Sugar Minott
b. Lincoln Minott, 25 May 1956, Kingston, Jamaica, West Indies. Minott was, perhaps, reggae music's brightest hope throughout the early '80s, but his refusal to compromise and turn his back on either his roots or his ghetto companions has marginalized his influence, and he is now a peripheral figure, as opposed to the major force he arguably deserves to be. Minott first recorded in the mid-70s as one of the African Brothers with Tony Tuff and Derrick Howard for a variety of Kingston producers; a couple of all-time classics evolved from this period, including Torturing and Party Night. The African Brothers eventually arrived at Studio One, where Sugar's precocious talent was immediately recognised and he was taken on as a studio apprentice where he sang whatever was required, often providing percussion and guitar where necessary. His sweet vocals were only one facet of his talent, and his ability to write new songs to fit over existing rhythms was remarkable. The results, in many cases, eclipsed the originals. He had a few steady sellers for Studio One, but it was his debut long player, LIVE LOVING, that made his name and extended his popularity. He became a bigger star in the UK than in his homeland, and his first release in Britain, the self-produced Hard Time Pressure, was a major underground hit in 1979. He travelled to England later that year, and stayed for a lengthy period, adding immeasurably to the indigenous reggae scene. He became a focus for UK reggae, while releasing many records in the accepted local lovers rock style, which demonstrated his ability to work successfully in any flavour of reggae music. A national chart hit, for Hawkeye Records, followed in 1980, and crossover success seemed to be the next obvious step for Minott. 
He had previously parted company with Studio One because of his desire for independence, and set up his own Youth Promotion/Black Roots collective organisation to foster and develop the abundant talent in the Kingston ghettos. Consequently, when he was offered deals for recording and concert work with established companies, Minott refused to sign unless the rest of the Youth Promotion team were a part of the arrangement. This proved too altruistic for the large labels, and Minott continued to work in his own way, recording solo outings for many independent producers to finance his ideals. Sadly, his single-minded determination to help out the youths in the ghetto did not work in his favour, and many young singers and DJs who came to prominence on Sugar's Youth Promotion sound system (one of the top Kingston Sounds of the '80s) went on to greater success elsewhere, while his personal strength, too, seemed to be sapped by his constant caring for others less fortunate. His releases for the latter part of the decade were often lacklustre, relying too heavily on the stringing together of dancehall catchphrases and clichés. However, in the '90s he began to make some excellent records both for himself and other producers, including King Jammy which at last recalled former glories.