Bass Culture: When Reggae Was King
Lloyd Bradley
Language: English
Pages: 592
ISBN: 0140237631
Format: PDF / Kindle (mobi) / ePub
The first major account of the history of reggae, black music journalist Lloyd Bradley describes its origins and development in Jamaica, from ska to rock-steady to dub and then to reggae itself, a local music which conquered the world. There are many extraordinary stories about characters like Prince Buster, King Tubby and Bob Marley. But this is more than a book of music history: it relates the story of reggae to the whole history of Jamaica, from colonial island to troubled independence, and Jamaicans, from Kingston to London.
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a swish London hotel suite during a 1993 UK tour, but there was fire and passion in his voice when he remembered back to over twenty years earlier: ‘What happened at the end of the 1960s and into the 1970s, when the reggae music had just come into fashion and was doing so well both in Jamaica and in England, was that so much pure money men had become involved with it. These were the people who was behind the music scene, and they started thinking that by presenting something thinner, something
music being played in West Kingston, Buster had developed such an acute ear for American R&B that he and Dodd would join the crowd outside other sounds' dances, and purely by listening, Buster would identify the tunes being played: ‘Duke Reid's liquor business was big, he have trucks and everything, he have much more money than Coxsone to go to America and buy records, so when he come back with a new batch we would go outside his dance so we could listen. Because I'd studied the artistry of the
but, typically, it was uptown types with no connection to the sound systems who were exploiting this distinctly sufferah state of affairs. The two most noteworthy were also the first two non-sound-owning producers. One was a white, planter-class-wealthy, Jamaican-born Old Harrovian named Chris Blackwell, whose year-old label, R&B, snapped up Laurel Aitken as its first Jamaican signing. The other was Edward Seaga, a Harvard-educated anthropologist and aspiring politician who recorded Owen Gray,
‘Digital’ on the future, 540 on ‘new breed’ producers, 525–8 on ‘Sleng Teng’, 521–4 Digital B Studios, 524 DJ Pebbles on British reggae, 382–3 on the early British roots scene, 379–80 UK dancehalls, 381 Dobson, Dobby 21, 161, 165 Doctor Alimantado 304, 447 Dodd, Clement, 118, 119, 162, 518 as told by Derrick Harriott, 40–41 as told by Prince Buster, 37–9 All Stars and Worldisc record labels, 44–5 arrangements with UK labels, 121 attitude to dreads, 289 attitude to the first ska,
respectively, to become the first Jamaican-produced recognized British hits. And they really did usher in, if not an invasion, then definitely a Jamaican line of scrimmage. Part Two Simmer Down ‘They [the people] knew it wasn't independence at all… and as the music started to slow down – like the party finish – people start observing what was happening… and they figured they'd better start looking out for themselves… That's when the rude-boy era start, and to many people it was like
