Ken Boothe

A foundation artist with a career going back to 1963. He spent virtually all of his early career at Studio One. Working with Coxsone from the ska era right the way up into the early seventies roots. 

Although along the way he fitted in some work with Phil Pratt and Leslie Kong. Both producers released albums with him. And both producers had big hit with Ken. His biggest success came with Lloyd Charmers whom he started to work with the early seventies. Both artists had joined the Splash Musical Co-operative.  When that closed he carried on working with Lloyd and in 1974 he hit big with the no 1 pop hit ‘Everything I Own’ 

Ken Booth – A Man And His Hits – Studio One/Heartbeat

Prevention – 1963 – Rolando & Powie

More shuffle beat than Ska. What is a surprise is Ken’s vocal. Most of the singers from this era sounded very young, simply because they were. Ken’s voice sound more mature – and yet he was only 15 when he cut this. Having been born in 1948. Alhough more or less simple love song – Ken’s thinking – and he is a man who likes to think – is that he wants to prevent any heartache. Thus his interest in the old adage ‘Prevention Is Better Than Cure’.

Come Running Back – Supreme - 1966

They don’t call him ‘Mr Rock Steady’ for nothing. This was a big Rock Steady hit for Ken. Ken had a big hit with much later in the Rockers era when he recut it for producer Prince Tony. But as good as that one is. People if they know always look for the original. Ken’s love songs always have an edge to them. For the most part they are not love songs at all. They might start off as love songs but quickly turn into something much more interesting.

You’re No Good - Supreme 1966 - 

Some great piano work introduces this tune – before it goes into some something even more deeper with Pablo like piano notes. This tune is also a great Ska tune. Really fast. The song itself is yet tangled tale of love gone wrong. Ken puts a load of passion into the vocal as well. And if you like scatting this is a song for you. Right in the middle of the song where you usually get a sax or trumpet solo – Ken starts to Scat in fine style. 

Danger Zone – CD pre -  1966

A very uptempo tune with elements of Ska and Rock Steady. This time Ken is not singing about himself, it’s more of a warning to others. And if you are thinking that this is the tune made famous by Errol Holt before he took up the bass – and helped form the Radics. It’s not, This tune is something different again. Although it would be nice to hear Ken Boothe doing a version of Errol’s ‘Danger Zone’ He would do a very good job on a song like that. At this stage of his career though Ken was doing a great job writing his own songs.

Feel Good – Supreme – 1966

What an amazing rhythm this. From what I recall Roy Shirley put ‘Hold Them’ together for Joe Gibbs. A massive tune for Roy, so massive that Coxsone rebuilt the rhythm and gave it to Ken Boothe who also had a hit with it. Some tunes just capture the moment. Another one of those ‘catchphrases’ like ‘Copasetic’ ‘Intensified’ ‘Cool’ add ‘Groove’ to the list or ‘Groovy’ Despite the massive popularity of the bassline for this tune in the sixites. It never seemed to popular in the eighties when many great rhythms were revived. 

I Am A Fool – Supreme – 1966

Minor Chord ska is always popular, add to that Ken, bending notes all over the place in a way that Icho Candy would appreciate. Plus some very strange horn arrangement that sounds more like a dirge than anything else. And you have one amazing tune. Ken was very popular in Rock Steady but why he’s not really thought of a Ska artist as well, he had more than enough big hits during this era – and althought this is not a hit, it’s a great one.

Ooh Wee Baby – Supreme - 1966

A gentle soul tune from Ken, which works well. Soul music and Jamaica did not go very well together. I’m not sure if this is a cover version. American Sixties relied heavily on massive string arrangements to hold them together, it was like musical superglue – and could be just as messy. Jamaica loved simplicity – so this tune – which uses an acoustic guitar to provide the riff works very well. Ken puts all of the emotion into the song as well. This is the way to do a cover song.

Train Is Coming – 1966

The early style of Rock Steady – very fragile. Nothing like what was coming out of Federal or Treasure Isle studios. It really sounds like the musicians are not sure what they are meant to be playing, but they are playing it anyway. What makes this extra special is the superb harmonies from the Wailers.  Not to be outdone, Ken employs all his note bending techniques and sings a great song. It’s hard to go wrong when you start singing about Trains and Tracks. A classic. 

Home - 1967

By 1967 – Rock Steady – and how it should sound – was more or less defined. You want to make a rock steady tune you have to have that big one drop on the snare. This tune features the Soul Vendors on the rhythms So this should be Bunny Williams on drums, having said that it could be the one called Joe Isaacs. When it comes to the bass it should be Brian Atkinson – equally it could be Bassie. Despite years of research – the facts and reggae music are still not very good friends.  Ken’s massive contribution the tune – is the concept. Just like ‘Trains’ singing about ‘Home’ will always provide a good response in reggae music. 

I Don’t Want To See You Cry – Studio One – 1967

A great song, written by Bob Andy. And you can hear the influence in the way Ken, sings the song. The interchange between singers is sometime remarkable. Bob Andy can sometimes a lot like Delroy Wilson, and hear Ken sounds a lot like Bob. The tune as got a great bassline an a very memorable piano intro. It gained release on Island in the UK – and really should have a been a big UK for Ken and Coxsone, and Island. And yet of course nothing happened. 

Puppet On A String – Studio One – 1967

Now this was a big hit for Sandie Shaw. The winner of the Eurovision Song Contest, before it turned into a farce. Sandie’s tune had a quirky kind of rhythm. Often heard when you see a circus or a fair in a movie.  That and it being a hit brought it to the attention of Coxsone. Who suggested (probably, demanded) that Ken sing it. It’s got a nice gentle rock steady rhythm, with another  memorable piano intro.

Everybody Knows – Studio One – 1968

Back in 1968, just before Desmond Dekker and a whole heap of Beverley’s artist proved that reggae could go into the charts on it’s terms. Other labels were still looking for pop chart success covering other pop tunes. In a pop style. The sad fact was no matter how well it was done. It was never going to be accepted. People who love these kind of tunes and this kind of music – tend to follow major labels and major artists. That define pop music. So it was then, so it is today.

The Girl I Left Behind – Studio One – 1968

Another rock steady tune with no hint of reggae at all. Ken, like Desmond must have been happy singing over Rock Steady rhythms. And so they kept on building them for him. It’s got yet great piano intro – and a great rhythm, but the bassline isn’t that great. The harmonies sound like the Heptones.  And it is a great song, and Ken sings it with a lot of feeling.  I can keep hearing another cut of this, which isn’t Ken, and I don’t think it’s Barrington Spence either. Who sometimes sounder more like Ken Boothe, than Ken Boothe.

Come Tomorrow – Studio One – 1968

At last,  Ken. Moves into the ‘Reggae’ era and in fine style style. And he really sounds at home on the rhythm as well. It shouldn’t have caused him any problems – singing in the Ska era must have been even more uptempo. This as got a great bassline, which as not been used that much over the years – but remains great. A big bassline in waiting. The whole production just cleaner as well – which suggests Coxsone must have done studio upgrading around this time. Well we know he bought the Sound Dimension echo unit – which Eric Frater made all his own on guitar.

Try A Little Tenderness – 1968

Another tune in the rock and soul style. It’s another nice tune, but it would have done little to endure Ken to his reggae fans. I’m pretty certain I have heard a reggae version of this tune – perhaps not by Ken. Prince Buster of course! And even Joe White gave it a lick for producer Charles Ross which gained a release on Blue Cat in the UK. Amazing – it sounds like another one of Charles Ross’s Studio One recordings. It’s a wonder that Coxsone just didn’t take a cut of this and give it to Ken to voice.

When I Fall In Love – 1968

Back into the Reggae style with a little touch of rock steady thrown in for good measure. These kind of songs were the one’s that made Ken famous. Not sure if it’s a cover or an original. But it allows Ken to use all of his many vocal techniques. I’m sure this tune as also been deejayed over a few times over the years. Those kind of basslines are perfect for Deejays. 

Moving Away – 1968

Kenny Lynch – a mainstay of pop culture in the UK sixties and seventies, wrote and recorded this. He must have been aware of this version of his tune. It’s got everything that makes a hit. A great melody, a great rhythm. And some superb hornwork. Released on the Studio One label in the UK

Considering what was going on in the UK – it should have generated some serious pop chart action. And yet once again nothing. Truly baffling.

Without Love – 1968

When it comes to success, most artists do not gain it from one release. Some do, but most gain success from a long series of tunes – a run. That makes them impossible to ignore. In 1968, Ken Boothe was on that kind of a run. This one makes it in three in a row of classic tunes – they must have sold well. They are well remembered and much loved. This one for reasons best known to 

Coxsone did not even gain a UK release – which could not have helped Ken.

You Keep Me Hanging On - 1968

Thankfully this one did find release in the UK on the Coxsone label. A fantastic bassline, which features an organ playing the same riff. Giving the whole production a very electronic kind of feel. The song is another one ready made tune for the man. Well after listening to the original by Vanilla Fudge – a psychedelic pop rock explosion – you can only admire this one from Ken. It’s got a great melody and some great lyrics – but to build a reggae rhythm around it would have been a challenge. But build they did and in fine style. Such was the talent that was at Studio One during those times.

Ken Boothe – Freedom Street – Beverley’s

Sometime in 1969, Ken left Studio One for good. He had recorded one or two tunes for other producers in his career up until this time, but this seemed to be it. You can see his reasoning, in the late sixties – Beverley’s was putting reggae artists into the pop charts all over the world. It was an incredible achievement.  And he wanted to be part of that. As did a lot of other artists. Till this day albums from -  John Holt, Delroy Wilson and Alton Ellis remain locked away in the Island Records vault. Thankfully Ken Boothe’s album gained a release.

Freedom Street 

And this is the reason what an amazing tune this is. Written for Ken, by BB Seaton. It’s got a bassline that is blessed.  And an amazing melody. The song itself is what made it so popular. “Let’s not quarrel, lets not fight, lets get together, you we can unite.” I’m sure Leslie Kong and Ken – plus the whole of Beverley’s Records must have thought they had another pop chart smash on there hands. It gained release on Trojan records in 1970. It was a big seller in the reggae market, well loved. But it never crossed over.  

Why Baby Why

Another truly great tune from Ken. This actually came out before Freedom Street. It’s got that Beverleys  69’ sound. Which so many other producers tried to get with varying degrees of success. 

The bouncing bass is the key to understanding the success. And Hux Brown’s pick guitar that just was filled in that space above it – the bass. The song is another great one – Ken’s crying style pulling out all of the emotion on it. 

Mr.Wind

And here it is again. This one remained an album track – but virtually all of Ken’s tunes for Leslie Kong were released in Jamaica or in the UK. That shows how much they believed in the man, most albums only get one or two singles releases. And this is not an album made up of singles. It’s an album where singles were taken off.  What also must be stated again, that very artists gained an album release on Beverley’s.  Ken was one on the Chosen Few.

It’s Gonna Take A Miracle

Listen to the production on this. A Very militant rhythm guitar is in control of this tune. It’s not rock steady and it’s not reggae. And yet it fits in so well with the rest of the Beverley’s which as got some great organ work.  Ansel Collins?  A fantastic bassline also is present. This tune as become so popular over the years. It was popular on its release – but now!!! Coxsone got Alton Ellis to recut the tune in the mid-seventies – which is a popular tune – but even that is put into the shadow by this tune from Ken. It shouldn’t have been a pop hit, it wasn’t.

Love And Unity

Not much coming from the Bible from Ken. But when he does reach for his Bible, it is something to be remembered. “In The Beginning, God Made Man, He Made Man To Understand, What Is Love.” The song is sung with great intensity over another great Beverley’s rhythm. And it is the rhythm guitar work from Rad Bryan – that mento strum – that makes it so unusual. Also this tune features a solo ‘Harmony’ break. Another first!

Drums Of Freedom

A swirling organ introduces this tune – and carries on for a good while until the rhythm drops.

Jackie Jackson then picks out a bouncing bassline and Hux Brown comes forward with the pick guitar. If you put a group of talented musicians like this together, this is the kind of musical magic they come up with.  Except the ‘All Star’ Band. Later to be known as ‘Jamaica’ did this for three years during the Reggae era in Jamaica. Hit after Hit.  The songs itself is like part two of ‘Freedom Street’ outstanding reality lyrics.

Now I Know

Having made a point – if any point was needed to be made – that Ken can sing reality songs. For this tune he goes back to his ‘Life Songs’ to call them ‘Love Songs’ is to simple. Very few singers can put so much emotion such songs. Ken’s style was as unique as Gregory  Isaacs or Dennis Brown  who along later.  With this song it’s the fantastic guitar solo – that opens the tune, that makes it so special. It would be good to know who played that solo. He’s certainly present on the tune – picking away. 

In The Summertime

Well if anyone could give this massive pop hit from Mungo Jerry a lick – it had to be Ken Boothe. 

‘Puppet On A String’ posed him no problems. So this Shuffle Beat epic was ready and waiting for Ken.  You would expect that with this tune, the melody would become the bassline for the ‘All Star’ band to work with. But no, they leave the melody and build a new bassline. They even manage to get the Honky Tonk piano into the mix. Over the years Studio One, Dandy Livingstone and Winston Francis – have all taken a run at this tune – but Ken’s for Beverley’s still sounds good, with perhaps Winston Francis’ ‘Pop A Top’ style version for Studio One, being the best. 

Get Close To You

This is one of those day to day tunes much loved in ‘Country’ music. US country music that is. 

It could even be cover of a ‘County’ music tune. It’s got that kind of feel. Although once any piece of music ends up in the hands of the ‘All Star’ band they usually end up turning it into a reggae classic. This one as got bouncing basslines, picking guitars. Some amazing rim shot drumming – and the mento strumming guitar driving it along in fine style. Another great track from an incredible album. That was released in Jamaica in 1970, but had to wait until 1976 until it was released in the UK by Trojan. Whatever caused that delay – did not help Ken’s career. And Ken is not the only artist to suffer in this way. Pop Chart success was awaiting the man. Ken was ready.

Ken Boothe – Black Gold & Green – Trojan LP - 1973

After Beverley’s closed down, Ken joined Splash. When that closed down it probably made a lot of sense to stick with Lloyd Charmers. He had been given a production job at Federal. Like, Dynamics Federal were trying to build up a roster of In House producers. Ernie Smith, Stare McCallum, even Bunny Lee!! A name missing from that list was Geoffrey Chung. Considering that the Now Generation band had recorded an album for Federal ‘From The Hit Factory’. And considering how popular Geoffrey Chung was at the time, Ken Booth never worked with him. Which brings us to this album produced by Lloyd Charmers. 

Out Of Love -

Enter the Now Generation here they are in all there glory. Listen to those drum rolls. Mikey Boo was a fantastic drummer, I write this just a few days after hearing the Mikey ‘Boo’ Richards had passed.  What he did along with the Now Gen band was bring ‘Swing Time’ back into Reggae – it was there in the Shuffle Beat – era – but disappeared for nearly a decade. The song is also a beautiful one. The Unique made it famous back in 1968 produced by Winston Lowe. This production is superb.  

Missing You

Another great tune with backing by the Now Gen band. This time it’s Val Douglas on bass who comes forward with a great bassline. The tune gained release on Federal in Jamaica in 1972, but was never issued in the UK. Which is very odd. I’m sure Trojan must have thought about releasing it. It’s true they cannot release everything – but what they did release at the time, to what they could  have released remains a puzzle. On the production side of things Lloyd Charmers as put so many great hooks into this tune, including a well played Wah Wah guitar. Must be Mikey Chung.

Look What You Have Done

When it comes to single releases – Pama grabbed this one for release in the UK. For release on Pama Supreme. When you are making music as great as this, and this is very great. You want to see it available. Back then a lot of people just used to like to buy singles. Never made any sense to me but that is the way it was. Then you could buy five singles for £10.00, now you can only buy one single, and that makes no sense to me either!!! Anyway this one as got horns – and some superb creep organ from Wire Lindo. 

Ain’t No Sunshine 

The impact of this tune on Reggae music was tremendous. Bill Withers created a kind of Folk Soul music that was so different to what soul music had become by the early seventies. Reggae’s love of cover versions was always going to have a problem with highly complex string arrangements. Although that did not stop them from trying!!! This though was a great melody and song. Perfect for Ken, although strangely the big hit in reggae came from Horace Andy!!! This one though of course as got the Now Gen band – and what a superb job they do on the rhythm. A great tune and another fantastic production from Lloyd Charmers. 

Lets Get It On – Trojan - 1974

The year that Ken Boothe finally got a brake a big brake and had one of the biggest Reggae

chart hits ever. With ‘Everything I Own’. It was a cover of a rock tune, by David Gates and the Band ‘Bread’ a beautiful song written about his Father it seems. Sadly this fantastic album from Ken does not include the track. Ken’s version was released after this album. Trojan did release an

album after this set, which does include ‘Everything I Own’ but the less said about that album the better. For his fans this was the album and the year that Ken got what he fully deserved – success, big time success.

That’s The Way Nature Planned It

A remarkable tune, how many tunes have fugal horns, not many. How reggae tunes have fugal horns, this one. A stand alone example of how you can make reggae even more interesting without adding strings.  Which when used on most reggae tracks ending up debasing the tune. For every ‘Leaving Rome’ you have twenty tunes, that are ruined by strings. Now I would say this is Now Gen on the rhythm track – but I recall reading somewhere that The Cimarons have a track or two on this set.

It Is Because I’m Black

And it could be this one, and if it is, it is one of the greatest works from the much underrated UK band. Listen to that bassline. That really does sound like the work of Val Douglas from Now Gen, but if it’s Franklyn Dunn – the man should be given some kind of award. Yes  it’s another cover version Syl Johnson. Mind you the soul bassline on this from Hi Records is very close to a reggae bassline. Either way. It’s a great track and Ken put all the emotion he’s got into it.

African Lady

When Bob Marley started to incredible rise to fame just around this time, a lot of reggae artists came to the conclusion it would be good to cover some of his tunes. The Cimarons had a massive hit with ‘Talking Blues’ as the Maroons. Johnny Clarke came forward with ‘Waiting In Vain’ and If I recall ‘Rat Race’ These were tunes made popular by the albums from the Wailers. Ken or Lloyd Charmers  totally ignored those albums, and reached out for a little known song from Bob Marley and what a tune it is. A great work.

Dum Dum (Come Softly To Me)

Another very interesting choice of tunes is this one from The Fleetwoods. Such a beautiful and gentle song from the Rock and Roll era in America. The harmonies are probably what made it so popular in Jamaica. After Rhythm, people in Jamaica love Harmonies. It is really a song for a vocal group, but to Ken’s eternal credit – he does a great job over a well built Now Gen rhythm. I say Now Gen, but it could just as well be the XYZ band. One for more research.

I’m Just A Man – Bunny Lee – Esolden – 1979

After the massive success of ‘Everything I Own’ Ken seemed to drift. A lot of people who were so popular in the early to mid seventies were left out in the cold after about 1975. Delroy Wilson, John Holt, Bob Andy. None of them were offered contracts by people like Virgin or Island. Or if they were it was connected to a certain producer. A producer deal had little appeal to artists like this. That is not to say they did not work with producers, they all did. Delroy Wilson worked with Bunny Lee and Lloyd Charmers, John Holt, did the same with Channel One and Bunny Lee. Bob Andy worked with Sonia Pottinger. I’ve often wondered what would have happened if Bob Andy had linked up with Bunny Lee. I’m sure another great album would have been added to Bob’s list.

Ken Boothe knew this. And so did a lot of other great artists. Bunny wasn’t that good at promoting, but he really knew how to produce!!!

Ain’t No Love – 1979

This was a massive hit for Ken at the time. Both Bunny and Blackbeard released the same cut of the  tune. My copy came out on Hulk in 1979. It’s the ‘Fattie Fattie’ rhythm done in fine style. It had a good solid dancehall style rhythm, early dancehall. Not Radics, but with enough of the Radics style in it to make it interesting. Sadly the record never gained release in the UK,.  Which tells you more about what was happening in the UK, then anything else. The Dance Hall style was going to be in for bumpy ride.

I’m Just A Man -

More Dance Hall vibes from the man. This time it’s an almighty cut of Alton Ellis I’m Just A Guy’. Which despite being one of Alton’s most popular songs, has not been re-cut that many times. Ken’s cut here really does it justice. And if you want this cut it looks like you can only get it on this album. Not that buying this album to get this tune would be a bad thing. Very few albums match the quality of singing, and production found here.

Not For Sale

Another great example. Sugar Minott cut this for Jammys and had a big hit with it. Ken should have done so as well. He truly loves this tune, he’s cut it for Phil Pratt, Joe Gibbs, Herman Chin Loy and Ainsley Folder. All of them released it on a single. Not Bunny. You want this tune, you buy the LP. 

You can almost hear him saying it. Unlike certain producers – Bunny builds the album around the artist. He knows what works and what doesn’t. And to my total amazement, there is no cut here of ‘Sincerely’ He must have given that rhythm the day off, when he was making this magnificent album. 

Ken Boothe – Crying Over You – Anthology - Trojan

Outside of Coxsone Dodd, Leslie Kong, and Lloyd Charmers. Ken also worked with a number of other producers over the years. George Phillips aka Phil Pratt’s name often comes up when discussing and the reason for this is one tune ‘Artibella’  Yes he recorded other tunes for Phil, but that tune make a big impact. As did ‘Silver Words’ for Niney the Observer, ‘Old Fashioned Way’ for Keith Hudson. ‘Lady With The Starlight’ for Sonia Pottinger was yet another. All these and many many more can be found on this excellent set released by Trojan, well over 50 tracks on 2 CDs.

Artibella - Sunshot – 1970

Originally by Stranger & Ken (Stranger being Stranger Cole) this was a massive tune in the Ska era.  It got an incredible horn arrangement, some amazing solos. And it is sung with such passion by the duo. You can hear the people screaming encouragement in the background. When Ken went solo with Coxsone, you would have thought that tune would have been up for a recut in either Rock Steady or Reggae. It never happened. Coxsone must have thought he had the best cut of the tune. And that it could never be bettered. Well the old boy was wrong, and not for the first time. Step forward George Phillips aka Phil Pratt. After learning his trade with Ken Lack and Caltone. Phil set up his Sunshot label, and in 1970 recorded this amazing cut of the song. Now please note I’m saying song. Not rhythm. This is where it becomes incredible. Built around an amazing song. Someone as built this remarkable bassline – that the song into even higher heights!!! It’s so powerful you can once again hear people shouting encouragement in the background. The went on to provide good hits, for Bobby Kalphat, Big Youth and a little later Al Campbell.

Old Fashioned Way – 1969 – Keith Hudson

Keith Hudson had those kind of revolutionary vibes that music lovers like so much. In this era

the Reggae era, he had already teamed up the likes of Dennis Alcapone and U Roy. And singers Delroy Wilson, John Holt. These two were massive stars in Jamaica. Likewise Ken Boothe. These kind of singers do not just record for anyone for obvious reasons. But that was the reggae business then and now. If had the vibes – you could make it work. Ken Boothe’s contribution to Keith Hudson’s reputation was this magnificent tune. With an organ that sounds like some magic dust had been sprinkled over it to produce sounds never heard before or since!!! It also features a fantastic bassline that is still yet to bear fruit. The song itself is one on Ken’s best – full of passion and intensity.

Silver Words – 1973 – Niney

There is a rock album out there – ‘Coming From Reality’  by Sixto Rodriguez. It is a folk album, of sorts.  It’s not a well known or a best selling album, but it contains this remarkable tune ‘Silver Words’ How Niney the Observer found it is unknown, but find it he did. Ken’s tender and loving version of the tune as got everything. A typical slow and powerful rhythm built by the Soul Syndicate – with some fantastic horn arrangements that could only have come from people like Tommy McCook and co. Trojan released it on Green Door , but did very little or nothing to promote it. Later it gained release on Trojan, and certain words were removed to gain radio play.