88 Music Blog

You didn’t kill the scene, sampling did…
Drum&Bass has had more deaths and resurrections than pretty much any religious player on the field. It in fact, I declare, NOT DEAD. What has changed the field greatly in the past few years is the increasing crushing weight of copyright laws in he music industry. The antiquated regulations and rules we must follow as DJs and producers often cripple our ability to make names for ourselves and I will detail them and make a few outlandish suggestions to fix this problem in the following expose’.

+50 years +Life…
James Brown just passed away last year, probably the most significant event in sampling history since Elvis’s passing. Everyone must wait at least 50 years after this unfortunate occurrence to be able to sample his work royalty free, but no wait! The drummer of his band is still alive, so is the bass player that contributed to their most sample worthy works [for example]. We must wait until they have all passed, and then add 50 years to that sentence, if we ourselves can manage to live that long, and if we are still making our music. Otherwise, you can request clearance for samples that you plan on using before you ever produce a track using said samples, this goes very well when you include it with a 5,000$ bonus [in US Dollars] and promises of residuals form any sales you’ll make on this ambitious track. Good for Timbaland, bad for Bedroom Producer X… [insert your name here] because you don’t make as money and have as many connections as Timbaland.

There is great value in the works of each individual as a musician, their work should be reasonably protected from copyright infringement and piracy, but with the changes we’ve encountered in the music world, we must adapt our views to make the whole scheme of things work, because right now, it isn’t working.

Solutions? Anyone?
How do we go about solving this issue? There are no direct answer, a debate should be held. My points would be rather simple. I believe that a newly released composition should be provided a certain [debatable but fixed for all] ammount years to achieve its profits on the market without being sampled, unless authorized. After that period, other artists can sample the work for unrelated genres, and elect to pay royalties or not if the work is changed into a different pattern. After [debatable but fixed for all] years, the original work should be considered public domain. I know that this idea creates a huge gray area about how much of an original composition is used in sampling, and it relies on possibly many court rulings and review, but I think most producers that really succeed at sampling will show respect for other producers because I believe that people are inherently good, and the public will shut them down if they do not respect the original compositions in their subsequent work.

I personally think it would be much more noble for the RIAA to set up a court to regulate sampling and piracy within the industry than suing 12 year old girls for using soulseek. Punishment the RIAA’s court could issue would be blacklisting artists from performances [for a specified reasonable amount of time], Preventing their works from being available in larger retail outlets [for a specified reasonable amount of time], Preventing sampling offenders from obtaining helpful airtime on radio and television [for a specified reasonable amount of time], etc… The rulings of this court would have to be reasonably and accountably/fairly handed out, it would also require a lot of reorganization, but we’re talking about sampling Utopia right? Hah…

The RIAA has a budget funded by the releases of artists signed to many major labels. Many artists once they achieve a solid level of sales register and pay dues to the RIAA. For joining the RIAA, the agency guarantees artists protection form piracy, unlawful sampling, and their artist’s rights to free speech. The RIAA is not a government agency, they can only work through the court system to enforce their policies, I firmly believe this is the only reason why more severe lawsuits and sentencing have not yet happened for the offences they cite.

How producers hurt themselves…
Many bedroom artists, struggling to try to get noticed, sample the works of others. Unauthorized sampling can hurt a bedroom producer’s career if the works of the artists they sample is highly respected by the public. That public will only support the new works if they add another dimension or level to the original compositions that makes the work unique enough to re-purchase. Should this work be prevented in all cases by law? My answer is “yes” in most cases and “no” other cases; specifically in the case of “not for profit” or experimental production. “Not for profit” production is remixing a composition that will never be sold or circulated for any profit whatsoever, throughout its entire life cycle. If a producer samples work from another artist, they should be able to circulate the work on a not for profit basis to help them in developing their career. The rules for non profit circulation mus include protections for tunes that harm sales of the original artist’s works, and must be limited within reason to ensure it does not financially hurt the original composition’s value.

I firmly believe that restructuring the basis of copyright law will place more emphasis on the quality of music. If an original composition is also more difficult to re-create or emulate [because the artist makes it more unique], it not only makes its shelf life longer, it much more effectively prevents the work from being infringed upon. How many James Browns have there been since him? Just one. [case in point]

Sorry About That Hip-Hop…
These days we have a lot of simple works flooding the market. The Hip-Hop market is producing beats that are so alike that the tempo, melodies, and styles of more than one track are nearly carbon copy. If most artists on the radio right now tried to copyright their works, I think most applications would be declined because not only has everything been done before, the works produced by most these days are simply regurgitations of music that are pretty much carbon copy to what has been done before in the original composition. This is what separates a bedroom experimental producer from a true musician. The bedroom producer will not generate new music to drive their scene forward. They spend most of their time trying to re-create what others have done. A true musician will try to defy the current “flavor of the month” sound and create totally original ideas, and use sampling subtly to remind listeners about the best parts of past music.

Try before you buy…
Why is the “Try before you buy” ideal so hated by the music industry these days? Because it doesn’t allow record labels to hide the lack of talent they sign. I guarantee that you’ve bought a CD for a new artist, or an artist you already liked without getting the opportunity to listen to it in advance, taken it home, and then found out it sucked hard. This is an increasingly common event. Most stores like Best Buy and Circuit City don’t even have working listening stations to be able to preview music. This is a damn shame, also what is contributing to “The great music sucks era of the 2000′s”.

The top selling CDs on the Billboard charts are fueled by radio and TV time primarily. It is extremely rare for music from a small indie label to ever make it onto the Billboard Charts because small labels often can’t afford to produce as many copies as the majors can. And the Indie labels often are shut out of TV and radio by the cost of doing business [payola still lives on, I don' care what you say].

File sharing and you…
The fight against Mp3s In my opinion is not fought to protect the rights of artists, it is fought for a much more sinister purpose…. I believe that the Recording industry wants to prevent peer to peer sharing and file trading because it threatens their [major label's] firm grip on the industry, and allows independent labels to get their music to the masses on the same level of the larger labels! Citing this, it is in the best interest of every independent artist to fight for our rights in peer to peer file sharing. There will always be pirates and people who make profits through unlawful and unethical means, but ensuring that people still have an [unrestricted and free] means to preview music consensually and ethically allows us to all play a part in the sphere of music; that right should not be traded on under the disguise of helping artists because it only caters to a small percentage of people in the music scene as a whole.

The most simple and clean cut solution to controlling the spread of your music is to provide people the opportunity to hear your music before they buy it. There are several things you can do to allow this to happen safely:

1. “watermarking your music” – Preview music can always have a watermark; this is the process of recording a voice over finished music stating the origin of the music at various intervals throughout the preview recording. If you have a question about this, you can check out my music at http://www.myspace.com/winternett for an example. i do it on all my music. People still copy and download the tracks to remember to buy them later, but they cannot play them out or burn them to CD without having to bear the watermark disrupting the listening experience. It still allows the music to be heard without too much disruption if applied correctly.

2. “music clips” – Labels should ensure sound clips to allow listeners to have an idea of each track on each CD they put out. This is the age of databases, Barnes & Noble has lead the way with this, providing an online catalogue of music where pretty much every CD they sell can be easily found through a search or by scanning the bar code at store listening stations. There is no reason why any store dedicated to music should not have the same kind of system, and copyright law should permit it because it aids in the industry selling its wares.

3. “low bitrate samples” – If record companies hosted free low bitrate copies of their music all over the Internet, it would give the music buying community all they need to listen to their releases and choose what they like best in making decisions about what music to buy. These samples kill the need for higher bitrate files that would be traded and then kept because they are close to quality of the label’s official full releases. If labels took the time to make sure engineers properly master their releases they can guarantee a higher quality releases than Mp3s can provide on CDs and vinyl, which would help to keep those industries alive and add value to the higher costs those medias command. This method also goes a long way in preventing music from being sampled or stolen before its proper release date.

Why do the large labels and the industry fight these solutions? Because it requires them to step up their music quality, and it cuts into profits they could dedicate to the lavish parties they throw for executives and private jet and yacht funds… Yes, you heard it from me. there is a lot of bloat in the music industry. Executive salaries, and marketing, payola, inflated media production prices, you name it.

The Industry Hates Mp3s…
Mp3s threaten all of this for the big industry because they cannot justify higher prices for their product without the overhead to blame it on. Mp3s threaten their overhead projections because there is very little overhead in selling Mp3s. They don’t have CD or vinyl production costs, which accounted for the largest costs in the process of putting artists out in the past. Lets say that the average album contains around 11 tracks, the CD of that release would sell in Best Buy for around 11-12$. Why is it then that when the music is sold on iTunes, each track retails for one dollar?! One would say that there are setup costs, and the convenience of buying a single rather than an album, but I say bulls.. If you examine the overhead costs that are cut out of the equation for selling Mp3s, you’re looking at pure profit on selling Mp3s for one dollar each. I don’t know a fair price for selling Mp3s, it should be debated, but its surely not one dollar each considering the prices of CDs in this case. Tower records was the pioneer of the overpriced CD, and they bankrupted themselves on that ideal.

If the music industry could truly re-organize itself to foster more reasonable sampling rules, fair prices, and a more open environment to music promotion, rather than telling us what we can and can’t hear, our music scene would revive itself not unlike the roots of good music we had during some of the most renaissance periods we’ve had through the years like The Grunge Era, Disco, The Swing Dance Era, 90s Hip-Hop, and yes, even the 80s “hippie music” phase.

- Winterman

http://www.ruffandtuffrecordings.com

* Tanc (DC Mayor):

1. Big Bud – Soundtrax for Life

2. Q Project – Renaissance man

3. Amit – Never Ending

4. Marcus Intalex – Dat Music

5. Blame – The Turning Point

6. Razor X – Killing Sound

7. Mary Anne Hobbs – Warrior Dubz

8. DJ Clever – Science Faction Dubstep

9. Hatcha & Youngsta – Dubstep Allstars Vol. 4

10. Freq Nasty – Breakspoll vol. 2

* Top 10 Picks from Winterman (Ruff & Tuff Recordings/Ziion/D&B/DC)

1. Break – Z Groove

2. Sabre – The Gift You Gave

3. Dkay & DJ Lee – Waxed

4. Winterman – Boh

5. Shy FX – Everyday [feat. Top Cat]

6. Gremlinz – Diapor Rash

7. Hazzard – Right Now

8. Calibre – Overation

9 Dillinja – Expansions

10. Break – Breathless VIP

* Leigh the Illustrious, DC’s Glitch Ambassador — Top 7 of ’06 (in no particular order):::

Bodycode-The Conservation Of Electric Charge
Spectral 10/2006
“Nanotechnology is one of my favorite tracks of the year. It’s sexually charged.”

Clark-Body Riddle
Warp 10/2006
“The man is always amazing.”

Milanese-Extend
Plant Mu 09/2006
“Up and coming grinder. Anyone that can come up with the phrase ‘Dead Zombie Girl Dancefloor Murder Music’ is stellar in my R rated book.”

Boards of Canada-Trans Canada Highway
05 / 2006
“Still a favorite.”

Audion / Ellen Allien-Just A Man / Just A Woman
Spectral 08/2006
“As I said before, my boy came out on top with this one.”

Dabrye-Two/Three
Ghostly 06/2006
“Tadd Mullinix, aka James T Cotton, can do anything. The only thing weak with this album are some shitty lyrics laid out to the glitched out hip hop.”

Matthew Dear as Audion-Fabric 27
Fabric 03/2006
“Flawless Fabric. Love it.”

* Steve PMX [PMX Radio] – Top 20 Nasty Funky bits for 2006 (alphabetically)

1. Baobinga & ID – What I Need (Vertical Sound)

2. Bass Junkie vs. The Dexorcist – Kill The Humanoid (Battle Trax)

3. Chris Carter – Side Effects/Misnomer (REC)

4. Clatterbox – Control Freak EP (Touchin Bass)

5. Cursor Miner/Si Begg/Dicrylium – Error Correction (Digital Distortions)

6. Dexorcist – D Exe EP (FDB France)

7. Dexorcist – The Wrecknival EP (SMB)

8. DJ Regal – Shock Ya’ Mind (Funk Weapons)

9. The Doubtful Geist – Electrobotz (Planet Mu)

10. Digital Mystikz – Misty Winter (Soul Jazz)

11. DJ Distance – Traffic (Planet Mu)

12. Elemental – Deep Under (Hot Flush)

13. Hatcha & Benga – 10 Tons Heavy (Planet Mu)

14. Kerrier District – Kerrier District 2 LP (Rephlex)

15. Kode 9/Benny Ill/The Culprit – Fat Larry’s Skank (Tempa)

16. Mala – Left Leg Out (DMZ)

17. Milanese vs. Virus Syndicate – Dead Man Walking VIP (Planet Mu)

18. Razor X – Killing Sound LP (Razor X)

19. ScanOne – Dark Horse Dubs (Combat)

20. Shackleton – New Dawn (Scuba UK)

Believe that.

Superbad Pt. 2 – The Funky People….JB Tribute Mix

(Originally aired on 1/10/07; Part 2 of the PMX/88 Underground Knowledge series for January 2007.)

This second volume of JB tribute mix series is dedicated to the Funky People 45s. The bulk of earlier hip-hop records (80s/early 90s) relied heavily on the People breaks and riffs to substantiate production. Those Funky People records are the cornerstone of hip-hop. Before Puffy made a mockery of sampling, there was something beautiful about lo-fi basement producers jacking JBs and re-arranging in the SP1200 to create something completely new again.

tracklist:
1. Fred Wesley & the JBs – Damn Right, I Am Somebody (Parts 1 & 2) (6:25)
2. JBs – Givin’ Up Food for Funk (Part 1) (3:11)
3. JBs – Hot Pants Road (2:46)
4. JBs – Pass the Peas (3:14)
5. James Brown – The Chicken (4:02)
6. Fred Wesley & The JBs – Same Beat (Part 1) (3:19)
7. Fred & The New JBs – (It’s Not The Express) It’s The JBs Monaurail (Part 1) (4:06)
8. Lyn Collins – Take Me Just as I Am (3:32)
9. Lyn Collins – Mama Feelgood (3:30)
10. Lyn Collins – Rock Me Again & Again & Again & Again & Again (3:26)
11. Lyn Collins – Think (About It) (3:24)
12. Fred Wesley & The JB’s – Blow Your Head (4:43)
13. Fred Wesley & The J.B.’s – Blow Your Head (4:14)
14. James Brown – Untitled Instrumental (3:25)
15. James Brown – Since You’ve Been Gone (5:36)
16. Maceo & The Macks – Soul Power ’74 (4:10)
17. Bobby Byrd – Hot Pants… I’m Coming, Coming, I’m Coming (2:27)
18. Maceo & The Macks – Cross The Track (We Better Go Back) (3:20)
19. Bobby Byrd – I Know You Got Soul (4:42)
20. Fred Wesley & The JB’s – You Can Have Watergate But Gimme Some Bucks And I’ll Be Straight (Parts 1 & 2) (6:24)
21. Myra Barnes (Vicki Anderson) – The Message From The Soul Sisters (Parts 1 & 2) (4:14)
22. The Believers – Mr Hot Pants a.k.a. Across The Track (Parts 1 & 2) (6:24)
23. Beau Dollar – Who Knows (2:40)
24. Hank Ballard along with “The Dapps” – How You Gonna Get Respect (When You Haven’t Cut Your Process Yet) (2:34)
25. A.A.B.B. – Pick Up The Pieces One By One (3:54)
26. Lynn Collins (The Female Preacher) – Give It Up Or Turnit A Loose (4:31)
27. Dee Felice Trio – There Was A Time (2:58)
28. James Brown – Blind Man Can See It (Extended) (7:19)

*** mp3 d/load: http://www.eightyeightdc.com/download/Superbad Pt 2.mp3

By: Winterman
1.11.2007

2006, D&B in DC the year in review…

Hello. A few might know me already, but that’s mostly a small percentage of gypsies now living in Romania who are up for execution, so nevermind… I plan on writing a few articles for the 88DC blog thing here on D&B and like minded music in the coming months because they asked me to, and they also offered me a 5 million dollar contract for my services. I donated the money to a small orphanage in Romania and 200 of my CDs so they could raise more fans. But anyway, enough about that, here is the “Year In Summary” according to Winterman.

2006 saw many changes for Drum&Bass music. Many would say it was neither a bad nor good year. We experienced many parties coming to an end, less than usual new parties and the same kinds of oppression we’ve suffered over time in the DC music scene from venues and music outlets. There were many great things that happened and many negative things that occurred as setbacks to the art. In this column, I will detail all the things D&B that I can recall from the year known as 2006 for Drum&Basss music.

Most notable in the DC D&B scene was the blooming of the events from Upfront at club 5. Known mostly for “Dedicated To D&B” monthlies with 1 headliner, the Upfront Crew raised the stakes to 2 headliners or more per night, increasing the capacity and momentum of their parties drastically and showing DC that Drum&Bass CAN pack a DC nightclub. They also upgraded the club’s sound system, stepping up the level of soundsystems in the area through example. Club 5 was the only venue of its size this year where basslines were known to rattle drinks off the bar.

Also notable were the parties from 2Tuff at Dragonfly, bringing in some of the biggest names in dubplates to venues that never got down and dirty like that before. Bouncing right back from the closing of Club Red, the 2Tuff crew ran many events this year at Dragonfly, The 18th street lounge, and the Rock & Roll Hotel while throwing down firm sets around the region on a regular basis and wicked house parties. They also combined their D&B lineups with reggae vybes which had proven to be a very unique bonus to events they threw, and very welcoming to their gorgeous and diverse audiences.

December 8th, 2006 kicked off a new chapter of Konkrete Jungle in DC with hopes of restoring a pulse in Ragga and Hip-Step for our underground. The party has now switched venues to 1309 5th st. NE (block of 5th and Florida Ave N.W) and plans on now bringing the ruckus to NW DC.

I spent the most time at parties thrown earlier in 2006 by the 88DC kru in Silver Spring, where it was mostly a house music format, but a regular D&B, Dubstep or Breaks set from the atrium outside. They brought through many solid headliners in 2006 through their events, the nights were vibrant and many D&B heads were reunited under the same roof in the absence of the D&B weeklies they used to frequent.

There were many other D&B parties and events thrown around the area in 2006, this editorial only scratches the surface, for more detailed event listings, you can always check out some of the marvelous DC area message boards.

DC Drum And Bass music suffered a great loss in the closing of Capital City Records this year. The closing occurred in June 2006. One of the largest carriers of D&B records in this area, the store’s closing signified an end of the long lived DC vinyl era. A lot of DJs have changed to digital downloads whether legal or not…ehem. Much more significant was the work Stephanie and Ray had invested in the DC Drum & Bass community to make it better. Their work though was not in vain, they live on as a strictly online seller of Hard To Find vinyl at http://www.capitalcityrecords.com/ please support this business! I promise to keep on Stephanie to start a new store once a surge occurs again.

The scene has suffered a bit also from seeing the doors of Nation Nightclub close, it had been a forum for some of the biggest D&B producers ever seen in DC. The buzzlife posse fortunately did not stop there though, they carried events on at The Rock & Roll Hotel, The Woolly Mammoth Theatre, Avenue, and a few more venues hosting D&B DJs on most of their nights out; a highlight of the year, for me being Photek’s set just before Thanksgiving 2006.

Most notable in the development of D&B this past year, I would say was the growth of Myspace. It allowed DJs around the wold a uniform place to post dubplates, bios, discographies, top 10s, information and much more on one common page. It also allowed bookings for DJs and true online identities. Even though email allowed that much earlier, it broke us out of the pattern of simply relying on monthly magazines for our information about DJs in D&B. It also gave each DJ an equal platform for promoting their music, and it proved a great way to stay in touch with people both close to us and overseas. Its the best thing to come along for D&B until something else kills it. If you are not already on it, get on it, end of discussion.

Another BIG development that helps promotion of D&B is youtube.com. At that site, many can view a wide variety of D&B videos, documentaries, and a guy knocking over a whole table of equipment during the opening of a Dj’s set, its extremely funny, drop me an email for the link if its still up by the time this is posted if you don’t believe me, its hilarious. Many D&B producers and Djs can now share videos we would have no chance of seeing, including inspiring documentaries on the history of Metalheadz, Pirate Radio in the UK, the history of Ragga and rare videos form the Golden era of D&B. Check it out now if you haven’t already noobie!

Highly noticeable in 2006 were the strides Dubstep has made here and abroad, Joe Nice became the face of dubstep in DC, securing bookings form here to Mother England, the man was working full-time on the art. Dubstep was adopted by many record shops in the area and overseas, Dubstep mixes and threads permeated Dogs On Acid [http://www.dogsonacid.com], which was a primarily D&B forum. 2006 had shown us that Drum&Bass DJs could stand to learn a lot from the enthusiasm and positivity that DJs in dubstep place in their music. Many people would consider Dubstep a sibling of Drum&Bass and Garage, twice removed that spent time in the basement of its Uncle’s friend, but don’t quote me on that.

With so many hard working D&B DJs in our scene, its impossible to say which ones worked the hardest… Many strides were made this year by a wide variety of players, much more than I have space to write about here, but I will tell you who won the elections… An open poll was held by buzzlife for their NYE2006 DJs to play and voted highest was the tag team of Deinfamous and Illeffect known by many as D-Fect.

Many producers emerged from the DC area in 2006 to reach overseas audiences. D&B pulls in new talent and idea-makers every year, the scene could benefeit greatly from supporting our local producers. I could talk about producers form the DC area or even surrounding areas here, but instead, I’ll dedicate later features to them. Being a producer myself I understand how important it is to have the opportunity to be heard. A small downside locally was that in 2006, in my opinion, promoters did not draw a clear distinction of DC D&B producers from DC DJs, this is an area we can improve on, not to say one is greater than the other, but to allow room for both to exist equally. If we really expect our scene to survive, it relies heavily on supporting and promoting local producers as well as DJs.

In 2006, D&B did not suffer too many “trends” locally, the music that rose to the forefront seemed to be music that embraced melody, deep basslines, and dub elements. Far from the days of trying to make D&B everything its not, many audences were thankful for diversity in music on D&B nights but thankful for music that did not stray too far off the map. Vocal tunes proved a bit more memorable this year. My personal picks for dominant D&B producers of 2006 would go as follows [in no particular order]: Calibre, Zinc, Sabre, D-Bridge, Commix, Break, Martyn [not just cuz I'm on one of his tracks], Survival, and Goldie. There were many other prolific producers and genres to consider, but hey, I can’t listen to everything so that’s it for now and even though my mom would say otherwise, I’m not perfect, so If I missed a few, sorry…

Having spent most of my 2006 months producing a Rock Album, I never left D&B alone for long… I couldn’t manage to even if I tried. in 2006 I managed to make it out to some great events, and I heard a lot of great tunes by D&B producers. I wouldn’t change anything about the year if I could [Except for investing in the Red Cross during the New Orleans Disaster and avoiding Internet drama]. Though we had some prominent artists retire/shift from D&B last year, it allows us to realize that working in the D&B community creates a process of “trial by fire”. Once you go through the struggle of producing and Djing in our scene, it never stops, but that should allow you to appreciate what you’re fighting for even more because the reward you get is the great feeling of contributing to an “underdog” art. If you work in a businesslike manner and retain what you learn, you’ll find great rewards in breaking ground in this scene.

As D&B supporters, we face a war of recognition over Pop music, shady club owners, people with closed minds, opportunists, and Nazis… We are fighting a war to have our music heard in which only the strongest and most dedicated will survive in D&B. Thus comes the term “Junglist Soldier”, maybe we should update the title to “Junglist Jihad”…okay I’m rambling now…/end

Talk to you soon.
-Winterman
Ruff&Tuff Recordings
Tell All Your Friends And Enemies…

–
Ruff & Tuff Recordings
http://www.ruffandtuffrecordings.com
Washington.DC.US

Superbad Pt. 1 – James Brown Tribute [mixed by PMX Sound]

(originally aired on 1/3/07; part 1 of the PMX/88 Underground Knowledge series for January 2007)

tracklisting:
1. James Brown – Say It Loud – I’m Black And I’m Proud, Pt.1 (3:01)
2. James Brown – Get Up, Get Into It And Get Involved (7:04)
3. James Brown – I Got The Feeling (2:38)
4. James Brown – Give It Up Or Turnit A Loose (3:10)
5. James Brown – Funky Drummer (7:01)
6. James Brown – Super Bad, Pts. 1 & 2 (4:27)
7. James Brown – Soul Power, Pts. 1 & 2 (4:24)
8. James Brown – Hot Pants, Pt. 1 (3:07)
9. James Brown – Make It Funky, Pt. 1 (3:36)
10. James Brown – Funky President (People It’s Bad) (3:58)
11. James Brown – I Got Ants In My Pants, Pt. 1 (3:02)
12. James Brown – Mother Popcorn (6:16)
13. James Brown – Get On The Good Foot (4:08)
14. James Brown – Doing It To Death (5:15)
15. James Brown – The Payback (7:28)
16. James Brown – There It Is, Pt. 1 (3:22)
17. James Brown – Papa Don’t Take No Mess, Pt.1 (4:24)
18. James Brown – Stoned To The Bone, Pt. 1 (3:28)
19. James Brown – Night Train (3:39)
20. James Brown – Grits (3:58)
21. James Brown – Papa’s Got A Brand New Bag, Pts. 1, 2 & 3 (6:58)
22. James Brown – Money Won’t Change You (6:02)
23. James Brown – I Can’t Stand Myself (When You Touch Me), Pt.1 (3:30)
24. James Brown – I Don’t Want Nobody To Give Me Nothing (Open Up The Door I’ll Get It Myself) (6:00)
25. James Brown – Cold Sweat (7:32)
26. James Brown – I Got A Bag Of My Own (3:48)
27. James Brown – My Thang (4:39)
28. James Brown – Body Heat, Pt.1 (4:31)

*** mp3 d/load: http://www.eightyeightdc.com/download/Superbad Pt 1.mp3

————————————————————————

Dub Foundation III [a]
d/load: http://www.eightyeightdc.com/download/dub_foundation_III_a.mp3

1. Cedric Im Brooks/Light Of Saba – Words of Wisdom (3:34)
2. Cedric Im Brooks/Light Of Saba – Song for My Father (5:04)
3. Cedric Im Brooks/Light Of Saba – Sabayindah (3:22)
4. Cedric Im Brooks/Light Of Saba – Sound (2:03)
5. Lee Perry & The Upsetters – Licky-Licky (3:05)
6. Lee Perry & The Upsetters – Voodoo Man (3:39)
7. Lee Perry & The Upsetters – Wise Dub (2:55)
8. Lee “Scratch” Perry/I-Roy – Upsetting Dub (3:56)
9. Lee “Scratch” Perry/I-Roy – Lee Perry Special Dub (3:54)
10. Lee “Scratch” Perry/I-Roy – Rough Already (3:14)
11. Skin Flesh & Bones; Lloyd Campbell – Scotch Dub (3:26)
12. King Tubby/Prince Jammy/The Aggrovators – A Living Version (3:10)
13. Burning Spear – Natural [Version] (5:15)
14. Burning Spear – Jomo [Version] (3:09)
15. Philip Fullwood – Word [Version] (4:19)
16. Burning Spear – Walking [Version] (3:13)
17. Burning Spear – In Those Days (3:25)

————————————————————————

Dub Foundation III [b]
d/load: http://www.eightyeightdc.com/download/dub_foundation_III_b.mp3

18. Burning Spear – Help Us (3:42)
19. Burning Spear – Musiya (3:12)
20. Burning Spear – All Over (2:05)
21. Burning Spear – Associate (3:51)
22. Ricky Storm (I Kong) – The Way It Is Version (3:20)
23. The Hardy Boys – Chucky Dub (2:52)
24. Tafari Syndicate – All For free (3:44)
25. The Village Bunch – Diverse Doctrine Version (3:39)
26. Prince Far I – Throw Away Yor Gun (Dub) (4:31)
27. Creation Rebel – Starship Africa: Section 2 (5:15)
28. Creation Rebel – Space Movement: Section 1 (8:51)
29. Creation Rebel – Space Movement: Section 2 (4:08)
30. Creation Rebel – Space Movement: Section 3 (4:14)
31. Creation Rebel – Space Movement: Section 4 (4:34)

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Dub Foundation IV [a]
d/load: http://www.eightyeightdc.com/download/dub_foundation_IV_a.mp3

1. Earl “Chinna” Smith – Every Time Eye Ear de Dub (2:51)
2. Playgroup – Ballroom Control (6:30)
3. King Tubby/Aggrovators – Real Gone Crazy Dub (3:30)
4. Horace Andy/Prince Jammy – Problems Dub (3:09)
5. Yabby You/King Tubby – Rock Vibration (4:24)
6. Keith Hudson/Soul Syndicate – Black Right (3:11)
7. Prince Phillip/The Musical Intimidators – Judgement Dub (3:16)
8. King Tubby/Aggrovators – Dub Fi Gwan (3:58)
9. Mikey Dread – Rockers Delight (8:03)
10. Black Uhuru/Paul “Groucho” Smykle – Youth (3:48)
11. Black Uhuru/Paul “Groucho” Smykle – Big Spliff (4:05)
12. Black Uhuru/Paul “Groucho” Smykle – Back Breaker (3:38)
13. BlackBeard – Electrocharge (4:18)

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Dub Foundation V [a]
d/load: http://www.eightyeightdc.com/download/dub_foundation_V_a.mp3

1. Prince Jammy – Round 2 (3:36)
2. Prince Jammy – Round 4 (4:07)
3. Prince Jammy – Round 8 (3:21)
4. Prince Jammy – Round 10 (2:47)
5. Scientist – Round 3 (4:00)
6. Scientist – Round 9 (4:33)
7. Scientist – Upper Cut (4:10)
8. Scientist – Knockout (3:24)
9. Scientist – Saved By The Bell (2:51)
10. Rico Rodrigues & Ghetto Rockers – This Day Dub (5:42)
11. Rico Rodrigues & Ghetto Rockers – Africa Dub (5:32)
12. Rico Rodrigues & Ghetto Rockers – Dial Africa Dub (3:43)
13. Sly & The Revolutionaries/Jah Thomas – Collie (2:49)
14. Sly & The Revolutionaries/Jah Thomas – Rizla (3:14)
15. Sly & Robbie – Demolition City (5:38)

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Dub Foundation VI [a]: The ROIR Sessions
d/load: http://www.eightyeightdc.com/download/dub_foundation_VI_a__ROIR_sessions.mp3

1. Bad Brains – Jah Calling
2. Bad Brains – Leaving Babylon
3. Bad Brains – I Love I Jah
4. Bad Brains – Hidden Track
5. Twilight Circus – East of Memphis
6. Twilight Circus – The Groove
7. Gato Negro – Armageddon
8. Gato Negro – Conflagration
9. Gato Negro – Ghost Dance
10. Gato Negro – Lamentations Of A Caged Bird
11. Gato Negro – Muntu Dub
12. Gato Negro – Guidance
13. Llwybr Llaethog – Marion Mckeone
14. Llwybr Llaethog – Mynd Adre’ Dub (Going Home Dub)
15. Llwybr Llaethog – Ai Bod Dub (To Be in Dub)

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Dub Foundation VI [b]: The ROIR Sessions
d/load: http://www.eightyeightdc.com/download/dub_foundation_VI_b__ROIR_sessions.mp3

16. Mute Beat – Downtown
17. Mute Beat – Landscape
18. Mute Beat – Dub No. 5
19. Mute Beat – Schoolyard Dub
20. Sanchez – Come to Rule Dub
21. Sanchez – I’m Waiting Dub
22. Niney the Observer – Space Flight Dub
23. Niney the Observer – Operator Dub
24. Niney the Observer – All Rounder Dub
25. Niney the Observer – Follow Up Dub
26. Niney the Observer – Treasure Dub
27. Niney the Observer – Dream Rock Dub
28. Ras Michael – Truth and Rights
29. Ras Michael – None A Jah Jah Children
30. Ras Michael – Give Love
31. Ras Michael – No Hoppers

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Dub Foundation VII [a] : The Final Chapta
d/load: http://www.eightyeightdc.com/download/dub_foundation_VII_a__final_chapta.mp3

1. Glen Brown/King Tubby – World Dub: Away With The Bad (3:31)
2. Glen Brown/King Tubby – Dub Universal (3:39)
3. Glen Brown/King Tubby – Wicked Can’t Run This Dub (3:20)
4. Glen Brown/King Tubby – Assack Lawn No. 1 Dub (Version 2) (3:32)
5. Glen Brown/King Tubby – Father For The Living Dubwise (2:43)
6. Glen Brown/King Tubby – Save Out Dub (3:28)
7. Aggrovators meets Revolutionaries – The Conqueror (3:48)
8. Aggrovators meets Revolutionaries – Bionic Man (3:54)
9. Aggrovators meets Revolutionaries – Seven Million Dollar Man (3:47)
10. Aggrovators meets Revolutionaries – Special Brew (3:14)
11. Jack Ruby/The Black Disciples – Running Dub (3:15)
12. Jack Ruby/The Black Disciples – Track 20 Dub (2:16)
13. Jack Ruby/The Black Disciples – Nubia (3:37)
14. Jack Ruby/The Black Disciples – Jah Jah Dub (4:38)
15. Michael Rose – Gold Mine (3:45)
16. Michael Rose – Straight To Landlord’s Head (3:44)
17. Michael Rose – Ghetto Life (3:48)

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Dub Foundation VII [b] : The Final Chapta
d/load: http://www.eightyeightdc.com/download/dub_foundation_VII_b__final_chapta.mp3

18. Gussie P – Dub Of Killamanjaro (4:28)
19. Gussie P – Dub Ah Bite! (4:37)
20. Gussie P – Dub That Gun (4:42)
21. Gussie P – Journey To Dub (4:10)
22. Gussie P – Dub Of Love (4:02)
23. Gussie P – Cool Dub Vibes (4:10)
24. Gussie P – Land Of Dub (4:46)
25. Mikey Murka – Control the Dancehall [Version] (2:58)
26. Mikey Murka – Ride the Rhythm [Version] (3:01)
27. Selah Collins – Pick a Sound (3:26)
28. Selah Collins – Pick a Sound [Version] (3:13)
29. Mikey Murka – We Try [Version] (2:48)
30. Cocoa Tea/Xterminator All Stars – Long Time Dub (3:52)
31. Luciano/Xterminator All Stars – Weaponist Dub (4:08)
32. Luciano/Xterminator All Stars – Final Call Dub (3:57)
33. Louie Kulcha/Xterminator All Stars – How Long Dub (3:54)
34. Luciano/Xterminator All Stars – Sweep Over My Soul Dub (3:53)
35. Cocoa Tea/Xterminator All Stars – Repatriation Dub (4:17)
36. Fred Locks/Xterminator All Stars – Never Give Up Dub (4:02)
37. Joe Gibbs/Errol Thompson – Behind Iron Bars (4:05)
38. Ja-Man All Stars – Half Ounce (3:01)