Leslie Kong: The Ice Cream Vendor That Helped Revolutionise Jamaican Music
In the vibrant and bustling world of Jamaican music in the 1960s, a handful of iconic figures stood out, shaping the island's sonic landscape and pushing the boundaries of popular music. These figures — Coxsone Dodd, Duke Reid, Prince Buster, and King Edwards — were titans of the local sound systems, who initially dabbled in music production to create exclusive dub plates for their audiences. But among them emerged a man from an entirely different background: Leslie Kong. Unlike the aforementioned giants, Kong’s journey to music stardom began not in the dancehalls, but in the unassuming surroundings of an ice cream parlour in Kingston.
The Beginnings of Beverley’s Records
Born in Kingston and educated at the prestigious St. George’s College, Leslie Kong enjoyed a relatively comfortable upbringing. By the early 1960s, Kong found himself helping to run the family business — Beverley’s Ice Cream Parlour on Orange Street, a bustling hub in the heart of Kingston. The shop catered not only to those with a sweet tooth but also to music lovers, with records available for sale as a side venture.
It was during this time that Kong’s life would take a remarkable turn. A precociously talented young man named Jimmy Cliff (then James Chambers) visited the shop with a song he had composed called “Dearest Beverley,” dedicated to the ice cream parlour. Cliff’s performance intrigued Kong, but more importantly, it introduced him to the burgeoning world of music production. Kong sought the advice of Derrick Morgan, one of Jamaica’s leading artists, and together they recognised Cliff’s potential. This chance meeting launched Kong into the recording business, and Beverley’s Records was born.
Kong financed his first recording session at Federal Records, producing Derrick Morgan’s “Be Still” and Jimmy Cliff’s “Hurricane Hattie.” These records were instant hits, catapulting Beverley’s Records into the spotlight. Within a short time, Kong was no longer just an ice cream vendor; he was a prominent figure in Jamaica’s thriving music industry.
Working with Legends: Jimmy Cliff, Bob Marley, and Desmond Dekker
Beverley’s Records quickly became a launching pad for some of Jamaica’s most influential musical talents. Kong’s reputation as a fair and generous producer earned him the loyalty of many young artists, and his label attracted future global superstars. Alongside Jimmy Cliff, Beverley’s roster boasted Desmond Dekker and a young Bob Marley, who recorded his early tracks “Judge Not” and “One Cup of Coffee” with Kong.
Desmond Dekker, who would become one of the most internationally recognised reggae stars, had a close relationship with Kong. Together, they produced a string of successful records throughout the 1960s. In 1967, Dekker’s song “007 (Shanty Town)” became an international sensation, breaking into the UK pop charts and peaking at number 12. It was one of the first Jamaican songs to achieve such widespread success outside the island, marking the dawn of Jamaica's global musical influence.
Kong’s business acumen and knack for recognising talent meant that he quickly became one of Jamaica’s top producers. His work with The Maytals, led by Toots Hibbert, resulted in classic tracks like “54-46 That’s My Number” and the infectious “Monkey Man,” which became hits both at home and abroad. Kong also collaborated with groups like The Pioneers, who scored hits with tracks such as “Long Shot Kick de Bucket,” and The Melodians, whose “Sweet Sensation” captured audiences far beyond the Caribbean.
Reggae’s International Breakthrough
Leslie Kong’s influence on Jamaican music cannot be understated. In an era when the country’s sound was evolving from ska to rocksteady and then to reggae, Kong was a steady presence at the helm of Beverley’s Records, guiding his artists to success. In 1969, Desmond Dekker’s hit “Israelites” became one of reggae’s first major international successes. The song topped the UK charts and reached number nine in the United States, selling over two million copies globally. It was a groundbreaking moment for Jamaican music, and it propelled reggae onto the world stage.
At the same time, Kong’s collaboration with Graeme Goodall, who managed the UK’s Pyramid label, facilitated the release of Beverley’s music in Britain. This partnership allowed Jamaican artists to reach wider audiences during the rocksteady and early reggae periods. Songs like The Melodians’ “Rivers of Babylon” and Jimmy Cliff’s “Wonderful World, Beautiful People” found international acclaim, cementing Kong’s role as a bridge between Jamaica and the global music industry.
The Legacy of Leslie Kong
While Kong’s influence on ska, rocksteady, and reggae is undeniable, his legacy is also tied to the way he treated his artists. Unlike some of his contemporaries, Kong was known for paying his musicians and singers fair wages, which helped him earn their trust and loyalty. This approach, coupled with his ability to recognise and nurture talent, set him apart from other producers of the era.
Kong’s success extended beyond music. He co-invested in Island Records with Chris Blackwell and Graeme Goodall, helping to relocate the label to London, which would go on to become one of the most influential independent labels in the world. His business acumen led to deals with labels like Trojan Records in the UK, ensuring his music reached new markets and audiences.
Tragically, Leslie Kong’s life was cut short at the age of 38 when he suffered a fatal heart attack in August 1971. His sudden death was a devastating blow to the Jamaican music industry, coming at a time when reggae was beginning to establish itself as a dominant global force. Some in the community even linked his death to a curse placed by Bunny Wailer, who had been unhappy with the release of the Wailers' compilation album, The Best of the Wailers, on Kong’s label.
Despite his premature death, Kong’s contributions to Jamaican music have left an indelible mark. Beverley’s Records was responsible for some of the most enduring ska, rocksteady, and reggae songs of the 1960s and early 1970s. His collaborations with artists like Jimmy Cliff, Desmond Dekker, and The Maytals helped to define the sound of a generation, while his role in bringing reggae to international audiences remains a defining moment in the history of the genre.
Sources
Katz, David. Solid Foundation: An Oral History of Reggae. 2003.
Barrow, Steve, and Dalton, Peter. The Rough Guide to Reggae. Rough Guides, 2004.
Bradley, Lloyd. This is Reggae Music: The Story of Jamaica’s Music. 2000.
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