Luciano’s New Album Release 2011:Rub a Dub Market


Blessed Love and Greetings, For those unfamiliar with Luciano’s work as a messenger reggae artist look no further. Often a frequent visitor to the U.K.‘s Roots Reggae Festivals, rarely does he grace our shores with his spirituality and uplifting lyrics. In 2010 he performed at Button factory in Dublin but has yet to do a tour or festival in Ireland.

Any Promoters reading this should seriously consider putting more effort in,you are missing out and so are the Irish fans who cannot afford to travel to these gigs abroad. In 2008/2009 his management said they would reschedule his cork city gig as promised, that was suppose to take place first at the Savoy then changed to the Pavillion Cork,but due to financial and logistical problems he never made it here.He would be surprised with the positive reception he would receive,especially at this recessionary time.

Rub a dub market his most recent work has only just been released in our cd/record stores,often difficult to find his stuff on the reggae section shelves of the Irish music shops, most fans rely on online purchase,but for those without a credit card this is impossible.This is definitely an album to get as it truly showcases his developing ‘iritical’ (i.e inspiring message) song writing talent .

Luciano’s singing style has been heavily influenced by Dennis Emmanuel Brown, Garnet Silk and Jim Reeves.Unknown to most listeners he has been performing on the international stage for over 15 years with many more successful albums to come, Through his faith as a Rastafarian he has an unlimited store of inspiration to keep his musical style evolving. Luciano’s Fans recognise his work as just as significant to consciousness as the late great, Robert “Nesta” Marley even going so far as to say that he is the lead messenger artist of our time.

Check out these links and videos and if you have any questions regarding Luciano’s career do not hesitate to reply to this post.

Reggae- Ville Interview> Luciano 2011:

http://www.youtube.com/watch?v=htn3B84iezc&feature=related

World-A-Reggae Interview>Luciano 2011:

http://www.youtube.com/watch?v=HwbW_DYfS_g&feature=related

*Filagosto Festival 2011(Interview): http://www.youtube.com/watch?v=hCXHdvrRr5o&feature=related

*Reviews:

*http://www.bbc.co.uk/music/reviews/x86m

*http://unitedreggae.com/discographies/2011-0

*Live Performance: http://www.youtube.com/watch?v=ujcCIXhoBTA&feature=related

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~Music videos and behind the scenes footage for Rub-a-dub-market~

My favourite Song on the new album “Living my Life“: http://www.youtube.com/watch?v=o0khji_coUY

http://www.youtube.com/watch?v=L17Wc2VXfhE&feature=list_related&playnext=1&list=SP12EB6102D15086465/luciano-rub-a-dub-market;2834/

http://www.youtube.com/watch?v=o0khji_coUY&feature=related

http://www.youtube.com/watch?v=L5B-1I6d8qE&NR=1

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All time favourite Songs(music videos):

*”Give Praise”:

“Hills and Vally”:

How are you finding positive ways to adapt to financial pressures?


                             

As the saying goes; The Past is History,The Future is a Mystery and the Present is a Gift,this is a motto I try my up-most to live by. From observing others and my life experiences, I have become aware that our perception of social obligations can almost totally become negative. Sometimes it is difficult to feel gratitude especially when we are constantly being bombarded by social conventions  i.e. what we believe  is demanded of us by our peer groups.

I have come to a point in life when I consider mental emotional well-being as my core priority in life. I am grateful for the challenges I have met, as this has allowed me to grow into who I am now. It is this realization that has led me on this path of true enlightenment, not the Buddhist  ritualistic kind of enlightenment but a more practical way of living. I am now able to detach from Ego and see life through other people’s eyes, we all have a role to play and it is pointless for us to feel resentful for experiences we have created, or for the most part contributed to through our thoughts and actions.

                                  

The importance of inbound linking for Search Engine Optimisation.


When you aim to retain traffic on your website the first thing to keep in mind is that you must refer your audience to other pages on your website. Consumer retention is your primary goal and this requires providing keywords that enhance your search ranking. High quality back-links(inbound links) always rank higher and any reviewed or updates to your company website will rely on them. The about page and mission statement is what grabs your audiences attention and the public relations information that promotes the business retains them. Once your audience is aware of your brand or activity they are more likely to read through other pages via the inbound links to other pages referred to from each page. Inbound links to pages also helps people remember what you do and revise by going back and forth.

It is essential that the quality of content on these pages is well formatted using the inverted pyramid style of writing and layout.Key word updates are also essential to the success of inbound traffic to your companies webpages. Replacing ‘yourwebpage’ with the title of your actual website will show you where and who is linking to your pages. This can be useful in defining your target audience.

In terms of page ranking, getting inbound visitors from outside sources will help immensely. If, on the other hand the inbound link contains a relevant keyword to your site, Google will give it even more value. When you are trying to increase traffic the best inbound links come from sites with content similar or relevant to your own.

Most of search spiders include the inbound links aspect in search engine algorithm. If your web site has more backlinks then your site is more trustworthy in SERPs eye. Sometimes search engine optimisers try to twist or operate the search engine. Good inlinks building is the only legitimate method to increase site position in the search engines index.

The number of backlinks you have is crucial, but that is not the only factor that is important. Here are some other factors you want to consider:

1. Relevance. Let’s say your website is all about selling car parts and offering car repair services. But if you get backlinks coming from websites that are not connected in any way to your business (such as vegetarian diet websites), then this won’t boost your SEO at all. In fact, it may trigger suspicion that you didn’t earn your backlinks the proper way.

Google may think that you bought those backlinks, and this may earn you a penalty.

2. Quality. Not only should the websites linking to your site be relevant to your niche, but they should also be popular with Google and other search engines as well. Let’s put it this way: you’re a basketball player and you need a recommendation—it’s better to have a recommendation from a famous coach like Phil Jackson than from a high school coach in some unknown town. So going back to our previous example, if you have a car parts and repair website, you should endeavor to get backlinks from well-established websites connected to the car industry.

3. Different types of websites. There are many types of websites connected to the car industry. Some are blogs and review websites, there are forums and online directories, and others are commercial websites. You need backlinks from all of them, and not just from a particular type of website.

4. Speed of acquisition. You can’t suddenly have a thousand backlinks appearing overnight. It will make search engines suspicious. Getting a thousand backlinks is only possible if you bought them and Google will penalize you for trying to trick them.

Essentially, the more and better backlinks you have, the greater chance you have of improving your ranking with Google. Just make sure you do it ethically, or else you’ll do more harm than good for your site.

 

 

Music Review> The Courtney John Project debut album- Future< the brand new sound out of jamaica


The Courtney John Project- Future (Album Cover)

The Courtney John Project have just released their debut album, ‘Future’; internationally through the ongoing support of the Fiwi Music Label in Jamaica.

 This ten track experimental album showcases a new fusion twist to contemporary music. Each track on the album is so emotively charged, thought provoking and auditor-ally sensual.

 In the lead-up to the album release; The Courtney John project have been developing their new sound which they call Roots-tronic.

 The Courtney John Project are a unique group consisting of lead Falsetto style singer, Mr. Courtney John, producer Nastassja Hammond better known as the Wizard and Grammy award winning Musician, Steven “Lenky” Marsden.

 

The inspiration for this album could be compared with Massive Attack, Portis Head and Tricky in the 90’s UK underground Trip-hop music scene. It is not something you would expect from a musical trio based in Kingston Jamaica.

 The first track on the album Black Cinderella has been expertly blended together by the Wizard to truly revive Errol Dunkley’s original. The use of dub horns, drum paradiddles and keyboard lends beautifully to full effect.

Courtney’s vocals are well placed, it is an excellent choice of cover for the exceptionally talented falsetto singer. The tune itself is a wonderful version; the vocal input by both the Wizard and Courtney John is emotively charged. The final mix is expertly blended to perfection enhancing the original. Aircraft sounds and drop crash beats overhead give the listener a vision of the story unfolding as Courtney John seeks out his Black Cinderella.

The Wizard lends her vocals to track number two, ‘Give you Love’.

Courtney Johns lyrical input is well placed coming in at the middle. The strength of The Wizards vocals are obviously well suited to Courtney John’s falsetto style, here she takes the lead yet it does not overpower the strength of his vocals and impact.

 

Track three sees Mr. Courtney John voice ‘Soul of a Man’.  The Lyrics Burning, burning Wild are at the pulsating heart of Soul of a Man. The sampled effects in the mix sound mechanized and are intensively justified while carrying forward the songs narrative.

 Track four called Nothing for free has wicked lyrics that Courtney John interestingly exhibits by stressing the voice to give a kind of sinister effect. This track contains some true dub-step elements, yet not fully identifiable, making this sound unique to even the most critical of listeners. It is has a loose elevation as the tune rises. There is intermittent lyrical juxtaposition taking place here between the vocal section of The Wizard and Courtney John. It is a truly fitting piece that recognises the adaptability of the group in this endeavour .

 The fifth track on the album So special is Courtney John exhibiting his crisp falsetto lyrics. It is a beautifully adapted track to the new Roots-tronic sound.

There is a beautifully performed keyboard section coming in behind the vocals. Each element is carefully balanced with precision to create a lovely heartfelt vibe. Tantalizing to the ears, Courtney Johns vocals are expertly honed to perfection.

 Rain like Gold is track six and sounds as though it has been multi- layered to produce an absolutely amazing piece of music.

Through the use of carefully placed echo and distortion, obviously adherent with dub-electronica; the group manage to allow the track to expand and evolve into this more enhanced sound which they call Roots-tronic. The fast rising beats allow trajectory to manifest, The lyrics rain fall, fall on me are sublime.

 Track seven Gonna be alright’ is a great Roots-tronic version of Courtney Johns original, the digital elements further enhancing its production. The track is ecstatic as it plays through a host of carefully blended sampled sounds. The trio’s contribution becomes more aware to listeners as the track progresses. The harmony of vocals blended together is wonderfully warm and reassuring.

 

The wizard takes the lead on vocals with track eight,  fusing traditional sound capability with digital elements to produce a grass roots feel. Jungle Pickney is treated with vigour thus making it steeped in roots and culture. The lyrics affirm: “I am a concrete Jungalist no fear in this heart” adding a nice singjay style to the overall production of the track.With rising beats  that run on, the vocals affirm,I am a warrior’ then fade out but potentially keep listeners wanting more. This has good balance in its delivery, an excellent tune that can easily encourage listeners to rise to their feet and dance, while becoming true roots-tronic steppers . 

 

The ninth track is interestingly called Exploria. It sounds as though it brings the listener through an overall mix-mash of all tunes on the album.

In actuality this is a wonderfully crafted version of Rain like Gold.

Exploria is like an enormous rhythm factory; overwhelming, but in a good way.

A superb track worthy of awe and appreciation.

 With the final track number ten: Transistor Symphony  as the name suggests brings a sense of satellites projecting to far off reaches.  Through sampled sounds, vocals and keyboard the trio are very much a unit with this album. This is an excellent version of nothing for free, but is actually much more as it hones all the  Roots-tronic elements in one tune; shaping it into something uniquely different. There is great clarity in this conclusive final track; the instrumentation is sharp and this pulls the album together bringing on the wow-factor as the tune fades.

 

The Wizard and Steven Marsden’s input with the production is extremely creative; in their ability to lend futuristic other-worldly  elements to each track.

 

This is an interesting album that is well balanced in its delivery, the trio are acutely aware of “Future’s” direction and vision. The Courtney John Project have an enormous album right here. It has so much to offer; exciting in its ability to captivate listeners and is a true fusion album.

 

Describing themselves as 100% provocative, that is exactly what this is; a truly sublime album from beginning to end. Each track is potentially a hit in its own right. It is obvious that the time put in to this hotly anticipated album, was necessary to produce such an amazingly new digital sound.   Each track flows perfectly into the next; running like a continuous narrative, uplifting yet grounded at the same time it locks down an enormous creative effort that is bursting to be set free. Every song is so interestingly different.

It is difficult to identify the instrumentation on every track but that is not important. What each composition shows, is how capable and adaptable the Courtney John project are in developing their new sound.

 

If this album is anything to go by, the future of The Courtney John Project looks promising.

Review:The Courtney John Project’s> Black Cinderella


 BLACK CINDERELLA COVER ART FINAL2

This phenomenal new track has just been re produced  on the Fiwi music label. This version carries with it a new fusion twist to the sounds of Errol Dunkley’s  1972 original version.

With the release of this single brings  the Courtney John Projects début album ‘Future’ one step closer to international release.

This version is just one of three hit singles, showcasing their ability to reach a broader audience.

The creative fusion of Courtney Johns lovers vocals with The Wizard and Lenky’s expert blending of contemporary dub-electronica, is tweaked so that it’s haunting mix enhances the original.

The listener has much to identify in the sounds of this new Roots-tronic fusion genre .

As the tune drops, quaking vibes enhance the narrative in Courtney John’s vocal style as the lyrics suggest loss beginning and throughout. the lyrics are heartfelt and reflective of Errol Dunkley’s version yet through their expertise the trio seem to make the tune seem like their own.

http://jamaica-gleaner.com/gleaner/20090628/ent/ent9.html

Mel Cooke a Jamaica Gleaner  writer published an article on Sunday the 28th of June  2009 about the origins of the song Black Cinderella.  Interviewing Dunkley he said:  ‘it developed from a poem his producer Jimmy Rodway had written for him,when they recorded it at Dynamic studios’. The love song was to appear on Rodway’s Fimi Time label. The song was initially a tribute to hardworking black women but after a few adjustments to the lyrics, Dunkley made it into a love song.

Courtney Johns lovers style of vocals is truly reminiscent of the initial feelings captured on the original.

It has the potential to draw in both young and old fans alike, with its rich tapestry of melodic sounds.

TCJP Promo Pic (2)

The Courtney John Project’s long term super-producer, Nastassja Hammond better known as ‘The Wizard’ fuses sample sounds of aircraft and movement in time across a spectrum of dub beats, creating an astonishing fusion with Steven ‘Lenky’ Marsdens beautiful dub-style piano solo. The intermittent beat plates and subtle dub-horns take the listener on a personal journey from beginning to end.

The auditory feast on this track makes it a truly unique revive tune, one to gain momentum in the future  success of the album.

Feature Interview: The Courtney John Project


Courtney John                               ‘The Project is going to blow up big time’

Mr. Courtney John is set to release his most recent international album called, ‘The Future’ at the end of January 2013 on the FiWi Music Label.  According to the Official Courtney John Project Facebook Page it is described as an audio journey; one part Kingston mash up, one part euro-electronica & 100% provocative in its approach to contemporary music. It is a collaboration alongside 2004 ASCAP songwriter of the year and Grammy award winning Singer Songwriter and Musician, Steven ‘Lenky’ Marsden and long term female super producer ‘The Wizard’ who is  accredited with producing work for the likes of  Nelly Furtado, Michael Franti and   Courtney’s Uncle, Mr. Beres Hammond.Courtney John

https://www.facebook.com/TheCourtneyJohnProject?ref=ts&fref=ts

https://twitter.com/TheCJProject

Courtney John, The Wizard and Steven “Lenky” Marsden.

Courtney John, The Wizard and Steven “Lenky” Marsden.

By way of a telephone conversation he begins giving some background on the current project. Courtney says:  ‘We have created a new genre of music called Roots-Tronic, it’s a platform to experiment with our music.’ Referring to the evolution of Jamaican music, he doesn’t think music should limit its traditional sound capabilities, he feels strongly about the importance of roots reggae music and its fusion within other genres.   This is a very unorthodox project and  as the Courtney John Project we have had to let go of inhibitions with our music, you have to understand the economics.’

He gives the impression that to him music is music and should be regarded as such, not limited by the categorizations of the respective  genre. He as a solo artist was often regarded as a purely Jamaican lovers rock style singer. Although he carry’s his lovers style vocals with him, this realization just allows himself and his colleagues  a platform to showcase the potential for a new and ever evolving genre which refers to the great traditions of roots reggae. He says look at the great work of Bob Marley and others who have placed our genre on the international stage. Musically, Reggae can stand up to anything out there without compromise. The Courtney John Project is looking to continue to develop the work internationally with other producers so that it can follow in the footsteps of its predecessors.

The sounds on the new Roots tronic genre could be compared to UK artists such as Tricky, Massive attack and Portishead. Courtney says that he relates it to the Dub era and although ‘ there are elements of Dubstep, not fully identifiable, he is humbled every time to be associated with these comparisons.  We are not making a conscious effort to cash in on the dub-step sound, but respect its association. Musically it is solid and at some point we have realized that we have stepped outside our comfort zone, it’s just a natural progression for me. Many of us Jamaican artists are classically trained in our traditional styles. We realize the importance of our image  so that it does not deflect from our ability to reference our back catalog, I will always continue to make core reggae albums, but for now this is what we’re focusing on.’  How the Courtney John Project will evolve is yet to be seen, but what is undoubtedly true about its uniqueness is their ability to be creative, we await to see what the future holds for the Courtney John Project in 2013.

Damien O’ Shea interviews Cork Red Fm DJ Stevie G


Cork Red FM DJ Stevie G

Cork Red FM DJ Stevie G

On this cold November morning of Saturday the 24th,  I proceed to meet Stephen Grainger at his office at the Pavilion. He is a well-known Hip-hop and Soul Music D J on the national circuit; better known as Stevie G, we greet in warm surroundings at the downstairs bar and he swiftly welcomes me to join him upstairs in their office.

Stevie G began his career as a Disc-Jockey in the early 90’s in legendary Cork Nightclubs such as the Back- Bar at Sir Henrys; where he began programming sets for club nights such as ‘Sweat’, ‘More-Disco, ‘Free-La-Funk’, ‘Yo-Latino’ and up until recently Jam at the Savoy. During this time he also spent four years as a Pirate DJ with Radio Friendly up until 2000. In 2002 he joined Red fm producing and presenting ‘Black on Red’ a hip hop style music show, that  won a PPI the same year for best weekly music radio show at the national radio awards. Since 2007  he has also been working as Events Manager at the Pavilion nightclub; negotiating bookings and organizing live music and club nights.

As well as being recognized as a vibrant radio personality, Stevie G also volunteers to provide assistance in helping underprivileged adolescence develop their self esteem. His activities involve training youngsters in how to D J, while giving them work experience and the opportunity to develop their confidence in a safe positive environment.

When asked about how he feels about volunteering he says: ‘we only do a casual thing, if these guys approach me on Face-Book or Twitter, I like to facilitate them.

I continue to host rap battles here from time to time as part of this youth-work; The project really started when I was in Sir Henrys doing Teenage discos, it was around early 2000 when I sparked the idea of hosting Jam Junior at the Savoy and occasionally at the Pavilion Nightclubs, it’s great to see those aspiring DJ’s have a passion for music promotion.

He says  that he got a ‘sniff of radio’ around 1994 when he was only just started doing the clubs; ‘I started out doing pirate radio in cork’s Thomson street briefly on Dross fm on , that didn’t last long, ‘I remember doing a mothers day special with Andrew  a friend of mine also known as DJ Fork, we adopted persona’s, Andrew being ‘ Jiles-Sunny-day’ and me as ‘G-dawg’ and ‘kept in character’ throughout the whole show as two funky soulful dudes!  Playing all underground Soul and early Hip hop. We were just having a laugh, it was great fun. It was an ill fated pirate station for obvious reasons, a different time with a different vibe.’

I really enjoyed doing Radio friendly in the Blarney street studio; I remember doing one of my first shows there around 1996 and did a tribute special the same week about the death of Tupac Shakur, showcasing his respective music, he was an icon of our generation. we didn’t really get much hassle there from the authorities. There was loads of talk with licenses, I helped put together a few proposals for them, but as we quickly discovered, it’s big business financing and such a huge responsibility man, every penny counts, like any business! Just like the running of Red FM.’we had a great few years, I was there for four  of them I felt a bit disillusioned, people weren’t expressing themselves enough. I wanted to bring it to a bigger platform, which is why I joined Red Fm. It wasn’t shut down and I feel it served it’s purpose.

The reason he became a Hip hop and Soul DJ was not only due to the fact that he says: ‘it defines who I am.’ He is passionate about this music saying; ‘when hip-hop came out in the 80’s  it was regarded as a novelty, to me it has a serious culture to it, I’m lucky to be able to do my specialist music show: ‘Black on Red’, which I feel I treat like an indulgence it gives me free reign; I just turn up with my tunes for the day, or whatever I’ve time to plan such as an interview with musicians, vocal artists or producers or wherever the mood takes me to prepare to do a documentary.’ Sometimes it’s when I’m in the mood for Jazz, Soul or Reggae, I also throw that in. The loose vibe works for me for Black on Red. I appreciate the strategic structure of commercial radio. I don’t really have any major ambitions with it. It’s really up to me to make the decisions. I have done plenty documentaries live. I can come with my angle to it.’

His ability to improvise comes from his love of cultural music and has allowed him to hold down long-term residencies at clubs around Ireland such as Brown Sugar at the Kitchen in Dublin and U-Turn at Ri Ra also in Dublin. He has had regular sets at Jazz Juice at the GPO in Galway.

He spent time D J-ing at Thomson’s Garage in Belfast and The soul clinic also in Belfast and regularly performed in  Limerick at club nights such as Dee Bop, Meltdown and Mo Bounce. He also played abroad in the UK, and US. He has a love of writing features and also writes a regular music column, ‘usually in the style of a review’ for the Cork evening echo.

He is currently involved in producing a radio documentary about one of his favorite and most legendary Hip- hop groups called ‘A Tribe called Quest’ who are best known for the tune; ‘Can I kick it’. Stephen says: ‘I have had the idea in my head awhile now; I have made the playlist and could broadcast today if I put my mind to it.’ I don’t want to make a Wikipedia entry; I want the angle I have in mind to appeal to fans and a wider audience, so that I can stand over it in future years. He said that after watching a TV documentary about them, he ‘was annoyed that the love of their music didn’t come through strong enough;

the angle of the TV documentary was focused mainly on the dynamics of front men within the group; Q-Tip , Phife Dawg , and Ali Shaheed Muhammad  .’ He wants to do something just about their music.’

He also plans to do a short film which he ‘wants to be proud of and be able to stand over it in years to come’ the theme is strictly about the love of Vinyl and would aim to interweave segments on the history of labels, its production showing the importance of analogue sound recording, pre the digital era. He said that he ‘had a meeting of minds with a friend who’s an aspiring film maker and hopes that with time permitting for them both, they can see it come to fruition.’ I’m coming at it from a visual rather than a technical angle; I don’t know much about that, I’ve been collecting Vinyl since I was a Kid! I can pick it up and just see the history and its association. He makes a joke and says: I would love someone like Quentin Tarantino to recognise this film and ring me up.

Stephen said that he got into Roy Ayers and Miles Davis through researching and listening to Hip- hop, with a smirk he says: ‘the structure of doing my Red fm shows are usually unscripted, and as you probably notice it’s all over the place. On Red it’s generally wherever the mood takes me.’

He said that he was encouraged to do more commercial radio shows for Red Fm such as Red-Drive and Hit-list as the producers felt; ‘I had a profile for radio, I only treat this as a day job, like stacking shelves and kind of regrets taking on the extra work. During the week I kind of bang out the commercial tunes on Red-drive and Hitlist to a general audience, I prefer doing my Black on red show, which I’ve been doing for nearly 11 years! Although the figures are good for the listenership, the music is more important to me.’ I try to go with whatever the flow is with the club and tie that into my Black on Red radio show.

Before finishing up the interview to start his days work; he says that he noticed that when he was growing up all Irish radio personalities sounded the same to him, with a particular Americanized  persona and weren’t really expressing themselves. I got the impression he felt it to be fake; there was too much emphasis on the voice rather than the content. Theres a spoken word tradition in music in Ireland, he says I hope to get Markus Connington a well known media figure into the Red Fm studio to record an interview shortly, he wrote a book on Rory Gallagher. My intention is to try to bridge the gap by talking about the influence to young cork bands by showcasing Rory Gallehers music while reviewing Markus book.