It’s a dark day for reggae.

Back in around 2000 or so (maybe earlier 98, 99?) we were main support for his retooled band. It was composed of a lot of kids from CA ska bands.. I think maybe someone from Reel Big Fish, Steve Choi from Rx Bandits , Peter from Slow Gherkin.. everyone was at one point was in this project. It was kind of strange.

I remember that he was quite friendly, but sort of that "I'm a total pro" attitude - not off putting or anything, but he was pretty proud of himself. I also remember he had a super young girlfriend at his side. Really young. I think he had quite the reputation as a womanizer. But damn, that cat had crazy energy on stage. He was just skankin' and singing hit heart out. It didn't even really matter that his bandmates probably had a median age of 20.
 
The other day I was watching some 'Globetrekker' program where they visited Jamaica.

The biggest star in their music scene is some pudgy hip-pop Will Smith wannabe who was (I kid you not) popping wheelies on his gold-rimmed moped in the documentary clip.

Whatever happened to dying with 47 different types of lice in your dreds :lol:
 
[quote name='coltyhuxx']Back in around 2000 or so (maybe earlier 98, 99?) we were main support for his retooled band. It was composed of a lot of kids from CA ska bands.. I think maybe someone from Reel Big Fish, Steve Choi from Rx Bandits , Peter from Slow Gherkin.. everyone was at one point was in this project. It was kind of strange.

I remember that he was quite friendly, but sort of that "I'm a total pro" attitude - not off putting or anything, but he was pretty proud of himself. I also remember he had a super young girlfriend at his side. Really young. I think he had quite the reputation as a womanizer. But damn, that cat had crazy energy on stage. He was just skankin' and singing hit heart out. It didn't even really matter that his bandmates probably had a median age of 20.[/quote]

Man, Dekker really did play with everybody! I remember Chris Murray talking about how much he enjoyed sharing a stage with him, and a bunch of others cats too. I've never heard a lot of shit talked about him. He seemed to be a real solid guy. I can't vouch for that, but his music always meant a lot to me.
 
I totally read that as Reggie, as in the Fils-Aime variety, and was like "What? He just got promoted yesterday!"

RIP.
 
Somehow, seeing the thread title, I knew who made the OP before clicking it. Someone forwarded an article to me this morning, and my wife wakes up and says "what the hell are you doing reading the Jamaican Observer!?!?!"

Such is life. While Dekker was a bit too falsetto for my liking, his influence was undeniable. RIP.
 
[quote name='mykevermin']Somehow, seeing the thread title, I knew who made the OP before clicking it. [/quote]

Knew it was me, huh? Was it because of my love of music or my fascination with celebrity deaths? ;)

Someone forwarded an article to me this morning, and my wife wakes up and says "what the hell are you doing reading the Jamaican Observer!?!?!"

Such is life. While Dekker was a bit too falsetto for my liking, his influence was undeniable. RIP.

My wife's just pissed because I've been pumping up the old school reggae for two days straight. She has a limited tolerance for all things not poppy and modern.
 
Thorough examples for why the New York Times is my favorite paper:

Desmond Dekker, 64, Pioneer of Jamaican Music, Dies
By JON PARELES

Desmond Dekker, the Jamaican singer whose 1969 hit, "The Israelites," opened up a worldwide audience for reggae, died on Wednesday. He was 64.

He died after collapsing from a heart attack at his home in Surrey, England, his manager, Delroy Williams, told Reuters.

"The Israelites" was the peak of Mr. Dekker's extensive career, selling more than a million copies worldwide. He was already a major star in Jamaica and well known in Britain. The song was his only United States hit, but it was a turning point for Jamaican music among international listeners.

The Jamaican rhythm of ska had already generated hits in the United States, notably Millie Small's 1964 hit, "My Boy Lollipop." But that song was treated as a novelty. "The Israelites," with its biblical imagery of suffering and redemption, showed the world reggae's combination of danceable rhythm and serious, sometimes spiritual intentions.

Mr. Dekker was named Desmond Adolphus Dacres when he was born in Kingston, Jamaica, in 1941. As a teenager he worked in a welding shop alongside Bob Marley and auditioned unsuccessfully for various producers until Mr. Marley encouraged him to try out for his own first producer, Leslie Kong.

Mr. Kong produced Mr. Dekker's first single, "Honour Thy Father and Mother," in 1963, and it reached No. 1 in Jamaica. Like many of Mr. Dekker's songs, it carried a message. A string of Jamaican hits followed, including "It Pays," "Sinners Come Home" and "Labour for Learning." Mr. Dekker had a total of 20 No. 1 hits in Jamaica.

A series of songs including "Rude Boy Train" and "Rudie Got Soul" made Mr. Dekker a hero of Jamaica's rough urban "rude boy" culture.

His 1960's songs used the upbeat ska rhythm, a precursor to reggae also known as bluebeat. By the end of the decade, Mr. Dekker had won the Golden Trophy award, presented annually to Jamaica's top singer, five times and was known as the King of Bluebeat. He won the Jamaican Song Festival in 1968 with "Intensified."

"Honour Thy Father and Mother" was released in Britain in 1964 on Chris Blackwell's Island label, which would later release Bob Marley's albums. Three years later, Mr. Dekker had his first British Top 20 hit with "007 (Shanty Town)," a tale of rude-boy ghetto violence — "Dem a loot, dem a shoot, dem a wail" — sung in a thick patois, which Americans would hear later as part of the soundtrack to the film "The Harder They Come" in 1972. Paul McCartney slipped Mr. Dekker's first name into the lyrics to the Beatles' ska song, "Ob-La-Di, Ob-La-Da," on "The Beatles" (also known as the White Album) in 1968, the year Mr. Dekker moved to England.

With "The Israelites," released in Jamaica in December 1968, Mr. Dekker had an international impact. "I was telling people not to give up as things will get better," he said in a interview last year for the Set the Tone 67 Web site.

"The Israelites" reached No. 1 in Britain and No. 9 in the United States in 1969. The song would return to the British charts in 1975 and was reissued as a single after being used in a commercial for Maxell recording tape in 1990.

Although Mr. Dekker had no further hits in the United States, he continued to have hits in England with "It Mek" in 1969 and the first recording of Jimmy Cliff's "You Can Get It if You Really Want" in 1970. But while Mr. Dekker kept up a busy performing career, the death of Mr. Kong in 1971 ended his streak of hits. He returned to the British charts with "Sing a Little Song" in 1975.

The punk era of the late 1970's brought with it an English revival of ska by groups like Madness and the Specials. Mr. Dekker's songs were rediscovered, and he was signed by Madness's label, Stiff Records. His 1980 album, "Black and Dekker," featured members of a venerable Jamaican band, the Pioneers, and Graham Parker's band, the Rumour. The British hitmaker Robert Palmer produced Mr. Dekker's next album, "Compass Point," in 1981. But in 1984 Mr. Dekker declared bankruptcy, blaming his former manager.

In 1993, the Specials reunited and backed up Mr. Dekker on the album "King of Kings," with remakes of ska hits. In 2000 he released the album "Halfway to Paradise." He continued to tour regularly; his final concert was on May 11 at Leeds University.

Mr. Dekker was divorced and is survived by a son and daughter.
 
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