aSongForConZu #77
“Do not pray for an easy life, pray for the strength to endure a difficult one” – Bruce Lee
#themusicologist #0777 – You Make Me So Very Happy – Alton Ellis
alton ellis
musicology #0693
i.believe.i’ll.make.a.change
Rude Boy Prayer – Desmond Tucker & Los Cabelleros
Cuts like these don’t grow on trees..
One listen alone could NEVER do it justice.
Los Cabelleros are none other than Alton Ellis, Zoot Simms and the Wailers..
BIG, HEAVYWEIGHT Rocksteady Selection from themusicologist vaults.
musicology #0647
Augustus Pablo – Too Late
I remember the days when themusicologist’s only piece of online communication was here…bwooooooooooooyyyyyyyyy them days are LONG gone. Now it’s Facebook, Youtube, Instagram, Soundcloud, Mixcloud, Tumblr, Twitter and Pintrest which are all branches of the #tUmp tree. Of course that’s the way of an Organic, Natural evolving project. The seed is planted and the tree begins it’s journey. Not that I’m complaining, for me, the authentic life is like that. Music was, is and will always be the air I breathe and I believe that theUrbanMusicologyProject is my lifes ‘work’ and I am happy to give it all I have….anyway enough about me and back to the music.
second up in the A.P Special theme is this cut the instrumental version of Alton Ellis’s (previously featured), KILLER: ‘Too Late To Turn Back Now’…
musicology #541
Jamaica #21
(Wailing Souls – Don’t Fight)
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 #527
Jamaica #7
(The Techniques – Love is not a gamble)
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, not forgetting cats such as Bruce Ruffin, [who wrote this cut], 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 Duke’s Treasure Isle label.
musicology #324
DownbeatTheRuler #4
(Ken Boothe – You’re No Good)
Today’s cut is from one of THE greatest Jamaican vocalists never known, (outside of the Reggae community)..one of music’s many mysteries to me is how Ken Boothe has never had the global recognition that his talent deserves. Time after time, year after year from the earliest days right up until the present this Cat has delivered. In truth his Studio 1 output alone could have easily filled this theme to overflowing. His ‘cup certainly runneth over’ as they say and todays slice should illustrate why.
I love Alton Ellis as well you know but I would have to say that in my humble opinion Ken Boothe is ‘Mr Soul Of Jamaica’.
Born and raised in Kingston Mr Boothe was a foundation stone in the Coxsone empire as important to the Label’s success as the Miracles were to Tamla Motown who stuck by Downbeat until parting company in the early Seventies. Without further delay hold this, The original Ska version of his later ‘hit’. Look out for A Ken Boothe special on themusicologist sometime in the future.
musicology #95
sixartist, sixtune, sixweekspecial #18
(Alton Ellis & Eddie Perkins – My Heaven)
last of the Alton selection..and it’s this one from the earliest days of Jamaican musicology…recorded for none other than Clement Seymour Dodd. The second of his two cuts with Eddie Perkins as the duo Alton & Eddie from 1959, (cut three weeks after his first recording ‘Muriel’)
Alton..thank you for the music.
p.s next week it’s the turn of themusicologists first musical icon..Curtis Mayfield.
musicology #94
sixartist, sixtune, sixweekspecial #17
(Alton Ellis – Sun Of Man)
I was out last Saturday night celebrating what I sincerely hope is the start of something BIG for a valued friend who deserves all the success that comes his way. the cat is a constant source of inspiration and I would like to thank him for his support and for showing a way to navigate through these troubled times.
I mention this because it was much later on in the ‘wee wee hours’ of said night while kicking back at a pals house that I attempted to put on a Studio1 compilation, (The soul of Studio1, I think?), that was laying around…But there was one person, (not the man above I hasten to add), who objected with words to the effect of:
“not Reggae…anything but Reggae, I can’t deal with it…just not tuned in to it”
I was tempted to get all Socratic on the unit and challenge him on what he actually meant by those words…but in the spirit of the evening, I let it go..
don’t get me wrong…I’m certainly not suggesting that everyone has to like or listen to any and every form of music but to dismiss it purely because of what you think it might be is, for me, a mistake.
the point I suppose I’m making is that music belongs to us all no matter what our colour, class or creed and Alton Ellis is an emotive singer, full of pathos and musicology that deserves to be heard. a singer, songwriter and performer of the highest calibre who has been an important and valued teacher on themusicologists journey and no matter how many visits he gets this week continues to be a rock on which to tie my musical anchor apoun.
Mid seventies selection on the new york based ‘Clintones’ label.
musicology #93
sixartist, sixtune, sixweekspecial #16
(Alton Ellis – I’m Still In Love)
a piece of Valentines day musicology delivered by Mr Soul of Jamaica…Alton Ellis.
if it sounds familiar but you can’t quite place it this is the original cut to Trinity’s top ranking Saturday night special ‘Three Peice Suit’ which in turn spawned the more well known cut by Althea & Donna ..’Uptown Top Ranking’
musicology #92
sixartist, sixtune, sixweekspecial #15
(Alton Ellis – Hurting Me)
next piece from Mr Ellis…yet another Brentford Road, (Studio1), diamond.
one from out of the top drawer..with what sounds like the Heptones on backing vocals..definately Leroy Sibbles on the ‘four string’ delivering the essential bassline vibes.
Studio1, (and Leroy Sibbles in particular), pioneered the bass as an essential reggae ingredient. before him the bass was almost inaudible..maybe it was due to the fact that not only was Leroy Sibbles an all round musicologist in charge of arrangement, production, (after Jackie Mittoo left for Canada), and vocal duties but he was also resident bass player at the peak of the Studio1 sound.
stands to reason that he would favour the bass drenched approach, (although the ‘ganja’ must have had something to do with it too !!), anyway hold this top ranking cut sung by Alton with all the soul a man can muster…no wonder he was known as Mr Soul Of Jamaica…a richly deserved title…one of themusicologists favourite reggae cuts, slides into the dubwise..dancehall, discomix style.
musicology #91
sixartist, sixtune, sixweekspecial #14
(Alton Ellis – You Make Me Happy)
day two of the Alton selection is a piece from the early 70’s cut for Jamaica’s dominant production house, Coxsone Dodd’s Studio1. After a succesfull spell at rival Duke Reid’s Treasure Isle singing rocksteady classics Alton returned to Studio1, (I imagine), as the sweet and heavy sounds coming out of Brentford Road at that time were second to none, (Treasure Isle was also on it’s last legs)
With musicologists such as Jackie Mitto and Leroy Sibbles, (to name but two), at the controls the Studio1 sound had evolved into something special as well as unique and no studio could contest Dodd’s during this period. (it would take Channel 1, structured on the Studio1 sound, to try and wrest control from Coxsone in the mid 70’s),
Alton and Coxsone collaborated successfully at the birth of the Jamaican music industry in 1959 and although there would have been no love lost due to their previous financial dealings both knew their musical ‘onions’ inside out and had great respect for each others musical knowledge so a reunion was always on the cards…Alton Ellis had a very special quality that few possess, namely to make any tune sound like his own..
this song, (extended dancehall ‘discomix’), co written by Brenda Holloway and Frank Wilson, was made ‘famous’ by the group Blood, Sweat & Tears but for themusicologist Alton’s is the one that does it most justice…
for another example of the man’s special quality check Alton’s rendition of the Bee Gees song Massachusetts, (musicology #60), thrown down during ‘coversweek’
musicology #90
sixartist, sixtune, sixweekspecial #13
(Alton Ellis – If I Could Rule This World)
this week it’s the turn of ‘Mr Soul of Jamaica’, the legendary Kingstonian..Alton Ellis.
foundation reggae artist who has been recording authentic Jamaican music since the late 1950’s !!
starting out his recording career with Coxsone, (Dodd), before he had set up Studio1, Alton Ellis has been at the forefront of Jamaican music for almost half a century and stands as tall as any other artist Jamaica has produced. name checked by most, if not all, of the Jamaican singers that followed as an inspiration, Alton recorded and worked with all the major players of the Ska, Rocksteady and Reggae periods..musicians, producers, engineers..have all been touched by the mans qualities. you don’t come by the name ‘Mr Soul’ for nothing…(checkback to the first of the six/six/six artists..Sam, (Mr Soul), Cooke. musicology #75-83)
setting the tone for the coming week of Jamaican musicology this piece is taken from his 1967 album ‘Mr Soul Of Jamaica’ produced by rock-steady king Duke Reid the ‘Trojan’ and backed by Tommy McCook and the Supersonics
just like to mention that Alton is, (hopefully), recovering from treatment for a serious life threatening illness and if any one is in contact with him please let him know that this weeks tribute to a legend on themusicologist is all about him and his musical legacy..wishing and hoping for a full recovery
musicology #60
coversweek day 7 (Alton Elllis – Massachusetts)
last of the covers and what better way to call it a day than with the soulful voice of Alton Ellis, a foundation artist who helped shape the Jamaica sound that we know and love. To be honest I don’t know the original too tough, I’ve heard it a few times but for me Alton makes it his own.
taken from one of the first reggae LP’s I had the pleasure of procuring, full of top cuts, straight out of the top drawer and yet another from the Brentford road crew… (might have to make a separate category for Mr Dodd as time goes by).
ahhh, sweet music…
themusicologist 