When we were preparing this edition, we consulted with few respected and aged Psychedelic Gentlemen from USA and UK, such as Raja Ram, DJ Chicago, etc. for getting more obvious information about 60’s and 70’s psychedelic music. Psychedelic Rock of 60’s? Yes, we know. Crazy raves of 80’s? We’ve been there.. Goa Trance? That’s our life…
And you know what we all realized? A huge gap in the development and establishment of psychedelic music from the middle of 70-s till the end of 80-s. None of us, neither one of the Old Dudes could remember any new genre appeared in that years, that could open people’s consciousness and lead it to its freedom.
“Poor freaks”! How they were living?! What they were doing?! And what did they listen to? These questions pushed us to make deeper research and activate some connections from Other World.
And we have found – what ruled the psychedelic society in that days.
ELECTRONIC PSY DUB
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, and 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, and occasional dubbing of vocal or instrumental snippets from the original version or other works.
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 console as an instrument, manipulating tracks to come up with something new and different. Dub has influenced many genres of music, including rock (most significantly the sub-genre of post-punk and other kinds of punk, pop, hip hop, disco, and later house, techno, ambient and trip hop.
Dub music is characterized by a "version" or "double" of an existing song, often instrumental, using B-sides of 45 RPM records and typically emphasizing the drums and bass for a sound popular in local sound systems. A "version" is a record with the vocals removed, the alternative cut of a song made for the deejay toast over the top. These "versions" were used as the basis of new songs by rerecording them with new elements. The instrumental tracks are typically drenched in sound effects such as echo, reverberation, with instruments and vocals dropping in and out of the mix. Another hallmark of the dub sound is the prominent use of bass guitar. The music sometimes features other noises, such as birds singing, thunder and lightning, water flowing, and producers shouting instructions at the musicians. It can be further augmented by live DJs. The many-layered sounds with varying echoes and volumes are often said to create soundscapes, or sound sculptures, drawing attention to the shape and depth of the space between sounds as well as to the sounds themselves. There is usually a distinctly organic feel to the music, even though the effects are electronically created.
A reason to experiment with mixing was rivalry among sound systems. Sound systems' sound men wanted the tracks they played at dances to be slightly different each time, so they would order numerous copies of the same record from a studio, each with a different mix.
Evolution of dub as a sub-genre.
By 1973, through the efforts of several independent and competitive innovators, engineers, and producers, instrumental reggae "versions" from various studios had evolved into "dub" as a sub-genre of reggae. Errol Thompson engineered the first strictly instrumental reggae album, entitled The Undertaker by Derrick Harriott and the Crystallites. This album was released in 1970. This innovative album credits "Sound Effects" to Derrick Harriott.
In 1973, at least three producers, Lee "Scratch" Perry and the Aquarius studio engineer/producer team of Herman Chin Loy and Errol Thompson simultaneously recognized that there was an active market for this new "dub" sound and consequently they started to release the first albums strictly consisting of dub. Lee "Scratch" Perry released Blackboard Jungle Dub in the spring of 1973. It is considered a landmark recording of this genre.
Dub has continued to evolve, its popularity waxing and waning with changes in musical fashion. Almost all reggae singles still carry an instrumental version on the B-side and these are still used by the sound systems as a blank canvas for live singers and DJs. In 1981 the Japanese band Mute Beat would create dub music using live instruments such as trumpets rather than studio equipment, and became a precursor to the acid jazz, ambient and trip hop music genres. They collaborated with numerous Jamaican artists such as King Tubby, Lee "Scratch" Perry and Gladstone Anderson amongst others and became a large influence upon future dub musicians.
In the 1980s, Britain became a new centre for dub production with Mikey Dread, Mad Professor and Jah Shaka being the most famous. It was also the time when dub made its influence known in the work of harder edged, experimental producers such as Mikey Dread with UB40 and The Clash, Adrian Sherwood and the roster of artists on his On-U Sound label. Many bands characterized as post-punk were heavily influenced by dub. Better-known bands such as The Police, The Clash and UB40 helped popularize Dub, with UB40's Present Arms In Dub album being the first dub album to hit the UK top 40.
Traditional dub nowadays has survived and some of the originators of dub such as Lee "Scratch" Perry and Mad Professor continue to produce new material. New artists continue to preserve the traditional dub sound, some with slight modifications but with a primary focus on reproducing the original characteristics of the sound in a live environment.