The Dub Rifles were a mixture of modernist power pop, ska, punk-funk and garage soul band, formed in 1980, in Winnipeg Canada. The original members were lead singer/guitarist Colin Bryce, drummer Eloi Bertholet, saxophonist Matthew Challenger and bassist Clint Bowman. A year following their onslaught, a second saxophonist, Dave Brown, was also added. After completing three EPs, the Dub Rifles reached the end of their line in 1984.
Colin Bryce (a.k.a Mohair Sweets and Eyeplug key writer) has lovingly re-visited the original mster tapes (wherever possible) old vinyl (where impossible) and some vibrant sounding live shows mainly from Montreal cicra 1984 to glue together this rather astonishing until now hidden treasure trove of songs that provide a sterling snapshot of the rampant widespread influences that mashed together to re-surface in these fine forms herein. BUY A COPY HERE
Track One – NO TOWN NO COUNTRY
The Dub Rifles kick off this collection of rare as hens teeth recordings taken from 1981-1984 with an upbeat corker that displays curt interplay between brass, guitar, bass journeys and solid-as-you like drums, this version being lifted straight form the master tapes which helps set the tone.
Track Two – STAND
A choppy, catchy brass riff with slow chanted vocals of ‘are you ready’ and moody booming backing grind and drive this one along and no wonder or real surprise that it was quickly snapped up for a Trouserpress/ROIR ‘Best of American Underground collection at that time – not bad for a Canadian outfit!
Track Three – DELICATE ACTION
Another moddy-powerpop classic in the making, jaunty arrangement, with Bowmans’ bass and Bertholets’ drums squeezing in more explosions among that solid Bryce guitar sound and the dual brass glory from Challenger and Brown. Just teeters on the edge of collapse yet strangley makes sense at the same time.
Track Four – MINE
One of several live recordings taken from Montreal circa 1984, ‘The sun sets in my street and I just choose to get on home’ saw the Dub Rifles venture further into modernist pop perfection with thoughts of even bringing in names such as Georgie Fame to assist on production duties during a studio trip to Toronto. We can only guess at how that would have played out!
Track Five – X
Really cannot get enough of this our fave standout track from this wonderful bunch! A seeming Motown/garage post-punk that is more catchy than a wicket keeper and lingers like a hot n spicey meal. A dark yet uplifting ode to those testing times in life in all of the ups and downs. Deep, personal and yet universal. Well crafted, well played and as we say here: toppermost. Artful, heartfelt and sincere, this really is a lost classic.
Track Six – PRODUCTION OF FUNDS
Free and scratchy funky-soul motion with a no-wave twist that digs at one of the big creative issue that won’t ever change, art versus cash! Remixed deftly by Colin Bryce from the master tapes and serves as a sublime snapshot form this entire era in terms of sonics with that James Brown meets MC5 glow.
Track Seven – TESTIFY
Taken from the BOOM E.P. A no nonsense, what you see is what you get, garage soul blaster. You can almost still smell the fish soup, weed and patties from the room above the reggae record store that was HQ at the time.
Track Eight – CAFE OF THE FOR
The Two Tone influence is evident here, that mixes with a big punky guitar sound that somehow works against the lyrics of alienation, tedium and the like. Nifty brass stabs build and drift against the wall of sound from the guitar, bass and beat. Live and direct from Montreal 1984!
Track Nine – BOMB SHAKES THE DANCHALL
‘Bomb’ being a hand-drawn character from the sleeve of the first EP, etched into the Bryce imagination dancing on the death of Politics as we know it. Wild sax from Dave Brown ply against Clint Bowmans’ throbbing bass lines with Eloi Bertholet holding it all together with his fine skin-work and proves time and again on this collection that some drummers can also sing! Nice controlled feedback and flourishes from Colin Bryce on guitar and for some odd reason this somehow reminds me of a certain Boris the Spider???
Track Ten – FACE UP!
Another live treat form Montreal ‘84, tight and vibrant sounding, a band really at their peak with everything falling into place yet not sounding over-played and bland. The powerpop punky-funk spirit is alive and kicking here for sure! The balance is just prefect!
Track Eleven – TESTIFY (Live)
Another live alternative workout form Montreal ‘84, with nice high energy !
Track Twelve – PUNCH
Rolling tom toms and floating and whooping sax lines underpin this steady mid-tempo affair then at 2:20 all hell seems to let loose, nice!
Track Thirteen – PRODUCTION OF FUNDS (Live)
Another live alternative workout form Montreal ‘84, with nice call and response and a bit of muttered swearing thrown in!
Track Fouteen – NUMBER ONE
The virgin tune with refreshed remix, bright and poppy and likeable and illustrates the bands ability to sometimes push to the boundary of chaotic implosion yet veer nicely into complete control. A dancey ska infested beat, this track was much loved by CFRW and top DJ Lee Marshal in particular who even took in the odd live show. Has the familar sound of a lost classic. Some bright arsed advertising guru should grab this as a soundtrack pronto.
Track Fifteen – RELUCTANT HOST
A tight locked in type of groove with a roots rocker vibe that bounces nicely along recalling youthful summer daze, partying with unwanted annoying guests that turn hosted fun parties into latent doss houses, with a superb guitar break and we really love that effective door slam at the end of the piece! Mighty! The art of gate-crashing is a fine thing!
Track Sixteen – OVER THE TOP
Another live take with a light anti-war guilding via Trenchtown with natty bugle calls in response to a bouncey backdrop.
Track Seventeen – X (Live)
More live mayhem from Montreal with this one comparing nicely alongside the tighter and cleaner studio version.
Track Seventeen – SEE YOU!
And so ‘bye, bye!’ it is to this interesting and diverse assortment of tracks, sounds and styles that collide and smash but always cut a dash! This final track points what could have been the way ahead for this fine outfit, a more ‘feelgood’ raw rnb seemd to be looming with a subtle hint on display here.
My final thoughts are that this is a well thought out and well packaged VFM product that is an honest and warm snapshot to an underground era that chucked up an almost earnest, innocent way of making music that proudly wore its influences yet steered clear of simply copying them without filter. It therefore shows that the sound clashed to provide new and inspiring versions that assimilated and embraced the traditional forms without being servants or slaves. That slight tension, twisting and distortion is what made bands like The Dub Rifles so much less bland that much of todays clone-like masses thats simply did not have the day to day struggles to draw from in the same way. Maybe thats a little over generalised but being original and hard to fathom is something to via for. Do yourself a favour and grab a copy of this one!
Canadian Music Encylopedia entry:
