Big Youth

小簡(jiǎn)介
一個(gè)具使命的人才Big Youth因?yàn)槭艿経-Roy, Dennis Alcapone及I-Roy的影響而接觸音樂(lè)界, 但很快的他就建立出自己的風(fēng)格, 也因而對(duì)其他藝術(shù)家們?cè)斐珊艽蟮耐{。這位在70年代統(tǒng)籌了整個(gè)dancehalls的DJ, 雖然在接下來(lái)的10年成績(jī)不慎理想, 但到了90年代另一股風(fēng)波又興起, 使他不僅在祖國(guó), 在鄰近國(guó)家也大受歡迎。于1949年4月19日出生在牙買(mǎi)加的Kingston, 原名為Manley Augustus Buchanan, 而B(niǎo)ig Youth的別名是他于青少年時(shí)期在Kingston Sheraton飯店擔(dān)任技工的工作時(shí), 他的同事幫他取的。最初他只私自在家練習(xí)如何玩音樂(lè), 但最后他也找到機(jī)會(huì)在一些派對(duì)放歌。 那時(shí)他就懂的如何帶動(dòng)現(xiàn)場(chǎng), 讓他因此名聲響亮, 到了60年代便出現(xiàn)了許多小群的樂(lè)迷, 當(dāng)然接下來(lái)10年的時(shí)間樂(lè)迷的數(shù)量也逐漸攀升, 而B(niǎo)ig Youth現(xiàn)在也定期的于Lord Tipperton的sound system演出, 很快的也成為最當(dāng)紅的DJ。
在那時(shí), U-Roy, Alcapone及I-Roy都已發(fā)行了他們的首張黑膠唱片, 但Big Youth一直到隔年1972年1月才發(fā)行他的首張單曲。他的﹝ Movie Man ﹞是Errol Dunkley及Gregory Isaacs的African Museum廠牌所發(fā)行, 也是Dunkley的﹝ Movie Star ﹞的翻版。很另人吃驚的是這首單曲并沒(méi)有得到大家的注意; 而其他的制作也沒(méi)有好到哪里去。﹝ The Best Big Youth ﹞ (又名Black Cindy)是與Jimmy Radway合作的, 根本沒(méi)人理會(huì)。Lee Perry將Wailers的﹝ Keep on Moving ﹞改編為﹝ Moving ﹞也是一樣。而制作家Phil Pratt以為他的二首歌會(huì)受到肯定, 但其實(shí)不然, 分別為﹝ Tell It Black﹞-為Dennis Brown的﹝ Black Magic Woman ﹞翻版, 及 ﹝ Phil Pratt Thing ﹞為Derrick Harriott最完美的﹝ Riding for a Fall ﹞翻版。即使由Niney Holness這位制作以他紅到不行的﹝ Blood ＆ Fire ﹞做為﹝ Fire Bunn ﹞的翻版也打不動(dòng)牙買(mǎi)加人的心。但最后這股尷尬被一位年輕的制作Gussie Clarke所打破。所創(chuàng)作的﹝ The Killer ﹞單曲有著不同凡響的成績(jī)。接下來(lái)一起合作的﹝ Tippertone Rocking ﹞也為另一張佳作。從那時(shí)Big Youth的天分也這樣展開(kāi)。
一個(gè)有始以來(lái)最創(chuàng)新的制作Keith Hudson有一天把摩托車(chē)騎到錄音室里, 結(jié)果所作的音樂(lè)就以它的引擎 ﹝ S.90 Skank ﹞命名, 當(dāng)時(shí)Honda摩托車(chē)非常盛行, 而B(niǎo)ig Youth也因這樣打進(jìn)了牙買(mǎi)加排行榜第一名。他們所接下來(lái)的﹝Can You Keep a Secret ﹞是繞舌家與他的歌唱制作首次合作的作品。在這期間Big Youth為Glen Brown改編了二首歌, 分別為﹝ Come Into My Parlour ﹞及﹝ Opportunity Rocks ﹞, 后者是﹝ Dirty Harry ﹞的改編版本。事實(shí)上這兩首歌都與﹝ S.90 Skank ﹞同一天錄制。在同一周里, 他也為Prince Buster改編了﹝ Leggo Beast ﹞,﹝ Cain and Abel ﹞,﹝ Leave Your Skeng ﹞(為 Get Ready的版本)及﹝ Chi Chi Run ﹞(為John Holt的﹝ Rain From the Skies ﹞改編版本) 。最后一首作品曾被許多音樂(lè)家取用, 如Little Youth, 及三重唱Alton Ellis, John Holt及Dennis Brown, 全都由Prince Buster制作。
Big Youth的首張專(zhuān)輯Screaming Target于1973年問(wèn)市。由Gussie Clarke所制作, 這張專(zhuān)輯充滿(mǎn)著像Gregory Isaacs及Lloyd Parks那樣經(jīng)典的節(jié)奏, 并且有很好的成績(jī), 當(dāng)然也包括以專(zhuān)輯名稱(chēng)為名的作品。而他在那年好象自己被粘在排行榜上一樣, Big Youth的4首歌, 其他還包括 ﹝ Screaming Target ﹞(為K.C. White的 No No No及Buster的Chi Chi Run翻版), 還有Derrick Harriott制作的﹝ Cool Breeze ﹞及Joe Gibbs制作的﹝ A So We Stay ﹞ (為Dennis Brosn的Money in My Pocket翻版)都在當(dāng)年擠進(jìn)牙買(mǎi)加排行榜的前20名。Gibbs在1973年與Big Youth贏得了三張單曲的佳作, 包括之前提的單曲, 還有﹝ Chucky No Lucky ﹞及 ﹝ Forman Versus Frazier ﹞。
從為Sonia Pottinger改編的﹝ Facts of Life ﹞后, Big Youth不管在哪里都是個(gè)大人物。很快的他從一個(gè)與U-Roy 或 Alcapone 一樣幾乎沒(méi)沒(méi)無(wú)名的人到現(xiàn)在能更放松的表現(xiàn)他的風(fēng)格。而這真的是個(gè)非常舒服的解脫, 而也在最佳時(shí)機(jī)風(fēng)靡全國(guó)。在1974年, Big Youth創(chuàng)立了個(gè)人廠牌- Negusa Nagast。之前他被稱(chēng)為Amharic (衣索皮亞語(yǔ)言), 也就是王中之王的意思。他的DJ事業(yè)也與文化的腳步跨進(jìn)一步。而Negusa Nagast也發(fā)行了最為壯觀的單曲, 像﹝ Hot Cross Bun ﹞,﹝ Mr. Bunny ﹞,﹝ Children Children ﹞還有最不是蓋的﹝ Streets in Africa ﹞。而后者則被包含在War的﹝ The World Is a Ghetto ﹞里, 并與Dennis Brown合作, 還加上Heptones洪亮的歌聲。
Big Youth在同年發(fā)行了第二張專(zhuān)輯- Reggae Phenomenon, 而這張就像專(zhuān)輯名稱(chēng)那樣的驚人。里頭包含了新歌, 一些較早的翻版, 在加上當(dāng)紅的歌曲, 如﹝ Dread Inna Babylon ﹞及﹝ Natty Dread Nester ﹞(為Paragons的 Only a Smile翻版) 。而他的作品因?yàn)榕c許多制作的合作下, 不停的有非常好的成績(jī)。Glen Brown的﹝ Dubbie Attack ﹞, Tony Robinson的﹝ House of Dreadlocks ﹞和﹝ Mammy Hot and Daddy Cold ﹞, 還有Buddy Davidson制作的﹝ Johnny Dead ﹞和Yabby You的﹝ Yabby Youth ﹞ 。
后來(lái)Big Youth又與Dennis Brown一起合作為Harry J. 制作了﹝ Wild Goose Chase ﹞ 。而Niney Holness也非常滿(mǎn)意他們?yōu)樗麆?chuàng)作的﹝ Ride on Ride On ﹞, 在這之后他們也為Bob Marley作出完美的版本﹝ Get up Stand Up ﹞, 他們除了創(chuàng)作出經(jīng)典的rocksteady節(jié)奏外, 也創(chuàng)作出較強(qiáng)烈的roots節(jié)奏。最值得一提的像﹝ I Pray Thee ﹞, 為Abyssinians的﹝ Satta Amasa Gana ﹞翻版, 也是另一首火熱的歌, 還有Burning Spear的經(jīng)典﹝ Marcus Garvey ﹞。加上二首 Wailers的版本, Marley的﹝ Craven Choke Puppy ﹞及Bunny Wailer的﹝ Bide Up ﹞后來(lái)變成﹝ Craven Version ﹞及 ﹝ Black on Black ﹞。
在1975年Dreadlocks Dread專(zhuān)輯出現(xiàn)了, 這張具發(fā)展性的專(zhuān)輯是由Prince Tony Robinson所監(jiān)督, 于是分成Big Youth的繞舌部分跟樂(lè)器的dub部分。加上有Skin, Flesh ＆ Bones Band的合作下, 讓這張專(zhuān)輯成為dread roots的精華, 也是另人興奮的文化音樂(lè)。
Dreadlocks Dread在英國(guó)有著非常大的影響力, 并由Klik廠牌負(fù)責(zé)宣傳Big Youth接下來(lái)一年在那里的巡回演出。1976年隨后帶著二張專(zhuān)輯, 分別為Natty Cultural及Hit the Road Jack, 兩張都是由對(duì)自己非常有自信的Big Youth在最具活力的時(shí)候獨(dú)自創(chuàng)作的。又一次, 這張專(zhuān)輯在牙買(mǎi)加大受歡迎-里頭包括了﹝ Ten Against One ﹞及﹝ Wolf in Sheep"s Clothing ﹞等知名的曲子。很有趣的是, Natty Cultural Dread里也包含了﹝ Every Nigger Is a Star ﹞, 也就是I-Threes的首張作品。更棒的是還有Big Youth最不同凡響的制作, 以前他或許會(huì)想改編Gene Pitney, Al Green及Otis Redding等人的音樂(lè), 當(dāng)然有﹝ Dock of the Bay ﹞這首。但現(xiàn)在甚至有﹝ If I Had a Hammer ﹞。1977年帶來(lái)的超級(jí)﹝ Four Sevens ﹞為Culture的﹝ Two Sevens Clash ﹞翻版。由Niney Holness擔(dān)任制作, 他們二位也推出了﹝ Six Dead, 19 Gone to Jail ﹞。
在與英國(guó)廠牌Frontline簽約后, Big Youth在1978年于Virgin發(fā)行了合作的首張專(zhuān)輯- ﹝ Isaish First Prophet of Old ﹞, 是張非常強(qiáng)烈的roots作品, 由D Russell制作。Youth也在電影Rockers里客串演出。而他的表現(xiàn)也是盡善盡美的, 從閃亮亮的車(chē)走出來(lái), 帶著微笑時(shí)還可以看到他鑲著五顏六色珠寶的牙齒, 但在這些奪目誘人的背后看到的是他如何反復(fù)的以才能及努力證明自己, 也是個(gè)令人深思的音樂(lè)家。在1978年他也發(fā)行了﹝ Green Bay Killers ﹞單曲, 猛烈的譴責(zé)死于牙買(mǎi)加軍隊(duì)手里的拉斯特法里教派團(tuán)體?；蛟SBig Youth對(duì)Virgin來(lái)說(shuō)有點(diǎn)太極端, 所以Virgin也決定不為他發(fā)行下兩張專(zhuān)輯, 分別為Progress及Rock Holy。他們也沒(méi)選擇較早的dub編輯, 像Reggae Gi Dem Dub, 由Sylvan Morris重新混音。但是牙買(mǎi)加的繞舌界也漸漸松懈, 而新世代的繞舌也開(kāi)始發(fā)展出。
Big Youth繼續(xù)錄音, 但一直都沒(méi)有出現(xiàn)在排行榜上, 而且大部份的新單曲都是由他自己創(chuàng)作并以自己的廠牌發(fā)行。The Heartbeat廠牌的﹝ Some Great Big Youth ﹞收錄了許多他從70年代末期到80年代初期的東西; 接下來(lái)的編輯為﹝ The Chanting Dread Inna Fine Style ﹞, 以Negusa Negast早期的單曲為主。
由于dancehalls的暴動(dòng)持續(xù)的增加, 他在1982年回到錄音室錄制了﹝ No War in the Dance ﹞, 由Lloyd Parks制作。他也證明了自己的名聲并沒(méi)有消失, 在那年夏天以前他就以Reggae Sunsplash重溫了大家的心, 并在接下來(lái)的一年成功舉辨了許多場(chǎng)演出, 在1987年也有一次。1985年, Big Youth發(fā)行了另人吃驚的新專(zhuān)輯- A Luta Continua, 他從一位繞舌家變成歌手, 從roots rasta到j(luò)azzman, 并與牙買(mǎi)加爵士英雄Herbie Miller合作。 然而, 1988年的Manifestation讓他找到自己的立足之處, 一個(gè)充滿(mǎn)roots的音樂(lè)分成, 有完美的繞舌及還算不錯(cuò)的歌聲。二年后, Niney Holness帶Big Youth回到錄音室完成 ‘Chanting’的翻版。而他也極力配合 Free South Africa" One Man One Vote的藝人專(zhuān)輯。Big Youth后來(lái)也在日本大阪的Japansplash活動(dòng)演出, 演出內(nèi)容包括他1991年House of Dread專(zhuān)輯里的Jamming。在接下來(lái)的夏天他又在Reggae Sunsplash展現(xiàn)出自己實(shí)力。
在過(guò)去幾年他的形象也漸漸提升, 而受邀為Capleton的I Testament專(zhuān)輯及Mutabaruka的Gathering of the Spirits, 還有Creation Rebel的Feat of a Green Planet穿插合作。在1995年, 他發(fā)行了自己的全新專(zhuān)輯- Higher Grounds; 由Junior Reid做監(jiān)督, 內(nèi)容包括了R＆B, reggae及其他的音樂(lè)類(lèi)型。在接下來(lái)一年的Reggae Sunsplash里呈獻(xiàn)出許多他杰出的作品。到了千憘年在英國(guó)也發(fā)行了他的編輯Tell It Black, 雙CD內(nèi)容有31首從1972-1975年的歌曲。而同年也以英國(guó)的Blood ＆ Fire廠牌發(fā)行Natty Universal Dread。而包括51首的3張專(zhuān)輯有著1973-1979年最完整的收錄, 還有一些Negusa Negast從未被重新發(fā)行的作品。
by Jo-Ann Greene
A man with a message, Big Youth arrived on the music scene in the wake of U-Roy, Dennis Alcapone, and I-Roy, but quickly established his own style, threatening to eclipse them all. The consummate cultural toaster, the DJ ruled the dancehalls across the 70s, and although his career flagged in the next decade, he returned with a vengeance in the 90s, and continues to have an impact on both his own nation and beyond. Born in Kingston, Jamaica, on April 19, 1949, Manley Augustus Buchanan had his moniker long before he had picked up a mic. He was named Big Youth by his co-workers at the Kingston Sheraton hotel, where the tall teen was employed as a mechanic. Initially, he toasted to himself (the DJing equivalent of air guitar), but eventually he took the chance of picking up the mic at a few parties. The enthusiastic response he received prodded him to perform at dances, and by the late 60s, he had a small, but avid following. This fan base swiftly grew and as the new decade arrived, Big Youth was now DJing regularly at Lord Tippertons sound system, quickly becoming the top DJ for the outfit.
By this point, U-Roy, Alcapone, and I-Roy had already made their vinyl debuts, but Big Youth would wait another year, finally releasing his first single in January 1972. He cut Movie Man for African Museum, Errol Dunkley and Gregory Isaacs label, and the song fittingly utilized the rhythm to Dunkleys own Movie Star. Surprisingly, the single was barely noticed; other producers had no better luck. The Best Big Youth (also known as Black Cindy), cut with Jimmy Radway, sank without a trace. Lee Perry did no better with Moving, a version of the Wailers Keep on Moving. Producer Phil Pratt thought for sure his two cuts were chartward bound, but both Tell It Black, a version of Dennis Browns cover of Black Magic Woman, and Phil Pratt Thing, a sublime version of Derrick Harriotts Riding for a Fall, followed its predecessors into oblivion. Even Fire Bunn, produced by Niney Holness over his own smash Blood & Fire rhythm, failed to ignite the Jamaican buying public. The drought was finally broken by a young (just out of his teens) up and coming producer, Gussie Clarke. For The Killer single, he had the DJ toast over the rootsy Augustus Pablo number, and the result was magnificent. The pair followed it up with Tippertone Rocking, another major hit. Big Youth was now in demand.
The ever-innovative producer Keith Hudson dragged a motorcycle into the studio to capture its revving engine for S.90 Skank, a tribute to the popular Honda motorcycle, and roared Big Youth to the top of the Jamaican chart. Their follow-up, Can You Keep a Secret, a duet between the toaster and his singing producer, did almost as well. In between times, Big Youth cut a pair of songs for Glen Brown, Come Into My Parlour and Opportunity Rocks, the latter employing the popular Dirty Harry rhythm. Both were actually recorded the same day as S.90 Skank. That same week, the DJ also cut a quartet of songs for Prince Buster: Leggo Beast, Cain and Abel, Leave Your Skeng (a version of Get Ready), and Chi Chi Run (cut over the rhythm of John Holts Rain From the Skies). That latter track titled a various artists compilation that featured the DJ, a young acolyte Little Youth, a trio of top vocalists (Alton Ellis, John Holt, and Dennis Brown), all produced by Prince Buster.
Big Youths own debut album, Screaming Target, arrived in 1973. Produced by Gussie Clarke, the album was stuffed with classic rhythms from the likes of Gregory Isaacs and Lloyd Parks, and filled with hits as well, including the magnificent title-track. The DJ seemed to have now glued himself to the chart and during that year, four of his songs, including Screaming Target (a version of K.C. Whites No No No and Busters Chi Chi Run), the Derrick Harriott-produced Cool Breeze, and the Joe Gibbs-produced A So We Stay (a version of Dennis Browns Money in My Pocket), sat proudly on the Jamaican Top 20 for the entire year. Gibbs notched up a total of three hits with Big Youth in 1973, along with the aforementioned single, there was also Chucky No Lucky and the topical Forman Versus Frazier.
From boxing bouts to the Facts of Life, a hit cut for Sonia Pottinger, Big Youth was the tops on any topic. Hed matured swiftly, from a barely understandable mumbler who exhorted the crowds with typical U-Roy or Alcapone-sque exhortations, to a more relaxed, conversational style. And it was this very ease of delivery — relaxed, but so perfectly timed to the rhythms — that had entranced the nation. In 1974, Big Youth launched his own label, Negusa Nagast, it was later followed by a second, Augustus Buchanan. The formers name was particularly telling and is Amharic (the Ethiopian language) for King of Kings. It announced a further shift in the DJs performance toward a full-on cultural chanter/toaster. Negusa Nagast debuted with a quartet of the DJs singles, Hot Cross Bun, Mr. Bunny, Children Children, and most spectacularly of all, Streets in Africa. This latter was a cover of Wars The World Is a Ghetto, and features Dennis Brown backed by the equally sonorous tones of the Heptones. Big Youth released his second album this same year, Reggae Phenomenon, and it was as phenomenal as its title suggested. It featured new songs (all chart-bound), remakes of earlier cuts, and smash hits like the title cut (another version of Dennis Browns Money in My Pocket) Dread Inna Babylon, and Natty Dread No Jester) (a version of the Paragons Only a Smile). And the DJs phenomenal chart success continued with producer after producer. Glen Brown scored with Dubbie Attack, Tony Robinson oversaw the mighty House of Dreadlocks and Mammy Hot and Daddy Cold, Buddy Davidson produced Johnny Dead, while Yabby You sat behind the desk for the most seminal of them all, Yabby Youth, the first of several versions the DJ would cut over the Conquering Lion rhythm.
Big Youth would again pair up with Dennis Brown for the Harry J.-produced Wild Goose Chase. Niney Holness liked what he heard and kept the duo together for his Ride on Ride On. The two would go on to record a stunning version of Bob Marleys Get up Stand Up. Marleys version wasnt alone; besides toasting over classic rocksteady rhythms, Big Youth was now increasingly utilizing heavier roots rhythms. Most notable was I Pray Thee, a version of the Abyssinians Satta Amasa Gana, which was another seminal smash hit, and the DJ also cut a version of Burning Spears classic Marcus Garvey. Two more Wailers versions also appeared around this time, Marleys Craven Choke Puppy and Bunny Wailers Bide Up became, respectively, Craven Version and Black on Black.
In 1975, the Dreadlocks Dread album appeared, a seminal album overseen by Prince Tony Robinson and split between Big Youths toasts and instrumental dubs. Accompanied by Skin, Flesh & Bones Band, the album remains a masterpiece of dread roots and provocative cultural toasts.
Dreadlocks Dread had a massive impact on the U.K., where it was picked up by the Klik label and prompted Big Youth to tour there the following year. 1976 brought two albums in its wake, Natty Cultural Dread and Hit the Road Jack, both self-produced by a self-confident Big Youth at the peak of his powers. Again the albums featured a clutch of Jamaican smashes — Ten Against One and Wolf in Sheeps Clothing amongst them — and new numbers equally biting at the chart bit. Interestingly enough, Natty Cultural Dread also boasts Every Nigger Is a Star, backed by the I-Threes making their recording debut. Also featured are some of Big Youths surprising covers. In the past, hed versioned Motown hits, Gene Pitney, Al Green, and Otis Redding, Dock of the Bay of course. Now along with the title-track, there was even If I Had a Hammer. 1977 brought the masterful Four Sevens, a clever version of Cultures Two Sevens Clash. Produced by Niney Holness, the pair followed up with the provocative Six Dead, 19 Gone to Jail.
Having now signed to the Frontline label in the U.K., Big Youths debut album for the Virgin subsidiary was 1978s Isaiah First Prophet of Old, a fiercely roots record produced by D Russell. The DJ also had a cameo role in the movie Rockers. Hes absolutely unmistakable, stepping out of a flash car and flashing a smile that shows off his front teeth embedded with red, yellow, and green jewels, as his long dreads whip around his face. But behind these eye-catching trappings was a thoughtful and thought-provoking DJ, as his records proved time and time again. 1978 also saw the release of the Green Bay Killers single, a fierce diatribe on the death of a group of rastafarians at the hands of the Jamaican army. Perhaps Big Youth was now seen as too radical for Virgin, and the label chose not to release the DJs next two albums, Progress and Rock Holy. Nor did they pick up on the formers dub companion, the excellent Reggae Gi Dem Dub, remixed by the up and coming master Sylvan Morris. However, the toasters grip on Jamaica was also beginning to loosen, and a new generation of chatterers were beginning to come to the fore.
Big Youth continued to record, but no longer ruled the charts, and most of his singles were now self-produced and released through his own labels. The Heartbeat labels Some Great Big Youth collects up many of these late-70s, early-80s material; the labels follow-up collection, The Chanting Dread Inna Fine Style, concentrates on earlier Negusa Negast singles.
The increasing violence in the dancehalls prompted him back into the studio in 1982 for No War in the Dance, cut for producer Lloyd Parks. He proved his popularity wasnt totally gone, with a steaming, hits-filled set at Reggae Sunsplash before an adoring audience that summer, giving a repeat performance the following year, and again in 1987. In 1985, Big Youth released a surprising new album, A Luta Continua, where he transformed from toaster to singer and roots rasta to jazzman, accompanied by Jamaican jazz hero Herbie Miller. However, 1988s Manifestation found the DJ regaining his footing, for a roots-drenched set split between excellent toasting and sub-quality singing. Two years later, Niney Holness brought Big Youth back into the studio and cut the remarkable Chanting. The DJ also contributed a fierce Free South Africa to the One Man One Vote artists album. Big Youth later performed at the Japansplash festival in Osaka, with his powerful set caught on 1991s Jamming in the House of Dread album. He reappeared with a vengeance at Reggae Sunsplash the following summer.
With his profile now the highest it had been in years, Big Youth guest-starred on Capletons I Testament album, Mutabarukas Gathering of the Spirits, and Creation Rebels Feat of a Green Planet. In 1995, the DJ released his own new album, Higher Grounds; overseen by Junior Reid, it was an intriguing mixture of R&B, reggae, and other styles. Another powerful set at Reggae Sunsplash was delivered the following year. The new millennium saw the release in the U.K. of the compilation Tell It Black, a two-CD set that rounds up 31 seminal songs from 1972-1975. But that pales next to Natty Universal Dread, released by the British Blood & Fire label that same year. Three albums and a total of 51 tracks brilliantly wrap up the best from 1973-1979 and include a clutch of Negusa Negast singles that have never been reissued.