A history of reggae
The canon: King Tubby - Bob Marley - Lee Perry - Studio One
"Wake the town and tell the people, 'bout this musical disc coming your way!"
Related: black music - Channel One - dancehall - djs - dub - homophobia in reggae - Island records - Jamaica - lovers rock - marijuana - punk - rasta - r&b - remix - riddim - rocksteady - roots reggae - ska - sound system - Studio One - Trojan - version - Wackies -
List of artists: Theo Beckford - Dennis Bovell - Sir Coxsone Dodd - The Clash - King Tubby - Bob Marley - Jackie Mittoo - Don Letts - Lee Perry - Roots Radics - Duke Reid - Sly & Robbie - Adrian Sherwood - Ernest Ranglin - Linval Thompson - Scientist
Connoisseurs: David Katz - Steve Barrow - Colin Larkin
Real Rock (1967) - C. Dodd and Sound Demension
Trojan Dub Box Set 1 - Various Artists [Amazon.com] [FR] [DE] [UK]
Origins of Reggae
Reggae is an African Caribbean style of music developed on the island of Jamaica and is closely linked to the religion Rastafarianism, though not universally popular among its members. The origins of Reggae can be found in traditional African Caribbean music as well as US Rhythm & Blues. Ska and Rocksteady are 1960's precursors of reggae. Bob Marley, who later popularized the style on a world-wide basis, also recorded Rocksteady records early in his career. The style of reggae he made famous is called roots reggae or roots rock reggae, and is still used by many artists such as Black Uhuru, Burning Spear, Culture, Israel Vibrations, The Skatalites and Toots and The Maytals from Jamaica and UB40 from the UK.
In Jamaica however, new styles are more popular, among them Lovers Rock, Dancehall and Raggamuffin. Dub is an instrumental sub-style of reggae. Mixing techniques employed in Dub probably influenced Hip hop, Drum and Bass and other styles. In any case, the toasting or dee jaying of raggamuffin reggae - first used by artists such as Dillinger or Yellowman - had a world-wide impact because Jamaican DJ Kool Herc used them as he came up with a new style later called Hip hop or rap music. In the Jamaican sense of the word, a DJ is an MC or rapper, whereas the DJ is called (music) selector in Jamaica. Therefore what is called dee jaying or chatting in Jamaica is called rapping in most other parts of the world. --http://www.wikipedia.org/wiki/Reggae [2004]
Reggae Coined in 1968
As far as Jamaican record-buyers are concerned, the word reggae was coined on a 1968 Pyramid dance single, "Do the Reggay (sic)," by Toots and the Maytals.
http://www.bobmarley.com/life/musicalinfluences/reggae/
The American Influence
There is an inescapable link between Jamaican reggae and US soul. Since the late 1950s, which saw ska born out of American R&B, the Jamaican reggae fraternity has always had a strong affiliation towards US soul, and later on, funk. --Chris King, amazon.co.ukThe European Influence
Reggae is a product of the union of West African rythms and European melody and harmony.
Dub [...]
Around 1969 Kingston-based reggae producers started to issue singles with instrumental "versions" on the flipside of vocal releases, which were actually the basic riddim tracks. To these "versions" one could add further instrumentation or deejay accompaniment. Within a year the inclusion of instrumental versions on the flipside was common practice among the majority of Jamaica's producers. In 1971 the first real dub recordings began to appear, with The Hippy Boys' "Voo Doo" - the version to Little Roy's "Hard Fighter", which was mixed by Lynford Anderson a.k.a. Andy Capp - now widely acknowledged to be the first recording in the genre. But it was pioneering sound engineer and sound system operator Osbourne Ruddock who did more than any other to popularize and develop the sound. He explored the possibilities of sound from his small studio, located at the back of his home, at 18 Drumilly Avenue, Kingston 11. -- Teacher & Mr. T.
Jamaican Jazz
The spiritual leaders of the new movement were the likes of Cluet Johnson, Roland Alphonso, Tommy McCook and Rico Rodriguez, all of whom had graduated through the ranks of the dance bands in the late 1940s and early 1950s. Included in this second generation of great Jamaican instrumentalists were bassist Lloyd Brevett, trumpeter Johnny 'Dizzy' Moore, drummer Lloyd Knibbs and guitarist Jah Jerry. Many of these Jamaican Jazz pioneers were also old boys of the Alpha Catholic School, a reform school for poor and/or wayward children still operating in West Kingston. It was at Alpha that Tommy McCook, Lester Williams, Rico Rodriguez and Don Drummond learned the rudiments of music and music theory by way of Classical European method. The nuns discouraged the boys from playing the base tunes they heard on the radio. They paid no heed. --Lloyd Dewar [...]Riddims
A rhythm, riddim in reggae vocabulary, is a rhythm pattern. It's basically a bassline and usually a special drumpattern is used with the bassline. Sometimes a short melody is associated with the riddim, but the main ingredient is the bassline. In other musical contexts it would be called a groove, and that pretty well sums up what it is about. Most riddims have originated from a hit tune, and usually the riddim has been given the name of that tune. [...]Ganja, Marihuana
Herbal cannabis had always played a part in the medicinal and mystical rituals of ancient Africa and was probably well known to the slaves who worked the West Indian sugar plantations, but anthropologists contend that the herb didn't arrive in Jamaica until after slavery was abolished there in 1838, when it was brought by contract workers from the Indian sub-continent who were drafted in to fill the subsequent labour shortage. Certainly, the Jamaican term for herbal cannabis, 'ganja', is a Hindi word meaning 'sweet smelling', but also 'noisy'. Which is not a bad description of roots reggae. [...]Lee Perry
The amount of work that Scratch has been involved with over a 35 year career is nothing short of staggering. Scratch's story is more or less the story of Jamaican music: from humble beginnings, the groove takes root, grows strong and wide, and contains many branches. From the ska era to the first wave of reggae and the magnificence of the 1970s, Scratch was there all the way. Yet, there seems to be some confusion about Scratch's career by people who aren't hip to all of the periods he's done work in. Most people know him for his Black Ark masterpieces, others only know his later, more eccentric work, and some have never heard his early ska scorchers. As a reggaeologist, I started thinking about all of the distinct periods in Scratch's career, and therefore present the following seven eras for your consideration: [...]
King Tubby
Today the remix and dub version are commonplace in popular music; less widely appreciated is the fact that these techniques were pioneered in a tiny studio a Kingston, Jamaica district called Waterhouse. That pioneer of dub was an electronics engineer and sound system operator named Osbourne Ruddock, but to the crowds who flocked to his dances, and the countless singers and record producers who utilised his skills, he was known as King Tubby. [...]
DJs
It is generally forgotten that the very first DJs were Jamaicans operating the mobile sound systems during the fifties and sixties. At that time, the DJ was the person talking live over the records, the 'selector' spinned a selection of American black dance music from the South and East of the United States. It was only when American radio started broadcasting rock 'n roll - a genre the Jamaicans liked less - that the Jamaicans started to produce their own music, ska in the early sixties, then rocksteady and by the end of the decade, reggae. DJ Kool Herc is credited with bringing this to the United States, when he left for New York in 1967, creating rap music in the proces.Reggae and Disco
There is a link between reggae and disco that may not be that obvious, but which started when Kool Herc moved from Jamaica to New York and started to spin funk records in stead of his Jamaican hits. Later still, Larry Levan played an eclectic mix (including reggae) at the Paradise Garage. There is however, one decisive studio-moment where reggae and disco meet: The Padlock EP on Garage records, mixed by Larry Levan from original Island material by Sly and Robbie. "Seventh Heaven", "Peanut Butter", "Getting Hot", "Hop Scotch" are hybrid disco-reggae tracks played by Jamaican musicians, recorded at the Compass Point Studio with late Gwen Guthrie on vocals.
[This EP is not available on CD in its entirety, but the Seventh Heaven track is available on Mastercuts classic mix vol. 1]
Postmodernism
There is no truth, there are only versions [...]Studio One
Studio One was and still is one of the leading labels in Jamaican music industry. Its owner and founder Clement Seymour Dodd started producing music in late 50's. The 60's was the golden era of Jamaican music - the foundation of modern reggae music was laid inside the Jamaican Recording Studios - the studio owned by Mr. Dodd. Ska, rocksteady, reggae - all these types of music were literally created in the same premises - in that tiny studio located in 13 Brentford Road in Kingston. Many of Jamaica's leading artists have been part of Coxsone's musical family in some stage of their career, for example Bob Marley & The Wailers, Horace Andy, Bob Andy, Dennis Brown, Freddie McGregor, Lee Perry etc. In addition to that many of Jamaica's top session players cut their teeth at Studio One's School Of Music.[...]Wackies
That dub got some serious recognition in the 1970's is well documented. Sound systems made and played out their own tunes from their own studios. Initially these studios and many of their representative soundsytems were from Kingstown Jamaica and much of the technology and techniques in today's contemporary dance and club music scene is clearly and for the most part honestly derived from many of techniques and styles employed by those running their own studio and sound. The following article on the Wackies label is part of the story of the dub sounds which emanated outta New York. -- Smart Monkey [...]Disco Mixes
During the [late] seventies in Jamaica the 12" mix of popular songs became the vogue. The vocals and dubs were mated for a musical extravaganza. As a result of the popularity of these 12" singles Coxsone Dodd compiled and released some "Showcase" albums. - jo moenen for amazon.com
Always a hit factory, [Studio One] came close to completely dominating the Jamaican dance floor with the emergence of the long-playing 12-inch “discomix” in the [late] 1970s. Studio One capitalized on the extended discomix format, successfully recycling some of its best material from the 1960s. Older hits were updated simply by mixing in lengthy instrumental endings. The popularity of the discomix allowed the label to prolong its reign, even after its most creative period had passed. Because a discomix filled up an entire side of a [12"] record, a hit song had the power to keep competing records off the DJs turntable for a good long time.
[Studio One produced about 50 12" mixes, Wackies about 50 too.]
Punk [...]
Here comes Johnny Reggae... Punk and Reggae poles apart one would think. Heavy slow bass driven toons versus tinny white boy thrash. Quasi mystical ganga based black man beat versus white swastika toting amphetamine driven nihilsm.. Punk and reggae became intertwined beecause to two of punks influential stars, Mr Rotten and the boys in the Clash, reggae was very much a part of their musical scene and growing up and each vied to say they loved it more than the other as an influence. -- Paul MarkoDancehall [...]
Somewhere late in 1979 the Roots Radics laid down the riddims for Barrington Levy's first tunes for producer Junjo Lawes, credited at the time as the Channel One Stars. No one could envisage the importance of these sessions, but with hindsight we can point back to them as the inception of Jamaican dancehall music.
Jackie Mittoo
Jackie Mittoo is the unsung hero of reggae music. Playing keyboards professionally from the age of thirteen, he went on to become the musical director at Clement 'Coxone' Dodd's Studio One label from 1965-69. The music he created there is as seminal a body of work as Berry Gordy's at Motown or Rudy Van Gelder's at Blue Note, and the classic rhythms he composed at this time are the foundation of dancehall reggae and still rock any session. Phil Darby [...]
Linval Thompson
Adrian Sherwood
When British producer Adrian Sherwood started his On-U-Sound label in 1980 as an outlet for scruffy punks and righteous rastas infatuated with reggae and its experimental spectrum of dub, he just wanted to make good records. In the process, he influenced a legion of producers, decimated the boundaries of funk, noise, and reggae, and as a member of Tackhead, made the position of the live mixing engineer a viable band member in terms of creative input. [...]
Related Sites
CDs
- Rare Grooves Reggae by Nova (2003) [Amazon FR] | [Amazon US] | [Amazon DE] [Amazon UK]
01 Lottery Spin (Zap Pow) 02 Sentry (Knowledge) 03 Satisfaction (Carl Dawkins) 04 Uptown Top Rankin (Althea & Donna) 05 Monkey Drop (Scotty) mp3 sample 06 Touching The President (Tall And The Touchers) 07 Inner City Blues (Sly & Robbie) 08 How The West Was One (Toyan) 09 Ganja Smoke (Ward 21) 10 Punany (Charley Ace & Fay) 11 Five Nights Of Bleeding (Linton Kwesi Johnson) 12 The Whip (The Ethiopians) 13 Chase The Devil (Max Romeo & The Upsetters) 14 My World Is Empty Without You (The Heptones) 15 Bucky Skank (Lee Scratch Perry) 16 Everyday Wandering (Johnnie Clarke)This excellent set of original roots Reggae from France's cutting-edge contemporary music connoisseurs Radio Nova is a superb collection of both old and new, blending the more "authentic" approach of reggae compilers such as Soul Jazz with a unique French perspective. From Calypso drums and Dancehall riddims, to Dub-wise smoke-downs and Ragga-bwoy toasters, Nova has covered all bases bringing us tracks from the heavyweights – Sly & Robbie, LKJ, Max Romeo & The Upsetters, The Heptones, Lee Scratch Perry, Jonnie Clarke and more! Recommended.--smokecds.com review
- Nice Up the Dance-Studio One Discomixes - Various Artists [1 CD, Amazon US]
Always a hit factory, the label came close to completely dominating the Jamaican dance floor with the emergence of the long-playing 12-inch “discomix” in the 1970s. Studio One capitalized on the extended discomix format, successfully recycling some of its best material from the 1960s. Older hits were updated simply by mixing in lengthy instrumental endings. The popularity of the discomix allowed the label to prolong its reign, even after its most creative period had passed. Because a discomix filled up an entire side of a [12"] record, a hit song had the power to keep competing records off the DJ’s turntable for a good long time. Nice Up The Dance complies the very best of these highly sought-after 12-inch classics, including tracks from such legendary artists as Delroy Wilson, Alton Ellis, and Tommy McCook. The album opens with Cornell Campbell & the Eternal’s obscure classic, “Queen Of The Minstrels,” which unfolds in a deliciously slow groove that suspends both time and worry. The discomix of Alton Ellis’s eternal reggae classic, “Can I Change My Mind,” clocks in at an astounding 11-minutes. This endless version gives us plenty of time to experience the full magnitude of Ellis’s mighty soul caressing voice. The lengthy instrumental sections that fill Nice Up The Dance not only give added depth to older hits, but also showcase the impressive talents of the Studio One house musicians, masters of the hypnotic reggae groove. For almost three decades, Studio One has provided Jamaicans with the soulful soundtrack of their lives. -- John BallonBorn and raised in Los Angeles, California, is the founder and publisher of MustHear.com, a music review and photography website dedicated to celebrating the brilliant and the obscure. He is an avid reader, writer, photographer, dog-walker, thrift-shopper, percussionist, and record collector. While his musical tastes are as varied as his hobbies, jazz has long been a major passion. He prefers to photograph jazz in black and white, but has recently been dabbling in color. Visit John's photo Must Hear recommendations site at http://www.musthear.com
During the seventies in Jamaica the 12" mix of popular songs became the vogue. The vocals and dubs were mated for a musical extravaganza. As a result of the popularity of these 12" singles Coxsone Dodd compiled and released some "Showcase" albums.
Now the Cambridge, Massachusetts U.S.A. based Heartbeat Records has issued "Nice Up The Dance", which is a decent follow up to the previous releases 'Showcase Volume 1 & 2". Many of the songs on the album were originally released in the late sixties and re-released in their extended version ten years later.
The album opens with classic late sixties lovers tune Queen Of the Minstrels from Cornell Campbell and The Eternals. He recorded many sides for Coxsone, starting in the late fifties, before teaming up with producer Bunny Lee. In the seventies his output was prolific and he still is recording quality sides for a variety of producers, such as the New York based Don One. Ken Parker comes next with his rendition of William Bells' My Whole World Is Falling Down. Ken's version topped the Jamaican charts in 1969. One of Jamaica's most underrated vocalists is the late Freddie McKay. Love Is Treasure remains his best remembered tune, the Studio One album 'Picture On The Wall' is a classic set.
An often versioned riddim is Horace Andy's Mr. Bassie. It's a dancehall staple, and any producer looking for a dancehall hit will consider versioning it. Great names like Beres Hammond, Garnet Silk, Frankie Paul, Dean Fraser and Robert Ffrench have scored hits riding this riddim. The late great Delroy Wilson is one of Studio One's legends. He started out at the age of twelve, voicing popular ska sides for Coxsone Dodd. His tune Give Love A Try is one of the highlights found here.
The Sound Dimension's 'Real Rock' riddim probably is reggae's most versioned riddim. Although Willie Williams' version 'Armagideon Time' is a very popular cut of the riddim, Michigan and Smiley offering Nice Up the Dance is a noteworthy track. This tune is followed by the killer tune of the album, Alton Ellis' Can I Change My Mind. This brilliant retelling of Tyrone Davis' 1968 hit tune proved Alton's most popular tune. He has recorded a few tunes over the years and his outings still remain popular with the reggae massive. The album closes with a previously unreleased tune by The Viceroys. For this release the original vocal cut Slogan On The Wall was mixed together with Tommy McCook's instrumental cut 'Tenor On The Call'. -- jo moenen for amazon.com
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In Search of the Lost Riddim (1998) - Ernest Ranglin [Amazon US]
From the time he toured Senegal with Jimmy Cliff in the late '70s, Jamaican guitarist Ernest Ranglin wanted to return and record with local musicians. He finally got his wish in 1997, and the fruit produced by the journey was this collaboration with Senegalese star Baaba Maal. They're joined here by Maal's band, Daande Lenol, which translates as "nomad soul"--a fitting description for an album that is a restless blend of jazz sophistication and African syncopation. Restless is a dirty word when applied to roving husbands or spooked horses, but Ranglin's insatiable desire to explore is a treasure to behold. --Keith Moerer for amazon.comJamaican jazz guitarist Ernest Ranglin, at 66 years old, is more adventurous than most musicians half his age. Few could travel to Senegal and record with Baaba Maal and his band, Daande Lenol. Fewer still could make such a successful melding of styles. The secret is that Ranglin becomes a part of the band, trading licks with the kora, letting the others speak loudly, then adding his own distinctive voice to the proceedings. This is very definitely an "African" album, highlighted... --amazon.com
- Ernest Ranglin - Below the bassline [1 CD, Amazon US]
The man who taught Bob Marley how to play the guitar may finally get his just rewards. "BELOW THE BASSLINE" is a brilliant example of Jamaican Jazz in it's purest form. Ernest Ranglin has fast fingers for someone in his 60's. He has also mastered the technique of feathering the guitar strings with beathtaking precision. Add to this; an uncanny ability to comunicate such rich emotion through his music, and you have one sensational piece of music. This disc is testimony to his great love of Jazz, and his birth right Jamaica. Smooth, charming, and rhythmic. This is music you can either kick back and listen to, or get up and dance to. With "Below the Bassline", Ernest Ranglin has demolished any generation gap he may have had with the young or the old. This music is for everyone. Contagious to the last note. BRILLIANT!!!! -- : Dan Swan for Amazon.com - Studio One Scorcher Instrumentals - Various Artists [1 CD, Amazon US]
1. Coconut Rock - The Skatalites 2. Cedric Im Brooks 3. Shockers Rock - Tommy McCook, Richard Ace And The Skatalites 4. Ringo Rock - The Soul Vendors 5. Jericho Skank - Jackie Mittoo and Ernest Ranglin 6. The People Skanking - The New Establishment 7. Money Generator - Karl Bryan and The Afrokats 8. Afrikaan Beat - Lester Sterling 9. Heavy Rock - Sound Dimension 10. In Cold Blood - Sugar Belly 11. Heavenless - Don Drummond 12. Bugaloo - Soul Bros 13. Red Blood - Vin Gordon 14. Push Pull - Pablove Black 15. Sidewalk Doctor - Jackie Mittoo and Brentford Rockers 16. Namibia - Liberation Group 17. Last Call - Brentford Road All Stars 18. Still Calling - Soul Defenders 19. Black Up - Karl Bryan and Count Ossie
The fifth Soul Jazz Studio One release after Rockers, Roots, DJs and Studio One Soul is Studio One Instrumentals.
Studio One instrumentals are the foundation of Reggae. These rhythm tracks became the basis for all Dancehall as countless artists and producers re-versioned these classic Studio One instrumentals.
This release features Jamaica's finest ever musicians Don Drummond, Tommy McCook, Jackie Mittoo, Cedric Brooks, Vin Gordon, Lester Sterling all the key players in the legendary Studio One house-bands: The Skatalites, The Sound Dimension, The Soul Bros, Brentford Rockers and The Soul Defenders.
This release features classic and super-rare instrumentals from Studio One: Ska, Funk, Roots, Rocksteady, Reggae from the 1960s to the 1980s.
Studio One is the Motown of jamaican Reggae. This release contains sleevenotes by Noel Hawkes (Dub Vendor), is compiled by Mark Ainley, features exclusive photos and special DVD sampler. [...]
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Punky Reggae Party: New Wave Jamaica 1975-1980 () - Various Artists
[Amazon.com]
1. Milk and Honey - Lucy Lizzard 2. White Belly Rat - Lee "Scratch" Perry 3. Up Park Camp - John Holt 4. Mr. Cop - Gregory Isaacs 5. Natural Mystic - Bob Marley & The Wailers 6. Cool Rasta - The Heptones 7. Sons of Slaves - Junior Delgado 8. Key of Keys 9. Rockers (Nuh Crackers) - Glen Washington 10. (Under) Heavy Manners - Prince Far I 11. African Dub - Silvertones 12. Three Piece Suit and Thing 13. Uptown Top Ranking - Althea and Donna 14. Hand Cuff (Hey Mr. Babylon) - Gregory Isaacs 15. Tell the Youths the Truth - Jimmy Riley 16. Danger in Your Eyes - The Mighty Diamonds 17. City Too Hot - Lee "Scratch" Perry 18. I Love Marijuana - Linval Thompson 19. Slum (In Dub)Disc: 2 1. Man Next Door - Dennis Brown 2. Marcus Say 3. People Got to Know - Sugar Minott 4. Barber Saloon - Mikey Dread 5. Cross Over - Junior Murvin 6. Lightning and Thunder - Bim Sherman 7. You're No Good - Ken Booth 8. Kingston 12 Tuffie - The Morwells 9. Born Free - Black Uhuru 10. Pope Paul Dead and Gone 11. Liquid Horns - Vin Gordon 12. My Mission Is Impossible - The Viceroys 13. Babylon Wrong - Ashanti Waugh 14. Neckodeemus - The Congos 15. Raiders - Junior Delgado 16. Rob and Gone - Barrington Levy 17. Throne of Blood - Prince Jammy 18. Mr. C.I.D. - Barry Brown 19. Money in My Pocket [12" Mix] - Dennis Brown
Trojan was the original cool ruler of British reggae labels. In 1967, founders Chris Blackwell and Lee Gopthal began to license the then-exotic dance tunes from visionary Jamaican producers Duke Reid and Coxsone Dodd. Eventually, all of the island's key producers came on board, notably Lee "Scratch" Perry during his close collaboration with Bob Marley and the Wailers. The label went on to introduce Jamaican music to a generation of white British fans, helping to set the foundation for punk rock's embrace of reggae in the Seventies and Eighties. Now a reissue label, Trojan has switched to theme collections that offer lesser-known material in two-CD sets and budget-priced CD boxes [...]--Rollingstone.com [...]
- Bubble Up - Wayne Jarrett [Amazon UK] UK only, excellent, but truely excellent release on Wackies records
- Super Ape - Lee Perry [Amazon US] From top to bottom, this album is full of haunting melodies and flowing riddims. If you think reggae music begins and ends with Bob Marley, play the Upsetters for yourself, and enjoy. This album never gets old. If you purchase only one reggae CD in your life, make it Super Ape.
Before the Congos set was released, this seemed the ultimate album-length expression of Scratch's vision and technical wizardry. Fortunately the eccentricities with which Perry was to be increasingly associated were kept in check, and the result is a very disciplined, multi-textured exploration of sound. Those who dismissed it for being over-produced missed the point entirely. - from Reggae : The Rough Guide
[...] - Dub Gone Crazy: The Evolution of Dub at King Tubby's '75-'77 [Amazon US]
volumes retrospectively compiled of prime Bunny Lee material dubbed almost to oblivion. Both comprise 'version' sides from impossible-to find-45s (Wayne Jarrett's "Satta Dread" and Ronnie Davies' "Power Of Love", to mention just 1 exceptional track from each) , as well as previously unreleased tracks drawn from Lee's master tapes. They utilize the mixing talents of not only Tubby himself, but also of his disciples 'Prince' Philip Smart, Lloyd 'Prince Jammy' James and Hopeton 'Scientist' Brown, all working at Tubby's Dromilly Avenue studio. The best places for the newcomer to start. - from Reggae : The Rough Guide
- 100% Dynamite!: Ska, Soul, Rocksteady, & Funk in Jamaica [Amazon US]
100% Dynamite explores the links between Reggae, Jazz, Funk and Soul. Where Nu Yorica and Chicano Power focusses on Latin music, Soul Jazz Record's new compilation 100% Dynamite does the same for Reggae. The album is jam-packed with Reggae tunes that have crossed-over and become cult dancefloor hits in clubland such as "Greedy G", "Rocksteady" and "Granny Scratch Scratch".
Fourteen tracks of music that show the influence that American Jazz, Funk and Soul music has had on Jamaican Reggae. The proximity of the West Indies to the USA meant that many Jamaican musicians would continue to be influenced by American styles of music whilst at the same time continuing to define new styles of their own such as Ska, Rocksteady and Dub.
100% Dynamite features come serious Jamaican funk by Jackie Mittoo, The Brentford All-Stars, The Upsetters and Toots & The Maytals, the cream of Jamaica's jazz musicians such as Tommy McCook, Cedric Brooks and Lennie Hibbert and also features revolutionary tunes such as "Armageddon Time", "Drum Song" and "Cuss Cuss", songs which helped define a unique sound for Jamaican music in the sixties and seventies.
100% Dynamite is also the name of a club Soul Jazz Records have been running for the past year and this has been the inspiration for this album of the same name. Collected here are fourteen killer tracks that have rocked the crowd!
- Tougher Than Tough: The Story Of Jamaican Music [4CDs, Amazon US]
Over the course of four CDs, this is the essential musical history of the loudest island in the world, with the emphasis on essential. It starts in the time before ska, and brings it all up to the dominance of dancehall in the '90s. Along the way there's ska, rocksteady, reggae, and dub; 95 great tracks, every single one a classic. About the only major artist not represented is Lee Perry, and his productions sneak in there. Steve Barrow's notes will carry you through the story. This is about as perfect as they come, in both form and content. Chris Nickson Compiled by Steve Barrow.Disc: 1 1. Oh Carolina - The Folkes Brothers 2. Boogie in My Bones - Laurel Aitken 3. Midnight Track - Owen Gray 4. Easy Snappin' - Theophilus Beckford 5. Housewives Choice - Derrick Morgan 6. Forward March - Derrick Morgan 7. Miss Jamaica - Jimmy Cliff 8. My Boy Lollipop - Millie Small 9. Six and Seven Books of Moses - The Maytals 10. Simmer Down - The Wailers 11. Man in the Street - Don Drummond 12. Carry Go Bring Come - Justin Hinds & Dominoes 13. Guns of Navarone - The Skatalites 14. Al Capone - Prince Buster 15. Hard Man Fe Dead - Prince Buster 16. Tougher Than Tough - Derrick Morgan 17. Girl I've Got a Date - Alton Ellis 18. Happy Go Lucky Girl - The Paragons 19. Dancing Mood - Delroy Wilson 20. Train Is Coming - Ken Boothe 21. Take It Easy - Hopeton Lewis 22. Ba Ba Boom - The Jamaicans 23. 007 (Shanty Town) - Desmond Dekker 24. I've Got to Go Back Home - Bob Andy 25. Queen Majesty - The Techniques 26. Loving Pauper - Dobby Dobson 27. Don't Stay Away - Phyllis Dillon Disc: 2 1. Israelites - Desmond Dekker 2. 54-46 Was My Number - The Maytals 3. Reggae Hit the Town - The Ethiopians 4. Wet Dream - Max Romeo 5. My Conversation - The Uniques 6. Bangarang - Stranger Cole 7. Return of Django - The Upsetters 8. Liquidator 9. Rivers of Babylon - The Melodians 10. Harder They Come - Jimmy Cliff 11. Young Gifted and Black - Bob & Marcia 12. Wake the Town - U-Roy 13. How Long - Pat Kelly 14. Double Barrel - Ansel Collins 15. Blood & Fire - Winston Niney Holness 16. Cherry Oh Baby - Eric Donaldson 17. Better Must Come - Delroy Wilson 18. Money in My Pocket - Dennis Brown 19. Stick by Me - John Holt 20. Teach the Children - Dennis Alcapone 21. $. 90 Skank - Big Youth 22. Everything I Own - Ken Boothe 23. Westbound Train - Dennis Brown 24. Move Out of Babylon - Johnny Clarke 25. Curly Locks - Junior Byles Disc: 3 1. Country Boy - The Heptones 2. Welding - I-Roy 3. Marcus Garvey - Burning Spear 4. Right Time - The Mighty Diamonds 5. Natty Sing Hit Songs - Roman Stewart 6. Ballistic Affair - Leroy Smart 7. Tenement Yard - Jacob Miller 8. War Ina Babylon - Max Romeo 9. Police & Thieves - Junior Murvin 10. Two Sevens Clash - Culture 11. I'm Still Waiting - Delroy Wilson 12. No Woman, No Cry - Bob Marley 13. Uptown Top Ranking - Althia and Donna 14. Number One - Gregory Isaacs 15. Bredda Gravalicious - Wailing Souls 16. River Jordan - Sugar Minott 17. Armagideon Time - Willie Williams 18. Guess Who's Coming to Dinner - Black Uhuru 19. Fort Augustus - Junior Delgado 20. Joggin' - Freddie McGregor 21. Sitting and Watching - Dennis Brown Disc: 4 1. Night Nurse - Gregory Isaacs 2. Mad over Me - Yellowman 3. Diseases - Michigan & Smiley 4. Water Pumping - Johnny Osbourne 5. Pass the Tu-Sheng-Peng - Frankie Paul 6. Here I Come (Broader Than Broadway) - Barrington Levy 7. Ring the Alarm - Tenor Saw 8. Under Me Sleng Teng - Wayne Smith 9. Tempo - Anthony Redrose 10. Boops - Supercat 11. Greetings - Half Pint 12. Punanny - Admiral Bailey 13. Hol' a Fresh - Red Dragon 14. Rumours - Gregory Isaacs 15. Cover Me - Tinga Stewart 16. Legal Rights - Lady G 17. Wicked Inna Bed - Shabba Ranks 18. Bandolero - Pinchers 19. Yuh Dead Now - Tiger 20. Bogle - Buju Banton 21. Murder She Wrote - Chaka Demus & Pliers 22. Oh Carolina - Shaggy
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In Search of the Lost Riddim (1998) - Ernest Ranglin [Amazon US]
From the time he toured Senegal with Jimmy Cliff in the late '70s, Jamaican guitarist Ernest Ranglin wanted to return and record with local musicians. He finally got his wish in 1997, and the fruit produced by the journey was this collaboration with Senegalese star Baaba Maal. They're joined here by Maal's band, Daande Lenol, which translates as "nomad soul"--a fitting description for an album that is a restless blend of jazz sophistication and African syncopation. Restless is a dirty word when applied to roving husbands or spooked horses, but Ranglin's insatiable desire to explore is a treasure to behold. --Keith Moerer for amazon.comJamaican jazz guitarist Ernest Ranglin, at 66 years old, is more adventurous than most musicians half his age. Few could travel to Senegal and record with Baaba Maal and his band, Daande Lenol. Fewer still could make such a successful melding of styles. The secret is that Ranglin becomes a part of the band, trading licks with the kora, letting the others speak loudly, then adding his own distinctive voice to the proceedings. This is very definitely an "African" album, highlighted... --amazon.com
- Ernest Ranglin - Below the bassline [1 CD, Amazon US]
The man who taught Bob Marley how to play the guitar may finally get his just rewards. "BELOW THE BASSLINE" is a brilliant example of Jamaican Jazz in it's purest form. Ernest Ranglin has fast fingers for someone in his 60's. He has also mastered the technique of feathering the guitar strings with beathtaking precision. Add to this; an uncanny ability to comunicate such rich emotion through his music, and you have one sensational piece of music. This disc is testimony to his great love of Jazz, and his birth right Jamaica. Smooth, charming, and rhythmic. This is music you can either kick back and listen to, or get up and dance to. With "Below the Bassline", Ernest Ranglin has demolished any generation gap he may have had with the young or the old. This music is for everyone. Contagious to the last note. BRILLIANT!!!! -- : Dan Swan for Amazon.com - Darker Than Blue: Soul from Jamdown (1973-1980)[1CD, Amazon US]
With so many hip-hop headz and funk nostalgists digging deeper into the record crates for the real thing, labels such as the U.K.'s Soul Jazz have begun packaging dancehall for the new generation. On the other hand, premier reggae historian Steve Barrow--whose career of repackaging reggae for American and British audiences includes the landmark four-CD Tougher Than Tough box set--uses Darker Than Blue: Soul from Jamdown to turn the mirror around, examining Jamaican bands covering American funk. The fine selection includes covers of songs written by Americans already indelibly influenced by reggae, including Carl Bradney's cover of War's "Slipping into Darkness" and Tinga Stewart's cover of Timmy Thomas's "Why Can't We Live Together?" Others are completely Jamaicanized versions of the originals, as in the Tamlins' cover of Randy Newman's "Baltimore" and the unforgettable title track, Lloyd Charmers's dubwise rendering of Curtis Mayfield's classic. Welton Irie's "Hotter Reggae Music" borrows generous helpings of "Rapper's Delight," a case of history coming full circle. Highly recommended. --Jeff Chang
- Dreams of Freedom: Ambient Translations of Bob Marley in Dub - Bill Laswell [Amazon US] This CD gets very mixed reviews ranging from truly wonderful or truly awful. Personally I like it just fine. Very relaxed.
Books on Reggae
- The Rough Guide to Reggae by Steve Barrow [Amazon.com]
Finally, a comprehensive guide covering the entire span of Jamaican music, from the 1950s mento and R&B through dub, dancehall and ragga. Along with interviews of crucial reggae personalities (Bunny Lee, King Jammy, and Coxsone Dodd, for example) and profiles of major careers (like Gregory Isaacs, Sugar Minott, and of course, Bob Marley), Barrow and Dalton provide the irreplaceable service of reviewing and recommending more than 1,000 CD and vinyl selections. The writers clearly love their topic and are exceedingly knowledgeable about it. The resulting guide is a combination of fascinating historical tidbits, scholarly attention to musical detail, and a definitive treatment of reggae's genre, artists, albums, and songs. --Stephanie Gold - Wake the Town and Tell the People: Dancehall Culture in Jamaica (2000) - Norman C. Stolzoff [Amazon US]
Arguing that dancehall music is steeped in the Jamaican slave culture of 200 years ago and is not just a recent form of expression by volatile ghetto youth, Norman C. Stolzoff, an anthropologist at the University of California-Irvine, puts forth the first comprehensive study of a largely misunderstood and underestimated phenomenon. In Wake the Town & Tell the People: Dancehall Culture in Jamaica, Stolzoff reveals that the lingo, dress code, power structure (including sexism and violence), sound and expression of dancehall not only reflect the struggle between Jamaica's haves and have-nots but also represent an intra-class (though not insular) battleground among the nation's poor. --amazon.com/Publishers Weekly
- People Funny Boy: The Genius of Lee "Scratch" Perry (2001) - David Katz, Rainford Hugh Lee Perry [Amazon US]
In reggae music, only Bob Marley rivals Lee "Scratch" Perry in importance. Scratch collaborated on some of the Wailers' best early stuff, and indeed, Marley's "career was largely shaped by creative interaction with Perry." Katz spent years sifting Perry's true story from the legends about him. Confusion about his birth date is to be expected, for public record keeping has not been a high priority in Jamaica, but Perry further muddled matters by claiming to hail from Jupiter, the sky, and Africa, as well. And then, "it is worth noting that the regular use of ganja . . . result[s] in short- and long-term memory loss." Ganja is, of course, a leitmotif of Perry's biography, and fans of Timothy White's Bob Marley book, Catch a Fire (rev. ed., 1995), will appreciate Katz's further exploration of the ganja-permeated world of reggae. Collections serving world music and pop music fans should consider this piece of reggae history absolutely essential. Mike Tribby for American Library Association - Solid Foundation: An Oral History of Reggae (2003) - David Katz [Amazon US]
A groundbreaking and comprehensive history of reggae, with firsthand accounts by reggae's most prominent and popular figures.Solid Foundation: An Oral History of Reggae is an original, in-depth look at one of the most influential music genres. Through exclusive interview material and previously unpublished photographs, David Katz brings to life over one hundred of reggae's most important artists, including Toots and The Maytals, The Melodians, the Skatalites, and the Wailers Band, Augustus Pablo, Culture, Sugar Minott, Cocoa Tea, and Frankie Paul, who speak for the first time about their roles in the music's progression. From the pre-ska years of the late 1950s to the dawning of the digital age in the mid-1980s, Solid Foundation charts the evolution of ska, rock steady, traditional and untraditional reggae styles, and the sub-genres of dub, deejay, and dancehall. The book is largely drawn from conversations Katz conducted with the architects of Jamaica's popular music, and with perceptive and detailed commentary, he celebrates the creativity and individuality that have made reggae music one of the most popular contemporary styles throughout the world.
- The Virgin Encyclopedia of Reggae (1998) - Colin Larkin (Editor) [Amazon.com] [FR] [DE] [UK]
This is a complete handbook of information and opinion about the history and development of reggae music. Based on the "Encyclopedia of Popular Music", the book contains over 1000 entries covering musicians, bands, songwriters, producers and record labels which have made a significant impact on the development of reggae music. It brings together people such as Prince Buster and Duke Reid, with performers who took reggae beyond Jamaica's shores such as Jimmy Cliff and Bob Marley and the Wailers, and those who have been at the forefront in more recent years, such as UB40, Shabba Ranks and Red Rat. Each entry offers information such as dates, career facts, discography and album ratings. --from the publisher - Cut 'N' Mix: Culture, Identity, and Caribbean Music - Dick Hebdige [Amazon US]
Dick Hebdige in his book, "Cut 'N' Mix" described Jamaican 'toasting' as when the Jamaican disc jockies talked over the music they played. This style developed at dances in Jamaica known as "blues dances". "Blues dances" were dances which took place in large halls or out in the open in the slum yards. "Blues dances" were a regular feature of ghetto life in Jamaica. At these dances black America R&B records were played. Jamaicans were introduced to these records by black American sailors stationed on the island and by American radio stations in and around Miami which played R&B records.Some favorite R&B artists were Fats Domino, Amos Melburn, Louis Jordan, and Roy Brown. There was a great demand for the R&B type of music, but unfortunately there were no local Jamaican bands which could play this type of music as well as the black American artists. As a result, 'sound systems' (comprised of DJs, roadies, engineers, bouncers) which were large mobile discotheques were set up to meet this need.
Love of the Common People: Anthology, 1967-1979 - Joe Gibbs
Love of the Common People: Anthology, 1967-1979 - Joe Gibbs [Amazon.com] [FR] [DE] [UK]
Rhythm & Sound () - Rhythm & Sound
Rhythm & Sound () - Rhythm & Sound [Amazon.com] [FR] [DE] [UK]
with Tikiman on vocals, released by a Detroit-Berlin crew Basic Channel, headed by Maurizio Von Oswald. I have been a long time fan of the dub-vocalist Tikiman from Caribbean Island of Dominica, especially his collaboration with the Berlin-minimalists Rhythm and Sound.