So, Hurricane bastard Ian spared us but went on his evil way to do monstrous damage to folks and property not so many miles south. Even though Ian’s cruel power missed us directly, the winds and rain the storm generated were enough to keep us immobilized for a few days. With the threat of the electricity shutting down at any moment we set about rearranging our studio for a better configuration for optimum sound quality. In turn, this meant producing LEM Vol 302 with recordings already available in our archives instead of downloading new sound files. The result, Dub Massive Part One, a sixty-minute non-stop mix of strictly rare dubs.
My first exposure to dub was in the late 60s at Shebeens (or house parties) organized by Jamaican neighbors. As an evening moved into the wee hours the selector would deftly flip a popular single over so the rhythm continued for the crowd to keep rocking and swaying, the Red Stripe flowing and the pungent ganja filling a tightly-packed room with a thick fog. The flip side of any popular Jamaican single in those days was an instrumental version. This was purely a business decision, creativity had nothing to do with it. A producer had paid for a band and singer, and determined to get his money’s worth, he released a single with a different title on the B side, therefore earning royalties twice. Then, it became popular for a toaster to plug in a microphone so he could chat as the selector flipped the disc over. Eventually, toasters chatted over the whole of a B side. Toasting became its own art form, leading eventually to inspire young lads in New York to create Rap. Meanwhile, back in Jamaica and London producers realized they could make even more money from versions. For every single release, you could guarantee there would be numerous versions, including dubs and DJs toasting. It’s a wonderful organic evolution of musical art, albeit while many producers and label owners greedily profited. Dub went on to influence so much of the music that followed, Killing Joke’s Turn To Red 10” EP, PiL’s albums, Jah Wobble’s large body of work, and almost every indie record of the ’70s, and ’80s. Dub became a mainstay of every disco mix through the 80s and 90s, often a 12” mix would feature a least three dubs. Today, dub techniques are used in the initial productions of the most popular recordings. Utilizing a multitude of effects and sound manipulation, dub has become an integral part of any music production. The original classic dubs remain the most unique, certainly the most experimental and they capture the essence of a glorious period for music. Dub Massive Part One is a collection of dubs from my archives, some originated as B sides to singles, others from 12” mixes, and some are from dub albums. There are many resources available to search out rare dubs, I recommend the true and trusted Dub Vendor out of London. Make sure you tell them Norman B at Life Elsewhere gave you the tip. Enjoy this LEM Vol 302 and do make sure to send me your feedback.
Playlist
- Everton Da Silva – Dub Down Rome
- Alpha & Omega – The Ruler Of Them All
- Sound Iration – Iration Time
- King Tubby – Eastman Dub
- Junior Delgado – Mister Dub
- Larry Marshall – Dub Is My Woman
- Dennis Brown – Mischievous Dub
- Errol Thompson/Joe Gibbs – Idler’s Rest
- Augustus Pablo – When Mi Dub
- Crucial Bunny – Lethal Stepper
- Dennis “Blackbeard” Bovell – Ites Of Dub
- Prince Far I – Love Divine Dub
- Fat Man Riddem Section – Runnings
- Jack Ruby/The Black Disciples – Nubia
- Jah Woosh – Falling In Love
- Lacksley Castell – Jah Love Is Sweeter (King Tubby’s Mix)
- Horace Andy/Everton Da Silva – Dub There
Artwork by Maya Harley “Sunset and leaves” 2012 25″ x 25″ giclée print on archival paper. Courtesy of Norman B’s collection
Life Elsewhere 