Reggae, What Happened? The Critic’s Roundtable Talks London, Kingston – The Single Most Trenchant and Honest Piece of Writing About Reggae, Ever!

Just in case you didn’t see this today:

JOHN LYDON’S TOP OF THE POPS ROOTS REGGAE PICKS:

http://www.dangerousminds.net/comments/john_lydons_top_of_the_pops_roots_reggae_picks/

It’s been interesting to read in the Keith Richards book how very deep into reggae he was/is too. Of course, I knew about Peter Tosh opening for The Stones, living in Keith’s house, and Keith’s pad in Jamaica as well as the reggae influence on Black & Blue but the depth of his passion for reggae surprised me a bit. With Lydon, I always knew it was there (reggae and dub) and the influence very pronounced w/ PiL.

The question before the house is, what happened to reggae/dub? I honestly think I don’t own anything worthwhile released since 1982. Maybe Sly & Robbie (Rhythm Killers in particular) but is that even really reggae/dub? LKJ put out a few good records in the 80’s too, but reggae seems to have shot its wad decades ago…what happened???

– Howard Brown

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The loss of Marley in 1981 [and Tosh’s eventual jealousy/insanity], combined with the inability of Black Uhuru [who were the last group of the very highest order to emerge, ca. 1980] to find much commercial footing, definitely contributed to Reggae’s loss of momentum, post-1979.

The mid-’80s emergence of Dancehall (Reggae) is definitely another “culprit”, if you will, in much the same way that MTV/synth pop/”dance music” [Culture Club, ABC, A Flock of Seagulls, Duran, Madonna, Cyndi Lauper, The Cars, The Police, et al.] stole any possible thunder from Postpunk and the American Underground [X, in particular, though perhaps the later Husker Du and Replacements would have had the best shots at the ring eventually, if briefly, grasped by Kurt Cobain] at just the moment they might have invaded the mainstream.

Even U2 had to bide their time, and eventually embrace both American Roots and Arena Sludge Methodologies, to make much of an impact, which is why it took them until Album Five [JOSHUA TREE] in 1987 to hit big.

I’d also speculate that the neo-religious veneration of Bob Marley as Worldwide Cultural Icon, along with the release of the LEGEND compilation in 1984, shortcircuited most folks’ desire to look any further than the most obvious source for this “esoteric” form of “World Music”, in somewhat the same way that the ca. 1985 invention of “Classic Rock” as a ubiquitous radio format removed any need for musical punters to investigate the teeming, potentially-confusing, glut of great, “obscure” music being made post-Reagan-ascension.

Or even Zeppelin’s or The Stones’ actual album catalogs, past a cherry-picked box set or HOT ROCKS!

I mean, much easier just to listen to the “new” McCartney, Winwood, Clapton, Phil Collins, Peter Gabriel, Genesis, Stones, Foreigner, Journey, ZZ Top, et al. than to investigate anything with actual “edge”, or music not made by an Established Boomer Icon.

And for those college-educated types who fancied themselves too sophisticated for all that mainstream crud, but who never “got” Punk or Postpunk, much less Hardcore, there were always those Neo-Traditionalists in New Wave Drag [Elvis Costello, The Police (later Sir Sting!), Dire Straits, Joe Jackson, even Billy Idol].

Or, for “the truly adventurous”, those [thoroughly estimable, up through 1983] wannabe Exoticists in Talking Heads, and the wonderfully silly costume-mongers in Devo, more than sufficed, not to slight Reborn Dinosaur Peter Gabriel, once he took up the twin causes of World Beat and The Chapman Stick! LOL

At bottom, Todd, I don’t suppose there’s any clear “reason” why Reggae or Dub “died”.

And, as you point out, certain originators kept the flame lit–in 1986/87/88 alone, I recall near-definitive work emerging from Black Uhuru, Bunny Wailer, LKJ, Burning Spear, Sly & Robbie, a re-formed Culture, Mutabaruka, et al. But that turned out to be the last gasp of The Old Roots Guard, and from thenceforth no New Reggae Messiah was forthcoming.

Looking back, I think it may be more profitable to ask just how in the world the thriving Reggae Culture of, say, 1969-1979 ever came to be in the first place, and how a grindingly-impoverished, technology-strapped, politically strife-ridden, obscure former British colony managed to produce a music of World Historic magnitude and a body of artists and recordings that can be compared to any single style/”scene” in Rock History?!

That is what boggles my mind, and ever more so as the decades pass by!

Its eventual diminishment thus seems as inevitable as those experienced in the years that followed Memphis 1956, Detroit 1962, Liverpool 1964, London 1965, LA 1966, San Francisco 1967, Lower Manhattan 1975, London 1977, Manchester 1979, LA 1980, Lower Manhattan 1985, or Seattle 1991.

Greatness [no matter how “great”] is simply not self-perpetuating [however fervently we might wish it to be so], much less commercially sustaining.

By the by, thanks for the great link, Todd, especially that fabulous YouTube clip wit’ LKJ and John Lydon!

http://www.dangerousminds.net/comments/john_lydons_top_of_the_pops_roots_reggae_picks/

– Tom Kipp

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LKJ in Dub is from the early 90s, and I think that’s the last new reggae record that meant anything special to me.

Black Uhuru was solid up through Brutal, in my opinion, though one’s tolerance for electronic drums may vary.

Otherwise, you’re right, ’82 is about right for D-day, and no, I don’t know why.

I’ve spent an inordinate amount of time listening to Jamaican music over the last five years.

I am tempted to throw a few titles into the ring, but you may already have all of it.

I will ask simply if you have the 100% through 500% Dynamite compilations on Soul Jazz.

If not, there are more leads on those five comps than are exhaustible in ready fashion. It is hard proof that ’60s-mid ’70s Jamaica was the equivalent of any popular music scene that has ever existed anywhere.

Oh, and Keith Hudson anything, since he’s not on those comps (which are mostly ska, I guess). And the Congos’ Heart of the Congos–Scratch Perry at his best as a producer, and a magical record.

OK I’ll stop pending any further interest.

– Tim Midgett

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In honor of Bob Christgau, I’ll call this Subjects for Further Research. Perhaps Tom or Tim can help here.

Tracing the influence of reggae/dub on punk/postpunk; is there a good study or source on this? “Two Sevens Clash,” which I’ve never heard, was famously influential. The Congos album — rereleased only in Britain, I think (thanks, Tom) — is, as Tim notes, is practically perfect in its sinuous, “aquarium” production (that term owing to Joel R.L. Phelps), combined with a supernatural grasp of melody.

And so further queries:

Was the strain of what I once termed, no PC offense intended, “white reggae” cut short at birth, much as true postpunk seems to have been? I’m thinking of “Black Market Clash,” particularly “Armagideon Time,” a kind of sub rosa inflence on a couple of Ein Heit tracks, notably “Houssari” and “No Revolution.”

Is it time to reconsider those dub sides of “Sandinista”?

Or did it all end in the dead end of the Hooters? Must we be ruled by failure, or can styles live on if the strands are picked up?

What about the cultural politics involved, in particular the homicidal strain of homophobia evinced by Buju Banton et al? I pose this as an open question, not a rhetorical one, since I, after all, believe Pound and Eliot to be great poets despite All That (cf. Heidegger).

John Lennon once famously told Tom Snyder, a great lost cultural icon, that the only real innovation he’d heard by about 1975 or so was reggae. So What Happened has heft.

MANLOVE

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In honor of Bob Christgau, I’ll call this Subjects for Further Research. Perhaps Tom or Tim can help here. Tracing the influence of reggae/dub on punk/postpunk; is there a good study or source on this? “Two Sevens Clash,” which I’ve never heard, was famously influential. The Congos album — rereleased only in Britain, I think (thanks, Tom) — is, as Tim notes, is practically perfect in its sinuous, “aquarium” production (that term owing to Joel R.L. Phelps), combined with a supernatural grasp of melody.

Don Letts wrote a book called Culture Clash about this exact thing. Haven’t read it, but he would know the story better than anyone.

And so further queries: Was the strain of what I once termed, no PC offense intended, “white reggae” cut short at birth, much as true postpunk seems to have been? I’m thinking of “Black Market Clash,” particularly “Armagideon Time,” a kind of sub rosa inflence on a couple of Ein Heit tracks, notably “Houssari” and “No Revolution.”

I think the problem with reggae, as with postpunk, or the blues for that matter, is that it’s sparse and atmospheric music when it’s good, but it’s not sparse and atmospheric by definition–you can muck it the hell up, really brutalize it, and still have something that fits the technical definition , even it’s bloated and brittle and coked-out and not something you’d ever want to hear if you’re not bloated or coked-out yourself.

All those musics suffer as they move farther from their original sources. You can’t really say that about rock and roll, country music (at least I wouldn’t), jazz–those are larger, more durable forms somehow. Not better, just bigger and hardier.

Is it time to reconsider those dub sides of “Sandinista”?

I hope not.

Or did it all end in the dead end of the Hooters? Must we be ruled by failure, or can styles live on if the strands are picked up?

You know, much of what made Jamaican music so wonderful in its heyday was with the sound of it, and you have to intend to make a record sound like that today more than ever. I’m not sure you could make a record NOT sound like that in King Tubby’s studio or Black Ark or Studio One.

I heard a girl group thing on satellite radio, sounded like it was recorded in the mid-80s. Singing was fine, decent song. Totally lame. Honestly, if it had been done on a few tracks with tube mics, in a big room, I’m not sure it wouldn’t have been good. Same kind of thing. Again, rock, country, jazz–more flexible in this regard.

What about the cultural politics involved, in particular the homicidal strain of homophobia evinced by Buju Banton et al? I pose this as an open question, not a rhetorical one, since I, after all, believe Pound and Eliot to be great poets despite All That (cf. Heidegger).

I don’t think it’s an issue when the music is good. Same as always. Buju Banton makes shitty music.

Reggae just about died with Bob Marley. Tom sorta suggested as much, and unfortunately it’s almost that simple.

John Lennon once famously told Tom Snyder, a great lost cultural icon, that the only real innovation he’d heard by about 1975 or so was reggae. So What Happened has heft.

Yes it does.

– Tim Midgett

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I’m interested in any and all Reggae / Dub recommendations, from trusted sources. Please let them flow…

Although, it’s never been an serious obsession, I’m intrigued by the scarcity / challenge of finding the gems. It’s seems there is a plethora of ‘lost’ classics whether they died in obscurity, master tapes we lost (stolen or pawned) or were never re-released or issued on a ‘modern’ format. I love it when I come across something like John Lydon’s (a trusted source) handwritten list including several artists that I’ve never even heard of, or when I pop into some little rasta record cubby in Camden Yard and realize that I don’t really know anything about this music that I love yet listen to as much as any genre. As we all know, the influence of reggae / dub runs deep especially with the early punks and that’s part the draw too…I still play and enjoy “Sandinista” more than any other Clash record, always have, always will, regardless of what Mr. Lydon and the critics think. Yet, it boggles the mind that most folks think reggae music begins and ends with Bob Marley, ganja, dreadlocks and frat parties.

Tom – thank you, as always for the insights, and for letting me borrow all those reggae records years ago.

Tim – Yes, PLEASE suggest more. I have all of LKJ’s output (“Dread Beats and Blood” and “Base Culture” are my favs) and much of Uhuru (but draw the line with the electronic drums and that goes for Mad Professor too) – “Red,” which I recorded from Tom around ‘84, is probably my favorite of theirs. I will look for the 100-500% Dynamite comps…I’ve found label compilations to be a great way to find out about the lesser known artists. The UK label Blood and Fire has been a refreshing source for reissuing long lost gems and have some solid compilations as well. You suggested Keith Hudson, Dennis Brown, Congos and Scratch Perry…all big favs.

For those interested, I’ll throw out some other veins to explore such as Jackie Mitto, (Count Ossie’s) The Mystic Revelations of Rastafari, Dennis Bovell’s solo work and Hugh Mundell. I’ve been thrilled with the fairly recent reissues of Willie Williams classics as well. For an interesting take on Halie Salassie, I recommend “The Emperor” by Ryszard Kapuscinski.

I’m in awe of the voluminous musical output and influence from this small, impoverished, spiritual, and violent island during their golden era while wondering aloud if there has ever been a mainstream music scene – excluding (and predating) rap / hip-hop, imbued with more bloodshed (than OD’s) while exhorting non-violence and pacifism; Tosh, Mundell, Far I, Lucky Dube and others murdered, Marley shot(?)

Always a fan.

– Howard Brown

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Tim – Yes, PLEASE suggest more. I have all of LKJ’s output (“Dread Beats and Blood” and “Base Culture” are my favs) and much of Uhuru (but draw the line with the electronic drums and that goes for Mad Professor too) – “Red,” which I recorded from Tom around ‘84, is probably my favorite of theirs. I will look for the 100-500% Dynamite comps…I’ve found label compilations to be a great way to find out about the lesser known artists. The UK label Blood and Fire has been a refreshing source for reissuing long lost gems and have some solid compilations as well. You suggested Keith Hudson, Dennis Brown, Congos and Scratch Perry…all big favs. For those interested, I’ll throw out some other veins to explore such as Jackie Mitto, (Count Ossie’s) The Mystic Revelations of Rastafari, Dennis Bovell’s solo work and Hugh Mundell. I’ve been thrilled with the fairly recent reissues of Willie Williams classics as well. For an interesting take on Halie Salassie, I recommend “The Emperor” by Ryszard Kapuscinski.

Get those Dynamite comps for sure. I’d start with 100% and 200%. Mindblowing.

Re The Mystic Revelations, they made records with Cedric Im Brooks, I think, and his record The Light of Saba is awesome. I think Honest Jon’s in London put out the reissue. That’s the only one of his I have, and I don’t have any Mystic Revelations (yet).

Jackie Mittoo yes, Bovell yes (I really love I Wah Dub–funny story about Calvin Johnson stealing it out from under me at Park Ave, pre-Dub Narcotic days [only just pre, I imagine]). I appreciate the other recs.

Hippy Boys were sort of the Jamaican Meters, and Reggae with the Hippy Boys is a great record. The CD reish has like a million bonus tracks.

Sound Dimension, similar in that they were instrumental. More spacey and dubbed-out though. They have at least one good comp. Their tracks on the Dynamite comps are fantastic.

I’m assuming you have a bunch of Augustus Pablo already. Speaking of instrumental.

Navigating the waters of reggae is more challenging than any other kind of music I’ve ever gotten into. So much crap floating around.

– Tim Midgett

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Reggae didn’t fade away, it’s just evolved into newer forms. Reggae itself has transformed our pop landscape, given rise to hip hop, rap, and other forms. More straightforward expressions can be followed in fusion reggae, reggeaton, etc.

All of modern pop music has been subjected to a highly fractured marketplace and media. Radio has been replaced in relevance by the Internet and other forms of delivery such as satellite radio. If you love reggae, it’s still there.

– Peter Dysart

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