King Tubby and the Aggrovators “Dunza Dub” Rockers Almighty Clocktower (1979) Tubby sends Horace Andy’s “Money Money” out back to pick a switch and summarily whips the shit out of it. The lion’s share of the LP features the King taking some of Bunny Lee’s heaviest mid-70s riddims to task: “Zion Gate” and “Poor Marcus” just to name a pair. The rest of the cuts are from Joe Gibbs and probably not mixed by Tubby, but are nice enough. A dread Jamaal Pete cover helps push this into truly essential territory. — Sammy Gong
Cliff & the Diamonds “Mother Benge" Wasp pre 7" (1968)
And just like that, we've unleashed it: a rocksteady goliath par excellence. Someone at an oldies night would shout out "Chuuuune" the second this dropped, and that would be your nerd boy connoisseur in the room. It's undeniable, though — this track is instantly gripping and never lets go. Arrangements we can attribute to the still immensely under-heralded Boris Gardiner (on bass, no doubt), but we think it's Clifton Smith who's responsible for the vocals. And just what is he singing about? It seems another 'labba labba' tale, as was your wont in this era. Talk too much and you'll soon be etched into folkloric memory. You'll remember this tune, in any case. — The Kaiser
Viceroys “Work It” Matador pre 7" (1969)
Kaiser and I joke that there was probably a six-month period back in 1969 where every person in a Kingston studio did a constant Night At the Roxbury head bob. It just seems like the natural motion in response to the beat of the time. This tune even encourages it — work it, work it. I love how there’s no intro at all; it’s pure zero-to-60 energy with charging horns, a serious bubble on the piano, and rounded out by yelps and peps. When you hear the term “skinhead reggae,” this is what they’re talking about. Boots up! — Rice & Peas
Bibby & the Astronauts “Wicked Men” Astronaughts 7" blank (1965)
At the moment I'm not sitting on the info that tells me if this is Harris "BB" (Bibby) Seaton's first outing, but it's going to be in the ballpark. You should all get to know him even better for his eventual output with the Gaylads, never mind his almost unparalleled role as a song-writer and arranger to many during Studio One's nascent reggae heydays. But let's stick to the track at hand, which, beyond just being catchy, is also notable for its very early reference to Babylon and the actions of the wicked. This is music of Jamaica and for Jamaicans, so start your appreciative engines right here and work your way up from there. — The Kaiser
Cyril X. Diaz and Orchestra "Tabu" Jamwax 7” (1958/2015) It’s tough to stumble blindly onto the source of a sample or an original cut of a well-known song in the age of the internet. But I did it. I discovered Downbeat Records some time back, as my relatively newfound passion for mento was in full frenzy. Downbeat was a UK label that put out a trio of mento revive 7s in 2003-04. Big chunes, chunes like Monty Reynolds “Long Time Gal” and Lord Power’s “Penny Reel.” Essential stuff. I’m not sure they were officially licensed releases and all three sound as if they were all scrubbed from 78s, but vinyl is vinyl. Downbeat’s final release (and the only one I hadn’t yet scored) popped up a couple weeks ago in good shape and cheap, so I jumped, songs unheard — and when the record arrived, I flopped face-first into the fountainhead of The Gaylad’s “Africa!” A Trinidadian track, “Tabu” was recorded by tenor saxman Cyril X. Diaz for Cook Records in late 1957 and, after its initial release the next year, seemed to vanish till Downbeat picked it up (backing it with an excellent cut of “Summertime” by Mama Yatiboo). Emory Cook and his wife donated his recordings to the Smithsonian in 1990, and Tabu saw official release again in 2004. Smithsonian Folkways has since licensed the track, as well as other cuts from Cook’s catalog to various boutique labels, such as Jamwax (which I used for this) and Soundway. — Sammy Gong
This is a grower of a wicked little one-away style roots tune. But what sets it apart for me is how concisely and clearly the fear experienced during the curfew of 1976-77 is detailed in song. This seems more like a news report than anything, breaking right in front of us. The understated backing really sets the scene nicely, complete with a subtle harmonica line towards the back. To get a little history on the curfew, see this for additional context: http://www.jamaicaobserver.com/columns/State-of-emergency-1976_16928898. Serious thing. — Rice & Peas
Purpleman "No Luck In Trafficating" Confessions LP Vista Sounds (1983)
Without digging any deeper, it’s easy to dismiss Purpleman as a mere copyist of Yellowman, the immensely popular deejay from the early 1980s. Yellowman had shot to mega stardom in Jamaica due to fierce and unashamed braggadocio, despite his seriously unenviable cultural position as an albino. But Yellowman offered more than a gimmick. He had real lyrical talent, and when in control of the microphone in the dance, he commanded the whole scene, as evidenced by the sound system tapes that exist from the early to mid-1980s, when he was at the height of his powers. Purpleman may not have been as prolific nor had the pure talent that “King Yellow” had, but on occasion he came up with something equally special. I’m a longtime fan of this track, which always corks the dance. Purple is laying out his woe-is-me story of not being a good drug smuggler, but the style and fashion in which the lament is laid out is shit hot. Killer rhythm, too. — Rice & Peas
Tommy McCook & the Gladiators Band "Bongo I" Coxsone 7” (early/mid-70’s) A stripped-down mix and some no-bullshit horn work courtesy of Tommy McCook, and the Gladiators’ classic “Bongo Red” is a whole new ting. Dubs aside (though not excluded), the best versions stand alone from the cuts that spawned them — and this cut certainly doesn’t sound derivative to these ears. A 7’ well worth seeking out, as the dub side peels even deeper into the red onion, further revealing just how raw this track is. — Sammy Gong
Count Ossie & Mystic Revelation Of Rastafari "Run One Mile" Tales of Mozambique LP Soul Jazz (2016) (1975)
Lovingly reissued by Soul Jazz earlier this year, this record stands as yet another watershed moment in the artistic range and expression of the African diaspora. It is always my instinct to push people towards something like this when they want an "introduction" to Jamaican music, but of course I'm a devious fellow at heart. Yet you couldn't fault me for that. This is the soundtrack to understanding the half that's not been told, which is easily well over fifty percent at this point. Run one mile in these shoes, in other words. Count Ossie and Cedric Brooks and the whole lot of them… they did. — The Kaiser
The Stingers "Sound the Timbrel" Jaguar 7" (1973)
The mysterious "L. Tibby" was the main force behind the Stingers, who recorded a handful of Studio One singles in the early '70s that never fail to impress. This outing here was done shortly thereafter, but at Dynamic Studio, where Warrick Lyn would oversee proceedings. There are so many little-known acts in Jamaica and singles that accompany them, that one hesitates to underline particular ones, but this one is of a quality that you will not find again. You say you like harmony singing and arrangements that ache till the night envelops you? Well I've got something for you… — The Kaiser
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King Tubby and the Aggrovators
“Dunza Dub”
Rockers Almighty
Clocktower (1979)
Tubby sends Horace Andy’s “Money Money” out back to pick a switch and summarily whips the shit out of it. The lion’s share of the LP features the King taking some of Bunny Lee’s heaviest mid-70s riddims to task: “Zion Gate” and “Poor Marcus” just to name a pair. The rest of the cuts are from Joe Gibbs and probably not mixed by Tubby, but are nice enough. A dread Jamaal Pete cover helps push this into truly essential territory. — Sammy Gong
Cliff & the Diamonds
“Mother Benge"
Wasp pre 7" (1968)
And just like that, we've unleashed it: a rocksteady goliath par excellence. Someone at an oldies night would shout out "Chuuuune" the second this dropped, and that would be your nerd boy connoisseur in the room. It's undeniable, though — this track is instantly gripping and never lets go. Arrangements we can attribute to the still immensely under-heralded Boris Gardiner (on bass, no doubt), but we think it's Clifton Smith who's responsible for the vocals. And just what is he singing about? It seems another 'labba labba' tale, as was your wont in this era. Talk too much and you'll soon be etched into folkloric memory. You'll remember this tune, in any case. — The Kaiser
Viceroys
“Work It”
Matador pre 7" (1969)
Kaiser and I joke that there was probably a six-month period back in 1969 where every person in a Kingston studio did a constant Night At the Roxbury head bob. It just seems like the natural motion in response to the beat of the time. This tune even encourages it — work it, work it. I love how there’s no intro at all; it’s pure zero-to-60 energy with charging horns, a serious bubble on the piano, and rounded out by yelps and peps. When you hear the term “skinhead reggae,” this is what they’re talking about. Boots up! — Rice & Peas
Bibby & the Astronauts
“Wicked Men”
Astronaughts 7" blank (1965)
At the moment I'm not sitting on the info that tells me if this is Harris "BB" (Bibby) Seaton's first outing, but it's going to be in the ballpark. You should all get to know him even better for his eventual output with the Gaylads, never mind his almost unparalleled role as a song-writer and arranger to many during Studio One's nascent reggae heydays. But let's stick to the track at hand, which, beyond just being catchy, is also notable for its very early reference to Babylon and the actions of the wicked. This is music of Jamaica and for Jamaicans, so start your appreciative engines right here and work your way up from there. — The Kaiser
Cyril X. Diaz and Orchestra
"Tabu"
Jamwax 7” (1958/2015)
It’s tough to stumble blindly onto the source of a sample or an original cut of a well-known song in the age of the internet. But I did it. I discovered Downbeat Records some time back, as my relatively newfound passion for mento was in full frenzy. Downbeat was a UK label that put out a trio of mento revive 7s in 2003-04. Big chunes, chunes like Monty Reynolds “Long Time Gal” and Lord Power’s “Penny Reel.” Essential stuff. I’m not sure they were officially licensed releases and all three sound as if they were all scrubbed from 78s, but vinyl is vinyl. Downbeat’s final release (and the only one I hadn’t yet scored) popped up a couple weeks ago in good shape and cheap, so I jumped, songs unheard — and when the record arrived, I flopped face-first into the fountainhead of The Gaylad’s “Africa!” A Trinidadian track, “Tabu” was recorded by tenor saxman Cyril X. Diaz for Cook Records in late 1957 and, after its initial release the next year, seemed to vanish till Downbeat picked it up (backing it with an excellent cut of “Summertime” by Mama Yatiboo). Emory Cook and his wife donated his recordings to the Smithsonian in 1990, and Tabu saw official release again in 2004. Smithsonian Folkways has since licensed the track, as well as other cuts from Cook’s catalog to various boutique labels, such as Jamwax (which I used for this) and Soundway. — Sammy Gong
Roscoe
“Blanket Curfew"
Dis 'N' Dat 7" (1976)
This is a grower of a wicked little one-away style roots tune. But what sets it apart for me is how concisely and clearly the fear experienced during the curfew of 1976-77 is detailed in song. This seems more like a news report than anything, breaking right in front of us. The understated backing really sets the scene nicely, complete with a subtle harmonica line towards the back. To get a little history on the curfew, see this for additional context: http://www.jamaicaobserver.com/columns/State-of-emergency-1976_16928898. Serious thing. — Rice & Peas
Purpleman
"No Luck In Trafficating"
Confessions LP
Vista Sounds (1983)
Without digging any deeper, it’s easy to dismiss Purpleman as a mere copyist of Yellowman, the immensely popular deejay from the early 1980s. Yellowman had shot to mega stardom in Jamaica due to fierce and unashamed braggadocio, despite his seriously unenviable cultural position as an albino. But Yellowman offered more than a gimmick. He had real lyrical talent, and when in control of the microphone in the dance, he commanded the whole scene, as evidenced by the sound system tapes that exist from the early to mid-1980s, when he was at the height of his powers. Purpleman may not have been as prolific nor had the pure talent that “King Yellow” had, but on occasion he came up with something equally special. I’m a longtime fan of this track, which always corks the dance. Purple is laying out his woe-is-me story of not being a good drug smuggler, but the style and fashion in which the lament is laid out is shit hot. Killer rhythm, too. — Rice & Peas
Tommy McCook & the Gladiators Band
"Bongo I"
Coxsone 7” (early/mid-70’s)
A stripped-down mix and some no-bullshit horn work courtesy of Tommy McCook, and the Gladiators’ classic “Bongo Red” is a whole new ting. Dubs aside (though not excluded), the best versions stand alone from the cuts that spawned them — and this cut certainly doesn’t sound derivative to these ears. A 7’ well worth seeking out, as the dub side peels even deeper into the red onion, further revealing just how raw this track is. — Sammy Gong
Count Ossie & Mystic Revelation Of Rastafari
"Run One Mile"
Tales of Mozambique LP
Soul Jazz (2016) (1975)
Lovingly reissued by Soul Jazz earlier this year, this record stands as yet another watershed moment in the artistic range and expression of the African diaspora. It is always my instinct to push people towards something like this when they want an "introduction" to Jamaican music, but of course I'm a devious fellow at heart. Yet you couldn't fault me for that. This is the soundtrack to understanding the half that's not been told, which is easily well over fifty percent at this point. Run one mile in these shoes, in other words. Count Ossie and Cedric Brooks and the whole lot of them… they did. — The Kaiser
The Stingers
"Sound the Timbrel"
Jaguar 7" (1973)
The mysterious "L. Tibby" was the main force behind the Stingers, who recorded a handful of Studio One singles in the early '70s that never fail to impress. This outing here was done shortly thereafter, but at Dynamic Studio, where Warrick Lyn would oversee proceedings. There are so many little-known acts in Jamaica and singles that accompany them, that one hesitates to underline particular ones, but this one is of a quality that you will not find again. You say you like harmony singing and arrangements that ache till the night envelops you? Well I've got something for you… — The Kaiser