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Delroy Wilson was a hit songster outta Trenchtown that got discovered by Coxsone Dodd at age 14 in 1962. The pair of them went on to produce a bunch of classic material through the 60s and he went on to produce cuts for folks like Bunny Lee, King Tubby and here, Prince Jammy. He’s got a soulful sound that was as influenced by R&B and pop music as it was by his island roots and he was known for doing mostly covers that suited his style, instead of writing his own material. He was much more of a storytelling sort of singer and his material could be judged as the Jamaican counterpart to our country-western ballads. The material for this album was originally produced with Bunny Lee and here we have a Prince Jammy remix done at King Tubby’s studios. There is an apparent sound system orientation with the bottom heavy grooves and drum/bass rhythms, with some subtle keyboard injections throughout to emphasize the beat (horn solos on 10,15). A bunch of songs about love, struggle and partying. There seems to be a misogynistic orientation with a lot of stuff about disloyalty and cuckoldry (and one song about beating his girl). Disregarding that, this is some upbeat island dub that’ll get you groovin!
Stranjah Cole was mostly active in the Jamaican reggae scene in the 60s and 70s, this is his 21st century release. He has worked with many of your favorite artists such as Ken Boothe and Tommy McCook. This is some classic Jamaican reggae containing classic reggae themes such as Babylon, self empowerment, Jah, Zion….ect. The A side contains vocal tracks, the B side has dub versions of the tracks from side A. The track list on the back of the record lists the songs in incorrect order, so don’t you be fooled. Drum machines, reverb, echo, a touch of horns, groovy, rasta-friendly reggae sounds. -Surfer Rosa
A key piece of history to the allmighty creation of dub, King Tubby lets loose on the house band The Dynamites. He succeeds in creating a rhythmic and kicking LP full of crackles, drums, horns and thumping basslines. Tubby’s personal differences ( his shy nature and abstinence to marijuana) and tragic murder are just a small part of his historical status. It is his incredible skills as a musical engineer that keep generations of music lovers coming back for his creative works of auditory art. Most of the mixes on this LP are timed perfectly and are subltety filled with wit and character. Still danceable, Clancy Eccles entrance you with the track correctly named “dance beat” which includes a kind of crispness from Paul Douglas’ high hats and Winston Wright’s happy organs. Thist can only be made better with steeping delay and winding up back in the gorgeous rhythm of dub. Other not to be missed tracks include: “Dub Star” and “Red Moon”. A nice release from Pressure Sounds to ensure you feel the riddams of reggae…
This is a collection of music off the UK record label Phase One. A variety of classic late 70s/early 80s Reggae. The record contains lots of echo, mostly vocal tracks, and a few great instrumentals (marked). All the tracks are good, there is a nice touch of female vocals on B4, and all the tracks on side B are relatively long (over 5:30) Both sides are fully spin-worthy. -Surfer Rosa
King Tubby delivers some solid Dub, just as you might expect. Super chill, ,classic Dub, instrumental for the most part, tracks with vocals contain a minimal amount. This music is often simplistic, consisting of just drums and a bass line (B5, B6, many others). This record is covered in tape delay, revery drums and tight bass lines. You can’t go wrong with any track, they are all great. -Surfer Rosa
A collaboration between Augustus Pablo and vocalist Jr. Delgado. The music here is smooth and upbeat with an easy listening feel. Tracks marked at Dub seem to be instrumental versions of the previous song. There is a tasteful touch of horns here and some nice lead guitar work. Pablo seems to be supplying electric piano sounds more so than those of the melodica, ( which is kind of a shame if you ask me… the electric piano sounds are a bit cheesy for my taste, bu7t you can gage the cheese factor yourself). This is some pleasant approachable, straight forward reggae, but nothing profound which stands out from the rest of the reggae universe. Sounds like a happy little 90s reggae beach party. – Surfer Rosa
This record comes with listening instructions located on the front of?? this sleeve. So make not and kick back , because this here is some super chill, stoney-ass dub. Side A?? contains lots of funny synthesized beeps and boops which are?? a bit tacky in the best way possible. At times sounds like Robo-Dub. Side B is guitar/string heavy with more groove, it jams and occasionally rocks a bit too. There are solid bass lines and a continuous steady beat all over this record. At times it seems that the vinyl is a bit scratched and warped, which only makes this listen stonier and ever so delightful. Take a massive bong rip and enjoy. -Surfer Rosa
Welcome to the Passover seder in the house of dub! This cd contains Bill Laswell’s dubbed out translations of traditional Passover songs typically sung at the seder table longside the readaing of he Agada (sotry of Passover). Each song correlates to a specific event or concept connected to the story. The music here is executed in your favorite dub fashion. Plenty of reverb, echoed out drums, a bit of keys, lots of horns, an occasional guitar lick or voal sample and a touch of synthesized sound. I even heard some Heberw on trakcs 10, 11 & 12! This album is quite delightful and even a bit nostalgic for Jews like me. Lechaim! -Surfer Rosa
Given hi-hat, will make rockers style, disco reggae. Great sounds, measures up to the King Tubby standard. I think of Creation Rockers even though this is Creation Steppers. Somewhat Congos, somewhat Johnny Clarke somewhat Meditations, and some classic heavy Blood and Fire style riddims. The title track is almost Black Uhurus Guess Whos Coming To Dinner. Give Jah Your Heart and Soul is almost Rock Steady. Homeward Bound is good for coming in hot. Birdie effects on A1 and B4.
Welcome to the world where Let’s get it on is Let’s get it on.
Given to dank instrumental melody, with word thereafter attached to it, Midnite are also extremely productive. This is from 2003 and contains more instrumentals than the usual Midnite album. How they remember which song is which on their relentless touring is beyond me. There is no tediousness or saturation except into dankness. Many musical metaphors apply, stars in the sky, diamonds on your shoes, fresh vision, warning sounds. These are not studio dubbers, this is a real band. The vocals are given slowly, paced to the syncopations of the song. To this I ask “what’s going round?”. I am reminded of Wibbly Wobbly, and recommend Spliff Skankin close Jah’s Music with track six. Tracks 2, 3, 5, 7, and 9 all have lyric.
Earlier stuff (’99) dancehall love, cue efx (A1) lovers dancehall slow funk / hip hop, follow it with the rap original (A2) play of horn-frontal dancehall with digi-squeak (A3) perdure, know thy-self (A4) like capleton with less idiosyncrasy (B1) advancing the dancehall rhythm, bass throbs, and spacy synth wobbles (B2) augustus pablo ish, flute, and rock ish gtr., together in a slow club dub, speaking of dangers, warnings, the poor state of politics in all (B3) semi-cover of buju banton “who have it” & play it!, word (B4) chill hip hop, run some of those singles, smif n wessun (C1) jah cure style (C2) shaggy style for a serious song (C3) ward 21 style, ele’s creeper, good riddim find them! (C4) real rap reggae (D1) luciano vibe (D2) ganja tune, get carried away (D3) urban g-rap (D4)
“no hold us down”, he no hold back, with Anthony B they bun gunman,
Love Fountain to So Much Trouble In The World.
Good at the reggae inflections. Great at tongue twisters. From Jamaica, in the studio with Cocoa Tea. Beachy (A5) to serious (A2) to songs for the younger (A4 like Ele doing Sesame Street)
Up-lift-ment. Emotional understanding and harmony. Most of all sad optimism.
From Sunday school to dominating national competitions to international touring, Twinkle Brothers kept it fresh for over four decades. The solid Dub Massacre series features instrumental dub tracks from the 80s into the 90s with this one showcasing a groovin horn section and a handful of musicians switching off on the various rhythm instruments. Disregard the somewhat depressing cover picture, this is upbeat, very danceable party music. DUB IT IN A ROOTS STYLEE!!
More heady dub from Twinkle’s Dub Massacre series! Headed by Norman Grant, this features steadily exploratory drum machine beats and sampling, driving and melodic bass lines, soulful keys and rhythmic guitar chops. Twinkle hails from Falmouth, Jamaica and have been playing since the early 60′s, producing their own music since the 70′s.
The Congos are best known for their masterpiece Heart Of The Congos, which they recorded with Lee “Scratch” Perry in 1977. Since the release of that collection they have put out very few albums, most of them lacking the brilliance, the beauty and the quality of the debut set. Despite using the name The Congos these albums weren’t recorded by the original trio Watty Burnett, Roydel Johnson (a/k/a Congo Ashanti Roy) and Cedric Myton, but rather solo efforts from the latter.
Their 2006 album called Cock Mouth Kill Cock — which is a Jamaican proverb that essentially means: “watch what you say, it could be your undoing was released in Europe as FEAST it contains the fruits of sessions conducted between Cedric Myton and vintage producer Bunny “Striker” Lee. These are new songs voiced by Cedric “Congo” Myton over original recordings of classic reggae riddims from the seventies and early eighties, like Johnny Clarke’s “Crazy Baldhead”, “Satta Massa Ganna”, the original “Stalag”, Alton Ellis’ “Breaking Up Is Hard To Do” and others. This set recalls the spirit captured by the Heart Of The Congos set. Vocally Cedric Myton is joined by the late Brent Dowe (a member of the Melodians) for a powerful set of harmonized vocal statements with a strong Rasta message. Cedric Myton’s inimitable falsetto shines bright. This is classic roots reggae with an impressive all star lineup of backing musicians. AArbor
What happens when you transplant a musician from Jamaica to the great white north? In this case, you get a fusion of reggae, soul and funk with a 32-piece orchestra to back it all up.
Founding Skatalites keyboard virtuoso Jackie Mittoo emigrated from Jamaica to Canada in the later part of the ’60s, where he joined a burgeoning West Indian community in Toronto. Despite his fame back home, he just managed to survive as a gigging musician – playing a myriad of different styles, in a myriad of different clubs. As luck would have it, another Jamaican transplant had managed to convince the media company he was working for to start up a record label where – after a handful of other releases – they approached Mittoo to record for them. The rest, as they say is history – except that (despite the quality of the music and recordings) the fledgling record company didn’t have the distribution mechanism to back it up, and the record’s sales failed to make any money and the label folded after only three years.
After thirty-five years, this pioneering Canadian reggae album was rereleased allowing us the opportunity the relive a long-lost treasure from a musician who left us way to early.
Jah mon, eh?
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