Saying that the shit on either the soundbwoy status comps will go unheard is straight ridiculous- most of that shit is obvious reggae for funk dudes picks. Sorry no Haterade.
I can assure you, Sh*** didn't cake off those LPs. I think he still has about 50,000 units he's trying to move. I been to his crib. He melts them into bowls for bean dip. True stories.
most of that shit is obvious reggae for funk dudes picks.
O'rly?
You sound salty.
Considering the general lack of reggae-themed funk knowledge - beyond just a select group of folks "in the know" - prior the time when Soundbwoy and the Soul Jazz comps came out, I find this claim unlikely.
I am going to join in on the hate (not really hate) and say that I think the Darker Than Blue comp is not amazing. It's good to show what is out there in the genre as opposed to being full of great versions imo.
Two of my favourite covers, which are also easy to find, are Ken Boothe's Everything I Own and Jerry Jones' Compared to What. Jones also does a great cover of Common People.
most of that shit is obvious reggae for funk dudes picks.
O'rly?
You sound salty.
Considering the general lack of reggae-themed funk knowledge - beyond just a select group of folks "in the know" - prior the time when Soundbwoy and the Soul Jazz comps came out, I find this claim unlikely.
You find it unlikely because you didn't know about these tracks? I'm not trying to play who's reggae dick is longer but, It just always seems lame when dudes stick there nose in a genre new to them and call the shit obscure. That stuff was KNOWN, most in fact are classics, greedy g? tom drunk? go to the UK. Obviously if your friend put it out and your barking around like this your the salty one. But c'mon super status sound boy breaks- even the title can make you cringe. If your not into reggae, love funk and want to be a super status sound boy than go ahead dude buy your friends comp. The only thing I was trying to say was in response to cpeetz and johnny's comments. Cpeetz was mad about the liscensing and johnny was like "dude you want those tracks to go undiscovered?" I just took issue with the idea of that shit being undiscovered. Stick up for your bro, I would too. But plaese to not take issue with the fact that the tracks we're obvious choices to those of us into old reggae.
This is the key phrase. I'm not suggesting any of these comps (Soul Jazz, Soundbwoy, or otherwise) put up folks ALREADY INTO reggae onto new shit. I don't doubt, for a moment, that they just went over what was already well-known in those circles. I'm suggesting that they put up people into funk/soul but not yet schooled in reggae.
I'm old enough to remember when kids were still blown away to learn that Special Ed and Howie Tee sampled "Shantytown."
I do agree, however, that "Super Status Breaks" is mad awkward.
Well, as far as them going "undiscovered"... yes, "Tom Drunk" and shit like "Greedy G" are well-known, but not always by the same people. A lot of older reggae heads would rate "Tom Drunk" irrespective of the sample usage, and probably not rate "Greedy G" at all. Not to mention "Greedy G" isn't on the comp, at least to my knowledge? I would argue that among the audience the comp was designed for, ie NOT someone who is well-versed in obscure reggae sides... these are not well-known tunes. So yes, I would say these are for the most part "undiscovered". Especially when you consider that to most reggae collectors, dudes who are actually into REGGAE as opposed to reggae-as-funk or reggae-as-breaks, a lot of these tunes don't rate. That's not even counting something like "Jah Music" by Inner Circle which is on a major label album but was languishing in obscurity next to tunes like "Roman Soldiers Of Babylon" or "80,000 Careless Ethiopians" on that record that are actually big tunes among reggae heads.
The idea that because a number of aficionados know a tune or an artist they are therefore "discovered", "known", or otherwise unworthy of compiling to me is not legit. These comps are made for people that don't dig that deep (at least, not in that particular genre) and that's the purpose of them. I don't see how you could criticize something like Status Breaks for being pedestrian. I think it was pretty well-balanced between records that turn up everywhere (like Inner Circle), records that only turn up in Jamaican collections (like "Tom Drunk") and records that don't turn up at all.
As for CPeetz' issues with Sh*ne, sounds like some personal shit. This is probably not the place to put it all on blast. Especially if you're not going to stand behind your words and explain what you're talking about.
most of that shit is obvious reggae for funk dudes picks.
O'rly?
You sound salty.
Considering the general lack of reggae-themed funk knowledge - beyond just a select group of folks "in the know" - prior the time when Soundbwoy and the Soul Jazz comps came out, I find this claim unlikely.
You find it unlikely because you didn't know about these tracks? I'm not trying to play who's reggae dick is longer but, It just always seems lame when dudes stick there nose in a genre new to them and call the shit obscure. That stuff was KNOWN, most in fact are classics, greedy g? tom drunk? go to the UK. Obviously if your friend put it out and your barking around like this your the salty one. But c'mon super status sound boy breaks- even the title can make you cringe. If your not into reggae, love funk and want to be a super status sound boy than go ahead dude buy your friends comp. The only thing I was trying to say was in response to cpeetz and johnny's comments. Cpeetz was mad about the liscensing and johnny was like "dude you want those tracks to go undiscovered?" I just took issue with the idea of that shit being undiscovered. Stick up for your bro, I would too. But plaese to not take issue with the fact that the tracks we're obvious choices to those of us into old reggae.
I mean, i have no issue with dude, and i think they were great comps. but hes kinda right, none of that stuff was that obscure. very good? yes. Obscure as fuck? no. Inner circle? you could have licensed that if you wanted to.
in any case great comp.
but personally, darker than blue gets my top vote for sure.
ive got this 45 on ultra out of miami that has a cover of "love won't let me wait". cant remember the artist right now but thats my favorite regga soul cut
I am going to join in on the hate (not really hate) and say that I think the Darker Than Blue comp is not amazing. It's good to show what is out there in the genre as opposed to being full of great versions imo.
you don't think they chose great versions, or they felt too been-there-done-that?
just to put this into perspective, there were 3 different titles in the soundbwoy series (4?) and they all came out many years ago...
awkward? far from it. they were for DJs, producers, and heads. breaks, sound effects, tunes. sharp jackets. what more do you want, a hand job from marcia griffiths???
Well, as far as them going "undiscovered"... yes, "Tom Drunk" and shit like "Greedy G" are well-known, but not always by the same people. A lot of older reggae heads would rate "Tom Drunk" irrespective of the sample usage, and probably not rate "Greedy G" at all. Not to mention "Greedy G" isn't on the comp, at least to my knowledge? I would argue that among the audience the comp was designed for, ie NOT someone who is well-versed in obscure reggae sides... these are not well-known tunes. So yes, I would say these are for the most part "undiscovered". Especially when you consider that to most reggae collectors, dudes who are actually into REGGAE as opposed to reggae-as-funk or reggae-as-breaks, a lot of these tunes don't rate. That's not even counting something like "Jah Music" by Inner Circle which is on a major label album but was languishing in obscurity next to tunes like "Roman Soldiers Of Babylon" or "80,000 Careless Ethiopians" on that record that are actually big tunes among reggae heads.
The idea that because a number of aficionados know a tune or an artist they are therefore "discovered", "known", or otherwise unworthy of compiling to me is not legit. These comps are made for people that don't dig that deep (at least, not in that particular genre) and that's the purpose of them. I don't see how you could criticize something like Status Breaks for being pedestrian. I think it was pretty well-balanced between records that turn up everywhere (like Inner Circle), records that only turn up in Jamaican collections (like "Tom Drunk") and records that don't turn up at all.
As for CPeetz' issues with Sh*ne, sounds like some personal shit. This is probably not the place to put it all on blast. Especially if you're not going to stand behind your words and explain what you're talking about.
DUDE, GO TO THE U.K.!
I only like reggae if it's funky, has a drum-break, or is a soul cover.
Are we really having this discussion in a reggae thread??? Land of the dubplates & bootlegs?
I'm betting that many many cover versions were never properly done with in the first place. Anyone buying records in the 80's & 90's will tell you. Thank gawd for bootlegs. Without them, it's a pretty good bet you would have never heard alot of dope shit back in the day. It's not like nowadayz where there are a million proper comps out there & MP3's everywhere.
Shit, when I was doing a large amount of buying for retail back in the day, many artist were doing deals with me on boots because they were getting ripped off on their end from the label. I've even dealt with major labels dealing boots of their own product.
In all my years in the biz, I dealt with 3 major boot dudes (1 in the UK, 1 in NY & 1 in Jah). While their biz was shaddy to say the least. The record buyer & collector in me is greatful they existed. I would have missed out on alot[/b] of wicked music without them.
I can assure you, Sh*** didn't cake off those LPs. I think he still has about 50,000 units he's trying to move. I been to his crib. He melts them into bowls for bean dip. True stories.
Who the fuck prints 50k copies of a reggae breaks comp? I like them but homie needs to step up his print run estimation skillz. I guess you can't knock his enthusiasm for the cuts though.
Are we really having this discussion in a reggae thread??? Land of the dubplates & bootlegs?
I'm betting that many many cover versions were never properly done with in the first place. Anyone buying records in the 80's & 90's will tell you.
Remarkable no one's brought this point up already. Not saying two wrongs make a right but still...it is kind of odd to argue over the legality of bootlegs of bootlegs.
Are we really having this discussion in a reggae thread??? Land of the dubplates & bootlegs?
That's what I'm saying!
I'd never advocate that someone NOT get paid, and of course some of the more obvious records could've been licensed, but I don't think the process should've been held up or the record kilt for lack of licensing. For a Jamaican music collector to whine about licensing is pretty hypocritical.
I am going to join in on the hate (not really hate) and say that I think the Darker Than Blue comp is not amazing. It's good to show what is out there in the genre as opposed to being full of great versions imo.
you don't think they chose great versions, or they felt too been-there-done-that?
The former - speaking strictly from personal taste, I found a lot of them to be pretty straight ahead and almost uninspired - soul songs, just in a reggae/rocksteady/etc. style. One record would have made for a much tighter selection imo.
I am going to join in on the hate (not really hate) and say that I think the Darker Than Blue comp is not amazing. It's good to show what is out there in the genre as opposed to being full of great versions imo.
you don't think they chose great versions, or they felt too been-there-done-that?
The former - speaking strictly from personal taste, I found a lot of them to be pretty straight ahead and almost uninspired - soul songs, just in a reggae/rocksteady/etc. style. One record would have made for a much tighter selection imo.
Interesting. It's certainly a crowd-pleaser -- when it came out i was working at a video store and it probably turned more frowns upside down than anything else I played. But my knowledge of the genre doesn't go nearly as deep as many of you.
I am going to join in on the hate (not really hate) and say that I think the Darker Than Blue comp is not amazing. It's good to show what is out there in the genre as opposed to being full of great versions imo.
you don't think they chose great versions, or they felt too been-there-done-that?
The former - speaking strictly from personal taste, I found a lot of them to be pretty straight ahead and almost uninspired - soul songs, just in a reggae/rocksteady/etc. style. One record would have made for a much tighter selection imo.
Interesting. It's certainly a crowd-pleaser -- when it came out i was working at a video store and it probably turned more frowns upside down than anything else I played. But my knowledge of the genre doesn't go nearly as deep as many of you.
No doubt about it making folks happy and that is certainly a good thing. I really don't think it's a knowledge thing, more taste.
Are we really having this discussion in a reggae thread??? Land of the dubplates & bootlegs?
I'm betting that many many cover versions were never properly done with in the first place. Anyone buying records in the 80's & 90's will tell you.
Remarkable no one's brought this point up already. Not saying two wrongs make a right but still...it is kind of odd to argue over the legality of bootlegs of bootlegs.
This thread is still making me giggle.
What's next?
YA STOLE MI RIDDIM STARR! YU NUM FI DU DAT! ME WANT LICENSING RIGHTS!!!
comps can eat a dick. their are podcast out there that shit on the comps mentioned in this thread. not to mention that no one is getting fucked out of any money by posting a podcast.
you want a ood soul/reggae podcast check out my dudes Doorpeeper and Port-o-Jam's cast they throw out there once every few months (Doorjam show).
Or check Rudygotsoul podcast.
If "soundboishakabosscompboy" whatever the fuck his name wasn't thinking about profitting huge why dude press up so many?
also, them shits weren't mad rare, and like pablo said if dude wanted to get them artists paid he could have done some research and followed through.
p.s - i love watching strutters discuss early reggae. shit is lol for days. oh and speaking of soul and reggae.. Stax bit Harry J's so marinate on that for minute.
and like pablo said if dude wanted to get them artists paid he could have done some research and followed through.
Most of the artists sold their songs to the crooked producers back in the day,there's no collecting to be done on their part.The artists would be better off bootlegging their own stuff.
hey you are in JA right? somebody needs to tail that fool Earl and find out where he cops his shit from. dude kills it everytime !!! i am going back in May for two weeks.
Comments
O'rly?
You sound salty.
Considering the general lack of reggae-themed funk knowledge - beyond just a select group of folks "in the know" - prior the time when Soundbwoy and the Soul Jazz comps came out, I find this claim unlikely.
Two of my favourite covers, which are also easy to find, are Ken Boothe's Everything I Own and Jerry Jones' Compared to What. Jones also does a great cover of Common People.
Lots of good suggestions in this recent thread:http://www.soulstrut.com/ubbthreads/show...true#Post963409
You find it unlikely because you didn't know about these tracks? I'm not trying to play who's reggae dick is longer but, It just always seems lame when dudes stick there nose in a genre new to them and call the shit obscure. That stuff was KNOWN, most in fact are classics, greedy g? tom drunk? go to the UK. Obviously if your friend put it out and your barking around like this your the salty one. But c'mon super status sound boy breaks- even the title can make you cringe. If your not into reggae, love funk and want to be a super status sound boy than go ahead dude buy your friends comp. The only thing I was trying to say was in response to cpeetz and johnny's comments. Cpeetz was mad about the liscensing and johnny was like "dude you want those tracks to go undiscovered?" I just took issue with the idea of that shit being undiscovered. Stick up for your bro, I would too. But plaese to not take issue with the fact that the tracks we're obvious choices to those of us into old reggae.
This is the key phrase. I'm not suggesting any of these comps (Soul Jazz, Soundbwoy, or otherwise) put up folks ALREADY INTO reggae onto new shit. I don't doubt, for a moment, that they just went over what was already well-known in those circles. I'm suggesting that they put up people into funk/soul but not yet schooled in reggae.
I'm old enough to remember when kids were still blown away to learn that Special Ed and Howie Tee sampled "Shantytown."
I do agree, however, that "Super Status Breaks" is mad awkward.
The idea that because a number of aficionados know a tune or an artist they are therefore "discovered", "known", or otherwise unworthy of compiling to me is not legit. These comps are made for people that don't dig that deep (at least, not in that particular genre) and that's the purpose of them. I don't see how you could criticize something like Status Breaks for being pedestrian. I think it was pretty well-balanced between records that turn up everywhere (like Inner Circle), records that only turn up in Jamaican collections (like "Tom Drunk") and records that don't turn up at all.
As for CPeetz' issues with Sh*ne, sounds like some personal shit. This is probably not the place to put it all on blast. Especially if you're not going to stand behind your words and explain what you're talking about.
I mean, i have no issue with dude, and i think they were great comps. but hes kinda right, none of that stuff was that obscure. very good? yes. Obscure as fuck? no. Inner circle? you could have licensed that if you wanted to.
in any case great comp.
but personally, darker than blue gets my top vote for sure.
you don't think they chose great versions, or they felt too been-there-done-that?
awkward? far from it. they were for DJs, producers, and heads. breaks, sound effects, tunes. sharp jackets. what more do you want, a hand job from marcia griffiths???
DUDE, GO TO THE U.K.!
I only like reggae if it's funky, has a drum-break, or is a soul cover.
WE NEED THAT "MURDEROIIIIIIII" Graemlin.
I'm betting that many many cover versions were never properly done with in the first place. Anyone buying records in the 80's & 90's will tell you. Thank gawd for bootlegs. Without them, it's a pretty good bet you would have never heard alot of dope shit back in the day. It's not like nowadayz where there are a million proper comps out there & MP3's everywhere.
Shit, when I was doing a large amount of buying for retail back in the day, many artist were doing deals with me on boots because they were getting ripped off on their end from the label. I've even dealt with major labels dealing boots of their own product.
In all my years in the biz, I dealt with 3 major boot dudes (1 in the UK, 1 in NY & 1 in Jah). While their biz was shaddy to say the least. The record buyer & collector in me is greatful they existed. I would have missed out on alot[/b] of wicked music without them.
Plz to post more good shit!!
Thank you,
B*l*y
Who the fuck prints 50k copies of a reggae breaks comp? I like them but homie needs to step up his print run estimation skillz. I guess you can't knock his enthusiasm for the cuts though.
Remarkable no one's brought this point up already. Not saying two wrongs make a right but still...it is kind of odd to argue over the legality of bootlegs of bootlegs.
That's what I'm saying!
I'd never advocate that someone NOT get paid, and of course some of the more obvious records could've been licensed, but I don't think the process should've been held up or the record kilt for lack of licensing. For a Jamaican music collector to whine about licensing is pretty hypocritical.
Damn, The LOC space can't fit on this one!
The former - speaking strictly from personal taste, I found a lot of them to be pretty straight ahead and almost uninspired - soul songs, just in a reggae/rocksteady/etc. style. One record would have made for a much tighter selection imo.
Interesting. It's certainly a crowd-pleaser -- when it came out i was working at a video store and it probably turned more frowns upside down than anything else I played. But my knowledge of the genre doesn't go nearly as deep as many of you.
No doubt about it making folks happy and that is certainly a good thing. I really don't think it's a knowledge thing, more taste.
This thread is still making me giggle.
What's next?
YA STOLE MI RIDDIM STARR! YU NUM FI DU DAT! ME WANT LICENSING RIGHTS!!!
Just copped the MP3 from the iTunes store. Sick stuff, to say the least.
you want a ood soul/reggae podcast check out my dudes Doorpeeper and Port-o-Jam's cast they throw out there once every few months (Doorjam show).
Or check Rudygotsoul podcast.
If "soundboishakabosscompboy" whatever the fuck his name wasn't thinking about profitting huge why dude press up so many?
also, them shits weren't mad rare, and like pablo said if dude wanted to get them artists paid he could have done some research and followed through.
p.s - i love watching strutters discuss early reggae. shit is lol for days. oh and speaking of soul and reggae.. Stax bit Harry J's so marinate on that for minute.
Liquidator bitches!
Lost for words.
you're a f u c k i n g toy.
Most of the artists sold their songs to the crooked producers back in the day,there's no collecting to be done on their part.The artists would be better off bootlegging their own stuff.
Born & raised,and here to stay.
Who's Earl a eBay seller?
We should link but no "Soul Strut sleepover" though