Welcome to The Dub
Dub music has significantly impacted popular music, influencing genres such as hip-hop, dance, and dubstep. In recent years, the genre has experienced a resurgence in popularity, with new artists incorporating its signature sound into their music. Despite its influence and popularity, dub music remains a niche sound with a dedicated fan base and a rich history.
Read the article by Sebastian Wolf here
In this episode of BBB I explain the method behind and create a Steppas tune. Stompin 4×4 Dub Reggae, designed for the soundsystem.
Don pays tribute to the visionary Jamaican producer and artist Lee ‘Scratch’ Perry, who died on 29th August, and whose groundbreaking work changed the course of popular music. As well as the music and Don’s thoughts and memories of working with Scratch, we also hear from the great man, through an interview recorded in 2007, some of which has never been broadcast.
Dub Reggae Instrumental 2021 #shorts
Jamaican electronics whiz kid Hopeton Overton Brown got his moniker “Scientist” from none other than one of dub music production’s founding fathers, King Tubby (Osbourne Ruddock). As a teenager he began engineering and mixing out of Tubby’s, later moving to Channel One and Tuff Gong studios. He is one of the genre’s most prolific and creative forces, while also remaining a sought-after mix engineer and producer. In addition to his own impressive, if not stunning body of solo work, he has worked with Jamaican legends Bob Marley, Roots Radics, Prince/King Jammy, Peter Tosh, and Horace Andy, to name just a few. Meanwhile, current artists such as Hempress Sativa, Ted Sirota, and Khruangbin have all benefitted from his otherworldly presentations of their music. To watch him mix is like watching man and machine become one. His mixes are dance-like performances on the console, and the sound pictures he paints are mystical and dreamlike. I tracked Scientist down and had the pleasure of digging deeper with one of music’s unique geniuses.
Full article here.
Prominent figure in the English Dub music scene for over forty years and founder of label and studio Ariwa in 1979, Neil Fraser, aka Mad Professor, is one of the most notorious and prolific second generation dub music producers. Following the lead of dub pioneers and masters, the likes of King Tubby or Lee “Scratch” Perry, Mad Professor experiments with machines in his own transgressive way. His album “Dub Me Crazy”, produced at the Ariwa studio in the ‘80s, has contributed a great deal to reggae’s transition into the electronic era. Fraser has worked on tracks for numerous artists and bands such as Depeche Mode, Jamiroquai, the Beastie Boys, Massive Attack, Rancid, The Orb, not to mention reggae musicians including Horace Andy, Johnny Clarke, Sly & Robbie, Buju Banton or U-Roy. All have, at least once, entrusted their compositions to the wild electronic wizard, whose career will undoubtedly be remembered as a cornerstone in the history of Britain’s thriving Bass music.
Musical history is littered with examples of innovators using technology in creative ways that have wide reaching and lasting affects. In part one of this article we examine the techniques and equipment used in the creation of dub music, a genre that would grow to birth and influence not only reggae but pop and all types of electronic dance music, including quite notably dubstep, jungle and drum’n’bass, as well as having a major hand in the invention of the remix and hip-hop.
Click here for full article
We’re trying to capture what living in London sounds like. Let’s hear from Cedar Lewisohn, our new curator of dub reggae, and how he’s trying to capture a sound, a culture, and an experience.
Cedar Lewisohn: “I’m an artist, writer and curator. My work is part of Curating London, a new collecting project. Over four years, the Museum of London is heading out into the city, trying to capture what it means to live in London. We’re recording everyday life, from clothes and chat to music and food. My project covers the whole of London, researching the past and present of dub reggae music.”
Click here for article
This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact firstname.lastname@example.org.Natural-Audiotopias_-The-Construction-Of-Sonic-Space-In-Dub-Regga