| | MR Carter The Limbo Song CD MR Carter Discography of CDs
MR.CARTER BIO Born Angelo Anthony Carter in Freeport Grand Bahamas. Mr. Carter was musically influenced at an early age. While living with his grand mother in Turks & Caicos Island, Mr. Carter 's next door neighbor had a Juke Box she played to entertain guest. He would sit in his yard and listen to a variety of music such as Reggae, Calypso, R&B and Jazz. It was not until later that Mr. carter moved back to Freeport where he was introduce to a recording Studio by his cousin who sang in a Gospel group. He wrote and produced his first rap song at the age of 17, stage name Boy Blue. It was record and engineered by Dave Mackey , Mr. Carter is one of the first rap artist that came out of Freeport in the early 1990. He released many songs locally in Freeport , they were played on ZNSRadio Bahamas. He went on performing, getting exposure however, he continuedwriting and recording. In 1993 he collaborated with singer Methise Rigby on a song Called ( Mo' than just a friend )inspired by biz Marke's hit, Just a friend, this song Also was put in rotation on ZNS. Mr. carter had much local notoriety but he wanted more. . He knew that it would be almost impossible to get a record deal in the Bahamas. So , in 1995 he moved to United States , Mr. Carter submitted a demo to MotownRecords , and was chosen to attend a talent search held in Washington, D.C. Despite not being picked, that experience has helped him matureboth mentally and physically. He went on performing in the local Baltimore Caribbean community. With the demand for reggae artist he changed his style and dubbed himself (poison pill ) hip-hop reggae artist. He has performedat the Blue Caribbean Lounge, The Latin palace, Eden's Lounge, Lake Clifton andDruid Hill Parks, just to name a few. He also had spins on 91. 1fm, 89. 7fm , 93..9fmand 88..9fm. In 2001 he released a CD call poison pill, reggae artist representing the Bahamas in dancehall . Not straying from his identity, Mr. carter said 'music is a universal language, and it is not where your from butWhere you at , you can do anything you want, just don't loose your identity. In 2004 Mr. Carter founded Carter Boy Productions in effort to promote Bahamian music arts & culture. After being approach by young inspiringartist and Bahamians residing in Maryland requesting Bahamianmusic on the radio, Mr. carter said 'we don't have any cultural music playing So he saw this as a opportunity to promote Bahamian music. With his experiencein the community it would be easier to accomplish this. Late November 2004 Mr. Carter received a letter from Embassy of the Bahamas, Washington DC informing him Of a Junkanoo Association being formed, so he quickly joined the association known as BJAM. So on June 24th 2005 BJAM participated in the Washington DC, Caribbean Carnival for the first time . Mr. Carter said 'full advantage should be taken of this milestone accomplishment, a door was opened , The Bahamas is here! Later that year he started working on a various artist cd project featuring Music from Bahamas ,and on August 20th 2006 his Junkanoo instrumental was featured at DCCC award ceremony where BJAM took home seven awards. Mr. Carter is also a member of the GBEMAA based in Freeport Grand Bahamas, Founded by Joe fox in October 2006 he released Mr. Carter The Limbo Song , in promoting this cd he was interviewed on mix 102 fm, cool 96fm, radio stations in the Bahamas and Mackey Media . Also preformed at Culture In Da Sun Taino Beach Freeport ! carterboyproductions CD ON SALE @ DA MUSIC BOX. FREEPORT BAHAMAS, I GOT THE HOOKUP RECORDS BALTIMORE, WWW.CARTERBOYPRODUCTIONS.COM MR Carter The Limbo Song Songs | 1. | Limbo |
| 2. | Vacation Rhythm |
| 3. | Junkanoo |
| 4. | My Islands |
| 5. | Who ? |
| 6. | Limbo (radio Mix) |
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The Limbo Song Review
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Her voice isn't velvety soothing - it's rough, abrasive, bluesy, mesmerizing in its passion. You most probably wouldn't be able to listen to it while having a chat with your friend over a light beer (although a shot - or two - of tequila might work.) Hardcore Venezuelan folk songs straight from the streets of Seattle. Yva Las Vegas (or Las Vegass as she herself spells it) could be described as anything but ordinary or subtle. Born into a rich family in Caracas, Venezuela, she came to the States in her teens in 1979, and eventually took her native South American folk songs to the streets of Seattle. Here goes the Christmas fairy-tale part: one day she was invited to sing at a surprise birthday party for the former Nirvana bass-player Krist Novoselic. Yva remembers, "I was just planning to go over and sing 'Happy Birthday' and split, but I ended up playing Venezuelan folk songs all night. Believe me, I had no intention of starting a band when I walked into that birthday party - it was just another gig, you know? " But what was supposed to be a one-night gig turned into an unlikely collaboration of the two musicians: Novoselic was so impressed by Yva's performance that he first thought of producing an album for her, but after their first session resulted in a complete song, a band Sweet 75 was formed instead. The product of this alliance - a self-titled album Sweet 75 - brought about an avalanche of opinions. Setting aside all the varying opinions about eclectic and "decidedly un-Nirvana" music and debates of Krist Novozelic's true multiculturalism, Yva's vocals could hardly have been passed unnoticed:Yva's melodic and haunting vocals are the album's main attraction. on some of the album's best songs (like "La Vida") Krist's guitar talents are blended with traditional Venezuelan folk music. (Myra Shah, Copyright © 1997 Varsity Publications, Inc)Sweet 75 is really the backbone of Yva, as her powerful and emotional baritone ...
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My indigenous name is 'Yxayotl', which in Nahuatl means tears. In 1977 during a peyote ceremony, an old Shaman from the Huichol tribe, Don Jose Matsuwa, gave me that name.I was born in Guadalajara, Jalisco, Mexico on December 28, 1952. I am proud to be a descendent of the Huicholes. During the 1970's, I decided to follow my dreams and to investigate and play the pre-Columbian music; that same music that was prohibited for 300 years due to its intensity and deep spiritual impact ...
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