As the pace of Jamaica’s new pop music slowed down and ska gradually morphed into rocksteady in the late 1960s, the new style was eminently suited to covers of the American soul hits so beloved by the island’s record buyers. Although there had been a few successful ska versions of Motown and R&B tunes, singers like Alton Ellis – who had always felt slightly uncomfortable with ska’s frantic rhythms – found they had more space to express themselves in rocksteady’s relaxed groove, and although many of them composed their own songs, they were more than happy to cover their favourite soul hits, as well as a few obscurities.

Enter The Impressions, an American vocal group who possessed a quiet, understated elegance and arguably soul’s best songwriter as their lead singer. Curtis Mayfield’s songs and his restrained tenor, together with beautifully arranged harmonies and backing tracks, made every Impressions tune a work of art, and when their debut self-titled LP was released in 1963 it was hugely successful in Jamaica, with the lead track “It’s Alright” being covered by Derrick Morgan in 1966, and The Gaylads ‘borrowing’ a verse from “Gypsy Woman” in their late ska release “Put On Your Style”. It’s worth noting that after the rocksteady beat had established itself a year or so later, at least two dozen other Mayfield songs would be adapted by other Jamaican singers.

The Impressions’ “Gypsy Woman” was actually recorded in 1961, and while the jaunty flamenco style rhythm and the castanets perfectly conjure up a romantic vision of caravans around a campfire, The Uniques’ Jamaicanised version from six years later is very different.

The slower rocksteady tempo provides Keith ‘Slim’ Smith the means to deliver a more considered and soulful performance than usual, and although his voice often sounds as though some sort of mental breakdown is imminent, he sounds measured and controlled throughout.

The addition of repeat echo on the whole backing track – a rare feature in those pre proto-dub days – is a production brainwave, and helps to promote a brooding, almost menacing atmosphere, which is only slightly offset by the work of bandleader Bobby Aitken, who decorates the rhythm with some tasteful guitar licks and chords that complement Smith’s fragile lead.

The simple but effective backing vocals add to the moody ambience of this track, which remains one of Slim Smith’s best recordings in a short but stellar career which ended when he died in his mid-twenties only six years later.

The tune is also notable as it helped establish producer Bunny Lee as a force to be reckoned with, but he wasn’t the only one to recognise the song’s potential. Prince Buster, presumably with every intention of singing Mayfield’s song, recorded the rhythm as well, although there seems to be no trace of a ‘proper’ vocal version. Buster’s supernatural vignette is now regarded as a classic in its own right, despite being viewed as a curiosity or a novelty record when first released.

Buster had already had some success with his “Judge Dread” single, and the accompanying album riffing on the theme, but “Shepherd Beng” is a three and a half minute drama in which Buster plays the part of a cuckolded husband who goes to the eponymous obeah man to get his wife back and wreak some sort of revenge on his spouse’s lover into the bargain. After some discussion, threats, and a short chorus of “Gypsy Woman”, a deal is struck and, as you will hear, the errant wife is duly scheduled to return home by 8pm.

As well as being a superb tune, it’s an almost unique glimpse into the darker side of Jamaica’s folklore, but not without humour and some affection. Buster was a proud Jamaican, and would have been fully aware of the traditions and beliefs that surrounded him, but it would be interesting to know how he squared this with his religious beliefs, as he had already converted to Islam by this time.

“Gypsy Woman” is beautiful, but with so many other beautiful songs around it’s not always easy to get a hit, and although there are plenty of Jamaican Curtis Mayfield covers, there are not that many other cuts of this enchanting song. But they do include these by by Milton Henry in 1976, Junior Murvin’s inclusion of it in this 1977 Lee Perry produced Mayfield medley, and a slightly wayward Joe Gibbs production with The Mighty Diamonds from 1978.

Chris Lane is a label boss, writer, producer and selector based in London. Subscribers can read more about his Fashion Records label in Neil Kulkarni’s feature in The Wire 421 via Exact Editions. You can also catch up with previous editions of his Version to Version series on Don Drummond and Roland Alphonso.