Apr 19, 2014
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Throwback Thursdays

Throwback Thursdays: Bunny Wailer in the 1980s

Photo by David Corio—
Photo of WAILERS and Bunny WAILER

Sorry Snoop, we’re still riding with Bunny Wailer. Today marks the 67th earthstrong of the last remaining member of the Wailers trinity, so it’s only right to share some footage of Neville O’Riley Livingston’s performances. First up is a full 1986 concert at New York’s Madison Square Garden, which was sold commercially by Shanachie Records as Bunny Wailer In Concert. The show begins with a larger-than-life, fire-and-brimstone introduction, as “the musical messiah” before moving into a performance including nearly the entire Blackheart Man album. ” The show marked a “comeback” of sorts as, according to the video description, Bunny had not been seen abroad in over 10 years (though it seems he had done one show immediately prior to this one in Long Beach, California).

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Throwback Thursdays: Leroy Smart’s “Good Man In Your Life”

Words by Jesse Serwer—

leroy-smart-good-man

It’s been noted on this site before that dancehall videos didn’t really become prevalent until the 1990s. All told, there’s probably only 20 or so proper videos from the genre predating that era which have made it to YouTube. That’s what made it a nice surprise to encounter this clip of Leroy Smart’s “Good Man In Your Life,” dating back to 1987.

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Throwback Thursdays: Machel Montano’s “Too Young To Soca”

Words by Jesse Serwer—

machel-montano-too-young-to-soca

Another year, another set of crowns for Machel Montano. “Mr. Fete” won the Power category again at the International Soca Monarch competiton on Friday with “Ministry of Road (M.O.R.),” narrowly missing a sweep as Kerwin DuBois took Groovy Soca Monarch. “M.O.R.” meanwhile was inescapable at Mas in Port of Spain, taking the Road March title with a whopping 374 plays, more than six times the nearest competitor. In light of his continued success, it’s only appropriate on this Throwback Thursday back to where it all started for Machel.

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Throwback Thursdays: Shabba Ranks + Johnny Gill on Arsenio Hall

Words by DJ Gravy—

shabba-arsenio-hall-johnny-gill

When Sean Paul and Konshens performed “Want Dem All” on the newly relaunched Arsenio Hall Show the other day, it got us thinking, hmmmmm. “Mr. Let’s Get Busy” (that’s Arsenio, for you young’uns) had a whole heap of reggae artists on his original show back in the day. But this clip of big, dutty, stinkin Shabba Ranks and R&B singer Johnny Gill performing their combination tune “Slow And Sexy” definitely takes the cake.

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Throwback Thursdays: DJ Autograph on Beenie Man’s “Nuff Gal”

Words by DJ Autograph

Beenie-Man-Nuff-Gal

Jamaicans are music lovers. We listen to pretty much any and every genre of music imaginable. While growing up, one of my favorite days for listening to the radio was Sundays. You’d hear a lot of classical, jazz, R&B, soul and gospel music (let’s not forget the mandatory Air Supply, Celine Dion and Rupert Holmes songs heard EVERY Sunday). The diversity in music also lead producers and artist to experiment more resulting in riddims like Heavy Metal, which is based on rock guitar riffs and songs like “Skettel Concerto,” a straight opera-style song that references a Jamaican term for unsavory women.

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Throwback Thursdays: Salaam Remi on The Fugees’ “Blunted on Reality”

Words by Salaam Remi, as told to Jesse Serwer—

The-Fugees-Blunted-on-Reality

This month marks the 20th anniversary of The Fugees’ debut album, Blunted on Reality. Not The Score, their massive, legendary, multi-platinum 1996 commercial breakthrough, but the album two years earlier which most people tend to forget, if they ever knew it at all. Producer Salaam Remi was brought in to remix the album’s singles “Nappy Heads” and “Vocab”; in smoothing out their harder edges he helped Lauryn, Clef and Pras find their sound, setting the tone for The Score, for which he produced the lead single “Fu-Gee-La.” In a 2012 interview at Remi’s Instrument Zoo studio in Miami, he shares the story of how he met the Fugees, Angie Martinez’s role in breaking the group (at Hot 97, where Remi worked on Funkmaster Flex’s show at the time), and how his sessions with them set up The Score.

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