Ultimately, I can only reasonably (!) Objectively assess releases based on the temporal development of the artists. So my opinion about an album is actually only solidified when I have heard its predecessor and its successor. Without this before-and-after comparison, I only get a spontaneous impression; nothing more than a snapshot with no reference point - and I don't hesitate to say that this is the humble basis for my reviews in the dubblog is. With debuts this comparative criticism does not work per se; I ask everyone else what has changed over the course of three consecutive album releases. Has there been a change of direction, personnel changes, different producers or mixing engineers? If the albums move in different soundscapes, there are diverging concepts or perhaps even quality fluctuations; What is the relationship between the respective work and the musical reality of its time? In short: I sound out how and to what extent a (further) development caused by various circumstances has taken place. Ultimately, we are dealing with a creative area, with art - and that is not static per se.
With Paul Zasky and his Dubblestandart conglomerate, an artistic development has recently been noticed, albeit unfortunately a declining one - it was last with the album "Dubblestandart & Firehouse Crew present Reggae Classics“An unexpected, veritable drop in quality. We remember: Neither Zasky nor the Firehouse Crew were up to the task of reinterpreting monuments of reggae history. Mixmaster Robbie Ost also more or less failed with his not particularly impressive mix - probably it was from the recordings, which in stark contrast to the fine previous album "Dub Realistic“Stand, no longer to get out. A Paolo Baldini, on the other hand, who, like Zasky, is a bassist and can look back on a similarly long history in the reggae business, in my opinion eludes a temporal comparison: his productions and Dub Mixes, from “Paolo Baldini Dubfiles at Song Embassy Papine Kingston 6 "via Mellow Moods" Large Dub" up to "Dolomite Rockers“Releases are characterized by consistently high quality - in terms of both creative and sound-technical aspects.
The Echo Beach label has now joined forces for the length of an album: "Paul Baldini Dubfiles meets Dubble standard“Featured older and newer ones Dubblestandart tracks that Baldini with Dub-Mixes revised. Unsurprisingly, this combo works exceptionally well and I'm tempted to try the Italian Dub-Mixer the “Midas Touch” to blame: Everything he touches in his studio seems to be transformed into musical precious metal.
How does the guy do it? I can only make vague guesses; but in my mind's eye, Baldini first spreads a handful of dirt on the tracks and thus takes the music away Dubblestandart's own perfection, which sometimes leads to sterility. “Squeaky clean” is probably the appropriate Anglicism for this. Next, Baldini should split the tracks apart to separate the good from the less good - only to then carefully add one or the other new sound again without the piece of music becoming an unrecognizable mutant. The result is an audibly well-ventilated base material into which he can work Dub- Can place effects in the best possible way.
This process - whatever it actually looks like in reality - works like a makeover, especially as Paolo Baldini does Dub-Mixing approaches the matter with what feels like a dose of disrespect: nothing is cautiously or carefully placed; Echo and reverb often push themselves to the fore and remind a little - do I dare to say it? - to the Dub-Techniques of a King Tubby, whose greatest asset was also a certain disrespect for the music and the studio technology. Goods Dub must still from today Dub-Mixers are implemented with verve and filled with life; otherwise there will be studio stillbirths that cannot be beaten in terms of boredom, listlessness and cold sterility. So I wouldn't be surprised if Baldini got this Dubs worked out live: very old-school, speak spontaneously and creatively on the analog board.
That Dubblestandart likes to hand over their tracks for remixes, is well known and often has a refreshingly beneficial effect on their music. Remember the remix battle for the Marcia Griffiths feature "Holding You Close“, Which has a total of 22 versions, including the great one Alpsdub-Remix. In the large circle of DubBlestandart collaborators are now joining Paolo Baldini and insisting, “Holding You Close” is another one Dub- Missing painting. The rest of the title selection for “Paolo Baldini Dubfiles meets Dubblestandart “he restricts himself to tracks from the last four regular ones Dubblestandart releases - including two of the unfortunate recordings with the Firehouse Crew, which, despite obvious efforts, only seem like revenants. The rest, however, come to life, breathe freely and vibrate through “Acres of Space”. A small, saving one Dub-Wonder that the bar has set high for his successor.
15 responses to “Paolo Baldini Dubfiles meets Dubble standard: Dub Me Crazy "
Wow! A very nice and detailed review of gtkriz!
Anyone who doesn't feel like this "disc" has just skimmed the text or is not enthusiastic about it DubMusic around with you.
So far in advance .......
But now I press the irony button very firmly or it is more of a really fat irony buzzer! So please don't take it personally
and if you can just smile about it ;-)
I've been sitting here on very hot coals for weeks. Which leads to me being blown up like the old HB male because it upset me so much.
Weeks ago you got me excited about this album when I made a lost comment on Poalo Baldini on “Dolomite Rockers”.
Paul Baldini DubFiles meets DubFor me, blestandart is only a very slight weakening of Adrian Sherwood meets Dub Syndicate, when it comes to looking forward to an album.
Anyone who knows me a little by now knows roughly how much I need this disc!
Even in the riddim they made me very foolish because they should even be available on vinyl including CD. Anticipation, anticipation and nothing but anticipation. Neither on Spotify nor
I've heard of it elsewhere so far. And there is no link in this great review either, as I'm used to. Now I'm banging on the buzzer!
Do you have to be an excellent one today DubBe a music hacker by some degree DubTo be able to hear music or is there Dubs basically only for DubBlog - and
Riddimreviewers? Than simpler DubConnoisseurs are really in the second row at most.
Ok, irony "off" again.
Today I haven't looked and it may already be in all online shops and Spottify lets it steam and stream.
Doesn't one of you have a HB for me by any chance? ………………………………. lemmi
Now also with “deep in dub" to listen!
And the moral of the story ……
Now it's running ;-) …………… .. Spotify !!!
I'm a real hacker when it's about Dub goes ………… .. ;-)
Opinion is still forming. Another comment could follow ……………………… lemmi
You can hear the album on Spotify since yesterday. I am currently in Salzburg and cannot insert the album link. Rene can you fill in here?
So I'll definitely get the record when I get a copy of it. I like Dubblestandart and I like Paolo Baldini. I like the album very much
but I also have criticism.
Now where the Dubs at the start, I don't want to miss them either, but if I'm honest, I thought they were really great before - even without Paolo Baldini. No wonder, because Adrian has pumped some of them through his echo chamber. And otherwise I got in there Dubtechnically nothing is missing. How else would I have a fan of Dubble standard
can be ?!
So I feel no different than some of the others who have already reviewed this album. We know the riddims really well and have known them for a long time. A lot of adrenaline
to unleash this "Wow - what a great new riddim effect" is missing! In the end, I contradict myself because most old Jamaican riddims can remix them a hundred times without getting tired of it. But that is also due to the fact that the sound and the possibilities earlier in King Tubby's and
Prince Jammys, Scientist and everyone else DubWizzards still had a little room and room for development. And vice versa, most of today's riddims have
no matter whether from Jamaica or in the middle of Babylon itself, there is still room for improvement or to Jamaica. There is now criticism of the riddims from, for example Dubblestandart with but so
Please do not take this seriously. Dubblestandart already fits !!! .... to put it in Austrian.
And if I write now that the effect or the sound on the snare is "Dub Realistic ”of this Poalo Baldini version doesn't appeal to you, then that would hide the fact that the Dub otherwise clean skin really well. I know something like that from everyone, no matter if Adrian Sherwood, Dubvisionist, AlDubb, Mad Professor…. of everyone.
But how should they all know that the "DubConnaisseur lemmi ”has its sensitivities at the sound of the snare. The Exterminater snare does all the good for me
Music that is otherwise produced there is completely wasted. That sounds like a broken tin barrel to me ...
Or “Processed World” from “Never Trust A Hippy” !!! I find this one Dub actually galactic but the third time I heard it, "the snare" made my soup too salty. Since then I put this horny Dub not on anymore.
But these are only marginal notes that might give one or the other music producer something to think about. You don't have to overestimate everything.
Maybe it's just a matter of taste in the end.
"Its a jungle out there" ………………… .. lemmi
This rimshot, which was particularly inflated in the 90s and often also took over the role of the snare, was one of the trademarks of the Xterminator productions; Sly Dunbar and Donald Dennis were primarily responsible for this. I wasn't that enthusiastic about it either ... a rimshot is a lot quieter than a snare, so I had to get used to the opposite of it. But that shouldn't detract from otherwise almost perfect Xterminator productions. By the way, I find it interesting how old-fashioned and outdated it all sounds today ... the Xterminator crew was “top notch” back then.
Of course, others like King jammy or Gussie Clarke also used the "cleaver rimshot" until they vomit ... an acoustic fashion trend of the last century, so to speak :)))
Baldini's snare "Dub Realistic “I don't find it particularly different from the original version. I can only hear through a tablet at the moment, but I think it's the original snare, pimped up with a lot of reverb.
That's interesting, that you have this snare or "Rimshrottsound" from Xterminater
didn't feel so plump either. Precisely because the Xterminater productions have stood out very positively during the entire “neo roots time” (which continues to this day), I always found this sound to be a real shame at “SnareZeit”. Fortunately, I didn't have to get used to it, I just heard something different.
At "Dub Realistic ”is definitely the original snare, but when“ pimping ”with a lot of reverb the mixer draws a little too much air.
For my taste mind you.
Little things on the verge of a major crisis …………… .. lemmi
[...] always sees each other twice. If I have just assumed a "not particularly impressive mix" to Robbie Ost from the Go East studios, a new album will turn the corner that makes my ears dangle - in the [...]
[...] Read the review by gtkritz [...]
Dubblestandard! Paolo Baldini! the lemmi says "formulate Austrian: D how should youdubhead not completely comfortable: D I'm not sure, but I think the baldini mixes everything live on his analog beast uh desk: D that's a bonus over the (already noted) dry sound of the dubblestandards. that's why I like the baldini so much. and because I like it so much. i think this is a producer who can be seen how he enters into a symbiosis with his desk and completely sinks into his task or merges. a dream!
Spot on, Doc - I also think that the Baldini is currently the ultimate in analog Dubmixing is. And that although I don't like it optically at all ;-)
Hehe, I can't help myself now. In the end it is probably again
just a matter of taste. But I just want to hear Baldini and not have to look at it. As much as some herd animals may be into tattoos, I think this hype is completely crazy. Looks like a very nasty skin disease from a distance of two meters. It's a matter of taste and so is my sense of taste for this madness. I hope I haven't stepped too much on the feet of any "postmarked" person here.
I'm always really grumpy in the morning ;-) ………………… lemmi
ps: but my favorite release is still the one where baldini remixes mellow mood. I have to admit, this is so good that it has tied my throat several times. just the intro !!! big love! it's available as a whole on youtube, i save a link because you know the specis (eyebrow expression for experts haha) for a long time!
Also available from gtkriz in the “Magnificent DEEP IN DUB PLAYLIST “on Spotify !!!
I always found Mellow Mood rather limp but Baldini managed to get me the DubI really like Mellow Mood's.
Greetings from ………………… der Piefke ;-)
As far as I know, Jamaicans always say “Soon Come”. Sometimes "soon" is just two years!
As promised, I got the disc. It took until last Friday but now it's "soon"!
If it hadn't appeared to me in full haptic after all, it would unfortunately have vegetated in the playlists.
It's much better that way. I was very happy to be able to enjoy the disc "to the fullest". My perception hasn't changed in the slightest.
Great disc !!! Paolo Baldini in top form!
However, I felt that I could have mentioned "back then" as a criticism, because nobody really needs an 8 1/2 minute version of "Can't stop we from talk". I'm very glad I didn't write that, because I should have corrected that here in any case. I always thought the riddim to Anthony B's tune was great right away, but I didn't think I'd end up with a long Dub version would leave so well. And so I have now come to the realization that an 8 1/2 minute version of "Cant stop we from talk" by Paolo Baldini in the Dub transferred, but urgently needed. Paolo Baldini also found the riddim so successful that he couldn't stop chanting his "Dubstallion". A great album and I'm very happy to have it in my treasure chest now.
Didn't you want to know?!? Well, what should I do …… “Can´t stop me from talk” ……………………. lemmi