vocal trio Culture were equally passionate, and the title-track from Two Sevens Clash (1977) became the anthem of the rasta-punks and coined "rockers reggae".
Ijahman Levi (Trevor Sutherland) was perhaps the most spiritual vocalist of his generation. His songs were religious hymns (Jah Heavy Lord, 1975; I'm A Levi, 1978; Are We A Warrior, 1978).
Ex-Wailers Peter Tosh, or Winston Hubert McIntosh, crossed over into rock territory with Legalize It (1976).
Other popular classics include Junior Marvin's Police And Thieves (1976)
Gregory Isaacs' Love Is Overdue (1974).
Reggae and ska enjoyed a major revival in Britain during the punk age.
Starting in the mid-1970s, ensembles such as Aswad, Steel Pulse, Matumbi and
offered a westernized version of Jamaican music that was rather uninspired,
but were lucky enough that the audience found affinities with the implicit
protest themes of the political punks.
At the same time, British sensations of the ska revival included Specials
British dub music was a more serious affair, and took longer to emerge. But, over
the long term, it was dub music, and not ska or reggae music, that stuck around, thanks
to the quality productions of Adrian Sherwood
(the brain behind African Headcharge,
Dub Syndicate and
New Age Steppers),
and prolific Guyana-born Neil Fraser, better known as Mad Professor, who
penned Beyond the Realms Of Dub (1982),
and even Aswad's own New Chapter of Dub (1982).
Artistic peaks were reached by
dub pioneer and experimentalist Keith Hudson, with Pick A Dub (1976),
and instrumental soundpainter Dennis Bovell
(a former member of Matumbi, an engineer who coined the soul-reggae fusion called "Lovers Rock"), with
Strictly Dubwise (1978), I Wah Dub (1980), probably his most
intense release, and Brain Damage (1981), a cosmopolitan work that also mixed calypso, rock and funk.
Linton Kwesi Johnson, a Jamaican poet living in England, transposed reggae's mood into dub-based sermons, arranged by Dennis Bovell, on the contemporary issues of the lumperproletariat.
Ditto for the other poet of dub, Mutabaruka. These dub poets were as musical
as their producers managed to be. Kwesi owed a lot to Bovell.
Vocal trio Black Uhuru, supported by the rhythm section of Sly Dunbar and Robbie Shakespeare, wrapped reggae and Rastafarianism into a slick production of drum-machines and synthesizers, especially on Red (1981).
Third World offered a commercial fusion of reggae, funk and soul.
Innovators of the next generation included toaster and turntablist Yellowman (Winston Foster), a pioneer of "dancehall" (reggae music with rock drums) who established his reputation with Mister Yellowman (1982), crossover artists such as Eddy Grant, with the electronic Afro-rock-reggae-funk fusion of Walking on Sunshine (1979), Eek-a-Mouse (Ripton Joseph Hylton), who invented a unique vocal technique that harked back to the early days of toasting, as displayed on Wa Do Dem (1982), and Mikey Dread (Michael Campbell), who crafted African Anthem/ At The Control Dubwise (1979), with help from Scientist, King Tubby, Augustus Pablo and Sly & Robbie, and World War III (1981), with help from Scientist, after collaborating with the punk-rock band Clash.
As far as dub goes, King Tubby raised an entire generation of recording engineers, who went on to become innovators of Jamaican music, such as Prince Jammy (Lloyd James), who concocted the all-digital reggae Under Me Sleng Teng (1985), credited with inventing "ragga" (a fusion of reggae, rap and electronic dance music), and Scientist (Overton Brown).
Popular reggae musicians of the 1980s included Judy Mowatt, who, as a backup vocalist for Marley, was one of reggae's first female performers, and, as a soloist, crossed over into pop-soul balladry, Ivory Coast's sociopolitical bard Alpha Blondy (Kone Seydou), and David "Ziggy" Marley, son of the prophet, who sold out his father's myth to the international disco-pop crowds. Dancehall toaster Shabba Ranks (Rexton Gordon) and Shinehead (Carl Aiken) were the stars of ragga hip-hop.
The star of the 1990s was Buju Banton (Mark Anthony Myr