It has been said that the decade of the1970s was one the most culturally enigmatic periods in the nation's history. It was a period of cultural, and political enlightenment and where Jamaican recording artistes were not only finding their footing, but also using their creative talents to provide commentary on issues affecting the island's population. One such artiste was Junior "Chubby" Byles who was born at the Victoria Jubilee (Lying-In Hospital) in Kingston, Jamaica, on July 17,1948, and christened Kenneth Byles (Junior) after his father.
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The Versatiles
Byles grew up in the Jones Town area of the city and was still in his teens when he formed the Versatiles with fellow vocalists Earl Dudley and Louis Davis. The mid to late 1960s saw the short-lived rocksteady era and vocal trios ruled the land. The group auditioned for the Festival Song Competition in 1967 hoping to catch the attention of the producers who stalked the contest in search of new talent. The trio was proud of their entry, an upbeat Byles' composed celebration of unity, titled "The Time Has Come." The infectious song and the trio's obvious enthusiasm caught the attention of Joe Gibbs who brought the group into the studio.
Joe Gibbs years
The trio continued to cut singles exclusively for Joe Gibbs over the next two years, but not in the prolific numbers of many of their bigger counterparts. But quality made up for quantity; gorgeous songs like "Just Can't Win," driving religious numbers such as "Trust the Book," and the party piece call and response of "Long Long Time" all cemented their reputation. The group also excelled at writing catchy hooks, as they proved with their debut single and confirmed with "Push It In," one of the most infectious and rudest songs in their repertoire. The Versatiles rode the rocksteady wave into the new reggae era, and as the decade waned, they left Joe Gibbs and linked again with Scratch Perry, for whom they cut a number of singles including, including such hits as "Children Get Ready" and the harmony drenched "Teardrops Falling."
They moved from Joe Gibbs to Duke Reid with whom they recorded "I Love You Baby." The trio also had a brief encounter with Laurel Aitken before reuniting with both Gibbs and later Scratch Perry, ahich was short-lived and in 1970, they went their separate ways.
Solo career
Byles and Perry reunited the following year, where he re-entered the Festival Song Competition with the less-objectionable entry "Festival Da Da," to snatch second place.
The following year, 1972, saw the approach of General Elections, and in an environment laced with political tension, it was easy to understand why so many artistes were not afraid to make their political preferences known,. Byles and Perry recorded a number of seminal songs across late 1971 and into 1972, all of which spoke directly to the current political clime. The haunting "A Place Called Africa," and the biting "Pharaoh Hiding," a nursery rhyme taunt aimed at the ruling Jamaican Labour Party's (JLP) leader Hugh Shearer; "Joshua's Desire," putting Manley's vision of a better world into song (his supporters referred to him as Joshua); and the most radical of all, "Beat Down Babylon," a perfect blend of Byles’ infectious melody and Scratch Perry’s production effects, including a cracking whip sound to accompany the chorus' "whip them, whip them Lord."
Hit-Maker
Byles at the time scored with a remake of Peggy Lee's "Fever," a song which became his biggest hit of the year, and one of Perry’s most masterful productions. In 1973 Byles released his debut album, Beat Down Babylon. Byles followed through with a stream of equally powerful singles. His best work was with Perry (although the singer would also record with other producers on occasion), and the pair fired single after single onto the charts, while across the Atlantic, their songs were stirring the attention of British listeners as well. One of the best was "When Will Better Come," an anthemic reminder to Manley that Jamaica was still waiting for him to deliver on the better times he'd promised. There were lighter hearted moments as well, like "Fun and Games," the nursery rhyme of a counting game cum religious instruction of "Auntie Lulu," and the apocalyptic sounding meeting with a comely girl on "Pretty Fe True." The seminal "Curley Locks arrived in 1974, a song that arguably best illustrates Junior Byles’' shimmering talent. "Curly Locks" cemented Byles’' reputation in Britain, and just added to his chart success in Jamaica.
But behind the scenes, all was not well. Perry was as well-known for his volatility as his creativity and was quick to take offense. Byles was the opposite extreme, renowned for his moodiness, and he alarmingly started falling into paroxysms of deep depression. By 1975, the relationship between the two men had sundered and after the release of the single "Long Way" they parted company.
Channel One studio
Byles would move to the Ja-Man label, run by Dudley Swaby and Leroy Hollett, for whom he released three tunes for the team; duets with Rupert Reid -- "Chant Down Babylon," "Know Where You're Going," and "Remember Me." He recorded a fourth song (a solo effort) "Pitchy Patchy." Despite Byles' deepening emotional issues, it was obvious that the singer was more than capable of continuing to cut excellent material. This was affirmed by further successful singles with Lloyd Campbell ("Burr-O-Boy") and Pete Weston. The latter producer oversaw Byles’ second album, Jordan, which boasted the pair's two big hits, a splendid cover of "Ain't Too Proud to Beg" and a spectacular version of "Oh Carolina," amongst other covers and new material, and was almost the equal of Beat Down Babylon. However, virtually everything Byles released that year was to be overwhelmed by the single "Fade Away," produced by JoJo Hoo-Kim at Channel One studio on Maxfield Park Road. , this powerful dread single was a smash not just in Jamaica, but in the Britain as well, where it hit with the strength of a nuclear blast. The singer seemed unstoppable. He was one of Jamaica's biggest stars and had also established a massive following in Britain, an international breakthrough now seemed imminent.
Death of Haile Selassie
On August 27, 1975, news came that the Ethiopian Emperor, Haile Selassie died. The news hit the Rastafarian community like an atomic bomb, and Byles took it hard. He reportedly attempted suicide, but thankfully didn't succeed and was taken to the Bellevue Hospital in Kingston for treatment. He was released soon after, but wasn't really recovered. Over the next few years, Byles continued to attempt to work, but proved to be able to for only brief periods of time. His musical output slowed considerably with only a few releases a year. He managed to cut only a couple of tracks in 1976, overseen by Holness, a cover of the Delroy Wilson's classic "Run Run" and a new version of "King of Babylon."
Byles fading away
The following year, he rejoined Lloyd Campbell and recorded "Can You Feel It" and "Weeping," a song whose lyrics reflected Byles' own emotional state. The singer also linked with DJ Big Youth for a version of the Archies' "Sugar Sugar (utilizing the rhythm from the Mighty Diamonds' "Right Time"). In 1978, he reunited with his first producer, Joe Gibbs, now working in conjunction with Errol Thompson as the Mighty Two, and cut another pair of singles -- "Dreadlocks Time" and "Heart and Soul." Each of these songs was masterful and each was a hit, but that didn't change the fact that the singer's life was in shambles and his career equally so. In between these sparse recording sessions, Byles retired to the quiet of the hills or back into the hospital. The sessions with the Mighty Two were to be the last for four years, and the singer disappeared entirely from the music scene.
In 1982, Byles returned determined to re-launch his career, recording a new album with producer Black Morwell for Bullwackies, it would not be ready for release until 1986.This new album “Rasta Nuh Pick Pocket” was released, but after the sheer brilliance of his last two, was a disappointment. The title-track was a re-recording of an old single cut back in his days with Perry, and while there were still flashes of genius within, the overwhelming aura of the album is one of talent slipping away. Horrifically, by late 1987, the singer was homeless, penniless, and virtually unrecognizable.
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