Sad message from Lee Scratch Perry

Listen to the CBC Radio Interview about the fire HERE
HALLO MY FANS SOMETHNG VERY VERY SAD HAPPEND I FORGOTT TO OUT A CANDLE AND MY WHOLE SECRET LABORATORY BURNED OUT. MY WHOLE LIFE COLECTIONS,ARTS,MY MAGIC HATS, MY MAGIC BOOTS, ALL MY CRAZY SHOW OUTFITS AND COSTUMES:KING,POPE,GENERAL,MAGICIAN….. ALL MY ELECTRONICS AND STUDIO EQUIPMENT AND MY MAGIC MIC, BOOKS, MUSIK, CDS… EVERYTHING GONE!!!! I AM SO SAD AND MY WIFE IS SO MAD TO MY ANGELS THAT ALWAYS GIVE ME PERFECT THINGS IF YOU HAVE MADE SOMETHING FOR ME TO BRING IT TO THE SHOW WHEN IM IN YOUR AREA, IT WOULD BE SUPER IF YOU SEND THAT TO ME IN ADVANCE BY POST SO I CAN HAVE IT BEFORE I START WITH SHOWS IN MARCH, BECAUSE NOW IM GOING TO JAMAIKA AND WILL NOT HAVE THE TIME TO LOOK OR MAKE SPECIAL OUTFITS. SEND ME A PRIVATE MESSAGE AND I WILL SEND YOU THE ADRESS. ALSO WRITE ME WHERE YOU ARE LOCATED THEN I WILL PUT YOU + ? ON THE GUESTLIST WHEN I COME TO YOUR AREA AND WITH BACKSTAGE ACSESS SO I CAN THANK YOU PERSONALY GOD BLESS LOVE £$P

Papa Madoo - Jamming So

Desmond Dekker

Desmond Dekker’s impact of upon the world of music can never be underestimated. His groundbreaking recordings during the sixties and early seventies opened the way for the likes of Bob Marley and Jimmy Cliff to make their mark on the world stage. From 1967 to 1970, he enjoyed a run of international chart hits as yet unequalled by any other Jamaican performer and yet, for all his success, Desmond’s achievements were often overlooked by music writers. Born Desmond Adolphus Dacres, on July 16th 1943 in Kingston, Jamaica, he spent his early childhood on the family farm in Danvers Pen, St Thomas where he was raised by his father. During his youth, he regularly sang in the local church choir, although his desire to become a singer was sparked by an altogether different kind of music, as he recalled in an interview with respected Jamaican music historian, Laurence Cane-Honeysett in 1999.

King Stitt - (R.I.P) - Studio One Story

Rare players via Studio One.

1957 JOBO AMUSETTE RECORD PLAYER

MOEL MICRO RECORD PLAYER

1957-59 JOBOTON 712 RECORD PLAYER - 4 SPEED WITH RONETTE TO284 TURNOVER

Learn the Skank

I love these Vids| teach me so Much about where our Music is coming from......... ##Ska Skanking, Lesson By Tony Verity

Posted by Proud Jamaicāns on Saturday, January 11, 2014

Emmanuel "Rico" Rodriguez Passes at 80

Emmanuel "Rico" Rodriguez MBE (17 October 1934[2] – 4 September 2015), also known as simply Rico, Reco or El Reco, was a Cuban-born Jamaican ska and reggae trombonist. He recorded with many producers, including Karl Pitterson, Prince Buster, and Lloyd "Matador" Daley. He was known as one of the first and most distinguished ska artists, and from the early 1960s performed and recorded in Britain, with the Specials, Jools Holland, and others.

Rodriguez was born in Havana, Cuba, and moved with his family to Jamaica at an early age. He grew up in Kingston, Jamaica, and was taught to play the trombone by his slightly older schoolmate Don Drummond at the Alpha Boys School. In the 1950s, Rodriguez became a Rastafarian and was closely musically to the rasta drummer Count Ossie. In 1961 Rodriguez moved to the UK and started to play in reggae bands. In 1976 he recorded the album Man from Wareika under a contract with Island Records. In the late 1970s, with the arrival of the 2 Tone genre, he played with ska revival bands such as the Specials including their single "A Message to You, Rudy".

The Gladiators

The Gladiators are a Jamaican roots reggae band, most popular during the 1970s. The core was Albert Griffiths (guitarist and singer),Clinton Fearon (bassist and singer) and Gallimore Sutherland rhythm guitar and singer. The two most famous albums are Trenchtown Mix Up (1976) and Proverbial Reggae (1978) with songs as "Hearsay", "Jah Works", "Dreadlocks the Time is Now". "Mix Up", "Music Makers from Jamaica", and "Soul Rebel" – a song written by The Wailers. Gladiators also cooperated with the toaster U-Roy.

Albert Griffiths, singer and guitar player, was the founder of the reggae group The Gladiators. After some success with the singles "You Are The Girl" (a b-side to The Ethiopians hit record "Train to Skaville") in 1966, he recruited his childhood friends David Webber and Errol Grandison in 1968 to form the original Gladiators vocal group. The group's name was allegedly suggested by a fellow bus passenger during the time of their first recordings.[2] The group's first major success was with the single "Hello Carol" in 1968, for producer Coxsone Dodd, which topped the Jamaican music charts. Shortly afterwards, in 1969, Webber was stricken with illness and was replaced by Clinton Fearon, one of Griffiths' proteges. Similarly Grandison left the group in 1973 for family commitments and was replaced by Dallimore Sutherland. During the early 1970s the Gladiators cut numerous records for various producers such as, Lloyd Daley and Lee Perry, but it was their recordings for Dodd at Studio One that became the biggest hits. During this time at Studio One the Gladiators hits included "Bongo Red", "Jah Jah Go Before Us", "Mr. Baldwin", and "Roots Natty". A collection of 5 albums from their 1966 - 1975 was made by the Roots Reggae Library.

The Kingstonians - Sufferer

Ernest Ranglin

Ernest Ranglin OD (born 19 June 1932) is a Jamaican guitarist and composer who established his career while working as a session guitarist and music director for various Jamaican record labels including Studio One and Island Records. Ranglin played guitar on many early ska recordings and helped create the rhythmic guitar style that defined the form. Ranglin has worked with Theophilus Beckford, Jimmy Cliff, Monty Alexander, Prince Buster, the Skatalites, Bob Marley and the Eric Deans Orchestra. He is noted for a chordal and rhythmic approach that blends jazz, mento and reggae with percussive guitar solos incorporating rhythm 'n' blues and jazz inflections.

Ernest Ranglin was born in Manchester, West Central Jamaica. His family moved to Kingston, where he attended the Providence Primary School, Kingston Senior School and Bodin College. Ranglin's introduction to music was through two uncles who both played guitar. Initially a self-taught guitarist; he received some tutoring on how to sight-read from a violin player named Tommy Tomlins. At the age of 15, Ranglin joined the Val Bennett Orchestra, which was followed by a period of employment with the Eric Deans Orchestra. While performing locally with these orchestras Ranglin was introduced to the jazz pianist Monty Alexander, which led to a lifelong friendship as well as numerous musical collaborations.

Earl "Chinna" Smith

Earl "Chinna" Smith (born 6 August 1955), aka Earl Flute and Melchezidek the High Priest, is a Jamaican guitarist active since the late 1960s. He is most well known for his work with the Soul Syndicate band and has recorded with many reggae artists, appearing on more than 500 albums.

Smith was born on 6 August 1955, and raised by family friends in the Greenwich Farm area of Kingston. His father and godfather were both sound system owners, his father's, Smith's, operated by Bunny Lee. Earl tried to emulate them using a toy sound system, leading to his nickname of "Tuner" (after a hi-fi amplifier), which was corrupted to "Chuner" and later "Chinna". Smith became interested in guitar as a teenager and made his own from sardine cans and fishing line. He formed a vocal group with his friend Earl Johnson (who later recorded as Earl Zero) and another youth, and they regularly sat in on sessions by the Soul Syndicate band. Smith was taught the basics of guitar by the band's guitarist Cleon Douglas, and became so adept at playing the band's repertoire that he was asked to join the band when Douglas emigrated to the United States.

Carlton & The Shoes - Me and You

Dub Specialist - Strong Back (Studio 1)

Judge Dread

Alexander Minto Hughes (2 May 1945 – 13 March 1998),[1] better known as Judge Dread, was an English reggae and ska musician. He was the first white recording artist to have a reggae hit in Jamaica,[2][3] and the BBC has banned more of his songs than any other recording artist due to his frequent use of sexual innuendo and double entendres.

Hughes was introduced to Jamaican music when he lodged as a teenager in a West Indian household in Brixton, South West London.[2] He met Jamaican artists Derrick Morgan and Prince Buster through his job as a bouncer at London nightclubs such as the Ram Jam in Brixton, and through another job as a bodyguard.[3][4] After working as a professional wrestler (under the name "The Masked Executioner") and as a debt collector for Trojan Records, he worked as a DJ on local radio.

Winston Flames - In A Armagideon (Studio One)

The Heptones - Why Did You Leave (Studio 1)

Roy Shirley

Shirley was born on North Street in Kingston, Jamaica, on 18 July 1944,[1] and grew up in Trench Town, where he attended the Boys Town school, and after singing in his local church choir began his career performing in talent contests. His second prize performance on Vere Johns' talent show brought him to the attention of then Minister of Culture Edward Seaga and bandleader Byron Lee, who gave him work on shows that they promoted.

After early recordings for producer Simeon L. Smith went unreleased, he moved on to work with Leslie Kong, who released his debut single "Oh Shirley", co-arranged with his friend Jimmy Cliff, giving him a hit in 1965.[2] Shirley then formed The Leaders along with Ken Boothe, Joe White, and Chuck Josephs. This group was unsuccessful, but Shirley went on to join Slim Smith and Franklyn White in the original line-up of The Uniques. When this line-up folded, Shirley recorded "Hold Them" in 1966, credited as one of the first rocksteady songs, and inspired by the beat from a Salvation Army band.

The Termites - My Last Love

Third World

Third World started when keyboard player Michael "Ibo" Cooper and guitarist (and cellist) Stephen "Cat" Coore (son of former Deputy Prime Minister David Coore), who had originally played in The Alley Cats then Inner Circle, subsequently left to form their own band along with Inner Circle singer Milton "Prilly" Hamilton.[1][2] They recruited bassist Richard Daley, formerly of Ken Boothe's band and Tomorrow's Children, and added drummer Carl Barovier and former Inner Circle percussionist Irvin "Carrot" Jarrett before making their live debut in early 1974.

After recording some tracks with Geoffrey Chung which were not released, the band's first single was the self-produced "Railroad Track" (1974).[1] In their early days they played primarily in Kingston's hotels and nightclubs and (along with The Wailers) supported The Jackson Five when they played at the Jamaican National Stadium.[1]

Happy Birthday Gregory Isaacs

In his teens, Isaacs became a veteran of the talent contests that regularly took place in Jamaica. In 1968, he made his recording debut with a duet with Winston Sinclair, "Another Heartache", recorded for producer Byron Lee.[2] The single sold poorly and Isaacs went on to team up with two other vocalists (Penroe and Bramwell) in the short-lived trio The Concords, recording for Rupie Edwards and Prince Buster.[2] The trio split up in 1970 and Isaacs launched his solo career, initially self-producing recordings and also recording further for Edwards.

In 1973 he teamed up with another young singer, Errol Dunkley to start the African Museum record label and shop, and soon had a massive hit with "My Only Lover", credited as the first lovers rock record ever made.[2] He recorded for other producers to finance further African Museum recordings, having a string of hits in the three years that followed, ranging from ballads to roots reggae, including "All I Have Is Love", "Lonely Soldier", "Black a Kill Black", "Extra Classic" and his cover version of Dobby Dobson's "Loving Pauper".[2] In 1974 he began working with producer Alvin Ranglin, and that year he had his first Jamaican number one single with "Love Is Overdue".

Toots & The Maytals - Pressure Drop

Israel Vibration

Israel Vibration are a reggae harmony group, originating from Kingston, Jamaica. Lascelle "Wiss" Bulgin, Albert "Apple Gabriel" Craig, and Cecil "Skelly" Spence all overcame childhood polio, and went on to be one of the most successful roots groups to form in Jamaica in the 1970s. The trio initially met as children at a rehabilitation center.

Bulgin (born 1955), Craig, and Spence (born 1952) first met as children at the Mona Rehabilitation Clinic, all sufferers of polio in the epidemic that spread through Jamaica in the 1950s, but it was several years later that they formed Israel Vibration.[1][2][3] Craig attended the Alpha Boys School but ran away at the age of fourteen, living on the streets.[1] Spence was a member of the band Hot Lickers, appearing on Jamaican television with the group at the age of twelve.[1] He also played in the Jamaican wheelchair basketball team, but was forced out in 1969 after adopting the Rastafarian faith, something which the three had in common when they were later reunited

BURNING SPEAR - Swell Headed [1974]

Prince Buster

Cecil Bustamente Campbell OD (born 24 May 1938, Kingston, Jamaica), better known by the stage name Prince Buster, is a Jamaican singer-songwriter and producer. He is regarded as one of the most important figures in the history of ska and rocksteady music. The records he released in the 1960s influenced and shaped the course of Jamaican contemporary music and created a legacy of work that later reggae and ska artists would draw upon.

Campbell became more actively involved in the operational side of running a sound system after he was introduced to Clement 'Coxsone' Dodd; a musically inclined businessman who operated one of Kingston's most popular sound systems. Campbell found himself fulfilling a variety of roles for Coxsone: providing security, handling ticket receipts, identifying and sourcing music as well as working in the essential role of selector. The knowledge he gained about the financial and logistical aspects of staging a sound system dance was put to good use when Campbell made the decision to start his own sound system called 'Voice of the People'

The Techniques - You don't care

Dennis Brown

Born as Dennis Emmanuel Brown on February 1, 1957 in Kingston, Jamaica. Dubbed by Bob Marley as his successor and called the "Crown Prince" of reggae, Brown was just 12 years old when he created his first hit single, "No Man is an Island." He recorded the song at the famed Studio One Records in 1969, as part of his album of the same name.

Brown had begun working toward a music career three years prior to the release of No Man is an Island; at the age of 9, he had begun singing with Byron Lee and the Dragonaires. During concerts, the young Brown stood atop beer boxes so that he could be seen. In 1968, He had caught the attention of Studio One sound system operator Clement "Coxsone" Dodd, and soon began recording at the studio, where Bob Marley had carved out his sound several years before. During an amazing two-day session, Brown recorded two albums: No Man Is an Island and If I Follow My Heart.

Delroy "Spiderman" Thompson has died

The sounds of Jamaica has lost another Legend at 1:00 am this Morning. Delroy "Spiderman" Thompson has died of health complications in the Anotto Bay Hospital in Jamaica. He will be missed by many all over the World for his mastery of delivering the sounds of Jamaica. myself & the staff at Anchor Group of Companies wishes to convey our deepest & sincerest condolences to his Family, Friends & Fiancee. HE WAS ONE OF THE BEST MASTERING ENGINEERS JAMAICA HAD PRODUCED & HEAVEN WILL BENEFIT FROM HIS PRESENCE.

Mad Professor

Fraser became known as Mad Professor as a boy due to his fascination with electronics. He emigrated from Guyana to London at the age of 13 and later began his music career as a service technician. He gradually collected recording and mixing equipment and in 1979 opened his own four-track recording studio, Ariwa Sounds, in the living room of his home in Thornton Heath.[2] He began recording lovers rock bands and vocalists for his own label (including the debut recording by Deborahe Glasgow) and recorded his first album after moving the studio to a new location in Peckham in 1982, equipped with an eight-track setup, later expanding to sixteen.

Fraser's Dub Me Crazy series of albums won the support of John Peel, who regularly aired tracks from the albums.[2] Although early releases were not big sellers among reggae buyers, the mid-1980s saw this change with releases from Sandra Cross (Country Life), Johnny Clarke, Peter Culture, Pato Banton, and Macka B (Sign of the Times).[2] Fraser moved again, this time to South Norwood, where he set up what was the largest black-owned studio complex in the UK, where he recorded successful lovers rock tracks by Cross, John McLean, and Kofi, and attracted Jamaican artists including Bob Andy and Faybiene Miranda.[2] He teamed up with Lee "Scratch" Perry for the first time in 1983 for the recording of the album Mystic Warrior (1989).[3]

Bunny Wailer - Collyman

Prince Jazzbo

Born in Clarendon Parish, Jamaica and raised in Kingston, Linval Roy Carter (who would become known professionally as Prince Jazzbo) began his career with sound systems such as The Whip in Spanish Town.[1] He began recording with Coxsone Dodd's Studio One label in the early 1970s under the name Prince Jazzbo, and also recorded for Glen Brown and Lee "Scratch" Perry.[1] He went on to work on his own releases with Bunny Lee, producing as well in collaboration with many artists as a vocalist and producer for labels including his own, Ujama. The Perry-produced album Super Ape featured Jazzbo toasting on "Croaking Lizard". Jazzbo and fellow toaster I-Roy had a well reported, but friendly and mutually beneficial on-record clash during 1975, including the cuts "Straight to Jazzbo's Head" from I-Roy and the retort, "Straight to I-Roy's Head" from Prince Jazzbo.[2]

Prince Jazzbo's early work with Clement "Coxsone" Dodd at Studio One produced several hits in 1972-1974 including: "School", "Fool For Love" and "Imperial I". His first hit in 1972 with Coxsone though was a version of Horace Andy's "Skylarking", which he re-worked as "Crabwalking".[3] He ran the Ujama record label for many years.[4] His very last message to the world and testament tune is known as 'All Haffi Bow' on a Ujama style riddim cut produced by AIRPUFF Records label on 6 September 2013.

Jacob Miller - Tenement Yard

King Stitt

Born Winston Spark (other say Winston Cooper) in Kingston, Jamaica in 1940. Due to facial disfiguration from birth King Stitt was often to be called the Ugly One. He started his musical career in 1957 when he came to the attention of Coxsone Dodd and his Downbeat Sound. He started on a Friday evening at a barbecue lawn on Fleet Street. The deejay Count Machuki who also was selecting for the sound took a liking to Stitt who he thought would dance nice to his selection. Since he could dance so well to it he would also be a good deejay he told Stitt. Stitt was then the second (or third) deejay on the Sound System for about three months - with Machuki and Red Hopeton being in front. When Machuki retired Stitt had become so popular that he ended up running the Number One set of Coxsone while U Roy was behind Number Two.

In late 1969 and the early 70's King Stitt recorded extensively for Clancy Eccles over riddims delivered by The Dynamites. These were released on Clancy Eccle's Clandisc and New Beat labels in Jamaica and in the main on the Trojan Clandisc subsidiary in the UK. Following his success with Clancy Eccles Coxsone started recording him too.

Lee "Scratch" Perry

Perry's musical career began in the late 1950s as a record seller for Clement Coxsone Dodd's sound system. As his sometimes turbulent relationship with Dodd developed, he found himself performing a variety of important tasks at Dodd's Studio One hit factory, going on to record nearly thirty songs for the label.[1] Disagreements between the pair due to personality and financial conflicts led him to leave the studio and seek new musical outlets. He soon found a new home at Joe Gibbs's Amalgamated Records.[1]

Working with Gibbs, Perry continued his recording career but, once again, financial problems caused conflict. Perry broke ranks with Gibbs and formed his own label, Upsetter Records, in 1968. His first major single "People Funny Boy", which was an insult directed at Gibbs, sold well with 60,000 copies sold in Jamaica alone. It is notable for its innovative use of a sample (a crying baby) as well as a fast, chugging beat that would soon become identifiable as "reggae" (the new kind of sound which was given the name "Steppers").

The Invaders Conquering Lion

Bob Andy

Bob Andy (born Keith Anderson) emerged as a solo star in 1966 with the smash hit "I've Got to Go Back Home", a song which has become a much-loved anthem for Jamaicans. He had served his singing and songwriting apprenticeship with the legendary vocal group The Paragons, which he founded with Tyrone (Don) Evans and Howard Barrett, later joined by John Holt. The Paragons had several hits for producer Coxsone Dodd including the Number One "Love At Last", penned by Bob. As one of Studio One's leading lights, Bob worked closely with Jackie Mittoo on many of the label's seminal sounds. Besides writing songs for himself which have become reggae standards - "Feeling Soul", "My Time", "Going Home", and "Too Experienced", to name just a few - Bob contributed hits for many of the other artists there.

In 1970, international recognition came when Bob and Marcia Griffiths recorded Nina Simone's "Young, Gifted and Black", which sold 1/2 million in the UK and Europe, and still receives frequent airplay today. BOB & MARCIA became household names, appearing on Top of the Pops and touring extensively. They had another UK Top Ten single and two albums for Trojan Records.

Roy Shirley - Hold Them

Jah Stitch

After an introduction to music singing in a yard with the likes of The Wailers, The Heptones, Roy Shirley, and Stranger Cole, James became well known in Jamaica by deejaying with the Lord Tippertone and Black Harmony sound systems, working as Jah Stitch.[1] His debut single was the Errol Holt-produced "Danger Zone".[1] Big Youth was an early influence on Stitch's deejay style and he had several hits working with producer Bunny Lee, with deejay versions of songs by Johnny Clarke, as well as tracks such as "African Queen" with Yabby You.[1] Shortly before the One Love Peace Concert in 1976, Stitch survived being shot, providing the inspiration for "No Dread Can't Dead".[1] His success in Jamaica continued and in 1977 he toured the United Kingdom.

In the mid-1980s, he worked as a selector on Sugar Minott's Youth Promotion sound system, now under the name Major Stitch.[1][2] He resumed his recording career in 1995, working with Trevor Douglas and Jah Woosh. His peak 1970s output for Bunny Lee and Yabby You was collected in 1996 by Blood and Fire on the Original Ragga Muffin (1975–77) compilation.

John Holt

Holt was born in the Greenwich Farm area of Kingston, Jamaica, in 1947.[3] His mother Amy was a nurse.[4] By the age of 12, he was a regular entrant in talent contests run at Jamaican theatres by Vere Johns, winning 28 contests, some broadcast live on Radio Jamaica.[3][5][6] He recorded his first single in 1963 with "Forever I'll Stay"/"I Cried a Tear" for record producer Leslie Kong, and also recorded a duet with Alton Ellis, "Rum Bumper", for producer Vincent "Randy" Chin.

In 1965 Holt joined Bob Andy, Garth "Tyrone" Evans, and Junior Menz in their group the Binders; Menz departed to be replaced by Howard Barrett and they changed their name to the Paragons.[7] They initially recorded for Clement "Coxsone" Dodd's Studio One before cutting a succession of singles for Duke Reid at his Treasure Isle Studio in the rocksteady era of 1966–1968; They enjoyed a string of hits, including "Ali Baba", "Tonight", "I See Your Face", and the Holt-penned "The Tide Is High" (later made famous by Blondie and also covered by Atomic Kitten).

Alton Ellis - Rocksteady

Augustus Pablo

He was born in St. Andrew, Jamaica, and learned to play the organ at the Kingston College School. At that point, an unnamed girl lent him a melodica. Fascinated by the instrument, Pablo rarely put it down. He also met Herman Chin Loy, who after working at his cousin Leslie Kong's Beverley's record shop, had set up his own Aquarius store in Half Way Tree. Swaby recorded early tracks including "Higgi Higgi", "East of the River Nile", "Song of the East" and "The Red Sea" between 1971 and 1973 for Chin-Loy's Aquarius Records.[3] Chin Loy had previously used the name Augustus Pablo generically for keyboard instrumentals recorded by Lloyd Charmers and Glen Adams,[4][5] and Swaby took the name for this recording.

"East of the River Nile", a unique blend of East Asian and Jamaican sounds, became a moderate hit. He soon joined Now Generation (Mikey Chung's band) and played keyboard with them while his friend Clive Chin began his own career as a record producer. Pablo and Chin recorded "Java" (1972) together,^[3] as soon as Pablo quit Now Generation and Clive was able to obtain studio time. This instrumental was a massive hit and launched Pablo's solo career. He recorded with Chin and others including Lee Perry and Chin's uncle, Leonard Chin. Pablo scored another smash hit with "My Desire" .

Ken Parker - True, True, True

Mikey Dread

Michael Campbell a.k.a. Mikey Dread was one of the most influential performers and innovators in reggae music. His abilities, technical expertise, and unique vocal delivery combined to create a unique sound that told the listener emphatically that it was the “Dread at the Controls.”

Mikey Dread's avid interest in reggae music led him to acquire an immense collection of crucial vinyl which he used to gain notoriety as a young DJ and audio engineer with the Jamaica Broadcasting Corporation (JBC) where he began his broadcasting career in 1976. There he developed his own unique broadcasting style, which has been adopted by virtually every reggae radio show in Jamaica and the world today. His radio show, which became known as "Dread at the Controls," was firmly established as the ‘Number One Radio Show’ in Jamaica. Mikey Dread was awarded Top Radio Personality of the Year in 1977-1978.

Mikey Dread decided to expand his career by getting more involved in the actual production of not only his own music, but also the work of others such as Sugar Minott, Junior Murvin, Earl Sixteen, Wally Bucker, The Ovationz, Sunshine, Jah Grundy and Rod Taylor. It was then that his activities attracted the attention of The Clash, who asked him to work with them. While working with The Clash he released his third album called “World War III” (1980). “World War III” became instant success and held the number one position on the British Reggae Charts. To this day “Word War III” has been considered one of the top Reggae albums of all time.

Alpha Blondy

After various TV shows for Kassi, Blondy recorded his first solo album in 1982, entitled Jah Glory. This album was to have enormous success and would become later a symbol of resistance because of the song "Brigadier Sabari," which documents his experience of being arrested in Abidjan in the 1980s and his subsequent mistreatment by the police.[4] Alpha Blondy became a big star in Abidjan with his own African twist of Reggae music, becoming in the eyes of his fans "the Bob Marley of Africa".[5] Alpha Blondy is spiritual, political and positive just like Marley himself, and even recorded a cover of Bob Marley's song "War". In order to reach more people with his message, he chose to sing in many languages: English, French, Baoulé, and his native language – Dioula.[5] Later, he also brought new instrumentation to his brand of reggae such as the violin and cello.

Soon, the fame of Alpha Blondy spread to Europe. Following the success of an EP entitled Rasta Poué, he went to Paris in 1984 to make his second album, Cocody Rock, with the label Pathe Marconi. The "Bob Marley of Africa" travelled to the island of Jamaica and recorded the title track of this album with Marley’s backing group, The Wailers.

Reggae The Story Of Jamaican Music BBC Documentary

Slim Smith

BABY WHY THE CABLES

Ken Boothe

The Legendary Ken Boothe, O.D. has Been through thick and thin, through Star-time and No-time, from living in the shanties of Denham Town and its environs to the beautiful neighbor- hoods of Kings House, St. Andrews in his homeland of Jamaica. Ken Boothe, O.D. has straddled the social status-spheres, both locally and internationally, in California, New York, Toronto and London. He has conducted numerous tours of Europe, North and South America, Japan and the Caribbean. In Jamaica he continues to reign supreme and maintains his popularity as one of the nation's top entertainers.

His musical talents and love for humanity have afforded him the opportunity of touring in North and South America, Europe, Japan, Canada and the Caribbean. With a unique combination of talent, Boothe has emerged as a "one of a kind" singer; an accomplished musician, songwriter, musical arranger and an impressive dancer. His artistic style embraces a rare blend of musical genius.Ken Boothe's musical career began in the early sixties. Coming from a musically talented family, Ken attributes his musical interests and abilities to his mother and older sister. They have inspired him to use his blessings. In addition, he acknowledges being influenced by the musical greats, Mahalia Jackson, Wilson Pickett, Otis Redding, The Temptations, and The Drifters. When Ken Boothe was only eight years old he won his first singing contest and has never looked back. He has never lost his focus, even if it may have appeared blurred at times to the outside world. His aim has always been to sing and perform to the best of his ability.

Mutabaruka

Mutabaruka (formerly Allan Hope) was born in Rae Town, Kingston on 26th December, 1952.  After primary education he attended Kingston Technical High School, where he was a student for four years.  Trained in Electronics, he left his first job after about six months and took employment at the Jamaica Telephone Company Limited.   During his time at the Telephone Company he began to examine Rastafarianism and to find it more meaningful than either the Roman Catholicism of his upbringing or the political radicalism into which he had drifted.

 

In the late 1960's and early 1970's there was an upsurge of Black Awareness in Jamaica, in the wake of a similar phenomenon in the United States.  Muta, then in his late teens, was drawn into that movement.  Illicitly, in school he read many "progressive books" including Eldrige Cleaver's Soul on Ice and some that were then illegal in Jamaica, such as The Autobiography of Malcom X.  Muta saw himself as a young revolutionary.  But when he deepened his investigation of Rastafarianism, which he had once regarded as essentially passive, he came to find its thinking more radical than that of the non-Rastafarian group with which he had associated.  While still employed at the Telephone Company, he stopped combing his hair, started growing locks, altered his diet, and declared himself Rastafarian.  A number of his friends thought he was going mad. 

The Heptones - Party Time

Sugar Minott

After working as a selector on the Sound of Silence Keystone sound system, and then his own Gathering of Youth system, he began his singing career as part of The African Brothers in 1969, along with Tony Tuff and Derrick Howard.^[4] The group released several singles in the first half of the 1970s on labels such as Micron and their own Ital label, and were an early example of the Rastafari movement's influence on the Jamaican music scene, taking a clear lead from The Abyssinians.^[3] After recording "Mysterious Nature" for producer Rupie Edwards, the group recorded 1974's "No Cup No Broke" for Studio One, breaking up shortly after.^[4] Minott then teamed up with the producer Clement "Coxsone" Dodd, as studio apprentice at Dodd's Studio One, working as a singer, guitarist and percussionist, and soon began recording his own singles.^[4][5] Minott developed a talent for writing new songs to fit over existing rhythms (which at the time was common when singers performed live, but rare in the studio), often proving more popular than the original songs, pioneering an approach that would be central to the emerging dancehall style.^[2][4]

After a number of moderately successful hits for Studio One, such as "Vanity", "Hang On Natty", "Mr. DC", and "Jah Jah Children", his debut LP Live Loving made his name and increased his popularity, and is regarded as pioneering the dancehall style that would dominate the early 1980s.^[4][5] It was followed in 1979 with a second album, Showcase, which included his singles that had been omitted from the first album.
The Bittersweet album followed, and then the third album of 1979, Ghetto-ology, which saw a return to roots reggae. Roots Lovers (1980) saw a move towards lovers rock, which was a UK hit. He became a bigger star in the UK than in Jamaica, his self-produced "Hard Time Pressure" being a major UK reggae hit in 1980, leading Minott to relocate to the UK, where he became a focus for UK reggae.^[4][5]

The Slickers - Johnny Too Bad

Sugar Minott - Oh Mr Dc (Studio One)