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Jamaican vocalist Cocoa Tea, whose popular profession blurred the divide in between roots reggae’s exemplary convictions and dancehall’s feel-good values, died on March 11 at age 65 in a health center in Fort Lauderdale, FL. Cocoa Tea’s other half, Malvia Scott, talking to Jamaican newspaper The Gleaner, stated the reason for his death was heart attack, which followed his medical diagnosis of lymphoma in 2019 and a current six-month fight with pneumonia.
Throughout the 1980s and 1990s Cocoa Tea launched a variety of pop music, defined by his beautiful, honey-toned vocals and the timelessness of his lyrics, which rotated in between romantic, spiritual and truth styles. Years after these tunes were launched, Cocoa Tea stayed a sought-after act upon reggae celebrations throughout the U.S., Europe and the Caribbean. Cocoa Tea’s last efficiency was aboard Damian Marley’s Welcome to Jamrock Reggae Cruise in 2022. “We were honored to have Cocoa Tea carry out on the Welcome to Jamrock Cruise more than when; he was among reggae’s sweetest voices and constantly left the audience smiling. Cocoa Tea was an initial, leading class, whether on phase or on record; he will genuinely be missed out on, however his music will survive on permanently,” Dan Dalton, Damian Marley’s supervisor and co-founder of the Welcome to Jamrock cruise, informed Signboard
Born Colvin George Scott in the rural fishing town of Rocky Point, Clarendon, Jamaica, he launched his very first single, “Searching in the Hills,” in 1974. When that single stalled, he trained to end up being a racehorse jockey, and later on worked as an angler, while developing his singing craft on regional stereo. In 1983 he satisfied Henry “Junjo” Lawes, who produced his preliminary hits “Rocking Dolly” and “I Lost My Sonia.”
Cocoa Tea’s splendid tenor easily communicated romantic musings (” Love Me Really,” “She Likes Me Now”) and as a Rastafarian, he likewise provided stirring spiritual convictions (” Holy Mount Zion,” “Israel’s King”) and uncompromising commentaries: “Oil Ting,” which opposed the very first Gulf War, was prohibited from radio in Jamaica and the U.K., and his 1997 single “New Migration Law” seems like a declaration on the existing political environment in the U.S.
His tunes have actually been tested by artists varying from 2Pac to Joss Stone to The 1975. His 2008 tune honoring the very first Black president of the United States, “Barack Obama,” launched on his own Roaring Lion imprint, gathered global attention; in current interviews Cocoa Tea revealed dissatisfaction in Obama’s aversion to pardon Jamaica-born pan-Africanist Marcus Garvey.
Although brief in stature, Cocoa Tea was a musical giant with an impressive capability to adjust to dancehall/reggae’s moving soundscapes while keeping his distinct musical identity. Here are 10 important Cocoa Tea cuts.
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” Proceeding” (1996 )
Produced by Bobby “Digital” Dixon and taped on the effective Black Lady & & Kid Riddim, “Carrying on” is an activating cry for unity throughout the African diaspora and beyond: “You’re a Black male living in Jamaica, they’ll call you Afro-Jamaican, however we’re not fretted about race, color, class nor your creed, neither your citizenship as long as you are residing in peace, love, and consistency, well that’s great enough for me, trigger we’re carrying on.”
On June 10, 2020, as demonstrations multiplied all over the world requiring justice in the death of George Floyd, Cocoa Tea launched a lyric video for “Carrying on.” The tune’s withstanding message of uniformity sounds as if it was composed to soundtrack the Black Lives Matter motion, another example of the prescience in Cocoa Tea’s words and the recovery power of his music. Listen here.
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” Great Life” (1993 )
Cocoa Tea smooth, flexible vocals information the battles of a female whose been through stopped working relationships and now wishes to live without tension, summarized by the lyrics, “She desire a great life, no male to trigger her discomfort and strife.” With Sly & & Robbie and the Firehouse Team magnificently recreating the traditional 1967 Studio One riddim Celebration Time under the production of Burrell, “Great Life” is an enthusiasts rock gem with a story that will resonate throughout time, particularly amongst female music fans. Listen here.
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” Pirates’ Anthem (12″ Mix)” task. Shabba Ranks and Home T (1988 )
” Dem a call us pirates, prohibited broadcasters, even if we play what individuals desire.” Taped in Jamaica at a time when the Department of Trade and Market in England was closing down different pirate radio stations that were substantial platforms for reggae and dancehall culture, the tune’s topical style (recommended by manufacturer Augustus “Gussie” Clarke) and the superb singing interaction in between Cocoa Tea, vocalist Home T and gruff voiced super star deejay Shabba Ranks showed to be an alluring hit-making mix, particularly when set to a bass-thumping beat, decorated with echo and reverb. Listen here.
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” I Lost My Sonia” (1983 )
Cocoa Tea’s tale of romantic heartbreak is contrasted by his positive scat singing over a popular early 1980s dancehall riddim, Illness (manufacturer Henry “Junjo” Lawes’ remake of a 1967 beat called the Mad Mad) simply prior to Jamaican music’s digital transformation. Cocoa Tea openly regrets his precious Sonia’s departure with another male, however it’s uncertain if he’s done anything to accelerate her exit. Listen here.
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” Hurry & & Come”( 1995)(* ). The clarion require Rastas and all individuals of great intent to leave Babylon before it’s far too late is increased by the seriousness in Cocoa Tea’s vocals, his dulcet, inviting tone and a sparkling, uptempo reggae rhythm, produced by Phillip “Fatis” Burrell. “Hurry & & Come “is an anthem for rallying spiritual strength throughout bumpy rides: “Jah assured to reinforce the weak and offer sight to the blind/Don’ t matter what the oppressors do inna this yah Armageddon time, ooh yes, Rasta is here to dominate all trials and tribulations/So, load your little grip and come, let’s overlook of Babylon.”
” Tune In” (1986 )Listen here.
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Cocoa Tea initially composed “Tune In” as an unique (a personalized recording not for industrial release) for a Canadian stereo. Nevertheless, when King Jammy heard it, he firmly insisted the tune be released as a single. The sweetly rocking pace is preferably matched to Cocoa Tea’s cool, easygoing technique and his growth of the word “in” to 5 syllables developed a dancehall classic. Like “Return,” “Tune In” savor the dancehall experience and acknowledges the music’s growing global appeal: “Enjoy di posses outta England and di one dem from America, even those from a Japan enjoying themselves”; “Enjoy di one dem outta Germany (skanking) and di one dem outta Canada (rocking), even those in Somalia enjoying themselves.”
” Return” (1986 )Listen here.
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Obtaining the tune from the Christmas ditty “Santa Claus Is Comin’ to Town,” “Return” commemorates the sights, sounds, energy and naturally the music of the Jamaican dancehall. Cocoa Tea’s scat inflected, effervescent vocals provide an odd yet wonderful lyrical hodgepodge, from his rejection to expose any tricks to his good friends, to requiring a correct singing mix over the crisp early digital Feline Paw riddim (produced by King Jammy) to revealing his supreme objective: “Cocoa Tea come fi keep dis a dancehall, yes, alive.” Objective achieved.
” Young Enthusiast” (1987 )Listen here.
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” This one is developed for 18 and over” chants Cocoa Tea on the introduction to “Young Enthusiast” as he properly avoids the advances of a minor appeal, advising her actions as a method of securing her innocence: “Hey lady, will not you go home, go home to your mamma, your mamma, go home to your pappa, your pappa, you’re too young to be my enthusiast.”
Making use of a bubbling backbeat with a joyful keyboard line, Cocoa Tea’s appealing shipment powers the substantial belief revealed in “Young Enthusiast.” At a time when the exploitation of minor ladies continues, the tune’s general message requires to be placed on repeat and played loudly.
.Listen here” Holy Mount Zion” (1995 )
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The ultimate riddim of Jamaica’s mid-1990s Rasta renaissance in dancehall reggae was the Kette Drum, produced by the late Bobby “Digital” Dixon and called after the West African hand-held instrument heard at Rastafarian Nyabinghi events. Over that marvelous backbeat, anchored in meditative drumming and decorated by acoustic-guitar strums, Cocoa Tea put down a spectacular, impassioned affirmation of his Rastafari lifestyle. “Holy Mount Zion” provides a rejection of the corrupt Babylon system and an objective to repatriate to Zion– that is Ethiopia, Rastafari’s ancestral homeland– and ranks along with any traditional made throughout roots reggae’s 1970s golden age.
.Listen here” Rikers Island” (1990 )
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In 1975, Jamaican vocalist John Holt’s hit “Up Park Camp” released a stern caution to the youths to avoid of difficulty and prevent being sent out to the Kingston detention center, Up Park Camp (Weapon Court). In 1991 Cocoa Tea changed the tune into a cautionary tale advising young Jamaicans residing in the New york city City location not to “skylark” (lose time) however “discover a trade or go to school,” otherwise, you may wind up at “Rikers Island.” Said to be motivated by Henry “Junjo” Lawes’ imprisonment at the infamous prison complex, Cocoa Tea’s engaging narrative of different actions carried out by people who pursued criminal exploits, over a perky riddim track developed by Steely & & Clevie and produced by Cargill “Mr. Doo” Lawrence, discovered an audience beyond reggae and more raised the vocalist’s profession.
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