1-2 Weeks
Studio One Soul


"More classic Reggae from Jamaica's most important label ever! Following on from Studio One Rockers, this second journey into the vaults of Studio One tells the story of the important link between American Funk and Soul and Jamaican Reggae. Ranging from music taken from the mid-1960s (and the arrival of rock steady) through to the beginning of the 1980's, Studio One Soul features versions of US Funk and Soul hits (many rarely heard before) from some of the many classic artists who recorded at Studio One. American Soul music has always been an important influence on Jamaican Reggae. The beginning of the Jamaican recording industry at the end of the 1950s started with Clement 'Coxsone' Dodd (owner of Studio One) and a group of select in-house musicians (originally The Skatalites) recording their own version of American R'n'B . Playing on the off-beat this music became ska and a new music was born. As American R'n'B progressed through Funk, Soul and Disco, Jamaican music was going through it's own musical changes from rock steady through to Reggae and Roots music. The house-band at Studio One known variously as The Skatalites, The Sound Dimension, The Soul Vendors, The Brentford All Stars and The Brentford Disco Set recorded on a daily basis behind all Studio One vocalists as well as recording instrumentally in their own right. These musicians are as important to the development of Jamaican music as were the equivalent musicians at Motown, Stax, Muscle Shoals and Philadelphia International in the US. Some of the main musicians were Jackie Mittoo (Keyboards), Pablove Black (Keyboards), Roland Alphonso (Sax), Lloyd Brevett(Bass), Leroy Sibbles(Bass), Johnny Moore (Trumpet), Lloyd Knibbs (Drums) and Leroy 'Horsemouth' Wallace(Drums). Soul singers such as Curtis Mayfield and The Impressions (Queen Of The Minstrels) had a profound influence on Jamaican artists and many other US artists were constantly re-interpreted and re-worked. Artists such as Aretha Franklin (Respect), Charles Wright (Express Yourself), King Floyd (Groove Me), Otis Redding (How Strong) were all very popular in Jamaica in the 1960s. At the end of the 1960s Black Consciousness became an important part of American Soul music. At the same time many Jamaican artists were starting to look to their roots. Many artists would shortly become involved in Rastafarianism. The 'conscious' lyrics of American Funk and Soul again struck a chord with Jamaican artists. 'Message From A Blackman' (originally by The Temptations), 'Is It Because I Am Black' (Syl Johnson) are examples of this. Through the 1970s Soul/Disco artists such Barry White ('Can't Get Enough' and 'Deeper and Deeper') and The Detroit Spinners ('I'll Be Around') became the flavor of the day. This CD finishes with Willie Williams interpretation of Macfadden & Whitehead's classic 'Ain't No Stopping Us Now'."