Johnny Clarke - Rock With Me Baby & A Crabit Version - Attack Records - 1975 скачать в хорошем качестве

Johnny Clarke - Rock With Me Baby & A Crabit Version - Attack Records - 1975

FIVE years passed: The great legendary Jamaican producer Bunny Lee passed away on 6th October 2020 after battling kidney problems for the past few months that he has been in and out of hospital. May he continue to rest in peace. I met Bunny Lee several times in the nineties, mostly with Ken Gordon (Fatman) at Ken's nights at the 'Flowerpot' in Tottenham, and at Ken's restaurant 'Mirage' in Manor House. He was a lovely man. He will be sadly missed. Those who have even a passing interest in reggae music, should know that Bunny Lee was involved, and put in much effort building up the deserved respect for Jamaican music, from the very beginning. Rest In Peace Bunny Lee. Uploaded today is Johnny Clarke's rendition of Delano Stewart's, 'Dance With Me', originally recorded and released in 1968 on Sonia Pottinger's High Note record label. That song was updated and covered wonderfully by John Holt released on the Trojan record label, the first ever Trojan 12" single supposedly. Bunny Lee was involved in Clarke's recording, this cut was recorded with Lee's signature 'flying cymbal' sound. Words by David Katz below. Carlton "Santa" Davis, claims to have originated the flying cymbal form through an adaptation of the "Philly Bump" soul beat developed by Philadelphia studio ensemble Mother, Father, Sister, Brother and 'The Sound Of Philadelphia'. He explains "The drummer Earl Young was a favourite drummer of mine, so I said, 'Let’s try that in a reggae sound.' Then the song 'None Shall Escape The Judgement' came up, and I started the song with that, and Bunny Lee wanted that in every song. He was the one who name it 'flying cymbal,' which is an open-and-closed hi-hat. Then the whole thing started ballooning. 'None Shall Escape The Judgement' nearly got left in the can. It was written by Earl Zero, an aspiring ghetto singer that was friendly with Aggrovators guitarist Earl "Chinna" Smith, and who, like Smith, lived close to Bunny Lee's bourgeoning Greenwhich Farm headquarters. After Lee heard the pair practicing songs together, he brought Zero to Treasure Isle studio to record 'None Shall Escape The Judgement,' using upcoming singer Johnny Clarke for backing vocals (since Clarke was then causing a buzz in England with 'Everyday Wondering,' cut shortly before for rival producer Rupie Edwards), along with another youth whose name has been lost to the passing of time. But when the recording session was finished and Lee listened back to the master tape, he felt Zero's vocal delivery needed improvement. He thus approached the better-established singer Cornell Campbell, but Campbell declined to voice a new version of the tune, since Lee owed him money for previous work. Bunny then drew back for Johnny Clarke, who voiced an alternate lead vocal on the rhythm at King Tubby's studio, tackling the tune with considerable aplomb and the kind of naturalness that suggested he'd written the foreboding lyrics himself. The resultant 'None Shall Escape The Judgement' became a massive hit for Clarke and a sensation in both Jamaican and Britain, leading not only to further cuts on the rhythm, such as Clarke's 'Joshua's Word,' and the Vin Gordon trombone instrumental 'Magnum Force'. A series of "clashing" discs between Clarke and Campbell were released. Among the most impressive tracks to result from the feud were Campbell's 'The Gorgon,' 'A Dance in a Greenwich Farm,' 'Gun Court Law' and his reggae rendition of 'Duke Of Earl,' along with Clarke's 'Move Out Of Babylon Rastaman,' 'Enter His Gates With Praise' and 'Rock With Me Baby.' The flying cymbal was the outstanding element of all these songs, yet Clarke suggests its initial implementation on 'None Shall Escape The Judgement' was highly spontaneous. "Santa was there just playing the cymbal a little, and Bunny came in and said, 'Oh, boy! That's what we want!' Normally Santa was just doing it as a joke, a little workout thing to loosen up himself before we get into the real thing. But it end up that the loosen-up becomes real – a new sound!" As the 'flying cymbal' rapidly dominated the charts, other producers soon got in on the act, with Lee Perry using it for 'Kiss Me Neck,' Linval Thompson's 'Kung Fu Man' and his own rendition of the Soul Train theme as 'Rebels Train.' Producers like Alvin "GG" Ranglin even started making use of Treasure Isle studio, hoping to capture some of the same magic. Johnny Clarke explains, "Bunny Lee had the sound everybody wanted to go to Duke Reid's studio because different producers always watch another producer, and if you go to a studio and they see you get a hit sound, they want to go there too. Everybody doing cymbal, and a lot of the artists who never had that on their trend, they started following our way, because that was the hit way, what the people needed. If you see a way that money's going to make, you're going to go with it, and the cymbal was good money with the sales. Without sales, you're a loser, waste your time."