Derrick Morgan

Derrick Morgan - Small Axe File

Ray Hurford - Small Axe (c) & (P) 2023

Derrick Morgan is the foundation artist of all foundation artists! His long career has taken him to every major producer of the sixties. All of them! Coxsone, Duke Reid, Leslie Kong, Prince Buster. 

And then he teamed up with Bunny Lee, more hits - and somehow he managed to start his own set of labels ‘Hop’ ‘Skip’ and ‘Jump’. Derrick is a one man record industry! 

If Bunny Lee was ‘Striker Lee’ Derrick Morgan, must be ‘The Playmaker’ of reggae

Music.  

You want a hit, go to Derrick. Derrick’s story begins here at Leslie Kong’s ‘Beverley’s’ label. Why? Well, it doesn't take much research to see that despite the incredible amount of music made for all these early producers in Jamaica. The only one who released an album with him at that time was Leslie Kong. 

Making an album is a big deal now, making an album then was a massive deal.  And to be fair to Coxsone, Duke Reid and  Prince Buster - in the early days - they had something else on their collective minds. Sound System.

Leslie Kong concentrated on his productions. Although it must be said there are not a lot of Beverley’s albums. So this one from Derrick, ‘Forward March’  released in 1962 is even more special. 

However, to try and make sense of so much music from Derrick, I am  not going to trouble this set.

And instead will turn my attention to this magnificent release on Trojan in 2003. A massive 54 track double CD that contains a whole heap of Leslie Kong productions going back to 1960 - all the way up to 1968.

Duke Reid, Andy Capp, Bunny Lee and even some Derrick Morgan self productions are also included.

But with some 33 tracks produced by Leslie Kong most people would think of it as a double or even triple album from the noted producer. It’s a lot of tracks - and the sum total of Beverley’s produced Derrick Morgan music comes to well over eighty tunes. 

Easily enough for two box sets!!! When it comes to recording Derrick did not ‘Ramp’

And with Beverley’s he had an even closer connection being employed by Leslie to be an A&R man for the label. 

Forward March - 1962

Derrick’s career at Beverley’s got off to an amazing start with the big hit ‘Forward March’ Released in 1962 - this tune combines the Ska rhythm to Independence for Jamaica.  Now ‘Ska’ at that time in Jamaica was one of a number of rhythmic directions the Island could have taken. It didn’t make up it’s mind until the Skatalites came along. But this tune from Derrick - must have given the Ska sound a big push - and in the right direction. The lyrics were also well forward! “Forward March, Gather Together, be brothers and sisters, We’re independent, independent.”

Housewives Choice -  Derrick & Patsy Todd - 1962

Another big part of Derrick Morgan has been the duo’s. Load and loads of them. Patsy was his most regular partner. And without a doubt the biggest hit came with ‘Housewives Choice’ . It’s unusual title came from a popular radio program at the time on the BBC. Why it was so popular in Jamaica is unknown to me, however it was. 

Most of the time, this simple little love song is sung in unison, then with each singer taking turns to sing a line or two. It’s a great tune and remains as popular today as it was when it was released.

Blazing Fire - 1963

Dramatic titles are also a bit part of Derrick’s approach to making music. ‘Blazing Fire’ Opening up with a magnificent guitar lick - the tune quickly goes into an almighty attack on Prince Buster. Even though Leslie Kong didn’t run a sound system. There was no rule to say that he couldn’t make a musical contribution! The popularity of the sound system in Jamaica, rubbed off on these tunes big time. If an artist could come up with a set of lyrics like this, they had to be put to use. Buster was probably working on a reply - from the moment he heard this tune!

No Raise, No Praise - 1963

Yet another attack on Prince Buster. What a surprise! “I Wasn’t born yesterday,

I’ve been down the road, and back a time or two”  This kind of banter is ready made for a great rhythm. And if it works once, try it again. The tune starts off with a little harmonica solo - clearly connected to the great guitar lick on ‘Blazing Fire’ .  You see this sort of thing did not just make Derrick popular, it made Leslie Kong and Prince Buster - and early Ska popular! It shifted Jamaican music away from just trying to copy great R&B tunes.

I Am A Blackhead Again -  1965

A year or so into the musical feud between Prince Buster and Derrick, and they are still at it. The real difference is rhythm. It’s got a jump to it, that wasn’t there a year or so back.  That jump makes the rhythm a bit faster - but Derrick rides the rhythm - well.  The gist of the attack on Buster this time, is that Buster called Derrick a ‘Blackhead Chinaman’ Perfect material for Derrick to respond too. Derrick does this by finding fault with Buster personally rather than calling him names

Starvation - 1965

Back to reality with this one from Derrick.  Stringing together some powerful reality lyrics in a clever rhyming style. Once again the rhythm is fast - but poses no problems for the man. He just gets on with a blistering attack of the system. “Boys and Girls in the Streets, Seeking Work in the Heat,No shoes on their feet, No Food for them to eat.” And when Derrick was singing this powerful song - I bet he wouldn’t be thinking that decades later - the same problems would exist, and were probably worse - and on a much bigger scale.

Tougher Than Tough - 1967

Derrick gave Leslie Kong, a load of great music and hits. One of the biggest came in 1967 - the Rock Steady era. The strange thing is that you can’t really find that much rock steady on Beverley’s. Yet when they did a rock steady tune - it was a big hit. Desmond Dekker’s ‘OO7’ being one, and the first cut of ‘54-46’ from The Maytals being another. Derrick’s ‘Tougher Than Tough’ stands proudly alongside those great tunes - and should have given Derrick a pop hit. Perhaps it was the ‘Rude Boy’ lyrics, who knows?

Greedy Gal - 1967

Piano and Guitar combine for a classic Rock Steady rhythm intro. And with it being Rock Steady, Derrick seems well at ease. Not really a ‘love’ song, this one is more like a ‘life’ song.  The Greedy Gal in question is spoken about with lyrics like “Give her an inch, she wants a foot, give a foot, and she wants a yard.”  And Derrick can only complain. And complain he does. The Greedy Gal in question must have known that sooner or later she was going to end up in song, or even two!

Water, More Than Flour - 1968

An incredible tune with elements of both Rock Steady and Reggae, it’s the tempo that keeps it in the Rock Steady era, but everything else has got a reggae feel, or even a Reggay feel. It’s of course another protest song - sung in a more strident style. Which is also typical of the time. When it comes to sorting out when Rock Steady ended and Reggae began - i.e.. The start of reggae music, Derrick is deeply in the mix with this tune and others. It’s no wonder he took up producing; he's got a real talent for it -’Changing The Beat’.

What’s Your Grouse - 1968

Well no one could grumble about this tune, this is a fast reggae rhythm - with crashing drums, everything!!! Bouncing bass lines - picking guitar. And it’s also got a topical theme.‘The Phone In’ America must have started this off, and Jamaica’s followed. This has nothing to do with the UK. If the BBC had any phone in’s during this time in the UK, they would have been bombarded with complaints about the lack of reggae music on the radio. It’s a great idea for a tune, and Derrick does it in fine style.

Coxsone Dodd’s Studio One label was a natural stop for Derrick Morgan. His stay with the label never produced any massive hits. Yet he ended up doing nearly 30 tunes for the label, so it wasn’t for the lack of trying. But it wasn’t really about that. Yes all producers wanted hits, and so did the singers, but back then you had a sense of people wanting to build something. There was a common purpose. Yes there was great rivalry - yet it was balanced by a certain amount of co-operation.

Leave Earth - All Stars - 1960

One of Derrick’s early tunes (for anyone) was this one ‘Leave Earth’  Which isn’t really even a Shuffle Beat tune. It’s more straight R&B - featuring Clue J and his Blues Blasters on rhythm. The lyrics have got the same kind of feel - it’s sung in the same kind of way. You could mistake it for coming from somewhere in the Southern states, except - no one in the US, sung like that. That Jamaican slur gives it an extra edge. Over the years - Derrick’s singing lost that slur, but what never went was the sense of purpose - the man always got something to say.

Wigger Wee Shuffle - 1960

Now this is more traditional fare for the time. As the title states it is a ‘Shuffle Beat’ tune and is the B.Side of ‘Leave Earth’ in Jamaica  on ‘All Stars’ and on ‘Blue Beat’ in the UK.  Any tune with “Walking down the street, listening to that Crazy Beat’ has got to have something going for it.  Derrick’s voice is also a lot clearer on this tune, which suggests that at the time he had more of a liking for the slower tunes. Ity would be nice to know what the difference was between a normal Shuffle, and the Wigger Wee’!!!

Cool Off Rudies - 1966

With all the little guitar dinks on this - you would think it was a Buster or Federal production. Without a doubt it’s Lyn Taitt on guitar on one of his sessions he did for Coxsone. The impact of the Rudies on the Jamaican psyche was massive. That shock wave hit the UK a year or so later, and produced the Skinheads. Derrick was a hero to the Rudies and The Skinheads. And yet like so many other great tunes about the Rudies - he is not praising them. Derrick fully understood what it really meant to be young, gifted and black in Jamaica. Or young, gifted and white in the UK.

We Are Suffering - 1966

A much more traditional sounding Studio One rocksteady tune , featuring some beautiful piano work, and some incredible harmonies as well.  Sung with great passion the lyrics are full of anger and frustration. A song worthy of someone like Alton Ellis or Bob Andy.  Released in Jamaica on the Studio One label, but never gaining release in the UK. I’m sure it would have been very popular in the UK. 

And would have given him and Coxsone a hit.  Thankfully it didn’t slow down Derrick. Going on to make more records with Coxsone. It would be good if they were all put together.

Duke Reid, being the main sound system rival to Coxsone, Would have had a great interest in recording Derrick.  His popularity in the early sixties, well all of the sixties! Would be good not only for his Sound System - but on his label - Treasure Isle. The bulk of Derrick’s recordings for Duke were Duo’s. Derrick & Patsy, Derrick & Naomi, even a few with people like Lloyd Clarke & Denzil Dennis.

Joy Bells - 1962

Duke Reid was already onto the Ska rhythm by 1962, and it’s just at the right tempo for Derrick. Not too fast. This one is all about self-determination. Which was another popular theme back in that era. Independence had a lot of different meanings for different people. Nationally and Personally. You could say they were interlinked. With the Jamaican people expecting a better life from that time on. It was a hope that was still to happen, more than sixty years later! Still we all live in hope.

Duke Reid

Katy Katy -  1964

Virtually every Girls name you could think of - was covered in the R&B era in the US. And so when the Jamaican recording industry started up - the same process began.  Some famous tunes from this era would include ‘Artibella’ from Stranger & Ken ‘Miss Beverley’ From Jimmy Ciff, and Muriel from Alton & Eddie. ‘Katy Katy’ from Derrick did not have the same impact, but it’s another great uptempo ska tune from the man. Although Derrick did try his luck with this style with a few other girls' names, by and large, he was happy to sing about Buster, Rudies and the state of the world.

Sweeter Than Honey - 1965

A strange one, when all the other Ska producers were slowing down, more or less anticipating the Rock Steady beat. Duke Reid - up the tempo.! A well played snare drum - ticks away like some clock. This provides all that Derrick needs to give us a good love song, sung with great passion. Love songs were the mainstay of this era - and the fact that Derrick made so many songs outside of the genre, may have contributed to his lasting popularity.

Around The Corner - 1965

My god, what a set of lyrics! Not so much a song, but a storybook. Derrick must have been reading a copy of ‘True Romance’ or something like that when he wrote this song. It takes him about a minute to get to the actual title. And it’s a fast tune. Really fast.

Considering that Duke Reid more than any other producer made the Rock Steady era his own, it seems like he is reluctant to let go of the Ska sound. I wonder what kind of conversations Duke was having with his musicians? 

Prince Buster

Derrick’s relationship with Buster was very complicated. Listening to their musical exchanges over the years you would think that they were far from being friends. In reality most of it was banter. Buster had enough music with Derrick to release four albums. If there were serious problems you might end up with a few tunes. Not 50!

Not having access to all of these tunes means it’s not possible  to attack other producers while working with Buster,  but it would not surprise me.  Coxsone would have been an obvious target. Perhaps Duke Reid.

Shake A Leg - 1961

Buster was the main advocate for changing the beat. It wasn’t that he didn’t like the ‘Shuffle’ or ‘The Blues’ he knew that was room for, and a need for something else - and Jamaica could fulfil that need. This tune is at the perfect tempo for Derrick. Slow

With riffing horns - and a great little horn figure, that could have come off of a million US produced R&B Records. The song ticks all the boxes for the time. “Little Girl, Dressed In Blue, etc.” In places it could even be said to be slack!

Miss Lulu - 1964

Now when it comes to Girls names, 'Lulu’ is very popular. Thankfully Derrick’s ‘Lulu’ song is about dancing.  And it’s also another slow one or mid tempo.  It’s also got the handclapping which graced many a fine tune produced by Prince Buster. I’m sure other producers were into ‘Clapping’ but Buster seemed to like it more than anyone else!  It’s also got some great horn riffing - and trumpet solos. Even though the recording process at them time was very basic, every producer was looking to make his production sound different

Let Them Talk  - 1964

A very unusual tune, a little faster than usual for a Buster/Derrick work. But what makes it unusual is that Derrick gives us lyrics at different speeds. More like telling a story than anything else. I have heard this technique somewhere else - but at the moment, I cannot recall where. Perhaps it’s the song - possibly a cover of some big hit from the past. Anyways - Derrick does in fine style. And Buster supplies him a great rhythm to sing it over, complete with a great harmonica solo.

Johnny Grave - 1965

Derrick loves a story -and the man named Johnny came into his songs more than once. Usually poor Johnny is suffering - and on this occasion he seems to have passed away.  Buster fills the tune up with great solos and and even more handclapping, this time it’s slow - which seems to fit the nature of the song Despite there differences  - Buster and Derrick gave us some great music. It would be great to see all this great music brought together - which would provide more people the chance to really appreciate it.

Derrick Morgan - Self Productions

Derrick moved into production in 1967, his first label being ‘Morgan’ then ‘Hop’ followed by ‘Skip’ and ‘Jump’ The bulk of releases, nearly 60 were released from 1967 to 1973. A lot of them were released by Pama during the late sixties. Pama created a production team of Derrick Morgan, Laurel Aitken and Ranny Bop during this time. In this regard they are more progressive than Trojan.  Who more or less relied on Dandy Livingstone for their UK productions. However it would be fair to say that Dandy had more success.

Conquering Ruler -  1967

Now this a classic Rock Steady tune - really does like a Sound System special tune. “Coming from the North, with my Face To The South” And “I am your Ace from Space” Sounds like the kind of lyrics that a DJ would say. So now it’s trying to work out which one’s. U Roy, Matchuki, Sir Lord Comic, King Stitt., or perhaps how old friend the toaster from Lamoka, the man called Karl Walker. Rock Steady was made for Deejays. Or even Singers who like to do a bit of deejaying.

I Love You The Most - 1968

A classic Rock Steady tune, with a vocal that really does not sound like Derrick.  All singers can sing in a slightly different style from time to time - but this is dramatic! It’s Derrick doing a good impersonation of Lord Creator! The only other possible explanation is that there are two cuts of the same tune, one with Derrick and one with this other singer - who is uncredited. With Reggae music, label information can only take you so far.  You have to listen. And listen well to make some sense of what you are hearing.

Beyond The Hill - 1970

After one year of really fast reggae rhythms, and then another year - when it slowed down a little, by the time we get to 1970. Reggae was evolving again taking on elements of Rock Steady - and blending them with the Reggae beat. This tune from Derrick is built around a really old song.  Or parts of old songs. What makes this tune is the production. By this time Derrick could take virtually any song - and turn it into a great reggae tune. Such is the man’s talent.

John Crow Skank - 1971

The Skank era - as got a number of mystery tunes, but this one from Derrick takes the musical biscuit. For years I knew this tune to be from Clancy Eccles - released on

Clandisc. Now the only connection to Clancy Eccles is King Stitt’s tune of the same name ‘John Crow Skank’  Still at least we have this one Derrick to treasure. A classic stop/start rhythm guaranteed to put all lovers of the Skank rhythm into movement.

And this one even got Strings!!! How many Skank rhythms have strings? Although it does sound a lot like a Mellotron!

Bunny Lee

It took a couple of years, from the time Bunny started to produce - until Derrick came on his Musical Radar - which was around 1968. He had probably known Derrick for years - but even Bunny could not produce everyone. Although the man had a really good go . And even better - the man found a way of releasing most of his stuff. 

A tune sitting on a tape reel - did not make Bunny happy. Or even a Happy Bunny! 

Hard Time - 1968

Crashing drums, a bouncing bass - and a  mento style rhythm guitar. These kinds of combinations are made in musical heaven! And it also sounds a lot like a cut of Lee Perry’s ‘People Funny Boy’ rhythm. Which to me still seems like the most likely ‘First’ tune to be made with reggae rhythm. This one must have come soon after it. What is a bit strange, is that it seems like neither Bunny or Scratch used the rhythm again. Derrick sings the song in great style - despite it’s tempo, and it is fast!

Moon Hop - 1969

Really hard for people to understand now, the impact that man landing on the moon had back in July 1969. At that point in man’s history - it really seemed anything was possible. Reggae was really happening at the time as well, Pop Chart hit after hit.  And the next few years saw a whole heap of tunes about the moon. Derrick’s ‘Moon Hop’ and Symarip’s ‘Skinhead Moonstomp’ were the most popular. And both were recorded over here. Derrick’s as the Rudies as the backing band. A lot of great tunes were made in the UK during those times.

Hold You Jack - 1968

Even better is this monster. This rhythm is the original rhythm for Max Romeo’s Wet Dream’ that of course not only hit the Pop Charts, but was also banned in the process.  This cut from Derrick is a great tune from Derrick, picked up by Island Records for release in the UK. Not long after Island departed the reggae scene leaving Trojan and Pama to battle it out. It would have been good for Derrick and Island,and reggae,  if this cut of the rhythm had gained the success of Max’s slack tune. Not that Max, Bunny or Pama minded.

Seven Letters - 1969

A great song, and another amazing rhythm. Listen to that organ. That kind of style made reggae music so popular. It's a hi-speed shuffle, some call it a ‘Bubble’ organ- whatever you want to call it, it’s great music.  Derrick and Bunny  should have had a pop hit with this tune, they nearly did.  Pop charts success eluded both Derrick and Bunny - and yet together they made so much great music. Thankfully - that lack of pop chart success did not bother Derrick or Bunny.

Man Pon Moon - 1969

Like I said they loved a ‘Moon Tune’ in reggae. And this is second for Bunny Lee.  And also recorded in the UK with the Rudies.  Would like to know what studio this was done in London. Chalk Farm, or the Studio in Denmark Street WC1. It’s a great sound - you can tell it’s not Jamaican, but it still got a vibe Derrick’s musical exploration of the Moon, includes lyrics like “Man A Land On The Moon, Say they gonna live there soon”  Well that is still to happen. Although Ancient Alien theorists suggest….

Bring In The Guns - 1972

The slower skank rhythm was ready made for Derrick. And the man released a lot of music in this era. But no matter how good the tunes are, they are all very good. Derrick’s name was always going to be connected to the Ska, Rock Steady and Reggae era’s. Reggae music is not unlike any other forms of music in that regard.  How much impact did the great names of Rock and Roll have in the sixties? Still great songs like this prove he still had more to say. Nothing could silence this man.

A No Duppy - 1974

Duppies became very popular in the early to mid-seventies. The Wailers ‘Duppy Conqueror'' was one, a massive hit. While Ernie Smith’s ‘Duppy Gunman’ brought together two themes. A clever move from Ernie!  This one from Derrick is a classic scrubber!! Powerful drum rolls, super heavy bass - and a scrubbing guitar that offers no mercy. It’s also a great song - a bounce off of the Ernie Smith tune. And Derrick sings the tune - in that great confident way that made him so popular during the sixties. 

South Corner Rock - 1975

By 1975 the Flyers created by Bunny Lee had become the most rhythmic style in Jamaica. The style started in 1974, with great tunes from people like Johnny Clarke, and Cornell Campbell.  Bunny released so much music in that style, that by 1975 he was already changing the beat. The Flying Cymbal was being pulled back and the Rhythm Guitar playing a wah wha was coming forward. This was to be the sound of Rockers. This tune has got all the vibes of ‘Flyers’ and ‘Rockers’  And is a recut of one his early ska hits.

Under Heavy Manners - 1976

This was a big hit for Derrick. Most people remember Prince Far I’s tune of the same name, but this one from Derrick and Bunny ran it close. The slow Rockers sound with that wah wah guitar was all that was needed in terms of rhythm for Derrick.  When it comes to themes ‘Gun Courts’ and ‘Gun Man’ these were themes that he had sung about before.  Think of the Rudies. The names are different  but it's the same set of problems. The Rudies of the Sixties became Gunman in the seventies.

Fat Man - SL Smith - 1960

A massive hit for Derrick - twice. This one produced by Simone  Smith or ‘Smithy’ was the first in the Shuffle Beat. It’s got a great pounding piano - plus a sax that follows Derrick’s vocal. These kinds of tunes made Jamaican what it is. Yes they are part of the R&B tradition, but Jamaica has added just enough to them to make them something else. What that something else was - was still a few years away - but anyone hearing this tune - with even the slightest knowledge of American R&B would know something was up!

In My Heart - Lloyd Bell - 1962

Lloyd Bell of Bells The President sound system was another pioneer like Smith’s. They didn’t have the success of Coxsone, Leslie Kong , Buster or Duke Reid - but they wanted to have a go, and they did. Leslie Kong for instance must have been impressed by Lloyd Bell’s production skills.  The very first record on ‘Beverley’s’ is the magnificent ‘Girls Rush’ from Lloyd Clarke! The success of that tune probably enabled him to set up his own President label.  Derrick worked with Lloyd on a couple of more tunes.

Fat Man - Lynford Anderson - 1968

Can you imagine the vibes of this tune? With Clancy Eccles and Lloyd Charmers both in the studio. With Clancy listening to Lloyd - working his way through a selection of keyboard shuffles, and then Lloyd starts playing the most distinctive keyboard shuffle of them all! Well none of this happened on this tune! As it stands its a great reggae recut of the 1960 tune that Derrick did for Smiths. In fact there is no organ at all on this tune. It’s dominated by a well rhythm guitar. It’s like all the organ was being saved for the magnificent ‘Pop A Top’. 

Never Stop Me Loving You - Bill Gentles - 1974

Just before the Rockers beat came in courtesy of Sly Dunbar and Channel One - there were a number of records that were trying to change the beat. Trying to make it a little faster. This is one of them. Ironically, when the Rockers eventually came in, it wasn’t that fast! Bill Gentle's productions  go from the early seventies to the mid-seventies. And include the ‘Walder Bird’ and ‘Queen’ labels. This tune from Derrick was released on the ‘Queen’ label in Jamaica, joining a couple of releases Derrick had for Bill in 1970’.

Flour Dumpling - Alvin Ranglin - 1975

Derrick had the perfect style for Alvin. He liked to sing about reality, in a way that not only had international appeal - but would appeal to the people of Jamaica. It was true roots. Alvin worked with so many singers who had this. Gregory, Freddy, and of course the Maytones. The few tunes he did for Alvin - were probably made to see what kind of response they got - before working on an album.  Around the same time of this release - albums released on GG’s included works from Leonard Dillon, Roy Shirley. Great works as well.