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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!

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Dub (Revolution Review

Dub Revolution, May 2003

The times when new Dub-Samplers on a weekly basis that filled reggae dealers' shelves are long gone. The new school of Dub has done its job and Dub-Sounds established as ubiquitous part of modern pop music. Dub in its pure form has been reduced to a minimum size and now exists in the music underground with a clearly defined fan base (such as Ska or Jungle). Only the most prominent Dub-Sampler series have survived this development, including King Size Dub, that excellent compilation series by the Hamburg label Echo Beach. Chapter Nine came out a few weeks ago: "King size Dub Chapter Nine " (Echo Beach / Indigo). An album that is ingenuity and trendsetting Dub-Sounds just brimming with it. As is tradition at Echo Beach, a modern one is maintained here Dub- Understanding whose foundation is firmly anchored in the reggae groove, but sound-technically ventures far towards the dance floor. Names like Coldcut, Groove Corporation, Dreadzone or Richard Dorfmeister make it clear where the journey is headed. It's a journey that challenges experiments, for example when the Algerian Rai singer Khaled and Bomb The Bass mastermind Tim Simenon meet, or the Dub-Conference between the Portuguese Cool Hipnoise, the British Nick Manasseh and the Last Poets! But it is also a journey that shows how universal Dub is and how elementary its influence is on pop music. Compared to the previous episodes, Chapter Nine dares the most beyond the traditional in this respect Dub-And it may open doors to musical universes that a reggae purist has never seen before.

With Dub Selector 2 (Quango / Zomba) is another Dub-Sampler appeared, which is a bit more conservative, but basically points in the same direction as King Size Dub. Electronics protagonists like Submission or Noiseshaper stand here alongside downtempo activists like Thievery Corporation or remix virtuosos like Groove Corporation or Richard Dorfmeister. That sounds good - but the disadvantage of this sampler is that it does not collect exclusive and sometimes even very old material. The Nick Holder number can already be found on a high-fidelityDub-Sampler, Big Youths Waterhouse Rock on a Select Cuts sampler and the track from Submission as well as the track from Noiseshaper on King Size Dub-Samplers. Compiler Bruno Guez has made it somewhat easy for himself, which is understandable when you know that the guy is responsible for an entire sampler series on Quango, which is dedicated to topics as diverse as Afro beats and Scandinavian Nu Jazz.

Let's turn to something solid: Gregory Isaacs In Dub, "Dub A De Number One "(Heartbeat / EFA). The album offers Dub-Versions of Gregory pieces that he recorded for producer Alvin GG Ranglin in the 70s. It is largely the B-side of the album "I Found Love", which Heartbeat released about half a year ago. All tracks were recorded in the Channel One studio and mixed by Ernest Hoo Kim and Maxie McKenzie. What the two have delivered is solid craftsmanship - but unfortunately not anymore, because after all, only B-sides had to be filled. A vacuum now remains where Gregory's voice was. Neither the mix nor the bassline or any other instrument fill this space. On the contrary: the briefly faded in song fragments only make this deficiency stand out all the more clearly. The brass parts typical of Gregory can only be heard occasionally. Too bad. Label boss Chris Wilson could have saved himself this album.

At the same time as the Gregory Dubs, Chris Wilson brings a second Dub-Album with recordings from the 70s: Niney The Observer Presents King Tubby In Dub, “Bring The Dub Come "(Heartbeat / EFA). Most of the recordings are previously unreleased King Tubby mixes that Niney simply forgot about King Tubby in the 70s and only rediscovered them after his death. Ten tracks of the 22 on the CD were as Dub-Album and appear here under the title "The Lost Album". Some tracks are easy to identify, such as “Bring The Kutchie Come” or “Tenement Yard”, but even Niney can no longer identify others. In contrast to the GregoryDubs, there are interesting arrangements and idiosyncratic mixes, rich bass lines and melodic brass sections. Some of the remaining 12 tracks are alternative mixes of well-known Niney-Dubs, like "Westbound Train", which Tubby made for use in his own sound system. Maybe these are even the “more original” mixes that are here for the first time on record?

Easy Star label boss Lem Oppenheimer has taken on an extremely risky one Dub-Experiment dared: Easy Star All-Stars, "Dub Side Of The Moon "(Easy Star / EFA) is a reggae remake of the Pink Floyd album "Dark Side Of The Moon" from 1973! Yes, you read that right: Pink Floyd! The fact that they have as much to do with reggae as Madonna does with Stockhausen is something that Oppenheimer apparently sees as a challenge rather than a warning. Undeterred, he and his musician colleagues Michael G and Ticklah set out to chase various reggae styles such as Rockers, Nyabingi or One Drop through the echo box. Without further ado, he replaces the rock-typical guitars with reggae-typical brass instruments, while he apparently considers the psychedelic Floyd synths to be reggae-compatible and keeps them. But the Easy Star crew did not rely on a purely instrumental (and assessable risk) Dub-Version want to restrict, but has reggae singer Frankie Paul, Dr. Israel and Gary Pine, blues singer Corey Harris and old-school Deejay Ranking Joe were invited to take over the vocal parts. They try really hard to make the rock songs sound like reggae - but (to put it simply) they fail. Your singing flows seamlessly into the instrumentaldubbig all-over of the tracks that are not separated from each other, which indeed suggests the psychedelic atmosphere of the original, but doesn’t want to harmonize in the least with the reggae rhythms. The only exception is Ranking Joe's deejaying, which fits perfectly with reggae with its bouncing rhythm - and thus emphasizes the incompatibility of the other songs all the more. It's a shame, you have to say that a lot of energy and an even greater amount of innovation was wasted on the wrong project. Perhaps it had to be tried in order to be able to tick off the topic - because failure also offers the chance to gain knowledge. 

"Reggae music is the weapon of the future" quotes Moss Raxlen aka Mossman Peter Tosh and hits 12 heavy Dub World Bank tracks on the roof. Mossman vs. The World Bank (Dispensation / Import) is the name of the Canadian's debut album, which was released in 2001, but is only now available in Germany via import. It's an absolute low-budget production (you could almost think that the CD was self-made!). The tracks were recorded by a live band and have a nice, warm, relaxed flow. Nothing spectacular, just a few solid ones Dub-Tracks - and a terrific cover on which the Mossman monster tears down the World Bank building in the middle of an inferno. Mossman also sees his music as a “soundtrack” to the protest movement of the NGOs in their fight against globalization. Nice that he ended up with reggae with this attitude! Named on his second album "Mossman vs. Tsunami" (dispensation / import) (with Godzilla cover), Mossman has replaced all musicians on the first album with Mr. Tsunami and is now mixing digitally produced tracks. Again, the Jamaican one Dub 70s direct inspiration. As with the first album, the production is awkward and rough - 100% low budget. But somehow there is a special attraction in that. Or maybe it is just the idealism of the lonely Dub-Producers in wide Canada are so personable.

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Dub (Revolution Review

Dub Revolution, March 2003

1969, the year King Tubby denied Dub invented, a keyboard player named Horace Swaby walked into a studio for the first time. When "Augustus Pablo“He made his debut there for producer Herman Chin Loy. Just three years later, Pablo was a producer himself and owned his own Rockers label. Here he established his "Far East Style", so called because Pablo built his melodies essentially from minor chords, which made them sound "oriental". He preferred to play these melodies on the melodica, an instrument that was considered a better toy for children. As an instrumentalist, Pablo was very enthusiastic about the work of King Tubby and had almost all of his pieces remixed in the master's studio (by Tubby himself, Prince Jammy or Phillip Smart). A showcase of the collaboration between the instrumentalist / producer and Dub-Mixer offers the album "In Fine Style 1973-1979" (Pressure Sounds / Zomba). In the best showcase tradition, several mixes of different Pablo instrumentals from 1973 to 1979 are gathered here. It starts with four cuts from "Far East" from 1975. The sound is unmistakable: heavy, drum & bass driven rhythms - dry mixed and sparingly instrumented. Above that, the cutting, melancholy sound of the melodica. There is no doubt that one instrumental is followed by three DubVersions of the same rhythm is a real reggae hardcore pack. But it is precisely this minimalism that enables an experience that has become rare in pop music: to really experience music through pure, concentrated listening. The three versions of “Cool Shade Dub“Offer the best opportunity for this; or the three versions of "Up Warika Hill" from 1974. The album also features more playful tracks like the three Pablo versions of "Real Rock" with a toasting Hugh Mundell as Jah Levi. Augustus Pablo in fine style - says it all!

Also on the Blood And Fire label is a nice one Dub-Retrospective published: Ja-Man All Stars, “In The Dub Zone" (Indigo). Although almost from the same time as Augustus Pablo's tracks (see above), there is a completely different sound to be heard here. The producer is the little-known Dudley "Manzie" Swaby, who in 1977 and 1980 had two Dub-Albums released ("Ja-Man Dub"And" King's Dub"), Which are summarized here on one CD. Both albums were recorded in the Channel One studio, which is the reason for their distinctive sound. Compared to Pablo's dry minimal sound, we are dealing here with rolling basslines, fluid arrangements - and last but not least with Sly Dunbar's concise drum style. This is where Dancehall cast its shadow as early as 1977. As you are used to from Channel One, you will also be with these Dubs plentifully supplied with recuts from Studio One-Rhythms, mixed slickly by Crucial Bunny, Maxie, Soljie, Ernest Hookim or Swaby himself. In 1980, Dancehall had finally fully arrived and the unmistakable Channel One sound dominated reggae. Tracks 14-23 of the CD are from this time; they ideally embody this era - and the final bloom of the Jamaican Dub before its decline in the mid-80s. Many of these tracks could already be heard on General Echo's debut album “Rocking & Swing” from the same year. Dancehall Lives!

Let's take a leap into the present: "Roots of Dub Funk 3 - The Dub Adventure " (Tanty /?) - and again we hear a completely different sound. It's the sound of the newDub as shaped by Jah Shaka, Alpha & Omega, The Disciples and many others in England in the 90s. "Melody lines and harmonies combined with warm horns sounds, vocal echoes, heavyweight kick drums and dirty basslines by the truckload," is how the album compiler Kelvin R. describes this sound very aptly. The biggest difference to the classic tubby mix is ​​that the rhythm is usually much slower, the bass drum, on the other hand, “marches” with four beats through the 4/4 time and the sound is more important than the mix. In addition, the Dub completely digital today. Anyone who would like to review this statement will find in “Roots of Dub Funk 3 “ideal study material: 12 superb Dub-Tracks by producers from England, France, Germany and the USA. Also included are Alpha & Omega, Jah Warrior and Vibronics.

While “Roots Of…” is more of a classic form of Dub presented, we have it at Cool Hipnoise, "Showcase & More" (Select Cuts / Indigo) to do with an excellently successful crossover experiment. Dub forms the basis for a fascinating musical mix, in which sounds from Brazil, Cuba and Portugal, under the direction of Nick Manasseh, combine to create fresh, unheard grooves. Cool hip noises are Joao Gomes, Francisco Rebelo and Tiago Santos from Lisbon, who combined hip hop with jazz, soul, reggae and Brazilian beats in the 90s. Dub- Producer Nicholas Raphael aka Nick Manasseh, who produced the band's last two albums, has consistently got their sound on Dub polarized. The result is great proof of the universality of Dub. He succeeded perfectly in using the stylistic devices of the Dub to merge inseparably with those of other musical genres. The Dub gets something of the lightness and elegance of Brazilian music while the Latin American sounds come through Dub Gaining groundedness and dynamism.

Also with his new "own" album, Manasseh Meets The Equalizer, "Step Like Pepper" (Select Cuts / Indigo) Nick Raphael treads crossover paths. Here he consistently builds on the first Manasseh Meets The Equalizer album from 1994 and mixes heavy ones Dub-Sounds with cool jazz flavors. If St. Germain hadn't existed in the meantime, “Step Like Pepper” would be called a sensation. So you have to try not to constantly compare the album with St. Germain. Once this step is done, you will hear some very beautiful, excitingly arranged tracks with a variety of samples, ranging from old Lee Perry productions to Blue Note. As usual with Manasseh, everything is based on solid beats that are always varied and interesting. With him you can really speak of "composition" (while others Dub-Producers are only too happy to “save as…” their tracks).

Let's stay with the Select Cuts label and focus our interest on an unusual sampler: "Babylon Is Ours - The USA In Dub" (Select Cuts / Indigo). The really wonderfully self-deprecating title makes the concept clear: the compilation throws a spotlight on the criminally underexposed from a European perspective DubScene of North America. A few names from this scene are of course known in this country: Systemwide, Dr. Israel, Avatars Of Dub and maybe one or the other Act from the Guidance-Dub-Samplers. Otherwise we know little. But when you listen to “Babylon Is Ours”, you get the impression that there is a good reason for this! Real discoveries cannot be made here. OK, the US combos can keep up with average European productions - but is this statement worth a sampler called “Babylon Is Ours”? One would have expected a little more innovative power here.

In Riddim # 2, Loud & Lone, one of them, was mentioned for the first time Dub-Duo from Spain. The two, Borja Juanco and Roberto Sanchez, have now dealt with the musicians of the Basque Dub Foundation teamed up and released a showcase album entitled "BDF Meets Loud & Lone" (A-Lone / Import) added. 18 tracks can be found here, with vocal track and Dub- Alternate version. All instruments are hand played, which fits the overall very classic impression of the album. The album could easily have come from Jamaica in the 70s (apart from the better sound) - it is mixed here in the old masterly manner. So it's all the more astonishing that the album actually comes from Spain. Maybe a couple of American ones should Dubjust go on vacation there ...

Let's get to the final highlight: "Richard Dorfmeister Presents A Different Drummer Selection" (Different Drummer / EFA). The two boys from Birmingham, Glynn Bush and Richard Wittingham, who operated as “Rockers HiFi” until the second half of the 90s, founded the “Different Drummer” label in 1992 as the home of their own as well as those of like-minded people Dubmore creative. From the beginning, the name of the label stood for innovative music, the various musical influences under the umbrella of Dub united. None of the innumerable Dub-Acts of the 90s has expanded the spectrum as sustainably as Rockers HiFi and their label. Last year, Different Drummer turned ten - an occasion for Richard Dorfmeister to combine the best tracks of different drumbeat on one album. Also part of the party are Noiseshaper with heavy reggae beats, G-Corp with two grandiose heavyweight steppers, Phase 5 and International Observer with rather trippy groves, Rockers HiFi with a nice, house-influenced one Dub and of course the in-house overproof sound system with their unbelievable "Watch What You Put Inna". Let's hope that the “Different Drumbeat” continues - in all directions, because the label is as open minded as the genre it stands for.

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Dub (Revolution Review

Dub Revolution, January 2003

Up, Bustle & Out - an unknown name for reggae fans - and yet the name stands for one of the most interesting reggae /Dub-Albums from the past year. In the past, Rudi & Ein, the two makers of Up, Bustle & Out, alternately devoted themselves to different ethno sounds, which they imported into the trip hop universe and processed there into fascinating downtempo grooves. After an Indian and a Cuban album, they now took off with their new work "Urban Evacuation" (Unique / Indigo) of Reggae of the 70s. The album, which was created entirely in the spirit of King Tubby, pays homage to this sound. But it wouldn't be worthy of this review if it had been content with it. On the contrary: Rudi & Ein go far beyond the Tubby model. Perhaps it is her non-reggae background that allows her to mix styles in such an undogmatic manner and create sounds so adventurous: Ska, Flamenco, Breakbeats, Trip Hop, Latin, Arabic, Indian ... everything plays along during Reggae and Dub form the solid basis. The stylistic diversity is also evident in the names of the guests: Ras Jabulani, from the Black Roots, who voiced two tracks in the unmistakable Linton Kwesi Johnson style, or MC Nicky Blaze, singer with Roni Size, or Nitin Sawhney and Jim Barr ( Portishead), who play the double bass here, or Andy Hague with some very nice trumpet solos, or Senora Eugenia Ledesma on the percussions, or…. The list of contributors is long. It is therefore all the more astonishing that the album sounds like a piece and the pieces follow one another in perfect flow. The result is an almost cinematic atmosphere that seems to carry the listener through different worlds and repeatedly creates new images in front of his inner eye.

Let's jump right into the center of Dub: Jah Works, "Messages From The Seventh Sense" (Jah Works / Import) ideally embodies what is known today in the reggae community as New Dub What is understood is: powerful roots rhythms, massive basslines, loads of reverb and echo and, last but not least, a warm, relaxed and latently mystical atmosphere. Jah Rej invites us to a nice label tour, where we meet a lot of completely unknown artists and we meet some great ones Dub-Tracks will be heard. No experiments await us here, and once or twice we have to press the skip button, but overall it's one Dub-Journey, which hardly any other label can offer at this level at the moment. Producer (and esoteric) Jah Rej was probably inspired by the Zion Train dedication of his label in the form of the sampler "The Inspirational Sounds Of ...", released a few months ago, and unpacked even more treasures. He only doubled the “Quick March” of the Roots Crusaders - which he would gladly forgive on such a perfect track.

Likewise Ryan Moore retrieves treasures from his archive: Twilight circuit Dub Sound system: "The Essential Collection" (M-Records / Import) gathers - as the title undoubtedly makes clear - the best tracks of its previous Dub-Creation (which includes 9 albums since 1995). At a Dub-Artist of as unbelievably consistent continuity as Moore, it goes without saying that the Essential Collection cannot come up with surprises. It is not even possible to hear a stylistic development of Moore over the past 7 years. Experiments? No thanks! Dub is best pure, thought the master and fabricated some of the deepest reggae grooves that the Dub-The world ever vibrated. Recorded live by the master himself and then chased through all the echo chambers that the studio provided. Can be more essential Dub not be: The Essential Collection Of Essential Dub!

There have been many re-releases of King Tubby-Tracks from the 70s and 80s are given - which is no wonder, because in the age of the total remix you inevitably remember its inventor and creator. Since Tubby chased gigantic amounts of tracks through his echo chamber, every reissue could draw on the full potential and select tracks at will. It is all the more astonishing that reggae fans had to wait until the end of 2002 to hear about it "100% of Dub" (Select Cuts / Indigo) to receive such a broad collection of masterpieces by the King. The spectrum ranges from uptempo Bunny Lee productions of the mid-70s (Johnny Clarke, Horace Andy etc.) to the gloomy soundscapes of a Fatman from the late 70s and early 80s. While Tubby mixed the early pieces with unbelievable virtuosity and completely rearranged them with the help of his mixer, the late tracks are dominated by the pure sound in all its sluggish heaviness and dark depth. Of course he has Dub-Enthusiast all recordings already scattered in his collection - there is news on "100% Dub“Not to be discovered. But rediscovering the old in this beautiful combination is a lot of fun.

How one hundred percent Dub today sounds, however, let on "Dub Clash " (Dubhead / EFA). Much doesn’t seem to have changed since Tubby’s Fatman Mixes, but on the other hand it’s amazing how powerful this minimalist genre is, because, despite all its limitations, it can be more pure Dub still be exciting and sound good. As in this case: Dub Clash delivers the typical Dub-Minimalism: deep rumbling bass lines, sparse instrumentation, rolling beats and tons of reverb and echo. And still, somehow it's good: warm bass sound that you can feel in the pit of your stomach! No more and no less.

The fourth episode of the "Hi-Fidelity Dub Sessions " (Guidance / EFA) to work. It starts with a Japanese one Dub the Reggae Disco Rockers with vocal by Horace Andy, followed by the incredible track “Why Not Tonight” by See-I, which was recorded by Desmond Williams. Further tracks by Ticklah, Roots Combination, Richard Dorfmeister, Groove Armada and Smith & Mighty keep the level at the highest level. Only the last two pieces by Tosca fall off a bit. Thanks to Guidance for regularly bringing out such outstanding state of the art samplers without blinkers.

That too Dub-Syndicate has with "Murder Tone " (On-U-Sound / EFA) put together a sampler - but only with their own material from the "Dub Syndicate-Classic Collection ". Especially in comparison with the others discussed here Dub-Albums, it becomes abundantly clear again how independent and concise the music produced by Adrian Sherwood is. Its sounds, its arrangements, its melodies are unique. With “Murder Tone” he is delivering something like a retrospective of the last twenty years, and at the same time relaunching his somewhat neglected On-U-Sound label.

But there is also new material from Adrian Sherwood to listen: "Never Trust A Hippy" (Realworld / Virgin). Officially his first album under his own name, if you will, his "Debut". In view of its gigantic back catalog, a more than ironic phrase that the Virgin marketing team uses. It also seems ironic that his “debut album” does NOT appear on his own label. This is due to the fact that Peter Gabriel, label boss of Realworld, asked him to make a pure remix album from the label's back catalog. But Sherwood wanted to record new pieces rather than just recycle old ones and so went into the studio with musicians like Sly & Robby or Lenky (creators of the Diwali rhythm) and recorded new backings, over which he then played various realworld samples. The result is a very atypical Sherwood album that leaves the limits of reggae far behind. Whether it always succeeded is another question. Some songs sound a little uninspired, others not consistent enough. Often one gets the impression that Sherwood wanted too much: Dancehall, Dub, World music and sample experiments - compressed together in one song it often borders on overproduction. Sometimes this diversity is combined in a congenial way. No profit without risk.

On the French hammer bassDub-Label (which should get a proper German distribution soon) is an album by Paris Yard, with the title "Dubvisions " (Hammerbass / Import) released, which is not unlike the Sherwood work. Here, too, there are many world music samples and a clear affinity for dancehall. But unlike Sherwood, the construction of the pieces here is much simpler, but also more powerful. Here you can find z. B. also uncompromising electricalDub-Tracks whose massive steppers rhythms do not allow experiments. Then again there is traditional African music that comes with Dub-Sounds is fused, followed by an up-tempo dancehall-Dub. Confusing conceptless, but precisely because of that exciting and entertaining.

The album, also released on Hammerbass, is in a dance context - if not pop "Peace, Unity, Love, Having Fun And Computers" (Hammerbass / Import) by Batam batam anchored. The sound can best be compared to Dreadzone, even if Batam Batam still uses carefree pop melodies and doesn't care in the least about reggae credibility. The “Having Fun” in the title hits the core of the album concept: Everything that is fun - be it 60s pop or disco choirs - becomes alcohol-free here Dub-Cocktail mixed. The reggae beat remains a solid base, but with the lush pop arrangement above it, it is hardly perceived as such. This is not a criticism! What should be wrong with “Having Fun”? Dub doesn't have to be head music, even if many think so.

They seem a little different Trance Vision Steppers with her new album, "Tvs.2" (Forty-five / Indigo) to see. Minimalistic electronic sounds à la “Space Night meets Dub, weightlessly flowing, meditative. The addressee here is more the head than the stomach. There is no stranger behind this sound: Felix Wolter, mastermind of the reggae band “Visions” and various other projects such as “Pre Fade Listening” - and more avant-garde Dub-Producer from Hanover. To what extent the sound of TVS still has something to do with reggae cannot be clearly determined. Proven reggae beats can hardly be heard, and yet the reggae vibe resonates in every note. Dub is universal.

It drives even more minimalist Mapstation (featuring Ras Donovan) with "Version Train" (Dusty Gold / Indigo). Stefan Schneider remixes the tracks from his previous electronic album "A Way To Find The Day" in reggae style. Nobody should expect to find fat one-drop rhythms here. On the contrary, the tracks are pure minimal electro-plucker-click-Dub-Soundscapes whose sound and instrumentation have absolutely nothing to do with reggae. But there is this strange syncopation of the beats that has something to do with reggae in a very associative way. If the reggae vocals by Ras Donovan, which are strongly reminiscent of Tikiman, are added, then the album has undoubtedly earned its place in this column. I find this approach to reggae absolutely refreshing, exciting and also really beautiful. Of course, the tracks are often brittle and a little “cerebral” - but it doesn't always have to be “Jump & Shout”. Here, at the boundaries of the genre, more interesting things often happen than in its center. Unfortunately, Stefan Schneider takes his minimalism principle too literally: just under 30 minutes for the price of a "normal" album is simply too short (and by no means manifests an alleged "artistic claim").

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Dub (Revolution Review

Dub Revolution, October 2002

The fact that Joe Gibbs and Errol Thompson produced some of the most beautiful reggae classics of the 70s should have been reminded again after the publication of the homage by Steely & Clevie. That Gibbs and Thompson, "The Mighty Two" but also excellent Dub-Versions of their hits are evidenced by the new Pressure Sounds album "Joe Gibbs and the Professionals: No Bones For The Dogs" (Pressure Sounds / Zomba) that is their Dub- Dedicated to works from 1974-1978. Four years with great hits like "Heart and Soul" by Leo Graham, "See Them A Come" by Culture on the heavy rock rhythm, "Burn Babylon" by Sylford Walker, or even, very big, "Two Seven Clash" , also from Culture, which is here a Dub-Treatment in a class of its own. Very exciting instrumental arrangements, funny samples (car races, barking dogs, shots etc.), sound-FX galore, reverb and echo and above all a virtuoso mastery of the sound are the most important ingredients of the DubVersions by Gibbs & Co. But these ingredients alone would have been worthless if Gibbs and Thompson hadn't had such excellent raw materials. Because a strong rhythm, well arranged, with a swinging bassline and possibly beautiful vocal melodies is a conditio sine qua non for a good one Dub Track. And so it is not surprising that the Dubs on "No Bones For The Dogs" which have survived 24 to 28 years since their creation and still sound as interesting and varied today as they did when they were created.

Let's stay with the classics: after the small one Wackies-Special in the last column, here are two more rereleases of Dub-Albums of the legendary American reggae label presented: “Jamaica great Dub Session" and "Natures Dub" (both: Wackies / EFA). Both albums impress with their melodic tracks and the incomparable and always fascinating Wackies sound. Mix-wise, the two works from the early 1980s are rather average, groove-wise, however, they are far ahead - which shouldn't come as a surprise when you know that luminaries such as Leroy Sibbles and Jackie Mittoo are jointly responsible for this. "Natures Dub“Starts off with a true Four To The Floor stomper you'd expect to be in the 1990s rather than the early 1980s. Producer Lloyd "Bullwackie" Barnes was happy to draw on the Studio One legacy (like everyone at the time), which gave his rhythms those wonderfully rolling basslines (and maybe even helped make his recordings classics too). On “Natures Dub“In any case, he offers us an unsurpassed minimalist interpretation of Rockfort Rock, almost completely stripped on pure drum & bass with fistling hi-hat attacks and sparingly used echo. Such tracks are likely to have induced the minimal techno producers Mark Ernestus and Moritz von Oswald to re-release the entire oeuvre of the Wackies label. Thanks a lot for this! The sound on the “Super Dub Session “is softer and typical of the label's Lovers productions. Soft melodies and lots of reverb and echo determine the sound here. Above all, the drum sound from the Black Ark studio puts its stamp on the tracks. The arrangements are more lush and musical, occasionally there are even tentative brass sections.

From the Bronx it's now over to Brooklin, where the Clocktower label is based. House owner Brad Osbourne never had to deal with such little things as recording sessions or with reggae artists. He just bought complete session tapes from Bunny Lee and Lee Perry in Jamaica and mixed them into his own Dubs - which of course he also gave his copyright to. Now there are a few of these again Dub-Objects available: "Clocktower Records Presents Clocktower Dub" (Abraham / Import). Here are some scruffy ones Dub- Heard versions of hits by Junior Byles, Johnny Osbourne, Dennis Brown, Augustus Pablo and the Heptones, always mixed with recordings from Perry's Black Ark studio. Obscure, weird and idiosyncratic are the appropriate adjectives for this Dub- Best characterize the collection from the 70s. 

Since we're working on inclines Dubs are: "Hallucinogen In Dub" (Twisted / EFA) goes one better: A Dub-Ambient sound network that was undoubtedly created under the influence of small mushrooms. Spherical synth pads and colorful electronic doodles are the predominant stylistic devices here. They stand in exciting contrast to solid reggae grooves and rich basslines and make this work for reggae fans to consume. Some pieces sound like Dreadzone on drugs, others like Stockhausen on reggae. The listener should therefore have a certain tolerance towards musical experiments. However, after a brilliant start, the tracks usually calm down a bit and finally develop a more meditative mood. If you are open minded enough, you will have fun with this album - if you are not, the cover will put you off.

Since I am - without a doubt - open minded enough, I also got the album from Brain Damage, "Always Greener (On The Other Side)" (Hammerbass / Import) from France. Here, the listener can expect extremely slow, monotonous rhythms with a fat sound-FX set. Rhythm & Sound meets Wordsound meets Alpha & Omega - one could briefly summarize the concept. However, Brain Damage is less minimalistic than Rhythm & Sound, not as experimental as Wordsound and not as dark as Alpha & Omega. Nevertheless, the album exerts a strange fascination. The meditative mood, the limbo between disharmony and groove, the sluggishness of the bassline ... It is not easy to illuminate this fascination - and it is also not easy to get fully involved with the album. But if you do, you hear a lot: soft echoes of oriental melodies and Indian harmonies z. B. or mysterious scraps of words that emerge from the sound complex. The two vocal tracks with Tena Stelin also set two nice accents.

Let's stay in France, a music nation whose reggae and Dub-Create only slowly and very gradually becomes visible to us. The DubProducer and mixer Miniman is located with his self-confident French titled album "En Marche Pour Sion " (Age Of Venus / Import) on the way to the kingdom of the Rastas (like gentleman). His pounding steppers rhythms leave no doubt that he has mastered this path with a steady pace. The whole album appears like a deja vu from the 90s, Disciples, Rootsman and Zion Train send their regards. But that doesn't seem to bother Miniman: He doesn't care about the current trend in business, he doesn't care about attracting buyers outside of the French reggae community and he doesn't need strong guests to voice his tracks. He just makes his music - uncompromisingly and consistently. What is to be bad about it? So it fits only too well that he has his picture taken in his Ikea bedroom studio. You have to have that much self-confidence!

The Groove Corporation from Birmingham, on the other hand, stands for the modern club sound of the Dub, which incorporates the diverse influences of electronic music and is located entirely in the here and now. With "Dub Plates From The Elephant House Volume Two " (Different Drummer / EFA), pack yours for the second time Dub-Plate box and show where the status quo of the genre is at the moment. Their spectrum ranges from exciting crossover sounds (like "Clever Kid" to that like a Dub-Remix of the Gotan Project sounds) to trip-hop experiments and hard-hitting dance floor steppers rhythms. Diversity seems to be the basic principle at G-Corp, because every track has new arrangements, new sounds and new surprises in store. A property that is currently in the Dub is far too rare. They leave no doubt about the great potential of this genre and what its way into the future should look like. It is thanks to musicians like G-Corp that Dub has found its place in the dance of contemporary electronic music and asserts its unmistakable influences there. In this respect they are Dub-Plates of the Groove Corporation the exact antithesis to the tracks by Miniman: Modern club sounds with strong roots in reggae.

How strong Dub capable of influencing current club sounds is shown by the new album of the Thievery Corporation, "The Richest Man In Babylon"whose title makes it clear that it is not far from reggae. There are a few straight ones here Dub-Tracks that even the aforementioned corporation from Birmingham should be jealous of. Rob Garza and Eric Hilton, the two eclecticists in person, took good care and made their own Dub which they have embedded between wonderful lounge tracks with a strong world music influence. But only by the way. Let's turn to someone else Dub- Outsiders too: the Bad Brains. The dreadlocked punk musicians from Washington have with "I'n'I Survive Dub“(Reggae Lounge / Groove Attack) actually a flawless one DubAlbum submitted. Flawlessly ...? Not quite, because it can happen that brute guitar-punk sprinkles interrupt the moderate groove of the basslines and clear the ears without considering losses. Amazingly, it even works out quite well. The normal ones" Dub-Tracks are actually quite normal - apart from the fact that they are hand-played, which you can clearly hear, especially since the sound also sounds like a live atmosphere. Arrangements, instrumentation and Dub-Mixes stay pretty much on the carpet and some tracks should be played with a bit more punch. On the other hand, the brass section is nice, which is unfortunately far too rare in reggae today. Inevitably, the question arises with this album, who is it made for? Hardly for reggae fans, because then it should offer more. And whether friends of punk one Dub-Album, unfortunately, must remain an open question at this point. But if you listen to some hardcore dancehall productions, the boundaries between punk and reggae seem to dissolve anyway ...

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Dub (Revolution Review

Dub Revolution, July 2002

It is well known that you should stop when it's best - and so the Blood & Fire Remix series ends with a climax: "Select Cuts from Blood & Fire - Chapter 3" (Select Cuts / Indigo). Nicolai Beverungen, the Dub-Masterchief from Hamburg, has the almost complete Who's Who of the British for the big farewell party DubScene invited to remix reggae classics from the Blood & Fire catalog. In response, he's terrific with Dub-Tracks have been given away that make it clear where the Dub today it stands: under the sign of club culture. Groove Corporation, Dreadzone, Smith & Mighty, Different Drummer and the others leave no doubt that modern Dub has long been fused in the most excellent way with the sound of techno, house, drum & bass, garage, electro etc. and has thus paved its way into the future. But it is crucial that this Dub the reggae roots have not been lost that its beats and Dub-FX rest on the warm, soft bed of rolling basslines: eg “Rockfort Rock” from Groove Corporation, “Stalag” from Smith & Mighty, or “Greedy Girl” from Pressure Drop. It's nice to see how the constants of reggae evolution have now arrived in the 21st century - and can still sound surprisingly new. Smith & Mighty's version of Stalag is by far the best thing Dub has been produced recently. The same applies to the Dreadzone remix of two Prince Allah classics, which is carried over to garage pop realms by a bouncing syncopated uptempo beat, or, also outstanding: Don Lett's remix of the Prince Allah / Pablo Moses tracks “Great Stone / One People ". A heavyweight stomper without equal who will cause a sensation in many clubs and dancehalls. Interestingly, Letts is the director of the film "Dancehall Queen" (and over 300 music videos) - a true all-rounder. Conclusion: a superb remix record with only one problem: that it is the last one.

Mark Ernestus and Moritz von Oswald (Rhythm & Sound, Basic Channel), the two Berlin-based minimal techno producers, owe the reggae community more than many a pure-blooded reggae label boss, because these two recently opened the dusty archives of oldest American reggae label Wackies open. They have freed true pearls of reggae history from their obscure, long-lost crackling vinyl pressings, lovingly dressed in reproductions of the old cover artwork and re-released in a beautiful edition. After some great vocal albums (be sure to listen to: The Love Joys) there is now "African Roots Act 2" and "Act 3" (EFA) the first Dub- To hear albums from Wackies. Both were produced in the early 1980s by Lloyd "Bullwackie" Barnes in the small studio behind the Wackies record store in the heart of the Bronx. In addition to beautiful versions of old Studio One riddims such as “Fight it to the Top”, “Love Won't Come Easy”, “Real Rock”, “Love Me Always” and other in-house compositions, the recordings are particularly impressive due to their peculiar sound who made Bullwackie productions so famous (and infamous). It's somewhere between Black Ark, Studio One and Channel One. No wonder that he has drawn the audiophile minimal enthusiasts from Berlin under his spell. "Act 3" is the way Dub-Version of Sugar Minott's "Wicked Ago Feel It" album.

After so much adulation, we are now getting closer to the norm again DubAlbums. Comes from France Dub-Producer Manutension, whose album produced in 2001 "Stricktly for Sound System Dub (Dub Attacks the Tech Vol. 1) " (Import) is now to be published in Germany. Although Manutension mainly relies on heavy steppers rhythms, his minimalist arranged album has become extraordinarily experimental. He proves once again that Dub is music for the stomach and the head at the same time: attentive, conscious listening is just as exciting here as the thumping of the bass in the pit of the stomach is pleasant. Hopefully the album will find a good distribution in this country.

Multi-instrumentalist and has a similar sound DubMixer Ryan Moore, who uses analog tube amplifiers to produce heavyweight floorshakers in his Amsterdam studio whose sound couldn't be fatter. Under the name of Twilight circuit Dub Sound System he now brings the third episode of his "Dub Plates "Series (Cargo) out. All eleven tracks were manually recorded and mixed by him. You can hardly produce music more consistently and you can be more uncompromising Dub actually doesn't sound either. Admirable in its formal purity, but at the same time perhaps a little too uniform, too uneventful. A danger that many at New Dub oriented towards the 1990s Dub-Productions succumb. Even the steppers master himself, Jah Shaka, was able to get her with his new album "Authentic Dubwise - Jah Shaka Meets Fire House Crew " (Blow) do not withdraw. An album without ups and downs “happened” to him, whose sound cannot decide between London and Jamaica. Too bad. They are more skilful Love grocers on their new album "Fresh Produce" (Dubhead / Indigo) to work. The pieces by the “love grocer” Chris Petter and David Fulwood live from the charming, soft wind melodies that the two played on their own. They have also invited guest vocalists like Earl 16 or Cheshire Cat, who help to make the album varied and interesting. The Love Gocers are topped by Tom Tattersall aka Mungo's HiFi from Glasgow, whose debut album "Mungo's HiFi Meets Brother Culture " (Dubhead / Indigo) an unreservedly beautiful Dub-Album with succinct melodies, warm beats and interesting arrangements. Tattersall gets support from Jah Shaka Sound-Mike-Man Brother Culture, old-school microphone chanter, who gives around half of the tracks dancehall flair and thus sends a clear signal: Dub to skanken. 

Instead of purism, daring to do a little crossover again: Coming from Vienna Dubblestandart and her new album "Streets of Dub" (Indigo), which combines remixes of older recordings with new tracks and is technically sound between trip hop, Dub and sometimes even (you hardly dare to pronounce it) ROCK moves. The Mad Professor Steppers remix and Rootsman's Dillinger remix are nice, the other tracks vary more or less strongly between uninspired beats and really exciting style experiments, such as the Fatsquad D'n'B remix.

There are even more crossovers, however Lightning Heads debut "Studio Don" (Sonar collective). “Debut” is a little out of place when you know that the pseudonym “Lightning Head” (the name comes from a Lee Perry interview!) Hides Glyn “Bigga” Bush, the former half of Rockers HiFi. Then at the latest you have an idea of ​​the direction in which the sound of the album is pointing: Intelligent Dub Grooves (nice label, right?), Enriched with Batucada rhythms (Samba), Latin piano riffs and funk beats - all right? Well, you could also say that the album is a musical journey from Kingston to Havana, the Bronx, Brixton and the Stax sound from Memphis to Dorset (the English nest where Bush has his studio). On this trip, Bigga Bush met four excellent vocalists: Farda P (known from Rockers HiFi), Colliston White (from Vienna), Monterria (a soul singer from Atlanta) and Patrice. Needless to say, we are dealing with an extraordinarily versatile album here, which you need to have open ears and an open mind to enjoy. But that distinguishes us Dub-Friends of course!