Trojan Revive Box Set Cd. Item Information. Condition: Good. Price: GBP 55.00. Approximately US $69.40 (including shipping) Trojan Revive Box Set Cd. Trojan Dancehall Roots Box Set - Trojan Records – TJETD243 Heavy slow (mostly) and intricate rhythms, great horn lines, and top vocalists (singers and DJ/Chanters) with some of the best Reggae people and places. On par with the best of the Trojan box sets. Tracklist: CD1: Peace And Love In The Ghetto: 1 –The Viceroys We Must Unite 3:56. Trojan Box Set: Revive Limited Edition Box Set, Remastered Trojan Revive Box Set (Artist) Format: Audio CD. 4.0 out of 5 stars 1 rating. See all 3 formats and editions Hide other formats and editions. Price New from Used from Audio CD 'Please retry' $494.99. $494.99: $494.99.
TROJAN DANCEHALL ROOTS BOX SET (TJETD243) - When people discuss the origins of Dancehall, names such as Tom The Great Sebastian, Arthur 'Duke' Reid and Clement 'Sir Coxson' Dodd are often mentioned. Sir Coxson and the Duke are celebrated for their respective Downbeat and Trojan sound systems, as well as for their subsequent Studio One and Treasure Isle record labels. These pioneers have left a legacy that continues in the dancehall to this day. In fact, many of the performers on this set either recorded at Studio One or are in some way connected with those respected institutions. Following the untimely demise of the Studio One veteran and international superstar, Bob Marley, the roots and cultural sounds of the seventies faltered. Many commentators felt that the death of the singer signalled the end of an era. These convictions were further fuelled when sound system singers and DJs began singing and chatting about gun violence and slackness. Their choice of subject matter has resulted in the dancehall being considered a cultural void.
But there were many performers who distanced themselves from such crude lyricism by resonating inna righteous stylee, as with the opening track on this collection from Wesley Tinglin's rural rootsy three part harmony specialists, the Viceroys. The group began their career in the mid-sixties as the Voiceroys. Under this guise, they recorded for the aforementioned Sir Coxson at Studio One and later performed as the Interns for Lee 'Scratch' Perry at the Black Ark. However, following a change in the line-up and their change of name to the Viceroys, Wesley's group embarked on recording sessions for Linval Thompson whose heavy-duty production skills resulted in one of the groups' best-remembered hits 'WE MUST UNITE', the precursor of a series of favourites including 'THEY CAN'T STOP US NOW' and 'I'M TOILING ON'.
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The late lamented Barry Brown was a much-admired Roots favourite who always stood by his principles. However, before concentrating on spiritual love he had made his recording debut with 'Girl You're Always On My Mind' for Bunny Lee, who also taped our featured track, 'LEAD US JAH JAH'. That song is subsequently complimented on this set by two wicked disco mixes: 'LIVING AS A BROTHER' and the classic 'MR C.I.D'.
Edmund 'Mikey' Brooks, aka Mike, began his career in a little-known band called the Tots, the line-up of which included former Viceroy, Norris Reid. The group recorded 'The Earth Is The Fullness' which, in spite of featuring the Wailers' drum and bass duo, was met with indifference. Shortly after the group disbanded, Mikey found success as a soloist with Alvin Ranglin before going into production work. While recording other singers he also ventured into self-production on tracks such as the sublime 'ONE HEART'. This led to a hit that echoed the Heptones' 'Pretty Looks' when he stated 'MONEY IS NOT ALL', followed by the assertive 'LIVING MY CULTURE', which mashed up the dance.
The self-effacing Dennis Brown needs no introduction, as he released more Reggae classics than just about anybody else. He was also one of the few established singers to ride the dancehall rhythms while maintaining roots themes, as demonstrated on 'UNITE BROTHERMAN' and the wonderful 'LITTLE VILLAGE'.
Don Carlos began his career as the lead singer of the vocal group Black Uhuru. He sang with the group shortly before they enjoyed mainstream success but, prior to their international acclaim, he was persuaded to record as a soloist. He released a series of hits in Jamaica including the Dancehall favourites 'TRIBULATION', 'SWEET AFRICA' and 'NATTY DREAD HAVE HIM CREDENTIAL'.
Like Don Carlos, Sugar Minott initially performed in a vocal group (the African Brothers), and like Dennis and Barry Brown, the singer recorded as a soloist for Sir Coxson. In fact, while Dennis Brown began his career and, regrettably, Barry ended his with the producer, Sugar is widely regarded as having redeemed Sir Coxson's fortunes by writing new songs and singing them over existing Studio One rhythms. Sugar's success led to him working for a number of producers including Prince Jammy and Winston 'Niney' Holness who provided the tracks 'WE ARE GOING (BACK HOME)' and 'I WANT TO KNOW (ONLY JAH JAH).
Next up is 'Little' John McMorris, widely regarded as Jamaica's first Dancehall singer. Whilst Sugar Minott championed new talent on his Youth Promotion sound, John first found fame with Carl Dwyer, better known as the DJ/producer Captain Sinbad, who employed the singer on his similarly-named Youth In Progress set. However, as is part and parcel of the Jamaican recording industry, John recorded for a number of producers. He relished his biggest success with 'MR BABYLON', from the album Reggae Dance, and 'JAH GUIDE I' which appear on a Trojan CD for the first time. Little John's falsetto style may have been inspired by our next artist Cornel 'the Gorgon' Campbell, a veteran of the Jamaican recording industry who, not surprisingly, began his career at Studio One in the early sixties. He also sang with the Sensations and the Eternals before persuing a solo career with Bunny Lee. On this set, we have included three fine examples of his work for Bunny who produced the insistent 'FIGHT AGAINST CORRUPTION', 'GOT TO TELL THE PEOPLE', and 'THE JUDGEMENT COME'.
Our next artist, Tristan Palmer, is the master of the sing-jay style. He found his greatest success with Jah Thomas whose productions 'Spliff Tail' and 'Joker Smoker' preceded our featured tracks 'PEACE AND LOVE (IN THE GHETTO)', 'TIME SO HARD' and 'GOT TO PRAISE JAH JAH'. These were recorded before Trojan released the praiseworthy Linval Thompson-produced album Settle Down Girl (TRLS 215).
The Wailing Souls initially performed as the Renegades, and then as the Classics for Sir Coxson and even Pipe & the Pipers for the Wailers' Tuff Gong imprint. During their career, they released a series of timeless hits such as 'Harbour Shark', 'Bredda Gravalicious', and 'Old Broom' before going on to rule the Dancehall with productions from Henry 'Junjo' Lawes and Linval Thompson. In this Dancehall Roots anthology we have included Linval's amazing productions of 'MR BIG MORE' and 'FACE THE DEVIL' from the Trojan album named after the latter song.
Johnny Osbourne is best remembered for his 1969 classic 'Come Back Darling', yet soon after recording the song, he journeyed to Canada and it was not until the late seventies, when he returned to Jamaica to record the hugely popular Studio One album Truths And Rights, that his career went into overdrive. Following the success of the LP he recorded for King Jammy who produced the Dancehall favourite 'Folly Ranking', which led to a plethora of hits including the conscientious 'CAN'T LEAVE JAH' and 'LIVE RIGHT', while he recorded a familiar riff in 'BRING THE SENSI COME' that led to a wicked Midnight Rock album of the same name.
Curiously, the Mighty Diamonds are not generally associated with Dancehall despite the fact that in the early eighties their dub plates were the most played recordings on the Jamaican, US and UK sound system circuits. It was at this time that they recorded the legendary 'Pass The Kouchie'. The song was based on the Studio One rhythm 'Full Up', which inspired a series of hits and led to sessions for Tapper Zukie, who produced 'MORGAN THE PIRATE', 'BAD BOY', and a cool vibes tone in 'LEADERS OF THE BLACK COUNTRY'.
Shortly before his untimely demise, Michael Williams, aka Prince Far I, who began his career as a bouncer at Studio One, was re-establishing his name in the dancehall with cultural hits like 'WORKING FOR MY SAVIOUR', 'WHAT YOU GONNA DO ON JUDGEMENT DAY' and 'EVERY TIME I HEAR THE WORD'. Tragically, just as he was on the cusp of revived success, he fell victim to the street violence that he and the conscientious Dancehall singers had sought to bring to an end. Sadly, that violence continues to this day: in January 2005 the creator of the bogle dance, Gerald Levy, aka Mr Bogle, fell victim to gun crime and joined the ever-increasing list of Dancehall fatalities.
That leads us to Anthony Johnson who originally found fame in the seventies, and in the following decade relished international notoriety with his hit 'Gunshot' recorded for Jah Thomas' Midnight Rock label. The producer also released Anthony's debut album 'Gunshot', while King Jammy released the album 'Ah Yah We Deh'. He contributes three Dancehall classics to this set: 'JAH LOVE (AKA KNOW YOURSELF MANKIND)', 'FOLLOW THEM FOOTSTEP (AKA THOSE MEN WERE GREAT MEN)' and 'WHAT KIND OF HERB'. And if you like these, you can find Anthony's original 'Gunshot' on the excellent Creole Reggae Box Set (TJETD 161).
This leads is nicely to Jamaica's Cool Ruler, widely acclaimed as the other established singer who successfully rode the Dancehall and Digital eras with ease. Gregory Isaacs comes on strong with, and confidently asserts that there is no competition on 'SLAVE DRIVER', while he proved that 'him nah done' on the poignant 'MOTHERLESS CHILDREN'.
Next up on the mike is Earl 'Sixteen' Daley who was dismissed from Boris Gardiner's Happening Band due to the contempt held towards his Rastafarian ideals by the hotel management that employed the group. He later performed on Daddy U Roy's Sturgav (stereograph) sound system alongside Ranking Joe and Jah Screw before recording at; yes, you have guessed it, Studio One. However, as you have no doubt noticed, the dancehall embraced Earl's ideology and the singer rammed the dance with hits such as 'JAH IS THE MASTER' and 'CRISIS'.
We return to the rural roots style of our opening track with the stunning three-part harmonies of Israel Vibration. The group are second to none in having triumphed over poliomyelitis to conquer the dancehall with the suitably titled 'JAH JAH ROCK' alongside 'PRAISE UNTO JAH' and 'JAH IS THE WAY', which led to the international notoriety that they enjoy individually and collectively to this day.
Charlie Chaplin performed on the aforementioned Sturgav Sound System following Ranking Joe and Jah Screw's departure. U Roy was one of the first artists openly to promote Rastafari through his sound system and subsequently recruited Charlie alongside Brigadier Jerry and Inspector Willie to provide the cultural vibes. Charlie's significant status on the live circuit resulted in Roy Cousins producing the now deleted 'One Of A kind' LP (TRLS 216). On this collection, we have featured the title track alongside another sublime Chaplin chant 'WALK WITH JAH'.
You have probably noticed that Linval Thompson produced many of our contributions to this celebration of Dancehall Roots, and I am sure that most of you will know that he began his career singing in the higher range that became prevalent among the Dancehall sing jays. Considering his work in this area, we felt it only right to include an example of Linval's distinctive vocal style on the incomparable 'JAH LOVES US ALL'.
The legend of Leroy Smart, the original Don Man and alumnus of the renowned Alpha Boys' School, has sometimes overshadowed his obvious vocal skills. With hits such as 'Pride And Ambition', 'Ballistic Affair' and the assured 'Mr Smart' he confidently went into self-production, releasing the dancehall favourite 'TOO MUCH PRESSURE'. He has since maintained a high profile with 'She Just A Draw Card' and the classic 'I Am The Don', which was and is still much loved in the dance.
Our final man on the mike is Bobby Melody, who performed alongside Vivian 'Yabby You' Jackson and Alric Forbes in the Prophets before enjoying success as a soloist. He is probably best remembered for the Reggae chartbuster 'Jah Bring I Joy' that he recorded for Joe Gibbs in the mid-seventies before enjoying popularity with the 'chronic' hit 'LOW THE SENSI MAN' riding the 'Under Me Sensi' / 'African Beat' rhythm.
There is a school of thought that the edginess of Roots naturally led to the dynamism of Dancehall. This compilation ably demonstrates that theory, along with the way in which Jamaican music continues to influence the contemporary sounds of now.
So let's rewind and come again with fifty-bonafide cultural vibes inna Dancehall stylee.
Stephen Nye
TROJAN REGGAE REVIVE BOX SET (TJETD029) - While most forms of Jamaican music have long since become labelled and categorised, the style of music created during the post Rocksteady, pre-Dub/Roots years defied classification for years, with the terms 'Revive' or 'Classic Reggae' only recently being widely accepted as a fitting description by collectors and specialist shops. As Trojan's own way of celebrating the music made during this brief, but influential age, we have brought together 50 of the rarest and most sought-after 'Revive' recordings from the late sixties, resulting in a set that is sure to fulfil many a collector's dream.
This era has not been well documented and some of the performers have long since become faded memories. As luck will have it some of those who were there at the time have long memories and together we have been able to collate a small amount of information about the contributors to this woefully underrated period.
Mrs Sonia Pottinger produced the earliest track on this collection, 'Going Back Home', a scorcher recorded by Linval Martin's group, Al And The vibrators way back in 1967. Pottinger also produced the virtual title track 'Revival' by keyboards playerLeslie Butler alongside the Gaytones, as well as the Conquerors sublime early Reggae offering 'Anywhere You Want To Go', first issued early in 1969. Undoubtedly the most successful female Jamaican record producer of all time, Mrs Pottinger initially opened her Tip top record shop in Kingston in the mid-sixties before producing hits through her High Note and Gayfeet labels on which these three tracks first appeared.
Former Gayfeet artist, Wilburn 'Stranger' Cole, who first gained notoriety in 1962 with the classic Ska hit 'Rough And Tough' produced and performed 'Over Again' (1968) and 'Pretty Cottage' (1969) on which he was accompanied vocally by top session pianist Gladstone 'Gladdy' Anderson. The pair first made their mark as a duo on the Joe Gibbs produced 'Just Like A River' which featured on the Trojan release 'Jack Of Hits/Explosive Rock Steady' (CDTRL 377) and if you like the tracks featured here you'll want to check this release out. While Joe Gibbs relished success with Stranger and Gladdy, his contribution to this set features Arkland 'Drumbago' Parks and the Blenders upbeat instrumental 'The Game Song'.
Boris Gardiner is well known in Reggae circles and is no stranger to the pop charts having scored a UK number one hit with 'I Want To Wake Up With You' as well as the Trojan chart topper, 'Elizabethan Reggae'. In 1967 Boris worked closely with the aforementioned Leslie Butler before recording and producing the appropriately titled 'I'm Alone' the following year.
Another singer turned producer that features in this retrospective is Derrick Harriott, who produced 'Magic Touch' by Junior Murvin in 1968. Twelve years later Junior relished international chart success with 'Police And Thieves', three years after having topped the Jamaican charts with the same song. Other contributions from Derrick Harriott include his production of an instrumental version 'Stop That Train', entitled 'Easy Ride (aka Stop That Man)', featuring the haunting keyboards of Ike Bennett and the producer's in-house band the Crystalites who, inspired by the Apollo missions of the late '60s, also cut 'Splash Down' in 1969. 'Stop That Train' was originally a hit for Keith Rowe and Texas dixon, whose superb 'This Is My Song' opens the second disc of this compilation. Another rare treat is an early Reggae version of Little Anthony & The Imperials' Doo wop classic, 'Tears On My Pillow' by Rudy Mills, who is celebrated for the classic 'John Jones', featured on Trojan's most successful compilation of all-time, 'Tighten Up Volume Two' (TJCCD017).
Arthur 'Duke' Reid's halcyon days in Jamaican music were during the Rocksteady period, although his productions here prove that he was still a force to be reckoned with in the late '60s. This is clearly indicated by his production of the Silvertones' (Carl Grant, Delroy Denton and Keith Coley) 'Intensified Change', issued soon after the demise of Rocksteady in 1969. The Duke also produced Jamaica's own Frank Sinatra, Vic Taylor, who conveys 'My Heartache', as well as Radcliffe Butler's 'You Got To Love Me'. His final contributions come from one of his celebrated in-house band, the Supersonics, who were led by ace saxophonist Tommy McCook. The band's two contributions to this compilation are sought-after version of 'The Liquidator' and surreptitiously titled 'Out Of Sight', featuring trombonist Danny Simpson. McCook later spent time working with the Rastafarian cultural icon Count Ossie, whose 'Blacker Black' is one of two Bobby Kalphat productions featured, the other being 'Out On The Town' by vocal duo, Bunny and Ruddy.
Any follower of Jamaican music will know how intertwined the music can be and this is clearly apparent on this compilation. The aforementioned 'Liquidator' was another Trojan chart topper produced by Harry Johnson, who also features on this revival festival. Here his production of 'Happy Time' by Keble Drummond and 'The Moon Is Playing Tricks On Me' by Trevor Shield bears out his confidence in the singers as soloists, the vocalists having previously made their mark with the Cables and Beltones, respectively. The latter, featuring Shield on lead vocals cut 'Home Without You' as a follow-up to 'No More Heartaches', a record considered by some to be first genuine reggae record, although there are a number of contenders to that claim. Other examples of Johnson's productions on this set include a lively instrumental cut of Kid Gungo's 'Hold The Pussy', entitled 'Jay Fever', by saxophonist Carl Bryan and the Jay Boys and 'Candy Lane' by the lesser known vocal duo, Hugh Black and George Ferris.
Lloyd Daley initially opened a television and radio shop in Waltham Park in the mid-fifties before setting up his own Matador sound system later in the decade. He followed the natural progression from sound system to production work and in 1968 enjoyed his first major success with a vocal group called the Scorchers. He produced a number of legendary Reggae groups that had learnt their craft at Studio One, including the Hamlins, which consisted of Alton Brown and Egbert Stewart and who recorded 'News Carrier' for the producer in 1968. Daley also produced the Wesley Tinglin-led Viceroys (aka the Voiceroys) who cut 'Promise Promises' the following year, while also from 1969 comes Roy Cousin's vocal group, The Royal, who weigh in with their version of Gene McDaniel's R&B hit, '100 Pounds Of Clay'.
While acknowledging the alternative cuts from Studio One groups, this compilation features some of Downbeat's top soloists including Winston 'Bobby' Francis and Larry Marshall. Studio One is also celebrated for the emergence of the legendary Lee 'Scratch' Perry who in '69 produced 'Ease Up' by the Bleechers, a group formed by Leo Graham who as well as enjoying a solo career is the father of the celebrated 90s roots reggae singer, Daweh Congo.
Perry, who had made his initial mark in the Jamaican recording industry with recordings for Clement 'Coxsone' Dodd in the early sixties, later worked with Karl 'Sir J.J.' Johnson, a producer who by the close of the decade had established a distinctive sound that brought great success for the Ethiopians. His trademark style is demonstrated on 'Got to Be Free' by the Rulers, a group with whom he had first worked with in early 1967.
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Glen Brown is a well-respected figure in the Jamaican recording industry and appears on this compilation accompanied by long-time singing partner, Lloyd Robinson on 'Girl you're Cold'. The Brown dynasty is further represented by Noel 'Bunny' Brown who alongside Timmy George produced three tracks for their short-live Kismet label, including the late Freddie McKay's 'So Long Farewell' and the Progressions' 'Live Only For Love'. The duo also produced 'Love You Most Of All' by the Emotions, a vocal group featuring Lloyd Shakespeare (brother of Robbie) and Kenneth Knight that are best remembered as the catalyst of Max Romeo's career. By 1968 Romeo had established his career with Bunny Lee while the group continued to release sporadic singles before disappearing from the music scene in the early seventies.
Lynn Taitt is another celebrated figure in the Jamaican recording industry, although he originally set out on his music career as a steel pan player in Trinidad. When he arrived in Jamaica in the early sixties he worked with a number of groups before forming the Jets, who he fronted on the Richard Khouri-produced 'Why Am I treated so Bad'. Taitt also performed on 'One True Love', a fine vocal offering by yet another obscure group to be featured on this set, the Selectors.
Another celebrated producer, who work is highlighted on this compilation is Leslie Kong, who as well as producing Bob Marley's debut 'Judge Not', was responsible for the recording that introduced Reggae to a global audience; 'Israelites'. Considerably less known are his two productions featured here - the delicious 'Banana Water (aka Gimme Gimme Gal)' by the Mellotones and the Clarendonians' upbeat 'Baby Don't You do It', from 1969. Another production stable with Chinese lineage were the much less successful Wong brothers, who were responsible for the Motown-inspired Soul tops 'Swing Baby swing', which rocks along nicely on this revival rhythm.
Formed In the early sixties, the Gaylads featured the vocal talents of Winston Delano Stewart, Harris 'B.B.' Seaton and Maurice Roberts and were already established as one of Jamaica's favourite acts when they teamed up with Lynford 'Andy Capp' Anderson to record 'Wha' She Do Now' - a song they also recorded for Randy's in 1969. A tenuous it may be, but Maurice was also the name of a certain Maurice Johnson, who with Albert Gene 'Clive' Murphy and Norman Davis formed the Tennors in the early '60s. Following Davis' departure around 1968, Ronnie Davis was recruited and it was the line up of George, Ronnie and Maurice that recoded the inspiring 'Massie Massa' for their own Tennors imprint later that year.
Joe White is one of many unsung heroes from this era despite cutting a number of top tunes over the years. His contribution to this compilation features two tracks - the highly prized 'My guiding Light', produced by Charles Ross and an equally obscure rendering of the Johnny Ace song 'Never Let Me Go', initially issued in Jamaica on Lloyd Clarke's' 'Kings' label in 1969.
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After forming the Techniques in 1962, Winston Riley went on to become one of Jamaica's most successful producers of the '70s and '80s, giving Trojan a UK number one hit in 1971 with his production of Dave and Ansel Collins' 'Double Barrel'. In the '80s he found success with General Echo and Tenor Saw. And was also one of the first producers to recognise the potential of the iconic Buju Banton. Among his least known productions is 'The Girl I Love', recorded by the immensely obscure Visions early in '69.
The late Theophilus Beckford was one of the pioneers of Jamaican music and his Studio One hit 'Easy Snappin' is widely regarded as the first Ska hit with it's emphasis on the off beat. In 1968 he revisited the song for the PNP's musical advisor and prolific hit maker, Clancy Eccles, leading to a revival of his career. In 1992 the original version featured in a television commercial for jeans, although sadly Theo saw little in the way of financial remuneration and recently died virtually penniless after being stabbed in his hometown of Kingston.
Rudolph 'Ruddy' Redwood originally operated a sound system based in Spanish Town district known as 'Ruddy's Supreme Ruler Of sound' where he pioneered the use of dub-plates. He later became involved in production work and we are proud to include the melodic 'Life Is But A Dream' by Winston Shand and the Sheiks, in the hope that his contribution does not go unnoticed. Like the aforementioned Winston Shand and the Sheiks, Amiel Moodie & The Dandemites were another act whose recording career was all too brief, the group disappearing from the music scene soon after cutting the self-produced 'Life Line', towards the close of '68.
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The same year, Winston 'Mr Fixit' Francis cut 'The Break' and partnered an as yet unidentified singer on 'It Ain't' for Disclick Records, a short-lived label that also issued the Band Of Mercy And salvation's reproachful 'Suffering Stink' which became a firm favourite on the UK Reggae scene early in 1969.
Although we have not followed the running order of the tracks our final look at the artistes on this compilation is Larry Marshall. As well as working at Studio One, Larry had recorded for Phillip Yap and Prince Buster, while his duet with Alvin Leslie, 'Nannie Goat' is another credible contender the first ever Reggae recording. Recorded around the same time as the aforementioned 'Nannie Goat' was 'Money Girl', cut for producer Ken Lack aka Blondel Calnek. Marshall is probably best remembered for his rendering of 'Throw Me Corn' which has since become something of a Reggae anthem.
So there you have it - a little history of the revival linchpins that are still celebrated today in the dancehall, when the selector rewinds and comes back again.
Stephen Nye