Recently, my colleague Clyde McKenzie rationalised the dearth of good lyrics in reggae, as a consequence of the successful conclusion of the era of epic global struggles against inequities such as racial prejudice, and the oppression of indigenous peoples, as well as, injustices such as apartheid and colonialism. These were atrocities against which, as a people, Jamaicans were unified.

This opposition inspired many of our songwriters and reggae musicians, from the 60s through to the 90s, to create some of the great, timeless worldwide anthems; the rallying cry for various liberation and human/civil rights movements demanding change, international human rights, peace and justice. We can proudly claim to have been on the right side of world history, on all these issues, and played a critical role in their resolution that belies our small size. ‘Wi likkle but wi tallawah!’

This established a tradition, making reggae unique and famous among other musical pop forms, for its universal viewpoint, the absence of narcissism and nihilism, thus driving its penetration of the global marketplace.

McKenzie reasoned that presently, there is no such overwhelming global issue on which to concentrate our focus and creativity. Now it seems, there is a lull in our interest in world affairs, as evidenced by the lack of commentary in our songs, on matters that, in a previous generation, may have arrested the attention of our artistes.

Conversely, in France I was asked what has changed in the Jamaican society, especially among the Rastafari bredrin, diluting the potency of our lyrics, even from our roots reggae artistes, replaced by the relatively recent onslaught of narcissism and anarchic tendencies, especially in the Dancehall genre.

This was juxtaposed against dancehall artistes from African countries and French territories, whose lyrics are still in that traditional mould of social commentary on contemporary issues, and who are reaping the resultant success and rich rewards in the European marketplace. That has prompted me to examine McKenzie’s analysis from another perspective, looking inwardly at changes in our socio-cultural impulses and their causative factors. There is no doubt in my mind, that in so far as the music fraternity is concerned, our modus operandi for grooming, educating and socialising our artistes and musicians have drastically changed.

Today, unfortunately, the youths are adversely affected by the lack of informal interaction with the more experienced members of the fraternity, or from the wisdom of elders and gurus like Mortimer Planno and Brother Sam Brown. They enter the world stage, uninitiated in its wiles and mores, and without a worldview, grounded in our history and culture, and fortified by knowledge of one’s self-identity.

In this void, substituted by the sycophantic entourage, there is an absence of the traditional ‘reasonin with seasonin’, within the industry, about global affairs, leaving our local artistes largely uninformed. Despite this, there are some crucial issues on which the attention of the world is riveted, such as the Palestinian question, which sits at the core of many of the geo-political events now playing out in the Middle East, and the twin issue of global warming/environmental protection, that beg attention of the creative genius of our artistes and songwriters. Another matter of profound dimension and consequence for our own industry is the prediction by economists that the world is facing another five years of economic stagnation.

This means that the ranks of the unemployed are going to swell, and the standard of living for many people is going to be lowered, while simultaneously, the world witnesses the greatest accumulation and concentration of personal wealth.

This means that the ranks of the unemployed are going to swell, and the standard of living for many people is going to be lowered, while simultaneously, the world witnesses the greatest accumulation and concentration of personal wealth.

Already reeling from the effects of the recession, with a growing despondency and alienation from their society, the youths and under-privileged of Europe are searching for inspirational music in their quest for identification with some positive force in their lives. As Bob Marley would say ‘come wi go chant down Babylon one more time’. It is time for Jamaican reggae music to re-take its mantle, begin to identify with and sing about the daily struggles of these segments of the world’s populations, who are crying out for a voice to articulate their needs, frustrations and causes. But I guess that the Jamaican society may first need to rediscover its soul. After all, that’s the well from which all our artistes and musicians spring. In fact, even in our still fiercely tribalised society, it may be a most opportune time, given that the yoke of gangsterism has recently been tentatively broken, providing our artistes with a greater feeling of personal security and less fears of recrimination, victimisation or persecution for exercising their freedom of expression. It might yet be the breathing space we need, to spur an outpouring of suppressed, but deeply held views on the state of the nation and world at large. Who knows?

Email:che.campbell@gmail.com