V.A. - Ska Shots (LP)

On August 5th 1962, after 300 years of British rule, which had soaked the earth of the island in blood, Jamaica was finally independent. The country that the British left behind was certainly a place of widespread poverty and deep inequality, but there seems to have been a real burst of confidence that came with independence.
Newsreels of the day show well-dressed crowds reacting with enthusiasm and excitement, and the era found its perfect soundtrack in the boldness and exuberance of ska music, which was erupting all over the island.
This optimistic mood found probably its greatest artistic expression in the music of the Skatalites, who formed in June 1964 as a kind of Jamaican supergroup. Philip “Justin” Yap was a young, upcoming producer who had used members of the Skatalites for his first tunes, recorded either at RJR (Radio Jamaica and Redifussion) or at Federal studios. As Steve Barrow documented in the sleevenotes for Pressure Sounds’ reissue of the classic “Ska-Boo-Da-Ba” album, Justin had also befriended Clement “Coxsone” Dodd, and when Coxsone opened his own Studio One facility in December 1963, Justin immediately switched most of his production work to this new recording room. Studio One opened just in time to catch the formation of the Skatalites, and is where Justin recorded most of his classic Skatalites sides.
He also recorded lots of excellent instrumentals with a smaller brass section, still mainly using members of the Skatalites, but crediting instead the composer or arranger of the tune. Combined with Coxsone’s own recordings, these productions for Justin’s Top Deck and Tuneico labels really captured the members of the Skatalites at their magnificent best, in the unique atmosphere of Studio One.
From 2006, I had the huge pleasure of getting to know the great Jamaican
innovator Hedley Jones, who told me how he had designed and installed the original Studio One recording studio, responsible for most of the recordings on
this disc: ‘In 1963 (Coxsone) Dodd contacted me. I was doing a lot of recording work with him as a guitarist in 1961, ‘62 and ‘63, and in 1963 Dodd contacted me with the idea of building a studio of his own. The only equipment he could find himself was a record cutting head that he got from a pawn shop in Miami, but it was a 60 cycle machine. He brought that to Jamaica, and an Ampex reel to reel one track recorder – they was the only things he could find. The rest of the stuff is history because I had to design all the amplifiers, design the studio layout and everything, with the help of two of my sons, who did quite a bit of the laying of
the conduits, while I designed the amplifiers.’ Hedley Jones was an amazing polymath, and one of Jamaica’s greatest inventors.
He designed and built one of the world’s first solid body electric guitars, one of the world’s first double necked guitars, and a new traffic light system for the city of Kingston, all based on the knowledge he gained during World War 2, as a radar operator with the RAF. He called himself “an experimenter”: ‘So I built that studio for him between August and December of 1963. I built the mixing board myself – well I had to – everything in Coxsone’s studio was custom built by me, anything that had to do with amplification. As a matter of fact, I had to design circuits that would quiet his cooling equipment, his air conditioning, it was too noisy. I had a board in there that automatically switched off the air conditioning as soon as the recording started. As soon as you turn on the warning
light, saying that you’re starting recording, the cooling equipment switch off automatically. And all that was my design.
‘It was open in December, I think the week before Christmas. And after having a successful opening – I put together a band to test it – and after the first successful test, then of course the rest is history. I think the board I built for Coxsone had 4 or 5 inputs for microphones, but it was still only a single channel (tape) recorder.
One input (on the board) was for the band, one for the singer, and there was a central microphone hanging from the ceiling… so at least four or five input channels that were available on the console. Anything that you can think of in a modern studio was there. We had reverb – I built that and I used a circuit and I used a mechanical unit, a spring reverb, and then we amplify that and fed it into the circuits. Tape echo came later. That spring reverb for Coxsone was the only one I (ever) built.
‘The last thing I had to do with launching that studio was helping in the recording of Bob Marley’s recording “It Hurts To Be Alone”, that was done on a Sunday morning in April of 64, and Ernie Ranglin was the guitarist, and he used my double-necked guitar, which was also a first in the world.’
Other than building the first incarnation of Studio One, probably Hedley’s greatest historical impact came from the design and build of the Jones Sound 100 Watt tube amplifier of 1947, which powered the first recognisable Jamaican sound system for Tommy Wong, aka Tom the Great Sebastian, with the same amplifier driving the first systems for Duke Reid the Trojan, Clement “Coxsone” Dodd and Roy Johnston’s “House of Joy”.
‘I build the first sound, but I didn’t call it ‘sound system’… it’s Tommy Wong who call it sound system, he gave it the name. It was 100 watts amplifier, and I build one for Duke Reid and one for Coxsone, and it was a basic design but with those tubes you couldn’t exceed 100 watts or you’d be running into trouble. ‘I wasn’t interested in copyright or money at the time. All I was interested in was the technology. I had these ideas in my head and on paper that I wanted put out as a practical design. So that’s where I started the ball rolling, it was in design.
Anyway, I left Kingston in 1965 because I found that I was working for nothing. I was doing all this and getting no rewards. And everybody was like “oh Mr Jones, could you just do this” or “just do that”, so I left Kingston in January 65 feeling quite dejected, I picked up all my things and came to Montego Bay.’
So Hedley Jones had an epiphany, and left the competitive bustle of Kingston for the relative peace of Montego Bay. Of course, he carried on experimenting, building great telescopes whilst working as a journalist, schoolteacher and guitarist, and as president of the Jamaica Federation of Musicians. When I got to know him, he was turning 90 and finally getting some recognition from the Jamaican establishment, receiving the Order of Distinction from the government, and some favourable profiles in the newspapers.
Through Hedley, I also got to talk to Keith ‘Sticky’ Parke, who engineered many classic recordings, first at RJR, and later at Coxsone’s new Studio One facility. With Justin Yapp supplying food, drink and ganja, and also paying everyone double, a convivial and exuberant atmosphere certainly comes through in the recordings, many of which were captured by Sticky Parke: ‘I worked for RJR from 1958 to 1966. At RJR we had a big concert studio, and people would hire the hall, like producers like Chin Randy’s, and I did a nice job for Chin Randy’s with “Rico’s Special”, I recorded that at RJR. I’d say I got involved with Dodd in 1959 or 1960. I think I might have been the first engineer to do any recordings there. Hedley Jones, he built the studio. I worked at Studio One from when it was built, and I recorded the Skatalites and Bob Marley, all the great names I recorded there. I was still at RJR but I used to go down there after work
or when I have spare time to fit in Coxsone’s studio. I worked there until ‘66.’ Sticky remembered the technical side of recording the Skatalites at Studio One: ‘We had, let me see, we had piano, drums, bass, one for the horns and two tenors (saxes), we had about five or six mics. For the drums we used a big RCA44 BX (microphone) or something like that, and we used Neumann mics also. We’re going back 50 odd years and you’re picking my brain! When we started at Coxsone, he only had an Ampex 350 and another Ampex, but they were all single (mono) track. Coxsone started with the one track machine, so if somebody in the band made an error we had to record it all over again, it was not like today where
you could dub that back in. What we used to do was Coxsone also had a sound system, about 3 sound system in Jamaica at the time, so what we’d do is we’d record and we’d have several reels of many, many records, and on Saturday afternoon we’d transfer the tapes onto acetate disc, what we called soft wax (or dubplate), and then he would send them out to different sound systems, and sell some of them.’
Sticky remembered supplying the Skatalites with American jazz albums for
inspiration: ‘Most of the tunes the Skatalites played, it’s not their original. Most of it came from (for instance) Herbie Hancock music which, working at the radio station, I would borrow the record, tape it and take the tape down there (to Studio One). There’s a chap, but now he’s dead, God bless him, but one of the finest musicians we ever produced named Jackie Mittoo, and I would marvel, cos while I would play the tape from the control room down to him, he would be writing out the music and playing along. And then when the Skatalites get together they would make their
own arrangement of it. Jackie Mittoo was a dear friend of mine, but then all of those musicians was my friends, you know.’ Sticky described the relaxed arrangements for payment: ‘Well I never charged Coxsone a dime, but I was well taken care of. Like we had no set fee, like 5 pound a session or something, but he was quite generous to me.
And I never charge him but he was quite generous to me, he provided all the alcohol for my wedding and also the champagne, and I never had to ask him, like I liked to play the horses and he’d always stand me a couple of pounds so I never could complain.’

This earliest incarnation of the Studio One setup would have been used on mostof the tracks on this ‘Ska Shots’ compilation, but it was significantly rebuilt in 1965, probably just after the Skatalites split up. Hedley’s mixing board was replaced, along with the one track Ampex recorders, swapped for two track machines which allowed the overdubbing of extra tracks, so a vocal could be recorded after the backing track. Unlike Sticky, Hedley Jones was not entirely happy with his payments from Coxsone:
‘I don’t know what happened to that console, because he changed it for a
commercial console about two years after, when he had made enough money that he could buy commercial stuff – he didn’t even finish paying me for the original console. He still owes me some money and so I hope that when we meet in hell, he’ll pay me then!’

I lost contact with Keith “Sticky” Parke, who was living in New York in the early 2000s, but Hedley Jones stayed in touch. He died aged 99, but, until he was overtaken with blindness, he would still email me regularly with questions about the latest recording software, and advice for what he called “good daddying”, on how I should bring up my children as a new father. Reading the words of both of them today brings back a key moment in Jamaican cultural history, when the birth of the Studio One recording studio coincided with the formation of the mighty Skatalites.
Diggory Kenrick