Pressure Drop Reggae in the Seventies
Pressure Drop Reggae in the Seventies by John Masouri, published by Omnibus Press in 2024, offers a comprehensive exploration of reggae’s influential decade. This 624-page book delves into a period often overshadowed by glam rock, disco, and punk, presenting reggae as a narrative filled with triumphs, spiritual journeys, and notable conflicts. Masouri utilizes extensive research, archival photographs, and firsthand accounts from prominent figures in the reggae scene, including Burning Spear, Jimmy Cliff, and Bob Marley, to illuminate the genre’s rich history.
Readers will find an in-depth examination of key singles, albums, and the various artists, producers, and musicians who shaped reggae during the 1970s. The book also highlights the essential venues, sound systems, and radio stations that contributed to the genre’s global reach. By weaving together these elements, Masouri provides a detailed account of reggae’s cultural significance, which UNESCO has recognized as an “intangible cultural heritage of humanity.” This edition serves as a vital resource for those interested in music history and the evolution of musical genres, particularly within the Caribbean and West Indies context.
Official synopsis Publisher
“Pressure Drop is a major account of reggae’s pivotal decade, upturning notions of a period seemingly defined by glam rock, disco and punk. Reggae’s story is one of triumphs, spiritual quests, feuds, betrayal, heartbreak and near misses, musical or otherwise. John Masouri brings this story to the fore through extensive research, archival photos and eyewitness accounts, as fold to him during interviews with the likes of Burning Spear, Chris Blackwell, Gregory Isaacs, Bunny Wailer, Jimmy Cliff, Black Uhuru, U-Roy, Lee ‘Scratch’ Perry, Augustus Pablo, Toots and the Maytals, Desmond Dekker, Sly & Robbie, Dennis Bovell, Don Letts and members of the Specials, as well as first-hand anecdotes of Bob Marley and Peter Tosh. Elsewhere, the emphasis is on the era’s key singles and albums, the studios, the producers, artists and musicians responsible for their success, and the clubs, sound systems, radio stations and record companies who all played a part in ensuring that reggae music was heard by audiences around the world. Fifty years later UNESCO has declared it to be an ‘intangible cultural heritage of humanity’. This is the definitive account of reggae in the seventies.” —
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