It’s not really a secret that US country & western music has had an influence on Jamaican music going all the way back to ska’s early years. Dave Katz — whose authoritative books on Jamaican music history (Solid Foundation: An Oral History Of Reggae and People Funny Boy: The Genius of Lee “Scratch” Perry) along with his body of work as a Mojo Magazine contributor are all essential reading — wrote a piece in 2015 about this very topic for Red Bull Music Academy that notes the diversity of American musical influences on Jamaican culture going back a century or more, as reflected in the repertoires of Jamaica’s leading orchestras.
Katz also points out that Jamaican mento and US country and bluegrass music share not only the banjo but also the fiddle, and if you listen closely, Katz notes, you can hear the violin work of “White Rum” Raymond (i.e., Raymond Young) on early singles by The Maytals and, most famously, The Paragons‘ 1967 rocksteady classic, “The Tide Is High,” a US/UK number one hit in 1980 when recorded by Blondie.
But not until now has anyone spelled out in exhaustive detail the country & western connection in Jamaican music that runs much deeper than I suspect most folks (Dave Katz aside) ever suspected, especially given what seems to be an unlikely linkage. Zero to 180’s latest chronology — over 200 recordings identified that span more than a half-century — includes streaming audio links for the overwhelming majority of these tracks, and if you estimate three minutes for each of the 200+ recordings, then Zero to 180’s curated new playlist provides over 600 minutes (or ten hours) of listening pleasure! And that’s not even counting the many “version” and “dub” mixes on the respective B-sides of these singles.
Perhaps now might be a good time to heat up the coffee kettle.
A Chronology
click on song titles below for streaming audio
Monty & The Cyclones
[1961]
Future jazz piano legend, Monty Alexander, with backing from his dance orchestra, The Cyclones, uses an electric keyboard on this instrumental ska arrangement of the title song from Gene Autry‘s popular 1939 western that was released 1961 in Jamaica on All Stars, a label affiliated with Studio One‘s Coxsone Dodd. Later that same year, Alexander and his family relocated to Miami, where the formally-trained pianist took the first step that would put his jazz career in motion. Sixty years later, in 2022, The Order of Jamaica would be conferred upon Monty Alexander, who still tours the world today.
Song written by Jimmy Kennedy & Michael Carr
Derrick & Patsy
[1962]
Derrick Morgan and Millicent “Patsy” Todd recorded their ska version of Artie Glenn‘s country gospel ballad (popularized by Rex Allen and The Orioles) for producer Roy Robinson, who released the recording in Jamaica as a 7-inch B-side on his own E and R label.
Song written by Artie Glenn
Bob Marley
[1963]
This ska cover of “I’ll Just Have Another Cup Of Coffee” — Claude Grey‘s crossover country hit written by Bill Brock — was recorded at a session supervised by Leslie Kong in 1962 and released the following year in Jamaica on Kong-owned Beverley’s Records. “One Cup of Coffee” is one of the earliest Bob Marley releases (under the name, Bobby Martell) that predates all the Studio One sides recorded as The Wailers.
Jamaica
UK
split single with Ernest Ranglin
The Maytals
[1963]
One of the earlier releases by the exalted vocal trio of Frederick “Toots” Hibbert, Nathaniel “Jerry” Matthias, and Henry “Raleigh” Gordon – The Maytals – is a song based on “Where We’ll Never Grow Old” (written by James C. Moore and popularized by Jim Reeves) that was produced by Coxsone Dodd, who released the track on Studio One subsidiary label, Rolando & Powie.
The Skatalites
[1964]
“Occupation” – inspired by “Ring Of Fire,” as made famous by Johnny Cash – was produced by Duke Reid and released in Jamaica on Reid’s Treasure Isle label (for the UK release, the group was billed as Tommy McCook And His Skatalites). The Skatalites have such a foundational influence on the development of Jamaican music that I am compelled to post this historical overview provided by Discogs:
Tommy McCook (sax), Rolando Alphonso (sax), Johnny Moore (trumpet), Lester Sterling (trumpet/sax), Don Drummond (trombone), Lloyd Knibb (drums), Lloyd Brevett (bass), Jerry Haynes (guitar), and Jackie Mittoo (keyboards) began working together in 1963 and formed The Ska-talites in May 1964. McCook, Drummond, Moore and Sterling were all students at the famed Alpha Boys School in Kingston. In August 1965 The Skatalites played their last show after Don Drummond’s confinement to Bellvue Hospital for the murder of his girlfriend, Margarita. The break-up resulted in the formation of two studio bands, The Soul Brothers [for Studio One] and Tommy McCook & The Supersonics [for Treasure Isle]. In reality it is hard to be precise about group members and band names as it was very much a fluid membership centered around a collective of musicians, however Jackie Mittoo and Rolando Alphanso seemed to be ever present.
“Ring of Fire” written by June Carter & Merle Kilgore
Prince Buster & The Skatalites
[1964]
This iconic cowboy song from the classic western film (also a big hit for Frankie Laine) was recorded by Prince Buster — Coxsone Dodd and Duke Reid’s great rival, once given a Chevrolet Impala by mutual admirer, Muhammad Ali, according to Discogs — who released the track in Jamaica on his Islam and Prince Buster’s Record Shack labels in 1964.
Song written by Fred Glickman, Hy Heath & Johnny Lange
Carlos Malcolm & His Afro-Jamaican Rhythms
[1964]
The Panamanian-born Jamaican trombonist and bandleader released a pair of western-inspired ska songs on his own Up-Beat label, with the adaptation of the popular Bonanza television theme scoring a #1 hit in Jamaica in 1964 (below). The previous year, Carlos Malcolm had written fifty-three musical fills for Monty Norman‘s score used in the Dr. No James Bond film, according to the liner notes in this 1997 CD anthology, which also state that the band (which included Alpha Boys School grads, as well as members of the Jamaica Military Band) was so popular throughout the Caribbean islands that Pan American Airways paid for the band’s first U.S. appearance: .playing at the official Jamaica Independence ceremonies at The United Nations. In 1965, Carlos Malcolm emigrated to the Bahamas, and the following year, while playing at the Nassau Beach Hotel, Roulette Records‘ pioneering A&R Director, Henry Glover, would invite Malcolm to New York City to cut a full-length album (engineered by Eddie Smith), 1967’s Don’t Walk, Dance!. Soon after, Malcolm would emigrate to the US, where he re-formed his band, toured the East Coast extensively for years, and even recorded an unreleased album with Kool And The Gang.
Jamaican Hit Parade
“Bonanza” written by Jay Livington & Ray Evans
“Ska Down Jamaica Way (South Of The Border)”
Ferdie Nelson & Ivan Yap
[1964]
Ferdie Nelson and Ivan Yap receive unnamed musical backing from The Skatalites on this playful adaptation of Gene Autry’s “South Of The Border” that was produced by Justin “Phillip” Yap, who presumably released the track on Yap’s Top Deck Records shortly after being recorded in November of 1964 at Studio One. In 2002, “Ska Down Jamaica Way” would be given a new lease on life when selected for inclusion on Top Deck Ska 45’s box set of eight 7-inch singles — released in the UK.
Lloyd Knibbs – Drums
Lloyd Brevett – Bass
Jackie Mittoo – Piano
Harold McKenzie – Guitar
Don Drummond – Trombone
Roland Alphonso – Tenor sax
Dennis ‘Ska‘ Campbell – Tenor sax
Lester Sterling – Alto sax
Johnny ‘Dizzy‘ Moore – Trumpet
Larry Cunningham & The Mighty Avons
[1964]
Recorded in the wake of Jim Reeves‘ tragic plane crash by Irish country music singer, Larry Cunningham, with accompaniment from Irish showband, The Mighty Avons, “Tribute To Jim Reeves” was distributed in Jamaica by Clement “Coxsone” Dodd, who issued the recording on Studio One subsidiary label, Sacred. Cunningham’s medley includes words and music from “He’ll Have To Go“; “I Won’t Forget You“; “Oh How I Miss You Tonight“; “Adios Amigo.” The 45 label below gives conflicting information as to where the recording was made — my assumption is that these sounds were captured at Silverpine Studios in Dublin, Ireland and not Jamaica Recording Studio at 13 Brentford Road in Kingston.
The Vagabonds
[1964]
This ska version of Audrey and Joe Allison‘s countrypolitan ballad — originally made famous by Jim Reeves — was recorded by a Jamaican backing band (often linked with Jimmy James) who helped bring ska to the British Isles. Formed in 1961 by Colston Chen (middle photo on the LP cover below) in Kingston, Jamaica and made up of cabaret musicians and singers, The Vagabonds left the island in April 1964 aboard the SS Ascania, according to Discogs, and arrived at Southhampton the following month.
LP
Duke Harris
[1965]
This mento version of the song originally written/recorded by Hank Penny and made famous by Wynonie Harris was included on Duke Harris‘s Jump And Sway Jamaica Away album, released in Jamaica by Ken Khouri, Jamaican-born music pioneer of Lebanese-Cuban heritage who started up Jamaica’s first recording facility as well as pressing plant, on his own FRM and Kalypso labels.
Actually, Duke Harris had recorded “Blood Shot Eyes” five years earlier, when Harris and his ensemble were known as Duke And His Jamaica Five, for an album manufactured by Federal Records entitled, Kalypso And Ska.
1960 LP
(side one – track two)
“Blood Shot Eyes“
The Hiltonaires
[1965]
This mento version of the song originally recorded by Hank Penny and made famous by Wynonie Harris was included on The Hiltonaires‘ full-length LP, Meet Me In Jamaica With Sunshine, an album produced by Coxsone Dodd, who released this 1965 Studio One album in Jamaica by the house band at Kingston’s Hilton Hotel. You will find additional mento/calypso versions of “Blood Shot Eyes” recorded by other artists who worked the Jamaican hotel circuit, such as Denzil Laing And The Wrigglers, King Arthur & The Ad Libs, The Montego Beach Hotel Calypsonians, Calypso Joe, Slim Henry, and The Happy Smilers.
Millie Small
[1965]
Millie Small (of “My Boy Lollipop” fame) recorded a pop version of “Bloodshot Eyes” in 1965 that enjoyed distribution in such far-flung places as Sweden, Norway, Greece, Denmark, Italy, and New Zealand, but not so much in Jamaica — except for this greatest hits compilation released on the Beverley’s label.
45 picture sleeve
Jackie Edwards
[1965]
This ska cover of the big Jim Reeves countrypolitan hit — recorded by one of the first artists signed to Island Records (as Wilfred Edwards) when the label launched in 1962 — was released in Jamaica on Leslie Kong‘s Beverley’s label.
45 picture sleeve
Roland Alphonso
[1965]
This saxophone-led instrumental adaptation of “Wolverton Mountain” (made famous by Claude King) was produced by Coxsone Dodd and released on Studio One subsidiary label, C And N Records.
Song written by Merle Kilgore & Claude King
Carlos Malcolm & His Afro-Jamaican Rhythms
[1965]
Ska treatment of the cowboy classic made famous by Vaughn Monroe, Marty Robbins, and Burl Ives, et al.
Song written by Stan Jones
Gloria Crawford
[1966]
This rocksteady version of a song written by John D. Loudermilk and made famous by Sue Thompson. was produced by Duke Reid and released on Treasure Isle subsidiary label, Duchess.
Songwriting attributed to Fred Rose
Raymond Harper
[1966]
Trumpeter Raymond Harper‘s rocksteady instrumental version of Patti Page‘s country pop crossover hit (i.e., “Tennessee Waltz“) was issued in Jamaica in 1966 as a blank pre-release.
Possible backing from The Carib Beats
Imagine the song title & artist name
“Tennessee Waltz (Rock Steady)”
Ewan And Jerry With The Carib Beats
[1967]
This UK rocksteady version of the song originally made famous by Patti Page was produced by Ewan McDermott, without assistance from his partner, Nathaniel “Jerry” Matthias (of The Maytals).
“Tennessee Waltz” written by Pee Wee King & Redd Stewart
Lyn Taitt & The Merritone All Stars
[1967]
Rocksteady version of the Curly Putman song (made famous by Porter Wagoner and Tom Jones) as interpreted by Trinidad-born guitarist/bandleader, Lyn Taitt, who has recorded for a Who’s Who of Jamaica’s producers — Sonia Pottinger, Richard Khouri, Derrick Harriott, Joe Gibbs, Leslie Kong, Duke Reid, JJ Johnson, Derrick Morgan, as well as Houston-born reggae singer, Johnny Nash — and whose distinctive rapid-fire picking style helped define rocksteady lead guitar. Taitt’s recording was released in Jamaica on Merritone.
Tommy McCook And The Supersonics
[1968]
Tommy McCook And The Supersonics updated The Skatalites‘ arrangement of “Ring Of Fire” (originally made famous by Johnny Cash) with a leisurely, loping rocksteady beat for Duke Reid, who released the track in Jamaica as a blank pre-release and in the UK as a Treasure Isle 7-inch. Very easy to miss Ernest Ranglin‘s elegantly understated lead guitar lines — notice Ranglin’s staccato bursts in the song’s final seconds [around the 3:25 mark].
The Wailers
[1968]
Based on “Crying in the Chapel” (the country gospel ballad popularized by Rex Allen and The Orioles), Bob Marley and Peter Tosh recorded this adaptation at Jamaica Broadcasting Corporation on June 8, 1968, according to Wailers Timeline, at a session produced by Mortimer Planno that included Rita Marley and Constance “Vision” Walker on backing vocals, along with hand percussionists “Teego” and Jeremiah. Wailers Timeline also notes: .Legend had it that only 26 copies of this anomalous nyabinghi 45 by The Wailers were originally pressed, but Clive Chin said that he pressed 250 copies for the Tuff Gong label in 1978 using the original stamper.
1st issue –
Roy & Enid
[1968]
Roy [Richards] and Enid [Campbell] voiced a rocksteady version of Jim Reeve‘s country crossover hit for Coxsone Dodd, who issued the track in Jamaica on his Coxsone label — as Dave Katz points out, note how the distinctive Nyabinghi hand percussion adds heft to the bottom end of the sound.
Included on 1968 Studio One LP
Ride Me Donkey – Solid Gold From Jamaica
“She’ll Have To Go“
The Pioneers
[1968]
The Pioneers‘ rocksteady version of a song originally written and recorded by Don Gibson was produced by Joe Gibbs and released in Jamaica on Pressure Beat and in the UK on Amalgamated.
Hazel Wright
[1968]
Hazel Wright (of Hazel & The Jolly Boys fame) recorded a rocksteady version of “Please Help Me I’m Falling” (written by Don Robertson and Hal Blair and popularized by Hank Locklin) that was released in the UK on the Bobby Aitken-affiliated Double D label.
Lascelles Perkins
[1968]
Lascelles Perkins‘ funky take on the country crossover hit written by Bobby Russell was released in Jamaica on Coxsone Dodd‘s Studio One subsidiary label, Muzik City, as a blank “split” pre-release (coupled with “I Don’t Care” by Bob And Tyrone).
Alton Ellis
[1968]
The Godfather of Rocksteady‘s version of the Everly Brothers country pop hit (written by Boudleaux and Felice Bryant) was produced by Clancy Eccles and issued in Jamaica as a blank pre-release.
Ernest Wilson & Freddie McGregor
[1968]
Freddie McGregor was 12 or perhaps 13 when he recorded this early reggae version of the Everly Brothers country pop crossover hit with Ernest Wilson (of The Clarendonians) at a Dynamic Sounds Studio session supervised by Kenneth Wilson and released in Jamaica as a blank pre-release. In 2015, this single would be deemed worthy of reissue by Swiss boutique label, Drum Beat.
Song written by Felice & Boudleaux Bryant
Dennis Walks
[1969]
Dennis Walks recorded his early reggae version of the Boudleaux and Felice Bryant composition (recorded eleven years earlier by the Everly Brothers) for Harry Mudie, who released the track in Jamaica on his own Moodisc label.
Bob Andy
The Maples
[1969]
Two early reggae versions of the country pop hit by Joe South from 1969: .one by songwriter and producer, Bob Andy [author of beloved anthem, “I’ve Got To Go Back Home“] that was produced by Ken Khouri and released in Jamaica on his Federal, FRM, and K & K labels, and the other version by vocal group The Maples, whose recording was produced by Alvin Ranglin and released in Jamaica on his own GG’s label.
Ken Parker
[1969]
This early reggae version of Harlan Howard‘s classic composition (made famous by both Waylon Jennings and Joe Simon) was produced by Coxsone Dodd and released on his Coxsone label.
David Isaacs
[1969]
David Isaacs recorded an early reggae version of the Jim Reeves‘ countrypolitan hit for Lee ‘Scratch‘ Perry‘ that was issued in the UK on Perry’s Upsetter label.
Ernest Wilson
[1969]
Bunny Lee produced this early reggae version of the country duet popularized by David Houston and Tammy Wynette that was voiced by one of the founding members of The Clarendonians and issued as a blank pre-release in Jamaica.
Song written by Billy Sherrill & Curly Putman
Peter Tosh
[1969]
Peter Tosh, somewhat improbably, recorded an early reggae version of the country pop hit (made famous by Bobby Goldsboro and O.C. Smith) that was subsequently issued as a blank pre-release in Jamaica by Randy’s (founded by Vincent “Randy” Chin).
Song written by Bobby Russell
“Phoenix” b/w “Gentle On My Mind“
Horace Forbes & Ernest Ranglin
[1969]
Vocalist Horace Forbes is backed by one of the world great guitarists, Ernest Ranglin, on these early reggae covers of countrypolitan hits, respectively, by Jimmy Webb (popularized by Glen Campbell) and John Hartford (also popularized by Glen Campbell) that were released as a single in Jamaica on the elusive Turn Table label.
Anonymously Yours
[1969]
This “anonymous” early reggae version of Glen Campbell’s “Every Time I Itch I Wind Up Scratching You” was produced by Bart Sanfilipo (San Filippo), and is one of an elite group of 45s from 1969 that were released by Trojan Productions in Jamaica — not the UK.
“By The Time I Get To Phoenix“
Roland Alphonso And The Ruinaries
[1970]
Roland Alphonso‘s saxophone instrumental version of the Jimmy Webb song popularized by Glen Campbell and Ray Price was released in Jamaica on the mysterious (and short-lived) J.B. & R.A. label.
The Crystalites
[1969]
Derrick Harriott produced this spaghetti western-inspired early reggae instrumental rendered with considerable suppleness by Harriott’s house band, The Crystalites that was issued in Jamaica as a white pre-release “typewritten” 45 and in the UK on the Trojan-affiliated Explosion label.
(Bongo) Les & (Bongo) Herman (with The Crystalites)
[1970]
Derrick Harriott produced this spaghetti western-inspired early reggae instrumental rendered with considerable suppleness by Harriott’s house band, The Crystalites — issued in Jamaica as an orange pre-release “typewritten” 45 and in the UK on Trojan-affiliated Song Bird.
“ransom note” typeface
The Bleechers
[1970]
There is some question as to who produced this early reggae version of “Send Me The Pillow You Dream On” (made famous by Hank Locklin) — as one Discogs contributor points out, there is evidence to support Lee Perry, as well as Leslie Kong, being the producer on this track. Interesting to note that in the UK, “Send Me The Pillow” was part of an elite group of 45s from 1969-1970 known as “Columbia’s Blue Beat Series.”
Hortense Ellis
[1970]
Alton Ellis‘ under-appreciated sibling singer, Hortense Ellis, voiced an early reggae version of the countrypolitan hit made famous by both Skeeter Davis (vocal version) and Floyd Cramer (instrumental version, both recordings featuring Cramer’s famous “slip-note” piano style) on a Bunny Lee-produced recording that was issued in Jamaica as a blank pre-release.
“My Last Date” written by Skeeter Davis, Boudleaux Bryant & Floyd Cramer
The Inventors
[1970]
Vocal duo, The Inventors (who had previously recorded for Derrick Morgan), sang this early reggae version of the country pop hit by The Everly Brothers for Fud Christian [celebrated in August 2024] who issued this track in Jamaica as a blank pre-release.
Song written by Boudleaux & Felice Bryant
Nicky Thomas
[1970]
Nicky Thomas voiced this early reggae version of the country pop hit made famous by the Everly Brothers for Joe Gibbs, who issued this track in Jamaica as a blank pre-release, whereas in the UK, “pop strings” were overlaid in an attempt to boost the song’s potential commercial value.
Song written by John Hurley & Ronnie Wilkins
Bob Andy
[1970]
Bob Andy‘s early reggae take on the country pop hit by Joe South was produced for Harry Johnson, who released the track in Jamaica on his Harry J label.
Honey
Byron Lee
[1970]
This early reggae version (presumably, audio unavailable) of pop-country hit written by Bobby Russell and made famous by Bobby Goldsboro was recorded by Chinese-Jamaican bandleader, Byron Lee (whose work with The Dragonaires predates the founding of ska), who issued the recording in Jamaica as a blank “split” pre-release 45 — coupled with Lloyd Charmers‘ instrumental take on “The Choking Kind” written by country songwriting legend, Harlan Howard (see below).
Dynamic Sounds, founded by Byron Lee
Lloyd Charmers
[1970]
Lloyd Charmers‘ early reggae instrumental version of Harlan Howard’s country classic — a breakout hit when recorded in 1969 by Joe Simon — was issued in Jamaica by Byron Lee (1) as a blank pre-release 7-inch and (2) as one of the tracks on full-length LP, Reggay Charm, attributed to Lloyd Charmers with Byron Lee & The Dragonaires. and released on Dynamic Sounds.
The Upsetters
[1970]
The Upsetters‘ early reggae instrumental version of Harlan Howard’s country classic was produced by Lee ‘Scratch‘ Perry, who issued the track as a blank pre-release in Jamaica.
[Produced by Melanie Jonas?]
Clint Eastwood by The Upsetters
Sprinkled with spaghetti western reggae
The Good The Bad & The Ugly by The Upsetters
Distinguished by the title track
Note: According to UK’s Cherry Red Records, “The UK version of The Good The Bad and The Upsetters was released by Trojan Records in 1970, and although it had the Upsetters name on it, Lee Perry had no hand in its conception or production. Angered that an Upsetters album was released without his involvement, Perry issued his own version of the album back home in Jamaica using the same Trojan album artwork but with totally different songs and a new stickered tracklist on the back.” Perry’s reconfigured album for the Jamaican market has no overlapping tracks with the UK release and includes versions of classic Perry-produced Wailers recordings from the Randy’s Studio 17 sessions, including “Mr. Brown,” “Soul Rebel,” and “Man To Man.”
John Holt
[1970]
John Holt recorded his “strings reggae” version of John D. Loudermilk‘s “Then You Can Tell Me Goodbye” — originally a country tune for Don Cherry, but recorded in a doo-wop arrangement by (Cincinnati group) The Casinos, whose 1967 top ten US hit was inspired by Johnny Nash‘s Johnny Nash‘s 1964 version — at Jamaica Recording Studio with Leroy Sibbles (of The Heptones) supervising and playing bass. Holt’s recording would be retitled as “If It Don’t Work Out” and included on full-length Studio One album, A Love I Can Feel.
John Holt
[1970]
John Holt‘s reggae version of Harlan Howard‘s “The Chokin’ Kind” — recorded at Treasure Isle Studio with Tommy McCook And The Supersonics — was released on Treasure Isle in both Jamaica and the US (as well as in the UK on Duke).
“Walk Through This World With Me”
Doreen Shaffer
[1970]
This early reggae version of a song originally made famous by George Jones was, apparently, recorded at Randy’s Studio 17 for Bunny Lee, and issued in Jamaica on the Randy’s-affiliated Giant label (coupled with “Just Out Of Reach” by John Holt – see below).
Song written by Kay Savage & Sandra Seamons
“Just Out Of Reach (Of My Empty Arms)”
John Holt
[1970]
This early reggae version of a country song originally written by Virgil ‘Pappy‘ Stewart for The Stewart Family (that became a Top 40 hit ten years later for Solomon Burke) was, apparently, recorded at Randy’s Studio 17 for Bunny Lee, and issued in Jamaica on the Randy’s-affiliated Giant label (coupled with “Walk Through This World With Me” by Doreen Shaffer – see above).
Song written by Virgil F. Stewart
Brent Dowe
[1970]
(Melodians‘ founder) Brent Dowe‘s early reggae take of the chart-topping hit originally made famous by Patti Page was issued in Jamaica as a blank pre-release produced by Rudolph “Ruddy” Redwood, Supreme Ruler of Sound, early sound system owner and pioneering audio engineer [i.e., creator of early dub-style remixes that precede the work of King Tubby, notes Hip Hop Electronic, and, as this 2016 video clip shot by Don Letts asserts, Redwood mixed Jamaica’s (ergo, the world’s) first “version” thus, laying the foundation for the “remix” in pop music].
Song written by Pee Wee King & Redd Stewart
Nicky Thomas
[1970]
A little surprising, perhaps, to see Nicky Thomas cover Jeannie Sealy‘s signature song for Joe Gibbs, who released the track in Jamaica on his JoGib and Joe Gibbs Record Globe labels.
Song written by Hank Cochran
Norman Grant
[1970]
Norman Grant, lead singer of The Twinkle Brothers, recorded an early reggae version of the Hank Penny song-turned-hit for Wynonie Harris that was produced by Bunny Lee and issued in Jamaica as a blank pre-release in 1970.
Lord Tanamo
[1970]
Lord Tanamo‘s early reggae version of the Tony Joe White song popularized by Brook Benton was recorded for Coxsone Dodd, who issued the track in Jamaica on his Studio One label.
Lord Comic
[1970]
Issued in Jamaica on the Coxsone label, Lord Comic‘s “deejay” cut uses the original instrumental backing track of Lord Tanamo‘s “Rainy Night In Georgia.”
Jackie Mittoo
[1970]
Jackie Mittoo‘s organ workout on “Rainy Night In Georgia” was produced by Coxsone Dodd, who included the track on an all-instrumental LP, Money Maker, that was released in Jamaica on Coxsone and Studio One.
Ken Parker
[1970]
Ken Parker‘s reggae take on a song originally made famous by Jim Reeves was recorded for Byron Smith, resident sound engineer at Duke Reid’s Treasure Isle Recording Studio, who issued the track in Jamaica on his Baron’s label. [Dub history snapshot: According to Discogs, it was Byron Smith who forgot to record the vocals on a track of The Paragons (“On The Beach“) … and the dubplate went as it was [sans vocals] for the Sound System of Rudolph Redwood … and it was a success! Bunny Lee who was there, asked his engineer, King Tubby, to do the same thing on a Slim Smith track (“Ain’t Too Proud To Beg“) … and the history of dub began.]
“Guilty” was written by Alex Zanetis
“Crazy“
Dobby Dobson
[1970]
I love how the slightly menacing intro unexpectedly gives way to an upbeat early reggae version of Willie Nelson‘s “Crazy” (made famous by Patsy Cline), a production touch courtesy of Rupie Edwards and his all-star assemblage of studio musicians. Dobby Dobson‘s version of “Crazy” — originally released in Jamaica as a blank pre-release in 1970 — would then be given a more “proper” issue in Jamaica six years later by Edwards on Success.
(1970)
(1976)
“Walk Through This World With Me”
Phyllis Dillon
“Walk Through This World With Me”
Carlton Reid
[1970]
Two versions of the song originally made famous by George Jones were both released the same year — Phyllis Dillon‘s recording was issued in Jamaica on Duke Reid‘s Treasure Isle, while Carlton Reid‘s recording was self-released on his own Carlton label.
Song written by Kay Savage & Sandra Seamons
Count Prince Miller
[Released 1970 in UK; 1971 in Jamaica]
The cowboy song originally made famous by Frankie Laine was recorded by Jamaican-born British actor and reggae musician, “Count Prince” (Clarence Linberg) Miller and initially released in the UK on MCA (and the following year in Jamaica on Byron Lee-affiliated Jaguar).
Live performance
Horacé Ove‘s 1970 UK documentary, Reggae
Dennis Alcapone & The Agrovators
Roland Alphonso & Denzil Laing
[1971]
DeeJay Dennis Alcapone (Dennis Smith to his mum) “toasts” on top of the “Mule Train” backing track (or “riddim“), while on the flip side, saxophonist Roland Alphonso and percussionist Denzil Laing improvise over the same instrumental backdrop engineered by (K)arl Pitterson, S(i)d Bucknor, and Carlton Lee. This 7-inch was released in Jamaica on Byron Lee‘s Jaguar label.
Produced by Bunny Lee
Dennis Brown
[1971]
One of the earlier recordings from Dennis Brown is this reggae take on the country pop hit (made famous by Bobby Goldsboro and O.C. Smith) that was produced by Coxsone Dodd, who included the track on 1971 Studio One LP, If I Follow My Heart.
Song written by Bobby Russell
Hortense Ellis
Merlene ‘Queen’ Webber
Cynthia Richards*
[1971]
These versions of Tammy Wynette‘s biggest hit were all recorded/released in Jamaica in 1971, two of them for Clancy Eccles [Richards and Webber], and one for Lloyd F. Campbell [Ellis]. .*Discogs contributor Charlie Chalk asserts that the Cynthia Richards release on Clan Disc “is actually by Merlene Webber, and is the original Jamaican mix, without strings.”
Song written by Billy Sherrill & Tammy Wynette
The Upsetters
[1971]
June Carter and Merle Kilgore‘s “Ring Of Fire” gets filtered through Lee ‘Scratch‘ Perry‘s distinct sensibilities when voiced by Perry’s backing ensemble, The Upsetters, on a trombone instrumental arrangement that was released in Jamaica on Perry’s own Upsetter and Justice League labels.
Max Romeo
[1971]
Max Romeo‘s reggae version of a song originally made famous by Webb Pierce and Ray Peterson is a track that was included on Let The Power Fall, a Bunny Lee-produced LP that was released in Jamaica on the Byron Lee-affiliated Dynamic Sounds label.
Song written by Dale Noe & Redd Stewart
“Help Me Make It Through The Night”
Ken Parker
[1971]
Check out the fresh intro devised for Ken Parker‘s reggae version of the Kris Kristofferson-written crossover hit for Sammi Smith that was recorded for Duke Reid‘s Treasure Isle label.
“Put Your Sweet Lips A Little Closer To The Phone”
Raphel Stewart & The Hot Tops
[1971]
Raphel Stewart‘s reggae version of a song originally made famous by Jim Reeves (recorded as “He’ll Have To Go”) was released on Stewart’s own RSIS label.
“He’ll Have To Go” written by Audrey & Joe Allison
Willie Francis
[1971]
Willie Francis‘s reggae version of “I’m Gonna Change Everything” (the hit for Jim Reeves) was released in Jamaica on Francis’s own Little Willie label.
“I’m Gonna Change Everything” written by Alex Zanetis
Dennis Walks & Mudie’s All Stars
[1971]
Dennis Walks‘ reggae take on Anne Murray‘s big country pop hit was produced for Harry Mudie, who released the track in Jamaica on his own Afro label.
Song written by Gene MacLellan
Rip ‘n’ Lan
Vocal duo Rip ‘n’ Lan recorded this reggae version of the Mac Davis song popularized by Elvis Presley as well as a flip side (“Something Sweet“) — and then nothing more. Produced by Roland Jenkins and released in Jamaica on the Gussie Clarke-affiliated Puppy label, “In The Ghetto” would also find distribution, interestingly, in Guyana.
Ernie Smith
[1971]
Ernie Smith recorded a fairly straight ahead non-reggae cover of the Kris Kristofferson composition (popularized by Johnny Cash) that was produced by Richard Khouri at Federal Records Studio (Jamaica’s oldest recording facility) and released in Jamaica on Decca-affiliated London Records.
Engineered by Louis Davidson
Ken Patrick
[1971]
Ken “Lord Creator“ Patrick‘s early reggae version of Kris Kristofferson‘s existential country pop masterpiece — recorded at Randy’s Studio 17 with musical backing from studio house band, The Impact All Stars — was produced by Keith Chin and released in Jamaica on Impact!.
“version” = precursor to dub
Keith Lyn
[1972]
Keith Lyn recorded fairly straight ahead non-reggae covers of these two Kris Kristofferson compositions for his full-length album, Looking At Love, that was produced by Byron Lee at Dynamic Sounds Studio and released in Jamaica on Lee-owned Dynamic Sounds.
Prince Buster All Stars
[1972]
Prince Buster‘s early reggae version of the Gene Autry cowboy classic was issued in Jamaica as a vocal + version 7-inch release on the Prince Buster label, while in the UK, “South of the Border” was sequenced as the kick-off track for 1972 full-length album, Sister Big Stuff.
Song written by Jimmy Kennedy & Michael Carr
tarted-up cover
Would you believe?
Prince Buster‘s bass-heavy reggae-politan version of “Still” — #1 country hit written and recorded in 1963 by Bill Anderson — is the second track on the Sister Big Stuff album.
Ken Parker
[1972]
Ken Parker‘s reggae version of the early 20th century Christian hymn made famous by The Carter Family was produced by Warwick Lyn (recording engineer – Karl Pitterson) and released in Jamaica on the Byron Lee-affiliated Jaguar label (Parker also recorded the song for 1972’s full-length Studio One LP, Keep Your Eyes On Jesus). The previous year, Warwick Lyn had taken over as Toots & the Maytals manager, upon Leslie Kong’s sudden death in 1971, according to Discogs, and jointly produced two of the group’s well-known albums, 1975’s Funky Kingston and 1976’s Reggae Got Soul.
Song reworked in 1935 by A.P. Carter and titled as “Can The Circle Be Unbroken“
Ken Parker
“Mother Mary” + “Father Mary“
Lloyd Charmers
[1972]
Producer-slash-artist Lloyd Charmers supervised Ken Parker‘s reggae version of the Everly Brothers country pop crossover hit (written by Felice and Boudleaux Bryant), as well as his own instrumental interpretation(s), for a pair of 45s released in Jamaica on Charmers’ own Splash label.
“Father Mary” = “Mother Mary” version
Norma Wright
[1972?]
Norma Wright‘s reggae version of the Patti Page pop country hit (written by Hank Cochran) was released in Jamaica on Studio One‘s Coxsone label.
“My Woman My Wife“
“Less Of Me“
Keith Stewart
[1972]
Keith Stewart (of Keith & Enid fame) recorded Marty Robbins‘ “My Woman My Wife” and Glen Campbell‘s “Less Of Me” for his 1972 full-length album, Now!, released in Jamaica on Ken Khouri‘s Federal Records.
Reggae Strings
[1972]
Reggae Strings (not an actual group) is the title of two full-length “strings reggae” albums that were released in 1972 and 1974, respectively. The first volume was released in the UK by Trojan and in Jamaica on Harry J — the second volume, however, appears to have been distributed only in the UK. This “strings reggae” version of the song most closely associated with Tammy Wynette comes from the first volume, whose liner notes were penned by none other than Judge Dread.
The Upsetting Brothers
[1972]
Is it possible that Lee ‘Scratch‘ Perry produced this reggae version of the country pop hit (originally made famous by Jim Reeves) that was attributed to Victor And Gersham and issued as a blank pre-release in Jamaica?
Song written by Audrey and Joe Allison
King Barou And The Mighty Swingers
[1972]
King Barou‘s mento version of a song originally recorded by Hank Penny and made famous by Wynonie Harris was produced by Coxsone Dodd and issued in Jamaica on Port-O-Jam, an imprint reserved for mento and calypso releases.
Eric Donaldson & The West Indians
John Jones & The Now Generation
[1972]
Two reggae versions of the worldwide hit penned by ‘country outlaw’ Shel Silverstein (made famous by Dr. Hook & The Medicine Show) that were both released in Jamaica in 1972 — (1) Warwick Lyn and Tommy Cowan produced Eric Donaldson & The West Indians‘ recording at Dynamic Sounds, the studio owned by Byron Lee, who issued the track on Jaguar, (2) while John Jones & The Now Generation recorded their version for Richard Khouri at Federal Records Studio, Jamaica’s oldest recording facility, with engineer Louis Davidson setting the levels.
45 picture sleeve
Keith Hudson
[1972]
Keith Hudson‘s distinctive vocal version of the country gospel ballad popularized by Rex Allen, The Orioles, and Elvis Presley (among others) was issued in Jamaica as a blank pre-release.
Song written by Artie Glenn
Mikey Chung & The Now Generation
[1972]
Mikey Chung (whose impeccable lead guitar work is on display in this live clip) fronts The Now Generation on this reggae instrumental version of the country gospel ballad popularized by The Orioles and Elvis Presley, which kicks off with a jokey intro before the musicians authoritatively lay down the groove. This 7-inch release was issued in Jamaica on the Lloyd Charmers-affiliated Splash label.
Mike(y) Chung & The Now Generation
[1972]
Mikey Chung fronts The Now Generation on this reggae near-instrumental version of the country pop ballad written by Kris Kristofferson (made famous by Ray Price) that was produced by Lloyd Charmers and issued in Jamaica on Splash.
“Help Me Make It Through The Night”
Horace Forbes
[1972]
Horace Forbes‘ reggae version (presumably, audio unavailable) of Kris Kristofferson‘s country pop hit (made famous by Sammi Smith) was a joint production, fascinatingly enough, between Horace Forbes and Coxsone Dodd — hence, the label name, ForCox, whose entire catalog is this sole 45 release.
Max Romeo
[1972]
Max Romeo‘s reggae version of the countrypolitan hit written/recorded by Jim Reeves was released in Jamaica on the Alvin Ranglin-affiliated Typhoon label.
Lyn Taitt
[1973]
Lyn(n) Taitt recorded an instrumental non-reggae version of the countrypolitan Top 20 hit for Ray Price that was produced by Percy Chin and Hyman ‘Jah Life‘ Wright and released in Jamaica on Kaya Records, whose parent label is said to be Jah Life, the Brooklyn-based label founded by Hyman Wright and Percy Chin.
Song written by Boudleaux & Felice Bryant
“Don’t Take Your Guns To Town”
Hopeton Lewis
[1973]
Hopeton Lewis‘s reggae version of Johnny Cash‘s first Columbia single release — released in Jamaica on Upset Records, a joint venture between Lynford “Andy Capp” Anderson and Lee “Scratch“ Perry — features a playful production, as you might expect, that includes electric sitar and glockenspiel embellishments.
“Help Me Make It Through The Night“
Hopeton Lewis
[1973]
Hopeton Lewis‘ reggae version of Kris Kristofferson‘s country pop crossover hit for Sammi Smith kicks off with a clever intro — quite possibly the work of arrangers Neville Hinds and Peter Ashbourne (and/or producers, Winston Blake and Byron Lee), who shaped this song for inclusion in 1973 full-length album, Grooving Out On Life, released in Jamaica on Dynamic Sounds.
Engineered by Sid Bucknor
Toots And The Maytals
[1973]
Toots And The Maytals‘ version of the pop country hit made famous by John Denver (originally birthed in Montgomery County, Maryland) was first released in Jamaica on a 7-inch before being included the following year on full-length album, Roots Reggae, issued on Byron Lee-affiliated Dynamic Sounds (also issued in the UK on 1974 LP In The Dark). Outside of Jamaica, “Country Road” — which had not been included on the original Funky Kingston LP issued in 1973 — would be wrangled by Chris Blackwell for Mango‘s heavily reconfigured Funky Kingston album two years later, no doubt helping the album to make Billboard‘s Top 200 chart of best-selling albums in 1976. Original recording was produced by Warwick Lyn, arranged by Neville Hinds, and engineered by Karl Pitterson.
Songwriting credits, distressingly, exclude Bill Danoff
Excerpt from Nik Cohn‘s review of Funky Kingston for New York Magazine‘s Nov. 17, 1975 issue:
One tiny reservation. The only track on Funky Kingston that doesn’t work is “Country Road,” adapted from John Denver. It fits Toots like sackcloth, dredges him of all power. Yet this is the song that his record company has issued as a single, no doubt trying to use its familiarity as a bridge to mass American acceptance, and that wakes me sore afeared, in case he might get filleted, prepackaged, in a scrabble of pop hype.
Ken Parker
[1973]
Ken Parker‘s reggae version of the country hit made famous by Charley Pride was recorded at Duke Reid‘s Treasure Isle Studio and released in Jamaica on the Duke Reid Greatest Hits label. “Kiss An Angel” also kicks off 1974 Treasure Isle LP, Here Comes Ken Parker. AUDIO ALERT: This stereophonic recording features the instrumental backing, primarily, on the left channel, and the vocals on the right channel — however, at the 2:15 mark (when Ken Parker sings, “the secret I’m speaking of…”), notice that the vocals unexpectedly appear from the opposite channel and then smoothly pan from left to right.
Song written by Ben Peters
Myrna Hague
[1973]
Myrna Hague‘s early reggae version of Kris Kristofferson‘s “A Song I’d Like To Sing” (a duet originally with Rita Coolidge) was recorded for Coxsone Dodd, who included the track on Studio One full-length album, Melody Life, and also issued the track in Jamaica as the A-side of a Faze Four 7-inch release.
Lloyd Charmers
[1973]
Lloyd Charmers recorded a steel guitar-sweetened “reggae–politan” version of the song originally written/recorded by Kris Kristofferson (and covered by Roger Miller) that was released in Jamaica on the producer’s own Splash label.
“Help Me Make It Through The Night“
Ernie Smith
[1973]
Singer-songwriter Ernie Smith recorded his 1973 full-length album, For The Good Times — which includes (non-reggae) versions of two Kris Kristofferson songs, “For The Good Times” and “Help Me Make It Through The Night” — at Ken Khouri‘s Federal Records Studio with a string quartet who augmented the work of such top session players as Mikey ‘Boo‘ Richards, Lloyd Parks, Val Douglas, Leslie Butler, Robbie Lyn, Dave Madden, Glen Dacosta, and Geoffrey & Mikey Chung. This album was also distributed in Canada, where Smith would later emigrate (along with Jackie Mittoo, Leroy Sibbles, Wayne McGhie, and a number of others — the subject of a documentary, Play It Loud, that premiered at Toronto’s Royal Theatre in October of 2024).
Released on Federal Records
Glen Miller
[1973]
Vocalist Glen Miller recorded his soul cover of the Kris Kristofferson country pop ballad (made famous by Ray Price) for Coxsone Dodd, who issued the track in Jamaica on Studio One subsidiary label, Bongo Man.
Glen Adams
[1974]
Keyboardist/arranger/producer Glen Adams recorded a vocal version of the Kris Kristofferson country pop ballad made famous by Ray Price for Granville Straker‘s Brooklyn-based Straker’s Records.
Hopeton Lewis
[1974]
“Drift Away” — originally written by country songwriter Mentor Williams for English singer Mike Berry but then later given to Dobie Gray, who enjoyed an international hit — was the opening track of 1974’s, Dynamic Hopeton Lewis, an album recorded at Byron Lee‘s Dynamic Sounds Studio and released in Jamaica on Dynamic Sounds.
LP engineered by Carlton Lee & Graeme Goodall
The Chosen Few
[1974]
Noel Williams produced The Chosen Few‘s competing version of “Drift Away” that was released in Jamaica on Ronnie Burke and Michael Johnston‘s Micron label.
Cornell Campbell & The Soul Syndicate
[1974]
Cornell Campbell‘s reggae version of the countrypolitan Top 20 hit for Ray Price enjoys backing from The Soul Syndicate and was produced by Bunny Lee, who released the recording in Jamaica on the Attack as well as Impact! labels.
Song written by Boudleaux & Felice Bryant
Pluto Shervington
[1974]
This festive arrangement of Hank Williams‘ big dance hit (which features, uniquely, the celeste) is the lead-off track on Pluto‘s 1975 LP, Ramgoat, an album produced by Paul Khouri at Federal Records Studio and released in Jamaica on Federal subsidiary label, Wild Flower.
Jackie Brown
[1974]
Jackie Brown released his reggae version of The Everly Brothers‘ 1959 country pop crossover hit in Jamaica on Cash, a label (I am fairly certain) owned by Brown himself.
vocal A-side + dub B-side
Jimmy London
[1974]
Jimmy London‘s overdubbed harmonies on “Cathy’s Clown” sound strikingly like the Everly Brothers (whose debut single for Warner Brothers originally sold eight million copies worldwide in 1960) on this Clive Chin-produced track that was released in Jamaica on Hot Shot, distributed by Randy’s.
Song written by Don & Phil Everly
The Ethiopians
[1974]
Seems a little incongruous that a song bearing such a Rasta-centric title would take its inspiration from the legendary mariachi horn riff that opens Johnny Cash‘s hit version of “Ring Of Fire,” and yet the reggae horns somehow serve to underscore the righteous vocal delivered harmoniously by Leonard Dillon, Stephen Taylor, and Aston Morris (though credited singularly to “The Ethiopian“). “Hail Brother Rasta Hail” was produced by Rupie Edwards, who released this Ethiopians track in Jamaica on his own short-lived BB Inc label. Seven years after this recording’s release, Leonard Dillon would be presented with a ‘Certificate of Appreciation for Pop Music Development‘ by Jamaican Prime Minister, Edward Seaga.
“Help Me Make It Through The Night”
John Holt
[1974]
John Holt released his reggae version of the Kris Kristofferson–penned hit for Sammi Smith in Jamaica on his own Holt label.
“Walk Through This World With Me”
Barbara Jones
Barbara Jones‘ reggae version of a song originally made famous by George Jones was produced by Alvin Ranglin, who released the track in Jamaica on his own GG Records.
Song written by Kay Savage & Sandra Seamons
The Peace Makers
[1975]
The Peace Makers recorded their reggae version (presumably, audio unavailable) of the country waltz originally made famous by Patti Page for Harry Johnson, who released their recording in Jamaica on his Roosevelt label.
B-side
“Waltz Dub“
Roman Stewart
[1975]
An arresting intro and fresh vocal arrangement distinguish Roman Stewart‘s reggae version of Claude King‘s country crossover hit — production touches courtesy of Treasure Isle producer, Karl Pitterson.
Song co-written by Merle Kilgore
Brother Freddie & Brother Ernest
[1975]
Brother Freddie (McGregor) and Brother Ernest (Wilson) recorded a straight ahead version of Kris Kristofferson‘s country gospel waltz, “Why Me Lord,” for Coxsone Dodd, who released the track as the A-side of a 7-inch single on Tabernacle, Studio One‘s gospel subsidiary.
Derrick Morgan
[1975]
Derrick Morgan‘s reggae version of the Hank Penny composition made famous by Wynonie Harris was produced by Bunny Lee, who released the track in Jamaica on his Justice label.
Not actually written by Derrick Morgan
Flip sides
“version” is a term of art in Jamaican music
Sister Stern
[1975]
This streaming audio clip of Sister Stern‘s roots reggae take on the country pop tearjerker co-written by Boudleaux Bryant, Floyd Cramer, and Skeeter Davis features the vocal A-side seamlessly joined with its B-side version remix into one continuous flow. This “Stern Production” enjoyed released in Jamaica (on Federal Records subsidiary, Wild Flower), as well as the UK (on NEMS-owned, Opal) and US (on Clocktower and Steady).
Jackie Brown
[1975]
Jackie Brown‘s reggae version of the countrypolitan hit originally made famous by Hank Locklin was recorded for Joe Gibbs, who released the track in Jamaica on the Errol T subsidiary label.
Flip side:
Winston Jarrett
[1975]
Winston Jarrett‘s reggae version of the country hit originally made famous by Hank Locklin was recorded for Coxsone Dodd, who included the track in a various artists compilation album, Studio One Sales Conference in 1975
“Just Out Of Reach (Of My Empty Arms)”
Trevor Thompson
[1975]
Trevor Thompson‘s reggae version of a country song written by Virgil ‘Pappy‘ Stewart for The Stewart Family (that became a Top 40 hit ten years later for Solomon Burke) was produced/distributed by “K. Dale” and issued on Bass Drum, the tiny label that released exactly one 45 in both Jamaica and the United States.
Claudette Miller
[1975]
Claudette Miller‘s reggae version of Tammy Wynette‘s biggest charting hit was released on the UK-connected Jama label.
Augustus Pablo
[c. 1975]
Discogs leads me to believe that Augustus Pablo‘s introspective melodica floating atop the “Mule Train” riddim — “Pablo’s Train,” the flip side to “House Crashers” by Johnny Clarke — just might be the same B-side that was titled “A Crashing Version” when released in Jamaica on the Justice and Jackpot labels in the year 1975. The public’s help is sought in establishing the provenance of this ‘Striker‘ Lee-produced recording.
Song written by Fred Glickman, Hy Heath & Johnny Lange
“Before The Next Teardrop Falls”
Keith Stewart & Kate Davis
[1975]
Jackie Edwards
[1975]
“Before The Next Teardrop Falls“
Leon Hyatt
[1975]
“Before The Next Teardrop Fall”
Keith Poppin
[1975?]
John Holt
[1976]
A rash of interpretations of the country crossover hit made famous by Freddy Fender (as well as Charley Pride, who recorded the song in 1968):
- Keith & Enid’s Keith Stewart teamed up with Kate Davis on a recording that was produced by Neville Hinds and released in Jamaica on the Byron Lee-affiliated Melrose label
- Jackie Edwards‘ version was produced by Bunny Lee and released in Jamaica on Lee’s Justice label
- Leon Hyatt‘s version – with a ‘lovers rock‘ recitation – was produced by George McLean (producer/member of the Mighty Cloud Band) and released in Jamaica on the Mighty Cloud label
- Keith Poppin‘s version was recorded at Harry J’s Studio, engineered by Sylvan Morris and produced by Lloyd Campbell, who released the track in Jamaica on his own Spiderman label (which gives songwriting credit to Charley Pride)
Song written by Ben Peters & Vivian Keith
King Flowers
[1976]
King Flowers produced his own reggae version of the Buck Owens country weeper (that became a top ten hit in 1967 for Ray Charles) with musical backing from the Dominar All Stars on a vocal + dub 7-inch that was released in Jamaica on the short-lived Dominar label.
Jackie Robinson
[1976]
Elvis Redwood arranged and produced Jackie Robinson‘s reggae version of the country pop hit popularized by Bobby Goldsboro and O.C. Smith — a recording that was released in the UK on Polydor.
Song written by Bobby Russell
John Holt
[1977]
John Holt‘s upbeat reggae arrangement of “Wasted Days And Wasted Night” (made famous by Freddy Fender) was released in Jamaica on Weed Beat, a subsidiary label of Byron Lee-owned Dynamic Sounds.
Song written by Baldemar Huerta & Wayne Duncan
Vin Gordon & Prince Jammy
[1977]
This abstract dub reggae instrumental inspired by the legendary mariachi horn riff from Johnny Cash‘s recording of “Ring Of Fire” was originally mixed by Prince Jammy and released in Jamaica on Jaguar as the B-side of “Memories Of Don De,” a musical tribute to trombonist and founding member of The Skatalites, Don Drummond, who died eight years earlier in 1969. This same recording would be included on Blood & Fire‘s 1999 2-LP anthology of King Tubby and Prince Jammy mixes, Dub Like Dirt, retitled as “Dub Is My Occupation.” An alumnus of the famed Alpha Boys School, trombonist Vin Gordon joined The Skatalites in 1964, and was used on many recordings at Coxsone Dodd‘s Studio One, as part of the Soul Brothers, Soul Vendors, and Sound Dimension house bands. Later, Gordon would play with Bob Marley & The Wailers on such seminal albums as Kaya and Exodus.
“Ring Of Fire” written by June Carter & Merle Kilgore
Tinga Stewart & The Revolutionaries
[1977]
Tinga Stewart‘s version of the Tony Joe White song popularized by Brook Benton was produced by The Revolutionaries (no doubt recorded at Jo Jo and Ernest Hookim‘s Channel One Recording Studio) and released in Jamaica on three different labels: Channel One, Well Charge, and Taxi.
John Holt
[c. 1978]
John Holt‘s version of the Tony Joe White song popularized by Brook Benton was produced by Bunny Lee, who released the song in Jamaica on the Lee-owned Jackpot and Striker Lee labels.
Jah Thomas
[1978]
Jah Thomas‘s deejay/dub version of “Send Me The Pillow That You Dream On” (written/recorded by Hank Locklin) was produced by Lancelot “Maxie” McKenzie and released in Jamaica on Maxie’s Nots label (as well as Channel One-owned Well Charge) as a two-sided affair.
Flip over for the dub side
“Stand By Your Man“
Nana McLean
[1978]
Nana McLean‘s version of Tammy Wynette‘s country crossover hit was released in Jamaica on Canada-connected G Clef (distributed by Federal Records).
Jackie Edwards
[1979]
Jackie Edwards enjoys backing from some of Kingston’s finest — Sly Dunbar (drums); Robbie Shakespeare (bass); Geoffrey Chung (rhythm guitar); Mikey Chung (lead guitar); Winston Wright (organ); Keith Sterling (piano); Zap Pow (horns) — on this soul version of Don Gibson‘s country classic (also popularized by Ray Charles) that was produced by Bunny Lee and included on 1979’s full-length album, Come To Me Softly, released in Jamaica on Lee’s own Jackpot label.
“Funny Familiar Forgotten Feeling”
Pat Kelly
[1979]
Pat Kelly‘s version of the country waltz written by Mickey Newbury and made famous by Don Gibson and Tom Jones was included on a full-length album, Lovers Rock, that was released in Jamaica on the Bunny Lee-owned Jackpot label.
Jimmy Riley
[1979]
Jimmy Riley arranged and produced his reggae version of the Jan Crutchfield song (popularized by such country artists as Jack Greene, Brian Collins, and Bill Medley) that was recorded in the UK and included on full-length Trojan LP, Tell The Youths The Truth.
“JC“ Lodge & Prince Mohammed
[1980]
June Lodge and Prince Mohammed‘s adaptation of the Don Devaney song popularized by Johnny Rodriguez and Charley Pride was “ghost” produced by Willie Lindo (according to Discogs) and recorded for Joe Gibbs, who issued the track in Jamaica on his Belmont label. The recording was a huge hit in Jamaica, but, ironically, was said to have bankrupted Joe Gibbs, as he had failed to pay the songwriter royalties.
12-inch single
Jamaica
45 picture sleeve
The Netherlands’ top single of 1982?
“Just Out Of Reach (Of My Empty Arms)”
Freddy McKay
[1980]
Freddy McKay‘s reggae version of the song written by Virgil ‘Pappy‘ Stewart for The Stewart Family (that became a Top 40 hit ten years later for Solomon Burke) enjoys musical backing by The Revolutionaries and was released in Jamaica on Dudley “Manzie” Swaby‘s own Manzie label.
“Disco” in this context means extended mix
King Oney & The Travellers
[1980]
Raphael ‘King Oney‘ Stewart‘s reggae version of the of the Curly Putman song (made famous by Porter Wagoner and Tom Jones) was released in Jamaica on his Raphael Stewart and Ras Oney labels.
Earl Sixteen
[1981]
Earl Sixteen‘s modern roots reggae version of the country crossover hit written by Bobby Russell was recorded for Sly and Robbie, the world-famous rhythm section and production team, who released the track in Jamaica on the dynamic duo’s Taxi label as a 45 with the dub version on the flip side.
“Mule Train“
Prince Miller
Sly and Robbie‘s updated version of Count Prince Miller‘s rollicking hit from 1970 — remix supervised by Steven Stanley — was released in the UK on Island.
Song written by Fred Glickman, Hy Heath & Johnny Lange
David Isaacs
[1982]
David Isaacs voiced an early reggae version of Jim Reeves‘ country crossover hit in 1969 for Lee ‘Scratch‘ Perry, and then – twelve years later – recorded an updated modern roots arrangement at Dynamic Sounds Studio that was included on 1982’s Happy Ending LP, which was released in Jamaica on Dynamic Sounds.
Song written by Audrey and Joe Allison
Cynthia Schloss
[1982]
Cynthia Schloss‘ modern reggae update of the country hit originally made famous by Hank Locklin was produced by Willie Lindo and Winston Blake and released in Jamaica as a 7-inch on the Merritone label.
Roland Burrell
[1983]
Denzil Bawford produced Roland Burrell‘s modern roots take on the beloved song associated with Wynonie Harris (though originally recorded by country jazz bandleader, Hank Penny) — a recording that was released in Jamaica on the Alvin Ranglin-owned Volcano label.
Puddy Roots
[1983]
Puddy Roots‘ dancehall version of “El Paso City” by Marty Robbins was released on All Sport, a label distributed by Aquarius Record Shop entirely given over to productions by Dennis “Star” Hayles, Kenneth Teddy Hayles, and Paulett Hayles.
Puddy Roots
[1984]
Puddy Roots‘ modern roots reggae version of the Everly Brothers country pop crossover hit was jointly produced by Phillip Morgan and Tristan Palmer and released in Jamaica on Phillip. Puddy Roots also appears to have recorded an “alternate” version of “Message To Mary” for the Black Solidarity label. Note: The person who posted the YouTube streaming audio clip informs us that this “yardstyle” Puddy Roots’ “Message to Mary” released on Kenzie is a longer 12-inch version that was a “John Peel favorite!”
Song written by Felice & Boudleaux Bryant
Delroy Wilson
[1984]
Delroy Wilson‘s modern roots reggae version of the country hit originally made famous by Charley Pride was produced by Elon J. Robinson and released in Jamaica on Robinson’s own Top Rank label.
“Jamaica Nice / Take Me Home Country Roads“
Yellowman
[1984]
“Jamaica Nice,” the opening number on 1984’s full-length King Yellowman dancehall album, directly quotes from John Denver‘s country pop crossover hit, “Take Me Home Country Roads,” hence the conjoined song title. Yellowman‘s sole LP as a Columbia recording artist enjoyed distribution worldwide, including Jamaica, where the album was issued on CBS.
“Country Roads” written by Bill Danoff & Taffy Nivert
Country Reggae, Reggae Country
Cynthia Schloss
[1985]
Cynthia Schloss‘ full-length Merritone album Country Reggae, Reggae Country — which includes “Send Me The Pillow” (released in 1982 as a single), as well as “Mississippi,” and “Reggae Country” — was recorded at Dynamic Sounds and Aquarius Studio with Willie Lindo sitting in the producer’s chair.
Cocoa Tea
[1986]
Cocoa Tea‘s dancehall reboot of the Buck Owens country weeper that became a top ten hit in 1967 for Ray Charles uses the famous “Heavenless” riddim (originally recorded 1968 at Studio One and issued as a Vincent Gordon trombone instrumental blank pre-release) on a vocal + version 7-inch released in Jamaica on Jammy’s Records.
Produced by King Jammy
Boris Gardiner
[1986]
Boris Gardiner‘s reggae take on the country ballad originally made famous by Mac Davis — produced and arranged by Willie Lindo — was released in Jamaica on WKS Records and distributed to all the world’s continents (save Antarctica).
A.T.M.
[1987]
A.T.M.‘s version of the country crossover hit for Jim Reeves was produced by Dennis “Star” Hayles and June Hayles and released in Jamaica on Dennis Star International, a label distributed by Tuff Gong.
“He’ll Have To Go” written by Audrey & Joe Allison
King Sounds
[1987]
King Sounds, Lloyd Charmers, Martin Augustin, and Pablove Black all helped arrange this modern reggae take on the country pop hit originally written and recorded by Joe South. This single release was issued in Jamaica on Nura, a subsidiary of Dynamic Sounds.
45 picture sleeve
Sanchez
[1988]
Sanchez‘s dancehall treatment of the countrypolitan tearjerker made famous by Skeeter Davis (originally titled, “End Of The World“) was jointly arranged by Steely and Clevie and produced by Lloyd James (a.k.a. King Jammy), who released the recording in Jamaica on Jammy’s Records.
Song written by Sylvia Dee & Arthur Kent
Sanchez
[1988]
Phillip “Fatis” Burrell produced and arranged Sanchez‘s dancehall version of the song made famous by Porter Wagoner and Tom Jones. In Jamaica, this recording was released as a 7-inch on Exterminator, a dancehall label distributed by Dynamic Sounds.
Song written by Curly Putman
“Message To Mary“
Bingy Bunny
[1988]
Eric “Bingy Bunny” Lamont produced his own version of the Everly Brothers‘ country pop crossover hit that was co-arranged by Uzziah “Sticky” Thompson and released in Jamaica as a vocal + version 7-inch on Tallawah. Lamont is best known as the rhythm guitarist for The Roots Radics, considered one of the most important and trendsetting reggae bands in the 1980s.
Song written by Felice & Bouleaux Bryant
“Mary“
Sugar Minott
[1988]
Lincoln “Sugar” Minott‘s dancehall version of the Everly Brothers country pop crossover hit was mastered at Tuff Gong Recording Studio and released in Jamaica as a vocal + version 7-inch single on Minott’s own Youth Promotion label.
Lacquer cut by Spiderman
Courtney Melody & Ninjaman
[1988]
Harry J produced Courtney Melody and Ninjaman‘s dancehall version of the countrypolitan hit written/recorded by Hank Locklin. This recording was released in Jamaica on Killamanjaro, a label distributed by Harry J.
Puddy Roots & Ninja Man
[1988]
Puddy Roots and Ninja Man interpret Marty Robbins‘ cowboy classic “El Paso” in a dancehall vein on a single jointly produced by Burtland Dixon and Lincoln Sterling and released in Jamaica as a vocal + version 7-inch on the production duo’s own Kangal label, distributed by Tuff Gong.
Culture T
[1988]
L. Allen produced and arranged Culture T‘s dancehall version of the Don Devaney song (popularized by Johnny Rodriguez and Charley Pride) that was released in Jamaica on the (short-lived) Rambo label.
Johnny P & Scotty
[1989]
Johnny P and Scotty‘s deejay/dancehall version of the country crossover hit written by Hank Locklin (which quotes Bobby Vinton‘s “Roses Are Red“) was produced by Olive Shaw, who released the track on Shaw’s own Capricorn International label.
vocal + version
Thriller U
[1989]
Thriller U‘s version of the song written by “country outlaw” songwriter/cartoonist/poet, Shel Silverstein (and made famous by Dr. Hook And His Medicine Show) was produced by Elon J. Robinson and released in Jamaica on Robinson’s own Top Rank label, distributed by Dynamic Sounds.
vocal + dub
The Heptones
[1989]
The Heptones‘ modern roots version of the song originally written by country songwriter Mentor Williams for English singer Mike Berry (but then later given to Dobie Gray, who had the big hit) was produced by Jah Larry and Nathan Soljie and released in Jamaica on Jah Larry’s Clarendon Sound label.
vocal + version
Cynthia Schloss
[1989]
Cynthia Schloss‘ uptempo modern roots reggae take on Jim Reeves‘ countrypolitan ballad is the kick-off track on A Reggae Experience, a full-length album that was released in Jamaica on WKS Records (though retitled as simply An Experience when distributed in South Africa).
“Am I Losing You” – arranged by Willie Lindo
Jackie Edwards
[1990]
Bunny Lee produced Jackie Edwards‘ dancehall version of the Don Devaney song (popularized by Johnny Rodriguez and Charley Pride) that was included on 1990 full-length LP, Heart To Heart, an album recorded at Striker Lee Studio, mixed by King Jammy at Jammy’s Recording Studio, and released in Jamaica on Lee’s Justice label.
Junior Chin
[c. early 1990s]
Rockers Master produced and arranged Junior Chin‘s dancehall version of the song made famous by Porter Wagoner and Tom Jones that was released in Jamaica on Rockers Master International, a label distributed by Dynamic Sounds.
Song written by Curly Putman
“Rainy Night“
Gregory Isaacs
[1991]
Gregory Isaacs‘ version of the Tony Joe White song that became a hit for Brook Benton was jointly produced by Noel Edwards and Merrick Sadler and distributed in Jamaica by Dynamic Sounds under the imprint, Energetic Production, a label whose entire (unenergetic) output is this lone 7-inch release.
Lacquer cut by Spiderman
Ruddy Thomas
[1992]
Ruddy Thomas‘ dancehall version of Hank Locklin‘s “Please Send Me The Pillow” was released in Jamaica on High Times, the label owned by guitar great, Earl “Chinna” Smith. Ruddy Thomas, notes Discogs, started his recording career in the early 1970s at Studio One, moved over to Treasure Isle, and then joined Joe Gibbs‘ studio band, The Professionals, in 1975 as a percussionist. In the 1980s, Thomas worked as a recording engineer at Dynamic Sounds.
Freddie McGregor
[1992]
Freddie McGregor‘s version of the country pop crossover hit by Joe South was produced and arranged by Derrick Barnette and released in Jamaica on New Name Muzik.
Sanchez
[1992]
Sanchez‘s Bobby Digital-arranged dancehall version of the Don Devaney song (popularized by Johnny Rodriguez and Charley Pride) was produced by Leon Durrant and released as a 7-inch in Jamaica on Digital Concorde, a label distributed by Dynamic Sounds.
vocal + version
Johnny Osbourne
[1993]
Johnny Osbourne‘s dancehall update of the cowboy classic popularized by Frankie Laine was produced by Elon J. Robinson and released in Jamaica on Robinson’s own Top Rank label, distributed by Dynamic Sounds.
Song written by Fred Glickman, Hy Heath & Johnny Lange
“Message To Mary“
Daddy Rings & Chilla Clark
[1994]
Daddy Rings and Chilla Clark‘s dancehall treatment of “Take A Message To Mary” – the Everly Brothers‘ country pop crossover hit from 1959 – was produced by Trevor “Uncle T” James, who released the track in Jamaica on Champion, a subsidiary label of Uncle T (and distributed by Sonic Sounds).
Song written by Felice & Boudleaux Bryant
John Holt
[1994]
John Holt‘s modern roots take on the Curly Putman song made famous by Porter Wagoner and Tom Jones enjoyed musical backing from The Ring Craft Posse, studio house band for producer Rodguel Sinclair (older brother of David Sinclair, i.e., Tapper Zukie), who released the track in Jamaica on Sinclair’s own Mister Tipsy label, distributed by Sonic Sounds.
vocal + version
Inner Circle
[1994]
Inner Circle — whose 1987 track “Bad Boys” went Top Ten in the US in 1993 thanks to its use as the theme to Fox TV’s Cops series — recorded their pop reggae version of the pop country crossover hit written and recorded by Joe South the following year, a 12-inch single (and CD “maxi-single” with extended mixes) that enjoyed international distribution, including Jamaica, where it was pressed (as a reissue) on Tommy Cowan‘s Arab label. Inner Circle originally began in the late 1960s as a Kingston band formed by brothers, Roger Lewis and Ian Lewis, who received backing from a core group of players nicknamed The Fat Man Riddim Section, plus future members of Third World, Steven ‘Cat‘ Coore, Michael Cooper, and Irving ‘Carrot‘ Jarrett, along with keyboardist Bernard ‘Touter‘ Harvey and charismatic lead singer, Jacob Miller.
Produced by Touter Harvey & Ian Lewis
“Rainy Night In Georgia“
John Holt
[1995]
Producer and arranger King Jammy helped John Holt update “Rainy Night In Georgia” (previously recorded by Holt circa 1978) on a 7-inch single that was released in Jamaica on Jammy’s Records, distributed by Sonic Sounds.
vocal + version
“Rainy Night In Georgia“
Axx Of Jahpostles
[1996]
Axx of Jahpostles‘ version of the Tony Joe White song popularized by Brook Benton was produced by M. Clarke-Wilson and D. Bradshaw, and issued in Jamaica as a 7-inch vocal + dub on the Axx label.
Mikey Spice
[1996]
Mikey Spice produced this modern roots take on the the country pop ballad written by Kris Kristofferson (and popularized by Ray Price). This recording was issued as a 7-inch single in Jamaica on the Ingredience Production label, distributed by Neville Lee-owned Sonic Sounds.
Lady Saw
[1996]
“Queen of Dancehall” Lady Saw‘s instant classic is a stomping dance track that – as Dave Katz points out – takes the radical move of leading with a country fiddle. Curiously, the song is titled “Give Me A Reason” when released as the A-side of a 7-inch but renamed ever so slightly as “Give Me The Reason” when presented as the title track of a full-length album produced by Garfield “Sampalue” Philips and released in Jamaica on the Sampalue label (in the US on Vincent and Pat Chin-owned VP Records, the world’s largest independent reggae label and a major distributor of dancehall reggae).
Distributed in JA by Dynamic Sounds
Josey Wales
[1997]
Josey Wales (a.k.a. Joseph Alphanso Sterling) yodels the chorus of this cowboy tale that is backed by a straight up country two beat and sweetened with pedal steel guitar flourishes — released in Jamaica on Jah Mek Ya.
Produced by Babatunde Bandele & Joseph Sterling
Beres Hammond
[2011]
Beres Hammond‘s steel guitar-sweetened roots reggae version of the song originally made famous by George Jones — with its mandatory (for country music) key change at the 0:55 mark in the recording — was included on 2011’s full-length various artists compilation, Reggae’s Gone Country, an album that kicks off with a duet by lovers rock crooner, Romain Virgo, and country singer-songwriter, Larry Gatlin, and includes contributions from Luciano (“He’ll Have To Go“), Freddie McGregor (“King Of The Road“), Sanchez (“El Paso“), and Busy Signal (“The Gambler“) among others. This collection was released in 2011 on VP Records, the largest independent reggae label globally. As Discogs notes, in 1978 the Chins relocated from Jamaica to the US, where they opened up a store at 170-03 Jamaica Avenue, and then 170-21 Jamaica Avenue in the Jamaica neighborhood of Queens, New York. The label is named after Vincent and his wife, Patricia.
“He Stopped Loving Her Today” written by Bobby Braddock & Curly Putman
T I P . o f . t h e . H A T
2007’s 3-CD Trojan Country Reggae Box Set — along with Dave Katz‘s research, certainly — proved to be an invaluable resource for this history piece.
ALSO . OF . HISTORICAL . NOTE:
- Columbia has released (more than once) “El Paso” by Marty Robbins in Jamaica
“Mfd. and distributed by Record Specialists Ltd., Kingston, JA W.I.”
- Columbia has released “If I Were A Carpenter” by Johnny Cash & June Carter in Jamaica, as well as “The World Needs A Melody” by The Carter Family with Johnny Cash in Jamaica
“Mfd. and distributed by Record Specialists Ltd., Kgn, JA”
- Columbia has released Johnny Tillotson’s country version of “Send Me the Pillow” in Jamaica
“Mfg. under licence by Dynamic Sounds”
- Mercury/Smash has released Roger Miller‘s “King Of The Road” in Jamaica
“Manufactured by Federal Record Mfg. Co. Ltd. Kingston, Jamaica W.I.”
- Vanguard has released in Jamaica Joan Baez’s version of “Will The Circle Be Unbroken” on 7-inch, as well as Baez’s full-length album recorded at Bradley’s Barn in Nashville, One Day At A Time
“Manufactured by Federal Record Mfg. Co. Ltd. Jamaica W.I.”
- Monument has released Kris Kristofferson‘s “Loving Her Was Easier” and “Why Me” 45s, as well as the Me And Bobby McGee album in Jamaica
“Made in Jamaica by CBS (JA) LTD”
- Hickory has released Don Gibson‘s “If You’re Goin’ Girl” in Jamaica, as well as Gibson’s duet with Sue Thompson “Go With Me“
“Manufactured by Record Distributors Ltd., 103 Orange Street, Kingston, Jamaica W.I.”
- MCA has released Loretta Lynn and Conway Twitty‘s “As Soon As I Hang Up The Phone” 45 in Jamaica
“Mfd. by Record Specialists Ltd.”
- Capitol has released the classic Louvin Brothers gospel album with the unforgettable cover, Satan Is Real, in Jamaica
“Made in Kingston, Jamaica by Record Specialists Ltd“
- RCA has released a handful of Skeeter Davis albums in Jamaica, including Here’s The Answer; Tunes For Two (duets with Bobby Bare); Hand In Hand With Jesus, and The Best of Skeeter Davis
“Manufactured by Federal Record Mfg. Co. Jamaica from masters of RCA Records“
- RCA has released various Jim Reeves 45s in Jamaica, including “Angels Don’t Lie“; “Gypsy Feet“; “Snow Flake“; “Adios Amigo“; “How Long Has It Been” and “Blue Side of Lonesome” (both the 45 and LP), and also a number of Jim Reeves LPs, including Gentleman Jim; Girls I Have Known; Jim Reeves On Stage; I Love You Because; It’s Nothin’ To Me; Nashville ’78; God Be With You, and We Thank Thee
“Manufactured by Federal Record Mfg. Co. Jamaica from masters of RCA Records“
Honorable Mention:
Bobby Darin‘s “Early In The Morning“
vs.
The Jamaicans “Early In The Morning“
Bobby Darin was under contract to Atco Records when he wrote (with help from Woody Harris) and recorded “Early In The Morning” for Brunswick Records, who released the country pop 45 in June of 1958 under the artist name, The Ding Dongs (i.e., a contrived group whose entire recorded output is this one single).
Atco would quickly get wise to Darin’s not-so-secret single and force Brunswick to turn over the masters. By the following month, Atco had already reissued the single, with the group renamed as The Rinky Dinks. The recording attributed to The Rinky Dinks would perform well commercially, both on the Pop and R&B charts.
Ten years later, The Jamaicans would record a song that happens to bear the same title, “Early In The Morning,” for producer Tommy Cowan on a single that was released in Jamaica on the Byron Lee-owned Soul label.
Note Bobby Darin and Woody Harris’s opening lyric:
You’re gonna miss me
early in the morning
one of the these days
oh, yeah
Compare with the opening lyric on the The Jamaicans’ recording:
I’m gonna get there
early in the morning
one of these days
oh yeah
Q = How likely is it that the Bobby Darin recording from 1958 influenced the early reggae song of the same name a decade later?
Country Reggae:
In The News
“Gramps Morgan Excited To Perform At Country Music Legend Tribute“
Jamaica Gleaner
July 25, 2024
Summary: Gramps Morgan, formerly of Morgan Heritage, Grammy-winning reggae band comprised of five siblings, was invited to perform at a musical tribute to Dean Dillon, who was inducted into the Nashville Songwriters Hall of Fame in 2002 and, more recently, in the Country Music Hall of Fame in 2020. Morgan joined George Strait, Vince Gill, Ronnie Dunn, Riley Green, Justin Moore, Pam Tillis, Mark Chesnutt, Billy Currington, Due West, and Dean Dillon himself on stage at Huntsville, Alabama’s VBC Propst Arena for a filmed October 9th concert event entitled “Songs and Stories of Dean Dillon” that will be aired as a television special at a later date, according to Dillon’s website. Morgan, whose love for country music impelled him to relocate to Nashville in the 2010s, drew praise for 2021’s Positive Vibrations album (“beautifully blends reggae and country“) from Forbes‘ Pam Windsor.
Excerpt: “I am just waiting to confirm whether it will be ABC or CBS,” Morgan shared. “It will be some of the biggest names in country music ever and I think this is the first time an artiste from Jamaica … reggae artiste … is collaborating on such a huge project like this bringing together both genres. I am excited because this is a phone call that I have been waiting on to represent the love that we as Jamaicans have for country music. So to be a part of it means so much.”
Link to Dean Dillon‘s website
TIP JAR
Look for the Donate button on the home page.
Your financial contribution can help ensure the viability of Zero to 180 and its mission.
