I Roy – Trust No Shadow After Dark (1979)

Posted in Bunny Lee, Channel One, I-Roy, Joe Gibbs, Riddims with tags , , , , on August 17, 2017 by 1960s: Days of Rage


“The late, great I Roy will forever be remembered for his phenomenal work for producers like Gussie Clarke, Lee Perry and Bunny Lee. Or his association with the Channel One studio. Or his famous feuds with Prince Jazzbo, which were recorded and released in a series of very entertaining records. Or maybe even for the tragic end of his life: when I Roy left this world he was suffering from ill health, was homeless and had just found out his son was killed in prison. Being the legend he was, all material recorded by the man is definitely worth checking out, but in all fairness: his greatest work was captured by other producers and he won’t be remembered for his output for Joe Gibbs. I Roy didn’t record much for Joe to begin with, a few good tunes here and there and an album produced by Bunny Lee in 1979 (which is pretty good, Johnny Clarke sings the melody parts) and that’s it. That said, this recording from 1975 is quite a gem. I Roy sounds upbeat and seems well at home riding the awkward stepping riddim, which updates the Meditations’ ‘Woman is like a shadow.’ Laughing, growling and toasting his way through the track, this makes for one of the finer obscure I Roy records out there. It’s one of those overlooked recordings that turn out a catch when you find it and makes you wonder why it isn’t featured on more compilations out there. In the case of I Roy the answer to that question might be because his back-catalogue of hits is just too large and this isn’t one of them. Don’t let that bother you, though. It makes it all the more worthwhile to track this 7 inch down. …”
Pressure Beat (Audio)
YouTube: Trust No Shadow After Dark

Prince Alla – Bosrah (1976)

Posted in Black Ark, Lee "Scratch" Perry, Prince Alla with tags , , on August 9, 2017 by 1960s: Days of Rage


“Those familiar with the biblical story of King Melchizedek may mistakenly believe that Prince Alla is paying tribute to that most esteemed of regal priests. Their confusion is understandable, though, for roots artists often give a Rastafarian twist to a Biblical verse, in Alla‘s case, Hebrews 7:3. The Old Testament held up Melchizedek as the quintessential priest and the most righteous of religious men, but listeners learn more of him from the apostle Paul, who told the Hebrews that Melchizedek was also a ‘king of peace, without father, without mother, having neither beginning of days, nor end of life…abideth a priest continually.’ Although Alla paraphrases this verse, he’s not referring to the King of Salem at all; in fact, he’s actually paying tribute to Prince Edward Emmanuel. This Rastafarian elder was leader of the Bobo sect to which Alla belongs, and had often drawn parallels between himself and Melchizedek. Tapper Zukie was thoroughly impressed with the Prince‘s homage. Just out of his teens, the young DJ was eager to cross into production, and ‘Bosrah’ was to become one of his first recordings. The toaster and singer set to work at the Black Ark studio, with Lee Perry stepping in to help with the arrangement. Alla‘s preaching is suitably bold, while behind him Roy ‘Soft’ Palmer and Melodian Tony Brevett add their own strong, close harmonies. The fabulous riddim is a fiery version of Burning Spear‘s ‘Joe Frazier,’ which Zukie would remix for his own In Dub album. the Prince‘s single, credited to Ras Allah & the Prophets, was originally released in Jamaica by Vivian ‘Yabby You’ Jackson, and then by Zukie‘s own Stars label, before being picked up for U.K. consumption by K&B Records. – Jo-Ann Greene”
allmusic
amazon: Dub: Soundscapes and Shattered Songs in Jamaican Reggae
YouTube: Bosrah

Bob Soul / King Tubby / Billy Hutch

Posted in Augustus Pablo with tags on August 5, 2017 by 1960s: Days of Rage


“At long last, in proper quality and officially licensed, we present a pair of records long worked at, historically important, largely unheard, and most of all, musically brilliant. Above all, the dub mixes on these records are known among connoisseurs as being among a handful which can not only be considered a definitive King Tubby’s style statement, but also among the most radical, transformative and forward thinking mixes ever committed to tape by the King himself. This is proper King Tubby’s music; Tubby the man, not just Tubby’s the studio. These two 12″s represent most of the known cuts of this brilliant rhythm, played by the Wailers’ Barrett brothers, alongside Earl Chinna Smith, Augustus Pablo and Gladdy Anderson, all together truly a rhythmic force to be reckoned with. ‘Message from the Congo’ and ‘God Is Love’ are two vocals cuts produced via the mid 1970’s partnership of Milton ‘Billy Hutch’ Hutchinson and the late Linton ‘Bob Soul’ Williamson. …”
DKR Brooklyn
YouTube: Message From The Congo / King Tubby – Congo Dread Chapter 1, King Tubby and Sampson – Drums Of Love

 

Gregory Isaacs & the Roots Radics (BBC 1981)

Posted in Gregory Isaacs with tags on July 28, 2017 by 1960s: Days of Rage


“My favorite track by Gregory is ‘Confirm Reservation.’ The tune was written and produced by Gregory Isaacs and, perhaps more than any other tune, it showcases the brilliance of his songwriting. Upon first listen it might sound like several other Gregory tunes that have an overt lovers rock vibe, however, “Confirm Reservation” is one of Gregory’s most honest, personal and deeply spiritual tunes:
I’d really like to make you confirm reservation
So here I am with my application
I wanna be with my friends and family
Where the living is much easier for me
‘Cause in this town I can’t take the vibes no more, ah
No, Gregory is not leaving town.  He is very clearly singing about an eternity in Zion.  By the early 1980s Gregory was losing a battle against a severe cocaine addiction.  It is a demon that would eventually destroy his voice, ruin his career, and leave him dead at 59 years old.  He longs for an eternity in Zion, free from the chains of his illness…Cause in this town I can’t take the vibes no more, ah…’  … It is really such a brilliantly-written tune.  There aren’t many artists who could muster the courage to look in the mirror and tell the world what they see.  That is exactly what Gregory does here.  A very well-known reggae producer once told me that in his 30+ years in the business he met only two true geniuses.  The first is Sly Dunbar.  The other is Gregory Isaacs.  He said Gregory has a perpetual song in his head.  All he has to do is decide to write it down. This version of “Confirm Reservation” comes from the BBC Radio sessions that Gregory did in 1981 backed by the Roots Radics.  I think it sounds even better than the original 7″ mix.  In 1981 Gregory’s voice was still in top form and his vocal performance on this track is phenomenal. …”
Midnight Raver
YouTube: Confirmed Reservation / Sad to Know / Front Door / Substitute

Prince Allah – Naw Go A Funeral + Version (1978)

Posted in Dub, Joe Gibbs with tags , on July 28, 2017 by 1960s: Days of Rage


“Keith Blake (born 10 May 1950), better known as Prince Alla (sometimes Prince Allah or Ras Allah) is a Jamaican roots reggae singer whose career began in the 1960s, and has continued with a string of releases into the 2000s. Born in St. Elizabeth, and raised in Denham Town, Kingston, Jamaica, Blake’s career began in the vocal group The Leaders with Milton Henry and Roy Palmer, who recorded three tracks for producer Joe Gibbs in the late 1960s. When The Leaders broke up, Blake continued to work with Gibbs, who issued his debut solo release, ‘Woo Oh Oh’. Blake had been interested in the Rastafari movement since he had a vision as a child, and in 1969, Blake’s Rastafarian faith saw him get heavily involved in Jamaica’s camp community, withdrawing from the music scene and living in Prince Emmanuel Edwards‘ camp at Bull Bay. …”
Wikipedia
YouTube: Naw Go A Funeral + Version

Milton Hamilton – Long Long Road / Longest Dub (1972)

Posted in Laurel Aitken, Lee "Scratch" Perry with tags , on July 22, 2017 by 1960s: Days of Rage


“Milton Hamilton used to be a member of the Classics, alongside Denzil Dennis. The group was based in the UK and recorded for both Laurel Aitken and Lee Perry (a version of ‘Cherry Oh Baby’ called ‘Cheerio Baby’ for the latter, among others.) Although the backing track for ‘Long Long Road’ came from Jamaica, the backing vocals are performed by the british group the Rudies. ‘Long Long Road’ is also featured on the Trojan sampler ’Me Nah Worry’, albeit without the dub version. There it is credited to Denzil Dennis   and Milton Hamilton whereas this 7” credits Milton Hamilton and long   time Denzil associate Pat Rhoden. To my ears this version seems a bit rougher than the one featured on the Trojan album, but that might very well be a remastering issue. The label credits Errol L. Campbell as producer, but that is actually an amalgamation of two names. …”
Pressure Beat (Audio)
YouTube: Long, Long Road + Version

Dennis Brown – Give A Helping Hand b/w Roots Rhythm (1975)

Posted in Dennis Brown with tags on July 7, 2017 by 1960s: Days of Rage


“… He was a man who loved to sing and Dennis Brown sang and he sang and he sang … it is an inarguable fact that he is responsible for more reggae classics than any other single artist in the history of Jamaican music. He was adored and emulated like no other singer and, for over twenty five years, his standing in the world of reggae was second to none but he was rarely appreciated or acknowledged by the outside world. Anyone who wants to understand reggae music only has to understand Dennis Brown… everyone in the reggae business wanted to emulate the success of Bob Marley but every reggae singer wanted to sound like Dennis Brown and his popularity with the reggae audience should serve as an explanation to what the music is all about and what it means to that audience. He loved his people and they loved him back. …”
Reggae Collector
YouTube: Give A Helping Hand b/w Roots Rhythm