Added: 22-04-2010
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Dancehall is a genre of Jamaican popular music. A more sparse version of reggae it also speaks on politics and religion but not as direct as roots style, which at the time was associated with the Rastafari movement, and which had dominated much of the 1970s. This changed in the mid-nineties with the rise of famous dancehall BoboShanti artists such as Sizzla and Capleton, resulting in a very strong connection between dancehall and Rastafari in the 21st Century.
Dancehall music has a long history from the 1960s as a way for poor Jamaicans to get their opinions of issues out to the public, in a society where class was a big issue and poor Jamaicans' opinions were not noticed. Dancehall was and is the voice of ghetto youths. One example is "Boom Bye Bye" by Buju Banton, a song created to speak out on the anger of child rape in Jamaica, Dancehall music has come under criticism from international organizations and individuals because of misunderstood lyrics in some songs.
In the mid-1980s, digital instrumentation became more prevalent, changing the sound considerably, with digital dancehall (or "ragga") becoming increasingly characterized by faster rhythms.History
Dancehall owes its moniker to the halls in which popular Jamaican recordings were aired by local sound systems and readily consumed by its "set-to-party" patronage; commonly referred to as "dance halls". Social and political changes in late-1970s Jamaica were reflected in the shift away from the more internationally-oriented roots reggae towards a style geared more towards local consumption, and in tune with the music that Jamaicans had experienced for some time when sound systems performed live. Michael Manley's socialist PNP government had been replaced with Edward Seaga's right wing JLP. Themes of social injustice, repatriation, and the Rastafari movement were overtaken by lyrics about dancing, violence, and explicit sexuality. Musically, older rhythms from the late 1960s were recycled, with Sugar Minott credited as the originator of this trend when he voiced new lyrics over old Studio One rhythms between sessions at the studio, where he was working as a session musician. Around the same time, producer Don Mais was reworking old rhythms at Channel One Studios, using the Roots Radics band. The Roots Radics would go on to work with Henry "Junjo" Lawes on some of the key early dancehall recordings, including those that established Barrington Levy, Frankie Paul, and Junior Reid as major reggae stars.Other singers to emerge in the early dancehall era as major stars included Don Carlos, Al Campbell, and Triston Palmer, while more established names such as Gregory Isaacs and Bunny Wailer successfully adapted.
Music of Jamaica
Kumina - Niyabinghi - Mento - Ska - Rocksteady - Reggae - Sound systems - Lovers rock - Dub - Dancehall - Dub poetry - Toasting - Raggamuffin - Roots reggae - Reggae fusion
Anglophone Caribbean music
Anguilla - Antigua and Barbuda - Bahamas - Barbados - Bermuda - Caymans - Grenada - Jamaica - Montserrat - St. Kitts and Nevis - St. Vincent and the Grenadines - Trinidad and Tobago - Turks and Caicos - Virgin Islands
Other Caribbean music
Aruba and the Dutch Antilles - Cuba - Dominica - Dominican Republic - Haiti - Hawaii - Martinique and Guadeloupe - Puerto Rico - St. Lucia - United States - United Kingdom
Sound systems soon capitalized on the new sound, with the likes of Killimanjaro, Black Scorpio, Gemini Disco, Virgo Hi-Fi, Volcano Hi-Power, and Aces International also introducing a new wave of deejays. The older toasters were overtaken by new stars such as Captain Sinbad, Ranking Joe, Clint Eastwood, Lone Ranger, Josey Wales, Charlie Chaplin, General Echo, and Yellowman, a change reflected by the 1981 Junjo Lawes produced album A Whole New Generation of DJs, although many went back to U-Roy for inspiration. Deejay records became, for the first time, more important than records featuring singers, with deejay's often voicing over new rhythms before singers. A further reflection of the live experience was the trend towards "sound clash" albums, featuring rival deejays and/or sound systems going head to head in competition for the appreciation of a live audience, with underground sound clash cassettes often documenting the violence that would come with such rivalries.
Two of the biggest deejay stars of the early dancehall era, Yellowman and Eek-a-Mouse, chose humour rather than violence, with both becoming huge stars, and Yellowman the first Jamaican deejay ever to be signed to a major American label, and for a time enjoying a level of popularity in Jamaica to rival Bob Marley's peak. The early 1980s also saw the emergence of female deejays, with Sister Charmaine, Lady G, Lady Junie, Junie Ranks, Lady Saw, Sister Nancy, and Shelly Thunder bringing a new dimension to the dancehalls.
Dancehall also brought a new generation of producers to the fore. Junjo Lawes, Linval Thompson, Gussie Clarke, and Jah Thomas took over from the producers who had dominated in the 1970s.
King Jammy's 1985 hit, "(Under Me) Sleng Teng" by Wayne Smith, with an entirely-digital rhythm hook took the dancehall reggae world by storm. Many credit this song as being the first "digital rhythm" in reggae, utilizing a rhythm from a Casio MT-40 keyboard, leading to the modern digital dancehall, or ragga, However this is not entirely correct since there are earlier examples of digital productions; Horace Ferguson's single "Sensi Addict" (Ujama) produced by Prince Jazzbo in 1984 is one. The "Sleng Teng" rhythm was used in over 200 subsequent recordingsThis deejay-led, largely synthesized chanting with musical accompaniment departed from traditional conceptions of Jamaican popular musical entertainment. Dub poet Mutabaruka maintained, "if 1970s reggae was red, green and gold, then in the next decade it was gold chains". It was far removed from its gentle roots and culture, and there was furious debate among purists as to whether it should be considered some sort of extension of reggae music.
This shift in style again saw the emergence of a new generation of artists, such as Buccaneer, Capleton and Shabba Ranks, who became the biggest ragga star in the world A new set of producers also came to prominence: Philip "Fatis" Burrell, Dave "Rude Boy" Kelly, George Phang, Hugh "Redman" James, Donovan Germain, and [[Bobby DigitalWycliffe "Steely" Johnson and Cleveland "Clevie" Brown, aka Steely & Clevie, rose to challenge Sly & Robbie's position as Jamaica's leading rhythm sectionThe deejays became more and more lack and focussed on violence, with Bounty Killer, Mad Cobra, Ninjaman, and Buju Banton becoming major figures in the genre.
To compliment the harsher deejay sound, a "sweet sing" vocal style evolved out of roots reggae and R&B, marked by its falsetto and almost feminine intonation, with proponents like Pinchers, Cocoa Tea, Sanchez, Admiral Tibet, Frankie Paul, Half Pint, Conroy Smith, Courtney Melody, Carl Meeks, and Barrington Levy.
In the early 90s, songs like Dawn Penn's "No, No, No", Shabba Ranks's "Mr. Loverman", Patra's "Worker Man" and Chaka Demus and Pliers' "Murder She Wrote" became some of the first dancehall megahits in the U.S. and abroad. Various other varieties of dancehall achieved crossover success outside of Jamaica during the mid-to-late 1990s. Tanya Stephens gave a unique female voice to the genre during the 1990s.
The years 1990-1994 saw the entry of artists like Buju Banton, Bounty Killer, Lady Saw, Shaggy, Diana King, Spragga Benz, Capleton, Beenie Man and a major shift in the sound of dancehall, brought on by the introduction of a new generation of producers and for better or for worse, the end of Steely & Clevie's stranglehold on riddim production.
The early 2000s saw the success of newer charting acts such as Elephant Man and Sean Paul.
Sean Paul has achieved mainstream success within the United States and has produced several Top 10 Billboard hits, including "Gimme the Light", "We Be Burnin'", "Give It Up To Me", and Break It Off, a duet with Rihanna. He also has done several #1 singles, "Get Busy", "Temperature", and a duet with Beyonce, " Baby Boy".
VP Records dominates the dancehall music market with Sean Paul, Elephant Man, and Buju Banton. VP often has partnered with major record labels like Atlantic and Island in an attempt to further expand their distribution potential particularly in the U.S. market.
Then you have the other Dancehall Artists such as Vybz Kartel, Mavado, Chase Cross, Black Rhyno, Shawn Storm, Wayne Wonder, Leftside (otherwise known as Dr. Evil), who are more well known to the country, the Caribbean and Jamaican diaspora.
Conscious reggae
In 1992, the international backlash to Banton's violently anti-homosexual "Boom Bye-Bye", and the reality of Kingston's violence that saw the deaths of deejays Pan Head and Dirtsman saw another shift, this time back towards Rastafari and cultural themes, with several of the hardcore slack ragga artists finding religion, and the "conscious ragga" scene becoming an increasingly popular movement A new generation of singers and deejays emerged that harked back to the roots reggae era, notably Garnet Silk, Rocker T, Tony Rebel, Sanchez, Luciano, Anthony B and Sizzla. Some popular deejays, most prominently Buju Banton and Capleton, began to cite Rastafari and turn their lyrics and music in a more conscious, rootsy direction. Many modern dancehall Rasta artists identify with Bobo Ashanti.
Reggae fusion
Reggae fusion is a mixture of reggae and/or dancehall with different influential elements of other genres whether it be hip-hop reggae, R&B reggae, jazz reggae, rock 'n roll reggae, Indian reggae, Latin reggae, drum and bass reggae, punk reggae, polka reggae, etcweb|url=httpreviews.com/fusion.html|title=Reggae Fusion|accessdate=2008-06-07|author=Big D|date=2008-05-08|publisher=Reggae-Reviews It is recognized as a subgenre or fusiongenre of reggae and dancehall music and is closely related to ragga music. It is also used to describe artists who frequently switch between the dancehall and reggae genres and other genres, mainly rap and r&b. It first became popular in the late 1990s and originated in Jamaica, North America and Europe.
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