Album of The Week: The Best of Trojan Rock Steady, Vol. 1

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Listen to “The Best of Trojan Rock Steady” by scrolling down (opens in Spotify)

If you live in a snowy place, like I do, let me make a suggestion: listen to more Jamaican music this winter. It’s an island with a wonderfully rhythmic and diverse musical past, and nothing kicks winter blues faster than music from a place many of us identify with eternal summer.

I understand if you’re a little gun-shy on Jamaican music—if you feel like you just can’t hear a Bob Marley song again without flashing back to college. But reducing an entire nation’s musical output to one (admittedly pivotal) figure would be like only listening to Elvis when you wanted to hear some American music. There’s a heck of a lot more out there, and if you had the time and the cash, you could happily spend a lifetime diving thorough musty stacks of 45s in some Kingston record store to discover it all. (And by “you” in that preceding sentence, I do, of course, mean “me.)

That’s why Trojan Record’s “Best of” series is so great: these discs provide a crash course in part of Jamaica’s musical history. Each album generally centers around a particular theme or genre, and provides a great diving board to help you plunge into a different sound.

The Best of Trojan Rock Steady vol. 1 is my favorite so far. Rock steady was a musical precursor to reggae popular in the mid 1960s. It was a little less frenetic than the ska music that preceded it, and a lot of reggae artists, including Bob Marley and the Wailers, played rocksteady before they began to develop reggae. What this means is that you have a familiar rhythmic structure, but with enough differences to draw your ears in: exquisite vocal harmonies, great horn lines, and more than a pinch of Motown influence.

Most of the names on here aren’t ones you’ve likely heard before, but it hardly matters. The performances are uniformly excellent and singularly quirky, from The Ethiopians’ subtle sound effects on “Train to Skaville”—produced by the singers themselves—to the mindlessly catchy hook of The Jamaicans’ “Ba Ba Boom.”

Of all the gems on the album, Phyllis Dillon’s song “Perfidia” sparkles brighter than the rest. Not only is it the only track on the album with a woman singing lead, but it’s also written in an almost absurdly poetic, refined register: the refrain is “Oh perfidious one, goodbye.” Listen to the way the expected major chord progression skews minor at 0:28, the way Dillon says “sock it to me, baby” just before the break. What about that weird spoken bridge? Bob Marley can’t top that.

Besides the perpetual motion of the upstroked guitar parts, these recordings all share this great analog warmth. They sound earthy and a little dusty, sort of squishy and fuzzy. You can hear the limits of mid-60s Jamaican recording technology, and I love that. This is a collection that oozes atmosphere.

I think there’s so much here to listen to, and it’s a refreshing change from Legend or whatever other Bob Marley album you automatically reach for. The album will help steer you in the right direction if you want more of this sort of thing—Desmond Dekker and Lee “Scratch” Perry are both essential names that you may have missed in the shadow of Marley.

But the sun’s out now, so crank up the heat and slap on some tanning oil: summer’s here to stay.

 

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