Dennis Brown has always been cited as Jamaica’s favourite singer. While Bob Marley set out to conquer the world, Dennis’s popularity on the island grew with every year. His most prolific period is said to be with producer Niney the Observer who led the singer down a more roots avenue, putting Dennis on some of his heaviest rhythms. Throwing also into the pot the fact that these rhythms were also to be mixed by the dub master himself King Tubby we are bound to get one of the finest dub albums around. Here it is the Crown Prince of Reggae meets Niney the Observer at King Tubby’s.

Dennis Brown (b Dennis Emanuel Brown, 1957, Kingston, Jamaica) began his illustrious career at the grand age of eleven like many of the other child singers at Coxsonne Dodd’s Studio 1 stable. His first hit in 1969 a cover of Van Dykes ‘No Man is an Island ’still stands the test of time and its follow up cut ‘If I Follow My Heart’ as Reggae classics. The 1970’s saw Dennis build on his reputation by working with all the top Jamaican producers and studios perfecting his sound. Lloyd Daley, Impact, Joe Gibbs, Aquarius and Derrick Harriott to name but a few. But it was his work with producer Winston ‘Niney’ Holness that he enjoyed the most success and many say recorded his best work for. While many of the other producers stayed with their tried and tested Lovers Rock formula, that did prove so popular with Dennis’s voice, however it was producer Niney the Observer as he is fondly called who pushed him into a more roots led direction, over stark rhythms created by Niney’s studio band Soul Syndicate.

Two outstanding albums were put together ‘Just Dennis’ (1975) built on a collection of singles they had recorded together, ’Cassandra’, ’Westbound Train’, ’No More Will I Roam’ and ‘Conqueror’.
The second 1977 set ‘Wolf and Leopards’ made up again of singles the prolific two had cut including, ’Here I Come’ (a live favourite that Dennis always liked to start his set with).

It’s from this period that we have focused on and it’s these tracks that were taken to King Tubby’s studio to produce this stunning album. 

TRACK LISTING

Track 1 Casandra Dub
Track 2 Conquering Dub
Track 3 No Good Dub
Track 4 Yagga Dub
Track 5 Tenement Dub
Track 6 Tribulation Dub
Track 7 Come Again Dub
Track 8 Westbound Dub
Track 9 Wolf and Leopards Dub
Track 10 Travelling Dub
Track 11 Silver Dub
Track 12 Africa Dub
Track 13 My Dub
Track 14 Take a Dub
Track 15 Open Up Dub*
Track 16 Give a Helping Dub*
Track 17 Live After Dub*
Track 18 No More Dub*
*CD Bonus Tracks

The mighty Channel One Studios, Kingston, Jamaica, has its place set in Reggae's Musical History. Its distinctive sound the studio created on opening its doors in 1972 to its closure in the early 1980's made it the Producers, Singers and Musicians studio of choice during this furtive period. Achieving that vibe and clarity, separated it from the other Kingston establishments. Run by the Hookim Family's four sons, Jo Jo the eldest followed by Paulie, Ernest and Kenneth. Their father originally came from China and married a Chinese Jamaican lady and settled in the St Andrews district before moving to Kingston Town itself. The family business was built on jukeboxes and one armed bandit machines in and around Kingston. A lucrative venture until the gaming laws changed in 1970, outlawing the gaming machines. So the music side of the business would have to be expanded. So it was decided to open a studio to make the music to supply their already established Jukebox enterprise. The four brothers opened Channel One Recording Studios in 1972 at 29 Maxfield Avenue, Kingston 13. Initially as we stated the purpose of the studio was for the brothers use only, but this would soon change when the various Producers all looking for that Channel One sound came asking for studio time. The brothers had used the services of Bill Garnet a renowned and well respected technical engineer on setting up the studio. They spent a lot of time aying out the space to get the right acoustics and picking the right equipment. They went with a four track API desk and the best quality microphones such as Neuman, Sony and AKG, vital in obtaining the quality sound and track separation that would prove so worthwhile after the music was recorded to give the best flexibility on the final mix downs. Jo Jo would take over the production duties after the initial hiring of Syd Bucknor a producer who had worked closely with Coxonne Dodds Studio 1 stable. The first release on the Channel One label would be 'Don't Give Up The Fight' by Stranger Cole and Gladstone 'Gladdy' Anderson.The initial two thousand run being swallowed up by their Jukebox interests and so the steady flow of hits would run up to the brake through hit of 1975 'Right Time' by the Mighty Diamonds. 1977 saw Jo Jo extending his stays in New York to a semipermanent status, returning mainly to oversee recording sessions and then taking the results back to America for worldwide distribution. His brother Paulies senseless killing in that year also added to Jo Jo's decision to spend more time with his Hit Bound Manufacturing set up in New York. The Channel One studio would be upgraded in 1979 to sixteen tracks and although Jo Jo and Ernest still covered the mixing and engineering duties Kenneth would now supervise sessions. An often untold part of Channel Ones history is the involvement of Producer Niney The Observer. The mid to late 1970's were heavy times both musically and politically and Maxfield Avenue was in the heart of this crossfire. Some artists and musicians were weary of using the establishment especially when sessions ended late at night and exiting the studio at these times could be somewhat dangerous. But Niney's fearlessness seen him over running and in many cases running the all night sessions with his trusted set of musicians loosely called The Soul Syndicate. Having the run of the mighty Channel One studio's allowed Niney to build up and work on a stockpile of rhythms that he still has yet to unleash on the world. We have been lucky to select a bunch of material from Niney's vaults for this release. Some great unreleased rhythms and some different cuts to some tracks you might already know. Niney's work with Dennis Brown and his own distinctive heavy roots style productions have been documented and indeed his work on Channel Ones Yellowman releases stand tall also. We hope this fine set of Niney Productions set inside the hollowed walls of Channel One will sit beside them as they so richly deserve.

TRACK LISTING

Side One
1. Channel 1 Burning With Dub
2. Dub Fourteen
3. Hill And Gully Dub
4. More Dub Pon Dub
5. Dub Between Us
6. Fearless Dub
7. Dub In Highway

Side Two
1. Forceful Dub
2. Dub Easy

Reggae music in many ways reminds us of America’s Motown records. The music comes out of its stable fast and furious we tend to know the songs, the artists, the studio but who are the players? The unsung heroes that in many cases, cut most of our favourite tracks One such band this applies to in the Reggae field is the Soul Syndicate Band.

Each Jamaican record producer would have their favourite set of musicians they would use, availability permitting. Although several musicians crossed over into different named bands. For example, a set of players working with Producer Bunny 'Striker' Lee would go under the guise of The Aggrovators. The same group working with Producer Joe Gibbs would work under the name The Professionals. Soul Syndicate were the band of choice for Producer Niney the Observer, who used them for his own recordings and when you put that aside the other artists Niney produced, Dennis Brown, Max Romeo, Michael Rose, I Roy, The Ethiopians, Barry Brown, Gregory Issacs and Freddie McGregor. To name a few and not necessary all, you begin to see the amount of material this set of musicians played on.

Built around the rhythm section of Calton 'Santa' Davis and George 'Fully' Fullwood, drums and bass respectfully. They were usually accompanied by Earl 'Chinna' Smith, Tony Chin on guitars, Keith Sterling, Gladstone 'Gladdy' Anderstone, Bernard 'Touter' Harvey, organ/ keyboards and Noel 'Skully' Simms, percussion. Niney's tracks tended to be rhythm heavy and thus Sound System favourites.But when brass was needed/called for ,this was provided by the likes of Tommy McCook, Bobby Ellis, Felix ' Deadley Headley' Bennett. Niney not having a studio of his own at the time used most of Kingston's studios, again availability and money providing. But most of these cuts selected for this release were cut at Channel 1 and a few exceptions at Randy's Studio 17 and at Joe Gibbs studio at Burns Avenue.

Niney also worked closely with King Tubby on his dub plates, so tracks after the recording sessions were taken to King Tubbys for reconstruction and sometimes
re-voicing over an existing rhythm. These were then used as version sides to the vocal cuts, but most importantly used to nice up the dances, being played out on King Tubbys Home Town Hi-Fi Sound System. We have pulled together a selection of such dub plate specials cut by the Soul Syndicate band for this release. Dub sides that emphasise how well the band worked together, and with Niney at the reigns and the added bonus of some Tubby magic sprinkled on top. Please see our Niney the Observer at King Tubbys 1973-1975 (JRO11) for further examples of this work.

We at Jamaican Recordings hope we are not alone in saluting the musicians, that played such a big part in producing many of our favourite Reggae Sounds. Having released titles by The Revolutionaries (JR003), The Aggrovators (JR005), Sly and Robbie (JR006), we are now pleased to release a selection of rare Dub cuts by another one of Jamaica's finest, the Soul Syndicate band to our catalogue...

Respect Jah Floyd.

TRACK LISTING

Side 1
1. Fittest Of The Dub Fittest
2. Dub In Heaven
3. Ruff Gal Dub
4. Niney's Dub Crown
5. Rasta Man In Dub
6. Dub Chapter
7. A Dub Revival

Side 2
1. The King & The Observer In Dub
2. Dub 100
3. Runaway Dub
4. Dub In Parables
5. Observers Dub
6. A Dub Classic
7. Dub A Long

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

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

King Tubby’s Hometown Hi-Fi was one of the great Sounds in Jamaica. It also proved a fantastic outlet for the dub plate specials cut at Tubby’s studio, providing exclusive cuts to be played out and to entice the dance’s audience. The tracks at the time were mainly cut over producer Bunny ’Striker’ Lee rhythms, that Bunny stored at Tubby’s studio, 18 Drumilly Avenue, Kingston, Jamaica.

The versions were given exclusive plays at Tubby’s sound before some found their way on to vinyl, as the B-side version cut to its A-side vocal. It proved so popular that the records were often brought for its version side over its vocal counterpart. Here is a selection of cuts that were all tried and tested on Tubby’s Home Town Hi-Fi Sound System and that worked a great set of Bunny Lee’s rhythms in fine style. Some of these cuts have never been released until now!

As Cornell Campbell says on track one of the set 'King Tubby and Bunny Lee will never go away' - this certainly is the case today as more and more of the historic producers' archives become available to us all once again...We hope you enjoy the set!

TRACK LISTING

Track 1 Never Run Away Dub. Source: "Coming From The Top" Cornell Campbell
Track 2 NATTY DREADTIME DUB Source:I’m Still In Love/queen Tiny&the Aggrovators
Track 3 ONLY LOVER DUB Source:only Lover/cornell Campbell
Track 4 JAH JAH DUB Source:jah Jah We Are Waiting For You/johnny Clarke
Track 5 DUB ON MY PILLOW Source:tears On My Pillow/johnny Clarke
Track 6 PART TIME DUB Source:babylonking Rhythm
Track 7 FAT DUB Source:fat Rhythm /zoot Sims And The Aggrovators
Track 8 MANY RIVERS TO DUB Source:many Rivers To Cross Cornell Campbell
Track 9 CONTROL YOUR DUB Source:control Your Daughters /cornell Campbell
Track 10 DO YOU DUB I Source:do You Love Me /johnny Clarke
Track 11 PEACE & LOVE VERSION Source:peace & Love In The Ghetto/johnny Clarke
Track 12 LAMBS BREAD HERB DUB Source:death Trap Rhythm
Track 13 REGGAE TRAIN DUB Source:mule Train Rhythm
Track 14 RASTA DE MASTER DUB* Source:jump The Fence Rhythm
Track 15 KING TUBBY’S BADNESS DUB* Source:badness Rhythm
Track 16 AFRICAN JUMPER DUB* Source:african Jumper/tommy Mc Cook

When people think of Tuff Gong they usually think of the record label Bob Marley set up to release Wailers tracks in the 1960s. However Tuff Gong was also the name of a complex that included a top level recording studio, pressing plant and distribution centre.

Located at the former residence of Island Records boss Chris Blackwell at 56 Hope Road, and moved to Marcus Garvey Drive following Marley's untimely death from cancer in 1981, Tuff Gong studios was used by many of Jamaica's top musicians and producers. 

Engineers working at the facility included Errol Browne who had worked at Treasure Isle studios, and Hopeton Overton Browne known as “Scientist”, named by the great producer Bunny “Striker” Lee who, having worked with him previously at King Tubby’s and Channel One studios, described Browne's style as being like that of a scientist.

For this release Jamaican Recordings focus on the work carried out by the great Scientist on the songs of the Black Solidarity Label run by Ossie Thomas (aka Joe The Boss) recorded at Tuff Gong studios. 

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 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 what today is taken as a standard; remix or version cuts to an existing vocal tune. The pairs work together is celebrated on "Creation Of Dub", another landmark album from the Tubby-Lee reggae axis. If you loved Jamaican Recordings King Tubby reissue LPs, then this should be on your shopping list too!

Not to be confused with the recent "Roots Of Dub" reissue, Jamaican Recordings are back with "Dub From The Roots", another totally essential dub LP from the master, King Tubby. Tubby and producer Bunny ‘Striker’ Lee are intertwined in the birth of dub music, going on to release the first albums of this new musical genre. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard; remixes and version cuts to an existing vocal tune. This historic set of sounds has been lovingly restored, making the amazing dubs jump out of the speakers.

Tappa Zukie is not only one of Jamaica's greatest deejays (MCs), he's also a well respected producer and arranger. Looking back through his master tapes, Jamaican Recordings found a lost release that has stayed on the shelf and been passed over - until now. When rhythm was king way back in the 70s the predominant feature of the mix would be the drums and bass, with horns and other musical instruments pushed back. This album was Tappa Zukie's attempt to rectify the imbalance and shine a light on the other talented musicians involved. When looking at the music with this approach you can hear some of Tappa's other influences coming through. Maybe it's a jazzier or bluesy feel and this almost makes the album feel like an unreleased film score.