Early Life and Family Background
Birth Name: Cecil Bustamente Campbell
Born: May 24, 1938
Birthplace: Kingston, Jamaica
Died: September 8, 2016
Death Place: Miami, Florida, U.S.
Cecil Bustamente Campbell, known professionally as Prince Buster, was born in Kingston, Jamaica. His middle name was given to him in honor of the Jamaican Labour Party founder and first post-Independence Prime Minister, William Alexander Clarke Bustamante. In the early 1940s, Campbell was sent to live with his grandmother in rural Jamaica, where his family’s commitment to the Christian faith provided him with his earliest musical experiences through church singing and private family prayer, and hymn meetings. He later returned to Kingston, where he attended the Central Branch School and St. Anne’s School.
Education and Musical Formation
While formal education details are limited, Campbell’s musical journey began in Kingston’s vibrant music scene. He was introduced to the burgeoning sound system culture by Tom the Great Sebastian, a prominent figure in the Jamaican music scene. This exposure to American rhythm and blues artists, such as Fats Domino and The Clovers, significantly influenced his musical style. Campbell’s early performances at venues like the Glass Bucket Club, alongside Frankie Lymon’s Sing and Dance Troupe, honed his stage presence and vocal abilities.
Career Trajectory and Key Achievements
Rise to Prominence
In 1961, Campbell released his first single, “Little Honey” / “Luke Lane Shuffle,” under the name Buster’s Group. The same year, he produced “Oh Carolina” by the Folkes Brothers, which became a hit in Jamaica and was later licensed to the UK label Blue Beat. This track is often credited as one of the first ska recordings to gain international attention.
Throughout the 1960s, Campbell’s prolific output included hits like “Madness,” “Wash Wash,” “One Step Beyond,” and “Al Capone.” “Al Capone” reached No. 18 on the UK Singles Chart in 1967, marking a significant achievement for a Jamaican artist at the time. His energetic performances and distinctive style made him a central figure in the ska movement.
Evolution into Rocksteady and Reggae
As the musical landscape in Jamaica evolved, Campbell adapted by embracing the rocksteady genre. His 1967 album Judge Dread Rock Steady showcased this transition, with tracks like “Shaking Up Orange Street” reflecting the slower, more soulful rhythms characteristic of rocksteady. He continued to innovate with the release of The Message in 1972, one of Jamaica’s first dub albums, highlighting his versatility as a producer.
Later Years and Recognition
In the 1970s, Campbell’s career slowed as reggae gained prominence, and he relocated to Miami to pursue business interests, including running a jukebox company. Despite a period of relative obscurity, his influence remained evident. The 2-Tone ska revival in the UK during the late 1970s and early 1980s brought renewed attention to his work. Bands like Madness, The Specials, and The Beat covered his songs, introducing his music to a new generation.
In 2001, Campbell was awarded the Order of Distinction by the Jamaican Government for his contribution to music. He continued to perform at various festivals, including the 2002 Legends Of Ska festival in Toronto and the 2006 Boss Sounds Reggae Festival in Newcastle upon Tyne. His appearances at these events underscored his enduring legacy in the music industry.
Discography Highlights
- I Feel the Spirit (1963), Blue Beat
- Fly Flying Ska (1964), Blue Beat
- National Ska – Pain in My Belly (1964), Blue Beat
- It’s Burke’s Law (1965), Blue Beat
- Judge Dread Rock Steady (1967), Blue Beat/Prince Buster
- The Message Dub Wise (1972), Melodisc/Fab
- Sister Big Stuff (1976), Melodisc
- King of Ska (2000), Prince Buster/Jet Star
- Rock A Shacka Vol. 5 – Dance Cleopatra (2003), Universal
Major Influences and Artistic Evolution
Campbell’s music was deeply influenced by his Jamaican heritage and the socio-political landscape of his time. His early exposure to American rhythm and blues artists shaped his musical style, which he infused with elements of Jamaican folk music and his experiences growing up in Kingston. His lyrics often addressed themes of social justice, personal struggles, and the aspirations of the Jamaican people, resonating with a wide audience.
Personal Life and Advocacy
In 1965, Campbell met Muhammad Ali and subsequently converted to Islam, changing his name to Muhammad Yusef Ali. His conversion influenced his worldview and artistic expression, as he
