After about 3,5 years the evolution of Dub - the way Greensleeves sees it - Vol. 7 (Greensleeves) and thus reached its end (according to a blog entry by the record label). As was already foreseeable at the start of 2009, the ladies and gentlemen of the archives had no intention of depicting a real evolution of the genre. Instead they contented themselves Dub- To republish albums from the back catalog as CD - with beautiful reprints of the original covers and more or less detailed liner notes. But the 28 selected albums so far neither followed a chronology, nor were they particularly important milestones in the development of the Dub. Usually a box was dedicated to one or two producers and spanned a few years. After Joe Gibbs & Errol Thompson, Niney, of course Bunny Lee, Linval Thompson, Ossie Hibbert, Lloyd Coxsone and Prince Jammy, Winston Edwards is now the conclusion. The listing of these names makes it clear to any reader who is halfway familiar with Jamaican music history that the evolution à la Greensleeves hardly left the 1970s. For friends of the old school Dub probably a revelation, the large-scale series is a missed opportunity in my opinion. An opportunity, however, that probably never really existed. Because bearing in mind that Dub very, very, very special interest, the effort of a meticulously compiled and well-commented history of the Dub probably never refinancing with sales proceeds. So let's sincerely thank Greensleeves for this great CD box series. - And then let's see what the Evolution Of Dub, Vol. 7 has to offer:
Four productions by Winston Edwards, the first three recorded in Jamaica, although Edwards had lived in England since 1974. There he ran his Fay Music label and released his first in the same year Dub-Album “Natty Locks Dub“With recordings that were partly made in Perry's new Black Ark studio, partly at Joe Gibbs', and mixed in Tubby's studio. Back in England I added a few brass solos and the album was ready. However, he was granted little success, which is easy to understand from today's perspective, as the tracks sound too shallow and stereotypical.
"King Tubby Meets The Upsetter At The Grass Root Of Dub“From 1975 is of a different caliber. They were recorded in Joe Gibbs' studio Dubs the A-side by King Tubby and the B-side by Lee Perry mixed. Both sides are - especially in contrast to the previous album - very well done. Almost all rhythms were new compositions, the instrumentation, which is often led by Vin Gordon's trombone, is beautifully varied and last but not least, they are also convincing Dub-Mixes. As part of an evolution of the Dub The real importance of this album lies in its marketing. Because while earlier, imported in small numbers Dub-Albums found few buyers in England due to their exorbitant prices: “King Tubby Meets The Upsetter At The Grass Root Of Dub“Not only was it a proper, decent UK release at a normal album price, but Edwards also promoted the album with a widespread series of ads. The result could be included as a positive example in a marketing handbook of the time: The album sold brilliantly, became a cult among fans of Jamaican music and had one thing above all: the concept of Dub was made known to a large audience.
"King Tubby Surrounded By The Dreads At The National Arena" came out a year later, in 1976, and came entirely from Dromilly Avenue. In addition to pure Dubs, there are also some vocal cuts to be heard, which the original liner notes justify with the fact that the album tries to recreate a live performance by King Tubby in the National Arena Kingston. But although the new album was also a success, Edwards closed his label in 1977 and instead took care of Joe Gibbs' London branch.
Three years later when Dub was already about to fall from the audience, Winstone Edwards published his fourth and penultimate Dub-Album: "Dub Conference ". But this time it was a purely British production, recorded and mixed by the central protagonist of UK reggae of the time: Dennis Bovell (aka Blackbeard). The difference to the three Jamaican albums in the box is huge. The three-year time lag to the predecessor is likely to be less decisive than the generally better equipment of the British recording studios. The sound on "Dub Conference “is incomparably more complex, the Dub Mix is much more willing to experiment, while the overall impression is more soulful and "warmer". The "Dub Conference "is a worthy conclusion to the" Evolution Of Dub“Series, because this is where the baton of the Dub from Jamaica to England. What followed is another chapter in the book of evolution.