How tall is jah wobble

Mr Wobble: Yes, since around when I first heard the genre. Mr Wobble: A rollicking good Middle Eastern then again, if we had recorded it in China it would have been Middle Western styled dub album, with vocals. I love working with Temple of Sound. Would you prefer to appear in the jazz sections of record shops rather than the pop sections — and do you think splitting the UK record charts up into genres is a good or a bad thing?

Mr Wobble: There is a need for genre names, we need some reference points… however, in the post-modern age, it gets harder and harder to be accurate when catogorising. Mr Wobble: Six feet — and maybe one, maybe two inches…. Mr Wobble: Between and I was a cab driver, London Underground worker, warehouseman and courier in a Luton van. I now do the odd book review — however, I think if I needed urgently to keep body and soul together I would be a postman, if they would have me, or maybe do an HGV test.

True unconditional music really does transcend conditional notions like nationality. On the other hand, when I really think about it, The Jocks do seem to go double mental! Mr Wobble: I was a studio man. However, I now like gigs just as much. A series of gigs in England from January to May was announced. Currently, Jah Wobble is 63 years, 3 months and 1 days old. Jah Wobble will celebrate 64th birthday on a Thursday 11th of August Below we countdown to Jah Wobble upcoming birthday.

Home Bassist Jah Wobble. Jah Wobble. Social Accounts. Jah Wobble is a Bassist , zodiac sign: Leo. Find out Jah Wobblenet worth , salary detail bellow. Net Worth Undisclosed. Salary Not known. Who is Jah Wobble? How rich is Jah Wobble? What is Jah Wobble 's salary? When is Jah Wobble 's birthday? When and how did Jah Wobble became famous? How tall is Jah Wobble? Who is Jah Wobble 's girlfriend? List of Jah Wobble 's family members? Jah Wobble is a member of Job: Bassist.

Born in Born on August Zodiac Sign Leo. Living In England. Jah Wobble fans also viewed: Adam Clayton Bassist. When one of us goes low, the other goes a couple of octaves higher. I have that heavy, dubby bass sense. I continued making music and also did straight jobs at that time which was good for me.

I started having musical concepts and wanted to make things happen. In , I did an album called Without Judgement that included world music elements.

I was very much into making musical fusions and mixing up stuff. I also went over to New York around that time. I first met Nicky, who took me out for a lively meal. I think he wanted to check me out to see if I was okay before I met Bill. He would filter people. At the time, this was a very obscure Miles album.

He loves Dark Magus! So, I met Bill and we got on like a house on fire. Everything just felt right when it came to working with Bill, from the beginning. Photo: Graham Jepson. They kept me away from Ginger. Ginger was playing with Bill and Nicky. I was introduced to Ginger at a restaurant. We were looking for a sugar hit. We were in this big hotel complex and wanted to find the part that had Western desserts. There was no bullshit with us. We got on. We both had that attitude of knowing we could both throw a right-hander.

So, that was all lovely. Instead of treacle, they brought him rhubarb and he went mental. I think the rhubarb tart got literally thrown. It ended with the wait staff being very upset. I think the boss of the complex was summoned down and came up to us and bowed. Very Japanese. At the end, Ginger calmed down. He just understands everything. He sets the scene for you to do your thing to the max. The point at which I knew Bill was for real was after I got to know him a little while. We were talking about abstract expressionists like Jackson Pollock.

I think the post-punk generation of musicians are the musical versions of s abstract expressionists that ignored the rules and were kicking against the establishment. I spent the night in there. You know how some people might own the bones of a saint? Bill had paint powder from Pollock. How did that project materialize? It came from a book of poetry I wrote called Odds and Sods and Epilogues. In , I was able to use a studio that was cheap as chips in Manchester called Rogue.

I thought "I'm going to use this place for lyric writing. I'm going to do a little poetry book and it's going to be quite funny. So, I did that and we did a little bit of music and some of it is kind of okay. The idea was to be quite psychedelic somehow. The band that played on the album are really great musicians.

But it did. This is the music for the Blake album. The album talks about the interconnectedness of things. I wanted to talk about money, business and the corporate world on it.

So, the album features a heavy kind of poetry. I understand Odds and Sods and Epilogues was also partly a reaction to the streaming environment that had just started taking hold then. I remember when streaming came in in the early s. Keep the good work up. Think about what you just said. This is crazy. I did the Odds and Sods and Epilogues book when I realized that running my label at the time, 30 Hertz, was now going to be impossible.

So, I wanted to do one more thing and push the boat out. I was so cynical about the press at that time too. No-one gets it. Fuck it. I eventually sold the label and did a lot of live stuff again, and made all kinds of records with other people for other labels. But streaming is just bullshit. We put out Realm of Spells in a way that seems ridiculously old-fashioned. People have to give me that.

Tell me about the creative process that informed Ocean Blue Waves, the last Invaders of the Heart album. I gave them some rhythms, bass lines and a couple of chord progressions, and that was it.

The rest of it is just them playing and naturally doing what they do during that period. Ocean Blue Waves is quite hypnotic, well-recorded and well-put together. It just is what it is. The reason we could do it is we were going out on tour last January. So, the album was a way of keeping things going with the band. When you make records together, it keeps you together. Now, do exactly what I want. The rest of it is us just playing together.

Invaders of the Heart is a multi-decade band. Tell me about the original vision of the group and how it evolved over time. It was simply about fusion and mixing stuff. I thought that was lovely and romantic.

The documentary charted the journey of the Romany people from Rajasthan through to Andalusia. Some came through the Balkans and others through the Middle East.

Part of what I wanted to do was romantic music. I try to hide it, but I am. I was a very wet-behind-the-ears young guy when it started. Some jazz has incredibly sophisticated harmony and it can constrict things.

It becomes over-seasoned with too many competing tastes and flavors. So, we tried to create a simple fusion with some dub elements. There was also a general trance-like thing happening, which I saw in Middle Eastern and Moroccan music, especially. I also had the sensibility of dancing, movement and music being hypnotic. It was a little bit away from the rock tradition. I like rhythmic, repetitive music. I naturally play the way I do because it calms anxiety states down.

It expands your mind. The concept for Invaders of the Heart came right from the early days of PiL. I was always thinking conceptually and in an abstract way. I was already thinking about collages and textures, rather than strictly musical forms. Heavy bass at the bottom with rhythmic patterns. Invaders of the Heart was also very much about African rhythms. I love congas. I had a guy called Neville Murray who played congas with me for years. Justin Adams was also involved, singing and playing darbuka.

Invaders of the Heart Mark I was quite jazzy. We had people like Ollie Marland and Annie Whitehead in it. Annie was a really well-respected trombonist. And then I spooned up, of course, boozing too much during that period. We had people like Harry Beckett in the group. The current band is Mark III.

Instead, we named it The English Roots Band, just to annoy the really conservative people—you know, those people enthralled with Cecil Sharp House. I got letters of protest from people. Tell me about the confluence of history, music and politics the projects reflect. He popped up on the scene with Killing Joke.

I met him when he was trying to get that going. And then you were working with the guys from Can. How cool is that? We had a chat and he said he would like me to produce a band. He always has great engineers and people at his studio. I told Youth to make of them what he will, and he did a great job. We added tracks to what we already had and it came to fruition in I was part of that from the beginning with the backing track.

Mark had those lyrics about the Harold Wilson government for a while, which we discussed earlier. But of course, they make great sense for Brexit as well. Brexit is even more of a very British coup, if you think about it.

They know the country is going to take a hit. Tell me about those releases and why Bandcamp is optimal for them.