READING - Johnny At The Crossroads

Johnny at the Crossroads.
Author - Mike Murphy
A personal view by the website's author.

Why Johnny Clarke? What is it about his music that makes him remarkable enough to warrant spending countless hours engaged in construction of the website you are now viewing?
I want to show you why I believe his music is of central importance to the history of Jamaican music.
In my opinion, his career illuminates the world of Reggae music; for those of us not present during the 1970's, like no other can.

During the middle of the 1970's Johnny Clarke stood at a Crossroads of Jamaican music, and was the point about which Reggae music turned during the "Golden Era" of 70's Roots Reggae. Briefly there was no more popular act than he in Jamaica, and this in a country where popularity is exceptionally hard won.
He was nominated best vocalist five times in his own country, an indication of the love Jamaicans have for his voice and music. There are many reasons as to why he commands the respect of his countrymen, one is his ability to perform both roots Reggae material and love songs with equal ability and conviction. This dual persona, both as roots 'preacher' and love 'crooner', was one which out of financial necessity many other performers were required to adopt. Dennis Brown, then Johnny's biggest rival, is a fine example in this regard.

For many years Johnny struggled to make his mark, coming up against the common frustrations of manipulative producers, and under investment in his talent. Enduring success really began when Clarke, sometimes nicknamed the 'Studio Idler', was engaged to provide backing vocals for the recording by Earl Zero of ' None Shall Escape The Judgement'. This song had been written by Earl Zero, and yet it would be forever associated with Johnny Clarke.
The story related by producer Bunny Lee, is that for some unexplained reason, when it came to mastering the tune, it was discovered that Earl Zero's lead vocal was missing from the mix. Lee hired Clarke to re-record the song's lead vocal, reasoning that he knew the tune, having backed Zero upon it.
Earl Zero disputes this, and denies that this was ever the 'true' state of events. It is no wonder that Zero remains upset, as the tune went on to become a massive hit, the song that to a large degree launched Johnny Clarke's future career.

It is thought that this song was the first to employ the 'flyers' style rhythm. Flyers was a mid 70's drum driven style, noted for its aggressive non stop hi hat cymbal sound, and connections with the Bump and Disco music then popular in the U.S.A. It is supposedly during this same session; where Zero's vocal 'dissappeared', that this new sound was invented by drummer Carlton 'Santa' Davis and lead guitarist Earl 'Chinna' Smith. Roots Reggae played in a Flyers style was to be, for the next year at least, the most fashionable style and sound, and it was Clarke's good fortune to be associated with it, from the beggining. It was Bunny Lee who led the pack of producers now, and Johnny Clarke, Bunny's new top performer who would lead the way, watching all others follow.

Even Dennis Brown, the undisputed King of Reggae in Jamaica, teamed up with Johnny at one time in an attempt to retain grip on his own popularity. 'So Much Pain' a single release on the Total Sounds label, is a good example of this, where Johnny Clarke is credited above Brown on the label. In actuality Clarke held Dennis Brown to be one of his biggest influences, as do a plethora of Reggae singers.

In regards to the debate on Earl Zero's vocal, and where it may have 'dissappeared' to, Johnny remains diplomatic. Perhaps a good position to adopt, when the producer concerned is now your brother in law!
Reggae has for all its concerns with 'Truths and Rights' been on occasion a cut throat world, with producers squeezing their acts for every last available cent, versioning another producers song's wholesale, and even releasing a singer's output, internationally, without the singer's knowledge or agreement.
This dirty dealing may be an all too Jamaican phenomenon, perhaps, but one thing is certain these are just some of the aspects that make Reggae music and all it entails, so enthralling.
Clarke himself had been badly wronged by Rupie Edwards, when Edwards had released 'Everyday Wondering' without crediting him on the label. It is interesting to note that the b-side dub version of Clarke's 1974 recording of 'If You Should Lose Me' is entitled 'Straight To Edwards Head'. I think we can have no doubt, as to which Edwards he was referring.

It is virtually certain that Johnny was not complicit in edging Zero off the recording, indeed there is an enduring rumour that the Earl Zero recording was released. This now legendary side remains one of Reggae's buried treasures.
So I believe we may assume that Johnny merely benefitted on this occasion, from someone elses's misfortune. It would seem that the world of Reggae is not the loving and smoke laden nirvana, that many propose it to be.

What have we so far?
I would propose: possibly the biggest producer of the moment, the point at which roots Reggae became the most popular genre of Reggae, a singer more popular than any other, a new style of rhythm that was knocking em' dead in the dancehalls, and a succession of hit songs.

It would seem impossible to improve this heady cocktail, and yet there is one element to add in order to make Johnny's output truly exceptional.
Masterful dub remixes of Johnny Clarke's songs by KING TUBBY contribute no end to the beauty of any mid 70's single release by Clarke. Listen to 'Move Out Of Babylon Rastaman' or the later 'Cold I Up' and to the accompanying b-side dub versions, and you will realize why Johnny Clarke encapsulates so well, 70's Roots Reggae. Few other artists have ever achieved such domination, let alone with the consummate ease and style that Johnny Clarke, the 'studio idler' did.

If you are looking to understand and absorb the world of Reggae, in particular the 'Golden Era' of the mid 70's, Clarke's music is an ideal vehicle within which to do so.
When Bob Marley was turning himself into the first International Jamaican superstar, Big Youth, Inner Circle and Johnny Clarke ruled the roost back home. They were the acts popular with Jamaicans, in Jamaica.
Indeed Clarke's versions of tunes written by Bob Marley were so popular, that they cut into Marley's market, a fact that has annoyed the Marley clan and set them at odds with him to this day.
In this light, it is of note that Clarke's recording of 'No Woman No Cry' was the only version available on the affordable seven inch single format, and Jamaicans unable to purchase the song they loved on LP, turned to Johnny Clarke's single release.

So what happened, what went wrong and why did Johnny Clarke never again, reach the popularity he attained during this era?
Oversaturation of the market is the frequently given explanation. Bunny Lee his producer, was just too intent on wringing every last drop of success out of his top man. Leaving no time for a more studied approach to achieving the longevity, that eludes almost all Reggae singers.
Reggae is also a notoriously fashion driven world, where today's top tune is tomorrow evenings pariah.
The 'Flyers' rhythm came and went, and the Jamaican public sought new entertainment, perhaps a little tired of hearing Johnny Clarke singing wherever they listened.

This isn't to say that Mr. Clarke hasn't had notable success since, nor that he has ceased to be any less than supremely talented. Perhaps this era may be seen as not solely a golden moment for Reggae, but the defining and yet fleeting golden moment for Johnny Clarke.

Clarke went on to become one of the highlights of the dancehall era, re-establishing his reputation as he did so. His style had always been well suited to this new genre, one that coincided with the beginning of the new decade.
He has continued to remain true to his own roots, singing largely of 'cultural' matters and retaining his Rastafarian faith. Touring to this day he spends much of his time in the U.K., and long may we benefit from his beautiful voice.

Mike Murphy