Starlight Records – 908
Perhaps best known for the series of "Gorgon rock" records he cut with legendary producer Bunny Lee, reggae singer Cornel Campbell was born in Jamaica in 1948. As a teen he recorded his first material for Studio One, cutting a series of ska sides both as a solo artist and as one half of a duo with Alan Martin; from 1964 to 1967, Campbell seemingly disappeared from the music business, however, finally resurfacing as a member of the short-lived rocksteady harmony trio the Uniques. As the decade ended, he helmed the Eternals, scoring a number of Studio One-generated hits including "Queen of the Minstrels" and "Stars," but in 1971 again went solo after teaming with Lee, a pairing which spotlighted Campbell's distinctive falsetto to stunning effect. Despite earning acclaim for a self-titled LP issued on Trojan two years later, in 1975 he shifted from the lovers rock sensibility of recent efforts toward the more explicitly rastafarian approach of records like "Natty Dread in a Greenwich Farm" and "Natural Fact," both of which emerged among his biggest hits to date. Later that year, Campbell and Lee also launched "The Gorgon," a boastful smash which yielded a series of hit sequels. While 1977's "The Investigator" heralded a successful return to lovers rock, Campbell's commercial clout waned in the years to come, and in 1980 he and Lee parted ways; subsequent pairings with producers including Winston Riley, Niney the Observer, and King Tubby failed to re-create the excitement of past sessions, however, Campbell remains active touring to this day.Searchability
Monday, February 18, 2019
Cornell Campbell - (2002) I Shall Not Remove 1975-80 CD
Blood & Fire – 030
Most Blood & Fire releases should be considered essential purchases for any fan of golden-era reggae, but this one is even better than most. Cornel Campbell is one of the best reggae singers ever recorded -- a sweet-toned falsettist with effortless intonation and a cool, assured delivery that is incredibly easy on the ear. The centerpiece of this collection is the three-part "Gorgon" series of singles produced by the legendary Bunny "Striker" Lee, all featuring the "flying cymbals" style of drumming popular at the time. "The Gorgon" having been a huge hit, it was followed quickly by "The Gorgon Speaks" and "The Conquering Gorgon," all three of which are presented here (the first two in extended versions, the second in its original version and then again in a Rastafarian variation titled "Lion of Judah"). Almost equally important, though, are "Natty Dread in a Greenwich Town" (an answer record to Bob Marley's "Natty Dread") and "Dance in a Greenwich Town," the latter in a megamix format that incorporates a deejay version by Dr. Alimantado and a dub version mixed by King Tubby. But really, just about every track reaches the same standard -- there is not a single weak cut or boring moment on this spectacular album.Count Ossie - (2016) Tales Of Mozambique
Soul Jazz Records – 325
Soul Jazz Records are releasing Count Ossie and The Mystic Revelation’s seminal 1975 album Tales of Mozambique in an expanded double album/single CD/digital format, fully remastered and with the inclusion of two bonus rare single-only tracks, full sleevenotes, exclusive photographs and interview.
Count Ossie is the central character in the development of Rastafarian roots music, nowadays an almost mythical and iconic figure. His importance in bringing Rastafarian music to a populist audience is matched only by Bob Marley’s promotion of the faith internationally in the 1970s.
Count Ossie’s drummers performed on the first commercially released single to integrate Rastafarian traditional music with popular music: the vocal group The Folkes Brothers’ groundbreaking song ‘Oh Carolina’, recorded for producer Prince Buster in 1959. In 1966 his drummers greeted the momentous arrival of Haile Selassie at Kingston airport.
His legendary jam sessions up in his Rastafarian compound in the hills of Wareika, Kingston, are famous for the many Jamaican musicians who attended including The Skatalites players – Roland Alphonso, Don Drummond, Johnny Moore, Lloyd Knibbs – and many others.
The Mystic Revelation of Rastafari formed in Kingston, Jamaica, in 1970, a union of Count Ossie’s Rastafarian drummers – variously known as his African Drums, Wareikas or his Afro-Combo – and the saxophonist Cedric Im Brooks’ horns group, The Mystics.
The Mystic Revelation of Rastafari are the defining group in bringing authentic Rastafarian rhythms into the collective consciousness of popular music, their unique music is at once rooted in the deep traditions and rituals of traditional drumming and chanting alongside a forward-thinking, even avant-garde, artistry influenced by the likes of John Coltrane, Sun Ra, Pharoah Sanders and other pioneering African-American jazz artists radicalised and charged by the civil rights movement of the 1960s.
Tales of Mozambique is a truly unique and fascinating ground-breaking album.
Count Ossie & The Rasta Family - (2016) Man From Higher Heights
Soul Jazz Records – 331
Soul Jazz Records are releasing Count Ossie and The Rasta Family’s long lost reggae album ‘Man From Higher Heights’ (originally released in 1983), digitally remastered and with full original artwork.This release follows on from the earlier release of Count Ossie and The Mystic Revelation of Rastafari ‘Tales of Mozambique’ (1975) also by Soul Jazz Records.
Recorded in Kingston, Jamaica, somewhere between the last Mystic Revelation album and the 1983 official release of ‘Man From Higher Heights’ it remains unclear whether this album is a mixture of original recordings overlaid with additional players, or Ossie’s post-Mystic Revelation players remaining true to the spirit of Count Ossie (who had died in a car crash in 1976).
Either way it is a fascinating and successful blend of heavyweight Rastafarian roots rhythms and drumming alongside deep jazz improvisation and tripped out psychedelic fuzz guitar.
The album was first released in 1983 on the British label VIsta Sounds with no mention of the line-up of the group. It has been out of print for over 30 years and remains one of the most mysterious of all releases relating to Count Ossie and the Mystic Revelation of Rastafari.
Count Ossie is the central character in the development of Rastafarian roots music, an almost mythical and iconic figure. His importance in bringing Rastafarian music to a populist audience is matched only by Bob Marley’s promotion of the faith internationally in the 1970s.
Count Ossie’s drummers made the first ever song to integrate Rastafarian traditional music into popular music - The Folkes Brothers’ song ‘Oh Carolina’, recorded for producer Prince Buster in 1959. In 1966 his drummers greeted the arrival of Haile Selassie at Kingston airport. His Rastafarian compound in the hills of Wareika, Kingston, hosted jam sessions between his drummers and Jamaica’s finest musicians, Roland Alphonso, Don Drummond, Johnny Moore and others.
Count Ossie and the Group’s Man From Higher Heights remains one of the most elusive of his highly progressive Rastafarian inspired recordings, the final release in Count Ossie’s career.
Culture - (1988) Two Sevens Clash CD
Shanachie – 44001
One of the masterpieces of the roots era, no album better defines its time and place than Two Sevens Clash, which encompasses both the religious fervor of its day and the rich sounds of contemporary Jamaica. Avowed Rastafarians, Culture had formed in 1976, and cut two singles before beginning work on their debut album with producers the Mighty Two (aka Joe Gibbs and Errol Thompson). Their second single, "Two Sevens Clash," would title the album and provide its focal point. The song swept across the island like a wildfire, its power fed by the apocalyptic fever that held the island in its clutches throughout late 1976 and into 1977. (Rastafarians believed the apocalypse would begin when the two sevens clashed, with July 7, 1977, when the four sevens clashed, the most fearsome date of concern.) However, the song itself was fearless, celebrating the impending apocalypse, while simultaneously reminding listeners of a series of prophesies by Marcus Garvey and twinning them to the island's current state. For those of true faith, the end of the world did not spell doom, but release from the misery of life into the eternal and heavenly arms of Jah. Thus, Clash is filled with a sense of joy mixed with deep spirituality, and a belief that historical injustice was soon to be righted. The music, provided by the Revolutionaries, perfectly complements the lyrics' ultimate optimism, and is quite distinct from most dread albums of the period.
Although definitely rootsy, Culture had a lighter sound than most of their contemporaries. Not for them the radical anger of Black Uhuru, the fire of Burning Spear (although Hill's singsong delivery was obviously influenced by Winston Rodney), nor even the hymnal devotion of the Abyssinians. In fact, Clash is one of the most eclectic albums of the day, a wondrous blend of styles and sounds. Often the vocal trio works in a totally different style from the band, as on "Calling Rasta Far I," where the close harmonies, dread-based but African-tinged, entwine around a straight reggae backing. Several of the songs are rocksteady-esque with a rootsy rhythm, most notably the infectious "See Them Come"; others are performed in a rockers style, with "I'm Alone in the Wilderness" an exquisite blend of guitar and vocal harmonies. One of the best tracks, "Get Ready to Ride the Lion to Zion," is a superb hybrid of roots, rocksteady, and burbling electro wizardry; its roaring lion (created who knows how) is a brilliant piece of musical theater. "Natty Dread Take Over" twines together roots rhythms, close harmonies, and big-band swing, while even funk and hints of calypso put in appearances elsewhere on the album. Inevitably, the roots genre was defined by its minor-key melodies, filled with a sense of melancholy, and emphasized by most groups' lyrics. But for a brief moment, roots possibilities were endless. Sadly, no other group followed Culture's lead, and even the trio itself did not take advantage of it, especially after parting ways with Gibbs. When Culture re-emerged in the mid-'80s, they swiftly moved into a reggae lite/world music mode a world apart from where they started. Thus, Clash remains forever in a class all its own.
Although definitely rootsy, Culture had a lighter sound than most of their contemporaries. Not for them the radical anger of Black Uhuru, the fire of Burning Spear (although Hill's singsong delivery was obviously influenced by Winston Rodney), nor even the hymnal devotion of the Abyssinians. In fact, Clash is one of the most eclectic albums of the day, a wondrous blend of styles and sounds. Often the vocal trio works in a totally different style from the band, as on "Calling Rasta Far I," where the close harmonies, dread-based but African-tinged, entwine around a straight reggae backing. Several of the songs are rocksteady-esque with a rootsy rhythm, most notably the infectious "See Them Come"; others are performed in a rockers style, with "I'm Alone in the Wilderness" an exquisite blend of guitar and vocal harmonies. One of the best tracks, "Get Ready to Ride the Lion to Zion," is a superb hybrid of roots, rocksteady, and burbling electro wizardry; its roaring lion (created who knows how) is a brilliant piece of musical theater. "Natty Dread Take Over" twines together roots rhythms, close harmonies, and big-band swing, while even funk and hints of calypso put in appearances elsewhere on the album. Inevitably, the roots genre was defined by its minor-key melodies, filled with a sense of melancholy, and emphasized by most groups' lyrics. But for a brief moment, roots possibilities were endless. Sadly, no other group followed Culture's lead, and even the trio itself did not take advantage of it, especially after parting ways with Gibbs. When Culture re-emerged in the mid-'80s, they swiftly moved into a reggae lite/world music mode a world apart from where they started. Thus, Clash remains forever in a class all its own.
Dennis Alcapone - (1991) Forever Version CD
Heartbeat Records – 3505
A straight reissue of the original Studio One album from 1971, Forever Version includes material from Alcapone's prime early output and ably demonstrates why the young musical outlaw was on equal footing with the revered DJ innovator of the day, U-Roy. In addition to having his peer's toasting dexterity and lyrical wit, Alcapone found his own niche with a singing-talking combination and liberal doses of distinct whoops and high-pitched caws. The basic tracks Alcapone versions are vintage early reggae from Clement Dodd's vaults, including cuts by Alton Ellis, John Holt, the Heptones, Carlton & His Shoes, and Delroy Wilson. The stellar Sound Dimension band figures nicely into the mix, too, with contributions from organist Jackie Mittoo, tenor saxophonist Roland Alphonso, bassist Leroy Sibbles, and guitarist Ernest Ranglin, among others. Along with Trojan's equally impressive Alcapone disc, My Voice Is Insured for Half a Million Dollars, Forever Version counts as one of the best albums to emerge from the early days of Jamaican toasting.Dennis Brown - (2016) Dubbing At King Tubby's
Jamaican Recordings – 060
Dennis Brown has always been cited as Jamaica’s favourite singer. While Bob Marley set out to conquer the world, Dennis’s popularity on the island grew with every year. His most prolific period is said to be with producer Niney the Observer who led the singer down a more roots avenue, putting Dennis on some of his heaviest rhythms. Throwing also into the pot the fact that these rhythms were also to be mixed by the dub master himself King Tubby we are bound to get one of the finest dub albums around. Here it is the Crown Prince of Reggae meets Niney the Observer at King Tubby’s.
Dennis Brown (b Dennis Emanuel Brown, 1957, Kingston, Jamaica) began his illustrious career at the grand age of eleven like many of the other child singers at Coxsonne Dodd’s Studio 1 stable. His first hit in 1969 a cover of Van Dykes ‘No Man is an Island ’still stands the test of time and also its follow up cut ‘If I Follow My Heart’ as Reggae classics. The 1970’s saw Dennis build on his reputation by working with all the top Jamaican producers and studios perfecting his sound. Lloyd Daley, Impact, Joe Gibbs, Aquarius and Derrick Harriott to name but a few. But it was his work with producer Winston ‘Niney’ Holness that he enjoyed the most success and many say recorded his best work for.
While many of the other producers stayed with their tried and tested Lovers Rock formula, that did prove so popular with Dennis’s voice, however it was producer Niney the Observer as he is fondly called who pushed him into a more roots led direction, over stark rhythms created by Niney’s studio band Soul Syndicate.
Two outstanding albums were put together ‘Just Dennis’ (1975) built on a collection of singles they had recorded together, ’Cassandra’, ’Westbound Train’, ’No More Will I Roam’ and ‘Conqueror’. The second 1977 set ‘Wolf and Leopards’ made up again of singles the prolific two had cut including, ’Here I Come’ (a live favourite that Dennis always liked to start his set with).
It’s from this period that we have focused on and it’s these tracks that were taken to King Tubby’s studio to produce this stunning album.
Dub Syndicate - (1992) The Pounding System CD
On-U Sound – 018
Paralleling other English reggae outfits like UB40 and Mad Professor's Ariwa band during the late '70s and early '80s, Adrian Sherwood's various On U Sound outfits took off from Jamaican dub and vocal music to create something both similar and unique. While primarily inspired by the dub of King Tubby and company as well as the slicker sound of dancehall luminaries like the Roots Radics band and producer Henry "Junjo" Lawes, the Dub Syndicate, for one, also incorporated rock elements and a host of original dub effects: drums sound harder and more insistent than on most Jamaican sides, the piano and horns play a more prominent role, and, in an admitted quest for ambient sounds, echo, flanger, and reverb effects are wrought with their own brand of frenetic twist and turns. This Dub Syndicate debut from 1982 captures most of the attractive mix and remains one of Sherwood's best releases. While maybe not as daring as more electronica-minded and big beat-filled releases that followed, Pounding System has stood the test of time better than many On U Sound titles with its subtle marriage of Jamaican music and Sherwood's aesthetics.
Dub Syndicate - (2017) Ambience In Dub: 1982-1985 5xCD
On-U Sound – 137
Starting out as a typically loose On-U collective masterminded by Adrian Sherwood, Dub Syndicate evolved over time into a long-term collaboration with the drummer Lincoln Style Scott, a key member of the Roots Radics and Creation Revel. This anthology documents their early years over five discs, featuring four bonus tracks from the original albums and an entire disc of unreleased dubs: The Pounding System (1982) , One Way System (1983), North Of The River Thames (1984) w/ Dr Pablo, Tunes From The Missing Channel (1985), Displaced Masters (9 unreleased versions). Plus 24 page booklet with sleevenotes by Steve Barker (On The Wire)
Drummer Style Scott joined Adrian Sherwood's influential On-U Sound dub label in the late '70s and played on Sherwood's influential releases as part of the New Age Steppers (with vocalist Bim Sherman, horn player Deadly Headley, melodica player Dr. Pablo, and a large guest lineup). Scott later formed his own band, Dub Syndicate, which soon became – with the possible exception of African Headcharge – On-U Sound's most popular act. Though not a group per se, Style Scott and producer Sherwood explore reggae, dub, and dancehall by collaborating with some of reggae and dub's greatest talents, including Lee "Scratch" Perry, Skip McDonald, U-Roy, and, in a bit of posthumous sampling of an old friend, Prince Far I (on 1990's Stoned Immaculate).
Debut album Pounding System (1982) and the following year's One Way System were both reissued in America by ROIR. A project with Dr. Pablo titled North of the River Thames didn't earn a domestic release, but 1985's Tunes from the Missing Channel was licensed to EMI. An import-only project with Lee "Scratch" Perry called Time Boom 'De Devil Dead followed in 1986, but 1990's Strike the Balance appeared on the Island subsidiary Mango. On-U Sound, in conjunction with the American label Restless, began an ambitious reissue effort with three volumes of the Classic Selection series (similar to African Headcharge's Great Vintage series) but continued to make new Dub Syndicate projects such as From the Secret Laboratory and Stoned Immaculate available only on import. Restless, though, did eventually give Stoned Immaculate and 1994's Echomania domestic releases.
In 1996, Dub Syndicate released both an album of new material (Ital Breakfast), and the remix album Research & Development, with reworkings of tracks from the entire Dub Syndicate catalog by Zion Train, Soundclash, Iration Steppas, and the Rootsman. Four years later, the performance album Live at the Maritime Hall was released. The next album, Acres of Space, was recorded in Jamaica and mixed by longtime collaborator Adrian Smith. Murder Tone from 2002 collected classic and unreleased tracks and was followed two years later by the new album No Bed of Roses. Pure Thrill Seekers appeared in 2005 with guest shots from Luciano, Cornell Campbell, and Gregory Isaacs. In 2006 the two-disc set The Rasta Far I was released, and two years later the Collision label released Overdubbed – actually the first disc of The Rasta Far I – featuring 17 Dub Syndicate tracks remixed by Smith & Mighty's Rob Smith.
Frente Cumbiero & Mad Professor - (2011) Frente Cumbiero Meets Mad Professor
Vampi Soul – 136
From Bogota, Colombia comes the cumbia combo Frente Cumbiero. But wait, they’re not alone! Over by the mixing board we have Mad Professor, legendary dub producer and collaborator with dubby luminaries like Sly & Robbie, Massive Attack, The Orb and the original dub shape shifter himself, Scratch Perry.
For this collaboration, Frente Cumbiero cut seven fresh tracks, 5 instrumentals and 2 w/vocals. They run for the first half of the CD; Mad Professor then dubs them up on the second half, including two dub versions of the stand-out track “Ariwacumbe.” Frente Cumbiero play a fine-tuned, mid-tempo version of cumbia that seems to owe a thing or two to traditional music from the Balkans. The horns on tracks like “Gaita Del,” “Cumbietiope,” “Bestiales 77” and “Chucusteady,” combined w/the accordion, gives these tracks a South America-meets-Eastern European flavor that, when blended with the Jamaican dub style of Mad Professor, lends a globalist groove.
The band pretty much acknowledges this on “Ariwacumbe” with its chanted refrain about “gypsy rock nonstop cumbia hip hop” that pretty much sums it up. The languorous “Analogica,” with its dreamy groove and beautiful vocals by Liliana Saumet + Javier Fonseca and Shaun Turner, polishes off the original tracks with a classy finish. Mad Professor’s dub tracks are pretty low-key, but certainly do the trick. It’s not earth-shaking dub, nor is it supposed to be, but they do offer a fresh take on an already outstanding collection of tracks.
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