Limited Edition, Reissue, Blue Vinyl

A Collection Of Superrare And Superheavy Funk 45s From The Late ‘60s & Early ‘70s. Sticker on front says: "This is deep-funk at its best. 15 out of 17 tracks appear on a full-length album for the very first time! Incl. previously unreleased bonus 45rpm single by South Side "I Feel A Groove Comin' On"

Studio One’s list of singers launched at the famous label reads like a roll call of Jamaican music. Horace Andy, Alton Ellis, Ken Boothe, Freddie McGregor, Johnny Osbourne and more. This album features classic and rare tracks that span the breadth of the legendary Studio One catalogue: Ska, Roots, Rocksteady, Lovers and more from the 1960s and 70s. Sleeve-notes are by Chris Salewicz, the acclaimed writer who has written books on Joe Strummer, Bob Marley, The Rolling Stones and many others.

180g vinyl, inclusive Bonus CD

This collection of Jamaican doo wop from the late 1950s through to the early 1960s represents a period in which sound systems had begun to dominate the island, and were starting to step up their rivalry by beginning to record and release their own platters rather than rely on imported records to gain the competitive edge. With the uniquely Jamaican ska explosion yet to completely catch hold, these tracks are largely imitative of the doo wop and R&B sound that had been reaching the island from American shores & radiowaves, albeit peppered with hints of what was to come ~ some of the future stars of ska, rocksteady and reggae are starting to cut their teeth on these tracks, providing a great view into the fledgling record industry on the island.

It was in Benin City, in the heart of Nigeria, that a new hybrid of intoxicating highlife music known as Edo Funk was born. It first emerged in the late 1970s when a group of musicians began to experiment with different ways of integrating elements from their native Edo culture and fusing them with new sound effects coming from West Africa´s night-clubs. Unlike the rather polished 1980´s Nigerian disco productions coming out of the international metropolis of Lagos Edo Funk was raw and reduced to its bare minimum. Someone was needed to channel this energy into a distinctive sound and Sir Victor Uwaifo appeared like a mad professor with his Joromi studio. Uwaifo took the skeletal structure of Edo music and relentless began fusing them with synthesizers, electric guitars and 80´s effect racks which resulted in some of the most outstanding Edo recordings ever made. An explosive spiced up brew with an odd psychedelic note known as Edo Funk. That‘s the sound you‘ll be discovering in the first volume of the Edo Funk Explosion series which focusses on the genre’s greatest originators; Osayomore Joseph, Akaba Man, and Sir Victor Uwaifo: Osayomore Joseph was one of the first musicians to bring the sound of the flute into the horn-dominated world of highlife, and his skills as a performer made him a fixture on the Lagos scene. When he returned to settle in Benin City in the mid 1970s – at the invitation of the royal family – he devoted himself to the modernisation and electrification of Edo music, using funk and Afro-beat as the building blocks for songs that weren’t afraid to call out government corruption or confront the dark legacy of Nigeria’s colonial past.

Following on from Studio One Rockers comes Studio One Soul which tracks the link between American Funk and Soul and Jamaican Reggae at the legendary Studio One Records. Curtis Mayfield,Aretha Franklin, Otis Redding, The Temptations, King Floyd, Booker T and The MGs - All these artists had a huge influence on Jamaican artists and this CD contains versions of songs by all of them. Featuring classic and rare Reggae Funk and Soul cuts from the Reggae giants alongside rarer cuts, Studio One Soul spans over 20 years of classic Reggae from the Rocksteady Funk through to the deep Roots music. Following on from Studio One Rockers, this second journey into the vaults of Studio One tells the story of the important link between American Funk and Soul and Jamaican Reggae. Ranging from music taken from the mid-1960s (and the arrival of Rocksteady) through to the beginning of the 1980s, Studio One Soul features versions of US Funk and Soul hits (many rarely heard before) from some of the many classic artists who recorded at Studio One. American Soul music has always been an important influence on Jamaican Reggae. The beginning of the Jamaican recording industry at the end of the 1950s started with Clement "Coxsone" Dodd (owner of Studio One) and a group of select in-house musicians (originally The Skatalites) recording their own version of American R'n'B. Playing on the off-beat this music became Ska. As American R'n'B progressed through Funk, Soul and Disco, Jamaican music was going through its own musical changes, from Rocksteady throught to Reggae and Roots music. The house-band at Studio One recorded on a daily basis behind all Studio One vocalists as well as recording instrumentally in its own right. Soul singers such as Curtis Mayfield and The Impressions (Queen Of The Minstrels) had a profound influence on Jamaican artists and many other US artists were constantly re-interpreted and re-worked. Artists such as Aretha Franklin (Respect), Charles Wright (Express Yourself), King Floyd (Groove Me), Otis Redding (How Strong) were all very popular in Jamaica in the 1960s. At the end of the 1960s Black Consciousness became an important part of American Soul music. At the same time many Jamaican artists were starting to look to their roots. Many artists would shortly become involved in Rastafarianism. The "conscious" lyrics of American Funk and Soul again struck a chord with Jamaican artists. "Message From A Blackman" (originally by The Temptations) and "Is It Because I'm Black" (Syl Johnson) are examples of this. Through the 1970s Soul/Disco artists such as Barry White ("Can't Get Enough" and "Deeper and Deeper") and The Detroit Spinners ("I'll Be Around") became the flavour of the day. This selection finishes with Willie William's interpretation of Ashford and Simpson's classic "Ain't No Stopping Us Now" Nach Studio One Rockers folgt nun Studio One Soul, das die Verbindung zwischen amerikanischem Funk und Soul und jamaikanischem Reggae bei den legendären Studio One Records nachzeichnet. Curtis Mayfield, Aretha Franklin, Otis Redding, The Temptations, King Floyd, Booker T and The MGs - all diese Künstler hatten einen großen Einfluss auf jamaikanische Künstler und diese CD enthält Versionen von Songs von ihnen allen. Mit klassischen und seltenen Reggae-Funk- und Soul-Stücken der Reggae-Giganten sowie selteneren Stücken umfasst Studio One Soul mehr als 20 Jahre klassischen Reggae, vom Rocksteady-Funk bis hin zur tiefgründigen Roots-Musik. Nach Studio One Rockers erzählt diese zweite Reise in die Gewölbe von Studio One die Geschichte der wichtigen Verbindung zwischen amerikanischem Funk und Soul und jamaikanischem Reggae. Der Bogen spannt sich von der Mitte der 1960er Jahre (und dem Aufkommen von Rocksteady) bis zum Beginn der 1980er Jahre,Studio One Soul enthält Versionen von US-Funk- und Soul-Hits (viele davon selten zuvor gehört) von einigen der vielen klassischen Künstler, die im Studio One aufgenommen haben. Die amerikanische Soul-Musik war schon immer ein wichtiger Einfluss auf den jamaikanischen Reggae. Die Anfänge der jamaikanischen Musikindustrie begannen Ende der 1950er Jahre mit Clement "Coxsone" Dodd (Besitzer von Studio One) und einer Gruppe ausgewählter Hausmusiker (ursprünglich The Skatalites), die ihre eigene Version des amerikanischen R'n'B aufnahmen. Diese Musik, die auf dem Offbeat spielt, wurde zu Ska. Während sich der amerikanische R'n'B über Funk, Soul und Disco weiterentwickelte, durchlief die jamaikanische Musik ihre eigenen musikalischen Veränderungen, von Rocksteady bis hin zu Reggae und Roots Music. Die Hausband von Studio One nahm täglich hinter allen Sängern von Studio One auf und machte auch eigene Instrumentalaufnahmen. Soulsänger wie Curtis Mayfield und The Impressions (Queen Of The Minstrels) hatten einen großen Einfluss auf jamaikanische Künstler, und viele andere US-Künstler wurden immer wieder neu interpretiert und überarbeitet. Künstler wie Aretha Franklin (Respect), Charles Wright (Express Yourself), King Floyd (Groove Me), Otis Redding (How Strong) waren in den 1960er Jahren in Jamaika sehr beliebt. Ende der 1960er Jahre wurde Black Consciousness ein wichtiger Bestandteil der amerikanischen Soulmusik.Zur gleichen Zeit begannen viele jamaikanische Künstler, sich auf ihre Wurzeln zu besinnen. Viele Künstler engagierten sich bald im Rastafarianismus. Die "bewussten" Texte des amerikanischen Funk und Soul fanden wiederum Anklang bei jamaikanischen Künstlern. "Message From A Blackman" (ursprünglich von den Temptations) und "Is It Because I'm Black" (Syl Johnson) sind Beispiele dafür. In den 1970er Jahren wurden dann Soul/Disco-Künstler wie Barry White ("Can't Get Enough" und "Deeper and Deeper") und The Detroit Spinners ("I'll Be Around") zum Trend der Zeit.Den Abschluss dieser Auswahl bildet Willie Williams Interpretation des Klassikers "Ain't No Stopping Us Now" von Ashford and Simpson.