Boss Capone & Keith Rowe – Dub Delique

Keith Rowe needs little introduction to rocksteady fans. Together with Phillip ‘Texas’ Dixon, he formed Keith & Tex, the Jamaican duo who scored an early hit with Stop That Train for producer Derrick Harriott in the late 1967. Boss Capone, the musical alias of Dutch singer, musician and producer Boudewijn van Trigt, belongs to a much younger generation. He first made his name with The Upsessions in the early 2000s, exploring the sounds of ska, rocksteady and early reggae.

The two artists had already performed together and released the 7″ single Will You Still Be My Girl Tomorrow?. But this time, Boss Capone had something else in mind. He’s always had a soft spot for the heavyweight dub productions of King Tubby and Lee “Scratch” Perry, along with the later work of Prince Jammy. In fact, Jammy’s Kamikaze Dub has been a longtime favourite. So, instead of making a vocal showcase, he set out to create a dub album with Keith Rowe adding selected vocal parts.

And the result gets off to a convincing start. Don’t Throw All Your Dub Away comes straight in with a hefty bassline, punchy drums, sharp guitar picking and Rowe’s unmistakable voice. No lengthy introduction needed. 1001 Arabian Dub takes a more atmospheric route, while The Emperor Dub brings Rowe back into the mix alongside guitar phrases with a distinct Japanese flavour. You May Remember Dub pushes the tempo up a notch, and the organ parts give Himalaya Dub a warm, slightly hypnotic character. A solid first side with enough variation to keep things moving.

Flip the record, and Tears Will Dub immediately pulls you back in. Rowe’s ghostly vocal fragments float over the riddim, adding just the right amount of tension. Dub 13 is a pleasant instrumental excursion, but it’s Dub Is The Answer that really makes its presence felt. One of the toughest cuts on the album, it delivers the kind of weight and drive that dubheads appreciate. Sailors Last Dub and Dub Is A Gift take a gentler approach. Both are enjoyable, though they don’t hit quite as hard as the strongest tracks. The closing Don’t Let It Dub Away restores some of that earlier spark, with Rowe’s vocals riding a familiar sounding bassline.

What makes this album work is its understanding of classic dub. Boss Capone doesn’t try to reinvent the genre or bury his original riddims beneath unnecessary studio tricks. The drums and bass do the heavy lifting, the other instruments bring in nice touches, and Keith Rowe’s occasional vocal contributions add character without taking over. There’s a clear affection for the analogue dub sound of the 1970s, and it comes through in the music.

Released on AggroRoots, Aggrobeat Records’ new sub-label, this is a rewarding listen for anyone who enjoys old-skool dub with a rootsy edge. It may not break new ground, but it knows exactly where its inspiration comes from. And sometimes, that’s more than enough.