fuss dj clash a yaad...anyone know wich artist started it?

**britisha** · 01-26-2009, 08:13 PM

Re: fuss dj clash a yaad...anyone know wich artist started it?

<div class="ubbcode-block"><div class="ubbcode-header">Originally Posted By: evanovitch</div><div class="ubbcode-body">i can memba hearing dat Prince Buster did mek a song fi lik out gainst Derrick Morgan...Morgan did carry him riddim go gi one a dem chiney man whe did a try enta di music ting...so dat song bout 'r u a black man r r u a chiney man' was made...

but mi know seh dis guy use to be a bigggg time wud thrower ,using a band...cause dis was before record stawt press a yaad...him name stawt wid M ..cannot memba it fi notten nor memba if anybody else did come before Prince Buster vs Derrick Morgan...anybody can help out? </div></div>
**chukkle**

Di chiney him mussie was talking bout is "Beverly's" fron Naawt Street and Orange Street...Dem did a press record fram long time...I think there is/was a Beverley's label...a whole heap a cummings and goings in that store ..when mi goh buy in dere...the music paawt was rung dah back...I think it is mentioned Catch a Fire, .

Mi noh think Buster did cum pan di scene before di 60;s doah.

**britisha** · 01-26-2009, 08:20 PM

Re: fuss dj clash a yaad...anyone know wich artist started it?

<div class="ubbcode-block"><div class="ubbcode-header">Originally Posted By: evanovitch</div><div class="ubbcode-body">
You done stole my belongings and give to your chineyman
God in heaven knows, He knows that you are wrong
Are you a chineyman, are you a black man?
You don't need no eyeglass to see that your skin is black

Do you prefer your chineyman to your fellow black man?
Speak up, friend, it's plain to understand
It won't be very long, they'll have a change of plan
To use you, use you and use you, then refuse you

Because you're the first blackhead chineyman
I did not know your foreparents were from Hong Kong
Every man has a right to where he belongs
So declare yourself and tell me where you are from

Because you're the first blackhead chineyman
I did not know your foreparents were from Hong Kong
Every man has a right to where he belongs
So declare yourself and tell me where you are from
So declare yourself and tell me where you are from...
</div></div>

Such lyrics...methinks this was in response to the racial divide when Chinese were attacked by blacks in the 60;s...mi nain know seh him an Derrick did a haff conflicts.

Mi used to pass his record store a Charles Street an Luke Lane almoas every day.

Did Busta have a label evanovitch?

**evanovitch** · 01-26-2009, 08:25 PM

Re: fuss dj clash a yaad...anyone know wich artist started it?

mi no memba if him did ha label but him did ha him sound system...him did deh bout from di late 50s and di song was fi Derrick indeed...yeah a Leslie Kong who did stawt up Beverly's..Voice of the People was him sound an him stawt it in '59

**blugiant** · 01-26-2009, 08:38 PM

Re: fuss dj clash a yaad...anyone know wich artist started i

wat a tredd evan itt mekk mii feel like tartinn a tredd iff yaawd chinese ar blakk ar chinese?

mii affii goo teef sum aff mii faddar ole recards ann lissen real good

**evanovitch** · 01-26-2009, 08:44 PM

Re: fuss dj clash a yaad...anyone know wich artist started i

Cecil Bustamente Campbell, a.k.a. Prince Buster, is one of the most crucial artists of the pre-reggae era, literally embodying the transition from the foreign record-dependent sound systems to the development of homegrown Jamaican talent.

An ambitious ex-boxer from Kingston's Luke Lane neighborhood, Buster attached himself as a security man to various local sound systems, including Tom the Great Sebastian's and Coxsone Dodd's—for whom he once rescued a young Lee Perry from a rival gang of Duke Reid's thugs—before establishing his own Voice of the People system in 1959.

<span style="font-weight: bold">But the restless Buster wasn't content with merely playing other folks' music, and in 1960 he helped usher in the ska explosion by recording 13 legendary tracks with singer Monty Morris. </span>These tracks, which included the <span style="font-style: italic">smash "Humpty Dumpty"</span> and a reworking of the Folkes Brothers' mento "Oh Carolina," had a new, distinctly Jamaican flavor and were all immediate hits. They signified Buster's arrival as both a producer and a singer, albeit a singer with a limited range.

Throughout the ska era, Buster scored hit after hit, with classics like "Al Capone," "Madness" and "Burke's Law," selling like hotcakes from his Record Shack shop and making a mint for his Voice of the People label.

As the '60s wore on, and Jamaica was engulfed by various pan-Africanist and black consciousness movements, <span style="font-weight: bold">Buster eschewed Rastafarianism for the sterner discipline of the Nation of Islam, and his music became more militant as well</span>. Raunchy, sexually explicit songs like "Rough Rider" and "Big Five" gave way to the Biblical allusions of "Pharaoh House Crash" and "10 Commandments." While in the rocksteady era of the later '60s, <span style="font-style: italic">Buster weighed in on the Rude Boy phenomenon with 1967's infamous "Judge Dread," which comically reduced Rude Boys to tears by handing out 400-year prison sentences like candy.</span>

Though Prince Buster's star was fading by the dawn of the early '70s roots explosion, he remained an influential presence on the Jamaican music scene through his label and network of record stores, which included a branch in New York. Buster's much-loved music also got a second wind when it was rediscovered during the late '70s ska revival in Britain. Bands like the Specials, the Selecter, the English Beat and Madness all reworked vintage Prince Buster cuts, turning tracks like "Too Hot," "Madness" and "Rough Rider" into anthems for a whole new generation. — <span style="font-style: italic">Tom Pryor, Courtesy Global Rhythm Magazine: www.globalrhythm.net </span>

**britisha** · 01-26-2009, 08:45 PM

Re: fuss dj clash a yaad...anyone know wich artist started it?

<div class="ubbcode-block"><div class="ubbcode-header">Originally Posted By: evanovitch</div><div class="ubbcode-body">mi no memba if him did ha label but him did ha him sound system...him did deh bout from di late 50s and di song was fi Derrick indeed...yeah a Leslie Kong who did stawt up Beverly's </div></div>

Okaay, did a google and saw in an interview where him cuddah have bin around in music from those times. When those lyrics came out mi an mi frens theorised :: that it was related to the racial conflict...::waiee::

**evanovitch** · 01-26-2009, 08:54 PM

before Trench Town and Bob Marley u had dis...wikked

PRINCE BUSTER / VOICE OF THE PEOPLE

It's a brilliant July afternoon in Kingston, summer of 1995; Prince Buster and his old friend Carl are walking along Charles Street in downtown Kingston, a place they both know very well. Buster is pointing out landmarks in his career and the history of Jamaican music as he goes along; he indicates a bare dirt plot in the street, which looks like part of a war
zone:

Y'see the Hopeland Cross deh so - that's where the first shop was, but there's no shop dere now, ca' it bruk down…

As we get to an intersection, Buster says:

"This is Luke Lane and Charles Street - this a MY corner, a weh we grew up on - right deh so we use to sit down, use to play dice deh so. This corner deh so (indicating the opposite corner), Tom the Great Sebastian buildin' dis - all the music you hear come from dis corner. That's why I mek the tune "Luke Lane Shuffle" - this is Soulsville Center. All these buildin' go up an' down through the war an' ting like that, but this is where everything
was. This (pointing to the third corner) was my first record shop right here. It was me an' Carl run this lickle shop - it's now a cabinet shop
(Carl says; yeah, yeah, yeah). We mek up in business an' move over deh so, that's where the nex' shop was. Lee Perry tek that shop, further on after me tek it. I leave that shop an' build this buildin' there (pointing further back down Charles Street towards Orange Street), the three-storey
buildin' there, that tall one - the shop was on the bottom. Then we move around to Orange Street, mek sure it's on the main. 'Cause I was born on Orange Street, so it had to be (on) Orange Street.

Orange Street is the street that's gonna bring a lot a money back in the country through tourism, if they would fix it up in the proper way, so that people from Australia, Japan, Europe an' otherwise could a come here, and 'ave somewhere to accommodate them with the history of the music. People
want to know the history of Orange Street, and we should tell them - because what we tell them is not a story but HISTORY"

That history, in which Prince Buster played a crucial role, is also the history of modern Jamaican popular music, from mento, Jamaican boogie and ska to rock steady and early
reggae. <span style="font-style: italic">The Jamaican dancehalls have given to the world the twin-deck sound system, the sound clash, the dub remix, the foregrounding of drum and bass in that mix, sampling, the rapping deejay and the personality selector - the
entire transmission system of modern dance music.</span> <span style="font-weight: bold">All were pioneered in Jamaica, years, even decades, before they were taken up in the metropolitan world.</span> And in the hothouse atmsophere of the dancehall, Prince Buster was a
crucial innovator - <span style="font-weight: bold">if anyone can claim to have invented ska, he can.</span> In his time he has been dancehall gateman, owner and operator of the "Voice Of The People" sound system, producer and label owner, singer and percussionist
- the self-styled but undeniable King of Ska.

He was born Cecil Campbell on the 28th May 1938, his nickname or 'pet' name of 'Buster' coming from Alexander Bustamente. Along with Norman Manley,Bustamente was the dominant figure of Jamaican politics from the 1930s through to the postwar period, and one of the co-founders of the PNP
[Peoples National Party]. The year that Buster was born saw a wave of strikes and social unrest sweeping through the Caribbean. In Jamaica,
Bustamente was at its head, a brilliant orator and the first 'voice of the
people'.

Living on Orange Street in the downtown area of Central Kingston as a
teenager, Buster became leader of a gang from nearby Luke Lane. But before
that, as a child in the early 1940s, he had spent time away from Kingston in
the country, where he first discovered that he liked music:

Well, it all came from my mother and my grandmother - my father's mother -
beca' these people use to attend churches, and as a young little boy they
had me singin' with them in different churches. My grandmother, who live in
the country, at night she was a lady who say her prayers before she go to
bed, an' the whol' of us - her husband and the rest of the family - have to
have this prayer meetin'. Before that, they use to sing. I had this cousin
Alvin who use to have this terrific bass voice…he's singin': "When the roll
is called up yonder…" an' I use to jus' love to hear that sound, an' it
stick in a mi head.

When he returned to Kingston, he also came back to the post-WW2 modern
world, dominated economically and ideologically by the USA. American swing
and bop, boogie and r&b were the new musics of the day. As the 1950s
dawned, the jumping Jamaican dance bands were losing out to the emergent
sound systems. On economic grounds alone, the bands stood no chance - a
sound system could rock a dance just as effectively with records, deck and
amplifier. This new culture of sound system quickly attracted Buster:

Well, I come back down in a Kingston, yunno, when I 'ave to spend time an'
come back - and there was Tom the Great Sebastian. who is to my thinkin'
really the king of sound systems - that was a perfect sound system. He was
a gentleman, good attitudes, an' he was a master selector. I can remember
Tom playin' on the sidewalk in the evenin', an' he play a Fats Domino tune,
"Mardi Gras" (Mardi Gras in New Orleans", Imperial 1953) - I went totally
freak out, an' kept tell Tom: play it back, play it back! Some line in a
the song jus' carry me a step beyond an' I jus' went with it. Duke Vin was
with Tom, an' I was a follower of Tom's sound system, and Tom was THE sound
system. Tom went into sound system duels with people like Count Nick and
Count Buckram - these are good sound sytems in those days, top cream, and
Tom won it beca' Tom was the perfect thing, the MODEL, y'unnerstand?

As the effects of the postwar boom began to trickle through to the colonial
world, Orange Street in downtown Kingston became the commercial centre of
the music business:

"You mus' unnerstand that Orange Street wasn't a Johnnie-come-lately street,
it was the street where every thing was born, created, made. Orange Street
been the street from day one, yunno? Orange Street is the only street that
comes from the seaside all the way to Crossroads - every other one drop
short, so that's your main boulevard. And in this area, is the area where
all the good entertainers come from - from Joe Bundy, Barber Mack, yunno -
an' who didn't come from there had to come there, beca' that's where
everthing was happenin'.

I can remember S. T. Wong, that's the pick-a-pow banker [pick-a-pow is a
game involving gambling with dice] - these people were at Orange Street,
and a lot a people gather round. Then there was Charlie Moo ice-cream
parlour, at the corner of North Street and Orange Street, and that was a
swingin' ice cream parlour - everybody goes. Charlie Moo's ice-cream
parlour later became Beverley's Record Shop. Sonny Bradshaw use to play at
a little upstairs spot, right in front of Drummond Street and Orange Street,
on Wednesday night time. Down Orange Street, below Charles Street, you had
Jack Taylor - a super sound, a man who got all his records in a pipeline
from America. So his (sound) was considered one of the strong, because he
sold records to Tom, an' Coxsone, an' Duke. Right before Luke Lane an'
Charles Street corner you had Son, the junior Sebastian - he was named off
Tom, who was on the opposite corner. In the evenin', from about three, four
o'clock, Tom would sign on an' start playin', an' large crowd would gather.
He would tune down from about eight o'clock. When he's signin' off, Son is
signin' on, so the crowd can't go nowhere - is just music. And when about
ten o'clock Son is goin' down with his music, Jack Taylor sign on round the
corner, Orange Street. So the block was just good music. That is one of
the reasons why most record shop owners chosse to 'ave a shop on Orange
Street, where there was so much record shops. Bunny Lee 'ave a record shop
on Orange Street, then they had Caribbean Distribution - a hell of a shop -
just below Beeston Street. then Lyn's Record Shop almost down to Hayward
Street. The whole street was nuttin' but music, y'see?"

The pace and the competition between sound systems was increasing; the
mid-1950s saw Arthur 'Duke' Reid, a former champion marksman in the police
force, enter the arena. He was followed by the hip underdog, Clement '
Coxsone' Dodd. Reid had the strength of money and what amounted to a
sizeable gang of 'bad man friend'. Many were also Buster's friends - he had
grown up among them in Back A Wall, the shantytown district that once stood
on the site of Tivoli Gardens in present day Kingston. The streetwise
Buster, feeling a natural sympathy for the underdog Coxsone, offered his
crew as security for Coxsone's dances; thus the sound built up a sizeable
following in 1956:

"But the reason why Coxsone dances nice, - an' everbody knows THAT - is that
the people followin' me. So I tell Machuki I don't 'ave time fe this, - I
say I gon' build myself a sound, and 'Chuki say yeah. So I go to my mother
an' put the idea to her. I aks her fi a start an' she gi' mi some money. I
went to Mr Wong, some Chinese people down Church Street, they had a radio
engineering shop, a big nice glass place, they sell records too, I use to
gi' dem records fi sell, so they got use to me, an' know me an' come to like
me. I went firs' to Miss Wong an' aks her. She said: "Buster, you gona
fight with all dem people in a the sound war, with Coxsone an' Duke Reid?"
I said, no, I jus' think 'pon the music, but I need some help. She said
what you need - I said some speakers an' ting. The lady laugh an' went back
into the next office to her husband, an' I see both a dem come back with big
smiles on dem face. Mr Wong say: Buster, you really gon' do it?" I say:
yes, an' 'im jus' tell 'im wife an' say, give it to 'im, whatever 'im want.
The deal was I was to play at the dances an' pay back the money, which I did.

So I built the sound, an' the sound was a much bigger sound than Coxsone or
Duke Reid, an' dat startle the people, beca' they would like to know where I
get the money from. Some a dem went off with some bogus talk, - some people
down a Salt Lane produce some feelins and talk about it was Seaga sound. I
was in the record business with Eddie (Seaga, future PM of Jamaica in the
1980s) at West Indies Records, long before politics. The whole town is
crazy beca' Prince Buster build a sound.

Once Buster had his "Voice Of The People" sound running, he soon took his
first steps into commercial recording; his entry into production came about
when Duke Reid, temporarily absent from the business, asked Buster to
produce a session for him. According to singer Derrick Morgan, Buster
recorded 12 tunes at Federal studio, and only gave one to Duke, keeping the
rest for himself. This first batch of 45s in late 1960 yielded a dozen hits,
including his own "They Got To Go" directed towards his sound system rivals,
and already showing the stressed afterbeat syncopation that would typify ska
proper,, as well as marking a distinct step away from the US boogie shuffles
that Coxsone and Duke Reid had been recording. Songs like "Warpaint" by
Basil Gabbidon, "Shake A Leg" by Derrick Morgan and the biggest hit of all
these early tunes, Eric Morris' nursery-rhyme boogie "Humpty Dumpty" set the
pattern for Buster's early ska output. At this time he also produced the
Folkes Brothers "Oh Carolina", the first yard tune to incorporate Rasta
drumming. The style would be heard in full effect - on piano, guitar and
horns - on songs like the scorching "Madness", recorded the following year.
Buster pursued this Jamaican direction further over the next few years -
many of his own songs were updates of Jamaican mento and folk song, as well
as the more usual adaptations of US r&b and other foreign music including
Afro-Cuban and Calypso. When "Oh Carolina" was licenced to Melodisc Records
in London and released on their 'Blue Beat' imprint, Buster began a business
relationship with label boss Emil Shalet. The collaboration between the
European entrepreneur and the Jamaican soundman would lead to the release of
over 600 titles in the UK, on Blue Beat, and subsidiary labels Dice and Fab
over the next few years. This vast catalogue - most of which is unavaliable
in any format today - includes some of the greatest ska, rock steady and
reggae sides ever made. Among this varied output, there are several series
that comment on and celebrate certain aspects of Jamaican dancehall culture.
One set of records , initiated when he cut "They Got To Go" and "They Got
To Come (My Way)" details the sound war with his early rivals Edwards, Reid
and Dodd or "The King, the Duke and the Sir" as Buster addresses them on
his 1963 45 of the same title. Another, beginning with "Black Head Chiney
Man", commemorates his feud with Derrick Morgan,, which began when the
genial Derrick defected to the better-paying Chinese-Jamaican producer
Leslie Kong and cut "Forward March". Buster claimed that the sax solo on
Derrick's record (by Headley Bennett) was copped from one played by Lester
Sterling for him. Hence he accused Derrick of stealing his belongings
"to give to your Chiney friend".
But it was all fun, since Derrick and Buster remained friends off the
record. He used top quality musicians including many Skatalites, as well as
such stalwarts of ska as trumpeter Oswald 'Baba' Brooks, and saxists Dennis
'Ska ' Campbell and Val Bennett; the latter featuring strongly on Buster's
big UK chart hit "Alcapone(Guns Don't Argue)".

Buster produced hundreds of superb ska instrumentals between 1962-1966; the
best of his output easily rivals the more celebrated Studio One/Top Deck
Skatalites productions. It's a cultural disaster when such brilliant titles
as "Down Beat Burial", "100 Ton Megaton", "Johnny Dark", "Rygin" and
"Cinncinnatti Kid", to mention just five which come to mind are not
available, although to be fair the same could be said for Leslie Kong's
excellent ska productions as well. When Coxsone's top vocal group the
Maytals left him, they went to Buster and recorded the classic "Broadway
Jungle (Dog War)" for Prince Buster, as well as equally memorable tracks
like "Little Flea" and "Pain In My Belly".The album they made for the Prince
similarly has yet to appear on cd.

But perhaps Buster's best productions were on himself; as the Rock Steady
phase dominated in 1966-1967, he recorded the 'Judge Dread' series, playing
the part of the Judge who handed out draconian sentences to rude boys. He
once said that people came into his shop to shake his hand and praise him
for speaking out on these records against the 'gunmanism' then just
beginning to afflict Jamaican society. He also made sides that were elegies
to earlier dancehall days, including the beautifully evocative "Johnnie
Cool", with Lee Perry as the other voice . Perry, then just about to start
up on his own account as a producer, is also heard doing various prisoners'
voices on the 'Judge Dread' series. Around this time, Buster toured the UK
and met the Beatles. He became a Black Muslim - he still maintains his faith
to this day - and socialised with such notables as Malcom X and Muhammed
Ali, even spending time at Ali's training camp. He was also politically
active, supporting the Guyanan professor Dr. Walter Rodney on demonstrations
in the late 1960s and being arrested. He commented on political matters on
record as well - "Shanty Town" is scathing on the slum clearances carried
out by the Jamaican government in 1967, while the hilarious "Ganja Plant"
posits Buster in the Jamaican parliament, calling for the legalisation of
the herb traffic. By the early 1970s he seemed to have had had enough,
stating on his oldies albums that

'They have used guns to spoil the fun and force tasteless and meaningless
music upon the land".

Prince Buster had virtually stopped producing by the end of 1973 - although
he released a Big Youth set - "Chi Chi Run" was one of Jah Youth's biggest
early hits in 1973 and an excellent early dub album, "The Message", as well
as sides by Dennis Alcapone, Dennis Brown and John Holt. He recorded at
Channel One in mid-decade, although only a single, "Finger", was ever
released.
After that, for a while, little was heard from the 'voice of the people'.
He began collaborating with the UK ska revivalist Gaz Mayall, and toured
Japan with him in the 1980s and 1990s. His legendary status continues to
assure him a strong following among 'new-ska' devotees, and he still tours
occasionally. In spite of being over 60, he seems as fit and strong as ever
- he had also been a successful boxer in his youth - and his combative and
critical faculties are if anything stronger. Today we can see him as a
major force in the foundation of modern Jamaican popular music, and an
essential Jamaican producer, investing everything he did with the force of
his creative personality. Just like he says himself on his 1967 hit "Train
To Girls Town":

"This train is bound for Kingston Jamaica West Indies
We are goin' to Girls Town - all aboard !
This is engine 59
And the driver is none other than Senor Pedro Gonzales (nice, nice)
Leavin' London to Kingston
We are now goin' across Montego Bay
Comin' in to Kingston..…
An' if you please, take a look to your right
You will see the Blue Mountains
Now a whole lot of black pretty girls live there
A whole lot of black soulful girls (nice…)
Now just for a second, take a look out the window
Look upon the hill
See that pretty house ?
That's the house of the famous Judge Dread
Better known as Judge Four Hundred Years,
Y'know that man ? (yes suh, great man)
That's the man who cool the heat
With a rock steady beat

Now we are now approachin' Kingston
An' we are flyin' over Orange Street
See that shop in front of Buster's shop?
Use to be a bad man there - ain't there no more !
(wha' 'appen to 'im, bredda?)
boy, 'im get tired !
An' went down down down the street
(a funny lickle guy that!)
right!

Now if you take a look to your left
You will see a house
with a coffin put out at the door
That's the house of Emmanuel Zachariah Zaccepon
You know that man?
(yes, he's a badman)
well we are now passin' Boneyard
see it deh - 'im grave ?
lots of flowers……

Only 2 miles to go before we reach Girls Town
An' Senor Pedro Gonzales,
Don't get jumpy, you will reach…
(Nice)
Now look, look look!
That's the the house, that's the house - that big palace you see there
With all them guards and all them children
at the gates standin'
That's the palace of the famous Prince Buster
The mighty Prince Buster
And for those of you from Nottingham, and Birmingham and Liverpool
That's the house of the mighty Prince Buster, Mr Alcapone himself
That's right, that's the man, that's the man
Well, we are now enterin' Girls town
Wooooy ! Watch the girls ! Here come the girls….
And Senor Pedro Gonzales leave the engine an' jump on the girls
(Nice)
An' the train is headin' down hill - Senor Pedro ?
(nice)
Senor Pedro?
(Nice)
Rock steady
(Nice)
Rock steady
Uh-huh, tell them I'm comin' back to London
With a music sweet for their dancin' feet
Uh huh, Girls town, look at dem girls, pretty
(nice)
sweet girl
(nice)
sweet sweet girls
(nice, nice, nice……)

Steve Barrow / July 1999

**Sinco01** · 01-26-2009, 08:56 PM

Re: fuss dj clash a yaad...anyone know wich artist started it?

<div class="ubbcode-block"><div class="ubbcode-header">Quote:</div><div class="ubbcode-body">Did Busta have a label evanovitch?</div></div>

some of his records came out with a red and white Prince Buster label on them ..

Madness .. madness .. they call it madness ..

Let me re-introduce miself ..
I am Judge Hezekiah Zacariah Dread .. aka 400 yrs an 400 lashes
<span style="font-style: italic">(or some such name)
</span>
Rude bwoy you have been charged wid ..

Caan memba de ress ..
ok Vannie ..
come wid the lyrics ..

**britisha** · 01-26-2009, 09:03 PM

Re: before Trench Town and Bob Marley u had dis...wikked

Yep, that's the article I read.

Surprise, surprise !! Mi nain know seh is him and not Coxone that the crowd was following....it would appear that Coxone, V-Rocket and Duke Reid the Trojan were in competition for business...

Never heard of Buster til mi started to visit mi fren at Charles Street and the music from his shop used to "penetrate..":;

**Bizzy** · 01-26-2009, 09:08 PM

Re: before Trench Town and Bob Marley u had dis...wikked

Nice thread

**britisha** · 01-26-2009, 09:20 PM

Re: fuss dj clash a yaad...anyone know wich artist started it?

<div class="ubbcode-block"><div class="ubbcode-header">Originally Posted By: Sinco01</div><div class="ubbcode-body"><div class="ubbcode-block"><div class="ubbcode-header">Quote:</div><div class="ubbcode-body">Did Busta have a label evanovitch?</div></div>

some of his records came out with a red and white Prince Buster label on them ..

Madness .. madness .. they call it madness ..

Let me re-introduce miself ..
I am Judge Hezekiah Zacariah Dread .. aka 400 yrs an 400 lashes
<span style="font-style: italic">(or some such name)
</span>
Rude bwoy you have been charged wid ..

Caan memba de ress ..
ok Vannie ..
come wid the lyrics .. </div></div>

Dats all the words mi membah tuh...ashamedly, i must say, I didn't follow Busta's music too tough...we never gave him much credit then.

Mi used to dance the chicken scratch to Humpty Dumpty though...:::

Humpty Dumpty
Sat upon a wall

Humpty Dumpty had a great fall..etc etc
Ohh oh, Oh-oh-oh-oh ohhh.

we used to laff and said that wasn't original and even chupiod...sorry Prince..

**evanovitch** · 01-26-2009, 09:21 PM

Re: fuss dj clash a yaad...anyone know wich artist started it?

<div class="ubbcode-block"><div class="ubbcode-header">Originally Posted By: britisha</div><div class="ubbcode-body"><div class="ubbcode-block"><div class="ubbcode-header">Originally Posted By: Sinco01</div><div class="ubbcode-body"><div class="ubbcode-block"><div class="ubbcode-header">Quote:</div><div class="ubbcode-body">Did Busta have a label evanovitch?</div></div>

some of his records came out with a red and white Prince Buster label on them ..

Madness .. madness .. they call it madness ..

Let me re-introduce miself ..
I am Judge Hezekiah Zacariah Dread .. aka 400 yrs an 400 lashes
<span style="font-style: italic">(or some such name)
</span>
Rude bwoy you have been charged wid ..

Caan memba de ress ..
ok Vannie ..
come wid the lyrics .. </div></div>

Dats all the words mi membah tuh...ashamedly, i must say, I didn't follow Busta's music too tough...we never gave him much credit then.

Mi used to dance the chicken scratch to Humpty Dumpty though...:::

Humpty Dumpty
Sat upon a wall
One name Petah,
Di odda name Paul
Fly away Petah
Fly away Paul
Cum back Petah, cum back Paul..Ohh oh, Oh-oh-oh-oh ohhh.

we used to laff and said that wasn't original and even chupiod...sorry Prince.. </div></div>

mi read whe Derrich seh Prince Buster sell dat song fi 50 pounds wich him seh was enuff money fi buy a house bak den

**britisha** · 01-26-2009, 09:31 PM

Re: fuss dj clash a yaad...anyone know wich artist started it?

<div class="ubbcode-block"><div class="ubbcode-header">Originally Posted By: evanovitch</div><div class="ubbcode-body"><div class="ubbcode-block"><div class="ubbcode-header">Originally Posted By: britisha</div><div class="ubbcode-body"><div class="ubbcode-block"><div class="ubbcode-header">Originally Posted By: Sinco01</div><div class="ubbcode-body"><div class="ubbcode-block"><div class="ubbcode-header">Quote:</div><div class="ubbcode-body">Did Busta have a label evanovitch?</div></div>

some of his records came out with a red and white Prince Buster label on them ..

Madness .. madness .. they call it madness ..

Let me re-introduce miself ..
I am Judge Hezekiah Zacariah Dread .. aka 400 yrs an 400 lashes
<span style="font-style: italic">(or some such name)
</span>
Rude bwoy you have been charged wid ..

Caan memba de ress ..
ok Vannie ..
come wid the lyrics .. </div></div>

Dats all the words mi membah tuh...ashamedly, i must say, I didn't follow Busta's music too tough...we never gave him much credit then.

Mi used to dance the chicken scratch to Humpty Dumpty though...:::

Humpty Dumpty
Sat upon a wall
One name Petah,
Di odda name Paul
Fly away Petah
Fly away Paul
Cum back Petah, cum back Paul..Ohh oh, Oh-oh-oh-oh ohhh.

we used to laff and said that wasn't original and even chupiod...sorry Prince.. </div></div>

mi read whe Derrich seh Prince Buster sell dat song fi 50 pounds wich him seh was enuff money fi buy a house bak den </div></div>

Almoas, but a did whole heap a money in dem days...you needed about 500 pounds fi get something okay a town.

**jah_yout** · 01-27-2009, 02:28 PM

Re: before Trench Town and Bob Marley u had dis...wikked

<div class="ubbcode-block"><div class="ubbcode-header">Originally Posted By: evanovitch</div><div class="ubbcode-body">Prince Buster had virtually stopped producing by the end of 1973 - although
he released a Big Youth set - "Chi Chi Run" was one of <span style="font-weight: bold">Jah Youth's </span>biggest
early hits in 1973 and an excellent early dub album, "The Message", as well
as sides by Dennis Alcapone, Dennis Brown and John Holt. He recorded at
Channel One in mid-decade, although only a single, "Finger", was ever
released.

</div></div>

yes the moniker is a tribute to big youth...the first dj i ever saw perform (along with trinity) at carib morning concert...was mi father dj dat... cb-100

but respect evan- lot of knowledge in that post...

**jah_yout** · 01-27-2009, 02:32 PM

Re: fuss dj clash a yaad...anyone know wich artist started i

<div class="ubbcode-block"><div class="ubbcode-header">Originally Posted By: blakkgiant</div><div class="ubbcode-body">wat a tredd evan itt mekk mii feel like tartinn a tredd iff yaawd chinese ar blakk ar chinese?

mii affii goo teef sum aff mii faddar ole recards ann lissen real good </div></div>

from the way i hear it from my mother it was some chiney beat up a black yute and it cause nufftension gainst the chiney dem;
but during my time i never heard of african/chinese tensions in j-a; we even had some chinese neighbors and lived good with them- we went to their house and they came to ours

fuss dj clash a yaad...anyone know wich artist started it?

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