Uploaded tonight is an extremely rare LP entitled ‘Calling 1000 Dreadlocks’ on the very short lived Chalwa record label from Kingston, Jamaica. Involved in the recording sessions for this vinyl release were the Skin Flesh And Bones studio band alongside Augustus Pablo with his melodica and flute, Dave Barker and Dennis Alcapone on vocals and dubchatter. King Tubby was mixing, Clem Bushay was producing and supposedly Alton Ellis was overlooking everything generally.
There is no sleeve artwork for my copy of this LP, it never appeared with any artwork for the original release, just a straight white disco bag complete with a sticker with a little more information upon it. This release was limited to only 500 copies from it’s release date in the mid 1970’s.
This is the last reggae release I will be able to upload onto this site for a while (with any amount of ease) as I have placed all my reggae 7″, 10″, 12″ and LP vinyl (and also my huge collection of 7″ vinyl of all other genres) into thirty five large boxes tonight. All the boxes will be placed neatly into a local storage area tomorrow morning. There will be some work done on my house for a little while, then I intend to keep that room empty whist selling Penguin Towers for hopefully a larger ‘family sized’ version of Penguin Towers…
Other news; I am off for over a week and will not be back until after the middle of November, so I wish all the KYPP browsers well, and I will start uploading posts (not reggae or any 7″ records though) again on my return…
Penguins photographs below; Rusty and his bag of collie weed in Bluefields Westmoreland, Marcus Garvey Drive in downtown Kingston, St Andrews and finally Rockers International record shop along Orange Street in downtown Kingston, St Andrews. Text ripped of the wikk.
In the late 1960s, Lloyd Parks performed with the Invincibles band (whose members also included Ansell Collins, Sly Dunbar and Ranchie McLean) before teaming up with Wentworth Vernal in The Termites.
In 1967, they recorded their first single, “Have Mercy Mr. Percy”, and then an album Do the Rocksteady for Coxsone Dodd’s Studio One label.
After recording “Rub Up Push Up” for the Dampa label, Parks and Vernal split up.
Parks then briefly joined The Techniques as a replacement for Pat Kelly, recording tracks such as “Say You Love Me”, before embarking on a solo career and later starting his own label, Parks. His second single was the classic “Slaving”, a moving song about the struggles of a working man.
As a solo artist, he recorded a number of songs for Prince Tony Robinson, including “Trenchtown Girl” and “You Don’t Care”. Some of his best known solo hits include “Officially”, “Mafia” (both 1974), “Girl In The Morning” and “Baby Hang Up The Phone” (both 1975).
Parks was a studio bass player, backing many of the reggae artists, including Justin Hinds on Duke Reid’s Treasure Isle label. He was a member of Skin Flesh and Bones along with Ansell Collins on keyboards, Tarzan on keyboards, and Ranchie MacLean on guitar. This group backed Al Brown on his hit “Here I am Baby”, and many other artists.
When Skin Flesh and Bones started playing for the Channel One Studios, Parks renamed the band The Revolutionaries. Parks was also a member of Joe Gibbs’ house band, The Professionals, performing hits such as Althea & Donna’s “Up Town Top Ranking”, and in the 1970s he backed artists including Dennis Brown, The Abyssinians, The Itals, The Gladiators, Culture and Prince Far I. In 1974, he founded the We the People Band.
Lloyd Parks interview by Jim Dooley
I understand your first group was called The Invincibles. Who were the members of that group?
In that group you have: Sly Dunbar on drums, Ansel Collins on piano, a guitarist named Scott…. he played lead guitar at the time, and I played rhythm guitar at that time. I don’t remember the name of the bass player. There’s a guy who used to play trombone named Lloyd Carr.
So how did the formation of the Termites come about?
The Termites came about before that particular group. Because that group was like a band … I was like an instrumentalist. But my first group was really the Termites.
You sang with a gentleman named Wentworth Vernal.
Wentworth Vernal.
Where is he now?
Well, he’s out of the business. He’s not interested in the business. He’s in Jamaica still.
Was working for Coxsone a positive experience?
It’s a memorable one. Because, I remember the first time me and my partner went there to do a song. We thought we were harmonizing good … we were! But Coxsone say, maybe he didn’t like the song, him say, he called everybody Jackson, him say: ‘Jackson, you have to go home and listen to the radio’. So we went home and we listen to the radio and we come back another day for an audition with a song called ‘Have Mercy Mr. Percy’. Him say ‘Yes, Jackson! That’s the song!’ and him record it with us. It was on the top ten for a little while and then he record an album called ‘Do The Rock Steady’.
It’s a nice album … and still sounds nice.
Yeah.
Did you play any guitar or bass when you were at Coxsone’s – or were you just straight vocals?
Straight vocals.
What musicians were you working with at Studio One?
Bryan Atkins on bass, Jackie Mittoo, a saxophone player called Campbell, Bobby Ellis, Roland Alphonso and Johnny Moore.
Were you working for any other studios at the same time as Coxsone’s?
No, that was the only one. After Coxsone, then we went to an independent producer, a label called Dampa, and we record a tune called ‘Push It Up’. After that, myself and Wentworth Vernal, we split up. Then I recorded a song called ‘Slaving Everyday’.
By yourself? Singing?
Yeah.
What label was that on?
On ‘Parks’ label. Then I went solo and start doing stuff. I formed a group after that now. We really didn’t have a name for that group. But at that time my favorite group was the Techniques. I used to love the Techniques. And we form a group and we sounded like the Techniques. So at that time Pat Kelly was the lead singer – he just left the Techniques. We went to Winston Riley with that group and he …
And he just took you!
Right. (laughter) That’s how it went. And we recorded a song called ‘Say You Love Me’ with the Techniques – I was the lead singer. We did a few more songs, but I didn’t stay on there for a long time.
How much music did you record for Leslie Kong?
No, I didn’t record for Leslie Kong.
That’s funny because there is a collection of Beverly’s songs (jd- King Kong Compilation on Mango) that lists you and Jackie Jackson as the bass players.
No, I didn’t work for him.
How about Sonia Pottinger?
Let me see if I can remember … I know I worked for Treasure Isle. Played on some Justin Hinds songs.
Was that when Duke was still around?
Yes, Duke was around then.
Tell me about your relationship with ‘Prince’ Tony Robinson.
I played a lot of songs for Prince Tony. Like, there was an album with Big Youth and one with U Roy. I also recorded a song called ‘Trench Town Girl’ for Prince Tony. I recorded a version of ‘You Don’t Care’, and a version with a deejay called Winston Scotland – it was called ‘Buttercup’.
Who were the members of Skin, Flesh & Bones?
The members of Skin, Flesh & Bones was: myself on bass, Ansel Collins on keyboards, and another keyboard player called Tarzan, and Ranchie MacLean on guitar.
Who all did you backup when you were in that group. Was this mostly recording or mostly live work?
Live …. just maybe a few record. Maybe 3 or 4 recordings with Al Brown – sing a song called ‘Here I Am Baby’. It was a big hit in Jamaica and England. Also a singer called Cynthia Richards, she used to sing with that band. Skin, Flesh & Bones was also Al Brown on vocals and Cynthia Richards on vocals.
What year did you start working fo Joe Gibbs? Early 70’s?
About 1975-76.
Had you worked for Dennis Brown before that?
I started working for Dennis Brown as a backing band before. But, on record that’s where I start doing recording.
When you were at Gibbs, did you do any sessions with the Abyssinians?
Yes. I can remember one of the songs called ‘This Land’. I played on quite a few songs for Abyssinians.
And the Itals, you said you did some tracks with Lloyd Campbell.
Yes for Itals.
That was at Gibbs as well?
That was at Randy’s studio.
And the Gladiators, you did some work with them at Joe Gibbs.
Yes, that Prince Tony too.
How would you say that Gibbs studio compared to the other big studio at that time, Channel One? What do you think the differences were? Was there a different feel … a different vibe?
Both studio have their sound. They had individual sound. Whenever stuff been recorded at Channel One you could know. And when stuff was recorded at Joe Gibbs you could know. Channel One had a fantastic drum sound. Joe Gibbs had a good drum sound as well. People used to talk about Channel One drum sound.
Sly seemed to be running both places.
Both places (laughter).
Did you do a lot of work at Channel One?
Well, for individual producers.
Not necessarily for the HooKim’s though.
I did some records like ‘It’s a Shame’ by Delroy Wilson. Some other songs that I don’t even remember the title.
Did you ever record any songs that got credited to The Revolutionaries? The Revolutionaries seemed to have a very flexible lineup.
Yeah, because I started it. Like the Skin Flesh & Bones move over to Channel One and they call it The Revolutionaries. I’m trying to remember – I know I played songs there … but I can’t remember what was outstanding, that was a hit.
It seems like you played on a thousand different records in the 70’s. Did you have a favorite studio to work at?
I used to enjoy working at Joe Gibbs, Dynamic Sounds and Federal. Randy’s studio was like 1969-70. The studios that were outstanding at that time were Dynamic Sound and Randy’s, because that was even before Channel One.
Your talking early 70’s now.
Yeah. That was like Randy’s and Dynamic Sound. They were fully booked everyday ….everyday. We were doing sessions everyday. Sometimes we hide from the promoters and the producers. For real! Like everyday!
You were working too hard.
Yes, sessions everyday.
How do you think your sound is different from all of the other bassist’s around that time? Robbie, Fully, Ranchie… What makes the Lloyd Parks sound unique?
Well, I have a style where I might be playing a bassline, normal, and I do something similar … like a drumroll on the bass. I fill in those spots sometimes.
I find your bass playing to be faster …. I don’t know if you know what I mean by that.
It’s a different sound.
It seems to suit the rockers sound more …
I know what you mean. Because, I try to develop a unique style. I try to be different from every other bass player.
You did two or three albums on your own – singing vocals … that came out on Trojan in the U.K.. Do you miss singing?
Well ….
I know you still sing some live ….
Yes, because, right now I have a CD that should be released any time.
Really?
People keep bothering me, say ‘You shouldn’t stop singing’. But, I get so involved with the bass. I get to love it. I say, well, it’s like multi-talent. I can sing. I can play bass. But, I was into the bass. But, I really and truly love singing.
What label is your CD going to come out on?
Well, it might be Parks label, or it might be some other … I might sub it to someone else.
Where did you record it?
I record it between Music Works Studio and Mixing Lab.
Do you like Mixing Lab?
Yeah man, it has a nice sound.
Do you prefer to play bass or guitar?
Bass.
(laughter) I know you usually play bass, I was just wondering …
Because, I used to play guitar first, and then switched to bass.
So you worked for a little bit for Delroy Wright – doing some stuff for the Mighty Diamonds.
Delroy who?
Wright.
Delroy Wright … what he does?
He did a couple of albums with the Mighty Diamonds … I’ve forgotten the names now. This would have been in the 80’s. (J.D – I think the reason why Parks does not remember his name is because those sessions were run by Al Campbell. Delroy was more of an executive producer.)
Around 1978 you formed ‘We The People’ …
No it was in 1974.
Wow, I didn’t realize it has been going that long.
Yeah, ’74.
Did you want to set up a touring group so you could have some control over the situation – over the membership, over what work you did? … so you could control your career more.
That was not the purpose. That was just to continue. Because, like I said, I used to play with Skin, Flesh & Bones band and I shut it. I just wanted to continue with my musical career. And I say, well, the best bet to form … it wasn’t specially formed to be a backing band or anything else. Because when we started we used to go places and people dance. Like a dance with a dance band.
You don’t see that much anymore.
Oh no no.
dh
November 6, 2010 at 1:19 pmCHEERS for this one mick.xx