Information/Write-up
Ishan People emerged in mid-1970s Toronto at a time when reggae had become a lived, community music in Southern Ontario rather than an imported novelty. Decades of Caribbean immigration had established deep cultural roots in the city, and Ishan People grew directly out of that environment—drawing on Jamaican traditions while working comfortably within Canada’s professional studio system.
The group’s debut album Roots (1977) captured this balance with unusual clarity. Recorded at Thunder Sound and produced by David Clayton-Thomas for GRT Records, the LP centered on original material written largely by Lloyd Lovindeer, including “Tough Tight And Dread,” “One Way Ticket,” “Lies,” and “Your Money Or Your Life,” while also re-contextualizing roots anthems such as Bob Dylan’s “I Shall Be Released” and Bob Marley’s “Talkin’ Blues.” Anchored by Michael Murray’s lead vocals and guitar, with a rhythm section built on Larry Silvera’s bass and Karl Parris Jr.’s drums, the album blended disciplined studio craft with an unmistakably Caribbean rhythmic feel. Percussionist Glen Daley added depth and swing, while keyboards by Scott James and William “Smitty” Smith and flute contributions from Steve Kennedy broadened the sound beyond strict roots reggae.
Ishan People followed Roots with a self-titled album later in 1977, expanding their profile and helping place their recordings beyond Canada through international licensing. Songs such as “Come To The Music” and “Trenchtown” reinforced the group’s identity as both celebratory and socially aware, reflecting reggae’s dual role as dance music and cultural commentary. During this same period, the band released several singles in Canada and the UK, including “I Shall Be Released,” “Come To The Music / Trenchtown,” and the UK coupling “Come To The Music / Inflation,” marking their most active and visible phase.
During the post-Roots period, the band also included Jamaican vocalist Johnny Osbourne, who later identified Ishan People as one of the stronger Toronto-based reggae groups he performed with. His involvement followed the recording of the debut album and reflects the band’s close connection to the city’s Jamaican musical network.
Although the group’s recorded output was compact and their lifespan short, Ishan People occupy a significant place in Canadian reggae history.
-Robert Williston
Musicians
Michael Murray: guitar, vocals
Anthony Campbell: lead guitar
Larry Silvera: bass
Karl Parris Jr.: drums, percussion
David Jones: keyboards
Glen Daley: percussion, vocals
John "Bumpy" Osborne: vocals, percussion
Bert Hermiston: saxophone
Keith Jollimore: saxophone
Steve Kennedy: saxophone
Colina Phillips: background vocals
Elaine Overholt: background vocals
Jo Anne Brooks: background vocals
Songwriting
All compositions by Ishan People
Production
Produced by David Clayton-Thomas
Engineered by Allan Thorne
Arranged by Steve Kennedy
Artwork
Photography by Gérard Gentil
Album design by John Hanna for Site Bros.
Notes
All compositions published by Corinth Music (BMI) and Thornedge Music (BMI)
© 1977 GRT of Canada, Ltd.
Liner notes
Toronto may seem an unlikely place to hear Reggae. For decades Southern Ontario has been a second home to thousands of migrant West Indian workers, they brought with them their families, their culture and their music. The beer halls that once stomped out rock-a-billy every Saturday night began to sway to the infectious lopsided rhythm of rock-steady. Reggae, the blues turned inside out, turned every body loose.
To the Jamaican people Reggae is more than music, it is a community newspaper telling of everything from love to politics, it is a family bible telling of the rasta way, righteousness and freedom, it is a history book to the people of Zion, someday a home to Zion. It is the story of a people taken by the slavers of Babylon. The royalty of Africa, Ethiopian nobility, set to work in the cane fields. Four hundred years have passed and the people have no home but Babylon. Still, the ancient memory of Zion lives in the music.
This is the music and these are the members of a tightly knit family, Ishan People, the explosive joy and searing pain of their art.
Swing low Sweet Chariot,
Carry I home to Zion,
From out of Babylon
Swing low Sweet Chariot,
Carry I home to Zion
Michael: Reggae child, can play the music on any instrument, guitar, drums, bass, piano, voice, ash tray, whistle and pepsi bottle and make it righteous.
Bumpy: Trenchtown survivor, street singer who can dance all day and all night.
Glenn: Rastaman, world traveller, spiritualist, keeper of the truth.
Larry: Family father, steady and rasta wise as the bass the music is built upon.
Karl: Young, fast and sharp, the firstborn of the children.
David: Quiet, and strong, the middle brother, dependable and competent.
Anthony: The youngest brother, shy and gentle with everything but his guitar.
They are the Ishan People, may you come to know them and to love them through their music.
— DAVID CLAYTON-THOMAS
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