Im a rude boy,im into The specials,the selector,madness,the beat,2 tone music,and i like origional ska Desmond dekkor,peter tosh,toots and the maytels,but heres my point first wave ska in jamaica came over to london in ghe 60s and braught thir ska music,and it caught on the 2nd wave,the specials,the beat etc,2 tone ska got major hits,but my point the specials have ska songs and reggae songs,the 2nd wave fused origional ska with punk in the 80s,then after 3rd wave the englush ska bands had success but the best was 2nd wave the specials,a fusion of ska and punk and reggae,great music S"KAD 4 LIFE🏁🏁GREAT LESSON👍👍
It's all downstrokes for Jamaican musicians. It might seem like semantics to call ska one thing (the predominant music of 1963-1966 Jamaica) and to say, therefore, that what non-Jamaicans are doing in the revivals inspired by ska to be not be ska. But the issue is not to say we can't ever call two-tone onwards as "ska" for some purposes; we certainly can, but still must notice that it is really different musical style. Ska is not just what a guitar does, and I don't even think it's primarily that. Two Tone bands got the whole thing different, and were coming at it with a different aesthetic. At that point, I think it's not helpful to confound ska with two tone and rock-derived musicians' stuff. Not only is ska a downstroke, but it lacks that sort of empty/muted downbeat you're doing. It's a more sustained sound, and a different tone. It's the full chord. It's Jah Jerry saying that his favorite music was Jazz/Swing and R&B. And it's an interaction with the real ska drums of Lloyd Knibb. It's the dance, at "march tempo" (120 BPM). It's the layered relationship of rhythms in the JA grooves where guitar is not *really* an upbeat but a downbeat on its own timeline in relation to the buru drums' "drop." It's a "bang" or a "chop." (Who chops upwards?) Transformed to an upstroke, it's like one is chopping something muted (banging the hand down) and then the chord comes as an after thought. I get the idea that a faster tempi make that strumming with an upstroke (among other things) more practical, but I feel in this context that a firmer distinction should be made-- one music versus another music -- rather than the language of "traditional" which makes it seem like one long connected thing. The people in Two Tone and after are either blending all JA genres of the past in a non descriptive way or simply had/have no knowledge of how to do things. It's not like "ska guitar players" were one body of people who evolved and as tempo increased they adapted their style. Instead, it was one set of people making one music, and then a very different set of people making a different music. The latter had a relatively superficial understanding that they wanted to play offbeats and that that would get them close to what they were perceiving to be important--in the process, somewhat reducing "ska - rocksteady - reggae" to the perception that offbeat guitar strokes (period) make them what they are. That might as well be polka. Thought another way, once you move the tempo so fast that the upstroke is "necessitated," you've lost the ska. You've lost the dance and the feeling that made ska. We can still call it ska just to have a word to use, but if we're getting into music at this level then I think to collapse the differences is a mistake.
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Thank you. 😊
Glad it’s useful!
Good lesson! Anyone ever tell you that you look like the singer of A Wilhelm Scream?
Haha no but I can see the resemblance somewhat
Unfortunately your right hand mostly isn't visible.
Im a rude boy,im into The specials,the selector,madness,the beat,2 tone music,and i like origional ska Desmond dekkor,peter tosh,toots and the maytels,but heres my point first wave ska in jamaica came over to london in ghe 60s and braught thir ska music,and it caught on the 2nd wave,the specials,the beat etc,2 tone ska got major hits,but my point the specials have ska songs and reggae songs,the 2nd wave fused origional ska with punk in the 80s,then after 3rd wave the englush ska bands had success but the best was 2nd wave the specials,a fusion of ska and punk and reggae,great music S"KAD 4 LIFE🏁🏁GREAT LESSON👍👍
Appreciate it, Pauly!
Good work here!! Do not waste another day > Promo'SM !!
It's all downstrokes for Jamaican musicians. It might seem like semantics to call ska one thing (the predominant music of 1963-1966 Jamaica) and to say, therefore, that what non-Jamaicans are doing in the revivals inspired by ska to be not be ska. But the issue is not to say we can't ever call two-tone onwards as "ska" for some purposes; we certainly can, but still must notice that it is really different musical style. Ska is not just what a guitar does, and I don't even think it's primarily that. Two Tone bands got the whole thing different, and were coming at it with a different aesthetic. At that point, I think it's not helpful to confound ska with two tone and rock-derived musicians' stuff. Not only is ska a downstroke, but it lacks that sort of empty/muted downbeat you're doing. It's a more sustained sound, and a different tone. It's the full chord. It's Jah Jerry saying that his favorite music was Jazz/Swing and R&B. And it's an interaction with the real ska drums of Lloyd Knibb. It's the dance, at "march tempo" (120 BPM). It's the layered relationship of rhythms in the JA grooves where guitar is not *really* an upbeat but a downbeat on its own timeline in relation to the buru drums' "drop." It's a "bang" or a "chop." (Who chops upwards?) Transformed to an upstroke, it's like one is chopping something muted (banging the hand down) and then the chord comes as an after thought.
I get the idea that a faster tempi make that strumming with an upstroke (among other things) more practical, but I feel in this context that a firmer distinction should be made-- one music versus another music -- rather than the language of "traditional" which makes it seem like one long connected thing. The people in Two Tone and after are either blending all JA genres of the past in a non descriptive way or simply had/have no knowledge of how to do things. It's not like "ska guitar players" were one body of people who evolved and as tempo increased they adapted their style. Instead, it was one set of people making one music, and then a very different set of people making a different music. The latter had a relatively superficial understanding that they wanted to play offbeats and that that would get them close to what they were perceiving to be important--in the process, somewhat reducing "ska - rocksteady - reggae" to the perception that offbeat guitar strokes (period) make them what they are. That might as well be polka. Thought another way, once you move the tempo so fast that the upstroke is "necessitated," you've lost the ska. You've lost the dance and the feeling that made ska. We can still call it ska just to have a word to use, but if we're getting into music at this level then I think to collapse the differences is a mistake.