Caribbean Radio Show Crs Radio Network

Host Freddie Campbell continues the trip around the world, seeking bands that play ska and other forms of early Jamaican music. New places that he will visit include India and Indonesia as well as a beautiful female steel pan player from France. The second hour will feature the arranging skills of Carlos Malcolm from small groups to a big 20 piece orchestra made up of many of his former band members and outstanding horn men from San Diego. We will also show off the tallent of Tessanne Chin, Voice #5 winner from start to an appearance for President Obama at the white house. This proves Jamaican talent extends beyond ska and Reggae.

Open Up To Me.

I want you to be open with me,

Bring to the table an honest heart.

Hide not your faults or your desires,

Talk with me about your dreams.

Express your innermost hopes,

Trust me enough to bare your soul.

Show me your confidence in my love,

Open your arms to my embrace.

Be willing to expose your vulnerabilities, 

Trust that I will be your strong armor.

In return I shall be there for you,

Through all the storms and quakes. 

Through all the trials and tears,

My shoulder will be your strong oak.

My love is undying and granite,

Yet my heart for you is soft velvet.

Come with me and invest in us,

Love has bridged our differences.

Together we shall be unstoppable,

Strong, dedicated, passionate, invincible.

Walk as my equal and my other half,

Ever United in our love and passion.

Pontiak

In 1957 Morgan entered the Vere Johns Opportunity Hour, a talent show held at the Palace Theatre in Kingston. He won with rousing impressions of Little Richard and, shortly after that, was recruited to perform around the island with the popular Jamaican comedy team Bim and Bam. In 1959 Morgan entered the recording studio for the first time. Duke Reid, the acclaimed sound system boss, was looking for talent to record for his Treasure Isle record label. Morgan cut two popular shuffle-boogie sides "Lover Boy", a.k.a. "S-Corner Rock", and "Oh My". Soon after, Morgan cut the bolero-tinged boogie "Fat Man", which also became a hit. He also found time to record for Coxsone Dodd.

In 1960 Morgan became the only artist ever to fill the places from one to seven on the Jamaican pop chart simultaneously. Among those hits were "Don't Call Me Daddy", "In My Heart", "Be Still", and "Meekly Wait and Murmur Not". But it was the following year that Morgan released the biggest hit of his career, the Leslie Kong production of "Don't You Know", later retitled "Housewives' Choice" by a local DJ. The song featured a bouncing ska riddim, along with a duet by Morgan and Millicent "Patsy" Todd.

"Housewives' Choice" began the legendary rivalry between Morgan and Prince Buster, who accused Morgan of stealing his ideas. Buster quickly released "Blackhead Chiney Man", chiding Morgan with the sarcastic put-down, "I did not know your parents were from Hong Kong" – a swipe at Kong. Morgan returned with the classic "Blazing Fire", in which he warns Buster to "Live and let others live, and your days will be much longer.

In 1957 Morgan entered the Vere Johns Opportunity Hour, a talent show held at the Palace Theatre in Kingston. He won with rousing impressions of Little Richard and, shortly after that, was recruited to perform around the island with the popular Jamaican comedy team Bim and Bam. In 1959 Morgan entered the recording studio for the first time. Duke Reid, the acclaimed sound system boss, was looking for talent to record for his Treasure Isle record label. Morgan cut two popular shuffle-boogie sides "Lover Boy", a.k.a. "S-Corner Rock", and "Oh My". Soon after, Morgan cut the bolero-tinged boogie "Fat Man", which also became a hit. He also found time to record for Coxsone Dodd.

In 1960 Morgan became the only artist ever to fill the places from one to seven on the Jamaican pop chart simultaneously. Among those hits were "Don't Call Me Daddy", "In My Heart", "Be Still", and "Meekly Wait and Murmur Not". But it was the following year that Morgan released the biggest hit of his career, the Leslie Kong production of "Don't You Know", later retitled "Housewives' Choice" by a local DJ. The song featured a bouncing ska riddim, along with a duet by Morgan and Millicent "Patsy" Todd.

"Housewives' Choice" began the legendary rivalry between Morgan and Prince Buster, who accused Morgan of stealing his ideas. Buster quickly released "Blackhead Chiney Man", chiding Morgan with the sarcastic put-down, "I did not know your parents were from Hong Kong" – a swipe at Kong. Morgan returned with the classic "Blazing Fire", in which he warns Buster to "Live and let others live, and your days will be much longer.

Not to open a can of worms here, but 1975 might be the greatest year ever for Jamaican music. Oh, sure, go ahead and quibble — 1969 was no slouch either (Max Romeo’s “Wet Dreams” and the epochal “Return of Django” from The Upsetters turned the island music industry on its head), and dancehall enthusiasts might suggest 1985 as equally knockout (the year King Jammy’s digital “Under Mi Sleng Teng” rhythm changed everything). But 1975 represents the year in which reggae found itself at the peak of its mature powers: distant from the mento, ska and rock steady rhythms that had helped birth it, and a decade away from the general abandonment of live instrumentation marking Jamaican music’s next phase.

Not that reggae was experiencing any kind of stasis in 1975. Indeed, innovators were one-upping each other in club appearances and stretching the limits of available technology.

Not to open a can of worms here, but 1975 might be the greatest year ever for Jamaican music. Oh, sure, go ahead and quibble — 1969 was no slouch either (Max Romeo’s “Wet Dreams” and the epochal “Return of Django” from The Upsetters turned the island music industry on its head), and dancehall enthusiasts might suggest 1985 as equally knockout (the year King Jammy’s digital “Under Mi Sleng Teng” rhythm changed everything). But 1975 represents the year in which reggae found itself at the peak of its mature powers: distant from the mento, ska and rock steady rhythms that had helped birth it, and a decade away from the general abandonment of live instrumentation marking Jamaican music’s next phase.

Not that reggae was experiencing any kind of stasis in 1975. Indeed, innovators were one-upping each other in club appearances and stretching the limits of available technology.

Originated in Jamaica in the late 1950s, Ska came before musical styles such as Rocksteady and Reggae. Ska is a combined musical element of Caribbean Mento and Calypso with a bit of American Jazz and also Rhythm and Blues. It separates itself from other musical genres due to its walking bass line accented with rhythms on the upbeat. In the early 1960s, Ska was the dominant music genre of Jamaica and was popular with the other communities as well, including the British Community. 

Ska music was made for dancing.  It stand out because the music is upbeat, quick and exciting. Musically, it can be characterized with a drumbeat on the 2nd and 4th beats (in 4/4 time) and with the guitar hitting the 2nd, 3rd and 4th beats. Traditional Ska bands generally featured bass, drums, guitars, keyboards, horns with sax, trombone and trumpet being most common.

Originated in Jamaica in the late 1950s, Ska came before musical styles such as Rocksteady and Reggae. Ska is a combined musical element of Caribbean Mento and Calypso with a bit of American Jazz and also Rhythm and Blues. It separates itself from other musical genres due to its walking bass line accented with rhythms on the upbeat. In the early 1960s, Ska was the dominant music genre of Jamaica and was popular with the other communities as well, including the British Community. 

Ska music was made for dancing.  It stand out because the music is upbeat, quick and exciting. Musically, it can be characterized with a drumbeat on the 2nd and 4th beats (in 4/4 time) and with the guitar hitting the 2nd, 3rd and 4th beats. Traditional Ska bands generally featured bass, drums, guitars, keyboards, horns with sax, trombone and trumpet being most common.

Men with severe erectile dysfunction will probably respond best to one of the big three prescription drugs – , Cialis, or Levitra. These medications are convenient, safe, and generally very effective. However, these medications do have side effects and cannot be taken by men who take nitroglycerin or other heart medications that lower blood pressure. In addition, some men fear that long-term use may lead to dependence – that is, the inability to get an erection without the use of a pill. Because of these concerns, many men – especially those with mild erectile dysfunction – are seeking a holistic or alternative approach.One natural alternative that is gaining attention is essential oils. Essential oils are highly concentrated extracts taken from the roots, leaves, seeds, or blossoms of plants. Each oil contains a unique mix of active ingredients. Some oils are used to promote physical healing, while others are used for their emotional value

Ricardo Mills aka Jah Defender is a Trinidadian born Reggae Artist. Many regard his music as positive, conscious, and uplifting. His soothing voice and comforting lyrics have made him a well-liked and admired artist on the rise. The conscious element of Rastafari through Reggae music attracted Ricardo to this genre. Music is an avenue to teach ‘truths and rights’, heritage, and culture, all of which is skillfully delivered through Jah Defender. His lyrical vibration encompasses depth and soul to remind the people of their treasured tradition. Embracing the teachings of Rastafari has allowed him to stay humble and trod with faith and courage, becoming the voice of many. His love for music started from a young age, as he heard the sweet sounds of his Mother’s vocals daily. He then bravely began singing for his classmates in Primary and Secondary schools. 

Listening to music from Whitney Houston, Freddie Jackson, Gregory Isaacs, Bob Marley, and Michael Jackson was part of his musical arsenal growing up. Since about 1994, a time when Reggae music become popular in Trinidad through artists like Capleton, Sizzla, Anthony B, Luciano, Norris Man, and Garnet Silk which also helped in shaping his musical talent. In 2004 Ricardo entered the professional Reggae scene as Jah Fyah, later changing to ‘Jah Defender’. In his words “Jah Defender stood for a deeper mission”. His blessed talent, creative musical melodies, distinctive sound, and powerful lyrics create timeless music.