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Randy’s 50th Anniversary (Disc 1)

It’s common knowledge that the early sound systems - Tom The Great Sebastian, Sir Coxsone Down Beat, The Trojan, V-Rocket, ’s Voice Of The People and King Edwards the Giant - were the motive power behind the development of Jamaican in the 1950s. They played mostly US R&B and when the source of records began to dry up in the USA, many of the soundmen began to record local talent. But if sound systems were the engine in this vehicle of expression, then it was the local community of middle-class entrepreneurs - many among them of Chinese or Middle Eastern origin - who put themselves in the drivers seat. Men like the late Ken Khouri, owner of the first big record factory on the island and one of the first to record local music, the bandleader and businessman , the accountant , the ice-cream parlour owner Charlie Moo, or Justin Yap, whose family owned stores. Equally prominent among this group was Vincent ‘Randy’ Chin. Together this group provided a commercial platform from which the music could make the transition from local style to international taste.

Vincent Chin was born 3rd October 1937 in Kingston, the son of a carpenter who had arrived from China in the 1920s. He got the nickname ‘Randy’ because he was a fan of a US radio show broadcasting and sponsored by Randy’s Record Shop of Gallatin, Tennessee, on station WLAC from Nashville. After finishing his schooling in the mid-1950s, he worked for Mr. Isaac Issa, then controller of the large jukebox market in . Vincent’s job was to maintain and restock Mr. Issa’s jukeboxes all over the island. In 1958 he opened his first record shop with old stock - he had scrupulously saved all the discarded ex-jukebox discs - and thus began the family business. In 1961 he opened new premises at 17 North Parade, on the north side of the square in downtown Kingston. In time, the Jamaican ‘Randy’s Record Shop’ would become integral to the development of the music, even more so when Vincent opened a studio above the shop in 1968. Half a century later, that fairly humble beginning has evolved into the internationally known VP Records, now based in . This anniversary compilation surveys that half-century....

1) Independent Jamaica - Whilst on a Caribbean tour in early 1962 following the success of his tune “Evening News”, Lord Creator [born Kenrick Patrick in San Fernando, Trinidad c.1935] met up with Vincent at a club called the on Windward Road in eastern Kingston. Vincent asked him to record this tune, celebrating Jamaica’s independence from colonial rule. It was recorded at Federal Studio and duly became a big hit. Coincidentally it was the first record to be issued in the UK by Chris Blackwell’s . Creator’s urbane style - which he developed singing in front of the larger aggregations then prevalent in Trinidad - proved even more successful in Jamaica and he went on to become Randy’s leading solo singer.

2) Let Me Dream - Alton & Eddie had recorded ballads for with his partner Eddie Perkins, including “Muriel”; this was the last tune the duo did together before Perkins went to the USA. Alton went on to record a couple of solo sides for Randy’s before becoming one of Jamaica’s most successful soloists in the rock steady period, notably for Duke Reid and Coxsone Dodd.

3) Since You’re Gone - Roy & Paulette Roy Richards made many sides as a solo singer in the Jamaican R&B and style; this track however features him in the popular male / female ‘duet’ style, modeled on such US hit making R&B duos as Shirley & Lee and Gene & Eunice.

4) Rico Special - Rico Rodriquez A former pupil at the renowned Alpha School run by Sister Ignatius, Rico Rodriguez became one of the leading jazz-based musicians on the island; he played with the legendary Eric Deans Orchestra, replacing in the trombone chair in that band. This is from his last session in Kingston before he left for the UK in 1962

5) We Will Be Lovers - Lord Creator & Norma Creator originally wrote this as a vehicle for Norma Fraser to sing solo; when she had difficulties with the song at the session, he joined her in the performance, handling the melody while Norma supplied harmony.

6) Don't Stay Out Late - Lord Creator Another big hit for the Creator, exemplifying his cool style to perfection as he escorts his underage date home safely. Johnnie Clarke revived this hit song in the mid-seventies for producer .

7) Goodbye Pretty Darling - Basil Gabbidon Basil Gabbidon made around fifty titles - for Coxsone, Duke Reid and Prince Buster - in the early boogie / ska period, beginning as lead singer of the Mellowlarks for Coxsone Dodd in 1959; beyond that discography, little is known about him and he disappears from view completely after 1962, when he cut titles for Randy’s and for his friend the late pianist Theo ‘Easy ‘Snappin’ Beckford.

8) Make Hay - Cornell Campbell has had a long career in Jamaican music, cutting sides for Coxsone Dodd in the very early 1960s before linking up with fellow vocalist Roy Panton. He cut this song for Vincent in late 1963, with Charlie Organaire playing harmonica and Oswald ‘Baba’ Brooks playing the distinctive trumpet. Cornell’s trademark high tenor is instantly recognizable on the ‘warning’ lyric, but the tune never meant much beyond the audience for whom it was intended. Cornell returned to recording in 1968, cutting string of classics as member of the Eternals vocal group for Coxsone Dodd and Harry Mudie, and later in the mid- 1970s as soloist for Bunny Lee.

9) Royal Charlie - Charlie Organaire The chances are that if you hear a harmonica played on a ska record then Charlie ‘Organaire’ Cameron is blowing it. Born in Kingston March 20th 1942, Charlie attended Boys Town School and was discovered by Vere Johns, who ran talent shows in Kingston’s theatres in the 1950s. He recorded for all the leading producers including Coxsone, Reid, King Edwards, Prince Buster and Byron Lee. He was also a member of various bands, including Carlos Malcolm’s Afro- Jamaicans, Trenton Spence and Sonny Bradshaw’s group. He migrated to Chicago in 1976, where he continues playing to the present day.

10) Blow Roland Blow – Joanne Gordon &

The young-sounding Joanne Gordon (sister of popular ska singer ), sings the praises of the master saxophonist; he delivers a brace of scintillating solos as proof. The Cuban-born sax man had a beautiful sound, said to be inspired by that of his early hero, Tex Beneke of the legendary Glenn Miller Band, while renowned Jazz pianist Monty Alexander hears him sounding “like a funky Stan Getz. Either way, those tough yet tender qualities are manifest on this cut, recorded in 1964. Roland Alphonso continued playing with the reformed Skatalites right up to his death in 1998.

11) Portrait Of My Love - A version of a pop hit - for UK crooner Matt Monro among others - given a jaunty ska treatment by trumpeter Oswald ‘Baba’ Brooks, illustrating perfectly how virtually any song could become grist to Ska’s musical mill. Brooks is most celebrated for cutting the original ‘Shang Kai Shek’ for producer King Edwards.

12) Malcolm X - Excellent ska instrumental featuring the trumpet of Johnny ‘Dizzy’ Moore and Roland Alphonso’s tenor sax, this track is adapted from USA Jazz maestro Lee Morgan “ The Sidewinder”, in tribute to the great US political leader.

13) Mouth A Massy - Alton Ellis Alton delivers a warning to someone who is allegedly spreading lies; the phrase ‘mouth a massy [Liza]’ is said to derive from the African Twi language ‘mmasa- mmasa’, meaning ‘confused words’. A confident tenor solo - possibly Stanley Notice or Roland Alphonso - underlines Alton’s sentiment.

14) Rum Bumpers - John Holt & Alton Ellis ‘Rum-bumpers’ are people who drink too much rum, causing their Adam’s apple to swell into a ‘rum-bump‘. This song, one of John Holt’s earliest efforts with Alton Ellis supplying harmony, warns people to watch out for such people.

15) John & James - The Maytals Many of the Maytals earlier ska were drawn from the Revivalist gospel\ canon; this - one of the best - shows the great ska drummer in supremely propulsive form, seemingly driving the whole song via his cymbal pattern.

16) Yagga Yagga - Delroy Byfield In which a countryman describes who he is and what he eats:

"I am a little man, I come from Temple Hall, I eat potato, I eat them big and small. but let me tell you my friend, I have a special time, when I lean my back against the wall..."

Byfield was a Rasta man who lived in the Wareika Hills camp; nicknamed ‘Soft Subject’ by Vincent, he only made a handful of sides - including the titles ‘Bongo Man” and “Marcus Garvey” for Duke Reid and Coxsone Dodd - before disappearing off the musical radar.

17) Machine Shop - Don Drummond Without a doubt, Don Drummond was the most important musician to emerge from the ska period; his creativity lived on after his death in the so-called ‘Far East’ sound developed by such as in the 1970s. This instrumental is typical of his output - a minor-key riff is developed to the point where Drummond takes off, his solo displaying both a lyricism and emotion that seems barely contained before fading out.

18) Home Home Home - Stranger & Ken Wilburn ‘Stranger’ Cole and recorded three songs for Randy’s in 1963-4. This was the most successful; it proved its durability when Boothe re- recorded it for Studio One four years later.

19) Such Is Life - Lord Creator A brilliant ‘jailhouse’ song, this describes events that actually happened to Creator in the mid-1960s, when he was sent away to prison for possession of ganja. While in custody he penned this song, along with ‘Come Down 68’. When Vincent came to pick him up on his release they went straight to the studio to record this superb track as rock steady changed into in mid-1968. A decade later Creator re-cut the song at Lee Perry’s Black Ark studio. After UB40 covered his ‘Kingston Town’ classic - which was originally recorded earlier in Ska as ‘King & Queen’ for Vincent on his Randy’s label - he was able to buy himself a house in Salt Spring, , where he resides to this day.

20) Sugar Sugar - Bob & The Wailers If proof were needed of reggae’s ability to transform the most unlikely material, then surely it is manifested on this superb reggae version of the Archie’s bubblegum-pop monster, with Bob delivering a committed vocal over excellent backing vocals.

21) You Can't Fool Me Again - Peter Tosh was almost a permanent fixture at Randy’s studio from its opening in late 1968 through early 1969. He both arranged and played on many titles, on melodica and rhythm guitar, but also supplied backing vocals on occasion. This track is one of his best early solo efforts, a politically-charged lyric dropped onto a typical chugging reggae rhythm, recorded at Randy’s new studio, soon to become the dominant studio location of the early 1970s.

22) Wha She Do Now – Horace "B.B." Seaton, Winston and Maurice Roberts were the original Gaylads; Seaton and Stewart had previously been successful as the duo Winston & Bibby. They excelled at love songs in typical harmony group style and cut a string of hits for Studio One, where Seaton was in charge of auditions for a time in the mid-1960s. This song, cut after they left Studio One, deals with the perennial topic of a jilted lover wondering what the ex is up to; soulfully sung, it also utilizes patois in the lyric. Still largely underrated - except by fans and cognoscenti - the work of the Gaylads is long overdue for re-evaluation.

23) Warfare – Count Machukie It’s now nearly 60 years ago that the late Winston Cooper [aka Count Machuki] first began ‘toasting’ live on a . In 1994 he told this writer that he started on Boxing Day 1950, whilst deejaying selections for Tom the Great Sebastian’s sound, treating the patrons to a spoken introduction to a record delivered in cod Cockney slang. He later augmented his patter with phrases gleaned from the pages of Harlem journalist and singer Dan Burley’s “Jive” magazine, which he’d bought from Beverley’s Ice-Cream parlour in Kingston’s Orange Street. He came to greater prominence on Sir Coxsone’s legendary sound system from the mid-1950s, but apart from a handful of titles recorded for and some interjections on various ska instrumentals [like Baba Brooks “Alcatraz”], Machuki left little in the way of recorded legacy. This track is thus doubly valuable - it’s one of a brace of titles recorded for Randy’s. It was only ever released as a ‘blank’ pre-release and deals with the eternal ‘sound clash’ war that has been a feature of Jamaican music almost since it’s beginnings.

24) End Dust – Impact All-Stars In the 1960s, [born Donat Roy Mittoo in Browns Town, St.Ann’s, Jamaica on March 3 1948] was a mainstay of Studio One, cutting scores of organ instrumentals and arranging sessions for that label from the age of 16. However, as the decade ended, he did find time to record for a couple of other producers. Most notable were the handful of titles he cut for Prince Buster and Lloyd 'Matador' Daley; to these can now be added this curiously titled track, which originally appeared credited to the Impact All-Stars. It’s a sprightly, organ- led instrumental in typical early reggae style. After this Mittoo left for , cutting the easy-listening 'Wishbone' LP and two other sets, before returning in the mid-1970s to re-cut many of his most famous tunes in style with Sly & Robbie for Edward 'Striker' Lee. Along with trombonist Don Drummond, Mittoo was the most important Jamaican musician of the 1960s. He died 16th December 1990 from cancer, only 42 years old; his contribution was immense and he is still missed.

25) True Man – The Ethiopians were formed in early 1966 by Leonard Dillon, Steven Taylor and Aston "Charlie" Morris and soon began scoring hits for producers Coxsone Dodd, WIRL and . After Morris left the group, the group continued as a duo, making a series of hits for ’Sir JJ’ Johnson. Melvin "Mellow" Reid joined the group in 1968. This group continued working with a variety of producers until 1974, when Reid left the group. Founder member Steven Taylor was killed in a car crash in 1975. Since then Dillon continues as the Ethiopian. As leader of the Ethiopians, Leonard Dillon created a remarkable, multi-faceted series of recordings during the group’s heyday that brilliantly blended folk lyric, street slang, and Rasta concepts with conventional themes of love and sufferation. The lyric of “True Man”, recorded in 1970 illustrates Dillon’s method perfectly - the song is about a deceived lover, who decides to end the relationship yet ends up ‘free’ in a wider, non-personal way:

“You can go on down to hell, in a peanut shell

You can go on down to hell, I will be willing to ring the bell - for freedom

Telling you, I’m a free man, anywhere I go, I’m a free man”.

The lyric sung in Dillon's understated vocal style - the antithesis of, say, passionate delivery – but equally effective.

When Vincent Chin opened his new studio in late 1968, it became the place to record; virtually every major hit of the period from 1969 right through to 1975 was recorded there. Almost all of the new generation of reggae producers elected to record there; that story is continued on the second disc of this 50th anniversary compilation.

Steve Barrow / August 2007

Randy’s 50th Anniversary (Disc 2)

Randy’s Records holds a very special place in the history of Jamaican popular music. As profiled on the first disc of this celebratory compilation, founder Vincent ‘Randy’ Chin was one of the first Jamaican entrepreneurs to release music during the ska era, finding particular success with the Trinidadian born Lord Creator. During the second half of the 60’s Vincent focussed on building a recording studio upstairs from his popular retail record mart at 17 North Parade. ‘The foundation of the studio started during the rock steady era, that’s one of the reasons you never come across any rock steady tunes on the Randy’s label,’ explains Vincent’s eldest son Clive. The studio was complete by late ’68 with the first clientele being the U.S. JAD ran by Johnny Nash, Arthur Jenkins and Danny Simms. From its very inception, Randy’s had a sparse, readily identifiable sound that soon made it the studio of choice for the up-and-coming reggae producers that were based near its downtown Kingston location; in addition to Lee Perry’s groundbreaking work with the Wailers, Bunny Lee, , Niney and were all regulars, as were artists like and . were the in-house band for a time, but more regularly in attendance were Skin Flesh and Bones, featuring drummer , bassist , guitarist Bertram ‘Ranchie’ McLean and keyboardist . And as an endless pool of singers and players literally camped out on the doorstep each day at the area known as Idler’s Rest, it was certainly no surprise that Randy’s was conjuring wonderful sounds from some of the island’s finest talent. Another important element came from the mixing talents of engineer Errol Thompson, an old school friend of Clive’s who came to Randy’s after a brief apprenticeship at Studio One. ‘I had a good relationship with Errol, a very innovative relationship,’ remembers Clive, who had already followed in his father’s footsteps by cutting his own productions at the facility from the end of the 1960s. ‘We wouldn’t just idle talk about things on the street or girlfriend business, we would talk more like how we could further the music, how we can do a different kind of fixture to it, it, rather than have the same old pattern of just Tommy [McCook] blowing a horn, Bobby [Aitken] playing a guitar, Winston [Wright] playing an organ.’

It is entirely evident that Randy’s had an endless supply of musical verve that continued to flourish after the opening of Studio 17. It’s individual creative elements coming together in a unique sound that resulted in some of the most stylistic recordings of the 1970s:

1) Java – Augustus Pablo The immensely talented Horace Swaby, another schoolmate of Clive and Errol, began playing music professionally as a session keyboardist in the early 1970s. Once a friend loaned him a plastic melodica, a handheld keyboard instrument normally used to teach children the rudiments of music, the ethereal songs he conjured on it under the alias Augustus Pablo ushered in a whole new era at Randy’s, his collaborative work with Clive and Errol being crucial to the development of the dub form. The wonderful ‘Java,’ produced by Clive with ET at the mixing desk in 1971, is a pioneering work that straddles the realms of straightforward instrumentals and more complex dub works, being a stunning example of all that the studio was capable of at the time. Named ‘Best Instrumental’ the following year, Clive says ‘Java’ was originally intended as a vocal tune, but when aspiring vocalist Dennis Wright could not muster what Clive envisioned, he got Pablo to reach for his melodica instead, providing the talented musician with his first big hit as a solo artist.

2) Hospital Trolley – I-Roy Because the uncommon form of ‘Java’ was immensely popular, and as ‘version fever’ was then gripping the nation, it was inevitable that the song’s rhythm track would be re-used for other recordings, of which the most inspired was ‘Hospital Trolley,’ one of the most surreal efforts ever recorded by deejay I Roy. The highly stylistic toaster, who was born Roy Samuel Reid, got his start in the music business on a small sound system called Soul Bunnies in downtown Kingston, but really made a name for himself on Supreme Ruler of Sound, the set established by Ruddy Redwood in , where the toaster set up home in the late 1960s. Although the subject matter of ‘Hospital Trolley’ may seem obscure, it is the ease and dexterity with which the toaster lets loose his lyrics that shows just why he was always highly admired by his peers, bringing him to the heights of glory by filling U-Roy’s shoes on ’s sound system shortly before he voiced this scorching disc.

3) King Of Babylon – Junior Byles is one of reggae’s unsung heroes. After getting his start in a vocal harmony group called the Versatiles in the late 1960, Byles, a former fireman, started recording solo material for Lee ‘Scratch’ Perry. Although he eventually enjoyed big hits such as ‘Beat Down Babylon,’ ‘Da Da’ and ‘Fade Away,’ long periods of mental instability ultimately cut short an impressive career. ‘King of Babylon,’ which was produced by Perry for Randy’s Records in 1972, referenced the election battle that took place that year between of the conservative (JLP) and of the left-leaning People’s National Party (PNP), likening Manley to the liberator Joshua and Shearer to the evil Nebuchadnezzar. Beneath Byles’ expressive tenor, the original bass line supplied by resident player Lloyd Parks is also particularly noteworthy, his intricate fingering creating a sensation of spiralling pitch that heightened the song’s dramatic nature.

4) Don’t Go – In recent years, as the voice of , Horace Andy has found fame internationally, his trademark quavering vocals bringing an added dimension to the pioneering trip-hop group from Bristol. Decades earlier, Horace’s plaintive lyrics and expressive delivery made him a household name in Jamaica, particularly through the string of hits he voiced at Studio One during the early 1970s, making him one of the singers that was instrumental in shifting reggae’s focus towards more weighty matters during the very start of what would come to be known as ‘roots.’ In fact, Horace’s voice was so distinctive and his lyrics so much apart that the man born Horace Hinds was renamed Horace Andy by Coxsone Dodd in reference to legendary vocalist , another of Jamaica’s favorite singer-. And although Horace’s output for Randy’s was slim, ‘Don’t Go’ sums up all that is best about his creations, being a heartfelt and emotive number whose power reaches the listener through an expertly delivered vocal, matched by an equally peerless rhythm.

5) A Little Love – Jimmy London Jimmy London, born Trevor Shaw, got his start in the late 1960s as half of a duo called the Inspirations, formed with a friend named Ransford White (who would later gain greater fame under the alias Billy Dyce). After cutting singles for Sir JJ, and , and scoring hits for Lee Perry and Joe Gibbs, Shaw went solo as Jimmy London, finding international recognition with a cover of Simon and Garfunkel’s ‘Bridge Over Troubled Waters,’ recorded for Randy’s in 1971. Both in Jamaica and overseas, the singer’s gentle tones and command of the higher register have made him a perennial favourite, with the sentimental ‘A Little Love’ being by far his biggest hit.

6) Cheater – Dennis Brown A veritable icon that was blessed with a wonderfully expressive singing voice, dynamic vocal range and uncommon skills as a , Dennis Brown is one of the finest singers to ever emerge from Jamaica – or anywhere else in the world, for that matter. The son of an actor who was raised by his mother in an impoverished ghetto yard on Orange Street, Brown was a third child star who followed in the wake of and to enjoy a number of hits during his early teens, both at Studio One and for . When he recorded the chilling ‘Cheater’ at Randy’s in 1972, Brown was still only fifteen years old, and although he later achieved greater glory, this landmark production reveals his exceptional skill, as well as the superb musicianship of the in-house band 7) For The Love Of You – John Holt Another icon of Jamaican popular music, John Holt recorded his first effort for the Beverley’s label in the early 1960s, before cutting some duets with Alton Ellis for Randy’s. He then became lead singer of , one of the most successful acts of the rock steady period. Returning to solo work in the early 1970s, he worked for various producers, scoring one of the biggest hits of all time with ‘Stick By Me.’ Here, his emotive rendition of the Isley Brothers’ ‘For The Love Of You’ holds the strongly expressive hallmark of his best work.

8) Too Late To Turn Back Now – Alton Ellis One of Jamaica’s best-known vocalists, Alton Ellis was one of the first local singers to be recorded in Jamaica, having launched his career as half of a singing duo with Eddie Perkins in the ‘boogie’ era that preceded ska. His link with the Chin family dates back to the early 1960s, when he and Eddie recorded ‘Let Me Dream’ for Randy’s, but Alton’s career really took off as a solo artist, when he scored dozens of hits for Studio One and Treasure Isle in the ska and rock steady eras. On this compilation, Ellis’ bright take of the Cornelius Brothers and Sister Rose’s ‘Too Late To Turn Back Now’ captures the optimism inherent in a new love story, being one of the singer’s most enduring hits of the early 1970s.

9) Be Thankful – Donovan Carless Another of the lesser-known talents that recorded significant work at Randy’s, Donovan Carless was a nightclub balladeer that fronted upcoming live act, the Soul Syndicate, for a period in the late 1960s. Of the handful of cover tunes he recorded at Randy’s during the mid-1970s, his breezy take of William Devaughn’s ‘Be Thankful’ is certainly the finest.

10) Woman Of The Ghetto – Alton’s younger sister Hortense recorded early efforts for Prince Buster, Duke Reid and Clement Dodd before being awarded Best Female Vocalist in 1964. She recorded regularly for Dodd, sometimes in tandem with Alton, until the early 1970s, by which time she had also began cutting one-off singles for producers such as and Bunny Lee. Her intense reading of Marlena Shaw’s ‘Woman Of The Ghetto’ holds just as much emotive power as the original, and remains one of her most striking performances committed to disc.

11) Children Of The Ghetto – Senya Because Jamaica is overflowing with talent, sometimes artists with a lot of potential step briefly into the limelight, only to then inexplicably fade from view despite the initial impact of their work. Such is the case with the one called Senya, a bright spark otherwise known as Olive Grant. Senya came to Randy’s courtesy of bassist Aston ‘Family Man’ Barrett, whose closeness to the young woman brought out the best of her abilities on the spontaneous session that yielded ‘Children Of The Ghetto,’ which became like an anthem in Jamaica, particularly among the underground ‘sufferers’ of which the song so eloquently speaks. Another track from the same session, ‘Oh Jah Come,’ was also highly prized on the collector’s market, in part because of the ace rhythm again supplied by Fams and his brother Carly. Although Senya cut a few more tracks with Fams in the early 1980s, including a re-cut of her impressive debut, she remained a lesser- known figure on the music scene and was tragically killed some years ago when she intervened in a domestic dispute. This track lives on and had been recently sampled in a hip-hop style by Red Café & Mr. Easy for their song “Ghetto Children”.

12) Lonely Soldier – Another of Jamaica’s most legendary singers, Gregory Isaacs kick-started his career in the late 1960s with ‘Another Heartache,’ recorded with a neighbourhood friend, and ‘Dancing Floor,’ recorded for Prince Buster. He briefly fronted a group called the Concords, before gradually becoming recognised through solo work cut for Rupie Edwards and Phil Pratt. ‘Lonely Soldier,’ cut for Randy’s in 1973, is a superb ‘reality’ ballad that references the Vietnam War, here given an entirely credible reading through Gregory’s expressive voice.

13) Going To Zion - In the aftermath of ’s death, vocal trio Black Uhuru rose to international prominence as the group of choice for the reggae massive. Although then composed of lead singer Michael Rose and backing vocalists Derrick ‘Duckie’ Simpson and Sandra ‘Puma’ Jones, the original incarnation of the group was considerably different. Indeed, the group was formed in Waterhouse by Duckie along with Don McCarlos, who would later enjoy a solo career as Don Carlos, and , who would later become a key member of . It was this original trio that first turned up at Dynamics to cut a version of Curtis Mayfield’s (‘Romancing To The) Folk Song,’ but Garth Dennis has said the harmony was so rough at this debut session that had to lend a helping hand. A few months later, after became aware of the group through a family friend, he produced the original ‘Going To Zion’ at Randy’s with musicians such as drummer Carlton Barrett, bassist Lloyd Parks and guitarists Earl ‘Chinna’ Smith and Alva ‘Reggie’ Lewis.

14) Ordinary Man – Lloyd Parks Bassist Lloyd Parks, one of the regular in-house musicians at Randy’s, got his start as a singer in the Termites at Studio One during the period when rock steady was giving way to reggae in the late 1960s. When the Termites split, Parks joined Sly Dunbar in the RHT Invincibles and played on hits like ‘,’ before the group evolved into Skin Flesh and Bones, who became the Randy’s house band for an extended period. On ‘Ordinary Man,’ Parks sings of his own experiences of hardship, resulting in a chilling number that carries an overriding air of authenticity.

15) Ordinary Version 3 – Impact All-Stars

As previously noted, gifted engineer Errol Thompson was a major part of the Randy’s sound, his skilful mixing giving shape to countless recordings. As son of the studio’s proprietor, Clive Chin was naturally often also in its confines, and when the two put their heads together, the result was often something spectacular, as heard by this driving dub mix of ‘Ordinary Man,’ one of the earliest playful forays into the realm of dub which, among other things, shows off the tightness of Randy’s in-house rhythm section. Leggo that and hold this!

16) Hold Tight - African Brothers Best known as the launching pad to ’s illustrious career, the African Brothers was a superb harmony trio that featured and Derrick Howard, the latter also known on the scene as Eric Bubbles; indeed, the original trio featured Dessie Young, who Minott eventually replaced when young went solo as Dessie Roots. Although the African Brothers excelled at harmony, the odds were somewhat against them in the rough and tumble jungle of the Kingston music scene, so early efforts for Jimmy Radway and Micron Music fell flat, though ‘Mysterious Nature,’ cut for Rupie Edwards, and ‘Torturing,’ cut for a man called Duke Thelwell, showed promise. Upon linking up with Clive Chin at Randy’s, the Brothers laid down their most noteworthy effort, the energetic ‘Hold Tight,’ which highlights their impressive harmonic command.

17) Righteous Man – Keith Poppin Born Keith Smith in Westmoreland, this underrated singer grew up testing his vocal skills in the local Baptist church and moved to Kingston in the mid-1960s at the age of 17 to take a shot at stardom in the musical arena. He sang a few tunes for Lee Perry in partnership with Jimmy London as the Inspirations and formed a group initially called the Robins, recording a handful of tracks at Studio One, which remain unreleased. The group then evolved into Rocking Horse, entering the Festival Song Competition in 1971 with ‘What A Weeping And Wailing,’ arranged by popular singer Ernie Smith at Federal, but a lack of promotion caused the group to head to Randy’s, where they recorded a number of songs for Keith Chin in 1972. Like several of Poppin’s other releases, ‘Righteous Man’ warns of the hardships wrongdoers will eventually face.

18) Created By The Father – Errol Dunkley Jamaica’s second child star, Errol Dunkley began recording at the age of 14 and became a household name with material cut for Joe Gibbs two years later. After forming a short-lived partnership with Gregory Isaacs to release self-produced work, he went on to score big hits such as ‘Black Cinderella’ for Jimmy Radway and ‘A Little Way Different’ for Sonia Pottinger. Something of a timeless classic, ‘Created By The Father’ is one of the first recordings to capture the singer in a spiritual mode; the tune was also cut to fine effect elsewhere by Dennis Brown.

19) The Race – The Gladiators One of the most important harmony groups to emerge during the era, the Gladiators have commanded a loyal following across several continents, particularly after the group signed to during the late 1970s, aligned to producer Prince Tony Robinson. Prior to this promotional elevation, the group made an impressive set of recordings for Studio One a few years earlier, and had also cut strong material in an earlier incarnation for Lloyd ‘The Matador’ Daley. And, although they did not cut many tunes for Randy’s, once again, ‘The Race’ is up there with the best of the classic material, being a compelling number led by Albert Griffiths whose quiet vocal urgency and poignant lyrics are equally matched by another striking rhythm, here punctuated by a melodious trombone.

20) My Guiding Star – The Heptones The Heptones are one of Jamaica’s most revered harmony trios. Coming together in the ghettos of western Kingston during the tail end of the ska era, they made a massive impact at Studio One during the late 1960s, recording dozens of influential hits, the rhythms of which have continued to be re-cut to the present day. After five years at Studio One, the group moved on in 1971 to work with Joe Gibbs, Lee Perry, and various other producers in Kingston, and although they recorded slim material for the Chin family at Randy’s, the highly atmospheric ‘My Guiding Star’ remains one of their all-time greatest recordings, its musical backing containing a palpable tension almost at odds with the song’s theme of romantic devotion.

21) Something On Your Mind – Hubert Lee One of Jamaica’s lesser-known singers, Hubert Lee’s high-pitched tenor graced a number of singles in the late 1960s and early 1970s, typically performing cover tunes of foreign hits. He recorded sparse rock steady material for Lindon Pottinger and a number of tracks at Studio One circa 1972, before appearing at Randy’s for this inspired reading of the R&B standard, ‘Something On Your Mind.’ Lee’s rendition contains an irresistible quality, particularly in the way that the saucy saxophone line that compliments his vocal melds with the disjointed rhythm.

22) Country Boy – Charley Ace & Dirty Harry In addition to his recorded works, deejay Charley Ace operated a mobile record outlet called Swing-A-Ling, using a converted delivery vehicle to dispense goods. Drawing on the styles of Count Machukie and Sir Lord Comic, Charley often patterned his deejay toasts after the hep-cat jive-talk of American radio disc jockeys, but also distinguished many of his recordings by including healthy doses of Jamaican patois. Here Charley and saxophonist Richard ‘Dirty Harry’ Hall use the rhythm of ‘Something On Your Mind’ for an esoteric dialogue about the kinds of things a country boy encounters when he comes to town in search of work, but inevitably ends up in the ghetto.

23) No Jestering – Carl Malcolm Carl Malcolm is another singer with a unique vocal style, typically defined by a delicate, high- pitched tenor. Hailing from Black River in rural St Elizabeth, Malcolm played organ in the local Methodist church before heading to Kingston in his teens. He joined the Volcanoes, sharing vocal duties with Al Brown, and after they disbanded, ended up in a band called Big Relation, led by horn player Jo-Jo Bennett. After recording a debut solo single at Studio One in 1971, he spent some time performing at nightclubs in the USA, before returning to Jamaica to work at Rupie Edwards’ record shop, cutting a disc for Edwards in his spare time. His big breakthrough finally came through ‘No Jestering,’ an instantly likeable ditty cut at Randy’s, in which Malcolm requests permission to marry the daughter of reluctant parents. In addition to being a firm favourite in Jamaica, the song also topped the UK reggae charts and was successfully covered by Bette Midler on her 1976 ‘Songs For The New Depression’.

24) Knotty No Jester - Big Youth, born Manley Augustus Buchanan, is one of Jamaica’s best-known deejays. The stylistically individual toaster, formerly employed as a mechanic, forced his way onto the microphone of Tipper Tone sound system in the early 1970s, leading to his first recordings in 1972. He distinguished himself on record by being one of the first to concretely proclaim his faith in , but sounded strikingly confident regardless of the topic. The tall toaster was already a star when he voiced this counterpart to Carl Malcolm’s ‘No Jestering,’ and sounds 100% cool when he reminds the listener that knotty dread is no jester, for him no wear polyester.

25) Fattie Bum Bum – Carl Malcolm Our final number comes again from Carl Malcolm, this time in the form of the humours ‘Fattie Bum Bum,’ which again has Malcolm doing his best to impress a paramour. The song achieved an even greater success than ‘No Jestering,’ particularly after it was licensed to Jonathan King’s UK Records imprint, eventually peaking at number 3 on the British charts in late 1975.

Although Randy’s remained an important feature of the Jamaican music scene to the end of the 1970s - when the Chin family moved their business base to the USA - it was really the period of 1971-75 when the studio enjoyed its peak popularity. The songs collected here recall a very different style to that which is now predominant in dancehall, yet the 25 tracks collected on this disc have stood the test of time to remain as enduring classics of their day. Tune in and rediscover the days of glory at Randy’s, then a crucial element of reggae evolution.

David Katz / July & October 2007

David Katz is author of People Funny Boy: The Genius of Lee ‘Scratch’ Perry and Solid Foundation: An Oral History of Reggae www.myspace.com/dubmealways