- 01“People Funny Boy”Listen to Lee Perry's 1968 single ‘People Funny Boy’ and, essentially, you're listening to Africa.from the chapter
- 02“Tackoo”In many ways, it's no surprise that Lee Perry should have come up with such a sound – check his very early singles ‘Tackoo’ and ‘Sugar Bag’ and you'll find a vivid mento influence; likewise in the later ‘Django‘-period (1968–70) Upsetters’ stuff: the banjo isn't actually there, but such are the structures that you find yourself mentally mixing it in.from the chapter
- 03“Sugar Bag”In many ways, it's no surprise that Lee Perry should have come up with such a sound – check his very early singles ‘Tackoo’ and ‘Sugar Bag’ and you'll find a vivid mento influence; likewise in the later ‘Django‘-period (1968–70) Upsetters’ stuff: the banjo isn't actually there, but such are the structures that you find yourself mentally mixing it in.from the chapter
- 04“Nanny Goat”That distinction would have to be shared between Larry Marshall's ‘Nanny Goat’ and ‘No More Heartaches’ by the Beltones, with both records’ producers – Coxsone Dodd and Harry J ( Johnson), respectively – claiming the credit for entirely different reasons.from the chapter
- 05“No More Heartaches”That distinction would have to be shared between Larry Marshall's ‘Nanny Goat’ and ‘No More Heartaches’ by the Beltones, with both records’ producers – Coxsone Dodd and Harry J ( Johnson), respectively – claiming the credit for entirely different reasons.from the chapter
- 06“Duppy Conqueror”It was faster than rocksteady, but didn't have the solid rhythm of what you would call reggae, and it started at Randy's studio on North Parade, with that creep organ thing, when the organ just try to steal up in the tune – the Wailers’ “Duppy Conqueror” and John Holt's “Stick by Me” both have it.from the chapter
- 07“Stick by Me”It was faster than rocksteady, but didn't have the solid rhythm of what you would call reggae, and it started at Randy's studio on North Parade, with that creep organ thing, when the organ just try to steal up in the tune – the Wailers’ “Duppy Conqueror” and John Holt's “Stick by Me” both have it.from the chapter
- 08“Jailhouse”There had always been a tributary of rocksteady that announced itself with the kind of barrelling piano riffs that might have been taken as a hangover from the previous decade's JA boogie – the Wailers’ ‘Jailhouse’ and the Clarendonians’ ‘Rudie Bam Bam’ are among the best examples.from the chapter
- 09“Rudie Bam Bam”There had always been a tributary of rocksteady that announced itself with the kind of barrelling piano riffs that might have been taken as a hangover from the previous decade's JA boogie – the Wailers’ ‘Jailhouse’ and the Clarendonians’ ‘Rudie Bam Bam’ are among the best examples.from the chapter
- 10“Do the Reggay”If further evidence about dancers directing the producers is needed, then look no further than the Maytals' 1968 cut ‘Do the Reggay’.from the chapter
- 11“Rock Steady”The tune is taken to be the first to use the word in its title, albeit with an unusual spelling, and provides the same sort of musical proof as its predecessor Alton Ellis's ‘Rock Steady’.from the chapter
- 12“Mi Amore”Reggae's rhythms flexed to form the backbone of a myriad sub-clauses from bouncy pop music, to strictly roots, by way of ‘sophisticated’ strings 'n’ things, dubwise, lovers’ rock, Latin swing (memorably the Ethiopians’ ‘Mi Amore’), harmony singing, deejay toasting and instrumental cuts.from the chapter
- 13“Skylarking”And while you're looking, make out that you can hear tunes like ‘Skylarking’, ‘Baby Why’, ‘I Hold the Handle’, ‘Yaho’ or ‘Armagideon Time’ floating out into the yard.from the chapter
- 14“Baby Why”And while you're looking, make out that you can hear tunes like ‘Skylarking’, ‘Baby Why’, ‘I Hold the Handle’, ‘Yaho’ or ‘Armagideon Time’ floating out into the yard.from the chapter
- 15“I Hold the Handle”And while you're looking, make out that you can hear tunes like ‘Skylarking’, ‘Baby Why’, ‘I Hold the Handle’, ‘Yaho’ or ‘Armagideon Time’ floating out into the yard.from the chapter
- 16“Yaho”And while you're looking, make out that you can hear tunes like ‘Skylarking’, ‘Baby Why’, ‘I Hold the Handle’, ‘Yaho’ or ‘Armagideon Time’ floating out into the yard.from the chapter
- 17“Armagideon Time”And while you're looking, make out that you can hear tunes like ‘Skylarking’, ‘Baby Why’, ‘I Hold the Handle’, ‘Yaho’ or ‘Armagideon Time’ floating out into the yard.from the chapter
- 18“What Kind of World”…that adapted gloriously to the incoming style at Studio One, but it was the new blood, with bright ideas and fresh approaches, who did so much to instigate changes: the Cables’ ‘Baby Why’, ‘What Kind of World’ and ‘Love Is Pleasure’ were the highlights of their 1969 spent at Brentford Road; the same time and place as Horace Andy did his best work – ‘Skylarking’, ‘See a Man's Face’ and ‘Every…from the chapter
- 19“Love Is Pleasure”…to the incoming style at Studio One, but it was the new blood, with bright ideas and fresh approaches, who did so much to instigate changes: the Cables’ ‘Baby Why’, ‘What Kind of World’ and ‘Love Is Pleasure’ were the highlights of their 1969 spent at Brentford Road; the same time and place as Horace Andy did his best work – ‘Skylarking’, ‘See a Man's Face’ and ‘Every Tongue Shall Tell’, for…from the chapter
- 20“See a Man's Face”…‘Baby Why’, ‘What Kind of World’ and ‘Love Is Pleasure’ were the highlights of their 1969 spent at Brentford Road; the same time and place as Horace Andy did his best work – ‘Skylarking’, ‘See a Man's Face’ and ‘Every Tongue Shall Tell’, for instance; while John Holt was getting his post-Paragons solo career off the ground there; and it was where Burning Spear started off, cutting prototype…from the chapter
- 21“Every Tongue Shall Tell”…World’ and ‘Love Is Pleasure’ were the highlights of their 1969 spent at Brentford Road; the same time and place as Horace Andy did his best work – ‘Skylarking’, ‘See a Man's Face’ and ‘Every Tongue Shall Tell’, for instance; while John Holt was getting his post-Paragons solo career off the ground there; and it was where Burning Spear started off, cutting prototype versions of many of the…from the chapter
- 22“Boom Shaka Laka”Not that he didn't have a few hits – Hopeton Lewis's ‘Boom Shaka Laka’ (a Festival Song Contest winner), the Techniques’ ‘My Girl’ and ‘Moonlight Lover’ by Joya Landis in particular – but he wasn't to stamp his mark on any post-rocksteady era until he began recording U-Roy in 1970.from the chapter
- 23“My Girl”Not that he didn't have a few hits – Hopeton Lewis's ‘Boom Shaka Laka’ (a Festival Song Contest winner), the Techniques’ ‘My Girl’ and ‘Moonlight Lover’ by Joya Landis in particular – but he wasn't to stamp his mark on any post-rocksteady era until he began recording U-Roy in 1970.from the chapter
- 24“Moonlight Lover”Not that he didn't have a few hits – Hopeton Lewis's ‘Boom Shaka Laka’ (a Festival Song Contest winner), the Techniques’ ‘My Girl’ and ‘Moonlight Lover’ by Joya Landis in particular – but he wasn't to stamp his mark on any post-rocksteady era until he began recording U-Roy in 1970.from the chapter
- 25“Rain from the Skies”While he wasn't a complete stranger to success during this period – John Holt's ‘Rain from the Skies’, Dennis Brown's ‘If I Had the World’, the Heptones’ ‘Our Day Will Come’ – he pretty much took a sabbatical until coming back to make deejay music with Big Youth and Dennis Alcapone a couple of years later.from the chapter
- 26“If I Had the World”While he wasn't a complete stranger to success during this period – John Holt's ‘Rain from the Skies’, Dennis Brown's ‘If I Had the World’, the Heptones’ ‘Our Day Will Come’ – he pretty much took a sabbatical until coming back to make deejay music with Big Youth and Dennis Alcapone a couple of years later.from the chapter
- 27“Our Day Will Come”While he wasn't a complete stranger to success during this period – John Holt's ‘Rain from the Skies’, Dennis Brown's ‘If I Had the World’, the Heptones’ ‘Our Day Will Come’ – he pretty much took a sabbatical until coming back to make deejay music with Big Youth and Dennis Alcapone a couple of years later.from the chapter
- 28UndertakerThe Undertaker album of instrumentals is among the very best Western-inspired reggae, while the work he did with the Kingstonians includes ‘Sufferer’ and ‘Singer Man’, from that trio at their absolute peak.from the chapter
- 29“54–46 That's My Number”His roster included the Maytals, the Melodians, the Pioneers and Desmond Dekker: at the turn of the decade on the Beverley's label you had ‘54–46 That's My Number’, ‘Pressure Drop’, ‘Monkey Man’, ‘Sweet Sensation’, ‘The Rivers of Babylon’, ‘Long Shot (Kick de Bucket)’, ‘Easy Come Easy Go’ and ‘Israelites’.from the chapter
- 30“Pressure Drop”His roster included the Maytals, the Melodians, the Pioneers and Desmond Dekker: at the turn of the decade on the Beverley's label you had ‘54–46 That's My Number’, ‘Pressure Drop’, ‘Monkey Man’, ‘Sweet Sensation’, ‘The Rivers of Babylon’, ‘Long Shot (Kick de Bucket)’, ‘Easy Come Easy Go’ and ‘Israelites’.from the chapter
- 31“Monkey Man”His roster included the Maytals, the Melodians, the Pioneers and Desmond Dekker: at the turn of the decade on the Beverley's label you had ‘54–46 That's My Number’, ‘Pressure Drop’, ‘Monkey Man’, ‘Sweet Sensation’, ‘The Rivers of Babylon’, ‘Long Shot (Kick de Bucket)’, ‘Easy Come Easy Go’ and ‘Israelites’.from the chapter
- 32“Sweet Sensation”His roster included the Maytals, the Melodians, the Pioneers and Desmond Dekker: at the turn of the decade on the Beverley's label you had ‘54–46 That's My Number’, ‘Pressure Drop’, ‘Monkey Man’, ‘Sweet Sensation’, ‘The Rivers of Babylon’, ‘Long Shot (Kick de Bucket)’, ‘Easy Come Easy Go’ and ‘Israelites’.from the chapter
- 33“The Rivers of Babylon”His roster included the Maytals, the Melodians, the Pioneers and Desmond Dekker: at the turn of the decade on the Beverley's label you had ‘54–46 That's My Number’, ‘Pressure Drop’, ‘Monkey Man’, ‘Sweet Sensation’, ‘The Rivers of Babylon’, ‘Long Shot (Kick de Bucket)’, ‘Easy Come Easy Go’ and ‘Israelites’.from the chapter
- 34“Long Shot (Kick de Bucket)”His roster included the Maytals, the Melodians, the Pioneers and Desmond Dekker: at the turn of the decade on the Beverley's label you had ‘54–46 That's My Number’, ‘Pressure Drop’, ‘Monkey Man’, ‘Sweet Sensation’, ‘The Rivers of Babylon’, ‘Long Shot (Kick de Bucket)’, ‘Easy Come Easy Go’ and ‘Israelites’.from the chapter
- 35“Easy Come Easy Go”His roster included the Maytals, the Melodians, the Pioneers and Desmond Dekker: at the turn of the decade on the Beverley's label you had ‘54–46 That's My Number’, ‘Pressure Drop’, ‘Monkey Man’, ‘Sweet Sensation’, ‘The Rivers of Babylon’, ‘Long Shot (Kick de Bucket)’, ‘Easy Come Easy Go’ and ‘Israelites’.from the chapter
- 36“Israelites”His roster included the Maytals, the Melodians, the Pioneers and Desmond Dekker: at the turn of the decade on the Beverley's label you had ‘54–46 That's My Number’, ‘Pressure Drop’, ‘Monkey Man’, ‘Sweet Sensation’, ‘The Rivers of Babylon’, ‘Long Shot (Kick de Bucket)’, ‘Easy Come Easy Go’ and ‘Israelites’.from the chapter
- 37“Fatty Fatty”He had hits for himself – the bawdy ‘Fatty Fatty’ and ‘Auntie Lulu’ being the most notable – while among his productions were ‘Holly Holy’ (the Fabulous Flames), ‘Herbsman’ (King Stitt), ‘No Good Girl’ (the Beltones) and ‘Please Stay’ (Larry Marshall), plus there were a string of hit instrumentals from the Dynamites.from the chapter
- 38“Fatty Fatty”He had hits for himself – the bawdy ‘Fatty Fatty’ and ‘Auntie Lulu’ being the most notable – while among his productions were ‘Holly Holy’ (the Fabulous Flames), ‘Herbsman’ (King Stitt), ‘No Good Girl’ (the Beltones) and ‘Please Stay’ (Larry Marshall).from the chapter
- 39“Auntie Lulu”He had hits for himself – the bawdy ‘Fatty Fatty’ and ‘Auntie Lulu’ being the most notable – while among his productions were ‘Holly Holy’ (the Fabulous Flames), ‘Herbsman’ (King Stitt), ‘No Good Girl’ (the Beltones) and ‘Please Stay’ (Larry Marshall), plus there were a string of hit instrumentals from the Dynamites.from the chapter
- 40“Holly Holy”He had hits for himself – the bawdy ‘Fatty Fatty’ and ‘Auntie Lulu’ being the most notable – while among his productions were ‘Holly Holy’ (the Fabulous Flames), ‘Herbsman’ (King Stitt), ‘No Good Girl’ (the Beltones) and ‘Please Stay’ (Larry Marshall), plus there were a string of hit instrumentals from the Dynamites.from the chapter
- 41“Herbsman”He had hits for himself – the bawdy ‘Fatty Fatty’ and ‘Auntie Lulu’ being the most notable – while among his productions were ‘Holly Holy’ (the Fabulous Flames), ‘Herbsman’ (King Stitt), ‘No Good Girl’ (the Beltones) and ‘Please Stay’ (Larry Marshall), plus there were a string of hit instrumentals from the Dynamites.from the chapter
- 42“No Good Girl”He had hits for himself – the bawdy ‘Fatty Fatty’ and ‘Auntie Lulu’ being the most notable – while among his productions were ‘Holly Holy’ (the Fabulous Flames), ‘Herbsman’ (King Stitt), ‘No Good Girl’ (the Beltones) and ‘Please Stay’ (Larry Marshall), plus there were a string of hit instrumentals from the Dynamites.from the chapter
- 43“Please Stay”He had hits for himself – the bawdy ‘Fatty Fatty’ and ‘Auntie Lulu’ being the most notable – while among his productions were ‘Holly Holy’ (the Fabulous Flames), ‘Herbsman’ (King Stitt), ‘No Good Girl’ (the Beltones) and ‘Please Stay’ (Larry Marshall), plus there were a string of hit instrumentals from the Dynamites.from the chapter
- 44“How Long”Bunny Lee came into his own at this point: the easy-action very post-rocksteady vibe he wove around Slim Smith, Stranger Cole and the Sensations gave way to his coaxing some serious reggae out of Pat Kelly (‘How Long’), Eric Donaldson (‘Cherry Oh Baby’ – another Festival Song winner), John Holt (‘Stick by Me’) and Delroy Wilson (‘Better Must Come’).from the chapter
- 45“Cherry Oh Baby”Bunny Lee came into his own at this point: the easy-action very post-rocksteady vibe he wove around Slim Smith, Stranger Cole and the Sensations gave way to his coaxing some serious reggae out of Pat Kelly (‘How Long’), Eric Donaldson (‘Cherry Oh Baby’ – another Festival Song winner), John Holt (‘Stick by Me’) and Delroy Wilson (‘Better Must Come’).from the chapter
- 46“Better Must Come”Bunny Lee came into his own at this point: the easy-action very post-rocksteady vibe he wove around Slim Smith, Stranger Cole and the Sensations gave way to his coaxing some serious reggae out of Pat Kelly (‘How Long’), Eric Donaldson (‘Cherry Oh Baby’ – another Festival Song winner), John Holt (‘Stick by Me’) and Delroy Wilson (‘Better Must Come’).from the chapter
- 47“Them a Laugh and a Kiki”Although Joe Gibbs didn’t build careers, the one-offs scored by his acts form a memorable list that runs to ‘Them a Laugh and a Kiki’, ‘Wreck a Buddy’, ‘Long Shot’, ‘Never Come Never See’, ‘People Grudgeful’, ‘Trust the Book’ and ‘Love of the Common People’.from the chapter
- 48“Wreck a Buddy”Although Joe Gibbs didn't build careers, the one-offs scored by his acts form a memorable list that runs to ‘Them a Laugh and a Kiki’, ‘Wreck a Buddy’, ‘Long Shot’, ‘Never Come Never See’, ‘People Grudgeful’, ‘Trust the Book’ and ‘Love of the Common People’.from the chapter
- 49“Long Shot”Although Joe Gibbs didn't build careers, the one-offs scored by his acts form a memorable list that runs to ‘Them a Laugh and a Kiki’, ‘Wreck a Buddy’, ‘Long Shot’, ‘Never Come Never See’, ‘People Grudgeful’, ‘Trust the Book’ and ‘Love of the Common People’.from the chapter
- 50“Never Come Never See”Although Joe Gibbs didn't build careers, the one-offs scored by his acts form a memorable list that runs to ‘Them a Laugh and a Kiki’, ‘Wreck a Buddy’, ‘Long Shot’, ‘Never Come Never See’, ‘People Grudgeful’, ‘Trust the Book’ and ‘Love of the Common People’.from the chapter
- 51“People Grudgeful”Although Joe Gibbs didn't build careers, the one-offs scored by his acts form a memorable list that runs to ‘Them a Laugh and a Kiki’, ‘Wreck a Buddy’, ‘Long Shot’, ‘Never Come Never See’, ‘People Grudgeful’, ‘Trust the Book’ and ‘Love of the Common People’.from the chapter
- 52“Trust the Book”Although Joe Gibbs didn't build careers, the one-offs scored by his acts form a memorable list that runs to ‘Them a Laugh and a Kiki’, ‘Wreck a Buddy’, ‘Long Shot’, ‘Never Come Never See’, ‘People Grudgeful’, ‘Trust the Book’ and ‘Love of the Common People’.from the chapter
- 53“Love of the Common People”Although Joe Gibbs didn't build careers, the one-offs scored by his acts form a memorable list that runs to ‘Them a Laugh and a Kiki’, ‘Wreck a Buddy’, ‘Long Shot’, ‘Never Come Never See’, ‘People Grudgeful’, ‘Trust the Book’ and ‘Love of the Common People’.from the chapter
- 54“Young, Gifted and Black”He was also the man who paired Bob Andy with Marcia Griffiths for a cover of Nina Simone's ‘Young, Gifted and Black’ and ‘Pied Piper’, although Andy himself produced the latter single.from the chapter
- 55“Pied Piper”He was also the man who paired Bob Andy with Marcia Griffiths for a cover of Nina Simone's ‘Young, Gifted and Black’ and ‘Pied Piper’, although Andy himself produced the latter single.from the chapter
- 56“Prison Sentence”On the surface, Upsetters’ tracks like ‘Prison Sentence’, ‘Baby Baby’, ‘Skanky Chicken’, ‘For a Few Dollars More’, ‘Dry Acid’, ‘Live Injection’, ‘Caught You’ and, the big UK hit, ‘The Return of Django’ are nothing short of barking mad; but look deeper into them – or have a long session spinning Upsetter cuts – and a crystal-clear logic emerges: musically, the whole point of reggae is its inherent…from the chapter
- 57“Baby Baby”On the surface, Upsetters’ tracks like ‘Prison Sentence’, ‘Baby Baby’, ‘Skanky Chicken’, ‘For a Few Dollars More’, ‘Dry Acid’, ‘Live Injection’, ‘Caught You’ and, the big UK hit, ‘The Return of Django’ are nothing short of barking mad; but look deeper into them – or have a long session spinning Upsetter cuts – and a crystal-clear logic emerges: musically, the whole point of reggae is its inherent…from the chapter
- 58“Skanky Chicken”On the surface, Upsetters’ tracks like ‘Prison Sentence’, ‘Baby Baby’, ‘Skanky Chicken’, ‘For a Few Dollars More’, ‘Dry Acid’, ‘Live Injection’, ‘Caught You’ and, the big UK hit, ‘The Return of Django’ are nothing short of barking mad; but look deeper into them – or have a long session spinning Upsetter cuts – and a crystal-clear logic emerges: musically, the whole point of reggae is its inherent…from the chapter
- 59“For a Few Dollars More”On the surface, Upsetters’ tracks like ‘Prison Sentence’, ‘Baby Baby’, ‘Skanky Chicken’, ‘For a Few Dollars More’, ‘Dry Acid’, ‘Live Injection’, ‘Caught You’ and, the big UK hit, ‘The Return of Django’ are nothing short of barking mad; but look deeper into them – or have a long session spinning Upsetter cuts – and a crystal-clear logic emerges: musically, the whole point of reggae is its inherent…from the chapter
- 60“Dry Acid”On the surface, Upsetters’ tracks like ‘Prison Sentence’, ‘Baby Baby’, ‘Skanky Chicken’, ‘For a Few Dollars More’, ‘Dry Acid’, ‘Live Injection’, ‘Caught You’ and, the big UK hit, ‘The Return of Django’ are nothing short of barking mad; but look deeper into them – or have a long session spinning Upsetter cuts – and a crystal-clear logic emerges: musically, the whole point of reggae is its inherent…from the chapter
- 61“Live Injection”On the surface, Upsetters’ tracks like ‘Prison Sentence’, ‘Baby Baby’, ‘Skanky Chicken’, ‘For a Few Dollars More’, ‘Dry Acid’, ‘Live Injection’, ‘Caught You’ and, the big UK hit, ‘The Return of Django’ are nothing short of barking mad; but look deeper into them – or have a long session spinning Upsetter cuts – and a crystal-clear logic emerges: musically, the whole point of reggae is its inherent…from the chapter
- 62“Caught You”On the surface, Upsetters’ tracks like ‘Prison Sentence’, ‘Baby Baby’, ‘Skanky Chicken’, ‘For a Few Dollars More’, ‘Dry Acid’, ‘Live Injection’, ‘Caught You’ and, the big UK hit, ‘The Return of Django’ are nothing short of barking mad; but look deeper into them – or have a long session spinning Upsetter cuts – and a crystal-clear logic emerges: musically, the whole point of reggae is its inherent…from the chapter
- 63“The Return of Django”On the surface, Upsetters’ tracks like ‘Prison Sentence’, ‘Baby Baby’, ‘Skanky Chicken’, ‘For a Few Dollars More’, ‘Dry Acid’, ‘Live Injection’, ‘Caught You’ and, the big UK hit, ‘The Return of Django’ are nothing short of barking mad; but look deeper into them – or have a long session spinning Upsetter cuts – and a crystal-clear logic emerges: musically, the whole point of reggae is its inherent…from the chapter
- 64Just My Imagination – Soulful Reggae For LoversUS soul tunes were standard fare for the one-drop makeover – the multi-volume CD collection Just My Imagination – Soulful Reggae For Lovers consists of nothing else.from the chapter
- 65“Take Me Home Country Roads”…would a smattering of C&W songs – in keeping with the Jamaican mainstream's fondness for that style: ‘Rainy Night in Georgia’ was something of a one-drop perennial, the Maytals did a rousing version of ‘Take Me Home Country Roads’, while perhaps the most unlikely was the Wailers’ first openly Rasta song, ‘Selassie in the Chapel’, which retrod that much-loved Elvis weepie ‘Crying in the Chapel’.from the chapter
- 66“Selassie in the Chapel”…would a smattering of C&W songs – in keeping with the Jamaican mainstream's fondness for that style: ‘Rainy Night in Georgia’ was something of a one-drop perennial, the Maytals did a rousing version of ‘Take Me Home Country Roads’, while perhaps the most unlikely was the Wailers’ first openly Rasta song, ‘Selassie in the Chapel’, which retrod that much-loved Elvis weepie ‘Crying in the Chapel’.from the chapter
- 67Magnificent Fourteen – 14 Shots of Western Inspired ReggaeThere has been an album of early reggae western numbers, Magnificent Fourteen – 14 Shots of Western Inspired Reggae, available for about the last twenty-five years, just as there have been a number of reggae Christmas albums, notably one collection of late-sixties covers of traditional seasonal songs under the title I'm Dreaming of a Black Christmas.from the chapter
- 68“My Sweet Lord”Taking that joke a little further was The Black Album, a Various Artists remake of the Beatles’ White Album including such dubious delights as the Rudies covering ‘My Sweet Lord’ and a Marcia Griffiths version of ‘Don’t Let Me Down’.from the chapter
- 69“Don't Let Me Down”Taking that joke a little further was The Black Album, a Various Artists remake of the Beatles’ White Album including such dubious delights as the Rudies covering ‘My Sweet Lord’ and a Marcia Griffiths version of ‘Don't Let Me Down’.from the chapter