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VOLUME I: LONELY DAYS AND LONELY NIGHTS
DELROY WILSON — “ONCE UPON A TIME” (from Good All Over, innumerable comps and best-ofs, Sings 26 Hits from Studio One. )
I have a terrible memory, so I can’t recall exactly how I got into Delroy Wilson, my personal gateway drug into full-blown rocksteady addiction. As far as I know, I woke up one morning with 26 Hits on my hard drive and “Dancing Mood” in my head. Not that it matters. Good things deliver themselves. Delroy Wilson is the ideal ambassador of Jamaican soul–a committed crowd-pleaser with two dozen classic tunes, at times a gritty Stax-worthy groaner, other times a debonair feelgood funkster. His classic 60’s Studio One sides are a parade of perfection, employing sharp horns, unshakeable keyboard hooks, and above all, his singular voice. Wilson’s consistency probably has something to do with the limits of that voice, which he never stretches or strains the way comparable superstar Alton Ellis would. Wilson keeps things cool and collected, using his unflappable confidence to sneak some real expressive moments without making a show of himself.
“Once Upon A Time” is one of his biggest hits, and one of Rocksteady’s signature tunes. The original album, 1969’s Good All Over, has one of the most accurate titles ever bestowed upon a record.
VOLUME II: HERE COMES THAT FEELING
CARL DAWKINS — “HARD TIME” (from 12″)
The Suburbs are Killing Us featured an extremely informative post about Mr. Dawkins about a year ago, so I’ll defer to them and direct you to a far more exhaustive portrait than I could provide of this lesser-known giant. To clue you in, “hard time” has meaning on several levels.
VOLUME I – “LONELY DAYS AND LONELY NIGHTS”
ALTON ELLIS with PHYLLIS DILLON – “WHY DID YOU LEAVE ME TO CRY”(from Cry Tough)
Continuing on with the big names, we finally get around to Alton Ellis, Jamaica’s king of soul. Probably the most important name in Reggae after Marley, Alton Ellis is one of the architects of the Rocksteady style, delivering its first major hit with his immortal “Girl, I’ve Got A Date”. Allmusic has this tidbit describing the birth of Rocksteady, further complicating the murky genesis of this style:
[Ellis] released what was arguably the first rocksteady single, “Get Ready – Rock Steady.” Its innovative beat grew out of a session where the scheduled bassist didn’t show up, forcing keyboardist Jackie Mittoo to play the bass part himself; Mittoo’s left hand couldn’t keep up with the frantic ska beat, so he elected to slow down the tempo. The result was a choppier rhythm that wound up allowing the vocalist to stretch out more, and soon the rocksteady sound had taken over Jamaican music, with Ellis leading the charge. He had several other major successes in 1966, including “Cry Tough” and the smash “Girl I’ve Got a Date,” the latter of which became his biggest hit and signature song. (I, for one, prefer the Soul version).
I can’t say he’s my favorite of the bunch, but I’ll admit that has more to do with the daunting scope of his discography: Ellis cut hundreds of fantastic sides in the 60’s, and stayed soulful and relevant into the 70’s, cutting the memorable Sunday Coming for Studio One in 1970 and God knows how many other treasures before moving to the U.K. in the eighties. This is one of his duets with Phyllis Dillon–of “Don’t Touch Me Tomato” fame–which earned the pair the distinction of being the “Marvin Gaye and Tammi Terrell of Jamaica”. His romantic duets with sister Hortense, however, failed to earn those two the “Rufus and Carla Thomas of Jamaica” tag.
ERROL DUNKLEY — “SIT DOWN AND CRY OVER YOU” (from Sit Down And Cry)
This one dates from the mid 70’s, well past the Rocksteady prime, but the only giveaway would be the awesome keyboard orchestra overdub that gives everything a weird Roy Orbison/Ben E. King vibe. Dunkley came of age in the Rocksteady era, literally: he was only 11 when he started recording in 1964. While from the get-go he was capable of arresting vocal performances, he never touched this level of emotional acuity in the rocksteady era. Early cuts like “You’re Gonna Need Me” and “Please Stop Your Lying” make for classic bubblegum rocksteady, but it’s hard to take Dunkley seriously when he cautions, “I’m not the man for you” in an adorably feminine pre-pubescent chirp. Thankfully, Dunkley’s talent matured–after moving to London in 1973, he recorded this landmark album, which helped to set the stage for the massive crossover success of reggae later in the decade.
VOLUME II — “HERE COMES THAT FEELING”
THE CLARENDONIANS — “THIS IS MY STORY” (from The Early Years)
Don’t know too much about the relatively low-profile Clarendonians, who didn’t seem to survive the transition to Roots in the 70’s. They’re mostly known for the presence of Freddie McGregor on a handful of their recordings. That’s a shame, because they’re a seriously high-quality act otherwise, rougher-hewn than most Rocksteady acts, due mostly to the unique vocal duo configuration on a large number of their cuts. Call them “The Jamaican Sam and Dave” if you really care. Here’s a marvelous example of their vocal syncronicity, which proves that two dudes moaning in unison is twice as heartbreaking as one dude.
THE TENNORS — “Weather Report” (from Moods)
Damn it! I promised myself I wasn’t going to post this one. It’s too emo, which should be impermissable. So rather than go on about what you’ll be hearing, I’ll let you judge for yourself. Yes, it’s a Simon and Garfunkel song. Yes, it’s a cheesesteak sized slab o’ heartfelt. To be fair, I can’t think of another cover song that’s such an improvement on the original…but the spectre of the original, and the shamelessly treacly movie that employs it, still haunt me, as they will until I leave this earthly vessel. I worked at a movie theater in Providence that operated on projectors even more antiquated than our generally geriatric clientele. On Sundays, my job entailed watching the same movie two or three times to make sure there weren’t any projection flameouts. Unfortunately, Garden State stayed for over a month. I had to watch it somewhere between ten and fifteen times, and every time “The Only Living Boy in New York” kicked in, I had to brace myself for two or three of the most agonizingly facile combinations of sound and vision I’ve ever experienced this side of Fox News. I blame the experience in part for my bleak outlook on life and art. But I still subject myself to this Tennors version–it may reopen the wound, but it also soothes it with deluxe harmonies and a gentleness more authentic than any Jersey homunculous, then or now, could ever muster. Thankfully, this one won’t change your life–just sweeten it.