CULTCHA Clash Outer National Record Review:
Sublime Meets Scientist & Mad Professor Inna L.B.C.
(Record Store Day Release, 6-12-2021, Geffen)
Reviewed by Jon "Selecta J-Cut" Soldanels
 |
| Sublime Meets Scientist & Mad Professor Inna L.B.C. (2021 Geffen Record Store Day Release) |
Full disclosure, I've never been a huge fan of Sublime, although I have always felt a certain kinship with them in our influences. Rooted in punk and always enthralled by reggae (among other genres, some of which I have yet to explore more than superficially), eventually catching the fever for the flava' of hip-hop and being introduced to dancehall in the late eighties... by the time I heard Sublime, I was spinning, and was way more interested in what Bounty Killer, Junior Reid or KRS-One were putting out. I had my "Old School" joints by Jah Wobble, The Clash or Ruts DC for my punky-reggae cravings, but didn't listen to Sublime much other than when they were played at the record store I happened to be shopping at. Not to say that I wasn't taken aback the first time that I heard what sounded like an indie rock band's homage to one of my favorite MCs while shopping at Tower Records. I never disliked them, they were just pretty far back in my queue of music to purchase.
At the time, I was only vaguely aware of the death of singer, Bradley Nowell in 1996. The retitled, eponymous, third studio LP was originally to be called Killin' It. I had heard several songs from them, at the time, but still wasn't heavily into them.
Over the years, I've made a lot of friends who are fans of the band (even started reconstructing the rhythm track of "The Ballad of Johhny Butt" with my friend Mikey for Artists Anonymous at our Pride Suicide Studio back in 2006, or so). They are often requested when spinning for live reggae shows, by the "hippy" types, and it took me a while to give them a chance, but after listening to their whole albums, I developed respect for them and can definitely understand their appeal.
Forward to 2021, Scientist and Mad Professor, two of the biggest names in the world of dub reggae producers / engineers / mixers, have taken the task of treating a handful of Sublime tunes to some of their own, respective brands of studio wizardry. The six song album is a limited edition Record Store Day 2021 release.
Upon listening, it is clear that the producers put their whole hearts and creative minds into this project. The insert and liner notes by Roberto Angotti (Radio host of Reggae Revolution, which aired in Long Beach and L.A. from 1982-1992), trace the influence of dub and reggae greats, like King Tubby and Sly & Robbie, upon the Long Beach, CA. band; It's an influence that is genuinely brought full circle with this collaboration.
Scientist takes the helm on side A, beginning with their hit, "Caress Me Down (Espanol Dub)." This one is stripped to the core, drum and bass of it's original. The riddim is a bit of a hybrid of the dancehall stalwart, 'Sleng Teng' and the Jamaican classic, 'Cherry Oh Baby' played with the ferocity and raw energy of punk rock and mixed down with the precision and articulate sense of sound structure that Hopeton Overton Brown aka Scientist has been known for since the mid-seventies, when he was a young prodigy and protégé of King Tubby.
The next one, "Garden Grove Dub" combines G-Funk keys with a rendition of the 'Fever' riddim and well-placed Linton Kwesi Johnson scratches. The fusion doesn't sound, at all, contrived, but rather, very organic and is aimed directly towards the hardcore dancehall fan's eardrum(s).
The final selection, dissected, rearranged and manipulated by Scientist is "Santeria Dub", which is one that I have had to play the original of at paid gigs from time to time. I never loved the song but the emotion and joy that it evokes in those who do love it is undeniable. I feel like playing this mostly instrumental version in a club or house-party setting would elicit impromptu karaoke performance on the dance floor from the previously mentioned hippies... which, as a music lover, I think is a pretty beautiful thing. Bradley's vocals politely interrupt the riding instrumental (I like it a lot better that way), briefly towards the end of the tune, a ghostly interjection, traversing dimensions.
Mad Professor is at the mix-board for the three tunes on side B, beginning with "Hong Kong Phooey Subliminal Dub." I'm not too familiar with the original, but I feel as if Neil Fraser aka Mad Professor took a lot of artistic liberty with his side. It begins with a psychedelic sounding, effect-saturated voiced intro, not dissimilar to some of his other works which he's made in his forty-plus years of putting out music. The beat kicks in, a funky, skanking, punk-dub with tempo changes and abundant flange and reverb, which envelope the entire track, instrumental, save for a few vocal phrases, sporadically stabbing into the mix. This one demonstrates the Professor's signature sound, whether mixing Perry Farrell, The Young Gods, or Sublime, he makes the creation his own.
"April 29, 1992 (Miami) Dub," a song about the L.A. riots, and "Pawn Shop Dub" are given the same attention, the raw drum and bass is captured and given room to breathe, nourished to grow, supplemented with effects and vocal drops, the sound is expansive... play this one loud for maximal impact! There is no doubt, I'm feeling it.
Adding to the authenticity is cover art and additional liner notes by Tony McDermott, whose original, animated art-work has graced the covers of Scientist and Mad Professor LPs, as well as numerous Greensleeves Records releases.
It's limited to 6400 copies of the vinyl, so grab yours while you can.
