In an exclusive interview with World Music Views, legendary reggae artist George Nooks reflects on his experiences growing up in Kingston, Jamaica, during the 1970s, a period when Rastafarians faced severe social and political persecution.
“Back in the seventies, from way back, the dreadlocks—the Rastaman them,” Nooks recalled. “Everybody was fighting against them.”
He vividly recounted the harsh reality of police brutality and societal scorn directed at Rastafarians. “We all know that. You know what I mean, big things happened down here that you can’t even imagine. I used to see policemen straight up attack Rasta and make them say, ‘Shine my shoes, boy,’ just because they had locks. At the time, I was getting into it, and I tell you, it’s not nice.”
While other reggae legends like Bunny Wailer, Bob Marley, Peter Tosh, and Culture used their music to address the struggles of Rastafarians, Nooks had his own contribution: “40 Leg Dread,” a concert favorite inspired by one of the most shocking stories from that era.
“The story goes, they found a Rastaman dead in Dump Town—I forget which street exactly,” Nooks explained. “His hair was locked up, and they said they found some bug in his hair. They claimed he had an unsound mind.”
He continued, “They said they found insects, you know, 40 leg—(a centipede)—in his head. You know what I mean, a little insect with about—I don’t know who counted the legs—but they said he had 40 of them. Anyway, they claimed a 40 leg killed him. And they started saying that about every Rastaman,” he added with a reflective laugh.
Nooks countered the propaganda with his song, demanding, “Stop spread propaganda pon di dread, cause di dread no have no forty leg inna him head.” He explained that, in reality, Rastafarians were exceptionally clean and lived peaceful, simple lives. “You know what I mean. They ate callaloo, kept themselves clean, and lived in peace.”
Nooks also shared the pivotal moment in his career when producer Errol Thompson called him into the studio to work on the same riddim as Culture’s iconic “Zion Gate.” He recalled, “Errol called me into the studio and said, ‘Do something for this.'”
The opportunity came after Joe Gibbs recognized Nooks’ versatility as both a singer and DJ. “They liked me as an artist because they saw I could do both. They saw me on a show and asked me to come to the studio,” Nooks said.
However, when the song was released, Nooks was surprised to find Prince Mohamed credited instead. “When the song came out, I saw Prince Mohamed on it. I was upset and went to Errol—Joe Gibbs wasn’t there—but I asked, ‘Errol, what’s this?’ And he said, ‘Relax. You’re too talented for people to believe you’re just one person.'”
Still ramekin conscious after almost 50 years, Nooks’ latest album “Message In De Music” is one of the 75 submissions for Best Reggae Albums at this year’s Grammy Awards.
Watch the full interview below:
