Skin, Flesh & Bones - Dub In Blood

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ITAL
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Skin, Flesh & Bones - Dub In Blood

Message par ITAL » 03 janv. 2016 12:29


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Release date : Expected 19 Feb '16

Vinyle :
Side 1
1. Dub In Blood
2. Skin Dub
3. Flesh Dub
4. Bones Dub
5. Heart Dub
6. Suit Your Dub

Side 2
1. Dub To The Vein
2. Injection In Dub
3. Syringe Dub
4. Doctor Dub
5. Oversize Dub
6. Bandwagon Dub

CD:
1. Dub In Blood
2. Skin Dub
3. Flesh Dub
4. Bones Dub
5. Heart Dub
6. Suit Your Dub
7. Dub To The Vein
8.) Injection In Dub
9. Syringe Dub
10. Doctor Dub
11. Oversize Dub
12. Bandwagon Dub
13. Religion Dub (CD Only)
14. It De Hay Dub (CD Only)
This release, “Dub In Blood”, is one of the rarest and most sought after dub albums of all. Issued in tiny quantities on Phil’s Sunshot label, it now commands ridiculous prices in the collectors’ market. Dub In Blood come out on Sunshot, and that label was beautiful, ca I pretend that all the tunes I’m making coming from the sky and the sun, so they’re always hot, so the label name Sunshot. Yet confusingly the same LP was also issued in England with different track titles and proudly renamed “The Best Dub Album In The World”. Yes, it was my idea to call it that. It was a bold thing to say for a title, but at the time it was the best dub album! So I use a bit of self praise for promotion. And it was very popular.

Channel One had a very unusual sound but it good. When you hear a Channel One tune you know it make at Channel One. We normally did 6 hour sessions at Channel One. We would spend 20 minutes or half an hour rehearsing each song, and then normally one take to record it. If they make a mistake we go over it again. And sometime you come back and mix the tune another day, ca sometime you no have enough money to finish it that day.

When you mixing, first you mix each vocal followed by its version, cos it’s easier to remember where to drop things out. Sometime you take an hour or less to balance the vocal mix, and then to mix the dub the engineer is the crucial man, and with your guidance the dub mix take probably four or five minutes. You maybe talk to the engineer about what you want and then you run it one or two time, and most engineer have it musically to know when to do it, cos mixing dub is a free thing. At Channel One we did have a whole heap of effects, like the big delay and reverbs.

The musicians on this set are Skin, Flesh And Bones, who were primarily a live rather than a studio band, centred around the drumming of Sly Dunbar.
Sly make sure every producer get them fair amount of drum! He had no partiality. A good lad. You say “ready” and him kick off, and you always get your money’s worth.

When you record a hit tune, the musician them know immediately, because they feel the energy to lay something nice, and that’s what make a hit tune. When the musicians them ready and you hear them say “Take this one!” then you know it’s there. But if you don’t know exactly what you want then you can get tricked by that, ca the musician might want to go to another session and them want done quick, so sometimes they say “It’s a hit that, next tune!” And you can get caught by that, so you as producer have to know whether you really get it what you want.

In addition to the original Dub In Blood album, this reissue features 2 [or 3 on CD] bonus tracks also mixed at Channel One, plus the dub to Al Campbell’s Natty Dread Bandwagon, recorded by Lee “Scratch” Perry at the Black Ark.

I did a lot of work at the Black Ark. Perry is a good boy, with a clean heart. We are two mad people together! Him is musically mad. We hang out a lot, just me and Scratch and some Red Label wine! Him would help you if you in the studio, and say “Pratt, you hear that – is a better sound that.” His mind so good that him would say to you “you’re going the wrong way, you should play this” and it would work. And him not even a musician! A great great mind in the recording business. Him just erratic like me, like how I am selfish – we both never want no one telling us what to do, we just do things whe we feel fi do.
Phil Pratt is witty, sharp and great company. He is also modest about his place in musical history, and has rarely agreed to be interviewed. Indeed today he sees his creations in the kitchen as pretty much equal in importance to his achievements in the recording studio.
It’s unusual to have two specialities in life, but they go hand in hand cos when you eat you want listen to music, it’s nice. And being a cook and being a producer, well it’s producing all the way!

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