Resin Music presents: Surf Roots Thurs with Yellowman and The Divine Crime

Description: 9:00 PM (5:00 PM doors)

Yellowman : Jamaica’s first dancehall. superstar, Yellowman ushered in a new era in reggae music following Bob Marley’s death. His early-‘80s success brought the popularity of toasting — the reggae equivalent of rapping — to a whole new level, and helped establish dancehall as the wave of the future Yellowman was one of the most verbally nimble toasters of his time, with a loose, easy flow, a talent for improvisation, and a definite wit in his wordplay. Plus, all the boasting about his prowess on the mic or in the bedroom had to be over the top to be convincing: true to his stage name, Yellowman was an albino, which carries a tremendous social stigma in Jamaica. Bouts with cancer pushed him into more thoughtful, socially conscious territory in the ’90s, but his initial style remains the most influential, paving the way for countless dancehall toasters to follow. Yellowman was born Winston Foster in Negril, Jamaica, in 1959 (some accounts say 1956). An early target for abuse because of his albinism, he grew up in an institution in Kingston, with little to keep him company besides music. Influenced by early toasting DJs like U-Roy, he practiced rhyming and got a job with the Gemini Sound System as a substitute DJ. Christening himself Yellowman and dressing in a bright yellow suit, he peppered his lyrics with jokes about his skin color and outlandish tales of his sexual conquests. In 1979, he won a landslide victory at the well-known Tastee Talent Contest, and within months he had become one of Jamaica’s top concert draws, thanks to a dynamic, humorous stage show. Yellowman recorded prolifically in the early ‘80s, at one point flooding the Jamaican market with more than 40 singles. His first full-length album, Them a Mad Over Me, was recorded for Channel One in 1981 and featured the hit title track and the single “Me Kill Barnie,” an answer record to Lone Ranger’s hit “Barnabas Collins.” Despite this success, Yellowman didn’t truly hit his stride on record until he hooked up with groundbreaking dancehall producer Henry “Junjo” Lawes. The 1982 LP Mister Yellowman kicked off their collaboration; released internationally by Greensleeves, it started to break him in the U.K. and U.S., and is still often acclaimed as his best album. It also launched a series of Jamaican hit singles over the next few years that included including “Yellowman Getting Married” (a rewrite of the My Fair Lady number “I’m Getting Married in the Morning”), “Mr. Chin,” “Who Can Make the Dance Ram” (a rewrite of “The Candy Man”), “Zungguzungguguzungguzeng” (sampled by several hip-hop acts), “The Good, the Bad, and the Ugly,” “Soldier Take Over,” “Nobody Move Nobody Get Hurt,” and “Wreck a Pum Pum,” among others. Many of his recordings during this era featured vocal contributions from fellow DJ/toaster Fathead, whose specialty was punctuating lines with animal noises (“ribbit” and “oink” were his favorites). After 1983’s Zungguzungguguzungguzeng album, Yellowman signed a major-label deal with CBS Records, which encouraged him to maintain the stylistic versatility of his previous work. However, his lone album for the label, 1984’s King Yellowman, sported mixed results, attempting everything from slack toasts to R&B; and pop-tinged crossover tracks, including covers of “Sea Cruise” and “Take Me Home Country Roads,” and the much-maligned fusion attempt “Disco Reggae.” He subsequently released several albums on Shanachie, including 1984’s Nobody Move Nobody Get Hurt, 1985’s Galong Galong Galong, 1986’s Going to the Chapel, and 1987’s Don’t Burn It Down. The latter found him delving more into social consciousness; the title cut was a pro-marijuana protest, while “Stop Beat Woman” condemned domestic violence, and “Free Africa” criticized apartheid. Around the same time, he suffered a bout with throat cancer, but fortunately recovered. He returned to action with the hit Fats Domino cover “Blueberry Hill,” and moved to the Ras label to record the well-received Yellow Like Cheese album with producer Philip “Fatis” Burrell. 1994’s Prayer album (still on Ras) was the first effort in this new direction, and it was followed quickly by Message to the World in 1995. 1997’s Freedom of Speech continued in a similar vein, after which Yellowman switched over to the Artists Only label. His first effort was 1999’s Yellow Fever, which concentrated on conscious reggae but also featured some good-natured party tracks. New York followed in 2003, and Round 1 in 2005.

The Divine Crime: Featuring the former backing band of HR from Bad Brains and funked-out vocalist Amee Jana, The Divine Crime is an all-star crew with a high energy show, song-writing power, and a contagious vibe. Representing true musicianship and serious eye candy, this new group demands attention, infusing reggae, roots, dub, dancehall, soul and jam music into a seamless combination. Heavy & danceable grooves with layers of deep bass, synth textures, loud rippin’ guitar and heart filled melodies & harmonies is what defines this group. Their mission is to empower every kind of music lover, throw fears & complacency out the door, and rock it out no matter who’s staring. Conscious and soulful, the band delivers an incredibly high-powered, raw energy performance, and invites you to share their vision. In less than a year, The Divine Crime has already had the opportunity to perform with Yellowman, Barrington Levy, Rebelution, Pato Banton, Bushman, PYRX, Mystic Roots Band, Garth Dennis from Black Uhuru & Wailing Souls, Rising Son, Myka 9 and Nadirah X, and hope to extend their love in months to come.