{"id":596,"date":"2005-03-01T16:32:02","date_gmt":"2005-03-01T16:32:02","guid":{"rendered":"https:\/\/www.uncarved.org\/blog\/?p=596"},"modified":"2020-10-18T15:21:13","modified_gmt":"2020-10-18T15:21:13","slug":"the-new-mix-in-one-go","status":"publish","type":"post","link":"https:\/\/www.uncarved.org\/blog\/2005\/03\/the-new-mix-in-one-go\/","title":{"rendered":"Lyric Maker (from England and Jamaica): John Eden and paul.meme present a JA vs UK Soundclash"},"content":{"rendered":"<p><img decoding=\"async\" src=\"https:\/\/www.uncarved.org\/dub\/graphics\/lyricmaker.jpg\" alt=\"cover for the mix!\" border=\"1\"><br \/>\n<iframe loading=\"lazy\" width=\"100%\" height=\"120\" src=\"https:\/\/www.mixcloud.com\/widget\/iframe\/?hide_cover=1&amp;light=1&amp;feed=%2Fjohnedenuk%2Fjohn-eden-grievous-angel-lyric-maker-from-england-and-jamaica%2F\" frameborder=\"0\"><\/iframe><\/p>\n<p>Me and Paul Meme have come up with a new mix for download &#8211; Jammys digital to start, but mainly mid 80s fast chat cockney business. Essentially the product of too many evenings round at mine while Paul was staying over. I&#8217;d play him my records and then he&#8217;d go away and painstakingly muck about with the cassette tape adding effects and getting rid of our mistakes.<\/p>\n<p>No big analysis from me, I will try and write something &#8220;proper&#8221; about the artists on there in due course.<\/p>\n<p>Direct link to zipped mp3 <a href=\"http:\/\/www.grievousangel.net\/LyricMakerMix.zip\">here<\/a>.<\/p>\n<p><strong>EDIT 2014: Paul&#8217;s sleevenotes and tracklist vanished from his blog, so here they are rescued from Google Cache:<\/strong><\/p>\n<p>This mix came about after spending a couple of years staying at John\u2019s house for a couple of nights a week, spending most evenings listening to his completely amazing collection of roots, dub, dancehall and digidub. I\u2019ll remember these nights for the rest of my life because I was able not just to take refuge from working life away from my family, but was able to spend night after night listening to what is as far as I\u2019m concerned THE GREATEST MUSIC EVER MADE.<\/p>\n<p>A natural evolution of these blissful nights was to start putting together mixes of some of the best bits of his collection. He supplied the sounds and a lot of the mixing, I supplied the editing and effects. The first result of this collaboration was this mix \u2013 recorded onto tape and dumped into my Mac for tarting up. The idea was, firstly, to showcase the difference between organic, warm, rocking JA dancehall and the somewhat different strain of British fast chat, and secondly, to completely blow away any listener even vaguely familiar with the musical frameworks and conventions of reggae.<\/p>\n<p>Here\u2019s the line up to whet your appetite\u2026<\/p>\n<p>1. <strong>Thriller U \u2013 Sweetest Sound <\/strong>(Digital B 1989)<br \/>\n<strong>Fade Away \/ Peanie Peanie Rhythm<br \/>\n<\/strong>This is a KILLER soundsystem tune. \u201cWhen the first dub hit the turntable it like thunder.\u201d<\/p>\n<p>2. <strong>Chuck Turner \u2013 Run Around Girl <\/strong>(Live &amp; Love)<br \/>\n3. <strong>Cultural Roots \u2013 Running Back To Me <\/strong>(Live &amp; Love)<br \/>\n4. <strong>Version <\/strong>(Live &amp; Love)<br \/>\n<em>Unknown Rhythm<br \/>\n<\/em>And now the thunder. Vast sinuous bass (occasionally massively overdriven) and swinging digital beats underpin achingly melancholic songs of love lost. Live and Love info: <a href=\"http:\/\/www.xs4all.nl\/~tapirs\/lovealb.htm\">http:\/\/www.xs4all.nl\/~tapirs\/lovealb.htm<\/a><\/p>\n<p>5. <strong>Admiral Tibet \u2013 Leave People\u2019s Business Alone <\/strong>(Techniques)<br \/>\n6. <strong>Cutty Ranks \u2013 Gunman Lyrics <\/strong>(Techniques)<br \/>\n<strong>Tings n Time rhythm<br \/>\n<\/strong><br \/>\nTwo classic examples of cyclic, infinitely funky JA dancehall in all their devastating glory. Tibet floods us with emotion while Cutty Ranks strafes anyone still standing with salvoes of monotone fast chat.<\/p>\n<p>There\u2019s some nice edits and effects in this bit.<\/p>\n<p>7. <strong>Lui Lepke \u2013 Can\u2019t Take Me Landlord <\/strong>(Joe Gibbs)<br \/>\n8. <strong>Gregory Isaacs \u2013 Storm <\/strong>(Penthouse 2002)<br \/>\n9. <strong>Warrior King \u2013 Education <\/strong>(Penthouse 2002)<br \/>\n10. <strong>Yellowman \u2013 Gregory Free <\/strong>(white label)<br \/>\n<strong>Storm Rhythm<br \/>\n<\/strong><strong><br \/>\n<\/strong>Lepke winds the pace down a bit, adding a delicious narrative over a cavernous groove, which Isaacs reassembles into a clockwork-driven melodic pulse. Warrior King adds horn-driven weight and hand-raising refrains before Yellowman lowers the tone of proceedings considerably while broadcasting a message of support to the imprisoned Gregory Issacs.<\/p>\n<p>Just one rhythm delivers a seemingly endless succession of different dynamics and flavours, attesting to Jamaica\u2019s incredible inventiveness.<\/p>\n<p>11. <strong>Gregory Isaacs \u2013 Raving Tonight <\/strong>(Virgin 1978)<\/p>\n<p>And now the respite. This is just an absolutely glorious tune and makes a great reply to Yellowman. Gregory supplies a vocal that simply aches with feeling. Why the chorus isn\u2019t on a million hardcore records I don\u2019t know \u2013 maybe it is? Tell us if you know!<\/p>\n<p>12. <strong>Cu Oonuh Version<\/strong>(Techniques)<br \/>\n13. <strong>Melting Pot Version <\/strong>(Techniques)<br \/>\n14. <strong>Dilinger \u2013 Melting Pot <\/strong>(Techniques)<br \/>\n15. <strong>Johnny Ringo \u2013 Dedicated to Jah <\/strong>(Fashion 1985)<br \/>\n16. <strong>Asher Senator \u2013 Senator No Skin Up <\/strong>(Fashion 1985)<br \/>\n17. <strong>Reggie Stepper \u2013 Cu Oonoh <\/strong>(Techniques)<br \/>\n<strong>Stalag Rhythm<br \/>\n<\/strong><br \/>\nWe kick off with a couple of dubs of what must still be the most popular rhythm in reggae. These have been cut up a lot to bring you the maximum laidback grooves. Dillinger takes us even deeper into the alternate universe of funk that is Stalag, and Johnny Ringo Responds. \u201cNow students, compare and contrast the JA style with that of their British counterparts\u2026.\u201d The UK sound is more stipped down, slightly more clinical but soaked in vibe. Asher Senator, one of the fast chat originators, deploys his laidback flow to fine effect, before Reggie Stepper slays it: this tune just <strong>rocks <\/strong>. The horizontal funk of the original gets hyped right up with digi-bashment syndrums.<\/p>\n<p>18. <strong>Top Cat \u2013 Push Up Your Lighter <\/strong>(9 Lives)<\/p>\n<p>You\u2019ll know this cos it\u2019s been sampled to fuck, but this is high velocity dancehall at its finest. And it\u2019s rock\u2019n\u2019roll! Just listen to those Duane Eddy riffs ricochet through the mix.<\/p>\n<p>19. <strong>Peter Bouncer &amp; The Offbeat Posse \u2013 Huff \u2018n\u2019 Puff <\/strong>(Y&amp;D 1989)<\/p>\n<p>But if JA was delivering house\u2019s peak time energy with Top Cat, the UK was as ever speeding it up, stripping it down to hammer out ardkore\u2019s blueprint \u2013 and being from 1989 it\u2019s a direct antecedent. It\u2019s a pounding 140bpm+ monster, with the vocal and dub versions spliced together.<\/p>\n<p>20. <strong>Johnny Ringo \u2013 New Yorker <\/strong>(Fashion 1985)<br \/>\n21. <strong>Asher Senator \u2013 To Whom Respect is Due <\/strong>(Fashion 1985)<br \/>\n<em>Unknown Rhythm<br \/>\n<\/em><br \/>\nWinding it RIGHT back down to the beginning of the story, Johnny Ringo relates the differences between UK and US reggae cultures over a supertight backing. Asher bigs up of Danny LaRue.<\/p>\n<p>22. <strong>Johnny Ringo \u2013 Nice and Easy <\/strong>(Fashion 1985)<br \/>\n23. <strong>Asher Senator \u2013 Asher in Court <\/strong>(Fashion 1985)<\/p>\n<p>The Fashion crew loved to differentiate their productions from their Jamaican peers with stiffer, more weirdly syncopated rhythms that sound a lot like some current Grime rhythms.<br \/>\nJohnny Ringo <a href=\"http:\/\/www.icebergradio.com\/artist\/30237\/johnny_ringo.html\">bio: http:\/\/www.icebergradio.com\/artist\/30237\/johnny_ringo.html<br \/>\n<\/a><br \/>\nAsher in Court is probably THE signature Asher Senator tune. He spins a fantastic yarn about sharing a joint with the judge and turns the groove around completely.<\/p>\n<p>24. <strong>Michigan &amp; Smiley \u2013 Nice Up The Dance <\/strong>(Studio One\/Soul Jazz)<br \/>\n25. <strong>Tippa Irie \u2013 All the Time the Lyric a Rhyme <\/strong>(UK Bubblers 1984)<br \/>\n<strong>Real Rock Rhythm<br \/>\n<\/strong><br \/>\nA solid gold classic. Michigan and Smiley\u2019s iteration of Real Rock is an ecstatic, bouncy, rolling, JA dancehall apocalypse. In Brit hands it condenses into a series of hard, minimal pulses with Tippa Irie\u2019s unbelievably intense monotone fast chat. It\u2019s just amazing. Plus it includes the best fast chat line ever: \u201cWell me and Mrs Irie well you know that we\u2019re related\u201d. Superb.<\/p>\n<p>26. <strong>Papa Levi \u2013 Big \u2018n\u2019 Broad <\/strong>(Island 1984)<\/p>\n<p>Papa Levi picks up the groove and pushes it up a gear. His delivery isn\u2019t quite as sharp as Tippa\u2019s but it still drops bombs and the rhythm\u2019s devastating.<\/p>\n<p>Intense siren action on this one.<\/p>\n<p>27. <strong>Tippa Irie \u2013 Lyric Maker <\/strong>(UK Bubblers 1985)<br \/>\n<strong>Throw Me Corn rhythm<br \/>\n<\/strong><br \/>\nThe rest of tunes in the mix are good, but this\u2026 this is something else. Lyric Maker is the signature tune of the mix, the place where it all comes together. Because it\u2019s here that Brit dancehall showed how it could take reggae into places that the JA heartland couldn\u2019t quite imagine, a universe of mechanoid dub beats and electronic pop noise. Obviously Tippa\u2019s delivery is the apotheosis of fast chat brilliance, endlessly riding peaks of intensity without ever falling in on itself. This is one of the greatest records ever made.<\/p>\n<p>28. <strong>Sleng Teng intro (Who\u2019s Gonna Make the Dance Ram Dub) <\/strong>(Fashion 1985)<br \/>\n29. <strong>Andrew Paul \u2013 Who\u2019s Gonna Make the Dance Ram <\/strong>(Fashion 1985)<br \/>\n30. <strong>Version (Who\u2019s Gonna Make the Dance Ram Dub) <\/strong>(Fashion 1985)<br \/>\n31. <strong>Peter King \u2013 Step on the Gas <\/strong>(Fashion 1985)<br \/>\n32. <strong>Version <\/strong>(Fashion 1985)<br \/>\n<strong>Sleng Teng Rhythm<br \/>\n<\/strong><br \/>\nSleng Teng is one of the ultimate JA rhythms but the two UK versions here are easily superior in my book. \u201cWho Makes the Dance Ram\u201d was a huge hit in the UK and I think it crossed over in Jamaica as well. Plus, it\u2019s a monstrous acid house stormer and for my money shows just how much eighties dancehall created acid\u2019s blueprint. We close with acid dub heaviosity from Peter King, the originator of the fast-chat sound. It\u2019s yet another tune that reflects the automotive obsessions of the Fashion stable, and it\u2019s a great car crash story. \u201cStep on the gas, KICK down the accelerator\u2026\u201d<\/p>\n<p>Ladies and gentlemen, I give you: <a href=\"http:\/\/www.grievousangel.net\/LyricMakerMix.zip\"><strong>Lyric Maker (from England and Jamaica): John Eden and paul.meme present a JA vs UK Soundclash<\/strong><\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Me and Paul Meme have come up with a new mix for download &#8211; Jammys digital to start, but mainly mid 80s fast chat cockney business. Essentially the product of too many evenings round at mine while Paul was staying over. I&#8217;d play him my records and then he&#8217;d go away and painstakingly muck about &#8230;<\/p>\n<p><a href=\"https:\/\/www.uncarved.org\/blog\/2005\/03\/the-new-mix-in-one-go\/\" class=\"more-link\">Continue reading &lsquo;Lyric Maker (from England and Jamaica): John Eden and paul.meme present a JA vs UK Soundclash&rsquo; &raquo;<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6,8,14],"tags":[],"class_list":["post-596","post","type-post","status-publish","format-standard","hentry","category-dwnlads","category-reggae","category-specials"],"_links":{"self":[{"href":"https:\/\/www.uncarved.org\/blog\/wp-json\/wp\/v2\/posts\/596","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.uncarved.org\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.uncarved.org\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.uncarved.org\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.uncarved.org\/blog\/wp-json\/wp\/v2\/comments?post=596"}],"version-history":[{"count":4,"href":"https:\/\/www.uncarved.org\/blog\/wp-json\/wp\/v2\/posts\/596\/revisions"}],"predecessor-version":[{"id":6850,"href":"https:\/\/www.uncarved.org\/blog\/wp-json\/wp\/v2\/posts\/596\/revisions\/6850"}],"wp:attachment":[{"href":"https:\/\/www.uncarved.org\/blog\/wp-json\/wp\/v2\/media?parent=596"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.uncarved.org\/blog\/wp-json\/wp\/v2\/categories?post=596"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.uncarved.org\/blog\/wp-json\/wp\/v2\/tags?post=596"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}