Dub in focus

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Dub in focus

LEE PERRY -- the sneaky Super Ape -- had two of his many, Dub Albums in the Top 20. His use of the mixing desk is positively unique in many aspects -- he is certainly an original innovator of Dub music. His 'Blackboard Jungle' LP was among the very first Dub albums, and although very hard to come by (buy) is well worth seeking.

'Revolution Dub' is an enigmatic album, focusing upon the Upsetter's masterful way with rhythm, and also highlighting his zany, inventive ideas -- and skilful mixing techniques. Play 'Doctor On The Go' or 'Womans Dub' at full blast when you're feeling iry an' it hit you like ah clappers!

BUNNY LEE is another producer prominent in the chart. He has three of his better albums in the 20 -- 'King Tubby Meets The Agrovators At Dub Station' remaining his classic best. The whole album is an amalgamation of Tommy McCook's jazzy horns, well-wicked Agrovators rydims -- venomously transformed and interpreted by King Tubby's console.

Try 'The Dub Station' ('Goldfinger' has a lot to answer for ...) or the climactic 'Height Of Dub' for dubwize size -- and you'll understand why it stands at No. 3 in the chart. Station to station dub -- forward on the track.

'Dub From The Roots' - the infamous 'Dubmaster' LP -- rankin at No. 6 because it was a giant step for Tubbs in experimentation dubwize -- incorporating all manner of electronic sound effects and more wild, spontaneous mixing. 'African Roots' is the most astonishing track, and one which I heard Prince Melody play seven times on the trot at the 1976 Ladbroke Grove Carnival/Riot, if that's anything to go by. Go Buy!!

Lloydie

LLOYDIE COXSONE'S 'King Of The Dub Rock' was initially heard by avid listeners of Capital Radio's 'TV On Reggae' high-rank programme. Various tracks -- incredibly re-mixed for the prof. -- were sandwiched in between the more familiar dubwize sounds, and the effect was phenomenal. When the LP was released the following week, the primary amount pressed completely sold out in two days. Such was the appeal of the album, absolutely special -- not only because Coxsone was/is regarded as King of the Dub Rock, but it also happened to be marvellous music.

'Capital Radio Rock' is an astonishing example of the album's speciality. Consisting of effervescent melodica wildly blasting -- over a driving rhythm -- the focal point was the reversed violins hectically echoed out of all proportion. An insane and excruciating concoction.

The other stand-out tracks, 'Many Moods Of Coxsone' and 'Tribute To Muhammad Ali' were later released back-to-back on '45 by Shelly -- straight to Safari's Head.

Keith Hudson - Pick A Dub

Keith Hudson's 'Pick A Dub' barely scraped the Top Three: it is hailed by all Roots lovers as not only a definably heavy Dub LP, but also a classic Reggae LP.

Hudson is, in my mind's eye, one of the most original and productive people in the music biz. His productions slant on the eccentric, his lyrical / musical creations are usually highly stylized. His few solo albums have mostly integrated dubwize tracks within their concept -- and albums such as 'Flesh Of My Skin' 'Entering The Dragon' and 'Torch Of Freedom' shine as extremely listenable ones, with the additions of weighty instrudubs acting as some heavenly mercy from Mr. Hudson's forever controversial "singing".

The latest LP 'Brand' -- dubwize -- is spectacular, 21st Century music (ahead of it's time?): but compared with the previous 'Pick A Dub' is not as good.

'Pick A Dub' was greeted with unanimous applause from Dub Lovers everywhere -- the adventurous mixing the focal point of the album. Featuring such talented musicians as Augustus Pablo, Peter Tosh -- and showcasing the drumming of Carly Barrett and Family Man's liquid bass -- the Dubmuzik was aggressive, powerful and intensely rhythmic: and with the astonishing mix there to enhance its energy, and motivate its appeal, the result was No. 1 high-rank dub.

Featured vocalists included Horace Andy, Keith Hudson (ugh...) and Big Youth -- the music was fierce, the mix was mighty, the album was the perfect Dub Construction.

Check out cuts like the rude 'Pick A Dub', the chucky 'Black Heart', the devastating ' Blood Brother', the eerie 'I'm All Right' -- or the ultimately beautiful 'Depth Charge': based loosely on the Four Tops' equally impressive 'Still Waters'.

Augustus

AUGUSTUS PABLO is the originator of the "rockers" sound -- and probably Reggae's most top-rank genius. His music is wholly unique, a sound all his own. His productions tend to be recognisable and eternally listenable efforts -- and Pabs just doesn't make bad records.

Whether he is recording another artist or himself, the classic »genius« element never fades. A small, smart man with extreme talent in music and imagination -- yes, the Higher-Ranking Rocker.

His 'King Tubby Meets The Rockers Uptown' LP is only available in the United States -- it's not even released in Jamaica. As far as import frequency goes, the score is virtually nil. But the album is as classic as an album be, the near-summit Dub LP -- including such amazing tracks as 'Braces Tower Dub', the great 'Each One Dub' and the seductive '555 Dub Street'. Strictly yard music.

It would be Top of the Pops if it weren't for a wily Winston Edwards and his legendary LP entitled 'King Tubby Meets The Upsetter At The Grass Roots Of Dub'.

King Tubby meets the Upsetter at the Grass Roots of Dub

AS SOON as the LP hit the streets -- via the pre' market -- it was hailed as a Dub LP with that extra-special something which most other albums of the ilk tended to lack. It had style, it had original ideas, it contained real rootsy rockin' Reggae -- and the mixture of these ingredients made it well-worthwhile.

With the music put together by Winston Edwards with assistance from Lee Perry -- and primary mixing by The Upsetter -- the hard rydims were dramatically realised in the form of dubwize mixes by the ubiquitious King Tubby. Using such superb musicians as Santa, Family Man, Bobby Ellis, Tommy McCook, etc., etc., etc. -- the album was ideal for the Roots fans, with strictly Now Music. Tubby's techniques were portrayed in all their glorious splendour, the Reggae music totally transformed and interpreted in Tubbs unique fashion. He would curl, swirl, whirl, twirl, explode, corrode, erode, ignite, excite -- upset and agrovate -- slipping vibrant echo to shatter the instruments, and jamming reverberation to re-duplicate the melodies. Echo-delay was inserted to add to the confusion.

DUB MASTER in session: creating such classics as 'No Justice For The Poor', '300 Years At The Grass Roots', 'African Roots', 'Raw Roots', 'Luke Lane Rock', 'King Tubby And The Upsetter At Spanish Town' and 'Wood Roots'.

The prime oneners  to each side were symbolic successes: 'People From The Grass Roots' was a total Titanic tormentor. Destruction in dub -- the whirring cymbals hysterically attacked by the crippling hiss in the mix; the bass heavily bouncing with steady, gushing gusto; the saxophone and trumpet frequently demolished by nerve-nibbling reverb; the erratic rhythm guitar whipped perversely echoic; the constantly rocking drums splattered and spliced with acute accuracy, as they slip through the rhythmic loops, and splash against the sides -- a devastating dense, deafening dub of Tubbs creation.

'Blood Of Africa' used roughly the same mixing magic -- only, with a more persistent rhythm, and a lolloping, creamy trombone replacing the saxophone and trumpet.

But the ultimate in Dub Satisfaction came with the superior 'Crime Wave' -- an ecstatic next version to 'A Touch Of Roots'.

The ocean-deep bass virtually orgasmic in its throbbing heaviness, deep and dark -- with freaky, low echo making it tremble, rumble and tumble. Capable of rattling your insides; seducing the most frigid whale to a frenzy of excitement; penetrating the sound-barrier; mesmerising and hypnotizing all listeners -- a bass-riff of Meditation. What a revelation!

The drums rollin', rockin', tickin', tockin' -- snipped and tapped by the console in metronomic, calculable stops 'n starts. The sleazy, easy, wheezy trombone sweeping and weeping into the air in erotic, spitting slides -- often hectically destructed by the wavering echo and spine-shock echo-delay and reverb. What a sensation!

The punchy, chopping keyboards, densely swelling and elevating as they are given the Kenwood treatment by Tubbs -- without anaesthetic -- a fertive form of liquidation.

'Crime Wave': the criteria by which Tubb's demonstrates his indestructible and effortless power. Violence in dub -- all manner of music torture and tormentation. War in Reggae. Dubwize Riot -- well-wicked!!

If -- for some absurd reason -- you have yet to discover the wonders of Dub Music, or have simply dismissed it as a noisey mess: investigate 'King Tubby Meets The Upsetter At The Grass Roots Of Dub', and all will be revealed.

Should you remain unimpressed, then I can only surmise that you're not a true Reggae fan. Not at aaalll!

NEW WEEK: DUB FIX 50, ROOTS RECOMMENDATIONS.
Dub in focus

LEE PERRY -- the sneaky Super Ape -- had two of his many, Dub Albums in the Top 20. His use of the mixing desk is positively unique in many aspects -- he is certainly an original innovator of Dub music. His 'Blackboard Jungle' LP was among the very first Dub albums, and although very hard to come by (buy) is well worth seeking.

'Revolution Dub' is an enigmatic album, focusing upon the Upsetter's masterful way with rhythm, and also highlighting his zany, inventive ideas -- and skilful mixing techniques. Play 'Doctor On The Go' or 'Womans Dub' at full blast when you're feeling iry an' it hit you like ah clappers!

BUNNY LEE is another producer prominent in the chart. He has three of his better albums in the 20 -- 'King Tubby Meets The Agrovators At Dub Station' remaining his classic best. The whole album is an amalgamation of Tommy McCook's jazzy horns, well-wicked Agrovators rydims -- venomously transformed and interpreted by King Tubby's console.

Try 'The Dub Station' ('Goldfinger' has a lot to answer for ...) or the climactic 'Height Of Dub' for dubwize size -- and you'll understand why it stands at No. 3 in the chart. Station to station dub -- forward on the track.

'Dub From The Roots' - the infamous 'Dubmaster' LP -- rankin at No. 6 because it was a giant step for Tubbs in experimentation dubwize -- incorporating all manner of electronic sound effects and more wild, spontaneous mixing. 'African Roots' is the most astonishing track, and one which I heard Prince Melody play seven times on the trot at the 1976 Ladbroke Grove Carnival/Riot, if that's anything to go by. Go Buy!!

LLOYDIE COXSONE'S 'King Of The Dub Rock' was initially heard by avid listeners of Capital Radio's 'TV On Reggae' high-rank programme. Various tracks -- incredibly re-mixed for the prof. -- were sandwiched in between the more familiar dubwize sounds, and the effect was phenomenal. When the LP was released the following week, the primary amount pressed completely sold out in two days. Such was the appeal of the album, absolutely special -- not only because Coxsone was/is regarded as King of the Dub Rock, but it also happened to be marvellous music.

'Capital Radio Rock' is an astonishing example of the album's speciality. Consisting of effervescent melodica wildly blasting -- over a driving rhythm -- the focal point was the reversed violins hectically echoed out of all proportion. An insane and excruciating concoction.

The other stand-out tracks, 'Many Moods Of Coxsone' and 'Tribute To Muhammad Ali' were later released back-to-back on '45 by Shelly -- straight to Safari's Head.

Kieth Hudson's 'Pick A Dub' barely scraped the Top Three: it is hailed by all Roots lovers as not only a definably heavy Dub LP, but also a classic Reggae LP.

Hudson is, in my mind's eye, one of the most original and productive people in the music biz. His productions slant on the eccentric, his lyrical / musical creations are usually highly stylized. His few solo albums have mostly integrated dubwize tracks within their concept -- and albums such as 'Flesh Of My Skin' 'Entering The Dragon' and 'Torch Of Freedom' shine as extremely listenable ones, with the additions of weighty instrudubs acting as some heavenly mercy from Mr. Hudson's forever controversial "singing".

The latest LP 'Brand' -- dubwize -- is spectacular, 21st Century music (ahead of it's time?): but compared with the previous 'Pick A Dub' is not as good.

'Pick A Dub' was greeted with unanimous applause from Dub Lovers everywhere -- the adventurous mixing the focal point of the album. Featuring such talented musicians as Augustus Pablo, Peter Tosh -- and showcasing the drumming of Carly Barrett and Family Man's liquid bass -- the Dubmuzik was aggressive, powerful and intensely rhythmic: and with the astonishing mix there to enhance its energy, and motivate its appeal, the result was No. 1 high-rank dub.

Featured vocalists included Horace Andy, Keith Hudson (ugh...) and Big Youth -- the music was fierce, the mix was mighty, the album was the perfect Dub Construction.

Check out cuts like the rude 'Pick A Dub', the chucky 'Black Heart', the devastating ' Blood Brother', the eerie 'I'm All Right' -- or the ultimately beautiful 'Depth Charge': based loosely on the Four Tops' equally impressive 'Still Waters'.

AUGUSTUS PABLO is the originator of the "rockers" sound -- and probably Reggae's most top-rank genius. His music is wholly unique, a sound all his own. His productions tend to be recognisable and eternally listenable efforts -- and Pabs just doesn't make bad records.

Whether he is recording another artist or himself, the classic »genius« element never fades. A small, smart man with extreme talent in music and imagination -- yes, the Higher-Ranking Rocker.

His 'King Tubby Meets The Rockers Uptown' LP is only available in the United States -- it's not even released in Jamaica. As far as import frequency goes, the score is virtually nil. But the album is as classic as an album be, the near-summit Dub LP -- including such amazing tracks as 'Braces Tower Dub', the great 'Each One Dub' and the seductive '555 Dub Street'. Strictly yard music.

It would be Top of the Pops if it weren't for a wily Winston Edwards and his legendary LP entitled 'King Tubby Meets The Upsetter At The Grass Roots Of Dub'.

AS SOON as the LP hit the streets -- via the pre' market -- it was hailed as a Dub LP with that extra-special something which most other albums of the ilk tended to lack. It had style, it had original ideas, it contained real rootsy rockin' Reggae -- and the mixture of these ingredients made it well-worthwhile.

With the music put together by Winston Edwards with assistance from Lee Perry -- and primary mixing by The Upsetter -- the hard rydims were dramatically realised in the form of dubwize mixes by the ubiquitious King Tubby. Using such superb musicians as Santa, Family Man, Bobby Ellis, Tommy McCook, etc., etc., etc. -- the album was ideal for the Roots fans, with strictly Now Music. Tubby's techniques were portrayed in all their glorious splendour, the Reggae music totally transformed and interpreted in Tubbs unique fashion. He would curl, swirl, whirl, twirl, explode, corrode, erode, ignite, excite -- upset and agrovate -- slipping vibrant echo to shatter the instruments, and jamming reverberation to re-duplicate the melodies. Echo-delay was inserted to add to the confusion.

DUB MASTER in session: creating such classics as 'No Justice For The Poor', '300 Years At The Grass Roots', 'African Roots', 'Raw Roots', 'Luke Lane Rock', 'King Tubby And The Upsetter At Spanish Town' and 'Wood Roots'.

The prime oneners  to each side were symbolic successes: 'People From The Grass Roots' was a total Titanic tormentor. Destruction in dub -- the whirring cymbals hysterically attacked by the crippling hiss in the mix; the bass heavily bouncing with steady, gushing gusto; the saxophone and trumpet frequently demolished by nerve-nibbling reverb; the erratic rhythm guitar whipped perversely echoic; the constantly rocking drums splattered and spliced with acute accuracy, as they slip through the rhythmic loops, and splash against the sides -- a devastating dense, deafening dub of Tubbs creation.

'Blood Of Africa' used roughly the same mixing magic -- only, with a more persistent rhythm, and a lolloping, creamy trombone replacing the saxophone and trumpet.

But the ultimate in Dub Satisfaction came with the superior 'Crime Wave' -- an ecstatic next version to 'A Touch Of Roots'.

The ocean-deep bass virtually orgasmic in its throbbing heaviness, deep and dark -- with freaky, low echo making it tremble, rumble and tumble. Capable of rattling your insides; seducing the most frigid whale to a frenzy of excitement; penetrating the sound-barrier; mesmerising and hypnotizing all listeners -- a bass-riff of Meditation. What a revelation!

The drums rollin', rockin', tickin', tockin' -- snipped and tapped by the console in metronomic, calculable stops 'n starts. The sleazy, easy, wheezy trombone sweeping and weeping into the air in erotic, spitting slides -- often hectically destructed by the wavering echo and spine-shock echo-delay and reverb. What a sensation!

The punchy, chopping keyboards, densely swelling and elevating as they are given the Kenwood treatment by Tubbs -- without anaesthetic -- a fertive form of liquidation.

'Crime Wave': the criteria by which Tubb's demonstrates his indestructible and effortless power. Violence in dub -- all manner of music torture and tormentation. War in Reggae. Dubwize Riot -- well-wicked!!

If -- for some absurd reason -- you have yet to discover the wonders of Dub Music, or have simply dismissed it as a noisey mess: investigate 'King Tubby Meets The Upsetter At The Grass Roots Of Dub', and all will be revealed.

Should you remain unimpressed, then I can only surmise that you're not a true Reggae fan. Not at aaalll!

NEW WEEK: DUB FIX 50, ROOTS RECOMMENDATIONS.

Kommentarer
Postat av: Johan, aka trixy

Tja,

välkomna på fest nu på onsdag 30/9

Club Galore spelar knastrig ska, tung dub och vrickad dancehall på Bondens bar



Lägg gärna upp lite promotion på sidan, och som sagt

Välkomna



http://www.reggaegalore.se/blog/?p=2897

2009-09-28 @ 09:32:22
URL: http://dubclub.blogg.se/
Postat av: Terry Elliott - Prince Melody!

Hi there. In this article where it talks about the number six dub album being played at the Ladbroke Grove carnival, it mentions Prince Melody (sound system).



This is my dad Terry. He still DJs but now plays rhythm and blues and swing.



Ashley

2011-02-14 @ 21:43:43

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