Conquering Lion - Code Red - X Project Records - 1994 скачать в хорошем качестве

Conquering Lion - Code Red - X Project Records - 1994

1994 - Conquering Lion with 'Code Red' on the X Project record label. This was one of the biggest tunes at Notting Hill Carnival that year, as well as being pretty much on repeat rewinds at sound systems held at Bagleys and Roller Express, and no doubt other Junglist raves up and down the country. Mike West aka Rebel MC mixing up Super Cat and Barrington Levy to an absolute perfect four and half minute jump up. Rebel MC had originally come to Southern Record Distribution when we were based in Wood Green N22 during the dawn of the nineties punting his record label Tribal Bass which was, after some paperwork was completed, distributed by SRD. On the roster were the Demon Boyz from the bad-lands around the Northumberland Park estate in Tottenham, Peter Hunningale, Kicks Like A Mule (SRD got KLAM into the UK national charts with 'The Bouncer') Tenor Fly and the Blapps Posse. The lovely Tami from Tribal Bass was fantastic, and went on to work for SRD in the telesales department for a little while, bless her. When Mike brought a few boxes of white labels of this record 'Code Red' to SRD (which had by that time moved to Tottenham N15) stamping all the titles onto the blank labels with his young son, we all felt that this was the record of the year, in Junglist circles at least. The text below from Resident Advisor blog. Mikail Tafari aka Congo Natty aka Conquering Lion aka X Project aka Rebel MC, then just plain Michael West, grew up in Tottenham. His father came from Kingston, Jamaica, his mother from Wales. He didn't even know that this was unusual until he started at school and someone commented that his mother was white. Looking back, before that he didn't really know what race was or was meant to represent. Music was an ever-present, not just from his parents, but all around him. He first DJed at a party aged ten, when the DJ got “lean up” and he had to take over. He got a pound for his troubles and felt puffed up with the praise. The local youth club, Trojan, invited sound systems in every Friday for a dance and every Friday he was there. Before he was twenty he and some friends started their own sound system, Beat Freak, playing hip hop, reggae and the house records that were just starting to penetrate the streets of London from Chicago and New York. Playing out with the sound led Rebel to record. It was this urge to spend more time in a studio that led him to Double Trouble. He was flicking through a music magazine looking for somewhere cheap to record and he came across a place in New Cross that was only £5 an hour. It was Double Trouble’s studio. He started working out of there and, at some point, they all decided to collaborate. The results were “Just Keep Rockin’” and “Street Tuff.” “They were still kinda hard tunes. They were breakbeats with reggae samples and everything. They weren’t started off as being pop tunes. We done the tune and then they were floating around for about a year. We’d started recording other stuff, still growing and moving. Then all of a sudden there was a label that was interested.” With the albums “Black Meaning Good” and “Word Sound And Power,” and the single “Tribal Base” he was already marking out the roots of what would become Jungle. He started and ran a series of labels, Tribal Bass, then X Project, then eventually Congo Natty, from which came some of the defining releases of the day. “There was a revolution of self. Artists realised they could do it better than the labels. Because the labels were blind right then. Every ten or fifteen years you get to that point with the labels where they’re out of touch. I started my label X Project – without no name – cos I didn’t want people knowing it was me. Because once they know it’s you, ‘Oh, it’s Rebel MC, it’s Street Tuff innit?’ Without that it’s free. You’re free.” From ’92 to ’94 he and others developed Jungle into the defining sound of the era, one which musicians are still coming to terms with to this day. Jungle took the bass of roots and dub reggae and reinvented it. “Jungle carries a sonic that is so mystical that if you entered a dance in 1994 you went through a portal. And you were there, in the zone. B-line, unadulterated b-line. Jungle came with this frequency that shocked everything in British music.” For Tafari, “Jungle was a revolution. Jungle was the first time we’d got our own music, our own way of talking, our own way of dressing. Everything. And it’s from this fusion of British, African, Indian, Jamaican, Chinese – this melting pot. And that’s Jungle music.” But, like all revolutions, the powers that be wanted it shut down. Its high water mark was, in Rebel’s own judgement, the Notting Hill Carnival of 1994. “I saw what Jungle did at Carnival. The vibration got so hyped until it just went crazy. The frequency got so powerful. And that’s why Jungle got the fight it did. How did we go from that to drum and bass? Jungle is like a mirror that was broken into many, many pieces.”