The Amsterdam reggae scene (2023/24)

It is now over 5 years ago that I wrote for my blog (January, 2017) about the Amsterdam Reggae scene, speaking about 2016 and 2017. In fact, it was an update of my first description of the Amsterdam Reggae scene, written in Late 2012, so around 4 years earlier.

I think now (January of already 2024) the time has come for once again an update, along the same thematic lines, as it were subdividing the “scene”.

-REGGAE “CLUBS” (places)

-REGGAE DEEJAY’S/SELECTAH’S

-REGGAE PEOPLE (public, organizers)

-REGGAE ARTISTS AND PERFORMERS.

What has changed in the Amsterdam (and Netherlands) Reggae music scene since Early 2017, now about 6 years later?

TUMULTUOUS

The period 2017-2023 was overall quite tumultuous, but especially the latter years, since the Corona pandemic declared by authorities, since March 2020, It was then that the world – but especially leading politicians – went crazy.

Of course opinions differ about the restrictive corona policies, also affecting the Netherlands. If they were proper or necessary, if there really was a severe virus or a “pandemic”. The quest for ulterior motives by those critical of the policies - or as the CIA coined them: “conspiracy thinkers” - went on, and the (I think probable) ulterior motives will probably have to do with “the rich wanting to get richer”, or “elites fearing losing control”. Human history simply shows this..

The skeptical suspicions of other (non-medical) economical/political motives behind the proclaimed pandemic is "framed" here in the Western media as "Right-wing" or Right-Populist "conspracy theories", yet was widespread in the world, especially among poorer people (also from "the Left").. This framing is a matter of "wishful thinking" by authorities, hiding thus the (actually Right-wing!) vested interests behind such global policies, including multinationals, Big Pharma, Big Finance, etcetera.. All these profited in the period 2020-2022, which should have opened more eyes. Tellingly, I heard the word-play "pLandemic" (with the extra L) first from singer Buju Banton.

Why then - if this is the case - exactly at this time period (2020) such an “elite power grab” through such deceptive policies (hyping up a virus)? One of the more convincing and best-argumented - and non-ideological! - analysis I heard was that this whole Western capitalist system - based on exploitation - could simply not last, due to its very parasitical nature, and imploded/exploded at this point. This might relate to a peaking financial crisis, or the Internet, this digital age, promising world citizens freedom (of information) and connection, answered by “the powers that be” by threatening with more totalitarian control through it. The age-old class struggle, in essence, in my opinion.

While I considered it good and even heroic that people protested against the corona policies, and many sensible counter-ideas have been discussed about it, the theme is by now a well-trodden path, furthermore with decreased relevance and urgency, as the corona policies - some would say: failed deception strategy - seemed abandoned slowly in the course of 2022. Good to still stay vigilant of new "Babylon" schemes, of course. Some say "climate" (as opposed to actual "environment" protection) is one of these.

Let’s therefore try to forget this political/Babylonian foolishness, and focus on “positive vibrations”, namely music, culture, and Reggae, and specifically real lovers of Reggae music in Amsterdam, wanting to enjoy their favourite music, also outside one’s own house.. in other words: a “scene”.

Talking about “own house”.. during some of the several “peaks of lunacy” of the corona policies, also in the Netherlands there were periodic lockdowns – up to 2022 -, with all bars, clubs, restaurants, concert venues, etecetera, having to close for supposed medical (contagion) risk.

This also affected of course the nightlife in a city like Amsterdam, the Netherlands, including eventual Reggae clubs. Several Reggae events (festivals, internationally, other events) were annulled or postponed. Also “regular Reggae deejay-sessions”, to name something common in several European cities, including Amsterdam, ceased for some years, with few, and troubled exceptions. The hospitality sector in Amsterdam was even more tightly controlled (I knew e.g. that closing hours of bars were guarded oddly strict by police) than I thought, and most had to comply to not lose their business/license, although some sought the margins of the possible.

As part of the corona policies, the restrictions due to the QR code for entering public places (especially “fun” places, not for jobs and stores of course), as a conditional – read: discriminatory – opening up of bars and such), affected some “critical” Reggae fans.

I remember – when places could open a bit more,under discriminatory conditions – that certain Reggae parties, or a few concerts, had people not able to enter, for not having a QR code – or jab prove – to show. Even a former anarchic “squatter” place, like OT301 (Overtoom, Amsterdam), complied with this unhappy Babylonian policy.

As there were also travel restrictions for Jamaican artists, there were also limited Reggae concerts, especially in Europe (some US states like Florida still allowed concerts) in the period 2020-2022.

This was a blow, and hiatus, - perhaps even a trauma – but there was also a lively Reggae period before it- from 2017 to February 2020 – without such restrictions, and the period after 2021 to now, when public life – also of reggae events – “scrambled up” so to speak, i.e. increased again. Pick Myself (or Itself) Up from the ground, as the song by Peter Tosh goes..

Somehow the Amsterdam Reggae scene was kept alive also during corona closures and restrictions ., for – I think – interesting psychological/sociological reasons.

LIVE ONLINE CULTURE

All culture, must be kept in mind in this inevitable digital age, including modern subcultures, but also folk and pop cultures, can only thrive with actual and regular human contacts and gatherings. That is my (informed) opinion, at least. In fact, a free interaction of humans. Both the totalitarian tendencies the corona policies exhibited, as the increased digitalization in the West – with powerful parties behind it (big tech/technocracy) - impacted this. The latter - Internet – became by necessity a replacement of actual “music events” (dee-jays’ or live shows), with more people joining live “online events”, and real-time communication through comments.

Maybe it existed before, but it - known as: online streaming - certainly got a boost with those 2020-2022 “lockdowns” or, in some places, even evening curfews (for a type of influenza, I repeat). People were urged, but even forced to stay home. Also in the international Reggae scene, and from Amsterdam some dee-jays played Reggae live on e.g. Facebook pages. Also I, myself.

While contradictory and – of course – not “the real thing”, these online events could offer some comfort, nice distraction, and good music and variety of taste within Reggae, but also.. connection, and promise of “the real thing”: actual events with other people you can actually feel and smell (in theory.. I mean, haha), and direct sound waves from bigger or better loudspeakers “pumping” Reggae than you have at home.

I learned during my study that the Internet actually developed within US military circles, but luckily it spread outside of that elite context, and the freedom of information could not be tamed or controlled as much as "the powers that be" wanted..

Still.. actual culture requires physical gatherings, in my opinion. In that sense I agree with some critics of the corona policies, such as in the Netherlands Willem Engel, who called them – incl. lockdowns, gathering restrictions etc. - also an “attack on culture”.

REGGAE PLACES

From 1917 to Early 2020 there were still some Reggae clubs active in Amsterdam, notably and most regularly Café The Zen, then in Amsterdam East, also organizing events outside that club/café (under the name Zen Social: or rather ZenSocial productions). Small-scale shows were also regularly held in Café the Zen itself, or otherwise dee-jay events of Reggae dee-jays, especially with many people attending in the weekends. This was alive and still going strong!

Memorable for me was, e.g., the organized trip from Amsterdam to the island of Texel (NW Netherlands) in 2017, with the whole Café The Zen (read: Amsterdam Reggae)-community, with there shows of Warrior King from Jamaica, Marla Brown (daughter of Dennis, living in Britain), and Netherlands Reggae artists coming over. This is a lived culture, with actual physical presence. I even flirted with Marla Brown, or she with me? (just joking..)..

In 2017 and the years after, great artists like Fantan Mojah, Keida (from nice song Ganja Tea), I-Taweh, Lenn Hammond, Kushite, Khalilah Rose, and Vivian Jones, or national Reggae acts, like Jampara, Imishango, Zed I, Joggo, Miriam Simone, Lyrical Benjie, King I I Opo, or Rapha Pico .. really too much to mention - – perfomed or reappeared - in Café the Zen, while ZenSocial organized concerts by great Reggae artists like Everton Blender, Junior Kelly, Akae Beka, and Bushman, in concert venues/halls the direct surroundings of Amsterdam (Zaandam, Amstelveen).

These regular events – plus the very real sense that we were part of a Reggae community in Amsterdam – was later brutally disrupted by Babylon authorities attacking the vey lifeblood of it: freedom.

For the regular visitors of Café The Zen (like me) there was another shock or disappointment preceding this, as Café the Zen announced its closure (something with real-estate, rent costs, I understood) as of March 2020, when the whole corona hype was still a rumour. Very coincidental, but it – intended or not – softened the blow coming thereafter..

I was already starting to look for alternative Reggae places in Amsterdam, when the lockdowns coming in the months after confined me and my social life even more. I had a few private parties with dee-jay’s playing Reggae in that period, just to not always play Reggae I like just at my own home. I enjoy that, to be sure, but I think alterations of spaces and environments for humans are a psychological necessity: you dance among friends and strangers in another place – another “world” temporarily – and then return home for your usual, “homely” things, or relaxing with some fun YouTube film or documentary, either way as your own after party.

The lockdowns disrupted that natural, organic process and made “staying home” obligatory, rather than a respite or refuge. I guess it’s like having sex: it’s not relaxing and fun anymore when you are obliged/forced to.

Café Frontline, near Amsterdam’s Red Light district (with Surinamese owners) stayed open for a while (up to and “in-between” lockdowns) in the period 2020-2022. I was required – as I would in all other bars in Amsterdam – to fill in my name at the Café at one point: a place (Café Frontline) I have visited regularly for years. Not just an intrusion of privacy, but also making you feel guilty for going out: wicked policy, with the virus as excuse. All freedom and spontaneity troubled, though we always tried to hold a good Reggae vibe anyway. And forgot those bothersome policies when sweet Reggae played!

Other places were “visited” so to speak by Reggae selecta’s/dee-jay’s until the lockdowns got stricter, and after strict policies loosened. Selecta’s once playing in Café the Zen – like Jah Sisters - could play in some places in Amsterdam, like Kashmir Lounge, Hunter’s Grand Café, Molli Chaoot, or Bret.

JAMAICA LOUNGE

Another Reggae place I paid more attention to after Café the Zen closed was Jamaica Lounge, in Amsterdam-West. I went before a few times, noticing a bar-like atmosphere with not too loud music, albeit relatively good music (often Jamaican Reggae, because of its Jamaican owner Jimbo)..

In Late 2019 and after, the sound was improved (volume, acoustics), more to “club level”, and I could listen to some good Reggae there, interrupted by lockdown periods as Jamaica Lounge had to comply with it and was closed. Despite this, and when possible, Jamaica Lounge organized sometimes events, and I got more attention to them after Café the Zen closed.

Dependent on the occasional selecta’s/dee-jay’s or music played it was often okay (Roots Reggae or New Roots regularly), now with better sound, those nights at Jamaica Lounge – in Amsterdam West, although sometimes more Dancehall than Roots.

(Photo above: Jamaica Lounge on the De Clercqstraat 117, Amsterdam-West)

I got to know the owner Jimbo better, appreciating how he was music and Reggae-minded (also regarding older Reggae from his youth), and it thus offered some kind of a steady Reggae club for me. Furthermore, Jamaica Lounge not too far from the part of Amsterdam where I live. If I am not too lazy – or my bike broke down – I could even walk to Jamaica Lounge, haha.

Other places with sometimes Reggae music were the Molli Chaoot café in Amsterdam De Pijp/ Old South (a former squatter's café), and some “free-havens” in and around Amsterdam (NDSM, Ruigoord).. Some of these were UK/Euro Dub-minded, but always with some room for Jamaican Reggae.

Unfortunately, those in name “free havens” in Amsterdam and around, started by free-spirited people, often with links to “hippie” pasts, like Ruigoord or some other places within Amsterdam, could not escape the totalitarian corona policies, as they were forced to comply with the rules or measures that made no sense (forbidden outside parties: influenza-like contagion is improbable – almost impossible - with outside air, even if harmful enough to make such a fuss about it)..

The Amsterdam Reggae scene never stopped, though, and not just digitally/online, or virtually in one’s own home. The policies had an isolating/dividing effect which I from my historical and sociological studying justly predicted (not that I am so wise: just dry historical analysis). When public life is not fully “free” for citizens, people tend to withdraw to smaller social circles of trustworthy persons, often family or closer friends. Often also ethnically remarkably homogenous, despite the over 140 nationalities residing in a city like Amsterdam. This limits real cultural “scenes”, and I find this a pity. A small circle leads to a smaller mind, and just aids “divide and conquer” policies of authorities..

Studio work and bands practicing more or less continued, despite restrictions, so some Reggae musicians could still assemble in a limited sense. As long as they did not start to resemble “parties”, I suppose. I myself practiced with some other musicians, in rehearsal spaces in Amsterdam, often called “studio’s”, colloquially.

EARTH WORKS

One of those actual “studio’s”, that is: with extensive (updated) recording equipment, in Amsterdam, slowly developed into a more social space – despite the anti-social policies – with people actually gathering, first on a small scale: the Earth Works studio, led by Ben King, having recorded several Dutch and international Reggae artists in previous years, and having become a nice gathering place in “freer” times before 2020. (Website: https://www.earthworksamsterdam.com). It specializes in Reggae. It remained by necessity “low-key” during lockdown/corona periods, but Earth Works studio changed location from Weesp (just East of Amsterdam), to the North of Amsterdam (Buikslotermeerdijk), on one of those cultural “free havens” terrains, called ADM/Groene Veld. When freedom returned, it had become as much a gathering place as a studio for recording or rehearsing, at least offering some “community” sense (with dee-jays/selecta’s playing and “open” parties), but by then it was already 2023.

Despite its somewhat marginal location in the Far North of Amsterdam (the city virtually ends there), it became a nice, positive gathering place for people of different parts of the Reggae scene: both those who frequented Café the Zen (Roots and New Roots lovers), and the “squatter” scene (including Roots, but also Dub/Steppers lovers), of different ethnic backgrounds, and including some creative artists as well.

I visited Earth Works studio’s several times (already a few times when it was still in Weesp), and liked the vibes. Good that there are such “open”, creative places, anyway, despite its marginal location. Good recording equipment too, by the way, for those musicians interested. For quite reasonable prices, when compared to other studios, and aimed at especially Reggae music.

Now, as I write this, Late 2023, Earth Works studios is still very active, as is Jamaica Lounge, and ZenSocial organizes events again, and since around 2022 Jamaican Reggae artists started performing in Amsterdam and around again. Nice (even great!) concerts by Lila Iké and Nkulee Dube (Lucky’s daughter) at P60 (Amstelveen, just South of Amsterdam) I could enjoy in mid-2022, organized by ZenSocial productions. ZenSocial continues to organize and plan events, by the way, for Early 2024 (see: https://www.facebook.com/CafeTheZen/.

(Photo above: I with Lila Ike (pointing) after her show at P60, Amstelveen, June 2022)

This made me realize that “we are free again”, to quote a song By Burning Spear song from his Studio One days..

Jamaican artists also have meanwhile performed in the bigger concert venues Paradiso and Melkweg, and Reggae festivals took place in the Summer of 2023. I visited several, also in Amsterdam: Reggae Sunsplash and Reggae Lake, including good concerts by big Jamaican or Reggae names (Kabaka Pyramid, Richie Spice, Burning Spear, Capleton, Steel Pulse), and local artists. Some I even saw for the first time (Barrington Levy, Twinkle Brothers, – old school -, and Mortimer – new school Roots).

We are indeed “free again”. Yet: for a city of now over 800.000 inhabitants: the biggest city in the Netherlands, Amsterdam has very few “steady” Reggae places, with regular Reggae to count on. Not much beyond Jamaica Lounge (not far West from more central Amsterdam, but still off-route for many) or Earth Works (also called: Dub Hub) at the brink of Amsterdam-North. Besides this, occasional Reggae parties in other rented places (clubs, community houses) for the occasion.

Better than nothing, of course, but too little in relation to the actual number of Reggae fans in Amsterdam.

REGGAE DEE-JAY’S/SELECTA’S

Those dee-jay’s/selecta’s from mainly the Café the Zen days (2008-2020) in Amsterdam East were luckily not demoralized enough to continue, and when the measures loosened, started to play records again at social, public events: Jah Sisters (Sound Cista, DJ Jessi), Empress Donnalee, DJ Rowstone, DJ Ewa, Mystic Tammy, Ras Sjamaan, the Polish-French Zen Rockers posse (Vega Selecta, a.o.), Loddy Culture, Selectress Aur’ El (many of these people I interviewed for this blog as well). Some from the “squatter” scene (I call it that, haha) meanwhile had become more active, such as Pinedub, Jah Code (Carly), and new names like Eve Lien Dubwise (recently interviewed for my blog), with good musical rootical selections. The latter, Eve Lien, had a more Rootical taste, but some – a matter of taste – played at times more UK Steppers or Dub than Roots Reggae. Not my favourite subgenre within the whole Reggae field, but that is just my personal taste. Some of these selecta’s, of different backgrounds (Polish, French, Surinamese) also played at Earth Works studio, on some parties.

I myself took throughout 2023 some of my vinyl albums too to play as selecta at places like Café Havelaar (central Amsterdam), bar Molli Chaoot (Amsterdam-Old South) or Earth Works studio (Amsterdam North) on a few occasions. My Reggae vinyl collection is quite varied (incl. some Studio One), but a bit concentrated on the Channel One/Rockers period between 1976 and 1983. Each selecta specializes, I guess.

I noticed this also with the different selecta’s now active again in Amsterdam: different specialities: from Classic Reggae, to New Roots (Sizzla, Fantan Mojah, Morgan Heritage, Lutan Fyah, etc.), to Dub and Steppers. King Shiloh travels around and is well-known, but also made a move toward Steppers lately, unfortunately at the cost of Roots, which is on the other hand not absent. Covenant soundsystem, or Shashamane Sound, and other dee-jay combinations with a longer history in Amsterdam and around, and newer “sounds” like Shamba Lion (also Haarlem-based), still focus on Jamaican Roots though, as do Empress Donnalee, Jah Sisters (more New Roots), DJ Ewa, Mystic Tammy, or DJ Rowstone (partly Dancehall too). Some of the mentioned selecta’s combine Steppers with Roots more evenly (e.g. Jah Code). Newer influences also reached a veteran sound in Amsterdam like Shashamane Sound, though, as they (besides Jamaican Reggae), also played modern Dancehall, such as at a recent party – Late 2023 - at the Jamaican Lounge.

Some of these selecta’s/dee-jay’s keep up with newer releases since pre-corona days, as studio work in Jamaica luckily continued after 2020, and artists like Lutan Fyah, Richie Spice, Bushman, Sizzla, Luciano, Hempress Sativa, Aza Lineage, and Jah Mason still could release good songs in the period 2020-2023. Some of these with lyrics critical of the corona policies. Such critique is seldom heard in Western pop, but for historical reasons Caribbean people tend to be more critical of government policies and authorities (as most people in poorer countries, in fact).

REGGAE PEOPLE

Over time I got to find out how there were relatively many Polish people in the Amsterdam Reggae scene. This remained so, and possibly is a result of underground Punk-Reggae connections already existing during Communism in Poland (before 1990). The connections with squatters and anarchist movements are evident as well of this part of the Reggae scene, resulting in Reggae parties with international people, from various European countries, sharing a free, “squatter” spirit: from Italy, Poland, France, Spain, Serbia, Greece, a.o. In fact, I think this is also a nice, open-minded scene, with a real love for Reggae, albeit partly more the Steppers and Dub parts of it among some. Some in this “squatter scene” – to name it simplified – still play and prefer real Jamaican Roots though, and specialized in it, notably vinyl players.

There are however no strict barriers, as this “sub-scene” often mixes, also as dee-jay’s on parties, with the other part of the Reggae scene, like the erstwhile Café the Zen community, with many people of Surinamese descent, but also Africans, Antilleans, and others. UK Steppers or Dub seems less popular among this group, New Roots (Tarrus Riley, Richie Spice, Bushman, Sizzla, etc.) all the more.

The nice thing about a free culture is that these groups share a love for Jamaican music in the broader sense, and are not opposed, but sometimes intermingle as well, resulting in interesting parties or mutual inspirations.

These two groups – already existing “before corona” - come for instance together at the Earth Works studio in recent years, but before 2020 also sometimes. Branches of the same tree, so to speak.

ZenSocial from former Café the Zen) and Black Star Foundation (led by Michelle and Den Den) remained as Reggae-aimed organizations, and kept on organizing events, when possible. Of course they had to comply with corona policy rules, else “Babylon” would bother or limit them, but after the lockdowns, nice events were organized again, such as nice concerts, especially since 2022.

REGGAE ARTISTS AND PERFORMERS

Well, like their Jamaican counterparts, Reggae artists in Amsterdam were limited regarding live performances at the peak of corona plandemic madness. In-between and after the lockdowns, they performed here and there, sometimes on sound. Some continued – like other artists – with studio work, or composing, practicing their music. True artists remain artists, and do not do it for the money. Some demeaning comments once made by British politicians supporting the corona policies that “musical artists can always find other work”, show both disdain and misunderstanding of true artistry. Some people just have to make songs. Like Pablo Picasso had to make paintings, even at the cost of a stable life.

I am one of those people who “have” to make songs too (songs I like to make, the personal appreciation I leave to others), striving for free artistry, and also confined during the lockdowns I paid more attention to varied ways of making songs and composing, with own instruments, equipment and DAW (“home studio” would be too big a word, haha). It offered me a nice creative respite and comfort. I even have a message with my lyrics, haha. While the way I work (home recording) seems solitary, I like to work alone; often for the mere freedom it offers, but also because I do not like nepotism and money: two evils tormenting the music industry (in the Netherlands and elsewhere), and therefore use the digital age (YT channels a.o.) to my advantage, for my self-expression. Check: https://www.youtube.com/michelconci, if interested.

That's me.. Yet I can also imagine that with good friends or trustworthy people, recognizing your soul, it would be nice to make music together, as some in Amsterdam do.

As of, say 2023, several Netherlands-based Reggae artists remained active (as they were already before corona), and released recently new material. Interestingly, also with the Earth Works studio in Amsterdam-North in some cases a role in it (recording, producing).

Rapha Pico, Lyrical Benjie, Miriam Simone, Imishango, Shiwa, Samora, Mo Ali, the bands Flavour Coalition, Dejavu (including also selecta Rowstone), and others can be mentioned, while residing outside of Amsterdam, Black Omolo, Zed I, Strawl, also released some good songs, or meanwhile gave good live shows in Amsterdam, showing increased professional standards over time, as is natural. Many have positive "message" songs too, lyrics-wise, even with some topical themes slipping in.

Both Samora and Mo Ali (orig. from Sudan) impressed me with good songs and tight, groovy musicianship of their bands during their performances at the Reggae Lake festival in 2023 (Amsterdam South East), as did Imishango, or Zed I, recently. Rapha Pico and Miriam Simone also came with good new songs in recent years.

Professional and skilled Reggae instrumentalists – session musicians, as they are called - are certainly also there in the Amsterdam Reggae scene, offering tight-sounding music for artists they accompany, approaching quite closely the Jamaican reggae standard. Totally reaching this standard is impossible, so it is no diss from my part. The best and realest Samba will always be from Brazil, the best and realest Flamenco from Spain, and the best and realest Reggae from Jamaica. It is their organically developed culture, and more deeply enshrined in it. This one notices in inimitable drumming styles – or bass-drums-vocals interactions, that can’t really be copied outside of Jamaica, only approached.

Yet, as an art form Reggae became international, as other music genres, and can still reach quality, also outside of Jamaica, as some nice, international examples show.

Leaving the thorny and overly perfectionist issue of “Jamaican level” aside: there are at this time nuff groovy and good Reggae drummers, guitarists, keyboard players, horn players, and other instrument players (old and young) in the Amsterdam/Zaandam region, such as people like veteran drummer “steady” Freddie Poncin, having played with several Jamaican artists to their satisfaction, skilled bass player Kay Hasselbaink also plays Reggae well, and with Ras Maiky (based in Zaandam, near Amsterdam) there is also a good, Reggae-specialized percussionist.

I am also a percussionist, but play several genres, having switched between Afro-Cuban, African, to Blues, Funk, and Rock, besides also Reggae (jamming/playing live also, not just for own recordings). Ras Maiky, however, played with mainly a lot of different Reggae artists, also Jamaican ones, over the years.

These Reggae session musicians in and around Amsterdam combine under different names (Tuff Sound Band, Unstoppable Force, Royal Roots band, Noble Chanters, Roots Lions, for instance), accompanying the mentioned artists usually aptly.

So as Lucky Dubé sang, “you can’t stop Reggae”: Reggae artists who are for real will continue, despite “anti-concert” or “anti-nightlife” – some say: “anti-culture” policies - by Babylon/authorities in especially the period 2020-2022.

Most artists I know from before 2020 in the Amsterdam seem thus to have “scrambled up” after the lockdowns, surviving, especially artists (who kept recording). In some cases (especially for event organizers) this inevitably meant complying with restrictive policies perhaps more than necessary. A matter of dignity and honour, and while it is easy for me to lambast these choices as cowardice or “uncle tom”-like..on the other hand: rebellion by a few, while most comply, of course has no effect, and brings only persons and their livelihood in troubles, while the system keeps winning. So understandable to survive.

ON BALANCE

“You can’t comply yourself out of totalitarianism”, wise people said, but luckily the authorities stopped the harshest totalitarian policies themselves, after an odd period of jab/”vaccine” propaganda up to and in to 2022..

The damage has already been done, but the Reggae scene as a whole fortunately survived, albeit with scars and traumas. It affected some on the personal level. Private “house” parties became more common after March 2020, but are after all by definition exclusionary and discriminatory, and some insecure people needing confirmation limited such private house parties based on ethnic preferences, family ties, or longtime close friends. Insecurity and ego, as it caressed one’s own ego with on the one side ethnic/national “pride”, and on the other side a celebrated capacity to make “cool” friends.. Mi no like that..

In human psycho-social development – besides – confirmation precedes inspiration, so we actually went back to “private confirmation parties”.. and the Rastaman a seh: Forward Ever and Backwards Never.. Only because of political fiction..

This favourist behaviour also stimulates nepotism – favouring friends over others for honourable positions - : already a problem in any music industry. Mi no like that, neither.

Yet even those “home parties” could be in other cases well-intended and non-discriminatory, I also noticed, but there was still limited space or the matter of sound volume (neighbours!).

Either way, they are usually a resort in totalitarian/dictatorial contexts (Iran has many semi-hidden “house parties”, for example), and serves to isolate and divide the population. The age-old strategy of the “powers that be” to divide-and-conquer or divide-and-rule, and quell popular resistance against injustice.

Critique of or by fanatical proponents - also found in the scene - of the rights-trampling corona measures caused some contacts to be broken, or “unfriending”, to use FaceBook lingo, but these were usually not close friends, but rather acquaintances, who only seemed to share a love for Reggae, but turned out to have different worldviews or political stances. In my experience, mostly people from wealthy families (rich fathers) supported the corona policies, and much less poor people (Black or White), making me mistrust them even more, haha.

So a free, open cultural life – like an urban Reggae “scene” - with friends, but also acquaintances or strangers you do not really know that well, can have “confusing’ disadvantages: with some you share not much more than liking some Reggae songs.. and even that they might listen to differently (to lyrics or not), haha. Surely there are (as in wider Amsterdam) “backstabbers”, big ego's, wicked/badmind people, "crypto-racists" or even psychopaths among them (as everywhere, but relatively most in top business and politics). On the other hand, this variety also has the advantage that you can equally find positive, loving people, kindred spirits and new good friends - or even just interesting, funny people - (through Reggae!). You gotta live and learn.

However, I consider that peanuts, and a small price to pay for freedom and a truly democratic cultural life, including interesting cultural differences. I thus personally overall still favour an open, free, public, pluriform, and rich cultural life in societies, to be able to mingle freely with anyone, stand in front of different type of speakers, in different clubs, attending any event one wishes, going to any place at any time, etcetera. Too many boundaries, inna Babylon.

CONCLUSION

So, the main and positive conclusion is that now, at the end of the year 2023, and the start of 2024, the “Reggae scene” as such is still well alive in Amsterdam and the Netherlands. Many people make Reggae, and events are regularly organized, often in cooperation with concert venues.

On the down side, there came unfortunately no steady replacement – a fixed location - for Café the Zen, once in Amsterdam East, with e.g. a stage for performing and regular, weekly activities. This was also welcomed then for "upcoming" artists, starting on smaller stages, giving them opportunities to perform for people. Earth Works studio in Amsterdam North, though in a less accessible, outer part of Amsterdam, still became something like a replacement. It has a nice studio, but not really a “stage”, though.

To quote another Reggae song, the Reggae organizers are “forced to live just like a Gypsy” (Bunny Wailer’s Blackheart Man).

Amsterdam’s city authorities showed an ugly, undemocratic face during the Corona policies in 2020 and 2021, with police violence against demonstrators (such as on the Museumplein/square.. some Reggae played there too from ghetto blasters, I recall).. This (police violence against peaceful demonstrators) I did not even expect to witness in the Netherlands, and reminded me of stories during dictatorial Fascist/Francoist Spain (up to 1975), heard from my mother and Spanish family. Amsterdam seemed to have become increasingly authoritarian. The prohibitting in 2023 of "smoking weed" in parts of old-central Amsterdam (Red Light District) is also a sign of that (while you can - from a bag - still drink rum or whiskey in the same streets.. nonsense law)..

Despite its still “cool”, liberal image in much of the world (due to the marijuana-allowing coffeeshops, mainly), Amsterdam at present does not seem very Reggae-minded as a city. You really have to search for Reggae music and places.. you don’t find it always automatically.. Some bars or clubs play at times Reggae, maybe. Only a few regularly, at present (Jamaica Lounge in Amsterdam West, due to its Jamaican owner), and some (like Molli Chaoot) are quite Reggae-minded, besides marginally located Earth Works.

Yet, as this update shows: there is still an active and willing Reggae scene, consisting of varied people, wanting to organize events/parties, go to them (many preferably every weekend), or to perform their music or play their records.

In that sense there is still kind of a Reggae community in Amsterdam, with many people knowing each other. Okay: there are a few personal tensions or conflicts between persons as in all groups/communities (even within families this occurs, after all), but mostly “good vibes”..

Amsterdam has relatively many “Black” inhabitants of Surinamese descent (besides directly from Africa itself), and in a broad sense Suriname has some similarities with Jamaica historically (North European/Protestant colonizer, slavery, African roots and retentions, partly from Ghana, in both cases), but is neither totally similar.

To draw a parallel: in the percussion world, percussion players like myself trying to add more Afro-Brazilian (drumming) patterns to the Afro-Cuban patterns I already knew, got surprised that the “percussive transition to Afro-Brazil” was not as easy and smooth as I assumed from supposed historical similarities between Cuba and Brazil (Iberian colonizer, slavery, African descent, incl. a shared Yoruba and Congo heritage). Now I can play also some Samba drum/rhythmic patterns, but it still required some intense studying.

Nonetheless, the Caribbean/African Diaspora connection/similarity of Surinamese people is certainly there and helpful to a degree, also in approaching the Jamaican Reggae standard playing the music, or simply “feeling” the music. Reggae is originally “sufferers” (poor people) music, with many socially critical messages, and is also strongly spiritually influenced by Rastafari. That attracts many people too.

On the other hand, the art form of Jamaican Reggae always attracted varied people of different ethnic backgrounds (Black, White, Asian), also in Amsterdam, with most having at least a sincere affinity with the sufferers and Rastafari message of Black people, though some might listen more to the lyrics than others.

That’s also the beauty and positivity of a free, living culture, with people actually meeting in public places. People of different backgrounds coming together because of the love for a music and culture, getting to know and learning from each other (our shared humanity), while becoming aware – okay: some faster than others - of the “real enemy” or oppressors of common people’s freedoms and rights.

The Amsterdam reggae scene (2016/17)

Over four years ago I wrote a blog post about the “Amsterdam reggae scene”. I made clear that it was written in (Late) 2012, to emphasize the inherent temporariness.

You maybe can guess what will come now: time for an update. I think it is necessary, especially because of the concrete places, artists, and other people and organizations that I mentioned in that earlier article, of over 4 years ago. Certain developments or trends – I also discussed – are certainly more timeless, and need not repeated too much. Not too specifically, anyway.

Clubs, venues, organizations, musical artists and such are on the other hand potentially very changeable or even volatile. Even music clubs that have been on one location for decades can cease to function quite suddenly, as happened recently with some Amsterdam music places, for instance.

Through 4 headings – subdividing as it were the “scene” -: REGGAE “CLUBS” (places) – REGGAE DEEJAY’S/SELECTAH’S - REGGAE PEOPLE (public, organizers) – REGGAE ARTISTS AND PERFORMERS.

What has changed since 2012 in these areas in the Reggae scene in my hometown Amsterdam, the Netherlands?

SHORT CONTEXT

Amsterdam is the biggest city of the Netherlands (Rotterdam – over 50 km South of Amsterdam being slightly less populous) with now somewhat over 800.000 inhabitants, but located in an urban region of the Netherlands, with smaller cities like Zaandam, Amstelveen, or Haarlem nearby.

In the earlier post I said something about demographics. I will repeat the not very well-known fact – not even in the Netherlands itself I noticed – that Amsterdam is one of the capitals of the EU with the highest proportion of people of “sub-Saharan African descent”. This specific category is in fact quite relevant to discuss the characteristics of the Reggae scene in Amsterdam. Just in case some might wonder what does ethnicity matter: of course not much, were it not that it has a cultural connection that is interesting to study in its impacts. Just like most Jamaicans – who created and make Reggae – are mostly of sub-Saharan African descent, so are the many Surinamese Creole migrants in the Netherlands, of whom relatively many ended up in the Amsterdam area. The Southeast quarter of Amsterdam – Amsterdam-Zuidoost – even has kind of a concentration of Surinamese Creoles, but also with many immigrants directly from Africa (especially Ghana and Nigeria) in that quarter; 70% can be considered of either sub-Saharan African or Surinamese descent in Amsterdam Southeast, roughly about 60.000 people in one district within Amsterdam alone, while Surinamese people are further found all over Amsterdam.

Due to these cultural connections and similarities, Afro-Surinamese often have affinity for reggae – partly or fully -, but also in African countries like Ghana and Nigeria, Reggae is among the most popular of “foreign” music genres.

This made the Amsterdam reggae scene not only existing – there simply is such an active scene –, but also relatively extensive. Even cities/towns worldwide with not much people of African descent, often have reggae scenes, that is on the other hand also true, showing how reggae truly internationalized and “multiracialized” (this word did not exist yet..I think, haha).

REGGAE CLUBS/PLACES

There are in fact now (Late 2016) two clubs or “places” in Amsterdam that are mostly reggae-minded. This means that they play mainly reggae “behind the bar” or through dee-jay’s, including a resident dee-jay (“selectah” as they call it in Jamaica), and new dee-jay’s/selectah’s appearing from time to time.

FRONTLINE

One of these is Café Frontline, located in Central Amsterdam (in the "touristy" Red Light District), which actually functions as “pub” with regular dee-jay’s (every Saturday at least), mostly with reggae played “behind the bar”, and occasional jam sessions with reggae-minded musicians. So also live reggae music. The café’s owner is also a reggae musician of Surinamese descent.

Members from Dutch reggae bands even came to sing or play their instrument, and even some international ones, on such informal “jam” performances in Café Frontline. The pub, as other places in that old part of Amsterdam, tends to be small, yet the sound and acoustics are fine.

I mentioned Café Frontline in that earlier 2012 article. It has at this moment a bit less regular dee-jay sessions (no more on Friday lately, unfortunately), but still the dee-jays are connected – as years ago – to 90 Degrees Sound: a sound/dee-jay collective from Italy (Sicily), with Manjah Fyah having a leading role, but recently he returned to his native Sicily. The last years the Saturday sessions at Café Frontline were most often led by Vybzniko (also from 90 Degrees Sound) who plays varied (though more Roots than Dancehall), and who seems to have a special preference for New Roots (artists like Capleton, Anthony B. , Fantan Mojah, Richie Spicce, and Sizzla).

ZEN.

Café The Zen is the other reggae place in Amsterdam, located in East Amsterdam, a bit outside the Centre. I mentioned it already in the 2012 article, and simply put: it is still going strong. It became a main hub in especially the reggae scene of Amsterdam, and to a point also the Netherlands, especially in the years after 2012. It became better known over the last years, and expanded its activities regarding booking Jamaican and other reggae artists. It has regular reggae dee-jays – not only on Saturday, as Café Frontline – at least Friday and Saturday, and occasionally a few other days of the week as well. They have (mostly) a strictly reggae policy, also when music is played behind the bar.

Café the Zen has space (a stage) for concerts as well, though mostly low-key, but still enough for good shows. The frequency is steady, although it diminished a bit over the last years: still some artists give shows at Café the Zen itself: mostly with tape, sometimes with a band -, such as Queen Omega, recently. There are recurring issues of sound disturbance with neighbours, so such live shows in Café the Zen were for a period sometimes problematic, though creatively resolved. For the Queen Omega show, the audience was provided with headphones. Café The Zen by now is made more soundproof.

Moreover, Café the Zen started in the last years to work together with a “serious” – or at least larger - music venue in the town of Amstelveen (just South of Amsterdam). Here there are less of “disturbance” issues. There, through the ‘100% Zen’ organization of Café the Zen, several great reggae concerts have taken place, with live bands, sometimes local musicians, sometimes even Jamaican musicians. Big names like Lutan Fyah, Jah Mason, Kabaka Pyramid, Fantan Mojah, Jah9, and others, have given shows there in the last years. I have been to many of those, and enjoyed most of them (Jah9 was definitely one highpoint, while Fantan Mojah gave one of the better shows I have seen of him).

Café The Zen is still a steady reggae place, but organizationally expanded its activities beyond this locale.

OTHER PLACES?

Two places that have a mostly reggae policy in the music that is played. For a city of about 800.000 inhabitants that is not very much. I don’t go to the famous Amsterdam coffee shops as much as before anymore, but I asked people who visit several coffee shops, and recently, so in 2016, let’s say. They mostly told me that reggae recurs regularly in several coffee shops, often only a few hours a day, sometimes some days of the week. There seems to be no coffee shop with a “strictly reggae” policy, as there were before: Easy Times, later Rasta Baby. The latter has ceased to exist, while Easy Times has been taken over by a less-reggae-minded owner (long time ago).

In the 2012 article I mentioned Café Caprice, that existed then still. This has stopped by 2016. It held regular reggae evenings/nights, for a period..

Other venues in Amsterdam hold occasional reggae events. Of course the well-known concert venues Paradiso and the Melkweg host several concerts of reggae artists each year. More small-scale shows, or deejay sessions – recur regularly in some smaller places (clubs or bars) throughout Amsterdam. Winston Kingdom in Central Amsterdam seems more hip-hop minded than reggae-minded, but play especially ‘dancehall reggae’ regularly.

A bit outside of Central Amsterdam – in what is called Old West – there are also some places with regular reggae events (deejays, sometimes with vocalists, occasionally live shows). Worthy to mention is definitely OT301, once an important locale in the squatter movement, later reinvented as cultural centre, though still with clear links with international squatters.

There are regular (weekly) dee-jay sessions (mostly) vinyl in the OT301 building (located on the street Overtoom). Reggae dee-jays there tend to have an international background (Polish, Italian, French) as does the most regular audience. There seem to be a preference for “Dub”, though Roots is played regularly. Dancehall less. Maybe there is a link between “Dub” Reggae and the international squatter scene, I am not fully knowledgeable of. That would require a study by itself, haha. Interestingly, they add to spinning tunes the possibility for vocalists or instrumentalists (I know a regular melodica player as well as singer/toaster, at OT301 events, such as the one filmed underneath), to show their skills.

Another squatter-related venue in Amsterdam-West is called OCCII, which aims to hold regular reggae deejay sessions (vinyl). I have been to some of these, and the emphasis was less on Dub, and more on Roots and Early dancehall, but that may vary. OCCII host occasional reggae concerts as well, as well as of course sometimes the bigger venues Paradiso and Melkweg, that goes without saying.

REGGAE DEE-JAYS/SELECTAH’S

I guess Deejay's are somewhat between “places” and “fans”/public. Since 2012 I have seen some developments in this field, with several upcoming new reggae deejay’s/selectah’s, playing in the said places (shortened to Frontine & Zen), or other music venues, such as around concerts. Some were already active in 2012 (Donnalee, DJ Ewa), but became more active, including DJ Rowstone, whom I also interviewed for my (this) blog. Vega Selecta can be mentioned, active now regularly at OT301 and other places. Ill Bill is still active (with connections to the places OT301 and OCCII). DJ Ewa is very active as deejay (also in Café the Zen), and the already mentioned Vybzniko, at this time resident deejay at Café Frontline. DJ Ralph is a newer, Amsterdam-based reggae selectah, active from Café the Zen.

Some other upcoming ones – or still practising ones – can be mentioned. There are in any case enough deejay’s/selectah’s available, so to speak.

REGGAE PEOPLE

This topic is relatively much more timeless and universal. Changes in the Amsterdam reggae public may occur over the years, though. A thorough sociological study might bring that to the fore, but I noted some tendencies “from the inside” (and I am quite “inside” the Amsterdam reggae scene).

Like what I wrote in 2012, Surinamese-Dutch people tend to be disproportionally present among reggae fans in Amsterdam, and also to a somewhat smaller degree Curaçaoan or Antiilean people (or of that descent). Sub-Saharan Africans (Ghanaian, Nigerian or otherwise) are disproportionally respresented among the reggae fans as well. Reggae is, after all, relatively very popular in Africa. Not only in Ghana and Nigeria, but in many African countries, reggae is among the most popular “foreign” genres. That is different from Western countries.

I got a clearer idea of the reggae preference among other groups as well, over the last years. There are quite some White, native Dutch people who like reggae too, I knew that already. I especially mean among the recent migrants from Eastern and Southern Europe. Some of these are connected to the squatter scene (not all), some migrate for other reasons or simply work (like my parents from Southern Europe – Italy and Spain - in the 1960s did). Many Italian, Polish and other reggae fans I got to know really loved reggae and were quite knowledgeable about it. No less than Dutch reggae fans I knew before. Reggae truly internationalized, or perhaps some Dutch people hold a false image that Amsterdam is “more akin” to reggae because of the liberal marijuana laws since already the 1970s, or the many coffeeshops (using reggae and Rasta symbols).

SPECIAL CONNECTION?

This special connection of Amsterdam with reggae is not really there. There is only a small connection (the weed-smoking “coffeeshop culture”), but other music genres are more popular and can be heard in more venues.

That only two café’s/clubs in the whole of Amsterdam play almost exclusively reggae, like I described, brings that point home. Other European cities have a few reggae clubs too (Madrid, Paris, Milan, Berlin, even Warschau), and Manjah Fyah (a reggae deejay/selectah who used to play in Amsterdam) let me know that also the mainly rural island of Sicily - where he is from (and returned to) - has regular reggae parties.

Like in other Western cities, regarding Black music, hip-hop and R&B or soul are relatively more popular, and reached the “mainstream” more. Many youths hear of reggae through hip-hop, that is true. House and Pop are mostly heard in bars/clubs throughout Amsterdam, as in other western cities. Hip-hop less, soul and funk less, and reggae even less. Thus, like e.g. Latin music, only in selected places.

REGGAE ARTISTS AND PERFORMERS

Well, regarding this area more changes can be noted since that article on the Amsterdam reggae scene by me of 2012. Of course the popular music scene is inevitably volatile. At least a large part of the artists, rise and decline in popularity over a period. Some maintain a steady fan base, which is in fact admirable.

Regarding Dutch reggae artists there is also volatility, of course. Some artists “break through” in a matter of years, or become more active as well. Others seem to disappear from the scene.

After 2012 arose especially Rapha Pico, who showed to be a talented singer and songwriter, increasing his popularity up to now. He is Amsterdam-based. Joggo became better known a bit earlier, and I mentioned the singer Joggo in 2012. Leah Rosier I mentioned too already in 2012, and she is “still going strong”, having had recent, interesting collaborations with Jamaican artists. She seems to develop artistically as well, with recent strong songs. Of Lenny Keylard I heard less recently, though he is Amsterdam-based, and got famous as reggae artist because of television around 2012. That fame has since waned somewhat.

On the other hand, some bands became more active and somewhat more popular in recent years (after 2012, like Rapha Pico), some releasing debut singles or albums. Heights Meditation became more active, though this band longer around in the Amsterdam scene. The mostly backing band Gideon Grounds, played with Dutch-based and international reggae artists (like Harry Mo), like Black Omolo, and Gideon Grounds is also from Amsterdam.

Bredda Marcus is another, recently more upcoming reggae artist in the Amsterdam area, as there are a few others.

From Zaandam – almost bordering Amsterdam – the band Rebel Jam came more to the fore, where also the musical artist Sticko X is from, who is of course also active in nearby Amsterdam.

Jampara and Batallion, an Amsterdam reggae band with a singer from Burundi, are also still active, also performing regularly in Amsterdam..

More located in Amsterdam Southeast – but with connections to another town, Almere (they say they are from both places) - are the Dubbeez, a talented and promising band with members of Surinamese descent. The Dubbeez really came to the fore in the last years, but with strong songs. They won an international reggae prize in August 2016, so very recently, in Poland. Price: a trip for a week to Jamaica, to record there.

Equally upcoming and promising is the band Déjà Vu (or Dejavu), from Amsterdam Southeast, with a Roots Reggae focus (less Dancehall influences than e.g. the Dubbeez), and with sincere, strong songs. They started as reggae band relatively recently (especially taking off after 2014).

Rude Walkin is another newer (since 2010) Amsterdam reggae band, while the Low Budgetarians is an Amsterdam reggae band that has been active for a longer time.

Other artists that were already active and quite popular in 2012 kept on performing and releasing songs, such as Priti Pangi, and Raas Motivated. Rude Rich & the High Notes continues also, with largely renewed members, and a maintained focus on ska, rocksteady, and early reggae.. Bagjuice is a “newer” reggae and dub band. Amsterdam-based, but not very active in the Amsterdam reggae scene itself, touring nation-wide. Other artists and bands I mentioned perform more in Amsterdam itself, including Rapha Pico and Joggo. Members (like singers or instrumentalists) of some of these bands can also be seen regularly in Amsterdam reggae clubs (Café Frontline or Café the Zen notably). This is not surprising, especially when it is their hometown..

I probably forgot to mention some upcoming artists or bands, but it’s difficult to keep up with a dynamic music scene. At least this shows that the Amsterdam reggae scene – especially that of musicians/artists- is dynamic enough.

The continued presence of active recording studios focussing on reggae in the Amsterdam area (like the Robert Curiel-owned Dubcellar in Amsterdam South East, where I have recorded my song ‘Rastafari Live On’ too, by the way, back in 2012), and new studios, such as the Earth Works studio in Weesp (a small town just East of Amsterdam), where experienced Amsterdam reggae musicians at present help, with international musicians, to create new reggae riddims. Crucial facilities! The reggae artist from Leeds, UK – Bunnington Judah – recorded there recently, to give an example.

CONCLUSION

There is of course a connection between the mentioned clubs and places, the reggae fans (public), and these artists/bands, all located in the Amsterdam area. These “meet” each other, making it a scene. This Amsterdam reggae scene is at the beginning of 2017 luckily still very lively and dynamic.

The reggae fans in Amsterdam are quite varied, though with relatively many people of Surinamese descent and to a lesser degree Africans. That has not changed since 2012. Neither should that change, per se, but besides that, reggae audiences consist of people of different backgrounds – besides Surinamese, Caribbean, or African people, also many Dutch people of different ages and different social positions. Both employed and unemployed, to say the least, haha. Further also many tourists temporarily in the city who like reggae can be found, recent migrants from, say, Italy, Spain, or Eastern Europe (countries a bit “poorer” than the Netherlands, increasing this migration). And of course people like me of “another” descent (Italian-Spanish in my case), but born/grown up in the Netherlands.

Moroccans and Turks are large groups in Amsterdam, but the connection with reggae seems (still!) not to have been made strongly with these groups. I think I can conclude this from my experience. I know a few reggae fans of Morrocan descent - a young woman I knew was really into it (I remember some nice conversations) -, but not many. Some say Moroccan youths can be found more in the “hip-hop scene” of Amsterdam, when outside the own group (as many ethnic groups often remain), but of that hip-hop scene in Amsterdam I know less.

This hip-hop scene of Amsterdam is probably larger – numerically –, also among Surinamese Dutch youths, than the reggae scene, but not more “crucial” than the reggae scene, I would say..

Differing paths, similar destinations : debut recordings/songs of Jamaican artists

(This blog post/essay goes combined with a YouTube playlist, serving as a catalogue of debut recordings/songs of Jamaican reggae artists, as long as to be found on YouTube - which is often the case. See the end of this post, or the link (http://www.youtube.com/playlist?list=PLBiUHLE6GUMgXxytQh3vrlzd2_-bDucbM).
I hope that you will take time to read this somewhat long post, though, as I think it is an informative and contextualizing elaboration on that playlist on YouTube. There is - because of the theme - unavoidably a lot of "name-dropping" hereunder. I hoped that putting artist names in bold typography helped.)
//

The interesting thing about recording musical artists is their traceability. This is precisely because they are recording: “fixing” their expressions physically. These then don’t just evaporate, so to speak. Their creative expressions are furthermore recorded on a given moment in time: on a particular point in their life. This personal life can of course change, the social context they live in changes, priorities can change, musical influences as well, new possibilities, new encounters, and even the personality and worldview of the artist can change over time.

The artists’ songs thus are a creative “summarizing” diary of the artists’ life. When an artist records for decades this can even be more interesting. Do the lyrics and style show consistency over the years, or does the person seem changed in outlook, when studying the recordings? What happened to him or her in his/her life, causing such a change? Psychologically intriguing..

I think in the genre of reggae music this is specifically interesting due to certain historically shaped characteristics and contradictions of the reggae music’s content and scene, as well as in Jamaica’s history. Jamaica is now a poor, developing country with large inequalities between poor and rich, and it had/has a history of slavery and race- and class-related oppression, still largely persisting. The Rastafari movement – essentially “a Black Power movement with a theological nucleus” (dixit Mutabaruka) - arose in Jamaica in the 1930s as a response to these injustices.

The connection of Rastafari to reggae is known and evident. Rastafari and reggae are separate domains, yet strongly connected, especially during the Roots Reggae era (1970s and around), but still today with the New Roots movement. Many reggae artists and to a lesser degree dancehall artists are Rastafari-adherents. Others at least sympathize with the movement.

Others of a similar low social position choose a quite distinct path of “slackness”: boasting lyrics on violence and sex, in an edgy manner. This is sadly reflective of another aspect of Jamaican society, especially problematic since the 1980s: gun violence and gang criminality making that some of the Jamaican ghettos have among the highest homicide rates in the world, as well as quite high rates of other types of crime.

These differing – contrasting - worldviews can both be found at the central place/space of reggae music’s public life: the dancehall. The place where new songs are played traditionally in Jamaica. Roots and “conscious” (which means more or less “socially critical”), and/or spiritual lyrics and worldviews, and on the other hand slackness lyrics are separate domains, but at the same time in practice not so separate as many think, and in a sense also intertwined. Or better said: side by side: in the dancehalls, in clubs/bars, in the ghetto, and other places. Just as good and bad can exist side by side in certain places. And of course within individuals..

From this perspective, I will in this post analyze the starting points for artists, at least regarding “recordings”: debut singles/songs. Equivalent in this case to their recorded entry in the music business. Many of course performed (dee-jaying/toasting or singing) before actually recording in studios, but still.. Artists’ first “fixed” or documented presentations as “new names” in reggae/ Jamaican music were still in the form of Debut Singles, or at least recordings (not all first recordings were immediately released as single BTW). Some artists also started recording at a very young age , i.e. in their teens (e.g. Dennis Brown, Jacob Miller, Hugh Mundell, Junior Reid, Beenie Man a.o).

Such records of artists soon will inevitably combine with an image building of these artists in some way (spiritual or militant Rastaman, “bad man/gangster”, rough, oversexed man or “sensitive lover”, smooth and sensual, humorous and carnival-like?). Such basic imagery associated with artists can be simplistic, but seems almost unavoidable, and even necessary to get audience attention in the full, vibrant reggae scene. People often want to categorize people/phenomena easily and simplifying. Sad but true. The superficiality of this may have even increased in the digital age.

You might say: good songs/music speak for themselves. Even then an image arises out of these songs (e.g. is the style of an artist “meditative”, “militant”, rebellious, sensuous, smooth, rough ETC). Is this image, this vibe maintained throughout an artist’s career? Does he/she still have the same kind of songs, public image, vibe, and lyrics, say, 20 years later? If not: what caused this change? I am going to analyze this through some representative reggae (and dancehall) artists already longer in the business: how do their debut single as still aspiring/beginning artist relate to their later work? Did they ever reinvent themselves, partly or entirely, along the line, or not? If so, why? If not: what kept them consistent?

CHOICES

A main life choice characteristic of Jamaica, especially in poorer parts, is between crime and righteousness. Among the latter Rastafari is an important spiritual, righteous (counter)force against Babylon wickedness and crime.. This is interesting in and by itself. It is said often that in the ghetto to survive many find it hard to avoid turning to crime. The temptations are too big, as also discussed in several reggae lyrics (and in another way also in later hip-hop lyrics of course). Being successful with music at least provides a way to make money for poor people, besides crime.

When dealing with musical artists, besides such social/lifestyle choices, also cultural/musical or commercial choices are interesting. This can show in lyrical themes or in musical genre and accents. Like personal choices these can also change. Several artists go along with the music  genres over time: depending on the times they began recording, e.g.  those who started recording  in the early 1960s start in the ska genre. Many then go with the flow of Jamaican musical changes: through rocksteady, reggae and finally dancehall (e.g. Ethiopians, the Wailers, Max Romeo, Bob Andy, John Holt, Sugar Minott, the Wailing Souls and others).  The Twinkle Brothers  -  later more known for their rootsy songs - started also in the ska era, in 1964, with the love song ‘Somebody Please Help Me’. Like Bob Marley’s debut (also ska) song also for producer Leslie Kong.

Interestingly, relatively many artists of the second tier after this started recording in/around 1967, and thus had their debut singles in the rocksteady genre: another precursor to reggae (e.g. the debut songs of Horace Andy, the Gladiators, the Viceroys and others).

Some start singing but later “toast/chat” (or something similar), or even rap  (in the US mode) at times. Junior Reid is an example, Michael Rose too. Junior Reid’s debut single ‘Speak The Truth’ (late 1970s) at the young age of 13 (!) is evidently a (vocally “sung”) Roots song. Not a bad one, actually, with also good lyrics, especially considering his young age and his just starting. Even Roots veterans like Bunny Wailer or the Wailing Souls turned to toasting/chatting later in their careers. Some start out toasting/chatting and later turn to singing (Buju Banton). So, the other way around.  Similarly: some recent Jamaican artists start in dancehall, but later make roots-like songs (e.g. Busy Signal with his recent “reggae revival” album), also mostly meaning vocal changes (from toasting to singing)

Of early generations of Jamaican artists some are/were influenced by US Black genres (e.g. soul) and had songs in Black US genres in the beginning, but over time Jamaicanized their genre they wrote songs in, i.e. in ska, rocksteady, and reggae. An example is Alton Ellis, whose first recorded song was R&B-like. Beres Hammond also started as a soul singer. John Holt’s debut song ‘I Cried A Tear’ (1962) similarly was R&B/soul-like. Also Cornell Campbell recorded his first song – at the age of 11! – in as early as 1956 in a R&B mode. Even before ska..

LYRICS

Peter Tosh stated at a certain point that he would never make love songs again, seeing the world problems, inequalities, an oppression of the massive poor people. Others also seldom write love songs – from the beginning as it were -, while others interchange love and “conscious”, Rastafari lyrics. Maybe they grew into Rastafari later in life and turned the balance more to conscious lyrics. Others even more radically changed not from “softer” love songs, but even from slackness/violent/sexual/boastful lyrics to more conscious lyrics, often also after growing into Rastafari. The latter, extreme “from slackness to consciousness”-route reminds somewhat of born-again Christians professing that after a life of whoring, gambling, crime and sin, they were saved and came “into God”.

Such a route – though speaking of lyrics not actual deeds - is actually not uncommon in reggae. Buju Banton begun with his first song ‘The Ruler’ (1987) – at the age of only 14 – with slackness/boastful lyrics, as was the case with the follow-up ‘Boom Bye Bye’ (1988), the lyrics of which many consider homophobic and violent,  but later in his career and life Buju made different, deeper Rastafari-inspired roots songs (also singing). Capleton likewise started with  - violent and homophobic – slackness lyrics in his first song ‘Bumbo Red’ (also recorded in the late 1980s), but later grew into Rastafari and made primarily Rastafari-lyrics, though vocally and musically staying quite consistent (chatting/singjaying still).  He later would say that his violent homophobic lyrics were meant metaphorical.

Sizzla’s debut single was Rastafari-inspired already (‘True God’ a.k.a. ‘No White God’ – recorded in 1995) and he more or less remained in that path (though more risqué lyrics can be found on some of his later albums). Interesting differences in paths. Likewise consistent is Jah Mason, maintaining  a Rastafari message from his debut single praising Selassie I in 1995 - under the name Perry Mason (?) - to the present. Likewise Natty King, Turbulence, I-Wayne, and others started with conscious lyrics, such as against gun violence on Natty King’s ‘No Guns To Town’ from 2003: his debut single and also – rather untypical for debut singles! - soon a big hit for him in Jamaica and beyond. I-Wayne’s single condemning prostitution ‘Can’t Satisfy Her’, was also a debut that soon became a hit.

Another newer artist - of this so-called ‘New Roots movement' - started out with conscious lyrics in their first recording in the mid-1990s: Bushman with ‘Grow Yuh Natty’ (though not the first released as single, I think). Also Anthony B’s debut single (with Little Devon), called ‘The Living is Hard’ (1993), was conscious. Richie Spice’s debut song was about, well, music itself you might say, but he later had mostly conscious, Rastafari lyrics. Differing paths, similar destinations..

Are there examples of the other way around?  Artists starting with conscious, Rastafari lyrics, such as in their debut singles, that would later radically shift to joking or slackness lyrics? I would say: yes and no. Eek-A-Mouse recorded his first singles under his own name Ripton Hylton: roots reggae with Rastafari lyrics, influenced by the meditative style of Pablo Moses. These included the strong composition ‘My Father’s Land’  (which he later re-recorded).
Later he turned to other lyrics: not very much Rastafari-inspired (though Jah was mentioned at times), but neither overly focussed on “slackness” (though it was not absent). Joking, satirical, carnivalesque, are his later lyrics under the moniker ‘Eek-A-Mouse’ mostly, sometimes with a bit of social commentary, but mostly descriptive/satirical. Yet it was not really slackness in the sense of graphic sexuality or glorifying gun violence. Not in the direct sense, anyway. There was a clear lyrical shift, however. Maybe, he genuinely was inspired by Rastafari in the beginning, but that inspiration turned more to the background later in his life or he found it maybe too heavy a burden. Maybe it was partly for commercial reasons. That artists shift their focus to love songs for commercial reasons is not too rare or unimaginable (to mind come e.g. British-based reggae group Aswad, but also some Jamaican artists like Gyptian).

Ini Kamoze began with socially conscious Rastafari-inspired lyrics with his debut single ‘World Affairs’ (1981), and about 13 years later, in 1994, he had a crossover-hit of sorts in a distinct, satirical “gangsta rapper” role, with his song ‘Here Comes The Hotstepper’. I don’t think however that this represents truly a deep shift within Ini Kamoze, who remained Rastafari-inspired. The 1994 'Hotstepper' rap-like song was a carnivalesque, satirical interlude or break from Ini’s general (Rastafari/conscious) thread, being a difference with Eek-A-Mouse. Ini Kamoze remained playful and very poetic with in his lyrics throughout, though, making them literary in some sense. Yet overall they remained Rastafari-inspired.

CONSISTENCY?

Burning Spear and Joseph Hill (of Culture) remained consistent within the roots genre: lyrically and largely musically. Joseph Hill/Culture did record some dancehall-like songs, later in his career, so he also went with the flow of changing genres in Jamaican music. Burning Spear stayed even more in the classic roots genre, but of course of a high quality. Also Israel Vibration seemed not so much to be influenced by later dancehall. Pablo Moses also remained quite consistently within his specific  “meditative” roots vein since his good debut single ‘I Man A Grashopper’ recorded  in 1975 at Lee “Scratch” Perry’s Black Ark studio. There were and are, however, several roots veterans making dancehall-like songs later in their career, including Horace Andy, Winston Jarrett, the Wailing Souls, Bunny Wailer and others, though mostly more musically than lyrically. Thus partly going with the flow of musical changes.
Don Carlos started with Black Uhuru in a conscious mode with the strong tune ‘Genocide (on the poor)’, in the late 1970s. Don Carlos largely stayed in a conscious, Rastafari mode during his career – with some dancehall influences -, but did not eschew occasional love or festive songs in the course of his career.

Some artist begun already more or less during a transition period between roots reggae and early dancehall, and stayed in the latter. Sugar Minott, Half Pint, Cocoa Tea (first recording under the name Calvin Scott), Michael Prophet, Frankie Paul, and Barrington Levy for instance. Their style eventually stayed in a roots-influenced early dancehall mode, though. Barrington Levy’s debut single as part of the Mighty Multitudes, called ‘My Black Girl’ (1978), can still be called roots reggae (with also a “lover’s vibe”), however, as were Sugar Minott’s early songs as part of the African Brothers, in the in the roots reggae heyday of the 1970s. Love songs were not uncommon for some of these artists (e.g. Sugar Minott), making them partly relate to what can is called the 'Lovers Rock' sub-genre (Gregory Isaacs would later be called the “King of Lovers Rock” by some).

Third World also showed a mainstream (pop/soul) feel in their type of reggae in their first recording, a feel that they would maintain throughout. In that sense they also were consistent, just like Burning Spear, Culture, Israel Vibration and others remained, by contrast, consistent in a less-mainstream/poppy, rootsier type of reggae.

There is quite some variation among artists, one can conclude from the above. Some remained (largely) consistent lyrically/thematically as well as musically (Burning Spear, Israel Vibration, Culture, Congos, Mighty Diamonds, or – on the slacker side - Mavado, Bounty Killer, Ward 21 a.o.). Others stayed lyrically consistent but less musically: lending their usual thematic focus to other, more modern music forms/genres evolving within reggae over time, thus adapting to musical changes. Some changed their lyrics, but less their musical genre, and some both ETCETERA. Many are somewhere in between.

Interestingly, Gregory Isaacs first recorded single, ‘Another Heartache’ (1968),  was "early" reggae (differing musically from his later songs), but its lyrics were consistent with his lyrics later in his career: “the hurt, lonely lover” theme. It had the strong, evoking lines “Hoping and pretending is all that I could do..”: that’s beautifully formulated the essence of desperation...  Later Isaacs would maintain such a (‘lovers rock’?) lyrical focus, interchanged with Rastafari/social lyrics. Also the Mighty Diamonds started with a love song and later had more conscious lyrics, as did Max Romeo, the Wailing Souls, Dennis Brown and others.

Starting out with love songs can be sincere expressions of the heart and mind of course, but it is not unthinkable that commercial/marketing reasons influenced this in some cases: love songs prove more easily popular with a large segment of the public, as do “festive” songs. This is/was as true of worldwide pop culture as the Jamaican one. The later increase of Rastafari lyrics may, on the other hand, also shows the rising influence of the Rastafari movement among parts of the Jamaican population.

CONCLUSIONS: PSYCHOLOGICALLY AND SOCIOLOGICALLY

Most (aspiring) musical artists in Jamaica were and are from poor backgrounds, and tend to come from poor ghetto areas like the Trench Town or Waterhouse districts in Kingston. Many may already know this. The music industry - e.g. through "hit songs" - thus provides a source of possible income, a way to make money and decrease poverty, different from crime, or being exploited in some companies by volatile bosses paying low wages. It thus relates to economic survival, but on a deeper level I think it also has to do with a search for "dignity". 

Some insightful conclusions can be drawn from all this, I think. Psychologically: seemingly obvious -  that human beings interact with the (changing) social reality surrounding them. Their lyrics are a way to connect themselves socially with life aspects to achieve dignity in their own understanding. Poor black people with a history of at least 400 years of oppression and denial of full humanity, and still being discriminated, need this all the more.

This can take different forms, even in conflict with each other. Some present themselves as conscious Rastas, some (often also Rastas of course) as militant politically or Black Power adherents. Still others as joker/entertainer, others as ladies’ men or sensitive lovers, others as tough gangsters. The mentioned image building relates to this as well. All responding to a basic human need for dignity and self-expression, so much denied for ghetto people. Different from, say, middle-class people whose fathers have a job prepared for them in some firm controlling the fate of other people whilst also securing their elite and influential status in the society and media. Ghetto people are on the other hand the victims, the object of this control, excluded from such power structures in society, and have to find other ways to gain an income, but also to achieve basic, human dignity. Music is an important means for this. “Redemption song..is all I ever had”, as Bob Marley sang.

Debut singles of Jamaican artist thus clearly have a deeper social meaning than merely representing a moment in time for aspiring musicians/singers hanging around music studios.

MUSICAL QUALITY

These were the psychological, sociological and lyrical perspectives. But music is of course also an art form, aimed at a public. Therefore it is of course also interesting to evaluate the quality of these first songs of artists who would in time become often settled reggae artists.

This is a subjective matter, of course: opinions on a single song can differ from person to person, depending on their tastes. For the same reason mere commercial success does not say too much. It says something about what was popular in the Jamaican dancehalls at the time of release, but the song can be good apart from this. A crappy song that gets recorded anyway is not uncommon, but not very probable. Even a single recording costs money for the producer and artist and others involved (studio time, musicians): so some people should believe in it before starting the process of recording and marketing them. Many studios/producers in fact held regular auditions to select among artists or groups those of relatively good quality to record.

Many artist who started recording in the 1960s and 1970s started at the “Motown of Jamaica”: Studio One. Not all though: there were several other studios around, owned e.g. by Duke Reid, Joe Gibbs, Leslie Kong and others. In time other studios like Channel One, Black Ark, and Harry J’s also became important. Still later (since the 1990s) other studios, often aimed more at dancehall, would appear. Lutan Fyah’s first singles were for example recorded at Buju Banton’s Gargamel Studio, while Buju Banton had started not too long before this…

The quality standards at Studio One were high, as were those of studios like Channel One,  and I think this is notable on the debut singles from the 1960s/70s/early 80s, that were mostly of an acceptable or good quality. Besides this the songwriting and vocal talents of the respective artists were in most cases evident from the beginning, especially considering the often young age of artists when they started recording.

The catchy debut – rocksteady - song of the Wailing Souls, called ‘You’ve Lost The Love’ (196Xs) - under the name the Renegades - also showed their talent from the start, as did the Mighty Diamonds’ debut song. In my opinion from a songwriting/musical perspective the Wailing Souls’ (or Renegades’) debut song is one of the better debuts I know, along with Burning Spear’s simply classic, early roots of ‘Door Peep’ (1969). Those are in my opinion the two best reggae Debut songs I know, but that is my opinion. Wailing Souls and Burning Spear had proved their talent more than sufficiently after their debuts, of course.. Bob Marley’s first recording, 'Judge Not', was also a strong, catchy ska song - with good lyrics as well - showing the songwriting talents he undeniably had.

The Abyssinians as a vocal trio had the also classic ‘Satta Massagana’ (1968) as their debut. This song is a bit less of a debut, since two of the three members (Donald and Linford Manning) recorded partly as part of Carlton and the Shoes before this, plus lyrically the song is – in part –based on this earlier group’s  earlier recorded song ‘Happy Land’ as well. Still, the Abyssinians as a roots group had an impressive debut song nonetheless with ‘Satta Massagana’. It even became a sort of Rasta anthem.

Also the already mentioned Isaacs debut recording 'Another Heartache' was in my opinion a good song, though it “went nowhere” (i.e. was not successful commercially). Also Junior Reid’s first song recorded at the age of only 13 was good and catchy. Similarly Jacob Miller’s debut song ‘Love Is A Message’ with an audibly younger voice showed already his talent, as did Horace Hinds (=Horace Andy) good debut song, recorded in the rocksteady era, with a conscious, Black Power message, called ‘This Is A Black Man’s Country’ (1967). This song failed to have too much commercial success at the time, but it’s a good song, considering also he was 16 years of age at the time, and the conscious lyrics were not too common then, rendering it original.

I can appreciate some modern dancehall – even digital - as long as it’s groovy/danceable, but not all. I am more a roots fan. I find it thus more difficult to judge the quality of debut songs by Bounty Killer, Mavado, Sean Paul, Ward 21 and others. Though I note they have catchy elements. The lyrics of both Capleton’s debut song (homophobic/violent) and Buju Banton’s (machismo) were in a way, well, stupid and nonsensical, but from a musical perspective, admittedly: the vocal flow on these debut songs already showed their unique vocal (and rhythmic) talents. Luckily their lyrics  improved over time.

Especially since around 1980 the custom of using the same Riddims (instrumentals) for different vocalists became more common in part of the Jamaican music industry, even at Studio One. Some artists starting after this started to record on existing riddims, but the vocal additions by artists can of course still be evaluated. I think strictly regarding vocal flow (apart from the lyrics) – the capacity to skilfully “ride a riddim” and add to it - Capleton and Buju Banton showed their deejay-ing talents from early on in their early recordings, as did Jah Mason. Sizzla’s debut song ‘True God’ also showed his strong, own, unique style, at least partly, as he would test his vocal dexterity more in later songs. Interesting is also the case of Beenie Man who even started recording in 1981 (the song ‘Too Fancy’) at the age of 9 (that is: n-i-n-e)! Even as a child he had a nice rhythmic flow..

From an earlier generation, dee-jays/toasters like U Roy, Big Youth, I-Roy, Prince Fari, and Price Jazzbo - all actually dee-jaying/toasting at sound systems long before actually recording - also gave a hint of their appeal and talent as sound system toasters on their first recordings. As did a later tier (starting to record  in the early 1980s) of dee-jay’s like Josey Wales, Brigadier Jerry and others, who had mostly catchy debuts..

I think much of the songwriting and vocal/singing talents of the earlier iconic roots and reggae groups were (in most cases) already – at least partly - evident in their debut recordings, not only of Burning Spear, the Wailing Souls, the Mighty Diamonds,  Israel Vibration, the Itals (debut song: ‘In A Dis A Time’), Junior Byles (first solo single: ‘Demonstration’, 1970), Hugh Mundell (his first released – though not first recorded - single was the strong ‘Africa Must Be Free By 1983’, in 1975), Junior Reid, Horace Andy, and Culture/Joseph Hill, some of whom I already mentioned, but also e.g. the Gladiators, Johnny Osbourne, Jacob Miller, and Marcia Griffiths…they all  started with good or even strong songs. Also, the early recording of the Tartans (who included Cedric Myton of Congos’ fame, as well as Prince Lincoln Thompson), called  ‘Far Beyond The Sun’, a rocksteady song from 1967, was good. Half Pint’s debut song ‘Sally’ (1983) was merely okay, to my taste, and I personally like better the groovy songs he would come up not long after (e.g. ‘Mr Landlord’, ‘Substitute Lover’).

Little Roy had his debut single under his own name Earl Lowe, called ‘I am Gonna Cool It’, recorded around 1965 at Studio One. A nice debut I think, with a younger version of his characteristic, soulful, aching voice. Little Roy/Earl Lowe was about 12 years of age at the time (he was born in 1953) he recorded his debut song. The young age many artists began recording must mean something sociologically as well.

An interesting fact I have not really mentioned yet: most artists debuting wrote their debut songs themselves, at least partly (sometimes just the vocal part and/or basic chord structure), although some started with a cover. A significant fact, I think, when added to their vocal or musical skills.

CONCLUSIONS: QUALITY

Of most debuts I encountered I can understand why they decided to record it. The debut songs were mostly good, albeit to differing degrees. Some were just “nice” or quite catchy, others were good, and quite a few even great or strong. A few of the debut songs can be called classics: I think Burning Spear’s ‘Door Peep’, the Itals’ ‘In A Dis A Time’, Hugh Mundell’s ‘Africa Must Be Free By 1983’, the Abyssinians' ‘Satta Massagana’, and Lee Perry’s ‘People Funny Boy’ (one of the earliest reggae songs!),  and from earlier times the Sensations’ timeless ‘Everyday Is Like A Holiday’. I think these songs have those timeless qualities that make them classics in Jamaican music. Also Junior Reid’s debut is above average I think, as was the Wailing Souls’ strong debut song (topping it later with even stronger songs). Also Johnny Osbourne’s debut recording was very strong (and later covered by other artists like the Mighty Diamonds, which gives an indication). Time will tell whether “classic” will apply as well to more recent debuts, e.g. of I-Wayne, that became instant hits.

In other cases debut songs were still good, but the artists would have better songs later in their career, often not too long after debuting. In those cases the best was still to come. The potential, the artists’ talent showed already – even if they were sometimes very young - but was not yet fulfilled, needed  perhaps a bit to fully develop. I think this is the case with Alton Ellis, Israel Vibration, Culture, Bob Marley, Little Roy, the Wailing Souls, Mighty Diamonds, Twinkle Brothers, Dennis Brown, Barrington Levy, Tenor Saw, Half Pint, Ini Kamoze, Capleton, Jah Mason, Bushman, Busy Signal, Queen Ifrica (and others)…also all great artists with unique talents and great songs during their career..I think they just did not “peak” yet, so to speak, at the very start of it. Their debuts were not bad, but their best songs came, in my opinion, later in their career.

YOUTUBE

I’ve searched the remarkably great database of YouTube for debut songs of Jamaican artists. I found a lot – in fact most mentioned above - , though not every single one. I also found in some cases only later versions of the original debut recordings (modern versions/live).

All in all, I combined what I could find in a Playlist (or sub-catalogue if you will) on YouTube of Debut songs/recordings of Jamaican artists. Tips for songs to be added are of course welcome (even if not mentioned in the text above).The Jamaican music scene is so extensive, that I still can forget or leave out some names unintentionally. I’m only human and can also make mistakes, so proper corrections, if necessary, are also welcome. E-mail me through Blogspot or YouTube in that case.

A fully comprehensive overview of debut singles is perhaps an illusion, considering the extensive Jamaican music industry since the 1960s, with so many artists recording. Even then…there might be a lot, but not “everything” is on YouTube.  Let’s just say the goal is somewhere between a representative and a comprehensive overview. The result is I think still very insightful for many reggae lovers.  At least most artist mentioned in the above text are to be found in the playlist, including influential and well-known artists, and representative artists of the distinct sub-genres. Luckily, there were and are also quite some original versions to be found on YouTube: interesting for historical reasons.

Check the playlist at:http://www.youtube.com/playlist?list=PLBiUHLE6GUMgXxytQh3vrlzd2_-bDucbM

Note: for this text AND for the YouTube playlist I limited my scope to Jamaican artists, so reggae artists from outside of Jamaica (e.g. Aswad, Steel Pulse, Midnite, Groundation, Gentleman, Shaggy, Maxi Priest or others) are not included. Not that that cannot be interesting as well..