Doctor Dread has been working on this video for some time. “I & I Dub” was featured on IS IT ROLLING BOB? A REGGAE TRIBUTE TO BOB DYLAN, which was released on RAS/Sanctuary in 2003. The Dylan tune “I & I” was included on his 1983 Infidels project which featured Sly Dunbar and Robbie Shakespeare. Doctor Dread did a dub mix of the crucial track for the Dylan tribute album.
Doc gave it the Theremin treatment last year when he included it on his THEREMIN IN DUBproject. THEREMIN IN DUB was a limited release (1000 copies) album featuring Doc remixing some of his favorite RAS-era tracks using the Theremin, the only musical instrument in the world that you play without touching – pure sound and vibes. Which brings us to this music video, a very well-produced and wildly entertaining journey through the mind of Doctor Dread.
Please share freely with as many people as you can as Doc really wants people to experience and enjoy the video…
MIDNIGHT RAVER is currently working on a feature about Sly and Robbie, who are responsible for five Grammy-worthy albums in 2013. They were nominated for their album SLY AND ROBBIE & THE JAM MASTERS NEW LEGEND. However, I feel that the albums BITTY MCLEAN: THE TAXI SESSIONSand STEPPER TAKES THE TAXI are two of the better albums I’ve heard in several years. I have placed links to purchase these albums in the sidebar.
As part of this planned multi-media feature, Dermot Hussey will interview Sly Dunbar and I have interviewed Robbie Shakespeare, Guillaume “Stepper” Briard, and my friend and producer Guillaume Bougard. We are attempting to get Bitty McLean as well. I’m shooting for this feature to be the very first post of 2014!
So here are ten things you might not know about the ‘RIDDIM TWINS:’
1. Sly Dunbar’s earliest influence as a drummer was Skatalites drummer Lloyd Knibb. 2. Sly Dunbar received his first drum kit while working for the Tit Tat Club’s House Band Skin, Flesh and Bones. 3. The first song Sly did was at 15 years old; a song called “Night Doctor” for Ansel Collins. It came out as ‘The Upsetters,’ but it was really produced by Anthony Collins. The second song he did was a million-plus seller, Dave and Ansel Collins’ “Double Barrell.” 4. These “Rhythm Killers” first met when Sly was 20 and Robbie was 19. Sly was playing at the Tit Tat Club and Robbie at Evil People. Both clubs were walking distance apart on Red Hills Road in Kingston. 5. Their first collaboration was under the name “The Aggrovators.” They later formed the riddim section of Channel One’s session group “The Revolutionaries.” 6. Their first hit single as a duo was “Soon Forward.” With the riddim laid down, the duo asked a friend named Gregory Isaacs to come to the studio and sing over it. The tune was a keeper, spending eight weeks on top of the JA music charts. 7. Sly Dunbar played drums on Bob Marley’s “Punky Reggae Party” which was produced by Lee “Scratch” Perry. He also played drums on Junior Murvins “Police and Thieves.” 8. Sly & Robbie crafted the grooves on Black Uhuru’s 1984 album titled ANTHEM. The album was the first reggae album ever to win a Grammy. 9. As Black Uhuru, they were nominated for the Grammy once again in 1986 for the Jim Fox-engineered BRUTAL DUB, however, the Grammy committee snatched away the nomination when they learned that dub was a music without lyrics! 10. The Sly & Robbie “sound” first gelled on the Mighty Diamonds RIGHT TIME album. The album was so successful that it opened many doors for the duo, now a verifiable riddim section.
Here is a great early 80s dancehall album that I can almost guarantee you haven’t heard. How do I know this? Because I had to go on safari to find this record. Recorded and mixed at the legendary Aquarius studio with backing from a modified Revolutionaries line-up that includes Willie Lindo, Sly and Robbie, Robbie Lyn, and Dwight Pickney, this is that early dancehall sound we all love.
I cannot say enough about the stuff that Peter van Arnhem has been sharing lately from his collection. Nothing but heavy 7″s and vintage Black Echoes articles. Thanks to Peter and Glen Lockley the MIDNIGHT RAVER BLOG is the ONLY source on the web for BLACK ECHOES archives.
Rare interview with Sly Dunbar. Gregory Isaacs’ “Soon Forward” was the first single released on Sly & Robbie’s Taxi label.
Today I have for you a most killer dub set. This one is righteous. It’s 1978. Sly Dunbar, Norman Grant, Robbie Shakespeare, Lloyd Parks, Tarzan, Ernest Wilson, Winston Wright, Ansel Collins, Cedric IM Brooks, Sticky, Flick Wilson, Junior Delgado, with production by Prince Jammy….need I say more? Just listen!
DEB MUSIC PLAYERS – 4TH GENERATION DEB MUSIC PLAYERS – GUIDANCE DEB MUSIC PLAYERS – THE TRUTH DEB MUSIC PLAYERS – SOUNDS ALMIGHTY DEB MUSIC PLAYERS – SOUNDS OF FREEDOM DEB MUSIC PLAYERS – THE EMPEROR DEB MUSIC PLAYERS – UMOJA DEB MUSIC PLAYERS – SCRUB IT DEB MUSIC PLAYERS – 3RD GENERATION DEB MUSIC PLAYERS – SHAKA THE WARRIOR DEB MUSIC PLAYERS – LAGOS DEB MUSIC PLAYERS – SOMETHING SPECIAL DEB MUSIC PLAYERS – SATTA DEB MUSIC PLAYERS – SONS OF DUST DEB MUSIC PLAYERS – COP’S SPY DEB MUSIC PLAYERS – GREAT MAN CALLING DEB MUSIC PLAYERS – MURDER DEB MUSIC PLAYERS – GENERAL VERSION DEB MUSIC PLAYERS – SPIRIT OF UMOJA (12″)
St. Catherine in Dub 1972-1984 captures a snapshot of a special place and time musically, as well as a particular musical equation involving dub producer Rodguel “Blackbeard” Sinclair and his backing band, the Ring Craft Posse. The where, when, and who of St. Catherine in Dub 1972-1984 result in a delightful collection of 14 previously unreleased, newly remastered dub recordings named after various sections of St. Catherine, Jamaica. These dubs may or may not already be familiar to you; for instance, the opening dub, “West Bay,” is a version of Burning Spear’s “Joe Frazier.” Then again, unless you’re a real wiz about ’70s reggae, chances are you probably won’t know many, if any, of these versions.
Blackbeard’s production is top notch, as well as the mix, which is provided by Jah Thomas. And the Posse? Amid the numerous bands that made the ’70s such a golden age for reggae, with the blossoming of both roots and dub styles, the Ring Craft Posse stand tall, alongside other such luminous bands as the Aggrovators, the Revolutionaries, the Upsetters, and the Roots Radics. The band backed Blackbeard for a long and illustrious stretch of time, from roughly the early ’70s until the mid-’80s, and recorded a wealth of tracks at his Mr . Tipsy studio. Definitely a band to look for if you’re into ’70s roots-dub reggae, the Ring Craft Posse are comprised of drummers Sly Dunbar and Mickey “Bo” Richards, bassists Robbie Shakespeare and Lloyd Parks, keyboard/organ/pianists Winston Wright, Ansel Collins, Herbert Herbie Harris, and Robbie Lyn, guitarists Willie Lindo, Winston Bopee Browne, and Dwight Pinkney, and a horn section including Bobby Ellis, Roland Robinson, Dean Fraser, and David Madden.
I’m going to go out on a limb and say that this is one of the very best dub albums I own, and may be one of the best ever.
Ring Craft Posse – Westbay Ring Craft Posse – Garvey Meade Ring Craft Posse – Passage For T Ring Craft Posse – Cumberland Ring Craft Posse – Caymanas Park Ring Craft Posse – Waterford Ring Craft Posse – Edgewater Ring Craft Posse – Bridge Port Ring Craft Posse – Braeton Ring Craft Posse – Portsmouth Ring Craft Posse – Independence City Ring Craft Posse – Naggo Head Ring Craft Posse – Westchester Ring Craft Posse – Southboro
Producer : Roy Sinclair
Backing Band : The Ring Craft Posse Drums : Sly Dunbar & Mikey Boo Richards Bass : Robbie Shakespeare & Lloyd Parks Guitar : Willie Lindo & Bo Peep & Dwight Pickney Keyboards : Ansel Collins & Herbie Harris & Robert Lynn & Winston Wright Horns : David Madden & Bobby Ellis & Nambo Robinson & Dean Fraser
1. Yabba Youth – Walls Of Jerusalem/Jerusalem In Dub 2. Yabba Youth – Chant Down Babylon Kingdom/Historians Dub 3. Yabba Youth – See Them A Walk/Theodore Dub 4. Yabba Youth – King Pharoah/Ainash Nubia Dub 5. Yabba Youth – Sufferation/Shimezana Region In Dub 6. Yabba Youth – Black Man’s Land/Untitled (Aka Black Man’s Land)
Producer : Yabby You
Mixing Engineer : King Tubby & Pat Kelly Recording Engineer : Errol Thompson
Vocals : Yabby You Drums : Santa Davis & Sly Dunbar Bass : Lloyd Parks & Robbie Shakespeare Guitar : Wire Lindo Lead Guitar : Chinna Rhythm Guitar : Chinna Organ : Wire Lindo & Ansel Collins Piano : Touter Harvey Flute : Tommy McCook Tenor Saxophone : Tommy McCook
Studios : Recording : Channel One (Kingston, JA) & Joe Gibbs (Kingston, JA) Mixing : King Tubby’s (Kingston, JA) Voice Recording : King Tubby’s (Kingston, JA)
Widely recognized as one of the most exciting and original artists working in dub today, multi-instrumentalist, producer and sound engineer RYAN MOORE aka TWILIGHT CIRCUS has been involved with dub for the last 25 years. He has worked with some of the very best in reggae music: Sly Dunbar, Robbie Shakespeare, Dean Fraser, Michael Rose (Black Uhuru), Luciano, Mikey General, Big Youth, Skully, Vin Gordon (Bob Marley), Chinna Smith (Ziggy Marley), Eddie ‘Tan Tan’ Thornton (Aswad), Buttons (UB40), Ansel Collins, Style Scott (Dub Syndicate), Bobby Ellis (Studio One), Admiral Tibet, Jah Stitch, Sugar Minott, Queen Ifrica, Fred Locks, Max Romeo, Gregory Isaacs, Mafia&Fluxy, Cevin Key (Skinny Puppy), DJ Spooky, and Mad Professor. Moore’s take on dub is a radical application of the ideology of dub pioneers like King Tubby, Lee Perry, and Augustus Pablo. His bass lines weigh tons, his atmospheres are deep, and his arrangements are kaleidoscopic while seeming inconspicuous: he “plays” the sound studio. Moore released over 35 recordings (some vinyl-only) on his own label M Records since 1995, and worked with many reggae greats, including Michael Rose, Sugar Minott, Lutan Fyah, Ranking Joe, and Gregory Isaacs, the percussive sounds of Sly Dunbar and Skully, guitar from Chinna Smith and saxophone from Dean Fraser. Look out for his latest releases, Singers, Players & Dubs (50 – mp3 compilation), Rockers Galore (digital), and Sounds of Twilight (digital compilation) all coming in 2012 and beyond. (DJ Sep – San Francisco)
The following article was published in Reggae Report in 1993. The article, written by Leroy Mattis, describes his 1976 reasoning with Peter Tosh. Give thanks to MIDNIGHT RAVER BLOG contributor Timos Klingman for sharing.