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Each volume of the series features tracks from multiple artists recorded over one or two reggae or dancehall riddims produced by various producers. The series began in February 2000 with the release of the Bellyas riddim album as a way of collecting various artists' 7 inch recordings on a single CD or vinyl record. Greensleeves has since ...
Since the 1970s, riddims have accompanied reggae music and through the 1980s, more widely known as dancehall. As seen in dancehall music, there is a voicing part – sung by the DJ – over some riddim that has probably been widely used in many other songs.
Dancehall is a genre of Jamaican popular music that originated in the late 1970s. [4] [5] Initially, dancehall was a more sparse version of reggae than the roots style, which had dominated much of the 1970s.
The term "riddim" is the Jamaican Patois pronunciation of the English word "rhythm".The derived genre originally stemmed from dub, reggae, and dancehall.Although the term was widely used by MCs since the early days of dancehall and garage music, it was later adopted by American dubstep producers and fans to describe what was originally referred to as "wonky dubstep".
Beenie Man throughout his music career has featured on at least 800 riddim/rhythm productions from various reggae and dancehall producers worldwide dating back to the early 1990s to present date. [ 12 ]
Sister Nancy, however, sampled the Toots and the Maytals's Bam Bam over the Stalag riddim instead, a popular reggae riddim which came to prominence in the 1970s. The Stalag riddim was first introduced in a reggae song called “Stalag 17,” written and performed by Ansell Collins and released by Winston Riley's Techniques record label in 1973.
This is a list of reggae music compilations. It includes LP and CD compilations featuring music from the various styles of reggae, including mento, ska, rocksteady, early/roots reggae, dub, and dancehall, etc.
The New York Times described the song as "one of the most popular reggae rhythms of all time, spawning hits, sequels and – inevitably – rip-offs. If ever there was a beat that deserved its own Behind the Music, this is it." Similarly, the album was heralded as the best reggae album released in 2002. [2]