Augustus Pablo

小簡介
任何一個生意人都可以告訴你，想要成功就得發(fā)現(xiàn)一個有利的基礎或者是尋求未開發(fā)市場。多數(shù)在雷鬼音樂市場上的生意人、音樂家直到今日都還不敢相信MELOCICA音樂竟會發(fā)展出一片廣闊天地。Augustus Pablo以此趣味般的音樂，發(fā)動了一場前所未有的牙買加音樂革命。Augustus Pablo音樂的獨創(chuàng)性，橫掃整個牙買加而帶來音樂新風潮，融入當時整體的一部分。實力派的音樂家Augustus Pablo，本身是個鍵盤手。他的音樂透過他發(fā)行的種種單曲和表演，呈現(xiàn)給無數(shù)觀眾。他也可以說是音樂鑒賞家！除了音樂上的想法，Augustus Pablo的錄音技巧和制作功力也是一流。
　　Augustus Pablo本名HORACE SWABY，生于1954年的牙買加ST. ANDREW。曾經(jīng)就讀KINGSTON大學(美國人眼中認為不是大學，是高中)，常常和朋友偷溜進教堂玩里頭的風琴。而KINGSTON大學，對于他進入未來的音樂事業(yè)有很大的幫助。CLIVE CHIN是PABLO的同學之一，家里開得是KINGSTON區(qū)第一家的唱片行，叫做RANDY。CHIN家族成員之一的HERMAN CHIN LOY，和他的表哥，也就是鼎鼎大名的制作人LESLIE KONG一同工作。每個國家里都有不同的種族，而活躍于牙買加的中國人，時常和當?shù)胤N族通婚，而婚姻通常也結(jié)合著生意。因為如此，CHIN LOY在1969年開了自己的唱片行和廠牌，命名為AQUARIUS。從而，1970年當時還是15歲小毛頭的SWABY，決定發(fā)展自己的音樂事業(yè)，而加入AQUARIUS就是他跨出的第一步。也因這個年輕小伙子是CLIVE CHIN的好友，所以他們決定讓他試一試。而當時是因為他玩鍵盤的技巧實在出人意表，決定讓他加入AQUARIUS。早期出的單曲像是IGGY IGGY，讓大家對Augustus Pablo和CHIN LOY刮目相看。
　　這些年來，PABLO(很快地他使用了這個綽號)幫CHIN LOY錄制了許多音樂，包括STILL YET、THE MOOD還有SNOWBALL & PUDDING等單曲。在這些之中，是單曲EAST OF THE RIVER NILE讓大家開始注意到他們。EAST OF THE RIVER NILE里頭包括有PABLO和GLEN ADAM的迪琴和風琴二重奏，更加入了LEE PERRY火熱的節(jié)奏。他們的音樂繞梁不絕于腦海，飄渺的東方樂曲更是掀起牙買加一股東方熱。漸漸地小調(diào)旋律開始流行，而主要在加勒比海地區(qū)當?shù)厥⑿?。之后，PABLO加入了MIKEY CHUNG的樂團NOW GENERATION，擔任KEYBOARD手。此時，CLIVE CHIN正為了家族事業(yè)打拼當制作人。(CLIVE CHIN的壓力很大，因為他的哥哥VINCENT早已建立起兩個知名藝人團體，分別是ALTON ELLIS和THE SKATALITES)而現(xiàn)在CLIVE有了眉目，PABLO便離開了NOW GENERATION來幫助他的好友。當時的第一首曲子JAVA，CLIVE與他另一個同學DENNIS WRIGHT早已著手。那時已有了歌曲的節(jié)奏。只是WRIGHT對于加入怎樣的歌聲很傷腦筋，就當CHIN也打算放棄時，PABLO剛好在此時加入他們。他建議在歌曲加入一些旋律，說來奇妙，怎么也沒想到單曲JAVA竟然成為當時轟動的歌曲之一。而這不可思議的三人組合開始了他們的夢想，PABLO不僅和CHIN做了許多的曲子，也幫助當時許多的制作人錄制音樂。他也為了CLIVE的舅舅LEONARD CHIN的廠牌SANTIC 做了一首PABLO IN DUB。當然廠牌SANTIC也協(xié)助他發(fā)行第一張單曲，就是與PAUL WHITEMAN/BLACKMAN合作的SAY SO。PABLO陸續(xù)地和其它制作人合作，像是與LEE PERRY的單曲HOT AND COLD、GUSSIE CLARKE的NO ENTRY和BORN TO DUB YOU、協(xié)助KEITH HUDSON錄制的FAT BABY和THE KILLER，甚至是BUNNY LEE的THE GREAT PABLO和PABLO’S DESIRE。而PABLO’S DESIRE原曲為JOHN HOLT的MY DESIRE，重新錄制后再度造成流行。
　　PABLO跟LEE可以說是天作之合，他幫LEE做了許多B面單曲的INSTRUMENTAL。廠牌RAS合輯PABLO & FRIENDS，即收錄了9首都是他們自己錄制的音樂，。PABLO和他兄弟們設立廠牌ROCKERS，名字由SIBLINGS SOUND SYSTEM那里獲得靈感。像是HOT STUFF、PABLO INTERNATIONAL、ROCKERS INTERNATIONAL和MESSAGE等經(jīng)典樂團都是從ROCKERS發(fā)掘出來的。而PABLO在ROCKERS先行發(fā)的幾張單曲是STUDIO ONE經(jīng)典系列的INSTRUMENTAL版本，像是SKANKING EASY、FROZEN DUB、DON DRUMMOND和PABLO’S THEME SONG。無可置疑的，PABLO在錄音室也受到其它音樂人影響，結(jié)果表現(xiàn)在他的創(chuàng)作上。英國廠牌GREENSLEEVES在1974年發(fā)行ORIGINAL ROCKERS合輯，收錄許多當時PABLO經(jīng)典之作。當然也有許多好的作品是PABLO與CLIVE CHIN兩人一同創(chuàng)作的。1974年，CHIN與另一個家族成員PAT CHIN一同監(jiān)制PABLO經(jīng)典專輯REBEL ROCK REGGAE – THIS IS AUGUSTUS PABLO。從好萊塢音樂舞臺劇到牙買加流行之音，這張專輯的氣份掌握的恰到好處。而這張收集了許多CHIN家族的作品， PABLO早期幫LEONARD制作的音樂也有收錄。來年，PABLO建立與KING TUBBY的合作關系，反倒過來KING TUBBY幫ROCKERS做了一些重要的混音。兩人命名團體為ITAL DUB，由TOMMY COWAN和LESLIE KONG前員工WARWICK LYN一同幫忙制作。ITAL DUB的專輯可以說是當時最為創(chuàng)新的音樂之一。15年后，英國廠牌PRESSURE DROP收集ITAL DUB早期作品，發(fā)行專輯EL ROCKERS。
　　1975年，PABLO以制作人身份大放異彩，與FRED LOCKS合作所寫的BLACK STAR LINER在整個牙買加造成流行，甚至打入英國樂壇。慢慢地越來越多人要求PABLO創(chuàng)作，更多的人都想和他合作，像是HORACE ANDY、FREDDIE MCKAY、JACOB MILLER和I-ROY。1976年早期DUB傳奇專輯之一KING TUBBY MEETS ROCKERS UPTOWN發(fā)行。ROCKERS發(fā)行過的音樂有：AFRICA MUST BE FREE BY 1983(HUGH MANDEL)、ONE STEP DUB (JUNIOR DELGADO)和EASTMAN DUB(與TETRACK的LET’S GET STARTED是一同發(fā)行的)。在KING TUBBY的幫忙下，PABLO發(fā)行了不少音樂。所以PABLO決定幫忙KING TUBBY的廠牌創(chuàng)作。在這些年來除了ROCKERS的本身都東西，其它廠牌也收錄了很多ROCKERS的音樂。不論是英國廠牌GREENSEELVE的CLASSIC ROCKERS系列，還是ROCKERS自己出的GOLDEN MEMORIES。除了創(chuàng)作音樂外，PABLO也受邀到各地去表演KEYBOARD或者是他的專長笛琴。就音樂上來說，他是一股無法擋的力量。
　　1978年PABLO在LEE PERRY的BLACK ARK錄音室，錄制的專輯EAST OF THE RIVER NILE，是歷年最棒的專輯之一。另外，他和年輕歌手HUGH MANDELL(JAH LEVI)合作，發(fā)行連續(xù)三張單曲，往后的兩張專輯AFRICA MUST BE FREE BY 1983和TIME AND PLACE都是兩人嘔心瀝血之作。1982年EARTH’S RIGHTFUL RULER專輯在美國發(fā)行，緊接下來的是TUBBY、PRINCE JAMMY和PABLO三人大作ROCKERS MEETS KING TUBBY IN A FIRE HOUSE。到了1986年，PABLO發(fā)行兩張專輯，一張是個人的RISING SUN，另一張是他幫JUNIOR DELGADO所作RAGGAMUFFIN YEAR。四年后，兩人合作的專輯也將會出現(xiàn)。而因為ROCKERS發(fā)行無數(shù)流行的歌曲，廠牌ISLAND也決定簽下數(shù)張ROCKERS的12吋單曲。雖然合作關系不久，但當時已經(jīng)可以看到ROCKERS的幾位藝人走上國際，像是JUNIOR DELGADO、DELROY WILSON、CARLTON HONES等，當然還有PABLO與他的歌曲EASTERN PROMISE和SUKIYAKI。無可避免的，這些音樂的推行也得以讓他在日本巡回，并且錄制專輯LIVE IN TOKYO?；氐窖蕾I加，1987年，發(fā)行專輯ROCKERS COMES EAST，在這張里他將音樂推向電子數(shù)字化。
　　1990年專輯BLOWING WITH WITH WIND結(jié)合了NYAHBINGI的鼓聲和JOHNNY MOORE的小喇叭。PABLO替人制作的音樂也持續(xù)地流行著，像DAWN PENN的NIGHT AND DAY和YAMI BOLO的JAH MADE THEM ALL。他自己也不斷地創(chuàng)作，只是很可惜地因為一直都有神經(jīng)失調(diào)毛病的他，在1999年5月18號過世，享年40歲。雖然他已經(jīng)不再人世，不過他的故事會繼續(xù)流傳下去。在他往生后的一年，許多的歌手、藝人、DJ和音樂家舉辦了一場演唱會來紀念這個對于雷鬼音樂貢獻良多的制作家——Augustus Pablo。
As any business person will tell you, the way to success is through the discovery of a niche or a previously unexploited market. Still, few business people, and even fewer musicians, would have believed that there was a market for the sound of the melodica. What next, they would have sniggered, a kazoo? Yet Augustus Pablo would take this childs toy and launch a revolution in Jamaican music. Not only was Pablos melodica unique, it would sweep the entire islands scene and become an integral part of the music of the era. But Pablo was no one-trick pony, he was also a virtuoso keyboardist and his playing permeated the island across myriad of his own releases and as a session man for others. He was equally talented on the other side of the recording desk and his production work was as inspired as his playing.
Augustus Pablo was born Horace Swaby on June 21, 1954, in St. Andrew, Jamaica. He attended Kingston College (not a college in the American sense, but a high school), sneaking into the schools chapel with other musically inclined friends to practice on the organ. It was here at Kingston College where Swaby also made the connections that would help launch him into the music industry. Amongst his classmates was Clive Chin, whose family ran Randys, Kingstons premier record store. The Chin clan included Herman Chin Loy, a cousin of Leslie Kong, and who started his own career in the music industry by working for his famous cousin. Like many small ethnic enclaves around the world, Jamaicas vibrant Chinese community often intermarried and thus businesses and families often intertwined. Chin Loy had struck out on his own in 1969, setting up his own record store and label, both called Aquarius. Thus in 1970, when the 15- year-old Swaby decided the time was ripe to begin his own musical career, Aquarius was his first stop. The fact that the teen was a friend of Clive Chin insured that he was given an audition, but it was his keyboard work that convinced Chin Loy to take him into the studio. The upbeat Iggy Iggy was the result of their first session and was credited to Augustus Pablo, a moniker Chin Loy frequently employed on his studios instrumentals.
Over the next year, Pablo (the teen soon took the name as his own), cut several more singles for Chin Loy, Still Yet, The Mood, and Snowball & Pudding, amongst them. But it was East of the River Nile that had the most startling impact. The instrumental featured a duet between Pablos melodica and Glen Adams organ, set to a seething rhythm the producer had bought from Lee Perry. Its haunting Oriental-esque melody ignited a fire on the island and launched the Far Eastern style. Minor key melodies surged from the grooves and the exotic now found a home in the Caribbean. Pablo briefly joined Mikey Chungs band, Now Generation, as keyboardist. Meanwhile, his old schoolmate Clive Chin was now working for the family business as a producer. (He had big shoes to fill, his older brother Vincent had made his mark producing such superstars as Alton Ellis and the Skatalites). Now that Clive was set up, Pablo left Now Generation and joined his friend in the studio. Their first fruits, in a round about way, was the seminal Java. Chin was already at work with another one of their schoolfriends Dennis Wright, the songs rhythm tracks were done but Wright was having trouble with the vocals and Chin decided to leave if for the day. Then Pablo entered the studio. While waiting in the hall, hed come up with a melody line and suggested trying it out. Chin turned the tape recorder back on, Pablo picked up his melodica, and the rest is history. Java was a smash and the rhythm was one of the most influential of the day, versioned almost into oblivion. It was the beginning of an incredibly successful partnership, as Chin and Pablo recorded a stream of hits. It was a busy time as aside from recording with Chin, Pablo was also cutting singles for a number of other producers. He helped another member of the Chin clan, Clives uncle, Leonard Chin, launch his Santic label with Pablo in Dub. Santic provided Pablo with his first opportunity to have a go at production, and he debuted with Paul Whiteman/Blackmans single Say So. Pablo continued recording for other producers, joining Lee Perry for Hot and Cold, linking with Gussie Clarke for No Entry and Born to Dub You, cuttinh Fat Baby and the Killer for Keith Hudson, and hooking up with Bunny Lee for The Great Pablo and Pablos Desire. The latter track, a version of John Holts My Desire, was another smash hit.
Pablos partnership with Lee was particularly fruitful and he cut numerous instrumental B-side version for the producer, nine of which are featured alongside their vocal or DJ A-sides, on the Ras compilation Pablo & Friends. Pablo had already come to the conclusion that no matter how big the hit nor how many sessions he played on, he would see little of the actual returns. Thus, he and his brother set up their own label, Rockers. The name was taken from the siblings sound system, which was already up and running. Over time, other imprints followed, Hot Stuff, Pablo International, Rockers International, and Message. Initially, Pablos singles for his own label were instrumental versions of Studio One classics. Skanking Easy, Frozen Dub, Don Drummond, Pablos Theme Song, and many more followed in re-creating songs of yore. And theres no doubt about the influence the studios superb musicians had had on the young Swaby. Many of these song were less versions than tributes to these talented men. The U.K. label Greensleeves would bundle up many of the best self-productions from these early days for the Original Rockers compilation. Yet some of Pablos best work was still being done with Clive Chin. In 1974, Chin and another family member, Pat Chin, oversaw Pablos classic album Rebel Rock Reggae — This Is Augustus Pablo. A masterpiece of mood and atmosphere, the instrumentals swing across the musical spectrum from Hollywood musicals to classic Jamaican hits. The album is actually a compilation and rounded up much of the artists recent work for the Chin family, including his two earlier singles for Leonard. The following year, Pablo began collaborating with King Tubby, who had begun supplying Rockers with some of the labels most sublime mixes. The pair christened their partnership with Ital Dub, which was produced by Tommy Cowan and Warwick Lyn (another former employee of Leslie Kong). This album remains one of the most innovative of the decade. Fifteen years later, the U.K. label Pressure Drop gathered up alternative versions and outtakes from the Ital sessions for El Rockers, an album that sounds nearly as formidable as Ital Dub itself.
1975 also saw Pablo make an equally big splash as a producer, when Fred Locks Black Star Liner became an instant hit in Jamaica and also made significant inroads in the U.K. With the singles success, Pablo now became a much sought-after producer, and worked with many of the islands greatest names. He sat behind the desk on sessions with Horace Andy, Freddie McKay, Jacob Miller, and I-Roy, amongst many others. An albums worth of his productions were showcased on 1976s King Tubby Meets Rockers Uptown album, one of the eras most legendary dub albums. Many of Rockers releases featured phenomenal dub companions, including Africa Must Be Free by 1983 (Hugh Mandel), One Step Dub (Junior Delgado), and Eastman Dub (the companion to Tetracks Lets Get Started). Pablo returned the favor by recording exclusive cuts for King Tubbys sound system. Over the years, both Rockers itself, as well as other labels, have released excellent compilations of the labels greatest moments. The U.K. label Greensleeves Classic Rockers is of particular note. For rarities, check out Golden Memories, released by Rockers. Of course, Pablo was equally in demand as a session player and he appears on scores of albums from this period, playing keyboard, melodica, or both. As a musical force, he was unstoppable.
1978 brought the fabulous East of the River Nile album, which was recorded at Lee Perrys Black Ark studio. Meanwhile, Pablo took his place on the other side of the board for a trio of singles with the young singer Hugh Mandell (aka Jah Levi). This partnership then expanded and Pablo joined his young protégé on record for both the Africa Must Be Free by 1983 and Time and Place albums. However, the shift in musical tastes in the early 80s saw Pablos flame begin to flicker. He continued recording prodigiously both behind and in front of the recording deck and released numerous singles and a number of albums. 1982 saw the appearance of Earths Rightful Ruler; in the States, Shanachie released Rockers Meets King Tubby in a Fire House, a fine album which paired Pablo, Tubby, and Prince Jammy for a wild ride through classic rocker and cultural offerings. By 1986, the artists star was in the ascendant again, helped by the release of his own Rising Sun album, and his production of Junior Delgados Raggamuffin Year album and its attendant smash-hit title-track single. A phenomenal dub album of the set appeared four years later. These successes prompted Island Records to strike a deal with Rockers to distribute a number of the labels 12 singles. Although the arrangement didnt last long, it did see an international release for singles from Junior Delgado, Delroy Wilson, Carlton Hones, and a pair of Pablos own — Eastern Promise and Sukiyaki. This inevitably led to an international tour the next year for his debut appearances outside the island, which was captured for posterity on the Live in Tokyo album. Back in Jamaica, 1987 had also seen the release of Rockers Comes East, a stunning set that created quite a stir at the time as Pablo took his own sound squarely into the digital age.
1990 brought Blowing With the Wind, which found the artist shifting direction yet again with the addition of nyahbingi drum beats and Johnny Moores trumpet. As the decade deepened, Pablo remained a stalwart of the scene by producing a number of hit records, including such classics as Dawn Penns Night and Day and Yami Bolos sublime Jah Made Them All album. He also continued to release his own music, guest star on others records, and oversee his back catalog, which remained in demand. Whats truly miraculous was that Pablo managed to keep up this pace for so long. His health had always been very delicate due to a nerve disorder he suffered for much of his life. On May 18, 1999, his body finally gave out; he was only 40. However, although the artist may be gone, his legacy is in no danger of fading away. Compilations of both his own work and his productions appear with astonishing regularity, and its difficult to find an album from the late 70s that he did not guest star on. His importance to Jamaicas music scene can be seen by the numerous stars who appeared at a tribute concert held a year after his death that included some of the islands greatest DJs, singers, and musicians.