Dancehall reggae needs to regain its authenticity

I read with deep interest an article in the Wednesday January 12, 2011 edition of the Jamaica Observer entitled, Reggae sales slump in 2010: poor marketing sales to be root of global decline, in which a number of contributory factors were discussed attempting to plausibly explain the reason for this dilemma in reggae’s profitability.

The article mainly argued that a lack of robust global marketing strategies might be the contributory factor in the decline in reggae sales. While I agree that indeed more vigorous marketing can result in some degree on improved sales, there might also need to be an equally enthusiastic approach towards the quality of the music being produced.

This emphasis on quality of music applies more daringly to dancehall reggae which of late continues its morphology into a genre that is overloaded with hip hop influences. While I will agree that maybe this new generation might find their musical gratification in the new direction in which dancehall reggae is heading, I also feel that the genre is somewhat losing its authenticity.

During what I always refer to as the golden era of dancehall: the 90s, dancehall artistes did flirt with numerous cross over riddims as was evident in some of the recordings by Shabba Ranks, Super Cat, Cutty Ranks and a number  others. However, dancehall still managed to remain ‘pure’. I’m afraid that with a product not being what it ought to be, it would cause great difficulty to its marketers to convince customers to buy it.

The international market want dancehall reggae not convoluted synthesized keyboard chords being often overpowered by robotic drum loops. Dancehall reggae gained notoriety worldwide as a rhythmical genre that bore with it the authenticity of its place of birth: Jamaica.

A good point to note is that whenever there is a glut of any product existing in any marketplace sales will be severely affected. The proliferation of dancehall riddims that are churned out almost on a weekly basis cannot help the dancehall cause. Maybe the emphasis really needs to be shifted to the quality rather than the quantity of dancehall reggae being produced.  

Late last year Sean Paul performed to a huge maddening crowd on the beach in Abu Dhabi and the pieces he chose to perform are what I considered his dancehall standards. The crowd simply soaked it up. Mr. Paul might have himself been surprised to see that so many people in the Middle East turned out and knew all of songs. It was a very special moment for me to witness the effects of this powerful genre.

I sincerely hope that 2011 bring better prospects for dancehall reggae and reggae album sales as whole.