Reggae – Studios And Producers

Summer 1976, Kingston, Jamaica. The tarmac on Maxfield Avenue is melting, temperatures are running higher in the ghetto. The political gang wars, PNP versus JLP are raging. In Channel One the studio fan is doing overtime – new session, Kingstons’ finest about to lay down another killer riddim that history will recognise but these guys are just doing their thing. Spliffs blazing, Jo Jo Hookim at the mixing desk, Sly on drums, Robbie on bass, Sticky and Skully on percussion, Duggie and China on guitars -and what a horn section; Tommy McCook on Tenor, Bobby Ellis on trumpet, ”don”Junior on trombone and Herman Marquis on alto – “Riddim come forward” !!!! Outside the studio gate musicians, singers and deejays(rappers) are all waiting for a chance or the call to go in and voice a track. The great I Roy waits more patiently playing dominoes with three friends. As night falls and it gets too dangerous to be out on the streets he will be going in to finish his Musical Shark Attack LP, later signed by Virgin.
The four Hookim brothers, JoJo, Kenneth, Paulie and Ernest were of Chinese Jamaican descent, their family ran an ice cream parlour and the leasing of gambling slot machines to bars. When gambling was outlawed they moved into hiring jukeboxes and progressed to soundsystem ownership. Just as Coxsone Dodd and Duke Reid had done in the sixties,the sound system needed feeding fresh dubplates and tunes so in 1972 they built their studio at 29 Maxfield avenue in the heart of the Kingston 13 ghetto. They trained themselves on the AP1 mixing board and would develop a unique drum sound that moulded Sly Dunbar‘s “Rockers” style. By the mid-seventies the hits were coming and their HitBound pressing plant opposite the studio was working at full speed. Classics like the Mighty Diamonds “Right Time” and “I Need A Roof” were recorded here.
Turn left up Maxfield Avenue then right down Rousseau Road straight along Retirement road will bring you to past Sonic Sounds (another pressing plant sadly closed now) In the seventies a left up to 24 Retirement Crescent brought you to Joe Gibbs’ hit factory. He combined with the engineer Errol ET Thompson to become the Mighty Two and in the late seventies had hit after hit. Gibbs wasn’t a musician himself but was canny enough to use the cream of Kingston’s musicians in his recordings. The Jamaican studios would all have in-house bands, Joes’ were called The Professionals and their African Dub Almighty series would prove very popular with the UKs’ punks. Some of Cultures’ and Dennis Browns’ best work and UK chart hits were produced by Mr Gibbs.
Further downtown a trip up Bond Street in the sixties would bring you to Treasure Isle recording studio. Another sound system giant set up a recording base above the family liquor store. Ex-policeman Duke Reid produced some of the greatest rocksteady of the era. Phyliis Dillons’ “Midnight Confession” and The Paragons “Tide Is High”,later covered by Blondie are only a couple of examples of numerous gems. More innovations would follow when he employed ace toaster (rapper) URoy to chat over his most popular rhythms.
Back down Bond Street and left onto Beeston Street will bring you out on Orange Street, probably the most famous road in reggae’s history. Many of the big producers and the artists who could afford it would have their record outlets here. It was known as “Beat Street”. Prince Buster was based here (the site of his shop remains though closed in 2014) An unsung producer but early mover and shaker was Leslie Kong, his Beverleys Label was based here. He produced some early Wailers classics like “Soul Shakedown Party” and Peter Tosh’s “Stop That Train”. South on Orange Street, the road turns into Parade, downtown Kingston’s main square where the big Coronation market starts. Known as “Bend down plaza”, this is where all the higglers and sellers lay out their goods on the floor, hence the nickname.
A mile West up Spanish road and a right into Penwood Road will bring you to the area known as Waterhouse. It is nicknamed Firehouse during the frequent times of political upheaval. In a most unassuming one storey house at 18 Dromilly Avenue, an electrical engineer called Osbourne Ruddock set up a tiny voicing and mixing studio. The bathroom became the vocal booth and with his small custom made desk some of the most significant and influential music for the whole world was mixed here. Known now globally as King Tubby, the innovations of his sound system and studio techniques are now legendary. Great producers like Bunny Lee and Niney the Observer regularly mixed here. The studio also greatly appealed to more rootsy and leftfield producers like Yabby You, Glen brown and Keith Hudson. Tubby’s version or dub B-sides to singles were more popular than the vocals. Prince Jammy and Scientist learnt their trade here too. Tubby was a true pioneer and not only thoroughly ‘dubbed’ up the Seventies he continued into the dancehall era of the eighties until senselessly murdered in 1987. His friend and student Lloyd ‘Jammy’ James and his sons continue the legacy at their own studio nearby in St Lucia road.
Jamaica maintains its incredible output. Numerous dancehall and roots reggae producers are currently plying their trade. The islands’ studios and their unique vibe attract artists from all over the world. Snoop Dogg, Damon Albarn and Florence and the Machine have all recorded here in the last few years. Long may it continue as reggae ceaselessly evolves in the new millennia.


2african
June 26, 2018 at 11:12 am
i am 2african from south africa what do i need to be able to make a recording at historic studio one
David Asher
September 18, 2020 at 7:02 pm
Fantastic article. My only gripe would be no mention of Hopeton Brown aka Scientist. Although he didn’t own the studios, he made huge contributions to Tubby’s and Channel One.