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| ::: ARTISTE
PROFILE
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FRANKIE PAUL
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Frankie Paul is often referred to as Jamaica's
Stevie Wonder, and not just because of his visual
impairment; like
Wonder ,
he was a talented multi-instrumentalist with a tremendous
vocal
range. He was also extraordinarily prolific; part of the first wave of
dancehall artists, he started his recording career in earnest during the
early '80s, and has since flooded the market with product, releasing
countless singles and well over 30 albums. That's made his career
difficult to track for all but the most ardent fans, but it's also
ensured that he's never been too far out of the spotlight on a
constantly changing reggae scene.
Paul was born
Paul Blake in 1965. He was blind at birth, but an operation on a
hospital ship succeeded in giving him a small visual capacity; he later
went to New York to obtain a pair of high-powered glasses that helped
even further. He attended a Salvation Army school for the blind, where
he first began singing. When
Stevie Wonder visited the school,
Paul sang for him, and an impressed
Wonder encouraged him to go into music.
Paul learned the piano, drums, and guitar while still in school, and
was most influenced as a singer by
Dennis Brown in his early days. As
Frankie Paul, he made his first recording, "African Princess," in
1980, when he was still just 15. In 1983, he appeared on two volumes in
Channel One's Showdown series, one with
Sugar Minott and the other with
Little John. The former LP contained
Paul's first major hit, the Henry "Junjo" Lawes-produced "Worries in
the Dance," which aligned him with the emerging dancehall sound. Lawes
also produced 1984's Pass the Tu-Sheng-Peng, whose title cut -- an ode
to ganja -- was a huge, star-making hit in Jamaica.
Paul reached his prime in the mid-'80s, cutting excellent albums
like the
George Phang-produced Tidal Wave (1985) and Alesha (1987), and the
Philip "Fatis" Burrell-produced Warning (1987). His hit singles
included "Tidal Wave," "Alesha," "Cassanova," "Sara," "Fire Deh a Mus
Mus Tail," "Slow Down," and many others.
Paul continued to record for a variety of labels in the '90s, with
LP highlights including 1991's Should I and 1994's Hard Work. To keep up
his prolific recording pace, he came to depend heavily on covers,
whether of reggae classics or contemporary American R&B material. He
continued into the new millennium as a tremendously active presence on
the reggae scene.
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