Combination (reggae)

See also: Combination

Une combination (of the English word meaning combination ) indicates in Reggae a duet in studio between a singer and a Deejay.

The combinations appeared at the end of the years 1980 when they were sails particularly about it (duets Cocoa Tea/Shabba Ranks, Beres Hammond/Buju Banton, Marcia Griffiths/Cutty Ranks). They rest on the complementarity and contrast between the voice soft and posed of the singer and that more raucous and aggressive of the deejay.

The appearance of the combinations was made possible by the equality of statute between singer and deejay since 1980 and the period rub has dub. Before that, the singer had priority on the deejay, i.e. a deejay could be posed on a Riddim only after one singer already realized a piece above and the duets singer/deejay were then inenvisageables.

The combinations are not always of true duets of studio: it happens that the part of the deejay is added after and on an already existing piece. Nevertheless, it is made so that this duet " décalé" appears to be a true duet of studio (coherence of the additions of the deejay with respect to the original text). There exist two versions of the piece then: the original sung piece and the piece in combination which is sometimes renamed (example of the " Tempted To Touch" of Beres Hammond which is used as a basis for the " Coil Mi Haffee Get" of Beres Hammond and Cutty Ranks).

If the combinations are generally carried out only in an occasional way, the deejay and the singer carrying out a career solo each one on their side, some duets however specialized exclusively in it like Chaka Demus & Pliers (" Murder She Wrote" , 1993) or Tanto & Devonte (" Everybody Fall In Love" , 1998).

Any piece of reggae former to 1986/1987 presenting the voices of a singer and a deejay are not (except rare exceptions, for example: Long Time Me Nah Rub You Ina Dance of Linval Thompson and Trinity) considered as true combinations. They are generally versions deejay based on a piece Dub Be initially sung and whose still some “scraps” of the voice of the singer remain. But, on the one hand, no duet in studio between the singer and the deejay occurred, on the other hand, the vocal part of the singer is not left in integrality, only some bits occur in a random way.

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