my bad it seems people do check the blog and I was just freaking out like the men-o-pause.
Sunday, September 30, 2007
well it looks like somebody overreacted from the ClustrMap numbers they were getting back. All is well now. I've been released from the mental health facility and the doctors told me I can continue blogging without further complications. thanks for all your support.
Piero Umiliani - Requiem Per Un Agente Segreto OST
Label - GDM
Released - 1967
Style - Jazz, Lounge, Spy, Easy Listening, Soundtrack
(From Score Baby):
He's always ready to "kiss" and to "bang". That's what the liner notes tell us of the seasoned secret agent played by Hollywood legend Stewart Granger in Requiem per un Agente Segreto -- one of the actor's many European spy flicks of the late 60s.
Umiliani's score is jazzy, and features multiple guitars, keyboards, voice, bass, drums, brass, woodwinds, strings. The music is by turns spare and atmospheric, other times propulsive and full bodied, but never bloated.
Requiem... may sometimes seem like Umiliani's Bond soundtrack, but it's stylistically closer to a Jerry Cotton score. It's more Peter Thomas, than it is John Barry. Barry's spy music is more orchestal, almost mythic in tone. Thomas's spy jazz doesn't take itself so seriously.
Although Umiliani's arrangements are fairly straight forward in comparison to Thomas' often wildly adventurous instrumentation, his light touch and beat music sensibilities make for refreshing arrangements and effective variations on the catchy Barry-esque main theme "Don't Ever Let Me Go."There are certainly stunning atmospheric passages. But there are plenty of upbeat Latinesque dance numbers to liven things up.
This GDM release features the remaster original soundtrack, plus an alternate version of the title track heard above.
1. Piero Umiliani - don't ever let me go (main titles song) (2:11)
2. Piero Umiliani - chase (2:39)
3. Piero Umiliani - spanish mood (2:28)
4. Piero Umiliani - don't ever let me go (instr.version) (2:01)
5. Piero Umiliani - swing (2:03)
6. Piero Umiliani - mystery (2:17)
7. Piero Umiliani - arabian bistrot (4:33)
8. Piero Umiliani - don't ever let me go (instr.version 2) (2:11)
9. Piero Umiliani - mystery 2 (5:01)
10. Piero Umiliani - discoteque party (2:34)
11. Piero Umiliani - action (1:18)
12. Piero Umiliani - mystery 3 (4:25)
13. Piero Umiliani - don't ever let me go (lounge suite) (3:37)
14. Piero Umiliani - arabian action (2:25)
15. Piero Umiliani - don't ever let me go (end titles song) (1:52)
16. Piero Umiliani - don't ever let me go (main titles song alt. version) (2:21)
17. Piero Umiliani - Requiem Per Un Agente Segreto (Lounge Suite In Stereo) (6:08)
Piero Umiliani - L'Arcangelo
Label - Avanz (JP)
Recorded - 1969
Style - Lounge, Easy Listening, Soundtrack, Italian, Jazz
Breezy Easy Listening c/o Umiliani! Grab this!!
1. MAIN TITLES (02:00)
2. MAIN THEME (REPRISE 1) (02:10)
3. MYSTERY SUITE (04:09)
4. THE CHASE (01:53)
5. TENDERLY (01:13)
6. MAIN THEME (REPRISE 2 ) (01:02)
7. FEAR! (02:06)
8. SILENT MOVIES (00:36)
9. BEGUINE (03:04)
10. FOX TROT (02:00)
11. RUNNING HAPPY (01:51)
12. WALTZ (01:36)
13. PUSYCAT '69 (01:02)
14. MAIN THEME (REPRISE 3) (01:57)
15. LOVE PIANO (01:09)
16. SWEET BEGUINE (02:07)
17. HORROR! (01:17)
18. MAIN THEME (REPRISE 4) (04:09)
19. TYPE WINTER CONCERT (02:09)
20. ACTION (02:50)
21. CARNIVAL - END TITLES (04:36)
22. FANTASIA (05:03)
Piero Piccioni - More Than a Miracle (C'Era Una Volta)
Label - Intermezzo Media
Released - 1967
Style - Lounge, Jazz, Smooth, Italian, Soundtrack, E-Z
2. Tema Del Principe Rodrigo (Alternate Version)
3. Amore Che Nasce
4. Volo Nel Cielo
6. Le Chief
7. Amore In Fiore
8. Tema Del Principe Rodrigo (Original Version)
9. Streghe, Pulcini E Princepesse
10. Racconto Del Vento
11. Torneo (Film Version)
12. Volo Alto
13. Isabella Bella Bella
14. Finale (Alternate Version)
15. Isabella And Rodrigo
(Random Amazon reviews):
4 stars "My search for a compact disc of this wonderful soundtrack appears to be in vain. However, I am very happy that I had the foresight to buy the vinyl with its original cover over 20 years ago. This soundtrack is beautiful, mainly because of its absolutely first rate orchestral score. Because of the time when the film was made, there are vocals that are dated but precious. Overall, it is worth having. SOMEONE SHOULD RE-RELEASE THE SOUNDTRACK. I am sure several of us would purchase it at any price! I went to a film collectors weekend in London and found some soundtrack enthusiasts who lamented that there does not appear to be any score available in Italy either."
5 stars "I have loved, cherished, coveted this soundtrack for years. I first purchased it on vinyl and recorded it to tape. I thought I was the only person in the world who ever thought it exceptional since I could never find it. By chance, today, I found an old taped copy and thought just maybe....I nearly cried when my word search turned it up. It's a wonderful, wonderful sound track. You won't be disappointed."
Piero Piccioni - Una Tomba Aperta...Una Bara Vuota
Released - 1972/1982
Label - Beat Records (IT)/CAM
Style - Electronic, Disco, Italo, Funk, Electro, Soundtrack
Tracks 1-12 are from the soundtrack to Italian cult/horror director Lucio Fulci's Lo Squartatore Di New York (aka The New York Ripper), made in 1982.
Tracks 13-20 are from the soundtrack to the Spanish/Italian giallo film Una Tomba Aperta... Una Bara Vuota, directed by Alfonso Balcázar in 1972.
(review from ScoreBaby):
This is an odd double feature. Piero Piccioni's Open Grave, Empty Coffin actually plays second. The New York Ripper plays first and that's good since it's better than the Piccioni score. Trovaioli's score has greater dynamics than Piccioni's, so it deserves to be first. The New York Ripper features soulful, latin-tinged disco funk like "New York One Night", one version using heavily flanged electric guitar. The beginning of "Puertorico Club" is as stripped down as any electronica I've heard. Tension tracks, like "The Ripper" and "Where is the Ripper?" are truly effective. I haven't seen the movie (which is notoriously violent), but the soundtrack is quite compelling and practically serves as an effective substitute for watching the movie. Piccioni's score for Open Grave, Empty Coffin (how noir can you get!) is more about atmosphere than it is about rhythm. A full orchestra saws away dark, demented passages. Other tracks are dreamier, mysterious and tender.
[Lo Squartatore Di New York]
1 Francesco De Masi - New York One More Day (2:53)
2 Francesco De Masi - Phone Call (4:34)
3 Francesco De Masi - New York One Night (2:43)
4 Francesco De Masi - Puertorico Club (3:15)
5 Francesco De Masi - The Ripper (3:26)
6 Francesco De Masi - New York One More Day (2:09)
7 Francesco De Masi - Fay (3:36)
8 Francesco De Masi - Where Is The Ripper? (2:24)
9 Francesco De Masi - New York One Night (2:36)
10 Francesco De Masi - Puertorico Club (3:15)
11 Francesco De Masi - Suspense And Murder (2:49)
12 Francesco De Masi - Waiting For The Killer (2:43)
[Una Tomba Aperta... Una Bara Vuota]
13 Piero Piccioni - Helen Where Are You? (3:55)
14 Piero Piccioni - It Means Love (2:24)
15 Piero Piccioni - Hunting Memories (2:17)
16 Piero Piccioni - It Means Love (2:35)
17 Piero Piccioni - Ghost Chase (1:45)
18 Piero Piccioni - Dreaming Again (2:17)
19 Piero Piccioni - Moonbeams On The Ruins (3:14)
20 Piero Piccioni - Echoes Of A Name (2:00)
Lalo Schifrin/Al Hirt - Latin in the Horn
Recorded - 1966
Label - RCA/Victor
Style - Latin, Jazz, Soundtrack, Smooth
(from somewhere else):
By Al "He's The King" Hirt -- Arranged and Conducted by Lalo Schifrin.
A lush, easy-going Brazilian outing, Latin in the Horn is aided substantially by the sophistication Lalo Schifrin brings to Hirt's cotton candy. Schifrin's orchestra waxes elegantly while Hirt's restraint is a pleasant surprise. Even though this outing post-dates the "Bossa Nova" fad by a few years, Schifrin was always masterful in this style (to date, his last journey in this direction except for his disco retakes on this LP's first three tracks on 1976's BLACK WIDOW). Listeners will certainly want to hear the magic Schifrin weaves on beauties like "Taboo," "Angelitos Negros," "Margarita," "Be True To Me" and the two Schifrin originals ("A Sky Without Stars" and "Gringo A Go Go"). Much better than most would think.
From the album cover - "Al Hirt...is heard here in still another context. The album authentically represents this exciting idiom...Here, in fact, is a dramatically different Hirt. His famous flair and exuberance are much in evidence, to be sure, in his soaring solo flights and biting attack. But one hears an emotional intensity in these performances--a certain introspective quality--that adds a stimulating new dimension to Al's playing...
In this album, Lalo Schifrin has showcased Al's horn against a varicolored backdrop of strings and rhythm patterns that catch both the soul and the spirit of the new Latin-American sound. Schifrin...has spiced his scores with the true Latin flavor of his native South America, leavened with a jazz feeling...
Al Hirt's astonishing versatility will find new cause for wonder in this album of Latin-American music. And the millions of fans who now consider him 'the King' can henceforth regard him as 'El Rey.'"
4. Angelitos Negros
5. Meditarion (Meditacao)
6. A Sky Without Stars (Un Cielo Sin Estrellas)
7. Grigo A Go-Go
8. Manha de Carnaval
10. What a Diff'rence A Day Makes
11. Be True to Me (Sabor a Mi)
Nico Fidenco - Emanuelle E Gli Ultimi Cannibali / Zombi Holocaust
Recorded - 1977/1980
Label - Lucertola Media
Style - Electro, Experimental, 'Disco', Soundtrack, Weird
This CD contains two film soundtracks composed by Nico Fidenco in 1977 and 1980. Tracks 1-13 are from 'Emanuelle E Gli Ultimi Cannibali' (aka 'Emanuelle and the Last Cannibals' aka 'Trap Them and Kill Them'), directed by Italian cult director Joe D'Amato. These tracks are more disco oriented with some experimental electronic tracks thrown in. Tracks 14-26 are from 'Zombi Holocaust' (aka 'Dr. Butcher MD') directed by Marino Girolami. These are synthesiszer based tracks similar to fellow Italian composers Goblin and Fabio Frizzi.
1 Make Love On The Wing (Vocal Version) (2:57)
2 Make Love On The Wing (Orchestral Version) (2:53)
3 Waiting For The Cannibals (2:48)
4 Wild Nightmare (2:30)
5 The Meal Is Over (2:16)
6 Make Love On The Wing (2nd Version) (2:54)
7 Make Love On The Wing II (2:56)
8 Cannibals At Work (:54)
9 Cannibals In Pursuit (1:04)
10 Make Love On The Wing (3rd Version) (2:12)
11 Cannibals' Dance (1:58)
12 The Dark Side Of The Soul (2:15)
13 The Dark Side Of The Soul II (2:49)
14 Fascinating Horror (2:06)
15 Theme From Zombi Holocaust (4:02)
16 From Another World (:44)
17 The Magic Is In Progress (1:22)
18 Zombie Parade (1:13)
19 Resurrection (1:36)
20 From The Beyond (1:20)
21 Living In The Future (:45)
22 Living In The Past (1:32)
23 A Dive Into The Past (4:11)
24 A Dive Into The Past II (:52)
25 Zombie Parade II (1:48)
26 A Dive Into The Past III (4:12)
Friday, September 28, 2007
Xterminator Presents MLK Dub
Label - RAS
Released - 1999
Style - Dub, Reggae, Dancehall, Digital Dub, Lee Library
Another excellent Xterminator special. This one is amazing and you would be doing your music collection a great disservice if you failed to grab this. For serious!
This album's title is something of a mystery -- the cover design incorporates the phrase "free at last," so there's little doubt that "MLK" refers to Martin Luther King, Jr. However, nothing in the program has anything to do with Dr. King or even, really, civil rights issues in general. Be that as it may, this is still a fine collection of dub remixes from Philip "Fatis" Burrell's Xterminator label, most of them based on singles by Luciano, Sizzla and Cocoa Tea. Fatis himself is responsible for some of the most compelling "digital" reggae sounds to come out of Jamaica in the 1990s, and this compilation doesn't disappoint -- building on such excellent raw material as Luciano's "Wicked Haffi Run Way" and Cocoa Tea's "Repatriation," Fatis fashions dub mixes with a deep roots influence and a modern dancehall sheen. There are also fine contributions from a few other singers and deejays, notably Ras Shiloh and Fred Locks. - Rick Anderson, All Music Guide
1. Sweep Over My Soul Dub - Luciano
2. Ulterior Motive Dub - Luciano
3. Repatriation Dub - Cocoa Tea
4. Chant Down Babylon Dub - Luciano
5. Asking Thee To Spear Dub - Ras Shiloh
6. Never Give Up Dub - Fred Locks
7. Love Jah And Live Dub - Luciano
8. Weaponist Dub - Luciano
9. Long Time Dub - Cocoa Tea
10. Final Call Dub - Luciano
11. Till If Someone Dub - Sizzla
12. How Long Dub - Louie Culture
13. Kings Of The Earth Dub - Sizzla
14. Wicked Haffi Run Way Dub - Luciano
15. Look Who Is Laughing Dub - Sizzla & Ninjaman
Personnel includes: Sly Dunbar, Dean Fraser, Donald Dennis, Luciano, Melbourne Miller, Winston Brown.
Lee Scratch Perry vs. I Roy - Sensimilla Showdown
Label - Varese
Recorded - 197x-198x
Style - Sensimilla, Weed, Herb, Dub, Reggae, Lee Library
* possibly a b00tleg
1. The Man Zion
2. Hold On Death
3. Upsetting Dub
4. Lee Perry Special Dub
5. The Dub Warrior
6. Rough Already
7. Dark Destroyer Dub
8. Knock Out Dub
9. The Godfather
10. This Is The Scorcher
11. Law And Order
12. Funky Punk Rock
13. Live Up Jah Man
14. Never Get Away
15. Jack Of My Trade
16. Bedwood In August Town
Personnel: Lee "Scratch" Perry, I Roy.
Includes liner notes by Malcolm "Papa Mali" Welbourne.
All tracks have been digitally remastered.
info - ???
King Tubby & Scientist - King Tubby meets Scientist at Dub Station
Label - Burning Sounds
Recorded - 1980s
Style - Dub, Dancehall, Digital Dub, Lee Library
1. Wickedest Dub
2. Kingston 19 Dub (Django Shoots First)
3. Ghetto Dub
4. Sea View Dub
5. Mystical Dub
6. Mystic Dub
7. Cannabis Dub (Heavenless)
8. Can't Break Dub (I'm Coming Home Tonight)
9. Dancehall We Deh Dub (Teasing)
10. Hillview Terrace Dub
11. Chalice a Fe Dub (Full Up)
12. Copper Shot Dub (Music Is My Occupation)
13. Level Dub (Never Let You Go)
14. Ravin' Dub
King Tubby's Meets Scientist at Dub Station is another master-and-apprentice collaboration. Scientist helps King Tubby update his style to fit the '80s and reggae's digital era. Roots fans will cringe at the digitalized version of the Upsetters' "Return to Django," but much of the album is solid dub with more sonic effects than the average '70s dub album. The dubs work well because the effects that are used don't clutter the tracks. The touches King Tubby and Scientist put on the instrumentals are subtle and well placed. The third track, "Ghetto Dub," is by far the masterpiece of the album. The fuzz-tone guitar is worked and effected, locking up the bass and drums. "Ghetto Dub" alone stands as a reason to buy the album. Reggae and fuzz-toned guitar go together incredibly well, but the combination was not overly used on roots or digital records. King Tubby's Meets Scientist at Dub Station is a consistent album that bridges the gap between King Tubby's roots records and Scientist's electronic dubs. ~ Matt Whalley, All Music Guide
King Tubby - Reggae Rasta Dub
Label - Clocktower
Recorded - 1974-1977
Style - Dub, Reggae, Tubby, Lee Library
Dub Of Despair
Roots Of Africa Dub
Dub Of Meeting
Jah Jah Dub
Roots Of Dub
Dub You Can Feel
Keep On Dubbing
Stop Them Jah
The Easy Dub
Record Date : 1974-77
Label : Abraham/Clocktower
Producer : Linval Thompson
Drums : Sly Dunbar, Hoss Mouth
Bass : Robbie Shakespear, Aston Barrett
Guitar : Earl "Chinna" Smith
Organ : Ossie
Piano : Ansel Collins
Recorded at : Channell One, King Tubby's
"One seed that blossoms into a multiple of plants is success from one vision or idea into a multitude of talent"
(misspellings are as they appear on the sleeve)
Crazy Caribs/Mad Professor - Dancehall Dub
Label - Ras/Ariwa
Released - 2004
Style - Digital Dub, Dancehall, Riddim, Lee Library
1. 50 Pence Dub
2. Bengali Dancehall Dub
3. Kunte In The Dancehall
4. Mandras Curry Dub
5. Eastern Delight
6. Ghetto Dub
7. Diwali Dub
8. Girl From Lahore
9. Pagwah Dub
10. Mashramani Dub
11. Bang Bang Lu Lu
12. Hard Channa
14. Buxton Water
(From Reggae-Reviews dot com):
Dancehall Dub is exactly what the title implies: dubs of dancehall riddims. I'm surprised that such an album isn't more prevalent, but I guess conventional wisdom is that dub music has to be more rootsy in nature. With the explosion in dancehall beats on the pop charts in recent years, however (beyond acts like Sean Paul and Wayne Wonder, you have non-reggae successes like No Doubt, Nina Sky, Pitbull, and Lumidee borrowing the dancehall stylee), an album like Dancehall Dub is a no-brainer. Although you might not be able to tell from the titles, many of these songs will be familiar, even to non-reggae fans. "Diwali Dub", of course, uses the Diwali riddim that supported Paul's "Get Busy" and Wonder's "No Letting Go" (plus a million and two other tracks), while "Bengali Dancehll Dub" is the Coolie Dance riddim that drove hits like Elephant Man's "Jook Gal", Mr. Vegas's "Pull Up", Pitbull's "Culo", and Nina Sky's "Move Yuh Body". Also, you may recognize "Pagwah Dub" from Kevin Lyttle's hit "Turn Me On". There's even "50 Pence Dub", which adapts 50 Cent's already Caribbean-flavored "P.I.M.P." into a dancehall cut. And if you're like me, you'll drive yourself mad trying to recall where you've heard the riddims on "Eastern Delight" and "Girl From Lahore". I'm not exactly sure who the "Crazy Caribs" behind Dancehall Dub are supposed to be, but they include big-name producers Mad Professor, Sly & Robbie, and Mafia & Fluxy. Mad Professor is the main force behind this project, releasing it on his Ariwa label and supposedly writing all of the tracks. I say "supposedly" because it's a known fact that Steven "Lenky" Marsden crafted the Diwali riddim, and I'm pretty sure he didn't have anything to do with the Kevin Lyttle or 50 Cent tracks, either, nor the Coolie Dance riddim. Basically, it sounds like the Professor took these beats, layered some bells and whistles (literally) on them, and claimed them as his own. Such is the mad, mad world of dancehall's "what's yours is mine" recycling riddim system. There's no doubt, though, that these rhythms are hot and enjoyable, and even though you might assume that digital dancehall beats have too sterile and repetitive a sound to sustain instrumentals, the top-notch producers and musicians here keep it all fresh and fun.
info - ???
Ja-Man All Stars - In the Dub Zone
Label - Blood & Fire
Recorded - 1976-79
Style - Dub, Reggae, Roots, Lee Library
1. Dub Zone
2. Dangerman - (Version)
3. Herb Cutter
4. Dread Nut Chalice
5. Well Black
6. Fire Bun
7. Half Ounce
8. Big Spliff
9. Rasta Feeling
10. Bush Weed
11. Don't Get Crazy
12. Weak Heart Drop
14. King's Dub
15. Nuclear Bomb
16. Poor Man Skank
17. Sensimania Dub
18. Hotter Claps
19. East Man Skank
20. West Man Skank
21. Higher Ranking Dub
22. Hot Steppers Dub
23. Downtown Rubadub
IN THE DUB ZONE compiles two rare dub albums, JAH MAN DUB and KING'S DUB. Ja-Man All Stars includes: Sly Dunbar (drums). Recorded at Channel One Studio, Kingston, Jamaica in 1976 and 1979. Includes liner notes by Manzie "Ja-Man" Swaby. Contains 4 bonus tracks. Ja-Man All Stars: Eric Lamont, Dougie Bryan (guitar); Headley Bennett, Herman Marquis (alto saxophone); Tommy Mccook (tenor saxophone); Bobby Ellis (trumpet); Don Drummond Jr., Calvin Cameron (trombone); Gladstone Anderson, Ansell Collins, Theophilius Beckford (keyboards); Noel 'Skully' Simms, Uziah 'Sticky' Thompson (percussion).
Xterminator All Stars - Xterminator Dub
Label - RAS
Released - 2003
Style - Digital Dub, Dancehall, Reggae, Lee Library
CD featuring 10 fat dubs from the Xterminator stable, produced by Fatis. Can't find reviews or info anywhere, but it's hot. Got it for Lee Library's birthday last year and we've been loving it since.
info - ???
Wednesday, September 26, 2007
Jah Thomas Meets Roots Radics - Dubbing
Label - Trojan
Recorded - 1980s
Style - Dancehall, Digi-Dub, Reggae, Lee Library
1. House of Parliment Dub
2. Minister of State Dub
3. Opposition Dub
4. Socialist Dub
5. Communist Dub
6. Policeman Dub
7. Soldierman Dub
8. Housewife Dub
9. Midwife Dub
10. Nurse Dub
11. Doctor Dub
12. Lawyer Dub
13. Worldwide Dub
14. Jamaica Labour Party Dub
15. People's National Party Dub
(review by AMG):
Producer and DJ Jah Thomas ' reputation looms large over the fertile roots reggae and early dancehall periods of the late '70s and early '80s. Using his own Midnight Rock label as a base, Thomas initially built his reputation as a solid chatter in the mold of Big Youth and Dillinger . Beyond his turns at the mic, though, Thomas also emerged as one of the era's best producers. He worked with a varied cast, which included such fellow DJs as Early B. and Ranking Toyan , as well as star vocalist like Sugar Minott , Barrington Levy , and Tristan Palmer . Along the way, Thomas employed the double punch of the hypnotically raw Roots Radics band and mixers like Scientist and Soldgie . This fine outing on Trojan spotlights several dub tracks from this potent crew, with Thomas producing a selection of cuts to rival those his contemporary Henry 'Junjo' Lawes had made with the Radics during the same period. Lovers of Scientist 's own post-apocalyptic dub outings will find much here to enjoy. ~ Stephen Cook, All Music Guide
The Aggrovators - Dubbing It Studio 1 Style
Label - Jamaican
Released - later
Style - Reggae, Dub, Re-Dub, Lee Library
01 The Search For Dub
02 I'm Still In Love With You
03 Ain't That Loving Dub
04 Mean Girls Dub
05 Let Him Dub
06 Not Just Another Dub
07 Happy Go Lucky Dub
08 Come To Dub
09 It's Raining Dub
10 The Dub Conqueror
11 Live & Learn Dub
12 Undying Dub
13 Dancing Mood Of Dub
14 Riding In A Dub Groove
(from Jamaican site)
The Aggrovators were one of Jamaica's finest session bands. Many of the tracks you know and love from the 1970's Reggae scene probably featured this group of musicians in some shape or form. The band were put together by Bunny 'Striker' Lee one of Jamaica's formidable producers,who with no studio of his own had to rely on buying studio time from the existing establishments, such as Randy's Studio 17 and the Hookim brothers Channel 1. This was an expensive task and he needed a pool of top musicians who could cut tracks quickly and efficiently. Built around the cream of Jamaica's musicians namely; Carlton 'Santa' Davis, Carlton Barrett [Drums], Robbie Shakespeare, Aston 'Family man' Barrett, Lloyd Parks [Bass],Earl 'Chinna' Smith [ lead guitar ], Tony Chin, Winston 'Bo Beep' Bowen [Rhythm Guitar] Ansel Collins [Piano], Bernard ' touter' Harvey, Winston Wright [ Organ ], Bobby Ellis [Trumpet], Vin Gordon [Trombone], Tommy McCook [Tenor Saxophone ] and Lennox Brown [ Alto Saxophone ].
Vocal duties would usually feature two of Bunny Lee's favourite singers Johnny Clarke and Cornell Campbell who would also fill in if the need arise on Piano and rhythm guitar respectively.
The forward looking Mr Lee was inspired by the English music scenes interest in reggae especially the skinhead cultures adoption of all things ska-ish. So much so that he called his reggae shop / label 'Agro Sounds' after the skinhead term for fighting / trouble..'Agro' . Later when looking for a suitable name for his group what else could it be....THE AGGROVATORS were born.
Mr Coxsone Dodd's STUDIO ONE opened its doors in 1963 at 13 Brenford Road Kingston, Jamaica, it would become the name for all his future productions.Coxsone Dodd started out with one of the first Sound Systems in Jamaica, called Sir Coxsone The Downbeat , importing American R & B records to fill his dances. A lack of supply of new / original material which is very important to sound system supremacy would lead him during the 1950's to produce Jamaican hits of his own.The Studio One set up would allow the opportunity to experiment and fine tune these recordings. It became a hit factory releasing songs like Alton Ellis's 'I'm just a guy', ' live and learn', Delroy Wilson's 'Dancing mood', 'Riding for a fall', 'Rain from the skies' and Larry Marshall's 'Mean Girl' to name but a few.Versions of which feature on this collection.
The updating of Studio One classics which in some cases were reworkings of American R & B tunes [ 'foreign tunes ' as they were known in Jamaica ], was common practice. The rhythms were much loved favourites and with the added incentive that the musicians knew the tracks inside out .This set of dubs are straight from the master tapes of such sessions orchestrated by the man Bunny Lee himself, no one knew better ...you can't keep a good tune down never mind a great one. So sit back and enjoy The Aggrovators in fine Studio One style...
Randy's Vintage Dub Selection: Dubbing at Randy's 1969-1975
Label - Jamaican
Released - later on
Style - Dub, Reggae, Roots, Lee Library
1. Natty Inna Babylon Dub
2. Jah Jah's Dub Children
3. Dub Broke My Heart
4. Dub Direction
5. High On A Thing Called Dub
6. Dub Me Girl
7. Can't Get Dub Out
8. At The Turning Point of Dub
9. I Need Some Dub
10. A Laid Back Dub Tune
11. Grooving Out On Dub
12. Gift Of Dub
13. Its a Dubbing Lie
14. Dub Feelings
(from Jamaican site)
Randy's Studio 17, North Parade, Kingston, Jamaica, in the heady days of the early 70's was one of the main focal points for Reggae Music. All the top Producers loved the sound the Studio gave and used it in favour over the bigger established Studios of the time. Federal, WIRL, Coxsone's Studio 1 and JBC were it's competitors and although they were in many ways better equipped, they came to Randy's to get THAT SOUND. Many reggae classics were laid down here including some of Bob Marley's early and some say finest work.
Randy's record outlet opened for business in 1959 run by Vincent Chin on the corner of East street and Tower street before moving to it's present address in 1961. The shop was proving to be very successful and played an important part in distributing the hits of the day. When these records usually imported from the U.S.A. became increasingly harder to obtain, the logical step seemed to be to branch out into Production.
So in 1969 Randy's Studio 17, named after one of the American outlets that used to supply the above mention records, opened in rooms above the retail outlet. Initially built for their own use, but due to pressure from Producers who were crying out for studio time, the studio became available for hire. The demand being so high that on it's opening, Producer/Manager Danny Sims booked it out for two months solid.
Vincent's son Clive Chin [born 14 May 1956, Kingston, Jamaica] took over the running of the studio working alongside engineer Errol 'Errol T' Thompson, who on his arrival completely rebuilt the studio. Over the next six years prior to his moving on to work with Producer Joe Gibbs, 'Errol T' would be responsible for engineering most of the recorded product at Randy's. We concentrate here on the work of Producer Bunny Lee who was by far the most prolific at Studio 17. Choosing a fine selection of his work recorded at the legendary studio we hope you enjoy the ride...
Rico Rodriguez - Warrika Dub
Label - Island
Released - 1977
Style - Dub, Reggae, Jazz, Funk, Lee Library
Another one of my favorite jazzy, funky dub albums of all time... Thanks, Lee Library!
From 1954 to 1957 Rico continued his musical education at Stoney Hill Music School. During these years his musical influences were the two jazz trombonists J.J. Johnson and Kai Winding who released several common albums in those years.
Rico had his first studio engagements, among them (we think it was in 1956) Rico participated as a member of Clue J. And His Blues Blasters in C.S. Dodd’s very first session to record "Easy Snappin'" with Theo Beckford.
During 1957 and 1958 Rico was playing three months with Eric Deans Orchestra, replacing Don Drummond (mostly in Latin and Cuban styles). He won at Vere John's Opportunity Hour and thus built a name in the local music scene. Life was hard and it doesn’t wonder that Rico lived from hand to mouth. He had to play for food with the fishermen on the beach near Kingston. In Rico's words: "Because you were poor and had to eat, you stay down where the fishermen draw their nets, so you'd have food every day. Fishermen always give you fish, they like to hear you playing." (from an interview in 1973, quoted by Cane-Honeysett, 1995)
He spent much time in Count Ossie’s rasta community in Wareika Hills near Kingston. Percussionist and burru drummer Ossie teached Rico another side of music – Sheet music at school, jazz on the streets and African vibes over there in the hills -. Rico remembered his experience: "They're more developed, mentally and musically, than the average musician. When you play with them you can really explore. Most of what I know I learned from playing with them." (Williams 1981)
Prince Buster with Rico, early 60s
While he lived in the Rasta camp with Count Ossie in Wareika Hills, he worked at a barber's shop in Kingston.
While the Jamaican recording industry changed and grew rapidly in the field of self-produced popular dance music, Rico got more and more involved as a sought-after session man. He went on recording with various session groups, namely Clue J & The Blues Blasters, Count Ossie's Group, Smith All Stars, Drumbago And His Orchestra and for all the important producers - Clement Dodd, Duke Reid, Vincent Chin, Lloyd Daley - and as Rico's Group or All Stars for Prince Buster. Duke Reid (producing classics like Derrick Morgan's "Lover Boy") and Vincent Chin (Randy’s) engaged him for their very first recordings. While Rico helped at Randy’s, Chin produced Rico's first sides under his own name: "Rico Special" and later "Rico Farewell", the second as his goodbye to Jamaica and shortly after released in the UK by the young Island Records label.
At the end of 1961, at the age of 29, Rico emigrated to England.
Jamaican music had changed from ska to rock steady to reggae. Rico Rodriguez joined a group which is completely unknown today but was described by him as one of the most talented reggae bands in the UK: The Undivided lived as a backing band for Jamaican reggae artists touring the UK.
When Island Records re-entered the reggae market Rico came onto the list of session musicians for the fast growing enterprise. His first sessions took place in 1975 and were released as Toots’ Reggae Got Soul and Jim Capaldi’s (non-reggae album) Short Cut Draw Blood.
In the Island studios Rico met a man named Dick Cuthell, with whom he went together for a good seven years. Cuthell, an engineer on Island’s paylist, recorded a demo for Rico which opened the way to Rico’s first trip to Jamaica in 15 years and the seminal recording of Man From Wareika with some of the best Jamaican studio musicians; the release follows in 1977.
With a critically acclaimed solo album Rico was engaged as a support act for Bob Marley & The Wailers on his 1978 tour in Europe. Rico had a chance to play in front of audiences and to build his reputation towards the European public. Island prepared a new album for Rico, but tried to direct him towards a more easy listening style. Some 12” single had been released which were planned to become the core of this new album. Already given a catalogue number it was never released.
Meanwhile Rico had received a phone call by a certain Jerry Dammers, who looked for Rico to play with his band, The Specials a remake of "Rudi A Message To You". The song was already recorded in two version by Rico, one for Dandy (Livingston) in 1967 and one credited to Rico himself from 1969. After the success of the Special’s music Rico (and Dick Cuthell) became associated members of the group, participating in their touring and recording activities. Rico played on the groundbreaking albums Specials and More Specials, he contributed to The Selecter's debut.
"Despite the exposure he'd been given by working with The Specials, Island surprisingly did not renew his contract when it expired in January 1980, leaving him free to record for 2 Tone. They did make a half-hearted attempt to get The Specials to back Rico on a live take of "Guns Of Navarone" to be released on Island, but nothing came of it and so that it was." (George Marshall, 1990, p. 65)
In 1980 Rico was going to release his first single "Sea Cruise" on the 2 Tone label. He toured with The Specials but left for Jamaica accompanied by Dick Cuthell where he was in the studio to record for his next LP That Man Is Forward. Later in 1980 Rico toured with his own band and on Dec. 21 he joined the Police in their concert for "So Lonely".
In 1981 he played another great solo on the Specials’ last single “Ghost Town” maybe the best single of the 1980s and surely the best horn solo in pop history.
Ian Dury made him public to his audience while singing "... listening to Rico..." in his hit "Reasons To Be Cheerful, Pt.III)". All these activities made him a central part of the 2 Tone story: he represented the Jamaican roots within The Specials' and the other group's music and made his instrument and his style attractive to the pop music market. Many engagements followed by artists such as Paul Young, Joan Armatrading, John Martyn and the big names in reggae: Linton Kwesi Johnson, Mikey Dread, Burning Spear, The Congos a.o.
Finally Rico had enough and left the “stage” to live in Wareika Hills until 1988.
1. This Day Dub
2. Gunga Din Dub
3. Africa Dub
4. Lumumba Dub
5. Dial Africa Dub
6. Man From Wareika Dub
7. Over The Mountain Dub
8. Rasta Dub
9. Ramble Dub
Monday, September 24, 2007
Ossie Hibbert & The Revolutionaries - Earthquake Dub
Label - Hot Pot/Joe Gibbs
Recorded - 1976
Style - Dub, Reggae, Roots, Lee Library
1. Earthquake Dub
2. Rasta Foundation
3. Fletcher's Land
4. Ital Menu
5. Secret Agent
6. Heavy Rock
7. Event, An
8. Black Diamond Rock
9. Collie In Dub
10. Pain Land Dub
11. Whip Them In Dub - (bonus track)
12. River Bank - (bonus track, featuring Deadley Headley Bennett)
13. River Bank - (Version)
14. Kissinger - (bonus track)
15. Death Sentence - (bonus track)
16. Heavier Than Lead - (Version)
17. Hog Head - (bonus track)
18. Conscience - (alternate take, bonus track)
(from Dusty Groove)
A stellar and relatively unsung dub set from Ossie Hibbert -- and another great release from the Hot Pot label! This long lost LP was cut by Ossie in the mid 70s at Channel One with the Revolutionaries -- and stands up against the best Rockers style dubs of the era! Tracks include "Earthquake Dub", "Rasta Foundation", Fletcher Land", "Ital Menu", "Secret Agent", "An Event", "Black Diamond Rock", "Collie In Dub" and "Pain Land Dub."
Ossie Hibbert - Leggo Dub
Label - Cash & Carry
Released - 1978
Style - Dub, Reggae, Roots, Lee Library
Personnel: The Aggrovators, The Revolutionaires, The Soul Syndicate.
1. Dubby Dubby
2. Leggo Dub
3. Doberman Skank
4. Winners Dub
5. Dub Down Babylon
6. Brooklyn Stle
7. Ready Dub
8. Ghetto Dub
9. Bubble Up Style
10. Better Choice
11. Lion Fence Version
12. Zion I
13. Special Version
14. Loving Version
15. Version Dress Back
16. Take A Dub
Rare dub reggae emerges from the vaults in the shape of this late-1970s set produced by one of Jamaica's lesser-known talents, Ossie Hibbert. Hibbert, who was primarily an engineer and keyboardist, favors a drum-heavy mix (courtesy of the legendary Sly Dunbar) laced with horns. He incorporates a few of the sonic eccentricities, like wailing babies and train whistles, popular with better-known figures like Lee Perry on a variety of vintage rhythms, notably Gregory Isaacs' "I'm All Right" and Dillinger's "Take a Dip." Casually elegant, Hibbert provides a naturalistic soundstage against which the ace session band the Revolutionaries skank their stuff, smooth and easy.
Augustus Clark - Black Foundation Dub
Label - Burning Sounds
Released - 1976
Style - Dub, Reggae, Roots, Lee Library
1. Black Foundation
2. No, No, No
3. Free Zone
4. Big Or Small
5. Creation Dub
6. Rockers Time
7. Funny Feelings
9. Late Arrival
10. Rocking Vibration
11. One Way
12. Loving Pauper
13. No Entry
(Review by AMG)
Black Foundation Dub was originally released solely in Jamaica back in 1977. The seminal album was built upon rhythms taken from a basketful of Gussie Clarke productions, all cut during the mid-'70s. These included such classics as K.C. White's "No No No," which was also versioned by Big Youth for his masterful "Screaming Target"; the DJ's equally powerful "Murderer," itself a version of Horace Andy's "Skylarking"; vocal cuts from such great artists as Delroy Wilson, Gregory Isaacs, and Dennis Brown; and a handful of scintillating instrumentals, including Augustus Pablo's "No Entry." King Tubby and Philip Smart took these ten superb songs and refashioned them into the dub masterpieces that comprised the album. The sleeve notes help identify all the tracks and also give a fascinating bio of Clarke himself drawn from interviews. Of course, all credit is due to the producer for creating these phenomenal rhythms, giving the two dub-masters a rich template on which to work their magic. And magic it is, as the men conjure up snatches of melody, vocals, and instruments, sifting them in and out of the deep, dubby beats. This reissue adds three bonus tracks, all also remixed by Tubby and Smart during this period: an extended mix of "No Entry" and a pair of Gregory Isaacs cuts, "My Time" and "Loving Pauper." ~ Jo-Ann Greene, All Music Guide
Saturday, September 22, 2007
Lee Perry/The Upsetters/Coxsone? - Blackboard Jungle Dub
Label - Clocktower
Released - 1973
Style - Dub, Reggae, Spacey Dub, Lee Library, Weird
One of the best Dub Reggae albums ever made!
01. Black Panta - The Upsetters
02. Kasha Macka - Prince Jazzbo
03. Dub Organizer - Johnny Lover
04. African Skank - The Upsetters
05. Dreamland Skank - The Upsetters
06. Jungle Jim - The Upsetters
07. Drum Rock - The Upsetters
08. Kaya Skank - The Upsetters
09. Mooving Skank - The Upsetters
10. VS Panta Rock - The Upsetters
11. Apeman Skank - The Upsetters
12. Jungle Skank - The Upsetters
Calling the meek and the humble, welcome to blackboard jungle..." Blackboard Jungle Dub is a justifiably famous album, not only because it was one of the first dub albums to be released, but because of its wild, sonic brilliance. From the berserk "Black Panta" to the spooky "Drum Rock" and the gentle "Kaya Skank", this is serious dub. Words like "radical", "extreme" and "incredible" fail to describe the grooves that Lee Perry conjured up here. Essential listening for any Lee Perry fan.
Important note: Blackboard Jungle Dub has been released several times since 1973. Originally it was released on Upsetter as Upsetters 14 Dub Blackboard Jungle in very limited numbers in a true stereo mix. Then in 1981 it was released with a different track listing and a different mix on Upsetter (Jamaica) and Clocktower (US) as Blackboard Jungle Dub. It has also been released as part of the RAS collection Scratch Attack and as the crummy Original Blackboard Jungle on Jet Star, both with altered track listings and a different mix. In 2005, Trojan included it as part of their Dub Triptych set. The definitive re-issue of the album is by Auralux: in 2004, they carefully remastered the original 1973 mix and released it as Upsetters 14 Dub Blackboard Jungle. Unless you manage to lay your hands on one of the original 1973 LPs, the Auralux release is boss.
Thursday, September 20, 2007
Meeting and greeting all of your Dub needs. PMX put up Dub Foundation
blog - mainly for the Dub Foundation mixes/tracklists/links and future
vintage UK/Jamaican sound system recordings I've ripped from tape to
Dub Foundation blog: http://dubfoundation.blogspot.com/
blog - mainly for the Dub Foundation mixes/tracklists/links and future
vintage UK/Jamaican sound system recordings I've ripped from tape to
Dub Foundation blog: http://dubfoundation.blogspot.com/
Wednesday, September 19, 2007
Head Shot: Reggae Instrumentals, Dubs and Other Oddities
Label - Heartbeat
Recorded - 1970s
Style - Dub, Reggae, Version, Foundation, Instrumental, Lee Library
(review from AMG)
A trawl through the vaults of celebrated reggae producer Winston "Niney" Holness yielded this delightful odds-and-sods program of (mostly previously unreleased) dub versions, instrumental tracks, and songs dating from 1970 to 1978. There are a couple of fine cuts on the deathless "Here I Come" rhythm, including a creepy dub version based on Dennis Brown's classic vocal performance, and also dub versions of Niney's own "Rasta No Pickpocket" (rendered here as "Clean Heart Rasta" with a Tony Chin guitar overdub) and "Blood and Fire" (here as "Chapter Ten"). Saxophone legend Tommy McCook leads the Supersonics through a charming rocksteady instrumental titled "Doreth," which then leads, strangely, into the charming "You Can't Get into Zion With Your Big Checkbook" ("It will bounce!"), on which Niney is joined by vocalists Lloyd Charmers, Dobby Dobson, and Denzil Laing. Overall, this album isn't quite as strange as the jacket copy might lead you to expect, but it's chock-full of worthwhile obscurities from the tapes of one of reggae's best producers working at the peak of his powers. ~ Rick Anderson, All Music Guide
1. Soul Syndicate - Zimbabwe [Extended Mix]
2. Observers - Come Dub
3. Dillinger - Nebuchadnezze
4. Observers + Bobby Ellis - Head Shot
5. Observers - Last Call Version
6. Observers + Tommy McCook - One Train Load of Collie
7. Observers - Organ Satta
8. Scully, Bobby Ellis, Soul Syndicate - Doreth
9. Observers, Niney the Observer - Can't Enter Zion With Your Big Checkbook
10. Observers - Chapter Ten
11. Bongo Herman + Fay Bennett - Nosey Joe Version
12. Bottlehead - Bottlehead in Fine Style
13. Observers - Clean Heart Rasta
14. Observers + Tommy McCook - Zorro
15. Observers - Boiling Over
16. Observers - Beardsman Shuffle
17. Observers - Steam Pipe
Prince Far I - Megabit 25, 1922
Label - Tamoki Wambesi
Released - 1985
Style - Dancehall, Dub, Reggae, Lee Library, Rasta Far I
Prince Far I was born Michael James Williams in Spanish Town, Jamaica in 1945. Growing up in the Waterhouse area of Kingston he attended dances MC'd by the early Djs who would become his inspiration. With confidence and experience he assumed the role of lead DJ with the Sir Mike the Musical Dragon Sound System. It has often been written that his early DJ name, King Cry Cry, was derived form either the pleading nature of his delivery or the righteous content of his lyrics. The actual explanation of the "nom de mic" is much more prosaic.
(review from OTW blog)
The temptation to put Far I’s name on an album prompts a cut and paste job from Roy (The Royals) Cousins back catalogue, but in the hands of Sir Freddie Viadukt aka the (albeit late) Minister of Noise the result becomes almost tasteful. On the perimeters of Warrington lies NAFFI HQ where original tapes from Randys, Tubbys and the Black Ark have been manipulated into their current state, and on the whole a fairly reverential piece of work with Far I voice samples worked into the mix a la Sherwood with Dub Syndicate. But the game is really up on the pseudo (?) Amharic-titled ‘Ejarsa-Gora’ where the ‘marvel of miracles’ sample appears in the mix on top of Vivian Jackson’s ‘Yabby You’ rhythm and traces of Gregorian chant. All traceable back to the Minister’s classic ‘Voodoo Soul’ period where he bravely introduced Far I to Alice Coltrane. With the divine vocals of Roy Cousins, plus contributions from Knowledge, Charlie Chaplin and the Minister’s ex-Mrs Brenda Ray this works out as a recommendation rather than a warning.
1. Negusa Negast
5. Ejarsa Gora
7. Menelik 1
15. Ras Makonnen
16. Kebra Negast
info (not on discogs!)
Harry J All Stars - Dubbing at Harry J's 1972-1975
Label - Jamaican Recordings
Recorded - 1972-75
Style - Reggae, Dub, Lovers Rock, Lee Library
(review by Jah Floyd)
Harry J's studio at 10 Roosevelt Avenue, Uptown Kingston, Jamaica, was a legendary place for cutting tracks back in the 1970's. Many people passed through it's doors to cut music, Burning Spear ,The Heptones and Augustus Pablo to name but a few, and it was no accident that Bob Marley chose to record his first four albums for Island Records here.The timeless 'Catch a Fire' ,'Burnin' , 'Natty Dread' and 'Rastaman Vibration', all came under it's spell.
Harry Johnson, born 1945 Kingston, Jamaica, began his career as a musician playing bass with a group called The Virtues.The band would soon fall apart but it was as their manager that he got a taste for the business side, and his first session as a producer came around in 1968 cutting 'No More Heartaches' for The Beltones at Studio 1.But it was another track also cut at Studio 1 under his tutelage Lloyd Robinson's 'Cuss Cuss' that gave him his first hit single.The success of which would launch his Harry J imprint label, and inspire him to recruit the cream of Jamaica's session musicians. Including the mighty Winston Wright on keyboards and Boris Gardiner on bass to form the Harry J All Stars group. This line up would go on to have crossover hits with such classics as 'Liquidator' in 1969,and his 1970's production of Bob & Marcia's 'Young Gifted & Black' which reached No 5 in the U.K. charts.
In 1972 using again money made from his hits and selling his record store, Harry Johnson brought a 16 track mixing desk and so was born HARRY J's Recording Studio.The other important happening around this time was the arrival of Sylvan Morris as recording engineer to replace Sid Bucknor who was moving to England.Harry Johnson had already worked with Sylvan at Studio 1 where he was house engineer and had been mainly responsible for it's distinctive sound. On his arrival Sylvan would cut the Version sides to many of the Artists / Producers tracks cut at Harry J's and again establishing a great sound for the new studio.He even found time to cut a couple of dub albums himself, 'Morris in Dub' and 'Cultural Dub',where he re-versioned some classic cuts from his Studio 1 days.
Harry J's was the studio of the moment to cut tracks especially dub cuts.Keith Hudson recorded his classic 1974 'Pick A Dub' album here with the Barrett brothers, Aston 'Family Man' and Carlton, from Bob Marley's Wailers band providing the de-constructed backbone of bass and drums respectfully.
We have selected some interesting cuts to show the versatility of the studio and what it was capable of producing. A wide cross section covering some rare John Holt dubs to some obscure cuts like Monty Morrison's 'Love you Only' and even the great Jackie Bernard of The Kingstonian's features on some of his long lost dubs lost until now.The studio is still running today and has branched out to include it's Jamaican distribution arm 'Sunset'. But we hope bringing you back to those glorious days when it all started, will relive a classic time in Jamaican Dub History for you. What shines out on this selection we believe, are some great soulful roots cuts....Respect Jah Floyd.
1 Every Dub Is A Star (3:04)
2 Dub Is Yet To Come (3:03)
3 From Man To Dub (2:54)
4 Dub Scriptures (3:16)
5 Harmonica Dub (2:51)
6 Dub In The Streets (3:10)
7 Let Dub Down (3:31)
8 Bag-Full-A-Dub (3:23)
9 Dub To Babylonians Head (2:38)
10 Dub You Only (3:18)
11 No Mail No Dub (3:40)
12 None Shall Escape The Dubment (3:39)
13 Dub Me Smoothly (3:24)
14 Man Needs A Dub (3:22)
Augustus Pablo - Ital Dub
Label - Trojan
Released - 1975
Style - Dub, Reggae, Lee Library, Ital
Engineer : Ronald Logan & Sylvan Morris & King Tubby
Recording : Dynamic Sounds (Kingston, JA) & King Tubby's (Kingston, JA) & Harry J (Kingston, JA)
Often overlooked, and poorly recieved by some critics at the time, "ITAL DUB" can now be regarded as a fine dub album mixed by Tubby and comprised of riddims produced by Tommy Cowan mainly for Jacob Miller & The Inner Circle with Pablo blowing his melodica over the top. Includes dub/melodica mixes to "Forward Jah Jah Children", do-overs of Bob Marley's "Rebel Music", "Natty Dread" and Tosh's "Funeral", Junior Byles' "Curly Locks" and "Irie Feelings" as well as tougher than tough originals like "Eli's Move", a version of Miller's "The Truth Has Come Again", "Shake Up" and "Shake Down" and "Barbwire Disaster".
1 The Big Rip Off
2 Road Block
3 Curly Dub
4 Well Red
5 Gun Trade
6 Shake Up
7 Hillside Airstrip
8 Barbwire Disaster
9 Mr Bigg
10 Eli's Move
11 House Raid
12 Shake Down
African Head Charge - Drastic Season
Label - On-U Sound
Recorded - 1983
Style - Electronic, Reggae, Dub, Experimental, Lee Library
Featuring percussion by the one Style Scott; Congos by Bonjo I; produced by Adrian Sherwood. You should already know about African Head Charge, but for those who don't....
It always seemed that Adrian Sherwood's future-proof labelling of his early eighties On-U Sound albums, as for example - "another 1992 On-U Sound production", was an affectation at best and mild megalomania at worst. Listening back to that work now the arrogant young producer's artistic licence can be acknowledged as precociously well founded, especially when applied to the work of the unit known as African Head Charge (AHC). This virtual band coalesced around the percussion talents of Bonjo Iyabinghi Noah, Bonjo to you and me, subsequent to the demise of Creation Rebel, a real time band who had been subject to the rigours, disciplines and boredom that recording, rehearsing, touring and playing inevitably bring.
The "Drastic Season" LP (ON-U LP 27) was originally released on vinyl on the 20th of October 1983. Like its predecessors it was a largely instrumental affair with little actual dubbing and no detectable vocal samples. However the sound of Sherwood's production had become radically different with the move to Southern Studios, where state of the art digital studio hardware lived in harmony with the hard edged punk ethic of the musicians who inhabited the area by night. The first phase of AHC's development was coming to a logical conclusion, as on their future recorded output we would discover more studio generated ideas and the introduction of more chants and captured vocal and ambient sounds (samples) whilst Bonjo conversely emerged as the leader of not only a real band but also a fully-fledged touring outfit.
So this set finds Head Charge very much in mid-stream. Bonjo had not yet carved out his niche as the happy-go-lucky king of the ethno-chant so beloved by the festival-goers of UK and Europe. The sound of "Drastic Season" is stop-go, at once urgent but searching, wired and speed-fuelled, some would find the listening experience failing to stop short of the psychotic. The band suffered from not conforming to one particular category or another, not reggae or new wave and certainly not new romantic! Who would play this on radio? Which promoter would take the risk of presenting this stuff in live performance before a crowd of innocent and gullible students? Where was this music coming from? The answer was - the mind and fingers of Adrian Sherwood who regarded the album's studio sessions as...
"...experiments in active frequencies, out of time noises, rhythms within rhythms, and endless tape edits (edits on edits) resulting in the ultimate cut-up and paste job..."
...which, in retrospect, can be seen as an integral learning experience for the then young producer. When "Drastic Season" was originally released On-U Sound were not in the habit of commissioning sleeve notes for their albums. However, a few sporadic press releases crept out of the On-U bunker, including this one:
"A high-tech rhythm mix of human, animal and machine sounds, captured on the Southern Studios digital rig by the "wackid' mixer ADRIAN SHERWOOD, up in sunny Wood Green, "DRASTIC SEASON" features that On-U rugged bass sound. Check it if you're a dancer, a listener, a film maker, a computer programmer, a human or an animal. Special treats in store for steam locomotive enthusiasts and biologists. You've never heard such sounds in your life (to quote ESP)."
1 Timbuktu Express (4:37)
2 I Want Water (6:04)
3 Bazaar (5:10)
4 African Hedge Hog (5:38)
5 Depth Charge (4:06)
6 Fruit Market (5:03)
7 Snake In The Hole (5:15)
8 Many Generations (7:18)
African Head Charge - Off The Beaten Track
Label - On-U Sound
Recorded - 1986
Style - Electronic, Dub, Reggae, Lee Library, World Music
Additional Musicians - Skip McDonald, Jah Wobble
(review by Steve Barker)
Off The Beaten Track
In the intervening years between the 1986 release of “Off The Beaten Track” and its immediate predecessor 1983’s “Drastic Season”, African Head Charge had been moulded into a live blood-pumping band by its main man Bonjo lyabinghi Noah, who had truly come out of the shadows where percussion usually resides, fuelled by a righteous desire to occupy that front-of-stage position. Also during that time producer Adrian Sherwood had volunteered to be fed through the funk-mangle by Messrs.
(Skip) McDonald, (Doug) Wimbish and (Keith) Le Blanc, had come out the other end more disciplined and focused on what fresh sounds might be possibly created through the blatant use and abuse of state of the art technology, where he had previously generated samples as a “captured sound” by-product of the studio hardware or bled all over the old Studer decks as a result of a thousand razored edits. The result of this “great leap forward” was the fourth actual, but first “modern”, African Head Charge album – “Off The Beaten Track” – which sounded like nothing else around at the time, and whose combination of fat beats and ethnic chants was to provide the template, which many lesser lights were to attempt to emulate over the ensuing years.
Compared to previous efforts the "new" AHC rhythms were less abstract and more direct, with continuous and flowing percussion lines and more managed tempo shifts. The application of loops and samples of increased time duration made all the difference when combined with the more fluid and confident approach of the musicians involved in the build of the tracks. Sherwood shows up once more under his by now redundant guise as "The Prisoner". Skip McDonald makes an early non-funk entry and the reappearance of Jah Wobble makes clear his creative commitment to his old friends at On-U. But most remarkably, and making his debut as a recording artist, is the twentieth centuries most radical scientist - the super-cool Albert Einstein, laying down a sweet rap with the most conscious of lyrics in "Language And Mentality". Of course, Albert was in the studio in spirit only and the exercise, to my knowledge, has never been repeated.
The title “Off The Beaten Track” was not just an example of a great piece of wordplay, but also incredibly apt as the music was not only a departure for On-U Sound, but also a landmark album for what was to become the whole new ethno-beat strand within the commercial category of what we now know as “World Music”. – Steve Barker
1 Off The Beaten Track (5:02)
2 Some Bizarre (5:05)
3 Belinda (3:40)
4 Language & Mentality (4:22)
5 Throw It Away (3:35)
6 Conspiring (4:38)
7 Release The Doctor (3:32)
8 Down Under Again (3:05)
9 Over The Sky (3:15)
Tuesday, September 18, 2007
Monday, September 17, 2007
Just hit 50k hits since we put up our ClustrMap not too long ago. So thanks for hitting on us, and we promise to continue with the onslaught of dope jams so that you may hit on us for another 50k more!
Friday, September 14, 2007
Roy Budd - The Black Windmill OST
Label - Cinephile
Released - 1974
Style - Soundtrack, Thriller, Jazz, Funk, Awesome
The atmospheric soundtrack to the 1974 thriller directed by Don Siegel and starring Michael Cain and Donald Pleasance. The music here's pretty dark, moody and tense, but like all Roy Budd scores is a kinda cinematically funky and jazzy affair. Nicely orchestrated stuff with some great beats too!
* Some choice samples came from this soundtrack!
1. Kidnapped (02:55)
2. Drabble Calling (01:48)
3. The Plant (03:20)
4. The Watcher (00:43)
5. Discovery (01:24)
6. 9M2 (00:40)
7. Message (01:23)
8. Cassette Jazz (02:18)
9. No Co-operation (03:02)
10. In The Garden (01:27)
11. Diamonds (02:15)
12. The Case (02:42)
13. The Briefcase (02:43)
14. Drabble Calling (01:05)
15. Free Tarrant (03:31)
16. The Stranger Approaches (00:39)
17. The Windmill (03:10)
18. David (00:50)
19. Radio Music (02:06)
20. Mother Nature (02:31)
Roy Budd - Diamonds OST
Label - Cinephile/Castle UK
Released - 1975
Style - Soundtrack, Funk, Blaxploitation, Soul, Jazz, Heat
(From Dusty Groove):
Heist films always provided some of the best soundtracks of the 70's, and this one (starring Robert Shaw and Richard Roundtree, and issued in the US as Diamond Shaft) is no exception! Roy Budd rises to the groovy occasion and scores some excellent moments that match a light orchestral sound with a throbbing electric bass and percussion underground -- in a style that's like Lalo Schifrin's best work from the time. The LP's overflowing with tracks, including a few bonus mixes, and there's even 2 vocal numbers that feature The Three Degrees. Titles include "The Thief", "Beauty & The Bass", "Diamonds", "Party Piece", "Thief On the Prowl", and more! Nice notes, and some nicely funky crime themes, too! Nice gatefold cover, too!
Only issued in Italy (as 'Colpa Da Un Miliardo Di Dollari', shown here) and the UK, this is without doubt Budd's finest soundtrack. Elements of his earlier work can be clearly heard in the Middle Eastern segments of the LP and use of distinctive instrumentation. The album features music from a surprisingly good heist movie starring Richard Roundtree, shot in Israel. Many of the best tracks were not included in the movie. The album contains raw funk ('The Thief'), jazz ('Party Piece'), an easy listening-with-wah bossa nova ('Brauty And The Bass') and a sentimental soulful theme by the Three Degrees in addition to some excellent atmospheric Eastern-influenced tracks. Look out for Budd's trademark use of deep bass to underpin his dark, menacing funk themes. Quite superb.
* LTJ Bukem fans, find the samples!
1. Main Themes
2. The Thief
3. Tel Aviv
5. Diamond Fortress
6. Beauty Of The Bass
7. Market Place
8. Hearts And Diamonds
9. Party Piece
10. Thief On The Prowl
11. I Think I'm Being Followed
13. Crown Jewels
14. A Handful Of Gems
15. End Titles
16. Diamonds (M19 Film Mix)
17. Diamonds (M33 Film Mix)
Giorgio Moroder - Foxes OST
Label - Casablanca
Released - 1980
Style - Soundtrack, Sleaze, Computer Funk, Electronic, Italo Disco, Sniff Sniff
(Somehow from Blaxploitation.com):
Taken from a completely forgotten early 80s movie, Giorgio Moroder wrote a disco-based soundtrack featuring an LP's worth of his own material alongside some generally pretty bad 80s disco and rock. While the 'featured artist' tracks are bad, there's one redeeming moment in 'Hollywood Dreams' - an excellent downtempo late 70s funk instrumental with a very sampleable bassline and good horns working with analog synth in the mix.
1. Donna Summer - On The Radio (7:35)
2. Janis Ian - Fly Too High (Vocal Theme) (4:58)
3. Brooklyn Dreams - Shake It (5:37)
4. Cher - Bad Love (5:29)
5. Giorgio Moroder - Valley Of The Dolls (Instrumental) (10:37)
6. Angel - 20th Century Foxes (5:25)
7. Keith Forsey - Greedy Man (4:48)
8. Angel - Virginia (3:58)
9. Giorgio Moroder - On The Radio (Instrumental) (4:27)
10. Giorgio Moroder - Hollywood Dreams (Instrumental) (4:37)
11. Giorgio Moroder - Fly Too High (Instrumental) (4:16)
12. Giorgio Moroder - Valley Of The Dolls (Instrumental - Slow Version) (4:56)
Gene Page - Blacula OST
Label - RCA/BMG
Released - 1972
Style - Soundtrack, Blaxploitation, Not-so-Scary, Funny, Funk, Soul, Breakbeat
(From Dusty Groove):
Verrrrry scarrrry stuff -- and pretty darn funky too! This is the original soundtrack for the classic blacksploitation horror flick starring the baaadest Dracula ever to grace the screen of all those shabby downtown theaters that were still around in the 70's -- a wicked batch of wah-wah tunes penned by Gene Page, and featuring a great bit fo keyboards as well! The set's got a few vocal numbers, sung by 21st Century Ltd and The Hues Corporation, but it's the instrumentals that really steal the show here -- and there's plenty of great ones here that rank with the best blacksploitation work of the decade! Titles include "Blacula Strikes!", "The Stalkwalk", "Movin", "Run Tina Run", "Firebombs", and "Good To The Last Drop."
1. Gene Page - Blacula (The Stalkwalk) (2:37)
2. Gene Page - Heavy Changes (2:49)
3. Gene Page - Run, Tina, Run! (1:29)
4. Gene Page - There He Is Again (2:45)
5. Gene Page - Movin' (1:30)
6. Gene Page - Main Chance (3:09)
7. Gene Page - Good To The Last Drop (2:19)
8. Gene Page - Blacula Strikes! (1:23)
9. Gene Page - What The World Knows (3:43)
10. Gene Page - I'm Gonna Catch You (3:09)
11. Gene Page - The Call (3:08)
12. Gene Page - Firebombs (1:28)
13. Gene Page - Finding Love, Losing Love (0:41)
14. Gene Page - Wakeeli (Swahili Farewell) (2:27)
Jay Chattaway - Maniac OST
Label - Southeast Records
Released - 1980
Style - Soundtrack, Freaky, Psycho, Moody, Analog Electronics, Sketchy
* Maniac is one of the best movies ever made. I've always caught it late late night on TV and thought how awesomely appropriate the weird analog-soaked electronic backdrop was as a soundtrack. It's a psycho movie and highly suggested to those who like to walk on the dark side!
The superb dark and brooding electronic score to the cult early 80's classic horror/gore movie from William Lustig. Starring the late Joe Spinell (RIP) and Caroline Munro, it's the story of Frank Zito - one of the creepiest mentalists you're ever likely to run into - and his obsession with his dead mother which manifests itself by his brutal killing of young women. This is a disturbing score - made all the more freaky by the use of dialogue from the movie mixed seamlessly into one of the tracks. Kind of like a really dark chill-out CD. A real collectors item - highly recommended.
1. Jay Chattaway - Maniac's Theme (Main Titles) (3:12)
2. Jay Chattaway - Apocalypse New York (2:08)
3. Jay Chattaway - On The Beach (0:28)
4. Jay Chattaway - Hookers Heartbeat (1:14)
5. Jay Chattaway - A Little Knife Music (0:55)
6. Jay Chattaway - Inner Voices (4:11)
7. Jay Chattaway - Maniac Strikes Back (1:13)
8. Jay Chattaway - Blasthim (2:21)
9. Jay Chattaway - Blasther (1:03)
10. Jay Chattaway - Window Shopping (1:30)
11. Jay Chattaway - Subway Terror (3:27)
12. Jay Chattaway - Goodby Rita (1:01)
13. Jay Chattaway - Cemetery Chase (1:14)
14. Jay Chattaway - Cry For Mother (2:05)
15. Jay Chattaway - Mannequins' Revenge (4:10)
16. Jay Chattaway - Maniac's Them (End Titles) (2:24)
Goblin - Zombi (Dawn of the Dead) OST
Label - Cinevox
Released - 1978
Style - Soundtrack, Spooky, Library Music, Jazz, Funk, Orchestral, Score!
In exchange for Dario Argento's help on Dawn of the Dead, George Romero allowed Argento to release a different (more explicit) cut of the movie in Europe. This version was called "Zombi". Instead of the library music score that Romero had used, Argento enlisted the help of his pals Goblin to record a new soundtrack. The result is a brilliant score; menacing, thrilling and totally suited to the movie. There's even a sleazy lounge-esque track - "Zombi (Supermarket)". We don't say it often, but this is a must!
The track Zombi is currently being used as part of the soundtrack for the (new UK zombie-comedy movie) Shaun of the Dead.
1. L'alba Dei Morti Viventi
4. Torte In Faccia
5. Ai Margini Della Follia
11. L'alba Dei Morti Viventi (Alternate Take)
12. Ai Margini Della Follia (Alternate Take)
13. Zombi (Sexy)
14. Ai Margini Della Follia (Alternate Take)
15. Zombi (Supermarket)
16. L'alba Dei Morti Viventi (Intro - Alternate Take)
17. Zombi (The Living Dead's Voices!)
Riz Ortolani - cannibal holocaust OST
Label - Coffin
Released - 1980
Style - Soundtrack, 1980, Horror, Scary, Jazz, Funk, Other
This is Riz Ortolani's excellent soundtrack to Cannibal Holocaust - Ruggero Deodato's notoriously graphic gut-munching shocker from 1980.
The Cannibal Holocaust soundtrack is a wonderfully eclectic affair which mixes a variety of styles that - if you didn't know the contents of the movie - you wouldn't guess comes from the stomach-turner that is Cannibal Holocaust.
For the Main Theme, Ortolani serves up a lovely gentle melody that, although a beautiful piece of music, is somewhat at odds with what's about to follow on-screen. And that's what makes Cannibal Holocaust soundtrack so great.
For the rest of the Cannibal Holocaust soundtrack, Ortolani uses a full arsenal of musical styles and arrangements (including electronics!) to convey a variety of emotions including sadness (Adulteress' Punishment), frivolity (Cameramen's Recreation) and introspection (Crucified Woman).
And if that wasn't enough - our boy Riz only goes and gives us a great lounge track (Relaxing in the Savana) and the fantastically jazzy "Drinking Coco" too!
1. Riz Ortolani - Cannibal Holocaust (Main Theme) (2:57)
2. Riz Ortolani - Adulteress' Punishment (3:21)
3. Riz Ortolani - Cameramen's Recreation (3:15)
4. Riz Ortolani - Massacre Of The Troupe (3:53)
5. Riz Ortolani - Love With Fun (2:53)
6. Riz Ortolani - Crucified Woman (2:20)
7. Riz Ortolani - Relaxing In The Savana (3:06)
8. Riz Ortolani - Savage Rite (3:42)
9. Riz Ortolani - Drinking Coco (3:23)
10. Riz Ortolani - Cannibal Holocaust (End Theme) (3:54)