Archive for December, 2013

Welton Irie / Sylford Walker – Ghettoman Corner (1979)

Posted in Dancehall, DJ, Dub, Glen Brown, I-Roy, King Tubby, Riddims with tags , , , , , , on December 27, 2013 by 1960s: Days of Rage

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“Welton Irie nices up the ‘Ghettoman Corner’ on the title track to his 1979 Glen Brown produced and King Tubby mixed album. Recouping once again the money he laid out for Lloyd Parks’ seminal ‘Slaving’ single, for the title track Brown oversees yet another fabulous cut on the riddim. There again, ‘Slaving’ was good enough to support them all, with this version remixed by King Tubby in steppers style. Obviously thrilled with the result, Irie lets loose with a superb stream of consciousness toast that’s as propulsive as the riddim itself. Bouncing from cultural themes to the religious realm, Irie bustles about, pumping up the excitement, even when he inexplicably tosses in a counting song that sends ever more men to mow a meadow. ‘Corner’ was a DJ spectacular, inevitably entitling the DJ’s 1979 Brown produced album.”
allmusic

YouTube: Ghettoman Corner, Black Man Get Up Tan Up Pon Foot (Give Jah The Glory) b/w King Tubby’s – Version, Sylford Walker-Chant Down Babylon, Welton Irie-Ghettoman Corner, I Roy-Black Man Time, Money Man Skank, Mr Irie, Greetings, Give Jah The Glory

Prince Buster – Big Five (1967)

Posted in Prince Buster with tags on December 26, 2013 by 1960s: Days of Rage

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YouTube: Big Five

Bob Andy’s Song Book (1970)

Posted in Coxsone Dodd, Dancehall, Ska, Studio One with tags , , , on December 22, 2013 by 1960s: Days of Rage

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“Bob Andy was introduced to Jamaican record buyers in the 1960s as a member of the Paragons, the vocal quartet best known for the hit ‘The Tide Is High.’ Andy went on to achieve greater fame in the following decade as one half of the vocal duo Bob & Marcia (with Marcia Griffiths) on hits like ‘Young Gifted and Black’ and ‘Pied Piper’ for Harry Johnson. His greatest artistic successes, however, can be found on the three albums the singer recorded for Clement Dodd’s Studio One beginning in the late ’60s. While selections from The Music Inside Me cropped up on Heartbeat’s Retrospective, Lots of Love & I had long been out of print and Andy’s exceptional Songbook was available, in CD format, only on this inferior quality Studio One issue. Criticisms about sound and packaging aside, however, Songbook (recorded between 1966 and 1968) remains utterly essential. Though the music preceded the roots era by nearly a half-decade, many of the themes taken up by the dreads of the 1970s can be found blossoming in Andy’s late-’60s songs. His classic ‘I’ve Got to Go Back Home’ must have been one of the earliest songs to deal so explicitly with a ‘sufferers’ theme. The singer’s delicate, bittersweet melody is married to a tune of ghetto hardship. ‘Unchained’ attacks slavery with lyrical directness and an impassioned vocal. Covered by Gregory Isaacs, Big Youth, and Barrington Levy, the definitive version of Andy’s classic ‘My Time’ is found here. Equally moving are ‘Going Home,’ ‘Let Them Say,’ ‘Feeling Soul,’ and ‘Crime Don’t Pay.’ A singer and songwriter of the highest order, Andy’s place in musical history is assured on the basis of Songbook alone.”
allmusic

Bob Andy’s Song Book is a 1970 album of songs by Jamaican reggae singer and songwriter Bob Andy, recorded between 1966 and 1968. Andy had first found fame as the lead vocalist of The Paragons, but his peak as a solo artist came in the late ’60s when he recorded a string of singles for Clement ‘Coxsone’ Dodd’s Studio One label. In 1970, these singles were compiled on the Song Book album. Many of the songs on the album have since been covered by a range of artists, including Taj Mahal, who covered ‘Desperate Lover’ on his 1974 Mo’ Roots album. Vocal harmony on three tracks on the album are performed by Bunny Wailer and Peter Tosh of The Wailers, and backing comes from Studio One band the Soul Vendors, whose members included Jackie Mittoo and Roland Alphonso. …”
Wikipedia

YouTube: Too Experience, Unchained, Let Them Say, Feeling Soul, Life Could Be a Symphony, My Time, I’ve Got To Go Back Home, Going Home, Stay in my lonely arms, Crime don’t pay

The Maytones – Babylon A Fall (1971)

Posted in The Maytones with tags on December 20, 2013 by 1960s: Days of Rage

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YouTube: Babylon A Fall

The Revolutionaries – Revolutionary Sounds (1976)

Posted in Channel One, Dub, Herman Chin-Loy, Joseph Hoo Kim, Robbie Shakespeare, Sly Dunbar, The Revolutionaries, Tommy McCook with tags , , , , , , , on December 19, 2013 by 1960s: Days of Rage

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“This Revolutionaries LP is, in my mind, an absolutely essential document of super tight, super mellow instrumental reggae. Every track is killer. Unstoppable melodies, rubbery grooves, smooth horn arrangements, subtle dub filigrees, impeccable musicianship; I could go on and on. Any fan of roots, Aggrovators style, horn driven reggae from the mid 70’s owes it to themselves to check this LP. Some tracks are instantly recognizable, like the ‘Full Up’ riddim, the Mighty Diamonds’ classic ‘I Need A Roof,’ and more, all given a timeless instrumental treatment by the best of the best. – plaidzebra
YouTube: 1. MPLA 2. Earthquake 3. Why War 4. Leftist 5. Sudden Attack 6. Angola 7. PLA 8. I Need A Roof 9. ANC 10. Right In Ah It

Bob Marley & the Wailers – Catch a Fire (1973)

Posted in Bob Marley and the Wailers, Bunny Wailer, Muscle Shoals, Sly Dunbar, Tommy McCook with tags , , , , on December 15, 2013 by 1960s: Days of Rage

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Catch a Fire was the major label debut for Bob Marley and the Wailers, and it was an international success upon its release in 1973. Although Bob Marley may have been the main voice, every member of the Wailers made valuable contributions and they were never more united in their vision and sound. All the songs were originals, and the instrumentation was minimalistic in order to bring out the passionate, often politically charged lyrics. Much of the appeal of the album lies in its sincerity and sense of purpose — these are streetwise yet disarmingly idealistic young men who look around themselves and believe they might help change the world through music. Marley sings about the current state of urban poverty (‘Concrete Jungle’) and connects the present to past injustices (‘Slave Driver’), but he is a not a one-trick pony. He is a versatile songwriter who also excels at singing love songs such as his classic ‘Stir It Up.’ Peter Tosh sings the lead vocal on two of his own compositions — his powerful presence and immense talent hint that he would eventually leave for his own successful solo career. More than anything else, however, this marks the emergence of Bob Marley and the international debut of reggae music. Marley would continue to achieve great critical and commercial success during the 1970s, but Catch a Fire is one of the finest reggae albums ever. This album is essential for any music collection.”
allmusic

Catch a Fire, released on 13 April 1973, is the fifth album by Jamaican reggae band The Wailers, and the first the band released on Island Records. After touring and recording in the United Kingdom with Johnny Nash, Nash’s departure to the United States left the band without enough money to return home; they approached producer Chris Blackwell, who agreed to advance the Wailers money for an album and paid their fares back to Jamaica, where they recorded Catch a Fire. The album features nine songs, two of which were written by Peter Tosh and the rest by Bob Marley. After Marley’s return to London to present the tapes to Blackwell, the producer reworked the tracks with contributions by Muscle Shoals session musician Wayne Perkins, who played guitar on two overdubbed tracks. …”
Wikipedia

YouTube: Concrete Jungle, Stir it up

YouTube: Catch a Fire 1999 part 1, part 2, part 3, part 4, part 5, part 6

Little Roy – Bongo Nyah (1969)

Posted in Clive Chin, Randy's Records, Rastafarians, Ska with tags , , , on December 13, 2013 by 1960s: Days of Rage

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“By the mid-’70s, Rastafarian themes were becoming ever more prevalent, but back in 1969 they were decidedly unique and not overly popular. ‘Bongo Nyah,’ however, broke that mold, one of the first to not merely contain an overt Rasta message, but to take it to the top of the Jamaican chart. Unlike the other brethren then on the scene, Earl ‘Little Roy’ Lowe doesn’t even bother to veil his lyrics, although he lulls listeners into a false sense of security by kicking off with a couple of lines from the nursery rhyme ‘Bah Bah Black Sheep.’ From there, he and backing singer Donovan Carless dive straight into dread waters, consigning unbelievers to burn in the fire and demanding to know how they can resist Jah when they have bald heads. Set to an irrepressibly bouncy reggae rhythm, delivered up with gusto by the Hippy Boys while Lloyd Charmers’ organ gaily tinkles out like church bells or even a child’s music box, ‘Bongo’ was irresistible. Overseen by producer Lloyd Daley, this was to be his Matador label’s biggest hit of the year, and deservedly so.”
allmusic

YouTube: Bongo nyah