CALL MY NAVIGATOR

CAUSE I WANT TO GO HOME

SHOW ME THE DIRECTION 

AND I WILL POINT IT IN STONE

 

IT COULD BE NICE

IT COULD BE NICE

IT COULD BE NICE

IT COULD BE NICE

 

IT COULD BE NICE IF YOU CAME TO THE TABERNACLE

WE COULD DISCUSS ABOUT WHAT A TEK PLACE

IT COULD BE NICE IF WE NATURALLY BURN 

ONLY THE NATURAL HERB 

FROM THE NATURAL MAN

 IT COULD BE NICE IF WE COULD

TRAVEL EVERYWHERE 

AND EVERY WHERE THAT WE TRAVEL

FREE FROM POLLUTION

 

IT COULD BE NICE IF YOU JUST REALISE YOUR IN 

YOUR ARM CHAIR A TALK SAME THING EVERYDAY

 

IT COULD BE NICE

IT COULD BE NICE

IT COULD BE NICE

IT COULD BE NICE

 

IT COULD BE NICE IF A FREE HEATH CARE

FREE EDUCATION AND FREE ELECTRICITY

IT COULD BE NICE IF A FREE TELEPHONE

FREE WATER BILL AND FREE APARTMENT

 

EVERYBODY DO JUST A LITTLE BIT OF WORK

THERE’D BE NO MORE SOLDIERS 

THERE’D BE NO MORE NEED

NO MORE GUNS AND THERE’D BE 

NO MORE BOMBS

NO MORE POISON 

THERE’D BE NO MORE WARS

 

CALL MY NAVIGATOR

CAUSE I WANT TO GO HOME

SHOW ME THE DIRECTION 

AND I WILL POINT IT IN STONE

 

IT COULD BE NICE

IT COULD BE NICE

IT COULD BE NICE

IT COULD BE NICE

 

IT COULD BE NICE 

IF WE COULD TRAVEL ROUND THE WORLD AND SPEND WE 

BURR AND WE DINAR INA ANY COUNTRY

IT COULD BE NICE I F THEY NEVER DID THE THING WEH THEM DID DO 

WHEN THEY DID THE THING TO MARCUS GARVEY

IT COULD BE NICE IF THEM NEVER DID THE THING WEH THEM DID DO 

WHEN THEY DID THE THING TO MARCUS GARVEY

 

IT COULD BE NICE IF YOU JUST REALISE YOUR IN YOUR 

ARMCHAIR A TALK SAME THING EVERYDAY

 

BRING A  NAVIGATOR

CAUSE I WANT TO GO HOME

SHOW ME THE DIRECTION 

AND I WILL POINT IT IN STONE

 

IT COULD BE NICE

IT COULD BE NICE

IT COULD BE NICE

IT COULD BE NICE

LYRICS by DUB JUDAH

 

Babylon is a trap it's a trap
Babylon is a trap it's a trap
Babylon is a trap it's a trap
Babylon is a trap it's a trap

 

Due to misunderstandings
And misinterpretations
Due to confusion
Man a mix up and no fix up
Due to lack of education
Wicked a control the nation
Due to lack of employment
The youth them a turn militant
Due to lack of intelligence
Man a fight 'gainst him own Brother
Due to lack of investment
Bank start to trade in corruption
But due to lack of political strength
Nough man a get a death sentence
Right up from Ethiopia
Way down to even azania
And even in china
All even in albania
All certain parts of Russia
All over the diaspora

Babylon is a trap it's a trap
Babylon is a trap it's a trap
Babylon is a trap it's a trap
Viscious cycle a trap in a trap
Oh yes

If I could SCRAMBLE for England
The way man walk over africa
I wouldn't do such things
For I'm not a racist
So you don't have to vex 'bout this
'cause rasta intelligent
And rastaman diligent
We have a commitment
But due to lack of information
'bout the healing of the nation
Get rich quick man them a dominate
And certain youth life get terminate
'Coos after 1000 year
Satan reincarnate himself
Talking bout him a badman
talking bout him a wicked man
Innocent youth a follow suit
A kill them self fe wear crisp boot
And disconnected themselves from the truth
And disconnect from king david root
But due to lack of intelligence
'enough man a get a death sentence
Right up from ethiopia
All over the diaspora

Babylon is a trap it's a trap
Babylon is a trap it's a trap
Babylon is a trap it's a trap
Viscious cycle a trap in a trap
Oh yes

even if a black market
Watch how satan a stalk it
A buy out the investor
for couple thousnd dollars
To silence the speaker
And to restrict the teachers
from speaking the truth
to wise up the youth
To make themselves respected
And stop from being rejected
In the eyes of the get rich quick
Woman a stand upon a corner
And a donate them structure
But due to chemical poison
'enough man a get a death sentence
From proctor an gamble
And from Heinz and campbell
It come in like them a gamble
With the life of people
All over the diaspora

Babylon is a trap it's a trap
Viscious cycle a trap in a trap
Babylon is a trap it's a trap
babylon a fe drop
A fe drop right No

in the early 70s not much dub music was made in the Uk. it gradually changed. most dub we had came from Jamaica on the b sides of most new 7 inch records.

The word as we knew it had 2 meanings. there was the music by people like Augustus Pablo which was dub made to be dub as in drum and bass. a lot of those dubs still originated as another version of classic reggae tracks. then there was instrumental version or b sides of most reggae tracks had a version which could be used by the MC or DJ as something we could toast on. Every one could toast in them days, lyrics were simpler. Then there is dub that a one would of cut specially for the sound system. for this sound or that sound. i was attracted to dub mixed by lee perry, king Tubby's,  . in the seventies, the echo chamber was the best thing that i never had. i learned my craft listening to king Tubby's music and a piece of paper with a four track mixer drawn onto it. the four channel mixer only had reverb and repeat echo. Yes . on a piece of paper. Two auxiliaries. any record that i heard the mix once, i was able to visualise how to perform it on the paper mixer.. which when i finally confronted the mixer in real life. my timing was as though i'd been mixing for years. from then on it was about EQ. at first it didn't bother me as much. till after recording and mixing our first few sessions, i came to the conclusion that the missing link to having a good dub mix was having a great ear for equalising the bass to sound fat and heavy  whilst keeping a good ratio to the rest of the instrument line up. The later way was the way i wanted to play music. My first dub was playing on the b side if a tune called white belly rat by lee perry. me on melodica. just the over dub session alone in 1975 i think it was 40 pounds it took about an hour in the studio or less.  (40 pounds was about a week and a half wages then) my first job in 1976 was for 18 pounds a week to put it in context. when i started to book my own studio time in the 77-78 we used a studio called beanstalk in camden town. Jah bunny (who used to show me the ropes) gave me the address. the price was four pounds an hour so we could only afford 3 - 4 hours at a time. that was my whole wages or a case of saving up for a few weeks     and in that time you had to set up your drum kit, practically everything . we didn't have a kit. all we had is a bass guitar. the studio drum kit never had a bass drum so guess what? we used the floor tom on its side as a bass drum. Yep. if you listen to Dennis Bovells (BABY AFTER TONIGHT) Same studio   The engineer was Ray Roberts ... this studio was a small four track affair with egg boxes on the ceiling and some walls. i don't think that the egg boxes did anything and I didn't care. All we wanted to do is quick recording and as many dub mixes as we could mix in the remaimimg studio time. that was my early days. thats also where i met Michael Dan. he was an engineer  who knew a lot of artists and was up in the london music scene as an engineer composer producer. one day he show me for instance why my wen copy cat was not performing correctly. first he cleaned the heads, then he made it echo to the point of feedback just by re routing it to itself so to speak. mikey used to say i mixed the twinkle brothers albums. The practice with paper was real as far as i could visualise . just making it reality was another set of skills namely money was the only thing in my way ( or not present) if we didn't get our music on a cassette , we couldn't listen to it because the tape was 1/4 inch recorded at 7.5 inches per second. i had a machine that played back at 3 7/8. so i used to listen to my mixes at half sped and still enjoy them.... Crazy i know but thats how i got my first dubs music together 1977

 

ITS BEEN A LONG TIME SINCE IVE DONE ANY UPDATES TO THE SITE BUT IM STILL HERE AND STILL GOING.....