This is what dub is all about <3

You have said nothing to dispell the fact that these 'dub' people do not create their own music but simply rip off others hard earned tracks, add some electronic treatment and profit from the results.

Do you have any idea how long it takes to master a brass instrument for instance (referring to the first track in this thread,) to produce a beautiful sound let alone blend in an ensemble? Decades of blood and sweat! Did any of those musicians receive any royalties or even a mention of credit?
Did the dub fuckers even ask permission? I doubt it.

Cover songs are generally played by real musicians and by law must at least obtain permission from the original composer or copywrite holder. ( for recordings that is, and sometimes even performance rights)

 

I know just as much about the first song in this thread as you. But before you talk about your opinion on dub in general perhaps first look at the basic definition and origins of the genre

Modern 'western' dub acts generally record most stuff themselves or use samples they often credit. The first dubs were simply the instrumental take of a reggae single as their B-side, then it became popular in the 70's jamaican DJ scene. When it appeared people were not only interested in those dub riddims on the dancefloor alone it began to became popular on records and as a subgenre of its own :2thumbsup: It is a very creative genre, you just have to dig it.

I don't like all kinds of dub either but the way you assume things here is kind of ridicilous, so:

... why would I?

 

Originally Posted by Gongshaman
You have said nothing to dispell the fact that these 'dub' people do not create their own music but simply rip off others hard earned tracks, add some electronic treatment and profit from the results.

I rest my case

 

I explained something about the genre. I still recommend to read into it before forming such a rigid opinion on the whole thing (whyyy do that anyway?)

 

reggae:

https://www.youtube.com/watch?v=fDjFObad1n8"]Gregory Isaacs - Words Of The Farmer 1978 - YouTube

dub version:
https://www.youtube.com/watch?v=coGmoMDCLKs"]Linval Thompson - Channel One In Dub - YouTube

 

reggae version:
https://www.youtube.com/watch?v=oqGE1hS52a0"]Black Uhuru - Eden Out Deh - YouTube

dub version:
https://www.youtube.com/watch?v=ui1eeLYeHig"]Black Uhuru - Far East Dub - YouTube

Damn, these are good :biggrin:

 

https://www.youtube.com/watch?v=fG5XVBQJisE

https://www.youtube.com/watch?v=dN23k6m3J-A

 

https://www.youtube.com/watch?v=v3wFPuU-SMs

 

reggae version:

https://www.youtube.com/watch?v=TKPNV0DckMs

dub version:

https://www.youtube.com/watch?v=dH12TCkHNiE

Looks like Theprodu was right, it's a big rip off after all

 

http://youtu.be/-Nh5CapYICg



Cant forget Yellowman...

 

http://youtu.be/1jtaYk37SHs

 

https://www.youtube.com/watch?v=J6wUu34CFPM

 

Heres a little history on Dub..



Akira Kurosawa's 1950 screen classic Rashomon tells the story of an incident from three different viewpoints; the story of the first dub LP is the Jamaican music scene's equivalent. The big difference is that no one inRashomon wants to take responsibility for what happened, whereas every Jamaican producer involved wants to take credit for dub's debut. But which album really was the first?

According to the meagre evidence that has been unearthed so far, the first batch of dub albums surfaced in late 1973, including Herman Chin-Loy's Aquarius Dub, Studio One’s Dub Store Special, Clive Chin and Errol Thompson'sJava Java Java Java, Joe Gibbs' Dub Serial, Lee Perry’sUpsetters 14 Dub Blackboard Jungle and Prince Buster's The Message Dubwise. Every producer has some points that would back up their claim to have beaten the others to the draw, yet the counter evidence is typically just as convincing.

 

Studio One founder Clement "Sir Coxsone" Dodd probably presided over more shifts in style than any other record producer in Jamaican music history. Dodd is a likely contender because Studio One was the recording studio in which rhythm tracks were first re-used for different purposes: in American music, the cover version is well-established, with countless artists recording renditions of "Autumn Leaves" by 1964, but while Jamaican musicians often adapted tunes for their own purposes, the Jamaican approach to "version" became something else entirely once multi-track technology allowed rhythm tracks to be re-used.

For instance, at Studio One in 1965, the rhythm of Lee Perry's "Hold Down" was used for theRoland Alphonso's saxophone instrumental "Rinky Dink"; the following year, the Wailers' "Put It On" became Perry's rude "Rub and Squeeze" through a similar process. As Dodd once explained, "After I was able to purchase a two-track Ampex in '64, I got the idea that if I got the music done first, then I could bring in the artists after and dub in the voices, which really did work for me, because when you're trying to get the musicians and the artists together, there's a lot of stop and go. And after hearing these rhythms, the idea come that we could use the same rhythms for other music, so the first one that I tried was a rhythm by the Wailers, 'Jailhouse,' I use the rhythm and did a song by Roy Richards with the harmonica by the name of 'Green Collie,' and man, that really swing."

 

http://youtu.be/ha9KT8KtwxY

This info borrowed from http://www.redbullmusicacademy.com/magazine/first-dub-lp

 

I love Sir Coxone dubs! Great sound:

https://www.youtube.com/watch?v=juoFv3Q_w7g

 

https://www.youtube.com/watch?v=rYDIvjPPCuA

 

https://www.youtube.com/watch?v=8tdQ46saalk

 

https://www.youtube.com/watch?v=phkl4F38b0Y

 

Wow mate I thought I were The only one
" The force is strong in this one luke "

Yello man
https://www.youtube.com/watch?v=SL-GOiw8HjA&feature=youtu.be&t=415