Five Star Review

The Mikey Dread Show: African Anthem Dubwise

"Him don't steal, him don't gamble, talking 'bout man called Michael Campbell" it says at one point on the LP. Michael Campbell (1954 - 2008) alias Mikey Dread came to fame when he started a hugely successful radio show for the Jamaican Broadcasting Service (JBC) in 1976 after training as a radio and sound engineer, with which he spent four hours six days a week Midnight invented the reggae radio format. He was the first to go live on air in Sound System Style. After two years, Campbell fell out with JBC. He quit, founded the Dread At The Control (DATC) label, and began producing himself and others. The first LPs from 1979 copied both the principle and the title of his discontinued radio show: On the debut "Dread At The Controls" (aka "Evolutionary Rockers") Campbell presented himself as a mixture of MC and Deejay. Same with the successor "African Anthem Dubwise " then he not only succeeded in his best album ever, but also one of the most brilliant Dub LPs of all time. A monster of version culture that was essential to the European success story of the Dub contributed. The basis was two songs produced by Mikey Dread by Rod Taylor ("Behold Him" ​​+ "His Imperial Majesty") and Edi Fitzroy ("Country Man" + "Miss Molly") as well as five of his own tracks. The riddims were mixed by Prince Jammy in a night session at King Tubby and then shipped to London. There the Englishman Dave Hendley, who died in 2016 and who was close friends with Campbell and Jammy, dived on his short-lived cruise label “African Anthem Dubwise “appeared first, a truckload of jive talk, synth, sound and voice effects over the raw Dubs what gave them an archaic ferocity. In contrast to the over also made in Englanddubs with the Greensleeves albums by Scientist, the action was discussed with Mikey Dread or specifically ordered by him. He had given Hendley a prepared tape with Gimmix, all of which came from his radio show. Including many jingles such as “Oh my gosh, the music just turns me on”, “Riddim full of culture, ya” or “Brandnew - Good For You”, which became classics that were sampled a thousand times over. "African Anthem Dubwise “was last published 15 years ago in an extended deluxe version with a different - banal - cover. Music On Vinyl has re-released the LP in the original artwork, with a modern, bulbous and less shrill sound. It was first published in a limited edition of 1.000 numbered copies in blue vinyl, and on January 29.01.2020, 04 it will be available in black vinyl. Everything else there is to say about the record, Big Youth explains at the beginning of page two: “Who is the man who plays Roots Rock Reggae? Michael Campbell, the Dread at the control, to thrill your soul. Alright? Alright! "(The text first appeared in RIDDIM 20/XNUMX and has been updated.)

Rating: 5 out of 5.

15 responses to “The Mikey Dread Show: African Anthem Dubwise "

Interesting album, Helmut. I like that you use the word "bucket" in connection with Trojan's Dave Hendley - I've always wished the album existed without those unspeakably stupid sayings (where was the JBC when you need it?). Basically, they're fine S & R / Revolutionaries riddims, theirs Dub-Mix I would never have believed a Prince Jammy. I didn't realize that 1979 was capable of such sophisticated mixes.

Another tip: I would align the link to the various platforms with the 1979 DATC version, the expanded 2004 version sounds imo gritty. I demand a work ban for the mastering engineer who did this :-)

I added the link at the end of the text. Helmut is innocent. Post the link to the 1979 DATC version here in the comments.

"Interesting" is what you say when you're not really convinced, right? :-) The album without the "Sprüche" would not be worth half imho. The jive talk and the jingles are what make the album so appealing. Don't forget: The LP was raised like Mikey Dread's radio show. And not only Jamaica but also Europe was crazy about it. Cassette recordings were very popular. I didn't refer to the 2004 version because it has a terrible cover art and too much inappropriate bonus material in the game. The new MOV version, on the other hand, has been remastered discreetly. And when it comes to Jammy's, I'll have to step up to show what kind of fast-paced mixes he's done in Tubby's studio. Soon come ...


"The jive talk and the jingles are what make the album so appealing."

Greetings! Yo, I feel the same way. One or another DubVersion is also available on others DubMikey Dread discs. As a simple commentator, I hope I don't have to bother to link this exactly, but I'm sure that I have certain other versions up my sleeve.
I don't need to go to everyone now DubDisc these jingles but that's exactly why I celebrated this disc and it's still really partying!
Yes, I am always very happy when people talk about discs that I have known for a long time. Then I always sit very relaxed on mine DubTron and
put on a raised grin. It's also nice when I don't have to start panting right away to fill my gaps.
But then "threats" are being uttered again, which will probably make all my abysses - in the form of ignorance - fly around my ears. I'm very curious to see what I have to obey from Prince / King Jammy.

"Dub Is The Roots “…………………… lemmi

Now wordpress has shredded my comment ... was probably too cheeky for him. Here I go again:

No, no, Helmut - that was not meant in a derogatory way. This is a very interesting album, as is your review. I just don't like these pointless jingles. They make you sit up and take notice the first time, but then it's just annoying. It's like being told a joke a few hundred times or reading the same comic umpteen times. The imo quite fine Dubs get buried under it - and not just because the volume ratio between music and jingle is absurd.

One more thought: It will certainly have been the case that a few thousand people from the then and perhaps also from today's reggae /Dub-Bubble have been big fans of the DATC show. But to call an entire island and also a contingent crazy about it, I consider it very exaggerated, even as a stylistic device. We are of course also in our own bubble here - but we are also chroniclers who want an unbiased view as possible.

As for the 2004 version of the album ... I'm quite a fan of “Deluxe Version” releases, but it just sounds ugly tinny. As far as I can remember, it came out on the Auralux label, but is now listed again under DATC.

I'm already looking forward to what you bring to the Jammy's, Helmut. I am very interested in the pre-SlengTeng period.

So ... whether wordpress will accept this comment? :-)

You say it yourself, Helmut: Everyone who listened to reggae back then was keen on it. That is far from an island or even a continent. It reminds me of my first trip to Jamaica - I actually thought I would be able to listen to reggae there day in and day out. That was of course not the case at all, I was completely naively trapped in my European "One Love Positive Vibration" bubble ... no matter how much I was able to graze the island, reggae was a marginal phenomenon, more in the tourist resorts, Negril MoBay. For orientation: That was in the 80s - maybe it was different in the 70s.

To go back to the point: If Europe had been crazy about DATC? It would have had to be an estimated 740 million people. That was not the case; there were just quite a few in what was, in contrast, a tiny bubble. Relationships of this kind are important to me; this differentiated view from a distance has become reggae /Dub earned. We don't create objectivity anyway :-)

One more thing: When a girl moans “Oh my gosh, the music just turns me on”, that's not historical rhyming in my ears. Neither do the rest of the jingles.

But one more thing: I'm not commenting on your review to pester you or something ... I'm just trying to bring a different perspective. Sometimes it encourages discussion, often it doesn't.

"I'm very interested in the pre-SlengTeng period."

;-) ……. me too ! .... ;-)

Just no “nintendo dubs “!!!, which sound like you've screwed up the game again while playing in the gambling den.

Come on wordpress! Do it! …………………… .. lemmi

Let's go back in time to 1979. Back then it was damned difficult or even impossible to get good, especially authentic reggae outside of the major labels. Mikey Dread's reputation had preceded him by at least two years. Everyone who enjoyed listening to reggae and came back from a Caribbean vacation (Jamaica, Cuba, Trinidad, Tobago etc.), including Florida, raved about a Michael Campbell aka Mikey Dread and his 4 1/2 hour radio show, which starts at 0:00 at night Until 4:30 a.m. every day except Sundays. The rumor about these radio show tapes was circulating among experts and everyone - including me - tried to get hold of these obscure, fabulous tapes or at least to get a copy of an original tape. Then the reggae could be heard, which was difficult or impossible to get in the 70s and was also not played on the radio. Today it was no longer imaginable, however. And then came: “The Mikey Dread Show - African Anthem Dubwise ”and was also relatively easy to get in well-stocked record stores. Then as now, an epoch-making album that hit like a bomb not only with reggae lovers. Mikey Dread's “African Anthem Dubwise “set new standards. The best proof of this is “Sandinista!” By The Clash. The guys were so impressed with “African Anthem” that they got Mikey Dread into the studio to mix their triple album. After that, Mikey Dread was not only known to music listeners with an affinity for reggae. For ASWAD he then wrote the “A New Chapter Of Dub“Mixed. Oh, what should I continue to teach there, just listen to it and get an idea for yourself:

The tape says more than 1000 words and those interested will find a lot more on the platform mentioned. I would have sacrificed a fortune for a collection of these tapes.
By the way: Mikey Dread was voted "Broadcaster of the Year" twice in Jamaica in the 1970s, and that for a show that was broadcast at night.

I may be wrong, but isn't another Michael Campbell saying “A New Chapter of Dub“And other Aswad albums & singles mixed?

I would like to mention the album that for me Mikey Dread's masterpiece is: “Jungle Signal”. One of the few riddim / version albums that I love. The riddim is just awesome.

"I may be wrong, but didn't another Michael Campbell" A New Chapter of Dub"And other Aswad albums & singles mixed?"

I actually always thought that it was or is someone else.

There is - I think I know - a Mikey Dread who has made this name his own. Something like a Sound Boy from Hinglan, I think.

Belief means not knowing! ……………………… lemmi

No lemmi, there are only two Michael Champbell. A Michael “Reuben” Champbell who has “A New Chapter Of Dub”And“ Live & Direct ”mixed. Mikey Dread was born on 4.06. born, so if already a Michael "Levi" Champbell. So my mistake. What do we learn from this: “Googling” a little beforehand usually helps. ;-)

That's right Ras

I confused the “name theft”. There is someone who "takes the liberty"
Auch Dub To be called Judah. I was very confused then.
For me there is only one who is Dub Judah and that's the (main) bassist of the Twinkle Brothers !!!

Or maybe I'm too closely related to general confusion in general.

I'll go back in the gate ;-) …………………… .. lemmi

And in my search on Mikey Dread, I just found this to complement my comment:

But Mikey's first impact on the reggae business was to be a revolutionary one, an impact that meant they had to take him seriously right from the very start. At first Mikey was a radio DJ and audio engineer with the Jamaica Broadcasting Corporation (JBC), the Island's establishment radio station. He actually began his broadcasting career in 1976 and somehow landed four whole hours of airtime on Saturday nights. Mikey soon firmly established his “Dread at the Controls” radio show as the Number One Radio Show in Jamaica, due to the fact that he was the first to play rough, deep, revolutionary reggae music on Jamaican radio !! As if this wasn't enough he developed his own unique broadcasting style. His laughing, tangy, bubbling voice was joined by a selection of the wildest jingles ever to hit the airwaves and furthermore he regularly treated his listeners to the wickedest dub plate specials. At last the Jamaican people had a radio show that reflected their music as they knew and loved it. Mikey became a massive hero in Jamaica and was awarded Top Radio Personality of the Year in 1977-1978.
Source: Reggae Vibes

Leave a Comment

Your e-mail address will not be published. Required fields are marked with * marked

This website uses Akismet to reduce spam. Learn more about how your comment data is processed.