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The story Yabby You told of the moment his epic “Conquering Lion” came to him is a defining one. A self-certain argument with some Rastas over his belief in Jesus as the Messiah – and not Haile Selassie – came to a natural stalemate, but Yabby’s mind produced more reflection, and then… expression. The lyrics unfolded within him and with them an idea for a “new sound,” as he put it. When he later sang the song to the drummer Leroy “Horsemouth” Wallace, who then brought him to Soul Syndicate guitarist Chinna Smith and Wailers bassist Family Man Barrett, the die was cast – Yabby’s inspiration escaped its private hatching and an artist was born. Lack of money wouldn’t hinder him in that nascent stage, because the musicians gave their time freely and King Tubby did the rest by word of mouth. The dubmaster knew, and 1972 saw its defining heavy roots anthem sprung on the world

Vivian Jackson, aka Yabby You, died on January 12, 2010. He was living in the Clarendon parish, in a small spot known as Vere, away from the bustle and pressure of Kingston, which had been both his birthplace and upbringing. This will not be the space to retell the Yabby You story in full. In what likely remains the greatest release of roots reggae ever, Blood & Fire’s 2-cd “Jesus Dread” set unerringly establishes the narrative and terrain that was this lesser known giant of the roots reggae era.

It has been the case all along that Jamaican music has many faces and shadings. Some co-exist in the same time frame, others evolve from what came before them, carrying some members of the previous generation with them but inevitably sprouting forth a new set of artists and voices. The era of “deep roots” reggae that arrived around 1972-73, with its Rasta and pan-African consciousness, morphed and redirected the sounds that came before it. It was a cultural shift in many ways, a maturation of a particular generation and social caste, almost.

What you get with Yabby You’s recordings and productions is an elegant directness within its earnest immersion in religiosity and cultural awareness. The sounds we’re showcasing here reveal a singular emotional focus that you can feel firmly harnessed to each rhythm, each Tommy McCook horn line, each impassioned and no-nonsense vocal delivery, each cavernous dub by King Tubby and his associates. For so-called “roots heads,” the complementary notions of “heaviness” or “dread” are the states of being the music is supposed to engender. Embedded in that desire is a simple reaching out for an artistic expression that cuts no corners and which breathes a particular life into rhythmic music – honesty. What can you say at this point other than Yabby You’s expression was every bit of that. We mourn his death, but his living remains.