Llewellyn BigDaddyLeo OReggio - Video Library
Intro clip of a dancehall video party I filmed many years ago in Negril featuring the then-popular sound system Stur Mars Hi-Fi. The beauty of this clip is the footage of sections of a tourist paradise, Negril, located on the North coast of Jamaica, showing what it looked like in the 80s.
updated 3 years ago
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Omaall 'Majah Bless' Wright is the Father of 'Super Twins' Ngozi and Tafari Wright. He has performed on numerous stages across Jamaica doing dub poetry.
Rapper and Dub Poet are just a few of the titles that can describe MAJAH BLESS, who spits rhymes like “Back in high school I used to DJ pon table top-but nowadays I’ve got the voice to mek yuh label pop” Driven by the philosophy “Never let your address hinder your success”, Omaall Wright, artistically known as ‘MAJAH BLESS’ is destined for international greatness that surpasses his Denham Town, Kingston beginnings. With a lyrical genius of the same caliber as Peter Tosh and performance intensity similar to Buju Banton, MAJAH BLESS represents the best expression of artistic fusion. MAJAH BLESS creates an eclectic mix of Dancehall and Reggae songs that will make your mind stand at attention and your body voluntarily rock and dip between the rhythms of his poetic songs. Always more than what you expect, MAJAH BLESS has been wowing audiences since age 3 and has won a ‘trailer-load’ of awards that are testimony to his exceptional talent. These include: • Numerous awards in JCDC Festival competitions, (since 1993) • Key Club Talent and Oratorical contest winner at the National level and also Key Club International Talent contest winner ( Miami Florida) (1996) • Optimist Oratorical winner (1993) • Scott Anderson’s Gold Pen Awards for excellence in Song Writing (2000) • Second place in Red Stripe Superstar song competition (2004) • Third place winner in the Jamaica Popular Song Competition (2007) • “What’s the verdict?” winner on Roots FM with the song “Heal”(2006) • Star Newspaper’s/ Daseca productions Producer’s pick with the song “Garrison” (2008). He is also a trained actor, educator, singer and lyricist. Guided by the principles of Rastafari, MAJAH BLESS paints stories of social consciousness, love and spiritual elevation in his music. ‘MAJAH BLESS’ mission is to open the third eye of his audience through positive music that is simply “Hotta dan di Equator” Telephone: (876) 874-7732, (876) 382-2806 or (876) 431-7276 Email:realghettoyouth@yahoo.com www.myspace.com/majahbless
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Fredlocks nices up Kingston Night Market in celebration of the 132nd birthday of HIM Emperor Haile Selassie 1.
The Kingston Night Market is a weekly artisan pop-up market hosted each Tuesday at 8 Hillcrest Avenue. Premium Art, Unique Crafts, Authentic Food, and Music
Featured is a wide variety of premium artisans and creatives complimented by authentic food and new musical experiences. Come and enjoy some of the best that Jamaica has to offer in one place on one night. Made in Jamaica With Love.
Stafford Elliot (born 1955), better known as Fred Locks, is a roots reggae singer best known for his mid-1970s single "Black Star Liners" and the album of the same name.
Born in Kingston, Jamaica, Elliott grew up in a strict Catholic home in the Franklin Town area of the city, along with eleven brothers and sisters, moving to Eastern Kingston when he was ten. His father and older brother played the guitar; with his older brother accompanying Elliott's early singing efforts. Like many of the Jamaican solo singers of the 1970s, Elliott began his career in the 1960s as part of a vocal harmony group, in his case a group he formed in secondary school, The Flames, and in 1966 The Lyrics, who recorded for Coxsone Dodd in the late 1960s, with tracks such as "A Get It", "Girls Like Dirt", and "Hear What The Old Man Say". They later moved on to Vincent Chin's Randy's setup, recording "Give Thanks", "East to the Right", and a cover of Simon & Garfunkel's "Bridge Over Troubled Water", also working with Lee "Scratch" Perry, and released the self-financed "Sing A Long" in 1971 on their own Lyric label. Disillusioned by the financial side of the Jamaican music industry, Elliott immersed himself in the Rastafarian faith, living on the beach at Harbour View. Elliott allowed his locks to grow to a great length, giving rise to his nickname of 'Fred Locks'. During his time living on the beach, he continued to write songs, one of which, was "Black Star Liners", written with Owen Goode and referring to Marcus Garvey's shipping line (Black Star Line) intended to transport black Americans to Africa as part of the Back-to-Africa movement, came to the attention of producer and Twelve Tribes member Hugh Boothe. Boothe persuaded Locks to record the song, and it was released in 1975 on the Jahmikmusic label in Jamaica, and on Grounation in the United Kingdom, propelling Locks to cult status. This was followed up by "The Last Days", which had a lesser impact. Grounation offshoot Vulcan issued the debut album Black Star Liner/True Rastaman in 1976, which has remained popular with roots reggae audiences ever since, with the title track regarded as a roots anthem.
In the late 1970s, Elliott was also a member of the vocal trio Creation Steppers, along with Eric Griffiths and Willy Stepper, releasing records in Jamaica on their own Star of The East label, and having a hit in Jamaica with "Stormy Night". In 1980, the trio traveled to the UK for a small tour. It began an association with London-based sound system operator and producer Lloyd Coxsone, who released several singles by the group, and also some Fred Locks solo records. These were collected on the album Love and Only Love in 1982.
In 1982, Locks married an American woman and moved to the United States, recording only sporadically until the mid-1990s, when he recorded an album, Culturally, for Phillip Smart. followed by albums on Philip "Fatis" Burrell's Xterminator label and on VP.
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I have many more 80s 90s reggae dancehall videos that need to be restored. There are 10 tapes just restored loaded with surprises - to be collected by JULY 31, 2024 - and then posted for your viewing pleasure. Please donate NOW so that those tapes can be released - whatever you can afford please DONATE NOW.
THANK YOU SINCERELY.
So that I can quickly receive, and start posting, the 80s 90s dancehall delights that have been restored to viewable and listenable quality.
US 1,800 needed to collect the 10 videotapes restored so far, must pay by 31 July 2024. Let's do this. Thank you.
I have in total about 300 more tapes that need to be restored and they all have historic and must see reggae dancehall footage that date back to the 80s. Videos that will bring musical and visual pleasure and memories to your viewing device.
I will be restoring them in tens so whenever I send tapes to be restored and they are restored then I will seek donations to pay for them.
Right now I need US 1,800 in total. Please send donations to my PayPal account by July 30, 2024. Thank you.
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Please donate as funds are needed to restore the many damaged 1980s/90s videotapes I still have in storage and I would love to share with you.
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This video I share with you highlights a rich part of our Jamaican motto "Out of Many, One People" as, from a cultural perspective, you see a musical aspect of Jamaica's African and Indian communities.
Between 1845 and 1921, over 36,000 Indians were brought to Jamaica. Upon their arrival, the Indians were dispersed to the plantations in Portland, St Thomas, St Mary, Clarendon, and Westmoreland. When their indentureships were over, they could have settled in any part of the island or chosen to go back to India. But more than two-thirds remained, making Jamaica their home.
Indians survived by building bonds with other communities on the island and learning their religious and cultural practices. Interracial marriages between Indian and African communities were not uncommon, which also led to closer cultural and economic integration. Many left the plantations and started working as fishermen, barbers, and shopkeepers. Skilled metalsmiths and jewelry workers created distinctive brass, silver, and gold ornaments. Peculiar Indian music, dance, and traditional dress were also incorporated into the Jamaican culture.
Indo-Caribbean music is most common in Trinidad and Tobago, Guyana, Jamaica, Martinique, and Suriname. Indo-Caribbean traditional music often reflects the Bhojpuri heritage of many Indo-Caribbeans; women's folk songs are especially reflective of the music of Bhojpur. Nachania is a popular dance among the East Indians who arrived in Jamaica during the Indentureship (1845-1917). Today, this Indian dance can be observed during Weddings, Pujas, and Divali celebrations in the Indo-Jamaican community.
In 1995, the Government of Jamaica proclaimed 10 May, Indian Heritage Day, in recognition of the Indians' contribution to the social and economic development of the country.
Afro-Jamaicans are Jamaicans of predominantly African descent. They represent the largest ethnic group in the country.
The ethnogenesis of the Black Jamaican people stemmed from the Atlantic slave trade of the 16th century when enslaved Africans were transported as slaves to Jamaica and other parts of the Americas. During the period of British rule, slaves brought into Jamaica by African slave traders were primarily Akan, some of whom ran away and joined with Maroons and even took over as leaders.
Rastafari, sometimes called Rastafarianism, is an Abrahamic religion developed in Jamaica during the 1930s. It is classified as both a new religious movement and a social movement by scholars of religion. There is no central authority in control of the movement and much diversity exists among practitioners, who are known as Rastafari, Rastafarians, or Rastas.
Nyabinghi is the gathering of Rastafari people to celebrate and commemorate key dates significant to Rastafari throughout the year. It is essentially an opportunity for the Rastafari to congregate and engage in praise and worship. For example, on July 23 of each year, a Nyabinghi is held to celebrate the birth of Emperor Haile Selassie I.
The Niyabinghi resistance inspired many Jamaican Rastafarians, who incorporated what are known as niyabinghi chants (also binghi) into their celebrations ("groundations"). The rhythms of these chants were eventually an influence of popular ska, rocksteady, and reggae music. It is the traditional music of the Rastafarian practice and it is used during "reasoning" sessions and consists of chanting and drumming to reach states of heightened spirituality.
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. Nyabinghi rhythms were largely a creation of Count Ossie, who incorporated influences from traditional Jamaican Kumina drumming.
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Thank you for liking and subscribing. Please donate, which will assist in funding the repair of many of my 80s/90s reggae dancehall videotapes so I can share them with you.
I videotaped using my cell phone footage of my close friend, Glen Ricketts aka Glen Ricks who spent some time with me at my home studio. Glen won the prestigious Canadian Juno Award in 1987, not for reggae but for Best R&B/Soul Recording. He is that great.
Glen, a musical and social friend for over 40 years, spent a couple days with me in my home studio laying some tracks for an instrumental album I am producing with him. He is not only an international award-winning singer but he is also an accomplished songwriter and musical arranger/composer. He has played and sung with many American R&B/Soul artists, including Donny Hathaway, Roberta Flack, Rick James, and Stevie Wonder and, he also has a son, Glen Lewis, an international R&B singer based in Canada.
Glen Ricks is one of a kind, powerful singer and songwriter with a unique soul tone who is known as the Al Green of Jamaica.
Born in Jamaica, Glen emigrated to Canada in 1967 when he was 14 years old, and attended Kitchener Waterloo Collegiate Institute (KCI). Before he came to Canada, he was already playing the recorder and the violin. There he began singing in high school bands, and after leaving school decided to pursue a music career.
Arriving in Toronto in 1969, he entered a talent contest where he met the first-place winners, a group of guys from Jamaica called "The Fabulous Flames". Impressed with his stagecraft, the group soon found that Glen had an abundance of musical talent. Glen joined the group, which also featured Lloyd Lovindeer and Kirk Salmon.
Soon after they went to Jamaica and did their first recording "Holly Holy", a cover of the Neil Diamond hit. The recording featuring Glen's voice was done with legendary producer Clancy Eccles. The song became a big hit, sparking the creation of their first album that spring a second single called "Growing Up" which also became a hit.
When the group split in the seventies, each member pursued solo careers. Glen began traveling to the United States to pursue a solo career. It was during this period that he went to Chicago and met his idol, Donny Hathaway. He was allowed to work closely with Donny which took his music and talent to an even higher level. Then Glen returned to Canada, where he had a successful career as a singer, gaining a contract with CBS Records Canada Ltd. when he caught the attention of David Clayton-Thomas of the Blood, Sweat and Tears group.
Late in the eighties, he returned to Jamaica, establishing himself as an in-demand singer with leading producers like King Jammy, Phillip “Fatis” Burrell, Bobby “Digital” Dixon, and Lloyd “Pickout” Dennis.
He has joined forces with legendary producer Linval Thompson and renowned producer and musician Roberto Sánchez. Together they recorded the album for one of the finest international ska and rocksteady labels; Liquidator Music.