MUSI 3200A Study Guide - Final Guide: Satta Massagana, Haile Selassie, Joe Higgs
******Reggae*****
• An interest in new Orleans rhythm and blues spurred on Reggae
• Sound system man – would place a powerful sound system in his vehicle and drive
from town to town playing music
• Jamaican musicians added their own lilting rhythm and introduced a new style called
Ska – a mixture of R&B with traditional Caribbean instrumentation
• In the late 60s, ska was replaced by a newer style called rock steady– reggae evolved out
of this
• The underlying characteristic feel was referred to as satta rhythm
• Meant to be music with lyrics that are socially, politically and spiritually relevant
• In Jamaica, “reggae” meant “the King’s music” – the “king” was Haile Selassie –
emperor of Ethiopia
• A description of reggae music:
• Used modern amplified instruments with Jamaican percussion instruments
• Bass players usually set up melodic patterns (riffs) that were repeated throughout
the song – they were highly syncopated
• The bass line was often emphasized by having the lead guitar parallel it in
octaves
• Rhythm guitar played more in “punctuations”, creating a very disjunct sound
• It employed a heavily accented backbeat, similar to R&B
• Its beat differed from R&B through the use of a syncopated bass and the
influence of other latin rhythms
• Lyrics usually centered on the concerns of the poor and socially downtrodden
people who played it
• Lyrics also dealt with threats of revolution; calls for people to stand up for their
rights; faith in their god, Jah
• The religion practiced by many of these musicians was Rastafarianism, taken from Ras
Tafari, Haile Selassie’s real name
• As part of their religion, rastafarians were vegetarian, made sacramental use of marijuana
(called ganja) and did not comb their hair, causing it to mat together in a style called
dreadlocks
• Much of this music was distributed by Chris Blackwell and his new company Island
Records
• The Abyssinians - Satta Massagana
•
Bob Marley and the Wailers
• Bob Marley and his group The Wailers were perhaps the most influential of the
Rastafarian reggae groups
• He met his fellow bandmates in Kingston (Jamaica) at the tenement yard of Joe Higgs, a
singing star who provided vocal coaching lessons for the local teens
• When Eric Clapton covered Marley’s tune I Shot the Sheriff, the song and its reggae beat
became an international hit
Song: I Shot the Sheriff*
• Begins with percussion
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• Harmonized vocals enter immediately – use of falsetto
• Repetitive bass rhythmic riff underlies everything
• Guitar style is dry and staccato – use of a wah-wah pedal when organ enters
• Piano and organ outline the lick that Clapton uses as an intro
• The song was released on Marley’s 1973 album burnin’
• The album also featured Get Up Stand Up, a protest song
Song: Get Up Stand Up*
• Begins with syncopated drums, interesting effects on the electric guitar setting up a
very disjunct and complicated rhythm
• Bass introduces a riff over which the song will unfold
• Semi-shouting vocals enter in unison to sing the chorus
• Solo vocals sing the verses over the same rhythmically imbued licks
• By the late 70s, reggae’s popularity had begun to subside
• Marley continued to release albums, and while 1977’s Exodus reached the Top 20, the
rest of his albums sold primarily to a small cult following in the States
• Marley died of cancer in 1981 and was given an official funeral by the people of Jamaica
Peter Tosh
• Peter Tosh was not only a founding member of the Wailers – he also had a lucrative solo
career
• He was known as rebel and his words and songs often caused controversy
• His music is heavily rhythmic, but the lyrics come to the forefront so that the message
can be heard
• He released the single Here Comes the Judge in 1971 – this was a crushing indictment of
people who exploited black people
Song: Here Comes the Judge*
• Begins with dialogue
• Trumpets and saxophone enter over the satta rhythm as the dialogue continues
• Vocals and keyboards join into the underlying riff – the satta rhythm becomes more
pronounced
• The verses then first list off the offenders; then their crimes; then the punishment
• By the end of 1973, Tosh’s dissatisfaction drew him out of the Wailers and into a full-
fledged solo career
• The single Can’t Blame the Youth warns of the inevitability of youth crime when that is
the only option when given nothing? for Christmas
Song: Can’t Blame the Youth*
• Begins with drums – piano, percussion and guitar join in
• When harmonized vocals enter, a typical reggae beat and rhythm is established
• Solo vocals sing the verse – harmonized vocals enter for the chorus, employing call
and response
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• In the late 70s, Tosh got even more militant – his first full album, legalize it,directly
called for the legalization of marijuana – to that end, he was open about his use
• In 1987, he was brutally murdered when a gang of robbers entered his house and shot
him and several guests
• He will always be remembered for his outspoken political activism – his revolutionary
spirit and incendiary music remain a source of great inspiration
PUNK VS. DISCO
• There are a number of obvious differences between punk and disco:
DISCO
PUNK
Music was smooth, sleek and sensual
Music was dense, discordant and defiant
Songs depended on technological sophistication and
studio production
Mostly three chord songs that could be
hammered out by any garage band that could
get a guitar
Dancers aspired to the controlled energy of gymnast
or the precision of group choreography
Danced in a pit – closer to tag-team wrestling –
often referred to as “pogo” dancing
Proudly took its place among black dance music
styles
Punk aimed to bleed the black influences from
the music, leaving only noise and texture
Clothing entailed polyester leisure suits for men;
women wore dresses that allowed for movement and
dancing
Clothing entailed black leather bondage gear,
ripped t-shirts and jeans held together by safety
pins
Spawned its own multi-billion industry
Barely made a blip on the sales charts
Brought people together despite race, class or sexual
preference – was apolitical
Conceived politically, but the conflict between
its flirtation with Nazi imagery led to mixed
results in its ability to pull people together
By the end of the 70s, disco would swamp the
market, only to collapse shortly thereafter
By the end of the 70s, punk had imploded, but
would be born again in the 80s as “New Wave”
Market was geared towards blacks, women,
homosexuals – just about anybody
Market was geared towards angry, white
teenagers and young adults, mostly male
• However, these two disparate styles do have some similarities as well:
• Both were initially shunned from radio and were forced to develop their own
counter-cultural networks
• Both were seen as contributing significantly to the destruction of Western
Civilization:
• Punk because of its Nihilism (negative doctrine – the total rejection of
current beliefs in religion or morals)
• Disco because of its decadence (sex and drugs)
• Both encouraged active, even fanatical participation among their audiences
• Both arose in reaction to the complacency of the music that preceded them and
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Document Summary
******reggae****: an interest in new orleans rhythm and blues spurred on reggae, sound system man would place a powerful sound system in his vehicle and drive from town to town playing music. Jamaican musicians added their own lilting rhythm and introduced a new style called. Ska a mixture of r&b with traditional caribbean instrumentation. It employed a heavily accented backbeat, similar to r&b. Bob marley and the wailers: bob marley and his group the wailers were perhaps the most influential of the. In the late 70s, tosh got even more militant his first full album, legalize it,directly called for the legalization of marijuana to that end, he was open about his use. Punk vs. disco: there are a number of obvious differences between punk and disco: Songs depended on technological sophistication and studio production. Dancers aspired to the controlled energy of gymnast or the precision of group choreography.
