In America, the nineties were a boom time for dancehall reggae. The popularity of foundation Jamaican dancehall artists like Shabba Ranks, Tenor Saw, Josey Wales and Supercat was securely established, and sound systems were hosting and promoting Jamaican artists.
On the dancefloor and on the radio, dancehall releases were being promoted and mixed with other forms of popular music by selectors and DJs such as Kool, DJ Red Alert and Bobby Konders. Particularly in New York, Caribbean migrants and Americans of all kinds were embracing an emerging wave of international dancehall music, fused with the urban elements of hip-hop music. (more…)
Before becoming one of the UKs top reggae vocalists, Solo Banton was also the selecta and manager of Classic Wonder Sound. Here he teams up with his right-hand man Jay Dee to play some new tunes and dubplates in this exclusive mix for NiceUp. Straight outta Reading! (more…)
Carter Van Pelt talks to New York producer and artist, Ticklah, about his love for reggae music, the recording process, making creatively progressive music, and some of his many and varied projects.
You are one of a handful of non-Jamaican reggae producers who have a great reverence (hope that’s not an overstatement) for the aesthetic of some of the better Jamaican music and the production process that helped give it an identity. What are some of the aspects of Jamaican recording and the music itself, that initially hooked you, and what have you grown to appreciate that maybe you didn’t immediately notice or appreciate?
“Reverence” wouldn’t be an overstatement at all in my case. That’s exactly what I feel about what you refer to as the “better” Jamaican music. It’s hard for me to say what initially hooked me, other than that feeling that probably most people who are not born into an environment where reggae is what they grow up with feel if and when they get hit by reggae. Something like – “damn! this feels different from everything else I’ve heard…and I LOVE it!! MORE!!”. (more…)
Island 12”, 1977
It was with great sadness that I read of Junior Murvin’s passing today. It seems only fitting to feature one of his tunes this week.
‘Tedious’ is one of his tracks from the classic ‘Police and Theives’ set, co-written and produced with Lee Scratch Perry. Murvin’s unique falsetto voice sets him apart from the crowd. (more…)
Photo by Chuck Przybyl
If you haven’t heard it yet, his most recent album is a collaboration with a Chicago dub project: The Scientist Meets Ted Sirota’s Heavyweight Dub. It’s full of crucial echoes, proper basslines, and skillful instrumentation.
During a wide-ranging Skype conversation with Anderson Muth, aka The Groove Thief, the legendary Hopeton Overton Brown, aka The Scientist, weighed in on important social issues and also discussed Jamaican music’s past, present, and future. (more…)
Anderson Muth, AKA The Groove Thief, is a dub and reggae selector currently based in Hong Kong. Raised in Colorado, USA, he has spent much of the last decade living and traveling in Asia while embracing a myriad of musical influences.
His eclectic bass-heavy style weaves together different eras and genres of Jamaican-influenced music, particularly digital reggae and rootstep. (more…)