It was intended that one of Hudson’s teenage sons would voice the dubs. In the event the Love Joys, Wayne Jarrett, and most inimitably Hudson himself featured at the microphone. Like Wackies, Hudson was a Studio One devotee — ‘I used to hold Don Drummond’s trombone for him so I can be in the studio’ — and the album follows Coxsone’s recent strategy of overdubbing signature rhythms.
The Studio One sides were aimed at the dancefloor; Hudson’s reworks of tracks like Melody Maker are more psychological. Heavy Barrett Brothers rhythms are pitched down and remixed deeper still with reverb, filters and other distortion, and overlaid with new recordings of guitar, percussion, keyboard, voice, often crazily treated.
Originally released in 1981 on the Joint International label, in NYC.
Legendary, strange, compelling music.

The dub counterpart to his From One Extreme To The Other album.
Tormented, darkly mystical, and unmissable.

Two songs from the Weh Dem Fah album — Wicked Can’t Run Away and Sleng Teng excursions.

Riding a new version of killer Roy Dobson roots with the lyrics of his Photographer classic… but actually it’s the flute-led dub which does it for us.