Harlem Shuffle Records
UK based Harlem Shuffle Records is passionate about music from the past, especially ska, reggae, rocksteady, and similar styles. Their mission: to re-release hidden gems, mostly unknown to the public. Exploring the extensive archives of Trojan Records and its sub-labels, they’ve unearthed a variety of tunes for their Hot Sauce series. Hot Sauce Volume 5, the most recent installment in the series, presents fourteen highly enjoyable tracks from the vibrant musical landscape of the late 1960s and early 1970s. Beyond the music, the album’s cover art perfectly captures the spirit of the time. It’s a playful wink to the era of self-censored, yet undeniably provocative, cover designs that graced Trojan and Pama releases in the early 1970s.
Upbeat Skanker
The album opens with the rocksteady vibes of Pour On The Sauce by The Soul Leaders & Carib Beats, a 1967 release on the Rio label. This track was produced by J.J. Johnson, an underappreciated talent whose life was tragically cut short in 1972. Lynn Taitt and his Jets were a significant presence in the vibrant late-1960s Jamaican music scene, and their 1968 instrumental I Spy is showcased here. The track, driven by prominent horns, was produced by Joe Gibbs, who would become a dominant force in the Jamaican music industry throughout the 1970s. The Kilowatts, reportedly a vocal group featuring Eric Donaldson, follow with the upbeat skanker Real Cool Operator, also produced by J.J. Johnson—a track sure to warrant repeated listens.
Blistering Instrumental
The album shifts gears into funky soul territory with Black Diamonds by Sir Collins and The Black Diamonds. Sir Collins, also known as Clancy Collins, was a UK-based sound system owner and producer originally from Jamaica. This 1968 track is a highly infectious adaptation of Booker T & The MG’s instrumental hit Time Is Tight, complete with jive talk layered over the riddim. San Sebastian follows, a blistering instrumental where horns and organ battle for dominance. This track was produced by George Murphy, also known as Clive Tennors, the driving force behind The Tennors. A true legend of Jamaican music, Eric “Monty” Morris, whose career began in the early 1950s, contributes his 1968 tune Cinderella. The Joe Gibbs production delivers an upbeat foundation for Morris’s tasteful vocals. The enigmatic Dell Williams presents a unique challenge with Searching For Your Love, featuring a high-pitched vocal that defies easy gender classification. The song, reportedly Williams’s sole recording, was produced by Alvin Ranglin in 1972.
Undeniably Funky
Flipping to the B-side, we are immediately immersed in the soulful sounds of I Who Have Nothing. While the song is typically associated with its writer and original performer, Ben E. King, this rendition is delivered by the legendary Derrick Morgan, a true veteran of Jamaican music. Chenley Duffus’s To Be A Lover is arguably the album’s most recognizable track. Duffus, another early starter in the music business, delivers a stunning performance. The track was produced by Lee “Scratch” Perry, who, characteristically, utilized the riddim with a variety of artists, including Augustus Pablo, Big Youth, Jah Lloyd, Prince Jazzbo, and most famously, Delroy Wilson with Have Mercy. Lloyd Charmers, one of Jamaica’s most celebrated producers of the 1960s and 1970s, contributes an instrumental –President Version– based on Touching The President by Tall T and The Touchers. This top-tier scorcher is undeniably funky, driven by the interplay between bass and organ, and features vocal snippets referencing Scotty’s lyrics from President Mash Up The Resident, complete with the signature whistle.
Dance Floor Filler
Tony Binns delivers a 1971 deejay cut, showcasing a style strongly influenced by fellow deejay Dennis Alcapone. Following Binns, Annette Clark offers her interpretation of Doris Troy’s soulful 1963 hit, Just One Look. Clark delivers a solid performance, elevated by Lee “Scratch” Perry’s characteristically production. The Jay Boys, known also as The Hippy Boys and Harry J. All Stars, contribute the infectious Del Gago from 1969. This funky, uptempo instrumental track is driven by a powerful horn section and features a spoken introduction reminiscent of classic Western films. Finally, Desmond Riley brings the album to a rousing close with the irresistible dance-floor filler, Tear Them. This high-energy stomper is guaranteed to ignite any party, possessing the power to transform even the most reserved gathering into a pulsating dance explosion. The track was produced by Brother Dan, one of the aliases used by Dandy Livingstone.