King of Dub LP

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King of Dub LP

Postby Primitive Don » Tue Feb 24, 2015 5:09 am

I got this years ago at Jammyland in NYC. I was in town and asked the clerk for the tune 'Slow Motion Dub' by Prince Jammy I'd heard on the comp 'Dub Chill Out,' and he immediately put on 'Stalag 80 Dubwise' from 'King of Dub.' Since I knew little about reggae then, I assumed it was a King Tubby album for years, without noticing the album wasn't specifically credited to Tubby's.

I notice the track I know as 'King Zion Dub' from 'King of Dub' under a number of titles and being credited sometimes to Prince Jammy and sometimes to Tubby's. Does anyone know who actually mixed that dub?

And I hate to ask, since it involves Clocktower, but can anyone explain what the deal is with 'King of Dub?' It is a shady compilation of previously released dubs? Apologies for my ignorance.
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Re: King of Dub LP

Postby skunkride » Tue Feb 24, 2015 5:01 pm

You'll have to post some youtube clips for that...too much confusion going on with all the various titles/credits in dub albums...
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Re: King of Dub LP

Postby jb welda » Tue Feb 24, 2015 5:34 pm

if its on Clocktower label it is probably shady, at least in some way.

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Re: King of Dub LP

Postby jahkob » Tue Feb 24, 2015 5:55 pm

https://www.mixcloud.com/DUBDISCO45/
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Re: King of Dub LP

Postby itsmeagain » Tue Feb 24, 2015 5:56 pm

I gather hes allegedly called Brad Osbourne. Lots of recycled dubs on most albums, a bit like Rhino, Esoldun and Tamoki wambesi dove.
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Re: King of Dub LP

Postby skunkride » Tue Feb 24, 2015 9:50 pm

itsmeagain wrote:Lots of recycled dubs on most albums, a bit like Rhino, Esoldun and Tamoki wambesi dove.

Tamoki Wambesi is a legit label, run by Roy Cousins & releasing his own productions. He recycles a lot of his riddims but no shady mistitling business in the style of 'Prince Jammy meets Jah Shaka at the Black Ark'
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Re: King of Dub LP

Postby dubstar » Tue Feb 24, 2015 11:10 pm

"if its on Clocktower label it is probably shady, at least in some way."

That's not entirely accurate; one must draw a distinction between the original Clocktower run by Brad and what was later distributed by Abraham's. The original Brad's records and later Clocktower operated no differently than many/most JA labels & producers of the time. In other words, for every person that was paid for their involvement in the music released, there was most likely someone claiming they should have been compensated, as well. Brad recorded new music in New York with visiting JA artists and local talent, utilized existing JA rhythms and foundation tracks to create new music or mix different versions (sometimes without explicit approval from the original producer), and pressed and distributed vinyl for domestic US sale (as did the Chin-Randy organization). He also operated a retail record store in the north Bronx near Wackie's and Tad's Record Den. Obviously a complex business arrangement very much in line with the "hustle" of the times. To paraphrase the narrator of the classic documentary Roots, Rock, Reggae, "Reggae is the rip-off business". Yet the vast majority of producers and studios from the time operated along similar lines. A completely different situation than the later "bootlegs" put out by Abraham's with no original artists or creativity involved.

"Bunny Lee was his friend, but Scratch was his idol. The little things Scratch did that amazed him, he used to do those things. He comes to the studio every night. He used to be around me a lot. Bunny Lee will have the same record, but Brad's will sound better. Bunny Lee would put it out in Jamaica but Brad had to sell it, and he wanted his to sound different."
-Lloyd "Bullwackie" Barnes on Brad Osborne
Wax Poetics #20 Dec/Jan 2007

*****

Jamaal Pete - Brad’s Record Den on White Plains Road in the Bronx was a regular hang-out for New York painter Jamaal Pete. It was here that shop owner Brad Osbourne, who also ran Clocktower Records, first realised Pete’s talent, after seeing a picture he had produced of Haile Selassie shaped as a lion. Bob Marley was in town at the time, and Osbourne asked Pete – or “Pete the painter” as he was known locally – to paint a life-size picture of Marley, which he sent on to the singer as a gift. Shortly afterwards Osbourne commissioned the first Jamaal Pete album jacket, Prince Jazzbo’s Ital Corner (Clocktower Records, 1976). Pete went on to produce work for a variety of other record labels throughout the 1980s including Channel One, Wackie’s and Studio One. He passed away in New York in 2008.

*****

By the time Smart arrived in New York in his early 20s, there was already a well-established network of Jamaican producers and sound systems, enough to keep a handful of reggae studios in business. Chin Randy’s and Wackies kept the Bronx bubbling, while Jah Life Outernational in Brooklyn held marathon dances in smoky basements with plenty of fresh juice, roots tonic and heaping stacks of bone-rattling dub. Smart took classes in multitrack production and radio broadcasting and did freelance engineering gigs around New York, mixing classic roots-reggae sets like Macka Dub for Brad’s Records.

*****

IN MAY 6,1969, bROTHER rECORD AND AUDIO DEN opened to the public,originally the shop was an Electronic repair shop, but because of the huge demand in the community for a music shop, it quickly became a record shop with the trade name of Brads Record Den. The original staff was Brads wife Tami, his half-brother Michael and Brad. At first, we specialize in R&B, Blues and Jazz, but the budding Jamaican community quickly turned the focus,from R&B to reggae. So we started importing reggae from Jamaica and England. We had music that could not be found in the States. In a short period of time, Brads Record Den became the most talked about, and most popular Ma&Papa store in the NewYork area. Our speciality was Reggae,Oldies and hard to find records. Reggae became the Jamaican brand of Rhythm and Blues. 1971 Brad Osborne in association with his close friend Glenn Adams, launched the Clocktower Record Label and Brads inprint (LABEL). Shortly there after Brad Osborne started to import authentic jamaican Stars like Johnny Clarke, Horace Andy and linville Thompson provided shelter in a motel, then after closing time of the store, he would take them into studio to record. The clocktower record label spanned or covered the wide spectrum of Jamaican music. During the Seventies recording artist from the elder fifties, singer like - Owen Gray, upsetters, scratch perry and up to the very linville Thompson (roots singer). In 1979, a young man was hired by Brad to work in the breakbeat section, which was located in rear of the store. Tyrone was the young who asked Brad for a chance to record hip hop, rap for him. After paying his duesas a record sales man for a period of about a yearl. Tyrone was rechristened by Brad with the stage name Tski Valley and the Grand Groove Recording label was born with a brand new hit single called ( Catch the Beat ) in early l981 The subsequent groups on the grand groove label were Chapter Three, Just four, and screamin rachel who recorded on Grand Groove hip house label. Within a two year period, the very creative partnership between Brad and tski valley had produced eight titles on Grand Groove label. Within a twelve year period Brad Osborne produced a tremendous output of classic music, thereby establishing a timeless legacy of pure gold for Clocktower Music. Brad Osborne is survived by his wife,Daughter and Grandson. He will live forever in the hearts and minds of people who remember THE MUSIC MAN bRAD OSBORNE ( r i p )

*****

Tracklist
A1 King Zion Dub 4:09
A2 Super Star Dub 3:14
A3 Graceful Dub 3:14
A4 Rubba Dunza (Clock Tower Mix) 3:06
A5 Jah Angel Of Dub (Clock Tower Mix) 3:05
B1 Blood, Sweat & Dunza Dub 3:09
B2 King, Queen & Minstreal Dub 3:33
B3 Easy Dread & Check This Dub 2:49
B4 Fancy Up A Dub 3:42
B5 Stalac 80 Dubwise 3:13

Credits
Artwork [Album Cover] – Jamal (23), Lesli A Moore
Bass – George Fullwood*, Robert Shakespair*
Brass – Dirty Harry*, Tommy Mc Cook*
Drums – Carlton Davis*, Sly Dumbar*
Edited By – Brad Osborne, Douglas Levy
Guitar [Lead] – Earl Smith*
Guitar [Rhythm] – Mickey Chung*
Liner Notes – Brad Osborne
Organ – Earl Lindo*, Ossie Hibbert, Winston Wright
Piano – Ansel Collin*
Producer – Brad Osborne, Brad Osborne
Producer [Rhythm Tracks] – Bunny Lee
Trumpet – Bobby Ellis
Notes
Recorded at Channel One, Kingston, Jamaica.
Edited at Bullwackie Studio, New York, USA.
Mixed at King Tubbys Studio, Joe Gibbs Recordings Studio,
Kingston, Jamaica and Shep Recording Sudio, New York, USA.

Liner Notes:
This form of music started in the dance halls in the early 60s by some of the pioneer record producers. Mainly Lee ‘Scratch’ Perry and Bunny ‘Striker’ Lee, by both of whom I’ve been tremendously influenced…
As a youth, from Jones and Trench Town, I’ve learned you must have an adequate power amplifier, right preamp and speakers…
For the right sound and effect, King Tubbys “the dubmaster” is a must, knowing when to bring in the Rhythm and leggo the Bass and Drum.
This album, it’s clean, heavy and right effects; we diged into the Rhythm vault and came up with TEN of the Hardest Rhythm Tracks. You’ll be convinced that this is the King of Dub.
Brad Osborne

*****

Image
http://instagram.com/dubstar_aka_john
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Re: King of Dub LP

Postby jb welda » Wed Feb 25, 2015 3:12 am

yeah I know that. that was thirty plus years ago. nowadays what I said is mostly true even though I do not totally swallow the Abrahams is a thief line, but there is always that shady side to it and that's what I was commenting on. Brad Osbournes own widow is or was a major part of that shady side, and a lot of the confusion about tracks pedigree seem to have come from all the way back in brad osbournes day.

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Re: King of Dub LP

Postby dubstar » Wed Feb 25, 2015 5:10 am

"yeah I know that. that was thirty plus years ago"

which is when the LP in question was originally released...calling it "shady" is misleading to the people who don't know all that; case in point the person who stated "I gather hes allegedly called Brad Osbourne", obviously not knowing any of the history, because he wasn't "allegedly" called brad osborne, he was an actual person involved with the music at the time it was created...

yes, some original brad's and clocktower releases were done without full approval or possible adequate payment to certain producers or artists, but many more were done with the principals fully on board, people such as bunny lee, johnny clark, horace andy, leroy sibbles, etc., and brad himself was by all accounts a talented and creative producer and engineer

is the confusion over the tracks' pedigree any more so than the endless studio one recuts by producers other than coxsone dodd? did mr. dodd, lee perry, joe gibbs, the chins, and countless other producers always pay and credit everyone involved? was brad unique in taking other people's original work, creating something new, and giving some credit to himself? I doubt it...

as far as it goes, the credits on the king of dub LP (posted above) give a pretty good indication of who was involved...given brad's friendship with bunny lee, I wouldn't use the word shady to describe this release

Credits
Artwork [Album Cover] – Jamal (23), Lesli A Moore
Bass – George Fullwood*, Robert Shakespair*
Brass – Dirty Harry*, Tommy Mc Cook*
Drums – Carlton Davis*, Sly Dumbar*
Edited By – Brad Osborne, Douglas Levy
Guitar [Lead] – Earl Smith*
Guitar [Rhythm] – Mickey Chung*
Liner Notes – Brad Osborne
Organ – Earl Lindo*, Ossie Hibbert, Winston Wright
Piano – Ansel Collin*
Producer – Brad Osborne, Brad Osborne
Producer [Rhythm Tracks] – Bunny Lee
Trumpet – Bobby Ellis
Notes
Recorded at Channel One, Kingston, Jamaica.
Edited at Bullwackie Studio, New York, USA.
Mixed at King Tubbys Studio, Joe Gibbs Recordings Studio,
Kingston, Jamaica and Shep Recording Sudio, New York, USA.


Liner Notes:
This form of music started in the dance halls in the early 60s by some of the pioneer record producers. Mainly Lee ‘Scratch’ Perry and Bunny ‘Striker’ Lee, by both of whom I’ve been tremendously influenced…
As a youth, from Jones and Trench Town, I’ve learned you must have an adequate power amplifier, right preamp and speakers…
For the right sound and effect, King Tubbys “the dubmaster” is a must, knowing when to bring in the Rhythm and leggo the Bass and Drum.
This album, it’s clean, heavy and right effects; we diged into the Rhythm vault and came up with TEN of the Hardest Rhythm Tracks. You’ll be convinced that this is the King of Dub.
Brad Osborne

clearly, brad's less-than-standard and loose business practices of the day have lead to a situation nowadays in which there is confusion over the legitimacy of clocktower releases now distributed by abraham's; whether brad's widow has a hand in that, I can't say, but conflating the two time periods into one overall assessment of clocktower ignores the importance of the label back in the 70s and misleads people who know nothing about who or what brad did back in the day...
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Re: King of Dub LP

Postby jb welda » Wed Feb 25, 2015 6:05 am

ok, kool, and thanks for that; can't really say I can disagree with anything you wrote dubstar.

one thing though: can you honestly say you have used the word "conflating" ever in your life before say the past month?

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Re: King of Dub LP

Postby capullo » Wed Feb 25, 2015 8:31 am

great album! one of my favourite dub albums to this day. king zion dub has everything a good dub mix needs IMO.
https://www.youtube.com/watch?v=2QehX02DLKQ
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Re: King of Dub LP

Postby skunkride » Wed Feb 25, 2015 10:53 am

Great info Dubstar
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Re: King of Dub LP

Postby brendanw » Wed Feb 25, 2015 12:28 pm

Great to read more info about Brad Osbourne, dubstar. This is a brilliant dub selection of prime Bunny Lee rhythms and makes a good pairing with Rockers Almighty Dub ( if I have the name right), which also features a Jamaal Pet cover. Brad features as named artist on another excellent Clocktower Lee Perry comp ( Scratch and co., I think) with a superb version of words of thy mouth called Little Flute Chant. Buy all of the above without hesitation.
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Re: King of Dub LP

Postby Primitive Don » Wed Feb 25, 2015 2:56 pm

Thanks for the info!

Yes, I agree 'King Zion Dub' is a classic, no matter what name it goes by and whomever it was that mixed it. It sure sounds like Tubby's, but apparently that's not acknowledged fact.

I remember finally hearing the Barry Brown original vocal after being very familiar with the dub. I have to say that phenomenon of connecting the dub to the vocal and tracing down the history of a song/riddim is one of the things I love most about reggae. It continues to surprise me continually.
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Re: King of Dub LP

Postby dubstar » Wed Feb 25, 2015 9:57 pm

"one thing though: can you honestly say you have used the word "conflating" ever in your life before say the past month?"

ha, well yeah it's not in the regular rotation, but being a fairly well-educated and literate person, it's been used before...I tend to type forum responses quickly in a somewhat shorthand fashion - quite different from my professional, scholarly, or literary writing :o

why the last month, though? has it been featured on the news or somewhere else in the public eye?
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