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DUB


King Tubby, le Dieu du Dub, gloire lui soit rendu !

Instrumental et expérimental, le dub électrise les scènes françaises

Le reggae sans les mots

Il a ses labels, sa place chez les disquaires. Le dub, technique de mixage née en Jamaïque, est devenu un genre musical. En France, il séduit des groupes venus du rock. Qui sortent le dub du studio pour le jouer "live".

Le 4 avril 2002, l'Elysée-Montmartre accueille la "Dub Connection Night", premier grand concert rassemblant à Paris des groupes de dub français. Dans la salle : une foule d'aficionados de 15 à 40 ans - les mêmes qu'on croise dans les free parties ou aux concerts de rock (curieusement, les "Blacks", qui composent une bonne part du public reggae, ne semblent pas accrocher au dub). Sur scène, Zenzile (quintet angevin) et High Tone (quintet lyonnais) font grosse impression : la soirée fera date dans la jeune histoire du dub français, en pleine éclosion.

Le mois suivant, les mêmes High Tone, précédés de Kaly, autre formation du cru, mettent le feu au Pezner, petit club de Villeurbanne ; tandis qu'à l'autre bout du pays les Improvisators Dub fêtent leurs retrouvailles avec le public de Barbey, grande salle rock de Bordeaux, en compagnie des Lillois 10 Dubians. Si l'on ajoute Lab°, Elephant System, General Dub ou Dub Wiser à Paris, Ezekiel à Tours, Brain Damage à Saint-Etienne et quelques autres, on ne peut que se réjouir de voir ainsi se développer cette musique dérivée du reggae. Solidaires comme l'étaient les groupes de la mouvance rock alternatif dans les années 80, les acteurs du mouvement dub ont créé leurs propres structures : labels (Wuga Wuga, Dub Dragon, Jarring Effects), quasiment tous distribués par la vaillante écurie PIAS, managers, agences de promotion, producteurs de concerts, côté logistique, rien ne manque. Preuve supplémentaire de cette enthousiasmante floraison : certaines Fnac consacrent aujourd'hui un rayon au "dub made in France".

Dub, de l'anglais copier ou doubler (un film) : la légende veut que le terme ait été inventé à la fin des années 60 suite à une erreur de mixage du producteur jamaïquain King Tubby. Il aurait oublié la piste des voix sur la bande magnétique, se retrouvant ainsi avec un reggae instrumental qu'il a ensuite mixé, rythmique basse-batterie en avant, en y ajoutant moult effets sonores (réverbération, échos...). Il n'en fallut pas plus pour que la version instrumentale remixée fasse école, jusqu'à devenir une tradition chez les Jamaïquains. Gravée sur la face B des 45-tours, elle servait d'accompagnement aux improvisations des chanteurs dans les sound systems, les discothèques ambulantes de l'île. Depuis, cette technique de mixage est devenue un genre musical à part entière grâce à des producteurs comme Lee Perry, Mad Professor ou l'Anglais Adrian Sherwood.

Mais le dub, qui s'appuie sur la transformation du reggae en l'amputant d'un certain nombre de ses ingrédients, à commencer par la voix, reste avant tout une musique d'ingénieurs du son, confectionnée en studio, souvent à l'aide de machines. Anglais et Allemands ont prouvé leur savoir-faire en la matière. Les Français, eux, prennent ce principe à contre-pied en jouant le dub "live". Ils recréent en direct, avec leurs instruments, une musique habituellement élaborée derrière une console de mixage. "Nous avons inversé la tendance en adaptant le dub à la scène : ça lui rend un côté humain", explique High Tone. La scène : voilà l'une des raisons de l'éclosion de cette nouvelle vague française. Tous ces groupes ou presque viennent du rock indépendant. Le dub, ils l'ont pour la plupart découvert en écoutant Clash, Ruts ou Bad Brains, formations punk qui avaient coutume de s'y frotter. Seulement, sur les planches, l'utilisation des machines ne facilite pasles choses. "Chacun de nous est son propre ingénieur de scène, produit ses sons et ses effets, poursuit un membre de Zenzile. Le dub offre une liberté dont beaucoup de musiques ne disposent pas. Si la ligne de basse constitue souvent le point de départ des morceaux, après, il n'y a plus de barrière : personne au sein du groupe ne sera choqué si l'un des musiciens joue autre chose que sa partie prédéfinie." Même son de cloche du côté des Improvisators Dub : "Le dub a un côté expérimental. A partir d'une rythmique basse-batterie [qui est au dub ce que le riff de guitare est au rock, NDLR], toutes les impros sont possibles. Quand nous avons débuté, le manque de structure nous perturbait ; mais avec le temps, on s'y est fait.".

C'est au lendemain d'un concert des Improvisators Dub que le groupe Lab° s'est formé : "Nous n'accrochions pas au reggae, explique François-Pierre, guitariste plus influencé par le rock industriel que par Bob Marley. Mais les Impro nous ont bluffés par leur utilisation de la basse et des effets. Contrairement à d'autres, nous pensons que dans le dub la pulsation reggae n'est pas essentielle du moment que les rythmiques sont entêtantes." Moins essentielle encore est la voix : la majorité des groupes de dub français en font l'économie. Parfois parce qu'il n'ont pas déniché la perle rare, souvent par choix. "Rien n'est plus pénible qu'un chanteur qui fait passer la musique au second plan, s'exclament en choeur les membres de Zenzile, échaudés par des expériences apparemment traumatisantes. La musique n'a pas besoin de mots pour exprimer des sentiments. Et puis nous appartenons à une génération qui a tellement été bombardée de messages et de slogans qu'on en arrive à se demander si, aujourd'hui, l'absence de paroles n'est pas ce qu'il y a de plus subversif...".

L'option instrumentale, même si elle découle du dub originel, n'est pas toujours comprise par le public. A ses débuts, Zenzile a dû essuyer nombre de "c'est bien votre musique mais il manque du chant !". Et lors d'un concert au Mali, certains spectateurs, voyant qu'il n'y avait pas de chanteur, sont montés sur scène pour improviser. "Pour nous aussi, ce fut difficile, reconnaissent les Lyonnais de High Tone. Afin de pallier ce manque, nous avons fait appel à deux vidéastes qui projettent des images sur scène pendant nos concerts." Lab° accompagne aussi ses prestations d'images. Mais Marie, la vidéaste du groupe, refuse de considérer son travail - qu'elle rapproche de l'art contemporain - comme un substitut à l'absence de chanteur : "La musique se suffit à elle-même. Les diapos et vidéos que je mixe en direct pendant le concert ne sont pas là pour répondre à une attente du public mais pour déranger. Elles n'illustrent pas la musique, n'accompagnent pas le rythme, elles le questionnent, font caisse de résonance avec ce qui se passe sur scène.".

Aux images, le groupe Kaly préfère le sampler : Stéphane, son leader, s'en donne à coeur joie pour injecter dans la musique des extraits de vieux films de série B ou d'incantations hindoues. Et comme à toute règle il faut une exception, ce sont les 10 Dubians qui s'y collent. Eux ont une chanteuse, Naïma. "Pourquoi se priverait-on de la voix qui est un instrument comme les autres ? lance-t-elle. Evidemment, ça nous oblige à avoir des morceaux plus structurés que les autres. Mais, comme eux, nous pouvons jouer sur les effets et couper la voix pour replonger dans le dub.". Et si, finalement, l'avenir du dub français passait par la réintroduction de la voix ? Marsu, du label Crash Disques (Zenzile) en est convaincu : "Ces groupes risquent de s'épuiser s'ils se cantonnent à l'instrumental. Et d'un point de vue "commercial", ils auront du mal à exister." Ainsi, Zenzile a déjà invité la poétesse américaine Jamika et Jean Gomis, chanteur de Meï Teï Shô, à poser leur voix sur leur musique. Kaly travaille sur un maxi avec le "toaster" jamaïcain Rod Taylor. Et le prochain album des Improvisators Dub a été enregistré, dans la pure tradition jamaïcaine, avec les chanteurs anglais Jonah Dan et Danny Vibes, où chaque titre sera suivi de sa version dub. Un vrai retour aux sources. Et sans doute un pas vers l'avenir.

Frédéric Péguillan

Si le dub était un animal... : Souple, puissant, multicolore, agressif, hypnotisant, le dub est une musique physique qui parle autant au ventre qu'à la tête. Et si c'était un animal. Bestiaire par ceux qui le jouent.
Kaly : Un ours.
High Tone : Un caméléon.
Lab° : Un hybride entre l'effraye et le yéti.
Zenzile : Un pingouin.
Improvisators Dub : Un lion.
10 Dubians : Un chacal car il s'attaque à toutes les musiques.

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Savez-vous toaster ?

Inventé à la Jamaïque en 1968 par le producteur King Tubby, le dub (de l'anglais "copier") consiste à retirer, sur la bande enregistrée, la piste des voix pour mettre en avant la rythmique basse-batterie, et à enrober le tout d'effets (réverbération, écho...). La version instrumentale ainsi réalisée permet au DJ de "toaster" (chanter en rythme) en improvisant. Cette technique, véritable révolution musicale, s'est développée dans les autres genres musicaux (rock, pop, rap, techno...) sous l'appellation remix.

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Le Dub selon Elle

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Petit historique du Dub

The word 'dub' today is used to describe a genre of music that consists predominantly of instrumental re-mixes of existing recordings. These re-mixes radically manipulated and reshape the recording(through the use of sound effects). The production and mixing process is not used just to replicate the live performance of the recording artist, but audio effects and studio 'trickery' are seen as an integral part of the music. The roots of 'dub' can be traced back to Jamaica in the late 1960s, where it is widely accepted that Osbourne Ruddock pioneered the style. Ruddock turned the mixing desk into an instrument, with the Deejay or mixer playing the role of the artist or performer. These early 'Dub' examples can be looked upon as the prelude to many dance and pop music genres.

Jamaican music has always borrowed heavily from U.S. popular music form adapting this music to give Jamaica its own unique variations. During the forties 'Big Band' music was very popular in Jamaica, with swing bands touring all over the country playing at local dance halls, but by the 1950's these 'Big Bands' were starting to be superceded by smaller, 'more dynamic, optimistic' bop and rhythm and blues groups. Jamaicans traveling to America in search of work were exposed to this new kind of music, which fitted in perfectly with America's postwar optimism. It was not only being played live but also through large sound systems, and this trend soon followed to Jamaica. Sound system operators started appearing in the ghetto areas of Jamaica's capital Kingston, holding dances in large open spaces called 'lawns'. These operators would also tour the country districts of Jamaica in direct competition with the big bands. These sound systems soon took over in the dance halls, because for many people who didn't own a radio, it was the only way to hear the new R&B music. 'Sound systems were also cheaper to employ than a dozen musicians and a 'sound' took no break'. By the middle of the 1950s, Duke Reid and Clement 'Coxsone' Dodd had become two of the premier sound system operators in Jamaica.

In 1954 Ken Khouri started Jamaica's first record company 'Federal Records' pressing licenced copies of American recordings, as well as a few local artists. Following his lead in this Duke Reid and Clement 'Coxsone' Dodd both held their own recording sessions, recording Jamaican artists for exclusive play on their own sound systems in the hope of gaining the upper hand in the highly competitive business. Duke Reid recorded Derrick Morgan and Eric Morris for sound system play. Reid, whose set played at 'S-Corner' on Spanish Town Road, even titled Derrick Morgan's first tune 'Lover Boy' as 'S-Corner Rock' when it was played on the sound system as an exclusive acetate recording. Clement Dodd also had his first recording session in this year, recording over a dozen tracks with artists like Alton Ellis and Eddie Perkins, Theophilius Beckford, Beresford Ricketts and Lascelles Perkins.

Young Jamaicans during the early sixties had been drawn to the major cities in search of work. They had not found it, and the mood of the ghetto areas had started to deteriorate. These youths or 'Rude boys' as they were called, started forming into political gangs from different ghetto's throughout Kingston. 'Rude boys connected with the so-called 'underworld', a layer of people who lived outside the law, and who had always patronized Jamaican dance music'. The 'Rude boys' connection with the dance halls, as well as their style of dancing (which was slower and more menacing) changed the style of music being played from the more up tempo Ska to the slower Rock Steady beat. While many producers have claimed to have pioneered the 'Rock Steady' groove it was Duke Reid who capitalized on it, recording and releasing several tunes by a variety of performers in this new style.

The 'Rock Steady' phase lasted little more than a year, and although Duke Reid and 'Coxone' Dodds had dominated Jamaican music for well over a decade, threeother producers, Lee 'Scratch' Perry, Bunny Lee and Osbourne Ruddock (all of whom had worked for either Ried or Dodds at sometime) dictated the pace of Jamaican music in the seventies and beyond. Lee 'Scratch' Perry ( or Rainford Hugh Perry) was born in 1936 in Kendal, a small town in the rural parish of Hanover, in the northwest of Jamaica. Perry arrived in Kingston in the late 1950s, and immediately tried to enter the music business. He started working for Coxsone Dodd as a 'gopher, bouncer, spy, talent scout, uncredited songwriter and eventually performer' Perry left Coxsone's employ after a disagreement over payment, moving to a new label Amalgamated) set up by Joel Gibson, where he recorded an early reggae hit called 'People Funny Boy' (which was a verbal attack aimed at his previous employer Coxsone".) Perry became well known as a producer and was instrumental in Bob Mailey and the Wailers early success. He linked up with Mailey and the Wailers in 1969, beginning a collaboration that resulted in 'definitive versions of some of the Wailers strongest work'. Perry, through his work as an artist, producer and engineer, has been one of the main people responsible in shaping the sound of Jamaican music over the last forty years.

Osbourne Ruddock (better known as King Tubby) was born in 1941 in Kingston, and worked as an electronics engineer (repairing radios and televisions) though out the 1960s. He owned a sound system (called 'Home Town Hi-Fi') by 1968, and used unique echo and reverb effects which set him aside from the competition. During this time, he also worked for Duke Reid at Treasure Isle Studio as the master cutter, cutting acetates. These 'one off' disc were designed to gain a competitive edge over rival sound system operators via their exclusivity. Ruddock was mixing one of these 'dub' versions when he accidently left out portions of the vocal track from the recording. On listening back, he decided he liked the effect of just having the bed track by itself and played it on his sound system.

He took it to a dance and played the vocal, which everybody knew, then played the dub plate of this rhythm track and people couldn't believe it.

These new 'versions' of popular songs (combined with the unique effects of his sound system) soon saw Tubby's 'Hometown Hi-fi' become extremely popular. In addition Tubby had started working along side deejay Edwart Beckford, known in the dance hall as U Roy, who had begun answering the vocal sentiments of the singers with his own brand of outrageous jive talk. This vocal style known as 'toasting' is widely accepted as a precursor to 'rapping'.

In 1972 Ruddock set up a tiny studio at 18 Bromilly Avenue in Waterhouse (a district in Kingston), he began to experiment with these instrumental recordings using various home built electronic effect devices such as reverb, delay and equalizers, and started to further manipulate the sound of these instrumental songs. He acquired a disc-cutter and a two-track tape machine, and using his home made mixer, started working closely with producers like Bunny Lee and Lee 'Scratch' Perry. Together with Perry he made the stereo dub album 'Blackboard Jungle' in 1973.

Joe Gibbs of 'Amalgamated' soon saw the potential of these instrumentals, and instructed Errol Thompson (Gibb's engineer at Randy's 'Studio 17') to start putting instrumental/rhythm versions on B-sides of singles, which he called 'dub'. Tubby bought a four-track mixing board from Dynamic Studio and, with his background in electronics, he was able to specially-customized this equipment to include faders. This enabled him to slide tracks in or out of the mix smoothly, giving Tubby the edge over his rival, Errol Thompson who had to punch tracks in more abruptly, using buttons. In 1974, Tubby started working closely with Bunny Lee, who supplied hundreds of rhythms, and recorded all his hit artists at Ruddock's studio (including Johnnie Clarke and Cornell Campbell). The studio now contained many effect devices, such as an
echo delay which Tubby had made by passing a loop of tape over the heads of an old two-track machine.

There is general agreement that King Tubby's most prodigious period was during the mid seventies when working with Bunny Lee. With Lee relying on Tubby's experimentation and expertises of the 'dub' re-mix.

Improvisation was the order of the day; most of Tubby's dubs were mixed live, with the engineer playing his board like a great jazzman blowing solos on his horn, reconstructing and reinventing the music.

While Tubby was not an instrumentalist, when recording Lee's studio band the Aggrovators, he was able to use his mixing desk and primitive effect devices as
though they were an instrument, on occasion even physically hitting the spring reverb unit to create a thunderclap sound or putting a brief frequency test tone on deep echo into the mix (later he would use sound effects like sirens and gunshots).

It wasn't simply the fact that Tubby and his cohorts used reverb and delay effects in their mixes; the difference with Tubby, was that these effects were used to enliven radically re-mixed versions of songs. Tubby, a skilled and resourceful electronics expert, improvised endlessly with his studio equipment.

Tubby started training other engineers (such as 'Prince' Philip Smart, Lloyd James, better known as 'Prince Jammy' and Overton 'Scientist' Brown.) in the intricacies of dub.

In the mid 1970s Jammy would become King Tubby's leading dub engineer at the Waterhouse studio. During his time at the studio he had mixed most of Bunny Lee's dub tracks. Then in 1978, Jammy started his own label called 'Imprint' and took his first step in record production. By 1985, Jammy had become the dominant Jamaican producer responsible himself for bringing a whole new generation of musicians and mixers into this genre of music. As the 1970s came to a close, Overton 'Scientist' Brown took over as Tubby's leading engineer. Brown had first met Osbourne while working in his Televison and radio repair shop. He was given the opportunity to experiment in the recording studio during downtime. Brown would eagerly play what he had done to Tubby, to which Tubby would reply that he thought the work was weak and his apprentice still had much to learn. Years later Tubby admitted he was merely pushing Brown to stretch himself and these early 'dub's' had been excellent.

'Every man who mixed at Tubby's got his own sound, yet no matter which mixmaster was at the board, the resultant music always bore the authentic stamp of King Tubby's'.

During the early eighties, King Tubby devoted himself to building his new studio. Completed in 1985, it soon produced its first hit, Anthony Red Rose's 'Temper'. It looked as if Tubby was to become a leading producer in Jamaican music, until he was mysteriously gunned down outside his studio in 1986.The Jamaican music scene has had very strong links to the United Kingdom since early 1960s. When Jamaican 'Ska' artists were signed by English record companies, their music was readily accepted by England's 'Mod' culture of the sixties. To some degree it has been these links and support that has made the export of Jamaican music much easier to the rest of the world. The combination of this with the growing popularity of modern dance styles such as 'Trip hop', 'Drum and Bass" and 'Jungle', (which are direct decedents of the
originanl Jamaican 'Dub' music of King Tubby) have brought many new artists and producers from outside of Jamaica to continue in the experimentation and the use
of dub in their music. Steve Barrow of Blood and Fire says,

Tubby was, by any standards, a genius.....he invented Dub - which, as we know, is the pulse that beats through much of today's dance music from trip-hop to techno. If Lee Perry was the first surrealist of dub, Tubby was definitely the first modernist.

England now has a large percentage of the total number of artists involved in this genre of music, with many of the leading producers being based there. Adrian Sherwood and The Mad Professor are two of these leading 'dub' exponents.

Adrian Sherwood (The producer behind the British On-U sound record label) has since the 1970s recorded many artist from within the 'dub' genre, such as Creation Rebel, African Headcharge, Singers & Players and Dub Syndicate. Often wildly experimental with studio techniques, sometimes running whole tracks in reverse, has also attracted artists from outside the realm of 'dub' such as Depeche Mode, Nine inch nails, Living Color, Garbage and The Cure, all of who have used Sherwood's radical approach to mixing to manipulate their material.

The 'Mad Professor' alias Neil Fraser started producing and recording dub music in 1980. Over the past sixteen years he has become one of the premier artists of this genre. One of the most prolific creators in this medium and operating out of a vast studio expanse in Britain, he has released in excess of a 100 Albums, performing re-mixes for such acts as Massive Attack, Sade and Pato Baton. He characteristically uses electronic sounds in his dub such as bleeps, whirs and other electronic machinations.

'Dub' Recommended Listening


King Tubby, 1994, Dub gone Crazy(The Evolution of Dub), Blood and Fire.

Lee 'Scratch' Perry and King Tubby, 1974,Blackboard Jungle, Upsetter.

Compilation, 1975, The Roots of Dub, Grounation.

Lee 'Scratch' Perry, 1975, Revolution Dub, Cactus .

Massive Attack vs Mad Professor, 19??, No Protection, Wild Bunch.

Bibliography


Larkin, C. (ed.) 1995, The Guinness Encyclopedia of
popular Music, vol 1-5, Guinness Publishing, England

Newspapers and Magazines
Hawkins, E. 1996 'The secret history of Dub-reggae
historians delve into the echo chamber", Eye Weekly,
Toronto's arts Newspaper April 18

O'Hagan, S. 1997, 'Blood & Fire', The Guardian,
November 7.

Internet


'Dub gone Crazy', [online},

http://www.interruptor.ch/dub.html [15th June 1999]

Islandlife, 1998, ''Early Years Lee Perry The Mighty Upsetter', [online},
http://www.leeperry.com/life/page5.html[12th April 1999]

Islandlife,1997, 'The Story of Jamaican Music', [online}, http://homepage.oanet.com/sleeper/bio01.htm
[10th April 1999]

Jah, S. 'King Tubby', [online},

http://www.geocities.com/HotSprings/1392/kingtubby.html
[9th June 1999]

Niceup, 'Blood and Fire liner notes', [online},
http://v-music.com/niceup/writers/steve_barrow/blood_and_fire_liner_notes
[15th June 1999]

On-U Sound, 'Adrain Sherwood' [online},

http://www.obsolete.com/on-u/sherwood.html [2nd May
1999]

Sleeper, M, 'Brief History of Scratch', [online},

http://homepage.oanet.com/sleeper/bio01.htm [10th
April 1999]

Smithies, G. 'Hopeton 'overton' Brown (Scientist)'
[online},
http://www.geocities.com/HotSprings/1392/Scientist.html
[18th March 1999]

Spence, D. Jetpack, 'Back to the Lab with the Mad
Professor', [online},
Http://www.jetpack.com/lounge02/mad_prof/ [22nd July
1999]

The interrupter, 'The Dub me Crazy page', [online},
http://www.interruptor.ch/dub.html[15th June 1999]
[9th August 1999]

Toop,D. 'Dub by John McCreedy', [online},
http://www.geocities.com/HotSprings/1392/Johnmccreedy.html
[15th June 1999]

Wordup, 'King Tubby, Scientist & Prince Jammy',
[online},
http://www.merseyworld.com/wordup/wordup4/tubby.html
[22nd July 1999]

Music
Compilation, 1993, Tough than tough; the story of
Jamaican Music, Island Records

King Tubby, 1994, Dub gone Crazy(The Evolution of
Dub), Blood and Fire.

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