Rub A Dub Style: The Roots Of Modern Dancehall by Beth Lesser

Chapter 1 (Part 1): The Early Days
Chapter 1 (Part 2): The Early Days
Chapter 2: Politics in the Dance
Chapter 3: Sounds of the late ‘70s
Chapter 4: The Studio One Revival
Chapter 5: Channel One Studio
Chapter 6: Jah Life comes to Jamaica
Chapter 7: Barrington Levy & Jah Thomas
Chapter 8: The Roots Radics
Chapter 9: Scientist & the Greensleeves Dub Albums
Chapter 10: Slackness
Chapter 11: General Echo & Stereophonic
Chapter 12: Gemini Disco with Welton Irie, Ringo & Squiddley Ranking
Chapter 13: Lone Ranger & the Eastern Kingston Artists
Chapter 14: Brigadier Jerry & Jah Love International
Chapter 15: Yellowman
Chapter 16: The Dancehall Explosion
Chapter 17: Junjo Lawes & Volcano
Chapter 18: New York City in the ‘80s
Chapter 19: Frankie Paul
Chapter 20: How Cassettes Spread Dancehall
Chapter 21: The Sing-jay Style
Chapter 22: U-Roy’s King Stur-Gav Sound with Josie Wales and Charlie Chaplin
Chapter 23: George Phang
Chapter 24: Dubplates and Specials
Chapter 25: Jamaican Radio in the ‘80s
Chapter 26: Sonic Sound Records & the Local Market
Chapter 27: Kilimanjaro with Early B & Supercat
Chapter 28: Winston Riley & the Techniques Label
Chapter 29: Sugar Minott’s Youth Promotion Sound
Chapter 30: The Business Side of Dancehall
Chapter 31: Lick-over Rhythms
Chapter 32: Metromedia Sound with Peter Metro
Chapter 33: Arrows the Ambassador
Chapter 34: The Ladies
Chapter 35: Black Star International
Chapter 36: King Jammy & Sleng Teng
Chapter 37: Drum Machines & Preprogrammed Instruments
Chapter 38: The Digital Dynamic Duo – Steely and Clevie
Chapter 39: The Local Style
Chapter 40: Black Scorpio Sound with General Trees
Chapter 41: Raggamuffin Year
Chapter 42: King Stur-Mars
Chapter 43: Foreign Mind
Chapter 44: Stone Love & the Noise Act
Chapter 45: Old Time Something Come Back Again

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