Althea started performing in her father’s band (he plays the guitar) long before her teens. She grew up to represented her high school, Camperdown High in the Teen Star Search Competitions that took place during the 90’s. This was a talent competition that turned out many Jamaican recording artists.

For a number of years Althea also modeled the creations of many Jamaica’s fashion houses. Oh yes she can really sing, dance and perform. She sang backup harmony in the recording studio and on stage for a number of recording artists including Bere Hammond, Boris Gardiner, Dwight Pinkney, John Holt, Garnet Silk, Norris Man, Bush Man, Richie Spice, Colin Levy and Chrisinti. She also sang background harmonies for Chaka Demus and Pliers and worked with Sony Records recording artist, Jamaica’s Diana King. Althea and Diana King opened for American Rhythm and Blues Singer Jeffery Osborne when he performed in Jamaica.

In 2005 she performed in Cayman with Pluto Shervington, Boris Gardener, Ernie Smith, Dwight Pinkney and some of Jamaica’s best musicians.

Althea took part in the creation of the popular female group 4th Street Sista. In the year 2001 she won with 4th Street Sista the best performing artist award.

Althea has recorded for well-known record producers like Fattis Burrell and Donovan Germaine. She also did the vocal lead on Mr. Vegas’ popular recording of ‘Juicy’ and sang jazz at the Ritz-Carlton in Rose Hall, Montego Bay, Jamaica. At the Ritz-Carlton she was to do one night of jazz, this ‘one nighter’ lasted a year and a half

In 2003 Althea toured Europe successfully with Bushman and most recently in June 2005, she toured Australia and New Caledonia performing with Max Romeo and the Third World band.

Because of her reputation for always doing classy and stellar performances, Althea was chosen by the Jamaica Tourist Board and the Jamaican embassy in Brussels to do a two and one half week tour of Brussels, Belgium.

Most recently Althea was asked by the one of Jamaica’s schools to make presentations to the girls who attended the school. She was chosen as the school saw her as someone that the girls attending the school could emulate. She performed on their ‘All girls’ day’ and was later asked to return to read to a number of classes in the school on a day called ‘Reading Day’.

On commenting on the direction of her debut album she said, “First as a young upcoming artist, I would like to pay respect to other female Reggae artists like Phyllis Dillon, Marcia Griffiths, and Cynthia Schloss. Because of this I am thinking of including some of their work on the album. I feel that I have a responsibility to set a positive example, so when composing my lyrics I would like to cover subject matters concerning the affairs of women”. She went on to say, “By concerns I mean how other female artists have had to survive in the music business. By concerns I mean how we as female artist see our communities and the children in those communities. By concerns I also mean how we inter-react with the men in our lives”

Her recording of the Patti Drew/Phyllis Dillon classic “The love that a woman should give to a man” produced by John Alexander is getting great rotation on radio. Her video for the song, also produced by John Alexander and directed by “Where it’s at” Alphonso Walker, can be seen on cable television and should hit mainstream television with in a week

Quality Time is Alpheus’ first album. All the production work on the album was done by the legendary Coxsone Dodd, and excellent production quality is guarenteed on all 14 tracks. As soon as the first track – Nothing Can Stop You, across the ‘Lecturer’ riddim – starts playing you’ll get infected by that distinctive Studio One vibe. Throughout the entire album Alpheus’ rich and warm vocal delivery perfectly combines with the classic Studio riddims. The riddims used here are some of the best Coxsone Dodd has produced since he started out producing records : ‘Throw Me Corn’, ‘Back Out With It’, Lecturer’ , ‘Wont You Come Home’, ‘Equal Rights’ and ‘Pick Up The Pieces’ just to mention only a few.

Alpheus concentrates on love themes, with the exception of the tunes Equal Rights, Bad Bwoy and We Shouldn’t Have To See This which deal with the problems of our world.

In 2000, Alpheus went on tour with Everton Blender & Richie Spice around America. 38 shows later his live experience is done, Alpheus became an excellent performer.

After in 2001, Alpheus went to promote his album “Quality time ” in europe and at that time met the french label Special Delivery Music.

The following year 2002, his contract with Studio One is over and Alpheus starts to record for few different labels like ,Blackroots ,Stingray & Special Delivery. He appears on few riddims like clean vibes,storm alarm,a great re-work of the dis ya time riddim . Finally in october 2007 a fine 17 track album entitled “EVERYTHING FOR A REASON” is released on special delivery label,this great album consists of hit singles “TELL HIM THE TRUTH” featuring KIPRICH,and a real sound mans favourite “MY SOUND” produced by irie ites and special delivery labels, a good re-work of the studio one classic riddim “Rocking Time”.

Alpheus is currently recording for various indie labels including Special Delivery and a-lone(lone ark), and more.

Guinean Alpha Wess’ Le Choc Des Cultures – loose translation: “culture clash” – typifies this distinctive subset of the roots genre, taking the haunting minor key template devised by Don Drummond (inspired by film scores and the Africa of his imagination) and feeding it back into a modern African context with politically charged anti-colonial lyrics. Despite being released some five years after it was laid down in a Conakry studio, the whole record seems fresh and resonant today.

Arrangement-wise, Le Choc Des Cultures is very like the work of Ivory Coast exile Tiken Jah Fakoly, with heavy but bouncy bass lines, chorus sodden lead guitars, synth horns eq’d and processed to sound “real” and snare shots at every opportunity. These foundations are topped off with Madamou Sow’s fluttering flutes, Djeli Moussa Kouyate’s Ngoni, and liberal sprinklings of Sekou Kouyate’s Kora, its tumbling cascading motifs taking us beyond the seventies and eighties to a less time specific, more African feel.

There are no bridges or middle eights to these driving insistent rhythms and the deep voiced Wess sings in a loose, chanting style. In keeping with the serious mood of the music (the first major key composition appears a hefty ten tracks in) the lyrics pull no punches in their depiction of “Le Choc” between Africans and their French rulers. On the title track Wess proclaims that before colonialism “we were civilised, we didn’t know money …we didn’t know alcohol”; during Prise De Conscience he criticises “emissaries who go to Africa and dictate to Africans what they want”.

Le Choc Des Cultures is a concept album in the true sense of the word, its twelve tracks only coming into their own when played end-to-end. Whether you understand the French lyrics or not, this remains a dense, one-paced, yet rewarding journey into African roots.

Armed with his ‘throaty’ voice, unique toasting and ‘poster- boy’ image, Alozade seized the initiative and took the dancehall by storm, consistently unleashing hits after hit. Prior to that, having had a burning desire to make it in the music business as a deejay, the former Ardenne Extension High student voiced his debut single ‘Top Of The Line’ for the Stone Love label. He then did ‘Mr. Mention’, for the African Star label and gained much needed recognition for those efforts.

It was shortly after, that he linked up with Byron Murray at In The Streets Records where he recorded the big hit song ‘Sweet Dreams’. The song propelled the young deejay into stardom as it became very popular throughout the dancehall circles. Alozade showed that he was no one hit wonder by scoring another hit song for In The Street Records, this time with a song titled ‘Under Mi Skunk’.

In the year 2000 he teamed up with producer Louis ‘”Flabba” Malcom and did the monster hit song ‘Bad Man Nuh Pet Gal’ on the ‘infectious’ hurricane rhythm. That song created waves for the summer of that same year both locally and overseas. ‘Bad Man Nuh Pet Gal’ up to present time, is seen as an anthem in the dancehalls as it never seizes to draw a big response wherever it is played.

Alozade has always been a hit with the teens, as he explained, “I guess this appeal is a natural one because they have been seeing a lot of overseas artistes and just tell themselves that this is what they are looking for. When an artist can command a high level of respect from teenagers, it’s considered a plus to his or her career. An artist has to keep reaching out for the larger market. The teens contribute to a large share of the market.”

Alozade kept the ‘Hit Train’ rolling with a song titled ‘Jamaica’, done on the King Of Kings label where he expresses his love for his country and ‘More Woman’ on the C J label. His repertoire of hit songs over the years has kept him in high demand to perform at major events both locally and overseas. He has made his mark performing at several stage shows right across Jamaica including top events such as Sumfest, Sting and Champions In Action. Alozade has also performed extensively in North America, the Caribbean and Europe which he toured in 2004 performing in countries such as Italy, France, Hungary, Belgium, Norway and Switzerland.

In 2004 he ventured into the world of music production and launched his label called South Block. Like King Midas with the golden touch, he reaped success on his first project which was the Chrome rhythm. Alozade, the producer, scored two number one hits on the rhythm with ‘Inna Har Heart’ by Capleton and ‘Keeping It Jiggy’ by Elephant man.

Alozade soon followed up with another successful production, this time a ‘one drop’ rhythm called “Bingie Trod”. A song from the rhythm, Jah Cure’s ‘Hi Hi’ hit number one on BBC’s Reggae Charts and other songs such as ‘All Day All Night’ by Richie Spice and Buju Banton’s ‘Closer To You’ created a big impact in Europe and Japan.

In the latter part of 2005, Alozade stormed back in the lime light as a deejay with the monsters hit song ‘Bad Out Deh’ . The song was recorded on the ‘Baddest Thing’ rhythm’ for producer Richard ‘Shams’ Brownie. ‘Bad Out Deh’ which features singjay Chico and Kiprich is presently creating a stir throughout the world. It is a ‘must play’ at local and overseas dancehall events and has elevated the artiste once again into the ‘big times’. “I feel real good about the success of the song, it has done a lot for me where my career is concerned,” he said. “My fans love it and I feel good about that.”

Following the success of the song “Bad Out Deh”, Alozade has also been creating a storm on stage. He blew away his audience performing at the recently held Asylum Anniversary, Stone Love Anniversary, Camp Fire, Western Jamboree and Fire Links Anniversary show among other top events.

New releases such as ‘Feminine Gender’ on Don Corleon’s ‘Sweat’ rhythm, ‘I feel The Pain’ on the popular Gangsta Rock rhythm and ‘Screw Face’ on the ‘Punaany – Rebirth’ rhythm is also doing very well for the artiste. “For the year 2006 and beyond, I will be hitting my fans with some more ‘wicked’ tunes so just keep listening,” Alozade said.

in 2008 he gave you songs such as My Intentions on the out deh riddim on the SOUTHBLOCK ICON’S label One Dagger on the Mento Vibes riddim produced by Enrapture,Moses Law produced by Mario aka mad scientist on the Muzic Factrory label and Its Burning featuring Baby pink on the Gargoyle riddim on the Bumb Rush label.

Our influences include the likes of Lee Perry, Tubby, Dreadzone, Earl 16 and many of the 1970s DUB pioneers. We like a lot of the psychedelic period of rock and progressive rock. Also, we love ambient works by Brian Eno, Harold Budd etc There are too many artists to list, but you’ll find their influence throughout our works. Our releases can be found at the ACL2000 website. We have a limited amount of CDs in stock and of course some vinyl. This year (2008) expect a host of new tracks and releases. We are currently working with Kendrick Andy, Gadd59 and probably a musician from the South of the UK.

His musical career began in the reggae group Reggae National Tickets, but in 2001 Alborosie decided to try a solo career. He moved to Jamaica to be close to reggae music’s roots and rastafari culture. His biggest hits are Kingston Town and Herbalist. He has also worked with artists like Gentleman and Shakira. His first solo album is called Soul Pirate. The music video for the song “Herbalist” was banned in Jamaica because of its depiction of drug dealing.

In August 2008 he played at the Uppsala Reggae Festival.

Alborosie’s hits include “Rastafari Anthem”, “Kingston Town”, and “Call Up Jah”. Alborosie recently started his own record label, Forward records. He has given concerts all round the world, including most of Europe and Jamaica

Opening with a fine combination with Jah Mason “Start All Over Again” over the ‘Wadada’-riddim, a live backing recorded at Tuff Gong in Kingston, on the great sufferer’s tune “Poverty” over the ‘Campo’-riddim, that was also used for Spectacular’s “So Long”, Taffari’s “People Are You Ready”, Luton Fyah’s “Clearance”, Luciano ‘s”Babylon Go Down”, Mikey General’s “Bad Boy Natty” and Turbulence’s “Facts”, Al Pancho shows he doesn’t need to rely on the great names featured alongside him on this album. The vibes are kept with ganja-tune “Good Draw” over the ‘Freedom Train’-riddim, another nice all Brotherman built and played riddim. Then whether with Junior Kelly on “For So Long” over ‘Knowledge’ another at Tuff Gong live recorded riddim or “Don’t Worry” over ‘Grow’, “Pollution” over ‘Private’ and balladish “My Number” over the heavy keyboard-riff-based ‘Holiday’ and another slower paced tune “Things And Times” over ‘Step On’, Al Pancho’s singjaying convinces.

A typical either-love-it-or-hate-it riddim is the ‘Classic’-riddim for his combination “Stay Far” with Bounty Killer is in my opinion one of the strongest tracks of the album, that should have been pressed on a 7″ and could really stir up the dance. More strong combinations follow after “Righteous Man”, the first track recorded by Al Pancho in 2002 for Brotherman over the ‘Lili’-riddim, the minimalistic riddim that was also used for Turbulence’s “Marihuana”, CéCile’s “Rain” and Luton Fyah’s “Who Draw Last”, starting the combination sequence with “Keep Focus” with Natural Black over the Firehouse Crew’s one drop ‘Summerfield’-riddim, “Children” with Luciano recorded like the other Tuff Gong recorded tunes with the like of Leroy ‘Horsemouth’ Wallace, the legendary drummer, Andrew Campbell on bass, Lloyd ‘Obeah’ Denton on keys, Brotherman himself on guitar and with the great horn section featured all through this album of Dean Fraser, Nambo Robinson and Dwight Richards and the percussion of Uzziah ‘Sticky’ Thompson over the rootsy ‘Sweet.Com’-riddim. “My Reputation” alongside Luton Fyah over ‘Upside Down’ is yet another killer combo over a classic reggae riddim, and it is justified that the slow jam “Olden Days” over an almost early UB40-ish riddim called ‘Mein Haus’ has Al Pancho solo closing the album.

Proving he is so much more than a Buju Banton sound-alike, this is an album recommended for anyone who likes rootsy riddims, cultural lyrics and strong singjays and all already impressed by the earlier mentioned Minor7Flat5 releases.