Archive for Tommy McCook

Joe Gibbs And The Professionals – State Of Emergency (1976)

Posted in Errol Thompson, Joe Gibbs, Sly Dunbar, Tommy McCook with tags , , , on January 29, 2017 by 1960s: Days of Rage

“Classic set of horns instrumentals from 1976, featuring sax players Herman Marquis and Tommy McCook, trumpet player Bobby Ellis and trombonist Vin ‘Don D Junior’ Gordon blowing hot across resilient rhythms built by bassie Lloyd Parks and drummer Sly Dunbar in their Gibbs guise as The Professionals with legendary engineer Errol Thompson at the controls at Joe Gibbs’ studio, much in the manner of the popular at the time Revolutionaries instrumentals such as MPLA, IRA and Angola. Many were issued as 45’s or provided the foundation for hits by Culture and others. Riddims include Desperate Lover (Rawhide Kid), Get In The Groove (Donald Quarrie, which provided for Cornel Campbell’s No Man’s Land), Heavenless (High Noon), steppers delight Walls Of Jericho, Heavy Beat (State Of Emergency, that underpinned Culture’s Jah Jah See Them A Come), Equal Rights (Security Force), It’s You I Love (Black September, also used for Prince Far I’s Tribute To Michael Holding), Tell Me Now (Stone Wall Jackson) and Nanny Goat (Wild Goat).”
YouTube: State Of Emergency 29:19

The Jamaicans – Baba boom (1967)

Posted in Dub, Duke Reid, Ska, The Jamaicans, Tommy McCook, Treasure Isle with tags , , , , , on April 10, 2014 by 1960s: Days of Rage

“The Jamaicans were a ska/rocksteady trio formed in Jamaica in 1967, consisting of members Tommy Cowan, Norris Weir and Martin Williams. The Jamaicans originally started out as a band known as the Cool Shakes, consisting of Jerry Brown and childhood friend Norris Weir, joined later by Martin Williams. Then Tommy Cowan joined the group to make them a quintet. … They would also take first place in the Island’s Festival Song Contest in 1967 with the rocksteady classic ‘Ba Ba Boom’ (by this time without Jerry in the group), written by Cowan and Weir about the Jamaica Independence Festival. ‘Ba Ba Boom’ was entered in the 1967 Independence Festival Song Competition (now known as the Popular Song Competition), which had been inaugurated by Festival organizers the previous year, and the Jamaicans took home the win that year with their entry, which became their best-known song.”

YouTube: Baba boom, Baba boom version

U Roy – You’ll never get away (1970)

Posted in Duke Reid, Tommy McCook, Treasure Isle, U-Roy with tags , , , on April 5, 2014 by 1960s: Days of Rage

YouTube: You’ll never get away

The Melodians – Swing and Dine (1992)

Posted in Duke Reid, The Melodians, Tommy McCook, Treasure Isle with tags , , , on February 4, 2014 by 1960s: Days of Rage

“Rather than the customary single lead contrasted by twin harmonies, The Melodians divided lead duties between Tony Brevette and Brent Dowe, with Trevor McNaughton harmonizing with the singer who wasn’t featured on a particular track. This outstanding 16-track collection includes their biggest hits for Treasure Isle. The threesome glided along atop skipping, light rhythms provided by such bands as the Gaytones, Lyn Taitt and the Jets, the Soul Syndicate, and Tommy McCook and the Supersonics. The Melodians primarily did poignant love tunes, although they could also handle evangelical or political material. The set features such classics as ‘Little Nut Tree,’ ‘Hey Girl,’ ‘You Don’t Need Me,’ and ‘Love Is A Doggone Good Thing.’ It’s also thoroughly annotated and superbly mastered.”

YouTube: Swing and Dine, I’ll Get Along Without You, Hey Girl, Come on little girl come on, A Little Nut Tree, I’ll Take You Where the Music’s Playing, No, No Lola (Take Two), Daphne Walking

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

“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

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.”

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. …”

YouTube: Concrete Jungle, Stir it up

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

Rupie Edwards

Posted in Blue Beat Records, DJ, Dub, Rupie Edwards, Ska, Tommy McCook, U-Roy with tags , , , , , , on October 14, 2013 by 1960s: Days of Rage

“Jamaica’s more eccentric producers get all the glory, but it was the less flamboyant Rupie Edwards who arguably made the biggest impact on the island’s music scene. As the inventor of the one-riddim album, and the first to popularize dub abroad, the singing producer signposted reggae’s path for posterity. Rupie was born in Goshen, Jamaica, on July 4, 1945, and his family moved to Kingston when he was 13. Talent shows beckoned, as did a career as a mechanic, but the singer was still in his teens when he cut his debut single, 1962’s ‘Guilty Convict.’ Duos were all the rage, and Edwards joined forces with Junior Menz as the Ambassadors, then added Dobby Dobson to create the vocal trio the Virtues. Their singles were sporadic, and so Rupie turned to self-production in 1966, self-producing four of the Virtues’ numbers, as well as a couple of solo cuts. By 1968 Edwards had had enough, and launched his own Success label and record shop, located at 136 1/2 Orange Street. Success’ name quickly became a self-fulfilling prophecy, with the reggae era splattered with its hits. Given his fine, warm tenor, Edwards’ stream of solo singles sold well, but he made his real mark with his productions of others. Veterans and stars-to-be both passed through his doors during the next few years, among them the Heptones, Bob Andy, Errol Dunkley, the Ethiopians, Joe Higgs, Dobby Dobson, and Dennis Alcapone. …”

“Rupie Edwards (born Rupert Lloyd Edwards, 4 July 1945, Saint Ann Parish, Jamaica) is a Jamaican reggae singer and record producer. Rupie Edwards, an only child, moved to Kingston in 1958, where he set up his first band while still at school. His first recording was ‘Guilty Convict’ b/w ‘Just Because’, for L.S. ‘Little Wonder’ Smith in 1962, released on Melodisc’s Blue Beat label in the UK, and was paid £15 for the session. After recording a few singles, he became involved with the Virtues and, from 1968, started to focus only on his own productions. By the beginning of the 1970s, apart from releasing singles as a singer, he had recorded artists like The Heptones, Bob Andy, Johnny Clarke, Joe Higgs, Gregory Isaacs and The Ethiopians on his own record labels ‘Success’ and ‘Opportunity’. He also worked with DJs such as U-Roy and I-Roy, and released some instrumental versions with his studio band, The Rupie Edwards All Stars. The group included musicians such as saxophonist Tommy McCook, trombone player Vin Gordon, drummer Carlton ‘Santa’ Davis, guitarist Hux Brown, pianist Gladstone Anderson, bassist Clifton ‘Jackie’ Jackson and organist Winston Wright.”

YouTube: The Yamaha Skank, – U Roy Junior – The Yamaha Skank – – Water House (King Tubby & Rupie Edwards) – Doctor Satan Echo Chamber — Shortie the President – President A Mash Up The Resident — Joe White – President Rock — Underground People – Rebel Dina (version) — The Uniques – My conversation, My little red top 12″, Rise And Fall / Rise In Dub (1976), Give me love and affection, I’m Gonna Live Some Life

Black Slavery Days (1975)

Posted in Dub, Tommy McCook with tags , on October 13, 2013 by 1960s: Days of Rage

“The album ‘Black Slavery Days: The Sound of Saint Anns,’ originally produced by Jack Ruby in 1975 and subsequently released on Lister Hewan-Lowe’s Clappers label (recently re-issued by Honest Jons) is one of those records that collectors are always looking for. The album, recorded entirely in St, Anns (birthplace of both Winston Rodney and Bob Marley) includes black empowerment anthems inna roots reggae style by the Skulls, The Mercenarys, The Arrows, Original Survivors, with riddims provided by The Clappers All-Stars. Clappers is well-known for releasing only the rarest, most underground, most sought after records around. To my knowledge, they have only released <10 albums in more than 30 years, including Yabby You’s African Queen (many thanks to Randall Grass at Shanachie for that nugget). I have previously shared another Clappers classic, 1975′s ‘Jack Ruby Hi-Fi.‘ …"
Midnight Raver
MixCloud (Video)

YouTube: 12” Black Skull – A Black Slavery Day, 12” Black Skull – A Black Slavery Day (dub), The Messiah [ Two Can ], (The Clappers) Skulls – Third World, (The Clappers) T.S.O.S.A. – Theme For Ras’G

Pablo Moses – Revolutionary Dream (1976)

Posted in Lee "Scratch" Perry, Pablo Moses, Studio One, Tommy McCook with tags , , , on September 13, 2013 by 1960s: Days of Rage

Pablo Moses - Revolutionnary Dream
“Under the guidance of producer Geoffrey Chung, Pablo Moses made his recorded debut in 1975 with ‘I Man a Grasshopper’: an autobiographical herb tale cut at Lee ‘Scratch’ Perry’s Black Ark studio. Featuring Chung himself on clavinet, his brother Mikey and the In Crowd’s Michael Murray on rhythm and lead guitar, Clive Hunt on bass, and Robby Lyn on piano, the song provided Hunt’s Sound Track label with a hit single. Moses followed up with a small batch of reality gems like ‘Blood Money,’ ‘We Should Be in Angola,’ and ‘One People,’ further boosting the singer’s profile, both in Jamaica and the U.K. Revolutionary Dream, Moses’ debut full-length released in 1976, brought most of those early singles together with eight additional mid-’70s productions. Throughout, the singer maintains a peaceful disposition, expounding thoughtfully upon cultural and reality subjects over the slow tempos established by drummer Leroy ‘Horsemouth’ Wallace. The music is characterized by a refined cool, and Geoffrey Chung isn’t afraid to tilt the sound toward a rock influence with a guitar solo or two (note Murray’s leads on ‘I Man a Grasshopper’). Underneath the polished productions, however, Revolutionary Dream presents Moses as a roots singer in the tradition of Yabby You, Sylford Walker, and Burning Spear, and that’s hardly bad company to be in. A stunning debut, and Moses’ finest album-length outing.”

YouTube: Revolutionary dream [Side A], Revolutionary dream [Side B]

Clive Chin

Posted in Augustus Pablo, Clive Chin, Dub, Randy's Records, Robbie Shakespeare, Sly Dunbar, Tommy McCook with tags , , , , , on September 5, 2013 by 1960s: Days of Rage

“If you would make an attempt at telling the story in some format of Jamaican music in its initial stage, you wouldn’t pass without mentioning a place called Randy’s; founded by a local entrepreneur named Vincent Chin, Randy’s was a studio, a distribution outfit and a popular record store situated at North Parade in Kingston, simply THE center of musical creativity in the music’s most vital period from the late sixties to the mid seventies. It was here Lee Perry recorded the famous ‘Soul Rebels’ and ‘Soul Revolution’ albums by The Wailers in 1969 and ’70, it was here Bunny Lee recorded a lot of his early hits, and it was here Augustus Pablo rose to fame with what was voted ‘Top Instrumental of 1971’ with ‘Java’, an undisputed classic in these times. This particular track was produced by the eldest son of Vincent, Clive Chin, who was also a close friend of Pablo and a schoolmate from the sixties. Later Clive produced Pablo’s first album, titled ‘This Is Augustus Pablo’, arguably the most rated of the late melodica master’s classic catalog of albums, even more so than the monumental ‘King Tubby Meets The Rockers Uptown’ in some quarters. It was also at Randy’s the late engineer Errol ‘Errol T’ Thompson was to become the highly regarded ‘master of sound’ he is looked upon today, although his stint at – and partnership with – Joe Gibbs produced some of the all-time classics of the so called ‘rockers’ era, the ‘African Dub’ series quickly springs to mind of those for example”
Interview with Clive Chin

YouTube: Clive Chin: Dub, Reggae, Ska – ‘The Lost Archives of 17 North Parade Pt 1 – From Kingston to Queens’ , Pt 2 – Queens To The Kenne, Pt 3 – Classic Jamaican Reggae + Dub Recovered!

Java Java Java Java (1972)
“For the first time on CD, the 1972 master work and one of the defining statements of Dub reggae, 17 North Parade presents ‘Java Java Java Java’. Recorded and produced in 1972 by Clive Chin at studio 17, located above the legendary Randy’s Records in kingston, Jamaica. ‘Java Dub’ was a ground breaking album of instrumental versions of contemporary hits, spiced with studio effects and featuring the smash hit ‘Java Dub’ the breakthrough track for reggae legend Augutus Pablo. Credited as the first Dub album released in Jamaica (originally a press of 500 units), Java Dub would influence generations of producers in reggae, disco, jungle and of course, dub. Credited simply as ‘Impact All Stars’ (for Chin’s Impact label), the cast of musicians includes Pablo, Tyrone Downie, Fully Fullwood, Lloyd Parks, ‘Chinna’ Smith, ‘Family Man’ Barrettt, Tommy McCook and producer Clive Chin.”
Java Java Java Java (Dub) / Impact All Stars (Video)

YouTube: Impact Allstars – Cheating Dub, Jam-rock reggae, Java Java Java Java (Instrumentals, Dubwise & Versions)