Prelude

It has been far, far too long since I wrote a CRAVE Guitars’ article. At some point, I may (or may not) go into the whys and wherefores behind the near 3‑year hiatus. I may also look into a brief résumé of what has happened to CRAVE Guitars during that period (hint… given Covid lockdowns, the cost‑of‑living crisis, etc., not a massive amount!). I am a bit out of practice.

In the meantime, I thought I would divert my attention a little, away from vintage guitars. The topic of this article is to present a few thoughts on one of my favourite music genres… dub reggae. It has allegedly been summertime in the UK, so I immersed myself in the crucial vibes of dub and that spawned the idea to write, which inspired me to listen to more dub, and write more. And so on. Although not particularly guitar oriented, I believe it is still worthy of exploration. As one might imagine, dub is often overlooked and misunderstood, even though it is a complicated branch of mainstream reggae. I hope that it may be of interest to someone out there and maybe, just maybe, there is something new to learn.

My passion for dub reggae was ignited in the mid‑1970s in a time before CDs when a friend introduced me to a specific vinyl LP, ‘Garvey’s Ghost’ by Burning Spear (1976). This particular studio album is the dub version of the vocal roots reggae album, ‘Marcus Garvey’ (1975), also by Burning Spear. For those not familiar with Burning Spear, Winston Rodney is a Rastafarian roots reggae artist, born in Saint Ann, Jamaica in 1945. As a youngster at the time, I hadn’t heard anything like it before and it made such an impact that it remains my favourite dub album and a reference against which others may be judged. I visited Jamaica back in 2008, although it wasn’t deemed safe for, especially white, tourists to move around freely.

This article looks at what dub reggae is, where it came from, why it became influential, who was involved and when it mattered. Despite some extensive research, I want to stress that this is my personal interpretation of the subject matter and should not be regarded in any way as definitive.

I would dearly like to illustrate the article with more images. However, copyright restrictions and CRAVE Guitars’ zero budget precludes relevant illustration. So… the words will have to suffice as a 1,000^th of a picture.

Reggae, roots and dub, as music genres, should be viewed as a fundamental fragment of Jamaica’s fascinating geography, history, demographics, politics, economics, culture and religion.

Right… Time, then, to spark up the chalwa and feel the righteous vibration…

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A brief history of Jamaica

It is quite astounding that such a prolific genre of music could arise in – and be sustained by – such a small island in the Caribbean. In order to understand the context into which such unbound creativity emerged, perhaps there is something in Jamaica’s past that may explain it.

Jamaica is the third largest island of the Greater Antilles in the Caribbean Sea, after Cuba and Hispaniola (a.k.a. Haiti and the Dominican Republic), at 4,244 square miles. It has a tropical climate with hot and humid weather and high annual rainfall. Flora and fauna are also diverse with many species only found on the island, many in the Blue and Crow Mountains National Park. Jamaica lies in the hurricane belt of the Atlantic Ocean and has experienced significant storm damage on a number of occasions in its past.

Humans have inhabited Jamaica from as early as 4000‑1000 BCE, although there is little known about their ancient society. The main pre‑colonial inhabitants were the Taino who may have originated from South America around 800AD. The indigenous Taino called their home Xaymaca. Most of the Taino people disappeared following the arrival of Europeans, although some may have sought safe sanctuary in the island’s mountainous and forested interior.

Italian explorer Christopher Columbus, under the sponsorship of Spain, first sighted the island in 1494 and called it Santiago. Columbus spent a year shipwrecked on the island from 1503 to 1504. Jamaica was not considered strategically important by the Spanish.

Spain ruled Jamaica from 1494 to 1655. The capital was established in what is now known as Spanish Town. The Spanish were the first to introduce African slaves to the island. Over time, the Spaniards changed the name of the island from the native Xaymaca to Jamaica.

In 1655 Britain captured and colonized Jamaica by force and formally gained possession of the island from Spain in 1670.

Following the British takeover, the island’s governor actively offered safe harbour to pirates and buccaneers in Port Royal in south eastern Jamaica in return for defending the town from Spanish attack. Some of these mercenaries and renegades became legal privateers operating in the name of the King of England. The pirates focused on attacking and plundering mainly Spanish ships on the trade route between Spain and Panama. Perhaps the most famous privateer of the 17^th Century was Welshman Henry Morgan, who also became a plantation owner and governor of Jamaica. The legendary pirate captain Blackbeard (Edward Teach) was also believed to live in Port Royal c.1700. By the end of the 17^th Century, Port Royal was known as a Pirate Utopia and its pervasive corruption, prostitution and lawlessness earned it the nickname of ‘Sodom of the New World’. Even though piracy was outlawed in 1681, it wasn’t until around 1730 that pirate numbers disappeared after action from the British navy. Piracy still occurs in the Caribbean in the present day.

‘The wickedest city on earth’, Port Royal, was destroyed by a devastating 7.5 magnitude earthquake and tsunami in 1692 (when part of the town sank into the sea), by fire in 1703 and by hurricanes in 1712, 1722, 1726 and 1744. It almost seems that the destruction of Port Royal was nothing short of divine retribution, with the hand of God smiting a modern‑day Sodom and Gomorrah. After that onslaught, Port Royal was effectively abandoned.

In the middle of the 17^th Century, the Dutch introduced sugarcane to the British West Indies. Sugar rapidly began to replace cotton and tobacco as the main crop.

Britain set about increasing both the European and the African slave population throughout the 18^th Century, as the sugar plantation industry spread across Jamaica. Success of the plantation system relied upon exploiting African slaves for labour. Many Jamaicans with slave origins can trace their ancestry back to the West African countries of Ghana and Nigeria. The British government abolished the transatlantic slave trade in 1807 and the practice of slavery itself in 1834. Consequently, the island’s plantation system collapsed. Descendants of African slaves who fled the plantations for the interior of the island set up their own communities and are still known today as Jamaican Maroons.

Britain made Jamaica a Crown Colony in 1866 and the capital was moved just 11 miles from Spanish Town to Kingston in 1872. Long‑term strife, through rebellions, resistance, skirmishes, riots and uprisings were commonplace throughout the 19^th Century, causing significant social, economic and political unrest. Toward the end of the 19^th Century, the demand for sugar waned significantly, creating severe economic decline.

The Jamaican government is based on a parliamentary democracy and the two main parties are the right‑wing JLP (Jamaica Labour Party) and left‑wing PNP (People’s National Party). A long‑standing feud between the two opposing parties has led to considerable political violence since they were formed in 1943.

Following the end of World War II, large‑scale emigration from Jamaica to the UK, USA and Canada occurred during the 1950s and 1960s when the country was still under British rule. Internally, political and racial tensions continued to grow and force change. Jamaica established internal self‑government in 1959 and became an independent island country on 6^th August 1962. Jamaican Independence Day is celebrated annually as a national holiday. The independent Jamaica is part of the Commonwealth of Nations with the British monarch as head of state, at least for now. The Jamaican government is seeking further constitutional change from 2025.

Political conflict, economic instability and widespread gang‑related disorder were major issues that plagued Jamaican society during the remainder of the 20^th Century and into the 21^st. Jamaica experiences high levels of crime and violence, and has one of the highest murder rates in the world. Organised crime and gang violence are rife especially in deprived areas. An intense street culture developed with disaffected, violent and discontented youths often known originally as ‘rude boys’ and latterly, ‘yardies’. The street subculture became widespread, associated with Jamaican ska and rocksteady music, even spreading to the UK as part of the mod and skinhead trends of the 1960s where it became known as boss reggae’.

Reggae artists were sadly not immune from violence and gun crime. Among the artists tragically murdered include Prince Far I (1983), Hugh Mundell (1983), Peter Tosh (1987), Carlton Barrett (1987), King Tubby (1989), Junior Braithwaite (1999), Henry ‘Junjo’ Lawes (1999), Lucky Dube (2007) and Winston Riley (2012). Famously, in 1976 seven armed men invaded Bob Marley’s home in Kingston in a failed assassination attempt. Marley was shot in the chest and arm and his wife, Rita Marley, was shot in the head. Both survived the politically motivated attack.

The Jamaican white population decreased drastically during the 19^th Century. According to census figures, in 1662, 87% of the population was white while by 2011, it was just 0.16%. This dramatic decline was a result of the end of slavery, the decline of the sugar industry with the abandonment of plantations, and a blending of racial boundaries.

Today, Jamaica currently has a total population of approximately 2.8m, with over 92% being of black African origin. The major religion, by far, is Christianity at over 72% of the population, principally Protestant. The official language is English, while the main spoken language is a creole Jamaican Patois based on English. Jamaica’s national motto is, “Out of Many, One People.”

Over half the Jamaican economy relies on tourism and services, with an estimated 4.3 million foreign tourists visiting Jamaica every year. Sugar remains the main crop grown in Jamaica followed by bananas, cocoa and coffee. Mining, oil refining and manufacturing also make up a proportion of its GDP by sector:

• Services – 58.22%
• Industry – 20.93%
• Agriculture – 8.34%
• Other – 12.51%

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The spiritual context behind reggae

This is where things begin to get interesting. Jamaica is a diverse multi‑ethnic, multi‑cultural and multi‑faith country. However, the distinguishing religion that contributed significantly to the home‑grown music industry of the country, particularly reggae, is Rastafarianism. Below are a few notable individuals and some of the ritual symbolism that have helped to define Rasta from the 1930s to the current day.

Haile Selassie I (1892‑1975) – Haile Selassie was Emperor of Ethiopia from 1930 until his death. Selassie’s pre‑imperial name was Ras Tafari Makonnen. Rastafarians adopted his name and believe in the incarnate divinity of Selassie as the messiah who will lead the peoples of Africa and the African diaspora to freedom. Haile Selassie visited Jamaica on 21^st April 1966, attended by approximately 100,000 black Jamaicans and Rastafarians from all over the island. Selassie reportedly respected Rastafarian beliefs even though he was a devout Christian. Selassie died in Ethiopia at the age of 83.

Marcus Garvey (1887‑1940) – Marcus Mosiah Garvey Jr. was born in St. Ann’s Bay, Jamaica. Garvey was a Jamaican political activist and black nationalist. He was the founder and first President‑General of the Universal Negro Improvement Association and African Communities League, commonly known as UNIA from 1914. Garvey was a key influence on the Rastafarian movement from the 1930s. Many Rastas regard Garvey as a prophet, although the reverence was not necessarily reciprocated, as Garvey was a Catholic, not a Rastafarian.

The principal tenet of Garveyism is the ideology of unification and empowerment of African‑descended people and the repatriation of the descendants of enslaved Africans to the African continent.

Garvey was responsible for the establishment of the short‑lived Black Star Line from 1919 to 1922, a shipping company created to facilitate the transportation of goods and Africans throughout the global economy. The company used the Ghanaian Black Star of Africa flag, as a symbol of the ‘Back to Africa’ movement and of anti‑colonialism. The line’s name was a rejection of the competing British White Star Line.

Marcus Garvey and the UNIA were responsible for the Pan‑African flag created in 1920 comprising three horizontal stripes of red, black and green. The colours represent red for the blood that unites all people of Black African ancestry and shed in the name of liberation, black for the colour of the people, and green for the abundant natural wealth of Africa.

Garvey died in London at the age of 52. When Jamaica gained independence in 1962, the new government hailed Garvey as a hero. In 1969, he was posthumously conferred with the Order of the National Hero by the Jamaican government.

Leonard Howell (1898‑1981) – Howell, along with peers Joseph Hibbert and Robert Hinds, was one of the first preachers of the Rastafarian movement. Howell is regarded by many as ‘The First Rasta’, following the coronation of Ethiopian Emperor Hailie Selassie in 1930. Howell died in Kingston, Jamaica at the age of 83.

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Rastafarianism – While the predominant religion of Jamaicans in Christianity, Rastafarians make up only 1.1% of the Jamaican population. Rastafarianism is an unstructured religious movement originating in Jamaica in the 1930s and has now become established globally. Rastafarianism takes elements from the Christian Bible and combines them with the ideology of Marcus Garvey and the belief that Haile Selassie was the second advent of the Messiah. Many theologians question the legitimacy of the Rasta doctrine as a true religion in its own right, regarding its philosophy and beliefs as more of a pseudo‑religion.

Jah – Jah is a term widely used by Rastafarians as their name for God. Jah is a shortened form of YHWH (Yahweh, Yehovah, or Jehovah), translated as ‘lord’, as used by the ancient Israelites. The word Jah appears literally in the King James Bible (Psalm 68:4), “Extol him that rideth upon the heavens by his name JAH, and rejoice before him”. However, even though Rasta faith draws elements from the scriptures, the Jah of Rastafarians should not be regarded as synonymous with the God of the Christian Bible. The expression of Jah as spoken by Rastafarians is “I and I”, where the first “I” is the Almighty and the second “I” refers to oneself. A goal of Rastafarian meditation is to maintain or raise awareness of the unity of I and I.

Zion – Rastafarians regard Africa as their Promised Land, or ‘Zion’, specifically Ethiopia, due to the reverence held for Emperor Haile Selassie. Zion is another Biblical reference and an idealisation of Jerusalem. Zion may refer to Africa, Ethiopia or Jamaica, as well as an individual’s state of mind. Rastas commonly believe that Black Africans are descended from one of the Twelve Tribes of Israel through the lineage of the Ethiopian royal family. Neutral commentators might suggest that Zion has become a nostalgic, semi‑mythological and metaphorical paradise in the way it is idealised by Marcus Garvey and the Rastafarian movement. Furthermore, it may be argued that Zion is used more as a motivational symbol rather than an objective critical reality.

Babylon – Rastafarianism is strongly Afrocentric and proclaims that the African diaspora is oppressed and suffering in exile within Western society, which they refer to as ‘Babylon’. Rastas compare the exile of African people displaced outside Africa to the imprisonment of the Biblical Israelites in Mesopotamia. A frequent mantra for Rastas is to “chant down Babylon”, advocated by Marcus Garvey as the ultimate goal of Rastafarianism; to overcome oppression, bring an end to suffering, and act as a powerful anthem for social change.

Livity – Livity is seen as the ideal lifestyle for Rastafarians, comprising prayer and meditation, a righteous – often vegetarian – diet (ital), and the same positive love for everything (one love). Livity is about Rastafarians living a natural lifestyle, including a focus on the growth of natural hair and a rejection of alcohol, tobacco and synthetic medicines. Furthermore, the concept of livity incorporates a belief that the energy or life force of Jah exists within, and flows through, all living things (positive vibration). The word irie can mean anything from good, fine and OK to a powerful, pleasing and all‑encompassing quality.

Dreadlocks – While dreadlocks date back as far as 1600‑1500 BCE in Europe, the distinctive hairstyle, often called ‘dreads’, has been adopted by many Rastafarians. Dreadlocks in Rasta tradition are symbolic of the Lion of Judah, inspired by the Nazarites of the Bible and representing male inner strength and courage. The Lion of Judah is depicted at the centre of the Imperial Flag of Haile Selassie of Ethiopia. Natty Dread is a common term that refers to a Rastafarian with dreadlocks. In addition to the symbolic colours of red, black and green of the Pan‑African flag, the yellow stripe of the imperial flag is said to signify the historical rebellion against colonial rule and those who stole Jamaica’s wealth. The four colours – red, black, green and yellow – are collectively known as the Rasta colours. Since the 1970s, dreadlocks have become a popular fashion statement of choice worldwide, even among non‑Rastafarians.

Ganja – Marijuana/cannabis is colloquially referred to as ganja, callie weed, kaya and the herb. For many, although not all, Rastafarians, smoking of ganja is considered a sacrament and a key component of their belief system. Rastas contend that the use of ganja is promoted in the Bible, literally in Exodus, Psalms, Isiah, Jeremiah and Ezekiel. For instance, in the Book of Exodus, God gave Moses instructions to build the tabernacle (the Tent of the Congregation that was the portable earthly dwelling of Yahweh), “Then the Lord said to Moses, take the following fine spices, 500 shekels of liquid myrrh, half as much of fragrant cinnamon, 250 shekels of fragrant calamus [cannabis], 500 shekels of cassia – all according to the sanctuary shekel – and a hin of olive oil”. NB. One shekel equates to approximately 13g. For Rastas, the use of ganja is believed to have healing properties, is used an incense to ward off bad spirits, promotes peace and love, and provides introspection or meditation that enables them to discover their internal divinity. Ganja is smoked either in the form of a hand‑rolled spliff (joint) or through a ‘wisdom’ chalice or chalwa, a smoking pipe, also referred to as a kutchie. Ritual use of ganja is often used in communal meetings called ‘groundings’ or ‘groundations’ (depending on size) with ganja traditionally circulated in an anti‑clockwise direction. Rastas have long advocated for the legalisation of cannabis in those parts of the world where possession and use are illegal. Use of ganja became widely associated with Jamaican reggae music when performed by Rastafarians, especially during the 1970s.

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Reggae music variants and timeline

Mento – Mento is a Jamaican acoustic folk music that melds West African and European influences into a distinct style. Calypso music, which emerged from Trinidad and Tobago far to the south east of Jamaica, had tended to become a generic term for West Indian music. However, while mento is similar to calypso, it should not be confused with it. Jamaican mento was particularly popular in the 1940s and 1950s. A mento band generally used acoustic guitar, banjo, hand drums and a rhumba box used for basslines. Mento lyrics were a commentary on Jamaican social life and issues experienced by Jamaican citizens. Mento is still played today, mainly for tourist entertainment. Mento is important because it is regarded as a necessary precursor of ska, rocksteady and, ultimately, reggae, roots and dub.

Notable mento artists included Louise Bennett, Count Lasher, Lord Flea and, most famously, Harry Belafonte, an American star born in Jamaica.

Ska – Ska is a lively and energetic popular dance music and is seen as the forerunner of reggae. Ska combined elements of Caribbean mento, calypso, American jazz and rhythm & blues. The word ‘ska’ first appeared in a 1964 news article, despite the genre having been around since the late 1950s. The term ska is possibly a contraction of ‘skavoovie’, a greeting used by musician Cluett Johnson. Alternatively, ‘ska’ was used by Jamaican musician and producer Byron Lee to differentiate ska from mento.

Jamaican ska music is characterised by a 4/4 rhythm with drum accent on the 3^rd beat of the bar and a guitar chop on the 2^nd and 4^th beats, known as an upstroke or ‘skank’. Skanking is also an indigenous dance style that accompanied ska music. One of the earliest ska tracks was, ‘Easy Snappin’’ by Theo Beckford (recorded in 1956 and released in 1959), made popular by producer Clement ‘Coxsone’ Dodd and his Downbeat Sound System. ‘My Boy Lollipop’ (1964) by Millie Small is widely regarded as the first international ska hit single.

Special mention should be made of Laurel Aitken, a Cuban/Jamaican singer, often referred to as the ‘Godfather of Ska’. A legacy of ska, known as boss reggae, became very popular in the UK, as the skinhead trend cottoned on to high energy ska through their association with Jamaican youths in the late 1960s and early 1970s. Ska has had roughly three incarnations; original Jamaican ska from the late 1950s and early 1960s, British 2‑Tone in the post‑punk late 1970s and the so‑called ska revival of the 1980s and 1990s.

Notable ska artists include Desmond Dekker, The Skatalites, Byron Lee & the Dragonaires, Lorenzo ‘Laurel’ Aitken, The Melodians, Toots & the Maytals, Prince Buster, Jimmy Cliff, Derrick Morgan, Ernest Ranglin and The Pioneers.

In the UK, notable ska artists include The Specials, Madness, Bad Manners, The Beat, The Selecter, Judge Dread and Spunge.

Rocksteady – Rocksteady was a short‑lived but crucial musical link between ska and reggae. Rocksteady was essentially a slower tempo form of ska and was popular as a dance genre. It emerged around 1966 and was popular for only 2 years until 1968 when reggae became the predominant genre. The term rocksteady came from a song by Alton Ellis called, ‘Rocksteady’ (1967). Producer Clement ‘Coxsone’ Dodd continued to be a key character in rocksteady. Rocksteady was influenced by American soul, resulting in a focus on romance and love songs, which became known as ‘lovers rock’, a mainstream reggae sub‑genre in its own right. Rocksteady was also influential in the evolution of radio friendly pop reggae and Euro reggae.

Notable rocksteady artists included The Paragons, The Heptones, The Gaylads, Delroy Wilson, Ken Boothe, Phyllis Dillon, The Wailers, Jackie Mittoo, The Ethiopians, Tommy McCook, The Melodians and Hopeton Lewis.

Reggae – Rocksteady rapidly evolved into what we now know as mainstream reggae from around 1968. The word reggae first appeared on a single by Toots and the Maytals, ‘Do the Reggay’ (1968). It was around that time that Jamaican studio technology began to be upgraded and the role of producers and sound engineers became increasingly important. Reggae arrangements typically comprise vocals, drums/percussion, bass, guitar(s), keyboards and horns. Reggae bands tended to have fewer musicians, horns became less prominent, bass players tended to become more experimental, aided by the slower tempo that began with rocksteady.

Reggae retained the same 4/4 time signature as its predecessors, although its component parts now became more stylized. The drum pattern, usually snare and bass drum, retains its emphasis on the 3^rd beat of the bar. As there is no accent on the 1^st beat, it is ‘dropped’, hence what is called reggae’s ‘one drop’ rhythm. In addition, the slower ‘rockers’ rhythm uses a bass drum on every eighth note, while the even slower ‘steppas’ rhythm uses a bass drum on every quarter beat. Reggae also retains the guitar or keyboard staccato ‘skank’ on the offbeat 2^nd and 4^th beats. Reggae introduced the offbeat double‑skank, enabled by the slower, more laid back tempos of reggae rhythms. The rhythm part often uses melodic, syncopated basslines.

An important element of reggae and dub was the ‘version’. B‑sides of rocksteady and reggae singles were often instrumental with greater emphasis on drums and bass, and little or no vocals. Guitar and keyboards, as lead instruments, were ‘dubbed’ in and out of the mix with little studio manipulation.

The Jamaican sound system culture (effectively nightclubs) made great use of these ‘versions’ as a basis for a live artist or MC to talk, chant or rap over the rocksteady backing tracks. The practice became known as deejaying or toasting. Probably, the most famous deejay of the era was U‑Roy who used rhythms made by producer Osbourne Ruddock (a.k.a. King Tubby) as a backing for his distinctive ad‑libbed vocals. To keep things simple and cheap, many ‘riddim’ tracks, as they were known, were used over and over. The person choosing the music and operating the turntables for sound systems was called the ‘selector’, rather than a DJ. Many observers have suggested that American rap and hip hop had its roots in Jamaican deejay/toasting from the late 1960s and early 1970s.

At the same time, the Rastafarian movement became increasingly popular and Rasta traditions became a key, if not core, part of reggae culture. Rastafarian artists’ influence led to reggae lyrics that gave greater prominence to black consciousness, politics and protest. In turn, reggae, to a lesser or greater extent, became a vehicle for Rastafarian messages and provided a platform for Rastafarian visibility. Ironically, while Rastas saw Babylon as the oppressor, they actively used Babylon to spread their Afrocentric gospels.

While ska and rocksteady were popular, reggae became a mainstream global phenomenon in the first part of the 1970s, helped largely by Jamaican reggae’s iconic ambassador, Bob Marley. Marley has sold more reggae records than any other artist in history. ‘Legend: The Best Of Bob Marley & The Wailers’ (1984) is the biggest‑selling reggae album of all‑time with over 28 million copies sold since its release. There is so much written about the legend that is Robert Nesta Marley (1945‑1981) that I won’t retell his story here. Suffice it to say that no‑one from Jamaica has had the impact that Marley had through his music, his image and his Rastafarian beliefs

Another key factor in the globalisation of reggae music was the Jamaican crime film, ‘The Harder They Come’ (1972), starring reggae star Jimmy Cliff. The soundtrack to the film became commercially successful in many countries outside the Caribbean, greatly raising awareness of reggae on the international stage.

The extraordinary success of Jamaican reggae helped to sustain international demand for pop reggae and lovers rock for radio playlists and singles charts. The phenomenal popularity of reggae, including commercial songs produced by non‑Jamaican artists for non‑Jamaican audiences, boomed particularly in the USA and UK. This cross‑pollination and fusion with other musical genres led to the vastly increased diversity of reggae styles, while its heritage still remained instantly recognisable.

Reggae was also influential in the British punk rock/post‑punk/new wave era including works by artists such as The Clash, the Ruts, The Police, Jah Wobble, Don Letts, Blondie and The Slits.

Notable reggae artists across its hugely diverse catalogue include (in no particular order) Bob Marley & The Wailers, Peter Tosh, Gregory Isaacs, Culture, Black Uhuru, Israel Vibration, The Itals, Dennis Brown, Horace Andy, Sly & Robbie, U‑Roy, Jacob Miller/Inner Circle, John Holt, Third World, Don Carlos, Freddie McGregor, Dennis Alcapone, Sugar Minott, Beres Hammond, Junior Reid, Maxi Priest, Linton Kwesi Johnson, Aswad, Dillinger, I‑Roy, Trinity, Junior Murvin, Marcia Griffiths, Althea & Donna, Big Youth, Junior Byles, Susan Cadogan, Dr Alimantado, Clint Eastwood & General Saint, Matumbi, Eddy Grant, Jah Cure, Lone Ranger, The Maytones, Musical Youth, Dawn Penn, Ranking Dread, Ranking Joe, Garnett Silk, Twinkle Brothers, The Upsetters, The Wailing Souls, The Hippy Boys, I Wayne, Mikey Dread, Morgan Heritage, Tapper Zukie, Boris Gardiner, Lucky Dube, and UB40.

Notable reggae producers include Clement ‘Coxsone’ Dodd, Lee “Scratch” Perry, Duke Reid, Joe Gibbs, Bunny ‘Striker’ Lee, Harry J, King Tubby and Dandy Livingstone.

Notable international reggae record labels responsible for bringing the genre to the global masses include Island Records, Greensleeves, Virgin Frontline, Trojan Records, Jamaican Recordings and VP Records.

Roots Reggae – The lines between reggae and roots are blurred. Perhaps it is better to see them as ends of a continuum with artists leaning more to one end or the other, rather than being discrete or derivative. Roots evolved at the same time as reggae in the late 1960s. Many reggae artists attracted by commercial success, fame and international recognition also crossed over into roots with its more serious and authentic style and vice versa. The likes of Bob Marley, Peter Tosh and Bunny Wailer were prime examples of reggae artists tapping into the ‘vibration’ of Rastafarian black pride and African roots.

The visit of Ethiopian Emperor Haile Selassie to Jamaica in 1966 led directly to a growth of the Rasta movement and the idea of black liberation and the spiritual connection to God (Jah). Rastafarian transcendent themes and the unrest of Jamaican political violence were integral to roots, engendering it with a more ‘gritty’, socially conscious and down‑to‑earth style than its more popular, more acceptable, and marketable counterpart. Even the word, roots, referred to the origins – roots – of West African slave descendants. The hard‑hitting messages of roots were seen as revolutionary, fuelling urban conflict and resistance in Jamaica. Roots became particularly popular in the UK and Africa. Roots, like mainstream reggae, was overtaken in popularity by dancehall by the early 1980s.

Notable roots reggae artists include Burning Spear, Bob Marley & The Wailers, Peter Tosh, Misty in Roots, Steel Pulse, The Congos, Linval Thompson, Prince Far I, Bunny Wailer, Max Romeo, The Mighty Diamonds, The Abyssinians, The Gladiators, Luciano, Johnny Clarke, Keith Hudson, Prince Lincoln Thompson, Alpha Blondy, Junior Murvin, Winston Holness, Michael Prophet, Hugh Mundell, The Revolutionaries, Morwell Unlimited, Roots Radics, Pablo Moses, Cornell Campbell, The In Crowd, Bushman and Yabby You.

Dub reggae – At last… getting to the root (sic!) of this article. The sublime (and occasionally ridiculous) dub reggae.

Dub reggae is quite difficult to define and is perhaps best described by the sum of its parts. Essentially dub comprises the remixing of existing recordings, at least that’s how it began. Producers and sound engineers extensively manipulated the original track by (usually) removing the main vocal content, resulting in largely instrumental arrangements. Studio effects such as reverb and echo are used widely on pretty much all but the earliest dub recordings. The drum and bass parts – providing the ‘riddim’ – are the heavy driving centrepiece of dub tracks. On top of the sparse rhythm base, lead instruments, vocal extracts and/or other, often seemingly random, sounds are dubbed in and out of the mix. These basic components give dub a very distinctive and recognisable sound. Dub tracks mixed on the then new analogue multi‑track recording desks made isolating different musical elements far simpler and creating multi‑layered arrangements much easier. Modern dub is usually composed as dub from scratch.

The word dub derived from early film soundtracks of the 1920s and the copying – doubling – of a sound recording from one medium to another. Jamaican dub emerged in the late 1960s, roughly at the same time as reggae and roots. The purely accidental omission of the vocal track for a ‘version’ of The Paragons hit, ‘On The Beach’ (1967) by sound engineer Byron Smith proved highly popular and extremely fortuitous, as it basically spawned a genre. After that simple error, instrumental ‘versions’ of reggae songs were ‘dubbed’ onto acetate discs. Over time, dub came to describe the method used to create the distinctive style as much as the music itself. The term ‘dubwise’, coined by ace rhythm duo Sly & Robbie, has come to mean using a strong drum‑led bassline in dub.

Studio sound engineers and producers treated the mixing desk as an experimental instrument in its own right and essential to the creation of the dub sound. Some studio staff attracted an almost legendary reputation, well beyond that of the musicians actually providing the music. Producers such as Osbourne Ruddock (King Tubby), Lee “Scratch” Perry, Joe Gibbs and Errol Thompson were the pioneers of what we now know as dub, with many apprentices such as Scientist following in their footsteps. The authentic sound of dub has been attributed to the use of analogue recording studios of the 1970s when there were no digital effects or tracking. While many artists release both vocal and instrumental dub ‘versions’, some are associated more with dub. Some key figures, like Lee Perry and Augustus Pablo, were both artists and producers.

A dubplate is an acetate disc usually of 10” diameter, traditionally used by studios after mixing and prior to mastering. However, dubplates were pioneered by producer King Tubby for reggae sound systems as a way to distribute and play exclusive music. Special one‑off ‘versions’ would be cut for crews from different sound systems to compete head‑to‑head in what was called a sound clash. These unique discs were known as ‘dubplate specials’ and attracted high demand. The aim of a reggae sound clash is to go song‑on‑song (“dub fi dub”) and beat or ‘kill’ their opposition. The sound clash craze spread to London in the 1970s with the likes of Jah Shaka’s Mighty Jah Shaka Sound System being one of the first. The British film drama, ‘Babylon’ (1980) focused on London, urban Brixton’s sound systems and its sound clash culture.

Then there is the extended 12” Reggae Discomix. These have nothing to do with mirror balls or Travolta‑esque dance moves. A Reggae Discomix is the original, usually roots, vocal track immediately followed by a dub version, mixed together in heavy style. For some, the Discomix provides the best of both worlds.

As dub crept up on Jamaican audiences, there has been much debate over who released the first dub album, especially as local administrative record‑keeping was not seen as important at the time. Rather than try to credit any specific release it is, perhaps, better just to celebrate the quality of the early dub albums.

The pre‑dub release of ‘The Undertaker’ by Derrick Harriott and the Crystallites (1970), engineered by Errol Thompson was one of the first instrumental rocksteady albums. Another proto‑dub album was Bob Marley & The Wailers’ instrumental rhythm ‘Soul Revolution 2’ (1971), also called, ‘Upsetter Revelusion Rhythm’, produced by Lee Perry.

Competing for the first legitimate dub album were, ‘Blackboard Jungle Dub’ / ‘Upsetters 14 Dub Black Board Jungle’ (released 1973) mixed in stereo by King Tubby and Lee Perry. A further contender for first dub album was ‘Java Java Java Java’ (recorded c.1972, released 1973) by Impact All Stars featuring melodica maestro, Augustus Pablo and produced by Errol Thompson. ‘Aquarius Dub’ by Herman Chin Loy (recorded c.1971‑1973, released c.1975) with a stripped back, largely instrumental sound without much studio trickery was also one of the first. All of these recordings were seminal and proved highly influential. Certainly worth checking out, if nothing else.

The mid‑1970s was the peak creative period for dub and, just like reggae and roots, dub gave way to dancehall in the early 1980s. Over time, dub has developed its own style that extended way beyond its original traditional roots influences, many in the sub‑genre underground. Dub, has endured and has seen a resurgence in the 21^st Century, not only in its original form but in many contemporary forms as well. Dub’s influence has spread far and wide over the years, and not just in reggae.

Some notable dub reggae artists and producers include King Tubby, Prince/King Jammy, Scientist, Niney The Observer, Lee “Scratch” Perry, The Upsetters, Herman Chin Loy, Dennis Bovell/Blackbeard, The Aggrovators, Augustus Clarke, Bunny ‘Striker’ Lee, Alpha & Omega, Gaudi, Mad Professor, Augustus Pablo, Sly & Robbie, Linval Thompson, Roots Radics, Alborosie, Errol Brown, Joe Gibbs, Yabby You, Ossie Hibbert, Dub Syndicate, Soul Syndicate and Errol ‘E.T.’ Thompson.

Notable Jamaican sound systems include King Tubby’s Hometown Hi‑Fi, Winston Blake’s Mighty Merritone, Clement ‘Coxsone’ Dodd’s Downbeat, Duke Reid’s The Trojan, Noel ‘Papa Jaro’ Harper’s Killamanjaro (intentionally misspelled) and Tom Wong’s Tom The Great Sebastian.

Dancehall – Dancehall is a departure from traditional reggae both in style, content and production. Faster riddims were often constructed digitally and vocals were once again rapped. Dancehall evolved as a product of political turbulence, economic uncertainty and extensive social change in Jamaican communities during the early 1980s.

While reggae has never really fallen out of fashion, its mainstream reach had become ever more diluted and its popularity declined in the early 1980s. Another factor was the death of Bob Marley in 1981. This tragic event seemed to symbolise the ‘end of reggae’ as we know it. Thirdly, studio recording technology in Jamaica was transitioning from the old analogue desks to more modern digital equipment, thereby changing the intrinsic sound and techniques of recordings from rough‑and‑ready to slick, clean and sharp. Electronic instruments were also increasingly digital. Lyrics tended to be about partying, dancing, violence and sexuality, rather than the now‑outdated Rasta messages of social injustice, suffering and oppression.

All these factors, among others, led to the emergence of dancehall. Initially, dancehall music was not widely played on radio and was seen by many Jamaicans as the people’s music of the 1980s and 1990s. The legacy of dancehall is helped by the growth of digital reggae since the 1980s. Producer Philip ‘Fatis’ Burrell and his Xterminator record label was a key factor in establishing dancehall’s longevity.

Notable dancehall artists include Eek‑A‑Mouse, Buju Banton, Beenie Man, Yellowman, Barrington Levy, Sean Paul, Cocoa Tea, Prince Jazzbo, Shabba Ranks, Tenor Saw, Sizzla, Anthony Johnson, Josey Wales, Charlie Chaplin and General Echo.

Ragga – Ragga, a contraction and bastardisation of ‘ragamuffin’, used as a pejorative term by white colonists, became associated with scruffy and unkempt Jamaican ghetto dwellers. Jamaican youths appropriated the insult with the intentionally misspelled Raggamuffin music or, more commonly, Ragga in the early‑mid 1980s. Ragga emerged in Jamaica during the 1980s as a subgenre of dancehall and reggae music fused with hip hop and digital electronica. With its ‘gangsta’ leanings, some ragga is much closer to hip hop than reggae. Ragga has its origins in the late 1960s and, like deejaying/toasting before it, is distinguished by a DJ that improvises lyrics over a sampled or electronic backing track. Like dancehall, the musical style is quite different from reggae.

One of the earliest ragga tracks was, ‘Under Mi Sleng Teng’ (1985) by Wayne Smith, produced by King Jammy. Ragga is often seen by many as synonymous with dancehall and therefore has a lower profile despite its rich history. Ragga heavily influenced early jungle and dubstep music.

Notable ragga artists include Chaka Demus & Pliers, Shaggy, The Bug, Frankie Paul, Ini Kamoze, Capleton, Wayne Smith and Bounty Killer.

Soca – Soca, a.k.a. Soul of Calypso, is a music genre that emerged in the 1970s as a result of Trinidadian Lord Shorty, the ‘Father of Soca’, who attempted to revive the spirit of untainted calypso music, which had declined in popularity compared to the rise of reggae. While soca is not reggae, it fuses calypso with African and East Indian influences, as well as elements of Jamaican reggae. Jamaican ska artists, Byron Lee & the Dragonaires also dipped their toes into the warm waters of soca.

Reggaeton – Another, arguably derivative, form of reggae developed in the 1980s in Panama, called reggaeton. Central American ‘big reggae’, or reggae grande, evolved from dancehall and combines reggae tropes with American hip hop, Latin American, and Caribbean music, with vocals sung or rapped, often in Spanish. Puerto Rican, Daddy Yankee is probably the best known reggaeton artist.

There are various other reggae sub‑genres not mentioned above, such as kumina, Niyabinghi, and reggae fusion, along with derivatives such as ska jazz and ska punk. No radical new sub‑genres have really appeared since the 1980s, perhaps suggesting a degree of creative stagnation. Reggae does, however, continue to produce new artists, including Ziggy Marley, Protoje and Chezidek.

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The legacy of dub reggae

Jamaica’s musical legacy is massively disproportionate to its humble genesis. Dub reggae’s influence has grown over the years and continues to exert its presence, not only on reggae and its sub‑genres but also across many other music genres including dub poetry, hip hop, punk, dubstep, big beat, jungle, grime, trip hop, drum & bass, techno, ambient dub, future dub, UK garage, dubtronica, psydub, electro‑dub, post‑disco, EDM/IDM, rock and pop. It is fair to say that dub’s fingerprint is pervasive in modern music to some extent or other. Such diversions were orchestrated by alternative artists such as Adrian Sherwood, Jah Wobble, The Orb and Sound Iration.

(Dub) reggae’s geographical reach has also spread globally with artists from many countries getting involved with the dub bonanza, including Slamonella Dub, The Black Seeds and L.A.B. (New Zealand), Rebelution (Austria), Soul Revivers, Alpha Steppa, Steel Pulse, Linton Kwesi Johnson, Pato Banton, Aswad, Oku Onuora, Creation Rebel, Dennis Bovell/Blackbeard, Winston Edwards, Dreadzone, Hollie Cook, Dubkasm, Zion Train and Alpha & Omega (UK), Alborosie and Gaudi (Italy), Bush Chemists and Dubmatix (Canada), Dubblestandart (Austria), Brain Damage and Manudigital (France), 10 Ft. Ganja Plant, Groundation and Easy Star All‑Stars (USA), Ace Of Base (Sweden), Alpha Blondy, Colbert Mukwevho, Ismael Isaac and Lucky Dube (Africa), and Pressure Drop (Australia).

The current and future of reggae

The second decade of the 21^st Century has seen a renewed interest in reggae roots and dub in its many variants. Contemporary reggae, particularly with a heavy use of electronica, is often described as ‘digital reggae’ because of the type of instruments and recording methods used in modern studio production. Purists say that digital reggae lacks the raw emotion and earthy authenticity of analogue reggae, roots and dub. Techniques that were simply not possible in the past are now commonplace and the requirement for traditional brick‑and‑mortar studio space has reduced significantly with the widespread use of home recording. Cynics might suggest that ease of digital production has distorted established tropes to become clichéd or caricatures of the original; detached or at least dislocated from its Caribbean ghetto background. Perhaps it is better to celebrate success and accept the status quo as an ‘and’, rather than an ‘either or’.

By the late 2000s, dancehall reggae from the privileged districts of uptown Kingston and without connection to the generally disadvantaged areas of downtown Kingston, perhaps unsurprisingly, became known as uptown reggae, including artists like Sean Paul, Alex Marley and Marcus I.

The so‑called reggae revival is a trend that is likely to continue for the foreseeable future, even if it doesn’t regain the multinational dominance it had in reggae’s ‘golden era’ from 1968 to 1983. While its pedigree lies in the unique tapestry of Jamaican life, location and history, reggae and dub are now a global phenomenon, safe in the hands of enthusiasts keeping the traditions and influences alive and well. More importantly, opportunities for involvement in dub are available to all.

While Rastafarianism is reportedly in favour of gender equality, female artists have been woefully underrepresented in reggae generally and particularly in dub. In addition, several dancehall and ragga artists have been accused of homophobia, including targeted song lyrics, aimed at the LGBTQ+ community. Hopefully, these intolerant and prejudicial characteristics will be overcome in time.

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Some great reggae and dub recording studios

The concentration of outstanding studio capacity into one small city (with a population of less than 2 million people) is truly extraordinary. The key studios, some famous and others less well known, are listed below in alphabetical order. These studios are all based in Kingston, Jamaica – the spiritual home of reggae – unless stated otherwise:

• Aquarius – founded by Herman Chin Loy in the early 1970s
• Ariwa – founded by Mad Professor in London, UK in 1979
• Big Ship – founded by Freddie McGregor in 1995
• Black Ark – founded by Lee “Scratch” Perry in 1973
• Black Scorpio – founded by Maurice ‘Jack Scorpio’ Johnson in the early 1970s
• Channel One – founded by Joseph ‘Jo Jo’ Hoo Kim in 1973
• Digital B – founded by Bobby Digital Dixon in 1988
• Dynamic Sounds – founded by Byron Lee in 1963
• Federal – founded by Ken Khouri in 1961
• Harry J – founded by Harry J in 1972
• Hitmaker Studio – founded by Donovan Bennett in 2002
• Jammy’s – founded by Prince/King Jammy in 1985
• Joe Gibbs – founded by Joe Gibbs in 1975
• King Tubbys – founded by Osbourne Ruddock in 1971
• Music Works – founded by Augustus ‘Gussie’ Clarke in 1988
• Penthouse – founded by Donovan Germain in 1987
• Randy’s – founded by Vincent ‘Randy’ Chin in 1962
• Studio One – founded by Clement ‘Coxsone’ Dodd in 1963
• Treasure Isle – founded by Duke Reid in 1964
• Tuff Gong – founded by Bob Marley in 1977
• Wackie’s – founded by Lloyd ‘Bullwackie’ Barnes in New York, USA in 1973
• Xterminator – founded by Philip Fatis Burrell in 1988

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Some great dub reggae recordings

It would be remiss of me, after all of that exposition for me not to reveal my preferences for some dub reggae albums. This is purely subjective and based on my own personal favourites, rather than any form of recommendation. This is, hopefully obviously, only be the tip of an enormous iceberg. There are innumerable possibilities from which to choose and picking a top 20 was a tough job, albeit with perhaps a fairly predictable outcome. Apologies to all those I might have overlooked in making this, my ideal ‘desert island disc’ compendium.

1. Burning Spear – Garvey’s Ghost (1976)
2. Scientist – Scientist Rids The World Of The Evil Curse Of The Vampires (1981)
3. The Upsetters – Super Ape (1976)
4. Agustus Pablo – King Tubbys Meets Rockers Uptown (1977)
5. King Tubby – Dub From The Roots (1974)
6. The Upsetters – Blackboard Jungle Dub / 14 Dub Blackboard Jungle (1973)
7. Herman Chin Loy – Aquarius Dub (1975)
8. Linton Kwesi Johnson – LKJ In Dub (1980)
9. The Aggrovators – Dubbing At King Tubby’s (2016)
10. Niney The Observer – Sledge Hammer Dub In The Street Of Jamaica (1977)
11. Gaudi – Dub, Sweat And Tears (2004)
12. Gregory Isaacs – Slum In Dub (1978)
13. Horace Andy – In The Light / In The Light Dub (1995)
14. Yabby U – King Tubby’s Prophesy Of Dub (1976)
15. Keith Hudson – Pick A Dub (1974)
16. Mad Professor – Dub Me Crazy!! (1982)
17. Lee “Scratch” Perry – Heavy Rain (2019)
18. Johnny Clarke – Dread A Dub (2012)
19. Prince Far I & The Arabs – Dub To Africa (1979)
20. Dennis Brown – Dubbing At King Tubby’s (2016)

For dub newbies, exploring the list above would, I believe, serve as an excellent introduction to the genre. I certainly wish such an informative list had been around for me in my early days of dub epiphany. A righteous way to bring this digest to a conclusion, I think.

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Tailpiece

There you have it, my return to writing (welcome or not) via a brief guide to mento, ska, reggae, roots, dub, dancehall and ragga. I hope you found something herein to enjoy.

As to THE crunch question of WHY such creativity exploded in the way that it did, when it did, in such a small island community in the West Indies, the answer frustratingly still eludes me. Serendipity? Chance? Coincidence? The quest continues.

One thing is certain, support for, and influence of, reggae’s diverse ecosystem is as healthy today as it has been for several decades, making it truly universal and multi‑generational. I believe that reggae can continue to be a positive force for change. One Love. Irie.

Finally… my appreciation for reggae isn’t just my personal passion. In November 2018, the ‘reggae music of Jamaica’ was added to the UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity. The award was in recognition of 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.” Nuff said (and much more succinctly!!!).

This article may be the start of exploration into other genres for which I have a passion. Let’s see how this one goes first.

Until next time…

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