Roots reggae | |
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Cultural origins | Jamaica |
Derivative forms | Dub |
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Music of Jamaica | ||
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Nationalistic and patriotic songs | ||
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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 honouring of God, called Jah by Rastafarians. [1] It is identified with the life of the ghetto sufferer, [2] 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.
The increasing influence of the Rastafari movement after the visit of Haile Selassie to Jamaica in 1966 played a major part in the development of roots reggae, with spiritual themes becoming more common in reggae lyrics in the late 1960s. [1] Important early roots reggae releases included Winston Holness's "Blood & Fire" (1970) and Yabby You's "Conquering Lion" (1972). [1] Political unrest also played its part, with the 1972 election campaign of Michael Manley targeting the support of Jamaica's ghetto communities. [1] Increasing violence associated with the opposing political parties was also a common lyrical theme, with tracks such as Junior Murvin's "Police & Thieves" and Culture's "Two Sevens Clash". [1]
The heyday of roots reggae is usually considered the latter half of the 1970s – with artists such as The Abyssinians, Johnny Clarke, Cornell Campbell, Bob Marley, Peter Tosh, Burning Spear, Dennis Brown, Max Romeo, Horace Andy, Hugh Mundell, and Lincoln Thompson, and groups like Black Uhuru, Steel Pulse, Israel Vibration, The Gladiators and Culture – teaming up with producers such as Lee 'Scratch' Perry, Bunny Lee, Joseph Hoo Kim and Coxsone Dodd. The Sound system (Jamaican) was of unequalled importance in spreading reggae and dub, with the diaspora represented by leading sound system operators such as Jah Shaka, who, in turn, went on to profoundly influence many in Britain and the world, influencing early punk rock musicians in London, as well as definitively shaping later bass dominated genres such as Jungle music and Drum and bass. The experimental pioneering of such producers within often-restricted technological parameters gave birth to dub, and is seen by some music historians as one of the earliest (albeit analogue) contributions to modern dance music production techniques.
Roots reggae became popular in Europe in the 1970s, especially among left-wing white youths in Western Europe. [3] The Wailers' popularity in Europe opened the door for other artists, and roots reggae artists became popular with punk rock fans. [1] When Jamaicans turned to dancehall, a lot of black, white and mixed roots reggae bands were formed in Europe. [1] Later on roots reggae made its way into the United States with the migration of Jamaicans to New York. This took place with the reforms made to American immigration laws in the early 1960s. Along with localised traditions and food, reggae music was inevitably brought as well, contributing to the New York City soundscape, such as the development of hip hop. [4]
While roots reggae was largely overtaken in popularity in Jamaica by dancehall, several artists from the original era, such as Culture, Burning Spear, and Israel Vibration continued to produce roots reggae, and artists like Beres Hammond and Freddie McGregor continued the use of roots reggae, as a musical style and thematically, through the 1980s. In the 1990s younger Jamaican artists became interested in the Rastafari movement and began incorporating roots themes into their music. Most notable among the new generation of "conscious" artists was Garnett Silk, whose positive spiritual message and consistent use of roots and rocksteady riddims gave him cross generational appeal with Caribbean audiences. While other notable dancehall stars like Capleton and Buju Banton became devout Rastas and changed their musical direction as a result. [1] Other modern roots artists and bands also emerged at this time, including Luciano, Junior Kelly, Morgan Heritage, Anthony B, and Sizzla. [2]
Similar to the oversimplification and limitations of the terminology middle passage, the roots reggae displays Africa as a mythical paradise that functions primarily as a motivating symbol, imagined origin, and semantic center. "More so even than earlier sounds, roots reggae always seemed to invite itself directly to Africa, brazenly insisting upon itself as the continent's primary echo, if not recursive mirror". The mythical Africa articulated in roots reggae is shaped by desire, nostalgia and trauma under the pressure of local Caribbean politics. While an imagined Africa is used as an inspiration for resistance and revolution against "Babylon" (corrupted capitalist colonial culture), Africa's actual complexity and contradictions are not investigated. [5]
Traditional reggae and roots reggae, a subgenre that evolved from traditional reggae, while sharing a common Jamaican heritage, exhibit distinct characteristics that set them apart. Traditional reggae encompasses diverse themes, including love, everyday life, and dancehall culture, whereas roots reggae tends to focus its lyrics on social consciousness. [2] Traditional reggae rhythms vary widely, featuring both upbeat and slower tunes. In contrast, roots reggae is marked by a deliberate one-drop rhythm and a slower tempo. Rooted in a deep social and political consciousness, its lyrics often tackle issues of poverty, oppression, and spirituality, influenced by the Rastafarian movement. [6] Musically, roots reggae maintains a specific sonic identity, characterised by deep basslines, skanking guitar patterns, and the inclusion of horns. [1] While these distinctions exist, the lines between reggae and roots reggae can be flexible, and the two genres share a significant overlap within the broader reggae musical landscape.
Reggae is a music genre that originated in Jamaica in the late 1960s. The term also denotes the modern popular music of Jamaica and its diaspora. A 1968 single by Toots and the Maytals, "Do the Reggay", 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 Jamaican dance music, the term reggae more properly denotes a particular music style that was strongly influenced by traditional mento as well as by American jazz and rhythm and blues, and evolved out of the earlier genres ska and rocksteady. Reggae usually relates news, social gossip, and political commentary. 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.
Rastafari, sometimes called Rastafarianism, is an Abrahamic religion that developed in Jamaica during the 1930s. It is classified as both a new religious movement and a social movement by scholars of religion. There is no central authority in control of the movement and much diversity exists among practitioners, who are known as Rastafari, Rastafarians, or Rastas.
The music of Jamaica includes Jamaican folk music and many popular genres, such as mento, ska, rocksteady, reggae, dub music, dancehall, reggae fusion and related styles.
Lincoln Barrington "Sugar" Minott was a Jamaican reggae and dancehall singer, producer and sound-system operator.
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, emphasis of the rhythm section, the application of studio effects such as echo and reverb, and the occasional dubbing of vocal or instrumental snippets from the original version or other works.
Dancehall is a genre of Jamaican popular music that originated in the late 1970s. Initially, dancehall was a more sparse version of reggae than the roots style, which had dominated much of the 1970s. In the mid-1980s, digital instrumentation became more prevalent, changing the sound considerably, with digital dancehall becoming increasingly characterized by faster rhythms. Key elements of dancehall music include its extensive use of Jamaican Patois rather than Jamaican standard English and a focus on the track instrumentals.
Jamaican culture consists of the religion, norms, values, and lifestyle that define the people of Jamaica. The culture is mixed, with an ethnically diverse society, stemming from a history of inhabitants beginning with the original inhabitants of Jamaica. The Spaniards originally brought slavery to Jamaica. Then they were overthrown by the English. Jamaica later gained emancipation on 1 August 1838, and independence from the British on 6 August 1962. Black slaves became the dominant cultural force as they suffered and resisted the harsh conditions of forced labour. After the abolition of slavery, Chinese and Indian migrants were transported to the island as indentured workers, bringing with them ideas from their country.
Jah Shaka, also known as the Zulu Warrior, was a Jamaican reggae/dub sound system operator who operated a South East London-based, roots reggae Jamaican sound system since the early 1970s. His name is an amalgamation of the Rastafarian term for God and that of the Zulu king Shaka Zulu.
There are several subgenres of reggae music including various predecessors to the form.
Though reggae music first developed in Jamaica, it has strong rhythmic and thematic associations with Africa and has been called "the quintessential African/third world/black musical form". There are many African reggae musicians with a wide fan base both on the continent and abroad. Well-known African reggae artists are Alpha Blondy, Pax Nindi aka Harare Dread, Majek Fashek, Tiken Jah Fakoly, Colbert Mukwevho,Thomani Tshikororo, Ismael Isaac, Radical Dread, Jambo, Soul Raiders, Lucky Dube, and Serges Kassy.
Mansions of Rastafari is an umbrella term for the various groups of the Rastafari movement. Such groups include the Bobo Ashanti, the Niyabinghi, the Twelve Tribes of Israel, and several smaller groups, including African Unity, Covenant Rastafari, Messianic Dreads and the Selassian Church. The term is taken from the Biblical verse in John 14:2, "In my Father's house are many mansions."
Right Time is the 1976 studio album debut of influential reggae band the Mighty Diamonds. The album, released by Virgin Records after they signed the Mighty Diamonds following a search for talent in Jamaica, is critically regarded as a reggae classic, a landmark in the roots reggae subgenre. Several of the album's socially conscious songs were hits in the band's native Jamaica, with a few becoming successful in the UK underground. Influential and sometimes unconventional, the album helped secure the success of recording studio Channel One Studios, and rhythm team Sly Dunbar and Robbie Shakespeare.
Errol Holt, also known as Errol Carter and by his nickname Flabba, is a Jamaican bass guitar player and a singer who was a member of The Morwells and the Roots Radics and has played on hundreds of Jamaican albums.
Kenyan reggae is mainly a fusion of Jamaican reggae and local ethnic singing styles that incorporate Lingala, benga and Kenyan hip hop.
Nyabinghi, also Nyahbinghi, Niyabinghi, Niyahbinghi, is the gathering of Rastafari people to celebrate and commemorate key dates significant to Rastafari throughout the year. It is essentially an opportunity for the Rastafari to congregate and engage in praise and worship. For example, on July 23 of each year, a Nyabinghi is held to celebrate the birth of Emperor Haille Selassie I. During a Nyabinghi celebration men and women have different roles and expectations. Men are expected to remove any hair coverings, whilst women must keep their hair covered. A group of men typically organise themselves in a line or semi-circle and are assigned to beat the drums throughout. The remaining congregation continue to sing well known songs or 'chants', some of which are Hebraic scriptural verses that evidence the divinity of Haile Sellassie. For example, 'I have a little light in I and I'm going to make it shine, Rastafariiii, shine' and 'Holy Mount Zion is a holy place and no sinners can enter there, so let the words of my mouth and the mediation of my heart, be acceptable in thy sight, of Rastafari'. Nyabinghi is a Rastafari tradition that promotes Rastafari unity, strengthens the Rastafari spirit with fellowship and raises the consciousness and presence of Rastafafari in the heart of those in attendance. At some points passages of the bible are read. Rastafari recognise the significance of Jesus Christ, due to Haile Sellassie I fulfilling the teachings and prophecy of scripture.
Jah People is an American roots reggae band from Philadelphia, Pennsylvania. Founded in 2012, Jah People began primarily as a cover band performing classic reggae hits from Bob Marley including "Exodus", "Is This Love" and "Redemption Song". The group grew a local interest by embodying Marley's message of love and spirituality, with a blend of musicality to meld funk, rock, reggae, and soul influences. Jah People began to create original songs, such as "Karma Flow" and "Selfish" in 2014, with the title song "Rising High" as an update to Marley's "Exodus" from his ninth studio album. The group is a part of the growing reggae scene in the arts-centered city of Philadelphia, Headlining in the 2015, 2016 and 2018 Caribbean Festival at Penn's Landing.
Neville O'Riley Livingston, known professionally as Bunny Wailer, was a Jamaican singer-songwriter and percussionist. He was an original member of reggae group The Wailers along with Bob Marley and Peter Tosh. A three-time Grammy Award winner, he is considered one of the longtime standard-bearers of reggae music. He was also known as Jah B, Bunny O'Riley, and Bunny Livingston.
Mafia Tone is a music brand active early in the UK reggae movement. The Jah MafiaTone HiFi sound system launched in Birmingham, UK in 1975 and remained active until 1980.
The Rastafari movement developed out of the legacy of the Atlantic slave trade, in which over ten million Africans were enslaved and transported to the Americas between the 16th and 19th centuries. Once there, they were sold to European planters and forced to work on the plantations. Around a third of these transported Africans were relocated in the Caribbean, with under 700,000 being settled in Jamaica. In 1834, slavery in Jamaica was abolished after the British government passed the Slavery Abolition Act 1833. Racial prejudice nevertheless remained prevalent across Jamaican society. The overwhelming majority of Jamaica's legislative council was white throughout the 19th century, and those of African descent were treated as second-class citizens.