treasure isle mp3

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 #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 #303

JamaicanVocalGroupAction #14

(The Paragons – The Tide Is High)

The end of the road for this theme. hard to pick a favourite but I’m going for the Wailers – Cry To Me. Tunes like that certainly don’t grow on trees and it resides in my top twenty of all time.

Today’s final slice of the ‘action’ is perhaps better known to many for the Blondie Version from the early 80’s. Or even the most recent version by Kardinal Offishal..My daughter reminds me that, (among others), there was also a poor pop version by The Atomic Kittens but thankfully I don’t know it. Blondie’s version was ok but not a scratch on this, the original from another one of the great J.A Vocal Groups led by John Holt, (who also wrote it)

The group also featured such luminaries as Bob Andy, Tyrone Evans, (who formed the group), and Junior Menz who, following Pat Kellys departure, sung lead for the Techniques most notably on Queen Majesty, (musicology #293), completing the trio on this cut was Howard Barret. A Duke Reid ‘Treasure Isle’ classic from 1967.

musicology #226

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)”