TROJAN DUB RARITIES BOX SET (TJETD278) - The origins of Dub can be traced back to the late sixties. It was then that basic instrumental remixes of the song on the A-side of seven inch singles, began to feature on the flip. Originally known as 'versions', the backing tracks developed into dub when sound engineers began restructuring the original recording through the use of sound effects and echo. This production and mixing process proved so popular that local musicians soon learned to recreate the dub effect in their live performances. To this day, live bands continue to dub it up, although, with the help of the mixing console these audio effects and studio 'trickery' are now much easier to recreate and have since become an integral part of the dance as well as of live performances.

It is widely accepted that Osbourne Ruddock, better known as 'King Tubby', pioneered the style. Tubby turned the mixing desk into an instrument and the wizardry of his effects would take the tune to another plane. He had worked as an electronics engineer and motivated by his love of music, built and owned the 'Hometown Hi-Fi' sound system. Although not in the same league as the 'Downbeat' or 'Trojan' sound systems, Hometown soon gained notoriety and is celebrated for having launched the career of the legendary DJ, U Roy. king Tubby also worked as the master cutter for Arthur 'Duke' Reid who ran the Trojan sound system and owned the Treasure Isle Recording Studio. it was 'Tubbs' who provided exclusive acetates for the Trojan Sound. however, legend has it that King Tubby took one experimental acetate to a 'Hometown' dance and played the original Treasure Isle cut before dropping his remixed dub plate. as you would expect, the crowd went wild. This unsurprisingly resulted in Tubby's Sound becoming extremely popular, and kick-started a revolution in the sound system movement.

By 1972, King Tubby had set up his own studio and had begun to experiment with these instrumental recordings using various home-built electronics effect devices such as reverb, delay and equalisers. With these new innovations he could further manipulate the sound, having acquired a disc-cutter and a two-track tape machine. With all this equipment and his home-made mixer he began freelancing for producers such as Bunny Lee and Lee 'Scratch' Perry. In fact, together with Lee Perry, King Tubby deserves credit for his role in the arguably archetypical stereo dub album 'Blackboard jungle', released in the early seventies. This album finally saw the light of day almost thirty years later as part of the excellent 'Dub Tryptich' (TJBDD 172) compilation and brings us neatly to this compilation of dub rarities.

In 1974 Augustus Pablo who had worked both with Scratch and King Tubby recorded the legendary album 'Thriller' which included the amazing "FAT GIRL JEAN", "PABLO IN RED" and "ROCKY ROAD" all of which makes a timely appearance on this collection of rarities. While Pablo's celebrated LP has long been held in high esteem, it originally surfaced in very limited numbers through the independent Nationwide label. It was then almost fifteen years before it reappeared and, as before, only small quantities were pressed when it was released through the Trojan/Vista Sounds connection.

In the meantime, King Tubby's success continued when he acquired a four-track mixing board that he individually customised. It was around this time that he worked alongside Bunny 'Striker' Lee, who embarked on a prolific partnership with the engineer,including sessions with our star performers Hortense 'Queen Tiney' Ellis, Zoot Simms, Tommy McCook and Cornel Campbell.

celebrated singer Hortense Ellis demonstrated another string to her bow when she performed in the DJ style and hit with 'Natty Dread Time'. Her lyrical abilities tore up the dance, particularly when the selector flipped the single over for the wonderful Agrovators' "NATTY DREAD TIME DUB". That dub is included on this set alongside the Bunny Lee-produced version of the Heptones' classic 'Fatty Fatty' by Zoot Simms, wickedly remixed into the suitably entitled "FAT DUB".

Tommy McCook, legendary tenor saxophonist and founding father of Jamaican music was no stranger to Tubby's; with Bunny Lee he produced several excellent dub workouts as demonstrated on our featured tracks "RASADE MASTER", "AFRICAN JUMPER" and an ode to marijuana "LAMBS BREAD HERB". Our final look at Bunny Lee Inna Dubwise Style is provided by Cornel Campbell whose 'Reggay Train', 'Control Your Daughters' and 'My One And Only Lover' get the full dub effect as "REGGAY TRAIN DUB", "DAUGHTER DUB" and "ONLY LOVER DUB" respectively.

In sync with the Bunny Lee/King Tubby partnership, Lee Perry began producing his own version excursions, of which two perfect examples are the impossibly rare tracks "DUB IN TIME" and "IRON WOLF", unearthed from 1975. These adaptations preceded a wealth of wicked dub workouts from the Dubmaster. Another Scratch special from the same era highlighted on this set is the dub version of Max Romeo's "Three Blind Mice". This was cut in collaboration with King Tubby who helped popularise the tune on his Hometown Hi Fi Set by featuring a number of different mixes on the sound. The resulting "THREE TIMES THREE" has since become a collectors item thanks to Max's prophetic lyrics and the unique phasing in the final mix. In addition, Max appears on this collection with another treasured remix, the original 'bouncing bass' dub version of the classic "War Inna Babylon" entitled "SIPPLE DUB", a reference to its original title "Sipple (Slippery) Out Deh".

Augustus Pablo makes another appearance performing a wicked melodica workout with great overdubs and gentle phasing. The track "BABYLON POLICE THIEF DUB" is a rare alternative cut to Junior Murvin's legendary song, and subsequent chart hit, 'Police And Thieves'. Following the songs success Junior released the inappropriately titled "TEDIOUS", complete with its thunderous dub version on the flip.  The song was additionally released as a discomix for the international market; this was subsequently segued together with the dub version. Luckily, our canny selector has chosen the rare Jamaican mix which highlights the dub's ability to shine in its own right. Our final look at Lee Perry's dub excursions is another Junior Murvin hit, "ROOTS TRAIN DUB", which reveals a wicked horn section, and which subsequently inspired Dillinger to ride the rhythm in his own imitable way.

Although he was not directly involved in "JUST LIKE A DUB", it was Lee Perry who first recorded the featured vocalist David Isaacs. David had been associated with Scratch since the sixties and on this track he provides the original vocals before Jah Thomas drops a wicked toast.

Lee Perry is also acknowledged as having helped set up Niney's (aka Winston Holness) Observer label. Like his guiding mentor, Niney was adept at creating some amazing dub sounds, including the almost incredible "MY TIME VERSION OBSERVER STYLE" and the equally exceptionable "HEADLINE". The original vocal cut of this rhythm was Dennis Brown's version of the Alton Ellis hit 'My Time', while Headline is a version of Big Youth riding the same rhythm as 'Six Dead Nineteen Gone To Jail'. With versions such as these, Niney's dub credibility was assured, as demonstrated on Clint Eastwood's
and Dillinger's "UNDER TIGHT RAPS" (a dub of his 1977 hit, 'Flat Foot Hustling'), and "BOILING WATER", "IRON FIST" (not too be confused with the Lee Perry track of the same name) and "STRAIGHT TO BUNNY LEE HEAD".

While Niney playfully teased Bunny Lee with his dub version of the latter, the target of his musical attack was nurturing the career of the DJ Tapper Zukie who was making a name for himself at the mixing desk. In 1976 Tapper released "DOUBLE STRUGGLE", credited to the Musical Intimidators, which hailed his standing in the dub ranking. As the DJ's career progressed, he released a series of hits including a popular homage to marijuana entitled 'Sensemilia' c/w the excellent "SENSEMILIA VERSION", a tribute to the ladies in 'Natty Princess' c/w "NATTY PRINCESS VERSION" and an affirmation of Haile Selassie in 'My God is Real' c/w "REAL VERSION". In between these hits he also managed to reintroduce the Studio One legend Horace Andy to the international stage. With the Brentford Road/Studio One Boulevard veteran he recorded 'Natty Dread A Weh She Want', which topped the reggae charts while the sound systems blasted out the excellent drum and bass version suitably titled "RUB A DUB A WEH THEY WANT". This partnership also resulted in another chartbuster, 'Ragga Muffet' c/w the brilliant dub, "BROAD BACK SKANK". Until now, this has been unavailable for over twenty years as has the DJ's excellent "REVOLUTION VERSION".

During this prolific period the DJ also managed to produce another celebration of the herb with Frankie Jones; 'Marijuana' c/w the mind-blowing "MARIJUANA VERSION", while also scoring with his own 'Escape From Hell' that formed the basis of his album with the same title, and the hugely popular 'She Want A Phensic' which led to its antidote "SHE WANT A VERSION". Tapper's older brother Roderick, aka Blackbeard was also no stranger to the mixing desk and here provides a couple of wicked rarities, "BRIDGEPORT DUB" and "GARVEY MEAD DUB", which were recorded around the time of the fantastic 'West Bay Dub'.

At the same time as Blackbeard's hits, Jerry Mathias of the Maytals was emerging as a producer in his own right. He worked with Delroy Denton and The Silvertones whose confusingly-titled 'African dub' was remixed as "AFRICAN DUB VERSION" and appeared on the flip side of a now exceedingly rare and sought-after Trojan seven incher. The Maytals' harmony singers next Trojan production was 'My Twenty Eight', by the mysteriously named, Thunderball as was our featured dub, "TWENTY EIGHT VERSION". Shortly after Trojan issued both of the aforementioned tracks, the label released 'Key Of Keys' by Michael 'Bammie' Rose who, in dub circles, is best remembered for his trumpet work on the groundbreaking 'Natty Locks Dub'. The song proved a sound system favourite that mashed up the dance when it was flipped over for our crucial track "KEY DUB". Michael's success as a vocalist continued with the edifying 'Put Some Effort Into Yourself', which was accompanied by the incongruously-titled "EFFORTLESS DUB".

In the following year a host of new Jamaican stars emerged, including such celebrated artists as Linval Thompson, Barrington Levy and Tristan Palmer - guys who carried the swing and knew how to dub it up in fine style. Linval Thompson enrolled the Roots Radics and Scientist (an apprentice of King Tubby) to create a series of dub classics. On this set we've unearthed some particularly rare specials including "LOVING VERSION", which remixes the Majesterians 'If I Didn't Want Your Loving', "SETTLE DOWN VERSION", which rides that Tristan Palmer favourite 'Settle Down Girl' and the first-rate "SCIENTIST IN FINE STYLE". Incidentally, both the Majesterians and Tristan Palmer's initial discomixes, alongside the original version of the aforementioned "JUST LIKE A DUB", can be found on the Trojan Twelve Inch Box Set (TJETD084).

Linval Thompson also worked with The Revolutionaries who provide the excellent "ROOTS DUB" and "NATTY DREAD DUB", two fine and scarce tracks from the long since deleted LP 'Negrea Love Dub' (TRLS153). Meanwhile, that other budding superstar, Barrington Levy released the legendary 'Shine Eye Gal', which is often credited as having inspired the dancehall explosion of the early eighties. Its success also inspired a host of dub albums from Junjo Lawes and Roots Radics, who provide our featured track "SHINE EYE DUB".

Our final dub cut highlights the production skills of Phil Mathias and Fil Callender, whose In Crowd band ruled the airwaves in the second half of the seventies with a series of finely crafted Roots Reggae releases. One of the group's final releases, 'Would You Like To Be Loved', from 1981, provides the basis for, "DUB IN LOVE", featured herein. The best of their work can be found on the Trojan double CD 'His Majesty Is Coming' (TJDDD257).

So there you have it - an unrivalled selection of dub music giving you the full effect from chilled ethereal sounds to sparse ultra-heavy bass, flying cymbals and echo laden gems, many of which, have until now been gathering dust on master tapes waiting to re-emerge in a rub-a-dub style.

Mix me down.

Stephen Nye




Rub A Dub A Weh Them Want
Tapper Zukie
Babylon Police Thief Dub
Agustus Pablo & TheUpsetters
Natty Dread Time Dub
Queen Tiney & The Aggrovators
Under Tight Raps (Flat Foot Dub)
The Observers
Key Dub
The Key All Stars
African Dub Version
The Silverstones
Double Struggle
The Musical Intimidators
Tedious Dub
The Upsetters
African Jumper
Tommy McCook
My Time Version Observer Style
Natty Dread Dub
The Revolutionaries
Garvey Mead Dub
Blackbeard's All Stars
Fat Girl Jean
Augustus Pablo
Revolution Version
Tapper Zukie & The Musical Intimidators
Roots Train Dub
The Upsetters
Reggae Train Dub
Cornel Campbell & The Aggrovators
Gate Number Version
Clint Eastwood & The Observers

Lambs Bread Herb
Tommy McCook
Roots Dub
The Revolutionaries
Iron Wolf
The Upsetters
Broad Back Skank
Tapper Zukie & Brethren
Boiling Water
The Observers
Rocky Road
Augustus Pablo
Fat Dub
Zoot Sims & The Aggrovators
Dub In Love
The In Crowd
Sipple Dub
The Upsetters
Real Version
The Musical Intimidators
Iron Fist
The Observers
Shine Eye Dub
Barrington Levy & The Roots Radics
Daughter Dub
Cornel Campbell & The Aggrovators
Loving Version
The Roots Radics
Three Times Three
The Upsetters
Natty Princess Version
The Musical Intimidators

Marijuana Version
The Musical Intimidators
The Observers
Effortless Dub
The Green Stars
Settle Down Version
The Roots Radics
Bridgeport Dub
Blackbeard's All Stars
Dub In Time
The Upsetters
Sensimelia Version
Tapper Zukie & The Musical Intimidators
Straight To Bunny Lee Head
The Observers
Only Love Dub
Cornel Campbell & The Aggrovators
Just Like A Dub
Witty's All Stars
Pablo In Red
Augustus Pablo
Twenty Eight Version
Escape From Hell
The Musical Intimidators
Hotter Fire
The Observers
Rasta Da Master
Tommy McCook
Scientist In Fine Style
The Roots Radics
She Want A Version
Tapper Zukie & The Musical Intimidators

Time - 61:47

Time - 55:48

Time - 61:06

All material Copyright Trojan Records