17 May 2022

Jamaica

42 late Seventies dub masterpieces from the High Note vaults

'Two CD set featuring 25 tracks new to CD. Includes dubs of some of the biggest reggae hits of the late '70s. Showcases Jamaica's premier dub crew and one of it's most celebrated mixers. By the latter half the '70s, the Revolutionaries were firmly established as Jamaica's premier instrumental group, with it's membership including some of the true giants of the island's music scene; their number including famed riddim twins, Sly Dunbar on drums and Robbie Shakespeare on bass. Of almost equal note during this period of time was Treasure Isle studio's in-house sound engineer-come-producer, Errol Brown, who oversaw the creation of some of the most powerful reggae works from the time, performed by the likes of Marcia Griffiths, Mikey Dread, Delroy Wilson and Justin Hinds. The dub versions of many of these hits feature on this essential collection that comprises tracks recorded for Sonia Pottinger's celebrated High Note label between 1977 and 1978. With an incredible 25 of the 42 recordings unavailable on any format since the date of their original release, Tip Top Dub is arguably the finest new compilation of deep and heavy sounds for decades!'

'Yet another unmissable, well-documented release from Doctor Bird.'

by Teacher at Reggae Vibes

DUB
The 1970s saw a growing popularity of the so-called versions, a musical approach based on deforming, stripping, and rebuilding the original tune and came known as dub music. This exciting cutting edge of reggae music was more or less originated by the late great King Tubby. Engineers/producers such as Errol ‘ET’ Thompson, Lee Perry, Prince Jammy, Phillip Smart, and Scientist, were responsible for a steady output of this exciting new dimension to Jamaican music. By the end of 1976/early 1977, the dub craze had reached its peak with hundreds of dub albums being released, as every producer maximized the financial return of his riddims. However, most of these dub albums were pressed in very small quantities and disappeared quickly.

ERROL BROWN
Errol Brown was a nephew of Treasure Isle owner Duke Reid and was trained by engineer Byron Smith when he started as a junior engineer at his uncle’s studio. After Duke Reid died in 1974, Mrs. Sonia Pottinger took over and Errol Brown became the senior man in the studio. He dubbed up the old rocksteady and early reggae masterpieces, of which results can be found on three dub albums namely Treasure Isle Dub Vols 1 & 2 and Pleasure Dub. He also ventured into mixing dub versions of contemporary productions released through Sonia Pottinger’s labels High Note and Sky Note. This double cd, named after Sonia’s record shop Tip Top Records, brings no less than 42 slices of fine dub workouts from the period 1977/78.

MUSICIANS
Tip Top Dub is a ‘must have’ album, if only because it contains no less than 25 songs that have never been released in this format before. Adding to the quality of the tunes are the top musicians known as The Revolutionaries. Drummer Sly Dunbar and bassie Ranchie McLean – later replaced by Robbie Shakespeare – were joined by a constantly changing group of outstanding musicians such as Earl ‘Wire’ Lindo, Radcliffe ‘Dougie’ Bryan, Ansell Collins, Sticky Thompson, Bongo Herman, Bo Peep, Errol ‘Tarzan’ Nelson, Skully Simms, and Robbie Lyn.

TIP TOP DUB
Errol Brown’s strength lay in limiting sound effects. It had become more or less common to use extravagant effects when remixing the songs. Think of honking horns, animal sounds, slamming doors, and ringing phones. Errol kept it simple, with the right amount of echo and delay he managed to create a perfect atmosphere, often supplemented with vocal fragments.

Errol Brown

Sound-engineer ERROL BROWN, here with songwritter SANGIE DAVIS and JUNIOR MARVIN, mixing Bob Marley's LP "Survival" at Tuff Gong Studios, '79 © Lindsay Oliver Donald

'A 2CD compilation of Errol Brown’s dub productions recorded for Sonia Pottinger’s High Note label between 1977-78, with contributions from Sly & Robbie as part of top session outfit, The Revolutionaries. 25 of the 42 tracks included enjoy a reissue for the first time here. Ian Canty feels this could be just the tip of an iceberg…

Errol Brown’s dub adventures have been extensively collected on three previous Doctor Bird sets (Dubb Everlasting/Dub Expression is reviewed here, Culture Dub/Medley Dub here and Treasure Dub Albums here). On Tip Top Dub, we meet him during 1977 and 1978, when the dub style was arguably at its apex. He had been a sound engineer for Sonia Pottinger for some time by then and the versions gathered here were originally issued via her High Note label in the late 1970s.

The Revolutionaries were Sonia’s backing outfit of choice and were noted for the dub plates they contributed to at Channel One, Joseph Hoo Kim’s wildly successful studio set-up. Their ascent to being the premier studio band of the Kingston music scene was, at the time, complete and on Tip Top Dub, they provide Brown with the polished instrumental work necessary to make his editing skills shine all the more brightly.

Errol Brown’s dub versions are not as gimmicky as some, but are made effective by what he drops back in and when he does it, which grants the sounds pressed into service the maximum impact. Hell & Fire’s Without Love is the first version of Tip Top Dub. It is renamed Love Dub and has the organ line come back at a perfectly-judged moment to illustrate the above point. Sly & Robbie’s mastery, of course, comes to the fore as the music is stripped right back. This offering is followed by the title track, which uses an Enos McLeod rhythm track. A fair amount of his Making Love vocal is retained initially, but with a liberal application of echo. How the drums pitter-patter away into the ether is an ear-catching touch.

Ballistic Version, aka Sly Special, has its roots in Leroy Smart’s classic Ballistic Affair. After the bright intro, which is kept intact, Dunbar’s abundant percussion talents are called into action. Then they reach right back in time to the late Don Drummond’s archive with Chapter 15, a cool version of his 1965 ska hit, Man In The Street which, amongst the drum echo, retains shards of trombone.

On the dub of Maureen Pearson’s How Do You Feel, Errol unexpectedly drops in her vocal, singing the hook-line near the end in tantalising fashion. Babylon A Dub takes Daughter Cherry’s 1977 High Note hit, Babylon You Guilty and has her voice recast as a ghostly whisper in the background of the bass moves and the thudding drum attack. Glistening guitar notes herald the start of Reggae Version, with hints of Owen Gray’s voice coming in strongly through the echo chamber from time to time. Limbo Version, based on Al Brown’s cover of a Jimmy Cliff number, works well too.

The first disc ends with Peaceful Woman Version and Know Your Friend Version. The former has the golden tones of Marcia Griffiths zooming in and out and the latter is a dub cut of Jackie, aka Linton Brown’s Know Your Friend. It has echo applied to a piano for a change, something which works well.

The second disc of Tip Top Dub commences with a DJ talkover from Mikey Dread on Roots Man Dub, a smart version of his Roots Man Revival. Delroy Wilson’s great cover of R&B tune, There Will Never Be Any Peace keeps its irresistible swagger, even when going right down to drums and bass on Conference Dub, and King Ruler, a cut moulded out of Mind, Body & Soul’s King Of Kings, works like an absolute charm. This one demonstrates that Brown isn’t afraid to leave a lot of the original in to get the desired effect. Forward Dub, constructed around Brent Howe’s Forward Up, cuts down more to the dub essentials, but the bright organ, voice and guitar interjections give it colour.

Some lazy, lovely trombone from Errol Scorcher’s Peace Truce becomes a key element on Peace Dub and Shiney Skank makes good use of the Shank I Sheck rhythm, taken here from Ranking Joe’s DJ cut. Woman Iron Rock (Version), the dub of Lorna Bennett’s song, is done so well, the backing vocals creeping back in with the horns as Robbie Shakespeare’s bass dances. Everything about it is tasteful and inventive. Chocky Taylor was a DJ/singer who got a break from Sonia Pottinger and he repaid her trust in him with an excellent roots reggae number, False Dread. It crops up here as False Dread (Version) and Sly’s unique flair for rhythm is made plain, with keyboard squiggles darting about madly.

Marcia Griffiths’ Hurting Inside keeps its lyrical trumpets and heavenly vocals in part. Hurting Inside Version is a real chill of a dub, with the line, “Happiness come back a while,” looming attractively out of the mix. She also provides the following Dub In Dreamland from her Dreamland hit. This one has Marcia’s voice popping up along with more skeletal sections, and chopping guitar setting the initial tempo. Her Sugar Wooga Man is utilised for Wooga Dub and ensues in a fine and funky way, before zoning out in a very cool manner indeed.

The very popular Miss Wire Waist was a big seller for Carl Malcolm and the version here is effective enough, with the refrain taken down to just being accompanied by a solid bassline. Struggling by Sharon Black, one of Sonia’s many female singers on High Note, has some prime R&B guitar before Sharon’s heavily echoed vocal comes in. Strong Dub, originally a cover of a 1964 Gene Pitney hit I’m Gonna Be Strong, starts with brass to the fore, giving a real taste of the tune, pre-dub. Then it breaks right down in classic dub style, with Teddy’s voice well down in the mix.

The set finishes with three versions that even the compilers could not place the rhythms for. Socialist Dub starts out brassy and with vocals, but is a relatively short cut. The DJ toast style of Strictly Roots works well, with bass driving it along sometimes. Finally, we have Stay Dub (aka Lion Dub). This has the ‘tape rewind’ sound that was becoming fashionable in dubs at the time, before motoring along, with organ stabs and lighter keys becoming a feature.

The packaging that comes with this 2CD collection has some informative notes from Malcolm Gillett on the original songs that were used as source material for Tip Top Dub, something which makes the set feel all the more complete. But it is the top-quality music that is the real star. Errol Brown and The Revolutionaries really did know the ideal way to cut a version, and on the vast majority of the examples here, they strike gold. Errol Brown’s dub plates may not have been the most fashionable, but boy, they were effective. Tip Top Dub offers up plenty of evidence to prove it.' -All words by Ian Canty


Disc One: Tip Top Dub
1. Love Dub 3:13
2. Tip Top Dub 3:04
3. Radical’s Dub 3:30
4. Ital Dub 3:08
5. Rig-Ma-Roe Game Dubwise  3:03
6. Revelation Chapter One 3:26
7. Ballistic Version 3:10
8. More Version 3:24
9. Winning Version 5:00
10. Chapter 15 3:22
11. Dub Walla 3:25
12. Peace And Inity 3:46
13. Babylon A Dub  3:30
14. This Yah Dub 4:31
15. How Do You Dub 3:23
16. Dub And Harmony 3:42
17. Reggae Version  3:00
18. Phase One 2:32
19. Limbo Version 4:37
20. Peaceful Woman Version  3:33
21. Know Your Friend Version  2:42

Disc Two: Conference Dub
1. Roots Man Dub 4:03
2. Conference Dub 3:55
3. Tell Me Now Dub 2:52
4. King Ruler 3:11
5. Forward Dub 3:32
6. Peaceful Dub 2:53
7. Shiney Skank 3:39
8. Woman Iron Rock 4:05
9. Nurses Skank  3:57
10. False Dread (Version) 3:14
11. Hurting Inside Version 4:21
12. Dub In Dreamland 3:12
13. Miss Wire Waist Version 3:39
14. Lizard Version 3:49
15. Struggling Dub 2:58
16. Wooga Man 3:16
17. Strong Dub 3:56
18. Dancing Dub 4:10
19. Socialist Dub 2:07
20. Strictly Roots 3:43
21. Stay Dub 4:49