[ aquarius records — Reggae Dub ]

IMPORTANT (Please read to avoid confusion): Some items below may be tagged with a bold, red, all-caps OUT OF PRINT/UNAVAILABLE notice. This does NOT mean that all other items not so tagged are, in fact, in stock — or for that matter, in print and available, though there's a good chance they are. Some folks get confused on this point, and we can see why, so please read this for further clarification and other important before-you-order information. Unlike some mailorder websites, we don't have an electronic inventory system linked to our site, so you can't be sure of what we actually have or don't have in stock at any given moment without asking us — please email our mailorder department for availability status — or better yet, just go ahead and place your order using our shopping cart function and we'll get back to you with the status of each item. If you have general non-mailorder questions, email the store.

Showing results 51 through 100 of 699.

THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY. Hip hop remix. Rhythm = "One Minute Man" (Missy Elliott) b/w "Let Me Blow Ya Mind" (Eve) rhythm and mystery vocals.

THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY. Hip hop remix. Rhythm = "Let Me Blow Ya Mind" (Eve).

Oy vey! What ever happened to releasing albums one at a time? I guess maybe there's more fiduciary sense in splitting up a double disc as two separate albums (it seems to have done indie rockers Appleseed Cast well.) Or maybe it's that Mr. Killer is hoping to continue riding his recent world fame acquired thrugh his association with duder rock band No Doubt. With 20 tracks on each one though, you've got to wonder if maybe a little culling may have been in order. Still, rough and tough gangster dancehall man Bounty Killer makes the attempt. The thing that makes Bounty Killer more successful than most of his dancehall contemporaries might be in attempting this feat (in our humble opinion) is that, with Ghetto Dictionary, he avoids the slow jam ballads *almost* entirely. But then again you've probably come to realise that the style of dancehall vocals most appreciated by us AQ folk are ones that are spoken, not sung and preferably by someone who's voice is not entirely suited to sing vocals even when attempted. Of the myriad dancehall vocalists out there today Bounty Killer is on the short list of people who fit this job description. With an almost asthmatic, wheezing voice, Bounty Killer has a way of forcing all his words through his chest that's like a voice instructor's textbook scenario for how not to sing. And that's the way we like it. One of the things that keeps these two discs from becoming stale throughout their extremely long run time is the varied production in the rhythm department. On both albums there's a decent mix of reggae, dancehall and hip hop rhythm tracks here which breaks up what often makes many dancehall albums monotonous. With its hip hop album intro beginning, one would think that 'Art of War' was going to be either more of a hip hop influenced album, or at least harder than 'Mystery', but actually this is not the case. Weighing the two albums 'Art of War' is perhaps more firmly ensconced in the dancehall tradition. And although it possibly lacks quite as many 'hits' as its companion, it also has nary a single crappy ballad, of which 'Mystery' has three or four.

RealAudio clip: Man Ah Bad Man The Sequel
RealAudio clip: Just Dead
RealAudio clip: W.A.R.R.

Oy vey! What ever happened to releasing albums one at a time? I guess maybe there's more fiduciary sense in splitting up a double disc as two separate albums (it seems to have done indie rockers Appleseed Cast well.) Or maybe it's that Mr. Killer is hoping to continue riding his recent world fame acquired thrugh his association with duder rock band No Doubt. With 20 tracks on each one though, you've got to wonder if maybe a little culling may have been in order. Still, rough and tough gangster dancehall man Bounty Killer makes the attempt. The thing that makes Bounty Killer more successful than most of his dancehall contemporaries might be in attempting this feat (in our humble opinion) is that, with Ghetto Dictionary, he avoids the slow jam ballads *almost* entirely. But then again you've probably come to realise that the style of dancehall vocals most appreciated by us AQ folk are ones that are spoken, not sung and preferably by someone who's voice is not entirely suited to sing vocals even when attempted. Of the myriad dancehall vocalists out there today Bounty Killer is on the short list of people who fit this job description. With an almost asthmatic, wheezing voice, Bounty Killer has a way of forcing all his words through his chest that's like a voice instructor's textbook scenario for how not to sing. And that's the way we like it. One of the things that keeps these two discs from becoming stale throughout their extremely long run time is the varied production in the rhythm department. On both albums there's a decent mix of reggae, dancehall and hip hop rhythm tracks here which breaks up what often makes many dancehall albums monotonous. On 'Mystery' one particular highlight is a toast over Morgan Heritage's excellent classic "Gunz In the Ghetto" smack dab in the middle of the album and whose production style makes it stick out as though someone has suddenly changed the disc in the player. By the time things slow down on 'Mystery', you've pretty much got your album's worth already. One of the more amusing bad numbers "Evil's of the Mind" is worth going through once at least for kicks. The track features Curly Loxx 2 Loxx who sounds like a cross between fitness guru Richard Simmons and white rapper Eminem. You gotta wonder where Bounty Killer found this guy.

RealAudio clip: Bakardi Slang Refix
RealAudio clip: 100 Rounds
RealAudio clip: Gunz In The Ghetto

THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY. Hip hop remix. Rhythm = "Wait A Minute" (Ray J).

Released in 1998 by TVT records, Next Millennium is yet another record that is part of that new breed of dancehall which has almost more in common with hip hop than reggae. The production is filled with breakbeats and scratching and if that isn't enough

RealAudio clip: Next Millennium

THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY. Hip hop remix. Rhythm = "Fiesta" (R. Kelly).

THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY. Hip hop remix. Rhythm = "What It Is" (Busta Rhymes).

THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY. Hip hop remix. Rhythm = "Fiesta" (R. Kelly).

Seems we haven't had a super dub collection come our way for a while, so it's nice to have this wee disc pass through our doors. Before Dennis Bovell came to wider recognition through his efforts producing the Slits and the Pop Group, he could have retired and earned himself a veritable lifetime acheivement award for his efforts not only in shaping the sound of UK reggae, but also in putting on the map in a very Jamaican-centric scene. He had a hefty C.V. including: founding member of England's premiere reggae group Matumbi, running his Sufferer HiFi sound system, running a successful record label and his work with Linton Kwesi Johnson for starters. Though always confident that whatever he and his fellow musicians and producers in the UK were doing was just as good as the newest thing out of Kingston, getting his fellow countrymen and expats to reach the same conclusion was not as simple as saying the proof is in the pudding. There's a really great story in Lloyd Bradley's "Bass Culture" (printed in the U.S. with the less exciting "This Is Reggae Music" title) in which Bovell relates how he got people to stop and listen: the good old fashion dub plate. Every good DJ wants to have a kick ass track that their competitors don't, especially if they think it's coming from Jamaica. Knowing this, Bovell began having his group Matumbi cut dub tracks and release them on 7". They even went so far as to buy a "dink" machine to give them that extra bit of authenticity. See, the 7"sthat they'd get pressed in the UK all had the small hole in the middle, where as the Jamaican singles all had the big hole in the middle. The "dink" machine lopped out the hole in the middle so that their singles looked just like those from Kingston. Add a rubber stamped evocative label name, "Rama", to the single and there's no telling the difference. Then they just ran them around town to all the shops and sound systems, selling them direct (which only adds to a sense of authenticity in the world of exclusive dub plates). You have to read Bradley's book yourself to find out how they finally got "caught". Of the 16 dub tracks on this collection several are apparently those self same rare dub plates that fooled the DJ's and public of yore. But rare tracks or no, all of the tracks here (recorded between 1976 and 1983) are excellent, proving Bovell was indeed on par with the best in Kingston. Part of what inspired Bovell to challenge the Jamaican supremacy was his refusal to be content with merely immitating the rhythms already reworked ad nauseum on both sides of the Atlantic. Making the best of both worlds Bovell was un-fettered by the popular trends of Jamaican music while, in a genre almost predicated on creative borrowing, free to take what he liked from a wide pool of sources; be it Sly Dunbar rhythm tweaked with a calypso flavor, or a Congos era Lee Perry intro and bass line. But by throwing in some rock fuzz guitar, suavely lifting a lick from the Beatles here and there Bovell creates some great dubs that were uniquely his own. Highly recommended!

MPEG stream: Dominion Dub
MPEG stream: Scientific
MPEG stream: Entebbe

This amazing and absolutely incomparable recording of Cedric Im Brooks finally gest reissued by Astralwerks via Honest Jons. Those of you who've picked up copies of the Trojan Nyabhinghi Box Set have already gotten a taste for Mr. Brooks. Born in Kingston in 1943 Cedric Brooks had been involved in Jamaica's music scene since the early sixties, playing both clarinet and saxophone for several groups and recording some successful instrumentals for Coxsone Dodd, along with working as a session musician at Studio 1. It was two subsequent events that really sharpened Brooks' musical aesthetic though: the first was a trip to the United States where Brooks almost had the opportunity to join Sun Ra's Arkestra (the birth of his daughter back home in Jamaica thwarted this). The other was his introduction to rasta percussionist Count Ossie. Ossie & Brooks teamed up, forming the Mystic Revelation of Rastafari, to produce the holy grail of reggae/nyabhinghi recordings "Grounation". After parting ways with Ossie, Brooks formed his own orchestra "Light of Saba" in 1974 and recorded several albums worth of material with them. This compilation of 18 tracks here are absolutely amazing, a truly bizarre amalgam blending roots reggae, jazz, afro-funk, soul, calypso and even disco -- all glued together with pounding nyabhinghi drumming (not to mention bass, guitar, organ, horns and flute). Those beginning to feel squeamish about such shameless genre blending fear not: this is not some half-assed world-beat record cum marketing gimmick. This is perhaps one of the best "reggae" (though it doesn't completely fit the genre) reissues we've seen through these doors in a long time! This is heavy, rough hewn, beautiful and potent. This is one of those gems that, when we play it in the store, everyone either wants or wants to know just what the hell it is and when the hell it was recorded. Timeless and crucial. Highly recommended!

MPEG stream: Sabayindah
MPEG stream: Africa
MPEG stream: Nobody's Business

More well known for his work as a producer -- working with the Revolutionaries and recording artists at Joe Gibbs' and Channel One -- Mike Brooks was also an excellent vocalist with a sweet falsetto (up there with Junior Murvin or Cedric Myton of The Congos). The tracks here, recorded throughout Brooks' career from the seventies and into the eighties, are 100% conscious rasta chants. Most of the backing tracks were recorded at Channel One, and many of them -- with the Revolutionaries laying down their classic rockers rhythm -- versions of classic Studio One tunes. In the rarities department, there's an excellent 1972 track "The Earth Is The Fullness" (and its dub b-side) which was recorded in the very earliest of days at Lee Perry's Black Ark, before it had even been completed. But the general consensus is that the absolute gem on the record is "No Brother Man", a hypnotic tune with the simplist of riffs played on horns and repeated throughout as Brooks sweetly waxes positive. Nicely packaged in a fold out digipak with biographical notes by Hans Peters.

MPEG stream: No Brother Man
MPEG stream: The Earth Is the Fullness

Now that Byram, our resident reggae / dub expert has moved on (he's in Poland now, teaching English) we are left to fend for ourselves and review all the reggae and dub he used to handle so deftly. We all love this stuff, but unlike Byram, we don't have nearly the encyclopedic knowledge of studios and Jamaican history, so we go pretty much on the sound and the songs, and what little background information we can dig up. So here we have yet another amazing archival release from relatively new label Hot Pot. These recordings are all from the early seventies, and while Brown often worked with lesser knowns, often helping them get the exposure they so richly deserved, Rhythm Master Volume Two features plenty of reggae legends like Tommy McCook, Prince Jazzbo and Big Youth. Brown ran multiple labels in Kingston before moving to NY in the eighties. All of his releases were clouded in mystery, due in no small part to random addresses, confusing acronyms, and liner notes that often bore no relation to that actual release. Another element that added to Brown's mystique. The music here is thick and lush, with warm warbly hammond organ, dreamy wheezy melodica melodies, throbbing bobbing loping rhythms, cool, distorted blues guitar, all wrapped in that gorgeous Glen Brown production, and occasionally topped off by amazing vocals, from traditional reggae almost-toasting to haunting soul style crooning. So nice.

MPEG stream: 2 Wedden Skank
MPEG stream: Do Your Thing

THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY.

THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY.

The second single in The Bug's (aka Kevin Martin, from God, Techno Animal, Ice, King Midas Sound, etc.) new Acid Ragga series/label, the first so limited, that we were never able to get enough of to list. And like that one, this is a killer, the sound fierce and furious, and like the name of the series lets on, this is indeed "acid ragga": big pulsing ragga beats, wreathed in a cloud of skittery snares, acid-y synth squelches, thick fuzzed out basslines, and on the A side, Daddy Freddy toasting over the top. Fans of the Bug will be in heaven, fierce and furious and funky as fuck. The flipside offers up a similarly sonic template, wild swirls of insectoid snare fills, flitting constantly around that loping raga groove, more buzzy bass and super distorted synth squelch, Miss Red providing the vocals this time, her delivery, sassy and swaggery, a perfect match for the music underneath, both sides booming sound system killers, that we find ourselves listening to over and over, hankering for more more more! Super swank packaging, yellow and blue printed silver reflective sleeves, pressed on yellow vinyl and if the first 7" is anything to go by, this one too is likely VERY LIMITED.

If you're already jonesing for some more Bug tracks, here's one more song for you. Well, a vocal and a dub, so almost two songs. This one features Cutty Ranks on the a-side. Yeah, it sucks that it's almost ten bucks for so little playtime, but then again it's a heavy fucking single; as good as any of the DJ Scud Ambush! 7"s.

MPEG stream: Gun Disease

Third in this new 7" series of dancehall bangers from Kevin Martin aka The Bug, the A side of this one is a twisted mix of loping big beats and woozy tangled synths, sounding like some alien sound system, Warrior Queen toasting over the top, the end result like some playground double dutch jam, but cranked WAY up, and when the low end drops, it's some serious chest caving buzz and rumble punishment. The flipside pulls from the same sonic palette, more squelchy sci-fi synths, this time though, the bass is slithery and fuzzed out, the vocals, all call and response, sing songy and swaggery and a little bit snarly too, courtesy of Miss Red, perfectly complimenting Martin's fierce digi-raga damage, which begins sort of dubbed out, but by the track's end has transformed into some dense digital skitter. Pressed on bright yellow wax, housed in a super swank metallic silver and yellow sleeve, and if past 7"s in this series are any indication, these aren't gonna be around for long...

We gotta hand it to Tigerbeat6 head honcho Miguel for giving this disc a domestic release and price. Released in the U.K. by Rephlex, "Pressure" is the second outing by Kevin Martin under the moniker of The Bug. While this guise may be a recent one for Mr. Martin, he's not a newcomer to the scene. You may already be familiar with his previous projects Techno Animal, Curse of the Golden Vampire, God and Ice (certainly not a curriculum vitae to be sneezed at). With The Bug though, Kevin attacks our lower intestinal tracts with some of the best hardcore dancehall we've heard in a long time. Residing somewhere between DJ Scud's pummelling gabber style Ambush! material and Timeblind's Three-Foot-Long Bong-Hit of a track "Rastabomba". It's exactly the dancehall cuts that what we here at Aquarius have been thirsting for. Whereas Scud's tracks, being instrumental, were totally insane over-the-top panacea style gabber, "Pressure" is primarily a true dancehall record, with toasting on every track. As such, Martin's rhythms tend to be stripped down more than Scud's. Which isn't to say they ain't hard. Under Wayne Lonesome's damaged toasting for "Fuck Y~Self" for instance is some busy as hell, noisy-assed rhythm that battles 10 rounds with Lonesome's growling. Along with Lonesome, toasters on this record include Daddy Freddy, Roger Robinson, Paul St. Hilaire, The Rootsman and more. A definite must for fans of Ward 21 and sundry other demented dancehall. Absolutely sick, absolutely essential!

MPEG stream: Beats, Bombs, Bass, Weapons
MPEG stream: Fuck Y~Self

There are so many amazing records, longtime aQ faves that sadly predate the aQ list, so thus never got reviewed, or often got a cursory one or two sentence write-up when we put it on the site some years later. We could probably do a hundred lists, just reviewing all the records we loved and raved about and sold in the store, before the aQ list got started. But, we often do try to go back pick some of our favorites, when we can get them, to revisit and relist, to hopefully expose them to a whole new audience. One old fave in particular that we just managed to get some copies of back in, after YEARS, is this, the debut from The Bug, one of the many projects of Kevin Martin (God, Techno Animal, etc.). But before it was strictly a Kevin Martin solo thing (eventually becoming his sort of modern hard ragga dancehall project), The Bug was in fact, at least on this disc, a quintet that featured Martin, along with most notably, DJ Vadim - and also Swiss reedsman Alex Buess from late great noise-jazz outfit 16-17! This first Bug record was inspired by the '70s Gene Hackman thriller The Conversation, and according to the liner notes does NOT feature any samples, sonic or visual, from the movie. Is a dense, claustrophobic, paranoiac dub jam, that still sounds so good, and so vital all these years later. Longtime fans of WordSound, are already familiar with this sort of low slung illbient dub, all creepy crawly beats, buzzing burnt out blunted bass, the vibe dark and shadowy, sinister and ominous, but here, the minimal palette of later WordSound jams is greatly expanded, Buess' bass clarinet is the real star, adding melody and texture, a dark jazziness, often without really sounding like a horn at all. The tracks here are all dark, malevolent grooves, DJ Vadim adding weird crackle, as well as more texture, weaving mutated loops, constantly shifting layers, sheets of noise and murky sound effects, there's guitar too, but it seems to be mostly utilized to add texture, Martin overseeing the whole thing. When this first came out, back in 1999 or thereabouts, we often fantasized about someone doing a modern remake of the Conversation, with this as the soundtrack, which on the one hand would have been kind of amazing, but on the other, a total travesty. As far as we're concerned (and we're guessing Martin would agree), the original movie is perfect, as was the original soundtrack by David Shire, and really Tapping The Conversation works just as well even without knowing its inspiration. So as an homage to one of the greatest movies of the seventies, it too is pretty much perfect.

MPEG stream: Harry's Theme
MPEG stream: Invasion Of Privacy
MPEG stream: Countdown To Elimination
MPEG stream: Those Tapes Are Dangerous

A new Bug single and it's a doozy. Featuring the amazing (and new to us) Warrior Queen, who kicks so much ass that the tracks without her vocals seem wimpy and pale in comparison. So I guess it's good that most of the tracks on this ep do indeed feature here fierce toasting. Tack on a couple instrumentals / versions and a wicked final number featuring Ras B, and you've got a decent little chunk of bassbin rattling ragga brutality to hold us over 'til the next Bug full length. Awesome.

MPEG stream: Aktion Pak
MPEG stream: Pain Yu A Ga Feel

Nothing is more satisfying and pleasing to the ears then some totally great dub. Mind you, we aren't talking about mediocre dub or dub that "has its moments", we mean the kind of dub that you could totally listen to over and over and let its warmth and slow burn wash over you, the kind of dub you never ever grow tired of. Originally released on the great Wackie's imprint, Hardwax in 1979, we're so excited this is finally getting its well deserved reissue, as this is truly one of the finest dub albums to grace our stereo. Black World does have a few songs with subtle and tasteful vocals, but is for the most part instrumental, and is exactly the kind of record that will not only hit the spot for reggae obsessives, but even those who aren't usually so dub or reggae inclined. Not a bad track in the bunch, and some seriously cool magical moments that Bullwackies All Stars from the hordes of similar minded outfits. The track "Tribute To Studio One" sounds like it could have been the blueprint for modern day dub-loving bands like Tussle. For those that like a little (or a lot) of ganja this will soooooo hit the spot, but even if the weed is not your thing, Black World will for sure leave you feeling seriously content, laid back and feeling just the right vibes. So good!

MPEG stream: Morning Star
MPEG stream: Tribute To Studio One
MPEG stream: Recording Connection

A reissued 12" from one of this list's Record of the Week artists, Burial, who unleashes a lurching, shuffling, deep and dense mix of murky grimy dubstep. Equal parts minimal dub, slowed down grime, and super slow motion jungle. This 12", originally released last year, features what sounds like an alternate version of one of the album tracks, sort of slowed down and more blissed out. The other track is WAY more drum and bass, a mumbled 16 rpm jungle stutter, with a definite grime vibe and a super dense chaotic rhythmic coda! So cool.

THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY. Second album from Winston "Burning Spear" Rodney. Recorded in 1974 at Studio 1 and produced, of course, by Coxsone Dodd.

Winston Rodney, Burning Spear, has had the enduring reputation of being a perfectionist, an uncompromising artist who carefully controls his creative output, even having gone so far as to sing his own backup vocals on his recordings for Studio 1. Recorded

RealAudio clip: Travelling
RealAudio clip: Institution

More of Andee's favorite not-exactly-traditional electro-dub from the Bush Chemists. The appeal for me, used to be the exaggerated use of effects (even for dub!) that the Bush Chemists seemed to treat everything to: vocals, drums, guitar, EVERYTHING! Making

RealAudio clip: Fire Blazing
RealAudio clip: This Sound

THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY.

The cover sticker says "Dream River in dub". Yes, you read that right. This is indeed a dub version of last year's popular album by indie troubadour Bill "Smog" Callahan, Dream River! Dub version, as in, remixed in the Jamaican stylee... stripped down, stretched out, massively echo effected. Not unlike the 'chopped and screwed' concept with rap albums. Callahan's deep voice still sounds solid and grounded though, while everything else around it gets totally stoned. Less country, more beachy. Actually, we never even reviewed Dream River. We didn't really need to. They sold just fine. You probably got one, right? This, though, we're writing up 'cause it's a bit of an oddity, a surprise (though Drag City has previously brought us dub versions of OM, but that doesn't seem so strange). And it works, remarkably well. Callahan does his best Lee Hazlewood impression amidst the mellowed out music, but the gentle dub edit makes his delivery seem more laconic and tends to turn his lyrics in the direction of non-sequitur. Or maybe they were before, but it's hard to remember. We're feeling so... spacey. Seriously, even those of us here who aren't the the biggest Bill Callahan fans (which almost everybody else seems to be!), found this to be a very enjoyable listen. But then again, we think there should be dub versions of EVERYTHING.

MPEG stream: Thank Dub
MPEG stream: Expanding Dub
MPEG stream: Ride My Dub

We all love our dub deep and heavy, all rolling bass and echoing drums. But we also love it when it sounds like deep space transmissions, all tinny and faraway sounding, like the sweetest Lovers Rock emitting from a tiny transistor radio floating around the stratosphere. Echoing in a Doppler effect as the voice pings off the planets, intensifying then receding. And what a voice! Cornell Campbell is not as well known here but his soulful falsetto has graced countless dub records. He's best known for a series of "Gorgon Rock" albums he cut with producer Bunny Lee in the early to mid-'70s, that mixed heavy Rasta Roots with Lovers Rock and various covers often with biblical themes. This release covers various sessions in 1974 during which he worked out dub versions of his best songs with key rhythm players like Robbie Shakespeare and Ansel Collins. A great dub obscurity truly worth your time!

MPEG stream: My Whole Dub Down
MPEG stream: Never Let You Dub
MPEG stream: 100 Pounds of Dub

THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY. Hip hop remix.

THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY. Hip hop remix.

THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY. Hip hop remix. Rhythm = "Let's Get Dirty" (Redman).

THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY. Hip hop remix. Rhythm = "Who's That Girl?" (Eve)

THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY. Hip hop remix. Rhythms = "Ugly" (Bubba Sparxxx) & "Get Ur Freak On" (Missy Elliott). B-side says "version" but has Capleton's "Bus It" instead.

THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY. Hip hop remix. Rhythm = "Wait A Minute" (Ray J).

THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY. Hip hop remix. Rhythm = "Get Ur Freak On" (Missy Elliott).

THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY. Hip hop remix. Rhythm = "Wait A Minute" (Ray J).

THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY. Hip hop remix. Rhythm = "Let's Get Dirty" (Redman).

THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY. Hip hop remix. Rhythm = "I'm A Thug" (Trick Daddy).

THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY. Hip hop remix.

THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY. Hip hop remix.

Chancha Via Circuito is not only the train that Pedro Canale rides back and forth from his hometown to nearby Buenos Aires, it's also the name he's chosen for his dubbed out, free flowing, and more nuanced and minimal approach to "Cumbia digital." We've been entranced with this record since the very first time we heard it, as it's equal parts soothing and moving, slow burning and dance inducing. We're reminded a lot of the great Mad Professor vs. Massive Attack outing No Protection, as it has that same blend of cut and paste dub, along with more recent blasts from that Cumbia scene. In fact it wouldn't surprise us if Gang Gang Dance had gotten a copy of this before they recorded their latest record as it has that same kind of tripped out and late night dance vibe they latched on to. This is exactly what you would want blasting from the speakers in a club as you waited for M.I.A. to take the stage, or in your ears as you roam late night streets, moving at ease as these seductive beats intertwine perfectly with the flashing lights of the cars zooming by.

MPEG stream: Damas Gratis Dub
MPEG stream: Aldo Benitez- Dia Libre (Chancha Via Circuito Remix)
MPEG stream: Zorzal (Ft. Sol De Oliveira)

Compilation of version sides recorded by Ernest & Jo Jo Hookim at their Channel One studio during its heyday (between 1974-79). Though not always known necessarily for the innovation in their own productions (an incredible exception here being the Natty A