| 10 March |
DJ Basics |
Disc jockey (often abbreviated as DJ 1 ) is a anglicism designating a person who selects and distributes the music intended for a public, whether for a radio broadcast, in a nightclub or on the occasion of a special party . In France, it is also recommended, since 2011, the term “turntablist” 2 to describe it.
In its most common activity, the disc jockey selects and plays records on his turntables ( microgroove disc , compact disc , audio , cassettes ). We find that trade primarily in nightclubs, but also in bars and at parties of techno music or rave parties .
It may simply bind to the music one after the other according to the desires of the listeners. It can also change or superimpose two songs, or music and a version a cappella , and be creative and inventive, and even use special equipment or computers to completely overhaul the song used. In the middle of the “DJ”, this technique is known as a ” bootleg “or a” mashup “or” medley . ”
Since then, the role of disc jockey has grown in popular music recent. It is sometimes recognized as a full-fledged musician. The DJ can sometimes produce an original work from existing musical material, or it acts as a discoverer of securities unnoticed or forgotten, is that it combines talent with minor works. We can consider as he reclaims the work of other musicians, operating a sound material that would not create itself. However, the right mix of music played, their live arrangement require some creativity, and can therefore be considered an art, which differs somewhat from that of the musicians.
Base
The DJ uses turntables (CD, vinyl, MP3 ) and a mixer or a computer control it with MIDI controllers. The basic technique is to synchronize two titles, that is to say put them at the same BPM and play them simultaneously (with sampler , if necessary). From there, other techniques are available (low cut, cut …).
Specific areas
Reggae
The original term of DJ means the person holding the microphone and operates Live version instrumental of a disk (often B-side), in ” sound systems “Jamaicans. The deejay reggae artist is a voice just like the singer. His vocal style is a mixture of voices spoken / chanted / sung and it foreshadows that of the rapper .
Having emerged in the 1950s (the deejays were content slip off short interjections in music), they were recognized from the late 1960s as vocal artists in their own right (with verses and choruses sung complete on an instrumental version) tied with singers and became hegemonic in reggae (today, roughly 70% of vocal artists are reggae deejays), and the public also saw the emergence of singjay (mixture style deejay and singing alone) during the year 1970 . The DJ is working behind the decks for its named ” selecter “. The link between reggae and hip-hop has been through DJ Kool Herc , a Jamaican who emigrated to the United States and pioneering hip-hop [ref. required] .
Disco to Hip-Hop
In the late 1960s , a combination of factors both musical and social and technical (evolution of rock into a style less dancing, development of soul music more danceable, improved sound systems , sexual liberation, need for recognition of certain minorities) lead to development the U.S. to an output mode ( disco ) and a style of music that will eventually be named disco .
The business has grown into the DJ scene output with music (bars, clubs) which gradually crowd out the DJ’s first real musicians because cheaper and considered less capricious because they manage to make people dance so more intense than the orchestrated music. Gradually, the sequences of simple titles become a coherent whole that accompanies the dancers.
The DJ will be at the center of movement until, in the late 1970s , record companies and the evolution of society are responsible either to tap the vein of disco and then reject it once exhausted, either judge such empty and decadent.
However, in clubs black neighborhoods of New York where plays and moving disco, DJ’s watching the dancers and find that some of them are unleashed when the solo title marks a break . This observation is born breakdance who give birth to hip hop , the idea comes from people like DJ Kool Herc , who, by chaining the breaks of several pieces, managed to extend the rhythmic cuts.
Before that can be duplicated by recording this rehearsal, the DJ asked the tech to perform this exercise has increased. Gradually, with artists like Grandmaster Flash , deejaying then takes a new meaning which expresses the idea that the DJ produces sound from an instrument, the disc, through a variety of new techniques which require extreme dexterity . And the DJ playin the role of coach to artist.
In music hip-hop , Disc Jockey can sometimes be accompanied by an MC ( Master of Ceremony , the rapper). DJ Scratch , that is to say, it changes the speed and direction of playback turntables , he rubs the record groove under the read head to deform and rhythm to the sounds existing. This distortion of sounds associated with the use of the mixer (central), a fader or crossfader . This element allows her to spend a plate to another and mute one of the two decks. There are various techniques of scratching, such as Cutting , the Transforming , or the flare , which can be combined and alternated.
Emergence of DJ-ing
Afrika Bambaataa
The DJing was born in the Bronx , through culture Zulu Nation in the early 1980s . Kool Herc was the first DJ who really mixa two disks together for the first time, with two discs set on exactly the same BPM (Beat Per Minute or tempo ) and superimposed in order to make a web on the same basic rhythm (the rhythm does not change, but the piece of music changes). Then comes the scratch , invented by Theodore DJ Grandwizard and popularized by Grand Mixer DXT and Herbie Hancock in the title Rock it . Since then, DJ has continued to create new techniques for handling disks and mixers.
The latest technology is the Beat Juggling or pass-pass (juggling rhythms). This technique allows two identical disks to recreate a different version of the original by manipulating them by simultaneously cutting and rearrangement to form loops and new musical phases.
DJ Babu was the first to use the word Turntablism to describe his art. The use of this term will have a great echo in the world of DJing .
Moreover, DJs have sometimes special techniques to make themselves known: Mr Oizo for its first titles made randomly with samples taken from DJ software applications. Platinum DJ, electronic music Poitevine is known for his way of mixing with basic software and basic DJing with a computer (with no other equipment, but not without talent) Some titles known to Lose in the dream of MLK or The little monster were made by superimposing two musical pieces (one voice, one of instrumental independent normally) via a demonstration of basic software on the Internet recovered [ref. required] .
Current musical practices
Scratch : use of a fader or cross fader to cut the sound on vinyl, so as to transform it and make it more rhythmic and / or incisive.
Crossfade : the end of a piece of music is mixed with the beginning of the next to ensure a smooth transition.
Timing tempo : the rhythm of the two discs are superposed to adopt the same tempo / BPM.
The mix : the drives are synchronized manually using speed settings and decks are mixed with different variations, including on the EQ (level of frequency bass, midrange and treble), as well as the use of faders and crossfaders .
Drives are strung together in several ways:
or by scratching (mainly used in Hip-Hop and Rap );
either by blending (mixing) progressively both respects: it is then a matter of crossfade ( fade or crossfading);
either by blending (mixing) the two titles gradually, and by calibrating the tempo of the first song (by adjusting its speed, it also about pitch ), then it is question of tempo in the mix (beatmix) .
is playing the second track just after the first (a cut ), in fact, the first beat of the second title (first beat ) is played simultaneously with the last beat of the first.
Some musicians say they are also a DJ because they use the same tools, although this is not the aim of linking pieces, but to create new elements from several musical media according to the principle of sampling .
The DJ-ing does not always live, or with an audience. For example, some use DJ software such as Cubase SX, Reason or Fruity Loops to create their own tracks. Some record companies do not publish anything other than the achievements in studio DJ. There is also a world championship DJ, who meet in different types of categories.
The concept of DJ-ing also applies to video. The “VJ” ( visual jockey or video jockey ) links and superimposes still and moving images that can be projected on screen during evenings or concerts , but also on music television. The term has also been extended to single presenter of programs such chains because it is supposed to select the video clips that pass. Similarly, it comes KJ ( KaraJockey ) for hosts karaoke .
Support music and DJing
Technics SL-1200 MKII (turntables).
If historically the vinyl was the first DJ support (for the scratch ), it is indeed the DJs that have allowed the vinyl to withstand the impact has been the arrival of CD in the 1980s.
The reason for this resistance is the long absence of CD player with variable speed, which is necessary to mix the disco. Thus in 30 years the Technics 1200 MKII then became the turntable remained the most prevalent in the clubs.
Currently the labels out what’s new in the vinyl format, intended for DJ and broadcast these songs and to assess their potential.
Behringer DX 626 (CD players).
Pressing in greater numbers can then follow, and according to the success of the song, you [Who?] can then be found in compilations on CD or album artists correspondents (if it is sufficiently productive).
However, fewer and fewer turntablists mixing on vinyl, the format being replaced by the digital format for reasons of saving space (the DJ stars being great travelers), ergonomics and design possibilities. The combined use of the MP3 format and computers has revolutionized the world of DJing:
through programs that allow, from a computer and two turntables, to replicate the mix on vinyl while using MP3 files in the computer;
through programs such that Ableton Live , Virtual DJ, Serato Scratch Live or Traktor Pro that can play loops, add effects and significantly increase the complexity of a mix (4 turntables, effects … ).
The control software is now taking an interest of more and more important for pro DJs, thanks to the appearance of quality controllers or systems such as Vinyl Timecoded .
Basic equipment
Turntables , CD players or digital console
Mixer
Headphone Cue
Microphone (optional)
Speakers, Amplifier
Playing with Light
Terms
There may, in the vocabulary of the DJ, a number of technical terms:
BPM: beat per minute (as the tempo of a song).
Timing tempo (or beatmatching): synchronization of rhythms of two pieces.
Cell: pickup a turntable.
Cross-fader, fader placed horizontally on a mixer to switch from one track to another (curve “melted” may be linear, exponential, “all or nothing” and / or adjustable depending on model). Facilitates cross-fade .
CUE: a starting point for playback on a CD. Can be the beginning of the song or any part of the predefined piece of platinum CD.
Fader: slide switch to change the volume of a channel (also called linear potentiometer).
Felt: a kind of carpet and vinyl sandwiched between the plate of the plate to slide the vinyl without damage. So to break, a DJ playing on vinyl rarely use the Play / Stop. To stop a song he puts his fingers on the disk, which must therefore be able to slide on the felt or Slipmat). It can then launch (throwing) in the rhythm.
Hamster style: method used by DJs to turntables or configuration of the crossfader is reversed, that is to say the right Deck is left of the crossfader.
Loop : sound loop consists of an entry point (loop-in) and an exit point (loop-out).
Pitch bend: mechanism (potentiometer or buttons) of a platinum (vinyl or CD) to change the playback speed (expressed as a percentage change compared to the original). Its setting allows to synchronize the beats of two songs (and out).
Mashup or versus : mixing remix version a cappella of a song with the instrumental of another.
Sample “: sample in French. The sample is a short excerpt or part of a musical piece, played in a loop or intermittently. It can be deformed to achieve the desired effect.
White label: vinyl carrying no label: it is usually a track produced by DJ a little known, and pressed into small number of copies. It often helps to evaluate the potential of the disc before pressing club in a real label . Most bootlegs are pressed in white.
The DJ Style [1] [2] (also simply called DJ [2] [3] ) is a genre of music reggae played by Disc Jockey , characterized by a spoken singing style, developed in the late sixties . The peculiarity of this kind is the practice of Toasting , a vocal style half spoken and half sung, which was originally improvised on the basis of a reggae song that already exists (in particular, on the basis of various subgenres like Rocksteady , Early Reggae , Roots Reggae or Dub ). This is generally considered the progenitor of rap , and other sub-genres of reggae came later as the Dub poetry , and a good part of the Dancehall reggae , especially the one sung by DJs toasting. Among the most important exponents of this style of music include artists such as U-Roy , Dennis Alcapone , I-Roy and Big Youth , who dominated the Jamaican scene in the first half of the 70 [4] in parallel to the domain of roots reggae.
Index [ Hide ]
1 History
1.1 The origins
1.2 Years 70: Success
1.3 The Pioneers
1.4 The decline and was the Dancehall
2 Meaning and differences between DJ and Dancehall Reggae Style
3 Some albums dj style representative [1]
4 Some artists DJ Style [2]
5 Notes
History
The origins
As early as the fifties Jamaican DJs, from school children English but influenced by American style, took the microphone in his hand trying to sing over the original text of a song [3] . Singing or talking, playing all kinds of island music: jazz , R & B and of course ska and rocksteady [3] . The story of the first recordings by Jamaican DJs in particular can be traced back to ska, when the man took the microphone at dances and could occasionally be heard on vinyl, shouting an introduction and / or saying a catchphrase [5] . The DJs sound system used to accompany the songs with an introduction to spoken voice and melodic, sometimes just to add emphasis to the ball [6] . The voice of Winston “Count” Machuki , for example, could be heard in the song “Alcatraz” of Baba Brooks Band, while Sir Lord Comic had a big impact with two hits that were credited to his name: ” Ska-ing West “and ” The Great Wuga Wuga ” [5] . The role of the DJ was, however, remained a limited phenomenon in the dancehall era, where they encouraged the audience to dance, and promoted the sound system where they worked. The first DJ to be registered on more than an incision was occasional King Stitt , long time MC for the sound system Sir Coxsone Dodd , called “Downbeat” [5] . Originally the technique of these “toaster” consisted of remixes of tracks by other artists, remove the original voice, emphasizing the basic rhythm, and the track record over their texts [6] . One day, King Tubby , the inventor of dub , dj gave the disks to its small sound system . Many voices, catchy rhythms, bass, compelling, original effects, the available time to DJ all that he had always wanted to give vent to his creativity and talent [3] . His name was U Roy (Ewart Beckford). The audience appreciated this music because Tubby chose to mix only successful hits. U Roy then created new versions getting a great appreciation [3] and was the first to transform the toasting in an art form [2] in the studio recording what was already in the live shows to his sound system: various topics treated, like sex, marijuana, social problems, religious hymns to dance, but using a slang tight [7] . U-Roy was probably the most influential of these artists, and used the dub as a means to disseminate its messages agit-prop (you can quote passages as ” Dynamic Fashion Way , ” 1969 ; ” Runaway Girl ” 1976 ; Wake the Town ” ” Wear You To The Ball “) [6] . His style half sung and half spoken was later imitated by all the DJs on the island, as well as remixes by King Tubby dub became very popular, allowing the spread of [3] . based on old music in general rocksteady era, sovrincisa was the voice of the DJ of the moment [7] . In addition to the dub track, the nascent Jamaican toaster (called toasters ) dealt with topical issues, the DJ style began to emerge through street dancing to the sound system , when the toasting began recording on discs [2] .
70 Years: Success
When U-Roy began working with producer Duke Reid in the early seventies finally publishing his tracks, occupied all the places in the chart [3] and the DJ style exploded as a style within the Jamaican scene [2] . The early 70′s marked as the beginning of the real rise of the DJs [5] , and soon every manufacturer began hurriedly looking for one of these artists who practiced the toasting their rhythms [2] . As producers began to leave holes in the mix while maintaining a vacuum side (the version), the deejay began to fill those holes in the crowd often improvising with the artists themselves [8] . Many of the most talented DJs emerged in the early 70′s, including Big Youth , Dillinger , I Roy and Prince Jazzbo , continued to release good material during the nascent era roots reggae , some for their own label [5] . Not surprisingly, the same was it was pre-announced its roots from DJs like Big Youth, Jah Stitch, I Roy, Prince Jazzbo, and Trinity Dr Alimantado, who gave voice to this new wave music with spoken sound system in the conscious, before some producers participated in the creation and dissemination of their music [8] . These artists, like their rivals in the next generation, did not stop more than the exclamation of some catch-phrase: the hour deejay commented on and described the suffering of victims of the ghetto, and gave lessons of history perspective views [5] . Big Youth was successful in the audience rock with surprising Dread Locks Dread , produced by Prince Tony Robinson, and the Virgin tried to adopt the same tactics with U Roy [5] . Although he had always avoided to exploit his Rastafarian faith for self-promotion in his first album with Virgin, and with Tony Prince production, U-Roy was portrayed on the cover with the dreadlocks , wrapped in a cloud of smoke from a hookah [5] . On the record, the DJ was commercial spoken word above the old classic rocksteady . In the works of Big Youth and U Roy to Tony Prince, the deviation of discounted references to Natty Dread could be boring, but the albums seemed more acceptable in retrospect, U-Roy and songs like ” Run Away Girl “and” In The Chalice Palace “(based on” Queen Majesty “) maintained a good degree of inspiration and common sense [5] .
In this period of international exposure, U-Roy played an important role in the dancehalls of Kingston thanks to its sound system, the “Stur-Gav Hi-Fi”, which the artist made in school by encouraging the growth and formation of new talent [5] . The first pupil, Ranking Joe , so renamed after a stint as Little Joe, became active in the years 1977-78 before starting the collaboration with producer Jah Screw in the late 70′s, and be born under the name Ray Symbolic. Ranking Joe will be followed only in the early eighties by Charlie Chaplin , Josey Wales and Brigadier Jerry , all DJs who played a key role nel’ascesa style Early dancehall toasting in [5] . U-Brown was the most important disciple of U -Roy. Most of these DJs continued recording for several producers with ideas and money to attract them in their studios. Important toaster as Dillinger, Jah Stitch , Trinity and Jah Woosh realized occasionally label material they own, but found it increasingly convenient to register it with other labels [5] .
The Pioneers
As already mentioned, the history of the DJ style began with U-Roy , the godfather, the creator, born as Ewart Beckford. He will not be the first dj sound system to record an instrumental version of his verse, but it was certainly the first to transform his style sound system in a series of successes in the first place classifications [1] . His first recording was the song produced by Keith Hudson ” Dynamic Fashion Way , “but is now best known for more than two dozen hit published by Treasure Isle of Duke Reid . After his brief period of success with Reid, the popularity of U-Roy fell gradually to give way to a new generation of DJs. In 1976, he published U-Roy Dread In A Babylon , a brilliant album produced by Prince Tony , originally made for Virgin Records and distributed in the United States for the Columbia [1] .
While the first style of U-Roy was imitating the techniques of sound system, which consisted in repeating talking during the breaks of the singers on Dread In A Babylon was free to handle the speech, creating an incredible combination of his skills and new rhythm rockers . This album U Roy raised his career and allowed him to publish other works with Tony Prince and Bunny Lee production before disappearing again from the scene until the revival in the late 80′s [1] . Like any trend, also saw the birth of the DJ style of other artists who followed the trail of U Roy also pure profit [1] . Two excellent anthologies are able to encompass many examples of songs that characterize this genre, or With A Flick Of My Musical Wrist (Trojan, 1988) and Keep on Coming Through the Door (Trojan, 1988). Both these collections may give an idea of who wrote the best material (U Roy, I Roy, Dennis Alcapone, Prince Jazzbo) and those not (Samuel the First, King Sporty, Prince Heron) [1] .
Of all the first generation of DJs, only I Roy and Dennis Alcapone able to overcome the pioneers and carve out its own space. Alcapone (Dennis Smith) began his career more or less around the same period, U Roy, but his style was more later than that of his rival. Alcapone approached the studio recording techniques with sound system, but his early works were more complete, and often more original if compared to those of U Roy [1] . Much of the best early recordings were collected in several anthologies, but the debut Forever Version (1972) stands out from the album Alcapone, with his famous speech on the rhythms of Clement “Coxsone” Dodd . The third album Soul to Soul DJ’s Choice (1973) and the collection My Voice Is Insured for $ 500,000 (1989) are good examples of material Alcapone [1] .
I Roy (Roy Reid) borrowed the name of U-Roy, but the vocal style and the lyrics were similar to those of U Roy and Dennis Alcapone so to become one of Jamaica’s most popular artists of the 70. There are albums that represent the peak period of the artist’s success, despite several anthologies for the Trojans and the first three studio records Presenting I Roy (1973), Hell & Sorrow (1974) and The Many Moods of Roy ( 1974) can give an idea of his style. The Roy, one of the most representative dj, however, remained the most underestimated [1] .
Despite the massive popularity of U-Roy, I Roy, Dennis Alcapone, later succeeded by a new generation of DJs who brought style era rockers . Big Youth , Prince Jazzbo , Dillinger and some others, included the more complex texts, a ‘ evolution in the techniques of recording and vocal techniques that combined with the vocal style spoke purer than that of the first dj [1] . Big Youth (Manley Buchanan) was one of the artists to experiment with new sounds. Surely his work may be erroneously mistaken for dancehall with his lyrics organized and often told in story form [1] . He obtained a great success with the issues you talk about socio-political (” S-90 Skank ” 1972 , ” The Killer ” 1973 , ” House Of Dread Locks ” 1975 ; ” Every Nigger Is A Star ” in 1976 ), especially in hard Dreadlocks Dread of 1975 [6] . Screaming Target (1973) was her first disc, along with the collection and Everyday Skank (1980), Big Youth represents the peak of his career. These tracks represent the energetic aspect of the texts and ingenuity, but it was not until the publication of Reggae Phenomenon (1974), Dreadlocks Dread (1975), Hit the Road Jack (1976), and Natty Cultural Dread (1976), which began to engage in socio-cultural issues [1] . During this period he was probably the most popular reggae artist and his influence was incalculable [1] . In addition, Big Youth was soon identified as Rastafarian with other artists like the Wailers , the Abyssinians , Burning Spear , who were responsible in having made the Rastafarianism integral part of the reggae mainstream in 70 years [1] . In the mid 70′s in fact, when the roots reggae style became more widespread, Big Youth was now considered the biggest DJs on the square [2] .
Two DJs who took as reference the innovations of Big Youth and Dillinger were Prince Jazzbo. Jazzbo today is known mostly for being a producer for its contemporary and historical rivalry with The Roy who was immortalized in several books [1] . Unfortunately, this overshadowed his considerable talents as a DJ. How Big Youth, his particular skill was composing songs by cultural issues. Some of his solo classics are available today, but Choice of Version (1990) is one of the best collections. In hard Ital Corner (1976) worked on it Jazzbo the rhythms of Lee “Scratch” Perry and is one of the best albums of the 70′s dj style [1] .
Dillinger , on the other hand, was too overexposed. How Jazzbo, even Dillinger (Lester Bullocks) Big Youth shooting techniques, but used this style to compose songs and realistic, describing the life of the ghetto every day. He, too, was extraordinarily popular and after a great debut with Ready Natty Dreadie (1975), his later works were published on an international scale for Mango Records : CB 200 (1975) and Bionic Dread (1976) [1] . Both contained several good songs but these were overshadowed by ” Cokane in My Brain “, a huge international hit that was the most representative in the career of Dillinger. After ” Cokane “, the mark that made him famous was gone, and began to become a caricature of himself, often over-emphasizing topics such as drugs and sex [1] . There are now several dozen Dillinger material available on import, but none contains some passages contained in the first three discs [1] .
The decline and was the Dancehall
To learn more, see the entries Dancehall Reggae and Rub-a-dub .
The popularity of the DJ style began to wane in the second half of the 70, but remains a reference in the reggae and a strong influence on development in the first rap in the United States , who was born with the help of artists like U-Roy, in 1970 [3] [8] . As continuous dj style, in the late 70′s were to develop several new styles of reggae, among them we must mention the dub poetry [9] , gender performance that combined spoken of inspiration dj style, in poetic form, based on a dub [10] or reggae in general. Flagship of this new style were poets like Linton Kwesi Johnson , Oku Onuora and Mutabaruka , who reached the popularity from the late seventies to the mid eighties [9] .
The 80 were the first decade when reggae was dominated by DJs. This influx of toaster had been expected at the end of the previous decade, when some songs were recorded by dj made before the same issues in sung version [5] . The Volcano Records Junjo Lawes began to achieve success with any DJ period. Among these were included Josey Wales and Charlie Chaplin, both of which had obviously done with school, U Roy, but cleverly managed to blend the techniques of their master with the modern sounds of Lawes. Toyan (also known as Ranking Toyan), dj sound coming from the system “Socialist Roots” and “Romantic Hi-Fi”, another artist was estimated that a few times he managed to build a reputation through the incisions, Junjo, along with Don Mais (his first producer), Toyan brought very close to the peak popularity, especially with the disc How the West Was Won (1981), released by Greensleeves, which had a considerable impact in London , thanks in part to the cover [5] . The same manufacturer Greensleeves threw the future Captain Sinbad with the same formula of the cover attractive, while the pair of artists managed by Junjo Lawes, formed by Clint Eastwood (b. Robert Brammer, younger brother of Trinity ) and DJ General Saint (Hislop Winston) Instead they reached the highest positions in the British pop charts [5] .
It was now the time of birth of dancehall reggae , developed from the late 70′s, where a good part, called rub-a-dub , took direct inspiration from dj style. Curiously, some of the DJs of the late seventies, as Ranking Joe, Clint Eastwood, Lone Ranger, General Echo, Ranking Trevor, Prince Mohammed, Ranking Dread, acted as a bridge between the era dj style, and the first period of dancehall reggae dj. It can be said that several members of the DJ style, converted to the dancehall in the next 80 years, and even the Godfather of DJ style, U-Roy, as well as I-Roy, U-Brown, Dillinger and Trinity. In dancehall music, many of the first big stars of the genre were just the DJ, Yellowman , Josey Wales, General Echo and Charlie Chaplin , through the sound system, could respond with what the public really wanted before the music industry. The dancehall, although developed in the traditional form sung, was a style designed for DJs [8] and from this period in fact, the DJ returned to prominence as a toaster, and artists such as Yellowman and Charlie Chaplin became the big star [2] . Excluding dancehall sung, you can refer to the sub-genres rub-a-dub [11] and also part of raggamuffin , respectively, emerged in 1979 and in 1985 , where you can see over the DJ [12] . The dancehall reggae was largely represented by DJs like Shabba Ranks , Beenie Man , Bounty Killer and Lady Saw [2] , confirming the strong influence of the DJ style. With the overall success of artists such as Shabba Ranks, which seemed to be dominated by dancehall DJs, while today, among the greatest exponents of this genre dj worth mentioning, Beenie Man , Bounty Killer , Lady Saw and Sizzla [8] .
Meaning and differences between DJ and Dancehall Style Reggae
You can often get confused between the DJ and Style Dancehall reggae toasting (in this case we talk about classic Dancehall, the dancehall Early , and not necessarily other forms such as the latest and most modern Raggamuffin ). We must therefore clearly identify the real differences in meaning between the two terms. The Dj Style is recognized as that part of reggae on which they were overdubbed, or improvised live, of the spoken parts by Dj on the basis of a piece reggae original. This style of speech practiced by DJs, is called Toasting . The DJ style took shape as a genre during the second half of the sixties, at the turn of the era and the Early Reggae Rocksteady, but remained alive and expanded during the seventies, living with the domain of Roots Reggae. This means that it was all reggae DJ Style sung by DJs toasting regardless of specific musical base, which could be related to several subgenres existing up to that time, such as Rocksteady , Early Reggae , Dub and Roots Reggae . Therefore, the peculiarity of the style was only the DJ toasting, usually done on a Reggae music of any kind.
The dancehall reggae (specifically Early dancehall) to the contrary was born more than ten years later, and can be defined as a specific sub-genre of reggae music with accurate sound characteristics, and that was not necessarily played by a DJ, but in most cases from a traditional singer. So while DJ style was defined around the reggae toasting, dancehall music is a subgenre, that only in some cases may present as toasting vocal style. The similarities between the two genera are found in the fact that, as a dj style were replicated in the existing riddim, also Early dancehall riddim old re-proposed for the backing tracks. Further, the two genres were born to be played in the dancehall. Even though this time the difference is that, while the DJ style were largely replicated the original riddim often unaffected, except when he was only part of the original vocal, or alternating with the intervention of the DJ in the dancehall riddim had echoed and elaborated by a backing band in modified form, depleting the sound, highlighting some musical lines, and making the sound more modern and contemporary art. These characteristics made dancehall an actual musical genre, regardless of the vocal style runs, which was not necessarily sung by a DJ in toasting, but in many cases by real singers.
You can also say that dj style was and is considered the genre of reggae speech that develops in the second half of the sixties until the birth of Early dancehall (1979). From the official appearance of the first dancehall onwards, has always tended to define the styles as dancehall DJ style that actually were in effect, and that would be considered as such if published before the era of Dancehall. It is no coincidence that during the transition from dj style to that of Early dancehall toasting (Rub-a-dub), between 1978 and 1979, various DJs made a bridge between two eras: in this case one can assume that these artists were considered dj style until ’79, and dancehall / rub-a-dub from this moment on, without necessarily changing style. Although it may be instances where a song may be deemed to be in the same way that dancehall DJ toasting style, the two genres have different characteristics by definition, especially the fact that the dancehall is not only a genre of its own DJ.
Some albums dj style representative [1]
U-Roy – U-Roy (1974), Dread In A Babylon (1975)
Dennis Alcapone – Forever Version (1972), Soul to Soul DJ’s Choice (1973)
I-Roy – Presenting I Roy (1973), Hell & Sorrow (1974), The Many Moods of Roy (1974)
Big Youth – Screaming Target (1973), Dreadlocks Dread (1975)
Prince Jazzbo – Ital Corner (1976)
Dillinger – Ready Natty Dreadie (1975), CB 200 (1975), Bionic Dread (1976)
Various artists – With A Flick Of My Musical Wrist (Trojan, 1988)
Various artists – Keep on Coming Through the Door (Trojan, 1988)