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MRS Authentic Jamaican Calypsos – The Mento Series and their sleeve notes.


Authentic Jamaican Calypsos & All Jamaican Calypsos – Stanley Motta’s 10″ Lp Output

In the 1950s Stanley Motta the early Jamaican record producer, released 5 x 10″ Lps, each a collection of Mento songs and instrumentals previously released only on 78rpm single. Rare and sought after they all host a collection of illuminating sleeve notes, which reflect the perceived exoticism of a Caribbean Island holiday destination to the nascent tourist and the long held traditions of Jamaica’s people in song.

They are indispensable to any collector of early Jamaican recorded music, folk music enthusiast, or lover of the Roots of Ska, Rocksteady and Reggae. Many of the lyrics, themes and songs feature in Jamaican popular culture today and once recognised one cannot ignore Mento’s influence on all styles of Jamaican music that followed because the first recorded Jamaican song was birthed on a Mento 78rpm record, one released by Stanley Motta in 1953.

Sleeve notes . . . 

Sleeve notes can tell the interested party so much about the time, the music and the people making it, that they are offered here for those of you interested in that history, but perhaps unable to get hold of the actual Lps themselves (yet).

Authentic Calypso?

Although labelled as Calypso, this is not, this is Mento, a distinct style and genre of music, related to Calypso, the form mainly of Trinidad, but that of Jamaica. In the 1950s though an audience in the USA who had fallen for the romanticism of Calypso would consume a variety of musics, providing it had the attraction of being called Calypso, hence much Mento has wrongly been attributed to this form. It’s something that annoys those that evangelise the Jamaican style, the peculiarly distinct sound of Mento.

The Series

Numbers 1-4 feature the same cover artwork in a variety of colours, the 5th edition has an entirely different cover and is actually called ‘All Jamaican Calypsos’ though it states ‘Series 5’ on the sleeve and shares catalogue and matrices with the other volumes, BUT different sleeve notes. And finally there was a collection, again with different variant artwork to the first 5 volumes and sleeve notes, released in the U.K. on London International Records. All are pictured below, and the accompanying sleeve notes transposed for volumes 1-4, then for Series 5 and finally for the London International  Record label release. It is thought that the sole London International release may have been part of a deal in exchange for pressing the other 1-4 Authentic Jamaican Calypso series and ‘All Jamaican Calypsos’ 10″ Lps for Jamaican release. Those releases all state ‘Made In England’. The London international release was only ever sold in England as far as I can find out.

Sleeve Notes Vols 1-4

CALYPSO JAMAICA

The visitor to Jamaica can never quite forget the music of the island. He finds himself haunted by the memory of the soft murmur of the trade winds, and the breaking of the blue Caribbean on white sand shores. But more haunting than ever, above the music of nature, is the music of the streets, the endless varied obligato against which the life of Jamaica is lived. It is heard in the plaintive cal of the coconut seller, whose “Jell . . . oooooohhhh … Jell . . . oooohhhh” trumpets through the streets in the cool of the morning as he offers the tangy-sweet liquid of the green nut to thirsty passers-by. There is music in the short barking call of the fishmonger who pushes his squeaky-wheeled wagon or rides his laden bicycle from the flat of the plains to the twisted roads of the hills to bring is sparkling catch–grunts, snappers, jack, cutlass — all the glistening treasure of the deep. It is in the laughter tinged gossiping of the market-place, where broad-accented countrywoman and sophisticated city-bred higher meet to share the latest scandals.

Yes, there is music everywhere in Jamaica. It pulses in the traffic of the streets, where the brazen voices of modern auto horns argue with the sharp sudden accents of the donkey driver; it is in the quiet avenues of the suburbs where modern houses sprawl on cool green grounds; it is in the teeming slums where the crowded population finds expression in laughter, and in the provocative music-story of the island.

Jamaica’s music is the mento and calypso. Calypso is the general term that is applied to the ballad song of the islands, the song that tells a story and nudges laughter or amazement as the mood chooses. This is the fiery, fast sometimes risqué song of the troubadour who finds his inspiration in everyday happenings and spins his melodies and words to both intrigue and entertain the listener. Calypso is generally associated with Trinidad, but is a generic term, common to all the Caribbean islands.

Then there is the music that is peculiarly Jamaican — the mento. This is the specific tempo of the island. The result of the meeting of Afro-Latin influences is a distinctive beat and rhythm in the music of Jamaica that identifies it to the tuned ear. To the foreigner there is little difference, but to the Jamaican, dancing his swivel-hipped measures to the reedy prodding of bamboo flute and guitar, bongo and mambo drums, to the tuned intervals of the marimba box, it is unique, a native tempo that has it’s route through the slave chants, the French quadrille, the Spanish flamenca, the English round, all the polyglot, pulsing beats of the many people who have blended their histories and lives to make the golden people of the Caribbean.

Jamaicans are proud of their music. They are proud because in the distinctive beat of their music lies all their own history. Here is the musical meeting ground of the Chinese, the English, Welsh, Irish, Scots, the Portuguese and Spanish, in fact, all the varied people who are hidden behind the designation “Jamaican.”

In this envelope you will find captured not only the music of the Jamaican, but all of the varied tempos of the Caribbean. They are performed by native musicians, often with handmade native instruments. But always they are played with the rollicking devil-may-care musicianship that comes so naturally to the West Indian. Here you have transfixed in a record, moments of pleasurable memory.
Here you have CALYPSO JAMAICA.

Sleeve Notes Vol 5

CALYPSO JAMAICA

FullSizeRender 16. . . Jamaica’s carefree people have expressed in song all of the throbbing vitality that is so much a part of their country. Their songs are humorous, gay, sometimes happy, sometimes sad, but always enjoyable. It is music with a distinctive character that marks it as unmistakably Jamaican. Its distinctiveness is a combination of the musical dialect of Jamaican speech, the unique sound of native instruments and the subtle rhythm that marks it and separates it from the music of the other West Indian islands. The musical dialect of back country Jamaicans is basically English so interwoven with colloquialisms and the burr of local accents that is is almost unintelligible to anyone not familiar with the island’s speech. It is this distinctive Jamaican accent that gives added interest to the Jamaican calypso. There is also a unique character to the music itself which derives from the hand-made instruments played by calypso troubadours. These are the bambasax, an instrument wrought from bamboo by dextrous native craftsmen, with a bit of wood from a matchbox serving as a reed; the marimba, a deep-toned bass instrument that is just a simple box with bits of metal spring called “reeds” because of their similarity to harmonica reeds, and is normally used in place of the bass fiddle; the chattering marraccas, seed-filled gourds; and a whole family of drums from tiny, tenor bongos to big-voiced congo drums. Bamboo fifes and flutes, bambolins, a violin-like instrument comprised entirely from bamboo, and such conventional instruments as guitars, saxophones, trumpets and bass fiddles add their voices to the song of Jamaica. With voice and instrument, the Jamaican calypso troubadour regales, entertains and amuses, having a wonderful time himself as he brings you . . . CALYPSO JAMAICA.

Sleeve Notes – Authentic Jamaican Calypsos – LONDON International

FullSizeRender 19The visitor to the West Indies awakes to find himself in a tropical paradise — the birds sing and speak, the waters sparkle and laugh in the dancing sunshine, the leaves rustle to the tune of it all: and all is music. The people are happy — they rise with a song and they sing all day, even as they work. The Calypso which is the fold song of the West Indies is the pièce de resistance to this wonderful setting of life and beauty. The Calypso is the crux of it all — its fascinating, pulsating beat and rhythm remain forever in the heart of the visitor stirring up vivid memories of the romance of the West Indies.

No matter where you go among these islands — Jamaica, Barbados, Trinidad, Grenada, Antigua — in any one of the long chain of islands, and irrespective of the language, you will hear the Calypso. It is a common link — the link in this chain of jewelled isles.

The Calypso is a form of minstrel music. The singer, or Calypsonian, cites the chief events of the time, recounts the noble or infamous deeds, as the case may be, of some person past or present. He might sing of the latest scandal or the state o politics. On the other hand, as he frequently does, he might describe some amusing incident in the everyday life of the ordinary person or comically examine the behaviour and habits of domestic and indigenous animals. The Calypso always provokes laughter. it is witty, comic, subtle, ironic. It discusses human relationships in an intimate way, yet it is not vulgar. The spice of the Calypso lies in the ability of the Calypsonian to tell you even about the most intimate things in such veiled, juicy and allegorical language that stirs you, shocks or startles you and yet leaves you to say, “Honi soit qui mal y pense” or otherwise, “Whom the cap fits let him draw the string”.

The Calypso is not only an expression of little doings and things and of great happenings, it is in itself an expression and a manifestation of the local society and tradition and its very interesting historical background and intricate blend of peoples, For once upon a time these islands were the El Dorado of the West — the rendezvouz of the buccaneers, the chosen land of pioneers and the Empire builders and the glorious battlefields of the sea-faring powers, Spices, sugar, tobacco, cotton, cocoa made them prized jewels in the Crowns of Europe, as also did their strategic position as the gateway to the Americas. Thus it was that all manner of people settled upon these islands. The indigenous Amerindians were out-numbered, decimated, and soon practically disappeared. Labour for the plantations was drawn from Africa and India. Descendants of the latter to-day form the great bulk of the population together with large numbers of persons of mixed descent having the spicy complexions drive from fusions of Spanish, French, English, Scottish, Dutch, African, Indian, Portuguese, Chinese and may others who settled there and completely mixed themselves into one solid society. The Calypso is the common denominator of all these cultures.

The pulsating rhythm of the African “tom-tom” blends with the tempo of the Spanish “quarto” and is polished off by the lilting sing-song of the French accent. The old-time Calypsonians or “chant-wells” (note the combination of French and English) used to sing in Patois or broken French. English is now commonly used for Calypso, but with the original exciting accent and intonation. It is written in four-four time, yet very subtly the singer can get in a good many words and syllables to a bar — or very few when he chooses.

Some say, a long time ago slaves on the plantations were not allowed to gossip — so the chanted to the same rhythm as their tom-toms as hey worked. these chants became cities as hey added strange words not understandable by their masters, telling of what was going on, and, in fact gossiping about their masters and the village. When “dancing the cocoa” or cutting the sugar cane or celebrating after work, these ditties became their folk songs. the leader was the “chant-well” later known as the Calypsonian.

The Carnival in Trinidad , celebrated on the two days preceding Ash Wednesday, is a relic of the old Spanish customs. At that time there is universal frolicking, singing and dancing in the streets. All sing the Calypso. The custom has greatly fostered the art of the Calypso. Trinidad’s Carnival and her very cosmopolitan background made her the home of the Calypso. From there it spread to all the other islands — to Jamaica, Barbados, Grenada, etc. And now the world is getting to know of this sweet tantalising, minstrel music.

Summarising?

There are of course gaping holes in the tracery of the slightly amateurish musicology you see reflected in the sleeve notes, and yet some rather good early insights into the links shown in and around the Caribbean and it’s musical trade routes. For me the last set of notes on the purely U.K. only release on London International shows a mildly patronising attitude, awash with the kind of romantic notions that refused to engage with the pain of slavery, African servitude and the serfdom of other indentured ethnicities on the island. It also looks at the music therein from the angle of Calypso, and almost completely ignores the very Jamaican nature of the release, the differences between Mento and Calypso or the individuality of Jamaica.

In short all of the sleeve notes are much better than I would expect from what can be a rather blinkered and one dimensioned western approach to any and all cultural pursuits of non European ethnicity in a then 1950s world.

All the issues talk of the cultural influence of speech patterns, Patois, city hubbub and in mentioning the “chant-well” the notes are harking to the West African Griot praise singing and the very culture that helped give rise to Calypso in particular.

I’m also personally intrigued to find or see and more importantly hear a bambolin!
To my knowledge even with a large Mento collection at my listening disposal, I never have.

©MIKE MURPHY Feb 2019

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Musical Artifact no1 – Stanley Motta MRS 78rpm Record Sleeve


There is so much you can learn..

There is so much you can learn from just one object, one step in your collecting and accumulation. This sleeve is just one such object. (Pictured Below), it was very kindly sent to me by a seller on eBay, gratis, thanks Phil, you know who you are!

Tab Smith and the Duke

To begin with; it came with a 78rpm single of Tab Smith’s ‘My Mother’s Eyes’ on Down Beat in it. This tune was Duke Reid’s sign on tune for his Treasure Isle Time radio show in Jamaica in the early days of Jamaica’s self-produced musical excursions, it is also on an interesting record label – Down Beat.

Down-Beat

Down Beat was the label owned by Dada Tewari a wealthy immigrant to Jamaica of Indian extraction. He owned this label and the Caribou label; which alongside a staple diet of Mento and Calypso featured some of the earliest self-produced Jamaican Shuffle Blues, Boogie and Ska productions, notably those featuring Cuban Laurel Aitken, later to be the Skinheads Reggae and Ska artiste of choice.

Down Beat as far as I am aware exclusively licensed and released U.S. music, mainly American Shuffle Blues, Jazz and Rhythm and Blues, the Tab Smith tune, being an example of this. The records were as far as I am aware, pressed in Jamaica.

Motta and MRS

Stanley Motta was Jamaica’s first producer to release a record recorded in Jamaica, in Jamaica. By that I mean, the song was both recorded in a studio in Jamaica and then given release there, up until this release. ‘DAN WILLIAMS AND HIS ORCHESTRA – VOCAL LORD FLY    MEDLY OF JAMAICAN MENTO on MRS SSS.2033X / 01A released 1952 (probably recorded late ’51) nothing recorded in the actual country had been released there as far as is known. There are some people, notably Ernest Ranglin, who claim that Jamaican Mento was recorded in New York, sometime before this ’52 release and of course there were people recording in Jamaica, like Ken Khouri around this time, just that they had not at this point actually released anything commercially. The sleeve you see contained one of the single 78rpm discs produced by Motta and his company.

Further useful information can be gleaned as to exactly where his operation was located and what songs had up to the point of this sleeve’s printing, been released from the sleeve.

One small simple and rather tattered object can tell you so much about musical history.

Calypso Date! MRS LOML 503 12″ Mento Lp


Oh that smile!

Calypso Date – MRS Lp LOML 503

For those Mento mad amongst you here are some details that I hope you will find of interest. Click on the images for larger versions of the files, and in the case of the rear cover, readable text, though I will include that text here for all to see. The sleeve notes are unusually well written and include descriptions of the songs and their background history in some cases.

Details:

LP    MRS    VARIOUS ARTISTES    CALYPSO DATE    LOML 503    SMOL 105 1B    STANLEY MOTTA    JAMAICA    1950s

(anyone out there have a date of release, if so please contact me here at Musical Traces)

Sleeve Notes:

The most remarkable feature of this album is its variety. Here is represented the whole broad gamut of Jamaica’s music, the sly, ironic humour, the warm spontaneity, the carefree and gay attitude towards life that is so much part of Jamaica. This music is bred of the brilliant colour and contrasts that inspire the Jamaican troubadour; and out of it flows the endless, subdued excitement that life in one of the world’s most beautiful islands inspires.

In this album are Calypsos and Mentos. The Calypso is the generic ballad of the Caribbean, the song that is inspired by the life of the community – the young girl who lives gaily but not wisely; the house with the leaking roof. These are the creations of Calypsonians who vie with each other to create songs of humour, of double meaning, of perceptive wit. The Mento is the music of Jamaica, the solid, thumping rhythm of music that in its beat and texture is subtly Jamaican, as distinguishable to the tuned ear as is the difference between the Merengue of Haiti and the Samba of Brazil. And there are the other ageless songs, those that are chanted by workmen as they bend their muscles to rhythmic work saved from monotony by song, or the gay song of welcome when the pretty young girl comes to visit.

These are the songs and the sounds of Jamaica, ever exciting and interesting, that will become familiar and beloved as you listen to them. This is the music of a beautiful land, inspired by its ageless hills and white sand beaches, its gay, laughing people and the rhythm of its sun-bright days. This is the music for you on your Jamaican date.

The songs:

SIDE 1

Linstead Market – The ackee is an attractive fruit of red, yellow and black, and when combined with salted cod makes one of the most popular native dishes. This song tells the sad tale of a higgler in the famous market of Linstead, on the road to Ocho Rios, who fails to find customers to buy her ackees at Saturday market.

The Naughty Little Flea – The humble flea occurs in the songs of many countries. If you listen carefully to the lyrics you’ll chuckle at the rather unique situation in which the little insect found itself.

Hill and Gully Ride – A rousing shout song that is used by Jamaican workmen. It follows the pattern of many rhythmic work songs in its responsive form, and is a folk song of rather more antiquity than the calypso which has been popular recently.

Matilda (and) Gal-A-Gully – The first is a Jamaican adaptation of a Trinidad song, one in which a hardworking young man is deceived by a scheming young miss who lifts his money and takes off for Venezuela. The second is Jamaican, the plaintive comment of a granny who asks her grandaughter just why she is going to the gully…’A Whey you-a go a-gully fa’.

This Long Time Gal A Never See You – A happy song of welcome, the lyrics of which are self-explanatory.

The Little Fly – Anyone who has had to clean a mirror can appreciate some of the more irritating habits of the fly. This song is one man’s comment.

SIDE2

Take Her To Jamaica – This song has become a standard in Jamaica. It is sung by calypsonians on all occasions and gives very good advice indeed.

Kitch – Lord Kitchener is one of the finest of the Trinidad calypsonians, and this song recounts his experiences with a rather insistent young lady.

Dry Weather House – It seldom rains heavily in Jamaica, but when it does all the defects of a house that is suited to dry weather show up.

Healin’ In De Balm Yard – The balm yard in Jamaica is the gathering place of members of a primitive evangelical sect. To balm yard gatherings they bring their troubles and woes where these can be banished.

Limbo – One of the most exciting dances, the limbo is done to a repetitious song that is almost hypnotic in its appeal. Some of the excitement and verve of this African ritual is caught in this song.

Brown Skin Gal – A young lady is told to take life more seriously. Rather than spend so much time living the high life, she is told to ‘Stay home and mind baby’.

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The first commercial record produced and sold in Jamaica


DAN WILLIAMS AND HIS ORCHESTRA – VOCAL LORD FLY    MEDLEY OF JAMAICAN MENTO –  MRS    SSS.2033X / 01A

Much dispute arises from the question ‘who was the first producer of Jamaican music on the Island’ but it is now fairly certain that the first commercially available recording to be created by Jamaicans in Jamaica and then to be made available for purchase on the Island was DAN WILLIAMS AND HIS ORCHESTRA – VOCAL LORD FLY    MEDLEY OF JAMAICAN MENTO – FAN ME SOLJA MAN FAN ME, ONE SOLJA MAN, YUH NO YEARY    MRS    SSS.2033X / 01A, this disc was originally released in December of 1950, though discographies record a later date of 1952. (source – ‘Calling all Singers, Musicians and Speechmakers’ 2010 – copyright Daniel T Neely).

Stanley Motta the producer had recorded the songs and then had the records pressed in the UK, possibly by Decca or a Decca subsidiary, records of exactly who manufactured them are unfortunately not forthcoming. Lord Fly the vocalist was known as an upmarket band leader and the songs and the sophisticated arrangements are those favoured by tourists visiting the Island and staying at any one of many luxury hotels there. Motta’s productions are generally recognised as sounding more upmarket, sophisticated and aimed at the visiting tourist than the rougher edged Mento productions of Ivan Chin, or in some cases Kalypso’s Ken Khouri. Khouri, who may have been the first to record on the Island, but not the first to release a commercial recording later developed Federal Records which went on to become the ‘One Stop Shop’ for the Jamaican music industry, offering as it did both as Federal and Dynamic, mastering and pressing facilities as well as recording studios and it’s own productions.

Motta also holds the honour of being the first to licence a recording produced in Jamaica for release in the UK on a UK label, namely Melodisc’s release of The Ticklers ‘Glamour Gal’.

(Thanks to Dan Neely for his help getting the details right!)

Jamaican & Caribbean + Mento 78rpm, 45rpm and 33rpm Recordings


Mento Discography.

Mento, Calypso, R&B and other vintage Jamaican and Caribbean Recordings.

You will find herein mainly 78rpm releases of Jamaican produced music. The Jamaican music industry’s ability to record and press records was first realised in early 1952. Unfortunately because so many of these are rare to find information on them is scarce and often inaccurate. There is to my knowledge currently no stand alone Caribbean / Jamaican 78rpm Discography online.

The details you will find here are 100% accurate as only information taken from records I own is included. There is no second hand hearsay to muddy the waters and you can trust the details given therefore.

I hope that this small selection will aid those interested in this fabulous area of music. I intend it at this time to include mainly but not exclusively Jamaican recorded and or released Mento and Calypso records. I may also include some other Caribbean recordings, such as those of Blind Blake on Miami’s ART Records for example, plus 45rpm single releases and finally Lps that I think are of particular note or worth having for your collection. You may also find details of some records which have been pressed by Jamaicans in Jamaica of American Pop and R&B.

Listed Thus:

LABEL / ARTIST / TITLE / CATALOGUE NUMBER / MATRIX NUMBER / PRODUCER / COUNTRY OF ORIGIN / RELEASE DATE / NOTES

DISCOGRAPHY

ART RECORDS (Miami)

78rpm

BLIND BLAKE AND HIS ROYAL VICTORIA CALYPSOS    NEVER INTERFERE WITH MAN AND WIFE        Art Al 3 2A    A Song Of The Islands Production    U.S.A.    ? / Real name Blake Alphonso Higgs, not to be confused with Blues guitarist of same name

BLIND BLAKE AND HIS ROYAL VICTORIA CALYPSOS    WATERMELON SPOILIN’ ON THE VINE        Art Al 3 2b    A Song Of The Islands Production     U.S.A.    ?

12″ Lps

BLIND BLAKE AND THE ROYAL VICTORIA HOTEL ‘CALYPSOS’    A GROUP OF BAHAMIAN SONGS    ALP – 3    Art Alp 3 Side 1    1952    U.S.A.    Songs of the Islands Ltd.

BLIND BLAKE AND HIS ROYAL VICTORIA CALYPSO ORCHESTRA    BLIND BLAKE AUTHENTIC BAHAMIAN CALYPSO – A THIRD ALBUM OF BAHAMIAN SONGS    ALP – 6A    Art Alp-6A Side 1    1952    U.S.A.    Songs of the Islands Ltd.

BLIND BLAKE AND HIS VICTORIA CALYPSOS    A SECOND ALBUM OF AUTHENTIC BAHMIAN SONGS / AUTHENTIC BAHAMIAN CALYPSO        Alp – 4 A        U.S.A.    Art Records

BLIND BLAKE    A FIFTH ALBUM OF SONGS BY …        Art Alp 20        U.S.A.    Art Records

VARIOUS ARTISTES, INC. ANDRE TOUISSAINT, PEANUTS TAYLOR, BLIND BLAKE    JUNKANOO CLUB PRESENTS NASSAU’S STAR ENTERTAINERS    ALP – 25    ART ALP 25 SIDE 1    1960s?    U.S.A.  ART RECORDS INC

CARIBOU

78rpm

COUNT LASHER (AS) COUNT LASHA and his CALYPSONIANS    CALABASH    100A    100A 9888    DADA TEWARI CARIBBEAN RECORDING CO LTD.    JAMAICA    1959?

COUNT LASHER (AS) COUNT LASHA (VOCALS) COUNT LASHER’S CALYPSO QUINTET    DALVEY GAL-PARSON    100B    100 B 9889    DADA TEWARI CARIBBEAN RECORDING CO LTD.    JAMAICA    1959?

COUNT LASHER (VOCALS) & CHARLIE BINGER’S SIX    CALABASH    106A    CALABASH #1 10516    DADA TEWARI CARIBBEAN RECORDING CO LTD.    JAMAICA    1959

COUNT LASHER (VOCALS) COUNT LASHER’S CALYPSO QUINTET    DALVEY GAL-PARSON    106B    #2 10517    DADA TEWARI CARIBBEAN RECORDING CO LTD.    JAMAICA    1959

7″ Single

COUNT LASHER / CHARLIE BINGER’S SIX    MISS CONSTANCE    CARIBOU    105A    SE105A    DADA TEWARI
COUNT LASHER / COUNT LASHER’S CALYPSO QUINTET    SLIDE MONGOOSE    CARIBOU    105B    SE105B    DADA TEWARI

COUNT LASHER AND CHARLIE BINGER’S SIX    CALABASH    106A    SE 106 A    50s    U.K.

COUNT LASHER AND COUNT LASHER’S CALYPSO QUINTET    DALVEY GAL-PARSON    106B    SE 106 B    50s    U.K.

CHIN’S

78rpm

LOCAL CALYPSO QUINTET – VOCALS BY BEDDASSE    ROUGH RIDER    CHIN’S    C1001    NONE  IVAN CHIN    JAMAICA    1950s
LOCAL CALYPSO QUINTET – VOCALS BY BEDDASSE    NO MONEY NO MUSIC    CHIN’S    C1001    NONE  IVAN CHIN    JAMAICA    1950s

LOCAL CALYPSO QUINTET   (VOCALS – A. BEDASSE) HONEYMOON    C1002    NONE    IVAN CHIN    JAMAICA    1950s
LOCAL CALYPSO QUINTET   (VOCALS – A. BEDASSE) MONEY IS KING    C1002    NONE    IVAN CHIN    JAMAICA    1950s

CHIN’S CALYPSO SEXTET /VOCALS BY ALERTH BEDASSE BIG BOY AND TEACHER    CHIN’S C1008 NONE  IVAN CHIN JAMAICA    1950s
CHIN’S CALYPSO SEXTET /VOCALS BY ALERTH BEDASSE    RED TOMATO    CHIN’S  C1008 NONE IVAN CHIN    JAMAICA    1950s

CHIN’S CALYPSO SEXTET (VOCALS – A. BEDASSE)    NOT GUILTY    C1012    NONE    IVAN CHIN    JAMAICA    1950s     note from Dan Neely – This record was the last pair of sides Khouri pressed for Chin before Chin went to Decca for the service. This copy is the only one known to survive and play fully.
CHIN’S CALYPSO SEXTET (VOCALS – A. BEDASSE)    GIVE HER LOVE    C1012    NONE    IVAN CHIN    JAMAICA    1950s

DECCA (U.S.A.)

TRIPLE 78RPM SET – WILMOTH HOUDINI AND HIS ROYAL CALYPSO ORCHESTRA    CALYPSOS SUNG BY WILMOUTH HOUDINI    18005A – DISC 1    66526A (A SIDE DISC 1)    DECCA    U.S.A.    1939

WHICH CONSISTS OF:

WILMOTH HOUDINI AND HIS ROYAL CALYPSO ORCHESTRA    MONKEY SWING    18005A    66526A    DECCA    U.S.A.    1939
WILMOTH HOUDINI AND HIS ROYAL CALYPSO ORCHESTRA    HE HAD IT COMING (STONE COLD DEAD IN THE MARKET)    18005B    66528A    DECCA    U.S.A.    1939
WILMOTH HOUDINI AND HIS ROYAL CALYPSO ORCHESTRA    WELCOME OF THEIR MAJESTIES, THE    18006A    66523A    DECCA    U.S.A.    1939
WILMOTH HOUDINI AND HIS ROYAL CALYPSO ORCHESTRA    HOT DOGS MADE THEIR NAME    18006B    66527A    DECCA    U.S.A.    1939
WILMOTH HOUDINI AND HIS ROYAL CALYPSO ORCHESTRA    ROOSEVELT OPENS WORLD’S FAIR    18007A    66525A    DECCA    U.S.A.    1939
WILMOTH HOUDINI AND HIS ROYAL CALYPSO ORCHESTRA    JOHNNY TAKE MY WIFE    18007B    66524A    DECCA    U.S.A.    1939

DOWN BEAT (Jamaica)

TAB SMITH & ORCHESTRA    MY MOTHER’S EYES 101A    U 1121 RE 1    UNITED RECORDS (USA)
TAB SMITH & ORCHESTRA    YOU BELONG TO ME 101B    URC 1138    UNITED RECORDS (USA)

SHIRLEY AND LEE    LET THE GOOD TIMES ROLL    104A    AL-3325-X 10048    ALLADIN    JAMAICA    1956    ORIGINALLY ON ALLADIN IN 1956
SHIRLEY AND LEE    DO YOU MEAN TO HURT ME    104B    AL-3325-Q 10046    ALLADIN    JAMAICA    1956    ORIGINALLY ON ALLADIN IN 1956

GENE AND EUNICE    VOW, THE    DOWN BEAT    212G    AL3374-Q    ALADDIN
GENE AND EUNICE    STRANGE WORLD    DOWN BEAT    212G    AL3374-X    ALADDIN

DOWNBEAT (UK Re-issue)

7″ Singles

MONTY REYNOLDS    LONG TIME GIRL        db 001a        2002    U.K.
LORD FLY    BLU – LU – UP        db 001b        2002    U.K.
LORD POWER    PENNY REEL        db 002a        2002    U.K.
LORD POWER    MISS GOOSEY        db 002b        2002    U.K.
LORD COMPOSER    HILL AND GULLY        db 003a        2002    U.K.
LORD MESSAM    LINSTEAD MARKET        db 003b        2002    U.K.

ESQUIRE

78rpm

LORD BEGINNER    ENGLAND REGAINS THE ASHES    ESQUIRE    5-091 RS.411-1    RS.411-1    ESQUIRE U.K.
LORD BEGINNER    NOBODY WANTS TO GROW OLD    ESQUIRE    5-091 RS.412-3    RS.412-3    ESQUIRE U.K.

FEDERAL

7″ Singles

LORD LARO    TRIBUTE TO N. W. MANLEY    FEDERAL (BLANK)    NONE    FRM 7192    RICHARD KHOURI
LORD LARO    INTEGRATION    FEDERAL (BLANK)    NONE    FRM 7193    RICHARD KHOURI

FIESTA

12″ Lps

TOWER ISLANDERS, THE    CALYPSO (AS PLAYED AT TOWER ISLE), JAMAICA B.W.I.        lp 1206 a        1956    Jamaica

TOWER ISLANDERS, THE    CALYPSO BY THE TOWER ISLANDERS    FLP1212    FLP1212-A        JAMAICA    1960s

HERALD / JAMAICA

7″ Singles

HERALD / JAMAICA    JOHNNY ADAMS    I WON’T CRY    NONE    E3447    ?    JAMAICA    1950s
HERALD / JAMAICA    JOHNNY ADAMS    WHO ARE YOU?    NONE    E3448    ?    JAMAICA    1950s – This is an issue of North American Vocal R&B released only ever on 78rpm in the states but here on a 45rpm two sider, obviously officially licenced to a Jamaican distributer and manufacturer, as of yet I’m unsure who, but surely Khouri at Federal stands a good chance of being the ‘culprit’?

ISLAND ARTISTS LTD.

12″ Lps

GOOMBAY TROUBADORS feat VINCENT MARTIN, PEANUTS TAYLOR, GOOMBAY DRUMS    BAHAMA LULLABY    XTV 25855    XTV 25855 – 1A    1957    1957    BAHAMAS    ISLAND ARTISTS LTD.

JUMP UP

7″ Singles

LORD KITCHENER    DR. KITCH        ju511 a/2        1963    U.K.   Production – Telco / Jump Up was a division of Island Records.
LORD KITCHENER    COME BACK HOME MEH BOY        ju511 b        1963    U.K.   Production – Telco

KALYPSO (Jamaica)

78rpm

CHIN’S CALYPSO SEXTET (VOCALS – A. BEDASSE)    SAMSON AND DELILAH    C1003 – 04818    04818    IVAN CHIN / KEN KHOURI    JAMAICA    1955

CHIN’S CALYPSO SEXTET (VOCALS – A. BEDASSE)    INDUSTRIAL FAIR    C1003 – 04819    04819    IVAN CHIN / KEN KHOURI    JAMAICA    1955

SIR HORACE AND HIS MERRY KNIGHTS    MORGAN’S MENTO    DOUBLE SIX 66    NONE VISIBLE    KEN KHOURI    JAMAICA    1958

SIR HORACE AND HIS MERRY KNIGHTS    MAMBO JAMAICA    DOUBLE SIX 66    NONE VISIBLE    KEN KHOURI    JAMAICA    1958

CALYPSO QUINTET (Vocal ALERTH BEDASSE)    WALK AND TALK    KALYPSO    XX01    24-T-3    IVAN CHIN
CALYPSO QUINTET (Vocal ALERTH BEDASSE)    NIGHT FOOD    KALYPSO    XX01    24-T-4    IVAN CHIN

SIR HORACE AND HIS MERRY KNIGHTS    MORGAN’S MENTO    KALYPSO (JAMAICA)    XX03    O4823    KEN KHOURI     JAMAICA  1958 (THIS IS A LABEL VARIANT OF ABOVE ITEM)
SIR HORACE AND HIS MERRY KNIGHTS    MAMBO JAMAICA    KALYPSO (JAMAICA)    XX03    O4822    KEN KHOURI    JAMAICA  1958

TRENTON SPENCE QUARTET / VOCALS LORD POWER    ONE BAGGIE    KALYPSO (JAMAICA)    XX04    O4826    KEN KHOURI    ORIGINAL   JAMAICA 1958
TRENTON SPENCE QUARTET / VOCALS ROY SHURLAND    MATTY BELLY    KALYPSO (JAMAICA)    XX04    O4827    KEN KHOURI  JAMAICA 1958

THE JAMAICAN CALYPSONIANS (VOCALS – LORD LEBBY)    DR. KINSEY REPORT    RL 101    0 4816    KEN KHOURI    JAMAICA    1958

THE JAMAICAN CALYPSONIANS (VOCALS – LORD LEBBY)    ETHEOPIA    RL 101    0 4817    KEN KHOURI    JAMAICA    1958

MIGHTY PANTHER, THE & THE JAMAICAN CALYPSONIANS    TALKING PARROT, THE    RL114    RL114    KEN KHOURI    JAMAICA    1959?    INTERESTING ALTERNATIVE TAKES TO THE LASHER SONGS OF THE SAME NAME, ARRANGEMENTS ARE THE SAME OR VERY SIMILAR, BUT BY A TRINIDADIAN CALYPSONIAN

MIGHTY PANTHER, THE & THE JAMAICAN CALYPSONIANS    CINEMASCOPE    RL116    RL116    KEN KHOURI    JAMAICA    1959?

WRIGGLERS, THE / VOCALS DENZIL LAING    LIMBO    X2001    17X1    KEN KHOURI    JAMAICA    1950s

WRIGGLERS, THE / VOCALS DENZIL LAING    WHO TO CALL YOUR FRIEND    X2001    17X2    KEN KHOURI    JAMAICA    1950s

7″ Single

JAMAICAN CALYPSONIANS (VOCALS – LORD TICKLER aka HAROLD RICHARDSON)    LIMBO    RL108    15 X 1    1958    JAMAICA    KEN KHOURI
JAMAICAN CALYPSONIANS (VOCALS – LORD TICKLER aka HAROLD RICHARDSON)    MEDLEY (SWEETIE CHARLIE, MR. PARNEY, MANGO WALK)    RL108    15 X 2    1958    JAMAICA    KEN KHOURI

LORD LARO    BANANA BOY    NONE    FRK 105    1961?    JAMAICA    KEN KHOURI
LORD LARO    RASTAFARIAN LOVE, THE    NONE    FRK 106    1961?    JAMAICA    KEN KHOURI / Early references to Rastafari in Jamaican recording. Does this predate Harry Mudie’s recordings of Count Ossie of circa 1961? Also, this may well feature Ossie’s drummers, as Laro later recorded ‘A Tribute To Count Ossie’ it seems possible that they were closely linked, perhaps through this record?

12″ Lps

WRIGGLERS, THE    THE WRIGGLERS SING CALYPSO AT THE ARAWAK HOTEL JAMAICA W.I.    KLP 200    LP 41058 A    ?    Jamaica    FEDERAL

LORD LEBBY    SINGS FAVOURITE CALYPSOS    KALYPSO – 1000    FEDERAL 6905    1965    JAMAICA    KEN KHOURI / includes a sublime rendering of ‘Oh Danny Boy’!

KALYPSO (UK)

7″ Single

BEDASSE    NIGHT FOOD RECIPE    45/C 1005    45 C 1005 A    1954    U.K.
BEDASSE    WOMAN STYLE    45/C 1005    45 C 1005 B    1954    U.K.

BEDASSE    HONEY BEE    45/C 1006    45 C 1006 A    1955    U.K.
BEDASSE    COME BACK TO ME    45/C 1006    45 C 1006 B    1955    U.K.

CHIN’S CALYPSO SEXTET (VOCALS E. BEDASSE [ALERTH BEDASSE])    ADAM AND EVE    45/C 1010-A    45-C-1010-A    1956    U.K. KEN KHOURI
CHIN’S CALYPSO SEXTET (VOCALS E. BEDASSE [ALERTH BEDASSE])    NOT ME AGAIN    45/C 1010-B    45-C-1010-B    1956    U.K. KEN KHOURI

CHIN’S CALYPSO SEXTET (VOCALS E. BEDASSE [ALERTH BEDASSE])    BIG BOY AND TEACHER    KALYPSO    45/C 1008-A    45-04820    IVAN CHIN    1956
CHIN’S CALYPSO SEXTET (VOCALS E. BEDASSE [ALERTH BEDASSE])    RED TOMATO    KALYPSO    45/C 1008-B    45-04821    IVAN CHIN   1956

COUNT LASHER & THE PORTER CALYPSO STAR BAND    TALKING PARROT    45/XX 12    DA-45-2857    1959?    U.K. KEN KHOURI
COUNT LASHER & THE PORTER CALYPSO STAR BAND    DOCTOR    45/XX 12    DA-45-2858    1959?    U.K. KEN KHOURI

LAUREL AITKEN & THE BOOGIE CATS    BABA KILL ME GOAT    XX 19 A    45 XX 19-A    1960?    U.K.    LAUREL AITKEN?
LAUREL AITKEN & THE BOOGIE CATS    TRIBUTE TO COLLIE SMITH    XX 19 B    45 XX 19-B    1960?    U.K.    LAUREL AITKEN?

LORD LARO    JAMAICAN REFERENDUM CALYPSO    45/XX 21    XX 21-A    1961    U.K. KEN KHOURI
LORD LARO    WONG IMPRESSIONS OF A SOLDIER    45/XX 21    XX 21-B    1961    U.K. KEN KHOURI

COUNT ZEBRA & THE SEASIDERS    CAT-O-NINE    45/XX 23    Go 5    1962    U.K. KEN KHOURI
COUNT ZEBRA & THE SEASIDERS    BEDBUG    45/XX 23    Go 5    1962    U.K. KEN KHOURI

LORD ROSE AND THE BEACHCOMBERS    INDEPENDANT JAMAICA    45/XX25-A    XX25-A    1962    U.K. KEN KHOURI
LORD ROSE AND THE BEACHCOMBERS    TWISTIN’ UNCLE    45/XX25-B    XX25-B    1962    U.K. KEN KHOURI

LONDON INTERNATIONAL & LONDON CALYPSO

78rpm

IVAN BROWN AND HIS CALYPSO MUSIC    GIMME A BEAT ON YOUR DING DONG    LONDON CALYPSO    CAY.102    DR13435-1A   LONDON CALYPSO U.K.
IVAN BROWN AND HIS CALYPSO MUSIC    JOHNNY WEDNESDAY B.A.    LONDON CALYPSO    CAY.102    DR13436-1A    LONDON CALYPSO U.K.

MONICA BOYAR and JACKIE BROWN’S CALYPSO KINGS    OPEN UP THE DOOR MAMA    LONDON CALYPSO    CAY.103   DR18447-1    LONDON CALYPSO U.K.
MONICA BOYAR and JACKIE BROWN’S CALYPSO KINGS    GIN AND COCONUT WATER    LONDON CALYPSO    CAY.103   DR18448-1    LONDON CALYPSO U.K.

MONICA BOYAR and JACKIE BROWN’S CALYPSO KINGS    I LOVES YER BABY    LONDON CALYPSO    CAY.105    DR18149-1   LONDON CALYPSO U.K.
MONICA BOYAR and JACKIE BROWN’S CALYPSO KINGS    HARRY PUT ME DOWN    LONDON CALYPSO    CAY.105    DR18450-2   LONDON CALYPSO U.K.

MARIE BRYANT and JACKIE BROWN’S CALYPSO KINGS    SUEDE SHOES    LONDON CALYPSO    CAY.106    DR13459-1    LONDON CALYPSO    ORIGINAL    £5    60s    60s    06/04/2014    U.K.
MARIE BRYANT and JACKIE BROWN’S CALYPSO KINGS    SIXTY MINUTE MAN    LONDON CALYPSO    CAY.106    DR13462-1    LONDON CALYPSO    ORIGINAL    £5    60s    60s    06/04/2014    U.K.

MARIE BRYANT AND JACKIE BROWN’S CALYPSO KINGS    DON’T TOUCH ME NYLON        dr. 18460        U.K.    ?
MARIE BRYANT AND JACKIE BROWN’S CALYPSO KINGS    WATER MELON        dr. 18461        U.K.    ?

10″ Lps

VARIOUS    AUTHENTIC JAMAICAN CALYPSOS        mscl6651a/2b    1954    U.K.    Stanley Motta

LYRAGON

78rpm

LORD KITCHENER – Acc FREDDY GRANT’S CARIBBEAN RHYTHM    KITCH TAKE IT EASY    LYRAGON    J 703    PL 914    LYRAGON U.K.
LORD KITCHENER – Acc FREDDY GRANT’S CARIBBEAN RHYTHM    REDHEAD    LYRAGON    J 703    PL 956    LYRAGON U.K.

MARACAS RECORDINGS

78rpm

LORD POWER AND HIS CALYPSONIANS    MAMBO LA-LA    M 20001    13 X A        JAMAICA    1950s
LORD POWER AND HIS CALYPSONIANS    SPECIAL AMBER CALYPSO    M 20001    13 X B        JAMAICA    1950s

MELODISC

78rpm

LORD BEGINNER acc by CALYPSO RHYTHM KINGS    VICTORY TEST MATCH – CALYPSO (ENGLAND Vs WEST INDIES, LORDS 1950)    MELODISC    113 (MEL 20)    MEL 20    MELODISC U.K.
CALYPSO RHYTHM KINGS – Vocal LORD BEGINNER and ENSEMBLE    SARGEANT BROWN – CALINDA    MELODISC    113 (MEL 23)    MEL 23    MELODISC U.K.

LORD BEGINNER – CARIBBEAN CALYPSO BAND    CRICKET CHAMPIONS, THE (WEST INDIES Vs M.C.C. 1954)    MELODISC    1273    DA 2082    MELODISC U.K.
LORD BEGINNER – CARIBBEAN CALYPSO BAND    CARIBBEAN LULLABY    MELODISC    1273    DA 2083    MELODISC U.K.

LORD KITCHENER – Acc VINCENT STREET SIX    KITCH – CALYPSO (SMALL COMB SCRATCH ME HEAD)    MELODISC    1160    MEL 96-1    MELODISC U.K.
LORD KITCHENER – Acc VINCENT STREET SIX    FOOD FROM THE WEST INDIES    MELODISC    1160    MEL 97-1    MELODISC U.K.

LORD KITCHENER – Acc FREDDY GRANT’S CARIBBEAN RHYTHM    DENIS COMPTON CALYPSO, THE    MELODISC    1172    MEL 149    MELODISC U.K.
LORD KITCHENER – Acc FREDDY GRANT’S CARIBBEAN RHYTHM    NO MORE TAXI CALYPSO    MELODISC    1172    MEL 150    MELODISC U.K.

KING SPARROW & CARIBBEAN ALL STARS    CLARA HONEY BUNCH    MELODISC    1475    APR-56    MELODISC    50S
KING SPARROW & CARIBBEAN ALL STARS    FAMILYSIZE COKES    MELODISC    1475    APR-59    MELODISC  50S

TICKLERS, THE (VOCALS – HAROLD RICHARDSON)    GLAMOUR GAL – CALYPSO    1214 / MOT 01-8    MOT 01 8    STANLEY MOTTA    U.K.    1952?    1952? There is an advert in a 1952 copy of the Gleaner for this tune in it’s original MRS labelled state.  Source – Mentomusic.com / First Jamaican recording entirely recorded and produced in Jamaica to see a UK and not just Jamaican release. On original Stamper for both UK and Jamaican releases. – Source – general knowledge, confirmed through Dan Neely’s research.

TICKLERS, THE (VOCALS – HAROLD RICHARDSON)    DON’T FENCE HER IN – CALYPSO    1214 / MOT 01-9    MOT 01 9    STANLEY MOTTA    U.K.    1952?

TICKLERS, THE (VOCAL HAROLD RICHARDSON)    FOUR DAYS OF LOVE    MELODISC    1237    MOT 2146 1    STANLEY MOTTA?    ORIGINAL 50s
TICKLERS, THE (VOCAL HAROLD RICHARDSON)    HEALING IN THE BALM YARD    MELODISC    1237    MOT 2147    STANLEY MOTTA?    ORIGINAL  50s

MERCURY (JAMAICA)

78rpm

DIAMONDS, THE    FAITHFUL AND TRUE    R2216 71060 YB15047    GBU 15047    MERCURY    JAMAICA    50s
DIAMONDS, THE    LITTLE DARLIN’    R2216 71060 YB15048    GBU 15048    MERCURY    JAMAICA    50s – Probably pressed by Federal, generic looking label bears close resemblance to Kalypso.

MARTERIE, RALPH (AND HIS ORCHESTRA)    UNTIL SIX    R2021    YBU 10354    JEROME MUSIC CORP    JAMAICA    50s
MARTERIE, RALPH (AND HIS ORCHESTRA)    DRY MARTERIE    R2021    YBU 10222    JUDY MUSIC    JAMAICA    50s

SUGAR AND SPICE    HEY JOE (LET ME KNOW)    MERCURY (JAMAICA)    R2124    LBM 12411    TONE MUSIC 1956?
SUGAR AND SPICE    INDEED I LOVE YOU    MERCURY (JAMAICA)    R2124    LBM 12412    TONE MUSIC 1956?

MONOGRAM

12″ Lps

VARIOUS ARTISTES – MEET ME IN JAMAICA (B.W.I.)    12-852    LP 852 1    1950s    1950s    U.S.A.    Various Producers

MONTEGO BEACH HOTEL GIFT SHOP

12″ Lps

MONTEGO BEACH HOTEL CALYPSO BAND    SOUVENIR ALBUM / MONTEGO BEACH HOTEL CALYPSONIANS    LOML 502    SMOL 103 1E    1958    1958    Jamaica    Date Unknown (Stanley Motta?) – Note this features Lord Lebby on Vocals througout, though he is not credited on the Lp’s sleeve. Assumed to be a Motta production as he did produce 78s for and from this Hotel.

MRS (Motta’s Recording Studio)

78rpm

DAN WILLIAMS AND HIS ORCHESTRA – VOCAL LORD FLY    MEDLY OF JAMAICAN MENTO – FAN ME SOLJA MAN FAN ME, ONE SOLJA MAN, YUH NO YEARY WHAT THE OLE MAN SAY, SLIDE MONGOOSE    SSS.2033X / 01A    NONE    STANLEY MOTTA    JAMAICA    1952   This is thought to be the first song to be recorded and released in Jamaica, although there is some confusion over the possibility that it may have been recorded in Miami.

DAN WILLIAMS AND HIS ORCHESTRA – VOCAL LORD FLY    CALYPSO – WHAI, WHAI, WHAI    SSS.2034X / 01B    NONE    STANLEY MOTTA    JAMAICA    1952

DAN WILLIAMS AND HIS ORCHESTRA – VOCAL LORD FLY    JAMAICAN CALYPSOS – SWINE LANE GAL / IRON BAR    04A    SSS 2082 X    STANLEY MOTTA    JAMAICA    1952

DAN WILLIAMS AND HIS ORCHESTRA – VOCAL LORD FLY    JAMAICAN CALYPSOS – WHEN MI LOOK UPON JANIE SO / ADA / TIME SO HARD    04B    SSS 2083 X    STANLEY MOTTA    JAMAICA    1952

REYNOLDS CALYPSO CLIPPERS – VOCAL – BOYSIE GRANT    SWEETIE CHARLIE / MATTY RAG / NOBODY’S BUSINESS    O6A    MOT 2134 – 06A MEL    STANLEY MOTTA    JAMAICA    1952

REYNOLDS CALYPSO CLIPPERS – VOCAL – BOYSIE GRANT    COME WE A GO DOWN A UNITY / OLD LADY O / LINSTEAD MARKET    06B    MOT 2135 – 06B MEL    STANLEY MOTTA    JAMAICA    1952

DAN WILLIAMS AND HIS ORCHESTRA – VOCAL LORD FLY    TRANSPORTATION KINGSTON STYLE – JAMAICAN CALYPSO    MOT.2138 / 11A    MOT2138    STANLEY MOTTA    JAMAICA    1952?

DAN WILLIAMS AND HIS ORCHESTRA – VOCAL LORD FLY    BLU-LU-LUP – JAMAICAN CALYPSO    MOT.2139 / 11B    MOT2139    STANLEY MOTTA    JAMAICA    1952?

TICKLERS, THE (HAROLD RICHARDSON – VOCAL)    PARISH GAL    15A MOT 2150    MOT 2150    STANLEY MOTTA    JAMAICA    50s
TICKLERS, THE (HAROLD RICHARDSON – VOCAL)    HARD HEARTED LOVER    15B MOT 2151    MOT 2151    STANLEY MOTTA    JAMAICA    50s

CECIL KNOTT AND HIS JOYBELL ORCHESTRA    WHEN YOU COME AMERICA COWHEAD    D/SM.20A    DSM20A    STANLEY MOTTA    JAMAICA    1950s
CECIL KNOTT AND HIS JOYBELL ORCHESTRA    BELLYLICK BARGIE    D/SM.20B    DSM20A    STANLEY MOTTA    JAMAICA    1950s

REYNOLDS CALYPSO CLIPPERS (VOCALS BOYSIE GRANT TENOR BANJO EDDIE BROWN)    NOISY SPRING    MRS 23 F.23A    DMRS23A    STANLEY MOTTA    JAMAICA    50s
REYNOLDS CALYPSO CLIPPERS (VOCALS BOYSIE GRANT TENOR BANJO EDDIE BROWN)    HARD HEARTED LOVER    MRS 23 F.23B    DMRS23B    STANLEY MOTTA    JAMAICA    50s

JOSEPH CLEMENDORE WITH GEORGE MOXEY AND HIS CALYPSO QUINTET    MY BROTHER CALAMITY    SM.109 DSM.27A    DSM109 STANLEY MOTTA    JAMAICA    50s
JOSEPH CLEMENDORE WITH GANNY GABBISON AND HIS CALYPSO BAND    MAINTENANCE    SM.110 DSM.27B    DSM110 STANLEY MOTTA    JAMAICA    50s

COUNT LASHER’S CALYPSO QUINTET – VOCAL BY COUNT LASHER    TREK TO ENGLAND    SM.146 – DSM. 41    SM-146-1    STANLEY MOTTA    JAMAICA    50s
COUNT LASHER’S CALYPSO QUINTET – VOCAL BY COUNT LASHER    WATER THE GARDEN    SM.145 – DSM. 41    SM-145-1    STANLEY MOTTA    JAMAICA    50s

10″ Lps

VARIOUS    AUTHENTIC JAMAICAN CALYPSOS SERIES 3        motl 103a-1a    1955    1955    Jamaica    Stanley Motta

VARIOUS ARTISTES    AUTHENTIC JAMAICAN CALYPSOS SERIES 5    MRS    MOTL 105    MOTL 105A-1E    STANLEY MOTTA   1955 JAMAICA

12″ Lps

VARIOUS ARTISTES    CALYPSO DATE    LOML 503    SMOL 105 1B    STANLEY MOTTA    JAMAICA    1950s

7″ Singles

HAROLD RICHARDSON & CHARLIE BINGER AND HIS QUINTET    JAMAICA IS THE PLACE TO GO    45-DSM 53    45-SM-173-1C    1950s    1950s    U.K.    STANLEY MOTTA
HAROLD RICHARDSON & CHARLIE BINGER AND HIS QUINTET    COUNTRY GAL    45-DSM 53    45-SM-174-1C    1950s    1950s    U.K.    STANLEY MOTTA

7″ E.P.

BRUTE FORCE STEEL BAND ,THE    JUMBIE JAMBOREE        smep – 12-1c       1950’s  Jamaica. / U.K.    Stanley Motta
BRUTE FORCE STEEL BAND ,THE    WHEEL AND TURN ME        smep – 12-1c        1950’s    Jamaica. / U.K.   Stanley Motta

COUNT LASHER    WATER THE GARDEN        smep – 11-1c        1950’s    Jamaica. / U.K..    Stanley Motta
COUNT LASHER SEVEN    BREADFRUIT SEASON        smep – 11-1c        1950’s    Jamaica. / U.K.  Stanley Motta

NATIONAL CALYPSO

7″ Singles

LORD RIGBY    CARNIVAL JAMAICA    NC2000    R&B NCD 2010 A    1964    1964    U.K.    C.S. Dodd / Rare Studio One production, with writing credit to C.S. Dodd on the record, pressed up and labelled in the UK by R&B Discs.
LORD RIGBY    MUSIC TEACHER    NC2000    R&B NCD 2010 B    1964    1964    U.K.    C.S. Dodd

NIXA

10″ Lps

FRANK HOLDER    CALYPSO TIME WITH FRANK HOLDER    NPT 19007    ZZ 1007 A1    1950s    1950s    U.K.    Nixa Produced / Frank Holder was vocalist with Johnny Dankworth (Jazz Band Leader) at one time and apparently resident in the UK at the time this record was recorded. Also known for his Bongo playing.

PARLOPHONE

78 rpm

YOUNG TIGER (GEORGE BROWNE) Acc CALYPSO SERENADERS    I WAS THERE (AT THE CORONATION)    PARLOPHONE    M.P. 120 CE 14566    DA 2082    PARLOPHONE
LORD BEGINNER (EGBERT MOORE) Acc CALYPSO RHYTHM KINGS    QUEEN ELIZABETH CALYPSO    PARLOPHONE    M.P. 120 CE 14568    DA 2083    PARLOPHONE U.K.

PENTHOUSE

7″ Singles

CHAKKA DEMUS \ ROD DENNIS MENTO BAND    NOBODYS BUSINESS        side A title        Jamaica    D. Germain 2002
ROD DENNIS MENTO BAND    NOBODYS BUSINESS VERSION        side b version        Jamaica    D. Germain 2002

12″ Lps

ROD DENNIS MENTO BAND    ORIGINAL JAMAICAN MUSIC        a mento band        U.S.A.    D. Germain 2001

PORT O JAM

7″ Singles

SUGAR BELLY & THE CANEFIELDS    SHAKE UP ADINA    P.J. OO1    FCD7890?    1972    1972    JAMAICA    C.S. DODD
SUGAR BELLY & THE CANEFIELDS    DANNY BOY    P.J. OO1        1972    1972    JAMAICA    C.S. DODD

RITMO

12″ Lps

VARIOUS ARTISTES, LORD FLEA, HUBER PORTER, LORD LEBBY    CALYPSOS FROM JAMAICA    12-503    LP 12 503 A1    LATE 50s    LATE 50s    U.S.A.    VARIOUS?    Note – One of the most wonderful covers in Jamaican Lp history. The Lp is exactly the same as the Sounds of the Caribbean Calypsos from Jamaica Lp.

SOUNDS OF THE CARIBBEAN

12″ Lps

VARIOUS ARTISTS   CALYPSOS FROM JAMAICA        slp 734 a 1-14-71            U.S.A.    Various producers / Re-release of the Ritmo Lp also titled CALYPSOS FROM JAMAICA.

STUDIO ONE  

12″ Lps

HILTONAIRES    MEET ME IN JAMAICA    STUDIO ONE 100    WIRL CS LP 1241 A2/B1    C.S. DODD    JAMAICA    1965

TIMES RECORD

78rpm

JAMAICAN CALYPSONIANS, THE –  WITH VOCAL LORD FLEA    CALYPSOS FROM JAMAICA    NONE    JAM 103 / D JAM 104/D JAM101/102/D JAM 105/106    KEN KHOURI (FOR TIMES STORE KINGSTON)    JAMAICA    1950s    VERY RARE (ONLY THREE KNOWN) ALBUM COLLECTION OF x3no 78RPM LORD FLEA SIDES, details on the three sides in this set appear below. This is one of only three currently known to eist, Jeremy Collingwood and Dan Neely own the other two. SEE BELOW FOR SINGLES THAT MAKE UP THIS SET

……………………. Singles that make up above x3no 78rpm single album set.

JAMAICAN CALYPSONIANS, THE –  WITH VOCAL LORD FLEA    TIME SO HARD / OLD LADY    (JAM 101) UD. 1003    D JAM 101    KEN KHOURI (FOR TIMES STORE KINGSTON)    JAMAICA    1950s    PART OF THREE 78RPM ALBUM SET
JAMAICAN CALYPSONIANS, THE –  WITH VOCAL LORD FLEA    SOLAS MARKET / WATER COME FROM ME EYE    (JAM 102) UD. 1003    D JAM 102    KEN KHOURI (FOR TIMES STORE KINGSTON)    JAMAICA    1950s    PART OF THREE 78RPM ALBUM SET
JAMAICAN CALYPSONIANS, THE –  WITH VOCAL LORD FLEA    WHEEL AND TURN ME    (JAM 103) UD. 1002    D JAM 103    KEN KHOURI (FOR TIMES STORE KINGSTON)    JAMAICA    1950s    PART OF THREE 78RPM ALBUM SET
JAMAICAN CALYPSONIANS, THE –  WITH VOCAL LORD FLEA    MATTIE RAG / BROWN SKIN GAL    (JAM 104) UD. 1002    D JAM 104    KEN KHOURI (FOR TIMES STORE KINGSTON)    JAMAICA    1950s    PART OF THREE 78RPM ALBUM SET
JAMAICAN CALYPSONIANS, THE –  WITH VOCAL LORD FLEA    DONKEY CITY    (JAM 105) UD. 1003    D JAM 105    KEN KHOURI (FOR TIMES STORE KINGSTON)    JAMAICA    1950s    PART OF THREE 78RPM ALBUM SET
JAMAICAN CALYPSONIANS, THE –  WITH VOCAL LORD FLEA    RUN MONGOOSE / LINSTEAD MARKET    (JAM 106) UD. 1003    D JAM 106    KEN KHOURI (FOR TIMES STORE KINGSTON)    JAMAICA    1950s    PART OF THREE 78RPM ALBUM SET

HUBERT PORTER WITH THE JAMAICAN CALYPSONIANS    MISS GOOSIE    JAM 113 UD 1007    DJAM113-1    KEN KHOURI    JAMAICA    1950s
HUBERT PORTER WITH THE JAMAICAN CALYPSONIANS    UGLY WOMAN    JAM 114 UD 1007    DJAM114-1B    KEN KHOURI    JAMAICA    1950s

HUBERT PORTER WITH THE JAMAICAN CALYPSONIANS    TEN PENNY NAIL    JAM.120 UD.1011    JAM 120    KEN KHOURI    JAMAICA    1950s
HUBERT PORTER WITH THE JAMAICAN CALYPSONIANS    MARY’S LAMB / THE MORE WE ARE TOGETHER    JAM.121 UD.1009    JAM 121    KEN KHOURI    JAMAICA    1950s

………………………………………….

JAMAICAN CALYPSONIANS – VOCALS – LORD FLEA    DONKEY CITY    (JAM 105) UD. 1003    D JAM 105    KEN KHOURI (FOR TIMES STORE KINGSTON)    U.K.    ?    PRESSED IN UK FOR TIMES STORE KINGSTON JAMAICA – For claity’s sake this is the same side, catalogue and matrix numbers as the single that came in the 3 78rpm set.

JAMAICAN CALYPSONIANS – VOCALS – LORD FLEA    RUN MONGOOSE / LINSTEAD MARKET    (JAM 106) UD. 1003    D JAM 106    KEN KHOURI (FOR TIMES STORE KINGSTON)    U.K.    ?    PRESSED IN UK FOR TIMES STORE KINGSTON JAMAICA

JAMAICAN CALYPSONIANS, THE VOCAL BY HUBERT PORTER    NOT ME    JAM 109 UD.1005    DJAM 109-1    TIMES RECORD / KEN KHOURI    JAMAICA    50s
JAMAICAN CALYPSONIANS, THE VOCAL BY HUBERT PORTER    RUM AND COCONUT WATER    JAM 110 UD.1005    DJAM 110-1    TIMES RECORD / KEN KHOURI    JAMAICA    50s

JAMAICAN CALYPSONIANS, THE VOCAL BY HUBERT PORTER    MISS DAISY AND BROWN SKIN GIRL    JAM 111 UD.1006    DJAM 111-1 TIMES RECORD / KEN KHOURI    JAMAICA  50s

JAMAICAN CALYPSONIANS, THE VOCAL BY HUBERT PORTER    OLD LADY    JAM 112 UD.1006    DJAM 112-1    TIMES RECORD / KEN KHOURI    JAMAICA 50s

10″ Lps

TIMES RECORD    HUBERT PORTER WITH THE JAMAICAN CALYPSONIANS    JAL 1002 10″ TIMES RECORD LP    JAL 1002    JAL 1 1C    TIMES STORE – KEN KHOURI?    JAMAICA    1950s    RARE 10″ LP SOLD AT THE TIMES STORE KINGSTON, COLLECTION OF 78RPM SIDES

JAMAICAN CALYPSONIANS / VOCAL HUBER PORTER    CALYPSOS FROM JAMAIACA    JAL 1001 C.T.1786    CP1786-IC    TIMES STORE / KEN KNOURI    JAMAICA    1950s

TICO EL REY DEL MAMBO

78rpm

JAMAICA BOY (AKA DENZIL LAING?) AND HIS KINGSTON CALYPSO ORCHESTRA    MAN IS SMART, WOMAN’S SMARTER    10-391    X 20 A    KEN KHOURI    U.K.    1950s    FROM MATRIX LOOKS LIKE IT WAS ORIGINALLY OFF A KHOURI / FEDERAL STAMPER / Released in South America via this New York label, uncertain if released in USA though the label states it was based there .

JAMAICA BOY (AKA DENZIL LAING?) AND HIS KINGSTON CALYPSO ORCHESTRA    MARY ANN, BROWN SKIN GAL    10-391    X 20 B    KEN KHOURI    U.K.    1950s

WIRL

12″ Lps

COUNT FRANK    COUNT FRANK SINGS CALYPSO        wirlfm1802 / wirl 1058        1960s   Jamaica    Lynford Anderson

LORD JELLICOE AND HIS CALYPSO MONARCHS    LORD JELLICOE AT THE SHERATON        lord a1        1960s    Jamaica    Clifford Rae

Z.W. (Studio One)

12″ Lps

LORD ANTICS AND THE MERRY BOYS    CALYPSOES TOO HOT TO HOLD    None    FOD 7924 A    ?    ?    Jamaica    C.S Dodd

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Stanley Motta ~ Motta’s Recording Studio Kingston – MRS


Being a short study of one producer and label from Kingston.

Stanley Motta was a businessman living in Kingston Jamaica who originally traded in electrical goods and began his recording ‘studio’ in the early 1950s, before there were any other studios or mastering and pressing facilities on the Island. He would have artists record their songs in one shot and the acetates would then be sent for duplication in the United Kingdom. These records were then sent back to Jamaica to be bought mainly by early tourist visitors to the Island. Motta recorded Mento; a style of music that is sometimes inaccurately described as Jamaican Calypso. To this day Stanley Motta Cellular Repair is a Jamaican company, specialising in electrical repair.

First ever Jamaican production to get UK release.

In 1952 Melodisc the UK label reknowned for it’s ‘Ethnic’ output produced MELODISC Cat no – 1214 / MOT 01-8. This is the first Jamaican produced single to see a release in the UK. Having been written and recorded  and ‘produced’ in Jamaica the acetates were sent to the UK and pressed both for release in the UK and Jamaica, both issues of the single share exactly the same Matrices. This intimates that they were pressed by the same company, but labelled with two different record company labels. MRS (Motta’s Recording Studios) and Melodisc.

The Ticklers (VOCALS - HAROLD RICHARDSON) GLAMOUR GAL - CALYPSO MELODISC 1214 / MOT 01-8

The Home Market

Initially local interest was limited, the up-market Kingstonians were not interested in what they saw as the ‘Rural’ music of Jamaica and it wasn’t until the western white tourist audience grew that Jamaicans themselves, at least the wealthier ones, began to take an interest. Poorer Jamaican families could rarely afford the equipment to play the 78rpm records on and so it was left to them to write and perform the songs that Stanley Motta recorded.

Mento is now a sought after collectors commodity, rare and VERY difficult to find. Once it was just something that captured a little of the flavour of a visit to the Caribbean and something to put away in the attic with the Hawaiian shirt, holiday snaps and Bermudan shorts.

Later in his career Motta had a few now rare 45rpm singles and E.P.s pressed and also released his music on a well known series of 10″ Lps, amongst them the ‘Authentic Jamaican Calypsos’ Series with vols 1 to 4. Some of the material released on these 10″ Lps was also released by the London label as ‘Authentic Jamaican Calypsos’ this time without a series number and a as a compilation of tunes that appear on the Jamaican produced series of the same name. In England at least this London Lp is easier to find.

Country Gal, the follow up to the Ticklers hit Glamour Gal
Rare MRS E.P. of Count Lasher and the less desirable Brute Force Steel Band

Mento continues to be more easily found in the United States where the short hop from Miami had meant that tourists from North America were more likely to visit than other nationals. Of course the Brisith colonialists only left Jamaica in 1962, however it remains hard to find Mento in Britain for some reason.

You can find out more at the excellent – http://www.mentomusic.com/