contains probably the greatest dub track ever, 10 Oct 2008
as well as being one of the very best dub albums ever, the title track of this album is probably the greatest dub track ever.


A higher consciousness, 05 Feb 2007
I bought this on the advice of a good friend after really enjoying some of his Tubby vinyls at a party. My first Dub purchase, I can only echo the sentiments of those below by saying that this a beautiful record that straddles all musical genres.
This is a stunning amalgam of Augustus Pablo's ghostly melodica, echoing snatches of the haunting voice of Jacob Miller and the genius of Tubby's transcendal beats. There are many highlights such as the skipping tempo of,"stop them Jah," the beatiful re-verbs and the vocal on the recognizable,"King Tubby Meets Rockers uptown. Another highlight is the treatment that's given to the indestructible rhythm of The Abysinnian's,"Satta Dub." As with all classic records it's a little unfair to mention single tracks, all off them on here stand out, for the subtle genius of the cut and the intricate techniques that Tubby used to build a track. The bounus tracks on here fit into the original album perfectly.
Dub fans should already have this in their collection but if you are just getting into the music make this your first essential purchase. It will shatter any prejudices that you have towards this music; the louder you play it the more you learn.

as good as dub gets - strongly recommended, 18 Sep 2006
This album has always stood out among the many dub albums issued in Jamaica between 1974 and the early 1980s. Not being part of the very first wave allowed a greater degree of sophistication to develop, and unlike many other dub albums, even from some years later, it is in quite obvious and creatively used stereo.

The rhythms used are mixture of old Studio One classics (Swing Easy, Satta Masagana), songs Pablo produced for the young Jacob Miller (notably the title track) and Pablo's own instrumentals. They are far more musical than some of the more leaden heavy dub and consequently likely to appeal to a far wider audience. The title track, dub version of Jacob Miller's "Baby I Love You So", which itself used the rhythm of Pablo's instrumental "Cassava Piece", is arguably the greatest dub track ever recorded, certainly the best known, with vocals and instruments (especially drums) zooming in and out of the mix in a marvellously inspired and lively fashion. That it stands out on this album is testament to its brilliance, as the whole album is consistently superb, with not a single track less than excellent - a rare occurrence among dub albums. It is a tribute to the mixing genius of King Tubby.

Adding bonus tracks to an album this good is a bit superfluous, but it's worth noting that the extremely fine "Silent Satta" stands up well in this company, though it sounds likely to have been mixed by Lee Perry rather than King Tubby.

This album is a great introduction both to dub in general and to the work of Augustus Pablo and King Tubby in particular.

The classic dub album of the 70's, 27 Feb 2006
Returning to this album after nearly 25 years I thought I was just satisfying some nostalgia for my mispent youth, but this recording is greater than I remembered. At first listen, it may seem too mellow and even unsophisticated, but give it time. Repeated listens seep into your unconscious, untill it will become one of your favourite pieces of music, because it is deeply musical, the layers of rhythm reveal themseves slowly, like great classical music (think Bach's Goldberg variations) and the latent spirituality of the music is both calming and stimulating at the same time. No one track stands out for me, they all meld one into the next. Great for last thing at night, great for general chilling out, great even to drive to. It should be in everyones collection.

An undeniable classic, this 1977 set saw Pablo--the famous melodica virtuoso, who died in late 1999--join forces with the producer who, in the minds of many, pioneered the entire sound of dub reggae. Pablo had himself favoured what came to be known as "the Far East sound"--a spooky, almost Oriental mixture of echoing melodica, distant vocals and booming bass--and like Vivian Jackson and Lee Perry, had employed King Tubby to mix his productions; Tubby's studio left a discernible impression upon his music, and led, in 1976, to the release of this album, a stunning collection of B-side mixes which both confirmed and extended both artists' reputations. As an example of mid-'70s Jamaican dub, Rockers Uptown is peerless--with tracks like "Frozen Dub" and "Stop Them Jah" evincing all the spatially-conscious production techniques (not to mention Pablo's sublime playing) for which he's esteemed. A must-have, for any serious fan of the genre. --Andrew McGuire

contains probably the greatest dub track ever, 10 Oct 2008
as well as being one of the very best dub albums ever, the title track of this album is probably the greatest dub track ever.


A higher consciousness, 05 Feb 2007
I bought this on the advice of a good friend after really enjoying some of his Tubby vinyls at a party. My first Dub purchase, I can only echo the sentiments of those below by saying that this a beautiful record that straddles all musical genres.
This is a stunning amalgam of Augustus Pablo's ghostly melodica, echoing snatches of the haunting voice of Jacob Miller and the genius of Tubby's transcendal beats. There are many highlights such as the skipping tempo of,"stop them Jah," the beatiful re-verbs and the vocal on the recognizable,"King Tubby Meets Rockers uptown. Another highlight is the treatment that's given to the indestructible rhythm of The Abysinnian's,"Satta Dub." As with all classic records it's a little unfair to mention single tracks, all off them on here stand out, for the subtle genius of the cut and the intricate techniques that Tubby used to build a track. The bounus tracks on here fit into the original album perfectly.
Dub fans should already have this in their collection but if you are just getting into the music make this your first essential purchase. It will shatter any prejudices that you have towards this music; the louder you play it the more you learn.

as good as dub gets - strongly recommended, 18 Sep 2006
This album has always stood out among the many dub albums issued in Jamaica between 1974 and the early 1980s. Not being part of the very first wave allowed a greater degree of sophistication to develop, and unlike many other dub albums, even from some years later, it is in quite obvious and creatively used stereo.

The rhythms used are mixture of old Studio One classics (Swing Easy, Satta Masagana), songs Pablo produced for the young Jacob Miller (notably the title track) and Pablo's own instrumentals. They are far more musical than some of the more leaden heavy dub and consequently likely to appeal to a far wider audience. The title track, dub version of Jacob Miller's "Baby I Love You So", which itself used the rhythm of Pablo's instrumental "Cassava Piece", is arguably the greatest dub track ever recorded, certainly the best known, with vocals and instruments (especially drums) zooming in and out of the mix in a marvellously inspired and lively fashion. That it stands out on this album is testament to its brilliance, as the whole album is consistently superb, with not a single track less than excellent - a rare occurrence among dub albums. It is a tribute to the mixing genius of King Tubby.

Adding bonus tracks to an album this good is a bit superfluous, but it's worth noting that the extremely fine "Silent Satta" stands up well in this company, though it sounds likely to have been mixed by Lee Perry rather than King Tubby.

This album is a great introduction both to dub in general and to the work of Augustus Pablo and King Tubby in particular.

The classic dub album of the 70's, 27 Feb 2006
Returning to this album after nearly 25 years I thought I was just satisfying some nostalgia for my mispent youth, but this recording is greater than I remembered. At first listen, it may seem too mellow and even unsophisticated, but give it time. Repeated listens seep into your unconscious, untill it will become one of your favourite pieces of music, because it is deeply musical, the layers of rhythm reveal themseves slowly, like great classical music (think Bach's Goldberg variations) and the latent spirituality of the music is both calming and stimulating at the same time. No one track stands out for me, they all meld one into the next. Great for last thing at night, great for general chilling out, great even to drive to. It should be in everyones collection.

The Greatest Dub Album Ever?, 24 Jan 2001
Originally released through Pablo's own Rockers imprint, this album is often feted as the greatest ever dub album release, and on first listening it is hard to disagree. Pablo is the greatest exponent of the melodica, an underrated instrument which sounds so good through an echo chamber and reverb unit, and he certainly knew how to produce a sound which gave prominence to his playing. The famous Rockers style of Sly and Robbie captivates you from the off, as you embark on a lesson in dub reggae from the master himself, the late, great Osbourne Ruddock. Every track is outstanding, but a special mention to the title track, the first dub A-side to be released in the UK in 1977, when it reached the Top 40. Other highlights include a superlative version of the Abyssinians' classic riddim, Satta Massa Gana. The subtle use of Jacob Miller's vocals in tracks such as Each One Dub complement the wild drum and bass section of Sly Dunbar and Robbie Shakespeare, which all adds up to an essential chapter in the history of music. No record collection is complete without this awe-inspiring set.

Augustus Pablo, who died just last year of a rare nerve disorder, didn't pass away without leaving us with some of the finest roots reggae ever committed to (seven-inch) wax. Culled mostly from his own Rockers imprint, this collection is expertly compiled and captures many of the man's finest moments without overtly repeating other already available compilations. A deeply religious man, Pablo's work was distinctive for its spiritual feel as well as its author's instrument of choice--the melodica. "Cassava Piece", one of his all-time classics, kicks the album off and is followed by the even more celebrated vocal version of the tune, "Baby I Love You So" featuring legendary vocalist Jacob Miller. Also featured are gems such as "555 Crown Street", "Rockers Rock", "Bongo Pat's Young Generation" and "Black Gunn". Throughout these records, Pablo's distinctive minor-key playing (or "Rockers Sound", as it came to be known) lends a haunted, mystical sound that is stays with you a long time after the record has finished. Augustus Pablo might be gone from this earth, but he is a long way from forgotten. --Paul Sullivan

contains probably the greatest dub track ever, 10 Oct 2008
as well as being one of the very best dub albums ever, the title track of this album is probably the greatest dub track ever.


A higher consciousness, 05 Feb 2007
I bought this on the advice of a good friend after really enjoying some of his Tubby vinyls at a party. My first Dub purchase, I can only echo the sentiments of those below by saying that this a beautiful record that straddles all musical genres.
This is a stunning amalgam of Augustus Pablo's ghostly melodica, echoing snatches of the haunting voice of Jacob Miller and the genius of Tubby's transcendal beats. There are many highlights such as the skipping tempo of,"stop them Jah," the beatiful re-verbs and the vocal on the recognizable,"King Tubby Meets Rockers uptown. Another highlight is the treatment that's given to the indestructible rhythm of The Abysinnian's,"Satta Dub." As with all classic records it's a little unfair to mention single tracks, all off them on here stand out, for the subtle genius of the cut and the intricate techniques that Tubby used to build a track. The bounus tracks on here fit into the original album perfectly.
Dub fans should already have this in their collection but if you are just getting into the music make this your first essential purchase. It will shatter any prejudices that you have towards this music; the louder you play it the more you learn.

as good as dub gets - strongly recommended, 18 Sep 2006
This album has always stood out among the many dub albums issued in Jamaica between 1974 and the early 1980s. Not being part of the very first wave allowed a greater degree of sophistication to develop, and unlike many other dub albums, even from some years later, it is in quite obvious and creatively used stereo.

The rhythms used are mixture of old Studio One classics (Swing Easy, Satta Masagana), songs Pablo produced for the young Jacob Miller (notably the title track) and Pablo's own instrumentals. They are far more musical than some of the more leaden heavy dub and consequently likely to appeal to a far wider audience. The title track, dub version of Jacob Miller's "Baby I Love You So", which itself used the rhythm of Pablo's instrumental "Cassava Piece", is arguably the greatest dub track ever recorded, certainly the best known, with vocals and instruments (especially drums) zooming in and out of the mix in a marvellously inspired and lively fashion. That it stands out on this album is testament to its brilliance, as the whole album is consistently superb, with not a single track less than excellent - a rare occurrence among dub albums. It is a tribute to the mixing genius of King Tubby.

Adding bonus tracks to an album this good is a bit superfluous, but it's worth noting that the extremely fine "Silent Satta" stands up well in this company, though it sounds likely to have been mixed by Lee Perry rather than King Tubby.

This album is a great introduction both to dub in general and to the work of Augustus Pablo and King Tubby in particular.

The classic dub album of the 70's, 27 Feb 2006
Returning to this album after nearly 25 years I thought I was just satisfying some nostalgia for my mispent youth, but this recording is greater than I remembered. At first listen, it may seem too mellow and even unsophisticated, but give it time. Repeated listens seep into your unconscious, untill it will become one of your favourite pieces of music, because it is deeply musical, the layers of rhythm reveal themseves slowly, like great classical music (think Bach's Goldberg variations) and the latent spirituality of the music is both calming and stimulating at the same time. No one track stands out for me, they all meld one into the next. Great for last thing at night, great for general chilling out, great even to drive to. It should be in everyones collection.

The Greatest Dub Album Ever?, 24 Jan 2001
Originally released through Pablo's own Rockers imprint, this album is often feted as the greatest ever dub album release, and on first listening it is hard to disagree. Pablo is the greatest exponent of the melodica, an underrated instrument which sounds so good through an echo chamber and reverb unit, and he certainly knew how to produce a sound which gave prominence to his playing. The famous Rockers style of Sly and Robbie captivates you from the off, as you embark on a lesson in dub reggae from the master himself, the late, great Osbourne Ruddock. Every track is outstanding, but a special mention to the title track, the first dub A-side to be released in the UK in 1977, when it reached the Top 40. Other highlights include a superlative version of the Abyssinians' classic riddim, Satta Massa Gana. The subtle use of Jacob Miller's vocals in tracks such as Each One Dub complement the wild drum and bass section of Sly Dunbar and Robbie Shakespeare, which all adds up to an essential chapter in the history of music. No record collection is complete without this awe-inspiring set.

An excellent compilation, 20 Nov 2007
I'm not an expert on Augustus Pablo but I'd say this is as good an introduction to his music as you'd find anywhere. Twenty-one tracks and no filler; most of them are sublime. Beautiful music from the 1970s that should live forever.

Pablo's Honey, 02 Oct 2001
If some bloke were to walk into your local record shop or music store with a melodica - essentially, for those unaware, a hand-held keyboard with a mouthpiece to blow in - they'd think that he'd lost his mind or had just bought a toy for his kid from the local car boot sale. Natch, if it had been Rolf Harris, you might excuse it, but for some self-respecting, stylish, funky dread to walk in... well, what would YOU think?

But that is the power of music - the element of surprise. And, for the uninitiated, that's exactly what you're gonna get here. A surprise that not only can a man make the melodica sound like the most indispensible plastic instrument ever created, but that he can also craft his sound into the most recognisable, haunting and defining tool of a whole music culture.

Working with some of the biggest names in 70s Jamaica - King Tubby, Scratch Perry, Jacob Miller
(he of Inner Circle fame) - Augustus Pablo had his own sound, one so unique that you could never in a million years imagine it. A cross between Eastern mysticism, Spaghetti Westerns and pure Jamaican roots, this album brings together some of his finest moments.

Augustus Pablo deserves to be mentioned in the same breath as such luminaries as Marley, Dekker and Perry. These 21 tracks emphasize why : from the erstwhile Jamaican roots anthems of "Baby I Love You So" and "Young Generation" - both essential to any collection, reggae or otherwise - to their dub versions, the production of these tracks are so thick, so dense and thus so compelling that you can't help taking notice.

The album is awash with shining examples of Pablo's trademark Oriental, mystic, 'Rockers' sound. "East Of The River Nile", "Memories Of The Ghetto" and "Cassava Piece" all transport the listener on a journey to places you've never seen in any Thomas Cook brochure. And, if you fancy a dance, well there's always the skank rhythm of "Rockers' Rock" to get you going. Even dub-heads get a look in, with versions of "Young Generation" (New Style) and "Give Praise" (Silent Satta) worthy of note. But where, oh where, Mr. Album Compiler, is "King Tubby Meets Rockers Uptown", Pablo's most famous track? Oh well, you can't have everything, I s'pose...

Pablo's talents as a writer, performer and producer know no bounds. Indeed, there is a whole bevvy of Pablo material out there. Whilst this album serves as an introduction, true Pablophiles should hunt down King Tubby Meets Rockers Uptown, Ital Dub and Who Say Jah No Dread for the full picture.

Augustus Pablo may no longer be with us, but his haunting, irrestisable music will live on for many generations. Just don't use this album as a aid to chilling out. You need to listen to it properly to do it justice.

And trust me, you will be rewarded, my friends. GIVE PRAISE.

contains probably the greatest dub track ever, 10 Oct 2008
as well as being one of the very best dub albums ever, the title track of this album is probably the greatest dub track ever.


A higher consciousness, 05 Feb 2007
I bought this on the advice of a good friend after really enjoying some of his Tubby vinyls at a party. My first Dub purchase, I can only echo the sentiments of those below by saying that this a beautiful record that straddles all musical genres.
This is a stunning amalgam of Augustus Pablo's ghostly melodica, echoing snatches of the haunting voice of Jacob Miller and the genius of Tubby's transcendal beats. There are many highlights such as the skipping tempo of,"stop them Jah," the beatiful re-verbs and the vocal on the recognizable,"King Tubby Meets Rockers uptown. Another highlight is the treatment that's given to the indestructible rhythm of The Abysinnian's,"Satta Dub." As with all classic records it's a little unfair to mention single tracks, all off them on here stand out, for the subtle genius of the cut and the intricate techniques that Tubby used to build a track. The bounus tracks on here fit into the original album perfectly.
Dub fans should already have this in their collection but if you are just getting into the music make this your first essential purchase. It will shatter any prejudices that you have towards this music; the louder you play it the more you learn.

as good as dub gets - strongly recommended, 18 Sep 2006
This album has always stood out among the many dub albums issued in Jamaica between 1974 and the early 1980s. Not being part of the very first wave allowed a greater degree of sophistication to develop, and unlike many other dub albums, even from some years later, it is in quite obvious and creatively used stereo.

The rhythms used are mixture of old Studio One classics (Swing Easy, Satta Masagana), songs Pablo produced for the young Jacob Miller (notably the title track) and Pablo's own instrumentals. They are far more musical than some of the more leaden heavy dub and consequently likely to appeal to a far wider audience. The title track, dub version of Jacob Miller's "Baby I Love You So", which itself used the rhythm of Pablo's instrumental "Cassava Piece", is arguably the greatest dub track ever recorded, certainly the best known, with vocals and instruments (especially drums) zooming in and out of the mix in a marvellously inspired and lively fashion. That it stands out on this album is testament to its brilliance, as the whole album is consistently superb, with not a single track less than excellent - a rare occurrence among dub albums. It is a tribute to the mixing genius of King Tubby.

Adding bonus tracks to an album this good is a bit superfluous, but it's worth noting that the extremely fine "Silent Satta" stands up well in this company, though it sounds likely to have been mixed by Lee Perry rather than King Tubby.

This album is a great introduction both to dub in general and to the work of Augustus Pablo and King Tubby in particular.

The classic dub album of the 70's, 27 Feb 2006
Returning to this album after nearly 25 years I thought I was just satisfying some nostalgia for my mispent youth, but this recording is greater than I remembered. At first listen, it may seem too mellow and even unsophisticated, but give it time. Repeated listens seep into your unconscious, untill it will become one of your favourite pieces of music, because it is deeply musical, the layers of rhythm reveal themseves slowly, like great classical music (think Bach's Goldberg variations) and the latent spirituality of the music is both calming and stimulating at the same time. No one track stands out for me, they all meld one into the next. Great for last thing at night, great for general chilling out, great even to drive to. It should be in everyones collection.

The Greatest Dub Album Ever?, 24 Jan 2001
Originally released through Pablo's own Rockers imprint, this album is often feted as the greatest ever dub album release, and on first listening it is hard to disagree. Pablo is the greatest exponent of the melodica, an underrated instrument which sounds so good through an echo chamber and reverb unit, and he certainly knew how to produce a sound which gave prominence to his playing. The famous Rockers style of Sly and Robbie captivates you from the off, as you embark on a lesson in dub reggae from the master himself, the late, great Osbourne Ruddock. Every track is outstanding, but a special mention to the title track, the first dub A-side to be released in the UK in 1977, when it reached the Top 40. Other highlights include a superlative version of the Abyssinians' classic riddim, Satta Massa Gana. The subtle use of Jacob Miller's vocals in tracks such as Each One Dub complement the wild drum and bass section of Sly Dunbar and Robbie Shakespeare, which all adds up to an essential chapter in the history of music. No record collection is complete without this awe-inspiring set.

An excellent compilation, 20 Nov 2007
I'm not an expert on Augustus Pablo but I'd say this is as good an introduction to his music as you'd find anywhere. Twenty-one tracks and no filler; most of them are sublime. Beautiful music from the 1970s that should live forever.

Pablo's Honey, 02 Oct 2001
If some bloke were to walk into your local record shop or music store with a melodica - essentially, for those unaware, a hand-held keyboard with a mouthpiece to blow in - they'd think that he'd lost his mind or had just bought a toy for his kid from the local car boot sale. Natch, if it had been Rolf Harris, you might excuse it, but for some self-respecting, stylish, funky dread to walk in... well, what would YOU think?

But that is the power of music - the element of surprise. And, for the uninitiated, that's exactly what you're gonna get here. A surprise that not only can a man make the melodica sound like the most indispensible plastic instrument ever created, but that he can also craft his sound into the most recognisable, haunting and defining tool of a whole music culture.

Working with some of the biggest names in 70s Jamaica - King Tubby, Scratch Perry, Jacob Miller
(he of Inner Circle fame) - Augustus Pablo had his own sound, one so unique that you could never in a million years imagine it. A cross between Eastern mysticism, Spaghetti Westerns and pure Jamaican roots, this album brings together some of his finest moments.

Augustus Pablo deserves to be mentioned in the same breath as such luminaries as Marley, Dekker and Perry. These 21 tracks emphasize why : from the erstwhile Jamaican roots anthems of "Baby I Love You So" and "Young Generation" - both essential to any collection, reggae or otherwise - to their dub versions, the production of these tracks are so thick, so dense and thus so compelling that you can't help taking notice.

The album is awash with shining examples of Pablo's trademark Oriental, mystic, 'Rockers' sound. "East Of The River Nile", "Memories Of The Ghetto" and "Cassava Piece" all transport the listener on a journey to places you've never seen in any Thomas Cook brochure. And, if you fancy a dance, well there's always the skank rhythm of "Rockers' Rock" to get you going. Even dub-heads get a look in, with versions of "Young Generation" (New Style) and "Give Praise" (Silent Satta) worthy of note. But where, oh where, Mr. Album Compiler, is "King Tubby Meets Rockers Uptown", Pablo's most famous track? Oh well, you can't have everything, I s'pose...

Pablo's talents as a writer, performer and producer know no bounds. Indeed, there is a whole bevvy of Pablo material out there. Whilst this album serves as an introduction, true Pablophiles should hunt down King Tubby Meets Rockers Uptown, Ital Dub and Who Say Jah No Dread for the full picture.

Augustus Pablo may no longer be with us, but his haunting, irrestisable music will live on for many generations. Just don't use this album as a aid to chilling out. You need to listen to it properly to do it justice.

And trust me, you will be rewarded, my friends. GIVE PRAISE.

The Great Pablo truimphs again, 13 Aug 2007
Although there are a few less exciting choons on this one - tending more towards the sort of unimaginative, monotonous thudding to which so many reggae genuises, the Great Pablo notwithstanding, are prone (quite forgiveably) - there is much more than enough to justify its purchase. 'Let's Get Started' is, in and of itself, reason to buy this one, and would be were it five times the price. And that's without even mentioning the Junior Delgado scorchers, or any one of about a dozen other sublimely ital riddims. Buy it.

contains probably the greatest dub track ever, 10 Oct 2008
as well as being one of the very best dub albums ever, the title track of this album is probably the greatest dub track ever.


A higher consciousness, 05 Feb 2007
I bought this on the advice of a good friend after really enjoying some of his Tubby vinyls at a party. My first Dub purchase, I can only echo the sentiments of those below by saying that this a beautiful record that straddles all musical genres.
This is a stunning amalgam of Augustus Pablo's ghostly melodica, echoing snatches of the haunting voice of Jacob Miller and the genius of Tubby's transcendal beats. There are many highlights such as the skipping tempo of,"stop them Jah," the beatiful re-verbs and the vocal on the recognizable,"King Tubby Meets Rockers uptown. Another highlight is the treatment that's given to the indestructible rhythm of The Abysinnian's,"Satta Dub." As with all classic records it's a little unfair to mention single tracks, all off them on here stand out, for the subtle genius of the cut and the intricate techniques that Tubby used to build a track. The bounus tracks on here fit into the original album perfectly.
Dub fans should already have this in their collection but if you are just getting into the music make this your first essential purchase. It will shatter any prejudices that you have towards this music; the louder you play it the more you learn.

as good as dub gets - strongly recommended, 18 Sep 2006
This album has always stood out among the many dub albums issued in Jamaica between 1974 and the early 1980s. Not being part of the very first wave allowed a greater degree of sophistication to develop, and unlike many other dub albums, even from some years later, it is in quite obvious and creatively used stereo.

The rhythms used are mixture of old Studio One classics (Swing Easy, Satta Masagana), songs Pablo produced for the young Jacob Miller (notably the title track) and Pablo's own instrumentals. They are far more musical than some of the more leaden heavy dub and consequently likely to appeal to a far wider audience. The title track, dub version of Jacob Miller's "Baby I Love You So", which itself used the rhythm of Pablo's instrumental "Cassava Piece", is arguably the greatest dub track ever recorded, certainly the best known, with vocals and instruments (especially drums) zooming in and out of the mix in a marvellously inspired and lively fashion. That it stands out on this album is testament to its brilliance, as the whole album is consistently superb, with not a single track less than excellent - a rare occurrence among dub albums. It is a tribute to the mixing genius of King Tubby.

Adding bonus tracks to an album this good is a bit superfluous, but it's worth noting that the extremely fine "Silent Satta" stands up well in this company, though it sounds likely to have been mixed by Lee Perry rather than King Tubby.

This album is a great introduction both to dub in general and to the work of Augustus Pablo and King Tubby in particular.

The classic dub album of the 70's, 27 Feb 2006
Returning to this album after nearly 25 years I thought I was just satisfying some nostalgia for my mispent youth, but this recording is greater than I remembered. At first listen, it may seem too mellow and even unsophisticated, but give it time. Repeated listens seep into your unconscious, untill it will become one of your favourite pieces of music, because it is deeply musical, the layers of rhythm reveal themseves slowly, like great classical music (think Bach's Goldberg variations) and the latent spirituality of the music is both calming and stimulating at the same time. No one track stands out for me, they all meld one into the next. Great for last thing at night, great for general chilling out, great even to drive to. It should be in everyones collection.

The Greatest Dub Album Ever?, 24 Jan 2001
Originally released through Pablo's own Rockers imprint, this album is often feted as the greatest ever dub album release, and on first listening it is hard to disagree. Pablo is the greatest exponent of the melodica, an underrated instrument which sounds so good through an echo chamber and reverb unit, and he certainly knew how to produce a sound which gave prominence to his playing. The famous Rockers style of Sly and Robbie captivates you from the off, as you embark on a lesson in dub reggae from the master himself, the late, great Osbourne Ruddock. Every track is outstanding, but a special mention to the title track, the first dub A-side to be released in the UK in 1977, when it reached the Top 40. Other highlights include a superlative version of the Abyssinians' classic riddim, Satta Massa Gana. The subtle use of Jacob Miller's vocals in tracks such as Each One Dub complement the wild drum and bass section of Sly Dunbar and Robbie Shakespeare, which all adds up to an essential chapter in the history of music. No record collection is complete without this awe-inspiring set.

An excellent compilation, 20 Nov 2007
I'm not an expert on Augustus Pablo but I'd say this is as good an introduction to his music as you'd find anywhere. Twenty-one tracks and no filler; most of them are sublime. Beautiful music from the 1970s that should live forever.

Pablo's Honey, 02 Oct 2001
If some bloke were to walk into your local record shop or music store with a melodica - essentially, for those unaware, a hand-held keyboard with a mouthpiece to blow in - they'd think that he'd lost his mind or had just bought a toy for his kid from the local car boot sale. Natch, if it had been Rolf Harris, you might excuse it, but for some self-respecting, stylish, funky dread to walk in... well, what would YOU think?

But that is the power of music - the element of surprise. And, for the uninitiated, that's exactly what you're gonna get here. A surprise that not only can a man make the melodica sound like the most indispensible plastic instrument ever created, but that he can also craft his sound into the most recognisable, haunting and defining tool of a whole music culture.

Working with some of the biggest names in 70s Jamaica - King Tubby, Scratch Perry, Jacob Miller
(he of Inner Circle fame) - Augustus Pablo had his own sound, one so unique that you could never in a million years imagine it. A cross between Eastern mysticism, Spaghetti Westerns and pure Jamaican roots, this album brings together some of his finest moments.

Augustus Pablo deserves to be mentioned in the same breath as such luminaries as Marley, Dekker and Perry. These 21 tracks emphasize why : from the erstwhile Jamaican roots anthems of "Baby I Love You So" and "Young Generation" - both essential to any collection, reggae or otherwise - to their dub versions, the production of these tracks are so thick, so dense and thus so compelling that you can't help taking notice.

The album is awash with shining examples of Pablo's trademark Oriental, mystic, 'Rockers' sound. "East Of The River Nile", "Memories Of The Ghetto" and "Cassava Piece" all transport the listener on a journey to places you've never seen in any Thomas Cook brochure. And, if you fancy a dance, well there's always the skank rhythm of "Rockers' Rock" to get you going. Even dub-heads get a look in, with versions of "Young Generation" (New Style) and "Give Praise" (Silent Satta) worthy of note. But where, oh where, Mr. Album Compiler, is "King Tubby Meets Rockers Uptown", Pablo's most famous track? Oh well, you can't have everything, I s'pose...

Pablo's talents as a writer, performer and producer know no bounds. Indeed, there is a whole bevvy of Pablo material out there. Whilst this album serves as an introduction, true Pablophiles should hunt down King Tubby Meets Rockers Uptown, Ital Dub and Who Say Jah No Dread for the full picture.

Augustus Pablo may no longer be with us, but his haunting, irrestisable music will live on for many generations. Just don't use this album as a aid to chilling out. You need to listen to it properly to do it justice.

And trust me, you will be rewarded, my friends. GIVE PRAISE.

The Great Pablo truimphs again, 13 Aug 2007
Although there are a few less exciting choons on this one - tending more towards the sort of unimaginative, monotonous thudding to which so many reggae genuises, the Great Pablo notwithstanding, are prone (quite forgiveably) - there is much more than enough to justify its purchase. 'Let's Get Started' is, in and of itself, reason to buy this one, and would be were it five times the price. And that's without even mentioning the Junior Delgado scorchers, or any one of about a dozen other sublimely ital riddims. Buy it.

CRUCIAL SELECTION, 22 Jan 2003
Augustus Pablo was one of the most original and gifted of the Jamaican artists who emerged during the 1970's. As well as releasing a large number of mainly instrumental and dub recordings under his own name, he worked extensively as a session musician and was also successful as a producer, with credits on a formidable array of great records by the likes of Jacob Miller, Hugh Mundell, Junior Delgado and others.

Pablo's music is instantly recognisable and is one of the most distinctive sounds in reggae: tight rhythms, sparse arrangements and simple but flowing melody lines, usually in a minor key, with either a keyboard (organ, piano or clavinet) or more often his famous melodica as the lead instrument. It has been described as his "far eastern" style, of which the sublime "Up warrika hill" on this album is a perfect example.

"Original rockers" was first released in 1979 and is a compilation of tracks that appeared on various singles from 1972 to 1975. It includes some of Pablo's very earliest work for producer Clive Chin alongside more accomplished self-produced material mixed by King Tubby, with whom Pablo enjoyed a long and fruitful partnership.

It isn't really a dub album, and with one or two exceptions (notably "Jah dread" and "Park lane special") contains little in the way of fx from Tubby's mixing desk. "Braces a boy" features a toast from Dillinger and other tracks have spoken intros or snatches of vocals which occasionally surface in the mix, but it's mainly instrumental. Overall, it's an immaculate collection of Pablo originals such as "Cassava piece" (an early version of the rhythm subsequently recut as "King Tubby meets rockers uptown") and reworkings of well-known rhythms like the excellent opener "Rockers dub" (based on the Heptones classic "Love won't come easy"). My only complaint is that it's so short. Thirty minutes of classic Pablo is simply not enough, so needless to say it's not the only Augustus Pablo album you need to buy....

I never knew about Augustus Pablo, but now I'm a convert..., 10 Oct 2001
This is a fantastic CD. I didn't know about Augustus Pablo, and have never been much of a reggae fan, but this man can make wonderful, chilled out music. Give it a go - I'm sure you won't be sorry.

contains probably the greatest dub track ever, 10 Oct 2008
as well as being one of the very best dub albums ever, the title track of this album is probably the greatest dub track ever.


A higher consciousness, 05 Feb 2007
I bought this on the advice of a good friend after really enjoying some of his Tubby vinyls at a party. My first Dub purchase, I can only echo the sentiments of those below by saying that this a beautiful record that straddles all musical genres.
This is a stunning amalgam of Augustus Pablo's ghostly melodica, echoing snatches of the haunting voice of Jacob Miller and the genius of Tubby's transcendal beats. There are many highlights such as the skipping tempo of,"stop them Jah," the beatiful re-verbs and the vocal on the recognizable,"King Tubby Meets Rockers uptown. Another highlight is the treatment that's given to the indestructible rhythm of The Abysinnian's,"Satta Dub." As with all classic records it's a little unfair to mention single tracks, all off them on here stand out, for the subtle genius of the cut and the intricate techniques that Tubby used to build a track. The bounus tracks on here fit into the original album perfectly.
Dub fans should already have this in their collection but if you are just getting into the music make this your first essential purchase. It will shatter any prejudices that you have towards this music; the louder you play it the more you learn.

as good as dub gets - strongly recommended, 18 Sep 2006
This album has always stood out among the many dub albums issued in Jamaica between 1974 and the early 1980s. Not being part of the very first wave allowed a greater degree of sophistication to develop, and unlike many other dub albums, even from some years later, it is in quite obvious and creatively used stereo.

The rhythms used are mixture of old Studio One classics (Swing Easy, Satta Masagana), songs Pablo produced for the young Jacob Miller (notably the title track) and Pablo's own instrumentals. They are far more musical than some of the more leaden heavy dub and consequently likely to appeal to a far wider audience. The title track, dub version of Jacob Miller's "Baby I Love You So", which itself used the rhythm of Pablo's instrumental "Cassava Piece", is arguably the greatest dub track ever recorded, certainly the best known, with vocals and instruments (especially drums) zooming in and out of the mix in a marvellously inspired and lively fashion. That it stands out on this album is testament to its brilliance, as the whole album is consistently superb, with not a single track less than excellent - a rare occurrence among dub albums. It is a tribute to the mixing genius of King Tubby.

Adding bonus tracks to an album this good is a bit superfluous, but it's worth noting that the extremely fine "Silent Satta" stands up well in this company, though it sounds likely to have been mixed by Lee Perry rather than King Tubby.

This album is a great introduction both to dub in general and to the work of Augustus Pablo and King Tubby in particular.

The classic dub album of the 70's, 27 Feb 2006
Returning to this album after nearly 25 years I thought I was just satisfying some nostalgia for my mispent youth, but this recording is greater than I remembered. At first listen, it may seem too mellow and even unsophisticated, but give it time. Repeated listens seep into your unconscious, untill it will become one of your favourite pieces of music, because it is deeply musical, the layers of rhythm reveal themseves slowly, like great classical music (think Bach's Goldberg variations) and the latent spirituality of the music is both calming and stimulating at the same time. No one track stands out for me, they all meld one into the next. Great for last thing at night, great for general chilling out, great even to drive to. It should be in everyones collection.

The Greatest Dub Album Ever?, 24 Jan 2001
Originally released through Pablo's own Rockers imprint, this album is often feted as the greatest ever dub album release, and on first listening it is hard to disagree. Pablo is the greatest exponent of the melodica, an underrated instrument which sounds so good through an echo chamber and reverb unit, and he certainly knew how to produce a sound which gave prominence to his playing. The famous Rockers style of Sly and Robbie captivates you from the off, as you embark on a lesson in dub reggae from the master himself, the late, great Osbourne Ruddock. Every track is outstanding, but a special mention to the title track, the first dub A-side to be released in the UK in 1977, when it reached the Top 40. Other highlights include a superlative version of the Abyssinians' classic riddim, Satta Massa Gana. The subtle use of Jacob Miller's vocals in tracks such as Each One Dub complement the wild drum and bass section of Sly Dunbar and Robbie Shakespeare, which all adds up to an essential chapter in the history of music. No record collection is complete without this awe-inspiring set.

An excellent compilation, 20 Nov 2007
I'm not an expert on Augustus Pablo but I'd say this is as good an introduction to his music as you'd find anywhere. Twenty-one tracks and no filler; most of them are sublime. Beautiful music from the 1970s that should live forever.

Pablo's Honey, 02 Oct 2001
If some bloke were to walk into your local record shop or music store with a melodica - essentially, for those unaware, a hand-held keyboard with a mouthpiece to blow in - they'd think that he'd lost his mind or had just bought a toy for his kid from the local car boot sale. Natch, if it had been Rolf Harris, you might excuse it, but for some self-respecting, stylish, funky dread to walk in... well, what would YOU think?

But that is the power of music - the element of surprise. And, for the uninitiated, that's exactly what you're gonna get here. A surprise that not only can a man make the melodica sound like the most indispensible plastic instrument ever created, but that he can also craft his sound into the most recognisable, haunting and defining tool of a whole music culture.

Working with some of the biggest names in 70s Jamaica - King Tubby, Scratch Perry, Jacob Miller
(he of Inner Circle fame) - Augustus Pablo had his own sound, one so unique that you could never in a million years imagine it. A cross between Eastern mysticism, Spaghetti Westerns and pure Jamaican roots, this album brings together some of his finest moments.

Augustus Pablo deserves to be mentioned in the same breath as such luminaries as Marley, Dekker and Perry. These 21 tracks emphasize why : from the erstwhile Jamaican roots anthems of "Baby I Love You So" and "Young Generation" - both essential to any collection, reggae or otherwise - to their dub versions, the production of these tracks are so thick, so dense and thus so compelling that you can't help taking notice.

The album is awash with shining examples of Pablo's trademark Oriental, mystic, 'Rockers' sound. "East Of The River Nile", "Memories Of The Ghetto" and "Cassava Piece" all transport the listener on a journey to places you've never seen in any Thomas Cook brochure. And, if you fancy a dance, well there's always the skank rhythm of "Rockers' Rock" to get you going. Even dub-heads get a look in, with versions of "Young Generation" (New Style) and "Give Praise" (Silent Satta) worthy of note. But where, oh where, Mr. Album Compiler, is "King Tubby Meets Rockers Uptown", Pablo's most famous track? Oh well, you can't have everything, I s'pose...

Pablo's talents as a writer, performer and producer know no bounds. Indeed, there is a whole bevvy of Pablo material out there. Whilst this album serves as an introduction, true Pablophiles should hunt down King Tubby Meets Rockers Uptown, Ital Dub and Who Say Jah No Dread for the full picture.

Augustus Pablo may no longer be with us, but his haunting, irrestisable music will live on for many generations. Just don't use this album as a aid to chilling out. You need to listen to it properly to do it justice.

And trust me, you will be rewarded, my friends. GIVE PRAISE.

The Great Pablo truimphs again, 13 Aug 2007
Although there are a few less exciting choons on this one - tending more towards the sort of unimaginative, monotonous thudding to which so many reggae genuises, the Great Pablo notwithstanding, are prone (quite forgiveably) - there is much more than enough to justify its purchase. 'Let's Get Started' is, in and of itself, reason to buy this one, and would be were it five times the price. And that's without even mentioning the Junior Delgado scorchers, or any one of about a dozen other sublimely ital riddims. Buy it.

CRUCIAL SELECTION, 22 Jan 2003
Augustus Pablo was one of the most original and gifted of the Jamaican artists who emerged during the 1970's. As well as releasing a large number of mainly instrumental and dub recordings under his own name, he worked extensively as a session musician and was also successful as a producer, with credits on a formidable array of great records by the likes of Jacob Miller, Hugh Mundell, Junior Delgado and others.

Pablo's music is instantly recognisable and is one of the most distinctive sounds in reggae: tight rhythms, sparse arrangements and simple but flowing melody lines, usually in a minor key, with either a keyboard (organ, piano or clavinet) or more often his famous melodica as the lead instrument. It has been described as his "far eastern" style, of which the sublime "Up warrika hill" on this album is a perfect example.

"Original rockers" was first released in 1979 and is a compilation of tracks that appeared on various singles from 1972 to 1975. It includes some of Pablo's very earliest work for producer Clive Chin alongside more accomplished self-produced material mixed by King Tubby, with whom Pablo enjoyed a long and fruitful partnership.

It isn't really a dub album, and with one or two exceptions (notably "Jah dread" and "Park lane special") contains little in the way of fx from Tubby's mixing desk. "Braces a boy" features a toast from Dillinger and other tracks have spoken intros or snatches of vocals which occasionally surface in the mix, but it's mainly instrumental. Overall, it's an immaculate collection of Pablo originals such as "Cassava piece" (an early version of the rhythm subsequently recut as "King Tubby meets rockers uptown") and reworkings of well-known rhythms like the excellent opener "Rockers dub" (based on the Heptones classic "Love won't come easy"). My only complaint is that it's so short. Thirty minutes of classic Pablo is simply not enough, so needless to say it's not the only Augustus Pablo album you need to buy....

I never knew about Augustus Pablo, but now I'm a convert..., 10 Oct 2001
This is a fantastic CD. I didn't know about Augustus Pablo, and have never been much of a reggae fan, but this man can make wonderful, chilled out music. Give it a go - I'm sure you won't be sorry.

Gotta love it, 13 Aug 2007
The first track has got to be one of the best sounds ever to grace Pablo's mighty intsrument, which really is saying something. Then of course there's the rest, which being injected with the divine inspiration of BOTH the liberating Bob and upsetting Lee cannot fail to get those dub lovers a-moving. A ponderous, meditative album, it's best reserved for those who know how to handle their dub.

The late Horace Swaby, aka Augustus Pablo, was one of the canonical figures of Jamaican reggae and dub music. From the time he emerged on the scene as a teenager with his hit single "Java" to the classics he cut with his influential Rockers band and label, Pablo made the melodica, a mouth organ of European origin, an indispensable part of the reggae sound. That instrument's piercing and poetic strains made East Of The River Nile, a memorable, out-of-print-classic, originally released in 1977 and re-released in honour of its 25th anniversary, a marvel of sound and soul. Recorded in Lee Perry's legendary Black Ark Studio and mixed by the scientist of sound, King Tubby, Pablo, who also plays keyboards, is backed by a first-rate band that includes Robbie Shakespeare on bass, drummer Aston "Family Man" Barrett and guitarist Earl "Chinna" Smith. Pablo and company deliver a non-dub instrumental album that serves as the syncopated soundtrack of the Rasta nation. Who could forget the minor key, Afro-anthems "Chant to King Selassie I", "Natural Way" and "Jah-Light". Along with shout-outs from Perry, the Orb and others, the CD also includes six bonus tracks and a never-before-heard version of the title cut. All told, Augustus Pablo's "Far East Sound" is still with us. --Eugene Holley, Jr.