Walking on the Chinese glass ceiling : 2004 : FM 102 Radio, Women’s Media Centre of Cambodia

 I was standing over the motionless body of my line manager. He was dead to the world, naked under the sheet on his bed. Neither my arrival in his studio apartment through its wide-open front door, nor the chatter of little ‘street boys’ passing up and down the building’s internal staircase, nor the morning sunshine streaming through the open windows, nor the noise of rush hour traffic on the road below seemed to have stirred him. Should I call out? Should I nudge him? Since the limit of my responsibilities to the BBC had already been sorely tested by a recent health & safety ‘issue’, I decided that playing butler to my boss would stretch my patience one step too far. I turned around, leaving him asleep, walked out and descended the stairs to rejoin the driver waiting out front in the BBC SUV.

It was the ‘big day’ in March when my trainees were to interview candidates for two radio presenter jobs. Charles ‘Chas’ Hamilton had asked to attend too, so I had arranged a detour at eight o’clock to pick him up en route from my hotel to the radio station. This was unusual because, to date, he had demonstrated scant interest in my 28 hours per week of sessions training teams at two Phnom Penh radio stations in production skills, apparently preferring to remain at his desk in the air-conditioned, open-plan BBC office. On my arrival in Cambodia, rather than having furnished a training plan or schedule, Hamilton had invited me for an evening meal in his apartment, bending my ear with gossip about the BBC World Service Trust’s recently arrived Canadian manager. Now I was having to spend what remained of my seven-day working week determining which skills I needed to demonstrate to my teams and how to instruct them when I understood not one word of Khmer. 

Hamilton was oblivious to the supreme irony of my bedside presence that morning. Before departing London, BBC management had confided that, only after having signed contracts in December 2003 to supply radio training to two Cambodian stations, had it understood that its prior internal appointee to head the country’s radio projects had no experience producing live radio programmes. Having been hurriedly headhunted as a result of my international track record in radio production and presentation during three decades, my latest mission was necessary solely to bail out a consequence of the Corporation’s arcane appointment system. Meanwhile, in spite of my radio experience, my own applications over two decades for 43 BBC vacancies had resulted in thirteen interviews but not a single job offer.

Although the BBC contract required me primarily to train in radio production, it quickly became evident that, in order for my young but enthusiastic trainees to appoint inexperienced presenters for the station’s new youth phone-in programme, I needed to teach them how to word a job vacancy advertisement, shortlist applicants, interview candidates and take personnel decisions. They were fortunate that, after a decade assisting in my father’s self-employed architectural business, I had taken my first management post in 1978, hiring and firing people since then and managing teams of more than fifty. In Cambodia, my role became necessarily upgraded to informal ‘management consultant’ despite having had to accept a BBC freelance pay rate lower than the mediocre job at Ofcom from which I had just resigned in the UK … and undoubtedly lower than Hamilton’s pensioned salary as head of radio.

On arrival at the Women’s Media Centre that morning, I found my trainees already assembled in the first-floor radio studio to commence job interviews. I waited in the downstairs lobby to greet the candidates (a bow accompanying ‘hello’ the limit of my Khmer communication skills) and usher them upstairs. However, as Hamilton had yet to arrive, the schedule soon started to run over and resulted in successive applicants seated together in the reception area, a situation I had hoped to avoid. Eventually appearing apologetically an hour late, Hamilton would never be told about that morning’s ‘sleeping beauty’ encounter. It was more important to proceed with the tasks at hand.

During previous weeks’ sessions, the trainees had agreed upon three candidate tasks: an interview by the production team with a prepared list of questions allocated to each member; a script I had written and had translated, to be read into a studio microphone for recording; and a faked phone conversation recorded with a production member pretending to be a caller, to test each potential presenter’s spontaneity and improvisation skills. None of the candidates had prior radio experience, which it why it was imperative to identify ‘potential’ rather than ‘accomplishment’. The planned radio show was destined to become Cambodia’s first live youth phone-in, for which we needed one male and one female presenter.

Having completed the interview round, we broke for the mandatory two-hour lunch, me and Hamilton returning to the BBC office by car. I shared lunch with local staff at the kitchen table, while Hamilton took his usual sojourn with the ex-pat employees to a local restaurant. Afterwards, he did not accompany my return to the radio station for the afternoon session in which my trainees discussed and contrasted the candidates’ performances, assisted by BBC translator Keo Sothearith. I was incredibly impressed by the professionalism with which they ranked the candidates against criteria we had previously decided and then unanimously agreed upon the most suitable pair of applicants.

I was pleased that the whole interview process had been done and dusted so competently and quickly. However, just as I was ready to pat myself on the metaphorical back, a passionate conversation broke out amongst my trainees that the translator seemed reluctant to explain in English. I had to press him repeatedly to tell me what new issue had arisen, since there had been undivided agreement only a few minutes earlier.

“They say it is not possible to employ the woman because she is Chinese,” he explained embarrassedly. “They agree she is the most competent … but the job has to be given to a Khmer woman.”

I was shocked. Clarification was necessary for me to understand this issue. Though I could not discern the distinction, I was told the woman was ethnically Chinese (0.6% of Cambodia’s population) though not a recent immigrant, apparently speaking Khmer perfectly. Wikipedia explains:

“Most Chinese are descended from 19th–20th-century settlers who came in search of trade and commerce opportunities during the time of the French protectorate.”

I had read about ethnic tensions in Cambodia, but primarily involving neighbouring Thailand with which there had long been territorial disputes. In January 2003, following an alleged remark by Thai actress Suwanna Konying that Cambodia’s Angkor Wat temple actually belonged to Thailand, a mob in Phnom Penh had burnt down the Thai embassy and attacked Thai businesses, forcing the evacuation by military aircraft of 400 Thai citizens to their homeland. I had recently passed Thailand’s newly opened replacement embassy in Phnom Penh, surrounded by high walls for improved security.

A 2021 academic paper reported:

“Although anti-Chinese riots are rare in Cambodia, the ethnic Chinese in Cambodia during the Khmer Rouge era experienced some of the most severe repression in the world. The situation had improved by the 1990s, following the Hun Sen government’s abolishment of discriminatory policies towards them.”

The Minority Rights Group noted:

“After 1990, [the Chinese] were allowed to celebrate Chinese festivals and religious practices, then to re-establish Chinese associations and conduct business activities. They subsequently started operating their own schools…”

For the next hour, I felt compelled to argue that it was morally wrong to discriminate against a job applicant purely on the grounds of their ethnicity. It was essential to appoint the best candidate for the job. I told my trainees that the BBC would never countenance such behaviour and, since the BBC was funding their training, it was essential to follow guidelines set out within the BBC editorial handbook (a copy of which I usefully brandished from my briefcase). The trainees had already written a sign that said ‘BBC office’ (in Khmer) on their production room within the radio station, even though they were not BBC employees (as neither was freelance me).

However, I was internally conflicted by my own argument. As a 43-time applicant to the BBC who had been rejected 43 times, I was well aware from personal experience that discrimination was alive and well and living inside the Corporation. Following one of my post-interview rejections at the end of a three-month wait, I had phoned the BBC to ask precisely why I had been rejected yet again and was informed that it would be necessary for me to prove to interviewers that I was “one of us”. The unspoken implication was that I could not join the BBC ‘club’ unless either I was posh, spoke a certain way, had attended private schools or been educated at Oxford or Cambridge. Perhaps I needed a relative who was already employed there. None of the above qualified me.

Even BBC director general Greg Dyke had commented in 2001:

"I think the BBC is hideously white. […] The figures we have at the moment suggest that quite a lot of people from ethnic backgrounds that we do attract to the BBC leave. Maybe they don't feel at home, maybe they don't feel welcome."

Though I had the advantage of being white, it was evident that the BBC discriminated on multiple levels. During the decades since my love of radio had blossomed at primary school, my ambition had always been to work in BBC radio. Apart from my current freelance contract, dispatched to the opposite side of the world due to the Corporation’s ineptitude, my dream was never to be realised.

In the end, I had to give up arguing with my trainees. Cambodia was not my country. I could not pretend to understand its culture or heritage. Its history was turbulent. The people’s identity was complex. I gave in to their desire to appoint the second-best female candidate for the job. I hated myself for giving in. I had been on the receiving end of discrimination on too many occasions over too long a period in several countries. But I had lost the argument. I returned to the BBC office with the names of the two presenters whom the team had chosen. Yes, I confirmed, they were the best candidates (cringe). Both quickly became astoundingly competent radio presenters.

Later that month, Charles Hamilton arrived in our Phnom Penh office one morning and explained that he had lost a BBC laptop computer on the journey from home. It would need to be replaced. Within the hour, the number of laptops he said he had lost that day had increased to two. His comments, combined with the memory of my early morning visit to his apartment, made me contemplate that the BBC staff induction programme should be appended with an additional topic: ‘How to close and lock the front door of your accommodation’.

During the decade following my extended mission in Cambodia, I applied for a further twenty BBC job vacancies and was rejected for all.

The day the (reggae) music died : 1981 : Bob Marley, Linton Kwesi Johnson, Matumbi

 “Bob Marley has died!” I exclaimed. Having switched on the car radio before starting the engine, one of Marley’s songs was playing on John Peel’s ‘BBC Radio One’ ten-to-midnight show. I knew immediately what that meant. Peel was a longtime reggae fan, though I had not heard him play a Marley track for years. There was no need to await Peel’s voice announcing the sad news. I had read that Marley was ill but had not understood the terminal gravity of his health.

Peterlee town centre was dark and desolate at that late hour. I had walked to my little Datsun car across a dark, empty car park adjacent to the office block of Peterlee Development Corporation, accompanied by my girlfriend who was employed there on a one-year government job creation scheme. We had attended a poetry reading organised by Peterlee Community Arts in the building, an event she had learnt of from her marketing work. It was my first poetry reading. Only around a dozen of us were present, everyone else at least twice our age. But what we heard was no ordinary poetry.

Linton Kwesi Johnson had coined his work ‘dub poetry’ in 1976 and already published three anthologies and four vinyl albums, voicing his experiences as a Jamaican whose parents had migrated to Britain in 1962. Peterlee new town seemed an unlikely venue for a ‘dub poet’, a deprived coal mining region with no discernible black population, but working class Tyneside poet Keith Armstrong had organised this event as part of his community work there to foster residents’ creative writing. Johnson read some of his excellent poems and answered the group’s polite questions. It was an intimate, quiet evening of reflection.

Due to my enthusiasm for reggae, I was familiar with Johnson’s record albums as one strand of the outpouring of diverse innovation that Britain’s homegrown reggae artists had been pioneering since the early 1970’s. Alongside ‘dub poetry’ (poems set to reggae), there was ‘lovers rock’ (soulful reggae with love themes sung mostly by teenage girls), UK ‘roots reggae’ (documenting the Black British experience) and a distinctly British version of ‘dub’ (radical mixes using studio effects). One name that was playing a significant writing/producing role spanning all these sub-genres was Dennis Bovell, alias ‘Blackbeard’, of the British group ‘Matumbi’. His monumental contributions to British reggae are too often understated.

Until then, there had been plenty of reggae produced in British studios and released by UK record labels such as ‘Melodisc’, ‘Pama’ and ‘Trojan’, but most efforts had been either a rather clunky imitation of Jamaican reggae (for example, Millie’s 1964 UK hit ‘My Boy Lollipop’ [Fontana TE 17425]) or performed by ‘dinner & dance’-style UK groups such as ‘The Marvels’. I admit to having neglected Matumbi upon hearing their initial 1973 releases, cover versions of ‘Kool & The Gang’s ‘Funky Stuff’ [Horse HOSS 39] and ‘Hot Chocolate’s ‘Brother Louie' [GG 4540]. It was not until their 1976 song ‘After Tonight’ [Safari SF 1112] and the self-released 12-inch single ‘Music In The Air’/’Guide Us’ [Matumbi Music Corp MA 0004] that my interest was piqued as a result of the group’s creative ability to seamlessly bridge the ‘lovers rock’, ‘roots reggae’ and ‘dub’ styles. Both sides of the latter disc remain one of my favourite UK reggae recordings (sadly, these particular mixes have not been reissued).

In 1978, Matumbi performed at Dunelm House and, after attending the gig, it was my responsibility as deputy president of Durham Students’ Union to sit in my office with the band, counting out the cash to pay their contracted fee. They were on tour to promote their first album ‘Seven Seals’ self-produced for multinational ‘EMI Records’ [Harvest SHSP 4090]. It included new mixes of the aforementioned 12-inch single plus their theme for BBC television drama ‘Empire Road’, the first UK series to be written, acted and directed predominantly by black artists. Sensing my interest in reggae, the group invited me to join them for an after-gig chat, so I drove to their motel several miles down South Road and we sat in its bar for a thoroughly enjoyable few hours discussing music.

As part of my manic obsession with the nascent ‘dub’ reggae genre, I had bought albums between 1976 and 1978 credited to ‘4th Street Orchestra’ entitled ‘Ah Who Seh? Go Deh!’ [Rama RM 001], ‘Leggo! Ah Fi We Dis’ [Rama RM 002], ‘Yuh Learn!’ [Rama RMLP 006] and ‘Scientific Higher Ranking Dubb’ [sic, Rama RM 004]. They were sold in blank white sleeves with handwritten marker-pen titles and red, gold and green record labels to make them look similar to Jamaican-pressed dub albums of that era. However, it was self-evident that most tracks were dub mixes of existing UK recordings by Matumbi backing various performers, engineered and produced by Bovell for licensing to small UK labels. I also had bought and worn two of their little lapel badges, one inscribed ‘AH WHO SEH?’, the other ‘GO DEH!’, from a London record stall. During our conversation in the bar, Bovell expressed surprise that I owned these limited-pressing albums, and even more surprise that I recognised Matumbi as behind them. They remain prime examples of UK dub.

It was Bovell who had produced Linton Kwesi Johnson’s albums, and it was Matumbi who had provided the music. Alongside a young generation of British roots reggae bands such as ‘Aswad’ and ‘Steel Pulse’, Johnson’s poetry similarly tackled contemporary social and political issues with direct, straightforward commentaries. It was a new style of British reggae, an echo of recordings by American collective ‘The Last Poets’ whose conscious poems/raps had been set to music (sometimes by ‘Kool & The Gang’) since 1970, and whose couplets had occasionally been integrated into recordings by Jamaican DJ ‘Big Youth’ in the 1970’s. Of course, MC’s (‘Masters of Ceremonies’) had been talking over (‘toasting’) records at ‘dances’ in Jamaica since the 1960’s, proof that the evolution of ‘rap’ owed as much to the island’s sound system culture as it did to 1970’s New York house parties.

In Peterlee, Johnson read his poems to the audience without music, his usual performance style. It was fascinating to hear his words without any accompaniment. For me, the dub version of Johnson’s shocking 1979 poem ‘Sonny’s Lettah’ (retitled ‘Iron Bar Dub’ on ‘LKJ In Dub’ [Island ILPS 9650]) is brilliantly effective precisely when the music is mixed out to leave his line “Me couldn’t stand up there and do nothin’” hanging in silence. Sadly, memories of Johnson’s performance that night were suddenly eclipsed by the news of Marley’s death. I drove the eight miles to our Sherburn Village home in stunned silence. I was sad and shocked. It was only then that his sudden loss made me realise how much Marley had meant to me.

Despite having listened to reggae since the late 1960’s, I admittedly arrived late to Bob Marley’s music. Though I had heard many of his singles previously, it was not until his 1974 album ‘Natty Dread’ [Island ILPS 9281] that I understood his genius. At that time, I was feeling under a lot of personal pressure which I tried to relieve by listening to this record every day for the next two years. At home, my father had run off, leaving our family in grave financial difficulties. At school, I was struggling with its inflexibility, not permitted to take two mathematics A-levels, not allowed to mix arts and science A-levels, not encouraged to apply to Cambridge University. Back in my first year at that school, I had been awarded three school prizes. However, once my parents separated and then divorced, I was never given a further prize and the headmaster’s comments in my termly school reports became strangely negative, regardless of my results.

Feeling increasingly like an unwanted ‘outsider’ at grammar school, Marley’s lyrics connected with me and helped keep my head above encroaching waters rising in both my home and school lives. I knew I was struggling and needed encouragement from some source, any source, to continue. For me, that came from Marley’s music. While my classmates were mostly listening to ‘progressive rock’ albums with zany song titles (such as Genesis’ ‘I Know What I Like In Your Wardrobe’), I was absorbed by reggae and soul music that spoke about the daily struggle to merely survive the tribulations of life. After ‘Natty Dread’, I rushed out to buy every new Marley release.

During the months following Marley’s death, I was absorbed by sadness. It felt like the ‘final straw’. The previous year, I had landed a ‘dream job’, my first permanent employment, overhauling the music playlist for Metro Radio. Then, after successfully turning around that station’s fortunes, I had unexpectedly been made redundant. I was now unemployed and my every job application had been rejected. That experience had followed four years at Durham University which had turned out to be a wholly inappropriate choice as it was colonised by 90%+ of students having arrived from private schools funded by posh families. I felt like ‘a fish out of water’. I loved studying, I loved learning, I desired a fulfilling academic life at university … but it had proven nigh on impossible at Durham.

“This is what I need
This is where I want to be
But I know that this will never be mine”

Months later, my girlfriend awoke one morning and told me matter-of-factly that she was going to move out and live alone. She offered no explanation. We had neither disagreed nor argued. We had been sharing a room for three years, initially as students in a horribly austere miners’ cottage in Meadowfield whose rooms had no electrical sockets, requiring cables to be run from each room’s centre ceiling light-fitment. Now we were in a better rented cottage in Sherburn, though it had no phone, no gas and no television. Her bombshell announcement could not have come at a more vulnerable time for me. I had already felt rejected by most of my university peers and then by my first employer. At school previously, I had passed the Cambridge University entrance exam but had been rejected by every college. At Durham, I had stood for election as editor of the student newspaper, but its posh incumbent had recommended a rival with less journalistic experience. A decade earlier, my father had deserted me and his family, and now the person I loved the most had done the same.

I just could not seem to navigate a successful path amidst the world of middle- and upper-class contemporaries into which I had been unwittingly thrown, first at grammar school, then at Durham, and now in my personal life too. Most of those years, I felt that circumstances had forced me to focus on nothing more than survival, whilst my privileged contemporaries seemed able to pursue and fulfil their ambitions with considerable ease. I had to remind myself that I had been born in a council house and had attended state schools, initially on a council estate. My girlfriend had not. I had imagined such differences mattered not in modern Britain. I had believed that any ‘socio-economic’ gap between us could be bridged by a mutual feeling called ‘love’. I now began to wonder if I had been mistaken. I felt very much marooned and alone. My twenty-three-year-old life was in tatters.

Fast forward to 1984. I had still not secured a further job in radio. I was invited to Liverpool for a weekend stay in my former girlfriend’s flat. We visited the cathedral and attended a performance at the Everyman Theatre. It felt awkward. I never saw her again. It had taken me months to get over the impact of Bob Marley’s death. It took me considerably longer to get over my girlfriend ending our relationship. 

“That clumsy goodbye kiss could fool me
But looking back over my shoulder
You’re happy without me”

Stoking the star-maker machinery behind the popular song : 1980 : Kate Bush, EMI Records & Metro Radio

 “I’m SO sorry,” I grovelled to the petite musician on whose foot I had just accidentally trodden. We were stood side-by-side in the record library – my ‘office’ – of local commercial station ‘Metro Radio’ in Newcastle. Kate Bush was kindly autographing several copies of the new album she was visiting to promote, which were about to be awarded as competition prizes to listeners. She had just been interviewed live on-air by one of the station’s daytime presenters and was soon to be whisked away by car to visit yet another local station somewhere across the country.

I had been basking in a brief moment of hit-picking glory, feted by Bush’s record company ‘EMI Records’ for having simultaneously added two singles by singer Sheena Easton (‘Modern Girl’ and ‘9 to 5’) to the station’s ‘current hits’ playlist, the shortest list of any UK station following my radical overhaul of its music policy, guaranteeing substantial airplay for the label’s newest rising star. Relationships with record companies were always a rollercoaster ride. Months later, after I had refused to add Queen’s ‘Flash’ single to the playlist, on the grounds that it sounded more an advertising jingle than a proper song, EMI declined to offer further artist interviews and stopped supplying the station with its new releases altogether (requiring me to drive to the nearest record shop with a weekly shopping list). Bribery, blackmail and boycotts were widespread music industry practices.

After having first heard Bush’s debut single ‘Wuthering Heights’ on John Peel’s evening ‘BBC Radio One’ show two years previously, I had loved her 1978 debut album ‘The Kick Inside’ for its clever arrangements of smart songs with unexpectedly frank subject matter. I had considered the same year’s follow-up ‘Lionheart’ rather insubstantial comparatively and over-theatrical. After a two-year wait, the next album ‘Never For Ever’ was a return to form with a more diverse song list and extensive use of brand-new Fairlight sampler technology invented in 1979. Bush had visited ‘Metro Radio’ to promote this album’s release in September, after three singles extracted from it (‘Breathing’, ‘Babooshka’ and ‘Army Dreamers’) had already reached 16, 5 and 16 respectively in the UK charts.

After a further two-year wait, fourth album ‘The Dreaming’ was a revelation with songs referencing even more startling subject matter, produced in a dense soundscape that was the aural equivalent of Brion Gysin’s and William S Burroughs’ ‘cut-up’ techniques, interlacing samples, sound effects and dialogue from the Fairlight (think 1973’s analogue ‘The Dark Side Of The Moon’ on digital steroids). I have always been intrigued by its track ‘Suspended in Gaffa’ as an incredibly outspoken criticism of EMI Records on an album released by … EMI.

This was by no means the first occasion that musicians had criticised their record company within their recordings. During the 1970’s, I recall several reggae artists obliquely criticising Jamaican producer Joe Gibbs for his sharp ‘business practices’ (eventually Gibbs’ business was bankrupted after prosecution in the US for stealing songwriter royalties). Closer to home, reggae DJ ‘Prince Far I’ criticised British company ‘Charisma Records’ explicitly in his track ‘Charisma’ (credited to collective ‘Singers & Players’) after his 1981 deal to release three albums (‘Showcase In A Suitcase’, ‘Sign Of The Star’ and ‘Livity’) on its ‘PRE’ label had been soured by negligible sales. Part of its lyrics were:

“I see no idea in your place, Charisma. […] Wipe them out, Jah!”

Prince Far I also made a recording to criticise Britain’s ‘Virgin Records’ which had released three of his albums (‘Message From The King’, ‘Long Life’ and ‘Cry Tuff Dub Encounter Part 2’ in 1978-1979 on its ‘Frontline’ label), but which had then rejected a further finished album he had delivered. In a track inevitably entitled ‘Virgin’, he rapped:

“You call yourself [Richard, Virgin co-founder] Branson but I know that Branson is a pickle with no place on my plate. You call yourself [Simon, co-founder] Draper but I know draper is known to cover human bodies. You see ‘Frontline’, I see barbed wire. Opportunity to make big money. Irie, Jumbo [Vanreren, Frontline A&R manager]. I won’t forget you take the master tape and hang it up on your shelf. Music has no place in a gallery.”

This ‘lost’ album was finally released in 1998 [Pressure Sounds PSLP18], long after Prince Far I (and his wife) had been tragically murdered in Jamaica in a 1983 house break-in. In 1992, Virgin Records was acquired for a reported £560m by EMI Records which, returning to our story, had signed sixteen-year-old Kate Bush in 1975 to a four-year contract after hearing her three-song demo tape, paying a £3,000 advance. In 1976, Bush created her own company, Novercia Limited (Latin for ‘she who is new’), that she and her family alone controlled in order to manage her career and maintain the copyrights in her recordings and songs.

From the initial contract’s expiry in July 1979, Bush could finally renegotiate a replacement EMI contract which would allow Novercia to retain the copyright (instead of EMI) and henceforth lease her recordings to EMI for release. At that time, it was unusual for such a young artist to insist upon taking control of their career from their record company, particularly when it was as globally huge as EMI. Bush no longer wanted to be contractually required to do promotional tours, such as her visit to Metro Radio, and she was insisting upon complete artistic control. I imagine that these negotiations between opposing lawyers sat around expansive tables in bare conference rooms on an upper floor of EMI headquarters in Manchester Square (immortalised on The Beatles’ 1963 debut album cover photo) must have been tense and lengthy, particularly for twenty-one-year-old Bush.

Not only would these contractual back-and-forth’s have delayed the release of new recordings, but the inordinate time they must have consumed would have eaten into Bush’s ability to compose and record. During this period, Bush’s musical creativity would frustratingly have been put on hold by the ‘red tape’ of legal negotiations, alluded to in the song’s title (‘gaffa’ being a reference to ‘gaffer tape’, the all-important ‘WD40’-like fix-all of musicians in studios and on tour). At the same time, EMI was demanding to hear proof of Bush’s new material to ensure it was sufficiently commercially marketable to guarantee another 'hit' single. Her song ‘Suspended in Gaffa’ starts:

“They’ve told us that, unless we can prove that we’re doing it, we can’t have it all. EMI want it all.”

Except that the ‘E’ from ‘EMI’ must have been removed from the mix, either upon EMI lawyers’ insistence or upon the recommendation of Bush’s legal team. Only once you re-imagine that ‘E’ does the song make perfect sense in terms of record label/artist contractual disputes. The role of Bush’s lawyer in the negotiations is referred to:

“He’s gonna wrangle a way to get out of it [the initial EMI contract that had included renewal options].”

The impact of the tedious negotiations upon Bush’s creativity and the impatient EMI’s demands to hear her new songs are referenced in the chorus:

“Suddenly my feet are feet of mud. It all goes slo-mo [slow motion]. I don’t know why I’m crying. Am I suspended in gaffa [caught up in ‘red tape’]? Not ‘til I’m ready for you [EMI] can you have it all [my new recordings].”

EMI (then) managing director Bob Mercer later confirmed that Bush had burst into tears during their business meetings. The record company’s patronising response to her demands is referred to in the lines:

“… that girl in the mirror. Between you and me, she don’t stand a chance of getting anywhere at all. Not anywhere. No, not a thing. She can't have it all.”

If Bush had not successfully agreed a new contract with EMI, it might have been threatening that she would be jeopardising her future success. I had witnessed the blackmail tactics of EMI in my job at Metro Radio. The significance of concluding these negotiations successfully was imperative for Bush, and she noted the impact it would have on her finally taking total control of her destiny:

“Mother, where are the angels? I’m scared of the changes.” (Bush’s mother appears briefly in the video, comforting her.)

The key to understanding the song’s theme is to recognise that the most telltale line “EMI want it all” was sung eleven times. Record companies almost inevitably want to have their cake and eat it simultaneously, regardless of the fallout for their own artists. Why else would EMI have refused to send its new record releases to Metro Radio if it was not prepared to cut off its nose to spite its face?

If all this speculation sounds farfetched, you have to ask why EMI was happy to license ‘Suspended in Gaffa’ to its partners for release as a single in European countries, but did not similarly release the song as a single in the UK? Would its London executives want to hear a track played on the radio every day that they knew obliquely criticised their own business strategies? As a result, this excellent song languished as a little played album track in Bush’s homeland. Perhaps that was the company men’s notion of ‘revenge’.

At the time of its release in 1982, I was barely watching television so had missed the video for this song, written and directed by Bush herself. Viewing it more than forty years later, I hoped to find hidden references to ‘EMI’ in the visuals. It looks as if Bush (“wearing a designer straightjacket,” interjected my wife) has been kidnapped and locked in a boarded-up wooden shed alongside huge chains and large wheels of (the music?) industry. Outside a huge (legal?) storm is blowing, from which she cannot escape, despite kicking up dust but running nowhere. Is that what it felt like to be under contract to EMI?  Bush was always far too subtle to provide explicit messaging that would explain her songs. Perhaps I am missing something she communicates via her animated hand movements? In one brief section of the video, wrists apparently bound in gaffer tape, Bush tumbles head-over-heals through the vacuum of galactic space, maybe a visualisation of her feelings in the midst of lengthy legal wranglings. Prior to that, the video portrays her 'head in the clouds’, perhaps how she had sensed her initial teenage success with EMI.

As I discovered from my own job at Metro Radio, EMI want it all. Perhaps that is why I felt I understood Bush’s message within ‘Suspended in Gaffa’ from my first listen. It remains a truly remarkable song.

Around the British Rail network in eight hundred minutes : 1976 : Durham University challenge

 “Which bus goes to the University, please?” I asked. The man replied helpfully, but I could not understand a word he had said. He spoke English, though not an English I had heard before. I was confused by all the bus stops, having just exited Lancaster railway station. At which one did I need to wait? There was no bus map. There were no obvious students to ask. I had never been north of Luton until then. I had never watched ‘Coronation Street’. I was a southerner who barely understood a word that was being said to me there, hundreds of miles from home.

I had left the house that morning at the crack of dawn to make a day trip to check out Lancaster University. It was one of five universities I had selected on my UCCA form, all of which had offered me a place, conditional upon A-level results, without requesting an interview. However, if I was going to spend three years far away from home, I wanted to go see each one to help me choose. I had never visited a university before. Aside from my teachers, I had never met anyone who had attended university. That year, I hoped to be one of the 6% of school leavers who would go on to university, a proportion that had multiplied from 2% the year I had been born.

My state school had provided no useful advice how to choose a university or course. Our designated ‘careers counsellor’ was actually a moonlighting English teacher who would merely direct us to a row of dogeared university prospectuses on his office shelf. Some were out-of-date, many were missing. We were offered no ‘careers’ seminars. Surrey County Council had compelled each sixth-former to complete a multiple-choice questionnaire and then informed us for which career we were supposedly suited. Further studies were never suggested. You were on your own when it came to an academic future.

I understood that my choice of university could be a life-changing decision, one that required me to review the maximum amount of available information. If neither my family nor my school could provide useful advice, I would research all the options myself. I wrote a letter to every UK university outside London (where I realised accommodation was unaffordable), requesting their current prospectus and details of their economics courses. I chose that subject simply because it had provided my best academic results at school. I had known for a decade that I desired a career in ‘radio’, though university courses in media or broadcasting did not exist. If I had known then that Britain’s first ‘media studies’ degree had been launched at the Polytechnic of Central London (later renamed the University of Westminster) in 1975, I might have rethought my plans.

Seven years earlier, at my council estate junior school, I had been one of three children out of my class of thirty (10%) to have passed the ’11-Plus’ examination, necessary to progress to ‘grammar school’. However, at that time, around 20% of UK pupils attended these ‘selective’ secondary schools, the difference attributable to the substantial numbers of privately educated children who were crammed intensively at fee-paying ‘preparatory schools’ to pass the exam and who then dominated grammar schools’ intakes. From my ‘year’ of sixty students at Strode’s School, only around ten of us progressed to university, an indication that the ’11-Plus’ was less a successful method of identifying Britain’s brightest children, and more a route for middle-class parents to secure their offsprings an elitist secondary education paid for by the state. Has this situation since improved? In 2008, the Sutton Trust reported that grammar schools were enrolling “…half as many academically able children from disadvantaged backgrounds as they could do”.

I was fortunate that Surrey County Council would pay my train fares for visits to five universities, whether an interview was required or not. I had to determine when each institution offered ‘open days’, book my place, arrange train tickets and inform the school of my impending absence. It required considerable organisation, particularly as these visits necessitated train connections in London. These were days when I would not return home until almost midnight and would have to go to school the following day. I had never travelled so many miles on public transport or seen so much of England from a train window.

I must have been the only student at my school to own a copy at home of almost every UK university’s current prospectus. My request for economics course information proved less successful. Many sent me nothing, the remainder provided a single sheet outlining a course that merely encompassed all aspects of the subject. I read absolutely everything I was sent and concluded that every university claimed to be absolutely perfect and their courses the best. I had merely filled my bedroom bookshelf with marketing propaganda. Instead, I decided to select four universities that already operated student radio stations as this was my long-term career objective … plus Durham.

Although Durham University had no radio station, I learned it was apparently thought of highly. If I were rejected by Cambridge, I considered it might be a reputational substitute. Due to the 300-mile distance, my trip to Durham required an overnight stay in Collingwood College which was offered free to those attending ‘open days’. After a long train journey followed by an uphill walk, I was given an undergraduate bedroom within the college and met several other visitors who were there for the same reason. We took the university’s guided tours together the next day and ate as a group in the college’s dining room, offering us a first taste of undergraduate life.

The following morning, we packed our bags and met together for the thirty-minute walk to Durham railway station on the opposite side of town to catch our trains back to ‘the south’. However, we found the platforms deserted and, eventually locating a member of staff, we were told that a strike had started that morning and there were no trains departing in any direction. Returning to the college with our tails between our legs, we explained our problem and it kindly offered to extend its hospitality until we could depart. Each of us changed our banknotes into piles of ten-pence coins and queued at the college’s one public phone in the basement to contact our parents and schools to explain that we did not yet know when we could return. A quick visit had unexpectedly transformed into something longer.

I took the opportunity to wander around Durham’s compact town centre and explore more places, particularly the ‘Musicore’ record shop. The university library and the cathedral were both impressive, as was the brutalist concrete student union building ‘Dunelm House’ and adjoining ‘Kingsgate Bridge’ constructed by architect Ove Arup in 1963. The other universities I had visited were campus-based, requiring a bus journey to the nearest town. I quite liked Durham’s integration into the city and the ability to walk from one end to the other without need of transport.

The next morning, before breakfast in the college dining room, I phoned Durham railway station, to be informed that no trains would be running for the second consecutive day. This was the only method to obtain information in those days. I met the others and we phoned our families with our disappointing update. We spent most of that day sat together in the Junior Common Room chatting, sharing our university visit experiences and our hopes for the future. For me, it was particularly interesting to meet young people for the first time who shared my situation.

I made another call to the railway station the next morning, anticipating more bad news, but was told a single train was expected that day. It would be heading north, the opposite direction to what we required. I asked if there was any alternative route to London and it was explained that, although the east coast route was still on strike, we could try travelling via the west coast on the opposite side of the country. When was this one train expected? In an hour, I was told. Action stations!

I located my fellow visitors and, without taking breakfast, we all signed out of college and rushed off to the station. There was no information available there about the time of the train, on which platform it would arrive or where it would be heading. While we waited, we examined a British Rail route map in the ticket office which showed a cross-country route from east to west coast that started in Newcastle, the next major stop north of Durham. We were the only people awaiting a train and did wonder whether we had been sent on a wild goose chase, only to have to return to the college for yet another night.

Then the day’s promised one train appeared and pulled into the station. Unsurprisingly, it was almost empty. Who would have known it would be running in the midst of a crippling strike? We boarded and waved farewell to Durham, not knowing if any of us would ever return. Within a quarter-hour, we alighted in Newcastle. It was the first of many times that day that we were required to explain to confused railway staff that, although our tickets to London were dated days earlier, the unanticipated strike had forced us to take the only train available … in the opposite direction.

Next, to cross England to the west coast, we discovered we had to take a less regular, slower train that would depart in an hour. The wait gave us an opportunity to walk out of Newcastle railway station, buy some breakfast and wander around the city. Compared to Durham, it appeared a huge, busy scruffy city centre with huge Victorian stores and old-fashioned shopping arcades. Even the clothes people wore seemed dated and dowdy, particularly seeing many men wearing flat caps. It was an industrial city where time seemed to have stood still fifty years earlier.

Our ninety-minute journey in a local train from Newcastle to Carlisle took us across the bleak terrain of the North Pennine hills, stopping only at tiny towns with strange, unfamiliar names like Prudhoe, Corbridge, Hexham and Haltwhistle. Once again, we were required to explain to the train’s on-board ticket inspector why we were travelling in the wrong direction with out-of-date tickets. He knew about the strike and laughed heartily at our story, wishing us well on our journey home. It began to feel like a kind of ‘expedition’ where, at every step, it proved necessary to explain why our little group of seventeen-year-olds were taking a route no sane person would choose to follow.

The train terminated at Carlisle, a two-thousand-year-old city on the border between England and Scotland, fifty-five miles west and north of Durham. It was midday by now and, from there, we could now take a west coast 'Intercity' train southbound. We did not venture outside the station as this would have entailed having to explain our tickets once more and we feared not being allowed entry back into the station. This region was unaffected by the strike and trains seemed thankfully to be running as scheduled.

Our four-hour journey to London was comfortable until a ticket inspector arrived. We explained our story but he seemed unaware of the rail strike on the east coast and disbelieved our narrative. Initially, he demanded we pay for new tickets. We refused because we each held a valid, paid-for British Rail ticket that we had been prevented from using by the strike. The argument continued and he demanded we write down our names and addresses in order that the police could be contacted so that we would be fined for travelling without valid tickets. He was a ridiculous ‘jobsworthy’ who showed no sympathy for our plight. His attitude ruined the longest, most gruelling part of that day’s journey.

Reaching London’s Euston station, our small group split up to head different directions home. It was a sad parting of ways as we had no idea if we would ever see each other again or even which university each of us might attend (no social media or mobile phones then!). The last few days had required us to bond in the face of adversity, forcing us to make a round-Britain trip we had never imagined. It would be quite a story to tell our classmates.

I crossed London by Tube, caught a train from Waterloo station to Camberley and then a bus, reaching home more than twelve hours after having left Collingwood College in Durham. My school might not have been happy about my extended absence but, later that year, those awaydays would play a major role in my decision to study in Durham. I felt as if I was already sufficiently familiar with the college and the town as a result of that elongated visit. I imagined that my fellow Durham students would be similar to those with whom I had travelled the length and breadth of England.

Did I receive correspondence from British Rail or the police as a result of the unfriendly ticket inspector we had encountered? Thankfully, no. Did I ever see my newfound friends again? Sadly, no.

Mister Soul Of Jamaica … and Thamesmead : 1938-2008 : reggae artist Alton Ellis

 The first record played on the first week’s show of the first reggae music programme on British radio was a single by Alton Ellis, a magnificent singer/songwriter too often overlooked when reggae legends are named. I immediately fell in love with his soulful voice, his perfect pitch and his beautifully clear enunciation, rushing out to buy ‘La La Means I Love You’ [Nu Beat NB014], unaware it was recorded two years earlier. Like many of Ellis’ recordings, this was a cover version of an American soul hit (despite the label’s songwriter credit), though Ellis distinguished himself from contemporaries by also writing his own ‘message’ songs with striking lyrics and memorable hooks. My next single purchases were noteworthy Ellis originals:

‘Lord Deliver Us’ [Gas 161] included an unusual staccato repeated bridge and lines that demonstrated Ellis’ humanitarian pre-occupations, including “Let the naked be clothed, let the blind be led, let the hungry be fed” and “Children, go on to school! Be smarter than your fathers, don’t be a fool!” Its wonderful B-side instrumental starts with a shouted declaration “Well, I am the originator, so you’ve come to copy my tune?” that predates similar statements on many DJ records.

‘Sunday’s Coming’ [Banana BA318] has imaginative chord progressions, a huge choir on its chorus and lyrics “Better get your rice’n’peas, better get your fresh fresh beans’’ that locate it firmly as a Jamaican original rather than an American cover version. Why does it last a mere two minutes thirty seconds? The B-side’s saxophone version demonstrates how ethereal the rhythm track is and shows off the dominant rhythm guitar riff beautifully. It’s a masterclass in music production.

It was only after Ellis had emigrated to Britain in 1973 that a virtual ‘greatest hits’ album of his classic singles produced by Duke Reid was finally released the following year, entitled ‘Mr Soul Of Jamaica’ [Treasure Isle 013]. I recall buying this import LP in Daddy Peckings’ newly opened reggae record shop at 142 Askew Road and loved every track on one of reggae’s most consistently high-quality albums (akin to Marley’s ‘Legend’). It bookended Ellis’ most creative studio partnership in Jamaica when Reid had to retire through ill health.

What was it that made Ellis’ recordings so significant? Primarily, as the album title confirms, it was that his voice uniquely sounded more ‘soul’ than ‘reggae’, occupying the same territory as Jamaica’s ‘Sam & Dave’-like duo ‘The Blues Busters’. I have always harboured the sentiment that, if he had been able to record in America during the 1960’s, Ellis could have been a hugely popular soul singer there. Maybe label owner Duke Reid shared this thought, having recorded ‘soul’ versions of some of Ellis’ biggest songs for inclusion in a 1968 compilation album ‘Soul Music For Sale’ [Treasure Isle LP101/5]. However, at the time, reggae was a completely unknown genre in mainstream America, so Reid’s soul recordings remained obscure there. [The sadly deleted 2003 compilation ‘Work Your Soul’ [Trojan TJDCD069] collected some fascinating soul versions by Reid and other producers.]

Secondly, Ellis’ superb Duke Reid recordings were backed by Treasure Isle studio house band ‘Tommy McCook & the Supersonics’ whose multitude of recordings during the ska, rocksteady and reggae eras on their own and backing so many singers/groups demonstrated a tightness and professionalism that is breathtaking. Using only basic equipment in the studio above Reid’s Bond Street liquor store, engineer Errol Brown produced phenomenal results for the time, operating a ‘quality control’ that belied the release of dozens of recordings every month.

Finally, Ellis’ recordings displayed a microphone technique that was unique in reggae and demonstrated his astute knowledge of studio production techniques. At the end of lines, he would sometimes turn his head away from the microphone whilst singing a note. Because Jamaican studios were not built acoustically ‘dead’, Ellis’ head movement not only translated into his voice trailing off into the distance (like a train pulling away) but also allowed the listener to hear his voice bouncing off the studio walls. ‘Reverberation’ equipment to create this effect technically was used minimally in studios until the 1970’s ‘dub’ era, so Ellis seemed to have improvised manually. Perhaps he had heard this effect on American soul records of the time?

On one of his biggest songs from 1969, ‘Breaking Up Is Hard To Do’ [Treasure Isle 220], you can hear Ellis use this effect during the chorus when he sings the words “everybody knows”, particularly just prior to the fade-out. It is similarly evident on Ellis’ vocal contribution to the brilliant DJ version of the same song, ‘Melinda’ by I-Roy [on album Trojan TRLS63] recorded in 1972.

The same vocal technique is audible on other songs including ‘Girl I’ve Got A Date’ [Treasure Isle DSR1691] in which Ellis elongates the word “tree” into “treeeeee”, as well as “breeze” into “breeeeeeze”, whilst moving his head away from the microphone.

I had always been intrigued by Ellis’ recording technique but had not thought anything more of it until, entirely by accident half a century later, I found startling 1960’s footage recorded at the Sombrero Club on Molynes Road up from Half Way Tree, Jamaica. Backed by Byron Lee’s Dragonaires, an uncredited vocal group I presume to be ‘The Blues Busters’ performed their 1964 recording “I Don’t Know” [Island album ILP923] during which one of the duo (Lloyd Campbell or Phillip James) moves his head away from the microphone at the end of lines, similar to what can be heard on Ellis’ recordings.

This started me searching for 1960’s footage of Ellis performing live. Sadly, I found nothing (either solo or in his previous duo with Eddie Parkins as ‘Alton & Eddy’ [sic], similar to ‘The Blues Busters’) to see if he emulated this vocal technique on stage too. For me, it remains amazing that the smallest characteristics audible in a studio recording (particularly from analogue times) can offer so much insight into the ad hoc techniques adopted to overcome the limitations of available technology. The ingenuity of music production in Jamaica during this period was truly remarkable.

Prior to emigration, Ellis had toured Britain in 1967, performing with singer Ken Boothe. Whilst in London, he recorded a single ‘The Message’ [Pama PM707] in which he raps freestyle rather than sings, fifteen years prior to Grandmaster Flash’s hit rap track of the same name, and declares truthfully “I’m the rocksteady king, sir”. Its B-side pokes fun at 'English Talk' that he must have heard during his visit. The backing music is the clunky Brit reggae of the time, but Ellis’ subject matter is fascinating for its innovation.

1971’s ‘Arise Black Man’ [Aquarius JA single] includes the lyric “From Kingston to Montego, black brothers and sisters, arise black man, take a little step, show them that you can, ‘coz you’ve got the right to show it, you’ve got the right to know it”. The verses and chorus “We don’t need no evidence now” are backed by a big choir. It’s a phenomenal tune despite not even having received a UK release at the time. (Was the chorus a reference to Britain's 1971 Immigration Act in which a Commonwealth applicant was "required to present [...] forms of evidence" to "prove that they have the right of abode" in the UK?)

The same year, ‘Back To Africa’ [Gas GAS164] has the chorus “Goin’ to back to Africa, ‘coz I’m black, goin’ back to Africa, and it’s a fact’ backed by a choir once again. There’s an adlibbed interjection “Gonna stay there, 1999, I gotta get there” that predates Hugh Mundell’s seminal song ‘Africans Must Be Free By 1983’.

Again in 1971, Ellis re-recorded his song ‘Black Man’s Pride’ [Bullet BU466], previously made for producer Coxson Dodd [Coxson JA single], with it’s shocking (at the time) chorus “I was born a loser, because I’m a black man”. The verses are a history lesson in slavery: “We have suffered our whole lives through, doing things that they’re supposed to do, we were beaten ‘til our backs were black and blue” and “I was living in my own land, I was moved because of white men’s plans, now I’m living in a white man’s land”. I consider this phenomenal song the direct antecedent of similarly themed, outspoken recordings by Joe Higgs (‘More Slavery’ [Grounation GROL2021]) and Burning Spear ('Slavery Days' [Fox JA pre]) in 1975. If only this Ellis song was as well-known as Winston Rodney’s! [In initial recorded versions, “loser” was replaced by “winner” and the song retitled ‘Born A Winner’.]

I first discovered Ellis’ song ‘Good Good Loving’ [FAB 165] as the vocal produced by Prince Buster for a DJ track by teenager Little Youth on the 1972 compilation album ‘Chi Chi Run’ [FAB MS8, apologies for the language] called ‘Youth Rock’. At the time, I was crazy about this recording, combining a high-pitched youthful talkover with a solid rhythm and Ellis’ trademark voice in the mix. I will be forever mystified as to why the DJ (sounding like Hugh Mundell/Jah Levi) seems to refer to “Cool Version by The Gallows [sic]” in his lyrics!

In 1973, Ellis released the song I never tire of hearing, ‘Truly’ [Pyramid PYR7003], that benefits from such a laid-back rhythm that it feels it could come to an abrupt stop at times. It is one of Ellis’ simplest but most effective songs and has become a staple of reggae ‘lovers’ singers since, employing wonderfully unanticipated chord changes. It sounds like a self-production, even though UK sound system man Lloyd Coxsone’s name is on the label. This should have been a huge hit record!

There are so many more Ellis tracks from this fertile early 1970’s period that make interesting listening, recorded for many different producers and released on different labels. Sadly, no CD or digital compilation has managed to embrace them all. I still live in hope.

After Ellis moved permanently to Britain during his late thirties, he must have struggled in the same way as some of his contemporaries, trying to sustain their careers in the ‘motherland’. Despite UK chart successes, Desmond Dekker, Nicky Thomas, Bob Andy and Jimmy Cliff were very much viewed as one-off ‘novelty’ hitmakers by the mainstream media rather than developing artists. Worse, Ellis had never touched the British charts. Neither did the majority of reggae tracks produced then in British studios sound particularly ‘authentic’ to the music’s audience, let alone the wider ‘pop’ market. Ellis performed at the many reggae clubs around Britain but the rewards must have been limited.

Ellis’ British commercial success came unexpectedly when another ‘novelty’ reggae single shot to number one in the UK charts in 1977. Its story is complicated! The previous year, Ellis’ 1967 song ‘I’m Still In Love With You’ had been covered in Jamaica by singer Marcia Aitken [Joe Gibbs JA pre]. A DJ version by Trinity over the identical rhythm followed called ‘Three Piece Suit’ [Belmont JA pre]. Then two young girls, Althia & Donna, recorded their debut as an ‘answer’ record to Trinity on the same rhythm and named it ‘Uptown Top Ranking’ [Joe Gibbs JA pre]. Other producers released their own ‘answer’ records, rerecording the identical rhythm, all of which could be heard one after the other blaring from minibuses’ sound systems in Jamaica at the time. Unfortunately for Ellis, Jamaica had no songwriting royalty payment system in those days.

I remember first hearing ‘Uptown Top Ranking’ as an import single on John Peel’s ‘BBC Radio One’ evening show. Even once it had been given a UK release [Lightning LIG506], Ellis was still omitted from the songwriting credit by producer Gibbs. Legal action followed and eventually Ellis was rewarded with half of the record’s songwriting royalties (for the music but not the lyrics), a considerable sum for a UK number one hit then. The same track (re-recorded due to producer Joe Gibbs’ intransigence) was then included on an album that Althia & Donna made for Virgin Records the following year [Front Line FL1012] that had global distribution, earning Ellis additional royalties.

Also in 1977, Ellis produced twenty-year-old London singer Janet Kay’s first record, a version of hit soul ballad ‘Lovin’ You’, released on his ‘All Tone’ label [AT006] that, prior to emigration, he had created in Jamaica to release his own productions. Ellis’ soul sensibilities and music production experience inputted directly into the creation of what became known (accidentally) as ‘lovers rock’, a uniquely British sub-genre that perfectly blended soul and reggae into love songs recorded mostly by teenage girls. This ‘underground’ music went on to dominate British reggae clubs and pirate radio stations for the next decade, even pushing Kay’s ‘Silly Games’ [Arawak ARK DD 003] to number two in the UK pop singles chart two years later.

Into the 1980’s and 1990’s, Ellis continued to release more UK productions on his label, including a ‘25th Silver Jubilee’ album [All Tone ALT001] in 1984 that revisited nineteen of his biggest hits, celebrating a career that had started in Jamaica as half of the duo in 1959. I recall Ellis visiting ‘Radio Thamesmead’ in 1986, the community cable station where I was employed at the time. He was living on London’s Thamesmead council estate and was interviewed about his label’s latest releases.

On 10 October 2008 at the age of seventy, Ellis died of cancer in Hammersmith Hospital. He had been awarded the Order of Distinction by the Jamaica government in 1994 for his contributions to the island’s music industry. I continue to derive a huge amount of satisfaction from listening to his many recordings dating back to the beginning of the 1960’s and wish he was acknowledged more widely for his outstanding contributions to reggae music.

Now, when I think of Alton Ellis, I fondly recall my daily car commute into work at KISS FM radio, Holloway Road in 1990/1991 with colleague Debbi McNally, us both singing along at the top of our voices to my homemade cassette compilation playing Alton Ellis’ beautiful 1968 rocksteady version of Chuck Jackson’s 1961 song ‘Willow Tree’ [Treasure Isle TI7044].

“Cry not for me, my willow tree … ‘coz I have found the love I’ve searched for.”

[Click each record label/sleeve to hear the tune. I have curated an Alton Ellis playlist on Spotify though many significant recordings are unavailable.]