Arthur "Duke" Reid

Arthur Reid, c.1915, Jamaica, West Indies, d. 1974.

One of the major influences on reggae music along with his close rival, Coxsone Dodd and followed by the likes of Prince Buster, Joe Gibbs, and Lee Perry. Duke Reid’s marvellous productions were, at their best, rocksteady at its absolute peak. Reid spent 10 years as a Kingston policeman, a sometimes dangerous profession that enabled him to develop the no-nonsense style he displayed while conducting business negotiations in later life. He and his wife Lucille bought the Treasure Isle Liquor Store in the 50s, and in a sponsorship agreement, Reid hosted his own radio show, Treasure Isle Time, airing US R&B: his theme song was Tab Smith’s ‘My Mother’s Eyes’. Reid also ran his own sound system, Duke Reid The Trojan, and visited America to find obscure R&B tunes with which to baffle rivals such as Coxsone Dodd’s Down Beat sound system. After flirting with the record business for three years, recording tunes such as ‘Duke’s Cookies’, ‘What Makes Honey’ and ‘Joker’, he took up record production seriously in 1962, enjoying ska hits galore with Stranger Cole, the Techniques, Justin Hinds And The Dominoes and Alton Ellis And The Flames. The records were issued on three labels: Treasure Isle, Duke Reid and Dutchess. Reid was a formidable presence in the music business: he was notorious for carrying a loaded gun and ensuring that his ammunition belt was clearly visible. However, he was more than mere muscle and had an astute musical sensibility, as the fast-approaching rocksteady era proved beyond doubt.

By 1966 ska was evolving into a slower, more stately beat, and with help from guitarist Ernest Ranglin and the band of saxophonist Tommy McCook And the Supersonics, Reid’s productions at his own Treasure Isle Studio epitomized the absolute peak of the style. Hits such as the Paragons’ ‘Ali Baba’ and ‘Wear You To The Ball’, Alton Ellis’ ‘Cry Tough’, ‘Breaking Up’, ‘Rock Steady’ and ‘Ain’t That Loving You’, the Melodians’ ‘You Don’t Need Me’, ‘I Will Get Along’, ‘I Caught You’ and ‘Last Train To Expo ’67’, the Jamaicans’ ‘Things You Say You Love’ and the Techniques’ ‘Queen Majesty’ were only the tip of an impressive iceberg. All were tasteful, irresistibly danceable, soul-soaked rocksteady classics, released on Reid’s own labels in Jamaica and on Trojan Records (the label was named after his sound) or its imprints in the UK. By 1969 rocksteady had died, and Reid was apparently struggling, stuck in a musical revolution he himself had created. However, in 1970 he did it again, taking a sparsely recorded toaster named U-Roy, and single-handedly founded the modern DJ era. At one point U-Roy held four out of the top five Jamaican chart positions and both he and Reid watched the records swap places over a period of months - ‘Wake The Town’, ‘Wear You To the Ball’, ‘Everybody Bawling’ and ‘Version Galore’. Reid simply dropped the chatter over his old rocksteady hits to start a whole new genre of reggae music. He also had hits with other DJs, such as Dennis Alcapone and Lizzy. Reid’s legend in the reggae pantheon was assured. By 1973 Reid’s fortunes had again begun to wane, perhaps because he was notorious for not wanting to record rasta lyrics in an era dominated by roots themes, and was considered to be an establishment figure as the senior reggae producer in Jamaica. He died in 1974, his extensive back catalogue going on to sell thousands of singles and albums through a variety of licensees. Reid’s name on a record is a guarantee of sheer joy.