Haris Pilton: Speed ​​of Light

I'm not exactly sure how this "rule" about crossing your fingers works, but I always thought that if you cross your fingers, your words don't necessarily reflect the whole truth. Or does that only apply if you cross your fingers behind your back? You didn't describe it that precisely. So I'd say it's fine if you save a nicer comment for later.
However, I find that your comment contains a lot of material for discussion, or rather some reasons why I'm itching to write a few more lines.
When I was little, there was nothing worse for me than cover music. We "Germans" were so good at it that we even translated stolen songs from all over the world into German. Then I could really rant about our messed-up and jaded "culture." I think our poet and thinker image is a self-made myth, similar to the myth of the women who cleared the rubble. Reggae also broadened my horizons to the point that there are nowhere as many cover versions in the world as in reggae. The sheer number of versions of a single riddim that there are and have been really blew me away. I had to talk myself into it at first. But it wasn't that difficult, since I much preferred having many good to very good tunes from a riddim than even a single love song translated into German. I soon realized that there is far more to every version than just one DubThere weren't just one version, but many, each one better than the last. Later, they were completely re-recorded and often presented again by a completely different band. Everything sounded and seemed so great! So I said to myself, "No problem, no problem, if you don't remember where you are, you're in Montego Bay, Jamaica, and there is no problem." And now I also know that in Jamaica there are no facts, only versions.
And, as expected, there are exceptions to this "rule." Israel Vibration received the riddims exclusively from the Roots Radics, without a DJ immediately DubVersion toasted away. It's just an example. And even though I don't have to cross my fingers, there's still the possibility that I'm "not" mistaken.
I don't want to open the can of worms about cultural appropriation, especially since I'm not entirely sure that's even possible in the case of reggae. From the very beginning, Bob Marley had more white fans than black. Reggae is more widely listened to everywhere in the world than in Jamaica, where people have long since settled for, or rather, accepted, duncehall. That's my version of the truth as far as I know. If it's wrong, I can always go back to the goal.
I have often written that I still prefer a remake of a true Jamaican classic to a weak attempt to capture the Jamaican groove. For me, and I believe not only for me, the BiassLines from Jamaica are something very special. Something extremely magical must have flown over Jamaica at the time of the creation of these BiasLines. Perhaps it really was the spirit of Haile Selassie, who was also present in haptic form and left behind some very special vibes. But since the Jamaicans have a completely different (or perhaps even no) approach to Dub have more or have never really had them, it's almost logical that Europeans, for example, would pounce on these brilliant riddims and make something "of their own" out of them, so to speak. The riddims aren't legally protected in any way, and even if it sounds a bit like "flower power" glossing over them, I'm inclined to say that JAH gave these riddims to everyone. Unfortunately, not many people can or want to accept this gift. That's another topic entirely.
So I tell myself, when Haris Pilton from the DubVersions and Versions from Jamaica does something that has never been done before in this form and it has such a positive effect on me, then bring it on!!!
An example, then I'll leave you alone again:
Prince Far I "Deadly Command" or Tribute To Bob Marley from the milestone "Voice Of Thunder". I didn't immediately think of it, but the bias line of this tune with Prince Far I is the basis for "The Lost Treasure" by Haris Pilton. I'm (not) sorry, but the original version has always been very good - for my taste - and it would have been enough for me, but what Haris Pilton has done with it is not just a stolen cover version, but a transformation of good old values ​​into the modern age with an all-round fresh cell treatment down to the finest pores and, in this context, also the ears. In my opinion, as long as I Dub I hear no one has ever done it quite so well. Although there have been many good examples and there certainly will be more. Well, as I have to accept, it's a matter of taste...
His stage name is not as stolen as one might think. It is actually quite brave to be in a genre like DubHaving a stage name that evokes a former IT girl. That takes a lot of cojones, if I'm not mistaken.
Of course I also like all the other ones you mentioned DubI really like Wizards, but there are not only highlights, but also a lot of ordinary “stuff” that doesn’t really blow me away. DubI used to rave about Matix just as much as I do about Haris Pilton now, but also Dubmatix has already disappointed me. Yes, and I hardly dare say it, but even Adrian Sherwood has made albums that I could only use as a base for crumbs. Tough but fair!
Yes, there is a lot of “stealing” in reggae and Dub And in music in general, anyway. I'm particularly annoyed by all those beautiful Abba songs in technorithm, and all those old hits that have simply been given a boom boom boom boom 4 to the flour cap and have lost all of their subtle musical nuances. But even here, the simple rule applies:
“One good thing about music is when it hits you feel no pain”.
Then there is the good advice from the bad joke champion Markus Krebs:
“Only steal if you can use it” ……. ;-)

As long as ……………. lemmi