Contents: Introduction; Jamaica's first recording studio; The demand for new styles of recorded music; Establishing an internationally competitive recording model; Establishing a Jamaican sound; The 1970s-1980s: a period of dramatic change; Drum machines and synthesisers: the serial recording model; The riddim production method: the audio engineer as music arranger; Computer-based recording and the multi-role producer in the 1990s; A Jamaican recording studio ethnography; Conclusion; Appendices; Select bibliography; Index.
Ray Hitchins has worked in the Jamaican music industry since 1981. In addition to his credits as a touring and studio musician, he ran a successful Kingston-based production company and in 2011 completed a PhD in ethnomusicology at Leeds University. He currently lectures at The University of the West Indies, Jamaica.
'Working as a session musician in Jamaica since the early 1980s, Ray Hitchins is uniquely placed to comment on the island's studio practices. ... Hitchins interviewed key studio personnel to shed new light on the evolution of reggae and dancehall, forming the basis for this accessible book. Vibe Merchants sheds much new light on the early days of the Jamaican recording industry ... Honing in on errors in the existing literature he calls for a new understanding of the Jamaican recording studio aesthetic'. MOJO Magazine '... one of the most convincing and enjoyable traits of his book is the natural familiarity and the deep comprehension with which the author presents how music is actually made, i.e. turned into records, in studios in general, and in Jamaican ones in particular. This enables him to offer significant contributions to both research fields within which his work is inserted. ... Hitchins provides for the first time detailed and contextualized descriptions of recording and mixing sessions, giving an extremely clear picture of how music is made in Jamaica. ... a must-read for anyone interested in Jamaican popular music'. Volume!