Archive for Dub
Two boys and girls on the spur of the moment. They are wearing masks to hide their faces. No one should know who they are. All members are old hands at different music scenes. Now the world has to face a new artist called “a band of crickets”! It’s the first release (vinyl, cd and digital) of a new label “behind the black curtain rec”.
Label. Behind The Black Curtain
Artists. A Band Of Crickets
Title. Ask What It Is!
Format. Digital & Vinyl
Release Date. November 21st (Digital & Vinyl) , 2013
Their last single, Revolution, garnered support from some of the scenes most prestigious names, and Wicked Land promises to me no different, with remixes from Polish Dubstep titan Radikal Guru, as well as one of the UK’s most respected dub producers, Russ Disciples, and rising star Sleepy Time Ghost all adding to the incredible original to make up an undeniable release in the build up to the bands highly anticipated debut album.
RELEASE DATE: 9th April
Coming in the same year as the fiftieth anniversary of Jamaican Independence, Nascente proudly present ‘Bass Culture’, a booming new reggae series. From the ska explosion of the early 1960s through rocksteady, 1970s roots reggae and on to 1980s dancehall, the first four volumes of ‘Bass Culture’ delve deep into some of the most fertile periods in not just Jamaican but international music.
Each volume features a mix of tracks considered pivotal to each genre, along with less obvious material and tracks that haven’t appeared on many compilations, including underground club/sound system hits, rarities and tracks that are becoming increasingly difficult and/or expensive to find on CD. The series also features several tracks that are being made available on CD for the first time ever. Each volume contains a 10,000 word essay from Lloyd Bradley, the author of ‘Bass Culture: when reggae was king’, widely seen as the definitive history of contemporary Jamaican popular music.
‘VOLUME 1 – SKA & ROCKSTEADY’
‘THIS TOWN IS TOO HOT!’
Volume one takes the Jamaican recording industry back approximately half a century, to ska, its nationalistic roots and the first internationally acknowledged music to spring from the island. Inspired by the idea of independence, the style became a handy metaphor for the country as it stood on its own feet and announced itself to the world. Later, as it evolved into rocksteady and then reggae, the music reflected a Jamaica that was growing in confidence and creativity.
Three names dominate the ska recordings on this collection: Clement “Coxsone” Dodd, Duke Reid and Prince Buster. It is this Kingston trio who really pushed Jamaican music forward to create ska and rocksteady, moving Jamaican music away from an imitation of 1950s American R&B. As sound system operators, the trio also had a wider effect on Jamaican society as a whole, as Prince Buster vividly remembers: “The sound system fed a lot of people. The dance was the thing that kept it together down there; it was the only thing that bring money in. So for a long period of time the ghetto was balanced by the sound systems.”
CD1 features ska gems such as Bob Marley & The Wailers ‘One Love’, The Skatalites ‘Dr Kildare’ and Derrick Morgan’s ‘Miss Lulu’. By the mid 1960s Jamaica was ready for a break from ska’s relentless beat and CD2 shows how ska morphed into rocksteady, a slower groove that was more conducive to slow couples’ dancing, with tunes such as Prince Buster’s ‘Too Hot’ and The Paragons ‘Riding On A High & Windy Day’ dominating Jamaican music for much of the second half of the decade.
‘VOLUME 2 – BOSS SOUNDS’
‘EARLY REGGAE 1968-1972’
The transition from rocksteady to reggae started becoming noticeable a few months into 1968, when dancehall crowds began to react enthusiastically to a faster, jerkier beat and so reggae came into existence as a dance style to go with the new choppier rhythms.
Volume two features all of the big Jamaican names of the period, such as Ken Boothe, Toots & The Maytals and Max Romeo, but with a strong emphasis on less obvious tracks. The selection of tunes here also shows the diversity of reggae from this period: ‘Each Time’ by The Ebony Sisters is sweet lovers’ rock, several years before the term was coined; Derrick Morgan’s ‘River To The Bank’, a big sound system hit in the UK, is a far more crisp, high-stepping rhythm; while there’s a country pop feel to ‘Foey Man’ by George Dekker as it bounces along; and Pat Kelly is backed by music with enough depth and complexity to do justice to the man they called Jamaica’s Sam Cooke. All of these records were reggae circa late 60s/early 70s. Volume Two features a generous helping of rarities from up-and-coming producers of the day such as Lloyd “Matador” Daley, the man behind Little Roy’s ‘Bongo Nyah’, a tune that hinted at the roots reggae style that would soon come.
‘VOLUME 3 – ROOTS, ROCKERS, DJS & DUB’
‘WHEN REGGAE WAS KING’
Ten years on from the lowering of the union flag all was not well in West Kingston, as Volume three musically narrates. While income from foreign investment had provided a mini economic boom right after Independence, by the end of the 1960s the realities were starting to bite. Inevitably reggae, which by then had established itself as the people’s music, was going to comment on such a situation.
As the 1970s progressed, what would come to be known as roots reggae became the dominant sound of Jamaica. The basic reggae template could be applied to so many styles – dub, deejay, lovers, harmony singing, pop, jazz, rockers and so on – that the music could be diverse and progressive, yet the framework was always so clearly defined, they’d all genuinely be reggae.
Volume three emphasises the diversity of 1970s reggae in all it’s glory: from the reggae funk of Bob Marley & The Wailers ‘Caution’, to the high-stepping brass sound of Tommy McCook’s ‘Jaro’ and the militant dread of Niney The Observer’s ‘Mutiny’. We’re also blessed with a journey through rare reggae sounds such as Big Youth ‘Love We A Deal With’, I Roy ‘Fire In A Wire’, Roy Shirley ‘Israelites Leave Babylon’ and Freddie McKay ‘I’m A Free Man’ – a true education in the initiation of reggae to the masses.
‘VOLUME 4 – THE BIRTH OF DANCEHALL’
‘MASH YOU DOWN’
As the 1970s rolled into the 1980s dancehall reggae is the truly seismic movement that took place in Jamaican music, deliberately returning reggae music to its sound system origins and this set, ‘Mash You Down’, deals with dancehall’s early days.
At the stage Volume four deals with, much of the subject matter still concerned itself with cultural or social matters. Here, songs such as ‘Gun Shot’ by Anthony Johnson, Barrington Levy’s ‘Jah Black’, John Holt’s ‘Fat She Fat, ‘Ababa John I’ by Don Carlos and Sugar Minott’s ‘Move Up’, are vibrant examples of that often neglected late-1970s/early-1980s sub-genre, dancehall roots.
As it progressed, dancehall deejays earned a reputation for sex talk, or slackness, yet ‘Mash You Down’, shows how in the early days there was a more romantic lover’s rock side to dancehall as shown by Nitty Gritty’s ‘Run Down The World’ and Wayne Smith’s ‘Time Is A Moment In Space’, the latter a production of amazing subtlety that offsets the hard edged rhythm with a beautiful, multi-layered tunefulness. From elsewhere, Pad Anthony’s ‘See Them A Come’ is a glorious mix up of gunshot snares and digital percussion smoothed out by the vocals, while Cocoa Tea puts his plaintive style to good use on ‘Rocking Dolly’. Over two CDs, Volume four illustrates how early dancehall took reggae on an exciting musical journey from the roots & culture late 70s to the digital mid 80s.
Throughout the past ten years, Ojos De Brujo have represented the freshest fusion of flamenco and urban music. By staying true to their Catalan roots, they have successfully merged past and present to create a unique sound. Al Lindrum has delved into their amazing back-catalogue to pick some of Ojos De Brujo’s best works; Ventilaor R-80 (Bari, 2002), Sultanas de Merkadillo (Techari, 2006), Todo Tiende (Techari, 2006), Una Verdad Incómoda (Aocana, 2009) and Nueva Vida (Aocana, 2009).
UrbanWorld Records and Al Lindrum have spent over a year working on this project. Al who has Danish roots, but has lived more than half of his life in the Catalan capital, is a friend of both Ojos and UrbanWorld, thus combining them on this compilation was a very natural process. Al Lindrum is a well known DJ on the global bass scene and has produced a number of projects. He features on this release as Al Lindrum with a mellow drum & bass remix that tastes exotic and spicy, but still sweet. And he also appears as LoveAvalanche, with a powerful remix ripping it up in adubstep/ragga style with a breakdown that will get dance floors jumping.
13 remixes from top producers take Ojos De Brujo from dubstep and drum & bass, over cumbia and dancehall, to house stompers and funky breaks, incorporating the unique freshness and global bass sound that has put UrbanWorld Records on the international scene. Junkyard Productions, Makala, Copia Doble Systema, Los Chicos Altos, DJ Farrapo, George Vala & Audioprophecy, Thykier & Dubpiraten, Suonho, Duboffensive, Tony Seal, and Empresarios all add their own unique slant to an already highly impressive back-catalogue.
01. Una Verdad Incomoda (Junkyard Productions Remix)
02. Ventilator R-80 (Makala Remix)
03. Nueva Vida (Al Lindrum Remix)
04. Ventilator R-80 (Copia Doble Systema Cumbiaton Remix)
05. Todo Tiendo (Los Chicos Altos Remix)
06. Sultanas De Merkadillo (DJ Farrapo Remix)
07. Todo Tiendo (George Vala & Audioprophecy Remix)
08. Una Verdad Incomoda (LoveAvalanche Remix)
09. Sultanas De Merkadillo (Thykier & Dubpirate Remix)
10. Ventilator R-80 (Suonho Broken Rhumba Remix)
11. Una Verdad Incomoda (Duboffensive Remix)
12. Nueva Vida (Tony Seal Remix)
13. Ventilator R-80 (Empresarios Remix)
Vibration Lab featuring Linval Thompson – Tribulation Time (with remixes by: RSD,
Radikal Guru, Riddim Tuffa and Adam Prescott)
Vibration Lab are proud to present their latest Future Reggae creation, a new and original song by living legend Linval Thompson, one of the most important figures in Reggae music ! With his contributions as a singer, producer and label owner his importance can not be overstated.
This release is Bass Music on a higher level of consciousness! Modern Roots and Subsonic Dub sounds merge with Linval’s sweet emotional vocals that are so relevant in these times. Traditonal production techniques coexisting with today’s musical technology.
This package also contains unique and amazing remixes from the very best producers of Rootstep, Digi-Dub, Reggae influced Dubstep and Future Bass. Pioneers like: RSD and Radikal Guru. Plus the next generation of Dub stars: Riddim Tuffa and Adam Prescott.
The song was voiced at the famous Stingray Studios in London and all mixes were mastered with superior analog equipment at Stardelta Labs, where they have perfected the art of giving digital music warmth and depth.
The combination of future dubsters Vibration Lab and reggae legend Linval Thompson brings a special mixture of organic vintage Roots with innovative Dubscapes. A modern classic sound!
1. Vibration Lab (Original)
2. RSD Remix
3. Radikal Guru Remix
4. Riddim Tuffa Remix
5. Vibration Lab (Dub)
6. RSD Dub
7. Adam Prescott Remix
8 Riddim Tuffa Dub
“Everything is right with this” MOJO
“Effortlessly catchy” Financial Times
“An ebullient talent” Daily Mirror
“Melodiously mesmerising as a lazy summer afternoon” i-D
Mr Bongo is proud to announce the next instalment from the wonderful Hollie Cook. ‘Hollie Cook in Dub’ is a hypnotising adaptation of her enormously well received eponymous debut album.
Re-working Miss Cook’s tracks in a dub style, the legendary Prince Fatty adds heavy bass and reverb texture to Hollie’s beautiful, captivating vocals. Excitably the record features three new tracks including ‘For Me You Are Dub’ – a ska version of an old Andrews Sisters’ classic; ‘And The Beat Goes On’ – a brand new, heavy dub cover of the The Whispers’ disco banger; and ‘Baby’ – a new revamp of this hugely requested anthem, in collaboration with The Shoes. Prince Fatty has incredibly added further layers to Hollie’s cover of Shangri-Las’ ‘(Remember) Walkin’ In The Sand’ which she effortlessly transformed from a dark emotive song to one filled with a flavour of hope.
The dub versions showcase real tape echoes, heavy spring reverbs and alternate instrumental elements such as melodica, percussion and horns. All the dubs were mixed live in Prince Fatty’s studio in the same Rub a Dub style as was made famous in 70s Jamaica by King Tubby and others, i.e with fingers, late night vibes and re-arranged with a razor blade.
Hollie Cook was born and bred in West London in a household dominated by music – with Sex Pistol Paul Cook as her dad, music was always around – and she gravitated to the sounds of Marc Bolan, David Bowie and The Cure.
Entering professional acting, singing and modelling at a young age, Hollie soon rejected her performance arts schooling for a musical path truer to her influences. Family friend and Slits singer Ari Up persuaded Hollie to sing backing vocals for a new EP ‘Revenge of the Killer Slits’, which she followed by ditching school to join the band on a six week tour.
The summer of 2011 saw the release of her self-titled debut album which received critical acclaim from many and resulted in being on an array of ‘Top Albums of 2011’ lists including The Word, The Mirror and Rough Trade. Hollie’s self-coined ‘tropical pop’ sound stems from her passion for reggae singers Janet Kay and Phyllis Dillon combined with classic 60s girl groups. Singles ‘Body Beat’, ‘That Very Night’ and ‘Milk & Honey’ made waves gaining heavy support from BBC Radio 1, BBC Radio 2, BBC 6 Music, BBC 1Xtra, XFM, Kiss, Choice FM, culminating in a live Maida Vale session for Radio 1’s Huw Stephens and a Later… With Jools Holland performance on BBC 2.
Hollie’s live band played Big Chill, V, Festibelly, One Love, Jazz Cafe in 2011. This year see’s Hollie gearing up for the release of an album of new material and a 20-date tour, with notable performances confirmed at Bestival, Camp Bestival, The Vintage Festival. The summer will see Hollie play to her biggest crowd in Manchester to support The Stone Roses in their historical comeback tour in the summer.
Featuring dancehall legend Capleton, ‘The System’ was one of the standout tracks from Miguel Migs’ recent album ‘Outside the Skyline’ and captured the attention of none other than dub legendMad Professor who provides two remixes. Other re-rubs come fromRob Garza (Thievery Corporation), Rob Paine and see the triumphant return of Migs’ Petalpusher alias, infamous in the late 90’s and early 00’s for releases on Naked Music.
Where Migs created a beat-driven, progressing tune on ‘The System’, Mad Professor halves the tempo, saturating the track with space reverb and dancehall stabs. Then the Prof takes things one step further with the dub – a stable hi-hat ride lights the way through an absolute haze of echo and vocal chops. Rizlas recommended.
The second half of the single sees Migs return to his Petalpushermoniker for a deep Salted groove. Thievery Corporation’s Rob Garza delivers a building synth progression and Rob Paine rounds out the remixes with a bouncing pool party clatter behind Capleton’s alternating growl and croon.
Miguel Migs has emerged from San Francisco’s deep house scene as an artist who transcends the stylistic limitations of genre in a way so very few have managed. In his own words, “I take inspiration from everything around me. Its not about trends or what’s fashionable, its about creative expression, quality, emotion and artistic integrity.”
Artist: Miguel Migs
Title: The System feat. Capleton
Label: Om Records/Salted Music (USA)
Cat No: OM537
Style: Deep/Soulful House & Dub
1: Original Mix
2: Mad Professor Vocal Mix
3: Mad Professor Dub Version 1
4: Petalpusher Salted Disco Dub
5: Rob Garza Remix
6: Rob Paine Remix
Producer, Remixer, & Tummy Touch Records Founder
Tim “Love” Lee Releases New Album Today
Celebrating the Label’s 15 Year Anniversary
Click HERE for Free MP3 of “Ain’t Dubbin My Goodbyes”
(Tim’s Dub Mix of Tom Vek’s Original Track)
Phenomenal Handclap Band, Horse Meat Disco, Tim Lee and More
to Perform at Tummy Touch Records 15th Anniversary Show,
11/23 in NYC
Producer, DJ, and remixer Tim “Love” Lee (a.k.a. Fully Bearded) will release his new album today, titled Fully Bearded: 15 Years of Tummy Touch Records in Dub. The album commemorates the first 15 years of Tummy Touch Records, the label founded by Lee. It features his dub mixes of tracks by past and present artists on the label including Groove Armada Ft. Bryan Ferry, Tom Vek, Phenomenal Handclap Band, andNew Young Pony Club. Besides chronicling Tummy Touch’s output to date, the album is an excellently produced and lovingly curated dub album from Lee, a pioneer of electronic, dance, and downtempo trip-hop music. For a taste, click HERE for “Ain’t My Dubbin’ Goodbyes,” which is Lee’s dub mix of a track originally by Tom Vek.
Lee is also celebrating Tummy Touch’s 15th anniversary with a “birthday party” show at NYC’s Hiro Ballroom on 11/23. Phenomenal Handclap Band, Horse Meat Disco, and Bing Ji Ling will perform live while Lee himself will DJ along with special guests. Click HERE to for more info on the show and click HERE to purchase tickets. Lee recently put on a corresponding show in London which featured Tom Vek, Swimming, and more.
From it’s roots as a cult dance music label and club night in East London to it’s current homes in Brooklyn, New York, and at the UK’s legendary Rak Studios , Tummy Touch Records has been defying convention, resisting categorization and championing the unique musical vision of its founder Tim “Love” Lee.
Since the first release back in 1994, if it’s doped up, blissed-out or living on the margins of the acceptable, it’s found a loving home at the label. Having launched the careers of artists like Groove Armada, Tom Vek and Phenomenal Handclap Band, Tummy Touch now has, according to the BBC, “an influence far in excess of it’s tiny size.”
As the maverick A&R recluse behind Tummy Touch Records, Lee been DJing since 1988, releasing his own music since 1990 and working his studio magic on other people’s tracks since 1994. In his Brooklyn studio Lee created new sounds for Fully Beardedfrom raw audio tracks using a heavily modified vintage radio broadcasting mixing board and a handful of esoteric effects units.
TRACKLISTING ‘FULLY BEARDED’:
• Bing Ji Ling: Everybody Dub – A collaboration with Tommy Guerrero from the singer / guitarist with Phenomenal Handclap Band.
• Bud Bongo: Dub One – Tim’s first ever commercially released dub mix, from 1994.
• Circuits: Dubbing At Dawn – Indie hopefuls from 2007 who imploded after their one and only tour of Japan.
• Dawn Landes: Love Dubbed – A cover of Margo Guryan’s 1968 proto-psyche rarity.
• Groove Armada feat Bryan Ferry: Shameless Dub* – A complete re-work of the stand out song from their last album, Black Light.
• Little Barrie: Dub It Over – Tummy Touch will be taking care of the US release of the Nottingham blues rock trio’s new album.*
• New Young Pony Club: Dub Cherie* – Once signed to Tummy Touch as Organic Audio, NYPC have since taken the pop world by storm.
• Phenomenal Handclap Band: Following Dub* – A moody interpretation of the first single from PHB’s brand new album, Form And Control, which is released in Jan 2012.
• Sargasso Trio: Dub The Saxlingham One* – From Tummy Touch’s sister “folk” label, Boy Scout Recordings, comes Norwich’s own electro samba band.
• Striplight: No Dub No Entry – as featured on DFA’s “Not Wave” compilation.
• Tom Vek: Aint Dubbin’ My Goodbyes – commissioned by Island Records for Tom’s ground breaking debut album but never released.*
• Zook: Slinky Dub* – two ex members of 2 Tone Records’ The Higsons get the Love Lee treatment.
*previously unreleased track