We no worry bout them – Konshens and Romaine Virgo

Starts with the Real Rock riddim, Clarks and diamond socks and then forward …!

Sugar Minott – Father of dancehall

Artwork by Bajka

Starting in 1969, from his work with the African Brothers, through Studio One hits in the seventies, and pioneering dancehall styles in the 1980s with Youthman Promotions, Sugar Minott was never far from the action, and he continued to record and tour worldwide until his death in 2010. On a visit to England shortly before he passed away, he spoke to I-dread from UK Reggae Guide.

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Help for Pinnacle

Those of you who saw the second part of Irie Up’s Reggae Movement Exhibition or saw the film First Rasta will know the critical importance of the Pinnacle and Leonard P. Howell in the Rastafari movement. How history repeats itself … We’re doing our part to circulate this petition and we ask you to check out the story for yourselves.

Petition: Stop the eviction of Rastafarians from Pinnacle

Digital issues now available

We’ve now sold out of any remaining back issues in hard copy, but we’re now going to make some of the back issues available as digital copies only.
Issues will be delivered by email.

The Evolution of Dance Music from African and European folk songs …

Our Reggae Movement Exhibition tracing the evolution of reggae and dub started around 1920, but follow this map and you’ll notice that Jamaican work songs around 1800 were the first evolution of Western dance music as a result of blending traditional African music with Western folk songs:
Check this out!

Dub Herz radio from Planet Earth Studios, October 2013

Mr Glue at the controls running reggae, dub and good vibes from Berlin courtesy of the Irieland Soundsystem crew. From the second show in October. Dub Herz is on every second Monday on Blog Rebellen. Listen to the show here: Dub Herz October 2013

Freedoms of the (vinyl) press …

The new models of publishing and the old realities. Music and ‘print’ publishing both face radical changes. What have they got to say to one another?


He’s now a political and financial functionary, and he was never a revolutionary, but Jacques Attali’s book Noise: The political economy of sound was once widely regarded for
its insight into the nature of popular music. Attali imagined that music by the likes of Jimi Hendrix was an advance warning of what would happen to Western societies. Music, and the production of music, was a window into the future of society itself. He may well have inspired the band called Pop Will Eat Itself. During the 1990s, the formats of music were changing faster than the styles of music itself, and not only because of advances in quality. Some people still swear by the quality of DATs (Digital Audio Tape) though one will search in vain for a new player. With the arrival of the CD, consumers were promised that the discs would last forever, unlike scratch-able vinyl. That turned out to be nonsense, and a vinyl manufacturer told me a few years back that the big music publishers had prevailed on their vinyl manufacturing partners to destroy the printing machines, in the event that the public eventually figured out the fundamental lie of the CD business. Regardless, the advent of the internet offered a very obvious advantage to music publishers – they could now sell digital copies of tunes without having to manufacture a physical object to carry the music. The deeper logic at work was that one day, the publishers would not even need to deliver a few megabytes of music to their listeners. They would just rent it out. Hello, Spotify!

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