As the ubiquitous Jamaican musician Bob Marley once famously sang, "half the story has never been told." This rings particularly true for the little-known women in Jamaican music who comprise significantly less than half of the Caribbean nation's musical landscape. This book covers the female contribution to Jamaican music and its subgenres through dozens of interviews with vocalists, instrumentalists, bandleaders, producers, deejays and supporters of the arts. Relegated to marginalized spaces, these pioneering women fought for their claim to the spotlight amid oppressive conditions to help create and shape Jamaica's musical heritage.

In a music world that was rougher than rough, where men took monikers of royalty and machismo like Duke and King and Lord; where boastful ringleaders fired guns into the air after descending a throne carried by their legions of followers, bandoliers crisscrossing their chests, ermine on their shoulders; where violent gangs stormed dances to "mash up," breaking sound system equipment and smashing bottles of beer on brick walls, how was a little girl with a sweet song in her soul to have a chance? Some Jamaican women found a way. They endured harassment and received little or no pay to perform as backup or alongside or in front of the male musicians. They sacrificed family and home for a life in the spotlight, or they brought their babies with them on the road. They took over the studio and made it their own, or they suffered unimaginable violence, even murder. They changed the course of music all over the world. These are the never-before-told stories of the women who tried and persevered and made it, no matter what their struggle. These are the Songbirds: Pioneering Women of Jamaican Music. Featuring exclusive photos and dozens of interviews from the women themselves, or those who knew them, Heather Augustyn, author of three previously-published books on Jamaican music history, brings to life the stories of these inspirational women so that their music can be savored and their lives finally celebrated.

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.

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.'.

Before Bob Marley brought reggae to the world, before Jimmy Cliff and Peter Tosh, before thousands of musicians played a Jamaican rhythm, there were the men and women who created ska music, a blend of jazz, American rhythm and blues, and the indigenous music of the Caribbean. This book tells the story of ska music and its development from Jamaica to England, where the music took on a distinctively different tone, and finally to the rest of the world. Through the words of legendary artists, gleaned from more than a decade of interviews, the story of ska music is finally told by those who were there.

This is a comprehensive biography of a brilliant musician who forever shaped the course of ska, reggae, and popular music worldwide, only to take the life of his lover and in so doing, destroy his career at the age of 30. In his short life Don Drummond created an enduring legacy despite poverty, class separation, mental illness, racial politics, and the exploitation of his work. The words of Drummond's childhood friends, classmates, musicians, medical staff, legal counsel, and teachers enliven this story of his "unusual mind." They recall the early days in the recording studio, playing the instrumental backup for Bob Marley and others, and the nights in the Rasta camps where musicians burned the midnight oil and more. They remember the gyrations of his lover, Margarita, the Rumba Queen, as she tantalized audiences at Club Havana; tell what happened that tragic night when Drummond stabbed Margarita four times; reveal details of the trial (delayed more than a year as Drummond was ruled mentally unfit) and offer insights into Drummond's death in a mental asylum at age 35.

The Rough Guide to World Musicwas published for the first time in 1994 and became the definitive reference. Six years on, the subject has become too big for one book- hence this new two-volume edition. World Music 2- Latin and North America, Caribbean, India, Asia and Pacifichas full coverage of everything from salsa and merengue to qawwali and gamelan, and biographies of artists from Juan Luis Guerra to The Klezmatics to Nusrat Fateh Ali Khan. Features include more than 80 articles from expert contributors, focusing on the popular and roots music to be seen and heard, both live and on disc, and extensive discographies for each country, with biography-notes on nearly 2000 musicians and reviews of their best available CDs. It includes photos and album cover illustrations which have been gathered from contemporary and archive sources, many of them unique to this book, and directories of World Music labels, specialist stores around the world and on the internet.

Reggae and Dancehall music and culture have travelled far beyond the shores of the tiny island of Jamaica to find their respective places as new genres of music and lifestyle. In Reggae from Yaad, Donna Hope pulls together a remarkable cast of contributors offering contemporary interpretations of the history, culture, significance and social dynamics of Jamaican Popular Music from varying geographical and disciplinary locations. From Alan 'Skill' Cole's lively and frank account of the Bob Marley he knew and David Katz's conversation with veteran music producers Bunny 'Striker' Lee, King Jammy and Bobby Digital; to Heather Augustyn and Shara Rambarran who both explore the role of music in the relationship between Britain and Jamaica in the post-independence 1960s, the contributors bring a new dimension to the discussion on the impact of Jamaican music. Drawn from a selection of presentations at the 2013 International Reggae Conference in Kingston, Jamaica, Reggae from Yaad continues the ever-evolving discourse on the meaning behind the music and the cultural and social developments that inform Jamaican Popular Music. Contributors: Heather Augustyn - Winston C. Campbell - Alan 'Skill' Cole - Brent Hagerman - Patrick Helber - Donna P. Hope - David Katz - Anna Kasafi Perkins - Shara Rambarran - Jose Luis Fanjul Rivero - Livingston A. White

Facing a life of poverty, neglect, abandonment and even homelessness, young Jamaican boys are placed in a disciplinarian Catholic boarding school. With a rigorous musical training program overseen by an eccentric jazz-loving nun, the young virtuoso graduates of Alpha Boys' School went on to change the shape of music forever. It's the 1950s in Jamaica and a musical revolution is brewing. People all over Kingston dance nightly to vast outdoor sound systems blasting American rhythm and blues records across the shanty towns. In the hotels and theaters big bands are playing jazz and calypso. Street musicians are playing home-grown folk music called mento. Out of this musical stew, Jamaica will soon birth a dance music all of its own, a sound that will conquer the globe. Starting with ska in the early 1960s, followed by rocksteady, eventually arriving at reggae in 1969, a group of virtuoso graduates of a Roman Catholic boarding school spearhead a musical and cultural revolution that still reverberates around the world over half a century later. The Sisters of Mercy nuns at Alpha provided a home alongside industrial trades apprenticeships and religious indoctrination. One in particular, Sister Mary Ignatius, dedicated 64 years of her life to running the school's music program. Her deep appreciation of jazz and her sense of fun endeared her to the boys in the band, inspiring them to attain greatness. From early Jamaican jazz giants like Joe Harriott and Dizzy Reece to the greatest ska band of all time, The Skatalites, and some of reggae's most inspirational artists such as Cedric Brooks, Johnny Osbourne, Leroy Smart and Yellowman, the Alpha story is the untold history of Jamaican music. Join Heather Augustyn and Adam Reeves as they delve into the history of this remarkable institution and reveal the life and works of 47 of the greatest Alpha boys. The culmination of many combined years of work, using musicians' personal recollections and a wealth of rarely seen photographs, Alpha Boys' School: Cradle of Jamaican Music will take you to the heart of the Jamaica music story. Whether you are a lover of original ska and rocksteady, roots, dub, dancehall and beyond, these stories will take you deeper into the music. If you enjoyed Solid Foundation: An Oral History of Reggae by David Katz, Bass Culture by Lloyd Bradley or So Much Things To Say: The Oral History of Bob Marley by Roger Steffens, then this is definitely for you.

Dancehall: A Reader on Jamaican Music and Culture contextualizes the emergence of the globally popular dancehall genre, while tracing the complex and often contradictory aspects of its evolution, dispersion and politics. This collection of foundational essays places dancehall in context with cutting-edge analyses of performance modes and expression, genre development, and impact in the wider local, regional and international socio-political milieu of struggles by black Jamaicans in particular and cultural adherents more broadly. Dancehall is one of eight musical genres created in Jamaica and, in the past two decades, it has become one of the most influential Jamaican cultural exports since reggae. The impact of dancehall extends far beyond Jamaica and is evident in music genres (such as hip hop, trip hop, jungle, reggaeton, South African kwaito and Nigerian Afrobeats) and international fashion, film and dance. This interdisciplinary volume documents various aspects of dancehall's global impact, evolution and influence in gender, political economy, geography, ethnomusicology, spirituality, music production, fashion and language. Each selection interrogates the range of meanings ascribed to dancehall culture, a phenomenon which has been seen to be associated with violence, crime and debauchery. This collection exposes the immense cultural work towards self-expression and identity in post-colonial Jamaica which takes shape through dancehall and the contributors apply a new level of seriousness, depth and academic rigour to dancehall studies.