Don't waste your $$$ to see Sizzla
Rdawta
inna DC at the "Lime Club" on Sat. night was an utter disappointment
and true disrespect to the DC reggae massive that came out to see the
Kalonji man, for the hustle price of $50. After much awaited a due,
with no band, no live music, @ 3:00am, Sizzla finally appears to do
some run through tunes for 45 mins. That's right, no backing band, not
even a half a$$ opening act. Just him and a mic, and he was out.
What a waste! Is this what reggae has come to, dumbing down its
audiences, hustling them out of their hard earned bucks, for sleazy
performances, shotty promoters calling the shots, and the artists,
having no allegance to anything but the all mighty dollar. So much for
what Rastafari has taught us.
I won't let that deter I n I but damn, I'd never waste a dime to see
him ever.
Adjua Dubb
Redlocks
ruin the reggae experience for people new to reggae. Venues that have liquor
licenses and aren't permitted to stay open past 2:00 a.m. usually have
strict contracts stating what time the artist must take the stage. It's a
lot more predictable at established venues. I don't mind leaving home at
1:30 a.m. to see good reggae, as long as I know beforehand that things will
be happening on West Indian time.
I wouldn't be convinced that it was Sizzla's fault unless I had more of the
facts. Standoffs between artists and promoters over payment are rather
commonplace in reggae. I tend to blame the promoters because they set the
price which keeps people away from the show, which means that the artists
might not get paid.
Redlocks
"Rdawta" <Rda...@hotmail.com> wrote in message
news:1117419219....@z14g2000cwz.googlegroups.com...
Tim
show. hypocrite artist singing about righteousness.
"Rdawta" <Rda...@hotmail.com> wrote in message
news:1117419219....@z14g2000cwz.googlegroups.com...
Crystal
low ticket sale, but have given their all to the show. sorry to hear it was
such a disappointment.
much respect,
Crystal
"Redlocks" <uptown...@earthlink.net> wrote in message
news:OBwme.10233$uR4....@newsread2.news.atl.earthlink.net...
Sis Irie
reluctant to put out their hard earned money not knowing ahead of time
what to expect. I have been looking at ticket prices for various shows
in New York and stunned. In this case, whether the fault lies with the
artist, the promoter or the venue, it all erodes the professionalism of
the reggae music industry. I would like to see people who live in areas
where this happens, do everything they can to let artists and promoters
know that if they continue down that road, reggae will continue to
struggle as an industry resulting in their own failure.
thot...@sbcglobal.net
Boston...Phyllis Dillon was great, even though it was clear that the
backing band either hadn't practiced enough or just didn't know her
songs, but even still Phyllis kept on trying and did her best despite
the crappy background. John Holt, on the other hand, was one of the
worst performers...he did maybe 20 or 25 minutes of medley-style
greatest hits, then it was over. Absolutely worthless. It was a
Mothers Day show, if I remember right.
At least I got to see Phyllis Dillon sing before she passed on. She
was one of the greats.
peace,
dave
iluvbuju
iluvbuju
acts were a joke. What happened to Vicious? I have seen Sizzla @
every DC performance since May 95, I've seen him in Philly, NY and
Jamaica and this was the WORST EVER. Actually this was the first time
I've seen him without a band. Who was the promoter? I will make sure
to never go to another show promoted by this group. It's good to hear
I was not the only disappointed patron.
roots-ee
the struggle continues to keep reggae going forward and upward...
--
one peace roots-ee
http://thearkband.com
419-352-7143
rl...@bghost.net
"Redlocks" <uptown...@earthlink.net> wrote in message
news:OBwme.10233$uR4....@newsread2.news.atl.earthlink.net...
Palumbex
other than the shoddy arrangements and high price which of course is his
respansability. But is it the promoters fault that Sizzla didn't bring a
band with him? I freely admit I know nothing about how these things are
arranged......is the promoter expected to supply musicians? Does the artist
not have his own band? The very fact that Sizzla was willing to amble up
without a band surely makes the performance his fault.
P
"iluvbuju" <moten...@yahoo.com> wrote in message
news:1117562611.7...@g44g2000cwa.googlegroups.com...
Crystal
ticket sales to get a band...I know some who have taken it out of their own
expenses (imagine that??) He was the man on stage, NO ONE else..I
thinkSizzla could have given much more. Especially if there was band...he
should have stayed out and done another set.
much respect,
Crystal
"Palumbex" <bud...@budvar.com> wrote in message
news:429ed8d8$0$24496$da0f...@news.zen.co.uk...
Redlocks
management. I assume there was a contract. The contract should be specific
about whether or not there will be a backing band or if a DJ will provide
the tracks. Remember Sizzla got his start in the dancehall where DJs provide
the rhythm tracks. In reggae it is very common for an artist touring the
U.S. to be backed by a local or NYC based band. Has anyone seen a show
backed by the High Life Band?
Redlocks
Cokni
responsible is irrelevant to the point that you paid to see a performer
perform. If Sizzla did his thing accapella, like Ive seen him do back
inthe day, I would be satisfied with that, but I mean he could at least
had an acoustic guitar or someoneto harmonize with. My point is, I
think the artist is responsible for their show.I don't pay to see what
Coca Cola or Pepsi can do with a Usher show or if Red Stripe does a
better show than Mc Donalds.
Bottom line the artist owes his fans and his God good works.
Tim
they didn't make any significant money at all because only 10 people were
there. but regardless, he brought us forward and put on a great show. that
showed a lot of character IMO. After all, those 10 people were the ones who
made an effort to get out there and see him. If I were him I would have
been a little irritated at the promoter, but he didn't take that out on the
audience.
"Cokni" <Oti...@gmail.com> wrote in message
news:1117727830....@g14g2000cwa.googlegroups.com...
Percy Clarke
Either way it's a big letdown for an audience.
I was in a band which opened for Sizzla about a year & a half ago, and
his band was wikked. He and Turbulence put on a great show. It would be
a shame if he's now got himself some dibidibi management which lets him
perform without such a great band. It's just gonna @#$% with his
reputation & his career. Moronic. A whey de bl#$%&@*t do dem??
Jesse I
Percy Clarke wrote:
> So Adjua, Sizzla did his chat over a soundsystem? or acappella?
> Either way it's a big letdown for an audience.
> I was in a band which opened for Sizzla about a year & a half ago, and
> his band was wikked. He and Turbulence put on a great show. It would be
> a shame if he's now got himself some dibidibi management which lets him
> perform without such a great band. It's just gonna @#$% with his
> reputation & his career. Moronic. A whey de bl#$%&@*t do dem??
I seem to be in the minority, but I for one prefer to see a lot
of artists like Sizzla and Capleton perforiming with a selector
rather than a band... real dancehall vibes, dropping lyrics over
riddims other than the originals, etc.
--
--- Jesse I --- Chant Down Babylon
jes...@iinet.net.au Melbourne, Australia
http://www.chantdown.com 106.7 PBS FM / Sat 5-7pm
Guillaume Bougard
and stage shows. Back in the days, that was what was given to the JA
audiences. It is nice to see bands lke Sly & Robbie, Firehouse or Radics,
Wailers, Ruff Cutt, but they are very rare and other bands can be a drag to
hear, whereas a studio one or a channel 1 riddim will forever be flawless.
GB
"Jesse I" <jes...@iinet.net.au.removeyah!> wrote in message
news:42a40cb9$1...@dnews.tpgi.com.au...
Lars Rindelof
all? To actually earn anything as a promoter seems almost impossible these
days. The cost of venues becoming ridiculus, artist charging more and more
and people, at least over here in Eiurope, having less and less money to
spend (that is most certainly true for the grassroot crowd attending dances
and keeping the scene alive- in the clubs the majority of the patrons are
black, while the stageshows has a mainly white audience. But even they are
becoming fewer and fewer for each time and that has nothing to do with the
quality of what is being offered). So with ticketsprice on the rise (and a
general loss of interest of that particular form of consuming music due to
other factors), the stageshow thing is becoming a thing of the past. So in a
business where there is virtually no money, the involved parties, venue
owners, artists and their managments. and the promoters (struggling with
airlinesprices, hotels, ridercosts, bouncers, booking of sounds, promtional
material, posters etc) are outbidding each other making it impossible to
offer quality.
To make myself impopular: Another reasons for this is that too money people
outside Jamaica (read US and Europe) has been involved in reggae on a
charity basis, doing it for the fun of it or for some other shady purpose
instead of valueing their own work on a economical basis and pulling the
money in a negoite and promote reggae music from such a perspective. Instead
like now ,when we have a lot of people doing things for free and others
taking any chance to rip them off. - because ther may not be another chance
tomorrow. A long term business rooted approach is the only way to promote
reggae and will eventually pay off for everyone involved, making this scene
a vivid one again.
"Guillaume Bougard" <bj...@club-internet.fr> skrev i meddelandet
news:42a45c25$0$301$7a62...@news.club-internet.fr...