Adrian Sherwood

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At a Glance

Nationality: British
Born: 1958


Biography

Adrian Sherwood's love affair with Jamaican music began back in the late '60s when, as a child of 11, he would hang around outside a local West Indian club with a school friend, dancing on the pavement to the ska sounds of Prince Buster emanating from inside the club. It was the start of a lifelong association for the celebrated dub mixer/producer, whose second album for Real World Records, Becoming A Cliche, was released in November 2006. His other Real World release, Never Trust A Hippy, is being re-issued in the U.S. on April 23, 2013.

Sherwood has spent the last twenty years or so ... Read more

Adrian Sherwood's love affair with Jamaican music began back in the late '60s when, as a child of 11, he would hang around outside a local West Indian club with a school friend, dancing on the pavement to the ska sounds of Prince Buster emanating from inside the club. It was the start of a lifelong association for the celebrated dub mixer/producer, whose second album for Real World Records, Becoming A Cliche, was released in November 2006. His other Real World release, Never Trust A Hippy, is being re-issued in the U.S. on April 23, 2013.

Sherwood has spent the last twenty years or so producing and/or remixing some of the planet's most innovative recordings under his own moniker or that of his On-U Sound label, stamping his big, fat, booming sonic trademark on hundreds of releases from African Headcharge and Dub Syndicate to Nine Inch Nails and Primal Scream. So revolutionary is his knob twiddling that artists have been beating a more or less constant path to his North London home where, in a home grown recording studio, Sherwood continues to play his mixing desk, bulldozing boundaries between funk, reggae, dub and good old industrial noise with ease.

This biography was provided by the artist or their representative.

Adrian Sherwood's love affair with Jamaican music began back in the late '60s when, as a child of 11, he would hang around outside a local West Indian club with a school friend, dancing on the pavement to the ska sounds of Prince Buster emanating from inside the club. It was the start of a lifelong association for the celebrated dub mixer/producer, whose second album for Real World Records, Becoming A Cliche, was released in November 2006. His other Real World release, Never Trust A Hippy, is being re-issued in the U.S. on April 23, 2013.

Sherwood has spent the last twenty years or so producing and/or remixing some of the planet's most innovative recordings under his own moniker or that of his On-U Sound label, stamping his big, fat, booming sonic trademark on hundreds of releases from African Headcharge and Dub Syndicate to Nine Inch Nails and Primal Scream. So revolutionary is his knob twiddling that artists have been beating a more or less constant path to his North London home where, in a home grown recording studio, Sherwood continues to play his mixing desk, bulldozing boundaries between funk, reggae, dub and good old industrial noise with ease.

This biography was provided by the artist or their representative.

Adrian Sherwood's love affair with Jamaican music began back in the late '60s when, as a child of 11, he would hang around outside a local West Indian club with a school friend, dancing on the pavement to the ska sounds of Prince Buster emanating from inside the club. It was the start of a lifelong association for the celebrated dub mixer/producer, whose second album for Real World Records, Becoming A Cliche, was released in November 2006. His other Real World release, Never Trust A Hippy, is being re-issued in the U.S. on April 23, 2013.

Sherwood has spent the last twenty years or so producing and/or remixing some of the planet's most innovative recordings under his own moniker or that of his On-U Sound label, stamping his big, fat, booming sonic trademark on hundreds of releases from African Headcharge and Dub Syndicate to Nine Inch Nails and Primal Scream. So revolutionary is his knob twiddling that artists have been beating a more or less constant path to his North London home where, in a home grown recording studio, Sherwood continues to play his mixing desk, bulldozing boundaries between funk, reggae, dub and good old industrial noise with ease.

This biography was provided by the artist or their representative.

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