December 18, 2008

Essential Pressure Sounds Release for DubHeads : Jimmy Radway’s 1975 Dub I

According to our Rough Guide To Reggae, Jimmy Radway's Dub I is one of the heaviest dub albums ever released. And, as usual, the're right. Former painter and political gunman Ivan Jimmy “One Foot” Radway (born Kingston, 1947) recorded a bunch of wicked tunes in the early seventies for his Capricorn and Fe Me Time labels. He gets his first hit with Errol Dunkley’s Black Cinderella in 1972, written by Radway himself. He returns to the charts in 1973 with Leroy Smart’s Mother Liza, and releases several other tunes with deejays I Roy, Big Youth and Scotty. By 1975, he also did an entire dub album, filled with the tough riddims of his earlier tunes, all mixed in a day by mixing desk wizard Errol T at Joe Gibbs. A the time only 300 copies were pressed (the Micron label had folded), making it a sought-after item on the collecter’s market. Adding to the mystery, the album carries many different names such as Dub I, Micron Dub, Hug a Dub, Dubwise Shower and Fe Mi dub. Now, this mythical dub album gets a proper re-release in his original sleeve by Pressure Sounds, who again deserve praise for their work in uncovering Jamaican gems. No tricks here, the horns with lots of echo, the basslines with lots of crunch, heavy and grim dub, reflecting the dark and violent circumstances of Kingston’s ghettos at the time. Dub versions to afore mentioned Black Cinderella (and its deejay and melodica cuts from Big Youth, I Roy and Augustus Pablo) and Mother Liza, plus dubs of Scotty Bells’ Black Am I, Leroy Smart’s Happiness Is My Desire and Desmond Young’s (later known as Desi Roots) awesome original cut Warning, toasted by Big Youth as Wolf In Sheep’s Clothin. Radway also recut Glen Brown’s Slaving as Wicked Have To Feel It. Musicians include Jamaica’s finest session players: Carlton and Aston Barret, Alva Lewis, Tyrone Downie, Bobby Ellis, Vincent Gordon, Dirty Harry, Tommy McCook and the mighty Cedric “Im” Brooks. His vocal work of the early seventies can be found on the Keep the Pressure Down compilation on Prestige records, recorded at Randys and Dynamics 1972-1976. After the Dub I album, Radway decided to quit the music business and retired to the countryside. By 1996 he was down on his luck living in Ocho Rios, unable to afford a mobile phone. Hopefully this beautifull re-issue will get him some more of the attention and financial reward he deserves.
Listen To: Black Rights Version (sample)

Listen to: Wicked Have To Feel It (sample)
1. Black Rights Version
2. Cinderella Version
3. Micron Way Version
4. Hell & Sorrow Version
5. Awn Yah! Version
6. Mother Liza Version
7. Back To Africa Version
8. She’s Mine Version
9. Wicked Have To Feel It Version
10. Black I Am Version

December 09, 2008


French label Jarring Effects, are Santa Clausing once again: they're giving away a free cd stacked with 18 Jarring Effects goodies. Well worth checking out for anyone into bassheavy, experimental dance music!


1) Bassnectar - Heads Up
2) Caterva- Monkey
3) Filastine - Hungry Ghosts
4) Ghislain Poirier - Diaspora
5) Debmaster - The Last Robot
6) Zol - Syphilisupastar (Borgias edit)
7) Tony Oheix - Galaxy on the table
8) Dub Gabriel
ft No Surrender - Rundown
9) Ben Sharpa - B to the E
0) Oddatee - Not even one
1) France Loisir - Le Peuple est une fiction
2) Trash von Traxx - Zona Zero
3) Stormfield - Inner silence outer violence
4) Opti & Ohmwerk - Hammering
5) m3t4 & Myrkur - Wobble diktat
6) Von Magnet - Mostar Angels
7) Professor Psygrooves - 24/7
8) Josef Bilek Experience - New Genesis

Go deh and support:

December 01, 2008

Mitty Collier - Shades Of A Genius (Chess LP 1965)

Although I love their cocktails, Milano is actually way to much fashion for me. Lots of posh shops that is, however, there's also Via Padova. A street with lots of people hanging around and police patrolling heavily. And it is here where I found Dischi Metropolis, an old basement filled with second hand vinyl, also equiped with very helpfull personell. Browsing through the bins I encountered Mitty Collier's 1965 album Shades of a Genius on Chess Records for 7 euros. Earlier this year I already noticed the Ace/Kent compilation Shades of Mitty Collier (focusing on her 15 singles for Chess), and was impressed with the powerfull soul-gospel voice of Mitty. Chicago’s Chess label hosted a whole bunch of great female soul voices, eg Etta James, Fontella Bass, Jackie Ross and Sugarpie de Santo. Somewhat more obscure is the here featured Mitty Collier, best known for her hit I Had a Talk With My Man Last Night, released in 1964 on Chess. Mitty was born in 1941 in Birmingham, Alabama, sung in church and toured with gospel groups The Hayes Ensemble and the Loyd Reese Singers. In order to earn some money for her college education, Mitty started singing r&b in the local clubs. In 1959, she won Al Benson’s Talent Contest and a year later, she got signed by Ralp Bass for Chess records at age 20. She stayed with Chess for eight years, releasing 15 singles and the here featured album, 1965’s Shades Of A Genius, a set comprising songs originated by or associated with Ray Charles (three songs are written by him). The album includes her first 1961 single Gotta Get Away From It All, arranged and produced, by Riley Hampton and Roquel “Billy” Davis and the 1964 classic I Had a Talk With My Man Last Night, a gospel song written by James Cleveland (and produced by Billy Davis), substituting the word “God” for “Man”. No Faith, No Love was another 1965 minor hit inspired by James Cleveland’s No Cross No Crown. Shades of a Genius provides us with excellent mid sixties soul, with a deep gospel undercurrent. Most tunes are slow, but things also get funky with Willie Dixon’s My Babe. As usual, the Chess production created tastefull brass sections and bluesy guitar licks. The woman on the album cover is not Mittie Collier, and although it was a withdrawn album cover, it managed to be pressed and released in Italia. Her highest charting single was released a year after the album, Sharing You, also covered by Dusty Springfield, Inez Foxx, Shirley Brown and Marva Wright. Her Chess swansong, released in 1968, was a new version of Gotta Get Away From It All, recorded at Fame Studios in Alabama with producer Rick Hall. Mitty left Chess after releasing Everybody Makes A Mistake Sometimes, a song recorded at Muscle Shoals. She then recorded five singles for William Bell's Peachtree label, in 1969, releasing True Love Never Comes Easy and You Hurt So Good. In 1972, Mitty departed secular music and began singing gospel music, releasing veral albums : The Warning, featuring I Had A Talk With God Last Night (1972), Hold The Light (1977) and I Am Love (1987). She is now the pastor of the More Like Christ Christian Fellowship Ministries, Chicago.

Listen To: I Had A Talk with My Man Last Night

Listen To: My Babe

1. Come Back Baby
2. I Had A Talk With My Man Last Night
3. Would You Have Listened
4. I Gotta Get Away From It All
5. My Babe
6. Halleluja (I Love Him So)

7. Drown In My Own Tears
8. No Faith, No Love
9. Together
10.Let Them Talk
11.Little Miss Loneliness
12.Ain't That Love

Mittie Collier with the Bar-keys on YouTube: (introduction by Otis Redding)

November 23, 2008


Just got back from bella Italia and made a quick mix from the stuff I encountered in the dusty record bins of Milano (If you're around, be sure to visit Dischi Metropolis), Genova and Roma. A wild bunch of sixties girls, deep soul, dirty funk, surf, cumbia, rumba, salsa, samba, bossanova and Italian classics. Have fun...

Rita - LOVE ! (Barclay 197?)
Rita Pavone –Datemi Un Martello (If I had a Hammer) (RCA 196?)
Caterina Caselli – Tutto Nero (Paint it, Black) ( CGD 196?)
Françoise Hardy – Quelli Della Mia Eta(Tous Les Garçons)(Vogue 1962)
Oscar Toney, Jr. – A Love That Never Grows Old (Bell 196?)
Rita Pavone – Scrivi (RCA 196?)
Mina – TaRaTaTa (Rifi 1966)
Patty Pravo - La Bambola (Arc 196?)
Rodolfo Y Su Típica - La Colegiala (RCA 1983)
Latin Brothers - Las Calenas Son Como Las Flores (Discos Fuentes 197?)
Manolo Escobar - El Porompompero (Belter 1960)
Rita Pavone - La Sai Troppo Lunga (RCA 196?)
Mina - Cartoline (Rifi 1967)
Caterina Caselli - Nessuno Mi Puo' Guidicare (CGD 1966)
Rita Pavone - Gira, Gira (“I'll be there”) (RCA 196?)
Willy Mitchell - 30 – 60 – 90 (Hi 197?)
Syl Johnson - Take Me To The River (Hi 1975)
Mitty Collier - My Babe (Chess 196?)
Mina – Le Mille Bolle Blu (Italdisc 1961)
Marcos Valle – Os Grilos (EMI 197?)
Jorge Ben – Ay, Ay, Caramba (Philips 1964)
Clarence Carter – Making Love (Atlantic 196?)
Brunetta – Dove Vai? (Summer Wine) (Rifi 1967)
The Champs – Twenty Thousand Leagues (London 196?)
Celia Cruz – Guantanamera (Tico 196?)
Los Corraleros de Majagual – La Burrita (Discos Fuentes 197?)
Rita Pavone – Cuore (RCA 1963)

November 01, 2008

Annie Philippe - J'ai Tant De Peine (Barclay 7inch 1965)

This last year I really learned to appreciate French music, and in particular, the works of Serge Gainsbourg. Which inevitably lead to the discovery of the French yeye girls of the sixties. So fate smiled upon me when encountering the here featured Annie Philippe 45 in the bins of our favourite local recordshop Da Capo. Never as big as Gainsbourg-Girl France Gall, with whom she was often compared, Annie Philippe recorded a bunch of really groovy tunes in the sixties, combining angelical French Yeye with American Girl Group and British Sixties garage sounds. From Phil Spector arrangements with a cute-girl style delivery to French pop ballad orchestration with fuzzy guitars, including handclaps. Annie was getting noticed by the time of her 1965 third EP, that included tunes like J’ai Tant de Peine, Trois Petites Tambours, Lui and Le Souffleur De Verre. Covering a broad diversity of styles, however not always with satisfying results, some recordings being too cheesy, even for me. For more of her work, check out her 2Cd compilation L’Integrale Sixties on Magic Records. Listen to J'ai Tant De Peine below:

Born on 17 december 1946, in the Ménilmontant district of Paris, and already taking dance classes when young, she became a DJ, aged 17, at the Twenty One Club, located at the Rue Balzac near the Champs Élysées, and it was here where she met Paul Mariat. Mariat had already worked with Charles Aznavour and would later enjoy huge success with L’Amour Est Blue, launching the career of the Greek-German Vicky Leandros. After auditioning for Mariat, performing songs by Leny Escudero, Marie Laforêt and France Gall, he got Annie her first recording contract on the Riviera label, a sublabel of Barclay, and she released her first EP in 1964 (produced by Paul Mariat and Yzi Spighel, owner of the Twenty One club), including Vous Pouvez Me Dire (in the UK performed by Lulu as He Don’t want your Love Anymore), Une Rose (Presley’s Love Me Tender), Qu’il Le Dise and Je Chante et Je Danse. Unfortunately, she failed to make any impact initially. Her Second EP contained tunes like J’ai Raté Mon Bac, the France Gall-sounding Tout finit à Saint-Tropez, C’est Loin Domani (from the movie Le Rolls Royce Jaune) and a super-cute French version of the Supremes classic Baby Love. Annie was getting noticed by the time of her 1965 third EP, that included tunes like J’ai Tant de Peine (written by Guy Marchand), Trois Petites Tambours (Private John Q by Roger Miller), Lui and Le Souffleur De Verre. The follow up EP contained the handclapping garage stormer On M’a Toujours Dit, Tu Ne Comprends Rien Aux Filles, Quand L’Amour Est A Deux Pas and her biggest hit Ticket De Quai, a sweet ballad which charted in March 1966. After changing to the Philips label, she recorded the dramatic Pour Qui, pour Quoi, Tchakaboum and Cause Donc Toujours, while returning to the charts with the laidback Mes Amis, Mes Copains. Next was the fuzzy Swinging London–like (and one of my personal favourites) C’est La Mode in late 1966 (The EP also included the loungy Ca Fait Pleurer, Soeur Angelique and Le Temps de Poupees) and Le Mannequin in early 1967 (also including tunes like Pas De Taxi, Sensational Jeffrey and Tu Peux Partir Où Tu Voudras, a French version of Mama Cass’s Go Where You Wanna Go. Following her success she recorded an complete album in 1967, containing her hit C’est La Mode, a different version of Pas de Taxi and 2 unreleased songs (Bon Vieux Carillon and Ma Liberté). Now working with Christian Gaubert, the follow up EP, Lettre Pour Annie, also included Coeur Brisé, Coeur En Tête, De Ce Cote De La Riviere and the excellent Pour La Gloire. Next, she recorded the title track for the movie La Blonde de Pekin and the orchestral Les Enfants de Finland, which turned out to be her last chart entry. After her last Philips 1968 EP Une Petite Croix, including Laisse-nous Tranquilles, Bonjour, Bonsoir Et Au Revoir and Le Flingue (written by Frédéric Botton), failed to make an impression, she started working with Claude François on his Flèche label in 1968, releasing tunes like Le Même Amour (again written by Guy Marchand), Croix De Bois, Croix De Fer, Oiseaux de Novembre and Boeing Jet Et Caravelle. Her second Flèche EP included Je Découvre Tout and Laissez Votre Chapeau Monsieur Lee (Move in A Little Closer Baby by Mama Cass). However, sales were disappointing, and she continued to release some work in the seventies but her glory days had passed.

Watch Annie's Le Jouet Extraordinaire on Youtube, I know this tune sucks, but just check the magician in the studio.

October 21, 2008

90 Minutes of Global Chicano Rock 1970-1978

If you don’t like screaming guitars and lots of percussion, don’t go any further. Latin Soul, Jazz , Rock & Funk, a deft balance between percussive rhythms, instrumental passages and emotional (and romantic) singing in both Spanish and English. Carlos Santana has risen to superstardom with these ingredients. However, there are much more bands, who in the wake of the Chicano Power movement of the late sixties got inspired and started to playing this music. Obviously all over U.S.A. and Latin America, but also as far as the Netherlands (check out the Massada track).

download here

The Boogaloo Combo – Nappy Head (Epic 1972)
Eddie Benitez - Hey Girl (Vaya 1976)
El Chicano - Ron Con Con (Shadybrook 1976)
Toro – Ramona (Coco 1975)
Santana – Oye Como Va (Colombia 1970)
Seguida – Mambo Rock (Fania 1974)
Chango - Mira Pa’ca (ABC 1975)
Coke Escovedo – Te Amo Mas (Sound Triangle 1975)
Azteca – Azteca (Colombia 1972)
Sapo – Can’t Make It (Bell 1974)
Katunga - Bailando Despacito (RCA 1973)
Bwana – Motemba (Caytronics 1972)
Tierra – La Feria (20th Century 1974)
Antiques - Chauca (Sound Triangle? 1973)
Cesar 830 – Azucar (Flying Dutchman 1975)
Massada – Nena (Kendari 1978)
Malo – Oye Mamita (Warner Bros 1972)
Flash & The Dynamics – Electric Latin Soul (Tico 1971?)
Macondo – Cayuco (Atlantic 1972)
Black Sugar – Viajecito (Sono Radio 1970)
Harvey Averne - Cucara Macara (Heavy Duty 1971)

Starting off easy with The Boogaloo Combo from Brazil, doing War´s Nappy Head. Their 1972 album Con Muito Ritmo also features a killer version of James Brown’s Hot Pants Road. Guitarist Eddie Benitez was born in Puerto Rico and raised in Europe, and at the age of 10 his family moved to New York City. Eddie started his musical career back in 1976 when he was signed to Fania/CBS Records at the age of 14. His first release NightLife soared the Latin and jazz charts and he became a West Coast Hero of Latin Rock. Hey Girl was produced by Fania ‘s Louie Ramirez. El Chicano was one of the biggest names on the scene, only second to Santana. This tune is from their later period on an independent label, their albums from the early seventies are also very enjoyable. New York based Toro is next with Ramona, produced by Harvey Averne, who returns with his own band later in the mix. Released in 1972 on Harvey’s Coco label. The Master himself Santana kicks in next with a cover of Tito Puente’s Oye Como Va. Always difficult to chose from such a vast volume of groovy recordings he made in the sixties and seventies. Seguida were a 20 piece latin orchestra from New York, that stood out at the time for combining sythesizers and electric guitars alongside the traditional percussion and brass. Mambo Rock is a serious dancefloor mover, produced by Fania’s Larry Harlow. One of the few latin rock acts on the Fania label, which normally was dominated by salsa. From U.S. East Coast comes the six-piece band Chango. The God Chango is the representative of unbridled sexuality, and here they deliver Mira Pa’Ca in rather West Coast way. After Azteca disbanded, Thomas “Coke” Escovedo toured with Stevie Wonder and signed to Mercury for his formal solo debut: Coke appealed to Latin, jazz and soul listeners. However, with disappointing sales, Escovedo rejoined Santana in the late 70s and played with Herbie Hancock during his disco-funk phase. The earlier mentioned Azteca, was a large Latin Rock band (up to 25 people!), based in San Francisco and including former Santana percussionists such as the brothers Pete & Coke Escovedo (Sheila E. also belongs to the Escovedo family) and Victor Pantoja. The group also included the horn section of Tower of Power and Neil Schon (of Journey) on guitar. They released only two albums in the early seventies on Colombia before disbanding. Also from San Franciso, Sapo, with Richard Bean on vocals, they enjoyed some chart success with Can’t Make It. Katunga hail from Argentina, but recorded most of their tunes in Peru. Balando Despacio, recorded in 1973, is a fine example of South American fusion of funk and rock. Also from the South American continent are Bwana, a mysterious six piece outfit from Colombia with an insane psychedelic Latin Afro-Funk-Rock sound; heavy keyboard grooves, moaning guitars, tribal vocals and conga madness throughout the album. Just as the song featured here, Motemba, the album is filled with long break-filled tracks. Back to the Sunshine State, there The Antiques from Miami, recording for the Sound Triangle label the edgy latin rocker Chauca. Tierra were one of a number of bands formed out of the growing Chicano movement in California. The group featured mainly a Latin-Rock sound, but funk is added in the stormer La Feria. Bolivian pianist-bandleader Cesar Ascarrunz and his group recorded the terrific Cesar 830 album for the Flying Dutchman label. With help of legendary jazz producer Teo Macero (who also did Miles Davis' Bitches Brew and Dave Brubeck's Take Five), he created an exceptional blend of Latino jazz rock fusion. Coming far from the typical Chicano environment, Massada, are an Indo-Dutch band (who sing in English and Spanish!) with a heavy Latin Fusion sound. The tune Nena is from their first and best album Astaganaga, released in 1978 on Kendari. Malo will always be known as the band of Carlos Santana’s brother Jorge, however, in the early seventies they released a series of quality albums, almost sounding fresher than Santana at that time. Oye mamita comes from their second album, simply called Dos, released in 1972. Back in the Big Apple, Flash and the Dynamics, (aka The Sons of El Barrio) combine latin funk & soul and boogaloo with tripped out psychedelic guitars. Electric Latin Soul is food for the brain, please listen to it. Macondo, from Southern California, took their name came from the novel 100 Years of Solitude by Gabriel Garcia Marquez. Sergio Mendes discovered and produced their 1972 album. The featured tune, Cayuco, again is a Tito Puente composition and you can hear again Victor Pantoja, former member of Santana and Azteca playing congas. Black Sugar is a funky 9-piece Latin-rock band from Peru, released two albums (both with the famous Coco Lagos on percussion). Influences from groups like Tower of Power, Blood Sweat & Tears and Chicago mixed with latin funk flavor, here performing the epic Viajecito. And finally, 70’s latin funkrock frenzy from NY latin mastermind Harvey Averne. Cucara Macara holds lots of percussion, electric guitars and soulfull vocals, resulting in the tasty Nuyorican sound, arranged by Marty Sheller. That´s all folks……. Hasta la proxima.

October 12, 2008


Last week I was in for a nice surprise when my uncle called, telling me to come by and pick up his record collection. He didn't want anything in return for it, but I wasn't allowed to leave anything behind either. Obviously I didn't, which left me with an almost complete back catalogue of punk and new wave's finest. And while jiving to oldies but goodies like the Clash, the Jam, The Undertones and all them, I found a little pile of 7"s, tucked in between some records. One of them was by a group called "Les Sanganas," wrapped in a "not too promising" sleeve, you might know the kind: musicians in traditional clothing, masks, hats and drums all over the place...Very much like those terrible "world music" records that flooded the market in the mid 80's. Some further investigation of the sleeve learned that the two songs weren't recorded in some dusty studio in say..Lagos or Accra; nope, they were caught on disc in 1977 in a little studio in "funky" Breda, the Netherlands, by a producer named Tony Dirne (who recorded a lot of dutch groups in the 60's and 70's, some pop, some rock but most of them traditional dutch folk and easy listening.)

Yeah...I guess it's safe to say I wasn't expecting too much of this little gem when I finally put it on.
And then it blew me away...

Opener "Sibily Day" is nothing short of an afrobeat anthem pur sang, opening with- and superbly riding an ultra funky guitar riff, this song shreds all the way untill the very end. It's harbouring influences from blues, soul, funk, high life and gospel and it simply has got it all. It's more Orlando Julius than Fela Kuti, it's more proto type afrobeat if you'd like, but therefore more than welcome in my musical world. Fela was brilliant, but he's got way too many clones who simply copied his music without adding anything to it. Frankly: I'm tired of hearing the same song over and over and I just quit listening to newer afrobeat bands if their first few notes sounded anything like Fela. Orlando Julius was one the musicians that influenced Fela when he created his unique blend. Les Sangaras clearly were influenced by Orlando & Fela too, as they were also by James Brown and probably some others we never heard of, but this here, this is the kind of afrobeat I like hear. For all the reasons above.

B-side "Satata" follows the same formula as the A side, and it does so in the same effective way. It sounds like a traditional african folk song being funkified to the max. The whistle is silver, the break is golden, but I bet the song didn't make platinum at the time...

A search on the net didn't really give me any info about "Les Sanganas", unfortunately. Credits on the 7" are given to "Nganga, Joseph, Delvis" and "Nkeoua Ali M" but I couldn't find anything on them either. Too bad really...I guess I'm now the proud owner of a very obscure afrobeat treasure. it is. Enjoy!

Sibily Day


September 18, 2008


Legendary producer and songwriter Norman Whitfield died on september 16th at Cedars-Sinai Medical Center in Los Angeles. He was 67 years of age. Whitfield had struggled for months with complications from diabetes, and his prognosis had been day-to-day for several weeks. He had recently emerged from a coma. With collaborator Barrett Strong — himself in a Detroit hospital recovering from a stroke — Whitfield co-wrote many of Motown’s biggest hits, including its single most successful song, “I Heard it Through the Grapevine,” recorded by Marvin Gaye and Gladys Knight & the Pips. (source: freep)

Norman Whitfield first came to my attention listening to the Impressions' "Pyschedelic Shack" lp. The song that most notably "did it" for me on this album is called "Take a stroll through your mind," an epic, psychedelic and ganja flavoured musical epos, clocking in well over 8 eight minutes. Surely, that was not something I expected to hear from a Motown group with sweet hits to their name such as "It's allright", but dammit, this song struck me! It got to me big time and I just kept playing it over and over again. Soon I discovered that it was the producer, not the group, who was responsible for my newly beloved sound and I found myself digging for more of those psychedelic Norman Whitfield productions. Some were good, some were great and some dazzled me: I still remember the day my fellow Lock it Down writer Elephant Soundz put on the Jackson 5 version of "Hum along and dance" for me, which simply left me in awe...

Although certainly not all his productions are my cup of tea, Rose Royce's "car wash", for instance, is really a step too far for me, but it is without doubt that Norman Whitfield was a true talent. One of the kind that don't come up too often. A remarkable sound originator, a very gifted songwriter and, on a more personal level, one of the few producers who managed to create a signature sound that keeps me digging for more and more. His musical input is still greatly appreciated over here at Lock it Down. Think I'm gonna play the Velvelettes' "Needle in a haystack" some more....or "Ball of Confusion" or "Cloud Nine" or...

September 15, 2008

World's largest record collection drama

The Archive from Sean Dunne on Vimeo.

In today’s world, everyone downloads and buys music from the internet, making physical record albums obsolete, which is very sad news for Paul Mawhinney. Paul has the world’s largest record collection that he has been accumulated throughout his lifetime. He used to run a record store, and he would always put away the last copy of an album for himself. Due to his declining health and old age, Paul has decided to put the collection on sale for a mere $3 million when it was appraised at a whooping $50 million, yet no one has given a solid offer. Regardless of our technological advances, sometimes holding an album in your hands just feels a little bit different.

thanx to PVC for the link!

April 02, 2008

Brasil Breezer Mix April 2008

Brazilian music mix from the sixties & seventies, straight from crackling brazilian vinyl into your mind & heart. Prepare yourself a cai pirinha, lean back, and enjoy the dazzling variety of rhythms & sounds.

download here

Caetano Veloso – Tropicalia
Eliana Pittman – Quem Vai Querer
Seu Guilherme – Tributo a Mim Mesmo
Bossa Rio – Spinning Wheel
Erasmo Carlos – O Comilao
Orlandivo – Onda Anda Mi Amor
Nana Caymmi – Cala Boca Menino
Gal Costa – Ara
Djavan – Fato Consumado
Ana Mazzotti – Eu Sou Mais Eu
Samba Alegria Del Povo – Black Samba
Luiz Gonzaga – Asa Branca
Elis Regina – Roda
Wilson Simonal – Na Baixa Do Sapateiro
Gilberto Gil – Procissão
Wando – Nega De Obaluaê
Ana Rosely – Skin Dum Dum Dum
Antonio Carlos e Jocafi – Tereza Guerreira
Jorge Ben – Chove Chuva
Sivuca – Ain’t No Sunshine
Jackson do Pandeiro – Sebastiana
Jadir De Castro & Dom Um – Communic Ritmo
Airto Moreira – Celebration Suite
Astrud Gilberto – Manha De Carnaval

March 27, 2008

a little Tribute to Joe Gibbs R.I.P. mix

As a tribute I made a nice little mix of some of my Joe Gibbs Productions. May Joe Rest In Peace! check it below

Roy Shirley- Hold them
Sylford Walker - Burn Babylon
Shorty the President - Natty pass his CGE
Clint Eastwood - Badda Than You
Barrington Levy - My Woman
Dillinger - Take a Dip
Soul Sisters - Wrecka Buddy
Lady Ann - Murderer
Prince Mohammed - Bubbling Love
Dennis Brown - Let Me Live
Dennis Brown - Ghetto Girl
Joe Gibbs - Entebbe Affair
Culture - I'm Not Ashamed
Lee Perry - The Upsetter
Sammy Dread - Dreadlocks Girl
Eekamouse - Virgin Girl
Junior Murvin - Cool out Son
Lui Lepke - Love from Jamdown
Jacob Miller - I'm Just A Dread
June Lodge - Someone Love You

March 22, 2008


In 2008 Ghana’s youth is no longer dancing to "highlife," the music that was so popular back in the sixties and seventies, but to Hiplife, the local mix of Hip-Hop, Highlife, Reggae and Dancehall. Hiplife gained prominence about 10 years ago with Reggie Rockstone, who is known as the “Godfather of Hiplife” and was the first to rap in Twi, the most common language in Ghana. Hiplife is everywhere in Ghana now; it has developed into one of the most popular music styles in the country and has broadened into several sub-genres.

Out Here Records’ Georg Milz (also of the Munich-based Daladala Soundz sound system), compiled an excellent sampler, called: "Black Stars – Ghana’s Hiplife Generation," containing some of the most popular Hiplife artists. And you'd better believe us when we boldly state that anybody out there who enjoyed the "African Rebels" and "Lagos Stori Plenti" samplers should certainly check out this new release, or better yet: buy it instantly. Black Stars is a more than welcome supplement to said samplers, continuing the high standard, both musically as informationwise, all Out Here records display and on top of that: the music is kicking arse! Picture the mighty M.I.A. making an african album, add a bunch of fun and a complete own look on nowadays popular music and you'll get a slight idea of what HipLife sounds like. If this is to vague, which it probably is, but hey: I'm trying, go check out the samples on the OutHere Black Stars page or, if you're a Myspace user, link up at Ghana's Hiplife Generation It's worth it..

March 21, 2008


Originally scheduled for release in january 2008, the new and eagerly awaited second outing of souldiva Nnneka got postponed and postponed, but it finally seems to be finished: The album "No longer at ease" will be unleashed on the 25th of april on YoMama records.

Prior to the forthcoming album, the new single "Heartbeat" will be released as well, showcasing Nneka going further down the musical road she has succesfuly been trodding. Heartbeat is quite an impressive single: Nneka's performance is stumbling and frankly, spoiled as we are, we wouldn't settle for less. The hectic drumming gives the song its heartbeat and works perfectly together with the songlines. I've seen Nneka on stage quite a few times and it seems that she succeeded to haul the energy she and her band display on stage into the studio and on tape. If this is what the album is going to sound like, I take it that fans around the world will not be dissapointed. Bring it on, Nneka!

Go catch her live on stage whenever she in the hood!

March 01, 2008

Producer Joe Gibbs dead at 65

From the Jamaica Gleaner:
RECORD producer Joel 'Joe Gibbs' Gibson, whose partnership with singer Dennis Brown yielded a string of hit songs during the 1970s, died last Thursday at the University Hospital of the West Indies.
Gibbs' son, Rocky, told The Gleaner that his father died shortly after suffering a heart attack. He was 65 years old.
The Montego Bay-born Gibbs began producing on his Amalgamated label in the 1960s. His first major hit was singer Roy Shirley's Hold Them, but it was in the next decade that Gibbs really hit his stride.
Brown, a former prodigy, cut a series of songs for Gibbs that were rarely off the charts. These included Money In My Pockets, Should I, Stay at Home, Love Has Found Its Way and How Could I Live.
Other productions
Gibbs also produced Culture's massive Two Sevens Clash, George Nooks' Tribal War and Althea and Donna's Uptown Top Ranking which made the British pop charts in 1977. His last major hit was singer J.C. Lodge's Someone Loves You Honey, a song originally done by African-American country singer Charlie Pride.
Bass player Lloyd Parkes was a senior member of Gibbs' house band, The Professionals. He said while Gibbs was an astute businessman, he was not the great producer many believed.
"I would call him an executive producer, most of the production was done by Errol Thompson and the musicians," Parkes said.
Thompson was the engineer at Gibbs' Retirement Road studio. He died in 2004.
Gibbs is survived by 11 children.

January 29, 2008

Peter Tosh 7 Inch Box from Randy's

As I am a huge fan of Impact and Randys the following news is very good news (From the DanceCrasher site):
Clive Chin is putting together a box set of late 60’s Peter Tosh singles with help from UK record dealer Bob Brooks from Reggae Revive. All will be Randy’s productions except record 2 which is a Lee Perry production. The release date is slated for early March.

Record 1
A. You Can’t Fool Me Again (RANDY’S PRE DYNA RANDY 414-1 (1969) JA(a Tosh vocal on an uptempo early Reggae rhythm, this was reissued on a Randy’s 7″ a few years ago)
B. Green Duck (RANDY’S PRE DYNA RANDY 415-1 (1969) JA(the same rhythm that was used on the UK produced Torpedo release Skinheads Don’t Fear, when I asked Clive about this he had not heard the Torpedo release before and had no idea how they got hold of the rhythm)
Record 2
A. Rightful Ruler - Peter Tosh & U-Roy(UPSETTER PRE DYNA UPSETTER 718-1 (1969) JA / KEITH’S KR 200 B (1969) US **(some argue that this was the first tune U Roy voiced but there are competing claims on this, mainly the tunes for Keith Hudson or Lloyd Daley)
Record 3
A. The Return Of Al Capone (UNITY UN 525 A (1969) UK
B. Sun Valley (UNITY UN 529 A (1969) UK(Two cuts with Tosh on the organ. His playing is a bit of an aquired taste, Sun Valley (on the Everybody Needs Love rhythm) is particularly eccentric).
Record 4
A. Little Green Apples (RANDY’S PRE DYNA VC 957 (1970) JA
B. The Crimson Pirate (JACKPOT JP 706 A (1970) UK(Crimson Pirate is an organ cut of Slim Smith’s Somebody To Love)
Record 5
A. Stick Up - Peter Tosh & Count Machukie (RANDY’S DYNA VC 956-1 (1970)
B. Moon Dust - JACKPOT JP 706 B (1970)(Moon Dust is titled Moon Duck on the Jackpot issue, another organ piece).
Record 6
A. Man’s Greatest Adventure – (PREVIOUSLY UNRELEASED (1969)
B. Selassie Serenade - BULLET BU 414 B (1969)(Selassie Serenade is another organ cut, the rhythm is a fairly obvious one, probably from the Bunny Lee camp but I can’t place it at the moment).
Record 7
A. 30-60-90 - RANDY’S RRM STUDIO 17-4 (1969)
B. Whistling Jane - RANDY’S DYNA RANDY 971-1 (1969)(a cut of Alton Ellis’s What Does It Take To Win Your Love, apparently with Jackie Mittoo on organ nd Peter Tosh whistling)

January 25, 2008


And yet another fine example of instrumental hiphop is about to hit the streets. Beatmaker Brenk, hailing from Vienna, will release his debutalbum "Brenk Gumbo" on the 22nd of februari and according to the snippets that were sent to Lock it Down, it's going to be a good one! Picture the mighty Modeselektor (in a hiphop mood) in the studio with Wax Tailor and you've got a general idea what this Brenk character sounds like. R 'n B, funk and hiphop gently merge into a very nice, fat, loungy yet uplifting blend. What makes Brenk different than other instrumental hiphop artists that we wrote about (i.e: Wax Tailor, Guts), is that he's a bit rougher than them. More hiphop. The sound on Brenk Gumbo almost makes you want to write lyrics to the songs, but for the sake of the musiclovers out there, I'll just keep mumbling those inside my head and leave it to the prof's.

Check Brenk on myspace.

January 24, 2008

'Vinyl has been eliminated'

In Jamaica, seven-inch singles are completely extinct; DJs have ditched their turntables. Will the digital revolution mean the end of traditional reggae?
read the full article in the Guardian here...
thanx to Mr T for the link!

New Souljazz release: The Sound Dimension

An essential new compilation of classic recordings from the funkiest group in the history of Reggae! Available to buy in all good record stores or online here now at Soul Jazz Records The Sound Dimension have recorded some of the most important songs in Reggae music; songs such as “Real Rock”, “Drum Song”, “Heavy Rock”, “Rockfort Rock”, “In Cold Blood” – all classic songs that have become the ‘foundation’ of Reggae music, endlessly versioned and re-versioned by Jamaican artists since the time they were first recorded to the present day. As the in-house band at Studio One in the late 1960’s, The Sound Dimension also played alongside everyone from The Heptones, Alton Ellis, Ken Boothe, Marcia Griffiths and more. Similar to their US counterparts The Funk Brothers at Motown and Booker T and The MGs at Stax, The Sound Dimension recorded on a daily basis incredibly catchy and funky tunes matched by a seamless musicality.Featuring musicians of the calibre of Ernest Ranglin, Jackie Mittoo, Eric Frater, Leroy Sibbles, Don Drummond Jnr, Deadley Headley and more, the Sound Dimension existed from around 1967-70 and all the recordings featured here were originally released during this period. For a band with a fluid line-up, they had an amazingly consistent sound laying down classic rhythms for the singers of the day at Studio One as well as stretching out with their own recordings. None of this can explain the importance of this music. “Real Rock”, “Mojo Rocksteady”, “Rockfort Rock”, “Drum Song”, “In Cold Blood” – the melodies to these classic songs are a thousand times better known than the musicians who originally created them. Played and re-played by every house band for every producer on the island, these iconic rhythms became the basis for dancehall and laid the foundations for the future of Jamaican music.This album can be seen as a companion to the earlier Sound Dimension release “Jamaica Soul Shake” and together these two albums make a unique and definitive document of a seriously important set of recordings.