Tag 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’!

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

Jackie Mittoo – You’ll Never Find

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Download or Listen to Jackie Mittoo – You’ll Never Find from the Magna Sound Lp The Keyboard King from 1976

While the Northeast is still digging out from yet another snowstorm, I figured I’d drop it like it’s hot, specifically something from Jamaica. For a while I have always tried to dig up some of this stuff out in the field. Honestly, it doesn’t show up that much. Especially this Jamaica to Canada connection, which I find fascinating for one, and has definitely been captured here. So yes it’s Jamaican, and well, it did start out at some hot beaches, but ended up cold in Canada. The point I’m trying to make, as confusing as it sounds, is that the music is red hot. This particular musician is one of my faves. Here’s Jackie Mittoo with “You’ll Never Find” off of the LP The Keyboard King on Magna Sound Records from 1976.

Donat Roy Mitto was born in 1948 in Browns Town, Jamaica. Starting on the keyboards at an extremely early age (four!), Mittoo always remained close to a piano or keyboards during his teenage years. He would go on to play in bands such as the Vikings and Vagabonds. The guy loved music so much that he often did not go to school, opting to play at Federal Studios instead. We all know that this would eventually pay off, don’t we? It was here he was asked by the famous Coxsone Dodd to play in the house band. Mittoo progressed on to college, where he hooked up with a young Augustus Pablo to perform in a group known as the Jackie Mitree. Moving on to the group the Cavalier Orchestra aka the Sheiks, Mitto would eventually get the call from Dodd again in 1962, when Studio One opened it’s doors. Jackie served as the music director, arranging and advising nearly everything the Studio put out. It was here he would form a bond with Tommy McCook, Johnny Moore, and Lester Sterling, leading to the formation of one of the most influential Ska bands, The Skatalites. Although the group only lasted a little over a year (with a short stint of Don Drummond), it is quite evident that the influence they had on Reggae music as a band was huge. I’d like to track down my man King Bravo this Spring at the Spot to see if he could give me some insight on Jackie and the Skatalites. I’ll keep you posted on that. After the Skatalites, Mittoo went solo. All the while he kept an almost unheard of pace with Studio One, churning out at least 5 or more tunes a week. Do the math, Jackie Mittoo put out thousands of compositions, this guy is a monster. From the Wailers to Freddie McGregor to Marcia Griffiths to Frankie Paul, Mitto has contributed to them all. In 1968, Jackie relocated to Toronto, and while still keeping ties close with Kingston, Jamaica, he would be a part of the movement I mentioned in the intro. Jackie Mittoo would die in Canada in 1990 of Cancer. His legacy lives on, through songs such as “Hot Milk”, “Darker Shade of Black” (some of my favorites), and of course this Lou Rawls cover.

Mittoo’s keyboard prowess is featured on this side, as he strolls through an often dubbed out version of Lou Rawls. It is indeed Soulful as it is beautiful. While not hard hitting, it showcases the man’s talents as well as Ansle Collins on Piano, Sly Dunbar on Drums, Robert Shakespeare on Bass, Earle Smith and Alias Chinner on Guitar, and Bo-Pete and Tony Chin on Rhythm Guitars. The labels, is Magna Sounds Records out of Markham, Ontario, but the record itself is labeled TWS 501, which I can only interpret as Third World Sound. It’s interesting really, that the Canada to Jamaica Connection went on, but honestly, it could have been Jamaica to Calcutta and Jackie Mittoo would have been making these great songs. Stay warm and Keep Diggin’!

Boris Gardiner – Love’s Been Good To Me

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Boris Gardiner as a member of the Upsetters.


Download or Listen to Boris Gardiner – Love’s Been Good To Me from the Dynamic Records Lp Soulful Experience

Todays’ record is a rainy day record for sure. Hot out of some crates at the Asbury Park Record Show, I figured I’d give this guy a little shine. It’s not Funk, like you may have thought from his record with The Boris Gardner Happening. It is Boris Gardiner, backed by the Happening, but playing some Sweet type Soul with “Love’s Been Good To Me” on Dynamic Records.

Boris Gardiner was born in 1943 in Kingston, Jamaica. He was a founding member of the teen group The Rhythm Aces, The Broncos (home base The Bronco Club), Kes Chin & The Souvenirs, and a member of Byron Lee’s Dragonaires, as well as Carl Malcolm and the Afro Caribs, playing the tourist and cruise circuit during the 1960′s. He’s also known for being a studio bass player, playing with such notables as The Aggrovators, The Upsetters, and the Crystallites. When he was still sessioning, he went on to release a record in 1970, “Elizabethan Reggae”. Mistakenly credited to his Byron Lee (who really produced it) for the first month, Gardiner finally got his credit after that. He has lent his name to many records, most notably not his own, the Upsetters Roast Fish, Collie Weed, & Corn Bread . He has recorded for Dynamic, Trojan, Duke, Water Lily, Revue and many others. While his first record made a bit of a splash in the UK, he has had more success in Jamaica more than anywhere. He had a comeback in 1986 with a cover of Mac Davis’s 1986 song “I Want To Wake Up With You”. His funkier sides include “Ghetto Funk” on Leal, and a cover of “Melting Pot”. Highly recommended and a bit different from this Soul side I have here today.

While Gardiner has held his roots firmly in Reggae music, this record is a bit Johnny Nash like, some crossover Soul. Not true Soul, but very Soulful. This record contains some great playing (The Happening were just that, happening!). Boris on the Bass and Lead Vocals, Peter Ashbourne on Electric Piano, Keith Sterling on Organ, Wallace Wilson on Guitar, Steve Laws helping out on Bass, Paul Douglas on Drums, Larry McDonald on Percussion, and Camille and Margaret Lewis and Majorie Whylie lending some Back Up Voices. These are some slow burning tunes people, perfect for a rainy day. This record was reissued on CD in 2004 by Vampisoul with a bunch of bonus tracks. Like I said, this is some rainy day, Soul for you, I hope you enjoy it and stay dry. Keep Diggin’!

**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’!

King Tubby & the Aggrovators – Straight To Andy’s Head

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Download or Listen To King Tubby & the Aggrovators – Straight To Andy’s Head from the Jackpot 45

It’s been raining here for quite a while, and you know what, it sucks. I need to get my mind to some sunshine, preferably a nice island. How about Jamaica? I thought since I was in that frame of mind, why not pull out a few JA sides I scored on the last digging trip? I got more than a handful, and this particular side I really dug. In fact I’ve been doing some reading as of late, The Trojan Records Story, and it got me into even more of a Reggae mood. Here’s King Tubby & the Aggrovators with “Straight To Andy’s Head” on Bunny Lee’s Jackpot Records. Notice the hand stamped title. Gotta love 45′s from JA.

Born Osbourne Ruddock in 1941 in Kingston, Jamaica, King Tubby is mainly responsible for the Dub sound of Reggae music and the inventor of the remix of records. His early expertise was that of a radio repairman and sound engineer. Tubby, who ran a radio and television repair shop in Kingston, would build large scale amplifiers for the various Sound Systems around Kingston. The combination of the weather and sabotage by rival Sound systems on each other kept him in business. His reputation preceded him, and for a brief moment in time, he ran a short lived pirate radio station (playing ska and rhythm and blues records) before the police almost caught up to him. King Tubby’s Hometown Hi Fi eventually was formed, but not before he went to work for Duke Reid at his Treasure Isle Studios as a disc cutter. Here is where he perfected and invented the remix, and where Dub would be born. These remixes brought Tubby a lot of popularity in Jamaica, so much he would go on to open his studio. His Hi Fi set up was the first to employ separate tweeter boxes. He would also go on to introduce a reverb unit, which helped put out “specials” (acetates) of the Tubby Sound. Although most of the music Tubby was putting out was not his riddims per se, he mixed dub sides for the likes of Lee Perry for Justice and Upsetter, Augustus Pablo for Hot Stuff and Rockers Labels, Glen Brown’s Pantomine, and Bunny Lee’s Jackpot label among others. His studio had a variety of old and new equipment, all working together to create his signature sound. At this time Tubby had acquired a four track recorder, which let him do even more. His mastering of controlling each precise sound (adding more bass or more drums, subtracting vocals), could and would transform the original record into something new. As I mentioned earlier, it was the birthplace of dub. Not only did his new “versions’ of songs catch on with the record buying masses, they became popular in the sound systems, as the people who couldn’t afford dub plates could play them and have their deejays toast over them. King Tubby was not just the master, he was the teacher as well. With young bucks Prince (later King) Jammy and Scientist ,who eventually became the successor to Tubby’s throne after his death at the controls, the Tubby sound went on to even higher levels. King Tubby went on to mix, and create Dub music until the late 70′s. He slowed down in the 80′s, building a new studio, and fostering the new breed in Scientist and Jammy as well as the management of his Firehouse, Taurus, and Waterhouse labels. Unfortunately, King Tubby was shot and killed outside of his home in 1989. While the murder was never solved, it was said that robbery was the motive. Despite his death, the Tubby Sound has lived on through the release of many of his works, plus the legacy he left behind and knowledge he taught the Dub producers of today.

Typical Tubby production, this side is full of guitar, that bobs and weaves out of the riddim. All the while heavy drum and bass keep it moving. It resembles the original, which is Johnny Clark “Left with a Broken Heart”, in riddim alone. Tubby deconstructs it pretty well. I love that you can hear some of the vocals sneak out, even though they are a bit muffled. I picture Tubby behind that board and him pushing buttons and sliding home made knobs on the Fisher reverb. Word has it he did so many modifications that they renamed it King Tubby & Fisher. I like his style. Keep Diggin’!

“Yes, Tubbs, Madness-the people dem like it!”- Bunny Lee

***BONUS: Here is a sound board recording from 1975 of Tubby’s Hometown Hi Fi

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’!

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’!