Leaning heavily on the sound and density of Lee Perry’s Black Ark studio we roll the tape.. we are tuning through the radio dial where every station is a reggae and dub station straight into the title track from french outfit RBC and fellow french collaborator Hip Hop & Dub DJ Monkey Green who’s influences include Primo, Madlib, Pete Rock, Jay dee, Dr Dre, The Bomb Squad, Kan Kick, Lee Perry & Black Ark studio, Georgia Anne Muldrow, Sly & Robbie, The Beatminerz, King Tubby, Erick Sermon (EPMD).
‘Corner’ is the title of this album and it utilises samples and classic riddim hooks without apology from a variety of vintage, this is pure & classic underground mixing and delivery in collaboration between DJ Monkey Green who provides the addictive backbone to the rythmic flow of this long player and duo RBC. This album gains its strength by using samples and riddims from Black Ark studio as its frontdrop with heavy-duty synth bass lines in addition and ‘dubcharm’ vocals delivered in French seductivness as only the french language can do. I introduce to you ‘RBC’ aka Rude Boy Corner who are JubOs and MoTheDude, a French vocal and production duo.
Now I’m not going to try to namecheck backing track sampling manipulation or where a sound sample comes from with every track, you know, with info such as “this piece riding the so & so riddim” yet those of you who entertain their ears with this album will surely recognise the backdrops and frontdrops wonderfully mixed into the blend, I do (I think) but I simply cannot remember.. Well, OK just one, the unmistakable groove that is the Perry Produced original recording vibe ‘Sun Is Shining’ as used on the piece ‘PonDeCorner+SunIsShining’ with heavy bass drops on the note, a dry piano and a 70s movie style guitar hookline buried in the mix although perhaps this mix suffering a little due to the over use of the vocals voice effect/enhancement treatment, indeed an effect utilised almost throughout the album yet it doesn’t diminish the addictiveness of staying tuned, putting the voice effects over use to one side the interest with this album is the seemingly effortless way the team have managed to blend both the vintage classic reggae and the underground dub Lo Fi giving the listener a well crafted experience alongside those French tones and by thus doing so makes it wonderfully difficult in dating it as a whole simply because of that blend of generations and genres and it’s this that gives it its strength by making it accessible whether you are 15 or 50.
Musically the vibes offered on this album range from the Jazz leanings of a piece called ‘Laisse les les’ with a trombone section offering the song’s hook (and sounding double tracked during it’s ending passages) alongside a mesmerising Yamaha MX49 style upright playing bass line, then to a piece entitled ‘Longtime’ and it’s here where you will discover the inspirations glowing brightly with the mixing and sampling ideas of DJ Monkey Green again a Black Ark studio Perry frontdrop with a bomb squad (circa Public Enemy) style of presentation, a dense array of idea, heavy 70s dub with bomb squad concept sampling and mixing as its mid drop then add some ‘sound of now’ MC’ing as RBC would know and you have an underground dub radio hit, this is a crucial track, then there is the laid back almost ballad like souldub that is a tune called ‘Lonely’ again with its Yamaha sounding synth parts and organs and this particular piece finishes where the album starts off, mixing in the radio dial sound effects at the end of the tune.
A 9 track traditional vinyl album length running time with all the tunes in total adding to a thirty-two or so minutes thus does its job in not testing the endurance limits of its listeners. A sound system special. Head into Bandcamp to purchase and Spotify to stream and you will discover.
I thus humbly declare that this collaborative team are wonderfully creative and ultra seductive by the dub and reggae vibes that they produce but alas it loses a point due to over use in effects on the vocals so 4/5. It’s great for internet radio and sound system alike.
What a journey we have had these past twenty five years and a huge thank you to the contributors new and old, active and dormant, who set the seed all those years ago and have fed our musical growth ever since.
Michael J Edwards, Tim Stenhouse, Sam Turnell, Mark Wallace, Andy Allen, Donald Palmer, Thomas G.J. Sharpe, Steve Ward, Bruce Q, Glyn Phillips, Andy Hazell, Mike Gates, Nadjib LeFleurier, Alan Musson, Richard Trew, Carl Hyde, Suzy Mariott, David S. James, Matthew Hart, Kerstan Mackness, Chris Menist, Nic Vipond, Sarah Triggs, Fechedo, Brian Parsons (Deceased), Graham Radley, Stephen Parker, Howard Bowen, Damian Wilkes, Elizabeth Holden, Andrew Gray, Gibsy Rhodes, Wendy Douglas, Manwai, Brian Homer, Steve Funkyfeet, Deborah Jordan, Jonathon Abbott, Kate Green, Ben McDonnell, Michael Payne, SHG, Erminia Yardley, Sammy Goulbourne, Aurélie Gérardin, Julian Walden, Mark Harrington, Patricia Harris, Garry Corbett, Maya Golt, Steven Cropper, Keith Parsons, Suzanne Bull, Simon Rawles, Pete Buckenham, Brian Goucher, Lexus Blondin, Haji Mike, Lindsey Evans, Madeye, Tony Stewart, Peter Sampson, Robert Moore, Bill Shannon, Dzifa Benson, Nigel Madhoo, Andy Frazer, Gavin Mills, Mami, Jacque Henry, Yoshi Nakase, Ife Piankhi, Michael Fordham, Jedhi, Mickey Nold, Bill Randle, Stuart Baker, Jabba and Julia Warrington.
I salute you.
Steve Williams (Editor/Founder)