Friends of modern roots reggae should be familiar with the Munich label Oneness Records. It has existed since 2007 and is managed by producer and bassist Moritz von Korff, Dub-Engineers Umberto Echo and Benjamin Zecher. Two years ago I read Umberto Echo's album “Oneness in Dub“Quite critically reviewed. Brilliant craft but all too smooth and homogeneous productions. Now the label is releasing the Dub-Version of the album "Working Wonders" (2012) by Mark Wonder: “Working Wonders in Dub" (Oneness Records). And I have the same problem again: Great sound, hand-played, perfect mixing, authentic JA style - but why in the world aren't the rhythms more interesting? The arrangements may be comme il faut for mainstream Jamaican roots artists, but for a sophisticated one Dub-Experience lacking rough edges. The same applies to the basslines: the lead instrument of the Dub remains here without conciseness. Maybe the concept has been more classic Dub-Versions based on "normal" backings are obsolete. I suspect that the “output intent” of a rhythm production “Dub“Has to be in order to be really convincing in the end Dub to be able to produce. Only then can Dub more than a secondary derivative - as unfortunately with the Working Wonders in Dub.
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Mark Wonder: Working Wonders in Dub
5 responses to “Mark Wonder: Working Wonders in Dub"
“Maybe the concept is more classic Dub-Versions based on "normal" backings are obsolete. I suspect that the “output intent” of a rhythm production “Dub“Has to be in order to be really convincing in the end Dub to be able to produce. Only then can Dub more than a secondary derivative - as unfortunately with the Working Wonders in Dub. "
High René!
I've been waiting for this review for a long time DubBlog. When I read that sentence in the Riddim column I thought
"Well wait René ;-) we'll talk about that"….
But I'm not really sure where to start, because otherwise I absolutely agree with you in all other points of your review. I would even go one better, but they might actually read my comments.
I would be sorry if they read my opinion about such limp riddims. Maybe the bass player should just play with his thumb (small "private wiz" between me and gtkriz). Good basslines (which blow my mind or at least inspire me) cannot be invented. It takes an inspiration and if you haven't got it, then it won't be a magical bassline. But maybe - unfortunately - it is also necessary for the ancestors
Must have gone through hell for at least 400 years to develop a deep, genetically engineered foundation for powerful basslines. Our "Peace, Joy, Pancake World" with the golden spoon in the rectum (with a bacon drum) simply does not produce this passion for deep, soul-touching basslines. Exceptions …… blabla… ..
Dr. Ring thing was never as good as it was with the Sharp Ax Band, where they had a black bass player from Jamaica. (I'm an anti-racist where racism is directed against white people). My opinion is already borderline but only for people who only care about single words and not about the context. Besides, nothing hurts as much as the truth. Repent Europe !!!
... I just say.
Before I settle the whole thing with Europe here and ultimately tear myself to pieces, I prefer to write something about the classic Dub-Concept.
If I got that right, you think that Dub from the start as Dub should be produced without using a vocal or instrumental version. I don't want to take this opinion from you, but it doesn't fit for me. There are just too many Dubs of vocal versions that are a thousand and one times better than “Working wonders in Dub". I'm just saying "Johnny Go Figure" (B-side). Or plain and simple "Heavy Rain". Of course I have absolutely nothing against it DubMusic that is from the outset as Dub was produced. I don't care at all if one Dub is derived from a VocalVersion or should never be anything other than a DubTune. The only important thing for me is that it grooves. This always includes the fundamental bassline, as accented drumming as possible with crisp nuances and a lot of offbeat.
On top of that, you should put the “eleventh finger” in each one DubLet the work flow in, because otherwise it will be too decent and the imaginative gimmicks are missing, which are allowed to be really thirty so that one does not sink too much into normality.
If I was into "normal music" I definitely wouldn't Dub Listen. So in this sense:
"Dub me crazy “!!! ………. lemmi
Hi Lemmi,
my “thesis” should be understood more as an assumption than as a certainty. Basically, I just wanted to express that many current vocal productions are not exhausting their purely musical potential. They just rely too much on the singing. A good voice and a nice melody will tear it out if the beats don't get it right. Beats that are too distinctive would even be a certain competition for the vocals. So: nice and gentle production and plenty of room for voice and singing. That it doesn't turn out to be an exciting one Dub can be distilled is obviously obvious.
Yes, as you write it now, I am 100% of your opinion again!
Or. I have only now understood you correctly.
A good voice and a beautiful melody don't do anything with me (with us). Reggae has never worked like this for me. Doesn't mean that I don't also appreciate a good melody. On the contrary ! For example
Third World has always convinced me with its vocals and melody (on the first 3-4 discs). But without the oomph
and the power in their riddims, Bunny Rugs would hang with me, just like the Trubadur with Asterix and Obelix, bound and gagged somewhere in (not on) the highest branch of a tree. At a safe distance from the roots, which mainly consist of bass and drum. Alone JAH Glory! The intro and then the use of all instruments. The hammer !!! Since the singing becomes something of a minor matter that it is the purest joy for me. It all sounds like I'm "singing" again
can't stop at all. It's not like that at all! Burning Spear, Bob Marley, Peter Tosh, Bunny Wailer, Prince Far I,
LKJ, Linval Thompson ………. that would be too long now ……… are the real “Voices Of Jamaica” and not, as mistakenly assumed, Buju Banton. I would say that at the time of “Grölereggae” things really started at the same time with VP Records and their messed up philosophy of reggae. I've always asked myself where has the music gone?
I only hear the roar of Capleton and company (!). Plus this whole text. Almost like me when I write here. Simply everything from the gut. They didn't care about lyrics and melody. The main thing is that they somehow spread their message. And it hasn't been so sparkling and new for a long time. The riddims were still bobbing and bobbing somewhere in the background, while the Trubadur or, even worse, the Trubadurin, in the foreground blaring everything that doesn't shut its ears in time. I think JAH 9 - for example - actually fantastic, but if she doesn't get a professional producer on the hand soon, she won't make it with me. I don't just want to hear their difficult, jazzy, top-heavy singing. I also need the right, powerful music for it. After all, we are not in Gaul here. A Mad Professor then has to intervene in what is happening so that the music really comes into its own. I agree with you without reservation that the (completely castrated) riddims from vp-records do not even begin to be exciting Dub can distil. Now, of all things, I have shown this with an example where the exception is the rule again (or the other way around). JAH 9 has never been supported professionally so far and as far as I know, their discs have all been through VP (at least they sound like that) and Mad Professor makes a brilliant one of this limp vocal record DubAlbum. All of this shows once again that exceptions always confirm the rule and that we DubFans are the only ones who really appreciate reggae as music and not just from the Good
Vibes and want to be lulled into the positive message.
While I'm at "Pay It All Back" again. You write for the riddim. I still enjoy reading them too. There were always good things on the CD, which I can still celebrate today. But the curve has had a negative trend for a long time and culminates in the last edition. What weak music. That is the antithesis or the antimatter of reggae. Is it getting worse? Is that supposed to be reggae now? The incompetent shuffling of Buju Banton alone is high treason to ReggaeMusic. Soon he'll probably also be rattling about riddims from Michael Wendler or something?
Music is supposed to be a matter of taste but sometimes I ask myself whether some people might not have anything to do with music and should just read poems or text. On occasion you can say hi to Pete Lilly for me again.
I have already written many letters of complaint to him or riddim. He'll probably say, "Lemmi, ouch, just stop me." But I always found Pete very nice (well, nice is not a compliment), or I always found him completely OK, because he always has the time has taken against me or even sometimes right. I also don't think that he is responsible for the cheap music on the last riddim cd but I would like the riddim editorial team to know what I think of the last cd. I don't think it's right that the only reggae magazine operating worldwide as so clueless about reggae music
appears. Pippireggae music is on it. Whereby the term reggae can be deleted completely. That's what I call Duncehallgeseiere.
Riddim repent ………………… lemmi
hey lemmi,
now don't be too tough with Jah9, she is super talented! And think of "Steamers A Bubble" (also the only tune from her that I paid money for, by the way) - if that's not a good riddim?
For me, production is always divided into two parts - the approach was always different from what is usual with Babylon music. Good mastering, on the other hand, is quite rare in reggae in general (at Dub maybe encountered more often).
VP has also stood out negatively here for years. On their Best Of sampler, which was recently released, there were a few tracks in such poor quality, that sounds like an MP3 from the beginning over 20 years ago from CD ... and they seriously claim to be an important reggae label. Sad. Do you want to show in 2020 that reggae from CD always has to sound terrible and that only rare late 70s vinyl can be enjoyed?
Comfortable that labels are becoming less and less important. What is important, however, is that Dubblog, Netlabels, Bandcamp and the community.
As far as the riddim CDs are concerned, broad approval. I only got to know some bands through this medium. In the last editions there was nothing left for me.
Yeah man !!!
I used harsh words "against" JAH 9 but somewhere I also used the word "fantastic" to
to do her half justice.
Sure man! "Steamers Are Bubble" is one of the few 7 inches I've ever bought. Because otherwise they were only available for streaming and not for steaming. But for me, jamaica presses are only the very last resort. This is
in the truest sense of the word "sandpit". All that's missing is the crumbs of sand so you know why they keep scratching.
But only marginally. JAH 9 is a king for me (also because of its optics I have to admit). She is the Cleopatra of Reggae Music for me! But of course you don't judge music by that. For me, “New Name” is also an “All Time Favorite” as I always use to say with Big Tunes when the term “Big Tune” is no longer enough to convey the class of a tune. Unfortunately I didn't find anything breathtaking on "New Name". From the follower (9) I got the Dubs increased. I don't know your latest work yet. However, I've just listened to the title Tune and I'm very positively surprised. The volume of the voice and the sound sound very balanced to me. I am slowly starting to believe that my comments are not only read, but that the fundamental truth of my "tirades" can sometimes be understood and even followed. In any case, I like the tune very much. Although they pretty much left out the reggae rhythm.
OK. have to go ……. thank you for your comment …… see you …………. lemmi