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10"
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PROJR 10-14
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$16.00
PREORDER
RELEASE DATE: 7/28/2023
"Natty Inna Babylon Dub": A rare dub cut to "Natty Dread Ah No Mickey Mouse" which was itself a cut to "Natty Dread Won't Get A Witness", over the classic Bangarang Rhythm. "Dub Feeling": Last but not least again recorded back in 1969, you have a lost cut to Slim Smith's "This Feeling". Featuring a more attacking intro than it's more commonly known version two, "It's A Dubbing Lie". This is an alternative unreleased cut to Ernest Wilson's "It's No Lie" recorded way back in 1969... still sounds good.
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7"
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JR 7013EP
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$12.50
PREORDER
RELEASE DATE: 7/14/2023
Two killer tracks from the majestic Prince Alla.
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7"
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JR 7015EP
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$12.50
PREORDER
RELEASE DATE: 7/14/2023
Cornell Campbell's classic "stars" cut with a wicked King Tubby dub on its flip!
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10"
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PROJR 10-10
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A pair of unreleased dub cuts produced by Linval Thompson, taken from the forthcoming album from Jamaican Recordings Linval Thompson's Dub Story. "My Dub Princess" is version of Linval's "Black Princess Lady". "Cheat Me Outta Dub" is an unreleased dub cut of Linval's "Don't Try To Rob I".
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7"
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JR 7010EP
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$12.50
PREORDER
RELEASE DATE: 6/9/2023
A timeless classic back into the fire... "Women no want bangarang."
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7"
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JR 7012EP
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$12.50
PREORDER
RELEASE DATE: 6/9/2023
Eric Donaldson winner of the Jamaican Festival song competition no less than five times. This track won it in 1971 covered by UB40 and the Rolling Stones, but never bettered...
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7"
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JR 7011EP
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$12.50
PREORDER
RELEASE DATE: 6/9/2023
One of the Don's killer tunes... Still stands strong with great king tubby version on the flipside.
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10"
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PROJR 10-03
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2023 repress. Two excellent Revolutionaires cuts. Sly and Robbie at their best. An unreleased dub from the Bunny Lee produced "2 Bad Bull" track originally vocal by B. Simpson. These early tracks were recorded at Channel One and produced by Bunny Striker Lee. Rare and raw.
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7"
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JR 7002EP
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Tappa Zukie's classic "M.P.L.A." and its dub version, originally cut at Channel One studios in 1976. Still sounds as fantastic today.
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7"
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JR 7003EP
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Horace Andy's timeless cut "Money Money" even more relevant today, alongside it's rare dub cut. "Money money money... The root of all evil"!
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7"
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JR 7001EP
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Finally, the original Jamaican version of the 1970s classic "Money In My Pocket" gets a 7" release. The unsweetened and slightly slower cut to its first UK release that came on the Joe Gibbs label.
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CD
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JRCD 072CD
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To celebrate the 20-year anniversary of our label Jamaican Recordings and to mark the sad one year passing of the musical maestro reggae producer Bunny "Striker" Lee, the label has pulled together a brand new collection of some great Bunny Lee rhythms. The label started way back with initial meetings with Bunny Lee and a promise to keep his music available, out on the streets. He will be sorely missed but will live on through his extraordinary musical legacy and we hope to add to this by including this release to the stable of an unbeatable catalog.
Legendary record producer Bunny "Striker" Lee's vast selection of rhythms were ever present at any sound clash or dance worth talking about in the early to mid-1970s. Where the version found on the B-side of a single or special dub cut on acetates, would be played to win over the people and conquer the dance. Bunny Lee was the undisputed rhythm master and on this special release he is also the MC telling the crowd how it is and that any rival sound system should watch out as he has the rhythms that can reign supreme. The band cutting these timeless rhythms was a group of top Jamaican musicians Bunny had put together called The Aggrovators. The Aggrovators were a group of reggae musicians that usually featured Carlton "Santa" Davis on drums playing alongside Robbie Shakespeare on bass, with other musicians added like Earl "Chinna" Smith on guitar and Tommy McCook, Vin Gordon, and Lennox Brown added for horn arrangements. Keyboards and organ duties normally fell to musicians Ansel Collins and Bernard "Touter" Harvey. The band was named after singer Eddie Grant had repeated the phrase to Bunny Lee on one of his many trips to England, that such and such artist was giving him "Aggro". This was a term used in England in the 1970s by the Skinhead followers of reggae music. A term shortened from the word "Aggrovation", meaning trouble, fighting or making the situation worse. Bunny Lee was so taken with this term that on returning to Jamaica, not only did he name his group of musicians the "Aggrovators" but he also named his record shop situated at 101 Orange Street "Agro Records". Jamaican Records have compiled some great tracks recorded by this fantastic group of musicians. With the added extra magic of Mr Bunny Lee calling it out as only he can on the microphone. CD version includes three bonus tracks.
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LP
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JRLP 034LP
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2021 rerelease. The mighty Channel One Studios, Kingston, Jamaica, has its place set in reggae's history. Its distinctive sound the studio created on opening its doors in 1972 to its closure in the early 1980s made it the producers, singers, and musicians studio of choice during this furtive period. Achieving that vibe and clarity, separated it from the other Kingston establishments. Run by the Hookim Family's four sons, Jo Jo the eldest followed by Paulie, Ernest and Kenneth. Their father originally came from China and married a Chinese Jamaican lady and settled in the St Andrews district before moving to Kingston Town itself. The family business was built on jukeboxes and one-armed bandit machines in and around Kingston. A lucrative venture until the gaming laws changed in 1970, outlawing the gaming machines. It was decided to open a studio to make the music to supply their already established Jukebox enterprise. The four brothers opened Channel One Recording Studios in 1972. Initially, the purpose of the studio was for the brothers use only, but this would soon change. Jo Jo would take over the production duties after the initial hiring of Syd Bucknor a producer who had worked closely with Coxonne Dodd's Studio 1 stable. The first release on the Channel One label would be "Don't Give Up The Fight" by Stranger Cole and Gladstone "Gladdy" Anderson. 1977 saw Jo Jo extending his stays in New York to a semipermanent status, returning mainly to oversee recording sessions and then taking the results back to America for worldwide distribution. His brother Paulie senseless killing in that year also added to Jo Jo's decision to spend more time with his Hit Bound Manufacturing set up in New York. The Channel One studio would be upgraded in 1979 to sixteen tracks and although Jo Jo and Ernest still covered the mixing and engineering duties Kenneth would now supervise sessions. An often untold part of Channel One's history is the involvement of producer, Niney The Observer. The mid to late 1970s were heavy times both musically and politically and Maxfield Avenue was in the heart of this crossfire. Niney's fearlessness seen him over running and in many cases running the all-night sessions with his trusted set of musicians loosely called The Soul Syndicate. Jamaican Recordings have selected a bunch of material from Niney's vaults for this release. Some great unreleased rhythms and some different cuts to some tracks you might already know.
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LP
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JRLP 016LP
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2021 rerelease; 2004 release. King Tubby, the "Dub Master" who's output was as prolific as it is sought after and whose presence is surely missed. Jamaican Recordings take you on another dub excursion. This time through some essential cuts made for the producer/DJ Tappa Zukie. King Tubby always added something a little special to the tracks he worked on. Producers would often bring their already recorded tracks to his home studio at 18 Drummlie Avenue in the Kingston district of Waterhouse. The backing tracks which were laid at various other studios around Kingston. Like Channel 1 and Randy's Studio 17, would then be voiced/re-voiced at King Tubby's. Tubby and his team which included Prince Jammy and Philip Smart would be left to create the version cut. Having listened to the track it would be striped back to the bone of bass and drums and rebuilt. Sprinkling his magic over the track by dropping the bass in and out, adding echo and emphasizing various elements of the song. In some cases, dubbing the cut into something unrecognizable from its original sound. The tracks would be aired on Tubby's Hometown hi-fi sound system. Which acted much like a pre-release for the record to gauge the crowd's reaction, before the tracks would be unleased on the public. Another fine collection of Tubby Cuts, comprising work with Mr Tappa Zukie. Lost cuts to some of his own tracks like "First Street Rock", alongside productions he undertook with the great Prince Allah, Junior Ross, and the Spears. Also, the much-overlooked vocal group Knowledge. Some great rhythms, some great tracks, worked over by the greatest dub mixer of them all.
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CD
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JRCD 071CD
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Tommy McCook was not only a founding member of the legendary Jamaican ska group The Skatalites, but also a brilliant musical arranger. His informed understanding of jazz, R&B, and in fact, most music styles would always add another layer to any song put his way. This made him the go-to guy for most of the Jamaican producers, who would use his arrangement skills to pepper up their latest tunes. Tommy McCook, (b1927, Havana, Cuba) came to Jamaica with his mother from Cuba aged 11 and entered renowned Alpha Boys School for underprivileged children, a school that placed great emphasis on musical tuition. At 14, such was his talent he has left to join Eric Deans Orchestra and took on stints with other bands led by Don Hinchman and Roy Coburn. All the bands played in the swing and Jazz style of the times. He relocated to the Bahamas in 1954 where he further developed his jazz technique and, upon his return to Jamaica in 1962, began working Coxsone Dodd's Studio One and became involved in the development of ska. His knowledge of jazz, R&B and Jamaican musical forms helped set the tone for the group of musicians he was working with and would name the Skatalites. The group, consisting of Don Drummond (trombone), Roland Alphonso (tenor saxophone), Jackie Mitoo (piano), Lloyd Brevett (bass), Lloyd Knibbs (drums), alongside Tommy himself on tenor saxophone. The group would back all the major ska vocalists of the day and would also go on to cut a catalog of instrumental music. The Skatalites split up in 1965 and Tommy McCook moved over to work with Duke Reid's Treasure Isle Studios where he formed The Supersonics. A set of musicians under his guidance that consisted of Lynn Tait and Ernest Ranglin (guitar), Neville Hinds and Winston Wright (organ), Gladstone "Gladdy" Anderson (piano), Hugh Malcolm and Arkland "Drumbago" Parks (drums), Clifton "Jackie" Jackson (bass), and Tommy and Hernon Marquis (saxophone). The more laidback sounds from 1966-1968 would be given the name rocksteady of which, again, McCook was at the forefront. Top producers like Bunny Lee would use the musicianship of Tommy McCook and his arrangement skills to enhance this new sound. Jamaican Recordings have compiled a great selection of rhythms that feature McCook blowing over tracks stripped of their vocals and replaced with some fantastic lead lines played by Tommy and some of his fellow horn players.
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LP
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JRLP 071LP
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LP version. Tommy McCook was not only a founding member of the legendary Jamaican ska group The Skatalites, but also a brilliant musical arranger. His informed understanding of jazz, R&B, and in fact, most music styles would always add another layer to any song put his way. This made him the go-to guy for most of the Jamaican producers, who would use his arrangement skills to pepper up their latest tunes. Tommy McCook, (b1927, Havana, Cuba) came to Jamaica with his mother from Cuba aged 11 and entered renowned Alpha Boys School for underprivileged children, a school that placed great emphasis on musical tuition. At 14, such was his talent he has left to join Eric Deans Orchestra and took on stints with other bands led by Don Hinchman and Roy Coburn. All the bands played in the swing and Jazz style of the times. He relocated to the Bahamas in 1954 where he further developed his jazz technique and, upon his return to Jamaica in 1962, began working Coxsone Dodd's Studio One and became involved in the development of ska. His knowledge of jazz, R&B and Jamaican musical forms helped set the tone for the group of musicians he was working with and would name the Skatalites. The group, consisting of Don Drummond (trombone), Roland Alphonso (tenor saxophone), Jackie Mitoo (piano), Lloyd Brevett (bass), Lloyd Knibbs (drums), alongside Tommy himself on tenor saxophone. The group would back all the major ska vocalists of the day and would also go on to cut a catalog of instrumental music. The Skatalites split up in 1965 and Tommy McCook moved over to work with Duke Reid's Treasure Isle Studios where he formed The Supersonics. A set of musicians under his guidance that consisted of Lynn Tait and Ernest Ranglin (guitar), Neville Hinds and Winston Wright (organ), Gladstone "Gladdy" Anderson (piano), Hugh Malcolm and Arkland "Drumbago" Parks (drums), Clifton "Jackie" Jackson (bass), and Tommy and Hernon Marquis (saxophone). The more laidback sounds from 1966-1968 would be given the name rocksteady of which, again, McCook was at the forefront. Top producers like Bunny Lee would use the musicianship of Tommy McCook and his arrangement skills to enhance this new sound. Jamaican Recordings have compiled a great selection of rhythms that feature McCook blowing over tracks stripped of their vocals and replaced with some fantastic lead lines played by Tommy and some of his fellow horn players.
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CD
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JRCD 070CD
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Delroy Wilson's rich vocal tones always added magic to any song put his way. The "Cool Operator" was what he was affectionately named after he worked on a tune with the legendary Jamaican producer, Bunny Lee. A match made in heaven, that you will hear on this collection, where he was put against some of the finest rhythms made in what would be a high point in reggae's history. Delroy Wilson (b.1948 Kingston, Jamaica) began his musical career at the school which was Coxonne Dodd's Studio One label. His first release at the tender age of 13 was the Lee Perry produced "Joe Liges". This ska-enhanced tune gave the young singer his first hit and the follow-up single "Spit in the Sky" also flew out the record store doors. After a brief stop in 1969, Delroy began working for producer Sonia Pottinger's Tip Top label which gave him more hits including "It Hurts" and "Put Yourself in My Place". The 1970s saw Delroy Wilson's arrival at Bunny "Striker" Lee's door and what would turn into a winning formula, scoring hit after hit. It is from this great period in Delroy's career that Jamaican Recordings have compiled this selection of killer tracks, cut with drum and bass rhythm kings themselves Sly Dunbar and Robbie Shakespeare. A great dub set mixed at the one and only King Tubby's studio... CD version includes three bonus tracks.
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LP
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JRLP 070LP
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LP version. Delroy Wilson's rich vocal tones always added magic to any song put his way. The "Cool Operator" was what he was affectionately named after he worked on a tune with the legendary Jamaican producer, Bunny Lee. A match made in heaven, that you will hear on this collection, where he was put against some of the finest rhythms made in what would be a high point in reggae's history. Delroy Wilson (b.1948 Kingston, Jamaica) began his musical career at the school which was Coxonne Dodd's Studio One label. His first release at the tender age of 13 was the Lee Perry produced "Joe Liges". This ska-enhanced tune gave the young singer his first hit and the follow-up single "Spit in the Sky" also flew out the record store doors. After a brief stop in 1969, Delroy began working for producer Sonia Pottinger's Tip Top label which gave him more hits including "It Hurts" and "Put Yourself in My Place". The 1970s saw Delroy Wilson's arrival at Bunny "Striker" Lee's door and what would turn into a winning formula, scoring hit after hit. It is from this great period in Delroy's career that Jamaican Recordings have compiled this selection of killer tracks, cut with drum and bass rhythm kings themselves Sly Dunbar and Robbie Shakespeare. A great dub set mixed at the one and only King Tubby's studio...
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LP
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JRLP 041LP
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2021 restock. The mighty Scientist meets Jamaica's original Crazy Mad Professor in a dub showdown pitching their best musical shots against each other. The connection between these two great mixers/producers is that they both learned the trade and also cut their musical teeth working with the master himself King Tubby. Scientist (b. Overton Brownie, 1960, Jamaica) and the Crazy Mad Professor (not to be confused with the London-based Mad Professor, Neil Frazer, Ariwa Sounds) initially both helped King Tubby (b. Osbourne Ruddock) wind his transformers for his main business of electrical repairs. They both moved over to engineering and mixing when the need arose due to the heavy demands on Tubby's time and studio became too great. Scientist and The Crazy Mad Professor built their careers on these formative years of training, as they say if you learn from the best, your knowledge can only hold you in good stead and it certainly has with both these talents. Jamaican Recordings have pitched both against each other on some great rhythms recorded at the legendary Channel 1 Studios and then mixed them at King Tubby's Studio, as was often the case when rhythms needed voicing/versioning for that classic dub cut.
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CD
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JRCD 041CD
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2011 release; 2019 repress. The mighty Scientist meets Jamaica's original Crazy Mad Professor in a dub showdown pitching their best musical shots against each other. The connection between these two great mixers/producers is that they both learned the trade and also cut their musical teeth working with the master himself King Tubby. Scientist (b. Overton Brownie, 1960, Jamaica) and the Crazy Mad Professor (not to be confused with the London-based Mad Professor, Neil Frazer, Ariwa Sounds) initially both helped King Tubby (b. Osbourne Ruddock) wind his transformers for his main business of electrical repairs. They both moved over to engineering and mixing when the need arose due to the heavy demands on Tubby's time and studio became too great. Scientist and The Crazy Mad Professor built their careers on these formative years of training, as they say if you learn from the best, your knowledge can only hold you in good stead and it certainly has with both these talents. Jamaican Recordings have pitched both against each other on some great rhythms recorded at the legendary Channel 1 Studios and then mixed them at King Tubby's Studio, as was often the case when rhythms needed voicing/versioning for that classic dub cut. CD version includes two bonus tracks.
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LP
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JRLP 005LP
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2019 repress. The Aggrovators were one of Jamaica's finest session bands, many of the tracks you know and love from the '70s reggae scene probably featured this group of musicians in some shape or form. The band was put together by Bunny "Striker" Lee, one of Jamaica's formidable producers, who, with no studio of his own, had to rely on buying studio time from the existing establishments, such as Randy's Studio or Channel 1. The updating of Studio 1 classics, which in some cases were reworkings of American R&B tunes, was common practice. The rhythms were much loved favorites and there was the added incentive that the musicians knew the tracks inside and out. This set of dubs are straight from the master tapes of such sessions orchestrated by the man Bunny Lee himself, no one knew better -- you can't keep a good tune down never mind a great one...
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LP
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JRLP 069LP
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LP version. What two great producers other than Lee Perry and Bunny Lee would be best suited for a Dub Soundclash? Both producers were integral at the birth of dub music and would share many rhythms and sessions -- their musical paths would cross all through their careers. It was in fact Bunny Lee's rhythm that provided the back drop to Lee Perry's "Shocks Of Mighty" cut. Jobs were passed from one to the other, Bunny Lee taking over Lee Perry's position at WIRL Records. Yes, two producers whose paths always seemed to cross as it does with this release. Jamaican Recordings have selected some of Lee Perry's rhythms, the first half of this set, against some Bunny Lee rhythm on the second half. You can hear the distinctive sound of Lee Perry's Black Ark studio with his echoplex giving his trademark whirling sound against Bunny Lee's rhythms cut at many different studios. The winner of the Soundclash? That is up to you the listener... But in this dub session there is no loser...
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CD
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JRCD 069CD
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What two great producers other than Lee Perry and Bunny Lee would be best suited for a Dub Soundclash? Both producers were integral at the birth of dub music and would share many rhythms and sessions -- their musical paths would cross all through their careers. It was in fact Bunny Lee's rhythm that provided the back drop to Lee Perry's "Shocks Of Mighty" cut. Jobs were passed from one to the other, Bunny Lee taking over Lee Perry's position at WIRL Records. Yes, two producers whose paths always seemed to cross as it does with this release. Jamaican Recordings have selected some of Lee Perry's rhythms, the first half of this set, against some Bunny Lee rhythm on the second half. You can hear the distinctive sound of Lee Perry's Black Ark studio with his echoplex giving his trademark whirling sound against Bunny Lee's rhythms cut at many different studios. The winner of the Soundclash? That is up to you the listener... But in this dub session there is no loser... CD version includes three bonus tracks.
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CD
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JRCD 068CD
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King Tubby's Hometown Hi-Fi was one of the great sound systems in Jamaica. It also proved a fantastic outlet for the Dub Plate Specials cut at Tubby's studio, providing exclusive cuts to be played out and to entice the dance's audience. The tracks at the time were mainly cut over producer Bunny "Striker" Lee rhythms, that Bunny stored at Tubby's studio, 18 Drumilly Avenue, Kingston, Jamaica. The versions were given exclusive plays at Tubby's sound before some finding their way on to vinyl, as the B Side version cut to its A Side vocal. It proved so popular that the records were often brought for its version side over its vocal counterpart. Jamaican Recordings have compiled a selection of cuts that were all tried-and-tested on Tubby's Home Town Hi-Fi sound system and that worked a great set of Bunny Lee's rhythms in fine style. Some of these cuts found a release as version B sides but many on this set were exclusive dub plates unreleased until now. As Cornell Campbell says of the set "King Tubby and Bunny Lee will never go away". CD version includes three bonus tracks.
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LP
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JRLP 068LP
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LP version. King Tubby's Hometown Hi-Fi was one of the great sound systems in Jamaica. It also proved a fantastic outlet for the Dub Plate Specials cut at Tubby's studio, providing exclusive cuts to be played out and to entice the dance's audience. The tracks at the time were mainly cut over producer Bunny "Striker" Lee rhythms, that Bunny stored at Tubby's studio, 18 Drumilly Avenue, Kingston, Jamaica. The versions were given exclusive plays at Tubby's sound before some finding their way on to vinyl, as the B Side version cut to its A Side vocal. It proved so popular that the records were often brought for its version side over its vocal counterpart. Jamaican Recordings have compiled a selection of cuts that were all tried-and-tested on Tubby's Home Town Hi-Fi sound system and that worked a great set of Bunny Lee's rhythms in fine style. Some of these cuts found a release as version B sides but many on this set were exclusive dub plates unreleased until now. As Cornell Campbell says of the set "King Tubby and Bunny Lee will never go away".
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