#Diwali Riddim

[withbellzon]

Nollywood Shuffle

“In The Morning” x Odunsi The Engine

#nollywood shuffle #odunsi the engine #in the morning #nollywood #vibes #afrobeats #alté #afropop #diwali riddim #african #nigerian #lagos #nigeria #naija #odunsi #my uploads #withbellzon

[curryvillain]

OLDIES SUDAY: @Wayne_Marshall - Overcome (2002)

True true true, wooooo. For today’s Oldies Sunday, we highlight a Jamaican Artist who was recently awarded the Order of Distinction at the National Heroes’ Day ceremony on Heroes Day (October 16). His name is Wayne Mitchell, but we know him as Wayne Marshall, and we feature his single, “Overcome“. Produced by Lenky Marsden on the “Diwali Riddim” and released through 40/40 Productions in 2002,…

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#13thstreetpromo #13thstreetpromotions #2002 #40/40 Productions #blog #dancehall #dancehall music #Diwali Riddim #jamaica #jamaican #Lenky Marsden #Marshall Law #music #Overcome #riddim #Wayne Marshall #Wayne Mitchell OD #wordpress

[havatabanca]

#happy deepavali #happy diwali #happy divali #divali riddim #dancehall music #caribbean #shubh divali #jamaica #guyana #trinidad & tobago

[kemetic-dreams]

In Jamaican dancehall music, a riddim is the instrumental accompaniment to a song and is synonymous with the rhythm section. Jamaican music genres that use the term consist of the riddim plus the voicing (vocal part) sung by the deejay. A given riddim, if popular, may be used in dozens—or even hundreds—of songs, not only in recordings but also in live performances.

Since the 1970s, riddims have accompanied reggae music and through the 1980s, more widely known as dancehall. As seen in dancehall music, there is a voicing part – sung by the DJ – over some riddim that has probably been widely used in many other songs. There is a unique establishment in the combination of riddims and voicing.

By 1993, Jamaica finally established a copyright act, but producers still face difficulty in establishing profit. Through proper registration, many artists now work on negotiating their royalties and taking it more seriously. The unique nature of dancehall and riddims have been highly influential on the numerous remixes that now circulate throughout R&B and hip-hop music.

Some classic riddims, such as "Nanny Goat" and "Real Rock" both produced by Clement "Coxsone" Dodd, are essentially the accompaniment tracks of the original 1960s reggae songs with those names. Since the 1980s, however, riddims started to be originally composed by producers/beatmakers, who give the riddims original names and, typically, contract artists to voice over them. Thus, for example, "Diwali" is the name not of a song, but of a riddim created by Steven "Lenky" Marsden, subsequently used as the basis for several songs, such as Sean Paul's "Get Busy" and Bounty Killer's "Sufferer."

"Riddims are the primary musical building blocks of Jamaican popular songs.... At any given time, ten to fifteen riddims are widely used in dancehall recordings, but only two or three of these are the now ting (i.e., the latest riddims that everyone must record over if they want to get them played in the dance or on radio).... In dancehall performing, those whose timing is right on top of the rhythm are said to be riding di riddim.

The bass culture of Jamaican sonic sensibilities is characterized with less emphasis on melody and large emphasis on the drum beats and low frequency bass vibrations to draw attention to the social grounding to the culture. These aspects of Jamaican music are expressed visually through the Dancehall choreography and its African inspired folk traditions, which emphasize earthly connection through flat-footed stamping and “bumper-grinding sexually explicit choreography, where the bass note is struck by the body itself—displaying its fecundity and celebrating its fertility”. This bass culture is also embodied sonically by the music's heartbeat, the bass lines often described as riddims, produced in the late 1960s and early 1970s. These riddims offer a sonic foundation on top of which different other sounds are incorporated to form innumerable versions.

African in origin (see clave (rhythm) and bell pattern), riddims can generally be categorized into three types. One of the oldest types of riddim is the classical riddim providing roots reggae, dub, and lovers rock with instrumentals, such as Bam Bam, produced by Sly & Robbie. The second type is the ragga riddim backing raggamuffin and dancehall songs, such as the Juice riddim, produced by Richard "Shams" Browne. The third type is the digital riddim, such as Sleng Teng, Punaany Riddim & Duck Riddim produced by King Jammy.

A number of riddims take their name and influence from African-Jamaican religious drumming such as the Kumina riddim, created in 2002 by Sly and Robbie, and Burru.

#african #afrakan #kemetic dreams #africans #brown skin #brownskin #afrakans #african culture #afrakan spirituality #african music #riddim #burru #african jamaican #jamaican #jamaica #jamaican music #rastafari #rasta #rastaman #rasta love #dancing rasta

[sanjayjadhaw64-blog]

#Spotify

[chloeworships]

NOW…

Some good news

I woke up this morning and heard a beat… then I heard

“Rise To The Occasion”

This is a song my Sizzla that I love. This song confirms the message we got earlier about not being able to stop you. I am sharing the lyrics and the song as I was guided to.

What’s crazyyyyyyyy is the cover of the remix combined with other popular songs by Sizzla. Recall the LORD showed us “Name Noms” in his writing on lined paper.

😱🤯😎

https://youtu.be/yZOmRjo_Z7c?si=j1NgWnfixAbhvhrW

Also the number 11

This message is for several of you 💌

I wanted to highlight the fact the LORD allowed me to hear the beat aka the riddim which is important to whoever this message is for. Why? Producers in Jamaica 🇯🇲 are often as BIG as their artists. Idk if dancehall still features several artists on one riddim but I know growing up that’s what reggae was like. DJ’s clashed on the same riddim to see who was better. It’s a hallmark of reggae that sets it apart from any other music I know.

Pray about this message for the LORD will confirm if it’s for you.

I have another message about music coming up soon as well. Bear with me.

PS. Also heard

“They can’t stop the King” 👀🤩

Go ahead with your plans babes. You have God’s approval ✅

The time is NOW‼️ticktock ⏰

PS. I am now hearing the Diwali riddim 🤩🎶💃🏾

This means something to whoever this message is from. Perhaps you are from India 🇮🇳 or have Indian roots like me!!! Or from Jamaica as well 🇯🇲 Could be from Trinidad 🇹🇹

Here is a popular song by renowned artist Sean Paul that went viral INTERNATIONALLY and the video was made in Brampton. Someone is about to blow up.

This brings back so many good memories… HOUSEPARTY.

Sean Paul was one of those reggae artists that infiltrated all genres and worked with a number of American artists. He was BIG and still is an absolute legend 🎶🇯🇲🙌🏾 Let me give him his flowers 💐

#THEY CANT STOP YOU #TIME TO ACT #RISE TO THE OCCASION #PM’s #MUSICIANS #Youtube #THE WHIP #Riddim makers #producers #lyrics 🎶 #French #THE TIME IS NOW‼️ #BUILDING HOUSE #MAD HOUSE 🎶

[canmking]

Favorite album or song from 2003 ?

Man, these questions always make me squirm 😂

Hmm…

I’d say the Diwali Riddim…

Responsible for Sean Paul, Wayne Wonder, Brick & Lace and countless others.

#canmking #answering asks

[rogueish]

You might have thought that Beyoncé's Renaissance would have led to a surge of house&B, but sadly as far as I can see it hasn't. Honourable exceptions include George Riley's "Elixir" and to some extent Victoria Monét's "Alright" (which is great but at the less housey end of Kaytranada's production).

I appreciate Tink's consistent output of eye-wateringly filthy bangers. Lauren Jauregui's "All in my Feelings" is very Diwali riddim adjacent, while Summer Banton's "Be My Guest" is not so much turn-of-the-century R&B adjacent as superimposed.

#George Riley #Elixir #Victoria Monét #Alright #Tink #Tongue Tied #Lauren Jauregui #All in my Feelings #Summer Banton #Be my Guest #advent calendar

[toopainterface]

Nicki Minaj Previews New Song, Which Samples The ‘Diwali’ Riddim

https://www.dancehallmag.com/2023/02/23/news/nicki-minaj-previews-new-song-which-samples-the-diwali-riddim.html Store Music is fun

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[sinceileftyoublog]

Ray BLK Album Review: Access Denied

(Island)

BY JORDAN MAINZER

For Ray BLK, pride and honesty go hand in hand. The British Nigerian singer-songwriter finally just released her debut studio album Access Denied, written and recorded during COVID-19 lockdown following years of self-releasing. Like on songs from her debut mixtape Havisham and mini-albums Durt and Empress, she details not just her insecurities and desires but how she’s worked to overcome and address them, respectively, all with self-assured and effortless sounding performance. “When I was younger, wanted to be the Black Madonna on stage,” she admits on opener “BLK MADONNA”, then clarifying, “But now that I’m older I can do anything I wanna.” Being herself isn’t just bucking the trends that show little representation for Black women in the music industry--it’s succeeding on top of that. “Weave laid, getting paid, slay in my lane,” Ray declares, proclaiming, “Every time I be on stage, they go ballistic.”

On Access Denied, Ray works with some of the biggest grime and R&B artists in the UK and provides a platform for up-and-comers. Growing up around grime in South London but decidedly not making grime rap, she’s always taken the most powerful aspects of the genre--hard-hitting beats, sociopolitical critiques, economic braggadocio--and molded them to her own style. She often sings like a rapper, occasionally in triplets, almost always over skittering beats or whipping snares. Early single “Lovesick” is bruising in theme, Ray taking control of her own agency after leaving a bad relationship, but chill in its flow. On the shuffling “Smoke”, she continues the sentiment of “BLK MADONNA”, able to do whatever she wants in music despite whatever others try to throw at her, statistical anomalies or role-based put-downs. The title track refers to her not allowing someone to ruin her newfound sense of self-care; that it starts with lo-fi chipmunked soul into synth bass before her trademark singing takes over is exemplary of Ray’s ability to conquer trends new and old.

Ray’s embrace of sexuality and womanhood comprise some of the best tracks on Access Denied, from her hilarious kiss-off of an unfaithful partner in “Lauren’s Skit” to “toxic sex” anthem “If I Die”. “You about to catch an essay,” she warns a ghosting partner on the latter, horny as hell. Best, to Ray, the dancefloor is both a place to express yourself and cathartically process things. On “Go-go Girl”, it’s Suburban Plaza giving Ray those strip club affirmations, “You earned that money, spend it...Don’t matter if they offended,” they chant before Ray’s powerful flow takes over. (“I’m the subject to their envy / Skin browner than this Henny / Ride him out like a Bentley,” she shouts.) On closer “Over You”, meanwhile, she declares to an ex, “I’m getting over you,” while on and perhaps because of the dancefloor, the song’s Diwali Riddim (specifically “Never Leave You (Uh Oooh, Uh Oooh)” by Lumidee) sample suggesting a crowd behind her, supporting her every step of the way.

What’s ultimately stunning about Access Denied is that Ray takes the pressure she’s under--some self-imposed, as on “25″, and some external, like on “Smoke”--and uses it to her advantage. “I try to redefine the hurt that made me hold my pride,” she sings on “Dark Skinned”, a perfect summation of the record. Over an upbeat snare bounce, she expresses pride in being a woman and pride in being Black and truly cements a strong sense of self.

#album review #ray blk #access denied #island #havisham #durt #empress #madonna #suburban plaza #lumidee #diwali riddim

[gullagulla]

#music #diwali riddim

[channelwavy]

Samples: Lenky – “Diwali Riddim”

Mabel teams up with rapper Kojo Funds for new single “Finders Keepers”, which samples Lenky’s “Diwali Riddim”, a track that was everywhere from Sean Paul’s “Get Busy” to Lumidee’s “Never Leave You” in the early 00s.

#mabel finders keepers feat. kojo funds #mabel #mabel mcvey #kojo funds #r&b #R&B/Soul #audio #midtempo #malaga #spain #stockholm #sweden #lenky #diwali riddim #samples #2017 #polydor #singers #music blogs #r&b music blogs #urban music blogs #uk music blogs #uk bloggers #newmusicfriday #new music friday #youtube #channel wavy #waves #www.channelwavy.com #london

[curryvillain]

OLDIES SUNDAY: Danny English Ft. Egg Nogg - Party Time (2002)

Closing off the month of July on Oldies Sunday, and we’re celebrating Summer! For today’s selection, we go back to a time before Social Media, when “Peanut” cellphones were the rage, and the Riddims became instant hits. We go back to the early 2000s with Danny English and Egg Nogg’s “Party Time“. Produced by “Lenky” Marsden on the “Diwali Riddim” and released through the 40/40 Label in 2002,…

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#13thstreetpromo #13thstreetpromotions #2002 #blog #dancehall #dancehall music #Danny English #Diwali Riddim #Egg Nogg #jamaica #jamaican #Lenky Marsden #music #Old School #Oldies #Oldies Sunday #Party Time #riddim #Summer #wordpress

[omg-casualbeardstudent]

CrAYneSS by NarTanYan https://ift.tt/3moAsex

#IFTTT #SoundCloud #Rap #Raw #Instrumental #Trap #Riddim #Gangsta #Diwali #Pop #Edm #Drop #Drumstep

[suprchnk]

shoutout diwali riddim

[thesinglesjukebox]

CHARLI XCX FT. LIZZO - BLAME IT ON YOUR LOVE [6.18] Blame it on your love, makes me... wanna shove?

Leah Isobel: "Blame It On Your Love" has been floating around the internet in some form since 2016 -- either its anemic leaked demo, the still-spectacular "Track 10," or one of the many fan mashups of the two. What the final single release has over the other versions is polish and physicality. EASYFUN's magic touch transforms the once-anemic drop into a bruiser, high and low frequencies pinging through the mix like coins in a blender, while the Diwali beat gives the track forward momentum. Charli's vocal, meanwhile, isn't abrasive like on "1999" or most of Pop 2; she approaches the track with a catch in her throat, words spilling out before she can stop them. You can sense traces of "Track 10"'s vaporous, venomous self-loathing, but this version works because it's sung by a girl who doesn't hate herself. She accepts responsibility and the possibility of redemption; when the drop lengthens after the second chorus, threatening to overtake the track, Lizzo bursts in to talk her down, and the song lights up in response. The transmutation of pain and suffering into communal celebration is what makes pop pop. Here, finally, Charli learns alchemy. [8]

Crystal Leww: "Blame It On Your Love" is doomed to be compared to "Track 10," the much-beloved track at the end of the Pop 2 mixtape. "Blame It On Your Love" is the better song, with its bright, polished production and a guest verse by Critical It Girl Lizzo. But Charli doomed this song's chances by debuting the songwriting on something so raw, intimate, and quiet. "Track 10" is always going to be what I hear when I feel this kind of heartbreak. [7]

Alfred Soto: The story of Charli XCX since 2014 is a strong hook-writing talent suppressed by her tendency to quash those hooks with guests and production gewgaws. "Blame It On Your Love" is no different -- its title suggests the tragedy. [4]

Tobi Tella: I thought Pop 2 was sometimes overwhelmingly weird, but this is much more accessible and still keeps Charli's signature spirit. However, even when Pop 2 got too weird, it came from a place of artistic experimentation, and this just...doesn't. It's certainly fun and bouncy with a fine throwaway verse from Lizzo, but it's a watered-down version of an already released song. [6]

Abdullah Siddiqui: This does annoy me on premise. You can't just take the avant out of an avant-pop masterpiece like Track 10. But we're still left with a -pop masterpiece. Sue me, it's Lizzo on a PC production, we're lucky I didn't implode. [9]

Nortey Dowuona: Lumpy, sloping bass smacks against the thudding drums, then switches to swirling synths, warm bass loops, and a 2014 Flume breakdown out of nowhere. Charli XCX lies above, throwing darts down to Lizzo, who catches them, turns them to origami swans and sends them back up to Charli, who crushes them with her watery croon. [5]

Will Adams: I never warmed to the abrasive soundscapes of "Track 10" or its parent album, but how is this a better alternative? Between turning the central line -- devastated, broken, rendered numb through AutoTune -- into a peppy shout-along, the incongruent Diwali riddim, horn blares from any EDM festival of yesteryear, and Lizzo tacked on for no other reason than clicks, every choice here seems designed to transform sincerity into cynicism. [3]

Katherine St Asaph: You ever re-listen to True Romance lately and mourn what could have been? [4]

Taylor Alatorre: I'm terrible at predicting future chart performance, but this sounds like it could be Charli's first mainstream U.S. hit since "Boom Clap." If not, it was certainly engineered for that purpose. I prefer Life Sim's chirpy arpeggios to Stargate's synthesized horn stabs, but the messy emotional center of "Track 10" is still there, which overrides any mere aesthetic preferences. Lizzo keeps her official presence to a minimum while still seeming to bend reality around her; the percussive beat sounds like it was made for her even if she does more background ad-libbing than rapping over it. [7]

Vikram Joseph: "Track 10" felt like a tape unravelling, all of Pop 2's tumultuous energy combusting inwards in a magnificent entropic death-spiral. Makes sense that the wreckage would spawn a gleaming pop automaton; where "Track 10" lost itself in cosmic chaos, "Blame It On Your Love" is a rocket fired directly at the sun. The fact that it loses little of Charli XCX's dangerous intensity in transition is a credit to both the production and the strength of the chorus; even the EDM spasms in the post-chorus feel gripping, and there's no doubt it'll start fires on dancefloors this summer. Lizzo's cameo feels like a hype-gathering afterthought; it sounds copied and pasted in, and she hasn't been given anything of interest to say, but it's brief enough not to break the momentum too badly. [7]

Ian Mathers: At this point, both acts have the kind of fans, and enough shared fans, who are going to have sky-high expectations for any sort of collaboration. And there are factors that could easily lead to disappointment: Lizzo's very short guest verse, the fact that this is a re-shine of Charli's much less poppy but still incredible "Track 10." But you know what? "Track 10" didn't get deleted when this came out, what Lizzo is here is solidly satisfying, and it's still an incredible song. Whether it's more or less incredible than its source -- OK, have arguments about that, happy? [8]

[Read, comment and vote on The Singles Jukebox ]

#charli xcx #lizzo #music #new music #pop #pop music #music writing #music reviews