A pochi giorni dall’uscita del singolo Children Of Di Ghetto, esce l’attesissimo primo album delle Hi-Shine intitolato Love Is Respect, per Goodfellas.
Si tratta di un disco dalle liriche conscious che spazia tra roots e raggamuffin, dove rabbia e l’amore si fondono e si compenetrano per dare voce a chi grida sul silenzio dell’indifferenza, per rivendicare un’immagine femminile emancipata dove l’amore e il rispetto, anche per se stesse, non sono in vendita a nessun prezzo.
Love Is Respect contiene dieci tracce. Oltre ai due singoli, Children Of Di Ghetto e la title track precedentemente pubblicata, troviamo What A La La, Come Come e Pon Di Mic, brani dedicati ai valori di amicizia e condivisione presenti nella dancehall, Me Luv Ya, Money Gyal e Bye Bye, sulla capacità di saper amare, di non svendere mai il proprio cuore ed anche sul saper lasciare andare l’amore, Gimme di Weeda sulla liberalizzazione e infine Rise Up, un inno alla possibilità di rialzarsi sempre più forti dopo ogni caduta.
Love Is Respect è disponibile in digitale su tutte le piattaforme, mentre il CD e il vinile sono ordinabili nei negozi di dischi o in tutti gli webstore.
At the beginning of the eighties two bands composed just by women marked an extraordinary period for Reggae and Dub music in England: the Akabu produced by Adrian Sherwood and their colleagues Abacush. Today, in Rome, city linked to the seminal British scene, blooms a project that moves in the furrow marked by those enlightening experiences: the Hi-Shine, a band composed exclusively of women, collects the heritage of technique, experience and passion that has distinguished the initial project (Bloomy Roots) and establish itself as one of the most interesting crack in the Reggae scenery of Italy. Since 2004 these talented musicians have created a band born to be on stage and difficult to fence in the space of recorded materials.
Thanks to the circuit of Radio Popolare Network, that broadcast in Fm their music, the project hits the goal of Rototom Sunsplash. To share with them the most important european stage for the jamaican sound there is the living legend of African reggae: Alpha Blondy. The spotlight immediately turns up on the band that does not show fear in the presence, or rather at the side, of other sacred monsters like Black Uhuru, Derrick Morgan, Ken Boothe and the legendary artist Sister Nancy, protagonist of the Proto-Rap of the Seventies.
The Hi-Shine, with a baggage of many years of concerts and hours in rehearsal room, keep unchanged the core but become a real laboratory of sounds, and a collective of study of the melody offbeat and upbeat. In this structured and well defined choral project all the individualities are discovered, valued and free to unleash their remarkable talent. The band does not forget the first love of Roots and Dub but inserts into the repertoire a conscious Raggamuffin vein, thus showing its being perfectly in sync with the new generation of Sing-Jay that animates Kingston today.
In the music, which arises from inspiring listenings and maniacal work in studio, we find respectful references to their historical landmarks and exponents of the militant sound of reggae such as Sister Carol, Steel Pulse and Israel Vibration, but also openings to the new recruits of the New Jamaican Renaissance as Protoje and Jah9. The highlight of this new reality of Italian reggae, however, is the varied corpus of 100% original songs. The choice of patwa confirms the ambitions of Hi-Shine and reiterates that imaginary thread that binds the collective with the few but extraordinary female reggae bands that preceded them in Europe.