Contents - Beth Lesser

ing track on a Casio keyboard fired up the ambitions of the most complacent
artists and producers. There was no longer any excuse not to get into the
music business. You didn’t need to put out cash upfront for studio rentals, live
musicians, and instruments. All you needed was a little keyboard player and
a portable, electronic keyboard with pre-programmed drum patterns built in.
Without hesitation, other producers began releasing their own Sleng Teng
versions. Selectors in the dancehalls could play ‘Sleng Teng’ versions for hours
straight. Jammy released the one rhythm LP, Sleng Teng Extravaganza, which
consisted of different singers and deejays all voiced over the same Sleng Teng
backing track. Soon, many of the top producers followed indiscriminately
with their own ‘Sleng Teng’ versions. Artists, producers, distributors, all allowed
themselves to be carried away by the ‘Sleng Teng’ tsunami. Even Neville
Lee, owner of record manufacturer Sonic Sounds, released an odd record
that he referred to as a “collector’s item”, his own ‘Sleng Teng’ style LP, curiously
named Antheng, featuring Dennis Brown, Gregory Isaacs, and Delroy
Wilson over a slightly twisted Sleng Teng knock off. *
* Produced, officially, by Pablo Stewart, Stephen Lee and Trevor Baillie. It featured tracks like Ibo
Cooper’s ‘Space Scientist’, Sugar Minott’s ‘Dancehall Theng’ and Dennis Brown’s ‘I’ll Get Along With
You’.
292 | RUB A DUB STYLE – The Roots of Modern Dancehall