An absolutely wicked, top-ranking slab of primo mid-70s dub from King Tubby. Ranging from the hard-driving squelch of “Dreada Dread Dub” and “Roman Soldiers of Dub” to the trailing twinkle of “Suzie Wong Dub” it’s easy to imagine keyboardist Touter Harvey stepping onto the Mothership and tapping in for Bernie Worrell. Filtered through Tubby’s arsenal of echo, flying hi-hat, and other flick-of-the-wrist console wizardry, these dubs are heavier than two tons of high grade in the sunshine, and they’ll linger straight through to next summer.
Category: Reggae/Dub
Augustus Pablo :: East of the River Nile
East of the River Nile is a masterpiece of haunting and hazy ambience from Augustus Pablo (aka Horace Swaby), whose plaintive melodica leads waft through these dubbed-out instrumentals like fragrant and heady strains of ganja mist. Recorded at some of the most hallowed studios in Jamaica—Harry J’s, King Tubby’s, Channel One, and Black Ark—East of the River Nile boasts some serious dub royalty with master engineers like Errol Thompson, Sylvan Morris, Prince Jammy, and Lee Perry manning the console while the Barrett brothers, Robbie Shakespeare, Earl “Chinna” Smith, and The Upsetters are among the heavies throwing down the riddims.
Catching Up With Adrian Sherwood
While collaboration has been a hallmark of Adrian Sherwood’s storied career, he is currently stepping out on his own with a full-length The Collapse of Everything and an EP The Grand Designer, his first solo efforts in 13 years. We recently connected with him to discuss this new work, his ever-evolving set of studio tools, his history in music and his lifelong commitment to learn and grow.
Burning Spear :: Marcus Garvey
Of all the reggae cornerstones hitting their 50th anniversary this year, you’d be hard pressed to find another that hit with the same gale force of Burning Spear’s Marcus Garvey. Part reggae master class, part history lesson, Marcus Garvey introduced Winston Rodney’s impassioned wail to the world, establishing Burning Spear as one of reggae’s foremost emissaries and educators. Simply put, this is one of the heaviest, deepest roots sets ever laid down.
Seke Molenga & Kalo Kawongolo
Recorded in 1977 at the hand of Lee “Scratch” Perry in the legendary Black Ark lies one of its most beguiling and misunderstood creations. Two talented Congolese musicians were brought to Jamaica to record an album only to be unceremoniously dumped by their promoter and fend for themselves. Found begging on the streets of Kingston by Perry himself, as the story is told, The Upsetter took it as a sign from Jah to take them in, and a serendipitous musical collaboration followed.
Dubwise Summer: An Aquarium Drunkard Mixtape
Summer equals dub. It is the elemental music of the season. And not simply because it comes from a tropical island. Everything in dub feels suspended in the heat and humidity: a little slower, a little hazier—all the elements delayed in the muggy atmosphere. There is something about the laid back languor of dub that feels especially appropriate this time of year, when the sun is high and the stakes are low. In that spirit, we’re serving up a couple hours of some of our favorite cuts from the golden age of dub.
Keith Hudson :: Pick A Dub
2024 heralded the 50th anniversary of this seminal dub record – one of the first of its kind – and it’s no exaggeration to say this release from Jamaican producer Keith Hudson remains one of the genre’s high-water marks. Recorded in a nascent scene, Pick A Dub‘s edges are rough, but the riddims are pure and shot straight from the heart boasting a simplicity and honesty that is nothing short of enchanting.
Ras Michael & The Sons Of Negus :: Rastafari
If there exists a more perfect reggae album than Rastafari to symbolize the rejuvenating, re-energizing power of spring we have yet to hear it. Turning 50 this year, this is far more than sound-system music, this is reggae as art form.
Dub Syndicate :: Out Here On The Perimeter 1989-1996
Continuing the drive to get the On-U Sound catalogue back out there and following on from the ’80s Dub Syndicate box set Ambience In Dub, the label presents the Out Here On The Perimeter box set – with a title that makes no effort to hide the label’s otherness from usual dub fare – collating four Dub Syndicate records spanning 1989-1996. As a special bonus, a fifth recording is included entitled Obscured By Vision, on which Sherwood reworks rhythms from the period.
Jamaica to Toronto: Soul, Funk & Reggae 1967-1974
Light in the Attic is set to reissue their stellar 2008 compilation of Caribbean-influenced music from the late 60s and early 70s Toronto music scene as selected and annotated by Kevin “Sipreano” Howes. This new, deluxe pressing comes with a 20-page booklet featuring detailed bios, essays, and archival photos that further reveal the backstage of this extremely fecund scene of soul, funk, disco, R&B, and reggae.
Count Ossie and the Rasta Family :: Man From Higher Heights
If you’re wondering where to head after Dadawah and Heart of the Congos, this ain’t a bad next step. Man from Higher Heights is a roots reggae jammer shrouded in mystery. It’s potent brew of reverent nyabinghi rhythms, synth, brass, and sinuous fuzz guitar will elevate you above the heat and humid murk to your own higher heights.
The Congos :: Heart of the Congos
Hyperbole is near impossible when critiquing Heart Of The Congos, from the untouchable Lee “Scratch” Perry production to the unparalleled vocal harmonies, seamless flow and monumental influence on music within and outside of the realms of reggae. Yet it’s also a record whose magic defies scrutiny. It is inscrutable, effervescent and like the ocean upon which the Fisherman toils, its beauty, power and impact shifts according to environmental factors and the mood of the observer.
George Faith :: To Be A Lover
A heady soul-reggae brew that only Lee “Scratch” Perry could concoct, George Faith’s To Be A Lover is a sweet and sultry dose of vintage R&B á la Upsetter. Released in 1977, it’s an undersung classic from the heyday of the Black Ark studio—eight cuts combining the velvet nonchalance of Faith’s voice with a group of reggae heavyweights working out tunes from the Stax, Motown, and Muscle Shoals songbooks.
Prince Far I :: Cry Tuff Chants 1981-84
Via Adrian Sherwood’s liner notes to Cry Tuff Chants On U we’re reminded that Prince Far I had initially been dubbed King Cry Cry owing to his infamous “voice of thunder.” Had he been a preacher (which he was, in his own way) it’s not difficult to imagine him proselytizing to hordes of non-believers.
Dadawah :: Peace And Love
That this sublime slice of life-affirming music is considered reggae is incidental in the same way that Alice Coltrane’s Journey In Satchdinanda is considered jazz. What it really is, what they both really are is devotional music that transcends genre limitations and taps into something that most musicians could spend a lifetime failing to achieve.