Artist Name

Linton Kwesi Johnson

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Album Releases view

LKJ in Dub, Volume 3 (2002)	More Time (1998)	LKJ in Dub, Volume 2 (1992)
Tings an' Times (1991)	Reggae Greats (1985)	Making History (1984)
Bass Culture (1980)	LKJ in Dub (1980)	Forces of Victory (1979)
Dread Beat An' Blood (1978)

Members
1 Male

Origin
Chapelton, Jamaica

Genre
Reggae

Style
Reggae

Mood
Good Natured

Born

1952

Active
---Present...

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Most Loved Tracks
4 users Linton Kwesi Johnson - Inglan Is a Bitch
4 users Linton Kwesi Johnson - Street 66
4 users Linton Kwesi Johnson - Street 66
4 users Linton Kwesi Johnson - Bass Culture
4 users Linton Kwesi Johnson - Bass Culture


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Artist Biography
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Linton Kwesi Johnson (aka LKJ) (born in Jamaica, 24 August 1952) is a UK-based dub poet. In 2002 he became the second living poet, and the only black poet, to be published in the Penguin Modern Classics series. His performance poetry involves the recitation of his own verse in Jamaican Patois over dub-reggae, usually written in collaboration with renowned British reggae producer/artist Dennis Bovell. His middle name, "Kwesi", is Ghanaian. Johnson's best-known albums include his debut Dread Beat an' Blood (1978), Forces of Victory (1979), Bass Culture (1980) and Making History (1983). Across these albums are spread classics of the dub poetry school of performance – and, indeed, of reggae itself – such as "Dread Beat An' Blood", "Sonny's Lettah", "Inglan Is A Bitch", "Independent Intavenshan" and "All Wi Doin Is Defendin". His poem Di Great Insohreckshan is his response to the 1981 Brixton riots. The work was the subject of a BBC Radio 4 program in 2007. Johnson's work, allied to the Jamaican "toasting" tradition, is regarded as an essential precursor of rap. Johnson's record label LKJ Records is home to other reggae artists, some of whom made up The Dub Band, with whom Johnson mostly recorded, and other Dub Poets, such as Jean "Binta" Breeze. Past releases on the label include recordings by Mikey Smith. Of late, Johnson has only performed live on an intermittent basis, perhaps as a result of modern reggae's shift towards the more spontaneous and rapid-fire performers of ragga or dancehall.


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Last Edit by zorg2000k
04th Mar 2016

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