If you've ever wondered why the hell there's reggae all over this place, along side rock 'n' roll and other seemingly disparate types of music, there's a reason probably only obvious to old punk rockers. For a lot of us geezers, even here in the states, it can be traced back to DJ Don Letts. He worked at the Roxy, a London night club, back in the seventies, spinning records between punk bands. There was very little punk rock on vinyl at the time, so he turned to the music he knew, and that was reggae. Like punk rock, a lot of it was rebel music, and that loose connection essentially all it took for early UK punk bands to embrace the music. Many became well versed in reggae, even if it wasn't necessarily absorbed into their music. But the influence was there, most notably with the Clash, who covered reggae songs like "Police and Thieves", wrote their own versions ("Guns of Brixton", "White Man in Hammersmith Palais") and recorded with Lee Perry producing. But the Clash weren't alone. Generation X's "Wild Dub", the B side on their "Wild Youth" single, was a somewhat feeble attempt to bridge the dub gap (before it became commonplace). The Slits, who wholly embraced reggae, brought a whole new low tech/high imagination hybrid to the table.
Some of the UK bands would mention this person or that, and that's when it the sound really spread in punk circles. For instance, when Johnny Rotten name dropped reggae toaster Dr Alimantado in an interview, UK record sales for Alimantado spiked. But it wasn't limited to the UK for long. As UK punk zines slowly reached the U.S., a whole other crowd was turned on. Hell, my very first reggae 45, "New Star" by Tapper Zukie, was bought via a recommendation by some long forgotten punk taste maker (Poly Styrene?). In the second issue of my short lived zine, contributors submitted Top Ten lists. Mine included Tapper Zukie and U Roy records, both of which were bought at the same independent record store that had the hot punk shit. To put this into period context, it all happened before Bob Marley became a household name around hippie flop houses and college dorms. He was pretty much just another reggae artist. That said, his song, "Punky Reggae Party", celebrated the unlikely alliance, name dropping punky reggae party attendees, starting with his own band name, followed by the Damned, the Jam, the Clash, the Maytals and Dr. Feelgood. (Well intended as it was, Marley, in an slight case of randomized bullshitting, picked a few there that don't quite belong, eh?) The lines that follow the name dropping verse were music to punk ears, "No boring old farts, no boring old farts, no boring old farts, will be there!" Punky reggae party. OK.
It's really pretty remarkable when you think of how many people were tuned onto reggae via this very real
butterfly effect. Letts himself cites the film
The Harder They Come, punk rock, and Bob Marley, in that order, for the rise of reggae. And the whole punk rock part of the equation came about because Don Letts didn't have any punk records.
Notes:: Letts later began film making, and was a member of Big Audio Dynamite. In 2005, he produced
Punk: Attitude, what may be the definitive documentary of punk rock. Really, he gets it right. It's good, and it's authentic (highly recomended). About the music below, it's a smattering of related stuff, all worthwhile hot ass shit. Read the little blurbs for the reasons. I could have hunted for more, but I gotta sew this thing up.
~ NOTE: ALL MEDIA IS HOSTED BY THE BLOGS & SITES NAMED BELOW ~
Listen:
Bob Marley and the Wailers - Punky Reggae Party mp3 at You Sound Like a Robot
Bob Marley and the Wailers - Stir It Up mp3 Original JA version
Bob Marley and the Wailers - Soul Rebel mp3 at Review Stalker Produced by Lee Perry
Jimmy Cliff - Guns of Brixton mp3 at Groove on Fire Clash cover
U Roy - 006 mp3 at Groove on Fire Produced by Lee Perry
Dr. Alimantado - Poison Flour mp3 at Le Blog de la Grande Chose
Live set:
The Clash - Live at the Palladium (1979) at Captain's Dead Complete set as a zip and individual songs as mp3s. Good quality soundboard recordings, for those who care.
Video:
Don Letts interview at Red Bull Academy "The cultural revolution of two spliffs and one beer, told by the man who unified punk and reggae" (Text version below)
Visit:
Don Letts - Interview at Red Bull Academy
Don Letts at Wikipedia
Don Letts - Radio show at the BBC
Dave Brubeck died today. "Take Five", from his Time Out LP was an unexpected hit when it was released in 1959, which was unusual for any jazz song, and even more unusual for a song in 5/4 time signature. If you don't know what that is, feel no shame. It was so unusual that the liner notes on the LP went to great lengths to describe what the hell weird time signatures were. The opening paragraph is ever so hep: "Should some cool-minded
Martian come to earth and check on the state of our music, he might play
through 10,000 jazz records before he found one that wasn't in common
4/4 time." The LP was supposed to be an experiment in unusual time signatures and was only released on the condition that he release a more conventional LP first. No one expected it to be a hit, but cool is cool, and to a non-jazz person, Time Out was about as cool as it got. Hey, it was cool enough that it was the first jazz LP I ever bought.
