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Fats Comet - Dee Jay​’​s Program

from Trevor Jackson Presents: Science Fiction Dancehall Classics by Various Artists

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  • Science Fiction Dancehall Classics Triple LP
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about

US musicians Keith LeBlanc, Doug Wimbish and Skip McDonald came together in the summer of 1979 when they were hired by Sugarhill Records to be their house band. They honed their studio chops on such epoch-defining hip-hop anthems as “The Message”, “White Lines” and “Eighth Wonder”. Wimbish and McDonald already had a reputation as players in seminal disco group Wood Brass and Steel, whilst LeBlanc was behind the ground-breaking “No Sell Out” single which cut-up speeches of Malcolm X to a DMX breakbeat, and worked with the likes of Afrika Bambaataa and James Brown in the early days of Tommy Boy records. It was through the latter label that LeBlanc met Adrian Sherwood, and the former-Sugarhill trio were invited over to the UK to record, a move that would have a profound impact on the future direction of On-U Sound. The groups they formed, Tackhead and Fats Comet, ran in parallel, with the former releasing the more uncompromising politically-charged material and the latter more dancefloor-focussed. Keith LeBlanc recalls of this particular track: “I started it in NYC on a 4-track tape recorder. Skip and I did the vocals and all the sampling was done with an AMS delay unit. Adrian then mixed and edited it.” Several Tackhead and Fats Comet recordings were used as rhythm tracks for singers Adrian was working with at the time, with this particular track becoming “Hypnotised” with the addition of a vocal from ex-Pop Group frontman Mark Stewart, and Tackhead becoming the second incarnation of Mark Stewart backing group The Maffia, picking up the mantle where Creation Rebel had left off.

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from Trevor Jackson Presents: Science Fiction Dancehall Classics, released October 1, 2015
1985, On-U Sound

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Science Fiction Dancehall Classics UK

Longtime On-U fan Trevor Jackon curated this compilation of classic, rarities and deep cuts in 2015 - an amazing introduction to the maverick early days of the label and some of the key 80s dancefloor weapons in the Adrian Sherwood production arsenal.

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