Online Reggae Magazine

Articles

Articles about reggae music, reviews, interviews, reports and more...

Studio One Supreme - Maximum 70s And 80s Early Dancehall Sounds

Home
Articles
Reviews
Studio One Supreme - Maximum 70s And 80s Early Dancehall Sounds

Studio One Supreme - Maximum 70s And 80s Early Dancehall Sounds

By Erik Magni on Tuesday, October 31, 2017 - Comment

Supreme sounds on new Studio One compilation from Soul Jazz.

Studio One Supreme Up until the mid-70s supreme producer Clement ”Coxsone” Dodd had been ruling the Jamaican music scene for almost two decades and had only been challenged by Duke Reid. But the musical landscape was changing and he was increasingly challenged by producers like Bunny Lee, Joe Gibbs, Niney and a host of others.

And in the late 70s dancehall emerged and producers along with singers and deejays were increasingly starting to utilize and re-lick foundation riddims, especially from Studio One. Coxsone wanted, and needed, to be part of this new music and started to update his old riddims as well as creating new ones.

He continued to work with several veteran and returning artists like Alton Ellis, Horace Andy and Johnny Osbourne as well as turning to new and upcoming talents such as Lone Ranger, Sugar Minott and deejay duo Michigan & Smiley.

He updated his signature sound and managed to adapt new musical fashions and continued to stay relevant in the ever-changing Jamaican music industry. This is showcased on Soul Jazz Records’ latest Studio One compilation Studio One Supreme - Maximum 70s And 80s Early Dancehall Sounds, which comes with classics and lesser-known gems from some of Jamaica’s finest artists.

Standout cuts include Johnny Osbourne’s soulful album opener Keep That Light, Michigan & Smiley’s Compliment To Studio One, The Gladiators’ Happy Man and Lone Ranger’s Quarter Pound of Ishen, all presented in glorious discomix versions.

With the help of creative musical and technological developments of the 70s – syndrums, synthesizers, discomixes and more – Coxsone Dodd re-invented his organic sound for a new generation of reggae fans.