A few copies of this new music were brought over to England by immigrants and record producer Siggy Jackson heard an acetate (prime cut disc) at a Jamaican party and was most impressed. There was no real name for this new and unique sound, but most Jamaicans called it Jamaican Blues. Siggy, who in those days ran a small record company in London, created a new label calling it Blue Beat. The first record under this banner was: "Boogie Rock / Heavenly Angel" by Laurel Aitken. Soon a string of Blue Beat records followed, such as Keith & Enid's "Worried Over You", The Folkes Brothers, Higgs & Wilson, Blue Rivers, etc., etc.
The music spread to all the dancing clubs, now called discos and was widely adopted by the scooter riding "MODS". A new sound was here, made popular entirely by the disco D.J.'s. Not one air play could be heard, not one Ska or Blue Beat records could get into the charts in the early sixties, although outselling many records in the charts. Why? Because Ska outlets were not shops who qualified for the chart returns.
The mods were dancing the blue beat skirts (down to the ankle anffairs) and the lads were sporting blue beat hats (small brimed trilbies). One of the greatest exponents of Ska was D.J. Mike Quinn, in those days famous for his T.V. programme "A Whole Scene Going" and pounding the Ska at the "MARQUEE" club in London, where many a star was born. The music now known widely, has created a number of stars: Laurel Aitken, Prince Buster, Derrick Morgan, Blue Rivers, Desmond Dekker and many others.
By the late sixties the compelling fast beat of the Ska mellowed and REGGAE was born. Bob Marley dominated the scene and his early death was a tragedy to music lovers, everywhere. Laurel Aitken came to England and teamed up with Siggy Jackson. Laurel, a fine musician (he was born in Cuba), composed and performed many a hit and to this day is going strong doing gigs all over the world. The Pyramids, who began their musical life as the Bees were Prince Buster's backing group, another fine line-up of versatile musicians were great exponents of Ska music. The Headquarters of Ska was the Blue Beat office in Earlham Street, in London's Soho, opposite the late Joe Blums boxing gymnasium.
Every day many Ska and Reggae disciples congregated there just to listen to the latest releases. Even, the then heavyweight boxing champion of the world, SONNY LISTON was there on most days taking a breather from training. - Other record companies were now releasing Ska/Reggae records. New groups sprang up like mushrooms. From the popular TV "Oh Boy" show, the famous "Lord Rockingham XI's" sax player Red Price formed a group called "The Blue Beats". There was the unusual talent and voice of "Girl Satchmo" and a young girl with the name of Bond sang "I'm A Blue Beat Baby".
It was all great fun. Even the recording sessions, though serious, were fun. There was a tremendous atmosphere in the studio, clouds of smoke, a litle Jamaican Rum and a bass beat, to make the producer and the sound engineer bounce in their seats to the rhythm of the Ska. The odd journalist and the closest fan of the group and recording artist were "giving it all" - dancing to the infectious beat. - Those were the days ...
Now in the nineties there seems to be a great revival of the Ska and Reggae. This album is designed to give the connoisseur an enjoyable insight of the early days of this most wonderful music. In those fargone days there were no 24 track recording machines, no computers to make work light and no sythesizers to fake an instrument.
But, Man, all those sounds were original, played on good old fashioned instrument by real musicians. Blue Rivers a star artist and prolific composer recorded with his "Maroons" "Guns Of Navarone", "Seven Steps To Power" and "Witchcraft Man" on a 3-track Philips recorder. He now owns his own 24-track studio in Switzerland.
Laurel Aitken's rendition of "Blowing In The Wind",
the Bob Dylan number, is absolutely superb, full of feeling and great brass
arrangement. I Think I can detect Rico, the unique Jamaican trombonist
blowing in the frontline. [In my opinion the track
has only a very quiet "harmony" line for the horns dominated by a sax;
the trombone is not to identify. -- The compiler] My favorite number
is the Jackson/Aitken composition of "Never You Hurt"
plugged daily by the then (1966), pirate radio station: "Radio London".
This old hit could again become a favorite with the new generation. It's
got a similar intensity in the arrangement as Ravel's Bolero.
The Mopeds, a popular group in the late
sixties has the place jumping with "Whisky And Soda". What a bass
line! And a smashing harmony between the alto sax and Hammond organ. I
like it! "The Jubilees", another young group, who tilled dance hall and
clubs in the sixties play a big part on this record. Their composition
"Peace In The Far East" is a very catchy number a difinite party
must. A nice example of early Reggae.
They recorded this and "A Tear Fell" in
Colourtone Studios in Fulham London on a 8-track Scully recorder. That
studio was a real Ska/Reggae studio, like Chalk Farm Studio (Vic, a great
engineer!), Maximum Sound Studio and Gooseberry. The artist felt "at home"
in them, they were relaxed and could do their own thing. Alas, these studios
don't exist any more. Ah memories ...
The Invaders number "Soul Of The Jungle"
features the unique trombone sound of Rico Rodriguez, Laurel Aitken on
piano and Eddie Thornton (from the famous Equals group) on trumpet. Laurel
and Rico also joined forces with the Invaders to produce the catchy sound
of "Invaders At The Carnival".
The "Ska Is The Limit" is another 1967 recording.
The sax is pure magic, a real tribute to ska. Surely, no Rude Boy could
blow so divinely ... enjoy it, Man.
- Delroy Sion Eccles.
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