Prince Buster

musicology #0739

Nubag #8 (a year in the life)

Rocksteady aka Drunkards Psalm – Busters All Stars

Big piece of instrumental tune from Busters All Stars..1967 release on the Blue Beat Label (in England). Featuring a collection of Jamaica’s finest instrumentalists.

Arkland Parks, Dennis Campbell, Ernest Ranglin, Gladstone Anderson, Jerry Haynes, Karl Bryan, Lloyd-Knibbs, Oswald-Brooks, Raymond Harper, Rico Rodriguez, Val Bennett.

 

No need to wax lyrical about the Princes profound influence on Jamaican music as a bandleader, pioneer, producer, Sound Man and ‘Voice of the People’. Just suffice to say that throughout the 1960’s Buster was up there at the forefront.

 

musicology #645

tUmp #7

the Wailers – Sinner Man


what more can I say about the ‘Wailing Wailers’…the trio who went on to internationalise the music of Jamaica that has since had such a BIG impact on contemporary music especially ‘Hip Hop’ and ‘House’ both of which owe a great debt to the artists, producers and engineers who were always innovating and showing what was possible with limited technology. EVERY 21st ‘bedroom producer’, whether consciously or unconsciously, takes inspiration from Jamaican Urbanmusicology.

From the early 1950’s the Sound System pioneers helped to blaze the trail for what was to follow, chatting on the mic, selecting in the dance etc but it was in the 1960’s and particularly with Sir Coxsone Downbeat’s Brentford Road powerhouse, appropriately named ‘Studio 1’ that the music really took shape. Of course there were other BIG and influential producers at the time notably Duke Reid, Leslie Kong, Justin Yap, King Edwards, Prince Buster but Coxsone was the one who truly moved the focus out of the dance and into the Studio with artists such as the Wailers. Coxsone was a businessman but also a vanguard AND music lover who knew how to pick a winner and without him the musical landscape of not only Jamaica but, (in my opinion) the world would be a different place.

DOWNBEAT THE RULER will ALWAYS be the CHAMPION sound for me.

Wailing Wailers TributeTees designed and produced by themusicologist available EXCLUSIVELY at

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musicology #544

Jamaica #24

(Gregory Isaacs – Financial Endorsement)

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 toorude for 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 #522

Jamaica #2

(Jackie Opel – You’re Too Bad)

Various Cats have laid claim to ‘inventing’ the Ska but as far as I can hear it seems to have been more of an evolution. In an attempt to provide a little insight for those who are not clued up on the historicity of Jamaican musicology before Ska there was what’s known as ‘Shuffle’ which to be brutal was more of a home grown version of American Jump/Rhythm & Blues so popular in the dance. Early Operators such as Tom The Great Sebastian and Count Nick were followed by hungrier Cats such as Duke Reid, Coxsone Dodd and Prince Buster who needed a constant source of new material to ‘mash up the dance’ and ‘Kill’ opposing Sound Systems. The competition was ferocious and it was this more than anything that fed the emerging scene for home grown talent. Combine such a need for a constant supply of fresh cuts, (Concurrent with the decline of Rhythm and Blues and looming Independence from colonial rule), with Jamaica’s strong sense of ‘national’ pride and identity and the stage was set for ‘Ska’

Coxsone led the way by setting up the legendary Studio 1 recording studio in 1963 and the icing on the cake was a collective of the hottest musicologists on the island coming together in 1964 as the Skatalites. As previously mentioned on themusicologist Jackie Mittoo was Coxsone’s musical director and as such is as responsible as anyone for defining Ska.

Today’s cut is a prime slice of the Skatalites pie from 1964? featuring the majestic Jackie Opel on vocals and the combined talents of any number of Tommy McCook, Roland Alphonso, Lloyd Brevett, Lloyd Knibb, Lester Sterling, Don Drummond, Jah Jerry, Jackie Mittoo, Johnny Moore and Percival Dillon…in a word..BOSS

musicology #521

Jamaica #1

(Delroy Wilson – Joe Liges)

Right…been waiting, (impatiently), for inspiration regarding the next theme and I’m pleased to announce that it has arrived. Random cuts are all well and good but they have no direction which is something the butterfly mind is prone to suffer from in all honesty. I say suffer because direction is, at least for me, essential when travelling down satisfaction’s long and winding road.

So what is the theme I hear you ask? Obviously the title should  give you a clue…Jamaica and it’s RICH musical heritage. In fact I would go so far as to say that contemporary music owes a HUGE debt disproportionate  to the Country’s size and population. How was it that such a small and as far as many people are concerned, (me most definately NOT being one of them), insignificent island produced such a treasure trove of musicology? I’m not planning on transcribing Jamaica’s history as I don’t know enough about it but at the risk of sounding like I’m blowing my own trumpet…I do know about the islands musical historicity. A genuine love affair that stretches back to some of my earliest musical memories starting in the early 70’s and, (along with Soul), stretching up to today. Fact is I truly LOVE Jamaican music with a passion. So much it has given me that I would like to try and repay the debt in the only way I know how and that is by sharing it with youse Cats and Kittens.

For the officionados among you I doubt there will be anything you havent already heard but themusicologist is not in the business of unearthing cuts that nobody has heard rather I’m in the business of playing what I consider to be cuts from the top of the tree and lets face it those are sometimes the best known. That said you won’t be hearing the internationally known ‘popular’ tunes during this theme purely because they are not the ones that I know and love.

I have been listening to and collecting Reggae since the early 80’s from I was a teenager whereas before that it was only what I was introduced to by family members. Just like to give an extra nod to one of my Uncles whose debt I will always be in for introducing me to such profound musicology..

Before we begin I would just like to lay me cards on the table and confess my alliegance to what I consider to be the premier studio and sound system to hail from the land of wood and water none other than Sir Coxsone ‘Downbeat The Ruler’ Dodd’s CHAMPION sound..Studio 1. Above all others it’s the Coxsone sound that has hit me hardest but there have been far too many TOP RANKING artists and producers along the way to namecheck, rest assured I will do my best to represent as many as I can as the theme unfolds over the coming days and weeks.

The format will be linear starting not at the dawn, (the late 50’s), of the Island’s musicology but rather when Jamaican music found it’s own unique ‘voice’ after Independence in 1962. The sound was named ‘Ska’ a term many are already familiar with so I’m not going to get caught up in the why’s, who’s and wherefores of the terminology as I would rather let the music speak. Of course this is only one persons subjective evaluation of the music and I’m sure that others will have their own ‘favourites’ but that’s part of what makes ‘Reggae’ so special…’Every Man Does His Thing A Little Way Different’

Finally..before I begin the sessions proceedings I would just like to add that I may ‘double up’ on some of the cuts that I have already thrown over the preceding 3 years so forgive me if I do…

First up is a cut from 1963..featuring the 13 year old Delroy Wilson singing a piece written by Dodd employee and all round musicologist Lee Perry concerning former Coxsone Sound Man, Enforcer and ‘dance crasher’ Prince Buster who, (thank the stars for us music lovers), decided to step to his own beat…

45 released in England on the pioneering R&B Label.

musicology #381

Modernist #9

(Folks Brothers – Oh Carolina)

Today I’m rolling with another quote from early Mod/ernist Patrick Uden..who as far as I’m concerned has much of value to say on the subject.

“You have no idea how dreary it was. It was really dreary. And then what happened was that the first group of 15 year olds born after the war emerged into a world where they had some money to spend. And at the same time the British economy was being turned around, (other countries had been more fortunate following the war), It was going from what’s called a ‘command economy’ to a ‘demand economy’. This meant that things started to appear that people could buy and there were certainly imports starting to come in. Some of them were ‘grey imports like Levi’s coming through the PX stores in American bases and moving into the black market via, you know, the East End markets and that sort of thing. So very slowly, and then quite rapidly, this purchasing power began to affect what was available. And this blossomed into a kind of early spring, if you like. I’m talking now around 1961/2, and that’s when it started, although you can trace the movement, in terms of things like music and so on, back into the 50’swith the interest in Modern Jazz and those sorts of things. But popular Modernism began to emerge around 1961 and I think that’s the real source of it.”

Reflecting on this and other snippets of knowledge from those who were there at the time crystalises in my mind that the most important and enduring aspect of the nameless thing moved out of the shadows in late 1961 and flowered for almost three years before being rinsed by the establishment for many years to come. All the ‘movements’ that I have had the pleasure to be involved in, (Casual/Rare Groove and ‘House’), lasted for the same duration so I conclude that it’s the nature of such things that the vanguard move on to pastures new once the herd pitches in. Maybe that sounds, and is, elitist but I make no excuse for it. The Elite govern and in some cases dictate all aspects of society and in such matters as trends this is no different. I’m not a supporter of Elitism but in my mind there’s no denying that it doesn’t have the power to exert strong influence on the shifting sands change.

Today’s cut, (courtesy of my uncle), is one that was on the vanguard of the change from what’s known as ‘Shuffle’ to ‘Ska’ a piece produced by ‘The Voice Of The People’…Cecil Bustamante Campbell a.k.a Prince Buster who is as responsible as anyone for Jamaican music shaking off it’s colonial/imperial heritage to stand on it’s own as an authentic language for ‘sufferers’ everywhere. Recorded, (according to Steve Barrow who has it on good authority from Owen Gray..thanks Steve), probably late 1961 but released on BlueBeat in the UK in 1962 if memory serves me right. Not only the year of Jamaican Independence but also the year that Mod arrived. Unique in that it was the first recording to feature Rasta ambassador Count Ossie. DEFINATELY played on the scene back in the day on release making it one of the first Jamaican crossover records to have a universal appeal.

musicology #332

DownbeatTheRuler #12

(Delroy Wilson – I Want Justice)

Penultimate cut of the Downbeat Tribute selection. Just like to make clear that for themusicologist Sir Coxsone’s Studio 1 is the Number 1 sound which is obviously a reason for paying a two week tribute to the musical legacy he laid down. Of course without the musicians, singers, producers and engineers who contributed it wouldn’t be. So even though this is a tribute to Downbeat it’s just as much a tribute to all who participated in delivering some of greatest music ever made and I hope the last two weeks have been as enjoyable for you as it has been for me.

Tomorrow I will be releasing part two of ‘The Project’ that has occupied an ever growing part of my heart and mind for more than 20 years and as always would appreciate your feedback/critique/opinions on it.

Today though it’s time for a slice from Mr Delroy Wilson who begun his career with Coxsone at the tender age of 13. Born in 1948 Delroy first enjoyed ‘success’ with his musical attacks on Dodd’s one time employee Prince Buster, ( ‘Joe Liges’), which I was going to lay down, but it was during the Rocksteady period, (and after), that his star truly shone with cuts like I’m Not A King, Dancing Mood, Riding For A Fall,  Keep On Trying etc, (all of which almost made it onto the tribute), At the tail end of the Sixties Delroy and Sir Coxsone parted ways and he drifted between various producers such as Bunny Lee, Gussie Clarke, Niney The Observer and the Hookim Brothers Channel 1 but as with many of Jamaica’s foundation artists the 80’s weren’t kind to him and his star begun it’s descent into almost obscurity by his untimely death in 1995.

So if you’re listening Delroy…this one’s for you….a top ranking slice of the Ska pie from 1965 originally released as a 45 on the Studio 1 label featuring, (unless my ears are deceiving me), what sounds like The Wailers on backup.

musicology #330

DownbeatTheRuler #10

(Wailing Souls – Don’t Fight)

Today’s cut, for me, epitomises the Studio 1 sound apoun which much of Reggae was built. Drum, Bass and Harmony..the trinity and who better to provide an example on the Downbeat tribute than the mighty ‘Wailing Souls’

Their story begins with Winston “Pipe” Matthews who as a youth living in Kingston in the early ’60s, learned to sing at the feet of singer supreme Joe Higgs, (already a veteran vocalist with a string of hits to his name, coaching up and coming talent in his tenement yard, his most famous protégés being the Wailers). Higgs’ training stood Matthews in equally good stead and by 1963, the aspiring singer and his vocal group the Schoolboys had come to the attention of Prince Buster. In 1965, the Schoolboys folded, but Matthews was soon back with a new group, the Renegades. This vocal trio comprised Matthews, Lloyd “Bread” McDonald, and George “Buddy” Haye, both of whom were also alumni of Higgs’ vocal classes. It was at this point that the trio came to the attention of Coxsonne Dodd and the Renegades embarked on a fruitful career at Studio One.

In 1968, Haye departed, in his place came two new singers, Oswald Downer and Norman Davis. Such a shift of lineup prompted the group to totally cut ties with the past, and they changed their moniker to the Wailing Souls. Studio One eventually released two seminal compilations of recordings from this period, The Wailing Souls and the LP from which today’s piece is taken Soul and Power.

Still going strong after more than 40 years the Wailing Souls continue to deliver soul stirring musicology that stands as a testament to both their quality and longevity. For more ‘Souls’ Knowledge visit their site from where the above information was unashamedly gleaned.

An early 70’s cut, with the bassline echoing the Larry Marshall classic ‘Throw Me Corn’.

musicology #327

DownbeatTheRuler #7

(Charlie Organaire – Rude Boy Charlie)

Day 7 of the Downbeat selection is a roasting piece of Ska featuring Harmonica player, producer and original member of Bobby Aitken’s Rocksteady pioneers The Caribbeats, Charles Cameron. Anytime you hear a harmonica played on a slice of Jamaican music, (especially Ska and Rocksteady), more than likely it’s the ‘Organaire’ blowing on sessions for the likes of Coxsone, (of course), Prince Buster, Duke Reid and King Edwards as well as many others.

This cut is also likely to feature the musical talents of Lloyd Brevett on Bass, Lloyd Knibb on Drums, Jah Jerry Haynes, on Guitar and Jackie Mittoo on piano the musical backbone apoun which the Studio 1 sound and success was built.

musicology #322

DownbeatTheRuler #2

(Bob Andy – I’m Going Home)

Sir Coxson was a music lover and man on the street but also a businessman and a successful one at that which, in my experience is often not appreciated by those who have been left behind to hustle and scratch for survival on the tough streets of places like Kingston, London, New York etc. The truth is that many would rather see you stumble and fall than lift yourself out of the mean streets especially when, as far as they are concerned, (and maybe rightly so), you have made it off the sweat of their brow. This seems to have been the case with Coxsone as the years rolled on but it’s not easy to keep such an enterprise going, (as many record label owners would attest to), when everyone wants a slice of the pie. Coxsone not only put Studio 1 together but also kept it going right up until his death.

Possibly inspired by Cats like Sam Cooke whose SAR label was, (along with Berry Gordy’s Tamla Motown), a pioneer in the record business, Dodd couldn’t afford to ‘take any prisoners’ so paid the Artist, Arranger, Producer and Musician per side, (or as employee), rather than cut them in on the Action. After all it was he who was taking all the risk so why share the rewards? Any business person would agree with his appraisal of the situation but the Artist wouldn’t. To further highlight the point the singer of today’s cut is quoted to say;

“Clement Dodd is a good mentor and he really provided the facilities for a group of youngsters who would never have had anywhere to go in those days, but he could have done more for them. I would say Jamaican music suffers from a Coxsone syndrome.”

I can see why. It was they who created the ‘product’ for Dodd to capitalise on so why should they not be ‘cut in’? Dodd may say that “if you want a piece of the pie you also have to take some of the risk” which hardly any of the Artists were in a position to do. Cats like Prince Buster, (a businessman and Artist), saw the light and parted company with Dodd as soon as possible to make a name, (and hopefully some ‘corn’), for himself but of the many hundreds in Jamaican music history VERY few have much to show, financially, for their achievements.

What they do have though is a place in musical history that will last long after they have been laid to rest and an army of fans that continue to spread their name. Personally I would rather be the Artist than the businessman.

Anyway enough chat and on with the Downbeat show….

This 1966 !! cut, (his first solo piece), is courtesy of former Paragons founding member and songwriter supreme Keith Anderson, (Bob Andy), apparently backed up by The Wailers but to my ears it sounds more like The Heptones? anyway whoever is harmonising it’s Bob Andy’s wailing lead that cuts through and is one of my personal favourites…featured on one of the greatest Studio 1 LP’s Bob Andy’s Songbook.

Bob Andy….Live on…

musicology #161

vocalgroupaction2 #6

(The Uniques – Lessons Of Love)

day six !! of the vocalgroup selection and the tunes just keep on coming…by now i’m sure you’ve realised that the two genres that feature heaviest on themusicologist are Soul & Reggae and today’s cut is no exception.

courtesy of one of the most ‘important’ of Jamaica’s vocal groups The Uniques whose previous incarnation, (The Techniques), had already played a huge part in shaping the vocal group sound of Jamaica with Duke Reid at Treasure Isle. (for an example of the Techniques work with ‘The Trojan’ take a listen to musicology #44).

but it was as this pivotal line-up, (Roy Shirley, Jimmy Riley, Lloyd ‘Charmers’ Tyrell and Keith ‘Slim’ Smith), produced by the Islands top producer at the time Bunny ‘Striker’ Lee that they rose to the top of Jamaica’s vocal group tree with a string of Rock Steady classics such as ‘Gypsy Woman’, ‘My Conversation’, ‘The Beatitude’, Love & Devotion, ‘Facts Of Life’ (to name a few)

briefly…Bunny Lee was a major figure in the evolution of Jamaican musicology especially during this period. One of the first, (the first being Cecil ‘ Prince Buster’ Campbell), independent producers to challenge Coxsone Dodd and Duke Reid he was instrumental in breaking the hold the two held over the music resulting in the emergence of other notable producers such as Derrick’ One Stop’ Harriott and Lee ‘Scratch’ Perry.

Recorded in Kingston at the Treasure Isle, (or W.I.R.L), studio in 1968.