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| View Show | Create Your OwnHISTORY ON DUB & SOUND SYSTEMS FROM THE EARLY 1960's: The word 'dub' today is used to describe a genre of music that consists predominantly of instrumental re-mixes of existing recordings. These re-mixes radically manipulated and reshape the recording(through the use of sound effects). The production and mixing process is not used just to replicate the live performance of the recording artist, but audio effects and studio 'trickery' are seen as an integral part of the music. The roots of 'dub' can be traced back to Jamaica in the late 1960s, where it is widely accepted that Osbourne Ruddock pioneered the style. Ruddock turned the mixing desk into an instrument, with the Deejay or mixer playing the role of the artist or performer. These early 'Dub' examples can be looked upon as the prelude to many dance and pop music genres. Jamaican music has always borrowed heavily from U.S. popular music form adapting this music to give Jamaica its own unique variations. During the forties 'Big Band' music was very popular in Jamaica, with swing bands touring all over the country playing at local dance halls, but by the 1950's these 'Big Bands' were starting to be superceded by smaller, 'more dynamic, optimistic' bop and rhythm and blues groups. Jamaicans traveling to America in search of work were exposed to this new kind of music, which fitted in perfectly with America's postwar optimism. It was not only being played live but also through large sound systems, and this trend soon followed to Jamaica. Sound system operators started appearing in the ghetto areas of Jamaica's capital Kingston, holding dances in large open spaces called 'lawns'. These operators would also tour the country districts of Jamaica in direct competition with the big bands. These sound systems soon took over in the dance halls, because for many people who didn't own a radio, it was the only way to hear the new R&B music. 'Sound systems were also cheaper to employ than a dozen musicians and a 'sound' took no break. By the middle of the 1950s, Duke Reid and Clement 'Coxsone' Dodd had become two of the premier sound system operators in Jamaica.In 1954 Ken Khouri started Jamaica's first record company 'Federal Records' pressing licenced copies of American recordings, as well as a few local artists. Following his lead in this Duke Reid and Clement 'Coxsone' Dodd both held their own recording sessions, recording Jamaican artists for exclusive play on their own sound systems in the hope of gaining the upper hand in the highly competitive business. Duke Reid recorded Derrick Morgan and Eric Morris for sound system play. Reid, whose set played at 'S-Corner' on Spanish Town Road, even titled Derrick Morgan's first tune 'Lover Boy' as 'S-Corner Rock' when it was played on the sound system as an exclusive acetate recording. Clement Dodd also had his first recording session in this year, recording over a dozen tracks with artists like Alton Ellis and Eddie Perkins, Theophilius Beckford, Beresford Ricketts and Lascelles Perkins.Young Jamaicans during the early sixties had been drawn to the major cities in search of work. They had not found it, and the mood of the ghetto areas had started to deteriorate. These youths or 'Rude boys' as they were called, started forming into political gangs from different ghetto's throughout Kingston. 'Rude boys connected with the so-called 'underworld', a layer of people who lived outside the law, and who had always patronized Jamaican dance music'. The 'Rude boys' connection with the dance halls, as well as their style of dancing (which was slower and more menacing) changed the style of music being played from the more up tempo Ska to the slower Rock Steady beat. While many producers have claimed to have pioneered the 'Rock Steady' groove it was Duke Reid who capitalized on it, recording and releasing several tunes by a variety of performers in this new style.The 'Rock Steady' phase lasted little more than a year, and although Duke Reid and 'Coxone' Dodds had dominated Jamaican music for well over a decade, three other producers, Lee 'Scratch' Perry, Bunny Lee and Osbourne Ruddock (all of whom had worked for either Ried or Dodds at sometime) dictated the pace of Jamaican music in the seventies and beyond.Lee 'Scratch' Perry ( or Rainford Hugh Perry) was born in 1936 in Kendal, a small town in the rural parish of Hanover, in the northwest of Jamaica. Perry arrived in Kingston in the late 1950s, and immediately tried to enter the music business. He started working for Coxsone Dodd as a 'gopher, bouncer, spy, talent scout, uncredited songwriter and eventually performer' Perry left Coxsone's employ after a disagreement over payment, moving to a new label (Amalgamated) set up by Joel Gibson, where he recorded an early reggae hit called 'People Funny Boy' (which was a verbal attack aimed at his previous employer 'Coxsone".) Perry became well known as a producer and was instrumental in Bob Marley and the Wailers early success. He linked up with Marley and the Wailers in 1969, beginning a collaboration that resulted in 'definitive versions of some of the Wailers strongest work. Perry, through his work as an artist, producer and engineer, has been one of the main people responsible in shaping the sound of Jamaican music over the last forty years.Osbourne Ruddock (better known as King Tubby) was born in 1941 in Kingston, and worked as an electronics engineer (repairing radios and televisions) though out the 1960s. He owned a sound system (called 'Home Town Hi-Fi') by 1968, and used unique echo and reverb effects which set him aside from the competition. During this time, he also worked for Duke Reid at Treasure Isle Studio as the master cutter, cutting acetates. These 'one off' disc were designed to gain a competitive edge over rival sound system operators via their exclusivity. Ruddock was mixing one of these 'dub' versions when he accidently left out portions of the vocal track from the recording. On listening back, he decided he liked the effect of just having the bed track by itself and played it on his sound system.He took it to a dance and played the vocal, which everybody knew, then played the dub plate of this rhythm track and people couldnt believe it.These new 'versions' of popular songs (combined with the unique effects of his sound system) soon saw Tubby's 'Hometown Hi-fi' become extremely popular. In addition Tubby had started working along side deejay Edwart Beckford, known in the dance hall as U Roy, who had begun answering the vocal sentiments of the singers with his own brand of outrageous jive talk. This vocal style known as 'toasting' is widely accepted as a precursor to 'rapping' .In 1972 Ruddock set up a tiny studio at 18 Bromilly Avenue in Waterhouse (a district in Kingston), he began to experiment with these instrumental recordings using various home built electronic effect devices such as reverb, delay and equalizers, and started to further manipulate the sound of these instrumental songs. He acquired a disc-cutter and a two-track tape machine, and using his home made mixer, started working closely with producers like Bunny Lee and Lee 'Scratch' Perry. Together with Perry he made the stereo dub album 'Blackboard Jungle' in 1973.Joe Gibbs of 'Amalgamated' soon saw the potential of these instrumentals, and instructed Errol Thompson (Gibb's engineer at Randy's 'Studio 17') to start putting instrumental/rhythm versions on B-sides of singles, which he called 'dub'. Tubby bought a four-track mixing board from Dynamic Studio and, with his background in electronics, he was able to specially-customized this equipment to include faders. This enabled him to slide tracks in or out of the mix smoothly, giving Tubby the edge over his rival, Errol Thompson who had to punch tracks in more abruptly, using buttons. In 1974, Tubby started working closely with Bunny Lee, who supplied hundreds of rhythms, and recorded all his hit artists at Ruddock's studio (including Johnnie Clarke and Cornell Campbell). The studio now contained many effect devices, such as an echo delay which Tubby had made by passing a loop of tape over the heads of an old two-track machine.There is general agreement that King Tubby's most prodigious period was during the mid seventies when working with Bunny Lee. With Lee relying on Tubby's experimentation and expertises of the 'dub' re-mix.Improvisation was the order of the day; most of Tubby's dubs were mixed live, with the engineer playing his board like a great jazzman blowing solos on his horn, deconstructing and reinventing the music.While Tubby was not an instrumentalist, when recording Lee's studio band the Aggrovators, he was able to use his mixing desk and primitive effect devices as though they were an instrument, on occasion even physically hitting the spring reverb unit to create a thunderclap sound or putting a brief frequency test tone on deep echo into the mix (later he would use sound effects like sirens and gunshots).It wasn't simply the fact that Tubby and his cohorts used reverb and delay effects in their mixes; the difference with Tubby, was that these effects were used to enliven radically re-mixed versions of songs. Tubby, a skilled and resourceful electronics expert, improvised endlessly with his studio equipment.Tubby started training other engineers (such as 'Prince' Philip Smart, Lloyd James, better known as 'Prince Jammy'and Overton 'Scientist' Brown in the intricacies of dub.In the mid 1970s Jammy would become King Tubby's leading dub engineer at the Waterhouse studio. During his time at the studio he had mixed most of Bunny Lee's dub tracks. Then in 1978, Jammy started his own label called 'Imprint' and took his first step in record production. By 1985, Jammy had become the dominant Jamaican producer responsible himself for bringing a whole new generation of musicians and mixers into this genre of music.As the 1970s came to a close, Overton 'Scientist' Brown took over as Tubby's leading engineer. Brown had first met Osbourne while working in his Televison and radio repair shop. He was given the opportunity to experiment in the recording studio during downtime. Brown would eagerly play what he had done to Tubby, to which Tubby would reply that he thought the work was weak and his apprentice still had much to learn. Years later Tubby admitted he was merely pushing Brown to stretch himself and these early 'dub's' had been excellent.'Every man who mixed at Tubby's got his own sound, yet no matter which mixmaster was at the board, the resultant music always bore the authentic stamp of King Tubby's.During the early eighties, King Tubby devoted himself to building his new studio. Completed in 1985, it soon produced its first hit, Anthony Red Rose's 'Temper'. It looked as if Tubby was to become a leading producer in Jamaican music, until he was mysteriously gunned down outside his studio in 1986.The Jamaican music scene has had very strong links to the United Kingdom since early 1960s. When Jamaican 'Ska' artists were signed by English record companies, their music was readily accepted by England's 'Mod' culture of the sixties. To some degree it has been these links and support that has made the export of Jamaican music much easier to the rest of the world. The combination of this with the growing popularity of modern dance styles such as 'Trip hop', 'Drum and Bass" and 'Jungle', (which are direct decedents of the originanl Jamaican 'Dub' music of King Tubby has brought many new artists and producers from outside of Jamaica to continue in the experimentation and the use of dub in their music. Steve Barrow of Blood and Fire says,"Tubby was, by any standards, a genius.....he invented Dub - which, as we know, is the pulse that beats through much of today's dance music from trip-hop to techno. If Lee Perry was the first surrealist of dub, Tubby was definitely the first modernist."England now has a large percentage of the total number of artists involved in this genre of music, with many of the leading producers being based there. Adrian Sherwood and The Mad Professor are two of these leading 'dub' exponents.Adrian Sherwood (The producer behind the British On-U sound record label) has since the 1970s recorded many artist from within the 'dub' genre, such as Creation Rebel, African Headcharge, Singers & Players and Dub Syndicate. Often wildly experimental with studio techniques, sometimes running whole tracks in reverse, has also attracted artists from outside the realm of 'dub' such as Depeche Mode, Nine inch nails, Living Color, Garbage and The Cure, all of who have used Sherwood's radical approach to mixing to manipulate their material.The 'Mad Professor' alias Neil Fraser started producing and recording dub music in 1980. Over the past sixteen years he has become one of the premier artists of this genre. One of the most prolific creators in this medium and operating out of a vast studio expanse in Britain, he has released in excess of a 100 Albums, performing re-mixes for such acts as Massive Attack, Sade and Pato Baton. He characteristically uses electronic sounds in his dub such as bleeps, whirs and other electronic machinations.King Tubby is to this day synonymous with dub. He was a man who had a passion for fiddling with sound equipment, and turned that passion into a new musical genre and a veritable art form. He may have started his career as a repairman, but before he was done, his name was one of the most respected around the world. He worked with virtually every artist in Jamaica, and his name on a remix was like gold, a seal of quality that was never questioned.King Tubby was born under the more humble name of Osbourne Ruddock in Kingston, Jamaica, on January 28, 1941. Initially, the closest he got to the music scene was via the airwaves, as Ruddock spent his teens working as a radio repairman. In the mid-'50s, Jamaica was undergoing a revolution that saw the audiences move out of the dancehalls, which had once packed them in with live music provided by big bands, and onto the streets. There the sound systems ruled as traveling outfits set themselves up on a sociable street or corner and blasted records to crowds through a speaker. Initially they were small, but the sound systems quickly grew in size and legend; the competition extremely fierce and often violent. Speakers were the usual victims of these rivalries (sometimes along with the DJs, organizers, and even the audience). The people weren't the only ones who were damaged, which is why in the late '50s the operator of a Waterhouse sound system approached Ruddock for help. The repairman fixed that speaker, then another, and another, until he was providing first aid for a variety of sound systems around the city. A born tinkerer, Ruddock inevitably began coming up with ways to improve things as well. He spent years working on other people's sound systems, but by 1968, he was ready to open his own shop: the legendary Tubby's Home Town Hi Fi. The sound he provided there was nigh on perfect, which meant King Tubby himself was now beginning to look around for something new to fiddle with. Producer Duke Reid offered the perfect solution via a job at his Treasure Isle studio as a disc cutter. There, King Tubby began deconstructing and reconstructing music in the same way he had sound systems, but these early efforts were really remixes, an already old skill in Jamaica. The remix began as a "version" B-side, nothing more than an instrumental of a vocal track. Ruddy Redwood, a sound system MC and engineer at Treasure Isle, had taken the next logical step forward, physically remixing records in the rocksteady years to place the focus on the bass. King Tubby took this concept to a whole new level. He started stripping out not only the vocals, but cutting up instrumental parts, dropping them in and out of the tracks, adding new effects and sounds, while also making use of phasing, shifts, and echoes. Many of these experiments were pressed onto acetate dubplates and spun at his sound system. These stripped-down tracks were integral to the rise of the DJs, and King Tubby not only cut exclusive dubplates for his favorites, he also hired the best to perform at his sound system. U-Roy, I-Roy, and Big Youth were just some of the stars who made their mark toasting at Tubby's Hi Fi.In 1971, King Tubby was ready to take another leap forward and opened his own studio. There, the experiments continued as the remixer turned engineer moved into the area of studio effects. The studio quickly became a favorite for the likes of Augustus Pablo, Lee Perry, Prince Tony Robinson, and Glen Brown. It was the latter man who history acclaims as the first to actually credit a King Tubby mix on record. The aptly titled "Tubby's at the Control" was a remix of "Merry Up" by God Sons (an alias for Tommy McCook and Rad Bryan). Robinson followed suit, releasing "Tubby's in Full Swing," on a song credited to Lloyd Robinson and Carey Johnson.King Tubby began turning out remixes in prolific numbers. Bunny Lee kept him busy with a constant stream of singles to remix and a batch were bundled up in 1974 as the seminal Dub From the Roots album, and more were featured on the follow-up, King Tubby Meets the Aggrovators at Dub Station. Years later, the British Klik label reissued most of Roots as Shalom Dub, buttressed with bonus tracks. Another U.K. label, Attack, has also released the King Tubby-fueled Dub Jackpot, featuring rarer remixes and dubs of Lee productions. Blood & Fire's If Deejay Was Your Trade: The Dreads at King Tubby's 1974-1977 also boasts Tubby's takes on Lee's productions, this time focusing exclusively on DJs, as did the French label Culture Press' Bunny Lee, King Tubby & the Aggrovators. Tubby also worked with Vivian Jackson after meeting in 1971 when Jackson handed him a rhythm and the remixer went to work. The result was the hit "Go to Zion," credited to Brother Joe & the Rightful Brothers, an alias for Jackson, the Congos' Roydel Johnson, and the Gladiators' Albert Griffiths. Jackson and King Tubby's follow-up, "Conquering Lion," was another hit, and gave the artist/producer his nickname "Yabby You." Yabby You released his debut album, Conquering Lion, in 1975, and Tubby provided the dub companion, King Tubby's Prophecy of Dub, the following year. Yabby You's sophomore set, 1977's Wall of Jerusalem, boasted Tubby dubs across half the set. Augustus Pablo, the famed melodica player and producer, was also a client, and King Tubby remixed music for Pablo's Rockers label, much of which appeared on the songs' B-sides. The pair cemented their partnership with the seminal 1975 Ital Dub album, the outtakes from the sessions appearing 15 years later as El Rockers, a release from the British Pressure Drop label. However, Ital Dub was merely a warm-up for King Tubbys Meets Rockers Uptown, a record that established both King Tubby's and Pablo&..39;s undying reputations. Their follow-up, Rockers Meet King Tubby in a Firehouse, merely added to their glory.Across the early '70s, the remixer's experiments had swiftly evolved into pure dub, and his remixes were no longer a remix at all, but a total reinvention of the song. Another giant step forward had occurred in 1973 when King Tubby purchased a second four-track, which allowed him to record vocals. The new setup was inaugurated with Roy Shirley's "Stepping Razor" that same year. King Tubby had his first hit the following year with "Watergate Rock," a dub of Larry Marshall's "I Admire You." This inevitably led to Tubby taking on Marshall's entire I Admire You album. It was a busy year as Bunny Lee also released the aforementioned Dub From the Roots set while King Tubby also joined forces with Lee Perry for Blackboard Jungle Dub. He next worked with Niney "the Observer" Holness on 1975's Dubbing With the Observer, and the 1989 Trojan compilation King Tubby's Special 1973-1976 resurrected that album, then added shrewdly selected Bunny Lee productions for a monster 30-track set. After Tubby's work with Holness, producer Harry Mudie supplied him with material that couldn't quite compete, but Harry Mudie Meets King Tubby in Dub Conference, Vol. 1 was still sublime and the pair's partnership continued across another two volumes of music. King Tubby was also happy to provide mixes for Glen Brown, the man who first gave him his due. Trojan's Dubble Attack: The Original Pantomime Dee-Jay Collection 1972-74 features the island's greatest DJs, overseen by Brown, then reconstructed by Tubby. Blood & Fire concentrates on Brown's more roots-conscious work for the equally masterful Termination Dub. Another client was Glen Darby, whose productions recorded at Channel One by Jo Jo Hookim and Philip Smart were eventually compiled across Guava Jelly's two-CD set The Sound of Channel One: King Tubby Connection, which pairs the original vocal tracks with their dub companions.By the end of the '70s, however, King Tubby had turned his attention to teaching and training a new generation of engineers and producers, including Prince Jammy (who would only take the crown once his mentor died, becoming at that point King Jammy), the equally innovative Scientist, and Prince Philip Smart, among others.King Tubby continued creating new mixes, but no longer at the previous rate. In the new decade, he and Jah Screw took on Ranking Joe and the Roots Radics for the excellent Dangerous Dub. It was to be one of the last full-length remixes Tubby would do. That same year, First, Second and Third Generations of Dub brought together the teacher, alumnus Prince Jammy, and the young graduate, Scientist, for an album that aptly illustrated the development of all three.Scientist and King Tubby united for two more albums released in 1996 by the U.K. label Burning Sounds, King Tubby's Meets Scientist in a World of Dub and King Tubby's Meets Scientist at Dub Station. Even as King Tubby's output dropped, he still remained an integral part of the music scene. He upgraded his studio again and also launched his own record labels -- Firehouse, Waterhouse, Kingston II, and Taurus.By the mid-'80s, King Tubby had shifted into production, and released a stream of seminal singles by the likes of Sugar Minott and Anthony Red Rose. He occasionally released albums and reunited with Bunny Lee for 1983's King Tubby the Dubmaster With the Waterhouse Posse and Sly & Robbie Meet King Tubby in 1985. Both sets disappointed, perhaps because Tubby had taken dub as far as it could go. His best work was now in the production field, working with young DJs and veteran vocalists. Pliers (of Chaka Demus fame), Ninjaman, Gregory Isaacs, and Johnny Clarke were just some of the talent who cut singles for him. King Tubbys Presents Soundclash Dubplate Style arrived in 1989, bundling up dubs of his dancehall hits. As the decade drew to a close, King Tubby seemed destined to continue stamping his imprint on Jamaica's scene, still in demand, and still a powerful musical force. Then, on February 6, 1989, his career came to a sudden end when he was shot and killed outside his home in Waterhouse. His murder remains unsolved, his death believed to have been the result of a street robbery... width="425" height="350" .. STONE LOVE WITH RORY AT THE CONTROLES