NYTOctober 17, 2008
Alton Ellis, Jamaican Singer, Dies at 70
By ROB KENNER
Alton Ellis, the smooth Jamaican singer and songwriter known as the Godfather of Rock Steady, died early Saturday morning (local time) in London. He was 70 and had lived in Middlesex, England, for nearly two decades.
The cause was multiple myeloma, a form of bone cancer, said his business manager, Trish De Rosa.
Starting in the 1950s, Mr. Ellis helped lay the foundations of the Jamaican recording industry, singing songs that would profoundly influence global pop music.
“Alton was a bigger artist in Jamaica than Bob Marley,” said Dennis Alcapone, another Jamaican recording artist working in Britain who often performed with Mr. Ellis. “Everybody, even Bob, would love if he could sing like Alton Ellis. All of them would sit back and listen to Alton because Alton was the king.”
Alton Ellis was born and raised in Trenchtown, the same underprivileged Kingston neighborhood that was home to stars like Marley. Mr. Ellis and his younger sister Hortense got their start as schoolchildren competing on Kingston talent shows like “Vere John’s Opportunity Hour.” In 1959, as half of the duo Alton & Eddie, he recorded the R&B-style scorcher “Muriel,” which became one of the first hit records for the pioneering local producer Clement Dodd, known as Coxsone.
Bouncing between Mr. Dodd’s Studio One label and the Treasure Isle label of a rival producer, Arthur Reid, known as Duke, Mr. Ellis blazed a trail with a series of classic love songs like “Girl I’ve Got A Date,” “I’m Just a Guy” and his signature, “Get Ready Rock Steady,” a 1966 dance-craze record that inspired a new era in Jamaican music. (Much later he established his own label, All-Tone.)
Rock steady was a sweeter, slower sound that formed the bridge between the hard-driving brass of ska and the rebel reggae that Marley later spread throughout the world. Rock steady’s easy pace and spare arrangements were the perfect showcase for Mr. Ellis’s soulful tenor, an elegant instrument that fell somewhere between the roughness of Otis Redding and the silkiness of Sam Cooke.
“Alton ruled the rock steady era,” Mr. Alcapone said. But Mr. Ellis’s influence did not stop there.
“Get Ready Rock Steady” was used in 1969 on “Wake the Town,” featuring a Rastafarian D.J. named U-Roy; the track would be described by some as the world’s earliest rap recording. The instrumental track to Mr. Ellis’s composition “Mad Mad” became one of the most covered recordings in reggae history, influencing generations of dancehall and hip-hop artists. And his 1967 composition “I’m Still in Love With You” was covered several times, most recently by the dancehall artists Sean Paul and Sasha, reaching No. 3 on Billboard’s Hot Singles chart in 2004.
Mr. Ellis was awarded Jamaica’s Order of Distinction in 1994 and was inducted into the International Reggae and World Music Hall of Fame in 2006.
Ms. De Rosa said his body would lie in state in the National Arena in Jamaica to accommodate the crowds expected to pay their respects to Mr. Ellis, who never stopped working until he collapsed after a London performance in August. He had juggled demands to perform and record even as he underwent chemotherapy, making a final trip to Jamaica in June.
“My dad did a lot for music, but he didn’t really boast about it like he could have,” said his 23-year-old son Christopher, who often performed with his father and was one of his more than 20 children. “He’s got a lot of respect, and his name is really big, but financially he’s been robbed over the years. He told me, ‘Son, do not let them rob you like they robbed me.’ ”
After a long battle for royalties, Mr. Ellis received a check for “I’m Still in Love With You” a few weeks before he died, Ms. De Rosa said.
