Archive for the ‘Reggae’ Category

Capleton & Yami Bolo – Put Down The Weapon [1996]
October 6, 2014

This is how you start a week, with Capleton and Yami Bolo filling your ears with truck loads of conscious lyrics and some fantastically repurposed dancehall favourites. Its hard not to be drawn in by Bolo’s voice, its absolute butter and a great contrast to Capleton’s legendary gruff, gravelly lyrical gymnastics. All told, its a track that might be almost 20 years old but carries a message so relevant in today’s batshit crazy world.

Shuga – Ride De Riddim (Equal Opportunity) [2014]
April 10, 2014

First off, there’s definately not enough reggae or dancehall around these parts. Time to correct that. Secondly, talk about a banger. This is an incredible release from Shuga that I caught on the David Rodigan’s 1 Extra show last Sunday.  Taking the arrangement from Sound Dimensions’ Bobby Babylon Riddim, Shuga lays down a rocking dancehall drenched vocal over the top.  Shuga’s vocals are some of the smoothest i’ve heard in a long long time. Complements the instrumental perfectly and turns this into a propper arm waver.

Get it on loud, crank the bass, and kick back.

Beats Internation Feat Lindy Layton – Dub Be Good To Me [1990]
March 7, 2014

It still boggles my mind how anyone could dislike this track even considering how overplayed its been over the years. Its got a killer bassline, drenched in Reggae tuned riffs and Layton’s vocals over the top just destroy any opposition anyone could have to this track. If your head isnt nodding from the get go, there has to be something wrong with your soul man.

Its one of those tracks that has really never fallen out of favour with me. From the second I hear Johnny Dynells “Tank Fly, Boss Walk” sample at the beginning, I have a massive grin on my face. Stick with the 12″ mix, the radio edit just isnt long enough. Hard to believe this track came out 24 years ago last week…

From Wikipedia]
Written by Norman Cook aka. Fatboy Slim, Jimmy Jam and Terry Lewis, “Dub Be Good to Me” was the sole number one single for Cook’s genre-hopping outfit Beats International.

The track started out as an instrumental with the title “The Invasion of the Estate Agents”. While also included as the B-side to this single, it originally appeared as the B-side to Norman Cook’s 1989 single “For Spacious Lies”. This instrumental track is heavily based on the bassline from The Clash’s “Guns of Brixton” with a sample of the distinctive “harmonica” theme from the epic western film Once Upon a Time in the West, written by Ennio Morricone. This instrumental, in slightly remixed form, had vocals added from The SOS Band’s “Just Be Good to Me” (as re-recorded by Lindy Layton) to form “Dub Be Good To Me”. The track also features the distinctive vocals of David John-Baptiste, more commonly known as DJ Deejay or just DJ. The opening and closing line “tank fly boss walk jam nitty gritty you’re listening to the boy from the big bad city, this is jam hot, this is jam hot” was from Johnny Dynell’s 1983 hit “Jam Hot” and became an instant classic and was repeated often, being used as the most common reference to the song. The song was a massive hit, spending four weeks at number one on the UK Singles Chart in February 1990. It was the seventh best-selling single of 1990 in the UK. In the U.S., the song reached #1 on the Billboard Hot Dance Club Play chart and #76 on the Billboard Hot 100.

Nas – Get Down (The Quantic Soul Orchestra Mix) [2006]
March 4, 2014

Now this is what im talking about. A remix with big chunks of soul and funk and a healthy slab of reggae styled percussion. Not much not to love about this one, Nas laying down the exceptional lyrics from one of my favourite tracks of his and layered on top of some slickly produced post-modern soul. Beats for your feet never had a truer meaning wouldnt you say!

Mungo’s Hi Fi ft Mr Williamz – Computer age (dutty mix)
September 18, 2012

Hello! im back! I found my old email address and password and thought now would be a good time to start posting again 🙂

And to celebrate heres a corker of a tune from Mr Williamz summing up the state of music today.

From the ever so spicy

I love it, Hope you all well more to follow.

Al 5r

Bam Bam – Sister Nancy [1982]
December 21, 2011

Totally a day for Sister Nancy, bringing a slab of sunshine this miserable winter day. Its one of the seminal dancehall tracks and deservedly so since its simplicity is what makes it such a classic. The bassline is pure genius, the lyrics are pitch perfect thanks to Nancy’s superb vocal talent. I defy anyone not to bob their head to this classic.

Bassomatic – Fascinating Rhythm (Lisa Loud Mix) [1990]
September 14, 2011

Probably one of the very best tracks released in 1990 and one of the very best examples of why electronic music became so huge. Since, this track isnt a house tune, nor is it a hardcore track. Its not techno, its not ragga, reggae or any other classification. Its all of them and none of them all at the same time. I also had no idea that Mr William Orbit was actually part of the Bassomatic crew, not that im surprised. Now I hear this track again and you can see his signature style all over it. Catchy hooks, rolling basslines, irreverent breaks in composition to keep the melody interesting but most of all, flawless production. The bass is pushed to the very limit of its range, so its loud without distorting, absolutely crucial to this track as the bassline is what dominates the entire track. I could gush about Fascinating Rhythm for hours, its without a doubt one of my favourite tracks of all time.

From Discogs
I remember very well hearing this for the first time aged just 9 years old on the Chart Show that used to be on Saturdays on ITV at 1200hrs, and i absolutely loved it. I think from that moment on, without realizing it, i knew i was going to end up being a music junkie. I still do to this very day. It’s all about the Lisa Loud remix here, odd because i never knew she provided the killer remix it until recently.

The track is a very odd hybrid of hip-hop tempo and break with a house feel and house sounds. The vocal is actually very good and fits perfectly. Those chrods are sublime and there are some nice keys in the chorus that compliment the vocals. It’s very hooky and very melodic.

It just goes to show how good those early acid house days really were, this tune is a melting pot of influences, whereas records today have to be neatly filed as house or techno, or trance, or dubstep which is not what music should be about.

Prince Buster – Judge Dread [1967]
August 12, 2011

One from my father today. A classic from the legendary Prince Buster. Actually, its rumoured that the DJ of the same name (Aka Alex Hughes) took his name from this track, having previously been a bouncer at clubs where he met Prince Buster (and Derrick Morgan).

From Wikipedia
When Prince Buster had a big underground hit in 1969 with “Big 5”, Hughes capitalized on it with the recording of his own “Big Six”, based on Verne & Son’s “Little Boy Blue”, which was picked up by Trojan boss Lee Gopthal, and released on Trojan’s ‘Big Shot’ record label under the stage name Judge Dread, the name taken from another of Prince Buster’s songs.[2][3][4] “Big Six” reached #11 in the UK Singles Chart in 1972, selling over 300,000 copies and spending six months on the chart, despite getting no radio airplay due to its lyrics.[2][3] Further hit singles followed with “Big Seven” (co-written by Rupie Edwards) and “Big Eight” — both following the pattern of rude versions of nursery rhymes over a reggae backing — as well as “Y Viva Suspenders” and “Up With The Cock”.

He was the first white recording artist to have a reggae hit in Jamaica, leading him to travel to Jamaica to perform live, where many were surprised that he was white. Dread had 11 UK chart hits in the 1970s, which was more than any other reggae artist (including Bob Marley). The Guinness Book of World Records credits Judge Dread for having the highest number of banned songs of all time, 11. In the 1970s, tabloid newspapers expressed concerns that young fans of the comic book character Judge Dredd might buy Judge Dread’s records by mistake, and hear things that may corrupt their minds.[citation needed] Several of his songs mentioned Snodland, the small town in Kent where Judge Dread lived. There is a road in the town of Snodland named after him, the Alex Hughes Close.

Desmond Dekker – You Can Get It If You Really Want [1970]
July 27, 2011

Once the sole domain of Bank adverts, job center commercials and all manner of advertising for any kind of product you can imagine. But take that out of the picture and what you have is a classic from Dekker. Now the original was Jimmy Cliff’s, released in ’69 wheras Dekker released his in 1970. But for me its all about the delivery, the band is funkier on Dekker’s version, his voice is a bit more buttery smooth than Jimmy’s. Thats not to say I dont like Cliff’s version, I just prefer Dekker! Plus, its the title track of the fantastic Desmond Dekker album, containing many other gems including That’s The Way Life Goes, Peace On The Land and I Believe. Well worth picking up.

Eddy Grant – Livin’ On The Frontline [1979]
June 15, 2011

In direct contrast to the previous link, this is Eddy at his prime, recently departed from The Equals and just killing it with a massive solo career. Plenty of electronica in this purely Reggae track, lots of head nodding, Supposedly it was one of the tracks found echoing over the battles with the state during the 1981 Brixton Riots and I cant see how anyone would want a barney with a melody like this. Still, regardless of its use, its a total blinder of a track, simple, effective and ridiculously catchy.

From Wikipedia
Eddy Grant (born Edmond Montague Grant, 5 March 1948) is a musician, born in Plaisance, Guyana.[1]

When he was still a young boy, his parents emigrated to London, UK, where he settled. He lived in Kentish Town and went to school at the Acland Burghley Secondary Modern at Tufnell Park. He had his first number one hit in 1968, when he was the lead guitarist and main songwriter of the group The Equals, with his self-penned song “Baby Come Back”.[2] The tune also later topped the UK Singles Chart again when covered by Pato Banton.[3] Notably, he openly used his songwriting for political purposes, especially against the then-current apartheid regime of South Africa. The Clash recorded a version of “Police On My Back” for their Sandinista! set.