This is not progressive rock in a traditional sense. However, it's as much prog as acts like Kraftwerk. This electronic music that was original constructed as the backdrop for Lee "Scratch" Perry. It's now being released by itself. This is electronic stuff with a fairly wide range of sounds. Whether you think it's prog or not, it's cool stuff.
Trippy rhythmic elements open this in an electronic groove. I really like this electronic jam, but I don't think I'd call it proggy. It's more along the lines of dance music, but with some serious space underway. It drops to an almost hip hop based section later in the track.
Strip Off Dub
While this still has a rhythmic groove to it and a busy percussive element, this is more space oriented music. That makes it more proggy. There are some intriguing shifts built into this. I like this cut a lot. Little bits of reggae show up here and there along this road. Noisy elements end this.
House of Sin Dub
This winds upward from nothing to come into existence. There is some organ jamming over the top of trippy weirdness. Then we're taken into definite reggae territory from there. There is an intriguing rhythmic groove to this as it continues later. Bits of that organ show up here and there. This cut is not bad, but it seems to go on a bit long to me. There is a helicopter sound at the end.
Isabel Dub
Noisy, crashing electronic percussion sounds open this. The cut works out from there to an electronic jam that's got some reggae built into it, but is overall not that far removed from things like Kraftwerk.
Jungle Tongue Dub
Rhythmic and trippy, there is almost an other-worldy vibe to this. I really like this piece a lot. In fact, it might be my favorite here.
No Evil Dub
This number is very rhythmic. It's also built on some world music styled sounds. Still, the electronic nature brings it into more synthetic, proggy territory. Some noisy space ends it.
No Sorrow Dub A powerful, driving piece, jazz and prog merge on this thing. It's a powerhouse that really has a lot of intensity and energy.
Too Much Is Too Much Dub
This starts strictly percussive. It builds on that with electronic elements serving strictly a rhythmic purpose. Then some horn sounds join and the cut begins to show some jazz style. That drops away, though, and just the rhythmic things remain. Then it drops way down to a mellower groove with keyboard type sounds over the top of tribal rhythms.
On Nigeria Dub
Waves of what sounds like organ are layered over the top of a percussive backdrop. Some other keyboard sounds come over that to create additional bits of melody.
Therapist Dub
I really dig the weird electronics that dance around in this cut. There are some intriguing bits of melodic stuff, too. Of course, there is also a lot of percussive interest at play.
