Kolohe Kai - This Is The Life.rar
Reggae is a rapidly evolving genre. While many tend to associate reggae with the style of music that was produced in Jamaica during the 1970's, the reggae of today carries a much different sound. So much has changed in our world since then and especially the technology to record, listen, and share music, creating a drastically different music-scape than what existed 40 years prior. In this day and age, the sounds of reggae have progressed tremendously through the fusion of all types of styles and genres. The sounds that fall under the category of contemporary reggae are an incredibly wide array of music. Rebelution (Rock Reggae), Groundation (Jazz Reggae), Fat Freddys Drop (Electronica Reggae), Damian Marley (Hip Hop Reggae), Sizzla (Dancehall Reggae), Common Kings (Pop Reggae), and Passafire (Metal Reggae) are just a few of the many different sides of the genre, one that continues to demonstrate its innovation and depth. Below are some of the fresher sounds of reggae music, as you'll hear, it is an extremely diverse mix that now is categorized as reggae.
Kolohe Kai - This Is The Life.rar
From a musical standpoint, it's critical that we understand exactly what classifies Hawaiian reggae and what distinguishes it from other versions of reggae around the world. Also it's important to be aware that in Hawaiʻi, it's a wide range of both native Hawaiian and non-Hawaiian people from various ethnic backgrounds who are playing and making reggae music that is considered Hawaiian reggae. Thus, I would like to clarify that when I cite Hawaiian reggae or the Oceanic context, I am referring to these terms as places and not races (unless otherwise stated). Hawaiian reggae then for the purposes of this site, is any variation of reggae music being produced by people who are located and rooted in Hawaiʻi.
What we do know is that there is something different about this music, not only geographically speaking, but stylistically, linguistically, musically, and lyrically. With this comes the vast array of social, physical, political, economic, and other influences that shape these musical forms and practices, creating a unique version of reggae that has a sound and feel that could only be Oceanic. It is the in depth analysis of this music that will also help to provide insight into the issues of culture, identity, and ideology that are negotiated within the sounds themselves.
Before we get started I would like to state that personally, I do not consider Jawaiian and Hawaiian Reggae the same type of music. In my humble opinion, Jawaiian is a style of music that has a relatively generic, basic, and easy flowing reggae beat that is typically a love song or contains lyrical content that is depoliticized or care free. In contrast, I consider Hawaiian reggae to be more intricately constructed music with more advanced musicianship and arrangements that carries a much more potent message. This is a very contestable idea as many people have their own different perspectives on how the styles are categorized. Whats interesting is that because both styles of music are popular here in Hawai'i, it's not uncommon to see artists that produce both types of music. After conducting the historical research for this project, it sounds like in the earlier years Jawaiian was more of the dominant style where as now the music seems to favor more of the Hawaiian reggae sound, though both have their place in the past and present day music-scape. (Please note that this could be a masters thesis topic within itself and is not the focus of this section or site).
Music critics sometimes identify vocal harmonies and melodies, in addition to rhythmic elements of this music, as giving the sound a distinctive local identity. Others, such as island music specialist Philip Hayward, have noted that Pacific Island reggae artists have developed a style with a squarer rythmic structure. The single most prominent trait of standard reggae is the emphasis on beats two and four, providing the characteristic "laid-back feel". While these beats are still important in Oceanic/Hawaiian reggae, guitar and ukulele and other percussion often fill in the space, creating a more fluid and squarer flow.