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street date: 2001 rip date: 22.10.2005
artist : King Tubby
title : Bag A Wire (10 Inch SELECTCUTS6003)
year : 2001
genre : Dub / Jungle
label : Select Cuts
cat-nr : SELECT CUTS 6003
website : http://www.dub-style.de/
ripped by : TEAM YARD
quality : VBR 44,1 Joint-Stereo
tracks : 02
length : 08:47 min
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nr. song title length
01 Bag A Wire 03:25
02 Bag A Wire (Avatars Of Dub Remix) 05:22
... . .
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king tubby's dub of tappa zukie's "poor marcus" (vocal track included on
Tapper_Zukie-The_Best_Of_The..-2004-RAS). jungle remix by
avatars of dub on the b-side.
----
King Tubby is to this day synonymous with dub. He was a man
who had a passion for fiddling with sound equipment, and
turned that passion into a new musical genre and a veritable
art form. He may have started his career as a repairman, but
before he was done, his name was one of the most respected
around the world. He worked with virtually every artist in
Jamaica, and his name on a remix was like gold, a seal of
quality that was never questioned.
King Tubby was born under the more humble name of Osbourne
Ruddock in Kingston, Jamaica, on January 28, 1941.
Initially, the closest he got to the music scene was via the
airwaves, as Ruddock spent his teens working as a radio
repairman. In the mid-'50s, Jamaica was undergoing a
revolution that saw the audiences move out of the
dancehalls, which had once packed them in with live music
provided by big bands, and onto the streets. There the sound
systems ruled as traveling outfits set themselves up on a
sociable street or corner and blasted records to crowds
through a speaker. Initially they were small, but the sound
systems quickly grew in size and legend; the competition
extremely fierce and often violent. Speakers were the usual
victims of these rivalries (sometimes along with the DJs,
organizers, and even the audience). The people weren't the
only ones who were damaged, which is why in the late '50s
the operator of a Waterhouse sound system approached Ruddock
for help. The repairman fixed that speaker, then another,
and another, until he was providing first aid for a variety
of sound systems around the city. A born tinkerer, Ruddock
inevitably began coming up with ways to improve things as
well. He spent years working on other people's sound
systems, but by 1968, he was ready to open his own shop: the
legendary Tubby's Home Town Hi Fi. The sound he provided
there was nigh on perfect, which meant King Tubby himself
was now beginning to look around for something new to fiddle
with. Producer Duke Reid offered the perfect solution via a
job at his Treasure Isle studio as a disc cutter. There,
King Tubby began deconstructing and reconstructing music in
the same way he had sound systems, but these early efforts
were really remixes, an already old skill in Jamaica. The
remix began as a "version" B-side, nothing more than an
instrumental of a vocal track. Ruddy Redwood, a sound system
MC and engineer at Treasure Isle, had taken the next logical
step forward, physically remixing records in the rocksteady
years to place the focus on the bass. King Tubby took this
concept to a whole new level. He started stripping out not
only the vocals, but cutting up instrumental parts, dropping
them in and out of the tracks, adding new effects and
sounds, while also making use of phasing, shifts, and
echoes. Many of these experiments were pressed onto acetate
dubplates and spun at his sound system. These stripped-down
tracks were integral to the rise of the DJs, and King Tubby
not only cut exclusive dubplates for his favorites, he also
hired the best to perform at his sound system. U-Roy, I-Roy,
and Big Youth were just some of the stars who made their
mark toasting at Tubby's Hi Fi.
In 1971, King Tubby was ready to take another leap forward
and opened his own studio. There, the experiments continued
as the remixer turned engineer moved into the area of studio
effects. The studio quickly became a favorite for the likes
of Augustus Pablo, Lee Perry, Prince Tony Robinson, and Glen
Brown. It was the latter man who history acclaims as the
first to actually credit a King Tubby mix on record. The
aptly titled "Tubby's at the Control" was a remix of "Merry
Up" by God Sons (an alias for Tommy McCook and Rad Bryan).
Robinson followed suit, releasing "Tubby's in Full Swing,"
on a song credited to Lloyd Robinson and Carey Johnson.
King Tubby began turning out remixes in prolific numbers.
Bunny Lee kept him busy with a constant stream of singles to
remix and a batch were bundled up in 1974 as the seminal Dub
From the Roots album, and more were featured on the
follow-up, King Tubby Meets the Aggrovators at Dub Station.
Years later, the British Klik label reissued most of Roots
as Shalom Dub, buttressed with bonus tracks. Another U.K.
label, Attack, has also released the King Tubby-fueled Dub
Jackpot, featuring rarer remixes and dubs of Lee
productions. Blood & Fire's If Deejay Was Your Trade: The
Dreads at King Tubby's 1974-1977 also boasts Tubby's takes
on Lee's productions, this time focusing exclusively on DJs,
as did the French label Culture Press' Bunny Lee, King Tubby
& the Aggrovators. Tubby also worked with Vivian Jackson
after meeting in 1971 when Jackson handed him a rhythm and
the remixer went to work. The result was the hit "Go to
Zion," credited to Brother Joe & the Rightful Brothers, an
alias for Jackson, the Congos' Roydel Johnson, and the
Gladiators' Albert Griffiths. Jackson and King Tubby's
follow-up, "Conquering Lion," was another hit, and gave the
artist/producer his nickname "Yabby You." Yabby You released
his debut album, Conquering Lion, in 1975, and Tubby
provided the dub companion, King Tubby's Prophecy of Dub,
the following year. Yabby You's sophomore set, 1977's Wall
of Jerusalem, boasted Tubby dubs across half the set.
Augustus Pablo, the famed melodica player and producer, was
also a client, and King Tubby remixed music for Pablo's
Rockers label, much of which appeared on the songs' B-sides.
The pair cemented their partnership with the seminal 1975
Ital Dub album, the outtakes from the sessions appearing 15
years later as El Rockers, a release from the British
Pressure Drop label. However, Ital Dub was merely a warm-up
for King Tubbys Meets Rockers Uptown, a record that
established both King Tubby's and Pablo's undying
reputations. Their follow-up, Rockers Meet King Tubby in a
Firehouse, merely added to their glory.
Across the early '70s, the remixer's experiments had swiftly
evolved into pure dub, and his remixes were no longer a
remix at all, but a total reinvention of the song. Another
giant step forward had occurred in 1973 when King Tubby
purchased a second four-track, which allowed him to record
vocals. The new setup was inaugurated with Roy Shirley's
"Stepping Razor" that same year. King Tubby had his first
hit the following year with "Watergate Rock," a dub of Larry
Marshall's "I Admire You." This inevitably led to Tubby
taking on Marshall's entire I Admire You album. It was a
busy year as Bunny Lee also released the aforementioned Dub
From the Roots set while King Tubby also joined forces with
Lee Perry for Blackboard Jungle Dub. He next worked with
Niney "the Observer" Holness on 1975's Dubbing With the
Observer, and the 1989 Trojan compilation King Tubby's
Special 1973-1976 resurrected that album, then added
shrewdly selected Bunny Lee productions for a monster
30-track set. After Tubby's work with Holness, producer
Harry Mudie supplied him with material that couldn't quite
compete, but Harry Mudie Meets King Tubby in Dub Conference,
Vol. 1 was still sublime and the pair's partnership
continued across another two volumes of music. King Tubby
was also happy to provide mixes for Glen Brown, the man who
first gave him his due. Trojan's Dubble Attack: The Original
Pantomime Dee-Jay Collection 1972-74 features the island's
greatest DJs, overseen by Brown, then reconstructed by
Tubby. Blood & Fire concentrates on Brown's more
roots-conscious work for the equally masterful Termination
Dub. Another client was Glen Darby, whose productions
recorded at Channel One by Jo Jo Hookim and Philip Smart
were eventually compiled across Guava Jelly's two-CD set The
Sound of Channel One: King Tubby Connection, which pairs the
original vocal tracks with their dub companions.
By the end of the '70s, however, King Tubby had turned his
attention to teaching and training a new generation of
engineers and producers, including Prince Jammy (who would
only take the crown once his mentor died, becoming at that
point King Jammy), the equally innovative Scientist, and
Prince Philip Smart, among others.
King Tubby continued creating new mixes, but no longer at
the previous rate. In the new decade, he and Jah Screw took
on Ranking Joe and the Roots Radics for the excellent
Dangerous Dub. It was to be one of the last full-length
remixes Tubby would do. That same year, First, Second and
Third Generations of Dub brought together the teacher,
alumnus Prince Jammy, and the young graduate, Scientist, for
an album that aptly illustrated the development of all
three.Scientist and King Tubby united for two more albums
released in 1996 by the U.K. label Burning Sounds, King
Tubby's Meets Scientist in a World of Dub and King Tubby's
Meets Scientist at Dub Station. Even as King Tubby's output
dropped, he still remained an integral part of the music
scene. He upgraded his studio again and also launched his
own record labels -- Firehouse, Waterhouse, Kingston II, and
Taurus.
By the mid-'80s, King Tubby had shifted into production, and
released a stream of seminal singles by the likes of Sugar
Minott and Anthony Red Rose. He occasionally released albums
and reunited with Bunny Lee for 1983's King Tubby the
Dubmaster With the Waterhouse Posse and Sly & Robbie Meet
King Tubby in 1985. Both sets disappointed, perhaps because
Tubby had taken dub as far as it could go. His best work was
now in the production field, working with young DJs and
veteran vocalists. Pliers (of Chaka Demus fame), Ninjaman,
Gregory Isaacs, and Johnny Clarke were just some of the
talent who cut singles for him. King Tubbys Presents
Soundclash Dubplate Style arrived in 1989, bundling up dubs
of his dancehall hits. As the decade drew to a close, King
Tubby seemed destined to continue stamping his imprint on
Jamaica's scene, still in demand, and still a powerful
musical force. Then, on February 6, 1989, his career came to
a sudden end when he was shot and killed outside his home in
Waterhouse. His murder remains unsolved, his death believed
to have been the result of a street robbery. In the years
since, King Tubby's renown has only grown. As time has
passed, even more material has come to light and albums that
saw only limited release are now easily available.
- www.allmusic.com
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