Flesh & Bones meet The Revolutionaries
“Fighting Dub 1975
Irish Release 12th May 2006 on Cooking Vinyl / Hot Pot
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”
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
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 &
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
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
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