William S. Burroughs and Dub? Why not? After all, Burroughs is THE icon of counterculture, which reggae also feels a part of. In addition, Burroughs' life was determined by excessive drug use. In the early 1950s he was arrested for growing marijuana - here, too, a certain, albeit unfavorable, closeness to reggae cannot be denied. In addition, Burroughs often worked as a spoken word performer, especially in the 1980s and 90s, and so there are many sound recordings of his concise, sharp voice and his very casual, self-confident manner of speaking. Footage that almost demands to be combined with suitable music. And then there's the most important reason of all why the album William S Burroughs in Dub (Echo Beach) had to find its way into existence with cosmic necessity: The birthday of Mr. Burroughs was on February 5th for the hundredth time. This guarantees attention and the prospect that the work will also take place outside the small, conspiratorial community of the Dubheads is perceived. So there are enough reasons for the Dub Spencer & Trance Hill-Quartet came together and created virtuoso fine, psychedelic beats around the magical words of the anti-poet and perhaps the most important US writer of the twentieth century. Somehow the one characterized by rock guitar and analog drums fits Dub-Spencer-and-Trance-Hill-Sound to the beat and rock era of the 1960s and 70s, which was heavily influenced by Burroughs' work. The tenacious, protracted groove of the Swiss, the psychedelic effect of the guitar riffs that fade away in the echo room and the deep and physically pulsating bass are simply the congenial soundtrack to Burroughs' confused monologues. An acoustic drug trip into the screwed-up, brilliant life of one of the most dazzling figures in American history. It was time for reggae to pay homage to her.
