musicology #548

Jamaica #28

(Ken Boothe – Be Yourself)

Top Ranking piece of Jamaican musicology sung by one of it’s greatest artists recorded for and released by it’s champion studio, (Studio 1), and backed by the cream of the island’s instrumentalists.

Doesn’t get better than this as once again I find myself sitting in the park on a scorching day..soaking up the rays…and listening to the sweet sounds of Jamaica. Not sure of the year but do I give a F**K?…no. Peace and love to the haters and doubters that would take pleasure from seeing me stumble and fall..don’t hold your breath ; )

LISTEN TUNE

musicology #547

Jamaica #27

(Bob Andy – Life)

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Today’s 1972 cut features the magnificent and supremely talented Keith ‘Bob Andy’ Anderson, (for me one of Jamaica’s premier artists). Founder member of the Paragons whose songwriting is second to none. I must confess that over the past few weeks I have been suffering and once again it has been holding the musicology back so rather than allow my inner turmoil to stop the flow I’ll just let the music speak for a while…

Listen the ‘ride’…

“forget about stupidity,
discover your ability,
develop your creativity,
cultivate humility,
to bear the stormy weather….”

musicology #544

Jamaica #24

(Gregory Isaacs – Financial Endorsement)

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Out of the ‘Crown Prince’ selection and into one from the ‘Cool Ruler’…aka Jamaican Superstar Gregory Isaacs..who, (along with the Heptones and Beres Hammond), I will be catching Live at the Brixton Academy next week…

Born and raised in West Kingston’s notorious Denham Town, The Cool Ruler begun his recording career in 1968 with a self produced cut and followed with one for Prince Buster, (apparently under gentle persuasion from the notorious ghetto legend Jim Brown to offer his ‘bredren’ Gregory a platform to record), but amazingly it wasn’t until setting up his own African Museum label in 1973 in collaboration with Errol Dunkley that he began to climb his way up to the top. Why? certainly nothing to do with his immense talent, maybe he was just toorudefor the producers to deal with for more than the odd session? anyway thankfully Gregory continued to record and has gone on to deliver some of the finest music to have ever graced themusicologist’s ears.

Today’s 1974 cut was recorded for producer Alvin Ranglin and released on his GG’s Label.

musicology #543

Jamaica #23

(Dennis Brown - No More Will I Roam)

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Looking back over the past week on themusicologist I couldn't help but notice my absence..in truth the weather was too nice and I had much street walking, hustling, networking, planning and dreaming to do and themusicologist had to take a back seat but the weather is still scorching so I'll have to come up with a new plan for this week...ahh got it...more music less scribbles, (it's the scribbling that takes ALL my time)

So with that in mind....forward up with the sweet sounds of JA.

Ranking piece from the 'Crown Prince' Dennis Emmanuel Brown produced by Winston 'Niney the Observer' Holness for his Obsever label in 1974.

Listen Tune..

musicology #542

Jamaica #22

(Horace Andy - Let Your Teardrops Fall)

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Went to see Dean Chalkley's 'New Faces' exhibition at the Book Club last night with...Good night, Good music, (Led by the Cheeba), excellent venue and the photographs were absolutely spot on. What's that got to do with the Jamaica theme? nothing but you know this is my musical diary so I just wanted to keep yers in the loop and inform the Cats and Kittens of how, (and where), this 'stone' known to some as themusicologist is rolling.

Anyway...back to Jamaica..and today's cut is courtesy of the man Horace 'Sleepy' Hinds aka Horace Andy whose recording career started in 1966 under the guiding hand of heavyweight producer Phil Pratt but didn't really go anywhere until he turned up at Studio 1 guitar in hand, (which he had spent the preceeding 4 years learning), and waxed 'Got To Be Sure' and 'Something On My Mind' and a star was born.

Today's cut is from 1972/3. Don't know who produced it and to be honest I don't really care too much as for me it's only ever about the music and not the information.

musicology #541

Jamaica #21

(Wailing Souls - Don't Fight)

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So as the 70's begun Jamaican music yet again changed gear this time from the light soulful, and more accessible sounds of the 60's into the roots and culture. Why? of course there are many reasons but the ones that stand out for me are 1: The artists were beginning to grow weary of being exploited by the producers 2: the social fabric of the island was rapidly disintegrating and 3: Rastafarianism was becoming ever more popular in the ghettos especially with the artists and musicians. Of course the Big producers couldn't really get involved as they were, in essence, Capitalist.

Not surprisingly this change of gear didnt go down well with the record buying public 'up a foreign' who weren't really interested in Ghetto music that talked about sufferation, poverty, exploitation, (no change there then) No they would rather hear about how much the sun shined, unrequieted love and how Jamaica was a paradise...a holiday destination that they could one day envisge visiting. Truth is that most people don't listen to music to hear about harsh reality, (unless it's glamourised of course), rather use music to escape reality. So Jamaican music turned inwards, (due mainly to internal demand), and the Roots & Culture came to dominate the dancehall.

I'm sticking with the roots, (as unpopular as it is), because for me it's the essence of Jamaican, (and all come to that), music. Today's cut is another one from the hallowed halls of Sir Coxsone Dodd's Studio 1 sung by the MAJESTIC Wailing Souls. (essentially Winston 'Pipe' Matthews and Lloyd 'Bread' McDonald), Both born and raised in Trenchtown a Kingston district synonymous with Reggae producing greats such as Ken Boothe, Alton Ellis, Joe Higgs and the Wailers, (to name but a few), Joined in this period by the notorious Errol 'Batman' Wilson, (brother of Delroy), who was immortalised in the Slickers cut 'Johnny Too Bad'. But it was as a quartet in 1969/1971 that they truly made their mark first at Studio 1 with a selection of cuts from where this one is taken and then following on at the Wailers label Tuff Gong.

LISTEN TUNE

musicology #539

Jamaica #19

(Rome - Lloyd Jones)

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When I first heard this cut, (more than 20 years ago), I had to sit down. Still to this day I don't know what it is about it that continues to tremble my marrow but as I live and learn about life through the ups and downs there are certain tunes that are an integral part of the soundtrack to my existence...this is one of them. The sounds that pulsed out of the Kingston ghettos during the early 70's continue to speak with unmatched authenticity to my Soul and even though I am a big fan of Ska, Rocksteady and early Reggae it is this period, (the 'Golden Age'), between 1970 and 1976 that really does it for me, (the 90's too but we'll have to wait until later to hear them)

The vocalist on today's piece is Lloyd Jones, (a cat I know nothing about), but what I do know though is that, (as far as I'm concerned), music doesn't get better than this. For 20+ years this cut has been a BIG part of my life. Why? can't say for sure but it's one of the tunes that I will NEVER tire of hearing. Larry, (the field), Marshall cut it at Studio 1 and I'm not sure who waxed the original but I think it's this one....not that it matters of course and whether it's called Babylon, Rome, the Shitstym, Capitalism or Globalisation it's all just 'The Game' and I for one despise it. Sufferers all bleed the same colour blood and it's always RED so be you black, white, pink, brown, yellow or blue this one's for all of us...45 on the English Bullet label.

"From since I was a kid they have had me down as slave,
Keep pushing me everyday until they push me out of the way,
Woooooh Rome I want to go home,
Woooooooh Rome I can't stay no longer in Rome"

musicology #538

Jamaica #18

(Winston Hines - Cool Down)

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Between the cat, (who's got my tongue), the monkey, (who's on my back), and the wolves, (who are howling round my door), I feel more like a zoo keeper than a musical curator so without further delay I'm just going to lay this one on you. Final cut of the early Reggae and then it's on to the Reggae proper.

45 on the English Camel label, (another one of my early 'revival' memories), sung by Winston Hines..and yes it's 1969.

musicology #537

Jamaica #17

(Dennis Walks - The Drifter)

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Today's cut is a piece from my earliest 'Revival' Reggae memories, (early 80's), introduced to me by my uncle whose commitment to top ranking music was and still remains one of the most important contributions to my existence ever made. Produced by Spanish Town's..Harry Mudie. Early Sound System owner, (mid 50's), whose first production in '62, (Babylon Gone), was one of the first to feature Count Ossie. The late 60's saw a return to production for Mr Mudie who then went on to introduce Spanish Town Sound System legend I Roy to the record buying public as well as producing some of the most established Jamaican artists of the 70's. This one is voiced by Dennis Vassell aka Dennis Walks and was originally released in...yep you've guesssed it...1969 !!

musicology #535

Jamaica #15

(Sound Dimension - Baby Face)

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As far as the music of Jamaica is concerned for themusicologist there is only one studio that stands above all others..Coxsone Dodd's legendary Studio 1. Almost every singer, instrumentalist, songwriter, arranger has at one time passed through the Brentford Road gates. Far too many to list or even mention so I won't even try, suffice to say that if you pick a name he will have a connection. Coxsone was a visionary...and as such allowed others far more suited to the creative process to express themselves. He opened the doors for Jamaican music to carve itself a unique sound that finally arrived during the period now in question...(late 60's early 70's), known globally as Reggae. To wax a tune at Studio 1 meant that, as an artist, you had made it to the top. Not financially but artistically. No matter how much the sound was crafted by others, (and it most certainly was), it was Coxsone who drove it. His greatest skill was in his ability to see the wider picture and create a platform to realise it. Ideas are the lifeblood of innovation but on their own they are no more than talk....when you check it no one person did more than Coxsone to establish Jamaican music as a global force and the music stands as witness to such a claim.

So with that in mind hold this wicked instrumental cut from the previously mentioned Studio 1 house band..Sound Dimension. One listen, (for those who don't know it), should be enough to realise why Studio 1 is the Don Sound. 1969 Release, (in the UK), on the English Bamboo label. BIG Tune.

musicology #534

Jamaica #14

(Pat Kelly – Dark End Of The Street)

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Reggae…who were it’s early protaganists? First, as was always the case in Jamaica, there were the producers. Arguably the most influential were Lee Perry, Bunny Lee and Coxsone Dodd. Then came the musicians; Brothers Aston ‘Family Man’ and Carlton ‘Carly’ Barrett, Glen Adams, Lloyd Charmers, Alva Lewis and Ronny Bop recording both for Bunny Lee, (as The Bunny Lee All Stars), and Lee Perry, (as The Upsetters).

The Studio 1 sound was created by the Sound Dimension, (Jackie Mittoo, Leroy Sibbles, Cedric “Im’ Brooks, Vin Gordon, Ernest Ranglin and Leroy ‘Horsemouth’ Wallace). Of course there were other producers and musicians who are responsible for delivering seminal work but the above mentioned stand out consistently.

So…enough chat and on with the music..Todays cut is a Lee Perry production featuring the vocals of one of my favourite singers of the period Pat Kelly backed by the afore mentioned Upsetters.

musicology #0533

Jamaica #13

(Dobby Dobson – Your New Love)

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As 1968 came to an end so the Rocksteady evolved into the early Reggae retaining the essential flavours, (walking bassline and one drop percussion), but from my observations between 1969 and 1971 two, (almost), seperate identities emerged due, (as far as I am aware), to commercial pressure.

First there was the local sound system/dancehall market, (the lifeblood), to satisfy but also there was the export market which at the time meant England. Certain Mod/ernist’s, (or whatever you want to classify them as), took to Jamaican music straight away as early as 1962/3 and for some, (Steve Barrow for example), it turned into a lifetime’s commitment. These same hipsters seemed to embrace and recognise not only the musical quality but also the authenticity that for me is a critical aspect of Jamaican musicology. In many ways ‘Reggae’ has always been a commentary on the life and times of the sufferer and for some, (me included), that is magnetic. When I say sufferer I don’t just mean financial but also the emotional and just as importantly the social..

In England the Reggae captured a younger generation who had watched and listened as Soul, (and ‘Mod’), went overground which resulted in a look towards Jamaica for fresh inspiration. Contrary to popular belief, (and I have it on the authority of young Cats who were there), racism was not as much of an issue as has been portrayed. The universal language crosses all boundaries and the music of Jamaica spoke to both brown, black, pink and white as young kids connected through it.

I’m not sure about other parts of London but I do know that Reggae was BIG on the streets South of the River Thames in places such as Camberwell, Peckham, Brixton, New Cross, Deptford and Lewisham where Jamaicans settled. (Not forgetting Notting Hill, Shepherds Bush, Willesden and Harlesden of course). Was Jamaican music as prevalent in East and North London? I have no idea but for sure it reached out to many areas and not only in the Capital. Again I have no personal connection with Cities outside of London so I can’t comment but one look at the charts of the time shows that Jamaican music certainly had the potential to explode…

Feels a bit like I’m losing the focus so I’ll step out of the writing and on with the music otherwise i’m in danger of getting sidetracked by social history which as important as it is doesn’t really affect the quality of the music.

First up is an absolute classic from a singer who has already graced themusicologist with the original cut of ‘Loving Pauper’..Dobby Dobson. Can’t lay my hands on the 45 to credit the producer right now but I know it’s on Punch and the year of release was 1969

musicology #532

Jamaica #12

(Barrington Spence - Contemplating Mind)

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Final cut of the Rocksteady and then it's on to the 'Moonstomp' Reggae. But before that it's time to roll one out from Sir Coxsone 'Downbeat' Dodd's Studio 1. A cut featuring the vocal talents of Barrington Spence who began singing in the early sixties but stepped out of Kingston for a few years and didnt return until around 1966 whereupon he hooked up with Naggo Morris and Sylvan Clarke, (as the Soul Boys), and cut a few tunes at Studio 1 and Treasure Isle?

Just like to finish by adding that even though Coxsone got left behind a small piece during the Rocksteady, in part due to the emergence of producers such as those featured over the last week as well as his less than fair business practices concerning artists and musicians, he was still 'swinging' and turning out top quality music, (as today's cut bears witness to), but it would be in the next phase of Jamaican musical development that he began to take back the crown and deliver the 'golden age' of Studio 1.

LISTEN TUNE...

musicology #531

Jamaica #11

(Johnny & The Attractions – Coming On The Scene)

LISTEN

Penultimate cut of the Rocksteady excursion features a vocal group that go by the name of Johnny & The Attractions, (already featured on themusicologist), who waxed some of the most beautiful Rocksteady of the day. Amazingly, (or not so if you know a little about Jamaican music), next to nothing is known about these cats so I can’t fill you in on any personal details. All I do know is that the producer was Sonia Pottinger and the label it originally appeared on was ‘Gayfeet’ and the year was most likely 1968, an important year in themusicologist’s life as well as in the progression of Jamaican music as it was in this year that Reggae first emerged.

To be honest RockSteady was not a commercial success and is still to this day not well known, (outside of the community), which has always surprised me but then again if we look at what was going on at the time maybe it was too ’simple’, slow or authentic to attract much interest in a world that was plunging headlong into complexity and inauthenticity but ever since being introduced to it in the early 80’s it never fails to reach out and touch my soul.

Anyway…enough of the sentimentality and on with the transcendental TOP RANKING musicology..

musicology #529

Jamaica #9

(Larry Marshall – Money Girl)

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Moving out of the Derrick Harriott and into yet another fine piece but this time it’s courtesy of producer George Phillips better known as Phil Pratt..a name bestowed on him by Caltone founder Blondel Keith Calneck, (Ken Lack).

You may have noticed that one of the things about Jamaican music is the significence of the producer in musical proceedings and Phil Pratt is certainly one of them. Horace ‘Andy’ Hinds, (cousin of Justin), The Heptones and Bunny Lee all begun their journey beside the Cat at Caltone so it’s, (and his), importance in the development of Reggae deserves wider recognition.

The cut today is courtesy of singer Larry Marshall, (who would go on to find a place at Coxsone’s Studio 1), and features the talents of Rocksteady’s core protagonists that include Lynn Taitt, Gladstone Anderson, Winston Wright, Clifton Jackson, and one from Winston Grennan, Hugh Malcolm or Arkland Parks. From the sounds of it I would hazard a guess that it’s a 1967 recording but I could easily be mistaken and if so it would be early 1968. Whatever the year it was arranged by a name we have become familiar with over this week…Lynn Taitt.

Finally just like to praise a man who has previously graced themusicologist with his knowledge Steve Barrow’s Pressure Sounds for releasing the CD, (Safe Travel), from which today’s cut emerged. ESSENTIAL purchase…FULL of TOP Ranking Rocksteady that were you to try and buy the 45’s featured would cost you a small fortune, (if you were lucky enough to find them)

LISTEN TUNE…

musicology #528

Jamaica #8

(Derrick Harriott – Do I Worry)

LISTEN

So what is it about Rocksteady that is different? Musically Rocksteady is built on the ‘One Drop’, (3rd Beat), whereas Ska was built around the ‘after beat’. That and the pronounced Bass evident on the Rocksteady combined to deliver a rhythm that the dancers could sway and ‘Rock Steady’ to while holding up a beer, maybe a spliff and even a girl. While Rocking Steady a man could look nonchalant and slick whereas the ‘Ska’ was all about the wild swinging of arms…not slick and certainly no chance of winding, grinding, smoking and drinking.

In fact to make it clear..Hold this quote from the drummer who many credit with originating the ‘one drop’, Winston Grennan

‘I give a hard blow on the third..that would be a hard one drop and it would cut the beat in half”

Of course there were other key players involved such as the afore mentioned Lynn Taitt, Hugh Malcolm, Bobby Aitken, Gladstone Anderson as well as legends such as Jackie Mittoo, Roland Alphonso and the Soul Brothers and of course Tommy McCook and the Supersonics. Apologies If I have missed some…hopefullly some of you musicologists out there can ‘pipe up’ and let us know?

Right enough of the words and on with the music. I was going to drop cuts chronologically but on reflection I’ll just do my best to throw down cuts that for me define the genres. If I had planned it differently I would probably thrown down a week of Rude Boy cuts that were so prevalent in 1966 but I didn’t so I’ll just continue !!

Today’s piece is from one of Jamaica’s greatest talents the pioneering vanguard Derrick ‘One Stop’ Harriott, a Cat who was there at the birth of the Ska, Rocksteady and Reggae delivering sublime musicology. Have to say that this is one of my all time faves.

Finally…Just like to add that I continually get lost for hours, days and weeks in what I consider to be one of the most original, informative and all round TOP RANKING sites out there

Johnny Spencer’s

musicology #527

Jamaica #7

(The Techniques - Love Is A Gamble)

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So what could have happened in 1966 to change the beat from the frenetic Ska to the laid back sound of the Rocksteady? Rumour and word has it that it was a combination of things that conspired..First of all popular information/knowledge has it that a heatwave swept the island forcing the dancers and musicians to slow the tempo..secondly as is often, (if not always), the case the time had come for the islands musicologists to evolve and in my experience slow follows quick. Thirdly, (and I'm guessing here), the Ganja may have influenced proceedings...

By 1966 many of the protaganists of the Ska were 'Beardmen' and were likely to have been 'licking chalice' Up Warika Hills with the legendary Count Ossie. I'm not suggesting that the Ganja was the chief reason for the shift..only one of many.

As for outside influences we only have to consider how Soul and the Vocal Group sound became dominant in America around this time and how much influence the likes of the Impressions subsequently had in Jamaica.

Finally and perhaps of most significance was the Skatalites splitting into two groups after the incarceration of Don Drummond in 1965...The Soul Brothers led by Roland Alphonso, (at Studio 1), and the Supersonics led by Tommy McCook, (resident at Treasure Isle). Notably Lynn Taitt is widely recognised as 'Inventing' the Rocksteady with the Hopeton Lewis cut 'Take It Easy' but other early pieces included Alton Ellis's 'Girl I've Got A Date' and Derrick Morgan's 'Rougher Than Rough', (all of which featured Lynn Taitt's guitar). Whatever the reasons for the emergence of Rocksteady it was at this junction that 'Reggae' began to take shape with the Bass rising to prominence and it must be said, (at least from my perspective), that Duke Reid wore the Rocksteady Crown.

So with that in mind the first cut has to go to the Duke and the Majestic Vocal Group known as the Techniques whose fluctuating line up included some of the great Jamaican vocalists; Slim Smith, Pat Kelly and Winston Riley as well as Junior Menz and original members Frederick Waite and Franklyn White. Clearly influenced by The Impressions this one epitomises Jamaican Vocal Group Harmony. 1967? recording on the Treasure Isle label.

musicology #526

Jamaica #6

(The Skatalites – Confucius)

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Finishing up Round one of the Jamaican Musical History selection with this piece courtesy of the Chinese/Jamaican producer Justin Yapp who for 3 years, (1962-65) produced and delivered Ska that is as good as anything ever waxed. Yet another piece led and written by the legendary Don Drummond. Of course it’s the Skatalites, (who else !!), providing the impeccable back up. Recorded and released on Yapp’s Top Deck Label in 1964.

musicology #525

Jamaica #5

(Edwards All Stars – North Coast)

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Was unable to spare the time to throw down yesterday..played out last night at a very dear and cherished friend’s birthday bash and spent most of the day preparing the set. Anyway explanations aside and moving on from Don Drummond at the Duke’s Treasure Isle to a cut delivered by one of the other major Ska producers and sound systems of the time; King Edwards, (The Giant). Don’t know hardly anything about the Cat other than he had a major Sound that for a while competed with the players; Sir Tom The Great Sebastian, Duke Reid, (The Trojan), Sir Coxsone Downbeat, Lord Koos, and V-Rocket on top of producing some BOSS Ska.

His main DJ, (not selector), was none other than Sir Lord Comic who went on to record what is considered to be the first ‘DJ’ cut, (Ska-ing West), in 1966 at the dawn of a new era, (Rock Steady), but more about that next week. This week it’s all about the Ska and this piece is a rare, (and I mean rare), treat. 1965 release on the, (English), Rio label. Credited to the Edwards All Stars but better known as the Skatalites.

musicology #524

Jamaica #4

(Don Drummond – Treasure Isle)

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Looking to catch the earlier train with today’s cut otherwise I find myself too far behind the 8 Ball which is no place to be for the I. That and having too many plates up there spinning take too much of my time and energy which I haven’t got to spare. I would rather spend it with my children, listening to, finding and curating music or with my spars.

So on with the journey..day four of the Jamaican Musical History excursion and so far we have heard from two of the foremost producers of the period Downbeat the Ruler and Prince Buster so today it’s the turn of Duke Reid aka The Trojan whose Soundclashes with Coxsone are the stuff of myth and legend. Of all the islands sound systems It was these two who contested with the most ferocity and passion both musically and physically leading to heated battles between them and their respective followers both in and out of the dance. Pitched battles were fought in an attempt to intimidate and lock off the opposing sound and in part it was out of this culture that the Rude Boy emerged. Combined with Jamaica’s violent and rebellious history as well as the abject poverty and general lawlessness especially in the ghettos of Kingston the ingredients were all there to light the fuse that would eventually blow up in all out political warfare in the 70’s but I’ll get to that later on in the theme when the right time come.

Back to the Ska and Duke Reid..for me what has always distinguished The Trojan’s Treasure Isle sound is it’s sweetness and light. As far as I know Reid never allowed Ganja to be smoked in the studio or entertained any kind of Rasta ideology whereas Coxsone turned a blind eye knowing that not only did it stir the creative juices, (which it does), but that Rasta was beginning to have a major impact in Jamaican ghetto life..Duke Reid was a traditionalist and considerably older than the young and visionary Coxsone but the music produced in his studio, (and he had a speaker wired up in his Liquor store so that he could hear what was being recorded), was as good as anything produced. It was with the Rocksteady that Duke Reid truly came into his own but he was also responsible for producing some BOSS Ska as witnessed with this piece courtesy of the legendary Don Drummond..Original Skatalite, Trombonist supreme and leading light in Jamaican musical history. No one rocked the instrument like the Don and although his story ended in violence and mental illness his music will forever stand as his legacy. Quite Simply..this is Ska

LISTEN TUNE