b. Lincoln Minott, 25 May 1956, Kingston, Jamaica, West Indies. Minott was, perhaps, reggae music's brightest hope throughout the early 80s, but his refusal to compromise and turn his back on either his roots or his ghetto companions has marginalized his influence, and he is now a peripheral figure, as opposed to the major force he arguably deserves to be. Minott first recorded in the mid-70s as one of the African Brothers with Tony Tuff and Derrick Howard for a variety of Kingston producers; a couple of all-time classics evolved from this period, including 'Torturing' and 'Party Night'. The African Brothers eventually arrived at Studio One, where Sugar's precocious talent was immediately recognised and he was taken on as a studio apprentice where he sang whatever was required, often providing percussion and guitar where necessary. His sweet vocals were only one facet of his talent, and his ability to write new songs to fit over existing rhythms was remarkable. The results, in many cases, eclipsed the originals. He had a few steady sellers for Studio One, but it was his debut long player, Live Loving,that made his name and extended his popularity. He became a bigger star in the UK than in his homeland, and his first release in Britain, the self-produced 'Hard Time Pressure', was a major underground hit in 1979. He travelled to England later that year, and stayed for a lengthy period, adding immeasurably to the indigenous reggae scene. He became a focus for UK reggae, while releasing many records in the accepted local lovers rock style, which demonstrated his ability to work successfully in any flavour of reggae music. A national chart hit, for Hawkeye Records, followed in 1980, and crossover success seemed to be the next obvious step for Minott.
He had previously parted company with Studio One because of his desire for independence, and set up his own Youth Promotion/Black Roots collective organisation to foster and develop the abundant talent in the Kingston ghettos. Consequently, when he was offered deals for recording and concert work with established companies, Minott refused to sign unless the rest of the Youth Promotion team were a part of the arrangement. This proved too altruistic for the large labels, and Minott continued to work in his own way, recording solo outings for many independent producers to finance his ideals. Sadly, his single-minded determination to help out the youths in the ghetto did not work in his favour, and many young singers and DJs who came to prominence on Sugar's Youth Promotion sound system (one of the top Kingston Sounds of the 80s) went on to greater success elsewhere, while his personal strength, too, seemed to be sapped by his constant caring for others less fortunate. His releases for the latter part of the decade were often lacklustre, relying too heavily on the stringing together of dancehall catchphrases and clichés. However, in the 90s he began to make some excellent records both for himself and other producers, including King Jammy,which at last recalled former glories.
Selected albums: Selected albums: Live Loving (Studio One 1978), Showcase (Studio One 1979), Black Roots (Island 1979), Bittersweet (Ballistic 1979), Ghetto-Ology (Trojan 1979), Roots Lovers (Black Roots 1980), Give The People (Ballistic 1980), African Girl (Black Roots 1981), Good Thing Going (RCA 1981), Dancehall Showcase (Black Roots 1983), With Lots Of Extra (Hitbound 1983), Herbman Hustling (Black Roots 1984), Slice Of The Cake (Heartbeat 1984), Wicked A Go Feel It (Wackies 1984), Leader Of The Pack (Striker Lee 1985), Rydim (Greensleeves 1985), Time Longer Than Rope (Greensleeves 1985), Inna Reggae Dancehall (Heartbeat 1986), Sugar And Spice (Taxi 1986), Them Ah Wolf (C&F 1987), Jamming In The Streets (Wackies 1987), African Soldier (Heartbeat 1988), Buy Off The Bar (Sonic Sounds 1988), Sugar Minott And Youth Promotion (NEC 1988), Lovers Rock Inna Dancehall (Youth Promotion 1988), Ghetto Youth Dem Rising (Heartbeat 1988), Sufferer's Choice (Heartbeat 1988), The Boss Is Back (RAS 1989), Smile (L&M 1990), A Touch Of Class (Jammys 1991), Run Things (Exterminator 1993). With the African Brothers: Collectors Item (Uptempo 1987). With Leroy Smart: Rockers Award Winners (Greensleeves 1985). Compilations: Best Of Vol. 1 (Black Roots 1988), The Artist (L&M 1989, double album), 20 Super Hits (Sonic Sounds 1990).