musicology #140

theGood,Bad&theUgly #7

(Ennio Morricone - The Good The Bad & The Ugly (main title)

LISTEN

finishing up this tribute to one of themusicologist’s all time favourite films with the final scene….guns drawn for the finale. don’t know how many of you remember the film in detail but this is shot in the centre of the graveyard. Il Buono has written the name on the stone and it’s waiting there for the victor to claim…as a piece of atmospheric cinema it ranks up there with the best of ‘em and even though I have seen it many times it always has the same sense of drama and anticipation. A large part of that is down to Ennio Moricone’s film score and I would like to pay tribute to the man, (who’s film scores are enough for me to watch any film), by including his work here on the last day.

I won’t lie to you it’s been hard work this week searching through the vaults for diverse tunes that try to capture the essence of the film but most definately worth the effort and something I will be looking at doing again. I have a few ideas for alternative soundtracks so look out for them filed under the ’soundtrack’ category.

musicology #139

theGood,Bad&theUgly #6

(Sidney Bechet & The New Orleans Feetwarmers - Egyptian Fantasy )

LISTEN

penultimate day of the alternative soundtrack and it’s almost over. all three have managed to arrive at the cemetery and it’s time for the showdown. A winner takes all gunfight to the death…no prisoners taken.

Angel Eyes thinks he’s holding all the cards but Blondie has double crossed them both and is still the only one who knows the real name on the grave that contains the Gold. I’ll say no more and leave it to the man himself to elucidate…

the music is courtesy of virtuoso musician Sidney Bechet, (ably backed by ‘The New Orleans Feetwarmers), whose professional career stretches right back to the birth of ‘Jazz’ in New Orleans during the early 1900’s.

Along with ‘Duke’ and ‘Pops’ Bechet is credited with being instrumental, (no pun intended), in the development of the music that we know and love today and a listen to this should give you an indication as to why.

recorded in 1941 he plays both the clarinet and the soprano sax on this one and is joined by ‘The New Orleans Feetwarmers’

Henry Allen, (Trumpet), J.C Higginbotham, (Trombone), James Tolliver, (Piano), Wellman Braud, (Bass) and J.C Heard on drums.

musicology #138

theGood,Bad&theUgly #5

(Dub Organizer - The Herb)

LISTEN

day 5 and the battle’s getting hotter..this section finds Tuco and Blondie back in the saddle together following Angel Eyes’s double cross (who’s expecting that Tuco was ‘taken care of’ back in the ‘pig-sty’)

for themusicologist this piece nails the atmosphere of the whole film in 5 mins of ranking ’spaghetti dub’ and should go some way to providing a showcase of the influence that the films will always have.

the tune itself is courtesy of the UK based Fashion Label and was recorded at, (South London’s), A Class studio in 1997, (30 years after the film), the engineer on the session is the Dub Organizer, (Frenchie?), and it must be Augustus Pablo on the melodica, (no info on the label)

musicology #137

theGood,Bad&theUgly #4

(The Gaturs - Gator Bait)

LISTEN

we've already heard from 'il Buono' and 'il Cattivo' over the preeceding three days and now it's time for 'il Brutto' whose 'nom de plume', (Angel Eyes), seems to be well known to banditos like Tuco Ramirez.

Lee Van Cleef, (il Brutto), was a true veteran of the western genre first appearing in 'High Noon' with Gary Cooper in 1952 he went on to feature in many more such as 'Gunfight at the OK Corral', 'The Man Who Shot Liberty Vallance', 'How The West Was Won', (along with Eli Wallach), and the second in the 'Dollars' trilogy 'For A Few Dollars More'.

as a measure of the mans on screen qualities his name, (along with Clint Eastwood's), was hijacked by Reggae DJ's, (MC's), and claimed as stage names, (Josey Wales too), so you can understand the huge impact these films and actors had on Jamaican music in particular.

todays slice of the musical pie is a quality piece of early 70's New Orleans Funk by little known outfit The Gaturs featuring the keyboard skills of none other than Soul Singer supreme Wilson Turbinton A.K.A 'Willie Tee' whose Mod classic 'Walking Up A One Way Street' is sublime and will definitely get an outing on themusicologist some day...Until then hold this..

musicology #136

theGood,Bad&theUgly #3

(Roland Alphonso & The Beverleys All Stars - The Cat)

LISTEN

day three of the goodbad&ugly theme serves up a pivotal piece of dialogue . it's the bit where Tuco and, (an almost dead), Blondie stumble across the dying Bill Carson who, with his dying breath, tells our man 'Il Buono' the elusive name on the grave.

the music, courtesy of one of Jamaica's greats Roland Alphonso, (along with the Beverly's all stars), was released in the UK the same year as the film 1967..maybe it's just me but I can hear the echoes of the spaghetti western influence creeping in.

musicology #135

theGood,Bad&theUgly #2

(Roy Ayers Ubiquity - Ain’t No Sunshine)

LISTEN

part two of the alternative soundtrack selection finds Blondie, (the good), getting his comeuppance from Tuco, (the ugly), for doublecrossing him, (sounds like Blondie wasn’t listening to Tuco’s threat from round one).

musicology courtesy of Jazz Funkers Ubiquity led by Roy Ayers, Vibraphone virtuoso who was given his first pair of mallets at the tender age of FIVE by the instrument’s undisputed champ Lionel Hampton.

this cut is taken from the 1973 Polydor album Red, Black & Green and is, for themusicologist, as good as the Bill Withers original especially as the piece does what all the best ‘covers’ do…bring something fresh to the table.

musicology #134

theGood,Bad&theUgly #1

(Augustus Pablo - Cassava Piece)

LISTEN

this weeks selection is a project that themusicologist first played around with 10 years ago when the 'techne' was beginning to make it possible to 'mix & blend' media together.

the impact of the spaghetti western on contemporary street culture cannot be overestimated. especially in Jamaica where the 'gun-man' was beginning to dominate in the wild west atmosphere of Kingson's shanty towns.

The Good The Bad & The Ugly, (the third film in the trilogy), was released in Italy at the end of 1966 but took a year to be released around the world, (opening in America in Dec 1967), widely criticised for it's gratuitous violence, (amazing when you consider that Vietnam was in full swing), it was an instant success and inspired a whole generation of youngbloods which continues to this day.

Tarantino called it "the best directed film of all time"

Apart from masterful direction by Sergio Leone it also featured the atmospheric brilliance of Ennio Morricone's soundtrack, (there is very little dialogue in the film), and great performances from the 'Anti-Heroes' Clint Eastwood, Eli Wallach and Lee Van Cleef.

for themusicologist the only film with a comparable impact, (on the streets), was Scarface.

the Kung Fu films of the 70's and early eighties were influential but The Good, The Bad & The Ugly and Scarface are beyond compare when it comes to influence. Nowhere was this more apparent than in Jamaica, especially in directing the music and the cat responsible for cementing this 'gunman style' was none other than Augustus Pablo. this 1972 cut on his brothers Rockers label follows on from the Lee Perry tradition of utilising the western theme andthe only thing left for me to say is...

"when you have to shoot, shoot...don't talk"

musicology #133

instrumentalsweek #6

(Eddie Harris - Listen Here)

LISTEN

finishing up the ‘players’ with this masterpiece from Eddie Harris who, in his own words, defines it as

“A Latin jazz tune for dancing”

taken from his final recording session for Atlantic in April 1967.. reduced from 30 minutes to just over 7, (a mistake in my humble opinion), featuring the combined skills of percussionist’s Ray Barretto & Joe Wohletz, Richard Smith on drums, Melvin Jackson on bass duties, Jodie Christian on Piano and the man himself blowing up a storm on Tenor Sax.

another BIG tune on London’s Rare Groove dancefloors back in 86/7, (as well as being a million seller on initial release)

by the way, tomorrow is the start of a new theme goodbad&ugly, an alternative soundtrack/tribute to one of themusicologists most loved films.

musicology #132

instrumentalsweek #5

(Rupie Edwards All Stars - Your New Love)

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penultimate cut on the players selection and it's another pearl from Jamaica. a Winston Wright organ led version of one of themusicologists favourite pieces of early Reggae, singer Dobby Dobson's top ranking song 'Your New Love'

although a singer of some fine songs Rupie Edwards was and is better known for his skills as a producer, having worked with such luminaries as Johnny Clarke, The Heptones, Gregory Issacs, the great Joe Higgs and foundation DJ's U Roy and I Roy, (to name a few), and his contribution to the development of 'Dub' is sometimes overlooked. before the 'version' became the standard B-Side to every Jamaican 45, Rupie Edwards was experimenting with the instrumental and this one is an example of his capabilities.

(Probable Session Line Up)

Saxophone - Tommy McCook
Trombone - Vin Gordon
Drums - Carlton 'Santa' Davis
Guitar - Hux Brown
Piano - Gladstone 'Gladdy' Anderson
Bass - Clifton 'Jackie' Jackson
Organ - Winston Wright

musicology #131

instrumentalsweek #4

(The J.B’s - Hot Pants Road)

LISTEN

today’s top ranking 1972 cut is courtesy of the hardest working band in show business, none other than the J.B’s with a tune that epitomises Funk. BIG on London’s, Rare Groove, dancefloors back in 1986/7

(probable line up)

* Fred Wesley - trombone
* Jimmy Parker - alto saxophone
* St. Clair Pinckney - tenor saxophone
* Bobby Byrd - organ
* Hearlon “Cheese” Martin - guitar
* Robert Coleman - guitar
* Fred Thomas - bass
* John “Jabo” Starks - drums
* Johnny Griggs - congas

musicology #130

instrumentalsweek #3

(Roland Alphonso - Jazz Ska)

LISTEN

this prime slice of Jamaican musicology comes from the King Edwards stable and features many of the best proponents of the Ska style. Baba Brooks, Arkland 'Drumbago' Parks, Lester Sterling and tenor sax king, Roland Alphonso.

Recorded and released on the King Edwards label in 1965 at the height of the genres popularity, (it would only be a year before Rock Steady became the 'in thing'), this is Ska at it's finest.

musicology #129

instrumentalsweek #2

(Mulatu Astatqe - Yegelle Tezeta, (My Own Memory)

LISTEN

been trying to get the ‘early post’ in for the last couple of weeks otherwise my day gets backed up with things to do….this weeks selection looks like providing the opportunity I’ve been waiting for so I’m grabbing it with both hands and flinging this one down when the sun is shining, the birds are singing and my, much loved children are here brightening up the day …

this fine slice of Ethiopian funk was recorded and released in 1969, (available on the Top Ranking CD Ethiopiques #4), and is credited to Ethiopia’s premier musicologist Mulatu Astatqe who arranged, produced and also played on the session along with what sounds like the cream of Ethiopia’s ‘modernists’….

musicology #128

instrumentalsweek #1

(Louis Armstrong & His Hot 5 - Muskrat Ramble)

LISTEN TUNE

after the lyrics of the socialcommentaryweek I feel like bathing in the waters of the instrumental for a while so with that in mind, this week, i'm leaving it the 'players' to 'speak the universal'

first up it's the father of 'popular music' Louis Armstrong accompanied by some of the greatest proponents of the New Orleans style Johnny Dodds, (clarinet), Johnny St Cyr, (Banjo), Lil Hardin, (Piano) and Kid Ory on trombone who together made up the worlds first 'super group..known collectively as the Hot 5.

musicology #127

socialcommentaryweek #7

(Billy Bragg - Johnny Carcinogenic Show)

LISTEN

inishing up with this one from brother Bragg’s latest ’set’, Love & Justice, (the deluxe edition), a pucker selection of quality slices that is highly recommended. has to be the deluxe as it has the accoustic and the accompanied versions of each cut.

part of the inspiration for throwing down the social commentary selection has been my regular viewing of documentary’s made by Adam Curtis which are always to be found in the tray of themusicologist’s dvd player. each episode full of information on the how, who and why we find ourselves in the freedom trap of the 21st century.

‘The Power Of Nightmares’, ‘Century Of The Self’, ‘Pandoras Box’, ‘The Mayfair Set’ and ‘The Trap’ are not available on DVD, (surprise, surprise), but they are all out there available for consumption thanks to knowledge pirates who make an effort to share gems like these.

for me, the ‘Century Of The Self’ may be the most important as it outlines exactly how we, (the masses), have been sold into the slavery of a desires culture.

the truth is that in this ‘iwah’ the Economy is the deciding factor when it comes to making decisions/policies and so the pursuit of profit has become the bottom line.

a danger of the one ideology approach is that money doesn’t have a conscience and takes no responsibility.

I recommended tracking down all of the documentarys and watching them with your young ones because as the man says

“look i’m not responsible for the lessons children learn…….”

so if that’s the case then it’s up to us to help our children learn the truth..hard I know but nevertheless ESSENTIAL. one way is to use music…I know it works.

just like to add that your continued support on themusicologist is appreciated..

“saw some guy on the TV yesterday, selling poison by the ton,
how can you do such a thing the woman asked and he replied,
the secret is to hook em young,

look i’m not responsible for the lessons children learn,
i’m just responsible for giving my investors some returns,
here’s a message from the sponsors of the Johnny Carcinogenic Show,
the sponsors of the Johnny Carcinogenic Show,

you’d never belief just how much effort goes into,
adding some glamour to the brand,
to distract you from the damage that they do,
putting their products in your hand,

what other industry could ever get away,
with contaminating its best customers this way,
here’s a message from the sponsors of the Johnny Carcinogenic Show,
the sponsors of the Johnny Carcinogenic Show,

here’s a product that promises to do nothing but,
take your money and your soul,
poverty is toxic everybody knows,
no need to help it take its toll,

who will profit from the misery they sow,
not the grandchildren that you will never know,
here’s a message from the sponsors of the Johnny Carcinogenic Show,
the sponsors of the Johnny Carcinogenic Show,
the sponsors of the Johnny Carcinogenic Show, poverty’s toxic,
the sponsors of the Johnny Carcinogenic Show,
poverty’s toxic.

musicology #126

socialcommentaryweek #6

(Phil Ochs - The Ringing Of Revolution)

LISTEN

penultimate cut on the ’social’ and themusicologist is rolling with one from an artist who was brought to my attention by the man that kicked off this current theme Stephen William, (billy), Bragg who not only cites Ochs as an inspiration but also recorded a tribute to the man ‘I dreamt I Saw Phil Ochs Last Night’ on his 1990 LP ‘the Internationale’

being an admirer of Billy Bragg, (”I just couldn’t help myself guess I was born with a curious mind”), themusicologist headed off on a journey and tracked down some of the man in question’s work. there are many great online sources of Phil Ochs Info so i’ll leave it to them to fill you in on the full and very colourful picture of his bitter sweet life and, in musicology style, let the music do the talking.

this piece of revolutionary prose is taken from the Phil Ochs In Concert LP (1966) and is, for me, as good as the song as message gets.

“in a building of gold with riches untold,
live the families on which the country was founded,
and the merchants of style with their vain velvet smiles,
were there for they also were hounded,
and the soft middle class crowded in to the last,
for the building was fully surrounded,
and the noise outside was the ringing of revolution

sadly they stared and sank in their chairs,
and searched for a comforting notion,
and the rich silver walls looked ready to fall,
as they shook in doubtful devotion,
the ice cubes would clink as they freshened their drinks,
wet their mids in bitter emotion,
and they talked about the ringing of revolution

we were hardly aware of the hardships they beared,
for our times taken with treasure,
oh life was a game and work was a shame,
and pain was prevented by pleasure,
the world cold and grey was so far away,
in distance only money could measure,
but their thoughts were broken by the ringing of revolution

and the clouds filled the room in darkening doom,
as the crooked smoke rings were rising,
how long will it take how can we escape,
someone asked but no-ones advising,
and the quivering fllor responds to the roar,
in a shake no longer surprising,
as closer and closer comes the ringing of revolution

so softly they moan please leave us alone,
as back and forth they are pacing,
and they cover their ears and try not to hear,
with pillows of silk they’re embracing,
the crackling crowd is laughing out loud,
peeking in at the target they’re chasing,
now trembling inside the ringing of revolution

with compromise sway we gave it half away,
when we saw that rebellion was growing,
now everything’s lost as they kneel by the cross,
where the blood of christ is still flowing,
too late for their sorrow they’ve reached their tommorow,
and reaped the seed they were sowing,
now harvested by the ringing of revolution

in tattered tuxedos they faced the new heroes,
and crawled about in confusion,
and they sheepishly grinned for their memories were dim,
of the decades of dark execution.”

musicology #125

socialcommentaryweek #5

(Curtis Mayfield - Power To The People)

LISTEN

yep it’s time for Curtis. one of the undisputed, hardest hitting social commentators to have graced us with his presence. as usual his lyrics are clear and concise and leave no room for interpretation.

regulars will know how much Curtis means to themusicologist and I could never sing his praises loud enough.

so i’ll leave it to the man himself to lay it on you…for me Curtis has always spoken for the oppressed whatever colour, race or creed and his message has always transcended those enforced divisions.

pucker tune that says it all.

musicology #124

socialcommentaryweek #4

(Bob Dylan - It’s Alright Ma I’m only bleeding)

LISTEN

house full of kids today, (easter holidays), so it’s an evening post..

hardcore social commentary from the man who needs no introduction.

must confess that themusicologist’s relationship to Mr Dylan had two periods..the early, (as a young child via my dad), and the second time round as an experimental 21 year old on the ‘bottom lips’. during that part of the journey this one in particular expanded my mind.

a lyrical and emotional tour de force that almost transports me back to me days wandering in a ‘diamond sky’

taken from the 1965 album Bringing It All Back Home..

Darkness at the break of noon,
Shadows even the silver spoon
The handmade blade, the child’s balloon
Eclipses both the sun and moon
To understand you know too soon
There is no sense in trying.

Pointed threats, they bluff with scorn
Suicide remarks are torn
From the fool’s gold mouthpiece
The hollow horn plays wasted words
Proves to warn
That he not busy being born
Is busy dying.

Temptation’s page flies out the door
You follow, find yourself at war
Watch waterfalls of pity roar
You feel to moan but unlike before
You discover that you’d just be One more
person crying.

So don’t fear if you hear
A foreign sound to your ear
It’s alright, Ma, I’m only sighing.

As some warn victory some downfall
Private reasons great or small
Can be seen in the eyes of those that call
To make all that should be killed to crawl
While others say don’t hate nothing at all
Except hatred.

Disillusioned words like bullets bark
As human gods aim for their mark
Made everything from toy guns that spark
To flesh-coloured Christs that glow in the dark
It’s easy to see without looking too far
That not much Is really sacred.

While preachers preach of evil fates
Teachers teach that knowledge waits
Can lead to hundred-dollar plates
Goodness hides behind its gates
But even the president of the United States
Sometimes must have To stand naked.

An’ though the rules of the road have been lodged
It’s only people’s games that you got to dodge
And it’s alright, Ma, I can make it.

Advertising signs that con you
Into thinking you’re the one
That can do what’s never been done
That can win what’s never been won
Meantime life outside goes on
All around you.

You lose yourself, you reappear
You suddenly find you got nothing to fear
Alone you stand with nobody near
When a trembling distant voice, unclear
Startles your sleeping ears to hear
That somebody thinks
They really found you.

A question in your nerves is lit
Yet you know there is no answer fit to satisfy
Insure you not to quit
To keep it in your mind and not fergit
That it is not he or she or them or it
That you belong to.

Although the masters make the rules
For the wise men and the fools
I got nothing, Ma, to live up to.

For them that must obey authority
That they do not respect in any degree
Who despise their jobs, their destinies
Speak jealously of them that are free
Cultivate their flowers to be
Nothing more than something
They invest in.

While some on principles baptized
To strict party platform ties
Social clubs in drag disguise
Outsiders they can freely criticize
Tell nothing except who to idolize
And then say God bless him.

While one who sings with his tongue on fire
Gargles in the rat race choir
Bent out of shape from society’s pliers
Cares not to come up any higher
But rather get you down in the hole
That he’s in.

But I mean no harm nor put fault
On anyone that lives in a vault
But it’s alright, Ma, if I can’t please him.

Old lady judges watch people in pairs
Limited in sex, they dare
To push fake morals, insult and stare
While money doesn’t talk, it swears
Obscenity, who really cares
Propaganda, all is phony.

While them that defend what they cannot see
With a killer’s pride, security
It blows the minds most bitterly
For them that think death’s honesty
Won’t fall upon them naturally
Life sometimes Must get lonely.

My eyes collide head-on with stuffed graveyards
False gods, I scuff
At pettiness which plays so rough
Walk upside-down inside handcuffs
Kick my legs to crash it off
Say okay, I have had enough
What else can you show me?

And if my thought-dreams could be seen
They’d probably put my head in a guillotine
But it’s alright, Ma, it’s life, and life only.

Lyrics by Bob Dylan 1965 Warner Bros. Inc Renewed 1993 Special Rider Music

musicology #123

socialcommentaryweek #3

(Earl Sixteen - The System)

one of themusicologists favourite pieces of social commentary from 1994. a 45 on the appropriately titled Voice In Progress label

listen tune..

musicology #122

socialcommentaryweek #2

(Style Council - A Stones Throw Away) LISTEN

not easy to find tunes that criticise the establishment. no surprise really, (especially these days), at a time when most artists concern seems to be with achieving the two F’s, (fame&fortune)

not that I blame them as, in this age, success is measured by material wealth…big motors, large amounts of ‘tom’, houses in every town..you know what I mean. art as entertainment is todays message as the culture of pop dominates every corner of our society.

this 1985 piece taken from the Style Council’s most critical set ‘Our Favourite Shop’ shows that there was a time when some saw it as their duty to openly criticise without fear…read ‘em and weep.

“For liberty there is a cost, it’s broken skulls and leather cosh,
From the boys in uniform, now you know whose side their on,
With backing, with blessing, from earthly gods not heaven,
A stones throw away from it all.

Whatever pleasures those who get, from stripping skin with rhino whip,
Are the kind that must be stopped, before their kind take all we’ve got,
With loving, with caring, they take great pride in working,
The stones throw away from it all.

Whenever honesty persists, you’ll hear the snap of broken ribs,
Of anyone who’ll take no more, of the lying bastards roar,
In Chile, in Poland, Johannesburg, South Yorkshire,
A stones throw away…..now we’re there”

musicology #121

socialcommentaryweek #1

(Billy Bragg - Take Down The Union Jack) LISTEN

themusicologist has tried to keep politics off the menu but it's one of the subjects that infuriates me.
the deceipt, corruption, greed and unbeleivable hypocrisy is just too much for me to not have a musical say.

unfortunately the only politics left today is the politics of greed and the blame for that lies with those who shape society. ultimately responsibility lies with each of us but we all know that 'the law' restricts us from taking action in ever increasing ways and is in fact an establishment tool that has very little to do with justice.

the subjects that are, (for me), most important are Health and Education, essentially because I have two children and find myself at the 'sharp end of the stick' in both areas. of course economics are an issue but money has no place in my heart so holds little interest.

one of musics greatest attributes is delivering a message and themusicologist is often heard singing this one as I go about my life so I was especially pleased when my eldest asked for this one to be added to her I-Pod..this is what I call education. just as Curtis and Paul Weller, (among many others), helped shape my views so it may be with the next generation.

I'm starting the socialcommentaryweek with this one by one of themusicologists most respected artists who has always stood up to be counted and in my humble opinion is one of the finest songwriters to hail from these shores...taken from his 2002 Set 'England, Half English'
just like to add that I am very proud of the culture that is a part of me and it saddens me to see it fade away to be be replaced by the globalisation ideology that has been forced apoun us since the end of World War II. I believe whole heartedly in community but not in homogeny and brother Bragg articulates many of my my thoughts and feelings perfectly ... lyrics Bragg-La ... lyrics.

"take down the Union Jack, it clashes with the sunset,
and put it in the attic, with the emperors old clothes,
when did it fall apart? sometime in the 80's,
when the great and the good gave way to the greedy and the mean,

Britain isn't cool you know it's really not that great,
it's not a proper country, doesn't even have a patron saint,
it's just an economic union that's passed it's sell by date,

take down the Union Jack it clashes with the sunset,
and ask our Scottish neighbours if independence looks any good,
cos they just might understand how to take an abstract notion,
of personal identity and turn it into nationhood,

is this the 19th Century that I'm watching on T.V
the dear old queen of England handing out those M.B.E's
a member of the British Empire that doesn't sound too good to me

Gilbert & George are taking the piss aren't they
Gilbert & George you're taking the piss.
what could be more British than here's a picture of me bum
Gilbert & George YOU'RE TAKING THE PISS

take down the Union Jack it clashes with the sunset
and pile up all those history books but don't throw them away
they might just have some clues about what it really means
to be an Anglo hyphen Saxon in England.co.uk
to be an Anglo hyphen Saxon in England.co.uk"

(Billy Bragg 2002)

musicology #120

jamboree #7

(Derrick Harriott - No Man Is An Island)

tasty slice of the Jamboree pie from Mr 'One Stop'. Vocalist, producer and 'Reggae' pioneer whose contribution to the development of Jamaican musicology from the earliest days, (with the Jiving Juniors 1958-62), right through the Ska and Rocksteady periods and into the sound we know and love today deserves honouring.

LISTEN