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JAMAICAN RECORDINGS

Horace Andy

Dub Box - Rare Dubs 1973-1976

    Horace Andy [a.k.a.Sleepy] must possess one of the sweetest and most distinctive voices in reggae music. 1951 in Kingston Jamaica. He cut his first track in 1966 for producer George ‘Phil’ Pratt, a tune called ‘Black Man’s Country’. But it was four years later his star really began to shine when he joined the stable of Clement ‘Coxsone’ Dodd’s Studio One. It was Coxsone Dodd who renamed him Andy after another of his leading artists Bob Andy, such was his belief in Horace’s writing talent and singing abilities. Still only twenty years of age Horace used his falsetto talent to the fore and cut some impressive tracks at 13 Brentford Road, Studio One’s headquarters. Such reggae standards as ’Skylarking’, ‘Just Say Who’, ‘Love of a Women’ and ‘Something on my Mind’ to name but a few. The early 1970’s saw Horace due to political reasons move on to work with producer Bunny Lee, a move that suited his talents and beliefs, Horace being an early advocate to the Rastafarian faith.The tracks which he cut with Bunny, which we concentrate on here gave his songs a rootsy feel. The rhythms often cut at Channel ONE and Randy’s Studio17 and finalised at King Tubby’s, provided a fine backbone for Horace to recut some of his earlier classics, along side his newer songs also to become reggae standards. Like ‘Money Money’, ‘Zion Gate’ the great ‘You are my Angel’ and a version of The Heptones ‘My Guiding Star’. The power of these recordings were such that the earlier tracks like ‘Skylarking’ became hits a second time around.Proving that the ‘you can’t keep a good tune down’ mantra was alive and kicking… …A golden time for Horace and Reggae music in general… Horace would go on to work with other producers like Everton Da Silva in 1977 creating the ‘In the Light’ album and the New York based Lloyd ‘Wackies’ Barnes in the 1980’s for his ‘Dancehall Style’ recordings. Most recently his work with Massive Attack has brought his majestic voice full circle and back into the arena once more. Those ‘Massive’ recordings and this dub collection here seem to fit side by side. Horace’s distinctive vocal riding over the rhythms adding a magic as only he can .....

    RESPECT JAH FLOYD.


    TRACK LISTING

    1 Why Oh Why Dub
    2 Dub Larking
    3 Zion Dub
    4 Dub Money 
    5 A True Dub
    6 Dub Guidance
    7 Dub Say Who
    8 Dub On My Mind
    9 Love Of A Dub Band
    10 Use This Dub
    11 Dub Letter
    12 Dub Angel
    13 Bless This Dub*
    14 Dub Ah Fulfil*
    *CD Bonus Track

    Niney The Observer

    At King Tubby’s Dub Plate Specials 1973-1975 - 2022 Reissue

    Winston ‘Niney’ Holness, A.K.A. The Observer must be one of reggae’s finest Roots Rebel producers. Capable of making some of the heaviest, innovative music, not only in sound but also in the cultural / political sense. Born George Boswell, Montego Bay, Jamaica,1951, and name checked ’Niney’, due to losing a thumb in a workshop accident, he began his career in music by organising bands to play at school dances. But his first steps learning the musical ropes came working under the tutor ledge of producer Bunny Lee around 1967, organising sessions for Bunny’s stable of artists. He moved on to work alongside Lee Perry at Joe Gibb’s ‘Amalgamated’ label setup, where on Lee Perry’s leaving in 1969 to start his own ‘Upsetter’ label, Niney became chief engineer.

    Inspired by Perry’s success it wasn't long before his own ‘Destroyer’ label was under way. It was 1970, and his first production entitled ‘Mr Brown’ by DJ’s Dennis Alcapone and Lizzy, proved to be a minor hit, but his own ‘Blood and Fire’ track released in December of that year would become a major hit. After initial problems with it’s likeness to Bob Marley’s ‘Duppy Conqueror’, being ironed out, it’s reissue on his now named ‘Observer’ label, saw it go on to become, Jamaican Record of the Year 1971. Far out selling Bob Marley’s track to the tune of over 30,000 copies in Jamaica alone. A roots classic...

    Niney's reputation for building great roots tracks, was furthered with more success working with singer Max Romeo. Issuing cuts such as 'Beard man Feast', the great 'Reggae Matic' and 'Aily and Ailaloo' and renewing his relationship with Lee Perry on the track 'Rasta Band Wagon' who's production credit read Perry, Niney, Maxie. In 1973, Niney began working with Dennis Brown, who was already an established star from an early age, they found a chemistry that went on to produce some of Dennis's finest work.The 1973 hit 'Westbound Train' was followed in 1974 by 'Cassandra', 'I am the Conqueror' and the timeless 'No more shall I Roam'.Another important connection around this time was the great King Tubby who Niney would take his tapes along to and even record some of his tracks at Tubby's house, 18 Drummlie Avenue, Kingston, which doubled as his Studio of Dub.

    It's these tracks that we are concentrating on here, Tubby would strip the tracks back to the bone and rebuild them sometimes leaving off the hook line. Weather that be the horn line or keyboard line and adding effects over the top that could disguise the cut even more. Even Niney stating that when Tubby had finished witWinston Niney Holness aka The Observer must be one of reggae’s finest producers. Capable of making some of the heaviest, innovative music, not only in sound but also in the cultural / political sense. Born George Boswell, Montego Bay, Jamaica,1951, and name checked ’Niney’, due to losing a thumb in a workshop accident, his first steps learning the musical ropes came working under the tutorage of producer Bunny Lee around 1967, organizing sessions for Bunny’s stable of artists. He moved on to work alongside Lee Perry at Joe Gibb’s Amalgamated label, where on Lee Perry’s leaving in 1969 to start his own Upsetter label, Niney became chief engineer.

    Inspired by Perry’s success it wasn't long before his own Destroyer label was under way. It was 1970, and his first production entitled “Mr Brown” by DJ’s Dennis Alcapone and Lizzy, proved to be a minor hit, but his own “Blood and Fire” track released later that year would become a major hit. After initial problems with it’s likeness to Bob Marley’s “Duppy Conqueror”, being ironed out, its reissue on his now named Observer label, saw it go on to become Jamaican Record of the Year 1971. Far out selling Bob Marley’s track to the tune of over 30,000 copies in Jamaica alone. A roots classic...

    Niney's reputation for building great roots tracks was furthered with more success working with singer Max Romeo. Issuing cuts such as “Beard Man Feast', the great “Reggae Matic” and “Aily and Ailaloo” and renewing his relationship with Lee Perry on the track “Rasta Band Wagon” who's production credit read Perry, Niney, Maxie. In 1973, Niney began working with Dennis Brown, who was already an established star from an early age, they found a chemistry that went on to produce some of Dennis's finest work. The 1973 hit “Westbound Train” was followed in 1974 by “Cassandra”, “I am the Conqueror” and the timeless “No More Shall I Roam”. Another important connection around this time was the great King Tubby who Niney would take his tapes along to and even record some of his tracks at Tubby's house, 18 Drummlie Avenue, Kingston, which doubled as his Studio of Dub.

    It's these tracks that we are concentrating on here, Tubby would strip the tracks back to the bone and rebuild them sometimes leaving off the hook line. Weather that be the horn line or keyboard line and adding effects over the top that could disguise the cut even more. Even Niney stating that when Tubby had finished with a cut, he found it hard to recognize the track himself. It's these tracks as dub plate specials that Tubby would play on his Hometown HI - FI Sound System and it's these such tracks that have been compiled for this release. DJ, Arranger, Producer, his Roots Rebel Music still stands the test of time.
    h a cut, he found it hard to recognise the track himself.

    It's these tracks as dub plate specials that Tubby would play on his Hometown HI - FI Sound System and it's these such tracks that we have compiled for this release. Dub Plates that have not seen the light of day since tragically the great Osbourne Ruddock A.K.A. King Tubby was gunned down and murdered on the 06th of December 1989. For a few dollars and a gold chain, reggae music has lost one of its most inventive, creative forces.

    Niney also cut tracks with many other reggae giants, Gregory Issac's, Michael Rose, Junior Delgado, Horace Andy, Delroy Wilson to name but a few. As in house producer at the legendary Channel studios and supervising sessions at Dynamic and Randy's Studio17, his magic touched many. DJ, Arranger, Producer, his Roots Rebel Music still stands the test of time.


    STAFF COMMENTS

    Matt says: Considering their age, Niney's dubs still boom hard through any modern soundsystem. One of the darkest and heaviest producers of the wave first!

    TRACK LISTING

    1 Set Dub Free
    2 Lately Dub
    3 Dub With Tubby
    4 Dub Exclusive
    5 In Love With Dub
    6 No More Dub
    7 Here Comes Dub
    8 Tenement Dub
    9 Swallow Field & Dub
    10 Dubbing With Sally
    11 Dark Side Of Dub
    12 Dub In Silver
    13 Truthful Dub*
    14 Dub Born Here*
    *CD Bonus Tracks

    Back in '03 Jay Z went for the throne with the release of "The Black Album", an all killer, no filler set of bombastic rap brilliance on which Jay perfected his middle-career flow - a lopsided, effortless approach to rapping which masked the intricate wordplay within. Though that LP featured an A-list cast of production talent, for this limited record, Hova's been hauled to Kingston, where his vocals have been introduced to some mega Jamaican beats concocted by some of the most well known riddims in reggae. Pro Tools creativity at its finest!

    TRACK LISTING

    A1. December 4th
    A2. Encore
    A3. Change Clothes
    A4. Dirt Off Your Shoulder
    A5. Threat
    B1. Moment Of Clarity
    B2. 99 Problems
    B3. Interlude
    B4. Justify My Thug
    B5. Lucifer
    B6. Allure

    Lee Perry Vs Bunny Striker Lee

    Dub Soundclash

      What two great producers other then Lee Perry and Bunny Lee would be best suited for a Dub Soundclash. Both producers were integral at the birth of Dub music and would share many rhythms and sessions, their musical paths would cross all through their careers.

      It was in fact Bunny Lee’s rhythm that provided the back drop to Lee Perry’s ‘Shocks of Mighty cut. Jobs were passed from one to the other, Bunny Lee taking over Lee Perry’s position at Wirl records. Yes two producers whose paths always seemed to cross as it does with this release.

      We have selected some of Lee Perry’s rhythms, side one of this set, against some Bunny Lee rhythm on side two.You can hear the distinctive sound of Lee Perry’s Black Ark studio with his echo-plex giving his trademark whirling sound against Bunny Lee’s rhythms cut at many different studios. The winner of the Soundclash? We will leave that decision up to you the listener…..

      But in this Dub session there is no loser…

      ALL KILLER ..NO FILLER…ENJOY…

      TRACK LISTING

      Track 1 WAR INNA DUB Source:war Inna Babylon Rhythm
      Track 2 VAMPIRE DUB Source:vampire Rhythm
      Track 3 CURLY DUB Source:curly Locks Rhythm
      Track 4 WORDS DUB Source:words Rhythm
      Track 5 JUDGEMENT DUB Source:judgement Day Rhythm
      Track 6 PRAISING DUB DUB Source:thanks And Praise Rhythm
      Track 7 FIXING DUB Source:mr Fix It Rhythm
      Track 8 EVERY TRICK DUBWISE Source:every Trick In The Book Rhythm
      Track 9 PROMOTING DUB Source:everybody Need Promotion Rhythm
      Track 10 A HEAVENLY DUB Source:heaven Less Rhythm
      Track 11 M16 DUB STYLE Source:m16 Rhythm
      Track 12 A REAL ROCKING DUB Source:real Rock Rhythm
      Track 13 A DRIFTING WOOD Source:drifting Rhythm
      Track 14 SOLOMON WISE DUB*source:soloman Was A Wise Man Rhythm
      Track 15 SCRATCH CREATION DUB*source:scratch Creation Rhythm
      Track 16 BRUSH ME DUB* Source:sweaty Come Brush Me Rhythm
      *CD Bonus Tracks

      The Congos possess what all bands look for, that unique distinctive sound that draws the listener in. Alongside the great songs, lead singer Cedric Myton’s singing, phasing and falsetto voice makes that just the case. The Congos were formed by Cedric Myton (b. 1947, St Catherine, Jamaica) around the mid-Seventies when the Rasta message was central to the reggae sound coming out of Kingston, Jamaica. But he had started out in the Rocksteady era, when he formed the vocal group ‘Tartans’, taking lead vocal duties alongside Devon Russell, Prince Lincoln Thompson and Lindbergh Lewis.They cut ‘Dance All Night’ (1967) and ‘Coming On Strong’ (1968). The line-Up became The Royal Rasses and from this Cedric moved on to form the Congos on meeting Roydel Johnson, who had previously sang with Ras Michael and the Sons of Negas. Cedric’s Rasta roots were firmly in place when he went to work with producer Lee Perry to cut the seminal album ‘Heart Of The Congos’ at Perry’s just built, Black Ark Studios in 1977. Cedric Myton has carried on the mantle, cutting a set of tunes with the help of his good friend Mr Brent Dowe, who had previously sang lead vocals with the Melodians. This is the dub set to the vocal album released on the Kingston Sounds label called ‘The Congos Feast’. With such strong songs, rhythms and vocals it always had the chemistry for a great dub set. Hope you agree and enjoy the dub excursion…

      STAFF COMMENTS

      Philippa says: The dub set to the vocal album 'The Congos Feast'.

      TRACK LISTING

      1 A Fat Dub
      2 A Party
      3 Gods Kingdom Dub
      4 Carry To The Well Dub
      5 Beng Come Down Dub
      6 Rasta Congo Dub
      7 Some A Dub
      8 Citizen Dub
      9 Watch & Pray Dub
      10 King Rastafari Dub
      11 Take It To Dub
      12 Heaven Dub
      13 Grandma Say Dub*
      14 Start A New Dub*
      15 Rasta Weh She Dub*
      *CDBONUS TRACKS

      King Tubby & The Aggrovators

      Shalom Dub

        King Tubby and producer Bunny ‘Striker’ Lee are intertwined in the birth of dub music. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of a new form of reggae and music production that today is taken as a standard, but back in the 1970s when this album was first released, was totally revolutionary. Remix and 'version' cuts of an existing vocal tune all sprang from Tubby's studio experiments. Sit back and enjoy this historic set of sounds, all lovingly restored. 



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