rocksteady

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.

 

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#0725 the Gaylads – Joy In The Morning

aHymnForCon #31

“Some of you say, “Joy is greater than sorrow,” and others say, “Nay, sorrow is the greater.”
But I say unto you, they are inseparable.
Together they come, and when one sits alone with you at your board, remember that the other is asleep upon your bed.” ― Kahlil Gibran

musicology #533

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

musicology #524

Jamaica #4

(Don Drummond – Treasure Isle)

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

musicology #520

Randoms #3

(Errol Dunkley – A Little Way Different)

Apparently it was 3 years ago that themusicologist stepped into the global arena in an attempt to communicate. 3 years later and I’m still trying. SO much water has gone under the bridge since then it almost seems like I have lived at least three lives. In fact the ONLY constant in my life has been the music. Companions on the journey who I thought would be there for the duration have stepped off and significant others have stepped in. I suppose that is the way it has to be. Nothing lasts forever, (other than music of course)

The journeys soundtrack along the way has been just as hill and gully as the existence itself..sometimes so raw that I wince when I listen but there’s no taking it back, (nor would I want to), so I’ll just keep rolling out the message and let the dialogue unfold naturally as it always has and most likely will be.

Today’s messenger is the majestic Errol Dunkley a cat who first sung his way into the musicologist’s heart and mind with his 1966 cut, (at the crossroads between Ska and Rocksteady), ‘Love Me Forever’ but it’s this one that I identify him with. The TOP ranking ‘A Little Way Different’. This version is the 12″ rather than the Sonia Pottinger produced 1972 original. Both equally superb in their own right.

musicology #50

(Loving Paper – Dobby Dobson – Treasure Isle)

keeping a low one this week, (but not musically of course), only thrown the Gregory so far but as this is a musical diary heres another entry.

of interest, (to me at least), is the realisation that as one who, from a young age, was schooled in the ways of the catholic church, especially during secondary education, (11-16), themusicologist is the place I come to ‘confess’

strange thing confession .. and regular as clockwork through my school years, (at least once a week),

anyway back to themusicologist as the confessional box. I’m caught between music being the antagonist or the protagonist. of course there is the eternal balance and the can’t have one without the other and although I accept that in theory, for me, life is not theoretical or a game played in the mind. music is not theoretical it’s out there exposed to be acted on.

everytime I hear Curtis sing move on up, (musicology#30), it moves me, calls me to arms and shows me the way

“so move on up and keep on wishing .. remember your dream is your only scheme, so keep on pushing”

I first heard this at the tender and impressionable age of two where it stuck like glue and opened my heart and mind to the power of music to communicate a message. ever since then the thirst for music has been unquenchable, over time becoming the only constant companion as well as the voice that is always heard. I mention all this because right now I find myself standing at the crossroads and wondering where music will lead me. this piece of Trojan produced RockSteady on the Treasure Isle Label has also been a constant source of inspiration since first feeling it back in the 80’s

come in dobby dobson and help shine the light.

“I’m not in a position to maintain you ……….”

loving-pauper-label-scan.jpg

musicology #44

vocalgroup action day 3 (You Don’t Care – Techniques)

top ranking slice of Rock Steady from Duke Reid ‘the Trojan’s’ Treasure Isle stable.
a tune penned by father Curtis Mayfield, (a major influence on Jamaican musical direction)

lead vocal by the majestic Horatius ‘Pat’ Kelly.. backing by Winston Riley and Junior Menz, who went on to sing the equally heart wrenching lead on one of themusicologists favourite slices of Jamaican Soul..Queen Majesty.