Kelvin R Producer Profile Track 2: ENTER THE CHUZZLER Track 3: HEAVYWEIGHT SITUATION Track 6: DUB IN THE ARENA Track 8: MUDIE'S DUB REQUEST Track12: A CHILLED OUT VERSION Since its creation, my vision for the DFA has always been to embrace a collective group of like-minded and creative music producers who have the vision and technical capabilities to experiment beyond their chosen genre of music, whether it is Drum and Bass, Reggae, House or Hip-Hop, to push forward the boundaries of 'Dub'. I discussed at length this album project with the other members, citing the tumultuous days of the late 70's and early 80's as the period of the classic sound systems: Coxone, Saxon, Soferno B, Shaka, Neville King, Abba Shanti, Lord Koos and many others. "They could not wait to start work on it!" As well as working again with Part 2 and Dave Hendry (Transequence) from the 'Confrontation in Dub' album, the shape of the new DFA has been brought into sharp focus by forging new relationships with the highly respected UK Reggae/Dub producer Russell (Disciples) Bell-Brown, ex Brent Black Music Co-operative sound engineer Trevor (Technician) McKenzie and Swiss producer Daniel (Interupptor) Bossard. This was great, because it meant that this release would be firmly rooted in the Dub arena. Also in the case of Hip-Hop producer Part 2, a well-respected Graffiti artist, it would not only be about creating 'the beats' but also about 'visualising' the music; 'Visualising the Dub'. 'Visualising the Dub' was something I used to do as a child while experimenting with early 8mm home movie films, I used to actually make animated visual interpretations of Dub music back then! One of these 'Visual Dub' films 'Blood shot Eyes' (utilising the late Keith Hudson's Dub of 'Bloody Eyes') won a BBC 'young film makers' award and was screened on BBC television as part of its competition prize that year". I remember when I was younger going to carnival (76/77?) Java Hi Fi was 'tearing it up' opposite the flyover, there were hundreds of copies of an album in a simple black and white sleeve just littered across the ground everywhere! The album was 'Contempo Jade' by Black Jade. That album is one of my most prized possessions amongst a record collection, which exceeds thousands! It definitely inspired me towards the creation of the 'Sounds of the Heavyweight' album. The quality of that recording, so 'raw', the bass so 'sub', you would need a JCB to bring it up! Yet it captured a spirit, a raggedness, a something, which I yet to fully appreciate in many of today's Dub/Reggae recordings. After the 'Confrontation' album, which was the essence of 'Dub Funk', "the bringing together of Reggae, Dub Jazz, Techno and Hip Hop music", I just wanted to exorcise a few demons. I just wanted to make a straight up, no-nonsense, stripped down 'Dub' album but with that undeniable 'flavour', that 'something', which will always been the Dub Funk Association.