These two further collections of extended 12” mixes from the Mighty Two – Joe Gibbs and Errol Thompson – completes the excellent collection that began last year with the release of the first three volumes (see album reviews 29 December 2009 for a review, together with a brief history of the music of Gibbs and Thompson).
As before the tracks are all presented in complete 12” format with a listing of musicians that includes Tommy McCook, Vin Gordon, Bobby Ellis, Tony Chin and Sly and Robbie. With tracks recorded at Joe Gibbs’ studio at Retirement Crescent, Kingston, volume 4 covers the period around 1979 and 1980. The results are pretty diverse. Opening strongly with the familiar bass line of Junior Byles’ Dreadlocks Time and its intriguing version from Kojak and Liza, the next track is Hortense Ellis’ take on Ann Peebles’ I Can’t Stand the Rain, a mainstream MOR sound which is made more interesting by the addition of Prince Weedy’s Same Complaint version. Ruddy Thomas’ attempt at Michael Jackson’s Shake Your Body Down to the Ground is unusual indeed. Continue Reading “Joe Gibbs: 12″ Reggae Showcase Volumes 4 and 5”
From Urban Sedated records, whose reggae releases commendably respect both the rights of the artist and the integrity of the music (see ‘news’ on this site, December 23, 2008), comes this new album from FC Apatride, seemingly the only stateless Marxist Muslim football club in the world.
Recorded in central Serbia, it reflects the interior atmosphere as well as the recent history of a troubled country: constrained, dark, but also hopeful. The storms of the mountains where it was recorded are reflected in the opening and closing instrumental tracks, featuring acoustic and slide guitar. The tracks in between are pure reggae: guitar, bass, vocals and drums. There are no studio embellishments. The arrangements are sparse and the mood is sombre, with the deep vocals from Abdelraheem Kheirawi prominent in the mix. The bass is powerful and the tempo is slow, sometimes very slow (as in Selling Illusion) where the rhythm almost stops and we can hear the silence in between. Continue Reading “FC Apatride Utd: Firing the Truth”
This double-CD release from Greensleeves Records presents a key collection of tracks from producer Lloyd James, aka Prince Jammy, and is a fine introduction to his distinctive production style. Recorded at King Tubby’s, Harry J’s, Channel One and Jammy’s studios, musical input includes contributions from both the Aggrovators (featuring amongst many others Sly Dunbar, Ansel Collins, Bobby Ellis and Robbie Shakespeare) and the High Times Band (notably Earl ‘Chinna’ Smith).
Prince Jammy served his apprenticeship under the guiding hand of King Tubby but, unlike the original generation of 1970s dub producers, Jammy took the changing sound (and changing digital technology) of reggae music firmly into the next decade and beyond. With his teenage experience in putting together some of the early sound systems, he later became the bridge between the analogue era of bass-driven dub and the emergence of computer-driven dancehall. The first CD contains some excellent sounds along the way, notably What a Great Day by Lacksley Castell, a standout song of spiritual freedom atop a powerful bass line, moving from the vocal track into a formidable version that dubs along happily for more than nine minutes. Conscious Speaks by Black Crucial has a strong Aggrovators’ rhythm at its core, while the dub production in the mix of Junior Delgado’s Love Tickles Like Magic is characteristic of Jammy and his particular production style. Jah Gave Us This World from The Travellers goes straight into its version – Natty Dread at the Controls – by U Black which gives Jammy the chance to dub it up in good style. Continue Reading “Jammy’s: From the Roots 1977-1985”
The sound system was the way in which reggae promoters and producers of the 1960s brought their music directly to a Jamaican audience not yet plugged into any national infrastructure. By creating a powerful sound system, fired up by its own generator, the new wave of producers and DJs managed to reach a mass audience at first-hand and, at the same time, blast their rivals out of the way. In using more than one deck, in presenting recorded music as a ‘live’ performance, and in DJ-ing over the rhythm until a new music emerged, the sound system pre-dated the way in which later generations of dance and club DJs would use both the subtleties of the mixing desk and the power of sheer volume. Within reggae – where this all began – the sound system was an essential part of the experience. The manner of transmitting the music to its audience was crucial to how the music itself developed, the medium being the message, to use a cliché. Continue Reading “Trojan Sound System”
Heart of the Congos was a seminal reggae album, highly influential but relatively neglected in the UK. Originally released in 1977, it is a classic ‘lost’ album of reggae, unavailable for almost twenty years. Notable for the distinctive production of Lee Perry, his trademark sound and dub production values are present throughout. Since its reappearance in the 1990s on CD, Heart of the Congos has continued to enjoy a cult status as a landmark album. Is this reputation justified?
The strength of the album lies in three factors: Lee Perry’s considerable influence over the instrumentation and the sound; the quality of the songs; and the unusual vocal style of the Congos themselves. They were essentially a vocal duo, their songs driven along by the voices of Cedric Myton (falsetto) and ‘Ashanti’ Roy Johnson (tenor), with backing from Perry’s Upsetters lineup of the time, in a who’s who of reggae musicians: Gregory Isaacs, the Meditations, members of the Heptones, Watty Burnett, Boris Gardner, Ernest Ranglin and Sly Dunbar. Given all this, it is puzzling that the album has been a footnote rather than a headline in the various histories of reggae. Partly it could be that the brand of reggae on offer didn’t correspond with the commercial priorities of the time, but the main reason seems to lie in contractual issues arising from Lee Perry’s dispute with Island Records. The album thus became unavailable until it reappeared in the mid 1990s. Continue Reading “The Congos”
How to assess the influence of Don Letts – previously known as the ambassador of dub reggae, associate of the Clash, film maker and DJ – on roots music in a career spanning four decades?
Originating from Brixton, Letts started out in the London fashion and music business before making a name for himself as a DJ in the late 1970s. His role as a DJ at the Roxy in London around 1977 was pivotal in bringing together two strands of British music of the time: the predominantly white new punk music (itself drawing from existing American influences, including Iggy Pop, the New York Dolls and, earlier still, the Velvet Underground) and the predominantly black reggae tradition (drawing directly from its Jamaican origins) which was expanding rapidly into studio experimentation with remixing and dub. The two musical elements came together in venues like those in which Letts promoted and celebrated the sound to an ever-expanding audience. He associated closely with the Clash, and the influence of the differing musical traditions upon them is clearly heard in their direct use of reggae-based rhythms alongside a standard rock instrumentation. A track like their White Man in Hammersmith Palais pretty much sums it all up. Continue Reading “Who Is Don Letts?”
The rddim album – the single-rhythm reggae album, either wholly instrumental or with a number of different vocal tracks – is now well-established. Its origins lie in putting together the series of dubs, versions and remixes of a single vocal track – typically spread across the ‘a’ and ‘b’ sides of various 7” releases – into an album format. An entire album consisting of the same rhythm track, extensively deconstructed and reconstructed, was a revolutionary development at the time, and it’s still going strong, especially in the various digital rhythm albums released for the contemporary dancehall market. It’s useful to have a look at this by focussing on two of the key rhythm albums that started this trend, plus a newly recorded double-CD based on just one classic track.
Rupie Edwards’ Let There Be Version (the 1990 reissue of Yamaha Skank, which had originally been released in 1974) was the landmark album that kicked off this tradition. It begins with, and derives from, Slim Smith and the Uniques’ loping and laid-back My Conversation, a standout track in its own right. Its basic feel is more reminiscent of the regular dance rhythm of ska than reggae, together with a vocal borrowing from US soul. An intriguing track to use as the basis of a one-rhythm album, the other versions on the fifteen track album (twelve on the original release) more than do it justice. Following on the initial vocal track, 100,000 Dollars (credited to Rupie Edward’s ‘Success Allstars’, ‘Success’ being the name of his record store and label) is a brass-led instrumental version, drawing even more clearly from the ska tradition. Doctor Come Quick adds echo and deejay-vocalising by Hugh Roy Junior over a dub treatment of the rhythm, and so the versions and explorations continue to the conclusion. There are several highlights; Tyrone Downie’s instrumental Tribute to Slim Smith is led by an organ (Yamaha?) quite obviously on loan from Phoenix Nights; Doctor Satan Echo Chamber, again by the Success All Stars, is pure stripped-down instrumentation; while Yamaha Skank by Shorty the President adds both deejay vocals and snatches of an entirely different vocal track to the original. The legendary Heptones add Give me the Right, again a completely different song grafted smoothly onto the basic rhythm. President A Mash Up the Resident by Shorty the President may be a little more widely known than the other versions here, not least for its manic whistling backing. Continue Reading “Let There Be Versions”
From the New York band, with its fluid and illustrious membership, comes the latest in its series of reinventions of classic British rock albums. After Pink Floyd and Radiohead, the Easy Stars tackle the Beatles, and not only that, they cover in a roots style the peak (for many people) of the Beatles’ achievements, Sgt Pepper.
It’s impressive on an immediate level. The packaging is Sgt Pepper-era inspired, lovingly crafted in style and tone, although that familiar bass drum on the cover now seems to have acquired a marijuana leaf within its design. The music throughout features those background noises and crowd effects that were part of the feel of the Beatles’ album, and there is a remarkable attention to detail in referencing the past, although presumably without the need to use the primitive tapes and loops of the Abbey Road studio and its four-track machines of the 1960s. Continue Reading “Easy Star Lonely Hearts Dub Band”
With the impending release of a new album from New York’s Easy Star All Stars, it’s the right time to take stock of their unique take on reggae reinvention of classic rock albums. Has it all been a joke, and, if not, is it any good?
Thus far the Easy Stars have chosen two classic British albums, and peculiar ones too. Pink Floyd’s ‘Dark Side of the Moon’ and Radiohead’s ‘OK Computer’ are not just British, they are very English, rooted in the heart of Cambridgeshire and Oxfordshire. This is the thoughtful sound of middle England, contemplative student rock from the 1970s and 1990s respectively. So what is an American East Coast reggae collective doing with this source material, and where has it taken it musically? Continue Reading “Easy Stars All-Stars”