Toppa Top 10: Ten Classics Featuring Style Scott

Words by LargeUp Crew, Photo by Martei Korley

As the drummer of the Roots Radics, arguably Jamaica’s most powerful and revered studio session band, Lincoln “Style” Scott helped defined the rockers and rub-a-dub sound of the early ’80s, laying the foundation for dancehall with his disciplined, precise style of playing. The spacious drumbeat Scott is known for left plenty of room for Flabba Holt’s heavy basslines and dub effects, as they (along with guitarist Eric “Bingy Bunny” Lamont and a cast of musicians including keyboardist-turned-producer Wycliffe “Steelie” Johnson) backed Gregory Isaacs, Sugar Minott, Bunny Wailer and Barrington Levy, to name a few.

While it might seem like a simple kick, snare, kick, snare pattern to the casual observer, there’s pretty much no drummer who can play it as perfectly, and with the right feel as Scott did. Or as hard; his powerful snare hits often had the effect of gunshots or heavy-duty machinery slapping against a wall.

Scott would also make powerful contributions in the field of dub, playing on Scientist’s early ’80s dub LPs with the Radics, and joining Adrian Sherwood’s Dub Syndicate from the mid 1980s onward. Scott remained active on Jamaica’s studio scene until the present moment, laying down riddims with his long-time batterymate Holt right until his passing. He even played on “Sugar Water,” a favorite tune from one of our favorite new artists, Hollie Cook. In recognition of Scott’s remarkable contributions to reggae, dancehall, dub and music in general, we’ve selected 10 classics tracks that represent his style.

Barrington Levy-Shine Eye Gal (1979)

The Roots Radics backed Barrington Levy from the start of his career in the late ’70s, supplying the riddims on a string of successful and era-defining albums for Henry “Junjo” Lawes’ Volcano label. Perhaps nothing embodies the sound of dancehall in the pre-digital era than the Radics’ work with Levy. “Shine Eye Gal” is a prime early example:

Prince Far I & the Arabs –Cry Tough Dub Encounter III (Circa 1979)

Style Scott gained some of his earliest professional experience playing with Prince Far I’s band The Arabs, performing on records later compiled for Cry Tough Dub Encounter III. That band, minus Prince Far I, would evolve into the Roots Radics and also Creation Rebel/Dub Syndicate, whose recordings with producer Adrian Sherwood birthed the UK dub sound. Cry Tough Dub Encounter III represents the beginning of that transition, with Sherwood at the controls. The album’s punk connection is also notable: members of The Slits, including Ari Up, contribute backing vocals to this otherworldly affair. For a deeper look at this highly underrated and innovative LP, see here.

Johnny Osbourne -Ice Cream Love (1980)

“Dancehall wasn’t a genre of music,” Johnny Osbourne notes in our 2013 interview with the “Dancehall Godfather.” “Dancehall was a place where you go, where like in your youth you [would] go to movies. We [could] go outside of the dancehall and stand there for free and listen to the music. ” Eventually, dancehall did become a genre of music, as a different sort of reggae record started to be made specifically for those hardcore dancehall devotees, and the kids standing outside. “No Ice Cream Love” was one of those transitional records.

Eek-A-Mouse- Wa Do Dem (1981)

The Roots Radics backed the unusual and innovative deejay Eek-A-Mouse on his early releases for Junjo Lawes’ Volcano label (licensed to Greensleeves in the UK), the best of which were collected on 1981’s Wa-Do-Dem, named after the artist’s best-known tune. Even amidst Eek-A-Mouse’s entertaining lyrics, the instrumental interplay between Scott and Holt here stands out as something special in its own right.

Barrington Levy-Minibus (On The Telephone) (1982)

The Roots Radics continued to back Barrington Levy through the through the ’80s, taking the sound they’d developed recording for Henry “Junjo” Lawes at Channel One with them, even as they worked with other producers. Released in 1982, “Minibus” is a shining example of their partnership, and features some of Scott’s finest drum work.

Gregory Isaacs- Night Nurse (1982)

The Roots Radics backed up Gregory Isaacs on so many great records while the singer was at his early ’80s peak–far too many to name here. There’s no better, or better-known example than “Night Nurse,” but “Cool Down The Pace” also deserves a mention, along with such “Number One,” “Front Door”–too many to name . Here’s clips of Style and the band backing up the Cool Ruler at Reggae Sunsplash in 1983 (“Night Nurse”), and cooling down the pace on BBC music show The Tube that same year.

Freddie McGregor-Big Ship (1982)

Scott and the Roots Radics backed up Freddie McGregor on his entire Big Ship LP, one of the best reggae albums of the early ’80s. Of course, it’s the title track that people remember best:

Sugar Minott – No Vacancy (1983)

Another early adopter of the dancehall sound supplied by the Roots Radics was Sugar Minott. For a peak example of the Minott/Radics partnership, consult 1983’s brilliant With Lots Of Extra LP, featuring “No Vacancy,” one of the most prescient commentaries on Jamaican social status.

Bunny Wailer – Cool Runnings (1981)

Bunny Wailer came up with the generation of musicians that preceded the Roots Radics, but when he decided to wade into dancehall in the ’80s, he tapped the right crew. On “Cool Runnings,” the band supplied him with a suitably vital riddim anchored by Scott’s deceptively laid-back beat.

Scientist Rids the World of the Curse of the Evil Vampires (1981)


1981’s Scientist Rids the World of the Curse of the Evil Vampires is considered one of the most important dub albums ever, for a few different reasons. Chief among these is the riddims laid down by the Roots Radics—some of their hardest stuff. No point in sharing just one track—this is an LP meant to be heard in full:

Dub Syndicate-Various

With Dub Syndicate, Scott was better known for pushing the envelope and blending genres than dropping quote-unquote classics. In a rare crossover moment, the video for the outfit’s 1984 collaboration with Ravi Shankar–or is it just a song with his trademark sitar style named after him, we’re not quite sure— was featured on British TV show The Tube. After that, check out a clip of Dub Syndicate performing live at Brighton, England Carnival in 1994, complete with a rare interview with Style himself.