Happy New Year, Nyabinghi

Ras Michael & The Sons of Negus: Int'l Year of the Child, Sip Your Cup, Jah Jah Power Shall Endure

From: Rally Round [1991, Shanachie]

I was going to post this before the holidays, but listening now, it's not a bad way to start off the new year. The reggae/dub exploration continues: this time we veer slightly from the well-traveled road of One-Drop to Nyabinghi.

I picked this record up knowing absolutely nothing about Ras Michael; by the end of Side 2 I was a fan and off researching more about his history and the Nyabinghi music with which he appears be associated.

...Since the passing of Count Ossie, the influential master drummer whose troupe of musicians, drummers and dancers brought the living tradition of African music to generations of musicians and ordinary Jamaicans, Ras Michael has been the most important artist injecting roots traditions into popular music. By using both elemental voice-and-drum chants as well as innovative combinations electronic instruments, horns and drums, Ras Michael stands alone in reggae as a respected master of reggae rhythms... Randall Grass, 'Rally Round' liner notes

I'm in no way an expert on rhythms, but I am familiar enough to sense how the feel of the 3 songs posted here differ from other reggae I've soaked in. The prominent hand percussion in these songs creates a continuous, almost circular groove that seems to roll more than the popular accented 3rd beat bounce. The vocals differ a bit as well; leaning more towards orthodox Rasta praise chants rather than more secular pop lyrics. I find the overall sound quite uplifting.

Hope you enjoy.

Happy 2008; good health and music to all.

Dub Triple Threat

Jacob Miller: Baby I Love You So, Who Say Jah No Dread, Jah Dread
From: Who Say Jah No Dread [1992, Greensleeves]

Since my last dub post, I’ve expanded my record collection a bit and discovered this gem.

At just over 30min, Who Say Jah No Dread is a tight, well-crafted experience; 6 well constructed and beautifully performed songs each followed by its respective dub versions. The selections showcase highlights from the early 70's collaborations between vocalist Jacob Miller (of Inner Circle) and producer Augustus Pablo. King Tubby completes the "triple threat" by mixing the dub versions.

A little research reveals this record to be a classic, and, it feels like a classic: subtle in its plentiful hooks and consistent in its quality. Well worth picking up. Politics, philosophy, and love melt together in one smooth ride.

Scratching the Surface

Jah Stitch: Black Harmony Killer
The Congos: Fisherman
Tapper Zukie: Rush I Some [dub]
From: Dread Meets Punk Rockers Uptown (selected by DJ Don Letts) [EMI, 2002]

I've been meaning to post some tracks from this excellent dub/reggae comp by Don Letts for a while now, but I couldn't figure what exactly to say. I've heard a fair amount of reggae in my day, but this disc has really been my first entree into the wide world of dub. It's a good one for a rock fan like me because Letts' story is one that occurs at the historical meeting and mingling of punk rock and dub/reggae cultures. This is what initially drew me in. Then, as I began reading more about Lee Perry, King Tubby, Augustus Pablo, Reggae, Dub, and on... the emerging story became only more compelling and expansive. The roots of this music go deep, way deep. So, rather than nest these tracks in my very topical understanding of dub, I'd like to instead ask any of you willing souls to offer up recommendations in the comments about your favorite serving of dub (or reggae). This comp has brought me to the precipice; I'd like step off the ledge into a cloud of rattling drums and seismic bass. I think I need new speakers.

Lot's of Loving

Ranking Dread: Supa Star
From Lot's of Loving [Tad's, 1980]

Marijuana Soul
From Girls Fiesta [Burning Sounds, 1978]

Per earfuzz reader request (yes, you guys can do that) I'm doing a post on reggae supa star Ranking Dread. Lot's of Loving was the first album of his that I bought and it instantly became one of my favorite dancehall albums. At the time, Dread was doing vocal work for Sugar Minott's Youthman Promotion sound, and they recorded this album under his production. Like the title would indicate, the LP is filled with feel good riddms and rhymes, the choice cut being "Supa Star." Dread's exceptional vocal ability is showcased on this one, mixed especially high which I think greatly intensify's the album's acoustics.

The other song I chose here was from an earlier album, "Girls Fiesta," produced by Linval Thompson. Unlike the dancehall riddms of Lots of Loving Dread works with dub soundscapes, which naturally changes his delivery. It's much more melodic and doesn't have all the random buh-dah-bee-bum-bum-bum stuff, making it an entirely different listen. "Marijuana Soul" is a great cut, even if it is the most played out topic in reggae music.

Bam Bam

Sister Nancy: Bam Bam and Gwan A School
From: One Two (Techniques, 1982)

One of the great bonuses of hip hop sampling is that it introduces you to artists you might otherwise never ever hear. As my knowledge of Reggae doesn't stretch much further than the works of Lee Perry, Yellowman and a childhood obsession with Musical Youth there is little doubt in my mind that were it not for the prolific sampling of Sister Nancy's Bam Bam I never would have come across the artist and her 1982 album One Two.

However, thanks to Large Professor and Pete Rock it's become one of those simple pleasures I'll return to from time to time - a quality pick me up of an album.

The track Bam Bam itself is a masterpiece in early eighties reggae minimalism. From the moment those heavily sampled horns come in the track rolls along as smooth as you like with the obligatory dub bassline over the Stalag rhythm. It's Nancy's vocal that holds it all together though, her voice the melody accompanying the production.

Gwan A School has some of my favourite production on the album, Winston Riley keeping the sound tight as Sister Nancy espouses the necessity of school to the youth of today. I love the multiple breakdowns in the track, the beat returning each time with an extra layer of complexity. Great tracks and a great album to get you in the mood for the weekend.

Welcome to Jamrock

Damian Marley: Welcome to Jamrock
From Welcome to Jamrock [Universal, 2005]

This could get the "dude, where the fuck have you been for the past 6 months" stamp, but for someone who rarely follows current reggae music, I feel a lot of our readers may be in the same boat. Enter Damian Marley's single "Welcome to Jamrock" which hit airwaves halfway through this year. The youngest output of Bob Marley's legacy, Damian first entered the music scene in 1996 with Mr. Marley and then his 2001 major label debut Halfway Tree. While many have been dissapointed by the relatively soft output of Marley's other children as of late, Damian's music has been labeled as reggae for the streets, sending powerful messages in gritty packages, and "Welcome to Jamrock" is no exception. Riding one of the sickest riddms I've heard in a while, Damian tells the truths of his homeland Jamaiaca, from poverty to political violence. It's one of those songs where all components work perfectly together, which makes it all the more impacting.

So enjoy it for those who haven't heard it, or chastise me for being this late in the game. All that matters is that it's being heard.

Record Collector's Dreams

Picture taken from the KUSF Rock N' Swap 4/3/05

Bola Sete: "Bettina"
From Workin' On A Groovy Thing [Paramount, 1971]

Aswad: "Dub Fire"
From A New Chapter of Dub [Mango, 1982]

I found myself waking up at 4:30 this morning, which was technically 3:30 because of daylight savings, to go to the KUSF record swap, a record show that's held every 3 months at the University of San Francisco. I haven't been to one in over 6 months due to a combination of lack of finances and scheduling conflicts, but for those that have never been to a record show let me just say that they can be pretty intense. We're talking about a room full of record collectors; obsessive compulsive people searching for hundreds, often thousands of records to file in their Ikea Expedits, all in hopes of slowly filling voids in their lives, and feeling better about themselves and their hobby. Yes I am one of these people and this is what we do.

Now I've only been to a handful of these things, and the last one I went to was absolutely no holds barred. The serious collectors will arrive at 5:30 in the morning and pay an extra $15 to get first dibs on the records. As dealers set up shop, dudes will stalk them ilke vultures waiting for the instant they open up their crates to the public when people make a mad dash, pushing and shoving their way to the front so they can get the pick of the litter. Nothing hurts more than watching somebody pull a killer record right before your eyes, and nothing feels better than finding that one you've been searching for for months, even years. In a way it's kind of like survival of the fittest, if you catch my drift.

But this is what makes us who we are. We thrive on the thrill of the hunt; the idea that all of these records await us somewhere out there for us to find. It's an epic game of cat and mouse. Road runner vs. coyote. We hope someday we'll win, but deep down we wish the hunt never ends.

Here are the pieces I picked up today. Nothing major, but I've been looking for the Johnny Hammond and Curtis Mayfield for a bit. Scored a nice stack of hip hop as well. Apparently there were shows in Austin and Pasadena this weekend as well so the dealer turnout was only about 50% of usual, and the scene definitely wasn't as chaotic as I've seen in the past. I'm still glad I went though, cause I love records.

Just a couple of random audio selections from my stack. Bola Sete's "Bettina" which was sampled by A Tribe Called Quest, and Aswad's "Dub Fire," off their superb dub album A New Chapter Of Dub. Listen. Enjoy.

Curtis Mayfield: Curtis
Johnny Hammond: Gears
Bola Sete: Workin' On A Groovy Thing"
Gil Scott-Heron & Brian Jackson: From South Africa to South Carolina
Aswad: A New Chapter In Dub
Clifton Chenier: Bogalusa Boogie

Grand Puba: Reel to Reel
Steady B: Let the Hustlers Play
Eightball & MJG: On Top Of The World
Showbiz & AG: Goodfellas (not really sure if this is an OG but it was $3 nonetheless)
DJ Quik: Rhythm-al-ism
De La Soul: "Millie Pulled a Pistol on Santa b/w Keepin' the Faith"
Bad Azz: "We Be Puttin' It Down"
Ghostface: "One b/w Saturday Night"
Group Home: "Tha Realness b/w Suspended in Time"
Pete Rock: "Tru Master"

The Heart of Lee Perry and the Congos

The Congos: "Children Crying" and "Sodom and Gomorrow"
From Heart of the Congos (Black Ark, 1977)

"Solid Foundation (Disco Cork Mix)"
From Heart of the Congos: Original Recording Remastered (Blood & Fire, 1996)

I always have trouble compiling best of lists, but this album may very well be in my top twenty or so favorites. Despite my general unfamiliarity with reggae, and more specifically roots, this is the most complete such album that I have come across which has now become one of the defining statements in Jamaican music. Credit should certainly go to The Congos, comprised of Cedric Myton and Roydel "Ashanti" Johnson, but most will agree that the true greatness of the album is the result of the production genius of Lee "Scratch" Perry.

Released in 1977, Heart of the Congos utilized a lot of the limited studio technology that was available at the time. Using equipment like the Echoplex reverb, Mutron phaser, and filtered through a Soundcraft board, Perry created a near dream state of sounds that complimented the vocal harmonies of Myton and Johnson perfectly. Everything is so seamless, beautiful, and undeniably sublime that they practically melt in your ears.

"Children Crying" is a perfect example of Myton's falsetto blends layered with Johnson's tenor, and despite the track's title, it's about as beautiful as songs can get. What's crazy is that Perry used distorted cow noises throughout the track, something I never realized until someone pointed it out, but it just demonstrates the sheer brilliance of his production and creative control. The album also includes backing vocals from Gregory Isaacs, the Heptones, the Meditations, and Perry himself.

I can see how it would be hard for some people to get into this album at first since it's really quite unorthodox when it comes to reggae music, but it's definitely one of those things that just gets stronger after each listen. Currently there is a remastered edition that contains an extra disc of rarities and alternate mixes that is definitely worth picking up. This was the version I bought when I first heard about the album, then I found the OG for $20, and finally the vinyl special edition for cheap. To me it's not crazy having three copies of this wonderfully realized piece.

As influential as much of Perry's music is, Heart of the Congos is perhaps the defining moment in his career, and seminal in every sense of the word. If anyone can recommend albums like this one please do.