Trojan Records

Trojan Records is a British record label founded in 1968 around the growing trade in Jamaican popular music. Its founders were Jamaican producer and sound-system operator Duke Reid, British-Jamaican music entrepreneur Lee Gopthal, and Chris Blackwell, whose Island Records organization already had substantial links with Caribbean music. The label took its name from the Croydon-built Trojan truck used as part of Reid's Jamaican sound system. The vehicle carried the wording “Duke Reid – The Trojan King of Sounds,” and the expression “Trojan Sound” became associated with the music played through Reid's operation. Trojan initially functioned as an imprint for Duke Reid's Treasure Isle productions. Its first ten releases were drawn from Reid's catalogue, beginning with “Judge Sympathy,” performed by the Freedom Singers but credited on the label to Reid. After Gopthal and Blackwell separated their operating interests in 1968, Gopthal reorganized Trojan as the principal label for his company's reggae activities. Other producer- or catalogue-focused imprints, including Amalgamated, High Note and Treasure Isle, operated within the wider network. The company became one of the most important British distributors and promoters of Jamaican music during the late 1960s and early 1970s. It competed with labels such as Doctor Bird and Pama, but differentiated itself by pursuing crossover success beyond specialist Caribbean and immigrant audiences. Some recordings were remixed, re-edited or supplemented with orchestration for the British pop market. This strategy helped reggae reach mainstream listeners, although the production costs later contributed to financial pressure. Trojan's artists and licensed catalogues included Desmond Dekker, Jimmy Cliff, the Upsetters, the Harry J All Stars, the Maytals, the Melodians, Nicky Thomas, Dave and Ansel Collins, Bob and Marcia, Tony Tribe and Judge Dread. The label had nearly thirty UK singles-chart hits between 1969 and 1976. On 15 November 1969, three Trojan or B&C singles appeared simultaneously in the UK Top 20: the Upsetters' “Return of Django,” Jimmy Cliff's “Wonderful World, Beautiful People,” and the Harry J All Stars' “The Liquidator.” Although Trojan was strongly associated with seven-inch singles, it also built a substantial compilation business. Series such as Tighten Up, Club Reggae and Reggae Chartbusters introduced listeners to broad selections of Jamaican recordings, while later Trojan Box Set editions repackaged archival ska, rocksteady and reggae material for collectors and general audiences. The label's catalogue also became commercially useful outside conventional record retail: recordings were licensed for advertising and major-event campaigns, including work associated with TDK, Adidas and the 2000 UEFA European Football Championship. After Island withdrew its interest in 1972, Trojan's attempts to broaden reggae's pop appeal through overdubbing and orchestral treatment became increasingly expensive. The company was liquidated in 1975, and its assets were acquired by Saga Records. Record collector and accountant Colin Newman bought the label in 1985, after which Trojan concentrated heavily on catalogue restoration, reissues and specialist compilations. Sanctuary Records Group acquired Trojan in 2001 and later acquired Creole Records in 2002. Universal Music Group acquired a controlling interest in Sanctuary in 2007, then transferred the Sanctuary catalogue, including Trojan, to BMG in 2013 as part of the divestments connected with Universal's acquisition of EMI. Trojan marked its fiftieth anniversary in 2018 and continues primarily as a catalogue and reissue brand under BMG.

Trojan Records emerged from the meeting of Jamaican sound-system culture, British record retail and the expanding market for Caribbean music in the United Kingdom. Its name references the Trojan truck used by Duke Reid, one of Jamaica's leading producers and sound-system operators. Reid's truck carried a description identifying him as the “Trojan King of Sounds,” providing the source for both the label name and the broader idea of a Trojan sound. The label was established in 1968 by Reid, Lee Gopthal and Chris Blackwell. Gopthal operated the Musicland retail chain and owned Beat & Commercial Records, while Blackwell controlled Island Records and had developed important links with Jamaican artists and producers. Trojan's earliest releases were almost exclusively drawn from Reid's Treasure Isle productions. The first release was “Judge Sympathy,” performed by the Freedom Singers and credited on the label to Reid. Gopthal and Blackwell soon divided their operating interests. After that split, Gopthal developed Trojan as the central label for his reggae business, while related imprints such as Amalgamated, High Note and Treasure Isle handled particular producers or catalogues. Trojan was based at a warehouse on Neasden Lane in Willesden, London, until 1975. Its activities formed part of a crowded British reggae market that also included Pama and Doctor Bird, both of which licensed recordings from Jamaican sources. Trojan's defining commercial strategy was to make Jamaican music available to a mainstream British audience without abandoning the specialist market. The company licensed recordings from producers including Duke Reid, Harry Johnson and Leslie Kong, then released them through singles, albums and compilations. Some tracks were remixed or given orchestral overdubs to make them more compatible with British pop-radio conventions. The label's strategy was unusually successful during the period when reggae was moving from Caribbean and immigrant communities into the wider popular culture. The breakthrough period came between 1969 and 1972. Trojan and associated B&C releases produced numerous chart records, including music by Desmond Dekker, Jimmy Cliff, the Upsetters, the Harry J All Stars, the Maytals, the Melodians, Nicky Thomas, Bob and Marcia, Tony Tribe and Judge Dread. On 15 November 1969, “Return of Django,” “Wonderful World, Beautiful People” and “The Liquidator” were simultaneously in the UK Top 20. The label's chart presence continued into the 1970s, with almost thirty UK singles-chart hits between 1969 and 1976. In 1970, the wider Trojan and B&C operation issued approximately 500 singles through more than thirty labels. The company also created a durable compilation format. Tighten Up, Club Reggae and Reggae Chartbusters assembled Jamaican recordings for listeners who might not have followed individual producers or artists. These collections helped define the sound and visual identity of British reggae retail. However, the cost of tailoring recordings for crossover sales placed pressure on the company. Island withdrew its Trojan interests in 1972, and the label was liquidated in 1975. Saga Records acquired its assets. Trojan returned to independent ownership in 1985, when Colin Newman purchased the label. Its business then centered on reissuing and repackaging its historical catalogue, especially ska, rocksteady and reggae recordings. The Trojan Box Set series became a prominent catalogue product, commonly presenting fifty tracks in a multi-disc clamshell package. The company also licensed songs for advertising and major public campaigns, including campaigns associated with TDK, Adidas and the 2000 UEFA European Football Championship. Sanctuary Records Group acquired Trojan in 2001 and expanded its surrounding reggae catalogue through the purchase of Creole Records in 2002. Universal Music Group acquired 90 percent of Sanctuary in 2007. In 2013, Universal transferred the Sanctuary catalogue, including Trojan, to BMG as part of a divestment programme linked to EU regulatory conditions on Universal's acquisition of EMI. Trojan celebrated its fiftieth anniversary in 2018 and remains principally a heritage label, reissue imprint and catalogue brand under BMG. The label's cultural influence extends beyond recorded music. Traditional 1960s skinheads influenced by Jamaican ska and reggae are often called Trojan skinheads, a term intended to distinguish them from later Oi!-associated currents and to emphasize the subculture's black Jamaican musical roots. The logo of Skinheads Against Racial Prejudice was based on the Trojan logo, with the helmet reversed. Rare Trojan singles have also become collectors' items, reflecting the continuing value of the label's original Jamaican releases.

• 2018

  Fiftieth anniversary

  [1]Trojan Recordsen.wikipedia.org

  Trojan marks fifty years of activity in Jamaican music and catalogue publishing.

• 2013

  BMG acquires the Sanctuary catalogue

  [1]Trojan Recordsen.wikipedia.org

  BMG acquires the catalogue, including Trojan, from Universal during regulatory divestments associated with the EMI acquisition.

• 2007

  Universal acquires most of Sanctuary

  [1]Trojan Recordsen.wikipedia.org

  Universal Music Group acquires a 90 percent interest in Sanctuary Records Group.

• 2001

  Sanctuary Records Group acquires Trojan

  [1]Trojan Recordsen.wikipedia.org

  Sanctuary takes control and continues the label's catalogue-led strategy.

• 1985

  Colin Newman acquires the label

  [1]Trojan Recordsen.wikipedia.org

  New ownership refocuses Trojan on the preservation and reissue of its ska, rocksteady and reggae catalogue.

• 1975

  Trojan is liquidated

  [1]Trojan Recordsen.wikipedia.org

  Trojan's assets are acquired by Saga Records after rising costs and financial pressure.

• 1972

  Island withdraws its Trojan interests

  [1]Trojan Recordsen.wikipedia.org

  Chris Blackwell withdraws Island Records' interests as Trojan attempts to broaden reggae's mainstream appeal.

• 1969

  Trojan achieves major UK chart visibility

  [1]Trojan Recordsen.wikipedia.org

  Three Trojan or B&C singles appear in the UK Top 20 on 15 November, illustrating reggae's crossover into British pop.

• 1968

  Trojan Records is established

  [1]Trojan Recordsen.wikipedia.org

  Duke Reid, Lee Gopthal and Chris Blackwell launch Trojan as a label centered initially on Duke Reid and Treasure Isle productions.

A heritage reggae label and catalogue specialist that connects Jamaican popular music with British and international audiences. Trojan's identity combines historically important licensing and distribution, accessible compilation programming, archival reissues and the visual culture associated with ska and traditional skinhead music.

• Compilation series

  Tighten Up

  A foundational Trojan compilation series that assembled Jamaican ska, rocksteady and reggae recordings for a broad British audience. The series helped make individual producers and artists accessible to listeners who were buying albums rather than specialist singles, and it became one of the label's best-known catalogue properties.

• Compilation series

  Club Reggae

  A compilation line presenting reggae recordings in an accessible album format. Like other Trojan collections, it supported the label's strategy of translating Jamaican singles culture into affordable British LP retail.

• Compilation series

  Reggae Chartbusters

  A chart-oriented compilation series that gathered commercially successful reggae recordings and presented them as a convenient overview for mainstream listeners. It reflected Trojan's effort to position Jamaican music within the wider British popular market.

• Archival reissue series

  Trojan Box Set series

  Multi-disc archival packages generally built around large selections of ska, rocksteady or reggae recordings. The sets became prominent products during Trojan's catalogue-focused period and were designed for both dedicated collectors and listeners seeking substantial introductions to particular styles.

• 2000UEFA European Football Championship licensing

  Europe

  Trojan licensed reggae music for activity connected with the 2000 UEFA European Football Championship.

  Outcome. The placement gave the catalogue exposure in a major European sporting context.

  Source
• TDK music licensing campaign

  International

  Trojan licensed recordings from its reggae catalogue for TDK advertising, using Jamaican music to connect the label's heritage with mass-market consumer branding.

  Outcome. The campaign contributed to the wider commercial visibility and licensing value of Trojan's catalogue.

  Source
• Adidas music licensing campaign

  International

  Trojan catalogue recordings were licensed for Adidas advertising, extending the label's music beyond record retail into global brand communications.

  Outcome. The use demonstrated the continuing advertising appeal of Trojan-associated reggae recordings.

  Source

• 2013

  Transfer the Sanctuary catalogue to BMGM&A

  Background

  Universal Music Group was required to divest assets in connection with its acquisition of EMI and transferred the Sanctuary catalogue as part of that programme.

  Action taken

  BMG acquired the Sanctuary catalogue, including Trojan Records.

  Aftermath

  Trojan continued as a heritage catalogue brand within BMG.

  Source

• 1985

  Refocus on catalogue reissuesStrategy

  Background

  Following the label's liquidation and later purchase by Colin Newman, Trojan had an extensive historical catalogue to exploit.

  Action taken

  The company concentrated on re-releasing ska, rocksteady and reggae recordings and developing large compilation sets.

  Aftermath

  Trojan became strongly identified with heritage releases, collector editions and archival reggae publishing.

  Source

• 1969

  Pursue mainstream crossover for Jamaican recordingsStrategy

  Background

  Trojan operated in a competitive British reggae market and sought audiences beyond specialist Caribbean music buyers.

  Action taken

  The label remixed or overdubbed selected recordings with orchestration and promoted them through mainstream-facing singles and compilations.

  Aftermath

  The approach helped generate major UK chart successes, although its production costs later placed pressure on the business.

  Source

• 1968

  Make Trojan the flagship reggae labelStrategy

  Background

  After the operating separation between Lee Gopthal and Chris Blackwell, Gopthal reorganized Trojan within his company as the principal label for reggae operations.

  Action taken

  Producer-specific and catalogue-focused imprints such as Amalgamated, High Note and Treasure Isle were used alongside Trojan.

  Aftermath

  Trojan became the central British platform for a broad network of Jamaican licensed recordings.

  Source

1. 1Trojan Recordsen.wikipedia.org
2. 2Rudeboy: The Story of Trojan Recordsimdb.com