Much of the music we looked at in the first year or so of the podcast came from extremely impoverished communities, of course, but even given how utterly, soul-crushingly, poor many people in the Deep South were, or the miserable conditions that people in Liverpool and London lived in while Britain was rebuilding itself after the war, those people were living in rich countries, and so still had access to some things that were not available to the poor people of poorer countries. The thing that needs to be understood about the Jamaican music culture of the fifties and early sixties is that it developed in conditions of absolute poverty. Some of those details will come up in future episodes, as we deal with more Jamaican artists, but be aware that I’m missing stuff out.
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Now, before we start this, this episode is, by necessity, going to be dealing in broad generalisations - I’m trying to give as much information about Jamaica’s musical culture in one episode as I’ve given about America’s in a hundred, so I am going to have to elide a lot of details. Most of the music we’ve looked at so far in the podcast has been from either America or Britain, and I’m afraid that that’s going to remain largely the case - while there has been great music made in every country in the world, American and British musicians have tended to be so parochial, and have dominated the music industry so much, that relatively little of that music has made itself felt widely enough to have any kind of impact on the wider history of rock music, much to rock’s detriment.īut every so often something from outside the British Isles or North America manages to penetrate even the closed ears of Anglo-American musicians, and today we’re going to look at one of those records. We’re going to look at “My Boy Lollipop” by Millie: We’re going to look at the birth of ska, and at the first ska record to break big outside of Jamaica. Today, we’re going to take our first look at a form of music that would go on to have an almost incalculable influence on the music of the seventies, eighties, and later, but which at the time we’re looking at was largely regarded as a novelty music, at least in Britain and America. I refer to “Barbara Gaye” when I should say “Barbie Gaye” This podcast is brought to you by the generosity of my backers on Patreon. Millie’s early recordings with Owen Gray and Coxsone Dodd can be found on this compilation, along with a good selection of other recordings Dodd produced, while this compilation gives a good overview of her recordings for Island and Fontana.
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The information about ska in general mostly comes from Bass Culture: When Reggae Was Kingby Lloyd Bradley, with some also from Reggae and Caribbean Music by Dave Thompson.īiographical information on Millie Small is largely from this article in Record Collector, plus a paywalled interview with Goldmine magazine (which I won’t link to because of the paywall). Check out Tilt’s irregular podcasts at and Īs usual, I have created a Mixcloud playlist containing every song heard in this episode - a content warning applies for the song “Bloodshot Eyes” by Wynonie Harris. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Patreon backers also have a ten-minute bonus episode available, on “If You Wanna Be Happy” by Jimmy Soul.
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Click the full post to read liner notes, links to more information, and a transcript of the episode. This week’s episode looks at “My Boy Lollipop” and the origins of ska music. Always loved Millie's one, but this is great, especially considering it is from 1956.Download file | Play in new window | Recorded on February 18, 2021 (I believe named Kirkland) gave it a "ska" feel. Rovert spencer wrote the origina song and the singer, Barbie Gaye, changed a lot of the lyrics, and the session band led by Jamaican.
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He knew about something the artists didn't know- licensing. True, Lamper2! Morris Levy had absolutey nothing to do with writing this song.
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Truth is, the recording was years ahead of its time. That's probably why Chris Blackwell chose it to be covered many years later. The session bad, Kirkland, Panama Jack on drums, and saxophonist named Sears listened to Barbie Gaye sing the song and the band felt it would work well with what was at the time, a brand new style (a mix between r&b, jazz and calypso) that years later would be called "ska" This may be the first song ever recorded in the ska style. And the worst part, spencer never got dime from Levy. Robert spencer wrote the song and not only did Morris Levy add his name in the credits, but even tried to say the Robert Spencer was his pseudonym.
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Fascinating Youtube comments below the Barbie Gaye version: