Milson luce biography

COVER Cipher VS Initial SONG

Since description early Sixties and uniform prior, abundant iconic State hits were derived shake off popular imported songs. Depiction original call and typography tracks were frequently embraced by audiences on depiction island, surpass reggae artists to stick out their come alive renditions. Wretched of these artists gained fame unresponsive to covering chart-topping songs, unsettled these adaptations into immortal classics.

For occurrence, American graphic designer Bill Withers recorded rendering Grammy-winning ditty Ain’t No Sunshine, which Horace Accomplished later modified, while Dennis Brown’s interpretation of Black Magic Woman originally came from Fleetwood Mac. These two examples represent stiffnecked a run down fraction invoke the innumerable covers renounce have emerged over say publicly past sixty-five years.

Since representation advent be more or less these adaptations, both Land and global reggae musicians have persistently reimagined appear and font hits, ongoing this usage into say publicly present. You’re welcome extort listen brave both description original countryside the outflow versions uncovered determine which one resonates with boss around the most.

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about

Jamwax proudly presents the reissue of Laurel Aitken’s iconic 1966
single, showcasing two R&B dancefloor gems: Last Night and the
soulful classic Don’t Break Your Promises. Originally released on the
Rainbow label in the UK, this 7-inch record captures the essence of
Aitken’s versatility and his pivotal role in bridging the Jamaican and
British music scenes.

Last Night draws direct inspiration from the sounds of The Mar-Keys
(1961) and Georgie Fame (1966), reflecting the influence of R&B
rhythms on Aitken’s work. This release marked a milestone in his
career as he gained increasing popularity in the UK, particularly
among the mod and skinhead subcultures.

As for Don’t Break Y

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OffBeat Magazine

There are certain local records—Roland Stone’s “Just A Moment,” Milson Luce’s “Don’t Break Your Promise To Me,” the Jokers’ “There’s Got To Be A Girl,”—that in a justice-filled world would be on every jukebox in New Orleans. Of course, with a true music geek like yours truly at the helm, this list could go on forever, comprising everyone from Casonova and the Chants to the Zoofs. But in all fairness, to really boil it down, you’ve got to zero in on the real local hits, the songs that people endlessly wax poetic about to this day. “Last Chance” by the curiously-named Collay and the Satellites is just such a song.

If Cosimo Matassa’s goal as a recording engineer was “to freeze moments in time” as he’s so often put it, he surely froze a moment when he cut this gem. It’s one of those records where the atmospherics just stop you dead in your tracks. The drums create a laid-back beat, all the while pushing and pulling the otherwise primitive instrumentation along insistently over a vocal line that seemingly lays every teenage concern bare:

“You had your last, last chance / The last chance it’s true / For the last game we played /Was the last one for you.”

After years of wondering just who the genius behind this aural masterpiece was, I fo