Gemini Sound @ Skateland 1980
download mp3
I don't know too much about the history here, but I do know that King Yellowman got his start as a DJ for Gemini. And I also know that Gemini ran a dance at a rollerskating rink called Skateland in Jamaica. There was a video documentary done on Yellowman and the history of 1980s dancehall @ Skateland and I found the 2 clips on youtube.
Live in Skateland - A 1980s Dancehall Documentary
Part 1
Live in Skateland - A 1980s Dancehall Documentary
Part 2
Wednesday, October 3, 2007
Gemini - Live 1983 video
Jah Love 1986 - Brigadier Jerry, Tiger, Frankie Paul, Sister Carol
Jah Love 1986 - Brigadier Jerry, Tiger, Frankie Paul, Sister Carol
Download mp3
(from http://jamminjasounds.blogspot.com):
Brigadier Jerry (born Robert Russell) got started DJing, as many with a similar cultural fashion did, on U-Roy's King Stur Gav Hi-Fi. In 1978 he joined the Twelve Tribes of Israel and began spreading the message of Rastafari on the affiliated Jah Love sound system. Around the same time he did some work at Channel One and released a few singles but nothing that really shot him up the charts - he was more concerned with doing live appearances and spreading his gospel on vinyl wasn't his top priority. In 1982 he recorded for producer Delroy Stansbury and the single "Pain" was released on the Jwayanza label and became a massive hit. But as was his work ethic, Briggy didn't immediately follow it up with another hot selling single, he went back to work with a handful of sound systems.
In 1985, "Jamaica Jamaica," the first official Brigadier Jerry LP was released by Jah Love Musik - and it remains one of my personal all time favorites! Afterwards Brigadier Jerry began recording on a more consistent basis - voicing for Techniques and even producer George Phang around 1986. Sadly, for me personally, he never recorded for Junjo Lawes - that would have been wicked!
Brigadier Jerry may not have recorded as prolifically as other DJs of the era but what he did record was always great! His follow up album "On the Road" which he cut for RAS Records is often overlooked but a great set of tunes that seem to get better with age. His work with Tappa Zukie in the early 90's was also top notch and resulted in the album "Hail H.I.M." (even though the rhythms were all electronic)
Briggy is undoubtedly one of the most influential and beloved DJs of the 80's and beyond and his rise to fame mainly through the circulation of sound tapes and bootleg recordings goes to prove that cultural/spiritual/reality lyrics carry you a lot farther than a truck load of vinyl.
Downbeat Sound - New York 1983
Downbeat Sound - New York 1983
download mp3
Coxsone Dodd used to play records to the customers in his parents' shop. During a spell in the South of the United States he became familiar with the rhythm and blues music so popular there at the time. In 1954, back in Jamaica, he set up the Downbeat Sound System, being the owner of a amplifier, a turntable, and some U.S. records, which he would import from New Orleans and Miami. With the great success of his sound system, and in a highly competitive environment, Dodd would make trips through the States looking for new tunes to attract the Jamaican public. Dodd opened five different sound systems, each playing every night. To run his sound systems, Dodd appointed people like Lee "Scratch" Perry, who was Dodd's right hand man during his early career, U-Roy and Prince Buster. Downbeat is an integral part of the history and evolution of Ska and Reggae music in Jamaica and beyond.
Friday, September 28, 2007
New Dubs to grab.
These just posted on the other blog...
Xterminator All Stars - Xterminator Dub (RAS 2003)
Ja-Man All Stars - In the Dub Zone (Blood & Fire, 76-79)
Crazy Caribs/Mad Professor - Dancehall Dub (RAS 2004)
King Tubby - Reggae Rasta Dub (Clocktower, 74-77)
King Tubby meets Scientist at Dub Station (Burning Sounds, 80s)
Lee Scratch Perry vs. I Roy - Sensimilla Showdown (Varese, 70s/80s)
Xterminator Presents MLK Dub (RAS 1999)
Xterminator All Stars - Xterminator Dub (RAS 2003)
Ja-Man All Stars - In the Dub Zone (Blood & Fire, 76-79)
Crazy Caribs/Mad Professor - Dancehall Dub (RAS 2004)
King Tubby - Reggae Rasta Dub (Clocktower, 74-77)
King Tubby meets Scientist at Dub Station (Burning Sounds, 80s)
Lee Scratch Perry vs. I Roy - Sensimilla Showdown (Varese, 70s/80s)
Xterminator Presents MLK Dub (RAS 1999)
Thursday, September 27, 2007
Sugar Minott & the Youth Promotion Crew 1986
A little excerpt from a Kingston dance with Youth Promotion in 1986.
nice! little yami bolo!
nice! little yami bolo!
Augustus Pablo - 'Java' Live @ Japansplash 1986
Augustus Pablo - 'Java' Live @ Japansplash 1986
w/ Soul Syndicate band
w/ Soul Syndicate band
Wednesday, September 26, 2007
New dubs fi download
New dubs fi download on other blog today>>>
The Techniques - Techniques in Dub
Randy's Vintage Dub Selection: Dubbing at Randy's 1969-1975
The Aggrovators - Dubbing It Studio 1 Style
Jah Thomas Meets Roots Radics - Dubbing
Sly & Robbie - Overdrive in Overdub
Rico Rodriguez - Warrika Dub
The Techniques - Techniques in Dub
Randy's Vintage Dub Selection: Dubbing at Randy's 1969-1975
The Aggrovators - Dubbing It Studio 1 Style
Jah Thomas Meets Roots Radics - Dubbing
Sly & Robbie - Overdrive in Overdub
Rico Rodriguez - Warrika Dub
Monday, September 24, 2007
Just posted @ Its Coming Out Of Your Speaker blog...
Just posted these at the other blog, so I'm maximizing exposure and ting.
Ossie Hibbert & The Revolutionaries - Earthquake Dub
Ossie Hibbert - Leggo Dub
Linval Thompson - Phoenix Dub
Joe Gibbs & The Professionals feat. Errol Thompson - No Bones For The Dogs
(Dubs From The Mighty Two 1974 To 1979)
Augustus Clark - Black Foundation Dub
Ossie Hibbert & The Revolutionaries - Earthquake Dub
Ossie Hibbert - Leggo Dub
Linval Thompson - Phoenix Dub
Joe Gibbs & The Professionals feat. Errol Thompson - No Bones For The Dogs
(Dubs From The Mighty Two 1974 To 1979)
Augustus Clark - Black Foundation Dub
Saturday, September 22, 2007
Congo Ashanti - Prince Far I - Germany 1981
Congo Ashanti - Prince Far I - Germany 1981
Prince Far I is the Voice of Thunder. His commanding presence is glorified on this tape from Germany 1981. Check it.
Download Zip
Prince Far I (1945 – September 15, 1983), born Michael James Williams, was a reggae toaster and producer and a Rastafarian who was born in Spanish Town, Jamaica.
Originally Prince Far I worked as a security guard, but in the early 1970s he got involved in the Jamaican recording industry, first working under the name of King Cry Cry. With a unique deep bass voice and talking over style, he became a popular reggae musician. One of his albums, Psalms For I, featuring the Lord's Prayer and various psalms, was dedicated to the illiterate who could not read the Bible for themselves. He also collaborated with UK On-U Sound Records and may be considered a mentor figure to Adrian Sherwood. He was shot in 1983, and died in the hospital.
He is referred to by The Clash in their single "Clash City Rockers".
Jammys - Jamaica 1986
Jammys - Jamaica 1986
Jammys Jamaica feat. Super Cat, Major Worries, Joe Lick Shot, El Fargo Barka, Little Twitch, Japanese, Little John, Wayne Power
Download Side A
Download Side B
[King Jammys 1985]
Jammys Jamaica feat. Super Cat, Major Worries, Joe Lick Shot, El Fargo Barka, Little Twitch, Japanese, Little John, Wayne Power
Download Side A
Download Side B
[King Jammys 1985]
King Tubbys with U Roy - April 1975
King Tubbys with U Roy - April 1975
Tubbys feat U Roy, one of the most recognizable voices in Reggae!
Download Zip
U-Roy's musical career began in 1961 when he began deejaying at various sound systems, eventually working in the late 1960s with King Tubby. Tubby was then experimenting with his equipment, in the process of inventing dub music. With U-Roy as his most prominent deejay, King Tubby's new sound became extraordinarily popular and U-Roy became a Jamaican celebrity. His first single was "Earth's Rightful Ruler", recorded with Peter Tosh for Lee Perry. He recorded Dynamic Fashion Way, his first successful recording, in 1969 for Keith Hudson and then worked with almost every producer on the island: Lee Perry, Peter Tosh, Bunny Lee, Phil Pratt, Sonia Pottinger, Rupie Edwards, Alvin Ranglin and Lloyd Daley.
In 1970, Jamaican singer John Holt became enamoured of U-Roy's technique. Working with Duke Reid, U-Roy's fame grew through a series of singles, including "Wake the Town" and "Wear You to the Ball".
U-Roy's success continued throughout the 1970s, perhaps most famously with the album Dread in a Babylon and its iconic picture of him disappearing in a thick cloud of cannabis smoke while holding a chalice. Indeed, there was also a song called "Chalice in the Palace", in which he fantasised about smoking with Queen Elizabeth II in Buckingham Palace. U-Roy had become one of the island's biggest stars by the early 1980s, also garnering significant acclaim in the United Kingdom.
[U Roy]
Tubbys feat U Roy, one of the most recognizable voices in Reggae!
Download Zip
U-Roy's musical career began in 1961 when he began deejaying at various sound systems, eventually working in the late 1960s with King Tubby. Tubby was then experimenting with his equipment, in the process of inventing dub music. With U-Roy as his most prominent deejay, King Tubby's new sound became extraordinarily popular and U-Roy became a Jamaican celebrity. His first single was "Earth's Rightful Ruler", recorded with Peter Tosh for Lee Perry. He recorded Dynamic Fashion Way, his first successful recording, in 1969 for Keith Hudson and then worked with almost every producer on the island: Lee Perry, Peter Tosh, Bunny Lee, Phil Pratt, Sonia Pottinger, Rupie Edwards, Alvin Ranglin and Lloyd Daley.
In 1970, Jamaican singer John Holt became enamoured of U-Roy's technique. Working with Duke Reid, U-Roy's fame grew through a series of singles, including "Wake the Town" and "Wear You to the Ball".
U-Roy's success continued throughout the 1970s, perhaps most famously with the album Dread in a Babylon and its iconic picture of him disappearing in a thick cloud of cannabis smoke while holding a chalice. Indeed, there was also a song called "Chalice in the Palace", in which he fantasised about smoking with Queen Elizabeth II in Buckingham Palace. U-Roy had become one of the island's biggest stars by the early 1980s, also garnering significant acclaim in the United Kingdom.
[U Roy]
Irie FM [Jamaica] - July 3 1994
Irie FM [Jamaica] - July 3 1994
Dancehall/Reggae/Lovers
These rare Irie FM tapes bring me back to Jamaica every time! Can't get enough.
Download It
IRIE FM began test transmissions in July 1990 with a heavy bass line and rocking Reggae rhythms.
The station officially went on air on August 1, 1990. Reggae in the morning, Reggae in the evening, Reggae in the night was the cry. Critics said it was impossible to sustain a 24-hour Reggae music station. In fact, so strong was the impact, it proved that this format was something the Jamaican public yearned for. The ‘little station that could’ got all media houses in Jamaica to stand up and take note. The ‘nay-sayers’ did not count on the strength of 40 years worth of rich, pulsating Jamaican music.
IRIE FM had ‘reggaelutionised’ the airwaves with its Reggae format. Never before has Jamaica and her people been exposed to Jamaican culture and music in the way IRIE FM has done it. IRIE FM has developed a personal relationship with its listeners, unprecedented in Jamaican media…as the acronym states Innovative Radio Inspiring Everyone. And so, the greatest love story in Jamaican radio began and has become a growing force. In no time, IRIE FM carved out a special niche and endeared a large, loyal audience, becoming the people’s number one radio station.
IRIE FM has arguably presented more fun, topical, current, controversial and relevant issues, than anyone else in the industry. The radio station has become more than just the Mecca of Reggae music and Jamaican culture. It is the home of the hottest group of announcers and selectors assembled in Jamaica.
Friday, September 21, 2007
Stur Gav @ Whitehall Ave Kingston - 1979 tape rip
Stur Gav @ Whitehall Ave [Kingston] 1979 w/U-Roy, Jah Screw, Rankin Joe.. bass hvy..ROUGH!!
(A) = 45:29
(B) = 45:28
Download (Join with HJSplit)
download 1
download 2
The remarkable story of U Roy’s early career has been told so often that it has become the stuff of legend among reggae circles, and not without good reason. Through his groundbreaking performances on King Tubby’s Home-Town Hi-Fi, and the series of chart-topping hits in their wake, U Roy forever changed reggae music and the dancehall culture at its core. Although such a meteoric rise to fame is not uncommon for reggae artists, U Roy was unusual in that he did not descend into obscurity with equal speed. Though he was never to repeat the tremendous success of his initial recordings, U Roy nevertheless had a powerful and direct influence on Jamaican music for well over a decade past his popularity’s peak in 1970, primarily through the sound system that he founded and ran. This sound, King Stur Gav Hi-Fi, not only served as a deejay academy at which some of the best microphone talent of the era could hone their skills, but also provided a platform for these disciples to take their teacher’s style to the forefront of reggae music.
Despite U Roy’s initial popularity, and the accompanying wave of imitators eager to share in his success, his delivery did not remain in fashion indefinitely. Adapting the innovations of Big Youth, mid-70s deejays turned away from U Roy’s ballistic jive-talk, instead favoring rootsy, cultural chant. Yet, by the late 70s, U Roy’s style was again dominant in the dancehalls. Many artists shared the responsibility for this shift: U Brown and Ranking Trevor, who deejayed for King Attorney (soon to become Socialist Roots) just as U Roy once had, and whose deliveries were almost wholly faithful to U Roy’s style, never were regulars on Stur Gav, but scored hits in the later part of the 70s and played a significant role in bringing U Roy’s musical tradition back into popularity. General Echo and Lone Ranger, who remained faithful to the feel of U Roy’s delivery while making creative stylistic innovations, also had a huge influence on the path 1980s deejaying was to take. But in addition to these younger deejays, it was U Roy himself who, through his sound system, ensured that his style was to be the foundation for all deejaying of the 1980s and beyond.
Perhaps wisely, U Roy was not the lead deejay of his own sound system, which might have condemned it to being an "oldies" sound irrelevant to the new generation of dancehall patrons; instead, he allowed younger, more popular DJs to take center stage. In its first incarnation, Stur Gav was dominated by Ranking Joe on the microphone and selector Jah Screw at the turntable. Joe, formerly known as Little Joe, essentially turbocharged U Roy’s rhyming style: his chat was wild, lightning-fast, and full of barely-contained explosive energy, often punctuated with wails, shrieks, ululations, "oinks," "bims," and similar interjections. Infectiously dynamic and full of energy, Joe’s delivery was perfectly suited for live performances, and though his vinyl recordings did not always capture his dancehall capabilities, he nevertheless found chart success through several major hits. With Joe on the microphone, Stur Gav was one of the biggest sounds of the era, only challenged by Stereophonic with General Echo as its lead DJ; the two sounds came together in spectacular sound clashes on several occasions.
In 1980, however, disaster struck: the sound was destroyed in one of the many incidents of politically-motivated violence associated with the year’s election, and Ranking Joe and Jah Screw, who had both been working for Ray Symbolic for some time, left the sound permanently. Though this may have seemed a deadly blow to the sound, it in fact only set the stage for a new beginning. After a brief hiatus, U Roy rebuilt the sound in 1981, and Joe’s departure did not prove fatal: U Roy had found new disciples to take Stur Gav forward into the new decade. The rejuvenated sound featured Josey Wales and Charlie Chaplin as lead deejays, with the late Inspector Willie serving as selector. Again, U Roy allowed the younger micmen to dominate the sound, with the "Teacher" only occasionally taking up the mike to chat.
Of the new lineup, the "Colonel" Josey Wales was the most celebrated. He was the only deejay close to challenging Yellowman’s dominance during the early 80s, and his records for Lawes, George Phang, Bunny Roots, and Ossie Thomas often met with chart success. Onto U Roy’s stylistic foundation Josey added a no-nonsense ragamuffin voice and a seemingly incongruous half-sung delivery; this unlikely mixture was perfectly suited for the heavy-hitting Roots Radics rhythms that were the standard sound system fare of the time. In contrast, his sparring partner Charlie Chaplin’s delivery was less gruff, but shared the half-sung quality, and was aided by a distinctive voice and way of phrasing words that made even his spoken comments in the interim between selections compelling. Though the Principal, as Chaplin was called, was indisputably a talented deejay, he never achieved the same level of chart success as his spar. Nevertheless, Chaplin’s efforts for producers Roy Cousins, George Phang, and Junjo Lawes are well worth seeking out. Both deejays, particularly Chaplin, were extraordinary not only in prowess at the mike, but also in a firm anti-slackness stance and Rastafarian viewpoint that was to become increasingly uncommon as the dancehall era progressed.
With the Colonel and the Principal at the helm, Stur Gav became not only one of the leading sounds of the era, but developed a distinct "personality" that distinguished it from the competition. This was in part because of its consistent roster of performers: though many sounds had large numbers of deejays constantly cycling through, Stur Gav was almost always manned by Josey and Chaplin. Though they were occasionally accompanied by other performers, such as Brigadier Jerry, Sugar Minott, Don Carlos, U Brown, Jah Grundy, Colour Ranking, and others, the Stur Gav mike was not dominated by swarms of up-and-comings eager for self-promotion. Perhaps because of this, the sound’s sessions had a uniquely musical feel: Inspector Willie’s selections played almost continually, with the vocal "Part One" often allowed to run for nearly its whole length instead of being hauled up after fifteen seconds, as was common practice on many contemporary sounds. When the record was flipped and the performers let loose over the version side, the music was again continuous, as the artists allowed the rhythm to run without feeling the need to "wheel up" the music and lecture the crowd. This commitment to entertainment over self-indulgence, when combined with an unwavering dedication to cultural music instead of slackness, made Stur Gav a unique sound that not only commanded the respect of dancehall patrons of the day, but that has lived on in the cassette tapes sought after by fans to this day.
Inevitably, times changed, and reggae music changed with them. As the decade passed through the Sleng Teng digital revolution and headed into the late 80s, Stur Gav left the spotlight. In retrospect, it seems unlikely that the digital rhythms themselves were at the root of the sound’s decline – the sound was still running strong in 1986, with the deejays, talented as ever, not showing any difficulty adapting to the new sound of the music. Indeed, Josey Wales continued to score hits using King Jammy’s digitized rhythms. It is perhaps more due to the newer generation of deejays that came to prominence in the late 80s, and the near complete demise of conscious lyrics, that Stur Gav no longer was at the center of the dancehall scene. It is a stark reality of reggae music that older performers are eventually eclipsed in popularity by younger innovators, and the new crop of deejays of the late 80s – men like Shabba Ranks, Supercat, Cutty Ranks, Admiral Bailey, Ninjaman, and Cobra – were not inclined towards the Rastafarian lyrics that would make them welcome on Stur Gav. Inevitably, without the support of young, popular deejays, and without sacrificing its commitment to positive, conscious lyrics, Stur Gav could not remain at the forefront of dancehall music, and sounds like King Jammy’s Super-Power and Killamanjaro came to symbolize the new era. The coffin must have seemed nailed shut by the change, instigated by Stone Love, from live performers to dubplates that took place around the turn of the decade. Following the tradition of U Roy on King Tubby’s Hi-Fi, it was the live deejay performances that were at the very core of Stur Gav’s vitality, and so the sound was utterly incompatible with the dancehalls of the early 90s.
[U-roy and Brigadier Jerry on King Stur Gav]
(A) = 45:29
(B) = 45:28
Download (Join with HJSplit)
download 1
download 2
The remarkable story of U Roy’s early career has been told so often that it has become the stuff of legend among reggae circles, and not without good reason. Through his groundbreaking performances on King Tubby’s Home-Town Hi-Fi, and the series of chart-topping hits in their wake, U Roy forever changed reggae music and the dancehall culture at its core. Although such a meteoric rise to fame is not uncommon for reggae artists, U Roy was unusual in that he did not descend into obscurity with equal speed. Though he was never to repeat the tremendous success of his initial recordings, U Roy nevertheless had a powerful and direct influence on Jamaican music for well over a decade past his popularity’s peak in 1970, primarily through the sound system that he founded and ran. This sound, King Stur Gav Hi-Fi, not only served as a deejay academy at which some of the best microphone talent of the era could hone their skills, but also provided a platform for these disciples to take their teacher’s style to the forefront of reggae music.
Despite U Roy’s initial popularity, and the accompanying wave of imitators eager to share in his success, his delivery did not remain in fashion indefinitely. Adapting the innovations of Big Youth, mid-70s deejays turned away from U Roy’s ballistic jive-talk, instead favoring rootsy, cultural chant. Yet, by the late 70s, U Roy’s style was again dominant in the dancehalls. Many artists shared the responsibility for this shift: U Brown and Ranking Trevor, who deejayed for King Attorney (soon to become Socialist Roots) just as U Roy once had, and whose deliveries were almost wholly faithful to U Roy’s style, never were regulars on Stur Gav, but scored hits in the later part of the 70s and played a significant role in bringing U Roy’s musical tradition back into popularity. General Echo and Lone Ranger, who remained faithful to the feel of U Roy’s delivery while making creative stylistic innovations, also had a huge influence on the path 1980s deejaying was to take. But in addition to these younger deejays, it was U Roy himself who, through his sound system, ensured that his style was to be the foundation for all deejaying of the 1980s and beyond.
Perhaps wisely, U Roy was not the lead deejay of his own sound system, which might have condemned it to being an "oldies" sound irrelevant to the new generation of dancehall patrons; instead, he allowed younger, more popular DJs to take center stage. In its first incarnation, Stur Gav was dominated by Ranking Joe on the microphone and selector Jah Screw at the turntable. Joe, formerly known as Little Joe, essentially turbocharged U Roy’s rhyming style: his chat was wild, lightning-fast, and full of barely-contained explosive energy, often punctuated with wails, shrieks, ululations, "oinks," "bims," and similar interjections. Infectiously dynamic and full of energy, Joe’s delivery was perfectly suited for live performances, and though his vinyl recordings did not always capture his dancehall capabilities, he nevertheless found chart success through several major hits. With Joe on the microphone, Stur Gav was one of the biggest sounds of the era, only challenged by Stereophonic with General Echo as its lead DJ; the two sounds came together in spectacular sound clashes on several occasions.
In 1980, however, disaster struck: the sound was destroyed in one of the many incidents of politically-motivated violence associated with the year’s election, and Ranking Joe and Jah Screw, who had both been working for Ray Symbolic for some time, left the sound permanently. Though this may have seemed a deadly blow to the sound, it in fact only set the stage for a new beginning. After a brief hiatus, U Roy rebuilt the sound in 1981, and Joe’s departure did not prove fatal: U Roy had found new disciples to take Stur Gav forward into the new decade. The rejuvenated sound featured Josey Wales and Charlie Chaplin as lead deejays, with the late Inspector Willie serving as selector. Again, U Roy allowed the younger micmen to dominate the sound, with the "Teacher" only occasionally taking up the mike to chat.
Of the new lineup, the "Colonel" Josey Wales was the most celebrated. He was the only deejay close to challenging Yellowman’s dominance during the early 80s, and his records for Lawes, George Phang, Bunny Roots, and Ossie Thomas often met with chart success. Onto U Roy’s stylistic foundation Josey added a no-nonsense ragamuffin voice and a seemingly incongruous half-sung delivery; this unlikely mixture was perfectly suited for the heavy-hitting Roots Radics rhythms that were the standard sound system fare of the time. In contrast, his sparring partner Charlie Chaplin’s delivery was less gruff, but shared the half-sung quality, and was aided by a distinctive voice and way of phrasing words that made even his spoken comments in the interim between selections compelling. Though the Principal, as Chaplin was called, was indisputably a talented deejay, he never achieved the same level of chart success as his spar. Nevertheless, Chaplin’s efforts for producers Roy Cousins, George Phang, and Junjo Lawes are well worth seeking out. Both deejays, particularly Chaplin, were extraordinary not only in prowess at the mike, but also in a firm anti-slackness stance and Rastafarian viewpoint that was to become increasingly uncommon as the dancehall era progressed.
With the Colonel and the Principal at the helm, Stur Gav became not only one of the leading sounds of the era, but developed a distinct "personality" that distinguished it from the competition. This was in part because of its consistent roster of performers: though many sounds had large numbers of deejays constantly cycling through, Stur Gav was almost always manned by Josey and Chaplin. Though they were occasionally accompanied by other performers, such as Brigadier Jerry, Sugar Minott, Don Carlos, U Brown, Jah Grundy, Colour Ranking, and others, the Stur Gav mike was not dominated by swarms of up-and-comings eager for self-promotion. Perhaps because of this, the sound’s sessions had a uniquely musical feel: Inspector Willie’s selections played almost continually, with the vocal "Part One" often allowed to run for nearly its whole length instead of being hauled up after fifteen seconds, as was common practice on many contemporary sounds. When the record was flipped and the performers let loose over the version side, the music was again continuous, as the artists allowed the rhythm to run without feeling the need to "wheel up" the music and lecture the crowd. This commitment to entertainment over self-indulgence, when combined with an unwavering dedication to cultural music instead of slackness, made Stur Gav a unique sound that not only commanded the respect of dancehall patrons of the day, but that has lived on in the cassette tapes sought after by fans to this day.
Inevitably, times changed, and reggae music changed with them. As the decade passed through the Sleng Teng digital revolution and headed into the late 80s, Stur Gav left the spotlight. In retrospect, it seems unlikely that the digital rhythms themselves were at the root of the sound’s decline – the sound was still running strong in 1986, with the deejays, talented as ever, not showing any difficulty adapting to the new sound of the music. Indeed, Josey Wales continued to score hits using King Jammy’s digitized rhythms. It is perhaps more due to the newer generation of deejays that came to prominence in the late 80s, and the near complete demise of conscious lyrics, that Stur Gav no longer was at the center of the dancehall scene. It is a stark reality of reggae music that older performers are eventually eclipsed in popularity by younger innovators, and the new crop of deejays of the late 80s – men like Shabba Ranks, Supercat, Cutty Ranks, Admiral Bailey, Ninjaman, and Cobra – were not inclined towards the Rastafarian lyrics that would make them welcome on Stur Gav. Inevitably, without the support of young, popular deejays, and without sacrificing its commitment to positive, conscious lyrics, Stur Gav could not remain at the forefront of dancehall music, and sounds like King Jammy’s Super-Power and Killamanjaro came to symbolize the new era. The coffin must have seemed nailed shut by the change, instigated by Stone Love, from live performers to dubplates that took place around the turn of the decade. Following the tradition of U Roy on King Tubby’s Hi-Fi, it was the live deejay performances that were at the very core of Stur Gav’s vitality, and so the sound was utterly incompatible with the dancehalls of the early 90s.
[U-roy and Brigadier Jerry on King Stur Gav]
Jack Ruby Jamaica - 80s
Jack Ruby Jamaica - 80s
Featuring Eek A Mouse, Nicodemus, Luie Lepkie, U Brown...
Breaks Into 85 Dance
Download (Join with HJSplit)
download 1
download 2
[Jack Ruby Sound System 1980s Part 1]
[Jack Ruby Sound System 1980s Part 2]
[Jack Ruby Sound System 1980s Part 3]
Featuring Eek A Mouse, Nicodemus, Luie Lepkie, U Brown...
Breaks Into 85 Dance
Download (Join with HJSplit)
download 1
download 2
[Jack Ruby Sound System 1980s Part 1]
[Jack Ruby Sound System 1980s Part 2]
[Jack Ruby Sound System 1980s Part 3]
Jammys - Sandy Bay, Jamaica - 1985 tape rip
Jammys - Sandy Bay, Jamaica - 1985
(A) = 43:35
(B) = 44:01
Featuring Purpleman, Tonto Irie, Chaka Demus, Tullo T, John Wayne.
download zip
(interview from wordmag.com)
The world owes a great debt to the soundmen of reggae music. And without their innovations, the music world would be a lesser place, had it not been for the efforts of legendary individuals such as Coxsone Dodd, Duke Reid, King Tubby's and King Jammy's.
Known to the world as King Jammy's, Lloyd James was mentored by the great dub master, King Tubby's, before launching out on his own. Interestingly enough there's a strong Canadian connection to his story, a sound system and small studio in Malton, near the Airport.
Jammy's would eventually return to Jamaica in the late 70's, where the Prince became a King and rewrote the history of reggae music after an "apprenticeship" with King Tubby's. Jammy's produced what seemed like an unending string of hits in the 80s in his own home studio that continue to resonate today.
VP Records has asked him to open up his vaults for several releases including the latest, King Jammy's Selector Choice: Vol. 1-4. The package contains 8 CDs featuring some of the top names from the 80s. WORD caught up with King Jammy's to discuss his second coming:
Let me start by asking when did you live here in Toronto and why did you leave us?
(Laughs) I use to live in Toronto from 1970 until 1976. Well, I wanted to come back to my roots because what I wanted to do - I couldn't do it in Toronto.
Why is that?
There wasn't the amount of artists there that I wanted to record. You have to stay with the roots and to really be successful in the reggae thing.
What was life like in Toronto before you became a big reggae producer?
Life was ordinary. I use to go to work and do things like that....
Were you in the sound system business?
I use to have a sound system in Toronto; it was the number one sound system there.
What was it called then?
The name was Jammy's Hi Fi. After I came back to Jamaica, I was the Prince for a while, then I became King.
Do you have any special memories of living here in Toronto?
The memories that I have in Toronto is that I made good friends, I have a lot of friends there and the sound system was what kept me in the music because it was really going good. The sound system - whenever I played, wherever I played - we'd have big crowds there. So that was kept me going in Toronto, within the music fraternity.
And that gave you the encouragement to go back to Jamaica?
Yes and with the interest of King Tubby's - he use to say "Jammy's come home and do some production and work in the studio and be the engineer." So he use to encourage me to come back home.
So Toronto has lost you and you went on to become a really successful producer in the music business. Another loss that Toronto felt is Leroy Sibbles. And I guess it says something about how difficult it is to succeed in Toronto and Canada for that matter.
That's true. Very true. Because you see what happens is that we don't really the amount of musicians - reggae musicians that can play reggae the real way, you don't have the amount of artists there to work with - you know there is not much encouragement there for reggae music.
Once you went back, what was your first big success as a producer?
Well the first big success I had was - I did the Black Uhuru album and I also recorded Johnny Osbourne who was in Toronto also. I felt that Toronto lost Johnny Osbourne. We recorded "Water Bumpie" That was the first big hit since I came back to Jamaica.
There was a time in the 80s, when no hit was out there that you didn't seem to have your finger in - in one way or another. Was that the most successful period for you in terms of being a producer?
In terms of making hits, yes. In terms of making hits every artist was here in the 80s. So in terms of making hits that period was the most successful period. Then what happened now, my son Jon Jon was also a producer, he grew up in the business, so he decided that he wanted to produce, so we helped him to start and he started making hits for himself; and you had Dave Kelly come along and other producers. So I said to myself, well I'm gonna give him the lead to take over the business; so I sort of took the back bench and allowed Jon Jon to go upfront; and he was doing good - very good, until I just decided I should get back in the limelight and do some more things (smiles), you know what I mean?.
Was last year the time you decided to make return. I know things are always bubbling in Jamaica, but in terms of what I saw the King At The Controls - King Jammy's Essential Hits with VP Records. Was that your big splash in terms of your return?
Well, not really, you know. I was doing compilation from my catalogue all the time. I was doing compilations for Greensleeves and Sounds and Pressure, all different companies in Europe. And I was doing a lot compilation with some of the old stuff. But I decided to come back with the "Sleng Ting" because of the Sleng Ting's 20st anniversary was 2005. So I decided to bring back a new - it's the same riddim - but with some new overdubs on it and new instrumentation; and record some new artists. We were trying to celebrate the 20th anniversary of "Sleng Ting." And we did a lot of other things through VP and I think VP is doing a good job with this Selector's Choice compilation that we have out there with 8 CDs. VP is doing a good job with it.
I understand that you were trying to work with some new artists again.
Of course. Right now I'm working with one of Fretty's artist, Demolition Man. He was just in Jamaica, not too long ago. We did over 30 tracks, we gonna make an album from that. Very talented guy, Demolition Man. And you gonna hear big things with Demolition Man in the future.
Tell me about some of the other new artists that you are working with?
Nature is a guy who sings a lot of culture, he sings dancehall also but different breed of dancehall from the ordinary ones. And as you should realize that Ras Shiloh and Natural Black - They're two experienced artists; they are young in terms of breaking out but they are two artists that are very talented. And I will tell you something: you're gonna get some music from them. It's a long time since you have heard such potential from a reggae artist.
You've been credited as one of the innovators, one of the foundation men in creating dancehall. How is it different from when you started?
Its different in a lot of ways. Its different in the musically inclined parts. When you are listening to the old dancehall sound, the melody of the music is so nice that you want to hear it again. And the lyrical content it has too much violence these days. Those two are the main part of the whole dancehall structure right now. They have to keep it more listener-friendly so that people can understand what they are doing. Even Sean Paul's type of dancehall, its more international. People can understand what he's singing about and there's a melody to it. You have other artist who does that: Beenie Man, Bounty Killa. But these days they're making it too personal, you know what I mean? They're turning the music into something like a confrontation that shouldn't be. It can be a competition but not a confrontation where bad vibes flow. We don't need that.
Are we likely to see more compilations from you, similar to your latest release Vol. 1-4 as well as the one last year?
Yes. Definitely, we are working on some other compilations now to be released later on this year. Probably about the summer or after summer. We're putting some more together, because those CDs that are being release now is not even a quarter of the vault - you know what I mean?. So we have to make them available (smile).
Is there anything else you want the public to know about?
Well, its not only the production but the sound system also. I'm resurfacing the sound system too. What I gonna tell you now is gonna be a big surprise for all the people - I'm doing an album for myself. I'm singing on an album for myself.
[King Jammy's - 1985]
(A) = 43:35
(B) = 44:01
Featuring Purpleman, Tonto Irie, Chaka Demus, Tullo T, John Wayne.
download zip
(interview from wordmag.com)
The world owes a great debt to the soundmen of reggae music. And without their innovations, the music world would be a lesser place, had it not been for the efforts of legendary individuals such as Coxsone Dodd, Duke Reid, King Tubby's and King Jammy's.
Known to the world as King Jammy's, Lloyd James was mentored by the great dub master, King Tubby's, before launching out on his own. Interestingly enough there's a strong Canadian connection to his story, a sound system and small studio in Malton, near the Airport.
Jammy's would eventually return to Jamaica in the late 70's, where the Prince became a King and rewrote the history of reggae music after an "apprenticeship" with King Tubby's. Jammy's produced what seemed like an unending string of hits in the 80s in his own home studio that continue to resonate today.
VP Records has asked him to open up his vaults for several releases including the latest, King Jammy's Selector Choice: Vol. 1-4. The package contains 8 CDs featuring some of the top names from the 80s. WORD caught up with King Jammy's to discuss his second coming:
Let me start by asking when did you live here in Toronto and why did you leave us?
(Laughs) I use to live in Toronto from 1970 until 1976. Well, I wanted to come back to my roots because what I wanted to do - I couldn't do it in Toronto.
Why is that?
There wasn't the amount of artists there that I wanted to record. You have to stay with the roots and to really be successful in the reggae thing.
What was life like in Toronto before you became a big reggae producer?
Life was ordinary. I use to go to work and do things like that....
Were you in the sound system business?
I use to have a sound system in Toronto; it was the number one sound system there.
What was it called then?
The name was Jammy's Hi Fi. After I came back to Jamaica, I was the Prince for a while, then I became King.
Do you have any special memories of living here in Toronto?
The memories that I have in Toronto is that I made good friends, I have a lot of friends there and the sound system was what kept me in the music because it was really going good. The sound system - whenever I played, wherever I played - we'd have big crowds there. So that was kept me going in Toronto, within the music fraternity.
And that gave you the encouragement to go back to Jamaica?
Yes and with the interest of King Tubby's - he use to say "Jammy's come home and do some production and work in the studio and be the engineer." So he use to encourage me to come back home.
So Toronto has lost you and you went on to become a really successful producer in the music business. Another loss that Toronto felt is Leroy Sibbles. And I guess it says something about how difficult it is to succeed in Toronto and Canada for that matter.
That's true. Very true. Because you see what happens is that we don't really the amount of musicians - reggae musicians that can play reggae the real way, you don't have the amount of artists there to work with - you know there is not much encouragement there for reggae music.
Once you went back, what was your first big success as a producer?
Well the first big success I had was - I did the Black Uhuru album and I also recorded Johnny Osbourne who was in Toronto also. I felt that Toronto lost Johnny Osbourne. We recorded "Water Bumpie" That was the first big hit since I came back to Jamaica.
There was a time in the 80s, when no hit was out there that you didn't seem to have your finger in - in one way or another. Was that the most successful period for you in terms of being a producer?
In terms of making hits, yes. In terms of making hits every artist was here in the 80s. So in terms of making hits that period was the most successful period. Then what happened now, my son Jon Jon was also a producer, he grew up in the business, so he decided that he wanted to produce, so we helped him to start and he started making hits for himself; and you had Dave Kelly come along and other producers. So I said to myself, well I'm gonna give him the lead to take over the business; so I sort of took the back bench and allowed Jon Jon to go upfront; and he was doing good - very good, until I just decided I should get back in the limelight and do some more things (smiles), you know what I mean?.
Was last year the time you decided to make return. I know things are always bubbling in Jamaica, but in terms of what I saw the King At The Controls - King Jammy's Essential Hits with VP Records. Was that your big splash in terms of your return?
Well, not really, you know. I was doing compilation from my catalogue all the time. I was doing compilations for Greensleeves and Sounds and Pressure, all different companies in Europe. And I was doing a lot compilation with some of the old stuff. But I decided to come back with the "Sleng Ting" because of the Sleng Ting's 20st anniversary was 2005. So I decided to bring back a new - it's the same riddim - but with some new overdubs on it and new instrumentation; and record some new artists. We were trying to celebrate the 20th anniversary of "Sleng Ting." And we did a lot of other things through VP and I think VP is doing a good job with this Selector's Choice compilation that we have out there with 8 CDs. VP is doing a good job with it.
I understand that you were trying to work with some new artists again.
Of course. Right now I'm working with one of Fretty's artist, Demolition Man. He was just in Jamaica, not too long ago. We did over 30 tracks, we gonna make an album from that. Very talented guy, Demolition Man. And you gonna hear big things with Demolition Man in the future.
Tell me about some of the other new artists that you are working with?
Nature is a guy who sings a lot of culture, he sings dancehall also but different breed of dancehall from the ordinary ones. And as you should realize that Ras Shiloh and Natural Black - They're two experienced artists; they are young in terms of breaking out but they are two artists that are very talented. And I will tell you something: you're gonna get some music from them. It's a long time since you have heard such potential from a reggae artist.
You've been credited as one of the innovators, one of the foundation men in creating dancehall. How is it different from when you started?
Its different in a lot of ways. Its different in the musically inclined parts. When you are listening to the old dancehall sound, the melody of the music is so nice that you want to hear it again. And the lyrical content it has too much violence these days. Those two are the main part of the whole dancehall structure right now. They have to keep it more listener-friendly so that people can understand what they are doing. Even Sean Paul's type of dancehall, its more international. People can understand what he's singing about and there's a melody to it. You have other artist who does that: Beenie Man, Bounty Killa. But these days they're making it too personal, you know what I mean? They're turning the music into something like a confrontation that shouldn't be. It can be a competition but not a confrontation where bad vibes flow. We don't need that.
Are we likely to see more compilations from you, similar to your latest release Vol. 1-4 as well as the one last year?
Yes. Definitely, we are working on some other compilations now to be released later on this year. Probably about the summer or after summer. We're putting some more together, because those CDs that are being release now is not even a quarter of the vault - you know what I mean?. So we have to make them available (smile).
Is there anything else you want the public to know about?
Well, its not only the production but the sound system also. I'm resurfacing the sound system too. What I gonna tell you now is gonna be a big surprise for all the people - I'm doing an album for myself. I'm singing on an album for myself.
[King Jammy's - 1985]
Jack Ruby - Jamaica 1986 tape rip
Jack Ruby - Jamaica 1986
(A) = 45:24
(B) = 45:33
Featuring Nicodemus, Briggy, Jr Demus, Early B, Joe Lick Shot, Pompadoo.
download zip
Robert Russell aka Brigadier Jerry will be making his debut appearance at the Sierra Nevada World Music Festival in his native element: late night in the dancehall with King Stur Gav Hi Fi Sound System alongside Daddy U Roy. This performance promises to be the kind of treat the Sierra Nevada World Music Festival has become famous for: a rootical outing in an authentic Jamaican style and fashion! And in this case, it is a special treat to present the Brigadier on the original set he began with so many years ago!
While his introduction to an American audience probably came from his 1985 release of "Jamaica Jamaica" on the RAS label, the General had been building a major following in Jamaica by appearing live on the mike, first on the original King Stur Gav Hi-Fi system and later over the Twelve Tribes' Jahlovemuzik set and releasing occasional singles for the local market. Chief among these early releases were "Every Man Me Brethren" and "Dance In A Montreal", both for the foundation studio and label, Studio One. Then in 1982 he borrowed the Studio One riddim used by Slim Smith on his song "Never Let Go" to record a single called "Pain" (actually using a Don Mais produced recut of the original). Many have called Briggy's take perhaps the best use of the riddim ever and it certainly stands as one of the best songs to ever come out of the deejay style. Later he would reprise this riddim with the story telling "Jamaica Jamaica", which relates the tale of a man going in search of groceries in his homeland, only to find out the vendor "never have no sensimilla" even though they have "whole heap a green green Kasaba" and plenty more fruit and vegetables.
But his true impact would not be felt in the record shops, but in the dancehalls and lawns of the ghettos of Kingston. In fact, these local appearances served to spread his fame far and wide; surreptitiously recorded and then distributed worldwide in the form of "sound tapes", those in foreign lands thousands of miles away got a chance to experience Briggy on the microphone via these recordings and subsequent official releases of some of the same sessions.
So when he finally toured, supported by his American record company RAS, he was well received by knowledgeable fans the world over. On one such show this writer attended, Briggy, Charlie Chaplin and Sister Carol accompanied by the High Times band, drew a packed house to a venue in San Francisco, and in many's view, Briggy took it all with his sing-jay style, expressive performance and conscious lyrics, not to mention his unique rolling vocal style (you will see what that means when you witness it for yourselves!)
One thing about Brigadier Jerry, he chats pure consciousness on the mike, even when the prevalent vibe in the dance was slackness. A longtime member of the Rastafarian Christian sect "Twelve Tribes of Israel", Briggy takes every opportunity to teach the youth about righteous runnings and has recorded many tracks pointing out the error of certain ways. In fact, at some point some other deejays derided him as being too reverent, but that never seemed to deter the General from teaching the right from the wrong.
[Brigadier Jerry @ Jack Ruby Dance '86]
(A) = 45:24
(B) = 45:33
Featuring Nicodemus, Briggy, Jr Demus, Early B, Joe Lick Shot, Pompadoo.
download zip
Robert Russell aka Brigadier Jerry will be making his debut appearance at the Sierra Nevada World Music Festival in his native element: late night in the dancehall with King Stur Gav Hi Fi Sound System alongside Daddy U Roy. This performance promises to be the kind of treat the Sierra Nevada World Music Festival has become famous for: a rootical outing in an authentic Jamaican style and fashion! And in this case, it is a special treat to present the Brigadier on the original set he began with so many years ago!
While his introduction to an American audience probably came from his 1985 release of "Jamaica Jamaica" on the RAS label, the General had been building a major following in Jamaica by appearing live on the mike, first on the original King Stur Gav Hi-Fi system and later over the Twelve Tribes' Jahlovemuzik set and releasing occasional singles for the local market. Chief among these early releases were "Every Man Me Brethren" and "Dance In A Montreal", both for the foundation studio and label, Studio One. Then in 1982 he borrowed the Studio One riddim used by Slim Smith on his song "Never Let Go" to record a single called "Pain" (actually using a Don Mais produced recut of the original). Many have called Briggy's take perhaps the best use of the riddim ever and it certainly stands as one of the best songs to ever come out of the deejay style. Later he would reprise this riddim with the story telling "Jamaica Jamaica", which relates the tale of a man going in search of groceries in his homeland, only to find out the vendor "never have no sensimilla" even though they have "whole heap a green green Kasaba" and plenty more fruit and vegetables.
But his true impact would not be felt in the record shops, but in the dancehalls and lawns of the ghettos of Kingston. In fact, these local appearances served to spread his fame far and wide; surreptitiously recorded and then distributed worldwide in the form of "sound tapes", those in foreign lands thousands of miles away got a chance to experience Briggy on the microphone via these recordings and subsequent official releases of some of the same sessions.
So when he finally toured, supported by his American record company RAS, he was well received by knowledgeable fans the world over. On one such show this writer attended, Briggy, Charlie Chaplin and Sister Carol accompanied by the High Times band, drew a packed house to a venue in San Francisco, and in many's view, Briggy took it all with his sing-jay style, expressive performance and conscious lyrics, not to mention his unique rolling vocal style (you will see what that means when you witness it for yourselves!)
One thing about Brigadier Jerry, he chats pure consciousness on the mike, even when the prevalent vibe in the dance was slackness. A longtime member of the Rastafarian Christian sect "Twelve Tribes of Israel", Briggy takes every opportunity to teach the youth about righteous runnings and has recorded many tracks pointing out the error of certain ways. In fact, at some point some other deejays derided him as being too reverent, but that never seemed to deter the General from teaching the right from the wrong.
[Brigadier Jerry @ Jack Ruby Dance '86]
Coxsone - UK 1986 tape rip
Coxsone - UK - 1986
(A) = 29:14
(B) = 30:56
Featuring Anthony Johnson, Pinchers, Frankie Paul, Yami Crucial, Fat Head, Tenor Fly, Mikey Dread.
download zip
(from uncarved.org)
With Coxsone at the controls Reid controlled south of the Thames and regularly made forays into territory of other sounds north of the river. Competition was fierce, with a tendency for rivalry to spill over into dance. But it was at Carnaby street’s notorious Roaring Twenties which was the premier venue from late 50s and 60s through to the 70s, and the residency at the Twenties was Coxsone’s ambition.
With the formation of Sir Coxsone sound in 1969, based on a team born out of Duke Reid’s, that ambition was soon fulfilled. It was this team that the man called I Roy was to celebrate in his ‘Coxsone Affair’ and ‘Lloyd Coxsone Time’, and it is teamwork that is the foundation of Coxsone sound now.
"To run a good sound in the UK is teamwork… a young team of men who are ambitious, record crazy and have young ideas, If I get old within my ideas there is many young men who come up with suggestions. By building a team you are building your sound for a long term. In my time in England I have seen a lot of good sound die ‘cause they didn’t build a team to manifest the work of the sound. Teamwork and effort is crucial as you can’t live off your name."
For his endeavour Lloyd Coxsone can boast an unrivalled selection of music, that his sound was the first UK system to play dub, that they set the pace in equipment and pioneered the use of echo, reverb, equaliser, and also in paving the way for a sound system such as Shaka to take sound to a new dimension, creating atmosphere out of rhythmic weight and effects. Sound system has come a long way since the days of Lloyd the Matador when upon asking an electronics man named Fred to build him a 600 watt amp, Coxsone was greeted with: "You must be fucking crazy. Do you know how much power it takes to drive a cinema? Ten watts!"
The past 15 years has seen a shift from one extreme to another, and the banks of amplifiers in evidence at any sound dance are testimony to the current fixation with wattage rather than, Coxsone feels, an ability to select and present the music.
"People can’t dance to wattage. If a man comes to me and he deals with sound he almost always deals with wattage. Listen, the more you step up weight you lose quality, and a man must be able to hear your vocal playing. Too much sound in this country is running down weight, but I don’t see sound as is rootin’ down like bulldozer as good sound. I am more interested in quality and selection of music."
[Sir Coxsone Sound crew in 1981]
(A) = 29:14
(B) = 30:56
Featuring Anthony Johnson, Pinchers, Frankie Paul, Yami Crucial, Fat Head, Tenor Fly, Mikey Dread.
download zip
(from uncarved.org)
With Coxsone at the controls Reid controlled south of the Thames and regularly made forays into territory of other sounds north of the river. Competition was fierce, with a tendency for rivalry to spill over into dance. But it was at Carnaby street’s notorious Roaring Twenties which was the premier venue from late 50s and 60s through to the 70s, and the residency at the Twenties was Coxsone’s ambition.
With the formation of Sir Coxsone sound in 1969, based on a team born out of Duke Reid’s, that ambition was soon fulfilled. It was this team that the man called I Roy was to celebrate in his ‘Coxsone Affair’ and ‘Lloyd Coxsone Time’, and it is teamwork that is the foundation of Coxsone sound now.
"To run a good sound in the UK is teamwork… a young team of men who are ambitious, record crazy and have young ideas, If I get old within my ideas there is many young men who come up with suggestions. By building a team you are building your sound for a long term. In my time in England I have seen a lot of good sound die ‘cause they didn’t build a team to manifest the work of the sound. Teamwork and effort is crucial as you can’t live off your name."
For his endeavour Lloyd Coxsone can boast an unrivalled selection of music, that his sound was the first UK system to play dub, that they set the pace in equipment and pioneered the use of echo, reverb, equaliser, and also in paving the way for a sound system such as Shaka to take sound to a new dimension, creating atmosphere out of rhythmic weight and effects. Sound system has come a long way since the days of Lloyd the Matador when upon asking an electronics man named Fred to build him a 600 watt amp, Coxsone was greeted with: "You must be fucking crazy. Do you know how much power it takes to drive a cinema? Ten watts!"
The past 15 years has seen a shift from one extreme to another, and the banks of amplifiers in evidence at any sound dance are testimony to the current fixation with wattage rather than, Coxsone feels, an ability to select and present the music.
"People can’t dance to wattage. If a man comes to me and he deals with sound he almost always deals with wattage. Listen, the more you step up weight you lose quality, and a man must be able to hear your vocal playing. Too much sound in this country is running down weight, but I don’t see sound as is rootin’ down like bulldozer as good sound. I am more interested in quality and selection of music."
[Sir Coxsone Sound crew in 1981]
Thursday, September 20, 2007
Dub Foundation III [a]
* All Dub Foundations mixed by PMX Sound.
Tracklist:
1. Cedric Im Brooks/Light Of Saba - Words of Wisdom (3:34)
2. Cedric Im Brooks/Light Of Saba - Song for My Father (5:04)
3. Cedric Im Brooks/Light Of Saba - Sabayindah (3:22)
4. Cedric Im Brooks/Light Of Saba - Sound (2:03)
5. Lee Perry & The Upsetters - Licky-Licky (3:05)
6. Lee Perry & The Upsetters - Voodoo Man (3:39)
7. Lee Perry & The Upsetters - Wise Dub (2:55)
8. Lee “Scratch” Perry/I-Roy - Upsetting Dub (3:56)
9. Lee “Scratch” Perry/I-Roy - Lee Perry Special Dub (3:54)
10. Lee “Scratch” Perry/I-Roy - Rough Already (3:14)
11. Skin Flesh & Bones; Lloyd Campbell - Scotch Dub (3:26)
12. King Tubby/Prince Jammy/The Aggrovators - A Living Version (3:10)
13. Burning Spear - Natural [Version] (5:15)
14. Burning Spear - Jomo [Version] (3:09)
15. Philip Fullwood - Word [Version] (4:19)
16. Burning Spear - Walking [Version] (3:13)
17. Burning Spear - In Those Days (3:25)
download it
Dub Foundation III [b]
* All Dub Foundations mixed by PMX Sound.
Tracklist:
18. Burning Spear - Help Us (3:42)
19. Burning Spear - Musiya (3:12)
20. Burning Spear - All Over (2:05)
21. Burning Spear - Associate (3:51)
22. Ricky Storm (I Kong) - The Way It Is Version (3:20)
23. The Hardy Boys - Chucky Dub (2:52)
24. Tafari Syndicate - All For free (3:44)
25. The Village Bunch - Diverse Doctrine Version (3:39)
26. Prince Far I - Throw Away Yor Gun (Dub) (4:31)
27. Creation Rebel - Starship Africa: Section 2 (5:15)
28. Creation Rebel - Space Movement: Section 1 (8:51)
29. Creation Rebel - Space Movement: Section 2 (4:08)
30. Creation Rebel - Space Movement: Section 3 (4:14)
31. Creation Rebel - Space Movement: Section 4 (4:34)
download it
Dub Foundation IV [a]
* All Dub Foundations mixed by PMX Sound.
Tracklist:
1. Earl “Chinna” Smith - Every Time Eye Ear de Dub (2:51)
2. Playgroup - Ballroom Control (6:30)
3. King Tubby/Aggrovators - Real Gone Crazy Dub (3:30)
4. Horace Andy/Prince Jammy - Problems Dub (3:09)
5. Yabby You/King Tubby - Rock Vibration (4:24)
6. Keith Hudson/Soul Syndicate - Black Right (3:11)
7. Prince Phillip/The Musical Intimidators - Judgement Dub (3:16)
8. King Tubby/Aggrovators - Dub Fi Gwan (3:58)
9. Mikey Dread - Rockers Delight (8:03)
10. Black Uhuru/Paul “Groucho” Smykle - Youth (3:48)
11. Black Uhuru/Paul “Groucho” Smykle - Big Spliff (4:05)
12. Black Uhuru/Paul “Groucho” Smykle - Back Breaker (3:38)
13. BlackBeard - Electrocharge (4:18)
download it
Dub Foundation V [a]
* All Dub Foundations mixed by PMX Sound.
Tracklist:
1. Prince Jammy - Round 2 (3:36)
2. Prince Jammy - Round 4 (4:07)
3. Prince Jammy - Round 8 (3:21)
4. Prince Jammy - Round 10 (2:47)
5. Scientist - Round 3 (4:00)
6. Scientist - Round 9 (4:33)
7. Scientist - Upper Cut (4:10)
8. Scientist - Knockout (3:24)
9. Scientist - Saved By The Bell (2:51)
10. Rico Rodrigues & Ghetto Rockers - This Day Dub (5:42)
11. Rico Rodrigues & Ghetto Rockers - Africa Dub (5:32)
12. Rico Rodrigues & Ghetto Rockers - Dial Africa Dub (3:43)
13. Sly & The Revolutionaries/Jah Thomas - Collie (2:49)
14. Sly & The Revolutionaries/Jah Thomas - Rizla (3:14)
15. Sly & Robbie - Demolition City (5:38)
download it
Dub Foundation VI [a]: The ROIR Sessions
* All Dub Foundations mixed by PMX Sound.
Tracklist:
1. Bad Brains - Jah Calling
2. Bad Brains - Leaving Babylon
3. Bad Brains - I Love I Jah
4. Bad Brains - Hidden Track
5. Twilight Circus - East of Memphis
6. Twilight Circus - The Groove
7. Gato Negro - Armageddon
8. Gato Negro - Conflagration
9. Gato Negro - Ghost Dance
10. Gato Negro - Lamentations Of A Caged Bird
11. Gato Negro - Muntu Dub
12. Gato Negro - Guidance
13. Llwybr Llaethog - Marion Mckeone
14. Llwybr Llaethog - Mynd Adre’ Dub (Going Home Dub)
15. Llwybr Llaethog - Ai Bod Dub (To Be in Dub)
download it
Dub Foundation VI [b]: The ROIR Sessions
* All Dub Foundations mixed by PMX Sound.
Tracklist:
16. Mute Beat - Downtown
17. Mute Beat - Landscape
18. Mute Beat - Dub No. 5
19. Mute Beat - Schoolyard Dub
20. Sanchez - Come to Rule Dub
21. Sanchez - I’m Waiting Dub
22. Niney the Observer - Space Flight Dub
23. Niney the Observer - Operator Dub
24. Niney the Observer - All Rounder Dub
25. Niney the Observer - Follow Up Dub
26. Niney the Observer - Treasure Dub
27. Niney the Observer - Dream Rock Dub
28. Ras Michael - Truth and Rights
29. Ras Michael - None A Jah Jah Children
30. Ras Michael - Give Love
31. Ras Michael - No Hoppers
download it
Dub Foundation VII [a] : The Final Chapta
*All Dub Foundations mixed by PMX Sound.
Tracklist:
1. Glen Brown/King Tubby - World Dub: Away With The Bad (3:31)
2. Glen Brown/King Tubby - Dub Universal (3:39)
3. Glen Brown/King Tubby - Wicked Can’t Run This Dub (3:20)
4. Glen Brown/King Tubby - Assack Lawn No. 1 Dub (Version 2) (3:32)
5. Glen Brown/King Tubby - Father For The Living Dubwise (2:43)
6. Glen Brown/King Tubby - Save Out Dub (3:28)
7. Aggrovators meets Revolutionaries - The Conqueror (3:48)
8. Aggrovators meets Revolutionaries - Bionic Man (3:54)
9. Aggrovators meets Revolutionaries - Seven Million Dollar Man (3:47)
10. Aggrovators meets Revolutionaries - Special Brew (3:14)
11. Jack Ruby/The Black Disciples - Running Dub (3:15)
12. Jack Ruby/The Black Disciples - Track 20 Dub (2:16)
13. Jack Ruby/The Black Disciples - Nubia (3:37)
14. Jack Ruby/The Black Disciples - Jah Jah Dub (4:38)
15. Michael Rose - Gold Mine (3:45)
16. Michael Rose - Straight To Landlord’s Head (3:44)
17. Michael Rose - Ghetto Life (3:48)
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Dub Foundation VII [b] : The Final Chapta
All Dub Foundations mixed by PMX Sound.
tracklist:
18. Gussie P - Dub Of Killamanjaro (4:28)
19. Gussie P - Dub Ah Bite! (4:37)
20. Gussie P - Dub That Gun (4:42)
21. Gussie P - Journey To Dub (4:10)
22. Gussie P - Dub Of Love (4:02)
23. Gussie P - Cool Dub Vibes (4:10)
24. Gussie P - Land Of Dub (4:46)
25. Mikey Murka - Control the Dancehall [Version] (2:58)
26. Mikey Murka - Ride the Rhythm [Version] (3:01)
27. Selah Collins - Pick a Sound (3:26)
28. Selah Collins - Pick a Sound [Version] (3:13)
29. Mikey Murka - We Try [Version] (2:48)
30. Cocoa Tea/Xterminator All Stars - Long Time Dub (3:52)
31. Luciano/Xterminator All Stars - Weaponist Dub (4:08)
32. Luciano/Xterminator All Stars - Final Call Dub (3:57)
33. Louie Kulcha/Xterminator All Stars - How Long Dub (3:54)
34. Luciano/Xterminator All Stars - Sweep Over My Soul Dub (3:53)
35. Cocoa Tea/Xterminator All Stars - Repatriation Dub (4:17)
36. Fred Locks/Xterminator All Stars - Never Give Up Dub (4:02)
37. Joe Gibbs/Errol Thompson - Behind Iron Bars (4:05)
38. Ja-Man All Stars - Half Ounce (3:01)
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New Blog.
After some weird dreams and recent interaction with Ethiopia's royal family, I've decided to create a Dub-only blog. The New Chapter. Dub Foundation. Shouts to Jayman, AMP/Lee Library and the rest of the blogger family for giving Foundation Culture room to thrive on the internet and beyond...
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