Talk:Caribbean music in the United Kingdom

Whilst this is a good start I think more needs to be added on the 1980s and beyond. This is just some ideas off the top of my head...

Certainly there was a massive resurgence of interest in reggae in the 80s, both in the charts and also at more grass roots level with soundsystems like Jah Shaka playing roots reggae and Saxon Studio International playing dancehall. Also of interest is reggae's influence on UK-originating genres like jungle, etc, (as well as punk, rock against racism etc).

Other stuff to mention would include: Notting Hill carnival, pirate radio, DJs, record labels such as Blood & Fire, Pressure Sounds, etc., contemporary soundsytems such as Iration Steppas, and quite a bit more. John Eden 16:48, 9 December 2005 (UTC)

Context
This articles needs an introduction to put the content into context. At the moment it just contains sections about a few different sub-topics. Are they the most important sub-topics? How were they selected? I have no idea. CalJW 00:28, 9 February 2006 (UTC)

British African-Caribbean community
I've written this section on music for the above page, where there is some cross-over with this page. I can fill out Caribbean music in the United Kingdom with a load of material off the top of my head if editors are interested. It would also be helpful if I knew what direction this page was taking, to help bring the output of both pages into line. Then I can slap a See also on the British African-Caribbean community page to this one. At present I'm not sure how much Caribbean music is on this page... Peter Frampton!? I'm in shock!--Zleitzen 05:36, 20 June 2006 (UTC)

Inaccuracies
There are so many inaccuracies on this page it's literally not true. Coming from a white man's perspective I feel there needs to be far more about the role Bluebeat, Island & Trojan records played - spanning Mod, Skinhead and in between trends (Crombie boys anyone ?) - and linking closely to the development of Northern Soul. Blues parties did not just happen in London - they were anywhere where there was a big Caribbean community - Birmingham and Huddersfield featured prominently - and the Skinhead connection was perhaps more significant further North.

The length of time between Desmond Dekker, and Althea & Donna is a long one, and the article gives the impression that nothing happened in between. Reggae was big when Desmond Dekker hit the scene - it was huge by the time Uptown Top Rankin' arrived - and mainstream

The Equals did not originally have hits with Reggae songs - they were Pop oriented, neither were they the first multi-racial number one - I'd guess at Shirley Basset with Wally Stott's Orchestra for that.

The Punky Reggae party section just comes out of nowhere - it doesn't make a lot of sense Babylon's Burning is nothing like reggae - only the word "Babylon" connects it with reggae.

The Lover's Rock section should be a really important one - but doesn't so much as mention Janet Kay - nor are the many mainstream reggae/pop crossover records that were huge hits - Money in my pocket/Dennis Brown - Good Thing Going/Sugar Minott etc - also many reggae acts were very big at the same time as the New Wave with white audiences - Third World, Steel Pulse, Aswad, Black Uhuru, Linton Kwesi Johnson - with most of these resident in Britain for some or all of the time.

The White Reggae section is patronising. (No offence). Ob-La-Di-Ob-La-Da is not reggae. It accents the main beat every time - not the off beat - it's a completely different style. Yesterday Man is a good spot though - probably not written with reggae in mind, but similar all the same and probably influenced.

Paul McCartney's Silly Love Songs, and Just Another Day are not even remotely reggae. However on of his earliest Wings songs - "C - Moon" most definitely is.

Most of the songs listed are not reggae - The nearest Frampton Comes Alive gets to Reggae is that Baby I love your Way was covered by Big Mountain. Blondies Tide is High was a Reggae cover - but is distinctive for it's Mariachi style horns & strings arrangement, and moves away from The Paragons (with John Holt) original.

The Police are the only act I can think of that could be truly categorised as White Reggae, but although their first hit was Roxanne they had another five before Don't Stand so Close to Me. Harry Belafonte, Boney M and Jimmy Cliff by the way were all black artists.

No mention either of any cross pollination across the Atlantic & back again - What about Bo Diddley's 'Cracking Up' - released in 1959 which must surely have influenced Jamaican Ska/Bluebeat/Rocksteady performers, and was also covered by both Paul McCartney and the Rolling Stones - who have at a later date turned this into a reggae song.

UB40 are so important in the history of Caribbean music in the UK - they aren't Mixed Race - they're just a band from Brum - and as such represent the social & ethnic mix in Brum whioh like many other places in the UK is heavily influenced by Reggae music, & Caribbean culture - which is also influenced by both UK and US cultures.

I'm a White Northern English man, and Carribean music and culture is such a massively important part of my life experience - it really deserves a much better article than this - I'm not disrespecting whoever put this together - but please don't undersell it - this part of World culture not just UK & Caribbean, or Black & White - we need to get it right so future generations can understand it.

78.32.193.115 (talk) 19:47, 27 September 2010 (UTC)

Proffesor Iyoha.
Proffesor Iyoha is a musician, born in 1990 when he recorded his first album "From the Blus" as a manifestation his experiences in multiple jobs on the creation and production of  demonstration work with different musicians of the time, from age thirteen. He resonated in Asturias in 2009 when he began working on the album 'Extranjero" born out of his experiences as African immigrant in Spain. The Proffesor is a Nigerian musician with three albums on the market two in Nigeria and one so far in Spanish market, On this album all the songs talks about   freedom and social justice. with Bachelor in Social Science, Proffesor Iyoha has been residing  in Spain, Oviedo which is the capital city of Asturias for more than twelve years, founder of the African communities resident in Spain, Ebuny communications and  Center Cony  for Psychology and Natural Medicine. Starting with the premise that music is not an end in itself but a means to achieve a purpose to communicate, inform and exhibit  a way of feeling, thinking and a vehicle to denounce injustice.  A student of  classics rock of  early 60.70 and 80. with references like Louis Armstrong, Jimmy Cliff, Peter Tosh, Bob Marley, Johnny Nash, Dolly Patton, Kenny Rogers, etc... All these musicians share a common philosophy, a way of understanding life, that has always been an inspiration for him. His work is a fusion of two genres, rock and reggae. The latter in particular, reggae, is like a book of life, its melodies are not created for dancing only, but is made to listen to understand, to obtain experience, to understand and  embracing concepts of the supernatural and a universal approach to life. For example, "One Love" by Bob Marley, Johnny Nash with "I Can See Clearly Now" Jimmy Cliff "You can get if you Really Want." The proff said in an interview, that music is the breath of my life. It is the seasoning that brings color, smell, and taste to my life, music  makes my day, it is the star that will always shine,  the storm that moves the sea. And the wind that moves the air that gives life to humanity.

the work can be found here. http://www.myspace.com/proffesoriyoha. —Preceding unsigned comment added by 81.9.144.155 (talk) 10:18, 29 October 2010 (UTC)

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