Andy Capp :

(Lynford Anderson)
Recording Engineer, Early dj

Interview conducted in February 2002
Interview © 2004 Jamaica Way Productions

Listen to an audio interview with Andy Capp:

Q:Earlier we were discussing your work with Leslie Kong at Dynamic . Tell me more about his production style.

A: Leslie Kong – this Chinese guy, he went into production and he would book the (Dynamic) studios all day or week and nobody could get in! Whoever want to do anything it has to be done by someone else and it cause a problem. It was Dynamic Sounds he was booking.

Q: Was that because he was busy working or wanted control?

A: He wanted me. The other guys wanted me too, but he block the studio so that nobody else come in there for a day – up to a week when he was doin’ his albums.
I work with them all. Bunny Lee would do the same thing later on. He would say: “OK, if Leslie can do that…” He would book the studio and there would be 50 artistes waiting outside. One at a time would come in. There was one day when Eric Donaldson was there and there was so many guys outside that Bunny Lee says: “OK! One take, that’s it! If it’s good – it’s good. If it’s not good, that’s it!” Everybody come in there – one take, one take, one take. The guy go by the piano – Gladdy (Gladstone Anderson) the pianist, and he would get the changes and say: “We ready!” [laughter] “Rolling!” By this time we had a four and eight track. If it wasn’t right, we’d correct it.

Q: Who were some of the artistes that were rolling through the door in that period?

A: Toots and The Maytals – I did “54-46,” Bob Marley, Eric Clapton, Roberta Flack – “Killing Me Softly.” I did the tracks for those.

Q: What brought her (Roberta) to Jamaica?

A: She wanted the reggae feel, I think. “Killing Me Softly” is technically a slow reggae. The drum and bass – just mainly the rhythm.

Q: Who played on that tune?

A: I think Gladdy was on it, I really don’t remember who was on drums.

Q: When you came out with “Pop A Top” – did Derrick Morgan know that was comin’ out?

A: No.

Q: What did he say to you on your first conversation?

A: He came to the studio and he heard it. He said: “That sound like that song I did years ago call ‘Fat Man..’” I say: “Wha yu mean?” He said: “Yeah!” An started singing, “Hey you fat man! Leave my girl alone…” It’s the same changes and he start singing on it – that’s it!

Q: So that’s the history o the link between the original and your “op A Top.”

A: That’s how most songs come about. It was “Parkway Mambo” and then become “Pop A Top.” It’s an American song. It’s an instrumental. I don’t remember the guy who was blowin’
I also did “Dr. No Go.” It was almost as big as “Pop A Top.” Mrs. Pottinger – it was designed for a group – I think The Meditations, I don’t remember. They work in the studio, we were tryin’ to voice it. They weren’t singing the way she wanted then to sing. So I went into the “talk-back” from the control room and start to give them a feel by saying: “OK gentlemen, once more from the top! Ta dom tom!” Mrs. Pottinger like it an say, “Why don’t you continue?” I say: “No, let the guys sing.” She say: “No, you do it. If anything we can do a version of it.” I went in an I do a slate from the control room for identifying programming. I hit the slate button – at the time the slate button don’t have a tone. Now it was clear microphone you can actually put on tape from the control. I started fooling around with it. She was actually in the background laughing – if you hear the song. We put it out and it was a smash. They didn’t put the other guy’s song out! That was my second song by myself. I did one with King Stitt.

Q: “Herbsman Shuffle?”

A: Yeah, and “Fire Corner.” I think King Stitt an I do about two or three.

Choose another Artiste