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Imperial Brothers - We Come To Rock album flac

Imperial Brothers - We Come To Rock album flac Performer: Imperial Brothers
Title: We Come To Rock
Style: Electro
Released: 1984
Country: US
MP3 album: 1418 mb
FLAC album: 1318 mb
Rating: 4.6
Genre: Hip-hop

We Come to Rock (1984). Album by Imperial Brothers. We Come to Dub (Instrumental Dub). was sampled in. Activ-8 by Altern 8 (1991). Rock at Your Own Risk (Instrumental) by Planet Patrol (1982). see 5 more connections. We Come to Rock (Club Version). We Come to Rock by Paranoid London (2016). Planet Rock (Instrumental) by Afrika Bambaataa and Soulsonic Force (1982).

album Weekly Top. album Pop Hotlist. music noteChords for Imperial Brothers - We Come To Rock 1984. Imperial Brothers - We Dub To Scratch (Be Bop Dub Scratch). Imperial Brothers - We Come To Rock (Club Version) (1984).

Imperial Brothers We Come To Rock (Be Bop Scratch Mix) (1984). play) (pause) (download) (fb) (vk) (tw). Imperial Brothers We Come To Dub Instrumental Dub (84) 48. 07:11. Imperial Brothers We Come To Rock (Freddy Fresh Mix).

Watch the video for We Come to Rock (Freddy Fresh mix) from Imperial Brothers's Freddy Fresh Presents B-Boy Stance for free, and see the artwork, lyrics and similar artists. Connect to this site.

29/img/track fallback. Add. We Come To Rock. Last played on. 6 Mix. 24/12/2009.

The first electro album I heard was UK Electro, a purchase by my older brother’s best mate from HMV on Tottenham Court Road in 1984. The ‘Club Version’ of We Come to Rock is pure NYC electro with funky Latin vibes, augmented by fresh block party raps from the Imperial Brothers, a South Bronx crew whose names are etched onto the run-out groove of the record's b-side – . Rock, Mr Ice, Mark Ski and Soul Supreme.

Tracklist Hide Credits

A1 We Come To Rock (Club Version)
Mixed By – Aldo Marin, Luis Garcia
A2 We Dub To Scratch (Be Bop Scratch Mix)
Mixed By – Hashim, Jay BurnettScratches [Scratching By] – Whiz Kid
B We Come To Dub (Instrumental Dub)
Mixed By – Aldo Marin, Benji Candelario

Companies, etc.

  • Recorded At – Unique Studios
  • Mastered At – Frankford/Wayne Mastering Labs
  • Published By – Cutting Music
  • Published By – Hashim Music
  • Phonographic Copyright (p) – Cutting Records, Inc.
  • Copyright (c) – Cutting Records, Inc.
  • Pressed By – Hauppauge Record Manufacturing Ltd.


  • Edited By [S.U.R.E. Shot Edit By] – Aldo Marin
  • Engineer – Jay Burnett
  • Executive-Producer – Amado Marin
  • Mastered By – Herb Powers Jr.
  • Music By – J. "Hashim" Calliste Jr.*
  • Producer – Aldo Marin, Jerry Calliste Jr.
  • Written-By – G. Calliste Jr.*, O. Gilliam


Recorded at Unique Studios New York
Mastered at Frankford Wayne/New York

A1. "A G.M. Mix"
A2. Taking it Back From Thee St.

J. "Hashim" Calliste Jr. Courtesy of Sure Force Prod.
Whiz Kid Appears Courtesy of Tommy Boy

© ℗ 1984 Cutting Records Inc.

Barcode and Other Identifiers

  • Matrix / Runout (Etched A side): A- I <-> CR-201-A P.S LOVE YOU DORIAN (HAShim) HERbiE JR :¬) (arrow through heart) ANgELA
  • Matrix / Runout (Etched B side): A-2 <-> CR-201-B IT B'S HOT!! "LET'S GET iT TogEThER D.M. (HAShim)." MARK SKii SOUL SUPREME "WhAT'S UP KELLY M." O.G. ROCK, MR. ICE HERbiE JR :¬) IMPERIAL BROThER MC'S "D.J.'S DiSCO DEE & DOC SAVAgE"
  • Matrix / Runout (Stamped A & B sides): MASTERING BY FRANKFORD/WAYNE NEW YORK

Other versions

Category Artist Title (Format) Label Category Country Year
CR201 Imperial Brothers We Come To Rock ‎(3xFile, MP3, 320) Cutting Records CR201 US 2006
CR-201 Imperial Brothers We Come To Rock ‎(Acetate, 12", S/Sided) Cutting Records CR-201 US 1984
CR-201 Imperial Brothers We Come To Rock ‎(12", RP) Cutting Records CR-201 US 1984
MKHAN 9 Imperial Brothers We Come To Rock ‎(12") Streetwave MKHAN 9 UK 1984

Comments: (9)
First of all, this record has a special flavor for me because it was the first 12 "I bought in my life. I was only 17 years old, and I had already heard a piece of the song" We Come to Dub "in a mix of a Brazilian DJ. One day, at a record store I frequented, I was surprised by this sound being played "in a complete way." Yes, I only knew a bit and when I heard the record, I had no doubt: I had to buy it. It was love at first sight!In a way, the Imperial Brothers 'record made me understand the essence of a 12 ", its uniqueness and its value in the dee jays' imagery and collectors. This record, for example, has three versions - vocal, dub and scratch - and , although the versions are different, they have a link, that is, they complement each other. The vocal version or club mix, is an Electro Rap with harmonic vocals and positive message, uptempo beats, scratchs and great melodies composed by synthesizers. The dub version is a synonym of pure electro, which shows the genius of the duo Jerry Calliste (Hashim) and Aldo Marin, and sends us back to others incredible Cutting Records classics like "We're Rocking The Planet" by Hashim.The scratch version is basically a continuation of the dub (or instrumental) version, with scratchs and additional instrumental passages that do not appear in the "club mix" and "Dub" versions.Although Rap is a widely recognized, widespread and revered style nowadays, most of the artists who paved the road in the early chapters of Hip-Hop did not have the opportunity to support their families through their own art. In fact, the overwhelming majority of dee jays and emcees who released records before 1988, made their 12-inch works possible, from singles that contained two tracks or, often, a single track in vocal, instrumental and remix / dub versions or ext. Roughly, a single single of 12 "personifies, in many cases, the musical trajectory of many artists of the cycle of Electro Rap from 1982 to 1986. Few, even, that fulfilled the dream to launch its own album.It is in this scenario, empty of resources and intense in creativity, that the groups began to record their discs, often independently. If Enjoy and Sugar Hill Records were featured in the recording and broadcasting of much of the rap material from the Old School phase of the cycle from 1979 to 1982, alternative labels such as Cutting Records, Tommy Boy, CCL, Techno Hop, Macola, Tashamba, among others, were responsible for the work of many unknown artists, who permeated the underground tracks in their respective cities and participated, in a sense, in the most varied aspects of this musical kaleidoscope called Electro.
I lived through the whole era, saw it grow from a seed. Trust me there are thousand of great early synthetic tracks. Some babies out there think techno was invented in detroit in 1988. It was invented in 1974 by a man who built the first integrated synthesiser and this style was around shortly after Kraftwerk released the Computer World album. Listen to that album and previous synth music you will hear a logical progression of similar beats and sounds. Nice one. I LOVE IT.
It's so easy
Sorry to disagree, but for starters nobody thinks techno was invented in Detroit in 1988. It was invented in Detroit in 1981, by one not too shabby Juan Atkins. Three years before this. Of course, you can debate that (and call them 'babies' while at it) but if we start moving the goal post where will it end? Probably it was all invented by some cavemen that started creating rhythms 20,000 years ago maybe? You see, we can play this game at nauseam, but at some point enough people that were here and there agree that there was some record back in the day that had enough ingredients of what we call techno today that we may proclaim it the first. It could have been Sharevari, or maybe it was Alleys of your mind, but it was in that vicinity. This (or it's protoforms wasn't it). Can you debate it? Sure, but you'll have a quite a few 'babies' that know a wee bit about it kinda disagreeing with you.
As a 10 year old, stuff like this used to blow my mind, good old Hertford library, they had all the electro albums avaliable to borrow for a mere 50p a time, unfortunately, they got borrowed a lot and ended up scuffed and scratched to fuck, where I guess people were attempting to impersonate grandmaster flash on the wheels of steel, in their bedrooms. Enough of my blah......we come to rock is a superb, buy it. I insist.
Abandoned Electrical
I love this story. Superb, sir. Neat record too, ye.
ok , this is the best ever Hip Hop Electro Song EVER recorded and the 7.00 instrumental Version & Dub Version are just the Tip of the Iceberg....? I really Wish somehow / somewhere its going to be avail. on remasterd CD Sound Quality....? Very hard to find if at all in perfect condition.....? 10 / 10
Little Devil
Once again the brilliant Jerry Calliste brings a work of pure futuristic brilliance.Where his Hasim tracks had a very ethereal quality about them,this packs a mighty viceral punch in the chest like vibe.Never has huge beat,basic scratches&burp and cough samples sound as great as the Dub mix,the harmonious raps on the Club Mix give it a sci=fi block party feel,ACE.
one of the best electroraps coming from NY's dubmix is legendary...very well arranged and programmed as all hashim-productions...a real hiphop-masterpiece with a great latino-feel 2 it and a monsterbassline, too!
A New York Electro hit revealing a strong connection to rap and hiphop culture. Funky fresh beats, raps, chants, and scratches rocks this 12 inch B-boy classic. The Latin persuasion of electro production and beat programming. A prime example that electro music was world-wide and multi-cultured back in the 80's.