A Dub Experience

Dub is the practise of taking a reggae song, minus the vocals, and adding to the instrumentation, usually through the use of studio effects (Delay and Reverb being favourites). This embellishing of a song, when done expertly, brings out hitherto unknown flavours and characteristics of the original composition, while at the same time retaining elements of the original. When exercised by a master of studio wizardry, dub music can be captivatingly original and mesmerisingly hypnotic, transcending it's status as merely a remix. Dub music is the truth.

This release, this gem, is a collection of 8 pieces (originally featuring the infamous duo) given the dub treatment. The originals were all released on Sly and Robbie's own 'Taxi' record label in Jamaica as pre-release 45s, and were then mixed in London by Paul Smykle, who we can call the producer of this record. Without attempting to gradually build up to a appraisal of the music's quality, I will be as abrupt in my verdict as I originally felt upon putting the needle to the groove. This is one of my favourite records. The problem with much of eighties dub (see the Laswell-produced Language Barrier also by Sly & Robbie, and also from '85) is that it sounds awfully dated. This record certainly doesn't fall into that category. The sounds are all incredibly fresh, the rhythms all defiantly tuff and the sounds as beautifully bizarre and original as you could imagine.

The proceedings begin with Destination Unknown, and your head beings to nod. The rocksteady bass of Robbie Shakespeare makes an unstoppable entrance, and together with Sly Dunbar's drums, the duo illustrate why they be the tightest rhythm section on the block. The fact that Smykle is able to intersperse their rhythm with so many disparate musical elements and then bring it all back to the drum and bass is testament to his skill and sense of composition. The rhythm has the last word over the melody on this one. Assault on Station 5 (the tracks name is as interesting as the music itself) brings images of spaced-out bliss with the realisation that with that beat, you've still got both feet on the ground. The vocal samples here are nothing short of ethereal, and the reverb on the snare towards the end of the track will assure you that you're listening to classic dub. Joy Ride begins with, of course, a rocksteady rhythm, but goes on to incorporate a carefree sax lick and a curious effect on vocals that I confess I have heard nowhere else but on the recent Cherrywine album (on the track Sleep Pretty Girl). Demolition rounds off the A-side with another killer rocksteady rhythm together with menacing piano and horns full of suspense. The mood of the track is more laid-back than you would imagine, remaining in chill mode. Incidentally, this album is full of bass lines that are really easy to pick up and jam to, so if you play a little 4-string, then plug in and enjoy the session.

The second side begins rolling with Computer Malfunction, one of the standout cuts on an already superb album. Smykle knows when to cut out the drums and then bring them back to maximum effect. Crazed computer beeps harmonise with the music to create something seemingly chaotic but tasty. Jailbreak is a track that perfectly embodies the dreamy, unreal atmosphere of the LP. It begins with what sounds like an insane man proclaiming "Like the birds in the tree, The prisoners: they must be free", and proceeds to bless us with some of the most far-out sounds yet heard, including the sound of wind sweeping the landscape. The image we have of the producer of this music is that of someone slightly deranged, but oblivious to the fact that he is also a genius, giving maximum pleasure to the people. Skull and Crossbones features some (though not much) of the only straight-up male vocals you'll hear on this, together with an oscillating analogue synth sound that is probably the most interesting thing on the track. Still fat, but compared to the rest of the album it is unremarkable. Smykle finishes on a very very high note, however. Back to Base is built around a rocksteady rhythm (surprise!) and does more musically than I can adequately convey. The most noticeable thing is the combination of strings with the bass rising and rising to climactic effect.

This album is dub at it's best, and has restored my happiness in growing up during the 1980s. It was a great time for dub, as this record illustrates. If you are into dub and reggae, then you will be more than happy upon owning this album, but if you are a newcomer to the sound and are looking for a suitable starting point, then look no further. This truly is a gem of an album.