Earl 16 biography, Earl 16 discography
He became the lead vocalist for the group The Flaming Phonics, playing live around Jamaica.Needing to make some money, the group tried out for producer Duke Reid, but left before finishing their recording for him due to his habit of firing live gunshots in the studio.He teamed up with Roy Cousins for two albums, Julie and Special Request.Earlier material recorded for Studio One was released as 1985's Showcase album.His child's mother knew Mad Professor, who Daley began woking with.One of his tracks from this era was a cover version of "Holding Back the Years", which had been a big hit for Simply Red.In the 1990s he made guest appearances on tracks by Dreadzone and Leftfield.He signed to WEA for his major label debut, 1997's Steppin' Out album.Dave Katz and Ray Hurford (1992).Interview with Earl 16, Autumn, 1992, London.All text is available under the terms of the GNU Free Documentation License.Klugh normally finger picks a nylon string classical guitar.He has since been a guest on several Atkins albums.Atkins, reciprocating as well, joined Earl on his Magic In Your Eyes album.Klugh attended Mumford High School (Michigan).For their album One on One, Klugh and Bob James received a Grammy award for Best Pop Instrumental Performance of 1981.He has since received 13 Grammy nods, millions of record and CD sales, and continues touring worldwide to this day.Super Guitar Duo (with Hiroki Miyanow)
1979: One on One (with Bob James)
1980: Dream Come True
1980: Late Night Guitar
1981: Crazy for You
1982: Two of a Kind (with Bob James)
1982: How to Beat the High Cost of Living (with Hubert Laws)
1983: Low Ride
1984: Wishful Thinking
1985: Night Songs
1985: Soda Fountain Shuffle
1987: Collaboration (with George Benson)
1987: Life Stories
1989: Solo Guitar
1989: Whispers and Promises
1991: Midnight in San Juan
1991: The Best of Earl Klugh, Vol.The Earl Klugh Trio, Vol.Holland
This article about a United States jazz musician is a stub.The following is the most comprehensive interview ever done with Earl
16.Daley
RH: How did Earl 16 get into the music business?Waltham Park Road,
where I grew up, in Kingston, Jamaica.American
stuff, Chat Jackson (?James Brown music, and all this and all that.Usually,
after like doing my...The guys kind of liked how my voice kind
of sounded, 'cause I used to try to sing exactly like the actual records.In those days, the good old days, everybody was into singing like Dennis
Brown.Dennis Brown at that time was like one of the most influential artists,
he was really progressive at that time, he was young still.All the school
boys and kids who liked music, we used to like always try to pack on Dennis
Brown, because he's like a role model for us.There was one at the Turntable Club, there
was one at the Vere Johns, and there was one at the Bohemia Club, which
was closer to me in Half Way Tree.One of the guys who used to hang out
with us, Donald Hossack, he used to teach music like keyboards, piano.When
I went and did the auditions, it turned out that I got picked in the audition,
then went to the heats and I reached up to the finals.In this final, there
was like Michael Rose, Junior Moore from the Tamlins, there was myself,
there was a girl called Joy White, she's brilliant, I still love her, and
there was another girl, I think it was Sabrina Williams.There was about
six of us in the final, that's a big night.Commercial High School, which is like a college, St.The Flaming Phonics consisted of Paul Powell, second from me, he did baritone.Alan Polack who is the spitting image of Roy Cousins,
he's got thick lensed glasses and all that, he was a brilliant falsetto.His falsetto was much higher than mine, a bit like Derrick Lara, really
high pitched and good.We had that group really sowed up, we were doing
a lot of shows.We ended up working with Big Youth, because these were the
top groups at the time, Mighty Diamonds, Burning Spear before he had locks,
and Dennis Brown.What
happened now, we didn't really actually get into recording, we couldn't
get it right, the recording stuff.Kenneth was going
to school as well, and Polak was working, and Paul is like the odd one out.After doing a couple of shows and that, I dropped out of high school, because
this was it, I wanted to be a star.Duke Reid in the early stages, before I left school.But just before I went solo, we did a show once, Flaming Phonics, Tyrone
Taylor was on the package, Burning Spear, and Boris Gardner, we did a show
in Spanish Town.Boris Gardner kind of wanted, he was looking for a lead
singer for the band, because Tinga Stewart won the festival that year, which
was '74, and he was planning to leave to do some shows in Canada for the
Jamaican Culture Department, they had festivals they had to go away to.Would you be interested in...You had to do the Calypsos, the Soul, the
Reggae, because a road band is like cabaret stuff.Boris was a proper musician who could write the lyrics, write the
music for the piano the drums, the bass, the guitar...Boris was kind of middle class.So I used to go up there every day, go up to rehearsals.Aunt at the time, and then she started locking me out, I had to sleep
around the back sometimes in the fowl coop, but at the end of the day, I
was happy doing it.There was me, Boris Gardner, Errol Walker, who was
like the 3 main singers, apart from Keith Sterling who was playing keyboards,
we had Willie Lindo on guitar, and we had Paul Douglas on drums and Arkus
Bella (?But, with Boris now, I started getting influenced into going into
the Rastafarianism.Hugh Mundell, because he lived right next to
Boris Gardner, Hugh, and there was some Twelve Tribes brethren who lived
further down the road who started Jah Love sound system, he was called Jah
Wolf...He was the original one who started Jah Love...Boris was a couple of doors away, so I used to go over there and hang out
with them, 'cause they had the best fruits, the best herb, and exercise
a lot, it was nice, I liked the atmosphere in there.One stage, I think
it was about '78, '79, I met a couple people through Boris like Lee Perry,
and Mikey Dread, I'd met these guys along the way.Because everybody was dressed up, like the gowns, the long floral gowns.Like the promoter think that we're trying to get involved in some Rasta,
some Ras Michael or something.Winston
was actually the one who got involved with Derrick...Before that as well,
the first solo recording that I did was for a guy called Phonso, his label
is called Globe International.But after that, I got involved with Derrick Harriott,
right after that.He got involved with Derrick, and he laid about
four rhythm tracks with Derrick.He couldn't voice the songs, he wasn't
really a singer.All
right then, fuck it, Earl, go on and try it.Errol liked
how I did it.We told him that we'd like Franklyn to get in on the action,
so that was the first song that Franklyn actually recorded, the overdubs
(hums keyboard line).We kind of made it like a little group together.After
we did that recording for Joe Gibbs, a couple months, years afterwards,
we didn't hear it come out.When we did it for Derrick, we did a couple of other songs.Derrick got upset with us, so we never
got any money from either of them.Derrick went ahead and pressed his anyway,
'cause he was doing the harmonies, there was Sly and Robbie playing on it,
it was more updated compared to Joe Gibbs' one.Derrick's song came out,
got a couple of air plays, sold a couple thousand copies of it.That was
my first royalty I got for a record, which was 30 dollars.Then, I started working for Scratch.DK: Because of the Boris Gardner connection, you ended up...ED: Getting involved, meeting Scratch and all that, and knowing him.DK: You said you did a few tunes for him?ED: Yeah, I did a couple.Perry went a voiced it (himself), but he's got a cut of my voice on it as
well.DK: Did he write the lyrics, or did you have a hand in the lyrics?RH: What about the other tracks, did you write them?We actually laid the track with Dalton Browne, that
was actually the first time that Steelie came to the studio as well, we
first brought him, Steelie, Albert Malawi who, he used to play in sound
system, but he's a drummer, and Dalton Browne, that's the musicians that
we used for that session, and we did four songs all at once.It was released by Federal first, when it first came out
it was on the Wild Flower label which was being controlled by Federal, and
then when I went to Belgium last year, I got a copy of it from Tropical
Sounds who has closed down now, Robert (Kuypers) gave me a copy with a different
label on it, but I think the mixes might have been different, I think the
original blue label, the Wild Flower label, was a different mix.DK: When you were working with Scratch, how did you find him to be at this
time?ED: Well, at the time I was working with Scratch, it was like working with
Studio One, because after that, I ended up at Studio One (but we'll get
to that...There was like so much people wanted to work with Perry at the
time so I had to be waiting around for days and weeks.We
ended up doing backing tracks for a lot of Yabby You stuff, people used
to book the studio otherwise.Black ) Scorpio because, I was there when she was
doing it.DK: So who wrote the lyrics for that?ED: It was us, it was Perry and her and me, Bunny, we just kind of pitched
in and did it but she actually did it so fucking...And then there was this old,
elder dreadlocks who used to come across and preach a lot, and he used to
get on top of Perry's nerves.Then there was the bad boys called Spanglers,
who was coming up for money every day, they wanted weekly paid protection
money, and Perry didn't need that, so at the end of the day, Perry just...England, and sold a million copies, it was like, boy,
yeah!ED: Yeah, Earl George, George Faith was working, there was like Meditations
came and did a couple of stuff, it was like buzzing, and I was there all
the time.He was in an out a lot around that time as
well.Because where we lived at the time, Mundell and all these guys lived
around him, and there was all these producers coming up to get him to do
sessions, because he was one of like the best.After working with Perry, I kind of got really
into smoking the raw weed, going really ital, that's when I starting hanging
out with Pablo, 'cause Pablo was really into the ital stuff, but he was
busy working with Hugh Mundell, Delroy Williams, he was working with Norris
Reid, Tetrac, so I had to wait again, but I wanted to do it, so I didn't
mind.RH: What was the other song that come out on a Cha Cha album, done at Channel
One around '79 or '80?The original track was done, produced by Earl Morgan.DK: I want to ask you about the Mikey Dread connection.ED: I got involved with Mikey about 1980.ET, used to work on Saturday mornings, he died,
he was a DJ, and he used to play it every Saturday morning.Anyway, the song came out, and Mikey liked the feedback that he got,
so he goes, he's got a label in England, he told me it was Rough Trade.He put out a couple singles off the album in Jamaica which
didn't really come out too good because they weren't really ready for Mikey
Dread's stuff.It wasn't really ready for Jamaica but it was working in England.RH: He did a little tour, didn't he?In the end, Edi never talked to him
from that.When Edi came back to Jamaica, he never spoke to Mikey ever since,
so I kind of felt chuffed that I didn't go.Yabby You and all that...RH: Did you do any work with Youth Promotion?ED: I think I did do a song with Sugar (Minott), I don't think it was ever
released though.But before I got involved with Sugar, that
was a later stage.After the Mikey Dread stuff, I started working with Pablo,
between Pablo and Yabby You, because I was doing backing vocals for Yabby.He goes to be that he's got a couple on DAT's and two tracks, so he's going
to try to work out, see if we can finish up an album which I really want
to do, because Yabby's a good producer.But I mainly did backing vocals
for Yabby in those days.Tony Tuff, and Richard MacDonald that did
the backing vocals for that album.Then there were some tracks we did at
Aquarius which he hasn't put out yet.ED: Yeah, he did that for, Alvin Ranglin was it, GG's?It was actually
me and Berris.ED: No, not solo stuff, I can't really remember recording for Herman, solo
stuff.Because I had to be waiting around to get 'round to doing a
song for Pablo, I just went to Studio One, because, why I had to go to Studio
One, I wanted to do some tunes for Junjo, because Junjo was like, kicking
'82, '83, he was really stinging.We kind of grew up together, because I
come from the same place, Waltham Park Road, Junjo comes from the same place.Barnabas would mix them,
because he knows what Junjo wants.So I just pay him the money, wait around,
when the mix finish, then I'll take...Working with Junjo, then Linval Thompson
came along and I did a few songs for Linval, because he had a bit of a spare
time on his hands, because Junjo was busy.Most of the producers I wanted
to work with, they were too busy for me.ED: Yeah, definitely, I'll give him credit for that, because he did a couple
good Barry Browns as well, and himself.After that, I didn't really feel
satisfied so, I thought well, yeah, I'm going to go and do some work with
Studio One because working with Channel One, I got to find out that all
the tracks that Channel One them do was Studio One's tracks, they made them
over, so I goes, boy, I don't think I should really work on a copy when
I can work on the actual stuff.What are guys waiting for, what do
you want?So I goes, boy, yes, great!When that happened, when Coxsone pressed that record,
that's one of the greatest things that even happened for me.Studio One label, and I'd do anything to get on that label.There's a side where he's ruthless
with people, and then there's the other side.When I first started going up to the studio, about '81,
'82, I met Roy Cousins at that same studio.Hanging out with Dodd, he was
different to me.But he was treating me
different, and I couldn't understand it.DK: Why do think that is?ED: I think it was because of that tune, because he was looking for someone
to really do something on that rhythm.RH: But you must have been a bit disappointed with the album.He had about
8 songs on it.The songs that I did, I can't even remember most of them,
but I'm telling you, I know for a fact that he's got a better album.RH: He did exactly the same with Willie Williams.ED: He's got them there now to put out, but what happened is, whenever I
see Dodd, whenever I see Sir D.ED: What happened is, I think he kind of wanted me to be around him every
day, he wanted me to be there all the time, because I went to America in
about '86.Most of those tapes that I voiced
on, he wanted to come in, because he had transferred them, to do backing
vocals, and try and build them up, but he still hasn't done anything with
them, he's still got them there.Each time I see him, he always bring me
to the studio and lets me hear what we've got.RH: After that, you worked with Roy Cousins.Roy until I came to England, because he did
an album through...Roy, get involved with Roy Cousins, I was between
two minds, because Roy wanted me to come to England as well, but I didn't
want to come to England because I wanted to hang out, and see if something
would happen for me with Studio One, but I think he got upset with me working
with Roy Cousins.ED: It was kind of working but then he kind of went and messed it up, trying
to sell the same record to another company.Can you do that song, do you remember that
song?I've got a couple of those, each time
I go to Europe I sell them, they're always in demand.RH: After that, there was a gap, and then the Mad Professor stuff.It might have played now and again, because the DJs used to
come down when they can catch Coxsone, because he used to be in and out
of the country, spend a week in Jamaica, then he's off again.It was really kicking in Jamaica that
song, and I was looking forward to something happening.But I like to be there with the musicians when the music is actually being
laid down, so I get that feeling, so when we're voicing it, you can put
out everything.He was doing that, and I was waiting around for him to finish
making the rhythms so that I could start voicing, but I had to go away.Off to Miami to do a show, I did a show
for Skengdon, and we did the show, and I started to do some songs for him,
because he was building up a studio, a big mega kind of thing, it was taking
all this money.Skengdon gave me
some money, about 10,000 dollars US; I went back to Jamaica.Boy,
the man gone a foreign, Rasta, and you go sing for next producer, we never
want you fe do that.He goes,
he's not going to pay because the song is good, it can stand on its own,
it's selling.Fair enough, I agree with that,
don't pay a cent, whatever happens.He put out two songs with Ruddy, they never, nothing happened.Then I just
got fed up, I went back to America, I went back to Miami with Skengdon,
I got a month in America and I stayed eight months, I think I can't go back
to America for that, but I just wanted to get away from it, because I could
see that the business in Jamaica was kind of like a rat race kind of thing
where you have to pay out to get your tunes played, you have to buy the
DJs, Barry G.California
for a little while with Mikey Dread, 'cause he was touring a lot, I went
overseas with him.When I came up, I came up
with Sassafrass, Edi Fitzroy, Jennifer Lara, Leroy Smart, Anthony Johnson,
and Wondernose, we came up to do that GLC thing, we all came on that same
trip.Jamaica and begging to get the song released, and the guy was holding
on to the tape, I goes man, this guy's crazy!King Original, and Sassafrass was writing a
lot of songs.He's a DJ, but he writes songs every day, maybe four or five
songs a day.Sass has got a stream in him that he could really produce, he's wrote a
lot of songs for like Echo Minott, all the General Trees stuff, all the
lyrics is like, Sass just gave it to him, really he was like into the horse
business, he owned a couple of horses, didn't have much time for the studio.We did that song for Blacka, and Blacka put it out over here.Jammys took the tune and had it for about two
years, sitting on it.Before it was released in Jamaica, Jammys
had it on dub, and it was mashing up the place, every dance that I go to,
I was like a star!Pinchers kind of wrote his lyrics off of the
rhythm.Then, when Pinchers' one come out, that was it, it didn't come out
again in Jamaica.America, it
was a craze, everybody had Batman hats, and this and that, but he wait until
this time around.Blacka, I didn't really like how
Blacka never got my tune released in Jamaica, so I didn't really want to
work with Blacka.He did put out a couple of records for me on the Now Generation
label.Stafford, then I started doing some songs
for a guy called Pick a Pow, his name is Philip Powell, he did some songs
with Top Cat.Boy, 16, I'd like me and
you to do some work, because I really like how you did those two songs for
Pick a Pow.So Pick a Pow had the songs, lack of promotion and all
that, I think the one he did with Top Cat did something good for him, but
with my songs, they never really happened for him.When I first came,
'85, when I left, I left about in '86, January, and when I went to Jamaica,
flown back, I'd met this girl over here, when I phoned her back, she told
me she was pregnant, she was like my first baby mother, so I wanted to come
back to England boy, no stops, I wanted to come back any way I can.Well look, like how I've done these 3 songs, I think we should
try and do a album.Burt Douglas, Bertie was
into the studio business a lot, he was working with Captain Sinbad, working
with some old guys, Jah Thomas, he's like a pioneer in the reggae scene,
so I did an album with Burt, and me and Burt had some arguments, and he
put the tape under his bed, there was cobwebs growing on it and all that.Look, take
the fucking tape.When we went to the studio to listen to the tape,
what was on the tape?ED: What happened, when I was in Jamaica, before I came back to England
in '86, when I was leaving the first time, that song, it was playing up
a lot over here, the original version.Jamaica, and I was
singing the song to everybody, I went to the dances, I hold the mike and
I sing it.What are you waiting for?One day, I went to Tuff Gong, he used to use Tuff
Gong all the time.Holding back the years I've had so long...Look, I'm going away tonight,
but I'm working, I've booked the studio for the whole night, I have to go
to America.If you want to money to press it, you've got it,
so what are you going to do?All right then, first thing,
I'm going to go to Mr.So we took it straight to press.That
tune, I tell you, up to now, I have to press that tune every once in a while,
because Fat Shadow always got a little order for the 12 inch.DK: What about the time you had Upfront Records?ED: That's it, Upfront I was working with, that was the guy that was really,
I was like just monitoring the money for him.Look,
the tape that we got from Burt, I know there's about six songs on it.What about my album,
man?He said, he wants to finish
the album with Little Kirk, 'cause he was stinging, he was shocking out
in Jamaica.At the end of the day, we had to send a ticket to Little Kirk
to come and voice the songs, he was just spending money all over the place,
but before we finished the album with Little Kirk, we did a various artists
on the Upfront label, with Jennifer Lara, Johnny Osbourne, a few people,
and myself, but it didn't go down that well because...I'm not interesting in
lugging around record shops.If I'm going to concentrate on making the records
in the studio, and making sure that we've got the right mix, it's too much.They paid 1500 pounds for the studio time, it's like
trying to do too much things at once.When all
this was happening now, I kind of noticed that the guy that was playing
up my records, the radio DJs, there was too much radio stations to deal
with as well.So I goes, the only thing that I can do right now
is, I could have went to Mr.I'm an artist, I don't want to get involved
in that, it's too much work, because I went through it.As
soon as it was finished, it was out, and it started working.John (Mason) who was
there, kind of like how we pull together and that, how me and Brookes sound,
he asked me if I'd be interested in listening to a couple of the ska music
he had.One day, I'm driving along, listening to the tapes, and I
go, yeah, I wonder if these guys would be interested in doing an album,
seeing that the Mad Professor album is out, released, and I know for a fact
the only other person that has got another album with me now is Studio One,
or Sassafrass, which he goes to me that he's waiting until I'm dead or until
I go mad before he puts out the record, but what happened, I think he lost
the tape!You know how I felt when he told
me that?Laughs)
DK: What about Riz, do you have any more material with them?Jamaica, I think the sleeve's already
finished, I'm trying to get a CD deal for it.These two songs are released on seven inch in Jamaica, and every time they've
come up to England on pre, they've sold out the same day.Shabba Ranks, or whatever,
when the artist is signed, when the album comes out they do promotional
tours, it's all tied in...That's the major problem
right now.Reprinted by permission of the author.More Ax 8 is a 160 page indy press book featuring in depth interviews with
Lynn Taitt, Dwight Pinkney, Earl 16, Max Romeo, U Roy, Winston Grennan,
Hedley Jones, Admiral Tibbet, and Clevie Browne.Contributed vocals to tracks on the Laika Come Home: Banana Baby and A Fistful Of Peanuts.Like Horace Andy and one or two other Jamaican singers and MCs, Earl has enjoyed recent crossover success by lending his vocal talents to some of the UKs leading contemporary dance producers such as Leftfield.He's worked with Lee Perry, Leftfield and the Mad Professor and has recorded tracks for Augustus Pablo's label, and Studio One.Life without injured post players Juan Palacios and David
Padgett could be tough for Louisville.Against UNLV, the Cardinals showed they
could win without them.Earl Clark had 16 points and 12 rebounds and Jerry Smith added 14 points to
lead No.In the interim, the Cardinals will rely on forward Derrick Caracter, who
scored eight points and grabbed five rebounds before fouling out late, and a
host of others to carry the load.Terrence Williams and Sosa, and never trailed again.North
Carolina in the finals.Matt Shaw, the lone Rebel in double figures.Louisville turned it up a bit and made some good plays.Sign in to get personalized recommendations.Too many keywords can constrain your search.Use fewer keywords to find more results.After viewing product detail pages or search results, look here to find an easy way to navigate back to pages you are interested in.Look to the right column to find helpful suggestions for your shopping session.Earl Daley, 1958, Kingston, Jamaica, West Indies.In 1977 Daley became a member of the Boris Gardiner Happening who introduced him to Lee Perry at the Black Ark.Earl Morgan of the Heptones, who produced his debut album, Singing Star.Gav duo Ranking Joe and Jah Screw.Studio One where his third version of "Love Is A Feeling" was recorded.The previous two versions were for Aston "Family Man" Barrett and Stafford Douglas; to date, it remains Earl Sixteen's most popular song.The Brentford Road sessions resulted in Coxsone Dodd's Showcase album of 1985.
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