Cannon and The Soul Vendors - Bad Treatment - NiceUp

The rocksteady era was a pivotal, short-lived period in early Jamaican music that flourished roughly between the summer of 1966 and the spring of 1968. It served as the soulful bridge between upbeat ska and rhythmic reggae. It’s characterized by a slower tempo, a deep and driving bass line, yet silky smooth, emotional vocal harmonies.

The Soul Vendors were the notoriously hard working and respected in-house studio band at Clement “Coxsone” Dodd’s Studio One. The line up included Jackie Mittoo (Keyboard,) Leroy Sibbles and Bryan Atkinson (Bass), Eric Frater (Guitar), Joe Isaacs and Leroy “Horsemouth” Wallace (Drums) and Karl “Cannon” Bryan (Alto Saxophone). This super group went on to become Sound Dimension soon after, albeit with subtle line up changes.

This 1968 rocksteady instrumental track is instantly recognisable for its well versioned bass line and guitar skank. It’s an absolute banger, three minutes flat and super phat, ahead of its time in many ways. Many of these Studio One tracks from the 1960’s provided the foundation for the musical evolution to reggae and dancehall.

The “Bad Treatment” riddim was first recut by Prince Jammy in 1983, with Frankie Paul, “Foreign Mind”. Sly and Robbie also cut another massive version in the same year with Sugar Minott, “Rub a Dub Sound”, lending the same riddim its alternative name “Rub A Dub Riddim”. Soon come 1985 and Prince Jammy is crowned King. King Jammy’s releases, Anthony Johnson’s “Get Ready”, “Ready Dub” and “Rewind Version” for Johnny Osbourne’s killer “Rewind”.

This riddim then found further success and appeal in the mid-1990’s for dancehall artists – Admiral Bailey, Bounty Killer, Nitty Kutchie, Angel Doolas, Chuck Fender, Junior Cat, Pinchers, Johnny Nice, Black Mice, Goofy, Buccaneer, Filco Ranks, Hawkeye, Ninjaman and The Dreads – all produced at King Jammy’s. More releases followed, attesting to the quality and longevity of the riddim.

The ultimate appeal of the track for me is the warm saxophone vibes, killer guitar skank and a deep, thumping bassline. The riddim went on to produce hit after hit for many decades. And honestly it just sounds incredible with late-1960’s analogue technology. It’s one for the ages.

My copy of this track features on Soul Jazz Records’ highly rated Rocksteady Volume 2 (SJR LP367). It’s a double LP featuring many of the great artists from the era including Alton Ellis, Delroy Wilson, The Paragons, Slim Smith, The Heptones, Owen Gray, John Holt and many more.