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Marcella Ffrench - Be Still (Re-mixes) - Riz Records - Dub

Marcella Ffrench - Be Still (Re-mixes) - Riz Records - Dub
Price £5.00

Track Listing

A1 Be Still (Funky Lick)
A2 Be Still (Lambadub)
B1 Be Still (Dancehall Lick)
B2 Be Still (Still Dubbing)


Media Condition » Near Mint (NM or M-)
Sleeve Condition » Very Good Plus (VG+)
Artist Marcella Ffrench
Title Be Still (Re-mixes)
Label Riz Records
Catalogue RIZ005
Format Vinyl 12 Inch
Released
Genre Dub

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Sly & RobbieTerranovaOui 3Majestic 12Movement 98Gary Clail & On-U Sound SystemStock, Aitken & WatermanNew KingdomSpeeCarey JohnsonRaz OharaNatural High ProductionsMonyakaOosh Sugar Minott & Daddy SpeedoBorder CrossingB.LowApollo 440Sugar BulletGoat DanceKieser.VeltenCheshire CatTwo Right WrongansDJ ShadowRed DragonUnitone Rockers & Black SteelYosser's GangFrantic LanguageDelaney's Rhythm SectionCashmereBad Street BoyThe Whitfield ExpressKeroseneSpring Heel JackLazyboyFaze ActionButch Cassidy Sound System, TheZeke ManyikaBomb The Bass & CarltonConcrete Nation

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Information on the Dub Genre

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, techno beats and occasional dubbing of vocal or instrumental snippets from the original version or other works. Dub also sometimes features electronically generated sound effects, or the use of distinctive instruments such as the melodica by artists such as Augustus Pablo.

Dub was pioneered by Osbourne "King Tubby" Ruddock, Lee "Scratch" Perry, Errol Thompson and others in the late 1960s. Similar experiments with recordings at the mixing desk outside of the dancehall environment were also done by producers Clive Chin and Herman Chin Loy. These producers, especially Ruddock and Perry, looked upon the mixing desk as an instrument, manipulating tracks to come up with something new and different.

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