Good Reggae Stuff



The epitome of style and beauty doesn’t change nor will it ever be. Cuts and trims of fabrics may vary as time flies by but the real grace and flair of fashion never dies.

You can obviously recognize it by your naked eyes from fashion television, from magazines, or even from your day to day encounter with strangers strolling inside malls, walking in the streets and most especially in schools. It goes to show that fashion isn’t just about glamour, not just about its allure, its class and all about expensive brands! But it basically comes from what picture we are trying to portray, how we try to place ourselves in the domain we are living! It comes from our everyday dealings. What influences us? Who influences us? Or just simply conveying of who we truly are!
Just like what the eminent Coco Chanel said, “Fashion is not something that exists in dresses only. Fashion is in the sky, in the street; fashion has to do with ideas, the way we live, what is happening.”

Clearly! Fashion never fades! And it never runs out of time.

And so we are fulfilled to say that this site isn’t just some fashion online boutique that only sells products, but here we sell products with urge, with desires, with our ideals, and the people who inspire us! Ergo, it’s about Passion for fashion!

The 4 Colors Reggae Shop, was founded on December 8, 2008 by a Half- Japanese Half-Filipina who has a great admiration and adoration for Reggae Music! From the wits and the undeniable charm of Robert Nesta Marley aka Bob Marley and his legendary fashion trademarks, sure! Everyone gets a hyped from it, before and up until now! His contribution for fashion and his approach in styles stays and many of us still lingers in it!

We offer you our fashion that emanates from a historical era! The colors that connotes the anti-racism struggles and for acceptance. The Red, Green, Yellow and Earth colors –they represent a countless significance in the many lives of the people and so we bring you our style, our designs that not just magnificent but has a dash of genuineness and veracity!

A collection that would fit to your taste! the touch of yellow; the touch of green; and the touch of red. All combined. It may look just as simple as that, but what lies beyond every stitch and every cloth is a fabulous style and a goal of comfort for you!

We have readied ourselves for you.  And so we open our arms widely, and let us embrace you as you embrace our very own version of fashion and style! As we convey to you the message from Coco Channel, that wedon't just do fashion; we are fashion!


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Homegrown Talent: Bambu Spliff



If the true and real test for a music performer is within a live presentation or performance then there can be absolutely no exclusions, no second possibilities. Over and over, Cebu's pride and very own - Bambu Spliff sets the stage and continues to burn it down by their unique material that breathes all the blaze of Reggae. However this particular group melds their own musical fashion straight into a new complex and intensive music, achieving reputation through fanatics throughout the community.

Bambu Spliff’s music contradicts accurate classification. Talking to upon jazz, soul, hip-hop, rock and roll, blues-with reggae as being the anchor of every single music. Their own songs is actually motivated by several musicians for instance Bob Marley and the Wailers, Ghetto Youths Crew, Melody Makers, Sting, Eric Clapton, , Pink Floyd, The Roots, Jimi Hendrix, Morgan Heritage and perhaps even the Beatles. Bambu Spliff is here now to link the space of our very categorized musical styles. Being compared with some other groups, they might possess big shoes to fill. Nevertheless the natural talent, sound, as well as representation of the group are everything you need to get an effective formula within the music business. They already have lively and energetic shows together with creative transitions from song to song designed to keep your entire body grooving all night long in a very good manner. Take a look at Bambu Spliff’s live shows and you’ll understand how it really feels to become Irie!

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Riddims: Inday (Ilonggo Reggae)




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Ilonggo Reggae entitled Inday by Raffy Buenavides, a band from Dumaguete City, Philippines. One of some fine reggae band in the Visayas islands. 

The song is about a man who shows affection of his undying love to the woman he loves so much. That he is willing to give it all just to have her.






Video by: IZIEYOU
Check some of our videos at Youtube

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Facebook is Rasta



We recently had our Grand Alumni Homecoming but wasnt able to due to certain circumstances. But as to pay tribute to my Alma Mater, I collected some of the photos of my batchmates and created a very simple slideshow video. Since most of us get connected through Facebook, I recently downloaded a song from a very good reggae artist named Lady Saw and apparently she had this very good track entitled "Facebook"



Full credits to BFM Digital for the audio track used in the slideshow 

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I recently bumped into a discussion of what reggae group/band first came in the Philippine music scene. Some said that it is Spy which apparently not the first reggae band. At some point, someone mentioned Cocojam, Eurasia and Tropical Depression. Well, there is really no exact information of who is really the first ever reggae band in the Philippines. Most people would gauge it on popularity but I think it's not how it's measured.  Famous or not, that is not exactly the point.

Well, if ever it is Cocojam, I managed to gather bits and pieces of information of the band. Got it from a Friendster account. I am not sure if this is reliable enough, maybe it happened somehow.


COCOJAM has pioneered and stayed alive in the music scene with its own brand of original sound. Through the years, it has played pivotal roles in festivals and concerts.

1980 - Cocojam was the only band in Palawan playing at the Kamayan Restaurant.

1985 - Cocojam started playing in Mayrics pioneering in reggae music here in the Philippines.1988 Cocojam played at the Coconut Palace Halloween Party with regular gigs in Larry's Bar, Fire and Rain, La Caribe and Paper Moon. For five years (1990 -1995) they played at the Kalye Bar and Restaurant in Legaspi Village in Makati.


1990 - a UP Diliman sorority sponsored CocojamMIN a solo concert at the Music Museum (February 1990). They played at the Baguio Arts Festival for three years (1990 - 1992 ), Woodstock Cebu (1990), Kageban

1996 - (Feast of the Forest) in Palawan, Sapon Ti Pasok (Rite of the Harvesting of the Grain) in Sagada (1995) and at the Roxy Park in Boracay Island for one month in 1990.

1992 - In Puerto Galera, Oriental Mindoro Cocojam lived in the island for seven years (1992 -1999). Cocojam planned and played at the Full Moon Parties in Kalaw Place and the Annual Puerto Galera Music and Arts Festivals in White Beach. 

1999 - Cocojam together with Stairway Foundation worked on a collaborative piece entitled GoldTooth, A Street Childrens' Musical. In its response for the need in educating the children of the horrors and bad trips of street life, Cocojam penned the music for GoldTooth. The musical was performed at the GSIS Museum in March of 1999. It was then brought on a European Tour through the help of the Danish International Development Agency (DANIDA). Together with 17 streetchildren, Cocojam performed in Europe, at the World Forum for Children in Helsinki, Finland. They also performed at the UN Palais for the 10th Anniversary of of the Convention on the Rights of the Child in Geneva, Switzerland.

2000-2005 - Now based in Manila, Cocojam has done the Full Moon Parties at the Villa Romana in Baguio City. They have followed through with gigs from Lucena, San Pablo, Puerto Galera, Cebu and Davao. They have been part of various gimmicks and tours such as the Oktoberfest, NU Independence Day Celebration and the recently concluded Ooh-lola, Reggae Skaravan.

COCOJAM has done two albums. Their first album, Lakambini under the Viva-RJ Records was released in 1992 and got the band a nomination for the Best New Recording Group at the 1992 Awit Awards. Their second album, Cocojam, was released in 1996 under Neo Records. These are a compilation of all original songs with music and lyrics by Rolly Maligad, point man of Cocojam.

Rolly has also written songs for Binky Lampano (Manyikang Lansanagan) and Lolita Carbon (Bayle ta). Tropical Depression also did a cover of Lakambini in their second album.
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An Icon, A Legend



I downloaded a PDF file entitled Story of Bob Marley. I got interested because the documents entails memorable dates that tackles events regarding his life (Bob Marley). Upon reading Wikipedia, somehow, most details on the document were somehow similar. I don't know which came out first but one thing is certain, they both coincides. This is very interesting for me since I like most of his song and the unforgettable events of his life and how he became a legend and an icon.


1945 - Robert Nesta  Marley is born in a tiny hilltop village called Nine Miles, in the parish of St. Ann in northern Jamaica at 2:30 in the morning of February 6. His father is in his 50s, a white Jamaican named Norval Marley. His mother is the 19-year-old Cedella Malcolm. Although they are married, the couple never lives together because of the disapproval of "Captain" Marley's family, who threaten to disown him.

1950 - Norval sends for his son to come to Kingston, where he promises to educate him. Sorry that her son is leaving home, but hopeful, Cedella sends Bob alone to Kingston on a mini-bus, where his father meets him. Instead of school, Bob is sent to live with an elderly lady, and never sees his father again. It will be almost 18 months before his mother finds out where he is living and comes to bring him back to Nine Miles.

1962 - Bob Marley, 16 years old, cuts his first recordings for Leslie Kong's Beverly's label.

1973 - "Catch A Fire" is released in a unique zippo-lighter cover and receives rave reviews which hail it as a masterpiece of the new reggae sound. The group records a follow-up album called "Burning" which proves to be the trio's final release together. During the winter of 72-73, the Wailers reportedly work every day in the UK for three months, either in the studio or in concert, and at the end of that time they each receive £100. Bunny quits the group and by the end of the year, Peter Tosh quits as well, wishing to sing his ‘own’ music. The future for the Wailers looks bleak.

1976 - "Rastaman Vibration" becomes Bob's only top-ten album in America, and sells millions of copies worldwide. He plays major European venues, selling out everywhere. By the end of the year, rightly or wrongly, it is felt in Jamaica that Bob's support for Michael Manley will make people vote for the PNP. Bob comes under death threats from the opposition party of right-wing candidate Edward Seaga. On Friday night, December 3, several gunmen break into Bob's compound at S6 Hope Road in Kingston, and shoot Bob, his wife, and Don Taylor, his manager. Two nights later, Bob appears before 80,000 people and plays an emotionally overwhelming set of music, displaying his wounds to the crowd. He then leaves the island for 14 months.
  • Several gunmen break into Bob's compound at S6 Hope Road in Kingston, and shoot Bob, his wife, and Don Taylor, his manager. 
1977 - Doctors diagnose cancer in his right foot. He has part of the big toe on that foot removed, hoping this will stop the spread of the disease.

1978 - Bob is approached by rival gunmen from Jamaica's two leading political parties, and asked to come home to headline the "One Love Peace Concert. Bob is the final artist in an eight-hour concert at the National Stadium. At the end, he calls onstage Prime Minister Manley and his enemy Edward Seaga and makes them shake hands in front of 100,000 people. For his actions that night, and for his devotion to world unity and the struggle against oppression, Bob receives the United Nations' Peace Medal in New York in June, given "on behalf of 500 million Africans."

1979 - Bob brings reggae to countries that have never heard it live before, including Japan, New Zealand and Australia. He plays a benefit concert at Harvard Stadium in Boston to raise funds for African freedom fighters. But those around him sense a permanent weariness and fatigue, his face becoming drawn and lined with pain.

1980 - In September he begins the American part of the world tour as opening act for the Commodores for two sold-out nights in Madison Square Garden, anxious to reach the African-American audience which has always eluded him. The following day, Bob collapses in Central Park while jogging with Danny Sims and "Skill" Cole. Doctors tell him the melanoma cancer has spread to his lungs and brain, and say that he has but weeks to live. Desperate, he turns to a doctor named Josef Issels in Bavaria, and flies to his Bavarian clinic as the year ends.

1981 - Dr. Issels keeps Bob alive for several months, but at the beginning of May he tells Bob there is no more hope. Bob leaves for Jamaica, but makes it only as far as Miami, where his mother lives. On Monday morning, May 11, Bob dies in the company of his family. His final words to son Ziggy are "Money can't buy life."

Truly, money can't buy life. We are the only sole responsible of what life may bring to our lives and we made our own destinies. Bob Marley once said in one of his famous songs. "Life is one big road with lots of signs. So when you riding through the ruts, don't complicate your mind. Flee from hate, mischief and jealousy. Don't bury your thoughts, put your vision to reality. Wake Up and Live!"
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 Close observation of hard-core dancehall music will reveal that there is a tendency to embrace, endorse and promote some of the most disgusting and decadent lifestyles. Most try to adopt an hypocritical stance of portraying themselves as being defenders of the oppressed, however they encourage and assist in promoting the characteristics and mannerisms that has over the years, and continues to keep our brothers and sisters in psychological bondage.

With the exception of a few, most dancehall artists have contributed to the music being seen and interpreted as a quarrelsome style music, which is steeped in confrontations that often times becomes physical.

Inspiration for the writing of a song is usually inspired by ether a domestic ‘kass kass, the idiosyncrasies or idiotic actions of individuals. These persons on most occasions are driven by the everyday pressures of life, or sheer ignorance. However this does not necessarily mean that the song writer is also daft, but most times understands the mentality of the dancehall culture, to the extent that he or she recognizes the impact musically, of relaying such a story in dancehall parlance or style.

The main stage for dancehall confrontations was at “Sting,” billed as the greatest one day dancehall event in the world. “Sting” until recently was the scene for some of the most disgusting clashes and confrontations, between dancehall artistes on one hand, and unruly dancehall supporters who bottled artistes who in their opinion ‘disrespect’ artistes who they support.

The promoters of “Sting” were forced to address the issue four years ago, they made it clear that they would not encourage or endorse any form of confrontational clashes between artistes. These clashes over the years has led to both artistes and patrons getting hurt some seriously.

Recently there have been a number of incidents that have made media houses take an in-depth look at the coverage, exposure and hype that has been attributed to some hard-core dancehall artistes. Recent trends show that there are now entire communities who are caught up in supporting a particular artistes or production house over another, thus dividing the youths and their communities.

It is now at the stage where an individual’s like or dislike of a particular artiste could set one up for physical abuse. A perfect example is the case of Marveley where Top Marveley is alleged to be strongly aligned to Beenie Man and Vibz Kartel Mafia House Productions, While Bounty Killer and Movado’s “Alliance” is supported by Bottom Marveley which has sparked a number of clashes between youths in the community.
To date one man has been shot dead as a result of the ridiculous on-going feud. The Police has confirmed that they are investigating incidents and complaints from residents in regards to frequent exchanges of gunfire in the community. Pressed for more information the Police disclosed that to date no evidence has been found to implicate any dancehall artistes or production house, alleged to be affiliated with the on-going feud in Marveley.
In another incident on the UWI Campus a female Radio DJ had missiles thrown at her while she was playing at a show at the “Student’s Union in early January. Reasons given for the missile throwing was that the DJ was playing too many of Beenie man’s music.

The latest incident was on Sunday February 25th in Helshire where two popular DJ;s Razz and Biggy were roughed up by three men who claimed they are so-called supporters of dancehall artiste Vybz Kartell. The men accused Razz and Biggy of playing too many Mavado selections. When contacted Vybz Kartel said he was disappointed in the actions of his supporters and fans, and there would be no tolerance for such behavior.
Its indeed obvious that the dancehall fraternity is rapidly approaching a new and depressing low. There can only be one solution to this problem ,disc jockeys must play good music, not the hype that has literally forced good reggae music to be stuck on radio stations library shelves.

Radio Jocks and DJ’s must also realize that they play a crucial role in educating their listeners and patrons, through the music they play. To do this they must free themselves from the shackles of obligation, no well thinking radio personality or DJ should allow themselves to be used, bribed or controlled for a fistful of dollars.

Bearing in mind the chaos, lack of vision and the confrontational stance dancehall has taken, our competent ‘disc jockeys’ must take on the roles of our social scientists, who apparently are too scared to ether address the issue, or show their faces at needed forums.

As a result radio stations must ensure that their broadcasters are capable, and competent of addressing, and diffusing the escalating tensions brought about by misdirected artistes, record producers and flat-footed hustlers who pose as disc jockeys and DJ’s.

Its now in the hands of our disc jockeys and the dancehall artistes themselves, to deliver world class music that will not only entertain, but uplift our youths and our nation in the process.




Extract from forthcoming book by T."Boots" Harris. © 2007
Credits: ReggaeNews UK       
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I have listened a lot of reggae music but this one artist really catches my attention. After seeing his video tribute to the late Legend Bob Marley and realizing that it was good, I tried listening to his other songs, although it was not English, but just by the beat and rhythm of the song convinced me that his songs are good. Apparently, most of us doesn't really know who Teddy Afro is, I made quick researches for his bio, luckily got one over at LastFM's wiki.

One of my favorite Teddy Afro track is the Tribute Song for Bob Marley entitled Bob Marley. See video below. (grabbed from Youtube)



Tewodros Kassahun aka Teddy Afro
July 14, 1976

Teddy Afro (Tewodros Kassahun, in Amharic:) is undoubtedly an Ethiopian music sensation and one of the very most successful performers and song writers coming from Ethiopia in recent times. Afro’s musical technology success appears to have been credited to your powerful email conveyed with his new music. From compassion to guts and with forgiveness to love, Afro has long been able to split artistic constraints that were formerly untouched. He has been compared to the Jamaican reggae legend Bob Marley, in part caused by his capability to bring some sort of political, psychic, and stroking presence to be able to his audience members. Afro is also famous for his work with other adolescent and impressing artists for the duration of Ethiopia.


In 2005, Teddy presented his introduction album Abugida, termed after the “Abugida” and also ABCs within the Amharic language. All of the album vaulted him to the global songs scene, as well as quickly triumphed in him your admiration about his people and individuals from all walks of life world-wide. Several trails in particular quickly caught that ear regarding listeners outside his indigenous Ethiopia - “Halieselassie” a tribute for the late Emperor with Ethiopia, Haile Selassie I; “Haile, Haile” winner single honoring Olympic long distance victorious one and nationalized hero, Haile Gebrselassie; not to mention “Mona Lisa”, a measure involving human loveliness. The LP was known as a success found in Ethiopian contemporary popular music, and appeared to be reprinted eight times.

Around 2004, Teddy released his / her most successful one-time to date, Tarik Teserra (“History was in fact Made”), in honor of marketplace record container and 04 Olympic gold medalist, Kenenisa Bekele. All the song grabbed the emotions with the entire Ethiopian location. A song video appeared to be compiled consisting of footage off their great Ethiopian ways runners, properly Bekele’s 10,000 meter gold function in the 2004 summer Olympics. Throughout the online video media, Bekele is referred to as the brand new Anbessa (“Lion”) in Ethiopian good way running, making it the great Haile Gebrselassie. Bekele might be shown repetitions looking once more for an individual's mentor Haile Gebrselassie, who was unable to go the 10,Thousand meter race at full stride due to a nasty injury. The raised Afro’s status as one of the ideal Ethiopian musical artists of her time, along with heightened the making of his or her second cd.

The much time anticipated next album, Yasteseryal, was in fact finally issued in 2004. There was a roumer that the Lording it over party (EPRDF) will not be happy about this album in addition to was just after Teddy up to now. Now there is a disturbing news that Teddy Afro is imprisoned by EPRDF. But it makes me wonder to know that will tens of thousands of families including political party commanders, university profs, scholars, human ideal activists, civic organisation leaders, CBO frontrunners are struggling with in Prisons and the Police arrest of Theodore is not a newer news meant for Ethiopians except considering who will end up being next.
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This band is one of the most sought after reggae band in the country. Most people know who they are and the kind of music they play, but not all people know every single soul who is behind the jivin' music we reggae lovers love.

ABOUT THE BAND
It shouldn’t be hard to imagine why the sensational dance-rhythm phenomenon with a delirious and bewildering backbeat known as reggae, would find itself in familiar territory nearly 180 degrees around the equator and instantly infect a pair of commonfolk siblings with its fever, to eventually form BROWNMAN REVIVAL.

Started in late 1994, the band re-captures the original groove and spirit of the reggae vibe, when reggae appealed more to the heart and the hips, infusing it further with pop undertones that strike a familiar chord with Filipino “aural palates”, not to mention their pelvic areas.

BROWNMAN REVIVAL is made up of the one-drop rocksteady beats of drummer Dennis, the sensual grooves of Jao on bass, the sexy accents from percussionist Januarie, the steady “chanka” rhythms of Alphy on guitars, the soothing keyboards of Onard, the wicked horn riffs of Jayson on trombone, Jojo on sax, Ambet on trumpet, capped-off by the passionate wailing of frontman Dino.

Drawing heavily on contemporary reggae acts such as Big Mountain, Aswad and UB40, Brownman Revival creatively mixes the traditional roots sound of reggae with OPM pop sensibilities, producing a festive but sensuous strain of Lover’s Rock reggae, with such vibrant energy that never fails to leave crowds winding and grinding their sweaty bodies to the band’s euphoric reggae party.


OFFICIAL ENTOURAGE

  • Dino Concepcion - vocals
  • Dennis Concepcion - drums, vocals
  • Jayson Cuevas - trombone
  • Ambet Abundo - trumpet
  • Jojo Antinero - saxophone
  • Januarie Sundiang - percussions
  • Jao Larion - bass
  • Alphy Desaville - guitar, vocals
  • Onard Bonavente - keyboards, vocals
  • Joseph Taylo - BrownManager


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Karasak Hill 522 is reggae band hailing from Eastern Visayas State University whose music is a fusion of different bits of music that synthesize into a perfect whole. Rock, horns, keyboards, groove and jam are intertwined for a mixture of music that definitely frees the mind. The band is consist of Dan Margallo – Vocals/Guitarist, Zion Francis Pimaco – Bass, Steve Noel Baño – Drums, Jesse Joe Olaya – Percussion, Jude Constantine Dumas – Saxophone



Their song Rasta Reggae Music which became a finalist at a band competition, Nescafe Soundskool  sponsored by Nestle. So, for all those who loves reggae, I bet you will surely love their music.



Video Credits: My Youtube Page
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The origins of Reggae can be traced back to the many forms of folk music that were popular in Jamaica in the 1950's. The first recorded Jamaican music was Mento which drew heavily from all the forms of folk music. It was often referred to as Jamaican Calypso, however only some of the more uptempo Mento tunes sounded similar to Calypso. Mento music had begun in the 1940's and by the time it reached the first Jamaican recording studio in the winter of 1951-52, it was well-established and very popular.



In the 1940's the phenomenon known as the 'sound system' began to replace live musicians, principally because it was cheaper. The sound systems played US R&B and later their own Jamaican-recorded R&B, which although initially copied the US style, evolved over a couple of years into a distinctively Jamaican sound. This sound drew from Mento as well as R&B and by the end of 1961 had evolved into Ska.

Ska remained popular throughout the 60's, however from 1965 to 1967, the ghetto youth of West Kingston were developing their own version of Ska which was referred to as 'Rude-Boy' music. It was a more dynamic version of Ska and its lyrics addressed their ghetto lifestyle.

In 1966, Ska had also begun to evolve into the much slower, cooler and more refined sound of 'Rocksteady' as a result of the various Soul styles also popular at that time. Rocksteady flourished until 1968 when it evolved into what is now labelled as 'Reggae'. Reggae became a term which encompassed the many developing styles of Jamaican music characterised by the trademark 'skank'. By the mid 1970's, Roots reggae had developed which concerned itself with the life of the ghetto sufferer, with reality, with truths and rights. Many Roots artistes drew on Rastafarian ideologies and indeed this dominated its lyrics.

In the early 1970's, Reggae produced yet another offshoot in the form of Dub. Dub, which is now used throughout the world of dance music to describe a remix, originated in Jamaica in 1967, initially in the quest for sound-system exclusivity. Dub, in the now familiar form of radically remixed versions of tunes with the lyrics stripped down or removed, arrived in 1972, and was largely due to the contribution of King Tubby, boss of the leading sound-system in Kingston and a superb engineer.

By the early 1980's however, the Dub craze had run its course and few dub sets were being issued. In recent years, 'version' sides of new Jamaican 45's have harked back to the form's golden age. However the revival of interest from the outside world in vintage 1970's Dub has yet to prompt any return to a regular supply of new Dub albums from Kingston.
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Throughout the span of a 22-year musical profession, a lot of thoughts have already been accustomed to recognize Tropical Depression, but usually, their very own name says it all: a group that gives one hell of a storm anywhere it performs. Tropical Depression has broken stylistic boundaries and scrambled musical styles like no other group performing nowadays.

Tropical Depression focuses a distinctive kind of domestic and enticing riddims that of world-wise, mindful and spiritual music. Growing out of the band members’ love and affinity for Reggae and its offshoots, Tropical Depression created a new idiom in music and at the same time functioning as the gateway in introducing the essential Reggae Riddim to the country.

Tropical Depression built a reputation for creativity that saw reggae fused with local themes. As The Beat described its first release Kapayapaan (Peace), it “shows reggae has taken root in the Philippines and displays throughout the imprint of inspirator Bob Marley while containing elements no other reggae band I know of could draw from.” Chuck Foster continues, “the bulk of the album is sung in the band's native language and is some of the prettiest music I've heard in a while.” Tropical Depression’s second release Aabot Din Tayo (We Will Get There) further affirmed its unique reggae synthesis - not exactly east, not west either.

Tropical Depression’s core group is spearheaded by founder and band leader Papadom -- lead vocals and riddim guitar -- and longtime musical partners, Bong Eudela on lead guitar and Pexx Holigores on bass and backing vocals. Tropical Depression also has a reserve roster of seasoned session musicians.

Seeing Tropical Depression live is an experience of a lifetime that one should not miss out on. The band has headlined several concerts throughout the Philippines. Its performing career includes more than 100 dates a year, at venues ranging from clubs to music festivals; from high profile shows to benefit concerts -- all to the delight of enthusiastic audiences, captivated by Tropical Depression’s infectious Island Riddims.

The current band now is consist of  Dominic "Papadom" Gamboa on Vocals/Riddim Guitar,  Bong Eudela on Lead Guitar, Pexx Holigores on Bass, TJ Espinola on Keyboards, Ryan Locsin on Drums and Arlene Empalmado as Backup Vocals.
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Popong Landero is a Davao-based artist who earned his moniker “Kaliweteng Gitarista” in 1978 after his first single swept the airwaves. Known for being a left-handed guitarist and for his reggae covers of Bob Marley.

In his teen years , Popong Landero sang his own songs, co-founded a music group named Masang Himig, quit schooling and earned his basic survival means through his musical talent. A singer with a mind of his own, he would insist on using his left hand to write, to hold an axe, and to play his guitar,in spite of his father's insistence early on that he eat with his right hand. It may have been an awkward process but his music was never stunted. He would invert chord books while he was still learning how to play the guitar. It was at this time that he started gaining recognition in Davao as the " Kaliweteng Gitarista" (Lefty Guitarist). That was in 1978.

Inspired by the burgeoning growth of what was then underground OPM (Original Pilipino Music), Popong hied off to the big city - Manila

There he did the rounds of pub houses and campuses as folksinger and band member. His performances brought him even further- to Baguio, Puerto Galera, Los Banos, Pampanga, Quezon Province, Sorsogon- favorite haunts of artists and musicians.All this time, he was exchanging notes with the famous folk band Asin. But he himself had always been attached to a band: with the folk-rock band Ric & Roll in 1979, with the new wave band Earthlings in 1980, and with the pioneering reggae-rock band Lolita & Sulabama in 1981. This sometimes restless sojourn ultimately brought him back to native Mindanao, finally taking root in his birthland Davao.

There he decided to continue his studies in mechanical engineering. But his musical calling would not be suppressed. He formed a new group and named it P.O.W. (Prisoners of the Worldbank)

Performing nightly at a local pub, Popong found a venue for his original compositions in between cover sets. A year after,in latter part of 1986, Popong became a part of the emerging ethno-rock group Bagong Lumad. The group played live music for a dance-theater production. It was his stint as musical director of this Mindanao myth- based theater production that instituted him into the bosom of people's culture. He went further this time. He joined a research fieldwork on tribal music in the hinterlands and explored the world of theater as actor and musician. The performances brought him to England, Ireland, Japan, Korea, Vietnam and Taiwan.

As a recording artist, Popong has already produced four albums, namely, Ayayayayay, Laylay Sa Sidlakan, Kamay Ni Laan (Hands of Laan) and Impact 2000.

Today, Popong emerges as a true son of World Music. An artist who draws his essence from his roots, fusing in folk, rock, reggae and ethnic; the embodiment of an artist who has come full circle.
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Famous Bob Marley Quotes



I have been an avid listener of Bob Marley's songs, I tried doing a quick research for quotes base on his undying songs. Here are a few quotes collected from random websites. Check it out

  • Rastafari not a culture, it's a reality.
  • Tell the children the truth.
  • The good times of today, are the sad thoughts of tomorrow.
  • The harder the battle the sweet of jah victory.
  • The more people smoke herb, the more Babylon fall.
  • When one door is closed, don't you know, another is open.
  • When you smoke the herb, it reveals you to yourself.
  • You have to be someone.
  •  isn't my name. I don't even know my name yet.
  • Emancipate yourselves from mental slavery, none but ourselves can free our minds!
  • Every man gotta right to decide his own destiny.
  • Every time I plant a seed, He say kill it before it grow, he say kill it before they grow.
  • Get up, stand up, Stand up for your rights. Get up, stand up, Don't give up the fight.
  • Herb is the healing of a nation, alcohol is the destruction.
  • I don't stand for the black man's side, I don' t stand for the white man's side. I stand for God's side.
  • I've been here before and will come again, but I'm not going this trip through.
  • If you get down and quarell everyday, you're saying prayers to the devil, I say.
  • In this bright future you can't forget your past.
  • Life is one big road with lots of signs. So when you riding through the ruts, don't complicate your mind. Flee from hate, mischief and jealousy. Don't bury your thoughts, put your vision to reality. Wake Up and Live!
  • Man is a universe within himself.
  • Me only have one ambition, y'know. I only have one thing I really like to see happen. I like to see mankind live together - black, white, Chinese, everyone - that's all.
  • My future is righteousness.
  • My music fights against the system that teaches to live and die.
  • My music will go on forever. Maybe it's a fool say that, but when me know facts me can say facts. My music will go on forever.
  • None but ourselves can free our minds.
  • One good thing about music, when it hits you, you feel no pain.
  • Open your eyes, look within. Are you satisfied with the life you're living?
  • People want to listen to a message, word from Jah. This could be passed through me or anybody. I am not a leader. Messenger. The words of the songs, not the person, is what attracts people.
I know that there are still a lot of interesting quotes on many Bob Marley songs. Just feel free to share it to us so we may share it to others as well. Jah! Rastafari.
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REGGAE! REGGAE! REGGAE!



Reggae is the heartbeat of Jamaica - a brand of reggae music as strongly identified with the island as R&B is with Detroit or jazz with new reggae Orleans. It's a major factor in the Jamaican economy, at no time better demonstrated than during Reggae Sunsplash and Reggae Sumfest (enormous annual reggae festivals), when almost one-quarter million visitors arrive from overseas to dance and sway in delirious union to the soulful, syncopated beat on the tiny island.


Reggae evolved in the ghettos of Kingston, Jamaica, born of the tensions and social protest simmering violently in the late 1960's. Jamaicans will tell you that reggae means "coming from de people," a phrase coined (as was the name reggae itself) by Toots Hibbert of Toots and the Maytals.

Bob Marley

Reggae is associated above all with one man: Robert Nesta Marley. Bob Marley had established himself as an early leading influence, with his creative style and unique stage presence. The type of reggae he performed is called Roots Reggae. He adopted Rastafarianism, injecting his reggae music with greater soul and more poignant lyrics that helped spark a worldwide "Third World consciousness." Bob Marley became an international superstar and is considered a prophet by the followers of the Rastafarian religion.

Though Marley died in 1981, Reggae has gone from strength to strength. International stars such as Eric Clapton and Paul Simon even began to incorporate Reggae tunes into their smash hit reggae albums. Bob Marley has sold more reggae albums posthumously than any other reggae recording reggae artist. On his birthday, February 6, 2001 Marley was awarded a star on the famed Hollywood Walk of Fame. He receives numerous awards for his contributions to reggae music each year.

Types of Reggae

Not all reggae stars are Jamaican. Reggae has a huge following in Scandinavia, Germany, England and Japan and indeed in most countries throughout the world where homegrown performers are bursting onto the scene. Nor do all reggae reggae artists embrace social commentary in their reggae music. Other types of West Indian reggae music that actually preceded Reggae but can be found at most reggae festivals and are all grouped under the term "Reggae" to the masses:

Lovers Rock Melodic, romanticized reggae. Maxi Priest is one of the most popular to sing this type of reggae. Dub Purely instrumental reggae. Jamaican reggae DJ's invented their own lyrics to dub over the reggae music, initially in a verse form that has since evolved into...

Dancehall Reggae similar to rap reggae music. Ska this frenetic forerunner of reggae accentuated by a strong horn section has made a comeback and is popular among young adults in USA and UK.
Rock Steady ska
slowed down to half speed and became more syncopated. The dance style was more languid with minimal movements. Soca from Trinidad, this fast-paced dance reggae music has a pedigree going back two decades and gained prominence in Jamaica only recently at Carnival time. It is now the reggae music of choice at upscale discos in 'uptown Kingston' (reggae dancehall is the reggae music of 'downtown').
Calypso
fast-paced reggae music from Trinidad featuring steel drums.
World Beat West African Highlife reggae music

Popular Marketing

Reggae may have put Jamaica on the reggae musical map, but the nation's reggae musical heritage runs much deeper. It is also constantly evolving, setting the tone and pace for the world to follow. Kingston has become the 'Nashville of the Third World' and reggae recording studios pump out dozens of new reggae titles each month. Reggae has influenced so many of today's marketing efforts with reggae jingles with its distinctive beat being heard on the radio and television around the world selling everything from laundry soap to soft drink. It is 'feel-good' reggae music and marketers capitalize on that.

Rastafarians & Dreadlocks

The Rastafarians with their uncut, uncombed hair grown into long sun-bleached tangles known as dreadlocks or dreads are synonymous with the island in the sun. Rastas wear their hair in dreadlocks because of their intrepretation of a passage in the Bible. There are perhaps 100,000 "Rastas" in Jamaica (and millions worldwide). They adhere to an unorganized religion - a faith, not a church. Their influence has far outweighed their small number as youth around the globe admire their easy-going lifestyle and philosophy of One World family. Rastafarianism is a type of Christianity and they study the Bible.

Rastafarians have adapted traditional Christian tenets to fit their philosophical mold. The basic belief is that His Imperial Majesty, The Emperor Haile Selassie I of Ethiopia, was the second coming of Jesus Christ. They site passages in the Bible that confirm this. It advocates a peaceful fight against oppression against Babylon (the establishment). They are vegetarians that eat fish, strict teetotalers, they shun tobacco, coffee, sugar, and processed food. Those who copy Rastafarian lifestyle but bring ill repute are called 'wolves'.

Dreadlocks have become en vogue and can be seen on models in reggae magazines and actors and ac tresses on television and in the movies.

Patois: Language of Reggae

In Jamaica, officially English is the spoken language. In reality, Jamaica is a bilingual country as everyone speaks patois (pa-twah), a reggae musical dialect with a unique rhythm and cadence. Patois evolved from the Creole English and a twisted alchemy of the mother tongue peppered with African, Portuguese, and Spanish terms and Rastafarian slang. Most Jamaicans will vary the degree and intensity of their Patois according to whom they're speaking with.



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