Dub: Soundscapes and Shattered Songs in Jamaican Reggae

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Wesleyan University Press, Apr 30, 2007 - History - 338 pages
2 Reviews
Winner of the ARSC’s Award for Best Research (History) in Folk, Ethnic, or World Music (2008)

When Jamaican recording engineers Osbourne “King Tubby” Ruddock, Errol Thompson, and Lee “Scratch” Perry began crafting “dub” music in the early 1970s, they were initiating a musical revolution that continues to have worldwide influence. Dub is a sub-genre of Jamaican reggae that flourished during reggae’s “golden age” of the late 1960s through the early 1980s. Dub involves remixing existing recordings—electronically improvising sound effects and altering vocal tracks—to create its unique sound. Just as hip-hop turned phonograph turntables into musical instruments, dub turned the mixing and sound processing technologies of the recording studio into instruments of composition and real-time improvisation. In addition to chronicling dub’s development and offering the first thorough analysis of the music itself, author Michael Veal examines dub’s social significance in Jamaican culture. He further explores the “dub revolution” that has crossed musical and cultural boundaries for over thirty years, influencing a wide variety of musical genres around the globe.
 

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LibraryThing Review

User Review  - chriszodrow - LibraryThing

A great read if you are interested in the more technical side of Jamaican music- which is actually pretty low-tech. But that is it's magic. The producers made the most out of very little and in many ... Read full review

Dub: soundscapes and shattered songs in Jamaican reggae

User Review  - Not Available - Book Verdict

In early 1970s Jamaica, Osbourne "King Tubby" Ruddock, Lee "Scratch" Perry, and several other engineers took recordings of popular reggae songs or rhythm tracks and applied such studio tricks as echo ... Read full review

Contents

Introduction
1
Electronic Music in Jamaica Dub in the Continuum of Jamaican Music
26
Every Spoil Is a Style The Evolution of Dub Music in the 1970s
45
The Backbone of Studio One
95
Jus Like a Volcano in Yuh Head
108
Tracking the Living African Heartbeat
140
Java to Africa
163
City Too Hot The End of the Roots Era and the Significance of Dub to the Digital Era of Jamaican Music
185
Starship Africa The Acoustics of Diaspora and of the Postcolony
196
Electronica Remix Culture and Jamaica as a Source of Transformative Strategies in Global Popular Music
220
Recommended Listening
261
Notes
271
Bibliography
301
Index of Songs and Recordings
317
Index of General Subjects
323
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About the author (2007)

MICHAEL VEAL is associate professor of ethnomusicology at Yale University, where he specializes in ethnomusicology and African-American music. He is the author of Fela: The Life and Times of an African Musical Icon (2000).

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