Bob Marley was a hero figure, in the classic mythological sense. His departure from this planet came at a point when his vision of One World, One Love -- inspired by his belief in Rastafari -- was beginning to be heard and felt. The last Bob Marley and the Wailers tour in 1980 attracted the largest audiences at that time for any musical act in Europe.

Bob's story is that of an archetype, which is why it continues to have such a powerful and ever-growing resonance: it embodies political repression, metaphysical and artistic insights, gangland warfare and various periods of mystical wilderness. And his audience continues to widen: to westerners Bob's apocalyptic truths prove inspirational and life-changing; in the Third World his impact goes much further.

Not just among Jamaicans, but also the Hopi Indians of New Mexico and the Maoris of New Zealand, in Indonesia and India, and especially in those parts of West Africa from wihch slaves were plucked and taken to the New World, Bob is seen as a redeemer figure returning to lead this In the clear Jamaican sunlight you can pick out the component parts of which the myth of Bob Marley is comprised: the sadness, the love, the understanding, the Godgiven talent. Those are facts. And although it is sometimes said that there are no facts in Jamaica, there is one more thing of which we can be certain: Bob Marley never wrote a bad song. He left behind the most remarkable body of recorded work.

"The reservoir of music he has left behind is like an encyclopedia," says Judy Mowatt of the I-Threes. "When you need to refer to a certain situation or crisis, there will always be a Bob Marley song that will relate to it. Bob was a musical prophet." The tiny Third World country of Jamaica has produced an artist who has transcended all categories, classes, and creeds through a combination of innate modesty and profound wisdom. Bob Marley, the Natural Mystic, may yet prove to be the most significant musical artist of the twentieth century.

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Singer, musician, composer, and rebel Peter Tosh cut a swathe through the Jamaican musical scene, both as a founding member of the Wailers and as a solo artist. He toured with the Rolling Stones and had an international hit with a duet with Mick Jagger, then toured again to equally rapturous world audiences as the headlining act. His words would cause an uproar at the One Peace concert, but then unlike fellow Wailer Bob Marley, Tosh always made his true feelings known. He was born Winston Hubert McIntosh on October 19, 1944, in the small rural village of Grange Hill, Jamaica. Like so many young island teens searching for a better life, he left home at 15 and headed for Kingston. Once there, he made his way to Joe Higgs' tenement yard, joining other aspiring youths eager for the vocal coaching lessons the singing star provided to local teens. Amongst these youthful wannabes were Bunny, Bob Marley, and the much younger Junior Braithwaite; the four, buttressed by backing vocalists Cherry Green and Beverley Kelso, joined forces initially as the Teenagers before eventually settling on the moniker the Wailers.

Success was immediate; the group's debut single, "Simmer Down," was an instant hit, and the band's career was off and running. Tosh's talent didn't end with his vocal skills as he was also an excellent guitarist; his playing was first showcased in 1963 on the Wailers' single "I'm Going Home." He was also a gifted songwriter, as was Bunny Livingston, which helped the band survive Marley's hiatus from the group while he went to work in the U.S. in 1966. The Wailers, by then reduced to a trio with the departure of Braithwaite, Green, and Kelso, continued on without him. During this time, the remaining duo, with Constance "Dream" Walker filling in, continued releasing singles now credited to either the Wailers, Tosh, or Livingston alone. Thus, over the next year, Tosh's dance-friendly "Hoot Nanny Hoot," "The Jerk," a cover of Sir Lancelot's calypso hit "Shame and Scandal in the Family," the R&B-fired "Making Love," and "It's Only Love," a duet with Rita Marley, all arrived from Studio One. "Rasta Shook Them Up" celebrated Haile Selassie's Jamaican visit, while Tosh also offered up the rudie-fueled "The Toughest."

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Dennis Emmanuel Brown's first recording was "Lips of Wine" recorded for Derrick Harriott, but this was not released initially. He then recorded for Coxsone Dodd at Studio One, and Dodd released Brown's first single, "No Man is an Island". Brown recorded two albums for Dodd, No Man is an Island and If I Follow my Heart (the title track penned by Alton Ellis). During this time, Brown recorded material for Lloyd Daley ("Baby Don't Do It" and "Things in Life") and material for Derrick Hariott, which was eventually released as the Super Reggae and Soul Hits album. He also worked for Earl Hayles and the Charmaine label early in his career. "Money In My Pocket" was a UK Top 20 hit in 1979 (reaching #14 in the UK Singles Chart[3]). This led to his contract with A&M Records, and to the formation of his own label, DEB records; which produced several of hits, including many by Junior Delgado.

His first commercially successful song internationally was "Money In My Pocket" on the Joe Gibbs label, and by the late 1970s, Brown had recorded and performed chart-toppers such as "Sitting & Watching", "Wolves and Leopards", "Here I Come" and "Revolution"; many featuring Sly and Robbie as the rhythm section. As the dancehall era of the 1980s arrived, Brown frequently recorded with King Jammy and Gussie Clarke. Trojan Records included Brown on their Jamaican Superstars compilation album (along with Gregory Isaacs, Delroy Wilson, Alton Ellis, John Holt and Pat Kelly), calling him the "perfect superstar".[4] The compilation was released in 1998, the year before his death.

Death
In May 1999, after touring in Brazil with other reggae singers, Brown started to show symptoms of illness. After returning to Kingston, Jamaica, on the evening of June 30, 1999, he was rushed to Kingston's University Hospital, suffering from cardiac arrest.[5] Brown died the next day, and the official cause of his death was a collapsed lung.[5] Former Jamaican Prime Minister P. J. Patterson and opposition leader Edward Seaga of the Jamaica Labour Party both spoke at Brown's funeral, which was held on July 17, 1999 in Kingston. The service, which lasted for three hours, also featured live performances by Maxi Priest, Shaggy, and five of Brown's sons. Brown was then buried at Kingston's National Heroes Park.[6] According to some sources, Brown became addicted to crack cocaine, which affected his career and may have led to his premature death.[7][8][9]

When Dennis Brown died in July, 1999, record producer Michael Bennett paid him the ultimate tribute. "He was the best thing to happen to a reggae song," said Bennett.

This marks the 10th year since the Crown Prince of Reggae's death from respiratory failure. Because it seemed he had been around for a lifetime, many found it difficult to believe he was only 42 years old.

Brown's influence on reggae is profound. George Nooks, Junior Delgado, Frankie Paul and Richie Stephens all took their cue from him, each capitalising on his distinctive sound.

The former 'boy wonder' had been recording since the late 1960s, starting out with Derrick Harriott who produced Lips of Wine, Brown's first hit song. He moved to the Studio One base of producer Clement 'Coxsone' Dodd where he cut two albums that announced Jamaican music's latest child star.

Brown's hits at Studio One included No Man Is An Island and Little Green Apples. While his stint with Dodd was a productive one, it was when he hooked up with producer Winston 'Niney' Holness that he became a bona fide star.

Working with the Soul Syndicate band, Holness and Brown recorded a series of songs that have become classics: Cassandra, Westbound Train, No More Will I Roam and Africa. Later, Brown would rate Holness as the best producer he worked with.

Although he did two powerful message albums (Visions, Words of Wisdom) for Joe Gibbs, his work with that producer was decidedly more commercial. It was with Gibbs that Brown had a golden run on Jamaican charts.

Ain't That Loving You, How Could I Live, Stay at Home and Love Has Found Its Way are some of Brown's biggest hits for Gibbs. The latter is taken from the album of the same name which was done for the major A&M Records.
While he had big hits with Sly and Robbie (Sitting and Watching, Revolution) and Willie Lindo (Inseparable), Brown's days as a chart-rider were over by the 1990s. Yet, he was still a big draw on the local live show circuit and toured regularly overseas.

10 years after his death, the Crown Prince's music retains its royal sheen.

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Garnett Silk (born Garnet Damoin Smith, April 2, 1966, Manchester, Jamaica, died December 9, 1994, Mandeville, Jamaica) was a Jamaican reggae musician and Rastafarian, known for his emotive, powerful and smooth voice. During the early 1990s he was hailed as a rising talent, but his career was ended by his early death in 1994, while attempting to save his mother while his house was on fire.

Little Bimbo
Smith's career began at the age of twelve, when he performed under the name Little Bimbo.[1] During the 1990s he worked as a deejay on sound systems such as Soul Remembrance, Pepper's Disco, Stereophonic, and Destiny Outernational (where he first met Tony Rebel).[1] He recorded his first track in 1985, but it would be two years later before his first single, "Problem Everywhere" was released.[1] An album of material from this period (Journey) was later released. In 1988, he joined Sugar Minott's Youth Promotion label, releasing "No Disrespect", and working regularly with Tony Rebel, Smith now being billed simply as 'Bimbo'. The pair began performing as a duo around the sound systems to much acclaim. The Garnett Silk Meets the Conquering Lion: A Dub Plate Selection album dates from about this time and features a clutch of exclusive recordings the DJ cut for the sound system from the mid-1980s through the end of the decade. Rebel, a Rastarfari, eventually converted Smith to his religion with the help of dub poet Yasus Afari, a close friend of both the DJs.[1]

Singing career

In 1989, at the suggestion of veteran singer Derrick Morgan, Smith turned from deejaying to singing, with a recording session at Bunny Lee's studio with Rebel, including tracks recorded separately, as a duo, and with Anthony Selassie, and he began working under his real name.[1] The Heartbeat label's Tony Rebel Meets Garnet Silk in a Dancehall Conference compiles these early Morgan-overseen recordings. The success of this session led him to continue as a singer, going on to work with producers King Tubby, Prince Jammy, and Donovan Germain, before signing a two-year contract with Steely & Clevie in 1990, recording an album's worth of songs for them. It was the production duo who decided to change his name to Garnett Silk, in reference to his smooth voice.[1] Only one of the tracks recorded during this period, "We Can Be Together," a duet with Chevelle Franklin, was actually released at the time, and discouraged by this, he returned to Manchester and threw himself into songwriting, often in partnership with an old friend, Anthony "Fire" Rochester. [1]

Another encounter with Tony Rebel brought an introduction to Courtney Cole, owner of the Roof International label. Silk would record a plethora of songs at the producer's Ocho Rios studio, amongst them were the hits "Mama," "Seven Spanish Angels," and a cover of the Johnny Nash classic "I Can See Clearly Now". Roof International would posthumously bundle up these early singles and other material recorded at this time for the Nothing Can Divide Us album, which the VP label picked up for the U.S.

By 1992, Silk was in Kingston in the studio with producer Bobby Digital, recording his debut album It's Growing. Split between deeply cultural themes, spiritual songs, and romantic numbers, the album went on to become one of the best selling in Jamaica that year, and he had his first major hit single with "Hey Mama Africa" (produced by Richard "Bello" Bell) for the Star Trail label, which was Silk's first international hit, and topped the reggae chart in Britain.[1]

Over the next two years, the singer would record with most of the major name producers on the island, both on his own and in partnership with Tony Rebel. He cut a swathe of songs with King Jammy, including "Fill Us Up With Your Mercy" and "Lord Watch Over Our Shoulders." The latter track titled a 1994 compilation released by the Greensleeves label in the U.K. and boasts seven Jammy cuts and a clutch of hits for other producers.

1993's Gold, released by the U.K. Charm label, bundled up more hits from this period. Amongst them was "Zion in a Vision," a Jamaican number one cut with producer Jack Scorpio, as well as "Hey Mama Africa". he also recorded for Sly & Robbie, including the deeply religious "Thank You, Jah" and the haunting "Green Line." But the pace was becoming too much and Silk collapsed during a show at the Ritz in New York City, suffering from low blood pressure and exhaustion.[1] The exhausted singer was forced to cancel all his scheduled appearances for the next six months, most crucially of all, what would have been his debut at Reggae Sumfest. However, Silk bounced back in 1994 and set back to work. In a show of good grace, he rejoined Steely & Clevie and cut the "Love Is the Answer" single, another massive hit. "Fight Back," produced by Richie Stephens, was next up. By then, the singer was ready to re-take the stage, which he did with a vengeance, headlining that year's Reggae Sumfest and Reggae Sunsplash festivals.[1] His set at the latter event was captured for the Live at Reggae Sunsplash 1994 album, released in 1999 by the Tabou1 label.

Having inked an international distribution deal with Atlantic Records, Silk now entered Tuff Gong studios with producer Errol Brown and the cream of Jamaica's sessionmen (including Aston Barrett, Sly & Robbie, Tyrone Downie, Earl "Chinna" Smith, and Uziah "Sticky" Thompson), to begin work on his second album. He'd recorded ten songs and the album was nearing completion when he went home to visit his mother. Silk had borrowed a pair of guns from his attorney after his home had been burgled, but had no idea how to use them. Sitting with a couple of friends at his mother's on December 9, one offered to show him how they worked, at which point the gun accidentally misfired, hitting a propane tank and setting the house ablaze.[1] The singer, his friends, and his two brothers made it out safely, only to discover that Silk's mother was still trapped inside. The singer rushed back into the house to save her, but it was too late and both were lost in the fire.[1] Since then, Silk's music has been kept alive by several tributes, including Macka B's "Tribute to Garnett Silk" and the Earth Day concert, and numerous compilation albums, including two collections of his dubplates, Kilamanjaro Remembers Garnett Silk (Jam Down, 1999) and Rule Dem (Trojan/Sanctuary 2006).

In 2000, Atlantic finally released The Definitive Collection, a two-CD set showcasing the ten tracks the singer had recorded during sessions for his unfinished second album.

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