![]() ![]() ‘Til Shiloh proved that dancehall was an adaptable sound that could live in harmony with reggae. Crucially, it allowed for many to see that dancehall needn’t remain reggae’s rowdy, younger kin. ‘Til Shiloh was a bridge: it combined digital programming with roots reggae-inspired instrumentation (like acoustic guitars and Nyabinghi drums specifically used by the Rastafari community) that calls back to the motherland that Banton was longing for. As the genre entered the 90s, technology began to replace live recording. ![]() With the assistance of local producers Donovan Germain, Lisa Cortes Bobby ‘Digital’ Dixon, Dave Kelly, Sylvester Gorton, and Steely & Clevie, Banton transformed the sound of dancehall with ‘Til Shiloh. ![]()
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