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Riddim is the Jamaican Patois pronunciation of the English word "rhythm". In the context of reggae and dancehall, it refers to the instrumental accompaniment to a song and is synonymous with the rhythm section. Jamaican music genres that use the term consist of the riddim plus the voicing sung by the deejay. The resulting song structure is distinctive in many ways. A given riddim, if popular, may be used in dozens—or even hundreds—of songs, not only in recordings but also in live performances.
Roots reggae is a subgenre of reggae that deals with the everyday lives and aspirations of Africans and those in the African Diaspora, including the spiritual side of Rastafari, black liberation, revolution and the honoring of God, called Jah by Rastafarians. It is identified with the life of the ghetto sufferer, and the rural poor. Lyrical themes include spirituality and religion, struggles by artists, poverty, black pride, social issues, resistance to fascism, capitalism, corrupt government and racial oppression. A spiritual repatriation to Africa is a common theme in roots reggae.
Dub is an electronic musical style that grew out of reggae in the late 1960s and early 1970s. It is commonly considered a subgenre of reggae, though it has developed to extend beyond that style. Generally, dub consists of remixes of existing recordings created by significantly manipulating the original, usually through the removal of vocal parts, the application of studio effects such as echo and reverb, emphasis of the rhythm section, and the occasional dubbing of vocal or instrumental snippets from the original version or other works.
Rocksteady is a music genre that originated in Jamaica around 1966. A successor of ska and a precursor to reggae, rocksteady was the dominant style of music in Jamaica for nearly two years, performed by many of the artists who helped establish reggae, including harmony groups such as the Techniques, the Paragons, the Heptones and the Gaylads; soulful singers such as Alton Ellis, Delroy Wilson, Bob Andy, Ken Boothe and Phyllis Dillon; musicians such as Jackie Mittoo, Lynn Taitt and Tommy McCook. The term rocksteady comes from a popular (slower) dance style mentioned in the Alton Ellis song "Rocksteady", that matched the new sound. Some rocksteady songs became hits outside Jamaica, as with ska, helping to secure the international base reggae music has today.
Alton Nehemiah Ellis was a Jamaican singer-songwriter. One of the innovators of rocksteady, he was given the informal title "Godfather of Rocksteady". In 2006, he was inducted into the International Reggae And World Music Awards Hall Of Fame.
Studio One is one of Jamaica's most renowned record labels and recording studios; it has been described as the Motown of Jamaica. The record label was involved with most of the major music movements in Jamaica during the 1960s and 1970s, including ska, rocksteady, reggae, dub and dancehall.
Delroy George Wilson CD was a Jamaican ska, rocksteady and reggae singer. Wilson is often regarded as Jamaica's first child star, having first found success as a teenager. His youngest son, Karl "Konan" Wilson, has found success as part of British duo Krept and Konan.
Donat Roy Mittoo, better known as Jackie Mittoo, was a Jamaican-Canadian keyboardist, songwriter and musical director. He was a member of The Skatalites and musical director of the Studio One record label.
Kenneth George Boothe OD is a Jamaican vocalist known for his distinctive vibrato and timbre. Boothe achieved an international reputation as one of Jamaica's finest vocalists through a series of crossover hits that appealed to both reggae fans and mainstream audiences.
"(White Man) In Hammersmith Palais" is a song by the English punk rock band the Clash. It was originally released as a 7-inch single, with the b-side "The Prisoner", on 16 June 1978 through CBS Records.
Sleng Teng is the name given to one of the first fully computerized riddims, influential in Jamaican music and beyond. The riddim, which was the result of work by Noel Davey, Ian "Wayne" Smith, and Lloyd "King Jammy" James, was first released with Wayne's vocals under the title "Under Mi Sleng Teng" in early 1985.
"Police and Thieves" is a reggae song first recorded by the falsetto singer Junior Murvin in 1976. It was covered by the punk band The Clash and included on their self-titled debut album released in 1977.
Leroy Sibbles is a Jamaican reggae musician and producer. He was the lead singer for The Heptones in the 1960s and 1970s.
"The Guns of Brixton" is a song by the English punk rock band the Clash, originally released on their 1979 album London Calling. It was written and sung by bassist Paul Simonon, who grew up in Brixton, South London. The song has a strong reggae influence, reflecting the culture of the area and the reggae gangster film The Harder They Come.
Junior Murvin was a Jamaican reggae musician. He is best known for the single "Police and Thieves", produced by Lee "Scratch" Perry in 1976.
Johnny Osbourne is one of the most popular Jamaican reggae and dancehall singers of all time, who rose to success in the late 1970s and mid-1980s. His album Truths and Rights was a roots reggae success, and featured "Jah Promise" and the album's title track, "Truths and Rights".
Willi Williams is a Jamaican reggae and dub musician and producer. He is known as the "Armagideon Man" after his hit, "Armagideon Time", first recorded in 1977 at Studio One in Kingston. The song was covered by The Clash as the flipside of their "London Calling" single.
Sound Dimension was a Jamaican reggae band formed in 1967 in Kingston, Jamaica. They were the house band at Clement "Coxsone" Dodd's Studio One. They were named after a piece of studio equipment called the Sound Dimension. Their 1967 recorded track "Real Rock" became a famous riddim.
"Armagideon Time" is a song by Jamaican reggae musician Willie Williams. It was produced by Clement "Coxsone" Dodd, who used the "Real Rock" riddim. It was first recorded in 1977 at Jamaica Recording Studio in Kingston, Jamaica, and released as a single in 1979 via Studio One. The single was re-released in 1980 and 1982 through Coxsone Records as a title track to Williams' second studio album of the same name. The song was covered by English rock band The Clash in 1979 and released as the B-side to their single "London Calling".
Winston Foster, better known by the stage name Yellowman, is a Jamaican reggae and dancehall deejay, also known as King Yellowman. He first became popular in Jamaica in the 1980s, rising to prominence with a series of singles that established his reputation.
References
- 1 2 Greene, Jo-Ann. "Real Rock - Sound Dimension". AllMusic .
- 1 2 3 Kenner, Rob (May 23, 2004). "'Real Rock' Through the Ages". The New York Times .
- ↑ "Samples of Real Rock by Sound Dimension". WhoSampled .