Brenton Dowe’s velvety vocals and idiosyncratic phrasing established the Melodians one of the biggest-selling tranquility trios of Jamaica’s rocksteady period. Born in Stage Region, Jamaica, on June 29, 1946, Dowe grew up by his mom, who relocated the family members towards the Kingston region in 1953. As a kid he sang in cathedral and at college, with 16 befriended fellow tenor Tony Brevett, nephew of Skatalites bassist Lloyd Brevett. Dowe shortly joined up with Brevett’s group, the Melodians, which also included tenor Trevor McNaughton and baritone Bradfield Dark brown. After getting a every week gig at the neighborhood Kittymat Membership, the quartet started recording under manufacturer Prince Buster, although their early initiatives remained restricted to sound-system play. After Dark brown exited the Melodians, the rest of the trio briefly documented for Coxsone Dodd’s Studio room One before jumping to Treasure Isle in 1967. There they notched the chart-topping one “YOU DO NOT NEED Me” along with the smashes “I’LL GO ALONG,” “Seriously LITTTLE LADY,” and “Expo 67.” Beneath the path of manufacturer Sonia Pottinger, the Melodians advanced from rocksteady to reggae using the blockbuster “Small Nut Tree.” Nevertheless, they gained their greatest achievement in cooperation with manufacturer Leslie Kong, who helmed their crossover classics “Sugary Feeling” and “Streams of Babylon.” By 1969 Dowe was also documenting as a single act, as well as the Melodians also briefly divide in 1973 when he slice the Pottinger-produced single LP Build Me Up. Even though trio reunited to record the LP Pre-Meditation, Pottinger shelved the task within the wake of innovative disputes, and Dowe resumed his single pursuits with manufacturer Niney the Observer before credit scoring his greatest achievement using the Lee Perry-helmed “Down Within Babylon.” The Melodians resumed their documenting profession with 1976’s Special Sensations before getting into semi-retirement. Dowe afterwards recorded with companies including Prince Tony Robertson and Joe Gibbs but seldom reclaimed the industrial and vital notoriety of his prior work, savoring his most significant acclaim with 1983’s SO WHAT CAN Love Perform. He experienced a fatal coronary attack on January 29, 2006.