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.