Michael Rose

Michael Rose ranks among Jamaica’s foremost vocalists. His contributions as a core member of Black Uhuru helped anchor the roots reggae movement before he embarked on an enduring solo path through modern dancehall. The Grammy-winning work with Uhuru also gave rise to the signature Waterhouse sound, a vocal style that originated in the Kingston district where Rose was born on July 11, 1957. There he developed an early passion for music, entering talent contests while still a young teenager and later performing on the North Coast hotel circuit. At fifteen he returned to the capital and recorded his debut single, a DJ cut of Andel Forgie’s “Woman a Gineal fe True,” issued by producer Newton Simmons—an effort that only hinted at the voice to come.

Shortly afterward Rose reconnected with childhood friend Sly Dunbar, who arranged an introduction to producer Niney Holness. Under Holness the singer laid down several 1972 tracks, among them “Clap the Barber,” “Love Between Us,” “Freedom Over Me,” and the standout “Guess Who’s Coming to Dinner.” None charted immediately, yet they already displayed the distinctive approach that would later reshape the genre. Through the same connection Rose also voiced “Observe Life” for Lee Perry, another release that attracted little notice at the time.

Dunbar, then touring with Peter Tosh, urged Rose to keep composing. Upon Dunbar’s return he brought the singer to Prince Jammy, who in turn introduced him to Ducky Simpson. Simpson was rebuilding his vocal trio Uhuru; with the addition of former Jayes frontman Errol Nelson, Black Sounds Uhuru came into being. The group recorded its 1977 debut album Love Crisis for Jammy; the set was later remixed and issued internationally as Black Sounds of Freedom. Nelson departed soon after, and Puma Jones joined, completing the classic Black Uhuru lineup.

Thereafter, under the production of Sly Dunbar and Robbie Shakespeare and backed by their band the Revolutionaries, Black Uhuru carried roots reggae onto the global stage. The trio reached a career peak in 1985 when Anthem captured the first Grammy awarded in the newly created Reggae category. At that moment Rose chose to exit the group and withdrew from international view. He purchased property in the Blue Mountains, embraced rural life, and established a coffee farm while continuing to issue Jamaican-only singles, several of them hits that reunited him with Sly & Robbie, including “Monkey Business,” “Visit Them,” and “One a We Two a We.”

Rose reentered the wider market in 1990 with the British release of his solo album Proud. Japan received Bonanza two years later, followed by 1994’s King of the General. In 1995 the Taxi label compiled earlier decade recordings as Sly & Robbie Presents Mykal Rose: The Taxi Sessions; by then the singer had adopted the Ethiopian-influenced spelling Mykal Rose for many Jamaican releases. In the United States, VP issued Voice of the Ghetto, produced by Anthony Deheny and Bunny Gemini. Ruff Cut brought out the Junjo Lawes-produced Last Chance in Britain, whose title track became a major club success. Heartbeat Records subsequently signed Rose and paired him once more with producer Holness, resulting in the self-titled album that also yielded the single “Short Temper.” That same year RAS released Nuh Carbon in the States, a collection of older Jah Screw productions, while Heartbeat offered the new, self-produced Be Yourself, whose “Rude Boys (Back in Town)” again scored club play. The album sparked discussion for its reworkings of two Uhuru classics, “Guess Who’s Coming to Dinner” and “I Love King Selassie”; a dub counterpart, Big Sound Frontline, appeared alongside it. Rose additionally founded three labels—Grammy Rose, Ruff Roze, and Imaj—to house his own work and productions.

In 1996 he joined Heartbeat’s Culture Splash Tour and remained on the road the following year; selected performances were documented on the live set Party in Session—Live. Also in 1997 the Mafia & Fluxy-produced Dance Wicked surfaced with its dub companion Dub Wicked. British audiences received Selassie I Showcase, a Maximum Sound collection curated by Frenchie and Fashion that included “Rush on the Tonic” and “Jah Is My Shepherd” featuring Cutty Ranks. Earlier collaborative singles had paired Rose with Shabba Ranks on a new “Shine Eye Gal,” with Junior Reid on “Burn Down Rome,” and with Dr. Alban on the retitled “Karolina,” a fresh version of “Guess Who’s Coming to Dinner.”

Rose maintained a steady stream of European and Jamaican chart singles, few of which reached the United States. His global audience followed him on another world tour, delaying the next album, 1999’s Bonanza, which drew notice for its inclusion of love songs. That year Tabou issued X Uhuru, revisiting and reinterpreting classic Black Uhuru material with Sly & Robbie. Rose has sustained both touring and recording; the 2001 album Never Give It Up appeared, followed by an American tour the subsequent year.