<sod>As explained in “The Words and Music of Bob Marley” by David Moskowitz, early 1969 brought another change to Jamaican popular music in which the beat slowed down even further<ref name=":1">Moskowitz, David V. "Rebel Music, 1970-1975." The Words and Music of Bob Marley. Westport, CT: Praeger, 2007. 23. Google. Praeger Publishers, Greenwood Publishing Group, 2007. Web. 5 Oct. 2016. <https://books.google.com/books?id=QPZEqZHKq2AC&pg=PA23&lpg=PA23&dq=paul+douglas+soul+shakedown+party&source=bl&ots=NJZfKbMamX&sig=3wy_VKR5_UtPPiuQdUZxMy67MUw&hl=en&sa=X&ved=0ahUKEwit6OS5zcTPAhXIaT4KHfQHCP4Q6AEIJDAB#v=onepage&q=paul%20douglas%20soul%20shakedown%20party&f=false>.</ref>.  The new beat was a slow, steady, ticking rhythm that was first heard on the [[The Maytals]] song “[[Do the Reggay]].”…Also at this time, JAD Records and Cayman Music had scaled back their production and had agreed to let the Wailers record for other producers with the stipulation that the records be released only in the Caribbean.  In response, Bob Marley approached [[Leslie Kong]], who was the hottest Jamaican producer in the late 1960s, and together they recorded enough tracks to create an album<ref name=":1" />.  Kong was recognized as one of the best producers on the island and was one of the major developers of the new reggae style and a prime candidate to assist the Wailers.  The Wailers used Kong’s studio musicians as their backup band on the tracks and benefited from their expertise.  Called Beverley’s All-Stars, the group consisted of the bassists Lloyd Parkes and Jackie Jackson, the drummer Paul Douglas, the keyboard players Gladstone “Gladdie” Anderson and Winston Wright, and the guitarists Rad Bryan, Lynn Taitt, and Hux Brown<ref name=":1" />.  The tracks recorded in this session illustrated the Wailers’ earliest efforts in the new reggae style.  Gone are the ska trumpets and saxophones of the earlier songs, with instrumental breaks now being played by the electric guitar.  Although the majority of the new tracks were dance songs, some contained lyrics of social consciousness and concern.  The majority of the new material recorded in the session was written by Bob, but a few of Peter’s compositions were included as he gradually became recognized as an adept songwriter and lead singer in his own right.  The tracks included “Soul Shakedown Party,” “Stop That Train,” “Caution,” “Go Tell It on the Mountain,” “Soon Come,” “Can’t You See,” “Soul Captives,” “Cheer Up,” “Back Out,” and “Do It Twice<ref name=":1" />.”<eod>
<sod>As explained in “The Words and Music of Bob Marley” by David Moskowitz, early 1969 brought another change to Jamaican popular music in which the beat slowed down even further<ref name=":1">Moskowitz, David V. "Rebel Music, 1970-1975." The Words and Music of Bob Marley. Westport, CT: Praeger, 2007. 23. Google. Praeger Publishers, Greenwood Publishing Group, 2007. Web. 5 Oct. 2016. <https://books.google.com/books?id=QPZEqZHKq2AC&pg=PA23&lpg=PA23&dq=paul+douglas+soul+shakedown+party&source=bl&ots=NJZfKbMamX&sig=3wy_VKR5_UtPPiuQdUZxMy67MUw&hl=en&sa=X&ved=0ahUKEwit6OS5zcTPAhXIaT4KHfQHCP4Q6AEIJDAB#v=onepage&q=paul%20douglas%20soul%20shakedown%20party&f=false>.</ref>.  The new beat was a slow, steady, ticking rhythm that was first heard on the [[The Maytals]] song “[[Do the Reggay]].”…Also at this time, JAD Records and Cayman Music had scaled back their production and had agreed to let the Wailers record for other producers with the stipulation that the records be released only in the Caribbean.  In response, Bob Marley approached [[Leslie Kong]], who was the hottest Jamaican producer in the late 1960s, and together they recorded enough tracks to create an album<ref name=":1" />.  Kong was recognized as one of the best producers on the island and was one of the major developers of the new reggae style and a prime candidate to assist the Wailers.  [[Bob Marley and the Wailers|The Wailers]] used Kong’s studio musicians as their backup band on the tracks and benefited from their expertise.  Called Beverley’s All-Stars, the group consisted of the bassists Lloyd Parkes and Jackie Jackson, the drummer Paul Douglas, the keyboard players Gladstone “Gladdie” Anderson and Winston Wright, and the guitarists Rad Bryan, Lynn Taitt, and Hux Brown<ref name=":1" />.  The tracks recorded in this session illustrated the Wailers’ earliest efforts in the new reggae style.  Gone are the ska trumpets and saxophones of the earlier songs, with instrumental breaks now being played by the electric guitar.  Although the majority of the new tracks were dance songs, some contained lyrics of social consciousness and concern.  The majority of the new material recorded in the session was written by Bob, but a few of Peter’s compositions were included as he gradually became recognized as an adept songwriter and lead singer in his own right.  The tracks included “Soul Shakedown Party,” “Stop That Train,” “Caution,” “Go Tell It on the Mountain,” “Soon Come,” “Can’t You See,” “Soul Captives,” “Cheer Up,” “Back Out,” and “Do It Twice<ref name=":1" />.”<eod>