Sean Paul's Rally Cry: Unite and Conquer Dancehall

sean paul unites dancehall

In the vibrant world of Dancehall music, collaboration and unity have emerged as essential components for the genre's success and progression. Amidst the clashes and controversies that often overshadow the industry, Sean Paul, a prominent figure in Dancehall, has been championing the rallying cry for unity.

With his unwavering belief in the power of collective effort, Sean Paul aims to unite artists and conquer new horizons for Dancehall. But what exactly does this rallying cry entail? How does Sean Paul envision the future of Dancehall? And how can unity pave the way for the genre's global recognition and influence?

In this exploration, we will delve into Sean Paul's perspective on unity, his call for artists to tour internationally, and the potential impact of his leadership on the industry. So, let us embark on this journey to uncover the keys to unite and conquer Dancehall.

Key Takeaways

  • Unity among Dancehall artists is crucial to avoid clashes and violence in the industry.
  • Touring globally is a key factor in achieving international success for Dancehall artists.
  • Over saturation of clash songs can hinder the evolution and growth of Dancehall.
  • Sean Paul believes in leading by example and supporting other artists to inspire unity and collaboration in the industry.

Importance of Unity in Dancehall

unity in dancehall community

The importance of unity in the Dancehall industry cannot be overstated, as clashes between artists can lead to violence and hinder the progress of the genre. Collaboration benefits the industry as a whole, allowing artists to pool their talents and resources to create innovative music and expand their reach.

By avoiding conflicts and working together, artists can foster a positive and supportive environment that encourages growth and creativity. Sean Paul, a prominent figure in Dancehall, emphasizes the need for unity in the industry. He believes that artists should set a better example for the genre and work towards pushing Dancehall to the world stage.

Touring as a Key to Success

As Dancehall artists strive for unity and collaboration, they recognize that touring serves as a crucial key to success in expanding their reach and achieving international recognition. Touring allows artists to connect with fans on a global scale, exposing them to new audiences and markets. It provides an opportunity to showcase their talent, build a loyal fan base, and generate revenue.

To illustrate the importance of touring, Sean Paul highlights the success of Junior Gong's cruise, which not only brought Dancehall to new territories but also allowed fans to experience the genre in a unique and immersive way. By touring in places where Dancehall is less known, artists can create a buzz and foster a demand for their music, ultimately propelling their careers to new heights.

Over Saturation of Clash Songs

excessive clash song availability

With the rich cultural heritage of clash songs in Dancehall, it is crucial to understand the potential consequences of their over saturation. Clash songs have long been a staple of the genre, showcasing the lyrical prowess and competitive spirit of Dancehall artists.

However, when clash songs dominate the airwaves and overshadow other types of songs, it can have a negative impact on the genre as a whole. Clash songs, although exciting and entertaining, often have a shorter lifespan compared to hit songs.

Hit songs, on the other hand, have more longevity and sustain artists' careers for longer periods. Therefore, the over saturation of clash songs can hinder the growth and evolution of Dancehall, preventing artists from reaching their full potential and limiting the genre's impact on the global music scene.

It is important for artists to strike a balance between clash songs and hit songs, ensuring the continued success and relevance of Dancehall.

Leading by Example

By demonstrating his commitment to supporting and promoting other artists in the industry, Sean Paul leads by example and inspires unity and collaboration in the world of Dancehall.

He understands the importance of artists coming together to push the genre forward and reach new heights.

Sean Paul's actions speak louder than words, as he has shared stages with artists like Chi Ching Ching and Ding Dong, bringing them out during his performances.

Additionally, he has taken rising star Shenseea on international tours with him, giving her the opportunity to gain exposure and expand her fanbase.

Through his support and promotion of other artists, Sean Paul encourages collaboration and inspires fellow musicians to do the same, fostering a sense of unity in Dancehall.

Sean Paul's Perspective on Criticism

sean paul s take on criticism

Sean Paul's perspective on criticism reveals his dedication to the growth and evolution of Dancehall. He sees criticism as an opportunity to improve the culture and propel the genre forward. While some may view his advocacy for unity as going soft, Sean Paul understands that sustaining artists' careers and improving the culture go hand in hand.

He recognizes that hit songs have more longevity and can sustain artists for longer periods compared to clash songs. Clash songs, while a part of Dancehall culture, can become stagnant and have a shorter lifespan. Sean Paul wants Dancehall to grow and evolve for the better.

He believes that criticism provides an avenue for artists to reflect, improve, and create music that will resonate with a global audience. By embracing criticism, Dancehall can continue to flourish and reach new heights.

Evolving Dancehall for the Better

In order to propel Dancehall forward and ensure its continued growth, it is imperative to focus on evolving the genre for the better. This involves a collaborative effort from artists, producers, and industry professionals to advance the genre and push its boundaries.

To achieve collaborative growth and advance the genre, the following steps can be taken:

  • Embracing innovation: By incorporating new sounds, production techniques, and musical influences, Dancehall can continue to evolve and attract a wider audience.
  • Promoting diversity: Encouraging artists from different backgrounds and perspectives to contribute to Dancehall can bring fresh ideas and perspectives, leading to a more dynamic and inclusive genre.
  • Strengthening international connections: Building relationships with artists and industry professionals from around the world can open up opportunities for cross-cultural collaborations and expose Dancehall to new markets.

Frequently Asked Questions

How Does Unity in Dancehall Contribute to the Overall Safety and Well-Being of the Artists and the Industry?

Unity in dancehall is crucial for the overall safety and well-being of artists and the industry. It promotes a positive and supportive environment, reducing conflicts and violence. Additionally, unity allows for the dissemination of positive messages and the fostering of mental health among artists.

Can You Provide Specific Examples of How Touring Has Helped Dancehall Artists Achieve International Success?

Touring has played a pivotal role in the international success of dancehall artists. It provides a platform for exposure to new audiences and allows artists to showcase their talent, ultimately leading to increased recognition and a broader fan base.

How Does the Over Saturation of Clash Songs Impact the Growth and Development of Dancehall as a Genre?

The over saturation of clash songs in dancehall can hinder the growth and development of the genre. While competition is important, an excessive focus on clashes can limit the evolution of clash songs and prevent the genre from exploring new creative avenues.

Can You Elaborate on Sean Paul's Role in Supporting and Promoting Other Artists in the Industry?

Sean Paul plays a significant role in supporting and promoting other artists in the industry. Through shared stages and international tours, he leads by example, inspiring unity and collaboration within the Dancehall community.

How Does Sean Paul Respond to Critics Who Believe He Has Become "Soft" for Advocating Unity in Dancehall?

Sean Paul responds to critics who believe he has become 'soft' for advocating unity in Dancehall by emphasizing the impact of unity on the genre. He believes that hit songs sustain artists and their careers for longer, while clash songs have a shorter lifespan. Sean Paul's advocacy for unity is driven by his desire to see Dancehall grow and evolve for the better.


In conclusion, Sean Paul's rallying cry for unity in Dancehall emphasizes the importance of setting aside differences and working together for the betterment of the genre.

By encouraging artists to tour globally and expand their fan base, he seeks to elevate Dancehall to new heights on the world stage.

Despite criticism and clashes, Sean Paul remains committed to leading by example and inspiring collaboration within the industry.

By embracing unity and evolving for the better, Dancehall has the potential to conquer new territories and thrive.

Marley Biopic Touted as Cultural Phenomenon

marley film celebrates reggae

The upcoming biopic, ‘Bob Marley: One Love,’ has already garnered considerable attention as it approaches its release date. With high-profile endorsements from Minister of Entertainment Olivia Grange and Dr Sonjah Stanley Niaah, expectations are running high for this film to make a significant cultural impact.

Scheduled to hit theaters on February 14, 2024, ‘One Love’ delves into a crucial period in Marley’s life, exploring the 1976-1978 timeframe, including the assassination attempt on him and his wife, Rita. The recent premiere in Jamaica has only fueled the anticipation surrounding the movie, as Minister Grange highlights the potential positive influence it might have on Jamaican culture and the revered Marley family.

Drawing comparisons to the iconic 1972 film, ‘The Harder They Come,’ Dr Stanley Niaah suggests that this biopic will offer valuable insights into Marley’s personal life and his influential role in spreading Reggae music worldwide. As the buzz continues to grow, it’s clear that ‘Bob Marley: One Love’ is poised to become a cultural phenomenon, captivating audiences with its portrayal of a music legend’s life.

Key Takeaways

  • The Bob Marley biopic, titled “One Love,” is predicted to be a huge hit by Minister of Entertainment Olivia Grange and Dr Sonjah Stanley Niaah.
  • The film is set to be released on February 14, 2024, and focuses on the years 1976 to 1978, including the assassination attempt on Bob Marley and Rita.
  • The premiere of the movie in Jamaica at the Carib 5 Cinema was seen as a momentous occasion, with Prime Minister Andrew Holness emphasizing Marley’s ability to connect people and his enduring impact.
  • The biopic is expected to provide insight into Marley’s personal life and his significant contribution to spreading Reggae music, solidifying his status as one of the most important popular figures from the Third World.

Release Details and Predictions

The release details and predictions for the highly anticipated Bob Marley biopic, ‘One Love,’ have generated significant buzz and excitement within the entertainment industry and among fans worldwide.

This film is not only highly anticipated because of its subject matter, but also because of its potential impact on Jamaican cinema and the cultural significance of Bob Marley. Minister of Entertainment Olivia Grange and Dr Sonjah Stanley Niaah predict that the biopic will be a huge hit, and Minister Grange believes that it will have a positive impact on Jamaican culture and the Marley family.

The cinematic tribute aims to introduce Marley to a new generation and continue his messages of hope and justice. With its release set for February 14, 2024, ‘One Love’ has the potential to become a cultural phenomenon and further solidify Bob Marley’s legacy.

Comparison to ‘The Harder They Come

When comparing the highly anticipated Bob Marley biopic, ‘One Love,’ to the iconic 1972 film ‘The Harder They Come,’ it becomes evident that both movies serve as cultural touchstones and showcase the immense influence of Jamaican music and artists on a global scale.

  • ‘The Harder They Come’ starred Jimmy Cliff and brought reggae music to international audiences, solidifying its place in popular culture.
  • Similarly, ‘One Love’ will provide valuable insight into Marley’s personal life and his contribution to spreading reggae music.
  • Marley’s influence on reggae music cannot be overstated. He is considered one of the most important figures in the genre and his music continues to resonate with people across the world.
  • The impact of Marley and his music on Jamaican culture is immeasurable, with his songs addressing social and political issues that were relevant to the country at the time.

Both films serve as reminders of the cultural significance of Jamaican music, and ‘One Love’ is poised to continue Marley’s legacy and inspire a new generation.

Varying Awareness of the Biopic

diverse perceptions of biopic

Continuing the exploration of the highly anticipated Bob Marley biopic, ‘One Love,’ it is important to consider the varying levels of awareness surrounding the film and its premiere.

While some people in the Cross Roads area were unaware of the Bob Marley movie and its premiere, the event was seen as a momentous occasion by Prime Minister Andrew Holness. This discrepancy in awareness could be attributed to personal history and experience with music.

However, the premiere in Jamaica highlights the cultural significance of Bob Marley and his enduring impact. Marley’s ability to connect people and his contribution to the global conversations on unity and resilience are emphasized by Prime Minister Holness.

Therefore, the biopic has the potential to not only impact the Jamaican film industry but also introduce Marley to a new generation, ensuring his messages of hope and justice continue to resonate.

Prime Minister’s Reflection on Marley’s Work

Prime Minister Andrew Holness reflects on the profound impact of Bob Marley’s work, emphasizing his ability to transcend cultural and geographical boundaries and symbolize unity and resilience.

Inspired by witnessing the premiere in Jamaica, the Prime Minister sees the event as a significant moment for the nation and the global community.

Marley’s enduring impact is undeniable, as his music continues to resonate with people from all walks of life. The cinematic tribute aims to introduce Marley to a new generation, carrying forward his messages of hope and justice.

Holness encourages reflection on Marley’s contribution to global conversations, recognizing the power of his words and melodies to inspire change.

Through his music, Marley has left an indelible mark on the world, reminding us of the importance of unity and resilience in the face of adversity.


summarize act make change

In conclusion, the Bob Marley: One Love biopic promises to be a cultural phenomenon that will captivate audiences worldwide. With its focus on the iconic musician’s life and the cultural impact of his music, this film has the potential to bring Marley’s story to a whole new generation.

It serves as a reminder of the importance of preserving and promoting Jamaican culture, showcasing the talent and resilience that has made the country a global powerhouse in the music industry. By delving into Marley’s personal life and his contribution to spreading Reggae music, the biopic not only pays tribute to his legacy but also highlights the enduring relevance of his messages of hope and justice.

This cinematic tribute serves as a call to action for audiences to reflect on Marley’s profound impact and to continue championing the values he held dear.

Frequently Asked Questions

Who Is Playing the Role of Bob Marley in the Biopic?

The casting choice for the role of Bob Marley in the biopic is yet to be announced. However, it is undeniable that Marley’s significance in the music industry as a pioneer of reggae and his impact on global culture cannot be overstated.

What Specific Events From 1976 to 1978 Will Be Depicted in the Film?

The biopic will depict several significant events from Bob Marley’s life between 1976 and 1978, including the assassination attempt on him and Rita. The Marley empire’s cultural impact on Jamaica is considered a noteworthy achievement.

How Has the Marley Empire Impacted Jamaica?

The Marley empire has had a significant impact on Jamaica, particularly in the music industry and the Rastafarian movement. Through his music and message, Bob Marley has become a symbol of unity and empowerment, inspiring generations and promoting cultural awareness.

How Did Prime Minister Andrew Holness Describe the Premiere of the Biopic?

Prime Minister Andrew Holness described the premiere of the biopic as a significant event, emphasizing the cultural significance of Bob Marley’s work. The audience reaction and Marley family involvement further highlight the impact of the film production.

What Is the Purpose of the Cinematic Tribute to Bob Marley?

The purpose of the cinematic tribute to Bob Marley is to introduce him to a new generation and continue his messages of hope and justice. The Marley empire’s impact on Jamaican culture is seen as a significant achievement.


In conclusion, the upcoming biopic ‘Bob Marley: One Love’ has the potential to become a cultural phenomenon, capturing the essence of Bob Marley’s life and his significant impact on Jamaican culture and the global music scene.

With its release date drawing near, the film’s premiere in Jamaica has only heightened the anticipation surrounding its debut. Comparable to the iconic film ‘The Harder They Come,’ this biopic promises to provide invaluable insights into Marley’s personal journey and his invaluable contributions to the world of reggae music.

Who are Bob Marley’s children?

Bob Marley began making music as a teenager, and it was during these early years that he met his future wife, Rita. She became one of the singers in his band, and the two were married when she was 21 years old.

She was already the mother of a young child, and Bob and Rita Marley went on to have three children together. Although he remained married to her until his death at age 36, he had other children out of wedlock. With Rita, he adopted them and cared for them as his own. Here is a glimpse of Bob Marley’s children, all of whom are very close.


Born to Lucy Pounder in England, Julian Marley is a musician like his father and frequently works with his brothers on music and projects such as the family’s Kaya Fest.


Sharon is Rita’s firstborn and daughter Bob adopted after marrying Rita. She, too, is named Marley and now helps run the Bob Marley Museum.


He is Bob’s son with Anita Belnavis but did not grow up with the rest of the family. He works in music and film and lives in Miami, but often creates music with these brothers.


David “Ziggy” Marley has a voice similar to his father’s and had a successful career in music. He has played musically with most of his siblings as part of the Grammy-winning band, Ziggy Marley and the Melody Makers, and other collaborations. He is the eldest son of Bob and Rita.


Damian “Junior Gong” Marley is Bob’s youngest son, born to former Miss World, Cindy Breakspeare. Damian is also a talented Grammy Award-winning artist whose music has a hip hop and dancehall feel to it. Outside of music, he has ventured into the cannabis / CBD industry.


Born to another man and in 1974, Bob Marley adopted her as his own daughter during their marriage, and she also goes by the name Marley.


Cedella Marley is the eldest of Bob and Rita’s children and a former interpreter. She now manages most of the family’s businesses and charities with the shared contribution of all her siblings. According to GQ, she manages Tuff Gong Enterprises, Marley Natural, and more.

Robert Jr.

One of the least known brothers in the Marley family, Robert Jr. grew up in the Marley home with Bob and Rita, but his mother’s name is Pat Williams. He is not a career musician, but he also works with his siblings on film and music projects.


The youngest son of Bob and Rita’s children and is also a singer-songwriter who vocally sounds like his father. He is always touring and often collaborates with his siblings to record and perform.


Makeda is the daughter of Bob Marley with Yvette Crichton and was born in 1981 after her father’s death. She had stated in the past that although she received trust funds when young, she does not receive money from the family estate.


Born in 1972,son of Bob Marley’s son with Janet Hunt, Rohan Marley was once the partner of hip-hop legend Lauryn Hill and the two share five children together. He is now married to Barbara Fialho, a Brazilian model. Rohan also co-founded Marley Coffee in 2009, a multi-million dollar enterprise that produces sustainably grown coffee.


Karen was born Bob and England’s Janet Bowen but grew up in Jamaica with her siblings. Karen runs her fashion line with pieces made from sustainably sourced materials.

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Our Top 3 Reggae Foundation Chunes

Today, we offer ourselves a last dive into the golden age of reggae with our Top 3 dedicated to the founding pieces of Jamaican music.

The Congos – Fisherman

Fisherman is the first track of the famous album Heart Of the Congos. An album considered as one of the greatest masterpieces of Jamaican music, if not THE greatest. Lee Perry in production and three unique and inimitable voices, those of Cedric Myton, Ashanty Roy and Watty Burnett are the secrets. In the choirs, there is a luxury cast: Gregory Isaacs, Barry Lewellyn, The Meditations or Earl Morgan. The atmosphere that emerges from this track and the album, in general, has never been equaled. The sound is worked on as never before, the harmonies are as neat as possible, and the themes reflect a time when conscious and cultural music was king.

Third World – 96 Degrees in the Shade

The song recounts the famous Morant Bay revolt led by Paul Bogle in 1865. Even if slavery was abolished in Jamaica in 1834, the condition of blacks was not improving. Voting rights remained restricted, and some Blacks continued to be exploited by British settlers. A few incidents between Blacks and Whites following land problems forced a handful of former slaves to revolt, creating riots that cost the lives of some 20 Whites. In response, English Governor Edward Eyre sent a militia that killed 439 blacks directly and captured 354 others who were publicly executed without trial. Another 600 Jamaican blacks were whipped or imprisoned. Third World’s tune tells this story through the story of George William Gordon, an English half-breed who protected Paul Bogle in particular in this story. He was arrested and hanged and took the time before he died to complain about the stifling heat on the day of his execution. Don’t worry; it wasn’t 96°C in the shade! Jamaicans count in Fahrenheit degrees, which corresponds to about 35° Celsius! Released in 1977, this track has become a hymn of reggae roots, THE undisputed hit of Third World and a reference in terms of black music.

Max Romeo – War Ina Babylon

In 1975, Max Romeo recorded an album that would become a landmark in the history of Jamaican music. Together with producer Lee “Scratch” Perry and his group The Upsetters, they created War Ina Babylon in a tense political context. The eponymous title of this album remains one of the most striking of Max Romeo’s career, both for its original composition and its still relevant social commentary almost 40 years after its release. “This song is like a prophecy,” says Romeo. It’s not about any particular place. When I say “the barber doesn’t like the policeman,” it can mean: “the Christian doesn’t like the Muslim and vice versa.” A situation that is now fully recognized. Max was right. The war in Babylon has only just begun!

Cannabis and Rastafarianism in the Reggae Culture

reggae and ganja

While musicians have generally metaphorically approached pot in jazz and rock, reggae is much more direct, and the words “marijuana,” “pot,” “cannabis” and “ganja” are very regularly found in the lyrics of the songs, either to request their legalization clearly or to evoke a specific spiritual experience.

To understand this experience, it is necessary to go beyond looking at reggae as an aesthetic genre and delve into the religious and social history of Jamaica, where this musical genre was born in the late 1960s. If reggae finds its musical origins in a fusion between ska, calypso, rocksteady and rock’n’ roll, it is also, for many, the flagship of Rastafarianism, a cultural, social and spiritual movement born in Jamaica in the late 1930s with a desire to bring the descendants of slaves closer to their African roots.


The Rastafarian movement is named after Tafari Makonnen, Emperor of Ethiopia from 1930 to 1974, known as Haile Selassie I. But how could an Ethiopian emperor give his name to a Jamaican spiritual movement 12,500 kilometers away? During the 1930s, the Back to Africa movement gained momentum as the community of descendants of black slaves experienced a severe identity crisis. In Jamaica, this reflection is embodied by Marcus Garvey, nicknamed the “Black Moses,” who acts as a prophet of a movement that aims to unite all the black communities of the world. Garvey often refers to Selassie and Ethiopia in his writings and speeches, as this state was the only one to resist European colonization, except during an Italian occupation during the Second World War.

Garvey turned Selassie into a kind of black messiah and generated the Rastafarian movement around this character who, ironically, would never recognize Rastafarianism, Ethiopia being a resolutely Christian state for 1500 years.

What about cannabis in all this?

Again, we have to go back in time a little bit, to the middle of the 19th century to be more precise, when Jamaica is a British colony. After the abolition of the sale of slaves on the international market in 1807, the British “imported” workers from India (another British colony), who brought cannabis plants in their luggage, which they called “ganja.”

With the climate as it is, Jamaica is becoming a fertile breeding ground for cannabis cultivation. This herb is widely consumed by Afro-Jamaicans, to such an extent that the white elites, who control the country’s political authorities, decide to ban its consumption and culture with the “Ganja Law,” passed in 1913. Then, despite a relaxation of the law in 2015, decriminalizing the possession of fewer than two ounces of cannabis, the plant will still be officially banned on the island. Besides, considering that 37,000 acres (150 km2) of land are devoted to cannabis cultivation, it can be concluded that the law may not be as effective as one would like.

Knowing this, there is, therefore, a certain logic in the fact that a black identity movement makes the use of cannabis, banned by whites, symbolic. It is in this context that many Rastafarian followers (some are still against it) decide to make their consumption of ganja an integral part of their social, political and spiritual experience since according to them, it must be smoked to raise consciousness and soul and in a meditative context. “Grass heals the nation” is their motto and this grass should not be used for recreational purposes. Rastas usually consume cannabis either through a Chalice or even a weed vaporizer such as the ones sold on the website Cannavapos and used by Chronixx, one of the leading young artist these days!

chronixx and his pax 3 vaporizer

bob marleyIt is in this context that reggae is born, developed by musicians whose social and identity concerns are in harmony with those of Rastafarianism. As its followers consider cannabis as an integral part of this position, it will become one of the important themes openly addressed in the songs: the words “ganja,” “pot,” “cannabis” and “marijuana” are heard in the reggae texts. We sing about its virtues, or we ask directly for its legalization, as in the song Legalize It, the eponymous song from the album of former Wailers member Peter Tosh released in 1975.

Bob Marley

It is impossible to discuss this subject without mentioning the positions of the legendary Bob Marley, the flagship of reggae. He converted to Rastafarianism in 1966 (he was a Catholic) and campaigned all his life for the legalization of cannabis. Moreover, Rastafarianism owes its international popularity to Marley, who popularizes the movement all over the world with his music.

Our Top 10 women in Reggae

queen ifrica

How many hits have been signed by women? Our Top 10 will make you aware of the important place that female singers hold in this still very masculine environment that is reggae.

Millie Small – My Boy Lollipop

My Boy Lollipop is simply the first Jamaican song to be successful abroad. And it’s a woman who interprets it! After recording a few songs for Coxsone at Yard, Millie Small moved to London. When she arrived there, she recorded this title in 1964, which immediately became a hit on the British island. The rhythm, called blue beat, is one of the premise of ska. First success for Jamaican music and for the Island label… You know the rest!

Marcia Griffiths – Feel Like Jumping

Recorded in 1968 at Studio One, Feel Like Jumping was Marcia’s first hit, later becoming a member of the I-Threes, Bob Marley’s backing singers. Does the riddim mean anything to you? Normal, it is the Boops Riddim, better known as 54-46, the same one that is the hit of Toots and the Maytals… Still active today, Marcia Griffiths is considered the undisputed Queen of Reggae!

Lady G – Nuff Respect

Set in 1988 on Gussie Clark’s powerful Rumours Riddim, which features Gregory Isaacs’ terrible tune, Nuff Respect is a bold title for a time when women were very rare in Jamaica’s music scene, and even more so in dancehall. Lady G stands up for women’s rights and demands loud and clear that they be shown respect with a precise deejay flow and an irresistible Jamaican accent. The tune even gets a clip in the pure 80’s style with the haircuts and clothing that go with it. Listening to this title, we see only one simple thing to say: Nuff respect to yuh Lady G!

Queen Ifrica – Daddy

This is a title that became a cult as soon as it was released. Placed in 2007 on Kemar’s 83 Riddim’Flava’ McGregor for his label No Doubt, Daddy may not be Queen Ifrica’s most musically striking tune, but it is undoubtedly the most striking in terms of writing. The singer dares to break taboos and denounces incest and sexual abuse of children in a fiery and beautifully written plea. She puts herself in the shoes of an abused young girl and delivers touching lyrics: “The long showers I take don’t wash away my memories.” Against all odds, the song will quickly rank at the top of the charts in Jamaica, despite various attempts at censorship. And the money will even be supported by UNICEF, which will hire Queen Ifrica for a few concerts for abused children. The perfect example of a conscious and militant reggae!

Phyllis Dillon – Don’t Stay Away

The rocksteady was probably the period when female artists were most prominent in Jamaica. With singers like Nora Dean, Marcia Griffiths, Doreen Shaffer, Joya Landis, The Soulettes or The Gaylettes, love songs took on a new dimension. Phyllis Dillon mourns the departure of her soul mate on an absolutely must-see rocksteady riddim composed and played by Tommy McCook & The Supersonics. Don’t Stay Away was released in 1967 on Duke Reid’s Treasure Isle label. This is the first original song recorded by Phyllis Dillon, so far limited to covers of American standards such as Bettye Swann’s Make Me Yours or Stephen Phills’ Love the One You’re With. However, she was only 19 years old when this title was released. Propelled to the top of the charts, Phyllis nevertheless made a short career that she stopped in 1971.

women in reggae

Nora Dean – Barbwire

“The other day, I met this guy who had barbed wire in his underwear…” Nora Dean tells the story of a young girl being picked up by a young man who is a little too enterprising. But she doesn’t disarm, hits him on the head and runs to his mother, calling for help: “Oh Mama, my ma ma ma!” It was precisely this gimmick that made the title popular. Nora Dean will have had a quick career, almost unnoticed if this 1969 title produced by Duke Reid had not been released. She is known for her grippy titles and this one will further shape her reputation. A track released in 1969 that prefigures in a way the slackness of today….

Dawn Penn – No No No (You Don’t Love Me)

Classic among the classics! Many know this Dawn Penn tune, but few know that it is inspired by two American songs. No No No No includes lyrics and some musical elements from the track You Don’t Love Me recorded by Willie Cobbs in 1961 and itself inspired by Bo Diddley’s 1955 title She’s Fine She’s Mine. As the producer Coxsone often travelled to the United States to bring back records, it was not uncommon in the 1960s for some songs recorded in Jamaica to be covers of American rhythms and blues. This No No No No No is part of it. First recorded by Studio One in 1967 on a rocksteady riddim (on which Prince Jazzbo will deliver a superb cut deejay), it became a global hit in 1994 when Steely & Clevie had the good idea to base Dawn Penn on a more modern version (which will even get her clip). Since then, the famous “No No No No” has been sampled and covered dozens of times by American artists such as Rihanna or Beyoncé. Party of the States and return to the States… The loop is closed!

Judy Mowatt – Black Woman

“Black woman, to you I dedicate my song”. A song by a woman for women! Judy Mowatt is a former Gaylettes when she started her solo career in the early 1970s. However, it was not until she joined another trio – the I-Threes alongside Marcia Griffiths and Rita Marley – that her solo titles would resonate. Black Woman is one of his most successful songs. Eponymous title of a female solo artist’s first reggae album (produced by herself!), it conveys an emotion that we feel more than sincere expressed in an irresistible soul voice and served by a beautiful riddim.

Althea & Donna – Uptown Top Ranking

One of the most famous reggae songs in the world. It has been used dozens of times, appears in films, video games, series…. When it was released in 1977, the title sounded like a bomb in England. Uptown Top Ranking immediately ranks at the top of the charts making the two teenage Althea & Donna the youngest women to have entered the English charts. They were only 18 when they recorded this song for Joe Gibbs. The riddim is in fact a recut of the 1967 instrument, Alton Ellis’ I’m Still In Love. Althea & Donna answer in this song to the deejay Trinity who had recorded Three Piece Suit on the same riddim two years earlier.

Tany Stephens – It’s a Pity

Adultery is often encouraged in modern Jamaican music. Dancehall artists, whether male or female, do not hesitate to boast of the increasing number of conquests in recent times. But in 2004, a dancehall singer known for her sulphurous side dared to approach the subject in a different way. It’s a Pity is Tanya Stephens’ hit of choice. Rather used to dancehall at the time, she finally settled on a 100% reggae riddim particularly chaloupant. It is Doctor’s Darling Riddim, a huge recruit from Gregory Isaacs’ Night Nurse, played by the German group Seeed. On the version, Tanya tells an impossible love story between two lovers already taken. But instead of encouraging action, the Jamaican singer wisely closes the song and neither of them skip the step! That’s why we can make hits while remaining moral…

Buju Banton: his 1st show in Jamaica

buju banton live

Saturday, March 16 was a historic date in Jamaica. The largest musical show ever held at the National Kingston Stadium welcomed 35,000 people to attend Buju Banton’s first show since his release from prison last December. The latter was not alone far from there. His performance was preceded by a number of tributes and mini shows from Jamaican reggae legends such as Berres Hamond, Cocoa Tea, but also from younger artists such as Agent Sasco, Chronixx, Koffee and many others!

Slideshow of the most beautiful photos of our reporter!

Some live videos are also included below.

Get to know Yellow Man


Albinos, Yellowman will turn what some consider a physical disability into an asset and become the biggest dancehall star of the ’80s.

Yellowman was born Winston Foster in 1959 in Kingston. Albinos, he will turn his physical handicap into an asset and become the biggest dancehall star of the ’80s. But the road was hard to reach his artistic objectives. Indeed, Jamaican society is very hard on albinos. It is the fact that he fully assumes his disability by declaring himself, through his songs, sex-symbol and by using trivial, even vulgar lyrics (called slackness), that Yellowman becomes the favorite of the public on his native island.

Added to that, his original voice timbre, his very particular way of toasting, his sharp humor and his ability to make fun of others and himself will install him as the number one dancehall artist. Influenced by artists like U-Roy, he made his debut in sound system with the Gemini sound. In 1979, he won a song contest that propelled him to the front of the Jamaican public, who immediately adopted him. Although he has recorded countless singles, he recorded his first album on Channel One in 1981.

The title of this album is “Them A Mad Over Me.” He continues to shock and mock everything around him. He mocks Lone Ranger in his title “Me Kill Barnie,” then suffers the wrath of Peter Tosh, who finds the song “Shorties” degrading for the female population. But the controversies encouraged Yellowman to go even further, pushed by his regular producer: Junjo Lawes… He releases his second album “Mister Yellowman” which becomes an international success!!!

Not content with his success, Yellowman continues with singles and albums that are hits such as “Duupy Or Gunman”, “Yellowman Getting Married”, “The Good, The Bad & The Ugly”, “Wreck A Pum Pum Pum”, “Galong, Galong”, or the enormous “Zungguzungguguzungguzeng”…

A few years later (in 1987), “The Negril Chill Challenge – Slackness vs. Pure Culture” was recorded, a superb clash between Yellowman and Charlie Chaplin, representing the roots and kulcha vibe against the bad lyrics of our favorite albino. For the record, Charlie Chaplin lost this clash that has since become part of the reggae legend.

Yellowman lost its aura with the 1990s and a new generation of dancehall artists. However, he worked with Fatiss Burrel on “Yellow With Cheese,” and did a very nice cover of “Blueberry,” Fats Domino’s hit.
He returned to the forefront in 1994 with “Prayer,” then “Message To The World” in 1995 and “Freedom Of Speech” in 1999.

His latest albums to date are “New York” in 2003 and “Round 1” in 2005, a clash album with Ninjaman. His appearances in Europe have become rare since the 2000s. But some were lucky enough to see that he was still in good shape during his performance at the Elysée Montmartre in France in 2009 alongside the Congos and Julian Marley.