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Clinton Fearon
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Key Information
Clinton Anthony Fearon (born January 13, 1951) is a Jamaican reggae singer and musician. He has lived in Seattle, Washington since 1987.
Career
[edit]Jamaica
[edit]Clinton Fearon was born near Kingston, and quickly moved to St. Catherine, a rural Jamaican province. Fearon was heavily influenced by the music found at his local Seventh-day Adventist church. He returned to Kingston at age 16, where he founded his first band, The Brothers. Errol Grandison, who first encountered Fearon through his work with The Brothers, quickly offered him a chance to replace David Webber as the third member of The Gladiators.[1] He joined the group in 1969, first as a singer and then as a bass player and background vocalist after the departure of both Grandison and David Webber. He remained with the group until 1987, often appearing as the leader on songs including "Chatty Chatty Mouth", "Rich Man Poor Man", "Get Ready" and "Let Jah Be Praised". During these years, he also worked as a session-man for a range of artists, including Coxsone, Lee Perry, Joe Higgs, Yabby You, Joseph Hookim and Prince Tony Robinson.
United States
[edit]By the late 1980s, Fearon began to feel artistically crowded after nearly two decades of playing with the same band. As such, Fearon left the band and settled in Seattle, Washington, following the Gladiators' 1987 American tour, in order to launch his solo career. His first project in the United States, The Defenders, enjoyed moderate success with the EP "Rock Your Bones," released in 1989. The group was short-lived and disbanded in 1992.
In 1994, Fearon reorganized his musical vision by forming The Boogie Brown Band. The group's debut album, "Disturb the Devil," marks the beginning of Fearon's successful solo career and features Barbara Kennedy on keyboards, Lamar Lofton on bass, Girt Bolo on drums, and John Saba on guitar. He followed this release with a series of other albums produced by his newborn record label, Boogie Brown Productions.
Notable releases under Boogie Brown Productions also include Mi An' Mi Guitar, a 2005 acoustic album that refashions classic Gladiators recordings such as "Richman Poorman" and "Streets Of Freedom." Clinton Fearon followed Mi An' Mi Guitar with his 2006 album Vision, which is composed of long, melodic songs that masterfully complement his earlier solo releases. In 2008, Clinton Fearon released Faculty Of Dub, featuring all original music as well as his own bass playing for the first time in nearly two decades.
Clinton Fearon splits his time between Seattle and France and continues to tour with The Boogie Brown Band. His 2012 album Heart And Soul reached number 20 on the World Music Charts Europe in August 2012.[2] In 2016, he released the album This Morning.[3]
Discography
[edit]Solo albums
[edit]- 1994 - Disturb the Devil
- 1997 - Mystic Whisper
- 1999 - What a System + Dub Wise - dub version to What a System - (double CD)
- 2002 - Soon Come - Best
- 2004 - Give & Take
- 2005 - Mi An' Mi Guitar - acoustic album
- 2006 - Vision
- 2008 - Faculty Of Dub
- 2010 - Mi Deh Yah
- 2012 - Heart and Soul - acoustic album
- 2014 - Goodness
- 2016 - This Morning
- 2019 - History Say
- 2022 - breaking news
- 2024 - Survival Vibration
- 2025 - Jah is love[4]
With The Gladiators
[edit]- 197X - "One The Other Side" (drawn from the album Presenting)
- 197X - "Tribulation" (drawn from the album Presenting)
- 197X - "Jah Almighty" (drawn from the album Presenting)
- 197X - "Has Prayer To Thee" (drawn from the album Presenting)
- 197X - "Untrue Girl" aka "Ungrateful Girl" (drawn from the album Bongo Red, title produced by Lee "Scratch" Perry)
- 197X - "Small channel & Shine" (duet with Watty "King" Burnett, produced by Lee "Scratch" Perry)
- 197X - "Message To The Nation" (drawn from the 45rpm "Message To The Nation", produced by Lee " Scratch" Perry)
- 197X - "Stand Firm" (Dat Ma Val)
- 197X - "Togetherness" (Sky High)
- 1976 - "Chatty Chatty Mouth" (drawn from the album Trenchtown Mix Up)
- 1976 - "Thief In The Night" (drawn from the album Trenchtown Mix Up)
- 1977 - "Can You Imagines How I Feel" (drawn from the album Proverbial Reggae)
- 1977 - "Marvel Not" (drawn from the album Proverbial Reggae)
- 1977 - "Stop Before You Go" (drawn from the album Proverbial Reggae)
- 1978 - "Get Ready" (drawn from the album Naturality)
- 1978 - "Give Thanks & Praise" (drawn from the 45rpm produced by Yabby You and credited with the Prophets)
- 1979 - "Black Saturday" (drawn from 12" from Gregory Isaacs & U Roy The Tide Is High)
- 1979 - "Let Jah Be Praised" (drawn from the album Sweet So Till)
- 1979 - "Backyard Meditation" (drawn from the album Sweet So Till)
- 1979 - "Merrily" (drawn album Sweet So Till)
- 1980 - "Oh What has Joy" (drawn from the album GladiAtors)
- 1980 - "Disco Reggae" (drawn from the album GladiAtors)
- 1982 - "Rich Man, Poor Man" (drawn from the album Back To Roots)
- 1982 - "Streets Of Freedom" (drawn from the album Back To Roots)
- 1982 - "Follow The Rainbow" (drawn from the album Back To Roots)
- 1982 - "One Love" (drawn from the album Reggae To Bone)
- 1982 - "I'm Not Crying" (drawn from compilation Full Time)
- 2004 - "Dreadlocks The Time is Now" (19 track Compilation from Virgin Records)
DVDs
[edit]- Live At Reggae Bash (Lyon 2004)
References
[edit]- ^ Moskowitz, David V. (2006) Caribbean Popular Music: an Encyclopedia of Reggae, Mento, Ska, Rock Steady, and Dancehall, Greenwood Press, ISBN 0-313-33158-8
- ^ Johannes Theurer (list compiler) (1 August 2012). "World Music Charts Europe". Worldmusic Workshop of the European Broadcasting Union (EBU). Retrieved 1 August 2012.
- ^ "New morning, new songs from Clinton Fearon Archived 29 October 2016 at the Wayback Machine", Jamaica Observer, 28 October 2016. Retrieved 30 October 2016
- ^ http://s515461849.initial-website.com/albums/
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Clinton Fearon
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Early life
Birth and family background
Clinton Anthony Fearon was born on January 13, 1951, in Saint Andrew Parish, Jamaica, near Kingston.[3] Fearon grew up primarily in the rural hills of Saint Catherine Parish, where he lived with his father and stepmother in a countryside setting surrounded by nature.[6][7] His early years were marked by a single-parent dynamic in the rural environment, with limited public details available about siblings or extended family. At around age 15 or 16, he relocated to Kingston to live with his mother, transitioning from the quiet hills to the urban capital.[8][6] Fearon's initial exposure to music came through the Seventh-day Adventist church, where he and his father attended services and he joined the choir. This environment introduced him to singing and the concept of harmony, as he recalled discovering it while practicing alone on a stone near the church.[6] His father's support for his musical curiosity further shaped these formative experiences, including helping him acquire his first real guitar.[7] By age 16, this foundation propelled his move to Kingston, setting the stage for deeper involvement in music.[3]Musical beginnings in Jamaica
At the age of 15, in 1966, Clinton Fearon relocated from rural Saint Catherine to Kingston, Jamaica, where he immersed himself in the vibrant local music scene centered in areas like West Kingston. This move, prompted by staying with his mother, exposed him to the bustling sounds of ska, rocksteady, and emerging reggae, as well as the competitive studio environment and sound system culture that defined the island's urban music landscape.[9][10] Fearon's early musical skills were largely self-taught, beginning in his childhood when he crafted a rudimentary guitar at around age 11 using cedar wood, a machete for shaping, nails, and even fork teeth as frets for the neck. He drew initial inspiration from radio broadcasts and live performances, notably a school outing at age 9 where he witnessed The Skatalites in concert, an experience that solidified his aspiration to pursue music professionally. Additionally, his participation in church choirs during his youth in Saint Catherine provided foundational vocal training through gospel singing at Young People's Meetings and services. These influences—combined with attending rural sound system dances—helped him develop proficiency on guitar and later bass without formal lessons.[11][10][9] In Kingston, Fearon channeled his growing talents into forming his first band, The Brothers, around 1968 with friends Vin and Neville, marking his initial foray into group performance as a stepping stone toward a professional career. The group focused on original songs and covers, rehearsing informally and performing at amateur local gigs, including community events and small venues that allowed Fearon to hone his guitar and bass playing. They even auditioned at prominent studios like Studio One and Treasure Isle but faced rejections, experiences that built resilience while exposing him to the rigorous demands of Jamaica's recording industry. These early performances and collaborations sharpened his songwriting and stage presence before he sought opportunities with more established acts.[9][3][10]Career
With The Gladiators
Clinton Fearon joined The Gladiators in 1969 as bassist and backing vocalist, contributing to the band's foundational sound during their early years at Studio One. His involvement extended through the 1970s and into the 1980s, where he played bass on numerous recordings, provided lead and harmony vocals, and co-wrote several tracks that became staples of roots reggae.[12][3] One of the earliest showcases of Fearon's work with the group was the 1978 compilation Studio One Presents the Gladiators, which collected singles recorded between 1968 and 1972 at Clement Dodd's Studio One label. Fearon, who had joined shortly after the band's initial formation, is credited with bass and vocals on tracks like "Jah Almighty" and "Righteous Man," both written by Fearon, helping to establish the group's harmonious, proverb-laden style rooted in Jamaican gospel and Rasta themes.[13][14] The band's partnership with Virgin's Front Line imprint from 1976 onward marked a prolific period, with Fearon central to over ten albums and numerous singles during his tenure. Key releases include Trenchtown Mix Up (1976), where he delivered lead vocals on "Chatty Chatty Mouth," a critique of gossip and social ills, alongside bass throughout.[12][15] On the 1978 album Proverbial Reggae, Fearon co-wrote and contributed vocals to tracks such as "Fly Away," emphasizing spiritual resilience and biblical references, while his bass lines provided the rhythmic backbone for Albert Griffiths' leads.[16][17] In 1979, Fearon featured prominently on Naturality, playing bass and offering harmony vocals on selections like "Get Ready," which highlighted the band's evolving dub-infused sound. He also appeared on the concurrent release Sweet So Till, with his bass driving upbeat tracks such as "Merrily." These Virgin Front Line albums, produced by Tony Robinson, captured the trio's—Fearon, Griffiths, and Gallimore Sutherland—tight interplay, resulting in hits like "Dreadlocks the Time Is Now."[18][17] Fearon's songwriting shone on later efforts, including co-authoring "Fly Away" and "Can You Imagine How I Feel?" for Proverbial Reggae, both of which he sang lead on in live performances. By the early 1980s, albums like The Gladiators (1980) and Back to Roots (1982) showcased his continued vocal contributions, such as on "Rich Man Poor Man," a poignant commentary on inequality delivered with his distinctive tenor. Compilations and singles from this era, including "Streets of Freedom" (1982), further amplified his role, with over a dozen 7-inch releases under Virgin Front Line featuring his bass and occasional leads.[12][19] Overall, Fearon's eighteen-year stint yielded contributions to approximately twelve full-length projects, blending session work with other artists like brief overlaps on Israel Vibration tracks while prioritizing The Gladiators' output.[20][3]Session work and early bands
In the late 1960s and through the 1970s, Clinton Fearon built a reputation as a sought-after session bassist and vocalist in Jamaica's reggae recording studios, freelancing outside his emerging role with The Gladiators. He contributed to sessions for influential producers including Clement "Coxsone" Dodd at Studio One, where he laid down bass lines for various artists, helping to define the label's signature sound during its peak roots reggae era.[1][21] Fearon also worked extensively with Lee "Scratch" Perry at the Black Ark studio, providing uncredited bass on experimental dub and reggae tracks that captured Perry's innovative production style. His anonymous yet pivotal playing extended to other producers like Joe Higgs, Yabby You, Joseph Hookim, and Prince Tony Robinson, where he supported recordings by artists such as Jimmy Riley, Max Romeo, and Junior Byles.[22][1] These session contributions underscored Fearon's versatility and technical prowess on bass, influencing the rhythmic foundation of Jamaica's reggae output without drawing primary credit. His work at Studio One and the Black Ark, in particular, left an indelible mark on the genre's development, as his grooves appeared on releases that became staples of roots reggae collections.[1][21] Before solidifying his position with The Gladiators around 1970, Fearon formed his first band, The Brothers, at age 16 upon relocating to Kingston from rural Jamaica. This early group marked his initial foray into organized performance, bridging his amateur musical explorations with professional session opportunities.[20][11]Relocation to the United States
In 1987, Clinton Fearon departed from Jamaica and his long-standing role with The Gladiators during the band's final United States tour, choosing to settle permanently in Seattle, Washington.[23][24] This move marked the end of his Jamaican phase after nearly two decades with the group, prompted by a perceived decline in the band's cohesion and an opportunity for a fresh start abroad.[24] The decision was solidified when a fellow Gladiators member encountered issues with U.S. customs, leading Fearon to forgo returning to Jamaica and instead pursue residency in the Pacific Northwest.[25] Fearon's relocation was driven by both career aspirations and personal motivations, including a desire for greater stability for his family amid the uncertainties of life in Jamaica.[24] He brought his family with him to Seattle, where they established a new home, while he initiated the process for a green card to secure legal residency—a procedure that unexpectedly extended from an anticipated 1.5 years to five years, complicating his early settlement.[24] This transition allowed him to explore independent musical pursuits beyond the constraints of his previous band commitments, while prioritizing family security in a more stable environment.[24] Upon arriving, Fearon faced significant challenges adapting to the U.S. reggae scene, which was far less vibrant in Seattle than the bustling, roots-oriented culture of Kingston, Jamaica.[26] The city's music landscape at the time emphasized rock and jazz, resulting in a limited local audience for reggae and a profound cultural shift that made integration humbling after years of international touring with The Gladiators.[26] "It was a humbling situation because here you are, coming from a place where you are touring the world per say, and then you have to start all over again," Fearon reflected on the abrupt reset.[26] These early struggles involved rebuilding his professional network from scratch, often working with non-Jamaican musicians trained at local institutions like the Cornish College of the Arts, which required patience and adaptation to differing musical approaches.[26] Fearon's initial U.S. performances in Seattle began modestly with acoustic sets in small venues, helping him connect with the Pacific Northwest music community and gauge interest in his sound.[26] Through these efforts, he networked with local artists and promoters, laying the groundwork for sustained involvement in the regional scene despite the reggae genre's niche status.[26] Throughout this period, Fearon maintained his signature roots reggae style, carrying forward the harmonious rhythms and spiritual themes honed in Jamaica to bridge his past and emerging American chapter.[26]Solo career and later bands
Upon arriving in the United States, Clinton Fearon formed The Defenders in 1989, collaborating with fellow Jamaican musicians to launch his independent endeavors. The band released the EP Rock Your Bones that year, marking Fearon's initial foray into American reggae production and securing moderate local success through Seattle-area performances.[2][27] The group operated until around 1992, focusing on live gigs and original material that blended roots reggae with emerging West Coast influences.[2] In 1994, Fearon established The Boogie Brown Band, drawing from Seattle's jazz and reggae scenes to create a stable ensemble for his songwriting. Comprising local talents such as drummer Nelson Miller and guitarist Lief Dalan, the band debuted with the album Disturb the Devil, self-produced under the newly founded Boogie Brown Productions label.[28][29] This setup enabled Fearon to maintain creative control, releasing subsequent albums like Pilot Johnson (1996) and fostering a signature sound rooted in conscious lyrics and rhythmic groove. Boogie Brown Productions became the cornerstone of his output, handling distribution for both full-band and acoustic projects.[30] Fearon's touring schedule has centered on Seattle as a home base while emphasizing European circuits, particularly in France, where he has built a dedicated following since the early 2000s. With The Boogie Brown Band and later acoustic configurations like The Riddim Source, he has conducted annual tours, including multi-week runs across Normandy, Marseille, and Paris venues such as New Morning.[31][32] These performances, extending through 2025 with dates in Amstelveen and Tremblay-en-France, highlight his enduring appeal, often featuring sets that mix catalog staples with new material.[33] His session expertise from Jamaica has informed these productions, allowing seamless integration of live instrumentation.[2] Fearon's recent output underscores his prolific pace, with the 2022 album Breaking News addressing contemporary issues like social unrest through 11 tracks produced by Boogie Brown Productions. Released on June 3, 2022, it received acclaim for its timely messaging and Fearon's vocal depth.[34][35] In 2025, he followed with Jah Is Love (released June 6, 2025), a 10-song collection emphasizing spiritual resilience amid modern challenges, distributed via the same label.[5][36] The lead single "Sleepwalking," issued on March 7, 2025, critiques societal disconnection and garnered attention through its official video and streaming platforms.[37][38] These releases affirm Fearon's role as a roots reggae stalwart, with tours promoting them across continents.[39]Musical style and influences
Genre contributions and themes
Clinton Fearon's contributions to reggae are rooted in the classic roots reggae style, characterized by soulful, emotive vocals that convey deep humanity and introspection, often layered over bass-driven rhythms that provide a foundational groove. His arrangements frequently incorporate harmonious elements, drawing from his early experiences in church choirs in rural Jamaica, where gospel influences shaped his approach to vocal interplay and uplifting melodies. Additional influences include The Skatalites, Motown artists, and earlier Jamaican musicians, which contributed to his blend of ska, rocksteady, and R&B elements into roots reggae.[40] This blend creates a therapeutic, pastoral sound that emphasizes nature and communal harmony, distinguishing his work within the genre.[9][7] Lyrically, Fearon's songs recurrently explore themes of social justice, denouncing oppression, capitalism, and societal inequalities, as evident in tracks like "Rich Man Poor Man," which critiques class divisions and exploitation among the rich, poor, beggars, and thieves. Spirituality forms another core pillar, infused with Rastafarian principles of "livity"—a moral code emphasizing goodness, resistance to evil, and righteous living—often framed through reflections on life's journeys and collective moral struggles. Themes of love and unity underscore his advocacy for harmony, empowerment, and community solidarity, nudging listeners toward inner understanding and mutual support amid adversity.[41][42] Throughout his career, Fearon's style has evolved from the raw, energetic sound of his time with The Gladiators, marked by intense bass lines and group harmonies, to a smoother, acoustic-infused approach in his solo work after relocating to the United States. This shift, prominent in albums like Mi Deh Yah (2010), incorporates subtler grooves and introspective arrangements, reflecting his adaptation to new environments while preserving roots reggae essence. His multi-instrumental prowess—spanning guitar, bass (including acoustic models like the Taylor), and keyboards—enables self-contained compositions that highlight melodic versatility and personal expression across phases of his discography.[7][9]Key collaborations and legacy
Throughout his career, Clinton Fearon has engaged in notable collaborations that extend beyond his primary bands, blending his roots reggae expertise with emerging talents. In recent years, he partnered with the American band The Naya Rockers on the 2022 EP Guiding Star and the 2024 single "Come With Us," where his vocals and songwriting added depth to their modern reggae sound, produced under Naya Records. Similarly, Fearon collaborated with French guitarist Kubix on the 2024 acoustic album Survival Vibration, a duet project that highlighted intimate, stripped-down interpretations of his catalog and toured extensively in France. These efforts continued into 2025 with the recording of his album Jah Is Love in France, produced by The Riddim Source and featuring contributions from Danakil's brass section, marking a cross-cultural fusion that underscores his ongoing international partnerships.[43][44][45] Fearon's influence on younger reggae artists manifests through mentorship-like guidance in collaborative settings and high-profile live performances that inspire new generations. His 2023 live session on KEXP, Seattle's influential public radio station, showcased songs from Breaking News alongside emerging local musicians, drawing praise for his ability to elevate ensemble playing and share stagecraft with up-and-coming performers. Through such platforms, Fearon has indirectly mentored by demonstrating songwriting rooted in positivity and resilience, encouraging artists to explore themes of unity and perseverance in reggae.[46] His legacy is cemented by key recognitions and his role as a cultural bridge between Jamaican roots reggae and global scenes. The 2012 album Heart and Soul peaked at number 20 on the World Music Charts Europe in August, affirming his enduring appeal in international markets. In 2019, Fearon celebrated a 50-year career milestone with the release of History Say, reflecting on decades of contributions from Studio One sessions to Seattle-based productions. As a Jamaican expatriate in the U.S. since 1987, Fearon has bridged traditional roots with worldwide reggae evolutions, collaborating across continents—from Cuban ensembles to French producers—while promoting messages of peace that resonate in diverse cultural contexts.[47][48][7]Discography
Solo albums
Clinton Fearon's solo discography spans over three decades, beginning with his independent debut and evolving through collaborations with his Boogie Brown Band, emphasizing roots reggae with themes of social justice, spirituality, and personal reflection. Most of his early and mid-career albums were produced under Boogie Brown Productions, his own imprint formed in 1993, which handled recording and distribution for the majority of his output until partnerships with labels like Chapter Two Records and Wagram emerged in the 2010s. Later releases incorporate acoustic elements and dub influences, often featuring live session vibes or guest artists, while maintaining a focus on conscious lyrics. The following is a chronological list of his full-length solo albums:- Disturb the Devil (1994, Boogie Brown Productions, self-released): Fearon's debut solo effort, recorded shortly after relocating to the United States, features 13 tracks blending roots reggae with original compositions like the title song, produced by the newly formed Boogie Brown Band.[20]
- Mystic Whisper (1997, Boogie Brown Productions): The second album, highlighting Fearon's vocal harmonies and bass work, includes mystical and uplifting themes with production emphasizing live instrumentation.[49]
- What a System (1999, Boogie Brown Productions): A socially charged release critiquing systemic issues, mixed by dub engineer Scientist, accompanied by a dub version album What a System + Dub Wise.[49]
- Soon Come (2002, Boogie Brown Productions): Serving as a compilation-style overview of early solo material with some new tracks, it consolidates hits from prior releases while introducing fresh reggae rhythms.[50]
- Give & Take (2004, Boogie Brown Productions): Explores themes of reciprocity and community, with standout tracks showcasing Fearon's songwriting depth and band synergy.[45]
- Mi An' Mi Guitar (2005, Boogie Brown Productions): An acoustic album reinterpreting classics and new songs in a stripped-down format, marking Fearon's shift toward solo performances.[51]
- Vision (2006, Boogie Brown Productions): Focuses on spiritual and visionary lyrics, produced with the Boogie Brown Band for a full roots sound.[52]
- Faculty of Dub (2008, Boogie Brown Productions): A dub-oriented album featuring original instrumental tracks, emphasizing bass lines and echo effects.[53]
- Mi Deh Yah (2010, Boogie Brown Productions): Translating to "I'm right here," this release affirms presence with strong bass lines and positive messages.[45]
- Heart and Soul (2012, Chapter Two Records / Wagram): Fearon's second acoustic opus, delving into emotional introspection with guitar-driven arrangements.[51]
- Goodness (2014, Chapter Two Records / Wagram): Centers on themes of positivity and love, featuring uplifting tracks produced for international distribution.[54]
- This Morning (2016, Chapter Two Records / Wagram): His eleventh studio album, reflective and motivational, with the title track becoming a fan favorite for its morning-wake-up vibe.[8]
- History Say (2019, Boogie Brown Productions): Addresses historical and cultural narratives through reggae lenses, including bonus digital content.[55]
- Breaking News (2022, Boogie Brown Productions): Tackles contemporary social issues with urgent messaging, supported by the Boogie Brown Band.[49]
- Survival Vibration (2024, Boogie Brown Productions): An acoustic duet project with guitarist Kubix, emphasizing resilience amid global challenges.[45]
- Jah Is Love (2025, Boogie Brown Productions / Baco Music): The latest full-length release, featuring 10 tracks recorded with The Riddim Source and Danakil’s brass section, rooted in spiritual devotion.[5]