#Spiritual War Riddim

[curryvillain]

OLDIES SUNDAY: Gyptian - Serious Times (2005)

With the month of October coming to a close, we’d like to highlight an Artist who made a significant dent when his music crossed over to the International market. A man who didn’t stick to one style, and earned a number of hits along the way. He recently celebrated his 40th birthday, and his name is Gyptian. On today’s Oldies Sunday, we look back at his debut single, “Serious Times“. Produced by…

[medinainternational]

(Motif-Radio) Reggae Pon Top # 25 Show Tracklisting below:

SINGLES: DEAN FRASER & ERNIE RANGLIN- JOSHUA ZION HEAD DUBPLATE- JAH WATCHING OVER WE STICK FIGURE FEAT. COLLIE BUDDZ- SHOWDOWN TANYA STEPHENS- PON THE CORNER AL CAMPBELL- TURN TO JAH BUSHMAN- NONSENSE DEMARCO-ONE LIFE DUKE OF ROOTS FEAT. TARRUS RILEY- PRESSURE DROP AMBELIQUE- AINT NO LOVE IN KINGSTON CITY QUEEN OMEGA- FITTEST MARTIN MELODY- SO FLY MAJOR POPULAR- THIS PLACE DEBBIE DEFIRE- BLAZE DE FIRE

RIDDIMS: MEAN GIRL RIDDIM ASAP RIDDIM DISCERN RIDDIM CRUISE IN RIDDIM

DANCEHALL RIDDIM: ANTHONY RED ROSE AND SLY AND ROBBIE-SILENCE MAJOR MACKERAL FEAT BEENIE MAN- THE OTHER DAY MAJOR MACKERAL- MORE GAL AH ROAD INEZI- FINE WINE BURNA BOY- LAST LAST (WILLY CHIN REMIX) SHAKA- CHOICE CHRONIC LAW- ENERGY PATEXX- MECK A TOAST STYLISH- MAGNIFICENT QYOR FEAT. MACKEEHAN- YOU BELIEVE IN ME GOFFI NUFF- TWANGING ZONE MAJOR POPULAR- ALRIGHT NOW NAKEETA- MY LIFE KIDI FT. MAVADO- BLESSED DRE ISLAND- HIGH WITH YOU ONE RIDDIM

ROOTS REGGAE/ONE DROP: RAGING FYAH- RAGING FIRE DETERMINATION- SEE ME IN THE PARK ITALEE- BABYLON MONEY PRINCE ALLAH- TOO LONG SEVANA- LOWE MI ME ZION DREAD- RHYTHM OF THE SPIRITUAL WARRIOR ZION HEAD- SHOW LOVE ZION HEAD SHOW LOVE DUBPLATE LUCIANO- NO WAR CLUTCHEYE- JAH RULE BUNNY LYE LYE- ATTENTION KIMICO- PROFILE HARDIO- STEAMAZ DONOVAN KINGJAY- AMNESIA SANTANA- TELL ME

[riddimworld2021]

PAINT THE SKY RIDDIM - TEBEL

PAINT THE SKY RIDDIM - TEBEL Tracklist: 1. Abeng - Trouble Maker 2. Dasplanta - Roots Rock 3. jonnydeAmbassador - Paint the Sky 4. Mr To Rootical - Special Rainbow 5. Wallabee - Spiritual War

PAINT THE SKY RIDDIM – TEBEL 2021 Tracklist: Abeng – Trouble Maker Dasplanta – Roots Rock jonnydeAmbassador – Paint the Sky Mr To Rootical – Special Rainbow Wallabee – Spiritual War APPLE MUSIC DOWNLOAD SPOTIFY STREAMING  TEMPORARY PROMO PASSWORD: riddimworld2021  

[dustedmagazine]

Dancehall Crossover 2018: Popcaan, Miss Red, Santigold

Kingston, Jamaica is the Jerusalem of pop music: home to less than a million people yet generating spiritual claims that extend to a billion across the globe. While the dancehall scene has never produced a superstar on the scale of Marley, it has been the premier mode of the country's music since his death, governing the continued spread of Jamaican ingenuity. It seeps into hip hop, dance and experimental music less overtly than reggae in the 1970s, when every rock and funk band hit some upstrokes or tried dropping the first beat, but it's there. The halt-and-surge rhythms of dancehall are more recognizable than the voice of any one artist. Ultra rapid-fire rhymes, cracked electronic rhythms, ridiculous sexual frankness, even mashups — all are common contemporary techniques traceable back to the style. Innovations from the 1980s and 1990s seep through both the worldwide underground and the tops of charts.  

Dancehall ideals work against notions of authenticity and street-level realness that govern most other English-language scenes. The approach freely appropriates, sneaking past the border guards who police trends and argue over genre definitions and guilty pleasures. Jamaica is hardly a rich place, and it doesn't have to worry about punching down. Dancehall is a determinedly singles-based music, so it's rare that albums are assembled in a way that lend themselves to the kind of extended discussion that gets sparked by Kendrick's latest or the reappearance of Radiohead. This summer, however, three long-players popped up that are both specifically dancehall and drastically different. Popcaan goes for the widest possible audience, Santigold tosses off a mixtape that's less labored than her last few electrorock offerings, and Miss Red addresses the UK bass approach from the outside of both the UK and Caribbean.   

Let's start with Santigold. She's a persistently interesting artist who's career has never come into focus. Her work lacks the provocative volleys of M.I.A. or Karen O, who have been natural collaborators sound-wise. Like them, she's got an art-school taste for messing around with slogans, and like them, she has fashion runway polish. But there's something inherently affable about her presence, even when posturing in her earliest bands. She's made jumps from rock to hip-hop to balladry that would seem to demonstrate great range but feel more like someone game for anything. Her mixtape I Don't Want: The Gold Fire Sessions commits to dancehall. Created with Mixpack Records honcho Dre Skull, it has the cohesion her albums have been lacking. The backing hangs close to keyboard presets, like old raggamuffin tunes. Some dubby reverb opens them up a just a bit, not so much that they become cosmic. The limited palette disentangles Santigold-the-vocalist from Santigold-the-conceptualist. Without the distraction of genre-hopping and layers of players, she carries songs solely through her presence. She is a resourceful singer, cool on emotion. On some tracks, she draws spare and pleasant melodies, making tidy pop songs. On a track like "Wha' You Feel Like", she toasts in monotone, riding the dancehall bump without simulating patois, still sounding like someone from Philly. In other words, she sounds like herself, an American who's long steeped herself in Jamaican music, getting the feel right without mimicry. There’s a squeak to the upper end of her voice that slots into frequencies reserved keyboard hooks. It's like 1980s numbers where the singer would fill in for octaves that escaped the range of a Casio.  On "Gold Fire", she phrases the refrain just like Lee Perry's "Soul Fire"; the dancehall artist knows you don't reach greatness by merely borrowing. If there isn't a track here as career-making as "Maps" or "Paper Planes", it energizes Santigold's story. She's still got something brewing.  

Miss Red has developed her style over years of working with The Bug, adding taunts to his war zone mixes. K.O. is her debut album, following from a wicked 2015 mixtape and appearances in The Bug's touring unit. As expected, the beats are bulldozers. She is particularly adept at darting through the destruction, putting the blunt rhythms into double-time with her lyrics, lacing through the heavy distortion with her yelps. Red is based in Europe, born in Israel, and her delivery hangs closer to Jamaican patois than standard English. Given that both are second languages to her, this muddies some of the issues that are inevitable with dancehall's increasing internationalism. I'm not sure any native English speaker, Caribbean or otherwise, would rhyme "dream" and "scream" with "sea bream." Her syllables are unforced, relying on the bends and lilt of patois to swoop across the wasteland. A refrain of "war, war, war" depends of on the word wheezed out like "wah" to hang in that haze. Deeper analysis is a no-win situation, the sort of situation familiar with anyone raised in the vicinity of the actual Jerusalem. The human nastiness cataloged in K.O. comes down to money. There's shootings, there's battles, there's holidays for the dead, all repeating and reconfiguring ideas from the third track, "Money Machine". That track is a meat grinder of sounds, made of intricate disco rhythms without anything so bright as a high hat in earshot. Red's voice yelps and bounces off bass throb. On tracks like "Clouds" where the percussion is calm in comparison, echo renders her chants nearly out of reach. Yet for all the darkness and noise, she has a reggae artist's lack of nihilism. She sidesteps the biblical imagery but shares the disdain for the worldly. Endurance is the virtue, a stronger weapon the fighting back.  

Which brings us to Popcaan, reaching in the opposite direction of Santigold and Miss Red. He's an established Jamaican star aiming for the broadest acclaim. He pulled some verses with Drake on the hit "Controller" and sees the open street cleared by Major Lazer (who started their career last decade with a Sanitgold vocal.) He also works with Dre Skull, and as with his debut full-length in 2014, Forever is crafted as a start-to-finish record, more like a hip-hop statement than the jumble of riddims that typify recent dancehall albums. This is a restrained album. The beats are complex, but never hyper. While there's lots of sexytalk, it's never as wound up and twerking as you'd get from a bad boy crew like RDX where bedsprings creak quite literally. Popcaan isn't here to party so much as he's here to be with you, gal. And when it's not here with you, he's thinking about you, hard. So, makes sense that he's a protege of Drake these days, rather than his original, incarcerated mentor Vybz Kartel. "Deserve it All" launches with synth arpeggios that could blend with a lot of genres present on the charts. He confesses "Some say me smoke too much, some say me drink too much" before any beats comes in. When they start, they're bashment, but he keeps those first few measures sonically universal, expressing a universal regret before confirming that he loves to keep the universal party going. This is a musical strategy he and Dre Skull employ through the record — dancehall but not right away. "Wine For Me" is thick with patois but hangs the lyrics on four-on-the-floor dance and dreamy keyboard chords. "Through the Storm" is just his voice and a rock guitar strumming, ready for a talk show appearance or Tiny Desk.   But does this play as pandering? Not at all. Popcaan stands out because he thinks so big. The most powerful song on Future, "Firm and Strong" is built on a roots reggae rhythm. Starting with personal complaints, it grows into an anthem. It blends power ballad dynamics with dub, and completely earns the bass drop and the gospel chorus at the climax. He ain't corny, though he surely courts it. His reach is strongest when he goes for the grandest possible emotion. All of these records are more interesting for their risks than they are top-to-bottom engrossing. Yet this a form that celebrates one party after another, another voice stepping up to the mic for the same riddim. These three explore what dancehall can offer as medium for reflection, stepping away from the party, engaging with the troubles of our times. In a form that prefers multitudes, they are making their marks as individuals. Ben Donnelly

[hempresssativa]

by Gardy Stein Album Review: Hempress Sativa - Unconquerebel After Jah9 and Xana Romeo, another powerful female artiste puts her release on the international agenda: Kerida Johnson aka Hempress Sativa presents her debut album called Unconquerebel. With thirteen tracks, the lioness roars at us from the den of Conquering Lion Records, with executive producer Christopher Mattis pon di controls and additional mane-shaking by DubRobot (We All) and Paolo Baldini (Wah Da Da Deng). Release date and cover are laden with symbolism: while the former falls on the celebration of Ethiopian Christmas, the latter displays an unignorable homage to the high culture of Egypt and, of course, to the cultured high of Cannabis. This conscious construction of meaning is reflected in the lyrics as well. Among the issues touched, we have anti-war slogans in No Peace ("There will be no peace, if peace is wrought by war!"), spiritual musings in Jah Will be There, Made I Whole or Heathen Wage and the rebellious outcries such as Revolution or Fight For Your Rights that gave the album its title. Except for the only feature of the release, the skanky Natty Dread which brings veteran MC Ranking Joe to the fore, the release is held in a deeply meditative, instrumental Dub style. It's actually a pity that none of the songs has a Dub version, as it would have been a pleasure to listen to the pure melodies enfolding under the cunning hands of masters like Errol "Flabba" Holt, Earl "Chinna" Smith, Kirk Bennett, Devon Bradshaw, Robbie Lyn or Stingwray. Twisted Sheets, the most melodious track on a wonderful Roots Reggae beat, is actually the only one about the weed that gave the singer her name, and with the bedroom-tune Black Skin King, she boldly elaborates on the "sheets" metaphor. The ultimate strength of the album, however, is the radical appreciation of Jamaica's rich soundsystem culture. With Rock It Ina Dance, the Hempress takes us back to a time where the success of a singer was so directly linked to his or her ability to ride any riddim and find the right words to make the audience listen that studio recordings were secondary in importance. These Dub School vibes are continued in Boom, during which Sativa welcomes us to the J.O.E. Yaad in Vineyard Town and grants us a glimpse of what it might be like to experience this artiste live. "When the lioness roar, no dog bark!"

[djchrisjamaica]

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Kashu - Angry Now (Spiritual War Riddim) | © 2017 AudioTraxx Productions ・・・ FREE Audio (.MP3) Download ▶ www.mediafire.com/?pw5gnt4tonf6n80 ・・・ @kashu_876 ・・・ YouTube ▶ https://www.youtube.com/watch?v=55aRCdQhd2Q ・・・ #AFRICA #AUSTRALIA #BELIZE #BRAZIL #CANADA #CHINA #COACHELLA #COLOMBIA #COSTARICA #CURACAO #DANCEHALL #DUBAI #EUROPE #FRANCE #GERMANY #GUYANA #IBIZA #INDIA #ITALY #JAMAICA #JAPAN #LONDON #MEXICO #PARIS #PUERTORICO #REGGAE #TRINIDAD #UK #UNITEDKINGDOM #USA