01 - Cocoa Tea - Don't Be Jumpy 02 - Cocoa Tea - Higgler Woman 03 - Cocoa Tea - Tonight 04 - Cocoa Tea - Loving Can't Don 05 - Cocoa Tea - Version. Find album reviews, stream songs, credits and award information for Dub Version - Don Carlos on AllMusic - 2000.
Don Carlos was born in the poor neighborhood of Western Kingston known as Waterhouse. His name at birth was Ervin Spencer but he would become the musical “Don” of the area after displaying his unique musical vocal powers. Don’s vocal style was new and original and it would influence the styles of many talented Reggae singers like Junior Reid, Barrington Levy, and Michael Rose that followed.
Don Carlos began singing in 1973 alongside Garth Dennis and Derrick “Ducky” Simpson as the original Black Uhuru group. After releasing a few singles that were not widely successful, the trio split up and began solo careers. Eventually Garth joined the Wailing Souls and Ducky reformed Black Uhuru with Michael Rose and Puma Jones. However Don Carlos’ solo career started with a blast!
- Sonia Pottinger was Jamaica’s first and foremost female record producer; her husband, Lyndon O. Pottinger, was one of the unacknowledged founding fathers of Jamaican music.
- Sweet-voiced vocalist Don Carlos (born Euvin Spencer) was one of the original trio of singers with the great Black Uhuru along with his two friends, Rudolph 'Garth' Dennis & Derrick 'Duckie' Simpson. They were lifelong friends from the Waterhouse district of western Kingston, Jamaica.
Don Carlos Rare Earth
In 1981 Don released the album “Suffering” to huge critical acclaim, and also in 1981 he partnered with childhood friend Gold to co-producer the album “Them Never Know Natty Dread Have Him Credential.” In next four years, from 1981 through 1984, either as a solo release or alongside Gold, Don released the albums “Day to Day Living,” “Harvest Time,” “Spread Out,” “Raving Tonight,” “Pass the Lazer Beam,” “Ghetto Living,” and “Just A Passing Glance”. Today all are considered to be classic Reggae recordings.
An award ceremony in California reunited the three original Black Uhuru members and the singers reformed the group in the early 1990’s. The reunification lasted for four very successful albums and many world tours until Don re-entered his solo career in 1996. Through all the years and touring Don Carlos has remained humbly committed to the task of spreading Jah love through the power of Reggae music. Groundation was honored with the presence and positive energy of Don Carlos magical singing voice on the albums Hebron Gate and We Free Again.
Don Carlos Rara
Full review from FANFARE Magazine:
This production was presented at the opening night of the La Scala season on December 7, 1992, and the headlines all over the world reported that Pavarotti was booed by the audience when he cracked on a high B in the auto-da-fè scene. Obviously, both the earlier released videotape and CD were from a different performance. James Miller reviewed the CD ( Fanfare 17:6). Now, the same performance that was issued on videotape is available on DVD.
Typically, the production by Franco Zeffirelli is spectacular, grandiose, and often focuses on religious symbols. One would think that half the population of Milan was hired or at least that monks were acquired from all theRead more monasteries in the area. The production overwhelms the singers, and on a TV screen the grandeur is often lost. The stage direction is somewhat vapid and uninspired.
Muti directs the standard uncut four-act version with his usual precision. At times, he indulges in his preference of fast tempos, but on the whole he does produce a musically correct performance. Pavarotti is in good voice on this occasion, and his fans will not be disappointed. In the upper range, he retains the golden quality of his tone, but the lower range is often dark and unfocused. Luciana D’Intino is a fine Eboli; her bright voice shines in the veil song, although one might wish for a darker voice to plumb the depths of feeling in “O don fatale.” Samuel Ramey is a first-rate Philip; however, he looks young enough to be Pavarotti’s son rather than his father. At least he could have worn a gray wig rather than brown hair just slightly flecked with gray. Unfortunately, three fine singers are not adequate for this opera. Daniela Dessi is clearly over-parted. Her voice is too light and often becomes shrill under pressure. She does sing the notes, but that’s about all. Paolo Coni may look the part of Rodrigo, but his unfocused, wooly sound is distressing. Alexander Anisimov is a capable Grand Inquisitor.
The picture quality is outstanding and the sound excellent. The booklet provides notes in several languages. Purists will favor the original five-act French version on Kultur DVD. That performance is also available on CD and was reviewed by James Miller (Fanfare 20:5). Antonio Pappano’s conducting is sensitive. Although the staging is not as spectacular, the cast is superior. Roberto Alagna is a youthful, lyrical Don Carlos, and Karita Mattila an excellent Elisabeth. José van Dam is the equal of Ramey, and visually looks like an old King. Waltrude Meier is the opposite of D’Intino, her darker sound more suitable for “O don fatale,” but less flexible in the veil song. Thomas Hampson has the richness of tone that makes his Rodrigue far superior to that of Coni’s. I would consider it my first choice. Fans of Muti or Pavarotti or those who prefer the Italian version will not be disappointed in this set, and I will give it a qualified recommendation.
Bob Rose, FANFARE
Read less
This production was presented at the opening night of the La Scala season on December 7, 1992, and the headlines all over the world reported that Pavarotti was booed by the audience when he cracked on a high B in the auto-da-fè scene. Obviously, both the earlier released videotape and CD were from a different performance. James Miller reviewed the CD ( Fanfare 17:6). Now, the same performance that was issued on videotape is available on DVD.
Typically, the production by Franco Zeffirelli is spectacular, grandiose, and often focuses on religious symbols. One would think that half the population of Milan was hired or at least that monks were acquired from all theRead more monasteries in the area. The production overwhelms the singers, and on a TV screen the grandeur is often lost. The stage direction is somewhat vapid and uninspired.
Muti directs the standard uncut four-act version with his usual precision. At times, he indulges in his preference of fast tempos, but on the whole he does produce a musically correct performance. Pavarotti is in good voice on this occasion, and his fans will not be disappointed. In the upper range, he retains the golden quality of his tone, but the lower range is often dark and unfocused. Luciana D’Intino is a fine Eboli; her bright voice shines in the veil song, although one might wish for a darker voice to plumb the depths of feeling in “O don fatale.” Samuel Ramey is a first-rate Philip; however, he looks young enough to be Pavarotti’s son rather than his father. At least he could have worn a gray wig rather than brown hair just slightly flecked with gray. Unfortunately, three fine singers are not adequate for this opera. Daniela Dessi is clearly over-parted. Her voice is too light and often becomes shrill under pressure. She does sing the notes, but that’s about all. Paolo Coni may look the part of Rodrigo, but his unfocused, wooly sound is distressing. Alexander Anisimov is a capable Grand Inquisitor.
The picture quality is outstanding and the sound excellent. The booklet provides notes in several languages. Purists will favor the original five-act French version on Kultur DVD. That performance is also available on CD and was reviewed by James Miller (Fanfare 20:5). Antonio Pappano’s conducting is sensitive. Although the staging is not as spectacular, the cast is superior. Roberto Alagna is a youthful, lyrical Don Carlos, and Karita Mattila an excellent Elisabeth. José van Dam is the equal of Ramey, and visually looks like an old King. Waltrude Meier is the opposite of D’Intino, her darker sound more suitable for “O don fatale,” but less flexible in the veil song. Thomas Hampson has the richness of tone that makes his Rodrigue far superior to that of Coni’s. I would consider it my first choice. Fans of Muti or Pavarotti or those who prefer the Italian version will not be disappointed in this set, and I will give it a qualified recommendation.
Bob Rose, FANFARE
Read less