Although Linton Kwesi Johnson invented dub poetry and remains one of the most influential of its practitioners, Michael Smith was another incredibly talented, politically ferocious dub poet who, tragically, lived lengthy enough release a only 1 record. Born within a rough portion of Kingston, Smith was raised within a reggae lifestyle immersed in the toasting riddims of I-Roy and U-Roy, the large dub that Lee Perry and Ruler Tubby had been churning out, as well as the politics position of Bob Marley. Smith, who started his profession (very much like Johnson) being a poet, raged against a Jamaican politics machine (whether it is left or correct wing) that appeared to fail nearly all its people. He was also consumed by racism and its own influence in the Caribbean and on Western world Indian emigres. Smith’s poetry reached the ears of Linton Kwesi Johnson and, with help from Dennis Bovell, he brought Smith to Britain to record an record of dub poetry supported by an excellent music group that included associates of Bovell’s Dub Music group and the wonderful Afro-Brit reggae group Aswad. Made by Bovell and LKJ, Smith’s debut, Mi Cyaan Believe It, was a scintillating good article, a sign that along with Johnson and Mutabaruka, dub poetry was getting into a remarkably fertile period. Smith came back to Jamaica in 1982 and then be gunned right here mysterious situations by members from the Jamaican Labour Party. It had been alleged that Smith acquired attacked them, but provided the country’s volatile politics history, no-one was buying that description, as well as the politically motivated murder of Michael Smith robbed reggae of 1 of its most eloquent voices of protest.