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“RHYTHM MASTER VOLUME Two” (Hot Pot / Cooking Vinyl)

Released 12th Aug 2005 on CD and vinyl
  Friday 12th August sees the release of “Rhythm Master Volume Two”, the second compilation in a series of three by Glen Brown & Friends on the newly formed Cooking Vinyl imprint, Hot Pot.

Episode two of “Rhythm Master” features more Glen Brown productions from the early/mid 1970s. During that period Glen enjoyed a peripatetic existence as musician/producer/vocalist and record shop boss, moving from location to location. Glen’s labels - Pantomine, The Rhythm Master, South East Music - displayed addresses like “Blakes Autos, New & Used Cars, Cross Roads” or “One Stop, 86 King Street” and were filled with mysterious acronyms; often the title on the label bore no relation to the music on the disc. But all of this was part of the fascination that in its turn engendered a cult following for the producer, in spite of his having virtually no major hits apart from “Merry Up” and one or two others. Nevertheless, Glen was able to keep going, employing musicians who really were the cream of Kingston sessioneers at the time, and creating some of the hardest rhythms ever cut in Jamaica. Glen - whose career practically defines the word ‘idiosyncratic’ - was able to make sides with the best deejays of the time, as well as recording vocalists like Johnnie Clarke, Gregory Isaacs, Keith Poppin, Tinga Stewart; he also featured his own soulful vocal chords on many sides. Glen was a pioneer in making one rhythm and then cutting a variety of ’versions’ on the same track; making something worthwhile with minimal resources.

By mid-decade Glen was recording relatively obscure vocalists, like the footballer Glenroy Richards [later killed at the infamous Green Bay Massacre], Wayne Jarrett [the epochal “Youth Man”] and the renowned roots singer Sylford Walker [Glen’s productions with Sylford are collected on a Blood & Fire CD entitled “Lambs Bread International”, together with deejay versions by dancehall DJ supremo Welton Irie] Glen moved to New York in the early 1980s, where he was much in demand as a cook for the late Peter Tosh; he remains active in the music business, writing and producing a variety of new music and re-voicing singers and deejays on some of his old 1970s rhythm tracks. He produced albums for London’s Fashion records, as well as two albums by deejay Joseph Cotton, and toured Europe with Gregory Isaacs and Little Roy in the late 1980s. Since then he has reissued his classic 1970s material via Greensleeves [now deleted], ROIR [also deleted], Blood & Fire and now, Hot Pot Music.

The first two volumes of “Glen Brown: Rhythm Master” will be followed by a third volume; all demonstrate in striking fashion Glen’s ability to construct heavyweight rhythm of top quality. Perhaps the last word is best left to deejay Prince Jazzbo, who utilised several tracks given to him by Glen for his own early efforts in self-production: “Tune in to the king of sounds and blues, you gets to pick and choose on the Pantomine label - do it to it God Son!' Full track listing as follows :

1. 2 Wedden Skank
2. Do Your Thing
3. Pantomine Rock
4. Brother Toby Is A Movie From London
5. Merry Up
6. Sgt Crackers
7. More Music
8. I'm Your Puppet
9. No More Slavery
10. High Holborn St Song
11. Meaning Of One
12. School Call
13. Really Got A Hold On Me
14. Brand New Me
15. Get Together
16. Spider To The Fly

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Released 7th March 2005 on CD and vinyl

Monday 7th March sees the release of “Rhythm Master Volume One”, a compilation by Glen Brown & Friends on the newly formed Cooking Vinyl imprint, Hot Pot.

“Rhythm Master Volume One” showcases some of Glen’s best rhythms from 1972 -1976. The vinyl version of this album is a series of 9 versions of the immortal “Dirty Harry” rhythms, originally released as an instrumental by the saxophonist Richard Hall and here presented alongside further vocal, deejay and instrumentals on the track. This CD version also includes bonus tracks - Gregory Issacs “One One Cocoa”, along with another vocal not released until some years later by Glen on the same rhythm, and two superb vocals form 1975 from this talented vocalist/producer/musician, “Save Our Nation” and the monumental “Away With The Bad”.

Glenmore Lloyd Brown (born 30th January 1944 in Kingston Jamaica), started his career in the mid/late 1960’s, singing jazz and ‘standards’ with the group led by Sonny Bradshaw. Following this experience which gave him a grounding in musical theory as well as getting him accustomed to working in front of a live audience, Glen pursued a career as a vocalist in the Kingston studios, usually as part of a duo.

During 1966-67, he recorded extensively with Lloyd Robinson for Coxsone Dodd, Derrick Harriott, Sonia Pottinger and Duke Reid; in 1968 he recorded tracks such as “Skinny Leg Girl”, Girl You Cold”, “Live Like A King” and a cover of Sam & Dave’s “Soul Man” with Hopeton Lewis. He also recorded with vocalist/deejay Dave Barker for Coxsome Dodd and Harry J. Glen also made solo discs for several of the afore-mentioned producers, and for Leslie Kong (“Collie & Wine” – 1970).

In the early 1970s, Glen began an association with businessman Mr M Mahtani, owner of a jewelry shop in Kingston’s central downtown area; Mahtani financed the manufacture of a series of records which Glen had produced. These early productions were released on labels like Dwyer, Shalimar, God Son and Pantomine (sic), imprints which Glen continued to use throughout the early/mid 1970s. During this period Glen made a somewhat precarious living from his own productions, scoring a massive hit with the melodica instrumental “Merry Up” in 1972. Glen always used King Tubby’s Waterhouse studio for mixing, often utilizing heavyweight rhythms like ‘Dirty Harry” again and again, revoicing them with deejays, vocalists and instrumental versions. Most of these sides were pressed in tiny quantities, often using labels from earlier releases, yet by mid-decade Glen had gained a solid reputation amongst fans outside of Jamaica, even though his records were only sporadically available and hard to find.

His experience as a vocalist enabled him to coax excellent performances from the likes of Gregory Issacs, a young Johnnie Clarke, and singers such as Tinga & Roman Stewart, both of whom Glen had known since his days working for Derrick Harriott in the late 1960’s. The rhythms were strong and Glen also lost not time in recording further versions with top-flight deejays like U-Roy, Big Youth, I Roy and Prince Jazzzbo.



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