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The Strangeness of Dub

Dissemination II

Programme Twelve

The leg(s) of Sylvan Morris (Dissemination II)


Edward George is a writer, researcher, and presenter of Black Audio Film Collective’s ground-breaking science fiction documentary Last Angel of History. Edward is a founder of Black Audio Film Collective (1982-1998), the multimedia duo Flow Motion (1996-present), and the electronic music group Hallucinator (1998-present).


Dub is strange. A musical process and a sub-genre formed in the early 1970s and pioneered by Clement Dodd, Sylvan Morris, Lee Perry, King Tubby, Scientist, Jah Shaka and The Mad Professor, dub takes place through a kind of violence, an act of reducing archival audio documents to fragments and traces, yet is associated, in its sound system context, with communal reverie and meditative states.


A marginal music and a music of margins, first and most enduringly located on the ‘b side’, the underside, of phonographic recordings, dub is a sub genre of reggae music, subordinate and secondary to song-writing, musical performance and recording. And yet more so than reggae song writing, vocal or musical performance, dub’s influence reverberates across other genres of electronic music, even while never quite comprising a genre of its own.


Dub is also a sonic process, a way of making new music from existing music that is always present in all forms of electronically recorded music, as that which is waiting to be excavated and discovered for the first time. You can hear dub process in late 20th century and 21st popular electronic dance music, in the 80’s hip hop productions of Marley Marl and the Bomb Squad, in the techno of Basic Channel and Mika Vaino, in dubstep and drum and bass, and you can hear its conceptual pre-figurations in jazz and the avant garde music of Cage and Stockhausen.


And yet, in spite or perhaps because of its broad cultural resonance, dub has at its heart a concern with ideas of emptiness and silence, being and presence, space and repetition, and these ideas intersect with themes, especially in reggae, of Diaspora, and ‘race’, history and memory, longing and loss.


Join Edward George, on a journey into reggae, dub, versions and versioning that draws on critical theory, social history, a deep and wide cross-genre musical selection, and live dub mixing.





The Jamaicans with Tommy McCook & The Supersonics – Ba Ba Boom

Lord Flea & His Swinging Calypsonians – The Naughty Little Flea

Lascelles Perkins with Cluet J Johnson & His Blues Blasters – Lonely Robin

Roland Alphonso with Cluet J Johnson & His Blues Blasters – Puzzle

Roy Shirley with Lynn Taitt – Hold Them

Ken Boothe – Feel Good

Winston & Robin – Wailing Time

Sound Dimension – Real Rock

Sond Dimension – Real Rock Version

Michigan & Smilie & Sound Dimension – Nice Up The Dance Pt.2

Wille & The Sound Dimension – Armagideon Version (Courtney Dodd Remix)

Joe Gibbs and The Professionals – Ugly Man

Aeon: Vincent Morgan on Syvan Morris & Jackie Mittoo – Soul Defenders

Lennie Hibbert – More Creation

Burning Speak – He Prayed

Burning Spear, Morris Tuffest – Joe Frazier

Sound Dimension – Mo Joe Rocksteady

Prince Buster & His All Stars – Doctor Rodney (Black Power)

Larry Marshall – I’ve Got To Make It

Trevor Clarke – Sufferation

The Heptones – I Shall Be Released

S McGreggor & Brentford All Stars – I Shall Be Released

Augustus Pablo – Original Scientist

Advocates Aggregation – Stereo Style

Sister Nancy – Boom Shaka Laka

Johnny & The Attractions – Let’s Get Together

Tie-Track – Let’s Get Together

King Tubby – Black Ants Lane

Culture – Tell Me Where You Got It

The Sky Nation – Tell Me Where You Get This Dub

Bob Marley & The Wailers – Roots Rock Reggae

Bob Marley & The Wailers – Rebel Music (Three O’Clock Roadblock)


Produced by Edward George and Camilo Salazar for Morley Radio

Edited by Paul Skinner