Reggae: Difference between revisions

While the quality of Reggae records produced in Jamaica took a turn for the worse following the oil crisis of the 1970s, reggae produced elsewhere began to flourish.<ref>{{Cite web|url=http://jamaica-gleaner.com/gleaner/20120219/cleisure/cleisure4.html|title=Oil prices under threat|website=Jamaica-gleaner.com|language=en|access-date=17 March 2017|date=19 February 2012|archive-url=https://web.archive.org/web/20170318002454/http://jamaica-gleaner.com/gleaner/20120219/cleisure/cleisure4.html|archive-date=18 March 2017|url-status=live}}</ref><ref name="thevinylfactory.com"/> In the late 1970s and early 1980s, the UK [[punk rock]] scene flourished, and reggae was a notable influence. The DJ [[Don Letts]] would play reggae and punk tracks at clubs such as [[The Roxy (London)|The Roxy]]. Punk bands such as [[The Clash]], [[The Ruts]], [[The Members]] and [[The Slits]] played many reggae-influenced songs. Around the same time, reggae music took a new path in the UK; one that was created by the multiracial makeup of England's inner cities and exemplified by groups like [[Steel Pulse]], [[Aswad (band)|Aswad]] and [[UB40]], as well as artists such as [[Smiley Culture]] and [[Carroll Thompson]]. The Jamaican ghetto themes in the lyrics were replaced with UK [[inner city]] themes, and Jamaican [[patois]] became intermingled with [[Cockney]] slang. In South London around this time, a new subgenre of [[lovers rock]], was being created. Unlike the Jamaican music of the same name which was mainly dominated by male artists such as [[Gregory Isaacs]], the South London genre was led by female singers like Thompson and [[Janet Kay]]. The UK Lovers Rock had a softer and more commercial sound.Other reggae artists who enjoyed international appeal in the early 1980s include [[Third World (band)|Third World]], [[Black Uhuru]] and [[Sugar Minott]]. The Grammy Awards introduced the [[Grammy Award for Best Reggae Album]] category in 1985.