Biography
Born Floyd Anthony Perch on 30 September 1959 in Kingston, Jamaica, West Indies, Kojak launched his recording path by toasting over numerous sound systems while still billed as Pretty Boy Floyd. He cultivated the outlaw persona already proven effective by Dennis Alcapone and Dillinger, yet he could not replicate their commercial results and therefore adopted the name Nigger Kojak at the suggestion of his own supporters. Taking cues from the 1970s television series Kojak, he copied the star’s bald appearance and regularly appeared holding the show’s signature lollipop. His opening single “Massacre” became a local success and opened the door to further releases. In 1978 Dennis Brown scored an international hit with his revival of “Money In My Pocket”; that success was followed by “Ain’t That Loving You,” which showcased Kojak And Liza on the track “Hole In De Bucket.” The song’s dancehall popularity created a celebrated performing partnership. Confusion soon arose over the identity of Kojak’s female counterpart, because two separate artists performed under the Mama Liza name—Beverly Brown and Jacqueline Boland. Identified only as Liza, each woman found her individual recognition hampered. The pair recorded “Fist To Fist Rub A Dub,” a salute to the soft drink Sky Juice, the unassuming “One Thousand Gal,” and the seasonal “Christmas Stylee.” Kojak And Liza were firmly established by 1981, when “Nice Up Jamaica” achieved unprecedented popularity and won official endorsement from the Jamaican tourist board. Although some pressings attributed the song to the duo, it was in fact a solo performance by Floyd Perch that bordered on the surreal. By 1982 he was performing as Papa Kojak and appeared as a featured DJ at the celebrated Skateland show, preserved on the live album A Dee Jay Explosion. His 1996 return to singing with “What Time Is It” met with warm approval. The track formed part of a well-received comeback album of soul covers that included backing vocals from Nadine Sutherland, J.C. Lodge, Marcia Griffiths and Judy Mowatt. Observers have repeatedly noted the limited number of women working as DJs and their early restriction to supporting roles. The trailblazing work of the two Lizas has since been credited on record with shaping later performers including Sister Nancy and Lady Saw.