Michael Campbell, better known by his stage name Mikey Dread, was one of Jamaica’s most innovative and influential cultural figures. A singer, producer, engineer, broadcaster, and musical visionary, Mikey spent his life pushing the boundaries of reggae, dub, and media, earning legendary status not just in Jamaica, but across the global music landscape. Born in 1954 in Port Antonio, Jamaica, Mikey Dread would go on to become a sonic trailblazer whose work still resonates with musicians and fans today.
From the Classroom to the Controls
A bright student Mikey’s fascination with electronics and sound began early. As a teenager, he experimented on sound systems and even ran a pirate radio station at Titchfield High School — then the only school in Jamaica with a broadcasting licence.
“… Me run it, like when we’re in class—we just put on a LP, and we have a [record] changer, so when one LP done, it drop down, and the next one start play … what me do, me just change our frequency to RJR, so if they come within five miles of the radio station, your radio just switch to me…” – Wax Poetics
With a growing interest in broadcasting, he would MC school functions and concerts, often performing his favourite songs as part of the entertainment. He later pursued electrical engineering at the College of Arts, Science and Technology (now UTech) in Kingston, where his passion for reggae deepened. This led to meaningful explorations into the genre and opened doors to connect with artists and producers across the music industry.
But it was his groundbreaking tenure at the Jamaica Broadcasting Corporation (JBC) in the late 1970s that catapulted him into the public eye. His late-night radio show Dread at the Controls was a revolutionary shift in Jamaican broadcasting.
At a time when reggae was marginalised on local radio, Mikey curated four-and-a-half-hour sessions packed with the freshest roots, dub, and version sides, often days or hours after their release thanks to his close industry connections. With jingles recorded at King Tubby’s studio and playful dread talk, his show became a cult phenomenon.
“From I did my research from college, me already knew all of them man who saying anything in reggae. Me know where to locate every man, and me know what them a deal with.”- Wax Poetics
Producing a Legacy
The show was a deliberate departure from the pop-heavy Americana that dominated local radio at the time. It wasn’t long before Dread at the Controls began taking over the airwaves. But internal resistance to reggae and DJ culture at JBC led to his departure in 1979.
Unfazed, Mikey moved into production and launched his Dread at the Controls label, quickly establishing himself as a cutting-edge sonic innovator in both Jamaica and the UK, where he began spending much of his time. While in the UK, he attended the National School of Broadcasting, which led to his narration of Deep Roots Music, a six-part reggae documentary aired on Channel 4 in 1982.
The following year, he created and hosted Rockers Roadshow, an original 10-part television series showcasing musically gifted youth across the UK.
A Natural Collaborator
He recorded with legends like Gregory Isaacs, Dennis Brown, and Augustus Pablo, and produced rising stars like Edi Fitzroy, Earl Sixteen, and Rod Taylor. His partnership with dub pioneer King Tubby, along with his early support of and work with Scientist, helped shape the sound of late 1970s and early 1980s roots reggae and dub.
His fearless fusion of reggae with other genres made him a natural collaborator. In 1980, Mikey famously worked with The Clash on their seminal album Sandinista! which was partly recorded at Channel One Studios in Kingston. This cross over of punk and reggae massively influenced the punk movement in London and helped to push Reggae to a wider audience.
He worked and toured extensively with UB40 at the height of their fame, a collaboration that led to the Pave the Way album. Other notable collaborators included Izzy Stradlin of Guns N’ Roses and Seal, with whom he recorded a version of Lips Like Sugar, featured on the soundtrack of the 2004 film 50 First Dates.
Champion of Culture and Consciousness
is commitment to authentic roots music and cultural upliftment never wavered, even as reggae became increasingly commercialised. He regularly voiced frustration at the lack of support for serious, message-driven music, calling out producers who chased quick profits over substance.
Ever the innovator, Mikey also explored other media. He ran the Caribbean Satellite Network in Miami, returned to university to study music and international communications, and continued performing and recording into the 2000s. His later albums, including Rasta in Control and Life Is a Stage, revealed an artist still evolving and engaging with the world around him.
Gone Too Soon, Never Forgotten
Mikey Dread passed away in 2008 at the age of 53 after a battle with a brain tumour. But his impact is enduring. He revolutionised Jamaican music broadcasting, pioneered dub production techniques, and brought reggae into dynamic conversation with global genres. His catalogue, from African Anthem to Roots and Culture, remains a testament to his innovation, intellect, and unyielding love for sound.
Whether behind a microphone, in the studio, or on stage, Mikey Dread was always in control.
