Uptown Records was an American record label, founded by Andre Harrell in 1986.^[1] It went on to become one of the most popular Hip-Hop and R&B labels of the late 1980's and early 1990s. Featured on the roster were such luminaries as Guy, Heavy D & The Boyz, Jodeci, Mary J. Blige, and Soul for Real to name a few.

History[link]

Founded in 1986 by one half of rap duo, Dr. Jeckyll and Mr. Hyde, Andre Harrell. After securing distribution deal through MCA Records the compilation album, "Uptown Is Kickin' It" was released. Among the artists featured on the album was Heavy D & The Boyz and Marley Marl. By 1987 two debut albums by Heavy D and Al B. Sure! would be very successful for the young label. Heavy D & The Boyz Living Large would be certified Gold while Al B. Sure! Warner Bros distributed Uptown album In Effect Mode would have many hit singles and chart number seven on the R&B charts. In 1988, Guy featuring group member and producer Teddy Riley would release their debut album Guy. This album would continue Uptown's hot streak as the album went number one and continued building upon the bubbling New jack swing sound created by Teddy. Continued success followed the label with the release of Heavy D & The Boyz 1989 second album, Big Tyme and Guys 1990's The Future. Tragedy would struck as Heavy D & The Boyz member, Trouble T Roy died that summer due to an accidental fall while out on tour. The spiritual third Heavy D album, Peaceful Journey was dedicated in his honor. By 1990, Sean “Puffy” Combs had started interning at Uptown and started working with newly signed acts Jodeci and Mary J. Blige. Uptown would have another hit on their hands with Jodeci's debut album, "Forever My Lady. Around the same time, Andre was busy producing the film Strictly Business and it's accompanying soundtrack.

In 1992, due to all of Uptown's success, MCA offered Harrell a multimedia deal, which involved film and television productions. Uptown Records was subsequently renamed to Uptown Entertainment. Also in 1992, saw changes in the Hip Hop and R&B musical landscape which was changing towards a harder edge sound due to the popularity of gangsta rap. In keeping in step with the changing times, Mary J. Blige would release her debut album, "What's the 411?" in Summer 1992. Dubbed The Queen of Hip Hop Soul, the success of her debut single, You Remind Me and others would help her album be certified three times Platinum. By 1993, Uptown was the leading urban label. In February, Uptown artists Jodeci, Father MC, Mary J. Blige, Christopher Williams and Heavy D would perform an acoustic set on MTV Unplugged. Taped at Universal Studios in Los Angeles, California it would be called "Uptown Unplugged" and released as both a home video and CD. Jodeci did a live cover of Stevie Wonder’s "Lately" at the show and the song was released as single. It would chart at both number one on the R&B charts and number four Pop. Later that spring they released the soundtrack to the hip hop film Who's the Man? which featured a new rising emcee called B.I.G. who would later be known as The Notorious B.I.G.. Towards the end of the year, Jodeci would release their second album, "Diary of a Mad Band".

Decline[link]

In the summer of 1993, Sean “Puffy” Combs was abruptly terminated due to tension between him and label head Andre Harrell. Within two weeks of that dismissal he established Bad Boy Records and took The Notorious B.I.G. along with him. Without Comb's keen vision, Uptown began to suffer. However, he remained involved as Executive Producer of Mary J. Blige’s second album My Life, which was released in late 1994 and would later be certified three times Platinum. Tension started to exist between Uptown and its key acts Mary J. Blige and Jodeci. The two signed to Death Row Records label head Suge Knight's "West Coast Management" firm. Knight was able to upgrade their contracts by doubling their royalty rates, secure greater creative control and landed them substantial back payments.^[2]

Even with all these distractions, Uptown managed to still put out some hit records. 1994's Heavy D & The Boyz final album, "Nuttin' But Love" would chart number one on the R&B charts and be certified Platinum. While in 1995 both Soul for Real's debut album Candy Rain and Jodeci's final Uptown album The Show, the After Party, the Hotel" which charted number one on the R&B charts

By early 1996, Andre was offered the chance to revive Motown Records and became their CEO. Heavy D moved into the role of Uptown's president and CEO. Even with this change, there was only some minor success with rap group Lost Boyz debut album, "Legal Drug Money". The album sold well, peaking at #6 on the Billboard Hot 200 and #1 on the R&B/Hip Hop Albums charts. Not long afterwards, Uptown folded when Heavy D decided that running the company was not for him, choosing instead to pursue acting and performing. Mary J. Blige would move over to MCA Records to release her next album, "Share My World in 1997The same year, Uptown was repositioned to operate under the newly established Universal Records umbrella. By 1999, Uptown Records was absorbed into Universal Records. Subsequently, many of Uptown's artists (with the exception of Monifah and Soul for Real) were moved to the MCA roster. Today the label is a part of Universal Motown Republic Group, but remains defunct.

Artists[link]

See Category:Uptown Records albums

• Al B. Sure!
• Christopher Williams
• Father MC
• Guy
• Heavy D & The Boyz
• Horace Brown
• Jeff Redd
• Jodeci
• Little Shawn
• Lost Boyz
• Mary J. Blige
• McGruff
• Monifah
• Soul for Real

References[link]

External links[link]

• Uptown Records at Discogs
• Uptown Records and Andre Harrell at NJS4E

Jeff Redd is a singer who performed new jack swing-style R&B music in the 1990s.

Career[link]

A New York native, Redd began singing with the short-lived group, The Sophisticated Gents, at the age of 17 in the mid-1980s. Redd has also appeared on Sesame Street.

Redd signed a deal with Uptown Records/MCA Records after André Harrell saw him perform as a solo artist. Uptown/MCA produced his 1990 debut album A Quiet Storm. It included the uptempo new jack swing tracks "I Found Lovin'" and "Come and Get Your Lovin'," and the ballad "Love High." Two of the album's singles found their way onto the Billboard R&B chart: "What Goes Around Comes Around" reached #53, and "Love High" reached #16.

The album A Quiet Storm had major producers such as Devante Swing from Jodeci and Timmy Allen as well as The Untouchables Dave "Jam" Hall and Eddie F. It had a strong underground following in the UK, where it fared well by being played on Black radio stations. Remixes were played on Westwood's Capital Rap Show New Jack Swing segment.

He released a song entitled "You Called and Told Me" from the Strictly Business soundtrack in 1991.

Redd played a large part in getting then-unknown singer Mary J. Blige her start in the music industry. While working on the assembly line at General Motors, Redd met Blige's stepfather, who gave Redd a tape that featured Blige performing Anita Baker's "Caught Up in the Rapture." After hearing the tape, Redd helped her get signed to Uptown Records. Blige then toured with Redd as one of his backup singers.

In 1993, Redd recorded a second album, Down Low. However, before the album could see release, MCA shuttered their entire black music department. As a result, only 1000 copies ever circulated, and the album is very hard to find. Some of the album was produced by rapper Lord Finesse.

Jeff Redd then went on to work as an A&R executive at MCA Records. While at MCA, Redd worked with artists like Regina Belle and K-Ci & JoJo. When MCA closed their doors in 2003, Redd established his own independent label, Sol Real Records, LLC. Under this banner, Redd currently works with artists Akili, Blaq Rose and Forever, among others. In 2007, Redd released an album entitled Jeff Redd Presents: The Essence of Soul, a sampler which features tracks from each of these artists. In April of 2010, Redd released "Take You Higher".

External Links/Sources[link]

• Jeff Redd Interview
• Jeff Redd Bio

Pepper Adams
Pepper Adams performing at the Grande Parade du Jazz in Nice, France, July 7, 1978 (photo by John McCrady).
Background information
Birth name	Park Frederick Adams III
Born	(1930-10-08)October 8, 1930
Origin	Highland Park, Michigan
Died	September 10, 1986(1986-09-10) (aged 55)
Genres	Jazz
Instruments	Baritone saxophone
Labels	Savoy, Prestige, Blue Note, Warwick, Riverside, Enja, Muse, Uptown
Associated acts	Wardell Gray, Lucky Thompson, Kenny Clarke, Oscar Pettiford, Barry Harris, Billy Mitchell, Lionel Hampton, Maynard Ferguson, Stan Kenton, Benny Goodman, Thelonious Monk, John Coltrane, Kenny Burrell, Paul Chambers, Elvin Jones, Tommy Flanagan, Charles Mingus, Lee Morgan, Donald Byrd, Thad Jones/Mel Lewis Big Band, Frank Foster, George Mraz
Website	PepperAdams.com

Park Frederick "Pepper" Adams III (October 8, 1930 – September 10, 1986)^[1] was a jazz baritone saxophonist and composer. He composed 43 pieces, was the leader on eighteen albums spanning 28 years,^[2] and participated in 600 sessions as a sideman.

Biography[link]

Pepper Adams was born in Highland Park, Michigan.^[1] His family moved to Rochester, New York, when he was young, and in that city he began his musical efforts on tenor sax and clarinet. At age 16, Adams moved to Detroit and switched to baritone sax; this proved to be successful, as by 1947 he was playing in Lucky Thompson's band.^[3] In Detroit, Adams also met several jazz musicians who would become future partners, including trumpeter Donald Byrd. Adams now became interested in Wardell Gray's approach to the saxophone, later naming Gray and Harry Carney as his influences. He also spent time in a United States Army band, and briefly had a tour of duty in Korea.^[4]

He later moved to New York City, where he played on the album Dakar with John Coltrane, played with Lee Morgan on The Cooker, and briefly worked with Benny Goodman's band in 1958. During this time, Adams also began working with Charles Mingus, performing on one of Mingus's most acclaimed albums from the period, Blues & Roots. Thereafter, he recorded with Mingus sporadically until the latter's death in 1979. He later became a founding member^[3] of the Thad Jones/Mel Lewis Big Band, with whom he played from 1965 to 1976, and thereafter continued to record Jones's compositions on many of his own albums.^[5] Adams also co-led a quintet with Donald Byrd from 1958 to 1962, with whom he recorded a live date, 10 to 4 at the 5 Spot, featuring Elvin Jones,^[6] and a sequence of albums for Blue Note.

In later years, Adams toured England and continental Europe several times, performing there with local rhythm sections, and he performed with a Count Basie tribute band at the Grande Parade du Jazz in Nice.^[3] He died of lung cancer in Brooklyn, New York, on September 10, 1986.^[7]

Style[link]

Pepper Adams was in many ways the antithesis of giants of the baritone saxophone Gerry Mulligan and Serge Chaloff. Adams managed to bring the cumbersome baritone into the blisteringly fast speeds of hard bop like no others had before.^[8] Gary Carner, Adams's biographer, described his style as having "very long, tumbling, double-time melodic lines. And that raw, piercing, bark-like timbre."^[3]

Awards and honors[link]

Adams was nominated three times for a Grammy Award. In the 1975 Playboy Magazine annual music poll, he was named an All Star's All-Star. He won Down Beat's New Star award in 1957 and was named baritone soloist of the year for 1980.^[7]

Discography[link]

As leader[link]

• Pepper Adams Quintet (1957)
• Critic's Choice (1957)
• The Cool Sound of Pepper Adams (1957)
• Pepper-Knepper Quintet, MetroJazz Records (1958)
• 10 to 4 at the 5 Spot (1958), Riverside Records, with Donald Byrd and Elvin Jones
• Motor City Scene (1960), with Donald Byrd
• Donald Byrd and Pepper Adams, Out of This World: The Complete Warwick Sessions (1961), with pianist Herbie Hancock
• Pepper Adams plays Charlie Mingus (1963)
• Thad Jones/Pepper Adams Quintet, Mean What You Say (1966)
• Encounter! (1968)
• Ephemera (1973)
• Julian (1975)
• Twelfth and Pingree (1975)
• Live in Europe (1977) with the Georges Arvanitas Trio^[9]
• Reflectory (1978)
• The Master (1980)
• Urban Dreams (1981), quartet with pianist Jimmy Rowles
• Live at Fat Tuesday's (1983), live with trumpeter Kenny Wheeler
• The Adams Effect (1989, posthumously)

As sideman[link]

With Kenny Clarke

• Jazzmen: Detroit (1956)

With Donald Byrd

• Byrd in Hand (1959)
• At the Half Note Cafe (1960)
• Chant (1961)
• Royal Flush (1961)
• The Cat Walk (1961)
• The Creeper (1967)
• Electric Byrd (1970)

With John Coltrane

• Baritones and French Horns (1957)

With Hank Mobley

• Poppin' (1957)

With Elvin Jones

• Poly-Currents (Blue Note, 1969)
• Merry-Go-Round (Blue Note, 1971)

With The Thad Jones/ Mel Lewis Orchestra

• Opening Night (1966)
• Presenting Thad Jones / Mel Lewis and the Jazz Orchestra (1966)
• Presenting Joe Williams and Thad Jones / Mel Lewis, The Jazz Orchestra (1966)
• Live at the Village Vanguard (1967)
• The Big Band Sound of Thad Jones / Mel Lewis Featuring Miss Ruth Brown (1968)
• Monday Night (1968)
• Basle, 1969 (1969)
• Consummation (1970)
• Suite for Pops (1972)
• Live in Tokyo (1974)
• Potpourri (1974)
• Thad Jones / Mel Lewis and Manuel De Sica (1974)
• New Life (1976)
• Thad Jones / Mel Lewis Orchestra With Rhoda Scott (1976)
• Live in Munich (1976)
• It Only Happens Every Time (1977)

With Charles Mingus

• Blues & Roots (1959)

With Blue Mitchell

• A Sure Thing (1962)
• Boss Horn (1966)

With Lee Morgan

• The Cooker (1957)
• Standards (1967)

With Oliver Nelson

• More Blues and the Abstract Truth (Impulse!, 1964)

With Duke Pearson

• Honeybuns (1965)
• Introducing Duke Pearson's Big Band (1967)
• Now Hear This (1968)

With Lalo Schifrin

• Black Widow (CTI, 1976)

With Barry Altschul

• Be-bop? (1979)

Live Dates Released Posthumously[link]

• Live in Europe (1977) - Disques Futura et Marge - Impro 02 - [1]
• Pepper Adams Live (aka, Live Jazz By the Sea) (1977), live in California
• California Cookin' (1983), live in California

References[link]

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2011)

King Tubby (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.^[1] Born Osbourne Ruddock,^[2] Tubby's innovative studio work, which saw him elevate the role of the mixing engineer to a creative fame previously only reserved for composers and musicians, would prove to be 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.

Mikey Dread stated "King Tubby truly understood sound in a scientific sense. He knew how the circuits worked and what the electrons did. That's why he could do what he did".^[1]

Biography[link]

King Tubby's music career began in the 1950s with the rising popularity of Jamaican sound systems, which were to be found all over Kingston and which were developing into enterprising businesses. As a talented radio repairman, Tubby soon found himself in great demand by 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) led to malfunctions and equipment failure. Tubby owned an electrical repair shop on Drumalie Avenue, Kingston, that fixed televisions and radios. It was here that he built large amplifiers for the local sound systems. In 1961/62 he built his own radio transmitter and briefly ran a private radio station playing ska and rhythm and blues which he soon shut down when he heard that the police were looking for the perpetrators.^[3] Tubby would eventually form his own sound system, Tubby's Hometown Hi-Fi, which became a crowd favourite due to the high quality sound of his equipment, exclusive releases and Tubby's own echo and reverb sound effects, at that point something of a novelty.

Remixes[link]

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.^[1] Partly due to the 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[link]

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 producers, sound engineers and 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 known as dub music.^[1]

Using existing multitrack master tapes—his small studio in fact had no capacity to record session musicians—Tubby would re-tape or 'dub' the original after passing it through his 12 channel custom built MCI mixing desk, twisting the songs into unexpected configurations which highlighted the heavy rhythms of their bass and drum parts with minute snatches of vocals, horns and Piano/Organ. These techniques mirrored the actions of the sound system 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 new areas, often transforming a hit song to the point where it was almost unrecognizable from its original. One unique aspect of his remixes or dubs was the result of creative manipulating of the built-in highpass filter on the MCI mixer he had bought from Dynamic Studios. The filter was controllable by a large knob—aka the 'big knob' - which allowed Tubby to introduce a dramatic narrowing sweep of any signal, such as the horns, until the sound disappeared into a thin squeal.

Tubby engineered/remixed songs for 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 built a vocal booth at his studio so he could record vocal tracks onto the instrumental tapes brought to him by various producers. This process is known as 'voicing' in Jamaican recording parlance. 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 mixing dubs and tutoring a new generation of artists, including King Jammy and Scientist. In the 1980s he built a new, larger studio with increased capabilities, and focused on the management of his own labels, Firehouse, Waterhouse and Taurus, which released the work of Anthony Red Rose, Sugar Minott, Conroy Smith, King Everald and other popular musicians.

Death[link]

King Tubby was shot and killed on February 6, 1989 by an unknown group of people outside his home in Duhaney Park, Kingston upon returning from a session at his Waterhouse studio.^[4] It is thought that the murder was probably an attempt at robbery.

Discography[link]

With Augustus Pablo[link]

• Ital Dub (Trojan, 1975)
• King Tubby Meets Rockers Uptown (Clock Tower, 1976)
• Rockers Meets King Tubby in a Firehouse (1980)
• Original Rockers (1979)

With The Aggrovators[link]

• Shalom Dub (1975)
• Dubbing In The Backyard (1982)

With Prince Jammy[link]

• His Majesty's Dub (1975)
• First, Second And Third Generation Of Dub (1981, with Scientist)

With Lee "Scratch" Perry[link]

• Blackboard Jungle (1973)
• King Tubby Meets The Upsetter At the Grass Roots of Dub (1975)

With Bunny Lee[link]

• Dub From The Roots (Total Sounds, 1974)
• The Roots Of Dub (1975)

Other Collaborations[link]

• Yabby You - King Tubby's Prophecy Of Dub (1976)
• Harry Mudie - Harry Mudie Meets King Tubby in Dub Conference Vol. 1 (1975)
• Niney the Observer - Dubbing with the Observer (Trojan, 1975)
• Larry Marshall - King Tubby's Meets Larry Marshall (Java, 1975)
• Roots Radics - Dangerous Dub: King Tubby Meets Roots Radics (Copasetic, 1981)
• Sly & Robbie - Sly & Robbie Meet King Tubby (Vista Sounds, 1985)
• King Tubby the Dubmaster with the Waterhouse Posse (Vista Sounds, 1983)

Compilations[link]

• King Tubby & The Aggrovators & Bunny Lee - Bionic Dub 1975-1977
• King Tubby & The Aggrovators & Bunny Lee - Straight to I Roy Head 1973-1977
• King Tubby & The Aggrovators - Creation Dub 1973-1977
• King Tubby & The Aggrovators - Dub Jackpot 1974-1976
• King Tubby & The Aggrovators - Dub Gone Crazy 1975-1979
• King Tubby & The Aggrovators - Foundation of Dub 1975-1977
• King Tubby Meets Scientist in a World of Dub (Burning Sounds, 1996)
• King Tubby Meets Scientist at Dub Station (Burning Sounds, 1996)
• Glen Brown & King Tubby: Termination Dub 1973-1979 (Blood & Fire, 1996)

References[link]

External links[link]

• King Tubby's Discography
• Discography of 1970's recordings & dub sources at X Ray Music
• BBC Profile
• "Dub Echoes", a documentary about dub's influence on the birth of electronic music and hip hop
• Jamaican Reggae Legend King Tubby Calendar Raises Money For Red Cross
• King Tubby Playlist

Horace Swaby (June 21, 1954 – May 18, 1999), known as Augustus Pablo, was a Jamaican roots reggae and dub record producer, melodica player and keyboardist, active from the 1970s onwards. He popularized the use of the melodica (an instrument at that time primarily used to teach children music in the Jamaican public schools) in reggae music. He was a committed Rastafarian.

Biography[link]

He was born in St. Andrew, Jamaica, and learned to play the organ at the Kingston College School. It was at that point an unnamed girl lent him the melodica. Fascinated by the instrument, Pablo rarely put it down. He also met Herman Chin Loy, who after working at his cousin Leslie Kong's Beverley's record shop, had set up his own Aquarius store in Half Way Tree. Swaby recorded early tracks including "Higgi Higgi", "East of the River Nile", "Song of the East" and "The Red Sea" between 1971 and 1973 for Chin-Loy's Aquarius Records.^[1] Chin Loy had previously used the name Augustus Pablo generically for keyboard instrumentals recorded by Lloyd Charmers and Glen Adams,^[2][3] and Swaby took the name for this recording.

"East of the River Nile", a unique blend of East Asian and Jamaican sounds, became a moderate hit. He soon joined Now Generation (Mikey Chung's band) and played the keyboard with them while his friend Clive Chin began his own career as a record producer. Pablo and Chin recorded "Java" (1972) together,^[1] as soon as Pablo quit Now Generation and Clive was able to get the studio time. This instrumental was a massive hit and launched Pablo's solo career. He recorded with Chin and various others, including Leonard Chin, his uncle, and Lee Perry. He scored another smash hit with "My Desire" (John Holt).

Pablo formed the labels Hot Stuff, Message and Rockers (named after his brother's soundsystem, Rockers), and released a steady stream of well-received instrumentals, mostly versions of older hits from Studio One. In spite of his success with Rockers, Pablo's 1974 album, This Is Augustus Pablo was recorded with Clive and Pat Chin. This was followed by a collaboration with the legendary reggae engineer King Tubby, 1975's Ital Dub.

In the later 1970s, Pablo produced a steady stream of hits, including the hit "Black Star Liner" (Fred Locks). He also worked with Dillinger, Norris Reid, I-Roy, Jacob Miller, Te -Track, The Immortals, Paul Blackman, Earl Sixteen, Roman Stewart, Lacksley Castell, The Heptones, Bob Marley, Ricky Grant, Delroy Wilson, Junior Delgado, Horace Andy and Freddy McKay. This period was eventually commemorated with critically acclaimed LPs including King Tubby Meets Rockers Uptown (1976) and Hugh Mundell's classic Africa Must be Free by 1983. This was followed by East of the River Nile (1978), Original Rockers (1979) and Rockers Meets King Tubby in a Firehouse, another acclaimed hit album.

In the 1980s, Pablo's career slowed significantly. In 1980, he appeared on the soundtrack of the documentary D.O.A. He had begun to establish an American audience and released Rising Sun in 1986 to good reviews and sales. Pablo also produced memorable hits, including "Ragamuffin Year" (Junior Delgado), "Humble Yourself" (Asher & Tremble) and "Far Far Away" (Ricky Grant). In addition, he toured extensively throughout the world, making a memorable live album in Tokyo in 1987. That same year, Rockers Come East re-established his career and he began to release a series of critically acclaimed though somewhat inaccessible albums in the 1990s, including Blowing With the Wind and also producing several, such as "Night & Day" (single) (Dawn Penn) and "Jah Made Them All" (Yami Bolo).

Augustus Pablo died as a result of a collapsed lung on 18 May 1999.^[4] He had been suffering for some time from the nerve disorder myasthenia gravis.^[5]

Selected discography[link]

• This Is...Augustus Pablo (1974)
• Thriller (1974)
• Ital Dub (1975)
• King Tubby Meets Rockers Uptown (1976)
• East of the River Nile (1977)
• Original Rockers (1979)
• Africa Must Be Free by... 1983 Dub (1979)
• Rockers Meets King Tubby in a Firehouse (1980)
• Authentic Golden Melodies (1980)
• Earth's Rightful Ruler (1982)
• King David's Melody (1983)
• Rising Sun (1986)
• Rebel Rock Reggae (1986)
• Rockers Come East (1987)
• Eastman Dub (1988)
• Presents Rockers Story (1989)
• Blowing with the Wind (1990)
• Presents Rockers International Showcase (1991)
• Meets King Tubby at the Control in Roots Vibes (1996)
• Red Sea (1998)
• Valley of Jehosaphat (1999)
• El Rocker's (2000)
• The Great Pablo (2000)
• Dubbing with the Don (2001)
• Jah Inspiration (2001)
• Skanking with Pablo: Melodica for Hire 1971–77 (2002)
• In Fine Style: 7" & 12" Selection 1973–79 (2003)
• The Essential Augustus Pablo (2005)
• Augustus Pablo Meets Lee Perry & the Wailers Band (Rare Dubs 1970–1971) (2006)
• The Mystic World of Augustus Pablo: The Rockers Story (2008)

References[link]

External links[link]