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666:; "Zion Youth" and "Captain Dread" both reached number 49 in May and July 1995 respectively, while "Little Britain" reached number 20 in January 1996 and "Life, Love & Unity" reached number 56 that March. As a Top 20 hit, "Little Britain" was the band's breakthrough single, and they performed it on
910:
scene, plus their fiendishly clever knob-twiddling third partner." He felt the album's quality made it an enthralling listen which "runs counter to the current renaissance of guitar-driven bedroom angst posting as serious pop," further lauding how "Dreadzone have the temerity to try to make us think,
653:
was released by Virgin on 30 May 1995; the label also released the album in other
European countries, although the American edition did not follow until later in the year. In the UK, Virgin stocked it at £9.99 for a limited period to incite new buyers. The album debuted and peaked at number 37 on the
977:
captured
Dreadzone's varied sound better than their other albums, "notably the folk-influenced melodies and bouncy grooves of 'Captain Dread' and 'Little Britain', and the trancey 'One Way' and 'Zion Youth'." He also highlighted "A Canterbury Tale" as "a lush more ambient track, blending synthesized
1073:
by Matt Colton, who had also mastered
Dreadzone's previous four albums. Roberts, who attended the mastering sessions, said of Colton's remastering: "He is quality and has made it have more warmth and bass end. I am well pleased. We were lucky that Virgin had all the DAT tapes." Dreadzone toured in
1038:
show. "Zion Youth" was at No. 5, "Maximum" at No. 9, "Fight the Power" at No. 16, "Little
Britain" at No. 23, "Captain Dread" at No. 35 and "Life, Love & Unity" at No. 48. Peel himself, who had been following Dreadzone for several years, ranked the album at number 12 in a list of his twenty
934:
wrote that the album's "relentlessly upbeat" sound was suited for the summer, but felt that "a pervasive sniff of novelty jollity" appeared on tracks like "A Canterbury Tale", and felt the album did not approach the "weirdness" of Lee Perry or Tricky. In his retrospective, three-star review for
681:
The supporting tour for the album did not repeat its contents in the same fashion. Williams said: "If we played the album live, people would really not be excited. We have to give the audience something else." The live concerts featured vocalist Earl
Sixteen and visual projections from Brand's
450:
to the label as a finished project. Brand explained: "We delivered the album with our own funds, so it wasn't like the A&R man came down and said, 'The high-hat's too loud'." Due to the backing of Virgin – a major label – the band did not face trouble when clearing samples, as the label's
489:
and how he would " something of the national character of
England or Britain into his art. It wasn't a sense of patriotism so much as a sense of history and emotional ties with the past." He explained that Dreadzone would mix up those British "elements" on the album with influences of
641:'s "Before Long" ("Out of Heaven"). The record is largely instrumental, as the band felt that lyrics would prevent listeners from "using their imaginations," according to Roberts. "I think people imagine all kinds of things when they're listening to our record."
389:. The group's usage of sampling was passed down from Roberts and Williams' time in Big Audio Dynamite, where they pioneered weaving samples into music in a textural fashion. In this period, Dreadzone proved to be one in a number of acts, alongside acts like
587:"Not really, though there are quite a few reggae flavours as much as the dub. I think we just emphasise the influence of Jamaican culture in our and other UK music so it could be anything from that root. We were founded in the light of the new dance and
31:
1068:
on 5 March 2012 as a double disc special edition including, among several bonus material, the Peel session instrumental "Maximum" and the band's previously unreleased 45-minute set from
Glastonbury Festival 1995. The special edition was remastered at
1057:
ranked the album at number 482 in their list of "The 500 Greatest Albums of the 1990s", writing that the album incorporated "Indian textures, Celtic sounds and poetry" into an "electronic dub stew in order to celebrate multicultural
Britain."
480:
to emphasise melody and emotion and to feature a distinctly
British quality, drawing influence from the eclectic array of old and new music from different cultures they felt surrounded by in London, which Brand felt was "so much more
461:"Right now being British can mean almost anything. There's such a wealth of cultures. What we do is a celebration of all that. we were trying to get near to the feeling of a soundtrack of Utopia–that British sound of the postwar,
434:, producing the record themselves. It was the second and final album by the group to be largely written by Roberts, as later albums featured more collaborative writing. Guest vocals throughout the album were contributed by
617:(1944). Johnson noted these unusual samples, saying " scholarly regard for the treasures of the British film industry is not the first thing one associates with the British dance music scene." The record also incorporates
465:
era. We're remembering parts of the past but not hanging on to the past glories, as some politicians want to. There's a body and a quality to
English life that the likes of Michael Powell tried to develop in his films."
502:" that they felt represented modern Britain, noting: "It's something that doesn't have anything to do with an imperial past and wants to cut those ties, but something that also wants to breathe new life into the land."
658:, and stayed on the chart for seven non-consecutive weeks. It remains Dreadzone's most successful album, and as of February 2017, it has sold 81,182 copies in the UK. Four singles from
591:
movement in the early ’90s so have always straddled the two, and other influences including Big Audio Dynamite mean we cast our net pretty wide. I categorise it as Dread music."
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was a "gentle collage" in the vein of "many contemporary acts whose outlook has the boundary-breaking elements that dance music permits, without the monotony of the
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was described by Johnson as "like a Glastonbury tribe gone back home to the reservation of the winter." Writer Jon Dennis referred to Dreadzone as "crusty dance".
625:
and what Johnson described as "sundry ironic messages from the channel-hopping trawl of a stoned viewers' late-night television habit." Credited samples include
682:
brother Chris. The group intentionally sought a "no icons" and "no stars" stage presence, instead appearing silhouetted against a projection of Sabu from
1503:
1979:
331:. The album received critical acclaim, and journalists highlighted the record's disparate influences. Six of the album's tracks appeared in the 1995
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in 1997. The group met Peel several times at festivals and BBC Radio sessions, in addition to being invited to appear on Peel's edition of
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as the point where "Dreadzone's ideas take off," and felt it was "to be compared favourably with the more celebrated efforts of
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in an article, calling it a "big ideas album, deconstructing received notions of Britishness with the kind of
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The album also samples from an array of British films, including a "spoken vision from the future" taken from
939:, John Bush made note of how the album weaves influences of Celtic music into the band's heavy dub sound. In
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Robinson, John, ed. (April 2024). "The Ultimate Record Collection: The 500 Greatest Albums of the 1990s".
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and too laid-back to be dance." The largely instrumental "Captain Dread", which features an
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who would frequent their concerts; the crustie-heavy audience at a December 1995 concert at
663:
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Musically, the record is an eclectic album of "listening music" that draws from dub reggae,
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infrastructure helped "clear it up for us and our publishers", according to Roberts.
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received acclaim from professional music critics according to Dominic Pride of
347:, including a bonus disc of extra material, was released by EMI in March 2012.
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than other cities." According to Roberts, the music was inspired by filmmaker
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1030:, an annual rundown of the year's fifty best songs according to listeners of
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perspective to be expected from two survivors of Big Audio Dynamite and the
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Vicky Bogal - created the stained glass window featured on the album cover
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1504:"Official Charts Analysis: Rag'N'Bone Man holds top spot on albums chart"
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felt the album resisted categorisation as it has "too much beat to be
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felt that the album's Celtic folk elements and "appropriation of the
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in May 1995 as their first album on the label and their follow-up to
95:
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672:. The song would also be used for the introduction of the weekly
442:. In 1994, after the album was recorded, Dreadzone were signed to
38:
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are also expressed towards a long list of friends and influences.
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described the album's sound as "dub meets keyboard-powered
367:, alongside remixer and producer Tim Bran. That same year,
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his 12th favourite album ever in 1997. A deluxe edition of
1087:"Life, Love and Unity" (Leo Williams, Greg Roberts) – 5:43
911:
even while they're putting us in a trance." Eddie Gibb of
276:(1993). The record mixes the group's distinctive blend of
327:, who appears on the album, and attracted a following of
1245:"Virgin's Dreadzone: Architects of 'That Kind of Music'"
553:
style. was inspired by Roberts and his son visiting the
1851:"BBC - Radio 1 - Keeping It Peel - Festive 50s - 1995"
1090:"Little Britain" (Roberts, Tim Bran, Carl Orff) – 5:14
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by A&R executive Paul Kinder. The group presented
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promotion of the special edition, with a segment of
1006:
In their year-end lists of the best albums of 1995,
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605:(1968) and dialogue and music from Powell's films
1099:"Cave of Angels" (Williams, Bran, Roberts) – 6:13
629:'s "Love for Everyone" ("Love, Life and Unity"),
571:tradition" on "Captain Dread" helped highlight a
315:Upon release, the album reached number 37 on the
1902:"Dub band Dreadzone head for The Vic in Swindon"
1564:"Jon Dennis analyses John Peel's top 20 albums"
1292:: CS1 maint: others in cite AV media (notes) (
1016:jointly ranked it fourth alongside Leftfield's
978:textures with acoustic instruments such as the
585:
459:
1163:- vocals on tracks 3 & 9; viola on track 2
764:
355:Dreadzone emerged in 1993, composed of former
1251:. Vol. 107, no. 30. pp. 8, 125
1022:, calling both records "ariations on a dub."
686:. Dreadzone developed a sizeable fan base of
633:'s "King of Bally Hooley" ("Captain Dread"),
8:
928:In a less receptive review, Caspar Smith of
921:as a warm, spacious dub album which is "fun
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304:Britain. They were inspired by the films of
1039:favourite albums of all time, published in
575:influence. Some consider the album to be a
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1078:material dominating the end of the shows.
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583:was a reggae or dub record, Roberts said:
579:record; when asked whether he agreed that
381:style that incorporated heavy elements of
377:, which showcased the group's distinctive
262:) is the second album by the British band
29:
20:
1738:The Virgin Encyclopedia of Nineties Music
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1533:"The Official Charts Company - Dreadzone"
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1108:"Shining Path" (Williams, Roberts) – 7:22
1102:"Zion Youth" (Roberts, Earl Daley) – 6:05
970:The Virgin Encyclopedia of Nineties Music
1806:. Vol. 107, no. 51. p. 35
1616:. No. 1. p. 67. Archived from
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961:referred to the album as "excellent" in
1877:"Dreadzone: Dread Times – album review"
1477:"Dreadzone full Official Chart History"
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964:The Virgin Encyclopedia of Dance Music
835:The Virgin Encyclopedia of Dance Music
288:with a wider array of styles, such as
1643:. London: Virgin Books. p. 100.
982:, violin, piano and a female voice."
707:
259:An Original Dreadzone Sound Adventure
7:
1198:"AllMusic Biography by Jason Ankeny"
1093:"A Canterbury Tale" (Roberts) – 8:40
678:programme in the mid to late 1990s.
1798:Linde, Dominic (23 December 1995).
1501:Gumble, Daniel (24 February 2017).
766:
430:at their own Dubby Road Studios in
413:by playing both the dance tent and
1875:Scott-Bates, Paul (3 March 2017).
1310:Clarkson, John (1 December 2009).
18:1995 studio album by Dreadzone
14:
1386:Johnson, Phil (8 December 1995).
842:
804:
728:
637:' "Dead Lion" ("Zion Youth") and
535:strings," while Dominic Pride of
405:, that bridged the audiences for
1980:Reggae albums by English artists
1766:"OOR" (25/26). 16 December 1995.
1704:. United Kingdom: Rough Guides.
1111:"Out of Heaven" (Roberts) – 5:57
1105:"One Way" (Roberts, Bran) – 6:00
1096:"Captain Dread" (Roberts) – 5:16
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371:released the band's debut album
1562:Dennis, Jon (12 October 2005).
1347:Abrams, Jonny (26 March 2012).
1243:Pride, Dominic (29 July 1995).
881:, who wrote in an article that
1417:"AllMusic Review by John Bush"
1:
1928:Uncut: The Archive Collection
967:, and he later elaborated in
635:Lee Perry & The Upsetters
359:and Screaming Target members
1671:Gibb, Eddie (16 June 1995).
1172:Love, Respect and Admiration
1157:- vocals on tracks 1 & 6
1131:Tim Bran - keyboards, mixing
1599:James, Martin (June 1995).
1446:Smith, Casper (July 1995).
498:and dub music to create a "
335:, and the poll's organiser
2001:
1388:"Welcome to the Dreadzone"
945:, Chris Wright refers to
715:
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889:beats." Paul Johnson of
234:"Life, Love & Unity"
1826:"Peel Festive 50 - BBC"
1673:"Record Reviews: Music"
1537:Official Charts Company
1312:"Dreadzone - Interview"
649:In the United Kingdom,
228:Released: December 1995
1779:Cite journal requires
1698:Wright, Chris (1996).
1637:Larkin, Colin (1998).
1349:"Interview: Dreadzone"
1151:- additional keyboards
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1970:Virgin Records albums
1800:"Artists & Music"
1701:Rock: The Rough Guide
1128:, sampling, keyboards
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942:Rock: The Rough Guide
675:Football League Extra
645:Release and promotion
266:. It was released on
1278:(liner). Dreadzone.
703:Professional ratings
684:The Thief of Baghdad
608:The Thief of Baghdad
421:Glastonbury Festival
284:instrumentation and
237:Released: March 1996
70:Dubby Road Studios,
1288:cite AV media notes
1064:was re-released by
704:
476:Dreadzone intended
463:Festival of Britain
426:Dreadzone recorded
310:Festival of Britain
219:Released: July 1995
1906:Swindon Advertiser
1004:
702:
698:Critical reception
561:. Phil Johnson of
521:. Casper Smith of
357:Big Audio Dynamite
210:Released: May 1995
1944:Dreadzone website
1316:Penny Black Music
1048:This Is Your Life
887:four-to-the-floor
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614:A Canterbury Tale
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507:electronic music
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369:Creation Records
321:UK Singles Chart
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1745:. p. 133.
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669:Top of the Pops
656:UK Albums Chart
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564:The Independent
517:styles such as
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317:UK Albums Chart
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216:"Captain Dread"
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35:
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1997:
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1855:www.bbc.co.uk
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1752:9780753504277
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1733:Larkin, Colin
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1082:Track listing
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1028:Festive Fifty
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976:
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839:
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798:
794:
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763:
761:
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756:
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723:
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708:Review scores
706:
697:
695:
693:
692:Wolverhampton
689:
685:
679:
677:
676:
671:
670:
665:
661:
657:
652:
644:
642:
640:
636:
632:
628:
627:Johnny Clarke
624:
620:
619:Derek Walcott
616:
615:
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609:
604:
603:
598:
592:
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584:
582:
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552:
548:
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508:
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497:
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488:
484:
479:
473:
471:—Greg Roberts
467:
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454:
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445:
441:
437:
433:
429:
424:
422:
419:rock tent at
418:
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384:
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333:Festive Fifty
330:
326:
322:
318:
313:
311:
307:
303:
302:multicultural
299:
295:
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283:
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106:
102:
97:
94:
92:
89:
87:
84:
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69:
65:
61:
57:
53:
49:
45:
40:
36:
32:
27:
22:
16:
1927:
1921:
1909:. Retrieved
1905:
1896:
1884:. Retrieved
1880:
1870:
1858:. Retrieved
1854:
1845:
1833:. Retrieved
1829:
1820:
1808:. Retrieved
1803:
1793:
1772:cite journal
1761:
1743:Virgin Books
1737:
1727:
1715:. Retrieved
1700:
1693:
1681:. Retrieved
1676:
1666:
1654:. Retrieved
1639:
1618:the original
1611:
1603:Second Light
1602:
1601:"Dreadzone:
1594:
1583:
1571:. Retrieved
1568:The Guardian
1567:
1540:. Retrieved
1527:
1515:. Retrieved
1508:
1496:
1484:. Retrieved
1480:
1456:. Retrieved
1451:
1448:"New Albums"
1424:. Retrieved
1420:
1415:Bush, John.
1395:. Retrieved
1391:
1356:. Retrieved
1352:
1319:. Retrieved
1315:
1276:Second Light
1275:
1253:. Retrieved
1248:
1205:. Retrieved
1201:
1171:
1155:Earl Sixteen
1135:Leo Williams
1122:Greg Roberts
1076:Second Light
1075:
1062:Second Light
1061:
1060:
1052:
1046:
1042:The Guardian
1040:
1024:Second Light
1023:
1017:
1013:
1007:
1005:
1000:Second Light
999:
975:Second Light
974:
968:
962:
959:Colin Larkin
947:Second Light
946:
940:
929:
927:
922:
919:Second Light
918:
912:
908:Notting Hill
897:Second Light
896:
890:
883:Second Light
882:
876:
873:Second Light
872:
871:
833:
795:
757:
683:
680:
673:
667:
662:reached the
660:Second Light
659:
651:Second Light
650:
648:
612:
606:
600:
594:
586:
581:Second Light
580:
562:
536:
522:
519:Celtic music
504:
483:cosmopolitan
478:Second Light
477:
475:
469:
460:
448:Second Light
447:
436:Earl Sixteen
428:Second Light
427:
425:
414:
372:
365:Leo Williams
361:Greg Roberts
354:
345:Second Light
344:
341:Second Light
340:
325:Earl Sixteen
314:
294:Indian music
290:Celtic music
271:
258:
257:
253:Second Light
252:
251:
250:
207:"Zion Youth"
195:
172:
165:Second Light
164:
163:
154:
39:Studio album
24:Second Light
15:
1965:1995 albums
1911:13 December
1886:13 December
1835:13 December
1810:13 December
1717:13 December
1656:13 December
1573:11 December
1486:11 December
1458:13 December
1426:11 December
1397:11 December
1392:Independent
1358:11 December
1321:13 December
1255:13 December
1207:13 December
1149:Dan Donovan
1139:bass guitar
1071:AIR Studios
1051:. In 2024,
1036:BBC Radio 1
611:(1940) and
557:clipper in
549:, adopts a
455:Composition
432:West London
411:dance music
399:Stereo MC's
383:electronica
256:(subtitled
72:West London
54:30 May 1995
1985:Dub albums
1954:Categories
1860:23 January
1711:0614208033
1650:0753502526
1542:23 January
1510:Music Week
1353:Rocksucker
1179:References
917:described
623:war poetry
555:Cutty Sark
551:sea shanty
515:folk music
351:Production
282:electronic
145:chronology
86:Electronic
1804:Billboard
1679:(233): 43
1249:Billboard
1143:featuring
1116:Personnel
1032:John Peel
1014:Billboard
996:John Peel
994:In 1997,
951:Leftfield
905:post-punk
878:Billboard
559:Greenwich
547:accordion
538:Billboard
533:classical
337:John Peel
278:dub music
264:Dreadzone
143:Dreadzone
137:Dreadzone
44:Dreadzone
1930:(7): 40.
1735:(2000).
1677:The List
1421:AllMusic
1202:AllMusic
937:AllMusic
925:funky."
914:The List
895:praised
722:AllMusic
688:crusties
599:'s film
496:Jamaican
387:sampling
385:such as
329:crusties
308:and the
286:sampling
196:Nonsuch
133:Producer
59:Recorded
51:Released
41: by
1683:22 June
1517:1 March
1282:. 1995.
1019:Leftism
998:ranked
573:new age
543:ambient
500:collage
403:The Orb
395:Orbital
192:Singles
178:(1997)
169:(1995)
160:(1993)
1749:
1708:
1647:
1452:Select
986:Legacy
931:Select
797:Select
716:Rating
713:Source
602:if....
589:techno
577:reggae
569:pirate
531:meets
529:trance
524:Select
511:poetry
492:Indian
391:Tricky
339:named
298:poetry
126:Virgin
104:Length
96:reggae
67:Studio
1621:(PDF)
1613:Muzik
1608:(PDF)
1454:: 102
1126:drums
1054:Uncut
973:that
759:Muzik
312:era.
194:from
121:Label
79:Genre
1913:2018
1888:2018
1862:2010
1837:2018
1812:2018
1785:help
1747:ISBN
1719:2018
1706:ISBN
1685:2020
1658:2018
1645:ISBN
1588:link
1575:2018
1544:2010
1519:2017
1488:2018
1460:2018
1428:2018
1399:2018
1360:2018
1323:2018
1294:link
1257:2018
1209:2018
980:oboe
953:and
513:and
438:and
409:and
407:rock
401:and
374:360°
363:and
296:and
273:360°
156:360°
62:1994
1830:BBC
1066:EMI
1034:'s
1009:OOR
957:."
923:and
621:'s
416:NME
379:dub
91:dub
1956::
1904:.
1879:.
1853:.
1828:.
1802:.
1776::
1774:}}
1770:{{
1741:.
1675:.
1629:^
1610:.
1566:.
1552:^
1535:.
1507:.
1479:.
1468:^
1450:.
1436:^
1419:.
1407:^
1390:.
1368:^
1351:.
1331:^
1314:.
1302:^
1290:}}
1286:{{
1265:^
1247:.
1217:^
1200:.
1186:^
1137:-
1124:-
509:,
494:,
423:.
397:,
393:,
292:,
280:,
113:29
109:56
1946:/
1915:.
1890:.
1864:.
1839:.
1814:.
1787:)
1783:(
1755:.
1721:.
1687:.
1660:.
1605:"
1577:.
1546:.
1521:.
1490:.
1462:.
1430:.
1401:.
1362:.
1325:.
1296:)
1259:.
1211:.
111::
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