Classic Black Ark, conscious lyrics and killer dub.
Thursday 31 October 2013
Devon Irons - Vampire
Devon Irons' (Devon Russel) chase against malice. Contrary to today's celebrations, Devon Irons is hunting down the vampire, as I & I ago set them a fire when he ketch vampire.
Classic Black Ark, conscious lyrics and killer dub.
Classic Black Ark, conscious lyrics and killer dub.
Wednesday 30 October 2013
Jah Shaka
One of the most influent sound system selectors in the UK, Jah Shaka has been representing the British sound system culture since the 1970s. Forever sticking to roots and culture, Shaka has been a true inspiration to other sounds not only in Britain, still selecting on a single Gerrard 4HF turntable.
Monday 28 October 2013
Kenneth George Boothe
After yesterday's post, here's a picture of the man, Ken Boothe. I have also added a photo from a recent concert to demonstrate the incredible energy he still has on stage. There's no question about why he tours - he's without doubt one of the best acts I have ever seen, making the most out of his time and spreading positive energy to the delight of his fans.
Sunday 27 October 2013
Ken Boothe - Thinking
Three weeks after having started my blog, I somehow have managed to avoid writing an article on Ken Boothe. Not today though.
Ken Boothe (OD) began recording in the early 1960s when he teamed-up with friend Stranger Cole and they recorded for Duke Reid as Stranger & Ken. Many hits were released over the next years such as World's Fair and Artibella, which have become very sought-for ska 7"s by collectors today.
In 1966, Ken left the duo to persue a solo career at Studio One. The same year, Jamaica experienced a particularly hot summer, during which the fast checka-checka ska beat reduced its tempo creating a new genre, rocksteady.
His recordings for Coxsone were instant hits, and the album Mr Rocksteady (1968) gave him the nickname he still holds today.
Thinking (1968) was one of the songs recorded at the studio, an absolute rocksteady scorcher. Ken Boothe's soulful voice portrays the tale of a lost love, intercepted by the outcry of a simple but effective minor-key organ riff.
Moving on 16 years later to 1984, as recounted yesterday reggae was in full rub-a-dub mood. Although less active as a singer, Ken stopped over at Channel One where he had the great idea to re-record his early hit.
The Roots Radics were there, and recorded their take on the riddim. The final result is a brilliantly melodious track as the bassline adapted from the rocksteady version gives it a more experimental touch to what was produced at that moment. Although the organ was left out, the version is of course more than welcome with Style's drumming bursting out over the riddim.
Ken Boothe (OD) began recording in the early 1960s when he teamed-up with friend Stranger Cole and they recorded for Duke Reid as Stranger & Ken. Many hits were released over the next years such as World's Fair and Artibella, which have become very sought-for ska 7"s by collectors today.
In 1966, Ken left the duo to persue a solo career at Studio One. The same year, Jamaica experienced a particularly hot summer, during which the fast checka-checka ska beat reduced its tempo creating a new genre, rocksteady.
His recordings for Coxsone were instant hits, and the album Mr Rocksteady (1968) gave him the nickname he still holds today.
Thinking (1968) was one of the songs recorded at the studio, an absolute rocksteady scorcher. Ken Boothe's soulful voice portrays the tale of a lost love, intercepted by the outcry of a simple but effective minor-key organ riff.
Moving on 16 years later to 1984, as recounted yesterday reggae was in full rub-a-dub mood. Although less active as a singer, Ken stopped over at Channel One where he had the great idea to re-record his early hit.
The Roots Radics were there, and recorded their take on the riddim. The final result is a brilliantly melodious track as the bassline adapted from the rocksteady version gives it a more experimental touch to what was produced at that moment. Although the organ was left out, the version is of course more than welcome with Style's drumming bursting out over the riddim.
Thanks to DiggingCrates
for the upload
Saturday 26 October 2013
The Roots Radics
Channel One's initial session band was the Revolutionaries, structured around drummer Sly Dunbar and bassist Robbie Shakespeare. The band was renown throughout the Rockers period thanks to records such as the Mighty Diamond's Right Time (1976).
Created by Sly himself, the rockers style can be recognised through fast strikes on the snare drums rims, a sound that Sly described as "sounding like an M16", a machine gun that bring terror amongst Kingston's ghettos.
 |
| Sly and Robbie, the Riddim Twins |
However, in 1978 the two players left Channel One to form their own label, Taxi. Through their productions as "Sly & Robbie", the two have become some of the best regarded players, and nicknamed the "Riddim Twins".
That same year, main producer at Channel One Henry "Junjo" Lawes replaced Sly & Robbie by Lincoln "Style" Scott and Errol "Flabba"Holt, on drums and bass respectively. Along with guitarists Eric "Bingy Bunny" Lamont and Dwight Pinkney, Wycliffe "Steelie" Johnson on keyboards and Henley Bennet on Saxophone the players became the studio's new session band and formed the Roots Radics.
Side by side, Linval Thompson and Junjo were looking to develop reggae and push forward a new style. With the Roots Radics, they developped a very spacey sound, revolving around slow and rounded basslines. The tight drum patters are given great clarity with a firm snare drum strike on the 3rd beat, just as with the one drop.
This new style was known as Rub-a-Dub and would dominate the reggae scene for the next years until Prince Jammy overthrew it with digital in 1985.
The music suited many singer's styles with popular artists ranging from young Barrington Levy to more experienced Freddie McGregor.
 |
| Henry "Junjo" Lawes |
Also known as sing-jaying, vocalists would perform half singing and half talking and this would prove to be later-on be a great stepping stone for hip-hop music. The genre would also become referrenced as dancehall, and today sometimes as early dancehall.
Junjo's productions were essentially mixed by King Tubby-apprentice Scientist who mixed them with many effects such as echo and reverb, adding further emphasis on the drums.
After recording a singer, Scientist would often extend the song by mixing the instrumental alone, creating a dub track. The two were then released as one piece of music on a 12" format, known as a discomix.
These records were distributed in the UK by Greensleeves and can be easily recognised due to the effort that was put into the covers, designed by Tommy McDermott.
When playing a Roots Radics discomix, one almost instantly defies the speakers' capacity and we're reminded again that reggae has always been made to be played loudly on soundsystems.
Friday 25 October 2013
Channel One
Before I post an article on the Roots Radics tomorrow, this was their workplace a.k.a Channel One studio, which was run by the Hoo Kim brothers.
Thursday 24 October 2013
Intro to the Roots Radics, article to come
Quick picture of one of the most important backing bands of the early 1980s, associated with the rub-a-dub style which emerged at Channel One, they were pioneers of the early dancehall. The Roots Radics confirmed many artist´s careers such as Barrington Levy, Captain Sinbad or Yellowman. More information to come.
Wednesday 23 October 2013
Leroy "Horsemouth" Wallace, quick introduction to Rockers, the film
Here is Leroy Wallace, also known as Horsemouth. Aside from a genuine skill in imitating a horse neighing, he's also a fantastic drummer who has played on countless recordings.
Here's a quick picture of him, taken from the film Rockers (1978). The highly acclaimed film, made by Greek producer Ted Bafaloukos, holds a legendary place in reggae due to its cast being, for the majority, the actual singers and artists of the moment.
Horsemouth is a key figure in the film as he's the main actor, selling records around Kingston on his motorbike (see picture) until the day it was stolen and he beggins tracking the thieves down.
Here's a quick picture of him, taken from the film Rockers (1978). The highly acclaimed film, made by Greek producer Ted Bafaloukos, holds a legendary place in reggae due to its cast being, for the majority, the actual singers and artists of the moment.
Horsemouth is a key figure in the film as he's the main actor, selling records around Kingston on his motorbike (see picture) until the day it was stolen and he beggins tracking the thieves down.
Tuesday 22 October 2013
Winston Rodney a.k.a Burning Spear
To illustrate yesterday's post on Burning Spear, here is a picture of the man himself, in the early days of his recordings.
Winston adopted his stage name in referrence to Kenyan activist and first president of the country Jomo Kenyatta who used this pseudonym himself.
Winston adopted his stage name in referrence to Kenyan activist and first president of the country Jomo Kenyatta who used this pseudonym himself.
Monday 21 October 2013
Burning Spear - Christopher Columbus
Slavery and African history share an important discussion place in reggae. There's one particular name though that comes to mind, as he is often seen as an ambassador of African culture.
His name is Winston Rodney, also known as Burning Spear. Like many, he began recording at the end of the 1960s at Studio One and his first single, Door Peep is nothing less than a masterpiece - his intro to the song sends shivers down the spine : "Sounds from the Burning Spear...".
The song, including his other recordings for Coxsone, were compiled into his first album, Studio One Presents Burning Spear. The first issues of the album have become extremely rare, as there were several versions of the cover that were released, including different cover pictures and a silk-screen edition. A well documented page about these editions can be found here.
A second, just as crucial, album was recorded at Studio One, entitled Rocking Time. There are many albums to talk about from his discography, as Burning Spear has proved his talent over the years : Marcus Garvey, Man In the Hills, Dry & Heavy, Social Living, the list goes on.
Therefore I'll now get to the song that I would like to introduce today. Christopher Colombus is taken from Burning Spear's Hail H.I.M album, from 1980. When picking-up this record, you'll be sure to notice the impressive cover by Neville Garrick.
It portays Selassie on a while horse, peering over towards the hills - a depiction of the return of Christ and fall of evil in Revelation :
"I looked, and there before me was a white horse! Its rider held a bow, and he was given a crown, and he rode out as a conqueror bent on conquest."
Revelation 6:2 NIV.
Onto the song. Whether he's renamed "Come-rob-us" by Peter Tosh or said to have been "Taking a nation that was born to be free, And brought down there to captivity" by Ken Boothe, the so-called explorer is regularly given a more accurate description in reggae, compared to the luminary figure he's associated to in our school books.
Over a roots riddim from some of the best musicians of the island, Burning Spear reminds us of the Arawak Indians, one of the first people to settle in the Caribbean. The horns are sublime, leaving the singer with no hesitation to name the man a "damn blasted liar".
Be sure to check out the full album as this is killer material. At a time where rub-a-dub was proving its popularity, this is a record packed with conscious roots tunes that will be played over and over again.
His name is Winston Rodney, also known as Burning Spear. Like many, he began recording at the end of the 1960s at Studio One and his first single, Door Peep is nothing less than a masterpiece - his intro to the song sends shivers down the spine : "Sounds from the Burning Spear...".
The song, including his other recordings for Coxsone, were compiled into his first album, Studio One Presents Burning Spear. The first issues of the album have become extremely rare, as there were several versions of the cover that were released, including different cover pictures and a silk-screen edition. A well documented page about these editions can be found here.
A second, just as crucial, album was recorded at Studio One, entitled Rocking Time. There are many albums to talk about from his discography, as Burning Spear has proved his talent over the years : Marcus Garvey, Man In the Hills, Dry & Heavy, Social Living, the list goes on.
Therefore I'll now get to the song that I would like to introduce today. Christopher Colombus is taken from Burning Spear's Hail H.I.M album, from 1980. When picking-up this record, you'll be sure to notice the impressive cover by Neville Garrick.
It portays Selassie on a while horse, peering over towards the hills - a depiction of the return of Christ and fall of evil in Revelation :
"I looked, and there before me was a white horse! Its rider held a bow, and he was given a crown, and he rode out as a conqueror bent on conquest."
Revelation 6:2 NIV.
Onto the song. Whether he's renamed "Come-rob-us" by Peter Tosh or said to have been "Taking a nation that was born to be free, And brought down there to captivity" by Ken Boothe, the so-called explorer is regularly given a more accurate description in reggae, compared to the luminary figure he's associated to in our school books.
Over a roots riddim from some of the best musicians of the island, Burning Spear reminds us of the Arawak Indians, one of the first people to settle in the Caribbean. The horns are sublime, leaving the singer with no hesitation to name the man a "damn blasted liar".
Be sure to check out the full album as this is killer material. At a time where rub-a-dub was proving its popularity, this is a record packed with conscious roots tunes that will be played over and over again.
Sunday 20 October 2013
Outside the Black Ark
To follow-up from yesterday, here's a picture of Scratch alongside many artists who recorded regularly at the Black Ark - amongst them are Junior Murvin, Cedric Myton and George Faith.
The photograph was taken just outside the studio as the large cross from the wall painting can be seen in the background.
The photograph was taken just outside the studio as the large cross from the wall painting can be seen in the background.
Saturday 19 October 2013
At the Black Ark
And here he is... Lee Perry, where he feels the most at-home. Actually, this was his home !
Pictured here in front of his Soundtrack console, Scratch is hanging with good friend Max Romeo, with whom he cut many classics, and notably his War Ina Babylon album in 1976. More on that later...
Photograph by David Burnett
Pictured here in front of his Soundtrack console, Scratch is hanging with good friend Max Romeo, with whom he cut many classics, and notably his War Ina Babylon album in 1976. More on that later...
Photograph by David Burnett
Friday 18 October 2013
The Heptones - Book of Rules
Leroy Sibbles, Barry LLewellyn and Earl Morgan. Their names have become symbols of rocksteady.
The Heptones enjoyed great success during the early days of rocksteady. Formed in 1965, the trio began their recordings at Coxsone's Studio One, and released anthems such as Fatty Fatty, Party Time (which was then re-recorded at the Black Ark in 1977), and I Hold the Handle.
Book of Rules was released in 1973 on Jay Wax, a label owned by producer Harry J.
As it was common in the rocksteady era, most of their songs from the period were love songs. At the start of the 70s though, the recordings were turning towards minor-key conscious music, a term used to define songs dealing with reality.
Songs would cover the suffering endured in the ghetto, slavery, and rasta faith, as would be illustrated by many of the Heptones' later songs, such as Sufferers Time, Mistery Babylon, Mr President and many more.
Such is the case with Book of Rules. The songs is actually based upon a poem by American writer R.L. Sharpe called A Bag of Tools.
Singer Barry Llewellyn extended the poem, and the trio enjoyed considerable success upon release.
Unfortunately The Heptones' worldwide recognition doesn't match the importance of their contribution to Jamaican music but few ears will disagree with these wonderful harmonies.
The Heptones enjoyed great success during the early days of rocksteady. Formed in 1965, the trio began their recordings at Coxsone's Studio One, and released anthems such as Fatty Fatty, Party Time (which was then re-recorded at the Black Ark in 1977), and I Hold the Handle.
Book of Rules was released in 1973 on Jay Wax, a label owned by producer Harry J.
As it was common in the rocksteady era, most of their songs from the period were love songs. At the start of the 70s though, the recordings were turning towards minor-key conscious music, a term used to define songs dealing with reality.
Songs would cover the suffering endured in the ghetto, slavery, and rasta faith, as would be illustrated by many of the Heptones' later songs, such as Sufferers Time, Mistery Babylon, Mr President and many more.
Such is the case with Book of Rules. The songs is actually based upon a poem by American writer R.L. Sharpe called A Bag of Tools.
Isn't it strange
That princes and kings,
And clowns that caper
In sawdust rings,
And common people
Like you and me
Are builders for eternity?
Each is given a bag of tools,
A shapeless mass,
A book of rules;
And each must make,
Ere life is flown,
A stumbling-block
Or a stepping-stone.
That princes and kings,
And clowns that caper
In sawdust rings,
And common people
Like you and me
Are builders for eternity?
Each is given a bag of tools,
A shapeless mass,
A book of rules;
And each must make,
Ere life is flown,
A stumbling-block
Or a stepping-stone.
R.L. Sharpe
Singer Barry Llewellyn extended the poem, and the trio enjoyed considerable success upon release.
Unfortunately The Heptones' worldwide recognition doesn't match the importance of their contribution to Jamaican music but few ears will disagree with these wonderful harmonies.
Thursday 17 October 2013
Captain Sinbad - The Eye of the Tiger
Captain Sinbad is amongst those who didn't rush to record songs, but when he did, he made sure that the quality was consistent.
In the early 1980s, Henry "Junjo" Lawes was the most prolific producer on the island. Working with the Roots Radics at Channel One, he produced a significant number of deejay albums by Franky Paul, Yellowman, Captain Sinbad, and many more.
His productions eventually came to define the new dancehall genre, sometimes referred to as early dancehall, and reached a wide audience thanks to Greensleeves who released his works in Europe.
Taken from Captain Sinbad's most successful album, The Seven Voyages of Captain Sinbad (1982), the lyrics from his song The Eye of the Tiger are based upon the eponymous film, continuing the Jamaican habit of linking music with film refences.
The riddim is the same as Johnny Osbourne's No Lollipop No Sweet So for his Fally Lover LP. It's part of the heavy, rub-a-dub riddims of which the Roots Radics produced many. And it works great for Captain Sinbad.
The deejay sails over the riddim as he makes references to the film, Jamaican-izing the content, he presents himself as "Pupa Sinbad the sailor man".
His rhymes are interrupted by with his well-known oink!, ribit!, bwoi! interjections, which have become the deejay's trade-mark.
Captain Sinbad's energy keeps you hooked as you'll find yourself nodding in rhythm with Flabba Holt's bassline, and with other songs such as Bam Salute, All Over Me, Construction Plan, all mixed by Scientist, it's no surprise that the album has become a Channel One classic.
The cover is a true work of art designed by Tommy McDermott, who illustrated many other Greensleeves covers. Greensleeves thankfully repressed it in 2007 and The Eye of the Tiger is of those that still sound fresh no matter how many times you've played it.
In the early 1980s, Henry "Junjo" Lawes was the most prolific producer on the island. Working with the Roots Radics at Channel One, he produced a significant number of deejay albums by Franky Paul, Yellowman, Captain Sinbad, and many more.
His productions eventually came to define the new dancehall genre, sometimes referred to as early dancehall, and reached a wide audience thanks to Greensleeves who released his works in Europe.
Taken from Captain Sinbad's most successful album, The Seven Voyages of Captain Sinbad (1982), the lyrics from his song The Eye of the Tiger are based upon the eponymous film, continuing the Jamaican habit of linking music with film refences.
The riddim is the same as Johnny Osbourne's No Lollipop No Sweet So for his Fally Lover LP. It's part of the heavy, rub-a-dub riddims of which the Roots Radics produced many. And it works great for Captain Sinbad.
The deejay sails over the riddim as he makes references to the film, Jamaican-izing the content, he presents himself as "Pupa Sinbad the sailor man".
His rhymes are interrupted by with his well-known oink!, ribit!, bwoi! interjections, which have become the deejay's trade-mark.
Captain Sinbad's energy keeps you hooked as you'll find yourself nodding in rhythm with Flabba Holt's bassline, and with other songs such as Bam Salute, All Over Me, Construction Plan, all mixed by Scientist, it's no surprise that the album has become a Channel One classic.
The cover is a true work of art designed by Tommy McDermott, who illustrated many other Greensleeves covers. Greensleeves thankfully repressed it in 2007 and The Eye of the Tiger is of those that still sound fresh no matter how many times you've played it.
Wednesday 16 October 2013
Harry J Allstars - Liquidator
Liquidator has become one of the most successful instrumentals outside of Jamaica from the end of rocksteady/beggining of early reggae period.
The riddim, played by the Hippy Boys, was originaly recorded for Tony Scott's What Am I to Do. The bassline was played by Familyman and has a strong resemblance to Alton Ellis' 1966 classic Girl I've Got a Date.
However, reknown producer Harry "J" Johnson bought the rights of the track from the singer. After adding a lively, jumping organ, played by Winston Wright, he credited it to his sessionband and released it as a full instrumental on an A-side for Trojan in the UK with Glen and Dave's La La Always Stay on the flip.
Its great upbeat melody allowed the instrumental to enjoy wider success than Tony Scott's vocal version and, along with many early-reggae songs, such as Toots and the Mayals' 54-46 Was My Number or Dave & Ansell's Double Barrel, became a skinhead favourite.
It was also greatly appreciated by Chelsea football fans as it was constantly played before their home games with supporters cheering along with the song. It then reached an even wider audience as the trend spread to other teams, however when supporters turned from encourageing to swearing it was banned at stadiums.
The riddim, played by the Hippy Boys, was originaly recorded for Tony Scott's What Am I to Do. The bassline was played by Familyman and has a strong resemblance to Alton Ellis' 1966 classic Girl I've Got a Date.
However, reknown producer Harry "J" Johnson bought the rights of the track from the singer. After adding a lively, jumping organ, played by Winston Wright, he credited it to his sessionband and released it as a full instrumental on an A-side for Trojan in the UK with Glen and Dave's La La Always Stay on the flip.
Its great upbeat melody allowed the instrumental to enjoy wider success than Tony Scott's vocal version and, along with many early-reggae songs, such as Toots and the Mayals' 54-46 Was My Number or Dave & Ansell's Double Barrel, became a skinhead favourite.
It was also greatly appreciated by Chelsea football fans as it was constantly played before their home games with supporters cheering along with the song. It then reached an even wider audience as the trend spread to other teams, however when supporters turned from encourageing to swearing it was banned at stadiums.
Tuesday 15 October 2013
Johnny Osbourne - Can't Buy Love
At the end of the 1970s, Coxsone reached back to his productions from the previous decade and used rocksteady riddims to voice some of the biggest singers of the moment.
These productions have given birth to albums that have become true classics, with many listed amongst the artist's best, such as Lone Ranger's On the Other Side of Dub, Sugar Minott's Live Loving and in this case, Johnny Osbourne's Truth and Rights.
Johnny Osbourne is one of the few truly versatile singers as he has proved to us throughout time, releasing crucial material on rocksteady riddims, roots, rub-a-dub, and digital.
Can't Buy Love is the third track from his Truth and Rights album. Coxsone uses the Soul Vendor's Swing Easy riddim, one of the most popular ever with countless versions recorded.
In this song, he delivers a soulful love balad, expressing the strength of his love, an attempt to convince the girl here that "Money can't buy my love".
There are many references to the Beatles' Can't Buy Me Love here with the famous line "Diamonds can't buy my love" before he humorously adds :
"Money can buy you a new bed spring but the money can't buy you love".
Johnny Osbourne's singing gently follows the horns from original rocksteady instrumental creating a brilliantly catchy song.
With all songs from the album being at least of equal strength, it's no surprise that Truth and Rights has become a true classic in reggae music.
These productions have given birth to albums that have become true classics, with many listed amongst the artist's best, such as Lone Ranger's On the Other Side of Dub, Sugar Minott's Live Loving and in this case, Johnny Osbourne's Truth and Rights.
Johnny Osbourne is one of the few truly versatile singers as he has proved to us throughout time, releasing crucial material on rocksteady riddims, roots, rub-a-dub, and digital.
Can't Buy Love is the third track from his Truth and Rights album. Coxsone uses the Soul Vendor's Swing Easy riddim, one of the most popular ever with countless versions recorded.
In this song, he delivers a soulful love balad, expressing the strength of his love, an attempt to convince the girl here that "Money can't buy my love".
There are many references to the Beatles' Can't Buy Me Love here with the famous line "Diamonds can't buy my love" before he humorously adds :
"Money can buy you a new bed spring but the money can't buy you love".
Johnny Osbourne's singing gently follows the horns from original rocksteady instrumental creating a brilliantly catchy song.
With all songs from the album being at least of equal strength, it's no surprise that Truth and Rights has become a true classic in reggae music.
Monday 14 October 2013
Prince Far I - Psalm 1
Prince Far I, the Voice of Thunder, is widely known for his rough voice and attachment to Biblical lyrics.
In Psalm 1, also sometimes known as Blessed is the Man, Prince Far I delivers a strong recital of the first Psalm over a raw cut of the Drum Song riddim. As you will hear, this isn't the same Studio 1 presented yesterday, but a stripped-down interpretation by the Aggrovators.
As the piano chords begin, Prince Far I opens :
Blessed is the man that walketh not in the counsel of the ungodly
nor standeth in the way of sinners
nor sitteth in the seat of the scornful.
But his delight is in the law of the Lord
and His law doth he meditate day and night
His rough toasting delivers a prophetic recital of the King James' version of the psalm, a warning to all sinners of the perils that will fall upon them if they don't repent from unfaithful living.
The song is part of his Psalms For I album which in the same way is a collection of strict recitals of selected Psalms, released on Adrian Sherwood's Carib Gems.
Prince Far I was also a very prolific producer and released two other versions of the riddim with the Arabs, over which he voiced too - Blackman Land and Everytime I Hear the Word.
Both versions are remarkably produced, the first has great uplifting drums and the second has a much deeper and heavy sound. An astonishing horns version, Drums of the Arab, has been re-released by Digikiller/Deeper Knowledge on this second version and credited to Deadly Headley & Asher.
In Psalm 1, also sometimes known as Blessed is the Man, Prince Far I delivers a strong recital of the first Psalm over a raw cut of the Drum Song riddim. As you will hear, this isn't the same Studio 1 presented yesterday, but a stripped-down interpretation by the Aggrovators.
As the piano chords begin, Prince Far I opens :
Blessed is the man that walketh not in the counsel of the ungodly
nor standeth in the way of sinners
nor sitteth in the seat of the scornful.
But his delight is in the law of the Lord
and His law doth he meditate day and night
His rough toasting delivers a prophetic recital of the King James' version of the psalm, a warning to all sinners of the perils that will fall upon them if they don't repent from unfaithful living.
The song is part of his Psalms For I album which in the same way is a collection of strict recitals of selected Psalms, released on Adrian Sherwood's Carib Gems.
Prince Far I was also a very prolific producer and released two other versions of the riddim with the Arabs, over which he voiced too - Blackman Land and Everytime I Hear the Word.
Both versions are remarkably produced, the first has great uplifting drums and the second has a much deeper and heavy sound. An astonishing horns version, Drums of the Arab, has been re-released by Digikiller/Deeper Knowledge on this second version and credited to Deadly Headley & Asher.
Sunday 13 October 2013
Jackie Mittoo - Drum Song
Here's one of the finest songs from the rocksteady era. Not only is it an incredible composition but over time the riddim has become a stone-cold classic. It lies up there with the likes of Real Rock and My Conversation.
1968, Jackie Mittoo, one of the island's most talented keyboard players ever, releases a rocksteady album that will have a major impact on the future of Jamaican music.
A collection of singles from that period, many tracks have become legendary. Any person with a mild knowledge of reggae needs only to listen to, say, One Step Beyond or Hot Milk to realise how many foundation songs are in this set.
Drum Song opens up on a slow beat and gentle kette drumming, with an oriental sounding guitar carefully following the bassline. These last two are the cornerstone of the song as this bassline is particularly easy to identify and has always been put forward on further updates.
Jackie then plays the first keys on his organ and the brass section accompanies him. As the kette speeds up the brass and organ take turns and we can picture ourselves surrounded by the players amongst the trees on the beach from the album's cover. Only one word can describe the feeling that is conveyed here : haunting.
There are many solid updates of the riddim (Bunny Lee, Prince Far I, Wackies, Digital B...) and an impressive list of versions can be found on Riddimguide.
1968, Jackie Mittoo, one of the island's most talented keyboard players ever, releases a rocksteady album that will have a major impact on the future of Jamaican music.
A collection of singles from that period, many tracks have become legendary. Any person with a mild knowledge of reggae needs only to listen to, say, One Step Beyond or Hot Milk to realise how many foundation songs are in this set.
Drum Song opens up on a slow beat and gentle kette drumming, with an oriental sounding guitar carefully following the bassline. These last two are the cornerstone of the song as this bassline is particularly easy to identify and has always been put forward on further updates.
Jackie then plays the first keys on his organ and the brass section accompanies him. As the kette speeds up the brass and organ take turns and we can picture ourselves surrounded by the players amongst the trees on the beach from the album's cover. Only one word can describe the feeling that is conveyed here : haunting.
There are many solid updates of the riddim (Bunny Lee, Prince Far I, Wackies, Digital B...) and an impressive list of versions can be found on Riddimguide.
Saturday 12 October 2013
The Congos - Congoman
"Out of Africa comes the Congo man..."
The Congos are most-known for two albums, Heart of the Congos (1977) and Congo Ashanti (1979).
The two albums are very different as they were recorded in separate studios, and not one weak song is amongst the set. The song for today comes from their first album, a masterpiece which is often regarded as the best reggae album ever recorded.
The strength of this album lies within two main factors. First, the Congos are an astonishing trio who cover a wide vocal range, with Cedric Myton as falsetto, Roydel Johnson as tennor, and Watty Burnett, baritone.
The second point is that Heart of the Congos was recorded at Lee "Scratch" Perry's Black Ark when the man was at his peak in creativity. There's a lot to say here but to keep this short I want to focus on the second track from the album, Congoman.
The song opens-up with a percussion beat, immediately conveying the african image of what this song is based upon. A skank plays slowly in the distance, and with the focus remaining on the beat a few hits on the high-hat join in whilst a kette is striked several times before the Congos introduce :
Out of Africa comes the Congo man
After what sounds like a strike of lightening, Scratch lets the riddim roll-in again from the beginning, adds the full drums before the bass rolls in and ties all the instruments together. We're then taken into a meditative journey led by slow, repeated praises and African allusions from the singers.
With the singing blending so well with the instruments, the track can almost be perceived as a full instrumental. The other songs from the album being classic vocal tracks, it's a real pleasure to focus on Perry's amazing mixing and capture the deepness of the sound which is carried on through the album.
Having a studio in his own garden allowed Scratch to experiment day and night, and he has made use of his full potential here, this is the Black Ark at its very best.
The Congos are most-known for two albums, Heart of the Congos (1977) and Congo Ashanti (1979).
The two albums are very different as they were recorded in separate studios, and not one weak song is amongst the set. The song for today comes from their first album, a masterpiece which is often regarded as the best reggae album ever recorded.
The strength of this album lies within two main factors. First, the Congos are an astonishing trio who cover a wide vocal range, with Cedric Myton as falsetto, Roydel Johnson as tennor, and Watty Burnett, baritone.
The second point is that Heart of the Congos was recorded at Lee "Scratch" Perry's Black Ark when the man was at his peak in creativity. There's a lot to say here but to keep this short I want to focus on the second track from the album, Congoman.
The song opens-up with a percussion beat, immediately conveying the african image of what this song is based upon. A skank plays slowly in the distance, and with the focus remaining on the beat a few hits on the high-hat join in whilst a kette is striked several times before the Congos introduce :
Out of Africa comes the Congo man
After what sounds like a strike of lightening, Scratch lets the riddim roll-in again from the beginning, adds the full drums before the bass rolls in and ties all the instruments together. We're then taken into a meditative journey led by slow, repeated praises and African allusions from the singers.
With the singing blending so well with the instruments, the track can almost be perceived as a full instrumental. The other songs from the album being classic vocal tracks, it's a real pleasure to focus on Perry's amazing mixing and capture the deepness of the sound which is carried on through the album.
Having a studio in his own garden allowed Scratch to experiment day and night, and he has made use of his full potential here, this is the Black Ark at its very best.
Friday 11 October 2013
The Upsetters - Chim Cherie
Today I'm going to present a very special tune, unique in its genre. The first time I heard this one I just couldn't believe my ears.
We were having a great evening spinning tunes whether it be reggae, hip-hop, afrobeat or soul, one after the other. As the needle pushed trough the first grooves of the disc, a slow drum pattern makes its way through what sounds like hits on a high-pitch plastic block for drum kits.
Unexpectedly, after the third bar (or loop, should we say in this case), a ground-breaking bass takes over the rhythm, transporting the listener to a new dimension. Needless to say this struck me like never before - I had just experienced Lee Perry making what sounds like an avant-garde hip-hop song, but with a pure reggae pattern.
Of course, this is the riddim to Shinehead's Billy Jean - an adaptation from the King of Pop's hit - however, hearing the version on its own is a whole other experience.
It's difficult to put an exact year on this track, but what makes it all the more special is that it's the first in Jamaica to ever incorporate a drum machine.
Freshly arrived on the island, the programming of the machine was left to Familyman and his brother Carlton, and the song was credited to the Upsetters.
An exclusive dubplate version was also released, and it can thankfully be found on the B-side of Pressure Sounds' 7" release.
To those for whom this is the first time they're listening to a Lee Perry production, be warned that this is far from his signature sound, but it's another production from the neat little man that proves his genious and how far ahead of time he was. Lee Perry was making hip-hop before hip-hop.
We were having a great evening spinning tunes whether it be reggae, hip-hop, afrobeat or soul, one after the other. As the needle pushed trough the first grooves of the disc, a slow drum pattern makes its way through what sounds like hits on a high-pitch plastic block for drum kits.
Unexpectedly, after the third bar (or loop, should we say in this case), a ground-breaking bass takes over the rhythm, transporting the listener to a new dimension. Needless to say this struck me like never before - I had just experienced Lee Perry making what sounds like an avant-garde hip-hop song, but with a pure reggae pattern.
Of course, this is the riddim to Shinehead's Billy Jean - an adaptation from the King of Pop's hit - however, hearing the version on its own is a whole other experience.
It's difficult to put an exact year on this track, but what makes it all the more special is that it's the first in Jamaica to ever incorporate a drum machine.
Freshly arrived on the island, the programming of the machine was left to Familyman and his brother Carlton, and the song was credited to the Upsetters.
An exclusive dubplate version was also released, and it can thankfully be found on the B-side of Pressure Sounds' 7" release.
To those for whom this is the first time they're listening to a Lee Perry production, be warned that this is far from his signature sound, but it's another production from the neat little man that proves his genious and how far ahead of time he was. Lee Perry was making hip-hop before hip-hop.
Thursday 10 October 2013
Joy In the Morning, Jah Bring I Joy
Joy in the Morning originates as a killer rocksteady tune, sung by the Gaylads in 1968.
The song was recorded at Clement Dodd's legendary Studio One. The Gaylads trio consisted of Harris "B.B" Seaton, Winston Delano Stewart and Maurice Roberts. They deliver here a tune that follows the trend of the moment : a passionate love song with soothing harmonies.
Backed by Lynn Taitt and the Jets, one of the most popular backing bands of the rocksteady era, the harmonies take up such an important part in this song that they were kept in all future covers.
Taitt's guitar hovers over the bassline, as if singing by itself and adding a fourth voice to the background.
Joy in the Morning was also sung by the Godfather of Rocksteady, Alton Ellis. Alton keeps a close cover to the original, although slightly sped-up with the drums pushed forward, but his unique voice makes it a great listen. When Freddie McGregor made a digital version later on, he made sure to keeps the harmonies too.
The main update though to this song came with Bobby Melody in 1974, when roots reggae had taken over the days of rocksteady and the lighter, early reggae.
A former member of the Ralph Brothers (he backed Yabby You's Conquering Lion) Bobby Melody used the original lyrics to turn it into a song of thanksgiving to God, renaming it Jah Bring I Joy.
The rhythm was updated at Joe Gibbs', this time in true reggae style bringing emphasis on the drums and bass with clearer vocals. Trinity also performed an excellent cut to this version, Top Ranking, strictly rockers style.
The song was recorded at Clement Dodd's legendary Studio One. The Gaylads trio consisted of Harris "B.B" Seaton, Winston Delano Stewart and Maurice Roberts. They deliver here a tune that follows the trend of the moment : a passionate love song with soothing harmonies.
Backed by Lynn Taitt and the Jets, one of the most popular backing bands of the rocksteady era, the harmonies take up such an important part in this song that they were kept in all future covers.
Taitt's guitar hovers over the bassline, as if singing by itself and adding a fourth voice to the background.
Joy in the Morning was also sung by the Godfather of Rocksteady, Alton Ellis. Alton keeps a close cover to the original, although slightly sped-up with the drums pushed forward, but his unique voice makes it a great listen. When Freddie McGregor made a digital version later on, he made sure to keeps the harmonies too.
A former member of the Ralph Brothers (he backed Yabby You's Conquering Lion) Bobby Melody used the original lyrics to turn it into a song of thanksgiving to God, renaming it Jah Bring I Joy.
The rhythm was updated at Joe Gibbs', this time in true reggae style bringing emphasis on the drums and bass with clearer vocals. Trinity also performed an excellent cut to this version, Top Ranking, strictly rockers style.
Wednesday 9 October 2013
Dillinger - War Is Over
A new height in political gang warfare was reached in the beginning of 1978.
Referred to today as the Green Bay massacre, in the night of the 5th January 1978, 14 men who were believed to be part of the Skulls, a gang sided with the Jamaica Labour Party (JLP), were trapped in an ambush at the Green Bay Firing Range by a sector of the army, the Military Intelligence Unit.
The M.I.U were acting for the leading opposition, the People's National Party (PNP). When the men were drawn into the trap, five of them were shot dead with others fleeing for their life.
Shortly after, two of the main dons (head of a gang) in prison, "Claudie" Massop from the JLP and "Bucky" Marshall from the PNP, took action to sign a peace treaty and put an end to the ongoing violence. Several songs celebrating the new peace were recorded and one of the most striking, which also happens to be one my favourites, is War Is Over by Dillinger.
The deejay uses George Nooks' version of Little Roy's "Tribal War" I mentionned yesterday. Produced by Joe Gibbs, Gibbs provided his own relick of the rhythm instantly giving it his own recognisable "fresh" sound.
Dillinger references the new situation in the introduction of the song as he engages a conversation in patois, possibly with his fellow friend and deejay Trinity :
"A long time I no see the I you know dread"
"Me hear now [the] peace treaty so me haffi come out and get a lickle bit of fresh air"
And boom, the new version of the rhythm kicks-in, with Lloyd Parkes' bass litteraly exploding over Sly Dunbar's serious rockers-style drumming, as Dillinger toasts :
"Musical Sound is called the war is over, so you got to come over and do the Bossa Nova..."
As George Nooks' voice fades away, Dillinger takes the lead and warns: "Son don't take your guns to town because the war is over. Say we feel so sweet when we sign the peace treat'."
However as often in Jamaica, this moment of peace unfortunately didn't last long, with 1400 people murdered in the 2 following years.
Referred to today as the Green Bay massacre, in the night of the 5th January 1978, 14 men who were believed to be part of the Skulls, a gang sided with the Jamaica Labour Party (JLP), were trapped in an ambush at the Green Bay Firing Range by a sector of the army, the Military Intelligence Unit.
The M.I.U were acting for the leading opposition, the People's National Party (PNP). When the men were drawn into the trap, five of them were shot dead with others fleeing for their life.
Shortly after, two of the main dons (head of a gang) in prison, "Claudie" Massop from the JLP and "Bucky" Marshall from the PNP, took action to sign a peace treaty and put an end to the ongoing violence. Several songs celebrating the new peace were recorded and one of the most striking, which also happens to be one my favourites, is War Is Over by Dillinger.
The deejay uses George Nooks' version of Little Roy's "Tribal War" I mentionned yesterday. Produced by Joe Gibbs, Gibbs provided his own relick of the rhythm instantly giving it his own recognisable "fresh" sound.
Dillinger references the new situation in the introduction of the song as he engages a conversation in patois, possibly with his fellow friend and deejay Trinity :
"A long time I no see the I you know dread"
"Me hear now [the] peace treaty so me haffi come out and get a lickle bit of fresh air"
And boom, the new version of the rhythm kicks-in, with Lloyd Parkes' bass litteraly exploding over Sly Dunbar's serious rockers-style drumming, as Dillinger toasts :
"Musical Sound is called the war is over, so you got to come over and do the Bossa Nova..."
As George Nooks' voice fades away, Dillinger takes the lead and warns: "Son don't take your guns to town because the war is over. Say we feel so sweet when we sign the peace treat'."
However as often in Jamaica, this moment of peace unfortunately didn't last long, with 1400 people murdered in the 2 following years.
Tuesday 8 October 2013
Musical history and the 7"
In the same way as picking up an old newspaper can teach you about a country's past, many of Jamaica's 7" singles reflect the island's history. Just as when a soundsystem deejay would chit-chat about current events through his microphone whilst flipping his record, politics, economics, and everyday stories have been a constant source of inspiration for Jamaican artists.
Jamaica's music has mostly come from the poor, with countless singers and producers emerging from Kingston's hottest ghettos. The words from these songs were coming from the mouths of those who were hit the hardest by the country's intense violence and poverty - the sufferahs, expressing their everyday tribulations through their biggest strength : their voice.
7"s by definition take less time to produce and release than albums, and with the introduction of versions, the 45rpm disc became Jamaica's favourite format - more on that later.
To briefly illustrate this here's what is probably Little Roy's biggest success to date, Tribal War. The song, recorded over a slow, bass-thumping rhythm at the legendary Black Ark, recalls a moment in 1973 where it was reported that two major gangs had signed a peace treaty, and, for that moment at least, "The war is over".
It was originally released on Roy's own Tafari label and has since been re-issued by UK's Pressure Sounds.
Monday 7 October 2013
Introducing my blog
As part of my journalism course, I have started this blog for my Introduction to Reporting module.
I will be posting daily and posts will cover a variety of topics, although I suspect that I will have a preference for discussing the past and present of Jamaican music. I will concentrate mainly on the '60s, '70s and '80s - that is anything from Prince Buster's uplifting ska and Ken Boothe's sweet rocksteady tunes through Yabby You's heavy roots reggae and King Tubby's mind-blowing dub to King Jammy's festive dancehall. This will be the first time that I'll be writing articles on the internet so I hope to keep this interesting !
I will be posting daily and posts will cover a variety of topics, although I suspect that I will have a preference for discussing the past and present of Jamaican music. I will concentrate mainly on the '60s, '70s and '80s - that is anything from Prince Buster's uplifting ska and Ken Boothe's sweet rocksteady tunes through Yabby You's heavy roots reggae and King Tubby's mind-blowing dub to King Jammy's festive dancehall. This will be the first time that I'll be writing articles on the internet so I hope to keep this interesting !
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