Lloyd Bradley

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Lloyd Bradley



Average rating: 4.14 · 1,147 ratings · 110 reviews · 21 distinct worksSimilar authors
Bass Culture: When Reggae W...

4.39 avg rating — 639 ratings — published 2000 — 11 editions
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This is Reggae Music

4.23 avg rating — 162 ratings — published 2001 — 3 editions
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Sounds Like London: A Centu...

3.94 avg rating — 86 ratings — published 2013 — 6 editions
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The Rough Guide to Running 1

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3.62 avg rating — 37 ratings — published 2007 — 2 editions
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The Rough Guide to Men's He...

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3.35 avg rating — 31 ratings — published 2008 — 6 editions
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Reggae: The Story of Jamaic...

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really liked it 4.00 avg rating — 23 ratings — published 2002
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Reggae on Cd: The Essential...

4.40 avg rating — 5 ratings — published 1995 — 2 editions
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Rod Stewart: Every Picture ...

3.50 avg rating — 6 ratings3 editions
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Soul on Cd: The Essential G...

3.67 avg rating — 3 ratings2 editions
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Where'd You Get That Funk F...

really liked it 4.00 avg rating — 2 ratings — published 2004 — 2 editions
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More books by Lloyd Bradley…
Quotes by Lloyd Bradley  (?)
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“Jazzie now has an OBE, and Trevor and Norman an MBE each, but their most vital legacy today is on the streets of London, among the next generation of sound systems, who automatically plugged into how it all worked from a British rather than Jamaican point of view. Most importantly, they could see how far it could go. The coming waves of London black music – latter-day ‘collectives’ like the So Solid Crew, Roll Deep and so on – benefited hugely from this template, using pirate radio, the internet, club nights and dances to operate as self-contained, self-supporting sound systems.”
Lloyd Bradley, Sounds Like London: 100 Years of Black Music in the Capital

“It might be wishful thinking, but the very name ‘jungle’ seemed to reflect a wry left-field humour. Ask half a dozen people how the name came about, though, and you’ll get six different answers – and they’ll all be true.”
Lloyd Bradley, Sounds Like London: 100 Years of Black Music in the Capital

“Todo esto hizo que la música siguiera siendo un asunto de los barrios bajos durante mucho tiempo, porque la gente no sabía nada de que hubiera un mercado mundial más allá de su espacio más inmediato. En aquel momento, la gente que hacía música, que tenía la creatividad y la visión artística, no era consciente de cómo era de grande el mercado fuera de Jamaica. No habían viajado, a diferencia de otros que estaban antes, así que no buscaban complacer a nadie más que a su gente.”
Lloyd Bradley, Bass Culture: La historia del reggae (Acuarela/Recorridos nº 5)

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