Modern audiences seem to view reggae as a genre that formed in a vacuum and has never changed or altered. The Harder They Come and Bob Marley and his extended family make up the beginning and end of reggae for casual listeners, which is a shame because it’s an extraordinarily rich genre, with many of its most gifted practicioners functioning as sly ambassadors of a sort, whether it’s the Jamaican immigrants who made Toronto a reggae hotbed or rock steady pioneer Derrick Harriott. Harriott never achieved the same household name status outside of Jamaica that Jimmy Cliff and Bob Marley did, but Dub Store’s collection of his late ’60s output makes a strong case for Harriott as one of the most integral and soulful reggae pioneers, one whose output is timeless and overdue for larger recognition.

I, I was born a loser Derrick Harriott lyrics are copyright by their rightful owner(s) and Jah Lyrics in no way takes copyright or claims the lyrics belong to us. Jah Lyrics exists solely for the purpose of archiving all reggae lyrics and makes no profit from this website. Blowing in like a cool breeze on a sultry Caribbean evening, LA reggae veterans the Lions drop by Names You Can Trust with a perfectly timed sentimental summer blast. Lovingly taken for another dance by the west coast crew, the Derrick Harriott 1967 rock steady classic “The Loser.

Focused on the tail end of the ’60s, after Harriott had come back from a rewarding but still disappointing New York excursion, Rock Steady 1966-1969 shows how Harriott was integrating the American R&B he had been soaking up but also deviating from it in important ways that would pay off for all of Jamaica before long. By 1966, Harriott had not only returned from America but had also set up his own record store, giving him access to imports and a pulpit from which he could preach his vision of island music. There are a number of vital reinterpretations of R&B classics gathered here, including the Four Tops’ “Reach Out I’ll Be There,” which is given a shuffling rhythm and an airy piano line, shifting the focus to melancholic harmonies and a hesitant tempo rather than larynx shredding intensity. The song is recognizable not just as a cover but as a blueprint for what many of the reggae icons would be doing for the next decade as they veered away from ska and its up tempo style and utilized more R&B and doo wop aesthetic.

Harriott’s most notable contribution to the reggae canon, though, came via Keith and Tex and a homegrown cover of The Spanishtonian’s “Stop That Train.” After Keith and Tex had been rejected by nearly every other producer in Jamaica, Harriott took them in and mentored them, leading to a string of hits, of which “Stop That Train” was the most influential. Anchored by its eerie, iconic opening guitar riff, this interpretation of the song would go on to be covered by nearly every reggae legend, from Peter Tosh to Bob Marley to Don Campbell. Keith and Tex’s open, riff-focused style and alternating vocals was also clear on “Tonight,” another hit that the collaboration with Harriott yielded, though in that instance it’s in service of a more sensual, seductive angle, its R&B DNA clearer than “Stop That Train” and its yearning, otherworldly tones.

Harriott was equally adept at more classic island styles, though. His collaborations with Junior Soul in particular stand out, with “The Hustler” offering a curious amalgamation of Stax-like organ playing and playful, lilting vocals while Ike Bennett and the Crystallites’ “Illya Kuryakin” is a full on rocksteady reinterpretation of Percy Faith’s “Theme from a Summer Place” (mysteriously renamed to reference a Man from U.N.C.L.E. character). Likewise, Harriott’s hit “Do I Worry” has him adopting a torch singer approach over a rocksteady beat, excising the traditional guitar opening of the Ink Spots’ original in favor of a propulsive bassline and a more sarcastic melodic tone. Harriott’s cover even leaves room for a sharp guitar solo instead of the original’s spoken word interlude.

Harriott may not have the recognition of Lee “Scratch” Perry, but the anthology proves that he had just as much of an impact on the sonics of Jamaica’s biggest hits, something that is especially clear on solo tracks like “The Loser.” Here, Harriott works in a number of unique approaches, like a piano line that sounds as though it was recorded a block away and unorthodox percussion, both of which help create a full stereo effect, increasing the depth of the recording. Harriott’s lead vocal is somewhat prominent in the mix but it’s doubled up with a more muted, reverb drenched take, allowing the group harmony on the title refrain to be the real focus.

Dub Store Records’ has done an excellent job not just curating some of Harriott’s most important contributions from one of his most productive eras, but also providing a refreshingly welcoming collection for music fans looking to dabble in a genre that is too frequently represented as shallow and repetitive. Rock Steady 1966-1969 is an essential guide that shines a light on one of pop music’s most influential innovators in an easy to digest and rewarding format.

Nick Hanover got his degree from Disneyland, but he’s the last of the secret agents and he’s your man. Which is to say you can find his particular style of espionage here at Loser City as well as Ovrld, where he contributes music reviews and writes a column on undiscovered Austin bands. You can also flip through his archives at Comics Bulletin, which he is formerly the Co-Managing Editor of, and Spectrum Culture, where he contributed literally hundreds of pieces for a few years. Or if you feel particularly adventurous, you can always witness his odd .gif battles with friends and enemies on twitter: @Nick_Hanover

Derrick Clifton Harriott (born 6 February 1939) is a Jamaican singer and record producer.^[1] He was a member of the Jiving Juniors with Herman Sang before embarking on a solo career. He has produced recordings by Big Youth, Chariot Riders, The Chosen Few, Dennis Brown, The Ethiopians, Keith & Tex, The Kingstonians, Rudy Mills, Scotty, Sly & Revolutionaries, and Winston McAnuff.^[2]

Biography[edit]

The Jiving Juniors[edit]

As a student at Excelsior High School, Harriott formed a duo with Claude Sang Jr.^[3] Harriott entered the Vere Johns Opportunity Hour talent contest as a solo artist in 1955, failing to reach the final round, and entered again in 1957 as a duo with Sang, going on to win several times.^[3] The duo first recorded for Stanley Motta,^[3] and went on to record for several producers, having hits including 'Daffodil' and 'Birds of Britain' before splitting up when Sang's job took him overseas.

In 1958 Harriott formed the Jiving Juniors with Eugene Dwyer, Herman Sang (Claude's younger brother), and Maurice Wynter.^[4] The group had success on the Vere Johns Opportunity Hour, and in 1960 and 1961 had hit singles with 'Lollipop Girl' (for Duke Reid) and 'Over The River' (aka 'I'll Be Here When He Comes', for Coxsone Dodd).^[5] The group split up after Harriott emigrated to the United States, although the other members continued for a while with Jimmy Mudahy replacing Harriott.^[3][5] After struggling to find work, Harriott reformed the Jiving Juniors with a new line-up, having already teamed up again with Claude Sang in New York.^[3] The new line-up included Winston Service and Valmont Burke, and split their time between Jamaica and New York, where they recorded at the Mirasound Studios, having hits including 'Sugar Dandy'.^[5] The travelling took its toll and the group split up in 1962.^[5]

Solo and production career[edit]

Harriott embarked on a solo career and later formed his own record label, Crystal.^[4] His first solo release, 'I Care', was a hit, with further hits following with 'What Can I Do' (1964), 'The Jerk' (1965) and 'I'm Only Human' (1965), all of which were included on his debut album, The Best of Derrick Harriott. In 1967 he had further solo hits with 'The Loser' and 'Solomon', as well as with productions of other artists, including The Ethiopians' 'No Baptism', and Keith And Tex's 'Tonight' and 'Stop That Train'.^[4]

Ask any Jamaican musician and they'll tell you the rocksteady days were the best days of Jamaican music

The lyrics to his song 'Message from a Black Man' (circa 1970) echoed the growing black consciousness in American soul music of that time. In 1970 he issued The Crystalites' The Undertaker, an instrumental album in a similar vein to the early music of The Upsetters. He produced successful albums by other artists, including DJ Scotty's Schooldays, Dennis Brown's Super Reggae and Soul Hits, and also his own 14 Chartbuster Hits.

In 1971, Swing magazine named Harriott the Top Producer of 1970.^[2] He was one of the first producers to use King Tubby mixing talents at his Waterhouse studio, issuing one of the earliest dub albums in 1974: Scrub A Dub, credited to The Crystallites.^[2] Harriott followed this with another dub/instrumental album, More Scrubbing The Dub. His late 1970s productions used backing from The Revolutionaries on albums such as Winston McAnuff's Pick Hits To Click (1978), DJ Ray I's Rasta Revival (1978) and his own Enter The Chariot and Disco 6 (a compilation album featuring Dennis Brown, Cornell Campbell and Horace Andy). In the 1970s he opened his first record shop on King Street in Kingston, later moving to larger premises at Twin Gates Plaza in Half-Way Tree.^[5]

In the 1980s, he continued to have hits with soul cover versions, such as 'Skin To Skin' and 'Checking Out'. In 1988 he scored with 'Starting All Over Again', a duet with Yellowman, with lyrics about Hurricane Gilbert.^[4] The mid to late 1990s saw solo efforts such as Sings Jamaican Rock Steady Reggae, For a Fistful of Dollars, Derrick Harriott & Giants, and Riding the Roots Chariot being released.^[2]

In July 2002 in Toronto, Ontario, Canada, Harriott performed at the two-night Legends of Ska festival.^[7][8] Other performers included: Skatalites, Rico Rodriguez, Lester Sterling, Johnny Moore, Lynn Taitt, Prince Buster, Alton Ellis, Lord Creator, Justin Hinds, Derrick Morgan and Lord Tanamo.

Discography[edit]

The Loser Reggae Song

Albums[edit]

• The Best of Derrick Harriott – 1965 – Island
• The Best of Derrick Harriott Volume 2 – 1968 – Trojan
• Sings Jamaican Reggae – 1969 – Crystal/Pama
• The Crystalites – Undertaker – 1970 Trojan
• Psychedelic Train – 1970 – Crystal/Trojan
• Presents Scrub-A-Dub Reggae – 1974 – Crystal
• More Scrubbing The Dub – 1975 – Crystal
• Songs For Midnight Lovers – 1976 – Crystal/Trojan
• Derrick Harriott & The Revolutionaries – Reggae Chart Busters Seventies Style – 1977
• Reggae Disco Rockers – 1977 – Charmers
• Born to Love You – 1979 – Crystal

Compilation albums[edit]

• Derrick Harriott & Various Artists – 14 Chartbuster Hits – 1973 – Crystal
• Derrick Harriott & The Crystalites / Chariot Riders – 1970 – Blockbuster Reggae Instrumentals
• Greatest Reggae Hits – 1975 – Crystal/Trojan
• Disco 6 – 1977
• Enter The Chariot – 1978
• Derrick Harriott & Various Artists – Those Reggae Oldies – 1978
• Derrick Harriott & The Jiving Juniors – The Donkey Years 1961–1965 – Jamaican Gold (1993)
• Derrick Harriott & Various Artists – Step Softly 1965–1972 – Trojan (1988)
• Derrick Harriott – Sings Jamaican Rock Steady Reggae – Jamaican Gold
• Derrick Harriott & The Crystalites – For A Fistful of Dollars – Jamaican Gold
• From Chariot's Vault Volume 2: 16 Reggae Hits – Jamaican Gold
• Derrick Harriott & Various Artists – Riding the Roots Chariot – 1998 – Pressure Sounds
• Derrick Harriott & Various Artists – Skin To Skin – 1989 – Sarge
• Derrick Harriott & Various Artists – Musical Chariot – 1990 – Charly Records

Laser Regeneration Reviews

See also[edit]

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References[edit]

1. ^Derrick Harriott's website at the Wayback Machine (archive index) – accessed December 2007
2. ^ ^abcdPrato, Greg. 'Derrick Harriott Biography'. Allmusic.com. Retrieved 18 November 2009.
3. ^ ^abcde'Jiving Juniors Unleashes Derrick Harriott On The World', Jamaica Gleaner, 18 May 2014. Retrieved 20 May 2014
4. ^ ^abcdLarkin, Colin (1998). The Virgin Encyclopedia of Reggae. Virgin Books. ISBN0-7535-0242-9.
5. ^ ^abcde'The Second Coming – Jiving Juniors Hits Recording Studios', Jamaica Gleaner, 25 May 2014. Retrieved 25 May 2014
6. ^Du Noyer, Paul (2003). The Illustrated Encyclopedia of Music (1st ed.). Fulham, London: Flame Tree Publishing. p. 352. ISBN1-904041-96-5.
7. ^NowToronto website – 2002 editionArchived 13 October 2007 at the Wayback Machine
8. ^Mentomusic website notes

External links[edit]

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