Straight from the 70s in Ja Stylee

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Re: Straight from the 70s in Ja Stylee

Postby Chocolate Soldier » Thu Nov 11, 2010 2:42 pm

Wow - that looks nice & expensive to build too..

Probably a much nicer space I would figure than the original Ch 1,
I've heard the original was more of a concrete/masonry box & it does look fairly spartan in the old pics.
Vibes galore though of course.


RB wrote:actually, martin has one that does it justice -
Image

this is the main room of the new Channel 1...
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Re: Straight from the 70s in Ja Stylee

Postby Primitive Don » Thu Nov 11, 2010 2:57 pm

Chocolate Soldier wrote:IMO the Channel One drum sound was hyper influential on music production in the 80's and beyond as producers in NYC & London of various styles got exposed to the powerful and up front Ch 1 drum style.

+1
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Re: Straight from the 70s in Ja Stylee

Postby Chocolate Soldier » Thu Nov 11, 2010 3:15 pm

http://en.wikipedia.org/wiki/Joseph_Hoo_Kim

Joseph Hoo Kim
From Wikipedia, the free encyclopedia
Joseph 'Jo Jo' Hoo Kim (1942?-) is a Jamaican reggae record producer.

[edit] Career

Shortly after the Jamaican government banned gaming machines in the early 1970's, Joe Joe Hookim and his brother Ernest, abandoned their jobs as machines operators, and jumped into the music business. By 1973, the Hookims had opened their own studio, Channel One, with Joe Joe as its hands-on producer. For the next two years Channel One would change the course of music and leave a legacy that has had ramifications beyond the realms of reggae and is today still proving its affects. Working alongside the Hookims was I-Roy who did a lot of the work. Because of the collaboration of Sly Dunbar and Robbie Shakespeare at its studio, from 1974 to 1976 Channel One rocked...or reggaed! Having played at many of the same sessions or clubs, Dunbar and Shakespeare knew one another. Dunbar, whose partner Rancie McLean, were members of a live band "Skin Flesh and Bone" (SFB). SFB performed at the popular Kingston's Tit for Tat Club, playing not only "well-behaved reggae", as opposed to the lyrical themes of roots reggae, but plenty of US soul and disco. Robbie, on the other hand, was with Bunny Lee's Aggrovators as their number one choice bass player. After successfully uniting Sly and Robbie; Hookim made SFB be the group to become the stamina of what would be the Revolutionaries. Just as with any other episode in the history of Jamaican music, the number of players involved, significantly small by comparison, never diminished the musical output. Sly liked experimenting with the beat and at Channel One Joe Joe allowed him the freedom to do so. Sly wanted more than to simply play catchup to Lee "Scratch" Perry's flying cymbal. So leaving his partner McLean behind, Sly began incorporating the studio's sound by initiating a clapping snare drum beat under certain bass notes, then moving flying cymbals on by doubling rim shots. It was obvious the music resembled US disco, which Sly would have been entirely familiar with from his nightclub cover days, but balanced with the bass and keyboards it was without a doubt Jamaican roots sound. And the bass player that helped make it happen, was the one Sly was being gradually teamed up with Robbie Shakespeare. Ironically, too, the music that for so long took a backseat to the singers, now took the lead. Channel One's brief tenure as the top Kingston roots setup, was the only unparalled standard set by the opposition in the second half of the decade that led to the Hookim brothers getting bummed...an unassumming re-emerging producer by the name of Lee "Scratch" Perry, quieting working away at his own studio.
[edit] Personal

Born into a Chinese Jamaican family, Joseph Hoo Kim was the oldest of four brothers (to Ernest, Paul and Kenneth), who during the 1960s were involved in the jukebox and slot machine industry. In 1970, after the Jamaican government declared the gambling games illegal, Joseph and Ernest decided to turn to the music business and launched a sound-system named Channel One. In 1972, impressed by the Dynamic Sound studio of producer Bunny Lee, Joseph decided to set up the Channel One Studios on Maxfield Avenue (West Kingston). Working on a four-track machine, Syd Bucknor became Lee's first sound engineer. One year later he was replaced by Joseph's brother Ernest. By this time they also had their own pressing plant and label-printing workshop. To gain experience, Hoo Kim decided to give every volunteer producer a free try.

Though they produced some strong records (Don't Give Up the Fight by Stranger & Gladdy--their first production, I Dig You, Baby by Alton Ellis, and Leroy Smart's Blackman), they did not meet with success until the mid-1970s. Beginning with his house band, The Revolutionaries, created in 1975 and featuring Sly and Robbie, rhythmic variations brought about by a harder beat led to the roots-heavy sound soon to be called "rockers".

Their biggest commercial success, "Right Time", by The Mighty Diamonds, was released in 1975, and included in 1976's Hoo Kim produced Right Time. However, many other big names came to record in the studio: Leroy Smart, Delroy Wilson, Black Uhuru, Horace Andy, John Holt, Junior Byles, The Wailing Souls, and Dillinger, were a few of them. Among the many labels they created were Well Charge, Channel One, and Hitbound. Greensleeves, Island and Virgin Records have all published their productions at one time or another.

Hoo Kim was the first producer to introduce the re-use of old Studio One rhythms for new productions. Though a very controversial practice in the beginning, it eventually became widespread. In 1976, he brought out the first mix combining versions sung and DJed on the same single with Truly by The Jays and Ranking Trevor, a standard for the dancehall culture in the 80s. This record was also the first Jamaican 12-inch single.

Entering a depression after his brother Paul was shot to death during a robbery in 1977, Joseph Hoo Kim's productions became less numerous. At this time, he left Jamaica to escape the violence on the island and established himself professionally in New York. Then in 1979, he renovated his Jamaican studio and began returning there every month to supervise new productions. With Ernest, he opened a subsidiary studio in New York in the early 1980s where many DJs recorded. Among them were Barrington Levy and Barry Brown. In the early 1980s, he launched the "Showdown series" with "clash" albums where each face of an LP was dedicated to one of two dueling DJs. When the dancehall entered the digital era, he withdrew from the Jamaican music business, shut down both studios and settled in New York permanently.

He currently operates a pressing plant in Brooklyn.
[edit]
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Re: Straight from the 70s in Ja Stylee

Postby RB » Thu Nov 11, 2010 4:39 pm

a lot of errors in there, the most glaring the part about how they had a 2nd studio in NY, which is totally made up...also, you think the author is a Lee Perry fan or what? LOL.
also, Joe did produce some music at other studios before CH1 opened, but the first productions at the studio were Stranger & Gladdy, and The Tidals. then Alton Ellis.
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Re: Straight from the 70s in Ja Stylee

Postby Doctor Tahl » Thu Nov 11, 2010 10:14 pm

FitZ wrote:I got to share those with you all:
http://www.itdread.com/img/photoweb/
Wicked photos from a Norwegian photograph & great testimony of the period !!
So much nice pics...I love tubbys ones, never seen before..
Image



I thought there was better ganja to be found in JA. Why am i seeing so many seeds and stems?
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Re: Straight from the 70s in Ja Stylee

Postby Chocolate Soldier » Thu Nov 11, 2010 11:24 pm

Sorry for the lame wiki link people..

Funnily enough I had my hands on an Ampex MM1200 24 track today...

Not operational tho'

These are legendary 'sound' machines, class A circuitry, with a big head 'bump' at 80hz@30ips / 40hz@15ips.

Nice for reggae!

Ch 1 had a 16 track version - even better, more width on the tracks...

Image
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Re: Straight from the 70s in Ja Stylee

Postby Chocolate Soldier » Thu Nov 11, 2010 11:30 pm

Doctor Tahl wrote:

I thought there was better ganja to be found in JA. Why am i seeing so many seeds and stems?



Sungrown in nature from seed, no GM hydrobud
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Re: Straight from the 70s in Ja Stylee

Postby jb welda » Fri Nov 12, 2010 2:57 am

some of that stuff looks straight off the plant.

one
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Re: Straight from the 70s in Ja Stylee

Postby Martin Campbell » Wed Jan 26, 2011 8:32 pm

zonard wrote:
Werner wrote:it's Crucial Bunny, he's correctly identified on some of the other photos.


That makes sense, thanks Werner, didn't notice that :P


Which site has the rest of the photos,they are fascinating?
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Re: Straight from the 70s in Ja Stylee

Postby message_music » Wed Jan 26, 2011 8:59 pm

Martin Campbell wrote:
zonard wrote:
Werner wrote:it's Crucial Bunny, he's correctly identified on some of the other photos.


That makes sense, thanks Werner, didn't notice that :P


Which site has the rest of the photos,they are fascinating?



is this THE martin campbell ?
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Re: Straight from the 70s in Ja Stylee

Postby skunkride » Wed Jan 26, 2011 9:05 pm

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Re: Straight from the 70s in Ja Stylee

Postby Martin Campbell » Wed Jan 26, 2011 9:19 pm

Chocolate Soldier wrote:Later Ch One pics (80's?) show they had an Ampex MM1200 16 trk and MCI JH110 2 trk


Image


The JH110 was a real headache, I still have mine but I stopped using it along time ago now, Joseph still has that one aswell.They would suddenly stop during a mixdown and we would have to pull the cicuit boards out and press the IC,s back down and pray it would continue for a while.
The Ampex 440 was much better with a DC motor, but Joseph put an Otari 2 track in during the 80,s and that was the best.
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Re: Straight from the 70s in Ja Stylee

Postby Martin Campbell » Wed Jan 26, 2011 9:28 pm

Chocolate Soldier wrote:I wonder if that stuff is even hooked up or what we see is how its stored at Ch 1 mach II?

Prices for professional tape decks and consoles were huge at the time..

Supposedly a pro 24 track deck cost about the same as an average London house back in the day.

$38 grand - imagine what that'd be in 2010 dollars!

Using http://www.westegg.com/inflation/infl.cgi:

'What cost $38000 in 1976 would cost $141626.72 in 2009'


The pictures I took are of the original tape machines in Josephs house.I have cleaned them up and set them out in the same way they stood in the control room in the 80,s.They are never likly to be used again and indeed I have the headblock off the 16 track on my MM1200 which still runs good.We use it now for transfering some of the original 2 inch tapes to digital.
But I have to bake the tapes first in my AGA in my kitchen before we can get them to play.
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Re: Straight from the 70s in Ja Stylee

Postby zonard » Wed Jan 26, 2011 10:01 pm

Welcome here Martin ! Thanks for the input
User avatar
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Re: Straight from the 70s in Ja Stylee

Postby Martin Campbell » Wed Jan 26, 2011 11:36 pm

zonard wrote:Welcome here Martin ! Thanks for the input

If you mean Martin Campbell the roots man yes it is I.
This discusion is very interesting I never knew anyone was interested in the technical things about Channel One.The new studio is indeed on Westkings House rd and work has come to a halt at the moment, but it must be understood this new studio will never sound or be like 29 Maxfield Avenue.That was something very special, a one off, never to be repeated. Its location and the equipment used in there gave it a vibes that could not happen again.Anybody who knows Kingston would know that area is now totaly different and just the beggers alone not to mention the gunmen would make it impossible to get a good vibes nowadays.
From a technical point of view it seems like nobody has noticed how amateur everything sounds compared to back then.Me and Joseph have long discussions on how everthing has no tonation and sounds so terrible, but people have become used to hearing so called music like that now.It has allot to do with love of the music back then,evryone enjoyed what was happening and money was not the only thing it was about.Joseph Hookim is like a father to me and is the kindest person I have ever known,he did such allot for the people down there and never wanted any claim to fame, he gave away thousands of dollars to thoses less fortunate.
I could rant on about Channel One for years it affected me in such a huge way that I know it has helped me to become what I do today.
If it means anything,the soul of Channel One lives on, I have some bits out of it in my Channel One UK studio so some of what you hear on my production is recorded through the same EQ and preamps that those artists of old passed through.
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