U-Roy (Ewart Beckford) – The Originator
Born: September 21, 1942 – Died: February 17, 2021
From: Jones Town, Kingston, Jamaica
U-Roy, affectionately known as The Originator, was a trailblazing Jamaican vocalist and pioneer of the “toasting” style—a rhythmic spoken word form that would later influence the development of dancehall, hip-hop, and MC culture worldwide. U-Roy revolutionized reggae music in the late 1960s and early 1970s by turning the deejay into a frontline performer.
He began his musical journey on the sound system circuit, performing with legends such as King Tubby’s Hometown Hi-Fi, Coxsone Dodd’s Sir Coxsone Downbeat, and Sir George the Atomic. U-Roy’s major breakthrough came in 1970 when legendary producer Duke Reid invited him to voice over classic rocksteady tracks. His first three singles—“Wake the Town,” “Rule the Nation,” and “Wear You to the Ball”—were massive hits in Jamaica, occupying the top three spots on the charts simultaneously.
Unlike earlier deejays who primarily hyped the crowd, U-Roy developed a style of melodic chanting and rhyming commentary layered over instrumental tracks, effectively turning the sound system into a recording artist’s platform. His smooth voice, spiritual energy, and social consciousness earned him global acclaim.
U-Roy later founded his own Stur Gav Hi-Fi sound system, which became a training ground for future stars such as Josey Wales, Charlie Chaplin, and Brigadier Jerry. He collaborated with influential producers and artists like Lee “Scratch” Perry, Mad Professor, and Tiken Jah Fakoly, solidifying his influence across generations and continents.
With a career spanning over five decades, U-Roy is considered one of the founding fathers of dancehall and rap. His impact is etched into the DNA of modern music, inspiring not just Jamaican artists, but also hip-hop legends like Kool Herc and The Sugarhill Gang.
Legacy:
U-Roy’s contribution to Jamaican music and global culture is immeasurable. His innovative toasting style opened the doors for future reggae deejays, sound system culture, and global MC artistry. Even after his passing in 2021, his voice continues to echo in every sound clash, stage show, and record that celebrates Jamaica’s musical heritage.
I-Roy (Roy Samuel Reid) – The Teacher
Born: June 28, 1944 – Died: November 27, 1999
From: St. Thomas, Jamaica
I-Roy, born Roy Samuel Reid, was one of the most intelligent, witty, and versatile toasters of reggae’s golden age. Nicknamed “The Teacher” for his articulate delivery and scholarly lyrical content, I-Roy blended humor, social commentary, and rapid-fire wordplay into a style that elevated the art of deejaying to new intellectual heights.
He began his career as a sound system deejay in the late 1960s, performing on Son’s Junior Sound before rising to prominence in the early 1970s with recordings for producers like Gussie Clarke, Bunny Lee, and Channel One. His breakout came through hits like “Sidewalk Killer,” “Welding,” “Hot Bomb,” and “Hospital Trolley.”
I-Roy’s lyrical approach was characterized by sharp political insights, comedic skits, biblical references, and playful jabs at fellow deejays—including his friendly rivalry with U-Roy. Unlike his predecessors, I-Roy often wrote in a more structured, narrative format, giving his songs a deeper sense of storytelling and poetic rhythm.
In addition to his solo work, I-Roy collaborated with reggae greats like Dennis Brown, The Mighty Diamonds, and Gregory Isaacs, and became one of the most recorded deejays of the 1970s and early 1980s. Albums like “Hell and Sorrow,” “Crisis Time,” and “Don’t Check Me With No Lightweight Stuff” remain reggae classics.
Unfortunately, despite his immense talent and contributions to reggae culture, I-Roy struggled with health and financial issues in his later years. He passed away in 1999, but his body of work continues to be revered by reggae enthusiasts and scholars around the world.
Legacy:
I-Roy is remembered not only as a lyrical genius but also as a cultural educator through music. His blend of humor, intellect, and rhythm left an indelible mark on the evolution of reggae and dancehall, and his influence can still be heard in modern-day Jamaican lyricism and sound system culture.
