Dennis Brown - At the Penthouse '1997 / 2023

Tracks list

Tracklist:

01. Love Me Forever
02. Live Up Roots Children
03. The Apple Of My Eye
04. Jah Is My Future Guide
05. Girl, You're My Inspiration
06. Saturday Night
07. I Still Admire You
08. You're A Sweet Woman
09. The Root Of David
10. Rebbie Style
11. Falsely Accused
12. Get Smart
13. What Is To Be Must Be
14. Jah We Must Praise aka Give Priase To Jah
15. I'll Be Waiting
16. No Love
17. No Turning Back
18. Just One Nation
19. Stick By Me
20. Too Much Suffering


 moreNow 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. © Jo-Ann Greene



Dennis Brown & Leroy Smart - At the Penthouse FLAC.rar - 516.8 MB
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