Don Westlake war ganz glücklich mit dieser Lektüre, und ich stöbere immer wieder gerne in Michael E. Veals Buch herum. Ganz am Anfang wird ein weiter Bogen gespannt zu jenen Strömungen der Musikgeschiche, in denen aller Überfluss aus der Musik entfernt wird, von Enos Ambient Music bis sonstwohin. Interessant auch, wie der Autor durchaus spracherfinderisch mit vielen Grenzzonen und Extremen der Dub-Musik umgeht, und hier und da spannende Metaphern bereit hält, die neugierig machen auf die entsprechenden Klänge.
- Arranged By – Lee Perry
- Bass Guitar – Boris Gardiner
- Drums – Benbow*, Mikey ‚Boo‘ Radley*
- Engineer – Lee Perry
- Horns – Bobby Ellis, Richard „Dirty Harry“ Hall
- Lead Guitar – Earl „Chinna“ Smith, Geoffrey Chung
- Organ – Winston Wright
- Percussion – Lee Perry, Noel „Scully“ Simms
- Producer – Lee Perry
- Remastered By [Audio Restoration] – Colin Young
- Trombone – Vin Gordon
Mein letztes Dub-Elemente enthaltendes Album bekam ich gestern, eine toll remasterte Vinylausgabe eines Werks, dass 1975 als reines „Weissmuster“ ohne Cover in einer Auflage von 300 Exemplaren auftauchte, eine fast straighte, sehr jazzige Lee Perry-Produktion, „Musical Bones“, von The Upsetters with Vin Gordon. No vocals. Das Buch besitze ich in gebundener Form, und kostet mittlerweile in diesem Format 296 Euronen bei Amazon. 15 Euro als E-Book. Witzig. Hier aber nun Mr. Westlake:
„Just finished reading Michael E Veal’s fantastic Dub: Soundscapes & Shattered Songs in Jamaican Reggae. What is so impressive abou is how many perspectives Veal manages to approach the subject from in such a relatively short space (338pp) i.e the social, political, aesthetic, technical, religious, historical, economic and cultural. Along the way contextualising dub in relation to the theories of, among others, Jameson, Deleuze & Barthes. Among the most interesting ideas Veal suggests are dub’s fragmented narratives as a response to the collective Post-Traumatic Stress Disorder of the African diaspora and dub’s privileging of space and absence providing a meditative insight into the divine. I particularly enjoyed the comparison between dub and classical Japanese music by way of wabi-sabi and Zen Buddhism. This may all make the book appear rather dry and academic and though it is certainly is both academic and scholarly in the best sense of the terms it is also clearly written by a fan and enthusiast (also in the best sense of the terms) meaning that as well as being intellectual and thorough it is always interesting and engaging. Along with the theories and histories of dub and it’s influence on other genres you get the low-down on all the leading players such as King Tubby, Prince Jammy and Lee ‚Scratch‘ Perry.“