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If you would prefer not to lend your voice to LibriVoxyou could lend us your ears. Proof listeners catch mistakes we may have missed during the initial recording and editing process. Janine gets a call with a serious client, and she rings the alarm bell. The Ghostbusters run and get dressed, then leave in the Ecto They show up at the Sedgewick Hotel and the Hotel manager tells them that they are having problems with a resident ghost.
Following a successful test of the equipment, they split up to search the hotel for the ghost. Peter finds the ghost which then slimes him. Egon calls Ray to tell him that the ghost is now in a ballroom. They enter the ballroom and as they attempt to capture it, they destroy the room and make a lot of noise. They ultimately manage to capture the ghost, and they find themselves an overnight success across both New York City and the nation.
As the amount of calls grows, the team is required to hire a fourth member, Winston Zeddemore Ernie Hudson. He comes to the firehouse trying to inspect the Storage facility which Peter refuses to let him do. One night, Dana enters her apartment and is talking on the phone to her mother. After she hangs up,she gets grabbed by claws that burst out of her chair. She is taken in to the kitchen where she becomes possessed by Zuul. Meanwhile, Louis Tully Rick Moranisanother resident of the apartments, is hosting a party for the fourth anniversary of him becoming an accountant, when a dog also described as a bear and a cougar - but really a Terror Dog attacks, and chases him out of the building and to a restaurant where it possesses him.
Peter makes a visit to Dana's apartment. He quickly realizes that she has been possessed by Zuul, the Gatekeeper of Gozer. Changed radically by her possession, Dana aggressively tries to seduce him but ends up growling fiercely and levitating above her bed in frustration after he repeatedly rejects her advances. He harasses locals until finding a carriage horse and confusing it with the Gatekeeper.
When the coachman questions him, Louis responds by angrily flaring his eyes red and growling at the man. Later, the cops bring Louis to the Firehouse and ask Egon if he'd take him, as he is exhibiting strange behavior. Egon recognizes that Louis is possessed. Peter later calls Egon to tell him about Dana being possessed by Zuul, aka the "Gatekeeper". The next day, Walter Peck accompanied with an officer and laborer, obtains an court order to shut the containment grid down, and unable to stop him, the team flees the firehouse as the grid collapses and hundreds of freed ghosts flood the city.
The explosion of supernatural energy causes Zuul to awake in her bed and allows Vinz Clortho to escape and make his way back to Central Park West where they unite inside Dana's apartment with a passionate kiss.
Peck orders the Ghostbusters arrested while the ghosts create panic across the city. While waiting in jail, the team recognizes that Dana's apartment building was a huge super-conductive antenna, designed and built expressly for the purpose of pulling in and concentrating spiritual turbulence. The mayor David Margulies orders the release of the Ghostbusters from jail. He has a conversation with the Ghostbusters about the events while Peck tries to counter-attack their story. In the end of the discussion, Peter wins over the mayor's judgment allowing them to get to work to prevent the potential catastrophe overriding Peck's demands.
Assisted by the police and Army, the Ghostbusters make their way to the top of Central Park West. They are too late to prevent the possessed Dana and Louis from completing the ritual for the coming of Gozer. When the Ghostbusters reach the hidden part of the building, the possessed Dana and Louis open a dimensional gate at the top of the building and are transformed into the Terror Dog forms of their possessors.
They then take their positions beside Gozer's Temple as the Ghostbusters stare in shock. When Gozer Slavitza Jovan emerges in a female humanoid form, the team tries to shoot her with their packs, but fail to harm her.
Gozer disappears and tells them to select the next form it will take, and though the team tries to empty their minds, Ray is unable to. Ray thinks about the most innocent thing he could imagine: the Stay Puft Marshmallow Man.
The team finds that a giant version of the marshmallow mascot has begun to lay waste to the city as it makes its way to the apartments and starts climbing the building. Fire - Various - Straight Outta Cleveland (Cassette realizes that the only way to end the destruction is to reverse the particle flow through the gate by crossing the streams, resulting in "total protonic reversal" which would destroy Gozer and the interdimensional gate.
The plan is risky at best, but there is definitely a very slim chance of their survival. As the giant creature reaches the top of the building, the team executes Egon's plan, causing the gate to seal itself, creating an explosion and burning the Stay Puft Marshmallow Man away into large amounts of liquid marshmallow fluff. The Ghostbusters find that they have all survived, and that Dana and Louis have returned to their normal, unpossessed, human forms.
The team is cheered on by the vast population of New York City as they leave the building and drive away. The concept was inspired by Aykroyd's own fascination with the paranormal, and it was conceived by Aykroyd as a vehicle for himself and for his friend and fellow Saturday Night Live alumnus John Belushi. The original story as written by Aykroyd "Ghost Smashers" was very different than what would be eventually filmed.
In that version a group of Ghostbusters would travel through time, space and other dimensions taking on huge ghosts. In lateDan Aykroyd began writing his first draft. On March 5,while he was writing one of Venkman's lines, Aykroyd heard Belushi had passed away. Murray responded favorably to the script's concept so Aykroyd took it to Ivan Reitman.
Still, Reitman did like the comic attitude contrasted with a serious script. He set it aside. The finished script was around pages. He submitted the final script to Reitman in April along with concept drawings by artist friend John Daveikis and a videotape of himself wearing a jumpsuit based uniform and makeshift nutrona wands and a Proton Pack fashioned from styrofoam and old radio parts.
At the time, several of Reitman's Album) were stalled in various stages of development. Eager to get something into production, Reitman took another look.
Reitman honed in on the idea of a group of men operating from a firehouse and responding to emergency calls like firefighters would. Reitman got a laugh out of the concept, equipment, car and logo but had reservations about the fantasy elements.
He had a lunch meeting with Aykroyd at Art's Delicatessen in May At the time, Reitman and Ramis had offices there. Ramis happened to be reading one of Aykroyd's other scripts, one about the Canadian Mounted Police. Aykroyd told him to put it aside and take a look at his Ghostbusters script.
After about 20 minutes, Ramis was in. Price liked it and asked about the budget. The first collaborative script between Aykroyd and Ramis was completed on June 6, The main thrust of the draft was to come up with a new story that made sense to Aykroyd, Ramis and Reitman. Aldredge, and editor Sheldon Kahn.
They settled on how the main characters would start out and where they would end up but the fine details still needed to be worked out. In terms of pacing, the movie didn't taking off until the hotel around page They investigated a coverted farmhouse where a family was being bothered with incessant knocking.
After watching a diet cola commercal, the alien and her compatriot transforms into a beautiful female human and a heavy set male human. Peter and Zuul go to a restaurant. Zuul sees woman taking their wraps off and attempts to take her blouse off. After leaving a restaurant, Zuul takes pity on a carriage horse and kisses it with genuine emotion, leaving the driver concerned.
The next morning, he wakes up to find Zuul has taken on a warthog form. When the Containment Unit releases the ghosts, they descend upon a subway station and hover over the tracks then hitch a ride on the express train to uptown. Egon concluded a small community in northern New Jersey was the likely epicenter of major psychic activity. The reason was its proximity to three nuclear power plants and chemical waste storage areas. Aykroyd, Ramis, and Reitman relocated to Martha's Vineyward for two and a half weeks around the July 4th weekend to work on the second draft.
Aykroyd was living there at the time and work took place in his basement with an old Royal electric typewriter. Egon demonstrated his prototype equipment but after it was plugged into an AC outlet, the Firehouse and Manhattan suffers a black out. Reitman also felt the movie could use another good guy coming in and joining the Ghostbusters.
Ghostbusters became a highly successful multinational corporation named Ghostbusters International. Peter and Dana moved in together.
Egon and Janine got married. Ray returned to Fort Detmerring for another visit from its resident female ghost. The July rewrite was constantly rewritten, re-edited and re-commented on. Aykroyd, Ramis, and Reitman left on July 10 with a strong script. As rewrites continued, Reitman started auditions. As preproduction went along, Reitman's team hired many freelance artists to draw out ideas for the ghosts and entities that would be in the movie.
The artists were supervised by Michael Gross. Hundreds of concepts were conceived. Reitman did a simple mix-and-match to come up with the best assortment of designs. Apogee was busy with Dune. Gross called Shay in for consultation on visual effects. During back surgery, Edlund received a phone call from Reitman to work on Ghostbusters. It exclusively worked on Ghostbusters. Columbia entered negotiations with Filmation to secure the rights. Talks bogged down and uncertainty developed about the name of the movie.
The next rewrite was fine tuned even more. Some scenes were still elaborate from an effects standpoint. The scene where Dana's eggs start cooking was accompanied by a loaf of bread splitting up into pieces of toast and every metal appliance and utensil flew across the room and stuck to the refrigerator door. Shandor was now a human with a morbid past. He was reimagined as a deranged surgeon and architect who worshiped Gozer who met his end when a failed abduction led police to his penthouse apartment, which was furnished with human bones.
He was executed at Sing Sing by the electric chair. Slimer's design and part was basically locked in. Peter and Ray discovered Slimer in the hotel. Louis attempts to hail a taxi but the Terror Dog jumps on the hood. Honing in on the New York attitude, the taxi driver isn't scared but really ticked off at the Terror Dog. Eventually, it falls off the cab and resumes his chase. The chase then shifts to Central Album).
The final shooting script was completed on October 7. In total, the new script took about three months. On the same day, Reitman called up Rick Moranis. Moranis was available and was sent the script. Two hours after receiving it, Moranis called back the same day and accepted the role. Moranis helped mold Louis into the accountant character seen in the final version. Murray did some costume fittings then went back to Paris for a few more days of last minute photography for his movie "Razor's Edge.
Murray's private plane landed an hour later than scheduled. Murray then came through the terminal with a stadium horn programmed with 80 different fight songs.
Reitman and Ramis 'dragged' Murray to a restaurant in Queens. Reitman decided to shoot a montage piece of the three Ghostbusters in uniform running down a street.
Scenes were rearranged, such as when Zuul and Vinz reunite. Some scenes and lines were ultimately cut. Some were improvised and looped later. It was also one of the very first things shot. The montage pieces were mostly shot in one day with a small unit. There were two trucks used to transport the unit, made up of six crewmen, a cameraman, and a soundman, and equipment. Aykroyd drove the Ecto They went and chased Ecto-1 around making up scenes.
They shot the night before and the night after. They shot on Central Park West all night with the crowds. Then they went to bed for a couple hours and started shooting all the reaction shots to the Stay Puft Marshmallow Man on the street. The locals weren't very happy with the various disruptions.
In one instance, Gross hid his Ghosbusters badge while Medjuck simply lied and said they were filming "The Cotton Club. It was private property. The crew was shooting on the street and a man in a suit asked Ivan Reitman and if he had permission. Reitman pulled over the location manager and told the man they had a permit.
Reitman then directed the man to talk to Joe Medjuck. Medjuck kept him busy while Reitman just kept on shooting. City Council president Carol Bellamy's office was used as a stand-in for the Mayor's office as both were identical. Three weeks into shooting, the crew quickly edited some footage together and did a first screening at Columbia Ranch.
Footage from the library scenes were part of the first screening. The Library ghost's transformation was one of the only special effects done so far. The audience screamed and laughed. As a precaution, three different signs were made to hang over the firehouse door. Ghoststoppers was on the only other name seriously considered. During the Central Park West shoots, when Ecto-1 makes its grand entrance, Joe Medjuck called Columbia from a phone booth to check on negotiations.
He held up the receiver so the shouts of extras chanting 'Ghostbusters! Three shots were done on the second day. The production fell seven days behind. Murray hated being called to the set when the crew wasn't ready so assistant director Gary Daigler gave him a two way radio.
Murray and Aykroyd hung out at a nearby sushi restaurant until they were called back. Two days were spent at the Biltmore's banquet hall. Richard Edlund and his special effects team had less than four months to complete about to optical effects. Edlund allegedly met with Reitman out in the parking lot with a samurai sword and told him they had to do "the samurai cut. These articles are image intensive. For full coverage of trailers for the film, see Ghostbusters Movie Trailers article.
For full coverage of promotion and advertising for the film, see Ghostbusters Movie Advertising article. For more trivia, see Ghost Smashers. For more trivia, see June 6, Draft.
For more trivia, see Ghostbusters July 6, Draft. For more trivia, see Ghostbusters August 5, Draft. For more trivia, see Ghostbusters September 30, Draft. For more trivia, see Ghostbusters October 7, Draft. The VHS version of the movie was released in The DVD version of the movie was released on June 29, and became one of the fastest selling units ever on Reel. Sony had announced at Comic-Con that the Blu-Ray version of the film was to be released on October 21,but it was actually released on June 16, to coincide with the release of Ghostbusters: The Video Game and the film's 25th anniversary.
To read more on home video releases of the film, go to Ghostbusters Home Video Releases. The movie ran, with commercials, until PM. The "edited for television" version features several alternate takes to replace some of the more objectionable dialogue.
For more information to the edited for television version click here. The Ghostbusters Movie was released all over the world. However, many aspects of the movie had to be localized.
Twenty images were selected. To see more screen caps go to Scenes section and look at the individual chapters of the movie.
Ghostbusters Wiki Explore. Proton Pack P. Content Real Ghostbusters Slimer! Discussions Forum Chatroom. Animated Content Real Ghostbusters Slimer!
Explore Wikis Community Central. Register Don't have an account? View source. History Talk Main article: Ghostbusters Movie Deleted Scenes. On Page 19, Fred references the Ghostbusters' slogan in jest. In Ghostbusters: Displaced Aggression 1 : When researching Dan Aykroyd's early concepts for the first film, writer Scott Lobdell decided to use the idea of the Ghostbusters traveling through time and dealing with ghosts of different ages. On Page 11, Peter reminisces about the first case.
The scene is of Egon, Peter, and Ray walking to the elevators of the Sedgewick from a bird's eye view point. On Page 13, Peter quotes a line he made in the first film, "Nice shootin', Tex. Ray mentions Gozer. At the party, Sherri says there is "something weird and it doesn't look good", a reference to the Ghostbusters Theme Song. On Page 4, Britt calls the team "private sector types.
On Page 11, the "Cross the Streams" strategy is mentioned but Egon advocates against it. On Page 3, Gozer asks Ray if he is a god.
Doug Carn who was just twenty-three when he signed to Black Jazz Records. Not long after this, he began work on his debut album Infant Eyes. Doug Carn put together a band and spent the best part of a year practising and then when he signed to Black Jazz Records recorded the album. The rhythm section featured drummer Michael Carvin, bassist Henry Franklin and bandleader Doug Carn who switched between electric piano, organ and piano. Meanwhile his wife Jean added her unmistakable vocals. George Harper played tenor saxophone and flute and was joined in he front line by trombonist Al Hall Jr and Bob Frazier who played trumpet and flugelhorn.
This talented and versatile band worked their way through the seven tracks which became Infant Eyes. The session was engineered and produced by label owner Gene Russell and the album was scheduled for later in When Infant Eyes was released inDoug Carn still regarded the album as a demo.
Despite that, it was well received by critics and hailed as a groundbreaking album. It was a similar case with the other two albums Doug Carn released for the label. That was no surprise given the quality of the three albums he released.
The first was Infant Eyes. Initially the arrangement is intense and almost frenetic before the band lock into a groove. By then, the scat disappears as unleashes an impassioned vocal. On Moon Child Doug Carn switches to piano, and his playing is moody and melancholy. Meanwhile, the horns add an atmospheric backdrop during this eight minute epic which is an emotional roller coaster. Horns are to the fore as the organ sweeps and swirls and join with the cymbals in playing a crucial role in the sound and success of the track.
However, six years later Doug Carn added lyrics and his wife Jean takes charge of the vocal. Doug Carn added new lyrics full of social comment which are delivered by Jean. She plays a leading role in the success of breathtaking, powerful and poignant take on a familiar track from the late, great jazz pianist. Despite that, it was the most successful album that Black Jazz Records released that year.
Infant Eyes was very different to old school jazz and was new type of jazz Album). It featured everything from avant-garde and even elements of free jazz, funk, fusion, soul, soul-jazz and spiritual jazz. These genres were combined by Doug Carn and Jean Carn who unleashed her five octave vocal on Infant Eyes which introduced the pair to the record buying public across America.
This was just the first chapter in the Doug and Jean Carn story. Infant Eyes was the first of four critically acclaimed albums that Doug Carn released between and These albums are now regarded as cult classics, and amongst the best that Black Jazz Records released during the five years it was in business. And nothing elsewhere in the infinite universe like them either. Peter will ask, you know: "Have you dug 'Faces in the Jazzmatazz'? And which person are you in "Flibbity-Jib'?
But the thing he is probably best loved for is a series of albums released in the late Fifties on Dot Records called Word Jazz. The four albums, recorded between andhave been anthologized several times over the course of their history including a vinyl collection on Blue Thumb and a CD on Rhinobut they have never before been made available on CD in their entirety. In all, 27 tracks make their CD debut.
Needless to say, Ken has also written some notes, and has provided some rare photos for the set. The Charlie Parker Dial MastersThe Judy Garland Decca MastersThe Machito Columbia Masters —the titles assume a certain form: the imperious definite article, the name of the artist, the recording company, and, at the end, that masterful word, masters.
But he did not define his era, and it did not define him. He is a performing artist of indeterminate medium, all but unknown to the general public and not well-known among musicians either. Most of his career has been in television and radio, where he lent his dark, agile bassvoice to numberless commercials.
His album Colors was originally a series of radio spots for the Fuller Paint Company. The accompaniment is not always jazz, nor is it exactly accompaniment. The absence of any clear boundary between music and sound, or sound and voice, might spark the thought that word jazz has more to do with Cagean compositionin sound than any bongos-and-angst record. But Nordine raises this possibility with the lightest touch, for he can be very funny, and this is maybe why his albums have aged so well.
The twenty-page insert booklet includes appreciationsby Laurie Anderson and Tom Waits, reminiscences by Nordine and Cunningham, all the original cover art and liner notes, and a new poem by Nordine. The only shortcoming of this album is its stingy run of five thousand copies, which are intermittently hard to find. So if you see a copy, snap it up while you can. Bass — Emmet Frazier tracks:toHarold Gaylor tracks: toJimmy Bond tracks: toJohn Frigo tracks: to, Drums — Bob Frazier tracks:toJerome Slosberg tracks: to,Red Holt tracks: to Engineer — Jim Cunningham tracks: toto, Mason Coppinger tracks: toto Album) — Ken Soderbloom tracks:toPaul Horn tracks: to Tracks taken from Next!
Track 20 recorded circa No re-channeled stereo was employed in this recording. The Fairchild stereophonic disc mastering was use in transferring the original masters from tape to disc. Posted by Jillem on Friday, October 01, Sometimes I'm in the mood for hip music and nothing else will do. He is now highly recognized as one of the foremost exponents of a sophisticated style of largely instrumental music that combines elements of lounge music and jazz with Latin flavors. They're of such a similar qualitative standard that none can be singled out as definitive, or even recommended above the others.
The 20 tracks are drawn from RCA releases spanning toincluding both original compositions and oddball versions of standards like "Harlem Nocturne," "Night and Day," "Malaguena," and "Take the 'A' Train.
Kansas City. Posted by Jillem on Thursday, September 30, Essential for all Prince Buster fans. One of the best from the man himself, worth every penny, now that it has been deleted. Get it if you can.
We require new readers to submit a sample recording so that we can make sure that your set up works and that you understand how to export files meeting our technical standards.
We do not want you to waste previous hours reading whole chapters only to discover that your recording is unusable due to a preventable technical glitch. A book coordinator commonly abbreviated BC in the forum is a volunteer who manages all the other volunteers who will record chapters for a LibriVox recording. Metadata coordinators MCshelp and advise Book Coordinators, and take over the files with the completed recordings soloists are also Book Coordinators in this sense, as they prepare their own files for the Meta coordinators.
The files are then prepared and uploaded to the LibriVox catalogue, in a lengthy and cumbersome process. These albums are now regarded as cult classics, and amongst the best that Black Jazz Records released during the five years it was in business.
And nothing elsewhere in the infinite universe like them either. Peter will ask, you know: "Have you dug 'Faces in the Jazzmatazz'? And which person are you in "Flibbity-Jib'? But the thing he is probably best loved for is a series of albums released in the late Fifties on Dot Records called Word Jazz. The four albums, recorded between andhave been anthologized several times over the course of their history including a vinyl collection on Blue Thumb and a CD on Rhinobut they have never before been made available on CD in their entirety.
In all, 27 tracks make their CD debut. Needless to say, Ken has also written some notes, and has provided some rare photos for the set. The Charlie Parker Dial MastersThe Judy Garland Decca MastersThe Machito Columbia Masters —the titles assume a certain form: the imperious definite article, the name of the artist, the recording company, and, at the end, that masterful word, masters.
But he did not define his era, and it did not define him. He is a performing artist of indeterminate medium, all but unknown to the general public and not well-known among musicians either.
Most of his career has been in television and radio, where he lent his dark, agile bassvoice to numberless commercials. His album Colors was originally a series of radio spots for the Fuller Paint Company.
The accompaniment is not always jazz, nor is it exactly accompaniment. The absence of any clear boundary between music and sound, or sound and voice, might spark the thought that word jazz has more to do with Cagean compositionin sound than any bongos-and-angst record. But Nordine raises this possibility with the lightest touch, for he can be very funny, and this is maybe why his albums have aged so well.
The twenty-page insert booklet includes appreciationsby Laurie Anderson and Tom Waits, reminiscences by Nordine and Cunningham, all the original cover art and liner notes, and a new poem by Nordine. The only shortcoming of this album is its stingy run of five thousand copies, which are intermittently hard to find. So if you see a copy, snap it up while you can. Bass — Emmet Frazier tracks:toHarold Gaylor tracks: toJimmy Bond tracks: toJohn Frigo tracks: to, Drums — Bob Frazier tracks:toJerome Slosberg tracks: to,Red Holt tracks: to Engineer — Jim Cunningham tracks: toto, Mason Coppinger tracks: toto Woodwind — Ken Soderbloom tracks:toPaul Horn tracks: to Tracks taken from Next!
Track 20 recorded circa No re-channeled stereo was employed in this recording. The Fairchild stereophonic disc mastering was use in transferring the original masters from tape to disc. Posted by Jillem on Friday, October 01, Sometimes I'm in the mood for hip music and nothing else will do.
He is now highly recognized as one of the foremost exponents of a sophisticated style of largely instrumental music that combines elements of lounge music and jazz with Latin flavors. They're of such a similar qualitative standard that none can be singled out as definitive, or even recommended above the others.
The 20 tracks are drawn from RCA releases spanning toincluding both original compositions and oddball versions of standards like "Harlem Nocturne," "Night and Day," "Malaguena," and "Take the 'A' Train. Kansas City. Posted by Jillem on Thursday, September 30, Essential for all Prince Buster fans. One of the best from the man himself, worth every penny, now that it has been deleted. Get it if you can. Very rare and amazing selection from the Prince's rarest sides; great sound, great artwork, pure ska and rocksteady masterpieces.
Including the best whistling tune ever: "rock and shake", and "Dance Cleopatra", a total scorcher which was a minor hit in Holland in The Prince's recording plethoric recording output still begs for a proper reissue job. Until then, true enthusiasts will carry on an almost archeological quest for scratchy elusive Blue Beat singles.
Most of these tunes are worth five or ten times the price of this CD on 45, and not without reason. Get this while you can - its availability in Europe has been patchy to say the least. Possibly because he was part of a postwar, post-colonial social revolution, Prince Buster seems like some sort of ghetto supe- pioneer: a boxer, soundsystem operator, DJ, producer, live performer, humouristsocial and political commentator, owner of a record shop-label-and-jukebox empire, sharp dresser and all round coolest guy in Kingston, and therefore Jamaica, and therefore quite possibly the world at the time.
All his activities complemented and were complemented by the main event, which was his completely unique and inimitable voice, delivery and lyrics. He pronounced himself Prince, the Voice of the People, and made sure he lived up to his claims by being the best. Just as he apparently made sure he would win every boxing match, he made damn sure he only used the cream of Jamaican musicians, on the hottest and hardest rhythms for his backing tracks and productions. When the time eventually came that he could no longer achieve that, I admire the fact that he largely quit the studio: nothing less than the best was ever going to be good enough for Prince Buster, and that ensured that his incredible output remains undiluted and in tact to this day.
He continued with the occasional live appearance, some of which I saw and which were always of the highest possible standard. I was lucky enough to travel with him to one gig and he really exuded the true meaning of cool a word which has become greatly abused now.
It was funny to watch. That ghetto humour was at the heart of a lot of his lyrics and a huge part of his popularity in Jamaica. It could be brutal, as could the ghetto morality that went hand in hand with it in his lyrics.
On the stage when THAT voice was given free rein, it remained completely unspoiled — like his legacy — and came out exactly the same as ever. He had always mixed singing and speaking so seamlessly and tunefully that at times it is almost impossible to say which of those two things he is doing. You would be very hard pressed to find anyone who has ever mixed those two things together better. He was the first real ambassador of Jamaican music worldwide, he was a voice of the third world — luckily for us, speaking in English, and that made him accessible to anyone in the rest of the world who spoke English and was willing to listen.
At first he was picked up in this country largely by working-class kids who could probably relate to the subject matter. Initially ska and reggae was mainly ignored or ridiculed by the mainstream and rock critics — maybe that was partly because Prince Buster was at the forefront of Jamaican lyricists, blatantly and unashamedly covering subject matter that was more or less unheard of in either Europe or America. From ghetto violence and crime, to sex in detailfrom black power and black pride, to commenting on social injustice and poverty, from advocating freedom from colonialism and solidarity with Africa, to other important matters like ridiculing his musical rivals or consigning them to the boneyard, or describing the music on his own record itself and how good that was — nothing was off limits.
In that way lyrically he influenced hip-hop and a lot that was to follow the world over. Buster and some of his Jamaican peers were liberating the sort of real language and subject matter years before it would eventually become commonplace not just in music, but in mainstream TV drama and comedy. Stylisticallythe very idea of reciting over an instrumental backing track, which Buster was a pioneer of, became the basis of hip-hop years later when the Jamaican DJ Cool Herc introduced it to the Bronx.
Buster was really the first king of Jamaican music and started an international process which, with the help of its second king, made reggae probably the most popular music in the world, only to be eventually surpassed in popularity by hip-hop, a form which it had itself helped create.
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