Armageddon Dub: Update #2

copyright Sellergren Design 2013!

Yeah, things are moving along somewhat satisfactory at Camp Sellergren (more info about that when it’s been solved), and in the mean time I actually managed to put out a bonus release: Call Me Greenhorn‘s Armageddon Dub! Yup, the track was initially posted in it’s raw form on my SoundCloud some time ago, and even though my sentiments about it hasn’t changed a bit – it’s just too damn dark! – I gave it a spin and decided it worthy of release, albeit on it’s own and those who feel they can take it can feel free to do so. I still love what I achieved with it and the extra beef in its production is a result of getting heavy with that crazy Russian VST Molot.

Now, I already written about how this song came about – read it again here – so I’ll focus on the second track Trinity (Once Upon a Dub) that spent a good time just collecting dust on my computer. Starting out with some great drum fills The Jimmy C sent me, I set out to do a mix of heavy 70′s Jamaican dub and a sort of tribute to 1960′s Italian spaghetti westerns. (Yeah, I thought it sounded insane too, ha ha ha!) Anyway, add some great Lee Perry-esque horns courtesy The New York Brass – I just had to phase them! – and there ya go! The intro is pretty cool and really throws you off as it progresses into something completely different than what you’d initially expect.

The sleeve was actually quite simple to create. Immediately wanting to do something along the lines of the iconic graphics used by The Clash for their great batch of 7″ singles released between their first and second album (FYI: Complete Control, (White Man) In Hammersmith Palais, Clash City Rockers + the 1979 The Cost of Living EP), I googled ‘ruins’, ‘Armageddon’ (boy, is that movie popular!) and finally found some WWII photos on Wikipedia that looked fitting. Considered to be in the public domain, I made a collage out of various bombed out buildings etc., and wrapped it all up by adding the similar sort of crazy color schemes and fonts used by the band.

Now, I am aware that Dub is an assorted taste, but personally I love it and think it’s a damn unique art form or musical genre as it is the only one to my knowledge where the mixing console itself becomes the main instrument. The concept spans the world these days, but remixing actually has its roots in what geniuses like King Tubby and The Scientist were creating in make shift Jamaican studios throughout the 1970′s – in Tubby’s case using equipment he built himself! – so if you’re the slightest curious about this phenomena please do check them out!

Anyway, available via my Bandcamp so check it out here, and I uploaded a taste on my SoundCloud here, so spread the word and share if you like it. The single:

(More) Sounds of X-Mas!

Well sorry ’bout the break (been busy mixing an EP), but here’s a little more Yuletide croonings for your pleasure: The great Happy Christmas (The Christmas Song) by killer Jamaican reggae outfit Toots and The Maytals. Now, from my understanding reggae and ska was never that big in the US, but in the UK during the late 60s it was huge. Local label Trojan Records issued slews upon slews of 7″ singles and managed to release some chart topping hits, including Tony Tribe‘s Red Red Wine (you might remember UB40‘s hit version), The Upsetters‘ Return of Django and The Pioneers‘ classic Long Shot Kick de Bucket (good luck trying to decipher the lyrics on that one!). Even though they issued some of Bob Marley‘s earliest work the label itself failed launching themselves in the USA – with a company name like that go figure.

Anyway, lead vocalist Fred ‘Toots’ Hibbert (he later on went solo) had a great voice that parallelled those of classic American R&B/Soul performers like Otis Redding or Wilson Pickett. Always delivering with soul and passion, a lot of the group’s tracks became classics like the prison-themed 54-46 (Was My Number) (most sampled bassline so far) and Pressure Drop famously covered by The Clash. Oddly enough his Funky Kingston later on appeared as the opening theme for reality tv-show Miami Ink. Mixing reggae with early 70s US funk it kicks mucho butt. Check it out: