Zulu (2)

Dominique Rowland

Also known as MC Zulu
This performer (group) in the Internet: http://www.mczulu.com, http://www.myspace.com/zulumusic

Discography of Zulu (2):

Click to release title to look at track list of the album
Pages of releases table:
# Cover Release title Total tracks Download full release in mp3 Release Date Label


4 mp3 2007 Community Library

Go Ballistic

5 mp3 2008 Ninja Tune

Free Radicals / 50% Murder

10 mp3 1999 303DRPM

Whitelabel Menace

14 mp3 2001 Perception2020

Riddim Killah

13 mp3 2005 Perception2020

Baile Frik EP

4 mp3 2008 Revolt Into Style

Go Ballistic

4 mp3 2008-10-00 Ninja Tune

Musically Massive EP

6 mp3 2008-10-01 Staubgold

Cop That / Striptease, Baby

6 mp3 2005 Perception2020

Body Work

2 mp3 2007 Mashit


4 mp3 2008 Mashit

Gods & Robots

10 mp3 2008 Mashit

Musically Massive EP

6 mp3 2008-10-01 Staubgold

Check The Frequency

5 mp3 2012-03-28 Top Billin Music

The I.N.C.L.E.H. EP

3 mp3 2012-09-03 Enchufada
Pages of releases table:

Panamanian MC Zulu's overall sound and vibe is one of the Caribbean immigrant who came to America, just in time to pick up on both cultures.
Like any "Born Jamerican-esque" Dancehall hybrid, the fact that it's 75% party, with catchy, pop-anthem choruses will reel you in. The remaining 25% however, is why you'll respect him.
There he touches on economic and social disparities, he expresses a desire to do better; but there is also an intangible element that let's you know, no one else would write the song this way. Maybe it's his sense of humor, but there's an underlying vulnerability that makes his music altogether palatable.
Zulu the performer does not give himself over fully to the positive, or negative element. Even at his most idealistic, he is still making leering allusions to the ladies at the party. At his most gangster, while involved in a hypothetical shootout with the authorities, he is still praying out loud, "...Tell mama not to shed no tears because I did my best."
The subtleties in his writing style, often punctuated with overt harmonies (another method typically uncharacteristic of dancehall) seem to employ the technique of providing insightful details, while leaving enough to the imagination.
It is this essential, forgotten method of character development, which gave the Reggae performers we loved in the past their authenticity.
In recent times, most of the music world has busied themselves with attempts to replace this with an impossible street credibility. The results of such exploits have proven to be altogether unimaginative, and utterly tragic, usually for the artists themselves.
Zulu lives to tell yet another tale of hot girls dancing on the table, with such stark clarity that somehow you know, he must have seen a great deal in his life.

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