Just received the flyer for this years Death before Dishonor Clash at Pier One in Mo’Bay, Jamaica going down on Easter Monday, April the 5th.
The Clash is called “Who will take the Last Cup” and features the likes of Mighty Crown, Black Kat, Bass Odyssey, Sentinel, Tony Matterhorn and Bredda Hype.
Even though me personally don’t like this big clashes with x-amount of contestants, i’m pretty excited about Matterhorns Comeback to the Clash-Stage.
Check it:
HERBALIZE-IT won against Young Hawk outta the Bronx in Wuppertal, Germany, and Irie Crew defeated One Love Hi-Powa in Bologna, Italy.
Congrats!
Well, this ain’t your average Reggae/Dancehall-Singer, and especially the riddims may be a little out of your horizon, but I’m totally feeling Jahdan Blakkamore and his LP “Buzzrock Warrior“.
For me personally, this LP is the Reggae Album of the year 2009. There’s no other piece of music I’ve listened that heavy frequently the couple last months.
A while ago he’s been to germany with his Producer/DJ Matt Shadetek, of Dutty Artz, to do some shows, and Buntch.tv has filmed the one in cologne.
Btw: Check out the free Bazooka Shot Mixtape of Jahdan Blakkamore
Just found this recording of a Good Vibration & Kalibandulu Dance on the net and want to share it with you, because me rate Kloipi, the MC for Good Vibration, amongst the best Soundsystem-MCs in Europe.
(Just click the flyer to download)
EDIT: Here are the Kalibandulu Parts of the Dance!
If you want to find out more about the sounds, check the interviews with both of them.
Btw: Flyer is superdope!
Wow, look at this incredible shirt Mango Trees MC Floris just came up with.
Requested to all the Fire Links Fans out there.
What can I say, I love MT.
…at Goldshop Reggae, just the way i like! Thanks to Seen for the hint.
Finally the Audios for the Guiding Star versus City Lock Clash last week in Geneva are available to download.
(Just click the Flyer)
Konshens Mix CD, mixed by Daddy & Hypa, known for their fantastic remixes.
(Click Frontcover to download)
The Heatwave and Soundclash reminds me that, 2 days ago, the legendary Sleng Teng Riddim had its 25th Anniversary. Pretty awesome that this riddim still can mash up any dance/clash you go nowadays.
Read more about it in Beth Lessers excellent book “Dancehall – The Story of Jamaican Dancehall Culture”
The night of the 23rd, people began to gather on the Waltham early. The sounds were warming up with the apprentices while the big artists were arriving. Black Scorpio opened the showdown with the full compliment of Sassafras and Trees and regulars Shukahine, Culture Lee, Wayne Palmer, and Michael Jahsone. Jah Screw, the selector, was armed with dubplates by Frankie Paul (the Scorpio productions) like “The Closer I Get to You,” as well as Earl Sixteen’s “Sweet Soul Rockin,” and “Making Tracks,” Bobby Melody, Little John, and Johnny Osbourne. On Jammy’s side were John Wayne, Echo Minott, General Leon, Screecha Nice, Tullo T, Junior Reid, Tonto Irie, and Pompidou. Tupps was selecting with confidence knowing that he had a bag full of Sleng Teng to thrown down. Every name entertainer was there from U-Roy to Leroy Smart to witness the confrontation.
By nine o’clock the yard was full and more people were coming through the door. Scorpio was getting hot with Johnny Osbourne’s “Reasons” and “Show Me Your Sign.” After an hour, the current went over to Jammy. Wise Tupps opened right away with Sleng Teng and the crowd went wild! People were cheering and throwing their hands in the air, blowing noise-makers and whistles. The bass sound that was coming out of those boxes was like nothing that had ever been heard before. It was absolutely clean—powerful and pounding. It just stopped your heart. And it had all come out of a “music box,” as the unfamiliar electronic keyboards were referred to then. Tupps was putting on Sugar Minott’s “War and Crime” when suddenly the melody was interrupted by the entrance of armed police officers, M16s on their shoulders. For over an hour, the dance had to stop while police ordered everyone to the side as they searched each person, one by one, for weapons. John Wayne was heard to say something unacceptable about the police over the mike and was hauled off (he later returned intact).
Finally, after a luckily fruitless search, the officers retreated (with a few timid patrons) and the clash proceeded, but the verdict was already in—Sleng Teng had won the day. What was it about a chance combination on a tiny Casio keyboard that could mesmerise an entire nation and change forever the course of reggae music? Once this “Computer” rhythm appeared, there was no turning back. Even Jammy had to reluctantly shelve over fifty “human” rhythms he had made with the High Times band and not used yet, because no one wanted to hear them. All they wanted was Sleng Teng—literally. Album after album of pure Sleng Teng versions were released and every single one sold. It was Jammy’s very first number one record in Jamaica (although he had had several abroad). Yes, “the Sleng Teng dominate bad, bad,” as Tupps recalls.
