Sly Robbie Rhythm Killers Rar
Aug 19, 2014 Fire Boops (Here To Go) Let's Rock Yes, We Can Can Rhythm Killer Bank Job. Jun 25, 2009 Sly & Robbie - The Rhythm Killers E.P. To promote the Rhythm Killers album which was soon to be released. Sly & Robbie.rar Filesize.
Robbie Shakespeare (right) playing with on the tour, 1978, then drumming for Skin Flesh and Bones, and Robbie Shakespeare, playing bass and guitar with the Aggrovators, discovered they had the same ideas about music in general (both are huge fans of, the, and, in addition to Jamaican legendary labels Studio One and Treasure Isle), and production in particular. Speaking on his influences, Sly explains “My mentor was the drummer for,. And I used to listen a lot to the drummer for, and a lot of Philadelphia. And there are other drummers in Jamaica, like Santa and Carly from, Winston Bennett, Mikey Boo. I respect all these drummers and have learnt a lot from them. From them, I listened and created my own style.
They played some things I copied, other things I recreated. ” Sly and Robbie first worked together with for the newly created studio and label, operated by the. According to The Independent, their breakthrough album was ' 1976 release, which helped to establish them as the 'masters of groove and propulsion.'
The drum beat on the title song was particularly tricky; in 2001 Dunbar recalled, 'When that tune first come out, because of that double tap on the rim nobody believe it was me on the drums, they thought it was some sort of sound effect we was using. Then when it go to number 1 and stay there, everybody started trying for that style and it soon become establish.' 1980s: transition to digital. ^ Greene, Jo-Ann.
Retrieved 11 August 2012. Red Bull Music Academy. Red Bull Music Academy, Barcelona 2008. 22 October 2016. Murray, Charles Shaar. The Independent.
Bradley, Lloyd (2001). di Perna, Alan (August 1987). 'Sly & Robbie: Can the Riddim Twins Rock the Mainstream?' Amordian Press. ^ Jackson, Kevin (2014) ', 5 December 2014. Retrieved 6 December 2014.
Retrieved 12 January 2015. Gardy Stein-Kanjora, Reggaeville, 27 January 2015. ', 30 October 2015. Retrieved 1 November 2015. “Toots and the Maytals: Reggae Got Soul”. BBC Four (documentary).
Directed by George Scott. Retrieved 15 Dec. Tootsandthemaytals. 'Toots & The Maytals - Reggae Got Soul - Documentary Trailer.' YouTube, 15 Aug.
External links. on. discography at. with a searchable discography database. at Soulinterviews.com.
. 'Boops (Here to Go)' Released: 1987. ' Released: 1987 Rhythm Killers is a 1987 by Jamaican musical duo. After their prolific output in, the duo experimented with sounds and contemporary recording technology, while branching out into international, cross-genre endeavors during the 1980s.
For Rhythm Killers, they enlisted record producer and an ensemble of musicians to work with at Quad Recording in New York City. Along with their live instruments, Sly and Robbie used electronic recording equipment such as the synthesizer and. A and album, Rhythm Killers has a dense sound that incorporates musical elements and disparate styles, including reggae, and. Arranged in two -long gapless, the album's songs are characterized by electronic, striking beats, improvisational rhythms, string synthesizers, and produced by turntable, African and Latin-influenced percussion, and percussive. The album has been noted by music writers for its electronic rhythms, treatment of elements, and Laswell's densely production. Rhythm Killers was released in May 1987 by and in four countries, including the United Kingdom, where it peaked at number 35. It was promoted with two, including the UK hit 'Boops (Here to Go)'.
The album received positive reviews from critics and was ranked in year-end lists by magazine and critic, who named it the seventh best record of 1987. Encouraged by its success, Sly and Robbie continued their digital direction on subsequent albums. Rhythm Killers has since been. (pictured in 1979) became interested in newer recording technology such as. Amid their prolific output as sessions musicians, solo artists, and production duo, —drummer and bassist Robbie Shakespeare—opened their own record label Taxi Records and attained a distribution deal with during the early 1980s. After Island founder and executive hired them to work with singer, the duo developed a more sparse, robotic production style with and influences. This deviated from their past reggae work, as well as the genre's sound and light rhythms.
Sly and Robbie recorded primarily at Blackwell's in the Bahamas with state-of-the-art equipment, which led to Dunbar's experimentation with and. After their work with and that group's line-up change, Sly and Robbie pursued more international music endeavors. They branched out into cross-genre experiments with a conceptual, ensemble-oriented approach, while developing a mentorship with record producer, whom they met through Blackwell and by working on 's 1985 album. In 1985, they collaborated with Laswell on their album Language Barrier, which had guest contributions from, and. Its recording developed from a track the duo had revisited from their work on the soundtrack to the 1983 film. The track had been done with electronic drums at Compass Point Studios, but scrapped as a rhythm track for later use.
A dub album, Language Barrier showcased a musical clash between the duo's characteristic rhythms and Laswell's own production style, with African jazz influences, predominant use of the, and experimentations with tempo and dub techniques. Dunbar was enthused by newer recording technology and, in a 1987 interview for, said that he wanted to 'be a part of it, not be left out.'
Although it had a lukewarm reception from, Language Barrier was Sly and Robbie's first work to receive international exposure. For their next album, they sought to record a like-minded album to expand their audience. Recording and production. (2006) densely Sly and Robbie's songs in his production of the album. After releasing The Sting (1986) and Electro Reggae (1987) as members of their Taxi Gang band, Sly and Robbie enlisted Laswell again to work on Rhythm Killers.
They recorded the album over a period of three months at Quad Recording in New York City. Before entering the studio, Sly and Robbie originally had planned music and to work with, but scrapped them after Chris Blackwell of Island discouraged the idea. Blackwell wanted the duo to come up with original material at the studio, as they had been known to do since their early years in Jamaica. In an effort to with music listeners outside of reggae's market, Sly and Robbie heightened their experimentation with other musical sounds, particularly funk and occasional. Despite his eclectic output, Laswell himself had started out as a bass player in funk groups, an experience that inspired him to compose his musical arrangements with a rhythmic foundation. Dunbar explained their approach for the album in an interview for at the time, saying that 'We're trying to get new fans. Once they come into the funk, they're going to have to come into the reggae, because that's where we're going to take them.'
Sly and Robbie's direction was also influenced by the supervision of Blackwell who, according to Dunbar, 'wanted us to make two tracks, 17 minutes long. So we cut two tracks and extended them, each consisting of three songs.
Non-stop dancing, that's the idea.' In the early stage of recording, Sly and Robbie focused primarily on constructing difficult for songs. To record their rhythm tracks, Dunbar worked in the studio alone and a drum part without having a melody in mind.
He recounted his approach for the album to Musician, saying that 'I just played what I felt, working from a sense of 'now I'll do 103 beats per minute.' And Robbie would come in the next night and lay a bass part.' Unlike most reggae or funk bassists, Shakespeare approached his playing as a soloist and attempted numerous subtle to his. He said that his inspiration 'comes from God. Sometimes endless ideas just keep coming to me. Sometimes I'll change the to a bass line and Sly will play the on the drums.'
Along with live percussion, Dunbar played, and the duo integrated contemporary electronic music technology such as the Fairlight CMI synthesizer in the album's recording. Dunbar used his recorded live drums to trigger the synthesizer's sampled drum sounds. Sly and Robbie worked with an ensemble of musicians, including funk artists, and, reggae vocalist, musicians and, hip hop artist, turntablist, and guitarist. Rhythm Killers was produced by Laswell with his band, which included Shakespeare, vocalist, and percussionist, among others.
Sly and Robbie recorded songs in single and cut approximately 20 tracks a day with Laswell and engineer, who used. Laswell also hired violinist, who was working at a in Connecticut at the time. He had Feldman read in the strings section and play lines, which he found 'a little more funky' than the theater. The album was at and by at in New York City. Music and lyrics.
'This is a record about contact points, less about the styles it serves up than about the unpredictable conflicts and agreements that arise at their intersection. By incessantly overlapping the fragments in the mix, Laswell sustains a constant state of juxtaposition. The music never defines itself statically; it's always just evolved out of something and on its way to evolving into something else.' —, Rhythm Killers is characterized as a work of funk music by magazine's Alan di Perna, while called it a album. The album's songs feature musical elements. Writer and musicologist viewed it as an attempt at 'an ambitious dance-music synthesis, with funk the stylistic common denominator', adding that the 'funk ethos – less is more, the groove is the tune – underlies all of Mr.
Laswell's work'. Although it is not a reggae album, Rhythm Killers exhibits Sly and Robbie's Taxi Records production aesthetic, which drew on their cultural connection to Jamaican and their collective interest in experimental sounds. Dunbar was particularly fascinated with the instrument, and Rhythm Killers is one of the last albums to feature live drums by him. Incorporating mechanized beats, tempos, and sinuous bass, the aesthetic presaged music and the rise of digital instrumentation in reggae during the 1980s. Similar to Language Barrier, Rhythm Killers has a dense, thudding sound and heavy-handed, humorless tone, but features more recognizable. The songs on Rhythm Killers are typified by deep bass, striking beats, low-frequency grooves, improvisational rhythms, electronic percussion, -era string synthesizers, aggressive guitar riffs, and stylistic influences from reggae, early hip hop, and genres. They are densely in a fashion similar to 's production.
Bud Kliment of said they comprise a groove-oriented ' that is 'heavy-bottomed from start to finish'. Similar to the album's funk instrumentation, the guest rappers have exclamatory, confrontational tones and percussive vocals. The vocals are complemented by improvisatory turntable and both African- and Latin-influenced percussion, which resulted in during the songs. Carl Matthews of the observed 'a noticeable looseness in the vocals and a sort of quality to the rhythm tracks.' Mat Smith from said the enthusiastic music was driven by a 'schizophrenic art of noise attack all lashed around a nonstop rhythm that bumps each track nose to tail tight.'
According to the (1995), Rhythm Killers 'truly broke ground' after the experimentation on Language Barrier and served as 'the story of late-20th-century done as.' Music journalist noticed 'a striking collision of sounds' in the album's music, while called it an 'unpredictable salute to the liveliness and character of music in its broadest sense.'
Mike Joyce of found it 'more punchy and elastic' than Language Barrier and felt 'the accent is still on electronic rhythms, but the mood is vibrantly expansive'. Called the album Sly and Robbie's 'Laswellized -funk statement'. He characterized the duo as a 'world pop' rhythm section and said their style is complemented by 'a chauvinistic variation on Bill Laswell's usual international brigade'. Argued that the album is 'the continuous synthesis that Laswell promised on Herbie Hancock's ', 'extended in both length and scope', as it features 'a knack for unexpected juxtapositions and no respect for artificial boundaries.' According to, the sounds on the record ranged from to. The title track features strings and -style saxophone. Problems playing this file?
The album's songs are arranged into a on each side, both of which begin with of early 1970s songs. Writes that each side is stylistically 'derived' from its respective opening track and distinguishes the two side-opening tracks as 'anchoring songs that serve as starting points for uninterrupted improvisations in rhythm that build to multiple climaxes while drawing from wildly disparate musical styles.'
'Fire', a cover of the ' 1974, was reworked as an extended with an uncredited of 's 1983 song 'Cavern', and lyrics proclaiming 'bass' to be '. It features vocals by Shinehead, whose rap begins with a impersonation, and Bootsy Collins, who advises listeners that 'you have one desire and that's to dance until you drop.' 'Boop' is a slang term for a man who spends money for the benefit of a younger woman. Both 'Fire' and 'Boops (Here to Go)' touch on popular topics. Opening the second side, 'Yes, We Can Can' is a cover of 1973, originally written. It eschews the original song's jazz influence for hip hop elements, gritty dub, and -like grooves. Co-written by, 'Rhythm Killer' features aggressive percussion, frantic by Shinehead, strings, and downtown saxophone by Henry Threadgill.
It was featured in the 1988 film. The song's groove transitions into 'Bank Job', which has a relaxed style, lavish production, and electronic rhythms.
Release and reception Professional ratings Review scores Source Rating 9/10 A Rhythm Killers was released by Island Records in May 1987, on, and formats. It reached the in the Netherlands, Sweden, and New Zealand, where it reached its highest overall position at number 12 and charted for eight weeks. In the United Kingdom, it spent five weeks on the, peaking at number 35. It did not chart in the United States.
The album's, 'Boops (Here to Go)', reached number 22 on the US. It was a in the UK, where it charted for 11 weeks and reached number 12 on the. The song was later sampled on ' 2006 song '. 'Fire', the second single, peaked at number 14 in New Zealand, where it charted for nine weeks. It also peaked at number 60 and charted for four weeks in the UK.
Rhythm Killers was well received by contemporary critics. In a review for, remarked that having mastered reggae, Sly and Robbie proved they could perform funk music just as well. Steve Hochman from the hailed it as one of 1987's best records from any genre because of how Sly and Robbie drew on the funk's past 20 years, 'from through, along the way throwing in reggae, rap and even a bit of.' In, Gavin Edwards called it 'a thirty-five-minute dance party full of surprises and strange noises', writing that it 'sounds like the Great Missing Set—albeit one played by live musicians with perfect telepathy.'
Magazine's Simon Witter said it was the most entertaining and exceptionally conceived dance album of the year, while called it one of the best dance records in some time because the duo's creative yet accessible urban dance music showed how to combine the best parts of older music with contemporary recording techniques. In a negative review, Greg Taylor from criticized the music as 'wallpaper' undermined by a gaudy hip hop production. John Leland of wrote that while Rhythm Killers may be ambitious and successful as a 'dialogue on the crosscultural elasticity of the funk', it lacked vigor as actual funk music and never got beyond its concept and 'into the funk'. In, Palmer found the musical ideas innovative and its concept 'a worthy one'—that 'funk is the of contemporary dance music'—but he observed an excess of disordered effects and funk-derived sounds on what were otherwise expressive rhythm tracks. At the end of 1987, it was named the year's eighth best album by magazine, and 25th best album by, who also named 'Boops (Here to Go)' the year's 18th best single. Ranked Rhythm Killers 11th best, and 'Boops (Here to Go)' the sixth best song of 1987.
The album also finished 25th in the, an annual poll of American critics nationwide, published in The Village Voice. Christgau, the poll's creator and supervisor, named it the seventh best album of the year.
Encouraged by the record's success, Sly and Robbie recorded The Summit (1988), an instrumental ragga album with digital that was decried by roots critics, and Silent Assassin (1990), a collaboration with several American rappers. The latter album's fusion of Jamaican dub and American hip hop was a precursor to the rise of in the US during the early 1990s. Bootsy Collins, who had kept a low profile for much of the 1980s, followed-up his appearance on Rhythm Killers with a comeback album, in 1988. Shinehead's own appearance on the album bolstered his mainstream exposure as he was receiving American radio airplay with his debut single and performing on an international tour. Rhythm Killers was by Island on 4 June 1990, but eventually became. In retrospect, culture critic deemed Rhythm Killers an essential album of 1980s underground funk, while reggae historian cited it as one of the most engaging projects Sly and Robbie were involved in during the 1980s. In a retrospective article, wrote that on albums such as Rhythm Killers, they frequently attempted to broaden the role of their instruments and consequently took bass and drums to 'unexplored rhythmic frontiers'.
Music journalist Mark Coleman, writing in, said that the album was 'so coherent and smooth that you could mistake it for a suite if it wasn't also so thoroughly down and dirty.' In (2003), Peter Shapiro cited the album as Laswell's 'best outside production' and one that 'fulfilled his fusion/fission concept. In which some of the finest dance musicians in the world jam on two side-long grooves that imply, 70s funk, hip-hop and ragga are all part of the same continuum.'
In a mixed review, editor Stephen Cook called it 'a valiant venture gone awry' and felt that the songs are monotonous and comprising 'one tired electronic groove after another'. Track listing All tracks were produced by and. Title Writer(s) Length 1.
', Leroy Bonner, Marshall Jones, Ralph Middlebrooks, Marvin Pierce, Clarence Satchell, James Williams 5:24 2. 'Boops (Here to Go)', 5:15 3. 'Let's Rock', Collins, Dunbar, Laswell, Shakespeare 7:24 Side two No. Title Writer(s) Length 1. 'Rhythm Killer' Aiken, Dunbar, Laswell, Shakespeare 7:17 3.
'Bank Job' Berger, Collins, Dunbar, Laswell, Shakespeare 3:55 Personnel Credits are adapted from the album's liner notes. ^ Greene, Jo-Ann. From the original on 15 September 2012. Retrieved 20 November 2012. ^ Katz, David (30 March 2005).
Andrew Smith. Archived from on 15 September 2012. Retrieved 20 November 2012. ^, pp. 186–89.
^ Bultman, Scott. Rovi Corporation.
From the original on 15 September 2012. Retrieved 20 November 2012. ^ di Perna, Alan (August 1987).
'Sly & Robbie: Can the Riddim Twins Rock the Mainstream?' . ^ Taylor, Greg (4 October 1987). Retrieved 20 November 2012. ^ LeRoy, Dan. Rovi Corporation. From the original on 15 September 2012.
Retrieved 20 November 2012. ^ Rhythm Killers (CD liner). New York City:. ^ (2 August 1987). From the original on 15 September 2012. Retrieved 20 November 2012.
^ Milward, John; Stearns, David Patrick (14 May 1987). Life section, p.
Retrieved 20 November 2012. ^ Cook, Stephen. Rovi Corporation. From the original on 15 September 2012.
Retrieved 20 November 2012. 'Musso 77s'. ^ 'Mark Feldman'.
^ (June 1987). 3 (3): 36–37.
Retrieved 20 November 2012. (September 1987). 'Sly and Robbie: Rhythm Killers'. 52 (7–12): 102–104.
^ Hori, Jim (1987). 'Review: Rhythm Killers'.
The Reggae & African Beat. Bongo Productions. ^ 'Fascinatin' Rhythms'. Washington, D.C. New York: 114.
Archived from the original on November 21, 2008. CS1 maint: Unfit url. ^ Booth, Philip (28 June 1987). Retrieved 20 November 2012.
Kliment, Bud; Wachtel, Amy. From the original on 15 September 2012. Retrieved 20 November 2012.
^ Matthews, Carl (16 May 1987). Retrieved 20 November 2012. Smith, Mat (30 May 1987). 'Review: Rhythm Killer'. (26 June 1987). From the original on 15 September 2012.
Retrieved 20 November 2012. ^ Joyce, Mike (11 December 1987).
Washington, D.C. Weekend section, p. Retrieved 20 November 2012. (1 March 1988). From the original on 15 September 2012. Retrieved 20 November 2012. ^ Christgau, Robert (2 June 1987).
The Village Voice. From the original on 15 September 2012. Retrieved 20 November 2012. 'Our Holiday Lists'.
Sly & Robbie
December 1987. Meschino, Patricia (20 January 2012). From the original on 15 September 2012. Retrieved 20 November 2012. Antoni, Nelson (1987). 'Review: Rhythm Killers'.
37 (2–11): 84. Dedina, Nick. Archived from on 12 August 2012. Retrieved 20 November 2012. ^ Hochman, Steve (12 July 1987).
Los Angeles Times. From the original on 15 September 2012. Retrieved 20 November 2012., pp. 640–41. From the original on 15 September 2012. Retrieved 20 November 2012. Retrieved 20 November 2012. Retrieved 20 November 2012.
Retrieved 20 November 2012. McCormick, Neil (3 August 2006). From the original on 15 September 2012. Retrieved 20 November 2012. From the original on 15 September 2012. Retrieved 20 November 2012.
(3 May 1987). From the original on 15 September 2012. Retrieved 20 November 2012. Witter, Simon (May 1987). 'Sly & Robbie: Musclefunk Throwdown'. The year's most enjoyable, perfectly formed dance album.
'1987 The Year in Review'. January 1988. 'Albums of the Year'. 2 January 1988. 'Singles of the Year'.
2 January 1988. 'Albums of the Year'. (in Spanish). Barcelona (37).
January 1988. 'Songs of the Year'. Rockdelux (in Spanish). Barcelona (37). January 1988. The Village Voice. 1 March 1988.
From the original on 15 September 2012. Retrieved 20 November 2012. Christgau, Robert (1 March 1988). The Village Voice.
From the original on 15 September 2012. Retrieved 20 November 2012. Greene, Jo-Ann.
Sly & Robbie Rhythm Killers
Rovi Corporation. From the original on 15 September 2012. Retrieved 20 November 2012. Mitchell, Justin (8 June 1990). Retrieved 20 November 2012.
Heim, Chris (9 February 1989). From the original on 15 September 2012.
Retrieved 20 November 2012. From the original on 15 September 2012. Retrieved 20 November 2012.
17 November 1989. Weekend section, p. Retrieved 20 November 2012. Bibliography.; Dalton, Peter (27 September 2004). The Rough Guide to Reggae (3rd ed.). (1 June 1990).
Hayward, Philip, ed. Culture, Technology & Creativity in the Late Twentieth Century. Coleman, Mark; et al. (2 November 2004).
Brackett, Nathan; Hoard, Christian, eds. The New Rolling Stone Album Guide (4th ed.).; Henke, James; George-Warren, Holly, eds. (27 October 1992).;; Roberts, Chris (27 August 1998). The Encyclopedia of Albums. Dempsey Parr.
Guinness Publishing. (1 April 1997). The Motion Picture Guide 1989 Annual: The Films of 1988.
(16 September 2004). That's the Joint!: The Hip-Hop Reader. Pilchak, Angela, ed.
(26 October 2010). Contemporary Musicians: Profiles of the People in Music. Buckley, Peter, ed. The Rough Guide to Rock (2nd ed.).
Rough Guides. (1 November 2002). The Great Rock Discography (6th ed.). (1 March 2002). Reggae and Caribbean Music. Weisbard, Eric; Marks, Craig, eds. (10 October 1995).
External links. at (list of accolades).
at (list of releases). at (list of releases).