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FoundSound2!

Posted: April 13th, 2010 | Author: | Filed under: Music | Tags: , | Comments Off on FoundSound2!

Another Cassette of ROIR magic! Arrangements by Robbie, Sly and Mao!

ROIR_21st_Cent_Dub_cover
click to see full packaging

21st Century Dub (1987) <RapidShare link>

Track 3 teaser: International Orchitis

Check out the players:
Sly Dunbar, Robbie Shakespeare, Mickey “Mao” Chung, Augustus Pablo, Rico Rodriguez!, Aston “Familyman” Barrett, Carlton Barrett, Akira Sakata, Judy Mowatt…!

Liner notes:

KITTE KUDASAI, MON

It was a charmed and curious wind that curled the elements into alignment so that the music at hand might be created. A Japanese musician with the unlikely name Pecker, so loved this other-world reggae sound that one day his beloved music’s only living god appeared before him, and seemingly with a wave of hand, granted Pecker’s dream of going to Jamaica to record his Pecker-powered reggae vision.

Long before his Jamaican sojourn Pecker was a noted session percussionist mostly on Kaiyoku (or Japanese pops.) On account of his twitch-like movements while playing drums he picked up the nickname Pecker, as in woodpecker. He was not aware of his monicker’s common slang meaning until well after it has been established as his professional name. Pecker’s reputation in musical circles grew quickly and beside his usual session work he took part in two seminal recordings, Ryuichi Sakamoto’s first solo LP “One Thousand Knives” in 1978 and the ” Kylyn” LP, a fusion project that also featured Sakamoto, Akiko Yano and Kazumi Watanabe. The Sakamoto-penned tune ” Kylyn” later reappeared on “Instant Rasta” in a dub form.

Despite these recordings Pecker was not entirely content with his primary work as a background musician for cute, child ” idol stars”, and so he headed for America to broaden, his horizons. He first settled in Berkeley, California (commonly Bezerkley) a town built around the University of California at Berkeley. The international students of the university, mixed with local hippies and freaks, set atop a largely third world community, has long made for a rich and diverse music scene. Pecker, however, lacked confidence in his English speaking ability, and so was not sure how to enter the goingons. Consequently, he became a resident member at the campus jam sessions that frequently evolved. These informal events were attended by both virtuosos and passing winos and contained instrumentation of all sorts, ranging from violins to beer bottles.

From California he migrated to NYC where he played extensively with Latin musician Jerry Gonzalez and furthered his knowledge of percussion instruments and playing styles.

About this time Pecker became more heavily exposed to and caught up in reggae music. In particular, the Wailers LP “Catch a Fire” was of interest near obsession. He also became very much a fan of Augustus Pablo and the Joe Gibbs African Dub series.

Pecker returned to Japan in time to see Bob Marley and the Wailers tour and had the good fortune to meet Bob Marley himself. During their conversation Pecker related to Marley his love for reggae and his pipe dream of recording his own reggae sound in Jamaica. Straight away Marley invited him to do just that. Although there was planning and paperwork to take care of and some helping hands lent by Nippon Columbia, Island Records, and YMO in setting things up, it was Marley’s word that set the fantasy in motion.

Although Marley does not appear on these recordings, because of contractual and scheduling situations, he was largely responsible for bringing together the- noted musicians you see listed in the credits. Most of this material was recorded in Jamaica, though parts were dubbed in Japan (including the wicked clarinet solo on “Dub Jam Rock” by the wild and wonderful jazzman Akira Sakata). As you can see some of the credits are rather vague. Not all the Jamaicans took right away to having a Japanese unknown instruct them about playing reggae music. Also there was a bit of rivalry between the Channel One and Tuff Gong crews, as might be expected, and so credits may be weighted to suit the climate at the time. It was Pecker’s go but everyone contributed. Kitte Kudasai, mon.

KEITH CAHOON

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