Dubsession: 2 singers.

[Dubplateteam]

Greetingz People,

it's dubplate time again, this time around we are working with:

MR BASSIE AKA
LEROY "HEPTONES" SIBBLES
(I've got the handle, Fighting to the top, Partytime, Original full Up, Highest
Grade, Fattie Fattie,....)
&
PAUL ELLIOT
(Save Me Oh Jah, Vipers, Fat Belly Rat, Reggae Get Stronger, Self
Reliance,....... )

You can find additional information on the artists further down in this e-mail.

Session details:

The prices below are per tune including ALL costs:

>>> LEROY SIBBLES Euro 225,= per tune

>>> PAUL ELLIOT Euro 165,= per tune

If you need further information or want to order please link us back:
[e-mail]

With your order please fill out the form below for each tune:

Soundname:
City:
Country:
Names to mention:
Artist:
Song:
Riddim:
Your name:
Your telephonenumber:

Tunes will be recorded Split channel (vocals panned to one side, riddimtrack on
the other) & either mailed to you on a cd OR send via the internet to you via
www.yousendit.com OR soulseek in .WAV format, whichever way you prefer.

Bless,
Jahva / Cool Rock
The Netherlands
[e-mail]

If you want to be removed from the mailinglist, please reply with REMOVE. Thank
you.

PAUL ELLIOTT BIOGRAPHY:
Raised in Waterhouse, Kingston amongst the likes of old-school producers such as
King Tubby, King Jammy's, and Black Scorpio, Mr. Elliott's experience in singing
and producing reggae music is unparalled. When Norris Man introduced Mr. Elliott
to Jah Scout producer Colin McGregor, Mr. Elliott had already made a name for
himself with hits like Save Me Oh Jah. Sensing another hit, Elliott instantly
attached himself to McGregor's acoustic guitar riddim and created Seek Jah
Blessing, his first sensation on the Jah Scout label. The teamwork continued,
and later the Jah Scout crew filmed a video for the song in Mr. Elliott's steamy
home neighborhood of Waterhouse. This time around Mr. Elliott's latest sensation
on the Jah Scout label is True Love, an R&B styled ballad sung over a warm
guitar groove. With Derek Lara backing him, Mr. Elliott strikes an impassioned
melody. [http://www.jahscout.com]


LEROY SIBBLES BIOGRAPHY:
Little examination of Jamaican popular music is necessary to reveal the
creativity of Leroy Sibbles. The charismatic singer, bass player, arranger, and
songwriter is best known for his work as lead vocalist of The Heptones, but a
closer look at his session career reveals an enormous contribution to the feel
and direction of Jamaican music through one of its most creative eras. As ska
slowed to rock steady in the mid to late 1960s, Sibbles occupied a key position
at the 13 Brentford Road studio of Clement "Coxson" Dodd. In addition to his
work with The Heptones, Sibbles was a session bassist and arranger at Studio One
during a time that much of Jamaica's most enduring popular music was recorded.
Sibbles and Heptones' co-founders Barry Llewellyn and Earl Morgan met in the mid
1960s, around the time Sibbles' first group auditioned for Duke Reid's Treasure
Isle studio. Reid declined the opportunity to record that group. Llewllyn and
Morgan recruited Sibbles and formed the Heptones, and Ken Lack of Caltone
accepted the trio was accepted for a session. Sibbles describes the initial
chemistry of the three singers. "It's a spiritual thing . . . cause is not
nothing that was planned that we said 'this is exactly what we wanted.' We came
from Trenchtown. As kids growing up, the direction was there for us. It
happened. Like magic. It was nothing that we studied . . . When we get together,
that magic always comes about." The trio's initial recordings for Lack were
"School Girls" and "Gun Man Coming to Town." Though the songs didn't achieve hit
status, the latter composition made the playlists at Radio Jamaica Rediffusion
(RJR) and fueled the trio's determination. In the early years, Sibbles was arc
welding during the day and managed to buy a guitar with the money he saved. "The
guys were still doing their day jobs, and I stayed home and start writing almost
every night. I was writing and arranging, and I loved it. Putting all those
ideas [that] I didn't know I had in me -- just pouring out like water. Everyday
I wrote a new song and every night the guys would come to rehearse . . . I
started picking up [guitar] lessons from this Rastaman named Huntly, he was the
first to show me the scales, and started [to] learn chords and positions. I
was so hungry to learn . . . The more I learned, the bigger songs I could write.
The whole thing was a new life, a new world . . . Everywhere you saw me I had my
guitar back then. I wouldn't go nowhere without it. I would be writing songs,
and inspiration would be flowing like water, anywhere -- daytime, nighttime,
wherever I am." The Heptones were among the most prolific and influential groups
of the rock steady era, along with the Pioneers, Gaylads, Paragons, Hamlins,
Uniques, and Techniques. Signature Heptones songs included "Baby," "Get In The
Groove," "Ting A Ling," "Fattie Fattie," "Got To Fight On (To The Top)," "Party
Time," and "Sweeting Talking." The group's Studio One output has been collected
on albums The Heptones, On Top, Ting A Ling, Freedom Line, and the more recent
Heartbeat anthology, Sea of Love.

In retrospect, Sibbles regards the Heptones' album On Top among his best work.
"On Top pleases me very much. It is a work that I am really satisfied with a
song called 'Love Me Girl,' I like that. And another called 'Guiding Star.' The
other song that I like from the On Top album is called 'Pure Sorrow.' I like the
progression in that song. "The transition from the blazing rhythms of ska to its
mellower offspring, rock steady, was one of the most important changes in the
history of Jamaican popular music. Rock steady was characterized by several
elements. Most prominent was the drop of snare drum on the third beat of the
measure (which would also be found in reggae). Rock steady adapted from ska a
rhythmic emphasis on every upbeat, but the rhythm guitarist played this part
instead of a saxophonist. Rock steady was more rigid than later reggae, which
would readapt some of the looser polyrhythmic characteristics of Jamaican mento,
particularly the use of triplets. The "big band" horn melodies of ska were
broken down to sax and trombone for rock steady but remained an essential
melodic component of the music. Sweet vocal harmonies like those of the
Heptones, influenced by North American soul and rhythm & blues, were also key
ingredients. Sibbles recalls how the Heptones fit into the musical landscape of
the period. "When we were listening as kids to music, it was ska. Bob Marley was
doing ska. Toots & the Maytals, Delroy Wilson was doing ska. Even as a kid . . .
I was singing some Delroy Wilson songs, which was really up-tempo . . . Then,
when we got together, our kind of music was much slower than the ska thing. I
would not say that the Heptones were the ones who changed the music, but we know
that we were responsible for the change too. Because when we started, we started
with songs like 'A Change Has Got To Come.' And it was much slower than what was
happening. We were a part of the change for sure. We started doing songs like
'Ting A Ling A Ling,' and dem songs deh." Sibbles retains fond memories of the
time The Heptones first tasted success. "We felt that we were a part of
something. And that felt really good. We had a purpose in the world. That was
one of the greatest things, the greatest feelings. We were somebody . . . We had
a say for once in our lives. And that was the most important thing. We weren't
even thinking of money. When we did these songs, . . . and we see how people
respond in our community all around us. That was the most important thing. "The
first time I heard my song on the radio was the thrill of my life . . . I run
out of my yard down the lane. 'Listen! That's me!' Yeah, like 'the British are
coming,'" recalls Sibbles.

Beyond his work as a singer/songwriter, Sibbles' contribution as a bass player
to the collective output and enduring legacy of Studio One is perhaps his
greatest achievement. Sibbles was encouraged to learn the bass by Jamaican
musical giant and Studio One keyboardist/arranger Jackie Mittoo, who needed a
bass player for live performances of a lounge trio. When Mittoo left full time
duties at Studio One, Sibbles arranged sessions, sang harmony, and played bass
as a part of the studio crew variously known as the Soul Vendors or Sound
Dimension. These musicians, with the notable aid of engineer Sylvan Morris,
dropped their rhythms behind vocalists Bob Andy, Alton Ellis, Horace Andy,
Carlton Manning, The Abyssinians, The Gladiators, Willi Williams, Ken Boothe,
John Holt, Burning Spear, Dennis Brown, Slim Smith, and scores of others.
Sibbles was a key contributor to tracks like Roy Richards' "Freedom Blues,"
"Love Me Forever" by Carlton & The Shoes, "Satta Amassaganna" and "Declaration
of Rights" by the Abyssinians, "Stars" and "Queen of the Minstrel" by Cornell
Campbell, "Ten To One" by the Mad Lads, "Door Peep" by Burning Spear, and
instrumentals like "Real Rock" and "Full Up."Because of the Jamaican process of
versioning and the liberal recycling of rhythms in subsequent years, many of the
songs, rhythms, and melodies written and recorded during the rock steady era
continued to adorn the sound of Jamaican music for the next 30 years. The best
known of all of Sibbles' collaborations is probably the instrumental "Full Up,"
popularized internationally by Musical Youth's recording of "Pass the Dutchie,"
an adaptation of the Mighty Diamonds' "Pass the Kutchie." Sibbles' legacy also
endures in Horace Andy's tribute to him, "Mr. Bassie." Also well known is the
ubiquitous "Real Rock" instrumental, later voiced by Willi Williams as
"Armagideon Time" and internationalized by the Clash. The bass parts Sibbles and
others developed in rock steady utilized a rhythmic space found in later roots
reggae, where the notes weren't necessarily played or sustained on each downbeat
of a 4/4 measure. But Sibbles further differentiates his style from his bass
playing contemporaries like Jackie Jackson, Boris Gardiner, and Aston Barrett.
"When I started playing professionally, I created my style. I realized that most
musicians start before the [down] beat or on the beat. So I created a thing
after the beat. And that took off, and right now it makes me stand out in the
history of reggae music as a bass man. Other musicians involved in the Studio
One rock steady sessions included Richard Ace on keyboards; Bunny Williams, Joe
Isaacs, and Fil Callendar on drums; Eric Frater and Ernest Ranglin on guitar,
and the often underappreciated horn section of Felix "Deadley Headley" Bennett
on saxophone and Vin Gordon (a.k.a. "Don D. Jr.") on trombone. Controversy over
Dodd's contribution to the musical product at Studio One will continue forever,
but predictably, Sibbles corroborates the claims of his colleagues that Dodd's
role was generally limited to the business side of the operation. "Coxson is
known all over the world as the producer. [But] we [studio musicians] were
producing the songs. Coxson was the executive producer. That's what Coxson is .
. . [Dodd] don't know a G note from a F note. He can't identify a musical
instrument's chord or key, or nothing like that. But he has the studio, and he
has the finance to do it, so that makes him an executive. The producer is the
guy who sits inside and . . . gets into his soul to find the right thing, or the
thing that works. "That's the only part of [the Studio One experience] that bugs
me. Because that is the inspiration that God gave me, for me to live off too.
"After growing frustrated from high demands and lack of remuneration at Studio
One, Sibbles and the Heptones recorded for other producers including Lee Perry,
Harry Johnson, JoJo HooKim, Niney The Observer, Clive Chin, Gussie Clarke, Lloyd
Campbell, Prince Buster, Ossie Hibbert, Phil Pratt, Harry Mudie, Geoffrey Chung,
Danny Holloway, Rupie Edwards, and Joe Gibbs. Sibbles recalls his association
with Joe Gibbs with some irritation. "I'm the first person who ever helped Joe
Gibbs in the music business. Joe Gibbs came to town, to Kingston, and opened a
little electronic shop, repairing transistor radios and stuff. That is what he
started out doing. He had a little shop downtown [on] Parade. And he met me, and
he wanted us to go into the recording business. And he got this little singer
called Errol Dunkley, who sings 'every man does his thing a little way
different.' Then Joe Gibbs called me, and I would sit down with Errol Dunkley
and work the songs out to get them ready for recording, with my little box
guitar. And I would straighten these songs out for nothing at all, free of cost.
"Other Heptones releases from the early '70s were Book of Rules (Trojan) and the
lesser-known Harry Johnson-produced album Cool Rasta (Trojan), recorded just
before the group benefited from the internationalization of reggae via Island
Records. The Danny Holloway-produced Night Food and Lee "Scratch" Perry-produced
Party Time were the fruit of the association with Island. Sibbles left the
Heptones from 1977 to 1995. As a solo artist, Sibbles worked with Lloyd
"Bullwackie" Barnes, Lloyd Parks, Sly & Robbie, Augustus Pablo, and Lee Perry,
but primarily produced himself. Sibbles moved to Canada in 1973 and became a
sizable pop reggae star, but he feels in retrospect he lost touch with the
currency of Jamaican music. "I think that [moving to Canada] was the worst thing
that I ever did, because I just went so far and couldn't go no further there. I
was trying my best to keep up as much as I could, but I lost touch with what was
happening here in Jamaica." In Canada, Sibbles won a Juno award, recorded an
album for A&M and cut several good albums for Pete Weston's Micron label. These
include one of his best albums, Strictly Roots, a heavy drum & bass workout
backed by the Roots Radics. In recent years Sibbles has been working on new
material at his studio in Kingston. He's also producing for popular artists, up
and coming lyricists, and composing new songs. In the near future, he plans to
release more original material. [http://www.leroysibbles.com]