Editing Ska (section)

===Jamaican ska===
{{Music of Jamaica}}
[[File:Backbeat chop.png|thumb|right|350px|Quarter note "[[skank (guitar)|skank]]" guitar rhythm,<ref>Snyder, Jerry (1999). ''Jerry Snyder's Guitar School'', p.28. {{ISBN|0-7390-0260-0}}.</ref> named [[onomatopoeia|onomatopoetically]] for its sound. {{audio|Skank on Em64.mid|Play}}]]
[[File:Ska-Rock Steady on D and Em64.png|thumb|right|350px|Eighth note skank rhythm<ref>Johnston, Richard (2004). ''How to Play Rhythm Guitar'', p. 72. {{ISBN|0-87930-811-7}}.</ref> {{audio|Ska-Rock Steady on D and Em64.mid|Play}}]]
After [[World War II]], [[Jamaicans]] purchased radios in increasing numbers and were able to hear [[rhythm and blues]] music from the [[Southern United States]] in cities such as [[New Orleans]] by artists such as [[Fats Domino]], [[Barbie Gaye]], [[Rosco Gordon]] and [[Louis Jordan]]<ref>{{cite book |last=Chen |first=Wayne |title=Reggae Routes |publisher=Temple University Press |year=1998 |url=https://archive.org/details/reggaeroutesstor00chan |url-access=registration |page=[https://archive.org/details/reggaeroutesstor00chan/page/30 30] |isbn=1-56639-629-8}}</ref> whose early recordings all contain the seeds of the "behind-the-beat" feel of ska and reggae.<ref>Kauppila, Paul. 
"From Memphis to Kingston: An Investigation into the Origin of Jamaican Ska" Social and Economic Studies. SJSU Scholarsorks (2006): 75-91.</ref>  The stationing of American military forces during and after the war meant that Jamaicans could listen to military broadcasts of American music, and there was a constant influx of records from the United States. To meet the demand for that music, entrepreneurs such as [[Prince Buster]], [[Coxsone Dodd]], and [[Duke Reid]] formed [[Reggae sound system|sound systems]].

As the supply of previously unheard tunes in the [[jump blues]] and more traditional R&B genres began to dry up in the late 1950s, Jamaican producers began recording their own version of the genres with local artists.<ref name="AMG" /> These recordings were initially made to be played on "soft wax" (a lacquer on metal disc acetate later to become known as a "dub plate"), but as demand for them grew eventually sometime in the second half of 1959 (believed by most to be in the last quarter) producers such as Coxsone Dodd and Duke Reid began to issue these recording on 45&nbsp;rpm 7-inch discs. At this point, the style was a direct copy of the American "shuffle blues" style, but within two or three years it had morphed into the more familiar ska style with the off-beat guitar chop that could be heard in some of the more uptempo late-1950s American rhythm and blues recordings such as Domino's "[[Be My Guest (Fats Domino song)|Be My Guest]]" and Barbie Gaye's "[[My Boy Lollypop]]", both of which were popular on Jamaican [[Sound system (Jamaican)|sound system]]s of the late 1950s.<ref name=henry>[https://www.jamaica-land-we-love.com/jamaican-ska-music.html  Ricardo Henry, "Jamaican Ska Music{{dash}}Made For Dancing",  ''jamaica-land-we-love.com''] {{Webarchive|url=https://web.archive.org/web/20190703001824/https://www.jamaica-land-we-love.com/jamaican-ska-music.html |date=3 July 2019 }}. Retrieved 3 July 2019</ref> Domino's rhythm, accentuating the offbeat, was a particular influence.<ref>{{cite book |last=Coleman |first=Rick |title=Blue Monday: Fats Domino and the lost dawn of rock 'n' roll |publisher=Da Capo Press |page=[https://archive.org/details/bluemondayfatsdo00colem/page/210 210] |year=2006 |url=https://archive.org/details/bluemondayfatsdo00colem |url-access=registration |isbn=0-306-81491-9}}</ref>

This "classic" ska style was of bars made up of four triplets but was characterized by a [[guitar chop]] on the [[Off-beat (music)|off beat]]—known as an upstroke or 'skank'—with horns taking the lead and often following the off-beat skank and piano emphasizing the bass line and, again, playing the skank.<ref name="Britannica" /> Drums kept [[4/4 time|{{music|time|4|4}} time]] and the bass drum was accented on the third beat of each four-triplet phrase. The snare would play side stick and accent the third beat of each 4-triplet phrase.<ref name="Britannica" /> The upstroke sound can also be found in other [[Caribbean]] forms of music, such as [[mento]] and [[Calypso music|calypso]].<ref name="Nidel_WM">{{cite book |last=Nidel |first=Richard O. |title=World Music: The Basics |year=2005 |publisher=Routledge Taylor and Francis Group |location=[[New York City|New York]], [[New York (state)|New York]] |isbn=0-415-96800-3 |page=[https://archive.org/details/worldmusic00rich_0/page/282 282] |url=https://archive.org/details/worldmusic00rich_0/page/282 }}</ref> [[Ernest Ranglin]] asserted that the difference between R&B and ska beats is that the former goes "''chink''-ka" and the latter goes "ka-''chink''".<ref name="Oral" />

Famous ska band the [[Skatalites]] recorded "Dynamite", "Ringo" and "Guns of Navarone".<ref>[https://web.archive.org/web/20220607103447/https://secondhandsongs.com/performance/63999/versions  Skatalites Guns of Navarone] Retrieved 7 June 2022</ref> One theory about the origin of ska is that Prince Buster created it during the inaugural recording session for his new record label Wild Bells.<ref name="Nidel_WM" /> The session was financed by Duke Reid, who was supposed to get half of the songs to release. The guitar began emphasizing the second and fourth beats in the bar, giving rise to the new sound. The drums were taken from traditional Jamaican drumming and marching styles. To create the ska beat, Prince Buster essentially flipped the R&B shuffle beat, stressing the offbeats with the help of the guitar. Prince Buster has explicitly cited American rhythm and blues as the origin of ska: specifically, [[Willis Jackson (saxophonist)|Willis Jackson]]'s song "Later for the Gator" (which was Coxsone Dodd's number one selection).

The first ska recordings were created at facilities such as [[Ken Khouri|Federal Records]], [[Studio One (record label)|Studio One]], and WIRL Records in [[Kingston, Jamaica]] with producers such as Dodd, Reid, Prince Buster, and [[Edward Seaga]].<ref name="Nidel_WM" /> The ska sound coincided with the celebratory feelings surrounding Jamaica's independence from the UK in 1962; an event commemorated by songs such as [[Derrick Morgan]]'s "Forward March" and [[the Skatalites]]' "Freedom Sound".

Until Jamaica ratified the [[Berne Convention for the Protection of Literary and Artistic Works]], the country did not honor international music [[copyright]] protection. This created many cover songs and reinterpretations. One such cover was [[Millie Small]]'s version of the R&B/shuffle tune, "My Boy Lollypop", first recorded in New York in 1956 by 14-year-old [[Barbie Gaye]].<ref name=tele>{{cite news |title=Chris Blackwell interview: Island Records |date=20 May 2009 |url=https://www.telegraph.co.uk/culture/music/rockandpopfeatures/5356523/Chris-Blackwell-interview-Island-Records.html |first=Andrew |last=Perry |work=The Daily Telegraph |location=UK |access-date=28 May 2010 |archive-date=22 May 2010 |archive-url=https://web.archive.org/web/20100522040122/http://www.telegraph.co.uk/culture/music/rockandpopfeatures/5356523/Chris-Blackwell-interview-Island-Records.html |url-status=live }}</ref><ref>Stratton, Jon (2014) "When Music Migrates: Crossing British and European Racial Faultlines, 1945–2010" England: Ashgate. {{ISBN|978-1-4724-2978-0}}</ref> Small's rhythmically similar version, released in 1964, was Jamaica's first commercially successful international hit. With over seven million copies sold, it remains one of the best selling reggae/ska songs of all time. Many other Jamaican artists would have success recording instrumental ska versions of popular American and British music, such as [[The Beatles|Beatles]] songs, [[Motown]] and [[Atlantic records|Atlantic]] [[soul music|soul]] hits, [[movie]] theme songs and instrumentals (007, Guns of Navarone). [[The Wailers (1963–1974 band)|The Wailers]] covered the Beatles' "[[And I Love Her]]", and radically reinterpreted [[Bob Dylan]]'s "[[Like a Rolling Stone]]". They also created their own versions of Latin-influenced music from artists such as [[Mongo Santamaría]].<ref name="Augustyn 2013">{{cite book |last=Augustyn |first=Heather |title=Ska: The Rhythm of Liberation |year=2013 |publisher=Rowman & Littlefield |location=New York City, NY |isbn=978-0-8108-8449-6 |url=https://rowman.com/ISBN/9780810884496 |access-date=28 November 2013 |archive-date=3 December 2013 |archive-url=https://web.archive.org/web/20131203014635/https://rowman.com/ISBN/9780810884496 |url-status=live }}</ref> The Skatalites, [[Lord Creator]], [[Laurel Aitken]], Roland Alphonso, [[Tommy McCook]], [[Jackie Mittoo]], [[Desmond Dekker]], and [[Don Drummond]]<ref>{{cite web |url=http://reggae-steady-ska.com/interview-with-heather-augustyn/ |title=Don Drummond Biography{{dash}}Interview with Author Heather Augustyn |publisher=Reggae Steady Ska |date=13 September 2013 |access-date=13 December 2019 |archive-date=13 December 2019 |archive-url=https://web.archive.org/web/20191213095821/https://reggae-steady-ska.com/interview-with-heather-augustyn/ |url-status=live }}</ref> also recorded ska.

[[Byron Lee & the Dragonaires]] performed ska with Prince Buster, [[Eric "Monty" Morris]], and [[Jimmy Cliff]] at the [[1964 New York World's Fair]]. As music changed in the United States, so did ska. In 1965 and 1966, when American soul music became slower and smoother, ska changed its sound accordingly and evolved into [[rocksteady]].<ref name="Nidel_WM" /><ref name="Moskowitz_06">{{cite book |last=Moskowitz |first=David V. |title=Caribbean Popular Music |year=2006 |publisher=Greenwood Press |location=[[Westport, Connecticut|Westport]], [[Connecticut]] |isbn=0-313-33158-8 |page=270}}</ref> However, rocksteady's heyday was brief, peaking in 1967. By 1968, ska evolved again into reggae.