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

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

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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:


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.




Posted: April 8th, 2010 | Author: | Filed under: Music | Tags: , , , | Comments Off on FoundSound1!


Yes, that says “BOINGING”!

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ROIR cassette only release! Like Dub? You must have this.

Dub Syndicate One Way System (1983) <RapidShare link>

Track one teaser: Socca

Do read the liner notes! They are rich:

In the rather unlikely event thai you don’t know what dub music Is – after all, why then would you have this tape and be reading these notes? – it’s when a reggae producer takes a pre-exlsting reggae track, edits out the vocals and most accompanying In- struments except the rhythm section, drops them back In at odd moments, echoes and reverbs and rebounds and swells and stretches the whole thing, and generally creates a truly mind-and-body- bending, prlmltive-yet-sophlstlcated, techno-atavlstic, roots-futurlst kind of minimal hypno-trance dance music. The solemnity Inherent in reggae’s deep, stately, long-march rhythms is magnified and, along with the disappearance, reappearance, and electronic transmogrification of a guitar lick here, or a vocal or keyboard flourish there, It all evokes pure dread, the dread lying deep In reggae’s spiritual heart. Yet. It’s still quite often as funky and fun as it is scary and avant-gard.

Adrian Sherwood is–shockingly, unbelievably, amazingly, interestingly. or whatever enough – a white Englishman who happens to produce some of the world’s best dub music. In Just a few years, Sherwood’s On-U-Sound Records has amassed a sizeable catalog that marks Sherwood’s incredibly prolific career as being just as important and enjoyable as those of Jamaican dub- masters like lee “Scratch” Perry, Augustus Pablo, Scientist, and Prince Jammy. One of Sherwood’s secrets is his connection to many of Jamaica’s finest singers and players, a relationship that started when Sherwood began hanging out with legendary Jamaican dubmaster/DJ-toaster (a toaster chants a Jamaican patois version of rap over a dub track) Prince Far I, whose four volume Cry Tuff Dub Encounter series stands as a landmark of the space-Invaders techno-dub that Scientist, Jammy and Sherwood have furthered. Once Sherwood set up On-U-Sound In ‘Britain, he’d Just walt till Far I or any of the many others he works with – Creation Rebel ~an instrumental-dub band responsible for such On-U-Sound classics as Psychotic Junganoo, consisting of Jamaican studio band Roots Radlcs); toaster Jah Whoosh; crooner 81m Sherman; ace reedman Oeadley Headley Scott – came to England on tour, and record whatever sessions with them he had time for. In the best dub tradition, especially that of Perry, Sherwood makes the most of a limited number of basic tracks, working and re-worklng them with ever more inventiveness over any number of albums. Sherwood could leave things straight for a Creation Rebel album; or add tracks by a few others and mix things in a more African direction for an African Headcharge disc (check out My Life In 8 Hole In The Ground); or In a Pablovian Far East/Third World direction for a Suns of Arqa record; or take Creation Rebel Instrumental tracks and bring in members of his stable of white Brit avant-funk groups, like ex-Slit Ari Up, to make a New Age Steppers album; or put all of the above together for a Singers and Players project (such as the hlghly) recommended War of Words).

Whatever, Sherwood’s vast and varied body of work has done as much as, If not more than, anyone else’s to Increase dub’s global outreach – even though many On-U-Sound Records are unevenly distributed, and some have even gone out of print. So thanks ROIR for this ample sampler you hold in your hot little hands, a resume of sorts of Sherwood’s oeuvre. There are many moods here, all of them vividly realized: the dreadfull, spare classlc-dub feel of “Socca”; the stately. eerie otherworldly mood of “Schemers” and “Substyle”, so evocative of Pablo (though, to Sherwood’s credit, only the steelpan synth near the end of “Schemers” actually sounds like Pablo); the jolly, chirpy, bounce of “Drainpipe Rats”; the sultry tropical insinuation of “Drilling Equipment,” a gorgeous showcase for Deadley Headley’s Lester- Young-on-a-Lonely-Avenue-In-Trenchtown sax… The grooves provided here (which also serve as the basis of many songs on the New Age Stepper’s latest, Foundation Steppers) by such greats as Style Scott, Bingl Bunny and Steely of Roots Radlcs, George Oban of top-ranking British reggae band Aswad, and Crucial Tony and lizard of Creation Rebel are good enough to stand on their own – Sherwood could do anything he wanted with them and they’d have to sound pretty good. But One Way System is much better than that. Your attentlon is especially directed at this cassette-album’s most exceptionally innovative cuts. Sherwood’s use of springy elastic echo on what is already unusual-for-reggae percussion in “Overloader,” “Ascendant (Parts 4 and 6),” an9 “Independence” results In a sort of Captain Beefheart-meets-Sly and Robbie, crazy quilt of seemingly off-kilter yet deep-in-the-pocket polyrhythms. “Independence,” especially, with Its Jittery yet cocksure march beat and lurching, elephantine synth·bass going through conqueror-worm syncopations, sounds like no other reg- ggae, dub – no other music – I’ve ever heard. And “Ascendant, Part 6,” with Its enormous wallops of synth-percusslon boinging through the valleys of a killer groove so deep Us peaks seem like skyscrapers, also displays Grandmaster Flash – style prowess with turntable-Jazz techniques like cutting, scratching, and discslipping. Incredible – dread-full and up-full, and streetwise!

To be blunt, Adrian Sherwood has done it again. One Way System is more than Just good dub, more even than as-good-asJamaican dub. It’s Just good music. Period. Listen.


WARNING! This album iength production Is not available on vinyl: It was specially creatad by Adrian Sherwood of On·U Sound Productions, U.K., exclusively for ROIR Cassettes.