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Dub (Revolution Review

Dub Revolution, March 2005

Nikolai Beverungen, owner of the Hamburg Echo Beach label, is always looking for interesting ones DubManifestations. He is increasingly finding what he is looking for in the most remote corners of the world. Just in time for the last edition of Riddim, he presented his “South Africa in Dub“-Sampler, so he now serves us "The Sound Of Dub - New Zealand in Dub" (Echo Beach / Indigo) freshness Dub-Tunes from New Zealand. The crazy thing is that no matter where they are from Dubs come from, be it from France, Brazil, England, the USA, Germany or even from Kiwi country, they are always highly interesting music experiments that, surprisingly, hardly have any regional characteristics. It almost seems as if they would Dub-Plant, no matter where they sprout from the ground, always from the same one that pervades the entire globe, Dub-Rhizome nourished. Dub is not folk music, but studio music, so it is not surprising that the 15 tracks on “New Zealand in Dub“Don't sound like Shire or Mordor, but like London, Paris or Hamburg. It's “The Sound Of Dub“, As it logically emblazoned on the Echo Beach samplers. In New Zealand, this sound is in full bloom and is cherished by the local label "Loop". For three years, Mr. Beverungen viewed material and has now imported the 15 best tracks to Europe. Although the pieces of 12 different Dub-Producers, the sampler is very closed and stringent. All tracks are based on solid, warm reggae beats and from there explore the world of urban sounds such as drum 'n' bass, electronics, downbeat and melodic pop. The names of the artists include Confucius, The Black Seeds, 50Hz, Pitch Black or Rhombus - complete nobodies at international level Dub-Parquet, very wrongly, because hers Dub-Tunes undoubtedly belong in the first division. Especially the Black Seeds should have real hit potential in Europe with their pop melodies. Lee Tui is of a completely different caliber. In an angry rap - over a stoic, bass-driven beat - he demands social and ecological responsibility. The perfectly arranged one is also outstanding Dub “Winds” by Rhombus, crowned by the bewitching voice of Raashi Malik. Very, very nice, the whole thing. Let's hope that DubImporter from Hamburg still has many interesting flowers of the Dub-Rhizomes will be able to track down. Here's a first suggestion: How about Japan?

Poland is also an undiscovered one Dub-Country. The two samplers are currently available again "Dub Out Of Poland Part 1 " and "Part 2" (both import) from 2001 and 2002, on which the Polish DubScene presents. Even if some tracks are not yet properly modeled on the UKDub of the 90s, so is the quality of the one presented here Dubs extremely good. Especially on “Part 2” there are a few first-class productions, such as z. B. Dj Ridm feat. Roots Temper with “Zion”, a nice uptempo rockers track. Or even better: "ViolinDub“From the Crazy Sound System, on which a violin strikes melancholy Polish folk tunes. Memories of the Trebunja family are awakened!

Likewise Alpha & Omega speak up again, in the truest sense of the word, because their new album "Trample the Eagle and the Dragon and the Bear" (Greensleeves / Rough Trade) is a showcase album with guest vocalists. Probably inspired by Rootsman and Twilight Circus, who launched similar projects last year, Mrs. Woodbridge and Mr. Spronsen also felt like a little company in the studio. Among other things, they have invited a special star guest that nobody expected: Gregory Isaacs! A little desperate he sings against the A&O rhythm. The idea is good, but Gregory's voice needs space that this typically overcrowded rhythm doesn't give it. And so the master sounds pretty lost in the sound jungle from London. Even more striking is the disparity between voice and sound allover in the title track, on which Reuben Master desperately tries to be heard. Maybe Woodbridge and Spronsen didn't trust their concept for the final mix after all and turned the voices down to the level of the instruments. Only on the first track of the album is the ratio correct, and this was typically mixed by Mad Professor. With this vocalist in particular, it almost didn't matter whether you understood him or not, because nobody else produces as much verbal nonsense as he does: Lee Perry. The professor has succeeded in mixing the A&O rhythm in such a way that it sounds like an original Black-Ark-Ryhthm, to which Perry fits absolutely ingeniously with his minimal melody. Hands down the best tune on the album. In addition to Perry and Gregory, there are also Bunny Lie Lie, Horace Martin, Addis Youth and Reuben Master on the album, although the latter is absolutely not convincing. Unfortunately he just voiced three tracks ...

It is a very nice, experimental album "Conversations" (Suite Inc./Import) by Dubital. Behind this name are two Italians called Raffaele Ferro and Matteo Magni, who obviously love to play distorted voices and crazy sounds to solid, bass-grounded rhythms. That fits together wonderfully, because while the rhythm conveys security and structure, the effects constantly counteract this hold and thus create a very strange tension of concentration and confusion. Completely fascinating is the piece "Mama Don't Cry", which runs over a stoic-brazen computer bass and is accompanied by sugar-sweet, strange organ sounds and reverberating vocals.

“As a child, I was given cough syrup containing codeine and then watched the world around me in slow motion. I tried to convey this feeling in the sound of the Codeine tracks and songs, ”says Digital jockeywhat to him with his album “Codeine Dub" (Poets Club / Soul Seduction) succeeded in an excellent way. Especially “Opium Dub“, The album's 9-minute penultimate track is a study of slowness. Even Ernestus and von Oswald should take off their hats here. The fact that digital jockey, who is half of the computer jockeys from Cologne, has his roots in electronic music, can hardly be overheard. His tracks are extremely minimalistic and almost rationally constructed. Often it's just a jazzy piano solo that brings a certain unpredictability and organic movement to the tune, sometimes it's the voice of Terry Armstrong. Then the structures dissolve again in a complete noise all-over, only to be replaced by an old-fashioned song with piano accompaniment. Very fascinating.

Now we come to the revival selection. The two most important reissue labels, Pressure Sounds and Blood and Fire, have announced their new albums. The latter celebrates its tenth anniversary "Run It Red" (Blood And Fire / Indigo), a selection from their own pool, put together by Simply Red frontman Mick Hucknall - which is also pretty obvious, since Hucknall is one of the founders of Blood And Fire alongside Steve Barrow and Bob Harding. Amazingly, Hucknall has predominantly for his birthday serenade Dub- Pieces selected by King Tubby and his protégé Prince Jammy. All pieces are from the 70s, most of them from the first half. A solid selection, the real one Dub-Friends won't be knocked off their feet either, because the Dubs of the classic Bunny Lee productions are well known. Actually, it's the mixture with the vocal pieces that makes the anniversary album interesting. Tunes by Gregory Isaacs, Big Youth, Prince Alla, the Congos and others are interspersed here with regularity - whenever it just starts to get a bit boring.

Stylistically, the Pressure Sounds album is not too far removed from this "Down Santic Way" (Pressure Sounds / Rough Trade) with productions by Leonard Chin from 1973 to 1975. There are also some vocal tracks here, z. B. by Freddie McKay, I Roy or by a certain William Shakespeare, who turns out to be Gregory Isaacs. The sound of the productions is - in keeping with the style of the time - bone dry, brittle and at the same time rough. Even when Tubby occasionally turns in a little reverb or Augustus Pablo thinks about his melodica, the groove doesn't want to flow. Rough and unpolished, the minimalist rhythms stumble on, driven by the dryly struck snarre and tight guitar riffs. Even if the Pressure Sounds people leave no doubt that they have unearthed a real treasure here, the keterrian remark that this treasure requires a certain capacity for suffering in the listener is allowed.

How much the sound has changed with the appearance of the Revolutionaries (with Sly & Robbie) can be seen "Earthquake Dub" (Hot Pot / Indigo) by Ossie Hibbert Listen. The beats roll like clockwork here, driven by Sly's unmistakable rockers drumming. Four to the floor it goes here with a dynamic through the rhythms that one can only be amazed. Hibbert, who mixed the album at record speed, may have benefited from this, because it sounds particularly exciting Dub-Mix not. But what the tracks lack in an interesting mix, the superbly rehearsed rhythms like "Pick Up The Pieces", "Declaration Of Right" or "So Jah Say" more than make up for it.

This is followed by the album "Leroy Smart In Dub" (Jamaican Recordings). Here the beats sound even rounder and the bass warmer. Tubby wasn't exactly exhausted with the mixes (how could he, with an average of 200 Bunny Lee rhythms per week) and delivered a routine minimal mix. Sly Dunbar also seems to have calmed down a little more here. He and Santa Davis hit the snarre more sparingly, but no less impulsively, while Robbie plays gently grooving basslines. Occasionally a well-known bassline like "My Conversation" or "Zion Gate" sounds. Everything was very relaxed and peppered with scattered Leroy Smart snippets. Not sensational, but very pleasant - ideal after a long day full of nerve-wracking experimentalDubs ...

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Dub (Revolution Review

Dub Revolution, January 2005

Dub is defined by the sound and not by a special rhythm pattern like almost all other music styles. Dub is like a free radical - ready at any time to react with other elements and produce new syntheses. The exciting thing is that the outcome of the reaction is never completely predictable. Something new always arises that cannot be calculated or described, but can only be experienced by hearing. It is, so to speak, “musique pure”, the abstract essence of a piece of music - only exists at the moment of listening. To Dub-Letting in music always requires curiosity, open-mindedness and attention. In Germany there is probably no label that combines these three virtues better than Echo Beach (also the home of Select Cuts) from Hamburg. “Open Mindness” is the guiding principle here and that's how Echo Beach has had us over the years Dub-Sounds of the most diverse styles and locations conjured up on the turntable. The latter in particular is likely to be unique internationally, because Echo Beach already has some pretty interesting ones Dub-Showcases from the most diverse corners of the world, z. B. from France, the USA, Brazil, Germany, India and now: South Africa!

In cooperation with the South African label "African Dope", 16 Dub-Pearls from the Cape of Good Hope to Germany, here to the extremely interesting Dub-Album "The Sound Of Dub (South Africa In Dub) " (Echo Beach / Indigo) to be threaded. Anyone expecting township music here is completely wrong. The Dub from South Africa is an absolutely urban sound - bass driven, electronic and of great stylistic openness. Important protagonists of the South African electronics scene are the Kalahari surfers, of whom several songs can be found in the track listing, under their own names or as producers of ghetto muffins. They recorded electronic music as early as the apartheid era, which was regularly banned by the regime. Their sound is a bit reminiscent of Leftfield and mostly doesn't run over a reggae beat. The sound of DJ Dope and Juan Thyme is completely different, with almost the current UKDub to be confused is nice deep and groovy. Felix Laband is also really good with a fat, melodious one Dubwhose heart is a wonderfully distorted bassline. Prankster, Ghettomuffin and the Chronic Clan bring a little dancehall flair, which does exactly what its name suggests - and sounds a little American at the same time. It all adds up to a very interesting excursion into the Dub-Underground of southern Africa, which - and this is a real surprise - doesn't sound particularly African. But that's the way it is in a globalized world. Let's see what the sounds from New Zealand sound like, which the next Echo Beach release will be dedicated to.

The album comes from the same label, Echo Beach "Africa Unite In Dub" (Echo Beach / Indigo) from the Italian of the same name Dub-Combo. Named after a song by Bob Marley, their repertoire consists partly of Marley covers, of which “This Is Love” opens the album. This is followed by thirteen heavy-dutyDubs, nine of them mixed by none other than the popular Mad Professor from the Ariwa-Dub-Asylum. Only at the end there is another Marley song, as it were as a reverential ritual to the holy Bob, followed by a liveDub. Here the professor delivers good, inspired craft and mixes Dubs of very different moods. Sometimes with driving drum & bass drums, sometimes with strong, warm tones and sometimes with dry sounds, as if they had come out of the Tuff Gong studio. Most astonishing, however, is that the DubIt doesn't sound like a Mad Professor in the least. Either the source material was already extremely concise, or the professor had his intern mixed up. In the latter case, the internship should definitely turn into a permanent position!

Let's stick with it a little longer Mad Professor, On "Mishka In Dub" (Sony / Import) it also has a Dub- Mercenaries hired. I don't know who Mishka is, his music doesn't sound particularly exciting. The tiny, im Dub-Mix leftover vocal snippets suggest a terrifying vocal album.

That sounds more interesting on your own Mad Professor resulting new work entitled "Crazy Caribs - Dancehall Dub" (Ariwa / Sanctuary / Rough Trade). Here has the Dub-Master dared to dancehall rhythms, played among others by Mafia & Fluxy and Sly & Robbie. With that he comes somewhat close to the current dancehall sounds, but there is scope for one of them Dub-Mix hardly remains. Also, with the typical interruptus rhythms, there is no real groove - which is also the case with most dancehall B-sides. Obviously, the dancehall backings only work properly with Deejay. So far the professor has created good material for a few hardcore dancehall albums from Ariwa, for one Dub-Album, on the other hand, is, let's say: suboptimal.

Another highlight: "Dub It " (Nature Sounds / Import) by Earl "Chinna" Smith. This is the Dub-Version of Mutabaruka's debut album "Check It" from 1982. Produced by Chinna Smith, it became a classic of the Dub-Poetry. Muta's very present voice and lyrics dominated the album so much that the music never got the attention it deserves. That is why Chinna Smith has now, 22 years later, decided to mix the then mixed by Errol Brown and Stephen Steward and previously only published on a few B-sides DubTo re-release s in album form, "because I don't hear anything else better" says Chinna in the liner notes - and he is not entirely wrong. The craftsmanship of this album is really extraordinary - which the mix takes advantage of by concentrating on very few instruments that can be heard at the same time, revealing the precision of their playing. Recorded in the Tuff Gong studio, it sounds incredibly crisp and dynamic. Augustus Pablo was on the keyboards for most of the songs, Chinna played the lead guitar and Sydney Wolfe contributed fantastic percussions. Drum and bass were played differently, including Carlton Barret and Leroy Wallace. Unfortunately, “Check It” was the only collaboration between Mutabaruka and Chinna Smith. If you listen to the recordings again today, you ask yourself why.

Reggae is mainstream in France. Happy country! And hardly anyone suspects that it is Serge Gainsbourg who had made a significant contribution to this when he went to Jamaica in 1979 to work with the I-Threes, Sly & Robbie in the human body and facts about the Revolutionaries under the title "Aux armes et caetera" (Mercury) to record an authentic roots reggae album in French. Back in France, the album, which was produced in just one week, was a gigantic success for Gainsbourg - not least because his version of the French national anthem caused a serious scandal (the title alone is awesome). Bruno Blum now thought that the old recordings would be a great basis for a few spectacular ones Dub-Mixes would be. So he brought the old tapes to Jamaica and Dub-Veteran Soljie Hamilton brought into the studio to give him ten Dub-To mix versions. That was a good idea because the revolutionaries are playing their hearts out here. You have seldom heard such powerful rockers rhythms. Soljies Dub-Versions you can hear that he was completely in his element here. He mixed beautiful old-schoolDubs as if they were recorded in 1979. A real déjà vu! This one DubThe s, which form the heart of the new edition of “Aus armes et caetera”, were, in addition to the original album, also, as it were, as “bonus tracks”, reinterpretations of the backings by Jamaican artists - of which Big Youth, King Stitt and Lone Ranger are the best known are - added. But these pieces are largely disappointing. Only King Stitt's “The Original Ugly Man” is funny. Probably his first tune in 40 years!

Last but not least, the rerelease of "Ranking Dread In Dub" (Silver Kamel / Import) mentioned, originally in 1982 as DubVersion of "Fattie Boom Boom" came out. The first half of the tracks were recorded by Sly & Robbie and mixed by King Tubby, the second half by the Roots Radics, mixed by Scientist. The tracks are correspondingly of high quality. It is particularly interesting to compare the sound of the Rhythm Twins with that of the Radics and analyze Scientists' style in comparison to Tubby. Overall, a beautiful work from the golden age of Dubthat deserves its re-release.

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Dub (Revolution Review

Dub Revolution, November 2004

The name "Dub Funk Association " is cleverly chosen, as it leaves an interest group with many influential members to promote Dub- and suspect funk music. The spearhead of a movement that Dub proclaimed the universal principle of modern dance music and promotes the merging of the two styles. None of this is true. The "Dub Funk Association “actually consists of only one man, Kelvin Richards, who, while in fact, is his idea of ​​contemporary Dub-Music that doesn't have much to do with funk. Since the 90s he has been producing (in addition to his own productions) Dub-Compilations together that showcase his take on the genre. Now his point of view is by far not as progressive as he himself assumed, but what the quality of his “Roots Of Dub Funk “albums doesn't do any harm. Nothing more and nothing less than simply really good are gathered here Dub-Tunes that Richards brings together from around the world. For "Roots Of Dub Radio 4 " (Tanty / Rough Trade), which has just been released, he has 14 pieces out of around 125 Dub-Albums selected - and not made a single mistake. Because in addition to fat basslines and inspired mixes, it is above all melodies that Richards cites as a quality criterion. And how much we, enlightened beat junkies who we are, love harmonies and beautiful melodies is amazing. And believe it or not: Dub offers plenty of space for melodies. Be it the bassline, be it brass samples or well-placed keyboard chords - there is actually no excuse to forego melodies in the polyrhythmic of the beats, as Mr. Richard proves once again.

Harry Mudie - Jamaica's veteran producer, from whom z. B. the legendary Dub-Conferences originating with King Tubby is obviously still active. A new episode of his "In Dub Conference“Series came out, which was no longer held in the presence of King Tubby, but a certain one in his place I-Tek Paul (Moodisc / Import) sat down at the conference table or mixer. In complete contrast to the rather questionable quality of his name, I-Tek Paul shows some dexterity at the mixer and delivers a consistently interesting, very active and inspired mix DubAlbum off. His mix material, however, is not about classic Mudie productions, but new, digitally recorded rhythm tracks - even if they like to reanimate one or the other Mudie bassline. The album is only available in Germany through Irie Records in Münster (www.irierecords.de).

Dubmatix is called Jesse King, sound freak from Toronto, who is now with "Champion Sound Clash" (MPLA / Import) presents his debut album. Its title is to be taken literally, because different people meet on this album Dub-Sounds on each other. Be like that z. B. pure steppers Dubs in the style of the UK school, contrasted with heavily dancehall-influenced up-tempo pieces. But also melodic rootsDubYou can find s with sung hooklines up to sugar-sweet lovers backings here. Mr. King is not so confident in all "sounds", but it is fun to see him on his way through the Dub-To accompany the universe - one can only argue about his sporadic singing skills.

The album sounds completely different "Conquering Dub"(Reggae Retro / Import) from Alien Dread (a name unknown to me about which nothing can be found out). The beats flow calmly and calmly, place themselves modestly in the background and seem to have no more in mind than wanting to fill the room with warm vibes. I often heard the album while working - as an anti-stress agent, so to speak. It worked wonderfully. However, the album does not stand up to conscious listening. On the other hand, the pieces may be uniform and uninspired.

Sound empire is also one of those previously unknown Dub-Projects that is now coming to the public for the first time with an album. There are three Minneapolis names behind the Sound Imperium: Paul Harding, Dave Park and Aaron Bellamy. For years they have worked on their album with various artists from Jamaica, Cuba, Sierra Leone, Costa Rica and the USA "Pre-Emptive Dub Attack "(Revolucion Disks / Import) worked. Correspondingly many influences can also be heard on the album, with the cumbia track “Mi Gente” in particular standing out positively. This Latin American orientation, in combination with song titles such as "Dub Annihilation (State Terror Mix) ”,“ CIA ”, or“ No Dub for Babylon “the political message of the sound empire clearly: With drum & bass it goes against neo-conservative America under the Bush administration. Since this message hardly deals with exclusively instrumental Dub-Music can convey, the Dub-Excursions supplemented by four vocal pieces. Stylistically, the album can hardly be grasped due to its diverse influences. Dub seems to have been the lowest common denominator here. Therefore, the individual pieces are often quite disparate. In terms of sound, too, little goes together here. In that sense, we are dealing with a bad album, but a good compilation that brings together interesting but very different pieces. But no concept is also a concept.

Now we come to a very simple, but absolutely effective concept: Live Dubs. We're talking about three American musicians, DP Holmes (guitar and keyboards), Stu Brooks (bass and keyboards), and Joe Tomino (drums and melodica) who go by the name Dub Trio on their album "Exploring The Dangers Of" (ROIR / Import) want to print their individual DubPlay in completely analogue and live in real time. Even the effects like reverb and echo are produced live. This concept represents the production method of Dub on the head. Defined as pure studio music that reworks previously recorded material Dub the exact opposite of a live gig like him Dub Trio practiced. According to this definition, the pieces of the Dub Trios no Dub. From a purely phenomenological point of view, however, they are, because they are damn good Dub-Tunes sound. The whole concept of the live game wouldn't be worth mentioning if the resulting music didn't have a very unique quality. A very interesting one: the music sounds rough and coarse, powerful and direct and it breathes a real live atmosphere by listening to the room in which it was played. This becomes particularly clear with the three concert recordings, where the response of the audience was captured. Through the applause, the extraordinary virtuosity of the musicians suddenly becomes very noticeable. What sounds like a wall of sound are just three musicians! A fascinating album, then, which in the end is unfortunately only the "documentation" of the live action, which this is actually about.

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Dub (Revolution Review

Dub Revolution, September 2004

Albums produced by Dennis Brown are a rarity. On "Dennis Brown Presents Prince Jammy" (Umoja / 20th Century Dub/ Blood And Fire / Indigo) there are two of them on one CD. Little is known that Dennis Brown was a producer at all. I don't know at all whether he produced the original recordings of the two albums himself, or just that Dub- Funded rework from borrowed tapes. That is a question that is not particularly relevant, given that the actual star of this Dub- The name of the albums is Prince Jammy, who at the time of recording, 1978-79, had become chief engineer at King Tubby's studio. Young and highly motivated, he gave his best and recorded a rather complex mix compared to Tubby's handwriting. The first album "Umoja Love & Unity" came out in 1978 on Brown's own DEB label and offers versions of Dennis Brown songs such as “The Half”, “Troubled World” or “Children of Israel” as well as recordings by other artists, such as Lennox Brown's recut of the Studio One classic “Frozen Soul "(" Love Won't Come Easy "), which opens the album very impressively. But while “Umoja” was not selling well, it was the second album on this CD "20th Century DEB-Wise" quite a success - which is hard to explain, as both albums are very similar in terms of style, mix and sound. Maybe the rhythms on DEB-Wise tend to be a bit better and the mix a bit more King Tubby-typical. Be that as it may: Both albums feature the superb drums of Sly Dunbar and the bass of Lloyd Parks and Robbie Shakespeare. They recorded nice tight rhythms that were remastered for the rerelease in London. Even if these two albums are not really compelling, they combine very beautiful (and rare) material, which unfolds its qualities more impressively with each concentrated listening. 

The other Dub-Highlight of the last two months comes from the Pressure Sounds label: "Dubbing with the Royals "(Pressure Sounds / Rough Trade). It presents 14 produced by Roy Cousins Dub-Tracks, an instrumental by Gladstone Anderson and four DJ versions. The starting point for researching the oeuvre of the Royals is their song “Pick Up the Pieces”, which has a central place on the album in the form of three versions. Especially the version mixed by Tubby and Lee Perry under the title "Llongo" is one Dub-Milestone. The track “Monkey Fashion” with I-Roy's voice-over is also a collaboration between the two of them - but in this case also remixed by Errol T.! The entire Who Is Who of those times Dub-Mixing Elite contributed to the recordings collected here: Prince Jammy, Scientist, Soljie Hamilton and Ernest Hookim; and it's really exciting to compare the pieces and those Dubs to be assigned to their creators. The four DJ versions of I-Roy and Prince Far I, which are loosely below the, provide very entertaining anchor points in the flow of the rhythms Dubs were mixed. Especially “Negusa Nagast” with Prince Far I, who opens the album, stands out. Far Is thunderous vocals, embedded in a sea of ​​echoes, sound like Jah's words from beyond, pitched down to a deep murmur and in perfect synchronicity with the sharp attack of the snarre.

A few years further towards dancehall lead us to one DubAlbum by Don Carlos, “Inna Dub Style "(Jamaican Recordings), with 14 Bunny Lee productions from 1979-80. Recorded in the Channel One studio, we can already hear the fat rhythms of Sly & Robbie and the Roots Radics. As usual from that time, you will find mainly reworks of classic rhythms like "Real Rock", "Queen Of The Ghetto", "I'm Just A Guy", My Conversation "or" Satta Massa Gana ", which undoubtedly are excellent foundation for a DubAlbum is. But unfortunately the unknown one goes Dub-Mixer (maybe Soljie, or Ernest Hookim?) Not equally inspired to work with every tune. So is z. B. "Conscious Rasta Dub"Over a moderately interesting Johnny Clarke rhythm really exciting, while" Booming Dub"On" I'm Just A Guy "can almost pass as a B-side version - which in this case is not so bad, because the rhythm is just great (which the Dub-Mixer probably thought too). All DubIt is crowned by Don Carlos' inimitable hooklines that have a lasting impact on the whole tune. Even if they have faded away, you inevitably keep singing them in your head and build your own version. On the other hand, one would like to have almost the entire vocal album here ...

"Liquid Bass" (Silver Camel), produced by Jah Thomas, is a classic wind instrumental album that is strongly reminiscent of recordings by Roland Alphonso or Tommy McCook from the 60s - if the rhythms weren't completely digital. But as if he wanted to forget this flaw, Mr. Thomas only used old Studio One rhythms such as “Heavenless”, “Love Me Forever” or “Swing Easy” and with “Econium for Coxsone” then also showed the master his reference. Mafia & Fluxy, Sly & Robbie and the Roots Radics are responsible for the powerful new interpretations, while the brass solos were recorded by David Madden and Matthieu Bost. Their melodic variations always revolve around the original melodies of the rhythms - for which one cannot thank them enough, the original hooklines are among the most beautiful that Studio One has produced. But despite all the praise, the album also seems a bit carelessly "down-produced" in places - not to mention the catastrophic cover. Maybe Jah Thomas will decide one day Dub-Reworking. It could give the recordings the complexity they need.

The question what Jah wobblewho these days his official anthology "I Could Have Been A Contender" (Trojan / Roughtrade) has submitted to look in a reggae column is not unjustified. There are a few hints as to the reasons: First there is the name, which obviously refers to the reggae universe, then the record label is meaningful: Trojan and thirdly, Mr. Wobble is bassist and thus plays it for (classical! ) Reggae main instrument. If you now listen to his three-CD anthology in full, you will rarely come across real reggae offbeats. But what you can hear in abundance in return are fat basslines - which could have sprung directly from reggae - and massive dubgood atmosphere. John Wardle (as his mother called her boy) came as a member of Public Image Ltd. from punk to reggae, which greatly inspired his bass playing. After the end of punk, Wobble began to produce his own material, which is stylistically very disparate and alternates between punk, rock, funk, world music, ambient and reggae. But whichever influences and stylistic devices Wobble used, one constant pervades his entire work: the powerful bass lines around which all songs are built. CD 1 and CD 3 in particular offer impressive examples of this: while the former brings together pieces that are influenced by world music, some of which are extremely melodic, the latter includes extensive ambient excursions to Indian and Far Eastern regions. Both very much dubbig and close to the material that is also known from Bill Laswell (the two have also worked extensively together). CD 2 on the other hand offers harder, punk-compatible material. What is really fascinating about the anthology is that the artistic personality Jah Wobble is very present in all the pieces. Here is someone who has made "his" music all his life, beyond all financial interests and independent of current tastes (unfortunately an attitude that is unfortunately rather underrepresented in reggae).

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Dub (Revolution Review

Dub Revolution, July 2004

With Dub from the USA it's always a thing. Somehow the Americans (maybe because of their strong rock history) don't get really groovy Dub-Tunes down. This also applies to the debut album in a very weaker form "Knives to the Treble" (Mars Records / Import) by Slade Anderson aka Burning Babylon from Boston, Massachusetts, but it more than makes up for this deficiency with other qualities. Anderson was a punk guitarist and came to reggae through The Clash. When he switched to bass in the 90s, he came across the Glen Brown / King Tubby album “Termination Dub“- which makes him a purely instrumental one in a direct way Dub brought. Anderson has been fiddling with the tunes for his current album in his small home studio for ten years now and has let himself go Dub- Influence acts like Dry and Heavy or Twilight Circus. The latter model in particular can be clearly felt, because like Ryan Moore, Anderson prefers analog recording equipment and very down-to-earth production methods. Maybe it's because his sound is light, open and hand-played. A certain rock appeal cannot be ignored. But quite different from Moore, Anderson's pieces convince with wonderfully melodic basslines and very varied arrangements. Above all, his preference for world music samples and interspersed ethnic sounds enrich his compositions a lot. On top of that, unlike many of his UK colleagues, he pays a lot of care to the mixing and is really interesting, complex Dub-Songs produced. For him is Dub a large field of experimentation, a free musical form whose possibilities must be exhausted. We forgive him generously that his pieces sometimes lack the last bit of groove.

After Dry & Heavy and Audioactive it should be clear that Dub is a hot topic in Japan. Provides further evidence of this Fire Blenderwho have sold thirty thousand of each of their five albums to date. This makes the band, founded in 1992 by art students, one of Tokyo's most popular club acts - which is hard to believe, given their new album "Little Tempo" (M Records / Import). Mainstream undoubtedly sounds different than these sometimes rather eccentric, experimental tunes, which are sometimes reminiscent of early On-U-Sound recordings (Playgroup or Starship Africa). It is not uncommon for the boundary between orderly rhythm and sound chaos to be explored here. But just before the disharmony gets annoying, the warm beats roll in and soothe the ear canals. If you need music for the background, you should keep your hands off Little Tempo. But if you want to enjoy exciting music to listen to, this is a great, inspired album.

The catalog of BSI records be valid. The Americans have listed some rather straightforward UK acts like Jah Warrior or Henry & Louise or Alpha & Omega, but also weird birds like Tone Scientist, Systemwide or Muzlimgauze. The best tunes from this and other label artists of the last five years are now on the anniversary album "Dub After Time: A Look Back at BSI Records "(BSI / Import) presents. The sampler is much more than a small label show. While he was with straight UKDubs begins, it is increasingly transformed into a journey to the limits of the Dub-Universum: To weird, experimental tracks in the crossover area to crackle electronics. From the simple to the complex, from the stomach to the head - with which the two virtues of Dub would be beautifully united!

There are also progressives from Echo Beach again Dub-Hear sounds. The album is there right now "Heavy Heavy Monster Dub"(Echo Beach / Indigo) from Dubblestandart published. The title makes the claim of the album clear: it should be an ultra-fat thing. A huge amount of effort was put into this (with trips to Kingston, New York, London, Paris and Vienna) and countless collaborations were organized. Sly & Robbie recorded rhythms, mixed Mad Professor and Dreadzone, Manasseh, Sounds From The Ground and 7Dub remixed - not to mention the vocalists involved. It is hard to believe that there is still an orderly whole in the typical Dubblestandart sound came out - even if this sound is always a bit on Dub Syndicate remembers. However, measured against the monster claim, the album turned out to be surprisingly unspectacular. Perhaps this self-knowledge also contributed to one or the other slightly overproduced passage.

Finally we come to the Real Stuff: Up Augustus Pablos own label "Rockers Production" (whoever is running it now) is just a 3 CD box with the demanding title "The Definitive Augustus Pablo" (Rockers Production / Import) published. Even if one can argue about whether Pablo's work can be condensed onto 3 CDs, it cannot be denied that this box offers the best approximation. Every track here is a Pablo classic, in perfectly remastered quality. Not only the famous melodic instrumentals and -Dubs, but also some vocal recordings produced by Pablo with singers such as Jacob Miller, Hugh Mundell, Horace Andy and others. The collection mainly focuses on the 70s and only makes a trip to the 80s on the last CD. If you have Pablo's big albums like “King Tubby Meets Rockers Uptown” or “East of River Nile” etc. in your collection, this box will not offer anything new - apart from a masterful compilation and a beautiful cover design. But if you still want to get to know the master of melodica, this is the portal to a universe of great music. 

It's hard to believe that unknown King Tubby recordings are still being discovered. With its first release, the Jamaican Recordings label has already committed itself to the “lost treasures” of the Dub-Master dedicated. Now there is a supply: "Dub Mix Up “(Jamaican Recordings / Import). Gathered here are also rare and previously believed lost Dubs from 1975 to 1979, all based on productions by Tappa Zukie. The pieces fit seamlessly into the Tubby oeuvre of the 70s - there are no spectacular discoveries to be made here. Instead there are nice, classical rhythms like “Declaration of Rights” or “Shank I Sheck” to be heard and some vocal scraps from the largely unknown band Knowledge. The last track is really exciting "Dub Faith ”recorded by Sly & Robbie in the Black Ark studio. That sounds - typical for Black Ark - as if the record was being played in the neighboring apartment - as Dub-Connoisseurs are basically positive about sound experiments.

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Dub (Revolution Review

Dub Revolution, May 2004

If the record industry is about to give up, this is of course largely due to the ubiquitous illegal copying, but it is also due to the fact that the classic CD for around 17 euros offers almost zero added value compared to a free MP3 collection. Only a few labels realize that they have to offer good packaging in addition to music - the record industry as a packaging industry, why not? If there is no booklet, no bonus DVD and no special edition box on offer, then the aura of the product should at least be conjured up through consistent retro charm. The Japanese - masters of packaging and great lovers of puristic design - have z. B. with their great cardboard slipcase edition of the legendary Blue Note albums showed how the aura of a classic can be captured with the simplest of means. All they had to do was offer the CD as a miniature version of the original album - in the miniaturized original cardboard cover, of course. Beat Inc., label and distributor from Tokyo, has the concept now at four early Hit- and On U soundTransfer releases. For these noble re-releases, the original recordings were remastered and enriched with up to six bonus tracks. Of course, the CDs are printed with the original label and are in small protective sleeves, which in turn are in beautiful reproductions of the original covers. In terms of design, these dimensions naturally lag behind the Blue Note works of art - but holding them in your hands in miniature format brings back pleasant memories. There are also liner notes and a greeting from Adrian Sherwood on a leaflet in Japanese!

Since the long-standing German distributor of On U-Sound, EFA-Medien, had to close its doors a few weeks ago, the On U boss is now re-importing the Japanese CDs and bringing them to German stores through the Indigo distributor. For this deal, he carefully selected four very old classics from his oeuvre: three times Creation Rebel with "Rebel Vibrations", "Dub From Creation "(both Hitrun) and "Starship Africa" as well as the debut album of New Age Steppers (both On-U-Sound). The two early Hitrun productions from 1978 and 1979 are among the first documents of Sherwood's production activities. While at first glance they appear to be "classic" rootsDub with sad melodica melodies by Dr. Pablo, the virtuosity of the can be seen on closer listening Dub-Meisters who often surpasses those of the great heroes King Tubby, Lee Perry or Errol Brown. Here, with the early albums, Sherwood's thirst for experimentation is still within respectable limits. The mix is ​​no more important than the beat, although it is a constant asset to him. In the following year the relationship was radically reversed in another Creation Rebel production: “Starship Africa” was by far the most experimental Dub-Album of its time, which caused Rodigan to say: "Adrian, what the hell do you think you are doing to reggae?" As early as 1977, the rhythms for "Starship-Africa" ​​by bassist Tony Henry and Charlie "Eskimo" Fox has been recorded. A year later, Sherwood Style got to know Scott, who played Eskimo's drums again in another recording session dubpracticed and gave them the necessary pressure in the first place. In 1979 there was finally enough studio time to tackle the final mix. For this purpose, all tracks were re-recorded continuously in reverse and provided with delay and reverb effects. Then the original and the "reverse copy" were mixed together - sometimes at random. A crazy but very successful experiment that still sounds fresh and innovative today. The New Age Steppers album, which, by the way, was also the first album on the new On U Sound label, is similarly experimental, but far more dissonant. It was recorded by musicians from the Pop Group, the Flying Lizards and Aswad. It celebrated its greatest successes in Japan, probably because of the singer Ariana Foster aka Ari Up, whose voice as bright as a bell can be heard on two cover versions: Junior Byles “Fade Away” and Bim Sherman's “Love Forever” - both of which she interprets in a very weird way . Anyone who collects On-U-Sound and just wants to save the beginnings of this legendary label into the digital age - possibly just to save the pieces as MP3 files on the iPod - these good-sounding and excellent-looking Japan imports are urgent recommended.

Lee Perry is often considered one of the originators of the Dub designated. On the one hand, this may be due to the fact that his eccentric mode of production likes to work with Dub is equated, on the other hand it may be because the Black Ark recordings are full Dub-Effects stuck and its sound good a lot of the depth and heaviness Dub-Tunes owns. But while Dub rather on a decomposition and reduction of the rhythms and their reconstruction by the Dub-Mix based, the exact opposite is actually the case with Perry's "layer" technique: He superimposes sound levels layer by layer until his typical, complex, impenetrable Black Ark sound is achieved.

From this point of view, very few of Perry's are real Dub-Albums out. Three of them, namely Blackboard Jungle Dub, Cloak & Dagger and Revolution Dub are now together on the double CD Lee Perry, "Dub-Triptych " (Trojan / Sanctuary / Roughtrade) available. The first part of the second CD is quite the best known Dub Work dedicated to Lee Perry, “Blackboard Jungle”, which, strictly speaking, isn't his, but King Tubby's Dub-Work is because he mixed it. The fame of this album is based in part on the fact that "Blackboard" was one of the first Dub-Albums at all. Even more decisive for the success and fame of the album was the selection of the great Perry rhythms of the early 70s. So you can find superb here Dub-Mixes of hits like “Fever” and “Place Called Africa” by Junior Byles or “Kaya”, “Dreamland” and “Keep On Mooving” by the Wailers. Also the Dub-Version of Dillinger's tribute to King Tubby, "Dub Organizer ”is included here. (Needless to say, King Tubby has these Dubs "organized" excellently!). In the second part of the second CD, the pieces from Perry's first are self-mixed Dub-Album, "Dub Revolution ”to be heard. It's hard to beat when it comes to eccentricity, Perry, the Madman himself, gave everything. "Revolution Dub“Was released in 1975 and already contained early Black Ark recordings. In addition to highlights like one Dub-Cut from Junior Byles "The Long Way" and a nice minimalist mix of Jimmy Riley's Bobby Womack cover "Woman's Gotta Have It", there are also some less inspired pieces to be heard, which are characterized by the recordings of a television sitcom . CD1 of the set is completely dedicated to the album "Cloak & Dagger", but it is more of an instrumental than a one DubAlbum is. Kindly enough this CD has three bonus tracks, one of which is the Dub-Plate version of the title track "Cloak & Dagger" (rhythm of the "Blackboard Jungle" known "Dub Organizers ”) is.

Interestingly, almost at the same time as this Trojan re-release, the album "Blackboard Jungle" is a second time on the Auralux label under the title "Upsetters 14 Dub Blackboard Jungle " (Auralux / Indigo) including four bonus tracks released. The latter are three very unusual, completely unmixed rhythm tracks and a normal instrumental. If you are not a fanatical collector, you should be better off with the double CD from Trojan.

Let's stay with the classics: Augustus Pablos classic "King Tubbys Meets Rockers Uptown" (Shanachie / Just Records) has just been released by Shanachie Records. Paplo was one of the first producers that King Tubby started with Dub-Mixes of their productions. "King Tubby's Meets Rockers Uptown" was the first joint album by Pablo and Tubby and is now one of the essentials of every sophisticated reggae collection. Everything comes together here, what a good one Dub-Piece is necessary: ​​strong, melodically rolling basslines, clever arrangements, beautiful melodies and of course an inspired mix that reduces the pieces to their base, the interplay of drum and bass, and then reassembles them from there. Tubby has seldom mastered this art better than here. It's a pleasure to hear how he controls the dynamics of the rhythms and gives each beat its own little dramaturgy. The power of the pieces is simply extraordinary. Even if they sound a little historical today, their musical quality is unbroken. So a masterpiece; The label makers at Shanachie were also aware of this and have enriched their “Deluxe Edition” with four bonus tracks that present four alternative mixes. These are not mandatory, but there is nothing against them.

I still have one classic: "Riddim - The Best Of Sly & Robbie In Dub 1978 to 1985 " (Trojan / Sanctuary / Roughtrade). On this double CD there are 40 instrumental and Dub-Versions compiled from the Trojan archive in which Sly & Robbie operate drum and bass. In this respect, the title “The Best Of…” is clearly too high, because measured against the total output of the Rhythm Twins, the bundle at Trojan's home is only a tiny part. In addition, the pieces on this CD are not Sly & Robbie productions, but were mainly created under the direction of Bunny Lee, Linval Thompson and Jah Thomas. Which of course does not mean that inferior material is gathered here. Not at all! Sly & Robbie can't be bad at all and Sly's double-drumming is always a pleasure. The CD also offers an intensive course in Channel One sound.

Ryan Moore is a real one Dub-Nerd. For 20 years he has been sitting alone in his small home studio on a Persian carpet, fiddling with controls and slides and publishing under the name Twighlight Circus sometimes Dub-Plates. He plays all the instruments needed for his pieces himself and mixes his own Dubs live in the old fashion. A real traditionalist, whose music sounds exactly like that. It actually lives exclusively from the warm, analogue sound and the deep bass hum. In terms of composition, they usually have less to offer, which means that his albums always tend to be a bit boring. (This is one of the reasons why he has recently made a vocal album.) His latest and 11th album is a compilation for the American label Roir under the title "Dub From The Secret Vaults " (Roir / Import). To do this, he dug deep into his archives and lifted previously unpublished material from 20 years of creativity. Now, of course, the legitimate question arises as to whether the lack of quality was the reason that these pieces have not yet been released. Because the best material shouldn't be left to waste in the archive for years. Bingo! The Secret Vaults contained a lot, including an almost 20 year old production on cassette - but nothing really exciting. Aside from maybe three okay pieces, the rest of it remains pretty uninspired. Too bad.

The same applies to that Dub-Flash album "AB-10 Meets Uptown Selector" (www.dubflash.com). AB-10 is a Dub-Duo from Helsinki who are already on the Dubhead sampler "Dub Solidarity 1 ”could be heard. Uptown Selector is a DJ, also from Helsinki. After the fantastic record of the Finnish Lightman (see last issue) there were several reasons for this DubAlbum from Helsinki to be excited. But the disillusionment is all the greater when "AB-10 Meets Uptown Selector" proves itself to be a largely conventional neoDub turns out.

How more contemporary Dub can sound, proves the Berlin mini label Meteosound once again with the new EP by Lars Fenin: "Sustain EP" (Meteosound / Indigo). Known for its fusion sounds between techno and Dub Meteosound stands alongside Echo Beach (which cooperate with each other) and Basic Channel in Germany for a progressive, open-minded idea of Dubwho think outside the box of classic reggaeDub looks out. It is almost unbelievable how perfect and absolutely stepless minimal techno beats and Dub-Grooves can be combined with each other and what enrichment this combination represents for both genres. Lars Fenin demonstrates this again with flying colors; unfortunately only on 6 tracks and unfortunately only on vinyl. But good music can take any format!

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Dub (Revolution Review

Dub Revolution, March 2004

After busy rerelease labels like Pressure Sounds, Blood and Fire or Heartbeat have been pressing Jamaica's musical heritage onto CD for over a decade, it is astonishing that there are still unknown treasures to be found. Moll-Selekta has found one: Dub- Recordings by producer Roguel "Blackbeard" Sinclair and his studio tape "The Ringkraft Posse" and this now under the title "St. Catherine In Dub 1972 - 1984 " (Moll-Selekta / Indigo) republished. Sinclair, brother of Tappa Zukie, was Bunny Lee's right-hand man for many years and currently owns King Tubby's old studio. In the 70s he began producing his own tracks with a studio band that he put together from the usual suspects for this purpose: Sly Dunbar, Robbie Shakespear, Ansel Collins, Lloyd Parks, Tommy McCook, Dean Frazer, Willie Lindo - just to name a few to name from the ever-changing line-up. The fact that these musicians knew how tight rhythms are brought in is unmistakable: the tracks, superbly remastered, pop out of the speakers, crisp and straightforward. When Dub Ruddy "Jah" Thomas was responsible for the mixer - which suggests that some tracks were recorded in Joe Gibbs' studio. Many of the pieces are so well known that you inevitably begin to sing along to the original in your head. "West Bay" for example is that Dub Version of "King Tubby the Dub Organizer ". Horace Andy's “Every Tongue Shall Tell”, Delroy Wilson's “Have Some Mercy” or George Faith's “To Be A Lover” are other classics in the Dub-Format. Incidentally, at Blackbeard's request, all the tracks on the album were named after the districts of Portmore in the St. Catherine district - as a lesson in acoustic geography. 

As is known, the Basic Channel Crew from Berlin works the Wackies-Archives on. The Bronx-based producer's latest rerelease is "Creation Dub" (Indigo) from 1977. You can hear some very minimalist ones here Dubs and a vocal version by John Clarke. The sound changes seamlessly from super dry mixes to typically soft Wackies Lovers melodies - but everything is embedded as usual in the warm sound of the Wackie studio. The Dubs come from the well-known Wackies productions of the time, including pieces by the Chosen Brothers, Joe Auxumite and KC White. The last tune of the album is also a nice wind instrumental version of Jo Jo Bennett's “Leaving Rome”.

With "Dubz From De Higher Regionz " (Dubhead / Indigo) the Iration steppas back from the north of England. It has been eight years for Mark Iration and Dennis Rootical since their debut album. A long time in which the world of Dub has developed rapidly. Not so the two Dub-Fundamentalists. They pick up where they left off in 1996: powerful steppers beats, rumbling basslines and synth offbeats - classic UKDub so. As dusty as this sound, unfortunately, the 15 tracks on the album are also uninspired. With a few exceptions, the basslines are simply boring, the mixes irrelevant and the arrangements anything but imaginative. Short live recordings of performances are sampled between the tracks. Probably a desperate attempt to add variety to the album. On the other hand, it would have brought real variety to descend from the higher regions and listen to what dubis currently moderately popular in Birmingham, London or Paris ...

Undoubtedly the most beautiful Dub-Album from the last few months comes from Helsinki. - You read that right: from Finland! It has the appropriate title "Spring Time" (Semi Sounds / Import) and comes from an artist named Lightman. What he presents here is incredible: Dub-Instrumentals full of warmth, absolutely relaxed and at the same time extremely groovy. Garnished with wonderful melodies that are played on a melodica in the style of Augustus Pablo. Simply fantastic. Each instrument on the album is played by Lightman himself and arranged into sensitive compositions that are permeated with a melancholy poetry that fits perfectly with Scandinavia. It evokes images of rain-soaked forests in which the sun sparkles through the leaves, or of warm days that are spent on the terrace of a lonely hut ... The incidental title names like "Meanwhile In The City", "Empty Street" or simply "Raining" “Do the rest. Of course, Lightman stands on Augustus Pablo's shoulders, but he's far from being his epigone. Lightman has an original quality that even surpasses Pablo. Absurdly, this album is only available via import - but, as is so often the case, the good thing lies beyond the mainstream.

Already in October last year, the new album by Dubphonic, "Smoke Signals" (Hammerbass / Import) published. The trio, consisting of Stefane Goldman, Alexis Mauri and Sylvain Mosca, is known not least for its collaboration with Richard Dorfmeister (Tosca) and for the "Select Cuts From Blood And Fire 2" sampler, for which they came to during a night train ride from Vienna Hamburg remixed the Linval Thompson classic "Jah Jah Is A Guiding Star". Now is her debut with the renowned Parisian DubLabel appeared. It has become an experimental album that would have fit perfectly into the catalog of the Echo Beach label. Characterized by an open Dub- Understanding, it takes on influences of electronic music without cutting off the roots in reggae. Warm beats and medium tempos determine the pieces, placed in club-compatible arrangements and enriched with electronic gadgets - Dorfmeister was a good teacher. More of it please!

Finally, another album from the Hammerbass label: Manasseh, "Dub Plate Style Vol. 2 " (Hammer bass / import). 15 tracks from Manasseh's oeuvre over the past 13 years are gathered here. Unfortunately, the most exciting pieces are already on "Dub Plate Style Vol. 1 “was used, so that this selection has slight lengths in places. Since Nick Manasseh is always well above the UK averageDub composed and produced, even this somewhat unfortunate selection is well worth listening to. (Maybe his superb productions for the Cool Hipnoise album (Select Cuts) just raised expectations too high). Groovy flowing beats with a distant funk influence determine the overall impression of "Dub Plate Style Vol.2 “- a specialty of Manasseh since time immemorial. The vocal mixes with Earl 16 and Ras I stand out in particular. A piece from 1991 that seems to have been programmed entirely on King Jammy's Sleng-Teng-Casio is also surprising, the beat sounds so synthetic. But Manasseh already documented here that he was ahead of his time: between the primitive computer sounds, the heavy steppers beat of later years can already be clearly recognized.

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Dub (Revolution Review

Dub Revolution, January 2004

What a dream team! Everyone dreamed of this die-hard DubEnthusiast - now it's a reality: Sly & Robbie and the crazy professor dubbing out crazy! For three days in April of last year they sat together in the Ariwa studio in South London and turned the hands of the clock back to the 70s, the golden age of the rocker sound and the Dub-Music and recorded the album "Sly & Robbie meet the Mad Professor: Dub Revolutionaries " (RAS / Sanctuary / Zomba). Mad Professor, an avid fan of this sound, took the opportunity to have its inventor, Sly Dunbar, in the studio: “I wanted to revive this sound from Joe Gibbs and Channel One, with hand-played drum & bass. The record should sound like it was recorded in 1978, ”explains Neal Fraser. He chose a few for this Dub-Tracks from his legendary "Dub Me Crazy ”series and had Sly, Robbie, Sky Juice, Bubbler and other members of the taxi gang re-record it in rockers-style. “He wanted“ four to the floor ”and the typical rockers rim shot,” recalls Sly, “I had a lot of fun playing this style again. There were no restrictions - we just go for it! ”. About a week after this session, Dean Fraser came into the studio and also refined the recordings with his beautiful, sensitive saxophone playing. Originally a whole horn section was supposed to compete, but Dean Fraser reserved the right to play all the wind instruments himself and later to copy them over each other. The result is a great, tough one Dub-Album without being overly intrusive Dub-Effects in which Slys Rockers drumming is brought back to life and merges congenially with the typical Ariwa sound. An album that has its place in the Dub-History will take.

After two and a half years, Style Scott is back with the Dub Syndicate has now been completely taken over by Adrian Sherwood. "No Bed Of Roses" (EFA) is the name of the new work of the syndicate, which was completely recorded in the Jamaican Tuff Gong studio - but in London by Adrian Sherwood for reasons of sound consistencydubbt was. He did his job so thoroughly, however, that a fantastically inspired, thoroughly British-sounding one Dub-Sound was created. But Mr. Scott didn't want it with an instrumental, however exciting Dub-Album and asked different vocalists like Cederic Myton (Congos), Cornell Campbell or even Gregory Isaacs to contribute a few lyrics. With the grandiose rhythm tracks they couldn't help but deliver their best performance. One album now combines what clever producers usually make two albums out of: Solid, highly inspired Dub-Tracks with wonderful songs as encores. A milestone!

In the highly acclaimed "Hi-Fidelity Dub Sessions "Series of the American label Guidance is just the "5. Chapter "(Import?) published. Unlike the previous albums, which are more focused on the British Dub-Sound concentrated, "Chapter 5" makes a U-turn towards classic-looking up-tempo beats with a clear vocal component. Apart from the G Corp remix of the Thievery Corporation track "Richest Man In Babylon", the track listing has no names known to the reggae geek. Perhaps the house label Guidance has stepped up this time in the familiar waters of house and club for interesting Dub-Remixing wanted. What they found there is not uninteresting, but it cannot keep up with the level that they have come to expect from the Hi-Fidelity series. 

Inspired by the "Wild-Dub“Compilation, the Hamburg Echo Beach label is now providing "Modern Wild Dub"(Echo Beach / Indigo) in front. Subtitled with “Dread meets Disco Punk Rocker Downtown”, the new compilation offers various remixes of contemporary dance floor formations such as Playgroup, Chicken Lips, Radio 4, LCD Soundsystem, Kid Loco or Colder. The whole thing can perhaps best be described as a punk disco tripdub where “punk” stands less for rock and more for sound anarchy. It goes without saying that this sampler is not Dub-Purists aimed. The dance floor avant-garde, however, and very open minded Dubheads should have a lot of fun getting the tracks beaten in the face.

Back to the pure Dub-Sound. With "Dub Em Zukie "(Indigo?) represents the Jamaican Recordings label a classic 70s DubAlbum by Tappa Zukie in front. All together here are Zukie-produced Dubs from 1976 to 1979 such as z. B. Johnny Clarke's version of “Ballistic Affair” or Horace Andy “Natty Dead Ah Wey She Want”. And so it is less that Dub-Mixes that are more fun on this album than the wonderful classic rhythms that are presented here with beautiful melodic interpretations (not heard for a long time: “My Conversation” or “Hypocite”). Sly Dunbar's rockers style is something of a bonus.

Muzique decoder is a project by DJ Javier Verdes and graphic designer and VJ Giovanni Jubert. Inspired by the city of Barcelona, ​​they have one Dub-Compilation, named “Barcelona In Dub"(Indigo?) with lavish cover artwork, a video film on DVD and a live project. The compilation is particularly interesting because, contrary to expectations, by no means the local ones Dub-Acts are presented, but on which international artists such as Up, Bustle & Out, Sugar Minott (Wackies), Playgroup, International Observer or Don Air are represented. Artfully mixed together, the selected pieces convey a dark, melancholy mood that suits the early hours of the morning in a club. Incredibly sensitively put together with a lot of surprising tracks, “Barcelona In Dub“The most interesting one at the moment Dub-Compilation. 

With "Combat Dub II "(hammer bass / import) presents the French Dub Project Brain Damage a second series of Dub-Remixing her album "Always Greener". Alpha & Omega, Manutension, Mossman Vs Mr. Tsunami and Vibronics are represented here. Despite the different origins of the protagonists, “Combat Dub II "a through and through typical UKDub-Album with massive rolling steppas rhythms and loads of reverb in all corners and awesome cover artwork. Very nice that something like this still exists! It is a shame, however, that there is still no distribution for it in Germany!

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Dub (Revolution Review

Dub Revolution, September 2003

I heard them for the first time in 1992 Alpha & Omega-Debut albums "Daniel In The Lions Den" and "King And Queen". They were a revelation at a time when reggae was determined by “Computerized Rhythms” and Dub ceased to exist in Jamaica. I had never heard such a deep, grumpy, extremely warm bass in any reggae recording. The early 80ies I loved because of their deep soundDub-Tracks of the Roots Radics sounded as light as a feather in contrast. If there was any comparison to A&O, it was Lee Perry in his prime with Black Ark. The mystical-spiritual atmosphere of his recordings pointed the way, which A&O continued almost two decades later (and which is currently ending in the productions of Rhythm & Sound). South London bassist Christine Woodbridge and her partner John Spronsen make no secret of who their role models are: “Lee Perry, Augustus Pablo and Yabby You”. As for the music of these three Dub-Artists is less of the refined Dub-Mix (like for example with King Tubby) than their dense, atmospheric sound. Woodbridge and Spronsen have condensed, reduced and radicalized this sound again. He is unique and among all UKDub- Recordings clearly identifiable. In addition to Christine Woodbridge's deep, deep bass hum, the melodies of which are barely identifiable, and the stoic steppers drumbeat, it is above all spherical swelling and swelling background noises with massive reverbs that conjure up the acoustic impression of a jungle and make A&O pieces unmistakable . Acoustic sounds such as the reverberation of huge gongs, briefly played harpsichord chords, explosive melodica or percussions are also typical. What is astonishing is that the tracks, which are remembered as infinitely sluggish rolling rhythms, often turn out to be up-tempo pieces when listened to, which seem to advance with an unstoppable urge. It's great that A&O does not have the fate of many UKDub-Bands of the 90s share and have disappeared into oblivion. After listening to remixes of their old repertoire for many years, completely new pieces are now coming from the home studio in London. The new album "Spirit Of The Ancients" (Greensleeves / Zomba) share the two with Jonah Dan and shine here with great new tracks and wonderful vocal /Dub-Combinations. Jonah Dan, who produced and recorded the other half of the album, fits perfectly into the A&O concept. Although his style is cleaner and the tracks are structured more clearly, the two sounds complement each other to form a round UKDub-Album, as it has been heard far too seldom in recent years. Let's hope that some of this will stimulate the UKDub- Go out scene and motivate them to renew their vigor.

True Dub-Heads will not have remained hidden that the summer months were lacking in supplies. The only interesting material I could find is an album of the Dubwise prayers with the title: "The Dubplate Series ". (Realeyes / Import). This is a very small edition with a hand-burned CD and a laser-copied cover (of particular ugliness). Very, very skeptical, I put the CD (bought for 16 euros) into the player - and was pleasantly surprised. Classic UKDub was heard, not particularly innovative, but solid and astonishingly varied. The spectrum ranges from very nice, straightforward steppers beats to more experimental mixes and growling synth sounds. You can hear on many tracks that Alpha & Omega were the inspiration behind this. On the other hand, the pieces on which the violin playing of a certain J. Bloom can be heard are very independent - infinitely melancholy and very mystical. It is difficult to classify the pieces chronologically, because you can hear sounds from the 80s as well as the 90s - and who knows whether eclectic comrades of postmodernism were at work here and indiscriminately in reggae and Dub-History or whether we are simply dealing with old recordings? The whole thing is mysterious!

Since we have so much space this time (to interpret the lack of material positively), I want to take the opportunity to think a little outside the box of typical reggaeDubs to look out and, dear raggae fans, suggest an album that you can get from your house and techno dealer (e.g. www.kompakt.net): "Rocket In Dub: If Music Could Talk “(Italic / Compact). Irrespective of the reggae scene Dub has secured a permanent place in the world of minimal electronic music in recent years. In the beginning, the driving force was undoubtedly the Berlin Basic Channel label, from which z. B. Rhythm & Sound also emerged and their makers are currently responsible for the re-publication of the Wackies back catalog. The artists of the Cologne compact label have their own minimal style Dub-Music developed for which this “Rocket In Dub“Album is a good example. Hypnotic, powerfully syncopated shuffel beats with lots of little click & cut effects and full reverb and echo. The already quite slimmed-down one can be minimal Dub-Don't understand music. Everything superfluous has been eliminated - the core of the Dub-Sounds lies bare. Like in a laboratory experiment, neatly dissected, analyzed and recombined. If music could talk, it would tell us how it is in the subatomic world of Dub looks like, would tell us whether the microcosm of sound resembles the computer simulation that Rocket In Dub presents. I am willing to believe in it.

Finally, two short messages for Dub-Geeks: The “Culture in.” Produced by Sonja Pottinger and mixed by Errol Brown has just finished Dub“1978 album under the title "Rare and Unreleased Dub"(Revolver / import) Released as a South African import. Unfortunately mastered from pretty crisp vinyl. Was also published again Burning Spears “Living Dub Vol.1 "- but in contrast to the Heartbeat Rerelease from 1992 now under the title: "Original Living Dub Vol. 1 "(Burning Spear / Import). While the Heartbeat version presented the album in a new mix by Barry O'Hare and Nelson Miller, "Original Living ..." offers the original, better mix by Karl Pitterson and Benji Armbrister.

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Dub (Revolution Review

Dub Revolution, July 2003

Pressure Sounds, next to Blood & Fire the noblest British reggae retro label, has, instead of looking for treasures of reggae history in distant Jamaica, simply looked in front of their own door. Whoever label maker Pete Holdsworth & Co found there was one of the most important protagonists of British reggae in the 70s and 80s: Dennis Bovell. In 1971 he founded the band Matumbi, which five years later had their first hits in the UK reggae charts. At the same time, Bovell established himself as a successful producer and talent scout. Almost single-handedly, he invented lovers rock - a commercial success story without equal. In the mid-70s he became the first British reggae musician to join Dub to experiment, to which he soon devoted himself entirely. Besides own DubHe also recorded all of Linton Kwesi Johnson's albums and developed his own, often very melodious and sometimes unrestrainedly experimental Dub-Style that can easily keep up with some Perry or Tubby tracks. In recent years, Bovell has largely been forgotten, which makes it all the more gratifying that Pressure Sounds has remembered him and now presents us with an excerpt from the most fruitful phase of his work. 16 pieces are on "Decibel - More Cuts And Dubs 1976-1983 " (Pressure Sounds / Zomba) gathered, almost exclusively Dubs. Powerful roots tracks stand back to back with lovely lovers rock arrangements and crazy perryesques DubExperiments. All tracks are precisely and imaginatively mixed, full of surprising details and beautiful melodies. Sometimes boldly arranged with a complete brass section (incl. Rico Rodriguez), sometimes reduced to the pure, minimal beat, sometimes full of reverb and echoes, then again bone dry - every track is a new surprise. Maybe Bovell will surprise us with new productions soon - that would be something ...

That Dub Every reggae geek knows that the reggae beat has long since transcended. So why not think outside the box in this column? With "Tino's Dub Select "(Tino Corp / EFA) It's very easy, because only gradually - and supported by many reggae vocal samples, Tino leads us from the land of the syncopated 4/4 beat into the realm of crashing breakbeats. Big Beat meets Reggae in the House of Dub could be the mixture served by Jack Danergs (Meat Beat Manifesto), Ben Strokes (DHS) and Mike Powell. Dominated by tricky drum beats and rolling basslines and peppered with 1001 samples from all times and styles of reggae, the recordings explore this Dub-Concept down to its last corner. Funky, dubBy, weired and, above all, very exciting, the breakbeat journey runs through different tempos and styles. A great album that shows the universality of the Dub impressively and radically proves. It cannot go unnoticed in the world of reggae!

An album that, at first glance, shows even more outside the box, and also goes a completely different path than Tino is "Rocket In Dub: If Music Could Talk “(Italic / Compact). The keyword “compact” makes it unmistakably clear to those in the know what we are dealing with here: minimal techno. Irrespective of the reggae scene Dub has secured a permanent place in the world of minimal electronic music in recent years. In the beginning, the driving force was undoubtedly the Berlin Basic Channel label, from which z. B. Rhythm & Sound also emerged and their makers are currently responsible for the re-publication of the Wackies back catalog. The artists of the Cologne compact label have their own minimal style Dub-Music developed for which this “Rocket In Dub“Album is a good example. Hypnotic, powerfully syncopated shuffel beats with lots of little click & cut effects and full reverb and echo. The already quite slimmed-down one can be minimal Dub-Don't understand music. Everything superfluous has been eliminated - the core of the Dub-Sounds lies bare. Like in a laboratory experiment, neatly dissected, analyzed and recombined. If music could talk, it would tell us how it is in the subatomic world of Dub looks like, would tell us whether the microcosm of sound resembles the computer simulation that Rocket In Dub presents. I am willing to believe in it.

Where guys like the Italic protagonists or basic channel makers like Moritz von Oswald and Mark Ernestus get their inspiration from becomes clear when we look at the Wackies album they have just re-released "African Roots Act 1" (Wackies / Indigo) Listen. Produced by Wackie's studio musician Clive Hunt, it offers a dark, multi-dimensional sound that is occasionally reminiscent of Lee Perry's Black Ark. Especially the first track “Addis Ababa Dub“, In which a drum machine is used, should have been the wow experience of the minimal technician. Even today recordings like this still sound fresh and shine full of magic. Since the year it was created, “African Roots Act 1” has been the masterpiece of the Dub - and when you listen again it is all too easy to understand why. It is hard to believe what innovative strength was at the end of the 70s in the small studio deep in New York's Bronx. unfolded. It was just magic.

Another recently published work from Wackie's archive sounds less magical, a bit more conventional and also not as innovative: "Roots Underground: Tribesman Assault" (Wackies / Indigo). Released in the early 80s, it offers the typical Wackies qualities such as the dark atmosphere, the warm sound and the tight rhythms. A nice, exciting album, which just can't keep up with “African Roots Act 1”, but which in itself is well above the Jamaican average of the 70s.

Before we leave the revival selection, let's have a nice double CD sampler with a total of 35 Dub Tracks mentioned: "Dub Sessions ”(Union Square). It is part of the well-known session samplers that have already dedicated themselves to musical styles such as soul, funk, blues, hip hop, drum 'n' bass or Latin. If you look at the track listing, you get the impression of having a Best Of Blood & Fire in front of your nose, because almost 2/3 of the songs were licensed there. This also makes it clear that the stylistic focus of the album is on Dub the 70s. Only the three mixed-up UK- Dub-Tracks. It might have made more sense, the story that Dub to be traced chronologically and to the newDub to give more space to the 90s and the present. Nevertheless, the sampler is a nice all-round hit in old school and a commendable attempt to bring the roots of this fascinating music closer to the mainstream audience.

Sub Oslo are an 8-headed Dub-Band from Texas (yes, it has been laughed a lot about) and present (after an EP) with "The Rites Of Dub"(Glitterhouse / Indigo) her first full-fledged album. There are trippy, hand-played ones on it Dub- To hear tracks in excess length - very hypnotic, very meditative. Occasionally reminiscent of early Sherwood productions or faintly the Suns Of Arqa. However, that seem Dub-Mix and the restrained effects instead of actually being recorded live here, as is usually the case on the studio mixer. A nice concept that certainly knows how to captivate on stage. What is amazing, however, is the idea that there are eight musicians behind these cautious, minimal sounds - what are they doing? 

The DubAlbum by Nucleus Roots, “In Dub" (Westbury / Import), also hand-played, is of a completely different caliber. Here there is full dynamism in the songs, and the Dub-Mix is ​​a product of classic post-production. Great, the distorted bass on Long Road Dub"Or the subsonic low frequencies on" Tuned In Dub". The album dates back to 2001 but is now being offered as an import for the first time. 

The highlight of the contemporary Dub however comes from Urban Dub, "Featuring Fairshare Unity Sound" (Dubhead / indigo). Urban Dub aka. Roop (rhythms and production), Marjorie Paris (saxophone) and Hieronymous (vocals and mixing) have teamed up with Unruly Julian from the Fairshare Unity sound system and together they have an extraordinarily beautiful and extremely varied one Dub-Album produced. A total of 26 tracks can be heard on the double CD, which are bursting with energy and inventiveness. Solid, uptempo beats form the basis for crazy instrumentation (often with Marjorie's saxophone), for twisted ones Dub-Mixes, ingenious catchy melodies and above all for unusual, fat sounds. "Dub-Playground “would be a congenial title, because the four musicians understand this album as nothing else. They don't care about rules, commercialism or image. Anything that is fun is allowed. While the album with some beautiful, melodic Dubs begins, it develops more and more obliquely in the further course until it finally comes to some totally weird avant-gardeDubs ends. A roller coaster ride through the land of subsonic beats! More of that!