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chicodub
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Quarta-feira, Março 28, 2007
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Mento, Leo Vidigal e a coluna Observatório do Reggae
Não deixem de ler o texto sobre mento escrito pelo sabe tudo Leo Vidigal na coluna Observatório do Reggae. Maravilha!
Reaproveito pra postar de novo essa palhinha sobre o gênero publicada no blog tempos atrás:
Se o ska é o avô do reggae, o mento é o bisa. Roots é pouco. Foi o mento que originou a indústria fonográfica jamaicana, isso nos anos 50. E pra quem acha que o estilo é ultrapassado, um detalhe: Até hoje são lançados compactos na Jamaica com tintas mento. Aí vai uma listinha de algumas músicas influenciadas pelo gênero - às vezes chamado de calypso jamaicano -, uma fusão de sons tradicionais africanos e europeus:
- Cutty Ranks - "Ganja Pipe"
- Nitty Gritty - "Hog In A Minty"
- T. O. K. - "Galang Gal"
- Elephant Man - "Hill and Gully"
- Yellow Man - "Take Me To Jamaica"
- Johnny Clark - "Collie Dread"
- Clint Eastwood and General Saint - "Healing In The Balmyard"
- Culture - "Forward To Africa"
- Jah Lion - "Little Sally Dater"
- I-Roy - "Monkey Fashion"
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POT-MAN!
Clique pra jogar
chicodub
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Terça-feira, Março 27, 2007
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Ska!
Desde que a Lilly Allen começou a bombar ano passado, tenho notado uma reaproximação dos ingleses com o ska - principalmente aquele feito lá mesmo, o two-tone. Numa entrevista, Damon Albarn disse que o The Good, The Bad & The Queen é, além do Combat Rock, do Clash, uma homenagem ao primeiro disco do Specials. Já no underground, nomes significativos do dubstep, como Kode 9 ("Find my way", um remix do Massive Music) e Skream ("Dutch Flowerz") têm skas em seus repertórios.
Falando em Specials, seu ex-vocalista, Terry Hall, agora é parte integrante do sempre interessante Dub Pistols. Dêem uma olhada no vídeo de "Rapture", primeiro single de Speakers and Tweeters, álbum que será lançado oficialmente dia 9 de abril. Cover do Blondies (será que essa volta do ska faz parte da febre dos anos 80?), "Rapture" é um electro dub que certamente vai virar hit lá fora.
No podcast, selecionei "Gangsters", versão do Pistols prum som do próprio Specials. E com o Terry Hall cantando, é claro.
Mais sobre Specials e o two-tone, a versão dos ingleses pro ska jamaicano, na próxima edição da Hi-Fi.
chicodub
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Quinta-feira, Março 22, 2007
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Molho de churrasco Reggae Reggae Sauce: coloque música na sua comida
Todo bom jamaicano que se preze é chegado num churrasco, iguaria comida defumada (é, eles gostam mesmo duma fumaça) por aquelas bandas. O chamado jerk pode ser de tudo quanto é tipo: carne, frango, costelinha de porco, cabrito. Acompanhado de uma Guiness, Heineken ou Red Stripe, o petisco desce melhor ainda. Até porque, meu amigo, o negócio é quente, fyah!, culpa do molho apimentado que eles colocam pra temperar a carne. Pois bem, Levi Roots, cantor jamaicano de nascença e morador de Brixton, bairro no sul de Londres, resolveu se dar bem em cima do gosto da colônia jamaicana na Inglaterra. O que ele fez? Usou a receita da sua finada vovó e criou o Reggae Reggae Sauce, molho de churrasco que se tornou um fenômeno de vendas no carnaval de Notting Hill do ano passado.
Levi nunca havia conseguido muita popularidade fora do circuito dos sound systems ingleses e da cena de UK roots na Europa. Isso até ele participar do reality show da BBC Dragon´s Den (Cova dos Dragões). O programa (passa no Brasil??) reúne uma banca de empresários graúdos que estão ali pra avaliar se o negócio que você tem pra oferecer, no caso de Levi, o molho, vale ou não seus investimentos. Mesmo tendo se equivocado com contas e planos estretágicos, Levi conseguiu de dois dos jurados 50 mil libras, que em troca de 40% dos lucros, estão cuidando devidamente do lançamento do Reggae Reggae Sauce.
Depois do programa ir ao ar, em fevereiro - veja aqui a música que Levi usou para convencer os investidores, uma versão não finalizada do single que virá logo mais -, a cadeia de supermercados Sainsbury, mais de 600 lojas espalhadas pela Inglaterra, se interessou pelo molho e o está vendendo feito água. Ironia do destino, Levi conseguiu o maior sucesso da sua carreira.
Enquanto não mato minhas laricas com o Reggae Reggae Sauce, sigo escutando o excelente Levi Roots. Vai lá no podcast que você ouve "Poor man´s story", primeiro som do Levi. Ficha: gravado em 81 por Lloyd Coxsone e mixado pelo mestre Dennis Bovell.
chicodub
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Quarta-feira, Março 21, 2007
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Jamaica Hi-Fi #7
fundação de dub asiática; bally sagoo meets rockers uptown; a punky reggae party de washington d.c.; damon albarn ataca novamente; kiwi dub; kiwi dub 2; dub mediterrâneo; dj assustador contra as pistolas dub; faça barulho para o skream
chicodub
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Segunda-feira, Março 19, 2007
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Dubstep por Kode 9
Quer conhecer o dubstep do inglês Kode 9? Duas dicas. Ouve o podcast Jamaica Hi-Fi e confere o set que ele vai fazer no MAM, Rio de Janeiro, durante a Hipersônica, parte festiva do FILE, Festival Internacional de Linguagem Eletrônica.
Selecionei dois sons do disco que o 9 gravou ano passado com o cantor Spaceape, um LKJ muito do chapado. "Backward" é o carro chefe do já clássico "Memories of the future", disco lançado ano passado pelo Hyperdub, selo do próprio 9. Aproveitando o gancho, vale a info que o número 1 da revista The Wire em 2006 é outro disco da Hyperdub, o Burial, do projeto homônimo. Em seguida, "9 Samurai".
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Potcast 3 - The Sound of the Volcano.
Mixed by Dj Fepa
"A terceira edição do POTCAST é dedicada a um dos maiores produtores da música jamaicana: Henry "Junjo" Lawes. Ele produziu alguns dos maiores hits do dancehall nos anos 80."
Tracklist:
1. Yellowman - Bam Bam - Volcano
2. Cocoa Tea - Rocking Dolly - Volcano
3. Josey Wales - Kingston Hot - Volcano
4. Frankie Paul - Curfew in the dance - Volcano
5. Frankie Paul - Worries In The Dance - Volcano
6. Yellowman & Fathead - I'm Getting Married In The Morning - Volcano
7. Toyan - Spar With Me - Volcano
8. Michigan & Smiley - Diseases - Volcano
9. Nicodemus - Boneman Connection - Volcano
10.Cocoa Tea - I Lost My Sonia - Volcano
11.Frankie Paul - Tu Shun Peng - Jah Guidance
12.Yellowman - Mr. Chin - Volcano
13.John Holt - Police in Helicopter - Volcano
14.Johnny Osbourne - Two bad doughter - Volcano
15.Hugh Mundell - Jacqueline - Jah Guidance
16.Johnny Osbourne - No lollipop no sweet so - Jah Guidance
17.Barrington Levy - Mary Long Tongue - Jah Guidance
chicodub
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Sexta-feira, Março 16, 2007
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Ratos de barriga branca
Minhas preces foram atendidas. Quem acompanha Lee Perry ao Brasil é a banda suiça White Belly Rats (nome de uma música do Perry). Explico. Tinha muito medo que montassem uma banda tabajara e improvisada de última hora, o que felizmente não irá acontecer. O WBR é responsável por "Panic in Babylon", 04, melhor disco do Upsetter desde a dobradinha Black Ark Experryments (trocadilho sensacional!)/"Experryments in the Grass Roots of Dub", gravados com o Mad Professor em 1996.
"He´s coming, watch out!"
Lee Perry no Brasil:
14 de abril no Circo Voador, Rio de Janeiro
15 de abril no festival Abril pro Rock, Recife
17 de abril no Via Funchal ou Citibank Hall (a definir), São Paulo
fonte: Bruno Natal
chicodub
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Quinta-feira, Março 15, 2007
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Dubben: MPB made in Sweden
Já falei do selo sueco GAMM numa das Hi-Fi - se não me engano a #2. Mas volto a falar dele por causa do Dubben, projeto muito doido que - atenção para a palavra chave do GAMM - mistura música latina, aparentemente dos anos 70, com toques dub. Três das cinco músicas que ouvi dos caras, todas elas lançadas pelo GAMM, têm vocais brasileiros. "Cuba Cubana Strand" mexe num som do Juca Chaves, "Take me back to Piaui". "Kollectoren Dub" parece um encontro do Jorge Ben com King Tubby, tipo Los Sebosos Postizos. "Rainha do Dub" idem. Ouça as duas últimas no podcast da Jamaica Hi-Fi. É só clicar nos links e se divertir.
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As dez frases mais Lee Perry do Lee Perry:
1 - "It was only four tracks on the machine, but I was picking up twenty from the extra terrestrial squad."
2 - "I, Pipecock Jackson, Jack Lightning, Jesse The Hammer, Lee 'Scratch' Perry, Daniel Dandelion the Lion, Jah Rastafari the crumbler, the ghost of King Arthur, put a curse on BBC radio and television, and BBC government, that they can never undo until they start playing Mr. Perry records morning, noon, and night, and around the clock - tick tock."
3 - "I am bigger than Jamaica!"
4 - "When I shit my enemies cry, when I speak they die."
5 - "I am the Upsetter, and I can put my upsetting power into any musician and they become Upsetters."
6 - "Some people don't believe in the Bible, but I believe in it 'cause I live in the Bible."
7 - "I am an alien from the other world, from outer space, I don't have no land, no estate, no property, no house. Not on this earth. I live in space - I'm only a visitor here. Some people are only here to collect property. I am here with my suitcase to collect only the good brains."
8 - "Every time the music reach a stop, instead of killing the music, we take the music back to the lab and perform a medical operation and bring the music back in a new generation."
9 - "All people who love my music will be fully supported. Them that don't love my music shall surely perish."
10 - "I am a sexpert! I was born by sex. When you make love and having sex, you make two people into one and out come a baby and make it three in one! The church fight against it, but they all wrong. If there was no sex, we would die and with us would die truth and religion. God loves sex."
chicodub
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Segunda-feira, Março 12, 2007
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"Chega de reggae, pelo amor de Deus. Bob Marley já morreu"
Menina reclamando com o DJ de uma festa em Botafogo
O sentido da pérola acima, publicada na revista de domingo do jornal O Globo (11 de março) é, óbvio, o seguinte: Bob Marley é reggae. Tadinha da menina, não deve ter acesso a internet e muito provavelmente só ouve rádio e assiste o TVZ.
Uma pena que o reggae só tenha chegado aqui no Brasa dessa forma. Mas a internet tá aí pra mudar isso, porque se dependermos da grande mídia, Marley sempre será reggae...
Enquanto isso, sigo ouvindo Djosos Krost, duo dinamarquês que funde dub com electro, techno e house. Tudo bem alemão, bem Rhythm and Sound, bem bom. Breve numa Jamaica Hi-Fi, aguarde. Falando nela, criei um podcast - o banner tá logo aí em cima. Clica nele que você lê/ouve as três primeiras colunas da Hi-Fi. E fica esperto porque muitas outras músicas pintarão por lá, inclusive as 30 produzidas pelo Lee Perry que tão aí embaixo. Fogo!
chicodub
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Quinta-feira, Março 08, 2007
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Dia internacional da mulher
8 de março. 8 mulheres. 8 músicas. Parabéns!
Senya - "Children Of The Ghetto"
Sister Carol - "Black Cinderella"
Sister Audrey - "English Girl"
The New Age Steppers feat. Ari Up - "Love Forever"
Aisha - "The Creator"
Sis Nya - "Works of Jah"
Sister Rasheda - "Hail H.I.M."
Skream feat. Warrior Queen - "Check-it"
chicodub
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Terça-feira, Março 06, 2007
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Top 10 álbuns originais produzidos por Lee Perry*
(opa, essa lista é mole!)
1 - "Columbia Colly" - Jah Lion (1976)
ouvir jah lion em cima de fever, dub organizer e satta é sempre um prazer.
2 - "Roast Fish Collie Weed and Corn Bread" - Lee Perry (1978)
único disco solo do perry na arca. a música título é hino.
3 - "Police and Thieves" - Junior Murvin (1977)
precisa falar alguma coisa? precisa. tedious é a minha preferida do perry.
4 - "Heart of the Congos" - The Congos (1977)
o disco não instrumental mais respeitado da black ark. e se bobear, do reggae inteiro!
5 - "Party Time" - The Heptones (1977)
a música título engana. o lance aqui é pesado, sufferer´s time.
6 - "War ina Babylon" - Max Romeo (1976)
por causa do prodigy, milhares (milhões?) de pessoas passaram a conhecer romeo e perry. ouça a fonte original.
7 - "Super Ape" - The Upsetters (1976)
o mais famoso disco de dub do perry não é um disco de dub: ele não subtrai na mix, soma.
8 - "Return of the Super Ape" - The Upsetters (1978)
meu disco de estimação. melhor e mais psicodélico que o de cima.
9 - "Upsetters 14 Dub Blackboard Jungle Dub" - The Upsetters (1973)
um dos primeiros discos de dub da história. co-produção do king tubby.
10 - "Kung Fu meets The Dragon" - The Upsetters (1975)
instrumentais bizarros inspirados em filmes de bruce lee e co.
(ops... né mole, não!!!)
11 - "Natty Passing Thru" - Prince Jazzbo (1976)
esse (também conhecido como ital corner) e colombia colly são únicos discos de toasters da arca.
* sem ordem de preferência
chicodub
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Segunda-feira, Março 05, 2007
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Top 20 do Lee Perry*
Até o dia 14 de abril, este blog, antes um espaço democrático sobre música jamaicana, só terá, salvo raríssimas exceções, um único assunto: Lee "Scratch" Perry. Enquanto o primeiro texto não pinta, resgato um top 10, na verdade um 12, que já havia postado. E incluo mais 8 faixas, pra virar um 20. Em breve, ponho o link de todas elas pra baixar em MP3.
1 - "Ark of the covenant" - The Congos
2 - "Tedious" - Junior Murvin
3 - "Secret laboratory (scientific dancehall)" - Lee Perry & Dub Syndicate
4 - "Fever" - Junior Byles
5 - "Vampire" - Devon Irons
6 - "Justice to the people" - Lee Perry and The Upsetters
7 - "Disco devil" - Lee Perry & The Full Experience
8 - "Return of the super ape" - The Upsetters
9 - "Words of my mouth" - The Gatherers
10 - "Vibrate on" - Lee Perry & Augustus Pablo
11 - "Open the gate" - Watty Burnett
12 - "History" - Carlton Jackson
13 - Norman (domino version) - Max Romeo & Jah Lion
14 - "Dub organizer" - Dillinger
15 - "Columbia colly" - Jah Lion
16 - "Slipping into darkness" - Carl Bradley
17 - "Freedom" - Earl 16
18 - "Best dressed chicken in town" - Dr. Alimantado
19 - "Travelling" - Debra Keese & The Black Five
20 - "Ethopia" - Aisha Morrison
(odeio listas)
21 - "Open door" - Lee Perry & Mad Professor
22 - "City too hot" - Lee Perry
23 - "Rejoice Jah Jah children" - The Silvertones
24 - "Kentucky skank" - Lee Perry
25 - "Jungle lion" - The Upsetters
26 - "Fisherman" - The Congos
27 - "Mr. President" - The Heptones & Jah Lion
28 - "Super Ape" - The Upsetters
29 - "Prophet" - Prince Jazzbo
30 - "Kiss the champion" - Lee Perry & Dub Syndicate
*sem ordem de preferência
chicodub
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Sexta-feira, Março 02, 2007
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Heel up, Wheel up, come back, rewind: Trojan Records
by Paul D. Miller a.k.a. DJ Spooky that Subliminal Kid NYC 2006
(texto sensacional que o DJ Spooky escreveu no encarte da sua seleção para a Trojan Records)
When Trojan Records asked me to do a "selections" from their archive, one of the first things that went through my mind was how do you mix music that changed the world? It's been about fifty years since Jamaica has become an independent country, and it seems like the music that comes from this tiny island in the Caribbean is having more of an impact than ever.
Trojan Records' founder, Arthur "Duke" Reid, used to drive the Trojan brand of trucks around Kingston with huge speakers blasting his innovative collection of Jamaican music, leading to the urban legend of how the name of the soundsystem cum record label developed. "Duke" was a former policeman, and it comes as no surprise that the "ruff and rude" sounds of the Kingston underground were the staple of his sound.
The metaphor of the Trojan truck, mapped onto the Greek legend of the Trojan house, is as fitting as any fiction. Trojan Ltd. was a car company that made sturdy trucks that were to become the staple of the colonial market export of cars. The people of Troy, a great city on the edge of ancient Greece, were a royal line founded by Zeus and Electra, and if the myths of the past are to be kept in mind when we think of Jamaica, you can see the update: Like the Trojan horse, these stealth units, soundsystems, were able to be in plain sight while changing the cultural operating system of the entire world. Soundsystems were portable discos, mobile platforms for different styles. They were the preferred method of spreading a style because they were nomadic in a way that the monumental clubs of the U.S. and U.K. couldn't dream of. From the vantage point of the 21st century, they can only be viewed as the predecessor of the iPod.
Portability, quickness, stealth copies of hit songs, "versions"S¹ All of this leads us to the idea of remix culture and "mash-ups" that are the digital world's inheritance from the analog media of the soundsystem. With the material that I selected for this compilation, I wanted to avoid the obvious songs of Jamaican history, and focus on the more esoteric materials that collectors and producers could relate to. For example, when the Prodigy sampled Max Romeo and The Upsetters' 1976 "I Chase The Devil (Lucifer)," I thought it would be a good start to think about how the same sample popped up on Kayne West's production of Jay Z's hit "Lucifer." I think you'll relate to the out-take version I included in the compilation of Lee "Scratch" Perry's version, "Disco Devil." Sounds like piracy? Well can you imagine the world without Bob Marley? He used to screen records as a clerk for the Coxsone soundsystem. He'd literally sift through the sounds of the current day to tell Coxsone which records to copy! This was invaluable for his development as a recording artist and performer. There are other examples of this kind of cross pollination of riddims on this compilation - the best is Big Youth's song "Screaming Target." Big Youth recorded this version in 1973 over a riddim he took from K.C. White called "No, No, No" that just happened to be an exact cover of Dawn Penn's 1967 rocksteady 7" single on Studio One, "You Don't Love Me (No, No, No)." Dawn Penn's song became a staple of the hip-hop and r&b scene in the 1990's after getting a lot of rotation on underground mixtapes. The list goes on - I think you can get the idea: everyone borrowed from everyone else. It didn't matter if the tracks were produced by Gussie Clark (Big Youth), by Clement S. Dodd (Dawn Penn's first version of "You Don't Love Me"), or by Steelie and Clevie (the drum machine version made in the early 1990's) - the riddim remained the same. I wanted to reach back to the Big Youth version to show how the "versioning" process evolved. Another example: "The Jamaicans" were a band that helped popularize "rocksteady," and their song on this compilation helped win them the 1967 Second Jamaica Song Festival Prize!
No one can really explain the popularity of George Gershwin's popular theater work, "Porgy and Bess" with black musicians - it would be easy to say we know the play more from Charlie Parker's cover version on his infamous "Charlie Parker with Strings" recorded around 1949, or even more likely, from Billie Holiday's earlier, searing rendition of the same song.Gershwin originally conceived "Porgy and Bess" as an "American folk opera," and the work was first performed in 1935. It was never really widely accepted in the United States as a legitimate opera until the late 1970s and '80s: basically, it's now considered part of the standard operatic repertoire. To this day Porgy and Bess is regularly performed internationally, and many recordings of the complete work, including Gershwin's cuts, have been made. Despite the acclaim it received from critics, the opera has been controversial; some from the outset have considered it racist - but to me it simply contained some of the strange racial issues that plague America to this day.
Because of Charlie Parker, Billie Holiday, and Louis Armstrong's cover versions, "Summertime" is by far the best-known piece from the work, and countless versions have been recorded and performed. Gershwin's synthesis of European orchestral techniques with American jazz and folk music, created a situation where black artists were comfortable mixing the orchestral tradition with whatever materials were at hand. The rest, I guess you can say, is history. Think of an opera mixed into a Kingstson dancehall in the 1960's and you can get an idea of why: the opera retells the story of Porgy, a crippled black man living in the slums of Charleston, South Carolina, and his attempts to rescue the other main character, Bess, from the clutches of Crown, her pimp, and Sportin' Life, a drug dealer. It could easily be a scene transposed to post independence Jamaica, and that's why I included B.B. Seaton's beautiful version on the compilation.
All this goes to show that the "re-mix" was happening in Jamaica to keep the best songs fresh with the newest sounds for decades before the idea hit the U.S. With Perry and his stable of singers like Susan Cadogan (a former librarian!), you can hear the heat of a Kingston night in songs like her hit, "Fever," and her 1974 smash single "Hurt So Good," a cover version of Millie Jackson's song by the same name. Since copyright law in Jamaica was never tight everything was a copy of something else. You can think of the whole culture as a shareware update, a software source for the rest of the world to upload. And if you stretch your ears, you can see the future of digital music in the drum machine riddim of "Sleng Teng" - a rhythm made at King Jammy's on a Casio MT-40 home keyboard. Amusingly enough, the MT-40 keyboard had a built-in preset pattern based on rockabilly country musician Eddie Cochran's hit song "Something Else" (a song also covered by The Beatles, Sid Vicious from the Sex Pistols, and Led Zeppelin). Because of this, a synthesizer version of the song's bassline ended up as the basis of one of the most popular dancehall riddims in Jamaican music - which started the "Digital Reggae" revolution in 1985.Jamaica created its own economy in sound with the relentless bass pressure of an island where music, and access to the right styles and sounds could make or break your career. The pressure to find the right rhythms created a hothouse of innovation. Just think: reggae is the expression of a nation under immense pressure - from IMF loans, from colonialism's aftereffects, the falling price of bauxite and its relationship to a Third World economy based solely on natural products like sugar cane and bananas.
Before hip-hop was global, the Jamaican scene had somehow, on the down-low, followed the idea of diaspora. Today with artists like Matisyahu in Brooklyn doing Hasidic Jewish versions of reggae, to stuff like Japan's "Ranking Taxi" to the myriad sounds coming out of Brazil, India, Tunisia, Germany and France, the tradition of pastiche and bricolage continues. You get the idea. The logic of diaspora - of taking music from a region and spreading it across the world - is reggae's core essence, and when I put this mix together, I wanted to go from my downtown NYC to London and Kingston, to parts of the world I'd forgotten and to some of the most distant places in my record collection.
I used to go to Jamaica every summer when I was a kid, and some of my earliest memories - visiting relatives and friends, cousins and uncles and aunts - were of my mother and sister reminding me of the links between the island and America. My Mom used to even write for Jamaica's equivalent of the New York Times, Kingston's "Daily Gleaner!" I want you to feel history when you listen to this mix and think about how sampling, making new music from old, came from the idea of versioning. Think about the soundsystem battles of Duke Reid, Sir Coxsone and Prince Buster as a forerunner to MC and DJ battles in hip-hop. Think about Kool Herc's bass enhanced soundsystem as a stepping stone for Afrika Bambaata's Planet Rock. Just think about how strange the world would be if we didn't have this music of the islands. It just makes you remember that this whole planet is just an island too.
This mix is a combination of the old, the new, and the in between. That's kind of the point: DJ culture in the 21st century is as much about the soundsystem as the playlist. The iPod revolution has brought us back to the era of the "single" in the form of a downloadable media file. For me, this "selection" is a return to the era when I was a kid in the ancient late 1980's, when vinyl still ruled the dancehalls, and the soundsystems of NYC, Kingston, and London were all about underground flava. At a certain point in time, and at a certain place - a phrase: architecture is nothing but frozen music. What happens when we reverse engineer the process? Form becomes flux, solids melt into ideas, concepts, blueprints, codes and contexts. I wanted to make a mix that reflected that: old and new. If there's one thing that reggae has told us, it's all about that pressure drop!
In Fine Style:
Dj Spooky Presents 50,000 Volts of Trojan Records
CD 1
1. Sweet Like Candy by Winston Williams
2. Nice Nice by The Kingstonians
3. 007 Shanty Town - by Desmond Dekker 67
4. Funky, Funky Reggae by Dave & Ansel Collins
5. Shades Of Hudson by Dennis Alcapone
6. Summertime by B.B. Seaton
7. Disco Devil by Lee Perry
8. Jah Jah Man by Sly and Robbie
9. Lama Lava by Augustus Pablo
10. Come Together by The Israelites
11. Old Fashion Way by Ken Booth
12. Rain by Bruce Ruffin
13. Your Ace From Outer Space by U-Roy
14. The Rooster by Tommy McCook & His Band
15. The Trial Of Pama Dice by Lloyd/Dice/Mum
16. Ba Ba Boom by The Jamaicans
17. Fever by Susan Cadogan
18. Morning Sun by Al Barry & The Cimarons
CD 2:
1. Dj's Choice by Winston Williams
2. Screaming Target by Big Youth
3. The Great Musical Battle by Derrick Morgan
4. The Russians Are Coming (Take Five) by Val Bennett
5. Popcorn by The Upsetters
6. Brother Noah by The Shadows
7. Reform Institute by Isaac's All Stars
8. Bridgeport Dub by The Blackbeard All Stars
9. King Tubby's Explosion Dub by King Tubby
10. Dynamic Fashion Way by U-Roy
11. A Yah We Deh by Barrington Levy
12. "Here Comes the Judge" by Peter Tosh
13. "Flat Foot Hustling" by Dillinger
14. Hot Sauce (Aka The Agro Man Is Back) by Dave & Ansel Collins -
15. Rudy A Message To You by Dandy Livingstone
16. Rough Rider (Live) by The Special Beat
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Uma pena que o Spooky, figurinha presente na próxima edição da coluna Jamaica Hi-Fi, stay tuned, respeitou demais o catálogo da Trojan. A seleção, sem dúvida, é sensacional, com várias raridades e músicas nem um pouco óbvias. Mas seria muito mais punk se ele tivesse feito um disco mixado na linha do já clássico "Blunted in a bomb shelter", do Madlib.
chicodub
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