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Roots Radics: 12 Inches Of Dub

It's 1980 and the Roots Radics, founded in 1978 by Errol “Flabba” Holt (bass), Lincoln “Style” Scott (drums) and Eric “Bingy Bunny” Lamont (guitars), were the most sought-after session band on the channel within a very short time One recording studio from Kingston. With their heavy, extremely slow reggae, they set the unchallenged tone from 1980 to 1984. Henry "Junjo" Lawes was one of the most important, if not the most important, reggae and dancehall producers in Jamaica at the time. The sound from Channel One, where the Roots Radics had just replaced the Revolutionaries as the leading studio band, was fresh, new and fresh. The constellation "Junjo" Lawes, Roots Radics and a barely 20-year-old Hopeton Overton Brown aka Scientist was a lucky coincidence. Everything fit perfectly there.
Almost 40 years later, an album that was believed to be lost is now being released "12 inches of Dub", the Dub-Pendant to General Echo's 1980 Greensleeves album "12 Inches Of Pleasure". The set was produced by reggae icon Henry "Junjo" Lawes and, as was almost always the case at the time, the controls were controlled by the former King Tubby Protegé Scientist. The Dub-Mixes were then delivered to Greensleeves by "Junjo" Lawes in 1980, but never published and gathered dust in some archive.
Now the album is finally still on the market and shows the Roots Radics in the full bloom of their creativity. They sound (still) fresh, raw, minimalistic and Scientists Mixing sounds fresh and excitingly new. The riddims to the Dubs come from artists and albums from "Junjo's" stable. We hear the Dubs to: Barrington Levy ("Fulfillment"), Wayne Jarrett ("Dreadlocks Postman"), Flick Wilson ("Yallas Pond") and Little John ("Tell Me What You Want To Be"). By the way, the album contains alternative mixes to Scientists “The Dub Album They Didn't Want You To Hear! ”Now I see why Scientist gave his album this strange title.

Rating: 4 out of 5.

6 replies to “Roots Radics: 12 Inches Of Dub"

After thought:

Perhaps it was a good thing that this one Dub-Mix of Scientist (accidentally ?!) disappeared into oblivion and was not published in 1980/81. With the flood of publications, the "Junjo" Lawes back then about the inclined reggae /Dubfan, the album might have sunk into insignificance. I can still remember very well that at some point my friends and I were so saturated with “Junjo” Lawes productions that we were really happy when another producer (e.g. Linval Thompson) was on the cover. In addition, the riddims of the Roots Radics were relatively similar in that at some point the air was out and the feeling of the new, unheard faded. Today we can be happy again when such a lost classic is finally published and we can once again (further) develop the Dubs heard. The trademark riddims of the Roots Radics, which almost 40 years later had to be called “classic”, were then “the hottest shit in reggae biz”. The sluggish, dry but also heavy beats that made the legendary sound of the “Junjo” productions in the 80s can be admired here.

Everyone who has known me or my taste in music for a while probably knows that I hardly get along with the so-called "Flying Simbals" at all. There are no classic “Flying Simbals” on board, but there is this “instrument” that I have unfortunately seen Style Scott with in my hands far too often. I mean this strange rustling (I don't even know what this "Schit" is called) with the many little "flying simbals" that trigger something like hyperacusis in my ears and the hottest Dub transform into student music. Maybe I don't like "the thing" because at that time I was one of the students in music class who couldn't play an instrument at all and was therefore either fobbed off with this part or with the triangle. In my defense I have to say that I haven't got the impression that The Mighty Style Scott has made better notes than I did back then.
As much as I like the riddims from “12 Inches Of Dub"Also hear, I would still feel disturbed by these flying, rattling mosquitoes a la" flying symbals ".

Doesn't matter, because there are more than enough others Dubs where you didn't make this “musical mistake” ;-).

Greetings ……………… .. lemmi

Hi lemmi,

the part you describe is simply called the Schellenring and actually reminds of the Flying Cymbals sound invented by Carlton "Santa" Davis.

All right Ras Vorbei !

Thanks for the information ! Bell ring !!! ……. now I also know my "enemy" by name. But honestly, even the name sounds kind of run away. At least it shakes me.

But still, nothing against "Santa"…. he can't help it that there were people who were crazy about it.

There are also many who can even listen to reggae in Casio Sound ala Sleng Teng. It is probably not my place to find a medical explanation for this.

Today I'm a little arrogant again and very convinced of myself. Sorry to everyone who likes to hear sleng teng sound in the nintendo style. I like the version that is played with the didgeridoo more.

Greetings …………… lemmi

This is what Santa once said about the Flying Cymbal Sound in an interview:

I was the one who recorded this first, but it was originally part of Soca. When I played this in the 70's it became popular because of the attitude (striking the hi-hat for an open and closed effect) with which I played. I didn't call it Flying Cymbals Sound, it was Bunny Lee. I first played it on Johnny Clarke's “None Shall Escape the Judgment”. But for years it was played in the calypso, where the accent was a little different. I just played it more aggressively.
It's still an integral part of reggae drumming

"None Shall Escape the Judgment" by Johnny Clarke !!!

Really ? There are also flying cymbals included? I have never noticed ...... because the tune is so good that I just overhear it ;-)

Yes, sometimes I just have to live with it. There are even a lot of very, very good reggae tunes with these “flyers”, but for me these tunes would be a tiny bit better if I didn't have to tolerate this “rustling” and “hissing”.

I hope that I can justify myself appropriately on my “Judgment Day”, because otherwise it might look bad for me to find another way out. In the end it is probably still:

“Welcome to Limbo, lemmi”… .. and a whole orchestra with flying cymbals plays Soca the whole time.

I'd rather go back into the goal ……………… lemmi

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