Studio One is synonymous with some of the most progressive Jamaican sounds of the sixties and seventies, pioneering reggae, dub, ska, and rock steady sounds. In recent years Soul Jazz have been relentlessly re releasing the sounds of Clement ‘Coxson’ Dodd’s remarkably prolific label, replete with extensive liner notes and a loving attention to detail. This collection entitled ‘Kings’ captures the guys, some of the greatest exponents of the Jamaican sound, many of whom are still, despite the hard work of Soul Jazz and other re issue labels criminally unknown. It opens with one such example Larry Marshall, a former assistant of Dodd who helped produce the likes of Horace Andy and who was partially responsible for the broader move from rock steady to roots with his tune Nanny Goat, the track here, a lesser known piece “I’ve Got To Make It” has a laidback soul vibe despite the urgency of the lyrics. Freddie McGregor drops in with a ten minute opus, a cover of Bob Dylan’s I shall be released and Freddie Mckay offers Father will cut you off, emphasising his unique vocal intonations. So many unique and incredible musicians passed through Dodd’s studio, Bob Marley himself was simultaneously a recording artist, songwriter and A&R scout – Lee Scratch Perry the janitor. Yet there is also a roll call of better known artists on this 17 track collection including the likes of Burning Spear who’s distinctive rollicking roots sound is particularly evident on Them A Come, and Horace Andy, perhaps better known now for his work with Massive Attack, who also owes his beginnings to the studio and appears here with “Every Tongue Shall Tell”. In the 1960’s and 70’s Studio One seemed to be at the cutting edge of music, right at the coalface, and thirty or forty years on the music still feels incredibly powerful and vital.
Bob Baker Fish
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