Jamaican reggae vocalist Bob Andy dies aged 75

Socially conscious singers hit version of Young, Gifted and Black reached No 5 in the UK charts with duo Bob and Marcia

Bob Andy, the reggae vocalist who performed a hit version of Young, Gifted and Black as part of the duo Bob and Marcia, has died aged 75 after a short illness.

His death was confirmed by his collaborator on that song, Marcia Griffiths, who told the Jamaica Observer he died at 8am on Friday 27 March.

Bob & Marcia reached No 5 in the UK in 1970 with Young, Gifted and Black, an uptempo recording of the Nina Simone original. They also reached No 11 in 1971 with Pied Piper, which spent 13 weeks in the charts.

Andy was born Keith Anderson in Kingston, Jamaica, and began his career in the groups the Binders and the Paragons before going solo in the mid-1960s. Recording in the legendary Studio One under producer Coxsone Dodd, he cut songs that would become reggae standards, such as Ive Got to Go Back Home and Too Experienced.

He also wrote songs that would be recorded by reggae stars including Gregory Isaacs, Ken Boothe and Delroy Wilson, along with solo numbers for Griffiths, although their partnership ended when she joined the I Threes, Bob Marleys group of backing vocalists.

Young, Gifted and Black was just one of his socially conscious songs. Others, such as Fire Burning and Check It Out, castigated capitalism and the ruling classes. But he suffered from health issues, including migraines, and put music to one side for a number of years from the late 1970s onwards, broadening into acting. He also became an A&R for Tuff Gong records, the label founded by Marley.

As his health improved, Andy returned to music in the 1990s. In 2006, he was awarded Order of Distinction by the Jamaican government for his services to music.

Reggae DJ David Rodigan was among those paying tribute, writing on Twitter: We all loved you Bob Andy and we know how much you loved us, your legions of fans all over the world. At least you are at peace now; youve left us a truly remarkable repertoire of songs which we will all treasure for ever.

Read more: https://www.theguardian.com/music/2020/mar/27/jamaican-reggae-vocalist-bob-andy-dies-aged-75-young-gifted-black

‘She makes children of us all’: Guardian writers pick their favourite Kate Bush lyrics

As Kate Bush reveals a book of her gathered lyrics, Guardian authors choose their preferred lines from throughout her profession

You’re the One (The Red Shoes, 1993)

I’ve got whatever I require I’ve got fuel in the cars and truck I’ve got some loan with me There’s simply one issue You’re the just one I desire

It’s simple to neglect this separation ballad. The album it’s drawn from– The Red Shoes– includes Rubberband Girl and Why Should I Love You?, which brazenly integrates Prince and Lenny Henry . You’re the One, the album’s closer, takes an uncomplicated story of 2 individuals breaking up and turns it into the equivalent of Nothing Compares 2 U, when it comes to a huge overblown declaration about heartbreak. The lyrics, which begin with the oddly practical(“It’s alright, I’ll come round when you’re not in”)are the secret to its success, as Bush gradually and unfortunately confesses to being not able to operate without her enthusiast. Bush’s own long-lasting relationship with bassist Del Palmer had actually concerned an end prior to the album was tape-recorded, while her mom and guitar player Alan Murphy likewise passed away in the lead as much as the album’s release. That loss is sprayed all over the tune however these lyrics, in an immediate, capture how putting a brave face on things cannot outrun the discomfort of sorrow. Lanre Bakare

Cloudbusting(Hounds of Love, 1985 )

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But whenever it rains You’re here in my head Like the sun coming out Ooh, I feel in one’s bones that something excellent is going to occur

I initially heard this throughout
the most affordable point of my life. I had actually just recently finished however– to exaggerate Morrissey– Wilhelm Reich and his child, Peter, and in specific their time invested together making a rain-making device– a Cloudbuster — however these lines spoke with me and used a brilliant light at the end of an extremely dark tunnel.

Each time I heard it, I quickly felt much better: about myself, the future, whatever. Slowly, I understood that the vocalist was singing about a dad, whose memory remained on, and I associated to that too. My own daddy passed away when I was 6, however among my abiding memories of him is of how he left a brand-new word for me every day on a chalkboard prior to he went to work, which suggested I might spell by the time I got to school. All this came together when an exasperated dole mate, Paul, stated,” Look, all you’re interested in is music. Why do not you blog about music? “and a light bulb went on above my head. I climbed from the tunnel, never ever to return. Thank you Dad, thank you– anywhere you are– Paul, and thank you Kate. Dave Simpson

Moments of Pleasure( The Red Shoes, 1993)

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This sense of humour of mine It isn’t really amusing at all Oh, however we stay up all night Speaking about it

Aside from being 6 minutes of stunning piano work backed by an orchestra, set up by Michael Kamen , Bush’s Moments of Pleasure is amongst her lyrically greatest works

thanks to its lightness of touch. Primarily influenced by the sorrow that followed numerous individuals near her had actually passed away, there are vignettes of memory; the titular minutes of enjoyment(“I consider us/ resting on a beach someplace”). It’s this lyric that I go back to. I ‘d dislike to state these lines stand apart for me as somebody who definitely deals with the darkest of occasions utilizing uncomfortable jokes and black humour, much checked out by annoyed therapists and partners, however, well … that is why. No concept if this holds true, however I’ve heard the line was influenced by a service technician who mistakenly cleaned an ended up track from The Dreaming:”God, I could not stop chuckling “. You got ta laugh or you’ll sob? Hannah Jane Parkinson

Leave It Open(The Dreaming, 1982 )

We let the weirdness in

The Dreaming isn’t really Kate Bush’s finest album, however it stays my favourite; there’s something extremely seductive about the noise of an artist lastly letting their creativity totally run riot. Not that Kate Bush’s creativity was ever awfully constrained, however The Dreaming is marked by the sense that tasting innovation had actually now allowed her to totally recreate the noises in her head, which she was now effective enough to please no-one aside from herself. That’s exactly what Leave It Open appears to be about: a confession that things had not constantly been done the method she would have liked–

“narrow mind would maltreat it, pass away a little simply to obtain to it”– and a statement that they will be from now on. There’s something truly moving about the method the lyrics make the listener complicit, drawing you into her progressively strange world: it’s not confrontational however relying on, it ends with a duplicated invocation not of” I”, however”we let the weirdness in”. The pronoun appears crucial, as if she understands that anybody left after this remains in it with her for the long run. Alexis Petridis

This Woman’s Work(The Sensual World, 1989)

I stand outside this female’s work This female’s world Ooh, it’s difficult on the guy

The concept of pregnancy being difficult on the guy … blimey, do we truly wish to go there!.?. !? As somebody who saw his difficult cookie of a spouse doubled up in pain while giving off sonorous groans and implicating her caring other half of conspiring with the midwives to reject her discomfort relief

, I’m uncertain now(or ever)is the time. The partner’s experience of giving birth undoubtedly supplies its own special brand name of abuse– not least in the large powerlessness you feel. The act of enjoying biology try around you while you can do absolutely nothing however”hope God you can cope”and attempt not to let your tears reveal is something lots of guys will have felt. I question any will ever reveal it as eloquently as Bush. Tim Jonze

I need to be weeping, however I simply cannot let it reveal I need to be hoping, however I cannot stop believing Of all the important things I must’ve stated that I never ever stated All the important things we need to’ve done though we never ever did

For me this tune mentions sorrow; of learning that life is not limitless, relationships do not constantly last and eventually whatever you’ve wished to state to somebody liquifies; it’s far too late, and time has actually proceeded without you. It is a tune that requires guts–to speak

up, to stand, to take a trip, to see whatever and do whatever since life has a method of interfering with strategies. Naturally it is an unfortunate tune, however unhappiness here is a chauffeur– a method of moving on and promoting more. Jenny Stevens

The Man With the Child in His Eyes(The Kick Inside, 1978 )

They state no, no it will not last permanently And here I am once again my woman Wondering exactly what in the world I am doing here Perhaps he does not enjoy me I simply travelled on my love for him

I’m a weird sort of music fan: I do not actually discover lyrics. There are tunes that make my heart swell and radiance, however I can just choose odd words, or price quote simply the periodic line that drifts to the surface area. Possibly that’s why Kate Bush’s The Man With the Child in His Eyes is the track I consider now. Voice, cello and piano, hardly 3 minutes long, with whispered lines that appear to come from a half-remembered dream, it’s direct and so basic it seemed like something I ‘d constantly understood.

Bush composed this tune at

14 or 15, and tape-recorded it at 16, the age I too was spinning secret
dreams

of being treasured and just comprehended in the method her lyrics mentioned. Its lack of cynicism makes it a tune that might just be composed by a young teen, from its distressed strength as it stumbles from statements of everlasting love to,”Maybe he does not enjoy me “, and its us-against-the-world story:”They state no, no, it will not last”. I desired somebody to inform me about the sea. All the young boys I understood simply had bad hair , areas and made foolish jokes about the size of your breasts. And, to exaggerate another excellent
artwork that sustained my teenage years, The Princess Bride , this wasn’t a tune about kissing(yuck), this had to do with something deeper, purer. I question if I was likewise obliquely glimpsing the discomfort and vulnerability I saw however might not straight acknowledge in my daddy, as my moms and dads’marital relationship separated that very same year. Bush’s tunes soundtracked that duration of my life, which is why today The Man With the Child in His Eyes makes me think about my daddy, which is why I still treasure it. Imogen Tilden

A Coral Room (Aerial, 2005)

My mom And her little brown container It held her milk

The power of Bush’s lyrics is typically discovered in the method she telescopes in between fantastical visions and intimate information, and this is a best example. Coming at completion of disc among 2005 double album Aerial– a series of character research studies consisting of Elvis, Joan of Arc and her kid– is this tune about Bush’s mom. It starts with a strange reverie, seeing a cityscape as well as a battleground in a lot of fishing stuff, however simply as Bush gets brought off by her vision, it’s as if something sets off a long-forgotten memory. The world agreements to a space. Like all our most effective memories, it is an extremely basic image, but so redolent of nursing and support. This is among the most extremely poignant minutes in Bush’s brochure, all the more so for how the clearness of the memory is crowded out by her reverie hurrying back in once again. Similar to Eliot’s”Marie, Marie, hang on tight. And down we went”from The Waste Land, it is among those minutes in

life where you’re carried back to
youth, all our experience and language collapsing into innocence and requirement. With this tune, Bush makes kids people all. Ben Beaumont-Thomas

Deeper Understanding(The Sensual World, 1989 )

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Hello, I understand that you’ve been feeling exhausted I bring you enjoy and much deeper understanding Hey there, I understand that you’re dissatisfied I bring you like and much deeper understanding

Bush composed Deeper Understanding prior to I was even born, and a years prior to MSN Messenger and LiveJournal turned after-school hours into chances to share your darkest tricks with complete strangers you just understood by their a/s/l. But, regardless of originating from a more primitive time– the web recently born as a specific niche issue– it is the most precise and compassionate tune I’ve ever found out about the relationship in between computer systems and human beings. (Ever smart, Bush likewise anticipated the addicting nature of playing the Sims:”Nothing else appeared to matter/ I overlooked my physical requirements.”)

It’s a tough balance to strike– the previous 5 years approximately have actually generated many tunes about that bond, much of them facile or preachy. There is no judgment in Bush’s gorgeous tune: the user’s household might step in, however still, they’re lonesome and lost. It advises me of another of my preferred Bush lyrics, from Hounds of Love–“I’m embarrassed of escaping/ From absolutely nothing genuine/ I simply cannot handle this/ But I’m still scared to be there”– about how difficult it can be to send to human intimacy. Is this”much deeper understanding”a simulation or

a real salve? Could not it be both? Laura Snapes

Which Bush lyrics would you choose for addition in How to Be Invisible? Inform us which ones– and why– in the remarks.

Read more: https://www.theguardian.com/music/2018/sep/12/guardian-writers-favourite-kate-bush-lyrics-book