Various - Mixman: Remixable Hip-Hop · House · Acid Jazz · Underground (CD) download full album zip cd mp3 vinyl flac


Download Various - Mixman: Remixable Hip-Hop · House · Acid Jazz · Underground (CD)
1996
Label: Mixman Technologies Inc. - 6 03695 00042 5 • Format: CD Enhanced • Country: US • Genre: Electronic, Hip Hop • Style: Breakbeat, House, Acid Jazz, Trip Hop, Hip Hop

The subtleties in his voice and the squeak of guitar strings transports the listener to a place with no distractions, just a mild man singing great songs.

Mississippi John Hurt - Today! Some things are good, others bad, but nothing is melodramatic. It might be useful as background sound to aid in falling asleep, but not particularly interesting to listen to for its own sake. I wonder if the next logical step is Humpback Whales Techno Remix. The album works pretty well, and Various - Mixman: Remixable Hip-Hop · House · Acid Jazz · Underground (CD) it doesn't add much to the world of melodies, it sets a mood beautifully.

The backbeats are simple, the love songs are so cute it seems hard to believe he doesn't get the girl. The album cover with everyone in a dress eating a banana is pretty tasty too. Strong guitar work drives lyrics with a political flavor, but often without a clear political point. Most of the songs are good for singing along. Their current sound has definitely been influenced by the intervening time and they don't stray far from the tone they set out, but it works well with Farrell's vocals.

The hour and three quarters in this compilation contains everything Johnson recorded, including alternate takes of many songs. These come after the released versions and can get a little tedious, though they often seem like another verse. True to their 78 roots, listening to these songs may be best in a radio format, mixed other music. The blues legend has a distinct and unusual flavor which is best savored a little at a time.

This LP-length compilation was first released inso there are probably more extensive "best of" releases, but all of the songs on here are good, Various - Mixman: Remixable Hip-Hop · House · Acid Jazz · Underground (CD) a live "Ball And Chain" in which Janis talks for a few minutes about love and effort. To the new initiate, this sounds like an hour of wailing with a tabla beat and accordion-like sounds. To the listener with a little experience it sounds like really good wailing.

The musicians do a great job of creating the right undercurrents to take enjoyment of Nusrat's voice to a new level.

Of his music I've heard, this is definitely the one to start with. The electric guitar makes only occasionaly appearances and several of the tracks are more meditative than rockin' particularly the minute Various - Mixman: Remixable Hip-Hop · House · Acid Jazz · Underground (CD) Rain Song" which is rainfall with occasional meditation bowl strikes. I particularly like "Kodoish" and "Spacechild" and can be found chanting some of the refrains and noises from several parts of the album.

Half of the songs on the album also appear on later Kan'Nal albums with different instrumentation. Over a third of the album is live tracks, demonstrating that the group is most comfortable on stage with a full production.

You can just slide into King's blues and feel good about feeling bad. King albums. Maybe there'll be a good boxed set at some point. What's not to like? Well, the heavy metal part, I suppose -- it's pretty thick.

Apparently the band is still together, but I'm not surprised that each album has sold fewer copies than the previous. The "Is that four teenage girls playing death metal? From the title I was hoping for something a little more ironic, but I'm glad to have some straight klezmer in my collection.

The tunes alternate between fast and slow, which isn't ideal for dancing around but could be very effective in a mix CD. The title track is phenomenal, "Antenna" is pretty groovy.

This album feels like it's a lot longer than 38 minutes. More advanced audio technology provide a smoother ride through some expansive versions of old songs while still keeping the great dorky flavor. Covers by Bacalao, Glomag, David E. Some of the others are rather fuzzy in an Aphex Twin sort of way which isn't really my thing. Even though many of the songs sound like each other, it's a good fun sound.

While the instrumentation is carefully matched to Lou's vocals, sometimes it feels a little busy and overproduced. Tracks "stronger" and "sun" sound great. Though I've listened to a lot of ragtime, I don't have a great ear for evaluating its quality, but everything sounds good. They still had a bit of a blues feel and hadn't yet launched into wailing epic mode; the album fits into the solid classic rock mode without standing out exceptionally far.

In addition to the epic "Stairway to Heaven," it's got fantasy references, a sweet lost-love song, and hard-driving rock. Page uses guitars with a significantly different sound than the tracks classic rock radio plays all day and several songs have additional players to add a Middle Eastern flavor. I lucked out, because it's a CD of great punk songs about geeky teenage subjects like Superman, robots, and aliens. There's not much variance in the music, but it's high energy.

From an era of singles and a single difinitive style, this compilation doesn't suffer any odd transitions and contains well-known hits and songs I hadn't heard before. Only a few tracks are easy to encounter, and Rhino chose less-widespread versions of many of them. I'd nevery heard of any of the bands on the "Suburbia" disc, and probably for good reason.

But this was put together by master compilers and is both fun and educational to listen to and read. Their percussive string style is quite interesting. The group's vocal harmony is very pretty. It's an enjoyable, though not large, step from Cesaria Evora. I'd encountered some of these songs elsewhere like "Soul Shakedown Party" and "Mr. Brown," but others like "Dreamland" are novel and wonderful. Brown" and contains 12 other simple songs. It's good to hear the old grooves shining through.

The mix austerity for many of these songs greatly aids their soulful character. I commend those in charge of Wailers compilations for covering different territory with each release. The music is somewhat minimal -- their later work features a lot of great instrumental sections -- but that lets the power of the words and voice do their work. Some of the songs are pretty good, including "Truth is Out of Style" and some of the repetitive grooves are worthwhile.

This does a great job of evoking images of a fair lass on the heath singing into the wind, but it also has an air of old-fashioned unsyncopated stuffiness. To my mind, music from warm climes would do a better job of putting snow out of mind, but this is a pleasant album to play while drinking hot cider and chatting with friends.

While many of the songs stay in the Western European musical mode, they're fuller than her earlier works, engulfing the listener in the mood. Loreena's melodious vocals, string sections, strummed string instruments, drones, doumbeks and tablas all swirl together for a fantastic passage through the lands visited by the Celts, recreated by the artist.

The duet with Robin Williams doing a gospel style improvisation about shopping in "Beverly Hills Blues" is hillarious. McFerrin and friends form multi-part harmonies with syllables which are not words but are so good I like to sing along; I've sung the baseline to the first song solo.

This album is a mood enhancer: when I'm in the mood to work, it keeps me working. When I'm in the mood to relax, it keeps me blissed out. I like wordless song, but none of these particularly stood out. They aren't nearly as energetic as Circlesongs. The album does a reasonable job helping the listener find a zone.

The included miniature single "free piece suite" is rather artificial and blippy. While the tracks are fairly intellectual electronica, most are quite listenable.

This early electronica album is surprisingly still quite enjoyable. Their first album is all acoustic and in a more traditional experimental jazz mode than what I usually listen to, but it's still quite groovy.

There's plenty of cowbell and bass grooves to go around. The secret track on "Hypnotized" is a bit of a crashing improvisatoin that straightens out in interesting ways.

It's worth listeneing to on its own or after the parent album. The grooves are strong, but different enough to avoid boring. This doesn't have the groovy electric organ I love from MMW and sometimes it gets a little far out e. It's not a danceable album, but I enjoyed it a lot more than a lot of other free jazz I've heard. This album didn't have any tracks that stood out as being totally awesome the way "Bubblehouse" and others dobut "Down the Tube" is a long groovy number.

Though it's a guitar-focused album, MMW add their magic in big doses. Even though the guitars seem so simple, the music is so much fun. I've brought up the chorus of many songs on this compilation in amusing social moments. Apparently "Thousand" set a record as world's fastest recorded song; it's very annoying.

The bonus disc "Go: The Collected Mixes" is essentially the same set of beats and vocal bits for over an hour, but it's actually not bad. It's got a very subdued thump-thump sound and enough variation in remixes to keep things new.

The singing doesn't grab me as much as my other Gregorian recordings, though. The Monks of St. The casual fan can experience many of their most famous sketches in a short listen. Several bits play on the assumption the album is on a record player, but the sudden scratch noises are abstractly amusing for CD listeners.

The only words are samples of noted left-wing speakers on the title track and "Music is the Weapon" which incorporate them well. Even if one doesn't espouse the views of the speaker, the album is still worth a listen. It's a shame the band's no longer together, as I'd love to see a live show. This rule should extend to CDs which say "Studies have shown Mozart can raise IQ by focusing attention, enhance creativity by activating the "right brain I use music to focus and activate brain powers by listening to it while I work and notice a stronger focus result from the "Alice in Chains effect.

Some of it sounds nice, but not very special. This would probably work well as background music. The remix disc, "Eleven Minarets" is very repetitive, has fewer organic sounds, and is much less soothing.

The opening track "scaling" is such a catchy electronic string number that a local NPR station uses it as regular transition music. The melody continues into the funky "the hwicci song" and elements persist through "carpet muncher" and several other great trakcs.

Individual tracks aren't as striking as some of the later work, but it's good for semi-attention. It's a zone of fairly heavy guitar, which starts to get old after 10 tracks or so, but then it ends with a very groovy and calmer "Touch Me I'm Going to Scream pt. It's blended well so that it's pleasant to listen to while still provoking thought. It's not an album to listen to every week, but it's worth hearing once or twice.

These are mostly fun danceable numbers. Half an hour of early '70s New Riders is packed with great lyrics and danceable music. This would be a great album to give to people who claim they like "All genres except country. Since the chants are typically all-male, the lone female solo gives an extra special feeling of otherworldlyness. While collecting the greats together offers more fun, it doesn't quite capture the insanity that is Kurt Cobain.

The title ought to be enough warning: a lot of these songs are really lame. The music is pretty much the same and the lyrics usually aren't much better than the song "I gotta PEE. In true pop style, there's nothing particularly insightful or enlightening, but it's still lots of fun.

The title track and "The Iceman Comes" are probably my favorites. About half of the tracks are part of a large improvisational piece "Tuscon Is Burning" performed during riots in Tuscon, AZ interspersed between the rest of the album and serving as an interesting baseline sound, Various - Mixman: Remixable Hip-Hop · House · Acid Jazz · Underground (CD).

I'll definitely see these guys live if they come through town. The Orb - u. There's a lot more layers and interesting sounds on this album than in much contemporary electronica.

All sorts of noises keep things interesting. While the music has a certain baroque feel, it felt more static than my sense of geographic music. Intentions and personal geographic musical associations aside, this is fairly calming music.

Orbital starts with a fun looped sample of a discussion of time before getting into fun bouncy soundscape tracks that are good for focus.

The Peel Sessions disc has remixes of the first disc which would flow better if halcyon were skipped. I really like "Lost" as an example of this style. They aren't too disjoint, though, so it feels like a nice long ambient tune. It starts strong with "Water from a Vine Leaf" and the next two tracks, then much of the album fades to ambience which can be a good thing. There also isn't a focal angsty song on the album, so singing along isn't as automatic. Our Lady Peace - Happiness They sound to me a lot like Radiohead without the distinctive vocals or some of the interesting riffs.

It may get better if I study the lyrics a bit. Pele Juju - Live! There are some great long grooves on this album. If there's a Pentangle song one's fond of, it's probably on this anthology. Their playing and singing are a tough act to match. Some of the jams are lots of fun like "David Bowie," but the bonus tracks starting with "Union Federal" are a bit like listening to someone ramble on with little sleep.

The songs aren't as catchy as many of the other albums, but it's a phun listen. The lyrics are irreverent and amusing. This is probably my favorite Phish album. Meanwhile, several songs are great on their own including "Sample in a Jar" and "Wolfman's Brother. It showcases the four guys' harmony quite well.

I particularly like the nonsense "Gotta Jibboo," but others are quality as well. This album doesn't give a unified feel, though. Most songs on the album aren't single style, but I often find myself wanting to listen to a particular one. There's a lot of emphasis on harmonies and love songs with a nontraditional bent. There are lots of sharp moments in these tunes, focusing the listener's attention during otherwise calm seas.

I'm not sure if that would be distracting while dancing, but it makes good listening. A lot of great songs in this collection live in the collective culture of the U. Given Pickett's reputation for intensity, many songs feel a little subdued, possibly due to recording technology. I often sing "Bike," "Chapter 24," and "Astronomy Domine" in random situations. Spacy explorations and whispered lyrics give that ephemeral sense, but some songs keep hold of the anchor, a foot in everyday life.

This stuff is on another planet from the rock spectaculars of the late s, but it's a planet with very interesting landscapes. The album version of the soundtrack, however, has several great songs.

This is probably Pink Floyd's most overlooked album. When I play it now, I still love every note. The three normal-length songs are all great. This is a cagey concept album. The imagery in the lyrics and its interplay with the famous flying pig is worth exploring in the light of an image I saw declaring the album about types of people.

The album is both a set of good songs and a single long song. Its power comes from being personal, a much more direct Pink Floyd than their spacey songs and subtle metaphors. Maybe it's because I'm not from a military family or maybe it's because I bought this album when its lyrics and mood well matched my emotions, but this is my favorite Floyd album to contemplate. The Division Bell focuses on communication while maintaining classic Floyd elusiveness; the Publius Enigma is still unsolved.

Were it any other band, "Keep Talking" would probably be my favorite song in their catalog, but for Pink Floyd I have to award the distinction based on mood. But aside from "Arnold Layne" between two tracks from Meddle, the album flows pretty well. The starts and ends of some songs differ from their original album, but not enough to justify the purchase of this album.

Had Pink Floyd felt The Wall and Dark Side of the Moon would be improved by more horns and strings, I'm sure they would have added them, accompanied by better guitar playing than this album. There's no guitar, no snare drum, and no slavish devotion to precise recreation. The tracks all taken from Dark Side of the Moon and The Wall are all recognizeable, but if you don't focus on matching lyrics to string swells, they're just music. Themes well-suited for an orchestra are repeated, making several tracks longer than the original song.

The general message is one of concern for the world, but I'd want to listem more if the guitars were toned down. They're probably better mixed with other music of similar vintage than all on their own.

This album, however, doesn't have the varied influences of their later work. It has a very working class British rock sound with added distortion. The lyrics seem kind of catchy, but they don't come through clear enough.

Some songs have good lyrics, though not generally as good as Dos Dedos Mis Amigos. They've all got a great sound with power and substance. Krinkle" sounds like Les Claypool is playing a pig with a bow. The album has a redneck feel but is easy for a city boy to like. I was particularly amused by "Mary the Ice Cube. My main complaint with this album is its failure to indicate "Sexy M.

Where's the sticker saying "Adult Warning: Censored Lyrics? The CD presentation is pretty cool, though. I don't know how much of their sound is a reflection of the ambient sound of the late s and how much of the ambient sound of the late s is a reflection of Procol Harum.

They also activate strains from later work like Jethro Tull and early King Crimson. Their instruments can all be heard distinctly, but they are masterfully blended, particularly the play between piano and organ.

On this volume, most songs are from mids albums. It doesn't have too many standouts, but "Code Blue" by T. The best part of the compilation format is it doesn't drag down into one band's repetitive sound. It's also got the great celtpunk "Good Rats" by Dropkick Murphys. The album art references to the movie makes me remember how few people showed the film or made references to it when we hit the actual year. The genre boundaries are relaxed a little with a few songs which feel a little more hard rock or heavy metal than punk.

Two hip-hop songs also share the space, but Sage Francis's "Makeshift Patriot" is a message punk fans can love. This punk-pop isn't particularly interesting, but it's okay as background energy music. This compilation sounds modern in style but traditional in content.

Hand percussion and strummed strings are a great combination. Despite the title, most of the artists are Algerian, but I suspect there's a lot of cultural flow in the desert. These are mixed very well, with synthetic elements sliding seamlessly with traditional gypsy style. DelaDap Remix " by Eastenders are just two of the good songs to sample. The traditional Arabic singing style can overlay a lot of different grooves, allowing for expansive collaboration opportunities.

Zuco 's "Outro Lado" and Carlinhos Brown's "Lagoinha" and others sound good, but in the end the drum machines win over the classic style vocals. The core rhythms are similar through most songs, so it's Various - Mixman: Remixable Hip-Hop · House · Acid Jazz · Underground (CD) obvious to the casual listener that this is a compilation.

I was dancing in my seat to the whole album, so no particular track stood out, but it's all fun. This album is in roughly chronological order and the songs work well as singles. That the previous owner spilled soda on the case and insert makes the album feel more authentic. They sing with an interesting mix of classical European and Russian folk sound.

I'm not sure how much of my enjoyment of "Tipperary" was from the quality of the performance versus the amusement of a few dozen soviet army men singing an old English song. I guess I missed out on some subtleties of the '80s. The songs explore drugs, dangerous sex, and other familiar Reed subjects. The minute "Like a Possum" stays just out of the jaws of dragging on. I also liked "Modern Dance" and "Rock Minuet. Though the liner notes mention Reed's lyrical focus on subcultures, most of the songs on the album are rather safe.

Many are quite uplifting, all are beautiful. This compilation features just Burning Spear, Israel Vibration, Black Uhuru, and The Skatalites, so it's not necessarily representational of the event, but it's a decent mix of roots. And given reggae's repetitive nature, it might be a better choice than owning individual records with all these songs on them.

The sound is seamless with other work in the '80s with solid guitar rhythms and mossy lyrics. Listening is fun and it sounds like playing was as well. It's easy to let the creative lyrics pass by and just sing the repeating word choruses, but it can also be deconstructed with deliberation. Note: The back cover misleads about the track order. I think "It's the End of the World as We Know It and I Feel Fine " works so well in part because the lyrics are often out of sync with the guitars, but perfectly in sync with the drums.

There's not a lot to be said about the instrumentation other than it fits nicely around Stipe's voice. It's enjoyable, but I'm glad it's not a sound they used on many other albums. At the end of the album, I feel ready to float away. Keyboard parts blend in well and Michael Stipe sounds as if he's conversing with the listener.

I liked "Supernatural Superserious" and "Until the Day is Done," but the hurried pace detracted from enjoying much of the music. Monster was a better rendition of loud and distorted. And while I also love to stare at maps and explore terrain, but I don't have a strong connection between my ear and the geographic part of my brain.

So pieces like "The Girl who Moved Away," "Through the Bottomlands," and "Roberto Clemente" please me purely through sound, not through any associations.

Beautiful voices and great session players combine for songs both upbeat and calming. Judy had a great voice and a lot of emotion comes out in timbre.

There's a very metallic sound not found in a lot of other Latin music, giving a feeling of something both old and new. Smudging unfortunately makes my copy unreliable. The three-part arrangement of "Inuit Wedding" is very intriguing.

Based on this sample, Thai pop music seems to feature a lot more ethnic music elements than other East Asian pop music I've heard. On some songs, the voices sound traditional on top of modern instruments, on others the relationship is reversed. This follows the trends of modern Thailand quite well. This compilation features songs with tango violin as a base, instrumentals with a taste of tango, and electronic constructions with tango mixed in. This might not be the best album to put on to dance with your partner around the room, but individual songs could be a great addition to a dance.

Despite the change in tempo, the album flows well and most of it is danceable. The sometimes hard, sometimes ambient music is an integral part of the film and helps maintain focus on its own. The seven remix tracks don't feel repetitive; I'm usually glad the music isn't over when they arrive.

The version from King Kong - "Time Is Changing" - is laden with more effects but still brings plenty of crisp contemporary vibes. Claire Angel then takes the same production but serve sup her own vocal, with crystal clear soul and impassioned delivery making it an even more modern sounding gem, then a subtly tweaked mellow vibes mix focusses purely on the dub. To The End 10". Black Legacy. Dub It It's Easy 12". Zilpa Roots. The band version is fleshed out with some swaggering dub and the live version of 'I Shot The Sheriff' is filled with atmosphere and noodling bass riffs.

Have Jah 12". Kibir La Amlak. Kailen 7" limited to copies. A-side 'Kailen' boasts a rasping, heavily accented lead vocal from toaster-and-singer Missal, whose lilt suits the tweaked Coxsone riddim like a glove. Baay Selectah delivers his own dub style 'Version' on the flip, stripping the track back to the drums and bass before adding jazzy guitar licks and heady Hammond organ-style licks.

Gossip 7". Love Me Or Leave Me 7". Dutchess Jamaica. Lion Of Judah 12" in hand-stamped sleeve. Annie Palmer warehouse find, slight sleeve wear 7". High Note Jamaica. Happy Juno Exclusive 7" limited to copies 1 per customer. Parktone Japan. On side A there's another chance to wonder at their s rocksteady style re-make of Pharrell Williams' mega-hit happy, in which the Neptunes star's lead vocal is replaces with a cheery Hammond organ solo.

It's the kind of cover that can't help but put a smile on your face. The same could be said about their similarly minded flipside cover of Prince classic 'Kiss'. While it's not as instantly recognisable, it has a similar feel thanks to the band's canny fusion of tuneful Hammond organ solos and retro-futurist reggae riddims. Selfish World 7" limited to copies. The two tracks showcased here are taken from 's Valmeria Roots Volume 1 and are based on a repurposed and presumably re-recorded classic roots reggae riddim.

Payoh SoulRebel handles lead vocals on 'Selfish World', musing about selfishness in society over a warm, head-nodding groove. Fellow crew-member Mr Papua handles vocal duties on the flip, singing sweetly in Spanish over the very same much-loved riddim. When I Found U 7" limited to copies.

It included two new songs based on Coxsone Dodd's legendary 'Breaking Up' riddim, which was first heard on an Alton Ellis single in and has been repurposed by producers ever since. Richie PHOE. Bumpy's Lament reissue 7" repress. Balanced Canada. Originally released back in and now repressed due to public demand Black Rabbit limited 7". Evergreen Germany. This new hook up is a winding journey that opens with some truly mind bending and psyched out 60s sounds riding on a trippy dub, and littered with samples from a public service broadcast on drugs.

It's somehow a dark yet euphoric dub with a killer backbeat and futuristic edge A dub version peels things back to the drum work and lets the magic of this fine partnership shine. Add to cart! Dreader Than Dread 7". Silly Walks Jamaica. Message In The Music 7". On the flip, some prog guitars are layered into "The Uproar Riddim" dub. Both tunes are classy bits of lovers rock with a nice futuristic edge that makes them all the more fresh.

Jah Image 10". Jah Works Promotion. Time Is Rocksteady Tight 7" limited to copies. Original Gravity. Dub Of Independence 10" limited to copies. It is said they have been out of circulation for 25 years after having first popped up on a white label 12" in the mids. It features two takes on 'Dub of Independence' backed with the majestic 'Paranormal Dubwise' which lifts its catchy hook from a popular 90's sci-fi TV show.

All of the cuts are clean and futuristic, with shiny and reflective drums offset by more earthy bass. Warped leads and twisted melodies add another layer of intrigue to these most original of dubs. Moonshine Recordings Meets Rider Shafique 12".

Moonshine Recordings. Fooling Around 7". These days, the reborn print is being used to reissue sought-after rarities and previously unheard tracks from Reid's vast Treasure Isle vaults. These two tracks come under the former category and were previously only available as part of Trojan's Treasure Isle Ska Rarities box set. The A-side boasts The Rio Grandes' boisterous and harmonic 'Foolin' Around' - a defiantly fuzzy, early '60s Reid production that for some reason never came out at the time - while on the flip you'll find 'Oh Misery' by the producer's early all-star backing band, the Duke Reid Group; this, too, is a vital piece of previously buried ska gold.

Fresh Like The Morning 12". Black Redemption. I Rise 7". Creation Jamaica. True Confession 7". Wonderland Of Green 7". Rise Again 7". He's at it again here too, delivering a re-press of his production for Anthony Simba, 'Rise Again'. The A-side original version is a typical digi-reggae excursion, with Simba singing sweetly and soulfully over crunchy machine drums, colourful synthesizer lines and, most surprisingly, 80s style Fairlight sampler orchestral stabs as used in thousands of synth-pop records over the years.

Bedeau strips out most of Simba's vocal on flipside workout 'Rise Again I-Son', a near perfect digi-dub excursion that's not only weighty and delay-laden, but also makes use of some deeper and hazier synthesizer sounds. As One 7". Nobody's Listening! Pirates Press US. Love Come Down reissue 7" repress 1 per customer. Tugboat Editions US. That said, were dancing outside under a blanket of stars be allowed, we have no doubt that Social Lovers' new single would be getting plenty of spins.

Warm, synth-heavy and sweet, it's a deliciously good lover's rock style cover of Evelyn "Champagne" King's '80s electrofunk classic "Love Come Down". Don't sleep on this one: it's a genuine gem. Trod On Record Store Day 7" 1 per customer. Foreign Mind. No Place On The Boat 7". All Nations. Always Remember Me 7". Humble Mr Babylon 12". Know Thyself. Split yellow vinyl 7". Hakuna Kulala. It might only be a 7", but both tracks pack serious heat. Swordman Kitala is a Hakuna Kulala resident and one of the most creative dancehall Mcs in Uganda, and here he offers his vision of future hall madness in association with Japanese producer Scotch Egg under his new Scotch Rolex monicker.

Creator Of Thunder limited 10". Africa Mae Do Leao Brazil. Struggle Is Real 7". Great stuff. This Life Feel Better Riddim 7". Wooden hits and bottomless kicks are the order of the day for the groove, which is never less than pillowy and perfect.

There is of course and more ticked up and tripped out dub on the flip, 'Feel Better Riddim. Hard Work 12". Old Hard Bread. Do You Love My Music limited hand-numbered 12". Cool Runnings warehouse find, slight sleeve wear 7".

Solomonic Jamaica. Scars Of War 7". Til My Dying Day 7". A Change Is Gonna Come 7". Jamaican Recordings. Backstage reissue CD. Right Time CD. The Slave CD. Sundazed US. In London CD. Burning Sounds. Doctor Bird. Cloudy Tracks 2 CD. Roots Unity. General Penitentiary CD. Omnivore Recordings US.

Nucleus Roots. Universal Love Volume 2 CD. I've Seen CD. Ancient Harmonies 2xCD. The Messenger CD. Originally recorded at some unknown point in the seventies, it follows their debut album Ital Dub, and later King Tubby Meets The Rockers, and is just as vital. Lead by the trademark harmonica expressions of Pablo, with the contagious rhythms of Tubby, it is a free flowing record that explores a number of different moods and grooves from deep and hazy to more life affirming and direct.

As a result, it keeps you utterly locked throughout. Dub Me Crazy CD. Warrior CD. Rainford CD. Rootz Reggae Dub CD. This brilliant anthology from Doctor Bird does its best to fill in the gaps by gathering together Full Experience tracks from various largely little-known releases, including a clutch of cuts that have never before appeared on wax.

This was a time when Perry was working with a regular set of musicians at Black Ark, the studio he built in the back garden of his Kingston home. It was a set up that resulted in a string of classic reggae records - and even greater flipside dubs. Those versed in Perry's work in the period will know what to expect, namely tight, bass-heavy reggae riddims, stripped-back instrumentation, occasional odd sounds and the briefest snippets of vocal - all mixed live to tape with copious amounts of well-placed delay and reverb.

Phat Lord CD. Human Insurgents. Calypsos From Jamaica CD with obi-strip. Dub Store Japan. Africa Islam Revolution CD. Earth Sound France. Switch genre. Switch view. My filters. Format: CD. Type See all. Music See all. Format See all. Release Date See all.


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  4. Al Campbell on great vocal styles, and Trinity with coolest deejay styles - Big tunes! On 'Respect' Al Campbell sings, in his typically convincing way, with.
  5. Review: Since debuting in , Honest Jon's series on "the sound of young black London" - entitled "London Is The Place For Me" - has done a terrific job in highlighting the changing sound of Afro-Caribbean music in Britain following the post-war rush of emigration from the Commonwealth to the nansizafinrakid.ceupingritodifahrdunssersiefitvini.co the label offers up a double-disc set boasting volumes seven and eight.
  6. There’s even a bit of late 90’s / early 00’s K&D / acid jazz type biz in there (but this will age much better, we’d say!). Not sure what else to add here for reference (done enough already too Sorry about that), But it doesnt’ really matter what this could compare to you know.
  7. Hessle serve up a trio of classy, rave indebted stompers from ANZ, referencing the very best of all the hardcore continuum has to offer and pushing it in new.
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