Then the King becomes the Prince again: With “Waterhouse Dub" (Greensleeves / VP) King Jammy delivers a flawless one Dub-Album as if the last 30 years of reign hadn't happened. The album is so old school that it seems like it's out of date. It starts with the musical material, which mostly comes from the 1970s and early 1980s (for example Earl Zero's “Please Officer”, Junior Reid's “Shack A Lack Rock” and “Jailhouse”, as well as a new version of Jammy's signature tune “ Jammy's a Shine "). A retro concept that continues pretty seamlessly with mixing: like here, Jammy already had an apprentice to Tubby Dubs mixed. The few more contemporary moments are likely to come from Jammy's sons Jam Two, John John and Baby G, who supported their teacher with the work on the new album. But regardless of whether this approach is considered authentic and only true or hopelessly out of date, the question arises as to why Jammy shows interest in such a project at all and apparently an increased affection for it Dub developed? (As is well known, in 2015 he already played half of the album "Dub of Thrones “(with Alborosie). Where does this new Jamaican appreciation come from Dub come from? The market should not have grown much. With Dub there is no big money to be made. Perhaps the answer lies simply in a new appreciation of the musical qualities of full-fledged (mostly historical) reggae productions. With a few exceptions, some of the acoustic wealth of reggae has fallen by the wayside in recent years. The absolute concentration on singing and voice let the musk behind it become ever simpler, smoother and more reduced, until it finally only served to support the voice, but no longer had any intrinsic value. in the Dub it is the other way around. Here the music counts and the voice fades into the empty room. The typical reggae productions in Jamaica are therefore not convincing Dubs mix more. The music lacks the strength for it. But that could be exactly why a studio veteran like Jammy suddenly feels like it again Dub gets, on its musical complexity, on rough edges and on the aural range of full-fledged productions. And for that we should be grateful to him, buy his album or stream it incessantly and hope that his attitude catches on and initiates a trend reversal in Jamaica. Even if the Dub-Experiments in Europe appeal much more than Jammy's old school, I wholeheartedly wish for a really large, high-quality one Dub-Renaissance in Jamdown. Can I still experience that?