We also get a current one from Jamaica every now and then Dub-Album like z. B. "Tad's hi-power Dub" (Tad's Record). There are official ones to be heard Dub-Versions of relevant hits from Tad's Records with the signature voices of Dennis Brown, Gregory Isaacs, Sugar Minott, Brigadier Jerry, Johnny Osbourne, John Holt and other reggae masters. I've always loved the rich productions at Tad's. "Hi-Power Dub“Is no exception here: full dynamics, rich bass and beautifully classic mixing by Gregory Morris. To me, the whole thing sounds like current recordings or a phenomenal remastering of old productions. And the best part: the classic riddims of glorious reggae history such as “I'm Just a Guy”, “Sleng Teng”, “Real Rock” or “Cuss Cuss”. Big up!
25 responses to “Tad's Hi-Power Dub"
Greetings,
compared to the plethora of European productions it remains in terms of good Dubs from Jamaica relatively calm. Tad's record label is now changing that with this very successful “Tads Hi-Power Dub".
As a Dub-Engineer was Gregory Morris, who began his career in 2004 as a sound engineer at Tuff Gong and has worked closely with Stephen and Damian Marley ever since. Morris is also a good friend of Tad Dawkins Jr. (son of legendary label boss Tad Dawkins) with whom he shares a recording studio. Tad Dawkins Jr. gave Gregory Morris some old tapes from Papa's archives to put on Pro Tools and Gregory Morris soon got the idea to play with the recordings and made some nice ones Dubmix with really rich basslines. When Dawkins Jr. heard some of these mixes, he was so excited that he suggested that Gregory Morris make an entire album out of them. Tad Dawkins Jr. took a few more tracks from his father Tad Sr.'s archive. The result is the present album 'Tad's Hi-Power Dub'with 10 excellent, classic Dubs.
What I have noticed over the last few months, to my great joy, is the return to the old values of the classic Dubs, only today's technology makes the sound even fatter. Needless to say, “Tads Hi-Power Dub“I've been thrilled again and again for several weeks!
Stay tuned ...
My dear swan! But you can tell that you often concentrate on the small print.
I also have records from Stephen and Damian but I can only say who is Gregory Morris and who is Tad Dawkins Junior?
Well, thanks to René and Ras Vorbei I have now also developed an awareness of both of them.
"Tad's Hi-Power Dub“(Hasn't she been in your GT Kritz playlist for a long time?!?) Seems familiar to me anyway. I am now complaining at a very high level. Of course I like the record, if only because of the riddims.
Cuss Cuss is possibly the best bassline ever. Anyway, I still think it's as good as on the first day. And here, too, it is streamed twice, because it's not just me.
Now it is so, in Jamaica it is far from being a good one DubWind blows. Because just like with the Dubs from Alborosie (I still buy every Dub from him that is available) I'm missing something. I just don't know what!?!
The sound is really fat. There is also enough reverb and echo and so but still my head remains relatively sober on the floor.
I hope I haven't miscounted myself again, but I count 4 stars and from that I conclude that something is actually missing for the 5th. The only question remains, what… ..?
Quite apart from that, the bass is fat but it also booms a lot here with me ....... I think the Jamaicans could still work on that.
Well, in terms of things Dub the Jamaicans have lost touch and now they get a set of hot ears.
"Big B up on the Spree, you are good in summer and hurts in winter" …………. lemmi ("reason must never win") "Kick the Pope in his Ass !!!"
"Well, in terms of things Dub the Jamaicans lost touch and for that they are getting a lot of hot ears ”.
Greetings Lemi,
I would say: ... "had the Jamaicans lost touch" ...
After all, they are about to be unlocked again and that is definitely huge, some at least ...
As far as I know, the album was only released in May 2019 and the (very) old riddims are just still world class. When you hear Dennis Brown's, Gregory Isaacs' or Sugar Minott's voices again, you can feel again what awesome voices are unfortunately already ringing in the afterlife. : - ((
“When you hear Dennis Brown, Gregory Isaacs or Sugar Minott's voices again, you can feel again what awesome voices are unfortunately already ringing in the afterlife. :-)) "
So far I haven't found it so great that we all have to go to the afterlife because I don't know what's going on there. But when the boys are already there, I see everything much more optimistic! That's why I took the liberty of turning your "pout" into a grin ;-)
Yes, and you're right, the Jamaicans are doing more again Dubs. That is probably because the only true reggae fans have to do with them Dubwant s. I can only explain it to myself that we are here in DubBlog are the measure of all things. We are the only ones worldwide who still have the right enthusiasm for ROOTS DUB Apply REGGAE. They always read diligently here, because otherwise there is nothing left where real fans can still talk to ROOTS online DUB REGGAE entertain. (No, I'm not completely crazy yet, but there is a certain megalomania in us Germans, purely genetic, with it ……… and besides, today is another day where I just can't be serious… ..) Yes and when they read here what real fans want, they have no choice but to get back to normal Dubs to produce.
The other day there was a report about Rainford in the Spiegel (the Bildzeitung for people who want more text about the pictures) and I read that Lee Perry is hanging out in Jamaica again, because that's where he feels most comfortable. Yes, and where this man walks around there is still a lot Dub in the air.
Nevertheless, the world's best is available DubStudio in Berlin, where the Aldubb delivers the best sound of all time in the new Planet Earth Studio. Such a studio is missing in Jamaica !!! So, enough of the superlatives ...
"Tad's Hi-Power Dub“Runs through here today for the second time. As I said, complaints were of a very high standard.
The disc is great (sorry, great again) but what should I do, I just haven't found a real fly in the ointment ;-)
Greetings …………… .. lemmi
Do you have Aldubbs reaction seen at irieites? He obviously liked it ;-)
Yes I saw it !
From my point of view, the release (why don't I actually write “the release”?) Should have been mentioned in the daily topics long ago, because then this show wouldn't be so depressing either. After all, they also report when the “lion king” musitschkal is given again for the best.
Serious jokes ………………… lemmi
I have an ambivalent relationship with Tad's Records. On the one hand, you have to be very grateful to them for having released fine Gregory Isaacs albums from his brilliant mid-80s that were not (no longer) available, such as "Easy" or "All I Have Is Love, Love, Love" , on the other hand, they are generally highly incorrect and weary with their releases, something is shoveled together, 2000s recordings suddenly find themselves among the tracks of an 80s album. Gregory Isaacs' "Dub Versions “EP and the album of the same name are anything but none DubVersions. The sound often leaves something to be desired.
So is that still a highly idiosyncratic preservation of essential recordings or is it already scavenging for corpses and junk sale? I don't know, but I wish Tad's had at least adopted a touch of the meticulousness of the Blood & Fire label and would treat the recordings with a little more respect.
To that extent ... this thrown together Dub-Album is nice, but not earth-shattering ... like the others Dub-Tad's albums too.
Greetings,
that Tads with “Tads Hi-Power Dub“Has not reinvented the wheel, there is no doubt that Jamaica / King Tubby et al Dub invented / have also invented. For this reason alone, I find it at least remarkable and commendable that JA is returning to its roots and classic Dub produced and published.
It's a small step for man and not a giant leap for mankind, but at least a beginning that gives hope.
What Tads does otherwise is pretty short to me, with all due respect. Your comparison with Blood & Fire lacks a bit. When Blood & Fire was founded in 1994 by reggae enthusiasts (Mick Hucknall, Steve Barrow, Bob Harding, Elliot Rashman, Andy Dodd) worth millions, the basic idea was to bring reggae classics that were out of print or very difficult to obtain back on the market. Basically reggae /Dub Making originals by fans for fans. These are completely different conditions than producing with a small budget on YES in order to survive through the sale.
Just look at the careers of many JA artists who, despite tens of LP releases, ultimately have no money, end up in the gutter or eke out their lives as beggars (I Roy; Junior Byles etc.) Even Lee Scratch Perry couldn't make millions Bringing side, that was more like Island Records. Errol Thompson (ET) also left the music business and was a supermarket manager in Kingston, North Parade until his premature death (2004) because, like the others, he could not (survive) live on it. It was the same for Rico in England, even he had to survive with odd jobs and as an assembly line worker. It was not until the 2 Tone era that he became known to an audience of millions and he was able to make a living from his music as a “full-time musician”.
Returning to Blood & Fire, in 2007 it was announced on the company's message board that Blood & Fire had ceased trading as an active company. This was due to the bankruptcy losses of their American and French distributors as well as some unfortunate management decisions combined with an industry-wide decline in sales. Obviously, the income wasn't enough anymore and they didn't want to keep the label alive. It wasn't until 2014 that it was announced that Blood & Fire, in collaboration with VP Records, is daring a fresh start and that Steve Barrow, who co-founded the label in 1994, will oversee future projects. I agree with you, the releases of Blood & Fire have always been of extremely high quality since the beginning (1994), and I can only recommend their “cheap samplers” that were published at the time.
What I want to say, meticulousness in the music business costs time and especially money and that has never been sufficient on JA. For this reason, chords have always been produced. Some things work better, others less, that's life.
Finding… no comfort in the city
After thought:
As Bertolt Brecht said so aptly in his "Threepenny Opera":
"Food comes first, then morality".
It is damn easy to speak of morality (here respect) if one lives in prosperity - the poor, on the other hand, have to starve and cannot afford “the morality”.
This is exactly how I see it with “facing the recordings with a little more respect”. Of course it would be nice if the producers did it, but that's not how they ticked because of the reasons mentioned above.
Intermediate thought ;-)
"It's a small step for man and not a giant leap for mankind, but at least a beginning that gives hope."
Then someone said again “you can't learn anything here! (no one said either)
This saying came up all the time in the last few weeks and I always liked to hear it.
My English is so bad that I really didn't understand what he was saying exactly. I just made jump out of “leap” because it is basically the same, but now I can always reproduce this saying true to the original.
Give Thanks ……………… .. lemmi
"This saying came up all the time in the last few weeks ..." Not quite Lemmi, my saying is based on Neil Armstrong's historic leap from the ladder:
“That's one small step for a man, one giant leap for mankind” ;-)
Onward, forward, don't step backward step out of Babylon ...
“That's one small step for a man, one giant leap for mankind” ;-)
Wasn't there still a "but" instead of a comma (comma or like now?) Between "man" and "one"?
But the devil is always in the details ;-)
No offense Ras Vorbei but then I don't want to look so stupid. I have already repeated the saying myself ;-) ... .. I was only interested in the word "leap" which I didn’t understand acoustically because I’ve never even heard it consciously.
But I will try (without guarantee) to express myself so sloppily in the future.
"Good thinks happening over there" …………. lemmi
With respect, accuracy and respect has nothing to do with prosperity, just as little has morality to do with it. Otherwise, the equation would be yes: the more money, the more accurate, respectful and moral.
Either way, it doesn't cost any time, money or effort to keep the track in the correct order for a re-release. You don't have to throw recordings that are 20 years younger and have absolutely nothing to do with the re-release in the middle of the tracklist.
As far as B&F is concerned, imo was a lover's project that was limited in time from the start, because with Dub there is no money to be made. From fans for fans, as you correctly put it.
Iceland, on the other hand, will have already made good Reibbach, as did BM. LSP is a story in itself :) The others, and I say that quite consciously, have to make the Jamaican mentality "want to have money here and now, everything else come soon and business is babylon" - besides the fact that with their works - no matter how great they were - no millions could be made. Ijahman's “Are We A Warrior” - great album, but a top seller? No way.
Ultimately there was a time when reggae actually played a role in the music business and was allowed to compete with other genres. However, the rules that apply in business had to be adhered to - those who did that benefited. Those who do not have benefited very little and have quickly disappeared from the international arena.
"The more money, the more precise, more respectful ..."
That's exactly how I see it, I don't have to leave it at one take, I can fine-tune it until everything fits. A reasonable budget allows for much more relaxed work.
YES has never been so precise with accuracy. Title orders have often been thrown upside down or not right. Hello, sometimes there wasn't even the financial means for an LP cover, that says it all. Money does play an essential role - unfortunately.
That Blood & Fire should have been a temporary enthusiast project is new to me. In any case, it was ended because the gentlemen gave it up. Perhaps profit was not the number one priority, but the “project” should be sustainable.
“Ultimately there was a time when reggae actually played a role in the music business and was allowed to compete with other genres”.
You don't really think so and if anything it was a couple of bands / artists that were outrageously lucky enough to hit the masses' taste to break into the mainstream sector. The whole thing was a flash in the pan for most of them, fortunately there are a few exceptions.
But there is a lot of grumbling inside me!
If I hear “mass tastes”, I could beat up the entire pedestrian zone right here.
The mass has no taste at all! They act completely according to instructions! If there is no hype prescribed by the media, they can no longer even tie their own shoes. The women among us in particular need instructions that tell them what is currently in fashion and what is “in” with. Then they don't care how crappy it looks. Examples are platform shoes and for about a year now, those stupid pants where the shoes fit in. And that's exactly how it is with music, when the media say you can hear that, the guy is “good” then the crowd goes uphill.
Otherwise i don't understand why even i had to get used to the name mark foster.
I'm really gasping at the subject. Why are there programs like bachelor or bachelorette? Something like that would be on my index for total idiocy, but the shit has a quota.
And I'm not even particularly smart, but even I noticed how stupid it is. Farmer is looking for a wife, I don't even want to start now, otherwise I will also have cardiac arrhythmias.
No no no !!! For me it is clear that the media alone determine or influence who makes money here and who doesn't. Without Chris Whiteworst, Bob Marley would have been a very poor pig. Chris Whiteworst had the right connection to English radio and that paved the way for the Wailers.
Without this man, we probably wouldn't even know how reggae is written today.
Radio certainly no longer plays such a role today, but there are now the bought and sponsored “LIKES” in the anti-social mass media.
Yes, and then I have to admit that there were and still are simply too many artists in Jamaica.
They really stand each other's feet flat in front of the improvised singing booths. Even a nerd like me can't buy everything and support every artist. And even those who have 10 times more reggae records than me couldn't do it all. Jamaica has basically produced assembly line reggae at all times (up to 20 artists on one riddim and more). This was of course mainly a result of necessity and from the point of view of the Jamaicans (and the local sound systems) one, if not the only way to get as much as possible out of little. I can understand and I don't want to talk badly about it.
But as it is, when more is produced than can be processed, then many products (artists) fall by the wayside. In the case of mavado (e.g.), that's not a problem.
The truth (maybe that's just my truth) really hurts in this case. But honestly now! ....
Not all of them sing that great. In addition, they only come briefly into a singing booth and chant about the finished riddim. And in masses! Mass truth is cheap and mostly uninteresting because of oversaturation. Joe Cocker did it that way too, he didn't even write the lyrics himself. He only sang and nothing else. He had a pretty black voice (that was and is a quality feature) but luckily he was white and racism is far from over here. Yes, and in Jamaica there are a lot of little black, dark-skinned Joe Cockers walking around. Too many to produce at least one hit for everyone. Only one Joe Cocker made it in Babylon.
Don't nail me down to details, maybe Joe Cocker wrote a song himself, but
I know his story the way I wrote this. Quite apart from that, Joe Cocker doesn't bother me at all.
And not to forget, we're not even talking about all the, infinitely many rock musicians, who we don't even know because of too much crowd. Most of them also have a regular job because it is simply impossible for every musician to get into the top ten and then be able to live off that for the rest of his life. It's the same with the many people who are really great at painting. But once you have a NAME, you can also market a shoe nailed to the wall as innovative art for a lot of money to the common people. Because nothing can be turned into money better than the hype.
Sorry for my many words but today is such a day
where I couldn't hug the whole world again …………… lemmi
(The one with the shoe is probably a bit of a limp, because only a few art nerds found it "good", who even tried to explain the song "Hurz" by Hape Kerkeling artistically)
"It's a mad world"
That's what I meant by “mass taste” because as we all know. Only shit is floating on top. That's how it is
You wear your heart on your tongue, lemmi!
Mr. Blackwell not only had a good connection to the right radio, he also knew what to do to be competitive in the biz; he was also able to raise money and above all he made it clear that going to the studio and playing live is not nearly enough. "You also do this, that and many other promo dates - and no, there is no money for that." The way it has always worked professionally, regardless of the genre. It was over for reggae with the existence as a nightshade plant.
B&F: Nuja, you don't have to be a clairvoyant if you start a label that can never carry itself. Dub is not a seller.
In general, I think that our standards cannot be applied to reggae and Jamaican standards. We say, for example, that they didn't even have LP covers, but we don't ask whether that was important and common in JA back then.
Yes, yes, I think so: Reggae was taken seriously once and was represented as a genre in the music biz. There was of course the "big player" BM, in whose wake many other artists were pulled up and got their chance.
"In general, I mean that our standards cannot be applied to reggae and Jamaican standards."
Yes dear gtkriz, here you gave yourself the answer and that's exactly why the Jamikaners don't care which title appears at which position on the LP / CD and whether it is old or new. They just don't have that “Germanic accuracy” that too many people suffer from. This “Germanic accuracy” was their undoing in the music business because they didn't want to work in one way or another. Soon come ... and so you got dropped because you didn't fit into this tight music shitstem.
Good point, Ras Vorbei. Those who do not want to meet expectations and customs become dropouts. And whoever gets out is now outside.
Again, a case for scientific processing.
Well, something is going on here again today!
"Soon come ... and so you were dropped because you didn't fit into this tight music shitstem."
Yes, and when you have adapted to the shitstim, then the reggae fans got sick.
ASWAD / Third World / Steel Pulse and UB40 are just a few examples of how bad this can be.
I or we only really liked them when they didn't do a “RadioReggae”.
And the moral of the story: Their RadioReggae didn't make them rich either.
ASWAD should have made enough money, but even they didn't have enough money to bring their band with them to reggaejam. Fortunately I wasn't there because I would have spat on their performance. They actually make a sound system and wave like fiddler crabs.
I have to say, money spoils every character even that of Rastas. And no money is worse!
"Don't turn around, because you gonna see my heart breaking" …………………. lemmi
Yepp, that wouldn't be a bad topic for a PhD thesis in anthropology ;-)
“Those who don't want to meet expectations and customs become dropouts. And whoever gets out is now outside ”.
there are two mottos that have shaped my life:
"The bird prefers a simple branch to a golden cage".
“Only dead fish go with the flow”.
And finally, Hannes Wader's ass-crawling ballad can be found on youtube without probes. People, that dates from 1971 and is still very current today. Be sure to listen to this part until the end.
As Lemmi always says so aptly: “Somebody say you can't learn anything here”.
Lemmi once heard the saying that if you go with the flow, you will never find the source ;-)
“Go spend a weekend… a happy happy weekend” ……………. lemmi