Dub
Essentially reggae in the raw, this cultish, perennially popular form strips out the majority of the music's melody at the mixing desk, leaving behind the rhythm section (‘drum & bass’ music in reggae parlance) and the residue of other instruments, often with massive layers of echo. The roots of dub are twisted and clouded in the passing of time. Reggae records with crashing effects and decidedly eccentric arrangements go back to the ska era. By 1969-70 many producers, among them Lee Perry, Chin-Randy's, Joe Gibbs, Bunny Lee and Lynford Andy Capp Anderson were making largely instrumental music that was heavily dependent on the rhythm section (The Upsetters' Clint Eastwood in 1970, for example), and it would only take the addition of delay units such as the Copycat and Echoplex to create the dub boom. In 1972, encouraged by Bunny Lee, King Tubby, an electronics engineer and sound system owner, began to mix records in four-track, and by late 1973 his name graced many b-side ‘versions’ (the name is a corruption of instrumental version, or Version 2) of other people's records, notably those of Bunny Lee and Lee Perry. At the same time, engineer Sylvan Morris at Harry J/ Studio One, and Errol Thompson at Randy's, also experimented with the dub sound. Occasional, very limited-pressing dub albums began to hit the shops, which quickly became collectors' items. Among the best-known of these were Perry/Tubby collaborations, including the ingenious stereo LP BLACKBOARD JUNGLE DUB, which had three different mixes, one for each speaker and one for both, and KING TUBBY MEETS THE UPSETTER AT THE GRASS ROOTS OF DUB, a record which was the underground reggae album of 1974 in the UK. Tubby's uniquely precise, often stunningly heavy mixes also graced any number of Bunny Lee productions on his Jackpot, Justice and Attack labels. 
By the mid-70s virtually no reggae singles were released without dub versions on the flip, and artists such as Augustus Pablo and Glen Brown had created a career from instrumental music in dub form. New engineers such as Prince Jammy, Pat Kelly (also a singer) and Scientist gradually took over from the original dub mixers, but by 1982 the original boom was pretty much finished, save a few die-hards such as UK engineer-producers Mad Professor and Adrian Sherwood. However, by 1991 a new breed of dub-inspired musicians, such as Jah Shaka, Sound Iration and the Disciples had founded the ‘new roots’ movement, and placed the music back on the map, albeit with digital equipment and modern intentions.