Download Reggie Most High Album

Reggie, a talented asakaa boy of Life Living Records Ltd, drops this highly-spirited album "Most High", and this song titled "Idi Amin" was taken off it. Idi Amin by Reggie is the sixth song on this project. Enjoy this free mp3 download song.

The ASAKAA (Ghanaian Drill) artist known as Reggie Osei shared the album artwork via his twitter to positive remarks by fans. The artwork by Jaden Graphics references the last supper and shows Reggie flanked on both sides by the ASAKAA boys round the high table. The striking image in the artwork sparked a lot of conversations among fans on twitter who were eagerly anticipating the project scheduled for release early next month.

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In 1992, Redman released his debut album, Whut? Thee Album, which AllMusic noted for blending "reggae and funk influences" with a "terse, though fluid rap style".[7] The album peaked at number forty-nine on the Billboard 200 and was certified gold. He was named "Rap Artist of the Year" by The Source. Redman followed this up with his 1994 album, Dare Iz a Darkside. The first single, "Rockafella", samples Leon Haywood's "I Want'a Do Something Freaky to You" and George Clinton's "Flash Light", two of the most sampled songs in hip hop. Redman's second album was notable for having most of the tracks produced by the artist himself (later on Redman would let other producers make most of his beats). During this time he used former mentor Erick Sermon to produce his records, including "Pick It Up" and "Whateva Man" from Muddy Waters.

On December 10, 1996, Redman released his third album Muddy Waters, which was highly praised by critics.[9][10] The album featured two of his Billboard's hit singles: "Whateva Man" and "It's Like That (My Big Brother)". The song "Do What You Feel" appeared on the soundtrack to the video game Grand Theft Auto: Liberty City Stories. The album was certified gold by the Recording Industry Association of America (RIAA) on February 12, 1997. During this time, with newfound friendships with Method Man and Tupac, they both appeared on Tupac's double album All Eyez on Me on the song "Got my Mind Made Up".

Anyone out there a BIG Reggie fan like me and have gone to nearly every show in your area every time he tours, as well and always enjoys his music no matter whats going on in your life or when it comes on your playlist? Honestly I'm terrible at labeling bands into genres so excuse me if Reggie isn't exactly Emo in the true sense. But as I've said I've seen him live every time he's come to my area since 2003....20 years now and I've never missed a show....can't say that for any other bands even though I try, Senses Fail might be the 2nd most seen band live though, but both played with My Chemical Romance back in 2003 and that was my first show I ever went to! It obviously started a love for every band there and I still enjoy and follow them all today! I know James Dewees doesn't have a lot of funding to make albums regularly, he had to kickstart the last one, but I feel like it's about time for a new album from him or honestly anything! I miss REGGIE! So much! I love every album he's made, side projects, and other bands he was in back in the day. There's VERY few bands that I feel connected to personally even though I've never spoken to them or had interactions with them, just from their presence and music they make. Reggie is one, Bilmuri is another big one, Boysnightout too even though I haven't seen them live ever :(

Steve: "I think there is a couple of reasons for that. First and one of the foremost reasons is that Luke has really supported us. Being in his band and Renee coming aboard and being in the band. When Luke talks, people listen. Thankfully, he's been real supportive of the project. He has nothing but great things to say about it. When I hear that from him it's a very high compliment. He's helped spread the word. His posts on Facebook and Twitter and his links about us on his web site have been real supportive. That's one thing. Another thing that has to do with the press that you've seen is this publicist company, 'Wavelength Radio Promotion' that we brought along. They are doing really good by us. They have put us in places where we have never been before. I don't have personal relationships where they have the connections. That's what they do. They are associated with this magazine, that magazine, this web site, that web site. So by just virtue of being publicized and exposed with them I believe they've circulated us to many new places. Through their exposure of us on the Internet, it just grows and grows.

That confidence paid off, as confirmed by the illustrious hits featured on this package: The Animals' "House of the Rising Sun" (No. 1 U.K. & U.S.), The Nashville Teens' "Tobacco Road" (No. 6 U.K./No. 14 U.S.), Donovan's "Sunshine Superman" (No. 2 U.K./No. 1 U.S.) and "Mellow Yellow" (No. 8 U.K./No. 2 U.S.), Lulu's "The Boat That I Row" (No. 6 U.K.) and "To Sir with Love" (No. 1 U.S.), and Herman's Hermits' "No Milk Today" (No. 7 U.K./No. 35 U.S.), just to name a few. Jeff Beck's "Hi Ho Silver Lining" might be the most incongruous of all of Most's hits. The "stupid song" (as Beck described it) was recorded - at Most's insistence - with the guitarist on lead vocals, and his band's lead singer Rod Stewart relegated to the background! Despite Beck's misgivings, the Scott English/Larry Weiss pop confection made it all the way to No. 14 on the U.K. Singles Chart. Rod can be heard on Ace's set, though, leading a high-octane 1969 rendition of "Jailhouse Rock."

Despite the singles market becoming secondary to albums, Most's knack for a hit continued through the 1970s and into the early years of the following decade. He championed writers like Nicky Chinn and Mike Chapman who continued in the Denmark Street/Brill Building tradition, and formed a label and management company, RAK, with Peter Grant (notoriously to manage Led Zeppelin). RAK yielded such varied successes as CCS' brassy novelty "Walking" (No. 7 U.K., 1971, featuring Alexis Korner and written by Donovan), Duncan Browne's McCartney-esque "Journey" (No. 23 U.K., 1972), Hot Chocolate's moody and socially conscious "Brother Louie" (No. 7 U.K., 1973; the U.S. hit went to Stories' cover), veteran studio drummer Cozy Powell's rhythmic instrumental "Dance with the Devil" (No. 3 U.K./No. 49 U.S., 1973), Suzi Quatro's glam, Chinn and Chapman-penned "48 Crash" (No. 3 U.K., 1973), and another C-C tune, Racey's retro sing-along "Some Girls" (No. 2, 1978). Kim Wilde's "Kids in America" concludes this anthology on a high note; it reached No. 2 in the U.K. in 1981, and went top 30 in America, too.

Young would, of course, be known for his southern soul sound which crystallized at Chips Moman's American Studios. Young came to American following time at Hi Records' Royal Studio, becoming one quarter of the original rhythm section with Tommy Cogbill (bass/guitar), Gene Chrisman (drums), and Bobby Emmons (keyboards). Numerous American treasures are featured here, including The Box Tops' cover of Hank Snow's "I'm Movin' On" (helmed by Dan Penn), Solomon Burke's slow, thunderous "Meet Me in Church," and King Curtis and The King Pins' R&B groover "In the Pocket," an instrumental showcasing the tight interplay between Young and his musical brothers as he answers the horn section and deftly supports Curtis' lead saxophone. For sensuality and soul, few titles could compare with Dusty Springfield's masterwork Dusty in Memphis, from which Carole King and Gerry Goffin's cool, imploring "Don't Forget About Me" (featuring Reggie on prominent electric guitar) has been culled. Jackie DeShannon's Jackie was helmed by the same production team of Tom Dowd, Jerry Wexler, and Arif Mardin; Jackie's bright, earthy reinterpretation of Van Morrison's "I Wanna Roo You" was a highlight of the 1972 album and remains so here.

Ace also has recognized the most high-profile artist to walk through the doors of American, one Elvis Aron Presley. "Stranger in My Own Home Town" wasn't one of the hit singles from the Elvis sessions (i.e. "In the Ghetto," "Suspicious Minds," "Kentucky Rain") but it's a superlative choice, with Young playing the same electric sitar he employed on tracks like B.J. Thomas' "Hooked on a Feeling" and The Box Tops' "Cry Like a Baby." Young would be called to other studios, too; he joined the smoking band for James Carr's impassioned "More Love," a slice of deep-soul balladry recorded at Sam Phillips' studio for the small yet mighty indie, Goldwax Records.

Paul's Mall and the Jazz Workshop are showing why the Rise Club will soon be the number one place to see jazz in Cambridge. The Mall has Melba Moore, who sounds okay, not great, on her new album "Melba," produced by none other than disco Van McCoy. Speaking of disco, the Jazz workship has Dexter Wansel in this weekend. Wansel is right out of The Sound of Philadelphia studios, and carries with him the high recommendation of Ken Camble, of Camble and Huff fame (the O'Jays). The strange thing about this Philly International date is that Jean Carn, who used to do some nice jazz with Doug Carn, will be playing with Wansel and his Planets. Maybe people at the workshop think they can attract both the jazz and the disco crowd by including some nice sax with a thumping bass. We'll see. If you so desire, sets for Dexter are 8:30 and 11:00, for Melba: 9 and 11:30. The Mall/Workshop is at 733 Boylston St., right near Copley Square.

Speaking of focal points, McCoy Tyner's new album, "Focal Point," is just one terrific performance by Tyner. The release, cut this summer, but just now making it to the shelves at the Coop, is devoid of the heavy string section that made "Fly With the Wind" such a hit. This record is much more on line with the pulsating sounds of Trident. The most popular cut, at least for the disc jockeys, has been "indo Serenade," with its clearly defined melody and beautiful romantic piano work by Tyner. But the other numbers, including "Mes Trois Fils" and "Mode for Dulcimer," offer more in terms of improvisational beauty. This album is saxophone heavy which is good news for Gary Bartz fans. Bartz gives a performance on this album the likes we haven't heard since "Hiome." Tyner gives a newcomer, Joe Ford, a lot of leeway in his flute solos, which could be the record's sole weakness. e24fc04721