Outstanding set of dubs originally released in the late-1970s, out of Carl Campbell’s record shop on Church Avenue in Brooklyn, New York.
Sly & Robbie, Augustus Pablo, Chinna, Tommy McCook and co; with Mikey Jarrett doing the ebullient intros.
Dub For Joy is the standout, amongst several heavyweights.

Outstanding Tubbys.

Operating in mid-seventies Kingston, the Ultra label was owned by Alty East, spar of King Sporty (who co-wrote Buffalo Soldier and would marry Betty Wright). Splitting his time between Miami and Jamaica, Alty licensed Studio One sides for US release; and he brought the American soul singer Jerry Jones to perform in Kingston. Whilst he can’t remember anything about it now — he was so busy at the time — Boris Gardiner ran the house band (though a couple of these rhythms were probably recorded by Lloyd Parks’ Skin Flesh & Bones).
Haphazardly collecting Ultra dubs and instrumentals, and originally released in a tiny run, with handmade, silk-screened covers, Super Dub is a snapshot of the same Kingston-Miami nexus, infectiously blending roots and soul into tough nuggets of dub reggae.
As bassist, Boris Gardiner worked nine-to-five at Studio One in 1968 — that’s him on Feel Like Jumping, and The Heptones’ On Top LP. He was at Treasure Isle for its most celebrated recordings. He worked at Aquarius. Derrick Harriott’s The Loser is his arrangement. He was a mainstay of The Upsetters band in the mid-seventies (War In A Babylon, Super Ape, Police & Thieves, Heart Of The Congos etc).
Soul fans will revel in versions of Gene McDaniels’ A Hundred Pounds Of Clay, Gwen McCrae’s Rocking Chair, Otis Redding’s Nobody’s Fault, Betty Wright’s Tonight’s The Night. And reggae fans will treasure the canonical lineaments running through the mix, channelled through Boris: for example the ghost of The Upsetters in more stripped passages, in the tightness of the rhythm section (with organ), and also Lee Perry’s dubwise way with a vocal; the thorough-going presence of King Tubby — check the killer Freedom Roots, a dub of Tony Scott’s Freedom — and Niney’s way with a horn section, on Rider Roots.

With excellent notes.

Out originally mid-70s on the Aires label, in a plain, stencilled sleeve, this is based around three cuts of the dreader than dread Free For All rhythm.
The music is Melvin ‘Munchie’ Jackson and Lloyd Barnes productions begun in Jamaica and finished at the Sounds Unlimited studio in New York. Several surfaced at different stages as sevens on Bullwackies’ Aires imprint, and in JA on the Tafari label which Munchie ran with his brother Maurice and Little Roy, in the Washington Gardens district of Kingston.
The title track was recorded at Randy’s, and came originally on The Heptones’ Hepic label, featuring Family Man Barrrett on keyboards, and - on the deejay cut here, Meditation Dub - sounds like Charlie Ace. There are dubs of Little Roy’s Tribal War and Black Bird; Stranger Cole’s My Application, later re-voiced by The Heptones, turns up as Dis Ya Dub; and if things weren’t smoke-filled enough, Roots is the rhythm of K.C. White’s All For Free.

Tough dub counterpart to The Heptones’ Better Days set.

Cutting his teeth at Impact! with Clive Chin.
The Heptones, Dennis, Swing Easy; an unforgettable lesson in dub, over the killer Ordinary Man rhythm.
‘Leave the studio, sah!’ ‘Leggo dat an hold dis.’ Listen everything.’
Crucial crucial crucial crucial.

Rugged 1974 dub LP replete with Upsetters and Tubby vibes, including the killer Macca Bee, and a nice vocal-with-deejay Love Me With All Your Heart, and featuring fine fleet flute froughout.