Super Hi-Fi – Blue and White (Very Special Records, 2018)
Blue and White is the new album by Super Hi-Fi, a collective of musicians based in Brooklyn who combine a powerful mix of dub reggae with rock, jazz and world music elements. It’s led by bassist and vocalist Ezra Gale.
Super Hi-Fi’s sound is characterized by the use of vibrant bass, dub effects and two dueling trombones that provide captivating interactions. Although Super Hi-Fi was primarily instrumental in previous recordings, band leader Ezra Gale sings on several tracks.
On Blue and White, the band reaches out into multiple genres incorporating fascinating elements such as Afrobeat and a joyful mix of ska and traditional country music featuring steel guitar.
Super Hi-Fi is into analog sound and this recording was recorded completely to tape.
The lineup includes Ezra Gale on bass, vocals, acoustic guitar; Rick Parker on trombone; Jon Lipscomb on guitar; Madhu Siddappa on drums; Alex Asher on trombone; Robert Stringer on trombone; Jeff Lampert on pedal steel guitar; Drew Fleming on vocals; Vincent Giangola on vocals; Erica Rutt Gale on vocals; Mitch Marcus on keyboards; Mamadou Konate on jembe and talking drum; Vera Sousa Marina on vocals; Bryan Benninghove on vocals; and John Blevins on trumpet.
The album is available on vinyl LP, cassette and digital.
Cidade Negra (Black City), is one of Brazil’s most popular reggae groups, with great sold out shows at the legendary Maracana football arena. In Brazil their work was honored with several platinum awards. They gained international reputation by collaborations with Reggae and Dancehall superstars like Shabba Ranks and Patra and their appearance as the one of the few non-Jamaican artists at the Sunsplash festival.
Lute pra Viver (1991)
Negro no Poder (1992)
Sobre Todas as Forças (1994)
O Erê (1996) Quanto Mais Curtido Melhor (1998)
Hits & Dubs (1999)
Enquanto o Mundo Gira (2000)
cústico MTV (2002) Perto de Deus (2004)
Direto Ao Vivo (2006)
Diversão Ao Vivo (2007)
Perfil (2008) Que Assim Seja (2010)
Andrew Tosh, the tall, slender third son and virtual carbon copy of reggae legend Peter Tosh has been predicted to carry on the family’s musical tradition since first gaining recognition with a powerful performance at his father’s funeral in 1987.
He’s been delighting audiences across the world with his brilliant live sets and Grammy-nominated recordings which, although influenced by his father, are very much in his own brilliant style.
Born on June 19, 1967 in Kingston, Jamaica, Andrew and his father Peter would sing songs together – not just Peter’s militant compositions, but also pop classics by the likes of Stevie Wonder, Ray Charles and Kenny Rogers. Andrew notes that “Peter always knew I would do something in the music business, so he encouraged me to study piano, ’cause he knew I loved it. From the start it was inside me to sing and play instruments.”
The first song he learned was PeterTosh’ composition “You Can’t Blame the Youth,” and from that point forward, he says, “I knew that my heartbeat was music and one day it would just be music out of my mouth, and writing and singing my own songs.”
Throughout his elementary and high school days in Duhaney Park on the outskirts of Kingston, Andrew was constantly pulled to the forefront of the class and made to sing lead. At 14, in emulation of his father, Andrew began to ride a unicycle too.
Although Peter was often on the road, performing tours that remain to this day reggae’s most lengthy and successful ones, Andrew spent much of his childhood living in Peter’s house, especially between the critical ages of 12 and 15.
Andrew Tosh’s first recording came in 1985, when he recorded a song he wrote called “Vanity Lover” for Neville Lee’s Gorgon label. A keen observer of the vibrant music scene in Kingston, Andrew was checking out some of the new talent at that city’s famous Skateland dancehall on the evening his father was murdered – Friday,
September 11, 1987.
“I felt my father’s spirit come right there at Skateland where I was,” he says, “and the spirit said leave that place right now.” The impact of the elder Tosh’s passing made an immediate and life-changing impression. “I tell myself that Peter Tosh is gone and it’s my need to carry on. Not for want, and not for the lust of fame and the glamor and want to be rich. No, for the love of my art and the love of my people, because love carry no color. Love is love and that’s what Jah say, make a joyful noise unto Me.”
The first glimpse the public got of Andrew’s nascent talent came when he sang at his father’s funeral in the National Arena in Kingston. His version of Peter’s “Jah Guide” stunned the mourners. “I was astonished myself on stage,” he recalls. “The other song I did was ‘Equal Rights,’ because everyone is crying out for peace but none is crying out for justice. When I came down off the stage, I couldn’t stop crying.”
Late the following year, he tested the international waters with a pair of memorable performances in southern California, including a show-stopping turn on the stage of Burbank’s Starlight Amphitheater, the site of the final appearance together of Bob Marley and Peter Tosh. “I felt elevension,” he laughs, engaging in some of the crafty wordplay for which his father was notorious. “It was way beyond tension.”
From that point, Andrew began working under the guidance of keyboardist Keith Sterling and his band mates, Fully Fullwood and Santa Davis, the bass and drum team from Peter’s most ferocious backing group, Word Sound and Power. Andrew began to tour, wowing audiences in Europe as well as North and South America. He has been especially successful in Brazil, where he has appeared several times in Sao Paulo, Rio, and Curitiba.
His first album, Original Man, was a mixture of his tracks and those of his father. The follow-up, Make Place for the Youth, indicated a new maturity to his songwriting, and was well received, earning him a Grammy nomination.
He produced a major tribute to his father, (executive-produced by Bunny Wailer), called Andrew Sings Tosh.
Overdubbed (Echo Beach, 2018) is the new album by dub masters Sly & Robbie and Dubmatix. The album is scheduled for release January 19th, 2018. The recording will be available in 12″ Vinyl, CD, and digital formats.
Positive Vibration, the UK’s celebration of reggae music and Jamaican culture will take place June 8 and 9, 2018 at Baltic Triangle in Liverpool.
The first wave of acts announced includes Macka B & The Roots Ragga Band; Sister Nancy & Legal Shot Sound System; Adrian Sherwood & Creation Rebel; Iration Steppas; Misty in Roots; Don Letts; Channel One Sound System; Manudigital with Parly B and Bazil; Capital Letters; Radikal Guru with Echo Ranks and Cian Finn; Dubkasm with Solo Banton; and Count Skylarkin’ presents ‘Derek’s Island Discs’
For several decades, UB40 have been popularizing reggae around the globe. UB40’s fortune changed at the beginning of 1980. They had spent many years performing live and developing a name for themselves when they were asked to joining ‘The Pretenders’ as their support act on a national tour. The group’s first album was released in September 1980. The album cover was a reproduction of the unemployment benefit card with the title Signing Off rubber stamped in red. It referred to ‘signing off’ the dole i.e. getting a job. It was an acknowledgement of the launch of the band as well as a celebration of their new status.
The first single with Graduate, their initial label was a double-A coupling of Food for Thought about third world poverty and ‘King’ an expression of grief for Dr. Martin Luther King Jr. ‘King’ had seemed to be the favorite with live audiences but it was ‘Food for Thought’ that got the airplay and became the first hit. The single was released during the tour without the benefit of major label marketing or promotion and headed straight for the top five.
The group released their fourth album Labour of Love in 1983. It was their first direct tribute to the musicians who had inspired them. ‘Red Red Wine’ was the first single to be released from Labour of Love and it went straight to number one in the UK charts upon its release. The phenomenally popular single was in the British charts for two years. It gave UB40 their first worldwide hit and first American number one.
Success continues throughout the Nineties with the release of Promises and Lies which becomes the group’s biggest selling album worldwide selling in excess of 9 million copies worldwide and contained the hit single ‘Can’t Help Falling In Love ‘ giving the band their third UK number one.
Fathers of Reggae, a project which took three years to complete featured a series of legendary reggae artists such as Toots Hibbert, Gregory Isaacs and John Holt was released in 2002.
In 2003, UB40 received an Ivor Novello Award for International Achievement and secure a Top Ten album with the ‘Platinum Collection Labour of Love I II & III a triple box set comprising the whole ‘Labour of Love’ series. Their 22nd album, Homegrown includes ‘Swing Low,’ the official anthem for the England rugby team’s triumphant 2003 World Cup campaign in Australia. The song became the group’s 49th UK chart single.
In April 2005, UB40 united with Roger Daltrey Eric Clapton and John Mayer to play their first ever show at the Royal Albert Hall in aid of the Teenage Cancer Trust. The band was then invited to perform at the Live8 event in London’s Hyde Park, alongside U2, Pink Floyd, Coldplay, Madonna, Robbie Williams and The Who. A successful sell-out tour in the UK, Ireland and Europe completeds the year.
UB40 continued to tour throughout 2006 visiting Mozambique Australia New Zealand the Pacific Islands (i.e. New Caledonia Tahiti Tonga Fiji) Hawaii and continuing on to the US and Canada.
Signing Off (1980)
Present Arms (1981)
UB44 (1982) Labour of Love (1983)
Geffery Morgan (1984)
Baggariddim (1985) Rat in the Kitchen (1986) UB40 (1988)
Labour of Love II (1989) Promises and Lies (1993)
Guns in the Ghetto (1997)
Labour of Love III (1998)
Cover Up (2001)
Who You Fighting For? (2005)
Labour of Love IV (2010)
Getting Over the Storm (2013)
Your Connection to traditional and contemporary World Music including folk, roots and various types of global fusion