Sly dunbar: The Drummer Who Defined a Generation of Reggae and Beyond
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A teenage debut on a UK chart-topping reggae hit, groundbreaking rhythmic innovations, and collaborations spanning Bob Dylan to Britney Spears – Sly Dunbar’s career is a testament to the power of adaptable musicianship and a uniquely Jamaican groove. His influence on modern music is profound, yet frequently enough understated, making him a pivotal figure in the evolution of popular sound.
From Early Success to Pioneering Rhythms
Dunbar’s entry into the music world arrived swiftly with Dave and Ansel Collins’ “Double Barrel” in 1970. While not necessarily his most technically dazzling performance, the track’s success – reaching No. 1 in the UK and selling 300,000 copies despite limited radio play – was an extraordinary feat for a drummer in his teens.This early triumph laid the foundation for a career defined by rhythmic innovation and a willingness to explore musical boundaries.
His partnership with bassist Robbie Shakespeare, beginning in the early 1970s, proved to be a defining force in reggae. Together, they created a sound that was both deeply rooted in jamaican tradition and forward-looking in its experimentation. Their work with producer Lee “Scratch” Perry at Black Ark Studios was particularly influential,shaping the sound of roots reggae and dub.
His drumming on Junior Murvin’s 1976 track “Police and Thieves” – notably without Shakespeare on bass – showcased his ability to provide a solid, yet nuanced foundation for a haunting vocal performance.He also contributed to Bob Marley’s “punky Reggae Party,” a song directly inspired by the Clash’s cover of “Police and Thieves,” further demonstrating his reach across musical boundaries.
The late 1970s brought further acclaim with Culture’s Two Sevens Clash (1977), considered a cornerstone of roots reggae. The album’s title track,with its apocalyptic prophecies and fervent delivery,remains a powerful statement of faith and resistance,propelled by Dunbar’s driving rhythm.
A Global Collaborator
By the 1980s, Dunbar and Shakespeare had become sought-after session musicians, their adaptability allowing them to seamlessly integrate into diverse projects.Their work with Grace Jones as part of Compass Point Studios’ house band yielded some of their most iconic recordings, including the genre-bending “Pull Up to the Bumper” (1981).The track’s unique blend of dub, disco, electro-pop, and post-punk, anchored by Dunbar’s “humid-sounding groove,” defied easy categorization.
Their collaborative spirit extended to unexpected corners of the music world. In 1983, Bob Dylan enlisted Dunbar and Shakespeare for his Infidels album, infusing the biblical imagery with a subtle jamaican spirit. This collaboration was praised for its organic feel, a stark contrast to the frequently enough-clumsy attempts at reggae by rock artists of the era.
Further demonstrating their versatility,Dunbar and Shakespeare produced work for Gwen Guthrie,with the Larry Levan remix of “Padlock” (1985) highlighting Dunbar’s “unshowy,but supremely funky drumming.” The remix’s emphasis on Dunbar’s contribution was visually reflected on the sleeve, where his name appeared prominently.
Continued Innovation and Legacy
Even as artists in their own right, Sly and Robbie continued to push boundaries. Their 1987 hit, “Boops (Hear to Go),” featuring Shinehead, blended elements of hip-hop, classical music, and spaghetti western soundtracks, showcasing their willingness to experiment. Their influence extended into the dancehall scene in the 1990s, with their work on Chaka Demus and Pliers’ Tease Me album, particularly tracks like “Bam Bam” and “Murder She Wrote,” featuring innovative rhythms – sometimes without bass – that would become widely sampled.
Sly Dunbar’s career is a remarkable journey through the evolution of reggae and its influence on global music.His drumming isn’t merely about keeping time; it’s about creating a feeling, a space, a uniquely Jamaican heartbeat that continues to resonate across genres and generations.
