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An Arif 'Supa' Cooper production.
I-Wayne on the Relationships riddim. I-Wayne who is extremely popular wherever you go in the world. Except JA perhaps.
As you know, I’ve been saying for years that dancehall and reggae is undergoing a transformation from a local form of music and culture, to a global subculture. Initially I got a lot of comments about that. Basically the point people where making was that dancehall and reggae was based out of the JA sound system culture an would always originate from that.
A more clever point (that I never heard anyone make) would have been that it could exist out of that context for a while but it would die in the long run. We have seen that historically; islands of dancehall and reggae contexts such as that in England, NY and Africa, as well as the ”international reggae” in the 80-ties fueled by international record companies looking for the next Marley, has lived for a while but eventually always lost momentum over time.
However, I think we now have seen the full transformation. More and more popular riddims are being built outside JA, and none-JA based reggae acts are slowly getting more and more of the ”market”. At the same time JA artists and producers are getting confused about what their audience is. Where the cash where coming from used to be a safe sign of where the audience where, and what they liked, but with less money in the industry, and a turn from few large sources of income to many small, it’s difficult to navigate using the old ”go where the money is” strategy. And you can say a lot about commercialism, but it tends to create quality over time (if you with quality means the things most people like).
These days a lot of producers aren’t even in it for the money. It does sound like a beautiful thing, and perhaps it is, but I do believe this cramp, if not creativity, so at least development.
If it’s not money our after, then you may be more interested in focusing your music on something else then selling a lot of records. Like starting a local war for example.
Another way to explain what is happening is to say that the root of the change (not”problem”, mind you, I don’t look at it that way) is that the sound system culture is loosing popularity. Not reggae and dancehall, but the sound system culture. I really don’t know how true that is in JA though. Actually I find it difficult these days to say what is really sound system culture and what is just partying. It seems sound system culture is not centered around sounds, DJ:s, selectors and the music they play in the way it has traditionally been. What is a boom tune these days? For years it has not been frowned upon to play the same tune twice, would that ever happen now? Perhaps in Japan, who seems to be where traditional sound system culture is really thriving, but not in JA. Because in JA it’s not about music in the fashion it used to be.
Comments (latest first): Comment: Please some1 tell Alaine for me that she has by far the best track on that instant classic Riddim and i love her for that. Love Loud and Clear can never be out done in terms of soulfulness, the creativity in it, and the way it naturally blends in wth the beat. A year back i posted the same sentiments on my Facebook page and still today i feel the same. I know the average listiner would rate the Sean Paul track more but then im not an average listener myself. Depth is what i look for and my favourate female reggae crooner Alaine has it. Hot on her heels is Cecile with her Promise tune, i love that cut aswell. Its well done to Voicemail, Chris Martin, Collie Buds, Sean Paul for there efforts.
Definately 1 be enjoyed.
Comment by: Elisha Outta Zimbabwe Date: 2010-11-23 Comment: collie buddz track is worth listening on this riddim
Comment by: Date: 2010-03-27
This version database contains Pupa Vlados Original Reggae Riddims Dot Com (+34 000 songs) and Robert Camphouse's Camphouse Riddim Index (+4000) songs: