A little Jacob Miller for a nice summer day (with downloads)

drizzle · Post by **drizzle** » Thu Aug 09, 2007 2:09 pm

It's a nice sunny day here, not too hot (at least when I was going to work it wasn't), so I pulled out this dead ass raggae classic. Jacob Miller on the vocals, Augustus Pablo on the production, King Tubby on the dub - an unfucwitable line up. This is a collection of singles (and the dubs of these same singles) recorded in the early 70's, many of which ended up on the legendary King Tubby Meets the Rockers Uptown album. Nothing rare on anything, but these are the definitive versions of these particular songs. 30 or so minutes of just straigth up sex for your ears basically.

http://www.megaupload.com/?d=H4HRFAB0

1. Keep In Knocking
2. Knocking Version
3. False Rasta
4. Hungry Town Scanc
5. Baby I Love You So
6. King Tubby Meets Rockers Uptown
7. Who Sa Jah No Dread
8. Jah Dread
9. Each One Teach One
10. Each One Teach One Version
11. Girl Name Pat
12. Girl Name Pat Version

slimebucato · Post by **slimebucato** » Thu Aug 09, 2007 2:33 pm

cool my ears haven't been fucked in a while

Sebastian gets busy · Post by **Sebastian gets busy** » Thu Aug 09, 2007 5:29 pm

tuff tunes boss

slimebucato · Post by **slimebucato** » Tue Sep 04, 2007 9:11 pm

Just wanted to say this is awesome

Got any more good reggae recs? I'm pretty ignorant to it. I like Steel Pulse's "True Democracy" alot if that helps.

Sebastian gets busy · Post by **Sebastian gets busy** » Tue Sep 04, 2007 9:16 pm

I can up some cool reggae if you check out some david rudder

im thinking mighty diamonds, israel vibration or the congos, abbysinians, johnny clark, max romeo, junior byles etc.

well Ill up some reggae anyway. steel pulse is tight, by the way

slimebucato · Post by **slimebucato** » Tue Sep 04, 2007 11:59 pm

cool dude, thanks

I'll check out rudder

Sebastian gets busy · Post by **Sebastian gets busy** » Wed Sep 05, 2007 2:11 pm

about rudder, be sure to check out the gilded collection with songs like 1990, one more, officer, song for a lonely soul, bahia girl, etc....

http://www.sendspace.com/file/0xynde

congos - heart of the congos

Lee Perry is generally acknowledged as a production genius, but on occasion that genius can be destructive, and while there's no disputing his talent, sometimes the results can be less than aurally satisfying. This is especially true when it comes to albums, where Perry's efforts were often erratic. On Heart of the Congos he was brilliant, and across the record's original ten tracks Perry created a masterpiece of music. Many critics consider this 1977 album one of the best roots records of all time, and at the very least, it was Perry's apex -- only Junior Byles' Beat Down Babylon is an equal contender. Which is why it's all the more shocking that the record was turned down by Island, and even back in Jamaica it received only a limited release. It took nearly two decades for Heart of the Congos to reappear, finally reissued with a clutch of period bonus tracks by Blood and Fire. The Congos themselves seem the least-likely contenders to record an exceptional album with Perry. The duo of Cedric Myton and Roy "Ashanti" Johnson had a unique sound, revolving around the former man's crystalline falsetto, which was set off by the latter's rich tenor. The pair composed deeply cultural songs, but both men's vocals had a gentle quality that would wither under a typical deep roots arrangement. Still, Perry had proved his worth working with the soft, husky tones of Byles, but few expected him to be able to repeat this feat. In fact, if anything, the producer was even more sympathetic to the Congos' styling and exhibited a musical self-restraint that astonished even his hardcore fans. Every track on the original album is worthy of classic status, and all presented the group and their songs in the best possible light. To this end, Perry was aided by a phenomenal group of sessionmen and guest backing vocalists which included Gregory Isaacs, a pair of Heptones, and the mighty Meditations. But beyond the Congos' superb songs and performance, the superb musicianship, and the exceptional vocal talents, it's Perry's arrangements that brought these numbers to life. Each one was carefully tailored, taking into consideration the mood of the piece and the vocalist. The tribal beats of "Congoman," for example, are just the song's launch pad; its the way the vocals and harmonies weave in and out that makes the piece extraordinary. The 12" and "Chanting" versions give further evidence of Perry's genius. "Ark of the Covenant" is stuffed to the brim with instrumentation, with the vocals soaring overhead, and brings the album to a religious fervor. In contrast, "Solid Foundation" is stripped back, a showpiece for Myton's marvelous falsetto. There's the stirring roots of "Open the Gates" and "Sodom and Gomorrow," while rocksteady echoes across the deeply affecting "Children Crying" and "La La Bam Bam." Every track offers something new: a unique sound, an unforgettable melody and rhythm, an unexpected arrangement. As much work went into the remastering as the recording, and the album sounds as good as it must have at the time it was recorded. Revel in the moment.

Sebastian gets busy · Post by **Sebastian gets busy** » Wed Sep 05, 2007 7:06 pm

http://www.sendspace.com/file/32et29

1976- mighty diamonds - right time

Few reggae bands evoked their audience's suffering as viscerally as the Mighty Diamonds, not least because of lead vocalist Donald "Tabby" Shaw. Although overshadowed by stars like Bunny Wailer, Shaw's aching lilt remains a compelling signature of the roots-oriented '70s era. His graceful yet forceful presence on songs like "I Need a Roof" -- which laments lack of housing -- is exactly what the music needs. A strong moralistic undertone runs throughout the album. "Right Time" warns of an impending breakdown in social order, and "Why Me Black Brother Why" decries the rampant lawlessness afflicting the island nation. "Them Never Love Poor Marcus" scornfully denounces the people who betrayed the black nationalist leader (Marcus Garvey) for "rice and peas." "Gnashing of Teeth" takes up the Biblical imperative of Judgment Day, in which "only good works shall see you through." Some strategic departures help to leaven the band's approach, most notably the love song "Shame and Pride." Lloyd Ferguson steps out of his backup vocalist role on "Go Seek Your Rights," which reminds people to respect their differences while striving for social change, and "Africa" is a wistful tribute to the continent that Rastafarian believers consider their final home. The playing is first-rate, bolstered by unobtrusive contributions from session aces like bassist Robbie Shakespeare and drummer Sly Dunbar. No student of the genre should miss this landmark roots album.

drizzle · Post by **drizzle** » Wed Sep 05, 2007 7:21 pm

this is all good seabass but there is other raggae that's not about political chest thumping and flag waving

Sebastian gets busy · Post by **Sebastian gets busy** » Wed Sep 05, 2007 8:12 pm

well ive got garnett silk, dennis brown and gregory isaacs on the way.

Sebastian gets busy · Post by **Sebastian gets busy** » Thu Sep 06, 2007 4:06 pm

http://www.sendspace.com/file/g1dsx4

junior byles - beat down babylone

After two albums and a series of highly successful singles, the Wailers, Lee "Scratch" Perry's most dynamic group, decided to strike out on their own in 1971. A further blow was served to the producer months later when Aston and Carlton Barrett, his formidable rhythm section, joined them. Perry subsequently turned to his vast network of musical associates to build a new session outfit. These players, including bassists Val Douglas and Lloyd Parks and drummer Leroy "Horsemouth" Wallace, would cut the next series of classic Upsetter rhythms. The first years of the 1970s found Perry working closely with Junior Byles, the singer who would temporarily fill the gap left by Marley. From the moment Douglas and the Now Generation band backed the singer on "Beat Down Babylon" in 1971, Scratch ensured that nothing but the finest rhythms were sent his way. Beat Down Babylon: The Upsetter Years includes the whole of Byles' excellent 1972 debut, adding classic singles from the same period, including "King of Babylon," "Pharaoh Hiding," and the sublime "Curly Locks." Byles has a soulful delivery that is probably rooted in the church services he attended as a child. It's the perfect vehicle for expressing his concerns as a young Rasta and a member of Jamaican society. Both "King of Babylon" and "Pharaoh Hiding" captured the optimism prior to the island's 1972 election, while "When Will Better Come" expressed the discontent many felt a year later when change failed to arrive. "Curly Locks," one of Byles' most enduring songs, is a touching tale of Rasta love for a non-Dread. Included among the plethora of bonus tracks are a handful of Perry's versions: trailblazing, proto-dub productions that reveal the muscle beneath the Byles material. Beat Down Babylon represents some of the finest product mixed by the Upsetter's hand and the pinnacle achievements of Junior Byles' career.

slimebucato · Post by **slimebucato** » Thu Sep 06, 2007 6:34 pm

thanks, i'll dl and check em out

Sebastian gets busy · Sat Sep 08, 2007 10:59 am

Only one Garnett Silk album was actually cut and released as the artist planned -- It's Growing. His projected debut, Love Is the Answer, recorded between 1990 and 1991 for Steely & Clevie, wasn't released until 1994. Nothing Can Divide Us appeared the following year, and compiled songs cut in 1992 for Courtney Cole. Silky Mood, also released posthumously, rounded up numbers cut for the Jammys label, and a myriad of other sets compiled up hits, earlier offerings, and pretty much anything and everything that the singer had recorded.

So, Growing remains Silk's only "true" album, and a masterpiece it is, as across ten tracks the singer showcases his stunning power on both romantic and cultural numbers. On the gorgeous title track, Silk combines both into a spectacular lovefest. "Move on Slow" finds the singer at his sultriest, and "Come to Me" at his most passionate, while "Commitment" takes him into soulful territory. "Place in Your Heart" is a total charmer, and was a huge Jamaican hit; Silk would recut the song two years later for his projected debut for Atlantic.

"Bless Me" was also a smash, a fervent prayer for Jah's intervention, backed by Michael Spense and Jazzwad's jazzy, high-stepping accompaniment. "Keep Them Talking" boasts an equally inspired backing from the Firehouse Crew, a dangerous, thumping rhythm that will indeed keep them talking, as Silk puts those who reject Jah firmly in their place. "I Am Vex" was even angrier, and another deserved hit, where the singer ferociously addresses racists, while his righteous anger also fires "Disadvantage." Both these numbers were vehemently backed by Danny Browne, who supplied accompaniment on two other tracks as well.

Sly & Robbie and Steely & Clevie also provide phenomenal rhythms, with Brian & Tony Gold and Dean Fraser offering excellent vocal support. Bobby "Digital" Dixon's expert production and arrangements makes the whole set sizzle, adding glow to the romantic numbers, and fire to the cultural tracks.

Every song within is a classic, the lyrics are strong, all penned by the singer and/or his writing partner Anthony Rochester. It's Growing is the album that established Silk's reputation, and is a continuing reminder of his ferocious talent.

http://www.sendspace.com/file/69bhim

Julius Seizure · Post by **Julius Seizure** » Sat Sep 08, 2007 3:52 pm

dreadlocks can't live in a tenement yard
too much cootchie cootchie cootchie
too much watchy watchy wah

Sebastian gets busy · Post by **Sebastian gets busy** » Sat Sep 08, 2007 8:34 pm

http://www.sendspace.com/file/tq7sed

gregory isaacs - night nurse

this album is the shiznit

Although his 1981 album, More Gregory, was picked up for international distribution, Gregory Isaacs' 1982 release, Night Nurse, was his first to be designed for an audience outside Jamaica. Accordingly, Island Records head Chris Blackwell upgraded the overall sound quality, making this Isaacs' most professional-sounding record yet, and he brought in synthesizer player Wally Badarou to overdub keyboard parts on the tracks, making them less spare and distinguishing the arrangements more. Isaacs and his backup band, the Roots Radics, had a tendency to set up a groove and play, with only minor differences from one track to the next, but Badarou brought a different flavor to each song. Isaacs responded to his greater opportunity with a strong collection of compositions, starting with the title song, which pleaded for erotic medication with as much urgency as Marvin Gaye's "Sexual Healing." For the most part, romantic concerns occupied him, but "Hot Stepper," in which he sang of being wanted by the authorities, unfortunately anticipated the incarceration that would derail his career shortly, and "Material Man" was a savage denunciation of the wealthy, even if it was rendered in Isaacs' characteristically even-toned voice over the medium-tempo track. Night Nurse had just enough variety to make it a cohesive album and not just a collection of singles, and with Island's promotional muscle it brought Isaacs deserved recognition, rising into the U.K. Top 40 and attracting accolades in the U.S. The 2002 reissue adds more than 22 minutes' worth of bonus material, all of it dub versions of Isaacs' songs, including an eight-minute instrumental extension of "Cool Down the Pace," a song in which the unhurried Isaacs asks his companion not to dance so fast. The result is to make one of the 1980s' best reggae albums that much better.