Category Archives: Jamaica

Sammy Dread – Dreadlocks Queen

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Photo Courtesy of Jammyland

Here’s a gem of a record I got in the dollar bin at some charity shop this past week. I also pulled out some more heavy Reggae, plus some 80′s private press Hip Hop 12′s, and some early 70′s 12″ Disco Funk. More on every one of those records in the upcoming months. For now, we’ve got Sammy Dread with “Dreadlocks Queen” from his 1982 Hit Bound Lp Road Block.

Born Stewart Farquharson in Greenwich Town, in Kingston, JA, he became Sammy Dread and never looked back. Catching a break to work with Sugar Minott singing back up, Sammy also had released a single of his own, “African Girl” on the Roots Tradition label. Recording for a variety of labels: Channel One, Heartbeat, Jah Life, Sammy Dread International, Black Solidarity, Black Roots, and Freedom Sounds among others, his 7″, 12″ and 10″ output is definitely impressive. Working with Reggae notables like Joe Gibbs, Dennis Brown, Tony Tuff, Tappa Zuike, Barrington Levy, Dennis Brown and more, Sammy Dread is a definite success in Reggae music. One tune that would get lots of play was “Bad Boy (M-16)”, and the subsequent M-16 riddim ensued. It wouldn’t hurt that he was name checked and big upped by The Fat Boys in their ’83 “Hardcore Reggae” record, which got the name Sammy Dread on people’s minds. Dread kept releasing records until the late 90′s, where he went MIA for a while only to reappear about 10 years later. Sammy Dread picked up where he left off, making music, spreading a positive vibe, and releasing good music.

“ Everybody is an artist in Jamaica, so you always have to find a tune that’s above other tunes. If you don’t do that, after three or four months, no one hears you. Look how long I’m in the business, and it’s just the love of people, my fans. ”

Known primarily for this 1982 Road Block Lp on Hit Bound (Channel One) which this side is from, “Dreadlocks Queen” uses Eric Donaldson’s “Cherry Oh Baby” riddim. Sammy Dread mashes up the lyrics as a tribute to the love for his dreadlock girl. A great use of this riddim, which has also been used by the Lone Ranger for “Sat Upon the Rock” (produced by Ernest Hoo Kim) among others. The side was recorded at Channel One and produced by SOJIE in Jamaica and backed by the Radics, which included Style Scott on Drums, Errol “Flabba” Holt on bass, Bingy Bunny and Dwight Pickney on guitars, Gladdy Anderson on piano, Steely on organ, and Christopher “Sky Juice” Burt with added percussion. In my opinion, they don’t make music like Sammy Dread did back in the early 80′s. In fact, Reggae music doesn’t have the stars like they used to, that’s why it’s important to preserve music like this, and keep the fires burning. Sammy Dread keeps the fire of Jah burning through this music. We’re just glad to help.

Download or Listen to Sammy Dread – Dreadlocks Queen from the Hit Bound Lp

Here’s a Sammy Dread interview from 2011 from MadVibez Radio out of Toronto.

Keep Diggin’!

What The World Wants Is Reggae: Seven Inch Selections

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So I finally got off my ass and put together an all 7″ Reggae mix. I have been stockpiling these records for such an occasion, and here are 15 to start. I did this mix in one take, so it’s live and has a live feel (cracks, pops, one lickle skip) and added a few drops from Bob, Daddy Rodigan and the tour guide we had when we stayed in Jamiaca. Her shout of “To the wooooooorrrld” was something I always wanted to use. I’m glad I got the chance to do it. For the most part, this mix has a lot of Rocksteady throughout, with a few Roots cuts and a small amount of Dub. The Johnny Jones side I had to research because the entire name on both sides of the label was blacked out, so if I’m off on that one (I was off when I reviewed the white label “Cool Operator” side) someone give me a shout. Leave it to those Reggae dudes to hide their records in their sound system. At any rate, I’m hoping you enjoy this side, all these records are original Jamaican sides with the exception of a few UK Pressings and the Steady side out of NYC, many are hand stamped and all found in the field. Sometimes you gotta have some Reggae your way, all on 7″. Enjoy. Bonus label scans at the bottom of the page.

What The World Wants Is Reggae: Seven Inch Selections Track List

Jah Grundy – Shaolin Disciples/ Belmont Records
Leroy and Rocky – Love Me Girl/ Coxsone Records
Eddie Lovette – Together/ Steady Records
The Gaytones – Build Up (Version)/ High Note
Sugar Minott – Vanity Pt. 1/ Studio 1
Delroy Wilson – Cool Operator/ White Label JA
King Tubby & The Aggrovators – Straight To Andy’s Head/ Jackpot
Johhny Jones – More Dub/ Gibbs Record Globe (Artist Name Scratched Out on Label)?
Val Bennett – Blow Mr. Horn’s Man Blow/ Roots from the Yard
Robert French – Give Me Your Love/ Mister Tipsy
The Revolutionarys – Rig-Ma-Roe Dubwise/ High Note
Tony Tuff – Run Come Come/ Scorcher
Marcia Griffiths – Peaceful Woman/ High Note
Dennis Brown – Money In My Pocket/ Lightning Records
Harry J. All Stars – The Liquidator/ Harry J

Listen to What The World Wants Is Reggae: Seven Inch Selections from my Mixcloud page. Enjoy. If you want to download the mix, use this.

Label Scans:















Keep Diggin’!

Sister Carol – International Style

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In light of the massive Dub Invasion Festival the next week or so in Boston and New York, headlined by the Upsetter himself Lee “Scratch” Perry, I figured I’d dig deep into my Reggae crates and put out a side that I got a while ago and have been sitting on for a Reggae mix. I scooped up a bunch of Reggae 45′s and the guy asked if I was interested in 10″ records. I mean, I’ll take the tune in any format that I can get it, so of course I said yes. The side we have here is Sister Carol and “International Style” on Jah Life Records.

Born Carol Theresa East in 1959 in Kingston, Jamaica, Sister Carol started out in the ghetto of Denham Town. With a music scene forming before her eyes, Sister Carol worked her way from the ghetto to international Reggae artists. Her father worked for Radio Jamaica Rediffusion (the number one radio in Jamaica at the time) and was a huge contributor to Treasure Island and Studio One studios, working regularly with Coxsone Dodd. In the early 70′s Sister Carol would move to Brooklyn, NY, where the Dancehall scene was about to burst. Through a series of talent contests here in the States as well as in Kingston, Carol would be offered a slot in the Mediations, harmony back up for the legendary Bob Marley. This opened the door for releasing her own records, Liberation for Africa on Serious Gold, and Black Cinderella on Jah Life. These releases led her to be a dominant female force in the Reggae scene, winning best female DJ for 5 years straight in the 80′s. She furthered her career by establishing her own Black Cinderella label in 1989. An educator, mother, grandmother, and leader in life, as well as in Reggae music, “Mother Culture” has made her mark in an industry mostly dominated by males. Her social awareness and cultural preservation through her music has kept her on top in not only Reggae music, but in life itself.

“ Call mi Sister Carol/Mi come fe educate and eradicate hate/Ism and schism I will kick and we nuh respect debate ”- Sister Carol

“International Style” has got that bass line (played by Paul Henton), and backed by the band the I Life Players, that keeps you bobbing your head from the first minute. Moving through different styles but still spreading her gospel of positive vibes so “the youths dem prosper”, this one lights up the dancehall and ensures that the crowd did not pack up and park when this came on the sound system. Apparently pressed up on a few different labels, this particular version of the song doesn’t start with the bass line, but a drum roll. Either way you will dig it. Sister Carol continues to make music, act, educate dem youths, and to me uttered one of the greatest lines ever: “What the world needs now, is Dub sweet Dub…..no not just for some, but for everyone”.

Download or listen to Sister Carol – International Style from the Jah Life 10″

Also available on 45, (with a sweet Spiderman label to boot), I will be keeping my eye out for this one as well. If you’re in NYC or Boston, check out this festival:

Keep Diggin’!

Sir David Rodigan: All Jamaicans Hands in the Air!

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Photo Courtesy of David Cono

If you have been a reader of this blog, you know that Reggae has been a big part of what we write about at FMF. From King Tubby to Harry J. All Stars to Jackie Mittoo to Dennis Brown to U-Roy and beyond, I try to keep it fresh and moving here. For the last few weeks I have been seeing Gilles Peterson tweet about how he had a massive show with Sir David Rodigan upcoming. This is a massive meeting of the music minds. Peterson, who’s Radio 1 show is possibly one of the most diverse and deep shows on the airwaves, is now getting together with the best of the best, the number one selector, tougher than tough, David Rodigan. For those of you who may not know who Rodigan is, let me try to explain the history briefly.

Starting out DJing during his lunch breaks in the gym of the Gosford Hill School in Kidlington, Oxford, Rodigan has become the professor of Reggae music. With an extensive knowledge of everything Reggae, the man has been here from the beginning. From Ska to Rocksteady to Roots to Lovers Rock Dub to Dancehall and beyond, Rodigan is Reggae music. His radio show started in 1978 on Capitol Radio in London. His Roots, Rockers Saturday night show remained there for eleven years. A white man playing Reggae, his reputation was questioned until his famous Sound Clash with Barry G on JBC Radio in Jamaica. Not only did he clash with Barry G, but all the top Sound Systems in JA, the United States, and the West Indies. He hasn’t stopped (winning) since. His British Forces Broadcasting Corp was broadcast for 25 year, and now he resides on Kiss FM with Rodigan’s Radio. He continues to keep the history of Reggae music alive and push forward in the future with the next generation of Reggae superstars. His Sound Clashes are all over the world, and if David Rodigan is in your town, do not miss the show.

That being said, Gilles Peterson did finally broadcast this show, which I can only say one thing: RESPECT. Not only did Rodigan run down the history of Reggae with words and music, but he had a Sound Clash with Peterson on the air. This isn’t something that happens everyday. A great showing by both DJ’s in the two hour broadcast. I’d have to say besides the Sound Clash, my favorite part was when he talked about clashing with other DJ’s, having Dub Plates made, and the most famous Dub Plate of them all: Tenor Saw. This just blew my mind, that at the height of the Dancehall craze, he got this Dub Plate made with Tenor Saw. It blew it so much that I tweeted it, and Rodigan retweeted it. It may sound silly, but to me, this comes second into actually holding Lee Perry’s hand. Two giants of Reggae and FMF meeting by fate. Big Ups Gilles Peterson, Maximum Respect David Rodigan, and Salute! to Reggae music.

Here’s the streaming link of The show on BBC.

Here is a download link of the show, with a track list.

Check the Sound Clash videos of Daddy Rodigan:

Rodigan Live @ Waterhouse 1985

2002 in Jamaica

Rodigan vs. Jaro 1997

Reggie Stepper – Cu Oonuh mislabeled as Colin Roach!

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The real artist, record mislabeled as Colin Roach!

Colin, send me an old dancehall photo of yourself please!

*****UPDATE! After much more digging, I found that this record was mislabeled as Colin Roach (as many labels in JA were). Intro by Fuzzy Jones. Enjoy Reggie Stepper with Cu Oonuh!!

Piles and piles of 45′s have been lining up my lab. I even brought some more out of the closet. It was here that I unpacked my gig box, which I switch out 45′s constantly. However, with the move, etc., records have been filed away. After I did the mix with Prime-Mundo, I decided to keep the box out. This record was one I had to pull out. I believe I bought this at the Spot, but at the time I can’t recall from who. It might have been Grumpy Graham or maybe even Psych Dave…but I digress. Snow predicted here in NYC tonight. That’s right I said snow, but really, I’m ready for the warmer weather. If I can’t have the warm weather for real, at least I can get into the mind set. Here’s Colin Roach with “Lately” on the Techniques label.

Colin Roach was born in Jamaica in 1963. From the age of 11, where he started out as a drummer for such record labels as Tuff Gong, Channel One, and Dynamic Sounds, his music career started to take off. Drawing influences from everyone from Stevie Wonder to Sly Dunbar to Dennis Brown, he would go on Jamaica’s version of the Chitlin Circuit: the hotel and stage show tour of Jamaica. As a member of the band Black Culture, he would spend a good amount of time on this circuit. As a member of the Zenith Band, he would be involved in the famous Reggae Sunsplash 1984 at Jarrett Park in Montego Bay. His career changed though, as he moved on to the Tony D’Costa Affair, where he would be encouraged to be a singer. This move altered his place as a musician in Reggae history, as Roach would go go on to lend his vocal stylings to King Jammy’s, Stereo Mar and Stereo One sound systems. Known for his 1986 Dancehall hit “Champion Sound” (which is a cracker of a side over the Kuff aka Magic Moment Riddim), Roach put out a string of 7″s on Jammy’s as well as Moodies as well as being featured on Greensleeves, VP, Super Poer and Hawkeye compilations.

Like a lot of records from the 80′s that came out of a DJ’s crate, the name of this record and artist were blackened out with a Sharpie. Not blackened out enough, but I’m sure still effective in a dimly lit club. Using the famous Stalag 17 riddim (used by such artists as Big Youth, Sister Nancy, Tenor Saw, and almost everyone else in Reggae), Roach rides it out pon a fine Dancehall style. I’m sure after this side was dropped, the next day “dem hat it up lass nite” was heard all over town. Produced by Winston Riley, who was no slouch as a performer or producer, on his own label Techniques. Riley definitely produced hits in the Dancehall. Mega hits. From “Ring the Alarm” to “Boops” to “Double Barrel” and beyond, Riley took veterans and newcomers alike and made them all sound good. “Lately” is a nice little gem, while not so popular on the Stalag riddim tip, for me it’s one, a great use of the riddim, and two, a nice change. Hope this side warms up your day a bit. Keep Diggin’!

Listen or Download Colin Roach – Lately from the Techniques 45

Dawn Penn – You Don’t Love Me

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Here we are in 2011, wait I just said 2011 didn’t I. WTF? How did we hit another decade so fast. How am I approaching my 4th year of Flea Market Funk? Hard to believe, but I am. As I am sitting here writing, after a huge DJ Prestige update, I have been listening to some mixes of mine from the past. I also have uploaded a few onto that site, and man it’s some records I haven’t heard in a while. Music to my damn ears. So is this damn PB Wolf Stones Throw recap 2010 mix. Damn thing is hot fiyah. But I digress….Today I wanted to start the year off right. Here’s the set up: I was snowed in with the fam over last weekend, and when we finally got to get out, we headed on over to the local record shop (ok we were heading to get the kid some hot chocolate by the record shop), when the owner said “Hey man, I owe you a record!” I am not one to turn down a record, ever. So, for the first post, I’m getting out of this cold and heading down to Jamaica with Dawn Penn and “You Don’t Love Me” on Coxsone Records from 1967.

Born in 1952 in Kingston, Jamaica, Dawn Pickering aka Dawn Penn studied classical music in JA on Duke Street with Miss Campbell. She played the violin and sang, and her sisters would perform for churches and missionaries. This experience led the then high school girl to sing for Coxson Dodd at Studio One. The record, which I bring to you today, was an instant hit. Backed by Tommy McCook and the Skatalites, this teen sensation then moved on to Prince Buster’s camp and released a string of tunes. A collaboration with Bunny Lee and a heap of covers (“Here Comes the Sun”, “To Sir with Love”, and more) plus backing vocals on Johnny Nash’s “Stir It Up”, “Guava Jelly” and others established Dawn Penn as a star. However, in 1970, she left the music industry completely and moved to the Virgin Islands. Raising children and having a career were on her mind. It wouldn’t be until 21 years later, when she re-recorded this very record that she would return to music for good. She recorded two versions of this record: one for Steelie & Cleavie and one for King Jammy. King Jammy’s version on Greensleeves would be the version that got the ’nuff respect and killed it on the Dancehall scene. The Steelie and Cleavie version went more mainstream Pop (and the version that most people know), and was a smash. She was back. Recording contracts, touring, and a lot of notoriety followed. She still tours and records extensively in Europe and the UK today. The Dancehall version of this tune has been sampled quite a bit.

Penn’s take on the Willie Cobbs version (also done by Gene Thompson and the Counts on Ace with a HOT horn stab in it) of “You Don’t Love Me” in a Rocksteady way is nothing short of genius. Slower than the Dancehall version (of course), this is something I could put on repeat and listen to it all day. Can you see this teenager in Studio One laying it down while Tommy McCook and the Skatelites provide all the back tracking? While the Dancehall version will always get people moving where I play, I still love to pull the original version out at the end of the night to slow them down and give respect. This track was also on Coop’s Guest Mix a few years back. Enjoy. Happy 2011. Keep Diggin’!

Download or Listen to Dawn Penn “You Don’t Love Me” from the Coxsone 45

**Pat Kelly Delroy Wilson- Cool Operator

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Download or Listen To Pat Kelly – Cool Operator from a White Label JA 7″

**Thanks Charles who pointed out that the Pat Kelly record was really Delroy Wilson! The white label/ record sleeve was really wrong! This does happen, and hopefully I can dig up some Pat Kelly for all of you. A huge thanks to a guy who’s been listening to Reggae for 40 year! Sorry for the confusion folks!

As Fatboy Slim once said: “The weekend starts here……” Here we are folks at the end of another grinding week. I hope you all enjoyed the Funky Soul of Miss Betty Harris mid week. Before I get into an extremely cool record from Jamaica, I wanted to shout my man Devil Dick out for his birthday. The old dog has made it through another year, and hopefully got himself a pair of new Pop Pop shoes for the digging season. I hope your day was great my brother, many more to you! As I was writing this I got a call from the Old Dog and we hit up the best sushi restaurant around with the JJB. There was some company missing, but there will be a next time. Before I go on and on about good friends some more, let’s jump into this record. I’m really excited about this side. Here’s Pat Kelly with “Cool Operator” on a white label 7″ from Montego Bay.

Born in 1949 in Kingston, Jamaica, Kelly was a notable Rocksteady artist of his time. He was known as the Curtis Mayfield of Jamaica, and soon went on to front The Techniques, who formed in 1966. Consequently, this Curtis Mayfield sound alike and his new band liked to do Impression covers, and they did them well. He split from the Techniques in 1968, only to reunite with them again and have a series of Soul covers done Reggae that were hits in JA. From Mayfield to The Impressions to The Temptations to James Carr to George Harrison, Kelly has really covered a lot of Soul in his own way. He’d go on to work with Hopeton Lewis and Winston Riley among others, while also recording for Lee Perry and Bunny Lee, who I believe this side was recorded for. Kelly continued to make music on Pama Records and it’s subsidiary Gas Records. He collaborated with Phil Pratt on the Cool Breezing Lp, and remained in the game until the late 70′s.

“Cool Operator” is a great Rocksteady side, where Kelly professes his infatuation and love to a certain woman. I don’t have a lot of information on this side, other than it’s hand stamped label that reads: Record City, 26 James street, Montego Bay, and a hand written “Cool Operator” on the label with pen. This side is definitely associated with Bunny Lee, as there is a B.L. etched into the vinyl. I’ve got not much more to say, except this goes out to a real Cool Operator, you know who you are. I’ll be back Monday with more goodness. Keep Diggin’!

U-Roy – Chalice In the Palace

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Download or Listen To U-Roy – Chalice In the Palace from the Virgin Records LP Dread In A Babylon from 1975

It’s Friday, and I’d thought I’d throw some Reggae out today. I got a great haul this week, and this is a record I’d been looking for for a while. It turned up (as well as a huge haul of JA pressing Lp’s) at my local. Apparently there is more, so I will hopefully be grabbing a bunch more over the weekend. Here’s a song that Prime-Mundo featured on his FMF Guest Mix: Yes Rasta. Check out U-Roy with “Chalice In the Palace” from the Dread In A Babylon Lp from 1975.

U-Roy was born Ewart Beckford in Jones Town, Jamaica in 1942. He gained his ever famous nickname from someone who couldn’t pronounce Ewart. He cut his teeth at various Sound Systems in the 60′s: Doctor Dickie’s Dynamite, Sir George the Atomic, Duke Reid’s, Coxsone Dodd, and eventually King Tubby. At this time Tubby was developing his pioneering Dub sound, and recruited U-Roy to be his top DJ of his new Sound System. This would be around 1969. In 1970, he would go on to record for Duke Reid (at the recommendation of John Holt, who heard U-Roy toasting), releasing some powerful singles: “Wake the Town”, “Rule the Nation”, and “Wear You To the Ball” on Treasure Isle. Although they are really reworkings of other songs (riddim, etc), these are very important songs in their own right. He changed the game, and as a DJ he would lead the way for others to follow. His work in this period with Lee Perry, Bunny Lee, and Peter Tosh would not go unnoticed either. The version was born, and U-Roy was in high demand, recording all over JA. The list of people influenced by him runs from Big Youth to Dennis Alcapone to I-Roy and beyond. After this record in 1975, U-Roy was at his most powerful. Interest grew from Jamaica to Europe, and in 1976 he’d go to Britain. This was a trip that would be crucial to his career. Shortly after a live record of the shows (backed by the Revolutionaries) was released, and he went on to form his own Sound System Stur-Gav in 1978. This in conjunction with his new record labels Del-Ma and Mego-Ann kept him on top. He furthered his world domination with the release Jah Son of Africa. Unfortunately, as in many of Jamaica’s greats, the music tells an all too real account of daily life in JA, and his Sound System would be destroyed due to election violence. U-Roy would come back strong though shortly after, enlisting new DJ’s Josey Wales and Charlie Chaplin. A superb appearance at Jamaica Sunsplash in 1983 lead to further live appearances at the landmark event and collaborations with Tappa Zukie and Prince Jazzbo. However, it was Mad Professor that would coerce U-Roy to go back to his recording pace (after a decline in output) in the 1990′s. He has been back on top ever since. U-Roy is an integral part of Jamaican DJ and Dub culture, and will forever remain an important figure throughout the music’s history.

Backed by the Soul Syndicate and Skin Flesh and Bones Band, U-Roy was the epitome of Natty Dread on this record. The song itself is a recut “Queen Majesty” by the Techniques. Produced by Prince Tony Robinson, U-Roy’s initial release for Virgin was a showcase of his Rastafarian beliefs. This was a turnaround from earlier recordings, and was a tactic used on Robinson’s Big Youth releases as well. Although it was said that he “chatted commercial dread lyrics over rocksteady classics” at that time, which may have been true, some almost 35 years later, this record does make sense. From the imagery of U-Roy engulfed in smoke from his chalice, to a cover of Trenchtown Rock, it may have been passe at the time, almost corny. It did serve a purpose, however, and there is no denying that U-Roy has paved the way for many a conscious DJ, eager to promote Rasta, and toast their way into Jamaica’s rich history of Reggae music. I’ll see you on Monday, Keep Diggin’!

Johnny Osbourne – Fraudie

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Download or Listen to Johnny Osbourne – Fraudie from the Brown Sugar 45

After an extra day off because of the holiday, FMF is back. I’m sunburned, full of food, and ready to bring some Summer vibes to you. What better than to bring some Dancehall Reggae on a Monday morning? This time I have a side I picked up on my tour of DC and Richmond back in March. It’s a great side on Brown Sugar (that looks a lot like Brownstone) straight out of JA, from Johnny Osbourne, “Fraudie”.

Born Errol Osbourne in Kingston, Jamaica (Jonestown to be exact) in 1948, Johnny Osbourne has become well known through out the Jamaican music community as the Godfather of Jamaican Dancehall. Recording for the Wildcats in 1967, the manager Winston Riley would go on to finance a series of recordings at Coxsone Dodd’s Studio One. One full length came out of that session, Come Back Darling. However, upon completion of the record, Osbourne would emigrate to Toronto, Canada to be with his family. He recorded a few records with the Soul/ Reggae group Ishan people. See Light in the Attic’s release: Toronto to Jamaica for an interesting story on Canadian/ Jamaican Reggae relations. This would last until 1979, where he would return to JA. Upon his return to Jamaica he would hook up with Dodd once again and record a few sides, “Forgive Them” and “Jealousy, Heartache And Pain”, and his 79-80 recording sessions made it to a full length, Truth and Rights. His vocal style made him a popular and in demand vocalist in JA, recording for King (back then Prince) Jammy, Bobby Digital (not the RZA), and others. Johnny’s laid back dancehall style, to me is most prevalent in his side “No Ice Cream Sound”, a fave of mine. His song “Buddy Bye”, which he is most well known for not just because of the Sleng Teng Riddim, and was remixed years later by Kenny Dope who laced it with 90′s Hip Hop samples and kept it open so the audience could shout: “Who-a-ooooo”, etc. His vibrant, soulful voice continues to be a force today, and with a catalog of hits, he has earned the name the Godfather of Dancehall.

“Fraudie”, an upbeat side, at first listen, to me sounds like a faster version of “Ring the Alarm”. Obviously not the same riddim, but Osbourne is answering those who called him “Yardie” as opposed to knowing his name. Yardie refers to someone who was a resident or occupant of the government built yards in Trenchtown after Hurricane Charlie. These lower financial areas were built around a central courtyard with a communal cooking area. Gang activity followed, and those key characters to come out of the Tenemant Yards, whether they liked it or not, were called Yardies. Emigration to Britain gave birth to further Yardie culture, which spread violence and the drug trade throughout London. The Version of this tune kills it as well, so keep a look out for it. Props to DJ Birdman for selling me this. Enjoy this slice of Jamaica on the Monday morning (and pay no mind to the slight skip on the outro). Keep Diggin’!

Mikey Dread – Jumping Master/Master Mind

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Download or Listen To Mikey Dread – Jumping Master/Master Mind from the Dread At The Controls Records 12″

Here we are midweek at Flea Market Funk and I’ve been feeling some Reggae as of late. I’ve been bumping the latest Dennis Brown compilation, thanks to my man SF over at The Offside Rules. It made me dig deep into my Reggae “to do” pile, and wouldn’t you know, I had this 12″ buried in it. I remember getting it at the Spot this past Summer, and it went right into that pile. Here I am 6 months later, and it jumped right out at me. It may have been snowing today in New Jersey, but I’m definitely feeling some vibes from JA with Mikey Dread and “Jumping Master/ Master Mind” from 1980 on Dread At The Controls Records.

Michael Campbell aka Mikey Dread was born in Port Antonio, Jamaica in 1948. Dread came to prominence in the 1970′s as a Dee Jay on the Jamaican Broadcasting Company, with a 4 hour show called Dread At The Controls. Before Mikey, mostly American records would dominate the Jamaican airwaves. After Mikey, this would all change. He would showcase local talent and played the newest and latest records, some even just hours old. An expert on Jamaican music, he would often play the original songs that the latest dancehall sides used the riddim from. He was also known for jingles on his show, not just the music. These jingles were recorded at King Tubby’s Studio and were as interesting as the music he showcased. His natural progression was to record as a DeeJay on vinyl, and he released “Dread At The Controls” with Lee Perry. This would become his theme song and an anthem, if you will, for Dread. He’d release a few more singles, plus put out sides for Sonia Pottinger and The Mighty Two, before resigning due to politics at JAB in 1979. More sides would be produced for artists such as Ray I and Carlton Patterson. Dread’s next move was to start his own record company, aptly titled, you guessed it: Dread At The Controls Records. It’s first title was just that, but the Dub companion to it, African Anthem , would make a huge impact in Jamaica and in Great Britain. People were now buying records purely for their Dub sides once again. This had not happened since King Tubby ruled the dancehall with Bunny Lee a few years prior. As the 80′s got under way, Dread headed over to England to open up for The Clash’s tour. After the tour, the band and Dread went to the studio, where they recorded “Bank Robber”. The song turned out completely different than what the Clash had wanted, they wanted Ska, Dread gave them a Dub scorcher. He would record with them again with a cover of Eddie Grant’s “Police On My Back”, from Sandanista!. The Clash sessions and further scheduled sessions fizzled out, but Dread pushed on. Hooking back up with producer Carlton Patterson, DATC would release Dancehall burners from artists such as Sugar Minott and Junior Murvin, with B-Side Dub from King Tubby. DATC Records saw some success. With the release of several more records, DATC continued to prosper in JA and now in the UK. After a less than flattering attempt at a Lovers Rock record, Dread hooked up with the UK’s Channel Four to narrate the six part music series called Deep Roots, and also Rockers Road Show. The RRS’s theme “Roots and Culture” was featured on a classic MD record from 1984 Pave The Way. His record output from here on was sporadic, but none the less unenthusiastic. Even an African Anthems Revisited record failed to live up to it’s previous glory. He’d do some producing (ex G’N'R Izzy Stradlin), but mostly focused on television gigs which kept him in the public eye.

“Jumping Master/Master Mind” is one of Mikey Dread’s better known records from the early 80′s, directly after the Clash situation/ fiasco, where the Clash would return to the UK with their tails between their legs. It’s unfortunate, but they were targeted from studio to studio in JA, sending them back a bit scared, and hopefully a bit wiser. Dread’s Dub genius is evident throughout, and with the help of Steelie of Steelie and Clevie fame, makes this side a keeper. The side’s haunting piano riff and riddim keep your head nodding like my grandfather after a long day at work, but in a good way. It’s a long side, but keeps you interested no doubt! The Dread At The Controls was a massive influence on Reggae radio and television, and should be commended for his work in both medias. I will see you Friday, so until then, Keep Diggin’!

Little Lenny – Gun In A Baggy

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Download or Listen To Little Lenny – Gun In A Baggy from the RAS Lp Gun In A Baggy

Good Monday morning to the Flea Market Funk Family. I trust that all of you had a great weekend, and that you had some good digs as the weather here on the East Coast was good enough to get out on a Saturday and Sunday afternoon, minus the torrential downpours on Saturday night. I had a busy weekend, DJing at a new spot here in Asbury Park called Mattison Park. We’re trying to get another weekly going, a no drama, stress free Deep Funk, Soul, Reggae and Classic Hip Hop night with a name TBD. Also, big up to the Liverpool lads who lay top of the table by 3 points after beating Chelsea with a goal by Xabi Alonso (who would have thought?). Maybe next time Big Man! Today we’re gonna move forward a bit, with some conscious Dancehall from a teenage, Little Lenny, with “Gun in A Baggie” from 1990 on RAS Records.

When I found this, it looked so interesting that I couldn’t not pick it up. As I’ve said many times before, Reggae (any genre) is pretty much hard to come by at the Spot. There have been some spells where a few guys would find a few crates and they would be gone so quick. This Lp turned up in a random crate, and even though it’s only 18 years old (a year older than Little Lenny was when he made this record), I think it’s FMF worthy. Basically this song is a call to all me to watch out for the girls, because they have a gun in their baggy. The baggy being their panties, and the gun being gonorrhea. It’s as simple as that, or one would think so. This record almost wasn’t even made. They said the subject was too controversial. Little Lenny wasn’t having it. So, with the backing of the Firehouse Crew, Dave Kelly and George Miller on Drums, Danny Dennis on Bass, Paul “Wrong Move” Crosdale on Keyboards, and the programming of Anthony Kelly, a conscious hit was born. As soon as it would hit the dancehall, the side would become a hit. Immediately banned from the radio in Jamaica, it ruled the dancehall in 1989. Eventually becoming one of the top requested songs in the dancehall, the record would go on to sell over 20,000 copies initially. It became so popular that a clean version was made entitled “Healthy Body”, which went directly to number one, propelling Little Lenny into the spotlight as an overnight sensation. His bio says Little Lenny has lyrics to kill, but we really haven’t heard much from him, so possibly the overnight sensation was just a flash in the pan?

This record was recorded 10 years in on Reggae powerhouse RAS (Real Authentic Sound), who were founded by Doctor Dread in 1979, and rubs elbows with such Reggae luminaries as Black Uhuru, Don Carlos, Inner Circle, Culture, Junior Reid, Yellowman, J.C. Lodge and Freddie McGregor. RAS has always been well known for being the real deal, and breaking musical boundaries with over 300 releases by a who’s who of Reggae. Throw Little Lenny in this mix with this “burning sensation” of a Dancehall record. See you midweek after a NY Red Bull player party. Stories, photos, and shenanigans to follow. Keep Diggin’!

Linton Kwesi Johnson – Inglan Is A Bitch

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Download or Listen to Linton Kwesi Johnson – Inglan Is A Bitch from the Mango Records Lp Bass Culture

What we’re gonna do this morning to start the week at Flea Market Funk is get a bit political. It’s something I like to shy away from in this blog (although I have stated my support for Obama in the past), because everyone is entitled to their own opinion. The political stuff I want to touch on today, has more to do with today’s side and artist more than my own rant on the state of US politics. We’re gonna get into some Reggae this morning with Linton Kwesi Johnson and “Inglan Is A Bitch” on Mango Records from the 1980 record Bass Culture.

Born in 1952 in the rural parish of Clarendon, in the small town of Chapelton, Jamaica, Johnson emigrated to London, England in 1963. Johnson would join the Black Panther Party while still attending school at Goldsmith’s College at the University of London. He would go on to organize a poetry movement within the Panthers, and Rasta Love a group of poets and drummers was born. Winning a C Day Lewis Fellowship in 1977, he would move on as a Library Resources and Education Officer at the Keskidee Center, where it became the first official home of the Black Theater in London. Starting out as a writer and poet way before he was even a musician, he was first published in socialist newspaper Race Today with Voices of the Living and the Dead in 1974. His second group of writings, Dread Beat An ‘ Blood in 1975, would be the title of his first record ( released on Virgin )in 1978. Also in 1978, a documentary on his works and life, also entitled Dread Beat An ‘ Blood would be released. This record was released in 1980, and this side is the title of his third book. There would be three more records released on the Island related label before he would start his own record label, LKJ in 1981. It makes much sense that an activist who was revolting and writing on the treatment of Afro-Brits by the British government would eventually break off from an established corporate label to go out on his own. He had been an activist and doing his own thing all along anyway. Moving closely back to the journalism and writing he started out with, the 1980′s were filled with close affiliations to the Brixton Race Today collective of people. He was also a reporter for Channel 4, and released a 10 part radio series entitled From Mento to Lovers Rock on the BBC. Kwesi Johnson has since toured with other bands, produced artists, and of course written politically and released poems and the like. His academic accolades include an Associate Fellow of Warwick University and Honorary Fellow of Wolverhampton Polytechnic while also receiving he XIII Premo Internazionale Ultimo Novecento from the city of Pisa for music contribution in Italy.

“Inglan Is A Bitch” tells the story of struggle of the Afro-Brits in London. It details how the perception of the Black youth must be changed (dem seh dat black man is very lazy,but if y´u si how mi wok y´u woulda sey mi crazy”), and how the Black man struggles from modern day oppression. Johnson just wasn’t preaching about it, he was living it day in and day out. He was called the Dub Poet for a good reason: his experiences scorched newspapers, news reports, documentaries, radio shows and the like; then were put to music. His involvement with the Black Panther Party is no secret, and the way he moved forward, spreading his word and challenging the British government is commendable. He assembled a great band behind him which was lead by keyboard player Dennis Bovell, who he’d later go on to record with. Kwesi Johnson is the real deal, a man who walks the walk and talks the talk, championing the human rights for the oppressed, and making a difference in the Reggae music world, and in the world in general. Nuff Respect to this man. See You midweek. Keep Diggin’!

Shabba Ranks – Roots and Culture

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Download or Listen toShabba Ranks – Roots and Culture from the VP 12“

Good mid-week to the family. I hope all of you enjoyed the superb mix of The Soul Chef. It was a surprise and delight for him to contribute to the Guest Mix Series. Next week, we’re going to have Jason Perlmutter of Carolina Funk fame. It should be as Larry over at Funky 16 Corners says: “A Stone Gas”. What we have here is a guilty little pleasure of a record that I love to play at gigs, and finally acquired this past weekend on 12″, although I’ve had it on one of those fine Dancehall comps for quite some time. It’s the original Loverman, Shabba Ranks with “Roots and Culture” from 1991 on VP Records. I know that this is a bit late as far as Flea Market Funk tracks go, but good tracks are good tracks, there is no denying that.

Rexton Rawlston Fernando Gordon aka Shabba, was born in 1966 in Sturgetown, Jamaica. Brought up in Trenchtown, the young future toaster eventually got into the Roots Melody Soundsystem with Admiral Bailey. Starting out as Co-Pilot, he released 1985′s “Heat Under Sufferer’s Feet”. After a name switch to Shabba Ranks, he would eventually catch the eye of Jamaica’s music elite, garnishing attention from Josey Wales and King Jammy’s Studio. Releasing “Original Fresh”, Shabba would start a wild ride at Digital B Studios with super producer Bobby Digital and the record label of the same name. Ranks would churn out big time hits such as “Wicked Inna Bed”, “Peeny Penny, “Live Blanket”,”Mama Man,” and this very record. Add in “Mr Loverman”, “Twice My Age” (with Krystal), “Telephone Love”, and others. His collaborations with Maxi Priest, Cocoa Tea, Queen Latifah, Johnny Gill, and KRS-One are legendary. Shabba Ranks was the first Dancehall artist to ever receive a Grammy. He was the inventor of the X-Rated Dancehall style, paving the way for guys like Sean Paul and Shaggy. His bragadocious and sexual bravado made him stand out as an artist and around the world. Shabba Ranks is a Reggae legend, that many new artist coming out of JA have to thank for laying down the foundation in the digital Jamaican age. This song was also featured on the Steven Seagal classic Marked For Death, if that is truly a classic.

Shabba Ranks cry for the respect of the Roots and Culture of Jamaica is just what the youth of the early 90′s needed. Calling out slackness and a lack of respect for the founders of Jamaican music, giving respect to your elders, teaching the youth, and stoppage of black on black crime, the X-Rated MC holds up a level of social consciousness that makes him stand out IMHO. You can say what you want about Shabba, how he is too sexual, how his lyrics ooze that dirty style, but he came correct on this track. I can’t imagine a world of Jamaican music without Shabba, and his signature scowl. Big up and Nuff Respect to Mr. Lover Lover for teaching the youth. See you Friday with some more goodness. Keep Diggin’!

FMF Guest Mix Series: DJ Prime Cuts

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DJ Prime Cuts always coming correct with the Reggae

I’ve know DJ Prime Cuts for a long time. I mean, we go back pretty far. We have been collecting vinyl together for the better part of 15 years plus. We’ve traveled all over this country (and the world for that matter) on a quest for vinyl. Although we’ve grown older, got married, and become adults (for the most part), the love we both share for records still runs deep. I can always count on Prime to go digging (when he’s not being a Gourmet Chef, but he still makes the time), and I can easily say we’ve never had a squabble about a record, because who better to lose out to a rare 45 or some heavy JA shit than one of your friends? I’ve seen his record collection go from big, to frigging bigger, and the stuff he was pulling on the cheap when he lived in Philadelphia was unbelievable. He’s a regular at The Spot and a member of the Asbury 45 Sessions Team. I’m proud to call this guy my friend, and fellow DJ. Here’s a mix from his deep, deep, Jamaican crates:

Yes Rasta!!! Tracklist

Super Cat – Cry Fi De Youth
Nigger Kojack – Hole in the Bucket
Cocoa Tea – Love the People Want
Techniques – Little Did You Know
Tapper Zukie – Man Ah Warrior
Justin Hinds & the Dominoes w/the Skatalites – Corner Stone
Alton Ellis – Knock on Wood
Delroy Wilson – Easy Snappin’
Michael Bitas – Die Yu Die
Bob Andy – I’ve Got To Go Back Home
Wailing Souls – Run My People
Congos – Fisherman
U-Roy – Dreadlocks Dread
Highlites Sons of Jah – Freedom of Movements (Dub)
Big Joe – Dub Girl
Augustus Pablo – Brace a Boy
Culture – This Train
Johnny Osbourne – We Need Love
The Soul Bros. – Chicken & Booze
Techniques – Queen Majesty
U-Roy – Chalice in the Palace

Yes Rasta!!! DJ Prime Cuts Guests at Flea Market Funk