Laurel Aitken

Laurel Aitken – Small Axe File

Like Derrick Morgan, Laurel Aitken worked with loads of people over the years. Including Dada Tawari, George Edwards, Duke Reid, just a couple for Prince Buster, Zippo for Coxsone. and Island Records cutting his early hit for ‘Boogie In My Bones’ for producer and label owner Chris Blackwell. And also like Derrick he turned to producing early on. With releases on Starlite, Blue Beat, Trojan, Pama, Bamboo. He also did a good portion of work for Leslie Kong and Beverley’s.

Starting in 1962. Staying with Leslie for a couple of years 62/63. Only returning to do one in tune in 1969.

Glory Hallelujah – 1962 - Beverley’s

Drawing inspiration from the Bible, Laurel sings praises to the lord over a really nice shuffle beat rhythm. Even then Beverley’s had a very clean sound. Like all producers since Leslie Kong knew it was very important to work not only with new talent, but with people like Laurel , Derrick Morgan. And Owen Gray. Owen didn’t do much work at Beverley’s but he was still in the mix. They were the foundation people, even then. 

I Shall Remove – 1963 - Beverley’s

Another Bible inspired song, but not the famous inspired Bible song. ‘I Shall Not Remove’. This one is Ska. And it’s a good one, with some complex horns over a basic horn riff.  The whole tune is pushed along by some really good harmonic playing by Charlie Organaire. Although that is a guess. If it is someone else it would be nice to know. The amazing thing listening to the tune is how well arranged it it, like all these musicians had been playing Ska for years!!!

In My Soul – 1963 - Beverley’s

This one is a gospel tune, with a slight beat to it. If you was in America you would not hear a tune like this. Made in Jamaica, for Jamaicans. Or better still, made for Jamaicans at home and abroad.

The tune features some really good handclapping. Who do actually give it, a shuffle beat feel. Laurel really gets into this one, it probably the reason he given the title ‘The High Priest’  for one of his early albums.

One More River To Cross – 1963 – Beverley’s

A great Ska tune, with a well played deep piano riff. Now this could be Theo Beckford, but it could also be Owen Gray. When you hear a piano played like that – the origins of reggae music should become very apparent to anyone. Rosco Gordon had a heavy left hand, but in Jamaica, that left hand is more like a steam hammer. You can feel those notes. And from those heavy notes on the piano, came the interest in heavy bass. This tune is another great tune inspired totally by the Bible. Sung with great style by Laurel.

The Saint - 1963

A great tune, with the rhyth being pushed along by what sounds like an acoustic guitar. Now that as got to be Jah Jerry. The horns are present, but they are playing a horn figure. Not a riff.  And that heavy left handed piano is also on this. He really give the keys a pounding!!! Laurel sings his song a parable with a reference to ‘One Eyed Jacks’ Look up the definition – reggae music is full of such people. Tell them Laurel tell them.

Go Gal Go - 1963

A much more traditional Ska tune from Laurel, and one that features the kind of lyrics that were the most popular in Reggae music at the time. The Bible though was as important to Laurel as it was to Toots. Both men liked to put a message into there songs. And Leslie Kong was never going to tell them what to sing. The rhythm here features the Ska horn riff – and its not that fast. Allowing the drum to almost settle into a one drop. 

Holy Spirit

Another great gospel tune, with handclapping, and even some great organ work.  I wonder who that could be? It sounds like a big group of people in the studio for this one. Not so much harmonies, but a congregation!!! The popularity of these kind of tunes was steady throughout the sixties. And all the major labels released music by there artists big and small. And yet virtually nothing is available at the moment. A big part of the Jamaican music – parked. 

All Got To Move – 1963

A combination of a Ska riff and a horn figure is the highlight of this tune. And what a tune it is. The chorus is repeated many many times – with another big congregation in the studio providing the back up harmones “We’ve all got to move, we’ve all got to move, we’ve all got to move down deh, so why don’t you get on your knees and pray” When Laurel was moving, he really moved. And if you was in the area – you was expected to do so as well!

Zion City Wall

Just from the title, it should be clear to anyone that Laurel as once again turned the studio into a church for the faithful. And when it comes to singing and praising the lord – anywhere and everywhere is possible. The band seemed to be filled with the spirit as well, putting together another great rhythm. Featuring a really nice horn solo. Which is probably Baba Brooks. The really sad thing about all these great tunes are the lack of availability. Each and everyone of them gained release in the UK on singles, on either Island, Black Swan or Dr. Bird. Nearly 20 tunes in total. 

The history of reggae music cannot be told, with big bits and pieces missing.

Duke Reid

Duke Reid was another very important person in the early career of Laurel Aitken. From 1960-1962 the Shuffle Beat era – Laurel recorded a dozen songs for Duke, ten of them are here.  This era was full of endless battles between the early Sound Systems of Jamaica. If it wasn’t Coxsone, it was King Edwards, it wasn’t Tom The Great Sebastian, it was Prince Buster ‘Voice Of The People’. Out of these big sounds Laurel seemed to favour two. King Edwards and Duke Reid. 

Low Down Dirty Girl – Duke Reid – 1960

Reggae music is full of surprises, and to find this released on Duke in 1960 is a big surprise.

Duke Reid must be the first Jamaican producer to have his own label in the UK?!!! Very fitting that Laurel should be the artist on this tune.  Really heavy on the walking bass – with a nice guitar playing a little lick over it. This is music made for the Sound System. Mention must also be made of the piano playing – did Theo Beckford work for the Duke. No he didn’t. I wonder who it can be?

More Whisky – Duke Reid – 1960

Whisky was a very popular drink in Rhythm and Blues. Rum was probably more popular in Jamaica – but in keeping with the tradition of such songs – Laurel here fills his glass with whisky. By adding a guitar riff the tune moves away from the US shuffle sound towards Jamaica, and the sound that was eventually going to be come Ska. When you hear that riff played on a guitar you hear the link back to the U.S. An amazing tune, it must be Jah Jerry on guitar.

Railroad Track – Duke Reid – 1960

Horns come forward!!! But still the rhythm is being driven along by that guitar, and what a great sound it is. Not as high in the mix as on ‘More Whisky’ but still sounding good. Even with no mixing board, the engineer was smart enough to get a balanced sound, a sound that could be changed around – to give Duke Reid a distinctive sound. In this instance it was probably asking someone to sit further away from the microphone, but it still worked.

Judgement Day – Duke Reid – 1960

The power of the Bible was something that Laurel and Duke Reid was well aware of. And so it was written that nearly half of the dozen tunes recorded with Duke Reid, had Biblical themes. This one features the handclapping much loved is so many of these tunes, but it’s a shuffle beat, these Handclappers are dealing with. This kind of sound totally sets these tunes apart from what was going on in the US. Praising the lord, was done in a much more gentle way in Jamaica. But the respect and love was there.

King Edwards - George and Vincent - Pic Rich Lowe

King Edwards – in this case it’s two brothers – George and Vincent. Rich Lowe in America as written a massive book on them – which should be out by the time you read this. They love music, big record collectors – fanatics, on par with any you would find in America or Europe. They spent thousands of dollars tracking down rare tunes in the late forties early fifties. Then they started the King Edwards Sound System, they then had a record shop – and in the sixties they started a label – ‘King Edwards’ working with Laurel Aitken, Lloyd Clarke, The Charmers  Shenley Duffus, Eric Morris, Bobby Aitken a whole of heap of talent.  Releasing nearly 300 records.

Bad Minded Woman – King Edwards – 1963

This one as got the riffing horns that made Ska so popular, but it’s also got a great horn figure – usually the vocalist would be left to sing his song, with perhaps one of two solos in the tune. This type of arrangement – takes it up another level. Which suggests to me, that the King Edwards brothers had spent good time learning all these productions techniques from their many years of collecting. A great tune

Devil Or Angel – King Edwards – 1963

Biblical inspiration again. Laurel really does enjoy the good book. Especially the parables. Rhythmically it follows the same vibes as the previous tune, with a very strong horn figure but this time I cannot hear any riffing horns. You also get a great harmonica solo from the man Charlie Organaire. Charlie did a lot of work with the Edwards brothers, but I cannot find a single solo tune from him for them. A Shame.

Fire – King Edwards – 1963

The same kind of vibes, the same kind of arrangement, even the Harmonica solo is present. And another great tune. Lyrically Laurel is tapping into the same style which as inspired many Jamaican singers over they years. Fire. He’s not really saying a lot, but it’s the way that he says it, that is impressive. Likewise the productions skills of the Edwards brothers. Those horns figures are a direct link back to New Orleans R&B.

Freedom Train – King Edwards – 1963

Another popular theme already noted in both US Rhythm and Blue and Jamaican Shuffle is the train. Most of the time, the artists singing these songs are not talking about anything that runs on tracks.  It’s all about a feeling – that they should be somewhere else. Anywhere else. Eventually the feeling was strong enough in Laurel to bring him to the UK. Meanwhile he was more than happy to work with producers like The King Edwards brothers. This tune is another one of a very high standard. It’s not just produced, it arranged. And remains something very special.

Mary – King Edwards – 1963

Humour is another big feature of Jamaican, the madder the situation, the better it is. Let Laural explain, “I fell in love with Mary in January, and then she had a baby in February.” Laurel delivers these lyrics in a matter of fact way – more like he’s reading the news rather than singing a song.  And it’s over a simple ska rhythm. Solos yes, but no horn figures. It would be good to know why Edwards brothers dropped them. They made there productions distinctive.

Perfect Peace – King Edwards - 1963

Well they wasn’t gone for long. Without a session book log, it’s hard to know if this tune was recorded before or after the previous tune ‘Mary’. But it’s another good one. Not sure if Laurel is singing about his home or his country, but the same applies “I want Peace, Perfect Peace in this house, no more fussing or a fighting.” Another great tune, featuring a magnificent trumpet solo from Baba Brooks. But who knows, it’s got his vibes. 

Sunshine – King Edwards - 1963

A perfect song for a do over in reggae/ska. A simple melody well known and well loved by millions of people all over the world. Add a Ska rhythm to it, which sounds a lot like ‘Perfect Peace’  and it should sell. In the early days of reggae music it seems that most of the artists were more interested in singing there own songs – then doing cover versions. The vibes of independence were probably still strong in those days. 

Home Town – King Edwards - 1963

Movement from here to there, be it on trains or walking plays a very important part in all kind of Black music. Not heard many songs about buses, people worldwide probably get fed up waiting for a bus.  Laurel being Laurel takes it a step further, he actually sings if “If I miss that train, I have a mule to ride.” And on this well travelled road of freedom, he should meet the Tennors on there Donkeys!!! Or Lee Dorsey on his Pony. Another great rhythm as well.

Life – King Edwards – 1963

Another original – and this one links up so many of the subjects the Laurel likes to sing about. The expectation that ‘Life’ will improve. It was a common aspiration worldwide back in the early sixties. But ten years on – most people seem to have come to accept it was just a dream, that slowly turned into a nightmare, which continues to this day. In fact a lot of people will insist that things have got worse for poor people. The basic improvements created in the fifties and sixties were taken away bit by bit. Now the people are looked upon as a problem – the people are not the problem, and never have been. 

Laurel moved to the UK in the early sixites – and then returned to Jamaica to do more recording, all of it was Ska. Somehow Laurel seemed to miss the Rock Steady era altogether. It’s been suggested by noted Reggae collector Geoff Armstrong that Laurel was probably on the boat back to the UK when Rock Steady came in and then went. Having no knowledge of how long it took to get to the UK from Jamaica on a ship in the mid- sixites – it’s best to leave this statement to Captain’s of ships from this era. 

Back in the UK, Laurel worked mainly with Melodisc, with mixed success. Things didn’t really jump for Laurel until he teamed up with the Pama Brothers. From this point on Laurel released a staggering amount of music. A release in 2021 ‘Skinhead Train’ contains some 138 tracks over 5 CDs recorded between 1969-1970. A staggering amount of music.  However something a little smaller may be of interest to you. This one ‘Woppi King’ is a good example. Featuring 20 tracks all produced by Laurel in the UK.

Woppi King – Laurel Aitken – NuBeat – 1970

Recorded in the Regent Studio, Denmark Street  in central London. With the Rudies band. It is one of Laurel’s great tunes, more like a deejay tune than anything else. These spoken tunes go way back go back to Karl Walker and ‘But Officer’ there is no attempt to rhyme, it’s a story set to a rhythm, but it works so well. Laurel as come to the conclusion that Woppi King runs things on the other side. Although he does not say how he ever came to this conclusion.

Everybody Suffering – Laurel Aitken – Nu Beat – 1969

Listen to the rhythm on this, it’s got everything, great drums, great bassline, a well rhythm guitar some lovely little organ riffs. And a great song with a message. Yet strangely a lot of people had very little time for reggae music made in the UK. For me it was just different, not better or worse, just different. There was no way it could sound the same as Studio One or Treasure Isle, does Studio One sound like Treasure Isle? does Treasure Isle sound like Studio One?  It is a very curious argument. And with reggae music, anything and everything usually ends up in an argument.

Deliverance Will Come – Sonia Pottinger – Doctor Bird - 1969

A great tune, but one that is a bit of puzzle. This is another UK production, and it sounds like another one from Laurel. But according to the label credit – its Sonia Pottinger. What Sonia Pottinger was doing in the UK recording Laurel is mystery. And it wasn’t just a one off, there is nearly  enough for an album produced by Sonia. With all the talent she could record in Jamaica, why come to the UK to record with Laurel? There is a some kind of story here. If she had recorded Laurel earlier – it might make sense. Perhaps she had a plan to move to the UK and was testing out the waters. Whatever the reason, she did a great job on this tune.

Babylon Gone – Laurel Aitken – Nu Beat – 1969

The Melodians sang ‘Rivers Of Babylon’ a bone-fide classic. And a big hit for Beverley’s. Here is  Laurel doing a talking version!!! Two years before The Melodians. Now did the Melodians hear Laurel’s version? And think that is interesting.  Impossible to know, but what can said, is that they are both great tunes. A classic example of UK reggae – and the innovation that did take place – but for the most part was ignored over and over again.

Big Fight In Hell Stadium – Laurel Aitken

Yet another talking tune!!! And yet another great rhythm. Recorded in London at Regent Studio in Denmark Street. Listen to the bassline on this, some great playing. From the title you must be able to guess this is all about ‘Boxing’. All sports are popular in Jamaica, but Boxing and Horse Racing

are probably the most popular followed by Football, followed by that game they play with a bat and ball that goes on for days!!!  This talking thing that Laurel does, is close to what Prince Buster and Karl Walker does. What seems at first to be a random thing seems to be more complex.

Pussy Price – Bunny Lee – Nu Beat - 1969

Another tune done here, but there are two versions of this one for Bunny Lee and one for Roy Shirley. My guess is on this, that this one is the Bunny Lee cut. Bunny was here in the UK at the time, if would make sense to work with him. He was working with Max Romeo, Derrick Morgan and Owen Gray – why not Laurel. The way Pama Records worked meant that all of these people were in the same camp, but were rivals. And then you also had the Jamaican releases mixed in. Trojan did the same thing, with Dandy, Lambert Brisco and Joe Mansano. 

Gimme Back Me Dollar – Roy Shirley – Nu Beat - 1969

Now this one is for Roy Shirley, but it sounds like it was done in Jamaica. It was released in Jamaica as well on the ‘Rude’ label what a great name for a reggae label!!! And it’s got a message – of sorts. A little ‘Life’ story from Laurel, along the lines of Eric ‘Monty’ Morris’s Penny Reel. It’s such a great rhythm, that Roy must have re- used this a good few times, over the years. It’s good to hear Roy in the production chair – a man who could always come up some interesting rhythm.

Have Mercy – Laurel Aitken - 1968

Back to the UK productions, and this is a fast one. This kind of style was hard enough to pull off in Jamaica in the UK – it was harder still. But still we have some really nice picking guitar and some sax work. Laurel repeats the title over and over again, more like a chant than a song, but strangely it still works. It’s the vibes that Laurel puts into his productions more than anything else – he always comes up with something of interest. And he didn’t do it once or twice, he did it over and over and again.