![]() I am a record collector of note on the west coast. EQ perfect working condition, as are microphone inputs. slight 60hz buzz i believe due to the ungrounded cable used to connect the two, should be an easy fix i don't have time for. Record player (standalone) fully functional and working perfectly. Original tubes still included and tested. Inside, absolute mint condition, refurbed with care and love. Outside Case shell slightly dinged up but still fully functional clasps, handle etc. I will include a few boxes of 7" dubplates for cutting. Leadscrew has been tested and is not dinged or marked, works smoothly from front to back. Vacuum system installed (plinth) to remove cutting chip.Cutting Head Heater added, with gauge and heat adjustment knob machined into face (significantly reduces master noise when cutting).New Presto Long Shank 462 Heated cutting head.10" DubPlate Master use with drive hole modified.TR-43H Recording Turntable and R-8B Recording.On offer, one perfectly complete Rek-O-Kut Imperial II System with all original components + modifications: One ska tune that was always and still is played today is “Jamaica Ska by Byron Lee & the Dragonaires – Jamaica Ska, together with the dance that went with it.One of only a handful of existing units left in this condition, a once in a lifetime opportunity to own an exceedingly rare Rek-O-Kut fully portable dub-plate/master lathe cutting system with working loudspeaker integrated cover, lovingly saved from an estate and not only tuned but modified by Len Horowitz, History Of Recorded Sound, Los Angeles. It takes me back to the weddings, christenings and parties my family were invited to in the mid-60s, with my Mum making shiny dresses with a “can can” and frills for my sister and I to wear at these occasions. I would often hear my parents and their friends refer to “Blue Beat” and I always associate ska with this label. The part played by the Jamaican diaspora, particularly in the UK, was crucial to the spread of Ska with label owners like Chris Blackwell (Island), Rita & Benny King (R & B) and Emil Shalit (Blue Beat) releasing the tunes to the delight of the young West Indian men and women arriving in the UK in 50s and 60s. An instructive showcase is The Skatalites’ Ska-Boo-Da-Ba (Sounds From The Top Deck) LP. While highly danceable records like the irrepressible My Boy Lollipop by Millie (a cover of Barbie Gales US R & B jumper) remain the public face of Ska, dig a little deeper and the depth and range of the influences that made Ska are there. Thirdly, singing talent inspired by the likes of Nat King Cole, Sam Cooke and Curtis Mayfield took their chances at hugely popular talent nights run by the likes of Vere Johns.įinally, the quality of the Federal, and later Dynamic, recording studios built by the unlikeliest figure of the time, an Australian recording engineer called Graeme Goodall, drawn to Jamaica to set up the RJR radio station, for producer Ken Khouri. Secondly a galaxy of worldly musicians who could hold their own in any genre had been nurtured through military and police bands, hotel and cruise ship big bands, and the world-renowned Alpha Boys School. Firstly, 50s sound system operators like Coxsone Dodd, King Edwards, Prince Buster and Duke Reid turned record producer, their ear always close to the demands of dancehall patrons. Secondly, independence in August 1962 from British colonial rule unleashed a wave of national pride, energy, optimism and creativity, thus Lord Creator’s Independent Jamaica, Forward March by Derrick Morgan, and Miss Jamaica from future superstar Jimmy Cliff.īeneath the energetic surface of Ska the factors which put Jamaican music on the map and kept it there in the decades to come are all at work. ![]() ![]() Two catalysts were at work in the birth of Ska.įirstly, the gradual drying up of driving bass-heavy R & B records and recordings from the US encouraged local musicians such as Aubrey Adams, Rico Rodriguez and Clue J & His Blues Blasters to try their hand at replicating it using the emerging Kingston recording industry. Ska’s mixture of ingredients reflect Jamaica’s rich musical heritage: mento and quadrille from the island itself the US jump blues and R & B that dominated the Jamaican dancehalls and lawns of the 1950s latin the arrangements of be-bop jazz. Ska – coined from the sound made by the chopping rhythm guitar – was the first outpouring of home-grown Jamaican creativity to come to the attention of the musical world.
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