Wailing Blues: The Story of Bob Marley’s Wailers

John Masouri

(Omnibus Press, 2008)

Reggae enthusiasts will be pleased by the arrival of a book that finally tells a part of the genre’s history from the perspective of a musician. In this case the musician is Aston ‘Family Man’ Barrett who was both the Wailers long-time bassist/arranger as well as an omnipresent studio musician in the 1970s. ‘Wailing Blues’ is the detailed story of both the Wailers and Barrett told from Barratt’s unique perspective. Given the abundance of detail and numerous mini musician biographies, readers will be reminded of David Katz’s Lee Perry biography ‘People Funny Boy’. However, in a number of ways Masouri’s book is a much more comprehensive and engaging read. While focusing on the activities of the Wailers, the book also highlights the stylistic and music industry changes that were taking place between the late 1960s and early 1980s.

The 2006 court battle between Barrett and both the Marley estate and Island Music serves as a backdrop for ‘Wailing Blues’. As Barrett struggles to find both recognition and financial compensation for his considerable involvement with the Wailers, the book often focuses on the exploitative nature of the music industry in Jamaica. While Jamaican singers have often complained about a lack of fair compensation both off and on the island, this problem is even more extensive for musicians – who in the local studio system were often considered temporary guns-for-hire. ‘Wailing Blues’ provides ample evidence that Barrett’s recording and touring role with the Wailers extended well beyond an easily classifiable ‘session musician’ label. Masouri relentlessly offers up confirmation – both from ‘Family Man’ and other musicians – that both Aston and his brother, drummer Carly Barrett, were key components in the Wailers sound and style.

‘Wailing Blues’ touches on a number of reggae music areas that have suffered from neglect. There is a great deal of interesting information about the period in which rock steady transformed into reggae in the late 1960s. The book excels at examining the pre-Island Records days of the Hippy Boys and the Wailers. Masouri also looks at the many connections between the reggae labels in Jamaica and their numerous distributors in the UK. This is particularly useful as negotiating the maze of UK labels and sub-labels is immensely difficult – especially now as many of the companies and their subsidiaries are long gone. The book also looks at the ongoing supply of sound system dub plates – a much neglected topic especially with respect to the Wailers. The book is filled with a multitude of small and highly interesting anecdotes and details. An interesting example would be when Family Man discusses the value of recording at night. Readers think that this will relate to the price and availability of studio time whereas he talks about how the supply of electricity is much more consistent in Jamaica when the factories are not functioning at full capacity.

Perhaps for some readers the most troublesome aspect of ‘Wailing Blues: The Story of Bob Marley and the Wailers’ is that it is not entirely a book about the Wailers. In many ways this book is a Family Man biography. Readers only somewhat familiar with the Wailers story might be left wondering why there is so much detail about producers like Bunny Lee and Keith Hudson, and sessions such as the one for Errol Dunkley’s ‘Darling Ooh’ – which do not seem to have direct links to the Bob Marley story. This type of multi-page detail becomes somewhat questionable when other key Wailers events, such as the departure of Bunny Wailer, are dispatched within a page and a half. Of course the value to this approach is that it avoids areas of the Wailers story that have been covered (perhaps over-covered) elsewhere. Plus, this Family Man centered narrative allows for a fresh and unique take on the Wailers story in that its descriptions of the bassists’ non-Wailers sessions and activities gives context to the overall story. Future printings of ‘Wailing Blues’ would greatly benefit from the inclusion of both an index and a detailed bibliography. For example, it is impossible to quickly find the details of the 2006 court case as they are scattered throughout the book.

These are small complaints in what is an essential read for people interested in both the Wailers and reggae music. If ‘Wailing Blues’ largely tells one side of the story – the side of musicians in opposition to Tuff Gong/Island – it is a side that desperately needs to be told. Overall Masouri makes a compelling case that the Barrett brothers specifically, and Jamaican musicians in general, need to receive more attention, praise and compensation. The book benefits from avoiding gossip and sticking to the music, its context and its creation. As with dub music itself, this is a case where the material that has traditionally been placed in the background is revisited and reexamined and moved to the foreground. ‘Wailing Blues’ makes the valuable point that the production of reggae music is multifaceted and complex and to be successful it requires a number of interacting forces. The most amazing aspect of Masouri’s book is its overall readability – it is a page-turner even for those already familiar with the Wailers story.

Jim Dooley

Midnite/Lion Tribe - Standing Ground -

Wtih so many great albums coming from the Midnite collective its very hard to say if this is the first double - I have a feeling that it is. And what another magnificent work it is. All the great singer/songwriters have an ability to just make what they do seem so easy and Vaughn Benjamin does this time after time. His lyrically skill is on par with Marley and people like I Jah Man Levi who can take the problems of the days and weave them into the fabric of time, because there is nothing new under the sun - so it is written and the truth remains today.

The production is always outstanding - connecting us back to the seventies but also showing what can be done with new ideas. Once again Indian tabla patterns can he heard - but unlike the add on feel when used in dancehall rhythms. This is intergration into reggae rhythms which is very important. Reggae can always handle new ideas. It is after all the most outward looking music on earth - but those ideas need to be worked on. Its like rock guitar most of the time it doesn't work in reggae music, but when someone takes the time to try and work it in - it can be truly magical. This is a another major work - please don't miss it.

Mystic Red Corporation - Fast Tracking/Track and Field - MRC 10"

Mystic Red Corporation - As I Was Walking/Still Walking - MRC 10"

Its been a long long time since the MRC have graced the reggae scene with some of their fantastic music. But its been well worth the wait two truly great 10" presented in a outer sleeve and a inner sleeve. These are the standards of packaing that the MRC are noted for. Its the kind of thing that reggae sadly lacks.

So what of the music itself. Well no other label as managed to blend roots reggae with Jazz, African and most of the Third World musics ever heard. Its music that goes back to the very gene pool that reggae emerged from. The DNA if you prefer. Rae Cheddie's musical ideas do not involve copying other people ideas. He doens't need them, he's big problem as always been to get the ideas he's got out there for people to hear. Such is the nature of the state of the reggae business, but if anyone can turn that around its someone like Rae. This is music that can be played at midnight or at daybreak - its got a vibe that is intune with nature. Truly truly essential music.

Now Available From Small Axe - Price £5.00 inc P&P UK - £7.00 inc P&P rest of the world.

Please make payment by Paypal to

smallaxepeople@tiscali.co.uk

Keith Poppin - Get Together - KP Productions.

Its so great to see Keith Poppin take matters into his own hands, and give his fans what they want - a greatest hits album! And one which he will get paid for, which is very important. Reggae fans who claim to love the music so much, really need to think about what they are doing when they are buying music. Do you really want to make a company who does not care about the music at all richer. Because, thats all you are doing. They do not release the music they do for love, its for money. If they loved the music so much, they would make sure the people who made it got paid. Blood and Fire have been doing that for over 10 years now, and so have Greensleeves for even longer, that is not the case for so many other companies. Until that changes - go and buy this album. Its full of great tunes including the man's mega hits hits like 'Envious' and 'Who Are You' plus 15 more of equal quality. A truly excellent set.

Bertram Brown

RIP

Tribut to Follow

Larry Lawrence

RIP

Tribute to Follow

.......................

Internationally recognised trumpeter 'Dizzy' Johnny Moore, a founding member of the Skatalites and ska innovator as died For the past seven months the 70-year-old Moore had been bravely battling colon cancer, but finally gave up the fight.

John Arlington Moore was born in Kingston on October 5, 1938.

He attended the famous At Alpha School, Johnny Moore studied alongside other future luminaries such as Don Drummond, Lester Sterling and Rico Rodriguez. Under the tutelage of the nuns, he exhibited a sound academic aptitude, and with bandmaster Ruben Delgado's guidance, young Moore discovered his musical voice in the trumpet.

On graduation, Moore went on to join the Jamaica Military Band where he earned the nickname "Johnny Blow Blow" because of his insistent practice of Dizzy Gillespie and Charlie Parker's music, instead of Beethoven and Bach's, which was favoured by the military band. He was discharged after three years for "not [being] amenable to military discipline, though a good musician".

Moore next worked with the Mapletoft Poulle Orchestra, but was soon forced to quit because of his Rastafari beliefs. According to Dizzy, Poulle Away from the social scene, Dizzy grew his locks, adorned himself in burlap cloth and spent his time between the Dungle in West Kingston and Count Ossie's Camp on Wareika Hill in Rockfort.

Jazz sensibilities, Rastafari concepts and the drums of Count Ossie shaped Johnny Moore's mature musical personality and inspired bandleader and camp companion Tommy McCook to reason with him, encouraging him to cut his locks and join the Skatalites.

It was his dazzling solos that earned Johnny his moniker "Dizzy," and it was the Skatalites through which he established himself as the leading trumpeter of the idiom. Arguably the most recorded soloist of the era, among the hundreds of recordings on which "Dizzy" Johnny is featured are Something Special, Ringo, Man in the Street, Schooling the Duke, the Wailers' Love and Affection, Lonesome Feeling, and Nice Time.

Funeral arrangements will be announced.

He is survived by his mother, children, grandchildren and great grandchildren.

Reggae Mourns The Passing Of A Legend

Last week, Reggae legend and musical High Priest, Roy Shirley, passed away at his home in Thamesmeade, England at the age of 64.

King Roy Shirley as he was fondly called, was known for his colourful suits, animated stage presentation, and unique delivery that will surely keep his legacy alive within the annals of Reggae music history.

Roy Shirley emerged from a heavy religious upbringing in Trench Town, Jamaica to become a household name island wide in the early 60's.

During this time he recorded a number of singles for Beverley's' Recording before becoming a member of the original trio, The Uniques, alongside Slim Smith and Franklin White.

The group experienced a brief moment of success but disbanded in the mid sixties, leaving Shirley singing solo until he found his first chart topping monster hit with Joe Gibbs entitled “Hold Them”, in 1967. r.

Roy Shirley continued his musical trek of the local and international scene with solid singles, and spawned a few hits in the process whilst working alongside many of Reggaes' pioneer producers such as, Sir JJ, the immortal Caltone, and Bunny “Striker” Lee, with whom he found musical magic for a number of years.

His growing popularity in the late 60's led to international appearances at world renowned venues including the Apollo Theater in 1971 and the Madison Square Garden in 1972.

By the mid 70's, Roy Shirley had conquered Europe and the UK.

Soon his restless spirit found a second home in Britain amongst the West Indian community, where he continued to serve up his unique blend of Reggae music on and off until the late 80's when Roy Shirley decided to share his musical legacy, becoming an active philanthropist and an integral part of talent development in Britain, eventually founding the British Universal Talent Development Association (BUTDA) which still provides opportunities for young brits of all races to hone their artistic talents.

Shortly after, Roy Shirley experienced another resurgence in his musical career, and quickly re-established himself as a staple headliner on a myriad of local and international Reggae vintage concerts in the mid 90's.

By the turn of the millennium the musical high priest shifted his focus to re-igniting his career, initiated by a slew of recordings, a number of reissues by Trojan records, compilations and independent albums.

His 2005 independent full length release, “Nice up The City” became the first of a three part musical project including “Nice Up The Music” and the final “Love Is Forever”.

Up until the time of his death, Roy Shirley was in the process of completing his fourth album aptly entitled “Reggae Sweet Them Now”, in addition to putting the finishing touches to his final world tour which was slated to kick off sometime later this year.

His death has resonated throughout the Reggae fraternity worldwide.

Fans, friends, and industry officials have overwhelmed his surviving family members with condolences from as far as Peru, Japan and Australia to name a few distant places where his music has touched the heart of the people.

Trojan Records, now owned by Universal Records issued a statement from its website in remembrance of this musical mastermind :-"Truly unique, Roy was not only one of the true greats of Jamaican music's first golden age, but also a gentleman in every sense of the word, and he will be sadly missed by all those who knew him, either personally or through his music,"


Funeral and memorial arrangements will be announced.

Reggae Loses Another Legend.

View A Short Documentary Excerpt Ft Roy Shirley


Selah

The Reggae News Agency

www.riddimjamaica.net | www.riddimja.com