[1] He started to perform at dances, initially influenced by U-Roy, and became a regular with Lord Tippertone's sound system by 1970, becoming the resident deejay, and attracting the attention of Kingston's record producers.

[1] His early 45 singles for producers such as Jimmy Radway ("The Best Big Youth"), Lee Perry ("Moving Version") and Phil Pratt ("Tell It Black") were artistically and commercially unsuccessful.

[3] The album is still considered as a classic of its genre, featuring rhythms from well-known hits by Gregory Isaacs, Leroy Smart, and Lloyd Parks, among others.

By this time he had begun releasing his own self-produced recordings on the Negusa Nagast and Augustus Buchanan labels in Jamaica, sometimes buying rhythms from producers for whom he had worked, but latterly using his own musicians, usually the Soul Syndicate band.

The rising tide of violence had driven many musicians and producers to leave Jamaica for the UK and US; reggae had not broken through to widespread commercial success, and, in the wake of Bob Marley's death a lot of major labels either dropped their Jamaican artists or spent little on promoting them, and the music returned to its insular roots.

His career revived in 1990, with the "Chanting" single, produced by Winston "Niney" Holness, and "Free South Africa" on the protest album One Man One Vote.