Category: Five Star

With 1,5 million inhabitants, Yekaterinburg is the fourth largest city in Russia. Named after Tsarina Catherine I and the patron saint of miners, Saint Catherine, it lies on the Trans-Siberian Railway and forms the imaginary border between Europe and Asia.
The ska band Lollypop Lorry, founded in 2008, comes from this Ural region, which is quite remote for us. The band's logo shows the Lollypop Lorry - a UAZ 452 Buchanka, the Russian answer to the Wolfsburg bus and delivery van (Bulli).

The first publication of Lollypop Lorry: Goes Dub (Jump Up! Records) in 2020, the Dubblog as well as the re-release in 2022. But better late than never, I will briefly introduce you to this album, which was created between August 2018 and October 2019. An album that is really popular with me at the moment. Of the nine tracks, eight are jazz standards that are part of the ska, reggae/Dub & Latin Jazz Ensemble has congenially laid down deeper for our ears. The album was mixed by Victor Rice in his Studio Copan in São Paulo. The Dubs are by Ivan Gogolin, who produced the album together with Maxim Koryagin. The two musicians are also responsible for the arrangements, which are very varied. It starts with a Miles Davis standard, followed by “Dizzy Dub“ based on a musical template by trumpeter Dizzy Gillespie. The best thing about it is that the band has seamlessly incorporated Aston Barrett’s bassline from “Lively Up Yourself”. Simply magical! John Coltrane’s “Blue Train” becomes the “Dub >7< Train”. The absolute highlight of the album for me is “Take Faya”, where we hear the old Dave Brubeck/Paul Desmond classic “Take Five” as well as “Dub Fire” by Aswads: A New Chapter of Dub What more can I say? Both the basslines and the DubI like it all the way through – in short, a great album that I discovered far too late.

What a label name: "Spiritual Food"! That is exactly what my soul is thirsting for. And yes, it certainly shows some self-confidence to fill an entire LP of a good 40 minutes playing time with just two riddims. But isn't that exactly Dub in its purest form? In my opinion, absolutely. And when the two riddims and the versions are so good and convincing and are both a joy to listen to at home and are also convincing on the big sound system, what more could friends of deeply saturated Rasta culture want?
I don't even know where to start, I'm so excited about this piece of black vinyl, which unfortunately comes without a cover, just in a white paper envelope (in true old school Jamaica style). Lourenzo Bougard aka Macca Dread is no stranger to the scene behind the production. He is also known for the well-known Youthie productions "Gecko Tones" and "Nomad Skank" and now some other smaller notable publications (e.g. "Wise Up EP" or "Almandub#2"). The production is tight and rich, but for my ears it has a good mystical note with lots of percussion and a number of added sound gimmicks, which brings exactly the depth that I like so much. Spiritual food, the name says it all. Musically, both riddims are of a high standard, both melodic and monotonously driving, in just the right dose (Paracelsus would jump for joy). The Hooligan or Gringo riddim has something almost euphoric to offer me with its slightly Cuban-sounding Latin elements and I never get bored at all listening to an instrumental or Dubversion one after the other. On the contrary, every new mix brings a breath of fresh air, other instrumental parts are put in the spotlight, Dub in top form. Especially the "Benyah Horn's Version" with the trombone (which sounds like a trumpet here) and the “Macca Dread Melodica Version” with the typical Cuban piano riffs are real pearls. Benyah on trombone, Crucial Rob on drums and the Cuica, Irie Mates on choral singing, blues harmonica player Danos and Macca Dread on production, melodica and all Dubmixes a very good job. The Dubmixes are solid and fit smoothly into the whole.
Ha, I just forgot to mention the vocal versions. Here I also give the two singers Zion Irie on the Hooligan Riddim and Ras Tweed on the Point Finger Pon Riddim top marks. Brilliant conscious lyrics, listen for yourself. And how Ras Tweed in particular with all his experience in "Point Finger Pon" gets into the flow, then slows down again, has something deeply moving about it. Finally, I would like to mention the two lovingly designed portraits of the singers, which virtually replace the cover and pay tribute to the artist Aude Saloni This release is by no means a classic album, but it is just the thing to bring the sun into the dark, cold season. Dub-Heart and energy flow into the dance floor. Jahman!

I love the hypnotic, hard Dub-Sound of sound system sessions - these repetitive rhythms always captivate me. But recently my enthusiasm for handmade, analogue produced music has grown even stronger. I have the feeling that it is "richer" and the sound is more complex - of course only when it is played, recorded and produced really well. Apart from that, I have a really great appreciation for talented musicians. It is simply a true craft art to create good instrumentals and Dubs manually precise and with perfect timing. After recently dealing extensively with AI-generated music, my appreciation for man-made music has grown even more. And it is in this mood that I now come across Message's new album, "Showcase II" (Messengers) - and what can I say? “Showcase I” already impressed me, and now I am at "Showcase II“ enchants us again. The concept has – fortunately – not changed. The album contains seven instrumentals and seven Dubversions. Lead instruments are again mostly melodica, trombone and sometimes a keyboard. All pieces are original compositions by the band, were recorded live in the Lone Ark studio in Santander (northern Spain) and recorded on good old magnetic tape. Studio mastermind Roberto Sánchez himself sat on the drums and also took care of the recording. And of course the whole thing is once again seen as a homage to Jamaican reggae of the 1970s. Even at first listen, you can hear that Message doesn't just copy, but captures the essence of the genre and reinterprets it. The musicians succeed in doing this perfectly, not least thanks to the live recording, because this is the only way to really capture the energy and vibes that make roots reggae so special. It gives the album a special magic and an authentic, lively sound that is often missing from digital productions (which, however, have other qualities!). “Showcase II” is a work that not only honors the musical architects of the genre - the Jamaican musicians of the 1970s - but also shows how the band Message has found its own way within this tradition. Every track on “Showcase II” radiates the spirit of the band, the sense of community and the love of music. The best that reggae has to offer comes together here: brilliant craftsmanship, perfect production and, last but not least, really good compositions. We'll have to wait and see whether I have to sing such hymns of praise again for “Showcase III”. I certainly wouldn't mind.

Jim the Boss and his Hi Fi Rockers studio band have released “Dubs from the Grave“ (Hudson Soul) has put together an album full of spooky effects that is perfect for the season. Just in time for Halloween, after a five-year creative break, there is a new mini-album for fans of the Celtic holiday and reggae/Dubgenre, dealing with themes such as duppies, ghosts, vampires, zombies and other undead creatures. This album is the ideal soundtrack for any Halloween party. But that's not all: belief in ghosts, which is deeply rooted in African culture, has always been omnipresent in Jamaica. You really only have to think a little and you'll come up with lots of songs that deal with this theme: The Wailers - Duppy Conqueror (1970); The Upsetters - Haunted House (1970); Devon Iron - Ketch Vampire (1976) or Peter Tosh - Vampires (1987). Among the albums, "Scientist Rids The World Of The Evil Curse Of The Vampires" (1981) is particularly noteworthy, with titles such as "Your Teeth In My Neck", "Plague of Zombies" and "Night Of The Living Dead".

Just in time, the Dub-Maker Jim the Boss and his HiFi Rockers are back to bring us a new album of reggaeDub-titles. The 7 tracks are peppered with spooky sound effects, monster laughter and voice effects from 'Dr. Frankenboss' - Jim's alter ego for this album. The original versions of the tracks were recorded in recent years and are brought to life in this remix. "Big Man Dead" was already released in 2014 on Miserable Man's "American Sessions" EP and "The Dark Art" is a new edition of the "Dark Art" riddim that was already heard on the "Hudson Soul" album. The two tracks "Halloween Town" and "Queen of the Dead" - a Dubversion of Jah Adams' "My Love For You" – were released as radio-only promos throughout 2017.

“American Horror Story” is a danceable, spacey and dubbig track where you can't avoid moving your hooves.
“Queen of the Dead” is just as physical, with spooky laughter and sound effects. A driving riddim that rides on a nice fat bassline.
I think “Halloween Town” is particularly worth mentioning, performed in a rather funny (African?) accent. We hear a powerful and haunting version of the Lee “Scratch” Perry & The Stingers riddim: “Give Me Power”.
“Big Man Dead” reminds me in lyrics and flow of Linton Kwesi Johnson and his Dennis Bovell Dub Band
“The Dark Art” begins with the exemplary laughter of an evil witch and culminates in a beautiful piece of music, peppered with precise saxophone passages by Dave Hillyard and bouncing keyboards.
“Throw me Brain” is a remake of the Studio One classic “Throw me Corn” and the intro is by Lee “Scratch” Perry.

All in all, I like this small but fine (Dub-)Collection really fun and this more traditional Dub-Reggae offers much more than just seasonal Halloween tracks. I, for one, can and will certainly listen to the album all year round.

The series began during the Corona period: “Tape Me Out #1“ was published as a YouTube video three years ago. There is not much to see. The two friends Dr Charty and Jolly Joseph (= The Dub Shepherds) sit at the mixing desk and mix live for 50 minutes Dubs with material from their label Bat Records. #2 and #3 appear in quick succession. Then nothing happened for a long time until the beginning of this year #4 was released, parallel to her album “Night and Day”. Until then, “Tape Me Out” stood for pure video productions – which explains the name. In July, “Tape Me Out #5“ as a video AND as a regular Dubalbum. The mixes on the album are exactly the same as those in the video. The entire Dub-album was mixed in one take - a process that you can follow live in the video. A really beautiful and unique concept that also testifies to the mastery of the two musicians, 11 Dub-tracks one after the other without any mistakes. While in the first episodes of the series they are still sitting quite relaxed at the mixing desk, in #5 you can see their concentration and tension. 45 minutes Dub-Mixing in one go is really hard work.

Although in these typical Dub-Mixing videos are not much to see, but they always captivate me. And that is the case here. Strangely enough, it is fascinating to see how music is created on the mixing desk. I sometimes find it even more exciting than watching a musician play an instrument. This is perhaps because one person at the mixing desk controls all the instruments and not just one. Seeing how turning a knob or moving a slider changes the sound, triggers effects or switches instruments on or off - in other words, how music is "designed" and controlled - is for Dub-Nerds like me really find it exciting. But only as exciting as the music is good. And the two Frenchmen have no doubt about that. Their own productions and those of other artists on their Bat label (eg Pinnacle Sound) are among the best that European reggae has to offer. Like so many of us Europeans, they love the reggae sound of the 70s and 80s, which they pay homage to with all of their label's releases. Of course, everything is recorded analogue, mixed analogue and stored analogue on magnetic tape. It is not uncommon for them to quote historical riddims, work with DJs and singers from the golden era and mix their Dubs of course in the style of the old Jamaican masters. But similar to Prince Fatty and other retro fetishists in good old Europe, they don't just play classics, but deliver a fresh and original interpretation of this music and its sound. And so Tape Me Out #5 is not a remake, but an absolute newmake with the fantastic stylistic devices of the past - and a great Dub-Album.

The A-Lone Ark Muzik Studio in Santander has developed into one of the most interesting production facilities for modern roots reggae. Superb productions, perfectly crafted riddims, brilliant sound quality and simply great compositions are the trademark of the studio. Behind this studio in Santander, Spain, is Roberto Sánchez, a multi-instrumentalist, sound engineer and producer who has gathered a group of highly gifted Spanish reggae musicians around him. He and his crew are responsible for some of the most exciting albums of recent times. For example, Inés Pardo's "My Time", Ras Teo's "Ion Man" and I Man Cruz' "In A Mission", to name just a few of the most recent. But now Sánchez and his colleagues have surpassed themselves and created an absolutely outstanding instrumental and Dub-Album submitted: “Showcase 1” by Message (A-Lone Reggae). It was recorded in just one weekend in the Ark studio, live, pure and direct - and of course on magnetic tape, just like the musicians in Jamaica used to do. It is precisely to them, and to the reggae sound of the 1970s, that Sánchez & Co. pay tribute with their showcase album. “The soundtrack of our lives,” as Sánchez says. Their tribute contains 7 instrumentals and 7 Dub-versions. Lead instruments include melodica, trombone and sometimes a keyboard. All pieces are the band's own compositions. What excites me most is the tight production of the pieces. What a brilliant, energetic game, what precision and what perfect timing! I am convinced that handmade reggae cannot be recorded better today. The “song quality” of the pieces is equally convincing, as are the arrangements. So the only question that remains is: Dub-versions. Since not much can actually go wrong with the source material, it almost answers itself. Roberto Sánchez has the beats firmly under control: The Dubs are exciting and varied – and of course strictly old school. As expected, the lead instruments were robbed of their dominance here, but this only made the quality of the rest of the music stand out even more clearly. Anyone who buys the album in physical form will also be gifted with detailed liner notes on the production process and will see a few black and white photos of the musicians - also in the style of seventies vinyl.

What wonderful musical legacy is presented to us here? An album that basically began in 1978, developed further as a brainchild and was put into practice in 2017, finally finding its completion with the release in 2024. But first everything in order.

The cover image of “Roots Architects: From Then 'Til Now“ (Fruits Records) shows a typical street scene in Kingston. Dogs eat discarded leftover food from the sidewalk. A young woman in the background stares suspiciously at the viewer. Older men sit on a bench and look with infinite patience at the dusty street while a grizzled, bearded gentleman with a walking stick approaches us. A normal day in Jamaica.

When we look at the history of reggae, it is usually told through singers, producers and sound systems. A singer or toaster was hired to sing or chant over a pre-existing rhythm. The producer paid the recording costs and tested the song at a dance to see if it could become a hit. In the 1970s, when reggae was deconstructed and transformed into its avant-garde offshoot Dub was transformed, the sound engineers who used their studios as instruments became more and more of a focus. The dedicated studio musicians who produced the actual rhythms are often overlooked. Except perhaps from a few aficionados who always kept an eye on the instrumentalists involved.

The Jamaican-Chinese roots reggae singer I Kong - aka Errol Kong, nephew of the legendary Leslie Kong - released the LP "The Way It Is” with a unique line-up that included almost all of the island’s leading session musicians. Although the album received critical acclaim, it flopped financially, and I Kong went into self-imposed musical exile in the countryside. In the early 2010s he was contacted by Swiss producer and vintage reggae lover Mathias Liengme. Liengme became friends with Leroy “Horsemouth” Wallace in 2011. Many people will know “Horsemouth” from the Rockers film and as the drummer on the early Burning Spear recordings. Some time later, Liengme found himself in Jamaica, where he welcomed the living legends of the golden reggae era that had made the country and reggae world famous. Through I Kong, Liengme met Robbie Lyn. Robbie Lyn had played keyboards on The Way It Is and hundreds of other famous Jamaican recordings. After working together on I Kong's long-awaited album "A Little WalkLiengme turned to Lyn for his ambitious project. Robbie Lyn opened his address book, opened up his connections and the ambitious project took shape. The work of the Swiss pianist and producer Mathias Liengme is a true meeting of veterans. In February and March 2017, Mathias Liengme traveled to Kingston for the fifth time to honor the musicians who delighted his ears since his youth and led him to write a doctoral thesis on Jamaican music. He wanted to record with as many of the surviving veteran session musicians as possible. With the help of some of them such as Robbie Lyn, Fil Callender or Dalton Browne, he managed to bring together more than 50 musicians aged 54 to 85 for nine instrumental songs. Fifty of the greatest studio musicians in Jamaica's history, whose work spans from the beginnings of reggae in the late 1960s to the present day and who contributed to reggae's international success. This great instrumental album is a tribute to the unsung heroes who created all of these amazing riddims. The names alone speak for themselves: Ernest Ranglin, Sly & Robbie, Karl Bryan, Vin Gordon, Glen DaCosta, Robbie Lyn, Ansel Collins, Dougie Bryan, Mao Chung, Boris Gardiner, Jackie Jackson, Lloyd Parks, Bo Pee, Dalton Browne, Flabba Holt, Fil Callender, Mikey Boo, Barnabas, Horsemouth, Dean Fraser, Ibo Cooper, Cat Coore, Derrick Stewart, Dwight Pinkney, Bubbler, Lew Chan, etc… They are all responsible for thousands of hours of recording and millions of minutes recorded by heard by music lovers around the world.

So the Roots Architects, the legends of reggae, returned to the studios in Kingston to do what they always did best: make instrumental music together. The result is a great album that is indispensable for all lovers of Jamaican music, instrumental reggae or simply beautiful music. For musicians, "From Then 'Til Now" is what "Inna de Yard" is for singers. Plain and simple, a tribute to the greats. But unfortunately, "From Then 'Til Now" has now also become a kind of epitaph for the musicians who have died since the recordings in 2017. Winston "Bo Pee" Bowen, the namesake of the album, died on March 26, 2019 at the age of 62 from a fatal heart attack. Arnold Brackenridge died on October 7, 2020 at the age of 70 from prostate cancer. David Trail died at an unknown time this year. Dalton Browne was 64 years old when he died on November 1, 2021 from complications following major heart surgery. Bongo Joe died at the age of 86 on September 5, 2021. Mikey Boo, whose drumming was impaired by a stroke and subsequent dementia, died on November 28, 2021 at the age of 74. Just ten days later, Robbie Lyn's good friend Robbie Shakespeare succumbed to kidney surgery at the age of 68. He was followed in the same month by 71-year-old Mikey Chung. The project's youngest musician, bassist Christoper Meredith, died on July 27, 2022 at the age of just 54. After a series of health complications, Lyn's beloved "big brother" and former bandleader Fil Callender passed away on May 27, 2022 at the age of 75. Robbie's keyboard colleague and close friend Tyrone Downie died in a hospital in Jamaica on November 5, 2022 at the age of 66. Her keyboard colleague Ibo Cooper died on October 12, 2023 at the age of 71.

May they all rest in peace as their immortal music vibrates speakers, bodies and souls for many dances to come.

I dedicate this review to my dear friend Endi (Palatinate for Andi), who left for the realm of the ancestors after a long illness. Like the heroes mentioned above, he has not left us, but rather before us.

Released in the last few meters of 2023, the album “In Dub, Vol. 1” (Bat Records) from Pinnacle Sound is one of the highlights of the year for me. Okay, I've criticized the retro sound often enough and in fact you can ask yourself how much sense there is in recreating the sound of historical reggae styles. But on the other hand, the historical material is already limited in terms of quantity - not to mention the sound quality. So when new music is created in a historical style, it can easily be dismissed as eclectic or historicist, but at the same time it can be wonderful music. Maybe it would help to delete the “historical” and simply take the style for what it is, without any implicit judgment: a characteristic sound form. So what if we understood “Early Reggae” simply as a musical style with no historical dimension? As well as z. B. Steppers or One Drop? Although the comparison is flawed, it would be a welcome solution to my dilemma that I like Pinnacle Sound's new work so much - even though it is historical early reggae in its purest form. I love the album: the sound is so irresistibly fresh, so energetic and so catchy that it is a pure joy - and any academic discussion about the justification of eclecticism is forbidden. Apart from that, “In Dub, Vol. 1” a quality of Dub, as it did not exist 50 years ago.

My new favorite album has been released on Bat-Records, the small studio and label based in Clermont-Ferrand that, in addition to Pinnacle Sound, also owns Dub Shepherds belong. Both creators of beautiful retro reggae. In the present case Dub album have Pinnacle Sound and the Dub Shepherds worked together congenially, after all it is about them Dub-Version of the Pinnacle album “Soul Medicine” from 2022, which was released at the time by the Dub Shepherds was mixed (and probably also recorded). What could be closer than that? Dub-Mix to put into the hands of the shepherds? And they did a fantastic job. If you wanted to explain what in a music seminar Dub then you would only need the track “Psam 2” from “Dub Medicine” play and then the Dub-Put on the “Psalm 150” version. The seminar could remain wordless, because... Dub gets to the heart of what our favorite music is all about: using the mix to create a completely unique piece of music. The difference between the two psalms – despite the identical material basis – could not be greater.

Even if the psalm is something very special, the album is convincing throughout its entire length. Everyone Dub is a through-composed piece of music with wonderful arrangements, great melodies and good mix ideas that go far beyond the (sparing) use of reverb and echo. A mix that gives the pieces a real dramaturgy - like a meta-arrangement. I'm glad that this album was released in 2023, because in this way I can fervently and with full conviction contradict gtk's thesis that the annual output in 2023 is bad.

Let's start with a comment and lemmi's statement contained therein: "... since it seems to be very difficult to find out anything about it at all!"

Yes, I can sign that without further ado, and because I still don't have a Fratzebook account and don't need one either, I don't know what can be read on Jah Myhrakle's account either. Good marketing looks different. What I was able to find out about Jah Myhrakle through other channels is that his real name is Eric Garbutt and he is from Belize. Already in 2020 he released his third album "All 4 U". In the meantime, a few more have been added. It's insane how many tracks by Jah Myhrakle can be found on Amazon alone. In May 2023 "He Who Keeps The Seals" was released, followed in July by "He Who Keeps The Seals Dub (Gold Den Arkc Recordsz) followed. As on the previous albums, Jah Myhrakles new album "He Who Keeps The Seals (Dub)" with an original roots reggae sound, which also expresses his powerful voice and the spiritual message of Rastafari very convincingly. The vocals were recorded and mixed in Brooklyn, New York at Gold Den Arkc Recordsz. Where the fantastic Dub-Mixes were created and who is responsible for them, unfortunately I can't say with complete certainty. Da Jah Myhrakle has previously worked with influential producer and sound engineer Laurent "Tippy" Alfred of I Grade Dub from St. Croix, I would imagine that he also mixed and mastered this album. the fat ones Dub-Soundscapes and the leisurely, calm flow make me think so. The one-drop riddims and smooth basslines meld with slightly jazz-inspired guitar tones, acoustic textures and interwoven Dubelements to form a magnificent body of work. Somewhere in this music I can also hear a close relationship to Vaughn Benjamin from Akae Beka, who died in November 2019 and with whom Jah Myhrakle also worked. Jah Myhrakle is evidently steadfast in his mission to bring the powerful message of Rastafarianism to the people. For me, the complex sound of "He Who Keeps The Seals Dub“ Meditation, inspiration and intensity in one.

In short: Jah Myhrakle is an electrifying reggae artist who will affect you - in a positive sense - mentally and spiritually.

Even if you might think so superficially: Kubix is ​​by no means the son of Talentix, the "sickle maker" from Lutetia (Paris), who may be known to some from Asterix Volume V "The Golden Sickle". In fact, Kubix is ​​an extremely talented guitarist, producer and composer who founded his own label, Attik Productions, back in 2005. In 2015 and 2017 he won a Grammy Award as a guitarist.
Xavier 'Kubix' Bègue was born in 1980 in a suburb of Paris. Inspired by his father's guitar playing, he decided to learn this instrument as a teenager. After that he played relatively quickly in rock or reggae bands. His virtuosity on the Gibson soon led him to backing artists such as Barrington Levy, Lee Scratch Perry, IJahman Levi, Horace Andy, Ken Boothe, Mo'Kalamity and many others at the biggest festivals. A sought-after session musician, Kubix also played with some French reggae bands such as Meta & The Cornerstones and the Colocks, whose "Sur Les Sentiers Du Dub“ from 2013, unfortunately also in the Dubblog has not been mentioned at all. Another convincing proof that the French can do much more than just boring, monotonous steppers.

His first solo album "Kubix: Guitar Chant(Attic Productions) was released in 2020. In November 2022, five additional vocal tracks were added to the original eleven tracks and re-released as a deluxe edition. The main element of the album is of course the guitar, but Kubix really understood how to gather renowned musicians around them, who were all given enough freedom to prove their virtuosity and joy of playing. We hear Japanese pianist Aya Kato (Kymani Marley, Sean Paul, Mykal Rose, Meta & The Cornerstones ...), keyboardist Marcus Urani (Groundation) or even more surprisingly: The legendary bassist and singer of the Gladiators, Clinton Fearon, plays an example bass on Gladiators trademark track "Mix Up". On "Still Standing" with classic Nyahbinghi drums and "The Walk" we hear the legendary Vin Gordon on trombone (Bob Marley, Skatalites, Burning Spear...). Other notable guests on the album include: Eric "Rico" Gaultier (Faya Dub & Faya Horns) and Matthieu Bost (Bost & Bim) on sax, Manjul on percussions and Manudigital on bass.
The album was recorded between Paris (Wise Studio) and New York (Rift Studio) and brings together no less than 21 musicians. The recordings were directed by Fabrice Boyer alias Fabwize (Bost & Bim) and/or Sébastian Houot (Tu Shung Peng), who is also responsible for the mixing. To top it off, Jim Fox took care of the mastering at Lion & Fox Recording Studios. An incredibly beautiful album that also draws inspiration from Kubix's musical skills and experiences throughout his long career. Sometimes the guitar sounds like George Benson, sometimes like Wes Montgomery, sometimes like Ernest Ranglin.
In short: Anyone who likes jazz-heavy instrumental albums à la Monty Alexander and Ernest Ranglin will also click their tongues with relish at “Guitar Chant”. Once again a dated Dubblog masterpiece discovered much too late.