Roots Reggae Artists

Althea and Donna

A great duo who almost chanted their songs, in unison. Rasta ideology over great, great rock-steady-style beats. Certainly "Uptown Top Ranking" easily deserves its spot in "The Story of Jamaican Music," but anything's worth hearing, and a lot is up to that level. What happened to these folks??

Black Uhuru
Ducky Simpson, Puma Jones, and Michael Rose. Island tried with some effect to take them on the Marley road. The early, mid-to-late-seventies recordings are very excellent stripped way back Sly-and-Robbie masterpieces that also sounded great in dub. gunshot as rhythm track: what is life?

Dennis Brown
Along with Gregory Isaacs - soprano to his baritone - Dennis Brown was the pop face of roots in the seventies and beyond. The material is extremely uneven, to be expected given that he worked with every producer in Jamaica and elsewhere. An outstanding singer with occasional clean, smart settings, but personally he wouldn't make my top ten of people actually to listen to. I bought "the Prophet Rides Again" in perhaps 1981, and ever since have been irritated by its compromises with American pop, making it a pale initation of both.

Burning Spear

Winston Rodney's seventies recordings as Burning Spear are among the treasures of classic reggae, and are also among the most deeply felt and deeply religious, expressing in particular the cult of Marcus Garvey, who actually deserves credit for the inspiration of Rastafarianism, as well as so much else (all of twentieth-century black nationalism, essentially). The voice takes some getting used to: it's not particularly tuneful or accessible. But the tracks are fundamental, and actually the singing takes on a hypnotizing and moving quality. A lot of Americans' first intrioduction to the idea of dub was the classic "Garvey's Ghost." Rodney has continued to record and perform ever since, but the post-seventies stuff is a mixed bag, and does not seem to have the depth and urgency of the early material. african teacher, slavery days

Junior Byles

He tried to commit suicide when he heard that Selassie was dead, and as I undestand it has been in and out of mental institutions since. But at his best - over the production of Niney the Observer - he is a lovely singer - by turns delicate and powerful, always expressive - and a powerful religious spokesman. Someplace to go after you get through the first few big names.

The Clash
deserve credit for a lot of things. For one, the politicization of punk music. Intrinsic to this was the fundamental use and reinterpretation of reggae. It connected them to the third-world revolutionary traditions represented by rastas, as well as to Jamaican communities of London itself. So it expressed solidarity with the dispossessed. It's not that the Clash were a great reggae band, but they understood it and its meaning and they made something punked-up with it. I personally think that you can almost rank Clash songs by quality according to how much reggae is in them. Of course Jamaican music has ended up being fundamental to punk: think 2-tone, Rancid, all that ska. guns of brixton.

Jimmy Cliff
He played the archetypal rude boy in Perry Henzel's "The Harder they Come," by which time he was already a well-established Jamaican hitmaker. Indeed, the soundtrack to that album, featuring many of the best Jamaican artists circa 1970, was the first intro to the style for millions of American kids, including me. A tremendously accessible and intelligent vocalist, his music career has been spotty since then.

The Congos
Reggae: The Rough Guide says that "Heart of the Congos" was the best production of Lee Perry's career. Maybe I'm not quite so enthusiastic, but it is a great album. I'm not in love with the high falsetto lead vocals by Cedric Myton. But the songs are extremely strong and the production is Perry at his best: simultaneously simple and mystical. The other Congos material is a mixed bag.

Count Ossie

Count Ossie was a central figure in both the Kingston rasta religious scene and in Jamaican from an early date. He can be heard even on some very early Jamaican commercial records, including the almost-ska "Oh Carolina" by the Folkes Brothers in 1960. A master African hand-drummer from Rasta grounations, he recorded with a band, including horns etc, in the seventies. Thr ritual music of rastafarianism, Nyahbingi - which is central to Ossie's thing - is not exactly reggae, but it has a similarly outside-in skank. It's not clear (to me, anyway), how far back it goes in Rasta history, and indeed the very early years of Rastafarianism are shrouded in mystery. But it's possible both that drumming was used in Rasta ceremony from the thirties, and that the style has direct, ancient African sources. Certainly the three-drum enemble is used, for example, in voodoo ceremonies in Haiti, as well as in various contexts in West Africa. Ras Michael and the Sons of the Negus is another group that underpinned vocals etc with a trad drumming pattern. And I would strongly recommend Trojan's "Nyahbingi Box."

Culture
Obviously, this trio featuring Joseph Hill had been listening to Burning Spear. So close are they that it's sometimes hard to tell who you're listening to. This is a bit unfortunate, because Culture, despite a number of good songs, kind of pales in the comparison. Still there are a number of beautiful rastafarian hymns, tributes to Garvey, and of course "Two Sevens Clash."

Mikey Dread
Originally a roots dj in Jamaica, then I believe a presence in London. His recordings are halfway between straightup roots reggae and conscious dj music a la Big Youth. "Roots and Culture" is a classic.

eek-a-mouse

Ripton Hilton was an originator of the "singjay" style, and one freaky, original voice. He may be an acquired taste, but he's been making classic recordings since the late seventies. One of my favorite musical moments: on "A Reggae Christmas": "Twas the night before Christmas and all through the house, not a creature was stirring, only I, eek-a-mouse." rude boy jamaican. go shopping.

The Gaylads
The liner notes to my disc say something like: the word "superstar" is tossed around a lot these days. But one act defines the meaning of the term: the Gaylads! Well maybe not, but they were a great, great rock steady vocal group who made the turn into conscious themes by the end. They're one of the few Jamaican groups whose vocals really bear comparison to their American models, such as the Impressions. When I get a band together, I'm going to call it "The Gaylads." there's a fire

The Gladiators
A vocal trio featuuring Albert Griffiths, with a classic dread sound: slow, mean, simple. Also kind of "country": the harmonies are rough and real, like the Stanley Brothers (well, not exactly). Prince Tony Robinson produced their early recordings. They made a number of recordings with Israel Vibration, which really have a very classic vibe and are immensely listenable and intelligent. gladiators and israel vibration: roots natty.

groundation
Straight up: this is like the best band, in any genre, that you never heard of. Harrison Stafford is a seriously great singer, and the band mashes down on the bottom. Mixed race. From the Bay Area. I haven't necessarily heard all the reggae from Chile or Australia. But I can't imagine there is better roots music being made. don't blame

The Heptones
The vocal trio made a smooth transition from rock steady to Rasta roots. They were great every step of the way: consistently excellent material and strong production. The best analogy might be Toots and the Maytals: kicking ass throughout. "I need a fat girl tonight. I'm in the mood; I need some food." fatty fatty

John Holt
You could make worse professional moves than establishing yourself as a John Holt cover band: "The Tide is High" (Blondie), "Red, Red Wine" (UB40), "A Love I Can Feel" (a thousand versions and Dawn Penn), etc etc. He made his best records before roots really got going, but has always been a consistent presence with a sweet soul approach and an amazing repertoire.

Gregory Isaacs
He hit the ganja and sang some dread anthems, but really he was a lover and a sex symbol: a paradigm song would be "Night Nurse" (damn. listen to the Thievery Corporation re-mix). An amazingly delicate high tenor with taste, Isaacs probably sold more records in Jamaica in the seventies than anyone. I'd rather hear stuff that is harder, personally, but the recordings have great craft and charm.

Israel Vibration
Very strong, tuneful, and heavy roots reggae. Indeed, Israel Vibrations records are among the most fully-realized and tasty examples of the form, after Marley. The members met in a polio hospital: sufferah's time indeed. Their harmonies have a kind of indubitable authenticity. And through different producers they kept finding dread rhythms. mr. consular man

John Brown's Body
If you're a white roots band, you could do worse than remind folks that the body you inhabit is similar to that of John Brown, who I guess is our Marcus Garvey. Anyway, JBB is an extraordinary band. They started out playing very strong and extremely direct and trad roots music, but in later work ("Spirits All Around Us") have opened up a bit into more innovative directions, including some very effective use of electronic effects and instrumentation.

Bob Marley (and the Wailers)

Though some folks, particularly real reggae freaks, would deny this, I don't actually think there's any serious doubt about who was the greatest reggae artist. The freaks' point is this: there is so much great reggae, and you should listen to it, and most people have heard almost nothing but Bob. All true, but... He's well on his way to deification, a deification more plausible, certainly, than that to which Selassie was arbitrarily appointed. Marley was a ska and rock steady artist as a very young man, with Bunny Livingston and Peter Tosh, who formed a vocal trio. Their early roots reggae material was produced by Lee Perry in the Jamaican style, but they moved to London and under Chris Blackwell's tutelage they were constituted with a rhythm section (the Barretts) as a trad touring rock band. Eventually the band broke up, perhaps because so much of the attention was focused on Marley. (Tosh and Bunny's solo material has good moments, but it is nowhere near Marley's.) I don't think I have to tell you how powerful the songs were, how wild, free, and vulnerable the voice, or how he has been heard and loved by everyone. war
> I recommend the box set below. It's got all the familiar songs, plus a bunch of early ska/rock steady stuff, quite an amazing medley of Marley alone with his guitar, doing songs his mother might have sung him, and many great cuts. If anyone ever deserved a box set... One complaint: an inferior version of the transcendent "Redemption Song."

Freddie McGregor
A very poppish singer who sold a lot of records in his time. Tuneful, quality vocals, but I don't actually like the recordings very much: dreadless, even when he's trying.

Midnite
A brilliant contemporary roots band, formerly centered in DC, now in the Virgin Islands. The tracks are lovely, low-key, and jazz-tinged, while the vocals are plaintive and surprisingly intense and moving. Part of a stellar coterie of American roots bands that would include John Brown's Body and Groundation. old robe

Jacob Miller
An eccentric vocalist who used dj elements and odd phrasing featuring a kind of stutter, Miller was among the most serious and committed rastas in Jamaican music. Also he was probably the best or most sympatico vocalist on Augustus Pablo productions. Many of the songs are essentially rasta scriptures. Later he went more poppish with the group Inner Circle; I'm not a big fan of that material. Miller died in a car crash in 1980.

Mighty Diamonds
Sort of poppy, friendly vocal group. They had great moments, but I wish the grooves were more evil. "Pass the Kouchie" is a fair sample: it was a #1 hit in England while I was there in a cover by Musical Youth. "Right Time" has the best moments, if you ask me: the great title track, "Them Never Love Poor Marcus."

Jackie Mittoo
The organist of a thousand sessions, Mittoo should be compared to Booker T. His solo material is consists of soulful instrumentals with a rock steady undertow. His economical approach influenced many, including Augustus Pablo.

Morgan Heritage
A group consisting of Denroy Morgan's 8 children, Morgan Heritage is associated with a nineties roots revival But if so, you'd have to say they pale in comparison with, e.g. Garnett Silk. Pleasant enough, but very processed and uninteresting, fundamentally.

Pablo Moses
Moses was always a kind of rasta philosopher, with more reflection (and hence more distance) in his words and delivery than most. He made some great records in the mid-seventies: important and underrated roots documents. But like a lot of reggae artists (hate to say it) quality is proportionate to time frame: the later the worse. I don't quite understand why so many artists hopped onto to hip or contemporary production techniques which essentially undercut the point of their music, circa 1980. come mek we run.

Augustus Pablo

A great producer as well as keyboard and melodica player, Pablo is best-known for the "far east" sound: a spooky half-speed klezmer that manages to make a prayer and a meditation out of a simple melody over a basic riddim. To my mind, his records such as "East of the River Nile" and "Original Rockers" are among the greatest achievements in reggae, and the most listenable. "Valley of Jehosaphat" was his final album before succumbing to a nerve disorder in 1998.

Prince Alla
A true Rasta religious spokesman, Alla lived for years at the Bull Bay rasta compound. He recorded in an apocalyptic mode on all the basic rasta themes: repatriation, Garvey, reasoning, mashing down Rome, the coming end of time. An excellent vocalist, he often had great underlying tracks as well. He was active in Jamaican music starting in the late sixties. The Blood and Fire compilation "Love is the Answer" is, as always, exemplary for its documentation and selection. stone (dread soldiers have come to mash down rome)

Max Romeo
Max's career, extremely uneven, is fascinating. He is one of those artists who "could have been Marley," though of course that's unfair to him. He started out, under Perry's tutelage, with the sexual anthem "Wet Dream," but then proceeded to a series of hyper-religious Rasta anthems. "Chase the Devil" is one of the greatest single cuts in reggae. His response to Jah's death "Play it Cool," took the approach of denying that the whole thing ever happened. He was a tuneful, appealing singer and by all accounts an excellent performer, but his output is spotty. He never really settled into a groove. produced by scratch perry: chase the devil

Garnett Silk



The guy who ran the little record shack in the market at Black River, on Jamaica's south coast, told me that Garnett Silk would have been Marley had he (Silk) lived, and many folks say more or less the same. Silk started out as a kid dj on Jamaican sounds, but by the early nineties had spurred a roots revival with his incredibly supple and impassioned singing voice, which he put to the service of conscious lyrics. He died in '94, trying to pull his mother out of a fire. That's the action of the man we hear on his great records. But damn. Charlie Chaplin on the chatter: every knee shall bow
The first thing below is essentially a collection of the singing. The second is some of the dancehall, dj material.

Steel Pulse
An excellent roots group of Jamaicans from Birmingham, UK. Clearly inspired by Marley, but with a flair for the interesting lyric and for nailing a good skank. "True Democracy" and "Earth Crisis" were two of my favorite albums circa early eighties, and I saw them do an excellent show in Santa Fe. rally round

Third World
No.

Toots and the Maytals

UB40
An amazingly inoffensive band from Birmingham, UK, UB40 is also fundamentally uninteresting. It's basically all covers, tranlated into an easy-listening quasi-skank. This is a bit too bad, because the vocals are excellent, and the selection of songs astute. It would be so easy to put a bit more of a serious rhythm track underneath it instead of Casio drum effects. Perhaps the clearest refutation of their approach is their absurd cover of "Soul Rebel," which should have been re-titled "Soul Bureaucrat."

U-Roy

The sound system was and is a basic mode of dissemination in Jamaica. DJs spun the latest records through the sixties on Duke Reid's or Coxsone Dodd's huge systems, and no doubt chattered over them more and more, first intro and outro, then maybe on instrumental breaks. Probably the first Jamaican dj to record his voice over existing tracks was King Stitt. but the first who really embodied what the style became is U-Roy, who was followed by a crowd. The early bunch included I-Roy, Dennis Alcapone, then Big Youth and a thousand others. I think it's fair to say that hip hop follows fairly directly, and the connecting tissue is DJ Kool Herc. Anyway, to be absolutely frank, I don't love Jamaican dj music, particularly the early stuff. I understand that it's important, and I can deal with U-Roy in small doses. But the actual content of the chatter is pretty empty, much of the time. And just in terms of embodying the song, I'd usually rather hear the singer. But then again, I wasn't going to hear King Tubby's sound system in 1970, so I may not actually understand the full effect. Giving Gregory Isaacs the once-over: night nurse.

Wailing Souls
I feel like their stuff is very uneven, but at their best they make as strong and basic rots music as anyone. Winston Matthews, their great singer, wrote many of their songs, and produced many of their records. Later they made some really odd records, covering the Beatles, the Doors, Talking Heads: much of this stuff is surprisingly effective.jah give us life

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