Earl Zero: Rootsman

Earl Zero is, without a doubt, one of my all time favorite roots singers.  Like Don Carlos, his voice is the definition of roots to me.  He has the ability to thread his voice through a track in a way so that it sounds as if it is just another instrument, almost getting lost in the mix.  His songs are tapestries which tell a story.
As I told a recent commenter, its hard for me to describe what I’m hearing, but his vocal threads through a song instead of sitting on top of the instruments
Here is a selection of some of my favorites…

Earl+Zero+EarlZero

Niney The Observer Live at the Turntable Club

This historical release is produced by Niney The Observer, mixed by King Tubby, Errol & Dennis Thompson and features vocals from Dennis Brown, Delroy Wilson and Big Youth.

On Jan 24, 2012, 17 North Parade released Live At The Turntable Club for the first time on CD. The original 1974 release, presented and produced by Niney The Observer, was the first live album recorded in Jamaica that gave the rest of the world aural access to Kingston’s lively music scene during a definitive era in reggae.

With electrifying live performances from Dennis Brown, Delroy Wilson, Big Youth and backing band Soul Syndicate, Live At The Turntable Club is a vibrant snap shot of the key players who paved the way for the roots genre. Reggae’s most accomplished recording engineers – King Tubby, Errol Thompson and Dennis Thompson – along with Niney and these legendary artists were at the peak of their musical careers when they captured these live recordings inside Kingston’s famous nightclub. The songs were mixed by King Tubby at his renowned studio on Dromilly Avenue and mastered in London at The Beatles’ Apple Studio on Saville Row.

1 Dennis Brown Cassandra
2 Dennis Brown Rock With Me Baby
3 Dennis Brown Give A Helping Hand
4 Alexander Portious Everything I Own
5 Alexander Portious Love Overdue
6 Delroy Wilson I’m A Happy Man (Without You In My Life)
7 Delroy Wilson It’s A Shame
8 Delroy Wilson Have Some Mercy
9 Delroy Wilson You Keep On Running
10 Big Youth Santa Massa Gone Ya (I Pray Thee)
11 Big Youth Dread In A Babylon

Niney

 

Dennis Brown

 

Delroy Wilson

 

Big Youth

Mikey Dread At The Controls

Michael George Campbell, better known as Mikey Dread, was a Jamaican singer, producer, and broadcaster. He was one of the most influential performers and innovators in reggae music. His abilities, technical expertise, and unique vocal delivery combined to create a unique sound that tells the listener emphatically that it is the “Dread at the Controls”.  Mikey Dread passed away in 2008.

I am a big fan of the album Obsession,” a record that was panned by critics and remains a slight “hiccup” in an otherwise pristine catalog of music for Mikey Dread.

According to music critic Steve McDonald:

“Mikey Dread continues to move away from the early Dread at the Controls dub sound, involving himself with a mixture of lover’s rock and smooth low-key reggae that verges sometimes on a kind of new age mix. It’s a long way from what he used to do, but it’s still entertaining — and is far easier to enjoy because the music isn’t designed to turn your mind inside out.”

Mikey Dread “Roots And Culture”/Jungle Signal” 10″ (Dread At The Controls, 1984)

An excerpt from the Dread At The Controls radio show.

Mikey Dread and the Fully Fullwood Band (Soul Syndicate) live in Bakersfield, CA 2001.

Peter Tosh Interview, Los Angeles, CA (August, 1983) by Eric Olsen

More vital knowledge from Peter!

Article Author: Eric Olsen

Career media professional Eric Olsen is honored to be the founder and former publisher of Blogcritics.org, and former publisher of Technorati.com, which both rule. He is now editor, co-founder, and CEO of The Morton Report.

Read more: http://blogcritics.org/music/article/peter-tosh-the-shitstem/#ixzz1wQgJyvkd

August, 1983: Peter Tosh was the most popular reggae singer in the world (Bob Marley was dead). His credentials were myriad and impeccable. He was a founding member of the Wailers with Bob Marley and Bunny Wailer in 1964, in the Trenchtown slum of Kingston, Jamaica. He taught Bob Marley to play guitar. He left the Wailers in 1975 to pursue a successful solo career which was peaking with the Mama Africa Tour of 82-84, which played every continent of the world except Antarctica.

I met with Tosh the day after a magnificent performance at the Greek Theater in Los Angeles with his crack band Word, Sound and Power, featuring American guitarist Donald Kinsey (of the Chicago blues-funk band, The Kinsey Report), and a rock-solid rhythm section of Santa Davis (drums) and Fully Fullwood (bass).

As I approached Tosh’s Hollywood hotel room, incense billowed out from under the door. As the photographer and I entered the room, several members of Tosh’s entourage lolled about, Jamaican-style. Tosh was renowned for giving writers – especially white writers – a hard time.

Tosh stretched to his full 6′ 3″ height and shook his Medusa tangle of dreads, then composed himself into an alarmingly compact coil on the couch. I was seated across from Tosh, sensing that all of this was aimed at maximum intimidation. Tosh wore a preternaturally white t-shirt and sweats. He corralled his dreads under a Jamaican-style cap, put on his shades, lit five more sticks of incense and signaled his willingness to be addressed.

Why did you choose to record a reggae version of “Johnny B. Goode”?

“For commercial acceptance. My guitar player proposed it, we all arranged it. ‘Commercial’ is something for sale. I want my music to sell, mon. I want my music to reach the 500 millions.”

What is your place in music?

“At the highest. I live my music, seen? I am a man of profound righteousness. I am in the highest position of life, so my music is also of highest position. Yah mon!”

Are you religious?

“Religion is misturned philosophy. I am that I am. I do not tell lie. How many you know not tell lie, mon?”

Who is responsible for your music?

“Jah flows through me. We are responsible. I live music. It rises spontaneously from me. Compositions appear, mon. In the beginning there was the word. The word was Jah. The word is in I, Jah is in I. I make what is good, better, and what is better, best. I follow this in every aspect of life.”

Who can play reggae?

“Only the architect, mon. All else paint picture from picture. You must have the feeling. Only Jamaican created reggae. If any other could have, they would have. This dispensation of time, Jah favor Jamaica. Reggae must be lived, not played. It is a lifebeat everytime, mon.”

Is your reggae influenced by rock ‘n’ roll?

“Who influenced who, mon? Reggae influenced rock ‘n’ roll. Reggae is the king’s music, played by kings, inspired by the King of Kings. Reggae has always been, seen?”

Why did you leave the Wailers?

“I never left myself, mon. It was belittling my integrity. I taught Bob Marley. How can you compare the teacher with the taught? I and I and the devil are at war. The devil make Marley leader of the band. I had no desire follow the path of destruction.”

Are you saying that Bob Marley is a devil?

“Bob Marley is dead, mon.”

[During the conversation, Tosh carefully cleaned, pruned and rolled a spliff the size of a banana. He lit it, blew a volcanic stream of smoke at the ceiling and smiled.]

Why do you tour and record?

“To spread the word, to liberate my people and to make money, mon. I need plenty money to walk my Father’s Kingdom, mon. The blood cloth dollar will burn, but Africa’s gold and diamonds are forever. Jah mon.”

How is the tour going?

“Very good and most righteous indeed, mon. It always good every time. It is the only way to reach the people. The record company fuck up every time, mon. They don’t put my record in the record shop. They diplomatic assassinating me.”

You mentioned your record company [EMI].

“They sign to demote. I get no proper promotion. They all seek I. They know the potential of this music. They seek to exploit it.”

How do you like having a hit single? ["Johnny B. Goode"]

“What hit single? A black man sell 50,000 copies, he have hit. The white man sell 4 million, he have hit. The ministers of the shitstem seek to kill me spiritually, verbally and physically.”

Why?

“That I might be crucified like Christ and all true Christians. The shitstem is white and black, Christian and Jew. It’s a conspiracy, yah mon. It will be in my book, Red X. They know who they are.”

How old are you?

“How old is the sun? Sun not temporary, not chronological. There is the terra-celestial and the celestial. I am celestial, mon. I am here, there and everywhere. I live among men so I must adjust myself. When I go to other planet, I must adjust myself there, too, mon.

[I felt my consciousness drifting to another planet as well. A contact high in such an environment could only have been avoided by cessation of respiration. The incense and ganja had long since thickened the room into a Martian swirl. The smoke seemed to develop a life of its own, obscuring all of the physical Tosh save for his sunglasses. Tosh progressively resembled a rasta Cheshire cat.]

Do you prefer some of your songs over others?

“Are some flowers more beautiful than others? The garden is beautiful. Do I prefer brother over brother? Comparisons are part of this political world. Where there is one, there is no conflict. Where there is two or more, there is conflict. Two is the devil. Conflict begin with the devil. We count 0 to 1, then back to 0. It is a circle.”

Does it bother you that the majority of your American audience is white?

“Every time, mon! It is 99.9%! It is again a conspiracy to demote I. Don’t feel no way. My counteraction will be lightning and earthquake.”

What is your goal?

“To promote equal rights and justice for every man.”

What will happen when this goal is reached?

“The flowers will bloom and the pollution will go away. There will be fresh air and no pestilence. Man has created these things for experimental purposes to promote death and advance technology. But soon the earth will tilt on its axis and begin to dance to the reggae beat to the accompaniment of earthquake. And who can resist the dance of the earthquake, mon?”

Do you offer any advice?

“Buy more reggae records, mon. Stop smoking cigarettes and start smoking ganja. If you live the reggae beat, you will not perish from it.”

Tosh survived the reggae beat, but not the drugs and politics-driven violence of Jamaica. He was murdered in a hail of bullets at his home in Kingston in 1987.

Interview by: Eric Olson

http://blogcritics.org/music/article/peter-tosh-the-shitstem/

Peter Tosh Live at the Greek Theater, 1983

Photo by Lee Jaffe

www.leejaffe.com

The Lost Archives Of 17 N. Parade

Tickets on sale now for THE LOST ARCHIVES OF 17 NORTH PARADE!

Next month, Randy’s Reggae Producer CLIVE CHIN will share gems and stories from his freshly mined ARCHIVE OF RARE REGGAE RECORDINGS!

In an unprecedented event in Reggae recording history, internationally known reggae producer Clive Chin will unveil his rare archive of previously unknown and unreleased recordings by many of Reggae’s greatest stars during the heyday of Ska and Early Reggae, virtually unheard by anyone for nearly 40 years!

On Saturday, June 16, attendees will have a first listen to these historic recordings and a reggae history lecture by Clive Chin (w/ moderation by Pat McKay of SiriusXM Radio) at The Frost Theatre of the Arts, at 17 Frost Street in Willamsburg, Brooklyn; and at a Reggae Dance Party immediately afterwards at Loreley, 65 Frost Street, with the cream of New York City’s top DJ’s and Artists performing alongside Chin.

Tickets to the event on sale now at The Lost Archive of 17 North Parade web site, located at reggaegems.tumblr.com

ABOUT THE ARCHIVE
The lost archive consists of hundreds of hours of Reggae music recorded from 1968-1978 by Clive Chin and his father, Vincent “Randy” Chin, at the legendary Studio 17, located at 17 North Parade in Kingston, Jamaica. Included are performances by such major artists as Bob Marley, the Wailers, Peter Tosh, Alton Ellis, Gregory Isaacs, Lord Creator, John Holt, U-Roy, Tommy McCook, I-Roy, Augustus Pablo and many more.

The original master tapes, which lay undisturbed in Jamaica for nearly 30 years, were brought to the States through the assistance of E.M.P. (Experience Music Project) and Microsoft founder Paul Allen. The tapes have all been digitized and catalogued for the first time by Chin and producer/engineer Billy “Prince Polo” Szeflinski, working at The Kennel Recording Studio in Bushwick, Brooklyn. Prince Polo, an up-and-coming dub reggae producer, not only remixed the recordings, but has also added new instrumentation and vocals to the tracks, many of which were unfinished instrumentals.

ABOUT RANDY’S RECORDS
This story began over 40 years ago with reggae pioneers Vincent Chin and his wife Patricia (Miss Pat) in their native Kingston, Jamaica. Mr. Chin received his first taste of the music business maintaining the jukeboxes at bars around the island. This led his creative and enterprising mind to recognize the opportunity to sell the old records that would otherwise be discarded for new ones. The entrepreneurial couple quickly learned hands-on the business of music merchandising.

In 1958, the success of the Chin’s jukebox record venture led to the opening of a small retail store on East Street, Randy’s Records in downtown Kingston. Within a few years, the Chins moved the store to 17 North Parade and later opened Studio 17, a production facility frequented by legendary artists Bob Marley, Peter Tosh, Gregory Isaacs and other Reggae greats. In the mid-70s, the Chins moved to America and brought their business along with them to service the growing Caribbean market in the U.S.


In 1979, Jamaica Queens, NY became the home of Vincent and Pat Chin’s U.S. retail store, VP Records on Jamaica Avenue. From the start, the couple quickly became major producers and wholesale distributors of reggae as they established supply lines to record stores all across North America. During these years they earned the right to their slogan “Miles Ahead in Reggae Music,” as they became the world’s leading distributor of music from Jamaica and other islands of the Caribbean.

ABOUT CLIVE CHIN
Clive Chin first rose to prominence by producing a record for his classmate Horace Swaby, a.k.a. Augustus Pablo, in 1971 at Randy’s Studio in downtown Kingston, Jamaica. This record, “Java,” became a slow burning international sensation with its Eastern motif played on the melodica. LPs followed, namely This Is Augustus Pablo and Java Java Dub, which elaborated on the rhythmic achievements of the single. Another of his biggest hits on the British National Chart was “Fatty Bum, Bum” by Carl Malcolm.
During this heyday of early reggae classics, Clive established his own record label, Impact! along with recording cuts for his family label, Randy’s. He helped with recordings at all the major studios in Kingston with artists such as; Bob Marley, Dennis Brown, Gregory Isaacs, Hortense and Alton Ellis, Horace Andy, Big Youth, I-Roy, U-Roy, Dennis Alcapone and Senya. Some international Clive Chin productions include: Serge Gainsbourg (France), Joe Cocker (England), Martha Velez (Puerto Rico), and Johnny Nash (US).

His producing came to an abrupt end in 1978, as the Chin family closed shop and relocated to New York, where the record operation was renamed VP Records, which today is the largest reggae distributor in North America.

Taking a new direction in business, Clive spent much of the ’80s running a Jamaican restaurant in Queens, New York. Clive began to produce records again in the mid ‘90’s, and started pressing and releasing re-issues of Randy’s and Impact! Classics with his new company, Above Rock Records, and more recently, 17 North Parade.

Due to the rise of vintage reggae in recent times, Chin’s productions are proudly coming into the light of day once again. His current production work features new artists voiced-over his now famous riddims; Luciano, Sizzla, Jr. Kelly (Jamaica), collaborations with his producer/son Joel Chin, Cha Cha (Shanghai), K-Vibes (NY), and Oli (France), to name a few.

With this renewed appreciation of Classic Reggae, Clive is now accepting demands for his Reggae Music History and Lecture/Demonstration Workshops all over the world including The Red Bull Academy in Capetown South Africa (2003). He more recently toured with The Uprooted Sunshine Tour in China (2009-10) that entertained several Chinese dignitaries, and The Randy’s 50th Anniversary Tour in Japan.

Event:
Clive Chin presents: An Evening of Untold Stories and Unheard Reggae Gems of…
THE LOST ARCHIVES OF 17 NORTH PARADE
Randy’s Records and Studio 17 Recording Studio of Kingston, JA

Reps:
VP RECORDS, 17 North Parade, Dubspot, The Kennel Recording Studio

Date:
Saturday, June 16, 2012

Times:
8pm: Clive’s Lecture/Demonstration – $25 per person (includes Party)
9pm: Dance Party with Clive and DJ Friends – $10 per person

Venues:
Clive’s Lecture/Demonstration will be at:
The Frost Theatre of the Arts, 17 Frost St. Brooklyn, NY…with an After Party to be held at Loreley, 65 Frost St. NY

Tickets:
On sale at:  reggaegems.tumblr.com

Contact: VP RECORDS 718-425-1138