Amalgamated

The UK Amalagamated label was a subsidiary of Trojan Records started for the productions of Joe Gibbs. Based on Gibb's Jamaican imprint of the same name the first releases were in 1968 (AMG 800) and the last (some 70 releases later) in 1970 (AMG 873) when it was superceded by the Pressure Beat label. In the late 60's period the majority of Joe Gibbs's productions were issued by Trojan through the label so it is likely that an exclusive deal was signed.


The label is highly regarded for it's Rocksteady sides as well as the uptempo Reggae releases, Lee Perry would have been responsible for some of the productions as he worked for Joe Gibbs prior to setting up on his own in 1968. The most obvious Perry involvement is on The Upsetter b/w Thank You Baby, sung by Perry himself the Upsetter was a significant hit and lead to Perry adopting the title as a nickname and using it as a name for his legendary record label.

Amalgamated Discography

AMG 800 Errol Dunkley - Please Stop Your Lying // Tommy McCook & The Supersonics - Feel So Fine
Produced by J.A. Gibson
1968

AMG 801 Stranger Cole & Glady - Just Like A River // The Leaders - Hope Someday
Produced by J.A. Gibson

AMGLP 2001 Al Stewart & Marvetts - Fly Away To Glory
Tracks: Daniel Saw The Stone / Mansion On The Hill Top / A Beautiful Life / We Shall Have A Grand Time / Fly Away To Glory / He's So Real To Ought To Know / Songs Of Praise / Eveybody Ought To Know / I Once Was Lost In Sin / Where Shall I Do / Down Where The Sweet Waters Flow
Produced by Joe Gibbs
1968

AMG 2002 Various Artists - Explosive Rock Steady
Tracks: I'm Moving On (The Pioneers) / Miss Tourist (The Pioneers) / Just Like A River (Stranger Cole & Gladdy) / Uncle Sam's Country (Dennis Walks) / Long Shot (The Pioneers) / Train To Soulsville (Cool Sticky) // Love Love Everyday (The Pioneers) / Hold Them (Roy Shirley) / Come Brothers (Hugh Malcolm) / Give Me A Little Loving (The Pioneers) / Push It On (The Versatiles) / Love Brother (Errol Dunkley)
Produced by Joe Gibbs
1968

AMGL 2003 The Pioneers - Greetings From The Pioneers
Tracks: Me Naw Go A Believe / You'll Never Get Away / Baby Don't Be Late (Winston Jarrett & The Righteous Flames) / Shake It Up / No Dope Me Pony / Whip Them // Gimme Gimme Girl (Winston Jarrett & The Righteous Flames) / Things Just Got To Change / Sweet Dreams / Tickle Me For Days / Jackpot / Give Me A Little Loving
Produced by Joe Gibbs
1968



CSP 3 Various Artists - Jackpot Of Hits
Tracks: Jackpot (The Pioneers) / Feel Good (The Mellowtones, actually Bleechers) / Give Me A Little Loving (The Pioneers) / No Dope Me Pony (The Pioneers) / Secret Weapon (The Conquerors, actually Ansell Collins) / El Casino Royale (Lynn Taitt And The Jets) // What Moma No Want She Get (Stranger Cole) / Catch The Beat (The Pioneers) / Good Time Rock (Hugh Malcolm) / Just Like A River (Stranger Cole And Gladdy) / Hurry Come Up (The Crashers) / Train To Soulville (Cool Sticky)
Producer: J.A. Gibson
1969



TTL 27 The Inspirations - Reggae Fever
Tracks: Mad Rooster / Easy Up / Wet Dream / Why Do You Laugh At My Calamity / Samfie Man / Only Yesterday / Reggae Fever / Bongo Nyah / Who You Gonna Run To / Sweet Sensation / Fattie Fattie / Liquidator
Produced by Joel Gibson
1970
1968

AMG 802 The Versatiles - You Just Can't Win // The Leaders - Sometimes I Sit Down And Cry
Produced by J.A. Gibson
1968

AMG 803 The Overtakers - That's The Way You Like It // The Overtakers - The Big Takeover
Produced by J.A. Gibson
1968

AMG 804 The Leaders - Tit For Tat // The Marvettes - You Take Too Long To Know
Produced by J.A. Gibson
1968

AMG 805 Errol Dunkley - I'm Going Home // Errol Dunkley - I'm Not Your Man
Produced by: J.A. Gibson
1968

AMG 806 Stranger & Gladdy - Seeing Is Knowing // Roy Shirley - Music Is The Key
Produced by J.A. Gibson
1968

AMG 807 Errol Dunkley - The Scorcher // Errol Dunkley - Do It Right Tonight
Produced by J.A. Gibson
1968

AMG 808 Lee Perry - The Upsetter // Lee Perry - Thank You Baby
Producer: J.A. Gibson
1968

AMG 809 The Overtakers - Girl You Ruff // Keith Blake - Wooh Oh Oh
Producer: J.A. Gibson
1968

AMG 810 Lynn Taitt And The Jets - El Casino Royale // Lynn Tait And The Jets - Dee's Special
Producer: J.A. Gibson
1968

AMG 811 The Pioneers - Give Me Little Loving // Lynn Tait & The Jets - This Is Soul
Producer: J.A. Gibson
1968

AMG 812 The Mellotones - Fat Girl In Red // The Versatiles - Trust The Book
Produced by Joe Gibbs
1968

AMG 813 Victor Morris - Now I Am All Alone // Victor Morris - Fall And Rise
Produced by Joe Gibbs
1968

AMG 814 Pioneers - Long Shot // Pioneers - Dip And Fall Back
Produced by J.A. Gibson
1968

AMG 815 Roy Shirley - The World Needs Love // Roy Shirley - Dance The A. Una
Producer J.A. Gibson
1968

AMG 816 Dennis Walks - Having A Party // The Groovers - Day By Day
Produced by Joe Gibbs
1968

AMG 817 The Mellotones - Feel Good // Tommy McCook & The Supersonics - Soulful Mood
Produced by Joe Gibbs
1968

AMG 818 The Creations - Holding Out // The Creations - Get On Up
Producer: J.A. Gibson
1968

AMG 819 Jackie Robinson - Over And Over // Jackie Robinson - Woman Of Samaria
Producer: J.A. Gibson
1968

AMG 820 Errol Dunkley - Love Brother // Lyn Taitt & The Jets - I Spy
Produced by Joe Gibbs
1968

AMG 821 The Pioneers - Jackpot // The Creators - Kimble
Producer: J.A. Gibson
(actually a Lee Perry production )
1968

AMG 822 Sir Gibbs - People Grudgeful // The Pioneers - Pan Ya Machette
Producer J.A. Gibson
1968

AMG 823 The Pioneers - No Dope Me Pony // Lord Salmons - Great-Great In '68
Producer J.A. Gibson
1968

AMG 824 Jackie Robinson - Let The Little Girl Dance // Derrick Morgan - I Want To Go Home
Produced by J.A. Gibson
1968

AMG 825 Cool Sticky - Train To Soulsville // Eric Monty Morris - Cinderella
Produced by: J.A. Gibson
1968

AMG 826 The Pioneers - Tickle Me For Days // The Versatiles - The Time Has Come
Produced by Joe Gibbs
1968

AMG 827 Hugh Malcolm - Good Time Rock // Lyn Taitt & The Jets - Sleepy Ludy
Produced by Joe Gibbs
1968

AMG 828 The Pioneers - Catch The Beat // Sir Gibbs All Stars - Jana
B-side actually The Immortals - Jane Anne
Producer: J.A. Gibson
1968

AMG 829 Hugh Malcolm - Mortgage // Carl 'Cannonball' Bryan - Man About Town
Producer: J.A. Gibson
1968

AMG 830 The Pioneers - Sweet Dreams // Vincent Gordon - Caterpillar Rock
Producer: J.A. Gibson
1968

AMG 831 The Royals - Never Come See // Carl 'Cannonball Bryan - Jumping Jack
Produced by Joe Gibbs
1968

AMG 832 Ansel'l Collins - Secret Weapon // The Conquerors - Jumpy Jumpy Girl
Produced by Joe Gibbs
1968

AMG 833 The Pioneers - Don't You Know // The Pioneers - Me Naw Go A Believe
Producer: J.A. Gibson
1968

AMG 834 The Crashers - Hurry Come Up // The Crashers - Off Track
Producer: J.A. Gibson
1968

AMG 835 The Pioneers - Mama Look Deh // The Blenders - Decimal Currency
Producer: J.A. Gibson
1969

AMG 836 The Soulmates - Them A Laugh And A Ki Ki // The Hippy Boys - The Hippys Are Here
Producer: J.A. Gibson
1969

AMG 837 Ernest Wilson - My Private Number // Glen Adams - She's So Fine
Produced by Joe Gibbs
1969

AMG 838 Stranger Cole - What Moma No Want She Get // Stranger Cole - We Two
Produced by Joe Gibbs
1969

AMG 839 The Soul Sisters - Wreck A Buddy // The Versatiles - Push It In
Producer: J.A. Gibson
1969

AMG 840 The Pioneers - Who The Cap Fit // The Pioneers - I'm Moving On
Producer: J.A. Gibson
1969

AMG 841 The Reggae Boys - Me No Born Ya // The Reggae Boys - The Wicked Must Survive
Producer: J.A. Gibson
1969

AMG 842 The Soulmates - On The Move // The Soul Mates - Jump It Up
Producer J.A. Gibson
1969

AMG 843 The Reggae Boys - The Reggae Train // The Reggae Boys - Dolly House On Fire
Producer: J.A. Gibson
1969

AMG 844 The Young Souls - Why Did You Leave // The Young Souls - Man A Wail
Producer J.A. Gibson
1969

AMG 845 The Cobs - Hot Buttered Corn // Count Machuki - It Is I (Machukie's Cooking)
Producer J.A. Gibson
1969

AMG 846 The Moon Boys - Apollo 11 // The Pioneers - Love Love Everyday
Produced by J.A. Gibson
1969

AMG 847 Ken Parker - It's Alright // The Cobbs - One Love
Produced by J.A. Gibson
1969

AMG 848 The Scientists - Professor In Action // Tommy McCook & The Supersonics - Reflections Of Don Drummond
Produced by J.A. Gibson
1969

AMG 849 The Cobbs - Space Doctor // Lloyd & Devon - Baby Reggae
Produced by J.A. Gibson
1969

AMG 850 The Pioneers - Ali Button // Hippy Boys - Death Rides
Produced by Joe Gibbs
1969

AMG 851 Immortals - Bongo Jah // Ansell Collins - My Last Walk
Produced by J. Gibson
1969

AMG 852 The Slickers - Man Beware // The Slickers - Mother Matty
Produced by Joe Gibbs
1969

AMG 853 Ken Parker - Only Yesterday // Ansell Collins - Joe Gibbs Mood
Produced by Joel Gibson
1969

AMG 854 The Versatiles - Lu Lu Bell // The Versatiles - Long Long Time
Produced by Joe Gibbs
1969

AMG 855 Joe Gibbs And The Destroyers - Nevada Joe // The Destroyers - Straight To The Head
Produced by: Joe Gibson
1969

AMG 856 The Destroyers - Niney Special // Niney - Danger Zone
Produced by: Joel Gibson
1970

AMG 857 The Inspirations - Take Back You Duck // The Inspirations - Nothing For Nothing
Produced by Joe Gibbs
1970

AMG 858 Joe Gibbs And The Destroyers - Franco Nero (Vers. I) // Joe Gibbs And The Destroyers - Franco Nero (Vers. II)
Produced by Joel Gibson
1970

AMG 859 The Destroyers - Rock The Clock // Destroyers - Version
Produced by Joe Gibbs
1970

AMG 860 Nicky Thomas - Turn Back The Hands Of Time // Nicky Thomas - Let It Be
Produced by Joe Gibbs
1970.

AMG 861 The Inspirations - La La // The Inspirations - Reggae Fever
Produced by Joe Gibbs
1970

AMG 862 The Inspirations - The Train Is Coming // The Inspirations - Man Oh Man
Produced by J. Gibson
1970

AMG 863 Jo Gibbs All Stars - Danzella // The Joe Gibbs All Stars - Version
Produced by: Joel Gibson
1970

AMG 864 Not used

AMG 865 Joe Gibbs - Hijacked // Joe Gibbs - Life Is Down In Denver
Produced by: Joel Gibson
1970

AMG 866 The Slickers - Man Beware // The Joe Gibbs All Stars - Man Beware
Produced by Joel Gibson
1970

AMG 866 Joe Gibbs and the Destroyers - Money Raper // The Slickers - Man Beware
Produced by Joel Gibson
1970

AMG 867 Count Machuki - Movements // The Joe Gibbs All Stars - Caesar
Produced by Joe Gibbs
1970

AMG 868 Lizzy - Gift Of God // Joe Gibbs All Stars - Money Raper
Produced by Joe Gibbs
1970

AMG 869 Jo Gibs All Stars - Perfect Born Yah // Jo Gibs All Stars - Red Red Wine
Produced by Joel Gibson
1970

AMG 870 Caly Gibbs - Seeing Is Believing // Joe Gibbs All Stars - Ghost Capturer
Produced by: Joel Gibson
1971

AMG 871 Johnny Lover - Pumpkin Eater // The Joe Gibbs All Stars - Version
Produced by Joe Gibbs
1970

AMG 872 Carlton Gibbs - Ghost Walk // The Joe Gibbs All Stars - Joy Stick
Produced by Joe Gibbs
1970

AMG 873 Johnny Lover - Two Edged Sword // The Joe Gibbs All Stars - Two Edged Sword Version 2
Produced by Joel Gibson
1971



TR 016 Joe Gibbs All Stars - Ghost Capturer
Produced by Joe Gibbs
1971



CSP 3 The Pioneers - Jackpot // Stranger Cole - What Moma No Want She Get
1969



SS 001 Marvetts - We Are Not Divided // Marvetts - He Is So Real To Me
1968

SS 002 Marvetts - We Shall Have A Grand Time // Marvetts - Let The Power Fall On Me
1968

SS 003 Marvetts - I Was Once Lost In Sin // Marvetts - What A Wonderful Thing
Produced by J.A. Gibson
1968

Harry J. All Stars

Harry Zephaniah Johnson (known as Harry J, born July 6, 1945, Westmoreland) is a Jamaican reggae record producer of African, Sicilian and Scottish descent. He is the head of the landmark Harry J. Records, located at 10 Roosevelt Avenue, Kingston 6, Jamaica WI.

Johnson is an important record producer who met success during the early reggae era, but who’s direction still influences the Reggae music industry today
Johnson started to play music with the Virtues as a bass player, but soon quit to work as an insurance salesman. He first appeared as a record producer in 1968, when he launched his own record label, “Harry J”, by releasing The Beltones’ local hit No More Heartaches, considered by many to be the very first reggae song ever recorded, along with the Studio One single “Nanny Goat” by Larry & Alvin. His agreement with Coxsone Dodd allowed him to use Studio One’s facilities, where he produced the hit Cuss Cuss with singer Lloyd Robinson, which became one of the most covered riddim in Jamaica.

In October 1969, he met success in the UK with The Liquidator (number 9 in the UK Singles Chart) recorded with his sessionband, The Harry J All Stars. This single became one of the anthems of the emerging skinhead youth subculture; together with other instrumental hits released in the UK through his own subdivision “Harry J” on Trojan Records, on a compilation album of the same name (see cover). During the 2008 United States presidential election, president hopeful Senator Barack Obama campaign used the song “I’ll Take You There” by the The Staple Singers at the closing of his stump speeches on the campaign trail. The beginning of the song “I’ll take you there” features an introduction which was lifted from “The Liquidator”.

In the beginning of the 1970’s he enjoyed another big success with the vocal duo Bob & Marcia with the song Young, Gifted and Black. His productions also included Jamaican hits with DJs like Winston Blake or Scotty among others, and many dub versions.


Harry J Studio
Johnson is mainly known for his Harry J Studio where Bob Marley & The Wailers recorded the majority of their albums in the 1970s. The studio was also a must stop hangout of many British musicians including the Rolling Stones, The Who, and Grace Jones. In addition, Chris Blackwell the founder of Island Records the original label of the band U2 could be found hanging out in the sound room prior to moving to England in the early 1970s.

In 1972, Harry Johnson sold his record shop and set up his own recording studio “Harry J”, on 10 Roosevelt Avenue, Uptown Kingston. Harry J Studio soon became one of the most famous Jamaican studios after having recorded several Bob Marley & The Wailers albums from 1973 to 1976 before the Tuff Gong era; such as Rastaman Vibration and Catch A Fire.

Johnson’s deal with Island Records led him to record artists such as Burning Spear and The Heptones. Throughout the 1970s and the 1980s, backed by former Studio One sound engineer Sylvan Morris, he also recorded artists like Ken Boothe, Augustus Pablo, The Cables and the American pop singer, Johnny Nash, and produced albums by Zap Pow and Sheila Hylton. In 2002, after seven years of inactivity, he reopened his Harry J studio and since has recorded people like Burning Spear. The studio appears in the movie, Rockers.

Lloyd Charmers

Lloyd Charmers' career (born Lloyd Tyrell) spans some of the most fertile periods of Jamaica's musical history. From the late-'50s era of Jamaican shuffle R&B and the subsequent ska boom, to the rocksteady and roots reggae of the late '60s and early '70s, Charmers made valuable contributions not only as a vocalist, but as a session musician and producer, as well.

Charmers first broke into the Kingston music scene as a member of the singing duo the Charmers, which also featured vocalist Roy Willis. After scoring a few hits in the late '50s, the group caught the attention of rising producer and future reggae legend Clement "Coxsone" Dodd. Cut for a variety of Dodd labels, including All Stars, World Disc, and Coxsone, the Charmers' output for the producer included their biggest smash, "Jeannie Girl," a song featured on Coxsone's famous debut collection, All Star Top Hits. Continuing under Dodd's newly setup Studio One imprint, Charmers and Willis maintained their high profile into the ska and rocksteady period during 1962-1967.

Spurred on by one of the day's top singers, Alton Ellis, Charmers took up the piano in 1966. A few years later, he was an accomplished enough player to form a band of his own with a few friends. Also featuring Charmers on organ, the lineup included guitarist Alva "Reggie" Lewis and the sibling duo of drummer Carlton "Carlie" Barrett and bassist Aston "Family Man" Barrett. Dubbed the Hippy Boys, the group soon fell into the camp of fledgling producer Bunny "Striker" Lee. Their first date with Lee was as the backup band on alto saxophonist Lester Sterling's instrumental hit "Bangarang." Renamed the Bunny Lee Allstars, the band eventually backed a slew of Lee acts, including Ken Parker, Max Romeo, Pat Kelly, John Holt, and Slim Smith & the Uniques (Charmers would also spend some time singing for the Uniques). Buoyed by their reputation for laying down some of the rawest and driving rhythms of the time, the Hippy Boys were soon sought after by such other young producers of the time as Sonia Pottinger, Harry J., and Lloyd Daley; they even hooked up with the idiosyncratic Lee Perry, who changed their name to the Upsetters for his sessions. During this time, Charmers and company also cut some amazing instrumental sides under the Hippy Boys name, all of which were produced by Charmers. Covering the years 1969-1970, these incredible tracks were released on such albums as House in Session, Reggae Charm, and Reggae Is Tight (these titles have long been out of print, but some of the tracks can be found on the fine 1998 Reggae Retro collection Psychedelic Reggae).

Having picked up valuable studio experience, both with Lee and in overseeing the Hippy Boys sessions, Charmers launched his own Splash label in the early '70s (he would also release material on the Soul Beat and Wild Flower labels). Featuring his sophisticated, Philly soul-inspired arrangements, Charmers' output included several hits by the Gaylads, B.B. Seaton, Lloyd Parks, and Ken Boothe. Boothe, in fact, proved to be Charmers' biggest act, scoring such smashes as "Have I Sinned," "Black, Green & Gold," and the Bread cover "Everything I Own." Including another Boothe hit, "Crying Over You," Charmers penned many of the cuts used for his sessions. He even found time to maintain a successful career as a singer in his own right, scoring early-'70s hits like "Oh Me Oh My" and "Rasta Never Fails." Charmers also produced several instrumental and proto-dub sides during this time, which often featured his session band Now Generation, led by guitarist Mickey Chung.

Unfortunately, not much is known about Charmers' whereabouts after his successful stint as a producer in the first half of the '70s. Whether he is still working or even still alive is a good question. But, there are samples of his work available. In addition to the Psychedelic Reggae collection, curious listeners can check out his production work on Boothe's Everything I Own album for Trojan and guitarist Willie Lindo's instrumental disc Far & Distant on Wild Flower.

Aretha Franklin

Aretha Franklin is one of the giants of soul music, and indeed of American pop as a whole. More than any other performer, she epitomized soul at its most gospel-charged. Her astonishing run of late-'60s hits with Atlantic Records--"Respect," "I Never Loved a Man," "Chain of Fools," "Baby I Love You," "I Say a Little Prayer," "Think," "The House That Jack Built," and several others--earned her the title "Lady Soul," which she has worn uncontested ever since. Yet as much of an international institution as she's become, much of her work--outside of her recordings for Atlantic in the late '60s and early '70s--is erratic and only fitfully inspired, making discretion a necessity when collecting her records.

Franklin's roots in gospel ran extremely deep. With her sisters Carolyn and Erma (both of whom would also have recording careers), she sang at the Detroit church of her father, Reverend C.L. Franklin, while growing up in the 1950s. In fact, she made her first recordings as a gospel artist at the age of 14. It has also been reported that Motown was interested in signing Aretha back in the days when it was a tiny start-up. Ultimately, however, Franklin ended up with Columbia, to which she was signed by the renowned talent scout John Hammond.

Franklin would record for Columbia constantly throughout the first half of the '60s, notching occasional R&B hits (and one Top Forty single, "Rock-a-bye Your Baby with a Dixie Melody"), but never truly breaking out as a star. The Columbia period continues to generate considerable controversy among critics, many of whom feel that Aretha's true aspirations were being blunted by pop-oriented material and production. In fact there's a reasonable amount of fine items to be found on the Columbia sides, including the occasional song ("Lee Cross," "Soulville") where she belts out soul with real gusto. It's undeniably true, though, that her work at Columbia was considerably tamer than what was to follow, and suffered in general from a lack of direction and an apparent emphasis on trying to develop her as an all-around entertainer, rather than as an R&B/soul singer.

When Franklin left Columbia for Atlantic, producer Jerry Wexler was determined to bring out her most soulful, fiery traits. As part of that plan, he had her record her first single, "I Never Loved a Man (The Way I Love You)," at Muscle Shoals in Alabama with esteemed Southern R&B musicians. In fact, that was to be her only session actually at Muscle Shoals, but much of the remainder of her '60s work would be recorded with the Muscle Shoals Sound Rhythm Section, although the sessions would actually take place in New York City. The combination was one of those magic instances of musical alchemy in pop: the backup musicians provided a much grittier, soulful, and R&B-based accompaniment for Aretha's voice, which soared with a passion and intensity suggesting a spirit that had been allowed to fly loose for the first time.

In the late '60s, Franklin became one of the biggest international recording stars in all of pop. Many also saw Franklin as a symbol of Black America itself, reflecting the increased confidence and pride of African-Americans in the decade of the civil rights movements and other triumphs for he Black community. The chart statistics are impressive in and of themselves: ten Top Ten hits in a roughly 18-month span between early 1967 and late 1968, for instance, and a steady stream of solid mid-to-large-size hits for the next five years after that. Her Atlantic albums were also huge sellers, and far more consistent artistically than those of most soul stars of the era. Franklin was able to maintain creative momentum, in part, because of her eclectic choice of material, which encompassed first-class originals and gospel, blues, pop, and rock covers, from the Beatles and Simon & Garfunkel to Sam Cooke and the Drifters. She was also a fine, forceful, and somewhat underrated keyboardist.

Franklin's commercial and artistic success was unabated in the early '70s, during which she landed more huge hits with "Spanish Harlem," "Bridge Over Troubled Water," and "Day Dreaming." She also produced two of her most respected, and earthiest, album releases with Live at Fillmore West and Amazing Grace. The latter, a 1972 double LP, was a reinvestigation of her gospel roots, recorded with James Cleveland & the Southern California Community Choir. Remarkably, it made the Top Ten, counting as one of the greatest gospel-pop crossover smashes of all time.

Franklin had a few more hits over the next few years--"Angel" and the Stevie Wonder cover "Until You Come Back to Me"--being the most notable--but generally her artistic inspiration seemed to be tapering off, and her focus drifting toward more pop-oriented material. Her Atlantic contract ended at the end of the 1970s, and since then she's managed to get intermittent hits -- "Who's Zooming Who" and "Jump to It" are among the most famous -- without remaining anything like the superstar she was at her peak. Many of her successes were duets, or crafted with the assistance of newer, glossier-minded contemporaries such as Luther Vandross. There was also another return to gospel in 1987 with One Lord, One Faith, One Baptism.

Critically, as is the case with many '60s rock legends, there have been mixed responses to her later work. Some view it as little more than a magnificent voice wasted on mediocre material and production. Others seem to grasp for any excuse they can to praise her whenever there seems to be some kind of resurgence of her soul leanings. Most would agree that her post-mid-'70s recordings are fairly inconsequential when judged against her prime Atlantic era. The blame is often laid at the hands of unsuitable material, but it should also be remembered that -- like Elvis Presley and Ray Charles -- Franklin never thought of herself as confined to one genre. She always loved to sing straight pop songs, even if her early Atlantic records gave one the impression that her true home was earthy soul music. If for some reason she returned to straight soul shouting in the future, it's doubtful that the phase would last for more than an album or two. In the meantime, despite her lukewarm recent sales record, she's an institution, assured of the ability to draw live audiences and immense respect for the rest of her lifetime, regardless of whether there are any more triumphs on record in store.

Jackie Mittoo

Jackie Mittoo. Pianist, organist, songwriter, b Montego Bay, Jamaica, 3 Mar 1948, d Toronto 16 Dec 1990. Said to have been a piano prodigy, Mittoo began his career in his mid-teens in Kingston, Jamaica. He worked in turn with the Rivals, Sheiks, and Skatalites and was a major figure (keyboard player, composer, arranger, producer) at Coxsone Dodd's Jamaican Record Manufacturing Co (familiarly, Studio One), where he led, or was a member of, a succession of studio groups (Soul Vendors, Sound Dimension, Invaders, Brentford All Stars, New Establishment) and backed Bob Marley and The Wailers, Jimmy Cliff, the Heptones, Delroy Wilson, Alton Ellis, and others.

Several of Mittoo's songs and/or rhythms from the 1960s were later recorded or adapted by other artists - eg, 'Real Rock' by The Clash and Willie Williams (as 'Armagideon Time'), 'Full Up' by the Mighty Diamonds (as 'Pass the Kouchie') and Musical Youth (as 'Pass the Dutchie') and 'Feel Like Jumping' by William Orbit. His own recording of 'Ram Jam' was a hit and led in 1967 to a tour of England with the Soul Vendors. Mittoo also played on the US soul singer Johnny Nash's Jamaican recordings of 'Hold Me Tight' (1968) and 'Cupid' (1969), which were among the first reggae songs to enjoy broad popularity in North America and Europe.

Mittoo moved in 1969 to Toronto, but continued to work in Jamaica and toured, and/or recorded, as a member of the Skatalites and with Byron Lee and the Dragonaires, Sugar Minott, Johnny Osbourne, Willie Williams, and others. He was music director in 1980 for a short-lived Broadway production, Reggae, and further supported reggae's growing acceptance in mainstream pop through the guidance he offered non-Jamaican bands like England's UB40, with which he recorded (Labour of Love, Virgin DEPCD-5) and toured in 1983.

In Toronto, Mittoo performed in local lounges and during the 1970s recorded LPs of instrumental reggae for Summus (Wishbone, SUS-50002) and the CTL (Reggae Magic, CTLS-5164/Pickwick PC-44015; Let's Put It All Together, CTLS-5189/U Artists UA-LA-442). There, as elsewhere, he assisted local reggae bands and artists, including Earth Wind and Water, Esso Jaxxon (R. Zee Jackson), Carl Harvey, Lord Tanamo, Boyo Hammond, Carl Otway, the Sattalites, and Jackie James. He was inducted into the Black Music Association of Canada Hall of Fame in 1985.

Mittoo's discography also includes LPs issued by Coxsone (In London, CSL-8009; Evening Time, CSL-8012; Keep on Dancing, CSL-8020), Studio One (Showcase, SOL-0130; Macka Fat, SOL-1120; Now, SOL-9016), Third World (The Keyboard King, TWS-501; Hot Blood, TWS-912; In Cold Blood, TWS-931), and Wackie's (Wild Jockey, W-2749). All were distributed in Canada by his own company, Jackie. Many of the ska, 'blue beat,' 'rock steady,' and reggae recordings in which he participated at Studio One have been included in several CD reissues by Heartbeat - eg, Full Up: Best of Studio One, Vol 2 (HB-14), Downbeat the Ruler (HB-38), and Fire Down Below (HB-81).

Baba Brooks

Oswald Baba Brooks started his musical career as a trumpet player with the Eric Dean Orchestra in Jamaica in the 1950’s. The Jamaican bands played mostly Folk, Afro, Jazz, they played at clubs, big hotels and sometimes on local radio. This was an exciting scene at the time but began to die out towards the end of the fifties. Band members began to move into the recording studios in Kingston that were emerging at the time with the advent of the Sound System. The records that were produced kept the musicians well employed. Most big bands began to die out and only a few managed to survive into the sixties and beyond. One such band was Byron Lee, they became the Islands premire band and established many talented musicians including Baba Brooks. He soon became a popular session man working for many of the top record producers and featured on many of the great Ska tracks during the golden period from 1963 - 1967. He was riding high in 63’ with three hits in the Jamaican charts, Musical Communion, Bank To Bank and his version of Watermelon Man. This was a year before the Skatalies had been formed as a band, with whom he was to play on many occasions.

With Duke Reid he had many records released on his Treasure Isle/Dutchess labels. Teenage Ska was a brilliant driving ska beat track in his instrumental style. He had a habit of using a voice over intro calling out the name of the tune as on Seven Guns Alive, Girls Town Ska, Guns Fever & One Eyed Giant. On Alcatraz Count Machuki spoke the catchphrases/lyrics in the DJ style, to great effect. Other producers he worked for were King Edwards, which produced Shank I Sheck another early Ska track. With Lindon Pottinger he had half a dozen releases on the LOP label (some not issued in the UK). Later he was to arrange sessions for his wife Sonia Pottinger for her Gay Feet and High Note record labels. He found himself working in familiar surroundings as they were held at Duke Reids Treasure Isle studio on Bond Street. One of his best instrumentals was First Session, issued on GayFeet in 1966. He only had one other chart hit with This is Thunder in 1966. Most of his instruments were written by himself or in partnership with fellow musicians such as Don Drummond. During the Ska golden period he played along side all the greats, Roland Alphonso, Don Drummond, Tommy McCook, Lester Sterling, Johnny Moore, Gladstone Anderson and Jackie Mittoo. It does seem strange that he did not record for C.S.Dodd or have any records released on his Studio One labels. He would appear not to have had any more releases after 1969.

He never had an album in his own right, however, he did feature as part of a double billing on more than one album, most notably with Prince Buster on What A Hard Man Fe Dead. He has not to date had his own CD issued despite the wealth of good materials that would fill many CD’s.

Professor Longhair

Justly worshipped a decade and a half after his death as a founding father of New Orleans R&B, Roy "Professor Longhair" Byrd was nevertheless so down-and-out at one point in his long career that he was reduced to sweeping the floors in a record shop that once could have moved his platters by the boxful.


That Longhair made such a marvelous comeback testifies to the resiliency of this late legend, whose Latin-tinged rhumba-rocking piano style and croaking, yodeling vocals were as singular and spicy as the second-line beats that power his hometown's musical heartbeat. Longhair brought an irresistible Caribbean feel to his playing, full of rolling flourishes that every Crescent City ivories man had to learn inside out (Fats Domino, Huey Smith, and Allen Toussaint all paid homage early and often).


Longhair grew up on the streets of the Big Easy, tap dancing for tips on Bourbon Street with his running partners. Local 88s aces Sullivan Rock, Kid Stormy Weather, and Tuts Washington all left their marks on the youngster, but he brought his own conception to the stool. A natural-born card shark and gambler, Longhair began to take his playing seriously in 1948, earning a gig at the Caldonia Club. Owner Mike Tessitore bestowed Longhair with his professorial nickname (due to Byrd's shaggy coiffure).


Longhair debuted on wax in 1949, laying down four tracks (including the first version of his signature "Mardi Gras in New Orleans," complete with whistled intro) for the Dallas-based Star Talent label. His band was called the Shuffling Hungarians, for reasons lost to time! Union problems forced those sides off the market, but Longhair's next date for Mercury the same year was strictly on the up-and-up. It produced his first and only national R&B hit in 1950, the hilarious "Bald Head" (credited to Roy Byrd & His Blues Jumpers).


The pianist made great records for Atlantic in 1949, Federal in 1951, Wasco in 1952, and Atlantic again in 1953 (producing the immortal "Tipitina," a romping "In the Night," and the lyrically impenetrable boogie "Ball the Wall"). After recuperating from a minor stroke, Longhair came back on Lee Rupe's Ebb logo in 1957 with a storming "No Buts - No Maybes." He revived his "Go to the Mardi Gras" for Joe Ruffino's Ron imprint in 1959; this is the version that surfaces every year at Mardi Gras in New Orleans.


Other than the ambitiously arranged "Big Chief" in 1964 for Watch Records, the '60s held little charm for Longhair. He hit the skids, abandoning his piano playing until a booking at the fledgling 1971 Jazz & Heritage Festival put him on the comeback trail. He made a slew of albums in the last decade of his life, topped off by a terrific set for Alligator, Crawfish Fiesta.

Longhair triumphantly appeared on the PBS-TV concert series Soundstage (with Dr. John, Earl King, and the Meters), co-starred in the documentary Piano Players Rarely Ever Play Together (which became a memorial tribute when Longhair died in the middle of its filming; funeral footage was included), and saw a group of his admirers buy a local watering hole in 1977 and rechristen it Tipitina's after his famous song. He played there regularly when he wasn't on the road; it remains a thriving operation.


Longhair went to bed on January 30, 1980, and never woke up. A heart attack in the night stilled one of New Orleans' seminal R&B stars, but his music is played in his hometown so often and so reverently you'd swear he was still around.

Billie Holiday

Born: April 7, 1915
Baltimore, Maryland
Died: July 17, 1959
New York, New York
African American jazz singer

Billie Holiday was an African American jazz vocalist who perhaps showed the most expression of feeling of any singer in jazz history.

Early life

Billie Holiday was born Eleanora Fagan on April 7, 1915, in Baltimore, Maryland. (She borrowed the name "Billie" from one of her favorite movie actresses, Billie Dove.) Born to an unwed teenage mother, Sadie Fagan, Holiday's childhood was one of poverty. Her father, Clarence Holiday (later a jazz guitarist) married Sadie three years later. He never lived with the family, choosing his musical career over them. As a child Billie started working very young, running errands and cleaning a house of prostitution's (a place where sexual acts are traded for money) marble stoop. It was here that she first heard Louis Armstrong (1900–1971) and Bessie Smith (1894–1937) records through the open windows.

New York City

In 1928 Holiday moved to New York City with her mother, who began work as a housemaid, but the 1929 depression (time of low economic conditions with high rates of unemployment) soon left her mother without work. In 1932 Holiday auditioned for a singing job and was hired. For the next few years she sang in Harlem clubs, then her career took off when Benny Goodman (1901–1986) used her on a record. But it was through a series of recordings made between 1935 and 1939 that her international reputation was established. During the late 1930s she was also a big band vocalist, first with Count Basie (1904–1984) in 1937 and then with Artie Shaw (1910–) in 1938.

Holiday's relationship with Basie's star tenor saxophonist Lester Young (1909–1959) is the stuff of legend. They were great musical coworkers and great friends for life. Young named her "Lady Day" (or simply "Lady"), and that title became her jazz world name from the mid-1930s on. She in turn labeled him "Pres" (the "President of Tenor Saxophonists").

Many successful tunes were recorded, interweaving Young's tenor saxophone with Holiday's voice. After the late 1930s they rarely recorded together, but to the end they remained soul mates. Holiday's career reached its peak in the late 1930s. In 1938 she worked a long engagement at Cafe Society. The following year she joined Benny Goodman on a radio broadcast.

Two songs of the period are noteworthy. The first, "Strange Fruit," is a detailed description of a lynching (an unjust killing because of race). Columbia record company considered it too inflammatory (exciting to the senses) and refused to issue it. A small record company, Commodore, finally released it in 1939. It became a big money-maker because of the tune on the record's other side, "Fine and Mellow," a blues song written by Holiday. Another tune always associated with her is "Gloomy Sunday," which spoke of such deep despair (misery) that it was kept off the airwaves for a time.

Personal tragedies

By the mid-1940s Holiday had been arrested many times for illegal drug use. After one arrest, at her own request, she was placed in a federal rehabilitation (having to do with recovery from drug or alcohol abuse) center at Alderson, West Virginia, for a year and a day. Just ten days after being released she gave a concert at Carnegie Hall in New York City.

Neither Holiday's first husband, Joe Guy, a jazz guitarist who she divorced, or Louis McKay, who survived her, seemed able to save Holiday from herself. By the 1950s alcohol and marijuana had strained her voice, so that it was unnaturally deep and grainy and occasionally cracked during performances. Nevertheless, her singing was sustained by her highly individual style, the familiarity she projected, and her special way with the words of a song.

Holiday made her final public appearance in a concert at the Phoenix Theatre in New York City on May 25, 1959. She died in Metropolitan Hospital in New York City on July 17, 1959, of "congestion of the lungs complicated by heart failure." At the time of her death she had been under arrest in her hospital bed for illegal possession of drugs.

Holiday's early small-group recordings have been rereleased in several boxed sets under the general title Billie Holiday: The Golden Years. Her best later work is to be found in The First Verve Sessions, recorded in 1952 and 1954.

On March 6, 2000, Holiday was inducted into the Rock and Roll Hall of Fame in the Early Influences category. That category includes artists whose music predates rock and roll, but who inspired and had a strong effect on rock and roll music.

For More Information

Chilton, John. Billie's Blues. New York: Stein and Day, 1975.

Clarke, Donald. Wishing on the Moon. New York: Viking, 1994.

Holiday, Billie, and William Dufty. Lady Sings the Blues. Garden City, NY: Doubleday, 1956.

Nicholson, Stuart. Billie Holiday. Boston: Northeastern University Press, 1995.

O'Meally, Robert G. Lady Day: The Many Faces of Billie Holiday. NewYork: Arcade Publishers, 1991.

The Skatalites

The Skatalites were formed in June 1964, drawing from the ranks of session musicians then recording in the studios of Kingston, Jamaica. The personnel included Don Drummond (b. 1943, Kingston, Jamaica, West Indies, d. 6 May 1969, Kingston, Jamaica, West Indies; trombone), Roland Alphonso (b. 12 January 1931, Havana, Cuba, d. 20 November 1998, Los Angeles, California, USA; tenor saxophone), Tommy McCook (b. 1927, Jamaica, West Indies, d. 5 May 1998, Atlanta, Georgia, USA; tenor saxophone), Johnny "Dizzy' Moore (trumpet), Lester Sterling (alto saxophone), Jah Jerry (b. Jerome Hines, 8 November 1921, West Indies, d. 13 August 2007, Kingston, Jamaica, West Indies; guitar), Jackie Mittoo (b. Donat Ray Mittoo, 3 March 1948, Brown's Town, St. Ann, Jamaica, West Indies, d. 16 December 1990, Toronto, Ontario, Canada; piano), Lloyd Brevett (bass) and Lloyd Knibbs (drums). The band name was a Tommy McCook pun on the Soviet space satellite of 1963. The Skatalites" music, reputedly named after the characteristic "ska" sound made by the guitar when playing the "after beat", was a powerful synthesis, combining elements of R&B and swing jazz in arrangements and solos, underpinned by the uniquely Jamaican-stressed "after beat", as opposed to the "down beat" of R&B.

Many of the musicians had learned music at Alpha Boys' School in Kingston, subsequently honing their talent in the Jamaican swing bands of the 40s and early 50s, and in numerous "hotel bands" playing for the tourist trade. Most of the musicians thereby developed recognizable individual styles. Their repertoire was drawn from many sources, including adaptations of Latin tunes, movie themes and updated mento, a Jamaican folk song form. Perhaps their most famous and identifiable tune was "Guns Of Navarone", recorded in 1965 and a big club hit in the UK in the mid-60s. They recorded hundreds of superb instrumentals for various producers, either under the group name or as a band led by the particular musician who had arranged the session. Under the Skatalites name they made important music for Coxsone Dodd and Duke Reid, as well as for Philip and Justin Yap's Top Deck record label. They stayed together for just over two years until August 1965, when a combination of financial, organizational and personal problems caused the break-up of the band after their last gig, a police dance at the Runaway Bay Hotel.

Of the main protagonists, Jackie Mittoo and Roland Alphonso were persuaded by Coxsone Dodd to form the Soul Brothers band, who made instrumentals and supplied backing tracks at Studio One until 1967. McCook worked principally for Duke Reid, where he formed the studio band known as the Supersonics, and was musical co-director for Reid's Treasure Isle label with alto saxophonist Herman Marques. The tragically wayward Don Drummond suffered from severe depression and died on 6 May 1969 in Belle Vue Asylum, Kingston. The Skatalites had backed virtually every singer of note in the studios, at the same time laying the musical foundation for subsequent developments in Jamaican music. They released a reunion album in 1975 - not playing ska, but high-quality instrumental reggae. In 1984 the band played the Jamaican and London "Sunsplash" concerts to rapturous acclaim. The re-formed group also toured Japan with vocalists Prince Buster and Lord Tanamo in 1989, recording live and in the studio.


The Skatalites Discography

The Skatalites albums.

Ska Boo-Da-Ba - 1965 (Top Deck/Doctor Bird)
Ska Authentic - 1967 (Studio One)
The Skatalites - 1975 (Treasure Isle)
Return Of The Big Guns - 1984 (Island)
Live At Reggae Sunsplash - 1986 (Synergy)
Stretching Out - 1987/1998 (ROIR)
Celebration Time - 1988 (Studio One)
The Legendary Skatalites In Dub - 2002 (Motion)
From Paris With Love - 2003 (World Village)
Live At Lokerse Feesten - 2006 (Charly)
On The Right Track - 2007 (Aim)

Rufus Thomas

Few of rock roll's founding figures are as likable as Rufus Thomas. From the 1940s onward, he has personified Memphis music; his small but witty cameo role in Jim Jarmusch's Mystery Train, a film which satirizes and enshrines the city's role in popular culture, was entirely appropriate. As a recording artist, he wasn't a major innovator, but he could always be depended upon for some good, silly, and/or outrageous fun with his soul dance tunes. He was one of the few rock or soul stars to reach his commercial and artistic peak in middle age, and was a crucial mentor to many important Memphis blues, rock, and soul musicians.

Thomas was already a professional entertainer in the mid-'30s, when he was a comedian with the Rabbit Foot Minstrels. He recorded music as early as 1941, but really made his mark on the Memphis music scene as a deejay on WDIA, one of the few black-owned stations of the era. He also ran talent shows on Memphis' famous Beale Street that helped showcase the emerging skills of such influential figures as B.B. King, Bobby Bland, Junior Parker, Ike Turner, and Roscoe Gordon.

Thomas had his first success as a recording artist in 1953 with "Bear Cat," a funny answer record to Big Mama Thornton's "Hound Dog." It made number three on the RB charts, giving Sun Records its first national hit, though some of the sweetness went out of the triumph after Sun owner Sam Phillips lost a lawsuit for plagiarizing the original Jerry Leiber/Mike Stoller tune. Thomas, strangely, would make only one other record for Sun, and recorded only sporadically throughout the rest of the 1950s.

Thomas and his daughter Carla would become the first stars for the Stax label, for whom they recorded a duet in 1959, "'Cause I Love You" (when the company was still known as Satellite). In the '60s, Carla would become one of Stax's biggest stars. On his own, Rufus wasn't as successful as his daughter, but issued a steady stream of decent dance/novelty singles.

These were not deep or emotional statements, or meant to be. Vaguely prefiguring elements of funk, the accent was on the stripped-down groove and Rufus' good-time vocals, which didn't take himself or anything seriously. The biggest by far was "Walking the Dog," which made the Top Ten in 1963, and was covered by the Rolling Stones on their first album.

Thomas hit his commercial peak in the early '70s, when "Do the Funky Chicken," "(Do The) Push and Pull," and "The Breakdown" all made the RB Top Five. As the song titles themselves make clear, funk was now driving his sound rather than blues or soul. Thomas drew upon his vaudeville background to put them over on-stage with fancy footwork that displayed remarkable agility for a man well into his 50s. The collapse of the Stax label in the mid-'70s meant the end of his career, basically, as it did for many other artists with the company. In 2001, Rufus Thomas was inducted into the Blues Hall of Fame. Later that year, on December 15, he died at St. Francis hospital in Memphis, TN.


Famous Works

CREDITS
Film Appearances
Himself, Wattstax, Wolper Pictures, 1972
Dancer at Haney's Big House, Great Balls of Fire!, Paramount,1989
Man in station, Mystery Train, Orion, 1989
Himself, Saturday Night, Sunday Morning: The Travels of Gatemouth Moore, 1992
Tommy, A Family Thing, Metro-Goldwyn-Mayer/United Artists, 1996
Theo Johnson, Cookie's Fortune, October Films, 1999
Television Appearances
Specials
Performer, All Day and All Night: Memories from Beale Street Musicians, PBS, 1990
Rhythm, Country, and Blues: An "In the Spotlight" Special, PBS, 1994
Episodic
Ready, Steady, Go!, The Disney Channel, 1989
Interviewee, Rock & Roll, PBS, 1995
RECORDINGS
Albums
Walking the Dog, Stax, 1964
Do the Funky Chicken, Stax, 1970

Doing the Push & Pull Live at PJ's, Stax, 1971
Did You Hear Me, Stax, 1973
Crown Prince of Dance, Stax, 1974
Blues in the Basement, Stax, 1975
If There Were No Music, AVI, 1977
I Ain't Getting Older, I'm Gettin' Better, AVI, 1977
Rufus Thomas, Gusto, 1980
Jump Back, Edsel, 1984
Rappin Rufus, Ichiban, 1986
That Woman Is Poison, Alligator, 1988
Timeless Funk, Ichiban, 1992
Can't Get Away from This Dog, Stax, 1992
The Best of Rufus Thomas: Do the Funky Something, WEA/Atlantic/Rhino, 1996
Blues Thang!, Sequel, 1997
Rufus Live!, Ecko, 1998
Memories, MCA, 1998
Singles include "I'll Be a Good Boy," Star Talent, 1943; "Bear Cat,"Sun Records, 1950; (with daughter Carla Thomas) "'Cause I Love You," Satellite, 1960; "Breakdown," 1971; and "Do the Funky Penguin," 1972.
WRITINGS
Film Music
"Do the Dog," The Fan, Vestron, 1981
"Walking the Dog," The Cutting Edge, New World, 1992
"Philly Dog," Little Big League, Metro-Goldwyn-Mayer, 1994
"Walking the Dog," All Men Are Liars, 1995
"Walkin' the Dog," Keys to Tulsa, Gramercy Pictures, 1997
"Walkin' the Dog," All I Wanna Do, Miramax, 1998
Television Music
"Forces of Rhythm," Dance Theatre of Harlem (special), 1977

Earl Van Dyke

Earl Van Dyke (July 8, 1930, Detroit, Michigan – September 18, 1992) was an African American musician, most notable as the main keyboardist for Motown Records' in-house Funk Brothers band during the late 1960s and early 1970s. Van Dyke was preceded as keyboardist and bandleader of the Funk Brothers by Joe Hunter. Besides his work as the session keyboardist on popular Motown hits such as \"Bernadette\" by The Four Tops, \"I Heard It Through the Grapevine\" by Marvin Gaye, and \"Run Away Child, Running Wild\" by The Temptations, Van Dyke performed with a small band as an opening act for several Motown artists, and released instrumental singles and albums himself. Several of Van Dyke's recordings feature him playing keys over the original instrumental tracks for Motown hits; others are complete covers of Motown songs. Van Dyke played the Steinway grand piano, the Hammond B-3 organ, the Wurlitzer electric piano, the Fender Rhodes, and the celeste and harpsichord. His musical influences included Tommy Flanagan, Hank Jones, and Barry Harris. In September of 1992, at the age of 62, Van Dyke died of prostate cancer at Harper Hospital in Detroit.