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Title Dub / More Bass Culture Subtitle Lee Perry, King Tubby, Gregory Isaacs And More Artist Various Artists Format: CD Cat. No.: METRCD081 Barcode: 698458108128 Playing Time: 62.30

Don't bother getting your ears syringed: King Tubby, Lee Perry, Bunny Lee, Scientist, & Niney The Observer are going to drive a tank through the musical pathways to your brain with these thunderous dubs from the 1970's. If your head isn't too mashed up by the mayhem, you'll recognise a selection of reggae legends in the echo chamber, bass in the place, drums in your face: This is heavy dub at its hottest.

1. King Tubby - Musical Dub 2. King Tubby - Sneak Invasion Dub 3. King Tubby - Human Rights Dub 4. King Tubby - Borderline Dub (Ali Baba version) 5. King Tubby - Cut Through Dub 6. Lee Perry & the Upsetters - Kojak 7. King Tubby & Dennis Brown - A Mek Rhythm Run Dub 8. King Tubby & Delroy Wilson - Get Ready For The Master Dub 9. Scientist - Counter Intelligence Dub 10. King Tubby - Sunny Dub     11. King Tubby & Gregory Isaacs - Dreadful Dub 12. King Tubby - In Love Dub 13. King Tubby and Ken Boothe - Freedom Dub 14. King Tubby & Cornell Campbell - Natty Dub 15. King Tubby - Killer Dub 16. King Tubby - Assassin Dub 17. King Tubby - Isolation Dub 18. King Tubby - Rasta Train Dub 19. Lee Perry & The Upsetters - Bush Weed 20. King Tubby - Bad Boy Rhythm Dub         Sleevenotes   Dub: FAQs. What is this thing called dub? Music stripped to the bone. Bass and drums bared and exaggerated, the vocal reduced to a sound bite, other instruments allowed to colour the mix in various places. If music is, as a Donald Byrd album suggested, spaces and places, then dub is truly the essence of music: lots of spaces, with some places occupied to define the limits of those spaces. Is it called dub because noises are dubbed onto a tape? Probably. But while dub can be laden with sound effects –- pots and pans crashing, doorbells ringing, cockerels crowing – the point about dub is not what’s added, but what’s taken away and what’s done with what’s left. Where is dub from? Primarily Jamaica. Even today, when it emanates from all points of the compass, dub’s spiritual home is still Jamaica, much as hip-hop can trace its ancestry to the South Bronx. The efforts of Jamaica’s current ragga generals, like Elephant Man and Ward 21, owe plenty to the genius of the producers who create what amounts to nothing less than a radical, but still recognisable, dub mix behind them. Who are the heroes of dub? Not the singers, DJs and musicians who populate it, nor the producers who propagate it. The artist is the sound engineer, who hones the music into improbable shapes, takes it to places that the original artist and producer never dreamt of. Isn’t the engineer and producer of dub the same thing? In some cases, yes. Lee Perry created his own dub at the mixing desk and so did Prince Jammy, to name but two. However, King Tubby, for example, was not really the producer of the bulk of the music that bears his name. Other producers, such as Bunny Lee, who oversaw most of the tracks on this album, Karl Pitterson and Niney The Observer would bring their tapes to King Tubby to see what he could create from them. Joe Gibbs did much the same with the engineer Errol T. Their patronage and interest in dub should never be underestimated. They may not have mixed the records themselves, but they made it possible for dub to happen. What was the first dub record and who made it? Who made the first rock and roll record? Elvis or Bill Haley? Was it Jackie Brenston’s “Rocket 88” or Louis Jordan’s “Choo Choo Ch’Boogie”? It depends on your definition. Certainly Jamaican producer-engineer Lynford Anderson was experimenting with stripped-down reggae as early as 1968 and his skilfully off-kilter production as Andy Capp in 1969 on “Pop-A-Top” could lay claim to it. That year dub was becoming more defined, even if it didn’t have a name, with The Upsetters’ “Tackio” and Clint Eastwood” (produced by Lee Perry), The Crystalites’ “Tough Version” (Derrick Harriott), The Destroyers’ “Straight To The Head” (Joe Gibbs) The Crashers’ “Musical Fight” (Sonia Pottinger) and The Dynamites “The Phantom” (Clancy Eccles) all being plausible contenders between 1969 and 1970. All were attempts to get one over on rivals and create a sound that grabbed the ears. Most reggae producers had a few mad tunes like this. The first dub tune may not have been a reggae record at all: the B-side of Rex Garvin and the Mighty Cravers’ “Sock It To ’Em JB”, a lunatic 1966 American dance tribute to James Bond, was simply the instrumental track of the A-side with added echo. Why did dub get popular in the early to mid 1970s? You could dance to it, the more intimately the better – even though it was slow. It was different. But most of all, it was popular with Jamaica’s music biz for three important reasons. Reggae sound systems were designed to deliver a lot of top and bottom, and thanks to the brilliance of King Tubby, Errol T and a few others, dub was laden with bass and treble. (Tubby in particular understood this, as a long-time sound system boss and designer of electrical circuits, and Errol T was no slouch with a soldering iron either.) Secondly, the sound system owners and producers liked it because it supplied a ready-made rhythm track for DJs (toasters, the equivalent of today’s MCs or rappers) to chat over – a professional backing record for even the most callow youth to hone his skills on. Lastly the producers liked it because, apart for the fact that they could boast that they had the heaviest, wildest sound, they were getting value for money. Every time they recorded an artist, they had to pay him or her, pay the musicians, pay for studio time, pay the engineer etc. But with dub, they could reuse a previously-recorded rhythm track and only pay for the studio and engineer. So it’s not laziness that most dub tracks are versions of someone else’s song? No, dub tracks are necessarily versions of someone else’s song. Without that song, the dub could not exist. The engineer is drawing something out of that song that the original artist hadn’t suspected was there. And this is perhaps why some of the dub of the 1980s and 1990s had something lacking. The tracks weren’t created as backing tracks, but simply as dubs. There was no transformation going on, so one level of the creative process was missing. But how can the original song be important to dub when most of that song is thrown away? The challenge facing the dub engineer is to create something new from something old. Without that challenge, some of the impetus is perhaps missing. And the song informs the dub even when none of that song exists anymore. A possible analogy is homeopathy. Homeopathic medicines’ active ingredients are so diluted that scientific analysis can often find almost nothing of them in the substance taken by the patient. Yet many swear that they work, saying the energy of that ingredient is still there, somehow. Perhaps that’s how it is with dub. The original longing, suffering, anger, joy or drive for financial gain that prompted the original song still exists within the dub track even though you can’t actually hear it. What were the golden years of dub? This again is a matter of opinion. But the original golden era was probably between 1973-77, when albums like King Tubby Meets The Upsetter At The Grass Roots Of Dub, 'Joe Gibbs’ “African Dub” series, Augustus Pablo’s “King Tubbys Meets Rockers Uptown” were huge underground hits – within the quantity restrictions of the often-limited vinyl pressings they were released on. Who was the greatest dub engineer and why? The man with King in his title. Because he was so precise with his engineering – he built his own equipment and understood its potential and limitations. Despite his (slightly misleading) name, there was no fat in his mixes – everything was muscular and lean. Tubby was to the point. Even another engineer as capable as Lee Perry would take tunes to Tubby to be mixed occasionally, because he was the acknowledged King. Why did dub never cross over to the mainstream? It did. The only real dub pop hit of the 1970s was Rupie Edwards’ “Ire Feelings (Skanga)”, which went top 10 in 1974 in the UK. But since then, we have seen hip-hop, techno, chill-out and drum and bass all rule the world. Tuned-in ears will hear dub within them. In fact, rumour has it that the designer of the original TR808 bass drum sound, which powered the early years of hip-hop, was in fact a King Tubby’s fan. Have I got to be off my face to appreciate it? No more than you have to be to appreciate anything else. It is head music, but it’s body music too. Ian McCann.