hiring private guards. On the other hand, there were some bathhouse owners who enjoyed the increased profits earned from the patronage of gay men, so they allowed men to engage in homosexual activities as long as they were carried out discreetly. In fact, one particular 1933 account pointed to the "fat tips" a bathhouse manager could receive from the "patronage of pansies provided their actions do not result in police proceedings." --http://www.gaytubs.com/ahistory.htm [Mar 2005]
Gay men have been meeting for sex in bathhouses at least since the late 19th and early 20th centuries in the West, a time when homosexual acts were illegal in most Western countries and men who were caught engaging in homosexual acts were often arrested and publicly humiliated. Men began frequenting cruising areas such as public parks, alleys, train and bus stations, movie theaters, public lavatories ("cottages (U.K.)/tearooms (U.S.)") and gym changing rooms where they could meet other men for sex; they also frequented bathhouses, or Turkish baths. Some bathhouse owners tried to prevent sex between patrons while others, mindful of profits, allowed discreet homosexual activity (2).
Russian poet, novelist and composer Mikhail Kuzmin (1872–1936) is known to have patronized bathhouses. Some of the bathhouses in St. Petersburg at the time became known as friendly to gay men and provided "attendants," who might provide sexual services for a fee. In his diary, Kuzmin writes of one bathhouse visit:In the evening I had the urge to go to a bathhouse simply to be stylish, for the fun of it, for cleanliness.
In the 1950s exclusively gay bathhouses began to open in the United States. Though subject to vice raids these bathhouses were "oases of homosexual camaraderie" and were, as they remain today, "places where it was safe to be gay", whether or not patrons themselves identified as homosexual. The gay baths offered a much safer alternative to sex in other public places (3).
In the late 1960s and '70s, gay bathhouses — now primarily gay-owned and operated — became fully-licensed, gay establishments which soon became a major gay institution. These bathhouses served as informal gay meeting places, places where friends could meet and relax. Gay bathhouses frequently threw parties for Pride Day and public holidays such as Thanksgiving and Christmas, when some gays, particularly those who had been rejected by their families, had nowhere to go.
Another service offered by the baths was voter registration. In the run-up to the 1980 election, the New St. Mark's Baths in New York City, with the assistance of the League of Women Voters, conducted a voter registration drive on its premises (4).
On May 25, 1977 a fire broke out at the Everard Baths in New York City, one of the oldest gay bathhouses in the U.S. Nine men died and several others were seriously injured.
Although most bathhouses do not allow customers to leave temporarily and re-enter, men frequently used bathhouses as a cheaper alternative to hotels, with the added attraction of the possibility of sex. This practice continues today. --http://en.wikipedia.org/wiki/Gay_bathhouse#History [Mar 2005]
2005, Mar 28; 11:55 ::: Studying Popular Music (1990/2002) - Richard Middleton
Studying Popular Music (1990/2002) - Richard Middleton [Amazon.com] [FR] [DE] [UK]
As interest in popular music has increased, so the need for better ways of studying it has become more urgent. It is the author's contention that popular music can be properly understood only through an interdisciplinary method, and this book aims to demonstrate this through a critical analysis of issues and approaches in a variety of areas, ranging from the political economy of popular music through its history and ethnography to its semiology, aesthetics and ideology. The focus of the book is on Anglo-American popular music of the last two hundred years, more especially of the 20th century. In Part One the author outlines a "historical map" of this field, offering on the way a constructive critique of existing musical histories, of T.W.Adorno's pessimistic picture of music in 20th century "mass culture", and of various theories of musical production and reproduction in contemporary capitalist societies. Part Two turns to the analysis of popular music, looking in turn at approaches drawn from musicology, from folkloristics, anthropology and cultural studies, from structuralism and semiology, and from aesthetics, ideological analysis and psychoanalysis. --via Amazon.co.uk
Richard Middleton is Staff Tutor and Senior Lecturer in Music at the Open University's Northern Region at Newcastle upon Tyne. He is also the founder and co-ordinating editor of the journal Popular Music.
- (1972). Pop Music and the Blues. Gollancz.
- (1990/2002). Studying Popular Music. Philadelphia: Open University Press. ISBN 0335152759.
--http://en.wikipedia.org/wiki/Richard_Middleton_%28musicologist%29 [Mar 2005]
see also: popular music
2005, Mar 28; 11:34 ::: A disco index
Sleeve artwork by Richard Bernstein
Related: dance - disco sucks - discotheque - DJs - European disco - gay music - jazz-funk - funk - groove - house music - mix - Paradise Garage - Philadelphia - producer - proto-disco - soul - Studio 54 - twelve inch
People: ABBA - Patrick Adams - Roy Ayers - Jocelyn Brown - Peter Brown - Leroy Burgess - Donald Byrd - Gregory Carmichael - First Choice - Rochelle Fleming - Walter Gibbons - Francis Grasso - Gwen Guthrie - Loleatta Holloway - Inner Life - Michael Jackson - Larry Levan - David Mancuso - MFSB - Patti Labelle - Vince Montana jr. - Giorgio Moroder - Tom Moulton - Musique - Herb Powers Jr. - Arthur Russell - Salsoul Orchestra - Tee Scott - Christine Wiltshire - Earl Young
Labels: Casablanca - Gold Mind Records - Philadelphia International Records - Prelude - Salsoul - West End
2005, Mar 28; 09:29 ::: A reggae index
People: Steve Barrow - Theo Beckford - Sir Coxsone Dodd - The Clash - King Tubby - Bob Marley - Jackie Mittoo - Don Letts - Lee Perry - Roots Radics - Duke Reid - Sly & Robbie - Adrian Sherwood - Ernest Ranglin - Linval Thompson - Scientist -
Related: black music - dancehall - djs - dub - homophobia - Island records - Jamaica - lovers rock - marijuana - punk - rasta - r&b - remix - riddim - rocksteady - roots reggae - ska - sound system - Studio One - Trojan - version - Wackies -
Love of the Common People: Anthology, 1967-1979 - Joe Gibbs [Amazon.com] [FR] [DE] [UK]
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