One of his best was 'You Don't Know,' an extraordinarily poignant, cultural number, that elegantly presented both believers' and outsiders' views of Rastafarians. Although the more pop-flecked John Holt was responsible for the bulk of the Paragons' hits, Andy was arguably the better songwriter. Simultaneously, Andy was penning more hits for a solo Griffiths, as well as for himself. listings with a stream of pop and reggae-lite singles.

By the time that latter 45 hit the shops, Andy had already linked with Marcia Griffiths, with the duo storming across the Jamaican charts and up the U.K. However, two songs are drawn from the Dodd era - 1968's bubbly sufferer's song 'Let Them Stay' and the 1970 romantic masterpiece 'Desperate Lover,' later covered by Taj Mahal. Coxsone Dodd bundled up the best of these early cuts for Andy's Song Book album, and thus Retrospective looks mostly beyond his work at Studio One.

Walker Theatre on Indiana Avenue in Indianapolis.ДЄs a founding member of the Paragons, Bob Andy began his musical career at Studio One, and it was from there that he launched himself as a solo singer. the Uptown Theatre in Philadelphia the Royal Theatre in Baltimore the Fox Theatre in Detroit the Victory Grill in Austin, Texas the Hippodrome Theatre in Richmond, Virginia the Ritz Theatre in Jacksonville, Florida and The Madame C. Noted theaters on the Chitlin' Circuit included the Royal Peacock in Atlanta the Carver Theatre in Birmingham, Alabama the Cotton Club, Small's Paradise and the Apollo Theater in New York City Robert's Show Lounge, Club DeLisa and the Regal Theatre in Chicago the Howard Theatre in Washington, D.C. The name derives from the soul food item chitterlings (stewed pig intestines) and is also a play on the term 'Borscht belt' which referred to a group of venues (primarily in New York's Catskill Mountains) popular with Jewish performers during the 1940s, 50s and 60s. 'The 'Chitlin' Circuit' is the collective name given to the string of performance venues throughout the eastern and southern United States that were safe and acceptable for African-American musicians, comedians, and other entertainers to perform in during the age of racial segregation in the United States (from at least the early 19th century through the 1960s) as well as the venues that contemporary African American soul and blues performers, especially in the South, continue to appear at regularly. Throughout Texas, extending Eastward on through Chicago, offeringД¬ontinuous opportunities for black entertainers.' The ChitlinвЂ™ Circuit stretched through the South, bending Westward Historically, Baltimore was the first city on the Chitlin' Circuit. Others begin touring in an effort to вЂњeekвЂќ out a living when Jim CrowДЄnd segregation was even more prominent in the United States. Ghost' Williams, Eubie Blake, Robert Shaw, Big Joe Williams and many Bell and the Blues Specialists, Roosevelt 'Gray The ChitlinвЂ™ Circit was the only option for touring BlackД®ntertainers such as Cab Calloway, Duke Ellington, Clarence вЂњGatemouthвЂќД«rown, Etta James, Billie Holiday, Ike and Tina Turner, B. The eastern and southern United States that catered primarily to African String of music venues, diners, juke joints, and theaters throughout States, the Negro race, freed through emancipation, did not have equalДЄccess to public вЂњWhite OnlyвЂќ places. When Jim Crow and segregation were even more prominent in the United NiceДЄ circuit of nightclubs and theaters thatДЇeature African-American performers and cater especially to Tenacious thread through America's mostly rural (or low-profile urban) Bible Belt.' Daddy B. Increasingly in the 21st century, casinos- that support traditional rhythm and blues in a tenuous but Is both a real and symbolic term for the on-and-off-again venues-shoebox-sized bars, clubs, cafes and 'The 'Chitlin' Circuit,' like 'Tin Pan Alley' and 'Motown' and other legendary music locations,

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