aSongforCon
“Let not the waves of the sea separate us now, and the years you have spent in our midst become a memory.
You have walked among us a spirit, and your shadow has been a light upon our faces”.
– Gibran Kahlil Gibran
“After silence that which comes closest to expressing the inexpressible is music” – Aldous Huxley
(Sir Coxson) Downbeat marrow trembler courtesy of the majestic Jackie Mittoo, (the backbone of Studio 1 throughout the golden years), and the brentford road massive aka the Skatalites, the soul brothers, Sound Dimension the Brentford road all stars/disco set at the top of the game. released in 1966, (as the Ska slid into the Rock Steady) on Downbeat’s genre defining Studio 1/Supreme Label.
Regulars on themusicologist know how strongly the ‘Keyboard King’ has been representing over the years due to his credentials as one of the greats of the music that I love. Jackie is/was and will always be the KING of Studio 1 for me
there are rare tunes and there are BOSS tunes..no doubt which category this STANDS in.
Doreen Schaeffer – This Love
“It means much to have loved, to have been happy, to have laid my hand on the living Garden, even for a day.”
it means SO much .. thank you kohzu x
themusicologist is back in the saddle today with a remix of the Johnny Osbourne Downbeat Roots Classic ‘Truth & Rights’. Recorded in the late 70’s at Sir Coxsons Studio 1, although in truth it was, like much of Coxsons later output an overdub recorded over an early 70’s ‘golden age’ Studio 1 rhythm, a practice originated by Sugar Minott a few years earlier.
By the late 70’s Jamaica was on the edge and Kingston was to all intents and purposes a battlefield. The economy had collapsed due, (in part), to outside influence as well as infighting between the opposing forces of the JLP and the PNP. Without going into too long a narrative Jamaica, (and the Caribbean) was on the frontline of the Cold War. Manley was a ‘Socialist’ and Seaga was a ‘Capitalist’ and the war that erupted was instigated by outside pressure to destabilise the situation. The age of ‘Roots & Culture’, One Love and ‘Ites was almost over and the ‘Gunman’ style was on the march. Studio 1, (as a creative force), was too all intents and purposes finished and Sir Coxson was relocating to the relative peace and safety !!! of Brooklyn signalling the end of the mightiest of Jamaica’s Musical powerhouses…
The rhythm for this tune was originally recorded at Studio 1 in the early part of the 70’s and released as ‘Take a Ride’ (miscredited to Al Campbell). Johnny Osbourne’s Truth and Rights was, (to the best of my knowledge), never released as a 7 Inch and was only available on the LP, (along with other ‘golden age’ overdubs), anyway…before i digress here is my tribute version to one of the mightiest of the Studio 1 roots cuts…
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…
click on image to see it in all it’s glory.
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…
Leonard Dillon….Rest In Peace
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….
The Silvertones – Bring It On Home
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 @
Sound Dimension – Tricky (Just Say Who)
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.
Jamaica #14
(Pat Kelly – Dark End Of The Street)
Reggae…who were it’s early protaganists? First, as was always the case in Jamaica, there were the producers. Arguably the most influential were Lee Perry, Bunny Lee and Coxsone Dodd. Then came the musicians; Brothers Aston ‘Family Man’ and Carlton ‘Carly’ Barrett, Glen Adams, Lloyd Charmers, Alva Lewis and Ronny Bop recording both for Bunny Lee, (as The Bunny Lee All Stars), and Lee Perry, (as The Upsetters).
The Studio 1 sound was created by the Sound Dimension, (Jackie Mittoo, Leroy Sibbles, Cedric “Im’ Brooks, Vin Gordon, Ernest Ranglin and Leroy ‘Horsemouth’ Wallace). Of course there were other producers and musicians who are responsible for delivering seminal work but the above mentioned stand out consistently.
So…enough chat and on with the music..Todays cut is a Lee Perry production featuring the vocals of one of my favourite singers of the period Pat Kelly backed by the afore mentioned Upsetters.
Jamaica #9
(Larry Marshall – Money Girl)
Moving out of the Derrick Harriott and into yet another fine piece but this time it’s courtesy of producer George Phillips better known as Phil Pratt..a name bestowed on him by Caltone founder Blondel Keith Calneck, (Ken Lack).
You may have noticed that one of the things about Jamaican music is the significance of the producer in musical proceedings and Phil Pratt is certainly one of them. Horace ‘Andy’ Hinds, (cousin of Justin), The Heptones and Bunny Lee all begun their journey beside the Cat at Caltone so its, (and his), importance in the development of Reggae deserves wider recognition.
The cut today is courtesy of singer Larry Marshall, (who would go on to find a place at Coxsone’s Studio 1), and features the talents of Rocksteady’s core protagonists that include Lynn Taitt, Gladstone Anderson, Winston Wright, Clifton Jackson, and one from Winston Grennan, Hugh Malcolm or Arkland Parks. From the sounds of it I would hazard a guess that it’s a 1967 recording but I could easily be mistaken and if so it would be early 1968. Whatever the year it was arranged by a name we have become familiar with over this week…Lynn Taitt.
Finally just like to praise the label Pressure Sounds for releasing the CD, (Safe Travel), from which today’s cut emerged. ESSENTIAL purchase…FULL of TOP Ranking Rocksteady that were you to try and buy the 45’s featured would cost you a small fortune, (if you were lucky enough to find them)
LISTEN TUNE…
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.
Duets2 #5
(Dudley Sibley and Peter Austin – Hole In Your Soul)
Today’s cut is yet another RockSteady scorcher but this time courtesy of Sir Coxsone ‘ Downbeat The Ruler’ Dodd’s Brentford Road powerhouse…Studio 1. Regulars on themusicologist should know by now of my ongoing ‘affair’ with the sounds of Sir Coxsone..for me the premier recording studio and Jamaica’s most important sound. Not to say that there aren’t many other producers and studios that deserve recognition and undying support but Downbeat will always wear the crown as far as I’m concerned.
AfterTheStorm #2
(Skatalites – The Reburial)
Stepping up the pace with this majestic piece of Jamaican musicology, (a tribute to Marcus Garvey), from the vaults. Recorded at Coxsone’s Brentford Road powerhouse, Studio 1 for Justin Yap and released on his top ranking Top Deck label.
sleighbellsring #15
(Owen Gray – Collins Greetings)
Was just about to lay down a doo wop slice of the christmas pie until this one floated out of the speakers…
Instinctively I would say it’s a Duke Reid piece of Rocksteady, I have it by someone else.., (I think it’s a cut of ‘People Get Ready’ by Alton Ellis ), but as it’s Owen Gray it could also be a Coxsone production. Whoever produced it…well done and thank you.
communication #4
(Alton Ellis – Breaking Up)
today’s slice of the communication pie is a 1968 cut credited to Tommy McCook and the Supersonics, (The Treasure Isle musical backbone), with no mention of the singer anywhere on the label. It is, of course, delivered in finest style by the unmistakeable voice of the Godfather of ‘Rock Steady’, Alton Nehemiah Ellis who, as some of you know, passed away this month.
Probably better known for his Studio1 version, this is the one he cut for Arthur ‘Duke’ Reid’s, (The Trojan), musical powerhouse, Treasure Isle. Released on an early, (Orange label), Trojan 45. . such a top ranking early reggae classic that it’s ‘easy’ to pass over due to it’s familiarity but there’s a chance that some of you may not have heard it and more than that the message cuts especially deep for themusicologist at this time so it had to be flung down.
Alton, come in brother man and let the people know what you’re talking about.
“when you turn and you walk through the door…(ahhh ahhh)”
malevocals2 #1
(Cornell Campbell – My Country)
kicking off this weeks selection with a mighty cut from one of Jamaica’s finest, Cornell Campbell who has been dropping musical bombs like this for almost 50, (count ’em), years. the man has laid down so many top ranking pieces it beggers belief that he is not an international star.
there at the birth of Jamaican musicology Cornell Cambell began his career at the tender age of 11, (according to the man himself), for none other than Coxsone ‘Downbeat the ruler’ Dodd. after a financial dispute he moved on to King Edwards, then formed vocal group ‘The Sensations’ with Jimmy Riley.
back to Dodd as a solo artist and lead singer of ‘The Eternals’ before hooking up with Bunny Lee in the early 70’s…the cat has worked with all of the great Jamaican producers throughout his long career, (which is still going strong), covering almost all of the styles from R&B through to Dancehall so I’m not going to bore you with the ‘information’ …. i’m just going to throw this one down and leave it to you to decide.
vocalgroupaction2 #2
(The Royals – Make Believe)
day two of the vocalgroup selection finds us tuning into some ‘sufferers’ courtesy of Jamaican vocal group The Royals with a mid 70’s piece on Roy Cousins’ Wambesi Label.
Roy Cousins was not only the producer and Wambesi label owner he was also the Royals lead singer. forming his first vocal group in 1962, (pivotol year for musicology), he went on to form the Royals, (originally called the Tempests), in 1965…recording for, (among others), Coxsone Dodd’s Studio 1.
sick of being ‘skanked’ by producers and label bosses he set up his own in 1971 and this one (Wambesi), in 1974 which attracted many a fine singer, vocal group and deejay evolving into a major force in the 70’s and 80’s.
the cat at the ‘controls’ on the dub is none other than Lloyd James. better known as..Prince Jammy…
themusicologist 