The eight-piece band Pama International was founded in 2001, and they call their music “Dub Fueled Ska Rocksteady & Reggae”. There is already a certain contradiction in this description, because Dub and ska and rocksteady don't actually go well together (if you disregard the work of Victor Rice). In 2006 the band signed a record deal with Trojan Records - as the first band in 30 years. But two years later, the fun was over. The pamas then founded their own label "Rockers Revolt" and recorded the album "Love Filled Dub Band", which is considered one of their best. Although the album (according to its title) already from strong Dub-Elements, the London sound inventor Wrongtom was commissioned to create a Dub-make version. But his recordings disappeared into Nirvana and (allegedly) remained missing until 2022. Now they have miraculously reappeared and are now on the album "Pama I'ntl Meets Wrongtom in Dub' (Happy People). A big story about a reasonably simple album. Yes, Wrongtom did a good jobdubbt, but the result remains kind of colorless. But maybe that's also due to the pronounced retro style of the recordings. One looks in vain for the magic, depth, intensity and spirituality of good current productions. The sound remains comparatively noncommittal and irrelevant. Yes, the whole thing looks a bit uninspired - just like the cover. Who, however, Jamaican Dub 1970s might have a different opinion here.
Categories
Pama I'ntl Meets Wrongtom in Dub
One Response to “Pama I'ntl Meets Wrongtom in Dub"
If "vintage" didn't have a bit of a negative connotation in some sectors, I would say it's a nice vintageDubAlbum. So I say, a nice “old school DubAlbum". This applies in particular to the sound of the bass. That sounds really old! I've learned quite a bit and now I know that a certain scientist, among others, started to modulate the sound of the bass. That was probably not done here or the bass was just specially tuned to "old" (dusty to musty). In general, I am more happy about a fresher, slightly airier sound from the bass, which then occasionally bubbles properly due to the many air bubbles.
But, even if the bass is the most important instrument in reggae and Dub is, consists Dub Yes, not just from bass. There are also the BassLines ;-)
And here, without exception, they are completely to my liking. They also sound "old school" and that's a big compliment for BassLines - "from my mouth". There are also very charming ones DubEffects and also the keyboard make the “Wondering DubA true classic for me.
However, according to new findings, I cannot say exactly whether this is really one Dub because I don't know the vocal version or have never heard it. Life as an ignorant was really easier ;-) …………………
I would also like to add that the sound of the bass doesn't automatically sound "dusty to musty" just because it's old. The basses from Studio One sounded much fresher and not in the least musty. (Exceptions may confirm the rule once again). It's also in the "Dub Conference” is a great description of what Sylvan Morris, for example, has done to ensure that the bass comes across really well. An additional microphone on the back of the bass speaker created that cozy and voluminous warmth that stuck with me from most Studio One recordings. It is these and similar stories about sound that made Helmut Philipps' book so exciting for me.
Greetings ……………… lemmy