Some error occured while loading the Quick View. Please close the Quick View and try reloading the page.
The first, definitive history of the genre Lovers Rock by acclaimed reggae historian and journalist, John Masouri
Emerging from Caribbean communities in London in the 1970s, lovers rock is considered the first Black British music genre. Characterized by soulful harmonies and sentimental lyrics centred on romance, often sung by and for teenage girls, the genre offered a soundtrack for closely entwined dancing in dark rooms. Despite its cultural significance, it has often been relegated to the margins of reggae music’s history.
A softer offshoot of reggae, it provided a medium through which second-generation British-Caribbean women could express their diasporic identity: one separate from the struggles of their Windrush-era parents and distinct from the militancy and misogyny of Rastafarianism.
Dim the Lights: The Story of UK Lovers Rock is the first, definitive history of the genre by acclaimed reggae historian and journalist, John Masouri. It weaves the narrative of lover’s rock through the testimonies of its pioneers: singers, musicians, producers and fans. Featuring interviews from pivotal artists like Janet Kay, Carroll Thompson and Dennis Bovell, Masouri sheds light on this beloved genre.
"John is one of reggae’s most respected and seasoned journalists"—David Rodigan MBE
"John is one of reggae music’s great writers. He’s a total music man and writes with such understanding, knowledge and love of it."—Adrian Sherwood
"The best writer on reggae music in the business." —Echoes
“Jamaican music is so blessed to have had John Masouri become a fan when he was 11 years old. His love since then of all genres of our music - from Millie to Marley – has given us volumes of articles, essays and five books that record the history of our music that we unlettered descendants of slaves are able to deposit in libraries, store on bookshelves and place lovingly in our children’s hands. —Barbara Blake-Hannah
John Masouri, who has personally encountered virtually every notable artist, producer, and scene-maker from that period, tells this fabulous story with informed perspective and fascinating granular detail that only a long-time chronicler of Jamaican music would have.”—Randall Grass