Archive for mars 9th, 2010

mars 9, 2010

Freddie McKay – Lonely Man :

Sortie : 1974
Style : Reggae Roots

Tracklist :
Lonely Man
Black Beauty
I’m A Free Man
If I Should Dream My Life Over
Losing Your Love
Peace In The Garden
Where Can I Find True Love
I’m Not Your Love
100 Pounds Of Clay


Freddie McKay (sometimes Freddy McKay) (1947 – 19 November 1986) was a Jamaican singer, whose career spanned the rocksteady and reggae eras.

McKay, born in Saint Catherine Parish, Jamaica, is regarded as one of the most soulful singers to come out of Jamaica.McKay first recorded for producer Prince Buster in 1967, his first hit coming     the same year with « Love Is A Treasure », recorded for Duke Reid’s Treasure Isle set-up. McKay then enjoyed a fruitful spell with Coxsone Dodd, recording a number     of popular songs for Studio One backed by The Soul Defenders, including « High School Dance », « Sweet You Sour You », and « Picture On The Wall », the latter the title track of his 1971 debut album. A     second album, Lonely Man followed in 1974. McKay recorded a duet with Horace Andy in 1975, « Talking Love » which was also a hit in Jamaica. McKay enjoyed another hit in 1976 with « Dance     This Ya Festival », which won the Jamaican Independence Popular Song Contest that year. McKay teamed up with Alvin Ranglin for the misleadingly titled The Best Of Freddie McKay (it was an album of new recordings) in 1977, McKay now adapting to the prevailing roots reggae style. The Ossie Hibbert-produced showcase album Creation followed in 1979, and Tribal     Inna Yard in 1983.

McKay maintained a faithful following until his death in 1986 from a heart attack,shortly after finishing his final album, I’m a Free Man.


Discographie :

  • Picture On The Wall (1971, Studio One)
  • Lonely Man (1974, Dragon UK / Dynamic Jamaica) (reissued 1996, Lagoon)
  • The Best Of Freddie McKay (1977, GG’s)
  • Creation (1979, Plant and Joe Gibbs)
  • Harsh Words (1982 Gorgon)
  • Tribal Inna Yard (1983, Move)
  • I’m a Free Man (1988 Uptempo)
  • Freddie McKay & Soul Defenders at Studio One (1991, Heartbeat)
  • The Right Time Recordings (1997, GG’s) (with Jah Stone)
  • The Right Time (1999, Rhino)
  • When You’re Smiling (2002, Rhino) (Lonely Man + bonus tracks)
  • Doin’ It Right (2003, Charly)
mars 9, 2010

Sudio – Strange Attractors EP :

Sortie : 2010
Style : Electro

Tracklist :
01. Sonic Impact
02. Ion Funnel
03. Avec Force
04. Wall of Sound

Duration – 27:33 min. – 320kbit stereo quality

All Tracks composed, mixed & mastered by Daniel « Sudio » Chamrad
Artwork by Monsieur J..

Creative Commons License


durée : 27’33
netlabel : id.eology

id055_frontcover_klein.jpg id055_backcover_klein.jpg id055_cdlabel_klein.gif
Download Frontcover
Download Backcover

Download CD-Label

Cover-Artwork by Monsieur J. / iD.EOLOGY

L’avantage (ou le problème) avec le netlabel allemand id.eology c’est que l’on ne sait où donner de la tête et des oreilles lorsque l’on retourne faire un tour sur leur site après quelques semaines d’absence. Si les sorties sont assez fréquentes, elles sont, surtout, pour la grande majorité, toutes dignes d’intérêt. Entre trip-hop, drum’n’bass, electro ou techno, il faut choisir au moment de faire sa chronique. C’est donc sur la sortie 55 que je jette cette fois mon dévolu à savoir un très bon EP signé Studio dont c’est la quatrième apparition dans le catalogue id.eology. Cet allemand basé à Bochum séduit d’emblée avec une deep techno élégante qui bénéficie d’un son à la fois rond et ample qui rappelle celui de la fin des années 90 avec les valeureux anglais de Swayzak, les productions de Ewan Pearson, voire Underworld… De la musique à danser, pas maniérée ni prétentieuse pour deux sous qui s’écoute aussi bien dans le fond du canapé.

Music sometimes is much like love: in a magical and unexplicable way you feel attracted by something that is strange and so totally unlike yourself. On his fourth EP on iD.EOLOGY Sudio turns his attention to the fascination of differences. While he is most commonly known as a musical scientist who constructs his deep techdub-tracks micro-fine with mathematical clarity and digital precision in a cleanroom, he now introduces himself as a passionate lover of the organic, the excessive and the grimey. He charges his ever so complex lab setups with slamming funkbeats and wild resonances, with screeching distortions and debauched crescendi. The evolving dialogue inbetween daintily woven minimal-sounds and dissipated noise-baths, inbetween left and right hemisphere of the brain couldn’t be any more electrifying and couldn’t hardly convince us any better of the facination of differences. Once you’ve catched it, the feeling starts spreading all through your body and permeating your limbs, giving you that tingling sensation all over. Much like love.

In der Musik ist es manchmal wie in der Liebe: man fühlt sich auf magische und unerklärliche Weise von etwas angezogen, das fremdartig und so völlig anders ist als man selbst. Auf seiner mittlerweile vierten EP auf iD.EOLOGY widmet sich Sudio ganz der Faszination des Andersartigen. Kannte man ihn bisher eher als musikalischen Wissenschaftler, der seine deepen Techdub-Tracks mit mathematischer Kühle und digitaler Präzision im Reinraum mikrofein konstruiert, so lernt man ihn nun als leidenschaftlichen Liebhaber des Organischen, Ausschweifenden und Dreckigen kennen. Seine nach wie vor komplexen Laboraufbauten lädt er auf mit klatschenden Funkbeats und wüsten Resonanzen, mit knarzigen Verzerrungen und exzessiven Crescendi. Der entstehende Dialog zwischen penibel verwobenen Minimalsounds und zügellosen Noisebädern, zwischen linker und rechter Gehirnhälfte könnte elektrisierender nicht sein und uns kaum mehr mit der Faszination des Andersartigen anstecken. Einmal angesteckt, breitet sich das Gefühl im Körper aus, fährt in die Gliedmaßen und lässt es überall prickeln. Ganz ähnlich wie Liebe.

mars 9, 2010

Soom T – Dirty Money EP (12") :

Sortie : 2010
Style : Reggae 8-Bits , Electro Dub

Tracklist :
A1 – Soom T – Dirty Money
A2 – Dirty Money version
B1 – Soom T – Survivor
B2 – Soom T – Doobee Dee
B3 – Doo Doobee version


logo_listen.png deuxième sortie 12″ célèbre la rencontre entre le maître à penser de Jahtari – Disrupt et la pimpante MC de Glasgow – Sumati Bhardwaj aka Soom T. Après une série de dates et d’enregistrements communs, les deux complices sortent enfin le fruit de leur collaboration sur EP vinyle. Y sont présentés 3 cuts vocaux : Dirty Money, Surviror, Dooby Dee Doo accompagnés de deux versions digi-dub dans la droite lignée des productions du label.

Ruff and tuff 12 by Soom T, our Glasgow Jedi MC of the first order, who is drawing the pink light sabre here and is dropping the title tune « Dirty Money » with such an irresistible force that will blast every imperial stormtrooper out of the boots. Probably the biggest Jahtari floor fave during recent live gigs the riddim is originally based on a Commodore C64 SID-file from 1990 by Swedish chip rocker Johan Danielsson, aka. JLD. Johan, then a member of the C64-demo group Warriors Of The Wasteland, created the tune at the age of 15. Finally this forgotten gem is put into hyperdrive mode and shot into the Star Destroyer class. On B the ride continues with the high-G killer « Surivor » which is sure to instantly steam up the inside of your space helmet. After that the big lazerguns are being put on the table, only to light up a final « Doobiedeedoo » with them and kick it properly. No Jedi mind trick – just some spliffical beats for the Rebel Alliance. Get the full lyrics HERE!

mars 9, 2010

Oki – Dub Ainu Deluxe : ++

Sortie : 2006
Style : Dub , World , Alternative Fuion

Tracklist :
01. Dub Serenade
02. Utari
03. Shamanic Dub
04. Dub Arrow
05. Hanro Dub
06. Sannupista Dub
07. Koshi Turiri Dub
08. Ninja Drum

More supercool Japanese minimalism from Oki, who last year had a hit on his hands with his tirelessly oddball remix collection Dub Ainu. Deluxe is all new stuff and if anything more pared down (not to mention barely 30 minutes long). What you get for your yen are old Ainu ladies singing over trippy, trance-inducing grooves; guest vocals from Senegal’s Fania; something reminiscent of the Camberwick Green music box; and at the heart of the mix the mysterious, dry plink of the tonkori, the ancient string instrument Oki plays when he’s not poised over the mixing desk in Hokkaido. The halfhour fl ies by.
Carol McDaid

mars 9, 2010

Earth and Stone – Kool roots :

Sortie : 1979
Style : Reggae Roots , Dub

Tracklist :
False Ruler
Holy Land Of Home
Devil Must Of Made You
Free Black Man
Jail House Set Me Free
Thats The Way You Feel
Dont Let Them Fool You
In Time To Come
Three Wise Men
Once Bitten Twice Shy
Dub Ruler
Holy Land
Devil Wise Black Roots
Black Roots
House Of Dub
Jester Not
Wiser Dub

Vocals : Earth & Stone & Albert Bailey & Clifton Howell
Drums : Santa Davis & Sly Dunbar
Bass : Robbie Shakespeare & Fully Fullwood
Lead Guitar : Chinna & Dougie Bryan
Rhythm Guitar : Ranchie & Tony Chin
Piano : Gladdy Anderson
Organ : Carl Fats & Ansel Collins
Trombone : Lloyd Kerr
Trumpet : Chico Hamilton
Saxophone : Dean Fraser
Percussions : Sticky & Scully Simms

In the last half century the rapid development of Jamaican music has been subject to many different forces – social, political, cultural, and political, cultural and musical. Of all these influences that of American popular music has been one of the most signifigant. And so the sway of American popular music has continued through until the present day, with Jamaica mirroring many of the movements, innovations, styles and concerns of its larger neighbour. One such a movement was the emergence of the sound of Philadelphia, the musical bridge between Motown and disco, a brand of soul which tends not to receive proper critical respect-no doubt partly, but perversely, due to its commercial success. If the engine of the Philly sound was session band M.F.S.B. so the rhythm was driven for Channel One by the immortal Revolutionaries. And the sweet harmonies of ballad groups such as the Delphonics and the Stylistics surely had a direct effect on the Jamaican vocal groups of the same era, as is evidenced by the Channel One output of the Mighty Diamonds, the Rolands, the Wailing Souls, the Meditations, Black Uhuru, the Jays and Earth & Stone. In 1972 Earth & Stone made their way, like so many other Jamaican artists, down to Brentford Road to work up their skills at Studio One. In 1973 they progressed to Channel One where they began to record for Jo Jo and Ernest Hoo Kim. As was common for the time their material was a mix of lovers and roots but with the balance tipped to the cultural side. Between 1973 and 1978 tunes such as « Jah Will Cut You Down » and « Three Wise Men » became popular on Channel One’s Hitbound imprint. The duo of Albert Bailey and Clifton Howell created their own unique vocal interchange sound, each taking turn at lead and harmony. The « Kool Roots » set was out initally in1978 and collates most of the group’s songs for the label. It’s unusual for the time in that the vocal and dub sets were released together in the UK by Cha Cha containing both albums within a gatefold sleeve, an expense not usually afforded for reggae release and even the artwork was above the usual standard. The Pressure Sounds re-issue of this reggae classic has the customary sleeve notes by Steve Barker and certain elements of the original artwork are utilised. There is an eight page full colour booklet with photographs from the period of both Earth & Stone and the Channel One studio.

mars 9, 2010

The Dark City Sisters – Best of the Dark City Sisters :

Sortie : 1976
Style : World music , South Africa

Tracklist :
 1   Tamatie yoyo no. 3
 2   Langa more
 3   Emarabini
 4   Sekusile
 5   Insizwa
 6   Amangwane
 7   Jimmy
 8   Isinkwa no fishi
 9   Sihamba kancane
10  Izinto ezinhle
11  Umtshi tshimbo
12  Umlando
13  Soze ndende
14  Lomfazi uyangihlupha
15  Izintombi zika Mogatusi
16  Amahlokohloko
17  Bayangi zonda
18  Rosie

The Dark City Sisters were a group of session singers who came together to record an album and in the process popularized an innovative new style of singing. Rather than singing a common four-part harmony, the Sisters used five parts, which created a richer tone. Sometimes known as « vocal jive, » this technique was subsumed under the umbrella term « mbaqanga, » meaning, literally, dumpling, and figuratively, a homegrown style.
~ Leon Jackson