davek wrote:
Big Youth saw the version side as an open canvas to expound upon any subject he wanted to, and not just to continue the lyrical theme of the "A" side. IMO, he is one of the few JA srtists that can rightly be called "genius".
"Screaming Target" changed people's lives when it came out, and ushered in the possibility of an artist appearing on an LP cover wearing dreadlocks.....even before Bob did. Check your cover of "Screaming Target" (from 1972), where you see Youth with gorgon locks. Big Youth broke the "dreadlock barrier" in reggae, and created a wake that others rode.
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Davek:
I always enjoy your comments and you seem to be one of the more knowledgeable posters here. I remember you saying some time ago also that Big Youth is one of the best on-record performers, as opposed to DJs (such as Briggy) better at live performance.
Could you list a few or handful of specific tracks that illustrate your claim for his genius on record? I don't disagree with you at all, but maybe it's a little hard for me to recognize his genius sometimes because apparently so many other DJs were inspired by him. What I mean is, for example, in my case just by chance I heard Trinity, Dillinger and others before I ever heard Big Youth (I didn't start listening to reggae until the mid-to-late 80's, and what I heard was mostly whatever happened to be in the used bins at my local shops). So when I first heard him he sounded like just another DJ. And, some of his earliest recordings can sound like he's kind of mumbling a lot of 'tell you 'bout the sound as I would say' type stuff, without a whole lot of substantive lyrics, as many other DJs of the time did as well. Of course, on the flip side are tunes like "keep your dread" which show quite a bit of development on the lyrical front.
Anyway, I like Big Youth, but have come to him a bit late. I have the Trojan double CD, Screaming Target and the Blood and Fire 3 CD comp, but haven't really digested them yet. It's a lot to go through. So, if you'd like to point out a few particularly good examples, I'd be interested to listen to them with a new ear. I suspect this kind of thing happens often in many different genres of art. The originator doesn't sound quite as amazing to someone who wasn't there at the time to catch the full effect of the origination.