Introduction to Sound System Outernational Perspectives

2019

2017

The movement of the Reggae revival, while it is not brand new there are still discussions describing the nature of the movement, specifically focusing on the ‘revival’ aspect and what it means. Other general discussions like the article in Vogue for example, focus on the manifestation of this movement, exploring how the artists met each other and what led them to be where they are now, how they have changed their lifestyles etc. There is no visible discussion surrounding how the reggae revival has carried out some of its objectives and the changes that can be speculated as causing a kind of ripple effect in the sound system culture, performance standard and creative industries. With that being said, research for this paper largely depended on methods of primary research such as conducting interviews and being a witness/patron of events like Dub School, Dub Club, Dubwise, Vinyl Thursdays, Ancient Future Live, Live From The Capital and so on. The focus of this research will explore the roles that this movement has played in the source of demand for live band and artist performances, the deliberate collaboration between artists and creative bodies resulting in sub-sectors in the cultural/creative industry and the resurgence of prominence and changes of the sound system culture.

British Journal of Music Education, 2011

2013

As one of the oldest musical entities in Jamaica, the Alpha Boys’ School and Home is recognised as a primary force behind the nation’s musical and cultural legacy. Yet, social researchers have dedicated little attention to examining how and why music became a central feature at Alpha, given its early focus as an industrial school. In the tradition of Africana critical theory, this paper traces the story in two parallel veins, observing both the ways in which students and staff used music as a liberatory space and the ways in which music served to buttress prevailing colonial arrangements in society.

Groundings, 2011

Volume !, 2015

"Reggae and dub has brought about many changes in production practices internationally. The studio Innovations pioneered by Osbourne “King Tubby” Ruddock and Lee “Scratch” Perry, have revolutionized production techniques in reggae, dancehall and many popular international genres. The Ruddock and Perry Production Techniques have had a significant influence on the development of genres such as hip-hop, house drum and bass, trip hop, trance and techno. Despite this major contribution to pop music production techniques, there has been insufficient recognition for these “Dub Master’s” role in pioneering studio production styles. This paper will examine the role of Ruddock and Perry, in the development of these distinctive techniques and juxtapose them along techniques of Anglo-America, namely Phil Spector’s Wall of Sound, the Beach Boys’ Pet Sounds and the Beatles Sgt Pepper Lonely Heart Club band which have been valorized as landmark signposts in the history of pop music production. By exploring the production techniques involved in creating the 1980s pop hit Genius of Love By Tom Tom Club. I will show how the techniques of Ruddock and Perry have been appropriated by mainstream culture and how these techniques have influenced pop music production globally. In the process making a claim for the equal recognition of the work of Perry and Osbourne placing them in the same hallowed space occupied by their Anglo-American counterparts. "

Popular Music and Society, 2013

This document is the author's final manuscript version of the journal article, incorporating any revisions agreed during peer review. Some differences between this version and the publisher's version remain. You are advised to consult the publisher's version if you wish to cite from it.