The Downbeat and the Trojan: How Two Kingston Rivals Built the Sound System

Tom Wong's sound, and by common account the first of the great Jamaican sound systems. A Chinese-Jamaican hardware merchant, Wong ran it in downtown Kingston from the late 1940s, and its reputation for equipment and for records nobody else had set the terms every sound after it competed on. Duke Reid and Coxsone both came up in its shadow.

Clement Seymour Dodd (1932-2004), sound-system operator, producer and founder of Studio One. He came up running the Downbeat sound in the 1950s, in direct rivalry with Duke Reid, importing American R&B and scratching the labels off so rivals could not identify what he was playing. From 1963 he built at 13 Brentford Road the studio that gave first recordings to a remarkable share of Jamaican music's canon — The Wailers, Burning Spear, Alton Ellis, Marcia Griffiths, Dennis Brown, Horace Andy, John Holt — and it is widely described as the first recording studio in Jamaica owned by a Black Jamaican, a claim repeated often enough to be worth attributing rather than stating flatly. The house bands he assembled, the Skatalites and later Sound Dimension, cut rhythms that have been versioned continuously for sixty years, which is why the label is so often called the Motown of Jamaica. He moved his base to New York in the 1980s while the catalogue kept working without him. He died on 4 May 2004, days after the stretch of Brentford Road outside the studio was renamed Studio One Boulevard in his honour.

Clement "Coxsone" Dodd's studio and label at 13 Brentford Road, Kingston — the closest thing Jamaican music has to a foundation. From 1963 onward it moved through ska, rocksteady and early reggae, and the rhythms cut in its rooms became the raw material for everything after: the Studio One catalogue is versioned, toasted over and sampled to this day, and a working knowledge of it is effectively a working knowledge of the music. Its house bands (the Skatalites, later Sound Dimension) and its roll of first recordings — The Wailers, Alton Ellis, Burning Spear, Dennis Brown, Marcia Griffiths, Horace Andy and many more — make it the single most connected node in this archive. Officially the Jamaican Recording and Publishing Studio, it was built out of a former nightclub at 13 Brentford Road in Cross Roads, which Dodd acquired in 1962 and converted with his father's help — the first Black-owned recording studio in Jamaica. The address served as studio, label headquarters and shopfront at once, which is what earned it the "Motown of Jamaica" comparison. Days before Dodd's death in May 2004 the Jamaican government renamed Brentford Road as Studio One Boulevard.

Cecil Bustamante Campbell (1938-2016), a Kingston boxer who ran the Voice of the People sound and became one of the defining figures of ska and its aftermath. He recorded "Al Capone", "Madness" and the Judge Dread series, conducted a long and partly staged feud with Derrick Morgan, and converted to Islam in the 1960s. His records were the backbone of the UK Blue Beat catalogue, and the ska revival that followed a decade later took its name and much of its manner from him.

Clement Dodd's sound system, and the dominant set of the late 1950s. Downbeat's rivalry with Duke Reid the Trojan is the founding contest of Jamaican sound-system culture — fought with exclusive American R&B pressings, then with Dodd's own recordings once he began producing to feed the sound. Studio One grew directly out of that need.

Arthur Reid's sound system, named for the Trojan truck it travelled on, and Coxsone Downbeat's great rival through the late 1950s. Reid was a former policeman who ran the sound with a well-documented showmanship, and like Dodd he moved into producing to supply it — the path that led to Treasure Isle and the rocksteady catalogue.

Winston 'Count Machuki' Cooper (1939-1995) is regarded as Jamaica's first deejay: he began chatting live jive over records on Tom the Great Sebastian's sound in the early 1950s and later became the voice of Coxsone Dodd's Downbeat, directly inspiring U-Roy and the toasting tradition.

A one-off acetate cut for a single sound system — originally a test pressing, then the core weapon of clash culture. A sound commissions an artist to voice a custom version of a known tune naming that sound, and plays it as an exclusive nobody else can answer. The dubplate turns a record into a possession, and its economy sustains a whole layer of the business.

Arthur "Duke" Reid's studio above his liquor store at 33 Bond Street, Kingston, and the label of the same name. If Studio One owned ska, Treasure Isle owned rocksteady: from 1966 Reid's productions with Alton Ellis, the Techniques, the Paragons, Phyllis Dillon and John Holt defined the slower, sweeter, bass-forward form, and those rhythms became a second foundation catalogue — the basis of countless later versions, not least through U-Roy toasting over them in 1970.

Arthur Reid (1915-1975), policeman turned liquor merchant, sound-system owner and producer. His Trojan sound contested the late-1950s dances with Coxsone's Downbeat, and from his Bond Street premises he built Treasure Isle into the defining rocksteady operation — Alton Ellis, the Techniques, the Paragons, Phyllis Dillon — before opening his rhythms to U-Roy's toasting in 1970 and helping launch the deejay record.

In Jamaica's foundation years the man who paid for the session owned the sound - and often the shop, the studio and the label too.

How fenced yards, imported 78s and crowned sound men turned 1950s Kingston dances into an industry.

How a Jamaican teenager carried the logic of the dancehall sound system into a South Bronx rec room and helped set hip-hop in motion.

How rival rigs, custom dubplates and selectors turned the dance into Jamaica's first media platform.