Amos Larkins II Presents Miami Electro Bass Classics
Label: Empire Musicwerks - 545 450 747-2
Format: 2 × CD 
Country: USA
Released: 2005
Genre: Electronic, Hip Hop
Style: Electro, Hip Hop

CD1 (The Classics Beats)

CD2 (Bonus Disc)

Amos Larkins II on Miami Bass, "Ghetto Jump," and Who Left Luke's Name Off the Sunnyview Label

Amos Larkins II in the Sunnyview Records studio.

Amos Larkins II invented Miami Bass production.

As an in-house artist/producer/engineer for Henry Stone and Morris Levy's Sunnyview Records label, he came up with regional and international hits on a signature style of party rap with sustained 808 kicks that dropped like no others. They became the prototype for a distinct style of music that still reverberates today.
Working under a litany of aliases, he produced hits and underground gems alike. And in the case of "Ghetto Jump," he set in motion a chain of events that led to the foundation of Uncle Luke's empire. Here's what Amos Larkins has to say about all this in his own words.

Amos says, "I produced, wrote, engineered, and did the beats and music to some real Miami Bass classics like 'Ghetto Jump.'
"Uncle Luke, who was called Luke Skyywalker back in the day, suggested that I produce a track on this and came up with the concept; and Joe Stone claims I didn't give Uncle Luke his credit.
That's not how that went down. I mean I love Joe, but Joe Stone is coming out of left field with that silly, make-believe dream shit that he's making up in his little dream world head to twist up history. And he's trying to save face and make his self-look like he played some big important pioneering part in that era (and that in itself is total bullshit) because it was the other way around.
"And I'm gonna straighten this shit out once and for all and tell how the shit really went down. But before I do that, I have to briefly explain to you how we used to hustle records back in the day to paint a picture and to put you right there with us.
"You see back in the day (1984 -1986) I was Henry Stone's hit man for Sunnyview Records. That was his big label. He also had a bunch of small labels to release and regionally distribute records for the purpose of testing the reaction before releasing them on the big label, Sunnyview. Some of the small labels were On Records, Nezz Records, and Prime Choice, to name a few.

"Anyways, back in those days, I was allowed to produce and release five records a week. I was so hot back then that if I released five records in a week, at least three of them would be local and regional hits. So once a week, I would go to Luke when he and the Ghetto Style DJs would be performing in dance halls and skating rinks up in Liberty City and Carol City places like the Pac Jam and Studio 183 and Super Star Roller Tech.
"Luke had and still has platinum ears, meaning he could pick a hit like it wasn't shit. I mean, Luke knew his market, he knew what they liked, and what they didn't like and that muthafucka was never wrong, he could pick 'em, man.
"I would show up either when the show was just starting up or when they were setting up the sound check. I would always bring all five of my productions for the week with me in hand and would ask Luke to take a listen to them all. Luke would put them on the turntable right then and start evaluating them right there and give me a yea or a nay.
"One time I took him a record and he said to me, 'What the fuck you doin' with them toms man? Them toms is fuckin up the beat man, nobody can't dance to that shit. Take them toms out.' Hahaha, but 90% of the time Luke was feeling my shit. That's how Luke was. He was straight up like that, and I valued his friendship more than any red-headed stepchild would ever come close to doing."

Amos Larkins II cleaning the tape machine's transporter at Sunnyview Records studio

"So one night I was at the Super Star Roller Tech skating rink and I saw these people doing this crazy ass dance. It would always start off with two or four people doing it, and then before the end of the song, the whole crowd of four or 500 kids would be jumping up in the air and shit all at the same time. That shit looked like an African war dance or some mating ritual shit. It was fuckin crazy.
"So I asked the DJ, 'What the fuck is that?' And they told me that the dance was called the Ghetto Jump.
"That same night, I went over to the Pac Jam where Luke was playin', and the people were doing the same dance.
"So I asked Luke, 'What the fuck is that?' and Luke said, 'That's the Ghetto Jump, and you should do a record on it.' He said to me, 'If you do a record on that dance, it's gon' blow up.'
"Well hell, you ain't gotta beat me over the head with a pogo stick. So I went straight to the studio immediately. It musta been something like 1 a.m. on a Saturday morning. I'd been working on the song 'Rock the Planet.' I took that one off the tape machine and put up a fresh clean empty tape to cut the track "Ghetto Jump" that night. And I did the vocals that Sunday afternoon.
"I let Luke hear it Sunday night. He said it was a hit and that's when I got everything ready for the following Wednesday's release. I had a lot of different aliases at the time, so that radio wouldn't know it was the same person making all these hits or they wouldn't play them. So I originally produced 'Ghetto Jump' under the name T. Green.

"Ghetto Jump" original release on Nezz label with "created by the wild and crazy Luke Skyywalker" credit.

"OK, now listen good kiddies, cause this is where the shit gets flaky. Let me tell you something, I made sure Luke got his credits on 'Ghetto Jump' when it was on the small label called Nezz. And I even called Luke up on the phone and told him I was going to give him special credits to thank him for his help, and I read to him what I was saying. Luke was cool with that. I even gave Luke one out of the first 25 copies that was pressed and the credits read exactly like this: 'created by the wild and crazy Luke Skyywalker.' Luke was cool with that and everything in life at the time was in perfect harmony.
"This is where the problem came in. The record sold like 4,000 copies two days from the time of its release, so Henry put it on the Sunnyview label and Freddie Stonewall and Henry Stone took out Luke's credit saying it was unnecessary.

"Luke called me and ask me why in the fuck isn't his name on the record for the Sunnyview label? And I told him why and gave him the number to call Henry.
"So get it straight. It wasn't on me. It was on Henry and Freddy. Freddy was Henry's boy, and not only did I have no control over what Freddy and Henry did, I didn't even know it was done until I saw the fuckin' Sunnyview label myself.
"It pissed off Luke so bad that Luke said 'Fuck it. I'll put my own records out!' Thus the beginning of Luke Skyywalker records.
"Make no mistake about it, my brother. Luke made Miami bass a household name, and he is the undisputed king. But I'm the one who got it off the ground, and I'm the one who did it first." 

Furacao 2000 Internacional
Label: Furacao 2000 ‎– 110142
Format: CD, Compilation
Country: Brazil
Released: 1996
Genre: Electronic, Funk / Soul
Style: Funk, Freestyle


01. Stevie B - Spring Love ‎(Live) – 6:10
02. Shantell & Dwayne - Ring My Phone ‎– 3:24
03. Shavonne - So Tell Me Tell Me ‎– 6:38
04. Hassan - Pump Up The Party ‎– 4:39
05. Life-N-Def - Gettin Money (Beats) ‎– 2:38
06. Freestyle - Don't Stop The Rock ‎– 5:24
07. Trinere - They're Playing Our Song (Instrumental) ‎– 4:46
08. Miami Boyz - Forever Stand By Me ‎– 6:28
09. Gucci Crew II - Truz 'N' Vogues ‎– 4:54
10. Connie - Funky Little Beat ‎– 5:24
11. DJ Battery Brain - 808 Volt Mix ‎– 4:59
12. Morocco Moe - Task (Instrumental) ‎– 3:25

Post [Credits]
Info – Discogs

mp3 / 132,7 MB

 Click na imagem para comecar o Download

wav / 335,1 MB


Furacao 2000 27 Anos Internacional
Label: Furacao 2000 ‎– 110195
Format: CD, Compilation
Country: Brazil
Released: 1997
Genre: Electronic, Funk / Soul
Style: Funk, Freestyle


01. Chicago Gangsters - Feel Like Making Love – 5:55
02. COD - In The Bottle ‎– 5:59
03. Double Vision - Clock On The Wall ‎– 5:15
04. Lil Jazzy Jay & Cool Supreme - B Boys Style ‎– 5:17
05. Timex Social Club - Rumors ‎– 3:47
06. Eddie Ski White - Baby Be Mine ‎– 3:36
07. The Megatrons - Rock The Planet ‎– 6:19
08. Dimples T - Jealous Fellas ‎– 3:39
09. Tony Lorenzo - Destiny ‎– 3:58
10. The Mistress & DJ Madame E - I Got Your Wild Thang ‎– 4:05
11. Stevie B - Party Your Body ‎– 4:24
12. Jazzi & Neat - Ouch Me Baby ‎– 4:05
13. Rodney O & Joe Cooley - Cooley High ‎– 2:59
14. MC Shy D - Yes Yes Y'all ‎– 4:00
15. Remy - Another Lover ‎– 4:25
16. Salt 'N' Pepa - Push It ‎– 4:03

A&R [Direcao Artistica] – Romulo, Veronica Costa
Compiled By [Selecao De Repertorio] – Romulo Costa

Post [Credits]
Info [Release Unofficial] – DJ Jorge Kamikaze

mp3 / 164,7 MB

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wav / 574,6 MB


Deee-lite foi um trio de Dance  e House Music formado em 1986 nos Estados Unidos (NY).

Mesmo formado em '86, Deee-Lite entrou no mundo da música em '90 com o seu maior single "Groove Is In The Heart" estourando em Agosto. No mesmo mês, lança-se o 1º álbum da banda, "World Clique" com participações de Bootsy Collins, Q-Tip, Fred Wesley e Maceo Parker. O sucesso inicial do álbum ocorreu no Reino Unido onde teve pico na 14ª posição em Setembro do mesmo ano. Simultaneamente na Billboard Hot 200, o álbum estreou na 105ª posição porém com o sucesso de "Groove Is In The Heart", o álbum pulou até a 20ª posição da parada musical. O álbum rendeu mais 3 singles, "Power Of Love", "Good Beat" e "E.S.P.". O álbum rendeu uma turnê com a banda de Bootsy Collins tendo como suas apresentações mais famosas no "Montreux Jazz Festival" (FRA) e no "Rock In Rio" (BRA) ambas apresentações no ano de 1991.

2 anos após o sucesso de World Clique, a banda volta com o álbum "Infinity Within", este carregado de mensagens políticas e problemas sociais. O carro chefe do álbum, "Runaway" acabou por atingir o topo nas Dance Parade do Estados Unidos. Do álbum também foram lançados os singles "Thank You Everyday", "I Had A Dream I Was Falling Through A Hole In The Ozone Layer" e "Pussycat Meow". O álbum falhou em obter o mesmo sucesso de seu antecessor.

Após 2 anos em turnê com a promoção do álbum "Infinity Within", Towa Tei deixa a banda para trabalhar em projetos solos como DJ principal apesar de ter ajudado na produção da canção "Call Me". "Dewdrops In The Garden" é o 3º e mais arriscado álbum da banda, com uma House Music mais pesada diferente da sonoridade de "World Clique". Apesar da popularidade em baixa, o álbum vendeu mais que seu antecessor por conta da turnê em promoção do álbum. Nesse álbum, entra no lugar de Towa Tei, o DJ Ani. Em '96, é lançado o último esforço da banda, "Sampladelic Relics & Dancefloor Odities" que é uma compilação de remixes e vocais durante todos os anos da banda. Após o lançamento, a banda anuncia o fim.

Deee Lite ‎– The Very Best Of Deee Lite

Label: Elektra ‎– 8122-78389-2, Rhino Records ‎– 8122-78389-2, Warner Strategic Marketing International ‎– 8122-78389-2
Format: CD, Compilation, Remastered 
Country: Europe
Released: 2001
Genre: Electronic
Style: House

 Hide Credits

01. Deee Lite Theme ‎– 2:09
02. Good Beat ‎– 4:38
03. Groove Is In The Heart
Backing Vocals – Bootsy Collins
Rap – Q-Tip
Written-By – Herbie Hancock, Kamaal Fareed
 ‎– 3:52
04. What Is Love ? ‎– 3:39
05. E.S.P. ‎– 3:44
06. Power Of Love ‎– 4:40
07. Who Was That ? ‎– 4:34
08. I Had A Dream I Was Falling Through A Hole In The Ozone Layer
Arranged By [Horns] – Fred Wesley, Supa DJ Dmitry, Towa "Towa" Tei
Backing Vocals – Danny Madden, Sahirah Moore, Sheila Slappy
Piano – Bernie Worrell
 ‎– 5:38
09. Heart Be Still
Percussion – Robin Lobe
 ‎– 4:10
10. Pussycat Meow ‎– 3:49
11. Love Is Everything
Bass, Voice [Giggling, Love Chatter] – Bootsy Collins
Guitar – Catfish Collins
Melodica – Bernie Worrell
Tabla – Misha Masud
 ‎– 5:27
12. Say Ahhh
Written-By – Maurice White, Philip Bailey
 ‎– 4:10
13. Somebody
Written-By – Ani Schempf
 ‎– 3:29
14. Bring Me Your Love
Written-By – Ani Schempf, Eddie Harris
 ‎– 3:37
15. Mind Melt
Electric Piano [Fender Rhodes] – Joe Ruddick
Written-By – Justin Tyme
 ‎– 0:33
16. Apple Juice Kissing
Written-By – Ani Schempf, Jackie Mittoo, Willie Williams
 ‎– 3:13
17. Picnic In The Summertime
Arranged By – Joe Ruddick
18. Stay In Bed Forget The Rest
Arranged By – Joe Ruddick
 ‎– 3:09
19. Bittersweet Loving
Backing Vocals – Zhana Saunders
Producer, Arranged By – Kenny "Dope" Gonzales, "Little" Louie Vega
Programmed By [Additional Programming] – Joe Bartoldus
Written-By – Kenny Gonzalez, Louie Vega
 ‎– 3:42
20. Party Happening People
Drum Programming [Additional Drum Fill] – Jungle DJ Towa "Towa" Tei
Written-By – Ani Schempf
 ‎– 3:59



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