In this documentary on the Rastafarians in Jamaica (homeland of the Rastafari par excellence -- the late Bob Marley), director Alan Greenberg interviews some Jamaicans whose conversations suggest that the smoking of ganja, the worship of Haile Selassie (the former Ethiopian emperor) as a god, and the goal of Jamaican self-realization is their own kind of unified field theory. A young, poverty-stricken teenager listens to the reggae music on his radio as though it will magically lead him to a better future, and a pineapple cutter living in the "baddest" area of the island dreams of fomenting tourism in his exotic surroundings. The May, 1981 funeral of Marley himself brought Christian and Rastafarian beliefs together in tribute to the island's hero, providing one of the most poignant vignettes in the Land of Look Behind. ~ Eleanor Mannikka, All Movie Guide
Los de Abajo are a band from Mexico City founded in 1992 as a Latin Ska four-piece. Since then they have expanded to eight members and widened their musical influences to include rock, salsa, reggae, ska, cumbia, son jarocho and banda sinaloense. Founder member Lider Terán is the main vocalist and writes many of the songs, although all band members receive equal pay for their contributions.
The band was unable to secure a record deal in Mexico, as their music was considered to be insufficiently commercial, and ended up releasing their first album Latin Ska Force independently. However, in 1999 they secured a deal with David Byrne's Luaka Bop record label to release their international debut, Los de Abajo.
The follow-up Cybertropic Chilango Power was released in 2002 and won BBC Radio 3's World Music Award for the Americas. 2006's LDA v The Lunatics saw them continue to absorb influences from around the world and included a Spanish-language version of The Fun Boy Three song "The Lunatics (Have Taken Over The Asylum)", featuring Neville Staples.
The band are supporters of the Zapatista Army of National Liberation and have played benefits gigs for the revolutionary group. The Zapatistas' Comandante Esther features on "Resistencia", the first track on LDA v The Lunatics.
http://en.wikipedia.org/wiki/Los_de_Abajo_(band)
WAR 4 PIECE - LYRICS
El mundo huele a guerra
si no esta y todos van directo hacia el precipicio
petroleo, violencia, masacre, molestia, la religion y militarismo.
Yo soy mexicano, soy centroamericano
siempre cantando y apoyando a mi paisano
nada me tumba, siempre estoy bien parado
en el momento y el lugar mas adecuado.
Rodeado de mi gente voy siempre hacia adelante
no hay limitaciones soy el dueño de mi mente
watch out llego el tiempo de meditar
watch out o el momento para danzar
(coro)
Jamaicano, boliviano, africano,
no se de donde vienes pero eres mi hermano
si mi cultura quieres conocer
cuenta con mi canton al que le puedes caer.
Cubano, chileno, latinoamericano,
no se de donde vienes pero eres mi hermano
si tienes problemas yo aqui voy a estar
cuentas con un carnal en el que puedes confiar.
Ouou...momentos crudos, dificiles de asimilar
Ohh no no no ohh no no no
no me importa si eres afgano, turco o musulman
en lugares personales trata de mirar al frente
ya no hay violencia que perturbe a mi gente
porque el odio y el desprecio no nos caben en la mente.
No es tiempo para matar
es tiempo de andar y brillar
no es tiempo de asesinar
es tiempo de amar.
Hoy no hay frontera que valga para detener a esta gente
ya mande todos a volar, la tierra es mi mente
This, surely, is one of the more glorious moments in the history of clashes between global music styles. There’s a stirring, south-of-the-border brassy mariachi introduction, a grand announcement ‘Rude Boy – this is made in Mexico’, and then a sudden switch to a Ska beat as Los de Abajo launch into a Spanish-language, Latin-flavoured treatment of that old Fun Boy Three hit from back in 1982, The Lunatics (Have Taken Over the Asylum), with one of the original Fun Boys, Neville Staples, joining in. This is the Ska revival as seen from a recording studio in Mexico City, and directed by the production team of Neil Sparkes and Count Dubulah, best known as those exponents of global dance music, Temple Of Sound. And it’s just one of the wildly varied styles and fusions in the Los de Abajo repertoire. So what’s different this time round? An enormous amount. The band have been touring the world (they had played in 26 countries at the last count) and they’ve been absorbing new global influences while continuing to explore their Mexican roots. As founder-member and keyboard player Carlos Cuevas puts it “our music has changed through the years, and been enriched by more influences – both by the styles we heard outside the country, and our research into Mexican music and the ways of creating a contemporary fusion”.Anyone who has seen the band playing live in recent months will know what a classy, exhilarating and impressively varied outfit they have become. Most bands strive to repeat their studio sound on stage, but Los de Abajo are such great players that for them it’s been quite the other way round. The sheer energy of their live shows, and their range of styles and influences, have not been fully reflected in their recordings until now. The band responsible for all this began back in 1992. Carlos, Liber, guitarist Vladimir Garnica and drummer Yocu Arellano met at high school, determined to “make music that was 100% danceable and cathartic, take it beyond our country’s borders, and with it a message about the political and social situation we are living through in Mexico”. Musically, they set out to mix “mestizo (half-breed) rock” with other influences from salsa to reggae and Mexican styles. According to Liber, “we’ve always had an itch to mix the local with the global”. They broke onto the international market with the help of David Byrne, who signed them to his Luaka Bop label, and suggested that their music should be called ‘punk salsa’. The band preferred the term ‘tropipunk’ (“because of the fusion of tropical rhythms”, said Liber), though he described their first album, released in 1998, as “practically a record of political songs, with a punk attitude in the lyrics, inspired by The Clash”. Since then, the band have matured as musicians, and continued to break down barriers as they popularised their music around the world, and – a harder task, amazingly enough – within Mexico itself. According to Liber “the national Mexican market was more hostile to musical fusion”. LDA v The Lunatics shows how far they’ve come.
Tonino Carotone was born in Pamplona, a small town in Northern Spain, famous for
its bullfights. This perhaps explains the explosive temperament of this eccentric artist.
His real name is Antonio De La Questa and he started playing music in the 80’s, when he participated in three different punk bands: Cagando Duro (The Hard Shit), Tijuana Blue and Kojon Prieto y Los Huajolotes. The last ones quickly became famous all over Spain, as they were playing covers of artists such as Al Bano and Raffaella Carra. Through one of their fantastic live appearances they drew the attention of Manu Chao, former leader of Mano Negra.
A few years later, in 2000, he would be the producer in Carotone’s first solo album: “E Un Mondo Difficile”. The name that he now uses is a paraphrase of the Italian Carosone, in honour of an eminent Italian singer of the 50’s, Renato Carosone (his big hit is “Tu Vuò Fà L’americano”).
His music combines punk with elements from Spanish, Italian, French, even Mexican popular music. It resembles the band Les Négresses Vertes and the solo works of Manu Chao, while a lot of critics are placing his music somewhere between Adriano Celentano and Tom Waits. The lyrics of his songs are often amusing, ironic or even surreal.
http://www.last.fm/music/Tonino+Carotone/+wiki
ME CAGO EN EL AMOR VIDEO
ME CAGO EN EL AMOR LYRICS
E' un mondo difficile
e vita intensa
felicita' a momenti
e futuro incerto
il fuoco e l'acqua
con certa calma
serata di vento
e nostra piccola vita
e nostro grande cuore
Porque voy a creer yo en el amor
si non me entiende no me comprenden tal como yo soy
Porque voy a creer yo en el amor
si me traiciona y me abandona cuando major estoy
No sabemos muy bien entre tu y yo
y aunque parezca no tienes la culpa la culpa es del amor
E' un mondo difficile
e vita intensa
felicita' a momenti
e futuro incerto
No puedo convencer a mi corazon
si yo no dudo y estoy seguro que el tiene razon
No voy a asesinar esa sensacion
si yo la quiero yo la deseo aunque me de' dolor
Yo no quiero sufrir pero aqui' estoy
y estoy sufriendo y no me arrepiento me cago en el amor
E' un mondo difficile
e vita intensa
felicita' a momenti
e futuro incerto
il fuoco e l'acqua
con certa calma
serata di vento
e nostra piccola vita
e nostro grande cuore
Porque voy a creer yo en el amor
si non me entiende no me comprenden tal como soy yo
Porque voy a creer yo en el amor
si me traiciona y me abandona cuando major estoy
No sabemos muy bien entre tu y yo
y aunque parezca no tienes la culpa la culpa es del amor
Yo no quiero sufrir pero aqui' estoy
y estoy sufriendo y no me arrepiento (me cago en el amor) me cago en el amor
Associated acts Bob Marley, Ky-Mani Marley, Ziggy Marley, Stephen Marley, Julian Marley, K'Naan
Damian Marley (born July 21, 1978 in Kingston, Jamaica), is a three time Grammy-winning reggae artist and is the youngest son of reggae legend Bob Marley.
Damian was two years old when his father died, and is the only child born to Marley and Cindy Breakspeare, Miss World 1976. Damian's nickname is Junior Gong which is derived from his father's nickname of Tuff Gong. Damian has been performing since the age of 13. He shares with most of the Marley family a full-time career in music. Unlike his brothers and sisters, however, his musical specialty is "toasting", a Jamaican style of rapping.
Contents
As of 2006, he has released three albums. His first, Mr. Marley, was released in 1996, his second, Halfway Tree in 2001, and his third, Welcome To Jamrock in September 2005. Halfway Tree was the 2002 recipient of the Grammy Award for Best Reggae Album. At the 2006 Grammy Awards, he won Best Reggae Album again for Welcome to Jamrock and Best Urban/Alternative Performance for the song "Welcome to Jamrock".
In 2004, Damian participated in the 27-city Bob Marley Roots, Rock, Reggae Festival Tour with his four brothers, Ziggy, Julian, Stephen, and Ky-Mani, each of whom have their own professional recording careers.
Damian frequently tours with his brothers Julian and Stephen, who are both members of the Ghetto Youths Crew. In 2004, Damian recorded a song with hip hop group Cypress Hill called 'Ganja Bus' on their album Till Death Do Us Part. Damian Also appears on the song "Get a Light" by Snoop Dogg. This song is on the album "The Blue Carpet Treatment." He is also featured on the track "put your lighters up" by Lil' Kim and on a recent Gwen Stefani remix "Now That You Got It" (produced by Swizz Beatz).
During mid-2006, Damian went on tour with musical artist Ben Harper all around the US. He played in many known stages, such as Central Park New York. He was also one of the many artists who played at the inaugural Osheaga Festival, in Montreal.
In May 2006, Marley performed at KROQ Weenie Roast. In June 2006, Marley performed at Bonnaroo Music Festival. In July 2006, Damian should have played at the Danish music festival Roskilde Festival, however he had to cancel due to troubles with customs.[1]
On January 7, 2006 Marley conducted the main performance at Peace Fest in Trinidad.
On September 19, 2006 Marley became the first reggae artist to perform for the popular PBS show Austin City Limits.
Damian also participated in Season 3 of Extreme Makeover Home Edition by performing a special concert for the Rainford family, in which the father Dunstin was a Jamaican native.
Over the last year he has played numerous University homecomings including Emory and Indiana, often accompanied by his brother Stephen. Stephen was also present when Damian played music festivals such as Miami's Bang, Earth Day in San Francisco and the Coachella Valley Music and Arts Festival in April 2007 in Indio, CA.
Marley recently did a song with pop sensation Gwen Stefani. The two made a remix version to the song "Now That You Got It" off of the album The Sweet Escape. Stefani now performs this song on her Sweet Escape Tour.
He also collaborated with Snoop Dogg in his album Tha Blue Carpet Treatment in the song "Get A Light".
Furthermore a collaboration with Guru has been released on Jazzmatazz 4, "Stand Up Some Things'll Never Change" in 2007
He also collaborated with Mariah Carey on her new album E=MC² (April 15, 2008) on a song called "Cruise Control."
http://en.wikipedia.org/wiki/Damian_Marley
Damian Marley - Welcome To Jamrock VIDEO
Artist: Damien Marley
Song: Welcome to Jamrock
Album: Welcome To Jamrock (2005)
Lyrics (from album jacket) ::
OUT IN THE STREET... THEY CALL IT MERTHER!
VERSE ONE ::
Welcome to Jamrock
Camp whe' te thugs dem camp at
Two pound a weed inna van back
It inna yuh handbag yuh nap sack
It inna yuh back pack
The smell a give ya girlfriend contact
Some bwoy nuh know dis
Dem only come around like tourist
On the beach with a few club soda
Bedtime stories
And pose like dem name Chuck Norris
And don't know the real hardcore
Cause Sandals a no "Back-to"
Di thugs dem wi' do whe' dem got to
And won't think twice to shot you
Don't mek dem spot you
Unless you carry guns alot too
A bear tuff thing come at you
When Trenchtown man stop laugh and block off traffic
Den dem wheel and pop-off and dem start clap it
With the pin file dow and it a beat rapid
Police come inna jeep an' dem can't stop it
Some say dem a playboy, a playboy rabbit
Get drop like a bad habit
So no bother pose tuff if you don't have it
Rastafari stands alone!
CHORUS ::
Welcome to Jamrock, hey!
Welcome to Jamrock
Out in the streets they call it merhther
Uh!
VERSE TWO ::
Welcome to Jamdown
Poor people a dead at random
Political violence can't done
Bare ghosts and Phantom
The youth dem get blind by stardom
Now the king of kings a call
Old man to pickney
So wave unno hand if you with me
To see the sufferation sick me
Dem suit nah fit me
To win election dem trick we
Den dem don't do nothing at all
Come on let's face it
A ghetto education's basic
And most of the youths dem waste it
And when dem waste it, that's when dem tek the guns replace it
Then dem don't stand a chance at all!
And that's why a nuff little youth have some fat matic
With the exra magazine inna dem back pocket
ANd a bleach a night time inna some black jacket
All who nah lock Gloc, say dem a lock rocket
Dem wi' full you up a current like a shock socket
Dem wi' run a road block which part the cops block it
And from now till a morning nuh stop block it
If dem run outta rounds a bruk-back ratchet
CHORUS ::
Welcome to Jamrock (South side, North side)
Welcome to Jamrock (East coast, West coast)
YOW!
Welcome to Jamrock (Cornwal, Middlesex and Surrey yaw)
EH!
Welcome to Jamrock
OUTRO ::
OUT IN THE STREET THEY CALL IT MERTHER
JAMAICA... JAMAICA (x4)
Welcome to Jamrock (x5)
Control Machete is a
Mexican hip hop group from Monterrey, Nuevo León, Mexico. Its members
are Fermin IV (listed as Fermin IV Caballero Elizondo in credits),
Patricio "Pato" Chapa Elizalde, and Toy Kenobi (Toy Hernández). However,
Fermin IV left the band in 2002 and released a solo album, Boomerang.
He also collaborated with Cypress Hill on the track "Siempre Peligroso"
on their album Los grandes éxitos en español.
The
group moved to the mainstream after their song "Sí Señor" was used as
backing in the Levi's Super Bowl television commercial "Crazy Legs".
However, their debut album was already a bestseller, with 100,000 units
sold in Mexico and 400,000 in Latin America. Their track "Danzón" was
recorded in Cuba with Buena Vista Social Club's Rubén González. "Si
señor" was featured in the Alejandro González Iñárritu film Amores
perros, and Control Machete's music was heard in the 2005 film Land of
the Dead, as well as the new film "Crank" starring Jason Statham.
Control
Machete's lyrics pack a powerful message into their music. Piercing
commentary on politics, society, economy, and race relations are woven
together with melody and rhythm.
Control
Machete's music has at times been criticized as defamatory and vulgar,
for their use of Spanish profanity and their confrontation of sensitive
political and social issues. However, their explosive and pointed songs
aim to incite the Mexican people to redouble their national pride and
rise up against poverty, ignorance, and oppression[citation needed].
Control
Machete was also featured very prominently on the 2005 game Total
Overdose and again on the 2007 Xbox 360 game Crackdown.
http://en.wikipedia.org/wiki/Control_Machete
Control Machete Asi Son Mis Dias Lyrics
como el humo voy
como el humo vengo
salgo de la noche
marco el pavimento
y es que sin razon
viajo en el tiempo
pienso y planeo
lo que vengo haciendo
marca en el dia
busco la salida
toma lo que quieras
mas no la que es mia
todo es parte
la rosa familia
aunque no comprendas
asi son mis dias
(coro)
asi son mis dias (buenos son)
y es que asi son mis dias (buenos son)
si ve a usted un pelado
parado en la esquina
no lo moleste
Me la paso armando
toda mi vida
cortando y pegando
si no a la deriba
terror con la raza
paseame Carranza
da vueltas la cuadra hey...
que es lo que pasa
Sabor..
siempre ando con son
en todo el dia
no hay ni un bajon
siempre al tiro,arribo
al tiempo admiro
todo el panorama
que hay en un giro
porque asi son mis dias
complejo maria
agarro el vuelo
como si fuera mia
la mira esta puesta
sobre la mesa
la tarde se presta
pa' andar con la mera artillera
y responde
con una mentira
pa' salir del momento
y encontrar la salida
completo termino
con cierta pasiencia
asi son mis dias
cuando piso las riendas
(coro)
como todo voy
mucho es lo que tengo
con mis carnales
todos son mis maestros
y es que nunca soy
lo que prefirieron
soy lo que soy
no lo eligieron
pasa la vida
la sigo sin prisa
simplemente observo
lo que requeria
pasa mi vida
y no es tan bacia
siento..
que mas nesecitaria
pues tan bueno
hoy como es
pues lo preciento
fiesta con homs
barrios y lamentos
esto no es bajon
es hasta el firmamento
golpes y golpes
y nunca rebiento
sombra de dia
duro hasta arriba
ando tranquilo
no hay melancolia
mientras haiga cuerdas
saco la espina
sigo con la banda
que ha estado en la esquina
Singer, musician, composer, and rebel Peter Tosh cut a swathe through the Jamaican musical scene, both as a founding member of the Wailers and as a solo artist. He toured with the Rolling Stones and had an international hit with a duet with Mick Jagger, then toured again to equally rapturous world audiences as the headlining act. His words would cause an uproar at the One Peace concert, but then unlike fellow Wailer Bob Marley, Tosh always made his true feelings known. He was born Winston Hubert McIntosh on October 19, 1944, in the small rural village of Grange Hill, Jamaica. Like so many young island teens searching for a better life, he left home at 15 and headed for Kingston. Once there, he made his way to Joe Higgs' tenement yard, joining other aspiring youths eager for the vocal coaching lessons the singing star provided to local teens. Amongst these youthful wannabes were Bunny, Bob Marley, and the much younger Junior Braithwaite; the four, buttressed by backing vocalists Cherry Green and Beverley Kelso, joined forces initially as the Teenagers before eventually settling on the moniker the Wailers.
Success was immediate; the group's debut single, "Simmer Down," was an instant hit, and the band's career was off and running. Tosh's talent didn't end with his vocal skills as he was also an excellent guitarist; his playing was first showcased in 1963 on the Wailers' single "I'm Going Home." He was also a gifted songwriter, as was Bunny Livingston, which helped the band survive Marley's hiatus from the group while he went to work in the U.S. in 1966. The Wailers, by then reduced to a trio with the departure of Braithwaite, Green, and Kelso, continued on without him. During this time, the remaining duo, with Constance "Dream" Walker filling in, continued releasing singles now credited to either the Wailers, Tosh, or Livingston alone. Thus, over the next year, Tosh's dance-friendly "Hoot Nanny Hoot," "The Jerk," a cover of Sir Lancelot's calypso hit "Shame and Scandal in the Family," the R&B-fired "Making Love," and "It's Only Love," a duet with Rita Marley, all arrived from Studio One. "Rasta Shook Them Up" celebrated Haile Selassie's Jamaican visit, while Tosh also offered up the rudie-fueled "The Toughest."
With Marley's return, the Wailers departed Studio One and launched their own short-lived Wail'n'Soul'M label. With its demise, they returned to the studio circuit. Sessions with producer Bunny Lee went nowhere, but Lee and Tosh had a rapport, and between 1969 and 1970, the Wailers cut a string of instrumentals for the producer and released them under the alias Peter Touch. Tosh was now attempting to learn to play the melodica, and the singles chart his progress on the instrument. "Crimson Pirate," "Sun Valley," the almost psychedelic "Pepper Seed," "The Return of Al Capone," "Selassie Serenade" (actually a rather frenetic version of "Blue Moon") and more, were the end results.
However, in 1971, Tosh made the momentous decision to pursue a true solo career in conjunction with his work with the Wailers. His debut single, "Maga Dog," was cut with producer Joe Gibbs. The song had initially been recorded by the Wailers with Coxsone Dodd, and in its original rhythm arrangement was suspiciously similar to "Simmer Down."
Gibbs would totally re-create it, slowing the tempo down and creating a rhythm perfect for the latest dance rage, the John Crow skank. The single was a major hit and became a favorite of the DJs, with a flood of versions quickly following. The equally hard-hitting "Dem Ha Fe Get a Beating" arrived soon after. In the brief period Tosh spent with Gibbs, he recorded a clutch of seminal numbers, including "Arise Blackman," "Black Dignity," and "Here Comes the Judge." The latter track was built around the haunting rhythm from the Abyssinians' "Satta Massa Gana," but lyrically hearkened back to Prince Buster's "Judge Dread," as Tosh's magistrate tries and convicts Christopher Columbus, Sir Francis Drake, and Vasco da Gama for myriad of crimes against black people. Even on a cover of "Nobody's Business," Tosh's militancy shines through, with the line "Leave my business and mind your own," carrying a definite hint of menace in the delivery. Jumping on the current bandwagon for golden oldie medleys, the singer also delivered up a trio of rude boy hits, Desmond Dekker's "Rude Boy Train" and "007 Shanty Town," and his own, "I'm the Toughest." Tosh split with Gibbs before the end of the year, allegedly over the lack of money he'd received from "Maga Dog." The artist's retaliation was swift and the self-produced "Once Bitten" was allegedly aimed directly at the producer. That single utilized the "Maga Dog" rhythm, as did its follow-up, "Dog Teeth." Initially, Tosh was releasing his latest self-produced solo singles via the Wailers' own Tuff Gong label, but soon the artist set up his own label, Intel Diplo HIM (Intelligent Diplomat for His Imperial Majesty Haile Selassie). The label was inaugurated with "Dog Teeth," with "Ketchy Shrub" following before the end of 1971.
As the Wailers' international breakthrough began, Tosh had less and less time to devote to his solo career. However, a few singles did arrive during 1972, including "No Mercy" and "Can't Blame the Youth." More followed in 1973, among them "Mark of the Beast," "Foundation," "What You Gonna Do," and a re-recording of "Pound Get a Blow," originally a single released by the Wailers back in 1968. At the end of the Wailers' 1973 U.K. tour, Livingston announced he would no longer tour outside of Jamaica with the band. The group initially carried on without him, completing a tour of the States, then a second tour of Britain. Tensions were already high between Tosh and Marley, and the situation finally came to a head on November 30, in Northampton. It ended with a punch up and Tosh quitting the band. Although the Wailers reunited six months later for a benefit show, and again in late 1975 for another benefit concert, the group itself was now defunct, and the Wailers went their separate ways.
Tosh's first post-Wailers solo single, "Brand New Secondhand," was a new version of a song initially recorded by the Wailers for Lee Perry. However, it was Tosh's follow-up, "Legalize It," that packed the greatest punch and swiftly becoming a ganja anthem even though the single was slapped with a radio ban.
In 1975, Tosh signed to the Columbia label in the U.S., and began work on his first solo album. Sessions were held in Kingston at Treasure Isle studio, Miami, and even in Tulsa, OK. A number of the tracks were new versions of old songs, including "Burial" and "Ketchy Shuby." The resulting album, Legalize It, arrived in 1976 to acclaim both at home and abroad. With interest running high, Tosh set off on tour, accompanied by a band comprised of the Sly & Robbie rhythm section, keyboardists Earl "Wire" Lindo and Errol "Tarzan" Nelson, and guitarists Donald Kinsey and American Al Anderson. Sony/Legacy's Live & Dangerous album captured one of the band's steaming shows in Boston during this tour. Like Marley, Tosh was moving effortlessly into a hybrid style that paid homage to American rock, but was still shot through with strong Jamaican roots. However, Tosh's lyrical vision was much darker than his former bandmate's. Love always ended in tears, as on "Why Must I Cry" and the country & western-tinged "Til Your Well Runs Dry," both updated Wailers' numbers; while "Burial," ostensibly about a gangster but with pointed political overtones, was never going to endear him to the mass market. Tosh's follow-up album, Equal Rights, was even more uncompromising. Recording began just a few months after its predecessor was completed and again featured the deep dread rhythms of Sly & Robbie, Earl Lindo's atmospheric keyboards, and Anderson's funky rock guitar, amongst a host of other guest Jamaican session men. Bunny Livingston also joined his former bandmate on backing vocals; Tosh himself had guest starred on Livingston's own solo album, 1976's Black Man Heart. More focused than Legalize It, Equal Rights revolved around the themes of the plight of blacks around the world, and particularly in South Africa and Rhodesia. A new version of "Downpressor Man," the original cut coming with Lee Perry earlier in the decade, was turned into a dread classic. However, the most seminal tracks were the new songs -- the anthemic "Get Up, Stand Up," the menacing rocker "Stepping Razor," and the artist's personal manifesto, "Equal Rights." This was to be Tosh's final album for Columbia. In Jamaica, events were spinning out of control, politically inspired violence was rampant, and gang warfare had reached a level so extreme that a rogue army unit decided to put a permanent end to the combatants. In late 1977, they gunned down ten members of the Skull gang, whose members were mostly Rastafarians, killing five. This event, known as the Green Bay Massacre, so shocked the island that, for a brief moment, the gangs put aside their differences and called a truce. The One Love Peace Concert was organized to help cement this cessation of violence with a billing headed by Marley, who returned to the island for the show.
The concert was held on April 22, 1978, and Tosh was slated to appear right before his former bandmate. His performance was captured for posterity on the Live at the One Love Peace Concert released in 2001. Tosh's set comprised his most militant numbers -- "400 Years," "Stepping Razor," "Burial," "Equal Rights,""Legalize It," and "Get Up, Stand Up," and if that was not enough, between songs he spoke at length in a series of uncompromising speeches that scathingly attacked the government, the opposition, and the concept of peace itself. Although the audience appreciated his words, the government and the press did not, and the Jamaican papers the next day were filled with rabid condemnations. The singer, however, remained unrepentant. Tosh's performance had also impressed visiting British rock star Mick Jagger, who'd been backstage that night. The Jamaican now signed to the Rolling Stones' own label, and that summer toured the States opening for the band. The two singers joined forces on a cover of the Temptations "(You Gotta Walk And) Don't Look Back," a song Tosh had previously recorded with the Wailers. Tosh would also briefly unite with Marley during the latter's Burbank, CA, concert for a show-stopping "Get Up Stand Up."
Back in Jamaica that autumn, Tosh was arrested for drug possession, taken to jail, and beaten so badly he required 30 stitches to close the gaping wounds in his cracked skull. Even with these severe injuries, the artist began work on his next album, Bush Doctor, co-produced with Robbie Shakespeare. A much more "Jamaican" album than its predecessors, the record featured the exquisite Tamlins on backing vocals, and some of the island's top session men, led of course by Sly & Robbie, but boasting Keith Richards' seminal guitar on two tracks. Musically, the album may have sounded less dread, but new versions of "I'm the Toughest" and "Dem Ha Fe Get a Beaten" suggested that Tosh wasn't going soft. However, thematically Bush Doctor was less a cultural album than a religious one. Mystic Man arrived in 1979, and again featured a lighter touch, although songs like "Rumours of War" and "Jah Seh No" were as tough as anything Tosh had offered up in the past. The year also saw the release of the wittily titled "Buk-In-Hamm Palace" single and a re-recorded "Stepping Razor" for the soundtrack for the legendary film Rockers. The highlight of 1980 was a spectacular appearance at Reggae Sunsplash, and the year also brought the excellent "Bombo Klaat" single, a Jamaican-only single released on Tosh's revived Intel Diplo HIM label. A duet with Gwen Guthrie, "Nothing but Love," was offered up to the rest of the world. The slowing output was deliberate as Tosh needed the time off to continue his recovery from the beating he'd received at the hands of the police.
However, he returned with a vengeance in 1981, releasing the Wanted Dread & Alive album, which shot into the lower reaches of the U.S. chart, and toured both the U.S. and Europe. After all that activity, the artist took the next year off, returning in 1983, with a phenomenal cover of "Johnny B. Goode" which landed in the lower reaches of the U.S. Top 50. The single was a taster for his new album, Mama Africa, which also arrived that year. Another tour followed, including a concert in Swaziland and headlining appearances at the Reggae Superjam festival in Kingston. Captured Live, released the following year, was recorded during these tours. Tosh then disappeared off the musical map for the next three years, and it wasn't until 1987 that a new single, "In My Song," arrived. In September, it was joined by the album No Nuclear War.
Staying at Tosh's home during this time was an old friend of the Wailers, Dennis Lobban. However, he left in a fury after an argument with Tosh's girlfriend, Marlene Brown, returning a few days later on September 11, with a gang of friends. Lobban later claimed he had merely intended to threaten the artist, and perhaps rob him, but panicked. The end result was that Tosh and all six of his friends who were hanging out in the room were shot in the head. Tosh lay dead, as did the radio DJ Jeff "Free I" Dixon and a third friend. Marlene Brown, ex-Soul Syndicate drummer Carlton "Santa" Davis, and two other of Tosh's friends miraculously survived. Lobban was arrested and sentenced to death. Jamaica had forever lost one of its most talented artists and eloquent spokesmen. However, Tosh's legacy remains undiminished, and since his death a number of compilations have appeared to safeguard his memory. Heartbeat's The Toughest focuses exclusively on early recordings with Dodd and Lee Perry, while Trojan's Arise Black Man picks up the story with cuts for Bunny Lee, Perry, and Gibbs. Columbia remastered both Tosh's albums for release in 1999, and two years earlier compiled the Honorary Citizen three-CD box set. This boasts a disc devoted to singles released only in Jamaica, a second disc of songs recorded live, and a third of hits and favorites. Scrolls of the Prophets, released in 1999, is a compilation drawn from Tosh's major-label recordings of 1976-1987. Tosh's back catalog with the Wailers is equally well-served and his influence, even in death, remains strong. Jo-Ann Greene, All Music Guide
Deep down in Jamaica close to Mandeville
Back up in the woods on top of a hill
There stood an old hut made of earth and wood
Where lived a country boy named Johnny B Goode
He never learned to read and a write so well
But he could play his guitar like ringing a bell yell
He used to carry his guitar in a gunny sack
Sitting in a tree in the railroad track
Old engineer in the train sitting in the shade
Strummin' with the rhythm that them drivers made
People passing by would stop and say
Oh my oh my what the boy can play
Mama said son you gotta be a man
You gotta be the leader of a reggae band
People coming in from miles around
To hear you play until the sun goes down
Boy someday your name will be in the lights
Saying Johnny B Goode tonight
La mochila que llevamos va cargaita de piedras del abismo ya nos viene esta mala condición sólo nos queda la rumba y una buena bulería un bailecito por tangos y el cante del Camarón a belembembé a belembembá tímbero suena la rumba tímbero suénala ya!!! Tímbero!!! Tímbero!!! La mochila que llevamos Va cargaita de piedras Del abismo ya nos viene Esta mala condición Sólo nos queda la rumba Y una buena bulería Un bailecito por tangos Y el cante del Camarón A belembembé a belembembá Tímbero suena la rumba Tímbero suénala ya!!! Tímbero!!! Tímbero!!!
Andaba perdia de camino pa la casa cavilando en lo que soy y en lo que siento pokito a poko entendiendo que no vale la pena andar por andar que´s mejor caminá pa ir creciendo
volvere a encontrame con vosotros volvere a sonreir en la mañana volvere con lagrima en los ojo mirar al cielo y dar las gracias
pokito a poko entendiendo que no vale la pena andar por andar que es mejo caminar pa ir creciendo pokito a poko entendiendo que no vale la pena andar por andar que es mejo caminar pa ir creciendo
mirarme dentro y comprender que tus ojo son mis ojo que tu piel es mi piel en tu oido me alborozo en tu sonrisa me baño y soy parte de tu ser que no vale la pena andar por andar es mejo caminar pa ir creciendo.
pokito a poko entendiendo que no vale la pena andar por andar que es mejo camina pa ir creciendo pokito a poko entendiendo que no vale la pena andar por andar que es mejo camina pa ir creciendo
volvere a sentarme con los mio volvere a compartir mi alegria volvere pa contarte que he soñado colores nuevos y dias claros volvere pa contarte que he soñao colores nuevos y dias claros
Los Muchachos De Mi Barrio
Las ventanas de mi barrio no tienen rejas ni maceta en los "polletes" que no se riegan
Las muchachas de mi barrio no tienen novio ni le rezan "to" los dias a San Antonio
Los muchachos de mi barrio le gusta "huma" a diario los muchachos de mi barrio...
Las vecinas de mi calle hacen lentejas que si las quieres las tomas y si no las dejas,
también huele a veces a potaje y puchero y yo por esos olores primo me muero.
Como los lagartos yo busco el solecito y alli me gusta "humarme" los "liaitos"
TANYA STEPHENS GANGSTA BLUES (2004) I said if we never get a chance to be together go with Jah, Tanya loves ya, wha me seh?
Hook It's a pity you already have a wife and me done have a man inna mi life rudeboy it's such a pity I say it is such a pity you already have yuh wife And me have a one man inna mi life rudeboy it is a pity, mm mm mm Verse 1 I woulda like one of these mornings to wake up and find your face on a pillow lying right next to mine I woulda cut out the partying the smoking and the rum and buss a extra wine and make we seal up a son well everytime mi fantasize me see your lips me see your eyes Your trigger finger do something a lef the rudegirl hypnotized For you it's just a thing, just another little fling But for me this is Heaven and the angel them a sing
(Repeat hook)
Verse 2 Fi buck you up inna public and cant even touch It really fuck me up because me check fi you so much The respect weh mi have fi your woman fi your kids believe me rudeboy mi criss, a nuh matey this who knows? maybe one day the world will be evolved enough we'll share you in a civilized manner between the two of us But until then I woulda love see you again, Me know we have fi play it by the stupid rules of sin
(repeat intro)
Verse 3
So meet me round the corner, avoid Mitzy and Lorna You know them a two of the biggest informer I'm not starving for sex no, nah bawl out vex no but the way how yuh flex really got my interest yo ayou weh people see a no the you fa me loving And the you weh deh with me go much deeper than skin I dont know exactly what it is you're feeling But I wish this was a permanentthing yo...
(repeat hook)
Verse 4
Me know seh you belong to she, you know seh me belong to him Me wouldn't want you dis your queen, me woulda never dis mi king But when yuh play pon mi riddim and when me feel your base a swing You lef me inna turmoil, you have me head a spin It really mek me sad fi haffi waste so much water, I think the two o' we can mek a beautiful daughter but it would be selfish to an innocent little youth Fi bring her come and cannot tell her the truth We have fi tell her the truth
Solo voy con mi pena Sola va mi condena Correr es mi destino Para burlar la ley Perdido en el corazn De la grande Babylon Me dicen el clandestino Por no llevar papel
Pa' una ciudad del norte Yo me fui a trabajar Mi vida la dej Entre Ceuta y Gibraltar Soy una raya en el mar Fantasma en la ciudad Mi vida va prohibida Dice la autoridad
Solo voy con mi pena Sola va mi condena Correr es mi destino Por no llevar papel Perdido en el corazn De la grande Babylon Me dicen el clandestino Yo soy el quiebra ley
Mano Negra clandestina Peruano clandestino Africano clandestino Marijuana illegal
Solo voy con mi pena Sola va mi condena Correr es mi destino Para burlar la ley Perdido en el corazn De la grande Babylon Me dicen el clandestino Por no llevar papel
Argelino, Clandestino! Nigeriano, Clandestino! Boliviano, Clandestino! Mano Negra, Ilegal!
DESAPARECIDO
Me llaman el desaparecido Que cuando llega ya se ha ido Volando vengo, volando voy Deprisa deprisa a rumbo perdido Cuando me buscan nunca estoy Cuando me encuentran yo no soy El que est enfrente porque ya Me fui corriendo ms all Me dicen el desaparecido Fantasma que nunca est Me dicen el desagradecido Pero esa no es la verdad Yo llevo en el cuerpo un dolor Que no me deja respirar Llevo en el cuerpo una condena Que siempre me echa a caminar Me llaman el desaparecido Que cuando llega ya se ha ido Volando vengo, volando voy Deprisa deprisa a rumbo perdido Yo llevo en el cuerpo un motor Que nunca dejade rolar Yo llevo en el alma un camino Destinado a nunca llegar Me llaman el desaparecido Cuando llega ya se ha ido Volando vengo, volando voy Deprisa deprisa a rumbo perdido Perdido en el siglo... siglo XX... rumbo al XXI
KING OF THE BONGO
Mama was queen of the Mambo Papa was king of the Kongo Deep down in the jungle I start banging my first bongo Every monkey'd like to be in my place instead of me Cause I'm the king of Bongo baby I'm the king of Bongo-bong
I went to the big town where there is a lot of sound From the jungle to the city looking for a bigger crowd So I played my boogie for the people of big city But they don't go crazy when I'm banging on my boogie (ref) the King of the bongo, king of the bongo hear me when i come baby King of the bongo king of the bongo hear me when i come
Nobody'd like to be in my place instead of me cause nobody go crazy when i bang it on my boogie I'm a king without a crown and keep loosing the big town But I'm the king of bongo baby I'm the king of bongo-bong
(ref)
They say that Im a clown making too much dirty sound They say there is no place for little monkey in this town Nobody'd like to be in my place instead of me Cause nobody go crazy when I'm bangin on my boogie
(ref)
Bang it on my bongo all that swing belongs to me I'm so happy there's nobody in my place instead of me I'm a king without a crown and keep loosing the big town I'm the king of bongo, baby I'm the king of bongo-bong
(ref)
Mama was queen of the Mambo Papa was king of the Kongo Deep down in the jungle I start banging my first bongo Every monkey'd like to be in my place instead of me Cause Im the king of Bongo baby Im the king of Bongo-bong
Hear me when I come Hear me when I come baby Hear me when I come
Je ne t'aime plus mon amour Je ne t'aime plus tous les jours Je ne t'aime plus mon amour Je ne t'aime plus tous les jours
Me Llaman Calle
Me llaman calle pisando baldoza la revoltosa y tan perdida me llaman calle calle de noche calle de día me llaman calle voy tan cansada voy tan vacia como maquinita por la gran ciudad me llaman calle me subo a tu coche me llaman calle debo alegria calle cansada, calle dolida de tanto amar voy calle abajo voy calle arriba no me rebajo ni por la vida me llaman calle y ese es mi orgullo yo se que un dia llegara yo se que un dia vendra mi suerte un dia me vendrá a buscar a la salida un hombre bueno dando la vida y sin pagar mi corazon no es de alquilar me llaman calle (x2) calle sufrida, calle tristeza de tanto amar me llaman calle calle mas calle me llaman calle la sin fututo me llaman calle la sin salida me llaman calle calle más calle la de mujeres de la vida sube pa abajo baja pa arriba como maquinita por la gran ciudad
me llaman calle (x2) calle sufrida, calle tristeza de tanto amar
me llaman calle calle más calle me llaman siempre y a cualquier hora me llaman guapa siempre a deshora me llaman puta tambien princesa me llaman calle es mi nobleza me llaman calle calle sufrida, calle perdida de tanto amar
me llaman calle, me llaman calle calle sufrida, calle tristeza de tanto amar (x5)
(Gracias a Felipe por esta letra) [Me Llaman Calle Lyrics on http://www.lyricsmania.com/ ]
Tremendously popular in their native Jamaica, where Bob Marley was regarded as a national hero, the Wailers were also reggae music's most effective international emissaries. Bob Marley's songs of determination, rebellion, and faith found an audience all over the world.
Marley left his rural home for the slums of Kingston at age 14. When he was 17, Jimmy Cliff [see entry] introduced him to Leslie Kong, who produced Marley’s first single, “Judge Not,” and several other obscure sides. In 1963, with the guidance of Jamaican pop veteran Joe Higgs, Marley formed the Wailers, a vocal quintet, with Peter Tosh, Bunny Livingstone, Junior Braithwaite, and Beverly Kelso. Their first single for producer Coxsone Dodd, “Simmer Down,” was one of the biggest Jamaican hits of 1964, and the Wailers remained on Dodd’s Studio One and Coxsone labels for three years, hitting with “Love and Affection.”
When Braithwaite and Kelso left the group around 1965, the Wailers continued as a trio, Marley, Tosh, and Livingstone trading leads. In spite of the popularity of singles like “Rude Boy,” the artists received few or no royalties, and in 1966 they disbanded. Marley spent most of the following year working in a factory in Newark, Delaware (where his mother had moved in 1963). Upon his return to Jamaica, the Wailers reunited and recorded, with little success, for Dodd and other producers. During this period, the Wailers devoted themselves to the religious sect of Rastafari.
In 1969 they began their three-year association with Lee “Scratch” Perry, who directed them to play their own instruments and expanded their lineup to include Aston and Carlton Barrett, formerly the rhythm section of Perry’s studio band, the Upsetters. Some of the records they made with Perry - like “Trenchtown Rock” - were locally very popular, but so precarious was the Jamaican record industry that the group seemed no closer than before to establishing steady careers. It formed an independent record company, Tuff Gong, in 1971, but the venture foundered when Livingstone was jailed and Marley got caught in a contract commitment to American pop singer Johnny Nash [see entry], who took him to Sweden to write a film score (and later had moderate hits with two Marley compositions, “Guava Jelly” and “Stir It Up”).
In 1972 Chris Blackwell - who had released “Judge Not” in England in 1963 - signed the Wailers to Island Records and advanced them the money to record themselves in Jamaica. Catch a Fire was their first album marketed outside Jamaica, which featured several uncredited performances such as Muscles Shoals’ guitarist Wayne Perkins playing lead on “Concrete Jungle” and “Stir It Up.” (They continued to release Jamaica-only singles on Tuff Gong.) Their recognition abroad was abetted by Eric Clapton’s hit version of “I Shot the Sheriff,” a song from their second Island album. They made their first overseas tour in 1973, but before the end of the year, Tosh and Livingstone (who later adopted the surname Wailer) left for solo careers [see entries].
Marley expanded the instrumental section of the group and brought in a female vocal trio, the I-Threes, which included his wife, Rita. Now called Bob Marley and the Wailers, they toured Europe, Africa, and the Americas, building especially strong followings in the U.K., Scandinavia, and Africa. They had U.K. Top 40 hits with “No Woman No Cry” (1975), “Exodus” (1977), “Waiting in Vain” (1977), and “Satisfy My Soul” (1978); and British Top 10 hits with “Jamming” (1977), “Punky Reggae Party” (1977), and “Is This Love” (1978).
In the U.S., only “Roots, Rock, Reggae” made the pop chart (#51, 1976), while “Could You Be Loved” placed on the soul charts (#56 R&B, 1980), but the group attracted an ever larger audience: Rastaman Vibration went to #8 pop and Exodus hit #20. In Jamaica the Wailers reached unprecedented levels of popularity and influence, and Marley’s pronouncements on public issues were accorded the attention usually reserved for political or religious leaders. In 1976 he was wounded in an assassination attempt.
A 1980 tour of the U.S. was canceled when Marley collapsed while jogging in New York’s Central Park. It was discovered that he had developed brain, lung, and liver cancer; it killed him eight months later. In 1987 both Peter Tosh and longtime Marley drummer Carlton Barrett were murdered in Jamaica during separate incidents. Rita Marley continues to tour, record, and run the Tuff Gong studios and record company.
Marley was a pioneer not only because he single-handedly brought reggae to the world, but because his passionate, socially observant music has become a yardstick against which all reggae will forever be measured.
from The Rolling Stone Encyclopedia of Rock & Roll (Simon and Schuster, 2001) http://www.rollingstone.com/artists/bobmarley/biography
Bob Marley - Redemption Song Live In Dortmund, Germany
Bob Marley - Redemption Song Lyrics
Old pirates, yes, they rob i;
Sold I to the merchant ships,
Minutes after they took i
From the bottomless pit.
But my hand was made strong
By the and of the almighty.
We forward in this generation
Triumphantly.
Wont you help to sing
These songs of freedom? -
cause all I ever have:
Redemption songs;
Redemption songs.
Emancipate yourselves from mental slavery;
None but ourselves can free our minds.
Have no fear for atomic energy,
cause none of them can stop the time.
How long shall they kill our prophets,
While we stand aside and look? ooh!
Some say its just a part of it:
Weve got to fulfil de book.
Wont you help to sing
These songs of freedom? -
cause all I ever have:
Redemption songs;
Redemption songs;
Redemption songs.
Emancipate yourselves from mental slavery;
None but ourselves can free our mind.
Wo! have no fear for atomic energy,
cause none of them-a can-a stop-a the time.
How long shall they kill our prophets,
While we stand aside and look?
Yes, some say its just a part of it:
Weve got to fulfil de book.
Wont you help to sing
Dese songs of freedom? -
cause all I ever had:
Redemption songs -
All I ever had:
Redemption songs:
These songs of freedom,
Songs of freedom.
Macaco is a multicultural musical band from Barcelona, created in 1997 by Dani Mono Loco (producer and leader). The band has changed much over the years, the only exception being Dani. The members come from different countries including Brazil, Cameroon, Zimbabwe, Venezuela and Spain. They mix reggae, flamenco, pop, rock, hip hop in a very particular style.
http://www.last.fm/music/Macaco
MACACO - se vuelven y son son VIDEO
Macaco - Son Son lyrics
Qué más da quién lo dijo?
Si fue un profeta o si fue la vendedora del delantal
La voz corre de boca en boca,
Pidiendo auxilio, muy silenciosa
Hay quien dice \"pa qué quejarse?\"
Ya que está dicho, olvídate
Hay quien dice \"pa qué acordarse?\"
El tiempo pasa, resígnate
Son, voces de la tierra
Son, gritos que no llegan
Son son, voces de este mundo
Son lo que son, son como tú y yo.
(x2)
Al lado tuyo o al otro lado del mundo
Unos ojos se cierran mientras otros se abren
Murmullo grita constante
Aunque unos dicen \"no oigo, esto no va conmigo\"
Y entre ecos y neblinas
Nos hacemos los locos,
\"No sé, hay que ver,
vaya mundo éste\", decimos.
Desde la salita de estar, revolución del mando a distancia,
And the first world keep reaching for the next one.
Son, voces de la tierra
Son, gritos que no llegan,
Son son, voces de este mundo
Son lo que son, son como tú y yo
(x4)
(gracias a Helen por esta letra)
[Son Son Lyrics on
http://www.lyricsmania.com/ ]
Chambao is a musical project that was born at night of San Juan of 2001, the night of the summer solstice, one of more the magicians of the year and, without a doubt, the Mediterranean celebration par excellence. Mari, Eddi, Dani and Henrik (a Dutch servant in Colombia) were the original creators of this formation that occurred to know through an album recopilatorio that took to its own name and the Flamenco title of chill (2002). Chambao is now a trio whose magic resides in the way to make coexist in perfect symbiosis the soul of the flamenco one and the electronic techniques of the phenomenon chill out. Chambao is a peculiar musical and creative unit formed by Eddi, Mari, Dani and Henrik in the district of Pedregalejo, in Malaga, during the summer of 2001. They accidentally gave with the name while they at night mounted "chambao" of San Juan (dawn from the 23 to the 24 of June), as he is typical to do. It is a word used Andalusian to talk about to any house or ceiling to take refuge of the sun, rain and the wind. Dani and Edi, being prime, have touched music since they were young. Mari grew up in the quarter of Santa Teresa, in Malaga. Of girl it was inspired by Anglo-American music, but she was his mother the one that introduced to him in the flamenco one, which now it continues being his passion and its art. Henrik is a Dutch servant in Colombia that knows cumbia thorough but that it studied in London cinematographic composition. By the force of the destiny, and when knowing Eddi, Mari and Dani during vacations, that occurred to account of shared important musical interests. They began to always record songs that speak of the playera culture, maintaining a base flamenco. Connecting to these musical roots a contemporary sound the Chambao sound arose "". Mari is in charge of the voices, yet its accent Andalusian and, mainly, giving all its being. Supporting to him in the choirs it is the rest of the band, reflecting poetic ideas and simultaneously humbly elegant. Although this new union like the beginning is described as flamenco chill, Chambao maintains an own and original style outside the musical tendencies, like proves this selection of own subjects plus others selected by they themselves. The 17 of February of 2003 the trio began to give to form in the Coín studies Record of Coín (Malaga), to which months later it would become his first own work. The Italian Bob Benozzo, surpassed student of the school of Emanuele Ruffinengo (Alexander Sanz, Ana Bethlehem, Christian, Arming Manzanero) and expert in chill out, was the one in charge . Finally, after several months of work, Endorfinas in the mind saw the light the 23 of June of 2003, the watch of San Juan, the Mediterranean night par excellence, the one of the summer solstice. Between the 11 subjects that compose it there is a classic version of the flamenco one Flying I go, made up of Kiko immortalized Poison and in the voice of Shrimp. The cut that was chosen as first simple was There you are you.
http://www.music-city.org/Chambao/biography/
Pokito A Poko Lyrics
Andaba perdia de camino pa la casa cavilando en lo que soy y en lo que siento pokito a poko entendiendo que no vale la pena andar por andar que´s mejor caminá pa ir creciendo
volvere a encontrame con vosotros volvere a sonreir en la mañana volvere con lagrima en los ojo mirar al cielo y dar las gracias
pokito a poko entendiendo que no vale la pena andar por andar que es mejo caminar pa ir creciendo pokito a poko entendiendo que no vale la pena andar por andar que es mejo caminar pa ir creciendo
mirarme dentro y comprender que tus ojo son mis ojo que tu piel es mi piel en tu oido me alborozo en tu sonrisa me baño y soy parte de tu ser que no vale la pena andar por andar es mejo caminar pa ir creciendo.
pokito a poko entendiendo que no vale la pena andar por andar que es mejo camina pa ir creciendo pokito a poko entendiendo que no vale la pena andar por andar que es mejo camina pa ir creciendo
volvere a sentarme con los mio volvere a compartir mi alegria volvere pa contarte que he soñado colores nuevos y dias claros volvere pa contarte que he soñao colores nuevos y dias claros
[Pokito A Poko Lyrics on http://www.lyricsmania.com/ ]
Ojos de Brujo ("Wizard Eyes" in English[1]) is a nine-piece band from Barcelona, Spain, who describe their style as "jipjop flamenkillo" (hip-hop with a little flamenco).[2] The band sold over 100,000 copies of their self-produced Barí album, and has received several awards, among these the BBC Radio 3 World Music Award for Europe in 2004[3] (having also been nominated in 2003[4]).
Their success is also notable for being achieved without the aid of label backing; they set up their own label, La Fábrica de Colores, to get complete artistic freedom for Barí, away from the pressure they perceived from their record company Edel Records for their debut Vengue.[5]
Flamenco is clearly central to their sound; Ramón Giménez observed "the magic lies in the flamenco... that is the heartbeat of Ojos de Brujo's songs."[6] However, they are definitely not pure flamenco. Xavi Turull said: "...we don't pretend to do flamenco. What we are doing is using the richness of flamenco and the richness of other music to build up something different. Maybe sometimes I would say that flamenco is the strongest ingredient, but we don't pretend to be doing flamenco."[7] Flamenco is combined in their music with other influences including Afro-Cuban,[8] the rap and scratching/turntablism of hip-hop, and Indian music.
http://en.wikipedia.org/wiki/Ojos_de_Brujo
La mochila que llevamos
va cargaita de piedras
del abismo ya nos viene
esta mala condición
sólo nos queda la rumba
y una buena bulería
un bailecito por tangos
y el cante del Camarón
a belembembé a belembembá
tímbero suena la rumba
tímbero suénala ya!!!
Tímbero!!!
Tímbero!!!
La mochila que llevamos
Va cargaita de piedras
Del abismo ya nos viene
Esta mala condición
Sólo nos queda la rumba
Y una buena bulería
Un bailecito por tangos
Y el cante del Camarón
A belembembé a belembembá
Tímbero suena la rumba
Tímbero suénala ya!!!
Tímbero!!!
Tímbero!!!
Amparanoia is a band from Spain, formed in 1996. The name is a wordplay on the lead singer's first name, Amparo, and the word "paranoia". Their first album, El Poder de Machín, has been described as being "bright, exuberant... with a heavy Latin influence"[1], whereas their more recent release, Somos Viento, has been called "a more acoustic blend of Cuban and reggae forms".[1]
Amparo Sánchez ranks as the queenpin of the internationalist Euro-mix force gathering steam behind Manu Chao, a close friend and sometime collaborator. But the individual, festive blend of elements Sánchez has put together combined with catchy songs and her powerful singing gives Amparanoia a distinct identity. The constantly changing sound works off a Latin, reggae, and rock foundation and lyrics offering social critiques drawn from daily life struggles more than political slogans.
Biography
Born in Granada, Spain, in 1970, Amparo Sánchez joined her first band, the Correcaminos (Roadrunners) at 16, a year after apparently becoming a mother for the first time. With Billie Holiday as her chief inspiration, her ability at singing blues, soul, rock, and jazz quickly established Sánchez as the foremost vocalist in the region. She formed Amparo & the Gang in the early '90s and the group released Haces Bien on Fabrica Magnetica in 1993, only to see the label fold two months later. Amparo & the Gang broke up and, despite plenty of work opportunities around Granada, Sánchez wanted to escape being locked into the blues circuit and moved to Madrid.
Starting in 1995, she spent 18 months developing an enthusiastic following playing around the Spanish capital's active club circuit. She also expanded her musical range by absorbing classic Cuban forms through exposure to Madrid's healthy Latin music scene while Manu Chao schooled her in other Caribbean styles. Sánchez developed a side group, cleverly named Ampáranos del Blues (Protect Us From the Blues), that toured parts of Spain and southern France.
By December 1996, the first edition of Amparanoia (the wordplay gets better once you know it comes from the verb amparar, meaning to protect) was recording its first demo and quickly landed a deal with the Edel label. Amparanoia's 1997 debut album, El Poder de Machin, is a bright, exuberant disc with a heavy Latin influence, but each of the group's three releases has a distinct flavor. The hard-charging Feria Furiosa, released in 1999, reflects the participation of a contingent of radical Basque rock and punk musicians.
A trip to Mexico late in 2000 left its mark when she came into contact with the Zapatista communities in Chiapas. On returning to Spain, she organized a sound system mini-tour with like-minded musician friends to raise funds and Sánchez also went back to Mexico in March 2001 to take part in the Zapatista caravan in Mexico City. Somos Viento resurrects a more acoustic blend of Cuban and reggae forms but with an Amparanoia twist. Violist Vesko Kountchev is from Bulgaria and introduces a new Balkan flavor to the mix, which is typical since the group lineup and guest artists always come from a wide range of musical cultures and usually a song or two per album has verses sung in English or French. But the international flavor of Amparanoia's evolving sound just seems to be a natural outgrowth of Amparo Sánchez's open, inviting musical personality.
http://en.wikipedia.org/wiki/Amparanoia
Amparanoia - La Fiesta Lyrics
Seguiré caminando, seguiré esperando aunque me duela amor algo que hacer, alguien a quien amar con quien contar, y algo de esperanza seguiré caminando, seguiré soñando aunque me duela...
ESTRIBILLO: La fiesta que tengo la llevo La tengo, la llevo La fiesta que tengo la llevo aqui la tengo, la llevo
Soy una llamita y quisera ser hoguera Pa decirle al mundo legalizen la hierba Prohibido en los bares y en las calle satélite marcando lo que agente hace
ESTRIBILLO: La moda del gordo en la calle juaren no suben volando las luces del valle arriba y abajo, mayor y el marco somos la piña, vamos avanzando
ESTRIBILLO: Para las mujeres sensibles; no hay mision imposible Prohibido instalarse, prohibido aparcarse, Pohibido abusar.
Seguiré caminando, seguiré esperando (soñando) aunque me duela amor
