![]() Sly & Robbie ushered in the Dancehall era with their increasingly experimental vibe. Everyone saw what they had done with Grace Jones and they wanted in on the action. It wouldn’t be long before Sly & Robbie were taking command of the Reggae charts with massive tunes for their own “Taxi” label, for Island Records and several mainstream acts. Unlike the Rhythm King, The Simmons SDS3 produced electronic sounds from actual drum pads, giving live players a new edge. Adding to that was a Simmons Drum Synthesizer Sly Dunbar brought through. Sessions at Chris Blackwell’s Bahama based studio afforded them access to some of the latest technological weapons. ![]() The computerized timing however, would often conflict with the organic Roots groove, and it soon fell out of favor.ĭuring the 1980’s forward-thinking producers Sly & Robbie, began to introduce the electronic sounds that would eventually give rise to Reggae’s digital revolution. ![]() The Maestro Rhythm King was a standalone, programmable box which introduced the computerized aesthetic into Reggae’s soundscape. They would even get Reggae’s biggest star, Bob Marley to incorporate some of it into his recordings. Reggae music’s introduction to electronic drums first came via Lee Scratch Perry and bassist Aston Barrett in 1973. ![]()
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