Originally a singer, Glen Brown first ventured into production in the early ’70s, releasing his distinct creations through homegrown labels. However, financial constraints ultimately led to a lack of success, with Brown unable to press as many copies as he would undoubtedly have been able to sell. Regardless, he continued to produce, turning out a series of excellent records during the second half of the decade. The rhythms Brown oversaw during those years, as performed by drummers Carlton Barrett and Carlton “Santa” Davis, bassists Aston Barrett and Lloyd Parks, organists Winston Wright and Earl Lindo, and many others of similar stature, stand up to virtually anything from the roots era. On record, they propelled performances by DJ Welton Irie and singers Sylford Walker, Wayne Jarrett, Glenroy Richards, and Brown himself. His supreme rhythms in their raw forms, without vocals, are impressive enough, but the mixing hand of King Tubby succeeded in taking them to another level, enhancing the producer’s work in fine fashion. The proof is in Termination Dub, an offering of 14 Brown/Tubby collaborations. “Save Our Dub” (Brown’s “Save Our Nation”) is a dread-heavy affair, Tubby covering the instruments in a thick fog. In a similar mold is the reworking of the haunting “Away With the Bad,” introduced by chilling horns, flute, and Brown’s wordless wail. Two cuts of the “Cleanliness Is Godliness” rhythm (“Assack Lawn No. 1 Dub”) demonstrate how differently Tubby approached a dub each time around, as does “Melodica International,” which pairs two versions of Jarrett’s “Youthman,” discomix style. Termination Dub is the ideal meeting of two reggae greats, serving as an excellent introduction, both to Brown’s production legacy and Tubby’s mixing skills. With its release in 1996, Blood & Fire added another genuine classic to the genre. – Nathan Bush