![]() ![]() The following sound clash dons offer personal insight to the making and meaning of some of the most potent dubs. As we released more albums we had more dubplates to release. “The significance of a dubplate is best judged by the impact it makes when played ‘by itself.’ These are the dubplates that can turn things around in a clash or annihilate a sound.” Bass Odyssey’s Yanique Walford, for instance, further distinguishes between dubs: “If you have to play a dubplate in a medley of dubplates to get a good crowd response, and there are such ones, then it’s an OK dubplate – a filler – with a likely very short lifespan,” she says. In the clash, there are essentially two kinds of dubs: fillers, and those that take you into a whole new place. And to have dubs like that one – dubs that took people into a whole new place and attachment to the sound they are listening to.” Some listeners are reggae/dancehall music experts, while others just want to learn. It is a staple in the Caribbean community and a lifeline to the multi-ethnic communities that are just fans of the music. I Am multi task, i can do any kind of dubplate, reggae or dance-hall, roots rock riddim, reggae 1 drop. “It was a serious song about a sound being unstoppable and I wanted to be that after I heard it! I wanted to build a sound to be unstoppable. Radio Dubplate has effectively taken the lead in broadcasting Reggae/Dancehall music to a vast listening audience around the world. I can do the dub in my example video for you as well. ![]() “This was the first time a dub drew energy out of me that wasn’t hype,” he says. Walshy Fire, former host of the televised Guinness Sounds of Greatness sound clash (also of Black Chiney sound system as well as Major Lazer), certainly has his favorite: Garnett Silk’s “Hard Nut to Crack.” Every clash fan has a favorite dub, and every sound has dubs they know will surely receive big forwards. Dubs are the ammunition used to fight for domination in the clash. ![]()
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