One would think that with over 50 years playing on countless classic songs, introducing himself to fans is the least of Lloyd Parks’s concerns. The veteran bass guitarist intends to set the record straight with his latest project.

Timeless Basslines by Lloyd Parks Chapter One is the working title of his album scheduled for release in early 2025.

It hears him revisiting some of his most famous bass licks, including Dennis Brown’s
Should I, Two Sevens Clash by Culture, and
Groovy Little Thing done by Beres Hammond.

“This album is like a documentary about my history and what I have done. The whole idea was to do an album where people get to know who Lloyd Parks is,” he told the
Jamaica Observer.

Parks is in the final stages of production for the self-produced 10-song set which he says hears him playing at “a different level”.

In addition to digital platforms, he plans to distribute it on vinyl, the music business’s most resilient market.

The 76-year-old Parks got into the music business during the late 1960s when Jamaican musicians were establishing themselves internationally. At that time, Jackie Jackson of The Supersonics, Aston Barrett of The Upsetters, and Leroy Sibbles at Studio One were the top ‘bassies’ in Jamaica.

Parks played on some of the 1970s’ biggest hit songs including Al Brown’s Here I Am Baby, Fire Burning by Bob Andy, Everything I Own by Ken Boothe, How Could I Leave by Dennis Brown, and Girl I Love You by Horace Andy.

He can also be heard on Gregory Isaacs’ Hard Drugs and Number One, and Tyrone Taylor’s Cottage in Negril.

Keyboardist Franklin “Bubbler” Waul, a member of Parks’ We The People Band, who shared many a recording session with him, is one of the musicians on Timeless Basslines. Waul started his career at producer Joe Gibbs’ studio, where Parks led the house band.

Drummer Peter Samaroo also played on the set, with Pam Hall providing harmony on several of the tracks.

Parks, who started We The People Band in 1975, still does recording sessions with artistes, but not as much in the 1970s and 1980s. He believes the approach to music production has changed, and not for the better.

“People, including the producers, no longer look for the best, they look for what they feel can work and ‘cause of dat di music suffer,” said Parks.