| Roots reggae | |
|---|---|
| Stylistic origins | |
| Cultural origins | Jamaica |
| Derivative forms | Dub |
| Other topics | |
Roots reggae is a subgenre ofreggae that deals with the everyday lives and aspirations ofAfricans and those in theAfrican Diaspora, including the spiritual side ofRastafari, black liberation,revolution and the honouring ofGod, calledJah by Rastafarians.[1] It is identified with the life of theghetto sufferer,[2] and the rural poor. Lyrical themes includespirituality and religion, struggles by artists,poverty,black pride, social issues, resistance tofascism,capitalism, corruptgovernment and racialoppression. A spiritualrepatriation to Africa is a common theme in roots reggae.
The increasing influence of theRastafari movement after the visit ofHaile Selassie toJamaica in 1966 played a major part in the development of roots reggae, with spiritual themes becoming more common in reggae lyrics in the late 1960s.[1] Important early roots reggae releases includedWinston Holness's "Blood & Fire" (1970) andYabby You's "Conquering Lion" (1972).[1] Political unrest also played its part, with the 1972 election campaign ofMichael Manley targeting the support of Jamaica's ghetto communities.[1] Increasing violence associated with the opposing political parties was also a common lyrical theme, with tracks such asJunior Murvin's "Police & Thieves" andCulture's "Two Sevens Clash".[1]
The heyday of roots reggae is usually considered the latter half of the 1970s – with artists such asThe Abyssinians,Johnny Clarke,Cornell Campbell,Bob Marley,Peter Tosh,Burning Spear,Dennis Brown,Max Romeo,Horace Andy,Hugh Mundell, andLincoln Thompson, and groups likeBlack Uhuru,Steel Pulse,Israel Vibration,The Gladiators andCulture – teaming up with producers such asLee 'Scratch' Perry,Bunny Lee,Joseph Hoo Kim andCoxsone Dodd. TheSound system (Jamaican) was of unequalled importance in spreading reggae and dub, with the diaspora represented by leading sound system operators such asJah Shaka, who, in turn, went on to profoundly influence many in Britain and the world, influencing earlypunk rock musicians in London, as well as definitively shaping later bass dominated genres such asJungle music andDrum and bass. The experimental pioneering of such producers within often-restricted technological parameters gave birth todub, and is seen by some music historians as one of the earliest (albeit analogue) contributions to moderndance music production techniques.
Roots reggae became popular in Europe in the 1970s, especially amongleft-wing white youths inWestern Europe.[3]The Wailers' popularity in Europe opened the door for other artists, and roots reggae artists became popular withpunk rock fans.[1] When Jamaicans turned todancehall, a lot of black, white and mixed roots reggae bands were formed in Europe.[1] Later on roots reggae made its way into the United States with the migration of Jamaicans to New York. This took place with the reforms made to Americanimmigration laws in the early 1960s. Along with localised traditions and food, reggae music was inevitably brought as well, contributing to the New York City soundscape, such as the development ofhip hop.[4]
While roots reggae was largely overtaken in popularity in Jamaica by dancehall, several artists from the original era, such as Culture, Burning Spear, andIsrael Vibration continued to produce roots reggae, and artists likeBeres Hammond andFreddie McGregor continued the use of roots reggae, as a musical style and thematically, through the 1980s. In the 1990s younger Jamaican artists became interested in the Rastafari movement and began incorporating roots themes into their music. Most notable among the new generation of "conscious" artists wasGarnett Silk, whose positive spiritual message and consistent use of roots and rocksteady riddims gave him cross generational appeal with Caribbean audiences. While other notable dancehall stars likeCapleton andBuju Banton became devout Rastas and changed their musical direction as a result.[1] Other modern roots artists and bands also emerged at this time, includingLuciano,Junior Kelly,Morgan Heritage,Anthony B, andSizzla.[2]
Similar to the oversimplification and limitations of the terminologymiddle passage, the roots reggae displays Africa as a mythical paradise that functions primarily as a motivating symbol, imagined origin, and semantic center. "More so even than earlier sounds, roots reggae always seemed to invite itself directly to Africa, brazenly insisting upon itself as the continent's primary echo, if not recursive mirror". The mythical Africa articulated in roots reggae is shaped by desire, nostalgia and trauma under the pressure of local Caribbean politics. While an imagined Africa is used as an inspiration for resistance and revolution against "Babylon" (corrupted capitalist colonial culture), Africa's actual complexity and contradictions are not investigated.[5]
Traditional reggae and roots reggae, a subgenre that evolved from traditional reggae, while sharing a common Jamaican heritage, exhibit distinct characteristics that set them apart. Traditional reggae encompasses diverse themes, including love, everyday life, and dancehall culture, whereas roots reggae tends to focus its lyrics on social consciousness.[2] Traditional reggae rhythms vary widely, featuring both upbeat and slower tunes. In contrast, roots reggae is marked by a deliberateone-drop rhythm and a slower tempo. Rooted in a deep social and political consciousness, its lyrics often tackle issues of poverty, oppression, and spirituality, influenced by the Rastafarian movement.[6] Musically, roots reggae maintains a specific sonic identity, characterised by deep basslines, skanking guitar patterns, and the inclusion of horns.[1] While these distinctions exist, the lines between reggae and roots reggae can be flexible, and the two genres share a significant overlap within the broader reggae musical landscape.
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