Die Musikbar mit der Plattenküche

Beschreibung

(Westside/2000) 18 tracks John Holt ….Of course, technically this album should be called „Memories By Not-Quite-The-Score“, as it only contains 18 tracks, rather than that number plus the two that would give us 20! But joking aside, Westside’s second dip into the vast catalogue of essential Joh…

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(Westside/2000) 18 tracks John Holt ….Of course, technically this album should be called „Memories By Not-Quite-The-Score“, as it only contains 18 tracks, rather than that number plus the two that would give us 20! But joking aside, Westside’s second dip into the vast catalogue of essential John Holt masters has yielded another vital selection of classics and rarities that have been unavailable for far too long. It seems unthinkable in the CD age that there’s still scope for a compilation such as this, when its performer has Compact Discs By The Score on sale wherever reggae is stocked. But even when an artist is as anthologised as Holt has been. there’s always going to be an amount of valuable material that has slipped through the cracks due to its scarcity-on-vinyl. Most of the „Memories“ featured herein have such rarity value, all but the most ardent Holt completists that they’ve been little more than that for the past 25+ years! The hard-to-find status of this material isn’t a reflection of its quality, though – these are among the finest recordings of John Holt’s 37-year career… We’d hope that most of you who are buying this CD will have already acquired Westside’s earlier Holt anthology „Like A Bolt“ (WESA 810). That package carried a fulsome biography of John. which we’ll forego further repetition of here in an effort to put greater focus on the music. For those that don’t own it, here’s a brief recap on the man’s personal details, Born 1947 in Kingston, Jamaica, starts as a boy singer, cuts his first sides for Leslie Kong’s Beverley’s imprint at age 16, teams up briefly with Alton Ellis as a duet before co-founding the Paragons with Bob Andy in 1965. Andy quits for a solo career, the remaining group members go on to become one of the most successful vocal acts of the Rocksteady era. The Paragons disband in 1969 John continuing on his own having already released some solo sides while still a member of the group. After working with Duke Reid and Coxsone Dodd, he cuts his first sides for Edward „Bonnie“ Lee as the 60s draw to a close. Up to speed? Good, now read on… John’s association with Lee was by far his most prolific during the years covered by this CD. Indeed, as I’ve already noted in the booklet of „Like A Bolt“, „Between 1971 and 1973 it seemed like barely a week went by without a new (Lee-produced) John Holt 45 appearing“. Many of the best Lee-Holt collaborations have been collected and reissued elsewhere in the CD format, but this particular package is happy to add to what’s already available by bringing you Holt’s lively revival/adaptation of Frankie Ford’s Rock ’n‘ Roll classic „Sea Cruise“ (with producer Lee cheekily appropriating the bells-and-foghorn intro straight off the original Ford 45!), and his more leisurely do-overs of the late Johnny Ace’s „Anymore“ and – somewhat bizarrely – UK better Dorothy Squires‘ 40s schmaltzer „A Tree In The Meadow“ (US Chanteuse Margaret Whiting had the simultaneous North American hit). From a further reunion of the pair we happily add to this tally with a quartet of cuts that John voiced slightly later in the decade, at the studios of the late and legendary Osbourne Ruddock – better known as King Tubby’s. Only one of these was a revival, and a fine revival at that, of The Cliques‘ mid-50s dreamy Doo-Wopper „My Desire“. The others are Holt originals, „I’ll Be Yours“ originally appeared as the flip of Vin Gordon’s horns cut to the „None Shall Escape The Judgement“ rhythm „Magnum Force“, and the strong „I’ve Been Admiring You“- featuring John adding new words to the strong Rocksteady rhythm of the Uniques'“The Beatitude“ a.k.a. „Blessed Are The Meek“ – was also a b-side, to then-upcoming DJ Dillinger’s „Crankie Bine“. But the rambunctious „Don’t Give Up The Fight“ was very much its own song and single, and is one of John’s best of the period even though it has somehow eluded a UK release until now. Even after he made it big internationally with the MOR-aimed „Volts“ series, Holt would periodically work with Lee when he wanted to cut sides that held more ‚roots‘ appeal for his core audience. Their non-exclusive association may well have been the most rewarding of Holt’s 37-year career to date – but even though they worked well together, there were also many other producers ready, willing and able to get excellent results out of whatever studio time they could get with John. Successful liaisons with Clement „Coxsone“ Dodd and Arthur „Duke“ Reid have previously been appraised and praised in the notes to „Like A Bolt“ – and the cream of Holt’s output for some of Jamaica’s other important producers comprises the rest of „Memories By The Score“… That gorgeo…

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