Archive for the ‘Dub’ Category

Beats Internation Feat Lindy Layton – Dub Be Good To Me [1990]
March 7, 2014

It still boggles my mind how anyone could dislike this track even considering how overplayed its been over the years. Its got a killer bassline, drenched in Reggae tuned riffs and Layton’s vocals over the top just destroy any opposition anyone could have to this track. If your head isnt nodding from the get go, there has to be something wrong with your soul man.

Its one of those tracks that has really never fallen out of favour with me. From the second I hear Johnny Dynells “Tank Fly, Boss Walk” sample at the beginning, I have a massive grin on my face. Stick with the 12″ mix, the radio edit just isnt long enough. Hard to believe this track came out 24 years ago last week…

From Wikipedia]
Written by Norman Cook aka. Fatboy Slim, Jimmy Jam and Terry Lewis, “Dub Be Good to Me” was the sole number one single for Cook’s genre-hopping outfit Beats International.

The track started out as an instrumental with the title “The Invasion of the Estate Agents”. While also included as the B-side to this single, it originally appeared as the B-side to Norman Cook’s 1989 single “For Spacious Lies”. This instrumental track is heavily based on the bassline from The Clash’s “Guns of Brixton” with a sample of the distinctive “harmonica” theme from the epic western film Once Upon a Time in the West, written by Ennio Morricone. This instrumental, in slightly remixed form, had vocals added from The SOS Band’s “Just Be Good to Me” (as re-recorded by Lindy Layton) to form “Dub Be Good To Me”. The track also features the distinctive vocals of David John-Baptiste, more commonly known as DJ Deejay or just DJ. The opening and closing line “tank fly boss walk jam nitty gritty you’re listening to the boy from the big bad city, this is jam hot, this is jam hot” was from Johnny Dynell’s 1983 hit “Jam Hot” and became an instant classic and was repeated often, being used as the most common reference to the song. The song was a massive hit, spending four weeks at number one on the UK Singles Chart in February 1990. It was the seventh best-selling single of 1990 in the UK. In the U.S., the song reached #1 on the Billboard Hot Dance Club Play chart and #76 on the Billboard Hot 100.

Eddy Grant – Livin’ On The Frontline [1979]
June 15, 2011

In direct contrast to the previous link, this is Eddy at his prime, recently departed from The Equals and just killing it with a massive solo career. Plenty of electronica in this purely Reggae track, lots of head nodding, Supposedly it was one of the tracks found echoing over the battles with the state during the 1981 Brixton Riots and I cant see how anyone would want a barney with a melody like this. Still, regardless of its use, its a total blinder of a track, simple, effective and ridiculously catchy.

From Wikipedia
Eddy Grant (born Edmond Montague Grant, 5 March 1948) is a musician, born in Plaisance, Guyana.[1]

When he was still a young boy, his parents emigrated to London, UK, where he settled. He lived in Kentish Town and went to school at the Acland Burghley Secondary Modern at Tufnell Park. He had his first number one hit in 1968, when he was the lead guitarist and main songwriter of the group The Equals, with his self-penned song “Baby Come Back”.[2] The tune also later topped the UK Singles Chart again when covered by Pato Banton.[3] Notably, he openly used his songwriting for political purposes, especially against the then-current apartheid regime of South Africa. The Clash recorded a version of “Police On My Back” for their Sandinista! set.

Eddy Grant – Give Me Hope Jo’anna [1988]
June 15, 2011

Alright, time to get onto some Eddy Grant. Its been a long time comming, but lets kick off with one of my favourites of Grants. Now, in fairness, its release date definately went against it, music was changing noticably in ’88 and despite being at the forefront of the synth boom in the early 80’s, Grant didnt use his sizeable experience in this field to push the boundaries with “Give Me Hope”. I would imagine the main emphasis was the message not the track itself and sadly I think that it may have suffered at the time because of this. Listening now however, musical trends passed and recycled since its release, I can at least appreciate the track for what it is. An uplifting call to South Africa during the twilight days of Aparthied, designed soley to get people up dancing and singing. Something Grant is a master at.

From Wikipedia
“Gimme Hope Jo’anna” is a song originally by Eddy Grant, a well-known anti-apartheid reggae anthem from the 1980s, written during the apartheid era in South Africa. The song was banned by the South African government when it was released. It reached #7 in the UK Singles Chart, becoming Grant’s first Top 10 hit for more than five years.

“Jo’anna” in the lyrics represents not only the city of Johannesburg, but also the South African Government that ran the apartheid system. Soweto is a black township near Johannesburg, notable for its role in the resistance to the apartheid laws. The archbishop is Desmond Tutu, who won the Nobel Peace Prize for his opposition to apartheid.

“She’s got supporters in high up places, Who turn their heads to the city sun” represents the unwillingness of the international community, at first, to take action against the South African government for using the apartheid system. It is also a reference to Sun City, the South African luxury resort. “She even knows how to swing opinion, In every magazine and the journals” represents the propaganda which the media contributed which attributed to the success of the Apartheid system.

Eddy Grant performed a version of this song at the closing ceremony of the Indian Premier League T-20 cricket tournament on 25 May 2009. The song included a short reprise with the lyrics “…Jo’anna still runs this country” and the rest of the reprise in present tense.

Disrupt – Jah Red Gold and Green [2007]
March 11, 2011

I got sent this by someone at work and loved it so much I grabbed the (excellent) album. This is what im talking about when I come to Dub, hit it with a hint of electronica and im a happy man. This is some proper deep dub as well, I highly recommend picking up the album, Foundation Bit.

Tricky – UK Jamaican (Kingston Logic) [2010]
January 4, 2011

(This is a re-edit since the original is rarer than pixie dust online)

This is what im TALKING ABOUT. Tricky takes the electro-house smash from Daft Punk/Terry Lynn and reworks it into a post-funk, bass driven electro-tinged BEAST of a track. I dont think there’s a point in this track I dislike, the lyrics from Lynn are perfectly rhythmic, the simply drum pattern is punchy and works perfectly with the funk riff. Its nothing like what I have ever heard from Tricky and I think this is a great thing, its a upbeat track as interpreted by the king of melankolic beats. Absolute catchy perfection.

Terry Lynn – Kingston Logic [2010]

Duskyy – Nyabinghi [2010]
November 10, 2010

Damn… talk about just joining the party. Another Mothers Against Noise podcast gem, this track just kills it for me. Its a whimiscal yet mood breakbeat monster with crafty samples, crisp breaks and a massive great slice of bongo work. GOOD bongo work. Not crappy cubase synthetic shite. This, is an amazing track. Makes me feel like there’s some hope for contemporary music when there’s guys pulling this out their hat. Makes the Mixmag #1 rated DJ of (all time) Tiesto sound like a fucking ice cream van.

Hurtdeer – Motion Hole [2010]
November 8, 2010

I think the Mothers Against Noise guys said it best with “Reggae pushed through a blender”. This is a dark, broken headfuck of a track. I clocked this off the Phuture Frequency podcast 32, Mothers Against Noise Edition from a few months back. They’re playing mostly fucked up Post-Jungle amen’s and jungle mashed neurofunk. Imagine if you gave Autechre and Aphex Twin the Congo Natty back catalogue and your on your way.

Hurtdeer’s track is a great example of this, with amens broken up with dancehall hits and ragga lyrics bashed together with some downtempo business and monster basslines. Its so mullered I cant decide if I love it, I deffinately dont hate it. Its insanity is intoxicating on a Monday morning!

Project One – Smokin’ (1992)
December 15, 2009

Taken from Cheeba 12 inch on Rising High Records,

Label founded in London UK in February 1991 by Caspar Pound. Had sister labels Ascension Records (for dance music), Sapho (for more avant-garde experimental releases) and Rising High USA (in America).

Prodcued by Marc Williams & Tony Winter, Marc Williams is also known as A Homeboy, A Hippie & A Funki Dredd

The only track on this 12 that’s worth a listen, the rest sound really dated. A dark little breakbeat number with a lovley reggae sample.


Lutan Fyah & Spectacular – Kill Dem Sound (2009)
December 8, 2009

On Iire Ites Records download only I think,

Had to post this video my friend showed me today, some new heavy Reggae Dub from Lutan Fyah & Spectacular live in their studio, I’d never heard them before but will def be on the hunt for some more! vinyl hopefully, pure fire!


Massive Attack – Just Be Thankful [1991]
November 26, 2009

On the subject of Massive Attack, another stunner from Blue Lines in honor of today’s Thanksgiving. The whole album should be mandatory listening for anyone wishing to be a part of the human race. One of the best albums of all time for me.

Diggin’ the scene with a gangster lean..
From Discogs
Probably the best, certainly the most important , album of the decade, Blue Lines defined the sound of BritainĀ“s carcass after Thatcher had finished with it. Blue Lines was the first representation of a certain kind of syncretic Britishness that would define the islandĀ“s music for the next decade.

Happy Thanksgiving!