So tell us a bit about Akwaaba Music, how it got started, and the inspiration behind it.

I originally started Akwaaba for selfish reasons: to satisfy my DJ needs. I’d been DJing a lot in LA, and remembered tapes brought back by a friend from Ghana a couple of years back. The music was called hiplife, it was bouncy, it reminded me of dancehall or even reggaeton, but the vocals were much prettier, a lot of singing with a definite African touch. But I couldn’t find the music anywhere. At the time I was working for a digital music distributor, so I knew what it took to get music out there, and thought I could start working as a distributor specifically for dance music made in Africa. So I decided to pack my bags and go to Accra to see what artists were up to there, and why the music wasn’t reaching audiences outside of Ghana. It was just a test, I only spent 8 days in Accra. But in those 8 days I met scores of artists, and more importantly I realized that there was a lot of great music being produced there, but hardly any way for it to leave Ghana and its diaspora. I also realized there is no lack of talent in Africa, but there is a lack of structure around music, both equipment and training. By opening a dialogue through Akwaaba, I wanted to bring in money first, then feedback and knowledge to further enable African artists.

You’re soon headed to Africa for 5 weeks. What’s your destination and what’s the goal of this trip?

This trip is a bit different from my previous scouting trips. The goal this time is to identify local partners to take Akwaaba’s mission further: so far we have only licensed existing releases, but moving forward we want to equip studios and train staff. What we’re realizing more and more is that money is not the only issue for musicians and sound engineers in Africa. There is also a severe lack of training: no music schools and no sound engineering schools. In the West youtube can partially make up for this via its thousands of tutorials, but in most countries in Africa access to youtube is scarce. Every engineer we speak to complains that the artists don’t work hard enough, but the artists have no guidelines, no teachers, often not even mentors to point them in the right direction.

Historically, Western producers have taken African artists to Europe to do the training, surrounded by Western staff. Today still, we hear cultural institutions complaining about the lack of professionalization in Africa. They still prefer to send the most talented artists to Paris or London to record and tour, not putting any time or money to improve the situation in Africa.

This is not enough. We’re going back to Africa to chip in our 5 cents to improve the situation, but also to document it and show the world what artists and studio guys are saying: we’re going with a proper film crew to shoot these artists, shoot the studios and hear what they have to say.

So what is your favorite recording studio in Africa ?

It’s not the fanciest, but I enjoyed hanging out at DJ Fofu and DJ Stan’s minuscule studio in Luanda. What appealed to me most was not necessarily what went on inside the studio: it was outside, seeing young kids waiting in line from 8am til 10pm, just like at a doctor’s office, waiting for their 30 minutes to lay down their raps on one of Fofu’s or Stan’s beats. All these kids are so pumped up, this is their big break, their big chance, some of them saved up for a loooong time to get $50 or $100 together to record a couple of tracks. It’s exciting to be there right as the music is being made.

Alright, so what is your top African song from 2010 (so far)?

I really like the Ashawo remix, a collaboration between Flavour (Nigeria) and Stone of Bradez (Ghana). It’s the very first song in my 53 for Ghana mix.

And your favorite new african music video?

“Big Nelo feat Vagabanda – “Surra” (directed by Ho Chi Fu):

I spent most of my days in Luanda in the neighborhood where this video was shot, and find that video pretty magical: Ho Chi picked the spot, and that was basically it, every person you see in the video showed up to support their local heroes, no extras, no rehearsal, it’s all raw energy. It’s very rare to see videos from Africa which depict the ghetto as it is, most countries and genres focus on the bling. But kuduro still has that raweness, it still celebrates the streets, it doesn’t fake it.

You have called your Akwaaba Music a “fair label.” What does this mean and why is it important to you?

There is a history of screwing artists throughout the music industry, and especially in Africa. I think that is one big reason for people’s disinterest and mistrust in the industry as a whole. I also think modern distribution allows for a more equitable business model. So finally it is possible to not only do things right and pay the artist correctly, but to also be transparent about it. It’s hard for me to understand why anyone would not work this way.

Our model has nothing revolutionary about it, it’s simple: we split our profits 50-50 with licensees, and sign directly with the artist whenever we can. 2 years into it this split still makes it very hard for us to cover our costs, and it is not making us very popular among peers, who hardly ever offer such a good deal to artists, yet barely scrape by themselves. But we’re sticking to it! And I hope a couple more years from now we’ll be able to offer the same deal and participate much more actively in the production process, as discussed earlier.

Do you find the Western markets to be receptive to your artists?

I think for a long time African Americans have kept a much stronger musical tradition for a simple reason: because they were kept illiterate for so long, because they were kept away from schools for so long, they kept a much stronger emphasis on their traditional oral traditions. Music played a much stronger role than it did among other American minorities. The music is more important, dancing is more important, so there is more of both, and it is quite good! The same is true in Africa, which still carries mainly oral traditions. Music there is fundamental to any social gathering or celebration.

Today music in Africa is heavily influenced by foreign sounds. While many choose to complain about it, I think it needs to be embraced: African culture is alive, it is evolving, and more importantly it is up to Africans to create what they want. I’m not saying “Kill the folklore!”, much work needs to be implemented to allow for it to survive, but as far as the mainstream African sound goes, it’s changing, and becoming more palatable to Western audiences. I think there is potential for African pop music to take over global airwaves, much as African Americans have taken over a large chunk of American pop music.

We’ve all heard of kuduro and hiplife by now, but is there any new music movement to look out for?

If you know about hiplife and kuduro, you probably know about kwaito as well, from South Africa. Well as it turns out, there is an incredibly lively scene now in South Africa, incorporating elements from kwaito, from electro, and from… I’m not sure where, space?! Cats like Spoek Mathambo, Dirty Paraffin… great sound really, keep your eyes peeled!

You’re based in L.A. now and will soon be making the move to N.Y. Both of these places are no where near your talent, yet you’ve had great success in bringing African music to the US.  What gives?

The US is almost a virgin territory! I don’t mean to undermine the efforts of the numerous labels and world music heads who came before me, but there is much to do in the US, where 99% of the population has never listened to music from Africa. People are particularly ignorant about Africa, which makes it that much easier to show them something new. I let the music do the talking, I just make sure it’s where it needs to be for people to hear it.

It’s becoming more and more apparent that music has a digital future. How do you deal with the low connectivity and other technological challenges that come hand-in-hand when working with and within Africa?

Cell phones are prevalent throughout most of Africa, and data networks are becoming increasingly common. I work with one studio in Botswana that has a blackberry phone, so we can chat for free virtually any time. Big uploads and downloads there are still tricky, because broadband is still financially out of reach for most. But that is why I am interested in developing closer partnerships with local studios, I want to pay for their internet, or better yet find sponsors to do so.

In addition to your favorite song of 2010, name five tracks from your label that I must listen to. Go.

Mamou Sidibé – Mary
Rahmane Diallo – Sira
Just A Band – Huff + Puff
Killamu – Melodia de Semba
Skeat – Dumelang

You’re currently hosting a Remix Contest for Akwaaba artist Jali Bakary Konteh. What are the benefits of setting up remix contests?

There are a few benefits… one is not chasing after remixers…!! There are many remixers I really like, but they’re not necessarily the ones feeling the song to remix the most. Doing a contest is a good way to filter the music through to people who REALLY like the song and REALLY want to remix it. And it adds an element of spontaneity and randomness, which I like, it keeps things fresh!
Remix contests are also a great way to get extra exposure for an artist. A bunch of blogs mention the contest, in this case a bunch new artists and producers are getting their hands on some original Gambian tracks, I’m assuming many don’t even know what a kora is, what a cool way to find out!

Note: The submission deadline has been extended to the end of May so get your mixes in!!
http://www.akwaabamusic.com/#/jali-bakary-konteh-combination-remix-contest/

So what’s next for Akwaaba music?

More of everything! With a network of studios in place, more music, more videos, more stories. We want to enable African creation as much as we can. More partnerships. Africa is unpredictable, and the digital media world is unpredictable, so despite what any business manager will tell you we should be doing, we’re going with the flow…!

http://fairtilizer.com/users/akwaabamusic
http://twitter.com/akwaabamusic
http://www.facebook.com/akwaabamusic
http://www.myspace.com/akwaabam
http://www.akwaabamusic.com/

[28.02.10 21:16:31] Olivier Rosset:Hello Aline, so who are u and where are u from?

[28.02.10 21:17:42] Aline Frazão: I’m Aline Frazão and I’m from Luanda, Angola.

[28.02.10 21:18:31] Olivier Rosset: How and when did you start playing and writing music?

[28.02.10 21:20:39] Aline Frazão: Well… despite of my age, it started long ago. I was 9 when I started singing in public, in some school events… I started with Fado, actually. Then some Bossa-nova and Cabo-verde’s traditional Mornas. At the age of 15 I started playing the guitar. That was when I wrote my first song. And it was a love song. hehehe first love, first song. Curiouse. =) And I started with some small concerts in a lot of places of Luanda, almost all of them related to my school activities.

[28.02.10 21:23:48] Olivier Rosset: Wow cool! Can you tell us a bit more about the music scene in angola?

[28.02.10 21:28:05] Aline Frazão: In this very moment everybody all around the world is getting crazy with Kuduru, this electronic dance music made in Luanda that Buraka Som Sistema brought to the world recently. But we’ve always been very… musical, we have a very musical culture. The traditional “Semba” and “Kizomba” never loose its fans and dancers. There is also a nice Hip-Hop sceene, some very good rappers. I think that the angolan music receives a big influence on one hand from Brazilian music and on the other ghand from the american Hip-Hop-MTV-Pop stuff. Ah, and there are some house/soul/chill-out DJ’s rising up too.

[28.02.10 21:35:45] Olivier Rosset: If you would have to pick up 5 albums to go live on a desert island, what would it be?

[28.02.10 21:35:58] Aline Frazão: Hmmm… let’s see:
“Elis&Tom” – Antonio Carlos Jobim and Elis regina
This Golden Album of Ella Fitzgerald
“Navega” of Mayra Andrade
Gal Costa Canta Tom Jobim (live)
and right now maybe Nneka “No Longer At Ease”
But that would be a very difficult choice! i’m sure tomorrow I’ll remember some other 5 albums I really like

[28.02.10 21:42:41] Olivier Rosset: 2 more questions?
[28.02.10 21:42:47] Aline Frazão: Sure! =)

[28.02.10 21:45:24] Olivier Rosset: I noticed that you are giving away for free some of your music.
[28.02.10 21:46:00] Olivier Rosset: How do you use & see the web today?

[28.02.10 21:47:47] Aline Frazão: Yes… nice question. I think we all agree that Internet is changing the way we deal with knowledge and culture and communication. As far as music is concearnd, well it allows us sharing it with a huge public everywhere in the world (except some countries like China hehehe). I find that possibility… just great.
Looks like a true democratization of Music, I mean… A response to this crazy music industry of the last century.
Me, as public, I think it’s great to have access to all of these artists through internet, listen or download albums free or paying what it worths. As a musician, as long as you respect and recognize authory, if you really like my music I’m happy if you can have it free. For me the most important thing is to play live

[28.02.10 21:56:01] Olivier Rosset: So what should we expect from a label today?

[28.02.10 21:56:24] Aline Frazão: . A label…
Well, I’m not an expert but I think that labels shoud adapt themselves to Internet and practise real prices, I mean…
I don’t mind buying a track or an album I really like, but it should not be overpriced (I don’t know if it exists). There should be more and more concerts live. I think we overrate the studio music.

[28.02.10 22:04:47] Aline Frazão: Muito obrigada.

[28.02.10 22:05:18] Olivier Rosset: De nada.

[28.02.10 22:05:31] Aline Frazão: And let me tell you, nice work with the web. It seems like it works really well (much better than MySpace!!!)

[28.02.10 22:07:47] Olivier Rosset: Thanx soooo much!
[28.02.10 22:07:54] Aline Frazão: You too! I’ll be waiting for it.
[28.02.10 22:08:07] Aline Frazão: Thank YOU*

Visit Aline Frazão Myspace

Visit Aline Frazão Fairtilizer profile

To celebrate the release of Donso’s debut album, Comet Records is very excited to announce the Donso remix project. Rules below:

In collaboration with the good folks at Fairtilizer, Novation and Ableton, Comet Records are offering the opportunity to remix “Mogoya”, a track taken from Donso’s album. A mesmerizing piece of modern Malian electro-pop featuring hypnotic synths, penetrating guitars and N’goni & Gedeon Diarra’s voice raising the hair on the back of your neck.

The band:

Donso (meaning “hunter” in Bambara) is the result of the collaboration of four talented musicians coming from France and Mali: Producer Pierre Antoine Grison (who also releases his own music on Ed Banger Records as Krazy Baldhead), malian vocalist Gedeon Papa Diarra, Guimba Kouyate on Guitars and Djele N’Goni (traditional malian string instruments), Thomas Guillaume on percussions and Donso N’Goni.
Also featured on the album are other top Malian musicians Ballake Sissoko on Kora and keyboardist Cheick Thidiane Seck.
Donso’s long awaited first album, out in June 2010 on Comet Records, is a well-rounded journey from the deep roots of Malian music to an exciting and melodic african electro-pop. Pierre-Antoine Grison, who produced the album in Paris along with one of France’s most talented sound engineers Lucas Chauviere, created a stunning blend that mixes traditional music from Mali with a fresh and modern sound that truly belongs to the 21st century.

The rules:

1. Listen to the original track

2. Download the remix parts to Mogoya here.

3. Remix the track into your chosen style. All genres are welcome.

4. Send your remix via Comet’s dropbox:

5. All remixes must be submitted as high quality 320kbs MP3s.

6. Submissions will be closed on April 20th.

7. Remixes using uncleared samples will be disqualified. An uncleared sample is a musical work, loop or sample that you do not own the copyright for (ie: you didn’t create it). You are free to use sounds that were created by you.

8. All remixes submitted for this contest become the legal property of Comet Records. Your remix contest submission becomes the legal property of the record label hosting the competition as protection against the release of unauthorized remixes.

9. All trademarks and logos are protected. All rights of the producer and the owner of the recorded work are reserved. Unauthorized copying, hiring, renting, public performance and broadcasting of this record, remix or remix parts is prohibited.

10. Your submission of a remix in this contest constitutes your agreement to these Rules.

The prizes:

The winner will receive a boxed version of Ableton Live 8 along with Ableton goodies, Novation’s latest Launchpad midi controler, and a Fairtilizer Pro account & T-Shirt. His remix will be released in digital format on Comet Records!

The runner-up will receive Ableton Live 8 Intro (download), a Saffire 6 USB audio interface by Focusrite, and a Fairtilizer Pro account & T-Shirt.

Visit Comet profile on Fairtilizer
Visit Comet profile on Myspace
Visit Donso profile on Myspace

.

THE RULES

1. Download the acapella HERE (140 bpm)

2. Remix the song the way you like!

3. Upload your remix on Fairtilizer and name it Ze Bula (your name Remix) and add “Akwaaba Music remix contest” in the tags.

Note: You have to register to Fairtilizer to be able to upload a track (it takes 30 seconds and it’s free)

4. The winner will be selected by Akwaaba Music.

Prize:
Best remix will be released on Akwaaba Music + get bonus goodies package by Akwaaba, Mad Decent
 & Fairtilizer.

DEADLINE TO SUBMIT REMIX: September 15th

Buy the compilation on Itunes

Akwaaba Music Fairtilizer profile
Akwaaba Music website
Mad Decent Fairtilizer profile
Mad Decent website

Interview with DJ UMB / Generation Bass:

What are you up to at the moment?
Well I’m just preparing a trip to Morocco to DJ at some private beach for 2-3 nights at the Essaouira Jambash, which takes place alongside the main Festival. There is a whole group of us going from all over the world.
I will also then DJ with a famous Moroccan Artist called U-Cef at one of the world’s most beautiful venues, The Comptoir Darna, which has hosted parties for the likes of J-Lo, P Diddy, Roger Sanchez, Erik Morillo etc etc.. I have played there at least annually for the past 4 years.
I like to go and DJ there when I want to feel luxurious, extravagant & RICH…haaaaa….haaaaa

Can you introduce yourself to our community?
Well, I am DJ UMB. I have been dj’ing since November 2003 for fun mainly.
I started off as a specialist kind of Buddha Bar/Arabic House DJ but I have got into all sorts of different vibes since then. I just change my style to whatever I’m feeling most at the time and that is tickling my fancy.
I am part of a little but influential blog called GENERATION BASS (www.generationbass.com) founded by my partner, Vince The Prince aka Sonido Del Principe.
I have done lots in the past and have had some successful commercial releases as Shisha Sound System too. I am currently doing some dj’ing once in a while at a world famous Club/Bar/Restaurant in London (whose first home was in Paris) but that is more loungey/chill and house type of vibes.
We are hoping to start some Generation Bass parties because my love for music lies in the UNDERGROUND!

How did you get into music, what’s your musical magical background?
Man, I have been in love with music since about the age of 7 years. I dreamed about becoming a musician and was once in a rock band in London but nothing serious, just fun. Studies and University led to another path and career but I keep coming back to music again, again, again and again!
First loves, Elvis, Beatles then Led Zeppelin who led to me to everything from World (in particular Middle Eastern), to Jazz, Funk, Reggae, Classical, etc etc. I have a very open mind and will listen to almost anything provided it sounds great.
For just listening at home or in the car, I will listen to mainly global stuff, some traditional, rock and even Arabic pop some times.
For dj’ing, however, I am currently listening to all things Global Ghettotech!

Influences and family?
Led Zeppelin, Tom Waits, Claude Challe, Oum Kalthoum, Cowboy Junkies, Rush, Gustav Mahler, Neil Young, Jeff Buckley, Nusrat Fateh Ali Khan, Radiohead, John Coltrane, Billie Holiday, Joao Gilberto, Fela Kuti…etc etc etc
Dj wise…Mad Decent, Zizek, Bersas Discos are hitting all the right notes at the moment & all those involved in the Global Ghettotech scene.
Married, 2 beautiful kids!

How would you define your blog sound?
I would define it as “Global Ghettotech”, to me that is Generation Bass which is a mix of Kuduro, Baile Funk, Nueva Cumbia, Dancehall, Elektro, Hip-Hop, Baltimore Club, Techno-Brega, Dubstep etc….anything with a bass heavy sound or funky traditional vibe.
However, Vince might define it differently…but that’s good because I really don’t like to pigeon-hole music.

Who you see coming on strong in the newcomers, why should we listen to them?
Well, I would like to think the whole Ghettotech scene is ready to explode thanks to artists like MIA, Santogold, Switch, Diplo, Toy Selectah etc etc. So just watch out for any releases on Mad Decent, ZIZEK and Bersas Discos.
Also watch our for Baandish Project, Villa Diamante, Barbarix, Schlachthofbronx, Sonido Del Principe, Sufi Dubstars, Basswreckers, Bassnectar, Celt Islam, Maluca, Modeselektor & Apparat, Ladybox, Blood Shake, Addiquit, Zuzuka Pederosa, Zakee Kuduro, Sticky K, L-Vis 1990, Jaime Fanatic, Peronists, Destroyers, Phil Retrospector, Simon Iddol, Turbo Tim, Major Rye Rye, Lazer, Frikstailers …man, there are so many …sorry if I’ve missed anybody etc.
For me the best DJ in the world at this time is a guy called Mayur from the Bandish Projekt. I’ve heard 1 mix of his and if he never does another mix again, the one I’ve heard is my all-time favourite DJ Mix of all times (as Muhammed Ali would say).

The future Bass Generation?
We don’t know, I suppose we’ll keep blogging until people tell us to stop it! We want to start some Generation Bass parties worldwide eventually I suppose. We have a big party in September in Tilburg, Holland.
http://www.zxzw.nl/2009/

And of the music industry?
It’s very difficult to say but what is quite apparent is that artists are not making money from album sales but mainly from live gigs. I’ve personally noticed a sharp decrease in album sales as I’ve done 10 compilations of various descriptions in the past 2 years covering a range of different genres within Global Music and the labels’ output is drying up because of poor sales.
Hence the massive increase in free promo’s and bloggers.
There has to be a new business industry model in the music world but what that is, I’m not sure. I’m not into music to make money, in fact I’ve done so much free just for the love of it. I can afford to do so as I have another fall-back career. For people trying to make a living on music though, man it’s tough and I don’t know how they survive!

How’s the scene in England (Where you are from exactly), who do you rate?
England has obviously been a beacon for great music throughout the years. There’s a strong indie/rock, R&B and Dubstep scene here. There’s a huge Bhangra scene in Birmingham where I live but that is because there are lots of Asians here, including me J. Reggae & Dub has always been big here.
The only thing recently to have interested me from England is of course Mia, Switch and Dubstep.

It’s less open to global music than other places like France and so it’s always a struggle in England but that might now be changing, I hope.
Obviously, MIA is probably the best thing to come out of England for a very long time.

Places of interests in your city?
The public toilets….haa.haaa.. No, I suppose the fact that we have great Asian food here of the Indian and Pakistani variety, the best in the country I would say. Apart from that it’s a pretty boring city.

As an artist (dj) how do you use & see the web today? Is it important for you?
Yeah very, very important, in fact it’s crucial. I am ultra dependant upon it. I use the web just for music, to find new things, to check up things, to do business music-wise.
I cannot remember the last time I walked into a record store, which is a great shame. When I was a kid I would save up all my school dinner money and starve so that I could head to the local record store on a Friday to buy some vinyl. In fact I use to prefer spending my money on music rather than taking a girl out…TRUE!

Do you live entirely for your music today?
Of course not, family comes first, so I always say but ask my family and they will tell you music comes first…haa.haa.
So yes, I could not imagine life without music, it is my best friend, my most trusted companion and my medication to keep me sane in this mad world.

shorties:

Best thing that happened to you recently?
Watching Global Ghettotech growing and growing…..and joining Vince @ GENERATION BASS!

Where is, for you, the best venue/place to play live, if one (panorama, sent, sound, lights, crew, friendly promoter, unlimited drink tickets…)?
I would love to play in a desert…that has not happened yet.

A movie you would like to watch now, right now?
City Of God or something dumb & funny…

Best place to live if you had unlimited budget?
Morocco

Last album you enjoyed listening?
Baandish Project, MGMT, Justice, Celt Islam ….I’m sure there are more but I just cannot remember just now.

Best TV shows (current and ever)?

Fawlty Towers.
Laurel & Hardy
Apprentice
Newsnight.

Last musical genre obsession you digged frenetically?
Global Ghetottech.

What was the last (physical) book you read and when was that?
I’m not much of a reader, I should read more.
I feel however that there are those that read books or write them and then there are those who live them. I feel my life is a book that I live, I might be the only one ever to read it but that’s how I feel.
But the last book I read from cover to cover was The Prophet by Khalil Gibran about 15 years ago!

How do you know what time it is?
Mainly, instinct. I have some great watches but I never wear them.

Fave night drink and morning beverage?
A cup of English Tea!

How do you like to dress, how do you define your look?
I’m a simple jeans & T-shirt and trainers kind of man.

Smoking or non-smoking clubs?
Smoking Shisha clubs

Your joke of the moment?
I am a DJ and I am funky!

Generationbass website
Dj Umb Myspace
Dj Umb Fairtilizer profile

Tracklisting:

GENERATION BASS – FAIRTILIZER EXCLUSIVE – GLOBAL GHETTOTECH VOL FREE III

1. Ruthless – DJ Cleo
2. Gone Too Far Feat. Sizzla (Buraka Som Sistema Remix) – Dre Skull
3. Yah! – Buraka Som Sistema
4. Zirkus – Schlachthofbronx
5. El Tigeraso – Maluca
6. Get With This (Get Busy) – Dj LoKey
7. Get Up (Diplo Remix) – Bingo Players
8. Solid G – Ruff N Funct
9. African Chant – Top Billin’
10. Soundbwoy Don’t Like It (Vince The Prince Remix) – Tupolev Sound Crash
11. Art of Revolution (Ghislian Poirier Remix) – Bassnectar
12. Sah Raoui _ Fnaire
13. Hold The Line (Ghislain Poirier Remix) – Major Lazer
14. Com Respeito – Buraka Som Sistema
15. Favela Bounce – Sabbo Feat. MC Thiaguinho
16. Eurovision – Zombie Disco Squad
17. Suckaz They Dont Know – Jaimie Fanatic
18. Bandari Funk – Sticky K
19. Warp 1.9 (G-Tronic BadAss Rmx) Feat. Steve Aoki – The Bloody Beetrots

MIXED BY DJ UMB
MASTERED BY timxavier@manmademastering.com

Watch Lazy Flow @ BadGoin’, Social Club Paris

Visit Lazy Flow Myspace
Visit Lazy Flow Fairtilizer profile

Download the full mixtape for free on Uproot Andy’s website.

Tracklist

1. Guacharaca Migration Intro
2. Crime Mob – Knuck if you Buck (Uproot Andy Remix)
3. Alborosie – Kingston Town (Uproot Andy Remix)
4. Rupee – Mas Hysteria
5. Petrona Martinez – La Vida Vale La Pena (Uproot Andy Remix)
6. Noite e Dia Ft. Puto Prata vs Quantic – Mana Dança Só (Uproot Andy Remix)
7. DJ Q & MC Bonez – Get Mad
8. Forty Thieves Orkestar – Belboeli (Uproot Andy Remix)
9. 77 Klash Ft. Johnny Osbourne – Mad Again
10. Smal – Chega De Roubo
11. Ricky Blaze – Cut Dem Off Remix ft. Tony Matterhorn & Elephant Man
12. Tes La Rok – Lickshot
13. Sunship Ft. Warrior Queen – Quits (Sinden Remix)
14. Gaiteros de San Jacinto – La Camisola (Uproot Andy Remix)
15. Wes Fif – Haterz Everywhere (Nappy vs Skream Thugstep mix)
16. Omega – Tu No Ta Pa Mi
17. Grupo Naidy – El Botellón (Uproot Andy Remix)
18. Mr. Catra & Beto da Caixa – Aba Roedor
19. Chino – How Dem No Want No Gyal
20. Tego Calderon – Trangalanga
21. Mr. Vegas – Raging Bull
22. Jahdan Blakkamoore – Go Round Payola
23. Prince Nico Mbarga – Aki Special (Uproot Andy Remix)