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Dub music
Dub is a genre of electronic music[1] that grew out of reggae in
the late 1960s and early 1970s, and is commonly considered a Dub
subgenre, though it has developed to extend beyond the scope of Stylistic Reggae · electronic ·
reggae.[2] The style consists predominantly of partly or origins ska · rocksteady
completely instrumental remixes of existing recordings[3] and is
Cultural Late 1960s, Jamaica
achieved by significantly manipulating and reshaping the
recordings, usually through the removal of some or all of the origins
vocals, emphasis of the rhythm section (the stripped-down drum- Derivative Ambient · big beat ·
and-bass track is sometimes referred to as a riddim), the forms dancehall ·
application of studio effects such as echo and reverb, and the drum and bass ·
occasional dubbing of vocal or instrumental snippets from the dubstep · grime ·
original version or other works. It was an early form of popular hip hop · house · jungle
electronic music.[4]
· post-disco · post-punk
Dub was pioneered by recording engineers and producers such as · post-rock · techno ·
Osbourne "King Tubby" Ruddock, Lee "Scratch" Perry, Errol trip hop · dembow
Thompson and others[2] beginning in the late 1960s. Augustus Subgenres
Pablo is credited with bringing the melodica to dub, and is also
Dub poetry
among the pioneers and creators of the genre. Similar
experiments with recordings at the mixing desk outside the Fusion genres
dancehall environment were also done by producers Clive Chin Dubtronica · dub techno · psydub
and Herman Chin Loy.[5] These producers, especially Ruddock
Other topics
and Perry, looked upon the mixing console as an instrument,
manipulating tracks to come up with something new and List of dub artists
different. The Roland Space Echo was widely used by dub
producers in the 1970s to produce echo and delay effects.[6]

Dub has influenced many genres of music, including rock (most significantly the subgenre of post-
punk and other kinds of punk[7]), pop,[8] hip hop,[7] post-disco, and later house,[9] techno,[9]
ambient,[9] electronic dance music,[10] and trip hop.[9] Dub has become a basis for the genres of
jungle and drum and bass.[11][12][13] Traditional dub has survived, and some of the originators, such
as Lee "Scratch" Perry, and other long-time practitioners such as Mad Professor, continue to produce
new material.

Contents
Name
Characteristics
History
"Versions" and experiments with studio mixing (Late 1960s)
Evolution of dub as a subgenre (1970s)
Dub history (Early 1980s–present)
Musical impact
Influence of dub
Influence of dub on punk and rock music
21st century dub
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Afrofuturism and Diaspora

Jamaican Sound System
See also
References
Further reading
External links

Name
The use of the word dub in a recording context originated in the late 1920s with the advent of "talking
pictures" and referred to adding a soundtrack to a film; it is an informal abbreviation of the word
double. Over the next 40 years or so the term found its way into audio recording in general, often in
the context of making a copy of a recording on another tape or disc.

It was in this sense that the term was first used in the Jamaican recording industry: new recordings
were often initially copied onto one-off acetate discs, known colloquially as soft wax[14] or dub and
later as dubplates, for exclusive use by sound system operators; playing a song as an exclusive
recording on a sound system was a good way for a producer to test the potential popularity of a
recording before committing to the pressing of hundreds or thousands of copies of singles for retail
sale. Initially these acetates would simply be the standard recording of a song that wasn't yet released
on a single, but around 1968-69 they started to be exclusive mixes with some or all of the vocal mixed
out, as described by producer Bunny Lee:

"Yeah...it was really VERSION those days - it wasn't dub yet beca' it was jus' the riddim.
One day a incident: Ruddy's (sound system operator Ruddy Redwood) was cutting dub,
an when it start, Smithy (recording engineer Byron Smith) look like 'im start bring on the
voice and Ruddy's say: no, mek it run and 'im take the whole backing track off it. 'Im say,
alright, run it again, and put in the voice. 'Im didn't do no more like that yet."

After describing how Redwood then had his deejay first play the vocal version and then the
instrumental version at a dance, and how popular this novelty was, Lee continued,

"The next day now, 'im start it and just bring in the riddim. Or...down in the tune, bring a
little voice and drop it out again...yes. Ruddy use to handle that part himself, drop in the
voice and drop it out. All Smithy do was cut the dub..."[14]

Jamaican soundsystems had always sought exclusive recordings from their origins in the late 1940s
but through most of the 1950s, when they played American rhythm & blues records, these were
simply records that rival sound system operators didn't have and couldn't identify. This progressed
from the late 1950s onwards via having local musicians record a song exclusively for play on a
particular sound system to having exclusive mixes of a song on acetate, which became possible with
the arrival of multi-track recording in Jamaica. From the concept of a version with some or all of the
vocal mixed out dubbed to acetate, the novelty-hungry sound system scene rapidly drove the
evolution of increasingly creative mixes in the first few years of the 1970s, and within a few years the
term dub became attached to these regardless of whether they were on an exclusive acetate or
"dubplate". As the use of the term widened and evolved, Bob Marley and The Wailers used the order
"dub this one!" in live concerts to mean, "put an emphasis on bass and drums". Drummer Sly Dunbar
similarly points to a usage of the related term dubwise to mean using only drums and bass.[15]

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It is possible that the existing use of the word dub for other meanings in Jamaica around the time of
the music's origin may have helped to cement its use in the musical context. The most frequent
meanings referred to either a form of erotic dance or sexual intercourse;[16] such usage is frequently
present in names of reggae songs, for instance, of The Silvertones' "Dub the Pum Pum" (where pum
pum is Jamaican slang for female genitalia), Big Joe and Fay's "Dub a Dawta" (dawta is Jamaican
patois for daughter). I-Roy's "Sister Maggie Breast" features several references on sex:

I man a-dub it on the side

Say little sister you can run but you can't hide

Slip you got to slide you got to open your crotches wide

Peace and love abide

However, all three of these songs were recorded after the use of dub for a style of remixing was
already prevalent.

Characteristics
Dub music is characterized by a "version" or "double"[17] of an existing song, often instrumental,
initially almost always pressed on the B-sides of 45 RPM records and typically emphasizing the
drums and bass for a sound popular in local sound systems. A "version" is an alternative cut of a song
made for the DJ to "toast" over (a form of Jamaican rapping), usually with some or all of the original
vocal removed. These "versions" were used as the basis of new songs by rerecording them with new
elements.[18] The instrumental tracks are typically drenched in sound effects such as echo,
reverberation, with instruments and vocals dropping in and out of the mix. The partial or total
removal of vocals and other instruments tends to emphasise the 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.[17][19]

Often these tracks are used for "toasters" rapping heavily rhymed and alliterative lyrics. These are
called "DJ Versions". In forms of sound system based reggae, the performer using a microphone is
referred to as the "DJ" or "deejay" (where in other genres, this performer might be termed the "MC",
meaning "Master of Ceremonies", or alternately, the later developed slang terms: "Microphone
Commander" or "Mic Control"), and the person choosing the music and operating the turntables is
called the "selector" (sometimes referred to as the DJ in other genres).

A major reason for producing multiple versions was economic; a record producer could use a
recording he owned to produce numerous versions from a single studio session. A version was also an
opportunity for a producer or remix engineer to experiment and express their more creative side. The
version was typically the B-side of a single, and used for experimenting and providing something for
DJs to talk over, while the A-side was more often dedicated to the original vocal-oriented track. In the
1970s, LPs of dub tracks began to be produced; these could be, variously: a collection of new dub
mixes of riddims previously used on various singles, usually by a single producer; the dub version of
an existing vocal LP with dub mixes of all the tracks; or, least commonly, a selection of previously
unissued original riddims mixed in a dub style.

History
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Dub music and toasting introduced a new era of creativity in reggae

music. From their beginning, toasting and dub music developed
together and influenced each other. The development of sound system
culture influenced the development of studio techniques in Jamaica,[20]
and the earliest DJs, including Duke Reid and Prince Buster among
others, were toasting over instrumental versions of reggae and
developing instrumental reggae music.[21]

"Versions" and experiments with studio mixing (Late

1960s)

In 1968, Kingston, Jamaica sound system operator Rudolph "Ruddy"

Lee "Scratch" Perry was an
Redwood went to Duke Reid's Treasure Isle studio to cut a one-off dub early pioneer of the genre
plate of The Paragons hit "On The Beach." Engineer Byron Smith left the
vocal track out by accident, but Redwood kept the result and played it at
his next dance with his deejay Wassy toasting over the rhythm.[22] The instrumental record excited
the people at the sound system and they started singing lyrics of the vocal track over the
instrumental. The invention was a success, and Ruddy needed to play the instrumental continuously
for half an hour to an hour that day.[23] The next day Bunny Lee who was a witness to this, told King
Tubby that they needed to make some more instrumental tracks, as "them people love" them, and
they dubbed out vocals from "Ain't Too Proud To Beg" by Slim Smith. Because of King Tubby's
innovative approach, the resulting instrumental track was more than just a track without a voice –
King Tubby interchanged the vocals and the instrumental, playing the vocals first, then playing the
riddim, then mixing them together. From this point on, they started to call such tracks "versions."[23]
Another source puts 1967 and not 1968 as the initial year of the practice of putting instrumental
versions of reggae tracks to the B-side of records.[24]

At Studio One the initial motivation to experiment with instrumental tracks and studio mixing was
correcting the riddim until it had a "feel," so a singer, for instance, could comfortably sing over it.[23]

Another 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.[25]

Evolution of dub as a subgenre (1970s)

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 subgenre
of reggae.

The innovative album The Undertaker by Derrick Harriott and the Crystallites, engineered by Errol
Thompson and with "Sound Effects" credited to Derrick Harriott, was one of the first strictly
instrumental reggae albums on its release in 1970.

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. In the spring of 1973, Lee "Scratch" Perry released Upsetters 14 Dub Blackboard
Jungle, mixed in collaboration with King Tubby and more commonly known as "Blackboard Jungle
Dub". It is considered a landmark recording of this genre.[26]

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In 1974, Keith Hudson released his classic Pick a Dub, widely considered to have been the first
deliberately thematic dub album, with tracks specifically mixed in the dub style for the purpose of
appearing together on an LP, and King Tubby released his two debut albums At the Grass Roots of
Dub and Surrounded by the Dreads at the National Arena.

Dub history (Early 1980s–present)

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 1986, the Japanese band Mute Beat would create dub music using live instruments such as
trumpets rather than studio equipment, and became a precursor to club music.[27]

In the 1980s, the United Kingdom 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.

Side by side with reggae at this time (early 1980s) running B side dub mixes, a rising number of
American (mostly New York state and New Jersey-based) post-disco record producers in
collaboration with prominent DJs decided to supply 12  inch singles with alternate dub mixes,
predating the era of "remixes." Reflected in the production of records such as The Peech Boys' "Don't
Make Me Wait," Toney Lee's "Reach Up," and artists mostly on New York City labels Prelude or West
End. In the aforementioned mixes the beat of the record was accentuated, "unnecessary" vocal parts
dropped, and other DJ-friendly features making it easy to work with, like picking out key sections to
play over other records, heightening the dancefloor effect.

Contemporary instances are also called "dubtronica,", "dub-techno", "steppers" or electronic music
influenced by dub music.[28]

Musical impact

Influence of dub

Yale professor Michael Veal described dub as "the sound of a society tearing itself apart at the seams”.
His book, “Starship Africa”, says that the African diaspora is reflected in dub by the "extensive use of
reverberation/delay devices and the fragmentation of the song surface" – he considers dub’s use of
reverb a "sonic metaphor for the condition of diaspora." Veal wrote that dub creators used echo and
reverb to elicit memories of African culture in their listeners.[29] King Tubby, Lee Perry, Eroll
Thompson, Mad Professor, Jah Shaka, Denis Bovell and Lynton Kwesi Johnson influenced rock
musicians.
From the 1980s forward, dub has been influenced by, and has in turn influenced, techno,
dubtronica/dub techno, jungle, drum and bass, dubstep, house music, punk and post-punk, trip hop,
ambient music, and hip hop, with electronic dub sound. Musicians such as Culture Club,[30] Bill
Laswell, Jah Wobble, New Age Steppers,[31] PiL, The Pop Group, The Police, Massive Attack, The
Clash, Adrian Sherwood, Bauhaus and others demonstrate clear dub influences in their respective
genres, and their innovations have in turn influenced the mainstream of the dub genre.

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In 1987, US grunge rock band Soundgarden released a dub version of the Ohio Players' song "Fopp"
alongside a more traditional rock cover of the song.[32] DJs appeared towards the end of the 1990s
who specialised in playing music by these musicians, such as the UK's Unity Dub. In the UK, Europe,
and America, independent record producers continue to produce dub. Before forming The Mars
Volta, Cedric Bixler , Omar Rodriguez and other members, recorded a series of dub albums under the
name De Facto(Texas) since 1999.

Influence of dub on punk and rock music

Since the inception of dub in the late 1960s, its history has been intertwined with that of the punk
rock scene in the UK. The Clash worked on collaborations involving Jamaican dub reggae creators
like Lee "Scratch" Perry (whose "Police & Thieves", co-written with Junior Murvin, was covered by
the Clash on their first album) and Mikey Dread (on the Sandinista! album). As well, the English
group Ruts DC, a post-Malcolm Owen incarnation of the legendary reggae influenced punk group The
Ruts, released Rhythm Collision Dub Volume 1 (Roir session), with the expertise of the Mad
Professor. Many punk rock bands In the U.S. were exposed to dub via the rasta punk band Bad Brains
from D.C., which was established and released their most influential material during the 80s. Blind
Idiot God placed dub music alongside their faster and more intense noise rock tracks. Dub was
adopted by some punk rock groups of the 90s, with bands such as Rancid and NOFX writing original
songs in a dub style.[33][34] Often, bands considered to be ska punk play dub influenced songs; one of
the first such bands to become popular was Sublime, whose albums featured both dub originals and
remixes. They went on to influence more recent American bands such as Rx Bandits and The Long
Beach Dub Allstars. In addition, dub influenced some types of pop, including bands such as No
Doubt. No Doubt's second-most recent album, Rock Steady [1] (http://www.nodoubt.com/music/),
features an assortment of popular dub sounds like reverb and echoing. As noted by the band
themselves, No Doubt is heavily influenced by Jamaican musical aesthetics and production
techniques, even recording their Rock Steady [2] (http://www.nodoubt.com/music/) album in
Kingston, Jamaica, and producing B-sides featuring dub influences on their Everything in Time B-
sides album. Some controversy still exists on whether pop-ska bands like No Doubt can regard
themselves as a part of dub lineage. Other bands followed in the footsteps of No Doubt, fusing pop-
ska and dub influences, such as Save Ferris and Vincent.

There are also some British punk bands creating dub music. Capdown released their Civil
Disobedients album, featuring the track "Dub No. 1", while Sonic Boom Six and The King Blues take
heavy influences from dub, mixing the genre with original punk ethics and attitudes. The post-punk
band Public Image Ltd, fronted by John Lydon, formerly of Sex Pistols, often use dub and reggae
influenced bass lines in their music, especially in their earlier music through various bassists who
were members of the group, such as Jah Wobble and Jonas Hellborg. Their track "Rise", which
reached #11 in the UK Chart in 1986 uses a dub/reggae influenced bass line.

The British post-punk band Bauhaus were highly influenced by dub music, so far that Bauhaus' bass
player, David J mentioned that their signature song, Bela Lugosi's Dead, "was our interpretation of
dub".[35][36][37]

Shoegaze bands such as Ride with their song "King Bullshit" and the intro to "Time Machine" have
explored and experimented with dub. Slowdive also penned "Souvlaki Space Station" and their
instrumental "Moussaka Chaos" as a testimony of dub influence, while the Kitchens of Distinction
released "Anvil Dub".

Steve Hogarth, singer with British rock band Marillion, acknowledged the influence of dub on their
2001 album Anoraknophobia.[38]

21st century dub

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Traditional dub 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. Some of those artists include Dubblestandart from
Vienna, Austria (who recorded the album "Return from Planet Dub" in collaboration with, and
performs live with, Lee Scratch Perry), Liquid Stranger from Sweden, New York City artists including
Ticklah, also known as Victor Axelrod, Victor Rice, Easy Star All-Stars, Dub Trio (who have recorded
and performed live with Mike Patton, and are currently touring as the backing band for Matisyahu),
Subatomic Sound System (who have remixed material by Lee Scratch Perry and Ari Up), Dub is a
Weapon, King Django, Dr. Israel, Giant Panda Guerilla Dub Squad from Rochester, New York,
Heavyweight Dub Champion from San Francisco and Colorado, Gaudi, Ott from the UK who has
released several influential albums through Twisted Records, Boom One Sound System and
Dubsmith from the Boom One Records label, Future Pigeon from Los Angeles, German artists like
Disrupt and Rootah from the Jahtari label, Twilight Circus from the Netherlands, Moonlight Dub
Experiment from Costa Rica and Stand High Patrol from France. More eclectic use of dub techniques
are apparent in the work of BudNubac, which mixes Cuban bigband with dub techniques. Modern
dub producer Ryan Moore has received critical acclaim for his Twilight Circus project.

Afrofuturism and Diaspora

Dub music is in conversation with the cultural aesthetic of Afrofuturism. Having emerged from
Jamaica, this genre is regarded as the product of diaspora peoples, whose culture reflects the
experience of dislocation, alienation and remembrance. Through the creation of space-filling
soundscapes, faded echoes, and repetition within musical tracks, Dub artists are able to tap into such
Afrofuturist concepts as the nonlinearity of time and the projection of past sounds into an unknown
future space. In a 1982 essay,[39] Luke Ehrlich describes Dub through this particular scope:

With dub, Jamaican music spaced out completely. If reggae is Africa in the New World,
then dub must be Africa on the moon; it's the psychedelic music I expected to hear in the
‘60s and didn’t. The bass and drums conjure up a dark, vast space, a musical portrait of
outer space, with sounds suspended like glowing planets or the fragments of instruments
careening by, leaving trails like comets and meteors. Dub is a kaleidoscopic musical
montage which takes sounds originally intended as interlocking parts of another
arrangement and using them as raw material, converts them into new and different
sounds; then, in its own rhythm and format, it continually reshuffles these new sounds
into unusual juxtapositions.

At the same time, dub music's role in the Black musical canon marks a theme of the diaspora the
music was birthed from. Due to the sonic structure of echoes and reverberations, dub can create a
dream-like world symbolizing the generational trauma of African diaspora as a result of slavery.[40]
This understanding of dub gives it the power to take on the darker emotions related to the diaspora,
including violence. In [King Tubby's] dub mixes, one can hear sonic elements of screeching tires, gun
fire, and police sirens.[41] Artist Arthur Jafa said this about dub music and the diaspora in 1994
during a keynote address at the Organization of Black Designers Conference:[41]

those group experiences that reconfigure who we [African Americans] are as a

community. One of the critical primal sites would be the Middle Passage. If you
understand the level of horror directed towards a group of people, then you start getting
some sense of the magnitude, impact, and level of trauma that that had on the African
American community, and how it was particularly one of the earliest group experiences
that reshaped an “African psyche” into the beginning of an African American psyche. . . .
Now, for example, you look at Black music and see certain structural things that really are
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about reclaiming this whole sense of absence, loss, not knowing. One of the things I’m
thinking about is dub music . . . it ends up really speaking about common experiences
because the structure of the music is about things dropping out and coming back in, really
reclaiming this whole sense of loss, rupture, and repair that is very common across the
experience of black people in the diaspora.

Jamaican Sound System

The most straightforward explanation of the Jamaican sound system would be an individual who
deals with a mechanical system consisting of musical amplification and diffusion. This would include
turntables, speakers, and a PA system. In this system the deejay is the person who speaks over the
record. This is not to be confused with the American term DJ, which refers to the one in charge of
selecting the tracks at an event with music. This role is known as the selector in the sound system dub
culture, who also plays a vital role in the system, especially in Jamaican dancehalls.

The sound system has had a prevalent spot in music production in Jamaica for well over 50 years.
The true importance and relationship between the sound system and dub music can be found in the
dubbed out versions of sounds that became the source of Dub music. These dubbed out versions of
songs consisted of the original track, without the vocals. Through reggae soundscape and the
Jamaican Sound System, dub artists were able to creatively manipulate these dubbed out versions or
remixes of songs. These dub remixes were heavily influenced with effects, vocal samples, and were
essential to the progression of dub. The remixes, often referred to as versions were the B-sides of a
specific record. The dub musician would add in dramatic pauses and breakdowns in the version to
make the song have a dub influence and feel. The artists who were using the sound system to create
dub tracks would refer to their creation of remixes of certain records versioning. In the setting of a
sound system, versions allow for more vocal improvisation and expressions from the deejay. These
remixes or versions would not have been possible without the Jamaican sound system and its
progression over the years.

At the heart of reggae and Jamaican culture lies the sound system. In the early 1950s the sound
system was merely nothing more than a turntable, amplifier, and pair of speakers. Since then in the
21st century they have become massive productions set to include large scale equipment and crew
and now has the capacity to tour worldwide.

The Jamaican sound system paired with the evolution of dub music has caused new culture to emerge
and change throughout Jamaica. When Jamaica gained independence from Britain in 1962, the
culture was in jeopardy and the country was in a state of identity crisis. Along with its independence
from Britain, Jamaica started to experience a lack of individuality and originality in its music, and
this threatened to send Jamaica into further cultural disarray. The Jamaican sound system and dub
music allowed for Jamaica to have another genre of music they can claim as their own.[42]

See also
List of dub artists
List of electronic music genres

References
1. A History of Rock Music: 1951–2000, p.120
2. Dub: soundscapes and shattered songs in Jamaican reggae, p.2
3. Chris Roberts, Heavy Words Lightly Thrown: The Reason Behind Rhyme, Thorndike Press,2006
(ISBN 0-7862-8517-6)

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4. Michael Veal (2013), Dub: Soundscapes and Shattered Songs in Jamaican Reggae, pages 26-
44, "Electronic Music in Jamaica" (https://books.google.com/books?id=kYtiAgAAQBAJ&pg=PP5
4), Wesleyan University Press
5. Larkin, Colin: "The Virgin Encyclopedia of Reggae", 1998, Virgin Books, ISBN 0-7535-0242-9
6. Truesdell, Cliff (2007). Mastering Digital Audio Production: The Professional Music Workflow with
Mac OS X (https://books.google.com/books?id=wMOMjt6FGK0C&pg=PA310). John Wiley &
Sons. p. 310. ISBN 9780470165768.
7. Dub: soundscapes and shattered songs in Jamaican reggae, p.3
8. Dub: soundscapes and shattered songs in Jamaican reggae, p.4
9. Dub: soundscapes and shattered songs in Jamaican reggae, p.1
10. Roy Shuker (2012), Popular Music Culture: The Key Concepts, pages 117-118 (https://books.goo
gle.com/books?id=kAHJBQAAQBAJ&pg=PT117), Routledge
11. Living through pop, p.107
12. Discographies: dance music, culture and the politics of sound, p.79
13. Multi-Ethnic Britain 2000+: New Perspectives in Literature, Film and the Arts, p. 263
14. Steve Barrow, sleeve notes of "Dub Gone Crazy", Blood And Fire Records, BAFCD 002,
February 1994
15. Dub: soundscapes and shattered songs in Jamaican reggae, p.62
16. Dub: soundscapes and shattered songs in Jamaican reggae, p.61
17. Toop, David (2001). Ocean of Sound. ISBN 1852427434.
18. Brewster, Bill (1999). Last Night a DJ Saved My Life: The History of the Disc Jockey. London:
Headline Book Publishing. p. 100.
19. Eshun, Kodwo (1998). More Brilliant Than the Sun. ISBN 0704380250.
20. Dub: soundscapes and shattered songs in Jamaican reggae
21. Cut 'n' mix: culture, identity, and Caribbean music, p.83
22. Dacks, David (2007). "Dub Voyage" (https://web.archive.org/web/20071013221903/http://exclaim.
ca/articles/multiarticlesub.aspx?csid1=114&csid2=779&fid1=27342). Exclaim! Magazine.
Archived from the original (http://www.exclaim.ca/articles/multiarticlesub.aspx?csid1=114&csid2=
779&fid1=27342) on 2007-10-13. Retrieved 2007-09-18.
23. Dub: soundscapes and shattered songs in Jamaican reggae, p.52
24. Caribbean popular music: an encyclopedia of reggae, mento, ska, rock steady, p.94
25. Dub: soundscapes and shattered songs in Jamaican reggae, p.53
26. David Katz, sleeve notes of Auralux reissue of Upsetters 14 Dub Blackboard Jungle, 2004
27. Greg Prato. "In Dub - Mute Beat | Songs, Reviews, Credits, Awards" (http://www.allmusic.com/alb
um/in-dub-mw0000071172). AllMusic. Retrieved 2014-05-20.
28. Doherty, Greg (2003) "Strange Bedfellows: Brits like Groove Corporation refile dub under
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b.com/article/life-wont-wait-rancid-nearly-made-good-its-clash-i-213706). 20 January 2015.
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Further reading
Du Noyer, Paul (2003). "Dub". The Billboard Illustrated Encyclopedia of Music. New York City:
Billboard Books. pp. 356–357. ISBN 0-8230-7869-8.
Veal, Michael E. (2007). Dub: Songscapes and Shattered Songs in Jamaican Reggae.
Middletown: Wesleyan University Press.
Cox and Warner, eds. Audio Culture: Readings in Modern Music. Continuum: 2004.[3] (https://ww
w.amazon.com/dp/0826416152) "Replicant: On Dub" by David Toop; Chapter 51, Pages 355–
356.

External links
Dub Echoes (https://web.archive.org/web/20040830165438/http://www.dubechoes.com/) A
documentary about the influence of dub in today's dance music and hip hop
Melting Pot Dub (https://web.archive.org/web/20071206062700/http://www.dub.ca/index.php?pag
e_id=258) A short history of dub
A History of Dub (http://www.ncimusic.com/tutorial/history.html) Footnoted Article
Dub.com (http://www.dub.com/) Links to labels, websites and resources
Allmusic's Essay on Dub (https://www.allmusic.com/style/dub-ma0000002559)
When Dancehall was Nice - In the 80s Dancehall Reggae Reggae Recall (http://www.reggaezon.
com/)

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