"My music supports social and political awareness of minority groups and underpriveleged communities around the world. I have never encouraged hatred or violence against any group in society. I hope to help bring communities together through my music."
Born February 15th, 1951 in Kingston, Jamaica, Horace was raised and involved in what one would call Roots Reggae.
Myself, I wasn't really too into Reggae growing up. Granted, few songs would surface to the mainstream via soundtrack or re-release that I would enjoy. Then there was punk from the late 70's and early 80's(mostly Britain) who took notice of Sound Systems and started to use it as influence. Most notable for that would be the Clash. They themselves could put out an entire record of covers that were Reggae, Dub, Dance Hall, etc.
Dub and Dance Hall was what grabbed my attention. Over time, I really enjoyed sparse vocals, long and extended drum lines as well as bass. So naturally it spoke to me. Eventually, I just found myself playing Dub on my way to work, running errands, etc. It was easy, calm and just made me happy.
On this release, Horace had more involvement with instruments. He had much to do with the beats, bass, rhythm and lead guitar. I enjoy these versions of his classics a little more than a lot of his releases. I think the music compliments his falsetto vocals really well. This was also a great time for Wackie's Records/Studio(Bronx, NY), which was responsible for this recording and many others such as Jah T.
"Spying Glass" as well as "Lets Live In Love" are amazing tracks. If you enjoy this, do some research on Wackie's Releases, 70's/80's Reggae in NY and Jamaica.
Dance Hall Style
1. Money, Money - 6:17
2. Lonely Woman - 6:25
3. Cuss Cuss - 7:04
4. Stop The Fuss - 7:16
5. Spying Glass - 5:12
6. Lets Live In Love - 13:44