roots vocalist barry brown has an inimitable style that has long made him a favourite of reggae enthusiasts. drawing from the popular phrasing of horace andy, but morphing it into his own delivery through the kind of wordless slurring that occasionally resembles the sound of a quacking duck, brown found his way into the jamaican music scene through the many amateur west kingston talent contests of the early 1970s, along with fellow aspiring talents such as johnnie clarke, sugar minott and the african brothers, and the mighty diamonds. he also honed his vocal skills on local west kingston sound systems such as tape tone, together with other young dancehall-oriented youth such as barrington levy, sammy dread, roy taylor and tristan palmer. there are still conflicting claims as to who was the first to record brown, with production veteran bunny ‘striker’ lee and sugar minott among the contenders, but in any case, during the late 1970s and early 1980s, he produced a range of captivating work for various producers, much of which is rightly coveted today. ‘ital rock’ appeared on barry’s 1983 lp i’m still waiting, issued by rocktone international, a spin-off of sugar minott’s black roots outfit, based in queens, new york (with a further branch in toronto), the b-side has dean fraser’s previously unreleased electrifying saxophone cut, rescued from dub plate obscurity by jah fingers.
roots reggae star barry brown has a readily identifiable vocal style that has long made him among the most preferred of many roots reggae fans. drawing largely from the blueprint provided by horace andy, but changing that into something all his own through a unique form of vocal phrasing, interspersed with ad-hoc slurs, brown was initially discovered through the many amateur talent contests that fringed his west kingston ghetto neighbourhood during the early 1970s, he was also making an impact at the same time by performing live on local sound systems. several different producers have claimed to have been the first to record him, but it is undeniable that brown had strong links with sugar minott’s black roots collective, and some of brown’s very first recordings were released by sugar, both in jamaica and overseas. the exceptionally rare album i’m still waiting was released in 1983 by rocktone international, a spin-off of sugar’s black roots outfit, based in queens, new york, with a further branch in toronto (which reportedly closed just prior to the album’s release). as noted on the original sleeve, the musicians featured on the disc include ‘milo t, snappin, badness, flowers, and drummie from high times,’ while mr brown is on fine form throughout. reissued on lp and cd, on cd for the first time ever!
neuauflage der kult 12 inch single! im jahre 1980 erschien diese maxi erstmalig mit zwei exklusiven stücken wobei sich *give another israel a try* zum klassiker entwickelte. henry junjo lawes hatte die songs seinerzeit mit den roots radics im channel one studio eingespielt und im king tubbys studio abgemischt, am mischpult saß dabei overton scientist brown. hier sind die zwei extended versions - vocal & dub.
CHANNEL ONE STORY - REGGAE ANTHOLOGY (3X12 INCH LP)
3x12" Vinyl lp D28.04.17
das 3lp-package im klappcover, mit großartigen fotos und ausführlichen liner notes von dave hendley, ist in limitierter auflage für kurze zeit wieder erhältlich! mit dieser veröffentlichung von 36 essentiellen aufnahmen hatte vp records bereits im jahr 2004 der jamaikanischen institution ein würdiges denkmal gesetzt, war doch channel one für fast 10 jahre (1974 - 1984) die absolute nr.1 unter den studios der insel und hatte mit seinen produktionen einfluss auf die musikhistorie, die der von studio one und treasure isle der 60er jahre in nichts nachstehen. hier finden sich originale von den großen künstlern wie barrington levy, delroy wilson, dillinger, clint eastwood, the mighty diamonds, john holt, yellowman und vielen mehr, sowie die aufnahmen der allerersten 12-inch maxi-single, die in jamaika erschien, die extended versions von the jays & ranking trevor - truly deejay mix (coverversion des marcia griffiths klassiker) und queen majesty, die reggae-version des curtis mayfield songs.