To make one thing clear right at the beginning: This book is “Dub Conference – 50 years Dub from Jamaica' is not a doctoral thesis in the academic sense, nor has Helmut Philipps been awarded a doctorate for it. Although the meticulousness, scope and approach certainly suggest this.
On around 250 pages in 22 chapters (ignoring the index, references, glossary, etc.), the author pursues the question: what is Dub? This happens (hence the title “Dub Conference”) largely through conversations with many protagonists of the genre. Helmut Philipps conducted interviews whenever possible, at concerts and festivals throughout Europe, but also during several research trips to Jamaica. He has spoken to Style Scott, Sylvan Morris, Errol Brown, David Rodigan about his good friend King Tubby, Fatman, Pat Kelly, Bunny Lee, Barnabas, Linval Thompson, Clive Chin, Clive Hunt, Scientist and King Jammy, among others.
"Dub Conference” is the first book about Dub in German, and within a short time the first edition of 1.000 copies was sold out. It is more of a coincidence that the publication of the book (the history of which began ten years ago) coincides with the 50th anniversary year of this genre. The first five Dubalbums were made in 1973, they were: Lee Perry – Upsetter's 14th Dub Black Board Jungle, Prince Buster- The Message Dubwise, Herman Chin Loy – Aquarius Dub, Joe Gibbs— Serial Dub, Clive Chin – Java Java Java Java.
But even after 50 years and the worldwide reception and adaptation of Dub, is the question about the origins and conditions of formation of Dub a largely unwritten and often mythical story. "Dub Conference” is dedicated to the Jamaican Dub from its beginnings in the 70s to its end with the digital revolution in 1985. The adaptation of this genre in England and worldwide is only touched upon marginally and then mainly through the eyes of non-Jamaicans like Dennis Bovell or Mad Professor.
In addition to his journalistic work, Helmut Philipps benefited from the magazines RIDDIM, MINT and of course the Dubblog, especially the fact that as a professional sound engineer he has a different approach and technical understanding of the work of the Dub bring engineers. Because the emergence and development of Dubs always had a technical side. Helmut Philipps clears up the misconception that the film was recorded and produced in Jamaica under "Third World conditions". The studios on the island have always been able to keep up with international standards.
has its origins Dub Early 70's in Jamaica's sound system culture, as a custom special or version of a popular vocal original that gave the deejay a chance to 'toast' his chants over it. The demand for these "specials" fueled the evolution of the Dub. One of the core theses of the book is therefore “no original vocal version Dub". Dub is the work of Dub-Engineers in the studio with the mixer as an instrument for the sound system application. The format of the Dub-LP was more intended for export and hardly played a role in Jamaica. At some point, however, the producers realized that the youths in Babylon were willing to invest their pocket money in black gold. The triumph of Dub was unstoppable.
Helmut Philipps has succeeded in writing an exciting book that is entertaining and informative at the same time, with so many Dub Myths cleared up and a partly new understanding of this variety of Jamaican music is shown. For example, what makes Lee Scratch Perry so special and what did he do differently in the Black Ark than the others Dub engineers? And is that at all Dub, or is Perry more of a sound creator? How is the Scientist vs. Greensleeves case to be assessed? Can he Dub Understand the engineer himself as an artist in the legal sense, or is he more of an employed service provider for the producer? What role played Dub especially in LP format as an export hit and which ones in Jamaica? How many of the Dubs to the countless albums circulating under King Tubby('s), did the King mix it himself? is Dub a spiritual music or craftsmanship? What's the difference between Dub and instrumental, you can Dub than drum-and-bass music, and can Dub give without reggae?
To get an answer to these questions, read for yourself!