Coordinates	28°36′36″N77°13′48″N
Name	Reggae
Bgcolor	green
Color	white
Stylistic origins	R&B;JazzMentoCalypsoSkaRocksteady
Cultural origins	Late 1960s Jamaica, especially Kingston
Instruments	Bass - Drums - Guitar - Organ - Brass instrument - Melodica
Popularity	Early 1970s onward, varied
Derivatives	Dancehall - Dub - Hip hop
Subgenrelist	Reggae genres
Subgenres	Roots reggaeLovers rockReggae en Español
Fusiongenres	ReggaetonReggae fusionSeggae2 Tone Samba reggae
Regional scenes	Africa - Australia - Japan - New Zealand - Nigeria - Panama - Philippines - Poland
Other topics	Music of Jamaica - List of reggae musicians }}

Reggae is a music genre first developed in Jamaica in the late 1960s. While sometimes used in a broader sense to refer to most types of Jamaican music, the term ''reggae'' more properly denotes a particular music style that originated following on the development of ska and rocksteady.

Reggae is based on a rhythmic style characterized by accents on the off-beat, known as the ''skank''. Reggae is normally slower than both ska and rocksteady. Reggae usually accents the second and fourth beat in each bar, with the rhythm guitar also either emphasizing the third beat or holding the chord on the second beat until the fourth is played. It is mainly this "third beat", its speed and the use of complex bass lines that differentiated reggae from rocksteady, although later styles incorporated these innovations separately.

Etymology

The 1967 edition of the ''Dictionary of Jamaican English'' lists ''reggae'' as "a recently estab. sp. for ''rege''", as in ''rege-rege'', a word that can mean either "rags, ragged clothing" or "a quarrel, a row". ''Reggae'' as a musical term first appeared in print with the 1968 rocksteady hit "Do the Reggay" by The Maytals, but it was already being used in Kingston, Jamaica as the name of a slower dance and style of rocksteady. Reggae artist Derrick Morgan stated:

We didn't like the name rock steady, so I tried a different version of 'Fat Man'. It changed the beat again, it used the organ to creep. Bunny Lee, the producer, liked that. He created the sound with the organ and the rhythm guitar. It sounded like 'reggae, reggae' and that name just took off. Bunny Lee started using the world [sic] and soon all the musicians were saying 'reggae, reggae, reggae'.

Reggae historian Steve Barrow credits Clancy Eccles with altering the Jamaican patois word ''streggae'' (loose woman) into ''reggae''. However, Toots Hibbert said:

There's a word we used to use in Jamaica called 'streggae'. If a girl is walking and the guys look at her and say 'Man, she's streggae' it means she don't dress well, she look raggedy. The girls would say that about the men too. This one morning me and my two friends were playing and I said, 'OK man, let's do the reggay.' It was just something that came out of my mouth. So we just start singing 'Do the reggay, do the reggay' and created a beat. People tell me later that we had given the sound its name. Before that people had called it blue-beat and all kind of other things. Now it's in the Guinness World of Records.

Bob Marley is said to have claimed that the word ''reggae'' came from a Spanish term for "the king's music". The liner notes of ''To the King'', a compilation of Christian gospel reggae, suggest that the word ''reggae'' was derived from the Latin ''regi'' meaning "to the king".

Precursors

Although strongly influenced by traditional African, American jazz and old-time rhythm and blues, reggae owes its direct origins to the progressive development of ska and rocksteady in 1960s Jamaica. One of the main individuals who progressed this genre was Count Ossie.

Ska arose in the studios of Jamaica around 1959; it developed from the earlier mento genre. Ska is characterized by a walking bass line, accentuated guitar or piano rhythms on the offbeat, and sometimes jazz-like horn riffs. In addition to being massively popular with the Jamaican rude boy subculture, it had gained a large following among Mods in Britain by 1964.

Rude boys began deliberately playing their ska records at half speed, preferring to dance slower as part of their tough image. By the mid-1960s, many musicians had begun playing the tempo of ska slower, while emphasizing the walking bass and offbeats. The slower sound was named rocksteady, after a single by Alton Ellis. This phase of Jamaican music lasted only until 1968, when musicians began to speed up the tempo of the music again, and added yet more effects. This led to the creation of reggae.

History

Reggae developed from ska, mento and R&B; music in the 1960s. The shift from rocksteady to reggae was illustrated by the organ shuffle, which was pioneered by Bunny Lee and was featured in the transitional singles "Say What You're Saying" (1967) by Clancy Eccles, and "People Funny Boy" (1968) by Lee "Scratch" Perry. The Pioneers' 1967 track "Long Shot Bus' Me Bet" has been identified as the earliest recorded example of the new rhythm sound that became known as reggae.

Early 1968 was when the first genuine reggae records were released: "Nanny Goat" by Larry Marshall and "No More Heartaches" by The Beltones. American artist Johnny Nash's 1968 hit "Hold Me Tight" has been credited with first putting reggae in the American listener charts. Around that time, reggae influences were starting to surface in rock music. An example of a rock song featuring reggae rhythm is 1968's "Ob-La-Di , Ob-La-Da." by The Beatles. The Wailers, a band started by Bob Marley, Peter Tosh and Bunny Wailer in 1963, are perhaps the most recognised band that made the transition through all three stages of early Jamaican popular music: ska, rocksteady and reggae. Other significant reggae pioneers include Prince Buster, Desmond Dekker and Jackie Mittoo.

Notable Jamaican producers who were influential in the development of ska into rocksteady and reggae include: Coxsone Dodd, Lee "Scratch" Perry, Leslie Kong, Duke Reid, Joe Gibbs and King Tubby. Chris Blackwell, who founded Island Records in Jamaica in 1960, relocated to England in 1962, where he continued to promote Jamaican music. He formed a partnership with Trojan Records, founded by Lee Gopthal in 1968. Trojan released recordings by reggae artists in the UK until 1974, when Saga bought the label.

The 1972 film ''The Harder They Come'', starring Jimmy Cliff, generated considerable interest and popularity for reggae in the United States, and Eric Clapton's 1974 cover of the Bob Marley song "I Shot the Sheriff" helped bring reggae into the mainstream. By the mid 1970s, reggae was getting radio play in the UK on John Peel's radio show, and Peel continued to play reggae on his show throughout his career. What is called the "Golden Age of Reggae" corresponds roughly to the heyday of roots reggae.

In the second half of the 1970s, the UK punk rock scene was starting to form, and reggae was a notable influence. Some punk DJs played reggae songs during their sets and some punk bands incorporated reggae influences into their music. At the same time, reggae began to enjoy a revival in the UK that continued into the 1980s, exemplified by groups like Steel Pulse, Aswad, UB40, and Musical Youth. Other reggae artists who enjoyed international appeal in the early 1980s include Third World, Black Uhuru and Sugar Minott. The Grammy Awards introduced the Best Reggae Album category in 1985.

Musical characteristics

Reggae is either played in 4/4 time or swing time, because the symmetrical rhythmic pattern does not lend itself to other time signatures such as 3/4 time. Harmonically, the music is often very simple, and sometimes a whole song will have no more than one or two chords. These simple repetitive chord structures add to reggae's sometimes hypnotic effects.

Drums and other percussion

A standard drum kit is generally used in reggae, but the snare drum is often tuned very high to give it a timbales-type sound. Some reggae drummers use an additional timbale or high-tuned snare to get this sound. Cross-stick technique on the snare drum is commonly used, and tom-tom drums are often incorporated into the drumbeat itself. Reggae drumbeats fall into three main categories: ''One drop'', ''Rockers'' and ''Steppers''. With the ''One drop'', the emphasis is entirely on the third beat of the bar (usually on the snare, or as a rim shot combined with bass drum). Beat one is completely empty, which is unusual in popular music. There is some controversy about whether reggae should be counted so that this beat falls on three, or whether it should be counted half as fast, so it falls on two and four. Leroy "Horsemouth" Wallace calls the beat the "two-four combination". Many credit Carlton Barrett of The Wailers as the creator of this style. An example played by Barrett can be heard in the Bob Marley and the Wailers song "One Drop". Barrett often used an unusual triplet cross-rhythm on the hi-hat, which can be heard on many recordings by Bob Marley and the Wailers, such as "Running Away" on the ''Kaya'' album.

An emphasis on beat three is in all reggae drumbeats, but with the ''Rockers'' beat, the emphasis is also on beat one (usually on bass drum). This beat was pioneered by Sly and Robbie, who later helped create the "Rub-a-Dub" sound that greatly influenced dancehall. The prototypical example of the style is found in Sly Dunbar's drumming on "Right Time" by the Mighty Diamonds. The ''Rockers'' beat is not always straightforward, and various syncopations are often included. An example of this is the Black Uhuru song "Sponji Reggae."

In ''Steppers'', the bass drum plays four solid beats to the bar, giving the beat an insistent drive. An example is "Exodus" by Bob Marley and the Wailers. Another common name for the ''Steppers'' beat is the "four on the floor." Burning Spear's 1975 song "Red, Gold, and Green" (with Leroy Wallace on drums) is one of the earliest examples. The ''Steppers'' beat was adopted (at a much higher tempo) by some 2 Tone ska revival bands of the late 1970s and early 1980s.

An unusual characteristic of reggae drumming is that the drum fills often do not end with a climactic cymbal. A wide range of other percussion instrumentation is used in reggae. Bongos are often used to play free, improvised patterns, with heavy use of African-style cross-rhythms. Cowbells, claves and shakers tend to have more defined roles and a set pattern.

Bass

The bass guitar often plays the dominant role in reggae, and the drum and bass is often called the ''riddim'' (rhythm). Several reggae singers have released different songs recorded over the same rhythm. The central role of the bass can be particularly heard in dub music — which gives an even bigger role to the drum and bass line, reducing the vocals and other instruments to peripheral roles. The bass sound in reggae is thick and heavy, and equalized so the upper frequencies are removed and the lower frequencies emphasized. The bass line is often a simple two-bar riff that is centered on its thickest and heaviest note.

Guitars

The guitar in reggae usually plays the chords on beats two and four, a musical figure known as skank or the 'bang'. It has a very dampened, short and scratchy chop sound, almost like a percussion instrument. Sometimes a double chop is used when the guitar still plays the off beats, but also plays the following 8th beats on the up-stroke. An example is the intro to "Stir It Up" by The Wailers. Artist and producer Derrick Harriott says, “What happened was the musical thing was real widespread, but only among a certain sort of people. It was always a down-town thing, but more than just hearing the music. The equipment was so powerful and the vibe so strong that we feel it.”

Keyboards

From the late 1960s through to the early 1980s, a piano was generally used in reggae to double the rhythm guitar's skank, playing the chords in a ''staccato'' style to add body, and playing occasional extra beats, runs and riffs. The piano part was widely taken over by synthesizers during the 1980s, although synthesizers have been used in a peripheral role since the 1970s to play incidental melodies and countermelodies. Larger bands may include either an additional keyboardist, to cover or replace horn and melody lines, or the main keyboardist filling these roles on two or more keyboards.

The reggae-organ shuffle is unique to reggae. Typically, a Hammond organ-style sound is used to play chords with a choppy feel. This is known as the ''bubble''. There are specific drawbar settings used on a Hammond console to get the correct sound. This may be the most difficult reggae keyboard rhythm. The 8th beats are played with a space-left-right-left-space-left-right-left pattern, where the spaces represent downbeats not played—that is the left-right-left falls on the ee-and-a.

Horns

Horn sections are frequently used in reggae, often playing introductions and counter-melodies. Instruments included in a typical reggae horn section include saxophone, trumpet or trombone. In more recent times, real horns are sometimes replaced in reggae by synthesizers or recorded samples. The horn section is often arranged around the first horn, playing a simple melody or counter melody. The first horn is usually accompanied by the second horn playing the same melodic phrase in unision, one octave higher. The third horn usually plays the melody an octave and a fifth higher than the first horn. The horns are generally played fairly softly, usually resulting in a soothing sound. However, sometimes punchier, louder phrases are played for a more up-tempo and aggressive sound.

Vocals

The vocals in reggae are less of a defining characteristic of the genre than the instrumentation and rhythm, as almost any song can be performed in a reggae style. However, it is very common for reggae to be sung in Jamaican Patois, Jamaican English, and Iyaric dialects. Vocal harmony parts are often used, either throughout the melody (as with bands such as the Mighty Diamonds), or as a counterpoint to the main vocal line (as with the backing group I-Threes). The British reggae band Steel Pulse used particularly complex backing vocals. An unusual aspect of reggae singing is that many singers use ''tremolo'' (volume oscillation) rather than ''vibrato'' (pitch oscillation). Notable exponents of this technique include Dennis Brown and Horace Andy. The toasting vocal style is unique to reggae, originating when DJs improvised along to dub tracks, and it is generally considered to be a precursor to rap. It differs from rap mainly in that it is generally melodic, while rap is generally more a spoken form without melodic content.

Lyrical themes

Reggae is noted for its tradition of social criticism in its lyrics, although many reggae songs discuss lighter, more personal subjects, such as love and socializing. Many early reggae bands covered Motown or Atlantic soul and funk songs. Some reggae lyrics attempt to raise the political consciousness of the audience, such as by criticizing materialism, or by informing the listener about controversial subjects such as Apartheid. Many reggae songs promote the use of cannabis (also known as ''herb'', ''ganja'', or ''sensimilia''), considered a sacrament in the Rastafari movement. There are many artists who utilize religious themes in their music — whether it be discussing a specific religious topic, or simply giving praise to God (Jah). Other common socio-political topics in reggae songs include black nationalism, anti-racism, anti-colonialism, anti-capitalism and criticism of political systems and "Babylon".

Criticism of dancehall and ragga lyrics

Some dancehall and ragga artists have been criticised for homophobia, including threats of violence. Buju Banton's song "Boom Bye-Bye" states that gays "haffi dead". Other notable dancehall artists who have been accused of homophobia include Elephant Man, Bounty Killer and Beenie Man. The controversy surrounding anti-gay lyrics has led to the cancellation of UK tours by Beenie Man and Sizzla. Toronto, Canada has also seen the cancellation of concerts due to artists such as Elephant Man and Sizzla refusing to conform to similar censorship pressures.

After lobbying from the Stop Murder Music coalition, the dancehall music industry agreed in 2005 to stop releasing songs that promote hatred and violence against gay people. In June 2007, Beenie Man, Sizzla and Capleton signed up to the Reggae Compassionate Act, in a deal brokered with top dancehall promoters and Stop Murder Music activists. They renounced homophobia and agreed to "not make statements or perform songs that incite hatred or violence against anyone from any community". Five artists targeted by the anti-homophobia campaign did not sign up to the act, including Elephant Man, TOK, Bounty Killa, Vybz Kartel and Buju Banton.

Subgenres

Early reggae

Early reggae, sometimes called "skinhead reggae" because of its popularity among the working class skinhead subculture in the UK, started in the late 1960s, as the influence of funk music from American record labels such as Stax began to permeate the music style of studio musicians. Early reggae differed from rocksteady by including the "bubbling" organ, a percussive style of playing that showcased the eighth-note subdivision within the groove. The guitar "skanks" on the second and fourth note of the bar were more frequently doubled up in recording studios using electronic tape echo effects, thus complementing the double-time feel of the organ. More emphasis was put on the groove of the music, and there was a growing trend of recording a "version" on the B-side of a single. Many of the songs were instrumentals led by a horn or organ. Cover versions of Motown, Stax and Atlantic Records soul songs were common in skinhead reggae, reflecting the popularity of soul music with skinheads and mods. Notable skinhead reggae artists include John Holt, Toots & the Maytals, The Pioneers and Symarip.

Roots reggae

Roots reggae is a spiritual type of music whose lyrics are predominantly in praise of Jah (God). Recurrent lyrical themes include poverty and resistance to government and racial oppression. The creative pinnacle of roots reggae was in the late 1970s with singers such as Burning Spear, Gregory Isaacs, Freddie McGregor, Johnny Clarke, Horace Andy, Ijahman Levi, Barrington Levy, Big Youth, and Linval Thompson, and bands like Culture, Israel Vibration, the Meditations, and Misty in Roots, teaming up with various studio producers including Lee 'Scratch' Perry and Coxsone Dodd. Musically, on the song "Roots, Rock, Reggae" Marley devised a new style of "off beat" music where a bar of six beats is played, with the guitar skanking on the fourth and sixth beat. Although entirely separate from the beats of ska, rock steady, reggae, skank, flyers, rockers and all later styles, this unique beat seems to have been so closely associated with Marley that few others adopted it.

Dub

Dub is a genre of reggae that was pioneered in the early days by studio producers Lee 'Scratch' Perry and King Tubby. It involves extensive remixing of recorded material, and particular emphasis is placed on the drum and bass line. The techniques used resulted in an even more visceral feel described by King Tubby as sounding "jus’ like a volcano in yuh head." Augustus Pablo and Mikey Dread were two of the early notable proponents of this music style, which continues today.

Rockers

The rockers style was created in the mid-1970s by Sly & Robbie. Rockers is described as a flowing, mechanical, and aggressive style of playing reggae. One article calls the rockers era the "Golden Age of Reggae".

Lovers rock

The lovers rock subgenre originated in South London in the mid-1970s. The lyrics are usually about love. It is similar to rhythm and blues. Notable lovers rock artists include: Gregory Isaacs, Freddy McGregor, Dennis Brown, Maxi Priest and Beres Hammond.

Newer styles and spin-offs

Hip hop and rap

Toasting is a style of chanting or talking over the record that was first used by 1960s Jamaican deejays such as U-Roy and Dennis Alcapone. This style greatly influenced Jamaican DJ Kool Herc, who used the style in New York City in the late 1970s to pioneer the hip hop and rap genres. Mixing techniques employed in dub music have also influenced hip hop.

Dancehall

The dancehall genre was developed around 1980, with exponents such as Yellowman, Super Cat and Shabba Ranks. The style was characterized by a ''deejay'' singing and rapping or toasting over raw and fast rhythms. ''Ragga'' (also known as ''raggamuffin'') and reggae fusion, are ''subgenres'' of dancehall where the instrumentation primarily consists of electronic music and sampling. Notable ''ragga'' originators include Shinehead and Buju Banton. In February 2009, Dancehall with lyrical content "deemed explicitly sexual and violent" was banned from the airwaves by the Broadcasting Commission of Jamaica.

Raggamuffin

Raggamuffin, usually abbreviated as ragga, is a sub-genre of reggae that is closely related to dancehall and dub. The term raggamuffin is an intentional misspelling of ragamuffin, and the term ''raggamuffin music'' describes the music of Jamaica's "ghetto youths". The instrumentation primarily consists of electronic music. Sampling often serves a prominent role as well. As ragga matured, an increasing number of dancehall artists began to appropriate stylistic elements of hip hop music, while ragga music, in turn, influenced more and more hip hop artists. Ragga is now mainly used as a synonym for dancehall reggae or for describing dancehall with a deejay chatting rather than deejaying or singing on top of the riddim.

Reggaeton

Reggaeton is a form of urban music that first became popular with Latin American youths in the early 1990s. Reggaeton's predecessor originated in Panama as reggae en español. After the music's gradual exposure in Puerto Rico, it eventually evolved into reggaeton. It blends West-Indian reggae and dancehall with Latin American genres such as bomba, plena, salsa, merengue, Latin pop, cumbia and bachata, as well as hip hop, contemporary R&B; and electronica. Modern reggaeton beats follow the structure of the Dem Bow Riddim, a beat created by Jamaican producers Steely & Clevie in the late 80s and early 90s.

Reggae fusion

Reggae fusion is a mixture of reggae or dancehall with elements of other genres, such as hip-hop, R&B;, jazz, rock, drum and bass, punk or polka. Although artists have been mixing reggae with other genres from as early as the early 1970s, it was not until the late 1990s when the term was coined.

Reggae outside of Jamaica

Reggae has spread to many countries across the world, often incorporating local instruments and fusing with other genres.

Americas

Reggae en Español spread from mainland South American Caribbean from Venezuela and Guyana to the rest of South America. It does not have any specific characteristics other than being sung in Spanish, usually by artists of Latin American origin. Samba reggae originated in Brazil as a blend of Samba with Jamaican reggae.

Europe

Caribbean music in the United Kingdom, including reggae, has been popular since the late 1960s, and has evolved into several subgenres and fusions. Since the early 1990s, several Italian reggae bands have emerged, including Sud Sound System, Pitura Freska, Almamegretta and B.R. Stylers, and European singers getting their inspiration directly from Jamaica like Alborosie (Italy), Charly B (France), Gentleman (Germany). In Iceland reggae band Hjálmar is well established, recently recording their fourth album at Tuff Gong Studios in Jamaica. In Sweden, Uppsala Reggae Festival attracts attendees from across Northern Europe, and features Swedish reggae bands such as Rootvälta and Svenska Akademien. The first homegrown Polish reggae bands started in the 1980s. German reggae artist Gentleman rose to popularity with his album Confidence in 2004. Summerjam, Europe's biggest reggae festival, takes place in Cologne, Germany. Rototom Sunsplash, which used to take place in Italy, Osoppo, until 2009, is now held in Benicassim, Spain. This big festival has gathers every year up to 150,000 visitors.

Africa

Reggae in Africa was much boosted by the visit of Bob Marley to Zimbabwe on Independence Day 18 April 1980. Nigerian reggae had developed in the 1970s. In South Africa, reggae music has played a unifying role amongst cultural groups in Cape Town. During the years of Apartheid, the music bonded people from all demographic groups. Lucky Dube recorded 25 albums, fusing reggae with Mbaqanga. The Marcus Garvey Rasta camp in Phillipi is regarded by many to be the reggae and Rastafarian center of Cape Town. Reggae bands play regularly at community centres such as the Zolani center in Nyanga.

In Ethiopia, Dub Collosus emerged in 2008, and has received wide acclaim. In Mali, Askia Modibo fuses reggae with Malian music, and is described by Last FM as "the most significant African reggae musician to emerge internationally within the past five years." In Malawi, Black Missionaries produced five albums. In Ivory Coast, Tiken Jah Fakoly fuses reggae with traditional music. Alpha Blondy from Ivory Coast sings reggae with religious lyrics. In Sudan, beats, drums and bass guitar from reggae music has been adopted into their music as reggae is a very popular among the generations from young to old, some spiritual (religious) groups grow their dreadlocks and have some reggae beats in their chants.

Asia and the Pacific

In the Philippines, several bands and sound systems play reggae and dancehall music in a style faithful to its expression in Jamaica. Their music is called Pinoy reggae Tropical Depression, led by Papa Dom is the pioneer of reggae music in the Philippines. Japanese reggae emerged in the early 1980s. Reggae is becoming more prevalent in Thailand as well. Aside from the reggae music and Rastafarian influences seen ever more on Thailand's islands and beaches, a true reggae sub-culture is taking root in Thailand's cities and towns. Many Thai artists, such as Job 2 Do, keep the tradition of reggae music and ideals alive in Thailand. By the end of the 1980s, the local music scene in Hawaii was dominated by Jawaiian music, a local form of Reggae.

Australia

Reggae in Australia originated in the 1980s. New Zealand reggae has seen many bands emerging since 2000, often involving fusion with electronica. Desert Reggae Is a developing contemporary style possibly originating in Central Australia. Lyrics are often sung in Australian Aboriginal languages.

Footnotes

Bibliography

Jérémie Kroubo Dagnini (2008). ''Les origines du reggae: retour aux sources. Mento, ska, rocksteady, early reggae'', L'Harmattan, coll. Univers musical. ISBN 978-2-296-06252-8

See also

Caribbean music in the United Kingdom

Grammy Award for Best Reggae Album

List of reggae festivals

List of reggae musicians

External links

Reggae Music at the Open Directory Project

Category:Jamaican music

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Coordinates	28°36′36″N77°13′48″N
name	Anthony B
background	solo_singer
birth name	Keith Blair
born	March 31, 1976 Trelawny, Jamaica
instrument	vocals
genre	Reggae
years active	1996–present
label	VP, Greensleeves Records
notable instruments	}}

Anthony B is the stage name of Keith Blair (born March 31, 1976, Clark's Town, Trelawny, Jamaica), a Jamaican musician and member of the Rastafari movement.

Talking of his faith and music, Anthony B commented, "When we say 'burn fire' we don't mean take a match and light somebody, we are saying 'get rid of these things that are no good for humanity'".

Biography

Early life

Blair grew up in rural Clark's Town in the northwestern parish of Trelawny in Jamaica. His deeply religious family life (his mother was a Seventh-day Adventist and his grandmother a Revivalist) imbued him with a profound spirituality. During his youth, his favorite singers were reggae legends Bob Marley and Peter Tosh, musicians who strongly influenced his own style. Peter Tosh's influence can definitely be heard in Anthony B's vocal delivery and revolutionary stance.

Anthony B adopted Rastafari movement beliefs as a teenager, a decision which was not well-received by his family. The stubborn and determined Anthony B refused to give up his new religion and his dreadlocks and moved to the home of his aunt and uncle in the Kingston suburb, Portmore. He is a member of the Bobo Ashanti branch of the movement. "Bobo Dreads", as they are known, are recognizable by their long robes and turbans. The strong Afrocentric pride and the other Rastafarian beliefs (or "overstandings" as Rastafarians prefer to call them) which are reflected in his songs.

Career

While attending high school, Anthony B debuted as a deejay for the local sound system, Shaggy Hi-Power. In 1988, he befriended reggae artists such as Determine, Mega Banton, Ricky General and Terror Fabulous.

At this point in the reggae industry, singing "slack" songs about women was the popular thing to do. Anthony B did not believe in degrading women and chose to pen politically-slanted songs instead. He collaborated with Little Devon and made his debut single "The Living is Hard" on the Wizard label in 1993. Anthony B tried many different producers before joining with Richard Bell, creating hits such as "Fire Pon Rome", "Raid Di Barn", "Rumour", and "Repentance Time". Anthony B's 1996 debut album entitled ''Real Revolutionary'' in the UK and ''So Many Things'' in the US was highly acclaimed in the reggae community. In late 1997, Anthony B released ''Universal Struggle'', followed by a large number of albums since including 1999's ''Seven Seals,'' 2003's ''Street Knowledge'', 2004's ''Untouchable'' which featured collaborations with artists including Wyclef Jean, Snoop Dogg & Bone Crusher, 2005's ''Black Star'' plus ''My Hope,'' and more recently, ''Life Over Death'' (2008).

Anthony B tours extensively in Europe and North America.

Discography

Albums

''Predator & Prey'' (1996, Alpha Enterprises)

''Real Revolutionary'' - UK / ''So Many Things'' - US (1996, Greensleeves)

''Universal Struggle'' (1997, VP Records)

''Seven Seals'' (1999, VP Records)

''That's Life'' (2001, VP Records)

''More Love'' (2001, AO ! Records)

''Live On The Battlefield'' (2002, Jahmin' Records)

''Street Knowledge'' (2003, VP Records)

''Judgment Time'' (2003, 2B1 Records)

''Smoke Free'' (2003, Bogalusa Records)

''Voice Of Jamaica'' vol. 2 (2003, Nocturne)

''Wise Man Chant'' (2004, Black Scorpio)

''Justice Fight'' (2004, Nocturne)

''Untouchable'' (2004, Togetherness Records)

''Powers Of Creation'' (2004, Nocturne)

''Black Star'' (2005, Greensleeves)

''My Hope'' (2005, AL.TA.FA.AN. / Minor 7 Flat 5)

''Confused Times'' (2005, Penitentiary)

''Gather and Come'' (2006 Penitentiary)

''Suffering Man'' (2006 Tad's Records)

''Higher Meditation'' (2007 Greensleeves)

''True Rastaman'' (2008 Penitentiary Records)

''Life Over Death'' (2008 Trendsetter)

''Rise Up'' (2009)

''Rasta Love'' (2011)

Compilations

''Chanting Down Babylon'' (1997, Power Play); live, with Buju Banton

''2 Strong'' (1998, Star Trail/VP Records); with Sizzla

''Anthony B & Idren'' (1998, Jamaican Vibes)

''Anthony B & Friends'' (1998, Rhino Records)

''Nazarene Vow'' (1999, Records Factory); with Junior Timba

''3 Wise Men'' (1999, J&D;); with Sizzla and Luciano

''One Mission'' (1999, J&D;); with Capleton

''Saddle To The East'' (2001, Brick Wall); with Jah Mason and Steve Machete

''4 Rebels'' (2001, VP Records); with Sizzla, Luciano, and Yami Bolo

''The Five Disciples'' (2001, Penitentiary / Jet Star); with Sizzla, Luciano, Junior Kelly, and Capleton

''We Three Kings'' (2001, AO ! Records); with Sizzla

''We Three Kings'' (2002, Navarre); with Capleton and Luciano

''Four The Hard Way'' (2002, City Hall); with Capleton, Sizzla, and Luciano

''Kings Of Zion'' (2002, Jet Star); with Capleton, Sizzla, and Junior Kelly

''Reggae Max'' (2002, Jet Star)

''5 Blazing Fires'' (2002, Fire Ball); with Admiral Tibbett, Sizzla, Capleton, and Michael Fabulous

''Five Disciples Part II'' (2003, Jet Star); with Capleton, Luciano, Sizzla, and Jr. Kelly

''Kings Of Zion vol. 3'' (2005, Charm); with Capleton, Sizzla, and Turbulence

''Jah Warriors vol. III'' (2005, Penitentiary); with Luciano

''Encore'' (2010)

''NYC-2-Africa'' (2010, Suatomic Sound); with Subatomic Sound System, Nomadic Wax, Jahdan Blakkamoore, and Bajah

References

External links

Music videos

News, Bio, Latest songs and Video's

Category:1976 births Category:Living people Category:Jamaican Rastafarians Category:Jamaican reggae musicians Category:People from Trelawny Parish Category:Performers of Rastafarian music Category:Converts to the Rastafari movement

ca:Anthony B da:Anthony B de:Anthony B fr:Anthony B it:Anthony B ht:Anthony B hu:Anthony B pl:Anthony B sv:Anthony B

Coordinates	28°36′36″N77°13′48″N
name	Tony Tuff
background	solo_singer
birth name	Winston Anthony Morris
born	c.1955
origin	Kingston, Jamaica
genre	Reggae, dancehall, lovers rock
years active	1969–present
associated acts	The African Brothers
notable instruments	}}

Tony Tuff (born Winston Anthony Morris, c. 1955, Kingston, Jamaica) is a reggae singer who was a member of The African Brothers in the late 1960s and 1970s before embarking on a solo career.

Biography

Tuff started his career in 1969 as a member of the vocal trio The African Brothers, along with Sugar Minott and Derrick "Bubbles" Howard. The African Brothers split up in the mid-1970s, and Tuff pursued other work outside music until he returned as a solo artist in the late 1970s, with the album ''Tony Tuff Meets Errol Schorder'' , split with Errol Scorcher, and self-productions including the "I'm So Glad" single on his own Winston label. He worked with Yabby You on the ''Tony Tuff'' album in 1980, and worked with Minott again on the 1981 album ''Presenting Mr. Tuff'', released on Minott's Black Roots label. He worked on several sound systems in the late 1970s and 1980s, including Lees Unlimited and Henry "Junjo" Lawes' Volcano system. Lawes also produced several successful singles by Tuff including "Water Pumpee", and "Mix Me Down", and also produced his 1983 album ''Come Fe Mash It''. He continued to be active during the 1980s, but was largely absent from the music scene in the 1990s. He returned in 2000, and has recorded several albums in the new millennium, including ''How Long'', recorded with Jah Shaka. He toured Europe twice in 2002, before touring Canada and the United States.

Discography

''Tony Tuff Meets Errol Schorder'' (1978), Mal's - with Errol Scorcher

''Tony Tuff'' (1980), Grove Music/Island

''Hustling'' (1981), Scorcher

''Presenting Mr. Tuff'' (1981), Black Roots

''Reggae in the City'' (1981), TR International

''Tuff Selection'' (1982), Island

''Come Fe Mash It'' (1983), Volcano

''Render Your Heart'' (1984), CSA

''Wha We A Go Do'' (1984), Top Rank

''Ketch A Fire'' (1986), Hawkeye

''Keep the Faith'' (1987), Black Scorpio

''From Tony Tuff To Lovers Everywhere'' (198?), TR International

''Singers Reggae Showcase'' (2000), Jamaican Vibes

''Link Up'' (2001), Rhino

''Hit & Run'' (2001), Prestige Elite

''Say Something'' (2006), Groove Attack/Minor 7 Flat 5

''How Long'' (2006), Jah Shaka Music

''How Long Dub'' (2009), Jah Shaka Music - Jah Shaka featuring Tony Tuff

;Compilations:

''The Best of Tony Tuff'' (1983), Vista Sounds

''20 Super Hits'' (19??), Sonic Sounds

References

External links

Tony Tuff at Roots Archives

Category:1955 births Category:Living people Category:People from Kingston, Jamaica Category:Jamaican reggae singers Category:Jamaican male singers

fr:Tony Tuff ht:Tony Tuff

Coordinates	28°36′36″N77°13′48″N
Name	Collie Buddz
Background	solo_singer
Birth name	Colin Harper
Born	August 21, 1981 New Orleans, Louisiana
Origin	Bermuda
Genre	Dancehall, reggae, reggae fusion, soca
Years active	2006–present
Label	Harper Digital, Sony Music Entertainment }}

Collie Buddz (born Colin Harper, August 21, 1981) is an American reggae and dancehall artist with origins from Bermuda, best known for his single "Come Around". Although born in New Orleans, Louisiana, he was raised in Bermuda. He performed on Shaggy's 2007 album ''Intoxication'' on the track "Mad Mad World". In 2008, he performed the song "SOS" on ''WWE The Music, Vol. 8'' as the entrance theme for wrestler Kofi Kingston. He also appeared in a 2009 remix of Kid Cudi's single "Day 'n' Nite". His name is based on slang for cannabis. He launched his own record label 'Harper Digital.' Collie Buddz first critically acclaimed album had strong sales internationally and included strong sales in Canada as well which he credits as his home away from home, which is one of his main inspirations for his album as he wrote all of his songs with the exception of three in Toronto, Ontario, Canada.

Discography

''Collie Buddz'' - 2007

''Playback EP'' - 2011

Mixtape

420 Mixtape - 2007

2006:"S.O.S"

2006: "Come Around"

2007: "Blind to You"

2007: "Mamacita"

2007: "Tomorrow's Another Day"

2007: "My Everything"

2007: "She Lonely"

2007: "Let Me Know it"

2007: "Sensimillia"

2007: "Wild Out"

2007: "The First Time"

2008: "She Gimme Love"

2008: "Young Girl"

2008: "Show Me What You Know"

2008: "Mary Jane"

2008: "Hustle"

2008: "Private Show"

2009: "Herb Tree"

2009: "Not For No Chain"

2009: "Eyez" (Official single)

2009: "Now She Gone"

2009: "Fly Away"

2009: "Par Wid I Mon"

2009: "Serious"

2010: "Phone Call" (Official single)

2010: "Blind to you"

2010: "Never Good Enough"

2010: "Come Down"

2010: "Get Down"

2010: "Holiday"

2010: " Start it up"

2010: Featuring Krayzie Bone: "Defend your own"

2010: "Playback" (Official single)

2011: "Fly Away/Perfect Harmony Riddim"

Featured songs

Amar T.ige-R featuring Collie Buddz - "Start it up (R-mix)"

Lil' Wayne featuring Collie Buddz - "You Ain't Know"

Phat Guy featuring Collie Buddz & Eve - "Victory Lap"

Justin Starr featuring Collie Buddz - "What a Feeling"

Big Show featuring Collie Buddz - "Umbrella Remix"

Beyonce featuring Collie Buddz - "Ring the Alarm Remix"

Kid Cudi featuring Collie Buddz - "Day & Nite"

Filip Filipi featuring Collie suxz - "Hurricane Ana"

Machel Montano featuring Collie Buddz - "Fly Away" - Partillo Productions

Roache featuring Collie Buddz - "Searching"

Lil Flip featuring Collie Buddz - "Tell Me"

Busta Rhymes featuring Collie Buddz - "Come Around (remix)"

Young Buck & Tony Yayo featuring Collie Buddz - "Come Around (G-Unit Remix)"

Louie Mohamed featuring Collie Buddz - "Come Around (remix)"

Dr. Dre, Snoop Dogg, & Akon featuring Collie Buddz - "Kush (remix)"

New Kingston featuring Collie Buddz - Come My Way

Sugar Ray featuring Collie Buddz - Girls Were Made To Love (Cheeze)

References

External links

Official website

Collie Buddz at myspace

Collie Buddz at imusictweet

Bernews: Collie Buddz Bio, Photo Gallery, Videos

Category:1981 births Category:Living people Category:Reggae fusion artists Category:Dancehall musicians Category:Soca musicians Category:Bermudian reggae musicians Category:Musicians from New Orleans, Louisiana Category:American reggae musicians

af:Collie Buddz de:Collie Buddz fr:Collie Buddz pl:Collie Buddz sv:Collie Buddz

Coordinates	28°36′36″N77°13′48″N
name	Cocoa Tea
background	solo_singer
birth name	Calvin George Scott
religion	Jewish
birth date	September 03, 1959
origin	Jonestown, Kingston, Jamaica
instrument	Vocals
genre	Reggae, dancehall }}

Cocoa Tea (born Calvin George Scott, September 3, 1959, Kingston, Jamaica) is a Jamaican reggae/dancehall singer, songwriter, and DJ.

Biography

Cocoa Tea was popular in Jamaica from 1985, but has become successful worldwide only since the 1990s. One of his most famous songs is "Rikers Island", which was later put into a dub version by Nardo Ranks entitled "Me No Like Rikers Island" (featured on ''Dancehall Reggaespanol'') which was released the same year as the original "Rikers Island". He also gained fame with the song "Young Lover". He gained notoriety in March 2008 after releasing a song titled "Barack Obama" in support of the US Presidential candidate by the same name.

Partial discography

2008. "Yes We Can". Roaring Lion Records

2007. "Biological Warfare". Minor 7 Flat Five

2006. ''Save Us Oh Jah''. V.P. Records.

1997. ''Holy Mount Zion''. Motown.

1997. ''RAS Portraits''. Ras.

1996. ''Israel's King''. V.P. Records.

1992. ''Can't Stop Cocoa Tea''. V.P. Records.

1992. ''Kingston Hot''. Ras.

1991. ''Riker's Island'' V.P. Records.

1986. ''Showdown Vol 8 (Frankie Paul & Cocoa Tea).Hitbound

1985. ''Israel Vibration Meets Cocoa Tea''

1985. ''I Lost My Sonia. Volcano

1985. ''Mr. Coco Tea. Corner Stone

1985. ''Settle Down. Corner Stone

1985. ''Sweet Sweet Coco Tea. Blue Moutain

1985. ''The Marshall. Jammys

1985. ''Clash (Tenor Saw & Cocoa Tea). Hawkeye

1984. ''Rocking Dolly''. RAS

1984. ''Weh Dem A Go Do. Volcano

1983-2006 ''Reggae Anthology''. 17 North Parade

198X. ''Corner Stone Presents Clash Of The 80's (Cocoa Tea & Barrington Levy). Corner Stone

References

External links

Cocoa Tea's Original Dancehall Jam Jam, Official Website of Cocoa Tea & Original Dancehall Jam Jam

Cocoa Tea, Artists Only! Records

Barack Obama by Coco Tea

Category:1959 births Category:Living people Category:Dancehall musicians Category:Jamaican reggae musicians Category:People from Clarendon Parish

de:Cocoa Tea fr:Cocoa Tea ht:Cocoa Tea sv:Cocoa Tea