When it comes to reggae music, there are a few record labels that have the reputation of delivering quality music for decades. Looking through Freshout’s reggae section, one can clearly infer that Studio One is one of those historical labels that have played a vital part in the history of reggae music. Treasure Isle is another label that has an important role in the history of reggae music. To round up the top three labels that stand as one of the cornerstones of Jamaica’s national music is Trojan Records.
Trojan Records was founded in 1968, but was actually started in ’67 by Island Records, in conjunction with Duke Reid, who ran Treasure Isle Records. Trojan was a label solely used to showcase Reid’s production. The use of the infant stage label did not fare well as a profitable label as there were only a few releases that dropped in the UK before the label went under, being overpowered by Reid and his Treasure Isle imprint. In ’68, a businessman by the name of Lee Gopthal started that label up again, this time being very successful. The new label showcased acts from the UK as well as those from JA. The growth of the label spawned into the birth of a number of smaller labels (hence its importance to the genre). There is no need to go through the whole history of the label, but it is important to know that there were two album series that were released on the label: TRL series and TTL series (which this series dealt a lot with compilations of various artists with relatable themes). Over the years, many companies have bought the record label; by as of today, the Sanctuary Records Group has ownership of Trojan Records and has been on a strong reissuing campaign in the vein of the TTL series. So if one goes to a record store and looks in the reggae compilation section that would fin a number of Trojan Records box sets (which for some reason has more disc per set and cost considerably less than the Soul Jazz- Studio One box sets).
Which brings this post to one of the box sets and one of the artists featured in that set. Trojan Box Set: Nyahbinghi showcases the type of music known as Nyahbinghi music. Nyahbinghi music is a form of music consisting of Rastafarian drumming and chants; and though it has inlfuneced reggae music, it is not considered a type of reggae music, such as dancehall, roots, or lovers rock. From this compilation, this post will focus on the song “Feel Nice” by Bongo Herman and Eric “Bingy Bunny” Lamont, who make Nyahbinghi-influenced reggae.
Bongo Herman is the top Nyahbinghi drummer in Jamaica and one of the greatest percussionists in the world. This is because Herman does not just play percussion instruments but he feels and become that playing of the instruments. It may sound odd, but Herman’s musical understanding allows him to go beyond just playing, to orchestrating the feel and direction of a song through his instrumentation. Also, Herman has played with almost every artist in the reggae industry that uses live instrumentation. Eric “Bingy Bunny” Lamont was Herman’s long time partner and a prolific guitarist and singer. Bingy Bunny has played a pivotal role in reggae music, as he was part of a number of important reggae groups, namely The Roots Radics and Dub Syndicate. The two musicians were partners in the sixties before splitting up to do other things. “Feel Nice” is one of many dope jams that showcase these important musicians.
The song is mainly a dub allowing Herman and Bingy Bunny to jam out, but the song also lets Bingy Bunny flex his vocal chords on the hook. The harmonizing on the hook and the “verse” further enhances the mellow feel of the song. After hearing the singing, this listener is compelled to find more songs in which Bunny is singing, hoping for the same mellow, lovers rock feel. However, the real meat of the song is the dub. Bunny’s confidant strumming of the guitar over that classic reggae bassline will have the listener rocking back and forth and side-to-side. If one listens closely, he can hear Bingy Bunny doing a few change-ups within his playing. But the percussion shines bright throughout the song as the steady beating of the bongos is interrupted by rapid busts of bongo hits every once in a while. And the layering of the bongo sounds creates an interesting percussion sound-scape for everything to lie on. The little jam out session towards the latter part of the song allows the listener to really get a feel for the immense talent that Herman and Bingy Bunny has. The song does not have that many parts to it but it truly showcase these musicians well.
On the strength, Trojan has picked a gem to reissue, as they usually do. So, check out the rest of the Trojan catalogue, well as the works of Bongo Herman and Bingy Bunny.
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