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I love dancehall, but I find it hard to keep up with, and I also feel reluctant to get involved in discussions about it, as I feel like I'm not qualified.So, to bring me up to date (cause I''m hopelessly out of touch this year), please reccommend me the 5 MUST-HAVE dancehall albums of the past year.Cheers.

right so sorted a new mix out. got a lot more vinyls now so i gave it a proper go at the old recording. still mixing out of a swag laptop speaker wid no bass so dats f*ckin wit my mixing but i managed to get my head round it a bit more using the headphones instead. mixing is definately better then the last one i put up ere anyways lol.the mix is an hour long. dwnload and hit up some feedback.safe.TRACKLIST:Zomby - Liquid DancehallKromestar - Hard GradeKromestar - AwakeSkream - HeadbangerTunnidge - GeddeonPinch - Chamber DubTunnidge - Face MeltPinch - Fighting TalkMatt Green & D Formed - Beyond PerspectivesGoth Trad - GenesisMatt Green & D Formed - SubversionTech Itch - SevenHektagon - El MundoBiome - Magic TreeHektagon - Strange VoicesEd Solo - Age Of DubMRK1 - CounteractionJFB - Resident EvilMRK1 - ElektronikBiome - ReanimationSub Scape - TransactionBiome - Rusty BadgeSub Scape - Bad ManKromestar - BadmanCoki - BloodthristKromestar - 10/30TC - Where's My Money (Caspa Remix)http://www.megaupload.com/?d=XHAS1RQNhttp://www.sendspace.com/file/si3691

Busy is moving. Said from year start that he's the guy for this year. Wish him the best of luckMIA and Sway?! Glad to see VP actually changing up http://www.pyroradio.com/index.cfm/act/int...w_details/id/75Album out now and its very solid effort for those who dont already own the songs. Discusses the album more in-depth, music influence on violence, beef with Aidonia and more. Good to see Pyro supporting reggae/dancehall acts.

Alton Ellis: 1944-2008 October 9, 2008 It comes with great sorrow that I spread the news that Mr. Soul of Jamaica, Alton Ellis, passed away on the morning of October 9th. The world was given this treasure in 1944 when he was born in Trenchtown, Kingston, JA. His career spanned nearly five decades and his ever-lasting impression on the future of Jamaican music came in the mid- to late-sixties as the riddim-laden grooves filled with his soulful melodies permeated the upbeat vibrations of the ska era. The summer of ‘66 saw the explosion of rocksteady in the Kingston scene and Alton ruled the dancehalls during this time as he cuts tunes for Studio One and Treasure Isle among others. His musical longevity persisted for years and years and he enjoyed much-deserved praise from a new generation of listeners as ska and rocksteady made a revival in the late nineties. Among them was myself, who had goosebumps on my skin when hearing his voice for the first time around the age of 16. Over time, I became exposed to more and more of his tunes, none of which every left me without my heart beating at a faster pace or a tear in my eye from the passionate sounds coming out of my hi-fi. His sound truly made a lifelong impression on me and he will forever be missed in my heart. Alton…your music was there with me during the joy-filled times in my life and it was also there during those dark, lonely times. We’ll sit under the willow tree together with Phyllis one day and I’ll tell you all about it.

Bless Up,Wanted DJs for new online radio station playing dancehall/reggae/lovers please contact the team at [email protected] Vibes Radio team

Bless up please come check out the new online station www.reggaevibesradio.com we play both new and old dancehall and lovers wid 3 live shows a week , we stream 24/7 broadcasting from the uk

Alright so man toched Quad yesterdayQuad>>>>>>>>>Any club I've touched in England! The sound in there is the best I've heard in an indoor venue. Bass was tumpin and there wasnt any distortion and resident DJ is top draw. Hadnt heard HH mixed that well in a very long time. I think I commented on how sick the HH mixes were at least 7 times. Seamless mixes with mash-ups and blends included, plus a variety of songs including house. They played a long section of that Bob Sinclair type house which went down alright. I actually thought the HH was getting a sick reaction to the point where I wondered how the Dancehall could follow. Dancehall didnt disappointBiggest tunes of the night (reaction + havent been mentioned in here):Stinkin Rich - SeraniShe Wants Me - SeraniTrailer Load A Money - Vybz KartelWinner - Konshens (f*ckin massive tune)And a few others that I dont know the names of yet or forgotten. One tune had people beating down the place for a while but I cant remember which it was.Regular tunes such as So Special, Overcome, Dont Worry - Mavado, My Scheme - Cartel, Gully Creepa, Guide and Protect - Assassin, Unknown Number - Busy and such and such. Didnt even play the Work Out but it wasnt really missed. I dont need to say sh*t about the gyal in there. Not a wordOverall sick night

http://www.dancehall.mobi/2008/09/24/mr-ve...ire-next-month/Big up Vegas, i bought the Heads High album when he first buss and it was sick.He went AWOL for years then came back with a bang with Tek Weh Yourself, Hot Wuck and a string of Dancing tunes to keep the people entertained.He shall be in England in October doing a number of shows. As it is his last, i mite turn up. He was never an outstanding artist IMO, but always had the catchy bangers to keep the crowd happy.*Salutes*

Big f*ckin loook

Who's your money on?I cant tell you. I know Mavado is meant to be coming over sometime soon if they get his VISA and that but I'll be happy for anyone to win it but Beenie. Everyone knows Beenie already. Most know 'Vado but the masses won't and it will time brilliantly with the release of his album.But then not many know Etana, Tarrus or Busy and each of them deserve it.f*ck it, its the MOBOs and they are bait. Vado or Beenie will win it, but I'll give it to Movvy because Beenie got embralled in that gay stuff

I've been looking for some nice Reggae music recently.. but I've been having some difficulties finding any.. can you people tell me whats hot .. whether its 40yrs old or present mi naaa business... as long as its some nice Reggae music..p.s No DANCEHALL!!

the chorus goes something like.."narr, him cant sound like meeeenarr, dem cant sound like meeee"played it at carnival yesterday, every1 was going hype.

So whats gonna be the biggest dancehall/reggae tune this carnival??Can't remember what it was last yr, but i remember a few yrs ago LOC- Ring Ding Ding mashed up the place hardd, as did Dutty Wine, and Hot f*ckI think the biggest by far will beIn terms of Soca

aint listened to it yet but this is for u dancehall headshttp://files.filefront.com/DJ+CYPHERS+DANC...;/fileinfo.html

If i wanna listen to reggae/dancehall on the net.. there are a few i go to:www.zipfm.netkool97fm.comwww.876radio.comthey are all JA Based and Sometimes they can be a bit tempramental, but they play some tunes that are big in JA but not over here.Also obv ther is Robbo & Yng Lion's & Goldfinger's Shows in the UK.Add some others that you think would be of use...

Which routines do you participate in. Which do you give a miss.Never catch man gully creepin stillion.+ 001 says:Which are the best dances ever?! We all know that Dancehall dances are the most creative and most repeated in the World, so which were your faves? Also, which dancing songs always get you jiggy

People will argue who the dancehall king is - but really and truly its beenie, Certified love all over JA. Everybody knows who's up there in the game commercially or otherwise and a challenge to Beenies crown but who do you consider an underated artist?Mines Bling dawg A-K-A rICKY RUUUUUUDIE. Guys flows crazy. I know he is/was part of the alliance. thought he murdered the anger management riddim. Don't understand why he ain't one of the top boys tbh.

Just heard Mistajam play a cover of this, sum dancehall track but i missed the name of the riddim, help plz!

Over the weekend I heard Jigsy King - Give me the Weed and although my reaction had alot to do with the weed smoke in the air I still thought it was amazing, I've been rinsing it then and found it it was on a Reggae Gold compilation - which I couldn't find, so I downloaded a couple ones and some of the tunes I'm really feeling, so what other C.D. compilation / artists should I check out. I know there's bare sub genres and what not so to be specific I like artists like Beres Hammond, Sanchez, Garnett Silk, Louie Culture etc. Not the bashment dancehall sh*t like Busy Signal and that. The proper chilled out rhythmitic like carribean tropical vibe stuff. I think it's called Roots & Culture? Anyways er yeah. Some reccomendations please?

Dance hall ting @ Stratford RexDunno whats its called...any1 reaching...any1 got any details for it...might go.dresscode....?

EDIT: got it, can anyone get this reggae track? 2000/2001Richie Stephens - If Loving You is Wrong

JEEZHAMMER TIME RIDDIMSome new riddim, jeez its too much, dropping this in a club would result in the place getting destroyedWho has heard this yet?I will upload a few tracks on it, oh my

I need to fill up my phone, put all the tracks on I can think of off the top of my head, but can someone recommend me some bangers. Now i'll be at work I will have no music lol, so can someone put some track names up of some bangers.SafeAnd no, no one looks in the Dancehall thread so I wouldn't even get a reply until later lol.

Needed this on my phone all day and I can't think of what it's called, I just ripped off a set, but I beg someone bring me with the track name, I have it somewhere. http://www.zshare.net/audio/10294238b1d963c4/

Stumbled across this last week, forgot to make a thread..Taken from Pitchfork Media GroupHas a few 'surprises' through out the article When dubstep first began to gather momentum, circa 2005, there was a fair amount of confusion regarding the "dub" fragment of the genre's name. In the earliest interpretation, according to interviews with people like Horsepower, the word came from two meanings: An influence of dub reggae and the instrumental "dub" side of vocal 2-step garage records. Yet at the time, it was being interpreted literally, as if dubstep was just a form of dub.The confusion was aided by the fact that dubstep was in one of its phases when sampling dub reggae was the fashion, with tunes like Skream's "Smiling Face" triggering a slew of imitators. Critically, the issue with this style was that while popular, it lacked originality and quickly became stale. Furthermore, it also ignored all the vital and vibrant music that had come out of Jamaica after 1970s dub, most notably dancehall.As dubstep had progressed during 2007/08 into "big room" dance music, there began to be a slew of dancehall refixes, not least Coki's "Burnin" refix and his collaboration with Underground "that guy" to refix Mavado. Also massive was Clue Kid and Cotti's "Sensi Dub" refix and Cotti's "I Don't Give a Dub". But while full vocal refixes re-contextualise an anthem for a new audience, recently one of the above refixers, Cotti, has pushed the creative boundaries much further with two massive original vocal productions, "Calm Down" [ft. Doctor] and "Dem Fi Know" [ft. Jammer]. Between them they beautifully mutate dubstep, grime, dub, and dancehall in a perfect meeting point of the four genres.When dubstep and grime co-evolved out of the ashes of UK garage, one of the defining differences between the two dark hybrids was how grime, with it's focus on vocals, took more reference from dancehall, whereas dubstep, with it's use of space as aesthetic and love of immense sub bass, more readily referenced dub. But "Calm Down" and "Dem Fi Know" blend elements of both Jamaican styles, using dub's sub bass and dancehall's current obsession with autotune'd vocals (most obviously, see Munga's "Autotune"). In addition, these two dubs push the envelope by not simply shoehorning Jamaican vocals into dubstep/grime tempo, but by being original vocal production from UK grime MCs; their use of local language move them to an original space beyond just dancehall or dub. They also blur the boundaries between dubstep and grime again at a time when few dubstep producers seem interested in engaging with the genre's vocal cousin.Cotti's willingness to experiment with grime MCs is no surprise given his background. He began his music career with south London grime crew, 4N Format. Then around 2005 he met DJ Chef and Kromestar. Then one day a chance encounter came about through his studio partner, Clue Kid. "One day I was chatting to Clue in the studio and he told me that his aunty had just got a new tenant moving in," explains Cotti. "'Some guy called Loefah.' At that point to be honest me and Clue had never heard of him before so we were like 'Yeh, seen. OK.' Clue's aunty then tells Clue that this guy Loefah has got studio and all that so we decide to go check this guy out, from there Loefah showed us and still shows us 'nuff love and respect. Big up to him every time! Then that lead to our first invite to come and play at DMZ in September 2006." Following the Loefah connection, it was another family link that brought about "Dem Fi Know". Slickman (Party) is cousins with both Jammer and Cotti, and so when Cotti and Slickman began writing what was to become "Dem Fi Know", they turned to Jammer to add the vital vocal ingredient. Cotti was revisiting his grime roots but with a fresh new approach. Yet this might not sit well with some of dubstep's more purist fans. "To be honest a lot of dubstep heads are not really comfortable with grime or more so the people in grime," explains Cotti. "So I think in small doses the two can work together. It's kinda crazy because now a lot of the grime MCs are MySpace'ing me about beats and that asking me to do a single for them but what they don't realize is that tracks like 'Calm Down' and 'Dem Fi Know' are not your typical grime or dubstep tracks, [but] a right combination of music and vocals that actually make it happen."Where as a lot of MCs think, 'Yeh let me just vocal dubstep beat and it'll be big because its dubstep' which is so very far from the truth. To be honest I have given out a few beats to other grime MC's to vocal for their mix CD's etc but unless it has the same kinda feel good vibe as 'Calm Down' or 'Dem Fi Know' I won't be playing it or supporting it in my sets and I don't think many of the other dubstep DJs will either. On the whole I love working with vocals too so I'll always be looking for that vocalist who can bring something positive to my music but that's not necessarily a grime MC, and to be blunt typical grime MCing doesn't bring that, so like I said they can work together in small positive doses which I think will reflect the majority of the dubstep scene's view."Cotti's insight also reflect in some way a shift in power balance between dubstep and grime. For quite some time dubstep remained in grime's shadow, either derided or ignored by grime fans until Geeneus, Wiley and Skepta helped changed opinions. The reality is now that bar Dirty Canvas, there's precious few regular grime raves in London, thanks to the draconian policing of nightclubs. But with events like Rinse & Forward>>'s successful party at The End last month and grime MCs adding vital and original vocal elements to dubstep instrumentals, it's clear the two genres can be massively beneficial to each other.---Speaking of Rinse & Forward>> at The End, grime provided two real highlights. The first was SuperSkepta. Dressed in a superman t-shirt and cap, he spent the night MCing from a commanding position, stood on the ledge that houses the decks. From the dancefloor, he looked 20 foot tall, immense and powerful, spraying the club with bars. Working in tight relay with Wiley, they looked match-fit from a summer's worth of Boy Betta Know shows. Also check his amazing new vocal tune "Nokia Charger Wire".Second was DJ Spyro. Placed in the "second room," Spyro is one of the new breed of grime DJs that are re-asserting the importance of DJing in the genre over MCing. Armed with pioneer CDJs his mixing at The End quickly made jaws drop and crowds gather. Rolling through grime classics, UK garage, and the odd dubstep anthem, his mixing was both tight and rapid fire. Technically it was breathtaking as he cut seamlessly into the next tune 16 or 32 bars after the previous had been mixed in. While dubstep is fixated upon dubplates, Spyro's mixing showed the advantages of skilled CDJ mixing. Without the need to lift the needle, take the record off, return it to a sleeve, select a new record, place the needle, find the beat and mix it in, he could focus on mixing in one of the multiple tracks in CDJ. With both hands a blur, he more closely resembled a conductor, orchestrating a grime inferno, than a DJ. If every DJ could master skills like that, the writing would be on the wall for vinyl.To hear Spyro sets for yourself try this one and this one from February, or download more from the Rinse FM blog.---One of the strongest grime tracks around at the moment is Ruff Sqwad's "Ruff Sqwad Mandem", marking as it does, the return of one of grime's most loved crews. While their most well known member, Tinchy Stryder has been off promoting his solo album and new EP "Cloud 9" via the indie support act/student tour route, it's the return of the full camp that sparks excitement. "Ruff Sqwad Mandem", is produced by Dirty Danger and amazingly, in the mixtape era, is also going to be released on vinyl on the No Hats No Hoods label. The imprint is the affiliate label of London's leading grime night, Dirty Canvas-- though to be fair to the lineups, they do put on some amazing dubstep, bassline and garage DJs too.The tune samples one of the Sqwad's earliest productions "Raw 2 the Core", made back in 2001/02, at a time before the genre could realistically be recognized as having been formed. Speaking to Rapid, he's bashful about how ahead of their time they were, though the evidence is clear from their back catalogue. In the early days however, their strong point was their production rather than their MCing-- especially compared to peers Roll Deep's bars-- but on "Ruff Sqwad Mandem" you can here a crew at their vocal peak, each verse tight and energetic. It's pure inertia. "When we write tunes, we aim to make people react to it, we look for a bop of the head or watch them dance around," explains Rapid. His comments are telling only because the majority of big tunes in grime have tended to try to engender a reload rather than work towards a groove.Rapid reveals he has a few exiting projects underway. He's submitted some tracks for Durrty Goodz' LP and is looking to work on an entire album with Ghetto, perhaps with Dirty. The two of them have an instrumental CD ready called Ruff Sqwad Hits: Something to Write to which will feature 2 minutes of their 40 best instrumentals, old and new. Fans, MCs and DJs are then encouraged to loop the tracks and use them as they wish.The funniest thing however, is when you speak to Rapid about funky, the emerging underground raw house sound of London: he's all enthusiasm and excitement. As was suggested in interview with Geeneus, Supa D and Soulja there's a real cross pollination currently going on between grime producer and funky, mostly in one direction only."Funky? We're loving it, we're making it and we're deep into it" enthuses Rapid. "We've got stuff coming out," he adds before playing a fresh beat down the phone that features a 4x4 kick, almost reggaeton-esque congas, warm pads and a male vocal. He insists on keeping the track name and singer under cover, presumably because of the inherent politics of being a known grime producer involving himself with the emerging funky scene. Tensions no doubt abound, between the core funky producers and the new enthusiastic converts, but just as dubstep found when it got invaded by disillusioned drum & bass producers who thought dubstep was just grey techstep at 140 bpm with a snare on the third beat. With hype come burdens to bare."If I enter the [funky] game, they won't have anything to moan about, my stuff will be quality," insists Rapid. "Everyone else from grime is moving there, slyly," he adds before describing how many conversation he seems to have with other grime producers ends in a confession of clandestine funky beat-building and a nostalgic desire to return to a UKG era. "Funky: it just grabs you. You can actually rave to it. Put on a shirt, some shoes, get a drink in your hand, go to a rave and dance."This, in a nutshell is perhaps the driving force for funky: the percussive ability to dance to it, rather than watch it like a concert, though the scene's sonic warmth must also be part of its mass appeal. But for others the warmth is exactly what limits funky right now, but, interestingly, Rapid insists this is changing. "Some of it is getting raw now, with deep basses. That's what we're trying to do, to toughen funky up a bit."Dusk + Blackdown now DJ on Rinse.fm. Download their January 08 and February 08 shows.