Grow With Me Riddim Rare
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Grow With Me Riddim Rare
. Reggae ( ) is a that originated in in the late 1960s. The term also denotes the modern popular music of Jamaica and its. A 1968 single by, ' was the first popular song to use the word 'reggae,' effectively naming the genre and introducing it to a global audience. While sometimes used in a broad sense to refer to most types of popular, the term reggae more properly denotes a particular music style that was strongly influenced by traditional as well as American and, especially the New Orleans R&B practiced by and, and evolved out of the earlier genres and.
Reggae usually relates news, social gossip, and political comment. Reggae spread into a commercialized jazz field, being known first as ‘Rudie Blues’, then ‘Ska’, later ‘Blue Beat’, and ‘Rock Steady’. It is instantly recognizable from the counterpoint between the bass and drum downbeat, and the offbeat rhythm section. The immediate origins of reggae were in ska and rocksteady; from the latter, reggae took over the use of the bass as a percussion instrument. Stylistically, reggae incorporates some of the musical elements of, (a celebratory, rural folk form that served its largely rural audience as dance music and an alternative to the hymns and adapted chanteys of local church singing), calypso, African music, as well as other genres. One of the most easily recognizable elements is offbeat rhythms; staccato chords played by a guitar or piano (or both) on the offbeats of the measure.
The tempo of reggae is usually slower paced than ska but faster than rocksteady. The concept of can be found throughout reggae music.
The genre of reggae music is led by the drum and bass. Some key players in this sound are Jackie Jackson from, from, from, from, from, and Anthony 'Benbow' Creary from. The often plays the dominant role in reggae. The bass sound in reggae is thick and heavy, and so the upper frequencies are removed and the lower frequencies emphasized. The in reggae usually plays on the off beat of the rhythm. It is common for reggae to be sung in, and dialects.
Reggae is noted for its tradition of social criticism and religion in its lyrics, although many reggae songs discuss lighter, more personal subjects, such as love and socializing. Reggae has spread to many countries across the world, often incorporating local instruments and fusing with other genres. Spread from the Spanish speaking Central American country of Panama to the mainland South American countries of and then to the rest of South America., including reggae, has been popular since the late 1960s, and has evolved into several subgenres and fusions.
Many reggae artists began their careers in the UK, and there have been a number of European artists and bands drawing their inspiration directly from Jamaica and the Caribbean community in Europe. Reggae in Africa was boosted by the visit of to Zimbabwe in 1980. In Jamaica, authentic reggae is one of the biggest sources of income.
Contents. Etymology The 1967 edition of the Dictionary of lists reggae as 'a recently estab. For rege', as in rege-rege, a word that can mean either 'rags, ragged clothing' or 'a quarrel, a row'. Reggae as a musical term first appeared in print with the 1968 rocksteady hit ' by which named the genre of Reggae for the world. Reggae historian credits with altering the word streggae (loose woman) into reggae. However, said: There's a word we used to use in Jamaica called 'streggae'. If a girl is walking and the guys look at her and say 'Man, she's streggae' it means she don't dress well, she look raggedy.
The girls would say that about the men too. This one morning me and my two friends were playing and I said, 'OK man, let's do the reggay.' It was just something that came out of my mouth.
So we just start singing 'Do the reggay, do the reggay' and created a beat. People tell me later that we had given the sound its name. Before that people had called it blue-beat and all kind of other things. Now it's in the Guinness World of Records. Is said to have claimed that the word reggae came from a Spanish term for 'the king's music'. The liner notes of To the King, a compilation of Christian gospel reggae, suggest that the word reggae was derived from the Latin regi meaning 'to the king'.
Precursors Although strongly influenced by traditional and, as well as American and, reggae owes its direct origins to the and of 1960s Jamaica. The generic title for Jamaican music recorded between 1961 and 1967, ska emerged from Jamaican R&B, which itself was largely based on American R&B and doo-wop. Rastafari entered some countries primarily through reggae music; thus, the movement in these places is more particularly stamped by its origins in reggae music and social milieu. The was a significant influence on reggae, with drummers like taking part in seminal recordings. One of the predecessors of reggae drumming is the, a style of ritual drumming performed as a communal meditative practice in the Rastafarian life. Ska arose in Jamaican studios in the late 1950s, developing from American R&B, and. Ska is characterized by a quarter note line, guitar and piano, and a drum pattern with cross-stick snare and bass drum on the backbeat and open hi-hat on the offbeats (with nothing on beats one and three).
It is also notable for its jazz-influenced horn riffs. Jamaica gained its independence in 1962, and ska became the music of choice for Jamaican youths seeking music that was their own. Ska also became popular among in Britain.
In the mid-1960s, Rocksteady emerged, a genre slower than ska featuring more romantic lyrics and less prominent horns. The name was later solidified after the release of a single. There are many theories as to why Jamaican musicians slowed the ska tempo to create rocksteady; one is that the singer Hopeton Lewis was unable to sing his hit song 'Take It Easy' at a ska tempo. Many rocksteady rhythms were later used as the basis of reggae recordings.
The 'double skank' guitar strokes on the offbeat were also part of the new reggae style. History Reggae developed from and in the 1960s. Larry And Alvin’s ‘Nanny Goat’ and the Beltones’ ‘No More Heartaches’ competed for the status of first reggae record. The beat was distinctive from rocksteady in that it dropped any of the pretensions to the smooth, soulful sound that characterized slick American R&B, and instead was closer in kinship to US southern funk, being heavily dependent on the rhythm section to drive it along.Reggae’s great advantage was its almost limitless flexibility: from the early, jerky sound of Lee Perry’s ‘People Funny Boy’, to the uptown sounds of Third World’s ‘Now That We’ve Found Love’, it was an enormous leap through the years and styles, yet both are instantly recognizable as reggae. The shift from rocksteady to reggae was illustrated by the organ pioneered by Jamaican musicians like and Winston Wright and featured in transitional singles 'Say What You're Saying' (1968) by and 'People Funny Boy' (1968). ' 1968 track 'Long Shot (Bus' Me Bet)' has been identified as the earliest recorded example of the new rhythm sound that became known as reggae.
Early 1968 was when the first bona fide reggae records were released: 'Nanny Goat' by and 'No More Heartaches' by The Beltones. That same year, the newest Jamaican sound began to spawn big-name imitators in other countries. American artist 's 1968 hit 'Hold Me Tight' has been credited with first putting reggae in the American listener charts. Around the same time, reggae influences were starting to surface in and, one example being 1968's ' by., a band started by, and in 1963, is perhaps the most recognized band that made the transition through all three stages of early Jamaican popular music: ska, rocksteady and reggae. Over a dozen Wailers songs are based on or use a line from Jamaican mento songs.
In 1951, recordings of mento music began to be released. These recordings showcased two styles of mento: an acoustic, rural style and a jazzy, popular style. Other significant reggae pioneers include, and. However, another pioneer was (born 6 October 1946), a, best known for her 1964 blue-beat/ska of ' which was a smash hit internationally. Notable Jamaican producers influential in the development of ska into rocksteady and reggae include:, and., who founded in Jamaica in 1960, relocated to England in 1962, where he continued to promote Jamaican music. He formed a partnership with Lee Gopthal's in 1968, which released reggae in the UK until bought by Saga records in 1974. Reggae's influence bubbled to the top of the U.S.
Charts in late 1972. First hit #1 in September with a cover of ' version of '. Then was at #1 for four weeks in November with '. 's single ' - a track which he recorded in Kingston, Jamaica with 's backing group - was ranked by Billboard as the No. 57 song of 1972.
In 1973, the film starring was released and introduced Jamaican music to cinema audiences outside Jamaica. Though the film achieved cult status its limited appeal meant that it had a smaller impact than 's 1974 cover of Bob Marley's ' which made it onto the playlists of mainstream rock and pop radio stations worldwide. Clapton's 'I Shot The Sheriff' used modern rock production and recording techniques and faithfully retained most of the original reggae elements; it was a breakthrough pastiche devoid of any parody and played an important part in bringing the music of Bob Marley to a wider rock audience. By the mid-1970s, authentic reggae dub plates and specials were getting some exposure in the UK on 's radio show, who promoted the genre for the rest of his career. Around the same time, British filmmaker documented the Jamaican music scene in Roots Rock Reggae, capturing the heyday of. In the late 1970s and early 1980s, the UK scene flourished, and reggae was a notable influence.
The DJ would play reggae and punk tracks at clubs such as. Punk bands such as, and played many reggae-influenced songs. Around the same time, reggae music took a new path in the UK; one that was created by the multiracial makeup of England's inner cities and exemplified by groups like, and, as well as artists such as and.
The Jamaican ghetto themes in the lyrics were replaced with UK themes, and Jamaican became intermingled with slang. In South London around this time, a new subgenre of, was being created. Unlike the Jamaican music of the same name which was mainly dominated by male artists such as, the South London genre was led by female singers like Thompson and.
The UK Lovers Rock had a softer and more commercial sound.Other reggae artists who enjoyed international appeal in the early 1980s include, and. The Grammy Awards introduced the category in 1985. Females also play a role in the reggae music industry personnel such as Olivia Grange, president of Specs-Shang Musik; Trish Farrell, president of Island/Jamaica; Lisa Cortes, president of Loose Cannon; Jamaican-American Sharon Gordon, who has worked in the independent reggae music industry. Reggae Month Jamaican Prime Minister Bruce Golding made February 2008 the first annual Reggae Month in Jamaica.
To celebrate, the Recording Industry Association of Jamaica (RIAJam) held its first Reggae Academy Awards on February 24, 2008. In addition, Reggae Month included a six-day Global Reggae conference, a reggae film festival, two radio station award functions, and a concert tribute to the late Dennis Brown, who Bob Marley cited as his favorite singer. On the business side, RIAJam held events focused on reggae's employment opportunities and potential international revenue. Musical characteristics. Rhythm often considered 'the' reggae beat' or. Stylistically, reggae incorporates some of the musical elements of (R&B), African, and Latin American music, as well as other genres.
Reggae scenes consist of two guitars, one for rhythm and one for lead—drums, congas, and keyboards, with a couple vocalists. Reggae is played in because the symmetrical rhythmic pattern does not lend itself to other time signatures such as 3 4. One of the most easily recognizable elements is offbeat rhythms; staccato chords played by a guitar or piano (or both) on the offbeats of the measure, often referred to as the.
This rhythmic pattern accents the second and fourth beats in each and combines with the drum's emphasis on beat three to create a unique sense of phrasing. The reggae offbeat can be counted so that it falls between each count as an 'and' (example: 1 and 2 and 3 and 4, etc.) or counted as a half-time feel at twice the tempo so it falls on beats 2 and 4. This is in contrast to the way most other popular genres focus on beat one, the 'downbeat'. The tempo of reggae is usually slower than but faster than.
It is this slower tempo, the guitar/piano offbeats, the emphasis on the third beat, and the use of, melodic bass lines that differentiate reggae from other music, although other musical styles have incorporated some of these innovations. Harmonically the music is essentially the same as any other modern popular genre with a tendency to make use of simple progressions. Reggae sometimes uses the dominant chord in its minor form therefore never allowing a perfect cadence to be sounded; this lack of resolution between the tonic and the dominant imparts a sense of movement 'without rest' and harmonic ambiguity. Extended chords like the (' by ) and are used though suspended chords or diminished chords are rare.
Minor keys are commonly used especially with the minor chord forms of the subdominant and dominant chord (for example in the key of G minor the progression may be played Gm – Dm – Gm – Dm – Cm – Dm – Cm – Dm). A simple progression borrowed from and is the tonic chord followed by the minor supertonic chord with the two chords repeated continuously to form a complete verse (' by C – Dm 7). The concept of 'call and response' can be found throughout reggae music, in the vocals but also in the way parts are composed and arranged for each instrument. The emphasis on the 'third beat' of the bar also results in a different sense of musical phrasing, with bass lines and melody lines often emphasizing what might be considered 'pick up notes' in other genres.
Drums and other percussion A standard drum kit is generally used in reggae, but the is often tuned very high to give it a -type sound. Some reggae drummers use an additional timbale or high-tuned snare to get this sound. Cross-stick technique on the snare drum is commonly used, and are often incorporated into the drumbeat itself. Robbie Shakespeare Reggae fall into three main categories:, Rockers, and Steppers.
With the One drop, the emphasis is entirely on the backbeat (usually on the snare, or as a rim shot combined with bass drum). Beat one is empty except for a closed high hat commonly used, which is unusual in popular music.
There is some controversy about whether reggae should be counted so that this beat falls on two and four, or whether it should be counted twice as fast, so it falls on three. An example played by Barrett can be heard in the song 'One Drop'. Barrett often used an unusual on the, which can be heard on many recordings by Bob Marley and the Wailers, such as 'Running Away' on the album. Sly Dunbar An emphasis on the backbeat is found in all reggae drumbeats, but with the Rockers beat, the emphasis is on all four beats of the bar (usually on bass drum). This beat was pioneered by, who later helped create the 'Rub-a-Dub' sound that greatly influenced dancehall.
Sly has stated he was influenced to create this style by listening to American drummer Earl Young as well as other disco and R&B drummers in the early to mid-1970s, as stated in the book 'Wailing Blues'. The prototypical example of the style is found in 's drumming on 'Right Time' by the Mighty Diamonds. The Rockers beat is not always straightforward, and various are often included. An example of this is the song 'Sponji Reggae'. In Steppers, the bass drum plays every quarter beat of the bar, giving the beat an insistent drive. An example is 'Exodus' by Bob Marley and the Wailers. Another common name for the Steppers beat is the 'four on the floor'.
's 1975 song 'Red, Gold, and Green' (with Leroy Wallace on drums) is one of the earliest examples. The Steppers beat was adopted (at a much higher tempo) by some revival bands of the late 1970s and early 1980s. An unusual characteristic of reggae drumming is that the drum fills often do not end with a climactic cymbal. A wide range of other percussion instrumentation are used in reggae. Are often used to play free, improvised patterns, with heavy use of African-style. Cowbells, and shakers tend to have more defined roles and a set pattern. Reggae drummers often involved these three tips for other reggae performers: (1) go for open, ringing tones when playing ska and rocksteady, (2) use any available material to stuff the bass drum so that it tightens up the kick to a deep, punchy thud, and (3) go without a ride cymbal, focusing on the hi-hat for timekeeping and thin crashes with fast decay for accents.
Aston Barret The often plays the dominant role in reggae, and the drum and bass is often the most important part of what is called, in Jamaican music, a (rhythm), a (usually simple) piece of music that's used repeatedly by different artists to write and record songs with. Literally hundreds of reggae singers have released different songs recorded over the same rhythm.
The central role of the bass can be particularly heard in — which gives an even bigger role to the drum and bass line, reducing the vocals and other instruments to peripheral roles. The bass sound in reggae is thick and heavy, and so the upper frequencies are removed and the lower frequencies emphasized. The bass line is often a repeated two or four bar when simple chord progressions are used. The simplest example of this might be Robbie Shakespeare's bass line for the Black Uhuru hit 'Shine Eye Gal'.
In the case of more complex harmonic structures, such as 's version of 'Stranger In Love', these simpler patterns are altered to follow the chord progression either by directly moving the pattern around or by changing some of the interior notes in the phrase to better support the chords. Al Anderson The in reggae usually plays on the off beat of the rhythm. So if one is counting in 4 4 time and counting 1 + 2 + 3 + 4 +, one would play a downstroke on the 'and' part of the beat. A musical figure known as or the 'bang' has a very dampened, short and scratchy sound, almost like a percussion instrument. Sometimes a double chop is used when the guitar still plays the off beats, but also plays the following eighth-note beats on the up-stroke.
An example is the intro to ' by The Wailers. Artist and producer says, “What happened was the musical thing was real widespread, but only among a certain sort of people. It was always a down-town thing, but more than just hearing the music. The equipment was so powerful and the vibe so strong that we feel it.” Keyboards From the earliest days of Ska recordings, a piano was used to double the rhythm guitar's skank, playing the in a style to add body, and playing occasional extra beats, runs and riffs. The piano part was widely taken over by during the 1980s, although synthesizers have been used in a peripheral role since the 1970s to play incidental melodies and.
Larger bands may include either an additional keyboardist, to cover or replace and lines, or the main keyboardist filling these roles on two or more keyboards. The reggae organ-shuffle is unique to reggae.
In the original version of reggae, the drummer played a reggae groove that was used in the four bar introduction, allowing the piano to serve as a percussion instrument. Typically, a -style sound is used to play chords with a choppy feel. This is known as the bubble. This may be the most difficult reggae keyboard rhythm.
The organ bubble can be broken down into 2 basic patterns. In the first, the 8th beats are played with a space-left-right-left-space-left-right-left pattern, where the spaces represent downbeats not played—that and the left-right-left falls on the ee-and-a, or and-2-and if counted at double time. In the second basic pattern, the left hand plays a double chop as described in the guitar section while the right hand plays longer notes on beat 2 (or beat 3 if counted at double time) or a syncopated pattern between the double chops.
Both these patterns can be expanded on and improvised embellishments are sometimes used. Horns Horn sections are frequently used in reggae, often playing introductions and counter-melodies. Instruments included in a typical reggae horn section include saxophone, trumpet or trombone.
In more recent times, real horns are sometimes replaced in reggae by or recorded samples. The horn section is often arranged around the first horn, playing a simple melody or counter melody. The first horn is usually accompanied by the second horn playing the same melodic phrase in unison, one octave higher.
The third horn usually plays the melody an octave and a fifth higher than the first horn. The horns are generally played fairly softly, usually resulting in a soothing sound. However, sometimes punchier, louder phrases are played for a more up-tempo and aggressive sound.
's former frontman performing in 2009. The vocals in reggae are less of a defining characteristic of the genre than the instrumentation and rhythm, as almost any song can be performed in a reggae style. However, it is very common for reggae to be sung in, and dialects. Vocal harmony parts are often used, either throughout the melody (as with vocal groups such as the ), or as a counterpoint to the main vocal line (as with the backing vocalists, the ).
More complex vocal arrangements can be found in the works of groups like and reggae band. An unusual aspect of reggae singing is that many singers use (volume oscillation) rather than (pitch oscillation). Notable exponents of this technique include and vocal group. The vocal style is unique to reggae, originating when improvised spoken introductions to songs (or 'toasts') to the point where it became a distinct rhythmic vocal style, and is generally considered to be a precursor to. It differs from rap mainly in that it is generally melodic, while rap is generally more a spoken form without melodic content. Lyrical themes Reggae is noted for its tradition of social criticism in its lyrics, although many reggae songs discuss lighter, more personal subjects, such as love and socializing.
Many early reggae bands covered or soul and songs. Some reggae lyrics attempt to raise the political consciousness of the audience, such as by criticizing, or by informing the listener about controversial subjects such as. Many reggae songs promote the use of (also known as herb, ganja, or sinsemilla), considered a sacrament in the. There are many artists who utilize religious themes in their music — whether it be discussing a specific religious topic, or simply giving praise to God.
Other common socio-political topics in reggae songs include, anti-, and criticism of political systems and. In recent years, Jamaican (and non-Jamaican) reggae musicians have used more positive themes in reggae music. The music is widely considered a treasured cultural export for Jamaica, so musicians who still desire progress for their island nation have begun focusing on themes of hopefulness, faith, and love. For elementary children, reggae songs such as 'Give a Little Love,' 'One Love,' or 'Three Little Birds,' all written by Bob Marley, can be sung and enjoyed for their optimism and cheerful lyrics.
Criticism of dancehall and ragga lyrics. See also: The wide cultural exposure which has enhanced the recognizability of reggae has been achieved primarily through a corporate commercialization effected at the expense of both the lyrical and instrumental essence of the music.
This process has involved coerced or voluntary assimilation of more commercially compatible characteristics, appropriation by white mainstream artists, and an overall dispersal of ideological and musical meaning and creative value.The mainstream Euro-American audience has continually demonstrated a propensity for adopting reggae-oriented material on the basis of its aesthetically pleasing surface qualities rather than for explicitly political or deeper musical content, causing authenticity problems for reggae fans. Some dancehall and ragga artists have been criticised for, including threats of violence. 's song 'Boom Bye-Bye' states that gays 'haffi dead'. Other notable dancehall artists who have been accused of homophobia include, and. The controversy surrounding anti-gay lyrics has led to the cancellation of UK tours by Beenie Man and Sizzla. Toronto, Canada has also seen the cancellation of concerts due to artists such as Elephant Man and Sizzla refusing to conform to similar censorship pressures. After lobbying from the coalition, the dancehall music industry agreed in 2005 to stop releasing songs that promote hatred and violence against gay people.
In June 2007, Beenie Man, and signed up to the Reggae Compassionate Act, in a deal brokered with top dancehall promoters and Stop Murder Music activists. They renounced homophobia and agreed to 'not make statements or perform songs that incite hatred or violence against anyone from any community'.
Five artists targeted by the anti-homophobia campaign did not sign up to the act, including Elephant Man, Bounty Killa and. Buju Banton and Beenie Man both gained positive press coverage around the world for publicly renouncing homophobia by signing the Reggae Compassion Act.
However, both of these artists have since denied any involvement in anti-homophobia work and both deny having signed any such act. Reggae 7' Single For many years vinyl has been of central importance to the Jamaican music industry, playing a significant cultural and economic role in the development of reggae music. 'In the early 1950's, Jamaican entrepreneurs began issuing 78s' but this format would soon be superseded by the 7' single, first released in 1949. The first 7' singles to appear in Jamaica around this time were often covers of popular American RnB hits, made by Kingston operators to be played in the dance. 'Meanwhile, Jamaican expatriates started issuing 45s on small UK independents, typically featuring graphics-free logos. Though the quality of foreign pressing was typically better, some were actually mastered from Jamaican 45s and many were totally unauthorised'.
Oil Crisis The quality of 7' singles produced in Jamaica took a dramatic turn for the worse following the oil crisis of the 1970s. The 45 rpm adapter is crucial when playing 7' singles which feature a cut out middle. Reggae outside Jamaica Main doctrines. Performing at the 2017 spread from mainland South American Caribbean from and to the rest of South America. It does not have any specific characteristics other than being sung in Spanish, usually by artists of Latin American origin. Originated in as a blend of with Jamaican reggae.
Reggae also has a presence in,. The most notable reggae group being Los Aguas Aguas from. Some of the most popular reggae groups across Latin America come from the Southern Cone, such as the Chilean band, and the Argentinian band Los Cafres. The Puerto Rican band is also widely recognized in the region.
Hispanic reggae includes three elements: the incorporation of the Spanish language; the use of translations and versions based on known riddims and background music; and regional consciousness. It is a medium of rebellious contestation rising from the underground.
Hispanic reggae is related to rap, sharing characteristics that can be found not only in the social conditions in which they developed in the region but also in the characteristics of social sectors and classes that welcome them. Brazilian samba-reggae utilized themes such as the U.S. African-American civil rights movement and the Black Soul movement, and especially the Jamaican independence movement since the 1960s and its messages in reggae and Rastafarianism. Thus, the sudden popularity of reggae music and musicians in Bahia, Brazil, was not the result of the effects of the transnational music industry, but of the need to establish cultural and political links with black communities across the Americas that had faced and were facing similar sociopolitical situations. Musically, it was the bloco afro Olodum and its lead percussionist, Neguinho do Samba, that began to combine the basic samba beat of the blocos with merengue, salsa, and reggae rhythms and debuted their experimentations in the carnival of 1986.
The new toques (drumming patterns) were labeled 'samba-reggae' and consisted basically of a pattern in which the surdo bass drums (four of them at the minimum) divided themselves into four or five interlocking parts. In the United States, bands like, and are considered progressive reggae bands sometimes referred to as or Pacific Dub. The American reggae scene is heavily centred in, with large scenes also in, and. For decades, Hawaiian reggae has had a big following on the Hawaiian islands and the West coast of the US.
On the east coast upstate NY has seen a rise in original roots reggae bands such as and who were inspired by Jamaican reggae bands that performed in the area back in the 80s and 90s. Gained prominence by blending traditional Jewish themes with reggae. Compounding his use of the hazzan style, Matisyahu's lyrics are mostly English with more than occasional use of and. There is a large Caribbean presence in and, with English and French influences on the reggae genre. Canadian band 's 2013 single ' was an international hit.
In 2017, became the second reggae-based group to ever perform at the, after in 2016. Europe The UK was a primary destination for Caribbean people looking to emigrate as early as the 1950s. Because of this, including reggae, has been popular since the late 1960s, and has evolved into several subgenres and fusions. Most notable of these is, but this fusion of Jamaican music into English culture was seminal in the formation of other musical forms like and.
The UK became the base from which many Jamaican artists toured Europe and due to the large number of Jamaican musicians emigrating there, the UK is the root of the larger European scene that exists today. Many of the world's most famous reggae artists began their careers in UK. Singer and Grammy Award-winning reggae artist began his career with seminal British sound system.
Three reggae-tinged singles from 's 1978 debut album, laid down the template for the basic structure of a lot of rock/reggae songwriting: a reggae-infused verse containing upstrokes on guitar or keyboards and a more aggressive, on-the-beat punk/rock attack during the chorus. The end of the 1970s featured a ska revival in the UK. By the end of the '70s, a revival movement had begun in England, with such bands as the Specials, Madness, the (English) Beat, and the Selecter. The Specials' leader and keyboardist, founded the 2 Tone record label, which released albums from the aforementioned racially integrated groups and was instrumental in creating a new social and cultural awareness. The 2 Tone movement referenced reggae's godfathers, popular styles (including the genre's faster and more dance-oriented precursors, ska and rocksteady), and previous modes of dress (such as black suits and porkpie hats) but updated the sound with a faster tempo, more guitar, and more attitude. Sumfest- Containing more than 70 acts, was created in just six weeks in 1993 by a consortium of successful Montego Bay businessmen after its predecessor, Reggae Sunsplash, relocated from the resort to Kingston, Reggae Sumfest has established itself as Jamaican music's premier annual live showcase.
Fifteen years on-despite a proliferation of U.S. And European summer reggae festivals-label A&Rs and live promoters from the United States, Europe, Japan and the Caribbean say that Sumfest remains the most reliable reggae event at which to spot new artists and book talent for upcoming shows. References.