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What makes a protest song? The Specials should know. First time around, back when the 70s were lurching into the 80s, they sang of racism, war, unemployment and the rough edges of urban life, and never in the same way twice. As the multiracial flagship of the 2 Tone movement, they made a political statement every time they stepped on stage. June 2021 saw the 40th anniversary of their last and greatest protest song, Ghost Town, a record that will retain its eerie power as long as there are concrete jungles, empty dancehalls and desperate spasms of violence.
 
It's fitting, then, that in 2021 the Specials are releasing Protest Songs 1924-2012, an unpredictable collection of unique takes which celebrates the long history and endless versatility of the form, from folk to post-punk, from righteous uplift to biting satire, and from Kingston to Alabama. It’s a potent reminder that there are no fixed rules to templates for a protest song. All that’s required is the combination of something that needs to be said with music that needs to be heard. “People have been using music as a vehicle for protest since time immemorial,” says bass-player Horace Panter. “Injustice is timeless.”
 
“2020 was the year of protest, wasn’t it?” says Horace. “It was in the air. The hardest part of the whole record was deciding what songs to use.” Following the musical liberation of Encore, genre was no obstacle. Each song demands a different arrangement or tone of voice. “We thought, let’s throw out the musical constraints of the Specials. There’s not a tonic suit or Fred Perry in sight. We don’t want to deny our past, because that enables us to do what we do now, but we have our own creative minds to make up.”

Formed in Lahinch, County Clare, Ireland, in 1987, Wheels on Fire were Jennie McGrath and Anne Parker on vocals; Paul O’Brien & Anthony Edwards on guitars; Maureen Comber on bass; and Theresa O’Brien on drums. 

All songs copyright Wheel On Fire.

Anthony and Paul later played with Kohima. See https://soundcloud.com/kohima

In 2020, they decided to revisit some of the old songs, and formed Wheel

DELLY MAMP

De nome próprio Muanza André Miguel Pedro, nascido aos 22 de Setembro de 1994 em Luanda, Licenciado em Psicologia do Trabalho pela Universidade Agostinho Neto. 

É o 6º filho de uma família composta por 8 irmãos, desde muito cedo que apresentava o seu interesse pela música, com apenas 6 anos começou a trilhar os primeiros passos cantando no grupo coral por influência da mãe que 
também cantava num grupo coral da igreja a que pertenciam (Igreja Evangélica Baptista em Angola).

Após algum tempo, começou a fazer aparições ao público cantando músicas de outros artistas em aniversários e comemorações que na qual era convidado por amigos e conhecidos.

Participou nos concursos de talentos Angola Encanta e The Voice Angola mas, não tendo os êxitos desejados na 
altura, continuou apostando em si e melhorando suas habilidades musicais fazendo música de Bar, obteve o segundo lugar num concurso de karaoke realizado em Luanda.

Psicólogo, Músico e Produtor, é dono de uma voz suave e melódica, um nato compositor com domínio dos instrumentos musicais como a guitarra, piano e com ligeiras noções de percussão.

Autor do Hitts:
Sou Teu Panco
Má Fama
Marcas de Batom
Você Come Só feat Gerilson Insrael
É Dore

Cannal Official YouTube
https://www.youtube.com/channel/UCNSn6XJy0mR0vC3bix6gFtg

Instagram Official
https://instagram.com/_dellymamp?igshid=p7smw5rqtwep

Rosie Ni G; Fishty Fiddle; Danny Deepo; Post-Industrial-Trad-Electronic-Turntable-Blues-Hop aMANGLAMation. Stay tuned

Philadelphia born and based Josh Wink is one of the true pioneers of techno, house and allied styles - blurring the definitions.

Taking trends, making trends and breaking trends, Josh Wink’s music has always experimented and influenced. The sound of Josh Wink today remains one of a man unafraid to walk the border between stylistic boundaries.

Bookings:
North: emma@liaisonartists.com

South America: diego@analog-a.com

Europe / Asia: raphael@metropole-talent.com

Laetitia Andre is following