Dennis brown slow down - Dennis Brown - Slow Down Woman - YouTube

Dennis Brown 's career went off the boil in the early '80s, until he paired up with Gregory Isaacs in 1984 and recorded two excellent albums, which turned back up the heat. The first, Two Bad Superstars Meet, was produced by Prince Jammy , and it was to him that the singer turned when he came to record 1985's Slow Down , which is now reissued by Greensleeves. By this point, Jammy had established himself at the forefront of dancehall production, but his style worked equally well with roots veterans like Brown himself. A rootsy sound permeated his productions, albeit cut through with digital sounds, while his heavy use of horns and mid-tempo rhythms harked back to the rocksteady age. All of this conspired to provide a perfect backdrop for Brown , and all of Slow Down just simmers. Its follow-up, The Exit, gained the lion's share of attention; however, all the elements that made that a great album were already in place here. Packed with powerful vocal performances, Brown shifts through emotional gears and lyrical themes, just as passionate on the love songs as the cultural tracks. The single "Slow Down Woman" and "It's Magic" (a nod to Motown) are particularly delightful poppy numbers, "They Fight I" and "Africa We Want to Go" are stand-outs among the rootsier cuts, while "Come on Over" and a cover of John Holt 's "Let's Build Our Dreams" are a sublime blend of roots and rocksteady. The other six songs are just as strong. Jammy's style appealed to audiences across the musical spectrum, while Brown 's ability to shift from roots to lovers rock electrified audiences young and old, making Slow Down one of those rare records: an album that really can be all things to all people.

As a young singer Brown was influenced by older contemporaries such as Delroy Wilson (whom he later cited as the single greatest influence on his style of singing), [6] Errol Dunkley , John Holt , Ken Boothe , and Bob Andy . [4] Brown's first recording was an original song called "Lips of Wine" for producer Derrick Harriott , but when this was not released, he recorded for Clement "Coxsone" Dodd 's Studio One label, and his first session yielded the single "No Man is an Island", recorded when Brown was aged twelve and released in late 1969. [7] The single received steadily increasing airplay for almost a year before becoming a huge hit throughout Jamaica. [7] Brown recorded up to a dozen sessions for Dodd, amounting to around thirty songs, and also worked as a backing singer on sessions by other artists, including providing harmonies along with Horace Andy and Larry Marshall on Alton Ellis 's Sunday Coming album. [7] [8] Brown was advised by fellow Studio One artist Ellis to learn guitar to help with his songwriting, and after convincing Dodd to buy him an instrument, was taught the basics by Ellis. [7] These Studio One recordings were collected on two albums, No Man is an Island and If I Follow my Heart (the title track penned by Alton Ellis), although Brown had left Studio One before either was released. [9] He went on to record for several producers including Lloyd Daley ("Baby Don't Do It" and "Things in Life"), Prince Buster ("One Day Soon" and "If I Had the World"), and Phil Pratt ("Black Magic Woman", "Let Love In", and "What About the Half"), before returning to work with Derrick Harriott, recording a string of popular singles including "Silhouettes", "Concentration", "He Can't Spell", and "Musical Heatwave", with the pick of these tracks collected on the Super Reggae and Soul Hits album in 1973. [10] Brown also recorded for Vincent "Randy" Chin ("Cheater"), Dennis Alcapone ("I Was Lonely"), and Herman Chin Loy ("It's Too Late" and "Song My Mother Used to Sing") among others, with Brown still at school at this stage of his career. [11]

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