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Part II: Dub is a genre of music which grew out of reggae music in the 1960s, and is commonly considered a subgenre, though it has developed to extend beyond the scope of reggae. Music in this genre consists predominantly of instrumental remixes of existing recordings and is achieved by significantly manipulating and reshaping the recordings, usually by removing the vocals from an existing music piece, emphasizing the drum and bass parts (this stripped down track is sometimes referred to as a 'riddim'). Other techniques include dynamically adding extensive echo, reverb, panoramic delay, and occasional dubbing of vocal or instrumental snippets from the original version or other works. 19 wicked dub tracks from Scientist. Scientist at his best! Support him on: 01 Dangerous Match One 02 flabba is wild 03 Rocking Time Warp Dub 04 Jah Love All Aliens 05 beaming 05 fighting radics 06 Dangerous Match Six 07 jah is love 08 time passage 09 S.O.S 10.Original Stylee 11 Dangerous Match Nine 12 forward dis ya dub 13 Jerusalem Dub 14 African Daughter Dub 15 Forgive Them Oh Jah 16 Beam Down 17 Cloning Process 18 Creation Mix 19 Iran Revolution.
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A Brief History of Dub Music The word 'dub' today is used to describe a genre of music that consists predominantly of instrumental re-mixes of existing recordings. These re-mixes radically manipulate and reshape the recording through the use of sound effects. The production and mixing process is not used just to replicate the live performance of the recording artist, but audio effects and studio 'trickery' are seen as an integral part of the music. The roots of dub can be traced back to Jamaica in the late 1960s, where it is widely accepted that Osbourne Ruddock pioneered the style Ruddock turned the mixing desk into an instrument, with the deejay or mixer playing the role of the artist or performer.
These early dub examples can be looked upon as the prelude to many dance and pop music genres. Jamaican music has always borrowed heavily from US popular music, adapting this music to give Jamaica its own unique variations During the 1940s 'Big Band' music was very popular in Jamaica, with swing bands touring all over the country playing at local dance halls. By the 1950s these big bands were starting to be superseded by smaller, 'more dynamic, optimistic' bop and rhythm and blues groups. Jamaicans traveling to America in search of work were exposed to this new kind of music, which fitted in perfectly with America's postwar optimism. It was not only being played live but also through large sound systems, and this trend was soon followed in Jamaica.
Sound system operators started appearing in the ghetto areas of Jamaica's capital Kingston, with dances held in large open spaces called 'lawns'. The lawn operators would also tour the country districts of Jamaica in direct competition with the big bands. Sound systems soon took over in the dance halls because, for many people who didn't own a radio, it was the only way to hear the new R&B music. 'Sound systems were also cheaper to employ than a dozen musicians and a 'sound' took no break' By the middle of the 1950s, Duke Reid and Clement 'Coxsone' Dodd had become two of the most prominent sound system operators in Jamaica. In 1954 Ken Khouri started Jamaica's first record company (Federal Records) pressing licensed copies of American recordings, as well as recording of few local artists.
Following his lead Duke Reid and Clement 'Coxsone' Dodd both held their own recording sessions, recording Jamaican artists for exclusive play on their own sound systems - in the hope of gaining the upper hand in the highly competitive business. Chris Brown Yo Excuse Me Miss Instrumental Download. Duke Reid recorded Derrick Morgan and Eric Morris for sound system play.
Reid, whose set played at 'S-Corner' on Spanish Town Road, even titled Derrick Morgan's first tune 'Lover Boy' as 'S-Corner Rock' when it was played on the sound system as an exclusive acetate recording. Clement Dodd also had his first recording session in this year, recording over a dozen tracks with artists like Alton Ellis and Eddie Perkins, Theophilius Beckford, Beresford Ricketts and Lascelles Perkins. During the early 1960s young Jamaicans had been drawn to the major cities in search of work. They had not found it, and the mood of the ghetto areas had started to deteriorate. These youths or 'rude boys' as they were called, began forming into gangs from different ghettos throughout Kingston.
'Rude boys connected with the so-called underworld, a layer of people who lived outside the law, and who had always patronised Jamaican dance music' Their connection with the dance halls, as well as their style of dancing (which was slower and more menacing) changed the style of music being played from the more up tempo 'ska' to the slower 'rock steady' beat While many producers claim to have pioneered the rock steady groove it was Duke Reid who capitalised on it, recording and releasing several tunes by a variety of performers in this new style. The rock steady phase lasted little more than a year, and although Duke Reid and Coxsone Dodds had dominated Jamaican music for well over a decade, three other producers, Lee 'Scratch' Perry, Bunny Lee and Osbourne Ruddock (all of whom had worked for either Reid or Dodds at sometime) dictated the pace of Jamaican music in the 1970s and beyond. Lee Perry (or Rainford Hugh Perry) was born in 1936 in Kendal, a small town in the rural parish of Hanover, in the northwest of Jamaica. Perry arrived in Kingston in the late 1950s, and immediately tried to enter the music business. He started working for Coxsone Dodd as a 'gopher, bouncer, spy, talent scout, uncredited songwriter and eventually performer' Perry left Coxsone after a disagreement over payment, and moved to a new label (Amalgamated) set up by Joel Gibson, where he recorded an early reggae hit called 'People Funny Boy' (which was a verbal attack aimed at his previous employer 'Coxsone').