Lyrics, Song Meanings, Videos, Full Albums & Bios: Tempted To Touch, They Gonna Talk, I Feel Good.

•Aston 'Family Man' Barrett is much more than just one of the most renowned reggae bass players of all time. As the bassist of choice for Bob Marley and the Wailers from 1969 up until Marley's untimely passing, Barrett acted as chief musical arranger and bandleader for the Wailers, greatly altering the course of reggae in the process. He has also been one of the most important Jamaican session musicians, beginning with the Hippie Boys in the late 1960s, and after helping reggae to become better established internationally as a member of Lee 'Scratch' Perry's Upsetters band, he also performed bass duties for a range of noteworthy producers, including Bunny Lee and Keith Hudson, among many others. What is less known, but equally important, is that Family Man produced some of the most challenging and experimental reggae of the 1970s and 80s, issuing unique works in small quantity in Jamaica on a range of short-lived record labels. Soul Constitution collects the best of Family Man's instrumental and dub output, issued between 1972 and 1982. Aside from a few early tracks recorded at Randy's studio in the heart of downtown Kingston, much of the work was crafted at the rehearsal room of the original Tuff Gong, based at Marley's uptown home at 56 Hope Road; some of these works have the very first instances of a drum machine being used in reggae, and all are marked by the supreme musicianship and unorthodox production techniques that has made Family Man's releases greatly prized by reggae collectors.

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Several of the tracks are appearing for the first time on long-playing LP and CD format, and most come complete with stripped-down dub counterparts.

Riddim is the pronunciation of the English word '. In,,,, and parlance it refers to the instrumental accompaniment to a song. These genres consist of the riddim plus the 'voicing' (vocal part) sung by the. The resulting song structure is distinctive in many ways. A given riddim, if popular, may be used in dozens—or even hundreds—of songs, not only in recordings but also in live performances.

Since the 1970s, riddims have accompanied reggae music and through the 1980s, more widely known as dancehall. As seen in dancehall music, there is a voicing part - sung by the DJ - over some riddim that has probably been widely used in many other songs. There is a unique establishment in the combination of riddims and voicing. This redistribution of riddims creates a complexity of diasporic transference through the constant re-versions which could be comparable to hip-hop’s use of sampling. The situation is certainly different than with U.S. Hip-hop as the redistribution of riddims is relative to the Jamaican culture that relied heavily on sound systems and studio production. With redistribution, there has been a tricky history with copyright laws in Jamaica.

Since the culture heavily relied on sound systems and vinyl records since the early beginning, there was not a heavy implementation of copyright protections. Throughout the 70s and 80s, there still remained no formal copyright system, as the work of producers on various records remained often anonymous. By 1993, Jamaica finally established a copyright act, but producers still face difficulty in establishing profit. Through proper registration, many artists now work on negotiating their royalties and taking it more seriously. The unique nature of Dancehall and riddims have been highly influential on the numerous remixes that now circulate R&B and hip-hop music. Some classic riddims, such as 'Nanny Goat' and 'Real Rock' both produced by, are essentially the accompaniment tracks of the original 1960s reggae songs with those names. Since the 1980s, however, riddims started to be originally composed by producers/beatmakers, who give the riddims original names and, typically, contract artists to voice over them.