A sad loss, I had the privilege of seeing him perform once. He was a master, in the elite of Reggae artists, R.I.P.
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Yes KDee, last time I saw him perform was a few years ago alongside Marcia Griffiths at the Garance Reggae Festival in France.
An artist who has always ploughed his own furrow and refused to follow fads and fashions in the music and refuses to be involved in Payola which is rife in Jamaica. So, Bob made the music he wanted to make when he wanted to, even when it was unfashionable, for example when most of the reggae world in the eighties was going nuts for dancehall, he quietly continued to record quality Roots Reggae music with a message in London with the Mad Professor.
His songwriting credits ought to have seen him reasonably wealthy but the nature of the Reggae business and his refusal to play by corrupt rules probably cost him commercial success, saying that he doesnt consider the “value” (in commercial terms) of music but its actual worth.
A sincere and humble man who wasnt afraid to speak out when appropriate. I remember an interview with Bob Andy, where the interviewer was speaking in reverance about Studio One owner Clement Coxsone Dodd, with genuine sincerity and passion Bob lambasted Coxone for not paying proper royalties etc and how many of those artists that were the foundation of the music were ripped off and ended up destitute, citing Jackie Mittoo as an example.
Bob was a passionate defender of the music and its musicians, helping to set up the Carribean Copyright Association to protect artists.
From the Jamaica Sunday Gleaner;
Reggae music industry hails Bob Andy | Entertainment
Reggae music industry hails Bob Andy
Friday’s passing of elder statesman of reggae music Bob Andy has plunged the industry and legions of fans worldwide into mourning for a giant whose decades-long, storied career led to him being bestowed the title “music royalty”. A singer, songwriter, producer, dancer, and actor, Keith Anderson, as the musical ambassador was christened, has left a legacy that is unsurpassed. Outstanding among this is his ‘ Songbook’ album for Studio One, which British travel magazine Rough Guides book, ‘Reggae: 100 Essential CDs’, describes as “a masterpiece that belongs in anyone’s CD collection – and not just of reggae music”. Maxine Stowe, the niece of Studio One founder Clement ‘Sir Coxsone’ Dodd, told The Sunday Gleaner that “‘ Songbook’ is a soundtrack of his character”.
Stowe was among scores of persons who felt compelled to pay tribute to the Rastafarian entertainer upon his passing. “Bob hit a good innings as a creative, intellectual being. I measure him from a social conscious, Rastafari, Pan African, music industry foundation perspective. His life and work intersected with and influenced many fundamental people in my own life, starting with Coxsone Dodd, Sugar Minott, Marcia Griffiths, and Bunny Wailer. He also produced music and did stints with dancing and acting. I loved and will miss his mind!” she shared with The Sunday Gleaner .
Veteran producer Augustus ‘Gussie’ Clarke recalled Bob Andy’s humility. “Bob was one of the few remaining musical icons who always exhibited humility and respect for all while being deep in and guided by his spiritual and philosophical ‘reasonings’. I am proud to have benefited from knowing and working with him.”
It is impossible to mention the multifaceted Bob Andy without noting his songwriting credits. Numbered among reggae music’s most influential songwriters, the Rastafarian entertainer wrote songs both for himself and many of the genre’s leading artistes, among them Gregory Isaacs, Ken Boothe, and Delroy Wilson. His collaborations with the woman who would go on to distinguish herself as the Queen of Reggae, Marcia Griffiths, are the stuff of which legends are made.
Olivia ‘Babsy’ Grange, minister of culture, gender, entertainment and sport, a “big fan of Bob Andy’s music”, in paying tribute, hailed him as one of the best songwriters Jamaica has ever produced. She stated: “His writing was superb. Nobody could write songs like him. He leaves a legacy of some of the greatest hits, including the classic I’ve Got to Go Back Home and Fire Burning . Bob Andy lived a long, creative life. I offer my sincerest condolences to his fans, colleagues, friends, and family – especially his children, Bobby, Bianka and Shamori. We all mourn the passing of a truly remarkable man.”
Music consultant Andrea Davis dubs Bob Andy Jamaican music royalty. “He has been an outstanding songwriter, singer, and an internationally beloved ambassador of Jamaican music. His exceptional creativity contributed to some of the most iconic songs in Jamaican music. He will be missed, but his music will live on. Condolences to his family, his music family, and his fans around the world.”
Dave Rodney, media-marketing specialist, told The Sunday Gleaner : “I grew up on the amazing music of Bob Andy in Jamaica, but more recently, I had the pleasure of working closely with Bob on Grooving in the Park in New York, doing the media rounds. He was a gentle giant, a hit machine, a sensational performer, and a brilliant storyteller with a biting sense of humour. May his soul rest in serene peace.”
Tommy Cowan, CEO of Glory Music, hailed Bob Andy as a philosopher who had a passion for defending the rights of the creators of Jamaican music and shared a personal moment. “One day after he was released from the UWI Hospital with tears in his eyes, he said, ‘I never knew that people loved me so much’, which was a reaction to the love showed by folks while he was ill. Bob was a believer who accepted Christ into his life. The last scripture I shared with him by WhatsApp this morning, which was read to him by Jessica Jones at his bedside, was Psalm 34:3: ‘Oh magnify the Lord with me and let us exalt his name together.’ Keith will always have a special place in my heart, and I won’t forget the day at his bedside when he accepted Jesus Christ as Lord and saviour,” he said.
Musician and band leader for Fab Five Frankie Campbell remembered Bob Andy as a fantastic performer and singer as well as one of Jamaica’s greatest songwriters. He declared: “He will be sadly missed. The only regret was that he never resolved his publishing problems with Studio One after trying for over two decades. On behalf of JAVAA and Fab 5, condolences to his family, friends, and fans from all over the world. May his soul rest in peace
http://www.bobandy.com/biography
BIOGRAPHY
Bob Andy (born Keith Anderson) emerged as a solo star in 1966 with the smash hit “I’ve Got to Go Back Home”, a song which has become a much-loved anthem for Jamaicans. He had served his singing and songwriting apprenticeship with the legendary vocal group the Paragons which he founded with Tyrone (Don) Evans and Howard Barrett, later joined by John Holt. The Paragons had several hits for producer Coxsone Dodd including the Number One “Love At Last”, penned by Bob.
As one of Studio One’s leading lights, Bob worked closely with Jackie Mittoo on many of the label’s seminal sounds. Besides writing songs for himself which have become reggae standards - “Feeling Soul”, “My Time”, “Going Home”, and “Too Experienced”, to name just a few - Bob contributed hits for many of the other artists there.
In 1970, international recognition came when Bob and Marcia Griffiths recorded Nina Simone’s “Young, Gifted and Black”, which sold half a million copies in the UK and Europe, and still receives frequent airplay today. Bob & Marcia became household names, appearing on Top of the Pops and touring extensively. They had another UK Top Ten single and two albums for Trojan Records.
During the early 70s Bob continued his solo recordings; “You Don’t Know” and “Life” are two songs from this time which hold a special place in the hearts of his British fans. After the duo split in 1974, Marcia became one of Bob Marley’s I-Threes, and Bob’s singles “Fire Burning” and “Check It Out” struck a responsive chord with Jamaicans in the new social consciousness of the Manley era.
In the middle seventies Bob joined the newly formed Soundtracs label in Jamaica as their A&R manager. He and Marcia reunited for the Kemar album, which remains the definitive Bob & Marcia album and has been released as Really Together on Bob’s own label.
Bob was one of the first Jamaican artists to establish his own publishing company, Andisongs, and served as one of the prime movers in the attempt to establish a Caribbean Copyright Organisation.
1978 saw the release of Bob’s album Lots of Love and I, which amongst many excellent tracks contains the classics “Ghetto Stays in the Mind” and “Feel the Feeling.” In the same year he traveled to Cuba to perform at the 11th World Festival of Youth and Students. Then began a five year absence from the music scene as Bob became increasingly involved in acting. He took lead roles in several theatre productions, and in 1979 starred in the Jamaican feature film Children of Babylon.
In 1983 Bob was welcomed back to the reggae charts with a UK number one single, “Honey”, followed by a Number One album, Friends. For these and subsequent releases he formed his own label, I-Anka, in Jamaica and the UK.
During 1985 Bob toured California, appeared at the Youth Festival in Moscow, and headlined the first Japanese Reggae Sunsplash. The Retrospective album was released in 1986 (1987 on Heartbeat/Rounder Records in North America) to widespread critical acclaim. It provides a missing historical link between the Studio One masterpiece Bob Andy’s Songbook and his more recent work.
In November 1987, Bob assumed the post of A&R and Promotions Director for Tuff Gong (the group of companies founded by Bob Marley). In this capacity he represented Tuff Gong Music at many industry functions in Jamaica and abroad. He produced artists such as Nadine Sutherland, Ernest Wilson and Tyrone Taylor, as well as new talent. Bob’s stay at Tuff Gong provided him with many opportunities to express his life-long desire for higher standards in Jamaican music, both in its business operations and in the quality of its musical output.
Freely, released on I-Anka in late 1988, comprised tracks recorded throughout the middle 80s. It received rave reviews and spent many months in the reggae charts.
Assuming once again his role of Jamaican music pioneer, Bob spent six months in Australia in 1989, conducting workshops and playing with local musicians. On December 13th 1989, he joined other leading reggae artists at Gdansk Shipyard in Poland in an Anti-Apartheid concert sponsored by Solidarity to celebrate the progress of the world’s liberation movements.
During the 90s Continental Records, one of Brazil’s largest record companies, issued a Bob Andy compilation album, and several of Bob’s albums received Japanese releases. Bob recorded the album Hanging Tough for producer Willie Lindo at his Heavy Beat Studios in Miami. The set was released in 1997 on VP Records and included the inspirational singles “Love This Life” and “Die No More.”
Formal recognition of Bob’s musical contributions has flowed in from many sources during the last two decades. Rockers Magazine honoured Bob with a Lifetime Achievement Award in Kingston in 1989, as did the Canadian Reggae Music Awards in Toronto in 1991. Bob’s song “Fire Burning” received the JAMI Award for Song of the Year in 1991. In 1997 he was named as one of the music’s “Living Legends” at the Reggae/Soca Awards in Miami and was presented with a Lifetime Achievement Award by the 1999 Bob Marley Day Festival in Southern California. He received the Prime Minister’s Award for Excellence in Jamaica in 2003.
The 90s and the first decade of the new millennium have found Bob continuing to give stunning performances in Europe, Japan, Jamaica, Canada and the US. In addition to his solo performances he has taken part in a series of special reunion concerts with Marcia Griffiths. He has added new classics to his repertoire, such as the well-received singles “Zion”, “There Is A God” and “Ska Music (is Jah Music)”.
In early 2005, Bob made his first journey to Africa. He performed at the Bob Marley 60th birthday concert in Addis Ababa to an audience of several hundred thousand, and also sang at the Ethiopian President’s Palace. During a visit to Shashemane in the weeks following he gave benefit concerts for the community.
More recent compositions include two successful singles recorded by Bob for the Altafaan label: “Create Our History” with Luciano (2006), and “Almighty Dolla” (2007).
Jamaica conferred its Order of Distinction in the rank of Commander (CD) on Keith ‘Bob Andy’ Anderson in October 2006 for his contributions to the development of reggae music.
It has often been noted that the mark of a great artist is the continued production of notable works throughout his lifetime. A veritable explosion of cover versions of Bob’s songs and rhythms has already introduced a new generation of fans across the globe to his music. Bob’s audience will have much to savour as they become familiar with his latest compositions, which only serve to further enhance one of the most distinctive and distinguished bodies of work in Jamaica’s
Studio One court case a heavy load – Bob Andy
The law suit between singer/songwriter Keith ‘Bob Andy’ Anderson and the Clement Coxsone Dodd estate continues this month with the singer stating that it is “weighing him down”.
The court will determine whether royalties are due from Bob Andy’s Songbook, the classic Jamaican album which includes the blockbuster hit, I’ve Got to go Back Home.
“At issue is the publishing aspect of the songs and the fact that they say they are not obliged to pay me any artiste royalties,” Andy told the Sunday Observer in an interview Thursday, just days after his 65th birthday. Andy is one of the rock steady era’s most prolific hitmakers.
Both parties are said to be in negotiations but are at odds over the authenticity of a signature bearing Andy’s name, apparently relinquishing his publishing rights. However, Andy denies having signed any such document. No one at Studio One was available for comment up to press time. Both parties should meet in the Supreme Court chambers on the November 24, Andy said.
“We are supposed to have a case management to discuss a possible settlement,” he explained.
It will be the second Studio One suit heard this month; the other reportedly involves a member of Dodd’s family.
Andy confessed: “The case is a very heavy load and if I didn’t have the inner strength it would depress me.”
Andy had two cases filed against Dodd’s estate and second defendant JamRec which involve similar matters.
“It is almost as if the songs that people love so much have become an albatross around my neck. It is as if my life is being controlled from beyond the grave,” he reasoned.
Andy had previously stated that he has never received adequate financial compensation for the 1970 album Songbook, which became one of the biggest sellers in the Studio One catalogue. He also penned chart-topping hits for other Studio One artistes including Delroy Wilson, Marcia Griffiths and Ken Boothe. Also, in 2002 Andy praised and criticised the late Dodd at the University of the West Indies lecture in commemoration of Dodd’s 50th anniversary in the music business this year. He said the legendary producer kick-started the career of many young artistes, “but he could have done more for them”.
Bob Andy was one of the founding members of The Paragons, along with Tyrone Evans and Howard Barrett. His bio on Wikipedia notes that his first solo hit record in 1966, I’ve Got to go Back Home, was followed by Desperate Lover, Feeling Soul, Unchained and Too Experienced, amongst others. He also composed I Don’t Want to See You Cry for Ken Boothe, and Feel Like Jumping, Truly and Melody Life for Marcia Griffiths.
His late 1960s hits, including Going Home, Unchained, Feeling Soul, My Time, The Ghetto Stays in the Mind, and Feel the Feeling, and his 1992 hit, Fire Burning, have become reggae standards and have been covered numerous times.
In the early 1970s, he recorded with Marcia Griffiths as Bob and Marcia, under producer Harry J’s tutelage. These included the UK hits Young, Gifted and Black and Pied Piper. In 1978, Andy took a five-year-long sabbatical from the music industry to concentrate on his career as an actor. Andy subsequently starred in the films Children of Babylon in 1980 and The Mighty Quinn (1989).
Andy’s 1988 album, Freely, recorded in London and Jamaica, was reissued in 1997. The same year, he released an all-new album, Hangin’ Tough, produced by Willie Lindo.
Andy undertook his first concert tour of Africa in 2005. He performed at the Bob Marley 60th birthday concert in Addis Ababa to an audience of several hundred thousand, and also sang at the Ethiopian president’s palace. During a visit to Shashemane in the weeks following, he gave benefit concerts for the 12 Tribes.
In 2006, he was conferred with the Order of Distinction in the rank of Commander for his contributions to the development of reggae music.
By Steven Jackson
source : jamaicaobserver.com
Excellent in depth interview with Bob Andy on the history of the music
This, and Beware Dub by Yabby Yu and The Prophets, still two of my favourite albums…
Righteous stuff. Posted in the Track Of The Day thread, but thought this was more it’s home 
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On the Daddy Kool label, one of the great but no longer with us specialist shops.
.btw you know the original Daddy Kool pressing in decent nick is worth a few bob, got yourself a gem there
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Love this on LP from when it came out on Virgins Frontline label..
Thanks Dread.
No, I didn’t know…bought it when it came out when we just bought the good stuff without thinking of investments, lol.
They were good days in the reggae record shops
It’ll be with me til I fall off the perch!
Looks like you got a nice looking condition copy there, a piece of treasure
I’m just wiping the dribble off my chin!
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Yeah, I’ve looked after it
I suppose I could stream it, but it wouldn’t be the same.
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Stevie,
Daddy Kool apparently reissued it and that copy is worth a lot less. The first pressing had the label printed with A side & B Side, the reissue/repressing had Side 1 and Side 2 with “made in great britain” printed on the label whereas this doesnt appear on the first press. The former is worth up to around £150 on discogs.
As for streaming it, well it depends on what was used as source material, which in Reggae land can often leave a lot to be desired. I have the Pressure Sounds CD re issue which is ok, but if you fancy having your arm ripped off…
Didn’t know about the reissue (gulp) - I’ll check my labels. I think I got it early on, but memory plays tricks… even if it is the reissue, still hugging it close.
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Tried enlarging your photo and it does look like a first press.
More dribble!
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Going to drag out my Beware Dub after all this
The excitement!
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Mine’s a first then.
Pleased that my memory hasn’t quite gone senile 
(Which, given the amount of…stuff…we used to
do back then is a blessing indeed!)
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How yu mean, used to do? The medicine good still! 
If you can stream Tidal, I dont, here is the Pressure Sounds remastering, not sure what source they used but I bet it doesnt come close, be interested in your ears on this
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