This half-hour long CD collects three tracks from the 1982 Nighthawk compilation Calling Rastafari and two unreleased songs plus versions of them. In 2007 Culture redid "Calling Rastafari" for Two Sevens Clash (Shanachie), but added a lot of unnecessary stuff (electronic whoops) and basically ruined it, so it is great to hear the clear original version with the mighty Roots Radics backing the vocal trio, led by the soulful Joseph Hill, who sounds a bit like Winston Rodney. In the late 70s Hill & Culture recorded three albums for Joe Gibbs and three more for Sonia Pottinger. They were peaking by the time they laid down the three tracks for Calling Rastafari. The bonus tracks were taped at Tuff Gong in 1983, with the Wailers as the backing band. These are fine tracks and remind you of how the Wailers basically defined the sound of reggae. In addition there are some all-star sidemen: Gladdy Anderson, Bongo Herman, Scully Simms & the horn trio of Tommy McCook, Deadley Headley Bennett and Bobby Ellis. Given the strength of the original Calling Rastafari compilation, with the Gladiators, Mighty Diamonds, Itals and Wailing Souls, I would have preferred a remastered version of that, but perhaps the revitalized Nighthawk has future plans for those other artists' tracks (I'm holding my breath for more Wailing Souls). While it is brief, Culture's album is top quality and the two instrumental dubs that extend the bonus tracks are a good addition.


I've always felt there are not enough Junior Byles tunes in the world, so was thrilled to receive the latest reissue of Nighthawk Records from Omnivore. Junior's final album, Rasta no pickpocket, from 1986, backed by the legendary Roots Radics and produced by Niney the Observer was sadly only 22 minutes long. It has come around again with enough bonus material to double the length. Byles must have been a fat kid, because he was known as "King Chubby" when he formed a vocal trio called The Versatiles with schoolmates. They had a series of hits with Joe Gibbs ("Someone to love," "Lu-lu Bell," "Push it in," "Time has come," "The thanks we get"-- need I go on, or can we just have the definitive compilation? Someone please prod Steve Barrow for me), working with Lee Perry, and then the Versatiles moved to Duke Reid's Treasure Isle. When Bob Marley left Perry's Black Ark, the legendary producer brought in Junior to fill the void as a Rastafarian front man for his sonic experiments with the Upsetters. Six years of this work was distilled into the essential Curly Locks compilation on Heartbeat. From the liner notes it seems the present album was cut in one night in 1986 under difficult circumstances -- in an overcrowded studio with onlookers (rude bwoy gwan mash up da place) creating massive fumes and disruptions. "I don't know" is, to me, the standout track on here. Technology has great potential to take us to space but others are using it to wipe out the human race, he says, getting it off his chest. "Demonstration and protest are pitting brother against brother. I don't know what the world is coming to." Despite my avowed Atheism I appreciate religious sentiments such as "What doth it profit a man to gain the whole world and lose his soul?" Homilies such as this inform the lyrics of Byles. After that there was nearly a decade of relative silence when Byles was homeless or institutionalized. Two of the bonus tracks are songs which Junior fans will have already: "Bur-o-Boy" and "Weeping" appeared on the Trojan compilation When will better come, however there they were shortened by 30 seconds each, so that's a bonus minute. Then there's "This feeling" a welcome new addition to the Byles canon, with conscious lyrics and a solid groove. By the way the two new version sides also show off the talents of the band, comprising Style Scott on drums and Flabba Holt on bass; Bingy Bunny, Chinna and Dwight Pinkney strum the guitars; Steelie and Bubbler pump the keyboards; Bongo Herman, Scully & Sticky ply the percussion, and that leaves the fabulous hornsmen, Tommy McCook, Bobby Ellis & Deadly Headly, to fill any gaps. Classic, Extra Classic even.


Leonard Dillon (1942-2011), better known as the Ethiopian, had a long musical career, starting as a choirboy. As a hungry teen he went to Kingston to sing for Peter Touch (Tosh) who took him to Marley and then to Coxsone Dodd who recorded him with vocal backing by the Wailers. In 1963 he teamed up with another singer, Steven Taylor, and they scored a couple of ska hits as the Ethiopians. Dillon's day job was as a mason and he met Albert Griffiths on a building site. Griffiths had his own band, the Gladiators and together they recorded "Train to Skaville" with backing by the Gladiators and "You are the girl" by the Gladiators with vocal harmony from the Ethiopians. From then, until Taylor's accidental death in 1975, the Ethiopians were always on the charts. In 1977 Dillon made a beautiful lyrical solo album Everything Crash for Coxsone Dodd, but then was out of the picture for a while. In 1986 the original team of Ethiopian and Gladiators reunited to cut this mellow album for Nighthawk. It's another example of Nighthawk's Bob Schoenfeld having impeccable timing, catching a neglected artist who still has a lot to give -- and is eager to show it. The Gladiators are augmented by four top horn players, and percussionist Scully. Each song is followed by a dub cut: these were mixed hot by Sylvan Morris, who rewound the tapes at the successful conclusion of each take and then demonstrated his skills with a live board, causing amazement among the musicians.

JONESTOWN (Omnivore OVCD-289)

Hope you left room for dessert. Yet another classic album from the Nighthawk catalogue resurfaces on Omnivore, this one without bonus tracks, but a solid LP full of the talented Winston Jarrett. Another young Rastafarian who moved close to Trench Town in search of a musical identity, Jarrett's neighborhood was called Jonestown, and he shared a yard with Alton Ellis as a youth. So his debut recording was part of Alton & the Flames and they had a string of Rocksteady hits on Treasure Isle, like "Cry tough," "Dance crasher," and "Girl, I've got a date." Alton went solo and moved to London, and Jarrett reformed the group as the Righteous Flames, singing lead himself, and recorded for Prince Buster and Coxsone Dodd. Then in the 1970s he made a string of records, using various pseudonyms, in conjunction with Family Man and others known as the Hippie Boys who soon became the Wailers, for Lee Perry, Sonia Pottinger, Duke Reid and so on. A wonderful career retrospective can be found on Survival is the Game (Young Tree Records). This album, Jonestown (not a reference to the Kool-Aid-suicide cult of Jim Jones in Guyana), was made in 1983 when reggae had changed: there is more of a disco beat to the drums and the creeping forebodings of synth and syndrums. It could be that the fans had switched from ganja to coke and needed something a bit more spirited and speedy, but that is just my speculation. I have the feeling that many of the tracks on here were already in the Righteous Flames' repertoire -- one of them was included on one of my favorite LPs Rite Sound Reggae Story: there "Spanish Town Road" has massed horns and nyabinghi repeater drums, giving it a stately tone; here it has farty horns and whiny keyboards (Winston Wright). "Run to the rock" was a single in 1971, and is reprised with funky continuo by Gladdy Anderson on Hohner Clavinet, but again Santa's snare snap is a bit overpowering; "Hold on to this feeling" was a Marley tune, here it is given quite an excessive disco workout. My sense is the producers were trying to create a more current sound to broaden the appeal as, by 1983, Reggae was an established genre, so they were trying to hook the rock audience. Beyond that (the in-your-face production) there are gems on here like "Babylon broke dung me house" and the catchy "Conference Hall."

SERIOUS THING (Omnivore Recordings OVCD-273/274)

The Gladiators hit for Studio One with "Hello Carol" in 1968, and followed up with "Bongo Red." By the 80s they were internationally acclaimed as a roots reggae band. They closely followed Bob Marley & the Wailers, even covering some BMW songs such as "Small Axe" and "Stand Alone." In 1982 St Louis-based Nighthawk label's Robert Shoenfeld & Leroy Pierson got them into the studio to record Symbol of Reality. The title comes from Griffiths' notion that the Gladiator is always struggling and fighting, hence a symbol of reality. They revisited their catalogue (little-known outside Jamaica at the time), including classics such as "Dreadlocks the Time is Now," "Watch out," and "Big Boo Boo Deh." (The best of their early material was collected by Virgin on Vital Selection in 1981 & more recently 4 of their Virgin albums reappeared on a double CD.) The influence of Marley is notable on this album, even to the sound of Lee Perry's production, though the engineer was Sylvan Morris at Harry J Studios. In 1984 the Gladiators recorded Serious Thing, again for Nighthawk. Cultural consciousness comes up on tracks like "Freedom Train," and in quotes from "We shall overcome" in the melody. Now with the acquisition of Nighthawk by Omnivore Records we are treated to some gems from their back catalogue, each time remastered with a load of bonus material, sometimes doubling the length of the album. The new tracks are mainly dubs and versions, but occasionally another song, that was left in the can because of the 45 minute limit of the LP format, surfaces. These include the excellent "Bless our soul" and "New song" on Serious Thing. And, as for dubs and versions, the more the merrier, I say. The vocal trio of Albert Griffiths, Clinton Fearon and Gallimore Sutherland (who also played guitars and bass) were augmented in the studio by Pablov Black on keyboards, Scully & Bongo Herman on percussion, Nambo on trombone, Deadly Headley, Dean Frazier & Glen DeCosta on saxes and Bobby Ellis & Dave Madden on trumpets. (I assume this was after Dave's stint as manager of the Partridge Family.) The Gladiators' own band included Clinton Rufus on lead guitar, Audley Taylor on keys, and Barnabas (who replaced "Horsemouth") on drums. The three singers were accomplished musicians too, unlike most harmony trios of the time who just vocalized with studio bands. The Gladiators were consummate professionals which is probably why their catalogue shows them working with many other artists, like Richard Ace, who showed up and contributed keyboards to three cuts on Serious Thing, or The Ethiopian who asked them to back him.

TRAVEL WITH LOVE (Omnivore Records OVCD-259)
KNOW JAH BETTER (Omnivore Records OVCD-260)

Justin Hinds hit big with "Carry go bring come" in 1964 and went on to release something like seventy singles on Treasure Island records. These would be rushed out for sound system clashes between Duke Reid and Coxone Dodd and guaranteed Hinds' place in the top ten for weeks at a time. By the mid-80s Rocksteady had given way to reggae but the Dominoes (named for Fats Domino as well as the game) kept up with the evolving sounds of their island and went into Tuff Gong studios in 1984 to record Travel with Love, for Nighthawk Records, with the Wailers' rhythm section of Carlton Barrett on drums and Aston "Family Man" Barrett on bass, and with their keyboard players "Wya" Lindo and Tyrone Downie. Yet another Wailer, Earl "Chinna" Smith, joined on lead guitar and the studio was filled out with the top session men from Kingston, including Bingy Bunny on guitar, Gladdy Anderson on piano, Skully and Sky Juice on percussion, and the best horn section East of Memphis: Tommy McCook, Deadley Headley and Bobby Ellis. Throw in Pablo Black on melodica and you have a recipe for magic. Hinds (whose background was in the church and singing for tourists) has a sweet soft voice backed by the unobtrusive Dominoes. Steve Barrow remarked on the timeless quality of the original 8-cut LP issued by Nighthawk. Now since the the take-over of Nighthawk's archive by Omnivore we are treated to a remastered album with an insane TEN bonus tracks. Three are newly added to the compilation and the other seven are versions, some of which surfaced over the years. The spacing of the instruments in these is very nice, with Skully on top of the mix and the others dropping in and out selectively. Flashes of vocals show these were separate takes and not simply created off the master tape, and the entire band is having fun in the version sides.

The later album Know Jah Better was Hinds' attempt to enter the Dancehall scene in 1990. He avoided the Kingston music scene, preferring to stay in the country where he would play Nyahbingi drums in his yard, sometimes his neighbor Keith Richards would join in on guitar and even produced an album from these casual sessions called Wingless Angels. For Know Jah Better Nighthawk felt the disc needed more punch (despite syndrums and squelchy synth) so brought in Earl "Chinna" Smith and Skully Simms again to overdub guitar and percussion. Other than Dean Fraser on sax, the musicians are not household names and dont inject the air of excitement you get from the Tuff Gong sound on the first disc.


You can't count out the octogenarian Lee Perry yet. The man who pioneered dub at his Black Art studio in Kingston, Jamaica has issued a retrospective CD, reworking his songs ("Curly Locks," "Super Ape") and several others he produced with artists like Junior Byles and Max Romeo in the 1970s. He is something of a performer, certainly not a singer, more a mumbling stand-up act, nevertheless songs like "Disco Devil" toasted over "Chase the Devil" or "Dread Lion," might appeal to version completists. The Black Ark sound is unmistakable though one critic noted how it changed as the ganja smoke residue on the tape heads muffled it as the years went by. In the studio Perry's band the Upsetters jammed for hours while he selectively dropped instruments in and out of the mix on his 8-track board. He would patch mikes through a Maestro Echoplex or a Roland Space Echo, which run continuous magnetic tape over several heads. This causes the sound to multiply; pots can then by applied to give echo, sustain or reverb. If you twist all the inputs to the max (the proverbial "11") the agglomerated sound quickly charges to a sonic throb, which you can kill by turning off the main switch, then turning it back on and adjusting the pots allows you to build from the start. This requires skill, dexterity and of course intuition, so that Perry was playing the mixing board like Mickey Mouse conducting the kitchen implements in Fantasia. He was even known to thump the Space Echo to create a clap of thunder (Perry, not Mickey). Today there are simple computer tools that mimic these effects once carefully & ingeniously engineered by Perry and his followers (think of Gaudi's Nusrat album). At the press of a button you can have spooky melodica, guitar with flanger effect, thudding bass, drums with echo and so on. So the Subatomic Sound System is in essence one guy with a laptop cranking out some pounding drum n bass that is a simulacrum of the Black Art sound. Added to this is a barely audible live conga player (Larry McDonald formerly of Tommy McCook's Supersonics, the Crystalites and Gil Scott Heron) and a live sax player (Troy Simms) on echo. In concert it's an unholy racket, everyone is overamplified and all the mikes are on "stun" with reverb and echo, so you only hear Perry intermittently muttering about "No nuclear war ... Trump ... hump ... dump" or singing the praises of "Coconut water" instead of Jah Lion or Curly Locks. The album has nostalgic appeal, though you may prefer to go back to the originals to hear why Perry's career was so important to the development of Jamaican music.

Lee Perry in concert January 2018 Photo copyright by the Duchess #Marinsowhite

FULL TIME (Omnivore Recordings)

Nighthawk Records started in the 1970s as a Blues reissue label, specializing in postwar Delta and Chicago blues. They also published some fine New Orleans albums. In 1981 they discovered reggae and issued the classic Wiser Dread compilation (An LP with two back covers and no front). Now Nighthawk has been taken over by the ominously named Omnivore Records, and the new owners are exploring their back catalogue, starting with a reissue of one of their classic releases, Albert Griffiths & the Gladiators' 1992 Full Time. It seems to me an accident of circumstance that Chris Blackwell picked Bob Marley and promoted him to superstardom as the voice of reggae, when you consider the other talents available then, including Albert Griffiths here, or Winston Jarrett or the other Winston known as Burning Spear -- it's a shame only Marley got the limelight. This occurs to me because of the similarity between Griffith's and Marley's voices and even the general sound of their backing bands. In a random audition many listeners would say this IS the Wailers. Griffiths issued a few singles early in his career such as "The Train is coming back," "Live wire" and "Hello Carol," sometimes alongside the Ethiopian. In the 70s his band, The Gladiators, worked with Prince Tony and then in the 80s produced four albums for Nighthawk. In true reggae style this album, recorded at Harry J Studios, includes a couple of version sides run back to back with the hits, "Bongo red," "Fussing and fighting" (written by Marley), and "Rocking vibration." The band which featured Clinton Fearon on bass and vocals, was supplemented by Scully & Bongo Herman on percussion, along with some particularly effective horn men: Bobby Ellis (trumpet), Dean Frazier, Deadly Headley (saxes) & Nambo on trombone. Legends, all.

THE RETURN OF JACK SPARROW (Omnivore Recordings)

I honestly thought Jack Sparrow was invented for the Johnny Depp character in the Pirate movies, but that was also the pseudonym under which Coxsone Dodd released the first four songs by Leonard Dillon, who later became known as the Ethiopian. It's also the local name for the Greater Antillean Bullfinch, a songbird found in James Bond's "Birds of the West Indies," as pointed out to me by Joe Eaton. I don't know if I am projecting but Leonard Dillon always strikes me as having a sad voice. He was part of a great harmony duo the Ethiopians who had scores of hits in Jamaica, and England, in the 70s (such as "Train to Ska-ville" and "Everything Crash"), but his partner Steven Taylor was hit and killed by a car in 1975. It was a long time before Dillon was ready to return to recording, and though he had sung with Justin Hinds and Albert Griffiths and the Gladiators previously, he decided to go solo. And from then on (like Carlton Manning) he sang his own harmony parts in the studio. In 1987 Dillon toured the United States with the Gladiators. Bob Schoenfeld, the owner of Nighthawk, was hanging out with the band when Winston Grennan, the drummer, started regaling him with tales of the Beverley's All Stars who had backed such 60s acts as the Maytals, Derrick Morgan and Desmond Dekker. Schoenfeld conceived the idea of a super-session in New York, reuniting the Beverley's All Stars with a great vocalist, and asked Dillon to sing his classics plus some new songs. He flew in the band from Toronto, Miami and Kingston and gathered Lyn Taitt & Hux Brown on guitars and Winston Wright on keyboards, with the other Bevvies. Schoenfeld then took the tapes to Jamaica to have horns overdubbed by Sylvan Morris at Dynamic Sound, but financial problems meant he couldn't release the album and so it languished in the Nighthawk archives. There were also rumors that the album was sabotaged because of a financial problem between Schoenfeld and Morris. But it sounds fine to me, in fact, I enjoyed it. Interest in the Ethiopian's music has continued since his 2011 death and this 1992 album, now issued for the first time, is a great addition to his deep catalogue of music.

INNA DE YARD: THE SOUL OF JAMAICA (Chapter Two/Wagram 3342736)

A decade ago the Viceroys' Inna de Yard blew me away. A band I remembered chiefly for the novelty number "Ya Ho" had survived the years and, a little worse for wear, got together in Earl "Chinna" Smith's yard in Half-Way-Tree, Kingston to record an acoustic album of what they remembered from their heyday in the late 60s. A whole series of "Inna de Yard" albums appeared but none quite had the same impact as the Viceroys working through "Heart made of stone," and "My mission is impossible." However the idea was worth pursuing and now here's a compilation, newly recorded with stripped-down acoustic versions of a few oldies and some new material, all caught live and unedited. The old-timers returning are Ken Boothe, Cedric Myton (of the Congos), Lloyd Parks, and of course the Viceroys, formerly known as the Voiceroys. "Chinna" Smith is not present but there are plenty of talented musicians such as Nambo on trombone and a plethora of drummers slapping the skins. On "Jah Power, Jah Glory" by Kiddus I we hear an organ and an accordion, but it is still propelled by the Nyabinghi beat. Lee Perry's favorite singer Cedric Myton's unearthly etherial voice floats on a tide of hand drums and a lyrical trombone. "Love is the Key" by the Viceroys is outstanding but then Ken Boothe also shows he has not lost it, and on his remake of "Let the Water run dry" the Viceroys sing backup. Boothe's "Artibella" is also a gem with that accordion hanging around to give a cafe ambiance. New to me Derajah is great on "Stone" and he is only one of several fine singers on here, including two Scots descendants, Winston McAnuff and Kush McAnuff. Winston "Bo-Pee" Bowen, best known as session guitarist in the mighty Roots Radics takes us home with "Thanks & Praises" and a little bit of night sounds, crickets, birdies and cool breeze.

SAME OLD STORY (Liquidator LQ097)

I have been catching up with recent reggae and rocksteady releases from Jamaica. That island's musical heritage has been well-served by revivalists who have sought out obscure gems from the last half century and restored them for our enjoyment. The Iberian peninsula, which gave us the Jamaica Gold label, turns up a classic Rocksteady duo, whose "Stop that Train," was featured in the "The Harder they Come," the film that brought reggae to an international audience. Keith & Tex began singing for Derrick Harriott in the late 60s, with songs like "Stop that Train," "Tonight," "Hypnotizing Eyes," and their Temptations cover "Don't Look Back." But by 1970 the duo had broken apart when Keith moved to the USA and Tex went to Canada. Keith Rowe had a later career with Lee Perry and hit with "Groovy Situation," but their earlier more innocent sound was prized by fans. Now Spanish producer Roberto Sánchez has reunited them in the studio with mostly Spanish musicians (including organ, trumpet, trombone and tenor sax) to create a new album of originals. (The cover is crafted to look like a Jamaican album from the 1970s, but look again: they are no longer kids!) The band, particularly drummer Iñigo Elexpuru, are a good fit with the rocksteady groove; on "Party night" they hit the ska beat hard with Sánchez on acoustic double bass, Rueben "Ras" Telford on piano, and double-tracked mouth percussion from the singers. Titles like "Queen majesty" signal new works, not covers though like the Techniques and the Uniques they borrowed the lyrics from Curtis Mayfield for this. They deliver the familiar sweet tones on songs like "Soulmate," but for "Refugees," they sing about the poor Syrians and how we need to take a stand to help our fellow man.


Studio One's latest deal is with Yep Roc Music Group. Back in May they reissued the Wailers' debut album on vinyl along with Money Maker, a hard-to-find compilation with Heptones, Burning Spear, Wailing Souls and John Holt. I saw this at the record store and bought it on sight. It's two 23-minute radio shows and I thought it might include live in-the-studio performances. But the live quotient is only the deejay, the highly animated Winston "The Whip" Williams in the first segment, who raps comically over the intro and outtro of each song in the first half. Otherwise it's a promotional vehicle for Studio One featuring snatches of new releases from the week of 16 July 1977 and, as the second track, 13 May 1978 (during the 8.30 to nine a.m. shift!) Airplay was often hard to come by in the early days of Jamaican music, the broadcasters opting for American soul and R&B; and often Jamaican songs were banned for being too rude. To remedy this, labels would buy blocks of air time to promote their releases. And to help poor listeners, speakers tuned to the local radio station were hung from trees: the only drawback was they couldn't be turned off! Horace Andy is just getting going when the DJ exclaims "Big bad sounds of the SOUNDS of Young Jamaica!" and fades into "It is because I am black?" "--Lloyd Williams, That feeling makes you taller than the ceiling!" interjects Mister Whip, switching to Burning Spear. It's fun as a podcast, "Masters of the trade, that's why we have it made," he says, plugging Studio One... but it's over too fast. While the DJ patter is delightful, it's a slim excuse for a CD: I think putting it online for free would have helped promote their sales, but then my marketing ideas are notable for their lack of success. The second deejay (Satch Lee?) brings on Ken Booth and the Heptones -- "Old gold, Heptones in your bones" -- doing "Dock of the Bay" in the slightest snatch of a 12-inch disco mix. I do think they should have given this away. Some labels promote their stuff successfully on line. Here, for example, is a British show promoting a Swiss reissue label called Reggae Fever; here's another slice of free reggae. Hardcore Studio One fans will probably buy it, then forget it on the shelf.

MR PERRY I PRESUME (Pressure Sounds 89)

You know old-fartdom has set in when you have the following sequence of thoughts. I am in line at the record store and the guy ahead of me is buying a $200 box set of the Rolling Stones (I think that's what it is: just a plain black cardboard box) and I am smugly thinking, what a chump. He's spending all that money to try to get back something he never had: he wants to think he's a cool teenager again, digging Mick's imitation blues vocals and some Nanker Phelge rave-ups. What a waste of time and energy. When you can recognize a tune from the very first chord you probably don't need to hear it again. Then it's my turn and I plunk down the "new" Lee Perry CD with promises of a dozen previously unreleased tracks, but it's the very familiarity I am looking for: the sound of the Upsetters inside the cinder-block walls of the Black Ark with Scratch at the controls. Now, I can tell you who played bass and drums for the Rolling Stones but I couldn't say the same for the Upsetters; nevertheless, I am ready for the bass 'n drums to blow out the speakers on this new mix of "Police and dub" (I don't have to tell you what the rhythm is!). And there's that cheesy wheezy bubbling organ I know and love. No vocals but some swampy guitar is in the mix. Actually if you put your head inside the speaker you can hear a dimly echoing whisper of the verse bleeding through on the rhythm tracks "Hear what I say, hey hey hey hey uh....." Lee Perry is the Paul Cezanne of music. He paints the same views over and over -- the same trees the same mountains -- but every time it comes out different and they are all equally fascinating and slightly crooked and beautiful. But lest the message escape you, the unpainted part of this canvas is the telling lyric which goes unsung: "All the crimes committed, day by day / No-one tries to stop it in any way / All the peace makers turned war officers..." Junior Murvin's song may be one of the most-versioned and most-covered reggae singles but its message is perennial. Wailers fans will dig the two new mixes of "Sun is shining" and "Keep on moving" -- the former has Peter Tosh imitating Augustus Pablo with Melodica on reverb and echo; the later has Augustus himself. "Ethiopia Land" has the "cow" sound you will remember from other versions: Cedric Myton told me it is Watty Burnett! The hits keep coming (and I don't mean Scratch hitting the top of the Roland SpaceEcho with his fist for added ooommph): Max Romeo's classic "Chase the Devil" is versioned here as "Devils dub plate," with that crack percussion from Skully & Sticky. Perry visited London in 1974 to make some record deals and also to appear at a sound system clash. For these events producers prepared unique ten-inch dub plates that were only heard on the night. Unfortunately the word "clash" is a bit too graphic because of course the police showed up, chasing a thief, and waded into the crowded club with their truncheons. By pure coincidence, Jeremy Collingwood tells us in the booklet, at that moment Johnny Clarke's new single "Move outta Babylon" was playing. And after the felon was apprehended 70 more police showed up to arrest a few more "suspects." Dennis Bovell was charged with being "about to commit a crime" and held for 6 months. Perry and Bunny Lee were used to seeing police breaking up sound systems in Kingston so made a quick exit through the back way and the next day the papers crowed "42 Held After Club Battle" -- another milestone in tension between the British authorities and West Indian youth, many of whom were merely guilty of being in possession of "curly hair, big lips and wearing a loud shirt," as Rowan Atkinson put it in 1980. There are many familiar Upsetter grooves on here, in new and surprising versions, recorded in the mid-70s. And, for the record, in addition to Sly n Robbie on drum n bass, you might hear Boris Gardiner holding the bottom and Benbow or Mikey Boo lickin' the skins.


Jamaican DanceHall style is a unique blend of karaoke and improv. In the 70s a new generation of artists emerged and used the B-sides -- instrumentals and dub plates -- of well-known Studio One rhythms from the sixties to express themselves. When some of these artists started to gain popularity & rerecord Studio One rhythms with other bands, Coxsone Dodd took an unusual step: instead of suing them for copyright infringement, he brought them aboard and promoted them. Additionally he revamped his back catalog with a new group of talents, like Sugar Minott, Lone Ranger, Eastwood & Saint, Johnny Osbourne, Freddy McGregor, and let them loose over "Rockford Rock" and other tracks. The best part was, while other labels were hiring bands to recreate the Studio One rhythms, Coxsone could give his new artists the original tapes to play with, creating version upon version. When Sugar Minott released "Vanity" over a rhythm that had hit for Alton Ellis as "I'm just a guy," he threw in the nursery rhyme: "Mary Mary quite contrary, how does your garden grow?" Michigan & Smiley versioned it as "Mary Mary quite contrary, how does your rub-a-dub flow?" While there may seem to have been an endless supply of great music coming out of Jamaica in the heyday of reggae we surely have heard the best of it by now. Still, anyone with a soft spot for "name that tune" or who likes to hear new takes on old faves will bask in aura of this disc. "Nice up the dance" only begins to suggest the fun in store, however it belies the reality of the times as violence wracked the island and the lyrics took a more sinister turn as even the escapism of sound system nights gave way to economic bad times and fear in the air. But the moment can always be suspended in time via music: one of the joys of finding a compilation like this, that flows beautifully. And since it begins and ends with Ernest Wilson (half of the Clarendonians), you can easily put it on repeat and it becomes seamless. Known as "Soul," Wilson has a quaver in his voice, a bit akin to Horace Andy. You've probably never heard of Windel Haye, who delivers two cuts here, "Flood victim" and "Haunted house." The latter reuses Cornell Campbell's "Conversation"; the former versions the omnipresent "Real Rock," both in extended mixes. Although Sugar Minott soon left to form his own label, Coxsone had enough material in the can to release three albums of the talented lad's performances over classic Studio One rhythms. "Real Rock" is also the basis of Johnny Osbourne's smash "Lend me the Sixteen" (i.e. 16-track mixing console) which features here, along with his "Time a Run Out." The great trombone could be Don Drummond, unless it was rerecorded, then it has to be Vin Gordon. To update the music, overdubs were done by keyboard player Pablove Black, alongside bassist Bagga Walker and guitarist Eric Frater. Osbourne had spent ten years in Toronto and returned in 1979 full of ideas and cut a series of smash hits for Coxsone, leading to his Truths and Rights album. But in 1980 the mounting violence caused Dodd to quit Kingston and relocate to Brooklyn, New York. "Peace and Love" is the message of Lone Ranger on his classic "Noah in the Ark," the lead cut on his album The Other Side of Dub. Doreen Schaffer (who now lives in New York) was originally a vocalist with the Skatalites. Here she gives us "I don't know why" which for my money is as great as anything that came out of Motown. Sugar Minott delivers "Peace Treaty Style" and, in a clever twist, we get a new version of "Uptown Top Ranking," the brilliant smash hit of British teenagers Althea and Donna, called "Peace Truce Thing." Here was Coxsone taking back what was rightfully his. The Joe Gibbs-produced "Uptown Top Ranking" used Alton Ellis' "I'm Still in Love with You," which was a Studio One rhythm, so Coxsone had the Brentford Road Disco set update it and "adapt" the lyrics. It's a really great re-adaptation and a better approach than a tired attack like "Straight to Joe Gibbs' Head." (Incidentally, Top Rank was a chain of ballrooms in Britain so they turned it into a verb, like Hoovering.) You'll hear echoes of "Picture on the Wall," but most curiously "Rebel Disco," by the Brentford Disco Set (another name for the house band), uses the hook from an old Scottish folksong, "The Campbells are Coming." Was this something taught in the Alpha Boys School by their bandmasters? Another possible link for future scholars of Jamaican musical roots to ponder. After the death of Bob Marley in 1981 the cultural life of Jamaica went down the chute as cocaine replaced ganja, and guns and gangstas took over. Lewd lyrics became the norm as slackness possessed the singers. Here, in the late 70s, the Disco Set give us instrumentals and dubs and the riddim stretches out while we relive the last of the good times.


As an evangelical atheist I spend a lot of time studying comparative religion. Zen koans keep me up at night; the King James Bible has some lovely passages (e.g. "The Sermon on the Mount," "Psalm 23"), but it it mostly fantasy and revenge literature; I have little patience with those sons of Abraham (the three-headed demon of Zion, Islam and Xtianity) who are at each other's throats, and less for the fundamentalist assho*es (to use a redundant term) who dominate the political discourse in the USA. In the past I have been unduly harsh on the philosophy of Rastamen, based on their belief in being a Lost tribe of Israel (nigh impossible) and paying spiritual allegiance to Haile Selassie (a crackpot tinpot ruler). Nevertheless I find a lot of pleasure in Nyabinghi, Burro drumming and Grounation, to use the terms that describe their music. This new rather choppy compilation seeks to define the various styles associated with the movement and includes an excellent, elegant 40-page companion booklet that covers the story. If you know anything about the history of Jamaica, Marcus Garvey's Back to Africa movement and the rule of Selassie I, then you probably have the gist of the story. What is not mentioned is the role of Islam in Jamaican music though SoulJazz do include the wonderful "Salaam" by Bongo Herman and Les. This is a favorite track by the Crystalites' rhythm section; I am still trying to figure out the opening greeting, Ambassada Oudah? Their other cut here, "African drums," is a true gem. Other highlights include Ashanti Roy's "Hail the Words of Jah," and "Zion I" by Ansell & Winston with the attendant version (over "My mission is impossible") by the Techniques All Stars. Count Ossie & the Mystic Revelation of Rastafari's music is excerpted and jumps about quite a bit, when it needs to be experienced at full length. Though often compared to Coltrane, Sun Ra or Albert Ayler, Count Ossie (with Leslie Butler) here turns in a bizarre organ-driven cover of Sinatra's "It was a very good year" called "Soul drums." This is a case of the CD needing the booklet to explain it and the booklet needing the CD for musical exposition. However it is a bit didactic and once you have heard the Ras Michael and Mutabaruka tracks once you probably wont need to listen to them again, same goes for Count Ossie's monologues "Tales of Mozambique" and "Narration." It's not chronological so the weaker early tracks are buried in the middle. It's curious more than spiritual; and may be instructive for neophytes or those with a passion for Caribbean history, otherwise not one you will put in heavy rotation.


I have not checked in with the Pressure Sounds label for a while, so decided to give this a whirl. I have a load of Bunny Lee compilations and he never lets you down, unlike Mad Professor, Lee Perry and some other producers who produced some rubbish in their vast careers. But Jamaica seems to be a bottomless well of musical treasures, especially from the years of transition from rocksteady into reggae and this disc is right in that sweet spot of 68-72. From the get-go you see what the competition was. Lee's house band were called the Hippy Boys (and later the Bunny Lee Allstars) and consisted of Aston Barrett on bass, Carlton Barrett on drums, Glen Adams on organ and Alva Lewis on guitar. The same group would later become the Upsetters, the Aggrovators and also the Wailers. Guests like trombonist Rico Rodriguez or saxophonist Tommy McCook might also feature (here on "Going West"). While these bands were clearly mutable there is one outfit you can tell they were chasing, and that is Derrick Harriott's house band The Crystalites. Harriott's band were rock-solid on instrumentals but when they decided to add some patter on their albums it was a smash, Bongo Herman and Bongo Les (the Davis Brothers) added hilarity to "Sic Him, Rover," "Salaam" and other hits. Here at the start there is a blatant imitation of the Crystalites' studio patter and you can sense their presence in the instrumentals too (pianist Gladdy Anderson was in both bands), even in their choice of titles like "Death Rides a Horse," reminiscent of "Undertaker's Burial." Nevertheless this is an instructive disc for anyone interested in how the rocksteady beat mutated into reggae, as both styles are presented side by side. One of Bunny Lee's great innovations was the version: he was short of material, and couldn't afford to pay musicians, so would reuse the same tracks and invite others to sing or toast over an already recorded rhythm. For these the instrumental solos were omitted and these riddim tracks became the forerunner of dub plates. The toasters on here are not the best, there's no I Roy or Big Youth, but instead Dave Barker whose rudimentary style sometimes grates on me and a few others you've probably never heard of (unless you are Mark Gorney). Winston Williams does an imitation of Lord Comic over a Pat Kelly ballad. The other down side is the addition of harmonica solo by Roy Richards which is crap and horrendous Moog synthesizer solos on "Joe Lewis" and U Roy's "Wet Vision," played by Ken Elliott (over Max Romeo's "Wet Dream"). But don't let that deter you. There are 21 cuts on here, all rarities, quite a few back to back versions of familiar rhythms, which make a pleasant set. Delroy Wilson's "Drink Wine" and Stranger Cole's "When I get my freedom" are included. I will probably mute the two or three irritating tracks so I can enjoy it without wincing, and really dig the organ work by Glen Adams and Jackie Mittoo, the snarly snappy drumming of Santa and Carlie Barrett and Fully or Family Man's bass curling like a lizard on a tree branch.


There's not a lot of info on this CD, apart from song titles. From those we figure that Ernie or his crew have been listening to Abdullah Ibrahim, since they start out with "Bra Joe from Kilimanjaro." There's also a cover of Ibrahim's "Blues for a Hip King" (though less successful), so I suspect the keyboard player Jonathan Korty (or is it Eric Levy?) has been practicing his big walking left hand for some time. On the title cut the sax player (Michael Pelloquin) steps up, so you don't really notice that it is a guitar album. In fact it is a mellow jazz-inflected album, and Ranglin is just a member of the band which, considering his advanced age, is a nice way to hear him rather than the pressure that would result if you expected all guitar all the time. He comes out riffing on track 6, "Joan's Pen," and shows he has not slowed down. Overall the feel is of a very accomplished Jamaican jazz session, but better recorded! Musically too it recalls the pre-Skatalites era, back when the Alpha Boys School grads were a jazz group recording Jazz Jamaica from the Workshop. That album was an early release of Studio One records (August 1962, issued especially for Independence) and featured young Ernie Ranglin "regarded as the most exciting player outside the United States today," according to Sonny Bradshaw. Since then Ranglin went on to appear on countless Jamaican music dates (including Millie Small's "My Boy Lollipop" which exploded Ska onto the British scene in 1964, sessions for Bob Marley, Jimmy Cliff, the Maytals, etc), and more recently a notable tour and album (In Search of the Lost Riddim) with Senegalese star Baaba Maal. This is not a repeat of Below the Bassline, his triumphant 1996 return, because that was based on some well-known Jamaican tunes ("Satta," "54-46" and his instrumental hit "Surfin") and featured legendary sidemen, including Monty Alexander on piano and Roland Alphonso on sax. That summit of giants is a landmark album. This is him in a relatively new setting. I am always wary of pickup bands, because I have suffered through plenty of reggae shows where a headliner just came to town alone and called the tunes while a bunch of local kids thought they could skank it in de bock yaad. But Ranglin has nevertheless put together a creditable band here, with tough horns and the requisite thudding bass (Yossi Fine, producer of Hassan Hakmoun) and (uncredited) Sly-Style drums. There's a tango! "El Mescalero," with harmonica, muted trumpet, Hammond B3 and some dribbling runs on guitar. Yes Ernie, the high octane octogenarian, is still tip top.


When Soul Jazz issued a Roots album of Studio One in 2001 I had some doubts: I don't associate Coxsone's label with Rastafarianism or drum and chant music, but it was an impressive set nonetheless (They dug deep, even finding Count Ossie in the vaults). The latest foray is in safe territory: Rocksteady, a moment between ska and reggae that gave birth to wonderful harmony groups like the Paragons, the Eternals, Carlton & His Shoes, and many others. The album comes out on CD or double LP later this month but I thought I would preview it via the tracklist, since I have most of this material already, assuming their selection is made from 12-inch singles or 45s (& not unreleased tapes; I don't think Coxsone kept many of those). It makes a really nice set with extended instrumental parts that are not dub so much as a coasting-on of the rhythm by the Soul Vendors while you enjoy dreamspace. Ken Boothe's "Home, home, home" is a wonderful instance of a "here it comes again" rhythm, something so simple and cyclically insistent you wonder how you missed it. Dennis Alcapone and Mad Roy both versioned this rhythm. Solo artists include Ken Boothe (one of the giants of the Rocksteady era, with three entries), Alton Ellis, and John Holt (who fronted the Paragons). The album opens with "Stars" by the Eternals which was a Cornell Campbell hit. The Gaylads, backed by the Brentford [Road] Disco Set, give us their uncharacteristically dubby hit "Joy in the Morning." Wailing Soul, one of the most Rootical of the Studio One bands, give us a smoking dub mix of "Row Fisherman," one of their many outstanding early recordings for this label. Organist Jackie Mittoo pops up with "Our thing," while someone encourages us to "Sock it to me," over and over. The soulful trombone soloist on here is probably Don Drummond. This takes us back to Ken Boothe doing "When I fall in love," with Sound Dimension's backing suitably off-kilter. Boothe is followed by the rumbustious "Throw me corn," by Larry Marshall. The bass guitar lead and haunting lyrics of this song have entranced me for decades. This one demands an extended mix, however, as it is frustratingly short rather than succinct. There were six pretty obscure versions on this rhythm; it would be nice if someone turned them up and I would gladly have sacrificed the next cut, "Lick it back" by Duke Morgan (which is definitely NOT Rocksteady), to hear one of them. Then we are graced with the sublime harmonies of Carlton Manning & His Shoes on "Me and You" (from the Love Me Forever album); Carlton told me that he overdubbed all the harmony parts himself! (This one was versioned as "Incessantly" by the Ethiopian.) Most of these are upbeat tracks, though Rocksteady is generally slow and lends itself to mournful ballads Years ago a friend asked me to mix a Rocksteady tape for his wedding: I could only find songs of heartbreak! Alton Ellis' "Hurting me" is one of the latter; Dennis Brown gives us "Easy take it easy," a complaint about someone who is too rough. I couldn't find "Pack up" by the Classics in my archives, until I discovered it's another name for the Wailing Soul, and the song is on their Studio One debut album SOLP1126, hiding in plain sight. The set ends with another "Lover's Rock" single from Ken Boothe, "Moving away," one of the definitive ballads of the Rocksteady era. So turn the light down low and bask in the rocksteady glow.

(Switzerland, Filmswelike, 2009; Dir: Stascha Bader)

In the mid-sixties Ska transformed into Rocksteady and that sweet laid-back sound never really left, continuing to influence artists such as Massive Attack and the recently departed Amy Winehouse. True, Bob Marley came along in 1970 and Reggae took over the airwaves but the Heptones and others continued to make sweet mellow music. Hopeton Lewis recalls, "I couldn't follow the beat it was just too fast for me." He asked Gladdy Anderson to slow it down, and they recorded "Take it easy" in 1966. Newly independent Jamaica was bursting with musical energy and a staggering number (100,000) of recordings were produced in those halcyon days, when you could walk the streets at night unmolested. If you've ever played in a band you know that most times the rehearsal is better than the gig, and so it is with this film which is about a Rocksteady reunion concert in Kingston in 2009. We only get glimpses of the actual show but the singers are loud and off key and the instruments muffled. However the majority of the film consists of interviews and studio sessions as the legendary figures rehearse their hits with an equally legendary bunch of session men: Ernie Ranglin on guitar, Hux Brown on rhythm guitar, Deadly Headley on sax, Gladstone Anderson on piano, Sly Dunbar on drums, Lloyd Parkes on bass and the percussion trio of Sticky, Skully and Bongo Herman. Among the survivors it's sad to see Derrick Morgan having gone blind but he has had a good life: his wife looks a bit skeptical when he talks about their happy marriage. They were apart for 11 years while she worked as a nurse in Florida, and he mentions the 14 children he fathered with other women. He does an impromptu "Tougher than tough" with Skully on bongo and Hux on acoustic guitar in an old trashed out-door theatre. But the old guys look good and still play superbly. Deadly Headley takes us back to Alpha Boys School where the bemused students accompany Stranger and Gladdy on a strained "Love me today." There is a bit of a landrush to grab others' (not present) tunes: Marcia Griffiths lays claim to the Paragons' "The Tide is High"; "Shanty Town (007)," the Desmond Dekker classic, is dusted off by Ken Boothe. He bridles at the engineer's suggestion they listen to the original, no, he wants a fresh interpretation. Dawn Penn, now a social worker in London, wonders what's in her song that people like? It's just two verses and a chorus... Her 1967 smash hit "(You don't love me) No, no, no" was sampled by scores of others (Rihanna, WuTang Clan, Sean Paul) & is one highlight of this well-filmed and edited movie. Another is the appearance of U-Roy, the father of toasting which, he points out, predates rap music by many years. And the Jamaicans are quick to point out the content of rap -- drugs and guns -- has a negative impact on the culture. Music today does not uplift people's minds, says Ken Boothe. Consciousness-raising is also on the mind of Leroy Sibbles, who sings "Equal Rights." Though the Heptones were mostly known for love songs, other cuts like "Soul Power" or "Fight it to the top" reflected the suffering they saw around them. The guest appearance of a mumbling Rita Marley is the low-point of the documentary. The tour of the kitchen where she and Bob Marley first had sex should have been edited out. But there are plenty of high points, including Ken Boothe's "Freedom Street," showing he still has the vocal chops. The final ten minutes are devoted to a medley of the actual concert, then Stranger Cole comes in for the last word. He has been working in a Tonka Toy factory in Toronto, still struggling all his life, but he stresses that despite the poverty of their beginnings, they were not discouraged but created music that continues to inspire and uplift.


Subtitled "More Lee Perry Dub Plate Mixes and Rarities 1972 to 1979," this is a truly great set of little-known material by one of the most original musicians, producers and artists anywhere. I first heard of Perry when I attended a lecture by Brian Eno on "the recording studio as a creative tool" in the 1970s. I knew a bit about dub but nothing really about the enigmatic Jamaican whose eccentricities soon became legendary. According to Eno, Perry was extremely superstitious & had come to distrust certain letters of the alphabet, including E and P -- so now he was known as L. Rry! His Black Ark studio (& his house band the Upsetters) had a productive decade and created some genuine musical masterpieces like Heart of the Congos, and Max Romeo's War ina Babylon. This new disc is full of surprises, treats and revelations. Junior Murvin's "Get Ready" is presented in a bongo mix, that is sweet and light, but then we are swept away by the full force of Bob Marley's "Natural Mystic" in deep and twisted version, with horns, bongos, and Perry torquing the sound, manipulating it like he's kneading dough. There are other familiar tunes, but each has been reconfigured, leaving you guessing which George Faith or Leo Graham tune is being turned on its ear. Indeed George Faith's "I've got the Groove," reimagined as "I've got the Dub," is sinister, with a sinuous bass riding a haunted "Rising Sun" organ (which is almost entirely absent after the intro). There are lyrical moments too, like "Rejoice Jah Jah Children," by the Silvertones, with a toast by Scratch himself & Candy Mackenzie's "Long enough."


More Lee Perry: the question here is, would you rather have a double CD set of Lee Perry that duplicates a lot of stuff you already have, or a single disc that is all new? I guess there are things to be said for both. In the case of the Trojan double-disc, it's budget priced so maybe you don't mind. Sure, there's "Curly Locks" which everyone has, but then there's a version with Scratch himself doing the toast as he twiddles the knobs. The addition of Junior Byles and the Heptones make this a strong set and a desirable package. Heartbeat (last release 2008) and Blood&Fire (last release 2007) seem to be in eclipse, and I thought Trojan had flat-lined also, but they seem to be reinvigorating their backlist now & issuing some budget CDs. This is a remake of a 2002 package called Lee Perry The Singles Collection. Trojan put out OPEN THE GATE & the UPSETTER BOX SET in 1985 and 1989 and they were great building blocks for a Lee Perry collection (though I have at least 2 dozen of his albums and don't feel any are superfluous). It's great to be reminded of Susan Cadogan's "Do it Baby (a.k.a. Nice and Easy)," but the second half of disc one is all well-known and oft-heard tracks: "Roast Fish and Corn bread," "War ina Babylon," "Ital Corner," "Police & Thieves," Sufferer's time," etc. If for some reason you do not own Arkology or another Lee Perry compilation, then this is a great place to start. Disc Two, likewise, is a mix of old favourites and novelties. "Vibrate onnnn" by Augustus Pablo kicks it off. This has one of Perry's weirdest effects -- the "cow." We get both "Mystery Babylon" and "Babylon Falling" from the Heptones, a real double-header (no baldies). "My little Sandra" by Leo Graham is another old friend, but this second disc has some unknown tracks, which rather than discoveries, go in the "filler" bracket (Junior Ainsworth, Eric Donaldson). Nevertheless, Lord Sassafras' "Green Bay Incident" is an interesting new take on "Dreadlocks in Moonlight," as is the more familiar "Dread at the control" by Mikey Dread. "Have some fun, in this island in the sun!"


Remember the Jolly Boys? You might think they were some golden oldies due for the old folks home, after all they used to play house parties for Errol Flynn who gave them their name, according to the Mento music blog. Lead singer Albert Minott is 72, and he sounds like someone who has led a full life and not bothered to take care of his vocal pipes, like Joe Cocker, Rod Stewart or Amy Winehouse. In fact it's an Amy Winehouse hit, "Rehab," that drew me to this band. My brother told me to check it out on Youtube. Minott rasps out the tunes with a stuttering delivery, as if he is about to forget the lyrics. He is backed by banjo and marímbula (known in Jamaica as a marumba box), which perfectly fit the bill in place of guitar and bass. The marumba box is so powerful it does sound like electric bass. For percussion there's maracas, congas and a drum kit played by Dale "Dizzle" Virgo (not seen on the video, but a crucial element since it has a flanger on the snare that gives it an extra sting & sizzle). After playing it ten times in a row, I sought out the album. Purists complain that the playlist is all pop covers and not the Mento repertoire, but it's a really inspired selection, far from the predictable stuff you find on say, Playing for Change. They remember the Jolly Boys as a Mento band, playing "Big Bamboo" & "Wheel & Turn Me" for tourists in a resort hotel in Jamaica, but at a conservative estimate, they have played those tunes 25,000 times, how much new nuance can they find in them? Here they have cut loose with a wild set of tunes by Iggy Pop, New Order, Steely Dan, Johnny Cash, Lou Reed, the Doors, the Stones, Blondie, and the Stranglers, but the songs sound hipper and oddly younger once the mento beat takes over. Iggy's "The Passenger" sounds like it was written for the Jolly Boys, with the jerky banjo line & Minott's deadpan delivery. I wouldn't be surprised to see him dive shirtless into the crowd. Minott also brings incredible pathos to Lou Reed's "Perfect Day," which is lacking in the tentative & bombastic original. Other highlights include "I fought the law," originally recorded by The Crickets. They wind up the album with a smashing reggaeton-inspired take on "You can't always get what you want." Again the laconic delivery of the croaky singer imbues the song with a new layer of meaning & the dubby playing of the ensemble takes it out with class.


I guess retrenching can be good which is why I dont feel bad about cruising the reggae section and ending up buying old friends, The Uniques, in a new package from Pressure Sounds. As a Slim Smith fan, I know I have some of this, but then there is the additional material that takes you back and makes you linger longer in that state when you first discovered the magic sound of Rocksteady. Slim Smith is the closest thing to Curtis Mayfield as a singer and composer in Jamaican music. According to Jimmy Riley, Smith stole the show wherever he went, leading to a memorable encounter with Bob Marley when they eclipsed the Wailers. He started with the Techniques, then the Uniques, then Smith went solo before a tragedy ended his life at age 24: Locked out of his house, he broke a window to get in, and severed an artery in his arm.

There is so little of this group that it is all precious and Pressure Sounds make quite a few discoveries. They avoid repeating hits (see Pressure Sounds 21), apart from the Studio One smash "You don't care" (also released by The Techniques; but a track I can listen to endlessly), so there's no "Watch this sound," or "My Conversation." The opening cut here, "Give me a love," was on an obscure album called Dance Hall Connection; "Blinded by Love," was on the Clocktower release Just a Dream, and only two cuts are duplicated from the Trojan double-disc CD Keep that lovelight shining, which I already reviewed. They are "People Rocksteady," (a reworking of "People get ready," though the sax player seems to think it's "Blue moon"!) and "Let me go girl." This means that essentially this is 75% new material, including "Facts of life," "This feeling," & "Love & devotion." Actually, the Uniques' sound evolved as they had two backing bands: Lynn Taitt and the Jets and then Bobby Aitken and the Carib Beats, plus a revolving roster of 8 singers (at first it was just Slim Smith and Lloyd Charmers). The Carib Beats' drummer Winston Grennan, who played the distinctive "twinkle-dink" piano on "My Conversation," has never been credited with the creation of the "one drop": the heavy bass drum kick that comes unexpectedly on the third beat of the bar. Bunny Lee says at first they called it "the cow splat!" Now there's a piece of reggae history for ya! These tracks were licensed from Bunny Lee and only one appeared on the Bunny Lee Story box set: their early hit "Let me go girl," which is again followed by the Dawn Penn reply song "I'll let you go." The disc ends with take two of "The Beatitude" (Yes, Slim Smith set a passage of the Bible to music). A great addition to the collection & a rare treat for fans of the Uniques' sound.


I love Rocksteady and Mento, the forerunners of reggae. As time goes by and more and more of it is uncovered, we discover what a treasury of sweet melodies and lilting rhythms were delivered in a few years, 1966-68. Now there's a documentary film called Rocksteady -- the Roots of Reggae and this CD is the soundtrack. I haven't seen the film but the album is pleasant and evokes happy memories. Sadly some of the new versions lack the spark of the originals. Not surprising since the artists who survive are well up in years and teetering on the brink of extinction themselves. Guitarist Lynn Tait was brought in to do the arrangements but due to ill health could not complete the project and Ernest Ranglin took over. The musicians -- including Derrick Morgan, Ken Boothe and Leroy Sibbles -- got together for the film's premiere in Montreal to perform. The press release mentions the dread Buena Vista juggernaut: clearly the hope of the producers is to do the same for reggae veterans, but they should know that this is the kiss of death. Not for marketing, but for the musicians! The great U Roy does a lively take of "Stop that Train" (created by Keith & Tex). That song made the soundtrack to The Harder they Come and Westerners got their first taste of DJ toasting with the classic Scotty version "Draw your brakes." Ken Boothe's "Freedom Street" sounds as powerful now as when he wrote it as part of the Gaylads. He is in fine voice (the song is not about Gay liberation), as is Stranger Cole who shows up with his old sidekick Gladdy Anderson tickling the ivories. Dawn Penn redoes "No no no," in the original slow rocksteady version which is OK, but the disco remix is one of the great 12-inch dance party singles. Though many of the great voices, such as Slim Smith and Desmond Dekker, are silent, Jimmy Cliff, Toots & the Maytals and the Paragons are still alive and it's a shame the producers weren't able to get them and had others cover their songs. We also get "Rivers of Babylon" and "Shanty Town" (surely a Ska song) from the Harder they Come soundtrack in cover versions. Selection-wise it's mostly an introduction to the genre: serious fans will want something more substantial like Duke Reid's Treasure Chest on Heartbeat, the 3-disc Bunny Lee set on Jamaica Gold or the 4-disc Bunny Lee set from Jet Star. It's odd that the Harder they Come should be the touchstone for this project, as that was essentially a reggae film. But as far as a soundtrack compilation goes, it will be curious to see how much music actually makes it onto the film and doesn't just fade out under talking.

DUB PLATE STYLE (pressure sounds 64)

If you've looked around this website, you might have noticed my "Desert Island Discs" where I include Delroy Wilson's song "Rain from the Skies," with Don Drummond's trombone solo. Delroy has a heartfelt voice, and imbues his lyrics with great poignancy. He adapted his style from American soul and R&B singers, and covered many Memphis hits in his career (like his classic take on "This old heart of mine" by the Isleys), but for me the off-kilter reggae beat imbues them with a groove lacking in the originals. So you can imagine I am always on the lookout for a fresh shot of Delroy (who drank himself to death in his forties). But I was really disappointed when I got this CD home and found that the title, DUB PLATE STYLE, bears no relation to the contents. I thought a "dub plate" was a version where they flipped the single and gave you an extended mix ... anyway this is just another Delroy Wilson greatest hits compilation. It duplicates the following tracks from his previous 22 Magnificent Hits compilation on Graylan Records: "I'm still waiting," "Can I change my mind," "Living in the footsteps of another man," "Better must come," "Rain from the skies," "She is just a play girl," "Here come the heartaches," "Mash it up," "Stick by me," "Trying to conquer me," & "Everyone must be judged." That leaves 9 tracks that are not on the previous Delroy Wilson collection. It's nice enough -- I enjoy the Bunny Lee sound, the familiar flying cymbal and the wound-up tight sound of The Aggrovators (a name that covers every available session musician in Kingston in the late 70s) -- but I hate it when they do this. The publicity for the label claims these are different mixes, but they are indistinguishable from the previous disc. There's a volume two in the works: I will probably fall for that one also.

INNA DE YARD (Makasound/InnaDeYard 2007)

Unfortunately I was spoiled by hearing the Viceroys disc in this series first, so all the others have paled in comparison, but Junior Murvin's entry cannot be written off. While it's true that Murvin is a bit of a one-hit wonder, I was curious to hear how he would hold up in the unplugged context. His massive hit, "Police and Thieves," just wont quit, even though it relies on studio effects for its full impact. A combination of his falsetto and the great Lee Perry's studio magic made it one of the enduring anthems from the Black Ark, first issued in 1976. It's the centrepiece of the essential ARKOLOGY box set (Island), and is surrounded by instrumentals, versions and Jah Lion's toast. Eight years later, in 1984 Murvin was still trying to recover the moment when he made a sequel called "Muggers in the street," that was the same song. He also hit with "Roots Train," and covered American soul songs, particularly those of Curtis Mayfield ("People get ready," "Closer together"), though he never had the vocal range of Slim Smith, Freddie McKay, Cornell Campbell or Horace Andy. In fact his Black Ark success may lie in the similarity of his vocal style to Cedric Myton of the Congos. Like the other discs in this series, Earl "Chinna" Smith's guitar anchors it, and various guests float in and out, notably some relaxed but persistent nyabinghi drummers. Though Murvin's falsetto is stretched to the limit & he loses it on the Mayfield impressions, there is overall a mellow relaxed quality to the set. But he feels his true milieu is on ballads like "Closer," and if you can forgive the occasionally tortured tonsils, it works really well, mainly because of the simple setting. Chinna is superb on this, playing with a deft jazz touch. Then a fuller band emerges for "Roots Train," with bass, organ and percussion, and it wells up into a small epiphany. "Soloman" by Derek Harriott is up next. Murvin's voice sounds strained by the time we get to "World Inflation," but his message is on the money. The short set ends with Bill Withers' "Aint no sunshine," and you can almost hear the reverb and echo delay on the chorus. Sweet.

PICK UP THE PIECES (Pressure Sounds 36)

I am always in need of a good reggae/rocksteady fix. Papa Freddy, my old musical mentor, recommended this disc on the ever-reliable Pressure Sounds label, but at first I thought it was an imitation of the Techniques or the 'Eptones. Then I played it in the background and started to get into the familiar rhythms, the lulling strains of Tommy McCook and Bobby Ellis' horns. The Royals was the band of Roy Cousins and flourished from 68 to 79, a golden age for Jamaican music that equalled the tremendous output of the USA with Mussel Shoals, Detroit and Bourbon Street. The Drifters and the Temptations were in the air as young Roy went to primary school in Kingston. And, incredibly, in his infants class were future musicians Ansel Collins, Wire Lindo, Fish Clarke, and singers Bernard Collins (The Abyssinians), Naggo Morris (Heptones) and Lloyd Parks of the Termites. Roy tried out at Studio One with various sets of mates and was repeatedly turned down. On his third try Coxsone recorded a session but never released any tunes until Larry Marshall found "Pick up the pieces" on an old tape and versioned it. Lee Perry, who had been Coxsone's ears, hired Cousins' group to sing backup at his Black Ark, but they still could not get records out other than one-shots at Federal or Treasure Isle. Finally Cousins started his own Wambesi label and paid the musicians himself from his wages at the post office. He would often come out of work on a Friday to find musicians waiting for payment for a past session. It's surprising, given the quality of the songs, but he had a vision and pursued it. These few sides are up there with the best of the Tennors, the Pioneers, or the Heptones. Cousins' lyrics are strong and heartfelt. A decade after "Pick up the pieces" it was picked up by an English label and in 2002 Pressure Sounds put together this great compilation. Once I get it broken in & familiarized, I will spring for the companion version and dub sides which Pressure Sounds has also considerately assembled.

(Pressure Sounds 59; also on LP)

Pressure Sounds rarely misses a beat. (They are also on thin ice as we seem to be at the end of the CD era: hang onto those Blood & Fire discs which are now out of print as the label is defunct.) There are several styles of reggae here and while there are familiar rhythms with versions and toasts they seemed, on first listening, disjointed. Then I read the liner notes (the bits that are not in red type on green paper which cannot be read) and listened a few more times and it made sense. Micron Music was the label of Pete Weston, a bit of a chancer who had a knack for picking hits. Without production facilities the Micron team would rent studio space and use the various producers in Kingston which is why some tracks sound like Bunny Lee and others sound like Lee Perry or King Tubby. I first heard it on Rob Walsh's radio show on Sunday (it's one of the amazing things of the Net that you can find kindred spirits in other parts of the globe, so I regularly tune into Bradford Community Radio on Sunday afternoon to hear Rob's show), and Rob of course played the best cut, Junior Byles' "Aint too proud to beg." So I walked the 5 blocks to Amoeba and bought it as soon as the show was over and listened to it once, then put on a Jr Byles disc instead. But the mix grew on me, especially the appearances of I Roy & the other Jr Byles tracks. His cut "Lorna Banana" is a smoker and includes a chorus of "I wish it would rain." The version, "Revolution is for the Chinaman" by Pete Weston & The Flames, has groovy bongo. Then we get one of those payback versions, "Straight to Scratch Head." (Does Lee Perry have a brother called Sniff?) "Ska Baby" by Bobby Ellis is darn catchy. Sleepers like The Defenders are followed by a toast from U Roy called "Right to Live," which pops up over a mix of Cornell Campbell's "Keep on moving." I would like to hear the Cornell Campbell track for reference (I don't think I have it unless it's on another compilation; I need an intern to catalogue my music), and there's another instrumental which sounds like one of his tunes, so why were they omitted, other than the obvious reason to save time? Similarly there's a Tommy McCook instrumental called "Tribute to Muhammad Ali," which sounds like "Forgot to be your lover," but there's no "A" side to ground it. Maybe they are planning a second disc if this one does well, so buy it, & encourage Pressure Sounds, the bearers of the reggae flame.


Reggae fans are easily satisfied. Give them a new mix of some old favourites: a dub plate or a deejay toast over a familiar lyric, whether from Motown or Trenchtown, and they are happy. The legacy of Joe Gibbs is thus celebrated in some new releases from 17 North Parade. The original 17 North Parade is the site of Randy's Record Mart in Kingston; the current label is based, appropriately, in Jamaica, New York. Culture and the Deejays at Joe Gibbs 1977-79 showcases the voice of Joseph Hill of Culture, backed by the Professionals: Sly and Robbie, Sticky, & the horn line-up of Vin Gordon on trombone, Bobby Ellis on trumpet, Herman Marquis on alto and Tommy McCook on tenor sax. These 11 extended mixes feature the toasts of some lesser-known deejays -- Bo Jangles, Shorty the President, Prince Mohamed, Nicodemus -- along with better-known luminaries of the microphone like I-Roy, Clint Eastwood & Prince Far I. It's really intense and maybe a bit too much to listen to all the way through. Also there are some inane lyrics like "Baldhead Bridge is burning down" to the nursery tune of "London Bridge is burning down." The bass and drums are relentless and about an hour in you start wishing for a bit more dub and less toasting! (The Bo Jangles toast "Selassie I Cup" is something you only need to hear once, if at all.) However there are some outstanding rare grooves on here and it is always a pleasure to listen to the warm earthy tones of Joseph Hill.

I was more taken with the Dennis Brown set, A Little Bit More, which is 12-inch mixes from Joe Gibbs' studio 1977-83. "Equal Rights" with a toast by Big Youth was among the first extended disco mixes, released on a 12" record in summer 1977, a few months after the very first, which was a Marcia Griffith's disc. Only half the tracks have deejays on them: the rest are just extended mixes with instrumental jams, again provided by the Professionals, here expanded to include Style Scott and Mikey Boo on drums, Flabba on bass, Bo Peep on guitar, and many more keyboard players, including Ansel, Keith Sterling, Gladdy & Winston Wright. There are a couple of sonic problems that bother me. One is the appearance of a primitive two-oscillator synthesizer making weird sounds on "How can I leave you?" (a remake of the Sharks' Studio One hit "How can I live?"), which makes me want to skip to the next track. The other is the irritating appearance of a bad percussionist high in the mix on "Girl I've got a date." I can't believe it's Sticky or Scully, so it must be either Joe Gibbs himself or one of the band's girlfriends who grabbed a guiro or a shekere and got on top of a hot vocal mike. It's far too loud and not very rhythmic. Again it makes me want to forward unto Babylon. Despite these glitches this is a must-hear album, the segue from "Let me love you" to "A Little bit more" is effected by someone swiping the inside strings of a piano, like waving a magic wand. There are a couple of great Big Youth toasts on here, including one on "Running up and down" referencing the first American rap group The Last Poets. Clearly Manly Buchanan was sure of his game. But when Kojak and Liza appear singing "There's a hole in the bucket dear Liza," I find it hard not to laugh. Great music often comes from the simplest sources, including nursery rhymes, but this is too lame (As Big Youth said, "I fling it down the line with some nursery rhyme."). Dennis Brown had a huge career, starting when he was 11 and lasting until his unexpected death in 1999. Like his half-brother Gregory Isaacs he was a master of the smooth style of Lovers' Rock that is one of the strong suits of Jamaican music. The CD is mostly a set of covers, of the Heptones ("Equal rights"), Luther Ingram ("Aint that lovin you?"), Alton Ellis ("Girl I've got a date"), and the Paragons (the brilliant "Man next door"), but delivered in the inimitable Dennis Brown style.

SATTA MASSAGANA (De-luxe edition: Heartbeat HB 11661-7838-2)

In a moment of weakness I bought the Abyssinians' masterpiece, Satta Massagana, in its latest remastered CD incarnation, though I have the vinyl and really should've just remastered it myself. It always sounds fine as a line-in to my MAC from my turntable and I could've found the dubs on other albums bumbs bums zumzum and then downloaded the one track I did not have for 99 cents. Still it would've taken all day, so was it worth it to save $12, probly not. Generally I want the package to get the liner notes etc, but this one from Heartbeat is singularly unattractive. Need to find my glasses to read it, first off. (While even Trojan is starting to make its repackaging smart, like Pressure Sounds or Blood & Fire, Heartbeat has very little aesthetic sense.) "Satta Massagana," now a well-known reggae anthem, was actually spun off from Carlton and the Shoes' song "Far Land." Carlton was the successful brother of the Manning family, though the eldest was a priest at the Ethiopian Orthodox church in Dungle where the hard-core rastas gathered. Among them Mortimer Planno and Count Ossie were talking about the Back to Africa movement in the 60s. The other Manning brothers saw their music as more spiritual than Carlton's pop. "Satta" was not a hit when it was released in 1969 but the group went into Federal studios and cut "Leggo Beast," and "Reason Time." "Declaration of Rights," recorded at Studio One, was their first hit (Heard on a couple of compilations, including Studio One Story and Studio One Gold, it has evolved: initially it was more ghostly with an organ intro and more aetherial harmonies). Lloyd Daley heard them and invited them to his Matador label where they cut "Y Mas gan" and that 1972 version (which also has the edge on the later take) with Daley's dub can be heard on Matador Productions (HB92). They rerecorded their material after bootleggers started making money from their songs, and put them out on the Clinch Records label, which had a clenched fist as the logo. After ten years the group broke up in 1979, but a decade later there was such a resurgence of interest in reggae in the wider world, especially in deeply rootical reggae, that the Abyssinians reformed. Supreme Jamaican vocalist Carlton Manning has even fronted the band when Collins decided to have a solo career and he can be heard on guitar and backing vocals on "Poor Jason Whyte" and "Jerusalem." I was sorry that he was relegated to guitar when they toured & played Maritime Hall in SF, but their attempt to do a Carlton song (which he dedicated to me in one of those astounding moments when you are name-checked by a band on stage and don't believe your ears) backfired and the fans didn't get it. I went backstage and had my photo taken with Carlton but he had just changed out of his turban and robes so it was not the grand "Elvis & Nixon"-style portrait I had hoped for. To get it right, if you are fanatic like yours truly, you need to add in the versions from Declaration of Dub (HB180) to this latest Satta set. Though the songs were recorded at Federal, Harry J and Joe Gibbs' studios, with different musicians, there is a holistic quality to them (as General Smuts would style it). There's a big horn section, occasionally Bongo Herman and Les throw off some ripping bongo (Bongo Herman fronted the killer version of "Satta" known as "Thunderstorm" which is on the Declaration of Dub disc.) You may want to add Bernard Collins' remake "Satta me no born yah" and the toast by Dillinger that was the B side from the Tree of Satta album. There are also U-Roy, Big Youth and Prince Far I toasts over the rhythm if you are not sick of it yet. But you may prefer to keep the disc and the dubplates separate, I go back and forth about this. --[An example is Hugh Mundell's classic Africa must be free by 1983. In 1989 RAS records put the two albums out on one CD (RAS CD2301) but ran them one after another, so you have the studio album followed by the Augustus Pablo dub album which is the way I had put them on cassette and actually it works fine.]-- The names change from disc to disc. you may know "Y mas gan" as "Yin mas gan", etc. "Forward on a yard" becomes "Send us home to Zion": there must be a message in there somewhere. Ah yes, 2 Timothy 4:23...

JOE GIBBS & FRIENDS: The Reggae Train (Trojan TRLS 261)

Reggae music is as much about the producers as the singers. Names like Coxone Dodd, Lee Perry, King Tubby, & Duke Reid are synonymous with types of music, whole moods. And now another of the pioneers, Joe Gibbs, has died (in February 2008). His career spanned the whole development of the music, from Rocksteady to Reggae to Dancehall, and with Errol Thomson he formed a duo, The Mighty Two, who did their own versions on the singles they were producing. He put out on music on the Amalgamated label as well as under his own name and that of Errol T. Born Joel Gibson in Montego Bay, 1945, he studied electronic engineering in the USA and returned home to open a TV repair business. He began selling imported records and then started producing. His first effort was Roy Shirley's "Hold them," which was a huge hit in 1966. He cut a deal with Trojan to reissue his songs and had hits on the Pioneers, Stranger & Gladdy, and Errol Dunkley. Lee Perry came from Studio One to engineer for him and Perry was followed by Winston Holness ("Niney the Observer"). As Rocksteady gave way to reggae he found Clancy Eccles and Junior Byles, who started out fronting the Versatiles, one of the rude groups of this era. Arguably Gibbs' greatest discovery was the underrated singer Ken Parker, who combined Sam Cooke's soul with the pop wistfulness of Brook Benton. Joe Gibbs himself sang "People grudgeful" as a reply to Lee Perry's ingratitude expressed on "People funny boy." The Slickers (who waxed the immortal "Johnny Too Bad"), the Soulmates, the Reggae Boys, and better-known Peter Tosh all appear on Joe Gibbs and Friends, one of the most satisfying reggae compilations ever, but currently out of print. Althea and Donna's "Uptown Top Rankin" was a song that crossed over to the Top Ten in the UK where the culture is generally more open to outside ideas (like Bhangra) and where Top Rank is the name of a chain of ballrooms, in case you were wondering what it meant. Gibbs released songs from Errol T. records, as well as on his own Gibbs label, and even one called Crazy Joe. Lynn Tait and the Jets and Tommy McCook's Supersonics were the main house bands. The Heptones and the Pioneers were the most prolific bands on his labels during the Rocksteady era. His hits included "A So We Say" by Big Youth, "Heavy Manners" by Prince Far I, "Long Shot" by the Pioneers, "Maga Dog" by Peter Tosh, "Money In My Pocket" by Dennis Brown, "Two Sevens Clash" by Culture, "Uptown Top Ranking" by Althea & Donna, "Wreck A Buddy" by The Soul Sisters, & "You're Gonna Need Me" by Errol Dunkley. A lot of these hits are gathered on the 2-CD set LOVE OF THE COMMON PEOPLE (Sanctuary). I recommend anything by him you can find. Though all the Trojans are currently out of print, the Rocksteady comps include EXPLOSIVE ROCKSTEADY JOE GIBBS' AMALGAMATED LABEL 1967-73 (Heartbeat HB72), The Mighty Two (HB73), BLOW MR HORNSMAN: Instrumental reggae 1968-75 (Trojan TRLS 257), THE REGGAE TRAIN 1968-71 (Trojan TRL 261), GET ON UP (Joe Gibbs Rocksteady 1967-8) (Trojan TRL 390), JOE GIBBS MOOD: The Amalgamated Label 1968 to 71 (Trojan TRL 394). His most popular reggae sides can also be heard on NO BONES FOR THE DOGS (Joe Gibbs & Professionals in Dub 1974-9).

FOREVER VERSION (Stereo deluxe edition Heartbeat 11661-7823-2)

Dennis Alcapone toasts over the hits of the day on Studio One's finest rhythms (heard here for the first time in stereo). The title cut is Carlton and His Shoes' "Love me forever" and the reason to get this new Heartbeat CD (the deluxe edition) is the extended mix of that song and a few other bonus tracks. In tandem with my passion for Cuban music performed by Congolese bands, I also love to hear Motown and Memphis songs filtered through the reggae soundscape. Leroy Sibbles' cover of Fred Neil's "Everybody's Talking" is a good example. Here it comes back on the track, Jack. Scrub it one time. As Alcapone explained, people would be at a dance waiting for their favourite track to come on, and when everyone had had a few drinks or spliffs he would slip on the dub plate which he had secretly acquired from the record producer, and when the crowd was expecting the vocals to come in, ready to sing along, they would get outrageous thudding bass instead and Dennis or U Roy rapping! The crowds went nuts, and of course, the actual song would be played after and maybe the dub plate again, over & over till the dancers had had enough. And like U Roy's free rein at Treasure Isle, Dennis Alcapone was fortunate to have the pick of some top Studio One tracks to toast over. The other gentlemen of this early DJ scene were Count Machuki, King Stitt, and my personal favourite, Sir Lord Comic (I only have three or four tracks by him & would love to hear more), with their urbane catchy patter over the familiar tunes. Dennis made 200 singles between 1970 and 73 when he moved to London. He also rode the hit rhythms from Treasure Isle on "DJ's Choice," recorded "Guns don't argue" for Bunny Lee, and cut some killer sides for Keith Hudson, found on the "Studio Kinda Cloudy" album. FOREVER VERSION includes Alcapone's first hit on Larry Marshall's "Nanny goat," the Pioneers' "Run run," Derrick Harriott's "Soloman" (also riddled by Scotty), "Baby why" & "Sweet talking" by Heptones, Alton Ellis's "Sunday coming," the Wailers' "Dancing Shoes," John Holt's "A Love I can feel," the Cables' "Baby why?" as well as John Holt & the Paragon's "Wear you to the ball," which was also versioned by U Roy. The additional tracks include Ken Boothe's "Home," his first hit "El Paso," on the "You don't care" rhythm also covered as "Mosquito one" (among other versions), Horace Andy's "Fever," the Clarendonians' "You can't be happy," and Delroy Wilson's "Trying to conquer me." (I list all the covers because the record label forgot to do so, assuming, maybe, you would know them all.) You can see it's a great collection of rocksteady to reggae hits. If you have any of the originals you will smile when you hear Dennis and his little trademark yells, and you will also notice how loud the bass got all of a sudden.

(Heartbeat 11601-7832-2)

The reported demise of Blood & Fire (& troubled times at Pressure Sounds) leaves the reissue field to labels like Heartbeat. Heartbeat have a lock on the Studio One archives which means most of the music is available, though they still find things to release that have not been on CD before. Their packaging is basic, nothing like the inspired efforts of B&F or the stylish Pressure Sounds, but this double CD (not all from Studio One) is quite informative and the music is generally great.

Dub is an acquired taste. Mainly it's for people who know the music and just want more of it. I used to spend hours making cassettes where i would string all the versions of a rhythm back-to-back so I could have 45 minutes of "Queen Majesty," "You don't care," or "Dread in the arena," & I would make augmented albums with dubs. This is now a standard way to issue reggae CDs so it saves me the effort and I can discover unknown versions of some old faves from people with vaster collections. Above all it's dreamy & induces well-being, it's perfect to put you in a good mood and it goes on in the background, almost unnoticed, until you find yourself humming along. Roots Man Dub is two albums of Alvin Ranglin productions, with lots of familiar Sly'n'Robbie grooves and the likes of Gladdy Anderson and Winston Wright on keys, BoPeep and Bingy Bunny on guitar, Sticky & Scully on percussion, and the great horn contributions of Bobbie Ellis, Vin Gordon, Deadley Headley & Dean Fraser. I must know "Tripe Girl" by the Heptones, though I can't say I know the words, even though Sugar Minott and Dillinger both did versions, but "Iron gate," an instrumental dub on the track is wonderful with its open feeling, simple use of repeat effects, sharp untreated congas and lyrical bassline. The second disc has a really unusual takes on "Midnight Hour" and "Stand by me;" Greg Isaacs is versioned and there a many dubs on a lesser-known singer George Faith, including his classic rhythm "The Whip." Famous tracks include dubs on "Never let go," "You don't care," "A love I can feel," & the "Heavenless" rhythm, as well as Tappa Zukie's "Right track" and the Maytones' "I don't know why" and "Africa we want to go."

TAKE ME TO JAMAICA (Pressure Sounds 51)

Mento was the folk music of Jamaica in the 1950s before the influence of New Orleans (via radio airwaves) got everyone hooked on Rhythm & Blues which evolved into the famous local rhythms, Ska, Rocksteady and Reggae. Clarinet, pennywhistle, rhumba box and banjo are now rare in Jamaican music but were a part of the Mento sound, which, as this CD demonstrates, had strong ties to Trinidadian calypso. Lord Tickler's "Limbo" (recorded by Ken Khouri) sounds like it could be Trinidadian. There's even a hint of the son beat of Cuba in Lord Messam & His Calypsonians' "Monkey." Laurel Aitken came from Cuba and sang Mento for tourists getting off cruise ships in the early 50s. Harry Belafonte moved to the US from Jamaica and became the first person to sell a million LPs with his Calypso recordings. These tracks were recorded from 1951 to 1958 and this compilation does not duplicate other reissues on the market, like the crucial MENTO MADNESS and BOOGU YAGGA GAL. It includes important historic recordings like "Samfi Man," by Count Lasher, recorded by Stanley Motta, the first person to record music in Jamaica. Motta was a Sephardic Jew and director the United Congregation of Israelites in Kingston, who ran a hi-fi store and loved music. His first recording, a Mento medley, including "Linstead Market" & "Hold 'im Joe" by Lord Fly is included here (Other Lord Fly medleys can be heard on MENTO MADNESS). The songs (in English) are topical or sly social commentary. There are so many wonderful songs on here: "Guzoo Doctor" by Alerth Bedasse & Chin's Calypso Sextet, or his classic "Monkey's Opinion," which is still part of the folklore (and, like Lord Messam's tale, resurfaced in Ska songs). Of course there are no monkeys in Jamaica but the image is a strong part of the culture which is why we still find him in Toots Hibbert's "Monkey Man," an update of "Monkey Talk" by Hubert Porter (which can be heard on MENTO MADNESS). Another of the recording pioneers was Ivan Chin, who like Motta, sent his masters to Decca in England to be pressed. Decca, it turned out, preserved all his material and so it was available for this reissue, which is beautifully packaged with a thoroughly detailed booklet and historic photos.

SINGERMAN (Blood & Fire BAF609 bargain-priced CD)

At once familiar and strange, this latest Blood & Fire compilation skims the cream of 18 releases to provide a tasty sampler that will send you back to their catalogue for gems you missed. I was pretty faithful to B&F for a while, buying all their elegantly packaged CDs in the mid-90s when they fired up & were putting out incendiary sets of King Tubby, Keith Hudson and the Congos. After the first 20 discs I became more selective so, though I know a lot of the music on here, I only have a third of the albums the 18 tracks are drawn from. The strangeness comes from the alternate versions on here. The album opens with Max Romeo singing "Fire in the Vatican," over his "War in a Babylon" backing track. He doesn't add much to it, but it is a curio and a must-have for Lee Perry fans. There's greatness on here: Gregory Isaac's "Storm" (impeccable with its ultra-cool, much-versioned, never-equalled groove), & Johnny Clarke's "Every knee shall bow," among many crucial cuts. The Chantells are an undeservedly obscure vocal trio from the late 70s dropping fine harmonies over a "Ruby & the Romantics"-type organ. You probably know Horace Andy's shaky take on "Man next door" with Massive Attack, and while Dennis Brown's "Man next door" here may be the original version, the one you known best is usually the one you prefer. Michael ProphetŐs "Fight it to the top" is another reggae anthem, as is Sylford Walker's "Chant down Babylon" (which was also versioned by Jr Byles). The hits pour like rain.

Somewhere below I said the Congos' remastered Heart of the Ark session was the pinnacle of reggae music and there's a sample here to remind us. Dawn Penn's immortal "No no no" is turned into a limp "Yes Yes Yes" by Errol Holt. I tend to ignore lyrics like "Jah Jah is the conquering Lion of Judah" which probably has great resonance for hardcore reggae fans, and, there are plenty of them here. The Duchess asked me if I had found religion when I was singing about the "Ark of the Covenant"! It might indeed be a great set of Rastafarian anthems if you want to make the connection, but as Philip Lamantia said, "Cultivate the vibes and let the theology slide!" More old friends from the late 70s show up: Yabby You with his "Deliver me from my enemies," and Cornell Campbell with "Bandulu." Junior Byles closes it out with "Remember me." If you want the long version of this soulful number you will have to get his Blood&Fire CD 129 BEAT STREET. (I wish they had used that version instead.) A couple of the selections are the lead tracks but the lesser-known selections are a delight and will send you back to the CDs, or to the record store.


You know how you go to the store looking for one thing and come away with something different? Well, I went looking for this new Trojan comp DIP & FALL BACK, and while I was in the Reggae section I had my eyes open for a new Pressure Sound compilation of Mento also put out about 6 months ago. But I could not find either: the boat from Europe must have foundered at Cape Horn. But there was Jamaican Rocksteady Party staring me in the wallet at a budget price. I have a ton of Rocksteady already, but that's because I love it so much. I took a look at the playlist & knew immediately there would be some great discoveries on here, and I was not disappointed. Laurence Cane-Honeysett has gone to the vaults of Trojan and the Creole label (which I don't know) to put together this hour of mid-sixties laid-back groovers (the musical bridge between ska and reggae). There's the familiar sound: shuffling beat, thumping bass, cantering piano, gentle horn punctuation, harmony singing (not always in key), and a couple of little touches I love. A periodic high-pitched ka-ching on the guitar & a rumbling shuffle on the drums that is indescribable but is in relation to rocksteady what a similar drum fill was to Motown. Remember how the intro to Motown singles was often a complex little rubble-de-dub a-dub on the drums? At the time you always missed it because the deejay was talking over it. Jamaica picked it up and the drummer often does it as a kind of joie-de-vivre outburst in the middle of a song. In Jamaica it's more of a frrit flubba-de-dub. I don't know why I am going on about this, but it's the little moments like that which make Rocksteady so enjoyable. Sure it's a mirror of its North American counterpart, so you get Jimmy Reid, Curtis Mayfield and Dave Bartholomew covers, but I always prefer the Jamaicans' versions, like the Techniques' "Oh Babe (Sick & Tired)" present here. The discoveries are Glen Brown's "Ska Diap," Clancy Eccles' "The Revenge," which sounds like Prince Buster. Alton Ellis, a recent immigrant to Britain, does a terrible impression of a Cockney accent in "Some talk." Today many cockneys have Caribbean accents. The only well-known track here is Vic Taylor's "Heartaches," which makes a sweet capper to this hour of reverie. Overall this is a great set, nowhere as predictable as the TROJAN ROCKSTEADY BOX SET. Joe Gibbs, Derrick Harriott and Bunny Lee all have multi-volume Rocksteady compilations out, and I do recommend all of them, but for a single shot of sweetness this is choice.


Now what enemies could smiling Rastaman Vivian Jackson (aka Yabby You) possibly have? The liner notes reveal that a policeman and his wife who were Jackson's landlords practiced Obeah or Black Magic, and that was enough to scare the young rastus into a flit. This latest Blood & Fire release (the 51st from the label that wont quit and always comes up trumps), reissues a varied album and fills up the rest of the CD with obscure bonus tracks: 12-inch remixes and unreleased dub plates. These latter half dozen tasty treats are what make this worth getting. The original album was recorded from 1977 to 1979 at Channel One and mixed by Prince Jammy at King Tubby's. It was Jackson's third and completed the trilogy begun by "Conquering Lion" and "Walls of Jerusalem," both available on Blood & Fire CD 021, JESUS DREAD. Many of the rhythms it rides are familiar as Sly'n'Robbie do their thing. Jackson covers John Holt for "Stranger in love," showing a sentimental side, but then things heat up with the dubby bonus material. "Jah Vengeance" & "Free Africa," on which Trinity toasts, spins us off into a giddy ride into the realm of the Roland Space Echo. The masters, Tommy McCook on flute & sax, Bobby Ellis on trumpet and Vin Gordon on (surprisingly abstract) trombone nicely daub jazzy background touches to the melodies. "Pick the beam" (i.e. take the mote from thine own eye to see clearly) is the best rhythm on here and comes back three times, It sounds like "Have mercy, baby," or "Mercy, mercy" -- an old soul tune. (I've ruled out Sam Cooke and Don Covay, if anyone knows it, please tell me!)


The "Inna de yard" series is a new venture from a French label Magasound. Their mandate is to record Jamaican artists in an informal setting, basically jamming in their back yards. So far they have put out albums by Cedric Myton, Linval Thompson, Kiddus I, and Chinna Smith. I jumped on this because I love the Viceroys' album YA HO which was a Heartbeat compilation of some of their early Studio One work. Formed in 1968, they are a classic Jamaican vocal harmony group with a lot of resonance from American Do-Wop and Soul. I love the conjunction of sweet harmonies and a pumping reggae beat, like on "Last night," and the bubbly organ & rootical bass on their hit "Ya ho" (with its simple lyrics about pirates --"Sixteen men on a dead man's chest"-- sound familiar?). The Heartbeat compilation includes an extended mix with nyabinghi drumming on the dub that is sublime. Wesley Tinglin, lead singer and composer, also came up with Rasta ditties like "Love Jah" and "Slogan on the wall," and on this outing they stick more to the Rastafarian anthems of the 70s, so don't do their rocksteady gems "Shake up" ("How you big fat lady!") or "Fat fish." The original backing singers are gone (after 40 years) but the harmonies of Neville Ingram and Michael Gabbidon work fine. The album opens with "Heart made of stone" accompanied by only Tinglin's understated vamping on acoustic guitar. This was his 1980 hit, produced by Sly & Robbie. Then after a-one and a-two, they break into a fantastic version of "Ya ho," with throbbing bass and half a dozen hands slapping drums. Chinna Smith plays a scratchy guitar. They do "Mission Impossible," which was originally their hit backing Winston Riley as the Interns, with flute & organ; it is so tight it sounds like a studio recording. The sound is rougher on "I guarantee my love" -- it lacks the youthful pep of the original and the mix is out of kilter, however the "Inna de Yard" authenticity saves it. The vocals are strained on "Last night" because it is pitched too high, but it is redeemed by live dubbing by Chinna, Bo Pee & Sangie's guitars (without any effects). You can't imagine a Reggae band who don't do a version of "Satta massagana," and the Viceroy's "Shadrach, Meshach and Abendigo [sic]" is choice. The album ends quietly with another solo acoustic guitar number.

INWARD I (Harmonia Mundi/Sound of the World SW 106)

I used to say that when I turned 50 I would put a floor mop on my head to simulate grey dreadlocks and join a reggae band as keyboard player. But some old bandmates of mine have my Hohner clavinet and recently someone made me an offer I couldn't refuse for my Fender Bassmaster top and twin 16" JBL speaker cabinet. Then there's the fact that as I get older I seem to become more intolerant. I have always despised religion but when people sing "I want to cross River Jordan," I image they are insane. Even if they are speaking somehow metaphorically. What's crossing River Jordan a metaphor for? Getting scuttled by Israelis? But if I had not given up smoking pot maybe I would fit in with some of the eldred bredren who noodle away in Babylon. Some of the best of the oldsters, Nambo Robinson on trombone, Dean Fraser on sax and Gibby Morrison on guitar, are heard on the new Mystic Revelation of Rastafari album INWARD I. This legendary band was started by Count Ossie who had such a profound influence on the musical scene in Jamaica in the 60s. He preached Rastafarianism at his camp in the Warrika Hills outside Kingston where young men gathered to sing and drum and smoke the herb. It's a good idea to tie your religion to a sacrament and the Bible makes ideal rolling paper. Inspiration most high! In 1966 Ossie contributed burru drumming to the Folkes Brothers' folksong "Oh, Carolina," turning it into the first ska hit. Horn-man Cedric "'Im" Brooks was an original member when his band the Mystics joined the burru drummers in the hills for a jam to celebrate African roots. I gave a lot of leeway to INWARD I, considering how absurd the lyrics occasionally seem to me, but there are fine (instrumental) moments in here ("I know") worth a listen. And I do sympathize with the black struggle against colonial oppression. The Nyabinghi drumming rolls like a river, so it's very soothing. Then the dub of Cedric Brooks' "Rasta Reggae" shows how it's done, with repeater, bass drum, and Sparrow on percussion.


Here's more problematic nomenclature. Shinehead O'Connor has made a reggae CD. (I've always called her that; if you try to say it in Gaelic it sounds like "Shinehead" anyway & she exacerbates it by shaving her head which always makes white women look like cancer victims.) The liner notes look like the Surgeon General's warning on cigarette packets. It's so small you can't read it, so skip it, but she does dedicate the album to her son Nevi'im Nesta Ali Shane O'Connor, poor bastard. Why should the kid suffer because he has a pretentious mom? White rastas are the living end (glabrous ones beyond belief!). And naming your kid for four religions (Jew, Rasta, Muslim, Druid?) as spiritual insurance is worse than giving your kid all the names of the national soccer team. OK, enough ranting before I say something I'll regret. On the good side you can finally understand the lyrics to all those great Jamaican songs. The Burning Spear songbook gets most attention. (Now there's a name! -- Hasn't he tried penicillin?) His "Jah no dead" is the opener. That original song provides the most remarkable moment in the film ROCKERS. No one was expecting Spear to sing then, sitting on the dock of the bay. The sound guy crawled towards him with a boom mike, staying out of shot while the engineer boosted the input level also getting the creaking sails, gulls, and lapping waves. (I heard this story from the recording engineer himself.) It was a one-take wonder and they run the ambient track right into the sequel: Third World doing "Satta." In addition to Burning Spear, Shinehead does Junior Byles, Abyssinians, Peter Tosh and Bob Marley's "War." A good mix of classics all reprocessed in the Sly & Robbie style. Sly & Robbie have become the grand old men of reggae and so they are chilling on this set with some of the Roots Radics in attendance. Not that I am saying there should be dancehall or syndrums on this, it's just that several folks have told me it is a brilliant album and I think it is decent, but mostly for newbies. But it's a lot better than Serge Gainsbourg. There are a couple of odd notes: Shinehead's Irish accent comes through on "Curly Locks," which is charming, but then she does what sounds like a Cornish accent on "Vampire" (emphasizing the absurd lyrics), perhaps emulating those salty pirates who settled Jamaica back in the days of Esquemeling. She ruins "Downpresser Man," by using the "F" word too many times, thereby negating its chances of being played on the radio. Then in a complete twist she puts on a Cockney accent with glottal stop for "Untold stories," a rap that is taken at a mellow tempo. All that aside it's a pleasant hour of reggae favourites. If you are too lazy to cue up the originals, or like singing along, here is your chance: "Obadiah, Obadiah, Jah-jah sent us 'ere to catch vampire!"


The version album is a well-established tradition in Jamaican music and here's a neat one. You could argue about the greatest Jamaican album ever and many would think that Bob Marley's CATCH A FIRE would be tops, but for me I think the Congos' 1977 HEART OF THE CONGOS, produced by Lee Perry, would take the prize. It's more than a collection of great songs, it's a mood, a state of mind, a place to go and feel good. The latest idea from Blood & Fire is to take one track from that album, "Row fisherman row," and get a raft of deejays to toast over the rhythm. "If the fish would keep his mouth shut, he'd never get caught," says U-Roy. And, to show how urbane he is "Japanese want some sushi in a dish, I-&-I want the steamed fish." But it's also a paean to Rastafari as many of the toasts take on Biblical tones. "Jah is the bus driver, Jah is the pilot of the hairplane," etc, avers Sugar Minott. For a devout atheist I spend an inordinate amount of time thinking about God, or Gods. It's hard not to, with the loony Christians, the monomaniacal Zionists and the bloody Muslim Jihadists all thrusting their tin gods forward. They forget they are all sons of Abraham, and as far as I am concerned the sooner they go to Hell the better for the rest of us. Whatever happened to Love thy neighbour? The stoic Rastafarians seem to be up for it. What's really satisfying about this album is the consistency. So many of these great names are still thinking up great lyrics, and furthermore they have musical voices: It's a roster (far-i) of Jamaican dancehall legends: Big Youth, Horace Andy, U Roy, Max Romeo, Prince Jazzbo (who tells us "Live good today and love good tomorrow!"), Dillinger -- and that's just the first disc. For like I always say, Nothing exceeds like excess. So there's a whole second set to keep you in the groove. But thank Jah for that groove. Bass and drums are the bare bones of this three-minute ditty. It's Paul Douglas on drums, and Geoffrey Chung holding down the bass which lopes along (dare I say) incessantly. There's also percussion by Scratch and Sticky. I think Lee Perry is bouncing a drum stick on the top of the space echo. Barely audible are Winston Wright on organ and Billy Johnson on guitar, run through the Roland Space Echo. The song itself is derived from an old Jamaican folksong, and of course lends itself to Biblical thoughts, as Jesus and his pals fished the inland sea of Galilee, when they weren't telling tall tales or chasing girls. So as well as thoughts of Rastafari calling us there's the occasionally appearance of the "Ya-ho" chorus with the unmistakable falsetto of Cedric Myton and the harmony of Roydell Johnson and Watty Burnett. (Cedric told me he thinks Watty Burnett has the greatest voice in all Jamaica.) The metaphoric destination Babylon is still omnipresent but there's a supreme irony in the fact that its geographic location has moved from Iraq to New York and the global hegemony of US corporations that answer to no government or deity. Carthage and Rome are also on these singers minds, with the same metaphoric impulse, not to mention my favourite (from Jazzbo), "pure frustration down in Sodom and Gomorrow." The second disc is mostly newcomers, with the exception of Greg Isaacs who appears late in the set. Of course they could have left off the second disc, but then we would miss out on the new contenders (who sound just like the old guard) of dancehall toasting preachers. Version albums are an acquired taste. Rupie Edwards' LET THERE BE VERSION (Trojan) which was all on the "My conversation" track of Slim Smith was first and is arguably still the best, but this one is a keeper.

IN ORBIT (self published)

This might just as well be called "Then there were two," because drummer Lloyd Knibb & sax player Lester Sterling are the only original members remaining in the Skatalites. To reprise their well-known history: four of the lads were raised at a vocational school run by nuns in Kingston called Alpha School for Boys. They had a devoted bandmaster and music teacher, Lennie Hibbert, who taught them classical music and jazz improvisation. After leaving school they all joined bands; many were inducted into Eric Deans' Colony Club Orchestra in the 1950s. "They had more soul than army band graduates, and could improvise," said "Coxone" Dodd, who hired them as the house band for Studio One, where they backed everyone from Bob Marley and Alton Ellis to one-shot unknowns who came to audition. Saxophonist Tommy McCook was the bandleader, Rolando Alphonso and Dizzy Moore also played horns. The genius Don Drummond played trombone and Jackie Mittoo (a child prodigy, not from Alpha) was on keyboard. These latter two were the most talented writers. Though singers came to the studio with melodies, the arrangements were collectively produced by the band. Don Drummond added a melancholy note to the effervescent lilt of the ska beat. Tragically, Drummond stabbed his girlfriend on January 1, 1965 and committed suicide in mental hospital four years later. With Drummond's departure, and ego clashes on the bandstand, the group only lasted a few months before they disbanded & members moved to different continents. In 1983 the Skatalites got back together to reap the benefits of the sudden re-emergence of Ska with groups like the Clash, The English Beat and the Specials creating a new market. The STRETCHING OUT sessions (featuring all original members), recorded 1983 at the Blue Monk Jazz Gallery in Kingston, prompted renewed interest in these now elder statesmen of Jamaican music. So again in 1989 they reassembled and began touring the world but with fewer and fewer original members. (Each time I saw them I would feel the pain of another notable loss.) However their versions of some classic instrumental tunes, like "The Guns of Navarone," or the "James Bond theme," have eclipsed the originals and are a joy to hear. This latest recording was made with an appreciative crowd in Buenos Aires in September 2005. There are no surprises but lots of hits, including "El Pussycat," "Ball of fire," "Phoenix City," and the essential "Rockfort Rock." They trot out Doreen Shaffer for some vocalising, and I wonder they don't try to find the Lone Ranger, King Stitt or Sir Lord Comic to do some toasting. Their set list has become pretty static for the last fifteen years and, given the wide variety of music they did record, it would be interesting to hear them try some other material and maybe record with some of the surviving vocal harmony groups before they are all gone.


The importance of the Heptones to Jamaican music cannot be overstated. Their songs are so popular and so ingrained in the national consciousness that they have become surrogate folk songs: Everyone knows "Fatty Fatty," I've got the handle," "In the groove," "Gonna fight it," "Love wont come easy" and so on, and they are recycled in dancehall lyrics and are now part of the cultural fabric of the island. Years ago the Heptones reformed for a tour of North America and I was blessed to see them in a small club where they bantered with the audience and took requests which they delivered in unfalteringly sublime harmony. It was one of those nights that true muzikifans live for! They first got together in Trench Town in the late fifties, singing on the corner but not taking themselves seriously until they heard their debut single on the radio. Then they went to Studio One and began to write and record in earnest. Leroy Sibbles took up bass guitar and learned by copying the left hand patterns of genius keyboard player Jackie Mittoo. His style changed the course of music because now all reggae bass lines have that left-hand "first-third-fifth" vamp going. His early efforts were on "Full Up" by the Soul Vendors and "Satta massa gana" by the Abyssinians. You can hear him play bass on all of Alton Ellis' Studio One sides. After their 5-year contract with Coxsone was up, the Heptones went freelance and recorded at an array of other studios, but it was their classics "Country Boy" and "Book of Rules" for Harry J that endured. Though it's touted with the mystical Black Ark label, most of this album was recorded at Harry J's studios.

On the verge of success, the Heptones were booked to tour the UK with the Wailers and Toots and the Maytals in 1973 but Leroy Sibbles got married and emigrated to Canada leaving Barry and Earl high and dry. Two years later he got back with them to record NIGHT FOOD for UK-based Island records. This high profile issue recut their previous Studio One and Harry J hits and added a dreamy version of Holland-Dozier-Holland's "Baby I need your loving." After NIGHT FOOD, Island had the ideas of sending the trio into the Black Ark and having Lee Perry, then at the height of his creativity, work his metaphysical magic on them. PARTY TIME was their most challenging and complex album since ON TOP (Studio One). It includes a sublime version of Dylan's biblical "I shall be released." (Disclaimer: this is the only time you will hear me use "sublime" and "Dylan" in the same sentence.) The Heptones in fact were friends of Perry and added backing vocals to seven of his greatest works. Earl Morgan recalled, "We go there one night and he doing an album with Max Romeo and he say 'Come do some work,' so we do WAR INNA BABYLON. Just start hum a little thing behind 'it sipple out there.' We harmony Junior Murvin's POLICE AND THIEVES, COLUMBIA COLLY with Jah Lloyd, we do the Congos album..." With Sibbles back in town the trio appeared on the "ethereal dub masterpiece" SUPER APE. This new CD then presents the out-takes of both albums. The NIGHT FOOD session, recorded 30 years ago at Harry J and backed by the Wailers band, without overdubs, has a pleasingly big booming sound. Sibbles' lyrics are to the fore and each song has a dub plate companion. The songs alternate between mushy romanticism ("Crying over you") and politically conscious ones ("Mr President"). These outtakes, taken alone, may not have spurred many buyers, but as lagniappe we get the extended mixes of four of the Black Ark sides which are well-known but add Ranking King, an obscure deejay (with a dubby name!), toasting on them in slightly different mixes from those Scratch previously issued. The cuts are a bit choppy when he slices into another take with, say, nyabingi drumming, but any new Black Ark material from this era is a revelation. They are like lost Mozart sonatas. The new mix of "Sorrows" quotes George Harrison's "Something in the way she moves." This is not necessarily a good thing, but an unmistakable hook! "Mystery Babylon" and "Party Time" are classic songs, worth hearing over and over again. Aside from the cover, the package is handsome & informative, and there are wonderful photos by Adrian Boot, but above all some of Jamaica's finest artists return in their peak in clean and clear sound.

SILVER & GOLD 1973-79 (Blood & Fire BAFCD049)

There's no let up in the gems Blood & Fire are unearthing or reviving for our jaded ears. The latest is a neglected Jamaican deejay named Mike Williams, but known to us as Prince Far I. He had a voice like a wizened pirate with a peg-leg and a snoot full of rum. None of the LPs I have by him has any liner notes so it's great to listen to him again and also learn a bit about his career. SILVER & GOLD kicks off with a track I had never heard before: a version of one of my all-time favourite reggae songs, the Slickers' "Johnny Too Bad," this one called "Johnny Get Worse." It's crackin! Then we get really Biblical, well Methodistical, with a chorus of "You are my sunshine," or is it "Jesus wants me for a sunbeam"? Anyway I recognized it from Sunday school; here it's called "Yes Joshua." But what we are waiting for is the crumbling dub that shows up with "Let Jah Arise": some gravelly toasting over a pounding bass (Flabba Holt). Melodica (must be Augustus Pablo) floats by. Fish Clarke on drums grounded Far I's band, The Arabs, & these unsung talents bring a lot to the sessions. "Jah Dub version" continues with some religious remarks over what appears to be the tune to "Slavery Days" by Burning Spear. In 1976 Far I started his own label, Cry Tuff (named after the Alton Ellis song), and released a couple of singles by Errol Holt with his own toasts on the B-side. These are both included in their entirety here, along with three versions of another early gem that is the title cut. Other really fine moments occur during "No more war" and the version (which is more like a version of a version). The original is a floating instrumental dub of Little Roy's "Tribal war." It's interesting to see the contrast between Far I's intense lyrics and the muted spacey instrumental.

In the late 70s Far I's UNDER HEAVY MANNERS album was a huge hit in the UK. Trojan put out the Cry Tuff Dub Encounters which did well, and Virgin signed him to a five-year contract. In the event he only did three albums for Virgin. A newspaper clipping from Jamaica's paper The Weekend Star, September 1983, tells the grim story with its mundane headline: "Gunmen invade homes, kill two men." There are still good recordings by Far I on the market. UNDER HEAVY MANNERS has been reissued by Trojan as a double CD with extra material, and Pressure Sounds have put together the songs and versions of the suite of PSALMS FOR I (PSCD35) he recorded in 1975 over well-known Bunny Lee and Lee Perry rhythms. If you haven't used your Old Testament for rolling spliffs, you can read along and discover Far I's exegetical skills on well-known homilies such as "tis easier for a camel to go through the eye of a needle than for a rich man to enter the Kingdom of Jah!" Righteous!

SURVIVAL IS THE GAME (Young Tree Records YTR-1225 CD)

If you need grounding in some roots reggae here is the perfect set: put it on, turn it up, and kick back. Two discs from one of the overlooked greats of reggae music: Winston Jarrett. I've been waiting for this reissue for years, as I can never locate the songs on the cassettes I have in my "tape archive" (shopping bags in a corner of my studio under some machinery). In the early 60s Jarrett moved to Trench Town, Kingston, unable to connect with his father because of his Rastafarian beliefs. He met Alton Ellis and the two wrote songs together and performed as Alton and the Flames. Jarrett wrote "Sunday coming," one of Ellis's biggest hits. In 1969 Ellis moved to London after a successful European tour and Jarrett took over as leader of the (now Righteous) Flames. Like a few other pioneers, their music spanned Ska, Rocksteady and the emerging Reggae sounds. Jarrett and his group moved from studio to studio, usually running foul of producers who stole their material and issued it under other names. This disc, for the first time, reassembles the key recordings of Jarrett's prolific career and adds the dub sides cut at Channel One by King Tubby. His friends the Hippy Boys backed him on those sides but then told him they had signed an exclusive contract to Bob Marley and were changing their name to the Wailers. I'd venture that "Humble Dub" is one of the Wailers' greatest ever recordings. Jarrett hired musicians (like Jackie Mittoo) and booked time at Studio One but when he had finished the session, Coxsone refused to give him the tapes, releasing the songs under the name Righteous Holmes. Other producers treated him equally shabbily. The great Roots Radics backed him on the classic KINGSTON VIBRATIONS from which the songs "True born African" and "Roots rock reggae" are drawn. The previously unreleased "Do you hear I?" from 1979 sounds like a Black Ark production: I think that's Lee Perry as the second voice, but the sleeve says it's Studio One. Maybe it's Jarrett paying back Lee Perry for taking his material and releasing it as the Hurricanes. Jarrett now lives in Seattle, Washington, and has only recently managed to regain control of his master tapes from the many Jamaican studios who had possession of them. This album is a monument. In addition to his wide repertoire of classics -- Fear not, Humble yourself, Up Park Camp, Solid Foundation, True born African, etc.-- we get the dub plates and, finally, an explanation of who is on these sides and why it's taken so long to get them all back together.


I jumped on this 4-CD box because it had some unfamiliar titles and was priced as a single CD, but it goes to show you, quantity isn't always quality. I already have a pricy Bunny Lee "set" of 3 CDs that came out on Jamaica Gold in 2000: SIR LEE'S ROCKSTEADY PARTY AT BUCKINGHAM PALACE (JMC 200.248), SIR LEE'S ROCKSTEADY PARTY AT KING'S HOUSE (JMC 200.249), & SIR LEE'S ROCKSTEADY PARTY AT GREENWICH FARM (JMC 200.250). That trio focuses on the Rocksteady era of the late 60s which was Bunny Lee's moment in the spotlight; this new set moves up into the Reggae era when he mostly seems to have re-versioned his old rhythms and also produced covers on other singers' hits with his own house artists. Neither the three discs on Jamaican Gold nor this new set on Jet Star comes near the succinct one-shot LP on Trojan, in their Producer's series, called JUMPING WITH MR LEE 1967-8 (TRLS 270). Lee would have remained a minor producer but for his association with Slim Smith and his vocal trio The Uniques. Formed as a splinter group of the Techniques, the Uniques teamed up with the brilliant Smith (whose pained falsetto occasionally verges on hysteria), and had a string of hits, remaining faithful to Bunny Lee's studio. "The Beatitude" (based on Christ's Sermon on the Mount, beginning "Blessèd are the meek..."), and "My Conversation" were massive hits. "My Conversation" was so frequently versioned that I believe it was the first song to be given an entire album and led to the uniquely Jamaican institution: the version album. They also covered Buffalo Springfield's "Watch this sound" and a bunch of Curtis Mayfield & the Impressions hits, which sound fabulous in the laid-back Rocksteady groove. Other great singers like Horace Andy and Pat Kelly also cut sides with Mr Lee (Horace Andy reworked his "Skylarking") and this four CD set gives a pair of tracks to each artist that passed through his studio. However, if you take out the Slim Smith tracks, there's about enough good material for a single disc here. So it's up to you whether you want to wade through these four hours and then maybe remix your own single disc, or look for the Trojan album and a Slim Smith CD.

My picks from this collection include Cornell Campbell's "Stars" -- one of the great reggae singles of all time, Ken Parker's "Sad mood," Slim Smith's "Just a dream," Max Romeo's "Wet dream," John Holt's "Stick by me," with a Dennis Alcapone version, and Jackie Edwards' I'm still waiting." Worthwhile rarities include Johnny Clarke's "Every knee shall bow" and "Rock with me baby," coupled with U-Roy's versions.

KEEP THAT LOVELIGHT SHINING (Trojan 06076-80461-2)

One of the things you notice about Reggae is that often a singer will cover a well-known American pop song but it has nothing to do with the original tune or melody. I think this comes from reusing tracks that are already laid down in the studio. The band is pumping away on two chords and the singer decides to launch into a Marvin Gaye or Shirelles cover. Sure, he knows the words, but just adapts them to the new chord sequence. The result is a little unsettling because you want some semblance of the original tune. In the case of Slim Smith it doesn't matter, because he has a great voice, a high tenor that almost loses it when he gets out there, not exactly religious shoutings of ecstasy, more a tortured lover about to crack. His voice worked really well in concert with others, and so his early group work with the Techniques and then the Uniques is among his best. But then, typical of many singers, he had to go solo and had a short but glorious run of hits before his tragic death at 24. This two-disc set on Trojan hints at his early work with the vocal groups and skips over his early success with Coxone Dodd, focussing on the tracks laid down for Bunny Lee. The generic quality of some of the rhythms is tedious, especially when there's a great Goffin & King melody waiting to break out if only the musicians knew what they were playing (sometimes I suspect there are no musicians, just an engineer looking for a track to recycle that has the right feel.) But then they redeem themselves with a gem like "It's alright." I thought I would enjoy this set more than I do. That's not to say it's not worth hearing, but the rarities, like his version of "Spanish Harlem" or "Ginny come lately" are only curious and not up to the standard of his immortal cuts like "I've been terrorised," "It's alright," "Send me some loving," "Rain from the Skies," or "The time has come." The ten tracks on his Studio One album BORN TO LOVE (released on CD by Heartbeat) comprise his best work in one concentrated blast, and none of them is included here, but this is still a megadose of his great voice.

LIVE IN PARIS (Wrasse Records WRASS 140)

Subtitled "Celebrating 25 years in reggae recorded live at the Zenith" this is the same set I reviewed when LKJ played Maritime Hall in SF before it closed last year [see below]. Johnson has mellowed somewhat with age but it's still welcome to hear him recite "me want fi go rave" and other immortal lines. I am not sure what passes for lyrics in urban black music today but I know instinctively it's grim and I shut it out. So here's an empirical test: I'll turn on MTV (which I never do as a rule) and write down what I can catch of the lyrics: (one minute later) Boy that was horrible! Here it is, though, from "The Candy Shop" by 50 Cent featuring Olivia: "This work we do/ and where it do/the things we do/are between me and you ... give it to me baby/nice & slow/ when I'm on top/ like Romeo ... get a taste of what I've got/ keep going till you hit the spot/ I'll take you to the candy shop/let you lick the lollipop/want a taste of what I've got/you're going to hit the spot." (as seen on FUSE at 10:50 a.m. Friday Feb 18, 2005) Now that has to be the worst piece of poetry EVER written, though I suspect it's typical of lyrics in the seedy world of Empty Vee. Actually it was hard to write with all the grinding vixens in tight satin hot pants. No wonder youth culture is going to pot!! So, what's my point? Here's LKJ in contrast:

Shock black bubble down beat bouncin'
Rock wise tumble-down sound music
foot drop find drum, blood story
bass history is a moving
is a hurting black story ...

There are echoes of Dylan Thomas here, so LKJ obviously studied poetry. Thomas was no John Donne but certainly a worthy contemporary model for a young poet to emulate. Add a political edge and you have some tough lyrics that are provocative and engaged. While American rappers are solely interested in bling and getting their lollipop licked, LKJ is screaming outrage at the oppression of black youth in England, and social injustice. Another Nazi pimp, John "Deathsquad" Negroponte, is put in charge of the new Amerikan SS while the youth of America is enrapt in the lyrics of 50 Cent which aren't even worth a wooden nickel. Blacks in America don't have it so good that they can afford to ignore what their masters are up to. LKJ gets his message across with one of the best reggae bands in existence. Dennis Bovell's bass is the lead instrument and is surrounded by jazz guitar and some cracking percussion. They add violin and harmonica to great effect. When LKJ sings about the "License fi kill," the violin solo quotes the "Death March from Saul". On top floats the message of LKJ. His first album "Dread beat an blood" is still his best-seller and it is a classic. He started out just reading his poetry to conga accompaniment and among his other contributions to culture, he published the work of Michael Smith on the LP "Mi cyann believe it." Since then he has gone out fighting the good fight and not compromising. "Fascists on the attack: we're gonna fight them back!" Wise up, youth. Word.


Even Homer nodded and in this case the great Steve Barrow seems to have lost the plot. There are already a couple of compilations of Blood & Fire dub tracks and this is a third one. Don't let the Rough Guide name fool you: it's all licensed from Blood & Fire, and should be called "King Tubby's Roots of Dub," because there's only a narrow area of early 70s Dub on offer here. There are a few bright moments: the opening cut has the famous "leave the studio" discussion of Scotty reworked by ET (Errol Thompson). Prince Phillip sounds eerily like Horace Andy on a reworking of "Satta," the Abyssinians classic rhythm, recut by Aggrovators. The Congos check in with "Noah sugar pan," a masterpiece from their immortal "Heart of the Congos" produced by Lee Perry. But is there anyone who doesn't already have the Lee Perry or enough King Tubby dubby albums in their collection? Barrow's old label, Trojan, put out the best King Tubby collection: KING TUBBY'S SPECIAL 1973-6. Their subsidiary Attack Records put out a couple of good King Tubby compilations also. The Duchess got mad when I put this on and got into the bath (I love dub in the tub): the sameness of it really irked her (it does go on and on and, well, on) and she forwarded it a few times before taking it off. They could have obviated the monotony by fast-forwarding to Dennis Bovell and Adrian Sherwood and shown the evolution of dub to today. Check out one of the good Blood & Fire comps instead: DUB GONE CRAZY (The Evolution of Dub at King Tubby's 1975-9) or Keith Hudson's PICK A DUB.


The popularity of reggae grows exponentially but there's only a limited amount of it in the vaults, so a massive repackaging industry has grown up mining the same material for lost nuggets, or simply coming up with snappy packaging to retread the grooves. We have heard all the great stuff, though occasionally some overlooked gems resurface like the recent Mighty Threes compilation. Channel One was the studio of Ernest and JoJo Hoo-Kim, not as well known as Coxsone Dodd, Duke Reid or Lee Perry, but they did have an interesting stable of musicians including Black Uhuru, Jr Byles, Wailing Souls, the Jays, Horace Andy & others who defected from the bigger labels. A great house band called the Revolutionaries featured Sly and Robbie. Not only were this duo the most prolific drum-n-bass in Jamaican music, they introduced a new style at Channel One called "rockers", that swept Jamaican popular music and caused the other labels to remix albums adding a doubled-up drum sound to match the busy work of Sly. Ernest Hoo-Kim, the engineer, would sometimes spend a whole day getting the drum sound right but it paid off as the live sound was crucial to the success of Channel One. Some great freelance talent completed the house band, including Sticky and Skully on percussion, Dean Fraser and Tommy McCook on saxes, Vin Gordon on trombone, Bobby Ellis on trumpet, Tony Chin and Chinna Smith on guitar, as well as the under-rated Gladdy Anderson on piano and Touter and Ansel Collins on organ and funky clavinet. In the 1970s Channel One put out a steady stream of hits, remakes and covers. In 1989 Heartbeat issued a vinyl compilation that included "Sun is shining" by Black Uhuru, Jr Byles' immortal "Fade Away," "Tings n time" by the Wailing Soul, and an unreleased "Stoned out of my mind" by the Mighty Diamonds (a stonier version of the Sylistics' hit). "Queen Majesty" by the Jays with Ranking Trevor signaled a new departure for Jamaican music, a song continued into the toast, rather than being an A side B side, and this simple move, usually on a 10-inch single, also had a huge impact on the sound.

One of the things we overlook is how sophisticated Jamaican music was in those early days. It was not long after the Beatles pioneered 8-track recording at Abbey Road and Jimi Hendrix broke through with 16 tracks at Electric Ladyland (giving one track each to the bass and drums and reserving the other 14 for himself!), but the Jamaicans had already figured out overdubbing, using a four-track console, and the use of effects like echo and reverb that is an unmistakable part of the sound. From the outset it was crisp and clear. Channel One was the underdog, the voice of the oppressed. They came along after Studio One, Treasure Isle and Prince Buster were well established but immediately had hits with Delroy Wilson ("It's a shame"), the Meditations ("Woman is like a shadow") and Horace Andy ("Girl I love you"). Some of the lyrics sound a little weird now, if not outright sexist and stupid, but, like the poet said about going to mass, "dig the vibe and let the content slide." By emphasizing the militant drum style of Sly Dunbar and introducing young toasters like Dillinger (though his cute rapping can get irritating the third time you hear it), Channel One had a huge impact on Jamaican culture throughout the seventies. After the demand for Sly-n-Robbie took them away, the house band evolved into the Roots Radics, certainly one of the hardest bands ever to come along. When I saw them backing Gregory Isaacs in 1984, I was astounded at their dubbing live on stage! Among the oddities here is their version of "Taps," called "Burial." It's appropriately lugubrious and a bit eerie (I first listened to this album driving to a funeral so it was mighty strange to have this come on!).

This 2-disc set is a great introduction to Channel One. Even if you know their stuff it's welcome, though, as usual, it could have been done better as a single disc and a lot of the filler omitted, but the set is priced as a single disc. I'm sure they could have found a better Clint Eastwood cut that "Prima ballerina" or Delroy Wilson's awful "Sharing the night together" which has a wretched synth lead on it. They should have used his "It's a shame" instead, but maybe are saving it for a follow-up compilation. There's another awful track called "Roach killer" by Super Chick who sings (off key), "If you miss the train I'm on, then you know I am gone, Lord I'm 45,000 miles away from home..." That puts her somewhere in outer space, where she should have stayed. She also manages to sing the tune of "Knick knack paddy wack"! But there are gems on here: Don Carlos' "Natty Dread have credential," as well as the crucial "Fade Away" of Junior Byles; we get Sugar Minott's "Babylon," the extended "Queen Majesty" mix, Leroy Smart's "Without Love," and "Tings and time" by Wailing Soul (Originally waxed at Studio One). An unlooked-for surprise is "Welding" -- I Roy's take-off on Stanley Beckford's "Soldering." Among the covers, I do prefer the Techniques' "Queen Majesty" but it doesn't have the toast, and the Jays' cover of "Yaho" doesn't touch the Viceroys. Once it got past remaking songs from other studios, Channel One took off, particularly as Dancehall came along, and the great early artists of that genre, like Yellowman and Frankie Paul, are well-served here. Few surprises, but this is still a great big serving of reggae.

Motta's Jamaican Mentos 1951-6 V2 Music Ltd 63881-27201-2)

As a British colony, sharing the English language with Guyana, the Bahamas, Trinidad and Tobago, Jamaica also had a musical heritage in common. It is well-established that calypso was the great-granddaddy of reggae and got there through Mento and Ska. Jamaican calypsos are a confused child as they were often adapted from Trinidad, or sung by Trinidadian artists, but historians of Jamaican music haven't made the skip across the water to establish their ancestry. I know this because of the intense research by my friend Ray Funk who is systematically documenting the entire history of calypso in all its manifestations. He is no longer surprised by the reggae scholars' lack of historical perspective. MENTO MADNESS is a new compilation of Jamaican music that fills another blank in the calypso family tree on the way to buru and the roots of reggae. Here are standards like "Linstead Market," "Slide Mongoose," "Long time gal me never see you," and "Healin in the Balmyard," alongside new but familiar-sounding tunes such as "Solas Market" and "Old Lady O." My previous knowledge of Mento was restricted to the cultural treasure Louise Bennett, Stanley Beckford, the Jolly Boys, and a compilation from the Jamaican Cultural Development Commission, featuring Rod Dennis, Kew Park, Mount Peace and the Blue Glaze Mento band, who do "Rukumbine," "Come back Lisa" and "Bredda Ram Goat." This new release features earlier artists Lord Fly, Harold Richardson, Lord Composer, and others produced by Stanley Motta. (Bear with me, the design of the booklet is atrocious and I had a hard time scanning it for information.) Stanley Motta was a Sephardic Jew whose forebears had fled the Spanish inquisition. He loved the lower-class patois of Jamaican Mento and started the first record label in Kingston to publish it, over twenty years after Trinidad had conquered the New World with calypso (though it was Belafonte and the Andrews Sisters who had the hits). Not only are the names obviously borrowed from Trinidad, some of the lyrics ("Monkey Talk") are straight cops too. Sax-player Lord Fly's song about Manassa and his incredibly tight pants sounds like straight calypso, but Mento has its own sound: banjo, raucous rumba box, bamboo sax, one-string bass, and lively lyricists. The gems on here are Harold Richardson and the Ticklers' "Healin in the Balmyard" and "Dry Weather House" by Hubert Porter, backed by George Moxey and his Calypso Quintet (with great clarinet).


Well, glory be. I thought the history of Jamaican vocal trios had been written long ago. But here's another lost gem from the 1970s: a one-shot wonder group that had three hit singles and one album, released in 1979. Noel Brown, later of the Chosen Few, got together with Bernard Brown (his brother?) and Carlton Gregory to harmonize in the style of the Techniques or the Kingstonians. The Mighty Threes went into Concert Studio to cut this album with friends, who were more than competent but remain totally unknown today. The album was also accompanied by a Dub plate which is very tasty. It's not that original but nevertheless takes a good shot at the Wailing Soul and Congos territory. As usual the lyricists lean on Old Testament sediments and the Methodist hymn book ("Star of wonder, star of royal beauty bright!"). You have to ignore lyrics like "When we reach up a-Canada, we['re] nearer to Mount Africa ... Nearer to thee, o Jah!" In fact the lyric morass has to be let slide into the ambience of reggae. (Which is worse? Jah Jah babytalk or Booty slangtang vulgarity?) Makasound, a new French label, put it all together with the one single that wasn't on their album (& its version side), cleaned up and handsomely packaged. A "Big Up" to Spliff Skankin for turning my ears towards this!


Linton Kwesi Johnson made his first appearance in San Francisco in 9 years on October 21st and it was an awe-inspiring evening of poetry and dub and a privilege to be present.

At first I thought I was going to have to leave, because the band hadn't done a sound check and there was too much feedback. People were skanking on the spot because their shoes were stuck to the floor by the spilled suds of beer, then the swirling lightshow repetition of blurry video images of Haile Selassie, African lions, and Bob Marley started to seem trite and oppressive. However when LKJ appeared things really brightened up and the band fell mesmerized into perfect place behind him. These musicians have been together since the start and John Kpiaye on guitar and of course Dennis Bovell on bass could turn on a dime. The solos were tight and the last eight bars of each song were the point where everyone got to throw down anything they wanted. It was so great you didn't need any ganja -- besides which the Maritime's Rastafarian Stormtroopers had confiscated it all! Wearing a fedora and shades to lend mystique to his slight figure, the elegant LKJ did two songs from each of his half-dozen albums, opening with the challenge of "Fite dem back" from "Forces of Victory." Then he showed that his new recording MORE TIME has returned to the feel of his earliest protest poetry. Not that it went away, but his conscious lyrics on "Dread Beat and Blood" and "Bass Culture" are outstanding documents of modern poetry.

I don't know if Clown Prince Charles or Tony Blair is into reggae but I wouldn't be surprised to see LKJ knighted for his major contribution to British culture -- then again I would be very surprised, but it's certainly an honour he deserves. His introductions were terse and moving and brought home the message of such classics as "Sonny's Letter," about the English police's powers to arrest anyone on suspicion of anything. He even did a couple of pieces a capella, unphased by the drunk frat boys yelling "Mash it up," as if they knew what that meant. The dub band cooked on the classics. All that was lacking was Rico's trombone part which was taken by one of the keyboards. The hilarious skinhead refrain, delivered in perfect cockney, "We gonna smash their brains in, 'cos they aint got nuffink in them," had me singing along at the top of my lungs.

In a perfect world every rap artist would have to memorize half a dozen LKJ poems before they were allowed loose in a recording studio with their litany of Ho-bitches and muthafuggas and niggadisses and niggadats. I'd recommend they start with "De black petty booshwa" and think about their own aspirations. If they had half the integrity of LKJ they might aspire to be a cultural treasure beyond value.