Dennis Brown

Dennis Brown

Dennis Brown came into the world on February 1, 1957, at Victoria Jubilee Hospital in Kingston, Jamaica. His father, Arthur, held diverse roles as a scriptwriter, actor, and journalist. Growing up, Dennis resided in a spacious tenement yard nestled between North Street and King Street in Kingston, alongside his parents, three older brothers, and a sister, albeit his mother's passing in the 1960s. Embarking on his musical journey at the age of nine, Dennis debuted his singing talent during an end-of-term concert while still in junior school. His passion for music ignited even earlier, with admiration for American balladeers like Brook Benton, Sam Cooke, Frank Sinatra, and Dean Martin. Notably, he revered Nat King Cole as a pivotal influence. During the rocksteady era, Dennis frequented JJ's record store on Orange Street, where he'd entertain passersby in exchange for pennies tossed by relatives and neighbors. At eleven, Dennis made his maiden professional appearance at "Tit for Tat," a local West Kingston Nightclub, where his brother Basil showcased his comedic talents. There, Dennis impressed the crowd with a guest appearance alongside the club's resident group, the Fabulous Falcons, which included Cynthia Richards, David "Scotty" Scott, and Noel Brown. Subsequently, he was invited to join the group as a featured vocalist. At a JLP conference at the National Arena, Dennis's performances of Desmond Dekker's "Unity" and Johnnie Taylor's "Ain't That Loving You" garnered overwhelming applause, enabling him to purchase his first suit from the proceeds. Bandleader Byron Lee, sharing the stage that night, recognized Dennis's talent and promptly booked him for package shows featuring visiting US artists, where he gained acclaim as the "Boy Wonder."


As a fledgling vocalist, Brown found inspiration in seasoned peers such as Delroy Wilson, whom he later credited as the primary influence shaping his singing style, along with Errol Dunkley, John Holt, Ken Boothe, and Bob Andy. Brown's initial foray into recording saw him laying down an original track titled "Lips of Wine" for producer Derrick Harriott. However, when this track didn't see the light of day, he turned to Clement "Coxsone" Dodd's Studio One label. At the tender age of twelve, Brown recorded his debut single "No Man is an Island," which hit the airwaves in late 1969, garnering steady traction before erupting into a massive hit across Jamaica. Over the course of approximately a dozen sessions with Dodd, Brown churned out around thirty songs and also lent his vocals as a backing singer on albums by other artists, notably providing harmonies on Alton Ellis's "Sunday Coming" alongside Horace Andy and Larry Marshall. Ellis, a fellow Studio One artist, encouraged Brown to learn guitar to enhance his songwriting skills, leading Dodd to procure an instrument for him. Brown received basic guitar instruction from Ellis, a skill that would prove invaluable throughout his career. While Brown's tenure at Studio One was short-lived, his recordings with the label were compiled into two albums, "No Man is an Island" and "If I Follow my Heart," with the latter's title track penned by Alton Ellis. Venturing beyond Studio One, Brown collaborated with various producers including Lloyd Daley, Prince Buster, and Phil Pratt, before reuniting with Derrick Harriott. This partnership yielded a string of chart-topping singles such as "Silhouettes," "Concentration," "He Can't Spell," and "Musical Heatwave," which were featured on the acclaimed "Super Reggae and Soul Hits" album in 1973. Brown's versatility extended to collaborations with Vincent "Randy" Chin, Dennis Alcapone, and Herman Chin Loy, among others, all while juggling his burgeoning music career with his academic pursuits.


During his formative years as a vocalist, Brown found himself deeply influenced by elder contemporaries like Delroy Wilson, whom he later acknowledged as the most significant influence on his singing style. Other notable influences included Errol Dunkley, John Holt, Ken Boothe, and Bob Andy. Brown's initial venture into the world of recording began with an original composition titled "Lips of Wine," crafted for producer Derrick Harriott. However, when this track failed to see the light of day, Brown turned to Clement "Coxsone" Dodd's renowned Studio One label. It was here, at the tender age of twelve, that Brown's debut session produced the single "No Man is an Island," released in late 1969. The track garnered steady airplay for nearly a year before skyrocketing to immense popularity throughout Jamaica. Over the following years, Brown participated in numerous recording sessions for Dodd, contributing to approximately a dozen sessions and recording around thirty songs. Additionally, he lent his vocal talents as a backing singer on projects by fellow artists, including providing harmonies on Alton Ellis's "Sunday Coming" album alongside Horace Andy and Larry Marshall. Inspired by Studio One artist Ellis, Brown took up the guitar to enhance his songwriting skills, a decision that would prove instrumental in his musical journey. Despite departing Studio One before the release of his recordings, Brown's works with the label were eventually compiled into two albums: "No Man is an Island" and "If I Follow my Heart." Brown further expanded his repertoire by collaborating with various producers, including Lloyd Daley, Prince Buster, and Phil Pratt. A return to collaboration with Derrick Harriott resulted in a series of hit singles, including "Silhouettes," "Concentration," "He Can't Spell," and "Musical Heatwave," showcased on the acclaimed "Super Reggae and Soul Hits" album in 1973. Brown's versatility extended to collaborations with Vincent "Randy" Chin, Dennis Alcapone, and Herman Chin Loy, among others, all while balancing his burgeoning music career with his academic endeavors.

Notes

1.  Dennis Brown Archived 21 December 2007 at the Wayback Machine ReggaeTrain.com, accessed 3 December 2007.
2. ^ Thompson (2002), p. 43.
3. a b Adebayo (1999).
4. a b c d e f g h i j Reel (2000), p. 9.
5. ^ Simmonds (2008), p. 416.
6. ^ Walker (2006), p. 214.
7. a b c d Reel (2000), p. 10.
8. a b Foster (1999), p. 244.
9. ^ Reel, p. 12.
10. ^ Reel, p. 13.
11. ^ Reel, p. 17.
12. a b c Reel, p. 19.
13. a b c d e Reel, p. 20.
14. a b Reel, p. 23.
15. ^ Reel, p. 25.
16. ^ Reel, p. 27.
17. ^ Reel, p. 28.
18. ^ Reel, p. 30.
19. ^ Reel, p. 31.
20. ^ Reel, p. 33.
21. ^ Reel, p. 35
22. ^ Reel, p. 39
23. ^ Reel, p. 44.
24. ^ Reel, p. 45
25. ^ Reel, p. 55.