Trammy - Techniques Records - 1973 скачать в хорошем качестве

Trammy - Techniques Records - 1973

For some reason I had an earworm going on inside my head earlier, so as I had not a lot else to do, I thought I would listen to this record again, record and upload it onto YouTube. Two sides of early 1970's reggae, trombonist Vin Gordon featuring on the A-side, an instumental called 'Horns Of Paradise'. The paper label attached to this record misspells one of Vin Gordons monikers, 'Trommie' (for trombone). The incorrect 'Trammy' is instead printed. The A-side is wonderful, but the B-side (with all due respect to Vin Gordon) is the big money cut. Ansel Collins and his Techniques All Stars with another intrumental, an organ-led reggae thumper called 'Grass Root', This cut would fill up any dance floor with the paying punters lucky enough to hear this record get an airing. A skinhead / suedehead classic, this side of the record is an absolute monster. Both sides of this UK released record were originally available on Wind Records in Jamaica in 1972. Both cuts produced by Techniques head honcho Winston Riley, and engineered by I think, Carlton Lee, possibly recorded at WIRL or Dynamic Studios. This is simply a wonderful record, and well worth a listen, if you are lucky enough to find a copy in a charity shop then grab it, as this record is worth over £100 nowadays! Text below ripped from Wiki. Vin Gordon grew up in Jones Town, Kingston, Jamaica as one of eight children. He went to Kingston's Catholic Alpha Boys School, where he learned to play trombone and string bass. He began his career in 1964 with The Skatalites. He became the main trombonist of Studio One and he recorded for all major producers of Jamaican music in ska, rocksteady and reggae. At Studio One Gordon met Lee Perry and played with many reggae artists during the rock steady years. He played on records by Bibi Seaton, The Heptones, Bob Andy and Keith Hudson. From 1965 to 1978 he was Bob Marley's trombonist and performed on albums such as Kaya and Exodus. One solo album was produced by Lee Perry in 1973 (Musical Bones), which was originally released on Dip in the UK on blank labels in 300 copies only. His landing in England in the 80s influenced a mostly British-born reggae groups as Aswad with songs such as "Warrior Charge" and "Dub Fire". Returning to Jamaica he worked on different recordings. Ansel Collins was born 1949 in Kingston, Jamaica. Collins began his career as a drummer, moving to keyboards in the mid-1960s. In the late 1960s, he performed with the Invincibles band (whose members also included Lloyd Parks, Sly Dunbar and Ranchie McLean. He played on The Maytals' "Pressure Drop" and "Sweet and Dandy". After working with Lee "Scratch" Perry, Collins was part of the duo Dave and Ansel Collins along with Dave Barker, with whom he had a number one hit in the United Kingdom in 1971 with "Double Barrel". His keyboard playing exemplified the Skinhead reggae style. Collins is also a producer and has released solo records, including single sides "Cock Robin", "Atlantic One", "Stalag" and "Nuclear Weapon" between 1969 and 1971, as well as a handful of later albums. He was a member of 1970's Channel One studio band The Revolutionaries, as well as the Impact All Stars and Sugar Minott's Black Roots Players, performing on many of the classic songs of the roots reggae era 1979's "Black Roots" for example. Winston Riley is one of Jamaica's greatest success stories, a pillar of the island's music industry to this day. Born in 1946 in Kingston, Jamaica, Riley founded the Techniques in 1964 with a group of friends, all of whom congregated at a youth club established by Edward Seaga. It was the future prime minister who took the young band into Federal Studios that year, where Byron Lee oversaw the group's recording debut, "No One." Soon after, the Techniques relocated to Treasure Isle, where their debut for Duke Reid, 1965's "Little Did You Know," rocketed them to the top of the Jamaican chart. A series of lineup shifts barely slowed the group down, as the Techniques' hits continued to pour forth across the ska, rocksteady, and reggae years. In 1968, though, the band broke with Reid, and Riley began producing the Techniques' music. He also oversaw the Sensations and a solo Johnny Osbourne, who gave Riley's Techniques label its first major hit, "Warrior." But it was a riddim worked up by organist Ansel Collins and drummer Sly Dunbar that provided the producer with his international breakthrough, when their "Double Barrel," enlivened by Dave Barker's toasts, shot to the top of the U.K. chart and the U.S. Top 25. The follow-up, "Monkey Barrel," was nearly as successful, together bringing a licensing deal with Trojan Records and financing Riley's new record shop. The 1974 instrumental "Stalag 17," initially credited to a solo Ansel Collins, had an even greater impact. The phenomenally successful riddim has been versioned regularly ever since, with the Stalag 17, 18 & 19 set one of the most popular one-riddim albums of all time.