Abstract
This article is an interpretive examination of roots and dub reggae and the musical genres' development in the 1970s and thereafter. It is comprised of a historical overview and discussion of roots reggae as political and aesthetic communication, and as an unusual communicative form that defied conventional economic, cultural, and national boundaries through a combination of music and commentary that rekindled vital elements of oral culture and tradition missing in most modern print and electronic "mass" communication. A focus on reggae further suggests the ways in which musical recordings are active documents capable of transcending their seeming fixity in space and time, thus confirming a certain social and cultural essence of a period. The article concludes with a discussion of dub, dub artists' affinity with and aural representation of the otherworldly, their preoccupation with phonographic technology, and the similitude of such interests and activities with 19th-century Spiritualists' attempted correspondences with the ethereal.