I was originally going to save One For the Money as a “Track I would have liked to include but…” in the round-up post for this 12/2/93 show, in a few weeks’ time. The main reason being that the video for it cuts the track off after 2 minutes so as to try and fit the dub version in as well. I initially felt that this would be short changing anyone who wanted to hear it. However, I like the track and Junior Delgado’s vocal so much, I decided that even edited highlights would be preferable to leaving it off altogether. If this strikes you as a shoddy way to present his material, then all I can say is that shoddiness seemed to be the main characteristic around the release of One For the Money given that the label which put it out, Jammy’s Records, spelled his name as “Delgardo” on the record sleeve. And why wouldn’t they? I mean, he’d only been releasing records since 1975, after all….
Maybe, the pressers had a copy of that first single, Every Natty Wants to Go Home, early pressings of which credit it to Junior Delgao. So, there was clearly form for this.
Despite the title, One For the Money is not a Dancehall reworking of Blue Suede Shoes. It is though a wonderful example of love/lust on the dancefloor as Delgado sets his sights on a woman, who amidst the mix of neon lights in the club where they have met, he regards as the pot of gold at the end of the rainbow. He may just be desperate to try and keep his weekend going, and I especially love the line about Sweet Sunday giving way to Blue Monday. That seems very apt now that the Christmas holidays are over and it’s time to go back to work.
To clarify, the first two minutes of the video are representative of what Peel played on 12/2/93; the final two minutes are an edit of the dub version b-side.
Video courtesy of GuyFromSouth1976
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