The Cool Ruler Rides Out Of Town #2
The Concords – Buttoo
Day two of the Cool Ruler tribute and this one is from the Don’s earliest days as a member of the Concords. A group where Denham Towns finest harmonised with two local, (West Kingston), cats, (one being Penro Bramwell). Recorded for and released on Rupie Edward’s Success label.. JA ‘spotters’ may notice that it’s the rhythm track from an instrumental called Promoters Grouse. 1969 selection released in England on Blue Cat.
Jamaica #18
(Winston Hines – Cool Down)
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.
Jamaica #17
(Dennis Walks – The Drifter)
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 !!
Jamaica #15
(Sound Dimension – Baby Face)
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.
Jamaica #13
(Dobby Dobson – Your New Love)
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
Catharsis #3
(David Ruffin – Pieces Of A Man)
Day three..no time to waste…no time to juggle so I’ll just leave it to one of the great singers Davis Eli Ruffin to tell it like it is with this 1969 cut from his debut solo LP for Tamla Motown. Produced by Soul heavyweights and longtime musicologists Harvey Fuqua, Ivory Joe Hunter and Johnny Bristol.
instrumentalsweek #5
(Rupie Edwards All Stars – Your New Love)
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
instrumentalsweek #2
(Mulatu Astatqe – Yegelle Tezeta, (My Own Memory)
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’….
listen tune…
sixartist, sixtune, sixweekspecial #31
(Jackie Mittoo – Juice Box)
final week of the six/six/six…and themusicologist would like to take this opportunity to let you know how much I have appreciated your support..last month, (and last week), set new records on themusicologist for ‘viewers/listeners’ which is encouraging. it means a lot to me to know that you are feeling the selection.
just as Soul would have taken an alternative route without Sam Cooke and Curtis Mayfield..the musical arts of Jamaica wouldn’t sound like they do without this next ‘artist’ whose skills as arranger, composer, player of instruments and ‘eye of the needle’ at the legendary Studio1 are well known to all who listen to Jamaican music.
many a great singer, song writer and instrumentalist has sprung from Jamaica’s well of musicologists but Jackie Mittoo’s contribution to developing the music known now as ‘Reggae’, (a one size fits all label that doesn’t have much meaning), demands and deserves a tribute selection in his honour.
this first cut from the album ‘Keep On Dancing’ was recorded and released in 1969 and features the man in his role as ‘Organist’, (one of the instruments that he went on to perfect..ranking with the best of ’em), wicked piece of Jamaican Funk for your Monday musical pleasure.
sixartist,sixtune,sixweekspecial #8
(Humble Pie feat Steve Marriott – Desperation)
Round two of the Stevie Marriott selection finds the man dissilusioned with fame and looking for some ‘greener grass’, (in my experience a very common Mod trait), first and foremost the young man craved, and deserved, respect as a musician/performer/vocalist which was not possible, in his opinion, with the Small Faces as they were viewed as a bit of a pop/novelty band at the time.
His passion for music far outweighed his desire for fame, although as a street rat on a paltry ‘bobby moore’ a week with a healthy appetite borne out of the only authentic 60’s revolution, (the consumer one), he needed some ‘reddies in the bin‘
This cut, (a Steppenwolf cover written by John Kay), is taken from the 1969 album As Safe As Yesterday Is, the first recorded outing with the band he put together for Peter Frampton…Humble Pie. consisting of Jerry Shirley on Drums, Greg Ridley on Bass and Steve on, (second lead), guitar..as well as vocal duties of course….
themusicologist 