Junior Murvin

Best known for the enduring classic "Police and Thieves," Junior Murvin possessed an unmistakable feather-light falsetto that shaped several of Lee "Scratch" Perry's most otherworldly productions. Though he was not among the most prolific reggae artists of the late 1970s, the towering reputation of that single and its matching album ensured legendary status even if no further recordings had followed. Consequently, relatively few listeners encountered much of his infrequent later output.

Born Murvin Junior Smith, probably in 1949 in Port Antonio, Jamaica, he grew up harmonizing with discs by Nat King Cole and Billy Eckstine, later adding soul artists such as Sam Cooke, Ben E. King, and especially Curtis Mayfield, whose style directly informed his own high register. Public performances began during his youth once the family relocated to Montego Bay. After gaining experience he moved in with an aunt in Kingston's Trenchtown district, where he forged ties within the vibrant reggae community and refined his vocal approach. An opportunity arose to try out for Lee "Scratch" Perry and Clement "Coxsone" Dodd at Studio One, yet when Dodd requested an extra verse Murvin simply departed.

Recording first as Junior Soul, he issued "Miss Kushie" on Sonia Pottinger's Gayfeet label in 1966, followed by "Slipping" and "Jennifer." He next worked with Derrick Harriott's Crystal label through the early 1970s. During this period he played with various groups in Kingston clubs and tourist hotels, where sets often included American sweet soul covers; Murvin earned notice for his Mayfield renditions, some of which appeared on Harriott releases. A modest success arrived with 1972's "Solomon," but dissatisfaction with its impact prompted a return home to concentrate on guitar and songwriting.

By 1976 he was prepared to try again and won an audition with Perry—now operating Black Ark studio—with the original rude-boy anthem "Police and Thieves." Cut and released within weeks, it became the leading reggae hit of the summer in both Jamaica and England amid heightened racial tensions. Murvin and Perry composed additional songs that filled the album Police & Thieves, issued by Island in 1977. Widely viewed as one of Perry's strongest productions, it yielded further singles including "Tedious," "Roots Train," and "False Teachin'." Meanwhile the rising punk scene embraced reggae's defiant attitude; the Clash first documented that link by covering "Police and Thieves" on their landmark debut that same year.

Following the breakthrough, Murvin recorded two more Perry sides over the same riddim, "Bad Weed" and "Philistines on the Land." He also delivered Mayfield-inspired versions of "People Get Ready" (retitled "Rasta Get Ready") and "Closer Together," plus several tracks for Joe Gibbs that included the modestly successful "Cool Out Son." In 1978 G.G. Ranglin produced the single "Load Shedding." The singular Murvin-Perry partnership never yielded another full album. Although further sessions took place with Murvin's new group the Apostles, resulting in the 1980 12-inch "Crossover" b/w "I'm in Love," Perry's deteriorating mental state eventually triggered a breakdown and the demolition of his studio.

Murvin kept recording sporadically through the 1980s apart from Perry yet never again captured the same singular spark. He collaborated with Mikey Dread on the 1982 album Bad Man Posse and turned to dancehall producer Henry "Junjo" Lawes for 1984's Muggers in the Street, whose title track reworked "Police and Thieves." In 1986 he made Apartheid with Prince Jammy and cut a pair of singles for King Tubby the next year. His final album to date, Signs and Wonders, appeared in 1989. Since then he has stayed active at a modest level, cutting singles for assorted Jamaican sound systems as well as his own small Port Antonio-based label. During the mid-1990s he finished the album World Cry for the independent Sunvibes imprint, and in 1998 he released the single "Wise Man" on London's Dubwise label.