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Joseph Benjamin Higgs (3 June 1940 – 18 December 1999) was a reggae musician from Jamaica. In the late 1950s and 1960s he was part of the duo Higgs and Wilson together with Roy Wilson. He was a popular artist in Jamaica for four decades and is also known for his work tutoring younger musicians including Bob Marley and the Wailers and Jimmy Cliff.

Biography

[edit]

Higgs was instrumental in the foundation of modern Jamaican music, first recording in 1958 for producer and businessman (and later Jamaican Prime Minister) Edward Seaga, both as a solo artist and with Roy Wilson.[1] He is often called the "Godfather of Reggae".[1] His first release (with Wilson) was "Oh Manny Oh" in 1958, which was one of the first records to be pressed in Jamaica and went on to sell 50,000 copies.[1] Higgs and Wilson also recorded for Clement "Coxsone" Dodd in the late 1950s and early 1960s. The partnership with Wilson dissolved in 1964 when Wilson emigrated to the United States.[1] Higgs then concentrated on a solo career and also worked with Carlos Malcolm and the Afro-Jamaican Rhythms, before joining Lynn Taitt's The Soul Brothers as lead vocalist.[1]

Higgs mentored young singers in his yard and began working with Bob Marley in 1959.[2] In fact, it was at one of the informal music lessons Joe Higgs held in Trench Town, that Bob and Bunny Livingston met Peter Tosh.[3][4] Marley acknowledged later on that Higgs had been an influential figure for him, while Higgs described their time together: "I am the one who taught the Wailers the craft, who taught them certain voice technique".[1] It was Higgs who introduced the Wailers to Dodd in 1963.[1][5]

Higgs has also been described as the "Father of Reggae" by Jimmy Cliff. For a while Higgs toured with Cliff, acting as his bandleader as well as writing songs for Cliff including "Dear Mother", and also performed with The Wailers on their US tour when Bunny Wailer refused to go on the tour in 1973.[1] Higgs wrote "Steppin' Razor" in 1967 as his entry in the Festival Song Contest, later recorded by Tosh without crediting Higgs. Higgs later won a court case to establish his rights as composer but never received any profits from the song's success.[1]

Higgs won the Jamaican Tourist Board Song Competition in 1972 with "Invitation to Jamaica", released as a single on his own Elevation label, and much of his best-known solo work was issued in the 1970s.[1] Singles included "More Slavery" (released on Micron), "Creation" (Ethnic Fight), "Let Us Do Something" (Elevation), and "World Is Upside Down" (Island). His debut album, Life of Contradiction, had been recorded in 1972 for Island Records, but as Island boss Chris Blackwell felt that it would be difficult to market it remained unreleased until 1975, when it was issued by Micron Music,[6] and has been described as "a seminally sophisticated work combining reggae, jazz, and rhythm and blues influences to create a new texture that would have a profound effect on the best Jamaican music to follow". As well as The Wailers, Higgs also helped several other singers and groups including The Wailing Souls.[1]

His second album, Unity Is Power, was released in 1979 and further singles followed on Cliff's Sunpower label and Bunny Wailer's Solominic imprint.[1] His 1983 single "So It Go", with a lyric critical of the Jamaican government of the day was banned from airplay and led to harassment which would eventually lead to Higgs relocating to Los Angeles, where he lived for the rest of his life.[7] Two further albums were released in the 1980s, Triumph (1985) and Family (1988), and in 1990 he recorded Blackman Know Yourself on which he was backed by the Wailers Band, and includes covers of the Marley/Lee Perry songs "Small Axe" and "Sun Is Shining". In 1995, his final album was issued, Joe and Marcia Together, a collaboration with his daughter.[1]

A majority of Higgs' songs were connected to his impoverished life in Trenchtown where he grew up. Higgs considered that it was out of the poverty and violence of Kingston's shantytowns such as Trenchtown and Johnstown that the reggae music had grown. Before reggae hit big on the western music scene with Bob Marley, it was understood as a "ghetto music". Higgs was the very first artist out the ghetto music scene to have lyrics which primarily dealt with everyday troubles. In his own words:

"Music is a matter of struggle. It's not good that it's known you're from Trenchtown. Reggae is a confrontation of sound. Reggae has to have that basic vibrant sound that is to be heard in the ghetto. It's like playing the drum and bass very loud. Those are the basic sounds. A classical reggae should be accepted in any part of the world. Freedom, that's what it's asking for; acceptance, that's what it needs, and understanding, that's what reggae's saying. You have a certain love come from hard struggle, long suffering. Through pain you guard yourself with that hope of freedom, not to give up...""[8]

Higgs died of cancer on 18 December 1999 at Kaiser Hospital in Los Angeles.[2] At the time of his death he was working with Roger Steffens on an official biography, and had been working on a collaboration with Irish artists, including John Alexander Reed and Ronald Padget for the Green on Black album.[2][7] He was survived by twelve children, including his daughter Marcia, who is a rapper, and son Peter, a studio guitarist.[2]

In 2006, the Joe Higgs Music Awards were established in his honour.[9]

Quotations

[edit]

From memorial website:

  • "Joe Higgs was a brother amongst the Wailers for years. He was encouragement, and he inspired us and kept us together." – Peter Tosh (1976)
  • "We looked up to Joe Higgs. He was something like a musical guardian for us. He was a more professional singer, because he was working for years with a fella named Roy Wilson as Higgs & Wilson. They had a lotta hits and they had the knowledge of the harmony techniques, so he taught us [The Wailers] them. And he helped in the studio, to work out our different parts." – Bunny Wailer (1980's)
  • "Joe Higgs helped me understand that music. He taught me many things." – Bob Marley

Discography

[edit]
Contributions to other albums
  • Negril (LP, 1975. Micron Music Ltd.) (CD, 2003. 3D Japan), session musician

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Joe Higgs

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Joe Higgs (c. 1940 – 18 December 1999) was a Jamaican , and recognized as a foundational figure in , often called the "Godfather of Reggae" for his pioneering role in the genre's techniques and his mentorship of emerging artists including . Emerging from Kingston's neighborhood, he debuted in 1960 as part of Higgs and Wilson, producing early singles like "Oh Manny Oh" that bridged and into reggae's precursors, while later solo efforts emphasized peace, social awareness, and intricate harmonies. Higgs's most enduring impact stemmed from his informal vocal training sessions in , where he coached , , , and others in and presence, directly influencing the Wailers' early sound and reggae's global evolution. Despite limited mainstream commercial success compared to his protégés—owing in part to industry dynamics favoring flashier acts—his compositions and teachings promoted , a stance reinforced after surviving a 1968 shooting that deepened his commitment to non-violence amid Jamaica's turbulent social climate. He relocated to the in later years, continuing performances until his death from cancer in at age 59, leaving a legacy of technical innovation and ethical grounding in reggae's roots.

Early Life

Childhood and Upbringing in Trench Town

Joseph Benjamin Higgs was born on June 3, 1940, in , to a father originating from the . He spent his formative years in the Trench Town neighborhood, a government-subsidized area marked by severe poverty, overcrowding, and social instability, where residents faced chronic economic hardship amid rudimentary living conditions. Trench Town's environment, often described as a ghetto rife with and deprivation, nonetheless cultivated communal bonds and cultural resilience among its youth, exposing Higgs to the raw dynamics of and mutual support that would underpin his enduring emphasis on unity and . This upbringing in Kingston's underbelly honed his adaptability, as he navigated daily challenges without the privileges of affluence or extensive institutional support. Higgs received only limited formal education, typical for children in Trench Town's resource-scarce setting, where priorities centered on immediate subsistence rather than prolonged schooling. Instead, he absorbed influences through the neighborhood's vibrant street culture, including exposure to diverse sounds from local record shops and early sound systems that broadcast American R&B, jazz, and calypso, fostering his innate musical inclinations via informal, self-directed immersion. This grassroots learning environment, amid the ghetto's adversities, built the self-reliance that defined his early development.

Initial Exposure to Music

Growing up in the impoverished Trench Town area of Kingston, Joe Higgs was exposed to a diverse array of musical styles primarily through battery-powered radios and occasional live performances by local artists. These included American , harmonies, and the operatic vocals of , alongside indigenous Jamaican forms such as and the emerging rhythm. Such access fostered an early appreciation for vocal precision and melodic structure, with Lanza's powerful particularly influencing Higgs' development of controlled phrasing and emotional delivery. In the late 1950s, Higgs began experimenting with multi-part harmony singing and basic guitar playing alongside neighborhood peers, including Roy Wilson, in informal gatherings that emphasized collective trial-and-error refinement over structured lessons. Lacking access to formal , he honed these skills through persistent self-directed practice, analyzing radio broadcasts and mimicking sounds to build technical proficiency in arrangement and pitch matching. This empirical approach—repeating attempts until achieving desired results—underpinned his foundational abilities, enabling intuitive grasp of harmony without reliance on institutional training or notation.

Musical Career

Formation and Success of Higgs and Wilson

Joe Higgs partnered with Roy Wilson in the late to form the duo Higgs and Wilson, drawing from Kingston's neighborhood and contributing to the shift from to emerging Jamaican styles. Their early recordings, beginning around 1958, emphasized close-harmony vocals influenced by traditions adapted to local sounds. The pair worked with producer Clement "Coxsone" Dodd at Studio One in the late and early , helping pioneer harmony techniques that bridged and the nascent rhythm. Key singles included "Oh Manny Oh" released in 1960, which showcased their melodic interplay and gained traction in Jamaica's burgeoning music scene. Tracks like "There's a Reward," produced by Dodd during the era around 1962-1965, further highlighted their vocal synergy and addressed themes of perseverance amid hardship. These releases positioned Higgs as the first artist from to achieve notable commercial success, sparking interest in the area's talent and influencing subsequent vocal groups. The duo's partnership ended in 1964 when Wilson emigrated to the , amid evolving musical trends toward solo acts and band formats. This period solidified Higgs' standing for innovative melodic arrangements in Jamaican harmony vocals, laying groundwork for later developments in the genre despite the duo's relatively short tenure.

Transition to Solo Work and Songwriting

Following Roy Wilson's emigration to the United States in the late , Joe Higgs shifted from duo performances to solo recordings, continuing to cut singles for producers like at Studio One. This transition aligned with the stylistic evolution from and toward , where Higgs adapted his vocal harmonies—honed in the duo era—to emerging one-drop rhythms and bass-heavy arrangements, prioritizing lyrical depth drawn from Kingston's social hardships over fleeting ska trends. Higgs' songwriting during this phase emphasized authentic narratives of struggle and resilience, as evidenced in compositions for other artists including and , which contrasted with the era's more performative, hit-driven output. Tracks like "Captivity," recorded in the late 1960s, exemplified his solo approach, blending introspective themes of confinement with rhythmic innovation that foreshadowed reggae's introspective turn, though such efforts garnered modest airplay amid industry preferences for charismatic frontmen. A key point of contention arose over "Steppin' Razor," which Higgs entered in Jamaica's 1967 Festival Song Contest and later claimed primary authorship for, asserting its origins in his personal reflections on vulnerability and strength; however, Peter Tosh's 1973 recording credited it solely to Tosh, prompting Higgs to pursue legal action for recognition and royalties, with outcomes favoring Tosh's established credit in official discographies despite Higgs' documented input. This dispute underscored broader challenges in Jamaica's recording industry, where song credits often prioritized popular interpreters over originators, limiting Higgs' financial gains even as his compositional influence persisted.

Key Collaborations and Mentorship

In the early 1960s, Joe Higgs mentored , , and , teaching them essential techniques and structuring their group arrangements during sessions at Clement Dodd's Studio One label, where he introduced the trio to the producer around 1963. Higgs emphasized practical voice control and harmony crafting, stating that he "taught The Wailers the craft" to enable precise, layered performances amid Jamaica's often ad-lib heavy and scenes. This guidance extended to stagecraft, including presence and delivery, as Higgs instructed the group in professional performance fundamentals that supported their transition from raw talent to cohesive unit. Higgs' role reinforced group stability, with Peter Tosh later crediting him as a "brother amongst the Wailers" who provided encouragement and maintained unity through disciplined rehearsal practices. He applied similar instruction to other emerging artists, such as , focusing on singing technique and individual proficiency to build self-reliant performers capable of authentic expression without overdependence on . This empirical approach prioritized measurable skill acquisition—harmony precision, breath control, and emotional phrasing—over unstructured jamming, fostering artists who could replicate and refine their output consistently. Higgs demonstrated ongoing collaboration in 1973 by substituting for Bunny Wailer on the Wailers' inaugural U.S. tour, handling vocals and percussion across dates including performances in and , where he contributed to sets alongside and . His participation underscored a rooted in direct involvement, helping bridge the group's internal tensions while applying his techniques to live contexts.

Major Releases and Industry Challenges

Joe Higgs released his debut solo album, Life of Contradiction, in 1975, featuring original tracks such as "There's a Reward," which emphasized themes of perseverance amid and hardship with like "Everyday my heart is sore / Seeing that I'm so poor / But I shall not give up so easy / 'Cause there's a reward for me." The album, recorded earlier in 1972 but delayed in release, showcased Higgs' lyrical depth rooted in everyday struggles, yet it achieved limited commercial traction, appealing primarily to dedicated enthusiasts rather than broader audiences. In 1979, Higgs issued Unity Is Power, produced at Aquarius Studios with a focus on unity, devotion, and through songs like "Neither Gold Nor Silver" and the title track, highlighting his preference for substantive messages over polished production. Subsequent releases included Triumph in 1985 on , praised for its resilient spirituality in tracks such as "Creation" and "So It Go," and in 1988, which addressed unity and social issues amid personal and communal tensions. These works demonstrated Higgs' vocal prowess and songwriting maturity, but sales remained modest, overshadowed by the explosive popularity of his former mentees like , whose charismatic stage presence and market-friendly image drove massive commercial success. Higgs encountered persistent industry obstacles, including label neglect that left albums like Unity Is Power scarce and underpromoted, contributing to his intermittent success confined to niche reggae circles. His aversion to the commercial imperatives of extensive touring and -driven promotion—evident in his reluctance to prioritize marketability over authentic expression—exacerbated underperformance, as the reggae market increasingly favored personas embodying global over Higgs' emphasis on grounded, realistic . Despite these hurdles, Higgs persisted with live performances into the , particularly after relocating to in the , where sets underscored his raw vocal delivery and unadorned talent, unencumbered by production gimmicks. This trajectory revealed broader market dynamics privileging promotable icons, even as Higgs' substantive contributions warranted greater recognition.

Personal Life

Family and Relationships

Higgs fathered twelve children across multiple relationships, with eleven surviving him at the time of his death in 1999. These included Claudia Higgs-Donovan in Florida, Marcia "Pinky" Higgs in California (a vocalist with the group Higgs & Twin), Angela "Dimples" Higgs-Barrett in Kingston (spouse of bassist Aston "Familyman" Barrett), Coltrane "Paul" Higgs in Kingston (a musician), and Patricia "Pat" Higgs in New York (a vocalist), among others such as Marcus "Junior" Higgs, Adria "Lovie" Higgs, Christopher "Chris" Higgs, Maxine "Max" Higgs-Brown, Sean "Baller" Higgs, and Jaha "Princess" Higgs. Several children pursued music careers, continuing family involvement in the industry without documented public controversies or excesses typical of some reggae figures. His offspring were distributed across Jamaica, the United States, and England, reflecting sustained connections to his Trench Town origins amid international touring.

Health Struggles and Death

In the late stages of his career, Higgs endured a prolonged battle with cancer, described by contemporaries as recurring and persistent. This health decline coincided with ongoing musical activities, including collaborations abroad, amid the physical demands of international touring and the reggae industry's documented financial , which often left artists like Higgs with inconsistent resources for preventive care. Higgs died from on December 18, 1999, at Kaiser Permanente Medical Center in , , at the age of 59. Despite access to treatment in the United States, where he resided in later years, the disease progressed fatally, highlighting vulnerabilities in long-term management for musicians reliant on sporadic income streams rather than comprehensive health infrastructure.

Legacy and Recognition

Influence on Reggae and Key Artists

Joe Higgs exerted a foundational influence on through direct vocal instruction that enhanced technical precision among emerging artists, enabling tighter harmonies and dynamic control in ensemble performances. Beginning in the late 1950s, he hosted informal lessons in his Kingston yard, where he taught breath control, pitch accuracy, and melodic phrasing to young singers without charge, fostering skills that translated into measurable improvements in recording quality. For instance, and , who attended sessions from around 1960, credited Higgs with refining their harmonization abilities, which contributed to the Wailers' shift from ska's upbeat ensemble styles to 's more introspective, rhythmically sparse arrangements evident in their 1960s output. This mentorship extended to Dennis Brown, whose early career benefited from Higgs' guidance on vocal projection and arrangement basics, resulting in Brown's distinctive falsetto and phrasing that became hallmarks of roots reggae. Causal links are supported by contemporaries' accounts of Higgs' yard as a training ground where participants practiced integrating multi-part vocals over proto-reggae beats, producing audible advancements in cohesion compared to pre-lesson demos. Higgs' emphasis on everyday lyrical themes also modeled content that influenced proteges' songwriting, prioritizing realism over abstraction in a genre born from urban hardship. Higgs' under-recognition stems from industry dynamics favoring marketable personas over pedagogical roles, as his students achieved global visibility while he navigated persistent contractual disputes and limited promotion. Despite introducing the Wailers to Clement Dodd in , which catalyzed their breakthrough, Higgs' own innovations in vocal layering were often subsumed under proteges' brands, highlighting how reggae's commercial evolution rewarded and distribution networks over originating techniques. This pattern underscores a broader causal reality in music industries where direct yields indirect attribution, verifiable through Higgs' sparse discography sales relative to his mentees' metrics.

Posthumous Tributes and Honors

In 2009, Joe Higgs was posthumously honored at the Tribute to the Greats show in , recognizing his role in nurturing the Wailers' early career. This event, held at the Curphey Theatre, featured performances and acknowledgments of his pioneering influence on 's development. Annual birthday tributes have sustained recognition of Higgs' mentorship legacy. On June 3, 2024—his 84th birthday—the Joe Higgs Foundation, in association with Inna De Yard, hosted "A Tribute to Joe Higgs: The Father of " at Inna De Yard Binghi Stra Movement in Kingston, featuring live performances of his songs and discussions of his harmonic innovations. The event drew artists and fans to revisit overlooked tracks like those from his solo era, countering perceptions of neglect amid 's focus on more commercial icons. This pattern continued on June 3, 2025, with the Joe Higgs Legacy Tribute Concert at the in Kingston, marking his 85th birthday through performances honoring his teaching of rhythm to Marley and others. Organized by the Joe Higgs Foundation, the event included live streams and artist lineups emphasizing his foundational sound, with highlighting his early guidance of the Wailers. Reissues have further spotlighted Higgs' catalog post-1999. In 2015, Pressure Sounds reissued his 1975 album Life of Contradiction, restoring tracks that demonstrated his songwriting depth amid industry challenges. That year also saw the release of The Godfather of Reggae, compiling remastered tapes of rare recordings to underscore his pre-Wailers contributions. These efforts, while niche, have preserved material often overshadowed by mainstream narratives centered on figures like , where critics attribute Higgs' limited lifetime awards to the genre's commercial emphasis on charismatic frontmen over mentors.

Discography

Studio Albums

Life of Contradiction (1975) marked Joe Higgs' debut solo studio album, recorded in 1972 at Federal Studios in Kingston with Higgs handling production and arrangements. Originally submitted to under , the label relinquished rights to Higgs, who self-released it via Micron Music in on October 17, 1975, in a limited pressing amid reggae's constraints. The 10-track set comprises originals like "Come On Home" and "There's a Reward," alongside covers such as a version of Peter Tosh's "Can't Blame the Youth," reflecting Higgs' focus on unity and resilience drawn from Rastafarian-influenced personal convictions. Unity Is Power followed in 1979, recorded during 1978 sessions at Aquarius Studios in Kingston with a handpicked ensemble including bassist Val Douglas and drummer Mikey Richards. Higgs produced the album, which was issued on the 1 Stop/Elevation label after an attempted partnership stalled due to commercial hesitations. Featuring eight originals emphasizing communal harmony—such as the title track calling for collective empowerment rooted in Higgs' of social cohesion—the LP included limited-run vinyl pressings totaling under 5,000 units globally, constrained by distribution challenges in the reggae sector. Key tracks highlight originals like "One Man Kutchie" over covers, underscoring Higgs' songwriting emphasis. Subsequent releases included Triumph (1985) on , produced in the U.S. with American session players for broader appeal, and (1988) on Shanachie, recorded at Producers Workshop in Hollywood under Blue Merle Productions with tracks like "Right Road to Go Home." Blackman Know Yourself (1990) closed the primary solo output, self-produced with Kingston backing from the Now Generation band, featuring originals such as "Sons of Garvey" tied to themes of self-awareness and unity. These albums, often in runs below 10,000 copies due to independent label economics, prioritized Higgs' original material over covers.
AlbumRelease YearLabelKey Production Notes
Life of Contradiction1975MicronSelf-produced; recorded 1972; limited Jamaican pressing.
Unity Is Power19791 Stop/ElevationSelf-produced; Aquarius Studios, 1978; under 5,000 units.
Triumph1985U.S. production; session musicians.
1988ShanachieBlue Merle Productions; Hollywood recording.
Blackman Know Yourself1990Self-produced; Now Generation backing.

Notable Singles and Collaborations

Higgs and Wilson, the duo formed by Joe Higgs and Roy Wilson in the late 1950s, released several influential ska singles in the early 1960s, including "There's a Reward," which showcased their harmonious vocal style and contributed to the burgeoning Jamaican music scene. Other notable 45s from the pair included tracks emphasizing romantic and social themes, establishing them as pioneers in vocal harmony. Transitioning to solo work, Higgs issued "Captivity" in the late 1960s, a roots-oriented single reflecting themes of struggle and resilience, featured on compilations alongside contemporaries like Clancy Eccles. "African Roots," released as a 7-inch single, further highlighted his embrace of cultural heritage in reggae's evolution. Higgs composed "Steppin' Razor" in 1967 as an entry for Jamaica's Festival Song Contest; Peter Tosh later recorded it for the Wailers without crediting Higgs, prompting Higgs to win a court case affirming his authorship. During the Wailers' 1973 U.S. tour, Higgs contributed vocals and harmonies as a stand-in, though specific collaborative singles from this era remain limited. In the 1980s and 1990s, Higgs released singles such as "More " on the Micron label, "Creation" on Ethnic Fight, "Let Us Do Something" on , and "World Is Upside Down," maintaining his focus on amid reggae's maturation. Collaborations included duets like "Sound of the City" and "Sons of Garvey" with Jimmy Riley on the label, underscoring his enduring role in vocal partnerships.

References

  1. https://www.theguardian.com/news/1999/dec/21/guardianobituaries
  2. https://www.nytimes.com/1999/12/22/arts/joe-higgs-59-reggae-performer-taught-a-generation-of-singers.html
  3. https://www.allmusic.com/artist/joe-higgs-mn0000141152
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  6. https://www.reggaecollector.com/en/feature/artist.php?artist_id=630
  7. https://www.latimes.com/archives/la-xpm-1999-dec-20-mn-45850-story.html
  8. https://bobmarleyconcerts.wordpress.com/tag/joe-higgs/
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  11. http://50yearofjamaica.weebly.com/music-of-jamaica.html
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  15. https://open.spotify.com/track/72fIgNnPJ9DAzIZQK9tTy6
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  18. https://music.apple.com/us/artist/joe-higgs/3182406
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  21. https://www.allmusic.com/song/captivity-mt0013322890
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  23. https://www.youtube.com/watch?v=rV5d7GN7tns
  24. https://legendaryreggae.com/2013/07/25/wailers-related-shockers-joe-higgs-glen-brown/
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  28. https://www.allmusic.com/album/life-of-contradiction-mw0000111436
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  30. https://www.allmusic.com/album/unity-is-power-mw0001881181
  31. https://www.allmusic.com/album/triumph-mw0000263589
  32. https://www.thejoehiggsfoundation.org/
  33. https://www.facebook.com/groups/reggaelegends/posts/441783267650192/
  34. https://www.reggaeville.com/artist-details/joe-higgs/news/view/memories-of-the-father-of-reggae-a-tribute-to-joe-higgs-in-jamaica-2024/
  35. https://www.facebook.com/JahMusicMansion/posts/joseph-benjamin-higgs-3-june-1940-18-december-1999-was-a-reggae-musician-from-ja/1327729146021772/
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  42. https://reggaefestivalguide.com/joe-higgs-the-godfather-of-reggae/
  43. https://soundsoftheuniverse.com/sjr/product/joe-higgs-life-of-contradiction
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  46. https://www.discogs.com/release/2810194-Joe-Higgs-Family
  47. https://www.discogs.com/artist/132000-Joe-Higgs
  48. https://www.junodownload.com/artists/The%2BGaylads/?items_per_page=20&srsltid=AfmBOorEV8BwP9X54QJyvpFsB4dEAu5vY9hY2cqgsAYu5ncdpLqzaJ8p
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  50. https://www.reggaerecord.com/en/vintage/description.php?code=321109
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  52. https://www.facebook.com/groups/254453799646489/posts/1260404465718079/
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