Book Errata:
The Matador, Lloyd Daley, Sonic Pioneer of Jamaican Music
First Edition Published November 2019
Revised Edition Published December 2020
Last update in December 2023.
Jamaica’s King Edwards “The Giant” Sound System, The Era of The King, The Duke, & The Sir
First printing Published November 2022
Last update in December 2023.
The Matador, Lloyd Daley, Sonic Pioneer of Jamaican Music
First Edition Published November 2019
Revised Edition Published December 2020
Last update in December 2023.
Jamaica’s King Edwards “The Giant” Sound System, The Era of The King, The Duke, & The Sir
First printing Published November 2022
Last update in December 2023.
Errata (04 December 2023)
First printing of
The Matador, Lloyd Daley - Sonic Pioneer of Jamaican Music
November 2019
Chapter Three, Page 64: The Line “In The 1950s young Haslam helped set up Inner Circle’s equipment and helped conduct sound checks.” This is a reference to Roger Lewis’ father’s steel drum band, and Haslam called that Steel Drum band “Inner Circle.” This would not be the Inner Circle band that included Jacob Miller.
Chapter Three, Page 67: The spelling of the road the Khouri family lived should be “Merrion” Road.
Chapter Five, Page 107: The correct spelling should be the Paul “Whiteman” Orchestra.
Chapter Nine, Page 142: The line “...travel in his van with Bim and Bam” should read “...travel in his van with Bim Bim.” [Bim Bim was a driver for Coxson. Thanks to writer Carl Finlay for this correction]
Chapter Ten, Page 155: The correct spelling should be “Rockfort.”
Chapter Fifteen, Page 201: Reuben Alexander was not an Alpha School “Band Master.” It is Reuben Delgado that was an Alpha School Band Master.
Chapter Fifteen, Page 204: The line, “Even Rico Rodriguez, the Skatalite’s replacement for Don Drummond on trombone…” should read “Eric Deans trombonist Rico Rodriguez, was also affiliated with The Skatalites, but he is not considered a founding member.”
Chapter Fifteen, Page 223: Mr. Daley frequently cited the year of the death of Eric Deans as 1972, but he did say that it was “shortly before the Falklands War,” which would be 1982. The year for the death of Eric Deans is not available at this time.
Chapter Sixteen, Page 243: Mr. Daley did not work with Dizzy Johnny Moore during his third period (1979-80) as Moore was abroad until 1983, but Mr. Daley did maintain close contact with Johnny Moore.
Chapter Seventeen, Page 297: The line “Both were pressed exclusively at Bob Marley’s Tuff Gong pressing plant in Jamaica . . .” This was information directly relayed by Lloyd Daley, but – for the record, Bob Marley didn’t buy Federal Recording Studio and change the name to Tuff Gong until 1981.
Errata
Revised Edition
The Matador, Lloyd Daley - Sonic Pioneer of Jamaican Music
published December 2020
Chapter Fourteen, page 193, Clarification: Russian notes that MacMillan was the owner of The Silver Slipper, but Dudley G. MacMillan was the proprietor and concert promotor for The Colony Club. MacMillan established The Colony Club at 15 Half Way Tree Road, Cross Roads, in 1945.
Chapter Fifteen, Page 203: The line, “…Ernest Ranglin was an early member of The Liberators…” should read “…Ernest Ranglin was an early member of the newly formed Eric Deans Orchestra…” [Thanks to Roberto Moore - Jamaican researcher, panelist, and author, for this correction]
Chapter Fifteen, Page 203: Clarification/additional information: Roberto Moore raised the question/conflict that Milton McPherson left Jamaica in 1946 and moved to New York. Trumpeter Frank Anderson joined the Eric Deans Orchestra in 1949 and stated that “Milton (McPherson) used to come over and sit in with us and play on the nights he wasn’t working.” Moore’s question is, “How could McPherson play with Deans after Frank started in ‘49, if McPherson already left the island.” [Thanks to Roberto Moore - Jamaican researcher, panelist, and author, for this clarification]
First, I confirmed that McPherson did depart to New York in 1946: The Daily Gleaner reported that McPherson left Jamaica on 8 October 1946 on a KLM DC-4 jet airliner to “take up residence” in New York (9 October 1946 p. 12).
I then contacted Frank Anderson at his home in New York and politely inquired about his association with McPherson (Please note that in meeting with Mr. Anderson face-to-face and interviewing him on many occasions, I have found him factual and not prone to exaggeration). When I inquired about the possible conflict, Mr. Anderson confirmed that he joined the Eric Deans Orchestra in 1949 when he just left school at age sixteen-seventeen. Mr. Anderson described McPherson’s lighter-skinned complexion, medium build – about the same size as Eric Deans, with no glasses or facial hair. He then explained the times he played with McPherson:
“Yes, he did return to Jamaica - Milton McPherson. A lot of people left the Country.
They were in New York, and we have a lot of musicians come here and they learn a lot of stuff from Broadway, and they come back to Jamaica. Milton McPherson had band number two – yes, in Jamaica there, yes. ‘Round the time Eric Deans was still going, Milton McPherson band was still there. The only thing I could see, probably could have happen, once we stop communicating with him, is that while he left – maybe, one of the members was still runnin’ the band for him, but Milton was in and out.”
I asked about specific nights where McPherson visited The Eric Deans Orchestra:
“Yes, he would come by because Eric Deans has always maintained the top echelon type sound and the musicians. Then you have people coming from America, and they would come down ‘dere.
Colony Club - he (McPherson) used to come by because the big shot people used to be hangin’ out ‘roun ‘dere. We used to play different venues because tourism was the thing. The North Coast - we used to be at Half Moon Hotel and all over Montego Bay, Runaway Beach, Galleon Club, Tower Isle.”
I also inquired about McPherson’s style of play when Anderson was present:
“He wasn’t a soloist type. The nearest thing to Milton would be Count Basie’s style of piano. The band take the weight because we have trumpets and trombones, and saxophones. It’s all written. It’s not a thing like he would go off and be a soloist or anything like that. He was just like a part of the band, and he fits right in there” (Anderson interview 17 April 2021).
Additional research helped shine a light on McPherson’s activities after moving to New York in 1946. McPherson did return to play in the islands, more specifically in the Virgin Islands. In 1952, the Daily Gleaner interviewed McPherson’s wife, and she commented that “Milton would probably remain in the Virgin Islands until early next year then call here (to Jamaica) en route to New York” (Daily Gleaner, 24 October 1952 p. 14). It is tradition for Jamaicans living abroad to return for visits with family and friends – especially during holidays. [Thanks to Frank Anderson for sharing additional experiences]
Chapter Seventeen, Page 295, The correct spelling of Hedley Jones’s name should be “Headley.”
Discography, Page 383, Clarification: Regarding the listing of Count Ossie’s “I Dread Version,” FLD 7191, Mike Turner commented, “I always wondered about that credit as it’s a guitar workout over Lascelle Perkins’s “Please Stay,” not really a Count Ossie song. This song also came out as “The Mine” credited to The Matadors on Camel 42-B.
Both UK and JA issues are flipside the Wailing Souls song “Gold Digger.” [Thanks to Mike Turner for this clarification]
References Section, page 399, Rodigan’s “The Prince Buster Story” originally aired in 1983.
I would like to thank writer Brian Keyo for his diligent review of The Matador and for many of these corrections (unless otherwise noted).
If you find errors in the book, we would be grateful if they could be emailed to [email protected]
King Edwards’s Book Errata (04 December 2023)
First printing of
Jamaica’s King Edwards “The Giant” Sound System The Era of The King, The Duke, & The Sir
Published November 2022
Appendix E, Page 372: The correct name should be “Mr. Roy White,” not “Ronnie White.”
Discography, page 438: The line “Lonely Road” should read “Shuffle Duck.” [Thanks to Markus Vogel for this correction]
Discography, Page 439: The line “Shuffleduck” should read “Hucklebuck.”
Markus Vogel of Reggae Fever added, “The Federal Studio Logbook lists Stamper made on 09 November 1964. Instrumental version was listed as ‘Hucklebuck.’ Not ‘Shuffleduck.’”
[Thanks to Markus Vogel for this correction]
Author note: Vincent Edwards loved the song “The Huckle-buck” by Paul Williams and it is very likely that the Jamaican song was titled after the Williams version. Vin was intrigued by Williams’s low pay from his recordings. Over the years, Icicle Records altered the titel when the songs were compiled into album format, and the incorrect title stuck (not uncommon when Jamaican singles are repackaged in foreign countries).
Appendix C, Page 445: The line “…The Jacks” should read “…Maxwell Davis and His Orchestra …”.
Endnotes, Page 532: The line “…The Jacks” should read “…Maxwell Davis and His Orchestra …”.
Endnotes, Page 551: The line “… with local singers, The Douglas Brothers, who are Ridley and Trevor Douglas.” should read “…The Douglas Brothers are the trio of Francis, Day, and Hunter Douglas (The first printing of this book had a membership error, but George Edwards was consulted and recalled there were three Douglas brothers). [Thanks to Markus Vogel and Buster Dynamite for their additional input]
First printing of
The Matador, Lloyd Daley - Sonic Pioneer of Jamaican Music
November 2019
Chapter Three, Page 64: The Line “In The 1950s young Haslam helped set up Inner Circle’s equipment and helped conduct sound checks.” This is a reference to Roger Lewis’ father’s steel drum band, and Haslam called that Steel Drum band “Inner Circle.” This would not be the Inner Circle band that included Jacob Miller.
Chapter Three, Page 67: The spelling of the road the Khouri family lived should be “Merrion” Road.
Chapter Five, Page 107: The correct spelling should be the Paul “Whiteman” Orchestra.
Chapter Nine, Page 142: The line “...travel in his van with Bim and Bam” should read “...travel in his van with Bim Bim.” [Bim Bim was a driver for Coxson. Thanks to writer Carl Finlay for this correction]
Chapter Ten, Page 155: The correct spelling should be “Rockfort.”
Chapter Fifteen, Page 201: Reuben Alexander was not an Alpha School “Band Master.” It is Reuben Delgado that was an Alpha School Band Master.
Chapter Fifteen, Page 204: The line, “Even Rico Rodriguez, the Skatalite’s replacement for Don Drummond on trombone…” should read “Eric Deans trombonist Rico Rodriguez, was also affiliated with The Skatalites, but he is not considered a founding member.”
Chapter Fifteen, Page 223: Mr. Daley frequently cited the year of the death of Eric Deans as 1972, but he did say that it was “shortly before the Falklands War,” which would be 1982. The year for the death of Eric Deans is not available at this time.
Chapter Sixteen, Page 243: Mr. Daley did not work with Dizzy Johnny Moore during his third period (1979-80) as Moore was abroad until 1983, but Mr. Daley did maintain close contact with Johnny Moore.
Chapter Seventeen, Page 297: The line “Both were pressed exclusively at Bob Marley’s Tuff Gong pressing plant in Jamaica . . .” This was information directly relayed by Lloyd Daley, but – for the record, Bob Marley didn’t buy Federal Recording Studio and change the name to Tuff Gong until 1981.
Errata
Revised Edition
The Matador, Lloyd Daley - Sonic Pioneer of Jamaican Music
published December 2020
Chapter Fourteen, page 193, Clarification: Russian notes that MacMillan was the owner of The Silver Slipper, but Dudley G. MacMillan was the proprietor and concert promotor for The Colony Club. MacMillan established The Colony Club at 15 Half Way Tree Road, Cross Roads, in 1945.
Chapter Fifteen, Page 203: The line, “…Ernest Ranglin was an early member of The Liberators…” should read “…Ernest Ranglin was an early member of the newly formed Eric Deans Orchestra…” [Thanks to Roberto Moore - Jamaican researcher, panelist, and author, for this correction]
Chapter Fifteen, Page 203: Clarification/additional information: Roberto Moore raised the question/conflict that Milton McPherson left Jamaica in 1946 and moved to New York. Trumpeter Frank Anderson joined the Eric Deans Orchestra in 1949 and stated that “Milton (McPherson) used to come over and sit in with us and play on the nights he wasn’t working.” Moore’s question is, “How could McPherson play with Deans after Frank started in ‘49, if McPherson already left the island.” [Thanks to Roberto Moore - Jamaican researcher, panelist, and author, for this clarification]
First, I confirmed that McPherson did depart to New York in 1946: The Daily Gleaner reported that McPherson left Jamaica on 8 October 1946 on a KLM DC-4 jet airliner to “take up residence” in New York (9 October 1946 p. 12).
I then contacted Frank Anderson at his home in New York and politely inquired about his association with McPherson (Please note that in meeting with Mr. Anderson face-to-face and interviewing him on many occasions, I have found him factual and not prone to exaggeration). When I inquired about the possible conflict, Mr. Anderson confirmed that he joined the Eric Deans Orchestra in 1949 when he just left school at age sixteen-seventeen. Mr. Anderson described McPherson’s lighter-skinned complexion, medium build – about the same size as Eric Deans, with no glasses or facial hair. He then explained the times he played with McPherson:
“Yes, he did return to Jamaica - Milton McPherson. A lot of people left the Country.
They were in New York, and we have a lot of musicians come here and they learn a lot of stuff from Broadway, and they come back to Jamaica. Milton McPherson had band number two – yes, in Jamaica there, yes. ‘Round the time Eric Deans was still going, Milton McPherson band was still there. The only thing I could see, probably could have happen, once we stop communicating with him, is that while he left – maybe, one of the members was still runnin’ the band for him, but Milton was in and out.”
I asked about specific nights where McPherson visited The Eric Deans Orchestra:
“Yes, he would come by because Eric Deans has always maintained the top echelon type sound and the musicians. Then you have people coming from America, and they would come down ‘dere.
Colony Club - he (McPherson) used to come by because the big shot people used to be hangin’ out ‘roun ‘dere. We used to play different venues because tourism was the thing. The North Coast - we used to be at Half Moon Hotel and all over Montego Bay, Runaway Beach, Galleon Club, Tower Isle.”
I also inquired about McPherson’s style of play when Anderson was present:
“He wasn’t a soloist type. The nearest thing to Milton would be Count Basie’s style of piano. The band take the weight because we have trumpets and trombones, and saxophones. It’s all written. It’s not a thing like he would go off and be a soloist or anything like that. He was just like a part of the band, and he fits right in there” (Anderson interview 17 April 2021).
Additional research helped shine a light on McPherson’s activities after moving to New York in 1946. McPherson did return to play in the islands, more specifically in the Virgin Islands. In 1952, the Daily Gleaner interviewed McPherson’s wife, and she commented that “Milton would probably remain in the Virgin Islands until early next year then call here (to Jamaica) en route to New York” (Daily Gleaner, 24 October 1952 p. 14). It is tradition for Jamaicans living abroad to return for visits with family and friends – especially during holidays. [Thanks to Frank Anderson for sharing additional experiences]
Chapter Seventeen, Page 295, The correct spelling of Hedley Jones’s name should be “Headley.”
Discography, Page 383, Clarification: Regarding the listing of Count Ossie’s “I Dread Version,” FLD 7191, Mike Turner commented, “I always wondered about that credit as it’s a guitar workout over Lascelle Perkins’s “Please Stay,” not really a Count Ossie song. This song also came out as “The Mine” credited to The Matadors on Camel 42-B.
Both UK and JA issues are flipside the Wailing Souls song “Gold Digger.” [Thanks to Mike Turner for this clarification]
References Section, page 399, Rodigan’s “The Prince Buster Story” originally aired in 1983.
I would like to thank writer Brian Keyo for his diligent review of The Matador and for many of these corrections (unless otherwise noted).
If you find errors in the book, we would be grateful if they could be emailed to [email protected]
King Edwards’s Book Errata (04 December 2023)
First printing of
Jamaica’s King Edwards “The Giant” Sound System The Era of The King, The Duke, & The Sir
Published November 2022
Appendix E, Page 372: The correct name should be “Mr. Roy White,” not “Ronnie White.”
Discography, page 438: The line “Lonely Road” should read “Shuffle Duck.” [Thanks to Markus Vogel for this correction]
Discography, Page 439: The line “Shuffleduck” should read “Hucklebuck.”
Markus Vogel of Reggae Fever added, “The Federal Studio Logbook lists Stamper made on 09 November 1964. Instrumental version was listed as ‘Hucklebuck.’ Not ‘Shuffleduck.’”
[Thanks to Markus Vogel for this correction]
Author note: Vincent Edwards loved the song “The Huckle-buck” by Paul Williams and it is very likely that the Jamaican song was titled after the Williams version. Vin was intrigued by Williams’s low pay from his recordings. Over the years, Icicle Records altered the titel when the songs were compiled into album format, and the incorrect title stuck (not uncommon when Jamaican singles are repackaged in foreign countries).
Appendix C, Page 445: The line “…The Jacks” should read “…Maxwell Davis and His Orchestra …”.
Endnotes, Page 532: The line “…The Jacks” should read “…Maxwell Davis and His Orchestra …”.
Endnotes, Page 551: The line “… with local singers, The Douglas Brothers, who are Ridley and Trevor Douglas.” should read “…The Douglas Brothers are the trio of Francis, Day, and Hunter Douglas (The first printing of this book had a membership error, but George Edwards was consulted and recalled there were three Douglas brothers). [Thanks to Markus Vogel and Buster Dynamite for their additional input]