Trailblazing, by definition, can be a lonely enterprise — but someone has to move civilization forward. Therefore, hats off to Jamaica’s first woman music producer, Sonia Pottinger, who managed to navigate a path through a field that is still overwhelmingly dominated by men and left future generations a legacy of classic recordings.
“Heaven Will Protect the Working Girl” –
One of few photos of Sonia Pottinger
Upon her passing, Howard Campbell in the November 7, 2010 edition of The Gleaner would pronounce her “Jamaica’s most successful women producer” although, curiously, neglect to point out she was the first. Campbell would also write —
Born in St Thomas, Pottinger was introduced to the music business by her husband L.O. Pottinger, an engineer who had relative success as a producer in the mid-1960s. She went on her own during that period, scoring a massive hit with “Every Night“, a ballad by singer Joe White. Pottinger had considerable success in the late 1960s with her Tip Top, High Note and Gay Feet labels. She produced Errol Dunkley’s debut album, Presenting Errol Dunkley, and hit songs by vocal groups like The Melodians (“Swing and Dine“), The Gaylads (“Hard to Confess“) and “Guns Fever“ by The Silvertones.
I was also intrigued to learn that, as Campbell notes, Pottinger bought the catalogue and operations of the esteemed Treasure Isle label after the passing of its founder/owner, Duke Reid (but only after first doing battle in Jamaica’s Supreme Court with Clement ‘Coxsone‘ Dodd, as well as Duke Reid’s son and Edward ‘Bunny‘ Lee; sadly, Pottinger would die the very next year after winning her case).
Incredibly, this same publication – just 16 months later – would publish a piece entitled, “Women Who Shaped Jamaican Music” … and fail to even mention her! Is my indignation righteous enough? Today’s piece, consequently, is my attempt to bring about some measure of pop music social justice.
Pottinger would go on to receive Jamaica’s Order of Distinction
As pointed out in yesterday’s piece, Sonia Pottinger issued two singles by pioneering reggae vibraphonist, Lennie Hibbert. Additionally, Pottinger would be among the first of the producers in Prince Buster’s wake to incorporate the traditional and deep Nyabinghi hand drum rhythms into rocksteady and reggae music, as evidenced on Patsy Todd‘s uniquely Jamaican interpretation of Miriam Makeba‘s big hit, “Pata Pata” (with backing from Count Ossie‘s mighty band) – both versions released in 1967:
“Pata Pata Rocksteady“
Patsy Todd with the Count Ossie Band (1967)
Every Culture album that bears the Pottinger production mark is top-notch and a must-own. Other crucial Pottinger productions that are worthy of your time —
= “Down (at) the Train Line” Stranger & Patsy 1967
= “That’s Life” Delano Stewart 1968
= “Top Cat” Leslie Butler 1968
= “Hard to Confess” The Gaylads 1968
= “Train to Glory” The Ethiopians 1968
= “Dr. No Go” The Hippy Boys 1969
= “Your Destiny” The Gentiles (The Melodians) 1970
= “Target” (“Musical Fight“) The Gaytones 1970
= “Praise Far I” The Ethiopians 1970
= “Run to the Rock” The Righteous Flames 1971
= “Home Bound” Teddy & the Conquerors 1971
= “Pray for Me” Max Romeo & The Gaytones 1972
= “Swing and Dine” The Melodians 1973
= “I Shall Sing” Judy Mowatt 1974
= “Survival” Marcia Griffiths 1975
= “It Cool” Brent Dowe 1975
= “Election Derby” Mr. Bojangles 1976
= “Stormy Weather” Revolutionaries with Bobby Ellis 1976
= “Natty Never Get Weary” Culture 1977
= “Stop the Fussing and Fighting” Culture 1977
= “Bamba in Dub” The Revolutionaries 1977
= “Rig Ma Roe Game” Justin Hinds & the Dominoes 1977
= “How Can I Get Over” The Chantells 197?
= “Forward Up” Brent Dowe 1978
= “Tell Me the Truth” Jah Thomas 1978
= “Roots Man Revival” Mikey Dread 1979
= “Jah Rastafari” Culture 1979
= “Ticklish Dub” Culture 1979
= “No Sin” Count Ossie & Mystic Revelation with Culture 1979
*
Cash Box
Sep. 30, 1967
