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Goat Dance - Sizzle - Bear Entertainment - Dub

Goat Dance - Sizzle - Bear Entertainment - Dub
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Track Listing

A Sizzle
B1 High Voltage
B2 Zap Pow


Media Condition » Mint (M)
Sleeve Condition » Near Mint (NM or M-)
Artist Goat Dance
Title Sizzle
Label Bear Entertainment
Catalogue be011
Format Vinyl 12 Inch
Released 2006
Genre Dub

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Other Titles by Goat Dance

In The System


Some Other Artists in the Dub Genre

TackheadGary Clail & On-U Sound SystemBeats InternationalSugar BulletMonyakaBorder CrossingStock, Aitken & WatermanMajestic 12Movement 98Zeke ManyikaF.A.B.Oui 3Concrete NationPlatinum Radics & Governor TiggySystem 7LazyboyHome T & Cocoa Tea & Shabba RanksUnitone Rockers & Black SteelCashmereBad Street BoyPeace OrchestraFaze ActionNew KingdomLarry PeeRed DragonSly & RobbieInternational Pony & StepchildRaz OharaDJ ShadowThe ConceptYosser's GangMarkus KienzlRichard LugoTransglobal UndergroundOosh TerranovaCheshire CatCarey JohnsonBomb The Bass & CarltonThe Dread Flimstone Sound

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Some Other Artists on the Bear Entertainment Label

Diaphanoids, TheMudd

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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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