Sticking with the Early Wailers selection with this piece of Rockin’ Steady social commentary on the Emerging Rude Boy who was beginning to make his presence felt in and around Kingston’s more notorious districts and parishes as the reality of Independence unfolded and the ‘hustle’ became the primary way of earning a living and even more importantly a reputation for the ghetto sufferers.
Yet another example of why Sir Coxsone Downbeat’s Studio 1 was establishing itself as the prime Studio for recording and releasing the authentic sound of independent Jamaica.
been busy…(still am), as I continue crossing the border into the ‘brave new world’ where the ‘immaterial’ is overtaking the ‘material’ and hegemony reigns…
but for me themusicologist has always been the space where I come to let off, connect and communicate with music that speaks so today sees the beginning of a new theme….tUmp (theUrbanMusicologyProject), of which there are, (already), material and immaterial parts.
The first step I took over the brave new threshold was here with themusicologist almost 5 years ago but the actual journey was already well under way. I’m a traveller, (it’s my nature), and I’m always ‘on the road’ with music as my only consistent companion along the way. theUrbanMusicologyProject is who, what and why I am and the next few weeks is the latest movement in the(Urban)musicologist’s symphony.
First up is a cut from the Wailers whose Urbanmusicology I was originally introduced to by my family in the early 1970’s, (‘Catch a Fire’ with the zippo style album cover), and it was there that my Jamaican music lesson began and the ‘SouL RebeL’ sound has remained a BIG part of my narrative ever since.
Today’s unreleased? accoustic cut is from the mid 60’s features the mighty trio at the place where their combined journey began, Sir Coxsone’s mighty Brentford Road musical power-house…Studio 1.
Quick fling down and run today..shame as I enjoy and prefer to take my time over each and every post but today mans is on a hype ting and needs to make hay while the sun shine on this GLORIOUS winters day in Old London Town…
Today’s cut is a (urBan)musicologist favourite credited to Bunny Scott but is in fact the unmistakable sweet sound of vocalist William ‘Bunny Rugs’ Clarke aka ‘Bunny Rugs’ aka ‘Bunny Clarke’ aka Bunny Scott !! who is probably better known as lead singer and songwriter in the Internationally renowned group Third World. This one was recorded by Lee Perry sometime in 1975 at the Black Ark where he voiced some absolute KILLERS for the Upsetter at a time when, (for some reason), no other producer was interested??..for another example, (featured on themusicologist a while back), click on the link below..
Next piece of the Upsetters Jamaican Soul selection with this Classic piece of Black Ark musicology featuring Keith Rowe. One Half of the duo (Keith & Tex), that dropped two Rock Steady Bombs for Derick ‘One Stop’ Harriott back in the late 60’s..’Stop That Train’ and ‘Tonight’ this one was recorded in 1977 during Lee Perry’s ‘Goldfinger’ period at the Ark when he was producing international hits. Rowe had won a trip to Jamaica for a few days after spending the preceeding 5 years in America..
Part #7 of the Upsetter tribute….
Slowing the tempo down with the original, (Reggae), cut of a William Bell soul tune sung by foundation Jamaican vocalist and LONG time Lee Perry friend and collaborator Chenley Duffus whose career begun at the age of 12 in 1950. First recording in 1958 at Federal and then with Coxson in the early 60’s which is where he met and formed a lasting bond with the Upsetter.
Todays cut was recorded a decade later at Randy’s Studio in 1972. Backed by his brother Kenneth and cousin Keith and a trio consisting of Tommy Mc Cook on Keyboards, Leroy ‘Horsemouth’ Wallace, (with his trademark attacking, military style), on drums and the man Lloyd Parks on Bass, (vocalist in his own right). A BIG hit, (the biggest of Chenley’s career), which according to Lee Perry caused tension between himself, Coxsone and Ken Khouri..Such is the nature of the intense rivalry between producers in Jamaica Coxsone wanted to fight them both !!
Day #6 of the Upsetter tribute and today’s cut is another Upsetter scorcher but this time from 1969. Voiced by Milton ‘Morris’, (aka Milton Henry) and recorded at either Dynamic, Studio 1 or ‘Randys’.
Former member of the Leaders with Keith ‘Prince Allah’ Blake and Roy ‘Soft’ Palmer, The Progressions, (Studio 1’s Jets), and the Emotions as well as one time member of the ‘Hippy Boys’….Henry got about !! but it was with this early piece of ‘Sufferers’ that he made an impact.
By this time the Upsetter was well and truly ‘shaking up Orange Street’ with his unique sound and those who had underestimated him were no doubt beginning to wish they hadn’t….
Day #5 of the Upsetter tribute and after spending the first few years of his career helping to build Sir Coxson’s Studio 1, (and the Downbeat sound), into the #1 outfit on the Island Lee Perry became dissilusioned with Coxson’s lack of appreciation as well as any real opportunities to progress his career so he decided it was time to break free and make his OWN play but it wasn’t really until 1968 when things began to look up for the Upsetter.
Lee Perry was already well on his way to mastering the art of picking, creating and crafting hit records but funds were tight and it wasn’t easy but in the year of the earth monkey, (1968), the English market began to gather speed due, in part, to the rise of Jamaican musics popularity with the working class youngbloods who became known as Skinheads.
Today’s cut is another Upsetter scorcher from 1968. Voiced by the Inspirations, (Trevor Shaw & Ransford White), and recorded at either Dynamic or the Chin family’s ‘Randys’ studio. (Trevor Shaw went on to reinvent himself as ‘Jimmy London’)
the (Limited Edition) Upsetter tribute tee (available in 3 Colours), below was designed and produced as a direct reference to these times…
If you only listen to ONE tune from the(urban)musicologist’s Upsetter tribute it HAS to be this one from the Ethiopians. Leonard Dillon, Stephen Taylor and Aston Morrison. KILLER piece from the early days, (1974), of the Black Ark released in JA on theUpsetter’s Justice League Label.
Leonard Dillon’s career first hooked up with Lee Perry at his Studio 1 audition in the 60’s when he cut 4 tunes for Sir Coxsone…on the strength of his connection to the Wailers. Those present at the audition were Downbeat, Jackie Mittoo, Peter Tosh and Lee Perry. It was here where he got his nickname…
Today’s MASSIVE cut is courtesy of The MAJESTIC Earl John Daley aka Earl 16..who started his recording career at Duke Reid’s Treasure Isle in vocal group The Flaming Phonics but had little impact until after going Solo in 1975. Teaming up first with Derrick Harriott and then Boris Gardner before linking with Lee Perry in the late 70’s when he waxed a few gems for the Upsetter at the Black Ark..
In a, (top ranking), interview from AUTHENTIC Reggae periodical Small Axe Earl has this to say about the session….
“We actually laid the track with Dalton Browne, that was actually the first time that Steelie came to the studio as well, we first brought him, Steelie, Albert Malawi, (he used to play in sound system, but he’s a drummer), and Dalton Browne, that’s the musicians that we used for that session, and we did four songs all at once. We did “Cheatin” (?) was played by Boris Gardener, and “Bird in the Hand”, those two were played by Boris Gardner, but “Give Black People Freedom” and “Do Good and Good Will Follow You” was played by Albert and them lot”.
BIG piece of Rebel Music, (mixed down by themusicologist)…….
day Two of theUpsetter triBute……I’ll keep it brief and let the music speak.
the bat eared amongst you will notice that this is of course a version of the George Gershwin song Summertime but rinsed through the genius of Lee Perry and the Black Ark.
KILLER Black Ark selection from Errol Walker and theUpsetter…I have mixed in the, (at the time), unreleased Dub for the FULL Black Ark Experience….
For the next couple of weeks themusicologist is focusing on Lee Perry, The Upsetter, Chicken Scratch, Little Lee. A man whose impact on Jamaica’s, (and the world’s), soundtrack is, (almost), as big as Coxsone Dodd’s.
No surprise that the Upsetter began his career beside Dodd and even less of a surprise that they parted due to, (as far as Lee Perry is concerned), Downbeat’s failure to reward his creative endeavours….a common Jamaican tale which I am not in a position to pass judgement on, (and nor would I no matter what I knew)
Anyway, the(urBan)musicologist ain’t about hearsay and rumour….STRICTLY music and Lee Perry and Coxsone Dodd helped shape Jamaican music into what we know and love.
Studio 1 carried the swing throughout the 1960’s and early 1970’s but Lee Perry emerged with the ‘Soul Rebel’ sound in the late 60’s and wrestled the (recording) Crown from Sir Coxsone between 1972-1977..Channel 1 was there as where a whole host of producers during the period but, (as with Coxsone Dodd), Lee Perry changed the game.
It was Lee Perry who insisted that Bob Marley reform the Wailers rather than go it alone after returning from abroad in 1968 and history went on to be made. It was Lee Perry whose ‘Black Ark’ RULED from late 1973 until 1978 recording a HEAP of classic, KILLER material with many of the great Jamaican musicologists and whenever we reflect on Jamaican musical history Lee Perry’s name is right up there with the Champions.
Today’s cut is courtesy of The Silvertones Gilmore Grant, Keith Coley and Delroy Denton who first recorded for Duke Reid in 1965? with the magnificent Ska tune ‘True Confession’, (buried somewhere on themusicologist !!) following up with some quality Rock Steady and early Reggae for various producers, (including Lee Perry).
Before I drown in a sea of monologue and information please allow me to cut this short..
According to David Katz’s excellent book ‘People Funny Boy’ the rhythms for this piece were recorded at the, (almost completed), Black Ark and the vocals at King Tubby’s Studio at the dawning of 1973? and the musicians consisted of Hux Brown, Ansel Collins, Ranchie McLean and Anthony ‘Benbow’ Creary…
Finally I just want to add that I rate this tune and the Silvertones HIGHLY…oh yeah….It’s a cover of Sam Cooke’s ‘Bring It On Home To Me’
theUpsetter triButetee available in various colours @
round 2 of the(urban)musicologist’s audio/video combos highlights a tune from the ‘Mellow Sounds & System Dub’ LP.
Dubwise to Horace Andy’s KILLER ‘Just Say Who’. One of my FAVOURITE pieces that drifts like the scent of honeysuckle on a summer breeze and never fails to move me.
The eagle eyed amongst you may notice my blatant product placement of the mellow sounds tee on the video…but if a man can’t mix, blend and share theUrbanMusicologyProject (tUMp) on here then where else !
Just to let you know that I won’t be making themusicologist an advert for bloOdsweatandteeS…it’s just how I’m rolling right now and the ‘project’ is what it is.
a material part of theurbanmusicologyproject (t_um_p) is up and running. bloOdsweatandteeS is locked and loaded with the first wave of triButeteeS in, (VERY LIMITED), stock and ready to go
fellow musicologists who have watched as themusicologist has evolved over the years will know that the tees are not only a labour of love but also an authentic part of themusicologist’s project to honour, share, connect and communicate with the music that continues to deliver 100% satisfaction.
the first wave of teeS consists of two designs, (although EXTRA colour combinations now available), that will be familiar to the cats who knOw how themusicologist has already rolled..
themusicologist 