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Bass Culture: La historia del reggae
Bass Culture: La historia del reggae
Bass Culture: La historia del reggae
Libro electrónico859 páginas14 horas

Bass Culture: La historia del reggae

Calificación: 4.5 de 5 estrellas



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Este libro es un viaje. A los guetos de Jamaica, en el corazón del Caribe, pero también al eco hipnótico de los tambores y los graves primigenios del África profunda. En "Bass Culture: La historia del reggae", Lloyd Bradley cuenta la apasionante historia de la música jamaicana en su contexto social, político, económico y espiritual, desde los sound systems de los años cincuenta, pasando por el ska, el rocksteady y el dub, hasta el éxito internacional de Bob Marley y el posterior nacimiento del dancehall.

Más allá de documentar la evolución musical, Bradley se sumerge en una historia de Black Power, altavoces que retumban, cantantes con agujeros en los zapatos, vudú anticolonialista, ligoteo en la pista de baile, rastas antisistema, productores avariciosos, espiritualidad profunda, filrteos con el puk, malotes barriobajeros, estudios de grabación envueltos en marihuana, skinheads que bailan música negra, tejemanejes de la guerra fría, pistoleros en las chabolas, miembros de los Rolling Stones locos por el reggae, revueltas en las calles británicas, reciclaje sonoro y cultura del pueblo para el pueblo. Cargado de testimonios de los grandes del género (Prince Buster, Horace Andy, Bunny Lee, Jimmy Cliff, Lee Scratch Perry), "Bass Culture" captura en una narración narcótica la historia de una comunidad del llamado "tercer mundo" que alzó la voz para decir que no solo existían, sino que tenían ganas de dar guerra y bailar hasta el amanecer.
Fecha de lanzamiento21 sept 2015
Bass Culture: La historia del reggae
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Calificación: 4.6 de 5 estrellas

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  • Calificación: 5 de 5 estrellas
    An invigorating and educational history on not only the sounds but the politics and places that created the backbone of modern music, written lucidly and intelligently.
  • Calificación: 4 de 5 estrellas
    Anyone interested in this book will probably have heard one or two of the criticisms that have been levelled at it - particularly that there are too many careless mistakes, and that the author is prone to lending too unbiased an ear to some of his sources.These things are true. Nevertheless, I would still defend this epic labour of love - it took six years to write - if only because it`s certainly the best and most authoritative reggae book I`ve encountered so far.The author looks at the various types of music that are collectively referred to as reggae - ska, rocksteady, dub, roots & culture, lovers rock, and, to his credit, touches on the much-neglected (by writers) singer-songwriter tradition in reggae, and then on to more recent styles like dancehall.I would agree with Bradley`s detractors on their two main criticisms - Prince Buster provides a few words of approbation at the front of the volume, and in the early part you sometimes wonder why he didn`t write it himself, given that his reminiscences and opinions go completely unquestioned, even when clearly designed to enhance the Buster reputation, possibly at the expense of accuracy.Later, in the section on the largely Rastafarian `roots and culture` reggae, I personally spotted a number of errors, though I am no expert.Nevertheless, given the scope of the work, the author`s many sharp insights and - importantly - his ability to make you laugh, I think this book will be around for some time to come, probably with very few credible rivals.Without wanting to detract further from a book all reggae lovers should certainly consider buying. I did have a couple of points of my own. His comments on the decline in popularity of roots reggae during the early `80s do seem less well-thought out than I might have expected and his facts seem questionable - are there really only "a few thousand" hardcore white working class reggae fans in the UK ? How does he know ? I think he ties this too readily to the death of Marley and gives too little consideration to practical matters here. Jazz and blues weathered many a crisis in the UK, as did other styles, simply because they had a `pub circuit` to rely on where devotees could see bands and even perform themselves. Reggae has never had this `life support system` to fall back on to the same extent.I saw a number of roots bands during the period in question. At that time, many touring bands still sought to replicate the sound of their recordings by taking relatively large line-ups (including brass sections and/or backing vocalists) out on the road - a situation that was simply not financially viable. A few (Burning Spear, Culture etc) built international careers based largely on extensive world tours, but, certainly in the case of Culture, marvellous though they were, the live sound only approximated the recorded sound. The other point would be that quite a proportion of the nternational roots artists he spoke to gave their interviews from swish hotel rooms or smart suburban homes, and all speak the language of the career musician. Most have not been `the man in the street` for quite some time. Wiser men than me have pointed out that reggae has not always put it`s own house in order. B