Reggae’s early legends not named Marley had and have a difficult time getting noticed, so good luck to its latter-era stars who aren’t among Bob Marley’s brood. But among the subgenres of music that followed roots reggae, the music of Eek-a-Mouse, a fascinating clown prince of Jamaica, is among the most intriguing and rewarding. Eek-a-Mouse (born Ripton Hylton, he adopted his stage name from a racehorse) found his success straying from the rigid constructs of standard reggae; he was a singjay pioneer, creating a peculiar and plucky blend of singing and speaking that became his calling card. Dancehall became the predominant form of post-roots-reggae to spring from Jamaica, but Eek-a-Mouse remains one of the island’s most in-demand performers. Part of it might be cult of personality, as he’s a peculiar cat, unafraid to clown around. But where dancehall made a bid for the mainstream and proved fleetingly successful, singjay remains more rooted in more organic sounds that could appeal to enthusiasts for Jamaican music, from rock steady and ska to roots reggae and dancehall. And nobody does it better than this committed road warrior, the unofficial king of summer.