BLACK MUSIC MAY 1974: Vol. 1 / Issue 6
OWEN GRAY
Gray Matter: - The Story Of Owen Gray, Pioneer Of The Jamaican Music Scene: -
By Carl Gayle:
OWEN GRAY is one of Jamaica`s senior recording artists. He speaks of the early days of Jamaican music with much enthusiasm.
"It was fantastic in those days. Maybe because I was so popular it was always very exciting whether I was on stage or not. There were always shows and competitions, people loved to see their own Jamaican artists. Everybody had a radio. They listened to Rediffusion which was the only Jamaican radio station, especially for programmes like `Opportunity Knocks`. All the good local singers used to come on that programme. The music scene was really outtasight then man, it`s not the same now!"
The Jamaican music industry developed rapidly, but amateurishly as the sound system men started making their own recordings for exclusive use, so as to pull the crowds and perpetuate the competition and/or rivalry between themselves. In due course some of the sound system men launched their own labels.
The industry grew. But even the more serious and talented singers were never given a real chance to develop. There was no foresight, no professionalism. It was dog eat dog. The people with the record labels were smart though. All they gave the singers for their numerous hits was some short lived popularity, but no income, and no career.
But Owen Gray was one of those who had no complaints. In the earliest days of the Jamaican recording scene he led the field. His credentials were impressive. He was the first Jamaican to make an R&B record--"Please Don`t Let Me Go". The first to record an LP. One of his best ever recordings--"Darling Patricia"--was the first ever ska release in England. And he was the only artist to win the annual Jamaican talent contest--Opportunity Hour--four times.
Owen Gray was a printer before he became the most popular singer in Jamaica. Owen was born and grew up in Kingston, Jamaica. His parents were Catholics, and he was first tenor in the church choir. His mother played piano in church and his father was a soldier. He left home when he was 17.
He entered his first Opportunity Hour contest in 1958 on the advice of a friend and beat people like Lascelles Perkins, Jackie Edwards, Lloyd Adams and the Jiving Juniors to the winning post. Later he was introduced to Chris Blackwell (Island`s boss) who had seen him performing at the Palace theatre in Kingston during the competitions.
Blackwell was the first guy to start recording in Jamaica. "Please Don`t Let Me Go" was issued on his R&B label and stayed at number one for four weeks.
On stage Owen sang the rock and roll songs of Fats Domino, Little Richard, Lloyd Price and even some of Brook Benton`s ballads. But his favourite singer was Sam Cooke and, locally, Jackie Edwards.
"Jackie was my best friend really, we used to go to the same school--Kingston Senior. I introduced him to Chris Blackwell and he made `Your Eyes Are Dreaming` and `We`re Gonna Love`. Laurel Aitkin made `Little Sheila` for Chris at that time too, and then more and more artists started recording."
Carl Gayle: -
Part 1
BLACK MUSIC MAY 1974
peace
1974-1980 reviews on current reggae releases...
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Re: 1974-1980 reviews on current reggae releases...
BLACK MUSIC MAY 1974: Vol. 1 / Issue 6
OWEN GRAY
Gray Matter: - The Story Of Owen Gray, Pioneer Of The Jamaican Music Scene: - PT. 2
By Carl Gayle:
Live shows were usually a means of boosting the popularity and reputation of the Sound System men who promoted many of them. Promoter Coxon Dodd (who owned the Studio One label) was known for putting on great shows. He`d hire the big bands like Carlos Malcolm and The Afro Jamaican Rhythms, and Sonny Bradshaw`s to back the vocalists on stage. Some of these Musicians incidentally, played on Gray`s later recordings like "On The Beach", "Darling Patricia" and "They Got To Move". In fact the renowned guitarist Ernest Ranglin, arranged and played on Gray`s first LP "Owen Gray Sings". But as Owen realised, no matter how big you get in Jamaica, you never get rich.
"You don`t get any gold discs or no big bread, nothing like that. The record promoters always let you down. The two best recording people, these who used to pay good money in Jamaica were Chris Blackwell and the late Leslie Kong. That`s the gospel truth. The others, if you do a record for them you have to fight for some money."
So in May 1962 Owen came to London and began working in a record shop in Brixton market.
"I had a single out at the time called `The Plea`. There were about three hundred copies of the record in a pile on the floor, the lady who ran the shop just didn`t know how to sell them. I told her to let me try and sell them and in about six weeks people were coming back to order more of the record, we were sold out."
Later Owen worked in a plastic factory before actually joining Chris Blackwell again on Island Records. Blackwell had established the company in England in 1961 after realising that he was selling more records to the West Indians in England than he was in Jamaica. Owen Gray`s first recording in England was called "Gonna Work Out Fine".
"It should have worked out fine, it was a beautiful record. But in those times there weren`t many record shops and sound systems weren`t so popular in England. I only stayed with Chris for a few months, then things got out of hand. But it wasn`t his fault, to be honest most of the fault was on my side. Things were moving slow and I got depressed."
Owen left Island around 1964 and went on a European tour doing popular ballads and soul numbers with a white group called The Big Four. His next recordings were for an LP with Trojan Records around 1967. . . .
"But I quit as soon as things started going bad down there. There were no contracts so that was no problem. There are too many bosses down there, man!"
In 1967 Gray also visited Italy and Switzerland with another English band, Tony Knight`s Chessman. In 1968 he started recording again, this time with Pama Records. The first record he made for them, "Girl What You Doing To Me" ranks with "Darling Patricia" as the best he`s ever done.
"That record entered the MM charts at number twenty nine and was there for three weeks. But they didn`t do much promotion on it, they let me down so badly man it was outtasight. I made about three hits for Pama and they didn`t do enough promotion. All they did was collect their money."
Between 1971 and `73 when Owen once more signed with Island Records, all he`d been doing was playing at places like the various Top Rank clubs. But that was getting him nowhere, his talent was being wasted. When he returned to Chris Blackwell last year things began to change.
"Since coming back to Island I`ve felt very happy, I`m more relaxed than I`ve ever been."
Four good singles have been released on Island, "Tumbling Dice", "Suffering In The Land", "You Poured Sugar Over Me" and "Jealous Guy". The latter, his latest single (with "Please Don`t Let Me Go" his first ever record as the B side) was part recorded last year when Owen went back to Jamaica and recorded some backing tracks with Zap Pow at Harry J`s studio. The single was produced by newcomer Danny Holloway and it`s one of Owen`s best.
"I only wish and hope that this is the start of something good for me. We`re waiting to see what the single does before we start work on an album. I would like the album to be a mixture of soul and reggae numbers, I can sing all type of songs. I always have to believe in myself or nobody else will."
Carl Gayle:
BLACK MUSIC MAY 1974
peace
--------------------------------------------------------------------------------------------------------------
Jah Rastafari
OWEN GRAY
Gray Matter: - The Story Of Owen Gray, Pioneer Of The Jamaican Music Scene: - PT. 2
By Carl Gayle:
Live shows were usually a means of boosting the popularity and reputation of the Sound System men who promoted many of them. Promoter Coxon Dodd (who owned the Studio One label) was known for putting on great shows. He`d hire the big bands like Carlos Malcolm and The Afro Jamaican Rhythms, and Sonny Bradshaw`s to back the vocalists on stage. Some of these Musicians incidentally, played on Gray`s later recordings like "On The Beach", "Darling Patricia" and "They Got To Move". In fact the renowned guitarist Ernest Ranglin, arranged and played on Gray`s first LP "Owen Gray Sings". But as Owen realised, no matter how big you get in Jamaica, you never get rich.
"You don`t get any gold discs or no big bread, nothing like that. The record promoters always let you down. The two best recording people, these who used to pay good money in Jamaica were Chris Blackwell and the late Leslie Kong. That`s the gospel truth. The others, if you do a record for them you have to fight for some money."
So in May 1962 Owen came to London and began working in a record shop in Brixton market.
"I had a single out at the time called `The Plea`. There were about three hundred copies of the record in a pile on the floor, the lady who ran the shop just didn`t know how to sell them. I told her to let me try and sell them and in about six weeks people were coming back to order more of the record, we were sold out."
Later Owen worked in a plastic factory before actually joining Chris Blackwell again on Island Records. Blackwell had established the company in England in 1961 after realising that he was selling more records to the West Indians in England than he was in Jamaica. Owen Gray`s first recording in England was called "Gonna Work Out Fine".
"It should have worked out fine, it was a beautiful record. But in those times there weren`t many record shops and sound systems weren`t so popular in England. I only stayed with Chris for a few months, then things got out of hand. But it wasn`t his fault, to be honest most of the fault was on my side. Things were moving slow and I got depressed."
Owen left Island around 1964 and went on a European tour doing popular ballads and soul numbers with a white group called The Big Four. His next recordings were for an LP with Trojan Records around 1967. . . .
"But I quit as soon as things started going bad down there. There were no contracts so that was no problem. There are too many bosses down there, man!"
In 1967 Gray also visited Italy and Switzerland with another English band, Tony Knight`s Chessman. In 1968 he started recording again, this time with Pama Records. The first record he made for them, "Girl What You Doing To Me" ranks with "Darling Patricia" as the best he`s ever done.
"That record entered the MM charts at number twenty nine and was there for three weeks. But they didn`t do much promotion on it, they let me down so badly man it was outtasight. I made about three hits for Pama and they didn`t do enough promotion. All they did was collect their money."
Between 1971 and `73 when Owen once more signed with Island Records, all he`d been doing was playing at places like the various Top Rank clubs. But that was getting him nowhere, his talent was being wasted. When he returned to Chris Blackwell last year things began to change.
"Since coming back to Island I`ve felt very happy, I`m more relaxed than I`ve ever been."
Four good singles have been released on Island, "Tumbling Dice", "Suffering In The Land", "You Poured Sugar Over Me" and "Jealous Guy". The latter, his latest single (with "Please Don`t Let Me Go" his first ever record as the B side) was part recorded last year when Owen went back to Jamaica and recorded some backing tracks with Zap Pow at Harry J`s studio. The single was produced by newcomer Danny Holloway and it`s one of Owen`s best.
"I only wish and hope that this is the start of something good for me. We`re waiting to see what the single does before we start work on an album. I would like the album to be a mixture of soul and reggae numbers, I can sing all type of songs. I always have to believe in myself or nobody else will."
Carl Gayle:
BLACK MUSIC MAY 1974
peace
--------------------------------------------------------------------------------------------------------------
Jah Rastafari
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Re: 1974-1980 reviews on current reggae releases...
BLACK MUSIC MAY 1974: Vol. 1 / Issue 6
ESSENTIAL REGGAE: -
Carl Gayle present a guide to the best of Jamaican music on album. Most of these records are still available, some you`ll have to hunt for. All of them deserve a hearing.
They are rated as follows: *good, * *excellent, * * *indispensable:
LAUREL AITKIN: "The High Priest Of Reggae" (Pama PSP1012)* and "Scandal In A Brixton Market" (Economy EC08)*
Titles here include "Suffering Still", "Woppi King", "Scandal In A Brixton Market", "Run Powell Run", and "Stupid Married Man". Both are essential for an appreciation of the Jamaican dialect and Aitkin`s gruff voice. "Scandal" carries a sleevenote in Ja Slang.
DENNIS ALCAPONE: "Soul To Soul DJ`s Choice" (Trojan TRLS 74)*.
Listed as a Various artists selection but Dennis is on most tracks. "Baba Riba Shank", "Wake Up Jamaica" and "DJ`s Choice" are good examples of one of the best of the talk-over artists.
GLADSTONE ANDERSON: "It May Sound Silly" (Ashanti SHANL03)*.
Instrumental music with ambitious arrangements by one of the top session pianists.
BOB AND MARCIA GRIFFITH: "Young Gifted And Black" (TBL 122)*.
`Commercial` reggae at its best, enhanced by a taseful approach to production.
DENNIS BROWN: "Super Reggae And Soul Hits" (Trojan TRLS 57)*.
Dennis`s best LP is musically unadventurous but he sings well. "Concentration", "Lips Of Wine", "Silhouettes", "How Could I Let You Get Away" stand out.
PRINCE BUSTER: "Original Golden Oldies Volume One" (Prince Buster PB9)*
Contains twelve Buster favourites.
"Volume Two" (Prince Buster PB10) * * is even better. Ten tracks are by other famous ska giants, the other two tracks are on "Volume One".
"Fabulous Greatest Hits" (FAB MS1)* * * includes the great "Judge Dread", "Al Capone", Ten Commandments, etc.
"She Was A Rough Rider" (FAB BBLP 820)* is an LP of extremely `rude` songs including "The Virgin" and "Black Pum Pum".
JUNIOR BYLES: "Beat Down Babylon" (Trojan TRL 52)*
Junior`s forceful vocals are enhanced by Lee Perry`s production which is imaginative while adhering to authentic ideals. Title track, plus "Demonstration", "Coming Again" and "Da Da" are excellent.
LLOYD CHARMERS: Lloydie And The Lowbites . . . . Censored" (Lowbite 001)*
Musically the best rude reggae LP on the market. Songs like "Open Up", "Birth Comtrol2, and "Pussy To Kill You2 are great.
JIMMY CLIFF: "Jimmy Cliff" (Trojan TRLS 16)* *
Demonstrates Cliff`s songwriting talent and flair for imaginative arrangements. "Many Rivers To Cross", "Hard Road To Travel", Wonderful World Beautiful People" and "Vietnam" are here, but all the tracks are magnificent pop reggae. Listen also to "Unlimited" (EMI EMA 757)*, his most recent work.
THE CHOSEN FEW: "Hit After Hit" (Trojan TRLS 56)*
Although they rely on material by the Stylistics and Isaac Hayes in particular, numbers like "People Make The World Go Round" and "Do Your Thing" adapt very well to the reggae groove and are performed with polish.
DESMOND DEKKER: "This Is Desmond Dekker" (Trojan TTL 4)*
Contains at least five tracks-- "Unity", "Sabotage", "Music Like Dirt" (Intensified 68), "Hey Grandma", "Shing - A - Ling"--that should have been on the recent release "Double Dekker" (Trojan TRLD 401)* * which carries all the big hits, plus other very good material (some previously unreleased).
ERIC DONALDSON: "Eric Donaldson" (Trojan TRL 42)* *
Donaldson`s 1971 Song Festival Winner and the all-time biggest selling JA record, "Cherry Oh Baby" is here, and "Miserable Woman", "Never Go On Sunday" and "Just Can`t Happen This Way" are even better. One of the few genuine falsetto`s in JA music, and certainly the most emotional. His sudden `arrival` in 1970 caused a stir in Jamaican music, and he dominated the charts for weeks.
Carl Gayle: -
Part 1
BLACK MUSIC MAY 1974
peace
ESSENTIAL REGGAE: -
Carl Gayle present a guide to the best of Jamaican music on album. Most of these records are still available, some you`ll have to hunt for. All of them deserve a hearing.
They are rated as follows: *good, * *excellent, * * *indispensable:
LAUREL AITKIN: "The High Priest Of Reggae" (Pama PSP1012)* and "Scandal In A Brixton Market" (Economy EC08)*
Titles here include "Suffering Still", "Woppi King", "Scandal In A Brixton Market", "Run Powell Run", and "Stupid Married Man". Both are essential for an appreciation of the Jamaican dialect and Aitkin`s gruff voice. "Scandal" carries a sleevenote in Ja Slang.
DENNIS ALCAPONE: "Soul To Soul DJ`s Choice" (Trojan TRLS 74)*.
Listed as a Various artists selection but Dennis is on most tracks. "Baba Riba Shank", "Wake Up Jamaica" and "DJ`s Choice" are good examples of one of the best of the talk-over artists.
GLADSTONE ANDERSON: "It May Sound Silly" (Ashanti SHANL03)*.
Instrumental music with ambitious arrangements by one of the top session pianists.
BOB AND MARCIA GRIFFITH: "Young Gifted And Black" (TBL 122)*.
`Commercial` reggae at its best, enhanced by a taseful approach to production.
DENNIS BROWN: "Super Reggae And Soul Hits" (Trojan TRLS 57)*.
Dennis`s best LP is musically unadventurous but he sings well. "Concentration", "Lips Of Wine", "Silhouettes", "How Could I Let You Get Away" stand out.
PRINCE BUSTER: "Original Golden Oldies Volume One" (Prince Buster PB9)*
Contains twelve Buster favourites.
"Volume Two" (Prince Buster PB10) * * is even better. Ten tracks are by other famous ska giants, the other two tracks are on "Volume One".
"Fabulous Greatest Hits" (FAB MS1)* * * includes the great "Judge Dread", "Al Capone", Ten Commandments, etc.
"She Was A Rough Rider" (FAB BBLP 820)* is an LP of extremely `rude` songs including "The Virgin" and "Black Pum Pum".
JUNIOR BYLES: "Beat Down Babylon" (Trojan TRL 52)*
Junior`s forceful vocals are enhanced by Lee Perry`s production which is imaginative while adhering to authentic ideals. Title track, plus "Demonstration", "Coming Again" and "Da Da" are excellent.
LLOYD CHARMERS: Lloydie And The Lowbites . . . . Censored" (Lowbite 001)*
Musically the best rude reggae LP on the market. Songs like "Open Up", "Birth Comtrol2, and "Pussy To Kill You2 are great.
JIMMY CLIFF: "Jimmy Cliff" (Trojan TRLS 16)* *
Demonstrates Cliff`s songwriting talent and flair for imaginative arrangements. "Many Rivers To Cross", "Hard Road To Travel", Wonderful World Beautiful People" and "Vietnam" are here, but all the tracks are magnificent pop reggae. Listen also to "Unlimited" (EMI EMA 757)*, his most recent work.
THE CHOSEN FEW: "Hit After Hit" (Trojan TRLS 56)*
Although they rely on material by the Stylistics and Isaac Hayes in particular, numbers like "People Make The World Go Round" and "Do Your Thing" adapt very well to the reggae groove and are performed with polish.
DESMOND DEKKER: "This Is Desmond Dekker" (Trojan TTL 4)*
Contains at least five tracks-- "Unity", "Sabotage", "Music Like Dirt" (Intensified 68), "Hey Grandma", "Shing - A - Ling"--that should have been on the recent release "Double Dekker" (Trojan TRLD 401)* * which carries all the big hits, plus other very good material (some previously unreleased).
ERIC DONALDSON: "Eric Donaldson" (Trojan TRL 42)* *
Donaldson`s 1971 Song Festival Winner and the all-time biggest selling JA record, "Cherry Oh Baby" is here, and "Miserable Woman", "Never Go On Sunday" and "Just Can`t Happen This Way" are even better. One of the few genuine falsetto`s in JA music, and certainly the most emotional. His sudden `arrival` in 1970 caused a stir in Jamaican music, and he dominated the charts for weeks.
Carl Gayle: -
Part 1
BLACK MUSIC MAY 1974
peace
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Re: 1974-1980 reviews on current reggae releases...
BLACK MUSIC MAY 1974: Vol. 1 / Issue 6
ESSENTIAL REGGAE: - PT. 2
JUDGE DREAD: "Dreadmania: It`s All In The Mind" (Trojan TRLS 60)*
White, English DJ artist whose "Big Six" and "Big Seven" made the charts. "The Biggest Bean You`ve Ever Seen" is the best track here.
DON DRUMMOND: "Memorial Album" (Trojan TTL 23)*
Contains some of Drummond`s best ska intrumentals, notably "Silver Dollar", "Street Corner" and "Garden Of Love". But the very rare LP "Ska Boo Da Ba" (Doctor Bird DLM 5000)* * offers an even better example of the work of this late trombonist who used to play with the Skatalites.
CLANCY ECCLES AND THE DYNAMITES: "Fire Corner" Trojan TTl 21)*
A unique set of moody, riffy instrumental numbers where sax, brass and rhythm guitar dominate. King Stitt, the pioneer of the DJ style, is represented here by "Soul Language", "Vigorton Two" and "Fire Corner".
JACKIE EDWARDS: "I Do Love You" (Trojan TRL 47)*
One of the very best singer/songwriters JA has ever produced. The sentimental songs here aren`t always of his best but the album is still good listening.
ALTON ELLIS: "Sunday Coming" (Bamboo BDLPS 214)* *
Very soul flavoured and enhanced by the background vocals and brass. Every track is a winner.
THE ETHIOPIANS: "Engine 54" (WIRL 1053)*
This under-rated vocal duo is repressented here by 1968 rock steady songs dealing with brotherhood and sentimental love. The title track and "Train To Skaville" were very big hits in JA.
THE HEPTONES: "Heptones And Friends Vol. 2" (Attack ATLP 1002)*
Contains only two tracks by the group. One is a medley of three of their best rock steady songs--"Baby", "Why Must I" and "Why Did You Leave". Pete Tosh of the Wailers sings a truly evocative song here entitled "Them A Fe Get A Beatin" and Ken Parker`s medley of some of his old hits also stand out.
JOHN HOLT: "Pledging My Love" (Trojan TBL 184)* and "The Further You Look" (Trojan TRLS 55)* * are Holt`s best of seven LPs. The others are all worth having but "A LOve I Can Feel", the first LP, is sadly almost impossible to find, One of Jamaica`s finest singers.
DANDY LIVINGSTONE: "Conscious" (Mooncrest CREST 5)*
This LP marked a change of lyrical style and general direction for Dandy. He became a spokesman for `black awareness` with titles like "Black Star" and "Black Connection2 which are given lush but careful arrangements.
THE MAYTALS: "Monkey Man" (Trojan TBl 107)* * and "From The Roots" (Trojan TRLS 65)* * are full of exciting gospel flavoured songs like "Revival Reggae", "Gold And Silver", "The Preacher", "Sun Moon And Star", "Know Me Good" and "Pressure Drop". The latter and "Give Peace A Chance" (the Lennon/McCartney song) are gems of emotional singing. The soul flavoured "Funky Kingston" (Trojan TRLS 500)* * * is musically and vocally more accomplished than "Catch A Fire" for instance. Toots sounds like Otis Redding much of the time.
Carl Gayle: -
Part 2
BLACK MUSIC MAY 1974
peace
ESSENTIAL REGGAE: - PT. 2
JUDGE DREAD: "Dreadmania: It`s All In The Mind" (Trojan TRLS 60)*
White, English DJ artist whose "Big Six" and "Big Seven" made the charts. "The Biggest Bean You`ve Ever Seen" is the best track here.
DON DRUMMOND: "Memorial Album" (Trojan TTL 23)*
Contains some of Drummond`s best ska intrumentals, notably "Silver Dollar", "Street Corner" and "Garden Of Love". But the very rare LP "Ska Boo Da Ba" (Doctor Bird DLM 5000)* * offers an even better example of the work of this late trombonist who used to play with the Skatalites.
CLANCY ECCLES AND THE DYNAMITES: "Fire Corner" Trojan TTl 21)*
A unique set of moody, riffy instrumental numbers where sax, brass and rhythm guitar dominate. King Stitt, the pioneer of the DJ style, is represented here by "Soul Language", "Vigorton Two" and "Fire Corner".
JACKIE EDWARDS: "I Do Love You" (Trojan TRL 47)*
One of the very best singer/songwriters JA has ever produced. The sentimental songs here aren`t always of his best but the album is still good listening.
ALTON ELLIS: "Sunday Coming" (Bamboo BDLPS 214)* *
Very soul flavoured and enhanced by the background vocals and brass. Every track is a winner.
THE ETHIOPIANS: "Engine 54" (WIRL 1053)*
This under-rated vocal duo is repressented here by 1968 rock steady songs dealing with brotherhood and sentimental love. The title track and "Train To Skaville" were very big hits in JA.
THE HEPTONES: "Heptones And Friends Vol. 2" (Attack ATLP 1002)*
Contains only two tracks by the group. One is a medley of three of their best rock steady songs--"Baby", "Why Must I" and "Why Did You Leave". Pete Tosh of the Wailers sings a truly evocative song here entitled "Them A Fe Get A Beatin" and Ken Parker`s medley of some of his old hits also stand out.
JOHN HOLT: "Pledging My Love" (Trojan TBL 184)* and "The Further You Look" (Trojan TRLS 55)* * are Holt`s best of seven LPs. The others are all worth having but "A LOve I Can Feel", the first LP, is sadly almost impossible to find, One of Jamaica`s finest singers.
DANDY LIVINGSTONE: "Conscious" (Mooncrest CREST 5)*
This LP marked a change of lyrical style and general direction for Dandy. He became a spokesman for `black awareness` with titles like "Black Star" and "Black Connection2 which are given lush but careful arrangements.
THE MAYTALS: "Monkey Man" (Trojan TBl 107)* * and "From The Roots" (Trojan TRLS 65)* * are full of exciting gospel flavoured songs like "Revival Reggae", "Gold And Silver", "The Preacher", "Sun Moon And Star", "Know Me Good" and "Pressure Drop". The latter and "Give Peace A Chance" (the Lennon/McCartney song) are gems of emotional singing. The soul flavoured "Funky Kingston" (Trojan TRLS 500)* * * is musically and vocally more accomplished than "Catch A Fire" for instance. Toots sounds like Otis Redding much of the time.
Carl Gayle: -
Part 2
BLACK MUSIC MAY 1974
peace
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Re: 1974-1980 reviews on current reggae releases...
BLACK MUSIC MAY 1974: Vol. 1 / Issue 6
ESSENTIAL REGGAE: - PT. 3
DERRICK MORGAN: "Forward March" (Trojan TTL 38)* * is a collection of Derrick`s best ska hits. It includes "Look Before You Leap", "Housewife`s Choice", "Blazing Fire" and "Teach My Baby". Morgan`s boastful, ethnic vocal captured the spirit of ska better than anyone else.
"Seven Lettters" (Trojan TTLS 5)* includes the excellent "Fat Man", the title track and three others already on "March".
"Best Of Derrick Morgan" (Doctor Bird DLM(B) 5014)* * is rock steady music at its best. "Tougher Than Tough", "Court Dismiss", "Woman A Grumble", "Kill Me Dead", "What`s Your Grouse", "Me Nah Give Up" are all here.
MYSTIC REVELATION OF RASTAFARI: "Grounation" (Ashanti NTI 301)* * (See LP review in Black Music 1). This 3 LP set represents authentic rasta music at its best for the first time in album form. The track "Narration" comments on aspects of the slave trade, and colonization. "Bongo Man" and "Lumba" are the outstanding cuts.
LEE PERRY AND THE UPSETTERS: "The Upsetter" (Trojan TTL 13)* is an essential example of the way Perry`s arrangements and production gave instrumental numbers like "Night Doctor", "Soulful", "Tidal Wave" and Heat Proof" a very eerie mood.
"Return Of Django" (Trojan TRL 19)* * contains the other British chart entry, "Live Injection", plus "Man From MI5", "Drugs And Poison", "Medical Operation" and Eight For Eight" which are as good.
THE PIONEERS: "Long Shot" (Trojan TBL 1030* and "Battle Of The Giants" (Trojan TBL 139)* * display the group at their very best "Poor Rameses", "Mother Ritty", "Samfie Man", "Money Day", "Driven Back", "Battle Of The Giants" and "Long Shot Kick The Bucket" are excepttionally good ethnic uptempo numbers.
I. ROY: "Hell And Sorrow" (Trojan TRLS 71)* Of all the DJ artists I. Roy`s messages have consistently been the most `serious`. His philosophies, however unsophisticated in presentation, are nevertheless direct, as in "Trouble Man", "Monkey Fashion" or "Ja Lion Jungle". He can also be very amusing ("Sugar Candy").
U. ROY: "Version Galore" (Trojan TBL 161)* * I. Roy was the DJ who popularised the talk-over style. He is an originator despite King Stitt`s efforts a year before. His fluid phrases were not just a jumble of loose words, but meaningful expressions produced by a combination of deep thoughts and the effect of the music upon him. Most of the music used in the background are earlier records by the Paragons.
SCOTTY: "School Days" (Trojan TRLS 36)* "Draw Your Brakes" was used in the movie "The Harder They Come". Others like it are "Children Children", "Jam Rock Style", Riddle I This" and "Sing Along". All of these were originally songs in their own right by a rock steady group--The Federals--of which Scotty was lead singer. The straight song "Penny For Your Song" is outstanding.
TITO SIMON: "Just Tito Simon" (Horse HRLP 702)* (see feature in last issue). This LP features some really fine melodic sentimental songs.
Carl Gayle:
Part 3
BLACK MUSIC MAY 1974
peace
ESSENTIAL REGGAE: - PT. 3
DERRICK MORGAN: "Forward March" (Trojan TTL 38)* * is a collection of Derrick`s best ska hits. It includes "Look Before You Leap", "Housewife`s Choice", "Blazing Fire" and "Teach My Baby". Morgan`s boastful, ethnic vocal captured the spirit of ska better than anyone else.
"Seven Lettters" (Trojan TTLS 5)* includes the excellent "Fat Man", the title track and three others already on "March".
"Best Of Derrick Morgan" (Doctor Bird DLM(B) 5014)* * is rock steady music at its best. "Tougher Than Tough", "Court Dismiss", "Woman A Grumble", "Kill Me Dead", "What`s Your Grouse", "Me Nah Give Up" are all here.
MYSTIC REVELATION OF RASTAFARI: "Grounation" (Ashanti NTI 301)* * (See LP review in Black Music 1). This 3 LP set represents authentic rasta music at its best for the first time in album form. The track "Narration" comments on aspects of the slave trade, and colonization. "Bongo Man" and "Lumba" are the outstanding cuts.
LEE PERRY AND THE UPSETTERS: "The Upsetter" (Trojan TTL 13)* is an essential example of the way Perry`s arrangements and production gave instrumental numbers like "Night Doctor", "Soulful", "Tidal Wave" and Heat Proof" a very eerie mood.
"Return Of Django" (Trojan TRL 19)* * contains the other British chart entry, "Live Injection", plus "Man From MI5", "Drugs And Poison", "Medical Operation" and Eight For Eight" which are as good.
THE PIONEERS: "Long Shot" (Trojan TBL 1030* and "Battle Of The Giants" (Trojan TBL 139)* * display the group at their very best "Poor Rameses", "Mother Ritty", "Samfie Man", "Money Day", "Driven Back", "Battle Of The Giants" and "Long Shot Kick The Bucket" are excepttionally good ethnic uptempo numbers.
I. ROY: "Hell And Sorrow" (Trojan TRLS 71)* Of all the DJ artists I. Roy`s messages have consistently been the most `serious`. His philosophies, however unsophisticated in presentation, are nevertheless direct, as in "Trouble Man", "Monkey Fashion" or "Ja Lion Jungle". He can also be very amusing ("Sugar Candy").
U. ROY: "Version Galore" (Trojan TBL 161)* * I. Roy was the DJ who popularised the talk-over style. He is an originator despite King Stitt`s efforts a year before. His fluid phrases were not just a jumble of loose words, but meaningful expressions produced by a combination of deep thoughts and the effect of the music upon him. Most of the music used in the background are earlier records by the Paragons.
SCOTTY: "School Days" (Trojan TRLS 36)* "Draw Your Brakes" was used in the movie "The Harder They Come". Others like it are "Children Children", "Jam Rock Style", Riddle I This" and "Sing Along". All of these were originally songs in their own right by a rock steady group--The Federals--of which Scotty was lead singer. The straight song "Penny For Your Song" is outstanding.
TITO SIMON: "Just Tito Simon" (Horse HRLP 702)* (see feature in last issue). This LP features some really fine melodic sentimental songs.
Carl Gayle:
Part 3
BLACK MUSIC MAY 1974
peace
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Re: 1974-1980 reviews on current reggae releases...
BLACK MUSIC MAY 1974: Vol. 1 / Issue 6
ESSENTIAL REGGAE: - PT. 4
MILLIE SMALL: "The Best Of Millie Small" (Trojan TTL 49)*.
Millie`s chirpy, cheerful vocals on "Oh Henry", "Sweet William" and "My Boy Lollipop", accompanied by punchy, uptempo rhythms and spurts of brass, is guaranteed to cheer you up. Jackie Edwards joins Millie in "In A Dream" and "Tell Me Right Now".
SLIM SMITH: "Memorial Album" (Trojan TBL 198)*
Smith died in `72, just as he was re-emerging as an outstanding artist. "The Time Has Come", "Don`t Tell Your Mama", "My Conversation" and "Burning Fire" display his excellent falsetto.
DELANO STEWART: "Stay A Little Bit Longer" (Trojan TBL 138)* * *
Stewart has one of the best voices in Jamaican music, which means he`s ahead of John Holt in my book. He`s also an exceptional composer of sentimental songs, and his "That`s Life" has been recorded by many other Jamaican artists. At least six tracks here are good enough to be big pop hits.
NICKY THOMAS: "Love Of The Common People" (Trojan TBL 143)* *
Nicky`s first LP contains the song--"Have A Little Faith"--which (referring to the BBC) he complained about so bitterly in our recent `Reggae Special`. Other excellent tracks are "Lonely Feelin`", "Red Eye" and "If I Had A Hammer", plus the title song.
THE WAILERS: "Catch A Fire" (SW 9329)* * * and "Burnin`" (Island ILPS 9256)* do not need any introduction.
"Soul Rebels" (Trojan TBL 126)* issued in 1970 represents the Wailers--Bob, Pete, and Bunny only--as a vocal group first and foremost, under the direction of Lee Perry, whose influence in production techniques has left a marked impression on the group. "African Herbsman" (Trojan TRLS 62)* * contains their best early singles: "Trench Town Rock" (their biggest seller), "Small Axe", "Lively Up Yourself" and "all In One".
DELROY WILSON: "Better Must Come" (Trojan TRL 44)*
A Bunnie Lee production with the accent on authenticity. After a few listens, Delroy`s loping vocal style becomes infectious, as do the rocking rhythms. "It`s Your Thing" adapts well to the reggae style. The title song and "Stick By Me" are excellent.
V/A: - A GIFT FROM PAMA: (Economy SECO 20)*
The Pama label brought the first real `reggae` records to England in `68 and subsequently issued most of the best. Slim Smith`s "Everybody Needs Love" is a good example of what reggae (a dance music with a specific chugga - chugga riff) really meant. Pat Kelly`s "If It Don`t Work Out", The Kingstonians "Hold Down" and Winston Shan`s "Throw Me Cron" were also great dance favourites.
V/A: - BLUE BEAT SPECIAL: (Coxsone CSP 1)*
Issued in `68 before the early rock steady records had lost their cool moodiness and gained a harder edge. Two of my favourites here are "My Last Love" and "Run Boy Run", the latter for the way the bass and rhythm guitars jump around, enhancing the lyrical effect. Alton Ellis`s "Let Him Try" is one of his best performances.
V/A: - CLUB REGGAE VOLUME 4 (Trojan TBL 188)*
The Vulcans` "Star Trek", Dandy`s "Big City", The Chosen Few`s "Ebony Eyes", and THe Maytals` "Louie Louie" are here. So too are other more commercial material such as "Blue Boot" by Eric Donaldson, "Help Me Make It Through The Night" by Ken Parker, and "I`ll Be True To You" by Tito Simon.
Carl Gayle:
Part 4
BLACK MUSIC MAY 1974
peace
ESSENTIAL REGGAE: - PT. 4
MILLIE SMALL: "The Best Of Millie Small" (Trojan TTL 49)*.
Millie`s chirpy, cheerful vocals on "Oh Henry", "Sweet William" and "My Boy Lollipop", accompanied by punchy, uptempo rhythms and spurts of brass, is guaranteed to cheer you up. Jackie Edwards joins Millie in "In A Dream" and "Tell Me Right Now".
SLIM SMITH: "Memorial Album" (Trojan TBL 198)*
Smith died in `72, just as he was re-emerging as an outstanding artist. "The Time Has Come", "Don`t Tell Your Mama", "My Conversation" and "Burning Fire" display his excellent falsetto.
DELANO STEWART: "Stay A Little Bit Longer" (Trojan TBL 138)* * *
Stewart has one of the best voices in Jamaican music, which means he`s ahead of John Holt in my book. He`s also an exceptional composer of sentimental songs, and his "That`s Life" has been recorded by many other Jamaican artists. At least six tracks here are good enough to be big pop hits.
NICKY THOMAS: "Love Of The Common People" (Trojan TBL 143)* *
Nicky`s first LP contains the song--"Have A Little Faith"--which (referring to the BBC) he complained about so bitterly in our recent `Reggae Special`. Other excellent tracks are "Lonely Feelin`", "Red Eye" and "If I Had A Hammer", plus the title song.
THE WAILERS: "Catch A Fire" (SW 9329)* * * and "Burnin`" (Island ILPS 9256)* do not need any introduction.
"Soul Rebels" (Trojan TBL 126)* issued in 1970 represents the Wailers--Bob, Pete, and Bunny only--as a vocal group first and foremost, under the direction of Lee Perry, whose influence in production techniques has left a marked impression on the group. "African Herbsman" (Trojan TRLS 62)* * contains their best early singles: "Trench Town Rock" (their biggest seller), "Small Axe", "Lively Up Yourself" and "all In One".
DELROY WILSON: "Better Must Come" (Trojan TRL 44)*
A Bunnie Lee production with the accent on authenticity. After a few listens, Delroy`s loping vocal style becomes infectious, as do the rocking rhythms. "It`s Your Thing" adapts well to the reggae style. The title song and "Stick By Me" are excellent.
V/A: - A GIFT FROM PAMA: (Economy SECO 20)*
The Pama label brought the first real `reggae` records to England in `68 and subsequently issued most of the best. Slim Smith`s "Everybody Needs Love" is a good example of what reggae (a dance music with a specific chugga - chugga riff) really meant. Pat Kelly`s "If It Don`t Work Out", The Kingstonians "Hold Down" and Winston Shan`s "Throw Me Cron" were also great dance favourites.
V/A: - BLUE BEAT SPECIAL: (Coxsone CSP 1)*
Issued in `68 before the early rock steady records had lost their cool moodiness and gained a harder edge. Two of my favourites here are "My Last Love" and "Run Boy Run", the latter for the way the bass and rhythm guitars jump around, enhancing the lyrical effect. Alton Ellis`s "Let Him Try" is one of his best performances.
V/A: - CLUB REGGAE VOLUME 4 (Trojan TBL 188)*
The Vulcans` "Star Trek", Dandy`s "Big City", The Chosen Few`s "Ebony Eyes", and THe Maytals` "Louie Louie" are here. So too are other more commercial material such as "Blue Boot" by Eric Donaldson, "Help Me Make It Through The Night" by Ken Parker, and "I`ll Be True To You" by Tito Simon.
Carl Gayle:
Part 4
BLACK MUSIC MAY 1974
peace
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http://leggorocker.ning.com/
http://leggorocker.ning.com/
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stepping razor
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Re: 1974-1980 reviews on current reggae releases...
BLACK MUSIC MAY 1974: Vol. 1 / Issue 6
ESSENTIAL REGGAE: - PT. 5
V/A: - CLUB ROCK STEADY `68: (WIRL 965)* * *
The numbers here exemplify and define the two distinct styles of rock steady records had rippling bass and rhythm guitar line as in "Midnight Hour", "I`ve Got Your Number" and "Winey Winey". In time the ripples disappeared and the rhythm became harder, more pulsating as in "Ride De Donkey", "Woman A Grumble", "Put It On". The Pioneers` first "Long Shot" record (not "Kick The Bucket") is also here.
V/A: - CLUB SKA `67: (WIRL LP 948)* * *
Each of the twelve tracks were big hits in JA, including "Dancing Mood", "Copasetic", "Guns Fever", "Broadway Jungle", "007", "Guns Of Navarone" and "Phoenix City". "Lawless Street" by the Soul Brothers is a traditional ska standard. The riff is provided by way of mouth in a `toasting` style as it was called. A classic collection which did much to boost Jamaican music in Britain.
V/A: - CRAB`S BIGGEST HITS: (Economy ECO 2)*
This set features "Work It" and "Run Girl Run", two early reggae records which were popular because of their frenetic, infectious rhythms. Derrick Morgan`s "River To The Bank" and "Seven Letters" are two of his better records with the Pama label. "What A Big Surprise" by the Ethiopians and "Children Get Ready" by the Versatiles were two more compulsive dance records.
V/A: - FROM BAM BAM TO CHERRY OH BABY: (Trojan TRL 51)* * *
This set brings together the seven winners of the Jamaican Song Festival from 1966 to `72. Starting with the `66 winner, "Bam Bam" by The Maytals, the consecutive winners were: "Ba Ba Boom" by the Jamaicans, "Intensified" by Desmond Dekker, "Sweet And Dandy" by the Maytals, "Boom Shacka Lacka" by Hopeton Lewis And The Chosen Few, "Cherry Oh Baby" by Eric Donaldson and "Pomps And Pride" by the Maytals. The other three tracks were second, third, and fourth in the `72 Competition, but every track here is a winner.
V/A: - HISTORY OF SKA VOL. 1: (Bamboo BDLP 203)* *
Among the twelve tracks is material by Don Drummond ("Don Cosmic" and "Jet Stream"), the Skatalites ("You`re So Delightful"), The Wailers ("Love And Affection"), and Roland Alphonso ("If I Were A Bell"). One of the better tracks is the beautiful instrumental by the Skatalites, "You`re So Delightful" in which McCook, Alphonso, and Drummond each take a short solo.
V/A: - REGGAE CHARTBUSTERS VOL. 1: (Trojan TBLS 105)* * VOL. 3: (Trojan TBLS 169)* are composed of pop-reggae material, much of which made the charts. Vol. 1 contains "Wonderful World Beautiful People", "Reggae In Your Jeggae". "Israelites", "Liquidator", "Return Of Django", "Long Shot Kick The Bucket", "It Mek", etc, which represent the first wave of `skinhead` hits. "Double Barrel", "Monkey Spanner", "Rain", "Black And White" and "Let Your Yeah Be Yeah" are on volume three.
V/A: - REGGAE JAMAICA: VOL. 2: (Trojan TBL 193)* *
The lyrical quality in "Bound In Chains" by the Clarendonians, and "Life" by Bob Andy is far too infrequently attained Jamaican songwriters. They`re both excellent. "King Tubby`s Special" is one of U. Roy`s best records before he faded. "Jimmy Brown", "You`re A Big Girl Now" and "Ganja Free" are also here.
Carl Gayle:
Part 5
BLACK MUSIC MAY 1974
peace
ESSENTIAL REGGAE: - PT. 5
V/A: - CLUB ROCK STEADY `68: (WIRL 965)* * *
The numbers here exemplify and define the two distinct styles of rock steady records had rippling bass and rhythm guitar line as in "Midnight Hour", "I`ve Got Your Number" and "Winey Winey". In time the ripples disappeared and the rhythm became harder, more pulsating as in "Ride De Donkey", "Woman A Grumble", "Put It On". The Pioneers` first "Long Shot" record (not "Kick The Bucket") is also here.
V/A: - CLUB SKA `67: (WIRL LP 948)* * *
Each of the twelve tracks were big hits in JA, including "Dancing Mood", "Copasetic", "Guns Fever", "Broadway Jungle", "007", "Guns Of Navarone" and "Phoenix City". "Lawless Street" by the Soul Brothers is a traditional ska standard. The riff is provided by way of mouth in a `toasting` style as it was called. A classic collection which did much to boost Jamaican music in Britain.
V/A: - CRAB`S BIGGEST HITS: (Economy ECO 2)*
This set features "Work It" and "Run Girl Run", two early reggae records which were popular because of their frenetic, infectious rhythms. Derrick Morgan`s "River To The Bank" and "Seven Letters" are two of his better records with the Pama label. "What A Big Surprise" by the Ethiopians and "Children Get Ready" by the Versatiles were two more compulsive dance records.
V/A: - FROM BAM BAM TO CHERRY OH BABY: (Trojan TRL 51)* * *
This set brings together the seven winners of the Jamaican Song Festival from 1966 to `72. Starting with the `66 winner, "Bam Bam" by The Maytals, the consecutive winners were: "Ba Ba Boom" by the Jamaicans, "Intensified" by Desmond Dekker, "Sweet And Dandy" by the Maytals, "Boom Shacka Lacka" by Hopeton Lewis And The Chosen Few, "Cherry Oh Baby" by Eric Donaldson and "Pomps And Pride" by the Maytals. The other three tracks were second, third, and fourth in the `72 Competition, but every track here is a winner.
V/A: - HISTORY OF SKA VOL. 1: (Bamboo BDLP 203)* *
Among the twelve tracks is material by Don Drummond ("Don Cosmic" and "Jet Stream"), the Skatalites ("You`re So Delightful"), The Wailers ("Love And Affection"), and Roland Alphonso ("If I Were A Bell"). One of the better tracks is the beautiful instrumental by the Skatalites, "You`re So Delightful" in which McCook, Alphonso, and Drummond each take a short solo.
V/A: - REGGAE CHARTBUSTERS VOL. 1: (Trojan TBLS 105)* * VOL. 3: (Trojan TBLS 169)* are composed of pop-reggae material, much of which made the charts. Vol. 1 contains "Wonderful World Beautiful People", "Reggae In Your Jeggae". "Israelites", "Liquidator", "Return Of Django", "Long Shot Kick The Bucket", "It Mek", etc, which represent the first wave of `skinhead` hits. "Double Barrel", "Monkey Spanner", "Rain", "Black And White" and "Let Your Yeah Be Yeah" are on volume three.
V/A: - REGGAE JAMAICA: VOL. 2: (Trojan TBL 193)* *
The lyrical quality in "Bound In Chains" by the Clarendonians, and "Life" by Bob Andy is far too infrequently attained Jamaican songwriters. They`re both excellent. "King Tubby`s Special" is one of U. Roy`s best records before he faded. "Jimmy Brown", "You`re A Big Girl Now" and "Ganja Free" are also here.
Carl Gayle:
Part 5
BLACK MUSIC MAY 1974
peace
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stepping razor
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Re: 1974-1980 reviews on current reggae releases...
BLACK MUSIC MAY 1974: Vol. 1 / Issue 6
ESSENTIAL REGGAE: - PT. 6
V/A: - REGGAE TIME: (Ashanti ANB 201)*
Included here are John Holt`s "Again", Shark Wilson`s "Make It Reggae", Pete Wilson`s "Pup`n Temper", and one of I. Roy`s earliest cuts "I`m In The Mood For Love". Ken Boothe`s "Make Me Feel Alright" is the best track though.
V/A: - REGGAE TO REGGAE: (Pama PMP 2012)*
There`s no other way to obtain the Wailers` excellent "Screw Face" except by buying this set, which also includes their "Lively Up Yourself", Roy Shirley`s "Jamaican Girl", Lloyd Sparks` "You Don`t Care For Me" and Max Romeo`s "Public Enemy Number One". The Emphasis here is on riffy dance music.
V/A: - 16 DYNAMIC REGGAE HITS: (Trojan TBL 191)* *
Best tracks here are the four Eric Dondaldson numbers: "Blue Boot", "Sylvia`s Mother", "I`m Indebted" and "Miserable Woman", as well as "Pomps And Pride" by the Maytals, "Way Back Home" by the Dragonaires, and "Are You Sure" by the Jamaicans. Each track was a hit in JA.
V/A: - THE HARDER THEY COME: (Island ILPS 9202)* * *
The LP which finally turned the eyes of the media towards Jamaican music. Even without the film the music sums up the movie`s message. Every track is excellent, and Jimmy Cliff`s "Sitting In Limbo" is a classic of pop melancholy.
V/A: - THE TROJAN STORY: (TALL 1)* * *
This three album set is an exhaustive compilation with comprehensive sleeve notes tracing the history of Jamaican music from the very earliest `ska` days through rock steady, to reggae. Included are Owen Gray, Laurel Aitkin, Derrick Morgan, Jimmy Cliff, Jackie Edwards, Stranger Cole, Alton Ellis, The Skatalites, The Blues Busters, The Maytals, Clarendonians, Ethiopians, The Pioneers, and many more. Despite the omission of The Wailers, Heptones, Gaylads, Paragons, etc., this is an invaluable set.
V/A: - THIS IS REGGAE VOL. 1: (Pama PSP 1003)* *
With numbers like "Moon Hop" by Derrick Morgan, "How Long Will It Take" by Pat Kelly, "Jesse James" by Laurel Aitkin, "Wet Dream" by Max Romeo and "Pretty Cottage" by Stranger Cole, this varied collection is a great foretaste of the individual artists.
V/A: - TIGHTEN UP VOL. 1 - VOL. 8 (Trojan)* * *
Every LP is essential because the series is a comprehensive, historical guide to the best in JA music since 1968. It traces the evolution of Jamaican music . . . particulary recommended.
V/A: - TWENTY DRAGON HITS: (Dragon DRLS 5003)* * (See Black Music Three for LP review).
V/A: - VERSION GALORE VOL. 3 (Trojan TBL 200)* * *
An LP of DJ sounds. It brings together the best in this field namely I. Roy ("Space Flight" and "Black Man Time"), Big Youth ("Foreman v Frazier", "Medicine Doctor" and "Ace 90"), U. Roy ("King Tubby`s Special" and "Hat Trick Version Two"), Dennis Alcapone ("Cassius Clay", "Swinging Along" and "Rock To The Beat"), Sir Harry ("Apollo 17"), and Jah Fish ("Vampire Rock").
Carl Gayle:
BLACK MUSIC MAY 1974
peace
--------------------------------------------------------------------------------------------------------------
Jah Rastafari
ESSENTIAL REGGAE: - PT. 6
V/A: - REGGAE TIME: (Ashanti ANB 201)*
Included here are John Holt`s "Again", Shark Wilson`s "Make It Reggae", Pete Wilson`s "Pup`n Temper", and one of I. Roy`s earliest cuts "I`m In The Mood For Love". Ken Boothe`s "Make Me Feel Alright" is the best track though.
V/A: - REGGAE TO REGGAE: (Pama PMP 2012)*
There`s no other way to obtain the Wailers` excellent "Screw Face" except by buying this set, which also includes their "Lively Up Yourself", Roy Shirley`s "Jamaican Girl", Lloyd Sparks` "You Don`t Care For Me" and Max Romeo`s "Public Enemy Number One". The Emphasis here is on riffy dance music.
V/A: - 16 DYNAMIC REGGAE HITS: (Trojan TBL 191)* *
Best tracks here are the four Eric Dondaldson numbers: "Blue Boot", "Sylvia`s Mother", "I`m Indebted" and "Miserable Woman", as well as "Pomps And Pride" by the Maytals, "Way Back Home" by the Dragonaires, and "Are You Sure" by the Jamaicans. Each track was a hit in JA.
V/A: - THE HARDER THEY COME: (Island ILPS 9202)* * *
The LP which finally turned the eyes of the media towards Jamaican music. Even without the film the music sums up the movie`s message. Every track is excellent, and Jimmy Cliff`s "Sitting In Limbo" is a classic of pop melancholy.
V/A: - THE TROJAN STORY: (TALL 1)* * *
This three album set is an exhaustive compilation with comprehensive sleeve notes tracing the history of Jamaican music from the very earliest `ska` days through rock steady, to reggae. Included are Owen Gray, Laurel Aitkin, Derrick Morgan, Jimmy Cliff, Jackie Edwards, Stranger Cole, Alton Ellis, The Skatalites, The Blues Busters, The Maytals, Clarendonians, Ethiopians, The Pioneers, and many more. Despite the omission of The Wailers, Heptones, Gaylads, Paragons, etc., this is an invaluable set.
V/A: - THIS IS REGGAE VOL. 1: (Pama PSP 1003)* *
With numbers like "Moon Hop" by Derrick Morgan, "How Long Will It Take" by Pat Kelly, "Jesse James" by Laurel Aitkin, "Wet Dream" by Max Romeo and "Pretty Cottage" by Stranger Cole, this varied collection is a great foretaste of the individual artists.
V/A: - TIGHTEN UP VOL. 1 - VOL. 8 (Trojan)* * *
Every LP is essential because the series is a comprehensive, historical guide to the best in JA music since 1968. It traces the evolution of Jamaican music . . . particulary recommended.
V/A: - TWENTY DRAGON HITS: (Dragon DRLS 5003)* * (See Black Music Three for LP review).
V/A: - VERSION GALORE VOL. 3 (Trojan TBL 200)* * *
An LP of DJ sounds. It brings together the best in this field namely I. Roy ("Space Flight" and "Black Man Time"), Big Youth ("Foreman v Frazier", "Medicine Doctor" and "Ace 90"), U. Roy ("King Tubby`s Special" and "Hat Trick Version Two"), Dennis Alcapone ("Cassius Clay", "Swinging Along" and "Rock To The Beat"), Sir Harry ("Apollo 17"), and Jah Fish ("Vampire Rock").
Carl Gayle:
BLACK MUSIC MAY 1974
peace
--------------------------------------------------------------------------------------------------------------
Jah Rastafari
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stepping razor
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Re: 1974-1980 reviews on current reggae releases...
BLACK MUSIC MAY 1974: Vol. 1 / Issue 6
NEW BLOOD: - "THE UNDIVIDED"
THE UNDIVIDED, whose first album, "Listen To The World" is out on Decca this month, are Gene Rondo (Vocals), Organ D (organ), Oscar (guitar), Robin (guitar), Satch (trumpet), Rudi (saxophone), Floyd (bass), and Jah Bunny (drums). Except for Oscar (who`s from Barbados), they are Jamaicans. The band started as a four piece four years ago, and later brass, organ, and an extra guitar were added. Their roots are deeply embedded in Jamaican music but their album is deliberately--and successfully--aimed at a commercial pop-reggae sound.
Gene Rondo has been singing since the late fifties in Jamaica.
"Satch is an old buddy of mine from JA. We used to do Opportunity Hour together. I was trained to sing ballads and classical material in Jamaica, I was rated third best when I was there".
Gene made two hits in 1959-`60: "Love My Little Queenie" and "Squeeze Me" at the tender age of ten. Rondo come to England in 1962 and continued singing ballads but had to start singing reggae since a career as a ballad singer was out of the question in England. Then he had a spell with Trojan Records, making an LP and appearing on stage at town halls, bath halls and the like up and down the country, but without much reward, or returns.
The band was formed about this time (1970) and up to last year they had been playing relentlessly at ethnic London reggae clubs like Phoebes, Apollo, Mr Bees and out of town all nighters like the Bristol Bamboo club, or the Arawak in Huddersfield. And their numbers ranged from Brook Benton`s "Hurtin` Inside" to "Declaration Of Rights" by The Abyssinians.
"We weren`t getting any exposure so I went to see Decca," said Gene. "We wanted something bigger and better because we were under-rated. When I went to Decca they were just getting into the reggae scene".
The album was begun in May of last year and was completed after about three months.
"When we started recording the group was a bit wary with two white producers and two white engineers in a white record company," said Decca`s Keith Whiting, who helped produce the album. "But as things developed we took advice from Gene and the band and basically we just held it all together. After a while they realised that we were just there to help the sessions along, and they could do virtually anything they wanted. We got on okay, we all got drunk together".
Gene: "we brought in the trombone player Reco Rodriquez on the sessions so that we had three brass instruments. This was to make the sound as `commercial` as possible and danceable. We`ll have to use more brass arrangements, and maybe some cello, oboes, flutes, or harps to make the music more unique".
"If we can`t get the single played on the radio," Keith continued, "we will try to get it to as many of the discotheques as we can. The BBCs playlist is only about 45 now so it`s even more difficult. But we`ve made the music as commercial as we can so we`ll just have to keep our fingers crossed that the promotion department can get something going on it".
Carl Gayle:
BLACK MUSIC MAY 1974
peace
NEW BLOOD: - "THE UNDIVIDED"
THE UNDIVIDED, whose first album, "Listen To The World" is out on Decca this month, are Gene Rondo (Vocals), Organ D (organ), Oscar (guitar), Robin (guitar), Satch (trumpet), Rudi (saxophone), Floyd (bass), and Jah Bunny (drums). Except for Oscar (who`s from Barbados), they are Jamaicans. The band started as a four piece four years ago, and later brass, organ, and an extra guitar were added. Their roots are deeply embedded in Jamaican music but their album is deliberately--and successfully--aimed at a commercial pop-reggae sound.
Gene Rondo has been singing since the late fifties in Jamaica.
"Satch is an old buddy of mine from JA. We used to do Opportunity Hour together. I was trained to sing ballads and classical material in Jamaica, I was rated third best when I was there".
Gene made two hits in 1959-`60: "Love My Little Queenie" and "Squeeze Me" at the tender age of ten. Rondo come to England in 1962 and continued singing ballads but had to start singing reggae since a career as a ballad singer was out of the question in England. Then he had a spell with Trojan Records, making an LP and appearing on stage at town halls, bath halls and the like up and down the country, but without much reward, or returns.
The band was formed about this time (1970) and up to last year they had been playing relentlessly at ethnic London reggae clubs like Phoebes, Apollo, Mr Bees and out of town all nighters like the Bristol Bamboo club, or the Arawak in Huddersfield. And their numbers ranged from Brook Benton`s "Hurtin` Inside" to "Declaration Of Rights" by The Abyssinians.
"We weren`t getting any exposure so I went to see Decca," said Gene. "We wanted something bigger and better because we were under-rated. When I went to Decca they were just getting into the reggae scene".
The album was begun in May of last year and was completed after about three months.
"When we started recording the group was a bit wary with two white producers and two white engineers in a white record company," said Decca`s Keith Whiting, who helped produce the album. "But as things developed we took advice from Gene and the band and basically we just held it all together. After a while they realised that we were just there to help the sessions along, and they could do virtually anything they wanted. We got on okay, we all got drunk together".
Gene: "we brought in the trombone player Reco Rodriquez on the sessions so that we had three brass instruments. This was to make the sound as `commercial` as possible and danceable. We`ll have to use more brass arrangements, and maybe some cello, oboes, flutes, or harps to make the music more unique".
"If we can`t get the single played on the radio," Keith continued, "we will try to get it to as many of the discotheques as we can. The BBCs playlist is only about 45 now so it`s even more difficult. But we`ve made the music as commercial as we can so we`ll just have to keep our fingers crossed that the promotion department can get something going on it".
Carl Gayle:
BLACK MUSIC MAY 1974
peace
*Reggae Record Label Artwork*
http://leggorocker.ning.com/
http://leggorocker.ning.com/
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Re: 1974-1980 reviews on current reggae releases...
BLACK MUSIC JUNE 1974: Vol. 1 / Issue 7
ASHANTI LABEL: -
`A Lot Of Reggae Is So Bloody Bad That When You Do Get A Good Record It`s Hard To Make Anyone Listen To It Seriously`
- Can The Ashanti Label Provide A New Deal For Black Music In Britain?
- Carl Gayle Meets The Men Behind It . . .
ABOVE the door of 88 Stroud Green Road, London N4, the sign reads: "Junior`s Music Spot". It`s a record shop, and during working hours the shop never seems to be empty. On Friday evenings and all day Saturdays it`s packed with record buyers. Junior`s is the best for getting Jamaican pre-releases, singles or LPs.
But at the back of the shop is a small office. This is where Bamboo Records began in 1969. And it`s now the headquarters of Ashanti Records, the company, under Junior Lincoln`s and Rupert Cunningham`s direction, which in it`s few short months has already released some important records, notably the triple album of Rastafarian music, "Grounation".
"We`ve been selling pre-releases since the shop started in `69," said Junior. "The shop will always be there, I hope so. It helps you to keep in touch with people. Record buyers don`t know that the shop has anything to do with Bamboo or Ashanti, it isn`t important for them to know. When they do they seem to want to treat you different, people you`ve known for years. We deliberately try to play down the "Record Company Director" image. Record buyers come in and they call everybody Junior, that`s how we like it."
You walk into the shop and the music hits you. You enter the small office and you`re met with more music from a tape machine, and the clamour of the phones that never seem to stop ringing. The office is crowded. Musicians,, old friends, record enthusiasts are always dropping by. Two producers, Geoffrey Chung and Joe Sinclair, discuss the merits of Ken Boothe`s record "That`s The Way Nature Planned It" which is playing in the shop. Jackie Robinson of the Pioneers joins in the chat. The office is alive with the sound of music and music people.
Junior Lincoln is 31 but looks five years younger. He entered the Jamaican music business on the suggestion of Jamaican promoter/producer, Clement Dodd (better known as Coxon Dodd) when the latter visited England for the first time in 1967. They had known each other from back in JA when Dodd would play his Sound System at the shows or parties that Junior promoted.
Consequently, Junior began to look after Dodd`s Coxsone label material for B&C as well as his Studio One label material for Island Records in England. He had financial interests in both. And when Junior launched his Bamboo label in 1969 it was with a Dodd record--"My Whole World Is Falling Down" by Ken Parker--that he had his first success. It was one of the best records to come out of JA. And Bamboo followed with other hits like John Holt`s "A Love I Can Feel", Alton Ellis` "Sunday Coming" and Winston Francis` "California Dreaming", all from the legendary Coxon Dodd.
Yet the Dodd-Bamboo deal was restrictive. Junior was unable to expand Bamboo, partly because many musicians fought shy of becoming involved with the controversial Mr. Dodd. Today, Bamboo remains as just the British outlet for Dodd`s material.
"What we`re doing with Ashanti is what I had wanted to do with Bamboo. There`s still a close affinity with Bamboo`s direction. But we`ve got the whole world to choose from now. It`s up to us, the opportunities are limitless," says Junior.
Carl Gayle:
Part 1
BLACK MUSIC JUNE 1974
peace
ASHANTI LABEL: -
`A Lot Of Reggae Is So Bloody Bad That When You Do Get A Good Record It`s Hard To Make Anyone Listen To It Seriously`
- Can The Ashanti Label Provide A New Deal For Black Music In Britain?
- Carl Gayle Meets The Men Behind It . . .
ABOVE the door of 88 Stroud Green Road, London N4, the sign reads: "Junior`s Music Spot". It`s a record shop, and during working hours the shop never seems to be empty. On Friday evenings and all day Saturdays it`s packed with record buyers. Junior`s is the best for getting Jamaican pre-releases, singles or LPs.
But at the back of the shop is a small office. This is where Bamboo Records began in 1969. And it`s now the headquarters of Ashanti Records, the company, under Junior Lincoln`s and Rupert Cunningham`s direction, which in it`s few short months has already released some important records, notably the triple album of Rastafarian music, "Grounation".
"We`ve been selling pre-releases since the shop started in `69," said Junior. "The shop will always be there, I hope so. It helps you to keep in touch with people. Record buyers don`t know that the shop has anything to do with Bamboo or Ashanti, it isn`t important for them to know. When they do they seem to want to treat you different, people you`ve known for years. We deliberately try to play down the "Record Company Director" image. Record buyers come in and they call everybody Junior, that`s how we like it."
You walk into the shop and the music hits you. You enter the small office and you`re met with more music from a tape machine, and the clamour of the phones that never seem to stop ringing. The office is crowded. Musicians,, old friends, record enthusiasts are always dropping by. Two producers, Geoffrey Chung and Joe Sinclair, discuss the merits of Ken Boothe`s record "That`s The Way Nature Planned It" which is playing in the shop. Jackie Robinson of the Pioneers joins in the chat. The office is alive with the sound of music and music people.
Junior Lincoln is 31 but looks five years younger. He entered the Jamaican music business on the suggestion of Jamaican promoter/producer, Clement Dodd (better known as Coxon Dodd) when the latter visited England for the first time in 1967. They had known each other from back in JA when Dodd would play his Sound System at the shows or parties that Junior promoted.
Consequently, Junior began to look after Dodd`s Coxsone label material for B&C as well as his Studio One label material for Island Records in England. He had financial interests in both. And when Junior launched his Bamboo label in 1969 it was with a Dodd record--"My Whole World Is Falling Down" by Ken Parker--that he had his first success. It was one of the best records to come out of JA. And Bamboo followed with other hits like John Holt`s "A Love I Can Feel", Alton Ellis` "Sunday Coming" and Winston Francis` "California Dreaming", all from the legendary Coxon Dodd.
Yet the Dodd-Bamboo deal was restrictive. Junior was unable to expand Bamboo, partly because many musicians fought shy of becoming involved with the controversial Mr. Dodd. Today, Bamboo remains as just the British outlet for Dodd`s material.
"What we`re doing with Ashanti is what I had wanted to do with Bamboo. There`s still a close affinity with Bamboo`s direction. But we`ve got the whole world to choose from now. It`s up to us, the opportunities are limitless," says Junior.
Carl Gayle:
Part 1
BLACK MUSIC JUNE 1974
peace
*Reggae Record Label Artwork*
http://leggorocker.ning.com/
http://leggorocker.ning.com/