Post by Deleted on Aug 7, 2013 22:32:48 GMT
Drumhead Meets The Ninja Shark
Dangerous Dub Part II (Copasetic)
There are but a mere 24 hours in any single day and a good portion of these are necessarily reserved on behalf of the innocent business of sleep, the balm of hurt minds, great nature's second course, chief nourisher in life's feast... In view of this, the full hour required to sit through the entire length of 'Dangerous Dub Part II' may be considered time excessively spent. Not that there is anything intrinsically wrong with 'Dangerous Dub Part II' as far as it goes, which is barely anywhere at all. In terms of computerised bass and drum pre-programmed to the point of monotony, the album is actually a lot closer to the spirit of true reggae dub than the one drop techno of such as Iration Steppers or the Disciples. However, the 58 minutes and 26 seconds of its duration could be put to infinitely more profitable use, by perhaps kicking a football around a park, perusing the Elgin Marbles in the British Museum, reading Orton's Crimes Of Passion or even listening to Maurice Williams And The Zodiacs' 'Stay' a satisfying 40 times on the trot.
What strikes the otherwise captive listender of 'Dangerous Dub Part II' most forcefully is the pointlessness of the exercise, not to mention the record's signal lack of any danger at all...unless of course the sampled voices of US satirists Firesign Theatre are supposed to constitute as much. Perhaps the snappy and echo laden overhaul of Delroy Wilson's 'Run Run' amounts to five minutes and 51 seconds not completely ill spent, though a similarly lengthy retread of 'Real Rock' is pushing an overworked rhythm a distance too far and adding nothing new to it whatever
Penny Reel
Originally published in Echoes, June 22, 1996
Dangerous Dub Part II (Copasetic)
There are but a mere 24 hours in any single day and a good portion of these are necessarily reserved on behalf of the innocent business of sleep, the balm of hurt minds, great nature's second course, chief nourisher in life's feast... In view of this, the full hour required to sit through the entire length of 'Dangerous Dub Part II' may be considered time excessively spent. Not that there is anything intrinsically wrong with 'Dangerous Dub Part II' as far as it goes, which is barely anywhere at all. In terms of computerised bass and drum pre-programmed to the point of monotony, the album is actually a lot closer to the spirit of true reggae dub than the one drop techno of such as Iration Steppers or the Disciples. However, the 58 minutes and 26 seconds of its duration could be put to infinitely more profitable use, by perhaps kicking a football around a park, perusing the Elgin Marbles in the British Museum, reading Orton's Crimes Of Passion or even listening to Maurice Williams And The Zodiacs' 'Stay' a satisfying 40 times on the trot.
What strikes the otherwise captive listender of 'Dangerous Dub Part II' most forcefully is the pointlessness of the exercise, not to mention the record's signal lack of any danger at all...unless of course the sampled voices of US satirists Firesign Theatre are supposed to constitute as much. Perhaps the snappy and echo laden overhaul of Delroy Wilson's 'Run Run' amounts to five minutes and 51 seconds not completely ill spent, though a similarly lengthy retread of 'Real Rock' is pushing an overworked rhythm a distance too far and adding nothing new to it whatever
Penny Reel
Originally published in Echoes, June 22, 1996