Essentially a mouthpiece for singer and songwriter Leonard Dillon, the Ethiopians were one of Jamaica's most influential vocal groups during their heyday. Not only did the duo (completed by Stephen Taylor) spearhead the transition between ska and rocksteady, Dillon's heavily Rastafarian lyrics also paved the way for the socially conscious roots... [+] Read More

Essentially a mouthpiece for singer and songwriter Leonard Dillon, the Ethiopians were one of Jamaica's most influential vocal groups during their heyday. Not only did the duo (completed by Stephen Taylor) spearhead the transition between ska and rocksteady, Dillon's heavily Rastafarian lyrics also paved the way for the socially conscious roots reggae era that was to come. Born in Port Antonio in 1942, Dillon grew up in a Christian family and discovered music through their church. Having written some original songs, he moved to Kingston in 1963; finding the going difficult, he returned home for a time to regroup, but made the move back to Kingston permanently in 1964. Not long after, he met Peter Tosh, who liked his original material and introduced Dillon to the rest of the Wailers. The Wailers in turn brought Dillon to Clement "Coxsone" Dodd's Studio One, where Dillon made his first recordings under the name Jack Sparrow. Two Sparrow singles, "Ice Water" and "Suffering on the Land," were both released in 1965.

Around the same time, Dillon discovered a street-corner singing duo consisting of Taylor and singer/guitarist Aston Morris. At first, he invited them to sing backup for him, then decided to form a full-fledged group dubbed the Ethiopians. Together they cut several excellent singles for Studio One in 1966, including "Free Man," "Live Good," and the ska/rocksteady-bridging "Owe Me No Pay Me." Morris, a songwriter in his own right, elected to leave the group by the end of 1966, reducing the Ethiopians to a duo. Meanwhile, Dillon was working a day job in construction and met another singer there named Albert Griffiths (who would later found the Gladiators). Together they convinced their boss to finance a recording session, and the result for the Ethiopians was the breakthrough smash hit "Train to Skaville," which even managed to scrape the lower reaches of the U.K. Top 40.

With this success under their belt, the Ethiopians recorded prolifically over the remainder of 1967, cutting hits like "Engine 54," "Train to Glory," "Stay Loose Mama," and another big smash in the percussion-driven "The Whip"; all but the former were recorded for rocksteady producer Sonia Pottinger, and they also worked a bit with Lee "Scratch" Perry. 1968 saw the release of their first LP, Engine 54, and the arrival of a semiofficial third vocalist, Melvin Reid. Toward the end of that year, the group teamed with producer Carl "Sir J.J." Johnson in what would become their most celebrated association. Their first hit for Johnson was the proto-reggae "Everything Crash," a socially conscious, rhythmically jerky juggernaut that became arguably the group's signature tune. Through 1970, Johnson and the Ethiopians collaborated on numerous other groundbreaking hits, including "What a Fire," "Gun Man," "Hong Kong Flu," "Woman Capture Man" (the title track of their third LP), and "The Selah," all of which helped keep them popular in the U.K. as well as Jamaica.

The restless Dillon subsequently moved the Ethiopians to a succession of other labels and producers; over 1969-1971, they recorded popular material for Harry Robinson ("Fire a Mus Mus Tail"), Lloyd Daley ("Satan Girl"), Derrick Harriott ("Lot's Wife," "No Baptism"), and Duke Reid ("Good Ambition," "Pirate"). As the group evolved into a rootsier reggae outfit over the next few years, all the producer-hopping grew even more frantic over the next several years, with Vincent Chin, Prince Buster, Joe Gibbs, Bob Andy, and Rupie Edwards numbering just some of the group's collaborators. Part of the reason was that Dillon hadn't been receiving his fair share of past royalties and was forced to record constantly just to make money. Reid left for good in 1974, by which time Dillon and Taylor had taken day jobs once again. Sadly, Taylor's day job would turn into tragedy in September 1975: he was working at a gas station when he was killed by a van while crossing the street.

Taylor's untimely death effectively spelled the end of the Ethiopians' golden age. Dillon, understandably distraught, took a hiatus from music for a time, returning home to Port Antonio for two years. Eventually, he contacted charter member Aston Morris and revived the Ethiopians name, cutting the rootsy, political album Slave Call in 1977 with producer Winston "Niney" Holness. Dillon toured off and on under the Ethiopians name afterwards, sometimes with Harold Bishop and Neville Duncan, and recorded occasionally as a solo act in the '80s and '90s. Toward the end of the millennium, he formed a new Ethiopians lineup with female backing vocalists Jennifer Lara and Merlene Webber, who appeared on the 1999 album Tuffer Than Stone. ~ Steve Huey, 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

On an island overflowing with exceptional talent on both sides of the mixing board, to suggest that just one man was the most influential is perhaps absurd, but if you took a poll, Prince Buster would inevitably win by a wide margin. He remains synonymous with ska, while being equally important to rocksteady. From Judge Dread to rude reggae,... [+] Read More

On an island overflowing with exceptional talent on both sides of the mixing board, to suggest that just one man was the most influential is perhaps absurd, but if you took a poll, Prince Buster would inevitably win by a wide margin. He remains synonymous with ska, while being equally important to rocksteady. From Judge Dread to rude reggae, Prince Buster has left his imprint across Jamaica's musical landscape, both as a singer and a producer. 2-Tone wouldn't have existed without him, and by extension, neither would the third wave. And over 45 years after he first appeared on the music scene, Prince Buster was still making an impact.

Cecil Bustamente Campbell was born on the island of Jamaica on May 28, 1938, the son of a railway worker. While still in his teens, Campbell simultaneously pursued two quite separate careers -- boxing and singing. Eventually, he'd give up the former, a talent he honed as a child leading a gang in one of Kingston's toughest neighborhoods, although it would hold him in good stead once he opened his sound system. He made his singing debut at the Glass Bucket club in the mid-'50s and fronted a number of now long-forgotten groups. Several of them included drummer Arkland "Drumbago" Parkes in their lineups and the two became friends. The drummer provided the introduction to Coxsone Dodd, not yet a producer, but at the time running a hot sound system in competition to another businessman soon to turn producer, Duke Reid. Dodd employed the young singer not for his vocals, but for his fists, as a security guard cum Guy Friday. By 1959, the young Buster understood the sound system business inside and out and set off on his own. He began by opening a record store, Buster's Record Shack, and then set up the Voice of the People sound system.

The next year, the young entrepreneur took the next logical step and produced his debut single, the instrumental "Little Honey," credited to Buster's Group (a trio of Jah Jerry, Rico Rodriguez, and Parkes). It immediately created a sensation, with a sound far removed from the American R&B swamping the sound systems. Prince Buster had basically introduced the classic syncopated rhythm of ska to a voracious Jamaican nation. A second recording session was arranged, this time including vocalists Derrick Morgan, Owen Gray and the Folkes Brothers, while nyabingi drummers Count Ossie & His Wareikas were brought in from the hills to create a rhythm never experienced before by most Jamaican audiences. A baker's dozen of songs were recorded and amazingly, every one became a hit, kicking off with the Folkes Brothers' seminal hit "Oh Carolina." And the smashes just kept on coming, with these artists and more, including Basil Gabbidon, the boogie "War Paint Baby"; Eric Morris, "Humpty Dumpty"; and Chuck & Dobby. All were backed by Buster's Group an aggregation of excellent musicians that included various Skatalites-to-be. Particularly revolutionary was Bunny & Skitter's "Chubby," a startling single that featured the duo a cappella, accompanied by Count Ossie & His Wareikas tribal beats. Not surprisingly, the single wasn't a success as audiences preferred the more commercial sound of "Oh Carolina." But both songs were breaking new ground and kicked off a wave of releases employing nyabingi-style rhythms.

Prince Buster himself made his recording debut in 1962, releasing a clutch of hits over the year. Amongst these was "Hey Got to Go," co-written by the teenaged Derrick Morgan, whose lyrics pointedly sum up Prince Buster's feelings toward his rival producers. This business feud, which the elder men were still winning thanks to their better financial resources, became personal in 1963 when Derrick Morgan deserted Buster for producer Leslie Kong. In truth, it wasn't quite that simple as the young singer had made his debut with "Lover Boy" for Reid and had remained loyal to him until the producer took a brief hiatus from the music business. Reid had burned him, however, by recording but often not releasing the teen's songs. Needless to say, the youngster was now determined to record for whomever offered him the most work and money. And at the moment, that was Kong. However, adding insult to perceived injury was Morgan's second cut for his new master, "Housewife's Choice," which apparently featured an instrumental break stolen from one of his former employer's own songs. Prince Buster's fury could barely be contained. It all seems a tempest in a teapot today, but the upshot was serious, even though it did create a host of seminal singles. Prince Buster fired the first salvo with "Blackhead Chinaman," a stinging riposte aimed directly at Kong. Of course, the producer had to retaliate, shooting back with Morgan's "Blazing Fire," which ripped off the melody to Buster's own smash hit "Madness."

To muddy the waters, "Madness" itself had borrowed the rhythm from "They Got to Go." Weeks turned to months, and the feud showed no signs of ebbing as the two men took aim and fired off song after insulting song at each other, each one a classic of wit and music. Unfortunately, the fight was not contained to the studio, but soon spilled over into the sound system parties and streets, as each side's supporters slugged it out on the dancefloors and the streets. The situation had become so serious that the government finally stepped in and a public reconciliation finally put and end to this musical melee. By this time, Prince Buster, as artist and producer, was already releasing so many singles that he set up two new imprints (Islam and Buster Wild Bells) to help with the overflow from his original Voice of the People label. Blue Beat, his U.K. distributor, could barely keep up with the output and over an eight-year period, he released over 600 Prince Buster productions. This works out to approximately two new singles a week produced by Buster, with two new singles of the artist's own hitting the British streets every month. A superstar in Jamaica, he was almost as big in the U.K. Hit after classic hit, a flood of seminal singles was fed into the market, many of which were rounded up on Blue Beat's I Feel the Spirit in 1963.

1964 was just as prolific, as was the following year, and included such classics as "One Step Beyond," "Al Capone" (which broke the Top 20 in the U.K. two years later), "Burke's Law (arguably the blueprint for Eek-A-Mouse's distinctive vocal style), and many, many more. Blue Beat released three compilation albums of Prince Buster productions across 1964-1965. This trio of Fly Flying Ska, Pain in My Belly (the title-track is a Maytals' classic), and It's Burke's Law remain the definitive collection of Buster's work during this period. Amongst the classic included are Don Drummond's "Ska Town," Owen Gray's "River Jordan," the Maytals' smoking "Dog War," and of course, "Al Capone."

1966 was the year when ska slowed into rocksteady and Jamaica was abuzz about the rise of the rude boys. This was the era of the classic vocal groups, but Prince Buster, always a man of the people, had his finger on the rudies' pulse. The tough "Hard Man Fe Dead," the classic "Rude Rude Rudie," and the ferocious "Shanty-Town" were just some of the masterpieces he released during this period. The following year, Derrick Morgan released the seminal "Tougher Than Tough" single, wherein a quartet of rude boys are hauled before his unnamed judge for sentencing. Although charged with violent crimes including "gun-shooting," Morgan's lenient magistrate lets these miscreants off. The single was a phenomenal success, so of course Prince Buster would have to respond. He did with ferocity on "Judge Dread," and in a total and absolutely unexpected turn-about, sentenced the hapless rudies appearing before him to centuries in jail. Uproar followed, not on record but in real life, as the entire nation was caught up by the trial. Other artists now jumped on the Judge's bandwagon, and a slew of singles featuring singing magistrates and defendants followed.

Eventually, Buster was ready to step back into the courtroom fray and the island avidly awaited the result of "The Barrister," a single cleverly credited to the Appeal. The verdict actually made the Jamaican national news and no wonder, Judge Dread had jailed the appealing barrister. More outrage, more singles, and Prince Buster finally gave in and released his final word on the subject, "Judge Dread Dance (The Pardon)." Except it wasn't the final word, Morgan still had one last case to hear and on "Judge Dread in Court," he jailed the notorious magistrate for impersonating a judge.

All of these songs appeared on Blue Beat's Judge Dread Rock Steady, which included other Buster singles from this time, including the moody hit "Ghost Dance." He's rough, he's tough, and now Judge Dread's in jail for a million years. This judicial soap opera may seem ludicrous today, but at the time it addressed the serious problem of youth violence that threatened the island, albeit with dollops of humor. However, between Morgan's pushover magistrate and Buster's draconian Dread, it opened the door for serious discussion on the island's rising tide of young, violent offenders. Lee Perry's barrister on "Set Them Free," for example, poignantly explains the societal causes that led his defendants to court.

Meanwhile, the U.K. was in the grips of gangster fever as the two-year-old Jamaican hit "Al Capone" was now shooting its way up the U.K. chart, prompting a U.K. tour. This was captured on the On Tour album, where Buster performs a fabulous hits-laden set before an exuberant audience. Back in Jamaica, rocksteady was drawing to a close, reggae was on the rise, and Prince Buster had a new furor to invoke. Across 1968, he released a clutch of seminal singles ensured to raise blushes from all but the least bashful. These rude classics include the likes of "Wreck a Pum Pum," "Big Five," "Rough Rider" (written for Buster by young English pop star Eddy Grant), and "Wine & Grind" (the last two both later covered by Two Tone heroes the Beat). The Fab label features a clutch of Buster's rude offerings on 1968's Wreck a Pum Pum and the following year's She Was a Rough Rider, while Melodisc managed to fill an entire album with them for 1972's Big Five. "Big Five," itself, was responsible for the launch of English DJ Alex Hughes to superstardom. Renaming himself Judge Dread, he carried on the "Big" saga into the realms of improbability that finally ended with "Big Twelve." The Judge was the first British reggae artist to score in Jamaica, where his fans were quite astonished and bemused to discover that their hero was actually an overweight white man.

While Judge Dread was notching up the hits, Prince Buster was already turning his attention elsewhere. Of course, rude reggae was only a fraction of what he released during the late '60s and early '70s, there was also a clutch of Beatles covers, numerous songs dealing with other subjects entirely, and he even addressed Rastarianism by the turn of the decade. But it was this latter area that was about to turn into a minefield. Dodd and Reid were in a similar boat, but Prince Buster was even less-equipped to cope with the rise of roots than his competitors. They were merely businessmen, while Buster had converted to Islam in 1961 and thus could not credibly sing about Rastafarinism; this religious movement was at the heart and soul of roots. Prince Buster tried his hand at DJ productions instead, finding success with both Dennis Alcapone and Big Youth. But the genre didn't seem to really suit him. He continued to work with such established artists as Alton Ellis, John Holt, the Heptones, and Dennis Brown (all of whom cut hits with him), but times were changing swiftly and Buster seemed to be unable to find a way to move with them.

In 1973, he stopped trying. Over the next 15 years, Buster remained silent, but allowed his legacy to speak for him. Across the '70s, he stocked the shelves with reissues, most featuring self-composed liner notes railing at the current state of music, and holding up his past work as proof. Even with the rise of 2-Tone, so indebted to him, the artist remained mute. Another decade passed before he would again stand before a mic. With little warning, Prince Buster suddenly began to appear on-stage in the late '80s, and as a new decade began, toured Japan with the Skatalites as his backing group. He started recording again in 1992, and two years later also guested on the Skatalites' Hi Bop Ska album. Buster's own records were usually made in collaboration with Gaz Mayall, leader of the U.K. ska band the Trojans. However in 1997, he was joined again by the Skatalites for his contribution to Island Records' 40th anniversary album, Ska Island. The next year, Prince Buster re-entered the British charts for the first time in 31 years with a scintillating new version of "Whine and Grind." ~ Jo-Ann Greene, All Music Guide [-] Hide

More than a band, the Skatalites were and are an institution, an aggregation of top-notch musicians who didn't merely define the sound of Jamaica, they were the sound of Jamaica across the '50s and '60s. Although the group existed in its original incarnation for less than 18 months, members brought their signature styles to hundreds upon... [+] Read More

More than a band, the Skatalites were and are an institution, an aggregation of top-notch musicians who didn't merely define the sound of Jamaica, they were the sound of Jamaica across the '50s and '60s. Although the group existed in its original incarnation for less than 18 months, members brought their signature styles to hundreds upon hundreds of the island's releases. The Skatalites officially lined up as guitarist Jerome "Jah Jerry" Hinds, bassist Lloyd Brevett, teenaged pianist Donat Roy "Jackie" Mittoo, drummer Lloyd Knibbs, trumpeter Johnnie "Dizzie" Moore, Cuban-born tenor saxophonist Tommy McCook, alto saxophonists Lester Sterling and Cuban born Roland Alphonso, and trombonist Don Drummond. Moore, McCook, Sterling, and Drummond were all alumni of the Alpha Cottage School for Boys, an educational institution for troubled and troublesome boys in Kingston, run by the Catholic diocese. Besides the regular lashings of studies, the school was renowned for its music program, and over the years turned hundreds of wayward boys into performers of note. All four ended up playing the hotel circuit, churning out R&B and jazz covers for the tourists.

Previous to the late '50s, this was Jamaica's only real music industry outside the mento scene, and as there were no local record labels, resorts were the only way for musicians to seriously ply their trade. The hotel bands were an ever-shifting conglomerate of players, but over time, they would crisscross each other's paths so often, that all became familiar with everyone else's style. Knibbs and Drummond, for example, had both once played with Eric Dean's Band. When Knibbs departed for the Sheiks, he joined a lineup that included Mittoo and Moore. However, new career opportunities presented themselves when local businessmen Duke Reid and Clement "Coxsonne" Dodd both launched record labels and the era of the sessionmen arrived in Jamaica.

Although both McCook and Alphonso had previously cut acetates, this was the first time any of the future Skatalites would appear on vinyl. Between 1959, when Reid released his first vinyl single, and 1962, most of the band's future members worked regularly at Reid's Treasure Isle studio, playing on a swathe of R&B, boogie, and ballad releases. The Heartbeat label's Ska After Ska After Ska bundles up an album's worth of this early material, as does the Dutch label Jamaica Gold, on Shuffle'n'Ska Time. In 1962, Dodd opened his own Studio One recording studio, and the future Skatalites now quickly gravitated in his direction as well. Joining them was McCook, who'd missed all the previous action, having left Jamaica in 1954 to join the house band at the Zanzibar Club in Nassau. The studio was inaugurated with the release of the album Jazz Jamaica From the Workshop, which featured McCook, Alphonso, Drummond, and guitarist Ernest Ranglin, amongst others.

The Skatalites came to fruition in June 1964, according to the members' own reckoning, although they have given conflicting stories about just how it happened. Ranglin credits Moore, Knibbs credits himself, but there's no doubt who came up with the name -- that honor goes to McCook. Drafting in vocalists Jackie Opel, Tony DaCosta, Doreen Schaeffer, and calypso star Joseph "Lord Tanamo" Gordon, the group debuted live on June 27, 1964, at the Hi- Hat club in Rae Town. It didn't take long for the Skatalites to grab a residency at the Bournemouth Beach Club in Eastern Kingston, where they performed three nights a week, as well as a Sunday residency at the Orange Bowl on Orange Street.

With the growth of Dodd's Studio One label, the group soon found themselves with almost more gigs than they could handle, touring the island as the backing band for most of the label's artists, whilst also performing on-stage themselves. It must have been grueling, the constant driving to and from venues and playing a minimum of two sets a night, but in truth, the Skatalites were having a whale of a time. And in between the gigs, the band seems to have spent virtually all their waking hours recording. Besides working for Dodd and Reid, the group also played on a multitude of records for Prince Buster and Duke and Justin Yap. The actual number of recordings they performed on is anyone's guess, an approximation made more difficult by the fact that the musicians normally went uncredited on the singles themselves. To add to the confusion, the Skatalites in the studio could be any of a number of musicians, not just the aforementioned lineup. Guitarist Ranglin, pianist Gladstone Anderson, trombonist Rico Rodriguez, and trumpeter Baba Brooks are just a few of the many men who took part in the Skatalites recording sessions.

And what actually defines a Skatalites record? Many of their recordings were understandably released under the vocalist's name, not theirs. But what of Prince Buster's U.K. smash "Al Capone"? Buster may have intoned the title across the track, but wasn't it the Skatalites who truly made the song? Even amongst the group's own repertoire, the records were credited to the composer, not the band. Thus, the seminal "Guns of Navarone" was originally released under Roland Alphonso's name, not the Skatalites'. Modern archivists have attempted to address these injustices with compilations featuring the band, regardless of original accreditation. The West Side label's Skaravan -- Top Sounds From Top Deck, for example, is currently into the eighth CD of their Skatalites' compilations, all taken from their sessions for the Yap brothers, while Heartbeat's Foundation Ska bundles up a batch of Studio One cuts. Thankfully, the members' styles are so unique, as to be instantly recognizable within a few notes. In truth, most ska compilations are awash in the members' music, credited or not. That bouncy swing tempo, the jazzy brass, and the steady, skanking beat, all shout the Skatalites louder than any written credit, as easily heard on the vocal releases as on their own instrumentals.

But the instrumentals were the group's glory. Songs like "Guns of Navarone," "Phoenix City," "Addis Ababa," "Silver Dollar," "Corner Stone," and "Blackberry Brandy," to name just a small handful of their most seminal cuts, not only defined the island's sound, but created a whole new genre of music -- ska. The group have ofttimes been quoted as saying their invention of ska was never intentional, but merely the byproduct of their flawed attempts at American R&B. But this self-deprecating explanation neglects the jazz and big band swing sound that was also crucial to ska in its original form. And anyone good enough to play in those styles would have little problem mastering R&B. What the Skatalites actually did was drag these older styles into the contemporary scene, merge it with modern R&B, and propel it into the mainstream via a faster syncopated island beat. And with it, the group's musical legacy spread around the world and across generations.

But that must have seemed ridiculous at the very end of 1964. The Skatalites were playing at the La Parisienne club in Harbour View for New Year's Eve, a show that went on without Drummond. The trombonist had a history of mental illness and late that night, in a fit of rage, he stabbed his common-law wife and band vocalist, Marguerita, to death. Drummond was arrested and sent to Bellevue Sanitarium; he died there in 1969. The Skatalites continued on for six more months after this tragedy, but the spark was dying with it, and finally in July 1965, the members called it quits. Several from the group did continue playing together. Alphonso, Moore, Mittoo, and Brevett eventually formed the Soul Brothers, which later become the Soul Vendors. McCook formed the Supersonics, which was virtually Reid's house band at Treasure Isle Studio, and Sterling went off to work with producer "Sir" Clancy Collins. As their session work continued apace, inevitably many of the former members found themselves back working together. Then in 1975, most of the Skatalites reunited to record Brevett's solo album, African Roots. McCook, Alphonso, Sterling, Ranglin, Mittoo, and Knibbs all took part in the proceedings. Two years later, the Hot Lava album appeared, credited to Tommy McCook & the Skatalites, but in contrast to Brevett's "solo" album, this really was one. 1978's Jackie Mittoo may sound like a solo outing by the pianist, but actually features a clutch of former Skatalites. That same year, Island head Chris Blackwell convinced the members to reconvene again and recorded the Big Guns album. However, due to discord between the label man and McCook, the record sat on the shelf until 1984, when it was finally released as Return of the Big Guns. The previous year, the group had again reunited under the aegis of producer Bunny Lee for the Skatalites With Sly & Robbie & the Taxi Gang.

It took a few more years for the members to finally agree they were a band again; in 1986 they made it official and began gigging regularly. In 1989, they toured the world as Bunny Wailer's backing band, and the next year performed the same service for Prince Buster. In 1993, an album of new material, Skavoovee, finally appeared. Now boasting a core lineup of McCook, Brevett, Sterling, and Knibbs, the album was highly acclaimed. Their timing was perfect as the U.S. was in the grips of ska fever, and the band's constant touring abroad had cemented a worldwide following. Over the intervening years, the Skatalites had returned to their jazz roots with a vengeance, but ska fans didn't mind one bit. Alphonso now permanently rejoined the Skatalites for 1994's Hi-Bop Ska: The 30th Anniversary Recording, which also featured such illustrious guests as former vocalist Doreen Schaeffer, Prince Buster, and Toots Hibbert, and an all-star gathering of jazz musicians. The album deservedly earned the band their first Grammy nomination. Even McCook's heart attack in 1995 barely slowed the group down. The band continued their hectic touring schedule without him until the tenor saxophonist rejoined them early the next year.

However, even though he was forced off the road for good due to health problems a few weeks later, he was still able to record, and 1996's excellent Greetings From Skamania remains a tribute to his determination, and earned the group a second Grammy nomination. On May 5, 1998, the legendary saxophonist passed away; he was 71. Later that year, the Skatalites released Balls of Fire, on which the band re-created many of their old ska hits in their newer jazz style. That autumn, Alphonso collapsed on-stage at Hollywood's Key Club. He slipped into a coma soon after, and on November 20, he, too, died. But no matter how great the contributions of individual members, the Skatalites were always greater than the sum of their parts, and thus the band carried on. In 2000, they released Bashaka and their touring schedule continues unabated. While touring Europe in late2001, they reocrded yet again, resulting in the 2003 release of From Paris With Love. Each year brings another slew of compilations of their recordings from labels around the world. Decades on, their music remains timeless. ~ Jo-Ann Greene, All Music Guide [-] Hide

As fans are well aware, although the Skatalites only officially existed for a mere 14 months or so, the bandmembers' impact on Jamaican music extended far beyond that brief period into the rocksteady era and then the reggae era and beyond, and stretching back into the island's pre-recording days. In various aggregations, the musicians played on... [+] Read More

As fans are well aware, although the Skatalites only officially existed for a mere 14 months or so, the bandmembers' impact on Jamaican music extended far beyond that brief period into the rocksteady era and then the reggae era and beyond, and stretching back into the island's pre-recording days. In various aggregations, the musicians played on vast swathes of songs throughout the '60s, and during the ska years virtually everything that was put on disc featured at least a couple of the men. Foundation Ska delves deeply into this era, exclusively with the group's work for Coxsone Dodd. A good number of the tracks predate the group's official launch, and even then the Studio One head oftentimes preferred to release their singles credited to the composer and/or the main soloist. Thus, although all 32 of the songs within were recorded by the band, many of them never appeared under the group's name. Helpfully, the sleeve notes provide an excellent background piece on the island's early music scene, as well as an exceptional biography of the band drawn from interviews with group members. Best of all, though, the individual soloists are listed for each song, a boon for those desperate to tell the saxophonists' work apart. While instrumentals are the main thrust of the set, five vocal tracks are also featured, a potent reminder of the group's equally crucial work behind the singers. Sadly, Skatalites' vocalist Lord Tanamo seems never to have recorded for Dodd during the ska age, but you do get a scorching number from another one of the band's singers, Jackie Opel, as well as a fabulous duet from Opel and Doreen Schaffer, who also sang live with the group. Filled to the brim with classic after classic -- "Don-De-Lion," "Eastern Standard Time," "Silver Dollar," "Scandal Ska," "Occupation," and so many, many more, just try to find a weak track within. Foundation Ska isn't the definitive set; fans still need to hear their equally masterful material from Treasure Isle, never mind the spectacular numbers they cut for the Yap brothers, but nonetheless this is a stunning and essential set. ~ Jo-Ann Greene, All Music Guide [-] Hide

Fabulous Greatest Hits remains the definitive roundup of Prince Buster's own work, rounding up as it did a flood of hits from the ska and rocksteady age. This quirky compilation, in contrast, leans heavily toward the rocksteady years, and while bundling up many of the same numbers, does include a few of Fabulous' omissions, including the... [+] Read More

Fabulous Greatest Hits remains the definitive roundup of Prince Buster's own work, rounding up as it did a flood of hits from the ska and rocksteady age. This quirky compilation, in contrast, leans heavily toward the rocksteady years, and while bundling up many of the same numbers, does include a few of Fabulous' omissions, including the splendid "Dance the Pardon," inexplicably retitled "Barrister Pardon," which closed the courthouse doors for good on Buster's infamous "Judge Dread." The "Judge" appears as well, as does the equally notorious "Al Capone," alongside the extraordinarily politically incorrect "10 Commandments of Man," wherein the Prince lays down the law to his woman. The superb "Free Love," despite its title, does not advocate sexual experimentation, but instead sublimely spreads a unity message, black pride, and Garvey-esque self-empowerment, all set to a splendid rocksteady backing and sweet harmonies. "Julie on My Mind" finds Buster in a romantic mood, "Ghost Dance" in a more pensive state, as the Prince pens a missive to late friends, while "Take It Easy" is as laid-back as its title. Prince Buster unleashed a deluge of singles during the '60s, more's the pity that modern compilations continue to cull from the same group of 50 or so. Here's another dozen drawn from the same pot -- however, with the vast bulk available on the more copious Fabulous, only hardcore fans should be tempted by this set. ~ Jo-Ann Greene, 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

Although Alton Ellis was never to receive the international recognition of such contemporaries as Desmond Dekker or Delroy Wilson, the singer was at least their equal. Launching his career as the duo of Alton & Eddie (Parkins) at the dawn of the ska age, Ellis' career has continued unabated since, both as partner with other singers (including... [+] Read More

Although Alton Ellis was never to receive the international recognition of such contemporaries as Desmond Dekker or Delroy Wilson, the singer was at least their equal. Launching his career as the duo of Alton & Eddie (Parkins) at the dawn of the ska age, Ellis' career has continued unabated since, both as partner with other singers (including his equally talented sister Hortense Ellis) and as a solo artist. Although he recorded for a multitude of producers, some of his most glittering work during the rocksteady/early reggae eras was cut with Duke Reid, and it is from Reid's Treasure Isle chest that this compilation is drawn. There were scores of classics to choose from, and Cry Tough contains many of the best, a sumptuous entrance to the singer's world. Accompanied by a string of Reid's superb session bands and backed by the Flames (initially the Maytals and then a new grouping with Winston Jarrett at its core), Ellis proceeded to turn up the heat on the island with a flood of evocative hits. However, some of his best-known songs included within this compilation are not the original releases, but alternate takes. As these versions are in no way substandard to the actual releases, this a boon for collectors, while not penalizing new fans. In the case of his best-known number, "Girl I've Got a Date," the alternate is arguably superior, as Ellis reaches new soulful heights. The version of "Cry Tough" is also a masterpiece of emotional shading, almost overwhelmed by its sheer poignancy. And it was this emotive power that defined the singer -- a sweet soulfulness, rich with feeling, that Ellis brought to all his records. This was as true for his many self-penned songs as for the American pop hits he often covered, and it's arguably the latter that best showcase his talent, as Top 40 fluff resonates with new depth under his attention. With 20 classic songs and Ellis at his best, it's not all you'll need -- because after hearing this, you're guaranteed to want more. ~ Jo-Ann Greene, 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