Mit ‘Sleng Teng’ getaggte Beiträge

roy

Hier ist das neueste Video aus Manu Digitals Digital Sessions Reihe.

Diesmal begleitet der französiche Produzent, Bassist und Selecta den talentierten Jungspund Junior Roy auf seinem Casio MT40 Keyboard.

Johnny+Osbourne+JOsbourne_2

Der Jamaican Gleaner hat vergangene Woche einen Artikel über Johnny Osbournes Hit “Buddy Bye”, produziert von “King Jammys“, gefeatured.

“Put it by, put it by, put it by number one

Put it by, put it by, put it by number two

Put it by, put it by, put it by number three

Put it by, put it by, put it by number four

Hol’ up yu han’ if lova dem ya fashion an’ stylee

There is a posse in de corner all a dem jus’ a bawl out fe murder

Come make me hear yu say woah … “

Put it By, Johnny Osbourne

Wie auch immer, es war ein No.1 Hit und egal ob in Jamaica, Australien, Japan, Estland, Ghana oder Deutschland, jede Reggae-Massive kann ihn mitsingen! 

Im folgenden Interview spricht “Mr. Put it by” über seine Hit-Songs: Hill & Gully Rider, Right Track, Budy Bye, In The Area, Ice Cream Love.

I bet most of you guys heard the story about the preset called “Rock” on the Casio MT- 40 Keyboard, which was used by King Jammy and Wayne Smith as the main ingredient for the Sleng Teng Riddim.

But did you know that Eddie Cochran’s song “Something Else” is the song the preset based upon?

The Heatwave and Soundclash reminds me that, 2 days ago, the legendary Sleng Teng Riddim had its 25th Anniversary. Pretty awesome that this riddim still can mash up any dance/clash you go nowadays.

Read more about it in Beth Lessers excellent book “Dancehall – The Story of Jamaican Dancehall Culture”

The night of the 23rd, people began to gather on the Waltham early. The sounds were warming up with the apprentices while the big artists were arriving. Black Scorpio opened the showdown with the full compliment of Sassafras and Trees and regulars Shukahine, Culture Lee, Wayne Palmer, and Michael Jahsone. Jah Screw, the selector, was armed with dubplates by Frankie Paul (the Scorpio productions) like “The Closer I Get to You,” as well as Earl Sixteen’s “Sweet Soul Rockin,” and “Making Tracks,” Bobby Melody, Little John, and Johnny Osbourne. On Jammy’s side were John Wayne, Echo Minott, General Leon, Screecha Nice, Tullo T, Junior Reid, Tonto Irie, and Pompidou. Tupps was selecting with confidence knowing that he had a bag full of Sleng Teng to thrown down. Every name entertainer was there from U-Roy to Leroy Smart to witness the confrontation.

By nine o’clock the yard was full and more people were coming through the door. Scorpio was getting hot with Johnny Osbourne’s “Reasons” and “Show Me Your Sign.” After an hour, the current went over to Jammy. Wise Tupps opened right away with Sleng Teng and the crowd went wild! People were cheering and throwing their hands in the air, blowing noise-makers and whistles. The bass sound that was coming out of those boxes was like nothing that had ever been heard before. It was absolutely clean—powerful and pounding. It just stopped your heart. And it had all come out of a “music box,” as the unfamiliar electronic keyboards were referred to then. Tupps was putting on Sugar Minott’s “War and Crime” when suddenly the melody was interrupted by the entrance of armed police officers, M16s on their shoulders. For over an hour, the dance had to stop while police ordered everyone to the side as they searched each person, one by one, for weapons. John Wayne was heard to say something unacceptable about the police over the mike and was hauled off (he later returned intact).

Finally, after a luckily fruitless search, the officers retreated (with a few timid patrons) and the clash proceeded, but the verdict was already in—Sleng Teng had won the day. What was it about a chance combination on a tiny Casio keyboard that could mesmerise an entire nation and change forever the course of reggae music? Once this “Computer” rhythm appeared, there was no turning back. Even Jammy had to reluctantly shelve over fifty “human” rhythms he had made with the High Times band and not used yet, because no one wanted to hear them. All they wanted was Sleng Teng—literally. Album after album of pure Sleng Teng versions were released and every single one sold. It was Jammy’s very first number one record in Jamaica (although he had had several abroad). Yes, “the Sleng Teng dominate bad, bad,” as Tupps recalls.