The Birth of Ska

Duke Vin and the Birth of Ska by Gus Berger, tells the story of Duke Vin, the man who built the UK’s very first sound system in 1956, and who, alongside DJs Count Suckle and Daddy Vego, helped popularize Ska in the UK and make it one of the most influential musical styles, the effects of which can still be heard today. The documentary shows the rise of this unique music: music which evolved from speeded up American R&B covers to brass heavy songs that spoke of freedom and independence. After branching out to reggae and dub to the skinhead movement of the 80s, Ska was finally revived in the nineties and noughties by popular bands lincluding No Doubt. Leila Hawkins caught up with Gus and discovered how Ska was born out of political and social change.

What is it about ska that made you want to pick up a camera?
It was a combination of my love of the music and its origins, and my fascination with the original Jamaican record shops in London, which, being from Melbourne, I wasn’t used to. My original plan was to tell the story of the development of Jamaican music through the eyes of the Jamaican record shop owners - however, the stores were closing so quickly that I knew that I needed to pick up a camera and start talking to these guys and hearing their stories and their view on the impact of Jamaican music, particularly in London.
 
How did get involved with the main contributor, Duke Vin?
I got to know Duke Vin personally, initially though Gaz Mayall who runs the famous Soho club, Gaz's Rockin Blues. Once I had met Duke and seen him DJ numerous times, it occurred to me to change the focus of the story away from the record shops and more towards Duke himself. It seemed like a much more positive angle: the shops were closing yet Duke was still playing records - 50 years on!
 
There's a moving scene of some archive footage depicting a young, suited black man trying to find a room to rent, but is turned away by numerous hostel owners because of the colour of his skin. Did you feel it was important to add a political element to the documentary?
Yes, for two reasons. Firstly, I felt that politics and music have always been intertwined in the Jamaican music scene so it wouldn’t have been unusual to include a political element.
The second reason, and I guess more importantly from the film's perspective was that I felt it was necessary to illustrate the obstacles that the West Indian community faced when they came to Britain. In particular, the original sound men like Duke Vin and Count Suckle, and others, were up against tremendous barriers and for these guys to not only take these on, but to do so in such a positive fashion I thought was incredibly inspiring.
 
The film illustrates the prejudice encountered by West Indian immigrants in the 1960's: in fact every important musical movement seems to have evolved through the political and social climate of the era. Do you think we’re still so politically motivated and socially aware, or are we becoming more and more apathetic?
We’re becoming more apathetic and I wish I didn’t believe this to be the case. I think that the media has much to answer for here, as we are subtly being told that we only really need to concern ourselves with ourselves. Movements such as Rock Against Racism, the poll tax riots and the Criminal Justice Bill protests, all of which had different musical elements running through them, had a focus on others as a whole, not just the individual. I hope that this focus will change, not only that it may spawn a new musical movement, but also because we still need to concern ourselves with the well being of others.

You recount Duke Vin's creation of the UK's first ever sound system. What are the other seminal moments in the history of ska for you?
Duke Vin and others before him (like Sir Coxsone and Duke Reid) provided the inspiration for others that they could do the same, but in their style. So the growth and development of the sound system culture in the UK was a huge turning point. In terms of the sound of ska, it evolved into other styles, such as rocksteady and reggae.In the UK, ska was reinvented by bands such as The Specials, The Beat and Madness. These bands inspired their fans to discover what their records were actually based upon, which was Jamaican ska. So all of a sudden, people started buying all these classic Jamaican records, some 20 years after they were originally produced. I think the longevity and popularity of these UK bands is a real testament to the amazing sound that was created by the Jamaican musicians back in the early 60's.
 
The film premiered at a trade union meeting (SERTUC film club). Where you would like it to go next?
I would love this film to be seen by wider audience as I don't think people truly appreciate the positive impact that Jamaican music has had upon British culture in general. I am entering this film into various film festivals in Europe and the US and from this effort I would love the film to be picked up and shown by a TV network. A distributor would definitely help me as I would also like to clear the rights for the film to be sold as a DVD.

Do you have any other projects in the pipeline?
I think that the hard work starts here to promote the film so I’m focussed on this at the moment!
 
See the trailer here : http://vimeo.com/774368


Think you don’t know Ska? These famous tracks owe their special sound to this special style
The Specials Ghost town,  2 Tone, 1981
An apocalyptic ditty of discontent with Thatcher’s Britain, this song is peppered by the sound of sirens in the background to symbolise the brutality of the police at the time.
The Beat Mirror in the Bathroom, Go Feet, 1981
Written by The Beat’s singer and guitarist Dave Wakeling, this song isn’t, contrary to popular opinion,  about cocaine but about looking at your own reflection in the mirror whilst getting ready for work. It’s about narcissism and self-involvement
The Maytals Monkey Man,Beverly’s, 1970
A dig at the band’s producer, Leslie King, this is pure ska sound. One of the most covered ska songs.
Madness  One Step Beyond, Stiff Records, 1979
Madness’ purest Ska period. One Step Beyond, was the band’s debut album. It stayed in the charts for a year and peaked at number 2. The eponymous title track was written by Jamaican ska musician Prince Buster.
No Doubt, Don’t Speak, Interscope, 1995
Although the Californian band formed in the second half of the 80s they didn’t enjoy mainstream success until 1995 with the album Tragic Kingdom, a revival of ska mixed with rock sounds. Eric Stefani learnt the piano by playing Madness songs. Don’t Speak secured the band’s international, mainstream success.

Leila Hawkins