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Hello there .. my first post!

Here you will find some informations & profiles about melodica in reggae. There is surely lot of things to say and discuss. For the moment, i will mainly focus here on 70s reggae, hence ignoring recent players (Art-X, Addis Pablo,..)

He was responsible for the (short-lived) melodica craze in the jamaican music industry in the mid 70s, and remained the sole true specialist of this instrument in the reggae field. He also played clavinet, xylophone and piano with great melodic results (check out Marabi, a clavinet tune for exemple)

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The unpolished nature of some of this body of Jamaican music is part of its appeal, just as an unpolished raggety melodica often sounds just right in some songs, particularly some blues, roots, and reggae songs. I, along with others here on Melodica World, are pioneering new equipment and techniques. You can open your mind to new knowledge here. And I am sure many here would welcome you sharing more of your knowledge about the use of melodicas in Jamaican music.

Come out to the Gatehouse Lawn from 6-9 p.m. on Saturday, Aug. 5 for an outdoor concert featuring the reggae music of Colt Ball & Friends and Gizzae! The event is part of the Allerton Park Concert Series presented by the Ayers Family, with concerts scheduled through Sept. 29.

At each phase of its evolution, music inescapably matches the biographies of those who make it and those who respond to it. Nonetheless, not too long ago, reggae music was condemned to the precarious periphery, almost out of the social sphere. The anthropologist, Claude Lvi-Strauss1 firmly defended the idea that music prevails upon the core of mythology and, therefore, composes a capital societal aspect. In this sense, the function of music simultaneously epitomizes a relevant form of prediction and communication. Hence, here is an outlook on reggae music, which has flowed out of Jamaica for about 50 years, as a vigorous force for dialogue.

Reggae resonates with Rastafari, a spiritual resistance nucleus and Back-to-Africa identity which has been a triggering factor for the music. However, at the twilight of decolonization in the 1960s, reggae matured in the Kingston ghettos from a synthesis of poignant sounds of African and Afro-Caribbean rhythms.

Music asserts a social stance. Each style is connected to the particular cultural location of its origin. Rastafari has swayed reggae, itself heir to the way in which the oppressed people use music to escape their affliction. It turned out to be a stunning trademark, well known in the 1970s, reacting to the bygone socio-political realities of unemployment, lack of national identity and poverty. Reggae is thus mainly a socio-political avenue used to transmit ideas, affirm values and express expectations. It blatantly highlights the bitter questions of discrimination, humiliation and subordination, and provides an opportunity to combat villainy.

Proclaiming to be Rasta, most reggae artists personify the symbols of the anti-prejudice process in all its forms. In denouncing unfair enslavement, racial intolerance and miserable life conditions, these musicians appear as living witnesses of popular memories, historical narratives, contemporary revolts and expected transformations. They are producers and products of their own culture. They hold a great ability to renew, transmit, revitalize, and recharge their style. In this sense, reggae accredits the means by which it promulgates an identity and implants a distinct view between groups: us and them. Each sets limits to leave a decisive mark and forge distance from others. The mutual recognition goes together with thinking of oneself and others, consequently enabling the articulation of differences and expectancy.

The impact of reggae in cultural practices is unquestionable. Both the social and entertainment aspects incur equal repercussions. Lyrics and sounds combine a powerful medium of communication and display a culture that makes people relate to reggae. This significant device reflects identity and relations in the social sphere.

Hundreds of Rastafarian messengers have emerged since Bob Marley, the Jamaican born world ambassador of reggae. Although initiators of reggae have been marginalized, they are not necessarily outsiders on the borders of their society. Marginalization has mutated into a tag giving artists a universal language. Reggae claims to be rebellious music. Among its musicians, some are proverbial while others have gone unheard. Several who began putting on shows in the 1970s still perform today. Their stories reflect ideas of freedom, the continuity of crusades, and strive for human rights brought forward from the 1960s. Since the early years of reggae, songs have been impeccably carried by the singer's charisma, endowed with a keen sense of the power of speech. They deliver far-ranging messages of unity, self-sufficiency and empowerment.

The primary compositions are inextricably bound with the atmosphere of the slums that nurture them. In later decades, they evoked local and global preoccupations. Furthermore, the majority of thousands of reggae songs utter Rastafari with the image of Haile Selassie I (Jah), the symbols of Africa with the accusation of Babylon (unjust inhuman society), the idealization of a return to Zion (African homeland), and the descendants of the slave trade (Israelites). Biblical poetry brings a beam of aspiration to alleviate fights such as in Jah Works (1978) by The Gladiators or Children of Israel (1978) by Dennis Brown.

Many tracks also document the years of struggle, thus furthering the heroes and immortalizing the martyrs. Third World, one of the major reggae ensembles, takes one back to the Morant Bay Rebellion in 1865: 96 Degrees in the Shade (1977) which is a definitive remnant of this event in Jamaica's colonial history. In Great Men (1990), Burning Spear, a remarkable Rasta militant, remembers Paul Bogle, Marcus Garvey, Martin Luther King Jr., Malcom X and Nelson Mandela. History is testimony to their significant commitments.

Music's dynamic nature aspires to serve various purposes, and reggae henceforth unfolds within unanticipated duties. After the 2010 earthquake in Haiti, Steel Pulse released Hold On [4 Haiti]. The band sells signed guitars and shares the proceeds from the sale of its merchandise to help rebuild the island.

Although it was banished in its beginnings, reggae has progressed in an incredible and totally unpredicted way. Due to its association with the Rastafari movement, this popular music became representative of the world view of Afro-Caribbeans and all black people. It has survived and thrived without deviating too far from its essence. Today, technology has sped up the process of its migration and made it more common and prestigious. Notwithstanding, although reggae melody has moved to an international level, it is frankly questionable whether its perspicacious awareness has acquired the same fame. Many barriers have yet to be trespassed and numerous advantages must be conceded forthwith. Beyond its visibility, recognition of reggae's contribution is lacking. On the other hand, the tangible admission, gratitude and agreement towards how and by whom this music is represented goes unseen.

In spite of their telltale character, reggae artists are not considered to have made history. Nevertheless, they play a central role as they ensure the endurance of this genre. The absence of acknowledgement does not escape reggae's function in the development of social consciousness and in drawing an identity memory that bridges all black people. The reggae mind sets individual and collective assertions. It undeniably demonstrates how anger at injustice and goodwill could and even has to galvanize people for causes, even if the latest reggae output is surely tailored to the rhythms of a commercialized market.

Music and history are indivisible. Were it not for reggae, few people would have heard of Rastafari. This musical style shows up a positive concept of identity and fills the needs of the people it serves.

Because reggae culture is a vital clue to the understanding of the long history that has affected generations, it really is time to build an anthropology of reggae to track the complex Afro-Caribbean past, develop multifaceted frameworks that define Rastafari, as well as the relations with feeling, legacy and community. Reggae's ability to unify cultures, nations and causes is alive and well, and ready to march on.

Perhaps roots reggae is currently less palpable, but it remains a potent form of dialogue that challenges the hegemony of supremacy and racism. Inspired by Abraham Lincoln's words, you need only listen carefully to Bob Marley and The Wailers:

VPAL recording artist Soul Rebel Project are two time winners of the Boston Music Award's international artist of the year in both 2018 and 2019. SRP has shared stages from coast to coast with legends The Wailers, Sean Paul, Toots and the Maytals, Damian Marley, Barrington Levy, Kenyatta Hill, Freddy Mcgregor, Lee Scratch Perry, Kabaka Pyramid, Skatalites, Etana, JBB, Yellowman, Stick Figure, The Movement, Giant Panda Gorilla Dub, Iration, Fortunate Youth, New Kingston, Redman and Methodman, Mighty Mystic and many more as they've worked with world renown reggae record label VP Records. Charting # 5 on the top 100 Reggae albums on iTunes and #8 on The Billboards, SRP's first three albums have earned the band industry respect and a reputation as amazing writers, rooted in Rock Reggae and Dub Jam.

Reggae is a genre of popular music that originated out of Jamaica in the 1960s, made famous by artists such as Bob Marley, Peter Tosh, and Jimmy Cliff. It grew out of traditional Jamaican musical styles such as ska and was heavily associated with Rastafarianism, a religious movement that took root in Jamaica in the 1930s. Since then, reggae has been a musical voice for Jamaicans to tell the world about their history, culture, and struggles in a political system that had enslaved and marginalized many Jamaicans. To this day, a lot of reggae music has lyrical content that touches on political and socio-economic issues in Jamaica and around the world. 2351a5e196