Third World Biography by Steve Huey
Serious Business
One of the longest-running reggae acts of all time, Third World remained one of Jamaica's most consistently popular crossover acts among international audiences for over 40 years. Regularly appearing on American and U.K. charts throughout the '80s, the band embraced a fusion sound that married elements of pop and soul to a reggae core on albums like 1989's Serious Business.
96° in the Shade
Third World was formed in 1973 by keyboardist Michael "Ibo" Cooper and guitarist/cellist Steven "Cat" Coore. Both had received formal training at music schools in Jamaica, and both had played around the Kingston reggae scene before joining the original lineup of Inner Circle around 1968. When they left to form their own band in 1973, they took Inner Circle bassist Richard Daley with them, and also recruited drummer Carl Barovier, percussionist Irvin "Carrot" Jarrett, and lead singer Milton "Prilly" Hamilton. Barovier was quickly replaced by Cornell Marshall, and the group made its live debut that year at Jamaica's independence celebration. They played around the Kingston club scene and made a name for themselves as one of the few fully self-contained bands around. Having all their own musicians on hand, Third World didn't need to rely on sound systems to play records that weren't practical to duplicate live. As a result, they found it difficult to land a label deal, since most labels in Jamaica were operated by sound systems. Third World solved the problem by traveling to England for a tour, and subsequently signing with the internationally minded Island label. Island issued their debut single, "Railroad Track," in 1974 and sent them out on a European tour as the opening act for Bob Marley & the Wailers. Their self-titled debut album was released in 1976 and featured a successful cover of the Abyssinians' roots classic "Satta Massagana." The follow-up, 1977's 96° in the Shade, introduced new drummer Willie "Roots" Stewart and new lead singer William Clarke, aka Bunny Rugs. It was an enormous critical success in the U.K. and Europe, and spawned an all-time classic single in the title track. That set the stage for the group's commercial breakthrough album, 1978's Journey to Addis, which featured a funky, disco-flavored reggae cover of the O'Jays' "Now That We Found Love." The song hit the Top Ten on the American R&B charts in 1979, and Third World found themselves international stars.
The Story's Been Told
The group quickly followed its breakout hit with The Story's Been Told later in 1979, and it charted in the U.S., though not as high as its predecessor. In 1980, they issued two albums, Rise in Harmony and the film soundtrack Prisoner in the Street, which marked the end of their tenure with Island. Third World next signed with CBS and debuted with 1981's Rock the World, which gave them another significant crossover hit in "Dancing on the Floor (Hooked on Love)," a British Top Ten. At the 1981 Reggae Sunsplash Festival, Stevie Wonder joined Third World on-stage to perform his tribute to Bob Marley, "Master Blaster (Jammin')"; it went well enough that Wonder wrote and produced two singles on the group's next album, 1982's You've Got the Power. The band's success continued on through the '80s, as 1983's All the Way Strong and 1985's Sense of Purpose both made the R&B Top 50. The latter album produced several minor crossover hits in the title track, "One on One," and "One More Time," which sported state-of-the-art, club-friendly dance beats. However, 1987's Hold on to Love didn't fare so well, and the group wound up parting ways with CBS and moving over to Mercury. Their 1989 label debut, Serious Business, restored their commercial standing with American R&B audiences, climbing into the Top 30 on the strength of a third major crossover hit, "Forbidden Love." One of the first commercially successful fusions of reggae and rap, "Forbidden Love" featured a guest appearance by Stetsasonic lead rapper Daddy O. Third World's second Mercury album, 1992's dancehall-flavored Committed, proved to be their last major-label outing. Their next release, 1994's concert set Live It Up, appeared on the band's own label and marked the return of Rupert Bent, who wound up joining the band as a guitarist, keyboardist, percussionist, and occasional vocalist. In 1997, founding member Michael "Ibo" Cooper and Willie Stewart both departed, and were replaced by keyboardist Leroy "Baarbe" Romans and drummer Tony "Ruption" Williams, respectively. This lineup released Generation Coming in 1999, landing guest spots from Shaggy and Bounty Killer. Afterwards, Romans was replaced by Herbie Harris, who made his studio debut on 2003's Ain't Givin' Up. The same year Third World celebrated a quarter century of playing music by re-recording their classics for 25th Anniversary. Two years later they returned with Black, Gold, Green, which included guests Beres Hammond, Wayne Marshall, and Blu Fox. Their 2011 effort, Patriots, featured guest vocalists like Gregory Isaacs, Capleton, and Tarrus Riley, plus Marley brothers Stephen and Damian. Along with a plethora of live recordings, the rest of the decade saw the band producing studio albums in the form of 2014's Under the Magic Sun and the high-energy collection More Work to Be Done in 2019. More Work to Be Done featured a strong guest list of featured contributors from new generations of reggae stars, including cameos from Busy Signal, Chronixx, Pressure Busspipe, and others.
Prisoner in the Street Review by AllMusic
The soundtrack of a 1980 concert filmed at the legendary Rainbow in London, PRISONER IN THE STREET is one of the best live reggae albums of its era. At this point in their career, Third World had moved from their early roots style to a more pop-influenced R&B-reggae hybrid.
While the songs on PRISONER IN THE STREET aren't as light and poppy as they would be on later albums such as 1983's ALL THE WAY STRONG, the sound is still closer to the British pop-reggae of Aswad or UB40 than early Jamaican roots reggae. This isn't a bad thing, as Third World largely pioneered this style and do it better than just about anyone. A set list drawing heavily from 1977's 96 DEGREES IN THE SHADE and 1978's JOURNEY TO ADDIS means that PRISONER IN THE STREET features the group at their artistic height. This well-recorded concert is classic live reggae
Third World – Prisoner In The Street
Third World - Prisoner In The Street album cover
More images
Label:
Island Records – ILPS 9616
Format:
Vinyl, LP, Album
Country:
US
Released:
1980
Genre:
Reggae, Stage & Screen
Style:
Reggae, Roots Reggae, Soundtrack
A1 Now That We've Found Love 5:38
A2 Prisoner In The Street 4:02
A3 Third World Man 5:45
A4 Cold Sweat 5:28
B1 96 Degrees In The Shade 3:35
B2 African Woman 7:00
B3 Irie-Ites 4:55
B4 Street Fighting 5:21
Backing Vocals – Michael Cooper (2), Steven "Cat" Coore
Bass – Richie Daley, Steven "Cat" Coore
Drums – Willie Stewart
Engineer – Alex Sadkin, Arnold Dunn, Mick McKenna, Pete Stevens
Guitar – Steven "Cat" Coore, William "Rugs" Clarke*
Keyboards – Michael Cooper (2)
Lead Vocals – William "Rugs" Clarke*
Mixed By – Chris Blackwell, Godwin Logie
Percussion – Irving "Carrot" Jarrett
Producer – Alex Sadkin, Chris Blackwell
Original Soundtrack from the film "Third World: Prisoner In The Street" directed by Jerome Laperrousaz
Recorded Live
GOLDMINE GRADING
MINT ---- It should appear to be perfect. No scuffs or scratches, blotches or stains, labels or writing, tears or splits. Mint means perfect.
NEAR MINT ---- Otherwise mint but has one or two tiny inconsequential flaws that do not affect play. Covers should be close to perfect with minor signs of wear or age just becoming evident: slight ring-wear, minor denting to a corner, or writing on the cover should all be noted properly.
VERY GOOD PLUS ---- The record has been handled and played infrequently or very carefully. Not too far from perfect. On a disc, there may be light paper scuffs from sliding in and out of a sleeve or the vinyl or some of the original luster may be lost. A slight scratch that did not affect play would be acceptably VG+ for most collectors.
VERY GOOD ---- Record displays visible signs of handling and playing, such as loss of vinyl luster, light surface scratches, groove wear and spindle trails. Some audible surface noise, but should not overwhelm the musical experience. Usually a cover is VG when one or two of these problems are evident: ring wear, seam splits, bent corners, loss of gloss, stains, etc.
GOOD ---- Well played with little luster and significant surface noise. Despite defects, record should still play all the way through without skipping. Several cover flaws will be apparent, but should not obliterate the artwork.
POOR ---- Any record or cover that does not qualify for the above "Good" grading should be seen as Poor. Several cover flaws.