Tribute to Bunny “Striker” Lee from Omar Davies

I am honoured to have been asked by Striker Lee’s family to pay tribute to his contribution to Jamaica’s popular music. As a student of Jamaican pop music, I was long acquainted with Striker’s work as a producer and so when I first met him, in person, I was already aware of the seminal role he had played in the emergence of the art form.

His contribution was not only with regard to his production of some of the “classics” of the genre but also to his path-breaking efforts to promote Jamaican music internationally.

As Striker and I became better acquainted, I realised that his knowledge of the development of the music went far beyond the songs which he produced. For any serious student of the music I urge a close reading of his autobiography “Reggae Gone International: 1967-1976” in which he details to Noel Hawks and Jah Floyd his contributions over time, as well as those of several artistes, sound system operators and producers.

Striker’s place in the history of Jamaica’s music would be assured, even if we focussed only on the list of artistes who he produced. These include singers such as Bob Marley, Alton Ellis, John Holt, Delroy Wilson, Slim Smith, Roy Shirley, Pat Kelly, Derrick Morgan, Eric Donaldson and Johnny Clarke. However, not to be overlooked are the “players of instruments” like Roland Alphonso, Lester Sterling, Lynn Tait, Val Bennett, Aston “Family Man” Barrett and his brother, Carly, as well as the “Rhythm Twins”, Sly and Robbie.

His autobiography, in my view, represents the most comprehensive discussion of the development of Jamaica’s popular music produced by anyone, foreign or local. I am particularly drawn to it because Bunny is able to speak from the perspective of someone who intimately knew the artistes, including instrumentalists, as well as rival producers and sound system operators.

I am particularly pleased that he found the time to put his reflections in writing, thus providing any serious student of Jamaican pop music with a reference masterpiece. Bunny has detailed, in a way that no other has done to date, the factors which influenced the development of many of our classic recordings, pointing out the influence of Black American pop music- in particular, R& B- on our own art form. For example, he has provided specific information on several pieces, which many had come to believe were Jamaican creations, but which were actually derived from tunes originally created by American musicians.

Bunny, despite his involvement and his intimate relationship with many of the legendary artistes, would dispassionately and objectively detail the specific contributions of each, setting the record straight, whenever necessary. He felt that, as the music achieved global recognition, stars were “created” whilst others, who had contributed much, were forgotten. For example, he lamented the lack of recognition accorded the Trinidad-born musician, Lynn Tait, whose guitar artistry was the signature sound of many rock steady classics.

It must be explored at some later date how this ordinary Jamaican, from a poor, working-class background, and with no formal musical training, could have achieved so much in this demanding field of endeavour. Furthermore, unlike many others, he quickly grasped the intricacies of the “business” of music, which guided the lead role he played in “breaking” it into international markets.

Striker had the well-deserved reputation of being fair and just in his financial relationships with singers and musicians. He did not see his life in music as a hustle. Rather, the principles which guided his interaction in the industry were the same as those which governed his life. In general --love and respect for all, regardless of race, colour or creed.

May his soul rest in peace.