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The term "riddim" is the Jamaican Patois pronunciation of the English word "rhythm".The derived genre originally stemmed from dub, reggae, and dancehall.Although the term was widely used by MCs since the early days of dancehall and garage music, it was later adopted by American dubstep producers and fans to describe what was originally referred to as "wonky dubstep".
The song is significant for giving rise to perhaps the most popular reggae riddim of all time, having been versioned hundreds of times by artists including The Clash, KRS-One and 311. [3] According to a 2004 The New York Times article, C. Dodd considered the song his crowning achievement.
"Sleng Teng" is the name given to one of the first fully computerized riddims, influential in Jamaican music and beyond. The riddim, which was the result of work by Noel Davey, Ian "Wayne" Smith, and Lloyd "King Jammy" James, was first released with Wayne's vocals under the title "Under Mi Sleng Teng" in early 1985.
In Jamaican dancehall music, a riddim is the instrumental accompaniment to a song and is synonymous with the rhythm section. Jamaican music genres that use the term consist of the riddim plus the voicing (vocal part) sung by the deejay. A given riddim, if popular, may be used in dozens—or even hundreds—of songs, not only in recordings but ...
In 1983, Riley topped the UK reggae chart with his version of Marvin Gaye's "Sexual Healing". [6] [7] In the late 1980s, Riley moved to Miami, and put his career on hold, but returned to Jamaica in the early 1990s. Riley's son Tarrus followed him into music and the success of Tarrus gave a boost to Jimmy's career. [8]
"Stalag 17" was a big seller in Jamaica. [4] Other artists started to use it on b-sides of records for dub instrumentals. Stalag Riddim was used for songs by General Echo, Barrington Levy, Big Youth, and Prince Far I. [5] In 1980, The Wailers played Stalag Riddim as an introduction on the Uprising Tour. Keyboardist Tyrone Downie chanted "Marley!"
The New York Times described the song as "one of the most popular reggae rhythms of all time, spawning hits, sequels and – inevitably – rip-offs. If ever there was a beat that deserved its own Behind the Music, this is it." Similarly, the album was heralded as the best reggae album released in 2002. [2]
In 1976, The Revolutionaries attained further respect from the Sound System and dub fraternity when they recorded a track named after author Alex Haley's character, Kunta Kinte, which would become one of reggae music's most recognisable riddims and which for many years was only played by selected sound systems on dubplate. [2]