Thursday, 1 April 2010


In the wake of the 'Sleng Teng' and the digital innovations spearheaded by King Jammy, a second wave of producers and deejays emerged on the scene during the late 80's/early 90's. Some were veterans whose careers had begun in the late 70's, others were fresh talents whose emergence coincided with the rise of the synthesiser and drum machine. [...] Jamaica's ragga sound of this period was an example of 'scenius' at its best. Uncontrived and functional music aimed at and driven by intimate interaction between artists and their audience and propelled by commercial successes - resulting in extremes of both experimentation and derivation as scene logic worked its magic. 


  1. Αξίζει και μια ματιά στα λήμματα dancehall και ragga στη wikipedia, που αν και σύντομα είναι αρκετά διαφωτιστικά. Δίνει και την ερμηνεία για την υιοθέτηση του παλαιοβρετανικού όρου ragamuffin από τη dancehall κοινότητα: "The term raggamuffin is an intentional misspelling of ragamuffin, a word that entered the Jamaican Patois lexicon after the British Empire colonized Jamaica in the 17th century. Despite the British colonialists' pejorative application of the term, Jamaican youth appropriated it as an ingroup designation."

    Ωραία η λίστα του FACT. Να προτείνω και τρεις συλλογές σαν εισαγωγή στο digital-dancehall από King Jammy, King Tubby’s και Winston Riley.

  2. wow sefxaristw para poly gia tis sylloges (su stelnw mail)