|
|
||
|
The development of Rocksteady, and the demise of it's predecessor, Ska, resulted from a general need for change allied to one of the hottest Jamaican summers on record. The scorching conditions which persisted throughout the early months of '66 undoubtedly played it's part in the desire for the creation of a slower style more conducive to dancing in such a climate. As the high temperatures continued unabated, the tempo of the music decreased accordingly and by the end of the year the transformation from Ska to Rocksteady was complete. The once favoured driving beat had disappeared and with it the limitations it's rigid structure had imposed. The new slower rhythm introduced a freedom of expression previously denied to performers, musicians and producers. While vocalists in general benefited greatly from the change, it was particularly welcomed by vocal groups, who were finally given the opportunity to bring their harmonies to the fore. The successful adaptation to the new style by the likes of the Gaylads, The Maytals and Desmond Dekker & The Aces inspired the formation of new trios and quartets and soon Jamaica was awash with new vocal groups. Musicians also enjoyed the time and space they now experienced and fully utilised the new environment by developing more subtle and complex arrangements. Among those who led the way, few were more influential in shaping the sound and style of Jamaican music than Tommy McCook 7 The Supersonics, who worked exclusively for Arthur 'Duke' Reid - undoubtedly the most influential producer of the age. At his famed Bond Street studio, Reid created many of the finest recordings of the era, by some of Jamaica's leading performers which included The Paragons, Justin Hinds & The Dominoes, Phyllis Dillon, The Jamaicans and Alton Ellis - the man who had first coined the term 'Rocksteady' in his hit from early 1967. Rocksteady continued to develop throughout 1967 and into the following year. Bass patterns became more complex, percussion more prominent, while brass sections were increasingly deemed unnecessary. By the middle of '68, the guitar style had become more abrupt and keyboards, or sometimes a second rhythm guitar began to be used to fill the space previously left empty. The overall effect was a jumpier, less laid-back style and following The Maytals hit "Do The Reggay", it aquired a title of it's own. Rocksteady had run it's course, although perhaps prematurely. Later that year, Larry & Alvin's "Nanny Goat" introduced an additional second rhythm guitar stroke and in doing so created the first real Reggae record. The rest is, of course, history. This collection includes some of the finest and most important recordings from the Rocksteady era and in doing so provides a reminder of a glorious, if all to brief chapter in the history of Jamaican music. |
||
|
DISC 1 |
DISC 2 |
DISC 3 |
|
Rocksteady |
Island In The Sun |
Rudies All Round |
|
Time - 48:46 |
Time - 46:49 |
Time - 44:00 |
|
|
||
|
All material © Copyright Trojan Records |
||
