Category: Other

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!

Robbie Shakespeare died on December 8th during kidney surgery. He was only 68 years old.

I didn't know Robbie personally and yet his bass playing has been with me for most of my life. When I discovered reggae around 1980, the music of Sly & Robbie was ubiquitous. It was the high point of her career. There was also a huge oeuvre of rhythm twins from the 1970s to discover for me.

At some point around this time I stopped listening to the radio Dub by Sly & Robbie. It was the first time that I noticed instrumental reggae. I was absolutely delighted and started everyone Dub-Buy albums from the duo that I could get hold of at the local record store. Then in 1981 “Nightclubbing” by Grace Jones was released - with rhythms recorded by Sly & Robbie. It was a sensation. In the same year I bought "The 60's, 70's Into The 80's = Taxi" and "Sly and Robbie Present Taxi". I played the two vinyl albums so often that in the end all that was left was a smoothly planed groove. The live album "Black Uhuru: Tear It Up" followed a year later. What a great time it was! I had discovered "my" music and was showered with masterpieces. Countless other Sly & Robbie albums have followed since then, which I gradually incorporated into my record collection. At some point I began to review reggae albums for various music magazines, unfortunately at a time when the golden era of the rhythm twins was drawing to a close. Unfortunately, in the last few years in particular, I had to hack a lot of tears into the keyboard. What hurt my soul, because Sly and his partner Robbie created the soundtrack of my reggae socialization and Robbie's bass in particular was one of the main reasons why I was so in love with Dub developed. Now Robbie Shakespeare is leaving one of my most important identifying figures in reggae. The Rhythm Twins are irretrievably history. It makes me sad. Rest in peace, Robbie.

Photo: Schorle, CC BY-SA 4.0

2020 wasn't a bad year! At least not for him dubblog, because it has more than doubled the number of its readers compared to previous years. An incredibly motivating success for our small editorial team. That's why we're doing the in 2021 dubblog even better. So from now on there will be a page on which we are all Dub-List new publications (researched by us with self-sacrificing diligence). For you this means: If you want to know what new albums and EPs are in our favorite genre, then in future you will only need this dubVisit blog and click on "New Releases". Of course, we will also discuss outstanding releases in a detailed review.

And another good news for the new year: Den dubblog is now also available in English. It's only a machine translation, but it works - apart from untranslatable puns (we laughed at each other during the tests) - quite well.
But that's not all, because there is one more thing: Helmut Philipps is now part of our editorial team and gives you reviews of albums that we have neglected so far: more historical Dub from Jamaica.

So 2021 can only be good. Stay true to us, write comments - we are happy about each one - and have a dubby new year!

If you don't want to read, you have to listen: from now on we not only offer reading food but also a feast for the ears. You can now find two exclusive ones at the end of the start page dubblog playlists that we have put together for you.

Our playlist "editor's choice“Offers a weekly review and overview of current events in the Dub-Landscape. With the track selection we want to explore the genre in all its depths, but at the same time offer the subjective best and most up-to-date music selection. But the most important thing: The thing should make you happy and keep one or the other musical discovery ready. Your feedback will show us whether we are right.

The second audio offer is the playlist "deep in dub by dubblog". It comprises 100 tracks and explores the range of our favorite music in a much more extensive and sustainable manner. It is an offshoot of the proven playlist colossus "deep in dub (extended version)“, The one with over 4.700 Dub-Tracks of the more recent times, i.e. from the year 2000, comes up and is continuously expanded with new material. Curated by yours truly - Gerhard Thomas Kriz aka gtkriz - you can assume Dub to be served in the classic style. And that, if you want and persevere, for 14 days 24/7 without a single track repetition. The full broadside, so to speak.

For everyone who is more into the glorious Dub-Year in the late 70s and early 80s, here's a tip: Spotify also hosts the playlist "deeper in dub“: Roots Radics, Aggrovators / Revolutionaries / Sly & Robbie, Scientist, Prince Jammy, King Tubby, Joe Gibbs - all the old masters gathered in a single heavyweight Dub-Battle. Enjoy!

It should be noted briefly: The web integration of the two playlists "editors choice" and "deep in dub" at the end of dubblog start page allows - for reasons of copyright - only the playing of 30-second previews. But just one click further you get to the free Spotify web player, which offers you complete listening pleasure. With SongShift there is also a free app that allows you to import Spotify playlists into the streaming service of your choice.