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Soulful, danceable and hypnotic, this veteran reggae act combines Afro-centric spirituality with trancelike grooves of poignant beauty. Full-bodied organ and horn sections complement Burning Spear's emotional, soaring vocal style that repeats key phrases to achieve meditative states. Some of the tunes are tinged with sadness born from the envisioning of slavery and exile. The lighter, more uplifting songs featuring piano, conga and trumpet find salvation and hope in the groove.
b. Winston Rodney, 1 March 1945, St. Ann's Bay, Jamaica, West Indies. Burning Spear, who appropriated the name from former Mau Mau leader Jomo Kenyatta, then president of Kenya, entered the music business in 1969 after fellow St. Ann's artist Bob Marley organized an audition for him with his erstwhile producer Coxsone Dodd. The three songs Spear sang for Dodd that Sunday afternoon included his eventual debut, "Door Peep", a somber, spiritual chant quite unlike anything that had previously emerged in the music, although a reference point may perhaps be found in the Ethiopians and Joe Higgs. "Door Peep" and other early Spear recordings such as "We Are Free" and "Zion Higher" emerged in the UK on the Bamboo and Banana labels. Rodney continued to make records for Dodd until 1974, including "Ethiopians Live It Out", "This Population" and "New Civilisation", nearly all in a serious, cultural style, mostly without any commercial success, although "Joe Frazier" (aka "He Prayed") did make the Jamaican Top 5 in 1972. Most of these songs can be found on the two albums Spear completed for Dodd.
Artist Biography - Burning Spear
In 1975, Ocho Rios sound system owner Jack Ruby approached the singer, and the two, along with pick-up backing vocalists Rupert Wellington and Delroy Hines, began working on the material that eventually emerged as Marcus Garvey (1975), in honor of the great St. Ann's-born pan-Africanist. "Marcus Garvey" and "Slavery Days" were released as singles, perfectly capturing the mood of the times and becoming huge local hits. The public was at last ready for Burning Spear and when the album finally emerged it was hailed as an instant classic. Spear became recognized as the most likely candidate for the kind of international success Bob Marley And The Wailers were beginning to enjoy, and soon Marcus Garvey had been snapped up by Island Records who released it in the UK with an added track and in remixed form. This tampering with the mix, including the speeding-up of several tracks, presumably in order to make the album more palatable to white ears, raised the hackles of many critics and fans. Its popularity caused Island to release a dub wise companion set entitled Garvey's Ghost.
Still, the artist continued to release albums on a biannual basis, beginning with Rasta Business in 1995, it too earned a Grammy nomination. As did Appointment With His Majesty, which saw Rodney experimenting with a distinctly folky sound. However, always a bridesmaid but never a bride, it seemed the artist was destined to be the eternal also-ran at the Grammys. That changed in 1999 when Calling Rastafari finally garnered the trophy. It was a deserving win; the album, moodier and more introspective than anything since the early crucial five, simmers across the grooves and many of the tracks have an unexpected sharpness to the lyrics. The album was supported by a major American tour.
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In 1975, Ocho Rios sound system owner Jack Ruby approached the singer, and the two, along with pick-up backing vocalists Rupert Wellington and Delroy Hines, began working on the material that eventually emerged as Marcus Garvey (1975), in honor of the great St. Ann's-born pan-Africanist. "Marcus Garvey" and "Slavery Days" were released as singles, perfectly capturing the mood of the times and becoming huge local hits. The public was at last ready for Burning Spear and when the album finally emerged it was hailed as an instant classic. Spear became recognized as the most likely candidate for the kind of international success Bob Marley And The Wailers were beginning to enjoy, and soon Marcus Garvey had been snapped up by Island Records who released it in the UK with an added track and in remixed form. This tampering with the mix, including the speeding-up of several tracks, presumably in order to make the album more palatable to white ears, raised the hackles of many critics and fans. Its popularity caused Island to release a dub wise companion set entitled Garvey's Ghost.
