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“Tubby did three original dub albums, ‘Dub From The Roots’. ‘The Roots of Dub’ and the third is ‘Brass Rockers’ with Tommy McCook ‘pon the flying cymbals. Where he mixed it with the horn going in and out in a dub way and one named ‘Shalom Dub’ you can call Tubby’s too because he mixed the versions as they were off forty fives’’
Bunny ‘Striker‘ Lee

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ ( more of which later...) 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.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a home made mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke.It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen 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 dub plate 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 Strikers rhythms. So please sit back and enjoy this historic set of sounds. Lovingly restored and with a few extra gems added to the CD Editions. 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.

Horace Andy a.k.a.Sleepy must process 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.

Mr Lee Perry who in no uncertain terms defines the words musical genius, recorded some of the most inspiring, soulful, funny and weird / wild reggae music ever put down on tape. Working through all the manifestations of reggae from Ska to Roots and Dub, where his ground breaking 1973 ‘Blackboard Jungle’ LP, set the standards, he was an innovator. If this was not enough his recordings of THE WAILERS, many believe to be their finest work. Born Rainford Hugh Perry, 28 March 1936, Hanover, Jamaica. He began his career at the grand age of 16, working for Clement ‘Coxone’ Dodd’s sound system, rising quickly to the position of record scout and organising recording sessions during his 3 year period 1963-1966. Restlessness and unsatisfied with credit he felt due to him he moved on to work with Producers J.J. Johnson and Clancy Eccles, the later of which would help him set up his ‘Upsetter’ label in 1968,which would see his first of many recordings telling the injustices done to him by previous employees. ‘The Upsetter’ track itself pointed at Mr Dodd but reflected back to Perry when he inherited it as a nick name along side many others during the coarse of his career, including ‘Scratch’, again taken from one of his recordings ‘Chicken Scratch’ recorded in 1965/1966. Perry’s work in 1968 with producer Joe Gibbs was fruitful and resulted in many successfulreleases, but again lack of credit and itchy feet, it was time to move on. But not without leaving his trademark recording summing up his feelings at the time ‘People Funny Boy’ this time aimed at Mr Gibbs. Still not having a studio of his own, Perry recorded at the various Kingston establishments of the time, Randy’s Studio 17 on North Parade, Dynamics on Bell Road and Harry J’s on Roosevelt Avenue where the bulk of the aforementioned recordings with The Wailers were carried out. During this time and the years that followed Perry has built up a vast catalogue of backing tracks / instrumentals, he had cut over a 100 releases on his ‘Upsetter’ label alone. A library of music that he has an uncanny knack of reutilising to work into something new when put against a new song / singer. This collection of rare and unreleased dubs stems from his 1971-1974 period. We can here on tracks like ‘Perry’s Jump Up’ Ska-ish up tempo chopping guitar cuts leading through to organ laden tracks like ‘Roots Rock Dub’. The sound moving to a slowed down rhythm on ‘Perry in Dub’ which would predominate his sound, when in mid 1974 he’d open his own studio at his home in the Washington Gardens district of Kingston. We hope this selection of lost treasures will add to the jigsaw that makes Mr Perry’s output now spanning over 5 decades so remarkable.
RESPECT.... JAH FLOYD.

Record Producer/ DJ / Record Plugger and Record Shop Owner Herman Chin-Lay operated out of his Aquarius Record shop at Half Way Three ,Kingston ,Jamaica.
It is from this base that he started his recording studio where he not only put out the first ever Dub album 'Aquarius Dub' but was also responsible for naming future artist Horace Swaby.
By allowing him to use his exotic fictitious working name 'Augustus Pablo' for his own recording career.
Although called 'Aquarius Dub' the tacks that make up this album were cut at Dynamic Sounds, Harry J's and Randy's Studio 17.
It was not long after this release that Herman opened the first ever twenty four track studio Aquarius Studios.
We have compiled this set of Dub tracks that were worked on at Aquarius studio's itself.
Using the legendary studio for some of the recordings and/or it's mixing and voicing facilites.
Hope you enjoy the set...Dubbing at Aquarius Sounds...

Cornell sings ‘The Gorgon’.....the king of the dance,the b-side version feautures the great U Roy toasting to the vibes

Johnny Clarke tells it like it is, the story of Marcus Garvey. “Dem never loved Poor Marcus

From the very successful Jamaican Recordings 7'' Singles Club, here is the 23rd release
An under promoted Johnny Clarke classic advising against the rude boy badness that hit Kingston,Jamaica in the 1970's backed with its original King Tubby version

From the very successful Jamaican Recordings 7'' Singles Club, here is the 24TH release

One of Linval Thompson's big hits for producer Bunny Lee in the mid 1970's backed with its conquering dub cut

Restocked!

Two classic tracks from one of Jamaica's finest singers,.Mr.Jamaican soul himself the great Pat Kelly

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* Ken Boothe's haunting 'You're no Good' again backed up with its classic Dub cut

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Horace Andy's timeless 'Skylarking' backed up with its King Tubby's version

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The great slim smith’s last single release before he sadly passed. the soulful ‘the time has come’, alongside slim smith’s classic ‘it’s alright’…

TWO ABSOLUTE KILLER TRACKS FROM THE MAJESTIC PRINCE ALLA. ESSENTIAL STUFF.

2023 Repress

King Tubby's and Channel One were two of the great studios that produced so many of the great reggae rhythms in Kingston.Jamaica find themselves here for one night only battling for the trophy.
So who would be better placed to compare the Dub Soundclash from the two great studios then Bunny Lee himself.
Throwing rhythms over at Channel One who had enlisted the great DJ Jah Stitch to return the fire.
So sit back and enjoy two great institutions of the Reggae sound ,battling it out for sumpremacy.
The winner...we will leave that decision up to the listener.
But in this Dub Soundclash there is no loser...
All killer..No filler...Enjoy

CORNELL CAMPBELL'S CLASSIC 'STARS' CUT WITH A WICKED KING TUBBY DUB ON IT'S FLIP!!!

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Sly Dunbar and Robbie Shakespeare are simply known all around the world as Sly and Robbie.
They were the musical drum and bass backbone of Reggae since the early 1970's.
They have played on more records than any other set of musicians and to such a high standard that few could reach.
The third part of the jigsaw is the mighty Bunny'Striker'Lee who brought these legends together.
These rare dubs are taken from the original master tapes..you may have heard the tunes before...but never these versions.
So sit back and enjoy Reggae Musical History in the making...
Respect Jah Floyd........

The soulful roots vocal of Ronnie Davis cuts through on this lost dub of 'Every N****r is a star'

JOHNNY CLARKE’S ROOTS CLASSIC... DECLARING... DON’T TROUBLE THE DREADS.....
PLUS A GREAT KING TUBBY DUB CUT.

TAPPA’S CLASSIC ‘PICK UP THE ROCKERS’ CUT AT CHANNEL ONE BY THE REVOLUTIONARIES,
ALONG SIDE IT’S KING TUBBY DUB CUT.

WINSTON WRIGHT THE ORIGINAL ORGAN PLAYER WITH THE HARRY J’S ALLSTARS CUT THE 1969
‘LIQUIDATOR’ HIT. THIS GREAT VERSION FEATURES THE MIGHTY DENNIS ALCAPONE TOASTING
IN FINE STYLE.... PLUS VERSION

The cool operator himself, Mr Delroy Wilson, gets his signature tune released alongside it’s cool dub cut by Mr King Tubby

A Rasta cry from the mid 70’s as the struggles came apon the dreads. A plea from Linval Thompson to stand strong.

A roots classic from Mr Brown in which he tells the youthman to cool down his temper. Alongside, it’s Dub cut…Nice!!!

2023 Repress

What you have in your hand is Tappa Zukie's legendary 'Escape from Hell' album.
Originally released in 1977 as a dub follow up to Tapper's exceptional 1976 release 'Tappa Zukie in Dub' (JRLP044).
The 'In Dub' album was cut using the great talents of engineer Philip Smart, but when the tracks were pulled together for its follow up 'Escape to Hell' Philip Smart had left Jamaica for New York and his replacement at the controls was Prince Jammy.Who had just returned from Canada at the request of King Tubby himself.
The purpose was to fill Mr. Smarts position.
Tapper was definitely in good hands and at the time he would tell the Prince was soon to become King Jammy due to his outstanding studio work.
The 'Escape from Hell' set was initially overlooked more to the fact of the small numbers of its original pressing.The album makes great use of Tapper's extraordinary Channel One rhythms cut with Sly and Robbie's The Revolutionary's Band.
Great rhythms matched the magic from King Tubby's studio at the hands of Prince Jammy.
We added the cd release for this album and at Tappers request some alternative dubs and tracks that seem to compliment this set.
So drop the needle on this great album and judge for yourself..
....A FINE ALBUM CUT IN FINE STYLE...

Two excellent Revolutionaires cuts..Sly and Robbie at their best.
These early tracks were recorded at Channel One and produced my Bunny Striker Lee.
Respect....

At the beginning of the eighties reggae music became increasingly in tune with what was happening in Kingston’s dance halls… probably more so than at any time since the sound system operators had started to make their own shuffle and boogie recordings in the late fifties. The international audience and the critics were too busy looking for a new Bob Marley to appreciate what was happening downtown and failed to acknowledge that this was a return to the real, raw roots of the music. Brash, confident, young record producers who were totally in tune with the youth audience stepped forward and seized the moment…

Oswald ‘Ossie’ Thomas began his apprenticeship in the music business at the age of
fourteen and served his time as a record salesman for Bunny ‘Striker’ Lee and Winston ‘Niney The Observer’ Holness before moving on to Miss Sonia Pottinger’s Tip Top Records.

“I ended up working in three record stores on Orange Street from 1976 to 1981… Yeah man! Me deh ‘pon me bicycle till I buy my motorcycle! Them days records were coming out left, right and centre… every day!” Ossie Thomas.

It was during his time with Miss Pottinger that Ossie began to produce records for
himself and in 1979 Ossie and Phillip Morgan began the Black Solidarity label based deep in the Kingston ghetto on Delamere Avenue. Phillip initially inspired Ossie to start the label and soon Triston Palma, Phillip Frazer and “a youth named Gary Robertson” joined in although Gary later left for Canada.

The Soul Syndicate rehearsed in the Delamere Avenue area and Tony Chin gave Ossie a cut of a rhythm that he used for Triston Palma’s ‘A Class Girl’… the label’s inaugural release. The record was a sizeable success and paved the way for hit after hit after hit on Black Solidarity. Ossie worked with just about everybody who was anybody during this critical period of the music’s development including vocalists Robert Ffrench, Little John, Sugar Minott, Frankie Paul and most notably Triston Palma.

For this release we have compiled some of the version sides to those releases. Dub still being an integral part of the Reggae Sound System Sound. So sit back and listen to what Black Solidarity, one of the most important and often overlooked labels were bringing to the dance, dubwise, back in those heady 1980’s times.

With grateful thanks to: Paul Coote, Nick Hodgson & Hasse Huss

As the 1970's turned into the 1980's Reggae's beat took another turn,slowing down to allow more space for the music to breathe.
The new sound became Reggae's focus and the Roots Radics one of Jamaica's finest session/backing bands were at the forefront of this radical change.
The Roots Radics were based around the nucleus of Errol'Flabba'Holt(bass),Lincoln Valentine 'Style' Scott(drums) and Eric 'Bingi Bunny'Lamont(guitar).
Holt and Bingi Bunny had previously been involved in the Morwells label set up and had cut some popular tunes such as 'Swine and Dine','They Hold Us Down' and the great 'Kingston Twelve Tuffy'.
Before this Bunny had played for one of the other great Reggae sessions band the Channel One based Revolutionaires.
It was the demise of this legendary band due to Sly and Robbie's commitments to their own Taxi label that led to the formation of the Roots Radics.
The Radics have worked with many different producers over the years including Linval Thompson with the series of alums 'Space Invaders Destroy the World' and 'Win the World Cup'.They also worked as Gregory Isaacs backing band and were responsible for the rhythms that made up his seminal 'Night Nurse' set.
We have caught the Roots Radics for this set cutting rhythms in their favourite environment the famous Channel One Studios.
On this occasion working with producer Ossie Thomasfor his own Black Solidarity label,a match made in Heaven...Enjoy..

Phillip Smart was one of the great engineers to learn his trade as understudy to the legendary dub master himself Osbourne'King Tubby'Ruddock.
Alongside other luminaires such as Prince Jammy and Scientist,Phillip Smart would step in at the controls when demand for King Tubby studio dubs grew to such an extent that each single release was expected to carry a version/dub flipside.
Phillip Smart moved to the United States in the late 70's and in 1981 opened his successful studio HC&F,Long Island,New York.It produced some sizeable Jamaican Dancehall hits for his two record labels TanYah and Eclipse.
Tracks like Dirtsman's 'Hot This Year' and 'Rikers Island' and most notably artist Shaggy used the studio to work up his massive hits 'Oh Carolina','Big Up' and 'Angel'.
But it's in the heady days of the early 1970's and up to 1976 that we concentrate on for this release.When Version was King and Prince Phillip Smart was at the controls mixing up some fine dubs with Jamaica's finest musicians The Aggrovators.
Working some of producer Bunny'Striker'Lee's rhythms in fine style....hope ypu enjoy the set......