The Wailers "One Love/People Get Ready" noicon "One Love/People Get Ready" by The Wailers. This is a Ska version of the famous Bob Marley song.
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Ska ( /ˈskɑː/, Jamaican [skjæ]) is a music genre that originated in Jamaica in the late 1950s, and was the precursor to rocksteady and reggae.^[1] Ska combined elements of Caribbean mento and calypso with American jazz and rhythm and blues. It is characterized by a walking bass line accented with rhythms on the upbeat. In the early 1960s, ska was the dominant music genre of Jamaica and was popular with British mods. Later it became popular with many skinheads.^[2][3][4][5]

Music historians typically divide the history of ska into three periods: the original Jamaican scene of the 1960s (First Wave), the English 2 Tone ska revival of the late 1970s (Second Wave) and the third wave ska movement, which started in the 1980s (Third Wave) and rose to popularity in the US in the 1990s.^[6]

Etymology[link]

There are different theories about the origins of the word ska. Ernest Ranglin claimed that the term was coined by musicians to refer to the "skat! skat! skat!" scratching guitar strum.^[7] Another explanation is that at a recording session in 1959 produced by Coxsone Dodd, double bassist Cluett Johnson instructed guitarist Ranglin to "play like ska, ska, ska", although Ranglin has denied this, stating "Clue couldn't tell me what to play!"^[8] A further theory is that it derives from Johnson's word skavoovie, with which he was known to greet his friends.^[9] Jackie Mittoo insisted that the musicians themselves called the rhythm Staya Staya, and that it was Byron Lee who introduced the term 'ska'.^[10]

Guitar and piano making a ska sound, like 'ska, ska,' that's why we call it SKA. The sound of the guitar and the piano, that's why we give it the name ska.

—Derrick Morgan^[11]

Ernest Ranglin described the difference between the R&B and the ska beat is that the former goes "chink-ka" and the latter goes "ka-chink".^[11]

History[link]

After World War II, Jamaicans purchased radios in increasing numbers and were able to hear rhythm and blues music from Southern United States cities such as New Orleans by artists such as Fats Domino^[12] and Louis Jordan.^[13]

File:Skank on Em64.png

Quarter note "skank" guitar rhythm^[14] Play (help·info), named onomatopoetically for its sound.

File:Ska-Rock Steady on D and Em64.png

Eighth note skank rhythm^[15]  Play (help·info).

The stationing of American military forces during and after the war meant that Jamaicans could listen to military broadcasts of American music, and there was a constant influx of records from the US. To meet the demand for that music, entrepreneurs such as Prince Buster, Clement "Coxsone" Dodd, and Duke Reid formed sound systems. As jump blues and more traditional R&B began to ebb in popularity in the early 1960s, Jamaican artists began recording their own version of the genres.^[16] The style was of bars made up of four triplets but was characterized by a guitar chop on the off beat - known as an upstroke or skank - with horns taking the lead and often following the off beat skank and piano emphasizing the bass line and, again, playing the skank.^[1] Drums kept 4/4 time and the bass drum was accented on the 3rd beat of each 4-triplet phrase. The snare would play side stick and accent the third beat of each 4-triplet phrase.^[1] The upstroke sound can also be found in other Caribbean forms of music, such as mento and calypso.^[17]

One theory about the origin of ska is that Prince Buster created it during the inaugural recording session for his new record label Wild Bells.^[17] The session was financed by Duke Reid, who was supposed to get half of the songs to release. The guitar began emphasizing the second and fourth beats in the bar, giving rise to the new sound. The drums were taken from traditional Jamaican drumming and marching styles. To create the ska beat, Prince Buster essentially flipped the R&B shuffle beat, stressing the offbeats with the help of the guitar. Prince Buster has explicitly cited American rhythm & blues as the origin of ska, specifically Willis Jackson's song "Later for the Gator", "Oh Carolina", and "Hey Hey Mr. Berry".^[18]

The first ska recordings were created at facilities such as Studio One and WIRL Records in Kingston, Jamaica with producers such as Dodd, Reid, Prince Buster, and Edward Seaga.^[17] The ska sound coincided with the celebratory feelings surrounding Jamaica's independence from the UK in 1962; an event commemorated by songs such as Derrick Morgan's "Forward March" and The Skatalites' "Freedom Sound." Because the newly-independent Jamaica didn't ratify the Berne Convention for the Protection of Literary and Artistic Works until 1994 copyright was not an issue, which created a large number of cover songs and reinterpretations. Jamaican musicians such as The Skatalites often recorded instrumental ska versions of popular American and British music, such as Beatles songs, Motown and Atlantic soul hits, movie theme songs, or surf rock instrumentals. Bob Marley's band The Wailers covered the Beatles' "And I Love Her", and radically reinterpreted Bob Dylan's "Like a Rolling Stone".

Byron Lee & the Dragonaires performed ska with Prince Buster, Eric "Monty" Morris, and Jimmy Cliff at the 1964 New York World's Fair. As music changed in the United States, so did ska. In 1965 and 1966, when American soul music became slower and smoother, ska changed its sound accordingly and evolved into rocksteady.^[17][19] However, rocksteady's heyday was brief, peaking in 1967. By 1968, ska evolved again into reggae.

2 Tone[link]

The 2 Tone genre, which began in the late 1970s in the areas in and around the city of Coventry in England, was a fusion of Jamaican ska rhythms and melodies with punk rock's more aggressive guitar chords and lyrics.^[19] Compared to 1960s ska, 2 Tone music had faster tempos, fuller instrumentation and a harder edge. The genre was named after 2 Tone Records, a record label founded by Jerry Dammers of The Specials. In many cases, the reworking of classic ska songs turned the originals into hits again in the United Kingdom.

The 2 Tone movement promoted racial unity at a time when racial tensions were high in the UK. There were many Specials songs that raised awareness of the issues of racism, fighting and friendship issues. Riots in British cities were a feature during the summer that The Specials song "Ghost Town" was a hit, although this work was in a slower, Reggae beat. Most of the 2 Tone bands had multiracial lineups, such as The Beat (known as English Beat in North America and the British Beat in Australia), The Specials, and The Selecter.^[1] Although only on the 2 Tone label for one single, Madness was one of the most effective bands at bringing the 2 Tone genre into the mainstream.

[edit] Third wave

Europe, Australia, Asia and South America[link]

By the late 1980s, ska had experienced a minor resurgence of popularity in Britain, propelled by bands such as The Burial, The Hotknives and Potato 5, and the re-emergence of the traditional skinhead subculture, ska music festivals, and ska-friendly record labels such as Unicorn Records.^{[20][21][22][23][24]}

The early 1980s saw a massive international surge in ska's popularity, particularly in Europe. Germany proved to be one of the more notable countries, producing a large number of ska bands, record labels and festivals.^[21][25] Notable German ska bands included Skaos, Blechreiz and The Busters. Other prominent bands from Europe's late-1980s/early-1990s ska boom include Mr. Review and Mark Foggo's Skasters from Amsterdam, and Skarface from France.

The Australian ska scene flourished in the mid-1980s, following the musical precedents set by 2 Tone, and spearheaded by bands such as Strange Tenants and No Nonsense, both from Melbourne, and later The Porkers, from Newcastle.^[26] Some of the Australian ska revival bands found success on their national music charts, most notably Sydney's The Allniters, who had a #10 hit with a ska cover of "Montego Bay" in 1983.^[27]

Japan established its own ska and reggae scenes — the former colloquially referred to as J-ska — in the mid-1980s.^[28][29] The Tokyo Ska Paradise Orchestra, formed in 1985, have been one of the most commercially successful progenitors of Japanese ska.^[30]

South America's ska scene started developing in the mid-1980s. South American ska bands typically play traditional ska rhythms blended with strong influences from Latin music and rock en Español.^[31] The most prominent of these bands is Los Fabulosos Cadillacs from Argentina. Formed in 1985, the band has sold millions of records worldwide, scoring an international hit single with "El Matador" in 1994 and winning the 1998 Grammy Award for Best Latin Rock/Alternative album.^[32]. Other notable bands include: JAS (Peru); Los Auténticos Decadentes (Argentina); Panteón Rococó, Inspector (band) and Maldita Vecindad (Mexico); and No Te Va Gustar (Uruguay);and Desorden Público (Venezuela).

North America[link]

By the early 1980s, influenced by 2 Tone, ska bands began forming throughout the United States.^[19] The Uptones from Berkeley, California and The Toasters from New York City — both formed in 1981 — were among the first active ska bands in North America, both credited with laying the groundwork for American ska and establishing scenes in their respective regions.^{[6][33][34][35]} While many of the early American ska bands continued in the musical traditions set by 2 Tone and the mod revival, bands such as Fishbone, The Mighty Mighty Bosstones and Operation Ivy pioneered the American ska punk subgenre, a fusion of ska and punk rock which typically downplayed ska's R&B influence in favor of faster tempos and guitar distortion.^[19][36]

Two hotspots for the United States' burgeoning ska scenes were New York City and Orange County, California. In New York, Toasters frontman Robert "Bucket" Hingley formed independent label Moon Ska Records in 1983. The label quickly became the largest ska independent record label in the United States, distributing titles from east coast bands like The Slackers, The Scofflaws and The Pietasters.^[37] The Orange County ska scene was a breeding ground for ska punk and more contemporary pop-influenced ska music, personified by bands such as Reel Big Fish, No Doubt and Sublime.^[38] It was here that the term "third wave ska" was coined and popularized by Tazy Phyllips (host of the Ska Parade radio show) to describe the new wave of ska-influenced bands which were steadily gaining notoriety.^[39][40] The San Francisco Bay Area also contributed to ska's growing popularity, with Skankin' Pickle, Let's Go Bowling and the Dance Hall Crashers becoming known on the touring circuit.

The mid-1990s saw a considerable rise in ska music's underground popularity, marked by the formation of many ska-based record labels, booking organizations and indie zines. While Moon Ska was still the largest of the United States' ska labels, other notable labels included Jump Up Records of Chicago, which covered the thriving midwest scene, and Steady Beat Recordings of Los Angeles, which covered Southern California's traditional ska revival popularized by the band Hepcat. Stomp Records of Montreal was Canada's primary distributor of ska music, carrying titles from Canadian bands such as The Planet Smashers, The Kingpins and King Apparatus.^[41] Additionally, many punk and indie rock labels, such as Hellcat Records and Fueled by Ramen, broadened their scope to include both ska and ska punk bands. Asian Man Records (formerly Dill Records), founded by Skankin' Pickle's Mike Park in 1996, started out primarily releasing skapunk albums before branching out and releasing early albums by punk bands Alkaline Trio and The Lawrence Arms.^[42]

In 1993, The Mighty Mighty Bosstones signed with Mercury Records, becoming the first American ska band to find mainstream commercial success, with their 1994 album Question the Answers achieving gold record status and peaking at #138 on the Billboard 200.^[43] In 1995, punk band Rancid, featuring former members of Operation Ivy, released the ska single "Time Bomb" which reached #8 on the Billboard Modern Rock Tracks, becoming the first major ska hit of the 1990s and launching the genre into the public eye.^[44] Over the next few years, a string of notable ska and ska-influenced singles became hits on mainstream radio, including "Spiderwebs" by No Doubt, "Sell Out" by Reel Big Fish and "The Impression That I Get" by The Mighty Mighty Bosstones, all of whom would reach platinum status with each of their respective albums. By 1996, third wave ska was one of the most popular forms of alternative music in the United States.^[44]

By the late 1990s, mainstream interest in third wave ska bands waned as other music genres gained momentum.^[45] Moon Ska Records folded in 2000, but Moon Ska Europe, a licensed affiliate based in Europe, continued operating in the 2000s, and was later relaunched as Moon Ska World. In 2003, Hingley launched a new ska record label, Megalith Records.

See also[link]

• Australian ska
• Christian ska
• List of ska musicians
• Rude boy
• Skank (dance)

Footnotes[link]

Further reading[link]

• Du Noyer, Paul (2003). "Ska". The Billboard Illustrated Encyclopedia of Music. New York City: Billboard Books. pp. 350–351. ISBN 0-8230-7869-8. 
• Neville Staple (2009) Original Rude Boy, Aurum Press. ISBN 978-1-84513-480-8

External links[link]

• Allmusic Section about third wave ska
• Ska's Third Wave Article from Furious.com
• SKAlovers.de Ska website for Germany, Austria and Switzerland
• [1] Ska Website with news of Ska in Wales and UK
• Ska Information & Fan Zine

Toots and the Maytals
Performing at the Summer Sundae festival, Leicester, August 2011
Background information
Origin	Jamaica
Genres	Reggae Ska Rocksteady
Years active	1963-early 1980s early 1990s-present
Labels	Beverley's Trojan V2 Mango
Website	http://www.tootsandthemaytals.com/ http://www.myspace.com/tatm
Members
Frederick "Toots" Hibbert Paul Douglas Carl Harvey Jackie Jackson Michelle Eugene Leba Thomas Marie "Twiggi" Gitten Norris Webb Charles Farquarson Radcliffe "Dougie" Bryan Andy Bassford
Past members
Henry "Raleigh" Gordon Nathaniel "Jerry" Matthias Hux Brown Harold Butler Winston Wright Winston Grennan

Toots and the Maytals, originally called simply The Maytals, are a Jamaican musical group and one of the best known ska and reggae vocal groups. According to Sandra Brennan at Allmusic, "The Maytals were key figures in reggae music. Formed in the early 1960s when ska was hot, the Maytals had a reputation for having strong, well-blended voices and a seldom-rivaled passion for their music. Frontman Hibbert's soulful style led him to be compared to Otis Redding".^[1]

Career[link]

Frederick "Toots" Hibbert, the frontman of the group, was born in May Pen, Clarendon, Jamaica in 1945, the youngest of seven children. He grew up singing gospel music in a church choir, and moved to Kingston in 1958 at the age of thirteen.

In Kingston, Hibbert met Henry "Raleigh" Gordon and Nathaniel "Jerry" Mathias, forming in 1961^[2] a group whose early recordings were incorrectly attributed to 'The Flames' and 'The Vikings' in the UK by Island Records. The Maytals first had chart success recording for producer Clement "Coxsone" Dodd at Studio One. With musical backing from Dodd's house band, The Skatalites, the Maytals' close-harmony gospel singing ensured success, overshadowing Dodd's other up-and-coming vocal group, The Wailers. After staying at Studio One for about two years, the group moved on to do sessions for Prince Buster before recording with Byron Lee in 1966.^[1] With Lee, the Maytals won the first-ever Jamaican Independence Festival Popular Song Competition with their original song "Bam Bam" (later covered in a Dancehall style by Sister Nancy, and also by Yellowman in 1982).^[1][3] However, the group's musical career was interrupted in late 1966 when Hibbert was arrested and imprisoned for 18 months.^[1] He stated that he was not arrested for ganja, but whilst bailing a friend.^[4] He also stated that he made up the number 54-46 when writing "54-46 That's My Number" about his time in jail.^[5]

Following Hibbert's release from jail towards the end of 1967, the Maytals began working with the Chinese Jamaican producer Leslie Kong, a collaboration which yielded a string of hits throughout the late 1960s and early 1970s.^[1] These included "Do the Reggay", one of several songs released in 1968 to first use the word 'reggae' (spelled 'reggay') in a Jamaican recording;^[6] "Pressure Drop"; "54-46 That's My Number" the 1969 Jamaica festival's popular song winner; "Sweet and Dandy";^[7] and "Monkey Man", the group's first international hit in 1970.^[1] By 1971, they had not only become the biggest act on the island, they were also (thanks to signing a recording contract with Chris Blackwell's Island Records) international stars.^[1] In 1972 they won their third Jamaica festival popular song with "Pomps and Pride".^[7] The group was also featured twice in the soundtrack to The Harder They Come, the 1972 film starring Jimmy Cliff, named as one of Vanity Fair's Top 10 soundtracks of all time.

After Kong's death in 1971, the group continued to record with Kong's former sound engineer, Warrick Lyn. Their re-instated producer Byron Lee renamed them Toots & the Maytals.^[1] The group released three best-selling albums produced by Lyn and Blackwell of Island Records, and enjoyed international hits with Funky Kingston in 1973 and Reggae Got Soul in 1975. Following the release of Reggae Got Soul, Toots & the Maytals were invited to tour as the opening act for The Who during their 1975-76 North American tour.^[8] The tour went poorly and Toots & the Maytals never went on to the success of Bob Marley or Peter Tosh in the U.S.^[9]

Toots and the Maytals' compositions would be given a second airing in 1978-80 during the reggae punk and ska revival period in the UK, when The Specials included "Monkey Man" on their 1979 debut album and The Clash covered "Pressure Drop". They were also included in the lyrics to Bob Marley & The Wailers song, "Punky Reggae Party" - "The Wailers will be there, The Damned, The Jam, The Clash, The Maytals will be there, Dr. Feelgood too". In 1982, Toots & the Maytals' "Beautiful Woman", reached number one in New Zealand, but the group had already broken up.^[1]

They reformed in the early 1990s to continue touring and recording successfully.^[1]

In 2005, the group released True Love, an album consisting of re-recorded versions of their earlier hits, alongside Bonnie Raitt, Willie Nelson, Eric Clapton, Keith Richards, Trey Anastasio, No Doubt, Ben Harper, The Roots, and Shaggy. The album won the Grammy Award that year for best reggae album.

In 2006, they recorded a reggae/ska version of Radiohead's "Let Down" for the tribute album, Radiodread, by the Easy Star All-Stars. The album was a song for song makeover of the English rock band's album OK Computer into reggae, dub and ska. In August 2007 Toots & the Maytals released Light Your Light, which featured re-workings of older songs such as "Johnny Cool Man", as well as new material. The album was nominated in 2008 for a Grammy in the best reggae album category.

Toots & the Maytals hold the current record of number one hits in Jamaica, with a total of thirty one.^{[citation needed]}

In March 2009 it was announced that Toots & the Maytals would be performing alongside Amy Winehouse, for their shared record label, Island Records' 50th anniversary. Winehouse had covered the band's "Monkey Man", and the act were supposed to support her at the Shepherds Bush Empire in London on 31 May 2009.^[10] However, Winehouse was forced to cancel, leaving the Maytals to play at the more intimate Bush Hall, round the corner from the Empire, to a sell-out crowd.

In the summer of 2009, Toots and the Maytals performed at the Mountain Jam festival at Hunter Mountain, New York.

On 8 July 2011, Toots and the Maytals played the Winnipeg Folk Festival to an outdoor dancing crowd of thousands.

In August 2011, Toots and the Maytals are due to appear at a small number of outdoor events, including Rhythm Festival^[11]

Discography[link]

Studio albums[link]

• Never Grow Old -- 1963 Coxsone Dodd production (N.D. Records/Coxsone 1963 JA. LP JBL1113) (Heartbeat 1997 US. CD HB143)
• Life could be a dream -- 1962-4 Coxsone Dodd production (Studio One 1992 JA.)
• The Original Golden Oldies Vol.3 -- 1964 Prince Buster production (Prince Buster Record Shack 1974. LP PB11)
• The Sensational Maytals -- 1964-5 Byron Lee & Ronnie Nasralla production (Dynamic 1965. DBL1003) a.k.a. Sensational Ska Explosion (Hol. Jamaican Gold 1993. JMC 200.112)
• Do The Reggae -- 1966-70 Leslie Kong production (Attack 1988 U.K. ATLP103)
• Sweet and Dandy -- 1968 Leslie Kong production (Beverley's 1969 JA. LP005)
• From The Roots -- 1970 Leslie Kong & Warrick Lyn production (Trojan 1973 UK. TRLS65) (Sanctuary/Trojan 2003 UK. CD TJCCD091)
• Monkey Man -- 1970 Leslie Kong production (Beverley's/Trojan 1970 JA./UK. TBL107) (House Of 1997)
• The Maytals Greatest Hits -- 1970 Leslie Kong production (Beverley's 1971 JA. BLP021)
• Slatyam Stoot -- 1972 Warrick Lyn production (Dynamic Sounds 1972 US. DY3331)
• Funky Kingston -- 1972-3 Warrick Lyn, Chris Blackwell & Dave Bloxham production (Dragon 1973 UK. DRLS5002) (Mango 1973 JA. MLPS9330) (Island/Trojan 1975 US.)
• Roots Reggae -- 1974 Warrick Lyn production (Dynamic Sounds 1974 JA. DY3343)
• In the Dark -- 1974 Warrick Lyn production (Dragon 1974 UK. DRLS5004) (Trojan UK. CDTRL 202)
• Reggae Got Soul -- 1975-6 Warrick Lyn, Chris Blackwell & Joe Boyd production (Mango 1976. MLPS9374) (Island 1976 US. ILPS9374)
• Toots Presents The Maytals -- 1977 Warrick Lyn production (Chin Randy's 1977. CRRLP004) (State Records 1978. ETAT16)
• Pass the Pipe -- Karl Pitterson & Warrick Lyn production (Island 1979. ILPS9534) (Mango 1979)
• Just Like That -- Chris Blackwell, Karl Pitterson & Dicky Jobson production (Island 1980. ILPS9590) (Mango 1980)
• Knock Out! -- Chris Blackwell & Toots Hibbert production (Island 1981. ILPS9670) (Mango 1981. MLPS9670)
• Reggae Greats (Island 1984. IMCD38) (Mango 1985. MLPS9781) (Island 2001. CD remastered)
• Toots In Memphis (Mango 1988 US. 539818, CID9906, L38958)
• Recoup (Alla Son 1997. ASM CD01)
• Ska Father (Alla Son 1998)
• World Is Turning(D&F Music 2003) (XIII Bis 2005)
• True Love (V2 2004)
• Light Your Light 2005 Toots Hibbert production (D&F Music 2007)
• Stinga 1 (D&F Music 2009)
• Flip and Twist (D&F Music 2010)
• Pressure Drop - The Golden Tracks (Cleopatra 2011. B0052EV9FE) - New studio recordings by the group of several of their classic tracks, plus new re-mixes (in various styles, including dubstep) of the new re-recordings.

Live albums[link]

• Live (recorded 29 September 1980) (Island 1980, ILPS9647)
• Live at Reggae Sunsplash (recorded 4 August 1982) (Sunsplash Records 1983, VSLP8901, RS8901) (Mobile Fidelity 19??, MFCD753)
• An Hour Live "Straight from the Yard" Dedicated to Robert Nesta Marley (recorded 4 August 1982) (Sus 1990, SUS8924) (Genes 1997, GNS8924)
• Live in London (recorded 8 June 1998) (Trojan 1999, CDTRD420)

Compilation albums[link]

• Roots Reggae (The Classic Jamaican Albums ) (Trojan 2005) - six CD album boxset: Sensational Maytals, Sweet And Dandy, Monkey Man, Greatest Hits, Slatyam Stoot, Roots Reggae.
• The Best Of Toots And The Maytals (1979)
• Reggae Greats (1985)
• Do the Reggae 1966-70 (1988)
• Bla. Bla. Bla. (1993)
• Time Tough: The Anthology (1996)
• Recoup (1997)
• The Very Best of Toots & The Maytals (2000)
• 54-46 Was My Number: Anthology 1964-2000 (2002)

Other Contributions[link]

• Goin' Home: A Tribute to Fats Domino (Vanguard, 2007), performing Domino's "Let The Four Winds Blow"

Contemporary usage[link]

Covers[link]

• The Clash, The Specials, Gov't Mule, Izzy Stradlin & the Ju Ju Hounds, Jack Johnson, Josh Heinrichs, Keith Richards, Robert Palmer (on the album of the same name), and The Oppressed, have all covered "Pressure Drop".
• The Specials, Peste & Sida, The Aggrolites, Reel Big Fish, Los Pericos, Big D and the Kids Table, Amy Winehouse, Melt Banana, No Doubt, Adam Ant (on the scrapped Save The Gorilla EP) and Ore Ska Band have all covered "Monkey Man".
• The Australian musician Xavier Rudd covered "Famine".
• "54-46 That's My Number" was covered by Sublime, Ernest Ranglin and Fermín Muguruza, plus the chorus is often played live by The Trews, in an extended version of their own song, "Tired of Waiting".
• 311 covered "Reggae Got Soul" on the soundtrack to the animated film, Surf's Up.
• "Bam Bam" has been covered by several artists, including Chaka Demus.
• "Chaty chaty" was covered by the Basque band Kortatu in their song "Sarri Sarri"

Samples[link]

• The Manchester based band Sonic Boom Six sampled "Funky Kingston", for their song "Monkey See, Monkey Do", on the 2005 Champion Edition of their album, Sounds to Consume.

Soundtrack appearances[link]

• The songs "Pressure Drop" and "Sweet and Dandy" were featured in the seminal Reggae soundtrack to the Jamaican film The Harder They Come, (1972).
• "Bam Bam" was featured in the soundtrack to the film Countryman.^[12]
• "Reggae Got Soul" was featured in the soundtrack to the film Surf's Up.
• "Funky Kingston" and "Pressure Drop" were featured on the reggae radio station, K-Jah Radio West in the video game, Grand Theft Auto San Andreas (2004). "Funky Kingston" was also featured in the video game, Scarface: The World Is Yours; in the film, Notes on a Scandal; and in 2004's Broken Lizard production, Club Dread(which also had "Broadway Jungle"). In addition TLC's television series, Miami Ink, used the song as its theme music.
• Shane Meadows' 2006 film, This Is England, featured the songs Louie Louie, "Pressure Drop" and "54-46 Was My Number".
• "Celia" was featured on Weeds: Music from the Original Series, Volume 4.
• "Time Tough" was featured in the soundtrack of Tony Hawk's Project 8.
• "54-46 Was My Number" was featured in the soundtrack to the film Repo Men (2009) and the game Grand Theft Auto: Episodes From Liberty City on the reggae radio station RamJam FM (2009).
• "It Must Be True Love" was heard in Skins (TV Series) Series 5, Episode 3 (Mini) (2011).

See also[link]

• List of reggae musicians
• List of roots reggae artists
• List of ska musicians
• List of Caribbean music groups

References[link]

External links[link]

• Official Toots Hibbert website
• Toots Hibbert MySpace
• Comprehensive discography at X-Ray Music
• Maytals.net - fan site and lyrics
• Toots interview by Daiana Feuer, L.A. Record

Derrick Harriott (born Derrick Clinton Harriott, 6 February 1939, Jamaica) is a singer and record producer.^[1] He has produced recordings by Big Youth, Chariot Riders, The Chosen Few, Dennis Brown, The Ethiopians, Keith & Tex, The Kingstonians, Rudy Mills, Scotty, Sly & Revolutionaries, and Winston McAnuff.^[2]

Biography[link]

Derrick Harriott record shop, Kingston

As a student at Excelsior High School, Harriott formed a duo with Claude Sang Jr.- an extremely talented reggae artist from Kingston, Jamaica. Claude Sang Jr. had many hits including Daffodil and Birds of Britain. In 1958 Harriot formed the Jiving Juniors with Eugene Dwyer, Herman Sang, and Maurice Winter.^[3] In 1960 and 1961 the group had hit singles with "Over The River" (for Coxsone Dodd) and "Lollipop Girl" (for Duke Reid). In 1962, Harriott left to form his own record label, Crystal, and embark on a solo career.^[3] His first solo release, "I Care", was a hit, with further hits following with "What Can I Do" (1964), "The Jerk" (1965) and "I'm Only Human" (1965), all of which were included on his debut album, The Best Of Derrick Harriott. In 1967 he had further solo hits with "The Loser" and "Solomon", as well as with productions of other artists, including The Ethiopians' "No Baptism", and Keith And Tex's "Tonight" and "Stop That Train".^[3]

The lyrics to his song "Message from a Black Man" (circa 1970) echoed the growing black consciousness in American soul music of that time. In 1970 he issued The Crystalites' The Undertaker, an instrumental album in a similar vein to the early music of The Upsetters. He produced successful albums by other artists, including DJ Scotty's Schooldays, Dennis Brown's Super Reggae and Soul Hits, and also his own 14 Chartbuster Hits.

In 1971, Swing magazine named Harriott the Top Producer of 1970.^[2] He was one of the first producers to use King Tubby mixing talents at his Waterhouse studio, issuing one of the earliest dub albums, Scrub A Dub, credited to The Crystallites.^[2] Harriott followed this with another dub/instrumental album, More Scrubbing The Dub. His late 1970s productions used backing from The Revolutionaries on albums such as Winston McAnuff's Pick Hits To Click (1978), DJ Ray I's Rasta Revival (1978) and his own Enter The Chariot and Disco 6 (a compilation album featuring Dennis Brown, Cornell Campbell and Horace Andy).

In the 1980s, he continued to have hits with soul cover versions, such as "Skin To Skin" and "Checking Out". In 1988 he scored with "Starting All Over Again", a duet with Yellowman, with lyrics about Hurricane Gilbert.^[3] The mid to late 1990s saw solo efforts such as Sings Jamaican Rock Steady Reggae, For a Fistful of Dollars, Derrick Harriott & Giants, and Riding the Roots Chariot being released.^[2]

In July 2002 in Toronto, Canada, Harriott performed at the two-night Legends of Ska festival.^[5][6] Other performers included: Skatalites, Rico Rodriguez, Lester Sterling, Johnny Moore, Lynn Taitt, Prince Buster, Alton Ellis, Lord Creator, Justin Hinds, Derrick Morgan and Lord Tanamo.

Discography[link]

Albums[link]

• The Best Of Derrick Harriott - 1965 - Island
• The Best Of Derrick Harriott Volume 2 - 1968 - Trojan
• Sings Jamaican Reggae - 1969 - Crystal/Pama
• The Crystalites - Undertaker - 1970 Trojan
• Psychedelic Train - 1970 - Crystal/Trojan
• Presents Scrub-A-Dub Reggae - 1974 - Crystal
• More Scrubbing The Dub - 1975 - Crystal
• Songs For Midnight Lovers - 1976 - Crystal/Trojan
• Derrick Harriott & The Revolutionaries - Reggae Chart Busters Seventies Style - 1977
• Reggae Disco Rockers - 1977 - Charmers
• Born to Love You - 1979 - Crystal

Compilation albums[link]

• Derrick Harriott & Various Artists - 14 Chartbuster Hits - 1973 - Crystal
• Derrick Harriott & The Crystalites / Chariot Riders - 1970 - Blockbuster Reggae Instrumentals
• Greatest Reggae Hits - 1975 - Crystal/Trojan
• Disco 6 - 1977
• Enter The Chariot - 1978
• Derrick Harriott & Various Artists - Those Reggae Oldies - 1978
• Derrick Harriott & The Jiving Juniors - The Donkey Years 1961-1965 - Jamaican Gold (1993)
• Derrick Harriott & Various Artists - Step Softly 1965-1972 - Trojan (1988)
• Derrick Harriott - Sings Jamaican Rock Steady Reggae - Jamaican Gold
• Derrick Harriott & The Crystalites - For A Fistful of Dollars - Jamaican Gold
• From Chariot's Vault Volume 2: 16 Reggae Hits - Jamaican Gold
• Derrick Harriott & Various Artists - Riding the Roots Chariot - 1998 - Pressure Sounds
• Derrick Harriott & Various Artists - Skin To Skin - 1989 - Sarge
• Derrick Harriott & Various Artists - Musical Chariot - 1990 - Charly Records

See also[link]

• List of reggae musicians
• Island Records discography
• List of Jamaican record producers
• List of Jamaican backing bands

References[link]

External links[link]

• Pressure Sounds biography of Harriott
• Derrick Harriott & The Jiving Juniors I
• Derrick Harriott & The Jiving Juniors II

Prince Buster
Background information
Birth name	Cecil Bustamente Campbell
Born	(1938-05-28) 28 May 1938 (age 74) Kingston, Jamaica
Origin	Jamaica
Genres	Ska, rocksteady, reggae
Occupations	Musician, songwriter, producer
Labels	Blue Beat

Cecil Bustamente Campbell, O.D. (born 28 May 1938), usually known as Prince Buster, and also having the Muslim name Muhammed Yusef Ali, is a musician from Kingston, Jamaica. He is regarded as one of the most important figures in the history of ska and rocksteady music. The records he made on the Blue Beat label in the 1960s inspired many reggae and ska artists.

Biography[link]

Early life[link]

Campbell began his professional career as a singer in 1956; performing in Kingston nightclubs. He formed a succession of bands with several of his friends, none of which were successful.

Campbell's music career reached maturity with the growth of the sound system. Across Jamaica, music promoters drove vans filled with stereo equipment to stage mobile parties. The operators of the sound system would play the popular R&B dance records of the day and often they would have a vocalist called a toaster call out the dancers' names, chant in rhythm, and make light-hearted boasts. Deejay "toasting" was one of the precursors to the style of vocal delivery that eventually evolved into rap.

Eventually, Campbell was introduced to Clement Dodd, a musically-inclined businessman who operated one of Kingston's most popular sound systems. Interestingly, Campbell was not hired as a musician but as security; because of rivalries between fans devoted to a particular sound system, the parties sometimes could become quite rough, and Campbell had been a skillful amateur boxer as a teenager. It was in this line of work that he earned the nickname "The Prince", which along with his boyhood moniker "Buster" (from his middle name Bustamente), formed the name under which he would later become famous.

Artistic and producing career[link]

In 1960, Buster produced a record for the Folkes Brothers for the Wild Bells label, "Oh Carolina", under his nickname. Buster dubbed himself 'The Voice of the People', and gave a voice to those people with "Oh Carolina", which expressed black Jamaicans through a commercially successful medium.^[1] This record was Jamaica's first to involve an element of African music - the drumming in the record was provided by Count Ossie, the lead nyabinghi drummer from the rastafarian camp, Camp David, in the hills above Kingston. It was an instant hit in Jamaica, and Buster's early records, which were released in the UK by Blue Beat Records, contributed greatly to the developing sound of ska. Buster was soon recording his own compositions as well as producing records for others.

From 1963 to the end of the decade, Buster wrote and produced hundreds of songs for Blue Beat. Soon after his initial success, Buster was drawing international attention. He toured Britain extensively during this period, playing to sellout crowds, and appeared on commercial TV broadcaster Rediffusion London's Friday early-evening pop show Ready, Steady, Go! in 1964. While in England, Buster met World Heavyweight Champion boxer Muhammad Ali, a meeting that resulted in Buster joining the Nation of Islam, as well as Ali being mentioned in the song "Earthquake on Orange Street",^[2][3] which was subsequently referenced by the UK group Madness, who took their name from one of his songs, in their first single "The Prince". He went on to be a popular as a recorded and touring artist in Europe, and though none of his singles charted as highly in the United States, he went on a successful American tour in 1967 to support the little-known RCA Victor LP releaseThe Ten Commandments (From Man To Woman). Today, the album (catalog LSP-3792) is a highly-sought-after rarity among collectors of ska and foundation reggae.

Prince Buster had two hit singles in the UK: first, "Al Capone" (#18, 1967), and much later, with an updated version of "Whine And Grine", which was used on a television advertisement (#21, 1998).^[4] In 1972 Buster gained notoriety for the title track of his album Big Five, a raunched-up re-write of Brook Benton's "Rainy Night in Georgia" with explicit references to sex and drugs.

Besides being a pioneering musician, Buster, like Clement Dodd, was also very interested in business. He started a record shop in Kingston in the early 1960s which is still owned and operated by his family today. Later he founded a jukebox company. He also started the Prince Buster Records label, at first as an attempt to keep the Melodisc label viable,^[5] but today is used to reissue his music.

Post-recording life[link]

This biographical section of an article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (July 2011)

The ska sound and rhythms were undergoing a change by the late 1960s, musicians were slowing the beat and introducing more subtle rhythmic pulses that audiences found less frantic and therefore easier to dance too. This new music was eventually called rocksteady, slower than ska and more influenced by gospel and soul. Rocksteady itself would eventually be replaced by reggae. In addition to the musical influence that ska and rocksteady exerted, many reggae lyrics expressed an Afrocentric, Marcus Garvey-inspired worldview, which had been present in some of Prince Buster's songs. Bob Marley, Toots Hibbert, and other reggae stars have acknowledged their debt. Buster also made a cameo appearance in the acclaimed international hit movie, The Harder They Come. However, reggae's Rastafarian orientation led the Muslim Prince to keep an arms distance away from the new music.^{[citation needed]} He turned toward more traditional tourist-based business ventures instead and gracefully exited the Jamaican music scene.

By the late 1970s, Buster was in serious financial trouble.^{[citation needed]} His business ventures were all posting losses or low profits, and the loans he had taken out to start them were catching up. Fortunately for him, ska was experiencing a revival in the United Kingdom, and the most prominent bands of the revival drew from his material. In 1979, the band Madness released their first record, a tribute to Buster called "The Prince", which urged ska fans to remember "the man who set the beat". The B-side to this record was a cover of the Prince Buster song "Madness" from which they took their name. Their second single was a cover of Buster's "One Step Beyond" which reached the Top 10. On their first album, The Specials covered "Too Hot" and drew heavily on "Judge Dread" in the song "Stupid Marriage", and "Al Capone" in the song "Gangsters". The Specials also included a cover of Buster's version of "Enjoy Yourself" on their second album. Not to be outdone, the The Beat included covers of the Buster originals "Rough Rider" and "Whine & Grine" on its first album. Interest in Buster soared during this time; he received royalties when his songs were covered by 2-Tone bands, and his old records were re-issued and sold well. Buster's songs continued to be popular sources for ska bands in the U.S., an example being The Toasters covering "Hard Man Fe Dead" in 1996. In 1989, Prince Buster recorded a 12" single with London based ska and blues band, The Trojans, which was released on Gaz's Rockin' Records in the UK. "Stack O Lee" was a limited edition and it sold out within weeks.

Prince Buster now lives in Miami, Florida. He has performed at several shows in the 21st century including: the 2002 Legends Of Ska festival in Toronto; Dedham, Massachusetts in 2002; the Sierra Nevada World Music Festival in 2003; the 2006 Boss Sounds Reggae Festival in Newcastle upon Tyne, the 40th Montreux Jazz Festival in Switzerland with the Delroy Williams Junction Band, and 2007's Rhythm Festival. During the last day of the 2008 Notting Hill Carnival, Prince Buster made an appearance on the Gaz's Rockin' Blues stage, alongside the Trojans.

Album discography[link]

• I Feel the Spirit (1963)
• Fly Flying Ska (1964)
• It's Burke's Law (1965)
• Pain In My Belly (1965)
• Ska-Lip-Soul (1965)
• What A Hard Man Fe Dead (1967)
• Prince Buster On Tour (1967)
• Judge Dread Rock Steady (1967)
• Ten Commandments - RCA (1967)
• Wreck A Pum Pum (1968)
• Tutti Frutti - Melodisc (1968)
• FABulous Greatest Hits - FAB (1968)
• The Outlaw - Blue Beat (1969)
• 15 Oldies but Goodies - FAB
• Big Five - Melodisc (1972)
• The Message-Dub Wise - FAB/Melodisc (1972)
• Dance Cleopatra Dance - Blue Elephant (1972)
• Chi Chi Run - FAB (1973)
• Sister Big Stuff - Melodisc (1976)
• She Was A Rough Rider (1978)
• Jamaica's Greatest - Melodisc
• Subliminal Reaction - Subliminal Reacton
• FABulous Greatest Hits - 1963-1981 - Sequel (1993)
• The Original Golden Oldies Volume 1 (1998)
• The Original Golden Oldies Volume 2 (1999)
• The King of Ska (2002)
• Prince of Peace: Prince Buster with Determinations Live in Japan (2003)

UK hit singles[link]

References[link]

Byron Lee OD, OJ^[1] (born Byron Aloysius St. Elmo Lee, 27 June 1935, Christiana, Manchester, Jamaica, died 4 November 2008, Kingston, Jamaica) was a musician, record producer, and entrepreneur, best known for his work as leader of Byron Lee and the Dragonaires.^[2]

Biography[link]

Lee was born in Christiana in Manchester Parish to an Afro-Jamaican mother and a Chinese father (a language teacher) originally from Kowloon, Hong Kong.^[2] His mother was from Auchtembeddie, where mento and junkanoo were popular musical forms, and his family actively upheld the cultural and musical traditions of their African ancestors.^[2] The family moved to the Mountain View Gardens area of Kingston when Lee was around 8 or 9.^[2] He learned to play piano at a convent school in Mandeville, but put music on hold when he became a member of the Jamaican national football team.^[2] He taught himself to play bass on a homemade instrument, and around 1950, along with his friend Carl Brady, he formed the first incarnation of the Dragonaires, named after the college football team that they played for, at that time concentrating on mento.^[3] The band turned professional in 1956 and went on to become one of Jamaica's leading ska bands, continuing since and taking in other genres such as calypso, Soca, and Mas.^[3]

According to Michael E. Veal in his book Dub : soundscapes and shattered songs in Jamaican reggae *Wesleyan University Press, 2007), Byron Lee is known to have introduced the electric bass guitar to Jamaica in late 1959 or 1960. However, the reason Lee began to use the electric bass as opposed to its stand-up counterpart had nothing to do with sound. Rather, it was a way for Lee to avoid carrying the large and heavy stand-up bass to the truck to move from gig to gig. The bass guitar soon gained popularity throughout the country and soon became the standard. The electric bass' louder, clearer, and more in your face sound soon changed the entire sound of Jamaican music entirely, especially after Skatalites bassist Lloyd Brevett took a liking to it.^{[citation needed]}

Lee also worked as a producer, producing many of the ska singles by The Maytals, and his entrepreneurial skills led to him setting up the Byron Lee's Spectacular Show tour, which involved several Jamaican acts (including The Maytals) touring the Caribbean. He also became the head of distribution in Jamaica for Atlantic Records.^[3] Lee purchased the West Indies Records Limited (WIRL) recording studios from Edward Seaga after fire had destroyed the pressing plant on the same site, and renamed it Dynamic Sounds, soon having a new pressing facility built on the site. It soon became one of the best-equipped studios in the Caribbean, attracting both local and international recording artists, including Paul Simon and The Rolling Stones, who recorded their famous song "Angie" there.^[3] Lee's productions included Boris Gardiner's Reggae Happening, Hopeton Lewis's Grooving Out on Life, and The Slickers' "Johnny Too Bad".^[3] Dynamic also acts as one of Jamaica's leading record distributors.

In 1990, Lee inaugurated what became an annual event, the Byron Lee Jamaica Carnival, held on Constant Spring Road, and attended by hundreds of thousands of people that united the "uptown" and "downtown" residents of Kingston, an event that Lee calls "the happiest moment in my life".^[3][4][5] Lee had performed with the Dragonaires at carnivals around the Caribbean since the mid-1970s, and chose the location for the carnival to attract revellers from all of Jamaica's classes, stating "The biggest problem was that most Jamaicans said it wouldn't work, that it isn't a carnival country, but I persisted 'cause I believed in it. I wanted carnival to go to the public. You always had other carnivals that were held mostly indoor, where persons had to pay to get in. I went to the people and choose Half-Way Tree where uptown and downtown meet. That is where the route will remain".^[6] While in the early days of ska, Lee was credited in taking it from the ghettos and giving it appeal among Jamaica's "uptown" middle- and upper-classes, he has been credited with taking soca in the opposite direction, popularising a genre that had previously only been enjoyed in Jamaica among the upper classes, with the island's working class.^[4]

Lee missed the Jamaica Carnival in 2007 as he was receiving treatment for bladder cancer after having surgery in Florida, and no longer appeared on stage with the Dragonaires, although he was still involved in the band's management, and was involved with the festival again in 2008.^[7][8] A concert was held in his honour on June 30, 2007, to celebrate his 50 years in the music industry, with artists performing including fellow cancer-survivors Myrna Hague and Pluto Shervington.^[7] Proceeds went to the Jamaica Cancer Society.^[5]

Lee was awarded the Order of Distinction in 1982, upgraded to Commander level on 15 October 2007, in recognition of his "contribution in the fields of Music and Entertainment both locally and internationally".^[9][10]

In October 2008, after receiving treatment for several weeks in Florida, Lee returned to spend his final days in Jamaica. In a ceremony at the University Hospital of the West Indies on October 26, 2008, he was awarded the Order of Jamaica (OJ).^[11] Lee died on the 4th of November 2008, aged 73.^[12] In a statement on the day of Lee's death, the Prime Minister of Jamaica, Bruce Golding, said "Jamaica, and indeed the world, has lost another great music pioneer with the passing this morning of Byron Lee, one of the greatest band leaders ever to grace the entertainment stages of the world".^[13]

References[link]

External links[link]

• Band web page
• Byron Lee's Bio
• Eder, Bruce "Byron Lee Biography", Allmusic, Macrovision Corporation
• Byron Lee at Roots Archives
• Byron Lee at the Internet Movie Database