Dennis Brown - Just Dennis '1975; 2019

Tracks list

One of Jamaicas 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 islands music
scene, with most of the major recording studios a mere stones 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 didnt 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 Browns debut album, 1970s 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. 1975s 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 wasnt 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 1975s
Just Dennis album. Brown cut his last song, Tribulation, with Holness that same
year. At this point, Browns reputation was established; an awed Bob Marley was
even ecstatically calling him the best reggae singer in the world. Browns 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 pairs work across two
albums — Some Like It Hot and Open the Gate — while Cleopatras
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 Josephs 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 DEBs 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 DEBs lifetime. 1978s Visions of
Dennis Brown contained some of the fruits of their labor, and unusually, many of
the albums 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 Aint That Loving You.

By 1979, Brown was already a legend, even though hed barely reached adulthood.
In addition to his work with Holness, he had a virtual shops 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 years
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 vinyls A-side pushing into instantly forgettable light
R&B.

Inevitably, perhaps, it spelled the end of Browns 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 Jerrys 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 wasnt 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, Yvonnes 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.

1985s 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
singers 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 years
Brown Sugar, released by Sly & Robbies 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 reggaes 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 artists most intriguing work was in collaboration
with other artists. 1991s One Man One Vote, a recording by an artists collective
led by Mikey Bennett, found Brown singing alongside Cocoa Tea and Third Worlds
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 1993s
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 & Robbies rhythms in a deeply rootsy, totally dancehall mode. The Riddim
Twins were also featured on the following years 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 DJs toasts.

Back in 1991, the singer had stormed the dancehalls in the company of Twist,
Brian, and Tony Gold. The next year, Browns 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, Browns 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 labels May Your Food Basket Never Empty fills up a CD of
Browns recordings with Holt.) Equally entertaining was another reunion with
Holness, 1996s 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 artists 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 Browns 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. Browns legacy, however, was in no
danger as new compilations, best-of collections, and reissues continued to
appear regularly. ~ Jo-Ann Greene

Tracklist:
01. Dennis Brown - Show Us the Way
02. Dennis Brown - Cassandra
03. Dennis Brown - Run Too Tuff
04. Dennis Brown - Westbound Train
05. Dennis Brown - Africa (We Want to Go)
06. Dennis Brown - Love Jah
07. Dennis Brown - No More Will I Roam
08. Dennis Brown - Some Like It Hot
09. Dennis Brown - (I Am The) Conqueror
10. Dennis Brown - Only a Smile
11. Dennis Brown - Silver Words
12. Dennis Brown - Yagga Yagga (Youll Suffer)

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