<a style="color: #000 !important;" href="/interviews/136/lee-scratch-perry/"><span style="text-decoration: underline;">Lee âScatchâ Perryâs</span></a> Black Ark Studio in Kingston, Jamaica, 1978.<br> photo by Adrian Boot <a style="color: #000 !important;" href="http://www.urbanimage.tv" target="_blank"><span style="text-decoration: underline;">www.urbanimage.tv</span></a>Dub. Even the word is a technical term from the studio, making a copy of a recording to another media. But what do we mean when we talk about dub music?Musique concrète, later works by The Beatles, and many other sources may stake a similar âstudio-onlyâ claim,but dub originated from the mix consoles and tape decks of Jamaica, with roots tracing back to events in 1968. These were songs that only existed on vinyl and tape, through an inspired intersection of technology and creativity, and not simply based on live music performances. Practitioners like Lee âScratchâ Perry, Osborne âKing Tubbyâ Ruddock, Errol Thompson, and artists like Augustus Pablo and Keith Hudson embraced this new style.For anyone excited about making music and capturing creativity in the studio, dub is not something we can take lightly. Dub, the âtoastingâ that followed it, andlegendary DJ Kool Hercâs move to the Bronx from Jamaica all helped forge the basis of hip-hop.The effect of this music on everything we do in the studio to this day is immeasurable, so welcome to an issue where we focus on dub music. It sounded like the future when it first appeared, and its impact continues to change the future of music today.
