First Cut: Joe

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First Cut Friday is back in full effect. One of our favorite producers is Joe “The Boss” Mansano. Although he was far from a prolific producer he generally only put out quality cuts. His Joe label is one of those labels that isn’t sought after simply for being a rarity to come across, the man put out some serious gold with regularity. And his Brixton Cat LP, which compiled a number of his finer productions, is a highly sought after prize for any collector. Although this particular track comes with a matrix stamp DU-24, as far as anyone has records this was the first 45 put out on the label. Indicative of what was to come. Mansano used Rico Rodriguez quite a bit so it’s only fitting the first record he puts out on his own label features the man doing his thing. Another fine start to a classic label.

First Cut: Upsetter

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We like to keep it new and interesting here. And our weekends kind of get away from us. So we’re introducing another Friday feature. This one we’re gonna call First Cut Fridays. It’s real simple, when we put up the Errol Dunkley track “Please Stop Your Lying” and realized it was the first tune released on Amalgamated we got an idea. So every Friday til we run out of labels we’re gonna put up the first track ever released on skinhead reggae labels. Simple right? We went for an obvious one to kick this off. The Upsetter subsidiary of the legendary Trojan label is considered by many to be one of the best labels for skinhead reggae. It helps they kicked it off with “Eight for Eight” by The Upsetters b/w “You Know What I Mean” by The Inspirations. It was a pretty solid indication for what would come for the label. Creepy introduction of the track courtesy of Lee Perry himself followed by a massive organ led instrumental, very much the sort of sound the genre would become known for. Then you flip the thing over and BAM! Completely different but still incredible, a top vocal cut. The single would have been worth every penny. And the quality continued throughout the rest of 1969. Pretty good way to start wouldn’t you say?

FCF: Amalgamated

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This cut right here was the first ever release on the UK Amalgamated label, home to a number of crucial productions by Joe Gibbs and engineered by the likes of Niney and Lee “Scratch” Perry. Errol Dunkley, the vocalist on this impassioned plea for honesty, was only 16 when the track was released. It’d be a big deal except he started his career at 14 and by the time he got to this track he had already worked with some of the biggest producers in Jamaica at the time such as Sonia Pottinger (whom he recorded his first track for) and Prince Buster. Pretty decent way to kick off a label we’d say.

Duke Reid

Duke Reid spinning a platter that, most likely, mattered. A foundation man of the Jamaican music scene, with the exception of Coxsone Dodd you won’t find a man who had a more profound affect on the birth and growth of the Jamaican music industry. A one time police officer, Reid decided there was better money to be made in the sound system industry. It wasn’t long before he took over the Tom the Great Sebastian’s sound, likely with a little bit of help from the “dancecrashers” Reid became familiar with during his time wearing the badge. One the desired sound of R&B started drying up in the States Reid decided to move on and produce his own tunes, working out of the now legendary Bond Street studio with the tunes being released on the legendary Treasure Isle label (amongst others). Although Studio One certainly ruled the day during the ska period, he hit his stride during the rocksteady era which can likely be attributed too Reid never developing a real appreciation for the ska sound. His Trojan Sound System was legendary in Jamaica and once he started putting out his tunes in the UK on the Trojan label created for his productions the rest was history. As you know by now, they were kind of a big deal.

Pat Kelly

How has it taken us this long to get around to speaking on the iconic Pat Kelly? That’s a question you’ve probably asked yourself and one we’ve certainly asked ourselves. The man is one of the greatest ever vocalists in Jamaican music. He had to be really. His first gig was stepping into the shoes of Slim Smith when Slim left The Techniques in 1967. There isn’t many who’ve had to fill a bigger role in music history. Sure there’s Dennis Edwards trying to replace David Ruffin in The Temptations. But Edwards had already been recording at Motown with The Contours for years. But that’s a story for another day. Not only did Kelly fill the shoes of Slim, he threw those fuckers out and decided he saw a nicer pair, ones which fit him perfectly. As good as The Techniques were during their Slim Smith led days, they reached their recording pinnacle while fronted by Pat Kelly. Guided by Duke Reid, and recording out of his Treasure Isle studio, The Techniques released such classics as “Run Come Celebrate”, “Queen Majesty” and “You Don’t Care” over the course of the next year. Most groups would be lucky to have that kind of output in their entire career. Kelly realized the affect his vocals were having on the success of the group so in ‘68 he decided to branch out and he needed a new producer, what with the infamous temper of Duke Reid to contend with after leaving The Techniques. Bunny Lee was that new producer. Now if you’ve read this website for a bit, you may know we’re sort of fans of Mr. Lee. If you didn’t happen to know that, you have some reading to do. Lee and Kelly had a special connection that led to some of the best tunes ever put out in the rocksteady and reggae eras. Much like Leslie Kong and Desmond Dekker, the two simply clicked with one another and produced some magic. The “Pat Kelly Sings” LP put out by Pama is in our top 3 greatest reggae LPs of all time. You’d do well to find many albums of vocal reggae that are any better. Let’s just put it in perspective: “How Long Will It Take” (if you haven’t heard it, what’s wrong with you?) was the biggest selling Jamaican single of 1969. Now think how many classics came out that year. Makes sense now?

Get This Album

We really don’t think there was a better album of vocal reggae put out during the early reggae era. Jackie Bernard’s lead vocals were just too damn nice and the harmonies sweet enough to give you cavities. Straight from the first cut “Your Love” through to their biggest tunes “Sufferer” and “Hold Down” the album really doesn’t let up. Derrick Harriott did one of a hell of a job with the trio, although their output for J.J. Johnson prior to working with Harriott would leave one to believe the talents present could have performed well under any producers guidance. And “Sufferer”, what a tune! Get this album.

Joe Gibbs

It’s somewhat odd that in a music industry noted for it’s long standing rivalries and feuds between artists, producers and label owners that the community, however short lived, developed between the same parties has created one of the most vibrant and celebrated music industries. Joe Gibbs, and his entire fanbase, can thank those links for some of the greatest rocksteady and early reggae tunes ever created. Gibbs received his start in the music industry with a loan from friend, and For The Suits favorite, Bunny Lee. Mr. Lee helped out with some of the cash to get Amalgamated up and running and then the recording expertise of a young Lee “Scratch” Perry led to a musical education for Gibbs. It also led to Gibbs’ first hit “Hold Them” by Roy Shirley. Some even credit the Shirley track as one of the first rocksteady tunes ever. This is where the feud part starts: after a falling out between Perry and Gibbs, Gibbs had to find a new recording engineer. Lucky for all Gibbs found Winston “Niney” Holness. Coupled with only the best backing bands, either the Hippy Boys or Lyn Taitt and the Jets, and talented vocalists and trios like Ken Parker and the Pioneers, the Amalgamated label went on to put out some of their top tunes. Not bad for a cat who stumbled into the music business and built his own recording studio thanks to an Electronics Engineer degree.

Jumping With Mr. Lee

Let’s just make this clear: get your hands on anything Bunny Lee ever produced. Especially between 1967 and 1970. This LP is essential.