Abstract
Jamaica has had an unusual output of genre and record production relative to the size of its population. The narratives of singers reveal some aspects of the phenomenal growth of the recording industry from 1957 to 1979; however, studio musicians' narratives provide unique insight into the organization of manpower required for the large creative output that resulted in the establishment of three genres: ska, rocksteady and reggae. This paper outlines how studio musicians organized themselves as a workforce in response to the constraints of society at that time, and to the needs of the emergent recording industry in Jamaica.- The author retains copyright over the work.
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