IN THE BEGINNING...
Reggae music History began with Jazz. As Jazz swept across the globe with the help of radio broadcasts and records in the 1940s, Jamaica was not immune to the fever and bands began to spring up everywhere to entertain the tourists. Names like trombonist Don Drummond, and sax player Tommy McCook began their careers. In the 50s Jazz, Bebop become the new rage and Jazz orchestras began to fade in favor of a new youthful type of music, the rage spread all over the world including to Jamaica.
Jamaica first recording studio started in 1951.Thats when Mento Music was recorded. The first record label started in the 1954 by Ken Khouri with his Federal Records Label. When there was a lack of R&B releases, Edward Sega, the man who was to become Prime Minister of Jamaica, was first known as the founder of a company called WIRL, or West Indian Records Limited, this company began releasing the work of local artists. Many more recorders began to follow suit, once the pressing plants were established on the island, the Jamaican recording industry was born.
SKABy the 1960s Ska was the first unique style of music developed by the Jamaicans, giving them their own identity. This was a welcome hange for Jamaicans who were finding that their versions of R&B didn’t have the same appeal as the originals.Prince Buster is believed to be the founding father of Ska, when he set up a record production and in one session created 13 songs for his new label Wild Bells. Prince Buster had asked Derrick Morgan to come and sing, and the 13 songs all turned out to be hits. Over the course of the 13-song session, they found something new, by melding the rhythm of traditional Mento music, and adding R&B, they changed Jamaican music history.
The crowds loved the new music, and the new music fitted in with the mood of the times, especially with Jamaica receiving independence. The people were glad to embrace anything that was unique to Jamaica. Ska was made by the working class Jamaicans, and told their stories. The other record makers followed suit, in order to compete with Prince Buster.Ska made a debut in America but was unsuccessful, but it did make an impact on Britain, after the war many Jamaicans had gone to work in Britain to help rebuild it, and brought along Ska. Rude boys made their entrance into the working class Jamaican underground scene in Britain, and they were the generation that changed the music to suit them, the result, rock steady.
ROCK STEADY MUSICThe Jamaican people embraced Rock steady music, especially after one particular hot summer. The slowed down form of Ska meant that people didn’t have to exert so much energy, so they could stay on the dance floor for longer. Rock steady also took off in Britain and was embraced by the skinheads of that time.
REGGAE
Reggae is a term that was coined sometime close to 1960. Derived from rege-rege, a Jamaican phrase meaning “rags or ragged clothing,” it is used to denote a raggedy style of music that grew up in Jamaica around that time.
Reggae is a genre of music that has its roots in a number of other musical styles. It incorporates influences from Jamaican music (both traditional Mento and contemporary Ska), as well as American Rhythm & Blues, which was broadcast from high-powered stations in New Orleans and Florida in the early days of radio, and could be easily picked up in Jamaica. Reggae’s closest musical relations are Ska and Rocksteady, popular in Jamaica during the 1950s and early 1960s. Reggae evolved from these other genres, really coming into its own later that decade. Reggae shares many characteristics with Ska, such as a walking bass line with guitar and piano off-beats, but Ska is faster paced and also tends to incorporates jazz-influenced horn riffs. The genre was lauded by Jamaican youths around the time that the nation gained independence in 1962. Rocksteady slowed the Ska tempo right down. Played by smaller bands, it also used more syncopated bass patterns. This style is very close to Reggae and the dividing line between Rocksteady and early Reggae is not always easily distinguishable.
Reggae music is recognizable thanks to its heavy backbeated rhythm. This means, for example, that the second and fourth beat would be emphasized when playing in 4/4 time. This is very typical of African-based musical genres, though uncommon in traditional forms of Asian or European music. Reggae also tends to use “double skank” guitar strokes on the offbeat, and lyrics often center on more socio-political themes.
Early reggae music had lyrics consistent in theme with its predecessor, Rocksteady, with songs often focusing on topics such as love. As the genre found its feet in the 70s though, it evolved in line with the Rastafarian movement that was sweeping Jamaica at the time, and lyrics of Reggae songs quickly developed a more socio-political or religious bent.
Reggae is a genre of music that has its roots in a number of other musical styles. It incorporates influences from Jamaican music (both traditional Mento and contemporary Ska), as well as American Rhythm & Blues, which was broadcast from high-powered stations in New Orleans and Florida in the early days of radio, and could be easily picked up in Jamaica. Reggae’s closest musical relations are Ska and Rocksteady, popular in Jamaica during the 1950s and early 1960s. Reggae evolved from these other genres, really coming into its own later that decade. Reggae shares many characteristics with Ska, such as a walking bass line with guitar and piano off-beats, but Ska is faster paced and also tends to incorporates jazz-influenced horn riffs. The genre was lauded by Jamaican youths around the time that the nation gained independence in 1962. Rocksteady slowed the Ska tempo right down. Played by smaller bands, it also used more syncopated bass patterns. This style is very close to Reggae and the dividing line between Rocksteady and early Reggae is not always easily distinguishable.
Reggae music is recognizable thanks to its heavy backbeated rhythm. This means, for example, that the second and fourth beat would be emphasized when playing in 4/4 time. This is very typical of African-based musical genres, though uncommon in traditional forms of Asian or European music. Reggae also tends to use “double skank” guitar strokes on the offbeat, and lyrics often center on more socio-political themes.
Early reggae music had lyrics consistent in theme with its predecessor, Rocksteady, with songs often focusing on topics such as love. As the genre found its feet in the 70s though, it evolved in line with the Rastafarian movement that was sweeping Jamaica at the time, and lyrics of Reggae songs quickly developed a more socio-political or religious bent.
Reggae shares many characteristics with Ska, such as a walking bass line with guitar and piano off-beats, but Ska is faster paced and also tends to incorporates jazz-influenced horn riffs. The genre was lauded by Jamaican youths around the time that the nation gained independence in 1962. Rocksteady slowed the Ska tempo right down. Played by smaller bands, it also used more syncopated bass patterns. This style is very close to Reggae and the dividing line between Rocksteady and early Reggae is not always easily distinguishable.
Reggae music is recognizable thanks to its heavy backbeated rhythm. This means, for example, that the second and fourth beat would be emphasized when playing in 4/4 time. This is very typical of African-based musical genres, though uncommon in traditional forms of Asian or European music. Reggae also tends to use “double skank” guitar strokes on the offbeat, and lyrics often center on more socio-political themes.
Early reggae music had lyrics consistent in theme with its predecessor, Rocksteady, with songs often focusing on topics such as love. As the genre found its feet in the 70s though, it evolved in line with the Rastafarian movement that was sweeping Jamaica at the time, and lyrics of Reggae songs quickly developed a more socio-political or religious bent.
Many of the words used in reggae songs are incomprehensible to US and UK English speakers, as they are taken from traditional Jamaican patois or refer to Rastafarian concepts – for example Jah, meaning God. There is heavy use of Jamaican slang, a common example being Ganja, meaning marijuana. Cannabis is smoked as sacrament in the Rastafarian faith, as Rastafarians believe that smoking marijuana allows them to experience a closeness to God. This message in the songs has been open to much misinterpretation, particularly by American youth who have used this as an excuse to “get high.”
Reggae began to rise to international acclaim as the 1970s progressed. A seminal moment for the genre was the release of the 1973 movie The Harder They Come. The film reached a global audience and told the story of a young man making his way in urban Jamaica. Most importantly though, it had a soundtrack that consisted entirely of reggae hits, which helped elevate Reggae music to the mainstream. Of particular influence was the popular song You Can Get It if You Really Want by Jimmy Cliff that was featured on the soundtrack.
Of course, Bob Marley is the world’s best known and loved international Reggae ambassador. Marley’s career spanned more than a decade, beginning in 1963 with Rocksteady band, the Wailers, and culminating in the release of his 1977 solo album, Exodus, which achieved international acclaim. Marley was not only a Reggae singer, but a committed Rastafarian and a political activist. Through his music, his words and his actions, he earned forever a place in Reggae fans hearts around the world. Marley’s music was first popularized in the Wes by Eric Clapton performing a cover of Who Shot the Sheriff.
Since the 60s and 70s, Reggae music has spread and developed in many different ways around the world. This distinctive style was the precursor to modern Jamaican style Dub, as well as British bands, such as UB40, The Reggaskas; American Ska groups, such as Reel big Fish, Sublime and No Doubt; Jambands, such as the String cheese Incident; and even Rap and Hip-Hop. Of course, Reggae is still going strong in its pure form around the world too, with many modern Reggae bands achieving success in the mainstream.
Reggae music is recognizable thanks to its heavy backbeated rhythm. This means, for example, that the second and fourth beat would be emphasized when playing in 4/4 time. This is very typical of African-based musical genres, though uncommon in traditional forms of Asian or European music. Reggae also tends to use “double skank” guitar strokes on the offbeat, and lyrics often center on more socio-political themes.
Early reggae music had lyrics consistent in theme with its predecessor, Rocksteady, with songs often focusing on topics such as love. As the genre found its feet in the 70s though, it evolved in line with the Rastafarian movement that was sweeping Jamaica at the time, and lyrics of Reggae songs quickly developed a more socio-political or religious bent.
Many of the words used in reggae songs are incomprehensible to US and UK English speakers, as they are taken from traditional Jamaican patois or refer to Rastafarian concepts – for example Jah, meaning God. There is heavy use of Jamaican slang, a common example being Ganja, meaning marijuana. Cannabis is smoked as sacrament in the Rastafarian faith, as Rastafarians believe that smoking marijuana allows them to experience a closeness to God. This message in the songs has been open to much misinterpretation, particularly by American youth who have used this as an excuse to “get high.”
Reggae began to rise to international acclaim as the 1970s progressed. A seminal moment for the genre was the release of the 1973 movie The Harder They Come. The film reached a global audience and told the story of a young man making his way in urban Jamaica. Most importantly though, it had a soundtrack that consisted entirely of reggae hits, which helped elevate Reggae music to the mainstream. Of particular influence was the popular song You Can Get It if You Really Want by Jimmy Cliff that was featured on the soundtrack.
Of course, Bob Marley is the world’s best known and loved international Reggae ambassador. Marley’s career spanned more than a decade, beginning in 1963 with Rocksteady band, the Wailers, and culminating in the release of his 1977 solo album, Exodus, which achieved international acclaim. Marley was not only a Reggae singer, but a committed Rastafarian and a political activist. Through his music, his words and his actions, he earned forever a place in Reggae fans hearts around the world. Marley’s music was first popularized in the Wes by Eric Clapton performing a cover of Who Shot the Sheriff.
Since the 60s and 70s, Reggae music has spread and developed in many different ways around the world. This distinctive style was the precursor to modern Jamaican style Dub, as well as British bands, such as UB40, The Reggaskas; American Ska groups, such as Reel big Fish, Sublime and No Doubt; Jambands, such as the String cheese Incident; and even Rap and Hip-Hop. Of course, Reggae is still going strong in its pure form around the world too, with many modern Reggae bands achieving success in the mainstream.
Mother & stepdad 1964 (Roy & Yvonne - Two roads before you)
Roy Panton and Yvonne Harrison play an exceptional role in the history of ska. Their great time was short-lived, but their influence on the further development of Jamaican music continues to live on. During the golden age of ska, Roy and Yvonne were omnipresent – on stage and in the studio. Before teaming up as a vocal duo, they each sang duets with various other vocalists, including Eric ‘Monty’ Morris, Millie Small, Cornell Campbell, Patsy Todd, Derrick Morgan, Lloyd Clarke, Glen Brown, and Lascelles Perkins. Yet, despite their achievements, Roy and Yvonne – just like many others who literally descended into obscurity never got the credit they deserved.
From its inception in the late 1950s, the ska has always been a difficult-to-construct puzzle made up of copious myths and legends. A detailed reconstruction is difficult even for witnesses of the glory days. Roy and Yvonne also have their very own story. Ever since they started as artists almost six decades ago, both had to cope with the many obstacles that life entails to find their bliss in the end.
In fall 1963, Roy and Yvonne first met at 103 Orange Street, Kingston at Lindon O. Pottinger’s Tip Top record shop.
“Mr. Pottinger had a small studio, he had a piano in his place…This was where we would go for rehearsal…Jimmy James, also a singer, was very good on the piano…This is where some other artists would meet…Artists like Herman Sang, Winston Samuel, Jackie Estick and Lloyd Charmers…..This was sort of a meeting place…,” Yvonne recalls. “Herman Sang is the only one in the group that has played on many of our recordings.”
“Mr. Pottinger had a small studio, he had a piano in his place…This was where we would go for rehearsal…Jimmy James, also a singer, was very good on the piano…This is where some other artists would meet…Artists like Herman Sang, Winston Samuel, Jackie Estick and Lloyd Charmers…..This was sort of a meeting place…,” Yvonne recalls. “Herman Sang is the only one in the group that has played on many of our recordings.”
Roy and Yvonne recorded several sides for Lindon’s Gaydisc label, including “Stop Knocking” and “Tell Me.” They also made one single with Prince Buster’s All Stars, “Sing To Me” b/w “No More,” released on Prince Buster’s Islam label in 1964.
As the ’60s dawned, Roy teamed up with Eric ‘Monty’ Morris for a series of singles, including “She’s Mine” for Leslie Kong, “Jenny” for Coxsone Dodd, and “Sweetie Pie” for Duke Reid. In 1962, he and Stranger Cole made acquaintance with a teenager named Ken Boothe and decided to form a group, but shortly thereafter, Roy quit the group and Ken and Stranger continued on as a duo. The same year, Roy joined forces with another teen singer, Millie Small. They debuted as Roy & Millie with the single “We’ll Meet” (E and R), which became a hit in Jamaica.
They also made well-received singles for Dodd’s labels Muzik City (“Cherry I Love You”), Rolando & Powie (“Never Say Goodbye”) and Worldisc (“Dearest Love”), Lindon O. Pottinger’s Gaydisc (“Marie”), Prince Buster’s Voice Of The People (“I’ll Go”) and Vincent Chin’s Randy’s (“You Belong To Me”). Other female singers who he collaborated with included Annette Clarke (“I Mean It,” “My Baby” and “Yes My Darling”) and Patsy Todd (“My Happy Home”). After Millie left Jamaica for London, England in June 1963, Roy joined forces with a band called The Cavaliers.
He also teamed up with Cornell Campbell under the name The Bellstars, recording several titles for King Edwards such as “Salvation,” “When I Feel So Lonely,” “You Are The Girl,” and “Sweetest Girl.” As a solo artist, he released singles such as “Smoke Without Fire” (Caribou), “Forty-Four” (Sabastians), “Such Is Life” (Randy’s), “Lolita” (Rolando & Powie), “Seek And You’ll Find” (Gaydisc), “Mighty Ruler” (Voice Of The People), “Good Man” (Crystal), and “John Payne” (Giant).
The Bellstars (Roy Panton & Cornell Campbell) “Sweetest Girl”
“In the summer of 1965, I joined Tommy McCook and the Supersonics right after the Skatalites broke up,” Roy recalls. “I was with the band until October of that year, that’s when I left and came to Toronto, Canada for the first time.”
“In the summer of 1965, I joined Tommy McCook and the Supersonics right after the Skatalites broke up,” Roy recalls. “I was with the band until October of that year, that’s when I left and came to Toronto, Canada for the first time.”
Upon his return from this brief sojourn in Canada, Roy recorded two sides with the Los Caballeros Orchestra, “Beware Rudie” and “Control Your Temper,” released in 1966 on Copley Johnson’s JDI Records. “Los Caballeros was formed by Johnson of Johnson’s Drive Inn which was later on reshape into a smaller band called the Diamonds,” he says. In 1969, Roy’s self-penned “Endless Memory” appeared as a single on Sonia Pottinger’s Gay Feet label. His last activity in the Jamaican recording business came around 1969/70, when he recorded “The Same Old Life” for Harry J. In 1972, Roy and his then-wife relocated to Canada to join her family.
In 1975, the US-based Mart’s label released “Knotty Screw Face,” the last song Yvonne recorded as a solo artist before retiring from the music business for a long time. This solid reggae tune was written and produced by her brother, Glen Adams. Born in 1941 in Kingston, Jamaica, Yvonne took her first steps into Kingston’s vibrant music scene when she wrote “Wonder Thirst,” a song her brother recorded for Coxsone Dodd in 1960. It was Glen’s very first recording session. Some time later, Yvonne and Glen would team up for a duet, “Dearest,” released as a single on the Beverley’s label.
Yvonne has collaborated with many other great artists for duets before releasing solo material. She started singing with a group called Robin and the Nightingale. They attempted to do a recording but it never panned out. It was at one of their many rehearsals that she was asked to do a recording with Derrick Morgan. Derrick and Yvonne recorded one single – “Meekly Wait” b/w “Day In And Day Out” – for Lloyd Bell, owner of the President Hi Fi sound system, released in 1962 on his The President Record label and licensed to Emil E. Shalit’s Blue Beat imprint in the UK. On the superb “Meekly Wait,” Derrick was overshadowed by Yvonne. Their third collaborative tune, “Lorraine,” appeared the same year on Prince Buster’s Voice Of The People label. At around the same time, Yvonne also recorded a duet with Lloyd Clarke, “Love You,” for Prince Buster’s Wildbells label. Further duets included recordings with Lascelles Perkins – on the D. Darlington-produced “Tango Lips” – and Prince Buster – on “Hello My Dear.”
Yvonne incidentally auditioned for a role in the yearly pantomime production at the Ward Theatre, the traditional venue for the pantomime. “I played a villager, a beauty queen and a revivalist,” she recalls.
After she and Roy went their separate ways, Yvonne recorded two sides for Lindon O. Pottinger, “Cry To Me” and “We Had A Date.” She also teamed up with Lord Tanamo and the Baba Brooks Band for the single “Always Wanting You (True Love),” released in 1965 on Lindon’s SEP label. By the second half of the 1960s, Yvonne recorded two singles – “The Chase” b/w “Take My Hand” (1967) and “Near To You” (1968) – for the Caltone label owned by Blondel Keith Calnek, also known as Ken Lack. Before leaving Jamaica in the early 1970s, she recorded a duet with another female singer, Lisa. Their reggae version of the Carpenters’ classic, “Close To You,” was released as a single on the New Dimension label.
“I left Jamaica to join my husband who was living in the United States,” Yvonne says. “I attended New York Community College, was employed at Empire Blue Cross & Blue Shield as a Dental Correspondent and later on as a Medical Representative.”
After she and Roy went their separate ways, Yvonne recorded two sides for Lindon O. Pottinger, “Cry To Me” and “We Had A Date.” She also teamed up with Lord Tanamo and the Baba Brooks Band for the single “Always Wanting You (True Love),” released in 1965 on Lindon’s SEP label. By the second half of the 1960s, Yvonne recorded two singles – “The Chase” b/w “Take My Hand” (1967) and “Near To You” (1968) – for the Caltone label owned by Blondel Keith Calnek, also known as Ken Lack. Before leaving Jamaica in the early 1970s, she recorded a duet with another female singer, Lisa. Their reggae version of the Carpenters’ classic, “Close To You,” was released as a single on the New Dimension label.
“I left Jamaica to join my husband who was living in the United States,” Yvonne says. “I attended New York Community College, was employed at Empire Blue Cross & Blue Shield as a Dental Correspondent and later on as a Medical Representative.”
“In the early seventies, I was the female vocalist for a couple of bands, including Roland Alphonso and the Outer Limits, and the Bronx Cavaliers, just to name a few.”
“In 1991, I moved to Canada, then later on returned to Jamaica for a little while,” she continues. “It was then that I was asked to do a song with Derrick Morgan, who, incidentally, is my cousin. It was suggested that a show was in the making to celebrate Byron Lee’s years in the music business and they wanted all the vintage artists who worked with him to be on this upcoming event. I was living in Kitchener-Waterloo, Canada, not knowing that Roy was living in Toronto, Canada. I was under the impression that he was living in England, since most of the male artists moved to London.”
“In 1991, I moved to Canada, then later on returned to Jamaica for a little while,” she continues. “It was then that I was asked to do a song with Derrick Morgan, who, incidentally, is my cousin. It was suggested that a show was in the making to celebrate Byron Lee’s years in the music business and they wanted all the vintage artists who worked with him to be on this upcoming event. I was living in Kitchener-Waterloo, Canada, not knowing that Roy was living in Toronto, Canada. I was under the impression that he was living in England, since most of the male artists moved to London.”
“In the early seventies, I was the female vocalist for a couple of bands, including Roland Alphonso and the Outer Limits, and the Bronx Cavaliers, just to name a few.”
“In 1991, I moved to Canada, then later on returned to Jamaica for a little while,” she continues. “It was then that I was asked to do a song with Derrick Morgan, who, incidentally, is my cousin. It was suggested that a show was in the making to celebrate Byron Lee’s years in the music business and they wanted all the vintage artists who worked with him to be on this upcoming event. I was living in Kitchener-Waterloo, Canada, not knowing that Roy was living in Toronto, Canada. I was under the impression that he was living in England, since most of the male artists moved to London.”
“In 1991, I moved to Canada, then later on returned to Jamaica for a little while,” she continues. “It was then that I was asked to do a song with Derrick Morgan, who, incidentally, is my cousin. It was suggested that a show was in the making to celebrate Byron Lee’s years in the music business and they wanted all the vintage artists who worked with him to be on this upcoming event. I was living in Kitchener-Waterloo, Canada, not knowing that Roy was living in Toronto, Canada. I was under the impression that he was living in England, since most of the male artists moved to London.”
