Bordermusic Too Nice To Talk To

Dub und Reggae in PostPunk-UK und artverwandtes

Foto mit freundlicher Genehmigung von Janette Beckmann.

"The Bass is physical like no other sound, and it had a very calming effect on me. When I saw [Bob Marley’s bassist] Family Man Barrett onstage in 1975, you’ve got this bloke there with four strings who seems to have the power of the universe. You get a certain feel for it and it becomes a mystical, magical thing.
I borrowed Sid Vicious’s Fender Bass. He’d say, “You’re shit” and I’d go, “You can’t fucking play. Give it to me …” But the first of my own was a Musicman copy. I was living in a squat and had burned the furniture to keep warm. The others were furious and rightly so – so after a big fight, they just left me there with this bass and no amplifier, propping it against the headboard to get a sound. The first bass line I wrote [heard on the song Public Image] went top 10. Commercially, it’s been a steady decline ever since (chuckles)."

Jah Wobble

Die Stadt ist grau, hart und öde, die Menschen kalt und die Regierung natürlich sowieso eine Katastrophe. Den diesen Zustand beschreibenden Soundtrack kleideten Ende der 70er/Anfang der 80er viele Bands in England in das echoende basslastige Gewand des Reggae und Dub. Wie das klingt und wer sich darauf beruft und das man das alles auch sehr gut mit Jazz und Dubstep mixen kann...das hört ihr heute in Bordermusic.