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Roots reggae is a subgenre of reggae that deals with the everyday lives and aspirations of Africans and those in the African Diaspora, including the spiritual side of Rastafari, black liberation, revolution and the honouring of God, called Jah by Rastafarians.Thompson, Dave (2002) Reggae & Caribbean Music, Backbeat Books, , p. 251-3 It is identified with the life of the ghetto sufferer,Barrow, Steve and Dalton, Peter: "Reggae: The Rough Guide", Rough Guides, 1997 and the rural poor. Lyrical themes include spirituality and religion, struggles by artists, poverty, black pride, social issues, resistance to fascism, capitalism, corrupt government and racial oppression. A spiritual repatriation to Africa is a common theme in roots reggae.
The heyday of roots reggae is usually considered the latter half of the 1970s – with artists such as The Abyssinians, Johnny Clarke, Cornell Campbell, Bob Marley, Peter Tosh, Burning Spear, Dennis Brown, Max Romeo, Horace Andy, Hugh Mundell, and Lincoln Thompson, and groups like Black Uhuru, Steel Pulse, Israel Vibration, The Gladiators and Culture – teaming up with producers such as Lee 'Scratch' Perry, Bunny Lee, Joseph Hoo Kim and Coxsone Dodd. The Sound system (Jamaican) was of unequalled importance in spreading reggae and dub, with the diaspora represented by leading sound system operators such as Jah Shaka, who, in turn, went on to profoundly influence many in Britain and the world, influencing early punk rock musicians in London, as well as definitively shaping later bass dominated genres such as Jungle music and Drum and bass. The experimental pioneering of such producers within often-restricted technological parameters gave birth to Dub music, and is seen by some music historians as one of the earliest (albeit analogue) contributions to modern dance music production techniques.
Roots reggae became popular in Europe in the 1970s, especially among left-wing white youths in Western Europe.Lloyd Bradley and Dennis Morris (2002) Interview with Bunny Wailer in the documentary Reggae: the Story of Jamaican Music. BBC2 2002 The Wailers' popularity in Europe opened the door for other artists, and roots reggae artists became popular with punk rock fans. When Jamaicans turned to dancehall, a lot of black, white and mixed roots reggae bands were formed in Europe. Later on roots reggae made its way into the United States with the migration of Jamaicans to New York. This took place with the reforms made to American immigration laws in the early 1960s. Along with localised traditions and food, reggae music was inevitably brought as well, contributing to the New York City soundscape, such as the development of hip hop.Marshall, Wayne: Follow Me Now: The Zigzagging Zunguzung Meme. http://wayneandwax.com/?p=137
While roots reggae was largely overtaken in popularity in Jamaica by dancehall, several artists from the original era, such as Culture, Burning Spear, and Israel Vibration continued to produce roots reggae, and artists like Beres Hammond and Freddie McGregor continued the use of roots reggae, as a musical style and thematically, through the 1980s. In the 1990s younger Jamaican artists became interested in the Rastafari movement and began incorporating roots themes into their music. Most notable among the new generation of "conscious" artists was Garnett Silk, whose positive spiritual message and consistent use of roots and rocksteady riddims gave him cross generational appeal with Caribbean audiences. While other notable dancehall stars like Capleton and Buju Banton became devout Rastas and changed their musical direction as a result. Other modern roots artists and bands also emerged at this time, including Luciano, Junior Kelly, Morgan Heritage, Anthony B, and Sizzla.
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