Saturday, 1 December 2012

part 2 'Bob Marley : Dari Catch A Fire ke Legend

Exodus diangkat salah sebuah album terbaik sepanjang zaman oleh pengkritik musik dan majalah Rolling Stones menamakan album Exodus ini antara 500 album terbaik sepanjang zaman dan menduduki tangga 163 pada tahun 2003, manakala majalah Time pula mengangkat album ini album terbaik abad 20. Album ini dikeluarkan pada 3 june 1977, dimana ia dirakamkan di Island studio, London diantara bulan januari hingga april 1977. Bob Marley merakamkan album di London setelah konflik politik yang berlaku di Jamaika yang hampir meragut nyawanya pada 3 disember 1976, album ini juga menggerakkan Bob Marley ke peringkat lebih tinggi dalam berkarya.Cover album ini iaitu tulisan 'Exodus' dicover hadapannya diadaptasi dari bentuk tulisan bahasa  amarik Ethiopia.
Kaya adalah album Bob Marley & Th Wailers yang dirakamkan pada Januari-April tahun 1977 di Island Studio, London yang direleaskan pada 23 Mac 1978. Album in mencapai kedudukan ditangga ke lima di carta U.K. Walaupun begitu album 'Kaya' ini tidak lepas dari kritikan kerana album ini dikatakan begitu lembut, santai dan tenang, baik dari segi lirik dan musik dimana kebanyakkan lagu didalam album ini lebih berkisar tentang cinta dari militan seperti album sebelumnya. Kesemua lagu dalam album ini ditulis dan dihasilkan oleh Bob Marley,mengandungi 10 buah lagi bagi versi original album dan bagi versi remastered yang direleasekan pada 2001 terdapat 1 lagu tambahan iaitu 'Smile Jamaica' (alt.version)
Babylon By Bus adalah album live Bob Marley & the Wailers yang dirakamkan di Pavillon De Paris, konsert yang dirakamkan selama 3 hari iaitu pada 25-27 June 1977. Album ini dikeluaran pada 10 November 1978 yang diproduksi oleh Bob Marley & The Wailers, Chris Blakwell dan Jack Nuber. Seperti cover album Catch A Fire, cover album live 'Babylon By Bus' ini juga mempunyai keistimewaan. Dimana cover album ini tingkap bas pada penutup depan boleh dibuka dan mendedahkan bahagian dalam album ini bagi versi LP, Juga didatangkan dengan 2 LP yang mengandungi 13 buah lagu.Bob Marley – lead vocals, rhythm guitar, Carlton Barrett – drums, Aston "Family Man" Barrett – bass, Tyrone "Organ D" Downie – keyboards, Junior Marvin – lead guitar Alvin "Seeco" Patterson – percussion, Al Anderson – lead guitar, Earl "Wire" Lindo – keyboards, Rita Marley – backing vocals, Marcia Griffiths – backing vocals, Judy Mowatt – backing vocals.

'Black Survival' adalah tajuk asal album 'Survival' ini. tetapi nama album ini telah ditukar kepada 'Survival' sahaja tanpa menggunakan nama 'Black Survival' bagi mengelakkan salah tafsir tajuk dan tema album ini. Album ini menekankan dan mendesak perpaduan sesama negara benua afrika dan pendudukya. Cover album ini, dapat dilihat dimana bendera-bendera negara benua africa disatukan dan juga lagu 'Africa Unite', menunjukkan dimana Bob Marley mengisytiharkan perpaduan Pan-Africa. Album studio yang pertama kalinya dirakam di Tuff Gong Recording Studio, Kingston, Jamaika (studio milik Bob Marley). pada bulan januari-febuari 1978 dan direleaseakan pada 2 oktober 1979, dimana diproduser oleh Bob Marley & The Wailers dan Alex Sadkin.
Merupakan album studio terakhir Bob Marley yang dikeluarkan pada 10 jun 1980, setahun sebelum kematian Bob Marley akibat kanser. Album uprising ini merupakan album Bob Marley dimana hampir setiap lagu dalam uprising ini mengenai kepercayaan beliau tentang gerakan Rastafari. Zion Train', Forever Loving Jah dan lagu-lagu lain yang cenderung tentang kepercayaan beliau. Melalui album ini juga Bob Marley memainkan gitar acoustic secara solo untuk lagu 'Redemption Song'. lirik lagu ini sebahagiannya merupakan ucapan 'Marcus Garvey'.Pada tahun 2010 majalah New Statesman (sebuah majalah British mengenai politik dan budaya) menyenaraikan lagu ini antara 20 buah lagu politikal terbaik. Album ini juga diterima baik di U.K ketika itu tersenarai antara 10 album teratas dengan single 'could you be love menduduki tangga ke 5 di carta single U.K

Confrontation album yang dkeluarkan selepas 2 tahun kematian Bob Marley, iaitu pada 23 may 2012, Lagu didalam album ini merupakan rekod dan single yang direkodkan semasa hayat Bob Marley dimana kebanyakan dibina dari demo beliau. Cover album ini terilhamkan dari tradisi Etiopia Santos George ini, melawan sang naga, juga dapat dibaca dari cerita lagend Ethiopia ini berjudul St. George & The Dragon. Didalam sleeve album ini terdapat lukisan yang terinspirsi dari peperangan Adowa, dimana tentera Ethiopia mengalahakan tentera Italy dalam peperanan tersebut pada tahun 1896. Juga cerita peperangan ini ada diflemkan bertajuk 'Adwa' pada tahun 1999 yang diarahkan oleh Haile Gerima. Album ini berisi 10 buah lagu dimana lagu 'Buffalo Soldier' merupakan lagu hit.
Album legend ini dikeluarkan pada 8 May 1984 dan meupakan album kedua yang dikeluarkan setelah kematian beliau. Album ini diangkat sebagai album reggae terlaris sepanjang zaman dengan jualannya mencecah jutaan salinan diseluruh dunia. Pada tahun 2003 majalah Rolling Stones menyenaraikan album ini ditangga ke 46 bagi 500 album terhebat sepanjang zaman. Pada cover album ini dapat dilihat cincin Lion of Judah pemberian Kaisar Ethiopia, walaubagaimana pun cincin ini dikatakan hilang semasa kematian beliau dan ada mengatakan cincin ini pulang ketempat asalnya.


Friday, 9 November 2012

Bob Marley : Dari Catch A fire Ke Legend

Jika tidak kerana Bob Marley senario musik reggae mungkin tidak sebesar hari ini dan jika tidak kerana Peter Tosh dan Bunny Wailer kita mungkin tidak mengenali Bob Marley seperti yang kita tahu, hari ini. Bob, Peter, Bunny saling berkait rapat baik sama ada dari hubungan kekeluargaan mahupun musik juga fahaman. Mereka bertiga membentuk kumpulan The Wailers pada tahun 1963, sebelum menggunakan nama The Wailers mereka ada menggunakan beberapa nama antaranya seperti The Teenagers, The Wailing Rudeboys, The Wailing Wailers.Penulis cuba mengupas tentang album Bob Marley dari Catch A Fire sehingga Album Legend dalam penulisan kali ini. Sila Semak  


Album Catch A Fire merupakan album pertama The Wailers bersama Island Records kepunyaan Chris Blackwell. Album yang direleasekan pada 13 april 1973 yang direkodkan dari bulan May-Oktober tahun 1972. Album Catch A Fire Mengandugi 9 buah lagu dimana 2 lagu daripadanya merupakan ciptaan Peter Tosh (400 Years, Stop That Train) dan selebihnya merupakan ciptaan Bob Marley seperti (Concrete Jungle,Slave Driver, Rock It Baby, Stir It Up, Kinky Reggae, No More Trouble dan Midnight Rivers). Catch A Fire dimana dalam slang Jamaika bermaksud 'Catching Hell' (getting in trouble). Versi asli Cover bagi album ini berbentuk pemetik api 'zippo' dimana ia dicetak sebanyak 20,000 keping dalam bentuk piring hitam bagi cover pemetik api 'zippo' ini, kemudian diganti dengan cover alternatif dimana cover Bob Marley sedang merokok dan dikreditkan dengan nama Bob Marley & The Wailers.
Album ini dirakamkan di 3 buah studio di kingston, Jamaica iaitu menggunakan studio (Dynamic Sound, Harry J., & Randy's).Kemudian album dicetak semula untuk edisi deluxe bagi cd pada tahun 2001 dimana ia menggunakan cover bebentuk pemetik api zippo, (untk pengetahuan pembaca versi LP cover berbentuk pemetik api zippo, ia bole dibuka seperti pemetik api untuk mengeluarkan LP, rujuk gambar diatas). versi cd edisi deluxe ia didatangkan dengan 2 buah cd. Cd pertama adalah versi unrelease original Jamaican dimana versi ini meuatkan 11 buah lagu iaitu dengan 2 track tambahan, Hide Tide Or Low Tide dan All Night All Long. Manakala cd kedua adalah versi keluaran Island Record.

Album kedua The Wailers Burnin' dimana juga album ini merupakan album terakhir mereka sebagai The Wailers, dimana Peter Tosh dan Bunny Wailer mengambil keputusan untuk keluar dari kumpulan The Wailers mengembangkan kerjaya mereka sebagai penyanyi solo. Mengandungi 10 buah lagu dimana 2 buah lagu ciptaan Bunny (hallelujah Time dan Pass It On). Manakala Peter Tosh 1 lagu ciptaannya (One Foundation) dan 1 lagu yang dikreditkan bersama Bob Marley iaitu lagu(Get Up Stand Up)manakala selebihnya adalah lagu Bob Marley (I Shot The Sheri, Burnin' & Lootin, Put It On, Small Axe, Pass It On, Duppy Conqueror, Rasta Man Chant 'traditional arranged by Bob Marley'). Lagu I Shot The Sherif didalam album ini menjadi hit apabila dinyanyikan oleh Eric Clipton.Cover album The Miseducation of Lauryn Hill seorag penyanyi dan rappers Lauryn Hill mengambil inspirasi dari album Burnin' ini. Cover album yang berlatarbelakangkan kayu.

Bob Marley & The Wailers nama yang digunakan pakai oleh Bob Marley selepas Peter Tosh dan Bunny Wailers keluar dari The Wailers dan memasukkan i-three trio vokal wanita (Rita Marley, Marcia Griffiths dan Judy Mowatt) untuk Album Natty Dread. Album yang dikeluarkan pada 25 oktober 1974 yang dirakamkan di Harry J Studio, Kingston, Jamaika pada tahun 1973. Mengandungi 9 buah lagu (lively Up Your Self, No Woman No Cry, Them Belly Full (But We Hungry), Rebel Music (3 O'Clock Roadblock), So Jah S'eh, Natty Dread, Bend Down Low, Talkin' Blues, Revolution.). Lagu No Woman No Cry yang terdapat dalam album ini dikreditkan atas nama Vincent Ford,
 atau dikenali sebagai Tartar. seorang rakan dan jiran Bob Marley di kawasan trenchtown semasa zaman kecil beliau. Lagu di track ke 2 album Natty Dread ini, No Woman No Cry adalah versi reggae, tetapi versi live berentak R&B pada album Live Bob Marley dianggap yang terbaik ini selalu disalah anggap ertinya sebagai tiada perempuan tidak menangis. Dalam slang Jamaika "No, woman, nuh cry". bererti "tidak, perempuan, jangan kau menangis". Lagu ini juga pernah di cover oleh artis seperti Pearl Jam, The Fugees, Jimmy Cliff, Pauline Black, Rancid, etc.  Cover album ini dilukis oleh Tony Wright, seorang pelukis kelahiran London. Antara Cover yang dilukis oleh Tony Wright seperti cover album Max Romeo (War Inna Babylon), Lee Scratch Perry (Super Ape), Third World (Journey To Addis) dan beberapa lagi artis dan band yang pernah mendapat sentuhan pelukis ini.

Album live! Bob Marley & The Wailers yang dirakamkan pada 18 & 19 Julai 1975 di Lyceum Theathe, Diangkat antara salah satu persembahan live terbaik Bob Marley, ia dirakamkan oleh Danny Holloway (seorang pekerja Island) menggunakan Rolling Stones Mobile Studio. sebanyak 7 Buah lagu direkodkan dan untuk versi remastered 2001 sebuah lagu iaitu Kinky Reggae ditambah sebagai bonus track. Anggota band yang terlibat dalam membuat persembahan live ini adalah, * Bob Marley – lead vocals, rhythm guitar * Al Anderson – lead guitar * Tyrone Downie – keyboards * Aston "Family Man" Barrett – bass * Carlton Barrett – drums * Alvin "Seeco" Patterson – percussion * I Threes (Rita Marley, Judy Mowatt, Marcia Griffiths) – backing vocals

Rastaman Vibration... Album roots reggae yang dikeluarkan pada 30 april 1976 direkodkan di 2 buah studio, Harry J Studio dan juga menggunakan studio Joe Gibbs. Album ini berjaya mencapai kejayaan di pasaran US ketika itu, menjadi satu-satunya album yang berjaya mencapai top ten di carta billboard(memuncak ditangga ke 8), Original Album mengandungi 10 buah lagu 1. "Positive Vibration" (Vincent Ford),2. "Roots, Rock,Reggae(Vincent Ford), 3. "Johnny Was" (Rita Marley), 4. "Cry to Me" (Rita Marley),5. "Want More" (Aston Barrett), 6. "Crazy Baldhead" (Rita Marley/Vincent Ford), 7. "Who The Cap Fit" (Aston Barrett/Carlton Barrett), 8. "Night Shift" (Bob Marley), 9. "War" (Allen Cole/Carlton Barrett), 10. "Rat Race" (Rita Marley) Bonus Track 11. "Jah Live" (Bob Marley). Untuk edisi Remastered mengandungi 2 buah cd, cd pertama mengandungi beberapa unrealease single mix, dub mix dan alternate, B-side single. manakala cd ke 2 mengandungi edisi live Rastaman Vibration. Lagu War dalam album ini merupakan pidato Kaiser Haile Selassie I, Yang merupakan Jah bagi Rastafarian. Pada tahun itu juga, 2 anggota asal The Wailers Peter Tosh dan Bunny Wailer mengeluarkan solo album pertama masing-masing. Peter Tosh album Legalize It dan Bunny Wailer album Blackheart Man.

BERSAMBUNG...

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Thursday, 1 November 2012

Tony Q Rastafara membentang sayap dengan reggae progresif

Tony Q Rastafara adalah antara muka lama dalam scene reggae di Indonesia iaitu aktif pada sekitar tahun 1989 lagi. telah menghasilkan sebanyak 9 buah album. Beliau meneruskan legasi dalam mencorak identiti reggaenya dengan bunyian-bunyian nusantara. Media-media Indonesia sendir ada yang mengelar Tony Q sebagai Presiden Reggae Indonesia. Pernah juga bekerjasama dengan salah seorang pemain bass yang pernah bekerjasama dengan Bob Marley, Peter Tosh, Black Uhuru iaitu Fully Fullwood didalam lagu Woman didalam album anak kampung.

membentang sayap adalah judul album terbaru Tony Q Rastafara yang diriliskan tahun ini. Apa yang menariknya tentang album terbaru ini adalah ianya diterbitkan dalam bentuk gelang usb yang berisikan 9 buah lagu dalam bentuk data, profil Tony Q, story album, lagu dan lirik serta 3 buah video clip dari album terbarunya dan daftar ring back tone. Menurut Tony Q dalam satu wawancara, mengenai konsep album beliau kali ini lebih ke arah progresif. reggae progresif yang menurut Tony Q, stail musik ini lebih menekankan pada gitar bass, drum dan keyboard, tiada lagi penekanan pada gitar rythmn seperti selalu yang terdapat pada musik reggae itu.

Reggae progresif juga disebut sebagai satu sub genre baru bagi reggae. Bila membicarakan tentang progresif dalam reggae sebenarnya susah untuk saya sebagai penulis sendiri untuk mendefinasikan di sini reggae progresif itu dan ciri-cirinya. mungkin bagi pandangan penulis apa yang disebut progresif itu sebenarnya adalah eksprementasi. menekankan bunyi pada bass yang komplek,bunyian keyboard yang harmoni, dan ketukan drum reggae dengan bunyian klasikal, blues, jazz mungkin juga bunyian nusantara atau sebagainya. Menurut Tony Q, 'bentuk-bentuk synchope dan bentuk progresi kordnya memang sangat progresif',. Penulis sebenarnya masih mencari-cari bunyian yang disebut oleh Tony Q sebagai reggae progresif.

Sebenarnya dalam mencari atau mengklasifikasikan sesuatu jenis musik genre ini bukanlah perkara mudah, lebih-lebih lagi ia dikatakan sebagai satu cabang musik yang baru. Penulis sendiri juga pernah menyaksikan dimana musik metal diadunkan dengan musik reggae,(macam mana tu)?.

Kepada Manteman Malaysia yang sudah lama menantikan kedatangan Tony Q Rastafara, dikhabaran Tony Q Rastafara akan tampil membentangkan sayapnya dengan reggae progresifnya di Kuala Lumpur.

Sunday, 28 October 2012

Scene Reggae Malaysia Kemana?

Penulis rasa sangat cemburu bila melihat perkembangan scene reggae/ska negara-negara jiran kita seperti Thailand, Indonesia mahupun Singapura.Rasa cemburu ini lagi membuak-buak bila melihat Australia mahupun Jepun, kerana apa? kerana negara-negara seperti Jepun dan Australia merupakan antara negara disebelah asia yang akan menjadi destinasi persinggahan artis dan band reggae internasional untuk singgah melakukan tour disebelah asia. Thailand, Indonesia mahupun Singapore pula jika dilihat 2-3 tahun kebelakangan ini begitu aktif menjemput artis dan band reggae/ska dari luar nagara meriahkan festival mereka. Kemampuan mereka menganjurkan acara-acara reggae yang bertaraf baca (internasional) patut kita cemburui. Singapura contohnya, adalah antara negara yang mempunyai kepadatan penduduk yang kurang dan negara  mereka yang kecil, jika hendak dibandingkan dengan Malaysia, band reggae/ska mereka pun boleh dikira dengan jari saja, tetapi mereka masih mampu untuk menganjurkan festival reggae-ska. yang berskala besar, Anda percaya atau tidak? kebanyakkan festival yang dianjurkan oleh penganjur Singapore kebanyakkan orang yang pergi menontonnya adalah rakyat Malaysia. Toots & The Maytals, The Specials, Skatalites, Tokyo Ska Paradise adalah beberapa nama besar yang pernah beraksi di Singapore.Pai Reggae Festival adalah sebuah acara tahunan festival ska/reggae terbesar dinegara Thailand, ia mula dianjurkan pada tahun 2005 (kalau tak silap) dan sudah pun memasuki edisi ke 7 penganjurannya,  Jika dilihat saban tahun pengajuran Pai Reggae festival ini semakin tahun dilihat semakin membesar dan rancak. Selain itu beberapa festival ska/reggae besar yang lain juga pernah dianjurkan di Thailand.Nama-nama seperti Inner Circle, Big Mountain, Ky-Mani Marley, Easy All-Stars, Ska Cubano dan beberapa lagi nama besar yang pernah berlabur untuk singgah di Thailand bukan untuk berlibur yea tetapi untuk menghibur yea. Indonesia tidak kurang hebat juga, pada tahun lepas mereka sukses menganjurkan internasional reggae fest dengan headline nya Big Mountain. The Toaster juga tahun ni bermain di Indonesia.

Malaysia kapan??? Mungkin ada sedikit kenangan untuk diceritakan pada anak cucu, kerana pada tahun lepas The Wailers datang menghiburkan peminatnya di Malaysia. Kedatangan The Wailers adalah atas nama duta untuk mempromosi Hardrock cafe jika tidak jangan bermimpi untuk melihat mereka beraksi Malaysia. Sebenarnya kita sudah jauh ketinggalan dari segi penganjuran reggae/ska festival ini jika hendak dibandingkan dengan negara-negara jiran kita. DiMalaysia pun sebenarnya mereka yang mendengar  dan betul-betul mendokong musik ska/reggae ini  skalanya kecil jika hendak dibandingkan dengan scene Metal dan Jazz negara kita. Cuba kalian pandang ke arah scene Metal, Komuniti mereka begitu kuat dan ampuh walaupun suatu ketika dulu pernah mengalami zaman kejatuhan dimana ketika itu setiap gig yang melibatkan scene metal diharamkan, tetapi mereka bangkit dan mampu berdiri. Penganjur-penganjur luar pun sudah mula membuat duit dengan scene metal. Soulfly amtara nama yang cukup besar dibawa masuk oleh penganjur luar tersebut, kerana apa? kerana komuniti metal di Malaysia semakin membesar. Iya scene metal Malaysia sedang mengalami gelombang tsunami.  Gelombang peralihan. Penulis sebenarnya sangat berharap untuk melihat scene/komuniti ini berkembang bukan hanya dari segi penganjuran festival, tetapi juga dari segi kualiti dan kuantiti band reggae ini. Untuk merealisasikan benda-benda ini memerlukan sokongan dari ANDA semua, yes anda Malaysian Reggae Army  (peminat/pendokong).

Ini adalah pandangan penulis, jika anda ada sebarang komen, atau pandangan ayuh kita berkongsi di facebook saya Neat's Jr


Thursday, 4 October 2012


Of Myth And Man: The Legacy Of Bob Marley – OpEd

September 21, 2012
By David Cupples
With Jamaica having recently celebrated its Big 5-0 — fifty years of independence from Mother England — it’s natural to think of those things for which the tiny Caribbean island is famous. Fast sprinters and Olympic bobsledders. Patch-eyed pirates raiding the Spanish Main. Winter getaways to tropical beaches. A lyrical way of speaking, often imitated. Ganja and rum. For many it’s impossible to think of Jamaica without Bob Marley coming to mind.
A worldwide cult of followers worships Marley almost as a god-like figure, but in mainstream Western culture the man tends to be dismissed as a freaky pot-smoking dread who had some cool songs, and that’s about it. Certainly not someone to emulate. Not a man to be held up as a hero. No Mandela or Martin Luther King by any stretch of the imagination.
Well, hold on. On both a mythical and human level Bob Marley qualifies as a hero. Not a mere celebrity, but a true hero in the noblest sense of the word.
Marley in concert in 1980, Zurich, Switzerland
Marley in concert in 1980, Zurich, Switzerland
In the archetypal motif described by Carl Jung and Joseph Campbell, the hero typically comes from humble beginnings. Like Jesus, Mandela and King, Marley qualifies on that score. Born in a tiny shack in the back hills of Jamaica, Bob Marley grew up first as a barefoot country boy and later as a teenager on the mean streets of Kingston, ratchet knife in pocket and fists ready to fly. He never finished high school.
Next in the hero’s journey comes a call to adventure or action, often involving a Vision Quest or Walkabout. Seeking a way to deal with the hardships of ghetto living — as well as the sting of abandonment by his father and long periods of absence from his mother — Marley hiked not to the mountaintop but into the concrete jungle, to the heart of the inner city, where in the abyss of suffering and deprivation known as Back o’ Wall he encountered the teachings of Jah Rastafari. He’d always had music, but now his music acquired profound spiritual depth. Bob Marley, ghetto rudeboy, would become a messenger for Rasta, spreading the word of eternal life and the black man’s redemption through Haile Selassie I via the medium of his music. Marley had found his mission in life.
The next phase in the hero’s journey is initiation, consisting of one or many tests, like the labors of Hercules or the ordeals of Odysseus. For a penniless Third World ghetto-dweller to get his/Jah’s message out to the world was surely a Herculean chore. Guides (another archetypal motif in the hero’s story) like Joe Higgs, Seeco Patterson and Lee ‘Scratch’ Perry tutored Bob and mates Peter Tosh and Bunny Livingston (now Wailer) along the way, helping refine their vocal talents and — like Yoda with Luke Skywalker — completing their apprenticeship. But despite scoring a string of hits atop the Jamaican charts, the three ragamuffins could barely put food in their mouths, let alone shout Hosannas to the world. Down to their last few pounds, they marched into the London headquarters of Island Records and pleaded for money to make an album. Chris Blackwell sensed their integrity and slipped them a few thousand pounds; the three youths went home to Jamaica and within six months had crafted one of the great albums of all time, Catch A Fire. The messenger had found his voice.
The most exalted aspect of the hero’s saga is the sacrifice. Historical examples of the dying and resurgent god are many, among them Christ, Mithras and Dionysus. Psychologically, this represents the death of the individual ego as the hero is reborn a collective figure of hope and renewal—given over to a life for the good of all rather than himself (or herself; a woman can fulfill the archetypal role too). Jamaica in the 1970s was a hotbed of political strife, the two main political parties caught up in tribal war; many claimed the CIA was on the island stirring things up. Bob was caught in the middle and nearly paid with his life. In the end it was not a bullet that took him but cancer. Because of his religious beliefs he forswore the operation that might have saved his life and rather than rest he pushed himself to the brink to get his message out before his strength abandoned him. His rebirth was in his music, which continues to give hope and inspiration to millions, if not in the call to Rastafari, then in the ‘positive vibrations’ and message of love and unity his lyrics so brilliantly radiate.
So much for mythology — what about in real-life terms? Much of the world outside the West readily accepts Marley as a heroic figure. Ask Africans old enough to remember life under minority rule how the Jamaican’s songs gave inspiration to freedom fighters risking their lives to overthrow the tyrants. Ask South Africans who could not buy uncensored Marley records because the apartheid government feared the lyrics would incite rebellion. Ask Zimbabweans who were there in 1980 on Independence Day, when the Union Jack was taken down for the last time and the flag of the new nation raised—who was there to sing but Bob Marley and the Wailers?
Marley saw injustice all around and put it to music. He wisely perceived that the cruelest tyranny was hunger:
‘Them belly full but we hungry
A hungry mob is an angry mob (Them Belly Full)’
He heard and reported the cries of the sufferahs:
‘Woman hold her head and cry
‘cuz her son had been shot down in the street and died
just because of the system (Johnny Was)’
He warned of the repercussions that social and economic inequality would bring:
‘We’re gonna be burning and a-looting tonight (Burnin’ and Lootin’)’
Marley was an astute observer and social critic who let nothing pass. A favourite theme was the shit-stem (system) that made a hell of everyday existence:
‘Today they say that we are free
only to be chained in poverty
good god I think it’s illiteracy
it’s only a machine to make money’ (Slave Driver)
A machine powered by foreign influence and divide-and-rule tactics.
‘So they be bribing with their guns, spare parts and money’ (Ambush in the Night)
Marley wasn’t fooled:
‘Rasta don’t work for no CIA’ (Rat Race)
He spoke out against hard drugs–
‘All those drugs gonna make you slow
That’s not the music of the ghetto’ (Burnin’ and Lootin’)
–and in favour of raising children with love and tenderness:
‘I heard my mother, she was praying in the night…
She said a child is born in this world
He needs protection
Lord guide and protect us
When we’re wrong please correct us’ (High Tide or Low Tide)
Marley sang of a revolution of the mind, echoing the deepest wisdom of humanistic psychologists like Carl Rogers and existential philosophers like Sartre:
‘Emancipate yourself from mental slavery
none but ourselves can free our mind’ (Redemption Song)
He offered solace against the angst of modern times:
‘Have no fear for atomic energy
‘cause none of them can stop the time’ (Redemption Song)
Marley’s guiding spiritual tenet was the doctrine of One Love, a reverence for the unity of all life:
‘In every man’s chest, there beats a heart’ (Zimbabwe)
A true revolutionary, he would turn the other cheek only so far:
‘So arm in arm, with arms,
we’ll fight this little struggle
cuz that’s the only way we can
overcome our little trouble’ (Zimbabwe)
Worldwide, Bob Marley’s lyrics may well have given inspiration and solace to as many as did King’s speeches, and he has come to symbolize resistance to oppression perhaps equally as much as the great civil rights leader. Africans seem to think so. In 1978, an African delegation to the UN presented Marley with the Third World Peace Medal — the former ghetto rudie formally recognized as one of the world’s great champions of freedom and human rights.
Carl Jung wrote of a corollary principle to the hero’s sacrifice — the archetypal impulse of underlings to kill the hero (much like the bloodlust of the sons of the primal horde to slay the clan patriarch, in Freud). Heroes have always been silenced by various methods, the most obvious being their death. One thinks of John Lennon, Malcolm X, Biko, Lumumba, Fred Hampton, Chris Hani, Che Guevara, Chico Mendes, Archbishop Romero and on and on and of course King himself.
When such figures aren’t murdered or imprisoned, they may be reviled, impugned, dismissed. Muhammad Ali was not widely revered in America until age and illness rendered him less threatening to white society. Similarly, King did not become a culture-wide icon until after his death, when the immense power of his presence was removed and only the brilliance of his words remained, rendering him palatable to the mainstream.
Bob Marley was easily dismissed as a dope smoker and profligate who fathered children willy-nilly with this woman and that, when in fact smoking ganja was part of Rastafarian religious belief and Marley as a rule was respectful to all his women; though not literally faithful to his wife Rita he cherished her all his days. Believing the creation of new life was sacred and beautiful he shunned birth control and took pains to ensure all his children were taken care of.
Writing Marley off as a wastrel — whether explicitly in words or implicitly through quiet shunning — is to view him through a Western prism. Of course, the real reason for dissing Marley, like King and Ali, was the threat he posed to the system. Even Mandela was viewed as a serious danger — he was officially designated a terrorist by Ronald Reagan (and Margaret Thatcher) and remained so designated until 2008.
Musically, despite a bright shining moment when Time declared Exodus the greatest album of the 20th Century, the presumed high authority Rolling Stone failed to include any Marley album not only in the top 10 but even the top 100 of its list of the 500 greatest albums. Fleetwood Mac at #26 and Exodus #169? If that’s not dismissal.
In the final analysis, there is little reason to argue over which hero stood the tallest. Just being mentioned in the same breath as Mandela and King is a supreme honor for anyone. Perhaps it is enough to say that Bob Marley was The Voice of the Third World and leave it at that. With much of Africa and the Caribbean having seen little development over the decades, feasting multinationals growing ever richer while the children continue to waste away… with Jamaica suffering the same poverty, lack of opportunity and violence seen thirty-five years ago… Africa plagued still by famine, disease and lack of infrastructure… American blacks faring proportionately far worse in the current economic crisis than their white counterparts, as if constituting a Third World nation within the ‘richest country on earth’ — with all this, we need to hear Marley’s message now more than ever.
David Cupples Ph. D is the author of Stir It Up: The CIA Targets Jamaica, Bob Marley and the Progressive Manley Government (a novel). He can be contacted via email atdavidcdusty@hotmail.com or through his Facebook Author page atwww.facebook.com/StirItUpCIAJamaica .

Wednesday, 19 September 2012

'Boss Reggae' The Aggrobeats

The Aggrobeats adalah salah sebuah band reggae diMalaysia yang dibentuk pada tahun 2006, Band ini mengabungkan musik funk, soul dengan early reggae. Early reggae juga dikenali sebagai skinhead reggae. ia wujud selepas era musik rocksteady sebelum pergerakkan rastafarian yang kemudiannya mewujudkan 'roots reggae'. Di U.K ketika itu masyarakat merasakan musik reggae (ska & rocksteady) begitu membosankan tapi sebaliknya Skinhead merujuk kepada satu subculture di U.K yang merupakan golongan working class mendengar musik reggae dan mempopularkan musik itu di U.K. Bagi menghargai golongan skinhead banyak pemuzik jamaika mendedikasikan lagu untuk mereka seperti Laurel Aitken, Symarip, Desmond Dekker, Joe The Boss dan banyak lagi. Berbalik kepada genre musik The Aggrobeats ada juga yang mengklasifikasikan musik ini sebagai 'dirty reggae' merujuk kepada album pertama The Aggrolites 'dirty reggae' yang diterbitkan pada tahun 2003. Ada juga yang memanggilnya 'boss reggae'. Pengaruh utama band ini adalah The Aggrolites, sebuah band yang berasal dari california. Pengaruh-pengaruh lain seperti James Brown, The Meters, Joe The Boss dan band-band awal skinhead reggae. Gig pertama The Aggrobeats adalah semasa band The Brandals (Indonesia rock & roll band) melakukan tour di Kuala Lumpur. Selepas beberapa bulan selepas itu mereka mengeluarkan demo 'The Good The Bad & The Reggae' secara DIY. Melalui demo tersebut sebuah label dari jerman Copasetic/Scorcha mengedarkan 7' inci rekod. The Aggrobeats juga terlibat dengan beberapa kompilasi album antarabangsa dari Jerman dan Japan. Pada awal kemunculan Band ini dianggotai oleh Edy J Herwan (voc & gitar), Sood (gitar), Bakri (drum), Amir Hamzah (bass) dan Ed (kibod). Kemudian Bakri, Amir Hamzah dan Ed keluar dari band kerana tidak dapat memberi komitmen kepada band dan hanya tinggal Edy J Herwan dan Sood meneruskan band ini dan menjemput pemuzik undangan untuk posisi dram, gitar bass dan kibod.

Monday, 10 September 2012

Gerhana Skacinta ridim

In the late '90s, while the third-wave ska bred new faces & categories like ska punk & ska core: Gerhana Skacinta(GSC) stayed on the traditional path, remaining faithful to a kind of rootsy purity. This purity wasn't based on snottiness or exclusivity, everyone by all means is invited to GSC party based on determination that some music is timeless.


GSC was formed by Edy J Herwan. The name Gerhana Skacinta was a spontaneous idea by Edy who was hardly thinking of the name for his ska band.The idea was to have a classic name for the band.The first gig the band played at was 'Ska Clinic'. In early 2001, Mr Tang (Clocrkwork Records boss) offered GSC to record for compilation album entitled 'Tribute to Sweet Charity'(Singapore/Malaysian pioneer of rock band) they covered the song 'Jangan Tunggu Lama-Lama', it was a big hit & received a lot of radio airplay.

In march 2002, GSC signed up with Clockwork Records ready to record their first EP consisted of 5 tracks, album entitled 'Skali skale'. In late 2002 GSC came out with their full length album 'Boss Sounds' consisted of 11 tracks. GSC continue recording their studio album entitled 'The New Authentic' consisting of 13 tracks, with this album GSC become the favourite hot band and they song 'Senyuman Raga Mu' feat Radhi 'OAG' was a big hit & received Lot of radio play. The succesful the album, their release 'The Re-New Authentic (repackaged album) is consist of 3 bonus track 'Karisma Cinta', 'Senyuman Ragamu acoustic version' & 'Ku Tunggu Mu Di Sungai Babylon' with 3 track minus one of 'Senyuman Ragamu', 'Terpesona' and 'Asmara'. their also release the live album entitle 'Live 'N' Lod In Singapore' recorded live at 'Rastafari Reggae Splash' Siloso Beach Sentosa, Singapore on 31st July 2004. GSC back to studio for record their next album entitled 'This Is Ska'. This album release 2006 with 12 tracks.

Sunday, 9 September 2012

Shajiry & bohsia reggae


Shajiry Damery merupakan seorang penyanyi dan juga seorang pelakon. Pada tahun 1994 beliau menghasilkan album berjudul 'bohsia reggae' yang diterbitkan oleh syarikat rakaman Pony Canyon. Shajiry bukanlah seorang penyanyi yang memperjuangkan muzik reggae di Malaysia, tetapi melalui album itu beliau memainkan lagu-lagu yang berentak reggae. Sebanyak 10 buah lagu dimuatkan didalam album ini, hanya terdapat sebuah lagu original iaitu 'orang kita', dimana lagu dan lirik ditulis oleh Azmira.Walaupun hampir kesemua lagu-lagu ini merupakan lagu sanduran dan hanya diubah lirik lagu daripada band dan penyanyi luar seperti band Inner Circle, Big Mountain, Jalil Hamid tetapi lagu 'orang kita' yang mendapat tempat dihati peminat ketika itu. Tajuk untuk album ini mungkin membuat orang tertanya-tanya apa kena mengena bohsia dengan reggae.Ok pada awal tahun 90an, Malaysia dikejutkan dengan satu bentuk sosial yang melibatkan perempuan yang dipanggil 'bohsia' merujuk kepada gelaran bagi remaja perempuan yang suka berfoya-foya, berpeleseran dan melakukan maksiat (Poe juga ada membuat sebuah lagu bertajuk 'bohsia' didalam album 'buat balik') dan reggae itu sendiri merujuk kepada genre muzik didalam album ini. Ini mungkin juga merupakan salah satu strategi syarikat rakaman untuk memasarkan album. Antara lagu yang terkandung dalam album ini adalah : 1.Bohsia 2.Oh! Kasih 3.Orang Kita 4.Engkau 5.Yang Penting Happy 6.Ayam 7.Hanya Dikau 8.Arah Desa 9.Dail 10.Darsawarsa. Selain dari Bob Marley, Inner Circle adalah antara reggae band internasional yang kerap menjadi rujukan dan sering lagu-lagu dari band ini disadurkan oleh band atau penyanyi reggae era 90an. Contohnya lagu 'bohsia' dan 'darsawarsa' dari Shajiry yang disadur dari lagu 'Bad Boys' dan 'Rock With You' oleh Inner Circle. Poe juga memilih Inner Circle untuk lagu 'saman' yang disadur dari lagu 'sweet (alalalala long)'. Shajiry dan album ini adalah antara koleksi yang pernah mewarnai muzik reggae di Malaysia walaupun satu album sahaja iaitu album ini.

Tuesday, 10 July 2012



Amazing Effort...






-This is Redemption-
A reggae band born in Johore Bahru, Malaysia. establish since 2001 and already played in numerous giggs and showcase. This time the band trying to do some experimental music/sounds by mixing the sound of Samrah/Zafin, also known as 'Ghazal' in Johore with reggae music. And here it is, the output of their hardwork and hard-time, a song called "wadi" was born. the title of the song was taken from the well known village at Johore Bahru called the 'wadihana', which it the sound of Samrah/Zafin was discovered by them at there. after a lot of research and practicing the music, they believe that the sound of Samrah/Zafin was fit enough for the mixing with the sound of reggae. So here we are, enjoy! the experimental sound from redemption, "WADI"

Sebuah band Reggae yang dilahirkan di Johor Bahru, Malaysia. Ditubuhkan pada tahun 2001 dan telah banyak bermain di gigs2 dan juga persembahan pentas. Mereka pada kali ini cuba melakukan eksperimen terhadap sound2 atau bunyi-bunyian Samrah/Zapin, atau lebih dikenali sebagai Ghazal disekitar Johor bersama dengan bunyi-bunyian reggae. Dan ini lah dia hasil dari kerja keras mereka, lagu yang berjudul "Wadi" dilahirkan. Judul lagu diilhamkan dari nama sebuah perkampungan terkenal di sekitar johor bahru, iaitu "Wadihana", dimana disinilah mereka mula2 mengenali bunyi-bunyian Samrah/Zapin. Setelah melakukan kajian serta latihan mengenai bunyian ini, mereka percaya bahawa bunyian Samrah/Zapin ini cukup sempurna utk dicampurkan dengan bunyian Reggae. Nikmatilah, bunyian eksperimental dari REDEMPTION, "WADI"....

Monday, 11 June 2012


Reggae Mansion: Blatant discrimination and exclusivity in the worst possible taste

  
I was struck by the blatant ableism, racism, ageism, and xenophobia displayed by the proprietors who run Reggae Mansion, Malaysia’s “newest and funkiest” chain of hostels and guesthouses. No doubt bigotry occurs at a systemic level in Malaysia, the kind of bigotry against Malaysians on Malaysian soil recalls the days of European invasion and systematic racism of untold horror where local people were excluded from entering certain public establishments. With branches in Kuala Lumpur and Penang, the company proudly demonstrates its credentials as an exclusive and highly sophisticated place for tourists to stay and call one’s home away from home. Reggae Mansion Hostel also stresses that it caters to an “international” clientele of backpackers, a subtle code suggested by its promotional photos to mean whitebackpackers.

Taken from Reggae Mansion Hostel's website. 
Unfortunately, exclusivity also means the gates are tightly shut to “riffraff” otherwise known as Malaysians, Indian and Middle Eastern nationals. The proprietors will declare bookings from people of these national backgrounds “null and void.” Reggae Mansion Hostel is also not wheelchair accessible which means wheelchair users due to disabilities, age, and / or injury cannot easily enter the premises of the “funky” hostel. Just to further demonstrate how unwelcoming they are, Reggae Mansion is closed to prospective guests over the age of 60.
How did a public establishment arrive to such an extreme policy of exclusion? It has been a long and unproblematic issue in Malaysia that many public spaces are just not wheelchair-friendly. The fault lies in our generally ableist society where social welfare is hard to come by and people ignore the under-privileged for the sake of “minding one’s own business.” For a “mansion” hostel that has a cinema room equipped with a THX sound system and intercom on every floor, it is surprising why its management team did not bother to invest in a wheelchair-accessible environment. Rejecting guests over the age of 60 meanwhile suggests that older people will be a nuisance to younger guests and unappreciative of the young backpacker lifestyle, if there was such a lifestyle to begin with. Hence, it will be far easier to ban an undesirable group of guests than to go into the trouble of making a space inclusive and welcoming for everybody.
The far more disturbing form of exclusion demonstrated by Reggae Mansion is its policy against Malaysian, Indian, and Middle Eastern guests. Whether it is an indication of the proprietor’s racism against Indian and Middle Eastern people, and the classism against groups of Malaysian tourists who can only afford to stay in backpacker hostels is anyone’s guess. It could also be a policy that accommodates xenophobia and Eurocentrism. In other words, it may be based on the assumption that white backpackers would not like to share rooms with brown-skinned people because of their stereotypically uncouth and criminal behaviour.
The anti-local policy is reminiscent of the many plush hotels and resorts that dot the beautiful beaches of Thailand, Dominican Republic, Jamaica, and Maldives where locals are barred from walking on its sands and swimming in its waters. Instead of ethnicity, locals are excluded as guests based on class; locals are certainly more than welcome as service providers so long as they remain in the background of a tourist’s paradise. Reggae Mansion is not much different in perpetuating this unequal racial and class dynamic, by simply barring the custom of Malaysians, Indian and Middle Eastern altogether while rolling out the red carpet for white tourists.
The unfounded “logic” it seems is that white tourists who travel on a shoe-string budget, who may even come from working-class backgrounds are good for business, but Malaysians, Indians, and Middle Eastern people of similar background are for some reason bad for business. Many legitimate guests will leave the country with the disconcerting message that “Malaysian businesses are not only allowed to be shamelessly xenophobic, ageist, and deliberately ableist, but appear to be hostile to their own citizens”. How tragic.
In capitalist Malaysia, profit-driven policies trump social equality and efforts to end discrimination. In the weeks approaching the Bersih 2.0 rally on 9th July this year, marchers were warned not to take to the streets lest they will disrupt businesses. It is only in a culture where we put profit ahead of people where such a protest against demanding greater democracy is common sense. Reggae Mansion Hostel and Guest Houses in Kuala Lumpur and Penang have no reason to turn away great swaths of people from its door unless its owner(s) truly believe that racism, ableism, xenophobia, and ageism are good for business. Reggae Mansion Hostel also makes the offensive assumption that its target clientele are also racist and xenophobic, incapable of sharing their space with so-called “uncivilised” brown people.
Short of boycotting Reggae Mansion, which may not make much of a direct impact on its business since Malaysian guests need not apply, we must condemn its heavily exclusionist policies. There is still hope in the many hostels in Malaysia that are welcoming spaces which do not question your ethnic, national, and class background, sexuality, age, and religious beliefs. Some hostels make it a point to build ramps, automated doors, and lifts so that wheelchair users can move independently and inhabit public spaces as freely as able-bodied people. Businesses which are premised on bigotry have no place in the tourism industry and certainly not in Malaysia.







MAKE IT A DATE!




Tuesday, 5 June 2012


Kuala Lumpur Music Festival 2012: Ekstravaganza Dikir


MASUK tahun kelapan penganjurannya, Festival Muzik Kuala Lumpur (FMKL) kembali lagi dengan pengisian lebih menarik. Kali ini ia cuba menggabungkan elemen moden, tradisi dan ‘eksperimental’ sejajar Dasar Industri Kreatif Negara yang mahu memperkayakan lagi khazanah seni Malaysia.
Objektif FMKL anjuran Jabatan Kebudayaan dan Kesenian Negara (JKKN) masih sama iaitu menyediakan platform kepada pemuzik dan penghibur tempatan menyerlahkan bakat masing-masing. 
Ketua Pengarah JKKN, Datuk Norliza Rofli berkata, bagi menampilkan kelainan, FMKL 2012 akan mengangkat seni warisan bangsa yang cukup popular di pantai timur iaitu dikir barat ke pentas berprestij, Istana Budaya (IB) bermula
1 dan 2 Julai ini. 
“Sebanyak empat pengisian utama merangkumi konsert utama iaitu Ekstravaganza Dikir: Segalanya Dikir! 
di IB, Dir... Koir Kebangsaan (Auditorium Dewan Bandaraya Kuala Lumpur), Asean Tradisional Music Camp (Pusat Pelancongan Malaysia pada 11 -15 Julai) dan KL Indie Music Fest (8 Julai). 

“Pendekatan ke arah menyemarakkan muzik di kalangan generasi muda perlu ditekankan dengan mengangkat muzik tradisional seperti dikir barat. Ia akan dijadikan eksperimen untuk menarik minat generasi muda mengenali budaya tradisi kita. 

“Bertemakan ‘Dari Desa ke Istana’, FMKL 2012 akan menggabungkan buat julung kalinya kesenian tradisional dikir barat dalam genre Dikir Blues, Dikir Reggae, Dikir Rock, Dikir Indie dan Dikir Hip-Hop tanpa meminggirkan asas dan elemen terpenting dalam dikir barat itu sendiri,” jelasnya. 

Kata Norliza lagi, pihaknya yakin persembahan Ekstravaganza Dikir itu akan mendapat sambutan hebat daripada penonton apabila dipentaskan di IB nanti. 

“Saya tak nafikan persembahan solo Anuar Zain dan Ratu Rock, Ella sempena FMKL lalu mendapat sambutan hebat daripada penonton. Namun, kali ini pihak kami tidak tampilkan konsert secara solo kerana mahu menyelitkan gabungan artis terkenal dalam kesenian tradisi khususnya dikir barat. 

“Hasil tinjauan kami, selain popular di kampung, dikir barat sesuai didedahkan 
di peringkat sekolah di bandar serta mendapat sokongan daripada ibu bapa sendiri. Pada masa sama, pihak kami cuba menarik penyertaan masyarakat pelbagai kaum untuk datang beramai-ramai menyaksikan persembahan di IB nanti,” katanya. 

Norliza bercakap pada sidang media di Restoran Seri Melayu, Jalan Conlay, Kuala Lumpur, baru-baru ini. Hadir sama, Ketua Pengarah Istana Budaya, Datuk Mohamed Juhari Shaarani dan Datuk Freddie Fernandez. 

Sidang media petang itu turut dimeriahkan dengan persembahan hiburan daripada artis seperti Ziana Zain, Noraniza Idris, Lan & Typewriter serta Koir Kebangsaan. 

Berkongsi lebih lanjut mengenai pembabitan artis terkenal dalam dikir barat, Norliza berkata, ia sebagai suntikan komersial dan satu perkembangan sihat. 

Antara artis yang akan beraksi dalam dikir barat itu adalah Ziana Zain, Noraniza Idris, Awie, Jamal Abdillah, Lan & Typewriter, Hazama, Alif Satar, Bob AF, Wakaka Crew, Sabri Yunus, Ito Blues Gang, Poe, Roy Kapila, Daniel Lee (Malaysian Idol) dan Sesastre. 

“Lebih menarik, penampilan tukang karut popular dari Kelantan juga akan menghangatkan pentas nanti seperti Halim Yazid, Fendi Kenali, Jen Enduro dan Adik Wani,” katanya. 

Persembahan lain yang tidak ketinggalan dianjurkan adalah Koir kebangsaan yang mendendangkan lagu popular Allahyarham Datuk Sudirman Hj Arshad. 

“Konsert Dir yang dipersembahkan pada 2010 nyata mendapat sambutan hangat daripada orang ramai. Justeru, tahun ini, ia akan dipersembahkan semula dengan menampilkan 18 lagu digubah semula serta dinyanyikan Koir Kebangsaan secara harmoni di bawah pimpinan pengarah vokal Syafinaz Selamat. 

“Ia akan dipersembahkan di Auditorium DBKL, Jalan Raja Laut pada 7 dan 8 Julai ini,” katanya. 

Tiket untuk menyaksikan persembahan dikir barat berharga RM20, RM35, RM45 dan RM65 boleh dibeli melalui www.ticket2u.biz atau di kaunter Box-Office, IB. 
Harga tiket untuk menyaksikan Konsert Dir berharga RM10, RM20 dan RM30 boleh dibeli melalui www.ticket2u.biz.

Oleh Ramlah Zainal
roses@hmetro.com.my

Saturday, 2 June 2012

Kuala Lumpur Music Festival 2012


DIKIR BARAT REGGAE


Dikir barat (Jawi: دكير بارت ) is a musical form, native to the Malay Peninsula, that involves singing in groups—often in a competitive setting. Dikir barat may be performed either with percussion instrumental accompaniment, or with no instruments at all. The origins of dikir barat are not clear; it is found in both Thailand and Malaysia, and today the Malaysian government actively promotes it as an important part of Malaysian national culture.






For the first time a Reggae Dikir Barat Fusion will be performed at the Kuala Lumpur Music Festival 2012 @ Istana Budaya on the 1st & 2nd of July. Don’t miss this! Malaysian Reggae figure Poe will be backed by 500 Dikir Barat members (the largest ever).


Be there for Reggae!!!
Tickets are priced @ RM20, RM35, RM45 & RM60







Sunday, 13 May 2012


Road to Sunsplash... support this to support the Sunsplash!!!

Tuesday, 8 May 2012

Rootstalk


                                                         Biography

Rootstalk was formed on Christmas Day 2008, by rythm Apiq(also primary song writer), shortly after he left his previous old metalband,Mattidork. Apiq attributes the band name to a movie adaptation of Woodstock(a legendary stage perfomance/event), which he saw around that time and which had a verbal connection to therootstalk device.

Original line was am(lead),adli(drum) edy(percussion) lan(bass) lie(djembe) zerg(vocal). This original line-up cant stand for so long.Frustration led Apiq to temporarily disunite the band in 2010,though the group reformed soon after with Ali as the sole guitarist,Faizi(bass) edy(drum) am(rythm) and apix as a vocalist.

2011...rootstalk new-formed line-up perfomed at noisyhall with their very 1st own material "runaway cicee".
Disunite once again on march2011...and now the rootstalk back on stage with almost newface line-up..




















Material :
1- Memoirasta
2-Oh hati
3- Cicee (runaway)
4- Propaganda (untitled)
5- Mr Arjuna 


Line Up:


Drum - johann
Lead - wan
Rythm - Eg
Bass - Amir
Percussion - kurt
2nd Voc - ery dh
Prime Voc - apiq




Sunday, 6 May 2012




ONE PLANeT (Malaysia/Australia) is a trio that features Ravie Varmaan on vocals/timbales and Pari "RASTA" Fari on percussion/vocals from Malaysia with Matthew Peters on guitar/vocals from Australia and have in excess of 20 years experience in the music industry. The trio is a multi cultural blend of Malaysia and Australia which brings an influence that has all the uniqueness that is the ONE PLANeT signature. The trio’s core covers are from Reggae, SKA & Latin performed in Darwin, Brisbane and currently based in Adelaide, South Australia. For more info about ONE PLANeT, log in www.oneplanetband.com


RAvIE the founder of ONE PLANeT, is a veteran in the entertainment business and has been wowing crowds in Malaysia, Asia and Australia. He has made singing his profession since 1989 in Malaysia with Steel Band (late Adin Sons of Adam) and Soulout Band. He has an extensive repertoire of music and can sing in three languages English, Malay/Indonesian, Tamil(South Indian).

RAvIE won Asia Bagus band competition Best Perfomer also the founder of the band ‘Roadhouse’ went on winning the Distinguished Award in MTV Band Alert in 1998.
In 2000, Roadhouse released its debut album titled ‘Victory”. Roadhouse went on to perform at the hottest outlet in Kuala Lumpur ‘The Beach Club’ singing 6 nights a week for 2 years.
He currently working on his solo album to be release soon. Follow RAvIE on www.facebook.com/ravie.officialpage
Listen to his previous work on www.myspace.com/ravie.officialpage

Since arriving in Australia in 2005, he with ONE PLANeT performed at the SkyCity Casino in Darwin for 5 nights a week for a period of a year and in Brisbane. Currently based and performing in hotels/club, festivals and public events in Adelaide, South Australia.

RAvIE is a dynamic front man and entertainer and his smooth vocals will captivate any audience. He is truly a great performer, and music is his life and passion.