#riddims

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(((DJ Gemini))) Junglist Vinyl Mix

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DJ Mr. G - Throwback Reggae/Dancehall Mix Series (Episode 1)

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(Motif-Radio)Reggae Pon Top # 15 2023 Track Listing below:

SINGLES: AFRICAN DUB ZOE MAZAH- LEAVE A LIGHT ON GARNETT ALKHEM- BURNING SUN DAN GRIO- MAN ON A MISSION RICHIE SPICE- BASEBALL GIRL TARRUS RILEY- TRY MARK WONDER- POWER FOR THE PEOPLE MORGAN HERITAGE FT. GENTLEMAN,& ROPHNAN- CAN U FEEL IT ANTHONY JOHN- HIGHER MILTON BLAKE & IYAHTUNDEH- BUN UP THEMSELF KITTY CORBIN- THANK HIM MYKAL ROSE- MARIJUANA BERES HAMMOND & BUJU BANTON- WE NEED YOU LOVE

RIDDIMS: RED COTTON RIDDIM OUT CRY RIDDIM WE GONE HOME RIDDIM DON'T WAIT RIDDIM

DANCEHALL: JAH NICENESS- HEART BREAK CITY BUJU BANTON & SNOOP DOG- HIGH LIFE ZIGGI RECADO- X AMOUNT IBYING- PROGRESS CAPITAL D- HIGH POWER CAPITAL D- MUSIC LIVES ON ANTHONY RED ROSE, CAPLETON & PRESSURE- WORLD WAR TREE JAHZ LEE- PEOPLE FED UP BEANIE MAN & JB THE ARTISTE- FRESH KELLY & BUSY- AIN'T THAT LOVIN HORACE ANDY & FOXY BROWN- HIT THE ROAD JACK YAADCORE- GENUINE I-OCTANE- BETTER DAYS DEXTA DAPS- DON'T LIE

ROOTS/ONE DROP/ REGGAE: MORGAN HERITAGE, CAPLETON, ALPHA BLONDY- REMEMBER ANTHONY JOHN- SAD FACES ZOE MAZAH- SKYLARKING PRINCE JAMO- NO GENERAL CHESHIRE CAT- BUN DEM OUT MENILEK- MASH IT UP HORTENSE ELLIS- JAH MYSTERIOUS WORKS RONNIE DAVIS- HOOLIGAN, LOVE I CAN FEEL, STRANGER IN LOVE BIG YOUTH- TRIBULATION BARRY BROWN- GIVE THANKS & PRAISE STEVE BASWELL- I AM GETTING BAD LOPEZ WALKER- SEND ANOTHER MOSES DAVE ROBINSON- IF YOU GIVE TO ME HORACE ANDY- AIN'T NO SUNSHINE

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Xcali Music - Introducing The NEW XCALI BEATZ STORE - NOW OPEN. HOT DANCEHALL BEATS NOW AVAILABLE

New Xcali Beatz Store. more info Xcalijammusic.com

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Damian Marley

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video from the subtronics show in october <3

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In Jamaican dancehall music, a riddim is the instrumental accompaniment to a song and is synonymous with the rhythm section. Jamaican music genres that use the term consist of the riddim plus the voicing (vocal part) sung by the deejay. A given riddim, if popular, may be used in dozens—or even hundreds—of songs, not only in recordings but also in live performances.

Since the 1970s, riddims have accompanied reggae music and through the 1980s, more widely known as dancehall. As seen in dancehall music, there is a voicing part – sung by the DJ – over some riddim that has probably been widely used in many other songs. There is a unique establishment in the combination of riddims and voicing.

By 1993, Jamaica finally established a copyright act, but producers still face difficulty in establishing profit. Through proper registration, many artists now work on negotiating their royalties and taking it more seriously. The unique nature of dancehall and riddims have been highly influential on the numerous remixes that now circulate throughout R&B and hip-hop music.

Some classic riddims, such as "Nanny Goat" and "Real Rock" both produced by Clement "Coxsone" Dodd, are essentially the accompaniment tracks of the original 1960s reggae songs with those names. Since the 1980s, however, riddims started to be originally composed by producers/beatmakers, who give the riddims original names and, typically, contract artists to voice over them. Thus, for example, "Diwali" is the name not of a song, but of a riddim created by Steven "Lenky" Marsden, subsequently used as the basis for several songs, such as Sean Paul's "Get Busy" and Bounty Killer's "Sufferer."

"Riddims are the primary musical building blocks of Jamaican popular songs.... At any given time, ten to fifteen riddims are widely used in dancehall recordings, but only two or three of these are the now ting (i.e., the latest riddims that everyone must record over if they want to get them played in the dance or on radio).... In dancehall performing, those whose timing is right on top of the rhythm are said to be riding di riddim.

The bass culture of Jamaican sonic sensibilities is characterized with less emphasis on melody and large emphasis on the drum beats and low frequency bass vibrations to draw attention to the social grounding to the culture. These aspects of Jamaican music are expressed visually through the Dancehall choreography and its African inspired folk traditions, which emphasize earthly connection through flat-footed stamping and “bumper-grinding sexually explicit choreography, where the bass note is struck by the body itself—displaying its fecundity and celebrating its fertility”. This bass culture is also embodied sonically by the music's heartbeat, the bass lines often described as riddims, produced in the late 1960s and early 1970s. These riddims offer a sonic foundation on top of which different other sounds are incorporated to form innumerable versions.

African in origin (see clave (rhythm) and bell pattern), riddims can generally be categorized into three types. One of the oldest types of riddim is the classical riddim providing roots reggae, dub, and lovers rock with instrumentals, such as Bam Bam, produced by Sly & Robbie. The second type is the ragga riddim backing raggamuffin and dancehall songs, such as the Juice riddim, produced by Richard "Shams" Browne. The third type is the digital riddim, such as Sleng Teng, Punaany Riddim & Duck Riddim produced by King Jammy.

A number of riddims take their name and influence from African-Jamaican religious drumming such as the Kumina riddim, created in 2002 by Sly and Robbie, and Burru.

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Tracklist:

bluecore is dead • monsterfucker • maypulcore • sonic is in melee trust me • joson, that is strange • for legal reasons, i killed the queen • everything christians call evil fucking rocks

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