mods-1968

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1. CozyRepublic-Bidadari
2. CozyRepublic-BisaSetia
3. CozyRepublic-CintakuMasihDiHatimu
4. CozyRepublic-HitamPutih
5. CozyRepublic-JanganMalu-Malu
6. CozyRepublic-KauMiripPacarku
7. CozyRepublic-KucingRasta
8. CozyRepublik-aku masih punya cinta
9. CozyRepublic-RepublikUye
10. CozyRepublic-RepublikUyeKejawenVersion

1. Jung Fan Gung Foo_Apalagi
2. Jung Fan Gung Foo_Bocah Pantai
3. Jung fan Gung Foo_Bruce Lee
4. Jung Fan Gung Foo_Semua Berantakan
5. Jung Fan Gung Foo_Senyum itu
6. Jung Fan Gung Foo_Silly Dumb Head
7. Jung Fan Gung Foo_Skuter Lambretta
8. Jung Fan Gung Foo_Sudah Bosan
9. Jung Fan Gung Foo_The Famous One
10. Jung Fan Gung Foo_ Pesta
11. Jung Fan Gung Foo_2 menit 10 detik
12. Jun Fan Gung Foo - Astaga
13. Jun Fan Gung Foo - Dilema problema
14. Jun Fan Gung Foo - Hei Segalanya Kan Terjadi

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1. the skatalites - big trombone
2. the skatalites - blow roland blow
3. the skatalites - Can't You See
4. the skatalites - carry go bring come
5. the skatalites - Exodus
6. the skatalites - shame & scandal
7. the skatalites - simmer down (featuring bob marley)
8. the skatalites - ska ska ska
9. the skatalites - Split Personality
10. the skatalites - The Vow
11. the skatalites - Welcome Back Home
12. the skatalites - Woman A Come
13. the skatalites - World's Fair
14. the skatalites - you're wondering now

In Jamaica in the mid-50's, a fledgling recording industry saw the birth of what became known as Ska. Created by fusing Boogie-Woogie Blues, R+B, Jazz, Mento, Calypso and African rythyms, Ska became the first truly Jamaican music and by the 60's all the vocalist were swarming to the studios to record their songs to this infectious new beat. Bob Marley, Peter Tosh, Toots and the Maytals, Jimmy Cliff, Alton Ellis, Ken Boothe are just a few of the names who came to record this new music, which coincided with the whole island's excitement about Jamaica's independence in 1962. The core musicians playing on most of these sessions saw the opportunity to play this music live to the public.Tommy McCook, Rolando Alphonso, Johnny Moore, Lester Sterling, Don Drummond, Lloyd Knibb, Lloyd Brevett, Jerry Haynes, and Jackie Mittoo began working together in 1963 and formed The Ska-talites in May 1964.

Spring 1964
The Skatalites record their first LP at Studio One in Kingston, Ska Authentic, and tour the island as the creators of Ska. Their recordings for various producers rule the airwaves, stations JBC and RJR, that is. Foremost among their producers were; Clement 'Sir Coxsone' Dodd, Arthur 'Duke' Reid, Cecil 'Prince Buster' Campbell, Vincent 'King' Edwards, Justin 'Phillip' Yap, Leslie Kong, Lindon Pottinger,Sonya Pottinger and Vincent 'Randy' Chin. The Skatalites led sessions with all the top artists and helped to break young talents such as Delroy Wilson, Desmond Dekker, The Wailers, Lee Perry, etc.

Fall 1964
Don Drummond's composition, "Man In The Street", enters the Top 10 in the UK. Trombonist Drummond is not only the Skatalites busiest composer, but the most prolific in all of Ska, with at least 200 tunes to his name by 1965.

January 1st 1965
Don Drummond is jailed for the murder of his girlfriend, Anita 'Marguerita' Mahfood. He is later convicted and remanded to the Bellevue Asylum.

August, 1965
The Skatalites play their last show. The break-up results in the formation of two supergroups, Rolando Alphonso and the Soul Vendors and Tommy McCook and the Supersonics.

Early 1967
Don Drummond's Ska-adaption of the theme to the film "The Guns Of Navarone" enters the UK Top 10.

May 6, 1969
Don Drummond dies at age 37 in the Bellevue Asylum.

June 1983
The Skatalites reform for a reunion performance at the Sunsplash festival in Montego Bay in July. Their show was a smashing success and the band played more concerts in Jamaica while weighing offers to tour abroad.

April 1984
The Skatalites record their reunion album, The Return of The Big Guns,released on Mango Records in the U.K.

July 7th 1984
The Skatalites play to thousands at Selhurst Park during the London Sunsplash. The Skatalites play 7 tunes and also back Prince Buster on three before closing with a reprise of their theme song, "Freedom Sounds".

1985-88
The core members of the Skatalites emigrate and eventually coalesce in the northeast of the United States. They play their first US concert at The Village Gate and begin to play spotted dates in Northeast US.

April 1989
The Skatalites are support act for Bunny Wailer's Liberation Tour featuring 7 original members: Tommy McCook,Roland Alphonso,Lester Sterling,Johnny Moore, Jackie Mittoo,Lloyd Brevett,Lloyd Knibb with special guests Dion Knibb on vocals, Devon James on guitar,and Ken Stewart on keyboards.

January 1990
The Skatalites do their first headline tour of the US with the same lineup minus Jackie Mittoo and Lester Sterling.

December 16, 1990
Jackie Mittoo dies in Toronto Canada from cancer.

1991-93
The Skatalites continue touring the US and in 1992 do their first tour of Europe. They continue working towards the release of a new album.

1993
Skavoovee is released in the US on Shanachie Records and in Japan as McCooke's Book(sic). The Skavoovee tour featuring the Skatalites, Special Beat, Selector, and The Toasters tours the US

January 1996
The Skatalites are nominated for a Grammy Award in the category of Best Reggae Album for their 1995 Shanachie release, Hi Bop Ska.

January 1997
The Skatalites are nominated for a Grammy Award in the category of Best Reggae Album for their 1996 Shanachie release, Greetings From Skamania.

1997
The Skatalites release "Ball of Fire" on Island Records with special guest Ernest Ranglin on guitar

May 5, 1998
Tommy McCook passes away near his home in Lithonia Georgia.

November 17, 1998
Rolando Alphonso passes away at Cedars Sinai Medical Center in Los Angeles CA.

March 27, 1999
Cedric 'Im Brooks joins The Skatalites, shouldering the legacy of Tommy McCook and Rolando Alphonso.

May 2000
The Skatalites record a new album at The Hit Factory in Miami with 15 original tracks with special guest Ken Boothe on a vocal track.

December 26 and 27 2001
The Skatalites record another new album in Paris at Davout Studios for Melodie Records and released as "From Paris With Love" on April 15,2002.

February 2002
The Skatalites begin their World Tour for the year touching USA, Europe, Mexico, Venezuela, Puerto Rico, Russia and Japan which lasted 9 months.

April 2003
The Skatalites return to the studio with Toots(and The Maytalls) Hibbert to record a contribution to his new True Love cd featuring many special guests including Willie Nelson,Bonnie Raitt,Eric Clapton et al. This album subsequently won the Grammy for 2004.

March 2004
The Skatalites announce the beginning of their 40th Anniversary tour including Colombia,Greece and Singapore,in addition to the usual global stops. This celebratory tour will last until May 2005. The addition of Vincent(Don Drummond Jr)Gordon and Karl(Cannonball) Bryan makes this one of the best Skatalites lineups ever.

April 2005
The Skatalites embark on a new World Tour this year with their new bass player Val Douglas. Mr Douglas is another outstanding Jamaican musician who has played on numerous sessions and his famous A-Team band was the primary backing band for Reggae Sunsplash Tours all through the 80's and 90's. The Skatalites continue to be composed of the top musicians in their genre,as they have from the beginning.

October 2005
The Skatalites release "The Skatalites in Orbit,Vol.1 recorded live in Buenos Aires,Argentina with many thanks to Javier DaRocha and Pedro Pearson for the best live Skatalites recording ever.

March 2006
The Skatalites play at La Bal De La Rose for Princess Caroline of Monaco along with Jimmy Cliff,The Wailers and Alpha Blondy. This show starts the 2006 Global Orbit Tour reaching as far as Australia,New Zealand,Chile,Argentina
etc.

April 2006
Skatalites record 11 brand new tunes and 1 cover in Byron Bay,Australia at the 301 Studios. The new release "On The Right Track" is forthcoming.

September 2007
The Skatalites contribute the track "Be My Guest" with Ben Harper on vocals for the new Fats Domino tribute cd "Going Home" featuring numerous artists. This cd is a fund raiser for all musicians affected by Hurricane Katrina.

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1. Sub Kultur - Semerbak
2. Agent Skins - Wave Vibration
3. Noin Bullet - Pagi Hari
4. Dirty Dolls - Make Up Your Mind
5. Apollo 10 - Nostalgila
6. The Palookas - Smile
7. Open Season - Keep My Fire Burning
8. Plenty Enuff - Catching in the Rye
9. Open Season - Take a Lady
10. Plenty Enuff - Dass Es Mehr Gibt
11. The Palookas - Baby
12. Apollo 10 - Imagination
13. Dirty Dolls - Sunset di Mataku
14. Noin Bullet - Sambutlah
15. Sub Kultur - There is No
16. Agent Skins - The Will to Live.

FOR SALE

Dr. Martens Boot(original) - 2nd
8 Hole

Color : Black
number : 6

Price : Rp.300,000-


Call: +6285729084277

Kenapa skinhead? Well, sebenernya gerakan ini pada awalnya muncul di inggris sekitar tahun1960-an. ada semacam dilematis tersendiri kenapa subkultur ini kemudian mendapat pandangan ‘miring’ dari temen-temen underground lain. Meskipun Skinhead banyak diasosiasikan dengan kelompok orang-orang yang rasis dan Neo-Nazi, namun Skinhead yang sebenarnya tidaklah Neo-Nazi, karena pada awalnya Skinhead adalah kaum tertindas dari kelas pekerja (utamanya buruh pelabuhan) di London, Inggris. Skinhead juga bisa merujuk kepada kepada kelompok orang (biasanya remaja) yang merupakan fans musik Oi!/streetpunk dan juga punk.

Dari banyak temen skins. Yang paling banyak ada di Jogjakarta entah dengan daerah lain, inilah kami "Jogjakarta Traditional Skin"atau sebut saja seperti lagu dari Apollo 10 band Indie Jogja- J.R.S.C (Jogja Rude Boy & Skinhead Crew), klo kalian pengen jumpa kultur skin di daerah jogjakarta.. tengok aja di kami di sekitar perempatan tugu jogjakarta didepan circle K atau di seputaran jalan Mataram...

Tradisi skinhead lebih banyak persamaan di musik, style sama way of life. For trendy shit only, forget it!!!

Klo masih kurang jelas apa tuh Skinhead, mending baca aja buku karangan George Marshal "kaum skinhead" atau liat aja film this is england sebagai acuan dan pikirkan lagi alasan anda masuk ke scene ini!! Dan ketika disinggung mengenai perlawanan yang biasa dilekatkan dengan tradisi subkultur, banyak dari anggota scene ini yang mengatakan, “we don’t give a shit about that!! What we have in common is just about how we proud to our life, to our self and to the community”

Kita muncul karena kita beda!!”. Are you skins out there agree with this?

sekarang terserah Loe.. Mau pilih scene mana skinhead, punk, metalhead, emo, indie pop ato dugem’ers sekalipun, kita hanya menentukan satu fase kehidupan yang sedikit banyak akan mengaspirasikan kesukaan kita pada satu hal.

take this in a very enjoyable moment and let's take ur boot's and dance with us... ! (by:eyank1968)

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1. CLANCY JONES-what will you mama say
2. DANDY LIVINGSTONE-trouble in the town
3. DAVE & ANSEL COLLINS-double barrel
4. DESMOND DEKKER-it mek
5. DESMOND DEKKER-pikney girl
6. JUDGE DREAD-big seven
7. JUDGE DREAD-ska fever
8. KINGSTONIANS-kingstone town
9. MELODIANS-rivers of babylon
10. MILLY SMALL-my boy lolly pop
11. PYRAMIDS-rude's dead
12. SLICKERS-johny too bad
13. THE PIONNERS-long shot kick the bucket

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1. Let´s bald head
2. Justice calling69
3. Nishiogi tokio
4. Scooter boy scooter girl
5. Summer mint blue
6. Nutty sound
7. No name
8. Sadness
9. Enjoy yourself
10. Skinhead runnin'

Mod (originally modernist, sometimes capitalised) is a subculture that originated in London in the late 1950s and peaked in the early to mid 1960s.^[1][2][3]

Significant elements of the mod lifestyle included pop music, such as African American soul, Jamaican ska, and British beat music and R&B; fashion (often tailor-made suits); and Italian motor scooters. The mod scene was also associated with amphetamine-fuelled all-night dancing at clubs.^[4] The mod scene developed when British teenagers began to reject the "dull, timid, old-fashioned, and uninspired" British culture around them, with its repressed and class-obsessed mentality and its "naffness" ^[5]. From the mid to late 1960s onwards, the mass mediamod in a wider sense to describe anything that was believed to be popular, fashionable or modern. often used the term

There was a mod revival in the United Kingdom in the late 1970s, which was followed by a mod revival in North America in the early 1980s, particularly in Southern California.^[6][7]

The term mod derives from modernist, which was a term used in the 1950s to describe modern jazz musicians and fans.^[8] This usage contrasted with the term trad, which described traditional jazz players and fans. The 1959 novel Absolute Beginners by Colin MacInnes describes as a modernist a young modern jazz fan who dresses in sharp modern Italian clothes. Absolute Beginners may be one of the earliest written examples of the term modernist being used to describe young British style-conscious modern jazz fans. The word modernist in this sense should not be confused with the wider use of the term modernism in the context of literature, art, design and architecture.

History

Origins

Rawlings claims that the mod scene developed when British teenagers began to reject the "dull, timid, old-fashioned, and uninspired" British culture around them, with its repressed and class-obsessed mentality and its "naffness" ^[5]. Mods rejected the "faulty pap" of 1950s pop music and sappy love songs. They aimed at being "cool, neat, sharp, hip, and smart" by embracing "all things sexy and streamlined", especially when they were new, exciting, controversial or modern. They watched French and Italian art films and read Italian magazines to look for style ideas.^[5][9]. Hebdige argues that the mod subculture only gradually accumulated the identifying symbols that later came to be associated with the scene, such as scooters, amphetamine pills, and music.^[9] He claims that the mod subculture came about as part of the participants' desire to understand the "mysterious complexity of the metropolis" and to get close to black culture of the Jamaican rude boy, because mods felt that black culture "ruled the night hours" and that it had more streetwise "savoir faire".^[10] Dick Hebdige claims that the "progenitors of this style appear to have been a group of working-class dandies, possibly descended from the devotees of the Italianite [fashion] style" in the UK.

Shari Benstock and Suzanne Ferriss argue that at the "core of the British Mod rebellion was a blatant fetishizing of the American consumer culture" that had "eroded the moral fiber of England." They claim that UK mods were "worshipping leisure and money... scorning the masculine world of hard work and honest labour" by spending their time listening to music, collecting records, socializing, and dancing at all-night clubs.^[11] In doing so, the mods "mocked the class system that had gotten their fathers nowhere", and created a "rebellion based on consuming pleasures" ranging from Italian suits and scooters to US soul records. Benstock and Ferriss claim that the emphasis in the mod subculture on consumerism and shopping was the "ultimate affront to male working-class traditions" in the UK, because in the working-class tradition, shopping was usually done by women.^[12]

While several historians and cultural theorists, including Hebdige,^[13] have argued that mods had originated from working class families, Mary Anne Long argues that they were mistaken in making assumption, which she argues that Dick Hebdige and others made due to their structuralist ideology. She claims that "first hand accounts and contemporary theorists point to the Jewish upper-working or middle-class of London’s East End and suburbs". Long cites an interview with Steve Sparks, who claims that he was "one of the original mods, one of the real Wardour Street mods. Not the post-commercialized mods". He argues that "Mod has been much misunderstood... as this working-class, scooter-riding precursor of skinheads." Sparks claims that before mod was commercialized, it was essentially an extension of the beatniks. "It comes from ‘modernist’, it was to do with modern jazz and to do with Sartre" and existentialism. ^[14]

UK sociologist Simon Frith asserts that the mod subculture had its roots in the 1950s beatnikbohemian scene in London.^[15] Coffee bars were attractive to youths, because in contrast to typical UK pubs, which closed at about 11 pm, they were open until the early hours of the morning. As well, coffee bars had jukeboxes, which in some cases reserved some of the space in the machines for the students' own records. Although coffee bars were associated with jazz and blues music during the late 1950s beatnik and bohemian era, in the early 1960s, they began playing more R&B music. Although coffee bars were aimed at middle-class art school students, Frith notes that coffee houses eventually created an intermixing of youths from different backgrounds. He points out that a coffee bar near Ealing College attracted both well-off art school students and working-class mods from the adjoining catering and commercial colleges^[16]At these venues, which Frith calls the "first sign of the youth movement", youths would meet R&B and blues record collectors, who introduced them to new types of African-American music, which the teens were attracted to for its rawness and authenticity. coffee bar culture, which catered to art school students in the radical

Decline

Mods were the products of a culture of constant change, and by the time Bobby Moore held the World Cup aloft in the summer of 1966, the mod scene was in sharp decline. Dick Hebdige argues that the mod subculture eventually lost its vitality when it became commercialized and made artificial and stylized, to the point that new mod clothing styles were being manufactured "from above" by clothing companies and by TV shows like Ready Steady Go!, rather than being created by young scene members customizing their clothes and mixing different fashions together ^[17].

As psychedelic rock music and the hippie subculture became popular in the UK, many people drifted away from the mod lifestyle. Bands such as The Who and Small Faces had changed their musical styles and no longer considered themselves mods. Another factor was that the original mods of the early 1960s were getting into the age of marriage and child-rearing, which meant that they no longer had the time or money for their youthful pastimes of club-going, record-shopping and scooter rallies. The "peacock" or "fashion" wing of mod culture evolved into the Bohemian style of London hippie culture, which favored the gentle, marijuana-infused contemplation of esoteric ideas and aesthetics, which contrasted sharply with the frenetic energy of the mod ethos.

Hard mods and mod-related subcultures

In the mid- to late 1960s, the mod subculture continued, albeit with many changes, as the hard mod subculture.^{[18][19][20][21]} Hard mods often lived in the same economically depressed areas of South London where West Indian immigrants lived, and the hard mods emulated the rude boypork pie hats and too-short Levis jeans.^[22] White hard mods began listening to Jamaican ska and going to black nightclubs like Ram Jam. Dick Hebdige claims that the hard mods were drawn to black culture and ska music in part because the educated, middle-class hippie^[23] He argues that the hard mods were also attracted to ska because it was a secret, underground, non-commercialized music that was disseminated through informal channels such as house parties and clubs.^[24] look of movements' drug-oriented and intellectual music did not have any relevance for them.

The hard mods soon transformed into the first skinheads, a non-political subculture of "aspiring 'white negros'" who mingled with black rude boy youths and danced the shuffle to ska in West Indian clubs such as A-Train and Sloopy's.^[25][26][27] The early skinheads retained basic elements of mod fashion — such as Fred Perry and Ben Sherman shirts, Sta-Prest trousers and Levi's jeans — but mixed them with working class-oriented accessories such as braces and Dr. Martens work boots. Hebdige claims that as early as the Margate and Brighton brawls between mods and rockers, some mods were seen wearing boots and braces and sporting close cropped haircuts, which "artificially reproduces the texture and appearance of the short negro hair styles" (though this was as much for practical reasons, as long hair was a liability in industrial jobs and streetfights).^[22] The early skinheads kept some of the original mod music styles alive; specifically ska, soul, rocksteady and early reggae.

Mods were also part of the northern soul scene, a subculture based on obscure 1960s and 1970s American soul records. Eventually, mods evolved into, or merged with, other subcultures such as individualists, stylists, and scooterboys, creating a mixture of "taste and testosterone" that was both self-confident and streetwise.^[5]

^{From : http://en.wikipedia.org/wiki/Mod_(lifestyle)}

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1. Nimble foot ska
2. Spred satin
3. Arte bella
4. Streets of gold
5. A de pon dem
6. Black sunday
7. Don't want your loving
8. Old fowl ska
9. Enna bella
10. Jezebel
11. Always on a sunday
12. Sugar bag
13. Settle down
14. Turn me on
15. When the well runs dry
16. Wheel and turn
17. Oceans 11
18. Over the river
19. My heaven
20. Set back (just cool)
21. Du du wap
22. Don cosmic