A. Black Uhuro – Plastic Smile
B. Black Uhuro – Guess Who’s Coming To Dinner?
Label: D-Roy – DRDD 09
The history of Black Uhuru centers on the innovative partnership between the core trio—founded by the constant Derrick “Duckie” Simpson, featuring the unique “chanting” lead voice of Michael Rose, and the ethereal harmonies of American Sandra “Puma” Jones—and the revolutionary production team of Sly & Robbie. The song Guess Who’s Coming to Dinner actually predates the group’s international fame, originating as a solo hit for Michael Rose in the mid-1970s, produced by Niney the Observer in a slower, heavier roots style. However, the period of 1979-1983 defined the group’s legacy. The 1979 D-Roy Records 12″ single featuring Plastic Smile on the A-side and Guess Who’s Coming to Dinner on the B-side captures the very moment Black Uhuru’s sound exploded. And yes, take note of the alternate spelling: Black Uhuro!
Produced and played by Sly & Robbie, this 12-inch “disco mix” showcases the iconic, militant “rockers” riddim that became their trademark, characterized by an organic, raw sound with deep, percussive bass and drums, and minimal processing. This sound was consistently presented in the “showcase” style common in Jamaica, where the full vocal track seamlessly runs into an extended dub version.
As the group gained international attention, their original mixes were often superseded by completely new versions: most notably, their Grammy-winning 1983 album, Anthem, was released in three distinct editions (Original, UK Remix, and US Remix). The US and UK remixes, done by external engineers, drastically altered the sound by shortening the songs, omitting the traditional dub extensions, and layering on sharp, synthesized effects, funk, and electropop elements to court rock and pop audiences—a controversial but commercially successful move. The creative tension and output of this era propelled Black Uhuru to become one of the most popular reggae acts in the world, culminating in their 1985 Grammy Award for Best Reggae Recording.
A. Palmer Dog – Don’t Smoke The Seed/Version
B. Delroy Wilson – There’s No Getting Over Me
Label: Jedi – JJ 141
Michael Palmer, also known as “Palmer Dog” or sometimes “Lickshot Palmer,” is a true veteran of the Jamaican music scene, especially prominent in the dancehall era of the early to mid-1980s. Born in Kingston in 1960, the man learned his craft on the sound systems, taking inspiration from artists like his neighbor, Leroy Smart. He has a distinct, sweet-yet-tough vocal style that was so influential it actually helped shape the sound of the digital reggae, jungle, and drum and bass scenes later on. His work with big-time producers like George Phang, Prince Jammy, and the Hoo Kim brothers at Channel One is what solidified his legacy.
One of his most enduring and toughest tunes is the 1983 single Don’t Smoke The Seed, recorded at the legendary Channel One studio for producers Joseph and Kenneth Hoo Kim. This song is a righteous ganja anthem with a simple but critical message for everyone in the herb community: don’t smoke the seed, you’re going to kill the breed. It wasn’t just a lyrical warning against smoking the popping seeds; it was a clear instruction for preservation, telling people they need to save the seeds to grow the next harvest.
After facing vocal problems and moving to the United States, he was out of the music industry for nearly 20 years. He made a successful return to recording and performing in the 21st century.
Delroy Wilson is absolutely reggae royalty. This singer’s name is part of the music’s foundation, and hearing his voice on the B-side with the beautiful tune (There’s) No Gettin’ Over Me is a genuine treat. The song was originally a massive hit in 1981 for American country music singer Ronnie Milsap.
Delroy actually kicked off Jamaica’s entire youth movement in popular music, earning the nickname “Little Boy Blue.” He started recording for the legendary Coxsone Dodd at Studio One when he was just a teenager—a true teenage sensation who pioneered the ska and rocksteady sound. He had a massive hit right out of the gate in the mid-60s with Dancing Mood and went on to deliver classics for a huge range of producers.
His time with Coxsone Dodd was crucial in his youth, but his collaboration with producer Bunny ‘Striker’ Lee in the 1970s brought his biggest commercial success, yielding anthems like Better Must Come. Delroy Wilson was a master at taking American soul music standards and turning them into pure Jamaican gold. He could re-imagine tunes like The Wailers’ I’m Still Waiting and make them sound totally new and fresh. His smooth, exceptional voice earned him devoted fans across Jamaica and over in Britain.
Even though he slowed down on new recordings after the mid-1980s, his reputation as one of the island’s greatest singers never faded. We lost a great one too soon when he passed away in 1995.
[These tracks were digitized directly from vinyl using a Technics SL-1210MK2 turntable equipped with an Ortofon cartridge. The recordings were captured in 24-bit/96kHz WAV format via SoundForge]