Unrestrained on relentlessness production spree with mission to bring as many uncompromising musical artifacts to the world as possible, Haris Pilton issues a tribute to King Tubby:
“From the streets of Waterhouse to the four corners of the world, one name reigns supreme in the kingdom of bass and echo: King Tubby. In the 1970s, when sound system was the heartbeat of the people and the dancehall a temple of vibration, Tubby stood at the control tower like a scientist of sound. He wasn’t just mixing tunes – he was inventing a new language of music. Stripping songs to their raw bones, stretching snares through reverb, dropping bass like thunderclaps, and letting echoes run like lightning through the night sky – Tubby created dub.
Others played records. Tubby built worlds. With his hands on the board, he turned riddims into heavy meditations, transforming a simple version into a full-blown sonic universe of drum, bass, and spirit. He was the originator, the innovator, the master who showed Jamaica – and the world – that the studio itself could be an instrument.
Now comes Think Dubby, a new chapter in the long echo of Tubby’s legacy. Carrying forward this spirit comes Think Dubby, a heavyweight tribute album crafted and dubbed by Haris Pilton, and released on Montego Bay Records, the imprint of none other than Chantelle Morgan – the Queen of Dub herself. With Morgan co-producing alongside Pilton, the project unites two deep roots visionaries under one crown. The recordings were laid down in Positive Reality Studio and Montego Bay Records Studio .Crafted and dubbed by Haris Pilton, this album bows deeply to the foundation while standing tall in its own right. Here you’ll find strictly heavyweight dubwise, built in the old-fashioned style, with every version rolling deep like the roots of a giant tree. No gimmicks, no shortcuts – just the pure essence of dub as Tubby himself would have blessed it: bassline strong, drums militant, and the mix alive with mystery.
Think Dubby is more than an album – it is a tribute to the King. A reminder of why Tubby was, and forever will be, the creator and crown prince of sound manipulation, the very one who turned Jamaica’s music inside out and gave birth to a genre that still shakes the earth.
So drop the needle or press play, light the chalice, and let the vibrations speak. This one is for King Tubby! “
Author: Jah Billah
JAH BILLAH creates anachronical synchro-mystical DUB outta riddims built by various artists from all over the world. Linking up within independent network of riddim makers, producers and fellow dubbers into global organic sum of musical efforts. So far Jah Billah dubbed reggae music from Bosnia & Herzegovina, China, Croatia, Czech Republic, Denmark, Finland, France, Germany, Jamaica, Mexico, Netherlands, New Zealand, Poland, Romania, Russia, Spain, Switzerland, Sweden, Trinidad, UK, USA, Vietnam... and all around so awarded by the people the title of honor „AMBASSADOR OF DUB GALACTIC NATIONS“ .
On Colonization of Rastafari and Reggae
From Prophecy to Pastime: Reggae as Escapism
Once a ceremonial weapon of Word, Sound, and Power, reggae is too often reduced to mood music. The prophet becomes performer; prophecy becomes therapy. Frantz Fanon foresaw this: revolutionary culture repackaged as folklore for tourism and global markets. In “The Wretched of the Earth” he warned that national culture cannot be preserved as mere folklore, the traditions, costumes and clichés of an imagined past, but must emerge dynamically from present struggles for liberation, lest it be emptied of revolutionary substance. The rhythm is alive, but the message barely remains, a faint remnant of its true power.
Reggae soothes instead of disturbs. It plays in cafés, yoga studios, and resorts as background leisure. The sacrament of ganja becomes a lifestyle brand; the Rasta image is sold as relaxation instead of resistance.
This blunts the revolutionary edge. Reggae, once weapon of the poor, is wielded as pacifier.
Ceremony becomes stage show, testimony becomes branding, judgment becomes “good vibes.”
Yet beneath the gloss, the roots remain. Reggae can still be reclaimed as weapon of awakening, a sound to unsettle Babylon rather than soothe it.
From:
The Colonization of Rastafari and Reggae: From Rebel Music to Commodification by Fikir Amlak
Haris Pilton – Evil Zombie Robot from Outer Space / Wicked Ninjas from Hollow Earth / The Cursed Stripper Mermaids of Dread Lagoon / Speed of Light
One and only mighty Haris Pilton never failing delivery of sabbatical dubbical excursion non stop, issuing 4 different flavored full albums of roots rock reggae inna dubwise motion inna last 3 months!
Suplicating legendary gold era of dub Haris saves the Earth from Robo-Dub in Evil Zombie Robot from Outer Space where heavy effects chase the zombies away:
Retrieving sacred dub scrolls in Wicked Ninjas from Hollow Earth with styles for miles:
Reinventing seaside vibes alongside enigmatic Chantelle Morgan in The Cursed Stripper Mermaids of Dread Lagoon where horns and seagulls lead the way:
Heading straight from hyperspace nebula parallel universe dubs in Speed of Light:
Alongside these be sure different musical profiles like gypsy brass Balkan Voodoo Orchestra and post apocalyptic electro punk Kali Fat Dub!
NAH MISS!
Dub Caravan – Ska Al Shami
Arabic ska original blend by Dub Caravan!
Straight off the press:
“Ska Al Shami” is an innovative musical fusion composed by Palestinian – British producer Felix Aburdene (aka Dub Caravan) that blends the upbeat rhythms and energetic foundation of Ska & Reggae with the rich melodic maqams of classical Arabic music specifically from the Levant region. This collaboration features the talents of three remarkable Syrian musicians, who bring their cultural heritage and musical expertise to this vibrant soundscape that celebrates the cultural diversity of both genres.
Yugoslavia Reggae VA. (1977-1991) Volume 2 – selected by Haris Pilton
Yugoslavia Reggae VA. (1977-1991) Volume 1 – selected by Haris Pilton
Rally round Volume 2 expedite delivery after people’s demand YU Reggae selected by one and only Haris Pilton!
Yugoslavia Reggae VA. (1977-1991) Volume 1 – selected by Haris Pilton
Original Haris Pilton selects crucial YU reggae cuts for Vol 1 inna mix!
Champion Dubwise – mixed by Haris Pilton
Galang enjoy this 90 minutes set selcted and mixed by one and only Haris Pilton!
On Dub In Palestine
Jah Billah says:
All of us are witness to historically unprecedented mass destruction of humanity and culture, along with inexorable propaganda and overall censorship. This excerpt shows struggle of reggae musicians in Palestine:
The Ministry of Dub-Key
In 2011, long-time reggae enthusiasts Walaa Sbeit and Bruno Cruz visited the occupied Golan Heights to collaborate with Toot Ard, a Syrian reggae band. Returning to Haifa, Cruz and Sbeit were inspired to form a band that combined elements from reggae music with Palestinian folklore and dance. This fusion of was achieved through the integration of dub music.
In the 1960s, amateur musicians in Kingston, Jamaica engaged in the practice of dubbing reggae music. This process involves the accentuation of the bass on an instrumental version of a reggae song. The musician then speaks or sings over the instrumental, thereby “dubbing” the song. This process allows musicians to produce multiple versions of songs while avoiding the financial burden of recording a song in a studio. The production of the Ministry of Dub-Key’s music involves dubbing, as referenced in the band’s name.
Cruz explains that the individual parts of the band’s name represent their philosophy.
“Ministry” refers to the band’s collaborative projects with artists who share the same message and purpose. “Dub” refers to the band’s music production. “Key” is a tribute to exiled Palestinians who kept the keys to their houses after Al-Nabka as a means of symbolizing their eventual return. “Dub-Key” is a homonym for “dabkeh”, which is a reference to traditional Palestinian music and dance.
The band originally consisted of Walaa Sbeit, Bruno Cruz and Sami Matar before Matar’s untimely death in September 2011. In 2013, Maysa Daw joined the band. Daw, along with Cruz and Sbeit, are featured in Dumyeh Plastikieh.
Responsibilities are divided between the members for music production. Sbeit is primarily responsible for the lyrical content and, occasionally, the musical composition. As the band’s producer, Cruz oversees the musical composition. Cruz explains that all songs are produced in an independent home-studio. Daw, Sbeit and other collaborators engage in improvisational music sessions loosely based on written material. Daw explains: “[We] maybe practice [the songs] once or twice before the show and then whatever comes on stage, comes. Cruz noted that Dumyeh Plastikieh took two days to write and record.
A primary goal for the Ministry of Dub-Key is the use of Palestinian reggae as a peaceful way to call for liberation while breaking Arab stereotypes. Daw states: “It’s a message of freedom … we want things to change.” Moreover, Cruz claims that the band uses a non- violent form of resistance to challenge stereotypes imposed on Palestinians. Daw echoes this sentiment, saying, “It’s a way to show that Arabs are not as everybody thinks, to break the image of how people see us.”
From:
Dub, Dub-Key and Dabkeh: Palestinian Resistance through Reggae Music in Israel
by Yazan Abughaida, 2015.
Soundcloud: Ministry Of Dub-Key
Youtube: Ministry Of Dub-key
Beva Dub – Twinkle Brothers – Wrong Train (Beva Dub Bootleg)
Tune in to sounds of Beva Dub up coming native dubb riddim maker with lovely Twinkle Brothers reworks. Ites!
Haris Pilton – Dubwise Creation
Come one come all rally around dubwise creations throne:
Brand new Haris Pilton in old school stylee!
PRESS:
Dubwise Creation is a exploration of old school dub, crafted by Haris Pilton. This album invites listeners into a rich soundscape that echoes the golden era of reggae, capturing the essence of classic dub techniques while infusing them with Pilton’s unique flair.
From the very first track, the deep, rolling basslines set a hypnotic foundation, creating an immersive atmosphere that pulls you in. Each song is a journey, characterized by lush reverb, intricate echo effects, and skillful layering of instruments that transport you to the heart of a vibrant sound system. The production showcases Pilton’s meticulous attention to detail, as he artfully weaves together elements of rhythm and melody to create a tapestry of sound that feels both nostalgic and fresh. Deep and echoing tradition of dub providing a modern twist that resonates with contemporary audiences. Listeners will find themselves lost in the fluid transitions between tracks, where each piece flows seamlessly into the next, evoking the feeling of a live dub session. The old school vibe is palpable, with influences from iconic producers and sound engineers woven throughout, yet Pilton brings his own signature sound to the forefront.
Whether you’re a lifelong fan of dub or just discovering its magic, Haris Pilton invites you to immerse yourself in this dub journey, where the echoes of the past meet the vibrant energy of the present. With Dubwise Creation, Haris Pilton firmly establishes a bridge between tradition and innovation that resonates deeply with audiences around the world. This album is a testament to the enduring power of dub music and its ability to inspire and uplift.
Haris Pilton – Fruits Radix
Rally round the roots of dub fruits on another musical journey with rootsman Haris Pilton!
Suns of Dub – Trojan Summer DJ set
Come riding west with the best of roots rock reggae rockers along Suns of Dub selecting for Trojan sound.
OUT OF MANY COME DUB AND OUT OF DUB COME ONE 