BOB MARLEY – NO WOMAN NO CRY

BMW pon di vocals, CoRT-X pon di riddim, BissoMaN pon di mashup!!!
cover

WAI H. TSANG – FRACTAL MINDS

JAH BILLAH – WATCH WE RIDDIM VERSION

DUB LIBERATION ARMY – PANTHER ITES

MSDT 02:

KEY CONCEPTS OF COLONIALISM & GLOBALISM

GLOBALISM

Despite the balance between its good and bad effects,
identified by critical globalists, globalization has not been a
politically neutral activity. While access to global forms of
communication, markets and culture may indeed be worldwide
today, it has been argued by some critics that if one asks how
that access is enabled and by what ideological machinery it is
advanced, it can be seen that the operation of globalization
cannot be separated from the structures of power perpetuated
by European imperialism. Global culture is a continuation of an
imperial dynamic of influence, control, dissemination and
hegemony that operates according to an already initiated
structure of power that emerged in the sixteenth century in the
great confluence of imperialism, capitalism and modernity. This
explains why the forces of globalization are still, in some senses,
centred in the West (in terms of power and institutional
organization), despite their global dissemination.
(p. 113.)

COLONIALISM

Although slavery existed in many periods and in many
societies (e.g. many African societies had ‘slaves’), they were
not commercial slaves in this modern sense. Slavery was often
associated with exogamous groups, captives or members of other
groups outside the community, but the post-Renaissance
development of an intense ideology of racism produced the
peculiarly destructive modern form of commercial, chattel slavery
slave/ slavery in which all rights and all human values were set aside and from
which only a few could ever hope to achieve full manumission
(legal freedom). Many of the pseudo-objective, ‘scientific’
discourses by which colonialism justified its practices flowed
from the need to rationalize such an indefensible commercial
exploitation and oppression, on a mass scale, of millions of human
beings. It has been suggested by some commentators that
slavery gave birth to racism, at least in its modern form, just as
racism became the excuse for slavery’s excesses (Davidson 1994).
Race and racial prejudice in their modern forms have thus been
intimately bound up with the colonial form of the institution of
slavery, to the degree that it seems almost impossible to
disentangle them.
(p. 213.-214.)

Key concepts in post-colonial studies / Bill Ashcroft, Gareth Griffiths, and Helen Tiffin.
1998.

WOODY HARRELSON – THOUGHTS FROM WITHIN

RUN GANJAH FARMER – JAH BILLAH REMIX

COVER
OUT NOW ON BEATPORT!
JAH BILLAH MEETS BANDULU DUB FT SAMMY GOLD!
DAN DADA RECORDS!

VERSION LIKE YOU NEVA EAR BEFORE!
TRUST WE!

WINDSEEDS – IN DUB

HARP DUB! SOON OUT ON DUBBHISM!

FLECK – KUNTA KINTE ABORIGINAL DUB


MASSIVE VERSION FROM ATHEN’S DUBMAN FLECK!

BUDS KRU, KING ITAL & JAH BILLAH – FREEDOM FIGHTERS – IN EVERY SHOP

King Ital/Buds Kru/Jah Billah – Freedom Fighters in every online shop:

iTunes

Amazon

junorecords

AMEN BREAK & GOLDEN RATIO

“Human bodies and created sounds, like flowers, crystals and galaxies, can never exactly equal any ideal mathematical template. But the major wave peaks of the Amen Break, and many of its smaller ones, seem reasonably close to being an expression of the fractal nature of the wonderful Golden Ratio.”
The Amen Break and the Golden Ratio
by Michael S. Schneider
AMEN

WALK & SKANK – FROM PRESS RELEASE

THE STORY OF
“WALK & SKANK” WAS ORIGINALLY PRODUCED BY LEGENDARY BLACKER DREAD & VOICED BY JAH SCHREECHY IN
1984. AND REMAINS DANCEHALL ANTHEM SINCE.
ALSO KNOWN AS THE “ANSWER” RIDDIM & REMIXED BY THE WILDLIFE COLLECTIVE, SERIAL KILLAZ,
MR CURTYMOUSE, ADAM PRESCOTT…
& INCLUDED IN “VARIOUS – AN ENGLAND STORY VOLUME ONE” OUT ON SOULJAZZ RECORDS.
FROM “THE STORY OF WALK AND SKANK” IN THE WORDS OF JAH SCREECHY :
I’ll never forget that. Castro put me on my first show with Dennis Brown, I did a show with Frankie Paul,
General Trees, Josey, Welton Irie, gosh, man, loads! Everyone who used to come used to be at Coxsone. Don
Carlos, Junior Reid, Sugar Minott, Willie Williams – the list goes on and on.
I was on the mic in People’s Club and a lot of artists was there – Sugar, Dennis, Junior Reid, a lot of artists
was in there! Blacka has got this way of walking, when he’s walking it’s like he’s dancing and I think
it was Sugar who called him over and said “Blacka, how come you a walk like you a skank?” So Blacka
came over to me and said “Screechy, Screechy! A new dance, walk and skank!” So straight out of my head
I was like “Ey, ey, wadey,… Walk and skank, me say walk and skank! Gwan! One hand inna your
pocket…” and the place rip up! So Blacka just came to me and said “Bwoy, studio tomorrow!” We started
working on it and got Professor Larry and Horsemouth Wallace and them to play the riddim and then Chemist
and Blacka mixed it. That was it. History!
It was mad! People were playing it in their cars everywhere I was going and people I was passing on the
street were like “Wha gwan, Walk and Skank?”
(used with kind permission from source:
http://www.trustinwax.com/jah-screechy-the-story-of-walk-and-skank/)

JAH BILLAH REMIX
29 YEARS AFTER ORIGINAL CUT, JAH BILLAH REMIX ENSURES FRESH MIX THAT EASILY ESCAPES ANY
POSTMODERN GENRE-NAMING YET FIRMLY SETS ORIGINAL DUB & BASS FOUNDATION. KEEPING MUCH OF THE
ORIGINAL LYRICS AND STARTING EASY ‘NUFF UNTIL FULL SUB BASS BLAST OFF, RIDDIM IS PUMPING WITH LASER
SHOTS AS FULL ON DUB EFFECTS FLY PANNING CALLING ALL POSSE TO “WALK & SKANK”.