Fair enough.

My sources:
Bradley, Lloyd. This is Reggae Music: The Story of Jamaica's Music. New York: Grove, 2000.
Chang, Kevin O' Brien and Wayne Chen. Reggae Routes: The Story of Jamaican Music. Philadelphia: Temple U.P., 1998.
Dawes, Kwame. Natural Mysticism: Towards a New Reggae Aesthetic. London: Peepal Tree, 1999.
Stolzoff, Norman C. Wake the Town & Tell the People: Dancehall Culture in Jamaica. Durham: Duke U.P., 2000.

What are yours?

Or are you disagreeing with me because in my haste I left out a couple of things - The rise in popularity of rock and roll reduced the number of R&B records on the American market, which was another reason the Jamaicans shifted to domestic production.

And Marley was involved even in the 50's - he worked for one of the producers listed above (I forget which one). His job was to listen to American records and pick out the ones that Jamaican audiences would like the best. This may prefigure the fact that he wound up having a far more internationalist take on music than any other Jamaican musician of his time - he did, after all, nickname his son after a David Bowie album. His western outlook, though, precluded any of his post-Wailers material from becoming particularly popular on the Jamaican market - he's revered as a sort of human demigod there, not as a beloved singer and songwriter.

rude boy is also in grad school studying the history of jamaican music.