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Aswad’s City Lock album, released in summer 2009, kept their music going in new directions long after the easy familiarity of mainstream chart music like Don’t Turn Around (1988) and Shine (1994) had faded into reggae’s back pages. This new single release takes the title track and, along with the original album version of the song, brings us several alternative treatments of City Lock.

Aswad now comprise original members Tony Robinson and Angus Gaye. With the assistance of MC Sweetie Irie (with whom the band first released the single Smile 20 years ago) in the writing and performance departments, the original tune is a tight dancehall track and a strong one too. The remix from DJ and producer Breakage offers a drum-and-bass take on proceedings, while the Roska remix (in both full and radio edits) offers a brisk and lighter rethinking of the basic track. For good measure there is a remix from Aswad themselves which in one sense is the nearest thing to a reggae band treatment.

This single is worth hearing: while established bands from earlier decades typically head straight toward the MOR market as the years go on, Aswad – who were nearer to that market to begin with – now seem to have the imagination to head in the opposite direction.

Single release UK: 12th April on Rhythm Riders

In contrast to the multi-national corporations that own so much of the reggae music heritage, Dub Key Records inhabit a space where it seems reggae can be constructed and reconstructed at the PC keyboard and where we can all listen for free. Their series of download albums, made available under Creative Commons, offer a range of reggae sounds - largely instrumental dubs - from their site http://dubkey.com/

There were four releases in 2009. These began with ‘Manwel T meets Mind’s Eye Dub at the Temple of Dub’, featuring the music of Mind’s Eye Dub (David Magro), remixed by Manwel Tabone. Both Manwel T and Mind’s Eye Dub are from Malta, with Manwel T describing himself as a “digital dub remixer”. Mind’s Eye Dub features amongst other things a distinctive melodica sound, reflected on this album. The five rhythms on this album began as Mind’s Eye Dub tracks. Each is remixed twice here by Manwel T, to produce 15 instrumental tracks. The influences are definitely those of the classic era dub producers. A track like Selassie I Dub is typical with its heavy bass and drum sound, plus a melodica-sounding tune over the top which resembles strangely enough the theme from some spaghetti western.

There’s a fairly large geographical sweep in the Dub Key releases. The second album - ‘Visionary Creation’ - is by Crucial Alphonso (Yano Zwinnen) from Antwerp, Belgium. The music here is all instrumental, bass-heavy dub steppers, but with a more synthy and digital sound than the first Dub Key album, and with a more contemporary feel in some ways. This is evident in the opening track Zion Way Steppers Part 1 and the less conventional Food Steppers Part 1.

On the third album, there’s a greater variety of artists involved, including some familiar names such as Dubmatix. Again this features Manwel T at his computer mixing desk. According to Dub Key, the first eight tracks on this release “were made available on the web for remixing purposes by Alpha & Omega (UK), Dubmatix (Canada), Hotdrop (Spain) and The Slackers (USA)” while the “last four tracks on the set were sent to Manwel T for remixing by Soul Remedy (Belgium) and Urban Dub (UK).” Most of the tracks are again dub remix versions. This is a strong collection, including some vocal tracks, opening as it means to go on with Trample the Masters together with some unexpected melodies as on Rude and Reckless Mood.

The final release of 2009 was ‘All Kinda Wall’ from Doobie (Joel Eriksson) who hails from Uppsala, Sweden, where the annual Reggae Festival has established a reputation of its own. As the notes say, these rhythms are purely digital, but “still have a 70s or early 80s feel”. That’s true enough; the music is clearly produced by people with a high regard for the classic dub period in reggae. This album has vocal tracks from several countries, a combination of singjay and straightforward vocals about some uncompromising topics. The last two tracks - Dub Away and Good Dubbing - are pretty strong traditional dub.

In 2010, there have so far been two further Dub Key releases. The first is a sort of prequel album to ‘All Kinda Wall’ entitled ‘All Kinda Riddims’, essentially the tracks from the previous album before vocals were added. The second album of this year has just been issued, a further release from Mind’s Eye Dub entitled ‘A Different World’, described as “timeless, majestic, reggae instrumentals recorded on a Fostex cassette portastudio”. Melodica is again in evidence, and if you like that, you’ll like this. These tracks were previously played on Manwel Tabone’s show on Radio Malta, and have mostly been issued before as free MP3 downloads.

Is all the music on the six releases brilliant? No. Is it all worth listening to? Yes, if only because it’s refreshing to see some new material originating from the ground-level – and made available for everyone -rather than originating from the vaults of the big companies by decision of their marketing departments. Maybe this is the best way to honour the Jamaican producers and their two-track machines that started it all in the first place: do-it-yourself bricolage in the old reggae tradition, reminiscent of the how the early sound systems took a basic track and turned it into something else through invention and reinvention. It’s just that the technology for doing this has changed beyond recognition.

The enormous influence of Joe Gibbs (Joel Gibson) on the development of reggae is widely recognised. Together with Errol Thompson at the mixing desk, the ‘Mighty Two’ had a key role in the emergence of dub, the sound of legendary names including Dennis Brown, Marcia Aitken and Culture, and the commercial success of reggae for a mass audience beyond Jamaica that still managed to stay true to its roots. After opening his studio in Duhaney Park in the 1960s, Gibbs moved to a new multi-track studio in Retirement Crescent in the mid-70s where the Mighty Two were to define the sound of the key late-70s period in reggae, just before the music would change direction during the digital age. Released in three separate volumes, this definitive collection draws from that period - and that studio - and amply demonstrates the reasons for Gibbs’ outstanding reputation. The backing rhythms are excellent throughout, as you’d expect from a roll-call of musicians including Tommy McCook, Tony Chin and Sly and Robbie. Productions from Gibbs and Thompson always had a distinctive sound, softer and subtler in its execution than some of his contemporaries. There is a typical simplicity to the mixes and dubs here. The bass is prominent but the percussion is invariably light. Each track on this new release is featured in its extended 12” mix version, so we have some insight into how Gibbs and Thompson let the rhythms develop.

Volume One sets the pattern, opening with ‘Feeling Soul’ from Ruddy Thomas; the sound is essential Joe Gibbs: gentle roots music, keyboard and bass holding it together, going straight into the version from Trinity over a bass line mixed up-front. Next up is Marcia Aitken with ‘My Man’, together with its 12” version, again by Trinity, with a characteristic take on ‘Blouse and Skirt’. Also on Volume One can be found the Mighty Diamonds, Junior Murvin, and the coupling of Dennis Brown and Prince Mohammed (a combination best known in the UK for Gibbs’s production of the classic re-recorded hit ‘Money in my Pocket’), here offering ‘How Can I Leave You’. These are not the usual well-worn reggae tunes re-released yet again. Some of these songs will be unfamiliar even to those close to reggae. A case in point is the excellent ‘A Win Them’ by Leo Graham, coupled with I-Roy’s treatment of the rhythm in the form of ‘News Carrier’ over the top of snatches of Leo Graham’s vocal. The distinctive chords of ‘Riding for a Fall’ will be more familiar, though in this incarnation it is not by John Holt, but is a lesser known version from George Nooks, with accompanying 12” dee-jaying from Welton Irie.

The second volume again covers the end of the 70s and the beginning of the 80s, signalling that the existing reggae tradition was still going strong, and adapting. ‘Tribal War’ by George Nooks (with abrupt change into the lively ‘Jah Did It’ version from Prince Weedy) is in the classic roots tradition, again with uncluttered Gibbs and Thompson production. By this time some synthesised sounds are starting to make their appearance in the mix. ‘Rope in’ from Cornell Campbell places the synthesiser squeaks of then-contemporary disco more fully into the mix, although this strangely sounds more dated now than music from ten years earlier. Cornell Campbell also adds ‘Two Timer’ to Volume Two, a strong song which overcomes the time of its creation, and, in its 12” form here, leads into a powerful version (‘Video Man’) from Trinity. This volume is a little uneven – lurching into MOR territory at one or two points - but there are strong songs, particularly those in the roots tradition, including ‘Jah Guide’ from Naggo Morris, and Horace Andy’s ‘Praise Him’ (together with the latter’s 12” partner, ‘Babylon Happening’ from Jah Mike). The inclusion of Culture’s ‘Innocent Blood’ (dee-jayed by U-Brown in ‘Rock it Up’) is a particular joy to behold.

Volume Three covers the same period, but with more signs of where reggae would now be heading with the inclusion of ‘Virgin Girl’ by Eek A Mouse (and its lesser-heard 12” counterpart in the form of ‘Lovers Take Over’ by Lui Lepkie), signposting the digital future. There are some familiar rhythms here, for instance the loping Pass-the-Kutchie style bass on Barry Brown’s ‘Tourist Season’ but there is plenty that will be less familiar. This third volume closes with the venerable Freddie McGregor (alongside 12” collaborator Shorty the President) but the standout track is ‘Windy Day’ from Ruddy Thomas, its sharp ska-influenced brass and bass leading straight into Trinity’s dubbed-up version on the same rhythm. This has all the hallmarks of the Joe Gibbs sound: clarity, simplicity, a driving bass pattern, a lack of studio gimmickry and a sense of commitment to the music.

Errol Thompson died in 2004 and Joe Gibbs died in 2008. Over the years both Gibbs and Thompson worked with other producers who would become major figures in the music, including Niney the Observer. The house band and generic name for the Gibbs studio musicians - the Professionals – were crucial in the growth of reggae. Alongside this new collection, other seminal Gibbs releases worthy of anyone’s attention include ‘African Dub’ chapters 1 to 4, groundbreaking in their original vinyl releases between 1975 and 1979, and later gathered together in a CD box set with highly informative track-by-track information by VP Records (2007). Similarly, ‘Two Sevens Clash’ by Culture remains a milestone album in the development of reggae, its typically unassuming Gibbs and Thompson production contrasting with the uncompromising mood of the songs; released in 1977, its CD release by Shanachie Records in 2007 includes additional versions and dubs and an appearance by I-Roy.

During his career Gibbs produced many straightforward hits for the mainstream charts by the likes of Nicky Thomas but in popularising reggae he always retained its soul. The release of these 12” versions as a three-volume ‘showcase’ completes the essential Gibbs catalogue.

VP Records, three CDs/ digital downloads; released November 2009

Organisers of the annual UK One Love Festival - exact venue to be announced! - have started to publicise details of initial confirmed acts, including so far Luciano http://www.youtube.com/watch?v=FvcaHj8sGJw

and Mikey General http://www.youtube.com/watch?v=PX-7XUigvx0

Keep an eye on the festival website http://www.onelovefestival.co.uk for further details/artists as they emerge

There are many dub compilations around. Some contain new mixes and unreleased versions, others just recycle familiar dubs, maybe bringing the music to a new audience but otherwise not telling us anything we didn’t know. The ‘essential dub masters’ download compilations from the US Golden Lane label are more interesting than some releases, with a series comprising ‘essential’ dub albums from the likes of Augustus Pablo, King Tubby and Lee Perry.

The Lee Perry release has no less than 30 tracks and they are worth hearing. It opens with a dub of the Congos’ Fisher Man that’s a different mix from the versions available on, for instance, the Heart of the Congos reissue double CD (1996), the one-rhythm double CD Fisherman Style (2006) or the dub on Lee Perry UK vinyl reissue Megaton Dub 2 (1993). It gets things off to a great start.

Toward the end of the album, Brotherly Dub – the excellent dub of Brotherly Love by the under-recognised Jolly Brothers – is another classic rhythm track with its descending chord structure, snatches of vocal harmony, a percussive sound mixed up-front, a nice message and a little reverb and echo thrown in for good measure - a perfect reggae track. Sufferer’s Dub (a version of Sufferer’s Time by the Heptones) is also included here (you’ll find the same dub on the indispensible Perry collection Arkology). It’s followed by Dub in Peace (a dub of Max Romeo’s War in a Babylon that isn’t included on Arkology - although there is an alternative dub version there).

Elsewhere, Conscious Dub (the dub of Conscious Man by the Jolly Brothers) is another standout track, while the percussion on Happy Dub sounds like something being slapped onto a slab in a large echoing room. The effect is more pleasing than that description might imply.

There are always debates about authenticity in the world of dub reggae with the seemingly endless release and re-release of dubs and rhythms under differing names at different times from different labels and it is difficult sometimes to trace particular tracks back to their origins or for that matter to the musicians who originally created the music. Reggae, from the earliest B side versions played without the vocal track to a live sound system audience, has been constant invention and reinvention of the same thing, constructed a little differently each time. We can’t settle all that. But it is definitely possible to enjoy these Lee Perry dub versions at face value for the way they sound, which is mighty good indeed.

Here’s something good:

http://www.playingforchange.com/

With some music:

http://vimeo.com/moogaloop.swf?clip_id=2539741

From Celt Islam comes this unique fusion of electro, Arabic, dub and dance rhythms. There is a combination of middle-eastern, roots and psychedelic influence throughout this intriguing selection of tracks, with a recurring tabla sound running through the rhythms. The album opens with Halaqa, slow steady ambient dub with some dance-based synth in the background. An Eastern-tinged reggae inspiration is up-front on tracks like Resonate and Revolution Inside Me (the latter featuring Polish band Masala) while the reggae feel of Justice (featuring Danman) is given a darker tone by the electronic wash of sounds in the background. After a slow build-up, Bloodstain resolves itself into a credible dance track, while drum-and-bass is the driving musical form in the closing track Accelerator. The drum-and-bass of Illumination is a little different, with its deeper layers of electronic sound back in the mix. Meanwhile, Haq Ui Yaqin takes us closer to contemporary dubstep. The album brings together styles and sounds in a way that, despite the assertive titles of most of the tracks, is remarkably relaxed in its overall feel.

Celt Islam (Muhammad Abdullah Hamzah), from the North West of England, is a convert to Islam and, specifically, to Sufism – as reflected in the album’s title. The chosen name Celt Islam itself signifies this cultural mix, a blend of influences and sounds brought together on this album. The music here reflects an underlying mysticism and tranquility alongside some strong bass-driven dub and dance breaks: quite a combination. For anyone interested in enjoying music that transcends the arbitrary boundaries between roots, electro and dance this is essential listening.

Release: 16th October 2009 on Urban Sedated Records

Links:

www.myspace.com/urbansedated
www.myspace.com/celtislam

In 2006, Pama International famously became the first new band in 30 years to be signed by Trojan Records and they quickly established a loyal following and a formidable live reputation. After starting up their own label - Rockers Revolt - in 2008, the band has continued to tour and record. During 2009 they have already released the anti-knife and anti-gun album ‘The Highrise Campaign’, with versions of the band’s song ‘Highrise’ by, amongst others, Dennis Alcapone and Billy Bragg.

This new album features twelve tracks starting with ‘Equality and Justice for All’, a slow-paced reggae tune not unlike Steel Pulse in its feel. The vocals throughout owe as much to soul as to reggae, particularly on tracks like ‘Are We Saved Yet’ and ‘I Still Love You More’. There is a middle-of-the-road UB40-ish kind of sound in ‘What You Do Now’ while the social commentary themes are obvious on several tracks including the closing ‘Look Out Your Window’, its rhythm having been introduced on ‘Dub a Disco’ earlier on the album. ‘He’s More Like His Father’ is a strong track with its dub-heavy reggae backing soul/gospel vocal influences.

The line-up for the album sees Sean Flowerdew (keyboards, bass, percussion) and Finny (lead vocal) joined by Gary Alesbrook (from Kasabian), Lenny Bignall, Fuzz Townsend, Mike Lesirge and – from the Specials – none other than Lynval Golding and Sir Horace Panter. With this line-up and this profile, any new release should be a major event, and it’s hard to find anything specifically wrong with this album. But there is something missing here and it takes a few plays to work out what it is.

The problem is simply one of reproducing the live feel of the band in a studio recording. The vocals are mixed up front and the rhythms seem too thin and light. Perhaps the reason is that the band deliberately wanted to convey the sound of 60s-influenced soul – with its different feel - as well as reggae. But the net effect is strangely uninvolving. Maybe the answer is a live recording – even a live-in-the-studio recording – to convey something with a bit more passion. In the absence of that, Pama International are touring the UK during October to December so you can decide for yourselves. See list of dates and venues at: www.pamainternational.co.uk/gigs.htm

Rockers Revolt RRHIT9 Release: 19th October 2009

Pressure Sounds specialise in getting hold of relatively little-known releases from the vaults of reggae, dusting them down and re-mastering the tracks, then presenting them to an eager contemporary audience along with new sleeve notes and background information. But even Pressure Sounds have excelled themselves with a press release for an album so ‘unbelievably obscure’ that ‘no-one…had ever heard of it’ until a copy appeared earlier this year. This is definitely a different way of marketing something but we can all be glad that they bothered. Here, we have the chance to listen to this unique release from the Dynamites, with its Clancy Eccles production and a young King Tubby at the mixing desk.

It is early and effective dub. The vinyl release reproduces the ten original album tracks while the CD re-sequences the album and adds five more bonus tracks. The best-known song on the album is probably Lord Creator’s ‘Kingston Town’, here dubbed simply and effectively by Tubby with snatches of the original vocal and fading in and out of the uncomplicated arrangement of bass, drums and guitar.

‘Garrison’ (the opening track on the vinyl release) is fast, simple dance-oriented dub that can readily be imagined blasting from a sound system, international or otherwise, at the time this was produced. There are contrasts here though. ‘King of Kings’ by King Stitt (one of the bonus tracks) is a deejay dialogue prompted by U Roy’s claims to pre-eminence, while ‘Joe’ gives Tubby a chance to practise his classic echo style amidst a crowded mix led by early-style reggae rhythm guitar. The strangely old-fashioned instrumentation of ‘Red Moon’, borrowing an initial melody line from the standard ‘Blue Moon’, hints at the links between early reggae and the conventional mainstream music of the period, and it sounds especially curious in its dubbed-up incarnation here.

The familiar sound of ‘King Tubby’s City Dub’, around what is basically a repeating 12-bar structure, is a sign of things to come from King Tubby. In its simplicity here it’s free of the sound effects and electronic squeaks that would later be added to dub as a whole. This dub is followed (though only on the CD) by a bonus version of the same rhythm in the form of the legendary ‘Phantom’ from the Dynamites and Andy Capp. The heavyweight ‘House of Darkness’ closes the vinyl album while the CD ends with ‘Tribute to Drumbago’, a basic busy brass-dominated workout.

Obscure this album might have been, but not anymore. Turn up the bass and press repeat and, with hindsight, you can hear where all this would soon take us.

Pressure Sounds PSCD65/PSLP65, single CD/vinyl; release 19th September 2009

The international reggae site www/unitedreggae.com has been offline for a while now but here’s some good news from our friends who run the site. “As you may have noticed, United Reggae.com is currently down, due to problems with our server and big changes in our team. We’re working hard to get United Reggae back on a new server as soon as possible and we hope the site will be online very soon.”