Barrington Levy
| Barrington Levy | |
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Barrington Levy in , Sweden
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| Background information | |
| Birth name | Barrington Ainsworth Levy |
| Born |
30 April 1964 Clarendon, Jamaica |
| Genres | Reggae, dancehall, reggae fusion, ragga jungle |
| Years active | 1976–present |
| Labels | MCA Records |
| Website | BarringtonLevy |
Barrington Ainsworth Levy (born 30 April 1964) is a Jamaican reggae and dancehall artist.
Levy was born in Clarendon, Jamaica. He formed a band called the Mighty Multitude, with his cousin, Everton Dacres; the pair released "My Black Girl" in 1977. Levy established his solo career the next year with "A Long Time Since We Don't Have No Love"; though the single was a failure, the fourteen-year-old was a popular performer at Jamaican dancehalls. In an August 2014 interview with Midnight Raver, record producer Delroy Wright revealed that it was his brother Hyman Wright who first met Barrington Levy in the mid-1970s through Wade "Trinity" Brammer. According to Delroy Wright, Hyman Wright recorded a host of tracks with Barrington Levy prior to introducing him to Henry "Junjo" Lawes. These tracks would eventually appear on the album Bounty Hunter, which was released on the Jah Life record label. Both record producers recorded several singles with the Roots Radics, including "Al Yah We Deh", "Looking My Love", "Englishman", "Skylarking", "Wedding Ring Aside" and "Collie Weed", all of which became hits and established Levy's career. Levy's next few singles were similarly successful, including "Shine Eye Girl", "Wicked Intention", "Jumpy Girl", "Disco Music", "Reggae Music", "Never Tear My Love Apart", "Jah", "You Made Me So Happy" and "When You're Young and in Love". Levy then recorded several duets with Toyan, Jah Thomas and Trinity, and appeared at Reggae Sunsplash in 1980 and 1981. Although albums were not terribly important in Jamaica at the time, Levy released four albums before 1980: Shaolin Temple, Bounty Hunter, Shine Eye Gal (United Kingdom) and Englishman, a critically acclaimed record. His success led to many earlier studio and sound system performances being reissued without his consent, releases he described as "joke business".
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