Dancecrasher: A Cool Blog on Jamaican Music...

Dancecrasher is way more than just a music blog, it has label art scans, show listings, interviews from old magazines, and a good bit of info on the latest re-issues.

I'm enjoying reading the "greatest 100 Rocksteady tunes" article now.

Jah Shaka and Mad Professor

As I mentioned in one of my earlier posts, I've been collecting Jah Shaka's records for about 10 years, although I don't have as many as I'd like. My favorites by far are several of the projects that he did in the early 80's with Mad Professor. One jewel in particular is a dub album of Twinkle Brothers cuts from 1982. The album is called Dub Massacre Vol. 1, and its fantastic.

Thanks to YouTube, here is track one, called Jahovah in Dub Majesty and track seven called Kingdom Dub.

From not long after, here is an interview with both Jah Shaka and Mad Professor circa 1985:

If you want more, the reggae 'zine Small Axe published a long interview with Jah Shaka in 1990, which I tracked down online. It's a fascinating read that really helps shed some light on Jah Shaka's approach to both original music and his influential sound system. His discussion at the beginning of the article, about establishing a "sound" for his sound system, is very true to the goal of early sound systems. Originality was a crucial part of the earliest Jamaican sound systems back in the 50's and 60's. At first, this meant playing rare records that other sound systems didn't have, mostly soul and R & B records from the US. Eventually this drive to always have new and specialized music led to recording of local talent. Many early Jamaican recordings were made for specific sound systems so they would have exclusive tracks to play at dances. To the sound system owners, like Coxsonne Dodd, selling the music to the public on 45's was really more of an afterthought.

Rockers is showing at the Alamo Draft House in Austin

Rockers is by far my favorite reggae movie, and the Alamo Draft House in Austin is showing it Monday, October 6th, and again on October 13th at 9:30pm. It is a Robin Hood tale set in 1970's Jamaica, and cast is a who's who of Jamaican music from that period. I like it much better that The Harder They Come. If you love reggae music, it is a must-see... and if you love 70's style, well my friend, you will NOT see cooler clothes anywhere.

The trailer on YouTube:

The disco dub TAKEOVER:

The best use of 20 bucks.

In my opinion, you will not find a better use for 20 bucks than buying the album King Tubby's in Fine Style... Released in 2004 by Sanctuary/Trojan records, it is an impressive collection of dub versions produced by legendary dub pioneer King Tubby. Highlighted here are some of his more rare cuts along side some undisputed dub classics, such as King Tubby Meets The Rockers Uptown. This compilation includes versions he created for some of the most famous Jamaican producers of the 70's, including Niney The Observer and Lee Perry. One of my favorites, Black Panta is an amazing track from what is arguably considered the first dub LP, Upsetters 14 Dub Blackboard Jungle aka Blackboard Jungle Dub. And if that wasn't enough, it includes a good dub of the Stalag Riddim, which has been used on countless tracks over the years. If you want to know more about King Tubby, this is the best pace to start. The liner notes are good, and the sound quality is great.

Since Amazon doesn't have previews for this album, here is the itunes link for it... unfortunately they don't have the full album for sale.

King Tubby on YouTube

I am of the opinion that King Tubby is one of the most important music producers of the 20th century... and this is the only video clip of him that I've ever seen:

Thanks again, bwoyrough.

Hit The Road Jack by Big Youth

Hit The Road Jack by Big Youth is just one of those songs... No matter what my mood, when I hear it, it makes me feel just great. I picked up a well worn Jamaican jukebox 45 of it about a year ago, and its by far one of my favorite songs by Big Youth. It was released in 1976 and recorded over the riddim "Love Me forever" originally by Carlton & The Shoes... Big thanks to the YouTube comments for clueing me into that. That said, I don't believe Big Youth is toasting over the actual original recording, but someone else's version. If anyone knows who's version this is, Please post in the comments.

The Tune:

The Original Riddim:

Jah Shaka on YouTube

In 1998, at the now long-gone Austin club Liberty Lunch, I got the chance to interview Ryan Moore from Twilight Circus. One of the things he talked about was the amazing soundsystem run by Jah Shaka in the UK. I knew about Jah Shaka's records, but didn't know about his soundsystem. Not long after, a member of French T.V. crew that was visiting town also asked me if I'd ever seen the Jah Shaka Soundsystem. Both of them swore that seeing Shaka spin live was a near life changing experience. I tried for years to locate video of his performances, but only found links to Japanese web sites with VHS tapes... then came YouTube. Now, I can't say its changed my life, but the video clips are some of my favorites on YouTube. Maybe one day I'll get to see Shaka play in person.

The clip called THE MIGHTY JAH SHAKA - AT THE ROCKET LONDON(1990s)has overblown bass that you can almost taste.

JAH SHAKA - IN THE DANCE 70s RUFF! features some of the coolest fashions seen this side of Rockers. And is also a testament to just how long Shaka has been rocking the bass bins.

JAH SHAKA - LIVE IN THE DANCE 83 shows the art of DJing with only one turntable.

Thanks to badbwoysoljah for sharing the clips!

Stop That Train: Updated

Stop That Train by Keith & Tex, according to the amazing music shop Ernie B's, is a mid tempo reggae track recorded in 1967 for Trojan Records. Originally done by the Spanishtonians (AKA the Spanish Town Skabeats) in 1965 and released on Blue Beat, the later Keith & Tex recording has been used as a backing rhythm in a number of fantastic DJ versions. As good as Keith and Tex track is, two of the DJ cuts manage to surpass the original.

Draw Your Brakes by Scotty appeared on the famous The Harder They Come soundtrack. Starting out with a DJ call "Forward..." and with the addition of some minor percussion and delay, this track really helps bring attention to the rhythm its self. The guitar and break towards the end of the track never fails to bring the song home.

Cool Breeze by Big Youth starts much like the Scotty version, but is more aggressive with dropping the vocals in and out of the mix. Originally done in 1972 for the Crystal and Green Door labels, this track is an excellent example of the blue print that would soon be exported to America, quickly becoming Hip Hop. Taking an existing track and adding vocals to produce something new had been done in Jamaica for years, but this track in particular is a shining example of the art.

According to Google Analytics, lots of people come here looking for the original Spanishtonians track... Well this guy has it, so enjoy:



And for that matter, here is Cool Breeze by Big Youth and Draw Your Brakes by Scotty:

Patience by The Upsetters

Patience by The Upsetters

Part of my interest in dub is that the producers like Lee Perry and King Tubby furthered a new roll for recording that was more than just basic capturing and documentation of music. The recording process itself was now becoming an active participant in the creative process. The mixing desk was becoming an instrument. George Martin and The Beatles pioneered this kind of studio wizardry with their work in Abby Road Studios in the late 60's with such noteworthy tracks as Tomorrow Never Knows. But Lee Perry, less than 10 years later, was not only using cutting edge studio technique, he was also fulfilling the lo-fi "DIY" promise made by mid-60's garage rock. He was, by his own account, using toys to produce astonishing works of art.

From the 1976 album "Super Ape", "Patience" is one of my favorite Lee Perry dub tracks. As you listen to it, the entire song has a slight "breathing" quality that evolves as the track plays, possibly in part due to the countless overdubs that we're a standard practice in Perry's Black Ark Studio. Perry recorded on a 4 track analog tape recorder, and would mix down to a 2 track machine while adding live instruments at the same time, then he would re-record the 2 track tape back to the 4 track, freeing up at least 2 tracks on the primary deck so the process could be repeated. Tape hiss and distortion became a permanent part of the song. The vocals drift in and out of the mix, evoking a 3rd world radio station echoing across a city. Delay in the middle of the song is transformed into a crunchy swirling sound that is essentially a new instrument. Intertwined in the mix is a horn section that somehow sounds both rich, and mid-range at the same time. The track is a delicate balance between noise and subtlety that few but Lee "scratch" Perry could maintain.

No Peace & No Peace Dub

No Peace by The Meditations

No Peace Dub by The Upsetters

Lee "Scratch" Perry was one of the major Jamaican music pioneers from the mid 60's thru 1970's, producing dub "versions" as early as 1973. "No Peace" by The Meditations, was originally recorded at Black Ark studios by Perry and released as a single in 1978. Both the original version and the dub are excellent examples of the signature sonic qualities that were unique to Lee Perry. From the wave-crashing reverb on the initial vocals of the dub version, to the effects laden vocal build at the end of the original. Perry consistently managed to create a balance of overdriven tape distortion that merges the instruments and vocals into one cohesive sound. If you are new to the dub genre, pay particular attention to the edits on the vocals in the dub version around 1 Minute, 20 seconds. The singer is cut in and out of the mix by the producer, leaving the delay to carry the melody. This technique was used by most of the dub producers at the time, and is a good example of what a dub remix is.

Yeah, I'm a Dub Nerd

I have been collecting a genre of music called Dub for many years. Initially my goal for this page was to write up a history of dub, but that has already been done on the web in several places. Notably, JahSonic has a good grasp of the history of dub, and a breakdown of the major players.

Rather than reinvent that particular wheel, I've decided to put together a collection of reviews of some of the best tracks in my collection, and talk a bit about the artists that created them. Where possible, I am linking to the songs in the iTunes music store, or Amazon.