Matumbi
Nowadays largely remembered for being home to Dennis Bovell's first musical adventures, Matumbi should nevertheless be considered in their own right as a leading voice in the UK's '70s reggae scene. Formed in south London in 1971 by Tex Dixon (vocals), he pulled together a nucleus which comprised Uton Jones (drums), Errol Pottinger (guitar), Bevin Fagan, Glaister Fagan and Nicholas Bailey (vocals), alongside the aforementioned Bovell (guitar). They took their name from the African word for ‘rebirth’, and in the customary manner of early UK reggae bands, first found employment backing visiting Jamaican musicians. After signing to Trojan early singles included Brother Louie and Wipe Them Out, but it was the subsequent singles, After Tonight and Man In Me, which brought them major commercial recognition. The latter was the biggest selling UK reggae single of 1976. However, success almost immediately brought internal friction, exacerbated by Trojan's attitude. They were diquietened by the way individual members were partaking of several outside projects, rather than concentrating on establishing the band as a top name. An injunction was finally served, with the result that Bailey and Dixon quit, and Uton Jones was replaced on drums by Jah Bunny Donaldson. Bailey would go on to solo ‘pop’ successes with Nick Straker. The remaining members moved on to a contract with EMI subsidiary Harvest, bolstering their profile by joining Ian Dury And The Blockheads on tour. SEVEN SEALS was an effective long playing debut, but it was the follow-up, POINT OF VIEW, with garnered most plaudits. The title-track, a mix of reggae, soul and Glen Miller, reached the Top 40, and for a time it seemed Matumbi might occupy the commercial high ground which many UK reggae bands had aspired to. It was not to be, two albums followed but popular taste had bypassed Matumbi, and the members resumed their solo projects. Bunny joined the Cimarons, and Glaister Fagan and Blake came to be known as the Squad, seeing some chart success as such. Bovell pursued his own idiosyncratic vision working both inside and outside of the reggae medium.