Justin Hinds

Treasure Isle Champion & Duke Reid Cornerstone

Justin Hinds was born on May 7, 1942, in Steer Town, in the Parish of St. Ann, Jamaica. Hinds was the youngest of three children born to his parents, Alphonso Hinds and Edith McBean. Justin’s father was well known as a folk healer and for his preaching at Revival meetings. Skatalites drummer Lloyd Knibb said he knew of Hinds’ father a long time before he met and came to know Justin. Among churches the senior Hinds was associated with was the Steer Town Macedonia Revival Church.

Justin attended the Chalky Hill Elementary School. He met the Dominoes as a young man. They were Egerton “Junior” Dixon, born in 1942 and Dennis Sinclair, who died in 1994. Hinds also cited Noel Drake, who he described as, “an alternate Domino.” Dixon was still residing in Steer Town at last report, but that was more than a decade ago. I’d appreciate any information about him. Justin introduced his wife as “Peaches.” Of their children, I met their sons Maxwell, a drummer, Carlton, a percussionist, Randy, a bassist, and Jerome Sebastian Hinds, also a drummer.

Justin felt strongly about writing and composing his own material. He was loath to sing the songs of others. “Always original music, just original songs. There’s no one who can write songs for Justin Hinds on the face of the earth.” (Justin Hinds interviewed by the author, January 13, 1996.) Asked how he got his start singing, he explained. “I started singing in the church from I was just a small boy. My family was Adventist. My father and mother are spiritual people. I sang for my father’s church and for the niyabinghi from I was a youth. My father’s church was in Steer Town and it was a Revival Church. Therefore my music is a spiritual communication. Baptism for de soul.” (ibid) What music did you listen to growing up? “I grew up listening to the music of singers such as Smiley Lewis, Louis Jordan, Chuck Jackson and the great Fats Domino. Fats Domino was my favorite and also the favorite of my friends. We love him so much that we take his name when we form a singing group.” (ibid) Hinds finally met Domino after many years. Photographic proof was published in Vintage Boss magazine. (Page 4, Vintage Boss, issue #13, 2003.)

Justin Hinds was raised in Steer Town, a country village that lies above Ocho Rios on the North Coast of Jamaica. The pace is slow and quiet compared to the bustle of the tourist areas, although things can get live after dark. Hinds was 54 on the date of our initial interview, on January 12, 1996. I’d travelled from Kingston with Lloyd Knibb, after confirming that Hinds was in the country and could spend a day and a night listening to his catalog with us. The original plan of Heartbeat Records was for a single CD release, and they reserved a catalog number for it, HB -124. On 1992’s Duke Reid’s Treasure Chest, a double CD set, Heartbeat even claimed it was available. By 1995, when it was still not available, I made a bid to compile and annotate it, which was accepted.

However, there were more tracks available than originally thought, so it morphed into a two CD set which was to feature 40 plus cuts. I spoke to Hinds about the project during 1995 and planned a trip to Jamaica for early 1996, during which I would interview him.

Knibb and I met up with Hinds early that day in January and the conversation began with him telling us about growing up on the North Coast, near eight rivers, or Ocho Rios. “I grew up around rivers, the Roaring River and Dunn’s River Falls. As a youth I worked at water sports. Teach scuba and snorkel. All my life is the water. I take care of people from all over the world. I worked on the beaches in Ochi for years. All three of us Dominoes work on the beach in Ochi. There was a man named Ernie Smart I think and that’s who we used to work for. He was a winner at water sports competitions. He was the guy that first start doing the water sports business in Ocho Rios. There was diving with tanks, scuba and waterskiing and also glass bottom boat rides. That’s where things start. I used to sing on the beach and for the tourists while I was working on the boat rides. Well, I come to sing one day for a man named Carl Young. That man have connections and he give me encouragement.” (ibid) “He is now at Irie FM Radio Station. Those days he had a good sound system called ‘Stand’ and sometimes he competed against sounds like Coxsone ‘Down Beat’ and Duke Reid, ‘The Trojan.’ Charlie Babcock from RJR came and emceed a show at that Arawak Hotel. He was like the entertainment manager there and he liked the singing, so he booked me for the event and the people just loved my singing. It was Carl Young who encourage me to go to Coxson in Kingston. One day I went by myself to see Coxson and when I got there he didn’t have any time to see me. He just drove away on Orange Street.” (Page 4, Vintage Boss #13, May 2003.) I read the last paragraph to Hinds and asked what he did after Dodd drove off?

“I went by Prince Buster’s but he wasn’t there. Then I walk over to Duke Reid’s place on Bond Street. He was there and he was doing auditions. There was a lot of guys lined up waiting, so I lined up and waited too. But I don’t want to sing for anyone right there on the sidewalk. Especially after I hear what he and other guys say to some of the people who sing for them. Tell them to go back to country and dig yam and that they should go and do a trade instead of sing. So I just tell him no and walk away from there and go down to Back O Wall. The part they call Dungle because I know some Rastaman who live there. I meet up with a Rastaman name Bongo Noel. Someone I know tell him that I was there to sing. Well, he know about the runnings, about the music business. So we just sit down and reason for a while. Well, I do a little singing for the Rastamen them and some guys a play drums. After a time, someone come up and say that Duke Reid want to see me. Someone who hear me sing run and tell Duke that he must hear me. So I go and the man lead me to Duke Reid. When I meet Duke he was inside his shop and the man say this is the singer. Duke say, ‘make me hear your song.’ I sing for him and he stop me before I finish and ask what the song name. When I tell him he say I must go upstairs. Well, upstairs I meet Gladston who play piano and we work out my song for little while. The next day when we get to the studio, Federal Studio, all the musicians that I hear about were there. Tommy McCook, Baba Brooks, Roland Alphonso, Don Drummond, Lloyd Brevett, lots of musicians. I tell them about my song and then they talk. With the piano player. Then they just tell me that when it my time to start sing they’ll point to me. Is those musicians that really help make my song great. I just sing my one song, ‘Carry Go Bring Come,’ that day. It was the next day or maybe the day after that when I go back to studio. I wrote my song ‘Cornerstone’ from what happened the first time I see Duke Reid. How I was the stone that the builder refuse.” (Justin Hinds interviewed by the author, January 2004.)

That experience was very powerful and Hinds wrote about it. To make your first record and have an instant hit only happened to a few artists. The Skatalites turned the trick for the Wailers and for Hinds. That Reid initially rejected Justin made it even sweeter. But it was hearing his song played at a dance that made an indelible impression upon the 21 year old. “Man, the first time I hear the song was at a sound clash between Sir Coxsone (sic) and Duke Reid at Forrester’s Hall. Cuttings (Duke Reid’s D.J.) play it and it ‘mash up’ the place. Man, when Duke Reid reach there at 11 o’clock that night, them had to play ‘Carry Go Bring Come’ for 7 times straight. Duke Reid then released it and instantly it hit Jamaica like a bomb. It stayed at #1 for 8 weeks.” (Page 5, Vintage Boss #13, May 2003.)

To ascertain the musicians, and especially the drummer, “Carry Go Bring Come” was played many times for Hinds and Knibb to discuss. For most of those plays we were seated at a table on the veranda of the Traveller’s Rest Hotel and Restaurant, overlooking the main road into Ocho Rios from the west.

Much of the discussion centered on the drumming and whether it was Drumbago or Knibb. Initially, Hinds had said it was Drumbago, but Knibb interjected, ‘No man, it a me.’ Knibb suggested that we listen to the cymbal, as it was cracked at the time and made a different sound. He also noted that Drumbago didn’t use his cymbals. Hinds was asked to describe his first session at Federal. He began with the b side. “Did you know that ‘Hill & Gully Rider’ is myself and Duke Reid? Duke did give me that tune. He was going to do it. In those days you had to line up, and stand against the wall to wait for Duke to audition you. Duke would say OK, next and if you were good he’d say take time and practice the tune fe two weeks and come back and we’ll record it. If you weren’t good enough for him to use, he’d say yunno you should do some mason work, or you might try some welding, or something else. The first time I went to Duke I feel say he didn’t want me because I didn’t have the idea, that’s where ‘Cornerstone’ came from, that inspiration, the stone that the builder refused, I was that stone and Duke was the builder who had at first refused me.” (Justin Hinds interviewed by the author January 13, 1996.)

After Hinds recorded “Carry Go Bring Come” and the quality of his work was evident, Reid sent word that Hinds wasn’t to leave the city. He wanted to get him back in the studio as soon as possible. The initial studio experience prompted Hinds to write “Cornerstone.” When we went over the particulars of that first session, Hinds claimed the musicians were Lloyd Knibb on drums, Lloyd Brevett on bass, ‘Jah Jerry’ Haynes on guitar and Theophilus Beckford on piano, representing the rhythm section. The horns were Don Drummond (indisputably), Tommy McCook, Rolando Alphonso, Dennis ‘Ska’ Campbell, Lester Sterling and Baba Brooks. Hinds recalled that two microphones were used at Federal. One was for Justin and the Dominoes and the other was for all the musicians. The tape box that the master was transferred from listed the recording date as March 9, 1964. That appeared to be correct, but additional information is appreciated and will be acknowledged.

“The first time I sing ‘Carry Go Bring Come,’ they take it. I didn’t have to sing it a second time. That was my first record. When I did ‘Carry Go Bring Come’ there was a big competition in Kingston. It was a sound system contest between Duke Reid and Sir Coxsone. It was downtown in Old Kingston. So Duke tell me to stay in Kingston that night. It was eleven o’clock (when) Duke Reid drive in. The first time they gonna put my 45 on the table it plays eight time. Duke Reid gain victory that night in Kingston. That’s the way I started in those days – was ska days. That was my first record. It was a hit for seven weeks. (From Leroy Pierson’s annotation to Hinds Travel With Love LP.)

How many days was it between the recording of “Carry Go” and “Cornerstone?” “It was just a few days. If ‘Carry Go’ was recorded on March 9, then it was maybe Thursday the 14th. Duke always do recording on Thursday. If the music sweet him, he would fire his gun into the ceiling, but that at Treasure Isle, not at Federal. Duke was the greatest.” (Justin Hinds interviewed by the author, June 23, 1998.)

Justin and the Dominoes first twenty five or so recordings were made at Federal Studio with engineer Graeme Goodall. That was from March, 1964 through the spring of 1966, when Treasure Isle Studio opened. “‘Cornerstone’ was the second song I did for Duke. It was a different session than ‘Carry Go’ but with the same Skatalites. Lloyd Knibb, Brevett, Jah Jerry, Don Drummond, Roland and Tommy. I’m not sure if Lester was there but Baba Brooks was the trumpeter again.” After several listens, Knibb remarked that it was McCook on the first solo and playing at the end. “Dropping, a that we a call what Tommy’s doing.” As McCook was “dropping,” Knibb was playing signature figures on the high hat cymbal.

According to Hinds, his third recording for Duke Reid was his song “Over The River.” “In my song ‘Over The River’ I’m singing it to Junie. Junie is my darling. She was from St. Elizabeth and a friend of ours, just social.” Trombonist Don Drummond delivered the horn solo on “Over The River.” In contrast to “Carry Go,” there were at least two takes of “Over The River.” Both featured Drummond solos.

Hinds fourth recording for Reid was “King Samuel.” The lyrics were inspired by the Bible. By Hinds admission, most of his compositions were biblical in nature. “The lyrics a set it off. ‘What is hidden from the wise and prudent.’ I get my inspiration from there. It’s a gospel type, a song of freedom.” “Samuel” is a deep roots excursion. Kicked off by a baritone saxophone, either wielded by Herman Marquis or Dennis “Ska” Campbell, the song swings along with Hinds declaiming, “Guilty conscience speak louder than voice, yes we know and we can prove it,” and “Speak for thy servant heareth.” Not exactly light subject matter. Hinds and the Dominoes were delivering heavy messages but rending them as catchy ditties. The musical accompaniment was complementary. Oswald “Baba” Brooks took the first solo on trumpet. Knibb and Sterling concluded that the second solo was by Dennis “Ska” Campbell and the third, or outro, was a dazzler by Bobby Gaynair. They agreed that Alphonso and McCook were absent. “Sing my song wherever you’re going” was the Dominoes chant and it was getting through. The group was recording on a regular basis, approximately one or two songs a month, in addition to dubplates they recorded, mostly at Reid’s suggestion.

Hinds retold the tale of “Shedrach, Meschach and Abendigo” in his composition “Jordan River.” A basic beat was delivered by drummer Arkland “Drumbago” Parkes and whoever is on bass. It was suggested that it could be Lloyd Spence playing an electric unit but consensus was not reached. Since it was agreed that Lynn Taitt was part of the force behind the rhythm, Knibb supposed, “Spence could be deh deh, he and Taitt a move regular.” The first solo was by Brooks on trumpet and the second by Sterling on alto saxophone. “Jordan River” is notable for the vocalizations heard from the Dominoes. They exclaimed and decried as Hinds exhorted. In fact, Hinds revealed that it was primarily Dixon shouting it out. “Yes, a that Junior that you hear, and him pipe up at the end.”

A frenetic Ska pace drove “Satan,” the next Hinds composition recorded by the group for Reid. Perhaps that tempo was because Knibb and Brevett were anchoring the rhythm section again, with “Jah Jerry” Haynes. Drummond can be heard playing well before he begins the first solo. He also took the second, or outro solo. As in “Jordan River,” Junior Dixon can be heard emphasizing the lyrics of Hinds. “Boderation” is significant because Lynn Taitt’s presence is demonstrated. His involvement was suspected but difficult to prove on previous recordings by Hinds and the Dominoes. “Boderation” was also a sort of coming out for the Dominoes, as they engaged in a call and response with Hinds that drove the song. The first solo was taken by Baba Brooks on trumpet and the second by Taitt on guitar. Taitt was tasteful and restrained as he picked out the melody during his solo. Knibb identified “Drumbago” as the drummer.

There’s a chance that the group’s next recording for Reid, “Holy Dove,” was done at the same session as “Boderation.” It featured Taitt on guitar again and Knibb, Sterling and Hinds agreed that it utilized an electric bass, probably Lloyd Spence’s. They thought it likely that Spence was on “Botheration” also.

The introduction to “Holy Dove” bore the imprint, and the vigorous strumming, of Lynn Taitt. The first solo is by Baba Brooks on trumpet and the second, the outro, is by Taitt on guitar. The next recording for Reid, Hinds piece “Jump Outa Frying Pan, Jump Inna Fire,” may have been recorded by the same personnel, at least in the rhythm section. Taitt’s presence is evident prior to the start of Hinds’ vocal as is the electric bass of Lloyd Spence. Knibb again identified “Drumbago” as the drummer. The first solo was attributed to Bobby Gaynair by Lester Sterling and the second, outro solo, is by Baba Brooks on trumpet. Knibb and Sterling heard more than three pieces of brass on the recording. Sterling explained how it used to go on occasion. “Man, sometimes there used to be all six or seven piece horn section in the studio dem days. After Gaynair and Baba, is probably ‘Ska’ Campbell and Herman Marquis. Marquis was always playing backup, he never get fe solo.” Kingston based collector Roberto Moore begs to differ with Sterling, as he puts forth Sammy Ismay as the tenor saxophonist on “Jump Outa Frying Pan, Jump Inna Fire.”

“Mother Banner” was the next recording for Reid. Hinds’ song was a follow-up to “Carry Go Bring Come.” A call and response with the same theme. As he described it to me, “She a go to stir up a war or to stir up a fire, but no one is answering her. No one doesn’t pay no mind.” For the first time, Hinds made a contemporary reference in his lyrics. He had her, “. . . go a Club Havana.” Club Havana was a popular nightspot on Windward Road in East Kingston that billed itself as “Jamaica’s Latin Quarter.”

Baba Brooks takes the solo on trumpet and really busts some notes. He employs a wicked slur also. After another verse from Hinds, Brooks took over and rode the song out with a next trumpet solo. The musicians were thought to include Taitt, Spence, Drumbago and perhaps Campbell and Marquis rounding out the brass section led by Brooks.

Hinds and the Dominoes went topical for their next recording. A cautionary parable entitled “Come Bail Me.” “Is a real serpent I meet and the serpent catch me up and the word of the woman overthrow me and I did beat the serpent.” Asked if he actually required bail, Hinds didn’t reply, just shook his head slightly and then smiled. Baba Brooks took the first solo trumpet. Suprisingly, the consensus was that Trenton Spence took the second solo, and the outro, on tenor saxophone. Based on further analysis, collector Roberto Moore insists that its Sammy Ismay on tenor and not Spence. After listening to the drumming, Knibb remarked, “Drumbago. The man never move him cymbals!” Gladstone Anderson may have been the pianist. Lloyd Spence was on bass with Taitt leading the show on guitar. The line “Her heart is bitter than gall,” prompted a discussion between Hinds and Knibb. Knibb insisted, “You must look up chicken caan (can’t) eat with gall!”

“Love Up And Push Up” was the next recording Hinds and the Dominoes made for Duke Reid. It was recorded in the spring of 1965 at Federal Records. It was issued in England by Island as “Rub Up, Push Up,” without a writing credit or publishing affiliation. Knibb cited Drumbago as the drummer, but speculation centered on whether there was a female voice in the chorus. Hinds said he wasn’t sure whose voice it was but that other singers provided harmony along with the Dominoes on certain numbers. Joanne “Joey” Dennis was one suggestion. Knibb and Hinds concurred that it was likely someone who was at the studio to record for Reid that day. For a change of pace, Rolando Alphonso took the first solo on tenor saxophone. Baba Brooks took the second solo, the outro, on trumpet.

“The Ark” was the next recording the group made. Vocal overdubs were introduced to add percussive flavor. Several styles are employed to decent effect. Hinds sets up a call and response with the Dominoes over a steady Ska rhythm. However, Baba Brooks began his solo and literally cut off Hinds mid verse. It happened one minute into the song. Perhaps Hinds wasn’t supposed to start the next verse?  The Jamaican and UK issues appear to be the same. To the musicians credit, they didn’t stop playing due to the mistake. Reid had a reputation as a musical perfectionist. He’d spend more time than most producers in order to get a good take. For instance, many would do two or three takes and move on. Reid might have the musicians cut six or eight.  See the discography for details.

During an era marked by civil rights advances, Hinds started a song with, “Obedience is better than sacrifice, so peace perfect peace.” A later verse was, “The wind and the wave obey his voice, no matter how you try can’t win this fight.” Not exactly inspiring marchers and those engaged in boycotts. The song in question was Hinds’ composition “Peace And Love.” Musically, Baba Brooks played an interesting figure on his trumpet throughout and there’s a cowbell going on. Hinds attributed the latter to percussionist Denzil Laing. Brooks took the first solo on trumpet, with Taitt playing along and offering a little spice from his guitar strings. Someone began clapping as Hinds ended his vocal and Brooks’ trumpet took over.

“Verona” was the next song Reid released by Justin and the Dominoes. It’s a call and response that began with use of a grater or maybe a stick on a washboard. Hinds and Knibb cited it as the handiwork of percussionist Uzziah “Sticky” Thompson. I asked Hinds if “Verona” was someone special? He replied that she was “Just a girl, yunno.” Lynn Taitt took the only solo and its a perfect example of why he was in demand. His tone and playing are masterful. It certainly lifted the song from Hinds lyrics which labelled “Verona” as “a Delilah.” The rhythm section pounded out a simple beat that doesn’t swing. Knibb cited Drumbago on drums and we supposed that Lloyd Spence was accompanying Taitt.

“Turn Them Back” is another call and response exercise. The Dominoes sing the verses in unison before Hinds beseeched them, and “bad minded people” to “Turn Them Back.” The trombonist took the first solo. Knibb suggested that it had to be “Simo” and Lester Sterling concurred. Danny “Simo” Simpson was a member of the Supersonics band from August 1965. Reid had used him as a studio musician prior to that.

The group’s next release by Reid is a bit of a mystery. I’ve had a copy for several years and just learned its title. It’s listed in Federal Mastering Logs as “Long Time.” But as “unk. title” and the b side of “Joanne,” matrix FDRH 6773, in the pre-eminent discography of Jamaican music, Roots Knotty Roots, Third Edition. What’s not a mystery is that Justin Hinds cannot be heard on the song. Perhaps its the Dominoes augmented by a third vocalist? The lyrics mentioned fever, something that’s so high, something that’s so low and something that’s so on time. Musically, Lynn Taitt composed the intro and played it on guitar. Taitt took the first solo on guitar. The cowbell merely detracts.

“Joanne,” is the first ballad recorded by Hinds and the Dominoes. A bit of a dirge, it does showcase Hinds’ voice to good effect. It was a limited release on a blank label so remains little known. Accompanied by Lynn Taitt or perhaps Lynford “Hux” Brown on guitar, Hinds sang about the months, “. . . except for February alone.” But mainly, it’s “Joanne, oh Joanne why won’t you come my way, come my way, come my way?”

Hinds and the Dominoes got back on form with “Look Into That,” a steady tempo Ska number that smartly stated, “No time to delay, no time to play, you think you’re hard but you’re only hard away.” I asked Hinds about those lines and he explained, “You’re only half the way, yunno wha’ I mean?” Hinds was making hits as the parables flowed forth. “Birds have their nest, fox have their hole, son of man ain’t got no place for his home.” Once again, the sound of Lynn Taitt’s guitar is apparent before Hinds’ voice, demonstrating that he’s the likely composer of the music. The first soloist was identified as Trenton Spence on tenor saxophone. I thought that might be a stretch, so I played “Look Into That” again for Sterling on August 15, 2012 to see if he was consistent. He was not. He suggested, “It sound like Sammy Ismay or some guy that don’t record regular.” When I apprised him of his previous suggestion, he said Spence was possible too. He was still sure of Danny Simpson as the trombonist. Lloyd Knibb cited Drumbago Parkes as the drummer. This time Parkes can be heard using a crash cymbal, just once, at about 2:22. Lloyd Spence was given the bass credit by Hinds and Knibb and it was suggested that “Ska” Campbell and/or Herman Marquis were in the horn section. Gladstone Anderson was thought to be the pianist, as on most numbers. Its remarkable how little piano is discernible on Hinds and the Dominoes recordings for Reid.

“Never Too Young, Never Too Old To Learn” was the title of the next Hinds composition recorded with the Dominoes for Duke Reid. It was cut at Federal with Goodall manning the board. Knibb attributed the drumming to Drumbago and he and Hinds quickly said “Cannonball” in unison when the alto saxophonist began his solo. Karl “Cannonball” Bryan delivered that first solo and Baba Brooks took the outro solo on trumpet. Sticky Thompson was credited for the percussive effects.

When I played the next song for Hinds, his mouth opened wide and he looked at me intently. “Man, I don’t hear that song in years. I think it was only a dub plate and Duke never release it. I know he played it at his dances. I played it on his set when I was helping the operator. That’s a great, great tune.” “Lion Of Judah” was apparently a very limited release as it does have a matrix according to Roots Knotty Roots. The song was recorded in 1966, and the musical arrangement is by Tommy McCook. It’s quite a polished piece for Reid to have withheld its release. Hinds and the Dominoes sound as good as they ever did. The Dominoes are very strong with their harmonies and they blend especially well with the music. McCook appropriately took the first solo on tenor saxophone and it’s a beaut. He also took the outro solo. The Supersonics provided the backing, with Knibb on drums and Jackie Jackson on bass. A superlative piece. The next number released by Reid was “Try Me,” composed by Justin Hinds. It was one of the last numbers the group recorded at Federal Studios, as Treasure Isle Studio was under construction by the end of 1965. Unusually, Hinds wrote a secular pickup song. “Girl you are looking fine . . . Girl I want to jerk with you and let I feel what you’ve got.” First solo was taken by Baba Brooks on trumpet. Spiked by a nice Ska beat, the pacing was provided by Herman Marquis, according to Knibb and Sterling. They explained that Campbell played the honking “Ska, Ska” beat harder than Marquis.

Hinds gave me the background on how he composed his song “Me Mama Told Me.” “’Me Mama Told Me’ is a sort of cover because I based it on a blues. Like a fifties type of tune. That’s the Jiving Juniors on backups.” The Jiving Juniors were hitmakers earlier in the 1960s, and Derrick Harriott, Claude Sang, Eugene Dwyer and Maurice Wynter were among the island’s best singers.  Knibb pegged Drumbago as the drummer and Lester Sterling as the first soloist, on alto saxophone. Hinds nodded his assent and added, “Yes, it was Sterling.” Baba Brooks took the second solo on trumpet. “After A Storm” was the next recording Hinds and the Dominoes made for Duke Reid. A 1966 release, it sounded like a continuation or a second version of “Look Into That.” Lyrically, Hinds warned of “One bad sheep” and of a “a snake in the grass,” coming in the flock. The first solo suffered from the lack of experience of the trombonist, likely Danny Simpson. He’s either too far from the microphone or failed to project his instrument properly.

“Fight For Your Right,” Hinds and the Dominoes next recording, was kicked off in lively fashion with an introduction on clarinet by Karl “Cannonball” Bryan. It gave a different, countryish flavor that complemented the singing of Hinds and the Dominoes well. Bryan’s signature tone was about as close as an alto sax can come to approximating a clarinet, but this time Knibb and Sterling assured me he’d played one. Bryan took the first solo on clarinet and acquitted himself admirably. He demonstrated that a crucial instrument of Mento could be utilized well in a Ska context. Knibb, Sterling and Hinds offered up Lynn Taitt, Hux Brown and Gladdy Anderson for the rhythm section and suggested the brass department included Herman Marquis on alto sax, Tommy McCook on tenor, Baba Brooks on trumpet and Danny “Simo” Simpson on trombone. Hinds recalled that when “Fight For Your Right” was being recorded, the brand new Treasure Isle Studio was being tried out, with microphone placement and movement of the musicians around the room. “I think the first song we record at Treasure Isle was ‘Fight For Your Right’ with Karl Bryan playing clarinet. They were seeing how everything did sound in the studio at that time.” That’s borne out by the Dutchess label issue, which noted, “Recorded at Treasure Isle Recording Studio.” The next song Reid released by Hinds and the Dominoes was “The Higher The Monkey Climbs,” b-side to “Fight For Your Right.” Baba Brooks took the first solo on trumpet and Knibb again cited Drumbago as the drummer. Danny Simpson was heard as the trombonist. “Teach The Youth” was a sizable hit for Hinds and the Dominoes. It’s a well executed call and response with perhaps their best singing. The horn arrangement is tight and the band hummed along with Hinds in excellent form. Knibb called his own name as drummer, cited Jackie Jackson as bassist and said, “It might be Hux Brown on guitar ‘caw he didn’t solo when he supposed to come in.” In fact, there are no solos, but the song is redeemed by the singing.

“Why Should I Worry” was a revelation. A fine tune that was released in 2002 by Heartbeat on their Ska All Mighty CD/LP, it had been reserved for play on Reid’s sound systems and was not available to the public otherwise. Hinds listened to the song several times and then explained that one of the vocalists was Noel Drake. “It’s not Dennis. Not Dennis Sinclair. Is Noel Drake and Junior that harmonize.” Hinds sang along to several lines, such as “I’ve got far to go and I want the wide world to know. I’ve got far to go. My love.” Musically, Sterling took the first solo and the outro. He did well. Interestingly, the intro was played on a piano, likely by Gladdy Anderson. Knibb cited himself on drums and there’s either Marquis or ‘Ska’ Campbell honking out a steady cadence on tenor saxophone. Hinds recalled that, “Duke did love those lines about ‘whosoever keepeth his mouth, keepeth his tongue, keepeth his life.” In fact, two of those lines were used again in Hinds song “On A Saturday Night.” That one featured an intro by Gladstone Anderson on piano and some of the best singing to be heard by the Dominoes. They both step it up, and soulfully. Among Hinds’ lyrics, “Speak the truth, ’cause it what it will, he who hides the truth does the wrong thing still.” There’s no solo but Anderson’s piano is prominent in the mix.  “Why Should I Worry” is another very well performed song to have been reserved only for sound system play, but there’s been no evidence to the contrary since its release.

The next Hinds composition that he and the Dominoes recorded for Reid was a big hit. It featured the Dominoes at their best, engaging in call and response vocals with Hinds over a steady Rock Steady beat. Or so I thought. Hinds told David Rodigan that the voice responding to his call was that of Lloyd Charmers! “Save A Bread” was recorded by a small ensemble. Ernest Ranglin provided the introduction and took the first solo on guitar. Hinds cited Knibb, Jackie Jackson and Gladdy Anderson as the musicians who provided additional accompaniment. Hinds told Ray Hurford the following about “Save A Bread.” “I started to feel a different vibration growing up, I see a lot of guys just throwing their money down the road. Then tomorrow is sadness. You don’t know what’s going to happen next. You have to save the spirit that is in you, just like the money you spend. Even though you are doing that, the spiritual part of it, you know not the minute, nor the hour . . . you know. When he shall come, because there is a messiah, a supreme being that rule the universe. Which is the almighty that live within the heart of man.” (Justin Hinds to Ray Hurford; http://myweb.tiscali.co.uk/smallaxe/justin%20hines.htm)

“Boderation Diah” didn’t elicit much comment from Knibb or Hinds. They cited Winston Wright on organ, Gladdy Anderson on piano and Jackie Jackson and Knibb on bass and drums, respectively.  It’s often sung and played in Revival Churches throughout Jamaica and has become a popular hymn.  I wonder if its included in hymnals?

“Cock Mouth Kill Cock” was the next Hinds composition that Reid released. Musicians cited were; Hugh Malcolm on drums, Jackson on bass, likely Hux Brown and Gladdy on guitar and piano and a horn section of Herman Marquis, Danny Simpson and Bobby Gaynair.

“Fight Too Much,” written by Hinds, was next from Reid. It’s a well arranged Rock Steady, with Hinds and the Dominoes in top form. A simple horn line pushes the vocals up front in the mix. However, there’s no solo, with the band just vamping through the bars usually reserved for instrumentalists to shine.

“You Should Have Known Better” was given a flute and organ treatment by its arranger, Tommy McCook. McCook on flute and Winston Wright on organ introduce the song and spice up the music. They succeed, but its strange that the brass was omitted. Hinds sang pointed lyrics, “Hear me, why won’t you hear me?” Also, “Playing it white, you are black, that’s why you never reach the top.” When I interviewed Hinds with Knibb present in January 1996, one of the songs newly transferred from tape was titled “Time Pass By.” When Hinds heard it, he told me, “Mr. Smith (Byron) or the girl Val must have put ‘Time Pass By.’ Val did help organize and store the tapes.” [Hinds is referring to Veronica “Vern” Douglas who told me she was the tape librarian at Treasure Isle and visited Lucille Reid with Lloyd Knibb and I. Here is a photo I took of her and more; https://www.discogs.com/artist/2200762-Veronica-Douglas] Hinds insisted the proper title was “Great Sufferation.” For some reason, the song was not released by Duke Reid. The March, 1970 recording languished until it was issued by Heartbeat in 2001 on a various artists compilation. Hinds was excited to hear it again and quickly revealed his co-lead vocalist was Dorothy “Dotty” Reid, from the duo Dotty & Bonny. He suggested the musicians were Winston Wright on organ, Hugh Malcolm on drums, Jackie Jackson on bass, Gladstone Anderson on piano and Hux Brown on guitar.  On November 26, 2012, Universal Music issued what they claim was a Treasure Isle recording. They titled it “Sufferation ’69” and paired it with another likely outtake, which they titled “Warm Up.”

The next Hinds composition released by Reid was a #1 hit!  “Drink Milk” was a smash and sold well. The label copy credited Hinds “& The Waves” and I failed to ascertain the identity of “The Waves” by asking Justin.. Mainly because the 45 I have is a blank label copy, not the issue which credited “The Waves.” The lovely tenor saxophone which opened the song was played by Herman Marquis. Marquis took the solo and mesmerized behind crisp backing from the rhythm section.

Winston Wright is way up in the mix, but it worked. Country wisdom produced sayings such as “You come here to drink milk, but you no come here to count cows,” and “When you go to Rome, you just do like the Romans do.” Then there’s the way Hinds imparted such lines. The flip side of the hit song “Drink Milk” was “Travel With Love.” When I played it for Hinds he identified it as by himself and the Dominoes, with no mention of “The Waves.” Perhaps that’s just a red herring as the harmonies are not unlike those of Dixon and Sinclair. Knibb and Sterling attributed the first solo to Bobby Gaynair. They also noted Herman Marquis opened the song on alto saxophone and was joined by Gaynair on tenor saxophone. Knibb cited himself on drums, Jackie Jackson on bass, Hux Brown on guitar and Gladstone Anderson or Winston Wright on piano. We didn’t hear any organ. Vin Gordon was suggested as the trombonist. 

When Hinds saw the spelling for the next song of his that Reid released, he imparted that it was incorrect. “That’s not how I spell that song when I write it. I spelled it in patois, ‘Seh Mi Seh.’” The song has a sparse arrangement and very simple backing. In fact, Hinds and Knibb broke it down to just Malcolm on drums, Jackson on bass, Gladstone Anderson on piano and Hux Brown on the guitar. If Brown, his intro is well slick. There are lyrical similarities between “On A Saturday Night,” “Seh Mi Seh,” and “Carry Go Bring Come.” I didn’t get to grill Hinds about them.

“Take Heed” was the next song written by Hinds that Reid released. It’s a Reggae which featured the bass of Jackie Jackson up front in the mix. Another spare arrangement, similar to “Seh Mi Seh,” the song bubbled along with strong singing from Hinds and the Dominoes and gentle prodding from Winston Wright on organ.

Hinds took advantage of a parable for his next composition, “Once A Man, Twice A Child.” It’s a great song and very well played. The lead guitar was attributed to Lynn Taitt by Hinds and Knibb but I wonder if its not Ernest Ranglin? Taitt was in Jamaica for several weeks during 1972 and played sessions at Federal but it sounds more like Ranglin to these ears. “If you plant corn, you can’t reap peas,” sang the Dominoes.

Hinds recollections about the recording of “Mighty Redeemer” included a Mr. Orton, who he described as “the big engineer.” I figured out later that he was referring to Al Iton, who worked at Federal and must have been subbing for Treasure Isle engineer Byron Smith, who was trained by Graeme Goodall.

“Mighty Redeemer” was the next Hinds composition recorded by Reid, reportedly in 1973. What’s remarkable is that Hinds toasted over the track on the b side. He pulled it off but did not challenge U Roy and Big Youth. The chorus appeared to have a female voice, perhaps more than one?

Hinds really enjoyed hearing his song “Little That You Have.” He quickly recognized Herman Marquis on baritone saxophone. He also was able to supply the singers, who included the Dominoes augmented by Wilburn “Stranger” Cole, Dorothy “Dottie” Reid and Noel Drake. Hinds explained that Drake was “an alternate Domino.” He also admitted that “Little That You Have” was his second favorite song. The next song composed by Hinds and released by Reid was “Take Heed” AKA “You Don’t Know.” Backed by a small band led by Winston Wright on organ, Hinds and the Dominoes urge caution, singing “You don’t know that you want to die . . . ” The solo is by the guitarist, whom Hinds and Knibb thought must be Hux Brown.

The next composition written by Hinds and produced by Reid was a #1 hit. “Sinners Where You Gonna Hide.” Asked about the string arrangement, Hinds replied, “I think Winston Wright overdubbed the strings.” The musicians were suggested as Wright, Hux Brown, Gladstone Anderson and Robbie Shakespeare and Hugh Malcolm on bass and drums, respectively. Hinds said the song was the first #1 hit that Reid had produced in months or years when it came out in 1974. Among the sayings sampled was “Remember when you throw stones, you are living in a glass house,” and “although the road may be rocky, remember the hero’s creed, you boasting Pharisees, you’ll never conquer me.”

The flipside to “Sinners” also included a string arrangement. Hinds delivered his most militant lyrics over saccharine violins. For some reason the horns were far down in mix as Hinds declared, “If it’s fire you want, let it burn, if it’s blood you need, let it run. . . “ He later added “If it’s peace you need come and get it and if it’s love you need I and I have it,” but the point had been made. “Duke didn’t like the lyrics to my song ‘Whatever You Need.’ He didn’t like me singing about fire burn and blood run. So he changed my title and put the record out as ‘If It’s Love That You Need.’” Hinds explained who was responsible for the musical accompaniment. “Herman Marquis did the horn arrangement and Vin Gordon played trombone. It was Winston Wright who overdubbed the violin.”

The final recording made by Justin Hinds and the Dominoes for producer Duke Reid was the song “On The Last Day.” “The last tune I cut fe Duke was ‘The Last Days.’ It was the only tune cut at the studio that day. I was pissed off at Duke, as I came to town with a great tune and he come like it troubled him. He didn’t like it. I walked out of the studio pissed caw him, the old man, say him didn’t like the tune. I was driving a ’67 Cutlass, with what looked like 8 cylinders and was coming from country, the car did need gas and ting . . . But Duke is a good man. Duke did a lot of good through the sound system. He’d help people who were in debt by allowing them liquor for the dance on consignment.” (Justin Hinds interviewed by the author, June 23, 1998.)

“’The Last Days’ is my favorite tune. When I sing this tune, Duke take sick. Maybe six weeks after I sing this tune. It’s myself with the Dominoes singing. I remember when I was going over the tune with the musicians because no one could find the key at first, ‘cause it was too high, till Tyrone, Tyrone Downie. Gladdy wasn’t there at the moment so it was Tyrone. I think he played the organ and it was Snappin’ who played the piano. Tommy was there and he did the horn arrangement. Herman Marquis also played saxophone. There’s no solo, and McCook led what may have been a two piece brass section. The lyrical content comes on like a prophesy and it appeared Hinds had experienced a vision. “On the last days men shall see signs and wonders . . . robed in red, his majesty dread on this land . . .”

Its fascinating to consider that the song unsettled Reid. The previous session with Hinds gave Reid a #1 hit. Expectations would’ve been high and Hinds was very pleased with the song. Yet he indicated that Reid wasn’t fond of his previous song, “Whatever You Need,” issued as “If It’s Love That You Need.” If Reid was uncomfortable with visionary lyrics hailing Jah’s arrival during the final days, Hinds’ next song might’ve pushed him over the edge. The next time that Hinds entered a recording studio it was with producer Lawrence “Jack Ruby” Lindo. “I linked up with Jack Ruby in 1975 and Duke was pissed off at me for doing the tune “Prophecy” for Jack. That was the same year that Duke died.” (No, Reid died in 1976.) When Reid heard the song “Prophecy Must Fulfill,” it couldn’t have been good for his health. His star artist, his cornerstone, who for ten years only recorded for him, had jumped ship. Not only that, but the song might’ve been taken personally. “. . . all secrets must reveal, prophecy must fulfill, it must come to an end.”

Hinds spoke about a meeting at Treasure Isle after Reid had grown gravely ill. “Duke Reid lying on his sick bed and he take off all his rings and to Ms. Pottinger, said take care of this youth, better than I, and take his music and work it for him. Tommy was there.” (McCook later denied that he was.) “After Duke came back from England where he saw a next doctor, he explained to us that he was gonna die now. That’s when he took his rings off his fingers. He was lying down in a bed at Treasure Isle when he removed the rings and addressed Sonia. It was in a studio apartment that Duke kept at Treasure Isle. I think Tommy was there, Marquis, Lucille his wife, Vin aka Brother Vin, Sonia and oh yeah, Alton was there. Duke tell us he’s gonna leave us. ‘Even though people say I rob you, don’t let anyone climb on your back to the top, because I taught you a trade.’ Then he talked a lot about the sickness. At one point he looked me in the eyes and said ‘I believe Ms. Pottinger will take care of you Justin,’ and she was right there too. I saw Sonia Pottinger twice since Duke died. The first time I signed a release for “Wipe Your Weeping Eyes.” That was the first tune that I did for Ms. Pottinger. “Rig Ma Roe Game was done at the same session and has the same musicians.” (Justin Hinds interviewed by the author, January 13, 1996.) Hinds was plagued by lack of international distribution throughout his career. He told interviewer Ray Hurford that “Rig-Ma-Roe- Game” was not released in Jamaica. Most of his full length releases were country specific.

Hinds discussed the meeting with Duke and Sonia during an interview by British broadcaster David Rodigan. Rodigan: Shining the musical spotlight on a great Jamaican legend . . . Justin Hinds, all these wonderful songs that you gave us the Duke, who you obviously had a close working relationship with, his passing, his sad death from cancer. JH: Yes, well I really feel it yunno, because if Duke was alive then I would be on top with my music because he believed in me and I love him too. Well he took sick and I came Kingston yunno and he tell me that he’s not feeling good. And I ask him what happened to him and he said it feel like something was burning inside of him so I tell him about my doctor, Doctor Wilson, and we make an appointment with Doctor Wilson, we take him down there, checked him out. Well, he didn’t want to tell him, but he say it to me, he say he see a spot down there and gave him a letter to take to London to see if he could recover. When he ?, it was cancer. So he came back to Jamaica and tell me what happened to him and said that he was gonna go away now, and he took all his rings off his fingers, and Ms. Pottinger was there sitting down, Tommy was there too, (No, said he wasn’t.) Alton Ellis was there, Ken Boothe was there too, and he was telling me that he wanted Ms. Pottinger to take over my production and to treat me right. Yunno, ’cause he know that he’s going. So, he gave all the material to Sonia Pottinger. Since the day she took my recording, I’ve saw her once, I’ve never seen her again, but I’m still here fighting the battle of music David, because I love it and it suits me and I have a message to deliver to the nation. Just like my song “Prophesy,” because everything must reveal, in the end. (Justin Hinds interviewed by David Rodigan, October 5, 1995, Kiss 100 FM London, England.)

Hinds discussed the sessions for Pottinger. “It come about around ’76 I think. We record at Treasure Isle. B. B. Seaton and Jr. Dominoes were on backup vocals. I think I was also singing harmonies for that. ‘Wipe Your Weeping Eyes’ was first and ‘Rig Ma Roe’ next. The musicians were Sly on drums, Ansel Collins on electric piano, Jackie Jackson on bass, Hux on guitar, Winston Wright on organ and Sticky on percussion.” (Justin Hinds interviewed by the author, January 13, 1996.) Then there’s “Oh What A Feeling,” which, according to the Roots Knotty Roots discography, preceded “Weeping Eyes” and “Rig Ma Roe” as a 1976 release produced by Sonia Pottinger. It was not “Prod. by Upsetter” as the label purported. More likely it was recorded for Reid but issued by Pottinger due to Reid’s ill health. Rumors of a Treasure Isle LP by Hinds and the Dominoes remain just that. Reggaediscography.com included this listing.

1. “Unknown Album?:.1968? – The Best Of Justin Hinds & Dominoes – (Treasure Isle, Lp)”

Author and publisher Ray Hurford insists there’s a Treasure Isle Hinds LP. I just hope it’s not From Jamaica With Reggae. That LP was issued in 1975 by Sonia Pottinger. Soon after she was given access to Treasure Isle by an ailing Duke Reid. It’s quite short and there are inferior alternate takes, outtakes really, of “Drink Milk” and “Here I Stand.” Pottinger later re-issued the LP. It’s a decent set of later Treasure Isle recordings, but with only ten tracks, it’s just a slice of their work.

There are songs credited to Hinds and the Dominoes that I’ve heard about or seen listings on, but have been unable to document. One is “Nebuchannezar,” from the 1960s. Another was “Young Generation,” from the 1970s, which was released on Black Star Label.  Hans “Reggaepostman” Geboer and Whitey Norton kindly furnished scans of their copies.  When I asked Hinds about the song, he claimed that Jack Ruby had stolen the recording from him and put it out. (Justin Hinds interviewed by the author, March 16, 1999.)

There’s been much speculation on exactly how many recordings Hinds made for Reid. Heartbeat Record’s Chris Wilson wrote that Hinds and the Dominoes, “. . . who had recorded over seventy songs for producer Duke Reid . . .” (Page 11, booklet to Jack Ruby Presents the Black Foundation, Heartbeat CD 122.) Unless there’s still a trove of unreleased material, then 70 is too high. It appears the number of songs recorded for Reid is below 60. Wilson only culled 32 when he made transfers from the Treasure Isle master tapes which Sonia Pottinger removed from the studio, so his speculation is curious.

There’s a discography at the end of this article that seeks to accurately account for the output of Hinds, with and without, the Dominoes. Hinds expressed different numbers during interviews. He told me, “I guess I did about 100 odd tunes fe Duke, plus I did maybe 60 or so dubplates. I did maybe 4 or 5 tunes for Sonia Pottinger.” Asked if there were dubplate titles that he may not have recorded for release, Hinds said, “Yes, man, many. ‘Wicked Woman’ is a sound system special that I really want to record again. ‘Two Edged Sword’ is another special, but that one hasn’t been recorded yet. A lot of my music is supposed to have burned up in the fire at WIRL in ’68.” (Justin Hinds interviewed by the author June 23, 1998.)

Here’s additional comments by Hinds regarding how many songs he thought he did for Reid. “They start to rush me in the studio. So, I start to make a lot of record and people start to dig my sound. So then I get famous. I was the champion for Duke Reid sound system. We did maybe sixty or seventy songs for Duke Reid. I was the only one that puttin’ out, I would say, prophecy songs (in) those days. Some of the people think I was too deep on religion but was the culture. Was deep roots. I’m not the type dude who love to run up and down, so I stick by Duke Reid for all dem days. He was kind in some ways, and in other ways greedy. We started with him young. We didn’t know the value of our talent, you know, and we give it to him with our whole heart. We was behind him watching. We didn’t know what was happenin,’ but we is lookin’ for a turn. I can remember Alton Ellis, Desmond Dekker, The Paragons – those people. We didn’t have no protection.” (From Leroy Pierson’s annotation to Hinds’ Travel With Love LP.)

Asked how he viewed his time recording for Reid, Hinds replied, “I gave Duke my music as a young man, when there was no publishing business and Chris Blackwell stole it to put out my songs in England. I was giving my heart to people through my music and I was without an agent, without a lawyer or anybody representing me. It was just me doing it for a spiritual thing.”   Asked if he could recount what Duke Reid was paying singers, Hinds broke it right down. “I started out getting 4 pounds a side which went to 6 pounds a side, to 20 then 30 pounds a side to 40 by the time they changed the money. (Jamaica changed to decimal currency, dollars, on September 8, 1969.) Sonia owes me a lot of money and Island owes me over 3 million pounds. When I was in Italy a couple of years ago, I found out that Millie Small did over ‘Carry Go’ and it sell a million copies.” (Justin Hinds interviewed by the author, June 23, 1998.)

Hinds had strong feelings about Chris Blackwell and Island Records. I wonder whether he was aware that Duke Reid apparently sold recordings to Island Records for cash. I also wonder what Reid said to Hinds about his music being released in England. Consider these comments from Steve Barrow; “Firstly, Duke Reid sold outright many Treasure Isle recordings to Island Records in the 1960s, sold outright for £500 a time, a not inconsiderable sum in the mid-sixties. ‘Carry Go Bring Come’ was sold to Island then for £500. Tom Hayes showed me the paperwork at Island in 1991, when I was compiling ‘Tougher Than Tough,’ because I had asked to see it, after the experiences I had had with Trojan Sales Ltd before. Hayes had actually done most of the negotiations with the Jamaican producers at the time on Blackwell’s behalf. There were many Treasure Isle tunes acquired in this way by Island, including many titles issued at the time on Doctor Bird label & white Island, and bearing the legend on the label ‘Island Music.’ I remember ‘Indian Love Call’ was one, and ‘Girl, I’ve Got A Date’ as another (UK Doctor Bird) bought by Island outright, with Duke Reid’s signature (Arthur Reid) written over a UK postage stamp. Saw them with my own eyes. So Island’s position was, summarising to me by Hayes in 1991, ‘we own those Treasure Isle tunes, completely.'” (Steve Barrow to Robert Schoenfeld, rec.music.reggae, January 16, 2000.)

Part of Schoenfeld’s response to Barrow; “I do not believe that Island can really claim to own this material entirely. Duke Reid could legally have sold the recordings, but the copyright remains with the artist, unless the artist assigned those rights directly.” (robert@nghthwk.com, rec.music.reggae, January 16, 2000.)

We know that Island didn’t defend such a claim as owning, “Treasure Isle tunes, completely.”  That’s because Heartbeat Records issued “Carry Go Bring Come,” transferred from tape, in 1998 on the various artists comp Ska After Ska After Ska. If Island purchased “Carry Go Bring Come” for £500, it sure doesn’t sound like it’s from tape. Could they have been given a new 45 as their source or is it just poorly mastered? My reference is Volume 1 1959-1964 Ska’s The Limit, Island’s 40th anniversary discs from 1999.

As noted, Reid could have sold the song, but not the copyright. Hinds did not assign it to Island, that much is clear.

On the subject of contracts, Hinds was frank. “I never signed a contract with Duke Reid, Ms. Pottinger, Chris Blackwell, or Schoenfeld from Nighthawk. I signed a contract with Jack Ruby to release Jezebel.” Regarding the Jezebel LP, Hinds intimated that he thought it came about because his song “Prophecy Must Fulfill” was heard by a certain label owner. “Chris Blackwell heard the song so he asked Jack Ruby if I’m still around. So I went in and do this album they call Jezebel for the Island label. So it went on and on, and I wasn’t getting no promotion, and I was making no money either. It was like I was singing ‘cause I was born to do this thing; because I have a message to deliver to the nation.” (Page 29, Reggae Report Volume 9, #10 1991.)

After this experience with Jack Ruby and Island, Hinds was ready to cool out from the music business. “I stayed away from working the music industry for about seven years. I was still writing and singing but it wasn’t coming out.” (ibid) That period was approximately 1978 to 1984.

Asked about the musicians that he worked with over the years, Hinds was full of praise. “I give credit to the Skatalites for how they helped my music to become known. Is those men that make the music with proper arrangements and things. I give all credit to the Skatalites. They never brought me to the studio to rehearse for one day. They just say run it dung now, and then we just dweet. (do it) Byron Lee got over because man say the Skatalites a smoke too much herb. But is from that they get certain inspiration. They were serious Rastamen as I knew them, it was just that The Skatalites dreads’ were so long that you couldn’t see them. The Skatalites did have an inborn concept to do this work. We’d just go in and that’s when the band mek the arrangements as they felt it, Skatalites man . . . The melody and lyrics is there and the band just create sound around it. No singers would come in with arranged music in those days. That was done in the studio by the band. It was always just run it dung, then take once, maybe take twice.” (Justin Hinds interviewed by the author, January 13, 1996.)

Asked about his experiences with trombonist Don Drummond, Justin Hinds related this story. “I smoked a spliff with Don at Federal one time and him just take one draw, that’s it. Not a second or third, just one draw. Don always walked with a knife, and I used to say to myself, bwoy, I don’t like see Don with a knife. One time at Federal, Don went upstairs with him knife, where they make the jackets and ting, and where Mr. Khouri/Goodall was, and him take out his knife and and take out something & start to tear, whey a bullah cake me naw know . . . but me always think afterwards that Don shoulda never had that knife, never. And you know how it go . . . (Justin Hinds interviewed by the author, June 23, 1998.)

During my initial interview, in 1996 with Lloyd Knibb present, Hinds told me solemnly, “Many man say, trust me, that Lloydie a smoke the most chalice.” High praise, literally.

Hinds never loved city life. He came to Kingston to sing because that’s where the studios were, and then he got out. A negative experience he endured was related in the annotation to the LP, Travel With Love. “I was at Duke Reid studio one day with some people from Europe and a lady from New York. These people was there just to work in the studio. These people need something to drink, so I prefer to go. As I burst the corner, I walk right into a gun. It was ten person hold up the studio – five dread and five baldhead. One of the guy put a gun in my belly and they put a knife at my throat, and take away my watch. They hit the girl on her head and said, ‘Fuckin’ white woman supposed to dead.’ I said, ‘No man, I bring these people come here. You can’t do that.’ These guys hold machine gun, thief away all the people’s chains and money, and hit woman on her head with a gun, you know. T’ings like dose burn me, man. So I just curse off the whole o’ downtown Kingston that day when they rob me. I rather stay in the country, you know, ‘cause I rather not have any’ting and just be alone, more than to amongst wolf out deh. I doesn’t want them to tear me up, you know. Everyone become a hustler. I doesn’t love dose t’ings, Rasta. To be truthful, I doesn’t love the ground where a lot o’ hustlin’ go on. So then, I doesn’t love the town, Rasta. I prefer it in the country.” (From Leroy Pierson’s annotation to Hinds Travel With Love LP.)

While Justin remained a life long resident of Steer Town, Reid resided in Kingston. “Duke lived in Arnett Gardens,” Hinds recalled. Asked about Reid’s sound system, Hinds described them. “Duke had three sets. They were numbered 1, 2 and 3 and were run by certain guys. Set #1 was run by Cuttins and Sporty. Set #2 was run by Tatty and Pampidou. Set #3 was run by Biggie and some regular youth around West Kingston. For each record we’d make, they’d give you two boxes of 45’s for promotion and we’d travel around everywhere with Duke’s sound system and ting. I used to have Duke’s sound play for me in Steer Town and around other places. Music is like politics then, the power dem have. At Forresters Hall was the biggest clashes.”

Regarding Reid’s sessions, Hinds recalled that a pianist was usually in charge, and the bandleader was ever present. He also cited Reid’s minions by name. “Gladdy ran most of Duke’s auditions in the early days. Baba Brooks is a man who naw waan leave a session. He was Duke’s regular man. Also, Duke did have helpers such as Cuttings, Pompidou, Little Sporty, Big Sporty and Tatty.” (Justin Hinds interviewed by the author, January 13, 1996.)

“Yes, I remember alla those guys. For us, the musicians, Baba would collect checks and pay from Duke, and give it out to us,” Knibb added.

In what must have been due to a combination of factors, Justin and the Dominoes told a reporter that they, “. . . had only a minimal amount of stage shows,” during their prime. (Page 10, Bob West, The Jamaica Daily News, Saturday, April 16, 1983.) Those included the Blues Buster’s ‘Coming Home Shows’ at the Queens Theatre in Kingston on October 19 and at the Astor Theatre in Spanish Town on October 20, 1964. Supporting band was Carlos Malcolm and his Afro-Jamaican Rhythms and the Maytals and Pluggy and Beryl shared the bill.

The Dominoes were in the lineup of local talent assembled to warm up the audience when Jackie Wilson performed at the Carib Theatre in Kingston and at the Odeon Theatre in Mandeville. For those shows, again the supporting band was Carlos Malcolm and his Afro-Jamaican Rhythms. On September 26 and October 11, 1964, Justin and the Dominoes were backed by the Skatalites. First at the Rialto Theatre on Windward Road and then at the Tropical Theatre on Slipe Road, both in Kingston. The concerts were promoted by Tony Cobb as “Sunday Spectacular’s.”

The lack of concert engagements is curious for such a hit making act, however, Justin and the Dominoes might’ve been the biggest act that didn’t reside in Kingston. By continuing to reside in Steer Town, the group surely limited their chances for bookings, as the majority of the venues, and therefore the stage shows, were in Kingston.

Hinds and the Dominoes played four concerts in March 1969 on Musical Scorcher ’69, a series of concerts “Starring Jackie Mittoo.” There were two concerts at the Seville Theater in St. Ann on March 24th and two more at the Tropical Theatre in Kingston on the 25th. Justin and the Dominoes received top billing, alongside Slim Smith and the Uniques.

The group was held in high regard by their peers, despite their paucity of performances. Their recordings were well received and they had several chart hits to go with their #1’s, “Carry Go Bring Come,” “Save A Bread,” and “Sinners (Where You Gonna Hide).”

An article in Black Music Magazine during 1975 brought Hinds positive attention. Asked about other acts in Jamaica, Bob Marley had cited Hinds and the Dominoes. “You ‘ave another good group a Jamaica wha’ nobody no ‘ear ‘bout . . . Group name ‘Justin Hinds and the Dominoes . . . De little youth deh can sing man. Dem just stay in de country and dem voice just fine and strong man. Dem come in a studio, dem just sing dung de whole place.” (Bob Marley, Black Music Magazine, 1975.)

During 1975, Hinds made a recording for The Galleries. I think there was an affiliation with The Galleries started by Dr. Robert Page, an American who owned property in Ocho Rios. Dr. Page was responsible for creating The Ruins at the Falls. Hinds did a song written by Celia Byass, which is strange enough. That the song cited several landmarks in the Ochi area made for an interesting record. It was produced by Dr. Wedat and by its catalog number, WE- 10001, appeared to be an initial release. “In Our Town Of Ocho Rios” offered a fascinating glimpse at a different side to Hinds.

1976 through 1978 were the Island years for Hinds and the Dominoes and they were not a good period for the artists. In what might encapsulate the level of respect and attention that Island exhibited toward Hinds during these years, they misspelled his surname as Hines on the Jezebel and Just In Time LPs. Whether callous or nefarious, re-issues by Universal of Jezebel and Just In Time in 2004 and 2007 continued the misspelling.

Hinds was asked why he didn’t tour in support of the Jezebel album by Ray Hurford.

RH: Going back to the Jack Ruby album ‘Jezebel,’ that was a major album. It was a shame that you didn’t get a chance to do a tour, when it was released.

JH: Well, when it came out Chris Blackwell wanted to give me a chance. He knew I had been working a long time. He said to Jack Ruby, that Jack Ruby should put a band together for me. He said it was more of a spiritual music to that what Bob Marley or Jimmy Cliff was doing. Jack Ruby didn’t do that for me, he was feeling pissed off about Burning Spear, they walked away from him. He thought I was going to do the same thing to him. (Justin Hinds to Ray Hurford, http:myweb.tiscali.co.uk/smallaxe/justin%20hines.htm)

After the Jezebel LP, the next one for Island, Just In Time, was only released in the US.

“Natty Take Over,” a Jack Ruby production, was selected and used on the soundtrack to the film Rockers, a 1979 release.

On December 19th, 1981, Justin & The Dominoes were awarded a “Certificate of Appreciation for Pop Music Development” by the new JLP government. Signed by Edward Seaga and officially delivered by the Jamaica Cultural Development Commission, Hinds and company were recognized as “Singers.”

In early 1983, Hinds acceded to overtures from Ocho Rios based promoter Samuel “Sammy” Jeggae and returned to the stage. Justin and the Dominoes performed at Kaiser’s Cafe in Negril on a bill with the Tony DaCosta Affair that was booked by Jeggae. “Sammy (Jeggae) helped me out with some shows. There was a time when I a sat dung and Sammy said bwoy yu must do some show and him a mek me play Kaiser’s cafe in Negril and really help me to get back to performing and stage shows.”

Sammy and his wife were the proprietors of Traveller’s Rest Hotel, Restaurant, Dry Cleaners and I’m sure I’m forgetting another one or two of their businesses. Jeggae was an old friend of both Knibb and Hinds. Hinds played concerts on the rooftop veranda at the Traveller’s Rest for Jeggae, in addition to Kaiser’s Cafe. Ken Boothe and several other artists graced the stage at Jeggae’s facility. Its heyday was during the 1980s, but there were concerts into the 1990s.

In 1981, Hinds had begun working with Robert Schoenfeld and Leroy Pierson of Nighthawk Records. It was three years before any music was released however. Although the copyright is 1984, Nighthawk didn’t release the Travel With Love LP, and chrome cassette. until June, 1985. It featured eight songs and made its chart debut at #2 in the College Music Journal Reggae Route Top 20 on July 12, 1985. The August 1985 issue of Spin magazine reviewed Travel With Love. “TRAVEL WITH LOVE, Justin Hinds and the Dominoes first LP in eight years, delivers the endlessly inventive rhythms and inspirational rustic vocals so rarely found on reggae LPs these days. The Wailers’ rhythm section works the beat . . . with the guile of jazz masters. . . . a more nakedly honest singing voice was never heard.” (Spin, August, 1985)

The Wailers did play well and Nighthawk brought in the top class horn section of Tommy McCook on tenor sax, “Deadly” Headley Bennett on alto sax and Bobby Ellis on trumpet to add some brass punch.

Justin Hinds and the Dominoes performed at Reggae Sunsplash on August 14, 1985. Also during the summer of 1985, Nighthawk began touting that Hinds and the Dominoes would make their, “First North American tour: Autumn 1985.” Unfortunately, they did not tour North America during the fall of 1985, although Nighthawk contacted the firm Concerted Efforts, based in Medford, Massachusetts, to initiate bookings. Hinds explained his and the Dominoes absence from the scene, prior to 1983, by stating that he and fellow members, “stay in country and farm up the land and you find sey when booking agents come to look for us, them can’t find us because we dey in the hills.” (Page 10, The Jamaica Daily News, Saturday, April 16, 1983.)

Dennis Sinclair, “a seaman, added that ‘sometimes we get frustrated and we nah give up, but I think being in the country has given us a setback.” (ibid) Egerton “Junior” Dixon, “a sign artist, thinks his group ‘has always’ made beautiful songs but added ‘the race is not for the swift so our time will soon come.” (ibid)

But the Dominoes time had passed. The final recordings of the vocal trio were issued on the Travel With Love LP. Hinds started recording and performing without them, as a solo artist, during the late 1980s.

During 1987, Hinds had three releases on what may have been his own label, Fort. However, C. Pottinger is credited as the producer.  Interestingly, the label name is reproduced on the wall behind the stage in the Hinds family home.

The songs were “Marcus Tradition,” “Dance” and “Give A Little Love.”  I think these records signaled the demise of the Dominoes and the start of a new adventure for Hinds. It was also around this time that Hinds became affiliated with the Performers Rights Society in England. “I’ve been a member of PRS for 14 years now and all that I’ve earned from my songs is from PRS. They’re the ones that pay, I don’t know about ASCAP and BMI. Without PRS, musicians would suffer.” (Justin Hinds interviewed by the author, June 23, 1998.) Hinds began work on a self titled album with producer Michael Riley during 1988 or ’89. It was released in 1990 on Riley’s Jwyanza label. The same set was later remixed and reissued by Nighthawk in 1992 with the title Know Jah Better. Recorded in Kingston and in Ocho Rios, for the vocal harmonies Know Jah Better utilized Derrick Lara, Dean Fraser and Hinds himself, overdubbed. Hinds apparently wasn’t satisfied during his time with Nighthawk. “I didn’t get promotion because Nighthawk was a small company and the Gladiators and Itals came before me.” (Page 29, Reggae Report Volume 9, #10 1991.)

During 1990, Hinds made what I think was his acting debut. Before Reggae Hit The Town is noted on Youtube as a “Student documentary film feat. Justin Hinds.” Further, that it was made “. . . as graduation film for the London International Film School that takes a look at Afro-Jamaican musical and religious traditions and features the late Justin Hinds.” The clip viewed was 18:28 long and Hinds appeared at about 17:00 but he completely changed the academic nature and staid, though interesting, narration. A group of hand drummers were filmed playing cultural rhythms. Then the musicians appear in the audience enjoying a sound system dance in some country part of Jamaica, circa 1989. The lyrics and dancing get a bit raunchy and the camera pans back until you realize the view is from a hill overlooking the dance. Suddenly a bearded Justin Hinds appears, denouncing the dancehall runnings. “Look, you see that shit, I’m tired of it. The DJ business. I’m so pissed off about the DJ business. Just going around, run up their mouth saying all kind of bumba rassclot tings. Saying that dem is the don. That them rule this business. All them do is them have a lot of gold chain around their neck and them lead the children astray.” The camera cuts and the scene shifts to a country stream, where Hinds is walking in shallow water toward the camera as he begins to speak. “This rastaman vibration is a positive vibration. The rastaman do not work with no one out of his tradition.” Hinds then greets several locksmen seated with their drums on the river bank. As they play a rhythm, Hinds sings“Rastaman Chant.” Before Reggae Hit The Town was written and directed by Mark Gorney. It was produced by Gorney and Alejandro Springall and filmed in the Parish of St. Ann, Jamaica. Gorney kindly provided that the locksmen were future Wingless Angels “Lion,” “Neville” and “Locksley.” Also that the bass drummer is Noel “Bongo Nyah” Hamil.

While Hinds may have been acting, he shared some of the sentiments he expressed in the film during interviews. “I need to revive the music which seems to be dying out. This younger generation – they’re rap deejays and they’re not moving the music in the right direction. The spiritual vibration and message is not there anymore. This Reggae music is reality music, music with a heartbeat, a message, and it is the voice of the Rastaman.” (Page 29, Reggae Report Volume 9, #10, 1991.)

Hinds’ musical efforts at the time included teaching his children to play instruments, and rehearsing them until they were able to become a self contained unit. Most of those rehearsals took place in the Hinds family residence. The first floor of which was utilized on occasion for live performances. There were other functions held in the large space also. When I visited during the mid to late 1990s, son Maxwell’s drum kit was usually occupying the stage. The year after his movie role, 1991, Hinds spent time in the US rehearsing and performing with his new group, the Revivers. Organized by Hinds with American tenor saxophonist Johnathan Arthur, the Revivers also included Derrick Reid, “Deadly” Headley Bennett, Ceanne Arthur, Maurice Gregory, Vin Gordon, Bernard Fagan and Maxwell Hinds, son of Justin. Photos of Hinds and Arthur and of the entire band were published in Reggae Report, Volume 9, #10, 1991. On September 2, Justin Hinds and the Revivers headlined “the Ninth Annual Labor Day in the Park Celebration in Moab, Utah.” (ibid) The Revivers were not only a live act, but they recorded at least one 12” single and apparently were working on more material in the studio. “American-born Johnathan Arthur rounds out the brass threesome and is presently producing Justin Hinds’s next album, tentatively entitled One Day.” (ibid)

The Revivers line up apparently was fluid or there was more than one version of the band.

Ray Hurford: Tell me a bit more about your band The Revivers?

JH: They are myself, Jonathan, Johnny Moore, Deadly Headly, Vin Gordon, horns, Scully on percussion, Papa San have a brother who play keyboards. His name is Brian, he’s from Trenchtown. I have the four elder one’s in front of me, my son Jerome plays drums, but we call him Maxwell. He sound like Carlton Barrett, you know. I have three guys from Trenchtown. They were born around where Bob Marley grow up, they rehearse where he used to rehearse. They come forth to play with me from Trenchtown. So I have four young guys playing for me, and I have four legends. (Justin Hinds to Ray Hurford. http://myweb.tiscali.co.uk/smallaxe/justin%20hines.htm)

I think Hinds performed in Europe during the fall of 1991. Possibly in England and the Netherlands. Hinds described the musicians of the Skatalites and when he had last seen each of them. “The first time that I saw Tommy since Treasure Isle was in Amsterdam just a few years ago, ’91 maybe.” Hinds spent time in the States during 1992 working with a new act. He had linked up with Jamaican keyboardist Pablo Black and Michael Stone to start the group Chain Gang. The trio recorded a version of Sam Cooke’s “Chain Gang” for Chicago’s D. J. International Records.

They only had that one release, a version of “Chain Gang” with a several different mixes. An 8 x 10 photo of the trio was enclosed with promotional copies of the single.

Hinds performed in England during 1992, with a show at Hackney Empire. I’d like to learn about other dates he played that year. Can anyone confirm a date at New Morning in Paris?

Hinds performed in France in September 1993. 

Also in 1993, Freddie McGregor enjoyed a big hit with his remake of Hinds song “Carry Go Bring Come.” McGregor’s version featured the DJ Snagga Puss, formerly known as Dickie Ranking.

In 1994, Hinds performed in the Netherlands, Belgium, France and Germany. On July 22, he was in Amsterdam on a bill with Derrick Morgan at Melkweg. In August, he performed at Reggae Sunsplash at Jam World in Kingston, wearing his leather stove pipe hat.

When Jackie Jackson’s name came up during our interview in 1996, Hinds interjected, “I and him and Toots were together in England in 1994.” I didn’t explore that statement with him, unfortunately, but think that he must have played on a bill with Toots and his band, which included Jackson and Knibb acolyte Paul Douglas on drums, in England that year. During the mid 1990s, Hinds performed at the Coyaba Hotel in Montego Bay, backed by the house band, The Coyabalites. They featured a solid horn section with Vin Gordon on trombone, Glen DaCosta on tenor saxophone and David Madden on trumpet. Shanachie Entertainment released a CD by the group in 1997 which featured Hinds performing “Carry Go Bring Come.”

After a few visits to Steer Town, I learned of some other folks who resided there. A former girlfriend of Lloyd Knibb, Yvonne Pratt, was one. I learned how Hinds loaned chairs to her family for the funeral of Yvonne’s aunt in December 1998. Then I learned that Knibb’s son Mark was living in Steer Town. Mark Anthony Knibb is a singer, drummer and drum maker. Hinds later informed Lloyd and I that Mark had fixed his congo drums. That was in March 1999. One of the liveliest places in Steer Town was the nightspot that Justin Hinds ran on one floor of his large house. He lived with his family on the upper floor. The nightspot was active from the late 1960s into the 1970s and then was sporadically in use afterwards. There was a stage and it was replete with instruments. On my visits, Hinds would give his in-house band, composed of his sons, a work out. In 1996, The Wingless Angels first recordings were released. The members were Justin Hinds, Winston Thomas, Bongo Locksie, Bongo Neville, Bongo Jack, Warren Williamson and Sister Maureen, all hailing from Steer Town. A second volume emerged in 1997. The Angels were a Rastafarian drumming collective which Hinds captained. They caught the attention of Rolling Stones guitarist Keith Richards, a sometime resident of Ocho Rios, who is responsible for the Wingless Angels productions.

Hinds toured Europe, solo, backed by the Windward Road band, during Spring 1998. There were two editions of that band, both led by “Dizzy” Johnny Moore. The first backed Hinds and boasted Rico Rodriguez, Errol “Flabba” Holt, Steve Golding, and Michael “Bammie” Rose among the nine pieces.

Concerts included a March 27th date in St. Germain en Laye, France, and the April 1st date in Paris, pictured above.  Ernest Ranglin was also with Windward Road band for a tour.

Hinds toured the US during June 1998. The horn section was Jonathan Arthur on tenor saxophone, Vin Gordon on trombone and “Deadly” Headly Bennet on alto saxophone. Justin and band performed at the The Art Theater, Binghamton NY and the House of Blues in Cambridge, Massachusetts on June 22 and 23, 1998. Hinds granted me permission to record the latter show. Ras Charles Jones recorded the performance at the Art Theater.

Binghampton NY

Hinds and band played Red Rocks Festival in Morrison, Colorado on August 22 or 23 1998. A live recording was issued which featured three Hinds compositions. Hinds toured the US with most of the same musicians during March 1999. Notable for his absence was tenor saxophonist Jonathan Arthur.

Hinds and band played Clark University in Worcester on March 16, 1999. The group was comprised of Maxwell Hinds on drums, Carlton Hinds on percussion, with Vin Gordon on trombone and “Deadly Headley” Bennett on alto sax.

On July 31, 1999 Hinds was interviewed by Ken Bilby.  Bilby chose two quotes, which he suggested typify Hinds’ “rootedness in his own tradition and his open and loving spirit.”

“My music is the gospel of the Rastaman’s music. That means is a spiritual part of it. You’ll feel that uplifting from my music, because the music is a project of righteousness to the nation. Because I’m seeing the music as a spiritual force. Like, I will tell the youth dem of the stone that the builder refuse, [how it] become the head corner stone. And, when you live in a glass house, you must remember not to throw stones. And the higher the monkey climbs [is the more him expose]. And you must do all the good to all the people you can, and try to be a straightforward man, because whatsoever you sow you is gonna reap. If you plant corn, you can’t reap peas. I will show them within the tradition, you know?”

“My concept within the Rastaman movements is that my music belongs to all race. My belief is that Jah, the Father of the universe, he was One, and speak the Word. So therefore, if one man speak such word, and became so much people in the world, that means we all are brothers and sisters of the universe. That means that black man blood into me, white man blood into my body, Indian blood into me, Syrian man blood.”

Hinds performed in the US during 2000 also. Dr. Bassie’s band opened for Hinds on June 30 that year at Skipper’s Smokehouse in Tampa, Florida. Note that the doctor has a practice on the Pama Forum.

In July 2002, Hinds was in Toronto, Canada to perform in two concerts. He was part of the Legends of Ska shows held at the Palais Royale Ballroom on Lake Ontario on July 12 and 13. Those shows were filmed and are being readied for release.

On July 19, 2002, Hinds played a set backed by the US Reggae band John Brown’s Body. It was during the GrassRoot Festival of Music and Dance held in Trumansburg, NY USA. The music was later released as Live At The Grassroots.

Hinds next project was the Jamaica All Stars. They were a French based band fronted by Hinds, Skatalites trumpeter Johnny “Dizzy” Moore, drummer Winston “Sparrow” Martin and master percussionist and pioneer recording artist Noel “Skully” Simms. The group was organized and managed by Pierre Marc Simonin. They’ve since re-started with a different lineup and are touring again. I worked briefly on promotions and bookings. My information in the image below is not current. To supply info, ask questions, offer corrections, deliver commendations or level criticisms, please email bkeyo@tallawah.com

Hinds performed on the February 2002 concert that comprised the Jamaica All Star’s first CD, Back To Zion. He covered a few of his classics for their 2004 studio album Right Tracks and the live recording Special Meetings, released in 2005.  In 2004, there was also a limited re-issue of the Island album Just In Time on CD.  It must be noted that the cover art on Right Tracks belonged to Justin, literally. It’s a photo of his hands, uncredited.

Hinds toured France extensively with the All Stars and did one off’s in Morocco and in July 2004, at the Fuji Rock Festival in Japan. Asked about the transition from working in a trio to becoming a solo artist, Hinds grew philosophical. “The game of Dominoes has 28 members that play the game. Each man have seven pieces. That’s why my sons are there now, the originals walk away, they couldn’t take the robbery. Dennis lose his life and Jr. Dominoes just cool.”

Hinds also stated that, “Musicians want nothing to do with politics. The Bible says the singers and players shall be there and that means we don’t come to make war.”

“Me is a man like Jobe, and I still ago reach Nineveh.”

Hinds died of cancer on March 16, 2005 and was interred in his beloved Steer Town.

***********************************************************************************************************************************************************************************************************************

Justin Hinds interviewed by David Rodigan on October 5, 1995 on KISS 100 radio of London.

 

Transcribed by B. Keyo.

Rodigan: Is there a pattern for you as you craft your songs? You have a marvelous gift for melody. Which comes first, the melody or the lyric? Everytime?

JH: The melody, yes always. I play guitar.

Rodigan: You play guitar. Self taught I presume? You were just born for all this.

JH: Yes, I think so.

Rodigan: How did you team up with the Dominoes, ’cause you have this call and response with them?

JH: Okay, we grew up together.

Rodigan: You grew up in the same one village, in Steer Town?

JH: Yes, and we grew up together. Rodigan: So it was just natural that you would progress and sing?

JH: Yes, definitely so. Rodigan: Who is it? Which one of them responds to you on “Save A Bread?”

JH: I didn’t hear what was said. [Rodigan repeated the question]

JH: Okay, that was Lloyd Charmers.

Rodigan: Yeh? Charmers is in it too? ‘Nuff respect to Lloyd Charmers, if he’s listening. He probably is, he lives over here now. “The greatest thing is to know, what you don’t know you don’t know, One thing we all know is that in the time of prosperity, friends are plenty, in the time of misfortune, not one out of twenty, yet you stood predominant, all alone in that lonely room looking for someone to call your own, did you ever find her, you obviously were very much in love with her?

JH: Well, to be truthful, it wasn’t really any lovers, I would say emotion. I just look around and I had a lot of friends that when you had something to offer them you would see them and when you didn’t have something to offer them you wouldn’t see them. So I said I gonna make a song about that. “In times of prosperity, friends are plenty, in times of misfortune, not one out of twenty”.

Rodigan: Indeed you did and it’s one of my favorite songs, here it is.. “Here I Stand”

(THE SONG IS PLAYED)

Rodigan: You went to Duke Reid, how did it go?

JH: Okay, I leave as a country boy and I went to Kingston.

Rodigan: Country boy come to town. That must’ve been a bit of an experience in itself.

JH: Yes I tell you something . . . when I went to Kingston I go to Duke Reid on Bond Street and I saw many guys there, so they make a line, them line up, you have to line up. So Duke would say to you, you, and he would walk up and listen to you, and if you don’t sound good him say okay you know what you should do, you should go down there and learn a trade, you should learn mechanic. He said next, you should go into farming, next, yunno… So my turn.

Rodigan: Were you nervous?

JH: Well I was a little bit, yunno. When he came to me he said you sing? I said no, I’m not singing here.

Rodigan: You said no?

JH: Yes, I said no. So, I walked away and I went to Back A Wall, what they call Tivoli Garden today, and I was there with some Rastamen who was chanting the niyabinghi and I started to sing. A guy named Timmerman? came by and listened to me and he went back to Duke Reid and said to Duke Reid, you see that guy out there, the slim guy from the country? I listened to him at Back A Wall and he sound good man, he’s very great. Duke said okay go run fe him. I came back and Duke say you’re not gonna sing for me now? I said no. He said what’s the name of your song, I said “Carry Go Bring Come Bring Misery” and he said alright go upstairs.

JH: Well I went upstairs and this guy came by, Gladston on keyboards, and we worked out, Don Drummond was there and Lester Sterling, Brevett and Tommy McCook, all the legends were there. They listened to me and we rehearse and they said ‘okay son we’ll go down to Federal tomorrow.’ My first time at a recording studio. That’s when I saw Baba Brooks and he said first we’ll do the introduction and after that I should come in. My first shot was number one for eight weeks.

Rodigan: This young nervous boy from Steertown, or not so nervous, but you must have been in slightly in awe of those great musical legends that you were standing in front of, these famous musicians?

JH: Yes, of course.

Rodigan: Okay last night you told me a little story off the air about when you first went back to Duke Reid after that. Because we’re about to play the song that relates to that.

JH: Oh yes, so when I went back to Duke Reid I was gonna give him a big hit called “Corner Stone” and I said that the stone that he refused would become his “Corner Stone.”

Rodigan: And you did. “Corner Stone” “You once refused this man, you did not think of my plan But now that I am around you might use it ??????”

Rodigan: “Corner Stone” by my very special guest this evening, Justin Hinds with the Dominoes. Did they always come to town with you Justin? No, I mean when you were doing the recordings? I mean would they always accompany you to the studio? You were the eternal trio, the three musketeers, together forever?

JH: The Dominoes? No, was just I alone in town. Oh, yes. Yes, yes.

Rodigan: “Corner Stone” from the, ah the, Daspak(Can anyone help with this?) album. Amazing design on the front, Duke Reid, mutters? “Do all the good to all the people you can, try and be a straightforward man, if you plant corn you can’t reap peas, once a man, twice a child. Your songs are steeped in Jamaican folklore and tradition, great use of parables, whatsoever you sow you should reap. Strong Christian background for you?

JH: Yes, because I’m coming from a, like I’m coming from a spiritual background. My father is a spiritual man and my mother is a Christian too, so I know that things you do is gonna live with you like what you do when you’re young, your gonna reap back when your old, yunno, it’s like the song, once a man, twice a child. “Once A Man.”

Rodigan: Wonderful harmonies. Did you use to rehearse a lot Justin?

JH: Yes, ah . . . we don’t do anything but rehearse every day. We just keep on working on the music.

Rodigan: Do you think that kind of discipline still exists in the music that’s recorded in Jamaica?

JH: No, the music changes. Right now the music has lost its spirituality, it’s not moving in the right direction anymore. Because this dancehall thing has taken over now, and its pure slackness. Everywhere you walk on the street people complain about it and even the government complain about it. That’s why I’ve started a new band. It’s called the Revivers, to revive the music.

Rodigan: Why do you think the slackness has become so popular in Jamaica?

JH: Because of all the producers and promoters. They’re the ones that are doing it .

Rodigan: By allowing it to be released in the first place.

JH: Yes.

Rodigan: Appealing to the lowest common denominator?

JH: Even the kids in the street. ????? International stars, everyone is going to the DJ’s. It’s all going to the DJ’s. It’s hard to say but it’s talk, all the words are talk.

Rodigan: Well you can certainly sing . . . You come here to drink milk, but you don’t come here to count cows.

JH: Yes, when you go to Rome you do as the Romans do.

Rodigan: Justin Hinds on KISS.

(“Drink Milk” and “Sinners Where You Gonna Hide” are played.)

Rodigan:Well I can tell you it was at #1 for weeks in this country, on the UK Reggae charts. How long was it at #1 in Jamaica for you, “Sinners”?

JH: About five weeks.

Rodigan: You really were one of his most successful singers weren’t you Duke Reid. Did you have a good working relationship with the Duke, as he slung his gun around, the ex-policeman of course, which entitled him to carry the old holster, didn’t it? A bit of a card, what was he really like?

JH: Well, he’s a man, he’s a nice guy, Duke Reid, but when it comes to music he’s serious about it. ‘Cause I remember one day we was in the studio sitting down and we decided to have a session with the Skatalites. Duke Reid came there and said to Tommy, “I don’t want you guys to hide the music from me yunno, and give everything to Downbeat, and Tommy laughed. Duke said I’m serious man, I need to have some of the good music I don’t want you to hide it from me yunno, and the man take out his gun, put it in the roof and boom, boom, boom. That’s the way he performed, yunno, get everyone scared. You have to give him the right song because if his gun’s on his side…

Rodigan: He was very fussy, Nothing but the right sound. You hear all sorts of stories about how fastidious he was, in getting it right. He wouldn’t accept anything inferior. Well here’s another one of your big hits for the Duke…here it comes . . . “If It’s Love”

(SONG IS PLAYED)

Rodigan: Shining the musical spotlight on a great Jamaican legend . . . Justin Hinds, all these wonderful songs that you gave us, the Duke, who you obviously had a close working relationship with, his passing, his sad death from cancer.

JH: Yes, well I really feel it yunno, because if Duke was alive then I would be on top with my music because he believed in me and I love him too. Well he took sick and I came Kingston yunno and he tell me that he’s not feeling good. And I ask him what happened to him and he said it feel like something was burning inside of him so I tell him about my doctor, Doctor Wilson, and we make an appointment with Doctor Wilson, we take him down there, checked him out. Well he didn’t want to tell him, but he say it to me, he say he see a spot down there and gave him a letter to take to London to see if he could recover. When he ?, it was cancer. So he came back to Jamaica and tell me what happened to him and said that he was gonna go away now, and he took all his rings off his fingers, and Ms. Pottinger was there sitting down, Tommy was there too, {NO} Alton Ellis was there, Ken Boothe was there too, and he was telling me that he wanted Ms. Pottinger to take over my production and to treat me right. Yunno, ’cause he know that he’s going. So, he gave all the material to Sonia Pottinger. Since the day she took my recording, I’ve saw her once, I’ve never seen her again, but I’m still here fighting the battle of music David, because I love it and it suits me and I have a message to deliver to the nation. Just like my song “Prophesy”, because everything must reveal, in the end.

(“Prophesy” and “Boderation Diah” are played.)

JH: (singing along with tune) . . . “too much confusion in the city, too much botheration on the land, the people dem a bawl, botheration diah, tomorrow when we gone . . .”

Rodigan: We had to witness it live, I’m sorry, I had to hear that voice, just as it was, and its still there. Justin Hinds is back in town, I say back in town, I should say he’s never been in town. It’s taken all those years to get him here, but good things come to those who wait, Justin Hinds and the Dominoes, and “Botheration”. Too much confusion in the city, not so much confusion in Steer Town near Ocho Rios. You were born there, you still live there, the quality of life must be..

JH: Yes, the river, the Roaring river and the Dunns River Falls keep me young.

Rodigan: Well, you certainly, the years have been kind to you.. This man hasn’t slept . . . When did you leave Jamaica?

JH: Yes, yesterday morning, I woke up at 5 a. m. to go to the airport . . .

Rodigan: Now this song, “The Rainbow,” my heart pounded when this came around, this is the project with Nighthawk. They came and found you in Steer Town did they?

JH: Yes, well ahm . . .

Rodigan: ‘Cause you, we must point here that you did back off from recording, didn’t you. After Duke passed on, you did a bit for Ms Pottinger and then what happened, you just came out?

JH: Well, I walk away from the music for a while.

Rodigan: Why?

JH: I wasn’t making any money. I get a lot of ripped off in the business, and I couldn’t take it no more.

Rodigan: Plenty of praise and no raise?

JH: Yes, and ahm like, the rastaman take over the music, and I know I’m a rastaman, but because I didn’t have my hair on in those days. Because the way I see the rastaman business is not just hair that you grow on your head make you to be a rastaman.

Rodigan: True.

JH: Any man can grow his hair. You know if you’re blind, and you can’t see your hair grow, and if you dumb, you can’t talk, your hair still gonna grow. So, but the heart remain the same, so whether you have hair on your head growing or not or your a baldhead, as long as your clean inside yourself, the spirit in you is pure and honest to your brother and sister, you’re a Rastaman. Don’t matter what race, color or creed you may be, as long as your an honest person and you believe in Jah, the Almighty, you’re one of the chooseth.

Rodigan: You decided to come back. Nighthawk found you, the company in St. Louis.

JH: Yes, they came to St. Ann’s and looked me up, ’cause they think I’m great in the field of music.

Rodigan: So do we and so do thousands of people listening. Justin Hinds, “The Rainbow.”

(“The Rainbow is played.)

Rodigan: “The Rainbow,” Justin Hinds, what a beautiful song.

JH: Yes, I love it too. ‘Cause where I’m living, actually every day when the rain fall, I can almost see a rainbow. Yunno, it present to me always, “The Rainbow.”

Rodigan: Beautiful part of the world up there, on the North Coast.

JH: Yes, its quite nice, its like I’m from the garden parish, yunno.

Rodigan: The garden parish of St. Ann, no wonder its taken thirty years to get you to leave and come here.

JH: I tell you something, I wanted was to come here so badly man.

Rodigan: Have you been busy working on new songs, new material?

JH: Never stop working, never stop, and I have two albums ready for release.

Rodigan: Two albums!

JH: Yes, I have Sweet Africa and I have Dance.

Rodigan: So when did you record these albums?

JH: Well, ah, I recorded the first in, like, ’91. One in ’90 and one in ’91.

Rodigan: Which studios do you use these days?

JH: I use the Grove Recording Studio.

Rodigan: How do you find that up there? You can go home for tea?

JH: To be truthful, most of the people come from Kingston for one reason, its not crowded, its private. You can meditate there and its wonderful. Everything is there, its private. Everything is there.

Rodigan: So you’re still creating?

JH: Yes.

Rodigan: So any release dates for those two albums?

JH: No, I don’t have a special date set for it.

Rodigan: So will you be releasing them yourself?

JH: My cousin Floyd Lloyd, he gonna do all those things for me here in London.

Rodigan: Good, good.

—END OF INTERVIEW WITH RODIGAN—

*****************************************************************************************************************************************************************************************************************************************

Following titles provided by Hearbeat Record’s Chris Wilson after he transferred tracks from master tapes in possession of Sonia Pottinger.

1. Mighty Redeemer
2. Time Passed By
3. Lion of Judah
4. Carry Go Bring Come
5. Say Me Say
6. Take Heed
7. Sow And Reap
8. Teach The Youth
9. Drink Milk (w/alt takes)
10. Whatever You Need
11. Hear I Stand
12. Once A Man
13. You Don’t Know (w/alt takes)
14. On The Last Day
15. Sinners
16. Drink Milk (diff)
17. Little You Have Shall
18. Hey Mama
19. Oh What A Feeling
20. Try Me
21. Who Have Eyes To See (6 takes)
22. If It’s Love You Need

23. Good Good Rudie (8 takes)

24. Botheration

25. Why Should I Worry

26. Everywhere I Go AKA Travel With Love

27. Hear Me

28. Cornerstone

29. Over The River

30. Mother Banner

31. You Should Have Known Better

32. Save A Bread

Background vocals are from The Ethiopians, among others.

*************************************************************************************************************************************************************************************************************************Justin

Justin Hinds & The Dominoes Discography; 7” 45’s, LPs & CD’s

 

7” 45’s

1) Carry Go Bring Come/Blank 7″ FDR 4015 (Recorded March 9, 1964)/Treasure Isle 7” 2476-1A (1964)/Island 7″ WI-154-A (1964) UK. Side B is “Hill & Gully Rider”/Treasure Isle Pre 7″ FEDERAL FDR 4054 (1964)/Treasure Isle 7” 2476-2A (1964)/Island 7″ WI-154-B (1964) UK. [credited to L. Reid’s Group on UK issue] (Justin stated that it’s Duke, himself and Dotty.)

2) Corner Stone/Treasure Isle 7″ FDR 4043 (1964) [There’s an FDR 2000 series matrix for this also.]

3) Over The River/Treasure Isle 7″ FDR 5005 (1964) (Also an alternate take on acetate.)

4) King Samuel/Treasure Isle 7″ FDR 6014 (1964)/Ska Beat 7” JB 176 EJ 1602A (1964) UK. Lyrics derived from the Revivalists song Little Samuel. “Little Samuel oh, Speak, Lord thy servant heareth.” (Page 151, Rock It Come Over by Olive Lewin.) (UK writing credit to “D. Reid”) (UK issue “Drumbago & Baba Brooks.”)

5) Jordan River/Treasure Isle 7″ FDR 6017 (1964)/Ska Beat 7” JB 176B EJ1602B (1964) UK. (UK writing credit to “D. Reid”) (JA issue “Baba Brooks Band w/Drumbago.”) (UK issue “Drumbago & Baba Brooks.”)

6)Satan/Treasure Isle 7″ FDR 6224-71 RK (Mastered October 30, 1964 at Federal.)/Island 7″ WI-171-B (1965) UK

7)Bother Ration/Treasure Isle 7″ FDR 6227-71 RK (Mastered October 30, 1964 at Federal.)/Island 7″ WI-171-A (1965) UK.

8)Holy Dove/Treasure Isle 7″ FDR 6413 (Mastered December 1, 1964 at Federal.)/Island 7″ WI-174B (1965) UK. {Island issue titled “Early One Morning”} Baba Brooks Band.

9)Jump Out Of Frying Pan/Treasure Isle 7″ FDR 6415 (Mastered December 1, 1964 at Federal.)/Island 7″ WI-174A (1965) UK. {UK title is “Jump Out Of The Frying Pan”} Baba Brooks Band.

10)Mother Banner/Treasure Isle 7″ FDR 6418 (Mastered December 4, 1964 at Federal.)/R & B 7” JB 187B EJ 1713B (1965) UK. Baba Brooks Band.

11)Come Bail Me/Treasure Isle 7″ FDR 6491 (1965)/Island 7″ WI-192-B (1965) UK (“Stampede” by the Baba Brooks Band on B side.) Baba Brooks Band.

12)Love Up Push Up/Treasure Isle 7″ FDR 6492 (1965)/Island 7″ WI-194-A 1H (1965) UK [The Ark is B side of JA and UK issues] Baba Brooks Band.

13)The Ark/Treasure Isle 7″ FDR 6493 (1965)/Island 7″ WI-194-B 1H (1965) UK Baba Brooks Band.

14)Peace and Love/Treasure Isle 7″ FDR 6547 (1965)/Island 7″ WI-236-A (1965) UK.

15)Verona/Treasure Isle 7″ FDR 6621 (1965) Baba Brooks Band.

16)Turn Them Back/Treasure Isle 7″ FDR 6746 (1965)/Island 7″ WI-232-B (1965) UK.

17)Long Time/Blank 7” FDRH 6773 – (Mastered August 23, 1965 at Federal.)

18)Joanne/Blank 7” FDRH 6774 – (Mastered August 23, 1965 at Federal.)

19)Look Into That/Treasure Isle 7″ FDR 6807 (1965) [Baba Brooks, Arkland “Drumbago” Parkes & Lynn Taitt]

20)Never Too Young, Never Too Old To Learn/Blank 7″ FDR 6861 (1965)/Island 7” WI 244-B (1965) UK.

21)Lion Of Judah/Blank WIRL DR 1409-1 (1966). Issued by Heartbeat in 2001 on Knockout Ska CD/LP, HB 230.

22)Try Me/Treasure Isle 7″ WIRL DR 1219-2 (1966) (Baba Brooks Band.)

23)Me Mama Told Me/Treasure Isle 7″ DR 1220-2 (1966) (Baba Brooks Band.)

24)After A Storm/Treasure Isle 7″ WIRL-DR 1249-1 (1966) (B side “So Long” by Baba Brooks & Lester Sterling.)

25)Fight For Your Right/Dutchess 7″ WIRL DR 1542-1 (1965) (w/Baba Brooks Band. “Recorded at Treasure Isle Recording Studio.”)/Doctor Bird 7” DB-1048-B (1966) UK

26)The Higher The Monkey Climbs/Dutchess 7″ WIRL DR 1545 (1965) w/Baba Brooks Band./Doctor Bird 7” DB-1048-A (1966) UK.

27)Teach The Youth/Treasure Isle 7″ DR 1651-1 (1966)

28)Why Should I Worry/Recorded in 1966. Issued by Heartbeat on Ska All Mighty, HB 7617, a various artists compilation released in 2002.

29)No Rudie Good/Dutchess 7″ DR 1689-3 (1967) [No Good Rudy/Dutchess 7″ DR 1689-6 (1967) is sixth take of same song./Treasure Isle 7” TI 7002 (1966) UK.]

30)Here I Stand/Blank 7″ DR 1705-1 (1966) (Adapted from US artist Wade Flemons original on VeeJay 7”.)/Treasure Isle 7” 7002 (1966) UK.

31)On A Saturday Night/Treasure Isle 7″ WIRL DR 1848 (1966)/Treasure Isle TI 7014-B (1967) UK/Island 7″ WI-3048-B (1967) UK.

32)Save A Bread/Treasure Isle 7″ WIRL DR 1849-2 (1966)/Treasure Isle IT 7014-A (1967) UK/Island 7″ WI-3048-A (1967) UK.

33)Boderation Diah/Duke Reid Greatest Hits 7″ DYNA 3932-1 TIS 34 (1967)/Treasure Isle 7” TI 7063-A (1971) UK.

34)Cock Mouth Kill Cock AKA Hey Mama/Duke Reid Greatest Hits 7″ Dutchess 001A-1 (1967)/Duke Reid Greatest Hits 7” DC 00181 (1972)

35)Carry Go Bring Come/Treasure Isle 7” TIS 116 (1967)/Sure Shot 7” Dyna 2476 (1971) [Rock Steady, Version 2]

36)Fight Too Much/Treasure Isle 7″ TIS 119 (1967)/Trojan 7″ TIS 119 (1967)/Sure Shot 7” TIS 119 (1967)/Treasure Isle 7” TI 7005 (1967) UK.

37)You Should Have Known Better/Treasure Isle 7″ TIS 221 (1969)/Trojan 7” TR 652-A [TMX 12?] UK.

38)Time Pass By/Recorded during “. . . early March 1970.” Take 2 issued by Heartbeat on By Special Request, HB 229, a various artists compilation released in 2001. Justin without the Dominoes.

39)Drink Milk/Treasure Isle 7″ TIS-260 (1970) JH& The Waves/Duke 7” DU-067-A (1970) UK.

40)Travel With Love(Everywhere I Go)/Treasure Isle 7″ TIS-261 (1970) JH & The Waves/Duke 7” DU-067-B (1970) UK.

41)Say Me Say (I Want It)/Treasure Isle 7″ TIS 287 (1970)/Duke Reid 7” DR 2511-A (1970) UK.

42)Take Heed(Greatest Thing Is To Know)/Dutchess 7″ TIS 290 (1970)/Duke Reid 7” DR 2511-B (1970) UK.

43)Once A Man, Twice A Child/Treasure Isle 7” TIS 140 (1967)/Treasure Isle TIS 440 (1972)/Treasure Isle 7” TI 7017-A (1967) UK.

44)Mighty Redeemer/Duke Reid Greatest Hits 7” D.S.R. 5373-1 TIS 081 (1973)/Treasure Isle 7” TI 7068-A (1971) UK.

45)Redeemer Part 2/Duke Reid Greatest Hits 7” D.S.R. 5372-1 TIS 080 (1973)/Treasure Isle 7” TI 7068-B (1971) UK. (Justin toasting!)

46)Little That You Have/Duke Reid Greatest Hits? 7″? ? (1973?)

47)You Don’t Know/Duke Reid Greatest Hits? 7”? ? (1973?)

48)Sinners Where You Gonna Hide/Dutchess 7” DR 2000 A-1 (1974) & TI All Stars/Pama 7” PM 4001-A (1975) UK.

49)If It’s Love That You Need/Dutchess 7” DR 2000 B-1 (1974) & TI All Stars/Pama 7” PM 4001-B (1975) UK.

50)On The Last Day/Duke Reid Greatest Hits 7”? ? (1974) (Hinds claimed it was the last tune he cut for Duke Reid.)

51) Carry Go Bring Come/Fox 7” JRLL 2590 RRS (1975) [“& The Pioneers”]/Island 7” WIP 6261-A (1976)

52)Jezebel/Fox 7” JRLL 2591 RRS (1975)/Island 7” WIP 6261-B (1976)

53)Prophecy Must Fulfill/Fox 7” JR 2598 RRS (1975)/Mango 7” MAN 1004 (1975) UK.

54)Young Generation/Black Star Label 7” DSR 1844 (1975)

55)In Our Town Of Ochi Rios/The Galleries 7″ JH-7910-A (1975)

56)Fire Is A Desire/Wolf 7″ JR 3037 RRS (1976)/Island 7” WIP 6327-A (1976)

57)Tell Me Not Of Other Lands/Issued by Heartbeat on Jack Ruby Presents The Black Foundation, 2000.

58)Dip And Fall Back/Wolf 7″ JR 8097-A (1976)

59)Natty Take Over/Island 7” WIPX 1585 (1976)/Island 7” WIP 6327-B (1976) UK. (Co-written by Michael Roper.)

60)Oh What A Feeling/High Note 7″ Tip Top 103-A/FSP-103A (1976)

61)Rig Ma Roe Game/High Note 7″ SP 0086 A (1977)/Sky Note 7” SKY 1006 (1977) UK.

62)Wipe Your Weeping Eyes/High Note 7″ DSR 5213 A (1978)/Sky Note 7” SKY 1027 (1978) UK.

63)Marcus Tradition/Fort 7” DSR 7370-A (1987) “Produced by C. Pottinger”

64)Dance/Fort 7” DSR 8982 (1987) “Produced by C. Pottinger”

65)Give A Little Love/Fort 7” RMM 617-A (1987) “Produced by C. Pottinger”

66)Picking Up Chips In The Morning/Wonder 7” ? (1989)

67)Sufferation 1969/Warm Up – Duke Records 7″ THB7023  (2012) [Limited to 500 and numbered.]

12″ 45’s

Sitting In The Jungle/Jay Dee 12” JD 018-A (1986)

I Follow The Rainbow/Jay Dee 12” JD 018-B (1986)

Burnin’/Emerald Isle 12” AR 15540-A (1989) US (Writing credit to J. Arthur. Recording credit to Jonathan Arthur/Justin Hines (sic) & The Revivers. Published by Emerald Isle Records of Ft. Lauderdale, FL USA.)

Lion & Mouse/There’s A Garden/I Really Love You by Justin and Johnathan Arthur/One Aim 12″

LP’s

From Jamaica With Reggae/High Note Issued by Disc Pressers, produced by Sonia Pottinger, (1975)./ RSL-SP-3175-A, RSL-SP-JHD-3175-B (1976) Jamaica;Carry Go Bring Come-What Ever You Need-Here I Stand-Do All The Good-You Don’t Know-On The Last Day/Sinners-Drink Milk-The Little You Have-Hey Mama-Oh What A Feeling-Teach The Youth. (Alternate, inferior versions of “Here I Stand” and “Drink Milk.” Abridged outtakes.) (Later re-issued by Sonia Pottinger on Golden Oldies Treasure Isle LP, DSK-3540/DSK 120132, (1984, 1995-97), latter reissue was after she was supplied with a digital transfer of by Aad “Dr. Buster Dynamite” Van Der Hoek. “Digital transfer done at S-L-H Studio Holland. Engineer: Adrian Brakus. Special Thanks to Dr. Buster Dynamite.”

Asked how he assisted, Dr. Buster Dynamite replied, “Yes that Justin Hinds LP is a funny one! I had met Mrs.Pottinger (who actually lived at Circle Close, the same house were Byron Lee and his wife Sheila Khouri once lived, and started pressing records!) It was a nice meeting with Mrs. P., and there were intentions to work on her husbands back catalogue (never materialised as at that time Lloyd Daley and Clancy Eccles were my main projects to release.) Anyhow she told me she was also planning to release a few of her old productions. Not much later I was at Sonic Sounds, and found out they couldn’t retrieve (find) the master tape of the Justin Hinds LP. Neville Lee and his sons were surprised when I told them I had a pristine copy of that LP in my collection. They asked me if I could send it to them (which of course I didn’t do . . . no LP’s are leaving my studio at all!). Anyhow I told them it was no problem to transfer it on DAT-cassette for them when I was back home. I told them I would appreciate if they could mention my work/credits on the sleeve. Well as you can see, it wasn’t printed on the actual LP-jacket, but on the label (quite apart isn’t?) Neville Lee compensated me a few months later in a most satisfactory/decent way; allowing me to search a warehouse with a lot of old Sonic sound vinyl . . . I digged up quiet a few nice LP’s down there (all for free of course!)” (email from Aad “Dr. Buster Dynamite” Van Der Hoek.) (I’ve also found information that this album was first issued by Record Specialists with production credit to Carlton Lee. I’ve not been able to verify that information.)      

From Jamaica With Reggae/Doctor Bird DBCD-09 (02/09/2018) England; Expanded Edition adds 14 tracks;Mighty Redeemer-Save A Bread-Mother Banner-You Should’ve Known Better-The Higher The Monkey Climbs-Rub Up Push Up-On A Saturday Night-Botheration-Sufferation 1969-Say Me Say-Peace And Love-Warm Up-Rig Ma Roe Game-Wipe Your Weeping Eyes.

Jezebel/Island ILPS 9416 (1976) UK/Mango MLPS-9416 US;Natty Take Over-Dip and Fall Back-What You Don’t Know-Other Land-Precious Morning/Prophecy-Fire-Babylon Children-Spotlight-Carry Go Bring Home (reggae, or version 3). (Mango CD 162-539 416-2) (Released in Japan in 2004, SHM-CD, combining Jezebel with Just In Time. Also issued in Japan in 2007 by Island/Universal.)

Just In Time/Island MLPS 9532 (1978) US;Passage CD 29008.2 (2004) France;Let’s Rock-Let Jah Arise-Help Your Falling Brother-Bad Minded People-What You Gonna Do/(On) Broadway-One Bird in the Hand-Groovin’-Positive Way-Stop the Rain. (“Weepin Eyes” is a bonus track on Passage issue.  It’s re-titled from “Wipe Your Weeping Eyes” a 1978 release on 7″ 45.  See #62 above.)

Travel With Love/Nighthawk NHLP 309 (1984) US;Get Ready Rock Steady-Miss Wendell-Book Of History-Travel With Love/Weeping Eyes-In The Jungle-Sweet Loraine-The Rainbow. (Cassette released in 1985. CD in 1992.)

Justin Hinds/Jwyanza ? (1990) Jamaica;Almond Tree-War Times-Want More-Deep In My Heart-Love In The Morning-Picking Up Chips-Times Are Getting Better-In This Time-Chucky Yu Lucky.

Know Jah Better/Nighthawk NHCD-313 (1992) US;War Time-War Time Dub-Want More-Know Jah Better-Almond Tree-No Place Like Home-Happy Go Lucky-Picking Up Chips-Love In The Morning-Deep In My Heart-In This Time-Proverbial Dub. (Originally released on Jwyanza as JUSTIN HINDS.)

Ska Uprising/Trojan CDTRL 314 (1993) UK;Carry Go Bring Come (Ska Version)-Over The River-Corner Stone-Mother Banner-Rub Up Push Up-Try Me-Teach The Youth-The Higher The Monkey Climbs-Fight For The Rights-Here I Stand-Save A Bread-Carry Go Bring Come (Rock Steady Version)-Fight Too Much-Once A Man-You Should Have Known Better-Drink Milk-Everywhere I Go (Travel With Love)-Botheration-Mighty Redeemer-Sinners. This Carry Go Bring Come/Rhino CD ? (1994) UK?;If It Is Fire You Want-Sinners-Junnie-Carry Go Bring Come-Everene-You Come To Drink Milk-Carry Go Bring Come Pt. 2-Penny Reel-Botheration-Living In The Universe-Cheer Up Youthman.

Peace & Love/Trojan CDTRL 393 (1998) UK;King Samuel-River Jordan-Botheration-Satan-Jump Out Of Frying Pan-Early One Morning(Holy Dove)-Come Bail Me-Turn Them Back-Peace & Love-Never To (sic) Old-After A Storm-My Mama Told Me-The Little You Have-No Good Rudie-On A Saturday Night-Say Me Say-Take Heed-Cock Mouth Kill Cock-If It’s Love You Need-Oh What A Feeling-You Don’t Know-On The Last Days. Let’s Rock-Live At The Empire/The Robey/Trojan TJACD 005 (2002) UK;Sinners-War Time-Picking Up Chips-Once A Man-Let’s Rock-Drink Milk-Dip And Fall Back-Fire’s Burning-Carry Go Bring Come-Prophesy-Almond Tree-The Rainbow-Over The Rainbow-Medley (feat. Jonathan Arthur)-Burning (feat. Jonathan Arthur)-Save A Bread-Rub Up Push Up. (Cover photo is same Tim Barrow image used on back of Trojan’s Peace & Love CD from 1998.)

Prophecy Live/Melodie/Passage CD ? (2003) France;Drink Milk-Natty Take Over-Here I Come(Stand?)-On The Last Day-Prophecy-Mighty Redeemer-Rub Up Push Up-Over The River-The Higher The Monkey Climbs-Save A Bread-Interview-Carry Go Bring Come.

Live At The Grassroots/I Town Records IT 038 (2003) USA/ROIR 38 (2005);Greetings-Fire Is Burning-Dip & Fall Back-Weeping Eyes-Natty Take Over-Botheration-Never Felt This Way Before-Over The River-On The Last Day-Teach The Youth-Travel With Love-Higher The Monkey Climbs-Get Ready Rock Steady-Carry Go Bring Come-The Rainbow. (ROIR issue shuffled tracklist and added “Get Ready Rock Steady.”)

Carry Go Bring Come The Anthology/Trojan TJDDD275 (July 2005)UK;Carry Go Bring Come-Cornerstone-Over The River-King Samuel-Jordan River-Botheration (Ska Version)-Satan-Early One Morning-Jump Out Of The Frying Pan-Mother Banner-Come Bail Me-Rub Up, Push Up-The Ark-Peace & Love-Turn Them Back-Never Too Young-Try Me-Me Mama Told Me-After A Storm-Lion Of Judah-Why Should I Worry?-Fight For Your Right-The Higher The Monkey Climbs. CD2-Teach The Youth-No Good Rudie-Here I Stand-Save A Bread-On A Saturday Night-The Little That You Have-Carry Go Bring Come (RS)-Once A Man, Twice A Child – You Should Have Known Better – Drink Milk-Everywhere I Go-Time Pass By-Say Me Say-Take Heed-Cock Mouth Kill Cock-Botheration-Mighty Redeemer Part 1-Mighty Redeemer Part 2-Sinners Where Are You Gonna Hide?-If It’s Love You Need. (Hastily assembled and released after the passing of Hinds.)

Cheer Up/1st Street Records CD ? (2010) Jamaica?;Save A Bread-Cheer Up-Bad Boy(feat Andrea Hinds)-Too Much Shot-War Time-Drink Milk-This Voice-Almond Tree-Guest For The Nite(feat Carlton Hinds)-Travel With Love.

Zion Bells/Humal Records CD ? (2011) Jamaica?;Zion Bells-Problems-Tell Me-Funny Thing-Natty Take Over-Island In The Sun-Africa-Rasta Say Come-Natty Say Come-System Of Time-Sweet Thing-Run Run-Last Chance-Fire Is Burning-No Place To Run. In his essential retrospective on Justin Hinds, Michael Kuelker reported, “Two albums of unreleased studio recordings have also appeared in the last few years, albeit without fanfare, Cheer Up (1st Street) and Zion Bells (Humal).” (http://kdhx.org/blog/2012/05/06/justin-hinds-70-a-retrospective-with-memories-from-family-musicians-peers/) I’ve not been able to locate copies of either of these titles, but hope that will be rectified soon.

Various Artists Compilations Featuring Justin Hinds & The Dominoes or Justin Hinds

Rockers/Mango CCD 9587 (1979);Natty Take Over.

Wingless Angels/Mindless Records-Island Jazz Jamaica (1996); Both volumes of Wingless Angels were released on CD by Mindless in 2010 and on an assortment of colored vinyl in 2011.

The Reggae Train: More Great Hits From The High Note Label/Heartbeat CD 174 (1996);Wipe Your Weeping Eyes.

Unhinged-Coyabalites/Shanachie 45036 (1997);Carry Go Bring Come.

Wingless Angels 2

Gathering Of The Spirits/Shanachie CD 45040 (1998);Sitting In Babylon.

Reggae On The Rocks: Voodoo, Sacraments, Oddities & Other Holy Anthems/What Are Records? Boulder CO USA (1999)Teach The Youth-Let Jah Arise-Carry Go Bring Come. (Recorded live August 22 or 23, 1998, Morrison, CO USA)

Jack Ruby Presents The Black Foundation/Heartbeat CD 122 (2000)Tell Me Not Of Other Lands, Fire (Is the Desire).

Jack Ruby Presents The Black Foundation In Dub/Heartbeat CD 123 (2000)Burning.

Back To Zion-Jamaica All Stars/Melodie 29003.2 (2003) France;The Higher The Monkey Climbs-Over The River-Carry Go Bring Come-Natty Take Over-Book Of History.

Right Tracks-Jamaica All Stars Melodie 29006.2 (2004) France;On The Last Day-Hey Mama-Drink Milk-Army Man Special Meetings-Jamaica All Stars Melodie 817200 SC 865 (2005) France;Hey Mama-Drink Milk-Natty Take Over-Carry Go Bring Come. (There was also a DVD titled Special Meetings that was released in 2005.) (The Jamaica All Stars titles are out of print. As of August 2012, none are available at leading retailers, amazon, or consignment shops such as ebreggae.com) *********************************************************************************************************************************************************************************************************************** I’m glad this information and the above images are available. Now to see about making the music available with it. Deepest respect to the great poet and singer Justin Hinds, it was an honor to know him. My gratitude to his wife Peaches, and sons Maxwell, Randy, Jerome Sebastian and Carlton Hinds. Also to Lloyd Knibb, Sammy Jeggae, “Dizzy” Johnny Moore, Lester “Ska” Sterling, Richard Fletcher, Greg Lawson, Colby “Vintage Boss” Graham, Allen Kaatz, Jim Marshall, Charlie Morgan, Mike Kelly, Michael Kuelker, Aad “Dr. Buster Dynamite” Van Der Hoek, Weststar & M. Rasta, Jim Dooley, Ray Hurford, Dr. Bassie, Ken Bilby, Ska Nick Bowman, Graeme Goodall, reggae-vibes.com, Mark Williams, Whitey Norton and Hans “Reggaepostman” Geboers.

Skacerely,

Brian Keyo

August 18, 2012

I’d appreciate additional information, stories, photos etc., and will give credit for them.