Category: Jazz

Sunshine Girl / Rub A Dub Love - Dubtonic Kru - Dub Tonic : Gold Edition (CD, Album) download full album zip cd mp3 vinyl flac

Download Sunshine Girl / Rub A Dub Love - Dubtonic Kru - Dub Tonic : Gold Edition (CD, Album)
Label: Not On Label (Dubtonic Kru) - none • Format: CD Album, Reissue • Country: Jamaica • Genre: Reggae • Style: Roots Reggae, Dub

However in practice this is often little more than wishful thinking. Most of us have. As the fallout from the Marley legacy has shown, the law and reggae music are not comfortable bedfellows. And as the fallout from the current economic recession tells us, accounting audits can be as much an art as a science. Though it came to a head last Sunshine Girl / Rub A Dub Love - Dubtonic Kru - Dub Tonic : Gold Edition (CD with moves toward the courtroom in the Ernie B.

In sure to run, albeit with far too every war zone truth is the first many casualties. Ras Takura is a conscious and humble Rasta man. Ras Takura is a Reggae Dub Poet, recording and performing artist that addresses his African heritage and Jamaican culture through lyrical expression. He is also a farmer and a painter and talks about his farming and food through his poetry.

Hi, Ras Takura. What exactly is clear the weeds and as I weed tent of my lyrics in influenced the thought start to come that by him on most parts. Royal African Soldiers? Yes, sistren, give thanks for inviting I and I. Rasta live! RAS is a group of Jamaican dub poets of which I and I is one of the founding members, we work together occasionally, but for the most part I perform solo. Yes, it Sunshine Girl / Rub A Dub Love - Dubtonic Kru - Dub Tonic : Gold Edition (CD So, the recording was done at Super Matic Studio in Kingston.

Takura, listen this riddim. I was there on the farm and I just plant some pumpkin seeds, a thing I do on a regular basis, just plant some seeds, but this time I plant and I just leave and went to Kingston and when I returned in a couple of weeks, I see a lot of pumpkins all over the ground.

I get my machete and start to. When I used to listen to Muta from back in the days there was a space in my life that was void. Very touching! You also address other relevant topics. Well, what I am about. I and I generation will make the change. I get my machete and start to clear the weeds and as I weed the thought start to come that it is a food war Mi a fight and Mi must win.

You talk about food security. My training in that field. York district in St. Ann, Jamaica with my grandmother and father. Is there anything else you would like the readers to know about you? Well, I give thanks for the interview. This years staging is on Sunday April 29, Ras Takura…it was a great pleasure speaking with you will be watching out for you new album and upcoming events!

At the same time he undertook a parallel career as a producer, issuing his own music as well as other artists like Barry Brown and his schoolfriend Earl Sixteen. His began most apposite term to describe the opportunity Anhis recording career at Studio 1 in under the gus Taylor had for a brief chat at Reggae Jam festihandle Little Joe, which led to him voicing for Bun- val. A his recent work on vintage rhythms with Clive Chin, name change to Ranking Joe suggested by the pro- which could see an album release very soon So when he said and run!

Because Sixteen, Winston McAnuff Because before we were my father is a man who used to go Did you ever consider being a just out in the front yard under around and play domino games, singer?

And I who already had their break but play and entertain them during Roy, Big Youth, Dennis Alcapone, you had to sit with. So when you the daytime. If they wanted through studying the Better Dub searched for the rhythm and I to stay they would have to pay the LP, the Mean Girl rhythm, and got a chance to record it.

But then I took my tal- a chance I got and when that redance began to officially start. Because Mr Dodd had his ing - then I would have to leave! Then from that it was just of his musical aides?

But when those producers Little Joe? So all different art. Earl Sixteen is in London. Why they were some of the last people there. I met Alpheus by him comdid you go to New York? How did you get into production? You cannot tell the difa sound named Papa Moke HiFi. To label, working alongside General get the privilege to do that was a Lee, High Power, who manages dream come true. So we worked things and we live like brothers, on a couple of tracks and we doing my production alongside have some releases already on the Cheater rhythm and the Java High Power Music.

Great producer and great productions so we are looking forYou got your start at Studio 1 ward to finishing an album. He was one of the last. Alpheus and Glen Washington. Now, I have kind of grown up. Presented together with the interview are exclusive photos and a mix made especially for United Reggae. Williamz have also been released. Necessary Mayhem was launched in London by Curtis Lynch six years ago.

The label has since then expanded and today encompasses subsidiaries Necessary Mayhem Classic, Necessary Bass and Maroon. But making an album means more money involved and a bigger risk for the label and the producer. Curtis, however, seems confident. When Curtis Lynch started he works and lives.

Now, I have kind of grown ject. Some tunes are ridup. More projects means more Some of the upcoming projects include work from Mr. Curtis is curious and during the interview he asks me several questions about his output and my opinion on artists. He makes my job easier as a producer and working with him is an honor. The project that lies closest in time is however Future Cuts — an album that includes new mixes of Necessary Mayhem classics along with a preview of tracks from forthcoming riddim releases.

A few tracks each and then some dubs. I need him onboard. And this project is very end of the year, or the second half. But before it drops, somespecial to him. Courtney when he hears we are calling from London. The climate is typically sunny for Jamaica in January and all is sunny for Courtney John and his production company Fiwi Music too. Last summer his recording for Chris Peckings Lucky Man was licensed for a commercial for Lynx and Axe, to which he attributes an uplift in sales.

In all my years of living in pumped to go and vote. We came back to the studio and put the track down. I got. And then, to think people would kill them to stop them from having those rights is a little bit disheartening. Countries in Europe are going bankrupt. I think the Jamaican people have evolved and have been more exposed.

I think now Jamaicans see how other people conduct their business around the world and the politicians know that the people are informed and exposed so now everybody is really on the fence in terms of making things transparent and accountable. But for the government in power now we are all.

I never thought about what the outcome of the song was going to be. Funnily enough, after I played and put down the initial guitar on the song, I have a friend James McCollum who lives in London and works with James Morrison - they have a little acoustic organic vibe going on down in Kensal Town - and I could hear my friend playing on the song.

So I sent the song to London for the guitarist to play on and after it came back we did the drums, bass and vocals here. And when I heard what he did on it I just took my part out and let him do it in full!

Not trying to produce it. I just wanted it to be a song where when people listened to it and heard the message. Because when I started out I never used to sing falsetto. The falsetto came when I kind of evolved out of my initial stage name of Yogi. Because Yogi got taken up with the more industry part of things, producing and writing for everybody I kind of got pigeon-holed as a producer and songwriter. So as we say in Jamaica: wheel and come again!

It takes you to places. Like I tell people, even my own management team, when they ask me to sing more low register stuff.

But in terms of disrupting equipment, no. I have more of the guitarry kind of vibe on it. It has some lovers rock, it has some of the classic stuff and some of the newer vibe. I used to mentor her for a few years and then I decided me and her should go into business so she is now part of my production company.

She produces for a ton load of people. Who else has worked on the album? Most of it was done in Jamaica in terms of vocals and. So I have some musicians from Boston who worked with other musicians from France and they have a track on it. The single Love Is is on it because that track was not on an album. It shows that if this music gets that kind of presence and exposure that it used to back in the past people are still willing to buy it.

A lot of artists are trying to get that break now. Hopefully that will resonate and connect with people who make decisions and help the music. At the end of the day reggae has sold the most in the UK. That was due to the publishing company that represent me. They had a dialogue with the agency. Funnily enough we were supposed to do it a year before but it never happened and they waited until they could do it last year.

But it was very good. I tell them that the UK is special because in the UK they will just want to know Do you use the product in something is available and if question? Did they send you. I should have asked! He loves it! We have been approached. We want to. We have been approached by the government to do stuff because last year I put out a pro-Jamaica song called Hey Jamaica.

This year is going to be a great year for reggae and Jamaican culture. I know definitely I will be in London this summer. Whether for the Olympics or a festival I will be in London for sure. In a lot of my fans are going to be seeing me more. But the year has started and it looks really good in terms of people reaching out from all over the world - people from Africa, Japan, China, South America.

From playing on the first mento discs to cutting the maiden album on Island Records, from birthing the ska with Coxsone to working behind the scenes at Rocksteady HQ with Duke Reid. Mr Ranglin warned his memory for names was not perfect, given his countless musical activities over the years.

But he still gave an interesting interview, part one of which is below. Tell me about how you first fessionally at around fifteen. It was good really figure what she was dopicked up the guitar I saw my two uncles playing and I would wait until they went to work and then would try to go behind their backs and do whatever they were doing!

Those were the two books that I started with. After that I started with some other books that teach you general rudiments and so forth. I started to try to learn to read and there was one person who taught me a few ideas about the reading.

Who was that? It was Tommy Tomlins - a gentleman who played the violin who died many years ago now. I got one or two lessons from him. He taught me the value of the notes and so forth.

So some day I would try to do some of the reading practice and then one of the great things that happened was I started to play in a band pro.

You played on some of the earliest mento records. Tell me about this and some of the other local traditions that fed into your music at the time. I started out playing with those big bands and I was generally playing music like Count Bassie and Duke Ellington, bands like those. And from there, when I used to hear the calypso sound that was like inborn! Then luckily, I heard a lot of Broadway music that a lot of artists would come down from various countries all over the world.

I remember even playing for a lady who I think was an Egyptian! It was really weird for me. I had a bass. You were present at the birth of ska. You played on the tune Shuffling Jug which is credited to the Clue J Band which many believe to be the first proper ska tune. Yes, in a sense. But it was not Clue J Band.

Now this ska was done by two of us. Me and Coxsone from Studio 1. Clement Dodd. The whole birth of that thing rests on the both of us.

That was in about and from there it started. I was the arranger. How important was that American recording in the birth of the ska music? I did that so many times because, as a young guy, that was part of the boogie and I.

People like Bill Doggett I used to love. I heard the tune and I really liked it because it was a guitar player who did it also so it just started the whole thing.

And people loved it so I just continued to play it. I taught his father first. His father was a blind man. I went to his home and I saw this blind man trying to play but he could only play about one or two chords so I realized this would be very good company for him and I would try to make him more comfortable.

So I decided that this would be something good for him and I taught him to play. During the time I was teaching him Jerry decided that he wanted to play also, so I taught him also.

I taught many, many people you know. But I try to give them and show them what I know and give them things to keep them occupied for maybe a month or so and then let them see me again. So I learned for myself by reading books. And I try to help people who are interested and I help them. Did you ever go up there? Not much. Maybe one or two times.

I never really played much with them up there. I think it was more horn players who were the people who went to play there. It was a big place where you had enough space that all of their drummers would make a concert, sing certain tunes and play those. And eventually, some but not all of the bands would come to recording studios.

There was that group [The Melodians] that had a big hit with Rivers Of Babylon - I was the guy that was in charge of that recording. As well as playing and arranging you worked in Artists and Repertoire too But I could arrange and because I played the bass also, I used to play the bass for that band.

Some of the records done by Gay Feet, this was the same Baba Brooks band. But that is my work that I was doing for a lot of these companies. Some jazz critics today can sometimes find it hard to accept reggae as a serious artform. Have you ever found that? Well in jazz, I think it was in Metronome magazine, I was rated by Dizzy Gillespie as the number three player, I think in about So I guess I was not exposed in the right and proper way, so I was known only among musicians who knew of me and my ability but not known so much to the public in America and places like that.

That was released by Chris Blackwell who you had been recording with since his very first album release in Maybe it will be more interesting You had to be able to do three things so I was bass. There were five of us and whoever was on the staff as musicians had to be able to do three things. Chris was next door. Because from Montego Bay I had been doing his works and then came to Kingston in front of the Broadcasting Station where he had an office and I was doing his works aside from what I was doing for the radio station.

Then about nine months after he came to England he went to me and made the suggestion that I go. When I came eventually, out of all these English musicians there was only one Jamaican out of the lot! He was the only the Jamaican and it was all English musicians from bass to drums to everything. How did you find England on your arrival? Just another place, I guess! A little colder than mine! Did you help Bob out with his guitar at all? Not much actually. Studio 1 had just opened and that was the tune that opened Studio 1 also.

I did about four tunes for him after that but that. He him all around between here was the first reggae drummer. He used to play in a band that just came back from England. You were also involved in the I formed that band under the rocksteady trend. You already name Granville Williams [Orchestra].

He was a keyboard mentioned you worked very player but I tailor-made everyclosely with Duke Reid. Both thing for him, all the arrangeyourself and Lynn Tait were ments, because he was the playing guitar and doing a lot bandleader.

This guy Hugh Malcolm was one of the drumof arranging at that time. Even reggae beat going. Every seswhen I was Federal there were sion all over, Hugh Malcolm times when I liked to play with was the man who everybody Lynn Tait.

I would let him be one wanted to play on their sesof the members of the group sion, but he was with me most that I had and of course at Duke of the time. When we did that Reid he was around as well. The bass player still who were the producers Clancy Eccles? It was but you played on the session four tunes we did anyway and that was the birth of that.

You played on Rivers Of Babylon as you mentioned but you also played Yes! How do you know this? You on the rhythm for Police and have a lot of good informants!

Thieves for Scratch, one of the laughs There was a drum- biggest roots reggae tunes of. But I did a lot of things for him. Whenever I have a little time I try to sit down and put down things I can still remember.

I make sure I have a theme and everybody has their part. I like all of them! I tried to do all of them the best I could. People who listen I guess they are the ones who have their favourites! My favourite is Ranglin Roots. Ranglin Roots I had a big enough group. I think I had Cedric Brooks on tenor. Not to play together but maybe they did! How did this particular In you were working project come together?

I think it Sunshine Girl / Rub A Dub Love - Dubtonic Kru - Dub Tonic : Gold Edition (CD a teriorated and you stepped in gentleman from Blue Note. He as bandleader. This is how it came along and I just accepted the offer.

But he gave me some of his arrangements and I made sure that we played it for him when we recorded it because these are really his works. So I would say I was the bandleader not the arranger! Yes, I think so. Can you tell You often use sheet music on Bigga Morrison who was in stage, Album), how big a role does it Jazz Jamaica with your nephme about that story? Do you think foundation reggae needs to be saved? Because if you notice the market for those other things is going down and down.

I think reggae music is here to stay. Well, Bigga came to me with it and played it for me. He asked me if I could do some sleevenotes and I did. It sounded very nice and l liked it. I am not really listening to anyone at the moment. Whenever I am home I just stay home. On the radio I may hear some things but not all that much because I am busy doing other things. I hope! If you. I keep composing music at all times which is why I am so taken up most of the time.

Whenever an idea comes to my mind I try to put it down. Laughs Well, music is life you Yes, I saw some revenue from know! The only way that would about it! That is the only way be- summer. But I still compose my music and put them down because you can never tell when things might Album) around.

One way that record companies have been trying to increase revenue today is through putting songs to advertisements. You yourself had your Below The Bassline But you still play live. Tony Curtis has been a reliable source for cultural and romantic reggae for well over a decade.

But the production is tougher and his lyrics are refreshingly frank. United Reggae talked to Tony Curtis about the dancehall days and against what he puts up a fight.

The beat speaks cessful single Butterfly. Like Fight It. Word, sound and power. I mean, starvation could dancing in a group. Originally it Curtis. It has some roots, some end. You just have to think was about a man and a woman dancehall, some lovers.

In them clothes. When he was shot to death on Oct 18,Nkulee Dube was in the car and witnessed the murder. Four years later, she still has difficulties talking about it. Her impressive stage presence resembles that of Lucky, but Nkulee has managed to find her own soulful style. South African roots reggae, flavored with dancehall, spiced with jazz she calls it ethno ragga. Nkulee, growing up in a family like yours, it is no surprise really that you are doing music.

But when you were younger, people told you to keep your voice under the shower. Just like jazz. If it cians. So you can recognize Few countries in the world that immediately. With reghave such a rich musical her- gae and jazz, they have their own identity in terms of sound. With which sound other than reg- Which Jamaican reggae artists I wanted to sing. What made gae did you grow up? So I think it took a lot of years for me to be comfortable and be confident with my voice on stage or in front of people.

I grew up with jazz, a lot of jazz. My Mom loved jazz - the old from the fifties, you know. I like the band Morgan Heritage. Especially like a stage presence and how they perform on stage and how I would love to get to that level.

What was it that you liked so So they do inspire me as an artWith which people did you much about jazz music? We recorded at Native Rhythms Studios, which is my recording company. They gave me two tracks, two riddims to voice. I also have Joel Klein, who is like a scientist in guitar.

I also have Bethuel Mbonani on drums, who I play with right now in my band. I was. The way the jazz musicians can express themselves through notes and not saying anything. So they can just completely express themselves through music. Like only music, no vocals, which I respect, like release an album without saying anything and let the music speak for itself. Do you see similarities between jazz and reggae music? Ya, there are similaritiesbesides the music part.

There are. In reggae, just like in jazz, we express ourselves through music. My favorite voice of them is Gramps. How do you write your songs?

Some of those songs, I write through music that I get and listen to it and be like what can I do on it. And most of them, I wake up and they come and I just write everything that I hear in my head down before I forget it.

So they just come from somewhere. But the other songs, I listen to the beats and try to create something from the beats. Usually it just comes and I write it down. So this one - never in a million years. Canada, you know, Ger- been made real for me. Very long, long, long tour. But I enjoyed myself. I still Do you feel homesick already, have another half of the world to take care of. You know, in your ten, because everybody here is dreams you dream of things friends and we just hang with that you feel are tangible, like each other, with family Your Mom must be very proud of you.

Ya, she is. She is very proud of me and she tells me that every day. OK, it matters what wrong I do. And how many people can you say have achieved that? I do a bit of prayer here and of your father as a father?

It was just a show- very strict as a father. So if you know the definition of a prophet, then you know what Shembe is. We all have the same God, depending on whatever you call him. But we all have one God. So Shembe is a prophet. Is Shembe a christian faith? Our religion is not really that different from christianity.

In Shembe, we combine religion with culture. Like the type of religion the Indians have. They do everything, but that goes back to their culture as Indians. So we do the same way in our church. He was invited there and we went there as a family. The The reggae scene in South Afother one is not really a show. But a show-show was once. Other than Lucky Dube, pretty. South Africa has its own lated to Lucky Dube? Ya, it was!

I mean, at the time, I was like a fan. You watch him on stage, like screams aaaah. You just wanna be solid like a fan. It felt very good. From his albums? I six months or so. So the reggae spectrum is really slowly but getting there! Artists there are experimenting more with the reggae sound within that traditional sound. A lot of Jamaican artists love to perform in South Africa. Ya, they love it because South Africa has a support. It has a lot of support in terms of music.

But they have to understand it first. So they get there, and it is always packed. Every Thursday night. Would you like to perform in Ya.

Well, as far as I know laughs. I would like to be the Jamaica? I guess you got the link through Black Dillinger? I would love to, definitely. I would love to play in Jamaica. It can be, but I would love to.

I would like to be the second and meet all these people and be like a fan and be all goo goo ga ga with everybody laughs.

And then after that, they just talked to me straight. Quite some German producers have their riddims on heavy rotation in Jamaica, but South Africa is a different matter, I suppose. How was the tune you sang on their riddim received in RSA? They are received in terms of radio. We have about three stations that play reggae music only. Reggae and dancehall music. Oliver from Silly Walks told me recently that he had just sent you a new riddim of theirs to voice?

I got it around nine am, and by five the song was done. I recorded it in a day. Ouh ya! That was one of the moments That was one of the most amazing moments, the most nerve-wrecking moments of my life. How can I remember anything? But ya, I pulled it off.

It was one of my highlights, one of the highlights in my life. It helps! This young band, all of whom are in their late teens or early twenties, have been building a solid reputation on the live circuit in the UK, performing predominantly their own compositions at various festivals and supporting the likes of Maxi Priest, Dawn Penn, Musical Youth and John Holt.

As the summer ended last year writer Erik Magni re- bandcamp. How did you all come together? Well, me Nile and Jordan, have been friends since birth, and it was us who originally set up the band. But everyone else in the band we have known through music in some way, either from seeing them in other bands, or having played with them at some point. What made you decide to start a Reggae band?

Me and Jordan have always had a passion for Reggae music, it was a style that we really related to, and because of that, we felt it should be something we should pursue ourselves. Who are your influences? We have many influences, not just Reggae artists. Have you found it hard being a reggae band to get your music out there and heard?

In some ways yes and in some ways no. Towards the end of last year you supported the Specials, how did that come about and how did you find it?

I caught you at the Alexandria Palace show where you were very well received. They are a big influence to us, and so to have been able to support We had a gig supporting Nev- them and meet them was such ille Staple in Derby, and after an unforgettable experience. A few days later now and I saw somewhere I received a phone call from that it went up to around 7 him saying he loved the EP, and on the iTunes UK reggae chart, would pass us on.

Not too long after, I got a call from Lynval how does it feel to be in there Golding, saying he was really amongst your peers? The next thing we knew, reaching No. Reggae Album Charts, coming second to Bob Marley. It was unbelievable seeing our music up there with the greats, and an honour to be sat next to Bob Marley and many other Legendary Reggae artists in the charts!

What plans do you have for the immediate future? We also have a killer relick of the Tonight riddim from Delly Ranx and co, a few toppa euro riddims from Weedy G and Reality Shock and co, enjoy! A few very new tunes, a few very old tunes and a few favourites make up this all-styles selection most likely to be played this Friday night. It's gonna be a banger! Posted by Undercover at AM 3 comments:. A strickly reggaedigidubstep serving right here, nothing too freaky, just how I like it!

Roommate, and Radikal Guru drop new albums, big tings! Not forgetting a bit of jungle we have RCola jamming his usual trix, speaking of, Ms Dynamite is full of magic, dropping massive tunes after a solo recording hiatus. Respect part 2! Yes, another few weeks of big tunes being discovered.

Posted by Undercover at AM No comments:. I likkie Studio One skank to celebratevisits! All sorts in this bunch, sweet soul melodies, bonafide classics, rare versions and dubbed out b sides from the Brentford Road driving force of Cosxone, Jackie Mittoo, Leroy Sibbles, Don Drummond and Co.

Studio One long time! And while we are at it, I found this amazing link. I remember finding something like this a few years back, you will not regret grabbing this! Not quite a complete set but an absolute vault of Studio One rarities from all of Coxsones labels. Complete Studio One Recordings. A massive 'Vault' of absolute party classics here.

Posted by Undercover at AM 1 comment:. Let's rewind a bit, so in reggae circles when did the cover or 'mashup' all start? Re-interperating tunes from Curtis, Syl, Jagger, Franklin and Brubeck with JA's top vocal harmony talents of the day it truly was a remarkable combination that continues in reggae up to this day. Next up, chronologically anyway, is a bunch of predominantly Rocksteady remix nuggets. Lets get the party started!

Posted by Undercover at AM 4 comments:. Always popular in a club the mashup often gets the most sceptical dancer grooving and satisfies that annoying girls that asks for Beyonce.

It's been a while since I dropped an original foundation vibe - from rocksteady and rockers to roots, steppers and dub! First up we start with an absolute classic from Dennis Brown, something I dropped No1 at the last Vital gig! Ha, nah just a bunch of killer new reggae released over the past few months, reggae run strong! A littlerelick and lovers set here Roots and bangers up next Cecile features a bit as she drops a new album and is running few big riddims.

Monday, September 5, Beets August w Undercover. Posted by Undercover at AM 2 comments:. Keith Hudson Feat. Augustus Pablo - Pick A Dub 2. King Tubby - In Fine Style 3. Alborosie - Dubbing Kingston 5. King Tubby Feat. King Tubby - Mercy Horns 7. Augustus Pablo - Frozen Dub 9. Johnny Clarke - Babylon Yard Dub Da Grynch - Joker Smoker Dub Alborosie - Tribute To The King Cornell Campbell - Gorgon Dub Johnny Clarke - Running Over Posted by Undercover at AM 5 comments:.

Tuesday, August 30, Dread at the Controls! Wicked little animation where you can be Mikey Dread! Select ya dub, dub it out and toast it! Labels: Roots. A little while ago I was being critical and dissed Tarrus to my mates for lack of quality releases of late, "a bit soppy, not big enuff" I was saying. I certainly have changed my tune 'cos since then the man has dropped a slew of killer vocals on huge riddims such as Skateland Killer, Gorilla, Jah Army, Natty Dread a Weh She Want, combos with Sleepy Hollows and Shaggy and not least his single from the new Gregory tribute album.

Here is a collection of recent faves from one of, if not the biggest reggae stars in the world today. I most humbly eat my words Labels: Big TuneUndercover Selections.

Anovva slew of fresh choons onna lovers, roots and dancehall tip. You guys know the story, will let the tracklist speak fo itself. I know you like it. Posted by Undercover at PM 8 comments:.


Negative Space - Rainer Veil - New Brutalism (Vinyl), Sk8er Boi - Avril Lavigne - Let Go (CD, Album), Naujuosius Metus Pasitinkant - Tomas Leiburas - Kompozitoriaus Tomo Leiburo Dainos (1982-1996) Ir Mu, Erhabenheit / Vinterkrig - Epitaphien Der Wintergeister / Ashes Of Non-Existence (Cassette), Why You Came, Same Walls, Ångesten Är Total - Afgrund - Svarta Dagar (CD, Album), Im Sayin It - Stockholm Cyclo - Techtonic People (CD, Album)


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  3. The official Nice Up mix - selected, mixed and designed by yours truly! My favourite tunes across all reggae spectrums from the past year with a slew of killer New Zealand bangers - High Stakes and Jah Lion, Silva MC and Iron Will, Mighty Asterix pon a Sandy Bay dubplate, Israel Starr and Art Official, Reality Chant Productions, Dub Terminator and the one and only Mr Ras Stone!
  4. Dubtonic explains it all, Dub the foundation of reggae music as we know it, the grassroots, rub-a-dub, drum and bass, ruggu ruggu, that is the foundation and then we talk about tonic.
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  6. Apr 16,  · Dub App (Dub Spencer & Trance Hill vs. Umberto Echo) 0dd56fee0dff-9eb5c3f8 Love Caboose Geneva Jacuzzi 0dda46cdc-4aeead Talk to Me Myles Bigelow,Chi Turner 0deedfc-bfa22c5ae Future Elements Recordings Felt My Pain thereallilh 0dea5-befadff7fd8b81 Best Intentions.
  7. Rub A Dub Riddim Pubblicato da Maurizio a Etichette: Reggae, Rub A Dub Riddim. Nessun commento: For Your Love ( uk, trailblazer rock 'n roll rhythm and blues, japan mono edition) Dubtonic Kru (4) Dulk (1) Duplicity Riddim (1) Düsseldorf (1).

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