The original Don Dadda Super Cat, came to prominence during the late 1980s and early 1990s. At the beginning of his career, he also appeared as ‘Wild Apache’ and when started working with Early B his career took off. In 1985 he put out his debut set Si Boops Deh!. He started his own Wild Apache Productions label on which he released the albums Sweets for My Sweet and Cabin Stabbin with Nicodemus & Junior Demus. He moved to the US and signed a contract with Columbia Records, releasing one of the first dancehall albums on a major label, Don Dada. He has worked with several hip-hop and r&b artists and with his unique mix of dancehall, reggae, roots, hip-hop, and r&b he established a name for himself in both the pop scene and the dancehall scene.
Michael George Haynes, known professionally as Michael Prophet, was a Jamaican roots reggae singer known for his “crying” tenor vocal style, whose recording career began in 1977. His first recordings were for producer Yabby You. His first Jamaican hit was a version of The Heptones’ Fight It To The Top, while his 1980 album Serious Reasoning established his reputation internationally. After working with Yabby You, he also recorded for Henry “Junjo” Lawes, adapting to the prevailing dancehall sound and having his biggest hit with Gunman. Michael Prophet died in Bedford, England, on 16 December 2017, aged 60.
Roy Samuel Reid, better known as I Roy, was a Jamaican deejay who had a very prolific career during the 1970s. He started his musical career via his Soul Bunny sound system in 1968 and then went on to work on the Spanish Town-based Son’s Junior sound system, where he was spotted by producer Harry Mudie. In 1976, he was signed by Virgin Records, who went on to release eight albums via various subsidiary labels. The 1980s saw I Roy’s popularity decline, which later led to financial problems and periods of homelessness. On 27 November 1999 I Roy died from heart failure.
Tenor Saw got his break as a Sugar Minott protégé around the Youth Promotion sound. But, after being groomed and supported by Sugar, he left Youth Promotion around 1985 and went up to Jammy where he enjoyed his famous string of computer hits including his first big hit Pumpkin Belly, originally a tune he recorded for Youth Promotion. Ring the Alarm, recorded for Winston Riley, was one of the biggest dancehall killers of the decade. No one will ever know the exact cause of his death. His body was found by the side of a Texas road one morning in 1988.
Gregory Isaacs was among that early group of artists who bucked the system by starting their own labels. Way back in 1973, working with singer Errol Dunkley, Gregory opened African Museum, a record store, in downtown Kingston and began producing himself and others. He continued to record for other producers while putting the revenue back into his own work. Unlike many others who have tried the same thing, Gregory succeeded.
Yellowman was the biggest surprise that ever hit Jamaican music. His rise to fame was such an unlikely event. No one could have predicted that an albino orphan would be making hit records, let alone become the new ambassador of reggae around the world. But Yellowman was the perfect person to fill the spot left by the passing of Bob Marley. He gave reggae new life, a new direction, a new identity for a new era.
Gemini was officially a ‘disco’ and played a bit of everything – funk, soul, disco, reggae. With the relative peace that arrived in 1980 at the end of the violent election campaign, all sounds had the potential to attract bigger crowds and Gemini was at the right place at the right time. With a roster including the top slack deejays and two selectors- one for reggae and one for soul – and a club all its own to play home sessions, Gemini was the perfect sound to open the new dancehall decade.
In 1979, when Henry ‘Junjo’ Lawes and Jah Life began working with him, Barrington Levy was still a raggamuffin youth. But he was already blessed with a rich voice and the ability to make up lyrics on the spot. Wherever he went, whatever he was doing, he accompanied himself with song. He had a new vibration and the interaction between the adolescent vocalist and the young but experienced session men, created an electrifying musical mix that reflected a change in the course of reggae.
Early B did have lyrics. He took the story telling aspect of toasting to a whole new level with hits like “Send In The Patient”, “Sunday Dish”, “Gateman Get Fraid” and “One Wheel Wheelie”, all of which were in the JBC top 100 songs for 1984. With so many lyrics, he made a perfect recording deejay. In 1994, Early B was yet another victim of random dancehall violence. He was shot while performing with Brigadier Jerry at the Windsor Cricket Club in Dorchester, Massachusetts.
The young deejay U Brown, the heir to U Roy’s vocal styling, followed the teacher closely in those early days. U Brown hung around King Tubby’s sound system doing odd jobs, lifting the sound boxes and traveling with the crew to dances to set up, until he got comfortable and began to feel like “one of the family”. Until, one night he got his chance at the microphone. Once they heard how close U Brown was to the ‘originator’, they invited him to fill in whenever U Roy was absent.
Visit this page regularly…more photos are coming!
During the 1980s, my husband and I traveled frequently to Kingston, Jamaica and Brooklyn, NY from our home in Toronto, Canada to follow the changing reggae scene. In that period reggae was changing fast, moving from the heavy roots sound of suffering and redemption to the lighter, faster, digitized sound of modern dancehall.
My husband and I saw it happen. We saw Junjo’s Volcano empire rise meteorically and them crash as his young artists emigrated or met untimely deaths. We witnessed Jah Love’s Brigadier Jerry take over the dancehall scene without ever having recorded a 45 – powered by the new popularity of dance hall cassettes.
We were in Waterhouse when King Jammy unleashed his Sleng Teng rhythm to an analog world and, one by one, producers dropped their previously recorded rhythms and started building again from scratch using programmable keyboards and drum machines. We were in Jammy’s yard while he cut the dubplates for the Clash of the Century, the event that brought dancehall culture to the larger Jamaican audience.
Over those years, I collected an archive of material that I would like to make available to the public – to present and future reggae scholars and fans.
All images © 1982-1988 Beth Lesser
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