Earl Sixteen – The ‘Peaceful’ Rastaman / Malcolm X (1980)

Posted in Earl Daley with tags on July 3, 2017 by 1960s: Days of Rage


“London may no longer be reggae’s capital outside Jamaica – but it has many of Jamaica’s reggae legends living in its midst. One often to be seen enjoying concerts and events by his peers is Earl Daley, better known as the singer Earl Sixteen. A seemingly ageless presence with an unblemished voice, Sixteen has been active since his teens. In the 1970s and early 80s he sang for a procession of crucial Jamaican producers including Joe Gibbs, Herman Chin-Loy, Derrick Harriott, Boris Gardner, Lee Scratch Perry, Augustus Pablo, Linval Thompson and Coxsone Dodd. Following his relocation to England in the late 80s he has been no less prolific – happily voicing for global sounds and labels spanning all sub genres of cultural reggae (and pushing past those the boundaries with guest appearances for pop and dance acts like Damon Albarn and Leftfield). …”
United Reggae – Interview: Earl 16 (2014 – Part 1), (Part 2)
Discogs
YouTube: Earl Sixteen – The ‘Peaceful’ Rastaman, Malcolm X

Joe Morgan – Basement session (1976)

Posted in Dub, Joe Morgan with tags , on June 26, 2017 by 1960s: Days of Rage


“Lloyd Barnes’ Bullwackies studio, in the Bronx, surely was the best place to record deep roots reggae outside Jamaica. It’s most well known tunes were recorded in the early 80’s, when the studio’s sound had turned amazingly ‘Black Arkish’. But I’m even more fond of the original, and already particularly mystic sound it had in the 70’s. This chronicle of a New York basement party, featuring a fabulous horns line answering Joe Morgan’s vocal, is one my favourite from these days.”
Soul of Anbessa
YouTube: Basement Session

Ronald And Karl – Things Not So Nice (1978/79)

Posted in Errol Thompson, Joe Gibbs with tags , on June 26, 2017 by 1960s: Days of Rage


“Who are Ronald & Karl? The credits on the 7″ don’t reveal a thing and books nor internet does much to help me either. To my knowledge this is the only song the obscure duo ever released and although it’s a bit thin on the lyrics front, this 7″ is one of my favorite discs coming from the studio’s of Gibbs. The reason for that is the riddim, which is a real heavy stepper, 1978/1979 style. The playful piano enlightens it a bit and perfectly matches the nursery rhyme style of singing. Errol Thompson’s dub is the real winner here. The way he plays with the riddim is just sublime: fades, echoes, drops and reverbs: they all add to the already powerful riddim. I can’t help myself, I just keep playing it over and over and over again. Ronald & Karl… Karl Bryan? Like I said, haven’t a clue…”
(Audio)
YouTube: THINGS NOT SO NICE

Equal Rights – Peter Tosh (1977)

Posted in Bob Marley and the Wailers, Peter Tosh with tags , on June 18, 2017 by 1960s: Days of Rage


Equal Rights was to be the album that propelled Peter Tosh to the top of the reggae world — the rival to onetime fellow Wailer Bob Marley. Time has shown that this lofty aspiration was not borne out, but Equal Rights remains among the handful of best, and most influential, reggae albums ever recorded. Tosh was always the most militant of the original Wailers and this album reflects that outlook. Whether it is preaching about the unity of the African diaspora (‘African’), protesting conditions in South Africa (‘Apartheid’), or giving a more general call to arms (‘Get Up, Stand Up’), Equal Rights is a political album. This is at times crippling, as some tracks are more effective as political statements than they are as songs. This, in fact, is a primary difference between Tosh and MarleyMarley‘s political statements never overwhelmed his songs. Unfortunately, this is not always the case with Tosh. That being said, ‘Downpresser Man’ (based on a folk standard), ‘Stepping Razor,’ and his definitive version of ‘Get Up, Stand Up’ are as good a trio of songs as you will find on any album, reggae or not. Tosh‘s singing is angry and forceful and the music is intricate and distinctive. On these three tracks you can see why people thought that Tosh could become a transcendent international star. The rest of the album, however, shows why he never quite lived up to that potential.”
allmusic
W – Equal Rights
YouTube: Equal Rights 1:10:15

Earl Zero – Righteous Works b/w Righteous Dub (1979)

Posted in King Tubby with tags on June 14, 2017 by 1960s: Days of Rage


“A construction job can lead to anything. In Kingston 13, Jamaica, ‘anything’ might include a studio session, if you happen to have the right boss. ‘I knew my boss had an ear for music,’ explained Earl Zero, then just twenty-two years old. ‘One day, I started to sing the first lyrics to ‘Righteous Works.’ That night he asked me to sing it for him again, and I did. I convinced him to get some studio time, so we went to Channel One and recorded it.’ Thus spawned the recording career of one of reggae’s most prolific vocalists. Now, nearly thirty years later, Wax Poetics Records is proud to reissue two of Zero’s most popular recordings, ‘Righteous Works’ and ‘Hearts Desire,’ both presented in discomix fashion, achieved by blending a psychedelic dub version seamlessly with the vocal. The single, ‘Righteous Works,’ is drenched in Rasta consciousness and rife with social commentary. ‘Heart’s Desire,’ recorded with producer Alan ‘Jah Wally’ Campbell, is a softer, more melodic complimentto the roots-heavy fare on the A-side.”
Wax Poetics
YouTube: Righteous Works b/w Righteous Dub

Errol Dunkley – Cinderella b/w Version (1972)

Posted in Errol Dunkley with tags on June 9, 2017 by 1960s: Days of Rage


“In 1972, when Jimmy Rodway showed Errol Dunkley a poem he had written, Dunkley was already a bona fide music star. After Dunkley had made some adjustments to the lines to hone them into a song, recorded at Dynamic Studios, he became the singer of an enduring reggae anthem which has long outlasted the number-one position it held on the charts for some weeks. The song is Black Cinderella, which came out on Rodway’s Fimi Time label and is embraced as a tribute to black women. …”
‘Black Cinderella’ developed from a poem
W – Errol Dunkley
YouTube: Cinderella b/w Version (Fe-Me-Time)

Jimmy Riley & Stranger Cole – Voice of the people (1971)

Posted in Stranger Cole with tags on June 3, 2017 by 1960s: Days of Rage


“Legend has it Stranger Cole was so shy, he preferred to sing duets rather than solo tracks. Whether this is true or not, I don’t know, but the great vocalist did sing a lot duets and harmony vocals in his career. Maybe it was his way of making a living, because standard procedure in Jamaica was (and often still is): you get paid to record a song. I’m not going into whether this was fair or not, but, if anything, this does explain the large amount of songs recorded each and every day on the Jamaican music scene. With an output so vast, it is easy to get snowed under and that seems to have been the case with this recording right here. Needless to say, perhaps, but if a song is unnoticed it doesn’t necessarily mean it’s a bad tune. It’s just covered up… And the fact that these things happen (for whatever reason), makes it so much fun for record collectors to try and dig them up. I’m not unveiling anything right here, though, but this great track that is “Voice of the people” is still somewhat overlooked. And that is a damn shame. ‘Voice’ is sung by two men who had both earned their stripes long before this was recorded. Stranger Cole was a hitmaker in both the ska and rocksteady days (and was also doing fine in the early reggae days). Jimmy Riley had been very succesful as a member of both The Sensations and the Uniques (recording classics such as ‘Watch this sound’). …”
Pressure Beat (Video)
YouTube: Voice of the people