Larry Marshall

12+ albums

reggaejamaicarocksteadyrootsska

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There is more than one artist named Larry Marshall (1) A Jamaican singer active in the 60s and 70s. (2) A folk and experimental singer-songwriter from Rhode Island. (1) Larry Marshall (Fitzroy Marshall, Saint Ann Parish, Jamaica, 17 December 1941 - 24 August 2017) was a Jamaican reggae singer, who has recorded both as a solo artist and as part of the duos Larry & Alvin and Larry & Enid. Marshall was born in Lawrence Park in Saint Ann Parish in 1941. He left St. Ann in 1957 and travelled to Kingston. Marshall's musical career stretches back to the early 1960s, his initial inspiration being Ben E. King. Between 1962 and 1967, he had minor hits for producers such as E. Henry ("Too Young To Love"), Philip Yap ("Promise Is a Comfort to a Fool" and "Snake In The Grass"), Coxsone Dodd ("Please Stay"), and Prince Buster ("I've Got Another Girl" and "Suspicion"). His greatest successes came in the late 1960s when he teamed up with Alvin Leslie in the duo Larry & Alvin, recording hits for Dodd's Studio One label (where he had been working as an assistant engineer) such as the massive Jamaican hit "Nanny Goat" which is regarded as the record that began the shift from rocksteady to reggae, followed by "Hush Up", "Your Love", and "Mean Girl". "Throw Me Corn" also became a big hit in Jamaica when released in 1971. Marshall also recorded as a duo with Enid Cumberland, as Larry & Enid. In the early 1970s, Marshall worked for Studio One as assistant studio engineer to Sylvan Morris, writer

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# Larry Marshall (Jamaican Reggae Singer) This artist's work deserves consideration for documenting a crucial transitional moment in Jamaican music history. Recording from the early 1960s through the 1970s, Marshall navigated the evolution from ska and rocksteady into reggae's consolidation, capturing how these forms reflected deeper social and spiritual currents within Jamaica. His dual work—both as a solo voice and within collaborative duos—reveals how reggae functioned as both personal expression and communal conversation. Marshall's recordings offer insight into reggae's spiritual dimensions and its relationship to everyday life in Kingston, presenting a less-documented perspective than his better-known contemporaries. His catalog remains valuable