PRESS RELEASE, followed by QUOTES and Album LINER NOTES
The Skatalites have broken ground in Australia. Performing and recording a new album while down under may seem an odd match for a Jamaican band. However, The Skatalites found that the people on the big island of OZ have a familiar vibe about them. Although the local wildlife and ancient landscape created an atmosphere unlike any The Skats had seen before. "The first night of our trip we started seeing kangaroos, or wallabies, along the road. We saw at least a dozen—more in the shadows. That alone was enough to inspire plenty of creativity."
The location of the recording sessions, Byron Bay, also hosts one of the biggest music festivals in the world, The East Coast Blues and Roots Music Festival, which annually plays host to scores of world-renowned artists from many countries and genres. The town is used to great music. The Skatalites felt right at home.
We came to Byron Bay without much previously conceived material. One melody I had in my head and then a couple guys had tunes ready but we had never rehearsed a bit of it. We had to work out harmonies and progressions from there. One of the nights of the festival featured us with Yothu Yindi, an Aboriginal rock band who were like Pink Floyd goes Didgeridoo. After that was Damien Marley. Those two performances were both so unique they gave us the energy we needed to finish the CD. Although scheduling was a bit tough, (as we were recording around festival performances) the creative juices were flowing nicely due to the cast, the beautiful weather and beaches and just a whole new experience. -Ken Stewart
Those recording sessions became The Skatalites On The Right Track. Set for U.S. release in May of 2007 on AIM International, On The Right Track is only the second new material album from The Skatalites. The first spawned one of the group’s two Grammy nods. The other 30 some albums have been cover songs of everything from Cuban to American to The Beatles.
Lester Sterling’s "Uluru Rock" was named in honor of Australia’s iconic red sandstone monolith known worldwide. Located in central Australia, Uluru is sacred to the Pitjantjatjara and Yankunytjatjara, who live in that region. OZ also inspired Val Douglas to write "Outback Ska."
On The Right Track features several original Skatalites including the inventor of the ska beat and founding member, Lloyd Knibb. Original saxophonist Lester Sterling and soulful vocalist Doreen Schaeffer carry on the never-ending rhythm they pioneered. Old school JA set musicians; Karl ‘Cannonball’ Bryan on tenor sax, Vin Gordon on trombone, Val Douglas on bass along with Devon James on guitar (who played with many of the original members) have all been in the line-up for years. Ken Stewart, manager and keyboardist since the 80s, plays a Hammond B3 on this album, best heard on the title cut "Right Track." Kevin Batchelor has also played trumpet with Sugar Minott, Maxi Priest, Big Mountain and Steel Pulse amongst many others.
The group is more authentic than most of the previous post-original line-ups. Vin Gordon and Cannonball were in Studio One right after The Skatalites. As always, The Skatalites continue to recruit and be the cream of the crop. ‘Rookies’ are in their fourth or fifth year while veterans are in their fourth or fifth decade. Like so many classic jazz records , this album came together with inspired musicians finding a groove together, plenty of improv and loads of rhythm centered on some absolutely beautiful melodies.
"Without the killer grooves and syncopated horn blasts of the always-wonderful Skatalites,
life on this planet would be a far duller thing." —Fred Shuster, L.A. DAILY NEWS
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QUOTES
"I first knew the bittersweet theme from "The Guns of Navarone" from a 1961 hit instrumental—but it was nothing like the Skatalites version that Don Drummond adapted. The melody is the same, of course, but with the blazing horns and heavily pronounced beat, it was totally on fire—and so full of life that remains the hallmark of ska and the Skatalites."
-Jim Bessman, BILLBOARD MAGAZINE
"I saw the Skatalites at the Palace in Los Angeles in 1989, playing with Bad Manners. I remember how astonishingly tight they were, and how swinging their jazzy ska groove was. I've been an admirer for at least...wow, is it 20 years by now?"
-Phil Freeman, GLOBAL RHYTHM MAGAZINE: Managing Editor
"I am comforted each time I hear The Skatalites. They are each and all a precious keepsake of what is wonderful and joyous about Jamaican culture."
-Pat McKay, SIRIUS SATELLITE RADIO: Reggae Format Manager
"The Skatalites are pure energy: hot like fire, with a scorching, skanking rhythm and big-band bravado."
-Mark Harris, REGGAEREVIEWS.com: Editor
"Ska is ubiquitous, and there's no disputing that they started it all. When you also consider the influence that the various Skatalites alumni had on the subsequent styles of Jamaican music, then you could argue that they are one of the most influential groups in 20th century popular music."
-Carter Van Pelt, DJ/Writer-
"Eric Clapton once said that he didn't want to talk to anyone who didn't know Robert Johnson's music. I kinda feel that way about the Skatalites..."
"Not only did they pave the way for the intricacies and nuances of the rocksteady, reggae and dub styles that followed, but they've been held in continual high esteem by musicians, intellectuals and such non-mainstream types as punk rockers. They were the cultural barometer of their day. To feel how influential they are on a global scale, listen to their recent live album recorded in Argentina. You can hear the audience singing along to songs that don't have lyrics! What other band can connect with a crowd that way?"
-Tom Orr, THE BEAT MAGAZINE
"The joy of discovery that you hear in the first recordings is still there in the band today."
-Andy Bassford, GUITAR: Mutabaruka, Gladiators, Congos, Toots, Ranglin, Spear-
"Lloyd Knibb is one of the greatest and only drummers from Jamaica to set precedence, adapting the Burru, Pocomania and Repeater style of African polyridmic playing. He is the Godfather of Jamaican drumming. Just ask Sly and anyone who dare to tread in his footsteps. He is de king."
-Phil Chen, BASS: Prince Buster/Federal, Funk Brothers, Rod Stewart, Jeff Beck, The Doors-
"The sound of thunder, sunshine, happiness and coconut water; Music at its best- straight from the heart of Jamaica- the predecessor and roots of reggae."
"It’s great to know that the Skatalites are still out there as the foremost exponents of this unique Jamaican genre."
-Dermot Hussey, XM SATELLITE RADIO: Reggae Program Director
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LINER NOTES
In the Beginning, Ska was Created:
Alpha Boys School, Rastas, Military Bands, Studio 1
—The Origins of the Skatalites
The Skatalites brought together the top musicians and styles of the time—fusing boogie-woogie blues, R&B, jazz, mento, calypso, and African rhythms—to create the first truly Jamaican music: ska. Throughout the mid-20th century, experience in big bands solidified the prowess of most Jamaican musicians; yet, the genesis for many of the great Skatalites goes back to a boys’ school established for the wayward.
The Alpha Boys School, run by the Sisters of Mercy and led (for most of last century) by Sister Ignatius, educated many of the future Skatalites. Founded in 1880 and having its own band since the 1890s, Alpha was essentially a military-style school that also developed top-notch musicians. Tommy McCook became a pupil there in 1938, playing his sax in the school’s best orchestra by 1942. Fellow Skatalites, including master penman and trombonist Don Drummond, Johnny ‘Dizzy’ Moore, and Lester Sterling also attended Alpha, same way for Cedric Brooks, Vin Gordon, Rico Rodriquez, Ernest Ranglin, Eddie ‘Tan Tan’ Thornton, Bobby Ellis, ‘Horsemouth’ Wallace and JoJo Bennett, all of whom have played with, or were members of The Skatalites.
"It was a good school. If you had ambition you could learn a trade: printer, carpenter, bookbinder, tailor, shoemaker, electrician," recalls Lester Sterling. "You also could choose your instrument and tell the band leader... trumpet, sax, drum. Sometimes the bandleader would put you on the instrument he needed. Ruben Delgado was our teacher for band. A good teacher, he had studied in England and been in the military band." Lester, Dizzy, Don Drummond and Rico Rodriquez all played together in Delgado’s band.
Dizzy Moore recalls wanting to play music from an early age. His parents didn’t approve of the image and nightlife associated with musicians. When Dizzy heard a friend playing music, he asked where he learned to play. The boy said, "Alpha, but you have to be bad to go there." Dizzy replied, "That’s easy, man." Two years later, Johnny ‘Dizzy’ Moore was a pupil at Alpha; his folks glad to be straightening him out, Dizzy just happy to play music. Alpha—the beginning.
They put me to work in the garden where they grow the vegetables and it was hard, because you don’t have no hosepipe and jet, you have to keep fetch pans of water! You could join the band when you were six or seven and everybody want to join it. But that was hard work too. We do theory in the morning and the bandmaster test you without your instrument, so you had to have total understanding of what you were doing. Then if the bandmaster realized you were a bright student he would give you the staff to conduct the band and you have to do that from the sheet with all the players’ music on it. No one can fool you, but you had to know what you were doing. It’s why that generation of musicians in Jamaica was so good, because they have that training and understanding of what they were doing and they inspire the other musicians they play with.
—Rico Rodriquez, on Alpha Boys School
The Alpha School produced more than its share of the prominent musicians of the 1940s and ’50s dance-band era. The best of these players were central to the emerging sounds of the ’60’s. The Skatalites and other alumni still play benefit shows for Alpha.
Big Bands led by the likes of Eric Dean and Roy Coburn would recruit future Skatalites and their classmates at Alpha to play the nightclubs. Ernie Ranglin would talk the school into allowing this to happen. Don Drummond and Tan Tan Thornton took full advantage of that opportunity. Tan Tan recalls, "We used to get paid for it, but we never tell the Sisters that! Many of the Alpha band would leave and go into one of Jamaica’s big three bands: the military band, the regimental band or the constabulary’s band. Sometimes the leaders of those bands would come to the school and pick the boys to join them. They could make a good living in those bands, but you had to be good to get in."
In fact, when the Jamaican Military Band traveled to Newfoundland in 1961, three years prior to the formation of The Skatalites, Lester Sterling was a member of the band. He was surprised to find the audience requesting Island music. In spite of this eye-opening experience, for years, even the best Kingston producers primarily targeted their sounds to Jamaican dancehalls, with little thought paid to an international audience.
By 1964, that all began to change. Jamaica’s world famous Studio One was in its infancy as was the newly independent nation of Jamaica itself. Spirits were high. The vibe was strong. Jamaica was forging its own foundation and so were The Skatalites.
The strict music theory of Alpha was mixed with emerging themes of jazz and Rasta freedom. Socially, spiritually and musically, the Skatalites found their equivalent of the Beatles’ Maharashi in Count Ossie and his drum troupe. Ossie and the future Skatalites spent time in the Wareika Hills at a freedom affirming Rasta camp.
Myself, Johnny ‘Dizzy’ Moore, Tommy [McCook], Cluett Johnson, Roland [Alphonso], Ernest Ranglin and a lot of the other musicians that come from Alpha found that to come to Ossie was the best thing. Up there you had a lot of time and space, because in the hills you not bothering anybody. And when you play with Count Ossie you have only drum sounds to play off so you’re playing from feelings, pure feelings. It’s not so much technical, like you learn at Alpha, up there you learn a lot of feeling from the drums, playing just off the drums. Many of the guys who came up there became Rasta and when they form the backbone of The Skatalites, they brought to it what they learned up there. They have all that formal Alpha training but they think about their music much more freely because they’ve developed under Ossie. When you want to develop yourself musically you have to make moves, you have to maneuver. Myself and [Lester] Sterling, we used to travel all over Jamaica experiencing hard life, playing from the heart, just for people to give you encouragement. You suffer, and it urges you to create things.
—Rico Rodriquez, remembering the Wareika Hills
Officially formed in 1964, the musicians who made up the original Skatalites had been playing together as a studio band for the greatest producers around: Coxsone Dodd, Duke Reid, Vincent Chin and Justin Yap—in various combinations since the 50’s.
Early Studio One recordings were the first ‘Skatalites’ songs, including "Simmer Down" for Bob Marley (his first #1 Jamaican hit). Most releases were first-takes; essentially live. The ‘house band’ was, by demand, impeccable.
As set musicians, The Skatalites backed the top singers of the day. Stranger Cole, Alton Ellis, Ken Boothe, Toots and The Maytals, Delroy Wilson, Bob Marley and The Wailers, Peter Tosh, and Jimmy Cliff are but a few who benefited from the tight rhythms cultivated by the new ska collective.
As a studio force, the band recorded all on one track with the singer on another, ‘one-take’ recording. These conditions forged a union among the musicians that could result in only one logical conclusion, to form their own band. Roland Alphonso, Johnny Moore, Lester Sterling, Don Drummond, Lloyd Knibb, Lloyd Brevett, Jerome Hinds, and Jackie Mittoo began working together regularly in the early sixties and formed The Skatalites in Spring of 1964. The earliest mention of The Skatalites in JA press is in The Gleaner, May 1964. The first rehearsal actually turned into a show. The band got together at the Hi-Hat club (a New Orleans style burlesque club/brothel) to practice. So many people crowded in to listen that the owner started charging admission.
They recruited Tommy McCook from his stint as a bandleader in the Bahamas, giving the group that ‘big band’ feel so popular at the time among the hotel circuit and dancehalls. The name game went on for some time. Space themes like The Orbits and Ital-ites were being tossed around. When Knibb suggested "Satellites," Tommy McCook reportedly said: "We play ska—The Skatalites."
Ernest Ranglin, Harold McKenzie, and others built on this foundation. Other great names traveling with the band included Reverend Billy Cooke and Percival Dillon, along with top-quality singers like Lord Tanamo, Doreen Schaeffer, Tony DeCosta and Jackie Opel.
Don Drummond and the end of The Skatalites’ first run marks a tragic chapter in Skatalites history. Don was the mad genius. Lauded by jazz greats Sarah Vaughn, J.J. Johnson and George Shearing, Drummond was also good friends with Dave Brubeck ever since playing on stage with him in Kingston. Don played and created great trombone, jazz and ska riffs. His songwriting was impeccable and even sardonic at times-see "Eastern Standard Time," "Freedom Song" or "Man in the Street" for the minor key sadness that was part of his trademark. Unhappy with imitating popular music of the time, Don was always pushing the envelope. His professional and personal searching was wrought with strife. He often admitted himself to the sanatorium and performed erratically on and off stage. Even while in need of money, he would often rush off without pay after gigs. Unfortunately, his instability and missed medication led to the stabbing and killing of his common-law wife, Marguerita Mahfood in an apparent fit of jealousy. Marguerita was from a wealthy family, partied hard and danced in nightclub floorshows. All this along with still being legally married to boxer Rudolph Bent, fueled Drummond’s jealousy and paranoia. Eddie Thornton laments, "After being [in Alpha] until you’re 16 and you don’t see a woman until then, it’s easy to fall for the wrong one, quickly, because you just don’t have no experience." Knibb recalls the tragic stabbing was on New Year’s Eve of 1965 and The Skatalites didn’t last past August of that same year. After the stabbing, Drummond entered Belle Vue Mental Hospital until his death about a year later. Drummond’s funeral caused Kingston to shut down as fans gave him a hero’s farewell for putting Jamaica on the map with so many original jazz and ska arrangements.
PJ Patterson, Prime Minister of Jamaica as recently as 2006, once helped with The Skatalites career. He helped with speeding tickets, "domestics" and even worked on Don Drummond’s defense team. Prime Minister Patterson speaks highly of The Skatalites as "the most formidable aggregation of talent Jamaica has ever seen, and is ever likely to see in the future."
The tradition of inspiring and playing on the front lines of musical frontiers has continued. The Skatalites still have original members in the band and the new additions are put through the traditionally demanding paces, maintaining the Jamaican all-star band. PJ Patterson recalls a musical dueling audition between the applicant Ernest Ranglin and the stalwart Don Drummond, "Ernie sent for his instrument and as the band played a tune called "Indian Summer," they dueled for nearly an hour, Don on trombone and Ernie on guitar as each matched the other’s portion. Everybody stopped dancing and retreated to the side to applaud this battle royal as neither would give up."
In the late 70’s, English two-tone revival groups like The Specials, Madness, The English Beat, and Selector kept the beat alive and well. Then, in the 80’s (and ever since), their American counterparts spawned a ‘third wave’ and beyond... Groups like The Slackers, HepCat, Mighty Mighty Bosstones, No Doubt, David Hillyard and The Rocksteady 7, The Toasters and King Django, all pay tribute to The Skatalites as a primary influence. This new generation have collectively opened for and played with The Skatalites, raising awareness and maintaining the fan base for a never-ending wave of ska.
From the start, The Skatalites changed Jamaican music forever. The creation of ska—the father of rocksteady, the grandfather of reggae—gave us eternal rhythms that now infiltrate the globe.
The Founders of Ska Take Roots Worldwide—
The Skatalites Sustain the Original Rhythm of a Nation
with World Tours and Grammy Nods
The Blue Monk jazz club in Kingston hosted The Skatalites' first reunion performance since 1965, in preparation for Reggae Sunsplash 1983, which also featured The Police on the bill. Sunsplash went so well that Island Records agreed to cut a Skatalites album in 1984, Return of the Big Guns. They also played London Sunsplash in 1984. By 1985, The Skatalites started trickling into the US first playing shows in New York at Manhattan’s famed Village Gate and then at SOB’s sporadically until 1988.
Ken Stewart came to the group "by accident" in 1988 as The Skatalites started to slowly regroup in the States—The Skatalites had performed very infrequently for about five years. Before they fully regrouped, Lloyd Knibb started playing drums with Stewart in a Boston area reggae band. Soon after that, Ken prompted the group to officially reform as a full recording and touring force. The Skatalites opened for the Bunny Wailer Liberation tour in 1988 and haven’t stopped touring since.
Since reforming in the 1980s, The Skatalites have played yearly world tours and continue to break ground into new geographic areas as politics and logistics allow. Recent years have seen tours of France exceed 25 shows. Italy hosts more than a dozen shows per visit. When The Skatalites played St. Petersburg, Russia in 2001, the band was surprised by the international response. One pair of Russian musicians traveled over 8,000 miles by train from Vladivostok, playing their own brand of Russian acoustic reggae along the way to help pay their travel expenses.
Latin American fans have been known to journey all the way to Europe to catch a glimpse of the founders of ska, who until recently rarely played South America, which is having a ska renaissance. Argentina and Brazil have even picked up their notoriously difficult booking schedules. The Skatalites took advantage of this with the 2006 release of In Orbit Vol. 1; Live from Argentina, which has the crowd chanting and "singing" along as if a World Cup game were in progress. Japan is ska mad too, where tribute band The Skaflames have a solid following and have shared the stage with the ska forefathers. On a recent tour of Japan, one young Japanese woman arrived with sax in hand, songs memorized, ready to play along. The result was a bit surreal and very gratifying for the band. Having played the Byron Bay Blues Fest in Australia and recording this album there, The Skatalites have now performed on every continent except Africa.
Grammy nods have been given to two albums since reforming; The 30th Anniversary CD, Hi-Bop Ska and Greetings from Skamania. The Skatalites also played on Toots and The Maytals’ Grammy winning album, True Love. While Don Drummond and others did write original songs, most early Skatalites songs were adaptations of jazz, pop or movie songs. Think "Guns of Navarone," "007," "El Pussycat," etc. On The Right Track is only the second album of predominately original material from The Skatalites.
...And Still Going
New Aussie Recorded Album
Shows Skatalites Steaming Along...On The Right Track
More than four decades after The Skatalites’ formation, On The Right Track features several original members. Inventor of the reggae drumbeat and founding member, Lloyd Knibb holds the rhythm. Saxophonist Lester ‘Ska’ Sterling and soulful vocalist Doreen Schaeffer carry on the never-ending rhythm they pioneered. Old school JA set musicians Karl ‘Cannonball’ Bryan on tenor sax, Vin Gordon on trombone, Val Douglas on bass along with Devon James on guitar (a fellow Jamaican who played the North Coast hotel scene with many of the original members) are all in the current line-up. Ken Stewart, manager and keyboardist since the ‘80s, plays a Hammond B3 organ on this album, best heard on the title cut "Right Track." Kevin Batchelor, another reggae veteran, has also played trumpet with Maxi Priest, Big Mountain and Steel Pulse. The group is more authentic than most of the previous post-original line-ups. "Vin Gordon and Cannonball were in Studio One right after Skatalites bowed out and continued the scene. It makes huge sense for them to be with us now," notes Ken. The Skatalites have retained their status as the cream of the crop in their genre.
We have grown together musically and came to Byron Bay without much previously conceived material. This album is quite unique as it has all original material contributed by most of the members of the current line-up, who have been together for three years. Although scheduling was a bit tough as we were recording around festival performances, the creative juices were flowing nicely due to the cast, the beautiful weather and beaches and just a whole new experience for all of us. We had very little material when we arrived in OZ. One cover and one melody I had in my head and then a couple guys had tunes ready but we had never rehearsed a bit of it and had to work out harmonies and progressions from there.
—Ken Stewart, on recording Down Under
"The biggest difference in this and old time days is now this session has songs that are original material. Back then plenty of the stuff was covers of everything from Cuban to American to The Beatles. Of course, the most notable Skatalites recordings are Don Drummond’s originals: ‘Confucius,’ ‘Eastern Standard Time,’ ‘Reburial of Marcus Garvey,’ ‘Far East,’ ‘Marcus Garvey JR’ and many others. Don was truly the most prolific writer for The Skatalites but the new and old members of this Skatalites have continued the legacy well to compile a nice new set of tunes," explains Ken. With a nod to history, Stewart wrote ‘Marguerita's Lament’ referring to the fateful events that closed the first chapter of The Skatalites.
Now, more than 40 years after their first album, The Skatalites arrive Down Under with two firsts—their first Australian shows and this Aussie-recorded album, On The Right Track. On the Australian experience, Ken states, "Some say all island peoples have a similar vibe about them. OZ is a big island but similar vibe and although there’s plenty of modern stuff, you get a feel of the ancient with the Aboriginal culture and seeing species of animals that exist nowhere else on earth. Plus, Byron Bay hosts one of the biggest festivals in the world for 18 years now [East Coast Blues and Roots Music Festival] so it has quite diversified tastes and influences in music. The overall environment is awe inspiring."
The first night of my first trip to OZ I went to a friend’s who lived nearby and enjoyed some hospitality but was dog-tired so went home early. On the way back to the hotel, which was actually in Lennox Head, we started seeing kangaroos, or wallabies, along the road. If you stop they don’t budge, they just sit there... looking at the stupid humans. We saw at least a dozen and there were more in the shadows. That alone was enough to inspire plenty of creativity. A truly majestic beast, which won’t really bother anyone unless, provoked by those foolish enough—we heard plenty of stories about that!
One of the nights of the festival featured us with Yothu Yindi, an Aboriginal rock band formed in the late 80’s who really were like Pink Floyd goes Didgeridoo [and very active with Aboriginal rights, black and white "Treaties," and work with Midnight Oil and Filthy Lucre]. The entire show was inimitable. After that was Damien Marley and then us. We enjoyed his set immensely. Those two performances were both so unique they gave us the energy we needed to finish the CD.
—Ken Stewart
Lester Sterling’s "Uluru Rock" was respectfully named in honor of the original and restored moniker for Australia’s iconic sandstone monolith known worldwide. Located in central Australia, Uluru is sacred to the Pitjantjatjara and Yankunytjatjara, who live in that region. OZ also inspired Val Douglas to write "Outback Ska."
Jazz and ska enthusiasts alike will be drawn in by the hard-bop and improv sounds of On The Right Track. Full of horns and rhythm, here you have the Jamaican Jazz Messengers. Just as Art Blakey’s quintessential hard-bop ensemble served as a beacon for jazz purists for nearly 40 years, The Skatalites have provided dedicated ska fans with a standard to go by for more than fifty. The bottom line for both bands has always been the same—it’s all about the rhythm.
These musicians, even before a coy nod to the space race and a desire to play out live gave them a name, are a rarity; the best the land has to offer have played together for years, helping usher in generations of styles. Ska, rocksteady, rudeboy, reggae, rockers, dancehall, reggaeton are all children and grandchildren of The Skatalites’ sound. On The Right Track invites you to bop, rock and skank as the Skafathers tear it up.
Liner notes by:
Anthony Piatt &
Fly On The Wall Media
"The Skatalites—Jamaica’s answer to the Motown house band
and Booker T. and the MG’s combined" —Rolling Stone
THE BAND
Lloyd Knibb - Drums
Lester 'Ska' Sterling - Alto Sax
Doreen Shaffer - Vocals
Karl 'Cannonball' Bryan - Tenor Sax
Devon James - Guitar
Val Douglas - Bass
Ken Stewart - Keyboards
Kevin Batchelor - Trumpet
Vin 'Don Drummond Jr' Gordon - Trombone
Plus...
Cedric Brooks - Tenor Sax on "Bye Bye" and ‘Ska Sax’ on 1, 2, 3, 5, 6, 10, 11
A. Metsch (Natty Frenchie) - Guitar on "Bye Bye"
Devon James - Bass on "June Rose", "Marguerita's Lament" and "Uluru Rock"
SONG LIST
1 New York Minute (Kevin Batchelor)
2 Outback Ska (Val Douglas)
3 Shock Trail (Vin Gordon)
4 Right Track (Phyllis Dillon/Hopeton Lewis)
5 Doreen Special (Karl Bryan)
6 Divine Conception (Vin Gordon)
7 Bye Bye (Doreen Shaffer)
8 Little Irene (Lester Sterling)
9 June Rose (Devon James)
10 One Armed Bandit (Karl Bryan)
11 Marguerita's Lament (Ken Stewart)
12 Uluru Rock (Lester Sterling)
13 Outback Dub (Val Douglas)
Recorded and mixed at Studios 301 in Byron Bay, Australia
by Paul Pilsneniks with Pete Copeland
Executive Producer: Peter Noble
Produced by Paul Pilsneniks and The Skatalites
Mastered by Oscar Gaona at Studios 301 in Sydney
Additional Recording by Peter Panic and Val Douglas on Tracks 1, 2, 3, 5, 6, 7, 10, 11
Liner Notes: Anthony S. Piatt - FlyOnTheWallMedia.com
CD Layout: January Jones - Mighty Fine Press
Cover Art: Backstreet International
Acknowledgments:
Jason Walsh and David Krell for closing the deal with Peter Noble to finally get The Skatalites to Australia. Anne Ficat, Cynthia Remolina and Joe Lezcano for all you do and have done for us on and off the road. To all of our agents for keeping us on the road. Art Cohen and Nimbit for keeping our website up.
To all of our fans for your love, inspiration and support.
We would like to dedicate this album to all of our musical friends and family who have contributed so much to Jamaican music and have passed on to another venue.
In loving memory of: Laurel Aitken, Roland Alphonso, Theophilus Beckford, Dennis Brown, Tony DeCosta, Desmond Dekker, Don Drummond, Clement Dodd, Phyllis Dillon, Clancy Eccles, Winston Grennan, Melanie Hibbert, Joseph Hill, Justin Hinds, Sister Ignatius, Cluett Johnson, Cecil Lloyd, Bob Marley, Jackie Mittoo, Tommy McCook, Jackie Opel, Count Ossie, Arthur ‘Duke’ Reid, Jack Ruby, Garnett Silk, Horace Swaby, Peter Tosh, Delroy Wilson, and Winston Wright.
Skatalites Management: Skank Entertainment - Ken Stewart PO Box 112 Elmwood, MA 02337 USA Phone +1 508 496 2533 Fax +1 508 677 3020
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The Skatalites have broken ground in Australia. Performing and recording a new album while down under may seem an odd match for a Jamaican band. However, The Skatalites found that the people on the big island of OZ have a familiar vibe about them. Although the local wildlife and ancient landscape created an atmosphere unlike any The Skats had seen before. "The first night of our trip we started seeing kangaroos, or wallabies, along the road. We saw at least a dozen—more in the shadows. That alone was enough to inspire plenty of creativity."
The location of the recording sessions, Byron Bay, also hosts one of the biggest music festivals in the world, The East Coast Blues and Roots Music Festival, which annually plays host to scores of world-renowned artists from many countries and genres. The town is used to great music. The Skatalites felt right at home.
We came to Byron Bay without much previously conceived material. One melody I had in my head and then a couple guys had tunes ready but we had never rehearsed a bit of it. We had to work out harmonies and progressions from there. One of the nights of the festival featured us with Yothu Yindi, an Aboriginal rock band who were like Pink Floyd goes Didgeridoo. After that was Damien Marley. Those two performances were both so unique they gave us the energy we needed to finish the CD. Although scheduling was a bit tough, (as we were recording around festival performances) the creative juices were flowing nicely due to the cast, the beautiful weather and beaches and just a whole new experience. -Ken Stewart
Those recording sessions became The Skatalites On The Right Track. Set for U.S. release in May of 2007 on AIM International, On The Right Track is only the second new material album from The Skatalites. The first spawned one of the group’s two Grammy nods. The other 30 some albums have been cover songs of everything from Cuban to American to The Beatles.
Lester Sterling’s "Uluru Rock" was named in honor of Australia’s iconic red sandstone monolith known worldwide. Located in central Australia, Uluru is sacred to the Pitjantjatjara and Yankunytjatjara, who live in that region. OZ also inspired Val Douglas to write "Outback Ska."
On The Right Track features several original Skatalites including the inventor of the ska beat and founding member, Lloyd Knibb. Original saxophonist Lester Sterling and soulful vocalist Doreen Schaeffer carry on the never-ending rhythm they pioneered. Old school JA set musicians; Karl ‘Cannonball’ Bryan on tenor sax, Vin Gordon on trombone, Val Douglas on bass along with Devon James on guitar (who played with many of the original members) have all been in the line-up for years. Ken Stewart, manager and keyboardist since the 80s, plays a Hammond B3 on this album, best heard on the title cut "Right Track." Kevin Batchelor has also played trumpet with Sugar Minott, Maxi Priest, Big Mountain and Steel Pulse amongst many others.
The group is more authentic than most of the previous post-original line-ups. Vin Gordon and Cannonball were in Studio One right after The Skatalites. As always, The Skatalites continue to recruit and be the cream of the crop. ‘Rookies’ are in their fourth or fifth year while veterans are in their fourth or fifth decade. Like so many classic jazz records , this album came together with inspired musicians finding a groove together, plenty of improv and loads of rhythm centered on some absolutely beautiful melodies.
life on this planet would be a far duller thing." —Fred Shuster, L.A. DAILY NEWS
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QUOTES
"I first knew the bittersweet theme from "The Guns of Navarone" from a 1961 hit instrumental—but it was nothing like the Skatalites version that Don Drummond adapted. The melody is the same, of course, but with the blazing horns and heavily pronounced beat, it was totally on fire—and so full of life that remains the hallmark of ska and the Skatalites."
-Jim Bessman, BILLBOARD MAGAZINE
"I saw the Skatalites at the Palace in Los Angeles in 1989, playing with Bad Manners. I remember how astonishingly tight they were, and how swinging their jazzy ska groove was. I've been an admirer for at least...wow, is it 20 years by now?"
-Phil Freeman, GLOBAL RHYTHM MAGAZINE: Managing Editor
"I am comforted each time I hear The Skatalites. They are each and all a precious keepsake of what is wonderful and joyous about Jamaican culture."
-Pat McKay, SIRIUS SATELLITE RADIO: Reggae Format Manager
"The Skatalites are pure energy: hot like fire, with a scorching, skanking rhythm and big-band bravado."
-Mark Harris, REGGAEREVIEWS.com: Editor
"Ska is ubiquitous, and there's no disputing that they started it all. When you also consider the influence that the various Skatalites alumni had on the subsequent styles of Jamaican music, then you could argue that they are one of the most influential groups in 20th century popular music."
-Carter Van Pelt, DJ/Writer-
"Eric Clapton once said that he didn't want to talk to anyone who didn't know Robert Johnson's music. I kinda feel that way about the Skatalites..."
"Not only did they pave the way for the intricacies and nuances of the rocksteady, reggae and dub styles that followed, but they've been held in continual high esteem by musicians, intellectuals and such non-mainstream types as punk rockers. They were the cultural barometer of their day. To feel how influential they are on a global scale, listen to their recent live album recorded in Argentina. You can hear the audience singing along to songs that don't have lyrics! What other band can connect with a crowd that way?"
-Tom Orr, THE BEAT MAGAZINE
"The joy of discovery that you hear in the first recordings is still there in the band today."
-Andy Bassford, GUITAR: Mutabaruka, Gladiators, Congos, Toots, Ranglin, Spear-
"Lloyd Knibb is one of the greatest and only drummers from Jamaica to set precedence, adapting the Burru, Pocomania and Repeater style of African polyridmic playing. He is the Godfather of Jamaican drumming. Just ask Sly and anyone who dare to tread in his footsteps. He is de king."
-Phil Chen, BASS: Prince Buster/Federal, Funk Brothers, Rod Stewart, Jeff Beck, The Doors-
"The sound of thunder, sunshine, happiness and coconut water; Music at its best- straight from the heart of Jamaica- the predecessor and roots of reggae."
"It’s great to know that the Skatalites are still out there as the foremost exponents of this unique Jamaican genre."
-Dermot Hussey, XM SATELLITE RADIO: Reggae Program Director
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LINER NOTES
Alpha Boys School, Rastas, Military Bands, Studio 1
—The Origins of the Skatalites
The Skatalites brought together the top musicians and styles of the time—fusing boogie-woogie blues, R&B, jazz, mento, calypso, and African rhythms—to create the first truly Jamaican music: ska. Throughout the mid-20th century, experience in big bands solidified the prowess of most Jamaican musicians; yet, the genesis for many of the great Skatalites goes back to a boys’ school established for the wayward.
The Alpha Boys School, run by the Sisters of Mercy and led (for most of last century) by Sister Ignatius, educated many of the future Skatalites. Founded in 1880 and having its own band since the 1890s, Alpha was essentially a military-style school that also developed top-notch musicians. Tommy McCook became a pupil there in 1938, playing his sax in the school’s best orchestra by 1942. Fellow Skatalites, including master penman and trombonist Don Drummond, Johnny ‘Dizzy’ Moore, and Lester Sterling also attended Alpha, same way for Cedric Brooks, Vin Gordon, Rico Rodriquez, Ernest Ranglin, Eddie ‘Tan Tan’ Thornton, Bobby Ellis, ‘Horsemouth’ Wallace and JoJo Bennett, all of whom have played with, or were members of The Skatalites.
"It was a good school. If you had ambition you could learn a trade: printer, carpenter, bookbinder, tailor, shoemaker, electrician," recalls Lester Sterling. "You also could choose your instrument and tell the band leader... trumpet, sax, drum. Sometimes the bandleader would put you on the instrument he needed. Ruben Delgado was our teacher for band. A good teacher, he had studied in England and been in the military band." Lester, Dizzy, Don Drummond and Rico Rodriquez all played together in Delgado’s band.
Dizzy Moore recalls wanting to play music from an early age. His parents didn’t approve of the image and nightlife associated with musicians. When Dizzy heard a friend playing music, he asked where he learned to play. The boy said, "Alpha, but you have to be bad to go there." Dizzy replied, "That’s easy, man." Two years later, Johnny ‘Dizzy’ Moore was a pupil at Alpha; his folks glad to be straightening him out, Dizzy just happy to play music. Alpha—the beginning.
—Rico Rodriquez, on Alpha Boys School
The Alpha School produced more than its share of the prominent musicians of the 1940s and ’50s dance-band era. The best of these players were central to the emerging sounds of the ’60’s. The Skatalites and other alumni still play benefit shows for Alpha.
Big Bands led by the likes of Eric Dean and Roy Coburn would recruit future Skatalites and their classmates at Alpha to play the nightclubs. Ernie Ranglin would talk the school into allowing this to happen. Don Drummond and Tan Tan Thornton took full advantage of that opportunity. Tan Tan recalls, "We used to get paid for it, but we never tell the Sisters that! Many of the Alpha band would leave and go into one of Jamaica’s big three bands: the military band, the regimental band or the constabulary’s band. Sometimes the leaders of those bands would come to the school and pick the boys to join them. They could make a good living in those bands, but you had to be good to get in."
In fact, when the Jamaican Military Band traveled to Newfoundland in 1961, three years prior to the formation of The Skatalites, Lester Sterling was a member of the band. He was surprised to find the audience requesting Island music. In spite of this eye-opening experience, for years, even the best Kingston producers primarily targeted their sounds to Jamaican dancehalls, with little thought paid to an international audience.
By 1964, that all began to change. Jamaica’s world famous Studio One was in its infancy as was the newly independent nation of Jamaica itself. Spirits were high. The vibe was strong. Jamaica was forging its own foundation and so were The Skatalites.
The strict music theory of Alpha was mixed with emerging themes of jazz and Rasta freedom. Socially, spiritually and musically, the Skatalites found their equivalent of the Beatles’ Maharashi in Count Ossie and his drum troupe. Ossie and the future Skatalites spent time in the Wareika Hills at a freedom affirming Rasta camp.
—Rico Rodriquez, remembering the Wareika Hills
Officially formed in 1964, the musicians who made up the original Skatalites had been playing together as a studio band for the greatest producers around: Coxsone Dodd, Duke Reid, Vincent Chin and Justin Yap—in various combinations since the 50’s.
Early Studio One recordings were the first ‘Skatalites’ songs, including "Simmer Down" for Bob Marley (his first #1 Jamaican hit). Most releases were first-takes; essentially live. The ‘house band’ was, by demand, impeccable.
As set musicians, The Skatalites backed the top singers of the day. Stranger Cole, Alton Ellis, Ken Boothe, Toots and The Maytals, Delroy Wilson, Bob Marley and The Wailers, Peter Tosh, and Jimmy Cliff are but a few who benefited from the tight rhythms cultivated by the new ska collective.
As a studio force, the band recorded all on one track with the singer on another, ‘one-take’ recording. These conditions forged a union among the musicians that could result in only one logical conclusion, to form their own band. Roland Alphonso, Johnny Moore, Lester Sterling, Don Drummond, Lloyd Knibb, Lloyd Brevett, Jerome Hinds, and Jackie Mittoo began working together regularly in the early sixties and formed The Skatalites in Spring of 1964. The earliest mention of The Skatalites in JA press is in The Gleaner, May 1964. The first rehearsal actually turned into a show. The band got together at the Hi-Hat club (a New Orleans style burlesque club/brothel) to practice. So many people crowded in to listen that the owner started charging admission.
They recruited Tommy McCook from his stint as a bandleader in the Bahamas, giving the group that ‘big band’ feel so popular at the time among the hotel circuit and dancehalls. The name game went on for some time. Space themes like The Orbits and Ital-ites were being tossed around. When Knibb suggested "Satellites," Tommy McCook reportedly said: "We play ska—The Skatalites."
Ernest Ranglin, Harold McKenzie, and others built on this foundation. Other great names traveling with the band included Reverend Billy Cooke and Percival Dillon, along with top-quality singers like Lord Tanamo, Doreen Schaeffer, Tony DeCosta and Jackie Opel.
Don Drummond and the end of The Skatalites’ first run marks a tragic chapter in Skatalites history. Don was the mad genius. Lauded by jazz greats Sarah Vaughn, J.J. Johnson and George Shearing, Drummond was also good friends with Dave Brubeck ever since playing on stage with him in Kingston. Don played and created great trombone, jazz and ska riffs. His songwriting was impeccable and even sardonic at times-see "Eastern Standard Time," "Freedom Song" or "Man in the Street" for the minor key sadness that was part of his trademark. Unhappy with imitating popular music of the time, Don was always pushing the envelope. His professional and personal searching was wrought with strife. He often admitted himself to the sanatorium and performed erratically on and off stage. Even while in need of money, he would often rush off without pay after gigs. Unfortunately, his instability and missed medication led to the stabbing and killing of his common-law wife, Marguerita Mahfood in an apparent fit of jealousy. Marguerita was from a wealthy family, partied hard and danced in nightclub floorshows. All this along with still being legally married to boxer Rudolph Bent, fueled Drummond’s jealousy and paranoia. Eddie Thornton laments, "After being [in Alpha] until you’re 16 and you don’t see a woman until then, it’s easy to fall for the wrong one, quickly, because you just don’t have no experience." Knibb recalls the tragic stabbing was on New Year’s Eve of 1965 and The Skatalites didn’t last past August of that same year. After the stabbing, Drummond entered Belle Vue Mental Hospital until his death about a year later. Drummond’s funeral caused Kingston to shut down as fans gave him a hero’s farewell for putting Jamaica on the map with so many original jazz and ska arrangements.
PJ Patterson, Prime Minister of Jamaica as recently as 2006, once helped with The Skatalites career. He helped with speeding tickets, "domestics" and even worked on Don Drummond’s defense team. Prime Minister Patterson speaks highly of The Skatalites as "the most formidable aggregation of talent Jamaica has ever seen, and is ever likely to see in the future."
The tradition of inspiring and playing on the front lines of musical frontiers has continued. The Skatalites still have original members in the band and the new additions are put through the traditionally demanding paces, maintaining the Jamaican all-star band. PJ Patterson recalls a musical dueling audition between the applicant Ernest Ranglin and the stalwart Don Drummond, "Ernie sent for his instrument and as the band played a tune called "Indian Summer," they dueled for nearly an hour, Don on trombone and Ernie on guitar as each matched the other’s portion. Everybody stopped dancing and retreated to the side to applaud this battle royal as neither would give up."
In the late 70’s, English two-tone revival groups like The Specials, Madness, The English Beat, and Selector kept the beat alive and well. Then, in the 80’s (and ever since), their American counterparts spawned a ‘third wave’ and beyond... Groups like The Slackers, HepCat, Mighty Mighty Bosstones, No Doubt, David Hillyard and The Rocksteady 7, The Toasters and King Django, all pay tribute to The Skatalites as a primary influence. This new generation have collectively opened for and played with The Skatalites, raising awareness and maintaining the fan base for a never-ending wave of ska.
From the start, The Skatalites changed Jamaican music forever. The creation of ska—the father of rocksteady, the grandfather of reggae—gave us eternal rhythms that now infiltrate the globe.
The Skatalites Sustain the Original Rhythm of a Nation
with World Tours and Grammy Nods
The Blue Monk jazz club in Kingston hosted The Skatalites' first reunion performance since 1965, in preparation for Reggae Sunsplash 1983, which also featured The Police on the bill. Sunsplash went so well that Island Records agreed to cut a Skatalites album in 1984, Return of the Big Guns. They also played London Sunsplash in 1984. By 1985, The Skatalites started trickling into the US first playing shows in New York at Manhattan’s famed Village Gate and then at SOB’s sporadically until 1988.
Ken Stewart came to the group "by accident" in 1988 as The Skatalites started to slowly regroup in the States—The Skatalites had performed very infrequently for about five years. Before they fully regrouped, Lloyd Knibb started playing drums with Stewart in a Boston area reggae band. Soon after that, Ken prompted the group to officially reform as a full recording and touring force. The Skatalites opened for the Bunny Wailer Liberation tour in 1988 and haven’t stopped touring since.
Since reforming in the 1980s, The Skatalites have played yearly world tours and continue to break ground into new geographic areas as politics and logistics allow. Recent years have seen tours of France exceed 25 shows. Italy hosts more than a dozen shows per visit. When The Skatalites played St. Petersburg, Russia in 2001, the band was surprised by the international response. One pair of Russian musicians traveled over 8,000 miles by train from Vladivostok, playing their own brand of Russian acoustic reggae along the way to help pay their travel expenses.
Latin American fans have been known to journey all the way to Europe to catch a glimpse of the founders of ska, who until recently rarely played South America, which is having a ska renaissance. Argentina and Brazil have even picked up their notoriously difficult booking schedules. The Skatalites took advantage of this with the 2006 release of In Orbit Vol. 1; Live from Argentina, which has the crowd chanting and "singing" along as if a World Cup game were in progress. Japan is ska mad too, where tribute band The Skaflames have a solid following and have shared the stage with the ska forefathers. On a recent tour of Japan, one young Japanese woman arrived with sax in hand, songs memorized, ready to play along. The result was a bit surreal and very gratifying for the band. Having played the Byron Bay Blues Fest in Australia and recording this album there, The Skatalites have now performed on every continent except Africa.
Grammy nods have been given to two albums since reforming; The 30th Anniversary CD, Hi-Bop Ska and Greetings from Skamania. The Skatalites also played on Toots and The Maytals’ Grammy winning album, True Love. While Don Drummond and others did write original songs, most early Skatalites songs were adaptations of jazz, pop or movie songs. Think "Guns of Navarone," "007," "El Pussycat," etc. On The Right Track is only the second album of predominately original material from The Skatalites.
New Aussie Recorded Album
Shows Skatalites Steaming Along...On The Right Track
More than four decades after The Skatalites’ formation, On The Right Track features several original members. Inventor of the reggae drumbeat and founding member, Lloyd Knibb holds the rhythm. Saxophonist Lester ‘Ska’ Sterling and soulful vocalist Doreen Schaeffer carry on the never-ending rhythm they pioneered. Old school JA set musicians Karl ‘Cannonball’ Bryan on tenor sax, Vin Gordon on trombone, Val Douglas on bass along with Devon James on guitar (a fellow Jamaican who played the North Coast hotel scene with many of the original members) are all in the current line-up. Ken Stewart, manager and keyboardist since the ‘80s, plays a Hammond B3 organ on this album, best heard on the title cut "Right Track." Kevin Batchelor, another reggae veteran, has also played trumpet with Maxi Priest, Big Mountain and Steel Pulse. The group is more authentic than most of the previous post-original line-ups. "Vin Gordon and Cannonball were in Studio One right after Skatalites bowed out and continued the scene. It makes huge sense for them to be with us now," notes Ken. The Skatalites have retained their status as the cream of the crop in their genre.
—Ken Stewart, on recording Down Under
"The biggest difference in this and old time days is now this session has songs that are original material. Back then plenty of the stuff was covers of everything from Cuban to American to The Beatles. Of course, the most notable Skatalites recordings are Don Drummond’s originals: ‘Confucius,’ ‘Eastern Standard Time,’ ‘Reburial of Marcus Garvey,’ ‘Far East,’ ‘Marcus Garvey JR’ and many others. Don was truly the most prolific writer for The Skatalites but the new and old members of this Skatalites have continued the legacy well to compile a nice new set of tunes," explains Ken. With a nod to history, Stewart wrote ‘Marguerita's Lament’ referring to the fateful events that closed the first chapter of The Skatalites.
Now, more than 40 years after their first album, The Skatalites arrive Down Under with two firsts—their first Australian shows and this Aussie-recorded album, On The Right Track. On the Australian experience, Ken states, "Some say all island peoples have a similar vibe about them. OZ is a big island but similar vibe and although there’s plenty of modern stuff, you get a feel of the ancient with the Aboriginal culture and seeing species of animals that exist nowhere else on earth. Plus, Byron Bay hosts one of the biggest festivals in the world for 18 years now [East Coast Blues and Roots Music Festival] so it has quite diversified tastes and influences in music. The overall environment is awe inspiring."
One of the nights of the festival featured us with Yothu Yindi, an Aboriginal rock band formed in the late 80’s who really were like Pink Floyd goes Didgeridoo [and very active with Aboriginal rights, black and white "Treaties," and work with Midnight Oil and Filthy Lucre]. The entire show was inimitable. After that was Damien Marley and then us. We enjoyed his set immensely. Those two performances were both so unique they gave us the energy we needed to finish the CD.
—Ken Stewart
Lester Sterling’s "Uluru Rock" was respectfully named in honor of the original and restored moniker for Australia’s iconic sandstone monolith known worldwide. Located in central Australia, Uluru is sacred to the Pitjantjatjara and Yankunytjatjara, who live in that region. OZ also inspired Val Douglas to write "Outback Ska."
Jazz and ska enthusiasts alike will be drawn in by the hard-bop and improv sounds of On The Right Track. Full of horns and rhythm, here you have the Jamaican Jazz Messengers. Just as Art Blakey’s quintessential hard-bop ensemble served as a beacon for jazz purists for nearly 40 years, The Skatalites have provided dedicated ska fans with a standard to go by for more than fifty. The bottom line for both bands has always been the same—it’s all about the rhythm.
These musicians, even before a coy nod to the space race and a desire to play out live gave them a name, are a rarity; the best the land has to offer have played together for years, helping usher in generations of styles. Ska, rocksteady, rudeboy, reggae, rockers, dancehall, reggaeton are all children and grandchildren of The Skatalites’ sound. On The Right Track invites you to bop, rock and skank as the Skafathers tear it up.
Liner notes by:
Anthony Piatt &
Fly On The Wall Media
and Booker T. and the MG’s combined" —Rolling Stone
THE BAND
Lloyd Knibb - Drums
Lester 'Ska' Sterling - Alto Sax
Doreen Shaffer - Vocals
Karl 'Cannonball' Bryan - Tenor Sax
Devon James - Guitar
Val Douglas - Bass
Ken Stewart - Keyboards
Kevin Batchelor - Trumpet
Vin 'Don Drummond Jr' Gordon - Trombone
Plus...
Cedric Brooks - Tenor Sax on "Bye Bye" and ‘Ska Sax’ on 1, 2, 3, 5, 6, 10, 11
A. Metsch (Natty Frenchie) - Guitar on "Bye Bye"
Devon James - Bass on "June Rose", "Marguerita's Lament" and "Uluru Rock"
SONG LIST
1 New York Minute (Kevin Batchelor)
2 Outback Ska (Val Douglas)
3 Shock Trail (Vin Gordon)
4 Right Track (Phyllis Dillon/Hopeton Lewis)
5 Doreen Special (Karl Bryan)
6 Divine Conception (Vin Gordon)
7 Bye Bye (Doreen Shaffer)
8 Little Irene (Lester Sterling)
9 June Rose (Devon James)
10 One Armed Bandit (Karl Bryan)
11 Marguerita's Lament (Ken Stewart)
12 Uluru Rock (Lester Sterling)
13 Outback Dub (Val Douglas)
Recorded and mixed at Studios 301 in Byron Bay, Australia
by Paul Pilsneniks with Pete Copeland
Executive Producer: Peter Noble
Produced by Paul Pilsneniks and The Skatalites
Mastered by Oscar Gaona at Studios 301 in Sydney
Additional Recording by Peter Panic and Val Douglas on Tracks 1, 2, 3, 5, 6, 7, 10, 11
Liner Notes: Anthony S. Piatt - FlyOnTheWallMedia.com
CD Layout: January Jones - Mighty Fine Press
Cover Art: Backstreet International
Acknowledgments:
Jason Walsh and David Krell for closing the deal with Peter Noble to finally get The Skatalites to Australia. Anne Ficat, Cynthia Remolina and Joe Lezcano for all you do and have done for us on and off the road. To all of our agents for keeping us on the road. Art Cohen and Nimbit for keeping our website up.
To all of our fans for your love, inspiration and support.
We would like to dedicate this album to all of our musical friends and family who have contributed so much to Jamaican music and have passed on to another venue.
In loving memory of: Laurel Aitken, Roland Alphonso, Theophilus Beckford, Dennis Brown, Tony DeCosta, Desmond Dekker, Don Drummond, Clement Dodd, Phyllis Dillon, Clancy Eccles, Winston Grennan, Melanie Hibbert, Joseph Hill, Justin Hinds, Sister Ignatius, Cluett Johnson, Cecil Lloyd, Bob Marley, Jackie Mittoo, Tommy McCook, Jackie Opel, Count Ossie, Arthur ‘Duke’ Reid, Jack Ruby, Garnett Silk, Horace Swaby, Peter Tosh, Delroy Wilson, and Winston Wright.
Skatalites Management: Skank Entertainment - Ken Stewart PO Box 112 Elmwood, MA 02337 USA Phone +1 508 496 2533 Fax +1 508 677 3020
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Outback Ska