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███▄█▄▀▀▀▀▀▄▀▀▄▄▀▀▀▄▄▀▀▀▀▀▄▄▄▀▀▀▀▄▄▀▀▄▄▀▀▀▄▄▀▀▄▀▀▀▀▀▄▀▀░▀▀▀▀▀▄▀▀ ▀▀▄█ █ ▄▀███ ███▀ ▀▀▀▀▀ ▀▀ ▀▀▀ ▀▀▀▀▀ ▀▀▀▀ ▀▀ ▀▀▀ ▀▀ ▀▀▀▀▀ ▀▀ ▀▀▀▀▀ ▀▀▀█▀█ █▀█▀███ ░██▀█ ▀▄█▄ ██▄▄ ▄▀██▀ B O S S L I V E I S P R O U D T O P R E S E N T ▀▄█▀█▄ ▄▀██░ ------------------------------------------------------------ ▐███▀ ▀▄█▄ artist : VA size : 159,8 MB ██▌▄ ░█▄▀▄ show : One World Trojan Records Showcaseation : BBC Radio 1 ░██▀▄ ▄▀██▀ genre : Reggae air.date: 02/20/2004 ▄▀▄▀▀ ▄▀██░ source : DAB Radio rel.date: 02/20/2004 ▀█▀▄ ▀██ bitrate : 192 kbit ripper : Team BOSS ██▀█ █ █ ▄▀██▀ ▄▀ ▄ █▀▀▀▀▀▀▀▀▀▀▀▀▀▀██▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀█ ▄▀██ ██▀ ░█ ███▀▀███ ███ ▄▀ ███▀███ ██▄ ███ ███▀▀▀ ███▀██ █░ . ▀▄█▄ ▄ █ █▄ . ░██ ███ ███ ███ ▀ ███ ███████ ███ ▄▀ ███ ██ ██░ ░█▄▀▄▄ ▄ ▀▀▄█▄█▄▀▄▄▄███ ███ ███ ███ ▀▄ ███▄▄▄▄ ███████ ███▄▄▄ ███ ██ ██▀▄▄ ▄▀██▀ ▀▀▄▄▄ ▀█▀█ ▄▀██ ███▀▀██▀ ███ ▄▀ ███ ███████ ███ ▄ ███ ██ █ █ ▄▀█▀█ █▄▄▀ ▀ ▄█▀ ▄▀▀▀▄██ ███ ██ ███▄▄▄ ██▄▄███ ███ ▀██ ███ ▄▀ ███▄██ ██ ▀██▄██▀░ ▀ ▄█▄▀░█ ░█▄▄ ▄▄▄▄ ▄▄▄▄▄ ▄▄▄▄ ▄▄ ▄ ▄▄▄ ▄ ▄▄▄▀█▄▄▄▄▄▄▄▄█▄███▄▀▄▀▄░ ▀▄▀█░█ ░█ ▄▀ ▀▄█▀█ ▄▀ ▀ ▀▄██▄▀ ▀▄█ ▀▄▄▀ █▀█░ ▀▀▄▀░▄█▄▀█░ █▀█▀▄▀ █ ▀▄ ▄ ▀▀▀ ▀▀ ▀▀▀ ▄ ▄ █▀ ▀▄▀█▄ ████▄ ▀ ▀▀▀ ▀▀▀ ░████░ ▐███▄▄ ▐███▀▄ ██▌▄▀█ BOSS Proudly Presents the One World: Trojan Records ░██▌▄▀ ██▌▄▀█ Showcase. A showcase of the world's leading vintage ░██▌▄▀ ██▌▄▀█ Jamaican music label. ░██▌▄▀ ██▌▄▀█ ░██▌▄▀ ██▌▄▀█ In brief... ░██▌▄▀ ██▌▄▀█ ░██▌▄▀ ██▌▄▀█ Formed in 1968, Trojan Records quickly went on to ░██▌▄▀ ██▌▄▀█ dominate the Jamaican music scene in the UK until the ░██▌▄▀ ██▌▄▀█ mid-seventies, introducing millions to the sound of ░██▌▄▀ ██▌▄▀█ reggae throughout this period with innumerable ░██▌▄▀ ██▌▄▀█ releases, including numerous chart hits. ░██▌▄▀ ██▌▄▀█ ░██▌▄▀ ██▌▄▀█ Today, under the stewardship of Sanctuary Records, ░██▌▄▀ ██▌▄▀█ Trojan has become the world's leading vintage ░██▌▄▀ ██▌▄▀█ Jamaican music label, drawing on its vast archive to ░██▌▄▀ ██▌▄▀█ provide the source for a myriad compilations, ░██▌▄▀ ██▌▄▀█ highlighting genres as diverse as Ska and Dub, ░██▌▄▀ ██▌▄▀█ Rocksteady and Dancehall. ░██▌▄▀ ██▌▄▀█ ░██▌▄▀ ██▌▄▀█ The Trojan Records Story: written by Laurence Cane ░██▌▄▀ ██▌▄▀█ Honeyset - author of 'Young Gifted And Black' ░██▌▄▀ ██▌▄▀█ ░██▌▄▀ ██▌▄▀█ When attempting to recount the origins of Trojan ░██▌▄▀ ██▌▄▀█ Records, it is almost impossible to identify a ░██▌▄▀ ██▌▄▀█ single, specific time and place as to when and where ░██▌▄▀ ██▌▄▀█ the label originated. For the sake of argument, let's ░██▌▄▀ ██▌▄▀█ refer to July 28th 1967, the date when one of the ░██▌▄▀ ██▌▄▀█ UK's leading Jamaican music labels, Island Records, ░██▌▄▀ ██▌▄▀█ owned by the enigmatic Anglo-Jamaican entrepreneur, ░██▌▄▀ ██▌▄▀█ Chris Blackwell, launched a label to specifically ░██▌▄▀ ██▌▄▀█ showcase the productions of a certain Arthur 'Duke' ░██▌▄▀ ██▌▄▀█ Reid. ░██▌▄▀ ██▌▄▀█ ░██▌▄▀ ██▌▄▀█ The name of the subsidiary was Trojan, so-named in ░██▌▄▀ ██▌▄▀█ recognition one of Mr Reid's long-standing mantles ░██▌▄▀ ██▌▄▀█ that he had acquired during his earliest days in the ░██▌▄▀ ██▌▄▀█ music business. For it was back then that his ░██▌▄▀ ██▌▄▀█ seven-ton 'Trojan' trucks that transported his ░██▌▄▀ ██▌▄▀█ powerful sound system around Jamaica became renown ░██▌▄▀ ██▌▄▀█ among the island's dance goers. In recognition of the ░██▌▄▀ ██▌▄▀█ vehicles with which he had become identified, Reid ░██▌▄▀ ██▌▄▀█ had emblazoned across their sides, 'Duke Reid, The ░██▌▄▀ ██▌▄▀█ Trojan - King Of Sounds' and when he turned his hand ░██▌▄▀ ██▌▄▀█ to producing, chose 'Trojan' as the name for his ░██▌▄▀ ██▌▄▀█ first record label. ░██▌▄▀ ██▌▄▀█ ░██▌▄▀ ██▌▄▀█ By the time Island belatedly followed suit and issued ░██▌▄▀ ██▌▄▀█ their own version of the Trojan label in the summer ░██▌▄▀ ██▌▄▀█ of '67, Duke Reid was firmly established as Jamaica's ░██▌▄▀ ██▌▄▀█ leading protagonist of the Rocksteady sound. By this ░██▌▄▀ ██▌▄▀█ time he was more readily associated with the title ░██▌▄▀ ██▌▄▀█ 'Treasure Isle', having selected this name for his ░██▌▄▀ ██▌▄▀█ studio, radio show and leading label. Indeed, ░██▌▄▀ ██▌▄▀█ Island's first Duke Reid showcase label, launched ░██▌▄▀ ██▌▄▀█ earlier that year also bore the 'Treasure Isle' name, ░██▌▄▀ ██▌▄▀█ but with the producer riding the crest of a wave, a ░██▌▄▀ ██▌▄▀█ second label for his works was deemed necessary to ░██▌▄▀ ██▌▄▀█ ensure almost everything he issued saw release in the ░██▌▄▀ ██▌▄▀█ UK. ░██▌▄▀ ██▌▄▀█ ░██▌▄▀ ██▌▄▀█ So it was that the first UK manufactured 'Trojan' ░██▌▄▀ ██▌▄▀█ singles hit the streets of Britain. With the quality ░██▌▄▀ ██▌▄▀█ of Reid's output second to none, both in terms of ░██▌▄▀ ██▌▄▀█ quality and popularity, one would have thought that ░██▌▄▀ ██▌▄▀█ the label would have continued in its own right, but ░██▌▄▀ ██▌▄▀█ it was not to be. The label ran for a mere dozen or ░██▌▄▀ ██▌▄▀█ so releases before Island decided to pull the plug, ░██▌▄▀ ██▌▄▀█ leaving Reid's productions for release on their ░██▌▄▀ ██▌▄▀█ Treasure Isle imprint. ░██▌▄▀ ██▌▄▀█ ░██▌▄▀ ██▌▄▀█ The story might well have ended there, with Trojan ░██▌▄▀ ██▌▄▀█ little more than a footnote in the annals of Island's ░██▌▄▀ ██▌▄▀█ history, and that it was not, is more to due luck ░██▌▄▀ ██▌▄▀█ than forethought. Almost a year after the launch of ░██▌▄▀ ██▌▄▀█ Island's Trojan, a new imprint bearing the name rose ░██▌▄▀ ██▌▄▀█ from its ashes - a label that although Jamaican ░██▌▄▀ ██▌▄▀█ music-based was far different to its earlier ░██▌▄▀ ██▌▄▀█ incarnation. A merger between Chris Blackwell's ░██▌▄▀ ██▌▄▀█ Island and its main distributor, B&C (Beat & ░██▌▄▀ ██▌▄▀█ Commercial), operated by Indo-Jamaican businessman, ░██▌▄▀ ██▌▄▀█ Lee Gopthal resulted in the creation of a new company ░██▌▄▀ ██▌▄▀█ that was to highlight a variety of Jamaican sounds. ░██▌▄▀ ██▌▄▀█ With the Trojan label only recently having been ░██▌▄▀ ██▌▄▀█ pulled, what better name for this new business ░██▌▄▀ ██▌▄▀█ venture? ░██▌▄▀ ██▌▄▀█ ░██▌▄▀ ██▌▄▀█ The new Trojan immediately began showcasing ░██▌▄▀ ██▌▄▀█ recordings from varying sources, ranging from ░██▌▄▀ ██▌▄▀█ British-based productions, particularly those of ░██▌▄▀ ██▌▄▀█ Robert 'Dandy' Thompson, to the works of such ░██▌▄▀ ██▌▄▀█ esteemed Jamaican operators as Lee 'Scratch' Perry, ░██▌▄▀ ██▌▄▀█ Edward 'Bunny' Lee, Clancy Eccles and, of course, ░██▌▄▀ ██▌▄▀█ Duke Reid himself. ░██▌▄▀ ██▌▄▀█ ░██▌▄▀ ██▌▄▀█ In the meantime, the increased volume of recordings ░██▌▄▀ ██▌▄▀█ being purchased and licensed by the company resulted ░██▌▄▀ ██▌▄▀█ in Trojan launching a number of subsidiary labels, ░██▌▄▀ ██▌▄▀█ most of which showcased the output of a single ░██▌▄▀ ██▌▄▀█ producer. Already up and running at the time of ░██▌▄▀ ██▌▄▀█ Trojan's launch were 'Amalgamated' for Joe Gibbs, ░██▌▄▀ ██▌▄▀█ 'Treasure Isle' for Duke Reid and both 'Coxsone' and ░██▌▄▀ ██▌▄▀█ 'Studio One' for Clement 'Coxsone' Dodd, and by early ░██▌▄▀ ██▌▄▀█ 1969, these had been joined by High Note (Sonia ░██▌▄▀ ██▌▄▀█ Pottinger), Upsetter (Lee Perry), Jackpot (Bunny ░██▌▄▀ ██▌▄▀█ Lee), Clandisc (Clancy Eccles) and Down Town (Dandy). ░██▌▄▀ ██▌▄▀█ In addition, 'Blue Cat', which highlighted works by ░██▌▄▀ ██▌▄▀█ various producers, was joined by two other imprints ░██▌▄▀ ██▌▄▀█ that fulfilled the same function: Big Shot and Duke. ░██▌▄▀ ██▌▄▀█ In fact, so great was Trojan's expansion during this ░██▌▄▀ ██▌▄▀█ early period in its history that the company launched ░██▌▄▀ ██▌▄▀█ more than thirty different new labels by the dawn of ░██▌▄▀ ██▌▄▀█ the new decade. ░██▌▄▀ ██▌▄▀█ ░██▌▄▀ ██▌▄▀█ On the album front, three ranges, each of which had ░██▌▄▀ ██▌▄▀█ their own price point, were created, the most ░██▌▄▀ ██▌▄▀█ expensive being the TRL series that featured ░██▌▄▀ ██▌▄▀█ predominantly single artist packages, while the ░██▌▄▀ ██▌▄▀█ cheapest was the TTL line that highlighted a mixture ░██▌▄▀ ██▌▄▀█ of compilations and Island re-issues. Trojan's other ░██▌▄▀ ██▌▄▀█ budget range was the TBL series that featured a bit ░██▌▄▀ ██▌▄▀█ of everything and which for a time became the most ░██▌▄▀ ██▌▄▀█ favoured among British Reggae fans, particularly as ░██▌▄▀ ██▌▄▀█ it was on this line that the company issued their ░██▌▄▀ ██▌▄▀█ popular 'Tighten Up' and 'Club Reggae' collections. ░██▌▄▀ ██▌▄▀█ ░██▌▄▀ ██▌▄▀█ Formed in 1968, Trojan Records quickly went on to ░██▌▄▀ ██▌▄▀█ dominate the Jamaican music scene in the UK until the ░██▌▄▀ ██▌▄▀█ mid-seventies, introducing millions to the sound of ░██▌▄▀ ██▌▄▀█ reggae throughout this period with innumerable ░██▌▄▀ ██▌▄▀█ releases, including numerous chart hits. ░██▌▄▀ ██▌▄▀█ ░██▌▄▀ ██▌▄▀█ Today, under the stewardship of Sanctuary Records, ░██▌▄▀ ██▌▄▀█ Trojan has become the world's leading vintage ░██▌▄▀ ██▌▄▀█ Jamaican music label, drawing on its vast archive to ░██▌▄▀ ██▌▄▀█ provide the source for a myriad compilations, ░██▌▄▀ ██▌▄▀█ highlighting genres as diverse as Ska and Dub, ░██▌▄▀ ██▌▄▀█ Rocksteady and Dancehall. ░██▌▄▀ ██▌▄▀█ ░██▌▄▀ ██▌▄▀█ The Trojan Records Story: written by Laurence Cane ░██▌▄▀ ██▌▄▀█ Honeyset - author of 'Young Gifted And Black' ░██▌▄▀ ██▌▄▀█ ░██▌▄▀ ██▌▄▀█ When attempting to recount the origins of Trojan ░██▌▄▀ ██▌▄▀█ Records, it is almost impossible to identify a ░██▌▄▀ ██▌▄▀█ single, specific time and place as to when and where ░██▌▄▀ ██▌▄▀█ the label originated. For the sake of argument, let's ░██▌▄▀ ██▌▄▀█ refer to July 28th 1967, the date when one of the ░██▌▄▀ ██▌▄▀█ UK's leading Jamaican music labels, Island Records, ░██▌▄▀ ██▌▄▀█ owned by the enigmatic Anglo-Jamaican entrepreneur, ░██▌▄▀ ██▌▄▀█ Chris Blackwell, launched a label to specifically ░██▌▄▀ ██▌▄▀█ showcase the productions of a certain Arthur 'Duke' ░██▌▄▀ ██▌▄▀█ Reid. ░██▌▄▀ ██▌▄▀█ ░██▌▄▀ ██▌▄▀█ The name of the subsidiary was Trojan, so-named in ░██▌▄▀ ██▌▄▀█ recognition one of Mr Reid's long-standing mantles ░██▌▄▀ ██▌▄▀█ that he had acquired during his earliest days in the ░██▌▄▀ ██▌▄▀█ music business. For it was back then that his ░██▌▄▀ ██▌▄▀█ seven-ton 'Trojan' trucks that transported his ░██▌▄▀ ██▌▄▀█ powerful sound system around Jamaica became renown ░██▌▄▀ ██▌▄▀█ among the island's dance goers. In recognition of the ░██▌▄▀ ██▌▄▀█ vehicles with which he had become identified, Reid ░██▌▄▀ ██▌▄▀█ had emblazoned across their sides, 'Duke Reid, The ░██▌▄▀ ██▌▄▀█ Trojan - King Of Sounds' and when he turned his hand ░██▌▄▀ ██▌▄▀█ to producing, chose 'Trojan' as the name for his ░██▌▄▀ ██▌▄▀█ first record label. ░██▌▄▀ ██▌▄▀█ ░██▌▄▀ ██▌▄▀█ By the time Island belatedly followed suit and issued ░██▌▄▀ ██▌▄▀█ their own version of the Trojan label in the summer ░██▌▄▀ ██▌▄▀█ of '67, Duke Reid was firmly established as Jamaica's ░██▌▄▀ ██▌▄▀█ leading protagonist of the Rocksteady sound. By this ░██▌▄▀ ██▌▄▀█ time he was more readily associated with the title ░██▌▄▀ ██▌▄▀█ 'Treasure Isle', having selected this name for his ░██▌▄▀ ██▌▄▀█ studio, radio show and leading label. Indeed, ░██▌▄▀ ██▌▄▀█ Island's first Duke Reid showcase label, launched ░██▌▄▀ ██▌▄▀█ earlier that year also bore the 'Treasure Isle' name, ░██▌▄▀ ██▌▄▀█ but with the producer riding the crest of a wave, a ░██▌▄▀ ██▌▄▀█ second label for his works was deemed necessary to ░██▌▄▀ ██▌▄▀█ ensure almost everything he issued saw release in the ░██▌▄▀ ██▌▄▀█ UK. ░██▌▄▀ ██▌▄▀█ ░██▌▄▀ ██▌▄▀█ So it was that the first UK manufactured 'Trojan' ░██▌▄▀ ██▌▄▀█ singles hit the streets of Britain. With the quality ░██▌▄▀ ██▌▄▀█ of Reid's output second to none, both in terms of ░██▌▄▀ ██▌▄▀█ quality and popularity, one would have thought that ░██▌▄▀ ██▌▄▀█ the label would have continued in its own right, but ░██▌▄▀ ██▌▄▀█ it was not to be. The label ran for a mere dozen or ░██▌▄▀ ██▌▄▀█ so releases before Island decided to pull the plug, ░██▌▄▀ ██▌▄▀█ leaving Reid's productions for release on their ░██▌▄▀ ██▌▄▀█ Treasure Isle imprint. ░██▌▄▀ ██▌▄▀█ ░██▌▄▀ ██▌▄▀█ The story might well have ended there, with Trojan ░██▌▄▀ ██▌▄▀█ little more than a footnote in the annals of Island's ░██▌▄▀ ██▌▄▀█ history, and that it was not, is more to due luck ░██▌▄▀ ██▌▄▀█ than forethought. Almost a year after the launch of ░██▌▄▀ ██▌▄▀█ Island's Trojan, a new imprint bearing the name rose ░██▌▄▀ ██▌▄▀█ from its ashes - a label that although Jamaican ░██▌▄▀ ██▌▄▀█ music-based was far different to its earlier ░██▌▄▀ ██▌▄▀█ incarnation. A merger between Chris Blackwell's ░██▌▄▀ ██▌▄▀█ Island and its main distributor, B&C (Beat & ░██▌▄▀ ██▌▄▀█ Commercial), operated by Indo-Jamaican businessman, ░██▌▄▀ ██▌▄▀█ Lee Gopthal resulted in the creation of a new company ░██▌▄▀ ██▌▄▀█ that was to highlight a variety of Jamaican sounds. ░██▌▄▀ ██▌▄▀█ With the Trojan label only recently having been ░██▌▄▀ ██▌▄▀█ pulled, what better name for this new business ░██▌▄▀ ██▌▄▀█ venture? ░██▌▄▀ ██▌▄▀█ ░██▌▄▀ ██▌▄▀█ The new Trojan immediately began showcasing ░██▌▄▀ ██▌▄▀█ recordings from varying sources, ranging from ░██▌▄▀ ██▌▄▀█ British-based productions, particularly those of ░██▌▄▀ ██▌▄▀█ Robert 'Dandy' Thompson, to the works of such ░██▌▄▀ ██▌▄▀█ esteemed Jamaican operators as Lee 'Scratch' Perry, ░██▌▄▀ ██▌▄▀█ Edward 'Bunny' Lee, Clancy Eccles and, of course, ░██▌▄▀ ██▌▄▀█ Duke Reid himself. ░██▌▄▀ ██▌▄▀█ ░██▌▄▀ ██▌▄▀█ In the meantime, the increased volume of recordings ░██▌▄▀ ██▌▄▀█ being purchased and licensed by the company resulted ░██▌▄▀ ██▌▄▀█ in Trojan launching a number of subsidiary labels, ░██▌▄▀ ██▌▄▀█ most of which showcased the output of a single ░██▌▄▀ ██▌▄▀█ producer. Already up and running at the time of ░██▌▄▀ ██▌▄▀█ Trojan's launch were 'Amalgamated' for Joe Gibbs, ░██▌▄▀ ██▌▄▀█ 'Treasure Isle' for Duke Reid and both 'Coxsone' and ░██▌▄▀ ██▌▄▀█ 'Studio One' for Clement 'Coxsone' Dodd, and by early ░██▌▄▀ ██▌▄▀█ 1969, these had been joined by High Note (Sonia ░██▌▄▀ ██▌▄▀█ Pottinger), Upsetter (Lee Perry), Jackpot (Bunny ░██▌▄▀ ██▌▄▀█ Lee), Clandisc (Clancy Eccles) and Down Town (Dandy). ░██▌▄▀ ██▌▄▀█ In addition, 'Blue Cat', which highlighted works by ░██▌▄▀ ██▌▄▀█ various producers, was joined by two other imprints ░██▌▄▀ ██▌▄▀█ that fulfilled the same function: Big Shot and Duke. ░██▌▄▀ ██▌▄▀█ In fact, so great was Trojan's expansion during this ░██▌▄▀ ██▌▄▀█ early period in its history that the company launched ░██▌▄▀ ██▌▄▀█ more than thirty different new labels by the dawn of ░██▌▄▀ ██▌▄▀█ the new decade. ░██▌▄▀ ██▌▄▀█ ░██▌▄▀ ██▌▄▀█ On the album front, three ranges, each of which had ░██▌▄▀ ██▌▄▀█ their own price point, were created, the most ░██▌▄▀ ██▌▄▀█ expensive being the TRL series that featured ░██▌▄▀ ██▌▄▀█ predominantly single artist packages, while the ░██▌▄▀ ██▌▄▀█ cheapest was the TTL line that highlighted a mixture ░██▌▄▀ ██▌▄▀█ of compilations and Island re-issues. Trojan's other ░██▌▄▀ ██▌▄▀█ budget range was the TBL series that featured a bit ░██▌▄▀ ██▌▄▀█ of everything and which for a time became the most ░██▌▄▀ ██▌▄▀█ favoured among British Reggae fans, particularly as ░██▌▄▀ ██▌▄▀█ it was on this line that the company issued their ░██▌▄▀ ██▌▄▀█ popular 'Tighten Up' and 'Club Reggae' collections. ░██▌▄▀ ██▌▄▀█ ░██▌▄▀ ██▌▄▀█ Over the years that followed his Allied/Saga enjoyed ░██▌▄▀ ██▌▄▀█ considerable commercial, so much so by the ░██▌▄▀ ██▌▄▀█ mid-seventies, he was ready for additional ░██▌▄▀ ██▌▄▀█ procurements. Trojan seemed to ideally suit his ░██▌▄▀ ██▌▄▀█ ambitions and after a series of negotiations, it was ░██▌▄▀ ██▌▄▀█ agreed that it be split into two separate entities: ░██▌▄▀ ██▌▄▀█ its publishing wing, B&C (Beat & Commercial) would ░██▌▄▀ ██▌▄▀█ become B&C Recordings Limited, while the records ░██▌▄▀ ██▌▄▀█ division would be re-launched as Trojan Recordings ░██▌▄▀ ██▌▄▀█ Limited. Once this was accomplished, the assets, but ░██▌▄▀ ██▌▄▀█ not the liabilities of the old business were ░██▌▄▀ ██▌▄▀█ transferred to the two new companies. And so it was ░██▌▄▀ ██▌▄▀█ that on 31st May 1975, Marcel Rodd became the owner ░██▌▄▀ ██▌▄▀█ of the new companies for the princely sum of just ░██▌▄▀ ██▌▄▀█ over ú30,000. ░██▌▄▀ ██▌▄▀█ ░██▌▄▀ ██▌▄▀█ The first memorable chapter of Trojan's history had ░██▌▄▀ ██▌▄▀█ finally come to a close. ░██▌▄▀ ██▌▄▀█ ░██▌▄▀ ██▌▄▀█ Initially, the acquisition of Trojan appeared to be a ░██▌▄▀ ██▌▄▀█ rather shrewd investment, but the reality proved ░██▌▄▀ ██▌▄▀█ quite different. The deal was not quite the bargain ░██▌▄▀ ██▌▄▀█ Rodd had originally envisaged. A primary motive for ░██▌▄▀ ██▌▄▀█ acquiring the company was its distribution deal with ░██▌▄▀ ██▌▄▀█ Charisma Records, a successful Pop and Rock based ░██▌▄▀ ██▌▄▀█ label with a number of major mainstream acts on its ░██▌▄▀ ██▌▄▀█ roster (Genesis amongst others). As soon as Trojan ░██▌▄▀ ██▌▄▀█ had changed hands, Charisma transferred the ░██▌▄▀ ██▌▄▀█ distribution of its product to Island, leaving Rodd ░██▌▄▀ ██▌▄▀█ with a company about whose product he knew virtually ░██▌▄▀ ██▌▄▀█ nil. ░██▌▄▀ ██▌▄▀█ ░██▌▄▀ ██▌▄▀█ To add to his dismay, he quickly lost the services of ░██▌▄▀ ██▌▄▀█ his new M.D., Webster Shrowder, who had been with ░██▌▄▀ ██▌▄▀█ Trojan since the late sixties, but whose involvement ░██▌▄▀ ██▌▄▀█ with a recently formed rival company, Vulcan Records, ░██▌▄▀ ██▌▄▀█ presented a conflict of interests. Although Rodd soon ░██▌▄▀ ██▌▄▀█ found an able replacement in Clive Stanhope, he ░██▌▄▀ ██▌▄▀█ quickly recognised the need for renewed investment in ░██▌▄▀ ██▌▄▀█ contemporary Jamaican product. As a result, new deals ░██▌▄▀ ██▌▄▀█ with a number of major Kingston-based performers and ░██▌▄▀ ██▌▄▀█ producers were swiftly negotiated, while the ░██▌▄▀ ██▌▄▀█ contracts of their UK-based counterparts were ░██▌▄▀ ██▌▄▀█ unceremoniously terminated. ░██▌▄▀ ██▌▄▀█ ░██▌▄▀ ██▌▄▀█ By now, however, Trojan was facing an uphill struggle ░██▌▄▀ ██▌▄▀█ to regain any significant share of an ░██▌▄▀ ██▌▄▀█ ever-competitive Reggae music market. Along with the ░██▌▄▀ ██▌▄▀█ two major independents, Island and Virgin, the ░██▌▄▀ ██▌▄▀█ company contended with smaller labels, many of whom ░██▌▄▀ ██▌▄▀█ were controlled by former Trojan employees. Despite ░██▌▄▀ ██▌▄▀█ this, the new Trojan got off to a promising start, ░██▌▄▀ ██▌▄▀█ when Pluto Shervington's 'Ram Goat Liver' became a ░██▌▄▀ ██▌▄▀█ minor chart hit in the spring of 1976, although the ░██▌▄▀ ██▌▄▀█ company was unable to maintain the momentum and ░██▌▄▀ ██▌▄▀█ further immediate chart entries proved elusive. ░██▌▄▀ ██▌▄▀█ ░██▌▄▀ ██▌▄▀█ Over the next three years, Trojan failed to achieve ░██▌▄▀ ██▌▄▀█ anything that could be considered mainstream success ░██▌▄▀ ██▌▄▀█ and increasingly turned to its tried and tested ░██▌▄▀ ██▌▄▀█ back-catalogue for revenue. As the seventies drew to ░██▌▄▀ ██▌▄▀█ a close, there seemed little cause for optimism, but ░██▌▄▀ ██▌▄▀█ it just at this most unlikely of times that good ░██▌▄▀ ██▌▄▀█ fortune finally favoured the ailing label. ░██▌▄▀ ██▌▄▀█ ░██▌▄▀ ██▌▄▀█ The development of the so-called 'Ska Revival' ░██▌▄▀ ██▌▄▀█ sparked renewed interest of vintage Jamaican sounds ░██▌▄▀ ██▌▄▀█ and on the back of this nationwide trend, Trojan ░██▌▄▀ ██▌▄▀█ re-issued the original versions of a number of Reggae ░██▌▄▀ ██▌▄▀█ classics that had recently been revamped led by ░██▌▄▀ ██▌▄▀█ leading Two Tone outfit, the Specials. In 1980, ░██▌▄▀ ██▌▄▀█ 'Liquidator' and 'Long Shot Kick De Bucket' ░██▌▄▀ ██▌▄▀█ re-entered the Pop charts, over a decade since their ░██▌▄▀ ██▌▄▀█ first appearance on the national listings, while ░██▌▄▀ ██▌▄▀█ Symarip's 'Skinhead Moonstomp' anthem slipped into ░██▌▄▀ ██▌▄▀█ the top 60 of February that year. ░██▌▄▀ ██▌▄▀█ ░██▌▄▀ ██▌▄▀█ Encouraged by such successes, Trojan expanded again, ░██▌▄▀ ██▌▄▀█ and signed a number of well-known Jamaican acts to ░██▌▄▀ ██▌▄▀█ the label, but despite these latest efforts, a new ░██▌▄▀ ██▌▄▀█ golden era failed to materialise and the impetus was ░██▌▄▀ ██▌▄▀█ quickly lost. By the mid-eighties, Trojan appeared to ░██▌▄▀ ██▌▄▀█ be drifting once again and in 1985 the company ░██▌▄▀ ██▌▄▀█ changed hands for a third time. Colin Newman, a music ░██▌▄▀ ██▌▄▀█ fan and avid collector, stepped in to buy Trojan for ░██▌▄▀ ██▌▄▀█ an undisclosed sum and immediately set about putting ░██▌▄▀ ██▌▄▀█ in motion an extensive re-issue programme. Under his ░██▌▄▀ ██▌▄▀█ stewardship, the company predominantly focused on its ░██▌▄▀ ██▌▄▀█ vast back catalogue, employing a number of Reggae ░██▌▄▀ ██▌▄▀█ specialists to help turn it into world leaders in the ░██▌▄▀ ██▌▄▀█ field of vintage Jamaican sounds. Trojan's success ░██▌▄▀ ██▌▄▀█ was duly noted by Sanctuary Records, who in 2001 took ░██▌▄▀ ██▌▄▀█ the decision to pay the sum of ú10 million for the ░██▌▄▀ ██▌▄▀█ privilege of becoming the next owners of the historic ░██▌▄▀ ██▌▄▀█ label.s ░██▌▄▀ ██▌▄▀█ ░██▌▄▀ ██▌▄▀█ Sanctuary's acquisition of Trojan marked a new age in ░██▌▄▀ ██▌▄▀█ the label's already illustrious history and over the ░██▌▄▀ ██▌▄▀█ months that have followed, the label's fortunes have ░██▌▄▀ ██▌▄▀█ remained on the ascendant. The involvement of some of ░██▌▄▀ ██▌▄▀█ the world's leading Jamaican music authorities has ░██▌▄▀ ██▌▄▀█ resulted in a series of acclaimed compilations, ░██▌▄▀ ██▌▄▀█ covering a variety of genres, ranging from Ska to ░██▌▄▀ ██▌▄▀█ Dancehall. Alongside esoteric collections, aimed at ░██▌▄▀ ██▌▄▀█ those already with a deep knowledge and love of the ░██▌▄▀ ██▌▄▀█ music, have been a number of best selling sets that ░██▌▄▀ ██▌▄▀█ have been instrumental in introducing vintage ░██▌▄▀ ██▌▄▀█ Jamaican sounds to an audience previously unaware of ░██▌▄▀ ██▌▄▀█ its pleasures. Of these collections, none have been ░██▌▄▀ ██▌▄▀█ more successful than 'Young Gifted & Black' and ░██▌▄▀ ██▌▄▀█ 'Reggae Love Songs', both of which enjoyed long runs ░██▌▄▀ ██▌▄▀█ on the national Pop charts. ░██▌▄▀ ██▌▄▀█ ░██▌▄▀ ██▌▄▀█ In 2003, two more respected, long standing ░██▌▄▀ ██▌▄▀█ Reggae-based companies, RAS and Creole, joined the ░██▌▄▀ ██▌▄▀█ Sanctuary fold, giving the company access to an ░██▌▄▀ ██▌▄▀█ astounding range of repertoire that is unequalled in ░██▌▄▀ ██▌▄▀█ the field of Jamaican music. With such a variety of ░██▌▄▀ ██▌▄▀█ quality Jamaican sounds at its disposal, 2004 ░██▌▄▀ ██▌▄▀█ promises to be yet another memorable year in Trojan's ░██▌▄▀ ██▌▄▀█ illustrious history. With the continued support of ░██▌▄▀ ██▌▄▀█ music fans around the globe, Trojan will continue to ░██▌▄▀ ██▌▄▀█ remain the world's favourite vintage Reggae label for ░██▌▄▀ ██▌▄▀█ generations to come. ░██▌▄▀ ░██▀▄▀ ░██▀▄▀ ▄▀▄▀▀ ▄▀▄▀▀ ▀█▀▄░ ▀█▀▄ ░██▀█ ░██▀█ ▄▀██▀ ......................... ▄▀██▀ ▄▀██░ ▄▀██ ▀▄█▄ [Track Information] ▀▄█▄ ░█▄▀▄ ░█▄▀▄ ▄▀██▀ 01. 20th February 2004 116:19 ▄▀██▀ ▀██▄ ▀██▄ ░██▄▀ ------- ██▄▀ ▄▀▄▀ (116:19 min ▄▀▄▀ ▀██▄ ▀██▄ ░███▄ ███▄ ░██▄▀ ░██▄▀ ▄▀██░ ▀▄ ▄ ▄ ▀▄ ▄▀ ▄▀██░ █▀███ █▄▄ ▄▄▀█▀▀▄ ▄▀▄░█▄▄ ▄▄▄▀▀▄░█▄▄ ▄▄█ █▀███ ▀▐██▌ ░█▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀█░ ▀▐██▌ ░█▀▄█ ░█ ██▀▀▀███ ███▀▀███ ██▀▀▀███ ██▄ ███ ███▀▀▀ ███▀██ █░ ░█▀██ ░▄▀▄▄▀▄ ██ ██ ███ ███ ███ ██ ███ ███████ ███ ███ ██ ██░ ░▄▀█▄ ▄▀▄▄▄▀▄▀▄▄▄███ ██ ▀▀▀ ███ ███ ██ ███ ███████ ███▄▄▄ ███ ██ ██▀▄▄ ▄▀▄▄▄▀ ▄▄▄░▀█▀█ ▄▀██ ██ ▀▀██ ███▀▀██▀ ██▀▀▀▀▀▀ ███████ ███ ▄ ███ ██ █ █ ▄▀█▀█ ▀ ▄█ ▄▀▀▀▄██ ██▄▄▄▄██ ███ ██ ██ ▄ ▄ ███ ▀██ ███ ▄▀ ███▄██ ██ ▀██▄▀▀▀ ▄▀▄█ ░█▄▄ ▄▄▄▄ ▄▄▄▄▄ ▄▄▄ █▄▀█▄▄ ▄ ▄▄▄ ▄ ▄▄▄▀█▄▄▄▄▄▄▄▄█▄███▄█▄▀▄ ░█▀▄ ░█ ▄▀ ▀▄█▀█ ▄▀ ▀ ▀▄██▄▀ ▀▄█ ▀▄▄▀ ░█▀█ ▀▀▄ ▄█▄▀ ░█▄█▀ ▀▄ ▄ ▀▀▀ ▀▀ ▀▀▀ ▄ ▄ █▀ ▀▄▀█▄ ▀▄███ ▀▀▀ ▀▀▀ ░████░ ██▌▄▀ ▄▀▄▀▀ ▄▀██ Greetz Fly To: ░███▄ ▄░██ ░██▄▀ ███▄ tronik sour RFL USF MS tr aPC CMS soup #ascii.cl ▄▀██ ░██▄▀ (and any others we respect..u know who you are) ███ ▄▀██ ▀▐██▌ █▀███ █▀▄█ ▀▐██▌ GREETZ THE BOSS CREW!!! ▄▀▄▄ ░█▀▄█ ▄▀▄▄▄▀░ ▄▀▄▄▀▄ ▀█ █▄▄▀ ▀█▄▀▄▄▀▄▀▄▄ ▄▀▄█▄░ █▄▀█▄█▀▀ ▀ ▄▀▄█▀▄ ▄ ▄▀▄▀█▀▄▀▀▄ ▄ ▄▀▄▀▄▀ ▄ ▄▄▀▄█▄▀▄█ ░█▀█▄▀ ▄▀▀▀ ▀▀▀██▄▄▄▀▀ ▀▄▄▄▀▄▀ ▀▄▀▄▄▄██▀▀▄ ▀▀ ▀▀▄█▄ ▀ ▀▄▀▄▀▄█░ ░▀██▄ █ ▀▄▀ ▀ ▀ ▄▀ ▀█ ▀▄▀▄█░ ███ ▀███ ██ ascii by caciq #ascii.cl ██▄ ▀█▄ ▄█▀ |___________________ O\\|__________________/ 02-20-2004 at 10:39:26 |