Article Response: Top Ranking

You're OTM Tom. The Studio One compilations on Soul Jazz are just as good, especially Studio One Rockers which is a fantastic mix. Instrumentals (Jackie Mittoo, Ernest Ranglin, Sound Dimension) are mixed in with the polished Roots sound of Johnny Osbourne (Truth and Rights), the soulful, bouncy Marcia Griffiths, the Skatalites (Phoenix City) and the bragging dancehall of Lone Ranger (Badder Dan Dem). Perfection.

If you still have any reservations about dub albums, Tom, get 'Dub : More Bass Culture' on Metro. It's the second in a series of Ian McCann selected dub compilations. The first one was a bit patchy, but this one is awesome. It's mainly King Tubby, with a bit of Scratch Perry and Scientist. I'll burn you it if you like.

They always look very good indeed, these comps, but I've never bought any, mainly because I have loads of old reggae already.

I'm not convinced by 300% - I listened to it a lot at the weekend, and it feels like they've tried slightly too hard for breadth, resulting in the inclusion of some duds like 'Mission Impossible'. The Jackie Mittoo track isn't one of his best and the Augustus Pablo (anyone else think he's generally over-rated?) is typically directionless. Maybe I'm being over-harsh - the last SJ comp I bought, Studio One Rockers, was flawless.

But Tom's point that SJ's approach to avoiding the usual reggae compilation themes is a good thing is quite right - even the best Roots compilations start to drive you nuts the 43rd time Marcus Garvey is mentioned or 'Fire inna Babylon' is repeated ad infinitum.

But it's the *way* Marcus Garvey's mentioned the 43rd time which is of interest. More seriously, isn't it just bad compiling skillz if a comp gets boring? Reggae is perfectly capable of sustaining lyrical interest.

Some of my friends like dub but shy away from vocal roots / DJ stuff: I often wonder whether this is because they simply don't like the lyrical concerns or whether it has something to do with the way dub is sold to pop / rock fans (otherworldly x-ray music etc) meaning those who are attracted to dub are less keen on earthlier / earthier words?

Well my point was that SJ's strategy works excellently for leading relative novices slightly deeper into reggae. Once you know the territory a bit better, I'm sure complaining about multiple "Marcus Garveys" on a roots comp is as pointless as complaining about multiple "baby"s on a doo-wop one.

Good piece Tom. I was going to start a thread on the 100% series actually! As you point out, it's a pity there's not more track info, even the year of release would be nice. They all seem to feature a classic Toots & The Maytels number also, my fave being 54-56 Was My Number on 400%. Yeah, some of the dub compilations can get tedious. Blood and Fire have reissued a lot of iffy stuff amongst the gems and you kind of get sucked ito buying them because of the attractively elaborate and ornate packaging. A mate of mine went into dubreggae overload and bought nothing but B&F etc. reissues for 2 years. Now he's moved onto New country!! God help us! A lot of the best compilations to buy were recommended by ILMers on a thread last year. Probably the weakest of the Dynamite series is 100% and like you my favourite is 400%. Top of my list on the Soul Jazz label however is Studio One Roots which like Studio One Soul and Rockers features the work of producer Clement Dodd. Music dosen't get much more pure and spiritual than the stuff on 'Roots'.

there's nothing quite as exciting as hearing English and not knowing what it means, and understanding it anyway.

This is a great observation, succinctly put.

I agree they're a good way in, and I'm all for them (indeed I couldn't find much to disagree with in the article, most irritating).

I think moaning about too many Marcuses is a legit moan though: creating a comp with too little in the way of lyrical variation is bad comp skillz because there *is* enough diversity in the lyrics.

There aren't that many single subject reggae comps (though of course there are some): much more likely to set their limits at particular time periods / producers / artists, no?

And has anybody checked out that new comp of Bobby Digital productions, "Flag Flown High" (I think)? Not a soul jazz release, but looks really interesting.

I enjoyed reading the article Tom. Thought there was one phrase that puzzled me:

but there's a big difference between Madness jollying up ska rhythms or No Doubt doing a dancehall track, and the kind of supper- club standards Ali Campbell trotted out

Are supper club standards a bad thing then?

Not inherently but they are when trotted out by Ali C.

I wasn't being totally serious about the Marcus Garveys, but Tim's right to point out that good compilation skills are sometimes needed.

**There aren't that many single subject reggae comps (though of course there are some): much more likely to set their limits at particular time periods / producers / artists, no? **

Yes, except for the tons of dub compilations out there.

This is exactly what I was hoping this thread and article would be about when I saw "Top Ranking" in the title, but I figured it couldn't possibly be, here on ILM. Nice going, Tom. Hearing that song on 300% really threw me for a loop, because I hadn't heard it since the ska revival of 1980 in Chicago clubs and had never caught what they were singing so didn't know it by name. I'd always assumed it was some English 2-Tone ska-chick group like the Bodysnatchers. Soul Jazz has worked a minor miracle on me. After playing my old Studio One, Duke Reid and Trojan comps to death about ten years ago, I never expected to enjoy another Jamaican comp like this again (although I agree that #3's flow bites). And I've only got the first three Dynamites so far. Now I'm really pumped about getting #4 and their Studio One series. Of course, the Soul Jazz New Orleans and Philadelphia CDs are also tremendous and likewise reawaken my ears to areas I'd assumed were mined out.

Curtis, there was another thread about Uptown Top Ranking. Maybe someone can link this thread to it.

yes but dr c that thread was mostly abt x-ray spex!!

What was the thread about lightning records then?

All Tom's comments about covering the width of music in Jamaica made me think of Third World funnily enough. I know they were derided by the purists for being too smooth (=too american?), but I always loved them for what they were. What do other folks suggest should turn up on 700%?

Thanks, Dr. C. I just found the other Uptown Top Ranking thread using FreeFind. I may well have seen it originally - before hearing the Soul Jazz CD - and wondered what obscure song you guys were raving about. *shrug*

Tom is absolutely OTM about 400% Dynamite - unbelievably good. (Even better than Studio One Rockers, my favourite Soul Jazz album to date).

The sequence of Prince Buster's 'Girl Why Don't You Answer', Barrington Levy's 'Under Me Sensi' and The Cimarons ' We Are Not The Same' moves me like virtually nothing else I've EVER heard. I didn't know the Cimarons track (it's not on The Roundhouse album, or even Best Of The Cimarons) - but Winston Reid's vocals are heartbreaking and the arrangement is fantastic - angry horns ushering in a rising strings on the chorus. Wow.

good piece yea, i bought 300% and 400% mainly because of it (i didn't realise that wayne smiths under mi sleng teng and sister nancys bam bam were on there otherwise i'd have bought them ages ago). haven't played it yet though

is studio one djs any good. studio one rockers is really good (esp the michigan and smiley track)

the barrington levy under mi sensi one, is that from 1992? kind of a breakbeathardcore/ragga crossover. thats on kaos theory volume 3 and is damn good

It's the first version of "Under Mi Sensi" I think Gareth, which Barrington did for Jah Screw in 1984 or thereabouts. There have been several versions since: I really like the jungle one you mention, though not as much as the original.

yeah it's the original (and best)version.

Studio One DJs is slightly disappointing, BUT I've only played it twice. Will have another listen and try and explain why. Or maybe I'll like it better.