Thursday, December 17, 2009

el africano
First cumbia post on this blog- this music is so heavy it will reach anyone who loves heavy grooves and powerful singing-

These cassettes were obtained at the end of an era: Woolworths on Santa Fe's plaza was fazing out their Spanish cassettes years ago, and BOOMING BASSLINES was there to swoop on anything that said cumbia, mambo or rancheros-

Sound quality is quite listenable: check the scorching Latina who voiced "El Africano" and others, and check that squishy keyboard on "El Guiro", kinda like Calypso (soca) and Cadence (zouk) among other styles from the multitude of Caribbean islands.

Pretty sure these are Mexican tapes of Colombian and Mexican artistes.


Tuesday, December 15, 2009

hardest dubplate ever cut

This Major Mackerel dubplate for EXODUS goes out to all you
can't-mix DJs, all you fake hippies and all you
bitch-attitude record collector geeks- MERRY CHRISTMAS-

Thursday, December 10, 2009

babylon war

Smooth vocal from the Admiral over a digital lick of "Full Up"-
The B side was a minute long scrap of the dub version that faded in! (a big NO NO),
but here it is edited into a playable VERSION-


Thursday, December 3, 2009

blood in the street

Leroy going for himself in Toronto-

Wednesday, December 2, 2009

street of gold

Eighties style Heptones led by Barry, doing over the Gladiators' "streets of gold/ dreadlocks the time is now/roots natty" in a dance hall fashion- Not sure if Albert wrote that one or not- Included is a BOOMING BASSLINES discomix edit for your dubbing pleasure-


Tuesday, December 1, 2009

Heptones - Harry Js Showcase A1

Imagine how the Heptones feel: coming from humble beginnings and rising to great heights internationally, they have watched as virtually everything they recorded for Coxsone has become a world standard "riddim", versioned mercilessly by countless producers and voiced by thousands worldwide. As you read this, someone is in the studio building a new version of a Heptones riddim and djs are playing any number of records based on their compositions.

Ranging from classic versions that are remarkable, to god-awful dance hall one-shots soon forgotten, Earl Morgan, Leroy Sibbles and Barry Llewellyn have recieved zero royalties from any of it.

The music presented here is from their sessions for Harry Js, grouped together by riddim and cleaned up a little. What a creative time in the music!
This music is bad and beautiful-