Amer. W. Inds. Jamaica Engs.LIFE Photo Collection
In the 1950's, Caribbean music took off in Britain primarily through immigration after World War II. With musical cultures and influences ranging from Calypso, Mento, American R&B, and Blues beat, there were lots for young Britts to choose from.
But in the early years, calypso was the more dominant music form. This was partly because calypso was already familiar to British audiences through artists like Harry Belafonte, Cy Grant and Mona Baptiste's regular appearances on BBC TV throughout the 1950s.
Plus, calypso had an established tradition of social commentary, and this potent form of expression resonated as much with new Caribbean immigrants as it did with British youth.
Blues Beat and Ska 1950s - 60s
The growth of British youth culture during the 1950s and 1960s represented a radical shift in societal norms. Preceding this era, the concept of the 'teenager' as we understand it today was virtually non-existent.
London is the Place for Me (2019-01-25) by Eliza SouthwoodLondon Transport Museum
However, post-World War II prosperity, triggered changes in attitudes and behaviour, providing young people with more leisure time and disposable income, leading to the creation of distinctive youth cultures.
Unisex-London (1968-04) by Bill RayLIFE Photo Collection
Prominent amongst these British subcultures were the mods, short for modernist. They were known for their fashion, motor scooters, and embrace of new music from R&B, to Jamaican blues beat and ska.
Mods were the first of the subcultures to embrace Caribbean culture and music from Jamaica. In the late 1960s the baton was handed to the first wave of Skinheads.
Bus Strike (1953) by Walter SandersLIFE Photo Collection
These were a subculture of primarily working-class youth that found a connection with the socially conscious lyrics and infectious rhythms of rocksteady and reggae. This new and exciting that music spoke to their own experiences and struggles.
London is the Place for Me (2019-01-25) by Eliza SouthwoodLondon Transport Museum
Throughout the 60s, as Jamaicans established communities across the UK, the soundsystem culture of Kingston was transplanted to London, Birmingham, Bristol and other cities.
With DJs playing the latest records from back home, UK demand for the latest ska, rocksteady or, later on, reggae records grew. By the early 70s, London had overtaken Calypso's satirical tones to become the international hub for Jamaican music.
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The independence of the 1960s-70s
In 1962 Jamaica achieved independence engendering new confidence, creativity and entrepreneurialism. The moment was not lost on the Jamaican music industry, which responded with a new genre, ska.
An upbeat, energetic rhythm-driven music that responded to the excitement and enthusiasm of the nation. Ska introduced a fresh assortment of artists, songwriters, producers, record labels, dance styles and the first international superstar Millie Small.
'My Boy Lollipop' was an instant hit for Small, who was just 17, as her song climbed to the top of the British charts.
Junior Marvin, Bob Marley, Jacob Miller and Chris Blackwell in Brazil (1980-03)Bob Marley: Legend
The record's release proved immensely successful, selling over 1 million copies – a significant breakthrough for Jamaican music. This achievement can be attributed, in large part, to Chris Blackwell (right), a Jamaican-born entrepreneur and the founder of Island Records.
Despite being a white Jamaican, he had previously supplied music to jukeboxes in both urban and rural communities throughout Jamaica. This experience gave him a deep understanding of the Jamaican music scene before he relocated to the UK.
Blackwell set up the fledgling Island record label in the same building as Sonny Roberts. Another Jamaican native who in 1961 had established Planetone Records, the first UK black-owned label and recording studio. The building was owned by Lee Gopthal, founder of B&C Records.
Roberts was instrumental in linking Gopthal and Blackwell, which played a significant role in creating Trojan Records. Trojan Records would become one of the most influential reggae labels in the UK during this period.
Bob Marley and the Wailers "Jamming" single record label - Exodus Album (1977-05)Bob Marley: Legend
As Britain rapidly became the fastest-growing market for Jamaican music, numerous labels and artists competed to secure their share of the pie. Virgin, Greensleeves, Jet Star, VP, Hawkeye, and many others played pivotal roles in this vibrant and evolving music scene.
Trojan Records
Some of the artist that made it into the British charts during this period included: Alton Ellis, Desmond Dekker’s “Israelites” reaching number one on the UK charts(1969), Jimmy Cliff, Bob and Marcia Young, Gifted and Black "Toots and the Maytals 54-46 That's My Number"....
...“The Tide Is High" - The Paragons 1966, The Wailers' “Catch a Fire” (1973), Dave and Ansell Collins "Double Barrel" No. 1 (February 1971), Althea & Donna "Uptown Top Ranking No. 1 (February 1978).
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Between the 60s and 70s, the vibrancy of soundsystem culture in British cities, particularly London and Birmingham, where Jamaican music featured at parties, dances, and community gatherings, stimulated a sense of community and cultural identity.
Channel One Soundsystem speaker stack at Notting Hill Carnival by Eddie Otchere / Museum of LondonLondon Museum
Soundsystems played a crucial role as the sonic release for a countercultural movement rejecting mainstream values while embracing alternative lifestyles. The socio-political impact was not lost on the government or the police as their enforcement of the Sus laws in the 1970's.
These laws disproportionately targeted black youth, often associated with reggae culture.
Incidents like the Notting Hill Carnival riots in 1976 and the Brixton riots in 1977 highlighted the deep rooted social and economic inequalities faced by black communities and the strained relationship with the police.
Channel One Soundsystem at Notting Hill Carnival by Eddie Otchere / Museum of LondonLondon Museum
The 1970s marked a pivotal period for sound system culture in Britain, coinciding with the rise of reggae music. According to Sir Coxone by the end of the 70s, were up to 500 Soundsystems operating in the UK.
Their role in popularizing reggae and its subgenres, such as roots reggae and dub, among diverse audiences was crucial.
The combination of Soundsystems, like Jah Shaka, Coxsone, promotion of reggae in clubs, and at their own events, became a important feature of the British club scene. They created the spaces for multicultural exchange, forging connections between communities.
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