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I-Shensound - Heavy Dub - Taste Records - Dub

I-Shensound - Heavy Dub - Taste Records - Dub
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Track Listing

1 Heavy Dub (7:02)
2 Geronimo (4:37)


Media Condition » Very Good Plus (VG+)
Sleeve Condition » Generic
Artist I-Shensound
Title Heavy Dub
Label Taste Records
Catalogue Taste 54T
Format Vinyl 12 Inch
Released 1994
Genre Dub

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Some Other Artists in the Dub Genre

Gary Clail & On-U Sound SystemSugar BulletTackheadStock, Aitken & WatermanF.A.B.Concrete NationMajestic 12MonyakaBorder CrossingBeats InternationalMovement 98Oui 3Zeke ManyikaPlatinum Radics & Governor TiggyGregory IsaacsFaze ActionNew KingdomCashmereLarry PeeApollo 440The Whitfield ExpressLazyboyFrantic LanguageRed DragonKieser.VeltenGoat DanceBomb The Bass & CarltonSly & RobbieWalkner.MöstlThe MaytalsBad Street BoyDJ ShadowThe ConceptDelaney's Rhythm SectionOosh Yosser's GangCheshire CatCarey JohnsonAudiowebTerranova

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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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