One of Jamaica's most beloved and prolific artists, the late
Dennis Brown
has left behind a slew of classic songs and myriad hits, a rich musical
legacy born of a career that spanned over 30 years. Born
Dennis Emmanuel Brown
in Kingston, Jamaica, in 1957, his childhood home virtually destined
him to a future in the music industry. He grew up on Orange Street, the
heart of the island's music scene, with most of the major recording
studios a mere stone's throw away. As the stars and future hitmakers
paraded by day and music pumped out of the studios, the child could not
help but be entranced. It was truly serendipitous that
Brown
himself had a voice that would set the studios ablaze. It didn't take
long for the producers to discover his talent and by the time he was 11,
the youngster had a first hit to his name, with a cover of
the Impressions' "No Man Is an Island." It was the beginning of a successful, but not exclusive, partnership (
Brown also scored with "If I Had the World" for producer
Prince Buster). However,
Dodd was responsible for
Brown's debut album, 1970's
No Man Is an Island, and its follow-up the next year,
If I Follow My Heart.
Now entering his teens, the singer was
ready to start making the studio rounds on a regular basis, cutting
songs with a clutch of different producers. The album Super Reggae &
Soul Hits gathers some of his work during this period and features a
mix of superb, if lightweight, covers alongside a number of self-penned
classics, all cut with producer
Derrick Harriott. 1975's
Best Of gathered a similar selection of material recorded for
Joe Gibbs earlier in the decade. In 1972, the 16-year-old entered
Gibbs'
Duhaney Park studio and recorded the song that later established his
international reputation, "Money in My Pocket." However, it wasn't
Gibbs himself who oversaw this session, but a young engineer/producer who had replaced the recently departed
Lee Perry. Twenty-year-old
Niney "the Observer" Holness
had stunned the island two years earlier with his seminal "Blood &
Fire" single, a roots classic. Now he was presented with a teenager best
known for his sweet ballads and silky lovers cuts. Regardless, the two
young men immediately clicked and by 1973,
Brown was recording exclusively with
Holness.
Their work together virtually defies belief, as hits rained from the
sky and the pair redefined the roots genre in their own image.
Perhaps it was simply a matter of timing as the teen was
determined to leave his youthful balladeer image behind, and
Holness
was offering the perfect opportunity to present himself in a more
mature light. The young producer was seeking a singer to help bring his
own musical vision to fruition and
Brown
was malleable enough to make that happen. Or perhaps it was just fate.
In any event, over the next two years, Jamaica was rocked by a stream of
seminal songs, all released via
Holness'
own Observer label. The haunting "Westbound Train," the powerfully
emotive "Cassandra," the evocative "Africa" -- the list goes on and on.
Many of these were bundled up, along with a few unreleased songs, on
1975's
Just Dennis album.
Brown cut his last song, "Tribulation," with
Holness that same year. At this point,
Brown's reputation was established; an awed
Bob Marley was even ecstatically calling him the best reggae singer in the world.
Brown's
own songwriting was now razor-sharp, and whether taking on cultural
themes or lovers' concerns, his lyrics and delivery were always
emotionally potent. Now he was ready to strike out on his own -- or so
he thought. Over the next year, the teen sensation made the studio
rounds, recording a handful of songs for the likes of
Phil Pratt and
Sydney Crooks. But it was evident something was missing and by the end of the year,
Brown had returned to
Holness' side. The pair began recording again early in 1977 and their chemistry was still as strong as ever. The 1978 album
Wolf & Leopard,
titled after one of their hits, compiles most of the seminal string of
singles the two men unleashed, including such masterpieces as the
poignant "Here I Come" and the title-track.
The Heartbeat label has helpfully compiled all of the pair's work across two albums --
Some Like It Hot and
Open the Gate
-- while Cleopatra's two-disc The Golden Years: 1974-1976 draws heavily
from this material (into 1977, regardless of the title). In 1978, the
21-year-old singer was now determined to stand on his own and set up his
own label, DEB. Although it folded the following year, during that time
Brown
released a clutch of his own singles, as well as those by other
artists, and a number of albums. The latter include his own excellent So
Long Jah Rastafari and
Joseph's Coat of Many Colours. Although the latter was produced by
Gibbs and
Errol Thompson,
Brown
himself was now also moving into production, and his work behind the
board is featured on a number of DEB releases. It really was a stellar
year, with the singer also one of the highlights of the One Love Peace
Concert that year, as well as being one of the major draws at the
first-ever Reggae Sunsplash. Upon DEB's closure,
Brown again began the studio rounds, cutting singles for a wide variety of producers, including
Bunny Lee, Ted Dawkins, and
Ossie Hibbert. And
Joe Gibbs,
of course, with whom he had continued recording even during DEB's
lifetime. 1978's Visions of Dennis Brown contained some of the fruits of
their labor, and unusually, many of the album's strongest tracks never
graced a 45, helping to push the sales of this stunning record even
higher. The following year, a resurrected "Money in My Pocket" gave the
pair a mega-hit and spawned the
Words of Wisdom album, which also boasted the classic "Ain't That Loving You."
By 1979,
Brown was already a legend, even though he'd barely reached adulthood. In addition to his work with
Holness,
he had a virtual shop's worth of successful singles to his credit: "Man
Next Door," "Cup of Tea," "Equal Rights," "How Can I Leave," "Funny
Feeling" (a duet with DJ Trinity), and many more. And the hits just kept
coming. Unbelievably, it took until 1981 and interest spurred by that
year's
Gibb-produced
Spellbound album for a major label to finally show serious interest, and
Brown
finally inked a deal with A&M. By this point, the singer had
emigrated to London and it was there where he recorded his next two
albums:
Foul Play and
Love Has Found a Way. But perhaps the move abroad was unwise, for although
Foul Play in particular contained some classic roots,
Brown seemed to be losing touch with his audience.
The Prophet Rides Again did little to change this situation, with the vinyl's A-side pushing into instantly forgettable light R&B.
Inevitably, perhaps, it spelled the end of
Brown's deal with A&M and the demise of his relationship with
Gibbs. Back in Jamaica, however, the island had given roots the heave-ho in favor of the exuberance of DJs.
Brown had already stuck a toe into these fresh waters back in 1979 when he had recorded a duet with
Trinity. Now the singer would wade back in, first as a contributor to DJ Brigadier Jerry's 1983 album
Live at the Controls at Jack Ruby Sound Ocho Rios J.A., and then alongside a similarly intrigued
Gregory Isaacs for the
Prince Jammy-produced
Two Bad Superstars Meet. The success of that record demanded a follow-up and in 1985,
Judge Not duly arrived to further acclaim. During this time,
Brown also cut singles with the likes of
Gussie Clarke,
Sly & Robbie,
and Starlight Productions, all on the cutting edge of the new scene.
Meanwhile, the rise of DJs had prompted a group of veteran vocalists to
join forces and retaliate with truckloads of their own releases.
Brown,
Gregory Isaacs, and
John Holt
were among the leading co-conspirators. It was a clever plan, based on
the theory that DJs were only succeeding because there wasn't enough
fresh vocal material in the market. Now the market would be flooded,
with the vocalists each releasing around six albums a year and as many
singles as they physically could. Compared to
Isaacs (estimated to have released over 400 albums and counting),
Brown
was pretty lax, releasing a mere 100 or so full-lengths and over 200
compilations. Many came from his own new label, Yvonne's Special (named
in honor of his wife), but the singer also cut records for just about
every label who would let him. The flaw in this plan was that quantity
took precedence over quality, and fans should choose carefully from
among the clutter. However,
Brown
continued to release much material of note throughout the rest of the
'80s, as well as continuing his chart success with a string of seminal
singles.
1985's
Prince Jammy-produced
Slow Down and its follow-up,
The Exit,
are both classic albums recorded at the beginning of the digital age
and showcase the singer's vociferous talent across cultural themes and
into the passion of lovers, all cut through with a simmering dance beat.
Co-producing with
Trevor Bow, that same year
Brown also offered up the much rootsier
Wake Up. The following year's
Brown Sugar, released by
Sly & Robbie's
Taxi label, compiles seven superb hits (and three 12" remixes) from
this period. 1986 also saw the release of a collaborative album with
Horace Andy,
Reggae Superstars Meet,
bringing together two of the most beautiful voices in reggae's history.
The decade was seen out by the mega-hit "Big All Round," a duet with
Gregory Isaacs that was produced by
Gussie Clarke, which helped spur the trio to record the full-length
No Contest, again boasting both solo tracks and duets.
Clarke helped
Brown inaugurate the new decade with the stellar
Unchallenged album, which boasts a fiery guest appearance by
Mutabaruka and the sweet vocals of
Beres Hammond.
Across the decade some of the artist's most intriguing
work was in collaboration with other artists. 1991's One Man One Vote, a
recording by an artist's collective led by
Mikey Bennett, found
Brown singing alongside
Cocoa Tea and
Third World's Bunny Clarke. That same year, he recorded the excellent Victory Is Mine album, cut with producer
Leggo Beast.
Brown reunited with
Tea and, joined by
Freddie McGregor, recorded the
Legit
album, which boasted solo cuts as well as trio numbers. But there was
also a series of truly disposable albums, notably 1993's abysmal
General, a whole album of MOR covers done MOR style. Yet that same year, the singer reunited with
Holness for Cosmic Forces, a crucial record powered by
Sly & Robbie's rhythms in a deeply rootsy, totally dancehall mode. The Riddim Twins were also featured on the following year's
Light My Fire, which, while not quite as innovative as Forces, is essential as one of the final recordings by the classic lineup of
the Roots Radics. 1994 also was graced by
Nothing Like This, which was co-produced by
Brown and
Junior Reid. And amidst this flood,
Brown was continuing to provide the dulcet singing to complement DJ's toasts.
Back in 1991, the singer had stormed the dancehalls in the company of
Twist, Brian, and
Tony Gold. The next year,
Brown's otherwise mediocre
Blazing album was set alight by a version of "Fever," a duet with
Maxi Priest that also featured the gruff tones of
Shabba Ranks. Then, in 1994,
Brown recorded a full collaborative album with
Beenie Man and
Triston Palma:
Three Against War. The singer also cut singles with a host of other hot DJs during this period, among them
Bounty Killer,
Tiger, and Fabiana, joining forces with Roger Robin,
Peter Hunningale, and
Saxon later in the decade. At the same time,
Brown's success as a soloist also continued unabated across a further string of hits. 1994 saw the release of the
Flabba Holt-produced
Blood Brothers and its follow-up, the far superior
Milk and Honey. (The RAS label's
May Your Food Basket Never Empty fills up a CD of
Brown's recordings with
Holt.) Equally entertaining was another reunion with
Holness, 1996's
Dennis, while producer
Musclehead
bundled up a batch of hits for You Got the Best of Me that same year
and tossed in some new intriguing versions of old classics to boot. As
the decade deepened, the artist's output continued unabated -- singles
and albums flew out of the studios in breakneck fashion. These include:
Tribulation (produced by
Alvin Ranglin),
Hold Tight,
Bless Me Jah, the
Gussie Clarke-overseen
Stone Cold World, and a clutch of albums all claiming to be
Brown's last.
Perhaps it was to maintain this output that
Brown
first started using cocaine. Addiction eventually followed, and with it
inevitable bodily ravages. Still, few expected it to end in his death.
But on July 1, 1999, the unconscious singer was rushed to a Kingston
hospital with a collapsed lung. This is not usually a fatal condition,
but
Brown was so weakened from drug use that he expired on the table. Jamaica had lost one of her greatest stars.
Brown's
legacy, however, was in no danger as new compilations, best-of
collections, and reissues continued to appear regularly.
Source: All Music
