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	Adrian Sherwood - Wikipedia, the free encyclopedia
		Adrian Sherwood (born 1958) is a British record producer best known for his work with dub music as well as for remixing a number of popular acts such as Coldcut, Depeche Mode, Primal Scream, Pop Will Eat Itself, and Sinéad O'Connor.
		In 2003, Adrian Sherwood released his first album as a solo artist, Never Trust A Hippy.
		Adrian has also contributed to the blues, with his Little Axe project with Skip James.
	en.wikipedia.org /wiki/Adrian_Sherwood (187 words)

	The Stranger \| Seattle \| Music \| Feature \| Into the Dusky Maze (Site not responding. Last check: 2007-10-18)
		This label, which was started by then-22-year-old Adrian Sherwood and Kishi Yamamoto (Sherwood's wife at the time), produced, promoted, and distributed Jamaican dub in a country that reflected the very condition of dub music: the dispersed, unreal ruins of something once great and substantial.
		Adrian Sherwood did the impossible, and pushed that obsession even further: His dub became the end of dub, a dub that was an abstraction of an abstraction.
		Sherwood's output in the '80s is so vast that it's impossible to pinpoint a center and select a "best" or "most important" period.
	www.thestranger.com /seattle/Content?oid=9288 (802 words)

	Events reviewed by freeradicalsounds.com
		Sherwood and long time musical spars Pete Holdsworth and Mark Stewart, champions of U.K Dub-Techno and roots reality style, have a recording output now in treble figures and from this evening it sounds like this is about to swell.
		Sherwood knows some stagecraft and about minimalist presentation, having the ability to put on a show wherever and whenever.
		Sherwood was for once, front of stage demonstrating the mixing desk as creative instrument and tool.
	freeradicalsounds.com /everev.htm (668 words)

	newtimesbpb.com \| Music \| Adrian Sherwood
		Adrian Sherwood's pioneering work with bands like Tackhead was a major influence in the rise of the industrial and Bristol trip-hop sounds of the '90s.
		Sherwood's mastery of dub's expansive style gives him the room to play with a dizzying array of elements.
		In some respects, Sherwood is contending with a music world that has finally caught up with him; the fearless genre-blending that once set him so far ahead of the pack is no longer revolutionary.
	www.newtimesbpb.com /issues/2003-03-27/music/shortcuts4.html (276 words)

	Adrian Sherwood
		Adrian's life with On-U Sound started in 1979 when he collaborated with Mark Stewart, and members of the Slits to form the New Age Steppas debut album, a sleek debut with strong elements of Sherwood's passion for reggae shining through.
		But with old Adrian, the person and producer that has no doubt had a massive influence on the use of technology in the house scene today, you're hard pressed to find much written about him, let alone what it is he really does.
		Adrian's focus in life is to do the right thing in music, not for money, but for what he believes in.
	www.obsolete.com /on-u/sherwood.html (802 words)

	Adrian Sherwood (1958 - )
		Adrian Sherwood (born 1958) is a British record producer best known for his work with dub music as well as for remixing a number of popular acts such as Coldcut, Depeche Mode and Sinead O'Conner.
		When British producer Adrian Sherwood started his On-U-Sound label in 1980 as an outlet for scruffy punks and righteous rastas infatuated with reggae and its experimental spectrum of dub, he just wanted to make good records.
		When "On the Wire" launched on BBC Radio Lancashire on Sunday 16 September 1984 its first guests were Adrian Sherwood and Keith LeBlanc, its adopted theme tune, and therefore the first tune to be heard on the show, was a remix of the yet to be unleashed "Ravi Shankar Pt.1".
	www.jahsonic.com /AdrianSherwood.html (4499 words)

	Music: Gentle Genie (NewCity . 12-08-97)
		Sherwood also gained name recognition in America as the only constant figure in the New Age Steppers, a synthetic, electronic mishmash of reggae, dub and No Wave that crunched out five records between 1980 and 1983.
		Sherwood rarely plays the part of musician, instead preferring to produce, mix and engineer bands he takes under his seasoned wings.
		Sherwood has been so prolific and has worked on so many records he's proud of, that he can't even name the single project he enjoyed the most.
	weeklywire.com /ww/12-08-97/chicago_raw.html (652 words)

	tackhead.com: adrian sherwood (Site not responding. Last check: 2007-10-18)
		It was in New York that Sherwood recruited guitarist Skip McDonald, bassist Doug Wimbish and drummer Keith LeBlanc, together the onetime house band at the famed rap label Sugarhill Records, and under a variety of names (most commonly Tackhead) the trio brought new power and definition to the company's densely-textured recordings.
		By the mid-1980s, Sherwood was among the most visible producers and remixers in all of contemporary music, working on tracks for artists as varied as Depeche Mode, Einsturzende Neubauten, Simply Red, The Woodentops and Ministry.
		Adrian's natural attitude to stir up the sounds from different cultures with sensitiveness and taste, has attracted the attention of Peter Gabriel's Real World Records, who commissioned him his first real solo album.
	www.tackhead.org /soloheads/adriansherwood (843 words)

	Hear/Say: America's College Music Magazine - Features - Cool Tunes - Little Axe/ Adrian Sherwood (Site not responding. Last check: 2007-10-18)
		For Sherwood, dub-blues is a continuation of 20+ years on the beat-music scene where reggae, dub, industrial and world music come together to form a sinuous, thumping whole.
		Sherwood was born on the outskirts of London in 1958.
		It was Sherwood who transformed Jourgensen's faux-English pop singing into distorted, whispery menace, raised the electronic beats in the mix to a mechanistic assault, and brought in a heavy quotient of noise for percussive and atmospheric effect on ‘85's Twitch.
	www.hearsay.cc /features/cooltunes/02-04/LittleAxe.html (1168 words)

	THE ROMANCE READER reviews: The Duke’s Double by Anita Mills
		Adrian’s mother has invited the Benningtons to visit, determined to bring her son up to scratch by fair means or foul.
		But Mills also shows why Adrian acted as he did and causes Joanna to recognize that her pride in refusing to defend herself played at least a part in the tragedy.
		Watching Adrian remember his friend and slowly come to question his supposed betrayal is one of the strongest parts of the book.
	www.theromancereader.com /mills-dukes.html (892 words)

	Adrian Sherwood interviewed by Greg Whitfield
		I was welcomed at the door by Adrian, and ushered into a completely chaotic, yet calm and friendly atmosphere, with a lot of people getting on with their work in the studio.
		Adrian comes across as someone who is completely down to earth: direct, sharp, smart, and it is clear that this is a man who is very determined and resolute.
		Adrian looked somewhat dark and serious at the mention of Bim and it is obviously still a delicate point, since they had worked together for a long time.
	www.uncarved.org /dub/onu/onu.html (4946 words)

	Amazon.com: Never Trust a Hippy: Music: Adrian Sherwood (Site not responding. Last check: 2007-10-18)
		Sherwood has been a key figure on the margins of the UK dub reggae scene since the days of punk so it's somewhat surprising that Never Trust a Hippy is only his first full-length release.
		Sherwood has been around a long time, and considering his experience, if he's going to put out a solo album now, it had better be good.
		The most pressing problem I find with this is, I don't think Sherwood really had in his mind any audience as he was making this album, and thus this particular mix of dubbing, juxtaposing and tweaking seems better suited for home listening than the clubs, as is the case with other experimental electronica.
	www.amazon.com /exec/obidos/tg/detail/-/B000084T5U?v=glance (1526 words)

	Adrian Sherwood (Site not responding. Last check: 2007-10-18)
		At 17, Sherwood founded Carib Gems, the first label to release Black Uhuru, the first to license Jamaican High-Note Records releases for Brit release, and home to radical reggae vocalist Prince Far-I. By 1980, five years later, Sherwood had founded On-U Sound, the label, sound system and general umbrella banner for his work ever since.
		Through On-U, Sherwood delved deeper into reggae's left-field son, dub, facilitating the post-punk reggae explosion with members of the Pop Group and the Slits, as well as producing for bands such as Creation Rebel and the popular Tackhead.
		Or Sherwood's remix of "Paradise of Nada" by Pakistani vocalists Rizwan-Muazzam Qawwali, which turns mystical Sufi vocals into a deep-space sci-fi march of urban dub.
	www.pittsburghcitypaper.ws /scripts/printIt.cfm?ref=434 (538 words)

	Adrian Maxwell Sherwood MP3 Downloads - Adrian Maxwell Sherwood Music Downloads - Adrian Maxwell Sherwood Music Videos (Site not responding. Last check: 2007-10-18)
		It's hard to think of this as Adrian Sherwood's first album under his own name, since he's been so prominent on many other discs.
		He does let the tension build through the album, hinting at the madness on "Paradise of Nada Remix" before unleashing it with "Processed World" and "The Ignorant Version," where Sherwood's daughters sing a nursery rhyme, the bass kicks you hard, and the beat demolishes your mind.
		With only himself to please, he's taken it all the way, with some sci-fi dancehall dub that seems to be from another world entirely.
	www.mp3.com /albums/571873/summary.html (262 words)

	Bass Culture site / english text
		Adrian Sherwood has been a key character in the music scene of the past 30 years.
		Adrian's natural attitude to stir up the sounds from different cultures with sensitiveness and taste, has attracted the attention of Peter Gabriel's Real World, who commissioned him his first real solo album.
		On-u Sound label has a rich program of releases for the year 2004, and many titles are in an ending phase in Adrian's new studio: a new album by Little Axe for the Real World, new Junior Delgado and African Headcharge for the On-U Sound, and Adrian Sherwood's new one still for Real World/Virgin.
	www.bassculture.it /_englishfiles/booking/trad-adriansherwood.html (533 words)

	Keith Levene Interview Part 4 - Greg Whitfield
		The work I did with Adrian Sherwood and Creation Rebel was pretty intense too -- it was dark at times, there's no question about it, but we had a lot of fun as well.
		Adrian Sherwood wasn't at the centre of the Gunther Grove PIL scene, but he was certainly a part of it - me and John loved his production sound.
		As for me, I loved Adrian when he was broke, when he made those early ONU Sound albums from inspiration, purely for the love and joy of it.
	www.punk77.co.uk /groups/clashkeithlevineinterview4.htm (1630 words)

	Primal Scream . Webadelica
		The week before the release of 'Vanishing Point Adrian 'On-U' Sherwood ensconced him- self in the backroom of the Heavenly Jukebox, the spin- off of the legendary Social night that occupies Saturdays at London's Tummills.
		Sherwood also played heavy ragga tunes equipped with malevolent basslines until the buckling PA emitted a single ominous drone.
		But, Sherwood does improve the original album's weak link - 'Dub In Vain' puts a bomb under 'Medication' - and there are moments when he extrapolates the dub core of 'Vanishing Point' beautifully: 'Revolutionary', for example, spins 'Star' out until it glides on a delicate blend of melodica and brass.
	www.theprimalscream.com /press/select-echodek.html (366 words)

	Adrian Sherwood
		This uneven collection starts out strong but deteriorates quickly, as it is representative of Adrian Sherwood's production career.
		Eight of the first 9 cuts on The Master Recordings are good (the lone sub-par song being African Head Charge's dull African chanting on "Stebeni's Theme"), containing strong old-fashioned roots and rootsy dubs, but of the final 7 tracks, only Dub Syndicate's "J.A. Minor" is worth a listen.
		That said, I don't think that this album is any worse than what I've heard from the more experimental On-U Sound groups (which I also don't care for), and if you do like the modern dub sound of the UK and elsewhere, then this may be right up your alley.
	www.reggae-reviews.com /adriansherwood.html (432 words)

	Review: Little Axe, The Wolf That House Built - Jon Steltonpohl (Site not responding. Last check: 2007-10-18)
		Sherwood's name is found as the production or re-mix credit on an amazing number of industrial and techno albums.
		Skip MacDonald and Adrian Sherwood started Little Axe as a side project after listening to the blues collection of Tackhead vocalist Bernard Fowler.
		And once he lulls you into a trance, the howl of a bluesman or the wail of a gospel singer is all Sherwood needs to bring you back to reality.
	www.westnet.com /consumable/1995/March06.1995/revlittl.html (601 words)

	The Slits - In Conclusion
		Adrian ONU Sherwood remembers that tour with fondness and humour, as is clear from his account in Beat Records:
		was another good groove: Adrian brought one of the ONU Sound family to the recording session for the drum tracks, a guy called Cecil.
		I have a lot of regard for Adrian Sherwood; the early stuff he did with The Slits as well as the Sean Oliver tracks.
	www.punk77.co.uk /groups/slitstessapolittinterview3.htm (1302 words)

	[No title] (Site not responding. Last check: 2007-10-18)
		How Adrian Sherwood came into this was from dealing with people like Prince Far I who was a hot deejay in them times internationally, not only locally.
		Adrian would be the one in London to help get distributors for his products.
		As I say, Adrian Sherwood got scared because he thought it was all involved with the music and ray, ray, ray, and this and that...
	niceup.com /interviews/style_scott (642 words)

	Jazz Concert Review Tackhead / Adrian Sherwood: live in that Windy City @ jazzreview.com (Site not responding. Last check: 2007-10-18)
		Producer Adrian Sherwood has twiddled the knobs for some of the trippiest dub ever to emanate from the British Isles (African Headcharge, Creation Rebel, Prince Far I) and he's done production work for nominally more "pop" acts Nine Inch Nails and Ministry.
		And as hard for it might be to believe for anyone under 30, there was a trio of real musicians at the core of the earliest and most influential hip-hop records (Grandmaster Flash's "The Message," Sugarhill Gang's "Rapper's Delight"): Keith LeBlanc, Doug Wimbish, and Skip McDonald on drums, bass, and guitar respectively.
		Sherwood spinning and (re)mixing a selection of reggae, dub, and jungle discs -- with him, bass frequencies are lethal weapons.
	www.jazzreview.com /articleprint.cfm?ID=3384 (361 words)

	Pretty Hate Machine - Wikipedia, the free encyclopedia
		Trent Reznor, Flood, Adrian Sherwood, Keith LeBlanc, John Fryer
		TVT paired Trent up with well-known producers Adrian Sherwood and Flood, as well as some lesser-knowns who Reznor later claimed to hate working with
		The album was released on October 20, 1989 and was a critical success.
	en.wikipedia.org /wiki/Pretty_Hate_Machine (470 words)

	Little Axe
		Adrian Sherwood’s history as a record producer puts him in a league of one, miles above his closest competitor.
		In 1979, Adrian co-founded the On-U Sound label, which introduced African Head Charge, Bim Sherman, Dub Syndicate, Creation Rebel, and nearly every UK-based new reggae or dub project that was worth listening to.
		While nearly every record on On-U Sound carried the Sherwood production stamp, Adrian also singlehandedly spearheaded industrial music by producing and co-producing the ground-breaking Twitch by Ministry, Pretty Hate Machine by Nine Inch Nails, and records by KMFDM, Skinny Puppy, and The Cure.
	www.fatpossum.com /artists/littleaxe.html (172 words)

	Orlando Weekly - Music Review - Never Trust a Hippy
		From the revolutionary joke of the title to the freakin' frog on the cover, the effect indicates the music within may well be some sort of light rejoinder to Adrian Sherwood's storied history as a production provocateur.
		Sherwood maintains the smoldering violence that's always lurked behind his sultry, multi-culti dub work for the On-U Sound label, recasting his approach for this morally decrepit decade.
		Largely restrained in tone but richly cinematic in texture ("Dead Man Smoking," the straightest "reggae" track, is icily dry in its approach), this album shows why Sherwood, with his intellectual-but-intuitive approach to pan-ethnic dub and studio trickery, is still light years ahead of his American analog, Bill Laswell.
	www.orlandoweekly.com /music/review.asp?rid=6352 (195 words)

	CD Review of Adrian Sherwood - Never Trust A Hippy on Realworld @ jazzreview.com
		Adrian Sherwood is a British music producer whose resume includes work with the Dub Syndicate, African Head Charge, Asian Dub Foundation and Lee “Scratch” Perry.
		Less of a performer than a producer and conceptualist, Sherwood has been involved in some of the most mind-bendingly inventive sounds coming out of that UK scene where reggae, dub, funk, punk, jazz, dance music and world music intersect.
		Despite this platter’s cynically satiric title, one might be hard pressed to find a recently recorded album that’s as truly psychedelic as this one.
	www.jazzreview.com /cdreview.cfm?ID=4249 (199 words)

	NOW: adrian Sherwood, Mar 13 - 19, 2003
		As the roots radical behind the On-U Sound label, Adrian Sherwood brought his kaleidoscopic mixes to records by Dub Syndicate, Creation Rebel and Prince Far I, taking the bin-shaking blueprints of King Tubby and Prince Jammy and launching dub into the present.
		Never Trust A Hippy shows that Sherwood the artist is on a par with the producer.
		Bringing in hot upsetter and Diwali creator Lenky for a couple of tracks is a clear sign that Sherwood isn't stuck in the past, but rather is still committed to determining dub's future.
	www.nowtoronto.com /issues/2003-03-13/music_discs9.php (320 words)

	Amazon.com: The Master Recordings: Music: Adrian Sherwood Presents (Site not responding. Last check: 2007-10-18)
		Pre-1988, and the acid house explosion in England, the only sounds that stood out from the post-Joy Division gothic dirge or soulless 80's pop came from the On-U stable.
		Adrian Sherwood was a genius; the music he produced still sounds as fresh and avantgard today.
		He gathered a serious group of musicians, giving life once more to artists such as Prince Far I, Bim Sherman and even Lee Perry, who had all somewhat fallen by the wayside.
	www.amazon.com /exec/obidos/tg/detail/-/B00000DAR5?v=glance (631 words)

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