#TGTstylee

[thegroovethief]

Well, I just added a whole stack of KGNU radio shows over to my Mixcloud archive (where I try my best to collect all event and radio recordings)! 19 shows, wow. Glad to be caught-up now, haha! Here's a few of my favorites from the bunch:

And, just to round out the math, figured I'd release a mix I've been sitting on for a few weeks now, too:

Hope you're staying safe, and making fact-based health decisions...

[thegroovethief]

Charlie P – From Mi Born LP After watching the quite enjoyable documentary, which follows UK reggae singer Charlie P as he returns to his hometown Southend-On-Sea to meet the band he first performed with as a youth, diving into the full album was a logical next step. To say From Mi Born, which is out now via OBF's Dubquake Records, doesn’t disappoint is an understatement. Skillfully backed by The Goldmaster Allstars, Charlie P shines just like the great child stars of Jamaica: Dennis Brown, Billy Boyo, and Beenie Man, through to Wayne J.

The extended opener “4 Policemen” is tough roots music, and sets the tone well. Over a mesmerizing bass groove, enhanced by mournful horns, young Charlie P finds himself in the back of a police car, and later before a judge, lamenting his plight while questioning his guilt. “Oh Jah” glides in on a brass hook, contemplative, propelled into hazier territory on the ensuing dub.

FROM MI BORN LP by Charlie P

A vintage-sounding cut in all the right ways – with some exquisite horn solos – “Secret Survivor” highlights the fortitude needed to be successful: ‘every time I get knocked to the floor, I get up and fight once more; every time I get knocked to the ground, I get up and fight without a sound.’ A bit of a crooner, “One Time Girl” is balanced out nicely by the dread-inspiring bass line that supports the determination needed to pursue a love not yet realized. The skank is nicely layered, with a melodica shining through sweetly. A full-on ska explosion, “Movin On Up” is not only lyrically credited to the singer’s late mother, but is also a very optimistic track, a beacon of hope amongst the challenges highlighted elsewhere on the album. The dub is wise indeed: the rhythm is allowed to dominate, with a lengthy drum and bass section, while the vocals and horns take turns reminiscing about the original. “Yuppy Girl” is a solid effort, a preview of Charlie P’s future, showcasing some different styles on the mic. Here, the horns plus the vocal do combine to give the track a slightly dated feel; that is a clear goal of the project though, not an inherent weakness. “We Can’t Give Up” is the last vocal of the album, a straightforward ode to perseverance and a notable lyrical contrast to “Movin On Up.” The charm of the ‘youngest of the veterans’ during this era is evident here, as the aforementioned documentary also highlights well via archival footage. Heavy from the drop, “One Time Dub” flips the romance of the original into something deeper, darker, and ultimately more impactful. The digital bonus tracks are both dubs, delightfully of standouts “4 Policemen” and “Secret Survivor.” The first propels the keys to the fore, and is arguably the most unhinged on the entire release, as far as effects go. The fact it’s a sprawling six minutes-plus is strictly a positive. More of a stomper, “Secret Survivor Dub” surely made the dances of Southend shake, and – like the LP as a whole – certainly stands strong today. Honestly, it’d be great if more of today’s reggae vocalists lifted the veil of their early years like this. It’s a nod to the past, obviously, yet more importantly is an enjoyable indicator of the power of youth, and the value of unexpected perspectives, that allow the genre to continue to thrive and develop.

[thegroovethief]

Have you checked out my exclusive interview with Emch of Subatomic Sound System? Audio's out now via KGNU:

Or check out the full radio show here:

[thegroovethief]

The Groove Thief [TGT] puts the dubwise dedication of the summer festival scene to the test with "Bass Weight Nah Hesitate," a special mix of conscious 140 business. .the future of dub is the present. bookings/contact = TheGrooveThief@gmail.com

01. BFM - Magic Carpet [Intro] 02. Charlie P - Dub Controller [TGT Dubplate] 03. MiKrodot - Jah Love 04. Mr. K - Damage (6Blocc Cutty Ranks Edit) 05. Prophet - Champion Sound 06. EGOLESS - Bubble Beat 07. Modi Bardo - Bloodfire Hustle Dub VIP 08. Dubblestandart (ft. Lee "Scratch" Perry) - Blackboard Jungle Dub (Subatomic Sound System Remix) 09. PELiGRO - How The West Was Dubbed 10. Ego Death - G13 11. DJ Madd vs Horace Andy - Cuss Cuss (TMSV Remix) [TGT Edit] 12. TGT - Over Dem [Beenie Man x Saule] 13. Turner - Section 14. Leaf - Hive Dub (Bukkha Remix) 15. Critical Hi-Fi & Daddy Freddy - Dem Only Know 16. Critical Hi-Fi & Junior Roy - We Nah Need 17. Ziggy Marley - See Dem Fake Leaders 18. Kabaka Pyramid (ft. Masicka) - Choppingz 19. Cotti - I Don't Give A Dub

[thegroovethief]

#TGTfeature 014: Black Market [High Noon Audio: Nashville, Tennessee, USA] Diving deeply into the classics in a uniquely dubwise fashion, following African reggae star Rocky Dawuni, here comes #TGTfeature 014 with the prolific Black Market, known for his reinterpretations of musical icons as well as iconic movie and television soundtracks. This and forthcoming #TGTfeature articles will highlight dedicated musical talents by featuring their recent work as well as an in-depth interview. Thanks for your patience dear readers, 2020 has been a delight… Black Market’s latest project, a spookily delightful re-approach to the film Phantasm, enjoyed a timely October release; prior releases range from Bowie to Batman, and from Talking Heads to The Twilight Zone. Aside from his most recent engagement, building the High Noon Audio studio, the discussion covered his raison d'être, a range of releases, favorite gear, and much more. A bit about Black Market: - A skilled sonic culturalist, he’s taken on 20+ remix projects with an astounding level of quality - Known for his era-defying dub-fueled “collaborations,” there’s truly an entry point for all listeners in this ongoing re-imagining of the collective musical past - Opening High Noon Audio studio (in Nashville, Tennessee, USA), aimed at supporting artists with a DIY aesthetic

The Beach Boys - Endless Dub by Black Market

TGT: How do you define your musical role on your “commercial” releases? Remixer, reinterpeter, rearranger…? BM: When wearing my ‘Black Market’ hat, I definitely see myself as a remixer/producer, but the more I think about it the more I think any of those adjectives could easily describe what I do. I try and imagine Bowie or The Clash approaching me saying, ‘Hey, we want to make a reggae album. What do we need to do?’ and from that point all the musical reggae decisions I make are filtered through that mindset. How would Bowie play a reggae bass line? How would Brian Wilson turn “Wouldn’t It Be Nice” into a reggae arrangement? TGT: You propose an intriguing thesis: “What would happen if The Beach Boys had The Wailers as their backing band instead of The Wrecking Crew? What if David Bowie spent the summer of 1975 in Kingston, Jamaica with King Tubby instead of Philadelphia? Michael Jackson meets Scratch Perry?” What is your motivation to approach such legendary artists, and how do you handle the technical side of this, especially when there’s no a cappella available? BM: Initially, I knew I was motivated purely by my love for Bowie and my desire to pay tribute to his music. It was only after releasing Bowie In Dub that I realized that this would be a great way to build a following as well. Who cares about Joe Schmoe’s new EP? Now, Ziggy Stardust dubbed into outer space? That’s a whole different story for most people. Even if they hate it, the curiosity is too much for a lot of fans. My hope has always been to use these remix projects as a springboard for my own music. I don’t think I’m quite ready to branch out into original material just yet, but I can see it on the horizon.

Bowie in Dub by Black Market

TGT: I initially discovered you via your sci-fi projects, The Twilight Zone and Stranger Things specifically. You’ve also taken on The Outer Limits and most recently Phantasm. Phantas is fantastic! What attracts you to these spooky source materials, and what connects them to your dub-infused sound? BM: I am a gigantic sci-fi/horror nerd. I love horror movies so much, and many of them have such fantastic scores. A simple melody from a horror movie theme is sometimes all you need to go off of for a good dub track. Tackling stuff like that is also just a good way to break up the releases a bit, and to have a bit more fun with everything. When I’m remixing a major artist, I find myself being very focused on it because I really don’t want people to outright hate it. Horror fans are much more forgiving, and it gives me plenty of room to experiment with things and get weird with my music.

Phantasm by Black Market // Chudan

TGT: There’s always been a cheeky edge to your releases, despite their top-shelf production and cultural relevance. Given your prolific nature (25+ releases since 2015), which ones are you most proud of? BM: I release every EP with the assumption that it will either make people angry or they’ll just hate it. Luckily for me, that is usually never the case, but for that reason, I have to just be ready to laugh off whatever the reaction is to my releases. I try to do as good a job as possible, while at the same time not taking it so seriously that it isn’t fun. Black Market is a blast. If I had to pick a few favorites I would say Remain In Dub, The Outer Limits, Thin White Dub, and The Next Dub. Honestly, there are just too many at this point, I would like to think you could pick any one of them and get a good idea of what Black Market is all about. TGT: You’ve been hard at work on a new studio, High Noon Audio. What’s the process been behind creating that, what services do you aim to provide, and why’d you feel that was the right move now given all your other musical projects? BM: High Noon Audio is for musicians like me that make music on a shoestring budget, but want it to sound fantastic. It’s expensive to get studio time, and if you want your music mixed with outboard gear, or on an analog console, I would say 90% of musicians I know are priced out of that. I want to provide an affordable option for bands and artists who are DIY at heart and need someone in their corner to give their music the best chance possible to break through. Building High Noon Audio has been a crazy undertaking. I’ve always had outside mixing clients, but I’ve never had a reliable way for them to contact me or to see how much I’d charge. About a year ago I decided to start the process of giving my entire studio a rebuild from the ground up, which involved buying a console and tons of other analog gear. From there I contacted a friend of mine, Colin O’Shaughnessy Tucker, who does graphic design to help out with the look of the website and logo and I think he did a fantastic job. High Noon is just me, but someday I see it becoming a full studio with a tracking space and maybe another engineer. I’m dreaming big!

TGT: Any gear you’re particularly enamored with right now? How have you been using it, and is there a track or two where it’s prominently featured? BM: Yes! On the plugin side of things, the Magic Death Eye bundle by DDMF is incredible. Magic Death Eye is a compressor built by Ian Sefchick, who is better known as a lacquer cutting and mastering engineer at Capitol Studios in Hollywood. I got to know Ian a bit while I was working there and got to hear the real Magic Death Eyes in person, and they are incredible compressors. The plugin recreation by DDMF is a must-own. Ian makes all of his compressors himself (even hand-winding the transformers), so they routinely go for anywhere between $5,000-$10,000. The plugin does an incredible job of emulating the real thing, and I literally use it on more tracks than I can keep track of every time I start a new mix. As for analog gear, I recently purchased the legendary API 2500 Stereo Bus Compressor. It’s hard for me to add anything to what has already been said about this compressor. It’s a huge punchy sound that is perfect for a drum bus or a main mix bus. Crucial gear. TGT: It seems you are a strong proponent of the Patreon platform. How has your experience with that been so far, and what are the pros and cons of connecting with fans this way, given how decentralized musical access is online? BM: Patreon has been fantastic so far. It’s truly difficult to build (and keep) any kind of following doing what I do. Many of the more successful Patreon accounts pump out video or podcast content on a weekly basis, if not more often. I’m asking my Patrons to subscribe for something they will get once a month, and oftentimes I take breaks during the winter to recharge and plan for the year ahead like I am doing now. The cool thing is that the people who do sign up are usually genuine fans who like to engage with what I’m making and understand that they are supporting an independent artist. I’m so grateful for everyone who has signed up and I can honestly say that they all directly helped me create my new studio and workspace. Black Market and High Noon Audio are set to do amazing things in the coming year and much of that is due to my Patrons and supporters.

[thegroovethief]

#TGTfeature 008: Lea Luna [Magik Muzik; Dim Mak; Raid Recordings: Denver, Colorado, USA] Fresh off my interview with world champion turntablist DJ Shiftee, #TGTfeature 008 is with the skilled Lea Luna, who kills it on the decks whether bass, house, or beyond! She took the time out for a chat just before headlining a hometown show at The Black Box. This and forthcoming #TGTfeature articles will highlight dedicated musical talents by featuring their recent work as well as an in-depth interview. Known for her passion and dedication to dance music as well as the art of DJing, Lea Luna is also a chart-topping singer and a respected music journalist. She kindly shared her thoughts on bass music, repping Denver, dealing with online trolls, and more. A bit about Lea Luna: - With nearly 20 years behind the decks, she’s played numerous noteworthy clubs: NYC's Limelight, LA's Avalon, and Denver's own Beta - Frequently called on for vocal collaborations, she’s recently worked with the likes of Sydney Blu, Manufactured Superstars, and Quivver - Also known for her production work, she regularly releases her own music, including “Rock Show” out via RAID Recordings

TGT: You’re leading an excellent lineup of bass talent at The Black Box, all representing Denver. What styles will you be bringing for this set, and how do you determine ‘tough bass’ in 2018? LL: I’m definitely planning on keeping it bass-driven, much like my last Black Box set was. Bass house, maybe a few breaks, maybe a few trap drops to break it up. I’ve always said this as my overarching quote: “Genres don’t define artists, artists define genres.” I pretty much live by that ideology. I’ve been DJing for nearly two decades now and have seen many music fads come and go (fidget, for instance, was one such fad genre in the bass category I used to like that died). Everything all stems from two main influence points- the first influence is the roots of the underground— the old history behind the emergence of the new sound. People like classic vocal hooks in newer remixes if they were a part of the scene back in the day, and bass house wouldn’t be where it is now without the original house music and garage innovators. The second influence is technology. Bass music sounded way different before the VST (virtual instrument) plugin Serum was invented because producers had different tools. I remember when the VST called Massive first came out and dubstep as a genre resulted. Electronic music is largely affected by these nerds who make virtual instruments and how artists interpret that technology as tools for creative flow. While everyone as listeners are pulling apart which bass music artists are making new genres, most real artists are at home dorking around with compression ratios and wave tables trying to invent an actual noise. So it’s hard for me as an artist to talk about bass music as an evolving fad because I sit here with the tools all day looking at the other perspective of what’s really evolving. TGT: Denver is certainly a unique place! How would you describe the realities and complexities of the scene here as a local artist with a global following? Any advice for up-and-coming DJs/producers on navigating our “island?” LL: I could not be more proud of Denver, and even electronic music as a scene in general. This city used to only offer these (beloved) secret warehouse-type hideout parties with a bunch of obscure DJs, vinyl collectors, and underground ravers interested in coming, and now every large venue in the city is wall-to-wall packed with dance music fans on any given night. There’s a lot to be accredited to the increase in our culture, but also a lot that has been bastardized. What I will say to the new kids is if you’re out here letting a controller do all the work for you onstage, playing the top 40 dance chart releases in order so you can be popular, you are sh*tting all over my craft and culture. It’s not a popularity contest and the DJ booth is not a bottle service area. The best way to become a DJ is to care about actually DJing. Be authentic, know your roots, respect your predecessors, respect women, respect other subgenres, and don’t spend your life savings on social media likes. Inspire people, ask for help, collaborate, offer something OF yourself before asking about something FOR yourself. Create. Learn. Be humble (but please stop humble-bragging). Start a crew. Give a damn, you know? We’ve all had our bouts with fame and drama as artists, but if you’re not creative at all and you’re not keeping it real, you shouldn’t be doing this.

TGT: There’s a lot of debate about whether certain strains of electronic music have reached full saturation, or have become so derived they’ve practically lost relevance. What are your thoughts on the current electronic dance scene, particularly within house music, and what’s your approach to keep your own productions sounding fresh? LL: People of the underground like to worry I’m too commercial, people of the commercial world like to worry I’m too underground. Some people want to hear music everyone understands, some people act rude when something becomes popular because they want to be viewed as purists. Like I said before, know your roots, know the trends, give a damn, create something original, and keep it moving. That’s the motto. If I claimed to be a purist 10 years ago and stuck to it, I’d be in hot water right now trying to play washed up music that pales in comparison to new mastering and technology on those fresh new funktion-ones (the incredible speakers they have at Black Box). If you stay current in your arena and true to your roots, genre and saturation thereof can be left to the listeners to decide. Ain’t nobody got time for that in my world. Artists. Define. Genres. I play what I think is ahead of the curve, and what I think is classic, all in one set. There’s no genre about it, but I will say that my tempo lately in clubs is 122-128, with an occasional drop to 100 just to grab people’s attention. All things house, garage, and breaks fall into that first category, and trap/twerk drops (second category) make life fun.

TGT: You’ve recently posted about receiving online threats from a random stranger. This is, sadly, nothing new for female public figures. How can readers (particularly men) succeed in eradicating this all-too-common misogyny within our music community? And offline, what should promoters and venues be doing to keep their dance-floors safe? LL: As for keeping clubs safe - I truly believe in strength in numbers. I have a strong, supportive, loving crew of friends and fans, as well as professionals and security guards. I take threats very seriously and file reports and blacklists when they happen to protect myself and other women. I have very strong security measures held at all of my shows, including this one. But in the big picture, the biggest thing that is going to make any club a safe environment is a positive example of the members of any audience at any show ACTING RIGHT TOWARDS WOMEN. If you see someone put something in someone's drink, report them. If you see someone abusing a woman either verbally or physically any way whatsoever, DO SOMETHING. Inaction is still an action. I come with a large group of friends that I deeply trust to every event and there is no way in hell someone is going to act in public like they do on the internet towards me or any woman in my presence and get away with it. One time someone lifted my skirt up and hit me on the ass at a show and although they were "only joking," they were being held by the neck of their shirt over the patio rail and reprimanded by my friends a split second later until security came and got them. These types of people will always be outnumbered and will never get away with what they think they can. They try it on the internet because they can troll and hide. [As for online threats:] Here’s the deal. People are jealous. It happens to both sexes, but primarily females because sexual iconography or lack thereof triggers people who writhe in unnecessary hatred from the comfort of their hate-hobbit computer den. Being attractive does not make me stupid or talentless. There is no such thing as “using” your looks. I look this way. That’s a fact, maybe a hobby, not a tactic. I also write music consistently and contribute a lot to this scene. Do all girl DJs do that? Likely not, but many do. The problem lies in the prejudice, pegging all women as having a backhanded agenda or a lack of intelligence or avoiding authenticity. This claim emerges from the hearts of people whose mothers didn’t hug them, whose girlfriends cheated on them, whatever. Hurt people hurt people. Do I care what these specific people think? No. I care if I screw up publicly and true fans lose interest in me. I care about staying true to myself and my brand, and I care about doing what I say I’m going to do for my shows, my opening DJs, the promoters who believe in me, my agent and manager, my crew, my friends, and my fans. Anyone who is so clearly coming from a place of jealous bigotry who tries to threaten me, embarrass me, or thwart my success always fails. Because they aren’t battling me, they’re battling something very dark and unhappy inside themselves. TGT: And, to end on a lighter topic – what’s your favorite spot in town for a post-gig meal? LL: Post gig? I’m always exhausted around then, but definitely just as junk food hungry as anyone at 2am leaving a bar. I rarely go out after bar hours to eat though. I’m more likely to hit a grocery store for a pizza to pop in the oven at home or if I’m feeling extra self-loathing I’ll get cheesy popcorn and pop tarts from a gas station [laughs].

[thegroovethief]

TMSV: Jungle, Vol. 3

TMSV is most known for pushing sub-bass to the limits within his heavy dubstep tracks, so his recent Jungle series is arguably a bit of a departure. However, with an ear well tuned to choice percussion, there’s certainly a connection to his previous output. With Volume 1 out December 2018, Volume 2 out September 2019, and now Volume 3, the EP series is certainly picking up momentum as well. Self-released, digital, available via Bandcamp:

Jungle, Vol. 3 by TMSV

Conceptually, this is an intriguing project for sure. The brief notes explain: 'This time, all tracks were made in completely different locations, once again using a combination of hardware, software, samples from the crates, and self-imposed limitations.' Amidst the clean clatters, it’s actually the soaring vocal loop that most impresses as “Glider” begins the EP. As the bass drops, feeling slightly off-kilter in the best of ways, the vibes embody dance music more holistically. This is music as dynamic as the jungle, rather than any one genre alone, it appears. “Seashells” takes the opposite approach; a melancholy synth creates the necessary tension while the rhythm eases in through the filter door. By way of a vocal sample, it’s at 1:30 that everything arrives full force. Rave, at least in a sense, yet again hard to pin down – even the era could be up for debate. What is clear is that the drums dominate, dictating the relevancy of the remaining palette. “Sunglow” pops in nicely after its predecessor’s fadeout, heavy and atmospheric, fit for the alleyways filled by the Tyrell Corporation. Thick and at times pulsating, this is a dystopia surprisingly brimming with optimism. The final minute pushes the drums and shouts to the fore, twisting on into the dusk. Fascinating cuts all around. There are definitely some unexpected yet enjoyable sounds here, whether approaching from the jungle or bass side. Producers will want to check out TMSV’s recent Jungle Sample Pack, too.

[thegroovethief]

#TGTfeature 013: Rocky Dawuni [Aquarian Records: Accra, Ghana & Los Angeles, USA] Journeying further abroad to where the roots of reggae originated, after American bass weight specialist Bukkha, here comes #TGTfeature 013 with the enigmatic Rocky Dawuni. Hailing from Ghana, the artist and humanitarian embraces diversity to craft his inspiring and passionate sound. This and forthcoming #TGTfeature articles will highlight dedicated musical talents by featuring their recent work as well as an in-depth interview. His latest album, the timely and poignant Beats of Zion, was released earlier this year; it fuses reggae and contemporary Afropop with more traditional rhythms from genres like Afrobeat and highlife. Rocky Dawuni kindly took time out of his busy schedule to discuss his most recent recordings, what keeps him motivated, and much more. A bit about Rocky Dawuni: - A talented Afro/reggae fusionist, he’s released seven albums in his 20+ year career, including the Grammy-nominated Branches of the Same Tree - Known for his emotive and personal style, which emerges not only in his music but also in his videos - In 2018, named a UN Goodwill Ambassador for Africa

Beats of Zion (album) by Rocky Dawuni

TGT: For those that might be less familiar with your work, are there some selections from your back catalog that you could recommend for people to better understand the sounds and evolution of your art? RD: I think the album Book of Changes would be a good reference point for people to have to experience the full realization of my fusion of reggae and traditional African sounds. This album produced some of the standards for my signature Afro Roots music. Listener and concert favorites like “Afro Roots Vibrations,” “Wake the Town,” and “Africa For Learn” explored fresh new territories of combining reggae, Afrobeat, highlife music and traditional rhythms. It was also the beginning of my songs being featured on US TV shows and global video game soundtracks including “Wake the Town” and “Shashemane” being heard on the hit series ER and EA videos games. TGT: How do you balance living in two places, creating new music, touring, and also being a notable humanitarian? What advice do you have for up-and-coming artists about time management? RD: I am driven by my personal sense of mission to keep striving for excellence in all aspects of my life. Movement and traveling provides valuable and constant insights to experience new music and influences. These are indispensable to my creativity. Also, in my case, creating music is in many ways inspired by my humanitarian work. The opportunity to transform my musical leverage into being of service and making an impact on the ground is of primary importance to me. Constantly changing environments helps me to also keep a direct connection to all that is happening culturally in Ghana and abroad - especially in my efforts to keep creating musical bridges between Africa and the diaspora. My advice to upcoming musicians would be for them to make sure they don’t lose sight of putting the energy into the art and constantly challenging themselves to grow. If their use of time can revolve around these central principles, it could nurture a deeper sense of fulfillment and nourish an enduring momentum to their artistry. TGT: How challenging was it to follow up the Grammy-nominated Branches of the Same Tree, as far as both expectations and studio creativity, and what were your ambitions with Beats of Zion? RD: After the Grammy nomination, I set my sights on pushing my musical experimentation further and at the same time highlighting my roots. I always try to let my inspirational influences direct my creativity. With Beats of Zion the vision was to push more of the musical diversity upfront. Beats of Zion features some diverse sounds and vibes, yet to me the title track is really one of the standouts. I love the accompanying video as well which we shot in Jamestown, Accra.

TGT: So what was the inspiration for that track and its video, and how does Batimbo Percussion Magique fit into to all of that? RD: The title track is an Afro roots/dancehall song which uses various traditional drums of Africa to forge a sound that borders on Jamaican dancehall music and traditional African drum beats. The song and the message of the lyrics touched on emergence of an African inspired global spiritual awakening and music serving as the catalyst for this new dawn. I worked with varying drum tones sounds from djembe, dundun drum sounds to create the right grooves. The song needed that powerful big drum sound to drive the beat and that is what led me to Batimbo Percussion Magique of Burundi. Their sound had the right drum orchestral element that finally made that track come fully alive. The vision of the accompanying video explored the colorful cultural heritage of the continent in a celebration of emerging youthful power of Africa.

TGT: Another track, “Modern Man,” just got a remix by the skilled Gaudi. What led to that collaboration, and can you talk about the lyrics a bit about how they reflect your worldview? RD: “Modern Man” is a song about the invasion of technology in modern life and the gradual transformation of society and social behavior into an algorithm-controlled utopia. The song is about sounding a warning about the inherent danger to outsourcing our humanity to an inhumane tool. The stealthy illusion that transforming ourselves into mechanical society represents a sort of evolutionary progress. The original version on the album was acoustic but there was a general feeling to put more power and dimension to the words and the message. Gaudi was drawn to that song and loved the message as well. We all knew something special could result with his remix for the song. He did an amazing job with it! TGT: You were designated a UN Goodwill Ambassador for Africa last year – congratulations on receiving such a tremendous honor! – what projects and works have you been involved in with so far in this role, and how do you see the relationship between your activism and your music in 2019? RD: It is truly an honor to be designated as a UN Goodwill Ambassador for the Environment for Africa at a time when there is an urgent need to deal with pressings issues like the changing climate, the need for protecting land rights, the importance of standing up for indigenous cultures while combating corporate and political greed as well as unchecked destruction of forest and ecosystems . There is a need for real action to inspire a grassroots solution to these issues. My current mission in this role is to shed a light on these issues. I launched the Rocky Dawuni Foundation to work on youth leadership and help facilitate equipping the youth with cultural tools to take initiative and also advocating for a true African Green Revolution. We have partnered with Mayor of Ghana’s capital city Accra to launch planting 100,000 trees in the city among many other current projects that we are working on.

[thegroovethief]

In honor of the limited release of The Groove Thief's CD-only mashup project, Best Go Lo, here's a special A/V Mix from the Pomegranate Sounds crew!

An anagrammed collection of recent TGT pairings (2015-2018), the album features fourteen tracks of unexpectedly dubwise vibes. CDs (no digital, no repress) are available for purchase, please contact The Groove Thief via FB message or by email.

[thegroovethief]

#TGTfeature 012: Bukkha [Moonshine Recordings/Dub-Stuy Records/Infernal Sounds: Valladolid, Spain] Diving deeply back into the bass bins, following France’s digital reggae extraordinaire Manudigital, it is #TGTfeature 012 with heavyweight producer Bukkha, an American based out of Spain. The audio interview was featured on KGNU Community Radio's "Dub Palace" show. This and forthcoming #TGTfeature articles will highlight dedicated musical talents by featuring their recent work as well as an in-depth interview. The low-end enthusiast has released weighty wax on respected labels and tested sound systems around the globe. While he works with a range of tempos and styles, there’s always a sense of dub, or at least dub wisdom, in his work. Prior to his Denver debut at The Black Box, Bukkha spoke about his production work, his Preacha project, limited-edition vinyl, working with vocalists, and much more. A bit about Bukkha: - Heavyweight bass producer, he’s maintained a strong relationship with Moonshine Recordings while also working with labels like Dub-Stuy, Grand Ancestor, Infernal Sounds, Lion Charge, and ZamZam Sounds - Known for his stellar vocal collaborations – a recent example is the grime/trap cut “Chasing Dreams” featuring Rider Shafique - His late-2018 mix for Moonshine is filled with forward-thinking productions, many his own, and demonstrates the potency of proper dubwise sound system music

TGT: How'd your upcoming USA tour come together - seems you're bouncing around a bit? B: I don't know, everything just panned out really well. I ended up hitting up the cities that I didn't get to last year really, for the most part. You know Arcada, Portland, Denver, San Antonio, Maui, so, it's very exciting really. TGT: Yeah, yeah, and a bit eclectic as well... B: Definitely all over the US man, like kind of circular in a way. Oh yeah shoot, even Miami, how I can forget Miami, I'm so excited to go back to Miami. TGT: At this point in your career, do you find it more fun to be still going to new places, do you also enjoy going back to a crowd you've had success with before, and now you're being welcomed again with open arms? B: Both man, both. It's always nice to go to somewhere new, but it's kind of like a home situation - you go to one place, and you've made a really great impression, so like everybody's waiting for you to get back and rock it. Yeah, I just find myself in that position now too, where I can go back to a place, feel welcome, everybody's looking forward to it. It's either as good, or even better than the last time. TGT: Glad to hear that, I know a lot of effort goes into putting these overseas tours together, and do you know big differences between being booked in Spain and mainland Europe, compared to the UK and the US? Or do you feel like the scenes are pretty equal in their expectations and taste? B: Well, I mean, here's the thing, it's like, I think that if you get booked and people go there to see you, then they kind of know what to expect. I don't - I mean I guess I might - surprise people with some of the stuff that I play sometimes because I kind of am all over the place; just like my productions really, I do a lot of steppers, a lot of dub/reggae stuff, but at the same time, I've made dubstep early on, and just starting messing a bit more with drum n bass and jungle, kind of jukey stuff, all that get stuff gets thrown into my sets. I try to add a little something for everybody. TGT: So that means you're not letting the larger perceptions, like that Europeans only love steppers, for example, you're not letting that impact your selections on any given night? B: No, no, no, no. Not at all. TGT: You just mentioned a lot of different genres, has that been part of you as Bukkha, or is that you wanting to get out of the 140 box? B: Ooh - both. Both. And I mean, everybody's gotta grow, I definitely don't want to just stay stuck in a genre or a certain tempo and it keeps things a little bit more interesting. I've done everything from like, I think the slowest tune I've done is 110, and now even I'm working close to the 200bpm range, which I mean would really be 96-99bpm but you know... so yeah, I'm really just all over the place, because I don't want to get bored with it. For me, even when I go to shows, four or five hours of the same stuff, it just kind of gets, for me, a little boring, I just like a little variety. So I do that with my productions as well. I don't want people to get sick of me, too, I think that's probably like a fear, I definitely don't want people to get sick of me, like 'oh shit, here's Bukkha again with some stepper, or here comes some dubstep' - you know, just switch it up man. TGT: That is good advice for all producers, right? Mixing it up is not a bad thing, even if you're well-known for a certain sound. B: Exactly, exactly.

Chasing Dreams by Preacha ft Rider Shafique

TGT: And, can you talk a bit about the relationship between Bukkha and Preacha, your newer project (or alter-ego?) - how do you describe it? B: Man, alright, so here's the thing. Preacha was originally supposed to be kind of like a digital reggae project. That's what I was gonna do. And then somewhere along the way, the new tune I did with Rider Shafique, it was not digital reggae at all, it was just like more grimey, I guess trap, I keep wanting to call it that. I don't know, I'm not even limited with that project anymore, whatever happens, happens. I think the next Preacha project is gonna be like jungle/drum n bass, that's what I'm gonna shoot for. I don't know, so we'll see what happens. TGT: That means, maybe you started Preacha with more of a firm line dividing the two, but then that's kind of disappeared...? B: Exactly, I don't why, but yeah, that's just how it's kind of worked out. TGT: Will we get to hear more of these digital reggae productions though, since that's actually one of my favorite styles of music ever? B: Yeah, actually, yeah man. I'm still gonna do it, and I'm still gonna try and put them out on NICEUP! as Preacha is exclusive to NICEUP! Records. I've sent the label owner, Shepdog, some of the newer stuff, and he's like 'oh no, I love it, I love it, let's try and get a vocalist on it.' So yeah, the last couple of things have been more digital reggae, but also with the intention of maybe trying to go jungle and drum n bass. TGT: And those are working in very similar bpms really, like Chopstick Dubplate they do a lot of jungle obviously, but then they'll have reggae remixes that are basically just cutting the tempo in half, right? B: Yep, yep. TGT: Does that mean you've already got some vocalists lined up for that, or is that still in the works right now? B: Still in the works, definitely got some vocalists in mind, but you know, still gotta see how I get them. That's always the toughest part is communication. TGT: Do you find that you're wanting to go back to vocalists you've worked with - you know given the success of the Rider Shafique track are you hoping to do more with him? - or do you view that as 'that was great' but who else can I work to bring a new tone and new lyrical perspective to your production work? B: Actually, let's see. I've worked a lot with Junior Dread and he's been great. I think I'm kinda gonna give him a little break since we did quite a few tunes together. I've got Killah P on some tunes TGT: Including Dub-Stuy right? B: Exactly, that's how it all first came about. Rider, we've got a couple of things as well, so yeah. I think it's on my last Mooncast mix, I put him in there. I don't know, sometimes it just depends on the tune, you might have a vision, who you want to hear on the tune, but I'm always open to working with new people, and also old, familiar faces. If it works, it works. TGT: I don't wanna get too in-depth on the business side here, but what's your approach to find a new singer to work with? Are you doing this all through Facebook or since you have relationships with a lot of record labels, are they able to help? B: It's a good mix man, most of the time it's me going on Facebook and reaching out, if it just seems like there's a bunch of circles to go through, then I'll reach out to a label... let's say I send an instrumental to a label, and they're like 'this is tune is great, but it could really use a vocalist' or something like that. So I'm like 'OK,' and then you talk about it, and then they might make a recommendation and then they reach out because they might have the link. It's definitely a mix. TGT: And does that mean you've kind of got a dream list of vocalists that you're hoping to work with? B: Yeah [laughs], there's a list, but that list is kind of getting smaller and smaller, as I've been pretty fortunate in working with a good bit of vocalists lately. TGT: Definitely, but I do know you're not scared of sampling classic Jamaican sounds. B: Not at all [laughs].

TGT: I think the most notable recent release is that absolutely killer "Discjockey" with Dubbing Sun... so how did that collaboration come about, since I know Dubbing Sun do a lot of work with Digid usually, so what brought you together, and why'd you decide to tackle such an iconic vocal? B: Well, I was in Austria last year, like around this time, and they had helped set up a couple of gigs for me, so after my gig with Dubbing Sun out in Austria, we just kind of kicked it for a whole week and we worked on a good bit of tunes. Right there and then we had started "Stop Dem" - TGT: the b-side on that? B: - yeah, exactly, the flip. And it was just so weird because we were talking about the WAR label, and we're like we really miss that label they have some really great tunes, blah blah blah, and then maybe a month or two later DJ Madd reached out to me and he was like 'hey, you got some tunes for WAR?' I'm like 'whaaat - what's going on here?' I mean, it was honor, first of all, that he reached out; secondly, we already had one tune, and then I was like 'yo, yo, David' - that's Dubbing Sun - 'David, you got another sample somewhere around there?,' a sample you know, we can use for a tune? And he was all pumped man, he couldn't believe it either. So he was like, let me reach out to one of the other guys from Dubbing Sun because it's a collab project, and so he got that "Disc Jockey" sample going on - it's like 'oh bro, this is perfect.' And the funny thing about that tune was it started off as another stepper, so we're gonna have two stepper tunes on there. When I sent it to Madd, he goes like, 'this sounds great, but can we do more of a dubstep version of this?' And I was like 'ahhhh man, alright, cool.' So we did that, we just switched it up and then it completely took on a whole new body and it sounded great. The other one, the stepper version, is like a dubplate song. Somebody's gonna be lucky enough to hear it whenever I play out. TGT: Well, keep in mind you're coming to Denver soon - B: yeah [laughs] TGT: - we're happy to hear that! And related to that, I wanted to ask, what are your thoughts on these limited edition vinyl-only releases? WAR is 500 copies, it's a very very limited thing... B: Man, OK - it's kind of a double-edged sword, I think [sighs]. OK, like, this is gonna sound really funny: I don't play vinyl, but I love collecting it. I might play it at the house and stuff, but it never leaves my home. I treasure it. But nowadays, people seem to be, or promoters might look at, Spotify, and look how many plays you might have on Spotify. And if you've only got a vinyl-only release, it's not showing up on Spotify. It's either or, I don't know how much it affects what... me personally, I like them. Some exclusive thing, whoever got it, got it. And that person either is gonna collect it and/or play it out. And then only that person has it, which I think is cool. It does give it a certain exclusivity, not everybody should have the tune, because then everybody's just gonna play the same tunes over again, and over and over and over again. TGT: But I suppose you're in a better position because you've got the digital right [laughs]? B: [laughs] Yeah, exactly, I don't know - it's cool, I mean - I made it [laughs]. TGT: I do want to kind of rewind because I noticed an interesting thing... you mention very specifically on your Facebook profile that this started as a bedroom project and it's obviously evolved well beyond that, while I find a lot of producers kind of want to pretend that they didn't start in a bedroom and that they just magically emerged on a club floor with ten killer 'plates you know - so why have you decided to include that in how you present yourself, and do you think that's an important message for other DJs? B: To be honest, I really never gave it much thought you know? For me, it just really is how it started. And the thing is, I didn't start making dubstep. Like, I was just making... weird music. Like weird instrumental music. When I first started I was listening to a lot of Radiohead, Mogwai, Explosions In The Sky, these bands... when I first started they really blew my mind. Then I started getting more into the avant garde electronic stuff, like Squarepusher, Luke Vibert/Wagonchrist, Aphex Twin - so I was like 'man, how are they doing this stuff?' So I was just in my bedroom trying to do this sort of stuff. TGT: What time period would that be? B: Oh - let's see, this was probably in 2004-2005, I was in the last couple years of my college career and I was kind of looking for an outlet too, you get senioritis and just looking for something to get rid of that stress, and yeah, I was doing that... and what was funny also, Luke Vibert was doing grime and I guess dubstep-ish beats, but I didn't know what it was called, it just sounded really good to me, really bass-heavy and all that stuff. And basically, when the Dubstep Warz show with Mary Anne Hobbs came on, a friend showed it to me and I was just like 'holy crap, this is what that is, alright.' So I don't know, that sound just kind of stuck with me, and I kind of stuck with it, and practiced it, and not even gonna say mastered it because it's still evolving and there's nothing to master - you do what you do and hope that somebody likes it I guess. But I think really as long as the producer likes it, then other people will like it, too. You believe in your product, so to speak. TGT: For sure, you need to right? If you as a music-maker are satisfied with what you've made, then I don't think it an inappropriate assumption that there will be listeners out there who want to hear it, so the challenge is more getting that music to the right people, yeah? B: Exactly, exactly.

TGT: What methods do you use to try and reach fans at this point in time, or do you feel like you've gotten over that initial hill of exposure? B: Luckily, I've been working with the right labels for what I do. And because of that, then more labels have reached out, and they kind of know what they're gonna get from me. Although man, it's still is kind of just tough, because I might want to experiment a little bit more, and it just might not fit a certain... so, the only other thing that helps is doing mixes, or guest mixes for radio shows, and if somebody hears it and really likes it - that's great. The last mix that I did for Moonshine, that was a great help, and the timing was perfect. Everybody was heading out to Outlook [Festival], so a lot of people were downloading it, and then I reposted it again after Outlook, and even more people started downloading it, because there were like some tunes in there that, I didn't know but Mala and Truth and N-Type were like pushing at Outlook, so people were like 'well, who did this tune' and they saw that it was me, and it was like holy crap. So yeah man, the timing was perfect for that mix. I think it surprised a lot of people because it included a lot of stuff that they just didn't expect from me because I had been doing more dubwise stuff. TGT: Yeah, and does that mean you're maybe trying to get a step away from always having there be a Jamaican air, shall we say? B: No man, not really, it's always gonna be a part of my sound I think. I'm a sucker for delays and spring crashes, so that's always just gonna be a part of my sound I think, I think no matter what I do it's always gonna be a part of that project... TGT: I did want to ask a bit more, I've really enjoyed that Moonshine mix, that's the one that came out about five months ago, so we're talking October 2018... you've had a very long relationship with Moonshine, so how did that relationship first come to be, and does that mean we're going to see more Bukkha out on Moonshine in 2019? B: Yeah, yeah, there's - alright, well my relationship with Moonshine was - let's see, 2019... - almost ten years, I think it probably started around 2011. That relationship started because of Radikal Guru, so I had known Radikal Guru since the beginning of both of our careers - quote unquote careers, because I've never really had a career [laughs]. So yeah, because of him I linked with Moonshine, and Moonshine gave me the first remix opportunity. And they've been wanting tunes, but for whatever reason I just - I don't know, because I had a regular job, I never saw it as 'I need to this, I can do that.' I was happy with just my regular job and making music on the side, so you know, that was that. But always, I just kept sending them tunes so they might want to play or maybe release. And it did take a while, I think I got my first release on Moonshine in 2016. The recent mix that I did has a lot of forthcoming tunes, but not all of them are Moonshine. Some of them are gonna be Infernal Sounds, the more dubstep ones... and then a good bit of them are gonna be on Moonshine actually. TGT: How often does your name get brutally mispronounced? B: Ooh, more than mispronounced, misspelled. Which I think is really funny. And you know what, recently I just found out that in I guess Croatian - I'm hoping that's the language they speak in Croatia - Bukkha means noise, it translates to noise. I thought that was pretty funny, oh shit man, that could be another meaning to my name, noise [laughs]. TGT: So what was the original inspiration then, because in some ways you know, Bukkha has a very dubstep feel to it, but it's not a word, right? B: Exactly, exactly. OK, long story short, basically I got the name from - I don't know how many people remember the show Wildboyz, it was the spinoff of Jackass - so in one of the episodes, I forget, Steve-O and the other guy [Chris Pontius], they go to India and they spend time with a cannibal tribe, the Aghori tribe there in India, and one of the guys in the tribe, his name was Buka. So I was like, 'OK, I kind of like the sound of that,' so I just jacked it and spelled it a little bit differently. And you know, stupid, I just had one of those moments where I'm gonna take this and misspell it and that'd be cool - I didn't know any better. I don't know, the name's cool, it's kind of like easy, I think [laughs], but I guess not if people mispronounce it and misspell it. I don't know, but yeah, I like it. TGT: Yeah, I think 'boo-kah' makes sense, but I could certainly see people trying to say 'buck-a' or something... B: Oh yeah, yeah, 'buck-a' yeah, they say that one a lot [laughs]. TGT: As long as they don't read 'bukkake' it's probably alright... B: Yeah, awww, yeah but I make fun of that - I make fun of that, too - I call myself that as well... how do you think I got my name? I like that genre of pornography - and they're like 'oh my god' - it's like 'no, I'm just kidding, I'm just kidding.' TGT: My understanding, this is going to be your first gig here in Denver, correct? B: Yes... TGT: Especially when you're coming to a new market - but obviously Denver has a big reputation for dubstep and bass music at this point in time - so what's your mindset when you know most of this crowd is gonna be familiar with what you've put out, and a lot of people will probably have listened to that Moonshine mix, whether they've already heard it or they're gonna check it out once it's being emphasized before the show; so what do you want to bring us, and what can the crowd be expecting on March 12? B: A lot of Bukkha [laughs]. A lot of my favorite tunes that I've made, a lot of my newer stuff that I haven't put in mixes yet, so if you like my sound then you'll like the new stuff. And then I'll also have stuff that friends have sent me, some dubstep or the dubwise tip - it's definitely gonna be something for everybody, it's how I do things. I don't want to say I educate, because that just kind of sounds a little pretentious, but I just want to show the people there are different sounds, different styles, you don't just have to be into this one thing, there's everything, and it all fits together if you just really listen to it, it all truly does fit together. TGT: Do you give much thought to who you're co-headlining with? In this case, it's Six Sunsets and Opus, does that enter into your thought process at all? B: To be honest, yeah. I did do a Shitty Dubstep event in the UK; now, if you know anything about Shitty Dubstep, you'll see that it's nothing but dubstep. And, that's probably the most nervous I had ever been, because it's been such a long time since I just did dubstep, and I don't really talk to too many of the new dubstep cats. So man, I just really had to dig deep and search for dubstep tunes, the hottest stuff for at that moment, even if it was new and nobody's even heard it... I reached out to some friends, 'oh yeah man, here have this one, have that one.' So yeah, but it all worked out, it was all great. I played dubstep, but I also did play "Discjockey," like "Discjockey" just went off - I mean, whether you like dub or not, it's just that perfect mix of trap/grime/low-end, but with a dub sample... TGT: Any final thoughts on things... B: ... I hope to be around as long as the greats like Channel One and Jah Shaka - that would be great, you know? Just play tunes, play music that I love, hopefully, my ears and eyes will still function in a way that I can make music still...

[thegroovethief]

Updating two late roots cuts - Horace Andy's 1980 anthem "Money [Money]" and Errol Dunkley's gem from 1978 "A Little Way Different" - is certainly a tough task, yet Cultural Warriors readily rise to the challenge. The result is a dynamic Evidence Music six-track (12" and digital), sensitive to the origins and the times, that endows selectors with lush bass-forward productions; each comes with dub and instrumental as well.

"Money" opens with an Eastern-tinge alongside Horace Andy's vocal, before the synths build up to rolling steppers. Layered, there's ample intrigue beyond the bass bins. "A Little Way Different" takes that framework and arguably pushes it even further, with subtle touches ranging from sonic twinkles to background vocals. Dunkley's optimistic vocal contrasts well with Andy's blunt economics while riding the evolving riddim nicely to an echo-laden conclusion.

Money by Horace Andy, Cultural Warriors

The dub of "Money" opens up beyond the opening vocal, a classically-influenced approach done well by pressing the bass and crucial lines of Andy's to maximum effect; the melodica and the melodic synths take turns filling the resulting space. Dubwise Dunkley is kept sparse initially, pairing down the beat, before eventually caving to the pulsing low-end. This results in a near-techno feel at times, although the drum fills and vocals keep an appropriate balance. The instrumentals stand strong on their own as well, ready to keep the vibe alive for those singers and deejays bold enough to trod where legends lie.

[thegroovethief]

It's 2019! Fresh review coming soon, but have you checked out my final mix of 2018 yet? "Roots & Dubs VI"

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[thegroovethief]

#TGTfeature 011: Manudigital [X-Ray Production: Paris, France] Switching styles - but not ignoring any crucial basslines - after Denver’s own Kālī, it is #TGTfeature 011 with French digital reggae extraordinaire Manudigital. This and forthcoming #TGTfeature articles will highlight dedicated musical talents by featuring their recent work as well as an in-depth interview. The versatile veteran multi-instrumentalist and producer has moved from strength to strength with his collaborative mindset driving his potent studio work, as well as his live performance videos. Manu shared his thoughts on the development of his current musical focuses, why the synth changed reggae music, and the realities of being a contemporary artist. A bit about Manudigital: - Multi-faceted digital reggae aficionado, he’s a beatmaker, bassist, producer, and composer in addition to an ambassador for the Casio Casiotone MT-40 keyboard - Beyond multiple singles and EPs, he has released two full-length albums on X-Ray Production – including this year’s Bass Attack, released in early October - His standout Digital Session video series blends raw live vibes with polished post-production; features include the latest from Luciano, as well as Capleton, Burro Banton, and Solo Banton & YT, plus highly recommended collaborations with Queen Omega and Junior Cat

TGT: How’s the reception been for Bass Attack, and which collaboration are you the proudest of? Any interesting stories about how a particular tune came together? M: The realization of this album was very cool! For 95% of the tracks, I asked artists with whom I had already had the opportunity to collaborate on other projects like their own album, one riddim, or video sessions, so it was like working with the family! I composed partly in Paris, at home, and in Jamaica, and most of the singers recorded their voices on their side. You know, I'm in the studio every day for various projects so I'm very used to recording compared to some bands or singers who record in studio only for their album. The coolest session was the one with Dapatch on the song “Strictly that Style," we recorded the track in less than an hour! That day, the composition, the voice recording, and the mix were chained very easily, we were exactly on the same wavelength – incredible!

Bass Attack by Manudigital

TGT: The Digital Session series has included some amazing live takes. What is the creative process behind these live recordings, and how do you decide which riddims are most suitable for artists? What can we expect in the future for this series? M: The Digital Sessions are part of my favorite projects! Because, in addition to music, there is a cultural, human, even sociological dimension for some sessions… the creation of these sessions is really just about feeling! I don’t conceptualize the thing too much before, we improve the riddim together on the spot, we also choose the lyrics, we repeat 3-4 times and record in 1 shot! It is very important for me to keep this natural aspect, I think that people feel it when they are looking at the sessions… I still have plenty of others to release soon! So stay tuned, the best is coming!

TGT: You are clearly a lover of digital reggae, fusing together modern production equipment and techniques with vintage 80s sounds. What attracted you to that original era of dancehall music, and why do you feel it’s so important to be still playing the Casio MT-40? M: For me, the 80s and 90s were a pivotal time in Jamaican music production, that's where everything changed radically! Before that, it took a whole group to record, but the Sleng Teng riddim appeared and everything became possible with just a synth! Artistically it is not necessarily the most creative period in Jamaica, but in terms of sonority it was the most prolific! For me, it is important today to combine this sound with more modern things; if you think about it the two are not so far… TGT: Bass Attack also showcases some fellow producers in Panda Dub and Ed Solo. How did those collaborations come together, and why did you feel like it was important to share duties behind the boards? M: Yes for Panda Dub, it was a long time that I wanted to make a track with him because I'm a super fan of his style! We met a lot of times on tour, so it was obvious to make a tune together! As for Ed Solo, he asked me to remix a track that I made with my friend Sherkan for the Tiger Records label, and as I'm a fan of drum & bass and jungle, it was really great news for me! Ed Solo is one of the best producers in the world in this style, along with Deekline, Congo Natty, and Benny Page… TGT: What advice do you have for up-and-coming producers? Any favorite production tricks or techniques that you’re willing to share? M: If you look at my videos like the Back Inna Days, you'll see that I always share a lot of stuff to my audience, like the name of the machines from which the original sounds of the classic riddim come, for example. But the best advice I can give to the youngest producers is that the production equipment is at the service of music and not the other way around… it is useless to spend thousands of dollars in material, the most important is to use it well.

TGT: How best to be heard in the busy musicscape of 2019? Is it collaboration with well-regarded artists, aligning with known brands like Reggaeville, or unique content that matters the most? M: I think there is not one way that matters most today, but this is the multiplication of lots of little things that will move forward, and the main thing is to make good music that makes you vibrate! But it remains only 50% of the work… after you have to be on all social networks, interact with your fans, and participate in all interviews and concerts that you can. TGT: Much respect, and thanks for all the amazing music!

[thegroovethief]

4:20 2017 = Put This In Your Pipe And Smoke It

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A full-length 4:20 mix packed deep with ganja tunes from foundation to future, featuring strictly crucial selections by dedicated veteran tokers and rising herbalist heroes alike. Exclusive dubplates, edits, and mashups mingle with proper productions and remixes. Heavyweight in style and fashion, The Groove Thief [TGT] has arrived in Colorado! TRACKLIST 1. Intro: Put This In Your Pipe And Smoke It 2. TGT - Cool Smoke Party [Terry Ganzie x Don Drummond] 3. Big Joe - Smoke Marijuana 4. Linval Thompson - I Love Marijuana 5. Linval Thompson - I Love Marijuana (Doug Surreal & Skulltrane Remix) [TGT Edit] 6. O.B.F (ft. Shanti D) - Get High 7. Alpha Steppa (ft. Flex Zagazzow) - Highest Grade 8. Bim One Production (ft. Junior Dread) - No Cocaine 9. Jah9 - Steamers A Bubble 10. Keida - Ganja Tea [TGT Dubplate] 11. Protoje - Bubblin' 12. Paolo Baldini DubFiles (ft. TJ) - Herbsman Juggling 13. Sugar Minott - Herbman Hustling 14. King Stitt & Andy Cap - Herbsman Shuffle 15. MAFFI (ft. Mr. Williamz) - Herbzman Town 16. Chin Ono - Ganjaman (Wellwellsound Remix) 17. Soom T & disrupt - Ganja Ganja 18. Chronixx & Eesah - Perfect Tree/Cannabis 19. Barrington Levy - Under Mi Sensi (Digital Seal Remix) 20. The Scientist & Dubiterian (ft. Eek-A-Mouse) - Smoke Marijuana 21. Jacob Greene - Red Eyes 22. U-Roy (ft. Suga Roy & Conrad Crystal) - High Grade 23. Papa Michigan - Hi Grade 24. UB40 - Mi Spliff 25. Tha 'Liks - Mary Jane (DJ Maars Reggae Re-Fix) 26. Capital Letters - Ganja Dub (Oldwah Mix) 27. Billy Boyo - One Spliff A Day 28. Billy Boyo - One Spliff A Day (Blue Hill Remix) [TGT Edit] 29. O.B.F (ft. Danman) - Kaly Weed 30. S'Kaya - Ganja Smuggler [TGT Dubplate] 31. Tony Rebel - The Herb 32. Horace Ferguson - Tranquilizer 33. King Kong - Legalize It 34. U Brown - Tu Sheng Peng [TGT Dubplate] 35. Frankie Paul - Kushumpeng 36. TGT - Run Dutchie [Musical Youth x Cotti] 37. TGT - Pass Up The '99 [Barry Brown x Nomine] 38. Nasty Ways - Pass Me The Lazer Beam [TGT Edit] 39. Mungo's Hi Fi (ft. Charlie P) - Nice It Up 40. TGT - Hydro In Babylon [J. Holiday x Mungo's Hi Fi] 41. TGT - Good Sinners [Nina Simone x Pomegranate Sounds] 42. Outro: Put That In Your Pipe And Smoke It

PRESS LargeUp "Mixtape Mondays" 04/17/17 House of Reggae "High Smile Hifis Digitale Impressionen Vol. 12" 04/26/17

[thegroovethief]

Here's my calendar for the rest of December, more info and some links accessible via Facebook... looking forward to all these fun sessions to wrap up 2018!

[thegroovethief]

TGTreview: Little Harry - Youngest Veteron [Top Smile] When you hear talk of the revival of reggae, it’s usually focused on the updated 70s roots style championed by the likes of Chronixx and Protoje. Quality indeed. Yet, it’s equally fantastic to see singers from bygone eras returning to the mic for fresh triumphs. Hailing from the early 80s, having found success with both rub-a-dub and digital, Little Harry is a prime example of this type of renewal.

Youngest Veteron by Little Harry & High Smile HiFi

This return has been fueled primarily through his work with Swiss crew High Smile HiFi, who provide the production work here on the singer’s long-awaited first full-length Youngest Veteron (though his rocksteady throwback “Life No Easy” was my own label’s Pomegranate Sounds’ debut). Strictly produced in a forward-thinking, though past-referencing, digital style; the twelve-track features two previously releases, “Hard Life” and “No Friend A Dem” (each available on 7”), as well as ten new tracks including lead single “Kingston City.” The album opens with the pounding “Nah Lef Di Earth,” which highlights Little Harry’s melodic flow, as well as the fact that this project is no time capsule. Over a booming beat, the singer’s makes it clear he has more work to do. “Youngest Veteron (Hypa)” celebrates himself and other veterans, while lamenting the frustrating realities they can face.

“Kingston City,” shouted out as ‘my place,’ is an ode to not just the Jamaican capital, but also to its vibes and opportunities. Enveloped in positivity and a churning riddim, it’s the hardworking migrants from the country who receive the most love and respect here. Then comes a warning, as “Gunshot” soars in on a siren and shuffling bass. Little Harry continues with his conscious mindset and lyrics, calling out violence as a disgrace, all over a slow simmering vibe. Switching approach, “So Many Girls” rumbles in to nice it up in a different fashion. “Wine (Wine Wine)” is likewise focused on movement, specifically feet and hips. Both tracks showcase the glossier side of the dance, although the latter’s riddim is more intriguing via its subtle additions to the leading rhythm section. “Hard Life” is still a stand-out four years after its initial release, when I wrote that ‘the veteran Jamaican singer has the confidence and vocal prowess to address harsh socio-economic realities while still creating a catchy tune’ – read my review for NiceUp for more! Next up features the first of two guests, the equally re-ascendant Junior Cat – if you’ve missed it, check out his scorching live showcase alongside Manudigital. Displaying the pressure of opposites, Little Harry calls for “Unity In Our Community” through ‘no violence or ignorancy; strictly love and militancy.’

Then shimmers in the other previous review of mine for NiceUp – ‘a simple-yet-tough groove, “No Friend A Dem” is led by its thick bass and quirky teasing melody while Little Harry calls out the disloyal and hypocritical.’ “Baby Girl” is hardly the lovers tune one might expect, rather a yearning bubbler defined instead by its catchy hook of ‘miss my baby, miss her very badly… life goes on, life goes on.’ Sammy Gold joins in for “Ghetto Vipers,” his whispered croon cutting nicely across the thickened low-end, providing a dynamic counterpoint to Little Harry. A triumphant tipping of his hat to the genre, “Reggae I Love You” is far more tender and heartfelt than the average send-up: ‘reggae is my honey, reggae is my baby… sweet reggae music, yes I love you; and I just can’t go on without you.’ Hard to argue with an ending like this.