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friended by Early B who brought him around to sounds like Kilimanjaro. “Early B was my teacher. He get me international. He start to make me travel all about with himself… Early come to be a brother of mine. He start to take me more s erious in the dancehall, tell me I must take the dancehall business more seriously. It will put me somewhere. It kinda draw me out of the politics a little bit too, you know. I take the music so serious that, if I [want to] go anywhere, I have to cut down with the politics.” His first step towards moving more seriously in music was to change his name, Junglist, for a more adaptable stage name, one that wouldn’t create serious misunderstandings. “At one time, I remember when Jaro a play a Backbush, them time there them call me Junglist [meaning a man from PNP area, Concrete Jungle] pon the sound. Little Twitch call me round [to the mic] and say, ‘Come in Junglist! Come lick two shot’. And a juke, the man them juke down the dance say, ‘Whe’ the Junglist wha’ carry the Bushy [Bushmaster gun] with him’. Twitch have fe tell them, seh, ‘No, a so we call him pon the sound.’ And the man them said to Twitch, ‘Unu fe change him name, you know’. And Twitch gave a name ‘Don Lickshot’ and one night me deh a Skateland, and Jaro and Scorpio [clash] and Early B call me, and Twitch take the mic from him and say “Come in, Don Lickshot” and Early B said to him, “No, that name deh no fit him, a Joe Lickshot him a go name’, and that’s how Joe Lickshot a stick pon me from 1985.” Soon, Lickshot was getting recording offers. His first came from his sparring partner, Jah Thomas, for whom he contributed effects on songs like Early B’s ‘Cane Man a Fe Bathe’ and ‘New York Party’. He also appeared on ‘Lean Boot’, sung by Michael Palmer, Early B’s ‘Rambo Mi Rambo’ and Little Twitch’s ‘All Rounder’. kilimanjaro afTer The arrival of STur-marS inTernaTional Sometime after the sound hit its peak in ’85, Jaro began losing ground. The problem was the new super-sound from Mandeville run by Skeng Man. Skeng had Tenorsaw and Cocoa Tea on the sound, singing. He had Nicodemus toasting, and Nicodemus was a great pal of Supercat. So Cat jumped ship and went to Stur-Mars where he was joined by Burro Banton and, eventually, selector Ainsley Grey. The last straw for Noel Harper was when singer Puddy Roots left Jaro to tour Canada with Metromedia. Noel Harper recalls, “Things actually changed quite a bit when Stur-Mars came. At that time, Kilimanjaro sound was considered the leading sound. We had the leading deejays as well. When Stur-Mars came on the scene and Supercat, Buro Banton and Ainsley went over there, we actually slowed down a bit. The only good thing is that we had a lot of reservations. In those days, people usually book dance in advance. So, it’s not like anybody came up and canceled because they heard these guys were no longer there.” Things were looking grim, but Jaro wasn’t finished yet. Although the sound stopped playing for a while, Mr. Harper eventually got a new selector, 230 | RUB A DUB STYLE – The Roots of Modern Dancehall
Patcheye, from Studio Mix, after defeating the sound in a clash, and Patcheye invited most of the Studio Mix crew over with him – Tullo T , Pompidou, and John Wayne. In addition Mr. Harper got a new deejay, Major Manzie. Not long after, Jaro made a triumphant come back lead by Ninja Man. In the early ‘90s, Ricky Trooper, former deejay turned selector, led the sound aggressively through clash upon clash and back to the top. But, the big winner was Cat. Ultimately, Supercat decided to move to New York City where he became an icon of the emerging cross-over scene. Once he was ‘in’ with the hip hop superstars, like Puff Daddy, Heavy D, Mary J. Blige, Wu-Tang Clan’s Method Man, Kris Kross and DJ Muggs, he rose to an entirely new international level bringing Jamaican ragamuffin reggae along with him. | 231
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Rub a Dub Style The Roots of Modern
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Rub a Dub Style The Roots of Modern
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Thanks to all those who took the ti
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The Dancehall Explosion 136 Junjo L
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earlier days, before radio and pers
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Sound SySTemS rule From that day on
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on and off the truck and the driver
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about three months after U Roy. The
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‘60s, U Roy wasn’t thinking of
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take the sound to the dance, string
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the current motorcycle craze. A yea
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(1976 Channel One), for example, he
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serious time, a time of struggle. P
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porated Rasta symbols, ideas and mu
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heavy manners”. “In ’75, ’7
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Concrete Jungle Rock * . But the gu
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up this morning and you wonder who
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Tosh, Big Youth, Dennis Brown, Ras
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Sounds of the late ‘70s “Empero
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away from U Roy. King Tubby’s sou
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swer Mi Question’. But the songs
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was trying to sell it for him. I re
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people mind you working on. And if
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The Studio One Revival During the
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ight now’.” * Freddy was a lot
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Ragamuffin heard them deejaying in
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playing the ‘Midnight Attraction
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tion over and the verdict in, the s
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ment - nothing mattered. Channel On
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and the dance. “People like Solji
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Solidarity presented The Big Showdo
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Jah Life Comes to Jamaica I n 1979,
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Bounty Hunter, Shine Eye Gal and En
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Barrington Levy & Jah Thomas “I t
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jah ThomaS When Jah Life and Junjo
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his biggest hit was with a singer,
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Anderson or Ansell Collins on keybo
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group founded by Maurice “Blacka
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1970, was a very experimental jazz-
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Scientist & the Greensleeves Dub Al
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‘Heavyweight Champion’. Now Jun
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Slackness T he media, along with th
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gestive lyrics were nothing new in
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General Echo & Stereophonic A fter
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Chat one!’ The first slackness me
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down uumumma’…..” * All this
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SlaCkneSS on reCord Nancy never rel
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until slackness found its second ch
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utes of soul, disco and funky in be
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about his music. In the beginning,
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team, the main attraction of the so
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Squiddley The story of slackness wo
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Lone Ranger & the Eastern Kingston
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In the late ‘70s and early ‘80s
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school. They went to Beverly’s Re
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other side - and the deejays would
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set going. Traveling frequently gav
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Dready, Studio One owner Coxsone Do
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One Studio and wait on [Jojo’s] c
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I dreamed last night I was in the W
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artists from the past like The Silv
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and he began to operate the new gro
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there so we just hang on.” The
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drink their coffee and eat then fis
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Bredren’ and ‘Dance in Montreal
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Yellowman E very successful deejay
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woodwork.” In the ‘70s, it was
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George Phang recalled that Yellowma
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General Brain, Echo Minott, Rappa R
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SkaTeland When not playing the regu
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Junjo Lawes & Volcano While the gre
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him want it. Cause, you know, Junjo
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lect them himself from the distribu
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know, and I tell him, ‘Listen Toy
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1985, a newly Jheri Curled * Junjo
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would stop a few doors down at JC K
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and search you. So, you rather send
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studio], it just came to me.” Two
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“and he wrote a song for me, ‘A
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“At that time they call them [12
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Frankie Paul A deep, commanding voi
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troduced Frankie Paul. “Frankie J
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on the radio, for example, he spoke
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them man. Them have the real thing
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Cassettes gave everyone a chance.
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The Sing-jay Style TalenT ShowS In
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after Echo had deejayed and come in
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There is a posse in the corner, all
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Love’ contains lyrics from ‘Lov
Page 179 and 180: the dancehall. Even singers like Su
Page 181 and 182: U Roy’s King Stur-Gav Sound with
Page 183 and 184: certain large amount of crowd. Ther
Page 185 and 186: would know my voice, my tempo, and
Page 187 and 188: He saw himself as a Wild West drift
Page 189 and 190: ing from. So, it make no sense you
Page 191 and 192: inSpeCTor willie “Selecting a sou
Page 193 and 194: Avenue. So, all the singers would p
Page 195 and 196: tal balance between professionalism
Page 197 and 198: push me a lot”, George recalls. S
Page 199 and 200: were struggling to make ends meet.
Page 201 and 202: comes out and the moon goes in…
Page 203 and 204: to clash two or three times for the
Page 205 and 206: everybody.” * Channel One studio
Page 207 and 208: deejay SpeCialS In the very beginni
Page 209 and 210: Whereas during the ‘70s, specials
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Page 213 and 214: changed the energy.” Barry G was
Page 215 and 216: like what you hear in the dancehall
Page 217 and 218: Without sound owner Clifton Henry c
Page 219 and 220: Building up material for the local
Page 221 and 222: to day runnings. Not just anyone, b
Page 223 and 224: income. “I started to deejay on a
Page 225 and 226: and he knew that to survive, you ha
Page 227 and 228: 1. King Kong - Don’t Touch My Boo
Page 229: falsetto but with much more lung po
Page 233 and 234: guys them refused.” In the end, i
Page 235 and 236: Sugar Minott’s Youth Promotion So
Page 237 and 238: However, when problems arose in the
Page 239 and 240: he wasn’t recording heavily, at l
Page 241 and 242: Saw’s first big hit was ‘Pumpki
Page 243 and 244: The Business Side of Dancehall “F
Page 245 and 246: had all but maintained them for tho
Page 247 and 248: tribute creatively to each new rhyt
Page 249 and 250: and know what is what. Then you sin
Page 251 and 252: Lick-over Rhythms Already an establ
Page 253 and 254: We used to mix the rhythm first wit
Page 255 and 256: The first rhythm Channel One select
Page 257 and 258: Metromedia Sound with Peter Metro
Page 259 and 260: from having more mouths than they c
Page 261 and 262: Soca. Heat in de Place featured Arr
Page 263 and 264: 1. For example, his instructional r
Page 265 and 266: Arrows the Ambassador In 1985, when
Page 267 and 268: Leroy Heptone had done - enough peo
Page 269 and 270: Hall. They used to keep big dance a
Page 271 and 272: The Ladies “People no like women
Page 273 and 274: do everything to comfort him. That
Page 275 and 276: couldn’t go back in the dancehall
Page 277 and 278: The center was only a couple of blo
Page 279 and 280: Through you no get me, you wan’ l
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as Ce’Cile, Macka Diamond, Lady S
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sound was a small sound but everyth
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was on top of the world. As reporte
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King Jammy & Sleng Teng “Once Sle
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sound for stage shows. Eventually,
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ket his productions so he wasn’t
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Drum Machines & Preprogrammed Instr
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ca weren’t ready for the sound he
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was a different era,” Jazzbo expl
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maybe make that be the sound of the
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The Digital Dynamic Duo - Steely an
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system and their father had built a
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The music was really grooving.” A
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The Local Style T hroughout the ‘
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‘Jamaica Way’ (Skengdon), while
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Fancy track suit and fancy track sh
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Black Scorpio Sound with General Tr
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the most crowds. Sassa figured that
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ing Jamaican’s in their day to da
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Raggamuffin Year During the second
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dia loved him. ‘Wear Your Size’
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had left school and was a full adul
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This was after having made his name
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Chaka Demus on ‘One Scotch, One B
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song about talking to women on the
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een known worldwide.” Yet, despit
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Promotion dance, and laid to rest a
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All over the island, a Don (Chorus)
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But, for the foundation generation
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about “police in helicopter searc
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club and a guy ask you what you dri
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the LP, Ghetto Red Hot, became a cr
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in the later ‘80s, Stone Love beg
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played * . This modification forced
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tions in St. Catherines and Clarend
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musics played in Jamaica,” Franki
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All the nostalgia for the ‘good o
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think to hurt a deejay or a singer.
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