Caribbean Radio Show Crs Radio Network

In 1960 he joined Richard Ace's band the Rhythm Aces, which also included Delano Stewart, later of the Gaylads. With the group he recorded "Angella", and the local hit "A Thousand Teardrops". The group split up and by 1963 Gardiner had joined Kes Chin and The Souvenirs as vocalist, and began learning guitar. He went on to join Carlos Malcolm & the Afro Caribs with whom he started playing bass guitar after the original bassist left, and when that band ended he started his own group, the Broncos, named after the Bronco Club where they had a residency. He later played with Byron Lee's Dragonaires. In the late 1960s and 1970s he worked extensively as a session musician as a member of the Now Generation, The Upsetters, The Aggrovators, and The Crystallites. While working at Studio One he played on hits such as The Heptones' "On Top", Larry and Alvin's "Nanny Goat", and Marcia Griffiths' "Feel Like Jumping".

As a solo artist, Gardiner had a hit with the song "Elizabethan Reggae" in 1970, a version of Ronald Binge's "Elizabethan Serenade".[1] When the single was released in the United Kingdom, the first copies were printed with the label incorrectly identifying Byron Lee (not Gardiner) as the performer

In 1960 he joined Richard Ace's band the Rhythm Aces, which also included Delano Stewart, later of the Gaylads. With the group he recorded "Angella", and the local hit "A Thousand Teardrops". The group split up and by 1963 Gardiner had joined Kes Chin and The Souvenirs as vocalist, and began learning guitar. He went on to join Carlos Malcolm & the Afro Caribs with whom he started playing bass guitar after the original bassist left, and when that band ended he started his own group, the Broncos, named after the Bronco Club where they had a residency. He later played with Byron Lee's Dragonaires. In the late 1960s and 1970s he worked extensively as a session musician as a member of the Now Generation, The Upsetters, The Aggrovators, and The Crystallites. While working at Studio One he played on hits such as The Heptones' "On Top", Larry and Alvin's "Nanny Goat", and Marcia Griffiths' "Feel Like Jumping".

As a solo artist, Gardiner had a hit with the song "Elizabethan Reggae" in 1970, a version of Ronald Binge's "Elizabethan Serenade".[1] When the single was released in the United Kingdom, the first copies were printed with the label incorrectly identifying Byron Lee (not Gardiner) as the performer

Step in to the studio with reggae pioneer and cultural ambassador Hopeton Brown.

Log on to discuss the message behind the music. Music is divine, universal and a tool to empower the youths.

Wednesdays - 9 - 12 Midnite EST Dial in (661) 467-2407. 

The show focuses on the “message behind the music” with a moral obligation to educate the youths.

Step in to the studio with reggae pioneer and cultural ambassador Hopeton Brown.

Log on to discuss the message behind the music. Music is divine, universal and a tool to empower the youths.

Wednesdays - 9 - 12 Midnite EST Dial in (661) 467-2407. 

The show focuses on the “message behind the music” with a moral obligation to educate the youths.

A near-death experience (NDE) is a personal experience associated with death or impending death. Such experiences may encompass a variety of sensations including detachment from the body, feelings of levitation, total serenity, security, warmth, the experience of absolute dissolution, and the presence of a light.

Neuroscience research suggests that an NDE is a subjective phenomenon resulting from "disturbed bodily multisensory integration" that occurs during life-threatening events. NDEs are a recognized part of some transcendental and religious beliefs in an afterlife

Ska marked the true beginning of Jamaican popular music, coming to prominence during the early and mid-'60s right around the time the island was granted its independence. Ska ensembles were generally a blend of electric instrumentation and horns most popular in jazz (saxophone, trumpet, trombone). Although structurally simple, ska has a bevy of influences, synthesizing American R&B, jump blues, Jamaican mento, calypso and other Caribbean styles, big-band swing, Afro-Cuban jazz, pocomania and other local religious folk music, and European ballroom dances. Of those, the first three -- R&B, jump blues, and mento -- were the most important building blocks. Jump blues tunes -- both sax-driven instrumentals and vocal numbers by artists like Wynonie Harris and Louis Jordan -- had become wildly popular at Jamaican dance parties, with sound-system operators making frequent trips to the U.S. searching for the hottest and rarest 45s. As R&B shifted into rock & roll, less crossover-oriented American performers like Little Richard and Fats Domino also became Jamaican favorites. In 1959, when the boogie beat had become less important in rock-oriented R&B, top sound-system owners like Clement "Coxsone" Dodd and Duke Reid (as well as restaurateur-cum-producer Leslie Kong) took matters into their own hands, forming their own labels, acting as producers for local talent, and recording the music their audiences wanted to hear when it was no longer readily available in the U.S.

Ska marked the true beginning of Jamaican popular music, coming to prominence during the early and mid-'60s right around the time the island was granted its independence. Ska ensembles were generally a blend of electric instrumentation and horns most popular in jazz (saxophone, trumpet, trombone). Although structurally simple, ska has a bevy of influences, synthesizing American R&B, jump blues, Jamaican mento, calypso and other Caribbean styles, big-band swing, Afro-Cuban jazz, pocomania and other local religious folk music, and European ballroom dances. Of those, the first three -- R&B, jump blues, and mento -- were the most important building blocks. Jump blues tunes -- both sax-driven instrumentals and vocal numbers by artists like Wynonie Harris and Louis Jordan -- had become wildly popular at Jamaican dance parties, with sound-system operators making frequent trips to the U.S. searching for the hottest and rarest 45s. As R&B shifted into rock & roll, less crossover-oriented American performers like Little Richard and Fats Domino also became Jamaican favorites. In 1959, when the boogie beat had become less important in rock-oriented R&B, top sound-system owners like Clement "Coxsone" Dodd and Duke Reid (as well as restaurateur-cum-producer Leslie Kong) took matters into their own hands, forming their own labels, acting as producers for local talent, and recording the music their audiences wanted to hear when it was no longer readily available in the U.S.

A near-death experience (NDE) is a personal experience associated with death or impending death. Such experiences may encompass a variety of sensations including detachment from the body, feelings of levitation, total serenity, security, warmth, the experience of absolute dissolution, and the presence of a light.

Neuroscience research suggests that an NDE is a subjective phenomenon resulting from "disturbed bodily multisensory integration" that occurs during life-threatening events. NDEs are a recognized part of some transcendental and religious beliefs in an afterlife

Contemporary interest in this field of study was originally spurred by the writings of Raymond Moody such as his book Life After Life, which was released in 1975, brought public attention to the topic of NDEs. This was soon to be followed by the establishment of the International Association for Near-Death Studies (IANDS) in 1981. IANDS is an international organization that encourages scientific research and education on the physical, psychological, social, and spiritual nature and ramifications of near-death experiences. Among its publications are the peer-reviewed Journal of Near-Death Studies and the quarterly newsletter Vital Signs Crsradio

Contemporary interest in this field of study was originally spurred by the writings of Raymond Moody such as his book Life After Life, which was released in 1975, brought public attention to the topic of NDEs. This was soon to be followed by the establishment of the International Association for Near-Death Studies (IANDS) in 1981. IANDS is an international organization that encourages scientific research and education on the physical, psychological, social, and spiritual nature and ramifications of near-death experiences. Among its publications are the peer-reviewed Journal of Near-Death Studies and the quarterly newsletter Vital Signs Crsradio