When Dub Flies--From Jamaica to U.K.

Dub reggae may be pop’s least-noticed sonic revolution.

The style dates from the early ‘70s when Jamaican producers created re-mixed, stripped-down instrumental versions of songs heavily laced with echo, reverb and other studio effects. The roster of 1991 sounds affected by those experiments: dance music re-mixes, sampling, dub poetry, rap, the deejay style in dancehall reggae, and pop’s developing mix ‘n’ match aesthetic.

The many variations of dub is the subject of this edition of On the Offbeat, a periodic review of roots, ethnic and non-mainstream pop music from around the world.

LEE PERRY AND FRIENDS: “Open the Gate”, Trojan import

Perry is a crucially important reggae figure for his late-’60s Jamaican productions of Bob Marley & the Wailers and the wild imagination he brought to early dub. This three-LP boxed set of mid-’70s material, the second of three chronicling Perry’s Trojan legacy, indicates how heavily dub techniques were influencing reggae in general at that time. Strong performances by the Heptones and Eric Donaldson’s “Cherry Oh Baby” are highlights and several selections feature both the original song and its dub version so listeners can hear Perry’s often-startling transformations.

Rating: * * * *

LINTON KWESI JOHNSON: “Tings an’ Times”, Shanachie , MUTABARUKA: “Blakk Wi Blak...k...k...”, Shanachie

Here are two veteran dub poets--the poets who began reciting their verses in patois over dub reggae tracks in the late ‘70s. “Tings An’ Times” is Johnson’s first album in a decade but the English poet’s social-political orientation never really catches fire. Despite an absence of memorable hooks, the backing by the estimable Dub Band is characteristically fluid and jazz-tinged. But Johnson’s delivery is both tentative and buried a bit in the mix, lessening the impact.

Jamaica’s Mutabaruka operates more from an Afrocentric/Rasta spiritual perspective and has no problems projecting his cultural affirmations on “Blakk” effectively. The ecological and health-food slant that have been part of his message for years dovetail nicely with the current cultural Zeitgeist and he never gets locked into a formulaic sound. One string of songs sports arrangements built around metal-edged guitar riffing, Dean Fraser’s spacey soprano sax and a Soul II Soul-style throb, respectively.

Rating: * * 1/2

Rating: * * *

MAD PROFESSOR: “Psychedelic Dub--Dub Me Crazy, Part 10”, Ariwa/RAS ; MACKA*B: “Natural Suntan”, Ariwa/RAS

Ariwa is the studio and outlet for English producer Mad Professor, ne Neale Fraser. “Psychedelic Dub” uses such oddities as pedal steel guitar and steel drums over electronic rhythm tracks. The combination doesn’t seem to mesh fully but this music sneaks up through subtle details rather than dramatic washes.

Common sense distinguishes Macka*B, Ariwa’s resident deejay. “Natural Suntan” deals with some typical topical themes (pro-Mandela, anti-Thatcher) but “Don’t Beat Her” condemns violence against women over a hard-hitting rhythm track. Macka*B’s versatile delivery and wit is best displayed on “Don’t Judge Me,” where he uses his personal experience as a factory worker to castigate racism.

Rating: * *1/2

Rating: * * *

SHABBA RANKS: “As Raw As Ever”, Epic

Shabba Ranks’ gravel voice has thrived and survived in the rapid turnover of the Jamaican deejay scene for several years with such sexually themed hits as “Wicked in Bed.” On his first major label release, Ranks hasn’t measurably changed or softened his sound or rapid-fire, rhythmic delivery for mainstream pop consumption.

He’s joined by English reggae singer Maxi Priest and American rapper KRS-One for duets, but Ranks’ hard-to-penetrate patois and the largely undistinguished electronic grooves make “Raw” a tough go for anyone beyond confirmed fans.

Rating: * *