Tag Archives: Jamaica

Artist Profiles: Luciano

Luciano

In 1995, Luciano signaled the arrival of a new reggae star that could touch all segments of the reggae market. Vocally, he drew from the styles of Dennis Brown and Frankie Paul, while lyrically much of his work was spiritual. Since then, Luciano has won an international fan-base while still managing to maintain grass-roots popularity in Jamaica.

Luciano was born Jepther McClymont in 1964 in Manchester, Jamaica. He moved to Kingston in the early 1990s but his recording efforts for such producers as Castro Brown and Freddie McGregor did not meet with success and he was forced to retreat to his hometown.

When he returned to Kingston in 1994, it was with great seriousness and purpose. He acquired the “Luciano” name because his vocal prowess had an operatic vibe, according to some. An association with Exterminator Records led to his breakthrough hit, “It’s Me Again Jah,” on that label. Soon thereafter, he was signed internationally to Island Records and a string of Exterminator-produced hits solidified Luciano’s reputation as the new reggae prince. He began touring internationally and proved capable of delivering a riveting live show.

In the next few years, he recorded many examples of the new “rasta consciousness” in music, often anchored by deadly rhythms created by Sly & Robbie and the Firehouse Crew. In 1998, he collaborated with Senegalese superstar Baaba Maal on “Africans Unite” from Baaba Maal’s Nomads album and also performed with him at the Air Jamaica Jazz and Blues Festival.

In the early 1990s, he went through a period of withdrawal and regeneration, emerging with another spate of best-selling albums and singles in 1992-1993.

His 2004 album, Lessons Of Life, is the result of his work with Lynford “Fatta” Marshall of Fat Eyes Production who produced one of Luciano’s finest singles, “Real Rastaman.” The production harkens back to reggae’s glory days with the rhythm tracks built by live musicians rather than computers-and it’s an all-star line-up of musicians featuring the likes of Sly Dunbar, Robbie Shakespeare, Steely & Clevie Dean Eraser, Clive Hunt, Robbie Lyn, Dwight Pickney and more. There is a duet with Nadine Sutherland (whose song “Action” was one of the biggest reggae hits of the past decade) and a re-make of Dennis Browns classic “Sitting & Watching.”

Other highlights on Lessons of Life Include the sharp social commentary of “Step Right In” and “Take A Sip.” But this album also mark Luciano’s return to love songs, which were a part of his mix in his early years of recording but were de-emphasized for several years. Such songs as “Sweetness,” “Love Is The Future” and “Love Affair provide a welcome diversity both lyrically and musically.

Discography:

Moving Up (Xterminator, 1993)
Shake It Up Tonight (Big Ship, 1993)
Stuck On U ‎(Sky High, 1993)
One Way Ticket (VP Records, 1994)
Back To Africa (Jet Star Records, 1994)
Don’t Get Crazy (Sky High, 1994)
After All (VP Records, 1995)
Messenger (XTerminator, 1995)
Where There Is Life (XTerminator, 1995)
Sweep Over My Soul (VP Records, 1999)
3 Wise Men Love, Peace And Consciousness (J&D Records, 1999)
Wisdom, Knowledge & Overstanding (J&D Records, 2000)
Live ‎(VP Records, 2000)
We Three Kings (Artists Only! Records, 2001)
A New Day (VP Records, 2001)
Gideon (Vizion Sounds Records, 2001)
Great Controversy (Jet Star Records, 2001)
Three Wise Man Volume II (J&D Records, 2001)
They Cant Stop This ‎(Tallas Recording Studio, 2002)
We 3 Kings ‎(Nocturne, 2002)
Tell It From The Heart (Minor 7 Flat 5, 2003)
Serve Jah (VP Records, 2003)
Visions (Charm, 2003)
Live In San Francisco ‎(2B1 Records, 2003)
Jah Warrior (Penitentiary Records, 2004)
Serious Times (VP Records, 2004)
Call On Jah (Rude Boy Records, 2004)
Lessons Of Life ‎(Shanachie, 2004)
Jah Words (RAS Records, 2005)
Upright (Kingston Records, 2005)
Hail The Comforter (Charm, 2005)
Jah Warrior III (Penitentiary Records, 2005)
Child Of A King (VP Records, 2006)
Now And Forever (Mighty Man Music, 2006)
Revelation Time ‎(Charm, 2006)
God Is Greater Than Man (Cou$ins Records, 2007)
Friends For Life (Don One, 2007)
Jah Is My Navigator (VP Records, 2008)
Write My Name ‎(Footprintz Music, 2009)
United States Of Africa ‎(VP Records, 2010)
Reggae Music ‎(Ya-Low Production, 2011)
Rub-A-Dub Market (Irievibrations Records, 2011)
The Qabalah Man (2013)
Deliverance – Mad Professor Dub Showcase (Ariwa, 2014)
Zion Awake ‎(Jamstyle Records, 2014)
Reggae Legends ‎(VP Records, 2015)
Dub Showcase At Ariwa Sounds ‎(Ariwa, 2015

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Artist Profiles: Lloyd Parks

Lloyd Parks

Lloyd Parks is a reggae vocalist and bass player. He was born in Kingston, Jamaica on May 26, 1948. In the late 1960s, he performed with the Invincibles band (whose members also included Ansell Collins, Sly Dunbar and Ranchie McLean) before teaming up with Wentworth Vernal in The Termites. In 1967, they recorded their first single “Have Mercy Mr. Percy” and then an album “Do the Rocksteady” for Coxsone Dodd’s Studio One label.

After recording “RubUp Push Up” for the Dampa label, Parks and Vernal split up. Parks then briefly joined The Techniques as a replacement for Pat Kelly, recording tracks such as “Say You Love Me”, before embarking on a solo career and later starting his own label, Parks. His second single was the classic “Slaving”, a moving song about the struggles of a working man.

As a solo artist, he recorded a number of songs for Prince Tony Robinson, including “Trenchtown Girl” and “You Don’t Care”. Some of his best-known solo hits include “Officially”, “Mafia” (both 1974), “Girl In The Morning” and “Baby Hang Up The Phone” (both 1975). Parks was a studio bass player, backing many of the greatest reggae artists, including Justin Hinds on Duke Reid’s Treasure Isle label. He was a member of Skin Flesh and Bones along with Ansell Collins on keyboards, Tarzan on keyboards, and Ranchie MacLean on guitar. This group backed Al Brown on his hit “Here I am Baby”, and many other artists. When Skin Flesh and Bones started playing for the Channel One Studios, Parks renamed the band The Revolutionaries.

Parks was also a member of Joe Gibbs’ house band, The Professionals, performing hits such as Althea & Donna’s “Up Town Top Ranking”, and in the 1970s he backed artists including Dennis Brown, the Abyssinians, the Itals, The Gladiators, Culture and Prince Far I. In 1974, he founded the “We the People” Band.

Reggae Down Under captured Lloyd parks performing his greatest two hits – “Mafia” and “Officially” – Up close and personal during his tour of Australia with Dub Syndicate.

Discography:

Officially (Attack, 1974)
Girl In The Morning (Trojan, 1975)
Loving You (Trojan, 1976)
Meet the people (Parks, 1978)
Jeans, Jeans (Tad’s, 1985)
What More Can I Do (1983)
Time A Go Dread (Pressure Sounds)

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Artist Profiles: Don Carlos

Don Carlos

Euvin Spencer, better known as Don Carlos, was born in Kingston, Jamaica on June 29, 1952. He is a legendary Reggae artist who grew up in one of the most deprived regions of Western Kingston, Jamaica, in a district notoriously known as Waterhouse. This area is also a musical spawning ground for many of Reggae’s greatest ever talents, such as King Tubby, Black Uhuru, The Jays, Junior Reid, and King Jammy, to name a few.

Don Carlos started his singing career in 1965 in conjunction with other artists and quickly moved on to creating solo singles. In 1972, Don moved into a trio as one of the original contributors of Black Uhuru, alongside other founding members, Garth Dennis who later went on to joining the Wailing Souls, and Derrick Ducky Simpson. Two years after the trio’s groundbreaking debut, the group split in different directions and Don continued to pursue a solo career.

Within three years, developing his song writing and grooming his distinctive vocal style, Suffering was released in May 1981. This strong release took the industry by storm, courtesy of a heavy roots and culture flavored showcase for the Negus Roots label. This album was a massive hit in Africa, selling in unprecedented numbers.

At this time, he worked alongside Gold, his co-writer, and back up vocalist. Together, they brought through such timeless creations as Harvest Time, Day to Day Living, Them Never Know A Natty Dred Have Credentials, between 1980 to 1984.

Don continued on with more releases including Laser Beam, Raving Tonight, Never Run Away, Just a Passing Glance, Ghetto Living, and Deeply Concerned.

During the 1980s, Don was a popular artist in the Dance Hall scene with numerous top ten hits between 1982 – 1985, such as: Late Night Blues, Nice Time Tonight, Dice Cup, Hog & Goat, I’m Not Getting Crazy, Fight Fight Fight, Traveling, Laser Beam, Johnny Big Mouth and Spread Out.

Don continued releasing melodic roots reggae. Other titles in his rich catalogue include Roots and Culture, Pure Gold, Spread Out, Plantation, Slow Down Vol.3, Prophecy, Firehouse Clash, RAS Portraits, Head to Head, Jah Light, Live in San Francisco (2002), and Special Edition to name a few.

A request from Duckie for Don to continue his former role as lead vocalist in a rejuvenated Black Uhuru reunion resulted in another strong Black Uhuru album – Now. The year 1989 marked the reunion of the original vocal trio with Don, Garth and Duckie.

Don Carlos

After six years- 1989-1994 – and four albums, singing lead for Black Uhuru in the studio, and on the road, Don again went back to his solo career. His other titles with Black Uhuru include Mystical Truths, Iron Storm and Strong. All of these four albums are classics with Don up front on lead vocals. As well, each of these four titles were nominated for Grammy Awards.

After the Black Uhuru reunion, Don continued to show his inspiration through his albums Ease Up, Seven Days a Week and Groove With Me. During this time Don kept on touring and in the new millennium he joined forces with the California based Reggae Angels for four years with a solid backing band.

He continued to tour the world successfully with his band, Dub Vision.

Discography:

Suffering (Negus Roots, 1981),
Day to Day Living (Greensleeves, 1982),
Harvest Time (Negus Roots, 1982)
Spread Out (Burning Sounds, 1983)
Pass the Lazer Beam (Jackpot, 1983)
Just A Passing Glance (RAS Records, 1984)
Deeply Concerned (RAS Records, 1987)
Time Is The Master (RAS Records, 1992)
7 Days A Week (RAS Records, 1998)
Dub Version (Dressed to Kill, 2000)
Changes (Heartbeat Records, 2010)

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Artist Profiles: Dub Syndicate

Dub Syndicate

Dub Syndicate Dub Syndicate was born in the early 1980’s as an outgrowth of Roots Radics’ massive success in creating the modern dancehall reggae sound. The group, whose core was Style Scott, bassist Flabba Holt, guitarist Bingy Bunny and keyboardist Sowell Radics, succeeded Sly & Robbie’s Revolutionaries as the dominant reggae studio aggregation of the Eighties as they played on literally hundreds of recordings and pioneered a sparse, heavy dub-wise sound.

They were recruited by Adrian Sherwood to play on some of his productions when he started his On-U Sounds label. Out of that collaboration, Style Scott and Flabba Holt, in particular, played important roles in a number of Sherwood’s innovative dub-oriented recordings featuring musicians from the realms of rock, funk (including Skip McDonald and Keith LeBlanc) and reggae under such names as New Age Steppers, African Headcharge and Dr. Pablo.

In 1982, the first Dub Syndicate album, Pounding System, was released to widespread critical acclaim. A string of albums followed, including such highlights as Stoned Immaculate (1991) and Fear Of A Green Planet (1998).

Dub Syndicate albums have always been notable for the contribution of interesting guest performers such as Lee “Scratch” Perry, Bim Sherman, Horace Andy, Shara Nelson and a host of others. More importantly, Dub Syndicate embarked on a series of tours in Europe, Japan and North America and proved that dub music-the quintessential studio creation-could be a powerful live experience as well.

Twenty-plus years on, Style Scott continued to apply his masterful rhythm sense and innovate approach to the evolution of dub music. “I try to do something with it futuristically,” he said. “Adrian and I take it out of that dancehall corner, emphasize the drums and bass more, add flavors, add white noise, spoken word and other samples, a whole heap of different tactics. Onstage when we drop out to drum and bass, we make it something exciting by itself, like jazz-but on a another level!

Discography:

The Pounding System – Ambience in Dub (1982)
One Way System (1983)
North of the River Thames (1984)
Tunes from the Missing Channel (1985)
Time Boom X De Devil Dead (1987)
Strike the Balance (1990)
From the Secret Laboratory (1990)
Stoned Immaculate (1991)
Echomania (1994)
Ital Breakfast (1996)
Mellow & Colly (1998)
Fear of a Green Planet (1998)
Acres of Space (2001)
No Bed of Roses (2004)
Hard Food (2015)

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Artist Profiles: Ernest Ranglin

Ernest Ranglin

Ernest Ranglin was born June 19, 1932 and grew up in the small town of Robin’s Hall in the Parish of Manchester, a rural community In the middle of Jamaica. Music has always claimed a special place In the Island’s culture, and Ranglin’s destiny was set from an early age when two of his uncles showed him the rudiments of playing the guitar. When they discovered just how good the young boy was, they bought him a ukulele.

Ranglin learned how to play by imitating his uncles, but he was soon to be influenced by the recordings of the great American jazz guitarist Charlie Christian. Living in rural Jamaica, however, inhibited the boy’s ambitions, which, even at the age of fourteen, were focused on music. He then moved to Kingston – the country’s capital – ostensibly to finish his studies at Bodmin College. Very high on Ranglin’s agenda was to seriously study the guitar, something not on the school’s priorities.

His lessons came from guitar books and late-night sessions watching the Jamaican dance bands of the time: he was particularly influenced by Cecil Houdini, an unrecorded local musician. By the time he was sixteen years old, Ranglin was acknowledged as the rising young talent in the city. In 1948 he joined his first group, the Val Bennett Orchestra, playing in the local hotels. Such was Ranglin’s burgeoning reputation that he soon came to the attention of rival dance bands and, by the early-Fifties, he was a member of Jamaica’s best-known group, the Eric Deans Orchestra, touring around the Caribbean and as far north as the Bahamas.

The big bands gave Ranglin the hugely beneficial experience of learning how to orchestrate and arrange. The typical repertoire of the day Included tunes by Les Brown, Benny Goodman, Stan Kenton and Duke Ellington, together with Cuban music and the hot Broadway show songs. The constant tours also gave Ranglin a wider vision, meeting musicians from other traditions. Once, for instance, when he was working In Nassau his performance was heard by Les Paul, who gave Ranglin a guitar In admiration of his talents.

It was, however, back In Jamaica that his career was to be transformed by a chance meeting. In 1958 Ranglin was leading his own quintet, playing the leading hotels In Kingston and the resorts on the north of the Island. One engagement was at the Half Moon Hotel in Montego Bay, a show caught by a young would-be record producer called Chris Blackwell.

Immediately Impressed by Ranglin’s extraordinary talents, Blackwell offered him the chance to make a record. The album featured a pianist called Lance Heywood on one side with Ernest Ranglin on the other: It was the very first release by Island Records and the start of a long association between Ranglin and Blackwell.

By the following year, 1959, Ranglin had joined the bassist Cluett Johnson in a studio group called Clue J and His Blues Blasters. This was a very different kind of style to the big bands. Jamaican music was in a state of flux, the traditional mento superseded by a tough urban stance influenced by the pervading sounds of American R&B. Johnson and Ranglin recorded several instrumentals for producer Clement ‘Coxsone’ Dodd at Federal – the only real studio facility on the island. The first of these tunes, Shuffling Bug, is widely regarded as the first example of ska, the shuffle rhythm which exaggerated the ‘jump beat’ heard on New Orleans’ R&B records of the Fifties. Ska became the bedrock of Jamaican popular music, leading to rock steady, reggae, ragga and all the innovations the island has brought into the global mainstream.

Ernest Ranglin

Ranglin’s fluent and versatile guitar style, coupled with his arrangement skills, meant he was in constant demand right through the ska era. In addition to his work with Prince Buster and Baba Brooks, Ranglin was also remembered by Chris Blackwell who, in 1962, had launched Island Records in Britain. Blackwell had a song he thought could be a pop smash. He also had a young Jamaican singer called Millie, who’d previously recorded some sides for Coxsone Dodd. In 1964 Blackwell brought both Millie and Ranglin to London. They recorded My Boy Lollipop which, in the spring of that year, reached number two in the UK chart. It went on to become a worldwide hit, the first time ska had infiltrated into the vocabulary of pop music.

In recent years, Ernest Ranglin has gone back to his roots and has made various cross cultural collaborations and concept albums. On Below the Bassline he covers some of the greatest songs of the rock and roll era. Memories of Barber Mack is Ernest Ranglin’s tribute to the late Jamaican saxophonist Barber Mack. The Search of the Lost Riddim album took Ernest Ranglin to Senegal for his first visit since the mid 1970’s when he toured as part of the Jimmy Cliff band. These recording sessions represent the accomplishment of a dream he had cherished for over 20 years: returning to Africa to record with African musicians.

Discography:

Guitar in Ernest (Island, 1959)
Wranglin’ (Island, 1964)
Reflections (Island, 1964)
Guitar in Ernest (Federal, 1965)
The Exciting Ranglin (Federal, 1966)
Boss Reggae (Federal, 1969)
Softly With Ranglin (Federal, 1969)
Mr. Ranglin With Soul (Federal, 1969)
Today’s Best (Federal)
A Mod a Mod Ranglin (Federal, 1970)
Ranglin Roots (1972)
Ranglypso (MPS, 1976)
Be What You Want to Be/From Kingston JA to Miami USA (Konduko, 1983)
We Want to Party (Rooney, 1989)
True Blue (Rooney, 1990)
Play the Time Away (Grove, 1996)
Below the Bassline (Island, 1996)
Memories of Barber Mack (Island, 1997)
Tribute to a Legend (Kariang, 1997)
In Search of the Lost Riddim (Palm Pictures, 1998)
E.B.@Noon (Tropic, 2000)
Modern Answers to Old Problems (Telarc, 2000)
Grooving (Blue Moon, 2001)
Gotcha! (Telarc, 2001)
Alextown (Palm Pictures, 2005)
Surfin’ (Telarc, 2005)
Order of Distinction (AIX, 2006)
Ranglin & Friends (Dubtonic, 2010)
Avila (Avila Street, 2012)
Bless Up (Avila Street, 2014)
Ernest Ranglin at Side Door Records (Side Door, 2015)

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Artist Profiles: Everton “Blender”

Everton “Blender”

One of the few Jamaican singers to truly bridge the gap between the roots and dancehall reggae styles is the man known as Everton “Blender.” When reggae fans hear the opening notes of “Lift Up Your Head,” “Ghetto People Song,” “Blend Dem,” etc., they instantly recognize these songs as the cultural anthems of our time. The large number of hits Everton has accrued is most impressive for an artist who has been in the business for such a seemingly short period of time. But like many of Jamaica’s biggest musical stars, the road to fame wasn’t a short or easy one.

Everton Dennis Williams, better known as Everton Blender was born on November 21, 1954 in the parish of Clarendon, Jamaica, but grew up in Kingston 13 on Maxfield Avenue. Everton worked as a painter, construction worker, and decorator, but he realized that the strong chemicals he was working with were not good for his voice or his health in general. With divine help and direction, he decided to leave his job to pursue a singing career. In 1980, he met Phyllis Thompson (who would later become his wife), and moved back to Clarendon. In 1985, Everton and Phyllis’ first child, Isha, was born.

Although Everton had recorded a handful of singles for various producers, he had yet to score with a hit on the island. But that was all about to change in 1991 he voiced the autobiographical “Create a Sound.” The song described Everton’s experiences in the music business and with the Rasta faith. It was released the following year on the Star Trail label, and it was Everton Blender’s first hit. Everton continued to record for Star Trail, who had a distribution deal with Heartbeat Records. 1994’s Lift Up Your Head (HB 169) was Everton’s full length debut, and featured “Create a Sound,” along with the hits, “Family Man,” “Bring di Kutchie,” “My Father’s Home,” “Gwaan Natty,” and the title track, which would go on to become one of the biggest anthems of the 1990’s.

Everton continued to record for Star Trail and other labels, scoring hits including “Blend Dem,” “World Corruption,” “Bob Marley,” “Piece of the Blender,” “The Man,” and “Coming Harder,” all collected on the 1996 album, Piece of the Blender: The Singles (HB 209). At this time, Everton decided to take charge of his career and start his own label, which he named Blend Dem Productions. He began to finance most of his own recordings, a move which proved to heighten tension between himself and many who wished to control the music production and promotion on the island. But he persevered, knowing that being in control of his career was the right decision, and his relationship with Heartbeat became even stronger.

In 1999, Heartbeat released Everton Blender’s first album of Blend Dem productions, Rootsman Credential (HB 227). Alongside boom shots like “Ghetto People Song,” “Why Do We Have to War,” and “False Words” were Everton’s own productions including “Slick Me Slick,” “These Hands,” and many more strong statements of Everton’s faith and will to succeed. Since the release of Rootsman Credential, Everton has toured the United States, Europe, and the Caribbean-establishing himself as one of the top touring forces from Jamaica. Live at the White River Reggae Bash (HB 242) captures Everton performing his most popular material with the Blend Dem band.

As the millennium came to a close, Heartbeat released an album of new Blend Dem productions that includes top acts riding Everton Blender produced rhythms. Dance Hall Liberation (HB 246) features Anthony B, Tony Rebel, Louie Culture, Richie Spice, Everton Blender, daughter Isha, and others. Everton was also executive producer on Richie Spice’s debut album, Universal (HB 103), and played a role in Spanner Banner’s Real Love (HB 249).

Blender’s album released in 2001, Visionary (HB 254), consisted of his trademark conscious commitment over sizzling roots and dancehall self-productions. With guest appearances by Beenie Man, Anthony B, Tony Rebel, and Marcia Griffiths along with Everton’s own strong performance, the album garnered favorable reviews throughout the music press. 2001 and 2002 also marked excellent touring year for Blender, where he headlined several major reggae events.

King Man (HB 258) offers a strikingly different approach for the beloved dancehall artist. Uniquely recorded with all live instruments including full horn section, the album harkens back to the 1970s, considered the golden era of Reggae, one where tradition lives. Still sounding fresh and new, this roots record, a first for “Blender,” offered his reactions to what was going on in the world. From the soulful “Little Green Apples,” a remake of OC Smith’s 1968 pop and R & B hit, to the reflective “Tabernacle Tree” to Syl Johnson’s powerful and moving “Is It Because I’m Black” each have a story to tell. Featuring a wide variety of producers, players and studios, in both Los Angeles and Kingston, Jamaica, the album featured musicians of all ages ranging from players in their twenties influenced by “Blender” himself to top dogs like horn player, Dean Fraser, keyboardist Robbie Lyn, members of Shaggy’s band and even Joseph “Culture” Hill who rarely guests on other artists’ records.

Discography:

Lift Up Your Head (HeartBeat Records, 1994)
Blend Dem (Malako, 1995)
Piece of da Blender: The Singles (HeartBeat Records, 1996)
Where Do The Children (HeartBeat Records, 1997)
Rootsman Credential (HeartBeat Records, 1999)
Live at the White River Reggae Bash (HeartBeat Records, 2000)
World Corruption (Greensleeves, 2000)
Visionary (HeartBeat Records, 2001)
King Man (HeartBeat Records, 2003)
It’s My Time (Explorer, 2005)
Red Razor Riddim (Zion High, 2007)
Higher Heights rEvolution (Blend Dem, 2011)

DVDs

Live in Berkeley (2B1, 2007)

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Artist Profiles: Ky-Mani Marley

Ky-Mani Marley

Ky-Mani Marley is the only child of table tennis champion Anita Belnavis and reggae icon Bob Marley. He was born in Falmouth, Jamaica. His East African name means Adventurous Traveler.

At the age of nine Ky-Mani relocated to the inner-city of Miami. In the beginning, Ky-Mani was unaware of his musical abilities, sports being his first love, but with his mother’s direction, he took piano and guitar lessons and played trumpet in his high school band. In addition to tapping into his musical talents Ky-Mani competed in soccer and football.

As a teenager Ky-Mani started rapping and deejaying; his first single was entitled Unnecessary Badness. He became inspired as a singer after being asked to sing a hook to a song during a recording session at a studio in Miami. The decision to actually get into the entertainment world loomed over him because of his fathers legacy. Ky-Mani soon began laying tracks- experimenting and creating, at times with his brothers Stephen, Julian and Damian.

Ky-Mani signed to Shang Records where he recorded several singles, the first being Judge Not with Patra, followed by Dear Dad as well as Who The Cap Fit (remix) and Sensimelia, all of which added to his growing reputation as a master in the new generation of reggae musicians.

In 1997, Ky-Mani joined forces with Praswell (Fugees) on a hit cover of Eddy Grant’s Electric Avenue. The extent of his star power became abundantly clear when Ky-Mani took the stage at Midem (international music showcase), which was held in Miami for the first time. Catering to an international audience in the filled to capacity Cameo Theatre, Ky-Mani delivered an explosive set which aired live by CANA (Caribbean News Agency) to thirty-six countries.

Ky-Mani immediately became the subject of an intense label bidding war. Ky-Mani signed with Gee Street/V2 Records in 1997 where he completed a collaboration with label mate P.M. Dawn on the single Gotta Be Movin On Up (Senseless Soundtrack, which went Gold in Africa). Both collaborations helped to establish Ky-Mani outside his tight knit reggae community.

Ky-Mani’s willingness to embrace all genres of music is quite evident in The Journey released in 1999. From the Spanish guitar, which introduces RudeBoy, to the lover rock flow of Fell In Love, the deeply spiritual Lord Is My Shepard or the rock steady tribute Dear Dad, Ky-mani brings songs of universal themes laced with a personal insight and passion.

Fulfilling his name adventurous traveler branching out from his music, Ky-Mani Marley has also made a name for himself as an actor playing the lead role in the number one underground movie coming out of Jamaica Shottas directed by Cess Silvera, co-starring Spragga Benz and Paul Campbell. Displaying his diversification and talent playing the role of a bad man in Shottas, Ky-mani Marley then went on to play the lead Kassa with co-star Cherine Anderson in One Love a romantic comedy infused with the music and culture of Jamaica.

Discography:

Like Father Like Son ‎(Rhino Records, 1996)
The Journey (Shang Muzik, 1999)
Many More Roads (Artists Only! Records, 2001)
Milestone ‎(Big Cat, 2003)
Radio ‎(AAO Music, 2007)
Maestro (Konfrontation Muzic, 2015)
Conversations (Island Records, 2016)

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Artist Profiles: Junior Reid

Junior Reid

Reggae icon Delroy Junior Reid, best-known for his international hit “One Blood”, which sold over 2 million copies.

The former member of reggae supergroup Black Uhuru (1985-88), Junior Reid is known today not only as an artist, but as a producer and talent agent, who has notably produced artists such as Dennis Brown, Ninjamean, Gregory Isaac, Jah Mason, and many more.

Still avidly performing and recording, Junior Reid continues to collaborate with artists ranging from Poor Righteous Teachers & Busta Rhymes to Guru, Wu Tang and the Game.

Discography:

Boom-Shack-A-Lack (Greensleeves, 1985)
Original Foreign Mind (1985)
One Blood (Big Life/Mercury, 1990)
Progress (1990)
Long Road (Cohiba, 1991)
Big Timer (VP Records, 1993)
Visa (Greensleeves, 1994)
Junior Reid & The Bloods (RAS Records, 1995)
Showers Of Blessings (1995)
Listen To The Voices (RAS Records, 1996)
RAS Portraits (RAS Records, 1997)
True World Order (1997)
Big Timer (2000)
Emmanuel Calling (JR Productions, 2000)
Rasta Government (Penitentiary, 2003)
Double Top (2005)
Live in Berkeley (2B1, 2007)
Junior Reid, the Living Legend (ABB, 2015)

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Artist Profiles: Junior Marvin

Junior Marvin

Junior Marvin (aka Junior Kerr, aka Junior Hanson) was born Donald Hanson Marvin Kerr Richards, Jr.. He is a Jamaican born guitarist. Junior Marvin was a member of The Wailers Band in the mid-1970s and carried on the music of The Wailers Band after Bob Marley passed away.

In the mid 1960s, Marvin formed his first band, Blue-Ace-Unit, with Calvin ‘Fuzzy’ Samuels. In 1969 he started White Rabbit, a shared band with Linda Lewis.

Junior joined the Keef Hartley Band in 1970 under the name Junior Kerr. In 1973 Junior created Hanson under the name Junior Hanson.

In 1977 Junior joined Bob Marley and The Wailers as Junior Marvin. Four years later, after Bob Marley’s death Junior carried on The Wailers Band at the request of Bob Marley.

In 1997 Junior left The Wailers Band and went on to do works on his own.

In 2005 Junior returned to The Wailers Band.

His solo album Wailin’ For Love came out in 2006.

Solo discography and with Wailers Band:

I.D. (1989)
Majestic Warriors (1991)
Jah Message (1995)
My Friends (1997)
Wailin’ For Love (Dj Boy Records, 2007)

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Artist Profiles: I-Threes

I-Threes

The I-Threes are the most influential female singing group in the history of Jamaican music. In the early 1970s Bob Marley asked the three women to sing on his recording Jah Live and for the next ten years continued to work with Mr. Marley. They have continued to perform together since Bob’s death in 1981 while at the same time pursuing their own solo careers.

Discography:

Beginning (Tuff Gong, 1986)
Marley Classics (Mango, 1991)
Songs Of Bob Marley (Mercury, 1995)

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