The riddim method: aesthetics, practice, and ownership in Jamaican dancehall

  title={The riddim method: aesthetics, practice, and ownership in Jamaican dancehall},
  author={Peter Lamarche Manuel and Wayne Marshall},
  journal={Popular Music},
  pages={447 - 470}
The Jamaican system of recording and performance, from the 1950s to the present, constitutes a distinctive approach to notions of composition, originality and ownership. Emerging from a tradition of live performance practice mediated by (and informing) sound recordings, the relative autonomy of riddims and voicings in the Jamaican system challenges conventional ideas about the integrity of a song and the degree to which international copyright law applies to local conceptions, as enshrined in… 
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Reggae: The Rough Guide (London, Penguin) Bradley, L
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[A man of experience].
Funk influence may also account for the tendency for these early 1980s re-licks to shift to a kick-on-one/three, snare-on-two/four drum pattern
    For example, the song 'Mama', by Ghost, on the 'Mad Instruments' riddim (on Fire Island 7$ single, flip side of Elephant Man's 'Mad Instruments Dance')
      star Joe Gibbs, in covering both lyrics and melody of Charley Pride's 'Someone Love you Honey', pushed the limit too far, and was sued and effectively ruined
      • 1980
      Elephant Man, Good 2 Go
      • VP Records/Atlantic