Official Reggae History Sir Coxsone Sound System ft Sugar Minott Don Carlos, Mikey Dread & more 1983

Official Reggae History Sir Coxsone Sound System ft Sugar Minott Don Carlos, Mikey Dread & more 1983

Sir Coxsone
In its heyday of the 70s and 80s, Sir Coxsone Sound System retained an insurmountable edge, thanks to the unbeatable tag-team of proprietor Lloydie Coxsone and his star selector, Festus, and an ever-changing crew of supporting members that kept the sound perpetually fresh and innovative. With an endless supply of superior dubplates sourced from top producers in Jamaica, augmented by some of their own productions cut with high-ranking music makers in the UK, Sir Coxsone was undeniably top of Britain’s sound system circuit. Their superior selection and the manner in which they presented it to the public gave Coxsone the kind of credibility that most other sounds were never able to achieve, leading to longstanding residencies at nightclubs in the fashionable West End.

Sugar Minott
Lincoln Barrington Minott was born in Kingston, Jamaica, on May 25, 1956. He began his career in the sound systems while still a child, working as a selector for the Sound of Silence Keystone outfit, before launching his own Gathering of Youth sound system just as he hit his teens. There, too, he carried on merely as the selector. However, in 1969, Minott decided to take the mike himself, not as a DJ, but as a singer, one third of the African Brothers roots trio, alongside Tony Tuff and Derrick Howard. The group initially made its way around the amateur talent show circuit, but eventually linked up with the Micron label. African Brothers released a number of singles over the next few years, including "Party Night," "Gimme Gimme African Love," and "A Di System" cut with producer Jah Bunny. The trio also began self-producing (its first attempt was "Torturing"), and then launched its own Ital label. By this time, the trio's Abyssinians influence was becoming prominent, as can be heard on "Righteous Kingdom," "Youths of Today," and "Lead Us Father."

Don Carlos
Sweet-voiced vocalist and composer Don Carlos (born: Euvin Spencer) has had his greatest success singing with Black Uhuru, the reggae trio he formed in 1974 with two friends -- Rudolph Dennis and Derrick "Duckie" Simpson -- from the "Waterhouse" district in Kingston. Carlos recorded only one single with the group, leaving to pursue a solo career and to perform with a band, Don Carlos and Gold. Sixteen years later he returned and joined with Dennis and Simpson to resurrect the original trio. Their first album together, Now, released in 1990, helped Black Uhuru to recapture the popularity they enjoyed in the 1970s and '80s, though Carlos' involvement with the trio was brief. Shortly after helping Dennis and Simpson to record a second trio album, Iron Storm, Carlos resumed his solo career. While he's recorded some impressive albums, including his 1997 solo outing, Seven Days a Week, Carlos has yet to match the success he had with Black Uhuru.

Mikey Dread
Seminal radio DJ, artist, producer, and TV host Mikey Dread may be best-known in the U.S. for his work with old school punk heroes the Clash, but in his Jamaican and adopted British home, his legacy is seen as much more than that. Born in 1954, in Port Antonio, Jamaica, Michael Campbell came to national prominence in the '70s with a weekly radio show on JBC (Jamaican Broadcasting Company). Taking the name Mikey Dread, the DJ's four-hour spot, which he called Dread at the Controls, was a revelation. Jamaican radio had not revolved around local talent, but rather imported music mostly from the United States. Even as the Jamaican recording industry had flourished across the '60s, this aversion to local music had not diminished. Some of the labels had overcome this handicap through a pay-to-play system that wasn't exactly payola, but a system of advertising. Thus Studio One, Treasure Isle, and the island's other larger labels would buy blocks of advertising time, during which they would play their new releases. This led to advertising coming solely from those labels with adequate cash and with only two radio stations servicing the island, there were few alternatives to reaching national audiences. Dread's radio show changed that. He not only featured Jamaican music, but played the hottest new songs within days (and even hours) of their pressing. The DJ also knew his musical history, and one of his favorite tactics was to spin the original classic songs whose rhythms were currently mashing up the dancehalls.

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