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Glory days - Pat Kelly a quiet falsetto
published: Sunday | October 14, 2007
LEFT: Contributed
Pat Kelly in a 1969 performance.
RIGHT: Winston Sill/Freelance Photographer
Pat Kelly now.
Kandré McDonald, [COLOR=orange! important][COLOR=orange! important]Freelance [COLOR=orange! important]Writer[/COLOR][/COLOR][/COLOR]
It is argued that Pat Kelly often sings in the shadow o Ellis, Slim Smith and many other big names on the reggae/rocksteady scene. However, where he falls short in terms of being a household name, he makes up for with his [COLOR=orange! important][COLOR=orange! important]music[/COLOR][/COLOR].
You might just be singing one of Pat Kelly's songs and don't have a clue. He is responsible for the classic remake of Curtis Mayfield's Minstrel and Queen, more popularly known as Queen Majesty. Kelly is not only known for doing cover versions, but also has many original hits that have rocked many parties worldwide for almost four decades.
While Pat Kelly was quick to highlight that his heart is embedded in [COLOR=orange! important][COLOR=orange! important]Jamaica[/COLOR][/COLOR], he was also quick to point out that most of his support lies in Europe.
Pat Kelly had a very successful run spanning the first decade of his career. He was a force to be reckoned with until about the 1980s, when dancehall began to [COLOR=orange! important][COLOR=orange! important]stamp[/COLOR][/COLOR] it foot onto the music scene. Like many other roots artistes in his time Kelly began to fade somewhat on the local scene. However, the man with the smooth falsetto voice still prospered [COLOR=orange! important][COLOR=orange! important]overseas[/COLOR][/COLOR].
The Sunday Gleaner caught up with Pat Kelly at Pulse headquarters, Trafalgar Road, recently where he was doing a video shoot for his current single Why, Why, Why.
How did you get started in the music business?
I actually started out with an established four member group called the Sherdians. We never did records in those days, just live shows with Carlos Malcolm and The Afro Jamaican Rhythms.
How difficult was it for you to gain recognition in the late 1960s, with many high profile artistes rising to the forefront?
It wasn't really difficult for me, because at the time I was working with Bunny 'Striker' Lee who was also working with Derrick Morgan, Slim Smith, Roy Shirley and several other artistes. The fact that my first recording, Mood For Love, was a hit made it easy for me. Also Bunny was my schoolmate, so this eased the tension.
What was touring for you like in those days?
I did not know anything about touring at that time. There were a few local shows and nightclubs. It was not like now when you have several shows every week. We had shows primarily during the holiday times.
How did you survive financially off your career?
I was not really aware of the business aspect, so I did not know about the difficulties in the business. It was not something you wanted to make a living from at the time. I just simply did not know that there was another world outside of Jamaica for our type of music.
How did you manage your finances, since sufficient returns were not coming from your music?
I use to do engineering (music). That was the aspect of the music that I was really interested in. It was Bunny Lee that actually encouraged me to become an artiste.
It is said that you are dubbed the 'quiet man'. Is that so?
I am a low key person. I am laid back and do not exercise hype, even though it was in the dictionary in those times.
What is one of your memorable moments in the music?
When I first recorded How Long Will It Take several stations were looking for the original, because they said I did not write it. But from 1969 until now they still can't find no other writer, so I guess I won.
Have you ever been signed to any major record label?
I was signed to Pama-Change, which then went to Jet Star. This is the second largest music distributor in Europe, next to VP Records. During this time (1969) Bunny Lee took me on a tour to Europe. I have then gone on to tour Africa, Japan, America, Canada, Australia and several other countries and the Caribbean.
Have you ever had problems getting your recordings out?
In 1979, 1980 they never use to play that much reggae music on the radio. As artistes we had to march on JBC. At the time, they were saying it was not good music. We were actually going through what the deejays are going through today. It was actually the deejays that lift us as cultural reggae artistes.
You mentioned in a recent interview that you had a quiet time. Why was this so?
I took a break from 1975 to the early 1980s and was not recording much. I was really focusing on my engineering, which is my first love. I did not really want to be a singer.
Do you have any regrets?
I don't regret anything, even failure. I see it as something you learn from.
,b>How do you compare the type of music you produced then to what the youths are doing now?</B>
It is very sad when you start to compare things, especially music, since all that is happening now is in a new era with a new generation. Once you start to compare you will run into problems.
How have you been coping financially?
During the 90s until now, I have been touring a lot, because that is my main earning power. What is interesting is the fact that I am still touring and performing the songs I did in the 60s and 70s. That is what my fans all over the world request.
Do you still do shows in Jamaica?
I still perform at several shows in Jamaica over the years. I recently performed with Ken Boothe, Freddie McGregor, and others at a show in St. Elizabeth. I have a show coming up later this month with Percy Sledge, Leroy Sibbles and others. I still work here and overseas. I just returned from a tour of the United States and am booked for a tour of London in November.
Why did you decide to get back behind the microphone to record new material?
The C.E.O. of Smith Mansion, Tyrone Smith, asked me to re-record several of my songs and also work on some new material for his label. I think this was a good chance to capture a wider audience, since many of the persons who know my songs don't know I did them or what I look like.
What makes your current project stand out, when compared to some of your earlier works? I think it is going to be interesting because my new album has a lot of expression which is really me doing what I like. It is all about me expressing another side
published: Sunday | October 14, 2007
LEFT: Contributed
Pat Kelly in a 1969 performance.
RIGHT: Winston Sill/Freelance Photographer
Pat Kelly now.
Kandré McDonald, [COLOR=orange! important][COLOR=orange! important]Freelance [COLOR=orange! important]Writer[/COLOR][/COLOR][/COLOR]
It is argued that Pat Kelly often sings in the shadow o Ellis, Slim Smith and many other big names on the reggae/rocksteady scene. However, where he falls short in terms of being a household name, he makes up for with his [COLOR=orange! important][COLOR=orange! important]music[/COLOR][/COLOR].
You might just be singing one of Pat Kelly's songs and don't have a clue. He is responsible for the classic remake of Curtis Mayfield's Minstrel and Queen, more popularly known as Queen Majesty. Kelly is not only known for doing cover versions, but also has many original hits that have rocked many parties worldwide for almost four decades.
While Pat Kelly was quick to highlight that his heart is embedded in [COLOR=orange! important][COLOR=orange! important]Jamaica[/COLOR][/COLOR], he was also quick to point out that most of his support lies in Europe.
Pat Kelly had a very successful run spanning the first decade of his career. He was a force to be reckoned with until about the 1980s, when dancehall began to [COLOR=orange! important][COLOR=orange! important]stamp[/COLOR][/COLOR] it foot onto the music scene. Like many other roots artistes in his time Kelly began to fade somewhat on the local scene. However, the man with the smooth falsetto voice still prospered [COLOR=orange! important][COLOR=orange! important]overseas[/COLOR][/COLOR].
The Sunday Gleaner caught up with Pat Kelly at Pulse headquarters, Trafalgar Road, recently where he was doing a video shoot for his current single Why, Why, Why.
How did you get started in the music business?
I actually started out with an established four member group called the Sherdians. We never did records in those days, just live shows with Carlos Malcolm and The Afro Jamaican Rhythms.
How difficult was it for you to gain recognition in the late 1960s, with many high profile artistes rising to the forefront?
It wasn't really difficult for me, because at the time I was working with Bunny 'Striker' Lee who was also working with Derrick Morgan, Slim Smith, Roy Shirley and several other artistes. The fact that my first recording, Mood For Love, was a hit made it easy for me. Also Bunny was my schoolmate, so this eased the tension.
What was touring for you like in those days?
I did not know anything about touring at that time. There were a few local shows and nightclubs. It was not like now when you have several shows every week. We had shows primarily during the holiday times.
How did you survive financially off your career?
I was not really aware of the business aspect, so I did not know about the difficulties in the business. It was not something you wanted to make a living from at the time. I just simply did not know that there was another world outside of Jamaica for our type of music.
How did you manage your finances, since sufficient returns were not coming from your music?
I use to do engineering (music). That was the aspect of the music that I was really interested in. It was Bunny Lee that actually encouraged me to become an artiste.
It is said that you are dubbed the 'quiet man'. Is that so?
I am a low key person. I am laid back and do not exercise hype, even though it was in the dictionary in those times.
What is one of your memorable moments in the music?
When I first recorded How Long Will It Take several stations were looking for the original, because they said I did not write it. But from 1969 until now they still can't find no other writer, so I guess I won.
Have you ever been signed to any major record label?
I was signed to Pama-Change, which then went to Jet Star. This is the second largest music distributor in Europe, next to VP Records. During this time (1969) Bunny Lee took me on a tour to Europe. I have then gone on to tour Africa, Japan, America, Canada, Australia and several other countries and the Caribbean.
Have you ever had problems getting your recordings out?
In 1979, 1980 they never use to play that much reggae music on the radio. As artistes we had to march on JBC. At the time, they were saying it was not good music. We were actually going through what the deejays are going through today. It was actually the deejays that lift us as cultural reggae artistes.
You mentioned in a recent interview that you had a quiet time. Why was this so?
I took a break from 1975 to the early 1980s and was not recording much. I was really focusing on my engineering, which is my first love. I did not really want to be a singer.
Do you have any regrets?
I don't regret anything, even failure. I see it as something you learn from.
,b>How do you compare the type of music you produced then to what the youths are doing now?</B>
It is very sad when you start to compare things, especially music, since all that is happening now is in a new era with a new generation. Once you start to compare you will run into problems.
How have you been coping financially?
During the 90s until now, I have been touring a lot, because that is my main earning power. What is interesting is the fact that I am still touring and performing the songs I did in the 60s and 70s. That is what my fans all over the world request.
Do you still do shows in Jamaica?
I still perform at several shows in Jamaica over the years. I recently performed with Ken Boothe, Freddie McGregor, and others at a show in St. Elizabeth. I have a show coming up later this month with Percy Sledge, Leroy Sibbles and others. I still work here and overseas. I just returned from a tour of the United States and am booked for a tour of London in November.
Why did you decide to get back behind the microphone to record new material?
The C.E.O. of Smith Mansion, Tyrone Smith, asked me to re-record several of my songs and also work on some new material for his label. I think this was a good chance to capture a wider audience, since many of the persons who know my songs don't know I did them or what I look like.
What makes your current project stand out, when compared to some of your earlier works? I think it is going to be interesting because my new album has a lot of expression which is really me doing what I like. It is all about me expressing another side