John Masouri

John Masouri's "Pressure Drop" Book  is expected to shed light on the fascinating history and impact of reggae music, rooted in Jamaica but now a global phenomenon. Masouri is a renowned music journalist with a deep understanding of reggae and its cultural significance, making his upcoming book a highly awaited addition to the literature on the subject.

Reggae music emerged in the late 1960s in Jamaica, reflecting the social and political turmoil of the time. Artists such as Bob Marley, Peter Tosh, and Jimmy Cliff used reggae as a platform to express their views and promote social change. The genre's infectious rhythms and poignant lyrics resonated with audiences worldwide, leading to its global popularity. Reggae became a voice for the oppressed and a symbol of resistance against injustice, making it a powerful force in the music industry.

"Pressure Drop" is expected to delve into the evolution of reggae music, its key figures, and its impact on society. Masouri is known for his in-depth research and insightful analysis, which promises to provide a comprehensive overview of reggae's history and significance. The book is likely to explore how reggae has influenced other music genres and continue to shape cultural trends.

One of the key figures in the history of reggae music is Bob Marley, whose iconic songs and message of unity and love have made him a global icon. Marley's music transcended boundaries and brought reggae to a wider audience, solidifying its place in mainstream music. Other influential artists such as Peter Tosh, Jimmy Cliff, and Burning Spear have also contributed to reggae's growth and evolution, each bringing their unique style and perspective to the genre.

Masouri's "Pressure Drop" is expected to shed light on the contributions of these artists and others who have shaped reggae music over the years. The book may also explore the cultural and social impact of reggae, its role in promoting social justice and equality, and its continued relevance in today's music scene. By highlighting the key figures and events in reggae's history, Masouri's book is likely to provide valuable insights into the genre's enduring legacy.

In addition to the influential artists, "Pressure Drop" may also analyze the role of producers, record labels, and promoters in shaping reggae music's trajectory. These individuals play a crucial role in bringing reggae music to a wider audience and ensuring its longevity. By examining their contributions and decisions, Masouri's book could provide a more nuanced understanding of reggae music's development and impact.

Overall, "Pressure Drop" promises to be a comprehensive and insightful look at reggae music and its cultural significance. Masouri's expertise and passion for the genre are likely to result in a well-researched and engaging read that will appeal to both music enthusiasts and academics. The book's exploration of key figures, events, and themes in reggae's history is expected to provide a valuable resource for anyone interested in understanding the genre's enduring appeal and influence.

In conclusion, "Pressure Drop" by John Masouri is a highly anticipated book that promises to provide a comprehensive overview of reggae music's history, key figures, and impact on society. Through his in-depth research and insightful analysis, Masouri is likely to shed light on the cultural significance of reggae and its enduring legacy. The book is expected to appeal to a wide audience and contribute to a deeper understanding of one of the most influential music genres of our time.

John Masouri

     Wailing Blues: The Story of Bob Marley's Wailers

     John Masouri

     (Omnibus Press, 2008)

     Reggae enthusiasts will be pleased by the arrival of a book that

     finally tells a part of the genre's history from the perspective of a

     musician. In this case the musician is Aston 'Family Man' Barrett who

     was both the Wailers long-time bassist/arranger as well as an

     omnipresent studio musician in the 1970s. 'Wailing Blues' is the

     detailed story of both the Wailers and Barrett told from Barratt's

     unique perspective. Given the abundance of detail and numerous mini

     musician biographies, readers will be reminded of David Katz's Lee

     Perry biography 'People Funny Boy'. However, in a number of ways

     Masouri's book is a much more comprehensive and engaging read. While

     focusing on the activities of the Wailers, the book also highlights

     the stylistic and music industry changes that were taking place

     between the late 1960s and early 1980s.

     The 2006 court battle between Barrett and both the Marley estate and

     Island Music serves as a backdrop for 'Wailing Blues'. As Barrett

     struggles to find both recognition and financial compensation for his

     considerable involvement with the Wailers, the book often focuses on

     the exploitative nature of the music industry in Jamaica. While

     Jamaican singers have often complained about a lack of fair

     compensation both off and on the island, this problem is even more

     extensive for musicians  who in the local studio system were often

     considered temporary guns-for-hire. 'Wailing Blues' provides ample

     evidence that Barrett's recording and touring role with the Wailers

     extended well beyond an easily classifiable session musician label.

     Masouri relentlessly offers up confirmation  both from 'Family Man'

     and other musicians  that both Aston and his brother, drummer Carly

     Barrett, were key components in the Wailers sound and style.

     'Wailing Blues' touches on a number of reggae music areas that have

     suffered from neglect. There is a great deal of interesting

     information about the period in which rock steady transformed into

     reggae in the late 1960s. The book excels at examining the pre-Island

     Records days of the Hippy Boys and the Wailers. Masouri also looks at

     the many connections between the reggae labels in Jamaica and their

     numerous distributors in the UK. This is particularly useful as

     negotiating the maze of UK labels and sub-labels is immensely

     difficult  especially now as many of the companies and their

     subsidiaries are long gone. The book also looks at the ongoing supply

     of sound system dub plates  a much neglected topic especially with

     respect to the Wailers. The book is filled with a multitude of small

     and highly interesting anecdotes and details. An interesting example

     would be when Family Man discusses the value of recording at night.

     Readers think that this will relate to the price and availability of

     studio time whereas he talks about how the supply of electricity is

     much more consistent in Jamaica when the factories are not functioning

     at full capacity.

     Perhaps for some readers the most troublesome aspect of Wailing

     Blues: The Story of Bob Marley and the Wailers is that it is not

     entirely a book about the Wailers. In many ways this book is a Family

     Man biography. Readers only somewhat familiar with the Wailers story

     might be left wondering why there is so much detail about producers

     like Bunny Lee and Keith Hudson, and sessions such as the one for

     Errol Dunkley's 'Darling Ooh' which do not seem to have direct links

     to the Bob Marley story. This type of multi-page detail becomes

     somewhat questionable when other key Wailers events, such as the

     departure of Bunny Wailer, are dispatched within a page and a half. Of

     course the value to this approach is that it avoids areas of the

     Wailers story that have been covered (perhaps over-covered) elsewhere.

     Plus, this Family Man centered narrative allows for a fresh and unique

     take on the Wailers story in that its descriptions of the bassists

     non-Wailers sessions and activities gives context to the overall

     story. Future printings of 'Wailing Blues' would greatly benefit from

     the inclusion of both an index and a detailed bibliography. For

     example, it is impossible to quickly find the details of the 2006

     court case as they are scattered throughout the book.

     These are small complaints in what is an essential read for people

     interested in both the Wailers and reggae music. If 'Wailing Blues'

     largely tells one side of the story the side of musicians in

     opposition to Tuff Gong/Island  it is a side that desperately needs

     to be told. Overall Masouri makes a compelling case that the Barrett

     brothers specifically, and Jamaican musicians in general, need to

     receive more attention, praise and compensation. The book benefits

     from avoiding gossip and sticking to the music, its context and its

     creation. As with dub music itself, this is a case where the material

     that has traditionally been placed in the background is revisited and

     reexamined and moved to the foreground. 'Wailing Blues' makes the

     valuable point that the production of reggae music is multifaceted and

     complex and to be successful it requires a number of interacting

     forces. The most amazing aspect of Masouri's book is its overall

     readability it is a page-turner even for those already familiar with

     the Wailers story.