Lynford Anderson: Difference between revisions
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==Biography== |
==Biography== |
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Anderson was born in [[Clarendon Parish, Jamaica]] in 1941, and gained his early studio experience working for the [[RJR]] radio station, after initially being employed there as a log keeper, having studied accountancy.<ref name="Moskowitz">Moskowitz, David V. (2006) ''Caribbean Popular Music: an Encyclopedia of Reggae, Mento, Ska, Rock Steady, and Dancehall'', Greenwood Press, ISBN 0-313-33158-8, p. 51-52</ref><ref name="Katz">Katz, David (2003) ''Solid Foundation: an Oral History of Reggae'', Bloomsbury, ISBN 0-7475-6847-2, p. 99, 100, 144</ref> From there he moved on to Ronnie Nasrullah's recently created [[WIRL]] studio, where he gained experience with a two-track mixer, under the guidance of [[Australia]]n engineer Graeme Goodall.<ref name="Moskowitz" /><ref name="Barrow" /> His engineering skills were used extensively by producer [[Leslie Kong]], and he eventually moved into production himself, using an [[Ampex]] two-track mixing board to create remixes of tracks and to combine several tracks into a single song. He also founded the Upset record label in 1967 along with [[Lee "Scratch" Perry]] and trainee engineer Barrington Lambert.<ref name="Katz" /> His self-productions included "Pop a Top", which he described as the first ever Jamaican "talking" record (although a handful of [[Deejay (Jamaican)|deejay]] records had been released earlier), which at the time of its release in early 1968 was unusual in that its rhythm was noticeably faster than the prevailing [[rocksteady]] beat. "Pop a Top"'s rhythm track was based on [[Dave Bartholomew]]'s "South Parkway Mambo", and its lyric was based on a [[Canada Dry]] commercial; The song was later used by Canada Dry in an advertising campaign in the 1970s.<ref name="Larkin">Larkin, Colin (1998) ''The Virgin Encyclopedia of Reggae'', Virgin Books, ISBN 0-7535-0242-9, p. 51</ref> The line "taste the tits, taste the tits" caused controversy when it was played by [[John Peel]] on his [[BBC Radio 1]] show, with the BBC receiving a number of complaints.<ref name="Larkin" /> He further contributed to the development of [[reggae]] later in 1968 when he worked with Perry on "People Funny Boy", which had a rhythm based on music that Anderson and Perry had heard at a [[Pocomania]] church service the night before.<ref name="Katz" /><ref name="Barrow">Barrow, Steve & Dalton, Peter (2004) ''The Rough Guide to Reggae, 3rd edn.'', Rough Guides, ISBN 1-84353-329-4, p. 87, 91</ref> |
Anderson was born in [[Clarendon Parish, Jamaica]] in 1941, and gained his early studio experience working for the [[RJR]] radio station, after initially being employed there as a log keeper, having studied accountancy.<ref name="Moskowitz">Moskowitz, David V. (2006) ''Caribbean Popular Music: an Encyclopedia of Reggae, Mento, Ska, Rock Steady, and Dancehall'', Greenwood Press, ISBN 0-313-33158-8, p. 51-52</ref><ref name="Katz">Katz, David (2003) ''Solid Foundation: an Oral History of Reggae'', Bloomsbury, ISBN 0-7475-6847-2, p. 99, 100, 144</ref> From there he moved on to Ronnie Nasrullah's recently created [[WIRL]] studio, where he gained experience with a two-track mixer, under the guidance of [[Australia]]n engineer [[Graeme Goodall]].<ref name="Moskowitz" /><ref name="Barrow" /> His engineering skills were used extensively by producer [[Leslie Kong]], and he eventually moved into production himself, using an [[Ampex]] two-track mixing board to create remixes of tracks and to combine several tracks into a single song. He also founded the Upset record label in 1967 along with [[Lee "Scratch" Perry]] and trainee engineer Barrington Lambert.<ref name="Katz" /> His self-productions included "Pop a Top", which he described as the first ever Jamaican "talking" record (although a handful of [[Deejay (Jamaican)|deejay]] records had been released earlier), which at the time of its release in early 1968 was unusual in that its rhythm was noticeably faster than the prevailing [[rocksteady]] beat. "Pop a Top"'s rhythm track was based on [[Dave Bartholomew]]'s "South Parkway Mambo", and its lyric was based on a [[Canada Dry]] commercial; The song was later used by Canada Dry in an advertising campaign in the 1970s.<ref name="Larkin">Larkin, Colin (1998) ''The Virgin Encyclopedia of Reggae'', Virgin Books, ISBN 0-7535-0242-9, p. 51</ref> The line "taste the tits, taste the tits" caused controversy when it was played by [[John Peel]] on his [[BBC Radio 1]] show, with the BBC receiving a number of complaints.<ref name="Larkin" /> He further contributed to the development of [[reggae]] later in 1968 when he worked with Perry on "People Funny Boy", which had a rhythm based on music that Anderson and Perry had heard at a [[Pocomania]] church service the night before.<ref name="Katz" /><ref name="Barrow">Barrow, Steve & Dalton, Peter (2004) ''The Rough Guide to Reggae, 3rd edn.'', Rough Guides, ISBN 1-84353-329-4, p. 87, 91</ref> |
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Anderson has been described as one of the most gifted recording engineers ever to work in Jamaica,<ref name="Barrow" /> and was described by [[Winston Holness]] as "the greatest engineer at those times...a genius in the business".<ref name="Katz" /> He worked for several years for [[Byron Lee]] at his Dynamic Sounds studio, working on recordings including the backing track to [[Roberta Flack]]'s "[[Killing Me Softly with His Song]]", and on recordings by [[The Wailers (1963-1974 band)|The Wailers]]. He stated in the 1990s that during that period he would record or master up to 100 songs a day.<ref name="Barrow" /> He also recorded for Lee himself, including the 1970 single "The Law".<ref name="Larkin" /> In 1970, Anderson mixed the first truly multitrack [[Dub music|dubs]] at Dynamic Sounds.<ref name="Shepherd">Shepherd, John (2003) ''Continuum Encyclopedia of Popular Music of the World: Volume 2 - Production and Performance'', Continuum International Publishing Group Ltd., ISBN 978-0-8264-6322-7, p. 131</ref> He also co-produced the [[Byron Lee & the Dragonaires]] album ''Reggay Blast Off'' the same year. |
Anderson has been described as one of the most gifted recording engineers ever to work in Jamaica,<ref name="Barrow" /> and was described by [[Winston Holness]] as "the greatest engineer at those times...a genius in the business".<ref name="Katz" /> He worked for several years for [[Byron Lee]] at his Dynamic Sounds studio, working on recordings including the backing track to [[Roberta Flack]]'s "[[Killing Me Softly with His Song]]", and on recordings by [[The Wailers (1963-1974 band)|The Wailers]]. He stated in the 1990s that during that period he would record or master up to 100 songs a day.<ref name="Barrow" /> He also recorded for Lee himself, including the 1970 single "The Law".<ref name="Larkin" /> In 1970, Anderson mixed the first truly multitrack [[Dub music|dubs]] at Dynamic Sounds.<ref name="Shepherd">Shepherd, John (2003) ''Continuum Encyclopedia of Popular Music of the World: Volume 2 - Production and Performance'', Continuum International Publishing Group Ltd., ISBN 978-0-8264-6322-7, p. 131</ref> He also co-produced the [[Byron Lee & the Dragonaires]] album ''Reggay Blast Off'' the same year. |
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Revision as of 22:20, 14 August 2014
Lynford Anderson | |
|---|---|
| Also known as | Andy Capp |
| Born | 1941 (age 82–83) Clarendon, Jamaica |
| Genres | Reggae |
| Occupation(s) | Studio engineer, vocalist, record producer |
| Years active | Late 1950s–present |
| Labels | Upset |
Lynford Anderson aka Andy Capp (born 1941) is a Jamaican studio engineer, producer, and vocalist, best known for his 1968 hit "Pop a Top".
Biography
Anderson was born in Clarendon Parish, Jamaica in 1941, and gained his early studio experience working for the RJR radio station, after initially being employed there as a log keeper, having studied accountancy.[1][2] From there he moved on to Ronnie Nasrullah's recently created WIRL studio, where he gained experience with a two-track mixer, under the guidance of Australian engineer Graeme Goodall.[1][3] His engineering skills were used extensively by producer Leslie Kong, and he eventually moved into production himself, using an Ampex two-track mixing board to create remixes of tracks and to combine several tracks into a single song. He also founded the Upset record label in 1967 along with Lee "Scratch" Perry and trainee engineer Barrington Lambert.[2] His self-productions included "Pop a Top", which he described as the first ever Jamaican "talking" record (although a handful of deejay records had been released earlier), which at the time of its release in early 1968 was unusual in that its rhythm was noticeably faster than the prevailing rocksteady beat. "Pop a Top"'s rhythm track was based on Dave Bartholomew's "South Parkway Mambo", and its lyric was based on a Canada Dry commercial; The song was later used by Canada Dry in an advertising campaign in the 1970s.[4] The line "taste the tits, taste the tits" caused controversy when it was played by John Peel on his BBC Radio 1 show, with the BBC receiving a number of complaints.[4] He further contributed to the development of reggae later in 1968 when he worked with Perry on "People Funny Boy", which had a rhythm based on music that Anderson and Perry had heard at a Pocomania church service the night before.[2][3]
Anderson has been described as one of the most gifted recording engineers ever to work in Jamaica,[3] and was described by Winston Holness as "the greatest engineer at those times...a genius in the business".[2] He worked for several years for Byron Lee at his Dynamic Sounds studio, working on recordings including the backing track to Roberta Flack's "Killing Me Softly with His Song", and on recordings by The Wailers. He stated in the 1990s that during that period he would record or master up to 100 songs a day.[3] He also recorded for Lee himself, including the 1970 single "The Law".[4] In 1970, Anderson mixed the first truly multitrack dubs at Dynamic Sounds.[5] He also co-produced the Byron Lee & the Dragonaires album Reggay Blast Off the same year.
By 2003, Anderson had relocated to New York, where he worked as a sound engineer for the United Nations.
References
- ^ a b Moskowitz, David V. (2006) Caribbean Popular Music: an Encyclopedia of Reggae, Mento, Ska, Rock Steady, and Dancehall, Greenwood Press, ISBN 0-313-33158-8, p. 51-52
- ^ a b c d Katz, David (2003) Solid Foundation: an Oral History of Reggae, Bloomsbury, ISBN 0-7475-6847-2, p. 99, 100, 144
- ^ a b c d Barrow, Steve & Dalton, Peter (2004) The Rough Guide to Reggae, 3rd edn., Rough Guides, ISBN 1-84353-329-4, p. 87, 91
- ^ a b c Larkin, Colin (1998) The Virgin Encyclopedia of Reggae, Virgin Books, ISBN 0-7535-0242-9, p. 51
- ^ Shepherd, John (2003) Continuum Encyclopedia of Popular Music of the World: Volume 2 - Production and Performance, Continuum International Publishing Group Ltd., ISBN 978-0-8264-6322-7, p. 131
External links
- Lynford Anderson at Roots Archives