Errol Dunkley
b. 1951, Kingston, Jamaica, West Indies. Dunkley had already cut his first records, a duet with Roy Shirley entitled Gypsy for Lindel Pottinger's Gaydisc label, My Queen with Junior English for Prince Buster, and Love Me Forever, issued on the Rio label in 1965, at the ripe old age of 14. Between 1967 and 1968 he recorded Please Stop Your Lying, I'm Going Home, I'm Not Your Man and You're Gonna Need Me for Joe Gibbs, before switching to Coxsone Dodd in 1969 where he cut Satisfaction and Get Up Now, among others. In 1971 he recorded a medley of his Joe Gibbs hits entitled Three In One, Deep Meditation and Darling Ooh for Rupie Edwards. In an attempt to achieve musical and financial autonomy he teamed up with fellow singer Gregory Isaacs to form the African Museum label, scoring a local success with a version of Delroy Wilson's I Don't Know Why, retitled Movie Star. However, the partnership floundered and Dunkley went on to form his own Silver Ring label, though no hits were forthcoming. In 1972 producer Jimmy Radway recorded him on two of his best sides: Keep The Pressure On and the big hit, Black Cinderella. An album also emerged produced by Sonia Pottinger entitled PRESENTING ERROL DUNKLEY (re-released in 1981 as DARLING OOH), an excellent selection of originals and covers, including the classic, self-penned, A Little Way Different. 
Throughout the first half of the '70s Dunkley recorded a number of fine singles appearing on a variety of labels including Little Angel, Oh Lord, Where Must I Go, Down Below and Act True To Your Man. The second half of the decade saw Dunkley scoring successes amongst the UK reggae fraternity with tunes like I'm Your Man and Eunoch Power for Winston Niney Holness, Stop Your Gun Shooting for Tapper Zukie, and a new version of A Little Way Different for Dennis Bovell. His biggest success, however, came in 1979 with his rendition of John Holt's naggingly catchy OK Fred, which managed to appeal to the pop sensibilities of Britain's wider record buying public, rising to number 11 in the UK national charts in September of that year, leading to unforgettable performances on great British television institutions such as TOP OF THE POPS and BASIL BRUSH. Further forays into pop chart success proved elusive and Dunkley, now resident in the UK, had to be satisfied with the continued grass roots popularity of records such as Happiness Forgets, Rush Me No Badness, If I Can't Have You, Come Natural and a version of the Stylistics Betcha By Golly Wow.