Here's what the Guinness Who's Who Of Reggae writes about them: Formed in JA c.1966. The group was formed by lead vocalist and songwriter Wesley Tinglin (b. c.1947, JA). They recorded, initially as the Voiceroys, for Coxsone Dodd's Studio One label, with early recordings including "Love And Unity" (1967), "Fat Fish" (1968) and "Ya Ho" (1968). Again in 1968 they recorded "Lip And Tongue" and "Send Requests" for the Morgan's label. In the early 70s they joined Winston Riley as the Inturns, seeing success with "Mission Impossible", and in the mid-70s returned to Studio One to record as the Voiceroys with "The Struggle" and "Slogan On The Wall". In 1978 they took the name the Interns, and recorded "Detour" for Phill Pratt, which was largely ignored at the time. Shortly after this, they adopted the name the Viceroys, and the line-up stabilised with Wesley Tinglin being supported by harmony singers Neville Ingram and Norris Reid. Reid had already had a handful of singles released under his own name, and continued to further his solo career while remaining a full member of the group. They had a big hit with "Heart Made Of Stone" (1980), a Sly & Robbie production, and followed it with the self-produced "Shaddai Children" (1981). In 1982 they recorded "We Must Unite", on which the combination of their rural, rootsy harmonies and Linval Thompson's heavy duty production attracted a lot of attention. they then repeated the formula for "Brethren And Sistren" (1983), which was their biggest selling record, and "Detour" was re-released later that year in response to public interest in the group. Shortly after this, Norris Reid left the group to concentrate on his solo career with Augustus Pablo, and was replaced by Chris Wayne, who had made a name for himself singing on Sugar Minott's Youth Promotion Sound System. The group's "Chancery Lane" (1984) was recorded for Winston Riley, but was a rather low-key outing which did not enjoy the popularity of their previous albums. They commenced recording a new album, but it was never released, and nothing further has been heard from them. Chris Wayne left the group in 1985 and has since recorded an album for Wackie's, "Freedom Street" (1988), and two for Sugar Minott: "Progress" (1989) and "Talk About Love" (1991). Norris Reid has continued to record for Augustus Pablo, and his first album, "Root And Vine", was issued in 1988. Albums: As the Interns "Detour" (1979). As the Viceroys "We Must Unite" (Trojan 1982), "Brethren And Sistren" (CSA 1983), "Chancery Lane" (Greensleeves 1984), "Ya Ho" (Burning Sounds 1985). Additional information from RMR's own Steve Barrow and Peter Dalton, as provided in Reggae The Rough Guide: In chapter 4 Roots Reggae - Sub "Minor Chords and Dreader Harmonies" Other gifted and distinctive roots vocal groups, including , were never given a chance to record an entire album's worth of material, instead making their mark with a handful of singles (or less). To these lists of 'dread'-sounding groups can be added the Viceroys (Wesly Tinglin, Lineal Williams, Daniel Bernard - the last two eventually replaced by Neville Infram (not typo of mine, either Guinness or the Rough Guide must be wrong here - Souljah) and Norris Reid and the Morwells . The former group were formed in the late 1960s, recording for Studio One and then Lloyd Daley, but really came into their own when they returned to Dodd's foundation label in the next decade, recording the roots gems "Slogan On The Wall" and "Struggle". Album: "Ya Ho" (Heartbeat, US) A vocal trio that began, in the usual JA way, at Studio One, but, rather less predictably, went on to greater things. "Slogan On The Wall" is an undisputed classic, and the title track runs it close; everything else is proficient rather than inspired. In chapter 6 Dancehall - Sub "Sly & Robbie" - "Call A Taxi" After Gregory Isaacs' "Soon Forward", the intial hit on Taxi in 1979, startlingly different and popular records from Junior Delgado, the Wailing Souls, the Viceroys, Dennis Brown and the Michael Rose-led Black Uhuru provided a glorious last phase to the Rasta-inspired roots music of the 1970s, while looking towards the next two decades. The difference between these tunes and those from practically everyone else lay, not surprisingly, in the rhythms, a metallic, almost non-human sound tagged 'robotic' by some - and which anticipated the digital revolution. Sly made far more imaginative use of the newly imported sundrums than anyone else in JA. In chapter 6 Dancehall - Sub "Linval Thompson" Among thos who appeared with distinction on his Thompson Sound label were the Wailing Souls, Freddie McGregor, the Viceroys, and the Meditations, their 1970s roots sensibilities enhanced by the tough dancehall rhythms they sang over. Albums: "We Must Unite" (Trojan, UK), "Brethren & Sistren" (CSA, UK) The Viceroys also established their reputation in the dread 1970s, though their career stretched back to the rocksteady era. Their most consistent body of work, however, was facilitated by Linval Thompson and the Roots Radics, in the dancehall years. These albums are far superior to most of the work collected on their Studio One Collection. In chapter 7 - Ragga - Sub "The Birth Of Ragga" Though the first fully digital rhythm was not built until the beginning of 1985, the so-called 'robotic' sound of many Sly & Robbie dancehall productions of the first half of the decade was a precursor of the computerized style. The most obvious examples include the Viceroys' "Heart Of Stone", and two popular records by Sugar Minott from 1984, "Rub A Dub Sound" and "Herbman Hustling". On Norris Reid In chapter 4 Roots Reggae - Sub "Rockers Time - Augustus Pablo" Album: "Give Jah The Praises" (Rockers International, JA) A decade and a half after the earliest tracks first appeared as 45s, Pablo collected them together for the second and better of Norris Reid's two albums for him. There are only six vocals, but each is followed by its corresponding dub/instrumental version, with the most exceptional over three of Pablo's best-known rhythms: "Black Forces" ("King Tubby Meets The Rockers Uptown"), "Give Jah The Praises" ("Pablo Satta") and "Entrance Of The World" ("East Of The River Nile").