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KING TUBBY'S
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 and version cuts to an existing vocal tune. Dynamic Sounds upgraded to 16 track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee, the old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dubplate experiments began to make it on to vinyl and the first ever long playing King Tubby releases would feature a collection of his mixes to a selection of Striker's rhythms. So please sit back and enjoy this historic set of sounds.
TRACK LISTING
Natty Dub
Dub Magnificent
A First Class Dub
A Stepping Dub
Rude Boy Dub
A Closer Dub
Roots Of Dub
Dub You Can Feel
Loving Dub
The Immortal Dub
Dreadlocks Dub
Rocking Dub
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.
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
Seminal dub album produced by Winston Edwards. In 1974 Edwards left Jamaica to reside in the UK and through his strong connections with such reggae luminaries as Joe Gibbs, Lee Perry and King Tubby began to travel back and forth between London and Kingston (JA) to bring back recordings to issue on his Fay Music label here in the UK. In 1974 he released this seminal dub set, which is now considered a classic early Tubby’s dub album. A musical, tuneful and seriously heavy dubwise set with Vin Gordon’s unique trombone lines well to the fore. Essential dub.
TRACK LISTING
1. Blood Of Africa
2. African Roots
3. Rain Roots
4. Wood Roots
5. Luke Lane Rock
6. People From The Grass Roots
7. Crime Wave
8. No Justice For The Poor
9. 300 Years At The Grass Roots
10. King And The Upsetter At Spanish Town
“Both are legends because both innovate – and activate and motivate. King Tubby (Osbourne Ruddock) arrived on earth in 1941. As a teenager he repaired radios before moving onto repair sound system speakers. Since the mid-50s, sound systems had conquered Jamaica, replacing live bands as the people’s favoured choice of access to their music. Tubby (a very slim man) found himself much in demand. In 1968, Tubby opened his own shop, Tubby’s Home Town Hi Fi. That led him into the world of sound, led him into recording studios where first he remixed. But then he got bored and in doing so released himself by devising his own amazing aural vision. Tubby invented dub and he did so by experimenting, by creating a unique template where he stripped away certain parts of the record, replaced them with another, highlighted some instruments, dropped others, and on top of this used all kinds of studio effects.
And thus King Tubby became King of Dub. In 1971, inevitably, he opened his own studio – and he took the music deeper. Many musicians loved his set up, including Augustus Pablo. Pablo (Horace Swaby) arrived on earth in 1954. He hit the musical scene playing…the melodica. No one had thought to do so previously. Again, the breaking of new ground was heard in Jamaica. The instrument was perfect for the King Tubby vision, Pablo’s playing producing a sound that was melodic, harsh, edgy, and soulful. Over Tubby’s shuffling rhythms and maelstrom of sound, Pablo improvises with huge imagination and skill. His major hit East Of the River Nile suggested and put forward a sound derived from the Far East and he was up and running. In 1975, he began a fruitful collaboration with King Tubby. Their first album together Ital Dub is a classic. The later King Tubby Meets The Rockers Uptown is more than that, it is legendary. And now The Messenger is upon us, an album cut at some point in the 70s and which remained in the vaults. Should it have stayed there? No way. This is music that upholds the very high stars of their past, music which fires itself on imagination and strength, a collusion and collaboration of immense proportions, music that provides and creates moods with such purpose and drive. Pablo’s melodica is centre stage but is counterpointed by contagious rhythms and touches of inspiration as horns and bass lines mesh in and out of view, held down by an ever steady barrage of sturdy drums and bass and a never ceasing source of imaginative and delightful sounds. The sound constantly changes and because it does the album contains a staggering array of moods, from upbeat into deep waters. The Messenger is forward music, still sounding as fresh as it did on the day of its conception. And it will do so for time eternal.” Paolo Hewitt
And thus King Tubby became King of Dub. In 1971, inevitably, he opened his own studio – and he took the music deeper. Many musicians loved his set up, including Augustus Pablo. Pablo (Horace Swaby) arrived on earth in 1954. He hit the musical scene playing…the melodica. No one had thought to do so previously. Again, the breaking of new ground was heard in Jamaica. The instrument was perfect for the King Tubby vision, Pablo’s playing producing a sound that was melodic, harsh, edgy, and soulful. Over Tubby’s shuffling rhythms and maelstrom of sound, Pablo improvises with huge imagination and skill. His major hit East Of the River Nile suggested and put forward a sound derived from the Far East and he was up and running. In 1975, he began a fruitful collaboration with King Tubby. Their first album together Ital Dub is a classic. The later King Tubby Meets The Rockers Uptown is more than that, it is legendary. And now The Messenger is upon us, an album cut at some point in the 70s and which remained in the vaults. Should it have stayed there? No way. This is music that upholds the very high stars of their past, music which fires itself on imagination and strength, a collusion and collaboration of immense proportions, music that provides and creates moods with such purpose and drive. Pablo’s melodica is centre stage but is counterpointed by contagious rhythms and touches of inspiration as horns and bass lines mesh in and out of view, held down by an ever steady barrage of sturdy drums and bass and a never ceasing source of imaginative and delightful sounds. The sound constantly changes and because it does the album contains a staggering array of moods, from upbeat into deep waters. The Messenger is forward music, still sounding as fresh as it did on the day of its conception. And it will do so for time eternal.” Paolo Hewitt
STAFF COMMENTS
Matt says: Some classic riddims here from Tubz N Pabberz, in some cases in their original conception. Augustus' mystic melodica collides beautifully with Osbourne's magic dub techniques making for an enchanted early prototype of the genre.TRACK LISTING
A1. Stars 03:16
A2. That’s Real 03:34
A3. Sugar 3:02
A4. Happy And Merry 02:59
B1. Watchful 03:04
B2. Prince 03:24
B3. Uprising 03:00
B4. Smiling Faces 02:49
Although better known for his dub experiments, King Tubby also got involved with the dancehall scene too, and following the recent interest said genre (and the whole King Jammy's campaign) we now see a tidy collection of tracks from the late producer's archives that flirt between the later incarnations of reggae music with digi-vibes a plenty combined with the thick sub bass which categorized the sound in the mid 80s. Unlike part 1 which featured straight re-issues from his Waterhouse sub label, part 2 flirts with the idea of 'specials' or 'dubplates' - rhythm tracks that would be lent out to a specific producer and vocalist for them to record personal sound system cuts, that would be used in the tradition 'sounds' battles across Jamaica. Featuring Paul Crossdale on keys, Melbourne Miller on drums, Donald Dennis on bass and introduced by soundboy Alty 'Fuzzy Jones', ten instrumental, digital rhythms for your MC to toast fi in the dance. Big ting!
TRACK LISTING
1 Kill A Pan
2 Tan Good
3 Nah Run Weh
4 Lick Shot
5 Death Row
6 We Rule
7 Fade Out
8 Play Play
9 Brand New Sound
10 Make Them Pay
King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ they went on to release the first pressings of this new musical genre namely ‘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...the Remix / Version cuts to an existing vocal tune. Sit back and enjoy this historic set of sounds. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.