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.
