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Reggae II : l'âge d'or Extract of Médiathèque Jacques BAUMEL https://www.mediatheque-rueilmalmaison.fr/Reggae-II-l-age-d-or Reggae II : l'âge d'or - Les collections - Bibliographies - Musique, Cinéma, Arts & Loisirs - Musique - Musique du Monde - Publication date: vendredi 10 février 2017 Description: Découvrez le reggae 70 ! Copyright © Médiathèque Jacques BAUMEL - Tous droits réservés Copyright © Médiathèque Jacques BAUMEL Page 1/14 Reggae II : l'âge d'or Le Reggae à ses débuts est une musique contestataire, mystique faisant appel à la fierté du peuple noir, l'exhortant à se libérer de ses complexes et prêchant un retour aux "racines". « Jah music », la musique de Dieu, c'est ainsi que les rastas nomment le Reggae. Le Reggae trouve ses racines dans la musique noire américaine (le Rhythm'n Blues plus particulièrement), le Ska et le Rocksteady, mais aussi dans les musiques traditionnelles du continent africain (ces dernières ayant été apportées par les esclaves jusqu'en Jamaïque). C'est donc dans un contexte de rébellion des consciences face à l' oppression blanche symbolisée par le KKK, qu'apparurent des mouvements tels que les Black Panthers, des hommes comme Marcus Garvey, Malcom X, et le Reggae... Le mouvement rastafarien est profondément révolutionnaire, car il refuse fondamentalement toute l'organisation de la société "païenne" de Babylone en commençant par réviser l'interprétation établie de la Bible. <span class='spip_document_10040 spip_documents spip_documents_right' style='float:right;'> Reggae et Rasta : les prémices Copyright © Médiathèque Jacques BAUMEL Page 2/14 Reggae II : l'âge d'or Les rastas de Studio One <span class='spip_document_9684 spip_documents spip_documents_right' style='float:right;'> Contrairement à Duke Reid qui refusait aux rastas l'accès à son studio, Coxsone les enregistra, comme n'importe quels autres chanteurs. Parmi ces chanteurs rastas se trouvaient le jeune Burning Spear, ainsi que les Abyssinians avec le classique "Satta Massa Ganna". Les textes rastas de cette chanson contribuèrent à l'envol du genre, alors que l'accompagnement des Soul Dimensions jeta les bases d'un style de Reggae au tempo plus modéré qui fut bientôt connu comme le Roots Reggae. A la même époque, essayant de l'autoproduire sans succès, "Les Wailers" travaillèrent avec le producteur Lee Perry. De leur collaboration jaillit un grand nombre de splendides chansons, regroupées dans les albums « Soul Almighty » et « Soul Revolution ». La rythmique fut assurée par le groupe maison de Lee Perry, les Upsetters, dont la section basse-batterie (les frères Barrett) accompagna Bob Marley jusqu'à la fin de sa vie. Cette collaboration vit éclater le talent de Marley (certains considèrent qu'il s'agit de la meilleure période de sa carrière) mais aussi celui de Lee Perry en tant que producteur excentrique mais génial. Il marqua la décennie à venir des ingénieuses trouvailles de studio qui firent évoluer le Reggae. The Abyssinians and Friends : Tree of Satta disponible ? Lee [scratch] Perry : Arkology <span class='spip_document_9687 spip_documents spip_documents_right' style='float:right;'> disponible ? Burning Spear : Man in the hills disponible ? The World should know disponible ? Social living, Marcus Garvey Garvey's Ghost. disponible ? Resistance disponible ? <span class='spip_document_10040 spip_documents spip_documents_right' style='float:right;'> Le Reggae rasta s'impose Copyright © Médiathèque Jacques BAUMEL Page 3/14 Reggae II : l'âge d'or En 1972, le producteur Leslie Kong s'éteignit. Avec lui les productions Beverley's s'arrêtèrent. Le style Early Reggae ne lui survécut pas longtemps. Le One drop Le tempo ne cessa de ralentir, atteignant un record de lenteur vers 1973. Parallèlement, le style de batterie « one drop » s'imposa comme le nouveau style de Reggae. Extrêmement simple, il s'agit d'un rythme de batterie consistant en un charleston continu et en un coup de grosse caisse et de caisse claire marquant conjointement le troisième temps d'une mesure de quatre temps. Le Reggae culturel Le succès des thèmes rastas n'allait pas se démentir et ce genre allait dominer complètement l'île. Si le commentaire social chanté avait toujours existé avec, entres autres, certains textes de Prince Buster, il prit ici une dimension plus mystique et culturelle. Nombreux furent ceux qui se laissèrent pousser les cheveux et modifièrent leurs habitudes alimentaires (les rastas sont végétariens, ne consomment pas de sel, ne boivent pas d'alcool) en signe d'allégeance à Jah Rastafari. U-roy : C'est l'un des trois personnages les plus importants de la musique jamaicaïne avec Bob marley et Lee Perry. Vers 1967, U-Roy rencontre l'ingénieur du son King Tubby. C'est le début d'une révolution. Sur les bandes trafiquées par Tubby, U-roy invente un chanter-parler (toasting). De cette technique découlera le rap 10 ans plus tard. En cela, U-Roy est aussi le père du Dancehall. Big Youth : Après U-Roy, il est le DJ le plus célèbre et le plus créatif de l'île. Sa manière de toaster est d'une fluidité remarquable et il est surtout l'un des meilleurs chroniqueurs de la vie des ghettos de Kingston. Tapper Zukie : Protégé de Patti Smith, Tapper Zukie est le DJ dont raffole la scène punk au milieu des années 1970. Il se reconvertit dans la production par la suite. Prince Far I : Cet ancien videur de Studio One devient au cours des années 1970 un DJ incontournable. Surnommé Voice of Thunder, "la voix du tonnerre", on lui doit quelques enregistrements historiques comme la série des Cry Tuff Dub Encounter et l'album Under Heavy Manners. Victime de la violence urbaine, il est assassiné à l'âge de 39 ans. Copyright © Médiathèque Jacques BAUMEL Page 4/14 Reggae II : l'âge d'or Compilation Studio one DJ's disponible ? Compilation Version Affair : vol. 1 disponible ? U Roy Serious matter disponible ? Dread in a Babylon disponible ? Superboss disponible ? Reggae : les prémices <span class='spip_document_10040 spip_documents spip_documents_right' style='float:right;'> A cette période, la récupération des rastas par les politiciens commença et ce, tous partis confondus. Même Michael Manley, le candidat démocrate à la présidence du pays lors des élections de 1972, s'afficha en public avec un bâton de pèlerin qui lui aurait été remis par Haïlé Sélassié lors de sa visite au pays. Cela eut pour effet d'impressionner les rastas, pourtant apolitiques. Le même Michael Manley organisa une tournée musicale afin de soutenir sa campagne. Les Wailers y participèrent, alors que la chanson de Delroy Wilson, « Better Must Come », qui fut l'hymne de sa campagne. Plusieurs artistes issus des ghettos enregistrèrent des chansons soutenant son programme. En effet, le PNP, Parti National Populaire, semblait à l'écoute des ghettos, tandis que le JLP alors au pouvoir ne favorisait que les riches. Les effets négatifs de cet engouement <span class='spip_document_9692 spip_documents spip_documents_right' style='float:right;'> Cet engouement pour les textes rastas eut des effets négatifs. Le premier concernait ceux qui n'étaient pas rastas car ils furent parfois honteusement ignorés à l'étranger. Ainsi le grand DJ I-Roy (Roy Samuel Reid), amateur de rhum et de chapeaux, ne connut jamais un succès comparable à celui de U-Roy, rastaman et fumeur de ganja, alors que le premier sortit autant de grands morceaux que le deuxième. Copyright © Médiathèque Jacques BAUMEL Page 5/14 Reggae II : l'âge d'or <span class='spip_document_9693 spip_documents spip_documents_right' style='float:right;'> Le second effet négatif fut l'apparition de ceux qu'on appelait "wolves » ou « false rastas ». Ils se laissaient pousser les dreadlocks dans le seul but de suivre la mode. De nombreuses chansons furent écrites à ce sujet parmi lesquelles la très drôle « Rasta Bandwagon » de Max Roméo ainsi que « False Rasta Aka Rascal Man » de Delroy Wilson, tous deux disponibles sur l'excellente compilation des productions de Winston " Niney Holmes". Niney the Observer -Roots with quality disponible ? Reggae : les prémices <span class='spip_document_10040 spip_documents spip_documents_right' style='float:right;'> Les années Bunny Lee L'effondrement de l'économie jamaïcaine Au début des années 70, l'économie jamaïcaine s'effondra complètement. Elle mit vingt ans à s'en remettre. La situation des pauvres empirait, et de plus en plus de gens se tournaient vers la musique. C'est pourquoi le Reggae Rasta régna presque sans partage, il parlait de la souffrance des pauvres et ainsi l'apaisait. La violence dans les ghettos allait croissant, exacerbée par les guerres entre circonscriptions et donc entre sympathisants JLP ou PNP, les deux partis politiques de l'île. La situation était telle que des amis qui habitaient dans des quartiers différents étaient obligés de se faire la guerre, même s'ils avaient grandi en amis. Naissance d'un nouveau producteur Copyright © Médiathèque Jacques BAUMEL Page 6/14 Reggae II : l'âge d'or <span class='spip_document_9694 spip_documents spip_documents_right' style='float:right;'> Bunny Lee est l'un des plus influents producteurs jamaïcains. Sa contribution au reggae ne s'y limite d'ailleurs pas, car son influence peut se ressentir dans tous les styles de musique découlant du reggae. Détecteur de talents, innovateur, patron de studio, manager infatigable et intransigeant, Bunny Lee est l'inventeur du flying cymbal style, inauguré avec Johnny Clarke sur le titre "None shall escape the judgement". Il marque ainsi l'histoire de la musique à l'instar d'autres monstres sacrés tels que Phil Spector, qui révolutionna le rock avec la technique du "wall of sound". Surnommé "Striker" pour son incroyable capacité à imposer des tubes, Bunny "Striker" Lee est à l'origine d'un nombre incalculable de standards du reggae. Quasiment tous les grands artistes jamaïcains des années 60 et 70 ont travaillé pour lui. Avec quelques autres producteurs tels que Prince Buster, Lee Perry ou King Tubby, il a disputé le leadership de la scène musicale au grand Clement " Coxsone " Dodd, qui régnait en maître sur l'industrie musicale jamaïcaine avec le Studio One.
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  • Assessing Fela Anikulapo-Kuti, Lucky Dube and Alpha Blondy

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    humanities Article Political Messages in African Music: Assessing Fela Anikulapo-Kuti, Lucky Dube and Alpha Blondy Uche Onyebadi Department of Journalism, Texas Christian University, Fort Worth, TX 76129, USA; [email protected] Received: 30 September 2018; Accepted: 30 November 2018; Published: 6 December 2018 Abstract: Political communication inquiry principally investigates institutions such as governments and congress, and processes such as elections and political advertising. This study takes a largely unexplored route: An assessment of political messages embedded in music, with a focus on the artistic works of three male African music icons—Fela Anikulapo-Kuti (Nigeria), Lucky Dube (South Africa), and Alpha Blondy (Côte d’Ivoire). Methodologically, a purposive sample of the lyrics of songs by the musicians was textually analyzed to identify the themes and nuances in their political messaging. Framing was the theoretical underpinning. This study determined that all three musicians were vocal against corruption, citizen marginalization, and a cessation of wars and bloodshed in the continent. Keywords: Political communication; African politics; African music; Fela Anikulapo-Kuti; Alpha Blondy; Lucky Dube; textual analysis 1. Introduction Music permeates significant aspects of African society, culture, and tradition. Adebayo(2017, p. 56) opined that “to the African, music is not just a pastime, it is a ritual” that describes the true essence and humaneness in being of African origin. Cudjoe(1953, p. 280) description of the place of music among the Ewe people in Ghana typifies this African musical heritage. He observed that “music has an important place in the social life of the Ewe people. There is no activity which does not have music appropriate to it: weaver, farmer and fisherman each sings in perfect time to the rhythmic movement of (one’s) craft ..
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    CD: £9.49 (Samplers marked* £6.49) LP: £9.49 ORDER FORM Postage &Packing: Jamaican Recording/ Kingston Sounds 1 x CD = 0.95p + 0.35p for every additional item PO BOX 32691 London W14 OWH 1 x LP = £1.95 + .85p for every additional item JAMAICAN www.jamaicanrecordings.com Total x 2 for Europe Total x 3 for Rest of the World (ROTW) RECORDINGS [email protected] If mixed please contact us. CAT NO. TITLE VINLY (QTY) CD (QTY) SUB TOTAL £ JR001 KING TUBBY 'LOST TREASURES' £ JR002 AUGUSTUS PABLO 'DUBBING WITH THE DON' £ JR003 THE REVOLUTIONARIES AT CHANNEL 1 £ JR004 LEE PERRY 'SKANKING WITH THE UPSETTER' £ JR005 THE AGGROVATORS 'DUBBING IT STUDIO STYLE' £ JR006 SLY & ROBBIE MEET BUNNY LEE AT DUB STATION £ JR007 HORACE ANDY'S DUB BOX 1973 - 1976 £ JR008 JAMAICAN RECORDINGS 'DUB SAMPLER' £ JR009 'DUBBING AT HARRY J'S 1970-1975 £ JR010 LINVAL THOMPSON 'DUB STORY' £ JR011 NINEY THE OBSERVER AT KING TUBBY'S £ JR012 BARRY BROWN 'STEPPIN UP DUB WISE' £ JR013 DJ DUBCUTS 'DUBBING WITH THE DJS' £ JR014 RANDY’S VINTAGE DUB SELECTION £ JR015 TAPPA ZUKIE ‘DUB EM ZUKIE’ £ JR016 KING TUBBY ‘DUB MIX UP’ £ JR017 DON CARLOS ‘INNA DUB STYLE’RARE DUBS 1979 - 1980 £ JR018 JAMAICAN RECORDINGS 'DUB SAMPLER' VOL 2 * £ JR019 TREASURE ISLE IN DUB – RARE DUBS £ JR020 LEROY SMART – MR SMART IN DUB £ JR021 MAX ROMEO – CRAZY WORLD OF DUB £ JR022 SOUL SYNDICATE – DUB CLASSICS £ JR023 AUGUSTUS PABLO MEETS LEE PERRY/WAILERS £ JR024 RONNIE DAVIS – ‘JAMMIN IN DUB’ £ JR025 KING JAMMY’S DUB EXPLOSION £ JR026 PROFESSIONALS MEETS THE AGGRAVATORS AT JOE GIBBS £ JR027 DYNAMIC ‘DUBBING AT DYNAMIC SOUNDS’ £ JR028 DJ JAMAICA ‘INNA FINE DUB STYLE’ £ JR029 SCIENTIST - AT THE CONTROLS OF DUB ‘RARE DUBS 1979 - 1980’ £ JR030 JAMAICAN RECORDINGS ‘DUB SAMPLE VOL.