King tubbys presents soundclash dubplate style part 1

Issuing cuts such as 'Beard man Feast', the great 'Reggae Matic' and 'Aily and Ailaloo' and renewing his relationship with Lee Perry on the track 'Rasta Band Wagon' who's production credit read Perry, Niney, Maxie. Niney's reputation for building great roots tracks, was furthered with more success working with singer Max Romeo. Far out selling Bob MarleyвЂ™s track to the tune of over 30,000 copies in Jamaica alone. After initial problems with itвЂ™s likeness to Bob MarleyвЂ™s вЂDuppy ConquerorвЂ™, being ironed out, itвЂ™s reissue on his now named вЂObserverвЂ™ label, saw it go on to become, Jamaican Record of the Year 1971. It was 1970, and his first production entitled вЂMr BrownвЂ™ by DJвЂ™s Dennis Alcapone and Lizzy, proved to be a minor hit, but his own вЂBlood and FireвЂ™ track released in December of that year would become a major hit.

Inspired by PerryвЂ™s success it wasn't long before his own вЂDestroyerвЂ™ label was under way. He moved on to work alongside Lee Perry at Joe GibbвЂ™s вЂAmalgamatedвЂ™ label setup, where on Lee PerryвЂ™s leaving in 1969 to start his own вЂUpsetterвЂ™ label, Niney became chief engineer.

But his first steps learning the musical ropes came working under the tutor ledge of producer Bunny Lee around 1967, organising sessions for BunnyвЂ™s stable of artists.

Born George Boswell, Montego Bay, Jamaica,1951, and name checked вЂ™NineyвЂ™, due to losing a thumb in a workshop accident, he began his career in music by organising bands to play at school dances. Capable of making some of the heaviest, innovative music, not only in sound but also in the cultural / political sense. The Observer must be one of reggaeвЂ™s finest Roots Rebel producers.

King tubbys presents soundclash dubplate style part 1