Everyone talks about the fact that young people are no longer interested in their parents' reggae, and then that: The son of Mad Professor, Joe Ariwa and the son of the sound system operator Aba Shanti I, Ashanti Selah, bring things together Dub-Album according to grandfathers custom in a mutual exchange of blows: "A double dose of Dub“(Ariwa). Let's see if the fathers have their offspring in the art of Dub have probably instructed. In any case, one thing is immediately noticeable: Stylistically they differ Dubs of the two very extraordinary. While Joe cultivates his father's style, which is almost full of baroque abundance, Ashanti Selah uses the rather reduced style of the UKDubs. Where Joe shows virtuosity, Ashanti Selah responds with intensity. To hear this in comparison is quite exciting - but in the end it is not enough to really convince. As with many works by Ariwa, this is Dub-Mixing technique is excellent, but there is no correspondingly strong rhythm basis. Especially in comparison to the early rhythms from the legendary "Dub Me Crazy ”series, the more recent productions often sound somewhat uninspired and interchangeable. In this regard, Ashanti Selah's Steppers material is a bit better. However, it cannot stand up to the complexity of the Ariwa rhythms and the mix virtuosity of Mad Prof & Son. When played beautifully loud, the AshantiDubIt's pressure and intensity, but unfortunately it doesn't make them any more interesting. So my verdict has to be: Nice try, keep it up. There is still something going on.
One reply to “Joe Ariwa & Ashanti Selah: A Double Dose of Dub"
Oh yes, how right you are unfortunately. I left this disc, even though it was or maybe still is available on vinyl on irie records. I also find the steppas hereDubs from Ashanti Selah more haunting and ... well, exactly as you just described it. Basically it is a shame that I leave something like that, because it is already too good to ignore it completely.
It's like Adrian Sherwood always said… .. "At first, you need a good rhythm to make a good Dub“. And unfortunately the Mad Professor hasn't got the good riddims delivered to his home for a long time. Which brings me back to my universal question….
"Where did all the good basslines go?" It's like in the cinema. Somehow everything has been there before. Almost only the old riddims that already existed in the Studio One era (by riddim I mean the bassline in the first place) can ignite correctly. Maybe we should bring out all the old riddims again in 3D now ……………
Speaking of the bassline ... listen to the bassline from "Snake in the hole" by African Head Charge. Is not an order but a measure and then tells me that this is not a mega wacky, all bad, bombastic bassline that is rolling down everything badly. Then I'll go into the gate.
"Who knows the true secret of the master tape" …………………………. lemmi