Rudeboy: The Story of Trojan Records | Little White Lies

Rude­boy: The Sto­ry of Tro­jan Records

12 Oct 2018 / Released: 12 Oct 2018

Words by Ed Gibbs

Directed by Nicolas Jack Davies

Starring N/A

Man in hat operating turntable in vintage-style recording studio.
Man in hat operating turntable in vintage-style recording studio.
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Anticipation.

Although familiar, the prospect of a warts ‘n’ all reveal about the iconic label raises the pulse a notch or two.

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Enjoyment.

Pulling up a chair with the stars who made this music was always going to be fun, even if it sticks to a safe path.

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In Retrospect.

A slick ‘greatest hits’ look back at the Trojan legacy, which leaves you wanting more.

The ground-break­ing label marks its half-cen­tu­ry with a glossy new doc­u­men­tary cel­e­brat­ing its legacy.

Despite its influ­ence on the emerg­ing mul­ti-cul­tur­al Britain of the late 1960s and ear­ly 1970s, Tro­jan has always played sec­ond fid­dle to its more famous cousin, Island Records. Per­haps that’s inevitable, giv­en Island’s envi­able ros­ter of stars – Bob Mar­ley being its most famous catch – and the fact that Island was find­ing its groove just as Tro­jan was fal­ter­ing. Oth­er labels got in on the act of pro­duc­ing Jamaican music for the fast-expand­ing British mar­ket, too. But there’s only so much you can fit into a swift 80-minute doc.

More sur­pris­ing, per­haps, is the choice of direc­tor. A film­mak­er like Don Letts would have seemed the most nat­ur­al choice for such a task as this. He has, after all, pro­duced an expan­sive series about the label for BBC6 Music. He was also right there, in the thick of it, when sound sys­tem cul­ture swept the UK. Instead, the label has enlist­ed direc­tor Nick Davies, best known for his Mum­ford and Sons tour doc The Road to Red Rocks, to explore the sto­ry on screen – and called on Letts for expert, eye-wit­ness testimony.

Much of the film is pre­sent­ed as dra­mat­ic recon­struc­tion – there’s almost no archive of the 1960s music scene in Jamaica, appar­ent­ly – with each sequence led in by req­ui­site shots of vin­tage vinyl (and that nee­dle drop­ping). Gen­er­al­ly, the talk­ing heads fit neat­ly in-between, and we hear from many who were there at the time. In addi­tion to Letts, there are pro­duc­ers Duke Reid and Bun­ny Lee, and artists such as Der­rick Mor­gan, Mar­cia Grif­fiths, Toots Hib­bert, Neville Sta­ple and Pauline Black. Oth­ers, such as Island’s Chris Black­well, are notable by their absence.

With no nar­ra­tor, Davies’ film zips through the grim and ugly real­i­ty of Britain becom­ing a mul­ti-racial nation, when it court­ed cheap labour from its fast-van­ish­ing Empire, only to recoil when its cit­i­zens decid­ed to stay in the moth­er­land. Enoch Powell’s Rivers of Blood’ speech is neat­ly ticked off, as is the every­day racism the Com­mon­wealth emi­gres faced when try­ing to find work and board (and some­where to unwind).

More sat­is­fy­ing is the role the import busi­ness plays in unit­ing Britain’s newest arrivals against their hos­tile hosts. Sound sys­tem cul­ture explodes and with it, a sky­rock­et­ing demand for Jamaican music. By 1968, Tro­jan Records is born. Two years lat­er, Wem­b­ley is host­ing a fes­ti­val ded­i­cat­ed to reg­gae. Even a dis­ap­prov­ing Tony Black­burn can’t stop the music.

The music is, of course, glo­ri­ous – you’ll be hard-pressed not to be crav­ing a Tro­jan col­lec­tion after this whis­tle-stop ride through its back pages. Which, per­haps, is the point. It is bank-rolled by the label, after all. But clear­ly, it’s far from the defin­i­tive doc musos and fans may have wished for. It is great fun, thanks large­ly to the sur­viv­ing key play­ers from the time, who are all live­ly inter­vie­wees. It’s more an intro­duc­tion for the unini­ti­at­ed than an inves­tiga­tive piece, par­tic­u­lar­ly since it pulls back from going into detail about the miss­ing mil­lions. But if you’re here pure­ly for the music, it will cer­tain­ly do.

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