Ready For Fight - Various - Dub In France - 31 Pure Dubs
Label: Productions Spéciales - 070268226-2 • Format: 2x, CD Compilation • Country: France • Genre: Electronic, Rock, Reggae, Funk / Soul • Style: Dub, Rocksteady, Ska, Funk, Alternative Rock, Reggae
Around Kingston-based reggae producers started to issue singles with instrumental "versions" on the flipside of vocal releases, which were actually the basic riddim tracks. To these "versions" one could add further instrumentation or deejay accompaniment. Within a year the inclusion of instrumental versions on the flipside was common practice among the majority of Jamaica's producers.
Andy Capp - now widely acknowledged to be the first recording in the genre. But it was pioneering sound engineer and sound system operator Osbourne Ruddock who did more than any other to popularize and develop the sound.
He explored the possibilities of sound from his small studio, located at the back of his home, at 18 Drumilly Avenue, Kingston In Jamaicaduring the seventies, the sound of reggae was being reinvented by studio producers such as Lee Perry and King Tubby who used echo and delay effects to create a sound known as dub. With vocals removed from tracks of dance songs, DJs began talking over the music, a technique that was known as toasting.
Dub and toasting were later transplanted to New York City, where they formed the basis for rap music in the eighties. Dub is characterized as a " version " of an existing song, typically emphasizing the drums and bass for a sound popular in local Sound Systems. The instrumental tracks are typically drenched in sound processing effects, with most of the lead instruments and vocals dropping in and out of the mix. The music sometimes features processed sound effects and other noisessuch as animal Get It On!
- Arling & Cameron - All-In, babies crying, and producers shouting instructions at the musicians. These versions are mostly instrumental, sometimes including snippets of the original vocal version.
Often these tracks are used for "Toasters" rapping heavily-rhymed and alliterative lyrics. These are called "DeeJay Versions". As opposed to hip Ready For Fight - Various - Dub In France - 31 Pure Dubs terminology, in reggae music the person with the microphone is called the " DJ ", while the person choosing the music and operating the turntables is the "Selector" elsewhere called the Ready For Fight - Various - Dub In France - 31 Pure Dubs.
A major reason for producing multiple versions was economic: A record producer could use a recording he owned to produce numerous versions from a single studio session. Version was also an opportunity for a producer or remix engineer to experiment and vent their more creative side. The version was typically the B-side of a single, with the A-side dedicated to making a popular hit, and B-side for experimenting and providing something for DJ's to talk over.
In the s, Britain became a new center for dub production with Mad Professor and Jah Shaka being the most famous, while Scientist became the heavyweight champion of Jamaican dub. It was also the time when dub made its influence known in Es Brennt - Eko Fresh - Deutscher Traum work of harder edged, experimental electronic musicians such as Adrian Sherwood and the roster of artists on his On-U Sound label.
In the s and beyond dub has been influenced by and in turn influenced technodance music, ambient music, and hip hopwith many dub tracks produced by non traditional musicians from these other genres. Musicians such as Massive Attack, Bauhaus, The Clash, PiL, The Orb, Pole, Underworld and others demonstrate clear dub influences in their respective genres, and their innovations have in turn influenced the mainstream of the dub genre.
Traditional dub has, however, survived see Aba Shanti-I, for example and some of the originators like Lee Perry and Mad Professor continue to produce new material.
P. Thompson* / Massive Dread - Forgive Them / Soca Massive fluid evolution of music that encompassed ska, rocksteady, reggae and dub was embraced by local mixing wizards who Stay There Til I Get Here - Lynn Anderson - Country Girl and rebuilt tracks to suit the tastes of their audience.
In particular, producers and DJs like Ruddy Redwood, King Tubby and Scientist, and Lee "Scratch" Perry popularized stripped-down instrumental mixes which they called "versions" of ska tunes using simple four-track mixing machines.
At first they simply dropped the vocal tracks, but soon more sophisticated effects were created, dropping separate instrumental tracks into and out of the mix, isolating and repeating hooks, and adding echo effects.
The early hip hop block parties in New York manned by those such as Kool Herc and Grandmaster Flash are obviously derived from the sound system scene in Kingston. Early disco heroes like Walter Gibbons and Arthur Russell; Francois Kevorkian, Larry Levan and Shep Pettibone's owe the madness of their dub crazy angel dust soundscapes to the experimental genius of the Jamaican pioneers.
The idea of taking apart the various instruments and components that make up a recording and remixing them into something that sounds completely different is a common practice Ready For Fight - Various - Dub In France - 31 Pure Dubsbeing used in various styles of music such as jungle, house, hip-hop, and even metal. It is often overlooked, however, that the dub technique and style originated in Jamaican rocksteady and reggae. The great sound system engineers of Jamaica in the late s and early s pioneered the instrumental remix and were the first to make the style popular.
Using only primitive recording and mixing equipment, the mixing engineer took a lead role in defining the sound of the recording, using the mixing board as his instrument. The resulting dub craze that occurred in Jamaica in the mid s further established the mixing engineer as an artist. Dub became a tradition and a part of the musical culture in Jamaica.
The proliferation of instrumental mixes, known as "versions" as well as radically remixed "dubs" that resulted opened the doors to a vast new field of musical expression that would eventually be embraced not only by Jamaican music but by popular music all over the world. Also known as Scratch, the great Lee Perry, whose daring at the mix controls was beyond compare during the period mid-to late 70s when he was making dub albums such as Blackboard Jungle and Super Ape.
Unlike many other dub mixers, Scratch disrupted his more commercial songs with dub effects - "Cow Thief Skank", "Bathroom Skank", "Police And Thieves" - and made whole albums with singers that throbbed and groaned in a bizarre counterpoint to their efforts.
Always an eccentric he once torched his legendary Kingston Black Ark studios to the groundhis recent music has seen him descend into self-parody and possibly actual as opposed to sonic madness [ Dub music had to come from somewhere, and the consensus is that it came from the mind and four-track mixing board of Osbourne Ruddock, known far and wide as King Tubby [ Managed Hosting by NG Communications.
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