The pair inaugurated their partnership with "Magnificent Seven," and followed it up with the equally impressive "High Jacking." By then, the DJ had developed a rabid following in Britain as well, and the pair fell out over the financial arrangements for a forthcoming European tour. However, as the island's music scene blossomed during the '60s, other possibilities began to present themselves.

One of the most influential DJs/toasters to come out of Jamaica in the 1970s.

Born in 1944 in Saint Thomas Parish, Jamaica, Reid graduated from Dinthill Technical College before starting his musical career via his Soul Bunny sound system in 1968, running it on Victoria Pier on Wednesday afternoons, while working during the day as a government accountant.

By the end of the year, I-Roy had sent a baker's dozen of cuts soaring up the chart, including "Fire Stick," "Dread in the West," "Padlock," "Teapot," and a pair of songs taking exception to fellow DJ Prince Jazzbo, one of a number of young toasters determined to knock I-Roy off his throne. Of the four, I-Roy was the most eloquent, and his toasts were littered with references to pop culture, from movies to historical figures.

Riddim refers specifically to the song's melody, not its actual rhythm, which was normally re-recorded with a reggae beat), initially using popular oldies from the rocksteady era. Thus, Reid set up his system on Wednesday afternoons down by the Victoria Pier.

That latter single was aimed directly at I-Roy's number one enemy, Sonny Bradshaw (who's referred to as "Lockjaw" on the record), and the DJ couldn't help but gloat as the single sailed up the chart.

It would be gone eight months, a lifetime in Jamaica's fast changing music scene. Producer Bunny Lee oversaw three, the fabulous "Rose of Sharon," "Make Love," and "Who Cares." [1][2][3], Dub poet Linton Kwesi Johnson referred to I-Roy as "the mighty poet" in the track "Street 66" on the 1980 album Bass Culture. That was personal, I-Roy's and Prince Jazzbo's musical battle was not, but that didn't stop the two from taking even more personal, and more hilarious, potshots at each other. [1], Reggae's move to the dancehall era in the 1980s saw I-Roy's popularity decline, along with the quality of his output.

The DJ was born on June 28, 1949, in St. Thomas, Jamaica.

In contrast to his flirtations with the sound systems, I-Roy remained loyal to Mudie until 1971. [2] In 1976, I-Roy signed to Virgin Records with whom he released five albums.

One of the most influential DJs/toasters to come out of Jamaica in the 1970s. Read Full Biography.

In the early 1970s, I-Roy spun records and added a freely improvised commentary for King Tubby's Hi-Fi sound system, soon earning a reputation as one of the best of his day. I-Roy Biography by Jo-Ann Greene + Follow Artist. Javascript is required to view shouts on this page. In response, the Jamaican Federation of Musicians, under their president, veteran jazzman Sonny Bradshaw, had fought long and hard to resurrect "real" music.

Two paired him with Dennis Walks, "The Drifter" and "Heart Don't Leap"; the third with Ebony Sisters, "Let Me Tell You Boy"; while the fourth, "Musical Pleasure," became his solo debut. The centerpiece is the phenomenal "Blackman Time," which utilized the "Slaving" rhythm, while virtually everything else on it was nearly as strong. In the interim, he took employment at Joe Gibbs and JoJo Hookim's brand new Channel One studio. Roy Samuel Reid (28 June 1944 – 27 November 1999), better known as I-Roy, was a Jamaican DJ who had a very prolific career during the 1970s. Finally, in February 1975, I-Roy was ready to launch his attack.

The young Roy Reid had no early dreams of becoming a sound system hero, and after graduating from Dinthill Technical College, he embarked on a civil service career, working as an accountant for the government. A second self-produced album, Hell & Sorrow, followed hot on its heels.

[1] On 27 November 1999 Reid died from heart failure in a Spanish Town hospital, at the age of 55.

[1], I-Roy's lyrics were often humorous, incorporating elements of songs and nursery rhymes. [1] For several years from 1975, I-Roy engaged in an on-record slanging match with fellow DJ Prince Jazzbo, the two trading insults on successive singles, starting with I-Roy's "Straight to Jazzbo's Head", although in reality they were good friends.

But I-Roy hadn't admitted defeat yet, he was merely biding his time.

One of the most influential DJs/toasters to …

[6], In October 1999 one of his two sons was killed in prison.

JoJo Hookim then oversaw a stream of I-Roy hits, "I Man Time," "Forward Yah!," "Roots Man," and the innuendo-laced masterpiece "Welding" amongst them.

The majority of the album is culled from Clarke cuts, with several of the best from Pete Weston also included. [7] Later in 1975 he released the Truth & Rights album, compiling many of his hits from that year. Deriving his name and to some extent his style from. Soon after, the younger DJ had a run-in with a bus, thankfully with only bruises resulting, the elder DJ utilized this incident for "Jazzbo Have Fe Run." [1][6] He returned to Jamaica, where, with the popularity of DJ records waning, he worked as house producer at Channel One Studios, although his work was generally credited to the studio owners. Further albums seemed to confirm this fear and sessions with Blackbeard in 1984 were so disappointing that the DJ's output now slowed to a trickle.

Producers would still need a rhythm section to re-record the songs with more modern beats, and as time went on more musicians were added to the brew, but singers were now virtually redundant. [1][3] This decline in popularity and recurring health problems led to financial problems and periods of homelessness during the later period of his life.

The new genre was built around recycled rhythms (in Jamaican terms, the riddims, which is distinct from the actual rhythm. 28 June 1942 in St. Thomas, Jamaica d. 27 November 1999 in Kingston, Jamaica Aliases: Roy Samuel Reid

Lee Perry took the DJ into the studio for "High Fashion" and "Space Flight," Ruddy Redwood was responsible for "Sidewalk Killer," Pete Weston oversaw the entertaining "Buck and the Preacher," Glen Brown was behind a trio of cuts including "Festive Season," while Byron Lee oversaw a tribute to the popular sci-fi show Dr. Who, there were others with Clive Chin, Rupie Edwards, and the list just continues. Go directly to shout page. Before this clash finally died out, it spawned a clash album, Step Forward Youth, which bundled up the pair's barrages onto one disc. And the sparring continued, much to audiences' delight, with other DJs jumping on the bandwagon to take their own potshots at the mighty I-Roy. [1][6] He also released other material in Jamaica, including the Alvin Ranglin-produced Best of I-Roy album in 1977. This was the beginning of the shadowy conspiracy of veteran singers who now began unleashing a flood of vocal cuts onto the market. We don’t have any upcoming events for this artist right now.

I-Roy opened the account with "Straight to Jazzbo's Head," which prompted the victim to retort with "Straight to I-Roy's Head." He cut "Hot Bomb" for Lloyd Campbell, "Mood for Love" with Winston Blake, and "Problems of Life" and "Musical Drum Sound" for Lloyd Daley. [4] One of his most productive partnerships was with Gussie Clarke, who produced most of the tracks on his debut album, Presenting I Roy (1973), containing several hit singles recorded for the producer.

Leave feedback, Roy Samuel Reid (June 28, 1944-November 27, 1999, born in St. Thomas, Jamaica) - better known as I-Roy - was a Jamaican deejay who had a very prolific career during the '70s. These songs were all hits, and I-Roy swiftly became in demand at the sound systems. [5], Hit singles with "Buck and the Preacher" and "Monkey Fashion" were followed by a second album, the mainly self-produced Hell and Sorrow, which was sufficiently popular in the UK that Reid relocated there to promote his third album, The Many Moods of I-Roy (1974), performing regularly at the Roaring 20s club with Sir Coxsone's sound system, and playing live shows backed by Matumbi.

With the rise of the DJs, Jamaican artists had taken a serious hit. 1981's I-Roy's Doctor Fish was equally patchy, while 1983's Outer Limits found the DJ dipping into rap.

[1][2] Reid and Mudie fell out over the details of a proposed European tour, and he went on to work on sound systems such as King Tubby's Home Town Hi-Fi, and recorded more material with many of the Island's top producers including Lloyd Campbell, Bunny Lee, Derrick Harriott, Lee "Scratch" Perry, Glen Brown, Rupie Edwards, Byron Lee, and Keith Hudson. These singles were all big hits, and subsequently I-Roy was offered a slot at King Tubby's legendary Hi-Fi sound system.

By the '90s, the DJ was afflicted with a variety of health problems and his financial situation was so precarious that for stretches of time he found himself homeless. I-Roy arrived home to discover that DJing had been declared dead, but he was having none of that and a battle brewed. Dissing the competition on record has a long and illustrious history in Jamaica, dating back to the early '60s and Prince Buster's feud with singer Derrick Morgan and producer Leslie Kong. He was also one of the most prolific, cutting scores upon scores of singles, and dozens of albums. It began with "Black Bullet," on which the DJ paired with Jackie Brown.

Occasional records did appear, 1987 brought We Chat You Rock, on which the DJ paired with Jah Woosh, 1990 saw the arrival of The Lyrics Man, but none revived I-Roy's fortunes.

He made an immediate impact, and was soon offered a spot at Son's Junior system in Spanish Town.

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