U Brown
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.
U Brown
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.
Beth Lesser
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
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
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