- 01“Judgement Day”True, there had been tunes like Laurel Aitken's ‘Judgement Day’ or the Maytals’ ‘Study War no More’ since the industry began, and artists such as Prince Buster and Justin Hinds usually had a lot to say for themselves, but these examples were few and far between within the staple diet of love ‘n’ devotion.from the chapter
- 02“Study War no More”True, there had been tunes like Laurel Aitken's ‘Judgement Day’ or the Maytals’ ‘Study War no More’ since the industry began, and artists such as Prince Buster and Justin Hinds usually had a lot to say for themselves, but these examples were few and far between within the staple diet of love ‘n’ devotion.from the chapter
- 03“Rude Boy”It was not long afterwards, around 1965 and 1966, that the recording industry started to turn against this bad man-ism too, and tunes like the Wailers’ ‘Rude Boy’ and ‘Let Him Go’, Desmond Dekker's ‘Rude Boy Train’ and the Pioneers’ candidly titled ‘Rudies are the Greatest’ became fewer and further between.from the chapter
- 04“Let Him Go”It was not long afterwards, around 1965 and 1966, that the recording industry started to turn against this bad man-ism too, and tunes like the Wailers’ ‘Rude Boy’ and ‘Let Him Go’, Desmond Dekker's ‘Rude Boy Train’ and the Pioneers’ candidly titled ‘Rudies are the Greatest’ became fewer and further between.from the chapter
- 05“Rude Boy Train”It was not long afterwards, around 1965 and 1966, that the recording industry started to turn against this bad man-ism too, and tunes like the Wailers’ ‘Rude Boy’ and ‘Let Him Go’, Desmond Dekker's ‘Rude Boy Train’ and the Pioneers’ candidly titled ‘Rudies are the Greatest’ became fewer and further between.from the chapter
- 06“Rudies are the Greatest”It was not long afterwards, around 1965 and 1966, that the recording industry started to turn against this bad man-ism too, and tunes like the Wailers’ ‘Rude Boy’ and ‘Let Him Go’, Desmond Dekker's ‘Rude Boy Train’ and the Pioneers’ candidly titled ‘Rudies are the Greatest’ became fewer and further between.from the chapter
- 07“Things You Say You Love”This was a man with a fearful reputation for personal mayhem, yet when you think of Duke Reid rocksteady tunes like ‘I'll Get along without You’, ‘Things You Say You Love’, ‘My Girl’ and ‘Wear You to the Ball’ start playing in your head.from the chapter
- 08“My Girl”This was a man with a fearful reputation for personal mayhem, yet when you think of Duke Reid rocksteady tunes like ‘I'll Get along without You’, ‘Things You Say You Love’, ‘My Girl’ and ‘Wear You to the Ball’ start playing in your head.from the chapter
- 09“Wear You to the Ball”This was a man with a fearful reputation for personal mayhem, yet when you think of Duke Reid rocksteady tunes like ‘I'll Get along without You’, ‘Things You Say You Love’, ‘My Girl’ and ‘Wear You to the Ball’ start playing in your head.from the chapter
- 10“Simmer Down”While that same year the Wailers, with their Coxsone-produced single ‘Simmer Down’, were imploring ghetto youth to simmer down, ‘cause you know you're bound to suffer.from the chapter
- 11“Drop the Ratchet”During 1966 and 1967 Prince Buster, with his seminal Judge Dread series, rode a trend for anti-rude-boy rocksteady records – a style that included such gems as Stranger Cole's ‘Drop the Ratchet’, ‘Bob Andy's ‘Crime Don't Pay’, Keith McCarthy's ‘Everybody Rude Now’, Alton Ellis's classic ‘Cry Tough’ or the Valentines’ ‘Stop the Violence’.from the chapter
- 12“Crime Don't Pay”During 1966 and 1967 Prince Buster, with his seminal Judge Dread series, rode a trend for anti-rude-boy rocksteady records – a style that included such gems as Stranger Cole's ‘Drop the Ratchet’, ‘Bob Andy's ‘Crime Don't Pay’, Keith McCarthy's ‘Everybody Rude Now’, Alton Ellis's classic ‘Cry Tough’ or the Valentines’ ‘Stop the Violence’.from the chapter
- 13“Everybody Rude Now”During 1966 and 1967 Prince Buster, with his seminal Judge Dread series, rode a trend for anti-rude-boy rocksteady records – a style that included such gems as Stranger Cole's ‘Drop the Ratchet’, ‘Bob Andy's ‘Crime Don't Pay’, Keith McCarthy's ‘Everybody Rude Now’, Alton Ellis's classic ‘Cry Tough’ or the Valentines’ ‘Stop the Violence’.from the chapter
- 14“Cry Tough”During 1966 and 1967 Prince Buster, with his seminal Judge Dread series, rode a trend for anti-rude-boy rocksteady records – a style that included such gems as Stranger Cole's ‘Drop the Ratchet’, ‘Bob Andy's ‘Crime Don't Pay’, Keith McCarthy's ‘Everybody Rude Now’, Alton Ellis's classic ‘Cry Tough’ or the Valentines’ ‘Stop the Violence’.from the chapter
- 15“Stop the Violence”During 1966 and 1967 Prince Buster, with his seminal Judge Dread series, rode a trend for anti-rude-boy rocksteady records – a style that included such gems as Stranger Cole's ‘Drop the Ratchet’, ‘Bob Andy's ‘Crime Don't Pay’, Keith McCarthy's ‘Everybody Rude Now’, Alton Ellis's classic ‘Cry Tough’ or the Valentines’ ‘Stop the Violence’.from the chapter
- 16“Tougher than Tough”Unlike records such as Derrick Morgan's ‘Tougher than Tough’, Honey Boy Martin's ‘Dreader than Dread’ or Dandy Livingstone's ‘We Are Rude’ (He will have to give us one thousand years / and even that can't stop us), which were more musical accolades to rude boy-ism than bona fide replies, Scratch did his best to get below the surface with ‘Set Them Free’.from the chapter
- 17“Dreader than Dread”Unlike records such as Derrick Morgan's ‘Tougher than Tough’, Honey Boy Martin's ‘Dreader than Dread’ or Dandy Livingstone's ‘We Are Rude’ (He will have to give us one thousand years / and even that can't stop us), which were more musical accolades to rude boy-ism than bona fide replies, Scratch did his best to get below the surface with ‘Set Them Free’.from the chapter
- 18“We Are Rude”Unlike records such as Derrick Morgan's ‘Tougher than Tough’, Honey Boy Martin's ‘Dreader than Dread’ or Dandy Livingstone's ‘We Are Rude’ (He will have to give us one thousand years / and even that can't stop us), which were more musical accolades to rude boy-ism than bona fide replies, Scratch did his best to get below the surface with ‘Set Them Free’.from the chapter
- 19“Set Them Free”Scratch did his best to get below the surface with ‘Set Them Free’. Nothing if not straight-to-the-point, this was a continuation of the calls for proletarian equality he’d made when, a few years previously at Coxsone’s, he cut such records as ‘Help the Weak’ and ‘Give Me Justice’.from the chapter
- 20“Help the Weak”Nothing if not straight-to-the-point, this was a continuation of the calls for proletarian equality he'd made when, a few years previously at Coxsone's, he cut such records as ‘Help the Weak’ and ‘Give Me Justice’.from the chapter
- 21“Give Me Justice”Nothing if not straight-to-the-point, this was a continuation of the calls for proletarian equality he'd made when, a few years previously at Coxsone's, he cut such records as ‘Help the Weak’ and ‘Give Me Justice’.from the chapter
- 22“We're a Winner”This was mid-1967, almost six months before the Impressions’ ‘We're a Winner’ was banned by the majority of American radio stations in the first notable example of open racial protest in US music, and over a year prior to James Brown's ‘Say It Loud I'm Black and I'm Proud’.from the chapter
- 23“Say It Loud I'm Black and I'm Proud”This was mid-1967, almost six months before the Impressions’ ‘We're a Winner’ was banned by the majority of American radio stations in the first notable example of open racial protest in US music, and over a year prior to James Brown's ‘Say It Loud I'm Black and I'm Proud’.from the chapter
- 24“Oh Carolina”Rasta records had been appearing ever since Prince Buster's ‘Oh Carolina’, but mostly in an instrumental style.from the chapter
- 25“East of the River Nile”With the notable involvement of Don Drummond and Rico, these were tunes that looked towards Africa as they offered up, as far back as the very beginning of the 1960s, what came to be called the ‘East of the River Nile’ sound.from the chapter
- 26“Soul of Africa”It was horn led, minor-chord loaded, wistful and spiritually uplifting in its soloing, and possessed of a kind of ‘Come with me to the Casbah’ waviness. ‘Addis Ababa’, ‘Blues from the Hills’, ‘Farther East’, ‘Reburial’, ‘Tribute to Marcus Garvey’, ‘Soul of Africa’ and ‘Cleopatra’ are six of the best.from the chapter
- 27“Cleopatra”It was horn led, minor-chord loaded, wistful and spiritually uplifting in its soloing, and possessed of a kind of ‘Come with me to the Casbah’ waviness. ‘Addis Ababa’, ‘Blues from the Hills’, ‘Farther East’, ‘Reburial’, ‘Tribute to Marcus Garvey’, ‘Soul of Africa’ and ‘Cleopatra’ are six of the best.from the chapter
- 28“Hallelujah”The Maytals’ ‘Hallelujah’ or ‘Six and Seven Books of Moses’, Justin Hinds and the Dominoes’ ‘Carry Go Bring Come’ or Clancy Eccles’ ‘River Jordan’ spring readily to mind.from the chapter
- 29“Six and Seven Books of Moses”The Maytals’ ‘Hallelujah’ or ‘Six and Seven Books of Moses’, Justin Hinds and the Dominoes’ ‘Carry Go Bring Come’ or Clancy Eccles’ ‘River Jordan’ spring readily to mind.from the chapter
- 30“Carry Go Bring Come”The Maytals’ ‘Hallelujah’ or ‘Six and Seven Books of Moses’, Justin Hinds and the Dominoes’ ‘Carry Go Bring Come’ or Clancy Eccles’ ‘River Jordan’ spring readily to mind.from the chapter
- 31“River Jordan”The Maytals’ ‘Hallelujah’ or ‘Six and Seven Books of Moses’, Justin Hinds and the Dominoes’ ‘Carry Go Bring Come’ or Clancy Eccles’ ‘River Jordan’ spring readily to mind.from the chapter
- 32“Man Is Going to Leave the Earth”Unless you're Marvin Gaye or Curtis Mayfield or Sly Stone you're probably not going to write a cleverer social commentary song than the Slickers' ‘Man Is Going to Leave the Earth’.from the chapter
- 33“Bam Bam”‘Got to Go Back Home’, ‘Bam Bam’, ‘The Whip’, ‘Happy Land’ (the blueprint for ‘Satta Massa Gana’) and ‘Save a Bread’ – this was folk music at its most potent.from the chapter
- 34“The Whip”‘Got to Go Back Home’, ‘Bam Bam’, ‘The Whip’, ‘Happy Land’ (the blueprint for ‘Satta Massa Gana’) and ‘Save a Bread’ – this was folk music at its most potent.from the chapter
- 35“Happy Land”‘Got to Go Back Home’, ‘Bam Bam’, ‘The Whip’, ‘Happy Land’ (the blueprint for ‘Satta Massa Gana’) and ‘Save a Bread’ – this was folk music at its most potent.from the chapter
- 36“Satta Massa Gana”‘Got to Go Back Home’, ‘Bam Bam’, ‘The Whip’, ‘Happy Land’ (the blueprint for ‘Satta Massa Gana’) and ‘Save a Bread’ – this was folk music at its most potent.from the chapter
- 37“Save a Bread”‘Got to Go Back Home’, ‘Bam Bam’, ‘The Whip’, ‘Happy Land’ (the blueprint for ‘Satta Massa Gana’) and ‘Save a Bread’ – this was folk music at its most potent.from the chapter
- 38“Perfidia”The two styles were always much closer than first cousins –listen to Phillis Dillon's ‘Perfidia’ or ‘Feel Like Jumping’ by Marcia Griffiths, both cut in 1968, for Duke Reid and Coxsone respectively, both 24-carat examples of early reggae, yet both classified as rocksteady for no other reason than the term ‘reggae’ didn't then exist.from the chapter
- 39“Feel Like Jumping”The two styles were always much closer than first cousins –listen to Phillis Dillon's ‘Perfidia’ or ‘Feel Like Jumping’ by Marcia Griffiths, both cut in 1968, for Duke Reid and Coxsone respectively, both 24-carat examples of early reggae, yet both classified as rocksteady for no other reason than the term ‘reggae’ didn't then exist.from the chapter