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UROY: Father Of The Dance Hall (The Deejay Who Ruled The Nation)
Up to the end of the 1960s, Jamaican deejay music was basically confined to the dancehalls. No one thought that the genre could go beyond those narrow confines, basically, because it was rough, extremely rhythmical and not very melodious and most importantly, it was too native. One has to understand that In the fledgeling Jamaican music Industry of the 1960s, credibility was measured not on originality, but more on how American or "foreign" the music sounded.
Wel1, thanks to the defiant spirit of Uroy and the support and pioneering spirit of the late Duke Reid, Treasure Isle, Reid's label, decided to release a number of Uroy's singles in 1970. These were: "Wake The Town;" "Rule The Nation," and "Wear You To The Ball." The result was that for several weeks the three songs held the top three places on the Jamaican Top Ten and completely revolutionized Jamaican recorded music.
The significance of this achievement Is often lost to the average reggae fan. But, those who understand the politics of the period will know that what Uroy did was much more than establishing deejay music on radio.
He triggered the movement which would shift the emphasis in measuring the quality of local music from their comparability to foreign records, to a more domestic Interpretation which laid the groundwork for the emergence of reggae as a globally accepted rhythm.
Uroy has never been honoured for this feat and In fact, like the old proverb suggests, "a prophet Is without honour in his own country. He has never been honoured for this achievement and worst of all, It would seem that foreigners more appreciate this contribution to the development of Jamaican music than his own countrymen.
But, Uroy's contribution to the music did not only start with recorded music. His contribution to the development of the dancehall culture, now a world craze, is even more significant. Jamaican dancehall has always scared the government, as well the middle and upper classes. The fear was that the lyrics, especially those of the deejays who seemed much more aggressive and rebellious, would Influence the masses into realising their subjection, as well as the fact that the gathering of so many of them in one arena was potentially explosive.
For this reason, In the 1960s, dances were often, banned or raided and disrupted by brutal policemen. The deejay fast was often the main target of the brutality. Uroy was specifically targetted during the Period, because of the large crowds he could draw. Weather It was with the big King Tubby's, the lesser known Sir Nation or oven his own Sturgav, he could fill a dancehall much quicker than a politician and keep the crowd glued for a whole night.
Uroy's first sound system assignment was a small set owned by a Chinese family in Jones Town called Dickie's Dynamic. This was at the age of 14, when he was still In school. After DickieIs he joined Sir George (the Atomic), He left Sir George and started playing Coxsone's number two set for a while before rejoining Sir George. He next went to Tubby's in Waterhouse and that was when his talent really started to blossom. It was John Holt who heard him playing for Tubby's and told Duke Reid about the promising star.
Althoughth Uroy gave the deejay much visibility in the early 1970s the domination of Bob Marley and groups like the Mighty Diamonds, Black Uhuru and the Burning Spear In the ensuing years, would again relegate the deejays to dancehalls. This was until the 1980s, when a new breed of deejays emerged, much braver, less political than the singers and quite sexually daring, led by the late General Echo, another unsung hero of dancehall music.
Uroy, himself was never able to recapture the glory of the very early 1970s, but he still tours and records outside Jamaica, returning home every now and then for some special appearances on the many vintage music shows held in the island.
cho me giving up on de pics [img]/forums/images/%%GRAEMLIN_URL%%/bexbad.gif[/img]
Discography
1974
U Roy
1975
Dread In A Babylon
1976
The Originator (Nuroy & Uroy)
Natty Rebel
Right Time Rockers
The Best Of U Roy
1977
Rasta Ambassador
1978
Jah Son Of Africa
1979
With Words Of Wisdom
1980
Love Gamble
1987
Line Up And Come
Music Addict
[Compilations]
Babylon Burning [197X]
DJ Masterpieces [U Roy & Friends - 1983]
Flashing My Whip [196X-7X]
Musical Vision [1972-75]
Original DJ [197X]
Rock With I [197X]
Super Boss [196X-7X]
The Originator [1972-75]
The Rightful Ruler [197X]
The Teacher Meets The Student [U Roy & Josie Wales - 198X]
Trenchtown Rock [1975-79]
U Roy Meets King Tubbys [U Roy & King Tubby - 197X]
Version Galore [1970]
Version Galore Vol 2 [U Roy & Dennis Alcapone - 1972]
Version Galore Vol 3 [U Roy & Various Artists - 1973]
Version Of Wisdom [197X]
With A Flick Of My Musical Wrist [U Roy & Various Artists - 1970-73]
Your Ace From Space [U Roy & Friends - 197X]
Uroy's Website
Up to the end of the 1960s, Jamaican deejay music was basically confined to the dancehalls. No one thought that the genre could go beyond those narrow confines, basically, because it was rough, extremely rhythmical and not very melodious and most importantly, it was too native. One has to understand that In the fledgeling Jamaican music Industry of the 1960s, credibility was measured not on originality, but more on how American or "foreign" the music sounded.
Wel1, thanks to the defiant spirit of Uroy and the support and pioneering spirit of the late Duke Reid, Treasure Isle, Reid's label, decided to release a number of Uroy's singles in 1970. These were: "Wake The Town;" "Rule The Nation," and "Wear You To The Ball." The result was that for several weeks the three songs held the top three places on the Jamaican Top Ten and completely revolutionized Jamaican recorded music.
The significance of this achievement Is often lost to the average reggae fan. But, those who understand the politics of the period will know that what Uroy did was much more than establishing deejay music on radio.
He triggered the movement which would shift the emphasis in measuring the quality of local music from their comparability to foreign records, to a more domestic Interpretation which laid the groundwork for the emergence of reggae as a globally accepted rhythm.
Uroy has never been honoured for this feat and In fact, like the old proverb suggests, "a prophet Is without honour in his own country. He has never been honoured for this achievement and worst of all, It would seem that foreigners more appreciate this contribution to the development of Jamaican music than his own countrymen.
But, Uroy's contribution to the music did not only start with recorded music. His contribution to the development of the dancehall culture, now a world craze, is even more significant. Jamaican dancehall has always scared the government, as well the middle and upper classes. The fear was that the lyrics, especially those of the deejays who seemed much more aggressive and rebellious, would Influence the masses into realising their subjection, as well as the fact that the gathering of so many of them in one arena was potentially explosive.
For this reason, In the 1960s, dances were often, banned or raided and disrupted by brutal policemen. The deejay fast was often the main target of the brutality. Uroy was specifically targetted during the Period, because of the large crowds he could draw. Weather It was with the big King Tubby's, the lesser known Sir Nation or oven his own Sturgav, he could fill a dancehall much quicker than a politician and keep the crowd glued for a whole night.
Uroy's first sound system assignment was a small set owned by a Chinese family in Jones Town called Dickie's Dynamic. This was at the age of 14, when he was still In school. After DickieIs he joined Sir George (the Atomic), He left Sir George and started playing Coxsone's number two set for a while before rejoining Sir George. He next went to Tubby's in Waterhouse and that was when his talent really started to blossom. It was John Holt who heard him playing for Tubby's and told Duke Reid about the promising star.
Althoughth Uroy gave the deejay much visibility in the early 1970s the domination of Bob Marley and groups like the Mighty Diamonds, Black Uhuru and the Burning Spear In the ensuing years, would again relegate the deejays to dancehalls. This was until the 1980s, when a new breed of deejays emerged, much braver, less political than the singers and quite sexually daring, led by the late General Echo, another unsung hero of dancehall music.
Uroy, himself was never able to recapture the glory of the very early 1970s, but he still tours and records outside Jamaica, returning home every now and then for some special appearances on the many vintage music shows held in the island.
cho me giving up on de pics [img]/forums/images/%%GRAEMLIN_URL%%/bexbad.gif[/img]
Discography
1974
U Roy
1975
Dread In A Babylon
1976
The Originator (Nuroy & Uroy)
Natty Rebel
Right Time Rockers
The Best Of U Roy
1977
Rasta Ambassador
1978
Jah Son Of Africa
1979
With Words Of Wisdom
1980
Love Gamble
1987
Line Up And Come
Music Addict
[Compilations]
Babylon Burning [197X]
DJ Masterpieces [U Roy & Friends - 1983]
Flashing My Whip [196X-7X]
Musical Vision [1972-75]
Original DJ [197X]
Rock With I [197X]
Super Boss [196X-7X]
The Originator [1972-75]
The Rightful Ruler [197X]
The Teacher Meets The Student [U Roy & Josie Wales - 198X]
Trenchtown Rock [1975-79]
U Roy Meets King Tubbys [U Roy & King Tubby - 197X]
Version Galore [1970]
Version Galore Vol 2 [U Roy & Dennis Alcapone - 1972]
Version Galore Vol 3 [U Roy & Various Artists - 1973]
Version Of Wisdom [197X]
With A Flick Of My Musical Wrist [U Roy & Various Artists - 1970-73]
Your Ace From Space [U Roy & Friends - 197X]
Uroy's Website
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