Helmut Phillips: Dub conference

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!

8 replies to “Helmut Philipps: Dub Conference"

More than 40 years later, Helmut shed light on an album that I bought from Robi Scheermann (Fotofon Label & Taugenixe Band) for just 12 DM. A few years and research later I knew: It is a very rare Linval Thompson Dubalbum, which in turn would see its reincarnation many years later as Boss Man's Dub' with the addition 'The lost 1979 Dub album” should celebrate. Until I read the “Dub Conference” not. (Read the book on page 158)
"Dub Conference” has been my daily bedtime reading for weeks. The many cross-references are also great. Helmut's expertise is incredible!
Make sure you get this book, because you had to wait far too long for such well-founded knowledge and background information.

How appropriate that the review appears here today. I just finished reading the book today. And I'm really excited!
I am far from one Dub-To be an expert, although music has fascinated me for a very long time. I was reminded of some things, I know many of the legendary albums, but I heard a lot of things in the book for the very first time, or saw them for the first time from this perspective.
The essence of my comment: Don't miss out on this reading pleasure!!!

Even with me the bedtime reading ... very enlightening.
Unfortunately I don't have one yet Dub-LP appeared, the value of which shoots through the roof, but the music is priceless for me anyway and has a different value than $Babylon Shitstem Dollar$...
Many thanks to Helmut for this masterpiece!

I can only agree, wonderful book, a must for everyone Dub interested. The only thing I can't do much with is the epilogue.
There have been many styles from current Dub mentioned and not precisely defined or given examples. Like Blue Eyed Dub. I couldn't find anything on the net about this, so I assume that the term comes from Helmut. I also don't think anyone says: I'm doing Blue Eyed Dub...think that should be a diss ;) You could also use Ferenji Dub, or mashed potatoes dub say :D PsyDub I haven't heard of it either, but at least you can find a Wikipedia entry. There you will find Gaudi, for example, which I appreciate very much. With “euro dub"I can't start anything either. I do not think that there is a uniform European dub culture there. At “French Dub” I know exactly what is meant. But France was not mentioned at all. In any case, you notice that Helmut isn't very up-to-date Dub holds (and knows);)
Dub comes from all over the world as you can see from the releases this year. Sri Lanka, Havana, Australia, New Zealand, America... It's not limited to Europe.
And then it happened: Suddenly I read my own words!!! Well, Helmut has a quote from me here in the dubblog comment forum taken out of context and generalized. I may not have expressed myself correctly, but I certainly don't mind surprises in music. For me, effects have to fit harmoniously with the music and be used perfectly. (about the latest Alborosie disc).
Well, words come out of that so quickly dubblog forums in books;) I see it positively which one Dublistener can already say that his words in one Dubbook;) and that before Lemmi;)
Cultures mix and the music mixes too. mix it baby Such is the future. Nobody can resist it. Your point of view Helmut shocked me a bit, but I still love the book until (almost) the end, thank you very much!

Hmmm shame!

Unfortunately nobody has sent the book to my house yet. So I have to take care of it myself. In the worst case, this can take years. Since then, unexpectedly, I've found it in a bookstore. Then I still have to ( may ! ) read it and by then all the "literary quartets" about this book will have been through. I think you can discuss a lot there and squeeze a lot of your own mustard out of the tube. So I feel an additional pressure to get the book as quickly as possible, but I can't handle pressure very well, except for negative pressure, so to speak a vacuum.
The fact that I was not quoted in the book is a very serious point of criticism ;-) ...... (But I am sure that I will find parts of my views in the book and also a lot of material that will make me go through the roof. As far as I have noticed so far Dub Syndicate, so no Dub ! Is correct, Dub Syndicate is On .U Sound and that is Dub in the square ! On .U Sound has done what mathematicians have yet to do by squaring the circle
have and what they will never succeed, because the number "Pi" is just an approximation to infinity .........
"Please do not check these alternative facts and certainly not out them as "false", because they are meant more "figuratively" ;-) ......... )
To the old original DubI can't say anything anyway, because I don't know anything about it except Java Java Java. In an interview with Helmut Philipps I heard that mistakes are almost inevitable when you write a book about reggae and then about Dub writes. It's probably all a long time ago and the Jamaicans have a very idiosyncratic way of describing things. Well, I'm getting ahead of myself too much. I'll probably learn more about that in the book. Yes, a lot of "Rauch um Nix" from me, because I haven't read anything yet and haven't heard that much about the contents of the book. But speaking of listening, isn't there going to be an audio book (CD) soon? ………………………….. hehe, yes, that's fine, I'll leave the field ……………. ;-

How long ……………………. lemmi

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