Yellow Dubmarine: Abbey Dub

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It is highly unlikely the Fab Four considered the possibility of infusing Abbey Road with the rhythms of Jamaica when they recorded the landmark album at the end of their career in 1969. It takes a lot of gusto for a young band of white musicians from the east coast of America, named Yellow Dubmarine no less, to attempt a full-fledged reggae reinterpretation of an album long considered one of the greatest records of all time and a pinnacle of the LP format. However, with the rise of the Easy Star All-Stars’ multiple “dub tribute” albums and the constantly fragmenting music market, here it is.  While its easy to be skeptical of the need for such a project, just as each Jamaican sound system pumped individualized skanky riddims on the beach in the 1970s, Yellow Dubmarine concocts their own dub-a-licious feeling and pulls off a sparkling surprise by crafting a thoroughly remixed and reimagined version of the beloved classic, fully conceived and robustly performed. Kenny Liner, producer of DC based jam/indie hybrid The Bridge, infuses the proceedings with a polished, even gleaming production that seems to reflect the level of respect the crew feels toward the Liverpool legends. Bending and blending the “history of reggae” beats into these timeless songs, they find swanky and diverse grooves in every nook and cranny.

Beginning the album with searing guitar feedback before bleeding into Lennon’s “Come Together”, one of the more naturally dub-able Beatles songs, the band establishes a lock-step groove immediately. “Something” is an album highlight as the bands latches onto a gorgeous rock-steady musical ridge with horn swells singing George Harrison’s pensive yet beautiful lyrics. Following the first chorus, the band drops into a spacious and patient bass led excursion that sounds as heavy as Massive Attack. “Maxwell’s Silver Hammer” brings a very pale reggae sound with its Ringo-fied lyrics but its expertly crafted syncopated drum fills drive the song forward. The band finds a unique ska interpretation of “Oh, Darling!” with organ stabs and an elegant use of horns, infusing the melody with the song’s heart-on-sleeve emotion. 

“Octopus’s Garden” begins with big-band chaos before knifing horn stabs and liquid guitar lines turn it into the sexiest underwater oasis ever. “She’s So Heavy” ignites an ominously dark and foreboding tone, similar to the original’s dub-like weightiness. The band builds to a heavy, rock climax before performing the classic juxtaposition with a respectfully traditional intro to “Here Comes the Sun” that soon sweet talks its way toward a blissful, pop-reggae nugget. With deep and downright lustful bass lines, Alex Glasser struts his stuff all over the album anchoring the music, as any reggae low end should. A thick pocket constantly coalesces around his tone with Robbie Cooper’s varied and creative drumming. Cooper has a co-pilot in Jonathan Drye’s percussive flourishes.

It is no wonder Yellow Dubmarine finds a rich blanket of creativity when they bounce spliffed-out dub against the classic tracks off Abbey Road’s legendary and seamless second side. However, the band balances reverence and refreshing spark generating a somber, dark-jazz feel with “Because” before “You Never Give Me Your Money” is lushly highlighted by Liner’s polished production. Glossy, calypso inflected polyrhythms shake the song upside down before the band takes an ethereal dive into a tropical and majestic beginning to album highlight “Sun King”. Chirping birds blend with crisp guitar while methodical brass deftly colors the ambiance, swirling into sultry, liquid dub. When the mix of Spanish and Italian lyrics drop it sounds like the band stole a twisted, Serge Gainsbourg outtake. Serge is then echoed in “Mean Mr. Mustard’s” “dirty old man” lyrics before the band kills the “Polythene Pam > She Came in Through the Bathroom Window > Golden Slumbers” triumvirate. Toying with magical and mysterious melodies by taking them for a ride atop a sturdy and pulsing rhythmic bed, Abbey Road has never sounded this danceable. By unifying them with a rhythmic bridge the band skillfully finds the inherent symmetry of “Golden Slumbers” and “Carry that Weight”. A fire-y guitar and sax battle veers off the Beatles’ melodic course, showing a willingness to push the fabled songs into new territory. Just as soon as this new ground is broken a familiar and welcoming melody floats in, complete with radiant echo and reverb. It’s a heady and imaginative ride, so float downstream.

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