Take It Easy by Hopeton Lewiis 45rpm
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| In the 1950s, Jamaica began to record and release its own Mento music, and the island 's music industry took its first tentative steps. Soon, sound systems appeared and American Rn B shook the island. By 1963, sound system operators were recording up-tempo Ska, symbolizing the optimism of newly independent Jamaica. In 1967, Jamaican music moved toward Rocksteady, which became the foundation for reggae rhythms for decades to come. In the early 1970s dub versions and the deejay gained prominence, and the new consciousness of Jamaicans as Black people became a focal point of the emerging style of Roots Reggae. During the 1980s, the focus shifted again to having fun in the dancehall, and music primarily to be heard in the sound systems became increasingly popular. Known as "Dancehall" music, it went through a digital revolution and the effect of this phenomenon is still being felt today. The blood of reggae continues to run through the various kinds of Jamaican music and there are remarkable recordings from each of these different periods. We aim to accurately cover the 50-plus years of Jamaican music, and pass on many magnificent recordings, which are non-commercial and highly artistic. Carefully handing down the tradition of reggae music - that is Dub Store Records. | |||||||||||||||||||||||||
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| It was the island's first domestic recording studio and where the pioneers of reggae, such as Sir Clement 'Coxsone' Dodd, Duke Reid and Prince Buster, recorded the earliest examples of popular Jamaican music. The name of the studio's founder, Ken Khouri, is not well known This re-issue series will bring discerning listeners remarkable music recorded by Ken Khouri at Federal Records. We would like to dedicate this series to Ken Khouri's lasting contribution to Jamaican music. | |||||||||||||||||||||||||
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| From sons of Ken Khouri, Paul and Richard, engineers at the Federal Records to even employees at their pressing plant - all whom involved at the label forwarded Merritone productions in a body. They recorded many songs under Merritone label. However, those only appeared on vinyl records in limited quantities in Jamaica and a small bunch of titles were released on Island label in UK. Some of the recordings never saw the light, some became hardly known and many of them now considered being ultra rare records. Thus the label became a mysterious Rocksteady production in the Jamaican musicology. The label name is originated from Winston Blake's sound system, Merritone. Federal Records, which was the largest record company of the time in Jamaica, often used young talented people like Winston, who knew much about trends of the fraternity for promoting their new materials. Interestingly, Federal Records used even the sound system name in this case. Although Federal Records is known for compositions arranged by Ernest Ranglin, Trinidadian guitarist Lynn Taitt and the Jets were in charge of the Merritone recordings. Lynn Taitt took a prominent role as a forerunner of brand new Rocksteady sounds as he produced like Hopeton Lewis's 'This Music Got Soul.' Merritone recordings were undoubtedly collectives of veteran musicians at Federal Records, high-technology recording facilities, traditions and proud of the record company. Many would still describe the sound so unique, elegant, sophisticated and authentic like no other. As a part of "Story Of Federal Records - Tribute To Kenneth L. Khouri" program, Dub Store Records proudly presents 40 singles from master tapes. Thanks to Paul Khouri, Steve Barrow, Noel Hawks, Jimmy Maloney and Cynthia, | |||||||||||||||||||||||||
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| Kiddus I - Complete Collection Kiddus I is the mysterious figure singing at the start of the film Rockers. A graduate of Ras Michael's Sons Of Negus, a key member of The Wailers milieu, and a Black Ark artist, his recordings - centred on the Roots Reggae period - are marked by the openness of their musical horizons, and a striking originality and integrity. (Also during this era he was a key voice raised in the Jamaican music industry against political oppression.) Yet Kiddus I's disdain for careerism has held him back from the spotlight - as so many people in Jamaican music will tell you. Now, this revelatory, comprehensive retrospective will surely confirm his place amongst the all-time greats of reggae music. | |||||||||||||||||||||||||
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| Bunny Wailer "The Blackheart Man" In 1963, Bunny Wailer made his first debut at Sir Coxsone's Studio One with Bob Marley and Peter Tosh as a group called the Wailing Wailers. He was commonly credited as Bunny Livingston at that time. After graduating Studio One in 1966, they formed their own independent label called Wail'N Soul'M and basically handled their career themselves. Later, they renamed the group and the famous Wailers embarked. Their prolific recordings were produced with Lee Parry and it undoubtedly led them to achieve a major breakthrough in Jamaican music industry and establish a world well known label Tuff Gong. In 1973, after signing with Island Records, [Catch A Fire] album was released by the label CEO Chris Blackwell for the international market. Soon, the group became a Reggae superstar icon and toured all over the world. However, Bunny Wailer returned to Jamaica because he was pining for the lifestyle of his home country. After returning to Jamaica, he started his solo career and released some recordings from his Solomonic imprint periodically. Island Records released his debut sophomore [Blackheart Man] album and he gained the recognition internationally as a solo artist. Although his Solomonic imprint continued until around 1990, many artists from 70's faced much difficulty to carry on their career during the period of the digital revolution, which occurred 1985. However; as a pioneer of the Jamaican music industry, It was not hard task for him to create the shockwave to young Dancehall listeners with his song "Rule Dancehall" in 1987. Truly, he is the original member of The Wailers who has been leading the Jamaican music scene. License courtesy of Bunny Wailer | |||||||||||||||||||||||||
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