Phil Pratt
In the annals of Jamaican popular music, Phil Pratt’s contributions warrant greater recognition. He entered the scene in the early 1960s, working within Coxsone Dodd’s Downbeat enterprise as a sound system ‘box man’ and record assistant at Studio One. Though he briefly performed in a vocal group with Ken Boothe and Headly Foulding, Pratt’s primary goal was to establish himself as a solo vocalist. When Coxsone Dodd declined to release his recordings, Pratt turned to Ken Lack of Caltone Records. The release of Sweet Song For My Baby proved a breakthrough, granting him visibility and launching his career as a music industry figure.
Sunshot Label
Phil Pratt’s influence expanded significantly with the creation of his Sunshot label, operating under Caltone from Ken Lack’s premises. Sunshot became a breeding ground for talent, launching Horace Andy and producing a string of hits, including Ken Boothe’s I’m Not For Sale, Pat Kelly’s They Talk About Love and Al Campbell’s Gee Baby. The label’s distinctive riddims proved immensely popular with leading deejays like U Roy, I Roy, Big Youth, Dillinger, Jah Woosh, and Dennis Alcapone, solidifying Sunshot’s impact on the roots reggae scene. Alongside Sunshot, Pratt collaborated with Lee “Scratch” Perry at Black Ark Studio, working with Al Campbell and Bobby Kalphat, and produced Linval Thompson’s debut, Girl You’ve Got To Run. Ultimately, his move to North West London to open a restaurant in the early 1980s led to a decline in his musical activity.
Dub Mixes
Phil Pratt’s contribution to the late 1970s dub explosion, which extended beyond Jamaica, is undeniable. His rich musical catalog lent itself perfectly to dub mixes, resulting in landmark releases like Skin, Flesh & Bones’ Dub In Blood and Dub In Blood Volume Two in 1976. Bobby Kalphat’s enigmatic Zion Hill Dub followed in 1977. However, it was 1978’s Star Wars Dub, released by Burning Sounds, that achieved a unique status. Despite its misleading title and artwork reminiscent of Darth Vader, it had no connection to the film, becoming a sought-after rarity. After years of obscurity, Burning Sounds revived the album in 2016 and 2024, and now, they’ve reissued it once more for Record Store Day 2025 on picture disc.
Original Source Riddim Tracks
Dub album listeners often engage in “riddim spotting,” attempting to pinpoint the original vocal tracks. When faced with limited information, as with this set, discerning the source riddims becomes a sonic detective game. Con-Man offers a clear example, employing the Letter To Zion riddim from the Blackstones’ Open The Gates. This riddim’s popularity is demonstrated by its use in numerous tracks, including Half Pint’s One Big Ghetto, Barry Brown’s Girlfriend and Echo Minott’s Youth Man. Furthermore, the riddim surfaces in a dub of King Sighta’s lesser-known Shining Star, which appears to be Roffa Yet, a relicked version of Slim Smith’s Rougher Yet.
Consistently Exceptional
The dub workouts on this album are of exceptional quality, built upon expertly crafted reggae riddims from Skin, Flesh & Bones and Soul Syndicate. These riddims are masterfully reconstructed, emphasizing the core drum and bass patterns while incorporating subtle sound effects, fleeting organ flourishes, smooth horn melodies (African Communication, Which Clapp, Tower Dub), and guitar chops that gracefully fade into echoing depths. Notably, the production avoids excessive embellishments, maintaining a refined balance. At thirty-four minutes, the album’s length is typical for a 1970s dub release. While the absence of vocals leaves the original song sources somewhat obscured, Star Wars Dub remains consistently impressive. Decades later, these 1970s Jamaican dub workouts still resonate with their timeless appeal.