Music on every page The six reggae jams in this book will have adults and children grooving along. Songs include: Jamming Could You Be Loved Three Little Birds One Love Get-up, Stand-up No Woman, No Cry About the Series Cali's Books is an interactive series dedicated to stimulating children's development through words and music. Using sound button technology, children press to listen to classics songs while developing fine motor skills and learning to love books. Each board book features six songs with lyrics and music on every page.

A history of Jamaica's contribution to world culture--reggae--traces the history of the form from African rhythms to the slums of Kingston and the international recording industry.

Winner of the ARSC’s Award for Best Research (History) in Folk, Ethnic, or World Music (2008) When Jamaican recording engineers Osbourne “King Tubby” Ruddock, Errol Thompson, and Lee “Scratch” Perry began crafting “dub” music in the early 1970s, they were initiating a musical revolution that continues to have worldwide influence. Dub is a sub-genre of Jamaican reggae that flourished during reggae’s “golden age” of the late 1960s through the early 1980s. Dub involves remixing existing recordings—electronically improvising sound effects and altering vocal tracks—to create its unique sound. Just as hip-hop turned phonograph turntables into musical instruments, dub turned the mixing and sound processing technologies of the recording studio into instruments of composition and real-time improvisation. In addition to chronicling dub’s development and offering the first thorough analysis of the music itself, author Michael Veal examines dub’s social significance in Jamaican culture. He further explores the “dub revolution” that has crossed musical and cultural boundaries for over thirty years, influencing a wide variety of musical genres around the globe. Ebook Edition Note: Seven of the 25 illustrations have been redacted.

Jamaican music can be roughly divided into four eras, each with a distinctive beat - ska, rocksteady, reggae and dancehall. Ska dates from about 1960 to mid-1966, rocksteady from 1966 to 1968, while from 1969 to 1983 reggae was the popular beat. The reggae era had two phases, 'early reggae' up to 1974 and 'roots reggae' up to 1983. Since 1983 dancehall has been the prevalent sound. The authors describe each stage in the development of the music, identifying the most popular songs and artists, highlighting the significant social, political and economic issues as they affected the musical scene. While they write from a Jamaican perspective, the intended audience is 'any person, local or foreign, interested in an intelligent discussion of reggae music and Jamaica.'.

Who changed Bob Marley’s famous peace-and-love anthem into “Come to Jamaica and feel all right?” When did the Rastafarian fighting white colonial power become the smiling Rastaman spreading beach towels for American tourists? Drawing on research in social movement theory and protest music, Reggae, Rastafari, and the Rhetoric of Social Control traces the history and rise of reggae and the story of how an island nation commandeered the music to fashion an image and entice tourists. Visitors to Jamaica are often unaware that reggae was a revolutionary music rooted in the suffering of Jamaica’s poor. Rastafarians were once a target of police harassment and public condemnation. Now the music is a marketing tool, and the Rastafarians are no longer a “violent counterculture” but an important symbol of Jamaica’s new cultural heritage. This book attempts to explain how the Jamaican establishment’s strategies of social control influenced the evolutionary direction of both the music and the Rastafarian movement. From 1959 to 1971, Jamaica’s popular music became identified with the Rastafarians, a social movement that gave voice to the country’s poor black communities. In response to this challenge, the Jamaican government banned politically controversial reggae songs from the airwaves and jailed or deported Rastafarian leaders. Yet when reggae became internationally popular in the 1970s, divisions among Rastafarians grew wider, spawning a number of pseudo-Rastafarians who embraced only the external symbolism of this worldwide religion. Exploiting this opportunity, Jamaica’s new Prime Minister, Michael Manley, brought Rastafarian political imagery and themes into the mainstream. Eventually, reggae and Rastafari evolved into Jamaica’s chief cultural commodities and tourist attractions.

Told in the voices of reggae's major participants, these authoritative accounts chart the history, characteristics, and broad appeal of the music that originated in Jamaica, but has spread like wildfire throughout the world over the years to rise up in Africa and South America as well as England and America.

This history of reggae music covers from the Jamaican R and B and Calypso of the post-war years, to the surge of interest in the 1990s. As well as tracing the musical history, this book explains the historical and social background which are crucial to the understanding of its development. There are four main centres, in chronological order - Jamaica, London, New York and Toronto.

“Reggae’s chief eyewitness, dropping testimony on reggae’s chief prophet with truth, blood, and fire.” —Marlon James, Man Booker Prize–winning author Renowned reggae historian Roger Steffens’s riveting oral history of Bob Marley’s life draws on four decades of intimate interviews with band members, family, lovers, and confidants—many speaking publicly for the first time. Hailed by the New York Times Book Review as a “crucial voice” in the documentation of Marley’s legacy, Steffens spent years traveling with the Wailers and taking iconic photographs. Through eyewitness accounts of vivid scenes—the future star auditioning for Coxson Dodd; the violent confrontation between the Wailers and producer Lee Perry; the attempted assassination (and conspiracy theories that followed); the artist’s tragic death from cancer—So Much Things to Say tells Marley’s story like never before. What emerges is a legendary figure “who feels a bit more human” (The New Yorker).

Examines the history or reggae, including its origin and its worldwide influence.