download the biggest albums series Download the biggest ragga dancehall albums series. Additional Styles: Vocals and Dub. In the early 1990’s Flinty Badman & Deman Rockers aka the Ragga Twins could be found ripping up the reggae dance floor on sound systems from around the NE area, but it was on Unity sound that they made their name, playing all over England with a which led to them being the hailed “the Kings of the Dancehall” in England, by some of the top Jamaican systems who claimed they could not compete with the versatility of this awesome duo. Since then the Ragga Twins have continued to work with some of the biggest names and labels in the industry such as , Shabba Ranks, Aquasky, and many, many more. This first Ragga Vocals release from the Ragga Twins on the Booty Farm label features long and extended BPM and Key Synced Raps which can be used royalty free in productions, and are expected to be featured on many Dubstep, Breaks, DnB, House and Ragga/Dancehall productions for years to come. Never before has such a comprehensive collection of royalty free vocal samples been available for producers to use in their music – the lyrics are inspirational, delivery perfect and the sound quality is perfect for use in pro productions, and to form the basis of future hits throughout the industry. With Nick Deekline producing this collection its easy to see how such a unique and exclusive set of samples were created with Dance music as the main focus. Famous for his mashups and ghetto style, Deekline has extracted only the best recordings and put them down through the very best equipment in a top London studio. In detail producers should expect to find over 1.5GB (wav) of royalty free 18 Bit Ragga Vocal samples between 94 – 174 Bpm, featuring 136 Separate long and developing samples (many 64+ bar loops!). Raps are included in FX and Dry versions for maximum flexibility and Rex and Apple Loop versions are also available! Spear-headed by DJ Deekline, The Booty Farm brings together samples from top producers in genres such as Ghetto House, Miami Bass, Jungle, Crunk, UK Garage, Dubstep, Reggae, 2-Step and UK Funky. The content is quality controlled to the highest calibre and chosen specifically for all the creative junkies out there. This collection is going to be HOT – so watch out for further Booty Farm releases being announced very soon! Note: The demo songs contain samples not contained in this pack. Any references to any brands on this site/page, including reference to brands and instruments, are provided for description purposes only. For example references to instrument brands are provided to describe the sound of the instrument and/or the instrument used in the sample. Loopmasters do not have (nor do they claim) any association with or endorsement by these brands. Any goodwill attached to those brands rest with the brand owner. Loopmasters or its Suppliers do not accept any liability in relation to the content of the sample or the accuracy of the description. "RHODES" is a registered trademark of Joseph A Brandstetter. The Biggest Ragga Dancehall Anthems 1999. For those readers who don't run their own , nor have the money to purchase all the hits streaming from them, this two-CD compilation pulls together everything one could want and then some. Stuffed with 40 hits from the biggest names in the scene cut with the hottest producers, this set more than lives up to its title. Outside Jamaica, there's no one who knows dancehall better than Greensleeves, and some of the top talent are signed to this label. Obviously their hits are all featured here -- Shaggy, Beenie Man, Bounty Killer, Buccaneer, Red Rat, Mr. Vegas, Goofy, Sizzla, and Bushman included. But this is not a label showcase, and the compilation also includes cuts from Shabba Ranks, Buju Banton, a clutch from Capleton, Spragga Benz, General Degree, Zebra, and even veteran Burro Banton. The album careens across the toughest rhythms and the most innovative sounds and intriguing hybrids to have hit the dancefloors. One of the most stunning is Buccaneer's "Bruk Out," which tosses in a searing guitar solo ripped straight out of the music scene. It's a nice touch by producer Danny Brownie, who utilizes a similar rhythm for Red Rat's "Bruk Mi Ducks." Buju Banton's snide "Fake Smile" is delivered up to a roots rhythm, heavily indebted to the Wailers, while King Jammy unearths a lovely rocksteady rhythm for a Bushman cut. There's a number of tracks that cross over into hip-hop, notably Ward 21's "Judgement Day." Capleton's "Never Get Down" slips briefly into house, while Steely & Clevie cross over into another dimension entirely to create the rhythm for Zebra's "You See Me," on which the opera singer is the least bizarre element. An opera singer surprisingly doesn't feature on Chico's "Pavarotti," but there's definitely a taste of the Mediterranean to be found within. Steely & Clevie's imprint can be found all over this set, and their productions never cease to amaze. Danny Brownie is also heavily represented, while cuts from Q45, 321 Strong, Opera House, Bobby Digital, and Philip Burrell are among the other cutting-edge producers found within. A compilation that for once lives up to its boastful title. Biggest Ragga Dancehall Anthems 2004. Purchase and download this album in a wide variety of formats depending on your needs. Buy the album Starting at $30.99. Biggest Ragga Dancehall Anthems 2004. Copy the following link to share it. You are currently listening to samples. Listen to over 70 million songs with an unlimited streaming plan. Listen to this album and more than 70 million songs with your unlimited streaming plans. 1 month free, then $14.99/ month. Brian George, Composer - L. George, Composer - H. Clarke, Composer - G. Charles, Composer - Natalie Albino, Composer - Nicole Albino, Composer - Cordel Burrell, Composer - Nina Sky Featuring Jabba, MainArtist - Elijah Wells, Composer - Paul A. George, Composer - Jabba, FeaturedArtist - L Diaz, Lionel Bermingham, Composer. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. Lewis, Writer - Palmer, Writer - Vybz Cartel, MainArtist - Bradford, Writer. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records Ltd. Voicemail, MainArtist - Delly Ranks, MainArtist - Bogle, MainArtist. © 2004 Greensleeves Records ℗ 2005 Greensleeves Records. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. Elephant Man, MainArtist. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. Richie Feelings & Tony Matterhorn, MainArtist. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. Richie Feelings, MainArtist. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. Vybz Kartel, MainArtist. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. Wayne Marshall & Ward 21, MainArtist. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. Chrissy Mai & Vybz Kartel, MainArtist. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. Vybz Kartel Feat. Beenie Man, MainArtist. © 2004 Greensleeves Records ℗ 2007 Greensleeves Records. Bounty Killer, MainArtist. © 2004 Greensleeves Records ℗ 2003 Greensleeves Records. Macka Diamond, MainArtist. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. Vybz Kartel, MainArtist. © 2004 Greensleeves Records ℗ 2007 Greensleeves Records. Beenie Man, MainArtist. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. Bounty Killer, MainArtist. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. Sean Paul, MainArtist. © 2004 Greensleeves Records ℗ 2000 Greensleeves Records. Debbie Nova, MainArtist. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. Tony Matterhorn, MainArtist. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. Vybz Kartel, MainArtist. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. Mad Cobra, MainArtist. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. Vybz Kartel, MainArtist. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. D. BENNETT, Writer - J. Campbell, Writer - Assassin, MainArtist - N.Staff, Writer. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. Voicemail, Delly Ranks, Bogle & Ding Dong, MainArtist. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. Mr Easy, MainArtist. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. © 2004 Greensleeves Records ℗ 2007 Greensleeves Records. Bounty Killer, MainArtist. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. Macka Diamond, MainArtist. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. Vybz Kartel, MainArtist. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. Sky Juice, MainArtist. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. Bling Dawg Feat. Vybz Kartel, MainArtist. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. Kid Kurrupt, MainArtist. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. Busy Signal, MainArtist - Kenny, MainArtist. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. Mad Cobra, MainArtist. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. Macka Diamond, MainArtist. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. Tony Curtis & Vybz Kartel, MainArtist. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. About the album. 2 disc(s) - 40 track(s) Total length: 02:05:58. © 2004 Greensleeves Records ℗ 2004 Greensleeves Records. Why buy on Qobuz. Stream or download your music. Buy an album or an individual track. Or listen to our entire catalogue with our high-quality unlimited streaming subscriptions. Zero DRM. The downloaded files belong to you, without any usage limit. You can download them as many times as you like. Choose the format best suited for you. Download your purchases in a wide variety of formats (FLAC, ALAC, WAV, AIFF. ) depending on your needs. Listen to your purchases on our apps. Download the Qobuz apps for smartphones, tablets and computers, and listen to your purchases wherever you go. Legend – The Best Of Bob Marley & The Wailers. Bob Marley & The Wailers. Bob Marley & The Wailers. Bob Marley & The Wailers. Eurovision Song Contest - Rotterdam 2021. The Alhambra: A Musical Tour. Châteaux de la Loire: French Renaissance Court music. Blue Note Re:imagined. Playlists. The Trojan Story. Bob Marley & The Wailers. For The Culture. Live At The Rainbow, 4th June 1977. Bob Marley & The Wailers. It was precisely 40 years ago that Bob Marley released his final album, Uprising, the climax to his political trilogy (with Survival and Confrontation) that was left unfinished after Marley was taken by cancer in 1981. Let us look back at this Jamaican prophet’s shift towards militarism during his last three years on Earth. Behind the huge international success of figures like Bob Marley, Jimmy Cliff and Shaggy, Jamaica’s local scene has always been a vibrant one. The sound is constantly changing. One star succeeds another. Here, Qobuz explores 10 local Jamaican reggae heroes who have all too often slipped under the radar. A combination of Jamaican dancehall, American hip-hop, Caribbean rhythms and Spanish wit, reggaeton has, since its birth in the early 90s, shaken the world of pop music time and time again. From DJ Playero’s first mixtapes to Daddy Yankee’s “Barrio Fino” and Don Chezina’s “Tra- Tra-Tra, Puerto Rican musicians and their Colombian counterparts in Medellin have done their utmost to take over the world. In the last decade, they have done just that thanks to artists such as Luis Fonsi, J. Balvin and Bad Bunny. Read on for 10 of the genre’s most important albums. Reggaeton won’t be going anywhere any time soon. The Biggest Reggae One-Drop Anthems 2009. Greensleeves Records issues its two high-profile, annual looks at the past 12 months' worth of the most fruitful types of Jamaican pop. The best thing about the yearly Biggest Ragga Dancehall Anthems compilations-- whose title provides you with all the backstory you need on this venerable series collecting 12 months of gems from Jamaica's premier pop genre-- is that they're consistent enough to act as comforting listening but restlessly inventive enough to surprise you each time out. The consistency runs deep, right down to the jagged-but-dance-friendly rhythmic structure of the music (for a genre as open to outside influence as any in the world, a dancehall tune is recognizable in seconds). It's there in everything from vocals that rub the near-parodically masculine against a sugary sweetness to themes that explore with the tension between the need to do bad and the urge to do right. But dancehall producers rarely develop the kind of set-in-stone sonic signature we come to expect from their U.S. peers, and if they do become known for a crucial riddim (think of Lenky becoming king-of-the-handclaps in 2002 with "Diwali"), they shuck it just as quickly in order to keep the attention of dancehall's novelty-hungry audience. 2009's installment feels both all-over-the-map-- an hour of oddities, out-crass-the-other-guy smashes, and the usual perverse hybrids of various global party sounds-- and oddly familiar. (That's partly because the divisions between Caribbean and North American pop are as porous as they've ever been.) Plenty of tunes here nearly blind you with the digital gleam of late-decade R&B-- Jamaicans have clearly been bingeing as hard on T-Pain as the rest of the planet, even if they apply his evil teachings with a modicum more taste than your average Yank-- and workmanlike synth-soul is the closest the compilation gets to any sort of sonic consistency. But-- and this is the sort of assessment that perhaps only someone following the genre day-to-day might be able to make with any accuracy-- it also seems that dancehall has settled down somewhat in recent years. Put it another way: You're a lot more likely to hear a tune that sounds like 2004 in 2009 than you were likely to hear a tune that sounded like 1997 in 2002. Ragga Dancehall Anthems 2009 gets better as it gets stranger, more idiosyncratic. Not because "stranger" necessarily equals "better," mind you, but because you don't feel quite so much like you're listening to drive-time U.S. urban radio with a diverting patina of Jamaican slang. And sometimes it's the "pop" stuff here that disorients the most, if only because Jamaica's definition of pop remains so open-ended as to frequently tip into the bizarre. "Inna Life" could easily be retitled "Inna City"; though the drums are pure dancehall, the synth and piano are straight off a late-80s crossover house tune. Seriously: Add a canned breakbeat and it could be an early Seal single. But if Assassin's "Pre Dis"-- a tune whose atomized video game sound effects out-psychedelizes most of dubstep's next-big-things without nearly making so big a deal out of it-- has any pop-historical reference points, I'd love to hear them. Now here's where I throw in the "it's really good BUT" caveat for all of those expecting a state-of-dancehall summary as garnish with this product review. What The Biggest Ragga Dancehall Anthems 2009 lacks is the sense that a specific sound or riddim or vibe has the island in its grip, the kind of obsession that forces the genre into unexpected new places. (Techno-influenced tunes in the early 00s, Far Eastern exoticism a few years later, fast-paced soca by mid-decade.) All-over-the-map it may be as a whole, but many tunes here induce a not-always-pleasant déjà vu. (The synthetic strings on Chase Cross' "Better Days" were ugly five years ago; now they're ugly and tired.) I'd be plenty happy if the 2010 installment was equally as entertaining. But I'd just a little happier if I felt like I had no idea what next year might bring. On the other hand, we all know what The Biggest Reggae One-Drop Anthems will sound like this time next year. The grown-folks cousin to the Ragga Dancehall series, One-Drop Anthems is consistent to a fault. One-Drop Anthems presents a world where it is perpetually 1974, and little has changed in Jamaican music except the technology employed to make it. The skanking rhythms of classic roots-- with the well-familiar galloping pianos, carnival-esque electric organs, and clipped guitar riffs-- are reaffirmed as a living art, made and enjoyed by old and young alike, rather than historical curios, something more akin to guys selling hand-burned CD-R's of "Tom Dooley" covers out of a trunk at a folk festival. It's subdued and unabashedly reverential where Biggest Ragga Dancehall Anthems is club-friendly and catholic. I've always been vaguely suspicious of the series for reasons that are only sort of defensible: Not to come off like a luddite, but if you A/B a lot of this stuff with classic roots, the synthetic backing tracks can sound gratingly ersatz, sometimes one step from the quick-and-dirty competency of a one-man session band employed by ad agencies for a little Caribbean color. On the 2009 edition, only the brooding bassline on Mr. Williamz's anti-tobacco tirade "No Cigarette" has the musical impact of anything on Biggest Ragga Dancehall Anthems . So thank goodness the singing remains lovely. Spiritually impassioned, too, even if I prefer the lover's rock moments to the righteously gritty or 21st-century pop-friendly ones. These happen to be the singers who most slavishly imitate (or pay homage) to the heroes of the pre-dancehall era, which is why, a little ironically given my carping above, I'll take Beres Hammond looking back to doo-wop over the maybe-we-could-break-this-in-America Rihanna-isms of Lukie D and M'Lonie's "No Air". Speaking of the tried and true: No roots singer here approaches Sizzla for sheer emotion-per-note intensity. On "Gwaan Bear" he snarls sweetly , which I wasn't even sure was possible before listening, as if he hit the studio expecting a furious dancehall track and decided to run with it when his producer keyed up the plangent guitars. And though none of them is quite as unique as Sizzla, it's the voices that provide the bulk of Biggest Reggae One-Drop Anthems 's pleasure/interest. It's a suitably old-school virtue to center a retro-minded series around, but if you're new to roots reggae, you're still better off exploring the old-school before dallying with the retro. 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