Pato Banton (Dubroom MP3 Artist Review)

PATO BANTON
DUBROOM MP3 ARTIST REVIEW

WWW, August 2014 - Pato Banton has his way of dealing with his voice and lyrics: he is a master of saying the serious thing in a funny way without making fun of the situation itself. Yes, intelligence galore in his many releases, of which Mad Professor Captures Pato Banton remains to be a standard of UK based sing-jay or toasting.

During his decades-long career, Pato Banton voiced for UB40 and many other UK based famous acts. His sense of humor, his usual focus on social and spiritual topics, he combines everything in an undeniable special and personal style that has -in the mean time- lifted up the souls of millions of listeners and viewers of energetic concerts. Check out this remarkable talent!

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MIKEY DREAD - DREAD AT THE CONTROLS/EVOLUTIONARY ROCKERS

MIKEY DREAD - DREAD AT THE CONTROLS/EVOLUTIONARY ROCKERS
DUBROOM ALBUM REVIEW

WWW, December 2009 - Together with some crucial DUB versions, this 2005 two-albums-on-one-disc release contains the original 1979 Mikey Dread debut releases all mixed in King Tubby's Waterhouse Studio.

It wasn't until Mikey Dread gained control over his own productions that his debut album "Evolutionary Rockers" was available on the digital market. That's over one quarter of a century in which the material was only available through collector's and traders' channels.

Quite some material, especially when you consider that there's a DUB version of most of the vocal tracks on the album. Containing classics like "Barber Saloon" and "Propper Education" (available for free and legal MP3 download on the Dubroom, just click on the links) in their extended version, the album captures Mikey Dread as he is still focused on Toasting ("Reggae Rapping") during these his early days.

None less than seventeen outstanding tracks on one disc: you just cannot miss out on this one, when you like Roots Rockers Reggae and Dub and Toasting and King Tubby and an all-star Band, in short unless you hate Reggae with every bone in your body, you will simply have to have this one.

PRINCE FARI - THE PEEL SESSIONS

PRINCE FARI - THE PEEL SESSIONS
DUBROOM MP3 ALBUM REVIEW

WWW, October 2009 - The year is 1978. The Voice of Thunder meets up with BBC Radio DJ John Peel to record Prince Far I's contribution to what has become one of the largest musical recording series in the history of the British public channel.

It leads to far for this review to describe just who John Peel was, but a few words should be said about him. He promoted up and coming artists in a special way: they were invited in the Studio for a semi live version which would then be recorded and played on the BBC airwaves.

John Peel loved Reggae and invited several artists in his studio, among which Misty In Roots and also Prince Far I. The Voice of Thunder took a couple of musicians with him and they laid down a very heavy Roots session in ways that he did not sound on all his other albums.

Some really crucial bass play in "The Dream", an impressive spoken introduction without music, just two special parts of this special album. Ruffer than Ruff, Tuffer than Tuff.

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DILLINGER

DILLINGER
DUBROOM ARTIST PAGES

Although he is known world-wide for his world hit "Cokane In My Brain", this did not represent the Roots Rockers material this heavy DJ would usually chant over. Tunes like "Marijuana In My Brain", for example, which gave him a number one hit in the Netherlands.

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BIG YOUTH AND SOUL SYNDICATE LIVE IN CHICAGO 1981

BIG YOUTH AND SOUL SYNDICATE LIVE IN CHICAGO 1981
DUBROOM MP3 REVIEW



WWW, December 2008 - When the first 4 minutes of sound checking is over, the recording starts and gets more and more interesting as the Soul Syndicate open up with some crucial instrumentals only to go over and serve as the backing band for Big Youth.

The year is 1981. Studio band the Soul Syndicate has made a name as well did Big Youth, who toasted over many Dub riddims allready. The band and the DJ decide to take the concept on stage and they do so in Chicago, Illinois.

In the city where Al Capone has his syndicate, the Jamaican artists bring some upfull vibes. Starting with a little sound check which takes about 4 minutes, the band follows to open up for the MC with a set of nice instrumentals.

When Big Youth enters, the atmosphere is already strong and the result is a strong concert, as Big Youth toasts and sings. In that singing, you can hear how this served somehow as an inspiration for later artists like Sizzla.

However, this was still in 1981 and you can hear that in the recording as well as the instruments. Know your history, know your destiny!


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CLINT EASTWOOD AND GENERAL SAINT LIVE (1982)

CLINT EASTWOOD AND GENERAL SAINT LIVE (1982)
DUBROOM VIDEO REVIEW



WWW, November 2008 - One big party going on, as the MC's Clint Eastwood and General Saint pop up on stage with a full blown band to make some fun at the UK based "Old Grey Whistle Test".

"Another One Bites The Dust", is the title of the tune the DJ Duo performs. They were known from their world hit "Stop That Train", as representants of Rub a Dub Style in the World Charts.

And no, that is not "World Music". For every music is "World Music".

That aside...

Clint Eastwood and General Saint have a lot of fun together with the band and the audience, as they perform what was then a brand new Style of Reggae.

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LONE RANGER - OTHER SIDE OF DUB

LONE RANGER - OTHER SIDE OF DUB
DUBROOM ALBUM REVIEW



If you want to know what the other side of Dub is, you might as well check out the other side of Reggae too.

What is the other side? What are the other sides?

Well, at least one of them is a side that is not easily recognized by people in the western world, the so called first world.

And that is, that Reggae Music is first and foremost a Sufferer's Music. It's born in Jamaica, under the most heavy conditions. Many tunes were produced while bullets were flying around studio's in what was just another gangster war.

How do you think you think you play under circumstances like that?

Another, yes yet another side is the musical technology that was used in the days when Reggae was developed.

Studio's like Channel One and King Tubby's DUB Laboratory were created by technical experts who were able to create sound equipment with material that musicians in the West felt too good for. Yes, even the school-bands who can't even get a single tone right.

What many perceive to be the "charm of Reggae" (especially the older recordings), is directly related to all these conditions. The rough sound, and the heartical vibes come out of the soul of the sufferers.

Perhaps the most extreme example of this is the legendary STUDIO ONE. Many of the basslines that make Reggae Music were born in that studio.

Decades later still going strong!

With nothing more then a two track, and later a four-track Coxsone Dodd literally recorded the start of so many of Reggae's legends.

You name them, they started at Studio One.

And you hear it. Because the sound of Studio One stands symbolic for the fact that Reggae Music is first and foremost a sufferer's music.

And that's the other side of Reggae. And with that, the other side of Dub.

It's a great album, a classic among the classics. In a nice combination of versions (dubby instrumentals) and Toasting Tunes, you hear how only true masters managed to get a sound like this under conditions like that.

And the Lone Ranger? He was the Toaster or DJ at Studio One.

Toasting is Reggae Rapping. Or actually, Rapping is R&B Toasting. Just another side of Dub.

On The Other Side Of Dub you can hear the Lone Ranger toasting. And while you do, you can rightfully wonder why you perhaps know so little of him. Because the Lone Ranger is just as good or better than toasters like Dillinger and Trinity.

So there you have a lot of reasons to buy this album.

First, it is a proof of the fact that Reggae is a Sufferer's Music. No doubt about it when you hear this one.

Second, it is an impressive document of the technical skills of players, vocalists and producers at the legendary Studio One.

Third, Lone Ranger simply is one of the top toasters of Jamaica during the 1970's.

Do It!

Clint Eastwood - Real Clint Eastwood

Clint Eastwood - Real Clint Eastwood
DUBROOM ALBUM REVIEW



Reggae Culture is very rich in traditions and expressions. One aspect of Reggae Culture, is that in the Dance Halls, where DJ's are toasting (Reggae Rapping), some have chosen the same name as a movie star. Lee Van Cleef. Charlie Chaplin. And of course, Clint Eastwood. He is the younger brother of well-known Roots DJ Trinity and a good friend of Dillinger, another famous name in the genre of Reggae DJ. Together with General Saint he scored a world hit with their rendering of "Stop That Train". With these things in mind, the title of the album is funny. Cause the Real Clint Eastwood is a DJ that make you rock and swing on some of the greatest music from the 1970's! Some facts: Most tracks are produced by Bunny Lee and all of them are mixed by King Tubby. The music was played by the Aggrovators (Sly And Robbie) in 1979. Fourteen tunes, with a total playing time of just over 52 minutes.

On this album, you'll hear very hard and deep roots tunes. The kind of tunes that make you turn up the volume until the place starts to shake and thing. When the Aggrovators play and the Godfather of DUB, King Tubby, mixes it up for the DJ to chat over, a lot of musical hearts start to beat faster. Including mine. Sly and Robbie show why they are called the rhythm twins: super tight Drum and Bass Lines as I would say! Clint Eastwood has his own style of toasting. It is influenced by his elder brother Trinity, but definitely he's got his own. His rolling pronunciation of the "R', Kung-Fu style of breathing (in the style of Dillinger) and variety of subjects make this record a very welcome addition to your Roots and Culture collection.

Tappa Zukie - MPLA

Tappa Zukie - MPLA

DUBROOM ALBUM REVIEW



Those of you who like to listen to Dubroom Radio, must be aware of my personal gladness when it comes to Roots Reggae in DJ Style. Reggae rhythms, mixed in Dub style, while DJ's are rhythmically chanting on top of it. It's a genre known as "toasting", which has been the foundation for a popular style such as Hip-Hop.

M.P.L.A. is an album which you can let people listen to, when they want to know some more about Toasting. Originally, the music on M.P.L.A. was released in 1978. VIRGIN RECORDS, the publisher of this great material, has been releasing crucial Reggae music since the 1970's, and many of their releases are strong until this day. This album is no exception. Unfortunately, the album contains just ten tracks, but the fact that the disc is in mid-price compensates it.

The record starts with PICK UP THE ROCKERS. "Rockers today, you will love it tomorrow", Tapper chants on top of a tight One Drop riddim, with sparse guitars and other instruments dropping in and out while the drum and the bass play on.

The second one is one of Tapper's best known tracks, the title track for this one. A militant steppers rhythm, a great horn section dubbed perfectly, and an incredibly strong bassline form the main ingredients for this killer track. M.P.L.A., one of Tapper's best tracks indeed!

After a storm there must be a calm, they say. On this album, the calm comes in the form of DON'T GET CRAZY: a one drop with some very prominent echo's. The recording is very lo-fi on this one.

The fourth track, GO DEH NATTY is more up tempo. Riding on a well known bassline which keeps the track going on like a train!

After this one, Tappa rides over a dub from Horace Andy's hit Skylarking. STOP THE GUN SHOOTING contains a heartical call on the people to stop fighting and shooting each other. A theme which you can see many times within Reggae. Where there is poverty and social injustice, the poor people start to fight each other too and many Reggae Musical works to make the people unite and fight against injustice instead of each other.

ITAL POT is the next one. A One Drop rhythm with the famous Flying Cymbals style, where the Hi Hat opens on the same time as the skanks of the guitar and piano. It's a dub from Johnny Clarke's rendering of "Creation Rebel".

After this, track called MARCUS. Marcus Garvey, the Jamaican black freedom fighter. He is highly respected in Jamaica and many Reggae Artists have made one or more tributes to him. This track contains some beautiful horn licks, fragments of Johnnie Clarke's voice with echo added to it, while Tappa Zukie chants on top with his very special voice.

Track number 8 is called Challis to Challis. Again, the flying cymbals enter. The rhythm is relaxed yet intense. Fragments of guitar play enter the track like a cutting razor, parts in which you only hear the singer singing, and then echo's come in while the drum and the bass start playing again. Nice One!

DON'T DEAL WITH BABYLON is next. An intense track, Tappa's messaging voice crying heartically about the things Babylon does to keep down the Natty Dreads. Even when Dread don't deal with Babylon, them still come to mash it down.

The last track of the album is called FREEDOM. It contains all the necessary ingredients for a good Roots DJ track: consciousness, solid bass and drum, great Dub mixing.

MPLA is a great album when you want to hear some conscious toasting. Although Tappa Zukie has released "slackness", this album only contains "conscious tracks". They all have a social or spiritual subject and that is a good thing.

Brigadier Jerry - Jamaica, Jamaica

Brigadier Jerry - Jamaica, Jamaica
DUBROOM ALBUM REVIEW



Many people speak about Roots Reggae and how they love it. Many, many Roots Reggae classics are being re-released by such labels as Blood And Fire: a true Labour of Love.

And for many, Reggae stopped somewhere in the end of the 1970's. The re-issues surely give that impression a bit.

On the Internet I have seen complaints about that, because there is so much emphasis on the era of Rockers, that the Reggae created afterwards is ignored, where it could really cater to a Roots Audience.

I am talking about the RUB A DUB Style, as Dancehall Reggae was called in the end of the 1970's, early 1980's. Cool and laid back rhythms accompanied by Dub and Dubby effects.

One of the true Dub Masters in that genre must be the Scientist. This protégée of the legendary King Tubby his mixed an incredible amount of Dubs in Channel One Studio's. And not only Dub albums on his own name, he worked on many more albums.

Including this one, the 1985 debut album from "fast toaster" Brigadier Jerry, a member of the Rastafarian organization 12 Tribes of Israel, since 1978.

As a Toaster ("Reggae Rapper"), he started his musical career in this same year. Why it took him so long before his first album was released, nobody knows. But when it arrived, in the last days of Rub a Dub (perhaps), it was a welcome addition and alternative to the then rising Dance Hall Style of Ragga.

The set starts of with the title track, in extended style. Dubwise music from the top to the very last drop. Hear scientist use the digital echo and other effects to enhance Briggie's lyrics and the riddim of the drum and bassline.

The second track "Jah Jah Move" is a little more energetic and hails up Jah and the Bible in which you can "find the truth for yourselves", as Brigadier Jerry says.

After this comes the track called "Jah Love Music", with Scientist creating a lot of heavy and long echo's on the drum and the horn section.

Track number four contains another meditation of worship to Jah, "Give Thanks And Praise", in which Briggy does a little singing and more melodic style of toasting every now and then.

Track five speak about daily life, "Everyman A Mi Bredrin", one of the lesser strong tracks in my opinion. "Kushungpeng", the track after that, is also not one of the strongest tracks. It could have been improved by some wild Dub mixing, but for some reason the Scientist choose to do otherwise. A

fter this, strength comes again in a beautiful rendering of Bunny Wailer's classic "Armagideon" on which Briggy Jerry chants words from the Bible and from own observation and reading out of the book of Revelation, out of the Bible.

The album closes of with "Three Blind Mice", in which Brigadier Jerry gives a demonstration in Rub a Dub toasting, he chants all kinds of words that have not a meaning but sound very rhythmical and are very difficult to do yourself. Or in other words: Don't try this at home.

And as the album started, it also closes: with an extended version. Three blind mice goes over from vocal into Dub with some nice works from Scientist at the Control tower.

I would definitely recommend this album to Rub a Dub fans, to fans of Reggae Toasting, and to fans of DUB music in general.

It is one of the rare Brigadier Jerry albums that there are, and that is a true shame, because he surely remains to be one of the most talent full DJ's. Most of his tunes are straight on conscious tracks with an uplifting message to read scripture and find out for yourself, a teaching often heard in the 12 Tribes of Israel Organization.

Sister Carol - Jah Disciple

Sister Carol - Jah Disciple
DUBROOM ALBUM REVIEW



As the old soul ballad goes, "this is a man's world", and so it sometimes seems with Reggae Music. When it comes to singers and players of instruments, the men are in a majority. I know some people who even think that the best Reggae must be made by men. A thing which I disagree with, and one of the examples I always give is Sister Carol. In 1981, she started to record music under the eyes of Reggae DJ Brigadier Jerry. This was the age of Rub a Dub style, as dancehall music was called in those days. Jah Disciple was released in 1989, a time in which Reggae was -again- going through a shift, like in the time Sister Carol started to record. Personally, I regard this album as one of the higher quality products in a time in which this was absolutely not a common thing.

The albums contains ten tracks and starts off with a track in true DJ tradition: "Who Can Ram The Party Like Me", with the Sistren chatting about standing firm in this "man's world", she shows a perfect style of sing-jay. In the second track she performs her lyrics in fast toasting style, a style made popular by Brigadier Jerry. Third track is the title track, and it has a very catchy riddim. When the drum and the bass roll on under the Sistren's voice, you can't sit still, you just got to move forward an skank hard. Track four is my favourite Sister Carol track: Potential. This track says: play me loud, louder, and again and again. The drum and the bass-line are of exceptional quality. After this, Sister Carol showing to be able to master the genre of Dub Poetry (Linton Kwesie Johnson, Mutabaruka) with a track livicated to knowledge about African History. The 6th track, "Lost In Space" has a slow ragga-ish vibe, and a message to think about: they go to space but they have no respect for the human race. And that is why they're "lost in space". Intelligence is the title of track after this. A track in clear rub a dub style but with -then- contemporary sounds, as you can hear on Culture's "Nuff Crisis" for example. In this one she combines Dub poetry with Rub a Dub toasting and calls upon people to use their God given brains. Track 8 is called "No Me Mommy and Daddy" and again uses a slow ragga-ish style of drumming, while in the background you hear guitar licks and horn hits. Not the strongest song on the album. A lot of Dub mixing and drum and bassline in the next one, with Sister Carol singing and toasting. The album closes with a track that I do not really like, to be honest. It's almost pure ragga and that can't really move me.

The album has an interesting mix between Drum programming and real play, a document of the later 1980's when digital production became more common and accepted. A pioneering time indeed, and I think that now, in the early 2000's things are getting somewhere. But in the style as used on this album, it's quite acceptable for both digital and analogue fan. The album contains many different vibe, as every track stand in it's own style. The more you hear the album, the more you hear this. To summarize, I would say that this album is a must in your collection, especially when you are interested in Reggae DJ-ing. This is one of the best Sister Carol albums, without apology.

U Brown - Train To Zion

U Brown - Train To Zion
DUBROOM ALBUM REVIEW



A concept which is widely used now: fragments of singing vocals, heavy drum and bass laden riddims, and on top of that a deejay chanting.

A concept that comes from reggae music, where the deejays toasted over reggae dub music, showing once more the truth of the words spoken by Tapper Zukie in the 1970's: "Rockers today you will love it tommorrow".

Tommorow is today and the riddims of old still rock until this very day, and even tommorrow, for reggae music is timeless and good reggaemusic will remain interesting.

From what many regard as the Golden Years of Roots Reggae comes this spaced out collection of Bunny Lee produced DJ tracks from one of the masters in the genre: Huford Brown, alias U-Brown. U Brown's voice sounds very much like the one many regard as the originator of this DJ style called "toasting" U-Roy.

One of the most important years in his carreer was 1975, when he had to replace U Roy for King Tubby's, and also started to work with the great Bunny Lee. This is also the year where this four year analogy starts of.

Train To Zion one of the hardest albums that I've heard from the brethren. It's a selection 7 tracks from his album "Satta Dread".

Big up to the Blood and Fire Selector for making this must in every collector's home.

You'll hear fragments of Johnny Clarke, Cornell Campbell, Horace Andy and many more legendary Roots vocalists, everything beautifully mixed in dub style.

This music keeps on rocking throught the centuries fe real!

Various - Channel One Maxfield Avenue Break Down

Various - Channel One Maxfield Avenue Break Down
DUBROOM ALBUM REVIEW



A lot of people speak about Studio One as being very important in reggae history, and rightfully so. Studio One is the place where many reggae riddims came to exist. Channel One is another very important studio, where some of the hardest and heaviest Roots Rockers tracks have been recorded. With the mighty Sly and Robbie as the backbone of the Channel One studio bands in the 1970's, this ought to be no suprise. Subtitled "Dubs & Instrumentals From Channel One (Remastered)", UK based PRESSURE SOUNDS suprises us with a massive 16 track disc containing what I can only describe as crucial hard rocking DUBS! Several dubs from Dillinger's mighty CB 200 album, some cuts from the Mighty Diamonds, and Leroy Smart, a very good singer who should have gotten more attention than he does. And that's not the complete list.

Not all tracks are DUBs in the sense of heavy mixing, but most of them are. And they're all "stricktly rockers", as this kind of roots reggae music was called in the late 1970's. Many drum rhtyhms on this album are of the "Steppers" kind, a rhythm said to be invented by Sly Dunbar: a militant rhythm with a bassdrum kick on every count, just like many modern dance tracks utilize this.

Everytime I listen to this album, I get a feeling to turn up the volume until it's so loud that my heart and soul are totally captured by the music! And how can a response be dfferent, with this multitude of crucial hard rocking roots Dubs?

REGGAE 3 WAY: BRIGADEER JERRY, CHARLIE CHAPLIN AND JOSEY WALES (LIVE)

REGGAE 3 WAY: BRIGADEER JERRY, CHARLIE CHAPLIN AND JOSEY WALES (LIVE)
Dubroom (DUB) Reggae Video Review



WWW, November 2007 - three of the top Rub a Dub DJ's chanting it up with a full blown band behind them: 11 minutes of pure niceness awaits!

When this video was shot, Dancehall Reggae was called Rub a Dub style: crucial drum and bass lines recorded in the Studio's were released on vinyl and used by the Sound Systems and their MC's to create a crucial vibe in the dance.

Charlie Chaplin, Josey Wales and Brigadeer Jerry were at the forefront, and they show how they can even do their works together with a very flexible but supertight band.

Crucial!

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FASIMBAS SOUND SYSTEM - DRUMS OF REDEMPTION

FASIMBAS SOUND SYSTEM - DRUMS OF REDEMPTION
Dubroom (DUB) Reggae Video Review



WWW, November 2007 - Fasimbas describe their sound as Rasta DUB. They are here to musically Chant Down Babylon and give thanks for those that bravely join them.

Roots Reggae, especially Conscious Roots Reggae is ignored by the mass-media. The reason for that has to do with what Rastafarians and other Conscious people call Babylon Shitstem.

This system is responsible for the fact that African people were taken as slaves from their homeland to work as slaves on land that was stolen from yet another people: "welcome" to what one of it's founding fathers called the "New Atlantis".

Fasimbas -their name is a Raspect to Jah Shaka, the King of Rasta Sound System Warriors ina Babylon- is here to Chant Down Babylon with Music and the Dubroom is here to Chant Down Babylon with the promotion (DUB) Reggae and Consciousness.

In this video, that lasts almost ten minutes, Fasimbas introduce themselves over some heavyweight DUB vibes. They show us how they Chant Down Babylon with Music and a positive message of Love and Unity in the African Community as they take us to one of their monthly sessions.

Raspect is due!

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Jah Warrior, Ranking Joe, Trinity, U Brown - 3 The Roots Way

Jah Warrior, Ranking Joe, Trinity, U Brown - 3 The Roots Way
DUBROOM ALBUM REVIEW



Another great release from the Conscious Sounds studio! They maintain a great mix between electronic instruments and other digital devices on one hand, and acoustic or analogue instruments like conga's, real horns and guitar on the other. In this release, we have UK Dubman JAH WARRIOR presenting three Jamaican deejays or toasters that have made great records during the decades that reggae exists. Presenting Trinity, Ranking Joe and U Brown, not the worst as I would say. They chat over riddims created by Jah Warrior and every track comes with an additional DUB Mix, skillfully mixed by Dougie Wardrop. The music that Jah Warrior creates, is kind of special. Completely in the spirit of Conscious Sounds, there is a mix of digital and analogue. We hear good musicians playing conga, horns, and guitar. The drums are programmed in UK Dub style: busy rhythms that make you move and groove. Some people criticize his bass sounds and there is something to say for that. A matter of taste.

I like it, this concept of having Old Skool Deejays chanting over modern rhythms. The three have done it (their roots) way, and they did a good job I must say! The style is much more relaxed than the toasting of deejays like Shabba Ranks. It's not comparable to the old stuff, it's definitely something new which you might have to get used to before you can appreciate it. In my opinion, the concept could be improved further, for example by adding some singing lines in the background.

I must say something special about the great DUB versions that accompany all titles. They are all top! According to the liner notes, the mixes were made by Dougie Wardrop. He is one of the best UK Dub mixers of this time. He also mixed the Album Sentry Meet The Musical Family, available for download at MP3.com. The seven DUB tracks alone are a good reason to buy this album.

U Roy - Jah Son Of Africa

U Roy - Jah Son Of Africa
DUBROOM ALBUM REVIEW


Generally, the mighty U ROY is considered to be the originator of Toasting. Long before RAP was there, in Jamaica the Deejays were chatting (toasting) over music already. So one could say, that U ROY is the Godfather of Rap. And this CD is considered by some to be the best U ROY album so here you have it!

Jah Son of Africa is actually released in the year 1978 and it is recently published again. The album has no bonus tracks; it's just the original album containing 9 tracks, but the fact it is placed in the mid-price section compensates this abundantly! Especially because this is an "all killer, no filler" type of album.

One of the nice aspects of Toasting, is the interaction between the singer and the toaster. You'll hear a few lines of singing, and then U Roy responding to that. When the singers sing about worries, for example, U Roy will respond with a comforting message about JAH JAH taking care.

The set starts with a killer version of Bob Marley's militant anthem "Exodus". It's not played by the Wailers, however, but by the Gladiators. More original Gladiators recordings on this album are "Rivers Of Babylon" and "Herbman Skanking" (Stick A Bush). But it's not only the Gladiators who contributed, there's also Ken Boothe, Judy Mowatt and Brent Dowe. A significant part of the CD is drummed by Horsemouth, one of Burning Spear's original drummers and one of the main characters in the reggae movie "Rockers", a classic in itself. The other parts are played by Sly Dunbar, one of the tightest drummers ever to walk on the face of the earth.

Without apology, I would say this album is a must in your collection. It contains the best elements of one of the best times in reggae. Hard riddims, a lot of dub mixing (echo's), serious lyrics, and all this in mid-price!

-----------------------

Some additional Information found on the Internet: "I am working here from memory but if this is the U Roy album that begins with the airplane taking off (one of his best, IMO) then the original was never released and there is a very interesting story behind it.

That album was originally recorded by Tony Robinson as an album by the Gladiators. For some reason unknown to me, Tony gave the album over to U Roy and never released the vocal LP. If you listen closely to the original vocal tracks in the mix, you will recognize the voice of Albert Griffiths who, needless to say, was not very happy about this.

Perhaps this decision was made based on what was at that time reported to be considerable success that U Roy was having with sales in Africa but I can not verify that. What I can say is that it is one hell of a U Roy album. That explains why there are no "originals" to these toasts." LINK

BIG YOUTH - TRAIN TO RHODESIA

BIG YOUTH - TRAIN TO RHODESIA
Dubroom (DUB) Reggae Video Review



WWW, November 2007 - With some excellent video recordings from Jamaica in the 1970's capturing the vibes of the times, we'll meet up with Big Youth in a classic tune.

Some people have their own style within a style and Big Youth is definitely one of them. His own particular combination of toasting ("Reggae Rapping") and singing adds that special touch only he would give back then.

During the 1970's, Big Youth came up very strong as he voiced one riddim after the other." Train to Rhodesia" is just one of them, but it's one of his best tunes too. The music is played in the "Flying Cymbals" style made popular by the Soul Syndicate and can be found on the Big Youth album "Dreadlocks Dread".

Sights and Sounds from 1970's Jamaican music that will definitely appeal to the young hearts of today as well!

CLICK HERE TO WATCH

MIKEY DREAD AND MATIC HORNS - BARBER SALOON

MIKEY DREAD AND MATIC HORNS - BARBER SALOON
Dubroom (DUB) Reggae Video Review



WWW, October 2007 - After doing a little free style toasting sound check in the 1970's, the check became a tune, yes even one of Mikey Dread's classics!

This video records Mikey Dread as he performs with the Matic Horns. Before the music starts, though, the "Dread at the Controls" has a declaration to make. Don't worry about the security guards, feel free to light up when you can!

The crowd cheers, and the drums give a roll to signal the start of the music. The vibrant band plays an up-tempo version of Mikey's classic "Barber Saloon". The horn section does a wonderful job, Mikey Dread chants to the (French) audience, the vibe is right!

Originally, the tune came into existence after Mikey Dread doing a Sound Check at King Tubby's. But the music and words turned out to form a perfect combination and so the tune became a classic.

CLICK HERE TO WATCH

Various - The Sound Of Channel One: The King Tubby Connection

Various - The Sound Of Channel One: The King Tubby Connection
DUBROOM ALBUM REVIEW



During the late 1970's, early 1980's, reggae music began to change. Roots Reggae gave birth to Rub a Dub. It was also called Dancehall, but that is not to be confused what people call Dancehall in the 1990's. I guess you can also call it The Sound Of Channel One, as UK based label Motion Records dubbed this historical collection of 13 tracks with versions and one bonus dub on 2 CD's.

Historical, and not only because the tracks give a perfect indication of what was going on back then. Previously this music was really hard or impossible to get and that makes it a must for Reggae and Dub fans that are looking for authentic material. Tubby Connection contains session-drummer Desmond Irie's only vocal recording, and it introduces lesser known singers and chanters such as DJ Prince Pompidou, Horace Andy sound-a-like Bandoo and Rootsman Calvin Stuart to the growing audience of Reggae and Dub Music. Most of the tracks are backed by the Gladiators, who are mostly known for their vocal work.

Apart from the last Bonus Track, all recordings took place in the legendary Channel One Studios, Kingston Jamaica. Channel One deserves maximum respect, equally to Studio One and for Dubbernauts arguably even more interesting. Dub has had nuff space to evolve in this studio.

All tracks come with their Dub Version, mixed by the Discoverer of DUB, the great King Tubby. A Channel One Showcase! You will find a wide range of styles between Roots and Rub a Dub on this album, and a different style requires a different kind of dub mixing as well. Tubby proves to be versatile; he suprises me a lot of times. It's like I hear Scientist, Peter Chemist and Bunny Lee together with King Tubby, a definite proof Tubby is the Originator. Everytime I hear the vocal, I can't wait to hear Tubby's interpretation of it! That some tracks are mixed pauseless together with their dub version increases the exitement: a vocal turns dub!