Archive for October, 2013

Key West continues…

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The Key West party continues. Actually today (Thursday) is the official start of MOTM. Hard to believe everything up to this point has been a warm up! LOL

The weather in Key West has been perfect. Mid 80’s during the day and upper 70’s at night. There has hardly been any clouds but a decent breeze has been blowing. The water is a perfect shade of blue and the sky has been too. This is the weather people from up north come to Key West for.

Sunshine Cindy and I have been all over the island the last couple of days. We have hit all of our favorite spots. But our newest favorite is Dante’s. Okay, it is because we sponsor the Welcome to the Island Party there. But it is a great spot and we had another fantastic party. A large number of people came and went all afternoon. The musicians were wonderful and the friendships priceless. We have already committed Crab Island Mambo to be the primary sponsor again next year!

We did get a bit of interesting news about the new Destin Margaritaville. We were at the Cafe on Duval street last night. We talked to a lady we thought was just a customer but she also was a server there. She was off for the night enjoying the music. It turns out the manager of the Key West Margaritaville will be coming to Destin to open and manage our new restaurant. We didn’t get a chance to talk to her but we will be back to welcome her to Destin.

One cool thing about MOTM is all the musicians we get to see that we have not seen before. Yesterday at the Lazy Gecko we got to see a full show from Wes Loper. It was the first time we heard Wes. He was really good. Check him out if you get a chance.

Okay, time to keep the party going and get out and enjoy this perfect Key West morning. Next update will be Monday or maybe Tuesday depending on when we get home! See ya then!

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Gulf Coast Cowboy Hour Tonight 7-8pm CST

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Welcome back, trop rockers! This week we’re celebrating the songwriters!

Click for KBEC 1390 Classic Texas Music - Gulf Coast Cowboy Hour

1. It’s A Moray – The Barefoot Man

2. Livin’ The Life (Only Jimmy Buffett Wrote About) – Brent Burns

3. Corpus Christi Bay – Robert Earl Keen

4. Songs You Know By Heart – PHINS

5. I Lobster But I Never Flounder – John Reno & The Half-Fast Creekers


6. Jambalaya (On The Bayou) – Waylon Jennings

7. JB Song – Sonny Russell & the Tropics

8. Walkin’ Around (The Border of the Quarter) – Todd Sparks

9. Gentleman of Leisure – Jimmy Buffett

10. Coastal Cowboy – John Friday

11. Port “A” Saturday Night – Jerry Diaz & Hanna’s Reef

12. Cowboy Boots & Bathin’ Suits – Jerry Jeff Walker

13. Magic Chair – John Reno & The Half-Fast Creekers

We’ve got a great show for you on this Halloween week! It’s all about paying homage to the songwriters this week. Up first, we’ve got The Barefoot Man with his tropical version of a classic, “It’s A Moray”. Following him, it’s Brent Burns and Robert Earl Keen with “Livin’ The Life (Only Jimmy Buffett Wrote About)” & “Corpus Christi Bay”. If you haven’t already gotten tickets to see him, Robert Earl Keen will be playing at the Bass Performance Hall on December 28. Up next, out of St. Louis, MO, is PHINS with “Songs You Know By Heart”. Then the first of 2 from John Reno & the Half-Fast Creekers with “I Lobster But I Never Flounder”. A legendary songwriter is up next, Waylon Jennings with “Jambalaya (On the Bayou)”. I can smell it now! I’d love to have some of that jambalaya in front of me. “JB Song” by Sonny Russell & the Tropics is up next, followed by “Walkin’ Around (The Border of the Quarter)” by Todd Sparks. Then, of course, one of my personal favorite songwriters of all time, Jimmy Buffett, with “Gentleman of Leisure”. Up next, a song that very closely resembles the name of this program, “Coastal Cowboy” by John Friday, followed by “Port ‘A’ Saturday Night” sung by Jerry Diaz & Hanna’s Reef. Playing us out, we’ve got a very well known singer/songwriter followed by the 2nd of a pair. Jerry Jeff Walker sings “Cowboy Boots & Bathin’ Suits”, then to end the show it’s “Magic Chair” by John Reno & the Half-Fast Creekers. That’s all for this week! Be sure to pay your own tribute to some of your favorite songwriters. Visit our Facebook page and let us know how you celebrated!


Key West

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We made it…we are in Key West! The blog is a day late as we got into town and right into party mode. It was my birthday too. Sunshine Cindy and Wayne did a last minute surprise party for me. They had the band members of Southern Drawl show up as well many other friends. We had a great time then we all hit the town.

I won’t bore you with all the details. I will have a day-by-day account of the entire trip on the Crab Island Mambo web site in the Mullet Wrapper in November. And no pictures as I am not on my computer. Sorry…

But…a few highlights so far…We had a great time in Punta Gorda. We did see Southern Drawl Friday night and Sunday afternoon. On Saturday Sunshine Cindy and I went to the Oktoberfest and made a stop at Bert’s Bar. It is a funky hole in the wall place.

We call this trip our “family reunion” as we reconnect with so many old friends. This time is no different. We seem to pick up right where we last left off.

Okay, time for a morning walk in Old Town to get the blood flowing. I will try to update on Thursday. But we are on Island Time so no promises! See ya then!!!

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Artist Spotlight – Gregory Isaacs – Reggae Legend

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Gregory Isaacs

Brand New Me thumbnailOne of Jamaica’s most beloved vocalists who was as pertinent in dancehalls as he was in bedrooms, Gregory Isaacs’ career stretched over 30 years. From the heady days of reggae through lovers rock, a genre he virtually invented, his talent reached into the modern age. Born in the Fletcher’s Land area of Kingston, Jamaica, on July 15, 1951, Isaacs arrived in the music business via the talent show circuit, a tried and true formula for many of the island’s budding singing stars. Byron Lee was the first in the industry to spot his talent and brought him and Winston Sinclair into the studio to record the duet “Another Heartbreak” in 1968. Sadly, it went nowhere, and Isaacs decided to try his fortunes with a new vocal trio, the Concords. They set up home at Rupie Edwards’ Success label, and over the next couple of years released a number of singles, including one with Prince Buster, but none caught the attention of the Jamaican public.

In 1970, the Concords folded and Isaacs struggled on alone. His initial self-productions were similarly unsuccessful, while further cuts with Edwards did no better. Regardless of this poor track record, in 1973 Isaacs set up his own record store and label, African Museum, in partnership with Errol Dunkley, a young singer with a string of hits to his own name. Apparently some of Dunkley‘s own magic wore off and one of the label’s first releases, Isaacs’ own self-produced “My Only Lover,” was an immediate hit and the floodgates opened wide. Besides African Museum’s offerings, Isaacs helped keep the label solvent by recording with virtually every producer on the island for a stream of hits that showed no sign of abating.

Between 1973 and 1976 alone, the singer released more material than most artists do in a lifetime, virtually all of it timeless classics. Isaacs’ early albums inevitably gathered up strings of these hits, while usually also including a few new songs. Released in 1975, In Person, for example, features a heavy-hitting collection of successes for producer Alvin Ranglin and was followed up in 1977 by Best Of, Vol. 1 and Best Of, Vol. 2 in 1981. (The Heartbeat label would bundle up this material across three CDs for the U.S. market: My Number OneLove Is Overdue, and The Best Of, Vols. 1-2). Similarly, 1976’s All I Have Is Love includes a hit-filled package of Sydney Crooks productions. Extra Classic, co-produced by Isaacs, Pete Weston, and Lee Perry, is also stuffed with chartbusters and showcases the singer’s deepest roots material. The latter album appeared on African Museum, cut with a diverse range of producers, across three volumes titled Over the Years.

In 1977, the U.K. was treated to an equally dread experience via Mr. Isaacs, released on Dennis Brown‘s DEB label. (Turnabout is fair play and Brown had released several classic albums of his own on African Museum.) By this time, the two polar sides of Isaacs were apparent: the roots singer, whose emotive sufferer’s songs and cultural numbers were filled with fire, and the crooning lover, whose passionate declarations of devotion quivered with emotion. Eventually, the vocalist’s ties to the lovers rock scene saw his reputation as the Cool Ruler overshadow the equally impassioned roots performer, but his work in the latter half of the ’70s shows his heart was true to both. Isaacs was quick to take advantage of the rise of the DJs; producer Ranglin paired him with a string of cutting-edge toasters for another flood of hits, beginning in 1978. It was at this time that he first hooked up with DJ Trinity, a partnership maintained into the next decade across a stream of seminal singles.

By now, Isaacs was too big a talent to ignore, and in 1978 he signed with Virgin’s Frontline label. That same year, the singer had a featured role in the classic Rockers movie. Inexplicably, however, as Isaacs was poised on the brink of international success, he failed to set the rest of the world alight. His debut Frontline album, the excellent Cool Ruler, barely ruffled a feather outside Jamaica. It did, however, provide most of the material for Slum: Gregory Isaacs in Dub, which boasted fat rhythms by the Revolutionaries, keyboardist Ansel Collins with Prince Jammy, and Isaacs himself behind the mixing board. Cool Ruler‘s follow-up, 1979’s Soon Forward, was filled with hits that would soon become classics, but also did not make the slightest dent on the world beyond Jamaica. The latter’s title track was produced by Sly & Robbieand gave the pair’s new Taxi label its first hit. Isaacs cut several more great singles with the team, which were brought together for 1980’sShowcase album. Even with Frontline out of the picture, Isaacs continued going from strength to strength. Inking a U.K. deal with the Pre label and with his fortunes secure in Jamaica, the artist continued turning out hit after hit. His Pre debut, The Lonely Lover, and its follow-up, 1981’s More Gregory, both boast the Roots Radics and a host of Jamaican hits that range from lovers rock to deep roots and on to the emerging dancehall sound. No wonder the singer was a hands-down success at the first Reggae Sunsplash. It was at this point that Island stepped up to the plate and signed the singer to their Mango imprint.

Virgin label head Richard Branson must have cursed his own stupidity, as Isaacs immediately repaid his new label’s faith with his biggest hit of all, “Night Nurse.” The song titled his Mango debut, another masterpiece, and again featured the steaming Roots Radics. Amazingly, as the song spread around the world, the singer sat whiling his time away in a Jamaican jail as the result of a drug arrest. He was released later in 1982 and immediately entered the studio to record Out Deh with producers Errol Brown and Flabba Holt. Once again able to take the stage, Isaacs played a series of awe-inspiring shows over the next year, captured on both 1983’s Live at Reggae Sunsplash and the following year’s Live at the Academy Brixton albums. Behind the scenes, Isaacs joined the shadowy conspiracy of vocalists determined to return vocalists to their rightful place in the market by flooding the shops with music. An all-star cast of veteran singers joined the plot, including Dennis BrownJohn HoltDelroy Wilson, and many more, but none would reach the prolificacy of the determined Isaacs.

It’s been estimated that the singer released up to 500 albums (including compilations) in Jamaica, the U.K., and the U.S. combined. The singer recorded with anyone and everyone and was just as quick to revise his old songs as create fresh ones. Although none of these are entirely disposable, inevitably the quality of Isaacs full-length work began to decline in the mid-’80s. The Ted Dawson-produced Easy and All I Have Is Love, Love, Love, for example, certainly have their charms, but are hardly crucial. But that didn’t mean the hits had dried up. Those 500 records are albums only, not singles, and the shops (and charts) continued to overflow with Isaacs’ 45s. And the rise of ragga just added hot new producers to the singer’s packed recording diary.

In 1984, producer Prince Jammy, equally intrigued with the changing sounds of dancehall, brought Isaacs into the studio for the superb Let’s Go Dancing, while also pairing the singer with Dennis Brown for Two Bad Superstars Meet. The latter proved so popular that a second set,Judge Not, appeared the next year. The two singers dueted again on a track on Isaacs’ 1995 solo album, Private Beach Party, which also boasted an exquisite “Feeling Irie,” which paired him with Carlene Davis. The album was produced by Gussie Clarke, a man with the determined goal of creating an international crossover sound via his own one-stop operation à la Motown. He hadn’t quite succeeded yet, butPrivate Beach Party helped lay the groundwork.

In 1987 Isaacs collaborated with the equally sweet-singing DJ Sugar Minott for the Double Dose album. Isaacs swiftly found himself a dancehall hero. It was during this period that Isaacs also recorded an album for King Tubby. Warning boasts the magnificent rhythms of the Firehouse Crew, and a dark atmosphere of foreboding slinks through the entire set. It was not released at the time and only came to light after the great man’s murder in 1989. By then, Isaacs had already stormed the world, digital or otherwise, with the 1988 Gussie Clarke-produced “Rumours” (whose rhythm would launch scores of further version hits, including J.C. Lodge’s “Telephone Love,” an even bigger smash). The masterful Red Rose for Gregory boasts a clutch of hits beside equally sublime non-45 tracks, all cut for Clarke. The pair’s follow-up, 1989’s I.O.U., is arguably an even stronger album. That same year, Clarke reunited Isaacs and Brown for the No Contest album. Isaacs continued to cut seminal singles with Clarke, while also recording with a host of other producers. In 1990, the singer joined forces with Niney Holness for the excellent On the Dance Floor album. The next year saw Fatis at the controls for Call Me Collect, which boasts Sly & Robbie and Clevie, while Bobby Digital adds his unique production sound to 1991’s Set Me Free. And having inked a deal with RAS in the U.S., that label’s head, Doctor Dread, oversaw 1992’s memorable Pardon Me. Philip Burrell was in the producer’s chair for 1994’s Midnight Confidential album.

But there was a slew of lesser titles as well; while Isaacs seemed able to always hit the mark with singles, albums required more effort than he was often willing, or able, to give. No Intention and Boom Shot, both from 1991, are workaday records, with the singer on autopilot. Past & Future sounds promising and features such illustrious guests as Sly & Robbie, J.C. Lodge, Winston Riley, and Boris Gardiner on material both new and old, but it’s obvious that no one’s heart is really in it, Isaacs’ least of all. The patchy Rudie Boo (released by Heartbeat in the U.S. as My Poor Heart) suffers from a similar lack of interest on the singer’s part. At least 1993’s Unlocked featured a stronger set of songs, but much of Isaacs’ releases throughout the ’90s were hit-and-miss affairs. Midnight Confidential, for example, is totally disposable, except for the magnificent “Not Because I Smile.” Most of the albums frequently revisit older hits, which even at their worst tend to stand out from the newer fare.

Younger or less experienced producers were in particular danger, and as the years progressed it was only the toughest and most innovative producers who could coax the best from the singer. Alvin Ranglin, for example, wrung an exquisite set of emotionally riven songs from Isaacs for 1995’s Dreaming. Mafia & Fluxy’s fat, dubby rhythms inspired one of the singer’s best performances in ages for Hold Tight two years later. The wisest course in negotiating one’s way through the minefield of latter-day Isaacs is to look at the production credits. If you like the slick production that’s the trademark of Bunny Gemini, chances are you’ll appreciate 1996’s Mr. Cool. Junior Reid likes diversity, and thus, Not a One Man Thing has that in spades, from the slacker-themed “Big Up Chest” to a remodeled “Don’t Dis the Dance Hall.” Steely & Clevie laid down the rhythms for 1998’s Hard Core Hits; if you’re not a fan of their digitized dancehall mayhem, choose another album. King Jammy is let loose on 1999’s Turn Down the Lights, and while not up to the standards of Let’s Go Dancing, it’s still an enjoyable ride. Joe Gibbs, Errol Thompson, and Sydney Crooks lent their expertise to So Much Love, another one of Isaacs better later offerings.

The singer began the new millennium with aplomb on Father and Son, which, true to the title, features Isaacs and his son Kevin. The duets are gorgeous, while the younger Isaacs is given plenty of room to prove that his talent is equal to his dad’s. The next year, I Found Love marked the second time the two worked together. In between times, the singer continued to impress audiences live, and his recorded output continued sporadically during the remainder of the decade. However, by 2007 he had reportedly lost his teeth due to crack cocaine addiction, and he was later diagnosed with lung cancer, which spread and ultimately took his life. Gregory Isaacs died at his home in London on October 25, 2010 at the age of 59. ~ Jo-Ann Greene, Rovi

Producer Don Corleon Talks Inner Circle’s Influence on Reggae and New Projects with Ne Yo and Sean Paul

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Large up & GIVE THANKS !! This is Dreddy Dred from di Inner Circle Crew! Just updating you on what a wonderful and blessed year Inner Circle is having! 
Check out all di videos & di links ! For more information stay in touch with Inner Circle by logging on to .For bookings
For any PR, Drops, or Dubs contact BB
Don Corleon
Inner Circle Live From Ventspils City 
Festival in Latvia
Inner Circle at Furuvik Reggae Festival 2013 in Sweden
Inner Circle Live at Viru in 
Tallinn Estonia 
Inner Circle at the Kaliningrad City Jazz Festival in Russia
Inner Circle Live at Overjam Festival 2013 in Slovenia 
Inner Circle Performs at Grassroots Festival in Virginia Key Beach
The OFFICIAL Video for Inner Circle ft. Slightly Stoopid & Bizerk. Watch for the cameos from SOJA, Da Professor, & Rootz Underground.
The OFFICIAL Video for “This Is Reggae Music” Inner Circle featuring The Reggae Wave

Inner Circle Behind The Scenes of Slightly Stoopid & Capleton’s “No Cocaine” from the VANS Dub Rockers Compilation
Supa Dups

Deep In Our Hearts – from Carol Ewald

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Hey Beachbums…..As most of you know, we lost our precious DJ Jeff this week.  The Beachfront is cloudy and we are all hurting from his departure.  But we are a family and will hold each other up and the music will help us escape and the sun will shine again.
Included with this email is a free download of St. Somewhere’s “Deep In My Heart”This was a special song for him (us) and will be for all of us because he IS deep in our hearts.Just click on the link above.

On Wednesday, Oct. 30th – from 12-5 (EST) there will be a “Celebration of Life” at the Smokin’ Tuna for Jeff. If you can not be there physically, you can tune into the Tuna Cam and join the celebration. There will be tributes to him at so many of the events during the week. Someone even said on a post that if Jimmy shows up this year…he will be upstaged by Jeff, LOL..

His passion was Beachfront Radio and the music, but also the Phins To the West DJ Jeff Fund.  This Fund helped relieve so much stress and when you’re dealing with a terminal illness…you need every stress reliever you can find.  But his wishes were that it goes onto help others.  That was Jeff…always thinking of others. So we hope you will donate in his honor on the Taking Care of our Own website..The Phins to the West  event has always been an amazing “Party with a Purpose” just as so many others are and they were the full backers of the Fund.  We hope you go out and support these events all over the country that Party With A Purpose. .

The Beachfront will NEVER be the same without him but the music has to go on. Your outpouring of support and love has not gone unnoticed and his loved ones and family. It has been amazing and so comforting.

As we head into the biggest phlocking, MOTM in Key West, he would want us to celebrate the music there as he was “Keeper Of The Flame”.  For many of us, it will not be the same without him but he lives through every song that is sung and will be missed by so many.

Carol Ewald


Buffett performs in Las Vegas

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Jimmy Buffett and the Coral Reefer Band brought their “Songs From St. Somewhere” tour to the MGM Grand in Las Vegas on Saturday night. The set list from the show is now available. They played the song “Colour Of The Sun” from the album “Songs from St. Somewhere” (it was also performed on Thursday in Phoenix). For the final encore Jimmy performed the song “You Never Can Tell” (Chuck Berry cover), which he also did for the two recent shows in Paris.

The tour will resume on November 30th with a show at the KFC Yum! Center in Louisville, KY. Followed by stops in St. Paul MN, Tulsa OK, Little Rock AR, and Honolulu HI.

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Buffett performs in Phoenix

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Jimmy Buffett and the Coral Reefer Band continued their “Songs From St. Somewhere” tour Thursday night at the US Airways Centre in Phoenix AZ. The set list from the show is now available.

AZCentral has a review of the show: “Jimmy Buffett brings Parrotheads to Phoenix party

Earlier this week, Phoenix mayor Greg Stanton proclaimed Oct. 24 Jimmy Buffett Day, in honor of the sunbaked songwriter/author/cheeseburger salesman’s stop at the arena, part of his Songs From St. Somewhere Tour, with his loyal Coral Reefer Band in tow. It isn’t every day that a novelty songwriter earns his own holiday in this fair city, but Buffett is no ordinary novelty songwriter. Say what you will about his all-encompassing cheesiness, but Buffett boasts a loyal following, “Parrotheads,” as they’re known to self-identify. Unlike Juggalos, another “fandom-as-lifestyle” example, Parrotheads are generally affluent, the kind of folks who sport high-priced Hawaiian shirts and don’t mind dropping some coin on a night out. Downtown Phoenix was flooded with Tommy Bahama shirts. CityScape was abuzz. Streets were closed. Jimmy Buffett is a business, and the Jimmy Buffett business is very, very good.

The appeal of Buffett is no mystery: the guy’s songs are hooky. With a Telecaster strapped around his barrel chest, Buffett looks impressively fit for his 66 years, barefoot in his trademark t-shirt and shorts. The crowd was with him from the get go. “It’s Phoenix, Arizona, on a Thursday,” Buffett roared, following an extended steel drum intro of Van Morrison’s “Brown Eyed Girl.” Following “Kinja,” John Hiatt’s “The Tiki Bar is Open” set the tone for the remainder of his set.

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Dedicated to a Brother

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Music and events that happen in Key West as observed by Chris Rehm. “What Happens in Key West Stays in Key West” Wrong! Everyone wants to know what’s happening in Key West!

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Wildwood seeking proposals for more beach concerts

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WILDWOOD — City officials want concerts like Kenny Chesney and the alternative rock show earlier this year to become regular events on Wildwood’s beach each summer.

To make that a reality, commissioners unanimously voted on a resolution to begin accepting qualified proposals for music festivals and concerts during a special meeting Oct. 17.

Ryan Troiano, who described himself as the “main person coordinating what will be done on the beach moving forward,” said that since the resolution was passed, about five packets had already been picked up from City Hall.

“Wildwood’s not a secret anymore,” he said.

Troiano, who is the son of Mayor Ernie Troiano, was hired in June as the confidential secretary of the commissioner of revenue and finance. He is also a city firefighter. He makes $30,000 in the new position, in addition to the $59,328 he earns as a firefighter.

He explained that the city chose to use requests for qualified proposals to give anyone the chance to pitch their ideas to the city. By doing that, he said, the city could then judge which events will be the most beneficial to the city’s taxpayers.

According to the resolution, “it is in the public’s interest to provide for events and activities on the city’s beach.”  It also states that the value of the concessions is dependent upon the proposals received by the city.

Troiano said that the bid packets explain that there is a $15,000 minimum flat fee to be paid to the city for use of the beach for a music festival or concert. The resolution also states that “there should be no cost incurred by the city because the concessionaire shall compensate the city for any public services required by the event.”

After the proposals are received, the city will then determine which events to allow on the beach. Some of the criteria officials will weigh, Troiano said, include how the city will benefit financially, as well as the aesthetic of the event. He added that the city hopes that the events will help add to the image of Wildwood’s beach as “world-class.”

To help attract potential proposals, Troiano said the city plans to spend the winter working on cleaning up the beach. One small aspect, he said, was power washing all the trash cans and repainting them, as well as other low cost clean ups and fixes.

To keep taxes stable, Commissioner Pete Byron has repeatedly said the city has to further investigate new revenue sources. In Wildwood, that means looking to its expansive beach.

“The beach is the greatest untapped source for potential new revenue,” Byron said earlier this month.