Jimmy Cliff On Career ‘Rebirth’ And The Nature Of Success

Without a doubt, the two artists most responsible for bringing reggae to the world stage are Bob Marley and Jimmy Cliff. Cliff became one of Jamaica’s first international superstars in the 1960s, scoring hits in the U.K. and Brazil. He’s best known for the 1972 film The Harder They Come, both as its lead actor and for three now-legendary songs included on its soundtrack.

In time, the world would embrace Bob Marley as reggae’s ambassador; Jimmy Cliff never tasted that level of success. But on his newest album, Cliff sounds as hungry and as vital as he ever did, like a man claiming what was rightfully his all along. In an interview with NPR’s Guy Raz, Cliff says the record’s title, Rebirth, refers both to his own career and to humanity at large.

Jimmy Cliff: I’m at the point where I’m taking my career to the next level. It kind of started out when the new millennium began, and up to 2010 when I received the induction into the Rock and Roll Hall of Fame — that was like a stepping stone up to the next ladder. I had started writing this album without knowing I was going to call it Rebirth, but I had quite a bit of the songs before. So, that’s about the rebirth of Jimmy Cliff’s career. The rebirth of the planet is also about the new time that we’re coming into. We’re coming into a new time when all the old laws and ways are breaking down.

Guy Raz: It was really you who introduced reggae to much of the world in the late ’60s and in the early ’70s. This record almost sounds like a reintroduction of that music you made back in the early days.

One has to go back to point zero to move forward again, and so that is what we did. We recorded the music with the same instruments that we had used back in the days, the same style that we used to record — which is everyone recording at the same time.

 

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This was done live to tape? Just like back in the old days in Kingston?

Yes, yes, exactly.

Many people were introduced to you and to your music in the 1972 film The Harder They Come, in which you portray the Jamaican outlaw Ivanhoe Martin. There’s sort of a full circle now on this record: You sing a version of the Clash song “Guns of Brixton,” which has the line, “He feels like Ivan, born under the Brixton sun / His game is called surviving at the end of The Harder They Come.”

One of the reasons for covering that song was to show and remind people the influence that reggae music had on punk music — and for the fact that he had mentioned that movie. I thought that it would be very appropriate to cover that song.

What did the film mean to you? It must have changed your life.

Absolutely. It showed people all over the world me as an actor, as opposed to what they had known me as before, just as a singer-songwriter. And it also showed people a new culture. … It showed people where the music was coming from, how the music was created, how it came about and all of that. I’m gratified that I was in the right place at the right time to be a part of that.

And right out of that, you had this sort of meteoric rise of reggae, where it became this international phenomenon.

Yes, because it was a new music form. Besides, let’s say, rock n’ roll and jazz and R&B, this was a completely new music form that was coming out of the small little island of Jamaica. And so it had a big impact on the world.

You became friends with Tim Armstrong, the lead singer of Rancid — a pretty important and influential band in the U.S. — and he produced this record for you. How did you get to know him?

I was first introduced to Rancid by Joe Strummer. When we were recording the last song that Joe Strummer recorded, on my album [2002's Fantastic Plastic People, later re-released as Black Magic], we talked about Tim. So the time came for me to make this new album and a few names were thrown out, and I sort of gravitated toward Tim Armstrong because of the association of knowing the music, and seeing that he had covered “The Harder They Come,” one of my songs.

What do you ascribe that influence of reggae on punk to? How did that happen?

Because reggae and punk address the same issues — political, social issues. I think that is the essence of the connection.

Rebirth isn’t an all-covers album, but there is a song by Rancid — one of their biggest hits, “Ruby Soho,” which you cover in an acoustic form. What was it about that song that drove you to do your own version of it?

I had to do one song from both sides of the Atlantic that had the connection of punk — so, having done “Guns of Brixton,” the next song that seemed most appropriate to me would have been one of Rancid’s songs. “Ruby Soho” is a song about an artist who has to be traveling all the time, leaving your loved one. I clearly identify with that kind of situation. Every time I have to go on tour for long periods, my family — they feel it. “Why do you have to go, Papa?”

How old is your daughter?

She’s 8.

I’m assuming she’s a fan of “Hakuna Matata,” which you’ve done a version of as well?

Absolutely, big fan. Whenever I have the opportunity to take her on tour, she comes on stage and sings and dances to that song with me.

On this record, you have a song called “Children’s Bread,” and it seems to hint at some of the economic protests we’ve seen in this country and around the world.

This song is a comment on the state of the political, economic situation of the world today. “They took the children’s bread and gave it to the dogs … Now while those cats get fat, in came all the rats / Stole away the cheese, doing as they please.” It’s all about that. I am the type of artist who, when something touches me, whether it’s political or social or even relationships, I like to express it. And fortunately, I have this form of music that I can express it through.

How has Jamaica changed since you were in your 20s, writing all those protest songs?

Well, not a lot. “Children’s Bread,” the germ of it was inspired by what’s going on in Jamaica and then it spread internationally. We do have a woman prime minister now, which is a big change, so we are hopeful that it’s going to make a big difference to have a woman lead us now. However, I don’t think our economic situation has changed much. But I do think our leaders are trying.

Given that you were sort of present at the creation of reggae, and now you are really trying to reintroduce it to the world, is there a part of you that feels pressure about being the torch bearer for reggae music?

 

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Actually, as a creative artist I really don’t feel pressured. One of the reasons why I made this album and called it Rebirth is that after I had finished the same album that had “Vietnam” and “Wonderful World, Beautiful People,” I took a turn. Instead of continuing on that same track with those kind of reggae music, I went to Muscle Shoals in Alabama, in the U.S., and recorded an album called Another Cycle. It was a different form of music but in the back of my mind I always knew that I had to go and complete that chapter, because fans and friends and people were saying “Well, why don’t you continue on the same track? Why do you have to go over there and do something different?” As an artist, I cannot allow myself to be trapped. I just have to express how I really feel.

It seems like a part of this new record is a tribute to your old friend Joe Strummer.

The last song that he recorded in the studio was a song called “Over the Border,” with me. He just walked into the studio and said “I have some lyrics, and I hear Jimmy Cliff singing these lyrics.” I was doing the album with Dave Stewart and Dave said, “Well, how does the melody go?” And he said, “I don’t have a melody. I just hear Jimmy Cliff singing these lyrics.” So Dave took up his guitar and started playing some chords, and I came up with the melody and we put the lyrics together. Joe was one of the stalwarts of social justice expression in his music, so I felt like I really had to lift my hat to him this time.

What music do you listen to now that gets you excited — that gives you the sense that it can really change the world?

In terms of music that can change the world, I’m not so sure. But, the kind of music that I’m listening to now is music to keep current with what’s going on. Someone like Katy Perry — I like her writing because I listen to music as a songwriter. I like a lot of her songs — like, “Firework” is a song that I think I could write.

I gotta tell you, Katy Perry is not one I thought Jimmy Cliff would have picked.

Right, ’cause she sings about relationships — or Adele, she sings about relationships.

Does Katy Perry know that Jimmy Cliff is a Katy Perry fan?

She knows now. (Laughs.)

I’ve read that there is actually a remake of The Harder They Come in the works.

I am the one who really had the concept a long time ago of doing a sequel to it. Perry Henzell, the writer and director of The Harder They Come, before he passed on, we talked about it and I pitched him my concept and he thought it was great. So as a result of that a script was written based upon the concept that I gave. That is still on the table — we may go into production early next year.

This has been a pretty remarkable couple of years for you: You’ve been inducted into the Rock and Roll Hall of Fame, and now you have this new album that’s getting rave reviews. How does success now compare to what it was back in like 1972, at the beginning of your career?

There are goals that I had set out for myself as an artist. I have accomplished some of them — becoming accepted all over the world — however, other parts of my goals have not been completed. The first thing I wanted to be was an actor, even before I wanted to be a singer, before I discovered I could sing. I am on my way now to getting an Oscar as an actor; I have not done that yet. I am on my way now to making a string of No. 1 hits all over the world; I have not done that yet. I am on my way to becoming a stadium act all around the world; I have not done that yet.

I’m wiser and I know how to handle success now. But success has different meanings to me. When someone comes up to me and says, “I was a dropout in school and I heard your song ‘You Can Get It If You Really Want,’ and that song made me go back to school, and now I am a teacher and I use your song with my students” — that, for me, is a big success.

By NPR STAFF

 

 

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Debo Band: Ethiopian Funk Re-invented

Boston’s Debo Band takes inspiration from a golden era of popular music in Addis Ababa, Ethiopia, in the late ’60s and early ’70s. During a brief period of cultural freedom in Ethiopia, funk and soul music fused spectacularly with local traditions. Debo Band’s debut album both honors and updates the sound of “swinging Addis.”

On “Asha Gedawo,” the sunny swing of a brass section playing in march time echoes the military bands of Ethiopia’s regal past. Bruck Tesfaye’s lead vocal brings in an element of Ethiopian folklore and a shot of American soul. This is the sound that made Addis swing, until a military coup in 1974 put an end to an extraordinary music scene.

Debo Band’s founder, Danny Mekonnen, was born in Sudan and grew up in Texas, learning about the golden age of Ethiopian pop through recordings. He says Debo Band aims to reinvent old sounds, not just reproduce them. The band adds sousaphone, accordion, electric guitar and violins to the lineup. And the players are strong, capable of improvising their way to the edges of free jazz.

Debo Band can extend into full rave mode, an ecstatic place beyond even the wildest hybrids of Addis in the ’70s. But at its core, this group remains true to that lost Ethiopian sound.

Debo Band is as much orchestra as a dance band. Its brass section can rally with Tower of Power force and polish, and lock into grooving hooks worthy of Nigerian Afrobeat. But the distinctive scales and harmonies are unmistakably Ethiopian.

Almost no band on the international circuit plays this style of music, and it’s a potent niche. But too much fidelity to a 40-year-old pop style can be limiting. If this album leans more toward reverence than revolution, that’s appropriate for Debo Band’s first outing. Given their energy and talent, these musicians have room to grow, and there’s no telling where they’ll take their magnificent sound next.

 

By Banning Eyre

 

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Damon Albarn Captures The Sounds Of Congo

 

Here’s a brief history of the sound evolution of Damon Albarn. Back in the 1990s, he fronted the hugely popular British indie band Blur. This past decade, he formed a virtual band called Gorillaz. You never saw the humans in the band — they were represented by cartoon characters — and Gorillaz merged a variety of sounds: hip-hop, rock, dance and pop. Earlier this year, Albarn staged Dr. Dee, an acclaimed opera based on the life of an Elizabethan mystic.

That brings us to this past summer, when Albarn went on a five-day journey to Kinshasa to produce an album of Congolese music. That album has just been released: It’s called Kinshasa One Two, and it was designed to bring attention to corruption, civil war and poverty in Congo, with all proceeds going to the aid organization Oxfam.

Albarn tells NPR’s Guy Raz that Kinshasa One Two is his second project of this kind; Oxfam first reached out to him 10 years ago.

“They invited me out there. I didn’t want to just walk around and be a sort of alien on the ground, and stick out like a sore thumb. I wanted to get involved, and the thing I’m passionate about is music,” Albarn says. “They were amazingly open to that idea, and they introduced me to some extraordinary musicians from Mali.”

That collaboration became the album Mali Music, released in 2002. Albarn says that this year, it felt like the right time to revisit the idea in another region. He knew, however, that he wouldn’t be able to spend as much time on the ground as before.

“I thought, well, an easy way to get around that would be to invite a group of producers … give them five days, give them maximum access to the musicians in Kinshasa, and try to interpret what they were playing to us,” Albarn says. “The basic premise was that that they would play and we would record, and then go off to our computers and sort of manipulate the sounds. There was one rule, which was that every sound we used had to come from the experiences we were having in Congo.”

 

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Seun Kuti Channels His Father’s Political ‘Fury’

Kelechi Amadiobi/Courtesy of the artist

From Africa With Fury: Rise is Seun Kuti’s latest album with his father Fela’s band, Egypt 80.

 

When Fela Kuti died in 1997, his band, Egypt 80, fell into the hands of his 14-year-old son. Now 28, Seun Kuti still tours and records with his father’s old band mates, and has just released an album with them entitled From Africa With Fury: Rise. He tells Guy Raz, host of weekends on All Things Considered, that outside pressure to fill his father’s shoes is still a fact of life, even all these years later.

“I still face that today; it’s not going to change,” he says. “You have to accept that as being part of who you are. Even if I was a scientist, people would still say, ‘Well, his science is not as revolutionary as his father’s. He’s not coming up with any new science!’”

Fela Kuti, while not quite the global celebrity Bob Marley became, is often credited with representing to Nigeria what Marley was to Jamaica: an informed, outspoken champion of the underclass. Seun Kuti says that while he understands the comparison, it’s slightly off the mark.

“My dad was this uncompromising, staunch socialist with absolutely no interest in commercial success whatsoever,” says Kuti. “He didn’t believe, like Bob, that love could heal the world. My dad believed that love was a Western concept brought to Africa to deceive us.”

Kuti says he may go into politics in the future, as his father did. For now, however, he’ll continue to express his political views through his music.

“I feel it’s the responsibility of every African artist,” he says. “Right now, African art has a big role to play in inspiring the people of Africa. If we think Africa is going to be saved by the West, we have a big problem. Our art has to speak for us.”

By NPR Staff

 

 

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THE GOLDEN YEARS OF NIGERIAN BOOGIE

Art from the cover of Brand New Wayo: Funk, Fast Times and Nigerian Boogie Badness 1979-1983.

Courtesy of Comb & Razor Sound. 

Art from the cover of Brand New Wayo: Funk, Fast Times and Nigerian Boogie Badness 1979-1983.


July 2, 2011

Between 1979 and 1983, Nigeria experienced a handful of watershed moments: an oil boom, the return of democracy after years of military dictatorship, and a lot of money flooding into the country. Creative industries — music in particular — responded in kind, and suddenly Nigeria was the right place to be at the right time for musicians all over Africa.

“There was this notion that Nigeria was a place where you could actually make it,” says Uchenna Ikonne. “If you had the right degree, or you came up with the right hustle, you could be living in the fast lane just like all the other big cats.”

Ikonne is the producer of a new compilation called Brand New Wayo: Funk, Fast Times and Nigerian Boogie Badness 1979-1983. The album is a snapshot of the commercial sound that dominated that era in Nigerian music — a slick, modern dance groove, which synthesized elements of afrobeat, disco, jazz and funk. Ikkone tells Weekend All Things Considered host Guy Raz that the album’s title is in part a reference to the economic climate in which the music was made.

“‘Wayo’ means trickery, hustle, swindles. There was this mad rush for wealth at the time,” he says. “The ’70s in general are often considered an era of excess.”

Not everyone in the country was enjoying such decadence. Ikkone says the distribution of wealth remained unequal, and that oil profits were often grossly mismanaged. But while some artists, most notably Fela Kuti, did address social and political issues in their music, Ikkone says, most preferred to keep the focus on fun.

“On one hand you could say they were scared because they had seen the treatment that Fela had gotten: Fela’s house was burned down, his mother was killed, he was beaten, shot at. So a lot of people didn’t want to go through that same ordeal,” says Ikonne. “At the same time, as you go toward the end of the ’70s and into the ’80s, [Fela's] music almost became a sideline to his career as a professional eccentric and rabble-rouser. A lot of the musicians who came after just didn’t want to get into that.”

In 1983, Nigeria underwent another military coup. Ikonne says that, among other sobering developments, spelled the end of Nigerian boogie’s golden age.

“There was a bit of a belt-tightening after 1983, and a return to more conservative values. The flashiness, the flamboyance, the glitziness — all of those things were just swept under the rug by the mid-’80s. You saw religion becoming more of a force in society, taking the place pop music and film and art had held earlier in the decade,” he says. “Most of this music has been completely forgotten.”

By NPR

 

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Australian Aboriginal Singer/Songwriter-Gurrumul

Geoffrey Gurrumul Yunupingu

Geoffrey Gurrumul Yunupingu

 

Australian aboriginal singer/songwriter Geoffrey Gurrumul Yunupingu with his album Gurrumul.

 

If you are a world music lover, you must listen to Gurrumul. The infectious nature of his voice and the unique sincerity of his musical prowess are compelling. We at Caiala.com carry “music carefully handpicked to move your world”. We highly recommend Gurrumul for your Listening pleasure. “He was born blind, has never learned Braille and does not have a guide dog or use a white cane. Yunupingu speaks only a few words of English, and is said to be acutely shy. He plays drums, keyboards, guitar (a right hand-strung guitar left-handed) and didgeridoo, but it is the clarity of his singing voice that has attracted rave reviews. He sings stories of his land in both languages (Gälpu, Gumatj or Djambarrpuynu, all Yolŋu Matha) and English. Formerly with Yothu Yindi, he is now with Saltwater Band. In 2008 Yunupingu was nominated for four ARIA awards, winning the awards for Best World Music Album and Best Independent Release. He also won three Deadlys, winning for Artist of the Year, Album of the Year for Gurrumul and Single of the Year for “Gurrumul History (I Was Born Blind)”. His first solo album, Gurrumul, debuted at #21 on the ARIA Charts and #1 on the independent chart. It also jumped to No. 1 on the iTunes Australia roots music chart in April 2008. It then unexpectedly reached No. 8 in the mainstream iTunes charts. Gurrumul peaked at #3 on the ARIA Charts. Geoffrey Gurrumul Yunupingu’s friend Michael Hohnen produced the album and acts as his translator. Critics have heaped praise on the singer, describing his voice as having “transcendental beauty”. Elton John, Sting and Björk are among his fans. When asked what he would do with any money he makes, he suggested it will go to his mother and aunts, following the Aboriginal tradition of sharing wealth”.

To purchase his music or for songs sampling, follow the link below;

 

http://www.caiala.com/album-41553745.html


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Staff Benda Bilili

Congo musicians take the world by storm

By Emma Jones

Entertainment reporter, BBC News

Benda Bilili
Benda Bilili are top of the World Music Charts and have appeared at Glastonbury and Womad

 

It’s the sound of Congolese rumba, tribal rhythms, James Brown funk, Cuban mambo and a bit of Jimi Hendrix thrown in for good measure.

But if the sound of Benda Bilili is unique, so is their look. They’re a group of paraplegics who live in the slums of Kinshasa, in the Democratic Republic of Congo.

However, the power of their music has now taken them all over the world – and to the top of the World Music Charts, where Benda Bilili’s album, Tres Tres Fort is currently number one.

To add to it, they’re the subject of a documentary, out this week, made by two Parisian film-makers, Renaud Barret and Florent De La Tullaye, who “discovered” them on the streets five years ago.

 

The whole band are like fathers of the streets of Kinshasa, they look after all these street kids, because they themselves have done some crazy things in order to survive”

Renaud Barret

Director of Benda Bilili

 

“We didn’t decide to make a movie about them, we met them by chance,” explains Renaud Barret.

“We were in Kinshasa in 2005, making another film, and we just heard this noise in the street.

“It was like crazy blues coming from nowhere, and as we approached, we found the band. There were a bunch of street kids dancing around them and the music was brilliant.

“We stayed till the early hours, drinking the local liquor with them, listening to their music. What struck us was they were not a covers band, and when people started translating their lyrics for us, from their native Lingala language, we were moved and touched. By the time we left, we had a crush.”

The crush quickly turned into love, with the directors returning with cameras to start filming the very next day.

“In a way, it was an emergency,” adds De La Tullaye. “We understood that life on those streets is really tough, and we had to work quickly.”

However, after a lifetime on the streets, the band members of Staff Benda Bilili, to give them their full name, were not about to disappear anywhere.

Ricky from Benda Bilili
Band leader Ricky is a force to be reckoned with and nicknamed King of the Street

 

The leader of the band is Ricky, who apart from a prolific love life (he has two regular “spouses”) keeps himself alive by selling cigarettes from his customised tricycle, and keeps the group alive by sheer force of personality.

“It was Ricky who realised the potential of being filmed and gave us full access to the band,” says Barret.

“He joked to us that he was going to be the most famous disabled man in Africa, and now he’s on stage around the world and he has made that dream come true.

“They were all so far-sighted about the project, and they kept us going, kept us believing in it. It’s just as well they did, because we thought making the film would take six months and it’s taken five years instead.”

It’s definitely not a conventional band biography; from guitar player Coco, the father of seven children who take it in turns to go to school each day; to choreographer Junana, who dances on his hands as his legs were rendered useless by polio.

Roger, the youngest, was found aged 13 on the streets and protected by Ricky.

It turns out Ricky does a lot of protecting, with De La Tullaye calling him “The King of the Street”.

“He is so powerful and so respected, it is paradoxical when you think of his condition. The whole band are like fathers of the streets of Kinshasa, they look after all these street kids, because they themselves have done some crazy things in order to survive. And they protected us and our work, from pickpockets and from gangs.”

Kinshasa
Kinshasa is gripped by poverty

 

Kinshasa, with a population of more than 10m people, is the capital of one of the most wounded countries in the world.

The Democratic Republic of Congo has been ripped apart by civil war, and daily life in the slums – or shegues – of Kinshasa is one of endemic poverty. According to Barret, that is not a side of life which the film Benda Bilili dwells on.

“They themselves are so humorous. The band make fun of themselves and laugh at their condition, and living in the streets with no money.

“They liked us as we told them right away we weren’t trying to make a typical film showing the misery of living there. And at the same time we warned them that we didn’t have a magic wand to make things happen for them.”

Perhaps no easy magic – but there’s still been an enchanted ending for this extraordinary band. Around the same time as the film found a buyer, they managed to release their first album, Tres Tres Fort.

Appearances at Womad and Glastonbury followed, and now with the album at the top of the World Music Charts, they are touring all across Europe. Because of the album’s success, they will now all have a home in Kinshasa.

“Our music allows us to travel,” says Ricky, “and to discover all sorts of things – especially cold weather.

“You know that Staff Benda Bilili, in Lingala, means ‘beyond appearances’. It’s a message of hope. We want the whole world to understand that anything is possible if you want it bad enough and are willing to work for it.”

 

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World Music Grammy Awards Winners 2011

The 53rd Annual Grammy Awards were held on February 13, 2011, and, as always, the nominees in the various world music categories, as well as folk music, jazz, blues, classical, and… well, pretty much everything but Top 40-type music, were announced in an earlier ceremony that was televised at Grammy.com and YouTube.com. Here are the winners in the world music categories (see the world music nominees here), and a couple of world music winners in other categories: Best Traditional World Music Album: Ali Farka Toure and Toumani Diabate – Ali and Toumani (Compare Prices)

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CD Review: Bob Marley and the Wailers Live Forever

May 11 will mark the 30th anniversary of Bob Marley’s death. 30 years… I get a jolt every time I realize that it’s been so long, as his music continues to seem so relevant and current and, indeed, even continues to be found in the “new releases” bin. Case in point: the new release of Bob Marley’s final concert, which took place September 23, 1980 at the Stanley Theatre in Pittsburgh, PA.

The CD is called Bob Marley and the Wailers Live Forever and it’s outstanding. Taken primarily from soundboard recordings (the tape ran out before the last two songs, so lower-quality audience microphone recordings were used for the final numbers) and it was remastered beautifully and painstakingly. A worthwhile purchase? I’d say so. The concert itself was outstanding — you’d never know that Marley was suffering from malignant melanoma that had metastasized throughout his body — and the recording quality brings it home.

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YARAN

A Song For The Yaran

The song “Yaran”, tells the story of the seven friends in Iran that were arrested and imprisoned simply for believing in theunity of humanity, of religion and of God. They are Baha’is and have been held in prison for 3 years serving a 20 year sentence.

The proceeds from the sale of this song will go to support Yaran related projects.

See below for Lyrics


Background History

On 5 March 2008, Mahvash Sabet – a schoolteacher and mother of two – was arrested having been summoned to the Iranian city of Mashhad to discuss some matters regarding a Baha’i burial. She has been in prison since that time – including the first 175 days spent in solitary confinement.

Two months later, on 14 May, six other prominent members of
Iran’s Baha’i community were incarcerated in Tehran’s notorious Evin prison,
after they were arrested in early morning raids at their homes in a sweep that
was ominously similar to episodes in the 1980s when scores of Iranian Baha’i
leaders were summarily rounded up and killed.

The six were Fariba Kamalabadi, Jamaloddin Khanjani, Afif
Naeimi, Saeid Rezaie, Behrouz Tavakkoli, and Vahid Tizfahm.

Since its inception, the Bahá’i Faith has been
systematically attacked and its members arrested in Iran simply for practicing
a peaceful religion. Because respect for and obedience to the governments in
which they reside is a teaching of the Bahá’i Faith, Bahá’is obey the laws of
Iran, oppressive as they may be. Over 200 Bahá’is were killed between 1978 and
1998, the majority by execution, and thousands more were arrested.

Every day Bahá’is in Iran are denied their education, jobs,
pensions, properties and inheritances, victimized by violence incited by
state-sponsored propaganda campaigns, and face constant threats of arrest,
unlawful trials, imprisonment and death.

The Yaran are currently serving a 20 year sentence under the most abhorrent and inhumane conditions in Iran’s worst prisons.

Today, as governments around the world, advocates for human
rights and religious freedom, and many of the world’s leaders have demanded
that Iran release the Yaran and all other Baha’is. Please join us to cry out
for human and religious rights in Iran. Let our prayers and our united voice
reach the Yaran. Let them know that our love and support is unwavering.

For more information, visit: iran.bahai.us
Lyrics

YARAN
(KC Porter)In Spring 2008,

In a world not yet awake,

Seven loving parents,

Arrested for their faith.

Taken from their loved ones,

And stripped of all they own,

Into a small, dark cell,

Their fate would not be known.

Teaching was their service,Their leaders would forbid,

And now they’re serving countless years,

For things they never did.

Their only crime was selflessness,

And daring to believe,

That until there was unity,

The world would not know peace.

Yaran,

You Are Remembered And Not forgotten!

 

The world has come to know you,

As friends, as the Yaran,

Your strength and inspiration,

They help us carry on.

Bereft of every comfort,
Through day and sleepless night,Still, in your darkest hour,

Your spirit’s shining bright!

We will not sleep,

‘Till you’re released,

We will not eat,

‘Till you are free,

How can we breathe,

While you’re in captivity?

A hundred million of our tears,

Are swelling up,

Swelling up the sea!

You Are Remembered And Not forgotten!

Let your spirit sing!

Credits

released 14 May 2011
Keyboards, Acoustic Guitars and programming – KC Porter

Drums, Percussion – Gary Ponder
Bass – Kristian Attard
Electric Guitar – JB Eckl
Santur – Manoochehr Sadeghi
Sintir – Momo Loudiyi
Background vocals – Bella Blue, Trevor Jackson, TierneySutton, Sandy Simmons, Kristy Corwin, Capri Corwin, KC Porter, JB Eckl, Kristin Barnes, My-key Bellamy

Contains a sample of a prayer by Abdu’l-Bahá, chanted by Fariba Kamalabadi, one of the seven Yaran.

Produced and mixed by KC Porter

Engineering and additional production by Sons of Androids

Special thanks to: Iraj Kamalabadi, Aimée Porter, Jeff
Albert, David Langness, David Precht, Nic Mariñelarena

 

© Copyright 2011 Olinga Music (BMI) Universal Music
Publishing

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