It was swiftly followed by "Schoolgirls" and the potent "Homeguard." More singles followed, including a clutch with the Mighty Two, and "Rootsman Revival" for Sonia Pottinger. The resulting debut cut, "Dread at the Controls," quickly became the DJ's anthem.
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Dread seemed to have the magic touch and so he took a shot at repeating his on-air success in the recording studio with the help of Lee Perry. In response, the Mighty Two released the cut "Uptown Top Ranking" toward the end of 1977, which went to the top of the charts in Jamaica and Britain. The pair had recently cut a song with the production team the Mighty Two, as a feminine retort to DJ Trinity's hit "Three Piece Suit," which Dread utilized for a jingle. The DJ employed whichever vocalists happened to be in the studio at the time, including two school girls, Althea Forrest and Donna Reid, who Dread soon began to favor. The DJ also knew his musical history, and one of his favorite tactics was to spin the original classic songs whose rhythms were currently mashing up the dancehalls.īut Dread didn't stop with anarchic patter and hip music his jingles - which were recorded at King Tubby's studio - were as groundbreaking as the show itself. He not only featured Jamaican music, but played the hottest new songs within days (and even hours) of their pressing. This led to advertising coming solely from those labels with adequate cash and with only two radio stations servicing the island, there were few alternatives to reaching national audiences. Thus Studio One, Treasure Isle, and the island's other larger labels would buy blocks of advertising time, during which they would play their new releases. Some of the labels had overcome this handicap through a pay-to-play system that wasn't exactly payola, but a system of advertising. Even as the Jamaican recording industry had flourished across the '60s, this aversion to local music had not diminished. Jamaican radio had not revolved around local talent, but rather imported music mostly from the United States. Taking the name Mikey Dread, the DJ's four-hour spot, which he called Dread at the Controls, was a revelation.
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Born in 1954, in Port Antonio, Jamaica, Michael Campbell came to national prominence in the '70s with a weekly radio show on JBC (Jamaican Broadcasting Company). for his work with old school punk heroes the Clash, but in his Jamaican and adopted British home, his legacy is seen as much more than that.
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Seminal radio DJ, artist, producer, and TV host Mikey Dread may be best-known in the U.S.