It was the second half of the 1970s and I had just transferred to Camperdown High School in East Kingston from Kingston College to pursue the 2-year 6th form studies for Advanced Level exams. It was then that I was asked by the Camperdown principal to start a Cadet Unit at the school, drawing on my history at Kingston College. I acquiesced and, to raise funds for the purchase uniforms for the 32 cadets, we decided to have a fund-raising concert. The event caused me to draw on some existing friendships, including a connection I had made with Anthony Fairclough, one half of the 1970s-80s deejay duo of Michigan & Smiley. Fairclough was a Cadet at the Independent cadet unit at Up Park Camp and was known for his developing dee-jay skills. Himself and his friend Errol Bennett were regulars on the ‘Third World’ sound system before moving on to the Black Harmony sound system. Fairclough took the stage name Papa Michigan, and Bennett was dubbed ‘General Smiley.’ The two would come to be known simply as Michigan and Smiley and would go on to dominate the Jamaican dancehall music scene for a twelve-year period spanning 1979-1991.
The duo broke through in 1979 with the hit tune “Rub-A-Dub Style,” a jaunt which drew from the vast catalogue of Studio One hits held by owner Clement “Sir Coxsone” Dodd. For context, the mid-1970s saw Studio One slipping into a steep decline as newer studios such as Channel One, and Dynamic Sounds, among other, had seriously eroded Studio One’s position. Thanks to the creativity and persuasiveness of Lincoln “Sugar” Minott, Coxsone relented and allowed Minott to continue his experimentation of revisiting the catalogue. Coxsone saw merit in Sugar Minott’s approach as the refreshed tracks became red meat for himself and a battery of other young artistes including Michigan and Smiley who were introduced to Coxsone by the owner of the Black Harmony sound system. Their first effort became a monster hit in Jamaica with heavy rotation on local radio stations, on the party and sound system circuit.
Michigan & Smiley were themselves strategic in their approach. They had both perfected their craft as youngsters living in the Union Gardens area of Kingston 13, where they performed as a duo with their unique ‘call and answer’ deejaying technique, supported by their use of rhyming and drawing on topical issues upon which they built their material. In a field of solo artistes including the likes of Dennis Brown, Alton Ellis, Freddy McGregor, Delroy Wilson, among others, they were the first Dee-Jay duo, and they rode their technique with complete aplomb. They followed this up with the hit “Nice Up the Dance” and by this time the entire Jamaica wanted more of Michigan & Smiley. It is inarguable that Michigan & Smiley seriously revolutionized Jamaican Dee-Jaying as they built on what had been established by the likes of Count Matchukie, King Stitt, U-Roy, I-Roy, Dennis Alcapone among others. Their two big singles were quickly incorporated into the lexicon of Dancehall phraseology, while their call-and-response style was similarly influential on the future developments of the music which involved the blending together of straightforward singing style with toasting. They incorporated a tremendous amount of humor in their material and their flamboyant stage attire also worked to distance them from other performers. On the back of the success of the singles Rub-A-Dub Style and Nice up the Dance, they released the album “Nice up the Dance” in 1979.
In 1980, they recorded the massive hit “One Love Jamdung” at Tuff Gong studios. The song flew to number 1 on the island’s record charts where it stayed for three months. They came to the attention of ace Dancehall producer Henry “Jonjo” Lawes in that same year, and by 1981 released the prophetic single “Diseases,” a Rasta inspired warning to Jamaicans to beware of the kinds of behaviors and lifestyles that would visit pestilences on the population. The following year 1982, Jamaica was hit by a polio outbreak and the fact that the song had initially provided such a warning, sent it soaring on the local and international record charts. Their relationship with Junjo Lawes would yield the albums “Downpression” and “Step by Step.” Sadly, the political strife that engulfed Jamaica as the island meandered towards the 1980 elections sent upper and middle-class Jamaicans rushing towards the island's airports in search for safer and greener shores. Smiley became one of those casualties as he moved to California. That notwithstanding, the two continued to record music whenever the opportunities allowed. In the ensuing period they released the albums Sugar Daddy in 1983, but the distance took its toll. Seven years would elapse they hit the studios as a duo. This was “Back in the Place” released in 1990, “Reality Must Rule Again” released in 1992, and “Uptown Downtown,” which was released in 1995.
The reportedly separated following the release of the last album although some will suggest that they were touring and doing shows together. The record shows that they have each embarked on separate paths as solo artistes. What is clear though is that the music they provided as a duo solidified their standing as influential artists in the dancehall genre. Their inventive use of rhythms and their energetic performances not only captivated audiences but also set a new standard for the genre. Michigan and Smiley's innovative approach allowed them to seamlessly blend humor and social commentary, making their music both entertaining and thought-provoking. Their ability to adapt to evolving trends in the music industry ensured their longevity and relevance. As pioneers in their field, they played a crucial role in shaping the sound and culture of dancehall music, leaving an indelible mark on the Jamaican music scene and inspiring future generations of artists.
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