Observer All Stars And King Tubbys: Dubbing With The Observer

True Dub Recordings

Around 1969, record producers in Kingston began releasing singles that featured instrumental versions on the other side of vocal releases. These instrumental versions were essentially the basic riddim tracks that provided the foundation for additional instrumentation or accompaniment from deejays. Within a year, it became customary for the majority of producers in Jamaica to include instrumental versions on the flipside. In 1971, true dub recordings started to emerge, and one of the first recognized recordings in the genre was The Hippy Boys’ Voo Doo, which served as the version to Little Roy’s Hard Fighter. Voo Doo was mixed by Lynford Anderson, also known as Andy Capp. However, it was sound engineer and sound system operator Osbourne Ruddock aka King Tubby, who played a crucial role in popularizing and developing the dub sounds. He explored the potential of sound from his modest studio at 18 Drumilly Avenue in Kingston 11 and became a pivotal figure in the history of dub.

Niney The Observer

Winston Holness, also known as Niney The Observer, is a prominent figure in the reggae world. While he has gained recognition as a performer, he is most acclaimed for his abilities as an engineer and producer. In the 1960s, he learned the art of engineering under the guidance of Lee Perry and Lynford Anderson. He then went on to oversee many sessions for renowned producers like Bunny Lee and Joe Gibbs. Towards the end of the decade, he ventured into his own career as an independent producer. One of his notable achievements was the release of his single Blood And Fire on his Observer label. This breakthrough hit sold over 30,000 copies in Jamaica alone and was later named the “Jamaican record of the Year” for 1971. For several years, Niney consistently oversaw recording sessions at Dynamic, Randy’s, Channel One, and Joe Gibbs studios. He released impressive tracks by notable artists including Max Romeo, Delroy Wilson, and Ken Boothe. However, his collaborations with Dennis Brown were his most memorable productions during this time. Niney emerged as one of the leading producers on the island throughout the 1970s and early 1980s.

Soul Syndicate

Niney collaborated with a talented group of musicians for his riddims, including George “Fully” Fulwood on bass, Carlton “Santa” Davis on drums, and Tony Chin and Earl “Chinna” Smith on guitar. This group eventually became the core of Soul Syndicate, but when working with Niney, they were occasionally referred to as The Observer All Stars or simply The Observers. They would sometimes be joined by keyboards and a full horn section. Mixed by renowned dubmaster King Tubby, the fifty top ranking dubs recorded between 1974 and 1976 are taken from the esteemed archives of Niney’s Observer label. Included are twenty-two tracks that have never been released on CD before. Most of the previously released dubs can be found on CDs like Trojan’s Niney Present Dub (1999), Heartbeat Records’ Bring The Dub Come (2003), and Jamaican Recordings’ Dubbing With The Observer (2013).

Extensive Collection

Not surprisingly, this extensive collection primarily consists of dub versions of songs by Dennis Brown. The initial thirteen tracks on the first disc were originally featured on the LP Dubbing With The Observer, which was released in 1975 on Trojan’s Attack label in the UK. These tracks include noteworthy dub versions of Max Romeo’s That Was Love (Rebel Dance). Sang Hugh’s Rasta No Born Yah (Rasta Locks), Dennis Brown’s No More Will I Roam (Jam Down) and Rema Dub, the latter being a dub version of a riddim created by Niney and recorded at Randy’s Studio 17. In addition to a sole dub version of songs by artists like Dennis Brown, Michael Rose, Ken Boothe, Cornell Campbell, and Niney himself, the remaining 37 tracks also feature several different dub versions of songs such as Cassandra and Westbound Train. Some of the standout tracks on disc two include the gorgeous One Train Load Of Collie by Tommy McCook & The Observers, Zince Fence (Cornell Campbell’s I Heart Is Clean), Hotter Fire (George Boswell’s Jah Fire), No Conscience (Dennis Brown’s Wolves & Leopards), and the killer dub I Soon Know by The Messiah (Niney). Unlike the first disc, the second disc features more dubs with vocals weaving in and out of the mix.

The dubs gathered on the two discs are frequently extremely unique and far removed from their original vocal counterparts. They create a trippy and ethereal atmosphere with their space-like qualities and repetitive patterns, thus taking dub music to a whole new level of psychedelic immersion.

Corn Man