Wor.49 Now available in all stores!
This might be the most leftfield release Worship has put out since those early years of releases. Who would have thought that these two unruly producers would have linked up for a collaboration like this? We did, and we present the musical evidence to prove it right here with their debut release entitled ‘Number One’.
Tanner Ross (Dirtybird, Freerange, !k7, Soul Clap Recordings) and Rob Paine (Worship, Leftroom, Shaboom, Large Recordings) met upstairs from the Worship Recordings home base at a goodie warehouse event they both performed at. Burning the midnight oil into the breakfast hours together they created a foundation for a friendship that is still going strong 3 years later.
The original mix of ‘Number One’ was created only a few months after Tanner & Rob’s first encounter. Both in foreign territory never working together in the studio, they didn’t know where this was going to go at first. But they both left their egos at the door and learned to trust each other as the ideas and techniques soon developed. Knowing the styles each other has from their previous releases, you can easily hear the influential tones of both of these artists on this track. Big ups to the Don Gorgon DJ Ninjaman for his contribution.
‘Number One (Dub)’ keeps that same dub driven bass line and tight punaany drums the original possess but gives Ninjaman a break on the vocals and dubs out the drums and hits weaving in and out of the track. This rendition still gives you that same crazy fucking horn lick (no other way to describe it) and glorious tech stabs at the half way point. Intended for the heads who aren’t so much into reggae vocals but love the feel of dub.
For the purist, we had to include the ‘Number One (Version)’ track to seal up the trinity. If you know reggae music then there is no need to read any further. If not here is the Urban Dictionary definition of ‘version’: “An instrumental version of a reggae song often dubbed onto the B-side of a single. Sometimes DJs would rap or ‘toast’ over top of these versions. Through the studio manipulation and experimentation of such figures as King Tubby, Augustus Pablo and Lee ‘Scratch’ Perry this practice grew into the reggae subgenre known as dub.”