You think of Sounds and the things that spring to mind would be Oi! and Bushellism, and the New Wave of British Heavy Metal. And maybe if you knew your British rock paper history, you would also think about Jon Savage and New Musick, and the "grey overcoat" Fac-loving thing associated with Dave McCullough, at least until he flipped for Postcard and his own version of poptimism.
But alongside all that - the many flavours of ROCK - Sounds consistently covered reggae and dancehall. Put Jamaican and Black British artists on the cover.
(They also covered funk and soul, did pieces on early rap and hip hop).
NME was probably even better at covering these areas, but Sounds did a creditable job.
Especially considering this was verily the Dark Age of Rockisme. Or so we are told.
A lot of the late '70s coverage is coming from Vivien Goldman, before she jumped to first Melody Maker and then to NME. But there were other writers who kept it going deep into the Eighties, including Jack Barron and Edwin Pouncey.
And not just the roots-rock-rebel stuff, they also covered reggae at its poppiest - lover's.
Even Gaz Bushell wrote a bit about reggae now and then
And not just reggae...





















































Just using this post to alert everyone to this gem:
ReplyDeletehttps://www.youtube.com/watch?v=6ETkrPs0HG0&list=RD6ETkrPs0HG0&start_radio=1
(Vivien Goldman on backing vox on that rekkid by the way)
Deletethat's a great tune
DeleteAs you say, very creditable of Sounds and contrary to received impressions about the paper. It used to be well known that the circulation of women's mags like Cosmo would tank if they put a Black face on the cover. I remember NME had the Observer Station column, which I believe was written by Penny Reel. It was impenetrable!
ReplyDeleteYes it was a little in its own private language, the Penny Reel stuff.
DeleteI'm sure Melody Maker then must also have covered reggae quite solidly. Actually one of the best early pieces on dub, from around 75/76, is by Richard Williams of Melody Maker. He really grasps its significance as a musical revolution.