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  1. The first reggae fusion-influenced riddim was produced in 2005 by Cordell "Skatta" Burrell, which featured deejays on a techno-based instrumental. Reggae fusion is now a regular staple on Jamaican radio stations, especially Zip 103 FM, in the form of singles, mixes and remixes. This has led to more reggae fusion hits being produced as well as ...

  2. Jan 1, 2019 · Carolyn Cooper. PDF | In this chapter, we illustrate how place becomes embedded in the production of popular Jamaican music, and how music can serve as a fulcrum for... | Find, read and cite all...

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  4. Reggae fusion is a fusion genre of Reggae that mixes Reggae or Dancehall with other genres such as Pop, Rock, R&B, Jazz and Drum and Bass. In addition to characterizing fusions of Reggae music with other genres, the term is used to describe artistes who frequently switch between Reggae and other genres, mainly Hip Hop and R&B, such as Kardinal ...

  5. en.wikipedia.org › wiki › ReggaeReggae - Wikipedia

    Reggae ( / ˈrɛɡeɪ /) is a music genre that originated in Jamaica in the late 1960s. The term also denotes the modern popular music of Jamaica and its diaspora. [1] A 1968 single by Toots and the Maytals, "Do the Reggay", was the first popular song to use the word reggae, effectively naming the genre and introducing it to a global audience.

  6. en.wikipedia.org › wiki › Magic!Magic! - Wikipedia

    Magic! (stylized in all uppercase) [4] is a Canadian reggae fusion band from Toronto. Based in Los Angeles, [5] the band comprises lead vocalist, guitarist/producer Nasri Atweh, guitarist/keyboardist Mark "Pelli" Pellizzer, and bassist Ben Spivak.

  7. Reggae evolved from these roots and bore the weight of increasingly politicized lyrics that addressed social and economic injustice. Among those who pioneered the new reggae sound, with its faster beat driven by the bass, were Toots and the Maytals, who had their first major hit with “54-46 (That’s My Number)” (1968), and the Wailers—Bunny Wailer, Peter Tosh, and reggae’s biggest ...

  8. the fusion of rock and reggae, known as two-tone music, as “polycultural musical styles and highly politicized messages that appealed to their racially diverse audiences” (2005, p. 8). Dawson also points out that sound systems and the dancehalls became central components

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