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street date: 1992 rip date: 22.02.2004
artist : Big Youth
title : A Reggae Collection
year : 1992
genre : Reggae
label : Esx Entertainment, Inc.
cat-nr : 8502
website : http://store.artistdirect.com/store/artist/album/0,,52564,00.html
ripped by : TEAM YARD
quality : VBRk 44,1 Joint
tracks : 15
length : 47:24 min
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nr. song title length
01 Screaming Target 03:41
02 I'm Alright 02:44
03 Concrete Jungle 03:51
04 Natty Cultural Dread 03:01
05 Touch Me in the Morning 03:54
06 $.90 Skank 02:54
07 One of These Fine Days 03:05
08 So We Stay 02:43
09 Hell is for Heroes 03:22
10 Medicine Doctor 02:48
11 Hit the Road Jack 03:09
12 What's Going on 03:35
13 Pride and Joy Rock 02:34
14 Killer 03:27
15 Honesty 02:36
... . .
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Allmusic.com info:
A man with a message, Big Youth arrived on the music scene
in the wake of U-Roy, Dennis Alcapone, and I-Roy, but
quickly established his own style, threatening to eclipse
them all. The consummate cultural toaster, the DJ ruled the
dancehalls across the '70s, and although his career flagged
in the next decade, he returned with a vengeance in the
'90s, and continues to have an impact on both his own nation
and beyond. Born in Kingston, Jamaica, on April 19, 1949,
Manley Augustus Buchanan had his moniker long before he had
picked up a mic. He was named Big Youth by his co-workers at
the Kingston Sheraton hotel, where the tall teen was
employed as a mechanic. Initially, he toasted to himself
(the DJing equivalent of air guitar), but eventually he took
the chance of picking up the mic at a few parties. The
enthusiastic response he received prodded him to perform at
dances, and by the late '60s, he had a small, but avid
following. This fan base swiftly grew and as the new decade
arrived, Big Youth was now DJing regularly at Lord
Tipperton's sound system, quickly becoming the top DJ for
the outfit.
By this point, U-Roy, Alcapone, and I-Roy had already made
their vinyl debuts, but Big Youth would wait another year,
finally releasing his first single in January 1972. He cut
"Movie Man" for African Museum, Errol Dunkley and Gregory
Isaacs' label, and the song fittingly utilized the rhythm to
Dunkley's own "Movie Star." Surprisingly, the single was
barely noticed; other producers had no better luck. "The
Best Big Youth" (also known as "Black Cindy"), cut with
Jimmy Radway, sank without a trace. Lee Perry did no better
with "Moving," a version of the Wailers' "Keep on Moving."
Producer Phil Pratt thought for sure his two cuts were
chartward bound, but both "Tell It Black," a version of
Dennis Brown's cover of "Black Magic Woman," and "Phil Pratt
Thing," a sublime version of Derrick Harriott's "Riding for
a Fall," followed its predecessors into oblivion. Even "Fire
Bunn," produced by Niney Holness over his own smash "Blood &
Fire" rhythm, failed to ignite the Jamaican buying public.
The drought was finally broken by a young (just out of his
teens) up and coming producer, Gussie Clarke. For "The
Killer" single, he had the DJ toast over the rootsy Augustus
Pablo number, and the result was magnificent. The pair
followed it up with "Tippertone Rocking, another major hit.
Big Youth was now in demand.
The ever-innovative producer Keith Hudson dragged a
motorcycle into the studio to capture its revving engine for
"S.90 Skank," a tribute to the popular Honda motorcycle, and
roared Big Youth to the top of the Jamaican chart. Their
follow-up, "Can You Keep a Secret," a duet between the
toaster and his singing producer, did almost as well. In
between times, Big Youth cut a pair of songs for Glen Brown,
"Come Into My Parlour" and "Opportunity Rocks," the latter
employing the popular "Dirty Harry" rhythm. Both were
actually recorded the same day as "S.90 Skank." That same
week, the DJ also cut a quartet of songs for Prince Buster:
"Leggo Beast," "Cain and Abel," "Leave Your Skeng" (a
version of "Get Ready"), and "Chi Chi Run" (cut over the
rhythm of John Holt's "Rain From the Skies"). That latter
track titled a various artists compilation that featured the
DJ, a young acolyte Little Youth, a trio of top vocalists
(Alton Ellis, John Holt, and Dennis Brown), all produced by
Prince Buster.
Big Youth's own debut album, Screaming Target, arrived in
1973. Produced by Gussie Clarke, the album was stuffed with
classic rhythms from the likes of Gregory Isaacs and Lloyd
Parks, and filled with hits as well, including the
magnificent title-track. The DJ seemed to have now glued
himself to the chart and during that year, four of his
songs, including "Screaming Target" (a version of K.C.
White's "No No No" and Buster's "Chi Chi Run"), the Derrick
Harriott-produced "Cool Breeze," and the Joe Gibbs-produced
"A So We Stay" (a version of Dennis Brown's "Money in My
Pocket"), sat proudly on the Jamaican Top 20 for the entire
year. Gibbs notched up a total of three hits with Big Youth
in 1973, along with the aforementioned single, there was
also "Chucky No Lucky" and the topical "Forman Versus
Frazier."
From boxing bouts to the "Facts of Life," a hit cut for
Sonia Pottinger, Big Youth was the tops on any topic. He'd
matured swiftly, from a barely understandable mumbler who
exhorted the crowds with typical U-Roy or Alcapone-sque
exhortations, to a more relaxed, conversational style. And
it was this very ease of delivery ù relaxed, but so
perfectly timed to the rhythms ù that had entranced the
nation. In 1974, Big Youth launched his own label, Negusa
Nagast, it was later followed by a second, Augustus
Buchanan. The former's name was particularly telling and is
Amharic (the Ethiopian language) for King of Kings. It
announced a further shift in the DJ's performance toward a
full-on cultural chanter/toaster. Negusa Nagast debuted with
a quartet of the DJ's singles, "Hot Cross Bun," "Mr. Bunny,"
"Children Children," and most spectacularly of all, "Streets
in Africa." This latter was a cover of War's "The World Is a
Ghetto," and features Dennis Brown backed by the equally
sonorous tones of the Heptones. Big Youth released his
second album this same year, Reggae Phenomenon, and it was
as phenomenal as its title suggested. It featured new songs
(all chart-bound), remakes of earlier cuts, and smash hits
like the title cut (another version of Dennis Brown's "Money
in My Pocket") "Dread Inna Babylon," and "Natty Dread No
Jester") (a version of the Paragons' "Only a Smile"). And
the DJ's phenomenal chart success continued with producer
after producer. Glen Brown scored with "Dubbie Attack," Tony
Robinson oversaw the mighty "House of Dreadlocks" and "Mammy
Hot and Daddy Cold," Buddy Davidson produced "Johnny Dead,"
while Yabby You sat behind the desk for the most seminal of
them all, "Yabby Youth," the first of several versions the
DJ would cut over the "Conquering Lion" rhythm.
Big Youth would again pair up with Dennis Brown for the
Harry J.-produced "Wild Goose Chase." Niney Holness liked
what he heard and kept the duo together for his "Ride on
Ride On." The two would go on to record a stunning version
of Bob Marley's "Get up Stand Up." Marley's version wasn't
alone; besides toasting over classic rocksteady rhythms, Big
Youth was now increasingly utilizing heavier roots rhythms.
Most notable was "I Pray Thee," a version of the
Abyssinians' "Satta Amasa Gana," which was another seminal
smash hit, and the DJ also cut a version of Burning Spear's
classic "Marcus Garvey." Two more Wailers' versions also
appeared around this time, Marley's "Craven Choke Puppy" and
Bunny Wailer's "Bide Up" became, respectively, "Craven
Version" and "Black on Black."
In 1975, the Dreadlocks Dread album appeared, a seminal
album overseen by Prince Tony Robinson and split between Big
Youth's toasts and instrumental dubs. Accompanied by Skin,
Flesh & Bones Band, the album remains a masterpiece of dread
roots and provocative cultural toasts.
Dreadlocks Dread had a massive impact on the U.K., where it
was picked up by the Klik label and prompted Big Youth to
tour there the following year. 1976 brought two albums in
its wake, Natty Cultural Dread and Hit the Road Jack, both
self-produced by a self-confident Big Youth at the peak of
his powers. Again the albums featured a clutch of Jamaican
smashes ù "Ten Against One" and "Wolf in Sheep's Clothing"
amongst them ù and new numbers equally biting at the chart
bit. Interestingly enough, Natty Cultural Dread also boasts
"Every Nigger Is a Star," backed by the I-Threes making
their recording debut. Also featured are some of Big Youth's
surprising covers. In the past, he'd versioned Motown hits,
Gene Pitney, Al Green, and Otis Redding, "Dock of the Bay"
of course. Now along with the title-track, there was even
"If I Had a Hammer." 1977 brought the masterful "Four
Sevens," a clever version of Culture's "Two Sevens Clash."
Produced by Niney Holness, the pair followed up with the
provocative "Six Dead, 19 Gone to Jail."
Having now signed to the Frontline label in the U.K., Big
Youth's debut album for the Virgin subsidiary was 1978's
Isaiah First Prophet of Old, a fiercely roots record
produced by D Russell. The DJ also had a cameo role in the
movie Rockers. He's absolutely unmistakable, stepping out of
a flash car and flashing a smile that shows off his front
teeth embedded with red, yellow, and green jewels, as his
long dreads whip around his face. But behind these
eye-catching trappings was a thoughtful and
thought-provoking DJ, as his records proved time and time
again. 1978 also saw the release of the "Green Bay Killers"
single, a fierce diatribe on the death of a group of
rastafarians at the hands of the Jamaican army. Perhaps Big
Youth was now seen as too radical for Virgin, and the label
chose not to release the DJ's next two albums, Progress and
Rock Holy. Nor did they pick up on the former's dub
companion, the excellent Reggae Gi Dem Dub, remixed by the
up and coming master Sylvan Morris. However, the toaster's
grip on Jamaica was also beginning to loosen, and a new
generation of chatterers were beginning to come to the fore.
Big Youth continued to record, but no longer ruled the
charts, and most of his singles were now self-produced and
released through his own labels. The Heartbeat labels' Some
Great Big Youth collects up many of these late-'70s,
early-'80s material; the label's follow-up collection, The
Chanting Dread Inna Fine Style, concentrates on earlier
Negusa Negast singles.
The increasing violence in the dancehalls prompted him back
into the studio in 1982 for "No War in the Dance," cut for
producer Lloyd Parks. He proved his popularity wasn't
totally gone, with a steaming, hits-filled set at Reggae
Sunsplash before an adoring audience that summer, giving a
repeat performance the following year, and again in 1987. In
1985, Big Youth released a surprising new album, A Luta
Continua, where he transformed from toaster to singer and
roots rasta to jazzman, accompanied by Jamaican jazz hero
Herbie Miller. However, 1988's Manifestation found the DJ
regaining his footing, for a roots-drenched set split
between excellent toasting and sub-quality singing. Two
years later, Niney Holness brought Big Youth back into the
studio and cut the remarkable "Chanting." The DJ also
contributed a fierce "Free South Africa" to the One Man One
Vote artists' album. Big Youth later performed at the
Japansplash festival in Osaka, with his powerful set caught
on 1991's Jamming in the House of Dread album. He reappeared
with a vengeance at Reggae Sunsplash the following summer.
With his profile now the highest it had been in years, Big
Youth guest-starred on Capleton's I Testament album,
Mutabaruka's Gathering of the Spirits, and Creation Rebel's
Feat of a Green Planet. In 1995, the DJ released his own new
album, Higher Grounds; overseen by Junior Reid, it was an
intriguing mixture of R&B, reggae, and other styles. Another
powerful set at Reggae Sunsplash was delivered the following
year. The new millennium saw the release in the U.K. of the
compilation Tell It Black, a two-CD set that rounds up 31
seminal songs from 1972-1975. But that pales next to Natty
Universal Dread, released by the British Blood & Fire label
that same year. Three albums and a total of 51 tracks
brilliantly wrap up the best from 1973-1979 and include a
clutch of Negusa Negast singles that have never been
reissued.
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