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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 must have been emphatically recalled after the publication of the Steely & Clevie homage. That Gibbs and Thompson, "The Mighty Two" but also excellent Dubversions of their hits are documented on the new Pressure Sounds album "Joe Gibbs and the Professionals: No Bones For The Dogs" (Pressure Sounds/Zomba), which is her Dub-Dedicated to works from 1974-1978. Four years of great hits like Leo Graham's "Heart and Soul", Culture's "See Them A Come" about the heavy rock rhythm, Sylford Walker's "Burn Babylon" or, really big, "Two Seven Clash". , also from Culture, here a Dub- Be subjected to top-class treatment. The most important ingredients of the Dub-Versions by Gibbs & Co. But these ingredients alone would not have been worth anything if Gibbs and Thompson had not had such excellent raw material. Because a strong rhythm, well arranged, with a swinging bassline and possibly beautiful vocal melodies is a 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 from Dub-Albums by 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. In terms of mixing, the two works from the early 1980s are rather average, but in terms of groove they are right up there - which shouldn't come as a surprise when you know that luminaries such as Leroy Sibbles and Jackie Mittoo are partly responsible for it. "Natures Dub' kicks off with a true Four To The Floor stomper, more 1990's than early 1980's. Producer Lloyd "Bullwackie" Barnes happily drew on the Studio One legacy (as did everyone at the time), giving his rhythms those beautifully rolling basslines (and maybe even helping his recordings become classics, too). On "Natures DubIn any case, he offers us an unsurpassed minimalist interpretation of Rockfort Rock, almost completely stripped of pure drum & bass with fistling hi-hat attacks and sparingly used echo. Such tracks may have persuaded the minimal techno producers Mark Ernestus and Moritz von Oswald to re-release the entire oeuvre on 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. Gentle melodies and a lot of reverb and echo determine the sound here. Above all, the drum sound, which was monitored from the Black Ark studio, puts its stamp on the tracks. The arrangements are more lush and musical, occasionally there are even tentative horn sections.

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

Speaking of obliques Dubs are: "Hallucinogen In Dub" (Twisted/EFA) goes one better: On 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 have the album by Brain Damage, "Always Greener (On The Other Side)" (Hammerbass/Import) from France. Extremely slow, monotonous rhythms with a fat sound FX set await the listener here. Rhythm & Sound meets Wordsound meets Alpha & Omega - one could summarize the concept briefly. However, Brain Damage is less minimalist than Rhythm & Sound, not as experimental as Wordsound and not as dark as Alpha & Omega. Nevertheless, the album exerts a peculiar fascination. The meditative mood, the state of limbo between disharmony and groove, the sluggishness of the bassline... It's not easy to illuminate this fascination - and it's also not easy to fully engage with the album. But if you do it, then you hear a lot: Quiet 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- Creation only slowly and very gradually becomes visible to us. The DubProducer and mixer miniman is with his self-confidently 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 stands for the modern club sound of the Dub, which includes diverse influences of electronic music and is located 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", which sounds like a Dub-Remix of the Gotan Project sounds) to trip-hop experiments to hard-hitting dancefloor steppers rhythms. Diversity seems to be the basic principle at G-Corp, as every track offers new arrangements, new sounds and new surprises. A property that's just im Dub is far too rare. They leave no doubt as to the great potential of this genre and what its path to the future should look like. It's 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 that respect they are Dub-Plates by Groove Corporation the exact antithesis to Miniman's tracks: modern club sounds with strong reggae roots.

How strong Dub able to influence the current club sounds, shows the new album by the way Thievery Corporation, "The Richest Man In Babylon", whose title already makes it clear that reggae is not far off. Here you will find some perfect ones DubTracks that even the aforementioned Birmingham-based corporation would be jealous of. Rob Garza and Eric Hilton, the two eclectics in person, were paying attention and making their own Dub produced, which they embedded between beautiful lounge tracks with a strong world music touch. But that's only marginally. Let's turn to someone else Dub-Outsiders to: the Bad Brains. The dreadlocked punk musicians from Washington have with "I'n'I Survive Dub“ (Reggae Lounge/Groove Attack) actually a flawless one Dub-Album submitted. Flawless...? Not quite, because it can happen that brute guitar punk sprinkles interrupt the moderate groove of the bass lines and sweep your ears free regardless of losses. Surprisingly, it even harmonizes 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 could also be played a little more powerfully. On the other hand, the wind section is nice, which unfortunately is far too rare in reggae today. This album inevitably raises the question of who it is made for. Hardly for reggae fans, because then it would have to offer more. And whether friends of punk a Dub-Album to heart must unfortunately remain an open question at this point. But if you listen to some hardcore dancehall productions, then the boundaries between punk and reggae seem to dissolve anyway...

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