Around the explosive, politically and musically transitional period of the late 1960s, America, Jamaica and England were affected by new production techniques that first raised their heads in Jamaican studios. Special effects units such as delay, echo, and reverb gained popularity through producers such as Osborne (King Tube) Ruddock, who owned a sound system and cut acetates at Duke Reid Treasure Isle Studio. By accidentally leaving parts of the vocal mix to a song, Rudock came up with a new formula that offered more possibilities for performing studio magic. He took this new mix with him to dance and played the first recognizable version. Then he played his "incident" and the oak mix was born. Not only did he blast people that night; he runs back to the studio to do it again.
In the 1970s, when a single came out, it was often answered with another recording that commented on the second artists to the first record. Sometimes many of the techniques known as toasting have come out of this technique. This form of rape was later captured in the United States through the concrete jungles of New York. On many Rap mixtapes and CDs, artists would modify the toasting by discarding it when they had beef in between. Although part of the product was hard to find, the fans ate the resulting, often exclusive, versions anyway. Toasting used catch phrases that included the sharp Jamaican dialect – that added to the rhythmically expressive, deep melodic quality of Reggae's music. When many of my Jamaican colleagues speak, their accents often make them sound like music: quite rhythmic, quite expressive, quite melodic, quite harmonious and quite textural. Here are some popular Jamaican phrases:
Babylon – hard life, trouble My Utah – home
Bwoyfren & # 39; – boyfriend N & # 39; yam – eat food
Cool zucchini – all is well "Ole of lyric – wait just a minute
Cho – it doesn't matter Onu – all of you
Diyah – this is Pickney – children
Frock – Dress Redi Dress – Pointing out
Is it & # 39; my & # 39; – this is my Roll tide – keep moving
Good Good – That's Good Selectah – DJ
Gweh – get out of my face S & # 39; mody – someone
Guin – goes Sokobibasa – dressed poorly
Gyalfren & # 39; – girlfriend Tegereg – troublesome; a P.I.T.A.
Leggo beas & # 39; – wild, uneducated I'm blunting you – hit you
Maahgah – Skinny Whe & # 39; mk? – why?
The dialects of Jamaican Patush can be spoken quickly, slowly or moderately. Some of the dictionaries are easier to understand than others because it may depend on which region of Jamaica is one. Some people may have emotional flexes in their speech patterns, while others may have musical ones. One thing is for sure, if you can't hear, you will definitely know it when a man from the islands talks or sings … "yes, mon." But even without the vocals, this Jamaica underground Dub music was still shaping up. By 1973, King Tubby Ruddock was experimenting with instrumental versions of songs, manipulating the sounds of the songs. Its equipment contains a disk cutting device, a mixing console, belt machines and assemblies. He has been working with the island's top producers to compose and release a dub album, Blackboard Jungle.
Instrumental versions of the songs soon appeared on the B-sides of singles called dub mixes. Whether the pieces are suddenly punched with buttons or faded smoothly with the sliding fader, they still get a large dose of sound effects. In some cases, interesting effects were created by placing a strap over the tape machine heads. To facilitate this method, a portion of the "surgery" or "splicing" bar is identified. Bonding is done by placing the strip section on a "cutting block" with vertical and diagonal grooves embedded in it. The grooves guided the razor blade as it cut the ribbon at the beginning and end of the section to be cut. The two ends of the insulated tape are then glued together and passed through the rollers of the tape, which pass the tape onto the three heads (erasing, recording and playing) in a repeated, cyclic manner.
The play head picks up the signal and plays it while you press the stop button. If the splice was not precise, this procedure can be tedious and time-consuming. This method may not have fallen into the fast-paced world of Rap it quick Rap music, but sampling is certain. Electronically generated sounds and sampling have become world phenomena. Like a band, Jamaicans use samples to create new music like Dancehall Reggae. You will want to see the chapter "What Music Does" in the upcoming Musicology 102 for more information on sampling. If the information in this chapter intensifies your interest, we will look at more studio techniques that you may find interesting in the continuation of this book, Musicology 103.
Dub remixes were released as standard configuration until the mid-70's and DJs were constantly releasing them in clubs. The open connection between the United States and Jamaica has allowed new styles and trends to differentiate between the two cultures. At the end of the decade, Rap music made its introduction through creative cyclical lines of drums and bass with a rhythmic (non-melodic) vocal song and new sounds. Rap took the showmen to the next level using Jamaican Dancehalls techniques and sound systems, courtesy of innovative DJs like Kool Herc. In case you may have forgotten, we opened the book chapter by talking about the DJ who thundered the clubs. The "big windows" of these misunderstood characters – they changed the era's music protocol by breaking the music and remixing it. In America, R&B, Funk, Jazz and Dance music were also broken and rebuilt; adding expectation, excitement and excitement to physical activity (dance) and other types of live performances.
Oak music has often been fused together in a live setting (people are around), with the mixing board serving as the center of action as if it were a musical instrument. In the hands of an experienced, partially or totally insane sound engineer or producer, this meant hit records. In addition to tweaking the sound processing devices, other studio tricks were used to produce the desired or unexpected effect. Some techniques include the use of guns, screams, sirens, whistles, test tones, mechanical sounds; it even physically hits the reverb to get a new sound. It is the answer to the exclusivity factor that was taken very seriously in Jamaican music. Since no one else had the sounds, no one else could reproduce them. To quote the pioneering rapper Rakim (Eric B & Rakim), "I said it before".
Towards the end of the '70s, the Imprint label, led by top Oak engineer Lloyd James (aka Prince Jamie), came into the spotlight to become one of the leading forces in this new wave of music coming from Jamaica. In the meantime, concerts by Jamaican artists were supported by a core group of black and white artists in England and the United States. The support of British and American record makers encouraged a curious fan base to listen closer to Reggie. Paul McCartney, Eric Clapton and The Police made hits that hinted at Reggie, while Marvin Gay and Stevie Wonder gave their convincing prospects. Just listen well to bands like The Eagles ("Hotel California") and Steely Dan ("Hey Nineteen") as you dig through hordes of great music to decipher what they and so many others created during the fairytale your career. More tactical support was on the way when the new Dancehall genre left Jamaica. In the late 80's to early 90's, he filtered into the Rap / Hip-Hop culture, through transplanted Jamaans and young people from Apple's big city who were already thinking "out of the box."
The loss of Jamaica music prophet Bob Marley in 1981 shook Jamaica's shores and responded worldwide. Before things got better, things got worse, and Jamaica's economy took a nosedive. Political turmoil erupted between the Jamaican Labor Party (JLP) and the People's National Party (PNP). Jamaican poses have become murderously volatile both at home and in the United States and the United States. Famous activists (including musicians and others) were viciously shot, left and right. The per capita statistics were amazing. He had to give something; on this nearly 150-mile-long, starving island, was in the middle of the Caribbean. The Jamaica bureaucracy (released for a year that matters a lot to me) has gone through seven pairs of hands through numerous Prime Ministerial distributions over the years:
1962 – 1967 Alexander Bustamante (JLP)
1967 Donald Sangster (JLP)
1967 – 1972 Hugh Shearer (JLP)
1972 – 1980 Michael Manley (PNP)
1980 – 1989 Edward Shiga (JLP)
1989 – 1992 Michael Manley (PNP)
1992 – 2006 P.J. Patterson (PNP)
2006 – Present P.S.-Miller (PNP)
Notice something interesting? It has been said that there is no permanent change like this: For the first time in history, Jamaica has been giving away its male-dominated political reigns to another original – Jamaica's first wife, Prime Minister, in March 2006, PNP's own Simpson-Miller Party. inherited another PNP member, Prime Minister Percival James Patterson.
In England, the artists of Reggae and Oak have made successful appearances in the music industry's battle arena, cutting and voicing the studio mix exclusively for the club. Until the 1990s, the prominent Dub music division originated not only in Jamaica but also in the US and US with styles such as "Drum & Bass", "Jungle", "Trip-Hop" and "Techno". International bands from other genres such as The Cure, Depeche Mode, Garbage, Living Color, Nine Inch Nails and dozens of rappers, producers and DJs have tested Dub in their songs. Dub influences are often heard on recordings with electronic drums, bass, piano, strings and horns in Reggae styles such as Dancehall. Popular sounding was discovered in an early form of Reggaeton called Dancehall Reggaespanol, or Spanish Dancehall. This style of music was more popular with people from Hispanic communities in Cuba, Honduras, Mexico, Panama, Puerto Rico, Jamaica and abroad. Spanish Reggae includes Reggae music with Spanish lyrics and catchy horns. Traditional Latin music can often include the guitar in songs.
Many people may not realize it, but the Panama Canal was built not only by local Panamans, but also by Jamaicans and other immigrants from all over the world in search of economic relief. It didn't take long for the music industry to notice that there were many black Latinos in places like the ones listed above and in South America. Until 1991, Columbia Records recognized Dancehall Reggaespanol for its appeal to a large, multicultural fan base. Some actions:
A rude girl
Points of Interest:
o Performer Lisa M is from Puerto Rico; Not only does she make songs like the ones on this CD, she also creates music in other styles like Merengue. Merengue is popular across the Caribbean islands and in South America. While pointing to the well-known Merengue hotspots, let's not forget the location of the famous international channel – Panama of Central America, home of red gold. Lisa M and the other cast members of Dancehall Reggaespanol were at the forefront of something that would not be stolen until after the new millennium.
o Now called Reggaeton music, Latin dance music includes Spanish lyrics as a driving force; As their popularity progresses, a whole new generation of music evaluators will be pleasantly surprised to hear this exciting musical form: some for the first time. God worshiped, children.
o You may have noticed the name "Ranks" attached to Cutty, Killer and Nardo. Believe me – these guys are not blood brothers. In fact, many Dancehall performers used "Ranks" in their stage names. One of the largest was the Shaba. He signed to Epic Records at the time Columbia Records signed to another hot Jamaican artist known as Supercat. Since working for Sony Music (Epic Distributor), I've marketed and promoted Epic editions on Shabba Ranks.
o Supercat (also known as Don Dada) was already doing his job at a "super" level when he signed a contract with Columbia Records in the late 1980s. He was also one of the black spots selected in the first round when the label began its distribution at Dancehall / Reggae. As I continue to outgrow the violins, let me note that it was another act I marketed at Sony Music, along with Columbia's Dancehall Reggaespanol CD. Considered the "Godfather of the West Indies" in "business", Supercat falls in love with Damien Marley's song with the somewhat infamous Bobby Brown called "Handsome". This is another hit song on Marley's Welcome to Jamrock CD. Trust this! Supercat still has its mojo, too, with its name mentioned twice each time it appears in the song. "Check it out!"