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The Dub Side
After reading this passage From Jeff Chang’s Can’t Stop Won’t Stop, it occurred to me that I tend to seek out and emphasize the dub version of culture:
While singers and DJs offered words of mourning or escape for the sufferers, dub reggae-the mostly wordless music of dread-ran directly into the heart of the darkness. In Perry”s “Revelation Dub,” time was creakily kept by a distended, phasing hi-hat and Romeo’s vocal was either reduced to the low hum of some distant street protest or chopped into sudden nonsensical stabs-“Warinna!” “Balwarin!”- as if all words, even warnings, could not be trusted. The riddim-which Marley would later version for “Three Little Birds,” with its bright chorus, “Don’t worry about a thing, ‘cause every little thing’s gonna be alright”-was swung off its moorings, the textual integrity and authority was undermined. Perry’s sound was the epitome of sipple[meaning slippery, precarious]. Dub answered the question: what kind of mirror is it that reflects everything but the person looking into it?