Generoso and Lily’s Bovine Ska and Rocksteady: Linden Pottinger’s Gaydisc Label 9-27-16

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Roy Panton and Millie Small on Gaydisc

We started off the September 27th, 2016 Bovine Ska and Rocksteady with two sets of dazzling reggae beginning with a version to version produced by one of our favorites. Keith Hudson.   After a fun set of mento, we went into a long ska set beginning with our continued tribute to the late Prince Buster with the cut, Cincinnati Kid from 1965.  The ska set ended with a super rare cut that was also produced by Prince Buster, but performed by Lloyd Barnes in 1964 entitled, Time  Is Hard.  We then went into our spotlight of Lindon Pottinger’s Gaydisc Label.

Before Lindon Pottinger ventured into the music industry, he was an accomplished accountant and businessman. With his wife, Sonia, who would become one of the most distinguished women in the Jamaican music business, Lindon opened up a recording studio in the Pottinger home. This studio served as the center of recording for the SEP and Golden Arrow, and the label of our spotlight tonight: Gaydisc. The label started out in 1962 and was prolific until 1967, so this spotlight will contain ska, ballads, and rocksteady productions from Mr. Pottinger. We’ll start off with Al T. Joe’s “I’m On My Own”

In 1964, Lindon sold the recording equipment in his and Sonia’s home studio to Duke Reid, and in 1965, Lindon and Sonia parted ways.Despite these major changes, Lindon would continue to produce for Gaydisc. And, he would continue to manage his record pressing plant as well.

The Cables…Though the Cables formed in 1962 with Keble Drummond, Vincent Stoddard, and Elbert Stewart, they did not enter the recording studio until 1966. The first producer they visited was Lindon Pottinger, and their first single was “You Lied,” which was backed by Bobby Aitken and his band. You’ll heard The Cables’s debut single, which was released on Gaydisc.

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Roy Panton and Millie Small on Gaydisc

We started off the September 27th, 2016 Bovine Ska and Rocksteady with two sets of dazzling reggae beginning with a version to version produced by one of our favorites. Keith Hudson.   After a fun set of mento, we went into a long ska set beginning with our continued tribute to the late Prince Buster with the cut, Cincinnati Kid from 1965.  The ska set ended with a super rare cut that was also produced by Prince Buster, but performed by Lloyd Barnes in 1964 entitled, Time  Is Hard.  We then went into our spotlight of Lindon Pottinger’s Gaydisc Label.

Before Lindon Pottinger ventured into the music industry, he was an accomplished accountant and businessman. With his wife, Sonia, who would become one of the most distinguished women in the Jamaican music business, Lindon opened up a recording studio in the Pottinger home. This studio served as the center of recording for the SEP and Golden Arrow, and the label of our spotlight tonight: Gaydisc. The label started out in 1962 and was prolific until 1967, so this spotlight will contain ska, ballads, and rocksteady productions from Mr. Pottinger. We’ll start off with Al T. Joe’s “I’m On My Own”

In 1964, Lindon sold the recording equipment in his and Sonia’s home studio to Duke Reid, and in 1965, Lindon and Sonia parted ways.Despite these major changes, Lindon would continue to produce for Gaydisc. And, he would continue to manage his record pressing plant as well.

The Cables…Though the Cables formed in 1962 with Keble Drummond, Vincent Stoddard, and Elbert Stewart, they did not enter the recording studio until 1966. The first producer they visited was Lindon Pottinger, and their first single was “You Lied,” which was backed by Bobby Aitken and his band. You’ll heard The Cables’s debut single, which was released on Gaydisc.

Generoso and Lily’s Bovine Ska and Rocksteady: King Edwards’ Giant Label 8-16-16

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Roy Panton and Cornell Campbell as The Bellstars

Hello Bovine Ska and Rocksteady Listeners,

A triple version of Delano Stewart’s That’s Life, a pretty 1968 tune for Sonia Pottinger’s High Note is how we commenced the August 16th, 2016 Bovine Ska and Rocksteady.   We continued the with another set of early reggae that ended with Leonard Wilson’s 1975 track for Mighty Cloud, I Want To Thank You and the version by The Mighty Cloud Band, Thank You Instrumental.  We thought to go with an uptown mento sound for this week’s mento set…Baba Motta’s Jamaica Talk , Tony Johnson and His Carousel Band’s Give Her Banana, and  Clyde Hoyt and George Moxey Quartet’s Montego Calypso.   To end the first hour, a long set of rare ska to get you ready for the ska of King Edward’s Giant Label that ended with The Originators,  Chelip Chelip, which was released on SEP in 1966.  It was then off to the spotlight…

Vincent ‘King Edwards’ began his career as a sound system operator with his brother George. Vincent traveled to America in 1954 and brought back records and the equipment for a sound system. Upon his return to Jamaica, Vincent and George opened up the Rock and Roll soundsystem, but the first dance did not go well, and Vincent and his brother George took some time to improve the soundsystem. Rock and Roll returned to the scene in 1956, and immediately started to be called the Edwards Sound. Shortly thereafter, King was added to the sound system name, emerging as the King Edwards soundsystem. Vincent would get exclusive records from artists in America, specifically Philadelphia where his sister lived and from the south where, giving the King Edwards soundsystem an edge that would append ‘The Giant’ onto the name.

Like many other sound system operators, the Edwards brothers would play primarily American soul and R&B, but as the 60s arrived, they began recording acetates in Jamaica customized for his soundsystem, and that led to a natural transition into recording and releasing records for the public in the early 1960s. There is of course the flagship label that many know of: The King Edwards label, but here on the Bovine Ska, we wanted to spotlight a label that was the other part of the soundsystem name, and that is The Giant label.

Vin and George Edwards were extremely active throughout ska, but the label stopped releasing records as rocksteady and by the early 70s the soundsystem completely closed it doors. A few factors played into this: Vin’s interest shifted toward on politics; he served as a Councillor and then became a member of parliament. He was also getting into horse training, which is something he still does today. George moved to the countryside of Jamaica, away from the city and the music scene. Furthermore, Vin was not a marijuana smoker (nor an alcohol drinker), and after a while the rampant smoking that would occur in the studios made the music business difficult for Vin.

Please let us know if you enjoy the August 16th, 2016 Bovine Ska and Rocksteady:

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

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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 2/25/15: Roy and Millie

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The Wonderful Vocals of Roy and Millie from 1963 on WIRL

This was a fun show and we were more than thrilled to send it out to all of you.  Starting off with a deep cut from the late sister of Alton Ellis, Hortense Ellis gave us the superb 1970 track, “Love Is The Key.” We continues with two full sets of early fast reggae ending with Gladdy Anderson’s 1969 vocal cut for Duke Reid, “Dollars and Cents,” which was released in England on the might Trojan label. As this week was without major snow for the first time all month, we felt the need to have a joyous spotlight in the form of a Roy and Millie spotlight.

Born in Clarendon, Jamaica to a sugar plantation overseer, Millie Small began her music career on the Vere Johns Opportunity Hour. After winning the contest, Millie decided to move to Kingston for a greater opportunity to record and perform. As a young teenager, she first recorded Sugar Plum at Studio One with Owen Gray in 1962, which Roy Panton harmonized with her on because Coxone Dodd wanted a stronger voice on her part because Millie’s voice was much higher than other female voices. And after that initial collaboration, Coxone, seeing the success of the male-female duo through Derrick and Patsy, he suggested Roy and Millie sing as a duo, which was a good instinct; they would see so much local success and popularity together that Millie would eventually capture the attention of Chris Blackwell, who led her to her mega hit in England, My Boy Lollipop. We begun this spotlight on Roy and Millie, starting off with their first recording as a duo together, “We’ll Meet,” which was a debut hit for them that rose to the top ten of the Jamaican charts in 1962.

They would record many times afterwards Roy Panton would continue his recording career as a solo artist and with Yvonne Adams (Harrison) and they still perform to this day. Sadly, the whereabouts of Millie Small are unknown.  We know that she emigrated to England and has a daughter but little else is known. In 2011, Millie was awarded the Order of Distinction in Jamaica but the former Prime Minister, Edward Seaga, excepted it for her in her absence.

Listen to the full program: HERE.

Enjoy! The archive will be available until 3/9/2015