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The TOP SELLING Dance Raggae CDs at CD Universe.com
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We simply list each CD by genre and link you to the CD Universe website for the sale.
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See all the Dance Raggae CD's Here
Links to all the Dance Music CD's. Linked by Style.
[Dance-Top Sellers]
[Dance-Classical]
[Dance-Raggea]
[Dance-Disco]
[Dance-Gold Disco]
[Dance-Line Dance]
Welcome To Jamrock CD
by Damian Marley
Our Price: $11.99 CD /$9.99 MP3
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Tinged with overtones of dancehall ("Khaki Suit") and urban contemporary R&B (the silky smooth "Beautiful," which features a cameo
from Bobby Brown), WELCOME TO JAMROCK is a melting pot of an album, one as well suited to the streets of Brooklyn as the neighborhoods of
Kingston. The cover image--which depicts Marley in militaristic garb surrounded by corrugated metal fences--indicates that Marley means
business, a fact confirmed by this fresh, edgy music.
The huge success of "Welcome to Jamrock," released as a single early in the summer of 2005, raised expectations for Damien Marley's
same-titled full-length. Fortunately, everything--from the progressive blend of reggae, hip-hop, trip-hop, pop, and roots within, to
the crisp production from brother Stephen Marley--lives up to the hype. While it would be an easy commercial move for Damien to
replicate the positive roots vibe of his father's reggae, he instead builds on the consciousness of that music and updates the sound
for the 21st century.
Personnel: Damian "Junior Gong" Marley (programming); Dan Warner (guitar); Stephen Marley (keyboards);
Shiah Coore, Paul Fakhourie (bass guitar); Jazzwad, Craig "Niteman" Taylor, Willburn "Squidley" Cole
(drums); Eek-A-Mouse, Nas, Black Thought, Bobby Brown , Rovleta Fraser, Sean Diedrick, Owen "Dready"
Reid, Noel Davey, Bounty Killer.
"[T]his packs a lot more power, dealing in the now rather than the past."
Mojo (Publisher) (p.104) - 4 stars out of 5 - "
Can't Stop A Man: The Best Of Beres Hammond CD
by Beres Hammond
Our Price: $19.59 CD
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Can't Stop a Man collects some of Beres Hammond's biggest Jamaican hits, beginning with his first, "One Step Ahead" from 1976, a song produced
by Willie Lindo. Moving chronologically through to 2003's sweet and infectious "Dancehall Vibes," which features Big
Youth and is one of the highlights here, this two-disc set is a wonderful introduction to this woefully underappreciated singer and writer.
With a voice that combines Marvin Gaye's subtle phrasing, Sam Cooke's easy charm, and the soulful power of a David Ruffin, Hammond has a
talent for graceful, easy-flowing lovers rock, but he has also effortlessly managed to work light dancehall and hip-hop elements into his
work, giving him an uncommon longevity in the ever-shifting sea of styles that is the trademark of Jamaican music. Key tracks here include
"Last War," "Who Say" (with Buju Banton),"Sugar You Want," and "Rockaway," a fond reminiscence of the island's roots era. Lovingly packaged,
Can't Stop a Man includes track-by-track annotation and discussion. ~ Steve Leggett
Recorded between 1976 & 2002. Includes liner notes by Rob Kenner.
Personnel: Beres Hammond, U-Roy, Zap Pow, Buju Banton, Marcia Griffiths, Big Youth.
Producers include: Willie Lindo, Joe Gibbs, Zap Pow, Beres Hammond, Donovan Germain.
Looking For The Perfect Beat 1980-1985 CD
by Afrika Bambaataa
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Contains an untitled hidden track at the end of all the tracks.
One of the great pioneers of hip-hop and contemporary dance music, Afrika Bambaataa made a contribution to the evolution of urban music
that cannot be overestimated. With his innovative blend of funk, European electronica, turntable wizardry, and party-style,
tag-team rapping (Bambaataa often invited groups of MCs to grace his tracks, such as the Jazzy 5 ["Jazzy Sensation"] and Soul
Sonic Force ["Zulu Nation Throwdown"]), Bambaataa's cutting edge sound has influenced contemporary rap, rock, and electronica.
LOOKING FOR THE PERFECT BEAT 1980-1985 collects Bambaataa's most defining moments, including "Planet Rock" (with its synth line
taken directly from Kraftwerk's "Trans Europe Express"), and his collaboration with James Brown, "Unity Pt. 1."
While some critics often accuse Bambaataa's music of sounding dated, his heady, danceable anthems--coming as they did at a time
when hip-hop was still defining itself-- sound surprisingly fresh. In their ambition they manage to encompass Bronx block parties,
tribal call-and-response, and space-age forays. Moreover, the genre-bending ethos and call to higher consciousness that drives
these creations (an ethos later adopted by Native Tongue acts like De La Soul and Tribe Called Quest) is boldly affirmative and,
like the music that contains it, inspiring.
Ably captures his dance-floor magnetism....combining funky drums, stinging clap slaps and vocoded chants into beats that truly don't stop..."
Collie Buddz CD
by Collie Buddz
Our Price: $7.59 CD / $9.99 MP3
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The self-titled debut from Jamaican dancehall singer Collie Buddz makes good on the promise of his smash-hit single "Come Around."
A bouncy, catchy, feel-good ode to the powers of herbal intoxicants, "Come Around" rattled the charts in Europe,the U.S., and his homeland,
earning plenty of pre-album buzz. While purists may take issue with the singer's cavalier genre-mixing and commercially oriented sensibility
(there are heavy overtones of hip-hop, reggaeton, and straight pop throughout), Buddz turns in a very convincing first effort, one that mixes
island flavor with urban accessibility in just the right way.
Audio Mixers: Collie Buddz; Claude "Weakhand" Reynolds; Brian Stanley .
Spin (p.127) - 4 stars out of 5 -- "He has mastered hardcore dancehall chatting, lover's rock crooning, and Rasta chanting. There's even a sweet soca tune..."
Entertainment Weekly (p.67) - "The results are insightful, lustful, streetwise, and perfect for summer block parties." -- Grade: B+
Til Shiloh... CD
by Buju Banton
Our Price: $10.45 CD / $9.99 MP3
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It was not pure ego that led Buju Banton to title his 1993 album VOICE OF JAMAICA; his unique voice is a gruff, melodic
instrument, and his lyrics are precise. He built his career on controversial hits and slacker anthems, but has since helped
spearhead a movement to swing reggae's pendulum away from sex and violence, back towards conscious lyrics and Rastafarian themes.
On `TIL SHILOH, the voice of Jamaica has visibly evolved.
>
Buju's strength is his ability to create hooks that buoy the weight of his
words. The choruses of singles like "Murderer," "I Wanna Be Loved" and "Champion" drill themselves into your head and nest there
for days. 'TIL SHILOH is also one of the most experimental dancehall releases ever, utilizing an a capella intro, a track built
out of African chanting and percussion ("'Til I'm Laid To Rest"), and a song featuring an acoustic guitar ("Untold Stories"). A
duet with the late Garnett Silk ("Complaint") provides a nice respite from Banton's trademark growl. For the most part, Buju and
executive producer Donovan Germain steer clear of pandering to cross-over audiences, choosing instead to rely on innovative rhythms
and Banton's natural pop sensibilities to win over listeners.
After the completion of Voice of Jamaica, two of the Banton's friends were killed; their murders prompting him to re-evaluate his
own life, leading to his conversion to Rastafarianism, and bringing to an end his glorification of the gun. These life-changing
events are reflected throughout much of 'Til Shiloh, which proves a much more introspective set than anything heard from Banton before.
Gangsta For Life/The Symphony Of David Brooks CD
by Mavado
Our Price: $9.59 CD / $9.99 MP3
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Personnel: Kemar "L. Genius" Brown, Renece "Splash" Chong, Michael "Biggs" Burbridge, Dudley "Grincha" Excell, Nicole "Nikki Z" Duhaney
(vocals, spoken vocals); Donald Stewart, Neil "Diamond" Edwards (vocals); Donald Stewart, Neil 'Diamond' Edwards, Stephen 'Di
Genius' McGregor (spoken vocals); Dalton Browne (guitar, guitars); Bobby "Digital" Dixon, Bobby Digital (percussion); Alaine
Laughton, Geoffrey Star, Lisa Star, Sherieta Lewis, Karene Brown, Rochelle Star, Thamar Williams, Sheldon Palmer (background vocals);
Paul "Wrong Move" Crossdale (keyboards); Kirk Bennett (drums); Arthur Simms (percussion); Jammy 'Jam 2' James, Collin "Demarco" Edwards,
Trevor 'Baby G.' James, Craig Harrisingh.
Spin (p.134) - 3.5 stars out of 5 -- "[H]e has a nihilistic half-sung, half-chatted flow...that transforms brutally boastful lyrics
like 'they fear me' and 'marrow will fly' into mournful, hypnotic laments."
Uncut (p.109) - 4 stars out of 5 -- "[H]is alternately brittle and bombastic voice thrills as frequently as the subject matter menaces."
Vibe (p.130) -
"In the tradition of rude-boy singers like Junior Reid, Pinchers, and Tenor Saw, Mavado brings an utterly original
vocal style, which carries his album to great heights."
Best Of Eek-A-Mouse CD
by Eek-A-Mouse
Our Price: $14.55 CD
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A well-chosen compilation of Eek a Mouse's most popular '80s hits, The Very Best of Eek a Mouse is a solid set of early dancehall
favorites, all of them built on the performer's pioneering "singjay" style -- not quite toasting, but not justsinging, either --
and his utterly unique vocal talents, foremost being an inimitable high-pitched voice which found him elongating words with mock-
Asian dialect and peculiar chants like "biddy beng beng" (a chant so identified with Eek a Mouse that it's printed on the cover of
this album), like some kind of Jamaican Slim Galliard.
Hits here include the spooky "Terrorists in the City," the sly humor and
social commentary of "Anaerexol" and "Star, Daily News or Gleaner," and of course his 1982 breakthrough hit, "Wa-Do-Dem." All are
essential, and there's little fat among the remaining tracks as well.
This and the follow-up second volume are essential for fans
and newcomers alike. ~ Stewart Mason
Early Years (90-95) CD
by Buju Banton
Our Price: $9.69 CD
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Or more accurately "Buju Banton: The Penthouse Years," for this compilation rounds up a robust crop of singles all cut at Penthouse studio.
Obviously then, much of this compilation was overseen by Penthouse label head Donovan Germain himself or by his protégé, Dave Kelly,
with another student, Bobby Digital, putting a hand in, while a Sly Dunbar production and a Winston Riley one complete this fulsome
set. Banton's breakout year in Jamaica was 1991, and from that date on the hits flooded out nonstop. Even the uproar that followed
the release of the homophobic "Boom Bye Bye" in 1992 barely stemmed the tide. The following year, the DJ inked a deal with Mercury
and unleashed Voice of Jamaica in the States, but it was his switch to culture with 1995's 'Til Shiloh that opened the door to a wider
public. That shift in direction was heralded by Banton's 1993 masterpiece, "Murderer," but you'd never note that change from this set,
which doesn't contain a single cultural track within. This is a pure party album, filled with ragga anthems dedicated to the dance,
the chase, and women's most striking attributes.
The themes
may be well trodden, but Banton gives them all a freshness, and whether he's romantic, admiring, overcome with desire, or just
nice-ing up the dance, the DJ's quick tongue and utterly convincing delivery made him (and keep him) a dancehall hero. There
are a few notable omissions -- his Penthouse debut, "Man Fi Dead," and the huge hits "Love Mi Brownie" and "Yardie" all spring
immediately to mind. But you do get such smashes as "Bogle," "Good Looking Gal," the awesome "Batty Rider," and the controversial
"Boom." There isn't a weak track within and the rhythms are all top-notch, sizzling dancehall raggas laid down by the likes of
Steely & Clevie, the Firehouse Crew, Danny Browne, and Kelly and Digital themselves. Relive the magic of Banton at his bad-boy best. ~ Jo-Ann Greene
"...Banton ruled the Jamaican dancehall and even made some headway in the US. These songs are the foundation
of a career that's still going strong..."
Links to all the Dance Music CD's. Linked by Style.
[Dance-Top Sellers]
[Dance-Classical]
[Dance-Raggea]
[Dance-Disco]
[Dance-Gold Disco]
[Dance-Line Dance]
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