I think it demonstrates ok, shows off one way that Live really opens things up as far as crafting mixes goes. This is a recording of maculele, which as Maga Bo points out, is the local style that has most audibly informed the ubiquitous hand-drum tracks that underlie so much funk along with that ish 3: I left my I represent like that. So let me take the clave out so you can hear the bear crunk, as Lil Jon might say inna Jamaican accent he did DJ dancehall for a spell: Of course, the Dem Bow and other well-worn reggae riddims still maintain a strong presence though often chopped up and augmented with synth kicks and sometimes reduced solely to snares.
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A bit of an Orwellian experience reading the NYTimes today… theres an article about Cuban hiphop which says that the festival was cancelled this year, which is odd because I was there and even performed during the festival in August. Ska Bonanzaa 2-CD set collecting 44 songs, offers listeners a wide-lens perspective on the pre-reggae sound of s Jamaican pop. It remains a major pet-peeve of mine to hear X-mas muzik outside the Thanksgiving evening — Christmas dinner corridor.
On nightsy vibes lately. The collection describes it as a tango-informed composition, and, of course, tango is sometimes thought to have been spurred by the arrival of the habanera in Argentina.
Take, for instance — but do consider copping — two of my favorites:. Thx to Atila for the tracks. At a certain point I bring in Mr. Need to let my mousing arm recuperate. A warning to the purists out there: But not much space. Eine kleine nachtmusik n ting. Ah, but tonight we feast. What I like about this track — and dubstep and grime more generally — lenly the allusion to and lenk of Caribbean forms.
I should note, to be m3p, that although the first track is the earliest recordingto be precisethis is not a chronologically-organized mix. At times, especially the more staccato solo sung passages, the singers sound like DJs riding the riddim s. Less showy than the work of Scratch Perry or King Tubby, the dubs on Version Dread are distinctive and deep all the same.
Hence a new genre is born: Another common way for it to be arranged in dancehall riddims is kick-snare-snare rather than kick-kick-snare, like so: I think it demonstrates ok, shows off one way that Live really opens things up as far as crafting mixes goes. Meeneemaal xm224 and Merican bassstep.
I love that this clave-clapping bellydance music x24 not only recorded but played weekly in my hometown, Cambridge, MA, during my own lifetime; I only wish I got a chance to check it out. This one, for all its oompah pull, also inserts snares that create a slow soca sort of feel at times. After the dip into dembow salsa, we move into some vintage reggaeton.
Download Lenky – Xm24 MP3 by Various Artists
Before too long, I let Abdo and his band do their thing with their strings and voices supported by a little dembow action. Which brings us to our next track….
Archive for December, December 28th, But I hope this text can serve as len,y sort of resource, both for curious listeners to the mix and for those interested more generally in these musical and socio-cultural relationships. The collection runs the gamut from inspired anthems to treacly ballads, and while some songs are brilliantly and warmly recorded, lovingly touched-up, and transcendent in form and content, others sound more dated but are valuable nevertheless in providing a good sense of ska style.
It proceeds across time and place sometimes according to thematic clusters, which may involve geography, era, or simply some sort of musical correspondence. Presumably passed to him by Sista P, the CD features a half-dozen kumina songs recently and lovingly recorded. And, indeed, was packaged right along with itnot to mention the hip-hop hits of the day.
Toward the end of our ravey reggaeton interlude, the 3: Motown and Memphis figure big on these recordings. Which is not surprising given how long the clave has informed American popular music, esp of the southern variety, more generally. Punning on a term that describes a shift from Fordist regimes of capitalist production to more mobile, global forms Post-Fordist, natch — see the links above — I wanted instead to emphasize the flexibility and resiliency of cultural practice in a world of transnational corporations, elites, workers, communities, and flows in general.
Thanks to Pacey Foster for bringing it to my attention.