MUSIC & VIDEO WEEK JULY 23, 1983
Opinion
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In search of realistic
reggae music. They often feel it is too Even with the international success of By STEVE ALEXANDER, specialist to programme during the day, Bob Marley And The Waiters, reggae of Ruff Lion Distribution and it is usually left to the once-a-week music is still not being taken seriously and specialist music programmes to play. the majority of the UK media tend to look ONE STRONG rule with many Most of these programmes are based on reggae music as gimmick-music and, Jamaican producer/artists when on new releases and often they don't ever what's more, will continue to do so until searching for the often-elusive big play a new or current record more than the current policies adopted by the hit or potential crossover single is once. And most of these programmes are broadcasting companies are changed to that if a record is a big hit in soul, on late at night or at weekends when include more reggae than the once-a-year then simply cover it in reggae. But audience ratings are lower. "fun" records. this tried and tested rule is one that stifles creativity in Jamaican songwriters. The reason why so many reggae artists A living sub-culture are quick to cover a soul tune is perhaps At the dreaded crossroads... because in Jamaica the two radio stations By COLIN HUNTE, reggae promoter and booking agent — Jamaican Broadcasting Company REGGAE MUSIC has grown, spread and consolidated itself worldwide as has AT THE end of this month. Judge Dread (above) returns to the release (JBC) and Rediffusion Jamaican Radio no other musical form since rock music burst onto the scene. schedule with a new single. The Ten Commandments. It a/so sees his return to (RJR) — are in direct competition to see From the early Sixties in Jamaica, via mid-Seventies cultish days, it has now become the Trojan label, with whom he has scored many millions of sales. who can programme the most US soul one of the most influential and seminal styles of popular music, from the US to Australia, Dread, who's total unit sales exceed20m since the release of Big Six, can rightly claim and disco music, and to ignore even the from Inverness to Stockport. — despite what you might read elsewhere — to be the first white man to chart a reggae- most talented Jamaican artists in favour Yet, because it is listened to and played by so many different people, and because it is based record. of the light-weight "foreign" music that about the music not the paraphenalia, the main stream rock business just can't slick its Dread believes that today reggae music has lost its direction, and at the same time dominates their airwaves. labels on and package reggae as it is accustomed to doing with anything else that moves much of its commercial/crossover potential: "Reggae has become too war-like. The Thus, many Jamaican artists are and might have a buck in it. message used to be jump up and dance: now it's Jah this and Jah that and they're all forced to look for a Good Thing Going Therefore, reggae tends to do its own thing parallel to "pop' music — much in the way calling each other Dread now. It was commercial ethnic music, now much of it is just (Sugar Minott), Key To The World jazz does - except for the odd crossover. Thus it is largely overlooked, despite the real, noises that have no meaning. (Ruddy Thomas) or a Love Come Down ever-expanding grass roots following. "They all sing about Ethiopia — a place they've never been to, and if they did they (Barry Briggs) type song in order to pass Reggae music is addictive. When you've first been enticed by the spell of its variety and wouldn't want to go back again." (It should be pointed out that Judge Dread has. in the the grade and be acceptable to the ears of exuberance, you have to find out more about it. It's then that you come across the past, helped to raise thousands of pounds for famine relief in Ethiopia.) the radio station producers who might unmapped, seemingly impenetrable world of the afficianado. In a blaze of excitement, "It's time the artists got back to making commercial reggae. The music has got into an pick up on the records, play them and you discover the sub-culture of language, reggae record shops, newspapers, magazines, ethnic hole from which it's going to be difficult to get out of. give the artists often long overdue hits radio news and even reggae's own pirate radio station. '"There should be no politics in music — leave that to the politicians — and people and recognition. It is truly a live, pulsating, growing scene in a stale world of fad-changing, hipper-than- don't want to listen to records about militancy and misery. Let's get back to the happy The same situation applies to the UK thou rock music. And because it has grown under its own steam and not been "created" sounds, back to that Mardis Gras kind of feel. market where radio is an even stronger by the record sellers, it has the foundations of a lasting, healthy form. "Reggae is at something of a crossroads. Those making the music must decide mass medium and has a tendency to UK society is mixed — multi cultural and multi-racial. London happens to be the world whether they want to sell records in hundreds or in thousands. / don't really know how it programme records issued by the major centre for reggae music. Yet most major record companies' A&R departments fail to will all end up. Probably it's going to stay in its own little shell with the occasional record companies. capitalise on the interest in and excitement generated by the music. breakout hit. Almost all programme directors and This is a sad state of affairs — many of them believe that reggae music only appeals to "The trouble is a lot of them can't go back to playing in the old happy-go-lucky style. playlist committees working on UK radio the ethnic minority. The majors should look to experienced A&R reggae specialists and They've forgotten how to play it. There's still a big market out there for fun music." fail to recognise serious and constructive move away from signing the occasional reggae act merely as a token.
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