Mister Soul Of Jamaica ⊠and Thamesmead : 1938-2008 : reggae artist Alton Ellis
 The first record played on the first weekâs show of the first reggae music programme on British radio was a single by Alton Ellis, a magnificent singer/songwriter too often overlooked when reggae legends are named. I immediately fell in love with his soulful voice, his perfect pitch and his beautifully clear enunciation, rushing out to buy âLa La Means I Love Youâ [Nu Beat NB014], unaware it was recorded two years earlier. Like many of Ellisâ recordings, this was a cover version of an American soul hit (despite the labelâs songwriter credit), though Ellis distinguished himself from contemporaries by also writing his own âmessageâ songs with striking lyrics and memorable hooks. My next single purchases were noteworthy Ellis originals:
âLord Deliver Usâ [Gas 161] included an unusual staccato repeated bridge and lines that demonstrated Ellisâ humanitarian pre-occupations, including âLet the naked be clothed, let the blind be led, let the hungry be fedâ and âChildren, go on to school! Be smarter than your fathers, donât be a fool!â Its wonderful B-side instrumental starts with a shouted declaration âWell, I am the originator, so youâve come to copy my tune?â that predates similar statements on many DJ records.
âSundayâs Comingâ [Banana BA318] has imaginative chord progressions, a huge choir on its chorus and lyrics âBetter get your riceânâpeas, better get your fresh fresh beansââ that locate it firmly as a Jamaican original rather than an American cover version. Why does it last a mere two minutes thirty seconds? The B-sideâs saxophone version demonstrates how ethereal the rhythm track is and shows off the dominant rhythm guitar riff beautifully. Itâs a masterclass in music production.
It was only after Ellis had emigrated to Britain in 1973 that a virtual âgreatest hitsâ album of his classic singles produced by Duke Reid was finally released the following year, entitled âMr Soul Of Jamaicaâ [Treasure Isle 013]. I recall buying this import LP in Daddy Peckingsâ newly opened reggae record shop at 142 Askew Road and loved every track on one of reggaeâs most consistently high-quality albums (akin to Marleyâs âLegendâ). It bookended Ellisâ most creative studio partnership in Jamaica when Reid had to retire through ill health.
What was it that made Ellisâ recordings so significant? Primarily, as the album title confirms, it was that his voice uniquely sounded more âsoulâ than âreggaeâ, occupying the same territory as Jamaicaâs âSam & Daveâ-like duo âThe Blues Bustersâ. I have always harboured the sentiment that, if he had been able to record in America during the 1960âs, Ellis could have been a hugely popular soul singer there. Maybe label owner Duke Reid shared this thought, having recorded âsoulâ versions of some of Ellisâ biggest songs for inclusion in a 1968 compilation album âSoul Music For Saleâ [Treasure Isle LP101/5]. However, at the time, reggae was a completely unknown genre in mainstream America, so Reidâs soul recordings remained unknown there. [The sadly deleted 2003 compilation âWork Your Soulâ [Trojan TJDCD069] collected some fascinating soul versions by Reid and other producers.]
Secondly, Ellisâ superb Duke Reid recordings were backed by Treasure Isle studio house band âTommy McCook & the Supersonicsâ whose multitude of recordings during the ska, rocksteady and reggae eras on their own and backing so many singers/groups demonstrated a tightness and professionalism that is breathtaking. Using only basic equipment in the studio above Reidâs Bond Street liquor store, engineer Errol Brown produced phenomenal results for the time, operating a âquality controlâ that belied the release of dozens of recordings every month.
Finally, Ellisâ recordings displayed a microphone technique that was unique in reggae and demonstrated his astute knowledge of studio production techniques. At the end of lines, he would sometimes turn his head away from the microphone whilst singing a note. Because Jamaican studios were not built acoustically âdeadâ, Ellisâ head movement not only translated into his voice trailing off into the distance (like a train pulling away) but also allowed the listener to hear his voice bouncing off the studio walls. âReverberationâ equipment to create this effect technically was used minimally in studios until the 1970âs âdubâ era, so Ellis seemed to have improvised manually. Perhaps he had heard this effect on American soul records of the time?
On one of his biggest songs from 1969, âBreaking Up Is Hard To Doâ [Treasure Isle 220], you can hear Ellis use this effect during the chorus when he sings the words âeverybody knowsâ, particularly just prior to the fade-out. It is similarly evident on Ellisâ vocal contribution to the brilliant DJ version of the same song, âMelindaâ by I-Roy [on album Trojan TRLS63] recorded in 1972.
The same vocal technique is audible on other songs including âGirl Iâve Got A Dateâ [Treasure Isle DSR1691] in which Ellis elongates the word âtreeâ into âtreeeeeeâ, as well as âbreezeâ into âbreeeeeezeâ, whilst moving his head away from the microphone.
I had always been intrigued by Ellisâ recording technique but had not thought anything more of it until, entirely by accident half a century later, I found startling 1960âs footage recorded at the Sombrero Club on Molynes Road up from Half Way Tree, Jamaica. Backed by Byron Leeâs Dragonaires, an uncredited vocal group I presume to be âThe Blues Bustersâ performed their 1964 recording âI Donât Knowâ [Island album ILP923] during which one of the duo (Lloyd Campbell or Phillip James) moves his head away from the microphone at the end of lines, similar to what can be heard on Ellisâ recordings.
This started me searching for 1960âs footage of Ellis performing live. Sadly, I found nothing (either solo or in his previous duo with Eddie Parkins as âAlton & Eddyâ [sic], similar to âThe Blues Bustersâ) to see if he emulated this vocal technique on stage too. For me, it remains amazing that the smallest characteristics audible in a studio recording (particularly from analogue times) can offer so much insight into the ad hoc techniques adopted to overcome the limitations of available technology. The ingenuity of music production in Jamaica during this period was truly remarkable.
Prior to emigration, Ellis had toured Britain in 1967, performing with singer Ken Boothe. Whilst in London, he recorded a single âThe Messageâ [Pama PM707] in which he raps freestyle rather than sings, fifteen years prior to Grandmaster Flashâs hit rap track of the same name, and declares truthfully âIâm the rocksteady king, sirâ. Its B-side pokes fun at 'English Talk' that he must have heard during his visit. The backing music is the clunky Brit reggae of the time, but Ellisâ subject matter is fascinating for its innovation.
1971âs âArise Black Manâ [Aquarius JA single] includes the lyric âFrom Kingston to Montego, black brothers and sisters, arise black man, take a little step, show them that you can, âcoz youâve got the right to show it, youâve got the right to know itâ. The verses and chorus âWe donât need no evidence nowâ are backed by a big choir. Itâs a phenomenal tune despite not even having received a UK release at the time. (Was the chorus a reference to Britain's 1971 Immigration Act in which a Commonwealth applicant was "required to present [...] forms of evidence" to "prove that they have the right of abode" in the UK?)
The same year, âBack To Africaâ [Gas GAS164] has the chorus âGoinâ to back to Africa, âcoz Iâm black, goinâ back to Africa, and itâs a factâ backed by a choir once again. Thereâs an adlibbed interjection âGonna stay there, 1999, I gotta get thereâ that predates Hugh Mundellâs seminal song âAfricans Must Be Free By 1983â.
Again in 1971, Ellis re-recorded his song âBlack Manâs Prideâ [Bullet BU466], previously made for producer Coxson Dodd [Coxson JA single], with itâs shocking (at the time) chorus âI was born a loser, because Iâm a black manâ. The verses are a history lesson in slavery: âWe have suffered our whole lives through, doing things that theyâre supposed to do, we were beaten âtil our backs were black and blueâ and âI was living in my own land, I was moved because of white menâs plans, now Iâm living in a white manâs landâ. I consider this phenomenal song the direct antecedent of similarly themed, outspoken recordings by Joe Higgs (âMore Slaveryâ [Grounation GROL2021]) and Burning Spear (âSlavery Daysâ [Fox JA pre]) in 1975. If only this Ellis song was as well-known as Winston Rodneyâs! [In initial recorded versions, âloserâ was replaced by âwinnerâ and the song retitled âBorn A Winnerâ.]
I first discovered Ellisâ song âGood Good Lovingâ [FAB 165] as the vocal produced by Prince Buster for a DJ track by teenager Little Youth on the 1972 compilation album âChi Chi Runâ [FAB MS8, apologies for the language] called âYouth Rockâ. At the time, I was crazy about this recording, combining a high-pitched youthful talkover with a solid rhythm and Ellisâ trademark voice in the mix. I will be forever mystified as to why the DJ (sounding like Hugh Mundell/Jah Levi) seems to refer to âCool Version by The Gallows [sic]â in his lyrics!
In 1973, Ellis released the song I never tire of hearing, âTrulyâ [Pyramid PYR7003], that benefits from such a laid-back rhythm that it feels it could come to an abrupt stop at times. It is one of Ellisâ simplest but most effective songs and has become a staple of reggae âloversâ singers since, employing wonderfully unanticipated chord changes. It sounds like a self-production, even though UK sound system man Lloyd Coxsoneâs name is on the label. This should have been a huge hit record!
There are so many more Ellis tracks from this fertile early 1970âs period that make interesting listening, recorded for many different producers and released on different labels. Sadly, no CD or digital compilation has managed to embrace them all. I still live in hope.
After Ellis moved permanently to Britain during his late thirties, he must have struggled in the same way as some of his contemporaries, trying to sustain their careers in the âmotherlandâ. Despite UK chart successes, Desmond Dekker, Nicky Thomas, Bob Andy and Jimmy Cliff were very much viewed as one-off ânoveltyâ hitmakers by the mainstream media rather than developing artists. Worse, Ellis had never touched the British charts. Neither did the majority of reggae tracks produced then in British studios sound particularly âauthenticâ to the musicâs audience, let alone the wider âpopâ market. Ellis performed at the many reggae clubs around Britain but the rewards must have been limited.
Ellisâ British commercial success came unexpectedly when another ânoveltyâ reggae single shot to number one in the UK charts in 1977. Its story is complicated! The previous year, Ellisâ 1967 song âIâm Still In Love With Youâ had been covered in Jamaica by singer Marcia Aitken [Joe Gibbs JA pre]. A DJ version by Trinity over the identical rhythm followed called âThree Piece Suitâ [Belmont JA pre]. Then two young girls, Althia & Donna, recorded their debut as an âanswerâ record to Trinity on the same rhythm and named it âUptown Top Rankingâ [Joe Gibbs JA pre]. Other producers released their own âanswerâ records, rerecording the identical rhythm, all of which could be heard one after the other blaring from minibusesâ sound systems in Jamaica at the time. Unfortunately for Ellis, Jamaica had no songwriting royalty payment system in those days.
I remember first hearing âUptown Top Rankingâ as an import single on John Peelâs âBBCÂ Radio Oneâ evening show. Even once it had been given a UK release [Lightning LIG506], Ellis was still omitted from the songwriting credit by producer Gibbs. Legal action followed and eventually Ellis was rewarded with half of the recordâs songwriting royalties (for the music but not the lyrics), a considerable sum for a UK number one hit then. The same track (re-recorded due to producer Joe Gibbsâ intransigence) was then included on an album that Althia & Donna made for Virgin Records the following year [Front Line FL1012] that had global distribution, earning Ellis additional royalties.
Also in 1977, Ellis produced twenty-year-old London singer Janet Kayâs first record, a version of hit soul ballad âLovinâ Youâ, released on his âAll Toneâ label [AT006] that, prior to emigration, he had created in Jamaica to release his own productions. Ellisâ soul sensibilities and music production experience inputted directly into the creation of what became known (accidentally) as âlovers rockâ, a uniquely British sub-genre that perfectly blended soul and reggae into love songs recorded mostly by teenage girls. This âundergroundâ music went on to dominate British reggae clubs and pirate radio stations for the next decade, even pushing Kayâs âSilly Gamesâ [Arawak ARK DD 003] to number two in the UK pop singles chart two years later.
Into the 1980âs and 1990âs, Ellis continued to release more UK productions on his label, including a â25th Silver Jubileeâ album [All Tone ALT001] in 1984 that revisited nineteen of his biggest hits, celebrating a career that had started in Jamaica as half of the duo in 1959. I recall Ellis visiting âRadio Thamesmeadâ in 1986, the community cable station where I was employed at the time. He was living on Londonâs Thamesmead council estate and was interviewed about his labelâs latest releases.
On 10 October 2008 at the age of seventy, Ellis died of cancer in Hammersmith Hospital. He had been awarded the Order of Distinction by the Jamaica government in 1994 for his contributions to the islandâs music industry. I continue to derive a huge amount of satisfaction from listening to his many recordings dating back to the beginning of the 1960âs and wish he was acknowledged more widely for his outstanding contributions to reggae music.
Now, when I think of Alton Ellis, I fondly recall my daily car commute into work at KISS FM radio, Holloway Road in 1990/1991 with colleague Debbi McNally, us both singing along at the top of our voices to my homemade cassette compilation playing Alton Ellisâ beautiful 1968 rocksteady version of Chuck Jacksonâs 1961 song âWillow Treeâ [Treasure Isle TI7044].
âCry not for me, my willow tree ⊠âcoz I have found the love Iâve searched for.â
[I have curated an Alton Ellis playlist on Spotify though many significant recordings are unavailable.]
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Top 5 Songs of the Moment!
@crashtestjeffy has tagged me for the five songs searing into my brain! I just so happened to have a couple packages with some goodies waiting for me when I got home from work⊠so Iâll share them with you all tonightâŠ
I had forgotten how great âLos Angelesâ by X is. Itâs hard to choose a favorite. Lots of great songs to choose but I think I like âNauseaâ the best. At least right now.
I have never been let down by a Phyllis Dillon record.
Another quality vintage Lee Perry production!
Lee Perry yet again! Comprising the Barrett brothers rhythm section before Bob Marley poached them for The Wailers. A very early dub classic!
And lastly a seriously funky Jamaican cover of âSoul Makossaâ. Not sure if they needed to make it more funky, Manu Dibangoâs original was already pretty damn funky (go check it out), but they cranked up the funkyness to 11 here! I put this on and it sounds like Iâve got a party going on.
Bonus! I actually ordered something else but they keep sending me the wrong 45. Somehow they canât figure out that multiple records may use the same labels design and color schemes. They canât grasp that they have to read the words apparently. This is the fourth wrong record theyâve sent me for this one Iâm trying to get. Fortunately for me I wanted everything theyâve sent me. The one Iâve been ordering is significantly cheaper than what theyâve sent me so Iâm coming out ahead!
Letâs hear what you got @ohhaly , @farewelldorothyparker , @persepinesascent , and anyone else who wants to share! No pressure. Really. For reals.
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