- 01“Independent Jamaica”Of course, the music industry came to the party, with tunes such as ‘Independent Jamaica’ or ‘Forward March’ or ‘Anniversary Ska’, but their collective B-side was an equal number with titles such as ‘Babylon Gone’, ‘Time Longer than Rope’ or ‘Carry Go Bring Come’.from the chapter
- 02“Forward March”It's a situation best illustrated by dropping the Eric Morris single ‘Humpty Dumpty’, Derrick Morgan’s ‘Forward March’ and the Wailers’ ‘Simmer Down’, one after the other. They were cut in 1961, 1962 and 1963, by Prince Buster, Leslie Kong and Coxsone Dodd, respectively, and the progression is obvious.from the chapter
- 03“Anniversary Ska”Of course, the music industry came to the party, with tunes such as ‘Independent Jamaica’ or ‘Forward March’ or ‘Anniversary Ska’, but their collective B-side was an equal number with titles such as ‘Babylon Gone’, ‘Time Longer than Rope’ or ‘Carry Go Bring Come’.from the chapter
- 04“Babylon Gone”Of course, the music industry came to the party, with tunes such as ‘Independent Jamaica’ or ‘Forward March’ or ‘Anniversary Ska’, but their collective B-side was an equal number with titles such as ‘Babylon Gone’, ‘Time Longer than Rope’ or ‘Carry Go Bring Come’.from the chapter
- 05“Time Longer than Rope”Of course, the music industry came to the party, with tunes such as ‘Independent Jamaica’ or ‘Forward March’ or ‘Anniversary Ska’, but their collective B-side was an equal number with titles such as ‘Babylon Gone’, ‘Time Longer than Rope’ or ‘Carry Go Bring Come’.from the chapter
- 06“Carry Go Bring Come”Of course, the music industry came to the party, with tunes such as ‘Independent Jamaica’ or ‘Forward March’ or ‘Anniversary Ska’, but their collective B-side was an equal number with titles such as ‘Babylon Gone’, ‘Time Longer than Rope’ or ‘Carry Go Bring Come’.from the chapter
- 07“Humpty Dumpty”It's a situation best illustrated by dropping the Eric Morris single ‘Humpty Dumpty’, Derrick Morgan's ‘Forward March’ and the Wailers’ ‘Simmer Down’, one after the other.from the chapter
- 08“Simmer Down”It's a situation best illustrated by dropping the Eric Morris single ‘Humpty Dumpty’, Derrick Morgan's ‘Forward March’ and the Wailers’ ‘Simmer Down’, one after the other.from the chapter
- 09“Hooligan”Most famously, the Wailing Wailers brought an adolescent swagger to the proceedings as they mixed self-penned tales aimed specifically at Kingston's mean streets – ‘Simmer Down’, ‘Holligan’ (aka ‘Hooligan’) and ‘Rude Boy’ – with what was their staple diet of love songs and such apparently ill-fitting cover versions as ‘What's New, Pussycat?’from the chapter
- 10“Rude Boy”Most famously, the Wailing Wailers brought an adolescent swagger to the proceedings as they mixed self-penned tales aimed specifically at Kingston's mean streets – ‘Simmer Down’, ‘Holligan’ (aka ‘Hooligan’) and ‘Rude Boy’ – with what was their staple diet of love songs and such apparently ill-fitting cover versions as ‘What's New, Pussycat?’from the chapter
- 11“Freedom”Social comment or protest had been part of the music scene since 1959 and Clancy Eccles's ‘Freedom’ (a rudimentary R&B adaptation of ‘John Brown's Body’).from the chapter
- 12“African Blood”By the early sixties, ska's conscience was busting out all over: Prince Buster was constantly outspoken with records such as ‘African Blood’ and ‘War Paint’; Alton Ellis's ‘Dance Crasher’ concerned itself with dancehall warfare; Stranger Cole's ‘Rough and Tough’ was a barbed comment on street violence; ‘Money Can't Buy Life’, by Monty Morris, and Lord Tamano and the Skatalites’ ‘Come Down’ are…from the chapter
- 13“War Paint”By the early sixties, ska's conscience was busting out all over: Prince Buster was constantly outspoken with records such as ‘African Blood’ and ‘War Paint’; Alton Ellis's ‘Dance Crasher’ concerned itself with dancehall warfare; Stranger Cole's ‘Rough and Tough’ was a barbed comment on street violence; ‘Money Can't Buy Life’, by Monty Morris, and Lord Tamano and the Skatalites’ ‘Come Down’ are…from the chapter
- 14“Dance Crasher”By the early sixties, ska's conscience was busting out all over: Prince Buster was constantly outspoken with records such as ‘African Blood’ and ‘War Paint’; Alton Ellis's ‘Dance Crasher’ concerned itself with dancehall warfare; Stranger Cole's ‘Rough and Tough’ was a barbed comment on street violence; ‘Money Can't Buy Life’, by Monty Morris, and Lord Tamano and the Skatalites’ ‘Come Down’ are…from the chapter
- 15“Rough and Tough”…all over: Prince Buster was constantly outspoken with records such as ‘African Blood’ and ‘War Paint’; Alton Ellis's ‘Dance Crasher’ concerned itself with dancehall warfare; Stranger Cole's ‘Rough and Tough’ was a barbed comment on street violence; ‘Money Can't Buy Life’, by Monty Morris, and Lord Tamano and the Skatalites’ ‘Come Down’ are, respectively, dire warnings about the sins of avarice…from the chapter
- 16“Come Down”…concerned itself with dancehall warfare; Stranger Cole's ‘Rough and Tough’ was a barbed comment on street violence; ‘Money Can't Buy Life’, by Monty Morris, and Lord Tamano and the Skatalites’ ‘Come Down’ are, respectively, dire warnings about the sins of avarice and conceit; Justin Hinds and the Dominoes’ ‘Teach the Youth’ was self-explanatory, like Desmond Dekker's equally obvious ‘Honour Your…from the chapter
- 17“Teach the Youth”…warfare; Stranger Cole's ‘Rough and Tough’ was a barbed comment on street violence; ‘Money Can't Buy Life’, by Monty Morris, and Lord Tamano and the Skatalites’ ‘Come Down’ are, respectively, dire warnings about the sins of avarice and conceit; Justin Hinds and the Dominoes’ ‘Teach the Youth’ was self-explanatory, like Desmond Dekker's equally obvious ‘Honour Your Father and Your Mother’.from the chapter
- 18“Honour Your Father and Your Mother”…warfare; Stranger Cole's ‘Rough and Tough’ was a barbed comment on street violence; ‘Money Can't Buy Life’, by Monty Morris, and Lord Tamano and the Skatalites’ ‘Come Down’ are, respectively, dire warnings about the sins of avarice and conceit; Justin Hinds and the Dominoes’ ‘Teach the Youth’ was self-explanatory, like Desmond Dekker's equally obvious ‘Honour Your Father and Your Mother’.from the chapter
- 19“Victory”Lead singer Toots Hibbert's gospel-based hollering was backed up by equally raucous harmonies and showed a spiritual bent in numbers like ‘Victory’, ‘Never Grow Old’ and ‘Six and Seven Books of Moses’.from the chapter
- 20“Never Grow Old”Lead singer Toots Hibbert's gospel-based hollering was backed up by equally raucous harmonies and showed a spiritual bent in numbers like ‘Victory’, ‘Never Grow Old’ and ‘Six and Seven Books of Moses’.from the chapter
- 21“Six and Seven Books of Moses”Lead singer Toots Hibbert's gospel-based hollering was backed up by equally raucous harmonies and showed a spiritual bent in numbers like ‘Victory’, ‘Never Grow Old’ and ‘Six and Seven Books of Moses’.from the chapter
- 22“King of Kings”This latter track seems to be a veiled reference to the transported black nation as the lost tribe of Israel, which, like Jimmy Cliff's deliberately ambiguous ‘King of Kings’ (it's ostentatiously about the lion as the king of the beasts), gives some idea of where Rasta stood in Jamaica's social pecking order.from the chapter
- 23“Mighty Redeemer”Which made the blatant dread of Justin Hinds and the Dominoes’ ‘Mighty Redeemer’, ‘Botheration’, ‘King Samuel’ and ‘Carry Go Bring Come’ all the more remarkable.from the chapter
- 24“Botheration”Which made the blatant dread of Justin Hinds and the Dominoes’ ‘Mighty Redeemer’, ‘Botheration’, ‘King Samuel’ and ‘Carry Go Bring Come’ all the more remarkable.from the chapter
- 25“King Samuel”Which made the blatant dread of Justin Hinds and the Dominoes’ ‘Mighty Redeemer’, ‘Botheration’, ‘King Samuel’ and ‘Carry Go Bring Come’ all the more remarkable.from the chapter
- 26“Penny Reel-O”Blending it with ska sounded good, too, as tunes like Eric Morris's ‘Penny Reel-O’ proved (this one also gave an airing to that other Caribbean music staple, the slackness lyrics).from the chapter
- 27“Rukumbine”Other ‘nu school’ mentos were the equally lewd ‘Rukumbine’, by Shenley Duffus, and trumpeter Baba Brooks’ reworking of the old mento standard ‘River Bank’ into ‘Bank to Bank’.from the chapter
- 28“Bank to Bank”Other ‘nu school’ mentos were the equally lewd ‘Rukumbine’, by Shenley Duffus, and trumpeter Baba Brooks’ reworking of the old mento standard ‘River Bank’ into ‘Bank to Bank’.from the chapter
- 29“Man in the Street”In many ways, ska never meant so much as when Don Drummond and his mournful, soulful ‘bone were leading the Skatalites in such tunes as ‘Man in the Street’, ‘Addis Ababa’, ‘Eastern Standard Time’ or ‘Don Cosmic’.from the chapter
- 30“Addis Ababa”In many ways, ska never meant so much as when Don Drummond and his mournful, soulful ‘bone were leading the Skatalites in such tunes as ‘Man in the Street’, ‘Addis Ababa’, ‘Eastern Standard Time’ or ‘Don Cosmic’.from the chapter
- 31“Eastern Standard Time”In many ways, ska never meant so much as when Don Drummond and his mournful, soulful ‘bone were leading the Skatalites in such tunes as ‘Man in the Street’, ‘Addis Ababa’, ‘Eastern Standard Time’ or ‘Don Cosmic’.from the chapter
- 32“Don Cosmic”In many ways, ska never meant so much as when Don Drummond and his mournful, soulful ‘bone were leading the Skatalites in such tunes as ‘Man in the Street’, ‘Addis Ababa’, ‘Eastern Standard Time’ or ‘Don Cosmic’.from the chapter
- 33“Phoenix City”It was this band's rip-roaring instrumentals such as ‘Phoenix City’, ‘Guns of Navarone’ and ‘Ball o'Fire’ that formed the lasting impression of the music – even Prince Buster, ska's most successful singer, remains best known for the practically instrumental ‘Al Capone’.from the chapter
- 34“Guns of Navarone”It was this band's rip-roaring instrumentals such as ‘Phoenix City’, ‘Guns of Navarone’ and ‘Ball o'Fire’ that formed the lasting impression of the music – even Prince Buster, ska's most successful singer, remains best known for the practically instrumental ‘Al Capone’.from the chapter
- 35“Al Capone”It was this band's rip-roaring instrumentals such as ‘Phoenix City’, ‘Guns of Navarone’ and ‘Ball o'Fire’ that formed the lasting impression of the music – even Prince Buster, ska's most successful singer, remains best known for the practically instrumental ‘Al Capone’.from the chapter
- 36“Dearest Beverley”I wrote a song that night called “Dearest Beverley” and next day, just as they were closing, I went in and asked the three Kong brothers if they were into recording.from the chapter
- 37“Hurricane Hattie”We did ska right from the beginning, and although we didn't get hit records off that first session, during our second session we got a hit record with my song “Hurricane Hattie”.from the chapter
- 38“Dumplin's”He was not a ghetto man and enjoyed access to the island's upper echelons of society through a close association with Edward Seaga: the politician produced Lee's first record, ‘Dumplin's’, in 1959 and it was Seaga who encouraged him to play ska in the early-1960s; later in the decade, Lee bought Seaga's W.I.R.L. studios to rename them Dynamic Sound, and his Lee Enterprises Ltd never had any…from the chapter