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

4 replies to “Phil Pratt & Friends: The War Is On – Dub Style
Goodness me! I've just realized that the album title perfectly reflects the current global situation. Neither Phil nor I intended it that way!
Thank You Ras Vorbei This review, once again well-researched and packed with information, is excellent! The role of Phil Pratt in Jamaican music and the... Dub Music should not be underestimated.
Just a heads-up that the Roots archive has been reactivated. Check it out, here's an example using Phil Pratt:
https://www.roots-archives.com/artist/103
Yes, first of all, my condolences to all those who knew George Phillips personally and of course to his family.
I have to admit that I didn't know that much about Phil Pratt. He only really came to my attention in the last few months, because you guys featured him here in the... DubYou've brought up the blog several times. That's where the wheat is separated from the chaff. DubThis blog has been around for a while, so it's about time we got down to brass tacks. After all, preserved goods keep especially well. In terms of expertise, I'm definitely among the chaff here, but that's part of the process and serves some purpose.
I'm watching "The War Is On – Dub Style” is already very impressive in terms of sound. I'm especially pleased that there's no “chimbel” involved.
The cymbals don't sound like they've fallen out of the dishwasher and are creating endless tinnitus on the ceramic tiles. That's style! Sense and intelligence! (in my opinion). The riddims, and especially the bias lines, are of course also among the more discerning players. DubAs connoisseurs know, this doesn't contribute in the slightest to it becoming boring in any way. I love all these bias lines, and especially on "Hear Them A Say," the bass track has been given a bit more "asphalt" so it doesn't sag under the weight. The whole thing sounds so fat that, unfortunately, the vocals are slightly distorted. At least on my system. But the maxi versions here, on the album in general, are a wonderful "dessert" that, the moment you enjoy it, becomes the main course. Food for my soul!
If I had to find fault with anything on the album, it would be the somewhat overpowering reverb on the snare drum, which, in my opinion, could have been varied a bit more. For each individual track... Dub That's fine with me too, but it's only for the first eight. DubThe versions are quite similar, not to say identical. But that's no reason for me, and shouldn't be a reason for anyone else, to pass on the album. Unfortunately, I got completely stuck at some point, so I'll only buy the CD if it's in "my" store. "Let's take a look"... lemmi
For me, it's a total banger. A very unique sound and style, I've listened to it a lot since 2018.