2015: Winston Lowe’s Tramp Label

A Tramp Label Classic From Leroy Smart

Hello Bovine Ska and Rocksteady Listeners:

This week’s edition of Generoso’s Bovine Ska and Rocksteady began with a two sets of ska classics and rarities starting with Red Sea, a rare vocal cut from the king of the ska harmonica, Charley Organaire and ending with Rolando Alphonso magnificent ska instrumental from 1966 for Winston Blake’s Merritone label, “Sai Pan” We rarely mention it on the blogpost but our backing album was just too good not to mention here, and that was Zulema’s 1975 disco classic, Ms. Z. After an upbeat mento set, we ended the first our with two version to version pairings, starting with Ken Boothe’s “I Don’t Want To See You Cry,” and Delroy Wilson’s “I’m Not A King.” We then began the second hour with a spotlight of the rare Winston Lowe produced label, TRAMP.

Two years ago, Generoso finished a documentary he had been working on for the previous four years on Chinese Jamaicans and their contribution to Jamaican music. From artists to producers, there is an amazing history of Chinese Jamaican participation in turning reggae into a worldwide phenomenon. Many know the names of Byron Lee, Leslie Kong, and Vincent and Pat Chin, but rarely is the name Winston Lowe mentioned. A friend of Bunny Lee, Winston Lowe ran his Tramp label in Greenwich Farm, creating some truly illustrious productions during its brief period of activity from 1968 to 1972. Amongst the artists who would stop by at Tramp, the Melodians and Lloyd Charmers would cut some of their finest sides for the label. Of the rotating artists, The Uniques recorded some of their best material at Tramp on loan from Bunny Lee, including an outstanding version of “For What It’s Worth” by Buffalo Springfield entitled “Watch This Sound,” which started this evening’s label spotlight.

Soul Syndicate backed up many of the Tramp label tracks of the early 70s, with members including Bovine Ska friend Tony Chin, Earl “Chinna” Smith, Carlton “Santa” Davis, and George “Fully” Fullwood. The band still performs today, with many of the original members performing at Don the Beachcomber in Huntington Beach every Sunday, which is an awesome thing!

You can listen to our show from August 25th, 2015 by clicking HERE.

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Enjoy!

XOXOXO Lily & Generoso

Bovine Ska and Rocksteady 8/18/2015: Saying Goodbye To Maurice Roberts And A Spotlight On Justin Yap’s Top Deck Label

BB Seaton Thrills On This Top Deck Cut

Hello Bovine Ska and Rocksteady Listeners,

Unfortunately, we started off the show this week with some very sad news from BB Seaton of The Gaylads…He posted that his friend, bandmate and co-founder of The Gaylads, Maurice Roberts had passed away. “Joe” as he was affectionately called by his friends, died after a long period of illness. We first heard of Joe’s passing health when we interviewed BB Seaton back in the spring of 2012, but there was little information being released on the status of his health so this comes as a surprise. We started off our program with a few of our favorite Gaylads tracks that were recorded in the early reggae period, including “Someday I Will Be Free,” “Wha She Do Now,” and “My Jamaican Girl” as well as the version of that tune recorded by the Conscious Minds, to which Joe also passed bass. We send our love and respect to Maurice Robert’s family, and The Gaylads. RIP Joe. We ended the first hour with some rare Jamaican rhythm and blues tracks before going into the spotlight of Justin Yap’s Top Deck Label.

Born in 1944 as Phillip Yap, Justin Yap had an early entry into the music industry. As the son of ice cream parlour and restaurant owners, he had the opportunity to play music for his parents customers, setting up an in house sound system. Like so many other sound system operators, Yap realized that in order to stand out, especially to a girl he had a crush on, he had to record original music. Consequently, he began writing songs, and he recruited Ephraim Joe Henry to record a few tracks for his emerging Top Deck label, including“There She Goes,” which is the track that kicked off our spotlight on the Top Deck label. After the first recordings of Joe Henry, Top Deck was not quite a successful label, but after the arrival of Fitzroy “Larry” Marshall, the label began to gain traction with his cover of Paul Martin’s “Snake in the Grass,” which reached the number one spot in the Jamaican charts. After working with Baba Brooks and recording his hit of “Jungle Drums,” Yap began to search for more instrumentals. And as a result, he arrived to The Skatalites after finding out that they were not exclusive to Coxone Dodd through a friend. To make the most of his recording time with the Skatalites, which he offered a double rate for, Yap had one enormous session with them that resulted in Ska-Boo-Da-Ba. This outstanding record was recorded in an intense 18 hour session in November of 1964.

Yap moved to America in 1966, where he became a soldier and would eventually fight in the Vietnam War. Consequently, no Top Deck recordings exist in reggae, but thankfully, Yap brought his master tapes with him to America, and consequently, his tapes have been re-mastered and re-released over time. Sadly, Justin Yap passed away in 1999 in liver cancer, but the legaacy of his recordings have continued to live on.

You can listen to our show from August 18th, 2015 by clicking HERE.

Enjoy!

XOXOXO Lily & Generoso

Bovine Ska and Rocksteady 8/4/15: The UK “Giant” Label

A Rare Giant LP Featuring It’s Star, Dandy Livingstone

Hello Bovine Ska and Rocksteady Listeners,

Thanks for making last week’s show, our two hour tribute to Jamaican Doo Wop Covers such a success as it was the number five ranked ska show on Mixcloud last week! If you missed the show, it is here for your enjoyment: https://www.mixcloud.com/bovineska/generoso-and-lilys-bovine-ska-and-rocksteady-jamaica-covers-doo-wop/

For this past week’s show on August 4, 2015, we went back to our label spotlights by focusing on the releases of the UK Giant Label. But before we did, we did an hour of reggae and rocksteady, beginning with version to version to version excursion of Dennis Brown’s 1972 hit for producer Lloyd Daley, “Things In Life” which was released on the Syndicate label in 1972. We ended that four song set with possibly the most popular side of the night, the ruthlessly catchy 1972 Techniques Label classic by Johnny Osbourne, “Ready Or Not.” Our second set began with a version to version of the Toots Hibbert penned “Come Down” sung by Carey and Lloyd. After a mento set and a long rocksteady set, that began with a exceptional soul cut from Prince Buster called “Land Of Imagination,” Lily and I launched into the second hour and a spotlight of the rocksteady-heavy UK “Giant” Label.

Benny and Rita King distributed a lot of Jamaican music in England. In 1959, they opened up their R&B record shop in Stamford Hill where they would originally sell records, but by the early sixties, the two began to distribute their own records through their parent label R&B. Rita would often go to Jamaica to find talent and to talk to Jamaican record labels, and over their career in the record industry, the Kings redistributed Ken Lack’s Caltone releases along with tracks from U Roy, Roy Shirley, and Max Romeo, along with their star, Dandy Livingstone, who prompted the creation of one of R&B’s imprints, the Giant label, which is our label spotlight tonight. In 1967, Dandy’s Rudy, A Message to You was released on Ska Beat, another R&B subsidiary, and saw quite a bit of commercial success, and as a result, the Kings decided to open Giant as a label that same year dedicated to Dandy’s work. The label had a total of 39 issues with 26 of them including Dandy’s involvement either as a vocalist or producer. Given Dandy’s seminal role in the creation of the Giant label, we felt it was appropriate to start off with one of his great tracks for the label, People Rocksteady. Beyond Dandy works, Giant also pressed/distributed some work from Jamaica, including Albert Tomlinson’s Don’t Wait For Me and Roy Shirley’s Dance Arena.

The August 4th, 2015 show with its Giant Label spotlight is available for your listening pleasure HERE ON MIXCLOUD. If you like what we do, please subscribe to our show, its FREE!!!

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XOXO
Lily and Generoso

Bovine Ska and Rocksteady 7/28/2015: Jamaica Covers Doo Wop

The Heptones brilliant cover of the classic, “Sea Of Love”

For many years, Generoso and Lily have talked about collecting all of the Doo Wop covers we know of in Jamaican music into a show. Generoso was born and raised in a Doo Wop center, and he carried over that love to Lily, so this show was built on a great love for American Doo Wop and the humming of melodies to try to match them to what we heard in Jamaican music. Consequently, as each show happened and a Doo Wop cover was identified, we would tag and label the tracks in the hope to eventually culminate all of the songs into one grand Doo Wop extravaganza.

Finally, this past week, our celebration of Jamaica’s Doo Wop covers occurred. Despite all of our efforts to collect tracks over the years, this show took a particularly unique amount of hunting, given that plenty of the covers did not have the same name as the original tracks. Thankfully, we uncovered plenty of gems and are thrilled to share them with you.

This Doo Wop show had plenty of highlights. In the first set, Prince Buster and his All Stars showed how to improve on the slightly offensive “Ling Ting Tong” by the Five Keys. Then, in the third set, one of our favorite discoveries appeared, a lesser known cover of Gene Chandler’s “Duke of Earl” by Cornell Campbell, which emphasized how much a doo wop track could be transformed and enhanced by a reggae rhythm and vocal styling. In the second hour, we also included a 4 song set of different versions of The Moonglows’ “Sincerely” from Dorothy Russell and Ken Parker, Owen Gray, and Joe Higgs.

Listen to this special Bovine Ska and Rocksteady from July 28, 2015 HERE. Enjoy!

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Bovine Ska and Rocksteady 7/14/15: Derrick Morgan’s Hop Label

An early rocksteady hit for the Hop Label

Hello Bovine Ska and Rocksteady Listeners!

This past week Lily and I started off with two sets of rare ska, beginning with Larry Lawrence side on Beverley’s called “Garden Of Eden.” We ended that first set with a very early cut from The Sensations entitled “Juvenile Delinquent” that they recorded for Treasure Isle in 1966. Our mento set started off with Lord Power taking a mento classic and converting it into an advert for “Special Amber Calypso.” We ended the first hour with a six song set of rocksteady, ending with the great Roy Panton and The Cabeleros performing “Control Your Temper.” We then dove right into our spotlight of Derrick Morgan’s Hop Label….

Known as one of the first superstars of Jamaican music, we know Derrick Morgan as a star singer. After recording for Duke Reid, Prince Buster, Coxone Dodd, and Simeon Smith in Jamaica and Emil Shalit in England, Derrick Morgan arrived at the Beverley’s label. At Beverley’s, Derrick not only sang for Leslie Kong but also ran auditions, discovering Bob Marley, Desmond Dekker, and The Maytals. Furthermore, he ran rehearsals with singers before they recorded, and he also began producing records for Beverley’s as well. Consequently, Derrick was more than prepared to run his own label. So, when ska transitioned into rocksteady, Derrick opened his Hop label, named after his ska hit,under the pseudonym Seymour Morgan and backed by the mighty talent of Lynn Taitt and The Jets as the house band. The first release on the Hop label, Lloyd & Devon’s Red Bum Ball, was a huge hit, and as a result, Derrick continued on with his Hop label. We started off this spotlight on Hop with this first release and hit for Morgan’s label.

In these early tracks, you’ll hear Lynn Taitt on guitar. With Hop productions, Lynn and Derrick worked very collaboratively, with Lynn composing the guitar and bass line and Derrick arranging the vocals. The two worked closely from 1966 up until 1968, when Derrick Morgan moved to England for a second time to produce records for Pama’s Crab subsidiary. After about a year in England, Derrick returned to Jamaica, and picked back up on his Hop releases, recording in reggae, now that rocksteady had fully transitioned into reggae. We then focused the spotlight on rare Hop reggae releases before playing our favorite cut from the label.

This show is available for you to listen on Mixcloud, right HERE! https://www.mixcloud.com/bovineska/generoso-and-lilys-bovine-ska-and-rocksteady-7-14-15/

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Bovine Ska and Rocksteady 7/7/15: Prince Buster’s Wild Bells Label

A great Gabbidon cut on Buster’s Wild Bells Label

This week (July 7th) on Generoso and Lily’s Bovine Ska and Rocksteady, we started off with a version to version to version extravaganza from Phil Pratt’s Sun Shot Label. We began the second set again with another version to version from Derrick Harriott and the late DJ Scotty, then our bouncy mento set before a long set of early Jamaican rhythm and blues that featured an early Jimmy Cliff side from Leslie Kong’s Beverley’s label called “You Are Never Too Old” to set up the spotlight on Prince Buster’s Wild Bells label.

Born as Cecil Bustamente Campbell, Prince Buster has one of my all time favorite stories about his entry into the music industry. After living with his grandmother in rural Jamaica as a boy, Buster gained an interest in music after singing in churches. Consequently, as a teenager, when he lived on Orange Street, he naturally became attracted to the soundsystem culture, particularly with Tom the Great Sebastian’s soundsystem. As soundsystems further emerged and began to compete against each other, particularly the big two, Coxone Dodd’s and Duke Reid’s, Prince Buster and his crew aligned himself with Coxone, whose soundsystem was more of an underdog in comparison to Duke’s, to provide Coxone’s dances with security. As he stuck around Coxone, Buster learned enough about running a soundsystem that he created his own, which he called Voice of the People. With his soundsystem up and ready for records, Buster was ready to begin recording his own singles, but originally before he could get to producing music for his soundsystem alone, he was asked by Duke Reid to produce records for him. Buster ended up recording 12 tracks at Feral studios, and he gave one to Duke Reid, leaving the rest to be pressed on his own Wild Bells label, which we highlighted this epsiode, beginning with Buster’s very first track as a vocalist, Little Honey, which was released in 1961.

Buster’s Group, the backing band for the Wild Bells label, included members of the future renowned Skatalites band. On drums and percussion was Arkland Parks, better known as Drumbago. On tenor sax was Dennis Ska Campbell. On guitar was Jah Jerry Haynes. On trombone was Rico Rodriguez, and on tenor sax as well was Val Bennett

If you would like to listen to the show, it is HERE!

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Love,

Lily and Generoso

Bovine Ska and Rocksteady 6/30/15: Keith and Tex Interview and Spotlight

$Keith and Tex and Generoso and Lily$

Keith and Tex with Lily and Generoso June 28th, 2015

While living in Los Angeles these last two months, Lily and I have picked up some amazing vinyl and been the beneficiary of some truly great shows of the Jamaican oldies variety. This week, after seeing Keith and Tex wow a crowd at Don The Beachcomber in Huntington Beach, we had the opportunity to get an interview with the dynamic duo of Derrick Harriott’s Crystal/Move and Groove Label. That interview, along with a few selected cuts would be our spotlight for this week’s (June 30th, 2015) episode of the Bovine Ska and Rocksteady.

Before we got to the interview and music spotlight on Keith and Tex, we started off the program with two sets of red hot ska starting with one of our favorite ska-era cuts from Toots and The Maytals entitled “Peggy,” a fun record from BMN in 1965 that begins with some snappy guitar riffs. After our mento set, we went version to version crazy, beginning with the Lee Perry produced Untouchables track, “Confusion” from 1970 and it’s version from Val Bennett and The Upsetters, “Big John Wayne.” After Ken Boothe’s sublime 1969 record, “Just Another Girl” and The Rudies 1970 classic, “The Split,” it was on to the Keith and Tex spot.

We learned much from our interview with Keith and Tex, especially their writing technique from now and then, their output for Derrick Harriott, and their feelings for Lynn Taitt, who played on many of their finest recordings from back in the day, including the iconic riffs present in their biggest and perennially covered classic, “Stop That Train.” Thanks to Keith and Tex for taking the time out to speak with us. Lovely gentlemen that you should see as they are currently on tour. And also thanks to Keith and Tex ‘s manager, Nathan Ranking, for setting up the interview on such short notice.

Check out the show for yourself HERE and do subscribe to our FREE podcast at: https://www.mixcloud.com/bovineska/

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Bovine Ska and Rocksteady 6/23/15: The Torpedo Label

A fine cut on Briscoe’s Torpedo Label

So, after last week’s misfire with Mixcloud (it sadly seems that the limit for tracks from a single artist is four) we decided to turn our attention this week to the thunderous and at times daffy early reggae sounds of England’s Torpedo Label. That of course started at the midway point of the podcast. We began the show with two sumptuous sets of rocksteady, beginning with a rare cut from Merritone that you must hear called “Fountain Bliss.” After a mento set that featured a Lord Fly composition called “Mabel.” After a long a frenzied ska set, we went right into our spotlight of the Torpedo Label.

Lambert Briscoe ran the Hot Rod sound system in Brixton, and from the popularity of his soundsystem, emerged the Torpedo record label, which was founded by Briscoe and Eddy Grant, yes the same Eddy Grant of The Equals and eventually Electric Avenue fame. Torpedo was founded in 1970 and was short lived; it folded in the same year but was eventually revived for a stint 1974. As a result of this, we will split this spotlight according to the birth year and the rebirth year of Torpedo, beginning with the very first single released on the label, Pussy Got Nine Life by the Hot Rod All Stars, the Torpedo label’s house band, consisting of Ardley White, Danny Smith, Earl Dunn, and Sonny Binns. Originally known as The Rudies, they were renamed after Lambert Briscoe’s soundsystem as the Hot Rod All Stars, and somewhere between the transformation from The Rudies to the Hot Rod All Stars, the group also spurred off and developed into The Cimarons, who would become the pre-eminent backing band for the English reggae scene. In addition to Lambert Briscoe himself, Larry Lawrence also produced for the Torpedo label, most notably, he was the producer of Errol English’s cover of The Small Faces, Sha La La La Lee.
With 1970 marking the height of the skinhead reggae movement, characterized by a fast, danceable rhythm, the English market was dominated by Trojan and Pama, two heavyweights that had many subsidiary arms and stables with major artists, making it difficult for a small label like Torpedo to survive past its first year, which it unfortunately did not. Then, by 1973, the skinhead reggae of the previous years began to lose traction, signed especially by the folding of reggae specialized music shops. But as the late 60s/early 70s fast reggae left the spotlight in 1973, roots reggae with its markedly slower skank took its place, particularly due to the release of Bob Marley’s To Catch a Fire. Consequently, with this resurged interest in reggae, Eddy Grant opened up the Torpedo label again in 1974, but now focused the releases on more of a roots reggae sound. We kicked off the highlights from the Torpedo revival with Johnny Jonas’s Happy Birthday, a track produced by Eddy Grant himself.

Check out the full 6-23-15 Generoso and Lily’s Bovine Ska and Rocksteady podcast on Mixcloud HERE!

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Bovine Ska and Rocksteady 6/9/15: The Viceroys

The pirate-themed rocksteady of “Ya Ho” on Studio One

We started off this past week’s Bovine Ska and Rocksteady podcast, our second since leaving Boston with two sets of joyous fast ska beginning with The Checkmates “Invisible Ska.” We ended our first hour with two version to version excursions, ending with Delroy Wilson’s ” I Want To Love You,” followed by Big Youth’s sublime version,”Not Long Ago.” The second hour began with our spotlight on Studio One vocal group, The Viceroys.

The Viceroys began singing together after Wesley Tinglin, Daniel Bernard, and Bunny Gayle met in West Kingston near Spanishtown Road. Tinglin had been singing at Joe Higgs’ music classes in the company of Alton Ellis and Ken Boothe, and after picking up some guitar, he was ready to begin to record with a group. The Viceroys first auditioned for Duke Reid with two tracks written by Tinglin, but Duke Reid was not interested. Consequently, the group went over to Coxone Dodd, who recorded their first single, Lose & Gain, a track also written by Tinglin then arranged by Jackie Mittoo and backed by The Soul Vendors and this was the track that kicked off our spotlight on The Viceroys

Yo Ho was inspired by Tinglin’s interest in The Caribbean Reader, which contained stories about Morgan the pirate and other pirates. After their time with Coxone Dodd, which ended with dissatisfaction with the usually disappointing business practices of Studio One, The Viceroys went over to Derrick Morgan. Our second set began with their rocksteady recorded for Derrick Morgan, Lip and Tongue.

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Bovine Ska and Rocksteady 4/15/2015: Slim Smith With The Techniques

This past week began a special series for the Bovine Ska and Rocksteady. After 4/29/2015, the Bovine Ska and Rocksteady will no longer be on WMBR because we are moving out of Boston. To commemorate the last three shows of the Bovine Ska and Rocksteady in Cambridge/Boston, we began a three episode spotlight on an artist dearest to our hearts, Keith “Slim” Smith.

The mission of the Bovine Ska and Rocksteady has always been to share and uncover rare Jamaican music. Consequently, these last shows will feature short record label spotlights for small labels in addition to the three part spotlight on a star who should be in the global company of Bob Marley and Jimmy Cliff but is not well known outside of Jamaica.

For the 4/15/2015 edition, we started the show with two sets of early reggae, featuring “Dengue Fever” from The Scorchers and the ever-too-pretty “If I Had the Right” from Alton Ellis. After the opening reggae sets, we presented mento from Jamaica’s hotel bands, specifically The Hiltonaires, the house band of Kingston’s Hilton Hotel, The Wrigglers, one of the bands for the Arawak Hotel, and Monty Reynolds and His Silver Seas Orchestra, the house band for the Silver Seas Hotel.

Then, to close the first hour, we presented a short label spotlight on a record label that we’ve wanted to review for sometime but had great difficulty in finding the tracks: the Moo’s label. We know that the man behind the Moo’s label was Charlie Moo, but beyond that, we don’t know much about the origins or the end of the label. The spotlight featured Jamaican Rhythm and Blues tracks from each of the artists from the small catalog of Moo’s label releases: Lloyd Clarke, Basil Gabbidon, Rico Rodriguez, Johnny Moore, Owen Gray and Clancy Eccles.

The second hour was dedicated entirely to the first part of the Slim Smith tribute trilogy: his time with The Techniques.

Our Selected Favorite from The Techniques

Slim Smith began his music career as a teenager attending Kingston Senior School. He along with classmates Frederick Waite, Franklyn White, the Richards Brothers, and Winston Riley entered Edward Seaga’s Chocomo Lawn youth club in Wellington Street in 1962 to emerge as the house band for the club with all members singing and playing instruments. After spending time backing up solo singers who visited the club and in concerts, Seaga arranged for The Techniques vocal group, now consisting of just Slim Smith on lead vocals, Winston Riley, Frederick Waite, and Franklyn White, to record on their own at Federal records with the track, “No One,” which was produced by Byron Lee and released on Kentone in 1963 to some attention but not too much. We heard this first track and another early Kentone track from the Techniques to kick off this spotlight on Slim Smith.

Everything began to change in 1964 for the Techniques. “No One” would be internationally distributed by Columbia in England in 1964 and by the Curtis Mayfield compiled This Real Jamaica Ska, which was released on Epic in America. Then, as the Victor Youths Band, Slim, Winston, Frederick, and Franklin were winners in the ska and mento contest in the 1964 Jamaica Festival. And, in that same year the Techniques were introduced to Duke Reid by Ken Boothe and Stranger Cole, and they would record, “Little Did You Know” with him, which would become the first major hit for the group. To kick off the spotlight, we presented The Techniques’ finest work with Duke Reid.

After their time with Duke Reid and his Treasure Isle, The Techniques then recorded with Sonia Pottinger at her Gayfeet label, which we presented next.

Often Generoso calls The Techniques the greatest vocal band in Jamaica, and this is because beyond Slim Smith, many of the members who rotated in then out of the group were stars in their own right. After Slim Smith left, the mighty Pat Kelly was brought in to take over lead vocals. Shortly after the arrival of Pat, Bruce Ruffin also joined the group, and this version of the Techniques was responsible for some of the best adaptations of tracks from Curtis Mayfield and The Impressions. In addition to these two talents, the Techniques would also have the voices of Junior Menz, Lloyd Parks, and Dave Barker during the group’s various re-incarnations.

Listen to The Techniques spotlight and the full show HERE.

The archive will be available until 4/28/2015. Enjoy!

And don’t worry, the Bovine Ska will return in another radio form. We’ll be sure to update here!