Riddim Sektar : Reggae & Dancehall Riddims

The Riddim Sektar Blog. An online resource for reggae and dancehall riddims.

Friday, September 22, 2006

Beenie Man : Biography

Beenie Man (born Anthony Moses Davis August 22, 1973 in Kingston, Jamaica), is a well established Deejay.

Early start

He was involved in the music industry from a young age when he won the Tastee Talent contest in 1980. Only one year later (1981), when he was eight years old, he recorded a single, "Too Fancy", with record producer "Junjo" Lawes. By 1983, Beenie Man was recording with heavyweight DJs, such as Dillinger and Fathead and released his debut album, The Invincible Beenie Man: The Ten Year Old DJ Wonder and the single "Over the Sea".

The "War" with Bounty Killer

In 1991 he was booed off stage at a show celebrating the visit of Nelson Mandela. In 1993 at the very popular show Sting he accused fellow deejay Bounty Killer that the elder artist had stolen his catchphrase, "people dead". This triggered a lyrical battle which continued on the air with each artist counteracting the other's songs. Finally, in 1995, Beenie Man and Bounty Killer settled their differences on the air by actually signing a peace treaty and the two recorded an album together, Guns Out. This was followed by a single, "No Mama No Cry", a rehash of the Bob Marley classic "No Woman No Cry", speaking out against violence and inspired by the murder of Pan Head, another popular Deejay.

Partially as a result of prodding from his producers, Sly and Robbie, Beenie Man soon converted to the Rastafari movement.

In 1994, he was signed by Island Records and released the critically acclaimed album Blessed.

United Kingdom

In 1995, Beenie Man released a remix of Barrington Levy's "Under Mi Sensi" in the United Kingdom, and collaborated with Dennis Brown and Triston Palma to release Three Against War and Lt. Stitchie on Mad Cobra Meets Lt. Stitchie & Beenie Man. He took another step up the ladder in 1996, releasing the seminal Maestro, produced by Patrick Roberts and shot him to UK fame. During the period from the mid to late '90s, Beenie Man dominated the Jamaican charts to the extent that he perhaps had a good claim to the crown of "Dancehall King", a title only bestowed previously on Yellowman in the early 1980s.


In 1998, Beenie Man signed to Virgin Records to release albums in the United States. His first American offering was The Doctor (1998). In 2000, Beenie Man teamed up with Arturo Sandoval and Wyclef Jean (The Fugees) to release The Art & Life. During the late 1990s, Beenie Man began his conquest of America with the hits, "Romie", "Who Am I" and "Girls Dem Sugar", which featured American R&B singer, Mya.

In 2002, he had a sizeable hit with a duet with Janet Jackson called "Feel It Boy", but his biggest break in America came in early 2004 with the release of a remix of "Dude", featuring guest vocals by fellow Jamaican Ms. Thing, as well as rhymes by Shawnna.

Homophobic controversy

Like many Jamaican dancehall reggae artists, some of Beenie Man's songs include anti-gay lyrics that include explicit calls for the lynching of gays and lesbians; this has caused various controversies and boycotts coinciding with recent tours in North America and Europe. In July 2006, a group of black gay and lesbian bloggers and activists protested the artist's inclusion in a HIV/AIDS concert put on by LIFEbeat, the music industry's AIDS organization. After three days of protests, the concert organizers canceled the event and apologized. MTV had plans to include Beenie Man in their roster of performers at the 2004 MTV Video Music Awards, held in Miami, Florida, but due to adverse publicity, threats of protests and boycotts over the homophobic lyrics in some of his songs, MTV decided to exclude Beenie Man [1]. Virgin issued apologies on his behalf, but many critics have claimed that the artist himself remains unrepentant.

Beenie Man has absurdly claimed that by the phrase "batty man" he means child molestors. This does not however let him off the hook quite so easily, as he has explicitly said in lyrics "I'm dreaming of a new Jamaica, come to execute all the gays".

Beenie Man : Reggae & Dancehall Music Releases

  • [appearance on] I'm Serious - T.I.

Wednesday, September 20, 2006

Bounty Killer : Biography

Bounty Killer (born Rodney Basil Price June 12, 1972 in Kingston, Jamaica) is a Jamaican reggae and dancehall deejay, known for his hard work in combating poverty and helping new artists. He is known commonly and in the business as The Warlord, Miss Ivy's Last Son, The 5-star General, The Ghetto Gladiator and The Poor People's Governor; he is most proud of the last moniker.

The last son in a family of nine, he grew up in the rough part of Kingston, Jamaica, in a ghetto named Trenchtown. His mother stayed at home while his father went out to earn a living.

He started performing under the name Bounty Hunter but one day, while walking in one of the rough neighbourhoods of Kingston, he was caught in crossfire and hit by a bullet. He spent several days in the hospital, and it was during this time that he decided to change his name to Bounty Killer.

During the early 1990s, Bounty Killer hung around the studio of producer King Jammy in Kingston – encouraged by the moderate success of fellow friend and deejay Boom Dandymite - and finally Bounty Killer got the chance to voice for King Jammy and one of the first tunes to come out from Bounty Killer was “Book, Book, Book”.

Since 1993 Bounty Killer became a household name in Jamaica – due to his well received performance at the annual hardcore festival Sting held in the days after Christmas. His rough lyrics and unique flow have caused many singers to copy his style, among the better known deejays to copy him are Merciless and Beenie Man. Bounty Killer has tried to protect his individuality and this has caused many problems both on and off stage with these two singers. Bounty Killer and Merciless even got into a fist fight on stage during the Sting festival in 1997 – and have made headlines throughout Jamaica for the rivalry with Beenie Man as both claim that the other has stolen his act.

During the 1990s Bounty Killer has voiced for producers and labels in Jamaica – and has put out songs of redemption like: “Defend the Poor,” “Mama,” “Book, Book, Book,” “Babylon System” and “Down in the Ghetto.” In 1996 the Jamaican government banned his hit song ”Fed Up.” The 90s was also the decade in which Bounty Killer became known in USA and in Europe and ended up with several combinations with big artists like The Fugees, Wyclef Jean, Mobb Deep, Capone-N-Noreaga as well as No Doubt and AZ in 2005.

While the 1990’s was a decade of many albums released, the new millennium seems to be the decade of many singles released. Still working with top producers in Jamaica and abroad, Bounty Killer insists on releasing singles almost on a daily basis. He is without any doubt one of the most productive artists to come out of Jamaica, and he now seems to be ready to release his first album in 4 years in the fall of 2005.

Bounty Killer : Reggae & Dancehall Music Releases

  • Roots, Reality & Culture (VP Records) (1994)
  • Jamaica’s Most Wanted (Greensleeves Records) (1994)
  • Guns Out (Greensleeves Records) (1994)
  • Face To Face (VP Records) (1994)
  • Down In The Ghetto (Greensleeves Records) (1994)
  • No Argument (Greensleeves Records) (1995)
  • My Xperience (VP Records/TVT Records) (1996)
  • Ghetto Gramma (Greensleeves Records) (1997)
  • Next Millennium (VP Records/TVT Records) (1998)
  • 5th Element (VP Records) (1999)
  • Ghetto Dictionary – The Mystery (VP Records) (2002)
  • Ghetto Dictionary – The Art of War (VP Records) (2002)

Dancehall business edition

As the clampdown on expletives at stage shows continues, a long whispered argument has come to the fore, that when sponsors from 'uptown' came with the money, the music, which was originally the 'downtown' lifeline was never the same again. There were new rules for an old game.

The recorded Jamaican music industry started without corporate support, as simply the efforts of a few entrpreneurs who invested in music from the profits of other endeavours.

The famous Bond Street studio of Treasure Isle record label and Trojan sound system owner Arthur 'Duke' Reid was literally and figuratively lifted by the spirits, as it was over his liquour store. Clement 'Sir Coxsone' Dodd got his advantage of playing exclusive (at least, to the Jamaican audience) records from the United States by seeking out the tracks first on farm work and then private visits.

Many early dances were organised as fund-raisers for persons going overseas, the event serving as both a send-off and an avenue to acquire revenue for the trip.

And as it began, so the Jamaican music industry continued on its independent, freewheeling ways, some of the money pumped in coming from unaccountable sources and the cash generated going into similarly unacountable pockets.


Sponsorship was unheard of, as even Reggae Sunsplash's organisers had to dig deep into their pockets to get the event off the ground.

One of the earliest links between big business and music events was the series of RAS all-inclusive events in the early 1990s, which was also the wide-scale introduction of the 'drink all you can for a single entry fee' party pattern.

And when Reggae Sunsplash pulled out of Montego Bay, St. James, after their 1992 staging, Reggae Sumfest stepped in in 1993 with a heightened level of corporate support.

As dancehall moved indoors to the clubs, with police cracking down on events at outdoor venues such as the House of Leo, Grove Road Entertainment Centre and Countryside Club under Operation Ardent, which Buju Banton deejayed about, the fusion of business and dancehall speeded up. And when Genetral B did a televised advertisement for Bigga soft drinks in the mid to late 1990s, it was another step in the two moving hand in hand.

It has not always been smooth sailing, though, as Luciano once removed the banner of an alcohol company which was on a stage he was performing on. And then there was the whole matter of indecent language, which surfaced at Champions In Action 2001, held at the Fort Clarence Beach, St. Catherine.

In a 2001 interview with The Gleaner, Bounty Killer said some of the measures imposed on artistes by the police and sponsors restricted his performance, and he had a problem with it because when he goes to stage show it is to please the people.

"I'm not letting anyone spoil my performance. I go to a show to work and I work," he said.

Deejay Elephant Man, who was summoned for his Sumfest performance, says he believes entertainers are being tied down and forced to give less than what they really have to give or what the audience really wants. He said this may very well affect the entertainer's career.

"Certain songs we want fi do we can't do them, certain things we want to say we can't say them," he said. "We ca'an lick out on certain people certain way and that is what people want to hear from us."

Twin of Twins say they do not have a problem if there are those who wish to invest in dancehall, but they should not attempt to stifle the artiste's voice.

"Twin of Twins saw what was going to happen when some of the other artistes were sleeping and spoke about it in volumes 4 and 5 (of their Ressurrection of the Ghetto series) about people coming in and trying to own dancehall and now it is manifesting itself. We don't have a problem with sponsors investing in dancehall, they are welcome, but they should leave it just the way it was. It was the way that it was in all its rawness that buss it and carry it abroad with people like Shabba and Supercat."

"... The children of these people are now the people in dancehall and they don't curse bad words, so it is seen as something bad. The things that most artistes sing and talk about these people don't understand, because it was not their way of life and experiences. A couple years ago people from uptown didn't want their children becoming deejays, but now the money is there and it's now an avenue to spread their ideologies, so it's OK," they said.


Worrel King, promoter of Western Consciousness, says the business needs sponsors. However, he blames them for their inconsistency.

"I would blame them to a certain extent because they are not consistent. I will not blame no sponsorship for censorship, but they need to be consistent. If I am a sponsor then I know what kind of product I want my brand associated with. They have a right to say so, they just have to be consistent," he said.

Jomo Cato, director of marketing of Sumfest, spoke of music as an expression of art and self.

"Everyone has the right to free speech, but a promoter, sponsor or investor also reserves the right to image control. Profanity is not something we condone in any form. Beyond this there is the responsibility to adhere to the laws of the land. So we can never tell an artiste what to write, but we certainly can tell you what words will not be acceptable on stage at the event we are presenting to the public. Now, remember the artistes may still choose to violate this agreement, but then we have a course of action that deals with this situation," he said.

Who to blame?

So does he think sponsors and promoters are to blame for the stringent rules?

"The matter is really not about assigning blame; it's about taking responsibility for your actions, your statements and the image you project. Every performer at Red Stripe Reggae Sumfest signs a contract which clearly spells out the code of conduct. If you go against this then you have violated a business contract - it's very simple. It's further complicated when the artiste now finds out that in addition to breaking the contract that you have also broken the law. But this behaviour was not forced, it was a decision made by the artiste, so live with the decisions you make," he said.

And what about the argument that sponsors and promoters should leave dancehall as it was at its inception?

"To say we should leave it raw really does a disservice to the art and to the artistes. Every genre has several facets, romantic dancehall, conscious dancehall, spiritual dancehall. The dancehall never was and will never be totally raw; it offers many things to many people. Notoriety is often gained by the so-called 'raw artistes' but if we take a step back and look at it, we see that the music is much deeper than this. The major stars in the music business don't rely on profanity for a hit. Notoriety will get your name in a news story but true stardom will make you a millionaire," he said.

Sourced [jamaica-gleaner.com]

hottest reggae & dancehall tracks @ 20/09/2006

Some recent tracklistings that I recommend

Elephant Man - 'Limbo' (Big Yard Music)
Voicemail feat Craiggy Dread - 'Shake It' (Big Yard Music)
Shaggy - 'Give Yu What Yu Like' (Big Yard Music)
Wayne Wonder - 'U Got Me' (Big Yard Music)
Macka Diamond - 'March Out' (Big Yard Music)
Kossity - 'Oh Yeah' (Big Yard Music)
Vybz Kartel And Aidonia - 'Deadly Alliance ' (White Label)
Aidonia - 'Bag A Shot' (White Label)
Assassin - 'Keep Dem Talking' (White Label)
Fletcher B - 'Hot Patty' (White Label)
Red Rat - 'A Wha Do Dem' (White Label)
Meritol - 'Buss A Whine' (White Label)
Meritol -'Flanker Friday' (White Label)
Capleton - 'Wha Dis' (Don Corleon Records)
Capleton - 'Hit Maker' (Don Corleon Records)
Buju Banton - 'Gal Fi Get Page' (Don Corleon Records)
Assassin - 'Mouth' (Don Corleon Records)
Hollow Point - 'Cold Like Ice' (Don Corleon Records)
Round Head - 'Flossing' (Don Corleon Records)
Munga - 'We Nah Back Down' (Don Corleon Records)
Vybz Kartel - 'Gunshot' (Don Corleon Records)
Alozade - 'Dads Of All Time' (Young Blood Records)
Beenie Man - 'Bullet Proof' ( Natural Bridge )
Movado - 'A Nuh Seh Dem Caah' ( Natural Bridge )
Bounty Killer - Bullet Proof Vest' ( Natural Bridge )
Tony Matterhorn feat Mr Easy - 'Wickedest Slam' ( Natural Bridge )
Elephant Man - 'We Nuh Tek Bad Up' (White Label)
Singing Sweet - 'How Will I Know' (White Label)
Vybz Kartel And Movado - ' Sunrise ' (White Label)
Vybz Kartel - 'Bruk It' (White Label)
Richie Spice - 'Blood Again' (Fifth Element Records)
Anthony B - 'Don't Worry' (Purple Skunk)
Jah Cure - 'What Will It Take' (Purple Skunk)
Wayne Marshall - 'Dying For A Cure' (Purple Skunk)
Damian Marley/Bounty Killer/Eek A Mouse - 'Khaki Suit' (Tuff Gong)
Little Hero - 'The Prayer' (White Label)
Beres Hammond - 'Try If You Want' (White Label)
Mr Vegas - 'Do You Know' (FiWi Music)
Ghost - 'I Swear' (FiWi Music)
Ghost - 'If Walls Could Talk' (Stone Love Music)
Ghost - 'Nothing At All' (Shocking Vibes)
Cham - 'Rudeboy Pledge' (Madhouse Music)
Pinchers - 'The Enemies' (Madhouse Music)
Assassin - 'Good Over Evil' (Madhouse Music)
Spice feat Pinchers - 'Rudeboy Love' (Madhouse Music)
Vybz Kartel - 'Mr Palmer' (Cashey Records)
Bounty Killer - 'Hunting' (Cashey Records)
Munga - 'Waste Time' (Cashey Records)
Buju Banton - 'Try Affa Yu' (Cashey Records)

Wednesday, September 13, 2006

What's your favourite riddim of 2006 ?

Please leave your comments on this question, 1Love...

New Reggae & Dancehall Riddims & News 13/09/2006


The Caymanas Police in Portmore, St. Catherine, say they have a warrant for the arrest of entertainer Adijah 'Vybz Kartel' Palmer for malicious destruction of property.

Destroyed furniture

A senior investigator said that on September 4 at about 11 a.m., Palmer went to the house of his child's mother in Christian Pen, St. Catherine, and, after a dispute, a machete was used to smash several appliances and furniture, including a television, stereo, bed, and wardrobe valued at approx-imately $200,000.

Arrest warrant

The police say that after a statement was collected from the complainant, they unsuccessfully attempted to contact the enter-tainer. As a result, a warrant has been ordered for his arrest and is at the Caymanas Police Station.

Last week, Vybz Kartel had three charges dismissed in the Spanish Town Resident Magistrate's Court for want of prosecution from an incident involving another entertainer Desmond 'Ninja Man' Ballentine at Sting 2003.