The Maytals were key figures in reggae music. Comprised of leader Frederick "Toots" Hibbert, Nathaniel "Jerry" Mathias and Raleigh Gordon, all natives of Kingston, the Maytals are said to have been the first group to use the word 'reggae' in a song title with their Leslie Kong-produced "Do the Reggay."

Formed in the early '60s when... [+] Read More

The Maytals were key figures in reggae music. Comprised of leader Frederick "Toots" Hibbert, Nathaniel "Jerry" Mathias and Raleigh Gordon, all natives of Kingston, the Maytals are said to have been the first group to use the word 'reggae' in a song title with their Leslie Kong-produced "Do the Reggay."

Formed in the early '60s when ska was hot, the Maytals had a reputation for having strong, well-blended voices and a seldom rivaled passion for their music. Hibbert's soulful style led him to be compared to Otis Redding. They first recorded with producer Clement "Coxsone" Dodd and the resulting album, Hallelujah, offered a blend of gospel-style vocals and soul sung to a horn-driven Jamaican beat. They were popular from the start, but after recording a few sides with Studio One, they left Dodd in favor of Prince Buster. With him, they soon gained a bigger Jamaican following and also became popular in Great Britain. The Maytals began working with Byron Lee in 1966. Hits from this era include "Dog War," "Daddy" and "Broadway Jungle." That year Lee and his Dragonaires backed the Maytals at the premiere Jamaican Festival Song Competition. Their song, "Bam Bam," won the contest and began a rapid ascent to real stardom. Occasionally, the Maytals would record with other producers, who perhaps to keep from having to pay royalties, would put different band names on the labels such as the Vikings, the Royals and the Flames. The Maytals were reaching the height of their popularity towards the end of 1966 when Hibbert was arrested for smoking and possessing ganja and was sent to prison for 18 months. Fortunately the other two Maytals, who were best friends with Hibbert and realized that they could not possibly recreate their unique sound with another front man, waited for him.

When Hibbert was released, the band started working with legendary producer Leslie Kong. This was a time of transition in Jamaican popular music and ska was being replaced by the angry, violent music of Rude Boys, and this in turn was becoming reggae. The Maytals changed accordingly, but still kept that soul and gospel-influenced sound that made them unique. While in prison, Hibbert had honed his songwriting skills. Their first Kong single "54-46 That's My Number," a reference to Hibbert's prison number, recounted his experiences and suggested that he was jailed on a trumped up charge because he was a Rastafarian. It became a huge hit in both Jamaica and England and has since become a rocksteady standard. Other major songs from this time include the scathingly funny "Monkey Man," and "Sweet and Dandy," which provided the Maytals with a second win at the 1969 Festival song Competition. One of their all time great hits, "Pressure Drop," from the soundtrack of the definitive reggae film The Harder They Come. By 1971, they had not only become the biggest act on the island, they were also (thanks to signing with Chris Blackwell's Island Records) international stars. Then Leslie Kong died. They moved on to producer Byron Lee, and though the hits continued, things began to slow down. It was Lee who renamed them Toots & the Maytals. Hibbert and the group broke up in 1981. From there Hibbert began working with producers Sly Dunbar and Robbie Shakespeare. He had international success through the '80s. Hibbert created a new Maytals in the early '90s and continued touring the world with them. A major-label comeback, 2004's True Love, found Hibbert signed to V2. ~ Sandra Brennan, All Music Guide [-] Hide

Probably no other Jamaican artist has brought more international acclaim to his island home than Desmond Dekker, barring, of course, Bob Marley, but Dekker came first. Most people's introduction to the island's unique musical sound came via the singer's many hits, most notably "Israelites" and "0.0.7. (Shanty Town)." Needless to say, he was even... [+] Read More

Probably no other Jamaican artist has brought more international acclaim to his island home than Desmond Dekker, barring, of course, Bob Marley, but Dekker came first. Most people's introduction to the island's unique musical sound came via the singer's many hits, most notably "Israelites" and "0.0.7. (Shanty Town)." Needless to say, he was even more influential in his homeland.

Born Desmond Dacres in Kingston, Jamaica, on July 16, 1942, the star-to-be was orphaned in his teens. Left to earn a living on his own, he apprenticed as a welder. It was his workmates who first noted his vocal talents, as the youngster sang around the workshop. With their encouragement, in 1961 the young man decided to have a go at recording and auditioned for both Coxsone Dodd at Studio One and Duke Reid at Treasure Isle. Neither man found anything remarkable about this young hopeful and sent him on his way. Not discouraged, Dacres next tried his luck with Leslie Kong, owner of the Beverley's label. He auditioned before the stable's biggest hitmaker, Derrick Morgan, who immediately spotted the young man's potential. However, it was to be two long years before Kong finally took him into the studio, waiting patiently for him to compose a song worthy of recording.

In 1963, Dacres presented Kong with "Honour Your Father and Mother," and the producer knew the wait had been worth it. Upon its release, the song's heartfelt message soared to the top of the Jamaican charts. Having been renamed Desmond Dekker, the new star followed up with "Sinners Come Home" and "Labour for Learning," which were also successful. However, it was with his next release, "King of Ska," that Dekker's star was truly established. Backed by the Cherrypies, aka the Maytals, the boastful song, a raucous celebration of ska in all its glory, swiftly attained classic status and remains one of the genre's masterpieces. Before the year was out, Dekker had found his own backing group, the Aces, a quartet of singing siblings -- Carl, Clive, Barry, and Patrick Howard -- initially known as the Four Aces. Together the five men cut a slew of excellent ska-fired singles, such as the jubilant "Get Up Edina," the advice to "Parents," the bouncy love letter "This Woman," and the sublime "Mount Zion." All were big hits.

However, as can be seen by the titles, Dekker's initial appeal was as a respectful young man (admittedly with a penchant for admonishing misbehaving young ladies). That would all change in 1967. Derrick Morgan helped set the stage with his trio of rudeboys-go-to-court songs beginning off with "Tougher Than Tough," which featured Dekker and his brother George on backing vocals. Wisely, Dekker himself steered clear of what swiftly turned into a judicial soap opera, instead he rocketed "0.0.7. (Shanty Town)" into the Jamaican charts. Set to a sturdy rocksteady beat, the song quickly became a rudeboy anthem and established Dekker as a virtual rudeboy icon. Across the water in Britain in the wake of its own mod revolution, the Jamaican singer was seen as one of the mod's own. The single looted and shot its way into the U.K. Top 15, and Dekker immediately set off on his first visit to England. The response there astonished him, and he was trailed everywhere by mods almost acting as informal bodyguards. More rudeboy hits followed, including the indeed soulful "Rudy Got Soul and "Rude Boy Train." Others were often in keeping with the more temperate subjects of Dekker's past: the religious-themed "Wise Man," "Hey Grandma," the warning for "Mother's Young Girl," the lovelorn "Sabotage," the bouncy "It's a Shame" (wherein another girl gets a telling off), and the inspirational "Unity" (which took second place at Jamaica's Festival Song Competition that year). One of the most evocative was "Pretty Africa"; one of the earliest repatriation songs composed, it's haunting beauty and yearning quality has kept it a strong favorite. "It Pays," another hit from 1967, features some of the most exquisite falsetto harmonies ever to be recorded and showcases the Aces as their best. Although none repeated the success of "0.0.7.," Dekker remained a powerful force in the U.K. and a superstar at home. Many of the hits from this era were included on the singer's debut album, which was naturally titled after "0.0.7. (Shanty Town)."

In 1968, the singer unleashed the mighty sufferers' lament "Israelites" on an unsuspecting world. For half a year, the song simmered on the U.K. charts, finally coming to a boil in March, when it topped the chart. Meanwhile in the U.S., the song had also begun to rise, peaking thee months later just inside the Top Ten. Dekker had achieved the dream of every Jamaican artist, to break into the U.S. market. He was the first to do so, at least with a pure Jamaican song. Although Dekker would never put another single so high into the U.S. charts, his career continued unabated both at home and in the U.K. The heartbreak of "Beautiful and Dangerous" was the perfect theme for another smash, as was the exuberant "Shing a Ling" and the equally infectious "Music Like Dirt." For the more religiously minded there was "Writing on the Wall," but what did buyers of that popular single make of the highly suggestive and equally successful "Bongo Girl"? Before the year was out, the Beverley's label gathered up a group of hits from the year for the Action! collection.

In 1969, the upbeat "Problems" spoke directly to the Jamaican public, who bought the single in droves. But the year was defined by "It Mek," wherein another girl gets her comeuppance. Dekker composed the song about his rambunctious younger sister. Initially released to muted response, the original was a charmer but lacked punch; the re-recorded version was much stronger and smashed into the Jamaican chart, then soared into the Top Ten across the water. "Pickney Gal," however, although very successful in Jamaica, did less well in the U.K. As to be expected, Beverley's rounded up this year's hits for a new album, Israelites. In the U.K., fans were treated to This Is Desmond Dekker, which the Trojan label also released in 1969, a virtual nonstop chart-busting party, drawn from the three Beverley's sets.

By the time the '70s dawned, Dekker had relocated to Britain and was spending most of his time touring. However, he continued releasing excellent singles, as always backed by the superb Beverley's All Stars house band and accompanied by the exquisite Aces. Neither the band nor singers have ever received the credit they were due. The former's flawless and sympathetic performances powered every one of Dekker's songs, while the latter's sublime soaring vocals and perfect harmonies helped define his sound. Unusually, Dekker's next hit would not come from his own pen, but another's. Leslie Kong had to argue vociferously to convince the singer to cover Jimmy Cliff's "You Can Get It If You Really Want," but in the end, Dekker put his faith in the producer. He was rewarded with a timeless masterpiece that was a smash on both sides of the Atlantic. The song titled yet another hit-laden collection, released by Trojan in 1970 as well. In retrospect, it was fitting that Kong's two greatest stars should have combined talents in this way. In August 1971, the great producer, still only in his thirties, died unexpectedly of a heart attack. Unlike virtually every other artist on the island, Dekker had spent his entire career under Kong's wing and was devastated by his death. (Barring a few very early recordings, Cliff had as well and was equally distraught and directionless in the aftermath.) The definitive collection of Dekker's work with Kong is found on the Trojan label's Original Reggae Hitsound of Desmond Dekker and the Aces compilation.

Initially at a total loss of how to now proceed, eventually Dekker found his way, and over the next few years, he released a steady stream of fine singles. However, he seemed to have lost his grip on Britain and none of his releases charted there. In hopes of remedying this situation, in 1974 Dekker joined forces with the pop production team Bruce Anthony (aka Tony Cousins) and Bruce White. Their session together resulted in the singles "Everybody Join Hands" and "Busted Lad," released in the U.K. by the Rhino label. They had little impact however, but in 1975, another song from the session, "Sing a Little Song," charmed its way into the British Top 20. A sugary offering with lush production, it was far removed from the work Dekker had done with Kong. A new album, titled Israelites, and not to be confused with the Beverley's album of the same name, was also released this year. Although it featured a ferocious version of the title track, it then sank quickly into syrupy waters, much like "Sing..." After that and for the next five years, Dekker disappeared off the U.K. radar almost entirely. He continued to release records in Jamaica, although they were sporadic in comparison to his prolific output in the '60s.

However, as the '70s came to a close, the 2-Tone movement gave fresh impetus to the singer's career, and Dekker inked a deal with the independent punk label Stiff. His debut for them was the wittily titled Black & Dekker album, which featured re-recordings of past hits, backed by the British rock band the Rumour. The Rumour, of course, were famous as the group behind Graham Parker. A series of singles also announced his return, with the first, a re-recorded "Israelites," almost breaking into the Top Ten in Belgium. That was followed by "Please Don't Bend" and a cover of Jimmy Cliff's "Many Rivers to Cross." A fourth single, "Book of Rules," was especially strong and produced by Will Birch, best known for his work with power pop bands. Dekker's follow-up, 1981's Compass Point, in contrast, featured mostly new compositions and was produced by Robert Palmer. Both it and the single "Hot City," however, did poorly. Regardless, Dekker was in big demand on-stage, where he continued to be accompanied by the Rumour. As the 2-Tone movement disintegrated, so too did Dekker's revival. In 1984, the singer was forced to declare bankruptcy, although this was less a reflection on him than on his past management.

Dekker veritably disappeared from view for the rest of the decade, with only Trojan's 1987 Officially Live and Rare album breaking the drought, which was recorded during an enthusiastic live club appearance in London. A new version of "Israelites," utilized in a Maxell tape ad, brought the singer back into public view in 1990. The following year, Dekker released King of Ska, again featuring re-recordings of past glories. Two years later, he entered the studio with an equally revitalized Specials for the King of Kings album. And although this set too featured old hits, this time around the vast majority weren't Dekker's own, but his personal heroes, including, of course, Derrick Morgan, the man who had discovered him.

In 1996, Moving On appeared, not one of Dekker's best. However, the Trojan label has continued to keep the singer's back catalog to the fore. Beginning back in 1974, when they released the humorously titled Double Dekker, across Sweet 16 Hits (1978), The Original Reggae Hitsound in 1985, and 1992's Music Like Dirt, there's never been a dearth of excellent Dekker material for fans to revel in. Other labels have jumped in on the action, and the shelves have quickly filled with compilations of the singer from varying stages of his career. Dekker's vast catalog of music, songs that defined the ska, rocksteady, and reggae eras have provided the singer with a rich legacy that has rarely been equaled. On May 25, 2006, Dekker passed away at age 64 in his London home. ~ Jo-Ann Greene, All Music Guide [-] Hide

One of the first vocalists to enter the Jamaican music business, Alton Ellis was generally revered as the greatest and most soulful singer the country ever produced -- that is, until Bob Marley came along. Ellis had his first hit during the ska craze, but made his true lasting mark as the definitive solo singer of the rocksteady era. Sweet,... [+] Read More

One of the first vocalists to enter the Jamaican music business, Alton Ellis was generally revered as the greatest and most soulful singer the country ever produced -- that is, until Bob Marley came along. Ellis had his first hit during the ska craze, but made his true lasting mark as the definitive solo singer of the rocksteady era. Sweet, smooth, and deeply emotive, Ellis was equally at home on Jamaican originals or reggae-fied covers of American R&B hits. He cut a series of ska singles for Clement "Coxsone" Dodd's Studio One label, but reached his prime during the mid- to late '60s, when he recorded some of rocksteady's signature tunes for Duke Reid's Treasure Isle imprint.

Ellis was born in Kingston, Jamaica, in 1944, and grew up in the Trenchtown area as part of a musically inclined family. As a youngster, he learned to sing and play piano, the latter often by breaking into a local youth center to practice by night. In his early teens, he teamed up with another singer, Eddie Perkins, to form the duo Alton & Eddie. In 1959, after winning a prominent talent show, they recorded the single "Muriel," which became a substantial hit in Jamaica. Not long after cutting the follow-up "My Heaven," Perkins left to try a solo career in the United States, leaving Ellis a solo act.

Ellis recorded for Dodd's Studio One label during the early '60s, but made little money. Dissatisfied, he moved over to Reid's Treasure Isle in 1965, and formed a backup vocal trio called the Flames (the first incarnation featured his brother Leslie, and membership would fluctuate). Ellis quickly scored a major hit with the antiviolence plea "Dance Crasher," and the following year, he released what was arguably the first rocksteady single, "Get Ready - Rock Steady." Its innovative beat grew out of a session where the scheduled bassist didn't show up, forcing keyboardist Jackie Mittoo to play the bass part himself; Mittoo's left hand couldn't keep up with the frantic ska beat, so he elected to slow down the tempo. The result was a choppier rhythm that wound up allowing the vocalist to stretch out more, and soon the rocksteady sound had taken over Jamaican music, with Ellis leading the charge. He had several other major successes in 1966, including "Cry Tough" and the smash "Girl I've Got a Date," the latter of which became his biggest hit and signature song. He also cut several duets with Phyllis Dillon (making them Jamaica's answer to Marvin Gaye and Tammi Terrell), as well as his sister Hortense Ellis (including a hit cover of Neil Sedaka's "Breaking Up Is Hard to Do"). The classic LP Mr. Soul of Jamaica (later reissued on CD as Cry Tough) gathered many of his best Treasure Isle tracks.

By 1968, Ellis had resumed working for Studio One in addition to his output for Treasure Isle, making him one of the few singers to bridge the gap between the two archrivals. Most of his biggest hits of the late '60s came on Studio One, including the American soul cover "Willow Tree," "I'm Just a Guy," and "Sitting in the Park." In 1970, he released the album Sunday Coming, one of his strongest Studio One sets. Ellis later teamed with producer Lloyd Daley for a brief period, which resulted in the more Rastafarian-tinged hits "Lord Deliver Us" and "Back to Africa"; he also worked with Keith Hudson. However, he was still not receiving proper financial compensation for all his success. Disillusioned, he spent some time in the U.S. and Canada, then relocated to England on a mostly permanent basis in 1973.

In England, Ellis established his own Alltone label, which he devoted to both new recordings and compilations of his early classics. The international popularity of Bob Marley and the rise of roots reggae meant that Ellis' considerable legacy was soon overshadowed, but over time, he remained a fondly remembered pioneer of Jamaican music. He made triumphant returns to Jamaica with well-received sets at the Reggae Sunsplash Festival in both 1983 and 1985, and recorded a new single, "Man From Studio One," for Dodd in 1991. Numerous compilations of his work appeared during the CD era, illustrating his stunning consistency. ~ Steve Huey, All Music Guide [-] Hide

Vocal trio the Melodians were one of Jamaica's greatest rocksteady groups, cutting a series of classic singles during the late '60s and early '70s that included the internationally famed "Rivers of Babylon" and "Sweet Sensation." The group was formed in the Greenwich Town area of Kingston in 1963 and included Tony Brevett (brother of Skatalites... [+] Read More

Vocal trio the Melodians were one of Jamaica's greatest rocksteady groups, cutting a series of classic singles during the late '60s and early '70s that included the internationally famed "Rivers of Babylon" and "Sweet Sensation." The group was formed in the Greenwich Town area of Kingston in 1963 and included Tony Brevett (brother of Skatalites bassist Lloyd Brevett) and Brent Dowe, who split lead vocal duties, plus full-time harmony singer Trevor McNaughton. Additional member Renford Cogle never sang with the group, but wrote or co-wrote much of their material, and also served as an arranger. In their early days, the Melodians performed quite successfully in talent shows around Kingston, which eventually led to their first recording session -- for Clement "Coxsone" Dodd's Studio One label -- in 1966. Only two of the four tracks were released, and drew little attention.

The Melodians moved over to Duke Reid's Treasure Isle imprint from 1967-1968, and it was there that they had their first taste of success. Singles like "You Have Caught Me," "Expo 67," "I'll Get Along Without You," "You Don't Need Me" (which featured groundbreaking chatter U-Roy), and "Come On Little Girl" established them as one of the sweetest-sounding vocal ensembles on the rocksteady scene. After "Come On Little Girl" became a hit in 1968, the group joined up with producer Sonia Pottinger and scored two more successes that year, "Little Nut Tree" and "Swing and Dine."

The Melodians broke through to a wider international audience when they began recording for producer Leslie Kong in 1969, an association that resulted in many of their most celebrated songs. "Sweet Sensation" sold quite well in the U.K. as well as Jamaica, and it was eclipsed in both places later that year by the smash "Rivers of Babylon," which became the group's signature tune. "Rivers of Babylon" also marked the emergence of a Rastafarian spiritual consciousness in the group's songwriting, which had heretofore tackled mostly romantic concerns; they would occasionally return to Rasta themes on songs like "Black Man Kingdom Come." Continuing to enjoy significant success with Kong, they stuck with him until the producer's untimely death in 1971.

The tragedy effectively marked the end of the Melodians' heyday. They cut a few more records for producers like Lee "Scratch" Perry, Harry J, and Byron Lee's Dynamic Sounds studio and made second go-rounds with both Pottinger and Reid. Nothing quite recaptured their success with Kong, however, and Dowe left the group in 1973; they disbanded not long after, despite "Rivers of Babylon" finding a whole new audience via its inclusion on Jimmy Cliff's soundtrack for The Harder They Come. Dowe and Brevett both recorded solo singles during the mid-'70s, the former with Lee Perry. They re-formed the Melodians in 1976 and re-recorded many of their old hits for Harry J, but the venture didn't get much further. The trio reconvened once again in the early '80s and cut a reunion album of new material, Irie Feeling, in 1983 (the same year UB40 covered "Sweet Sensation" on their hit Labour of Love album). Irie Feeling failed to re-establish them, but they later found work on the revival circuit and made a living by touring internationally and performing their classics of old. ~ Steve Huey, All Music Guide [-] Hide

One of the definitive rocksteady vocal groups, the Heptones were also one of the few to successfully make the transition to the reggae era. The group was fronted by Leroy Sibbles, who was not only an exquisite singer but also a talented songwriter, arranger, and session bassist at the legendary Studio One. Penning much of its own material, the... [+] Read More

One of the definitive rocksteady vocal groups, the Heptones were also one of the few to successfully make the transition to the reggae era. The group was fronted by Leroy Sibbles, who was not only an exquisite singer but also a talented songwriter, arranger, and session bassist at the legendary Studio One. Penning much of its own material, the group boasted one of the deepest catalogs of its time, full of high-quality numbers that were widely imitated for their close-harmony vocals, and widely recycled for their loose, liquid, melodic instrumental grooves. The Heptones were formed in Kingston in 1965, with a lineup of Sibbles, Barry Llewellyn, and Earl Morgan. At first they called themselves the Hep Ones, but a one-word name seemed to make more sense to fans, and the change was made accordingly. They made their first recording for Ken Lack's Caltone label that year, a strange ska adaptation of "The William Tell Overture" titled "Gun Men Coming to Town."

Things started to take off for the group in 1966 when they caught on at Clement "Coxsone" Dodd's Studio One, the pre-eminent hit factory of the rocksteady era. Dodd helped train the group in the art of harmony singing, and also guided budding songwriter Sibbles, who developed a sly, sarcastic sense of humor to underpin his tales of broken-hearted lovers. The Heptones had their first hit later that year with "Fattie Fattie," a ribald paean to large women that was banned from Jamaican radio but sold briskly nonetheless. They went on to record vast amounts of material for Dodd over the next five years, including their first-ever LP, On Top, in 1970. As the hits piled up, Sibbles became a staff songwriter and arranger, played bass with the Studio One house band on a multitude of recordings, and worked as an assistant producer and talent scout as well. However, by 1971, a Rastafarian social consciousness was emerging in his writing, and he had grown tired of the boundaries of working in Dodd's studio system; that sense of confinement led to an acrimonious split with Dodd.

Over the next few years, Sibbles took the Heptones on a virtual tour of Jamaica's top producers, cutting material for Joe Gibbs, Harry J, Augustus Pablo, Rupie Edwards, and many others. In 1973, they moved briefly to Canada, but soon returned to Jamaica. The Heptones signed a major-label deal with Island in 1975 and released their label debut, Night Food, the following year; it was produced by Lee "Scratch" Perry and featured mostly new versions of old Studio One material. The follow-up, 1977's Party Time, followed a similar blueprint, and also included an eye-opening cover of Bob Dylan's "I Shall Be Released." It proved to be the group's biggest-selling album in the international market, but the 1978 follow-up, Better Days, sold disappointingly by comparison, and Sibbles departed for a solo career not long after.

The remaining Heptones replaced him with Naggo Morris and soldiered on with 1979's Joseph Hoo Kim-produced Good Life. They continued to record and perform during the '80s, though without the success they had enjoyed with Sibbles out front; gradually, other members drifted through the ranks, including Glen Adams and Joseph Forester. The original trio of Sibbles, Llewellyn, and Morgan finally reunited in 1995 for the album Pressure!, produced by Tappa Zukie. ~ Steve Huey, All Music Guide [-] Hide

While not nearly as well-known outside of Jamaica as the Wailers or the Maytals, the Gaylads merit similar consideration among reggae's greatest vocal groups -- with radiant, sophisticated three-part harmonies ideally matched to the rise of the down-tempo rocksteady rhythm, their records boast a beauty and angelic fragility unique in the reggae... [+] Read More

While not nearly as well-known outside of Jamaica as the Wailers or the Maytals, the Gaylads merit similar consideration among reggae's greatest vocal groups -- with radiant, sophisticated three-part harmonies ideally matched to the rise of the down-tempo rocksteady rhythm, their records boast a beauty and angelic fragility unique in the reggae canon, and their choice of both material and producers was impeccable. Over the Rainbow's End compiles a generous 26 cuts from the trio's 1968-1971 heyday, the best of which -- "ABC Rocksteady" and the title cut among them -- were recorded not with the legendary Coxsone Dodd or Leslie Kong but with the lesser-known Sonia Pottinger, who perfectly couched the Gaylads' vocals in soft, supple arrangements most evocative of classic doo wop. Although the quality trails off following the exit of co-founder Winston Delano Stewart, there's not a truly disappointing moment here, and the first half-dozen or so tracks rank among the most glorious in all of reggae. ~ Jason Ankeny, All Music Guide [-] Hide

To pick a truly essential Desmond Dekker collection from the myriad best-ofs, box sets, and period anthologies that dot the musical landscape would be almost impossible; many of the Dekker compilations currently on the market are practically interchangeable in terms of both content and sound quality. But if you're looking for a starting point,... [+] Read More

To pick a truly essential Desmond Dekker collection from the myriad best-ofs, box sets, and period anthologies that dot the musical landscape would be almost impossible; many of the Dekker compilations currently on the market are practically interchangeable in terms of both content and sound quality. But if you're looking for a starting point, you can't do much better than this 20-track retrospective, which includes just about every hit single Dekker made during the peak of his popularity in the late '60s. There are the songs of Biblical warning ("Honour Your Mother and Your Father," "This Woman"), the rude boy anthems ("007 (Shanty Town)," "Rude Boy Train"), the topical admonishments ("Keep a Cool Head," "Unity"), and, of course, the immortal "Israelites," which introduced most of North America to the ska sound when it was a worldwide radio hit in 1969. Not to mention charming period pieces like "Intensified Festival 68" and the irresistible romantic come-on "Pickney Gal." Highly recommended. ~ Rick Anderson, All Music Guide [-] Hide

In 1998, the French Jet Set label reissued this classic 1967 album on CD. The original art work was included along with informative new liner notes and write-ups on both the Paragons and Duke "the Trojan" Reid (founder of the Kingston-based Treasure Isle Records and an important figure in Jamaican music). Originally a Treasure Isle LP, On the... [+] Read More

In 1998, the French Jet Set label reissued this classic 1967 album on CD. The original art work was included along with informative new liner notes and write-ups on both the Paragons and Duke "the Trojan" Reid (founder of the Kingston-based Treasure Isle Records and an important figure in Jamaican music). Originally a Treasure Isle LP, On the Beach with the Paragons sold well in Jamaica and also became a hit in England (where reggae and ska have been huge since the '60s). One of reggae's finest vocal harmony groups of the '60s, the Paragons were the reggae equivalent of soulsters like the Four Tops, the Delfonics and the Miracles -- and it's impossible to miss the northern soul influence on such gems as "Island in the Sun," "Happy-Go-Lucky Girl," "Only a Smile" and their most famous hit, "The Tide Is High" (which Blondie covered with splendid results in 1980). The Paragons' charismatic lead singer, John Holt, has inspired comparisons to Bob Marley -- to be sure, there was some similarity, but Holt was certainly his own man. Not only is On the Beach essential listening for reggae enthusiasts, it's also a CD that lovers of vocal-group soul can appreciate. ~ Alex Henderson, All Music Guide [-] Hide

A fabulous collection of Jackie Mittoo's cuts for Studio One, which stuffs 31 numbers onto two superb CDs. A few reach as far back as the ska days and his time with The Skatalites, but most come from later in the decade and the dawn of reggae.

Although the set does include a lavish booklet with an excellent biography, frustratingly... [+] Read More

A fabulous collection of Jackie Mittoo's cuts for Studio One, which stuffs 31 numbers onto two superb CDs. A few reach as far back as the ska days and his time with The Skatalites, but most come from later in the decade and the dawn of reggae.

Although the set does include a lavish booklet with an excellent biography, frustratingly few of the songs are actually mentioned in the notes, and many of Mittoo's biggest hits -- "Ram Jam," "Darker Shade of Black," "Hot Milk," and "Peanie Wallie" aren't included. For trainspotters it's even more frustrating, as the compilation is a chronological jumble, no dates are given for the songs, nor are the accompanying bands (which include the aforementioned Skatalites, The Soul Brothers, the Soul Vendors, and Sound Dimension) listed.

Details, details: forget all that, and just immerse yourself in the fabulous music. Even with the notable omissions, Tribute to Jackie Mittoo is a phenomenal celebration of the artist's work, beautifully showcasing his versatility, and the myriad of styles he worked within. Delta blues, sizzling reggae riffs, lush numbers, breezy compositions, psychedelic pieces, even Nyabinghi offerings can be found within. There are instrumental versions of hits across the entire musical spectrum from "Old Man River" through contemporary British chartbusters, and of course his solo takes on a myriad of Studio One classics.

Beyond the spectacular musicianship all these tracks boast, there's Mittoo's superb arrangements, a craft at which the organist excelled, as he engagingly blends musical styles together, conjuring up a myriad of atmospheres, and sometimes even seamlessly shifting moods between his own solos and the accompaniment. There are too many masterpieces here to list, amongst them a number that were recut to much effect later in the '70s including "Drum Song," "West of the Sun," and "Ghetto Organ." ~ Jo-Ann Greene, All Music Guide [-] Hide

Rivers of Babylon: The Best of the Melodians 1967-1973 is an extraordinary 26-track collection that contains all of the group's hits and singles, from "Sweet Sensation" and "I'll Get Along without You" to the classic "Rivers of Babylon." It may be a little too much music for neophytes, but there's little question that this is the definitive...

Rivers of Babylon: The Best of the Melodians 1967-1973 is an extraordinary 26-track collection that contains all of the group's hits and singles, from "Sweet Sensation" and "I'll Get Along without You" to the classic "Rivers of Babylon." It may be a little too much music for neophytes, but there's little question that this is the definitive overview of their peak years. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide