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Perfect Taste - Through All Times - Perfect Taste Recordings - Dub

Perfect Taste - Through All Times - Perfect Taste Recordings - Dub
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Track Listing

A1 Through All Times
B1 Dub To King Tubby
B2 Through All Times (instrumental)

Media Condition » Near Mint (NM or M-)
Sleeve Condition » Very Good Plus (VG+)
Artist Perfect Taste
Title Through All Times
Label Perfect Taste Recordings
Catalogue PTRT 003
Format Vinyl 12 Inch
Released 1992
Genre Dub

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Other Titles by Perfect Taste

It's OverIt's OverThrough All TimesThrough All Times

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Sly & RobbieOui 3Majestic 12Movement 98Gary Clail & On-U Sound SystemStock, Aitken & WatermanRaz OharaNatural High ProductionsMonyakaTerranovaOosh Sugar Minott & Daddy SpeedoBorder CrossingB.LowApollo 440Sugar BulletBitty McleanGoat DanceKieser.VeltenCheshire CatTwo Right WrongansMarcella FfrenchDJ 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 NationI-Shensound

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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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