Bushay’s earliest reggae productions surfaced through Trojan Records, notably his work with Owen Gray and Louisa Mark. Mark’s initial hit with Bushay, ‘Keep It Like It Is’, established a successful partnership and the producer was keen to promote the new lovers rock genre. He ventured into a commitment with the Burning Sounds label. His own productions surfaced, alongside those of Linval Thompson, the Morwells, Leroy Smart, Alvin ‘GG’ Ranglin and Gussie Clarke. His production skills were utilized by many UK-based reggae performers including Junior English (‘Got To Come Back’) and Jackie Robinson (‘Don’t Leave Me This Way’). Emulating Jamaican producers, Bushay used the rhythms to provide the foundation to the vocal sparring of Trinity and Dillinger for the release ofClash. Owen Gray’s ‘Rizla’ became ‘Rizla Skank’, Jackie Robinson’s ‘Don’t Leave Me This Way’ became ‘Spike Heeled Shoes’ and Louisa Mark’s ‘Keep It Like It Is’, ‘Step It Brother Clem’. Bushay’s success with Mark continued when his production of ‘Six Sixth Street’ reached the top of the reggae chart. By the late 70s the Burning Sounds label went into liquidation and he set up his Bushays label as an outlet for his productions. He paired Mark with Kevin for a version of ‘Re-United’, but it was unable to maintain the success of her earlier hits. Other lovers rock performers passed through his studio, including Janet Kay and Rico, Al Campbell, Paulette Walker and Dave Barker. He also set up the Bushranger label from which came Owen Gray’s version of ‘The Greatest Love Of All’. In the early 80s Louisa Mark felt that Bushay had released Markswoman before it had been properly mixed, resulting in what appeared to be the end of their partnership. After a year they resolved their differences and continued working together. The Bushays label continued to prosper with releases from the Morwells, Prince Jazzbo, Gregory Isaacs, Tony Tuff, Barrington Levy and Jah Thomas.
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