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12 - Globalisation in the Reggae and Dub Diaspora

Jamaica

Published online by Cambridge University Press:  17 September 2022

By
David V. Moskowitz
Edited by
Nanette de Jong
Nanette de Jong
Affiliation:
University of Newcastle
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Summary

This chapter shifts the discussion of globalisation onto Jamaica’s reggae and dub musics, introducing readers to an international network of sound system cultures that, by borrowing upon Jamaica’s history of musical innovation and Rasta ideology, helped to create subgenres based around more localised notions of inclusivity. Through this analysis, the chapter provides a chronological deconstruction of globalisation, introducing some of the ideological and musical features of Jamaican reggae and dub that became pulled into the commercialised ‘global pop’ margins through these sub-genres.

Keywords

JamaicaReggaeDubGlobal PopGlobalisation
Type
Chapter
Information
The Cambridge Companion to Caribbean Music , pp. 173 - 185
Publisher: Cambridge University Press
Print publication year: 2022

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References

References

Barrow, Steve and Dalton, Peter. 2001. The Rough Guide to Reggae. London: Rough Guides Limited.Google Scholar
Harrington, Jon. 2010. ‘(White Man in) Hammersmith Palais’. In Dimery, Robert, ed., 1001 Songs You Must Hear Before You Die and 10,001 You Must Download. London: Universe Publishing, 421.Google Scholar
Janovitz, Bill. 2017. ‘Hey Negrita’. All Music. www.allmusic.com/song/hey-negrita-mt0003277872?1644425542120.Google Scholar
Moskowitz, David. 2007. The Words and Music of Bob Marley. Westport, CT: Greenwood Publishing Group.Google Scholar
Partridge, Christopher. 2010. Dub in Babylon: Understanding the Evolution and Significance of Dub Reggae in Jamaica and Britain from King Tubby to Post-Punk. London: Equinox Publishing.Google Scholar
Sullivan, Denise. 2017. ‘(White Man) In Hammersmith Palais’. All Music. www.allmusic.com/song/white-man-in-hammersmith-palais-mt0019170392.Google Scholar
Sullivan, Paul. 2014. Remixology: Tracing the Dub Diaspora. London: Reaktion Books.Google Scholar
Veal, Michael. 2007. Dub: Soundscapes and Shattered Songs in Jamaican Reggae. Middleton, CT: Wesleyan University Press.Google Scholar

Further Reading

Barrow, Steve and Dalton, Peter. 2001. The Rough Guide to Reggae. London: Rough Guides Limited.Google Scholar
Moskowitz, David. 2006. Caribbean Popular Music: and Encyclopedia of Reggae, Mento, Ska, Rock Steady, and Dancehall. Westport, CT: Greenwood.Google Scholar
Partridge, Christopher. 2010. Dub in Babylon: Understanding the Evolution and Significance of Dub Reggae in Jamaica and Britain from King Tubby to Post-Punk. London: Equinox Publishing.Google Scholar
Sullivan, Paul. 2014. Remixology: Tracing the Dub Diaspora. London: Reaktion Books.Google Scholar
Veal, Michael. 2007. Dub: Soundscapes and Shattered Songs in Jamaican Reggae. Middleton, CT: Wesleyan University Press.Google Scholar
White, Bob W. 2012. Music and Globalization: Critical Encounters. Bloomington: Indiana University Press.Google Scholar

Discography

Alborosie. 2008. Soul Pirate. Forward Records 4897012127148. CD.Google Scholar
Clapton, Eric. 1974. 461 Ocean Boulevard. RSO SO 4801. LP.Google Scholar
Clash, The. 1978. “(White Man) In Hammersmith Palais.” CBS 6383. 45 rpm.Google Scholar
Clash, The. 1979. London Calling. CBS Records CLASH 3. LP.Google Scholar
Easy Star All-Stars. 2003. Dub Side of the Moon. Easy Star Records ES 1012. CD.Google Scholar
Marley, Bob, and the Wailers. 1975. Catch a Fire. Island Records ILPS 9241. LP.Google Scholar
Marley, Bob, and the Wailers. 1984. Legend: The Best of Bob Marley and the Wailers. Island Records 314 548 904–2. LP.Google Scholar
Matisyahu. 2006. Youth. Epic 8 2876–81428-2. CD.Google Scholar
Murvin, Junior. 1976. Police and Thieves.. Wildflower Records WIP 6316. 45 rpm.Google Scholar
Pretenders, The. 1980. The Pretenders. Sire Records M8S 6083. LP.Google Scholar
Rolling Stones, The. 1976. Black and Blue. Rolling Stones Records COC 59106. LP.Google Scholar
Seeed. 2005. Next. Downbeat Records PR 015632. CD.Google Scholar
Simon, Paul. 1972. “Mother and Child Reunion.” Columbia CBS 7793. 45 rpm.Google Scholar
Toots and the Maytals. 1968. “Do the Reggay.” Beverley’s Records. 45 rpm.Google Scholar
Tubby, King. 1975. Dub from the Roots. Clocktower Records LP CT0091. LP.Google Scholar

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