Started reading Joe Muggs' book the other day, and the Dennis Bovell chapter led me to another interview where Bovell talked about recording "Riot in Lagos" at his studio with Ryuichi Sakamoto.
I think, between "Riot in Lagos" (not to mention Summer Nerves) and Cabaret Voltaire's debts to dub, that it's possible to make a case dub played a non-trivial (albeit secondhand) role in techno's development from the very start. So, who wants to do it? Let's build the cannon a little.
I'll start with Keith Hudson "Felt We Felt the Strain" as the first 'dub techno' track. It's even got some "Strings of Life"-like melodic stabs in it.
Reminded me of an old @thirdform tweetthread about coming to techno through reggae.I started to record and I recorded a drum track that he wanted. He said ‘right, play that back’. As I played back something he’d be jotting on his manuscript paper (musical notation sheets - Ed) and then he’d say ‘Roll’ and he recorded that whole piece. Then I proceeded to cut it up and dub it and he was like ‘Yeah thats what I want’ as thats the dub thing that he wanted and that hadn’t been done until then as far as I know. And that track cause quite a stir.
I know people love to talk about techno's roots in funk and soul, but for me personally 80s digi reggae laid the blueprint
I think, between "Riot in Lagos" (not to mention Summer Nerves) and Cabaret Voltaire's debts to dub, that it's possible to make a case dub played a non-trivial (albeit secondhand) role in techno's development from the very start. So, who wants to do it? Let's build the cannon a little.
I'll start with Keith Hudson "Felt We Felt the Strain" as the first 'dub techno' track. It's even got some "Strings of Life"-like melodic stabs in it.