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The Dread Flimstone Sound - Render Your Heart - Reel Vibration - Dub

The Dread Flimstone Sound - Render Your Heart - Reel Vibration - Dub
Price £5.00

Track Listing

A Render Your Heart
B Render Your Heart (Dub)


Media Condition » Near Mint (NM or M-)
Sleeve Condition » Generic
Artist The Dread Flimstone Sound
Title Render Your Heart
Label Reel Vibration
Catalogue none
Format Vinyl 12 Inch
Released 1994
Genre Dub

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Other Titles by The Dread Flimstone Sound

Render Your HeartRender Your Heart


Some Other Artists in the Dub Genre

Gary Clail & On-U Sound SystemTackheadSugar BulletBeats InternationalConcrete NationMonyakaStock, Aitken & WatermanBorder CrossingMajestic 12Movement 98Zeke ManyikaF.A.B.Oui 3Bad Street BoyPeace OrchestraPlatinum Radics & Governor TiggyFaze ActionUnitone Rockers & Black SteelNew KingdomLazyboyCashmereSystem 7ImaginationRichard LugoLarry PeeSly & RobbieInternational Pony & StepchildRaz OharaDJ ShadowThe ConceptYosser's GangCheshire CatMarkus KienzlTransglobal UndergroundOosh TerranovaRed DragonCarey JohnsonBomb The Bass & CarltonHome T & Cocoa Tea & Shabba Ranks

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Information on the Dub Genre

Dub is a genre of music which grew out of reggae music in the 1960s, and is commonly considered a subgenre, though it has developed to extend beyond the scope of reggae. Music in this genre consists predominantly of instrumental remixes of existing recordings and is achieved by significantly manipulating and reshaping the recordings, usually by removing the vocals from an existing music piece, emphasizing the drum and bass parts (this stripped down track is sometimes referred to as a 'riddim'). Other techniques include dynamically adding extensive echo, reverb, panoramic delay, techno beats and occasional dubbing of vocal or instrumental snippets from the original version or other works. Dub also sometimes features electronically generated sound effects, or the use of distinctive instruments such as the melodica by artists such as Augustus Pablo.

Dub was pioneered by Osbourne "King Tubby" Ruddock, Lee "Scratch" Perry, Errol Thompson and others in the late 1960s. Similar experiments with recordings at the mixing desk outside of the dancehall environment were also done by producers Clive Chin and Herman Chin Loy. These producers, especially Ruddock and Perry, looked upon the mixing desk as an instrument, manipulating tracks to come up with something new and different.

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