Sugar Minott
Sugar Minott came into this world as Lincoln Barrington Minott on 25th May 1956 in Kingston, Jamaica. He began his musical career at the age of 16, singing with the African Brothers, a vocal trio that also included Winston ‘Tony Tuff’ Morris and Derrick ‘Bubble’ Howard.
Following their formation, the three youths rehearsed tirelessly and learned to sing and arrange harmonies, with Tony Tuff assuming the role of leader and chief songwriter of the trio. Within a few months they embarked on a round of auditions at various Kingston recording studios and in 1970 got their first break when Rupie Edwards released their debut single ‘Mystery Of Nature’. A strong seller locally, the record led to subsequent sessions with Coxson Dodd and Winston ‘Merritone’ Blake, although their work for these producers failed to make any significant impact.
The trio found greater success when they recorded for Pete Weston‘s Micron Records, on which was issued their popular roots tunes, ‘Righteous Kingdom’ and ‘Lead Us Father’. Further singles with Aston ‘Familyman’ Barrett, Carlton Barrett, Sly & Robbie and the Soul Syndicate followed, most notably the hits, ‘Party Night’ and ‘Hold Tight’, which ensured that they maintained a high profile in the reggae charts.
In 1972, the group decided to take an independent stance, and it was then that they produced some of their finest work. Their hit, ‘Want Some Freedom’ was earmarked as a political anthem, whilst they enjoyed further success with hits such as the advisory ‘Practice What You Preach’, and ‘Torturing’.
Their newfound popularity resulted in offers from a number of Jamaican producers, although the group stalled and by the close of 1974, its three members had decided to go their separate ways.
For Sugar, as one door closed another opened: the door of the mighty Studio One. Clement ‘Coxson’ Dodd, who had previously produced the now very rare ‘No Cup No Brook’, recognised the young singer’s potential and took him on as a studio apprentice as both a vocalist and an instrumentalist, specialising in percussion and guitar.
While Coxson was impressed with his sugar sweet vocals, Sugar‘s ability to write new songs over classic Downbeat rhythms was phenomenal, and many listeners reckoned that his new takes eclipsed the originals, especially the brilliant ‘Mr D.C’, on the Tennors”Pressure And Slide’ rhythm.
His Studio One singles proved particularly popular in Britain, but it was his album debut, ‘Live Loving’ that established his career. He became a bigger star in the UK than in his homeland, with his first British release, the self-produced ‘Hard Time Pressure’ released on Dave Hendley‘s Sufferers Heights label. The track was a massive hit in the specialist charts and was the precursor of a series of sound system favourites’, including ‘In The Residence’, produced by the little-known King Miguel.
In 1979, Sugar recorded in session with King (ne. Prince) Jammy, who produced the album ‘Give The People’, on which Sugar ably demonstrated his sublime vocal skills. Aside from the title track, also featured are ‘Be Careful‘, ‘I’m A Man’, ‘Save The Children’, ‘The Right Track’, ‘Can’t Get Over’ and the record that has the distinction of being Jammy’s first UK Reggae number one hit, ‘Never Too Young’.
As well as working with Jammy, the singer also produced the album ‘Ghetto-Ology’ (TRLS 173) on which he was clearly influenced by Sam Cooke‘s hits, like the soul classic ‘Wonderful World’. The collection featured such nitable tracks as ‘Walking Through The Ghetto’, ‘Man Hungry’, ‘Never Gonna Give Jah Up’, ‘The People Got To Know’, ‘Strange Things’ and the assertive ‘Africa Is The Black Man’s Home’.
It was at this time that Sugar launched his own Youth Promotion/Black Roots label and sound system, with artists such as Tristan Palmer, Barry Brown and Little John alongside his old singing partner, Tony Tuff. His first releases included such notable albums as Barry Brown‘s ‘I’m Not So Lucky’, the dub LP, ‘Ghetto-ology Dubwise’ and Sugar‘s own ‘Roots Lovers’.
However, around 1980, his first attempt to showcase the wealth of young talent that the island of Jamaica had to offer was put on hold when he travelled to England. he stayed in the UK for a lengthy period and pursued his Youth Promotion/Black Roots mission, nurturing British-based reggae artists, such as Sandra Logan and Carroll Thompson.
During his sojourn in London, he also financed his promotional work by recording with a number of UK- based producers. His notoriety spread and he soon established his name on the nation’s reggae scene, which led to him enjoying a series of lover’s rock hits. In an interview for the BBC TV production, ‘The Story Of Reggae’, he explained the reason for his relocation:
‘I was that guy who wanted to do soul music in Jamaica. And them say, ‘You can’t do soul music, you a sell out’. When me come to England the atmosphere was different. A chill out. You know what I say? So we can start again. I figure that I had a chance now to make all that me wanted to make in Jamaica but they wouldn’t let me.’
While in London, Sugar enjoyed his moment of pop stardom with his cover of Michael Jackson‘s ‘We’ve Got AGood Thing Going‘, a song originally featured on the superstar’s 1972 LP, ‘Ben’. Voiced at Channel One studios in Kingston and produced by for Delroy ‘Hawkeye’ Forbes, the reggae singer’s version was placed with the major, RCA and went on to peak at number 4 in the national charts in 1981.
This crossover success led to an appearance on the celebrated television series, ‘Top Of The Pops’, on which he was suitably accompanied by the cream of the UK’s reggae community. In an interview with Cool Breeze of Black Beat International, Sugar stated,
‘That was an experience for me. Even as a school youth in Jamaica, I heard about ‘Top Of The Pops’ and I wondered what it was really dealing with. I didn’t ever dream that one day I would be part of it. Yes man, it was an irie experience – I hope I can do it some more.’
The chart success of ‘Good Thing Going’ resulted in RCA releasing an album of the same name that featured his follow-up single, ‘Never My Love’ originally a pop hit for the Association. Sugar‘s version hung around the UK Top 75 for four weeks, reaching number 52, but sadly he then joined the ever-growing list of short-lived major label signings.
Following his brush with international success, he returned to Jamaica, leaving his brother Earl to look after the UK division of Youth Promotion while he re-launched his sound system in Jamaica.
Sugar also embarked on sessions with Winston ‘Niney’ Holness who produced the hymnal ‘Want You To Know (Only Jah Jah)’ and a call for repatriation, ‘We Are Going’, and assured his credibility with his own Black Roots releases, ‘Rub A Dub Sound’ and the album, ‘Dancehall Showcase’.
Because he continued to record for other producers, critics pointed out that he had previously parted company with Studio One to seek independence. Sugar maintained that it was these sessions that allowed him to work and nurture artists such as Tenor Saw and Yami Bolo. His Youth Promotion label debuted with Trevor Junior‘s ‘War And Crimes’, while he was also responsible for launching Junior Reid on to the international stage with ‘Original Foreign Mind’.
To further the careers of these young artists, Sugar refused to sign contracts for recording and concert work with established companies, unless the rest of the Youth Promotion team were a part of the deal. His selflessness did not work in his favour, although he continued to record solo outings for many independent producers to finance his ideals.
In 1983, he worked with Bunny Lee who supported the his aspirations by producing a Youth Promotion favourite, ‘I Know Them Love It‘ and the dreamy ‘Forever In Love’. In spite of the major players’ negative response, Sugar‘s Youth Promotion Sound relished a high profile, nurturing the careers of up-and-coming stars alongside veterans such as Jah Stitch (who reinvented himself as Major Stitch), the twelve-year old singing wonder Yami Bolo, Colourman and Jackie ‘Lickshot’ Knockshot.
Explaining Youth Promotion‘s aims, Sugar told Cool Breeze:
‘We’ve got a battery of promising youth artist, so the main objective now is really to get that studio built so we can do the works comfortably and to the best of our ability. It’s a struggle to achieve those things, but we have to start from somewhere.’
Meanwhile, as a singer in his own right, Sugar was back on top with the self-produced ganja anthem, ‘Herbsman Hustling’, which topped the reggae charts and led to an acclaimed appearance with Sly & Robbie on the 1985 Reggae Sunsplash tour. The song led to an album of the same name; it also prompted leading US reggae label, Heartbeat to commission the sessions that they would release as ‘Slice Of The Cake’ and while in New York, he recorded the album, ‘Wicked a Go Feel It’ for Lloyd ‘Bullwackie’ Barnes, all of which raised his profile Stateside.
Sugar‘s success in the reggae album charts led to prolific sessions at which he cut albums such as ‘Time Longer Than Rope’, ‘Rydim’, ‘Sugar And Spice’ and ‘Inna Reggae Dancehall’, alongside the smash dancehall single, ‘Hard Time Rock’.
In 1986, Phil Mathias of the Revue production team persuaded him to record a reggae version of ‘It’s All In The Game’, a melodic ballad with a long track record: written by a vice-president of the United States in 1912, it had been a hit for Tommy Edwards, the Four Tops and Isaac Hayes in the USA, and for eternally youthful tennis fan, Cliff Richard in Britain. Sugar‘s excellent version almost joined them, narrowly missing crossing over into the pop charts.
Maintaining his hectic schedule, he continued working with the Youth Promotion posse who were due to tour the USA, but owing to a lack of organisation regarding visas, only he and Tenor Saw were able to perform. While in New York, Sugar recorded further sessions for Bullwackie who released the album, ‘Jamming In The Streets’, a collection paraphrasing the latest dancehall clich??s that inspired a series of ragamuffin releases, notably ‘Buy Of The Bar’, ‘Level Vibes’ and ‘Dancehall We Deh’.
At this time Sugar felt ready to record more conscious lyrics, as he explained to Cool Breeze:
‘Cos after you’ve sung say twenty songs of that kind, you feel like you want to vibes into something different. At times it just gets boring or else the people want a change. And from you live amongst the people and hear how they’re talking, you’ll know when they’re ready for it.’
He also secured a deal in the Far East with the major Epic Records, and stated:
‘Now I feel ready to do some tracks that are more along the lines of those songs on the Live Loving album. That’s with a view to bringing a greater togetherness in my community. Cos we have the entertaining tradition to live up to, spreading happiness and t’ing. That is just one part of my work. We also have to move for unity now. Dance is alright but man and man have to really get together’.’
The 1990s found the singer working with Philip ‘Fattis’ Burrell of the Xterminator crew, and once again with King Jammy, whose credibility contributed to his continued popularity – although his cover of the Turtles’‘Happy Together’ featured in a movie, did not greatly enhance his reputation. However, as always he bounced back: the release of ‘Run Things’ and ‘Breaking Free’ revived his fortunes, and he issued a series of revival albums such as ‘Collection’ and the superior ‘Nice It Up’.
In 1998, Sugar linked up with Easy Star Records who initially released ‘Born In The Ghetto’, which led to him licensing four compilations with the collective: ‘Hidden Gems Volume One’, ‘Hidden Gems Volume Two’, ‘Ghetto-ology/Dubwise’ and the award-winning ‘Rare Gems’, all of which proved top sellers for the label and inspired a brief reunion of the African Brothers for the release of ‘Want Some Freedom’.
Throughout the nineties and into the millennium, he continued to tour with Youth Promotion, encompassing Europe and the USA, while he additionally tours in his own right and frequently topping festival bills. Meanwhile, he expanded his Youth Man Promotion and Black Roots Recording Company Ltd. in Jamaica and the UK, with further branches operating in Germany and the USA.
Sadly, by 2009, Sugar‘s health had begun to affect his work, with a hospital check up revealing a heart condition. But despite this, he remained active up until May of the following year when after suffering chest pains, he had ben forced to cancel a number of live performances,
On 10th July 2010 he was rushed to the University Hospitalof the West Indies in St. Andrew Parish, where, tragically, he passed away later that day, with the cause of death still undisclosed.
In May 2012, a charity concert was held at his former home to commemorate his birthday, with his children joined by such musical luminaries as Ken Boothe, John Holt, Beenie Man, Sizzla, Bounty Killer and Junior Reid, with proceeds donated to the Youthman Promotions Music Centre and other charitable causes to aid the people. It was a fitting tribute for a man who in life had always been willing to out others before himself.
Stephen Nye