Ten years on from
Independence, and Jamaica’s people began to notice they were
worse instead of better off. The island was gripped by
unemployment, crime and violence, and as so many of the
emerging generation of Jamaicans, who had grown up with
Independence, were victims of this, they reacted with the most
potent weapon at their disposal – music. As the 1970s
unfolded, subject matter changed to give voice to the protests
the people wanted to express against the government, while
urging their fellow youth to stick to the path of
righteousness.
Large numbers embraced Rastafari as
being not only a manifestation of what they wanted from the
government – a forcefully honest doctrine of peace, love and
anti-corruption – but presenting an alternative way of living
within the grinding poverty that had become commonplace. They
espoused the teaching of Marcus Garvey (self-help and
repatriation) to provide hope. As many musicians locksed up,
Rasta’s influence over the sounds became obvious: much of
reggae’s inherent sunniness seemed to cloud over: the bass got
deeper and more pronounced; the tempo slowed down
portentously; and lyrics frequently spat fire and brimstone.
It was dread.
It was also the period that saw reggae
being taken seriously by rock fans around the world as a music
that had something to say - punks in Britian adopted roots
reggae as a big part of their soundtrack, identifying closely
with its sense of alienation. During the roots era, artists
like Burning Spear, Culture, The Congoes, Big Youth, The
Mighty Diamonds, Dillinger, Tapper Zukie, Lee Perry, The
Ethiopians and Max Romeo became cult heroes, while the roots
movement’s figurehead Bob Marley became the most famous
Jamaican ever.
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