Album of the Week: Bunny Lee & Brad Osborne’s King of Dub (1978)

Bunny “Striker” Lee was one of reggae’s premier producers. Discogs credits him with production on over 2000 recordings, as well as writing credits for legends such as John Holt, Max Romeo, Dennis Brown and more. His Jamaican reggae productions form the backbone of King of Dub, a Jamaican-Bronx record of unassailable dub music.

This album is erroneously attributed to King Tubby on Spotify, which is somewhat understandable. The LP cover suggests that the artist is simply “King of Dub”, and the back cover’s notes from Clocktower Records founder Brad Osborne read in part, “For the right sound and effect, KING TUBBYS ‘the dubmaster’ is a must, knowing when to bring in the Rhythm and leggo the Bass and Drum”. The album was also mixed partially at King Tubby’s studio in Jamaica, and what with Tubby being a prominent King of the dub genre, the confusion is almost inevitable.

Little is written online about Brad Osborne, but this blog post from 2015 gives some insight. Osborne imported records from Jamaica to his shop in the Bronx based on the personal connections he had with Jamaican producers like Bunny Lee and King Tubby. According to the post, Osborne was given exclusive music on tape from these producers and often overdubbed them with flutes and pressed them to vinyl for Clocktower.

King of Dub, then, is a compilation of Bunny Lee productions for reggae artists that Osborne selected and released. With Sly & Robbie holding down the rhythm section you can’t go wrong (this is a general rule in reggae releases): the thing bangs. Like all dub, it’s best heard on loud speakers rather than an iPhone (the LP sounds particularly tight). Horns, organ, echoing vocals and dubby beeps abound on the opener “King Zion Dub”.

Much of the joy in this dub collection comes from tracking the many instruments or lack thereof (and as with any dub, the mixing board becomes an instrument): you’ll hear a horn appear out of nowhere, then fade out, leaving only bass and drums, then a guitar will enter, then echo away. The hi-hats will change in timbre and then drop. At times the music might come to a complete halt altogether. “Rubba Dunza”‘s ominous bass-heavy track is complimented by occasional drum splashes.

The final track “Stalac 80 Dubwise”, a scorching dub of “Stalag 17” by Ansell Collins (better known as the riddim used by Sister Nancy in “Bam Bam” as well as Chaka Demus & Pliers “Murder She Wrote”), is not listed on Spotify. Whether this is due to some sample clearance issue or the title’s similarity to the Nazi POW camp Stalag 18 is unclear. I believe that the track listed as “Fancy Up a Dub” is actually an edit of “Stalac 80 Dubwise”, but I would have to relisten to my record to be sure. Nevertheless, the final track here is a true ranking dub that tops off what is one of the greatest dub albums I’ve had the pleasure of hearing.

Listen to King of Dub here.

Album of the Week: Wayne Jarrett’s Showcase Vol. 1 (1982)

I’m in California now, so naturally I took a trip to the beach. Amidst seagulls and sunbathers I ducked under my t-shirt for a couple puffs of my one-hitter. Climbing up some rocks with my cooler I settled down at a picnic table to enjoy some iced tea and mellow out. Music was in order and I turned to Wayne Jarrett’s Showcase Vol. 1, which was probably the best decision I made all week.

This shit is magic. There’s a formula of sorts – despite the 80s release date we have here some rootsy, organic reggae songs featuring Wayne’s smooth voice. Then about halfway through each track we get a “version”: each song is dubbed out to glory before our very ears. The first two tracks, while great, have relatively short dubs. But once we get to “Magic in the Air”, which is a great song in its own right, there’s about 3-and-a-half minutes of dubby goodness in the backend.

“Bubble Up”‘s muted hi-hat creates a revolving, hypnotic dub that provides a base for some wicked guitar and flute vamping. “Darling Your Eyes” is a fat lovers rock song and possibly the best track here. At just 6 tracks, the brief album closes with “Holy Mount Zion”, recalling in melody Dadawah’s classic “Run Come Rally”.

In the mid-2000s, Basic Channel undertook a reissue project for the legendary American reggae music label Wackie’s, which originally released Showcase Vol. 1, along with other killer LPs like Horace Andy’s Dancehall Style and Junior Delahaye’s Showcase. If it wasn’t for them, we probably wouldn’t be hearing this album to today, so I’ll end this one on a big salute to Basic Channel.

Listen to Showcase, Vol. 1 here.

Album of the Week: Steel Pulse’s Earth Crisis (1984)

Forgive me if this one reads weird because I’m in the midst of a 4-days-and-running cold that is probably not Covid (but could be) but still kicking me around, and I’m under the influence of cold medicine and a weird sleep schedule. That said…

This album has one of the best opening lines ever, which is: “Open sesame / Here comes Rastaman!” Dudes were coming out the gate lit, and “Steppin’ Out” might feel almost too cheery an opener when you look at this album’s cover art. Interesting collage that features such evils as the KKK, napalm bombing, Reagan, and the uh… Pope? I don’t really know enough about history to know what Cold War England was like in the early 80s, but maybe the vibes were shaky. “Tightrope” and the title track embody this unease lyrically.

Reggae was not averse to the squeaky clean sheen of 80s production, and it shows here. While the smooth sax (“Throne of Gold”) and synthetic sounds might be a horrorshow to some, I love it. Plus, Steel Pulse have the songs to back it up. Their style isn’t for those who stick to early roots or obscure dub sounds, but they’ve certainly built up a legacy over some decades. The first time I heard them was playing Tony Hawk’s Underground 2, which featured “Born Fe Rebel”. Fantastic song, and I was later turned onto this album’s centerpiece “Rollerskates” (AKA “Life Without Music”) via DJ Screw’s legendary June 27 tape (whaaaat). The normal tempo version rules, too, and is one of Steel Pulse’s best known songs. Once again, Steel Pulse manage to take a dark subject (getting your radio jacked [smh]) and make it sound like sunshine.

I’ll let Wikipedia’s description of “Wild Goose Chase” take the lead here: “This song laments the misguided use of technology for purposes which the song’s author, David Hinds, views as unnatural, such as in vitro fertilization.” This one also calls out contraception and calls abortion “legal murder”. Bro are you an ally or what? It’s 2022. No but ending the album with an anti-abortion jam is pretty weird. Still kinda bops tho. Smh.

Overall, this album is fire and makes me want to listen to more Steel Pulse. If they have any better albums let me know.

Listen to Earth Crisis here.

Album of the Week: Brenda Ray’s Walatta (2006)

Brenda Ray did it right. Flexing the melodica on the cover a la Augustus Pablo, the British musician gives a clear tribute to a hero who helped pave the way for Jamaican music’s international takeover in the late 20th century.

According to her Bandcamp, Ray “became ‘hooked to the dub’ via Roger Eagle. In between sets at Erics Club (Liverpool), he played the rarest cuts on the planet – dub plates to rockabilly out takes.” Beginning her career in the late 70s, she recorded with friends in a home-made Liverpool studio, releasing dub and pop records under the monikers Naffi and Naffi Sandwich.

Perhaps more fine-tuned than earlier releases, Walatta was recorded between 1993-2005 and acts almost as a greatest hits compilation of that era. Assisted by Roy Cousins (producer for King Tubby and others), for whom she was helping to remaster old reggae/dub tapes, she dubbed vocals, synths, koto and other instruments over some of his classic riddims. The legendary Prince Far I guests on “Sweet Sweet Wine”, though I’m not sure how exactly, since he died in 1983. Scientist, a gargantuan name in dub, appears on “Swirling Hearts”, which is indeed swirling in dubbed-out ecstasy. Anthony Doyley of the reggae band Knowledge assists on “Lend a Helping Hand”, where Brenda Ray harmonizes wonderfully with his voice. Given the personnel involved, there’s no real question as to the authenticity of the project.

Towards the back-half you get a solid cover of Fred Neil’s “Everybody’s Talkin'” (Midnight Cowboy) and the aptly titled “Vision-Dreamin”, which closes the album in a swoosh of drumless magic.

Listen to Walatta here.

Album of the Week: Alton Ellis Sings Rock and Soul (1967)

“Mr. Rocksteady”. “Godfather of Rocksteady”. If you Google Alton Ellis, these are the sobriquets you will see again and again. The rocksteady subgenre of reggae lit a fire in the heart of a million lovers, and the late Ellis is certainly one to thank for this. Recording at producer Coxsone Dodd’s legendary Studio One in Kingston in the 1960s, Ellis was at the forefront of the rocksteady movement, and his first album Sings Rock and Soul is all killer, no filler.

A mix of Jamaican originals and (as the title implies) rock covers, “I’m Still in Love With You” is the album’s most recognizable classic, having been later covered by Marcia Aitken and (much later) Sean Paul. This riddim also served as the backing track for Althea & Donna’s “Uptown Top Ranking” and Trinity’s “Three Piece Suit”. Ellis sings the track with confidence and ease. The Beegees ballad “Massachusettes” is given a chill spin, and “Baby Now That I Found You” might be impossible to not sing along to. Later, “Opression” finds Ellis rocking a killer falsetto.

These are all winners, but Ellis’s take on Procol Harum’s signature song “Whiter Shade of Pale” is my favorite track here. The song’s nautical lyrics are well-suited to a Jamaican interpretation, and the organ as filtered through the relatively lo-fi Studio One production sounds so damn good. The track also fades out unexpectedly, which fits the surreal vibe of the song overall. Gold star goes to whoever decided on this cover.

In a late interview, Ellis had this to say on Coxsone Dodd: “He reminds me a lot of Moses. He was doing so much good things but at the end of his days he blasphemed against God… The sin that he committed was getting so carried away with the money aspect of it all. At the end he was completely blinded and mesmerized by the amount of money he was earning and he became a very hard and greedy person.” Jamaican singers were often exploited by producers in this era (as you can see dramatized in the classic movie The Harder They Come), and Ellis was no exception. But Ellis’s success lasted beyond his early years, as he moved to England and found success among a number of Jamaican expats living there. He passed away of cancer in London in 2008. While I haven’t heard other albums by Alton Ellis, this debut is an outstanding collection of rocksteady classics and recommended to anyone with an interest in the genre.

Listen to Sings Rock and Soul here.

Album of the Week: John Holt – 1000 Volts of Holt (1973)

Detail from Trojan Records

John Holt was one of the great songwriters in Reggae, and you are probably familiar with his work whether you’ve heard his name or not. As a teen in 1967 he wrote “The Tide Is High” for his vocal group The Paragons, which was more famously covered by Blondie 13 years later (“I’m gonna be your nuuuumber oooone…”). Destined to be covered, the young Holt went solo in 1970 and recorded many cover songs himself.

“The best selling single artist Trojan album of all time” according to the monumental label (whose compilation albums include a mind-blowing collection of some of the best rocksteady, dub and dancehall reggae ever), 1000 Volts of Holt is comprised of all cover songs. Lushly orchestrated in Jamiaca, Holt tackles such diverse artists as The Ronettes (“You Baby”) Kris Kristofferson (“Help Me Make It Through the Night”, a hit in the UK), Jobim (“Girl From Ipanema”) and Roberta Flack (“Killing Me Softly”). Its most genius moment comes halfway through “I’d Love You to Want Me”, when Holt switches up the rhythm mid-chorus to sing the chorus of The Beatles’ “Let It Be”. I live for reggae brilliance like this.

Holt followed up 1000 Volts with 2000, 3000, and yes, 4000 Volts of Holt. Gems are scattered throughout (notably 2000 Volts‘ “I Will” [Beatles], which was sampled heavily on Jay-Z’s “Encore”), but 1000 Volts is the best selection and a very accessible collection for Reggae neophytes and fans alike. If you dislike heavily orchestrated music, these albums might be too saccharine for your taste, but I would recommend them to anyone else. Holt continued a productive music career for many years and passed away in 2014.

Listen to 1000 Volts of Holt on Spotify. Or, if you’re feeling really crazy, check out the super deluxe 4000 Volts of Holt.