Categories
Review

Lone Ark Riddim Force: Balance Dub

Jamaica, the golden era of reggae, approx. 1977 to 1982. Countless classics were created during this period; The world has finally perceived the island's modern music to the greatest possible extent, mainly thanks to the major European labels and their smooth, studio-technical translation work. This is represented by a sound that is still unique today, which apart from the Marley sounds was mainly shaped by the Revolutionaries and the Roots Radics.

Acts and producers like ensure that this sound, or rather this sound technology, has by no means been irretrievably lost and that today's enthusiasts no longer have to look back so wistfully on this time pachyman, Pure Life, Prince Fatty, Rootz Lions and what their names may be. They chase after the ideal quite successfully and today provide almost the soundtrack from back then. But one of them has mastered the art of the 40 year old original rockers and steppers sound: Roberto Sanchez with his Lone Ark Riddim Force - to be heard on the recently released album “Dub Balance“(A-Lone Productions), the Dub-Counterpart to Ras Tweed's "Balance“Release.

No question about it, Roberto Sanchez has again delivered a very nice work - almost everything fits, this is an almost perfect time travel to the 1970s and 80s, that could easily come from the Virgin Records catalog. Original drum tracks by Style Scott were used for four titles - that is not noticeable at all is a quality criterion: Sanchez imitates the arrangements, studio technology and ambience of the era so perfectly - and with the greatest possible respect, I think.

So the exercise is more than successful and the reviewer is consistently happy. At the same time, however, one question arises: Quo vadis, Roberto? We have known for some time that the good man can deliver astonishingly similar replicas (copies?) Of reggae milestones, i.e. many of his productions. I am celebrating the fact that I can hear more or less new “historical” music without the tonal limitations from back then - now I can still expect a little more. In other words: A few laps in the time loop are fine - especially when the reproductions feel as if the originals are in no way inferior. At some point, however, things can get a little more creative.

Rating: 4.5 out of 5.

9 responses to “Lone Ark Riddim Force: Balance Dub"

Roberto Sanchez!

The man seems to be pushing a lot of "Corona frustration". Or he's just really hardworking. It is probably both. Since the existence of CDs and the information I can only read with a microscope, I very often do without the small print. Background information has only been brought back into focus again through your wonderful reviews here. And so it wasn't really clear to me that I already have so "many" records for which Roberto Sanchez is also largely responsible. It was only last weekend that I ran Willie Williams' “Glory To The King” again. I thought to myself, what nice crisp riddims, turn the cover over and lo and behold, Roberto Sanchez at the Controls. Unfortunately, almost all of them are DubVersions with way too much melodica are downright "contaminated". That about my "previous knowledge".
This - from my point of view - glaring mistake was made here in “Balance Dub“Not done before. Again very crisp riddims here - although for the most part they look very familiar to me. No wonder, because they come from the most glorious times of reggae mystic music. Overall, I like to hear one from time to time Dub by Roberto Sanchez but I'm always happy that Dub so versatile and it is DubThere are bands and projects that are bursting with imagination. Let's just take it Dub Spencer and Trance Hill. Their albums play, for me, entire KinoBlockBuster on the wall and, thanks to the director Umberto Echo, are not in the least stingy with special effects. In contrast, Matrix was a “children's birthday”.
I have the four here too Dubs recognized immediately with Style Scott. After all, I have “perfect pitch” !!! ………………. Stop stop! Fake news! Lemmi is not being lied here!
Yes, I admit it. It's in the liner notes of BandCamp ;-)
But first I did a little "sport" out of it and I started off really well. And so with the “Bide Up Dub“Not only did Style Scott hear out, but also
The Magnificent Noel "Skully" Simms. So I was on a really good path. But on the second try I was wrong. The drumming in the “Balagaan Dub“Could also have been from Sly Dunbar for me. I am not expert enough for that to distinguish the drum stems so precisely. With others DubI would have thought it was Style Scott too, but then it wasn't at all and so I dropped this sporting discipline again.
Ok, so with the large selection that DubMusic offers, I always like to hear one Dub by Roberto Sanchez. But I feel the same way as you gtkriz. I definitely feel joy and, moreover, a lot of "uplift" from them Dubs by Roberto Sanchez, but to be honest, it was almost exactly the same, 40 years ago. And as someone who hasn't been that big a fan of the Dubs been the revolutionaries, I've had a lot lately Dubs heard from Errol Brown from the glory days and I have to admit that I have my own opinion about them Dubs of the revolutionaries had to turn 180 degrees. Errol Brown has a lot there Dubs that - for my taste - offer more imagination and the joy of experimentation. Sometimes I have the impression that Roberto Sanchez just doesn't want to use any more effects than King Tubby was able to for technical reasons. I, too, would like to see a good deal more creativity and experimentation from Roberto Sanchez from time to time. But about the variety of Dub To continue to be fair, it can stay that way, if you like. Because sometimes you like it - or I like it - just short and dry. Whereby Dub is never "dry" for me, because it is always full of dripping, greasy energy and in the right location can no longer be absorbed by the walls, so that it forms fat droplets right there, which you can harvest like rubber to then use for every person on this planet a couple of cool "Rub-A-Dub-Shoes “to build.
For me, Roberto Sanchez is not really the main one DubProducer. I especially come to appreciate him for his excellent roots productions. And he should just keep going, because his concept, a RootsTune “never” without it Dub I think leaving standing is more than just praiseworthy. Something like that always results in a precision landing for me.

So long …………………… lemmi

Dear gtkriz and lemmi ... in general I can fully agree with you and I really like Roberto Sanchez's work, with a certain BUT. Nevertheless, it is unnecessary to repeat that again, but it is this traditional doggedness that I would have liked to have mixed up a little creatively and innovatively while listening to it (oh and lemmi, how I would love to attend a concert of the Dub Spencers ...) ... but what the hell, I'm currently raving about roots and reggae Dub like never before (it just doesn't get boring, although that mocks my son every now and then) and I am also discovering many exceptional singles and 12 ″ and am always surprised how good me and my psyche are Dubmusic in general does ...
it grounds me, it relaxes me, it lets me drift off into psychedelic spheres, it gives me stability, it gives me security, it produces tons of my own melodies in my head and is therefore extremely creative and stimulating for my old data center even when listening, in short it is my elixir of life, my mysticism and my religion ... enough of praise and writing ... either you feel it or not ...
Then I dive into the bass lines again ...
greetz….

High Philip!

Nice to read something from you again. Your praise to roots and Dub makes my heart leap I find that you are also gaining 7 inches and 12 inches very interesting. Somehow I'm not really into it, but I always found it very tingling when a SoundDJ put on such specialties. Most of the time you belong to a very exclusive group, because there are always only a few specimens that only very few people own. In addition, everything is completely on it, especially with a 12 inch. RootsVersion and DubVersion. Sone 12inch is always a really nice, rounded thing. But I probably won't get there anymore, because to do that I have to learn a discipline that still causes me major problems. Online shopping!
I just can't get away from my “imprint” (record store in the center of town).
But I have a very small - not very serious criticism - of your comment.
Why did you "absolutely" "have" to "change" gtkriz and me now? .... ;-)

Is ok, I'm just kidding …………………. lemmi

Dear lemmi and Philip + K,
(@lemmi: gender doesn't hurt, but in this case Philip probably meant the plural)

I like what Roberto Sanchez is doing with his reproductions ... as I said, today's better sound quality is what counts. At the same time, he reminds me of a painter who reproduces famous paintings ... or makes pictures in the style of famous painters. Here, too, at some point I would ask myself whether the painter also has something completely independent ... with his own creative idea and techniques. In principle, I think it's great how Sanchez has developed a trademark of King Tubby - the rolling snare echo - and uses it perfectly. He does that on balance too Dub, but so often that even this ingenious effect sticks out to my ears ... simply too much of a good thing. And between us: The basslines are also a bit stiff, so I lack the flow. But otherwise: Fine album that I will hear often in the future, no question about it - cultural appropriation here, cultural appropriation here.

@lemmi: Congratulations, I wouldn't have heard Style Scott out. Skully Sims would have been easier for me to spot, but only got over it after you told us.

@ Philip + K: Your hymn of praise to Roots-Dub is almost breathtakingly beautiful - also because I would sign every single word 100% and couldn't express it myself. Chapeau!

Reply

Right gtkriz!

The one with the majority also came to mind shortly after sending it. But by then it was already too late.
It sounds strange to me, but there is definitely no mistake.
Well, unfortunately I didn't always recognize Style Scott correctly. But of course I was sensitized with your assist (4 x drums from Style Scott). I have this drum beat in the “Bide Up Dub"Very often with some sticks - which I" whipped "on my thighs - after or. played along and felt like I was the drummer from the Roots Radics ;-)
It's a really great phenomenon when you play along with the drum beat while listening to music. This intensifies the music listening experience even more.
As has already been mentioned many times, I can't actually play an instrument and I can't do that with the drums either, but this beat here https://www.youtube.com/watch?v=9iqmSstO0Xo I've also noticed reggae so often that I could hold out for hours now, if only my thighs didn't "burn" so much. I find these rhythms very, very simple (maybe only because I was able to play or play along with them immediately) but with the right BassLine it becomes magical. As the saying goes, “Ingeniously is always simple”… .. or something like that.

"Drumming Is A Language" ……………………. lemmi

Yeah man

But then I was a bit younger ....... ;-)

I also have the video here in my favorites list!

I find a hammer part. Great sound and just really awesome for fans of
High grade reggae.
Of course, I can only keep the basic rhythm. I don't get along with the improvisations by a long way.

I really don't want to offend anyone (especially myself) but I could Dub Syndicate with this drummer Freddy Poncin like to come back again. Even if at live concerts I will miss the pleasantly distorted face of Style Scott - which he always got because he found the groove so awesome that it caused him pleasant "pain". Even then, I felt almost the same as he must have felt.

Boah EY ! Reggae is also awesome ………………………… lemmi

All right, Phillip!

Sometimes I should be really awake first before I “go out among the people”.
So my joke "try" was a failure ;-(

I'll keep trying ;-) …… until then …………. lemmi

Post a comment

This website uses Akismet to reduce spam. Learn more about how your comment data is processed.