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Skin, Flesh & Bones meet The Revolutionaries
 
 
 
 
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Skin, Flesh & Bones meet The Revolutionaries
“Fighting Dub 1975 – 1979”
Irish Release 12th May 2006 on Cooking Vinyl / Hot Pot
Friday 12th May sees the re-release of Skin, Flesh & Bones Meet The Revolutionaries album, “Fighting Dub 1975 - 1979” on Cooking Vinyl imprint, Hot Pot.

Originally recorded in 1975 on the Love Label, the album is reissued here in its entirety. Most of the tracks were laid at Randy’s studio, and subsequently mixed at Joe Gibbs studio by the late Eroll ‘ET’ Thompson. The original album features dub cuts of many of Lloyd Campbell’s hits up that time, including “Dread Out Deh”, “Jacket”, “Won’t You Come Home”, “First Cut Is The Deepest” and others.

Listening to the album with hindsight, it can be seen as a blueprint for the ‘rockers’ sound developed by Sly Dunbar at Channel One in the period shortly after its release. In fact, Lloyd was to work consistently with Sly and the Revolutionaries throughout the late 1970s. Along the way, he helped Donovan Germain make his first records, Joy White’s “Love Is A Message” and Ronnie Davis & the Itals “Equality & Justice”. Lloyd carried Germain to Treasure Isle studio and helped arrange the songs - both do-overs - using the Revolutionaries. It was also during this period that Lloyd first worked with Glen Washington, recording him on a version of “Tighten Up” which was released by Nationwide Records in the UK in 1976. In latter years, after Glen had scored massive hits with the late Clement Dodd, Lloyd renewed his association with the singer and to date has recorded four big-selling albums with him.

Lloyd Campbell was born in Kingston Jamaica on June 4th 1948 and attended Greenwich Farm Primary school. In the early 1960s he moved to the UK, and by the mid-1960s he had begun his long career in the music business by starting a sound system called Lloyd the Matador, based in Brixton, south London.

During the very late 1960s, he made his efforts in production, cutting sides for Brixton Market stall holder Joe Mansano, and utilising his group the Rudies. He also produced sides on Pat Rhoden and Winston Groovy, but by 1972, he was back in Jamaica, where he met up with a group called Rocking Horse, led by Keith Poppin. Lloyd recorded Keith Poppin on a song he had originally produced on Winston Groovy, “Same Thing For Breakfast”, and it became a sizeable hit.

Consequently, he began recording more consistently, releasing sides by the long-forgotten deejay U-Roy Junior, as well as songs by Tyrone Taylor and Jimmy London. These sides were released on Lloyd’s ‘Rattie Soul’ imprint; later sides appeared on 'Spider Man’ and ‘Joe Frazier’ labels. With Jimmy London - a sorely underrated vocalist - Lloyd recorded an excellent version of the Penn-Oldham soul standard “I’m Your Puppet” in early 1975. That also became a hit; by now Lloyd was associating with a group of musicians, some of whom would soon become known as Skin Flesh & Bones. Included in this group were Sly Dunbar [drums], Jackie Jackson [bass], Hux Brown and Rad Bryan [guitars] and Ansell Collins [keyboard]. In 1975, this group laid a track for vocalist Joy White, on which she sang “Dread Out Deh”, and that also became a hit in the international reggae market.

Lloyd kept recording with this group of musicians, and soon produced another hit, this time featuring Ronnie Davis on a do-over of the rock steady classsic “Won’t You Come Home”. This rhythm track has proved to be one of the most durable in reggae; Lloyd himself has recorded 26 versions of the rhythm over the years, including the most famous cut, the Itals’ “In A Dis Yah Time”. Deejays Dillinger and Trinity also scored hits on the rhythm.

Lloyd also enjoyed further success with Joy White, most notably on a version of Cat Stevens’ 1967 hit “First Cut Is The Deepest”, but also with Merlene Webber , who hit the lower reaches of the UK pop chart with a cover version of “Stand By Your Man”, and Earl George [aka George Faith] with “Soulful Lover”.

Lloyd continues to work in the studio from his Miami base to this day; he is one of the select band of producers who have scored reggae hits from the early 1970s until the present day.

The CD reissue features eight bonus tracks:

African People / Jah Woosh and Africa Dub / Skin Flesh & Bones
Jah Woosh was enjoying the period of his greatest popularity when he cut this piece, a version of Jimmy London’s “I’m Your Puppet” - and although his lyrics are fairly standard for the time, Woosh nonetheless delivers them with elan and a certain bonhomie that perfectly sums up the dancehall vibes of the period. The dub - the sixth cut of this particular rhythm - rocks in fine style.

Argument / Vin Gordon & the Revolutionaries
Released as a 12” on the Soferno B label in the UK, this is an excellent trombone feature for Gordon, seguing into an extended dub.

Tense Version / Revolutionaries
This is the b-side to Big Joe’s toast “Tence Me Tence”, mixed at King Tubby’s , which utilises Lloyd’s recut of the Techniques’ “You Don’t Care”and sung over for him by the Itals. Mixed at King Tubby’s studio.

Cobra Rock [12” mix] / Vin Gordon & The Revolutionaries
Originally released as a 12” disco single, the features trombonist Vin Gordon on the first segment. The rhythm track here is yet another cut of “First Cut Is The Deepest” by Joy White, whose voice is heard intermittently during the latter half of the track.

Westcoat / Skin Flesh & Bones
The b-side of Jimmy Riley’s “Jacket”, complete with sound effect of the baby - the ‘jacket’ of the title - crying very loudly!

Danny Special / Skin Flesh & Bones
B-side dub version, again featuring Jimmy Riley, whose vocal A-side is entitled “Cell Block”, recorded during the mid-1970s State of Emergency.

African Dub / Skin Flesh & Bones
B-side of Lloyd Hemming’s “Africa”. Lloyd Campbell discovered Lloyd Hemmings as a youth around 13 or 14 years old, singing in the talent show at the Bohemia Club on Harbour Street in downtown Kingston. He recorded two titles with the youth, “Africa” and “Calling All Black Man”. Hemmings later recorded with Sugar Minott in the mid-1980s
 
 


 
 
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