Blood & Fire – 049
Tuesday, February 5, 2019
Prince Far I - (2005) Silver and Gold 1973-1979
Prince Far I & The Arabs - (1998) Dub To Africa
Pressure Sounds – 002
He gave prompt notice of this increased activity as early as mid-January of that year with four new titles on his Cry Tuff imprint among the first batch of pre-release consigned to the UK following the Christmas and New Year recess. In addition to his own 'Love by Everyone', there were DJs Jah Thomas with 'Bimbo' and Big Joe with 'Nine Me Nine', plus singer Naggo Morris reassuring that "'ah Will Explain' on the warm 'Mean Girl' rhythm, a Larry & Alvin original from Studio One and a particular favourite of the Prince. He arrived here in person the following month, stating to Black Echoes' Observer columnist a release schedule that included an album from Carol Kalphat, a various artistes 'Cry Tuff DJ Session' featuring contributions from U Black, Jah Thomas, Black Skin the Prophet, Clint Eastwood and Ranking Joe, and a bass and drum excursion entitled 'Crocus Bag Dub', though none of which subsequently ever saw the light of day, at least not in these proposed formats.
What did next emerge in early March via Far I's link up with UK label were three discomix releases featuring: Bim Sherman backed by The Heptones and with Jah Buzz appended for further diversion on 'Love Jah', George Calstock coupled with U Black for 'The Ungodly', backed with a Doctor Pablo instrumental 'Righteous Melody', and a UK release for the aforesaid Naggo Morris 'Jah Will Explain', also backed with a Doctor Pablo track 'Wicked Feel It', embellishing what one reviewer at the time fancifully described as "melodica mix-up marijuana-miracle animations." And later that same month, a further six Cry Tuff pre-release titles that had still been awaiting pressing when the Prince left Jamaica for England now finally arrived here: Jennifer Lara, 'Music By The Score', Black Skin The Prophet, 'Red Blood', Rod Taylor, 'Run, Run', Peter Brogo, 'I A Field Marshall', Prince Far I, 'I And I A The Chosen One' and Brigadier Jam Brown with 'Freedom Fighter'.
At the beginning of April, Hitrun organised a Roots Encounter Tour of the UK, starring Prince Far I together with labelmates Bim Sherman and Prince Hammer and backed by the Creation Rebel Band. The package played a series of dates throughout the month with shows in Liverpool, Bristol, Cheltenham, High Wycombe and London engagements at Dingwalls, 100 Club, Tavistock Hall, Club Noreik, Acklam Hall and others.
During May, Prince Far I's third album for Virgin's Front Line label was released. 'Cry Tuff Dub Encounter Part 2' was the follow up to 'Cry Tuff Dub Encounter', which had been issued on Hitrun the previous year. Concurrent with the Front Line release, the Hitrun set-up now put out an unsleeved, white label limited pressing of eight new bass and drum workouts, this present set 'Dub to Africa. Boosted by his live shows, both albums sold well in the UK and figured on the reggae chart. What distinguished 'Dub To Africa' from 'Cry Tuff Dub Encounter Part 2', however, was that whereas the Front Line set employed the usual set of musicians then recording variously as The Revolutionaries, The Mercenaries, The Professionals and for Prince Far I as Cry Tuff And The Arabs, 'Dub To Africa' drafted in Lincoln Valentine 'Style' Scott (drums) and Noel 'Sowell' Bailey (guitar) alongside the Prince's regular bassist Errol 'Flaba' Holt under the aegis Cry Tuff And The Originals. This was the nucleus of the session group who were to revolutionise reggae music in the early eighties as The Roots Radics, slowing down the militant rockers sound of The Revolutionaries and ushering in the dancehall era backing newcomers such as Barrington Levy as well as established acts like Gregory Isaacs and Bunny Wailer.
The title track 'Dub To Africa' had already seen service as the rhythm for both Peter Brogo's 'I A Field Marshall' and the Prince's own toast of the same 'I And I A The Chosen One', and if fact the dub version of 'I A Field Marshall' had been called 'Dub To Africa' on Cry Tuff single release, though it was actually the flip on 'I And I A The Chosen One', itself originally titled 'David', which was utilised now. For the rest, The Orginials laid pared down reworkings of former Studio One rhythms like 'College Rock': ('Glory To God') and Dawn Penn's 'You Don't Love Me' aka 'No No No' ('Hello Love Brother').
The previous six months' itinerary could hardly continue at the same hectic pace and the remainder of 1979 was relatively quiet for Prince Far I. In July, Hitrun put out bassist Errol Holt's vocal cut to the 'Hello, Love Brother' rhythm, cheekily reinterpreting 'No No No' as 'Yes Yes Yes' coupled with a Rod Taylor effort, 'No One Can Tell I About Jah', and in September the label dusted down Peter Brogo's 'I A Field Marshall' (retitled 'Higher Field Marshall') together with the Prince's version 'I And I A The Chosen One' and coupled with this Prince Far I featuring Brigadier Jam Brown on 'Loved By Everyone' for UK discomix issue, and later the same year surfaced 'Cry Tuff Dub Encounter Chapter 3' on the Daddy Kool label and the first of four Prince Far I LPs for Trojan, 'Free From Sin'.
Prince Far I died tragically in September 1983.
Ras Michael & The Sun of Negus - (1995) Rastafari Dub LP
Reachout International Records – 8251
Ras Michael, one of the foremost exponents of traditional Nyahbinghi drumming and chanting, recorded his Rastafari album in 1972, and a dub version of that album was released simultaneously in a limited edition. Scraps of it have turned up from time to time, some on legitimate releases and some not, but ROIR's cassette reissue in 1989 was the first complete and fully licensed release since the original vinyl first came out. It's too bad the non-dub version isn't included as well, but this LP is still a treasure. Ras Michael and his crew of drummers are joined by reggae demigods Carlton "Santa" Davis (drum set), Robbie Shakespeare (bass), Tommy McCook (flute), Earl "Chinna" Smith (guitar), and others, and the fusion of electric, urban reggae and organic, rural Nyahbinghi drumming is perfect. Particular highlights include the dub versions of "None a Jah Jah Children No Cry" (recommended especially in conjunction with its vocal version) and the very dry and heavy "In Zion."
Roger Robinson - (2015) Dis Side Ah Town LP
Jahtari – 007
One night in 2011 King Midas Sound's Roger Robinson returned to Brixton from touring and inadvertently walked into the centre of the London riots. Through the flames and smoke he felt compelled to tell the stories of the people he saw rioting on the street that night. With disrupt's dub soundtrack highlighting the triumphs and tribulations in the lives of the people of Brixton, the album unfolds like a documentary film, extending from the epicentre of the riots and rippling out from there. Roger showcases all his poetry and singing styles over the sonic tower blocks and underground caverns of disrupt's dub soundscapes, evoking the golden era of dub poetry of the likes of Prince Far I, Big Youth and Linton Kwesi Johnson - a time when dub poetry made you dance in the club but also made you think on the way home. Done with lots of voltage, old school samplers, DIY synths, home made delays, dictaphones and even onboard computer mics this gritty disc will take you straight to Brixton's streets.
Scientist - (1981) Scientific Dub CD
Abraham – 1054
Sunday, February 3, 2019
Scientist - (2015) Jah Life In Dub
Jah Life – 013
Thursday, January 31, 2019
Sound Dimension - (2008) Mojo Rocksteady Beat CD
Soul Jazz Records – 173
The Sound Dimension have recorded some of the most important songs in Reggae music; songs such as Real Rock, Drum Song, Heavy Rock, Rockfort Rock, In Cold Blood - all classic songs that have become the foundation of Reggae music, endlessly versioned and re-versioned by Jamaican artists since the time they were first recorded to the present day. As the in-house band at Studio One in the late 1960s, The Sound Dimension also played alongside everyone from The Heptones, Alton Ellis, Ken Boothe, Marcia Griffiths and more. Similar to their US counterparts The Funk Brothers at Motown and Booker T and The MGs at Stax, The Sound Dimension recorded on a daily basis incredibly catchy and funky tunes matched by a seamless musicality. Featuring musicians of the calibre of Ernest Ranglin, Jackie Mittoo, Eric Frater, Leroy Sibbles, Don Drummond Jnr, Deadley Headley and more, the Sound Dimension existed from around 1967-70 and all the recordings featured here were originally released during this period. For a band with a fluid line-up, they had an amazingly consistent sound laying down classic rhythms for the singers of the day at Studio One as well as stretching out with their own recordings. Check out the amazing trombone of Vin Gordon, rightly re-named Don Drummond Jnr by Sir Coxsone, honouring both the musical abilities of the young Gordon, and that of his forerunner in the Skatalites and ex-Alpha Boys teacher, Don Drummond. His sparring partner on horns would usually be Deadly Headley Bennett. The Sound Dimension featured a unique combination of musicians from different backgrounds, such as those from the original jazz big bands on the island or players from the north coast hotel music circuit; listen to Park View and hear the two unique styles of Eric Rickenbacker Frater, with his fuzz-box lead guitar, duelling with the jazz virtuosity of fellow guitarist Ernest Ranglin. After Jackie Mittoo officially emigrated to Canada in 1968 (although often continuing to return for sessions), keyboard duties were also supplied by the equally funky Richard Ace or Robbie Lyn all against the rhythmic bass-lines of the Heptones own Leroy Sibbles. None of this can explain the importance of this music. Real Rock, Mojo Rocksteady, Rockfort Rock, Drum Song, In Cold Blood - the melodies to these classic songs are a thousand times better known than the musicians who originally created them. Played and re-played by every house band for every producer on the island, these iconic rhythms became the basis for dancehall and laid the foundations for the future of Jamaican music. This album can be seen as a companion to the earlier Sound Dimension release Jamaica Soul Shake and together these two albums make a unique and definitive document of a seriously important set of recordings.
Tapper Zukie - (2015) Man Ah Warrior CD
Kingston Sounds – 058
Recorded during sessions with producer Clem Bushay in England, Zukie never expected these cuts to turn into an album, and was quite startled to discover this record in the London shops when he came to town in the spring of 1975. It's evident that the tracks were earmarked as potential singles, something the poor sequencing merely reinforces. As a debut album, it's pretty disastrous; approached as a compilation, however, which in a way it was, and it's an intriguing snapshot of the young up-and-coming DJ. So here's Zukie rousting the listeners at home on "I King Zukie," chanting with the best of them on "Simpleton Badness," and toasting up a storm on "A Message to Pork Eaters" and "Viego." "Zukie Fashionwear" gives one a taste of the dancehalls, all catchphrases and clever repetitive nonsense words, while "Archie, the Rednose Reindeer" has all the exuberant, savvy silliness of a Yellowman hit. But it wasn't so much these tracks that caught punk princess Patti Smith's ear, but the title track and "I Ra Lion." "Man Ah Warrior" is stripped down to a bare beat and riffing guitar, over which Zukie chants and toasts in almost poetic fashion, foreshadowing the rise of Linton Kwesi Johnson and Mutabaruka. The latter song is equally bare boned, but the DJ preaches with apocalyptic style, á la Prince Far-I. Zukie's MPLA will be a much more coherent effort, but, across extremely diverse rhythms and musical styles, the DJ holds his own on this intriguingly different album.
The Abyssinians - (2006) Satta Massagana CD
Heartbeat Records – 11661
The Abyssinians debut album has had a very complex release history.[4] The first unofficial editions, very limited in quantity, were released by Clive Hunt in 1975. The first official release occurred in Jamaica in 1976 on Pentrate Label, issued by Clive Hunt and Geoffrey Chung, and shortly after in the United States on Jam Sounds.
The following years, 1977 and 1978, saw the album released by three labels under the title Forward On To Zion. The album was released in the United Kingdom on the UK Klik Chart Sounds and Different labels, as well as on Bernard Collins' own Clinch label. Similarly, Clive Hunt's US-based Azul label released the album under the title Satta. A note on track-listings: the Klik & Different releases reverted to the original track listing of the limited pre-release editions which placed the title track as the final track, furthermore, the Azul edition renamed some tracks and did not include "African Race".[5]
The album would see numerous re-releases over the next decade, including in 1988 by Clinch and in 1989 by the Blue Moon label.
In 1993 the album was released on compact disc for the first time by Heartbeat Records. This edition included four previously unreleased bonus tracks.[3] And once again in 2007 as a deluxe edition which included four additional bonus tracks.
The title track off the album 'Satta Massagana' was covered by Ethiopian dub outfit Dub Colossus in 2011 and released on Real World Records.
Composed in 1968, "Satta Massagana" featured the vocal trio that helped to define the most devout strains of Jamaica's then-emergent reggae sound. Producer Clement "Coxsone" Dodd brought the Abyssinians (Bernard Collins and the Manning brothers, Donald and Lynford) into the studio to record the song, whose Old Testament inspiration and Ethiopian linguistic sampling spoke to roots reggae's Rastafari foundations. But the somber, slowed-down groove and the obscure spiritual references made Dodd think the results would leave Jamaican audiences cold. Undeterred, the Abyssinians bought the master, released it on their own, and proved Dodd wrong; indeed, "Satta Massagana" entered the devotional canon of Rastafari congregations around Jamaica.
Taping at Studio One and Federal Records, the Abyssinians followed in short order with Collins' equally successful "Declaration of Rights," "Leggo Beast," and "Black Man's Strain"-along with Lynford's "Abendigo," "I and I," "Reason Time," and "Y Mas Gan," and Donald's "African Race," "Jerusalem," and "Peculiar Number." All are heard here, with informative notes by Chris Wilson. Satta Massagana is nothing less than a reggae classic, and-backed by noted Kingston studio musicians including Robbie Shakespeare, Sly Dunbar, and Earl "Chinna" Smith-after nearly four decades the album's fourteen original tracks (plus four additional previously released tracks on this 2006 CD reissue) reveal the trio's lovely harmonies, loping percussive groove, and spare instrumentation, as fresh and sublime as ever.
The Abyssinians - (1998) Declaration Of Dub CD
Heartbeat Records – 180
...BUT even if you don't, you can not help but be amazed by what this album has to offer. You still have the music pretty much intact, and tasty pieces of the roots reggae vocals that made Abyssinians songs what they were, on there to whet your appetite for more of this great trio.
For me, however, as much as I love dub albums, the Abyssinians are best heard in their full vocal glory, and dub, by definition, will only give you small glimpses into what was really going on in any session, song, etc. Enjoy this album for the dub it offers- its straight forward and has great moments on it- but also get the original "Satta Massagana" lp to fully understand the Abyssinians experience.
The Aggrovators - (2015) Attack Dub (Rare Dubs From Attack Records 1973 - 1977) CD
Jamaican Recordings – 056
and he created a number of different labels to handle his ever expanding output.
The most important at the time when dub was king were Jackpot, Justice… and Attack.
“I had a lot of labels. Lee was my first label… just a plain little white label and then
I came out with Lee’s with an apostrophe s on it. In the Seventies most things used
to come on Jackpot… you know it was designed in Jamaica.
I still have labels sometimes that I don’t remember until I see it! Sometimes you’d
just make up a label on the spur of the moment. You understand? Those days it
was mainly blank labels too… The blank records were alright but then the people
wanted to know the name of the artists so we had the backgrounds ready and we
just printed out the name. It was easier. You could just put in Jackpot or Aggrovators
because in those days you used to have to do it quick! The printer started to make them
and everybody’s label looked the same way but with a different name. It meant every
man could do his own thing but you got out the record quicker…
Yeah man… I had Jackpot, Justice, Agro, Gas… Unity was the one that I started
with Pama… then Pama Supreme… I had a lot. Attack and Jackpot over Trojan side…
the Jackpot label Lee Gopthal and myself did start that, also the Big Shot label to
put out my product in the UK.” Bunny ‘Striker’ Lee
Bunny had always worked very closely with Osbourne ‘King Tubby’ Ruddock who
had built his first sound system in 1957 but Tubby felt that things really got going
when he took on Ewart ‘U Roy’ Beckford as his deejay in 1968. Not long afterwards
he purchased his own basic two track recording equipment which he installed
alongside his lathe for cutting acetates, a home made mixing console and his
collection of jazz albums in the back bedroom of his home on Dromilly Avenue
which was now known as his music room. When Byron Lee upgraded Studio B
at Dynamic Sounds to sixteen track recording in 1972 Striker brokered a deal for
Tubby to purchase the old four track equipment. The package included the
MCI console that Tubby would go on to make world famous and, as they say,
the rest is history.
The Aggrovators - (2015) Justice Dub (Rare Dubs From Justice Records 1975 - 1977) CD
Jamaican Recordings – 054
Justice records was formed in the early 1970’s as we stated earlier, as a subsidiary label to handle the ever growing output of Producer and hit maker from Jamaica Bunny ‘Striker’ Lee. Bunny worked in all the Jamaican studio’s and as an independent operator would licence his product to all the different labels in England and America.
Bunny was at the birth of dub music and worked closely with King Tubby where he stored many of his masters, so Bunny’s rhythms were always available for Tubby to work his magic over. Version had hit big around this time and many records were brought for the flip side dub of the vocal cut. The side that was proving so popular at the sound system dances, where the records were tried and tested. So inevitably nearly all Justice record’s carried its dub counterpart. We have compiled what we think are some of the best dub cuts from this label and era.
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