Hip-Hop News

Steppa dubwise sound ! A masterpiece, once again !

First released in 1995 on Jonah's own Aba Christos Tafari Records,Intergalactic Dub Rockis a trip. While the 90s rave continuum buried down the hole of cosmic sci-fi culture, dub's fascination turned elsewhere after 80s touch-stones like Shaka'sBrimstone & FireandCaptain Ganja and the Space Patrol(re-issued by Bokeh last year). But Jonah takes things way far on this, his most adventurous outing: let your needle cruise along these bleeps and strings of 50s space travelling dreams, and the flutes and melodicas of planet earth, hear them clang with the hardest dub FX units the UK could buy at the time. It's one of the most righteous and outward-looking steppas LPs, now liberated from the hands of Discogs-types with a previously CD-only bonus track, 'White Nile'.

Inyotef, Bongoman, Jahman Dan, Kheru - Jonah Dan goes by many names and many trades - akete nyabinghi master, vocalist, producer and filmmaker. For many years he was the go-to studio percussionist for the UK dub scene, collaborating with basically everyone: Paul Fox, Jah Warrior, Robert Tribulation, Jah Fingers, Tony Roots, Alpha and Omega. Along with Bush Chemists (stars of BKV 020...) and Disciples, he toured the continent, spreading the message of UK dub and laying the seeds for a lot of the EU scene today. At some point his Aba Christos Tafari Records morphed into Inner Sanctuary, one of the greatest 90s labels still in operation, go check.

180g

Up until now, this dubplate has only been heard in session, a heavy nod to classic Jamaican dub, fused with UK steppers and contemporary bass music. Grand Ancestor is thrilled to offer a limited run 12" to the public, no digital, no repress.

7"

* A welcome reissue of a UK dub favourite dating from 1995.
* Features the voice and some fine bongo work from the man like Bongo Zebby alongside the Dub Crusaders collective.
* This originally appeared on the Jah Works LP `Universal Spirit Warrior, but has been long since deleted.
* `Drum Talk' is a wild dub cut to `Readings from the Book of Life'
* Mixed and produced by Rej Forte.

Creeping Out Of Torino's Longest Dark Winter Nights, Isolated And Shrouded In Mystery Just Like The Cities' Deep Connection To Black Magic, Here Comes Sabasaba, The Newest Addition To The Maple Death Family. Western Esotericism Converting Pagan Mystic's One By One!

The Trio Of Tommaso Bonfilio (tape Loops, Drum Machine, Organ), Andrea Marini (electronics, Flute, Guitar, Bells) And Gabriele Maggiorotto (drums, Percussion, Effects) Is A Rare Beast, Night Phantoms Embarking On A Digital Dust Adventure Set In A World Punctuated By Ballard's Dreams And William Gibson's Visions. Sabasaba's Self-titled Debut Is An Industrial Cinematic Dub Scorcher That Is Not Afraid To Mix Dark Isolationist Off-kilter Machines, Tape Recorders And The Earthy Beat Of Primordial Dancehall Dub Productions (king Tubby, Horace Andy). Album Opener Bells Sets The Tone Right Away, A Pulsating Horror Tempo And Crowley Cadence Symbolically Uniting The Disques Ocora Catalogue And The Ambient Droning Of Nurse With Wound. Magma Is A Witch March Advancing Slowly Into Kosmische Lands, Drops Is An Opium Induced Hyper Dub Ballad Where African Head Charge's Sun Is Eclipsed By Coil's Black Moon. Peradam Inspired By René Daumal's 'mount Analogue' Ascends And Weaves Ideally Upstream Across The Po River While Red Nights Sees Italian Occult Legends And Co-conspirators Father Murphy Spreading Their Cathartic Chanting. Eden - Olympia Is The Perfect Closer, A Calming Distant Tribe Of Percolating Bells Awakening The Spirit.

This Is Not Wishy-washy Psychedelic Music, This Is The Real Deal, A Voyage Into Mind Alteration Through Sound, A Chariot Proceeding East, West And Everywhere In Between, Hands Turning Digital Knobs, Feet Raising Dust And Grain While The Heart Beats Analog To The Pulse Of Mother Earth.

For The Best Part Of Two Decades Now, South London Afro-dub Dons Soothsayers Have Been Preaching Their Politically Charged Good Vibrations To A Growing And Loyal Fan Base. Their Live Shows Are Legendary And Vary From Off-the-cuff Community Friendly Gigs In Brixton, To Festival Headline Slots And Tours Across Europe And Beyond. Having Recently Filled London's Jazz Caf To Much Acclaim, And In Anticipation Of Their New Album, Tradition, Out On Wah Wah 45s In June, Soothsayers Unleash The Second Single To Be Taken From It. It's A Double Header Of Sorts That Shows The Band's Knack Of Reinterpreting A Cover Version Or Two For The Dance Floor.

Sleepwalking Is A Take On Fela Kuti's 1971 Classic Black Man's Cry. It's A Chant Of Frustration Aimed At Disenfranchisement From The Process And Features Afrobeat Ambassador Dele Sosimi On Guest Vocal Duties.

It Questions If We Are Sleepwalking Into The Abyss, And Is A Revolutionary Song About Taking Power Back Into Our Own Hands! Although It's Challenging To Do Justice To A Bob Marley Cover, On Natural Mystic Soothsayers Cradle The Spirit Of The Originator And Turn It Upside Down, Transforming The Familiar Into A Journey Back To Africa Via Their Trademark Groove.

Spiritual Jazz Flutes And Percussion Combine With The Floating Vocals Of The Mighty Cornel Campbell, While The Song's Main Melody Is Emphatically Reproduced By Soothsayers Horn Section To Stunning Effect.

Editions Gravats kick off the club-ready Les Disques de la Bretagne series with exclusive edits of 8 tracks from Low Jack's half of the Glacial Dancehall 2 tape with Time Cow (Equiknoxx) for Bokeh Versions, all making their first appearance on vinyl.
Arriving 4 years since Philippe Hallais a.k.a. Low Jack started up the Gravats label with his îlot 7', Hallais returns to his roots with these ruddy dancehall bangers, each nipped and tweaked from the OG tape for optimal, freaky impact inna dance.
Dubwise and direct but laced with strange details that light up on repeated listens, the plate turns up some massive highlights with the loping Linn drum cracks and digickal synth torque of Partei and the rogue bogle of Brass up top, then with some killer sino-flavour on the rugged '90s rub 'n tug of Raid Leader and the Flex Dance Music-compatible knocks and horns of Light, but you can take it on trust: this one is properly top-loaded with heavy gear.

"war Ina Babylon" By Max Romeo & The Upsetters Was Originally Released In 1976 By Island Records. Produced By Lee "scratch" Perry At His Black Ark Studio, With Backing By His Superb Band The Upsetters, This Record Has Perry's Trademark Gritty, Swampy Sound While The Socially And Politically Conscious Songs And The Musicians Performances Show All Involved At The Height Of Their Powers. This Is A Classic Of The Roots Era And An Essential Record For Reggae Fans. On Translucent Red Vinyl.

UK Dub legend Vibronics brings you a new vocal & dub album that celebrates women in Reggae & Dub. 'Woman On A Mission' is a new release featuring 8 female vocalists on 8 brand new Vibronics tracks. The album presents time-honoured Vibronics associates, Boney L (recording for the first time in 10 years), Nia Songbird, Vanya O and Saraléne , alongside first time collaborations with Trilla Jenna, Nanci Correia, Nish Wadada & Sis I-Leen. Each track vocal track effortlessly glides into an extend dub mix that showcases the sonic skills that Vibronics is known for.

In this opus, KID has gathered its favourite MCs: Troy Berkley (Be), Demolition Man (UK), Jamalski (US), Senior Wilson (ES), Echo Minott (Ja) and Eva Lazarus (UK) - as well as the musicians Dubamix (Fr), Dubmatix (Can) and Crew Fogata Sound.

7"

*More classic UK roots gets revived from Partial Records, this time from the vaults of the Jah
Works stable and roots daughter Donette Forte.
* `Time For a Change' is taken from the now long-deleted Donette Forte LP from 1991 `Wilderness', and this welcome reissue comes backed with previously unreleased dub cut `Time For a Dub'.
* Mixed and produced by Rej 'Jah Rej' Forte at Channel One UK studio.

7"
*Something fresh out of the Echobus stable in Dublin, Ireland with a tune with a solid
80's vibe using a Casio MT-40 and a Yamaha CS-01 but with a slight nod towards Basic
Channel / Rhythm and Sound.
* Vocals controlled by Lariman, longtime sound system mic man.
* Flip over for a minimalist dub wise excursion from Dan Taliras.

*`King and Queen is the 6th release from Alpha and Omega on Partial Records, following on from `Pure and Clean', `Rastafari', `Show Me a Purpose', `Jah Protection' and `Almighty Jah' which all sold fast.
* This is a prime example of the heavyweight 1990s UK dub style, with this track dating from 1991, originally appearing on the LP of the same name (`King and Queen'),
* On 7' for the first time, backed with a previously unreleased dub version.
* A bonefide Jah Shaka Sound System classic from those times.

Everyone loves "Why Can't We Live Together" by Timmy Thomas: how could one resist such a strong music vibe coming with a message more relevant today than ever! It has been covered by the most creative artists more than a few times...

Recorded in Paris and Kingston, the Soul Sugar crew & Leonardo Carmichael make it their own with a sultry reggae groove. Jahno on drums and syndrums, Thomas Naim on guitar, and Guillaume "Gee" Metenier on keyboards and production duties, are delivering the classic hit in all its majesty, in the superior categories of both extended Discomix, and Dub version under the spell of Dubmaster extraordinaire Dennis Bovell!

What to say about the breathtaking interpretation of Leonardo Carmichael Growing up in Jamaica, Leonardo learnt many a song from his father Glendon Joseph McFarlane, who would sing to his mother Geraldine, who sang in a choir. Leonardo grew up as a drummer and a singer in churches. Through a mutual friend, he met Nastassja Hammond, daughter of Beres Hammond, with whom he started writing and releasing music for various artists including Courtney John and Kreesha Turner. Leonardo has a wide appreciation for diverse genres but keep an International Reggae and Dancehall feel at the core of his music. It can be said Leonardo has faith & soul to the bone...

King Tubby's Hometown Hi-Fi was one of the great Sound System in Jamaica.
It also proved a fantastic outlet for the Dub Plate Specials cut at Tubby's studio, providing exclusive cuts to be played out and to entice the dance's audience.
The tracks at the time were mainly cut over producer Bunny'Striker'Lee rhythms, that Bunny stored at Tubby's studio, 18 Drumilly Avenue, Kingston, Jamaica.
The versions were given eclusive plays at Tubby's sound before some finding their way on to vinyl, ass the b-side version cut to it's a-side vocal.
It proved so popular that the records were often brought fir its version side over its vocal counterpart.
We have compiled a selection of cuts that were all tried and tested on Tubby's Home Town Hi-Fi Sounf System and that worked a great set of Bunny Lee's rhythms in fine style.
Some of these cuts found a release as version b-sides but many on this set were exclusive Dub Plates unreleased until now.
As Cornell Campbell says on track one of the set 'King Tubby and Bunny Lee will never go away'
Hope you enjoy the set......

2x12"

The remix collection, inviting international and french remixers... close to be a complete High Tone story (a voulme 2 with the missing one i hope some time in the future) And what a selecta of tunes !! Bloody heavy stepper, Bass Music, or kind-of-a-House... and even a drum & bass Mix !! Long Time no ear that on Jarrieng !! ... Also to noytice the Singer invitations who brings another dimension. So, of course Shanti D is here, but recognise Pupajim on the Mahom remix, Martin Campbell on the Alpag Steppa's remix... A masterpiece !! Don't miss !

After a few months' hiatus, ZamZam Sounds returns with our third release from Philadelphia dub-tech duo Heights & Worship, the propulsive & heady Selassie's Song' in two parts. Heights is Ras Heights of Ital Sound System, Worship represents Rob Paine, long-time head of dubhouse institution Worship Recordings and Solomonic Sound System. ZamZam's friendship and musical connection to Rob extends back to the BSI Records days, and the link remains strong.

Both versions of Selassie's Song' utilize dub techno principles in new shapes and forms, far from the familiar Rhythm & Sound homages. Techy clicks & skittering percussion intertwine with the ancient sound of the binghi drum, signaling a seamless marriage of Rasta consciousness with an early morning eyes-down techno pulse & palette.

The A side Never Chained' mix marries double time hi hats and synthetic textures to a body-rocking half time riddim. Sharp snares cut through the dense atmospheres, like shots fired across distant waves, and the disembodied voice of Emperor Haile Selassie I intones timeless wisdom on the unity of humanity in spite of differences in race, creed, religion, or nationality. The tune's second drop leads into a 4/4 pulse that carries the tune into full dub techno territory, continued in even sparser style on the B side.

The Break Every Chain' mix strips away most of the melodics to focus on the heartbeat techno pulse, as metallic synth skanks rise and fall, hi hats deftly shift patterns and mechanical textures emerge and fade, a disorienting game of light and shadow. A masterclass in deep & esoteric dubwise as only Heights & Worship do it.

Mastered by Sam at Precise

ZamZam Sounds welcomes London-based producer Ojah to the fold, best known for his rich analog sound and expert live mixing on numerous 7' and 12' releases on his own excellent Alchemy Dubs label. With a sound at once personal and classic, Ojah has been carving a beautiful niche for himself that we are proud to forward.

Cycles' opens with ominous synths building steadily with the introduction of clave, tambourine and a militant steppers kick. A gorgeous bassline and piano figure drop in, accented with insistent skanks, syndrum, rimshots, more percussion, and a powerfully repetitive, hypnotic, sonar ping in the distance - like a lighthouse cutting through dark and dangerous fog.

Fear Not Dub is a militant steppers tune cut from similar sonic cloth, replacing the syndrum with bright claps and rich toms, and adding a theremin-like synth melody and impressionistic melodica courtesy of Ojah's frequent collaborator, The Specials' own Nikolaj Torp Larsen, aka Nik Torp. Deep and driving mid-tempo sound system tunes for all those with a passion for hands-on-desk live mixing and dubbing in the tradition.

Mastered by Sam at Precise

JahYu: the Korean word for 'freedom', this is an artist whose music is rooted in the notion of freedom, freedom of sound, freedom of expression, freedom from mind and freedom of the soul. JahYu uses his creative freedom to connect directly with his ancestors and create music that somehow transports the listener through time and space. Oriental flute and string melodies slide effortlessly amongst powerful roots-based dubstep, creating a sound that is unique and full of flavour. This enigmatic Korean-German producer blends both sides of his heritage, the digital steppers that emerged from Europe in the 1990's alongside the traditional oriental music of his mother's homeland, Korea, augmented by a deeper exploration of contemporary bass music. It is said that JahYu's family descend from the same lineage of Go Jumong, the founder of the great Goguryeo Kingdom of the Far East, a people renown for their ancestral worship and unique musical expression. Goguryeo music was even adopted as official court music for the powerful Sui and Tang dynasties of China, many times throughout history these Chinese dynasties were at war with Goguryeo, however, the music of the enemy, Goguryeo, was still able to flourish in China and has been consistently performed across Asia for hundreds of years. Perhaps this explains the majestic qualities of JahYu's music. JahYu's productions provide us with the opportunity to discover our ancestral roots through music. Roots music is not a sound, it is a feeling and a feeling that JahYu is able to evoke with profound intensity.

Old school meeting da newskool ina RubADub style ! Massive !

Classic Bunny Lee production that's been unavailable since it was first pressed on the Justice label. Cornel Campbel's rocking version of William DeVaughn's 1974 hit is perfectly suited to Cornel Campbell's sweet falsetto. Comes with a heavy Tubbys piece on the flipside, in a hand stamped bag.

A prodigy of the Alpha boys school, Owen Gray delivers a heartfelt roots vocal on a rhythm most likely supplied by Sly Dunbar and Lloyd Parks. This is a top tune and Phil Pratt's production is sympathetic to Owen Grays voice. The rhythm was remixed at London's Easy street studio and used on the 'War is on dub style' set. There is a distinct Roots Radics feel to the rhythm, and the veteran Owen Gray handles it perfectly. A classic that is well worthy of being re-issued: 'Why did you kill your brother for a dollar' as appropriate now as it was when it was released. Bobby Kalphat makes an appearance on melodica in the second half of the track. Comes in a Pressure Sounds house bag.

Highly sought after dub album, that has not been available since its original release in the early 1980s.

In the early 1980s, one London recording studio became the favoured hang-out for visiting Jamaican producers and British reggae musicians alike. Easy Street Studios in Bethnal Green had humble beginnings, but was soon pouring out an impressive run of hit tunes by artists like Sugar Minott, Winston Reedy, Alton Ellis and Barrington Levy.

Founded by Eddy 'Eddyman' Williams, the studio soon recruited a team of local eastenders, like Dean 'Joe 90' Richards, Mike Stephenson, Jeff Chandler and Stuart Breed, who became known as the Easy Street Crew.

Phil Pratt had an illustrious career in Jamaica stretching back to the rocksteady years of the 60s, scoring huge hits such as 'My Heart Is Gone' and 'Artibella', but by the 80s he was increasingly finishing his productions in London. Easy Street was a low budget studio with professional but fairly limited equipment - a Soundcraft TS24 mixing desk, a Roland RE301 Chorus Echo, an AKG BX5 reverb, and an MXR flanger/doubler - and a speedy way of working which suited the incoming rush of reggae producers.

'The War Is On Dub Style' is an album that typifies Phil's working methods in those days, with the backing tracks recorded at Joe Gibbs' Studio in Jamaica, and overdubs and mixing done in London.

By the mid 80s Easy Street was scoring further successes with homegrown lovers' rock and deejay tunes, and to support their breakthrough acts the Easy Street Crew started to go out on the road and into concert venues and dancehalls.

Drums and Percussion:
Lowell 'Sly' Dunbar
Bass: Robbie Shakespeare,
Lloyd Parks
Lead Guitar: Lloyd 'Gitsy' Willis
Rhythm Guitar:
Winston 'Bo Peep' Bowen
Keyboards and Melodica:
Bobby Kalphat

Two crisp and crunchy Phill Pratt productions. The A side has an extended version of the song Strange things. Ronnie Davis takes the lead vocal on this version of the song that was written by Horace Andy and made famous by John Holt. 'Black Cinderella', on the flipside, was originally cut by Errol Dunkley for Jimmy Radway. Ronnie Davis' version is an update that was recoded in Jamaica with Sly and Robbie as the rhythm section. These songs were remixed in the UK as dubs for 'The War is On Dub Style' set. Both sides of the ten inch are extended versions. Comes in a Pressure Sounds house bag.

7"

After the first vinyl release (Analog Dub Sessions) Dub Communication is back on 7". This time Frenk is using his Korg MS20 to lay down an analog 'Militant Dub' bass foundation. Creating subs, stabs and catchy melody lines. A live played Melodica, dipped in spring verbs, adding a human touch to the mix. Futhermore we got atmospheric chords and heavy drums rhythms, as we know, Frenk likes to produce. For the B side, there's a heavy remix from Belgium dub producer Digid. His signature bass growl takes over, filtering and phasing through the audio spectrum. He adds more weight to the drums and new melodies on top. From the half time to the steppers rhythm as Frenk took it the other way around.

Recorded at King Tubby's Studio, 1980.

First re-press since its original release. When The Skatalites splintered after Don Drummond's arrest for murder, McCook led The Supersonics for Duke Reid in the rocksteady and early reggae years, before becoming the pre-eminent horns arranger of the roots era. Having already fallen under the spell of John Coltrane's free jazz, Tommy had found a deeper meditational mood in the percussive rhythms of Count Ossie's Rastafarian drummers, and he brought this spiritual dimension into the militant rockers sound of the late 1970s.

McCook recorded extensively for Bunny Lee, and 'Super Star Disco Rockers', released in 1977, is a strong showcase for his meditational style of playing. The track 'Lamb's Bread Herb', a reworked version of Yabby You's 'Death Trap' with an overdubbed 'steppers' drum pattern, is a mystical highlight.

Bunny Lee: When Tommy join up with Bobby Ellis on trumpet, that is when he develop what we call his 'far east' sound. And especially when he play flute like on 'Death Trap' it give it that 'far east' sound. Or sometimes Tommy play clarinet for a different flavour. But mostly he play the tenor sax with that deeper, lower tone, like on 'Tommy's Rocking Vibration' - hear that big horn there!'

Other tracks include two cuts of Frankie Jones tunes, ('African Jumpers' and 'The Night Rose Of Sherron', both popular cuts with Fatman's sound system) and instrumental versions of Johnny Clarke and Cornell Campbell songs. Several tunes feature the higher alto sax of Lennox Brown alongside Tommy's tenor, and two tracks actually feature Lennox Brown alone.

'Super Star Disco Rockers', originally released on Dynamic Sounds' Weed Beat label, was overdubbed and mixed at King Tubby's Studio, where Bunny would line up the horns players in a spirit of healthy competition.

Featuring, among others: Sly & Robbie, Earl "Chinna" Smith, Tony Chin, Ansell Collins, Ossie Hibbert, Bobby Ellis & Lennox Brown.

'Super Dub Disco Style' features the dub mixing skills of two of the most multi-talented engineers to come out of Jamaica. Pat Kelly is mainly known for the haunting singing voice that powered dozens of hit songs, and nearly had him signed to The Beatles' Apple label. And Stanley 'Barnabas' Bryan is also a deejay, percussionist and drummer, who played on big tunes for Sugar Minott, Junior Reid and Tenor Saw. Both fell under the spell of King Tubby's seismic experiments with dub music in the early 1970's, Pat Kelly as an engineer at Tubby's own studio in Waterhouse, and Barnabas at the larger Channel One Studio, run by Jo Jo and Ernest Hoo Kim.

Whereas most Channel One dub mixes sound very different from those mixed at King Tubby's, it is much harder to distinguish some dubs mixed by Barnabas, as he also introduced a filtering effect in imitation of the famous hi-pass filter, or 'squawky', at King Tubby's. It seems likely that 'Money In Your Pocket Dub', 'Super Rockers Dub', 'Portobello Special Dub' and 'The Aggrovators Special Dub' were all mixed by Barnabas at Channel One, applying an EQ sweep across the echo return.

The remaining tracks were mixed by Pat Kelly, and are mostly versions from the Ken Boothe album 'I'm Just A Man' which had been voiced in one night at King Tubby's. Pat Kelly remembers the original filter at King Tubby's as being like a secret weapon, which no one else could understand.

Pat Kelly: We had this one hi pass filter, which you could patch into whatever track you want. It effected like if you use an EQ, like a graphic, but it was this knob that you could rotate, so you get a different effect than if you was to push them up individually. When you rotate it, it's all simultaneously, and you get a different effect, you're skipping from one frequency within a few seconds. You generally use it on the track with the rhythm, the guitar, the piano, etcetera, because it's more effective at that frequency. Also often on the drum track to pick out the hi-hat - it's extra effective on those frequencies.

I probably mix about thirty LPs for Bunny Lee in my time. And in those times half the music you hear by other producers, it was really Bunny Lee give them the riddim track, and they just say they was the producer. And Bunny Lee never said anything - he never used to sell the track, just give it, and he still doing that to this day. Everybody's trying to be like Bunny, but there's only one Bunny Lee!'

Musicians include:
Sly & Robbie, Aston 'Family Man' Barrett, Earl 'Chinna' Smith, Ansell Collins, Jackie Mittoo, Gladstone Anderson, Bobby Ellis & Tommy McCook.

Reissue of 1983 release

Reissue of 1984 release

Reissue of 1983 release

Great rendition of legendary Burning Spear tune, with melodica & nyabinghi drums.