TELA-C

1. - ZENDAMAN  Zenda Mi World Intro (feat. ロッコン師匠)  [00:00:08]
2. - ZENDAMAN SAWAGE! [00:00:47]
3. - 775 _ よってらっしゃい [00:02:42]
4. - 775  処女の少女 [00:05:03]
5. - RUDEBWOY FACE  Ice Pick  [00:07:54]
6. - TAK-Z  健全Reggae Anthem feat.J-REXXX [00:10:40]
7. - HISATOMI _ 楽園 feat.三木道三 [00:13:31]
8. - 下拓　Red Eye , SHINGO★西成 , KIRA & 下拓 _ EVERYTHING  [00:17:16]
9. - MINMI スマホfeat.singo西成 [00:20:11]
10. - MINMI／シャナナ☆  [00:27:16]
11.   - ¥ellow Bucks - “Yessir” feat. Eric.B. Jr.

ジャパレゲMIX-2021-03-09

4EVER (SWAG BEATZ DUB) - Chehon

Sprout

のんびりと行こう feat. ARIA

イルカ/なごり雪 日本語ラップver.

jazz savannah

CrazyCaptain DUB BOX

GOOD TO GO CrazyCaptain DUB by Jr.SANTA

ドリカム「サンキュ。」 DCT - Thank U.  [R.U.T.H. Beat Mix]

VIGORMAN / Crash & Build

PUSHIM : THE ノスタルジックス

11/2から「黄昏のビギン」i-tunesにて先行配信＆
アルバム「THE ノスタルジックス」プレオーダー開始
https://itunes.apple.com/jp/album/id1168533372

【収録曲】 ※括弧内はオリジナル歌唱アーティスト・発売年。
M-1, 4, 5は日本語カバーオリジナル歌唱アーティスト・発売年。

1. バナナ・ボート (DAY-O) / (浜村美智子 / 1957年) 作詞・作曲:L.Burgess、W.Attaway / 訳詞:井田誠一
2. モンロー・ウォーク / (南佳孝 / 1979年) 作詞:来生えつこ / 作曲:南佳孝
3. 虹の彼方に (Over The Rainbow) / (美空ひばり / 1961年) 作詞:E.Y.Harburg / 作曲:Harold Arlen / 日本語詞:水島哲
4. 黄昏のビギン / (水原弘 / 1959年) 作詞:永六輔 / 作曲:中村八大
5. 傘がない / (井上陽水 / 1972年) 作詞・作曲:井上陽水
6. プレイバック part2 / (山口百恵 / 1978年) 作詞:阿木燿子 / 作曲:宇崎竜童
7. ラストダンスは私に (Save The Last Dance For Me) / (越路吹雪 / 1961年) 作詞・作曲:Doc Pomus、Mort Schuman / 訳詞:岩谷時子
8. 見上げてごらん夜の星を / (坂本九 / 1963年) 作詞:永六輔 / 作曲:いずみたく
(Bonus Track)
9. リンゴ追分 (Live ver.) / (美空ひばり / 1952年) 作詞:小沢不二夫 / 作曲:米山正夫
10. A Place In The Sun (Live ver.) / (スティービー・ワンダー / 1966年) 作詞・作曲:Ronald Miller、Bryan Wells

2016年11月16日リリース
TKCA-74430 ¥3,000+tax

www.pushim.com

PUSHIM : 黄昏のビギン

Romain Virgo / Who Feel It Know It

Protoje / Be Wise

Tarrus Riley / One Drop

J-Rexxx / M.U.S.I.C.

446 & Kenty Gross / BPN

VIBES 満タン！！！おまたせ！！！

RUEED / おまたせ (SLANG EIGHT DUB) / STAGE TIME RIDDIM

In the year 1994, he recognized the sound of "INFINITY16". At the same time, in the same year, he wanted to give out the real Jamaican sound and flew abroad alone. There he touched the music, the culture, and interacted with a lot of people, the "real" Jamaican sound. The first Dub Plate was made at this time. After visiting Jamaica for one month, he brought back the experience to Japan and started playing again. Time to time he went back to Jamaica but every stay was too short so he decided to travel to Jamaica for a longer time. In 1998, he got ready for a long trip and left Japan. During his trip, he also visited the Jamaican culture in New York and came back to Japan in 2002. His experience and knowledge connected back in Japan and made him succeed to influence the sound in even bigger events. This is when INFINITY16 dramatically grew to a bigger sound. After coming back to Japan, he not only started his events but was asked to visit BIG DANCE and SOUND CLASH where artists from abroad also played, and festivals which were held outdoors in the summer. By interacting with many people, the aggressive style of the sound even grew. And in December of 2004, in Kawasaki CLUB CITTA' they held their 10th Anniversary event and in the event SOUND CLASH, they were recognized as the number 1 sound. In 2005, the sound had a tour visiting 21 prefectures, "REAL WARRIORS TOUR. In December of 2006, in Kawasaki CLUB CITTA' they held their 12th Anniversary event which recorded the highest turnout for the first time. In March of 2007, in New York where the NUMBER ONE SOUND CLASH was held, "GARRISON SHOWDOWN", even though there were challengers representing Japan, was able to be recognized number one and signaled out the presence of their sound worldwide. In the same year in April, they made a contract with UNIVERSAL MUSIC and released a single, "DREAM LOVER". Where the top reggae representing artists Shounan-no-Kaze, MINMI, and MOOMIN are around, INFINITY16 was able to hit the top 10 on the ORICON WEEKLY CHART as the REGGAE SOUND. This impacted the potential of the sound in the reggae scene. In the same year in December, they were able to succeed in the SOUND SYSTEM. Their obsessiveness to the sound never stops and keeps on going. INFINITY16 will keep on growing with high standard goals and creativities towards their work will grow the music of Reggae. INFINITY16 is not measurable and will always be acting over our imagination carrying a sense of infinity potential.

Tarrus Riley / One Drop

INFINITY16

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