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█░▒▒█ Real Kings & Soldiers Presents █▒▒░█
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▄██▀█▌ Artist : Sugar Minott ▐█▀██▄
▐█▀░░▐▌ Title : Leave Out A Babylon ▐▌░░▀█▌
█▓░▒▒▓▌ Label : Zenah Music ▐▓▒▒░▓█
▐█▓▒▒▓▌ Genre : Reggae ▐▓▒▒▓█▌
▐█▓▒▓▌ Str.date : 11/04/2003 ▐▓▒▓█▌
▐█▒▓▌ Rip.date : 11/07/2003 ▐▓▒█▌
▐▓▓▌ Source : CD ▐▓▓▌
▐█▒▓▌ Supplier : Real Kings & Soldiers Family ▐▓▒█▌
▐█▓▒▓▌ Encoder : Lame ▐▓▒▓█▌
▐█▓▒▒▓▌ Duration : 01:02:39 ▐▓▒▒▓█▌
█▓░▒▒▓▌ Tracks : 14 ▐▓▒▒░▓█
▐█▄░▒▓▌ Quality : 192Kb/s, 44100Hz, Stereo ▐▓▒░▄█▌
▀██▒█▌ Size : 86.1 Mb ▐█▒██▀
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▐█▓██▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▄▌ Track List ▐▄▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀██▓█▌
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▐▒▌ Tr Track Title Time ▐▒▌
▐▒▌ ▐▒▌
▐▒▌ 1 Sugar Minott - Easy Mr Bush 3:51 ▐▒▌
▐▒▌ 2 Sugar Minott - Rastaman Chant 5:10 ▐▒▌
▐▒▌ 3 Sugar Minott - Why Worry 4:38 ▐▒▌
▐▒▌ 4 Sugar Minott - Jah Gives His Love To Me 4:42 ▐▒▌
▐▒▌ 5 Sugar Minott - Practice What U Preach 5:02 ▐▒▌
▐▒▌ 6 Sugar Minott - Peaceful Valley 4:23 ▐▒▌
▐▒▌ 7 Sugar Minott - Jah Is With Us 4:06 ▐▒▌
▐▒▌ 8 Sugar Minott - Where Is The Love 4:37 ▐▒▌
▐▒▌ 9 Sugar Minott - African Herbsman 4:52 ▐▒▌
▐▒▌ 10 Sugar Minott - Virtuous Woman Spiritual Man 4:12 ▐▒▌
▐▒▌ 11 Sugar Minott - Leave Out A Babylon 4:07 ▐▒▌
▐▒▌ 12 Sugar Minott - Got To Find The Dub 4:32 ▐▒▌
▐▒▌ 13 Sugar Minott - Peaceful Dub 4:12 ▐▒▌
▐▒▌ 14 Sugar Minott - Virtuous Dub 4:16 ▐▒▌
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██▓██▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▄▌ Release Notes ▐▄▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀██▓██
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▐▒▌ ▐▒▌
▐▒▌ ****************************************************** ▐▒▌
▐▒▌ Sit Down, Grab Ya Bag A Weed, Run Dem Tunes and ...... ▐▒▌
▐▒▌ ▐▒▌
▐▒▌ Drift away and feel nuttin' but sweetness! ▐▒▌
▐▒▌ ▐▒▌
▐▒▌ That's what RKS is all about massives!!! ▐▒▌
▐▒▌ ****************************************************** ▐▒▌
▐▒▌ He is one of the most outstanding voices that Jamaica has ▐▒▌
▐▒▌ ever produced, yet Sugar Minott is much more than just a ▐▒▌
▐▒▌ singer. As a harmony specialist, he leant depth and texture ▐▒▌
▐▒▌ to the works of many fellow artists and his song writing ▐▒▌
▐▒▌ ability has been noted as unswervingly excellent. He was ▐▒▌
▐▒▌ part of the Studio One renaissance of the late 1970s, helped ▐▒▌
▐▒▌ usher in the loverÆs rock craze in the early 1980s and then ▐▒▌
▐▒▌ become one of the leading dancehall figures; as proprietor ▐▒▌
▐▒▌ of the Black Roots and Youth Promotion stables, he nurtured ▐▒▌
▐▒▌ young unknowns and cut self-produced work of a consistently ▐▒▌
▐▒▌ high standard. In the incredibly rich history of reggae ▐▒▌
▐▒▌ music, Sugar Minott is simply exceptional. ▐▒▌
▐▒▌ ▐▒▌
▐▒▌ He was born Lincoln Minott in 1956 in the Kingston ghetto of ▐▒▌
▐▒▌ Maxfield Park, a little west of the famous Trench Town, and ▐▒▌
▐▒▌ spent his formative years in the rough expanse of nearby ▐▒▌
▐▒▌ Chisholm Avenue. æMy house was right beside the dancehall ▐▒▌
▐▒▌ Champagnie Lawn, Æ he explains. æI grow up with my mom, four ▐▒▌
▐▒▌ brothers and three sisters; my father sell salt beef in the ▐▒▌
▐▒▌ ghetto on the street but couldnÆt take the pressure, so he ▐▒▌
▐▒▌ went back to the country and do some farming.Æ ▐▒▌
▐▒▌ ▐▒▌
▐▒▌ MinottÆs voice is certainly sweet, but his nickname stems ▐▒▌
▐▒▌ from another source. æChisholm Avenue was a rough ghetto, ▐▒▌
▐▒▌ ænuff bad things was happening so my mother save up a little ▐▒▌
▐▒▌ money and rent this house in this middle class area, Waltham ▐▒▌
▐▒▌ Gardens; thatÆs where I got the name Sugar, from my friends ▐▒▌
▐▒▌ as a little boy in the street. I was kind of a fat kid, ▐▒▌
▐▒▌ porky, so they always say, ôYou must have eaten all your ▐▒▌
▐▒▌ motherÆs sugar, Sugar Belly!ö After a while they just say ▐▒▌
▐▒▌ ôSugarö.Æ ▐▒▌
▐▒▌ ▐▒▌
▐▒▌ Like most of his peers, Minott got his start in an amateur ▐▒▌
▐▒▌ neighbourhood group. ▐▒▌
▐▒▌ æWe were trying to be in the Festival competition but it was ▐▒▌
▐▒▌ rubbish! We didnÆt even pass the first level. My mother was ▐▒▌
▐▒▌ struggling; she used to sell at the market, go with all ▐▒▌
▐▒▌ these big loads on her head, so she had it rough with eight ▐▒▌
▐▒▌ kids; then she had to move from that area because we ▐▒▌
▐▒▌ couldnÆt afford the rent no more. We end up back in Kingston ▐▒▌
▐▒▌ 11 and that was a good thing because thatÆs where I met Tony ▐▒▌
▐▒▌ Tuff and Derrick Howard. ▐▒▌
▐▒▌ ▐▒▌
▐▒▌ ▐▒▌
▐▒▌ Howard and Tuff had already been recording as the African ▐▒▌
▐▒▌ Brothers with Desmond Young, but when Young left the group ▐▒▌
▐▒▌ to go solo as Dessie Roots in 1974, the pair convinced ▐▒▌
▐▒▌ Minott to take his place. A number of inspiring tunes were ▐▒▌
▐▒▌ cut for producers such as Jimmy Radway, Rupie Edwards and ▐▒▌
▐▒▌ Clive Chin, and self-produced sides were issued via Micron ▐▒▌
▐▒▌ Music, but after internal friction split the group, Sugar ▐▒▌
▐▒▌ broke through as a solo singer at Studio One in 1976. As he ▐▒▌
▐▒▌ had been heavily involved in sound systems from a young age, ▐▒▌
▐▒▌ Minott knew exactly what Studio One rhythms he wanted to ▐▒▌
▐▒▌ sing on and approached Coxsone with the idea of updating the ▐▒▌
▐▒▌ labelÆs earlier hits with new lyrics. æI used to be a ▐▒▌
▐▒▌ selector, play sound from I was likkleùthat was my first ▐▒▌
▐▒▌ job. First sound I played was my brother-in-lawÆs sound and ▐▒▌
▐▒▌ in Maxfield Park there was Sounds of Silence and Keytone, I ▐▒▌
▐▒▌ used to play those sounds. I end up having a sound called ▐▒▌
▐▒▌ Jah Live and then from Jah Live to Black Roots and from ▐▒▌
▐▒▌ Black Roots to Youth Promotio ▐▒▌
▐▒▌ n, so it was always sound. Many people say ôI start singing ▐▒▌
▐▒▌ at the Church, ö but I start singing in the dance; I was ▐▒▌
▐▒▌ born in the dance, never been singing in the ChurchùI was ▐▒▌
▐▒▌ raggamuffin style, so sound system was my beginning. I was ▐▒▌
▐▒▌ playing sound system, so thatÆs how we got to be singing on ▐▒▌
▐▒▌ the Studio One records, because we only had to play the ▐▒▌
▐▒▌ version from a Studio One record and make up our own song. ▐▒▌
▐▒▌ When I went to Coxsone, I already know what I wanted to ▐▒▌
▐▒▌ sing: I say, ôLook sir, I know youÆve got this rhythm ▐▒▌
▐▒▌ already, I can make a song for it.ö When he heard he donÆt ▐▒▌
▐▒▌ have to go and make no new music, he took me round there ▐▒▌
▐▒▌ same time. I signed a contract to be at Studio One for one ▐▒▌
▐▒▌ year and I was there for several years without no contract, ▐▒▌
▐▒▌ voicing every day, doing back-up, shaking tambourines and ▐▒▌
▐▒▌ whatever.Æ ▐▒▌
▐▒▌ ▐▒▌
▐▒▌ Together with fellow singers Johnny Osbourne and Freddy ▐▒▌
▐▒▌ McGregor, Minott played an influential role in shifting ▐▒▌
▐▒▌ Studio One towards the evolving genre that would come to be ▐▒▌
▐▒▌ known as dancehall by the end of the decade and his Live ▐▒▌
▐▒▌ Loving and Showcase sets are rightly regarded as classics. ▐▒▌
▐▒▌ But Sugar was too independently minded to remain with one ▐▒▌
▐▒▌ producer for too long, so in 1979 he set up Black Roots, the ▐▒▌
▐▒▌ label that eventually evolved into Youth Promotion. His ▐▒▌
▐▒▌ self-produced work, such as the Black Roots and Ghetto-ology ▐▒▌
▐▒▌ albums, were highly popular abroad, leading Sugar to spend ▐▒▌
▐▒▌ an extended period in Britain, where he helped develop the ▐▒▌
▐▒▌ loverÆs rock sound in conjunction with Jackie Mittoo at Easy ▐▒▌
▐▒▌ Street studio; his cover of ôGood Thing Goingö even topped ▐▒▌
▐▒▌ the British pop charts. When Minott later rolled up in New ▐▒▌
▐▒▌ York, his brother-in-law brought him to the studio of Lloyd ▐▒▌
▐▒▌ ôBullwackieö Barnes, where Sugar cut a next set of classics ▐▒▌
▐▒▌ in 1982-3; then, from he hooked up with Sly Dunbar in 1984, ▐▒▌
▐▒▌ itÆs been strictly d ▐▒▌
▐▒▌ ancehall all the way. He has since cut enthralling sets with ▐▒▌
▐▒▌ producers such as King Jammy, Redman and Xterminator, all ▐▒▌
▐▒▌ the while producing himself and budding new talent for Youth ▐▒▌
▐▒▌ Promotion, which helped establish the careers of artists ▐▒▌
▐▒▌ such as Tristan Palmer, Little John, Junior Reid, Yami Bolo, ▐▒▌
▐▒▌ Don Angelo, Chris Wayne, Beenie Man, Tony Rebel, Garnett ▐▒▌
▐▒▌ Silk (when he was still known as Bimbo) and Everton Blender ▐▒▌
▐▒▌ (when he was still known as Buba). ▐▒▌
▐▒▌ ▐▒▌
▐▒▌ This new album Leave Out of Babylon, perhaps the most ▐▒▌
▐▒▌ roots-oriented set heÆs released in the last twenty years, ▐▒▌
▐▒▌ was recorded at Zenah studio in Montreuil on the outskirts ▐▒▌
▐▒▌ of Paris with a group of committed local musicians steeped ▐▒▌
▐▒▌ in the consciousness of Rastafari. ZenahÆs studio is ▐▒▌
▐▒▌ analogue and they favour live recordings, bringing the ▐▒▌
▐▒▌ quality of the past to a sound that is always facing ▐▒▌
▐▒▌ forward. Their approach forms a perfect platform for SugarÆs ▐▒▌
▐▒▌ versatility, so the result is highly inspiring. Overall, ▐▒▌
▐▒▌ this album is a testament to the lasting quality of SugarÆs ▐▒▌
▐▒▌ unique voice and his powerfully poetic command of the word. ▐▒▌
▐▒▌ These are pertinent works that speak of whatÆs happening ▐▒▌
▐▒▌ today, making it another great set in the ever-growing canon ▐▒▌
▐▒▌ of Lincoln Sugar Minott. ▐▒▌
▐▒▌ ▐▒▌
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▐█▒▒██▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▄▌ Family Infos ▐▄▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀██▒▒█▌
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▐█▀░▒▓▌ ▐▓▒░▀█▌
█▓░▒▒▓▌ Real Kings & Soldiers In a Musical Mission ▐▓▒▒░▓█
▐█▓▒▒▓▌ If You Doan Know By Now ▐▓▒▒▓█▌
▐█▓▒▒▓▌ RKS Rocks The World ▐▓▒▒▓█▌
▐█▓▒▓▌ ▐▓▒▓█▌
▐█▒▓▌ We Are Lookin For New Affils! ▐▓▒█▌
▐▓▓▌ Contact Us If You Can Benefit RKS In Any Way... ▐▓▓▌
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▐█▒▓▌ ▐▓▒█▌
▐█▓▒▓▌ ▐▓▒▓█▌
▐█▓▒▒▓▌ BIG UP Goes To ▐▓▒▒▓█▌
█▓░▒▒▓▌ ▐▓▒▒░▓█
▐█▄░░▐▌ JAH, vod, RAC, YARD, 0MNi, RAS, iLL, GMG ▐▌░░▄█▌
▐█▄░░▐▌ And All Other Quality Reggae Crews ▐▌░░▄█▌
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