above: King Tubby

Very significant but little appreciated outside New York's Caribbean community during the mid 70's, was the introduction of the Jamaican "sound system" style to the city's party going mix. Using their own versions of mixing boards, since the '60s DJs around Jamaica had given "back-a-yard" parties where the bass and drum pounded like jackhammers. The "dub" style of these mobile DJ's stripped away melody to give reggae's deep, dark grooves throbbing prominence. In ganga-filled gatherings, pioneering sound-system DJs such as King Tubby, Prince Buster, and Duke Reid created massive, rumbling sounds that elevated them to a star status rivaling the club DJs in the States. If the bass beat orientation wasn't enough of a signature, over time DJs began to "toast," or talk on microphones during their performances about their prowess as lovers or DJs. One toasting DJ, U-Roy, enjoyed large sales in Jamaica and even enjoyed a number-one hit on the island with "Wear You to the Ball." However, at the time the magic art of mixing smoothly-which drove disco- and the subterranean assault of the reggae sound system were not viewed in the same light. Disco was pop culture phenomenon. Dub was an thnic music lauded outside its community by rock critics and few others. Yet, a synergy between disco mixing, dub sounds, and toasting would ultimately provide the techniques and sensibilities that allowed the birth of "hip hop".

SOURCE:

Hip Hop America
by Nelson George
$11.16