Sound System (Jamaican)
| Music of Jamaica | |
|---|---|
| General topics | |
| Related articles | |
| Genres | |
| Nationalistic and patriotic songs | |
| National anthem | Jamaica, Land We Love |
| Regional music | |
|
|
In the context of Jamaican popular culture, a sound system is a group of disc jockeys, engineers and MCs playing ska, rocksteady or reggae music. The sound system is an important part of Jamaican culture and history.
The sound system concept first became popular in the 1950s, in the ghettos of Kingston. DJs would load up a truck with a generator, turntables, and huge speakers and set up street parties. In the beginning, the DJs played American rhythm and blues music, but as time progressed and more local music was created, the sound migrated to a local flavor. The sound systems were big business, and represented one of the few sure ways to make money in the unstable economy of the area. The promoter or DJ made his profit by charging admission and selling food and alcohol; often thousands of people were in attendance. By the mid 1950s, sound systems were more popular at parties than live musicians, and by the second half of the decade, custom-built systems began to appear from the workshops of specialists such as Hedley Jones, who constructed wardrobe-sized speaker cabinets known as "House[s] of Joy". It was also around this time that Jamaica's first superstar DJ and MC, Count Machuki, rose to prominence. As time progressed, sound systems became louder—capable of playing bass frequencies at 30,000 watts or more, with similar wattage attainable at the mid-range and high frequencies—and far more complex than their predecessors. Competition between these sound systems was fierce, and eventually two DJs emerged as the stars of the scene: Clement 'Coxsone' Dodd, and Duke Reid. Besides the DJ, who rapped over the music, there was also a selector, who selected the music/rhythm tracks.
The popularity of a sound system was mainly contingent on one thing: having new music. In order to circumvent the release cycle of the American record labels, the two sound system superstars turned to record production. Initially, they produced only singles for their own sound systems, known as "Exclusives" or Dubplates—a limited run of one copy per song. What began as an attempt to replicate the American R&B sound using local musicians evolved into a uniquely Jamaican musical genre: ska. This shift was due partly to the fact that as American-style R&B was embraced by a largely white, teenage audience and evolved into rock and roll, sound system owners created—and played—a steady stream of the singles the people preferred: fast-shuffle boogies and ballads. In response to this shift in supply, Jamaican producers introduced to their work some of the original elements of the Jamaican sound: rhythm guitars strumming the offbeat and snare-drum emphasis on the third beat, for example. As this new musical form became more popular, both Dodd and Reid began to move more seriously into music production. Coxsone Dodd's production studio became the famous Studio One, while Duke Reid founded Treasure Isle.
...
Wikipedia