Wednesday, July 1, 2009


Seeing as a new DVD and double CD has just been released "Dub Echoes" (reviewed this month), and due to the fact that I have been listening to quite a bit of it as well just lately we thought this month we'd have a bit of a Dub Fest!
Now to be totally honest I do generally prefer a bit of vocals with my music so when it comes to the choice between dub version or vocal version you know which one I'll pick. Having said that though there are some mighty fine dub versions and dub artists out there who can do some really great and interesting things with other people's tunes, or creating these mystical soundscape forms from scratch.
The origins of dub are said to have come about quite by chance when in Kingston in around 1968, sound system operator Ruddy Redwood went to Duke Reid's Treasure Isle studio to cut a one-off dub plate. The engineer Byron Smith, it is told left the vocal track out by accident, but Redwood liked this keeping the result and played it at his next dance with his deejay Wassy toasting over the rhythm. This went down a storm and the idea of mixing an instrumental / dub version of a song was born.
Errol Thompson is credited with having released the first strictly instrumental reggae album, in 1970, entitled "The Undertaker", and was performed by Derrick Harriott and the Crystalites. This innovative album credits "Sound Effects" to Derrick Harriott.
The real pioneers of dub though in those early days are widely accepted as being producers Osbourne "King Tubby" Ruddock, and Lee "Scratch" Perry. Similar experiments with recordings at the mixing desk were also done by producers Clive Chin, Herman Chin Loy and Lynval Anderson (aka Andy Capp). These producers, especially Tubby and Perry, looked upon the mixing desk as an instrument, and experimented with, and manipulated tracks to come up with something totally new and different from the tunes original format.
The main reason for producing these multiple dub versions in the early days was purely economic: a record producer could use a recording he owned to produce numerous versions from a single studio session, and so milk more money back from his original outlay. A dub version also gave a producer or remix engineer opportunity to show off their more creative side. These dubs were typically the B-side of a single, with the A-side dedicated to making a popular hit, and these B-sides also became the start to providing something for DJs to ‘chat’ / ‘toast’ over. In the mid to late 1970s dub was becoming so popular that a dub version of an existing vocal LP was some times released along side or a few months after the vocal version. Also dubbed up instrumental tracks for which no vocals existed were now being produced. Indeed in the early 80s, as well as helping popularise reggae with a white audience UB40's “Present Arms In Dub” became the first ever reggae dub album to hit the UK top 40.
Dub has continued to progress from that point to this, its popularity waxing and waning with changes in musical fashion. Almost all reggae singles still carry an instrumental version on the B-side and these are still used by many sound systems as a blank canvas for live singers and DJs. Dub can also be looked upon as the prelude to many dance and pop music genres, techno, jungle, dubstep, drum and bass, house music, and trip hop to name but a few. Also over the past few years some bands with a passing reggae influence have released dub LP’s of their original versions. Some notable records are Gorillaz vs Spacemonkeyz “Laika Come Home”, a dubbed up version of the Gorillaz debut (reviewed here this month). The Dead 60s excellent 2Tone, Clash, inspired debut also received the same treatment, with its 3 minute stomps reduced down to some fine 3 minute dubs by Central Nervous System. Hard Fi’s whose “Stars of CCTV” was a big hit in the UK, also took what I believe was a very courage’s career decision, which was to allow their chart topping 750000 odd selling LP to be completely remixed by the likes of Roots Manuva, Gran Tourismo and Wrongtom who has also dubbed up work for the likes of Pama International.
So dub today….having seen the Dub Echoes DVD and heard the CD there is proof that the style is still very much alive and kicking and maybe even having a bit of resurgence thanks in part to the work of people like Roots Manuva, Wrongtom and also the Dub Step style. One thing I do feel I can say with confidence though is that despite dub coming about by 'accident' this style of reggae has had a more far reaching effect and influence on people and music than all the other reggae styles put together.

Check out Rockers Revolt for a bit of a movers and shakers in Dub A - Z
Don't forget to download a special dub mix by our very own King of the Dubwise Excursion...Gibsy. The mix includes dubs by King Tubby, Scientist, Prince Jammy & Mikey Dread plus more. It is only available for a short while so grab it while you can! (the link is somewhere on the right hand side)
You can also tune in to Sound Of Now to hear these and many more dubs in full
My Top 5 Ital Dubs....


2. Scientist v Prince Jammy- Big Showdown

3. Pick A Dub - Kieth Hudson

4. Laika Come Home - Gorillaz vs Spacemonkeyz

5. Massive Attack vs Mad Profesor

If you would like to add your Top 5 dubs then please do so in the comments or send us them at the email and I'll dress 'em up a bit and add them on here, we'd love to know what you like!


A Small Piece from Springlines Founder Sir Dread Gibsy!!

…."Reggae’s answer to psychedelia ,well that’s how I’ve always thought of it ,discovering dub music for the first time back in ’81/’82 was a joy ,collecting all those ‘dub me crazy’ LPs
Buying everything by Scientist and Jammy, then belatedly discovering the king of them all; King Tubby, every Friday after work going to the record shop and buying everything in sight that was dub and it continued up to ’87. I found the dub sound via my interest in instrumentals or versions as they’re called, normally B sides of vinyl singles, the first being “Double Barrel” and “Liquidator” (both A sides) then via B sides of 2 tone singles such as The Selecter and ‘The Buisness’ by Madness..all these grabbed my ears and I embarked on a search for more, I wanted more from an instrumental, more excitement…which led to dub.
Now not all dub is great, no sah, not all music is great, I would say that it’s very rare to come across an LP where every single song is a stomper, doesn’t exist imo, everyone’s ears are different, but when you came across a stomper of a dub, then, that got played, and played..
And they still do nearly 30 years on….I remember during my teens listening time and time again through headphones at every little tweak and effect that was going on, trying to suss out how they managed it all, completely turning a well known tune upside down and in some
cases changing the vibe so much that it was difficult to actually imagine how the original sounded, they became these dubs original in their own right, they amazed and still do.
Today the dub sound continues in various forms, genres and fusions with underground artist’s such as JAHNOEL BIBJACINYABASSThe MANOREARLYWORM and a host of Others who have taken a slice of their favourite dub era or producer and now themselves create and recreate those sounds using their own unique way of mixing to identify their inspirations and by and large they get it spot on.
It’s now though that a mention must be made of the late great Mikey Dread, Jamaican radio pioneer and dub controller who alongside Lee ‘scratch’ Perry and King Tubby made some truly exciting and commercially viable dub entertainment and by also operating his DATC radio show for a few years gave many of these dub pioneers a wider audience via radio play.
The list of dub pioneers and second wave dub controllers is immense but for me I grew up with the sounds of Scientist, Prince Jammy, King Tubby, Mad Professor, and Lee Perry. It’s these Guys that I owe a gratitude to for giving me hundreds of musical hours of wonderment back in the early’s still my favourite reggae genre , cheers".
TOP 5 dub albums of Springline’s label operator Gibsy

1 Uhuru in dub - Prince Jammy
2 Dub me crazy pt 4 - Mad Professor
3 New chapter in dub - Aswad
4 Scientist rids the world of evil curse of the vampires
5 King Tubby’s Special


1 Joe Gibbs - African Dub chapter1
2 Joe Gibbs - chapter2
3 Joe Gibbs - chapter3
4 Joe Gibbs - chapter4
5 Augustus Pablo - Original Rockers

TOP 1 dub album from The Manor… !!

King Tubby meets the Rockers uptown


Biography by Jo-Ann Greene

King Tubby is to this day synonymous with dub. He was a man who had a passion for fiddling with sound equipment, and turned that passion into a new musical genre and a veritable art form. He may have started his career as a repairman, but before he was done, his name was one of the most respected around the world. He worked with virtually every artist in Jamaica, and his name on a remix was like gold, a seal of quality that was never questioned. King Tubby was born under the more humble name of Osbourne Ruddock in Kingston, Jamaica, on January 28, 1941. Initially, the closest he got to the music scene was via the airwaves, as Ruddock spent his teens working as a radio repairman. In the mid-'50s, Jamaica was undergoing a revolution that saw the audiences move out of the dancehalls, which had once packed them in with live music provided by big bands, and onto the streets. There the sound systems ruled as travelling outfits set themselves up on a sociable street or corner and blasted records to crowds through a speaker. Initially they were small, but the sound systems quickly grew in size and legend; the competition extremely fierce and often violent. Speakers were the usual victims of these rivalries (sometimes along with the DJs, organizers, and even the audience). The people weren't the only ones who were damaged, which is why in the late '50s the operator of a Waterhouse sound system approached Ruddock for help. The repairman fixed that speaker, then another, and another, until he was providing first aid for a variety of sound systems around the city. A born tinkerer, Ruddock inevitably began coming up with ways to improve things as well. He spent years working on other people's sound systems, but by 1968, he was ready to open his own shop: the legendary Tubby's Home Town Hi Fi. The sound he provided there was nigh on perfect, which meant King Tubby himself was now beginning to look around for something new to fiddle with. Producer Duke Reid offered the perfect solution via a job at his Treasure Isle studio as a disc cutter. There, King Tubby began deconstructing and reconstructing music in the same way he had sound systems, but these early efforts were really remixes, an already old skill in Jamaica. The remix began as a "version" B-side, nothing more than an instrumental of a vocal track. Ruddy Redwood, a sound system MC and engineer at Treasure Isle had taken the next logical step forward, physically remixing records in the rocksteady years to place the focus on the bass. King Tubby took this concept to a whole new level. He started stripping out not only the vocals, but cutting up instrumental parts, dropping them in and out of the tracks, adding new effects and sounds, while also making use of phasing, shifts, and echoes. Many of these experiments were pressed onto acetate dubplates and spun at his sound system. These stripped-down tracks were integral to the rise of the DJs, and King Tubby not only cut exclusive dubplates for his favorites, he also hired the best to perform at his sound system. U-Roy, I-Roy, and Big Youth were just some of the stars who made their mark toasting at Tubby's Hi Fi. In 1971, King Tubby was ready to take another leap forward and opened his own studio. There, the experiments continued as the remixer turned engineer moved into the area of studio effects. The studio quickly became a favourite for the likes of Augustus Pablo, Lee Perry, Prince Tony Robinson, and Glen Brown. It was the latter man who history acclaims as the first to actually credit a King Tubby mix on record. The aptly titled "Tubby's at the Control" was a remix of "Merry Up" by God Sons (an alias for Tommy McCook and Rad Bryan). Robinson followed suit, releasing "Tubby's in Full Swing," on a song credited to Lloyd Robinson and Carey Johnson. King Tubby began turning out remixes in prolific numbers. Bunny Lee kept him busy with a constant stream of singles to remix and a batch were bundled up in 1974 as the seminal Dub From the Roots album, and more were featured on the follow-up, King Tubby Meets the Aggrovators at Dub Station. Years later, the British Klik label reissued most of Roots as Shalom Dub, buttressed with bonus tracks. Another U.K. label, Attack, has also released the King Tubby-fueled Dub Jackpot, featuring rarer remixes and dubs of Lee productions. Blood & Fire's If Deejay Was Your Trade: The Dreads at King Tubby's 1974-1977 also boasts Tubby's takes on Lee's productions, this time focusing exclusively on DJs, as did the French label Culture Press' Bunny Lee, King Tubby & the Aggrovators. Tubby also worked with Vivian Jackson after meeting in 1971 when Jackson handed him a rhythm and the remixer went to work. The result was the hit "Go to Zion," credited to Brother Joe & the Rightful Brothers, an alias for Jackson, the Congos' Roydel Johnson, and the Gladiators' Albert Griffiths. Jackson and King Tubby's follow-up, "Conquering Lion," was another hit, and gave the artist/producer his nickname "Yabby You". Yabby You released his debut album, Conquering Lion, in 1975, and Tubby provided the dub companion, King Tubby's Prophecy of Dub, the following year. Yabby You's sophomore set, 1977's Wall of Jerusalem, boasted Tubby dubs across half the set. Augustus Pablo, the famed melodica player and producer, was also a client, and King Tubby remixed music for Pablo's Rockers label, much of which appeared on the songs' B-sides. The pair cemented their partnership with the seminal 1975 Ital Dub album, the outtakes from the sessions appearing 15 years later as El Rockers, a release from the British Pressure Drop label. However, Ital Dub was merely a warm-up for King Tubbys Meets Rockers Uptown, a record that established both King Tubby's and Pablo's undying reputations. Their follow-up, Rockers Meet King Tubby in a Firehouse, merely added to their glory. Across the early '70s, the remixer's experiments had swiftly evolved into pure dub, and his remixes were no longer a remix at all, but a total reinvention of the song. Another giant step forward had occurred in 1973 when King Tubby purchased a second four-track, which allowed him to record vocals. The new setup was inaugurated with Roy Shirley's "Stepping Razor" that same year. King Tubby had his first hit the following year with "Watergate Rock," a dub of Larry Marshall's "I Admire You." This inevitably led to Tubby taking on Marshall's entire I Admire You album. It was a busy year as Bunny Lee also released the aforementioned Dub From the Roots set while King Tubby also joined forces with Lee Perry for Blackboard Jungle Dub. He next worked with Niney "the Observer" Holness on 1975's Dubbing With the Observer, and the 1989 Trojan compilation King Tubby's Special 1973-1976 resurrected that album, then added shrewdly selected Bunny Lee productions for a monster 30-track set. After Tubby's work with Holness, producer Harry Mudie supplied him with material that couldn't quite compete, but Harry Mudie Meets King Tubby in Dub Conference, Vol. 1 was still sublime and the pair's partnership continued across another two volumes of music. King Tubby was also happy to provide mixes for Glen Brown, the man who first gave him his due. Trojan's Dubble Attack: The Original Pantomime Dee-Jay Collection 1972-74 features the island's greatest DJs, overseen by Brown, then reconstructed by Tubby. Blood & Fire concentrates on Brown's more roots-conscious work for the equally masterful Termination Dub. Another client was Glen Darby, whose productions recorded at Channel One by Jo Jo Hookim and Philip Smart were eventually compiled across Guava Jelly's two-CD set The Sound of Channel One: King Tubby Connection, which pairs the original vocal tracks with their dub companions. By the end of the '70s, however, King Tubby had turned his attention to teaching and training a new generation of engineers and producers, including Prince Jammy (who would only take the crown once his mentor died, becoming at that point King Jammy), the equally innovative Scientist, and Prince Philip Smart, among others. King Tubby continued creating new mixes, but no longer at the previous rate. In the new decade, he and Jah Screw took on Ranking Joe and the Roots Radics for the excellent Dangerous Dub. It was to be one of the last full-length remixes Tubby would do. That same year, First, Second and Third Generations of Dub brought together the teacher, alumnus Prince Jammy, and the young graduate, Scientist, for an album that aptly illustrated the development of all three. Scientist and King Tubby united for two more albums released in 1996 by the U.K. label Burning Sounds, King Tubby's Meets Scientist in a World of Dub and King Tubby's Meets Scientist at Dub Station. Even as King Tubby's output dropped, he still remained an integral part of the music scene. He upgraded his studio again and also launched his own record labels — Firehouse, Waterhouse, Kingston II, and Taurus. By the mid-'80s, King Tubby had shifted into production, and released a stream of seminal singles by the likes of Sugar Minott and Anthony Red Rose. He occasionally released albums and reunited with Bunny Lee for 1983's King Tubby the Dubmaster With the Waterhouse Posse and Sly & Robbie Meet King Tubby in 1985. Both sets disappointed, perhaps because Tubby had taken dub as far as it could go. His best work was now in the production field, working with young DJs and veteran vocalists. Pliers (of Chaka Demus fame), Ninjaman, Gregory Isaacs, and Johnny Clarke were just some of the talent who cut singles for him. King Tubbys Presents Soundclash Dubplate Style arrived in 1989, bundling up dubs of his dancehall hits. As the decade drew to a close, King Tubby seemed destined to continue stamping his imprint on Jamaica's scene, still in demand, and still a powerful musical force. Then, on February 6, 1989, his career came to a sudden end when he was shot and killed outside his home in Waterhouse. His murder remains unsolved, his death believed to have been the result of a street robbery. In the years since, King Tubby's renown has only grown and grown.

As time has passed, even more material has come to light and albums that saw only limited release are now easily available.


Collectors Albums

Glen Brown & King Tubby - Termination Dub (1973-79) (Blood & Fire, UK).CD/Vinyl

A previously unreleased dub of the "Dirty Harry" horns classic represents 1973, while the rest of the set concentrates on the last half of the decade, when Glen Brown's South East Music label was associated with particular heavy roots material such as "Lambs Bread", "Cleanliness Is Godliness" and "Away With the Bad". The Tubby-mixed dubs to the same are even more amazing versions of the deadly rhythms, and go a long way to explaining why both producer and engineer have become legends. - from Reggae : The Rough Guide

Dubbing With the Observer (Observer, JA; Attack, UK).(Vinyl only)

The combination of King Tubby's deft touch at the mixing board and Winston "Niney" Holness' proven rhythms could hardly have failed. The dub master gets his hands on 13 of Niney's prime tracks (ranging from Sang Hugh's dread "Rasta No Born Yah", through Dennis Brown's "Cassandra" and "No More Will I Roam" to Ken Boothe's massively popular "Silver Birds") , creating a dub set that helped further establish the form when it appeared in 1975. - from Reggae : The Rough Guide

King Tubby's Prophecy Of Dub (Blood & Fire, UK).(CD / Vinyl)

The first dub set on which Tubby took apart and reassembled Yabby You's rhythms has the advantage of most of the early classics from the singer/producer, several of which were collected on the pioneering Conquering Lion album. Not unexpectedly, the rhythm for "Conquering Lion" itself crops up, alongside impressive versions of "Run Come Rally" and "Jah Vengeance", as well as the Jackson-produced Michael Rose gem, "Born Free". The CD adds 2 equally worthwhile dub sides of much sought after instrumentals: "Revenge" and "Death Trap". One of the handful of definitive Tubby sets. - from Reggae : The Rough Guide

Dub Gone Crazy: The Evolution of Dub at King Tubby's 1975-1978 (Blood & Fire, UK).(CD / Vinyl)
Dub Gone 2 Crazy: In Fine Style (1975-79) (Blood & Fire, UK).(CD / Vinyl)
2 volumes retrospectively compiled of prime Bunny Lee material dubbed almost to oblivion. Both comprise 'version' sides from impossible-to find-45s (Wayne Jarrett's "Satta Dread" and Ronnie Davies' "Power Of Love", to mention just 1 exceptional track from each) , as well as previously unreleased tracks drawn from Lee's master tapes. They utilize the mixing talents of not only Tubby himself, but also of his disciples 'Prince' Philip Smart, Lloyd 'Prince Jammy' James and Hopeton 'Scientist' Brown, all working at Tubby's Dromilly Avenue studio. The best places for the newcomer to start. - from Reggae : The Rough Guide
TOP 5 dub albums of artist and dub technician STEVE STEPPA

1. ASWAD - New Chapter in Dub, 'Candles'
2. THE AGGROVATORS - Instrumental Reggae
3. AUGUSTUS PABLO - East of the River Nile, 'Chant to King Sellasie I'
4. IN THE RED ZONE (compilation) - Augustus Pablo Meets the Upsetter, 'Vibrate On'
5. TROJAN DUB BOX SET VOL.2 - Niney & the Soul Syndicate, 'Smile Dub'

Marc from Walkup Records top 5

1.Barrington Levy - In Dub: The Lost Mixes From King Tubby's Studio
2.Black Uhuru - The Dub Factor
3.If Deejay Was Your Trade: The Dreads at King Tubby's 1974-1977
4.Augustus Pablo - King Tubbys Meets Rockers Uptown
5.Linton Kwesi Johnson - LKJ In Dub




Both Gibsy and I have just seen the new Bruno Natal directed, Soul Jazz DVD “Dub Echoes”. Now first off “Dub Echoes” is very entertaining, as what is basically an animated book. It features a good selection of vintage names alongside names from non reggae genres that have been influenced heavily by the dub technique. The DVD tells both the story of the origins of dub, while also letting you see and hear the interviewees express their passion for Dub. However if you are a fan of Dub or reggae in general then this documentary isn’t really going to tell you anything you don’t already know. There are a few still photos that can be found in many publications and a retelling of the sound system and early reggae story that’s been told many times in various forms, although there’s no harm in getting all this out again to a new fresh reggae and dub audience.
The film is a well put together scrapbook of everything that’s on youtube, or at least that’s how it comes across, but tidied up and presented with order. Again not a bad thing having all of the good stuff, the archive footage etc, in one place. Also nice to see some veterans of the era interviewed in person. The soundtrack to the film itself, has a few interesting moments, and I thought had a nice mixture of old and new styles, while Gibsy on the other hand thought there could have been more “old skool sounds” from the originators. One thing we are both agreed on though, is seeing as it’s about dub and by and large its origins, it would have been nice to have some of the surviving dub pioneers that appeared in the film demonstrate fully what they do in the studio, an exclusive insight ‘dub lesson’ would have been very enjoyable and more true to the title of the film as well.
So despite a few gripes, especially for the veteran fan of reggae music, “Dub Echoes” is a colourful and well edited documentary that skips along at a nice pace, and is certainly one of the best reggae documentaries we’ve seen.


DUB ECHOES CD/LPAvailable on Triple LP


Now if there is one thing that Soul Jazz does really well its compiling compilation albums and this one can join all their other excellent productions. The LP consists of tunes featured in the DVD plus some great dub cuts old and new representing the developments of dub over the last 40 years. There are classics from King Tubby, Lee Perry’s Upsetters and The Congos all the way through to digital-dub from Jahtari’s Disrupt, Junglist style from Congo Natty/ Rebel MC and deep, deep building shaking bass from Harmonic 313. An ideal introduction to the roots of dub and its off spring.

Full Track Liist

Disc 1
1. Witness Dub - Roots Manuva
2. Creation - Congo Natty/Rebel MC
3. Sega Beats - Disrupt
4. Wings of A Dove - Bim Sherman and Dub Syndicate
5. Dirtbox - Harmonic 313
6. Psalms Of Dub - King Tubby
7. Sine - Kode9 And Space Ape
8. Sign Version - King Jammy
9. Rootsman Dub - U Roy And Francois Kervorkian

Disc 2
1. Ruffer Version Aggrovators
2. CCTV - IV feat. Dandelion
3. Queen of my Empire - Rhythm and Sound w/ Cornel Campbell
4. King Tubby and Aggrovators - Jah Jah Jehovah Version
5. Deb Dub - DigitalDubs
6. Dub - Fat Eyes
7. Congoman - The Congos
8. Cotti - Run Tings
9. Rejoicing Skank - Upsetters
Top 5 dub albums of Dub Artist and Producer ‘EL BIB’

1.King Tubby and Soul Syndicate - freedom sounds in dub
2.Fatman Riddim Section - heavyweight dub/killer dub
3.Scientist rids the world of the curse of the evil vampires
4.Aswad - new chapter of dub
5.Prince Far I - cry tuff dub chapter 2

Keith Hudson - "The Dark Prince of Reggae".

Having watched the DVD Dub Echoes got me thinking of somebody who I feel is almost criminally ignored sometimes in dub music discussions Keith Hudson.
Hudson was a producer, writer, arranger and singer, who was born into a musically inclined family; His grandfather was a noted musician who played with many Cuban bands, in Kingston, Jamaica in 1946. Hudson's own musical education began though as a kind of roadie for Skatalite and trombone king Don Drummond, as he used to hold Drummond's trombone for him, just so he could be in the studio. At the age of 21 however, after training as a dentist, but having been inspired by Coxsone's Downbeat sound system, he decided to sink his earnings into starting his own record label, Inbidimts (meaning 'know sound' according to Hudson's sleeve notes to 'Furnace'). He got off to a great start with a recording of "Old Fashioned Way", with its timeless rhythm and melody, sung by the immaculate Ken Boothe, and it reached number one in Jamaica. Due to this chart success, the unexpectedly hot Hudson was soon producing some of the biggest names, and soon-to-be biggest names in reggae, John Holt, Delroy Wilson, Alton Ellis, and he also had the vision to recognise the soon-to-be DJ phenomenon by cutting U Roy's first tune "Dynamic Fashion Way" long before Duke Reid got the DJ into the studio for Treasure Isle. All of these artists benefited from what would be Hudson's trademark production style: groove-centred, bass/drum-dominated, lean and mean stripped-down riddims.

1972 proved to be Hudson's watershed year as he produced Big Youth's biggest ever hit Ace 90 Skank, and this places the producer at the pinnacle of Jamaican popular music. With this Hudson, the self-confessed "flash little yout" released a flood of Jamaican 7" releases on his own labels such as Rebind, Mamba (after the black and deadly snake) and the already mentioned Imbidimts, that were more potent tunes, laced with menace. Tunes such as 'Satan Side', 'Don't Think About Me' and 'A Place In Africa'. However, this doom-laden, brooding music did not find an enthusiastic audience in Jamaica and, it was this type of sound that led to him being known ominously as "The Dark Prince of Reggae".
Like so much of the enduring music produced on the island over the decades these releases were destined to be pressed locally in small quantities or released overseas, and thus Hudson's decided to move away from Jamaica to continue his musical career.
A batch of UK-only, highly conceptualised LPs were released such as 'Entering the Dragon', 'Torch of Freedom' and 'Flesh of My Skin...', plus the classic LP 'Pick A Dub', all of which gained great critical acclaim, and encouraged by this and perhaps through his musical and physical dislocation from Jamaica, Hudson decided to concentrate on his own music now rather than producing for others. His vocals, which have been variously described as "eerie", "awkward" and "discordant" sit perfectly within a dub mix. In recognition of this and the popularity of his dubs on UK sound systems such as Fatman, he decided to take the pioneering step of releasing a dub set, 'Brand', a year or so before the accompanying vocal LP 'Rasta Communication'.
In 1979 Hudson though decided to return to DJ production duties, this time for his friend, Militant Barry, and utilised many of the riddims from 'Brand' for Barry's set 'Green Valley', before returning back to his own material with 1981's 'Playing It Cool, Playing It Right'. In an interview in the same year, Hudson, now firmly based in New York, expressed his desire for Jamaican acceptance and to be able to play there live for the first time, but with the failure of these releases to connect with a Jamaican public now obsessed with Dancehall, the man's musical exile was made complete when at the age of 38, he succumbed to lung cancer in1984, leaving reggae without of one it's most adventurous and unheralded producers and performers.

Space Monkeyz vs Gorillaz - Laika Come Home (Dub Remix Of Gorillaz)

view Came across this LP quite by chance the other day when a friend who had brought it in the closing down sale a Woolworths for the princely sum of £1, earlier this year, gave it to me as he didn’t like it! Well I can see where he is coming from as this is not going to be to everybody’s tastes as it is a heavy dub style reworking of the Gorillaz debut LP by Space Monkeyz who have worked with the likes of Horace Andy, George Clinton and Jamiroquai.
Now I really enjoyed the remix which made it in to the charts over here on the initial release of Gorillaz in 2001 (Clint Eastwood - Ed Case/Sweetie Irie Refix). However when I got to listen to the Gorillaz LP it was not quite what I was expecting and subsequently I didn’t give it much of a play, so I was rather intrigued as to what I was going to get here.
The LP was originally released in 2002 and what you do get is a stripped down and heavily remixed dub album, with the majority of the songs being completely unrecognizable from their original forms. The album is full of tunes with haunting melodica, throbbing keyboard and sparkly out bursts of echoing horns and deep pounding bass lines. Nothing out of the ordinary there, for those of you with dub music leanings, but it is quite different for those of you with Damon Albarn persuasions. Most of the songs have a quite lovely dreamy appeal, especially “Monkey Racket (Man Research)” and “Starshine (Dub 09)”. While “P45 (5/4)” and “Lil' Dub Chefin' (M1A1)” pick up the pace and have a dubbed up 2-tone sound to them, but then “Lil' Dub Chefin' (M1A1)” should as it features vocals from Terry Hall. Other artists featured on here are U Brown, Earl 16 and 2D. The killer track on here for me is Strictly Rubbadub (Slow Country), with its simple child like piano hook at the beginning and end and featuring the aforementioned U Brown on the mic fandubintastic.
So if you are a fan of the Gorillaz, but never been enlightened by the joys of dub or you can’t stand Damon Albarn, don’t let this cloud your judgement and give this musical journey a try.

Full Track List:

1 Jungle Fresh (19/2000)
2 Strictly Rubbadub (Slow Country)
3 Banana Baby (Tomorrow Comes Today)
4 Monkey Racket (Man Research)
5 De-Punked (Punk)
6 P45 (5/4)
7 Dub 09 (Starshine)
8 Crooked Dub (Soundcheck)
9 Mutant Genus (New Genius)
10 Come Again (Re-Hash)
11 Fistful Of Peanuts (Clint Eastwood), A
12 Lil' Dub Chefin' (M1A1)
13 Fistful Of Peanuts, A - (Version)

JAHNO - Dubbin The Cave

Take a visit to and take a look at French 'Dubbster' JAHNO.

J.A.H.N.O. was born in the mountains of Auvergne, France. Introduced to music in his childhood by his mother, herself a pianist and organist, she teaches him the essentials of keyboard. At the age of 5, he goes to music school and begins trumpet for 5 years. Then, he tries saxophone, continuing musical theory. At age 15, after 5 years of saxophone, J.A.H.N.O decides to beat the barrels (normal when you live in the rue des caves (= cellarstreet).
In 1998, after exploring the drums, inspired by the rhythms of Sly Dunbar, he falls in love with reggae drumming technique. At that time, he has lessons with Christophe Merzet, master of the Tambours d’Auvergne. In 2000, J.A.H.N.O. and some musicians from Clermont-Ferrand form the «Magwaman Riddim Section». This backing-band plays around the regions’ bars and parties during 3 years. They used to be support acts of U-ROY, BIG YOUTH & MAX ROMEO, ANTHONY B, SLY & ROBBIE, IMPROVISATORS DUB, ZENZILE a.o. The band splits in 2002, but will reborn under the same name with new electro-dub elements. From then on, J.A.H.N.O. pushes his own musical project of oldschool sounding dub forward.
From the center of France Jahno try to (re)produce some"rootsy" reggae music. 70's jamaican dub sound is his main musical & technical influence. Working with mid class and cheap studio equipment he try to recreate reggae riddims that keep that "oldskool" grainy sound.
Playin live drums, various percussions and recording it straight to multitrack, keybords and bass parts recorded live to the midi recorder, jahno dedicated his little studio to combines digital and analog technology with always in mind of soundin' different from others. Multitrack recording being done in digital and two track mixdown done in analog.
For the "rotten roots" track Jahno is helped by kemist kris of Reality Shock Records UK based artist stable & record label creation. Kris played kete repeater drum and guitar rythm.
Dub mixes are recorded and mixed only on a 4 tracks roland sp808 due to budget necessity. Dub mixes are done in one live pass, with sp808 parameters controlled live with a midi controller and combined with external analog FX.


Yamaha drums
Various percussions
DTX v.2 drum trigger & sound module
Oberheim B3² sound module
Atari st midi recorder & sequencer
Roland SP808 4 track recorder and sampler
Kenton midi controler
SPL gold mike dual mic preamp
DBX 386 dual mic preamp + A/D convertor
SPL Kultube stereo compressor
Symetrix 525 dual mono compressor
Symetrix 511 dual expander and dynamic LPF
SPL Transient Designer 4
SPL Qure dual mono 3 band parametric eq
Moog Mooger fooger Phaser
Home modified Orban 111b dual spring reverb
Home modified MAM spring reverb
Klemt NG51S "Echolette" tape echo
Yamaha Mix EM 200 8 track monitoring
Tascam BR20T 2 track 1/4" tape recorder
2 X Tascam 32 patch bay

Taken from