Good albums always make a comeback - or, as in this case, a proper release on all notable streaming channels. So far Ras Teo and I have had David's Dub-version of their 2015 release "Bredda Daniel“ She spent a few years more or less hidden in the band camp catacombs; but now “Bredda Daniel in Dub“ (Akashic Records), obviously not just visually spruced up and polished, lifted into the well-deserved light of Spotify & Co. The streaming money tap per se has pretty little pressure, but in contrast to the easily infiltrated bandcamp offer, it trickles away day in and day out, and we would like to give Ras Teo and I David that credit.
The two are a well-rehearsed team: “Bredda Daniel” was their first collaboration, followed by the “Timeless” album and several other releases, preferably in single format. There's not much to lose here about Ras Teo himself - that's for the interested reader dubblog review of his fine Roberto Sanchez-produced “Ten Thousand Lions“album is recommended. However, it should be added that my relationship with Ras Teo's voice - thanks to his numerous other releases - is now more positive. I now also have a lot of respect for the fervor with which he presents his deeply religious texts, which often seem like they were taken directly from the Tanakh. There is no veering into shallower waters of worldly topics - the man knows the Holy Scriptures, lets the world know it and is reminiscent of the 1970s, when roots reggae was still on a first-name basis with the Bible.
I David, on the other hand, is at home in the studio and seemingly constantly produces tracks - sometimes with a live roots feeling, sometimes with a digital jackhammer. When working with Ras Teo, he chose the former - thank God - especially since the sterile digi sounds never suited the singer particularly well - see Ras Teo's first albums. He is also responsible for the mix of “Bredda Daniel in Dub“, to which he gave an extra pinch of bass in contrast to the vocal album, which was rather weak in this regard.
That's good, no question, but it could be a little more for my taste. Otherwise there's very little to complain about: more classic Dub with beautiful, no less classic effects - one more album that could just as easily have boomed out of the speakers back in the day. It fits, sits, lasts, is fun and is definitely worth recommending.
PS: If you want to get into more melodica, you can find many of the “Bredda Daniel” tracks on I David’s instrumental “Roots Radical"-Album.
12 replies to “Ras Teo & I David: Bredda Daniel in Dub"
Yo, I like the album.
There are Dubs that also push me forward Dubs that allow me to immerse myself in more mystical spheres. The effects are all quite exciting, although not completely new. And the Merlodica doesn't overdo it either, or rather it is from DubMaster kept rather discreet. As far as I'm concerned, it can stay away completely for now. And one thing is for sure for me, I don't want to bother with Melodica anymore. No, definitely not ;-)
But what I always particularly appreciate are albums where a few real highlights emerge for me quite quickly, which here is the “Africa Duband the “Sheep Clothing Dub“But something like that happens!!! Just these two Dubs, would stimulate a purchase of the album for me and probably also ensure that the money doesn't just trickle, but gushes. At least temporarily and assuming that there are more reggae with purchasing power - DubThere are fans with “perfect pitch”.
I would like to know what the artists think of streaming. Sure, with Dub They probably got next to nothing in the past (they would have earned a lot) but I would like to know whether they really get more from the stream service (music delivery service).
Actually, I don't care anymore where people travel, but every now and then it occurs to me that I wish for the “old days” back.
“Timeless” ……………………….. lemmi
Well, if streaming didn't make a profit, it wouldn't be worth it for artists to be on Spotify & Co. I see more danger with providers like bandcamp: someone buys it, who then passes it on to x-others, who then pass it on to x-others, who then also do it again... etc. etc. In this case, artists are already on the streaming drip in the long term at an advantage, I think. Does anyone here have more insight into current music business practices?
Well, I prefer to listen to streamed music on Bandcamp... for me they have the best quality (at least that's how I hear it clearly through my system and headphones).
And all kinds of recordings are also sold via Bandcamp... I personally use Bandcamp very intensively and have never simply passed on files (although that certainly happens)... However, as an excessive downloader, I have to say that I can find practically everything somewhere (especially everything , which is on Spotify)… on the other hand, there is a lot on Bandcamp that I can't swallow for free and after all, I also want to support musicians… I find your Bandcamp picture gtk a bit very negative…
And you could also use the following quote:
“Music is everyone's possession. “It’s only publishers who think that people own it.” – John Lennon
Anyway, I have a clear conscience, because if everyone spent as much money as I do on music (recordings, live & merchandise), then many music creators would certainly fare better...
Admittedly, I have little trust in the post-purchase behavior of bandcamp customers - simply because it is completely unregulated and uncontrolled, which means: after the purchase, it goes into the black area, where anything is possible.
I don't want to cast suspicion on bandcamp customers in general - just because all options are available. However, abuse is much easier to accomplish here than under more controllable circumstances.
My conscience is also clear - although I feel sick when I think about how much money I have already spent on music. A lot for recordings/streams, little for live and nothing at all for merch. And that despite the fact that I received a lot of promo copies on the radio (which ultimately belonged to the station, not me).
Without words:
https://www.tagesschau.de/wirtschaft/unternehmen/musikbranche-streamingdienste-101.html
Although Spotify still has a point in my book, as you can also use it for free (supported by advertising). I don't know any other streamers like that... anyone?
The money is now made through live performances, but there has to be current music and/or a grand show behind it in order to generate ticket buyers. Completely different than before, where live performances (co-)financed by the labels served to promote the studio product. Interesting development in any case, in which merchandise and social media also play important roles.
“Protests against Spotify
Creative people have protested against the streaming service Spotify in 30 cities worldwide. The “Union of musicians and allied workers” called for this. The union demands fair pay. The compensation for a single stream should be increased to one cent. At the same time, they are demanding that the distribution of funds be organized differently. There is currently an opaque pro rata system. The payment is therefore not made via stream, but is based on market share. The well-known superstars in particular benefit from this.”
Very good link, Alex! I've seen and heard something similar in a documentary on Arte. That's why I didn't mess around too much when I settled accounts with Spotify, so to speak.
The article is also about the appreciation of music.
On the one hand, I would be inclined to say that streamers don't have a real appreciation for music, but especially here DubThere are real music freaks on the blog, from the reviewers to the commentators, who convince me of the opposite. Actually, almost everyone has no problem with streaming.
I think I've done it before. I also like to chat from my inner self and so I might repeat myself now. It's about my own appreciation for my/our favorite music.
I'll start almost from the beginning.
Reggae used to be special and special Dub a very exclusive affair. I don't mean financially, but especially ideally. Quite simply because there weren't “200” new publications every day. It was something special and I had the feeling that the wheel – in the sense of music – was being completely reinvented here. It always felt good not to know what I didn't know. I went to the record store and got the best records that were available. I was always completely satisfied. And I had a very long time to deal with the discs. When CDs were introduced, I cursed almost as much as I did when music was introduced, which is only available as a data package. Well, as long as you're young you get used to everything and so over time I've been more or less satisfied with CDs. In direct comparison with vinyl, however, they had some glaring weaknesses in perception, which I noticed especially when I had known the record as vinyl for a long time.
There were such small sound impressions that simply couldn't be conveyed on CD. But I can't go into it any further now because that would go beyond all scope. But it would actually be very necessary and perhaps very informative for some people. For me it's not so much about the bass boom, but more about the atmosphere. Ok, this has to stay as cryptic as it is.
Then the riddim came out and it didn't take long until I read the back of the newspaper. So I have with the comments
started and then got to that very quickly DubColumn by René.
Sure, there's always been something about Roots, but I think the paper was made because of this DunceHall stuff. Anyway, all these articles about the New Kids in the Duncehall just bored me. But there were also a lot of good and exciting articles for me. I don't want to be unfair. Interviews with Bunny Wailer were one of the highlights for me because he was also able to complain so wonderfully without a point or comma or present grievances. One of many role models for me, even if I will never reach her.
But what was always most important to me was what René had to say in the riddim. At first it was always far too little for me because my... DubDurst was much greater than what René was able to convey in the few pages of the riddim. I think it would have been appropriate DubTo extend the column to half the length of the riddim.
At some point it got to the point where René reviewed an album that wasn't even available to buy. He and many others were probably much further along than I was and also listened to albums that you can only stream or even download. I wanted to or even complained in a letter to the editor about why albums that you can't buy are now being reviewed and I'm sure that my letters will be on the reader's side and especially with René
only elicited a mischievous and bored grin.
Ok, I thought, times are changing and I'm just running behind time - as I have been since the beginning of time.
Then one day I found it DubBlog because it makes me Dubcolumn hasn't quite gotten enough yet. I was thrilled that my horizons could now expand even more. Most of the time, albums were discussed that were still “normally” available to buy, but the digital offerings quickly became larger and larger.
And with that I hope I finally get to my core message.
The digital offering has now simply become too large for me, so that it also affects the quality of my appreciation. Everything that is in abundance is not free from the danger of becoming boring.
In the worst case scenario, I think “oh no, not another new one Dubdisk or a new one DubAlbum. I haven't really gotten through the last 10 albums yet and would like to enjoy them even longer without having the feeling that I'm missing out on the perfect wave with all the new releases.
Because of streaming, many albums become a series of items for me and I'm often very sorry that you can't really appreciate a lot of it, even though it deserves intensive appreciation.
Is there a solution for this ? I think no ! Because I am the last person on earth who would want to restrict the creativity of artists in any way. If there are people who like digital music, then so be it. And I don't think it's completely bad either, but I want (have) to concentrate on analog music because I can have more appreciation for it
and I make a further restriction by concentrating on albums that can be purchased tactilely. I don't like the word "limitation" at all, so I would say I'll focus on what I think is essential.
For me, digital music is cheap mass-produced goods, but they are often really good.
What exactly was the topic here? …….
No idea ! I lost the thread…………… lemmi
Back to the digi sounds: Ras Teo's 2009 album Mystic Morning contains, among other things, the track "Entah" - and the number really hits: https://www.youtube.com/watch?v=c8R2mQBLbuM
And I really like Bandcamp, a nice platform for artists/labels to market themselves, especially for records and occasional merchandise, at least in a more “familiar” way than messing around with individual tracks in the playlists.
And regarding duplication: we used to copy the LPs onto cassettes and give them away or burn the CDs.
That’s my two cents on it. Enjoyed reading you all again… <3
“Family” I can’t even imagine, I’ve never developed such a feeling towards musicians, labels, websites or music services, I’m completely missing the “I & You” level. That said, I would like to give Rootsmessenger and others the “familiar” thing – everyone has their own, subjective approach to music.
Before... *woah*, that was wild. There were basically global networks that copied/burned/shared with each other... what didn't exist in Amiland existed here or in England and Japan and vice versa. Back then there were just individuals who completely gave a shit about the musicians. Today everything is globalized, so you do it yourself and share it with friends... completely normal, it costs almost nothing.
“Entah”: naaaah… digi-steppers-boomboom.
First of all, briefly about “Entah”:
Yo, it’s “digi-steppers-boombumm”!!! I feel the same way, even though things are moving forward really well!
Aaaaaaaaabut! WTF?!? The only thing that “really” bangs is the “UnTon” on the snare time! In the end, of course, it's just a matter of taste, but I find this snare sound disgusting. After 10 seconds I don't notice anything other than this stupid knocking. It almost sounds like a broken cryopump, the sound of which I can't stand for professional reasons. Always means a lot of work for me and I don't really need work to be happy. The money would be completely enough for me.
Whatever, I have to go through it.
For me, streaming is like listening to the radio. Only that the program is much better. Sometimes I listen to BandCamp if your links send me there and otherwise I'm on Spotify.
Well, I'm inclined to say that they're just money-hungry Babylonians who don't give a damn about culture. On the one hand, they also have algorithms, which are not particularly imaginative but should still have been checked, which is what I would like to hear.
And then they advertise German pop and penetrate me with it. Ok, maybe that's how it has to be, but it's annoying.
But what's even worse and downright disgusting is the fact that they send us the streamed in cheap mp3 format and suddenly fax over all the Wafe + Schmackes files when advertising. The unbearable disadvantage of this is that you suddenly have to listen to the advertising at three times the volume if you are not sitting directly in front of the computer (at the checkpoint). When it comes to something like this, I always sense a certain mentality among the operators of this service.
Reminds me of people who, for example, program the traffic light phases in the city so that after sometimes 200 meters you have to see the red and are annoyed that you don't have a deactivated hand grenade with you. There used to be a green wave!!! Of course it was abolished long ago because it was something good.
Well, why don't I have a Spotify subscription?!
On the one hand, because I pay 10 euros per month for rented music in mp3 format
I think it's too much, because when I'm streaming I often only listen to music in passing and, on the other hand, because you can't talk to them.
And what I find worst is the basic idea. Ultimately, they live from the artists who can make their music heard there. The musicians often don't even leave the show with an apple and an egg, while these Spotify snots probably already have three houses on the beach again. And if I understood it correctly, then crickets like “eddy skiron” “deserve”
in the end also through our reggae and Dubpassion because only the tip of the iceberg gets something from the big cake. Sorry if I'm wrong. (I'm almost afraid of it but it fits into my "argument" quite well at the moment).
I feel the same way about this Paypal stuff. Just because you're no longer in the mood for tried-and-tested excesses and someone was in the right place at the right time and is still sitting on their ass, almost every small monetary transaction on the Internet automatically makes them a billionaire by doing nothing. BomboKlaat!!! No, I don't begrudge him or anyone else. Something like this should be paid into a social treasury so that the gap between rich and poor does not widen due to my/our passion for music or other passions. I don't care if the guy was just clever. It's the same as with oil wells, water veins and everything else that humanity needs. It is unacceptable for someone to enrich themselves from the common good just because they were the first to have the necessary equipment at the start. I would only allow something like that at a tax rate of 98%.
Yes, BP, Aral, Coca Cola and Nestle can be happy that I'm just a little weirdo.
Mmmmmmh, there was still something. Oh yes, the cassettes!
I had plenty of it. And even then I wasn't happy with it. Over time I was able to buy a lot more.
For a long time, for example, I only had the first Black Roots record on cassette. Let's be honest, that doesn't work. I can't have one of the best reggae records of all time just on cassette.
Or, like today, only on a hard drive and, in the worst case, in the power of some Babylonians for whom only the jingling of money sounds like music.
Ok, the horse probably got away with me a bit again. I ask for your indulgence. This is once again about my perception and I have learned that there are many different perspectives.
I also find the perspective thing quite fascinating. Although you definitely see the same object or subject, the perspective can depict a completely different reality. Unfortunately, I can only think of a pretty flat example at the moment. But if, for example, you look at the former esc “winner” (I can’t remember her name right now) from different angles, you can definitely think of her as a woman. Whereas from the front she definitely looks like a man. Or I'm completely wrong and she just has an extremely pronounced lady's beard. That would be very unfortunate.
In the same way, a “pseudosnaredrum” can sound completely normal to many Steppa fans, while from the perspective of one DubConnoisseurs with “perfect pitch” sound like a broken cryopump ;-)
But it is neither one nor the other. Neither a real snare drum nor a cryopump. So again it's the perspective from which you look at it……………….
(Hehe, are you still there? I could understand if you've changed the channel by now. But I'm having so much fun,
to complain and complain and just complain again……..)
PS: Even a real snare drum can sound really bad. Whenever the drummer or engineer has, in my opinion, taken the wrong perspective. I've mentioned it many times. I particularly noticed something like that with X-Terminator, where I think they suffered from a change in taste when it came to the drum sound when it came to the snare sound, because the rest was great!
It's even worse with the drums. It's a shame, because for me it makes really good music "a nice try."
Well, now it's good (for now) …………………….. lemmi
Conchita Wurst, lemmi!
I'm afraid the music business is in parts just as reprehensible as everyone's shadow economy or political swamp. There is a polarization that I don't quite understand: creative/good vs. business/evil, who are highly dependent on each other and sometimes work together. What I find striking - and I don't want to exclude myself, see review - is that Spotify constantly plays Lord Voldemord. Don't you trust Apple, Tidal, Amazon, Google, etc. to do that?
(Speaking of which: I've been testing Apple Music for a few months and am a bit disappointed with their smaller music catalog, there's a lot that can't be found there (compared to Spotify). The sound (=losless) is completely different to Spotify (=lossy), although I... Can't claim that one is better than the other. Apple's sound is detailed, Spotify's sound is "pump up the bass", which is exactly what Dub extremely well. Has anyone ever compared music services?)
Ultimately, I see music as an “intellectual property” that I cannot and do not want to own, but am always happy to borrow. For me that's a bit of freedom compared to all the expensive clutter of the past (= endless vinyl & CD's & players).
Yo gtk!
When my mother asked me last night whether she should give me some sausage to take to work, my hair fell like a dandruff.
Conchita! Yeah man……I’m throwing myself away.
What you wrote is (unfortunately) everything correct and basically logical.
I also notice how I go around in circles when it comes to the topic and then always start again from the beginning. If you really only care about the music or what comes out at the end (with steaming, mind you) then you've won all the way.
I’ll try to describe “my psyche” a little differently.
For me there are many Dubs and RootsReggae discs, something like Rembrand's or Picasso's or their pictures. And I think many art lovers cannot imagine their pictures without an (!) appreciative frame ;-). Many frames were even specially covered with gold leaf and the frames are now even extensively restored if they are damaged. I also like to frame my music and sometimes I embrace it too. Well, I guess I can't be without a little nonsense.
When streaming, I feel a bit as if I have the most valuable paintings in a drawer (which is where all my CDs are, by the way ;-)) and I just browse through them every now and then. Due to the digitalization of the music during the production process, it also feels like I'm digging through cheap copies in some library.
Ultimately, the impression of the picture does not change if it has no frame. It was painted without a frame, but it literally gives the whole thing a worthy frame.
Thank you for even “listening” to me.
I was figuratively lying here on your couch ;-)
And if there were more people who read my two cents, then I feel psychologically in the best hands and super well looked after ;-)
So long ………………… .. lemmi