Reggae

Reggae () is a music genre that originated in Jamaica in the late 1960s. The term also refers to the modern popular music of Jamaica and its diaspora. The 1968 single by Toots and the Maytals titled

Origins and influences#

Reggae developed from earlier Jamaican genres including mento, ska, and rocksteady, and is rooted in traditional drumming styles such as Kumina, Pukkumina, Revival Zion, Nyabinghi, and burru. It incorporates elements of rhythm and blues, jazz, mento (a rural folk form that served as dance music and an alternative to church singing, which was conflated with calypso by the 1950s),

Musical characteristics#

Reggae is distinguished by a slower tempo than ska or rocksteady, a strong emphasis on the downbeat in the drum and bass, and short, staccato guitar or piano chords on the offbeat. The bass guitar plays a central role, with a thick, heavy tone and the high frequencies reduced to accentuate the low end. Call-and-response patterns are common, and the rhythm section often uses the bass as a percussion instrument, a feature carried over from rocksteady. Notable rhythm players include Jackie Jackson, Carlton Barrett, Lloyd Brevett, Paul Douglas, Lloyd Knibb, Winston Grennan, Sly Dunbar, and Anthony “Benbow” Creary. Vocals are often delivered in Jamaican Patois, Jamaican English, or Iyaric. Lyrical themes range from political and social commentary to religion, love, and leisure activities.

Cultural connections#

Reggae is closely associated with Rastafari, an Afrocentric religion that emerged in Jamaica in the 1930s promoting pan-Africanism. From the 1970s onwards, its international success helped to spread Rastafarian beliefs, with musicians often seen as cultural messengers and agents of change.

Global spread#

Reggae has reached audiences worldwide, often fusing with other genres and incorporating local instruments. In Latin America, reggae en Español originated in Panama before spreading to Venezuela and across South America. In the United Kingdom, Caribbean music, including reggae, has been popular since the late 1960s, spawning several subgenres and fusions, with many reggae artists beginning their careers there. European musicians have also drawn heavily on Jamaican and Caribbean traditions. In Africa, the genre’s profile was boosted by the visit of Bob Marley to Zimbabwe in 1980.

Etymology#

The 1967 edition of the Dictionary of Jamaican English lists reggae as “a recently estab. sp. 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 “Do the Reggay” by the Maytals which named the genre. Reggae historian Steve Barrow credits Clancy Eccles with altering the Jamaican patois word streggae (loose woman) into reggae. Bob Marley said 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 meaning ’to the king'.

Precursors#

Reggae’s direct origins are in the ska and rocksteady of 1960s Jamaica, strongly influenced by traditional mento (often referred to as calypso music due to conflation), as well as American jazz and rhythm and blues. Ska was originally a generic title for Jamaican music recorded between 1961 and 1967 and emerged from Jamaican R&B, which was based largely on American R&B and doo-wop. Rastafari entered some countries primarily through reggae music; thus, the movement in these places is more stamped by its origins in reggae music and social milieu. The Rastafari movement was a significant influence on reggae, with Rasta drummers like Count Ossie taking part in seminal recordings. One of the predecessors of reggae drumming is the Nyabinghi rhythm, a style of ritual drumming performed as a communal meditative practice in Rastafarian culture. In the latter half of the 20th century, phonograph records became of central importance to the Jamaican music industry, playing a significant cultural and economic role in the development of reggae music. “In the early 1950s, Jamaican entrepreneurs began issuing 78s” In 1951 the first recordings of mento music were released as singles and showcased two styles of mento: an acoustic rural style, and a jazzy pop style. Other 7" singles to appear in Jamaica around this time were covers of popular American R&B hits, made by Kingston sound system operators to be played at public dances. Notable for its jazz-influenced horn riffs, ska is characterized by a quarter note walking bass line, guitar and piano offbeats, and a drum pattern with cross-stick snare and bass drum on the backbeat and open hi-hat on the offbeats. When Jamaica gained independence in 1962, ska became the music of choice for young Jamaicans seeking music that was their own. Ska also became popular among mods in Britain. In the mid-1960s, ska gave rise to rocksteady, a genre slower than ska featuring more romantic lyrics and less prominent horns. Theories abound 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. The name “rocksteady” was codified after the release of a single by Alton Ellis. Many rocksteady rhythms later were used as the basis of reggae recordings, whose slower tempos allowed for the “double skank” guitar strokes on the offbeat.

Emergence in Jamaica#

Reggae developed from ska and rocksteady in the late 1960s. Larry And Alvin’s “Nanny Goat” and the Beltones’ “No More Heartaches” were among the songs in the genre. 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 shuffle pioneered by Jamaican musicians like Jackie Mittoo and Winston Wright and featured in transitional singles “Say What You’re Saying” (1968) by Eric “Monty” Morris and “People Funny Boy” (1968) by Lee “Scratch” Perry. Early 1968 was when the first bona fide reggae records were released: “Nanny Goat” by Larry Marshall and “No More Heartaches” by the Beltones. The rapid commercial growth of reggae in the late 1960s was aided by major changes in Jamaica’s music industry. Increased retail sales of records led to the expansion of specialist record shops and formal distribution networks, reducing reliance on sound systems as the primary means of circulating music. This shift enabled a new generation of independent producers, such as Bunny Lee and Harry J, to enter the industry without operating their own sound systems or retail shops. With studios available for hourly rental, record production became less expensive and more accessible, contributing to a sharp increase in the volume of recordings and accelerating reggae’s spread. In 1968, the newest Jamaican sound began to spawn big-name imitators in other countries. American artist Johnny Nash’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 rock and pop music; one example is 1968’s “Ob-La-Di, Ob-La-Da” by the Beatles. The Wailers, a band started by Bob Marley, Peter Tosh and Bunny Wailer 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. Other significant ska artists who made the leap to reggae include Prince Buster, Desmond Dekker, Ken Boothe, and Millie Small, best known for her 1964 blue-beat/ska cover version of “My Boy Lollipop” which was a smash hit internationally. Notable Jamaican producers influential in the development of ska into rocksteady and reggae include: Coxsone Dodd, Lee “Scratch” Perry, Leslie Kong, Duke Reid, Joe Gibbs and King Tubby. Reggae’s early growth in the United Kingdom was initially driven by the country’s Jamaican immigrant community, with records distributed through small import businesses and specialist shops before the music achieved mainstream commercial success. Chris Blackwell, who founded Island Records in Jamaica in 1960, relocated to England in 1962, where he continued to promote Jamaican music. He formed a partnership with Lee Gopthal’s Trojan Records in 1968, which released reggae in the UK until bought by Saga records in 1974. Many reggae recordings released in Britain during the late 1960s and early 1970s were remixed, remastered, or overdubbed with additional orchestration by British licensees in an effort to make them more commercially accessible to mainstream pop audiences. According to Lloyd Bradley, Jamaican artists often commented that their British releases sounded substantially different from the original Jamaican recordings.

International popularity#

Between 1968 and 1972, reggae sales in the United Kingdom exceeded those in Jamaica. During 1970 alone, Trojan/B&C released approximately 500 singles across more than thirty labels, with sales exceeding two million copies. Reggae’s influence bubbled to the top of the U.S. Billboard Hot 100 charts in late 1972. First Three Dog Night hit No. 1 in September with a cover of the Maytones’ version of “Black and White”. Then Johnny Nash was at No. 1 for four weeks in November with “I Can See Clearly Now”. Paul Simon’s single “Mother And Child Reunion” – a track which he recorded in Kingston, Jamaica with Jimmy Cliff’s backing group – was ranked by Billboard as the No. 57 song of 1972. In 1972, the film The Harder They Come starring Jimmy Cliff 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 Eric Clapton’s 1974 cover of Bob Marley’s “I Shot the Sheriff” which made it onto the playlists of mainstream rock and pop radio stations worldwide. However, the film’s hit soundtrack, which debuted in North America in February 1973, is considered to have “brought reggae to the world.” In addition, 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 John Peel’s radio show, who promoted the genre for the rest of his career. Around the same time, British filmmaker Jeremy Marre documented the Jamaican music scene in Roots Rock Reggae, capturing the heyday of Roots reggae. While the quality of Reggae records produced in Jamaica took a turn for the worse following the oil crisis of the 1970s, reggae produced elsewhere began to flourish.

Reggae heritage#

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 24 February 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. . Reggae Month 2019 in Jamaica was welcomed with multiple events ranging from corporate reggae functions to major celebrations in honour of Bob Marley’s Birthday on 6 February to a tribute concert in honour of Dennis Brown on 24 February along with a sold-out concert by 2019 Reggae Grammy nominated artiste Protoje for his A Matter of Time Live held at Hope Gardens in Kingston on 23 February. In November 2018 “reggae music of Jamaica” was added to the UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity the decision recognised reggae’s “contribution to international discourse on issues of injustice, resistance, love and humanity underscores the dynamics of the element as being at once cerebral, socio-political, sensual and spiritual.”

Cod reggae#

The term cod reggae is popularly used to describe reggae done by non-Caribbean people, often in a disparaging manner because of perceived inauthenticity. Boy George has been described as “one of the great cod reggae artists of all time.”

Musical characteristics#

Stylistically, reggae incorporates some of the musical elements of rhythm and blues (R&B), jazz, mento, 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 of vocalists. Reggae is played in time; its repeating patterns of alternating stronger and weaker beats do not lend themselves to other time signatures such as . 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 skank. This rhythmic pattern accents the second and fourth beats in each bar 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 and … , 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 ska or rocksteady. The slower tempo, the guitar/piano offbeats, the emphasis on the third beat, and the use of syncopated, melodic bass lines differentiate reggae from other music, although other musical styles have incorporated some of these innovations.

Drums and other percussion#

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.

Guitars#

In reggae, the guitar typically emphasizes the offbeat, playing short, staccato chords between the main beats of the bar in time. A musical figure known as skank or the ‘bang" has a very dampened, short and scratchy chop 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 “Stir It Up” by the Wailers. Artist and producer Derrick Harriott 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#

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.

Horns#

The three-piece horn section, consisting of trumpet, trombone, and saxophone, creates harmonies that are distinctive of reggae music. Dub horn sections found with artists like John Brown’s Body create a soundscape that is unmistakable.

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 Motown or Atlantic soul and funk songs. Some reggae lyrics attempt to raise the political consciousness of the audience, such as by criticizing materialism, or by informing the listener about controversial subjects such as apartheid. Many reggae songs promote the use of cannabis (also known as herb, ganja, or sinsemilla), considered a sacrament in the Rastafari movement. 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 (Jah). Other common socio-political topics in reggae songs include black nationalism, anti-racism, anti-colonialism, anti-capitalism and criticism of political systems and “Babylon”. 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 reggae lyrics#

Some dancehall and ragga artists have been criticised for homophobia, including threats of violence. Buju Banton’s song “Boom Bye-Bye” states that gays “haffi dead” (have to die). Other notable dancehall artists who have been accused of homophobia include Elephant Man, Bounty Killer and Beenie Man. 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 Stop Murder Music 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, Sizzla and Capleton 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, TOK, Bounty Killa and Vybz Kartel. 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.

Genre family: 1960s in music, Jamaican styles of music