A Quote by Bill Laswell
I got into dub a long time ago. I was into dub before I even had any interest in reggae or Jamaican songs, Bob Marley, or any of those established artists. I just thought it was such an unusual sound.
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Basically, there were three aspects of dub that influenced dubstep. The most important was playing the instrumental versions of vocal garage tracks, which was a little like what dub was to reggae - the instrumental of a full vocal.The second was dub as a methodology, which, for me, is apparent in all dance music: manipulating sound to create impossible sonic spaces using reverb, echo and such. The third is the influence of the genre called dub. (It became a cliché actually, through sampling old Jamaican films and soundtracks, and adding vocal samples.)
Twelve years ago me and Allanah became really sick of writing pop songs, ... Eventually we dug a grave for the Thompson Twins, pushed them in there, and then moved to New Zealand. Before that I'd lived for a long time in south London where reggae was the music of the streets around me. You'd hear it booming out of people's windows and shops, and you could buy great old reggae singles for 50p (NZ1.30) in second hand shops. I'd always loved that sound, so soon after we got here I started making electronic dub records with my mate Rakai Karaitiana as International Observer.
Definitely dub is in my body forever. I think I hear everything through a dub filter. Even when I play rock music, I play through a dub filter.
Rub-a-dub-dub. Cerebrum in a tub.
I remember when I was 14, I went to race in Hungary, and I went to a concert, and they were playing Bob Marley songs, and I thought, "Wow, this guy is so special." It's Marley every time.
Dub and reggae... I play that a lot around the house.
I am taking my production style more into the world of dub. I mean true dub production techniques but in house music.
A lot of people dub our work as New Age. But for some reason, they don't dub Stan Lee's work that way.
I'm a huge reggae fan. I want to go to Jamaica and make, like, Bob Marley 'One Love' positive songs. That's what the world needs.
I'm going down the apples and pears, into the jam jar, down the frog and toad into the rub-da-dub-dub, and I'm going to have pig's ear.
I'm touring right now and you'd be surprised to see all of the kids that come to the concerts just to see Rita Marley because it's Bob Marley's wife. I might do three or four of Bob's songs in my repertoire and they go crazy.
Bob Marley is one of the most recognized artists. He didn't care to be defined. People wondered, 'Is it reggae? Is it rock?' But at the end of the day they were still playing his music and that's what matters.
Of course I knew disco and dub from years before but I never heard such a radical new sound like house. It blew my mind!
We were being put somewhere interesting from being involved with analog, to working with digital. Those two worlds just collided and it felt great! That was probably the key inspiration in terms of me going on to not just making dub plates for my sound, but doing the unobvious and "selling out" to the masses. I subsequently got a record deal because of that.
You know what's funny is that I have this ongoing relationship with the city of Washington D.C. I went to George Washington University, and my nickname was K-Dub - based on G-Dub - and I'm now on the board of trustees at George Washington University.
I've always associated consciousness with artists like Bob Marley or Joni Mitchell or Bob Dylan. You know, artists that really talked about what was going on in the world and really artists that are timeless.
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