Showing posts with label Reggae. Show all posts
Showing posts with label Reggae. Show all posts

Friday, April 05, 2013

Straight From The Beach

The weather is getting warmer, even in Chicago. So it's time to get back to the beach. Echo Beach that is. My friend The TurnTableTerrorist is at it again, just like he does every week at 2:00 am on Fridays. If your like me and sleeping at that time you can always catch the replay on TTT's new MixCloud channel. Just get it!

Artist – Track – Album – Label – Year (Time)
Set 1 -------
1. Echo Beach Intro – TurnTableTerrorist – Unreleased - 2011 (1:28)
2. Dub Rifles – Jamaican Sprinter – Layer by Layer, Pt. 2 – Ape Choons - 2013 (4:25)
3. Earlyworm – Big Common – Hi Fi Hustlin’ EP – Renegade Media – 2013 (3:05)
4. Dubosmium – Waragine A Ragine – Horizontal Plane Polar Dub – Fresh Poulp net label – 2006 (5:22)
5. Dubatech – Transcendent – Demo track produced in 2008 (6:26)
6. Mungo’s Hi Fi – Play Dub Selecta – 12” release on Scotch Bonnet Records – 2011 (4:07)
7. Shockman – Shockout (Dubmatix Electrocution Remix) – Shock the Sound EP - Voltage Music – 2011 (4:14)

Set 2 -------
8. Dub Chairmen – Soldier – Moscow, The Sex The City The Music – Petrol Records – 2005 (5:01)
9. Stephane Lefrancois – BL142 – The Vault, Session 1 EP – Balanced Records – 2013 (5:57)
10. Stalag Mix: The Techniques – Stalag 17 & Stalag 18 – The Techniques in Dub – Pressure Sounds – 1997 and Scientist – Stalag 17 – Scientist Meets Roots Radics: Dubbin’ With Horns – Burning Sounds – 1996 (9:17)
11. Bobby Kalphat – Dub Hill – Zion Hill – Upcoming release Pressure Sounds – 2013 (3:23)
12. Eating Betty – Dubbin’ 2 Hard – Single release from acetonestudio.com - 2008 (4:14)

Set 3 -------
13. Elvis – Suspicious Minds (Reggaesta Redub) – Reggae Versions – Reggaesta Productions – 2012 (3:31)
14. Aldub feat. Longfingah – Cool Down – Upcoming 7” release on the Irie Ites label – 2013 (4:10)
15. Bungalo Dub w/ Zion Train – Why (Official Mix, featuring Marlene Johnson) – Demo produced in 2008 (4:39)
16. Below Bangkok – Distress Call – Octopus 3 – Fresh Poulp – 2010 (5:05)
17. Loan – Social Living (Hubwar Remix) – Grigri Breakers 2013 – I.O.T. Records – 2013 (5:13) 18. WangTone – Kouai – Wangtone – Jarring Effects – 2005 (6:41)

Set 4 -------
19. Fred Locks – Wheat and Tears – Fred Locks: Reggae Legends Box Set – Upcoming release Greensleeves Records – 2013 (4:55)
20. Noble Society – Living the Life (Subatomic Sound Roots Remix) – Living the Life Remix EP – Subatomic Sound – 2013 (3:49)
21. Atarras – Cool Fire Version – 7” release on Pressure Sounds – 2010 (3:03)
22. Stand Hi Patrol – East Bond St. – 12” release on Stand Hi Records – 2013 (4:20)
23. Bones ft. Gregory Isaacs – Number One Sound – Single release on Junglist Sound – 2013 (5:47)
24. Makaron meets Dubsalon – In A Dream – Digital Warriors EP – Upcoming release on the Original Dub Gathering net label – 2013 (5:36)

Saturday, February 16, 2013

When In Rome

Sublime With Rome
Yours Truly
2011


Review by Jason Lymangrover
After losing Bradley Nowell -- the face of Sublime -- the rest of the group retired the Sublime name for a good 13 years before recruiting Rome Ramirez. For Yours Truly, their first release together under the name Sublime with Rome, it’s wise that they play up the fact that this is a different band than the one that put out 40 oz. to Freedom. Ramirez doesn’t have nearly as much personality as Nowell, and for many, the former frontman was the essential ingredient. However, for the fans that are willing and able to move on, Ramirez’s silky voice nicely complements bassist Eric Wilson and drummer Bud Gaugh. With the exceptions of the electronic dub of “Safe and Sound“ and a cameo by rapper Wiz Khalifa in the bridge of “Can You Feel It,” they stay true to the sound that made Sublime a household name. Ramirez does a good job of mimicking Nowell's style of guitar playing, and on vocals he wisely holds to a less-is-more approach rather than trying to be showy. He offers up a laid-back, beach bum style of singing reggae-pop and So-Cal punk, appealing equally to fans of Jack Johnson and Third Eye Blind. Meanwhile the production, courtesy of Butthole Surfers' Paul Leary, seems straight from the days when the Third Wave of Ska Revival was peaking (with the occasional DJ scratch thrown in for good measure). Yours Truly doesn’t quite match the caliber of the albums in the Sublime discography, but it’s a fairly enjoyable spin-off just the same.
 
Tracklist
 

Get it HERE

Thursday, February 14, 2013

A Perfect Time

The Funnel Heads
Love is King

This is a local Orange County group that reached out to me a couple of months ago. Much to my dismay it's been sitting on my dying laptop for the last two months now. What a perfect day to get up off my ass and share this video for the song titles "Love is King".

Wishing much love and happiness to all.
Stay tuned as I'm dusting off the 'ol keyboard for some sweet tunes.

Wednesday, May 02, 2012

An Alternate Way To Get To The Other Side Of The Moon


Easy Star All-Stars

Dub Side Of The Moon

2003


*



Biography by David Jeffries

New York City's Michael G. (born Michael Goldwasser) and Ticklah (born Victor Axelrod) are the two longtime friends who form the Easy Star All-Stars. Goldwasser had been playing guitar with the R&B band Special Request, but after five active years the band broke up. Around this time, the guitarist turned his attention to reggae and formed the Easy Star All-Stars with former Special Request keyboardist Ticklah. Ticklah had been gigging with Cooly's Hot Box, worked with DJ Spinna and Dr. Israel, and created remixes for les Nubians and Mary J. Blige. The first release under the Easy Star All-Stars banner came in 1997 with the team's production on Rob Symeonn's "Anything for Jah" single, and a collection of their productions, Easy Star, Vol. 1, appeared in 1998. Working with Brooklyn sound system Twin Sound, the two organized three tribute concerts to Augustus Pablo in 1999 and backed the likes of Sugar Minott, the Meditations, and Sister Carol on-stage and in the studio. In 2003, the duo released Dub Side of the Moon, their reggae/dub version of Pink Floyd's most famous album. In 2006, they turned toward Radiohead's OK Computer and reimagined it as Radiodread.



Review by Rick Anderson

It was one of those really stupid ideas that we can all be grateful someone had the guts to follow through with. Yes, it's a reggae version of the Pink Floyd classic Dark Side of the Moon, every track drastically reworked and presented in the same order as on the original album. And yes, it works far, far better than you'd have any right to expect. The artists vary from the relatively obscure (Kirsty Rock, Dollarman) to the big-time (Corey Harris, Frankie Paul, the Meditations) and the musical styles range from roots to dancehall to jungle. Every track works well, but highlights include a very fine (and uncredited) jungle mix of "On the Run" and the great singer-deejay combo track "Time," on which Corey Harris' chesty baritone singing voice is nicely counterbalanced by Ranking Joe's speed-rap. There are several bonus dub mixes tacked onto the end of the program, and while none of them is revelatory they don't detract from the proceedings, either. At the end you realize that you were wrong to even think this was a dumb idea to begin with -- dub's psychedelic mysticism is a perfectly good match for Pink Floyd's mannered weirdness. Highly recommended.


*


1 Speak to Me/Breathe (In the Air)
2 On the Run
3 Time
4 The Great Gig in the Sky
5 Money
6 Us and Them
7 Any Colour You Like
8 Brain Damage
9 Eclipse
10 Time Version
11 Great Dub in the Sky
12 Step It Pon the Rastaman Scene
13 Any Dub You Like


Get it HERE

For Those Who Seek Beyond The Legend



Bob Marley
Songs of Freedom Box Set
1992
Ripped @ a dreadful 320
-

Review
by Stephen Thomas Erlewine
Originally released as a limited-edition box set in 1992, Songs of Freedom presents an alternate history of Bob Marley's career, tracing his progression with outtakes, rare singles, alternate mixes, live tracks, and album tracks instead of the songs that formed the bulk of his legacy, as it were. The question is, is this a reasonable track to take? For the most part, yes it is, even if it tends to be a little misleading. That problem isn't too great, since Songs of Freedom isn't targeted at the audience that would want just the basics — Legend already exists for them, and that sums up everything they need to know about Marley, the ambassador of reggae. The remainder of Marley's audience realizes this box exists just to get rarities to the diehards, and they're thrilled that it exists for that purpose. Because of its nature, Songs of Freedom isn't especially compelling to anyone that isn't a hardcore fan — although the first disc of ska and rocksteady material will be delightful to anyone that likes early reggae and isn't thrilled by Marley's rock-star posturing in the '70s — but for those very fans, it's a valuable addition to their collection, since it rounds up rarities with ease and purpose. What Songs of Freedom should not be seen as is a definitive overview of Marley's career — it's just for collectors and hardcore fans, the kind of listener who has memorized the original studio albums. For those listeners, it's hard to resist Songs of Freedom, but everybody else will be able to safely pass it by.

-

Tracklist:
-


CD 1




CD 2




CD 3




CD 4




Get them HERE HERE HERE & HERE


Saturday, April 28, 2012

Lively Up Yourself!


Augustus Pablo

Original Rockers

1979

Get down wih the Original Rocker

AUGUSTUS PABLO: ORIGINAL ROCKER

Born in Jamaica circa 1953 in the parish of St. Andrew, to the west of the island capital of Kingston, at night, from his bed, the young Pablo (born Horace Swaby) could hear the distant thump of sound systems playing out nearby, the music calling him as a shepherd might call a lost sheep to a flock, and he would steal away when his parents were asleep to take in the musical vibes.
As a youth he regularly skipped lessons to practice (hit-making Studio One organ player and arranger) Jackie Mittoo riffs on the school organ with his friend Tyrone Downie, later to achieve fame as The Wailers’ keyboardist, and thereby eliciting frequent beatings from the Masters who, in common with many middle-class Jamaicans, considered reggae music to be in the idle employ of ungodly hands.
Though his parents naturally disapproved of such behavior, the boy was obviously smitten and talented enough for them to acquiesce and purchase a second-hand piano for him to practice on. He abandoned his studies and began to pursue his calling, running a sound system and taking the bus to downtown Kingston on regular record-buying forays.
It was on one such expedition that destiny intervened in the form of a friend’s girlfriend. She was holding a melodica, a small, rudimentary keyboard with a mouthpiece at one end through which one blew, producing a sound somewhere between a harmonica and a kazoo, usually reserved for the musical education of primary school children.
Intrigued, Pablo asked if he could try it out, whereupon the girl told him she had no use for it and he could have it. Entering the Aquarius record shop in Halfway Tree, Pablo attracted the attention of the proprietor, Herman Chin-Loy, who asked him if he could play the instrument. Pablo replied in the positive and Chin-Loy took him to Randy’s studio in North Parade to record his first sides: “Iggy Iggy” and “East Of The River Nile” (an early version of his classic). The later minor-chorded epic inaugurated the nascent “Far East” style that was to become Pablo’s trademark, pioneered by Don Drummond and Jackie Mittoo on the old Studio One tunes that Pablo loved so much, such as “Addis Adaba” and “Drum Song.” Chin-Loy had been producing instrumental records featuring the organ work of erstwhile Upsetter Glen Adams over the past year or two, releasing them under the unlikely nom de disque “Augustus Pablo.”

Randy’s was owned by the family of an old school friend of Pablo’s, Clive Chin. Chin was fascinated by the new and unusual sound presented by Pablo and swiftly organized a session for Pablo which resulted in “Java,” his first hit in 1971. The tune became a big success, spawning a rash of imitators: Glen Brown, Joe White, Bobby Kalphat, Pablove Black, etc. and establishing Pablo and Chin at the forefront of the burgeoning bass-heavy skank sound, soon to be dubbed “rockers,” that was taking over from the faster, more energetic reggae that had prevailed since 1968. During the early Seventies, Pablo pursued a career as one of Kingston’s most prominent session musicians, arranging and playing for most of the top producers of the day: Bunny Lee, Clive Chin, who released Pablo’s classic debut album This Is Augustus Pablo, Leonard Chin, Derrick Harriot, Lee Perry, Keith Hudson and Gussie Clarke.

By 1972 Pablo had saved enough money through session work to finance his own recordings and embarked on a series of unsurpassed classic releases throughout the Seventies. Records such as “Skanking Easy,” “Cassava Piece,” “Frozen Dub,” “Warrika Hill,” “555 Crown Street,” “Pablo’s Theme Song,” “Pablo Satta,” “Memories Of The Ghetto” and more...an endless list. He also became a renowned producer of other artists, especially many newartists, including dee jays Dillinger and Big Youth, singers Paul Whiteman, Jacob Miller, Hugh Mundell, Junior Delgado and groups like The Heptones, The Immortals and Tetrack.

Pablo worked in close association with King Tubby’s studio during its formative years and in 1975 released the epochal King Tubby Meets Rockers Uptown, “rockers” being the name of Pablo’s sound system and main record label, arguably the finest dub album extant, featuring wild Tubby’s dubs to a dozen of Pablo’s finest early rhythms. Other albums followed, most notably the instrumental East Of The River Nile. Pablo had only one real hit record in Jamaica, the afore-mentioned “Java,” which was versioned many times by many artists over the years. His recordings after “Java,” particularly those he issued on his own Rockers label, were generally too esoteric and rootsy for mass popularity amongst the island’s music lovers.

In the UK it was a different story. Pablo’s exotic sound, dominated by his frequent use of melodica as lead instrument, captured the imagination of a certain section of Black youth in Britain, some born here, but others migrating from the Caribbean with their parents, eager to find a musical identity of their own. They found it in the rebel rock sounds of the contemporary reggae music emerging from Jamaica. It was amongst this young audience that Pablo’s tough, militant music began to really find favour. His early self-produced titles on the Rockers label perfectly conveyed the required dread soundtrack…Roots fans and collectors in the UK have always considered Pablo’s music, alongside the finest productions by Yabby You, Lee Perry and Coxsone Dodd’s Studio One, as the peak of the roots reggae style…As the Eighties progressed, reggae music’s focus moved away from Rastafari towards a more light-hearted, hedonistic style known as Dancehall and Pablo’s music reflected this as he maintained that all reggae music is dancehall music. He scored a hit in 1986 with Junior Delgado’s “Raggamuffin Year,” which utilized a computer-originated rhythm, though Pablo had long been experimenting with drum machines and digital keyboards to create his rhythms.

In the Nineties, Pablo’s health deteriorated rapidly. He had suffered from ill health for much of his adult life, though he performed in Japan, England and even the United States to great acclaim in the late Eighties and early Nineties. Sadly, in 1999, he passed away from a rare nerve disorder and reggae music lost one of its most revered and innovative talents.This collection offers great tracks from Pablo’s entire canon, including many rare and previously-unavailable-on-cd tracks. Taken together, they are definitive evidence that Pablo was indeed the “Original Rocker.

Tracklist

  1. "Rockers Dub"
  2. "Up Warrika Hill"
  3. "Cassava Piece"
  4. "Tubbys Dub Song"
  5. "Jah Dread"
  6. "Brace a Boy"
  7. "Thunder Clap"
  8. "Park Lane Special"
  9. "New Style"
  10. "AP Special" (Adapted)
Get it HERE

Sunday, February 19, 2012

Sounds Sublime


Long Beach Dub All-Stars

Right Back

1999


Biography

by Jason Ankeny

Following the 1996 heroin overdose of Sublime frontman Brad Nowell, surviving bassist Eric Wilson and drummer Bud Gaugh formed the Long Beach Dub Allstars with singer Opie Ortiz, guitarists RAS-1 and Miguel, keyboardist Jack Maness, keyboardist Isaiah Owens, saxophonists Todd Foreman and Tim Wu, and DJ Marshall Goodman. After appearing on a series of compilations and tribute albums, the group issued its full-length debut Right Back on DreamWorks in the fall of 1999.


Review

by Steve Kurutz

Everything about this album boils down to expectations. Released by the remaining members of Sublime, with ample help from friends and guest musicians, Right Back is a loose collection of jams, half-realized songs, and silly, in your face attitude. Getting back to expectations -- if you're looking for the kind of clever lyrics and ultra catchy melodies that Sublime frontman Brad Nowell was known for you're going to be deeply disappointed. However, even though the pop sheen is gone, the SoCal loose vibes and attitude remain throughout the album, aided by guest singers like Bad Brains' HR and dancehall star Barrington Levy.

Tracklist

1. "Righteous Dub"

2. "Rosarito"

3. "My Own Life"

4. "Fugazi"

5. "New Sun"

6. "Kick Down"

7. "Like A Dog"

8. "Sensi"

9. "Trailer Ras"

10. "Pass It On"

11. "Soldiers"

12. "Saw Red (She's Mine)"


Get it HERE


Saturday, February 18, 2012

Turning A Page



Aswad

A New Chapter In Dub

1982

For TTT

Review

by Rick Anderson

The strongest album of Aswad's CBS period, a powerful roots-and-culture program entitled New Chapter, was followed shortly by what would turn out to be the strongest dub album of several that were produced during the group's career. A New Chapter of Dub was produced by Aswad in collaboration with the up-and-coming dubmeister Mikey Dread (credited here as Michael [Reuben] Campbell), whose work as a radio DJ had made him a household name among London's West Indian expatriate population even before he began establishing himself as a top studio producer. A New Chapter of Dub finds him digging deep into the traditional bag of dubwise production tricks, using echo, drop-out, and delay in ways that had been pioneered by King Tubby, but applying those effects in a wanton and sometimes exaggerated way in a manner more reminiscent of Lee "Scratch" Perry, an approach that sometimes anticipated developments that would emerge as much as a decade later. On "Flikkaflame," for example, the intensified snare drum echoes that Aswad and Campbell impose on the mix anticipate effects that would become commonplace in jungle mixes of the early '90s; the heavily flanged guitar on "Shining Dub," on the other hand, harks back explicitly to the glory days of the Black Ark. A New Chapter of Dub remained commercially available long after the deletion of New Chapter from the Sony catalog; however, the original album was reissued on CD in 2002, making it possible for the first time to own both on CD. Highly recommended.

Tracklist

1 Dub Fire

2 Flikaflame

3 Truth

4 Bammie Blow

5 Tuffist

6 Shining Dub

7 Zion I

8 Natural Progression

9 Ghetto In The Sky

9$0.49
02
Flikaflame
4:23$0.49
03
Truth
4:20$0.49
04
Bammie Blow
4:09$0.49
05
Tuffist
3:43$0.49
06
Shining Dub
3:05$0.49
07
Zion I
5:03$0.49
08
Natural Aggression
6:02$0.49
09
Ghetto In The Sky


Read more: http://www.emusic.com/album/aswad/a-new-chapter-of-dub/12242454/#ixzz1mm15dUoF
Get it HERE

Friday, January 20, 2012

Gone Up! Re-Up


Champion DJs From Studio One

2006

Review
by Jo-Ann Greene
When most people think of Studio One, it's the foundation label's phenomenal vocal groups and sensational solo singers that spring immediately to mind, along with the glorious melodies and sumptuous backings that accompanied them. The toasters that recorded for Coxsone Dodd are a definite afterthought. Champion DJs from Studio One is a valiant attempt to shift this way of thinking. And properly so, Dodd was quick to jump on the DJ bandwagon, as the tracks by King Stitt and Dennis Alcapone well prove. Across the '70s and into the early '80s, he oversaw recordings by some of the biggest DJs of the day: Dillinger, the Lone Ranger, Prince Jazzbo, Josey Wales, Brigadier Jerry and Ranking Joe among them. But beyond the originators, most of these toasters did their best work elsewhere. The exceptions, of course, were Michigan & Smiley, who helped revive Dodd's flagging fortune. It seems inexplicable that the studio responsible for the riddims that every other producer on the island was riding to fame was left at the starting gate. But one listen to this set tells you why. Every track here is cut on a classic riddim, the problem is, for years Dodd did little to create memorable versions; few featured more than overdubbed percussion and a new bassline. In fact, many seem to be cut on the original riddim.It wasn't until the late '70s that Dodd finally came to his senses and began turning things around.So, far from the hottest sounds of the day, this is more a reminder of Studio One's glorious past. That said, there are some excellent cuts here, including the much anthologized "Nice Up the Dance" and "Love Bump," alongside the exuberant "Rocking the President" from the now barely remembered Prince Francis, and Josey Wales' inevitably more laid-back but equally scintillating "Feel Like Skanking." There's also a clutch of fine cultural cuts including "Big Match," "Gun Court," "Every Man a Mi Brethren," and "Hamlock," which seems to be a retort to "Every Man a Mi Brethren," and delivered by the now forgotten Jim Nastic. The DJs may not have made Studio One's fortunes, but they're still an important part of the label's history, and this compilation is a welcome reminder of that.



1 Nice Up the Dance Papa Michigan
2 School Prince Jazzbo
3 Love Bump Lone Ranger
4 Riddle I This Dennis Alcapone
5 Bangarang Dillinger
6 Feel Like Skanking Josey Wales
7 Fever Carey Johnson

8 Pepper Rock Prince Jazzbo
9 Rocking the President Prince Francis
10 Every Man a Mi Brethren Brigadier Jerry
11 Big Match Lone Ranger
12 Hamlock Jim Nastic
13 Be a Man King Stitt
14 Home Home Dennis Alcapone
15 Gun Court Ranking Joe

Get it HERE

Thursday, January 19, 2012

The Queen of Lover's Rock



Janet Kay
Capricorn Woman aka Silly Games
1979

Janet Kay, was born Janet Kay Bogle (the first of 6 children) in London to Jamaican parents, Clifton and Monica Bogle. Janet is a descendant of the Jamaican National Hero the Rt Excellent Deacon Paul Bogle.

As a sixties child, Janet was exposed to the singing greats, especially those from the Tamla Motown stable and as a result of the exposure and inspiration, Janet's love for singing was born.
In 1977, whilst in Secretarial College, Janet was invited by her school friend Sonia Ferguson (who recorded a cover version of Smokey Robinson's 'Oh Baby Baby' in the late 70's) to a band rehearsal. Destiny saw to it that band member Tony Gad heard Janet singing in the rehearsal room. He was so impressed with the sweetness of Janet's voice that he introduced her to the reggae legend, the Late Great Alton Ellis.

That meeting resulted in Janet recording a cover version of Minnie Ripperton's 'Loving You' (produced by Alton Ellis), which became a reggae smash hit spending many weeks at No. 1 in the reggae charts.

The following year, 1978, saw Janet record 2 more cover versions, 'I Do Love You' and 'That's What Friends Are For', again, both spending weeks at No. 1 in the reggae charts.
In 1979, Janet made history by becoming the first British born black female to have a reggae song at the top of the British charts. The song 'Silly Games', (produced by Dennis Bovell) was a hit not only in the UK but also in Europe. Janet's history making has been recorded in the Music Guiness Book of Records.

Janet's songwriting prowess became evident on the release of her first album 'Capricorn Woman'. The album was, and still is a best seller. All the songs except 2 were penned by Janet Kay.

By now, Janet had become known as the 'Queen of Lover's Rock'. In that same year Janet was presented with the awards for Best 7" Vinyl Single, Best 12" Vinyl Single and Best Female Vocalist 1979 by Black Echoes Music Newspaper.

Janet's voice was not exclusive to only reggae music and in the early 80's she also penned and sung the soulful 'Eternally Grateful' which became an underground hit.

The early 80's also saw the collaboration between Janet and reggae legend the Late Jackie Mitto with the Randy Crawford classic, 'You Bring The Sun Out'.
In 1980, after a chance meeting with actor/singer Victor Romero Evans, Janet was introduced to the theatre company 'Black Theatre Co-operative'. A successful audition saw the birth of Janet's theatrical career, in the play 'Mama Dragon' by Faroukh Dhondy's which toured England and Europe.

Janet has since appeared in several films and has also made numerous TV appearances, theatre plays, (touring the UK and Europe) and radio plays.

In 1981, Janet also starred in the 'Black Theatre Co-operative's' TV sitcom 'No Problem' (LWT/Channel 4), the first black TV show which was created and conceived by a black theatre company. The show became a cult classic.

The late 80's saw Janet's collaboration with the singer/producer Lloyd Charmers with the cover album 'Sweet Surrender'.

In 1990 Janet collaborated with Beats International (Norman Cook aka Fat Boy Slim) on their track Burundi Blues. Following this collaboration, Janet was invited to feature on Lindy Layton's version of Silly Games.

In the early 90's Janet, along with fellow actresses Judith Jacob, Suzanne Packer, Suzette Llewellyn, Beverley Michaels, Josephine Melville and the Late Joanne Campbell formed the highly successful female theatre company the Bibi Crew. All the shows were written produced and directed by the Crew.

In 1991, the album 'Sweet Surrender' was renamed 'Lovin' You, Best of Janet Kay', (which included a newly recorded version of 'Lovin' You'), and was released in Japan. The track 'Lovin' You' propelled Janet to stardom in Japan. Janet subsequently signed to Sony Music (Japan) from 1993 - 2003.

Over the years Janet has collaborated with top producers, Drummie Zeb and Tony Gad (Aswad), Junior Giscombe ('Mama Used To Say'), Jeremy Meehan, Shinichi Osawa (Japan), Kodama & Gota (Japan), Omar and Sly and Robbie. Janet's albums have sold in excess of a million copies in Japan, 'Love You Always' selling over 400 thousand copies in its first year alone.
Janet has also co-written and composed songs for a Japanese TV series entitled 'La Dolce Vita', alongside the renowned Japanese composer Taro Iwashiro.

Janet has visited Japan at least once a year every year since 1990.In recent years Janet has visited Japan, performing at the exclusive Blue Note Night Club for 2 to 3 weeks at a time in Fukuoka, Osaka, Yokohama, Nagoya and Tokyo.

In 2006/7 Janet returned to theatre, where she appeared as the Fairy Godmother in Hackney Empire's Pantomime, 'Cinderella', which the Evening Standard rated the best 'Panto of the season'.

Janet works from time to time as a vocal coach for WAC a Performing Arts & Media College provides training in the arts for children and young people up to the age of twenty-five.
Janet has recently recorded some tracks with Jamaican producer Kemar 'Flava' McGregor, the first of which appears on the ‘Cool and Deadly’ album, available for download on iTunes, entitled ‘Where Do We Go From Here’.

Janet's creativity is not exclusive to singing and drama, but extends to the dexterous world of Arts and Crafts where she is an accomplished Machine Knitter/Hand Knitter/Designer and Lacemaker and her works have been published in craft editorials. Janet has also embraced the digital revolution, becoming highly skilled in web and graphic design (enabling her to build her own website as well as others), music technology (enabling her to record her own vocals on her last album), as well as 3D logo animation and video editing. Janet has co-edited a short feature film by Clive Gandison ('Evergreen Man'), starring Victor Romero Evans, which was nominated for an award by the BFM.

Janet has been voted one of Britain’s Top 100 Black Britains by the Evening Standard and she has also been presented with many awards over the years including, Silver Disc for Silly Games, Best Female Singer, Best 7” Vinyl Single and Best 12” Vinyl Single (1979), Memorial Disc to Commemorate the overall success of Janet Kay Albums in Japan, presented by Sony Music Japan (1995), Women of Merit by Darker than Blue in Association with Barclays (2002), Contribution to British Black Music Industry (2001) and Outstanding Contribution to British Reggae (2009) to name but a few...

Janet's sweet, heart warming vocals has and continues to win her many friends and fans around the world. Her songs, 'Silly Games' and 'Lovin' You', reaching anthemic heights, on this side and the other side of the globe
.
May the sweetness of Janet's vocals continue to warm the hearts of each and everyone!

Tracklist



Get it HERE

All Hail The King!


King Tubby
Dub From The Roots
1974

Biographyby Jo-Ann Greene

King Tubby is to this day synonymous with dub. He was a man who had a passion for fiddling with sound equipment, and turned that passion into a new musical genre and a veritable art form. He may have started his career as a repairman, but before he was done, his name was one of the most respected around the world. He worked with virtually every artist in Jamaica, and his name on a remix was like gold, a seal of quality that was never questioned.

King Tubby was born under the more humble name of Osbourne Ruddock in Kingston, Jamaica, on January 28, 1941. Initially, the closest he got to the music scene was via the airwaves, as Ruddock spent his teens working as a radio repairman. In the mid-'50s, Jamaica was undergoing a revolution that saw the audiences move out of the dancehalls, which had once packed them in with live music provided by big bands, and onto the streets. There the sound systems ruled as traveling outfits set themselves up on a sociable street or corner and blasted records to crowds through a speaker. Initially they were small, but the sound systems quickly grew in size and legend; the competition extremely fierce and often violent. Speakers were the usual victims of these rivalries (sometimes along with the DJs, organizers, and even the audience). The people weren't the only ones who were damaged, which is why in the late '50s the operator of a Waterhouse sound system approached Ruddock for help. The repairman fixed that speaker, then another, and another, until he was providing first aid for a variety of sound systems around the city. A born tinkerer, Ruddock inevitably began coming up with ways to improve things as well. He spent years working on other people's sound systems, but by 1968, he was ready to open his own shop: the legendary Tubby's Home Town Hi Fi. The sound he provided there was nigh on perfect, which meant King Tubby himself was now beginning to look around for something new to fiddle with. Producer Duke Reid offered the perfect solution via a job at his Treasure Isle studio as a disc cutter. There, King Tubby began deconstructing and reconstructing music in the same way he had sound systems, but these early efforts were really remixes, an already old skill in Jamaica. The remix began as a "version" B-side, nothing more than an instrumental of a vocal track. Ruddy Redwood, a sound system MC and engineer at Treasure Isle, had taken the next logical step forward, physically remixing records in the rocksteady years to place the focus on the bass. King Tubby took this concept to a whole new level. He started stripping out not only the vocals, but cutting up instrumental parts, dropping them in and out of the tracks, adding new effects and sounds, while also making use of phasing, shifts, and echoes. Many of these experiments were pressed onto acetate dubplates and spun at his sound system. These stripped-down tracks were integral to the rise of the DJs, and King Tubby not only cut exclusive dubplates for his favorites, he also hired the best to perform at his sound system. U-Roy, I-Roy, and Big Youth were just some of the stars who made their mark toasting at Tubby's Hi Fi.

In 1971, King Tubby was ready to take another leap forward and opened his own studio. There, the experiments continued as the remixer turned engineer moved into the area of studio effects. The studio quickly became a favorite for the likes of Augustus Pablo, Lee Perry, Prince Tony Robinson, and Glen Brown. It was the latter man who history acclaims as the first to actually credit a King Tubby mix on record. The aptly titled "Tubby's at the Control" was a remix of "Merry Up" by God Sons (an alias for Tommy McCook and Rad Bryan). Robinson followed suit, releasing "Tubby's in Full Swing," on a song credited to Lloyd Robinson and Carey Johnson.
King Tubby began turning out remixes in prolific numbers. Bunny Lee kept him busy with a constant stream of singles to remix and a batch were bundled up in 1974 as the seminal Dub From the Roots album, and more were featured on the follow-up, King Tubby Meets the Aggrovators at Dub Station. Years later, the British Klik label reissued most of Roots as Shalom Dub, buttressed with bonus tracks. Another U.K. label, Attack, has also released the King Tubby-fueled Dub Jackpot, featuring rarer remixes and dubs of Lee productions. Blood & Fire's If Deejay Was Your Trade: The Dreads at King Tubby's 1974-1977 also boasts Tubby's takes on Lee's productions, this time focusing exclusively on DJs, as did the French label Culture Press' Bunny Lee, King Tubby & the Aggrovators. Tubby also worked with Vivian Jackson after meeting in 1971 when Jackson handed him a rhythm and the remixer went to work. The result was the hit "Go to Zion," credited to Brother Joe & the Rightful Brothers, an alias for Jackson, the Congos' Roydel Johnson, and the Gladiators' Albert Griffiths. Jackson and King Tubby's follow-up, "Conquering Lion," was another hit, and gave the artist/producer his nickname "Yabby You." Yabby You released his debut album, Conquering Lion, in 1975, and Tubby provided the dub companion, King Tubby's Prophecy of Dub, the following year. Yabby You's sophomore set, 1977's Wall of Jerusalem, boasted Tubby dubs across half the set. Augustus Pablo, the famed melodica player and producer, was also a client, and King Tubby remixed music for Pablo's Rockers label, much of which appeared on the songs' B-sides. The pair cemented their partnership with the seminal 1975 Ital Dub album, the outtakes from the sessions appearing 15 years later as El Rockers, a release from the British Pressure Drop label. However, Ital Dub was merely a warm-up for King Tubbys Meets Rockers Uptown, a record that established both King Tubby's and Pablo's undying reputations. Their follow-up, Rockers Meet King Tubby in a Firehouse, merely added to their glory.
Across the early '70s, the remixer's experiments had swiftly evolved into pure dub, and his remixes were no longer a remix at all, but a total reinvention of the song. Another giant step forward had occurred in 1973 when King Tubby purchased a second four-track, which allowed him to record vocals. The new setup was inaugurated with Roy Shirley's "Stepping Razor" that same year. King Tubby had his first hit the following year with "Watergate Rock," a dub of Larry Marshall's "I Admire You." This inevitably led to Tubby taking on Marshall's entire I Admire You album. It was a busy year as Bunny Lee also released the aforementioned Dub From the Roots set while King Tubby also joined forces with Lee Perry for Blackboard Jungle Dub. He next worked with Niney "the Observer" Holness on 1975's Dubbing With the Observer, and the 1989 Trojan compilation King Tubby's Special 1973-1976 resurrected that album, then added shrewdly selected Bunny Lee productions for a monster 30-track set. After Tubby's work with Holness, producer Harry Mudie supplied him with material that couldn't quite compete, but Harry Mudie Meets King Tubby in Dub Conference, Vol. 1 was still sublime and the pair's partnership continued across another two volumes of music. King Tubby was also happy to provide mixes for Glen Brown, the man who first gave him his due. Trojan's Dubble Attack: The Original Pantomime Dee-Jay Collection 1972-74 features the island's greatest DJs, overseen by Brown, then reconstructed by Tubby. Blood & Fire concentrates on Brown's more roots-conscious work for the equally masterful Termination Dub. Another client was Glen Darby, whose productions recorded at Channel One by Jo Jo Hookim and Philip Smart were eventually compiled across Guava Jelly's two-CD set The Sound of Channel One: King Tubby Connection, which pairs the original vocal tracks with their dub companions.
By the end of the '70s, however, King Tubby had turned his attention to teaching and training a new generation of engineers and producers, including Prince Jammy (who would only take the crown once his mentor died, becoming at that point King Jammy), the equally innovative Scientist, and Prince Philip Smart, among others. King Tubby continued creating new mixes, but no longer at the previous rate. In the new decade, he and Jah Screw took on Ranking Joe and the Roots Radics for the excellent Dangerous Dub. It was to be one of the last full-length remixes Tubby would do. That same year, First, Second and Third Generations of Dub brought together the teacher, alumnus Prince Jammy, and the young graduate, Scientist, for an album that aptly illustrated the development of all three.Scientist and King Tubby united for two more albums released in 1996 by the U.K. label Burning Sounds, King Tubby's Meets Scientist in a World of Dub and King Tubby's Meets Scientist at Dub Station. Even as King Tubby's output dropped, he still remained an integral part of the music scene. He upgraded his studio again and also launched his own record labels -- Firehouse, Waterhouse, Kingston II, and Taurus. By the mid-'80s, King Tubby had shifted into production, and released a stream of seminal singles by the likes of Sugar Minott and Anthony Red Rose. He occasionally released albums and reunited with Bunny Lee for 1983's King Tubby the Dubmaster With the Waterhouse Posse and Sly & Robbie Meet King Tubby in 1985. Both sets disappointed, perhaps because Tubby had taken dub as far as it could go. His best work was now in the production field, working with young DJs and veteran vocalists. Pliers (of Chaka Demus fame), Ninjaman, Gregory Isaacs, and Johnny Clarke were just some of the talent who cut singles for him. King Tubbys Presents Soundclash Dubplate Style arrived in 1989, bundling up dubs of his dancehall hits. As the decade drew to a close, King Tubby seemed destined to continue stamping his imprint on Jamaica's scene, still in demand, and still a powerful musical force. Then, on February 6, 1989, his career came to a sudden end when he was shot and killed outside his home in Waterhouse. His murder remains unsolved, his death believed to have been the result of a street robbery. In the years since, King Tubby's renown has only grown. As time has passed, even more material has come to light and albums that saw only limited release are now easily available.

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