| | Universal Message, Vol. 3 CD
In the last few years the idea of conscious lyrics has made a real comeback in Jamaica, an antidote to gun songs and slackness. Just how far they've come is evident by the names here -- people like Sizzla, Capleton, and Tanya Stephens. It's a roots mentality, even if the music is often more dancehall inclined (although Morgan Heritage's "Uncomfortable" certainly stands up for roots reggae). There's some excellent music here, with "Give Praise" from Luciano (a longtime supporter of the conscious word) a particular standout, along with Anthony B.'s "Mr. Heartless." Getting a reminder that Jamaican music has become three dimensional again is a good thing, and that a new generation is sitting down and thinking and putting some spirituality back into the music. ~ Chris Nickson Universal Message, Vol. 3 Music Universal Message, Vol. 3 Songs Universal Message, Vol. 3 Review
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FOR MICKO LEÃO SITE =====> Visit TheLionDream The CD "Dreams of Life" was released in Los Angeles, California in September 2003 and the tracks started being played in different radio programs such as the "Global Village" hosted by Sergio Mielniczenko, "Afrodicia" hosted by DJ Nnamdi, rebroadcasting 24/7 online especially reaching all the world. Not only with the KPFK radio of Los Angeles, 90.7 FM, which covers most of Southern California, including Santa Barbara station, but also in Atlanta, Georgia, did MICKO LEÃO began to be recognized in the USA. He was interviewed twice by DJ Nnamdi, once for the radio "Afrodicia" and the second time for the international radio "Voice of ...
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Berry Gordy moved Motown from Detroit to Los Angeles at the end of 1968 but, like an earthquake, not all of the aftershocks were felt after the initial shift. It took a while for all the dust to settle, for Motown to start feeling like it belonged to Hollywood instead of the Motor City, for the label to get to the point where the showbiz began to eclipse the soul, and that year was 1971. That year, Gordy slowly started to recede from the day-to-day operations of the label, choosing to pursue interests in film and television, but Motown hardly shut down in his absence: they churned out more 45s than ever, releasing so many singles in the course of a single year that when it came time for Hip-O Select to cover 1971 in their comprehensive The Complete Motown Singles series, they had to split the year into two multi-disc box sets. This, Vol. 11A, covers the first six months of 1971, six months that had enough activity for a year -- a full six discs of material, to be precise. The entirety of Motown's 1970 singles output fit onto a six-disc set for Vol. 10, so it stands to reason that 1971 either was an embarrassment of riches or found the label stretching itself a little thin.
The Complete Motown Singles, Vol. 11A: 1971 proves the latter to be true, containing moments of blinding genius surrounded by cinematic schmaltz and funky filler. Genius is none too strong a word for the best music Motown produced in the first half of 1971, especially the album that defined the year for the label and much of pop music in general, Marvin Gaye's What's Going On. This was the first Motown LP to be an artist-driven concept album, a seismic shift within the label that is just as palpable when it's sampled here by its two hit singles, "What's Going On" and "Mercy Mercy Me (The Ecology)," as they sit respectively next to R. Dean Taylor's AM pop and Hearts of Stone's bubblegum soul, two pieces of agreeable fluff that have more to do with the label at large than Marvin's two masterworks. Gaye was hardly the only artist working at a peak during these six months: Stevie Wonder began to enter his mature phase, rearranging the Beatles' "We Can Work It Out," which was backed with the extraordinary "Never Dreamed You'd Leave in Summer"; Smokey Robinson had the great "I Don't Blame You at All"; the Jackson 5 had "Never Can Say Goodbye" and "Mama's Pearl"; Gladys Knight & the Pips had the slow-burner "I Don't Want to Do Wrong"; the Temptations hit a high watermark with "Just My Imagination (Running Away with Me)" while David Ruffin had a few great singles that didn't quite take off; Rare Earth's "I Just Want to Celebrate" was the peak of Motown's hippie rock; and the Undisputed Truth's "Smiling Faces Sometimes" proved that it wasn't just Motown's legacy acts that were turning out ...
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