#CoverCulture Wayne Wade’s reggae cover of 'Lady' was a massive hit in Europe. Originally written by Lionel Richie for Kenny Rogers in 1980, Wade gave it a breezy island feel two years later. It even hit the Top 10 in the Netherlands. It's a perfect bridge between Nashville soul and Kingston rhythm.
Jimmy London’s ‘Mother & Child Reunion’ shows how a reggae-inspired pop tune becomes fully grounded in Kingston. Paul Simon brought the sound home, but Jimmy’s cut strips it back to pure session feel. Same song, different weight.
#CoverCulture #JimmyLOndon #Reggae #ReggaeSky
#CoverCulture Joe White’s 1973 cut of 'Me And Mrs. Jones' shows how Jamaican artists could reshape a global soul hit. Produced by Harry J Johnson, it turns Billy Paul’s Philadelphia classic into a cool, understated reggae interpretation.
#CoverCulture Sanchez’s version of 'The Lady In Red' shows how reggae can transform a pop hit. Chris de Burgh’s 1986 original was huge. By 1987, Sanchez used his skills as a former selector to give it a fresh, romantic soul. It’s the track that announced his voice to the world. #Reggae #ReggaeSky
#CoverCulture ‘He’ll Have To Go’ is often linked to Jim Reeves, but Billy Brown recorded it first in 1959. Years later, David Isaacs reworked it in Jamaica with a rocksteady touch. Same song, different journeys, from Nashville to Kingston. #Reggae #ReggaeSky #DavidIsaacs
#CoverCulture B.B. Seaton’s 1974 take on ‘My People…Hold On’ turns Eddie Kendricks’ post-Temptations anthem into a roots statement. Produced by Sid Bucknor and issued on Third World, it keeps the civil rights message intact but adds Jamaican depth and warmth. Same song, new fire. #BBSeaton
#CoverCulture Cover Culture dives into Carl Dawkins vs Etta James on ‘I’d Rather Go Blind’. From Dawkins’ reggae rework after ‘Satisfaction’ to Etta’s prison-born original on ‘Tell Mama’. Two versions, same heartbreak. Different worlds, one timeless song.
#CoverCulture Hortense Ellis vs Candi Staton on 'Young Hearts Run Free'. Candi's 1976 disco original warned about control and abuse while making you dance. Hortense took it to roots and lovers rock in 1979 with Bunny Lee producing. Same message, totally different mood. Both versions hit different.
#CoverCulture Don Campbell’s reggae take on Gabrielle’s ‘Rise’ shows how strong songs travel across styles. The UK singer brings his smooth, soulful tone to a tune that already carried history, from its Bob Dylan sample to its chart success. It’s a respectful reinterpretation that still holds up.
#CoverCulture Ken Parker brought a warm rocksteady glow to Sam Cooke’s 'A Change Is Gonna Come'. His 1968 version with Bobby Aitken and produced by Bunny Lee feels personal, shaped by his gospel roots. Cooke’s original remains a towering anthem, but Parker’s cut manages to impress us as well!
#CoverCulture Mikey Spice gives 'Close The Door' a warm reggae glow, the same style that carried his hit version of 'Practice What You Preach'. Teddy Pendergrass holds the original spotlight with that unmistakable seventies soul power. Two different moods, one classic tune that still hits today.
#CoverCulture | Jerry Jones arrived in Kingston for a one-week gig and ended up cutting a reggae version of ‘Compared To What’ with Coxsone Dodd. The original, written by Gene McDaniels and first recorded by Les McCann, later became a powerful protest anthem. Both takes hit hard in their own way.
#CoverCulture | Little Milton’s ‘We’re Gonna Make It’ carried real power in 1965, and Max Romeo picked up that same feeling a decade later with Bunny Lee and The Aggrovators. His version kept the tune’s hope intact while rooting it in Jamaica’s everyday struggles. 2 cuts, 1 message: keep pushing.
#Coverculture | Otis Redding’s ‘(Sittin’ On) The Dock Of The Bay’ became a soulful classic after his death in 1967. Two decades later, Ernest Wilson gave it new life at King Jammy’s studio in Kingston, voicing it over the Punaany riddim built by Steely & Clevie—a perfect blend of soul and dancehall.
#CoverCulture | Vivian Jones’ 1997 take on José Feliciano’s ‘Rain’ turns the gentle ballad into a meditative roots piece. The original spoke of love’s resilience—Vivian’s version adds spiritual weight and warmth, showing why he remains one of UK reggae’s true voices.
#CoverCulture | Pat Kelly’s 1971 version of ‘He Ain’t Heavy, He’s My Brother’ turned Kelly Gordon’s 1969 ballad into a soulful reggae gem. Produced by Bunny Lee, it carried the same spirit of empathy but with that warm, early ’70s riddim and Kelly’s smooth falsetto.
#CoverCulture | Leroy Smart’s 1975 version of Al Green’s ‘Love & Happiness’, produced by Big Youth, flips the soulful original into a rugged reggae gem. Smart’s powerful voice and energy turn the Memphis classic into a Kingston anthem, proving how deep the connection runs between soul and reggae.
#CoverCulture | Winston Groovy, Jamaican reggae artist, flourished in the UK with soulful 1970s and ’80s tracks like ‘Yellow Bird’ and ‘I Wanna Be Loved’. He also recorded a reggae version of the Young Rascals’ 1967 hit ‘Groovin’’, blending reggae warmth with classic international pop influences.
#CoverCulture Desrene, daughter of Desmond Dekker, reimagines Barbara Acklin’s 1968 hit ‘Love Makes A Woman’ in rocksteady style. Recorded at Abbey Road and released by Spice Isle Records, it unites Jamaican rhythm with Chicago soul — a vibrant link between two musical worlds.
#CoverCulture | Michigan & Smiley transformed Suzanne Vega’s 'Tom’s Diner' into a 1991 dancehall cut, produced by Donovan Germain with Mafia & Fluxy on the 'Gunman' riddim. Explore how Vega’s stark songwriting meets the duo’s toasting energy in this striking reinterpretation.
#CoverCulture highlights Owen Gray’s reggae reworking of King Floyd’s 'Groove Me'. Gray’s 1970 cut with Sidney Crooks became a boss reggae classic on Pama, while Floyd’s soulful original, produced by Wardell Quezergue at Malaco, hit No. 1 on the Billboard Soul chart.
#CoverCulture A look at Ken Lazarus's reggae take on George Harrison's 'My Sweet Lord'. Released by Dynamic Sounds, this cover offers a unique island transformation of a classic.
#KenLazarus #GeorgeHarrison #Reggae #DynamicSounds #Reggae #ReggaeSky
#CoverCulture | Eva Lazarus delivers a soulful reggae tribute to Angie Stone’s classic 'Wish I Didn't Miss You', produced by Brad Baloo & Luke Allwood via Nice Up! Records. A vibrant reinterpretation that honors Stone’s legacy—check the post for the full story. #Reggae #ReggaeSky #EvaLazarus
#CoverCulture Discover Prince Far I’s haunting take on 'Deck Of Cards', originally by 'T' Texas Tyler, set against the Satta riddim crafted with Joe Gibbs. A gripping blend of storytelling, scripture, and roots reggae—listen now!
Cover Culture | Memphis Soul Stew: King Curtis vs Lynn Taitt & the Jets | In 1967, sax master King Curtis cooked up Memphis Soul Stew stirring his way into the Top 50. Just a year later, the recipe crossed the waters—seasoned Jamaican-style by Lynn Taitt & the Jets. #CoverCulture
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Cover Culture | Cupid: Sam Cooke vs Leroy Gibbons | Sam Cooke's "Cupid" hit big in 1961. Fast forward to 1987 when Leroy Gibbons teamed up with King Jammy to create a reggae take on the classic. #CoverCulture #SamCooke #KingJammy #leroyGibbons #SteelyAndClevie
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Cover Culture | Diana: Paul Anka vs Barrington Spence | In 1957, Paul Anka made waves with his hit 'Diana'. A few years on, Barrington Spence delivered a soulful cover produced by Phil Pratt. #CoverCulture #PaulAnka #BarringtonSpence #Diana #PhilPratt
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Cover Culture | Jamaican in New York: Sting vs Shinehead | Sting unveiled 'Englishman in New York' in 1987, a sophisticated blend with a reggae touch. In 1993 Shinehead brought his Jamaican rendition to the world, offering a vibrant, island-infused counter-narrative. #CoverCulture #Sting #Shinehead
Cover Culture | Breakfast in Bed: Sheila Hylton vs Dusty Springfield | Despite Lorna Bennett’s standout 1972 rendition and Sheila Hylton’s internationally successful version, Dusty’s original remains unmatched. #CoverCulture #DustySpringfield #SheilaHylton #BreakfastinBed #LornaBennett
Cover Culture | Johnny B. Goode: Peter Tosh vs Chuck Berry | Chuck's Johnny B. Goode hit the streets in 1958 and cemented as a rock ’n’ roll classic. In 1983, Peter Tosh covered the track for his album Mama Africa, also issuing it as a single. #CoverCulture #ChuckBerry #PeterTosh
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