dubblog

Let me say right away: Try as I might, I couldn't find much information about this band from Belgium anywhere. Not even on the Jazz website.DubSection b provides reasonable information on this. Here you can read somewhat cryptic sentences such as: “…JazzDubb is a collective that blurs the line between a traditional reggae DUB sound system and a live studio session. Rather than just playing records, they bring the mixing desk to the center of the dance floor…“ Is it a band or a sound system with a band, or what is this about?JazzDubb: One-drop Heart“Really? Honestly, I don’t know. Nevertheless, to me it all sounds like a solid band, characterized by a warm, analog, one-drop sound paired with sparingly but deliberately placed…” DubThe textures are impressive. Supported by truly subtle, jazz-influenced improvisations from brass and piano, "One-drop Heart" is more in line with classic reggae-Dub-Sound world. Nobody needs to hear the name Jazz here.Dubb flinch and fear bizarre jazz phrasing. All 16 DubThey are between two and slightly over three minutes long, so long free jazz jams are completely out of the question. Instead, the band focuses on relaxed, danceable one-drop grooves paired with warm, excellent, melodic basslines. Apart from the horns, nothing really recalls funky or skank-influenced jazz-reggae. It remains pure jazz.Dubb in traditional roots/Dub-pace and the moderate use of the DubEffects (echo, reverb, ping-pong delays) are used tastefully to support the solos.
There is one thing I must criticize, though: I find the track endings too unimaginative and sometimes too abrupt. Why jazz?DubWhy b didn't even use a fader is beyond me.
But these incredibly beautiful basslines, which inevitably remind me of the great Aston Barrett, provide a conciliatory ending. I would particularly like to recommend one track: "Foundation" DubThe bassline and drive are reminiscent of "Jah is my Driver" by Winston Rodney, also known as Burning Spear. If my memory serves me correctly, Aston Barrett also contributed to that 1982 album.
All in all, it's a good album that would be even better if more attention had been paid to the ends of the tracks.
Hi Ras, with the sound system, the ending isn't really important; it's simply crossfaded. So, is it a sound system with a band after all?

Okay, this review is a bit late for May Day, but the EP by "IRIEspect: Lost in" is perfect for a relaxed dance. Dub"Still a recommendation."

The DubFollowing good old tradition, the vocal album "Lost in Time" preceded the album in winter 2025. Even then, IRIEspect, the band founded in 2019 by a few friends on the East Coast of the USA, had already demonstrated that they had undergone a remarkable evolution after several lineup changes. The five members of the New York-based band, who combine reggae with rock, hip-hop, and Latin American sounds, are already quite well-known in the USA due to their up to 200 performances annually. They have shared the stage with various artists, including Barrington Levy, Inner Circle, Sister Nancy, Jesse Royal, Steel Pulse, and Long Beach. Dub Allstars and Easy Star Allstars.

To the album “IRIEspect: Lost in Dub" :
Even the first sounds of "Want Me Dub“These songs are simply catchy. Ras Ajai’s captivating voice floats through the room, while Caribbean steel drum sounds create a pleasant atmosphere.
“Nuh Leave Mi A Dub“The album presents itself with Jamaican artist Skygrass in a more intense and, in particular, more “dancehall-focused” way.” Dub IRIEspect captivates with its powerful basslines and vocals, perfectly suited for dance floors and sound systems. You can almost physically feel the energy. Here, IRIEspect particularly demonstrates their talent for bringing vibrant dynamics to a recording structure.
The centerpiece of the EP is “Lost Dub“, a piece that is for Dub exhibiting typical depth and heaviness, and contrasting with the lighter, more upbeat beats through rich brass arrangements and diverse instrumentation.
This is followed by a dubByesque reinterpretation of Manu Chao's world hit by the "Me Gustas" Dub“The parts sung in English and Spanish transition into Latin reggae with hip-hop elements. A melodica enters, and with this subtle rhythmic elegance, this track becomes the highlight of the album for me.”
The rather rougher, slightly punky end of the twenty-minute mini-album is delivered by "Dangerous". Dub“with Duvbear, the son of Matisyahu. Here too, IRIEspect prove their fearless handling of genre-crossing textures with energetic riffs, dynamic transitions, and raw-sounding vocals. A successful conclusion and at the same time a contrast to the more catchy sections of the EP. IRIEspect are an absolute discovery for me!”

It's impressive how much captivating music keeps coming out of the small Alpine republic of Switzerland. Dublerone, Dubment and of course Dub Spencer & Trance Hill are a household name here. If my research is correct, because basically, there's nothing new about the album "MARSIAM: Du-b is everything!"If you can find virtually no information about them, then the origin of this project lies with the 12-member brass band Traktorkestar. A progressive brass band from Bern and the surrounding area, whose wild mix of Balkan brass, yearningly plaintive melodies, fast rhythms, and powerful 'winds' has been causing quite a stir for 16 years, not only in Switzerland. It sounds strange, it is strange, but it's simply good because these dozen trained musicians truly master their craft."

MARSIAM appears to be composed of this conglomerate of musicians, as I was able to identify three protagonists: the multi-instrumentalist Samuel Zingg (SiAM!); the saxophonist and arranger Thierry Lüthy; and the trombonist and horn player Maro Widmer, who also appears on “DubI heard "Kailash" playing the trombone. Until now, MARSIAM was completely unknown to me. But with the twelve relatively short and entertaining tracks, they manage to win me over, because "Du-b ist alles" is a truly intelligent evolution and a successful homage to the important brass players of Jamaican music history. Why the album actually came about, I have no idea. Perhaps Lüthy, Zingg, Widmer, and whoever else is behind MARSIAM – SiAM! is definitely in there – wanted to leave well-trodden paths and explore new musical avenues. The result is impressive; it's a harmonious, relaxed, brass-heavy album. Dub-An album with slight jazz influences, mixed by Bachelor of Arts Thierry Lüthy.

Since my Barnabas review, I've been listening more frequently to work from the legendary Channel One Studio of the Hoo Kim brothers in Kingston, Jamaica. My main focus is on the recordings made there. Dub-Albums that were once simply included with the original album. The best example: The Mighty Diamonds: Deeper Roots – Back To The Channel. For me, almost every album from that era is like coming home – everything is familiar and exudes a pleasant warmth. The Revolutionaries' albums were always relatively easy to find, partly because some were released on the English Burning Sounds label or its subsidiary Burning Vibrations. And so, "The Revolutionaries: Dutch Man" accompanies me. Dub“Since 1979/80. Unavailable for many years (47!), the “Dutch Man” is now considered Dub“as one of the great, long overlooked masterpieces of Dub-era. Okay, I've never felt it that way before, although I've always liked the album's pleasant, deep heaviness and the hypnotic basslines that combine with crashing snares to float away in echoes and reverb. The sound really does have something meditative about it. I didn't recognize it back then, of course; you only see things like that in retrospect. "Dutch Man" Dub“Today, it is considered a key work of the Channel One sound, albeit in a much more reduced form. We are listening to an album that is less about “acoustic excesses” and more about atmosphere, rich bass pressure, and plenty of space and time.”
In conclusion, I can only state: With "Dutch Man" Dub“Lowell ‘Sly’ Dunbar (RIP) and the other, unfortunately unnamed, Revolutionaries deliver an impressive masterclass in minimalism. Whoever sat at the mixing desk and was responsible for this stripped-down, focused sound…” DubWho is responsible will likely remain a mystery forever. Unfortunately, there will soon be no one left among the protagonists we could ask. Even the Burning Sounds re-release remains silent on the matter. Who knows, perhaps Barnabas?

Founded in 1995, the revival reggae label Pressure Sounds has honored Phil Pratt through essential releases such as "Phil Pratt Thing," "Safe Travel 1966–1968," and more. DubThe collection “Dial M For Murder”, Horace Andy’s “Get Wise” and “Zion Hill” by Bobby Kalphat & The Sunshot All Stars have already come into focus for the reggae and Dub-scene. Last year, another highly sought-after collector's item was released, titled "Phil Pratt & Friends: The War Is On – Dub Style"Relaunched on the market. Perhaps this was a response to the increased demand after "The War Is On –" Dub "Style" by Pressure Sounds was released back in 2018. This highly sought-after album DubThe album had been unavailable since its initial release in the early 1980s and became a sought-after collector's item.

The impressive career of Jamaican producer George Phillips, better known as Phil Pratt, dates back to the rocksteady era of the 1960s. He sang "Sweet Song For My Baby" with his school friend Ken Boothe. In the 1970s, he achieved significant success as a producer with tracks such as "My Heart Is Gone" by John Holt, "They Talk About Love" by Pat Kelly, "Gee Baby" by Al Campbell, and "I'm Not For Sale" or "Artibella" by Ken Boothe. After moving to London in the early 1980s, his productions were increasingly mixed at Easy Street Studios in Bethnal Green, London. There, he worked closely with sound engineer Stuart Breed, a very young man in his early twenties who had no prior experience with reggae and essentially came from rock/pop (Roxy Music, Japan). Phil Pratt would bring the tapes recorded at Joe Gibbs Studio in Kingston and commission Stuart Breed to mix "The War Is On – Dub to mix “style”. The album perfectly reflects Phil Pratt’s typical working methods at that time. The recordings took place in a studio in Jamaica, preferably Channel One or Joe Gibbs, while the Overduband the mixing took place at London's Easy Street Studios. Among the musicians who contributed to "The War Is On – Dub The musicians who recorded the riddims for "Style" were Sly Dunbar (drums and percussion), Robbie Shakespeare and Lloyd Parks (bass), Lloyd "Gitsy" Willis (lead guitar), Winston "Bo Peep" Bowen (rhythm guitar), and Bobby Kalphat (keyboards and melodica). Phil Pratt particularly valued keyboardist Bobby Kalphat, as is often noted. He felt that Kalphat's melodica parts were often more successful than those of Augustus Pablo. Above all, they weren't mixed as prominently as was the case on many Augustus Pablo recordings.
The original album had eight tracks, including DubRonnie Davis' Errol Dunkley version of "Black Cinderella" and John Holt's "Strange Things" are featured. The title track, "The War Is On," represents a new, drier sound, heavily influenced by drum & bass and reminiscent of early Scientist work with the Roots Radics. "Easy Street Special" is a DubThe versions of "Black Cinderella" and "Dancing Kid" can be attributed to Owen Gray's "Hear We Them A Say". All mentioned DubThey showcase Bobby Kalphat's melodica playing, which isn't as dominant as we're used to hearing from Augustus Pablo. The original album ends with "Earth Movement," a slightly faster piece full of beautiful horn arrangements. Those who buy the CD also get four bonus tracks, three of which were originally available on 10-inch vinyl, followed by a Bobby Kalphat instrumental. Owen Gray immediately stands out with the impressive "Hear We Them A Say," a powerful roots song that comes across with real energy. Next up is Ronnie Davis with a rousing version of "Strange Things," a song written by Horace Andy and popularized by John Holt. He also shines again in "Black Cinderella," originally recorded by Errol Dunkley for Jimmy Radway in 1972. The CD concludes with the beautiful Bobby Kalphat instrumental "My Time."

On Wednesday, February 25, 2026, Phil Pratt passed away at the age of 82 in his adopted home of London, where he had lived for over 40 years and run a restaurant. With him, another pillar of roots reggae has died. DubWithout grassroots producer Phil Pratt, who took artists like Horace Andy, Dennis Brown, Big Youth, Dennis Alcapone, Dillinger, Barnabas, King Sighta, Earl George (George Faith), Bobby Kalphat and many others under his wing and offered them a platform, our reggae and DubThe world is considerably poorer.
RIP George Phillips aka Phil Pratt

Milton Henry is certainly not the most famous Jamaican singer, but definitely not the least talented. The album in question, “Milton Henry: Branches And Leafs“(A-Lone Productions) is neither an old Bullwackies album nor a brand new release. It is the third album from the singer, guitarist and arranger, who passed away in 2022, and was released in 2013.”

In the 1960s, Milton Henry was active in various musical groups. Together with Keith Blake, better known as Prince Alla, and Roy Palmer, he founded "The Leaders" in 1966. This trio recorded the song "Hope Some Day" for Joe Gibbs in 1968, along with the Lynn Taitt Band. Milton Henry was just 18 years old at the time. After two more recordings for Gibbs, he turned to other musical projects. He then went to Lee Perry to try his luck as a solo artist. He recorded his debut single, "No Bread and Butter," for Lee "Scratch" Perry, a song mistakenly attributed to Milton Morris. In addition, a few other classics exist that were recorded at Lee Perry's Black Ark Studio, such as... z. B. an interpretation of the Impressions classic “Gypsy Woman” or his first songs “This World” and “Follow Fashion” as King Medious over the “Fever” riddim by the Upsetters.

In 1979, he moved to New York, where a large community of Jamaican musicians already lived in the diaspora. Immediately after his relocation, Milton Henry showed no further interest in performing as a singer. As a vinyl record salesman commuting between New York and Jamaica, he inevitably met Lloyd "Bullwackie" Barnes, and soon after, he was deeply involved in the daily operations of Wackie's. Milton Henry managed sales and all the marketing and even had spare keys to the studio in case "Bullwackie" himself wasn't around. Naturally, his talents inevitably led him to make music again, and in 1985, his long-awaited album "Who Do You Think I Am?" was finally released. Indeed, just a few of the names who worked on this album speak volumes about its quality: Sugar Minott, Max Romeo – backing vocals; Sly Dunbar; Jackie Mittoo and the Bullwackie Posse, of course. Two years later, the debut album was followed by the less well-received "Babylon Loot" album.

More than 25 years passed before Milton Henry, together with Roberto Sanchez, released the showcase album "Branches and Leaves." The Spanish producer began collaborating in 2013, crafting the perfect organic roots riddims in his A-Lone-Ark-Muzik studio, which Henry then recorded at Bullwackie's studio in New York. Milton Henry's third album features six original songs as well as their... DubThe album features tracks like "Rastafari Cannot Die" and "Let Go The Ego." These two songs were previously released on a 12" record by Iroko Records in June 2013. Other tracks such as "Crisis," "Rastaman Beware," and "Gimme Gimme" round out this exceptional album, which is full of positive, thought-provoking messages. Milton Henry impresses me with his calm, deep, and soulful voice, underscored by the powerful riddims of Lone Ark Riddim Force. A first-rate roots album brimming with poetry, it perfectly reflects the current global situation with its economic and spiritual challenges.

One thing you have to give Roberto Sanchez credit for: he has a good instinct and a sure hand for bringing old Foundation veterans back into the public consciousness with a successful album. Furthermore, he proves time and again that he is an outstanding European Dub-A master par excellence who understands how to be completely calm and relaxed. Dubto conjure up something from a long-gone era.

Stanley Bryan, better known as Ranking Barnabas or simply Barnabas, has been largely overlooked by reggae historians. He is therefore arguably one of the most underrated figures in reggae history. As a sound engineer at the legendary Channel One Recording Studio at 29 Maxfield Avenue in Kingston, Jamaica, Barnabas played a pivotal role in shaping the sonic identity of countless reggae classics. Alongside chief engineer and co-owner Ernest Hoo Kim, he was instrumental in defining an era of sound that continues to resonate across generations.
Barnabas was known and appreciated for his technical virtuosity and intuitive musicality, becoming an indispensable partner to countless reggae legends such as Gregory Isaacs, The Gladiators, Sugar Minott, Jah Thomas, Yabby You, Augustus Pablo, and Scientist. Whether at the mixing console or behind the drums, his playing brought clarity, depth, and groove to every piece of music.

Last year, Barnabas died unexpectedly and far too soon on August 18, 2025, at the age of only 65. His sudden death shocked many of his colleagues. Scientist, who worked closely with Barnabas at Channel One, said of the sad news: “Barnabas, my colleague and friend at Channel One Studio, 29 Maxwell Avenue, contributed to helping build reggae. Many people don't know he was a wonderful person, a great engineer and drummer who contributed to the development of reggae. His legacy must be shared with those who don't know. I am saddened by his leaving this Earth.”
And that's precisely my intention: Stanley "Barnabas" Bryan grew up in Kingston in the 1960s, where he was exposed to the vibrant music culture of the Jamaican capital from an early age. In 1972, a neighbor who ran a bar, whose jukebox (rented from the Hoo Kim brothers) had just broken down on a Friday night, asked 12-year-old Stanley to go to the Channel One studio so the Hoo Kims could send someone to repair it immediately. Stanley got past the doorman and was able to report the jukebox problem at the bar. From the very beginning, Stanley was fascinated by the lively atmosphere at Channel One.
Barnabas, as he was now known by his schoolmates, loved music above all else: “I grew up in Kingston, where music was everywhere. I heard the sound systems playing, felt the vibrations, and was deeply moved. It was as if the music was calling me.” Having lived with his mother across the street from Channel One, he now regularly stopped by the studio after school. Over time, everyone noticed that Barnabas was a thoroughly honest and reliable young man who ran errands for Channel One and always handed over his change without being asked. Barnabas became part of the studio team. He watched many drummers, especially Sly Dunbar, intently, learning and practicing diligently in the studio. One day, Sly gave him a drum kit, and the rest is history. A similar pattern unfolded with Ernest Hoo Kim at the mixing console, whom Barnabas observed for hours. Then, in 1976, the moment finally arrived; Barnabas made his first mix. Since then, he has been heard on countless outstanding albums, both credited and uncredited, as a sound engineer or drummer for decades. As a musician, he lent his rhythmic genius to groups such as Jah Stone, New Breed, The Itals, and The Gladiators. His signature drumming style, often described as a "control balance groove," was more than just technique; it was a philosophy of riddim that defined the very heartbeat of the genre. As DJ Ranking Barnabas, he and Gregory Isaacs left an indelible mark on tracks like "Can I Change My Mind," "I Will Never Love Again," and "Tumbling Tears."

Given all the aforementioned aspects, it is all the more astonishing that only a single album exists that bears the name Barnabas exclusively. It wasn't even produced by Ernest or Joseph Hoo Kim. Phil Pratt was the one who…Ranking Barnabas: The Cold Crusher"released in a small number of copies in the late 1970s. After that, the album disappeared from the scene for almost half a century and understandably became a precious collector's item. Now Helmut Philipps comes into play, who was asked by the Italian label Jamdung Records a little over a year ago if he had a recommendation for a reissue of a DubHe would have liked to make an album. Without hesitation, he decided on "The Cold Crusher" for Helmut Philipps. A work with ten tracks. Dubs, all based on vocal productions by Phil Pratt from the late 1970s. Barnabas draws on a wealth of resources for "The Cold Crusher" and creates exquisite DubSongs by Ken Boothe, Horace Andy, Freddie McKay and Jimmy London. Most of the DubThis track is from the Blackstones album "Insight," released in 1979. Upon listening, it's immediately clear that Barnabas's focus is particularly on the bass and drums. The percussion and the powerful, rolling basslines, along with the excellent horns, instantly transport me back to a time when Channel One Studio at 29 Maxfield Avenue was the hottest studio in Kingston. Since Channel One isn't exactly known for complex, technical soundscapes, I imagine no one expects anything like that here. Instead, we hear those languid beats, hypnotic basslines, crashing snares, and cosmic echoes that have resonated far beyond Kingston since the mid-70s.

Overall, it is a beautiful, extremely rare, classic piece. Dub-Album from the absolute heyday of reggae/DubFeaturing excellent liner notes by Helmut Philipps and David Katz, who have never collaborated before, this album, or rather the LP, is, without exaggeration, a must-have and a wonderful addition to any collection. The LP is being reissued today, February 06.02th, in a limited edition of 500 copies, and is also a regrettably belated tribute to Barnabas's abilities as Dub-mixers he never got to experience. A long overdue tribute to another unsung hero of this genre. With the death of Stanley "Barnabas" Bryan, another chapter of reggae history closes. His influence, however, will be felt in every bassline, every snare hit, and every DubThe sound of the plate, played in his memory, continues to resonate clearly.

PS: If you're wondering where you've seen Beth Lesser's iconic image before, check out "Drum Sound: More Gems From The Channel One". Dub Room – 1974 To 1980“ (Pressure Sound #55) from 2007.

This is a perfect opportunity to round off the Balkan theme. The Serbian group Soulcraft from Belgrade, perhaps known to some through their collaboration with Hornsman Coyote, has released a new album. The current album is titled "Soulcraft & Masso Narradi: Book Of Life, Chapter 1 (Dare To Walk The Path Of Righteous)The band invited the jazz wind trio Masso Narradi into the studio. The EP comprises four instrumental pieces and their accompanying music. Dub-Pendants. The opus is released by the Dutch label Earth Works Outernational from Amsterdam.

Soulcraft was founded in 2013 and comprises experienced musicians from the local reggae, blues, and punk scenes. They have been active in the Belgrade music scene for over twenty years and are committed to preserving and promoting reggae. The band draws inspiration from the roots reggae of the 70s and 80s, as well as from the messages of artists such as Burning Spear, Bob Marley, Peter Tosh, Steel Pulse, Misty in Roots, and others. Soulcraft has established itself as one of the most active reggae groups in the former Yugoslavia. They also work closely with the Guyanese singer Ras Mac Bean, who lives in France and is also a friend.

In the summer of 2024, the band met at Belgrade's Sick Touch Studio with the jazz trio Masso Narradi to record some new pieces. With the help of these three renowned brass players from the Serbian jazz scene, an incredible 24 tracks were created. Sixteen of these are slated for later release as Chapter II and Chapter III. The eight tracks released so far, from Chapter I, offer a powerful journey through roots, reggae, Dub and jazz. They follow in the tradition of great artists such as Rico Rodriguez, Nils Petter Molvær together with Sly & Robbie, and the Skatalites. The recording and production of the album were entirely handled by the band together with Aleksandar Markovic, also known as Echomer. The sound is both warm and clear, and the mixing was done with great care. The instrumentals, as well as their DubThe counterparts can be described as very successful, especially since the instrumentals already made ample use of reverb and echo. For the most passionate DubA vinyl edition is planned for spring 2026 for enthusiasts and record collectors!

As already mentioned in the comments on the "Charts 2025", there is some truth to the fact that many pretty good ones will be there in 2025. DubAlbums have been released. In some ways, it was a huge tidal wave that swept over us. Dubhas spilled over heads. And that's why it almost happened that "Balkans Dub System"With his album of the same name, he went unnoticed in the flood of music. Had I known that behind the "Balkan" Dub Had the name “System” concealed a new project by the very busy and versatile Croatian multi-instrumentalist Ognjen Zecevic, aka Egoless, this wouldn't have happened to me. Egoless has been active in the music industry since 2007. He initially joined the band Stillness from the Split-Zagreb region. This was followed by almost twenty years of an impressive career in the global bass, Dub- and Dubstep-dancing scene. His performances at Seasplash in Istria and in some of the UK's best clubs, as well as a tour of American and Canadian cities, made him known across the Atlantic. With his album "DubAfter “ternal”, he landed at the renowned British sound system label Deep Medi Music, which is owned by London’s leading DubStep-Innovator Mala is operated by Digital Mystikz. In Croatia, “Dubternal” was awarded the Elektor and Ambassador prizes for Album of the Year.

Shortly after all the awards, a new concept began to take shape for Egoless. This concept emerged precisely at the crossroads of East and West, with its turbulent history, complex past, and nomadic peoples. The Balkans have always been a melting pot of diverse cultures, shaped by centuries of migration, conflict, and vibrant exchange. From this diversity of traditions, languages, and religions arose the space for Egoless's new musical vision. The result is a seven-track album deeply rooted in the musical traditions of the Balkans and the Middle East. The new project and self-titled album by Ognjen Zecevic is titled "Balkan." Dub “System” cleverly combines roots Dub, Oriental Dub and world music into an acoustic fusion with traditional Balkan instruments, including the saz, santur, duduk, ney, kaval, darbuka, and bendir. The only additional musician was Roko Margeta, who played the Turkish ney and the Macedonian kaval, while all other instruments were played and mixed by Egoless himself.
Okay, projects like this aren't entirely new. We're familiar with similar sounds from Moreno Visini, aka The Spy from Cairo, but I still really like this album. Partly because it's simply something special.