Reggae George

Trodding -

George Daley started his career in the music business as one half of a duo with Neville Beckford - aka Jah Woosh. Apparently they recorded a few tunes for producer Leslie Kong under the name of George and Neville.

The group broke up because of problems with George's harmonies. By 1971 Neville Beckford was deejaying and became Jah Woosh. Being discovered by Morwell Wellington . His first of many hits with 'Judy Drowned' produced by Rupie Edwards. Before making his debut album 'Jah Woosh' with the producer released in the UK on Cactus.

Meanwhile George Daley had changed his name to Reggae George and made his first record a solo singer for George McLean's 'Mighty Cloud' label. The Mighty Cloud label might be off the radar these days - but then it was a popular roots label.

George's first tune was 'Duppy Laugh'. What happened next was bizarre even by reggae standards. George recut the tune this time with Levi Williams - and it became a small hit.

In part this was due to the the phased piano sound that Lee Perry had just introduced with his 'Curley Locks' from Junior Byles.

Duppies were also very popular in Jamaica at the time. Ernie Smith's 'Duppy Gunman' was the biggest hit - a massive hit. With it's mad storyline.

The lyrics to 'Duppy Laugh' were just as good. Not sure if it was George or Levi Williams who wrote them - but they did a good job.

Levi stayed with George McLean for a while cutting a follow up tune 'Duppy Jamboree'

And a good few more tunes.

Reggae George left and changed his name again to Prince George. Teaming up with Keith Wilson and the Stud label in 1976 for the first of a whole series of roots tunes spanning two decades.

'Babylon System Fall' pulled together all the vital parts of what would become Reggae George's style.

Sometimes he would wander in a John Holt style - but he always stood out. This was the golden age of roots singers - and you needed to stand out - if you wanted to make some progress.

Copying someone else's style was not even considered then. Every singer wanted to be original. Yes a little touch of a major singer - but that's all it was. A touch.

Reggae George - Mix Up - Trojan - 1983

Produced by Prince Far I 'Mix Up' is a collection of reality and love tunes. George's vocal style contains many influences, but he's not influenced by anyone in particular. This means he's got an original style which is another good recommendation.

It enable him to put something new into old standards such as John Holt's 'My Eyes'. It's the only recut on the album, the rest of the lyrics being written by George and Prince Far I. The rhythms come from a nice mix of The Roots Radics and other talented players.

In the same year of this albums release Prince Far I was killed. It was not only a tragedy for Prince Far I's friends and family - it was a great loss for reggae music. Prince Far I had a voice straight out the Bible.

His big hits came with Joe Gibbs, but he quickly moved into producing. Reggae George was one his first artists. Reggae George had recorded 'Stop Push The Fire' for Cry Tuff - Prince Far I's label back in 1977. It was one of the tunes that made him into a roots music star, and Far I's death must have impacted Reggae George deeply.

A lot of solo albums were released in the eighties, but in the seventies it took a long long time before an artist was given this kind of push.

In the eighties, rhythms were voiced over and over again. Not so in the seventies. It was a big investment from a producer to record and release an album.

Prince Far I had been successful in the reggae music business since the mid-seventies. And was one of a small group of artists who got signed to Virgin's Front Line - with whom he released a number of successful DJ and dub albums.

When the Front Line was closed down Prince Far I drifted for a while. He had a deal with with Charisma - but then Trojan popped up again in the reggae music - wanting to release new music. And a few Prince Far I albums appeared during this time on the label. 'Free From Sin' ' Musical History' and 'Jamaican Heroes'.

And then this set from Reggae George appeared. It wasn't Prince Far I's first album with singer. That came out in 1981 from Ashanti Roy's 'Sign Of The Star' released on 'Pre' Charisma's reggae label.

What made this album from Reggae George a little bit special was the line up of musicians. It had the Roots Radics - but it wasn't the Roots Radics. Here could be found man like Professor Larry on bass - and some other new names on Keyboards. Far I had worked with the Creation Rebel band in the UK when he toured. And he brought all this knowledge of production to this album. This was the man trying to do something new for himself and for Reggae George. And it worked!!!

Reggae George - Fight On My Own - Sky Juice - 1984

It was a real tragedy that Far I didn't get a chance to finish George's second album for him. When this album came my guess it was that this is the unfinished Prince Far I produced album. To my pleasant surprise production goes to man Neville Beckford otherwise known to his fans as Jah Woosh. Recorded at a variety of studios with a selection of musicians that includes members of both the Roots Radics and The High Times Band. Jah Woosh has produced an album with Reggae George that is a true credit to everyone.

At the time, the connections between Reggae George and Jah Woosh as Neville and George - the duo were unknown. Now this release a year after his debut album for Prince Far I. It all makes sense. Jah Woosh must have seen the slow but steady rise of Reggae George from the mid-seventies. And the tremendous reception that the 'Mix Up' had got. And then thought it would be a good idea to help his one time musical partner. The murder of Prince Far I must have also played it part.

Jah Woosh like Prince Far I, was in the second wave of DJ's from Jamaica. The first wave included U Roy, Dennis Alcapone, I Roy and Big Youth. And then along came Dillinger,

Jah Woosh. Prince Jazzbo and Prince Far I.

All these Deejays enjoyed incredible success. But out of the first wave - its fair to say that Big Youth found as much success in producing, mainly himself.

The second wave it must be Prince Far I - who produced a wide range of artists. Big Joe, Errol Holt, Black Skin, Bim Sherman, Rod Taylor and U Black had all gained releases on Prince Far I's 'Cry Tuff' label.

Jah Woosh was just starting out - with releases from Freddy McKay, Mikey Simpson and The Viceroys.

As a deejay Jah Woosh however had a great deal of success in the UK - his albums stayed in the charts for ages. And there were a number of them - including 'Chalice Blaze' 'Psalms Of Wisdom' 'Religious Dread' all released in the mid-seventies. And all big sellers. It's truly amazing that Island or Virgin never signed him, but that is the reggae business.

By the mid eighties the Sky Juice label was finally getting going. And this was one of the first albums on it. It's truly a great set - it might only be a showcase - but people had grown to love the showcase concept with its vocal or dj tune followed by a dub. Much better to release a showcase album - then an album of 12 tunes - with a third of them being junk.

He also placed the album is a good sleeve as well. With some nice photos of Reggae George. Jah Woosh had done a great job. And it successfully raised the profile of both singer and deejay.

If I Only Had Time - Peter Austin/Ken Wilson - Stud - 1973

Reggae George was Prince George when he made this tune. Which seems to be his debut. This was the era of the much loved scrubbing guitar - and this is featured in fine style here. By all accounts a Ranny Bop innovation - it was appearing on loads of great tunes - and bing used be all the great bands of the era. Stud recorded a number of artists including The Clarendonians, Peter Austin, Roy Richards, Prince Heron and the remarkable Sir Harry who cut one of his maddest tunes for the label 'Apples To Apples' It would be no surprise to find that one of the rhythms used on one of the tunes from the artists mentioned was a cut of 'If I Only Had Time'. It's such a beautiful song - a sad lament with George wondering about the future. Almost certainly a cover song - It's got all the class from this era - and is a great debut.

Dreadlocks Laugh - George McLean - Mighty Cloud - 1974

As explained earlier this tune was a minor hit in the UK released on Locks - but not by Reggae George. Levi Williams version is as got two titles 'Duppy Laugh' and 'Duppy Jamboree. Take your pick. Both feature the Black Ark phased piano which made Junior Byles 'Curleylocks' into such a big tune. Lots of producers passed thru Black Art in those days - Pablo, Zap Pow, Gregory Isaacs, Niney, Rupie Edwards. And everyone came out with a hit. And that sound as never lost its appeal after all these years. Lyrically it's a bounce off of the big hit from Ernie Smith 'Duppy Gunman'. George McLean and The Mighty Cloud band had many great releases during the roots and rockers era - and worked with a lot of talent. His other big hit from the same time was The Caribbeans 'Poverty'. The Mighty Cloud label was one of the great unsung labels of the era and it was so good to see Reggae George on it.

Babylon Kingdom Fall - G Daley/K Wilson - Stud - 1976

A year or so later Reggae George had reverted back to Prince George and was again recording for the Stud label and Ken Wilson. This tune from George was very popular with lovers of roots tunes. Reggae music was now well into the Rockers era - and the Channel One sound ruled. There is just a little hint of the 'Rockers' guitar riff on this tune - but that is as far it goes.

Reggae music don't work like that- the rockers era was a lot more complex than just Channel One, Lee Perry and Joe Gibbs. Rhythmically its not far away from The Maytones 'Madness'. And that tune was produced by Alvin Ranglin. Yet another producer who's contribution to the music as been neglected.

George was working a set of lyrics that mattered to him and a lot of other people. It didn't a hard rockers rhythm to sell it. There are hundreds of these kinds of tunes from Jamaica scattered over the seventies. A lot of the singers - recorded one tune - and that was it. Thankfully - George Daley was just starting to get going!

Fig Root - Sonia Pottinger - High Note - 1977

Sonia Pottinger's High Note label really came to life again in the Rockers era. She began working with high profile artists like Bob Andy and Marcia Griffiths, and then pulled off an amazing coup by signing Culture. Taking them away from Joe Gibbs and getting them a deal with Virgin. The only woman producer in the reggae business at the time - was on a serious roll!!!

But the High Note label also started to take on new artists like The Prince Brothers, Ras Miller, Hell & Fire and of course Reggae George. The sound on this tune is pure rockers - probably Sly & Robbie - who were also involved in creating a new sound for the High Note label. Reggae George - must have thought that this was the break he waiting for. 'Fig Root' from him as got all the classic roots and culture lyrical themes. And George sings them with great passion.

Trodding - Niney - Observer - 1977

Niney had maintained a high profile in the reggae business from the moment he first appeared. His success with Dennis Brown around 73/74 was truly amazing. And when Dennis left for Joe Gibbs. He continued to make great records with a number of artists.

Junior Byles, I Roy, Gregory Isaacs, The Jewels, Leroy Smart - a whole heap of supers were in the Niney Camp.

Into that camp stepped Reggae George. It might have only been for one tune, but what a tune it is. Although recorded in the Rockers era - it had almost a one drop kind of feel to it. Which makes a lot of sense in connection with the title. Niney was not as experimental as Perry - but he still liked to define his sound - by being different. Even when he used the phaser on 'Wolf And Leopard' from Dennis Brown - you knew that wasn't Perry sitting at the board.

Drifter - Hartnel Henry - Sky High - 1978

Hartnel Henry looks to have come into the business in the mid seventies with a few tunes for singer/bass player Errol 'Flabba' Holt. What is remarkable about this tune - is not the cover version of Dennis Walks big hit for Harry Mudie. I cannot think of one version of it that comes anywhere near as good as the original.

No, what makes this tune special, is probably one of the first appearances of the Roots Radics Band. Which of course Errol 'Flabba' Holt was a founding member. And this tunes shows how slowly the rhythm was changing - from the 'Rockers' to the much heavier 'Dance Hall Style' type of rhythms. Hartnel was well placed to be as big as producer as Junjo or Linval Thompson. Yet after such a being involved so early in the Roots Radics he seemed to have cooled out for most of the eighties. Coming back into the business in the late eighties.

Vision - Ossie Hibbert - Flames - 1978

Ossie shared the Flames label with the one called D Flemming another producer who was set to work with Reggae George. Ossie, a noted keyboard player - started producing back in 1974. And then went on to work with all the great artists from the seventies. Freddy McKay, Cornell Campbell, Horace Andy. A lot of people. His big success came with Errol Dunkley's 'OK Fred' originally released in the UK on Third World in 1979. It was then picked up by Scope (a subsidary of a Major label) and then went into the pop charts.

'OK Fred' had a strange kind of rhythm neither 'Rockers' or 'Dance Hall' 'Vision' from Reggae George had a rhythm that went back to the days of the Soul Syndicate and Niney.

But George's voice is so powerful on the tune - it kind of knocks it into place. His lyrics as well are straight from the Bible.

Stop Push The Fire - Prince Far I - Cry Tuff - 1979

Prince Far I was now on the Front Line label and was very high profile. He even toured the UK with the Creation Rebel band - along with Bim Sherman and Prince Hammer. In Jamaica his Cry Tuff label was building up a good reputation for quality as well. He liked to work with mainly Deejays - so this was a bit different. Here was the Roots Radics again - in fine style - with either Sowell Radics or Dwight Pinkney filling up all that space with some 'Talk' box guitar work. Reggae George's thoughts here are on reality more than culture. Like so many artists - Reggae George was concerned about the raising violence - that was taking its toll in Jamaica. This tune didn't hit as big as it should have done - but it certainly made Reggae George a bigger blip on reggae music's radar.

My Eyes Cry - Prince Far I - Cry Tuff - 1979

There was always hints of John Holt's vocal in the vocal stylings of Reggae George. And with this cover version of one of John Holt's big tunes, recorded for Studio One. This one from Reggae George' was brought straight into the dance hall, thanks to the pounding rhythm of the Roots Radics.

Just has Channel One speed'ed up all the Studio One classic, The Roots Radics slowed them down. And added more weight to them. It was a formula that was to turn Barrington Levy working with Junjo into a star. And a lot of other artists was hoping for some of that startdust to fall on them. It didn't happen for Reggae George then, but he came really close to the breakthrough that he now fully deserved.

Fight On My Own - Neville Beckford - Original - 1979

Jah Woosh/Neville Beckford his old singing partner had clearly not forgotten him. And with Jah Woosh entering production and starting his own label 'Original' it makes a lot of sense to bring in George - considering how popular the man was becoming. But it's always hard to get noticed - whatever you are doing. And reggae attention at that time was firmly on Barrington Levy, Yellowman, Junjo and the Dancehall style. Prince Far I had successfully tapped into the interest surrounding him to get the Cry Tuff label going.

Jah Woosh's success had come in the mid seventies. The Roots and Rockers era - more or less five years ago form 1979. The track itself is a great tune and is the same tune used for the title track of the album on Sky Juice released in 1984. Perhaps if the tunes for Prince Far I had made a bigger splash - this tune would have been another hit - but overall - this is all part of a career building process.

Genesis To Revelation - Hartnel Henry - MCM/56 Hope Road - 1980

Hartnel Henry re-enters the Reggae George story with this fine roots tune. And with the '56 Hope Road' connection being the home of Tuff Gong and the Wailers. This was a big step in the right direction for Reggae George. By now Tuff Gong had settled into the old Federal Studio building - and had upgraded the studio and the pressing plant (not that it needed much upgrading!) The label had a huge roster of talent - and was just starting to pick up hits. Michigan & Smiley 'One Love Jam Down' was one, and Freddie McGregor's 'Joggin' was another. This one from Reggae George was just as popular. Musically it was The Roots Radics style inna Tuff Gong style. The impact that the Roots Radics had made in such a small space of time was incredible. Everyone wanted to sound like them. Even the home of the Wailers!

Three Wicked Men - M Gardine - 56 Hope Road - 1981

M Gardine, looks like he only ever produced two tunes both with Reggae George. And this one remains Reggae George's biggest hit. It's got everything you want and expect from him. A great vocal and the lyrics are pure reality. What is truly unusual about the tune is the percussion. It's another tune in the Roots Radics style - but right in the middle of the mix - is this huge sounding Rasta drum! Well dread!!! Whilst in the top end of the mix - there is more Rasta drumming - giving the whole tune a new sound. Bob Marley once said he wanted to get into a more Nyahbinghi sound. To my knowledge it never happened - perhaps he never got a chance to try out his ideas. Yet its possible that Bob's ideas materialized here. When Bob died I'm sure a lot of the hopes and dreams of the 56 Hope Label died with him. This tune however is a legacy of that dream. A great tune and a must for all Reggae George fans.

Hold On Steady - B McGregor - Music Mate - 1982

There are two versions of this tune both on Music Mate, and both produced by B McGregor. One is fast and one is slow! This is one way to deal with indecision - release them both! It's a great tune. A love tune, but George fills it up with a lot of feeling and emotion - which is something he is very good at. Production wise they are both coming in the Roots Radics style.

By this time, the Reggae market was rammed with Roots Radics style tunes. And the band had linked up with Gregory Isaacs and Bunny Wailers. That made the sound even more popular - but every producer big and small wanted his own sound. And it was getting harder and harder to tell the difference between a Junjo and a Linval Thompson.

Releasing a faster version of this tune may have been one idea to deal with this.

Wala Wala - Linval Thompson - Greensleeves - 1983

Linval Thompson was the next person to produce Reggae George. Linval had done a great job producing himself, then other singers like Al Campbell, Horace Andy, Anthony Johnson, Freddy McKay. But had found a great deal of succes with vocal groups. First

The Mystic Eyes, then the Viceroys, The Meditations, and then Wailing Souls. He returned to the singers and his biggest producing success with Freddie McGregor with 'Big Ship' being a massive hit for Freddie. It was around this time that Reggae George came into the 'Thompson Sound' camp.

Linval once told me he had a whole heap of albums with artists unreleased. Every artist I mentioned he said yes - and that included Reggae George! This tune as got all the elements needed a great song and rhythm - once again with the Roots Radics in full swing. What was missing - was that little spark that turns a good tune, into a great one!

We Will Survive - Linval Thompson - Greensleeves - 1983

This is much much better the little piano intro kind of sets the tone for the whole tune. Not only that with the strong reality based lyrics - coming in the tune. Reggae George sounds really interested in it. Much much more than just a protest song. George is tapping into the very frustration that most of the world feels everyday of there lives. "Sometimes we want to go to a movie show, but because of no money we don't go - but we still survive"

Some may argue lyrics like these are nothing new. That is very true, but unless the worldwide economic system changes - these kind of lyrics will remain relevant. Linval seems to give the mix on this tune a lot more space - and the tempo is just right. Not to fast, and not to slow. Hopefully one day Linval will be encouraged to dig out his tapes and gives us another great album from Reggae George.

You'll Never Know - Linval Thompson - Greensleeves - 1983

No, this is this not the old Mad Lads tune. This song takes George into an subject that Junior Byles covered so well with his 'Don't Be Surprised' for the Morwells from around the same time. Junior never sounded sad on this tune. And George is in the same kind of mood. The Radics rhythms moves along slowly enhancing the sadness with a lot of grace.

Linval's production skills were truly bringing out the best in George. And it's no great surprise that all three tunes ended up being released by Greensleeves in the UK.

In the past Linval and Junjo shared a lot of the same singers and deejays - but Linval was now building up his own team or group of artists. Both producers knew the value of bringing new artists into the business. Junjo with Barrington and then Cocoa Tea. Now here was Linval really giving the push that Reggae George really needed.

The Dragon - Mr B - 1983

A slight change of vocal style for George on this tune. It's like he's been listening to Burning Spear or Culture. And the result is very effective. The production from the little known Mr B - is more uptempo - but its still the Radics sound, even though it might not be the Radics. It's even got Syn Drums on it - which takes us back to the sound of the Rockers. It is of course a cultural tune - with the term 'Babylon' being replaced by 'The Dragon' Or it could even be a 'Sound Boy' tune, a very heavily disguised one - because its very possible there was a Sound in Jamaica called 'The Dragon'. There was one in the sixties - Prince Far I worked on it. Sir Mike The Musical Dragon. And nothing ever really goes away in Jamaica. Ideas might be parked for years - but they are not thrown away!

We Wanna Know Who - Bull SPlan - 1983

Another new producer D Dixon. And there are no doubts about the lyric content of this tune - culture and reality. Production wise - this really does sound like the High Times Band on this tune. The drum sound is different to the Radics - its more complex. And its the same with the rest of the instruments - there is a lot more space here. The Radics sound was dense - and like concrete . This was more like a 'Cinder Block' sound!!!

Jammys locked on to this sound - and he was doing very well with it. Half Pint - another new artist really broke with this sound. Usually it was Chinna Smith on guitar, Chris Meredith on bass and Squiddly Cole on drums. With various other people coming to play keyboards. Of course this new sound didn't last long. A couple of years down the line the digital sound of the Firehouse Crew had emerged - and everything changed again.

Take A Ride - Classic Production Records - 1985 - 12"

Linette Ferguson, S Small and G Mills get the production credit on this tune from 1985. The business was changing again - and a lot of new producers were coming into the business. And the these last few tunes from Reggae George reflect that. From a commercial point of view - perhaps it would have better if he had linked up with Jammy, Tubby or Gussie Clarke who were to become the major producers of the 'Ragga' era - but this tune was on the cusp. It had the classic 'Dancehall Sound' overlaid with lots of spikey

Little keyboard that were to become the trademark of the 'Ragga' sound. Lyrics wise it's a love song which Reggae George sings in fine style.

Georgy Porgy - Mikey Chin - Crystal - 1985 - 12"

Well if anyone could get away with singing the old nursery rhyme "George Porgy, pudding and pie - kissed the girls and made them cry." It was Reggae George. And with this being the 'Dancehall' era these kind of lyrics were not a problem. In fact I think Eek A Mouse - had already given this nursery rhyme a run a few years back. The producer on this one is Mikey Chin - and is a name known to me - but apart from a Freedom Sounds connection and a Phillip Fraser tune - that is all I know. Cocoa Tea perhaps. Vocally Reggae George sounds like he's in good form. Production wise - it sounds like it could have come from 1983. If its not the Radics - it's someone sounding very close to them. Not a bad tune, but it was not going to take Reggae George forward.

Girl You're Too Young - Kush Dan I/ Michael Gardine - Zion Yant - 1986 - 7"

Kush Dan I is an unknown producer likewise the Zion Yant label, but M.Gardine or Michael Gardine is a link back to the days of 56 Hope Road. Sadly this does have not have the power of 'Three Wicked Men'. With a title like this, you wouldn't expect it too!

Production this is also more closer to the classic Roots Radics sound than anything. Which suggests it was also recorded around 1983, or in this case even earlier.

This sort of tune would be OK on an album made up of more tunes like 'Three Wicked Men' but the market had changed a lot in a few years - and very few artists were being given the chance to release reality or cultural records. This is where Reggae George sounds at his best. Of course he can sing love songs - but so can so many other singers. And yet very few of them can sing reality songs like Reggae George!!!

Reggae George - Selection

Albums

Mix Up - Trojan - 1983

Fight On My Own - Sky Juice - 1984

Singles