I AT TIMES I GET WEIRD STARES AS I WALK DOWN THE STREET WITH MY TROJAN RECORDS T-SHIRT ON I THINK PEOPLE THINK I AM A BIG SEX MANIAC!!!! THE PURPOSE OF THIS POST IS TO GIVE YOU A LITTLE INSIGHT ON TROJAN RECORDS! IF YOU LOVE THE SMOOTH SOUNDS OF JAMAICAN MUSIC YOU WILL DIG THIS! ENJOY YOURSELF!!!!!
HERE'S SOME BACKGROUND
On July 28th 1967, British-based Jamaican music company, Island Records launched a label to showcase the productions of one of the most popular and successful producers of the Ska and Rocksteady eras, Arthur ‘Duke’ Reid. Named ‘Trojan’, after a title Mr. Reid had acquired during his early days in the music business and which had provided the name for his earliest Jamaican imprint, the label surprisingly failed to fulfil its potential and folded after a matter of months. That might well have been the end of Trojan had it not been for the creation of a dynamic new Jamaican music company that was in need of a name.
Formed in the summer of 1968 by Island and its distributor, B&C, Trojan Records quickly set about an ambitious programme of issuing a plethora of singles that highlighted music from a variety of producers, ranging from British-based music makers such as Robert ‘Dandy’ Thompson, to such esteemed Jamaican operators as Lee ‘Scratch’ Perry, Bunny Lee, Clancy Eccles and, of course, Duke Reid himself.
In addition to its showcase Trojan label, the company also maintained existing Island-launched producer-based subsidiaries, such as Coxsone, Studio One and Amalgamated and created numerous new imprints, including High Note, Upsetter, Jackpot, Clandisc, Down Town, Blue Cat, Big Shot and Duke. In fact, so rapid was Trojan’s development during this early period in its history that by the dawn of the 1970’s, the company had launched more than thirty different new labels
Formed in the summer of 1968 by Island and its distributor, B&C, Trojan Records quickly set about an ambitious programme of issuing a plethora of singles that highlighted music from a variety of producers, ranging from British-based music makers such as Robert ‘Dandy’ Thompson, to such esteemed Jamaican operators as Lee ‘Scratch’ Perry, Bunny Lee, Clancy Eccles and, of course, Duke Reid himself.
In addition to its showcase Trojan label, the company also maintained existing Island-launched producer-based subsidiaries, such as Coxsone, Studio One and Amalgamated and created numerous new imprints, including High Note, Upsetter, Jackpot, Clandisc, Down Town, Blue Cat, Big Shot and Duke. In fact, so rapid was Trojan’s development during this early period in its history that by the dawn of the 1970’s, the company had launched more than thirty different new labels
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