Dubmatix Sticky Icky Reggae Mix

• Guest Set: Eccodek DJ set (One Hour Mix)

  Today I bring in a long-time brother-in-dub - Andrew (aka Eccodek). We’ve shared stages and music for almost 20 years now. I asked him to create the mix for today, and knowing his musical inspiration, it’s a good one. Andrew McPherson is a 2-time Juno Award nominee and 2-time Canadian Music Award winner, releasing a total of 23 albums under 4 distinct musical identities - global-dub fusionists Eccodek, ambient-classical Peppermoth, funk/soul groove merchants Sonova and singer/songwriter. Andrew has also collaborated and remixed a huge array of artists that include Vieux Farka Touré, Jane Siberry, Desert Dwellers, Kiran Ahluwalia, Philosopher Kings, Lenka Lichtenberg, Dubmatix, The McDades, Jaffa Road, Dub Colossus, MC Yogi, Delhi 2 Dublin, Stephen Fearing, Delia Derbyshire Appreciation Society, Kevin Breit and many more. His work has appeared on distinguished labels like Six Degrees Records, Real World Records, Buddha Bar, White Swan/ Black Swan, The Ambient Zone, National Geographic, EMI and Sony Music. Andrew operates a full-service recording studio, The Monastereo, favouring a hybrid analogue/ digital recording and mixing approach, at the centre of which is his beloved 40-year-old Sony MCI JH618 mixing console. PLAYLIST Sonova - Track the groove (Eccodek’s Groovinator Remix) Sherwood and Pinch- Different eyes Chris Bottomley - Smoke a big patty Tinariwen - Oualahila Ar Tesninam (Transglobal Underground Remix) Eccodek - My primitive heart (feat. MC Yogi) Lightning Head - Superfunky bird Sonova - Sonova System DJ Vadim - Hey hey hey Soul2Soul - Fairplay Count Basic - Gotta jazz (Richard Dorfmeister Remix) Eccodek - Voices have eyes (Dubmatix Remix) Mexican Institute of Sound - Microfono (Nickodemus Remix) Tosca - Rondo Acapricio Dr. Israel - Sensemilia Check out Eccodek on Bandcamp / Instagram https://www.andrewmcpherson.ca/ https://eccodek.bandcamp.com/music https://www.sixdegreesrecords.com/sonova-2/ https://www.sixdegreesrecords.com/peppermoth/

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• The Beastie Boys - Brooklyn Beats To International Streets

  Beastie Boys’ Anthology: Sounds of Science, Michael Diamond (Mike D) says: “We had all been influenced by Lee Perry’s productions. We were into how on reggae recordings there would often be a ‘dub version’ on the b-side of a single, a practice that got co-opted by a few punk and early hip-hop singles as well.” Who knew? When their debut “License To Ill” was released in 1986, almost 40 years ago - it was fresh and had a great sense of humour, playfullness that on the surface could be disregarded as white-boy rap, but if you took a close listen you’ll notice the attention to detail in the music - the use of sampling, 808 Drum Machine, experimentation, mixing and overall production - this was groundbreaking. The lads and Rick Ruben had crafted something unique that had not been done before. In 1985, it was Run-DMC, Schoolly D, and LL Cool J, but by 1986, hip-hop had begun to transform, and part of that was due to this release. They’d pulled together all the elements of their musical inspirations, Run-DMC, WWF Wrestling (Rick Ruben is a known superfan of the sport), The Clash, Dub, Punk, along with a frat-boy, teenage FU attitude. They’d taken hip-hop to a level while still paying homage to those they’d learned from, borrowed from, sampled from and absorbed. Within the following year, you’d have more groundbreaking releases from Boogie Down Productions, Marley Marl & The Mighty Public Enemy. On their 1998 album Hello Nasty, Lee Perry is on “Dr Lee, PhD. Perry’s fingerprints are evident: spring reverb, echo throws, and that cosmic feel only he could bring. They also collaborated with Mad Professor (the recording in question is the unreleased dub instrumental album that Mad Professor and the Beastie Boys made, presumably at some point between the releases of Ill Communication and Hello Nasty) from Beastiemania.com. Dub has woven its magic thread throughout so many styles of music, not to mention launching entirely new genres via direct inspiration and use of dub techniques and sampling, that we shouldn’t be surprised to see that same link with the Beastie Boys. PLAYLIST Beastie Boys – So What’Cha Want Beastie Boys – Sure Shot Beastie Boys – Paul Revere Beastie Boys – The New Style Beastie Boys – Egg Man Beastie Boys – Just A Test - Remastered 2009 Beastie Boys – Intergalactic - Remastered 2009 Beastie Boys – Unite - Remastered 2009 Beastie Boys – Jimmy James - Remastered 2009 Beastie Boys; Q-Tip; Mario Caldato Jr. – Get It Together - A.B.A. Remix Beastie Boys – Ch-Check It Out Beastie Boys – Shake Your Rump Beastie Boys – Make Some Noise Beastie Boys – The Skills To Pay The Bills - Remastered Beastie Boys – Hold It Now, Hit It Beastie Boys – Shadrach Beastie Boys – Alive Beastie Boys – Futterman’s Rule Beastie Boys; Lee “Scratch” Perry – “Dr. Lee, PhD” - Remastered 2009

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• Jimmy Cliff – The Joyful & Uplifting Voice Of A Gentleman

  Certain artists bring a feeling of soulful upliftment and leave a mark on your musical heart - Jimmy Cliff is one; you sense a man smiling and embracing life. He’s navigated Jamaica’s musical evolution from the start, with 1962’s Hurricane Hattie, to the soundtrack that put him front and centre on a global stage in 1972. He’s continued to release beautiful music that speaks to our spiritual sides, and his legacy will live on for generations to come. R.I.P. Jimmy. (1944-2025) Jimmy Cliff was born James Chambers in 1944, growing up in rural Somerton before moving to Kingston as a teenager to chase the fast-rising ska scene. He was writing songs before most kids his age finished schoolwork, and at just fourteen, he walked into Beverley’s Records and caught the attention of producer Leslie Kong. That meeting changed everything. Kong recorded Cliff’s first breakout song, “Hurricane Hattie,” which turned the young singer into a local star and opened the door to the bustling world of Kingston studios, sound systems, and emerging talent. By the mid-1960s, Cliff had outgrown the island and pushed his music into London, where his sound found a new audience. The turning point came in 1969 with “Wonderful World, Beautiful People,” a UK Top 10 hit that introduced his voice and message to listeners far outside Jamaica. Songs like “Many Rivers to Cross” showed a different side of him - raw, vulnerable, and deeply soulful. Then came The Harder They Come in 1972. Cliff didn’t just star in the film; he carried its soundtrack with songs like “You Can Get It If You Really Want” and the title track, helping reggae explode onto the global stage. Jimmy Cliff passed away on November 24, 2025, at age 81, leaving behind one of reggae’s most influential legacies. His catalogue stretches from ska and rocksteady roots to crossover hits decades later, including “Reggae Night” and his 1993 revival of “I Can See Clearly Now.” For a one-hour tribute mix, you’ve got a whole arc to work with, early Kingston youth, global breakthrough, soundtrack legend, and the unmistakable voice that helped carry reggae to the world. PLAYLIST Jimmy Cliff – Hurricane Hattie Jimmy Cliff – King of Kings Jimmy Cliff – I’ve Been Dead 400 Years Jimmy Cliff – Struggling Man Jimmy Cliff – You Can Get It If You Really Want Jimmy Cliff – Fundamental Reggay Jimmy Cliff – Wonderful World, Beautiful People – Single Version Jimmy Cliff – Let Your Yeah Be Yeah Jimmy Cliff – My Ancestors Jimmy Cliff – I’m No Immigrant Jimmy Cliff – Oh Jamaica Jimmy Cliff – Sufferin’ in the Land Jimmy Cliff – The Harder They Come Jimmy Cliff – Stand Up and Fight Back Jimmy Cliff – Treat the Youths Right Jimmy Cliff – Sooner or Later Jimmy Cliff – The Harder They Come Jimmy Cliff – Bongo Man

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• Classic Jazz Excursion: The Roots of Ska

  The link between jazz and what we now call reggae goes back 70+ years to the time of Count Basie and Duke Ellington’s big bands in the 1940s and ’50s, which were very popular in Jamaica. These records arrived through sailors, migrants, and sound-system operators like Coxsone Dodd and Duke Reid, who travelled to the U.S. specifically to buy jazz and R&B 78s. The island absorbed these sounds and fused them with mento (Jamaica’s folk music), African rhythmic traditions, New Orleans R&B (Fats Domino, Rosco Gordon), and bits of Country and Gospel. Out of this blend came the foundation of what would eventually become ska. Early ska bands felt like compact jazz big bands- horn sections front and centre, trading solos, swinging lines, and arrangements shaped by jazz harmony. The Skatalites were made up of jazz-trained musicians from the Alpha School of Music, including Don Drummond, Tommy McCook, Roland Alphonso, Lester Sterling, and Jackie Mittoo. Players like Ernest Ranglin and Monty Alexander brought traditional jazz phrasing into their playing. If you listen to early ska, you hear bebop-style solos, ii–V–I chord movements, blue notes, horn riffs modelled after Ellington and Basie, and rhythm sections that mix jazz walking lines with a distinct upbeat “skank.” The shift from jazz to ska was a natural evolution. Sound systems were growing in popularity, and access to new releases from the USA was limited to those who could travel there and purchase them, as mentioned with Dodd & Reid. Jazz and Jump Blues were beginning to disappear, and Sound System operators needed fresh music to keep people coming back, so they started looking to existing talent on the island. The early days of Ska were recorded by musicians who took those elements and reshaped them into something uniquely Jamaican, emphasising the offbeat, simplifying the walking bass into a pulsing groove, and blending African-derived rhythms with American jazz techniques. This mixture created the dance-driven sound of ska, which later slowed into rocksteady and evolved into what we now call reggae. For today’s mix, I explore a collection of jazz tracks I’ve always gravitated toward—those with a groove, that swing, and that carry some of the same energy that fed early Jamaican music. I focused on artists like Miles, Blakey, and Dizzy for this 90-minute session, and I hope you enjoy it. PLAYLIST Lee Morgan – The Sidewinder (Remastered 1999 / Rudy Van Gelder Edition) Herbie Hancock – Cantaloupe Island (Remastered 1999 / Rudy Van Gelder Edition) The Dave Brubeck Quartet – Take Five John Coltrane – A Love Supreme, Pt. I – Acknowledgement Miles Davis– So What (feat. John Coltrane, Cannonball Adderley & Bill Evans) Miles Davis – Milestones (feat. John Coltrane, Cannonball Adderley, Red Garland, Paul Chambers & Philly Joe Jones) Art Blakey & The Jazz Messengers – Moanin’ Dizzy Gillespie – Salt Peanuts Charlie Parker – Ko Ko Stan Getz – Wee (Allen’s Alley) Art Blakey; Thelonious Monk – Rhythm-A-Ning Max Roach – Tune-Up Clifford Brown; Max Roach Quintet – Cherokee

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• Gussie Clarke: The Producer Behind Roots and Digital Classics

  There are so many artists and songs that pass through our ears, but rarely do we know who’s behind the music. The sounds we gravitate to, that we identify with, and that is part of what I try to do here on Bass Culture - pull back the curtain and find out who helped shape an album or entire generation - Gussie Clarke is one of those “wizards of oz” - a man who helped shape hit after hit, that still spin on turntables and sound systems today. His career has spanned decades, but for this mix, I’ve focused on his earlier productions from the 70s and early 80s, before the digital age of reggae took over. Brief Overview of Gussie and his life Augustus “Gussie” Clarke is one of reggae’s true architects, someone who moved effortlessly from roots and early deejay culture into the digital era without ever losing clarity, musicality, or purpose. His story begins in a tiny dub-cutting room at 81½ Church Street, where he cut exclusive specials using a Treasure Isle lathe and quickly realized he could shape entire records if he controlled the rhythm, the vocal, and the final mix. Early productions like U-Roy & Errol Dunkley – The Higher The Mountain and album-defining moments such as Big Youth – Screaming Target and Gussie Presenting I-Roy showed how he could turn raw sound system energy into cohesive, groundbreaking albums. Through the 1970s, he built a warm, balanced catalogue with artists like Gregory Isaacs, Dennis Brown, Leroy Smart, Hortense Ellis and Roman Stewart, deep lovers cuts, roots anthems and rhythm tracks that felt soulful and timeless. Clarke wasn’t just making music; he was building infrastructure through publishing, label management and distribution, which gave him complete creative control and the freedom to reinvest in better equipment and bigger ideas. By the early 80s, he was pushing roots harmony groups like The Mighty Diamonds into modern territory, updating arrangements with drum machines and synth bass while keeping the music's heart intact. PLAYLIST U-Roy; Big Youth – The Higher The Mountain Leroy Smart; Gussie Clarke – Mixed Up Gussie Clarke – Funny Feeling Augustus Pablo – Classical Illusion (12” Version) Jacob Miller – Girl Don’t Come I-Roy; Gussie Clarke – Coxone Affair (2025 Remaster) Gussie Clarke – One Way Tommy McCook – The Right Track Delroy Wilson – How Can I Love Someone Big Youth – Screaming Target Dennis Brown – Funny Feeling Trinity – Love The Daughter Roman Stewart – Try Me Mikey Dread – Proud to Be Black Mighty Diamonds – Pass the Kouchie Gregory Isaacs – My Time

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