Dub music

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Dub is a genre of electronic music [2] that grew out of reggae in the 1960s, and is commonly considered a subgenre, though it has developed to extend beyond the scope of reggae. [3] The style consists predominantly of instrumental remixes of existing recordings [4] and is achieved by significantly manipulating and reshaping the recordings, usually through the removal of vocals, emphasis of the rhythm section (the stripped-down drum-and-bass track is sometimes referred to as a riddim), the application of studio effects such as echo and reverb, and the occasional dubbing of vocal or instrumental snippets from the original version or other works. It was an early form of popular electronic music. [5]

Electronic music is music that employs electronic musical instruments, digital instruments and circuitry-based music technology. In general, a distinction can be made between sound produced using electromechanical means, and that produced using electronics only. Electromechanical instruments include mechanical elements, such as strings, hammers, and so on, and electric elements, such as magnetic pickups, power amplifiers and loudspeakers. Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, and the electric guitar, which are typically made loud enough for performers and audiences to hear with an instrument amplifier and speaker cabinet. Pure electronic instruments do not have vibrating strings, hammers, or other sound-producing mechanisms. Devices such as the theremin, synthesizer, and computer can produce electronic sounds.

Reggae Music genre from Jamaica

Reggae is a music genre that originated in Jamaica in the late 1960s. The term also denotes the modern popular music of Jamaica and its diaspora. A 1968 single by Toots and the Maytals, "Do the Reggay" was the first popular song to use the word "reggae", effectively naming the genre and introducing it to a global audience. While sometimes used in a broad sense to refer to most types of popular Jamaican dance music, the term reggae more properly denotes a particular music style that was strongly influenced by traditional mento as well as American jazz and rhythm and blues, especially the New Orleans R&B practiced by Fats Domino and Allen Toussaint, and evolved out of the earlier genres ska and rocksteady. Reggae usually relates news, social gossip, and political comment. Reggae spread into a commercialized jazz field, being known first as "Rudie Blues", then "Ska", later "Blue Beat", and "Rock Steady". It is instantly recognizable from the counterpoint between the bass and drum downbeat, and the offbeat rhythm section. The immediate origins of reggae were in ska and rocksteady; from the latter, reggae took over the use of the bass as a percussion instrument.

A remix is a piece of media which has been altered from its original state by adding, removing and changing pieces of the item. A song, piece of artwork, books, video, or photograph can all be remixes. The only characteristic of a remix is that it appropriates and changes other materials to create something new.

Contents

Dub was pioneered by producers such as Osbourne "King Tubby" Ruddock, Lee "Scratch" Perry, Errol Thompson and others [3] in the late 1960s. Augustus Pablo is credited with bringing the melodica to dub, and is also among the pioneers and creators of the genre. Similar experiments with recordings at the mixing desk outside the dancehall environment were also done by producers Clive Chin and Herman Chin Loy. [6] These producers, especially Ruddock and Perry, looked upon the mixing console as an instrument, manipulating tracks to come up with something new and different. The Roland Space Echo was widely used by dub producers in the 1970s to produce echo and delay effects. [1]

King Tubby Jamaican electronics and sound engineer

Osbourne Ruddock, better known as King Tubby, was a Jamaican sound engineer who greatly influenced the development of dub in the 1960s and 1970s.

Lee "Scratch" Perry Jamaican reggae producer

Lee "Scratch" Perry OD is a Jamaican music producer and inventor noted for his innovative studio techniques and production style. Perry was a pioneer in the 1970s development of dub music with his early adoption of remixing and studio effects to create new instrumental or vocal versions of existing reggae tracks. He has worked with and produced for a wide variety of artists, including Bob Marley and the Wailers, Junior Murvin, the Congos, Max Romeo, Adrian Sherwood, the Beastie Boys, Ari Up, The Clash, The Orb and many others.

Errol Thompson, better known as "ET", was a record producer, audio engineer, and one of the first studio engineers to be involved in dub music.

Dub has influenced many genres of music, including rock (most significantly the subgenre of post-punk and other kinds of punk [7] ), pop, [8] hip hop, [7] disco, and later house, [9] techno, [9] ambient, [9] electronic dance music, [10] and trip hop. [9] Dub has become a basis for the genres of jungle and drum and bass [11] [12] [13] Traditional dub has survived, and some of the originators, such as Lee "Scratch" Perry and Mad Professor, continue to produce new material.

Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, and developed into a range of different styles in the 1960s and later, particularly in the United Kingdom and in the United States. It has its roots in 1940s and 1950s rock and roll, a style which drew heavily on the genres of blues, rhythm and blues, and from country music. Rock music also drew strongly on a number of other genres such as electric blues and folk, and incorporated influences from jazz, classical and other musical styles. Musically, rock has centered on the electric guitar, usually as part of a rock group with electric bass, drums, and one or more singers. Usually, rock is song-based music usually with a 4/4 time signature using a verse–chorus form, but the genre has become extremely diverse. Like pop music, lyrics often stress romantic love but also address a wide variety of other themes that are frequently social or political.

Post-punk is a broad type of rock music that emerged from the punk movement of the 1970s, in which artists departed from the simplicity and traditionalism of punk rock to adopt a variety of avant-garde sensibilities and diverse influences. Inspired by punk's energy and DIY ethic but determined to break from rock cliches, artists experimented with sources including electronic music and black styles like dub, funk, and disco; novel recording and production techniques; and ideas from art and politics, including critical theory, modernist art, cinema and literature. Communities that produced independent record labels, visual art, multimedia performances and fanzines.

Punk rock is a rock music genre that emerged in the mid-1970s in the United States, United Kingdom, and Australia. Rooted in 1960s garage rock and other forms of what is now known as "proto-punk" music, punk rock bands rejected perceived excesses of mainstream 1970s rock. They typically produced short, fast-paced songs with hard-edged melodies and singing styles, stripped-down instrumentation, and often political, anti-establishment lyrics. Punk embraces a DIY ethic; many bands self-produce recordings and distribute them through independent record labels and other informal channels.

Name

The verb dub is defined as making a copy of one recording to another. The process of using previously recorded material, modifying the material, and subsequently recording it to a new master mix, in effect doubling or "dubbing" the material, was utilized by Jamaican producers when making dubs. [14] The term dub had multiple meanings in Jamaica around the time of the music's origin. The most frequent meanings referred to either a form of erotic dance or sexual intercourse; [15] such usage is frequently present in names of reggae songs, for instance, of The Silvertones' "Dub the Pum Pum" (where pum pum is Jamaican slang for female genitalia), Big Joe and Fay's "Dub a Dawta" (dawta is Jamaican patois for daughter ). I-Roy's "Sister Maggie Breast" features several references on sex:

The Silvertones are a Jamaican reggae harmony group formed in 1964, best known for their recordings for Lee "Scratch" Perry in the early 1970s.

I-Roy musician

Roy Samuel Reid, better known as I-Roy, was a Jamaican DJ who had a very prolific career during the 1970s.

Sex either of two main divisions (either male or female) into which many organisms can be placed, according to reproductive function or organs

Organisms of many species are specialized into male and female varieties, each known as a sex. Sexual reproduction involves the combining and mixing of genetic traits: specialized cells known as gametes combine to form offspring that inherit traits from each parent. The gametes produced by an organism define its sex: males produce small gametes while females produce large gametes. Individual organisms which produce both male and female gametes are termed hermaphroditic. Gametes can be identical in form and function, but, in many cases, an asymmetry has evolved such that two different types of gametes (heterogametes) exist.

I man a-dub it on the side

Say little sister you can run but you can't hide
Slip you got to slide you got to open your crotches wide

Peace and love abide

Some musicians, for instance Bob Marley and The Wailers, had alternative meanings for the term dub. In concert, the order "dub this one!" meant "put an emphasis on bass and drums". Drummer Sly Dunbar points to a similar interpretation, relating the term dubwise to using only drums and bass. [14] Another possible source was the term dub plate , as suggested by Augustus Pablo. [16] John Corbett has suggested that dub could derive from duppy, a Jamaican patois word for ghost, as referenced by Burning Spear having named the dub version of his Marcus Garvey album Garvey's Ghost , and by Lee "Scratch" Perry stating that dub is "the ghost in me coming out". [17]

Sly Dunbar musician

Lowell "Sly" Fillmore Dunbar is a drummer, best known as one half of the prolific Jamaican rhythm section and reggae production duo Sly and Robbie.

Augustus Pablo musician and record producer

Horace Swaby, known as Augustus Pablo, was a Jamaican roots reggae and dub record producer, melodica player and keyboardist, active from the 1970s till his death.

Burning Spear Jamaican musician

Winston Rodney OD, better known by the stage name Burning Spear, is a Jamaican roots reggae vocalist and musician. Burning Spear is a Rastafarian and one of the most influential and long-standing roots artists to emerge from the 1970s.

The word "duppy" also relates to "dub" through Jamaica's history of intra-racial terror, violence, and murder that is often overlooked in favor of Jamaican ideologies of racial solidarity. The ghosts of these victims, or "duppies", are thought to be captured best within the dub instrumentals. To describe dub in his study "When Echoes Return", Louis Chude-Sokei states, "Its swirling echoes are metaphors of loss while the disembodied voices and gunshots mimic the sound of ghosts, the sudden dead." [18]

Characteristics

Dub music is characterized by a "version" or "double" [19] of an existing song, often instrumental, using B-sides of 45 RPM records and typically emphasizing the drums and bass for a sound popular in local sound systems. A "version" is a record with the vocals removed, the alternative cut of a song made for the DJ to toast over (a form of Jamaican rapping). These "versions" were used as the basis of new songs by rerecording them with new elements. [20] The instrumental tracks are typically drenched in sound effects such as echo, reverberation, with instruments and vocals dropping in and out of the mix. Another hallmark of the dub sound is the prominent use of bass guitar. The music sometimes features other noises, such as birds singing, thunder and lightning, water flowing, and producers shouting instructions at the musicians. It can be further augmented by live DJs. The many-layered sounds with varying echoes and volumes are often said to create soundscapes, or sound sculptures, drawing attention to the shape and depth of the space between sounds as well as to the sounds themselves. There is usually a distinctly organic feel to the music, even though the effects are electronically created. [19] [21]

Often these tracks are used for "toasters" rapping heavily rhymed and alliterative lyrics. These are called "DJ Versions". In forms of sound system based reggae, the performer using a microphone is referred to as the "DJ" or "deejay" (where in other genres, this performer might be termed the "MC", meaning "Master of Ceremonies", or alternately, the later developed slang terms: "Microphone Commander" or "Mic Control"), and the person choosing the music and operating the turntables is called the "selector" (sometimes referred to as the DJ in other genres).

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. A version was also an opportunity for a producer or remix engineer to experiment and express their more creative side. The version was typically the B-side of a single, and used for experimenting and providing something for DJs to talk over, while the A-side was more often dedicated to the original vocal-oriented track. In the 1970s, LP albums of dub tracks were produced, often simply the dub version of an existing vocal LP, but sometimes a selection of original instrumental tracks produced in dub style for which no vocals existed.

History

Lee "Scratch" Perry was an early pioneer of the genre Lee Perry live.jpg
Lee "Scratch" Perry was an early pioneer of the genre

Dub music and toasting introduced a new era of creativity in reggae music. From their beginning, toasting and dub music developed together and influenced each other. The development of sound system culture influenced the development of studio techniques in Jamaica, [22] and the earliest DJs, including Duke Reid and Prince Buster among others, were toasting over instrumental versions of reggae and developing instrumental reggae music. [23]

"Versions" and experiments with studio mixing (Late 1960s)

In 1968, Kingston, Jamaica sound system operator Rudolph "Ruddy" Redwood went to Duke Reid's Treasure Isle studio to cut a one-off dub plate of The Paragons hit "On The Beach." Engineer Byron Smith left the vocal track out by accident, but Redwood kept the result and played it at his next dance with his deejay Wassy toasting over the rhythm. [24] The instrumental record excited the people at the sound system and they started singing lyrics of the vocal track over the instrumental. The invention was a success, and Ruddy needed to play the instrumental continuously for half an hour to an hour that day. [25] The next day Bunny Lee who was a witness to this, told King Tubby that they needed to make some more instrumental tracks, as "them people love" them, and they dubbed out vocals from "Ain't Too Proud To Beg" by Slim Smith. Because of King Tubby's innovative approach, the resulting instrumental track was more than just a track without a voice – King Tubby interchanged the vocals and the instrumental, playing the vocals first, then playing the riddim, then mixing them together. From this point on, they started to call such tracks "versions." [25] Another source puts 1967 and not 1968 as the initial year of the practice of putting instrumental versions of reggae tracks to the B-side of records. [26]

At Studio One the initial motivation to experiment with instrumental tracks and studio mixing was correcting the riddim until it had a "feel," so a singer, for instance, could comfortably sing over it. [25]

Another reason to experiment with mixing was rivalry among sound systems. Sound systems' sound men wanted the tracks they played at dances to be slightly different each time, so they would order numerous copies of the same record from a studio, each with a different mix. [27]

Evolution of dub as a subgenre (1970s)

By 1973, through the efforts of several independent and competitive innovators, engineers, and producers, instrumental reggae "versions" from various studios had evolved into "dub" as a subgenre of reggae.

Errol Thompson engineered the first strictly instrumental reggae album, entitled The Undertaker by Derrick Harriott and the Crystallites. This album was released in 1970. This innovative album credits "Sound Effects" to Derrick Harriott.

In 1973, at least three producers, Lee "Scratch" Perry and the Aquarius studio engineer/producer team of Herman Chin Loy and Errol Thompson simultaneously recognized that there was an active market for this new "dub" sound and consequently they started to release the first albums strictly consisting of dub. Lee "Scratch" Perry released Blackboard Jungle Dub in the spring of 1973. It is considered a landmark recording of this genre.

In 1974, Keith Hudson released his classic Pick a Dub , widely considered to have been the first deliberately thematic dub album, with tracks specifically mixed in the dub style for the purpose of appearing together on an LP, and King Tubby released his two debut albums At the Grass Roots of Dub and Surrounded by the Dreads at the National Arena.

Recent history (Early 1980s–present)

Dub has continued to evolve, its popularity waxing and waning with changes in musical fashion. Almost all reggae singles still carry an instrumental version on the B-side and these are still used by the sound systems as a blank canvas for live singers and DJs.

In 1981 the Japanese band Mute Beat would create dub music using live instruments such as trumpets rather than studio equipment, and became a precursor to the acid jazz, ambient and trip hop music genres. [28] They collaborated with numerous Jamaican artists such as King Tubby, Lee "Scratch" Perry and Gladstone Anderson amongst others and became a large influence upon future dub musicians.

In the 1980s, Britain became a new centre for dub production with Mikey Dread, Mad Professor and Jah Shaka being the most famous. It was also the time when dub made its influence known in the work of harder edged, experimental producers such as Mikey Dread with UB40 and The Clash, Adrian Sherwood and the roster of artists on his On-U Sound label. Many bands characterized as post-punk were heavily influenced by dub. Better-known bands such as The Police, The Clash and UB40 helped popularize Dub, with UB40's Present Arms In Dub album being the first dub album to hit the UK top 40.

Side by side with reggae at this time (early 1980s) running B side dub mixes, a rising number of American (mostly New York state and New Jersey-based) post-disco record producers in collaboration with prominent DJs decided to supply 12 inch singles with alternate dub mixes, predating the era of "remixes." Reflected in the production of records such as The Peech Boys' "Don't Make Me Wait," Toney Lee's "Reach Up," and artists mostly on New York City labels Prelude or West End. In the aforementioned mixes the beat of the record was accentuated, "unnecessary" vocal parts dropped, and other DJ-friendly features making it easy to work with, like picking out key sections to play over other records, heightening the dancefloor effect.

Musical impact

Influence of dub

From the 1980s forward, dub has been influenced by, and has in turn influenced, techno, dubtronica/dub techno, jungle, drum and bass, dubstep, house music, punk and post-punk, trip hop, ambient music, and hip hop, with many electronic dub or dubtronica tracks, as well as ambient dub, produced by nontraditional rastafarian musicians from these other genres. Musicians such as Culture Club, Bill Laswell, Blind Idiot God, Jah Wobble, Leftfield, Massive Attack, Almamegretta, The Clash, Gaudi, Beastie Boys, Bauhaus and others demonstrate clear dub influences in their respective genres, and their innovations have in turn influenced the mainstream of the dub genre. In the UK, Europe, Japan, Australia and America, independent record producers continue to produce dub. Before forming The Mars Volta, Cedric Bixler and Omar Rodriguez (members of the post hardcore group At The Drive In), along with friends Ikey Owens and Jeremy Ward, recorded a series of dub albums under the name De Facto. The Polish punk/psychedelic and new wave bands Brygada Kryzys and Republika recorded dub tracks. Yugoslav new wave outfit Električni Orgazam also experimented with dub music on their album Lišće prekriva Lisabon from year 1982, then bands like Azra, in album Filigranski pločnici which was created also in 1982 and Šarlo Akrobata. Other dub performers include Serbian dub band Black Ark Crew, Basque dub band Basque Dub Foundation, and Australian live dub outfit The Sunshine Brothers. In 1987, rock band Soundgarden released a dub version of the Ohio Players' song "Fopp" alongside a more traditional rock cover of the song. DJs appeared towards the end of the 1990s who specialised in playing music by these musicians, such as the UK's Unity Dub.

Influence of dub on punk and rock music

Since the inception of dub in the late 1960s, its history has been intertwined with that of the punk rock scene in the UK. The Clash worked on collaborations involving Jamaican dub reggae creators like Lee "Scratch" Perry (whose "Police & Thieves", co-written with Junior Murvin, was covered by the Clash on their first album) and Mikey Dread (on the Sandinista album). As well, the English group Ruts DC, a post Malcolm Owen incarnation of the legendary reggae influenced punk group The Ruts, released Rhythm Collision Dub Volume 1 (Roir session), with the expertise of the Mad Professor. Many punk rock bands In the U.S. were exposed to dub via the rasta punk band Bad Brains from D.C., which was established and released their most influential material during the 80s. Blind Idiot God placed dub music alongside their faster and more intense noise rock tracks. Dub was adopted by some punk rock groups of the 90s, with bands such as Rancid and NOFX writing original songs in a dub style. [29] [30] Often, bands considered to be ska punk play dub influenced songs; one of the first such bands to become popular was Sublime, whose albums featured both dub originals and remixes. They went on to influence more recent American bands such as Rx Bandits and The Long Beach Dub Allstars. In addition, dub influenced some types of pop, including bands such as No Doubt. No Doubt's second-most recent album, Rock Steady , features an assortment of popular dub sounds like reverb and echoing. As noted by the band themselves, No Doubt is heavily influenced by Jamaican musical aesthetics and production techniques, even recording their Rock Steady album in Kingston, Jamaica, and producing B-sides featuring dub influences on their Everything in Time B-sides album. Some controversy still exists on whether pop-ska bands like No Doubt can regard themselves as a part of dub lineage. Other bands followed in the footsteps of No Doubt, fusing pop-ska and dub influences, such as Save Ferris and Vincent.

There are also some British punk bands creating dub music. Capdown released their Civil Disobedients album, featuring the track "Dub No. 1", while Sonic Boom Six and The King Blues take heavy influences from dub, mixing the genre with original punk ethics and attitudes. The post-punk band Public Image Ltd, fronted by John Lydon, formerly of Sex Pistols, often use dub and reggae influenced bass lines in their music, especially in their earlier music through various bassists who were members of the group, such as Jah Wobble and Jonas Hellborg. Their track "Rise", which reached #11 in the UK Chart in 1986 - one of their most famous songs - uses a very dub/reggae influenced bass line.

Shoegaze bands such as Ride with their song "King Bullshit" and the intro to "Time Machine" have explored and experimented with dub. Slowdive also penned "Souvlaki Space Station" and their instrumental "Moussaka Chaos" as a testimony of dub influence, while the Kitchens of Distinction released "Anvil Dub".

Steve Hogarth, singer with British rock band Marillion, acknowledged the influence of dub on their 2001 album Anoraknophobia . [31]

21st century dub in the roots tradition

Traditional dub has survived and some of the originators of dub such as Lee "Scratch" Perry and Mad Professor continue to produce new material. New artists continue to preserve the traditional dub sound, some with slight modifications but with a primary focus on reproducing the original characteristics of the sound in a live environment. Some of those artists include Dubblestandart from Vienna, Austria (who recorded the album "Return from Planet Dub" in collaboration with, and performs live with, Lee Scratch Perry), Liquid Stranger from Sweden, New York City artists including Ticklah, also known as Victor Axelrod, Victor Rice, Easy Star All-Stars, Dub Trio (who have recorded and performed live with Mike Patton, and are currently touring as the backing band for Matisyahu), Subatomic Sound System (who have remixed material by Lee Scratch Perry and Ari Up), Dub is a Weapon, King Django, Dr. Israel, Giant Panda Guerilla Dub Squad from Rochester, New York, Heavyweight Dub Champion from San Francisco and Colorado, Gaudi, Ott from the UK who has released several influential albums through Twisted Records, Boom One Sound System and Dubsmith from the Boom One Records label, Future Pigeon from Los Angeles, German artists like Disrupt and Rootah from the Jahtari label, Twilight Circus from the Netherlands, Moonlight Dub Experiment from Costa Rica and Stand High Patrol from France. More eclectic use of dub techniques are apparent in the work of BudNubac, which mixes Cuban bigband with dub techniques. Modern dub producer Ryan Moore has received critical acclaim for his Twilight Circus project.

Afrofuturism

Dub music is in conversation with the cultural aesthetic of Afrofuturism. Having emerged from Jamaica, this genre is regarded as the product of diaspora peoples, whose culture reflects the experience of dislocation, alienation and remembrance. Through the creation of space-filling soundscapes, faded echoes, and repetition within musical tracks, Dub artists are able to tap into such Afrofuturist concepts as the nonlinearity of time and the projection of past sounds into an unknown future space. In a 1982 essay, Luke Ehrlich describes Dub through this particular scope: "With dub, Jamaican music spaced out completely. If reggae is Africa in the New World, then dub must be Africa on the moon; it's the psychedelic music I expected to hear in the ‘60s and didn’t. The bass and drums conjure up a dark, vast space, a musical portrait of outer space, with sounds suspended like glowing planets or the fragments of instruments careening by, leaving trails like comets and meteors. Dub is a kaleidoscopic musical montage which takes sounds originally intended as interlocking parts of another arrangement and using them as raw material, converts them into new and different sounds; then, in its own rhythm and format, it continually reshuffles these new sounds into unusual juxtapositions." [32]

Jamaican Sound System

The most straightforward explanation of the Jamaican sound system would be an individual who deals with a mechanical system consisting of musical amplification and diffusion. This would include turntables, speakers, and a PA system. In this system the deejay is the person who speaks over the record. This is not to be confused with the American term DJ, which refers to the one in charge of selecting the tracks at an event with music. This role is known as the selector in the sound system dub culture, who also plays a vital role in the system, especially in Jamaican dancehalls.

The sound system has had a prevalent spot in music production in Jamaica for well over 50 years. The true importance and relationship between the sound system and dub music can be found in the dubbed out versions of sounds that became the source of Dub music. These dubbed out versions of songs consisted of the original track, without the vocals. Through reggae soundscape and the Jamaican Sound System, dub artists were able to creatively manipulate these dubbed out versions or remixes of songs. These dub remixes were heavily influenced with effects, vocal samples, and were essential to the progression of dub. The remixes, often referred to as versions were the B-sides of a specific record. The dub musician would add in dramatic pauses and breakdowns in the version to make the song have a dub influence and feel. The artists who were using the sound system to create dub tracks would refer to their creation of remixes of certain records versioning. In the setting of a sound system, versions allow for more vocal improvisation and expressions from the deejay. These remixes or versions would not have been possible without the Jamaican sound system and its progression over the years.

At the heart of reggae and Jamaican culture lies the sound system. In the early 1950s the sound system was merely nothing more than a turntable, amplifier, and pair of speakers. Since then in the 21st century they have become massive productions set to include large scale equipment and crew and now has the capacity to tour worldwide. [33]

The Jamaican sound system paired with the evolution of dub music has caused new culture to emerge and change throughout Jamaica. When Jamaica gained independence from Britain in 1962, the culture was in jeopardy and the country was in a state of identity crisis. Along with its independence from Britain, Jamaica started to experience a lack of individuality and originality in its music, and this threatened to send Jamaica into further cultural disarray. The Jamaican sound system and dub music allowed for Jamaica to have another genre of music they can claim as their own. [34]

See also

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<i>Pick a Dub</i> 1974 remix album by Keith Hudson

Pick a Dub is a 1974 album by Jamaican producer and musician Keith Hudson. Critically well received, it is widely regarded as an important work in the dub music genre which evolved out of reggae. Featuring remixes of earlier material, it focuses on heavy drums and bass guitar, with echoing vocals to underscore the intense percussive rhythm. Carlton and Aston Barrett and Augustus Pablo contributed music, while vocal fragments include Hudson, Horace Andy and Big Youth. The album was originally released under the labels of Klik and Atra, with a 1994 reissue by Blood and Fire.

Founded in 1999 by Emch and Noah Shachtman, Subatomic Sound System brought together musicians, producers, DJs and visual artists from a variety of backgrounds and traditions primarily based in New York City and Brooklyn to form a record label and collective that built on a combination of new music technology and traditional instruments to produce music across a variety of genres, often combining genres, in an effort to adapt 1970s’ Jamaican sound system culture and dub studio techniques to current music genres and forms of live performance. In fall 2008, Subatomic Sound System garnered international attention for a limited edition vinyl 12" featuring their collaboration with Vienna's Dubblestandart and dub inventor Lee "Scratch" Perry, releasing the first songs from Perry in the dubstep genre, one of the first recorded examples of a tangible connection between the popular UK based electronic genre that emerged in the begin of the first decade of the 21st century and the Jamaican dub from the 1970s where dubstep's origins were rooted and which had been primarily originated by Perry himself. Beginning in 2008, Subatomic Sound System started hosting weekly radio shows on 91.5fm, Radio New York and webcast on Brooklyn Radio. In 2011 Subatomic Sound System began performing as Lee "Scratch" Perry's backing band with a hybrid of electronics and live instruments. In 2013 they performed together at Coachella Valley Music and Arts Festival and afterwards became Perry's exclusive touring band in North America. In 2017, Subatomic Sound System released their first full-length album with Perry entitled 'Super Ape Returns To Conquer' which debuted #5 on the Billboard Magazine reggae chart and #2 on iTunes USA reggae album chart and reached #1 on North America World music NACC charts.

Moonlight Dub Xperiment is a live dub band formed 2009 in San Jose, Costa Rica. Their music will fall in the Ethnic dub/world music genre which is similar to Kanka, Thievery Corporation, Lee Scratch Perry.

Leo Graham is a Jamaican singer.

References

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Further reading