Author Ras Vorbei

Blanc du Blanc, who is that? I have to admit, I've never heard of this band name before, even though they've released two highly recommended albums ("The Blanc Album"; "Regatta du Blanc du Blanc") and an EP ("Wind of Change") in recent years. The band even collaborated with the legendary Lee "Scratch" Perry on "Wind of Change" - the Scorpions ballad - and yet they still sailed under my radar. Blanc du Blanc is a heteronym. On the one hand, it's an imaginary character who currently performs wearing a cape and mask. On the other, it's also the face of a group of ever-changing musicians from New Jersey who defy easy characterization and describe themselves as "created by an undercover artist, working as an agent for Monrovia."
It's a group of musicians, led by mastermind and bandleader Chris Harford. They perform undercover live and have connections to bands like Morphine, Bad Brains, and JRAD. Chris Harford is definitely no stranger to the American music and art scene and is truly a jack-of-all-trades. He's a singer, songwriter, guitarist, and painter and has released several albums with his band "Band of Changes" since 1992.

In the world of Dub / Reggae, musicians and producers typically rely heavily on old, analogue equipment and techniques. Not so with Blanc du Blanc. Unlike other bands' recent releases, which use almost historic equipment, the album "Before the Beginning" was clearly created in the digital age and is reminiscent of more modern producers like Bill Laswell.

Now let us come to the actual object of desire: The project “Scientist meets Blanc du Blanc: Before the Beginning“ (Soul Selects Records) is not just the meeting of two brilliant artists – it is the clash of worlds, frequencies and timelines. Scientist, the DubThe pioneer who has shaped the sound of generations takes the spectral transfers of Blanc du Blanc and transforms them into something earthly yet cosmic. He lets otherworldly sounds collide with deep-rooted Jamaican tradition. Scientist is in his element and delivers what the Dub-Heart desires: Hypnotic delays, interstellar reverbs and fat basslines that resonate through the galaxies. They form a portal to a new Dub-Dimension where the echoes of the past meet the future of sound. Scientist blends analog warmth with experimental drift, taking us on a sonic journey through space and time. It explores frequencies where the bass vibrates like cosmic waves.
Scientists' trademarks remain: live mixing and a focus on sound. These are consistently present, overlaid by more abstract contributions from Blanc du Blanc. Traditional DubMotifs are replaced by filtered synths, ambient textures, and subtle dissonances. This is definitely not about the rhythm, but about the mood. The structure definitely gives way to a tonal drift. For me, one thing is clear: this is music for hanging out and letting go.

Although the Gladiators' career spanned more than 40 years, in my opinion, they weren't at the forefront of Jamaican vocal trios. Nevertheless, the Gladiators masterfully navigated the evolution of Jamaican music, from rocksteady to roots music to modern reggae. Like many bands, they had their heyday from the mid-1970s to the early 1980s.

With the publication of “Gladiators: Roots Natty(Tabou1) For Record Store Day, reggae fans will receive a beautiful compilation of some of their early pieces from the heyday of the roots era, when Tony Robinson was still producing the Gladiators. The only exception is the opener "Give Thanks And Praise" – a rare Yabby You production. The lead vocals are by Clinton Fearon and the toast that follows seamlessly features DJ Trinity aka Junior Brammer, who passed away in April 2021. Most of the 11 tracks on "Roots Natty" are rare Jamaican singles and maxis that were previously unavailable on LP or digitally. The album also features original members Albert Griffiths, Clinton Fearon and Gallimore Sutherland. Overall, "Roots Natty" represents the essence of fine, timeless Jamaican music. The compilation undoubtedly contains one or two pieces that you have never heard before. Most people will surely know “Jah O Jah O,” one of the most rousing tracks on the album, with its dirty, fat bassline and instantly recognizable chorus. Less well-known are the Dubversion of "Till I Kiss You" or the ganja anthem "Light Up Your Spliff." With only 11 tracks in total, "Roots Natty" is a bit short, but I like everything about this release. Great Gladiators vocals, plus some bonus tracks.Dubs of "Give Thanks" and "Nyabinghi Marching." All previously unreleased recordings, extended versions, and Jamaican mixes that supposedly sound harder, dirtier, and bassier than what was produced for the rest of the Western music market.
In summary, these recordings, originally released in small, exclusive editions in Jamaica, perfectly represent the unvarnished, authentic energy of the Gladiators.

From the initial studio project of the first Dub Syndicate years, the band has changed fundamentally. Lincoln Valentine "Style" Scott became band leader and co-producer in the late 80s, stepped into the foreground and established Dub Syndicate as a fascinating live act at numerous festivals. Dub Syndicate became Style Scott's most important musical project. This was also the band's heyday. With a series of albums that combined the best of current Jamaican music with the wild studio experiments of British producer Adrian Sherwood, the pair created groundbreaking music that delighted dreads, potheads and ravers alike. Tragically, Dub Syndicate came to an abrupt end when Style Scott, one of Jamaica's most important drummers, was senselessly murdered in his home in Jamaica on October 9, 2014.

After "Ambience In Dub“-Box, which the early Dub Syndicate albums, "Out Here On The Perimeter“ starts right there, and continues the story from the end of the 1980s to 1996. The four albums from the “Strike The Balance”, “Stoned Immaculate”, “Echomania” and “Ital Breakfast” era have just been reissued on vinyl. Adrian Sherwood has also released a special bonus album “Obscured by Version“ (On .U Sound) with brand new versions of rhythms from that time.
“Obscured by Version”, which can be played individually or as part of the Dub Syndicate box set “Out Here on the Perimeter 1989 –1996” is Adrian Sherwood’s 2025 reissue and reinterpretation of material from this glorious period. The release stays true to the group’s original sound, deeply rooted in reggae and Jamaican music tradition, while pushing the boundaries of Dub with unusual echoes, samples and sound effects. Some vocals and rhythms will be familiar to fans of the original albums, yet everything sounds fresh and crisp like a brand new work in the style of the earlier works of Dub Syndicate. The quality is at the same high level. “Plains of Africa (Echo, Echo, Echo)” comes from “Echomania”, “Pleasurezone Transmitter” is based on “Dubbing Psycho Thriller”, a crazy, as always, slightly off-kilter performance by Lee “Scratch” Perry. “Intercommunications” comes from the great 1987 single “Night Train” – one of my absolute favorite tracks from Dub Syndicate. “Command Centre” is relatively easy to derive from “Roots Commandment” and “Alive And Burning Bright” is the original “Glory To God”.
With his new interpretations, Adrian Sherwood succeeds in paying a fitting homage to the long-standing friendship and creative collaboration with Style Scott. “Obscured by Version” sounds as fresh and innovative as all Dub Syndicate classic before.

The friends of reggae and Dub will be delighted with the re-release of this Dubalbum. Originally, “slum in Dub“ Released in England in 1978 by Burning Sounds and simultaneously in Jamaica by Gregory Isaacs on his Cash & Carry label under the title “Dub In The Slum”. The A-side of the Burning Sounds edition was the B-side of the Cash & Carry label and vice versa. Over the years, “Slum in Dub“ has been re-released at regular intervals. The latest vinyl release comes again from Burning Sounds. Like the original, the LP contains no bonus tracks and is released on colored vinyl.

Above all, “Slum in Dub" Dub-Versions of tracks from Gregory Isaacs' self-produced album "Cool Ruler" from 1978. From "Public Eyes" to "Aso", the originals are available on the "Cool RulerA new interpretation of the "Party Time" riddim can be found on "Nigger" and "Leaving" is originally called "Black Against Black" and is on Gregory's "Extra Classic". The penultimate track "Leggo Beast" will be known to some as "Spirit Of Umoja" by Dennis Brown or Augustus Pablo. The riddim is the Heptones classic "Sweet Talking". The album closes with "Embarrassment", the Leroy Sibbles & Heptones song "Love Won't Come Easy" from the old Studio One days.
The whole thing was mixed by the legendary Prince Jammy aka King Jammy at King Tubby's. The album was recorded together with the Revolutionaries at the Channel One Studio in Kingston. A prominent feature of “Slum in Dub“ is the exceptional sound quality and masterful mixing by Jammy. Jammy restricts himself more to the use of effects and is clearly restrained in the omission of instruments, so that the original melodic lines remain almost untouched. The subtle integration of fading vocal fragments, which are scattered sparingly throughout the tracks, contributes to a captivating listening experience.

“Slum in Dub“ is one of the outstanding albums from the heyday of DubEvery track is a real classic. The rhythms are infectious and the resulting soundscapes are simply spacey. This album shows once again that strong source material is still the key to a great album. Dubalbum, the “Slum In Dub“ is in my ears. Somehow the melodies seem to have always been there.

The now 73-year-old roots reggae singer Horace Hinds, better known to all of us as Horace 'Sleepy' Andy, is still active. He has just released the album "Timeless Roots“ was released.
He recorded his first single in 1967 for the producer Phil Pratt. But "This is a Black Man's Country" was unsuccessful. It was not until 1970 that he had his big breakthrough. After an unsuccessful audition in Coxsone Dodd's Studio One as a duo with Frank Melody, he tried again a few days later on his own and was successful. The 70s were Horace Andy's most productive time. With his unmistakable falsetto singing style, he sang on countless classic productions for reggae producers such as King Tubby, Everton DaSilva, Gussie Clarke, Lloyd 'Bullwackie' Barnes, Bunny 'Striker' Lee, Tad Dawkins, Prince Jammy and he recorded for Keith Hudson. z. B. "Don't think about me". At the end of the 1980s, things became a little quieter for Horace Andy. Through his collaboration with the trip hop pioneers Massive Attack, he won a new generation of fans in the 1990s. In the following years, he continued to record new music. In 1999, the album "Living in the Flood" was released on Massive Attack's Melankolic label. He also recorded albums for Mad Professor, Jah Shaka and Bunny Gemini and was part of the world music project "1 Giant Leap". In 2007, he released the impressive album "Livin' It Up" with the riddim twins Sly & Robbie. As mentioned at the beginning, Horace Andy is still active and tours all over the world.

The album "Horace Andy: Showcase“ (TADs) is actually a collection of singles that were originally released in 1980 and then in 1984 by Vista in a sonically improved version. Now there is a re-release deluxe edition with 12 tracks. All well-known riddims and classics that show Horace Andy at his best. We hear a great “Shank I Sheck” riddim and “Strictly Rub A Dub“ represents the Heavenless Riddim. The next roots tunes “Chant Rastaman Chant” and “Dub Chant” leave no room for doubt, because this is the Burial Riddim. The backing band are the Roots Radics and the album was mixed by Sylvan Morris and Tad A. Dawkins. Only the opener “Cus Cus” with its “Chatty Chatty Dub“ is a Harry J. production. But somehow these details and my hearing make me a little suspicious, because the sound of the tracks and especially the 12 Dubs may also have been mixed by Scientist.
Whether Sylvan Morris and Tad A. Dawkins or Scientist mixed this beautiful album is actually secondary. Much more important is what we are offered at the end of the day, and that is simply excellent.

Be careful! This music is quite awkward, you could even say atypical. But think what you will, that's exactly why I still listen to Keith Hudson's albums with growing enthusiasm. The "Dark Prince of Reggae", who died of lung cancer in 1984 at the age of just 38, had his own sound from the very beginning, which I'm not the only one who finds hypnotic.

The “Keith Hudson: Playing It Cool & Playing It Right“ (Week–End Records) exemplifies his vision of Dub-Reggae with slow riddims, complex backing vocals and pure groove. It is said that the showcase album, first released in 1981, is Keith Hudson's most admired and best work because of its wide range of variations. Hudson's singing, which is understandably not to everyone's taste, varies from gentle to driving beats and occasional rap interludes. A special feature of the album is that after moving to New York in 1976, Hudson came into contact again with Lloyd 'Bullwackie' Barnes, Prince Buster's former protégé. They already knew each other from Jamaica. However, they did not start working together until 1981. This time Lloyd Barnes acted as executive producer.
But let's start from the beginning: Keith Hudson used the Bullwackies studio for "Playing It Cool & Playing It Right". Lloyd Barnes handled Keith Hudson's song material very carefully, because Keith had his own sound and Barnes had his typical Wackies studio sound, which always brought back memories of Perry's Black Ark. So 'Bullwackies' contribution to the 1981 album should be understood more as an exchange of ideas, advice and possible decisions. On the album, which unfortunately was to be his penultimate release, Keith Hudson reinterpreted six of his old rhythms with creative support from Lloyd Barnes.
The “Depth Charge” riddim from “Pick A Dub“ is found here in the form of “Trust & Believe” and its Dubpendant "In I Dub“ again. At the latest with “California”/“By Night Dub“ the album takes a dark turn, the drive changes noticeably. Two female singers, The Love Joys, provide the backing vocals, while Hudson sings/speaks of the “darkest night on the wet-looking road” that envelops both his head and his road trip. Distorted guitars and dark, crumbling drum beats stir a dense Dub-Mud, which obscures all signposts. Even at a slow pace, the landscape remains diffuse.
In “Not Good for Us”/“Formula Dub“ we get double and triple play of oppressively out-of-tune babble and crazy croaking. Hudson screams “too much formula ain't good for my head, ain't good for the dread”. The piano stumbles behind, the distorted guitars threaten to come off the tape, while the beat flickers out of consciousness again and again.
In “Be What You Want to Be”/“Be Good Dub“ Hudson lets percussion and guitars resonate and resonate endlessly.
I find the last piece, “I Can't Do Without You,” to be the most emotional. The lyrics alone show impressively how much American soul, funk and rock flowed into Hudson's productions at that time. In the following Dub "Still Need You Dub“ you can clearly hear the Barrett brothers – I think I can definitely hear Carly’s unmistakable drums.

The album is only a little over half an hour long, but has a noticeable vibe that reminds me vaguely of Lee 'Scratch' Perry's "Super Ape". As a whole, I always enjoy Keith Hudson's albums because they show the (dark) side of reggae that you hardly ever find on many popular reggae albums. In any case, I am happy that on the 40th anniversary of the death of a unique artist, a real classic - a psycho-acoustic journey into the depths of existence - has been re-released on LP. The uniqueness of this album would get full marks, but because of the somewhat bumpy transitions from song to Dub Unfortunately there is one star deduction.