A sound clash is a musical competition where crew members from opposing sound systems pit their skills against each other. Sound clashes take place in a variety of venues, both indoors and outdoors, and primarily feature reggae and dancehall music. The object is to beat or "kill" their competitors.

In Jamaica, sound clashes, with their "violently martial ethos",[1] date back at least to the 1950s, when systems like Tom the Great Sebastian and Duke Reid's the Trojan clashed in the old Back-O-Wall (now Tivoli Gardens) neighborhood of Kingston. Sometimes these clashes turned violent, with one system destroying the other system's equipment.[2] The first reported clash was between Tom the Great Sebastian and Count Nick in 1952.[3]

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Although sound clashes are perhaps most commonly associated with Jamaica, they also form an integral part of Black British culture in London, with early proponents such as Jah Shaka running sound systems and engaging in sound clashes as early as the 1970s.[4] Franco Rosso's 1980 cult movie Babylon offered a look into London's sound system and sound clash culture, focusing on the Deptford and Brixton areas in particular.

Sound clashes typically play Jamaican music from 1950 up to present recorded singles, and often utilize exclusive dubplates.[5] Occasionally, sound systems would go so far as to pay artists to secure exclusive use of dubplates.[6]

The first round is no elimination, each sound system plays a set time. Second round each sound system plays but one sound system being eliminated by poor performance, poor quality or by playing back a song. Elimination continues until two sounds are left, for example Bredda Hype sound vs Sound Trooper. The time interval gets shorter and shorter, with the introduction of television clashes, so when playing returns to one sound again, they may only play a shorter time, 15 minutes. Near the end of the clash they go song on song or "Dub fi dub".[7][8]

Traditionally, all dubplates must feature the DJ's name, marking it as exclusive for that particular DJ, otherwise the DJ faces instant disqualification. Also, if a DJ were to play a dubplate based on a "riddim" already played during the clash he/she could face disqualification.

Over the years, King Addies has evolved, adding new young selectors and engineers to the team. The current line-up features A1, Swugee Don, Danny Dred, Killa B, Viper, and King Pin. Overseeing everything is Father Ethan, a cousin of Adolf Addies's, who came on-board back in the early '90s. He manages the crew and selects team members for each clash. While the squad may have gone through a few reincarnations, one thing has yet to change: King Addies's domination as one of the best competitive sound systems to step up to the turntables. To find out how they do it, The FADER caught up with A1 and Swugee Don. So whether you're thinking of stepping into the sound system scene, or simply want to up your aux cord game, read their top tips on how to win a sound clash.

A 45 is a song any song which does not mention the sound name as opposed to a dub plate which has to mention the sound name. In a 45 shootout, sounds clash by selecting and juggling their best choice of songs backed by a good MC (for this clash it is anything goes but the sounds have to read the crowd in their selection). The sound that gets the biggest forward from the crowd takes the day.

The sound clash began on the streets of Kingston, Jamaica, in the 1950s. Because very few people had the money to buy records, the main way that people were introduced to new music was either in dancehalls or at street parties. Therefore whoever owned and operated the portable sound systems was in a position of influence when it came to setting musical trends.

Starting out as an informal rivalry, sound clashes developed as the result of a natural instinct to compete with another sound system set up in close proximity to your own. Sound systems were led by people such as Tom Wong, Duke Reid, and Sir Coxsone and began with stacks of speakers set up, playing US R&B records. The competition involved two or more sound systems battling to produce the best selections and performance to be crowned victorious by the watching crowd.

The original format in Jamaica was based on drowning out your competitor in volume, thus requiring physically bigger and more powerful speakers, but when the sound clashes came to England they soon moved indoors. Consequently, it changed to become more of a formal competition, with different DJs playing after one another and the crowd selecting the winner.

The sound clash was maintained through annual events held throughout the world. In particular, the Red Bull Culture Clash which ensured the competition continued its long history with new clashes. The artists battled for glory and in doing so, maintained a culture that spans decades, continents, and a whole lot of records.

That culture paved the way for the creation of what we know as dancehall and ska. The sound clash made its way to the United Kingdom, but it had its most fierce impact on the United States with so many Caribbean immigrants finding homes in New York City. One of those people was Jamaican-born Clive Campbell, later to be known as DJ Kool Herc.

Kool Herc is known to be the man who started American hip-hop in the Bronx. Not only did his after-school parties and skills on the turntables make him the ultimate Selector in the Bronx, but his sound system, The Hercoulous, got the snowball rolling within the community.

From there, hip-hop godfathers like Grandmaster Caz and Afrika Bambaataa would battle each other with their sound systems. Sooner or later, dance crews were battling each other, and MCs were going head-to-head in nightclubs, all before the first rap record hit the American radio stations.

Caribbean Dance Radio is a podcast, radio show, and sound system bringing you the best and latest tunes in Dancehall, Reggae, and Roots. In a true sound system fashion Caribbean Dance Radio drops exclusive releases, dubplates, remixes, and 45s in an unforgettable style and pattern. Subscribe and Listen in iTunes, Google Play, TuneIn Radio, and Stitcher.

The story is about young love, betrayal, overcoming, greed, poli-tricks, triumph, and Sound Systems; Sound City is a dystopian place of music and dance, the annual Sound Clashes have become the elections, the politicians use the Sound Systems/music to control the people. Two sounds will enter the gladiatorial arena, in a deadly war of lyrical battles, fantastic dance-offs, dub-plates and big tunes. Young lovers Ashley (Southern Thunders) and Kazzandra (Northern Eagles) are pitted against each other in a battle controlled by evil politicians and gangsters. There will be death in the arena, where the only good system is a sound system.

Bovell's new album is a collection of bits and bobs dredged up from the his personal vaults. Mostly unreleased tracks and different mixes of old songs, some of the tunes on Dub 4 Daze, the forthcoming vinyl release, go back to the middle of 1970s, around the time that he gave up DJing for the Sufferer sound system to concentrate on performing and producing music full time. But in the late 60s and early 70s, Sufferer had been one of the most important sound systems on a booming London scene. As Lloyd Bradley puts it, in his book Bass Culture: When Reggae Was King, "Sufferer was the sound system others measured themselves against".

For Bovell, it had all started at a comprehensive school in South London. Born in Barbados in 1953, the future Matumbi frontman came to London in 1965 and enrolled at Spencer Park School in Wandsworth. Spencer Park had a recording studio. Despite being quite a musical school, with its own orchestra, the recording studio was expressly for the purpose of the English department, for recording soundtracks to plays. By the time Bovell was approaching school leaving age, he had pretty well commandeered the studio himself to conduct lunchtime sessions with some of the school's many instrumentalists. "And then," he tell me, rather matter-of-factly, "I happened upon tape loops."

"I had an idea to borrow bits of current tunes and glue a loop together round a broomstick, to keep the tension on the recorder," he continues. "I made loads of loops, taking bits out of really famous reggae tunes. People were going, how do you get that? I didn't tell them what I was doing. So I started making dub plates at school. And then word got out."

With Bovell's exclusive cuts in their armoury, Sufferer rose fast. "Quite quickly we were playing with all the big sound system guys," he recalls, "Duke Reid, Sefrano B, Count Shelly. All the big guys. They were like, we'll play with you guys. Because we had quite a following."

The trouble, for Dennis Bovell, began one November night in 1974. It was a regular Friday down the Carib Club. But not quite the usual Friday night. That night Sufferer were in the middle of a three-way soundclash, with Lord Koos's system on one side and Count Nick's on the other. "I was taking two of them on, because I was like, come on, I'll take you both on." He did have a little advantage. Earlier that day, Lee 'Scratch' Perry had arrived from Jamaica with suitcase full of fresh dubs. Bovell had been there to meet him at the airport and now the Upsetter himself was standing beside him in the DJ booth. But over on the other side, stood next to Lord Koos, was Perry's arch-rival, Bunny Lee. 0852c4b9a8

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