Doctor Bird

The Kingstonians - Sufferer (1970) {Doctor Bird Records - 2017 Reissue DBCD-03}
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© 1970, 2017 Trojan Records / Doctor Bird Records / Cherry Red | DBCD-03
Reggae / Rocksteady / Roots Reggae

The Kingstonians' only album, Sufferer, was originally released on LP in 1970. Produced by Derrick Harriott, it remains a marvelous example of the Jamaican vocal trio's approach to rocksteady and early roots reggae. Harriott and Kingstonians leader Jackie Bernard co-wrote most of the songs on the album, with two of them, "Singer Man" and the bubbly (but melancholy) "Sufferer," becoming sizeable hits in Jamaica. Fans of reggae vocal trios will love this reissue from Attack Records, and while the Kingstonians broke up almost immediately after its original release, the album and its key track, "Sufferer," have had an impact that far outweighs the brief life span of the group.

Soon after forming in the late Sixties, the Chosen Few became widely regarded as one the most accomplished harmony groups on the Jamaican music scene, as demonstrated by a series of hits for local producers, Derrick Harriott and ‘Prince’ Tony. A subsequent collaboration with Florida-based ex-pat, Noel Williams aka King Sporty spawned the reggae-funk masterpiece, ‘In Miami’ featuring backing from leading soul outfit K.C. & the Sunshine Band. The enduring popularity of the quartet, comprising Franklyn Spence and the three Browns – Busty, Noel and Errol – was demonstrated by the release of three acclaimed long players between 1973 and 1975, all of which were issued in the UK by the country’s premier Jamaican music record company, Trojan Records. This trio of albums form the basis of this superb collection of classic soulful reggae sounds, which is further enhanced by 11 bonus tracks from the period.

After embarking on a career as a singer in the early 1960s, Robert Thompson aka Dandy achieved significant success on the British music scene with a series of popular ska and rock steady singles.

Arguably the greatest Jamaican vocal group to emerge on the reggae scene during the latter half of the Seventies, the Joseph Hill-led trio Culture wrote and performed some of the finest roots music of the era, initially making their mark with producer Joe Gibbs before joining the revered roster of Sonia Pottinger’s High Note Records.

As the debut album on the Rolling Stone label in 1978, Bush Doctor benefited immensely from the involvement of Jagger and Richards, as well as the publicity inherent in the high-profile nature of the release. Thankfully, Tosh was up to the challenge, and although there are moments that are less roots than anything he had previously recorded, Bush Doctor is no slick sellout. It's bolstered by his incredible Word Sound & Power band featuring the legendary Sly & Robbie rhythm section along with lead guitarists Mikey "Mao" Chung and Donald Kinsey (fresh from his stint with Marley). Although the cover of the Temptations' "(You Gotta Walk) Don't Look Back" single featuring Jagger's duet with Tosh seemed like an obvious ploy at crossover radio play, the rest is more roots conscious, and only slightly less compelling than some of ex-bandmate Bob Marley's work.

Edwyn Collins sounds more relaxed and assured than ever on Doctor Syntax, his fifth solo album. Responsible for virtually every single sound on the album, other than some treatments and programming from Sebastian Lewsley and drums by Paul Cook, Collins focuses all of his energy into crafting fascinating postmodern tunes. Though there's a lo-fi feel to the beats and samples and only a modest amount of texture added to the guitars, it's a remarkably lush and layered-sounding album. Indeed, it even brings to mind the quasi-medieval rumblings of Momus and the mystical frivolity of Baby Bird, without those artists' trademark lunacy. Themes of Beatles adulation, condemned ex-lovers, and introspective questioning fit nicely with Collins' moody, quirky vibes. Gone is the rage and noise of I'm Not Following You, and in its place is a focus on sometimes gentle melodies and emotions. "Splitting Up" might be the most beautiful song Collins has ever recorded, as tender guitars paint tone poems over beckonings of "I'm feeling down/I'm splitting up"; just when the song appears to be over, three minutes of even more personal soul-revelations drive it into the stratosphere.