Ska’s the Limit

This is just good silly fun and needed to be posted. Thank The Onion online for this one!

Sally Brown

Let me tell you ’bout Sally Brown
Let me tell you ’bout Sally Brown
Sally Brown is a girl in town,
Sally Brown is a girl in town,
She don’t mess around,
She don’t mess around,

(if you mess with Sally she gonna hit you with a co co maja stick)

co co co co co co co co maja stick, she gonna hit you with a co co maja stick,
co co co co co co co co maja stick, she gonna hit you with a co co maja stick,

The English Beat

.

HISTORY

Formed in the working class suburbs of industrial Birmingham in England in 1978 The Beat arose at a time of high unemployment and social upheaval. From the outset the band offered messages of hope and peace with an insight into sociopolitical topics would later alongside The Specials see them heralded as forerunners of the whole 2-Tone Ska movement.

Ranking Roger and Dave Wakeling led with vocal duties while Andy Cox and David Steele took guitar and bass duties with Everett Morton supplying the most distinctive of drumming styles. Added to this mix was the renowned saxophonist Saxa, adding the deliciously warm Jamaican ska instrumental flavour that is forever associated with the bands sound. Having played saxophone with Prince Buster, Laurel Aitken and Desmond Dekker in the first wave of ska The Beat on formation seemed to immediately come of age.

The Beat’s first single was the infectious cover of Smokey Robinson’s ‘Tears of A Clown’ which on release went straight into the National Top 10 at No.6. The record, an effortless like fusion between a number of different musical styles such as Ska, Punk, Pop, Soul and Reggae, immediately saw the band finding themselves an overnight success.

Further hit singles from the first album included ‘Mirror In The Bathroom’, ‘Can’t Get Used to Losing You’, ‘Hands Off… She’s Mine’ and ‘Best Friend’, and with a catalogue such as this it was easy to see why the The Beat would become one of the most popular recording and live acts in the UK.

Huge radio airplay followed in the US which saw The Beat head stateside and then further with world tours alongside some of the biggest performing artists such as The Clash, The Police, REM, Talking Heads, The Pretenders and of course The Specials.

While The Beat could deliver with what almost seemed effortless ease songs of Love, Peace and Unity. Songs such as ‘Stand Down Margaret’ saw them spearhead a movement wanting real social change and multicutural inclusion. The thousands that sang along in unison with the band at nuclear disarmament marches bear testament to the uplifting feeling the band could evoke with their musical swagger and genuine care for humanity.

After 3 Gold and Platinum top selling albums worldwide with ‘I Just Cant Stop It’, ‘Wh’appen’, and ‘Special Beat Service’ – The Beat’s musical fluidity and openess, delivered in their explosive all encompassing live shows allowed them to reach hundreds of thousands of fans across the world, communicating positivity and freedom through not only their music, but their actions and genuine commitment to causes.

Almost in reaction to the height of their fame The Beat to the disbelief of many disbanded with Ranking Roger and Dave Wakeling forming General Public with Mickey Billingham of Dexys Midnight Runners and Andy Cox and David Steele putting together the Fine Young Cannibals. Though both enjoyed phenomenal success, no other artist has sounded like The Beat or indeed is ever likely too. Ranking Roger also briefly joined Mick Jones’ post-Clash band Big Audio Dynamite injecting his toasting and vocal style that to this day remains his trademark.

After numerous offers to return to the stage The Beat returned in 2003 for a sell out show at The Royal Festival Hall with the inclusion of Ranking Jnr taking vocal duties to an accolade of critical acclaim. With Dave Wakeling heading to the US Ranking Roger alongside Everett Morton, Ranking Jnr and Mickey Billingham returned to their roots with deeper rhythms, a wall of sound that transcends time and an unwavering dedication to real unity and love that leaves the future still to be written, there can be no question…

…The Beat are back!

Dis is Ska

 
S
K    
A   
Z
I
N
E
.                 
C               
O
M









The Story of Jamaican Music – From Ska to Reggae


After World War IIJamaicans purchased radios in increasing numbers and were able to hear rhythm and blues music from Southern United States cities such as New Orleans by artists such as Fats Domino[12] and Louis Jordan.[13]
Music of Jamaica
Kumina – Niyabinghi – Mento – Ska – Rocksteady– Reggae – Sound systems – Lovers rock – Dub –Dancehall – Dub poetry – Toasting –Raggamuffin – Roots reggae – Reggae fusion
Anglophone Caribbean music
Anguilla – Antigua and Barbuda – Bahamas –Barbados – Bermuda – Caymans – Grenada –Jamaica – Montserrat – St. Kitts and Nevis – St. Vincent and the Grenadines – Trinidad and Tobago – Turks and Caicos – Virgin Islands
Other Caribbean music
Aruba and the Dutch Antilles – Cuba – Dominica– Dominican Republic – Haiti – Hawaii –Martinique and Guadeloupe – Puerto Rico – St. Lucia – United States – United Kingdom

Quarter note “skank” guitar rhythm[14]About this sound Play , namedonomatopoetically for its sound.

Eighth note skank rhythm[15] About this sound Play .

The stationing of American military forces during and after the war meant that Jamaicans could listen to military broadcasts of American music, and there was a constant influx of records from the US. To meet the demand for that music, entrepreneurs such asPrince BusterClement “Coxsone” Dodd, and Duke Reid formed sound systems. As jump blues and more traditional R&B began to ebb in popularity in the early 1960s, Jamaican artists began recording their own version of the genres.[16] The style was of bars made up of four triplets but was characterized by a guitar chop on the off beat – known as an upstroke or skank – with horns taking the lead and often following the off beat skank and piano emphasizing the bass line and, again, playing the skank.[1] Drums kept 4/4 time and the bass drum was accented on the 3rd beat of each 4-triplet phrase. The snare would play side stick and accent the third beat of each 4-triplet phrase.[1] The upstroke sound can also be found in other Caribbean forms of music, such as mento and calypso.[17]
One theory about the origin of ska is that Prince Buster created it during the inaugural recording session for his new record label Wild Bells.[17] The session was financed by Duke Reid, who was supposed to get half of the songs to release. However, he only received one, which was by trombonist Rico Rodriguez.[citation needed] Among the pieces recorded were “They Got to Go“, “Oh Carolina” and “Shake a Leg“.[citation needed] According to reggae historian Steve Barrow, during the sessions, Prince Buster told guitarist Jah Jerry to “change gear, man, change gear.”[citation needed] The guitar began emphasizing the second and fourth beats in the bar, giving rise to the new sound. The drums were taken from traditional Jamaican drumming and marching styles. To create the ska beat, Prince Buster essentially flipped the R&B shuffle beat, stressing the offbeats with the help of the guitar. Prince Buster has explicitly cited American rhythm & blues as the origin of ska, specifically Willis Jackson‘s song “Later for the Gator”, “Oh Carolina”, and “Hey Hey Mr. Berry”.[18]
The first ska recordings were created at facilities such as Studio One and WIRL Records in Kingston, Jamaica with producers such as Dodd, Reid, Prince Buster, and Edward Seaga.[17] The ska sound coincided with the celebratory feelings surrounding Jamaica’s independence from the UK in 1962; an event commemorated by songs such as Derrick Morgan‘s “Forward March” and The Skatalites‘ “Freedom Sound.” Because the newly-independent Jamaica didn’t ratify the Berne Convention for the Protection of Literary and Artistic Works until 1994 copyright was not an issue, which created a large number of cover songs and reinterpretations. Jamaican musicians such as The Skatalites often recorded instrumental ska versions of popular American and British music, such as Beatles songs, Motown and Atlantic soul hits, movie theme songs, or surf rockinstrumentals. Bob Marley‘s band The Wailers covered the Beatles’ “And I Love Her“, and radically reinterpretedBob Dylan‘s “Like a Rolling Stone“.
Byron Lee & the Dragonaires performed ska with Prince Buster, Eric “Monty” Morris, and Jimmy Cliff at the 1964 New York World’s Fair. As music changed in the United States, so did ska. In 1965 and 1966, when American soul music became slower and smoother, ska changed its sound accordingly and evolved into rocksteady.[17][19]However, rocksteady’s heyday was brief, peaking in 1967. By 1968, ska evolved again into reggae.

SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA MUSIC SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA MUSIC SKA SKA SKA SKA SKA SKA MUSIC SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA MUSIC SKA SKA SKA SKA SKA MUSIC SKA SKA SKA SKA SKA MUSIC SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKASKA SKA SKA SKA SKA SKA SKA SKA MUSIC SKA SKA SKA SKA SKA SKA SKA SKA SKA MUSIC SKA SKA SKA SKA SKA SKA SKA SKA MUSIC SKA SKA SKA SKA SKA SKA SKA SKA SKA MUSIC SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA MUSIC SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA SKA…  MUSIChttp://ska-zine.blogspot.com/p/porkpie.html