King Tubby
King Tubby (born Osbourne Ruddock, January 28, 1941 – February 6, 1989) was a Jamaican electronics and sound engineer, known primarily for his influence on the development of dub in the 1960s and 1970s. Tubby's innovative studio work, which saw him elevate the role of record producer to a creative height previously only reserved for composers and musicians, would prove to be highly influential across many genres of popular music. He is often cited as the inventor of the concept of the remix Read Full BioKing Tubby (born Osbourne Ruddock, January 28, 1941 – February 6, 1989) was a Jamaican electronics and sound engineer, known primarily for his influence on the development of dub in the 1960s and 1970s. Tubby's innovative studio work, which saw him elevate the role of record producer to a creative height previously only reserved for composers and musicians, would prove to be highly influential across many genres of popular music. He is often cited as the inventor of the concept of the remix, and so may be seen as a direct antecedent of much dance and electronic music production.
Early life
In the 1950s, King Tubby's musical career began with the sound systems, which were set up on the streets of Kingston to play dance music for the people. As a talented radio repairman, Tubby was soon in great demand at most of the major sound systems of Kingston, as the tropical weather of the Caribbean Island, (often combined with sabotage by rival sound system owners) prompted many malfunctions in the equipment. Tubby would eventually form his own sound system, Tubby's Hometown Hi-Fi, which became a crowd favourite due to high sound quality, exclusive releases and Tubby's own echo and reverb sound effects, at that point something of a novelty.
Remixes
Tubby began working as a disc cutter for producer Duke Reid in 1968. Reid, one of the major figures in early Jamaican music alongside rival Clement 'Coxsone' Dodd, ran Treasure Isle studios, one of Jamaica's first independent production houses, and was a key producer of Ska, Rocksteady and eventually Reggae recordings. Asked to produce instrumental versions of songs for sound system MCs or toasters, Tubby initially worked to remove the vocal tracks with the sliders on Reid's mixing desk, but soon discovered that the various instrumental tracks could be accentuated, reworked and emphasised through the settings on the mixer and primitive early effects units. In time, Tubby (and others) began to create wholly new pieces of music by shifting the emphasis in the instrumentals, adding sounds and removing others and adding various special effects, like echoes, reverb and phase effects. Partly due to the incredible popularity of these early remixes, 1971 saw Tubby's soundsystem consolidate its position as one of the most popular in Kingston and so he decided to open a studio of his own.
Dub music production
King Tubby's production work in the 1970s would see him become one of the best-known celebrities in Jamaica, and would generate interest in his production techniques from musicians across the world. Tubby built on his considerable knowledge of electronics to repair, adapt and design his own studio equipment, which made use of a combination of old devices and new technologies to produce a studio capable of the precise, atmospheric sounds which would become Tubby's trademark. With a variety of effects units connected to his mixer, Tubby was able to 'play' the mixing desk like an instrument, bringing instruments and vocals in and out of the mix (literally 'dubbing' them) to create an entirely new genre: dub music.
Using existing master tapes or his own highly skilled session musicians, Tubby would twist the instrumental parts of songs into unexpected configurations which highlighted the heavy rhythms of their bass and drum parts with minute snatches of vocals, horns and keyboard. These techniques mirrored the actions of the soundsystem selectors, who had long used EQ equipment to emphasise certain aspects of particular records, but Tubby was able to use his custom-built studio to take this technique into unexpected areas, often transforming a hit song to the point where it was almost unrecognizeable from its original.
Tubby engineered/remixed songs by Jamaica's top producers such as Lee Perry, Bunny Lee, Augustus Pablo and Vivian Jackson that featured artists such as Johnny Clarke, Cornell Campbell, Linval Thompson, Horace Andy, Big Joe, Delroy Wilson, Jah Stitch and many others. In 1973, he began recording vocals to put along the instrumentals. It is unlikely that a complete discography of Tubby's production work could be created based on the number of labels, artists and producers with whom he worked, and subsequent repressings of these releases sometimes contained contradictory information. His name is credited on hundreds of b-side labels, with the possibility that many others were by his hand yet uncredited, due to similarities with his known work.
By the later part of the decade, though, King Tubby had mostly retired from music, still occasionally recording remixes and tutoring a new generation of artists, including King Jammy and Scientist. In the 1980s, he focused on the management of his own labels, Firehouse, Waterhouse and Taurus, which released the work of Anthony Red Rose, Sugar Minott, Conroy Smith and other popular musicians. He has been cited numerous times as influential to modern musicians including Animal Collective's Panda Bear (Noah Lennox).
Death
King Tubby was shot and killed on February 6, 1989 by unknown persons outside his home in Duhaney Park, upon returning from a session at his Waterhouse studio. It is thought that the murder was probably in a robbery attempt.
Early life
In the 1950s, King Tubby's musical career began with the sound systems, which were set up on the streets of Kingston to play dance music for the people. As a talented radio repairman, Tubby was soon in great demand at most of the major sound systems of Kingston, as the tropical weather of the Caribbean Island, (often combined with sabotage by rival sound system owners) prompted many malfunctions in the equipment. Tubby would eventually form his own sound system, Tubby's Hometown Hi-Fi, which became a crowd favourite due to high sound quality, exclusive releases and Tubby's own echo and reverb sound effects, at that point something of a novelty.
Remixes
Tubby began working as a disc cutter for producer Duke Reid in 1968. Reid, one of the major figures in early Jamaican music alongside rival Clement 'Coxsone' Dodd, ran Treasure Isle studios, one of Jamaica's first independent production houses, and was a key producer of Ska, Rocksteady and eventually Reggae recordings. Asked to produce instrumental versions of songs for sound system MCs or toasters, Tubby initially worked to remove the vocal tracks with the sliders on Reid's mixing desk, but soon discovered that the various instrumental tracks could be accentuated, reworked and emphasised through the settings on the mixer and primitive early effects units. In time, Tubby (and others) began to create wholly new pieces of music by shifting the emphasis in the instrumentals, adding sounds and removing others and adding various special effects, like echoes, reverb and phase effects. Partly due to the incredible popularity of these early remixes, 1971 saw Tubby's soundsystem consolidate its position as one of the most popular in Kingston and so he decided to open a studio of his own.
Dub music production
King Tubby's production work in the 1970s would see him become one of the best-known celebrities in Jamaica, and would generate interest in his production techniques from musicians across the world. Tubby built on his considerable knowledge of electronics to repair, adapt and design his own studio equipment, which made use of a combination of old devices and new technologies to produce a studio capable of the precise, atmospheric sounds which would become Tubby's trademark. With a variety of effects units connected to his mixer, Tubby was able to 'play' the mixing desk like an instrument, bringing instruments and vocals in and out of the mix (literally 'dubbing' them) to create an entirely new genre: dub music.
Using existing master tapes or his own highly skilled session musicians, Tubby would twist the instrumental parts of songs into unexpected configurations which highlighted the heavy rhythms of their bass and drum parts with minute snatches of vocals, horns and keyboard. These techniques mirrored the actions of the soundsystem selectors, who had long used EQ equipment to emphasise certain aspects of particular records, but Tubby was able to use his custom-built studio to take this technique into unexpected areas, often transforming a hit song to the point where it was almost unrecognizeable from its original.
Tubby engineered/remixed songs by Jamaica's top producers such as Lee Perry, Bunny Lee, Augustus Pablo and Vivian Jackson that featured artists such as Johnny Clarke, Cornell Campbell, Linval Thompson, Horace Andy, Big Joe, Delroy Wilson, Jah Stitch and many others. In 1973, he began recording vocals to put along the instrumentals. It is unlikely that a complete discography of Tubby's production work could be created based on the number of labels, artists and producers with whom he worked, and subsequent repressings of these releases sometimes contained contradictory information. His name is credited on hundreds of b-side labels, with the possibility that many others were by his hand yet uncredited, due to similarities with his known work.
By the later part of the decade, though, King Tubby had mostly retired from music, still occasionally recording remixes and tutoring a new generation of artists, including King Jammy and Scientist. In the 1980s, he focused on the management of his own labels, Firehouse, Waterhouse and Taurus, which released the work of Anthony Red Rose, Sugar Minott, Conroy Smith and other popular musicians. He has been cited numerous times as influential to modern musicians including Animal Collective's Panda Bear (Noah Lennox).
Death
King Tubby was shot and killed on February 6, 1989 by unknown persons outside his home in Duhaney Park, upon returning from a session at his Waterhouse studio. It is thought that the murder was probably in a robbery attempt.
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Take Five
King Tubby Lyrics
We have lyrics for 'Take Five' by these artists:
A.M.P. Halycyon Steel Orchestra Come and take me down The dark beyond And take me there W…
Al Jarreau *scatting* Just stop and take a little time out with me. Oh…
Al Jarreau & Kurt Elling Just stop and take a little time out with me Oh…
Al Jarreau and Kurt Elling Won't you stop and take a little Time out with me,…
Antonio Chocolaté Diaz Mena and His Orchestra In the still of the night As I gaze out of…
Attrition Sixteen born and sixteen died Should I laugh? I could have…
Carmen Mc Rae Won't you stop and take A little time out with me Just…
Carmen McRae Won't you stop and take A little time out with me Just…
Carmen McRae / David Brubeck Won't you stop and take A little time out with me Just…
Carmen McRae with the Dave Brubeck Quartet Won′t you stop and take a little time out with…
Carmen McRae; Dave Brubeck Quartet Won't you stop and take A little time out with me Just…
Charlie Parker I get no kick from champagne, Mere alcohol, Doesn't thrill…
Dave Brubeck [instrumental]…
Dave Brubeck & Carmen McRae Won't you stop and take A little time out with me Just…
Dave Brubeck & The Dave Brubeck Quartet Won't you stop and take A little time out with me Just…
Dave Brubeck Carmen McRae Won't you stop and take A little time out with me Just…
Dave Brubeck Quart. Desmond Morello Won't you stop and take A little time out with me Just…
Edda Magnason När jag hör den hårda trumman, med ens jag är…
Ella Fitzgerald I was a stranger in the city Out of town were…
Grover Washington Jr. .take another take another five…
Grover Washington Jr. .take another take another five…
Hound Dog Taylor (Hound Dog Taylor) Chicago, Chicago babe, Chicago Chicag…
Joe Morello Won't you stop and take A little time out with me Just…
K. Sabroso Mother-in-law (mother-in law), mother-in-law (mother-in-law)…
LIVING ROOM - The Dave Brubeck Quartet Won't you stop and take A little time out with…
Malene Mortensen Won′t you stop and take A little time out with me Just…
Northside It'll blow ya mind, do it every time. It'll blow ya…
P.A.C. Take a "5" train! C'mon! Let's go! Are you ready? キミを連れていくよ…
P.A.C. (Phunk Addict Crew) Come and take me down The dark beyond And take me there W…
Paul Desmond Won't you stop and take A little time out with me Just…
Q.Jones Well, I used to sit at home and wonder why,…
Quincy Jones Instrumental Written by Paul Desmond…
Quincy Jones and His Orchestra In the still of the night As I gaze out of…
Robsan They tell me that I'm living too Fast But I don't…
Stan Getz Speak low when you speak, love, Our summer day withers away…
Take Five bounce bounce(yeah,yeah)bounce(yeah,yeah) bounce(yeah)bounc…
The Dave Brubeck Quartet [Instrumental]…
The Dave Brubek Quartet and Octet Won't you stop and take A little time out with me Just…
The String Cheese Incident Hold what you've got, I'm coming home, baby Hold what you've…
Tito Puente and His Latin Ensemble Blue moon you saw me standing alone Without a dream in…
Tony Bennett & Dave Brubeck Won't you stop and take A little time out with me Just…
Washington Grover Jr .take another take another five…
XL Singleton I don't even like you, Why'd you want go and make…
We have lyrics for these tracks by King Tubby:
African Roots I dreamed I had a good job and I got…
King Tubby Ooh ooh Baby I That love Tudululu Baby I Baby I love yo…
King Tubby Meets Rockers Uptown Ooh ooh Baby I That love Tudululu Baby I Baby I love yo…
King Tubby's Conversation Ooh ooh Baby I That love Tudululu Baby I Baby I love yo…
King Tubby's Meets Rockers Uptown Ooh ooh Baby I That love Tudululu Baby I Baby…
King Tubby's Special Ooh ooh Baby I That love Tudululu Baby I Baby I love yo…
Rocking Dub Rock me, give me that kick now Rock me, show me…
Rocking Jamboree Dub Rock me, give me that kick now Rock me, show me…
The Skatalites meet King Tubby Ooh ooh Baby I That love Tudululu Baby I Baby I love yo…
Tubby Ooh ooh Baby I That love Tudululu Baby I Baby I love yo…
The lyrics can frequently be found in the comments below or by filtering for lyric videos.
Sam Kedwards
King Tubby was the first producer to take us to space. Almost all modern Hip Hop And R&B, Drum and Bass ( and of course Trap and Dubstep) owes something to King Tubby.
Steve Junor
When reggae does great cover versions like this it leaves an remarkable imprint on
You.
dwigt
I was just looking up how to play this on guitar and as I started I was like wait there has to be a dub version of this
Marco Dominguez
Favourite version!
Cnaan Soundsystem
Big Thanks Rasta man 💛💚❤🔯 One Love & Inity
mericet39
Interesting version, but perhaps it should be called Take Four because it's now 4/4 instead of 5/4.
UKMikey
It's more like Take Eight since the five beats are mapped on to two bars of four.
Marina Frota
pedrada... rs
Skanthropologist
Isn't this Val Bennett's "The Russians Are Coming" produced by Bunny Lee?
So then I was like
Toke Five.