The Biggest Dancehall Anthems CD (1979 - 1982)
THE BIGGEST DANCEHALL ANTHEMS 1979-82 The Birth of Dancehall
Greensleeves presents The Biggest Dancehall Anthems 1979-82, an unmatched collection of the biggest, most-legendary hits forged when a rugged new mood and a tough, stripped-down, new sound came to dominate the music of Jamaica. A sound that they named Dancehall.
Dancehall was just what it claimed to be: a music to take Jamaicans back to the ghetto dances, back to the birthplace of all that was great in reggae, back home - where it remains to this day.
Dancehall was the swinging sound of the ghetto: more importantly, it was a sound driven by the ghetto's youth; a sound to capture the mood of the day; a sound that took you far beyond the front line.
Now The Biggest Dancehall Anthems 1979-82 offers us all a chance to go back to dancehall school, a chance to revisit all those incredible hits from 'nineteen longtime'...
So, back in the day ...
By the late 1970's Jamaican music was ripe for re-invention: the revolutionary zeal of Rasta had declined into orthodoxy and convention while Lovers Rock sometimes seemed tepid and pale.
Dancehall emerged at a time when many international record companies were trying to water Reggae down with a romanticized, pastoral 'roots' sound that was a million miles away from the fire of Tubby's, Randys, Studio One or any of the great Jamaican studios.
While international companies followed this path, tune after tune poured out of Jamaica into the eager clutches of hungry dancehall fans. Tunes that were completely ignored by a sniffy and complacent old guard to whom Dancehall was not 'proper' reggae.
In England Roots and Lovers were available in abundance but, outside specialist stores, Dancehall was an almost unobtainable commodity. Night after night tunes that reverberated in clubs like The Four Aces, The Bouncing Ball, All Nations and The Q Club were only to be found on import Jamaican seven-inch singles. Day after day, this new music poured out of Greensleeves' shop in Shepherds Bush on JA pressings that were often only available in limited quantities. As a result, a conscious decision was made by Greensleeves to concentrate on the new ghetto sounds, on the youth artists and new producers thrown up on this new wave of Jamaican creativity.
As much as anyone, these new artists were represented by Barrington Levy and the new ghetto producers were epitomised by Henry "Junjo" Lawes. When 'Shine Eye Gal' hit the stores, it moved like a runaway train. The core sound of this new revolution was a distillation of Junjo's production magic, The Roots Radics' rhythms and the whole Channel One vibes with Junjo at the helm and Scientist on the mix.
As much as anything Dancehall represented a change in flavour, a new mood for a new generation of artists. Earlier movements had been heralded by the works of established artists: Dennis Brown, Bob Marley, Burning Spear and Gregory Isaacs had scored hit after hit in Jamaica before the wider world had latched on to them. Even the fist generation of Reggae music to hit the shores of England (Ska) crossed over several years after it had ruled Jamaica.
But now, here was a sound that arrived straight off the plane, fresh out of the ghetto. It was here: flash, brash, independent and on our streets TODAY. It was all happening faster than before and the established stars of the day were quick to catch the vibes. Alongside the new stars like Toyan, Yellowman, and Eek-A-Mouse artists like John Holt, The Wailing Souls and Johnny Osbourne would see their careers scale new heights over the thunderous drive of the new Dancehall vibe.
Back in Jamaica, Linval Thompson and Jammys - amongst other producers - were quick to latch onto the big new sound. Junjo - well Junjo just RULED... Junjo didn't just bring a new sound, he brought a whole new style and fashion: a crisp, sharp new look. A look that every youth aspired to - that was aspirational and cool, that signified independence and confidence; that posed and commanded respect. A look that defined the time and mood. This look was theirs - 'pants length', Beaver hats, Clarks' booties, goldchains & chaps. BMW & Mercs ran t'ings. It all went with a music that was theirs.
Everyone, just everyone was outside Channel One, waiting for the chance to voice for Junjo. Waiting to get their one chance out of the fierce ghetto heat. Down at the 'Creamy Corner' talent shows the youths queued up for their chance to get noticed, to get that black vinyl ticket to stardom.
As fast as others' tunes came up on import, Junjo would visit England bringing a host of artists with him and a heap of new tunes he'd recorded. There were times when Greensleeves' shop would be like downtown Kingston with Junjo, Eastwood and Saint, Barrington Levy, Ranking Dread and Linval Thompson sparring around. By this time Junjo, and with him the whole mood of Dancehall, had reached such a heightened pitch of confidence that we, from our Shepherds Bush base, could suggest to Junjo that he make a tune with, say, Don Carlos or Michael Prophet. He delivered the goods every time.
When we suggested to him a Wailing Souls project (the tune 'War' being the first 12" ever released on Greensleeves), nothing could have prepared us for the stunning results. When he came up with the 'Firehouse Rock' tapes we were, well... numbed by its power (check the title track or 'Kingdom Rise Kingdom Fall' on this compilation). It seemed he could do anything and, alongside projects suggested by us, realised by him, homegrown hits like 'Morning Ride' and 'Wa-Do-Dem' just flowed out of Junjo's stable one after the other.
'Morning Ride' was Yellowman's tribute to Fae Ellington's morning show on JBC. At that time in Jamaica it was rare to hear any Reggae on air and, if you were lucky, Fae's 'Morning Ride' show was one of the few places your ears might get lucky. Yellowman, hoping he might get lucky with Fae, scored a massive hit in JA with this tune.
'Wa-Do-Dem', Mouse's legendary classic, was originally voiced at Joe Gibbs as 'Virgin Girl', but the veteran producer kicked the youth out of his studio along with his "idiot" tune. Mouse promptly went round to Junjo who leapt on the tune, turning it into what is undeniably one of THE 80's classics.
Dancehall embraced it all: serious tunes like 'Kingdom Rise Kingdom Fall' rubbed shoulders with comedy like General Echo's 'Bathroom Sex' (produced in the new style by veteran producer Winston Riley). Topical tunes like Michael Prophet's 'Gunman' ran alongside downright hilarious oddities like Tony Tuff's 'Come Fe Mash It'. No other music could take 'Three Blind Mice' as a rhythm, put a grown man yodelling over it and come up with such vibes. Dancehall was unique.
And listening to their music today it sounds as fresh as the moment it was minted: tough, vibrant, exciting, and passionate. Jewels of ghetto poetry such as Junior Delgado's 'Love Tickles Like Magic' and Ranking Dread's 'Fattie Boom Boom' would run sound systems ragged in JA and UK.
Some tunes, like Eastwood and Saint's 'Tribute to General Echo', were voiced in England over rhythms that Junjo had laid in Jamaica. The DJ Duo was here when news arrived of Echo's death in a hail of police bullets. Eastwood was a personal friend of Echo's and the Reggae community at large was in a state of shock at the death of the man known as the 'People's Star'.
Echo, an inimitably talented DJ renowned for his 'slack' tunes such as the aforementioned 'Bathroom Sex', was also famed for his legendary prowess live on sound systems. As a spinner of long running, improvised tales in the dance he was unmatched and hardcore fans would collect these live performances on bootleg 'sound-tapes' as eagerly as his new release records. Echo was also capable of moving performances such as can be heard on 'Eventide Fire A Disaster'. This tune tells the true story of a fire that engulfed the Eventide Old People's homes in Jamaica, a fire in which many residents were killed. The moody, atmospheric rhythm perfectly captures the best of Echo as a DJ. At the news of his death, Eastwood and Saint came into the shop and performed the tune to us. That Saturday night we went into the studio and voiced the tune right off. The tune's atmosphere of shock and despair mirrors that of 'Eventide Home' and it went straight through the roof as people rushed to express their grief at the loss of their star.
As a result of Tribute's success, Eastwood and Saint were asked to perform at that year's Black Echoes Awards Show, where among other tunes they gave a first airing to "Another One Bites The Dust". The show was on Sunday night and the following Monday every distributor, shop and punter we'd ever seen were beating down our door for a piece of a tune that hadn't even been voiced yet! Again, it was laid down in England on a Junjo rhythm. The tune was clean gone the minute it landed from the pressing plant.
Veteran artist John Holt also benefited from Junjo's magic touch. Holt, who'd walked the middle of the road with more artistic and commercial success than most, suddenly found himself back in the heart of the downtown Kingston. Junjo, who'd written Ghetto Queen for him takes us directly to the heartland of Dancehall: the ghetto. This ode to Junjo's girl of the time places her precisely in this world: "She lives in the heart of the city / Down there where there is no pity / She knows the rude of the rudest / She lives among the baddest of the baddest." This a world where, to get a pair of natty strides, a youth would have to go the tailor's to get a 'pants length' of material for his strides. A world were to 'carry the swing' involved going to lengths that we would never have to contemplate in our off-the-peg world.
The truth is, as we experienced it through the filter of Junjo's Dancehall genius, that Junjo could do no wrong. Tunes like Johnny Osbourne's 'Ice Cream Love' were written by Junjo as he sat outside the shop watching passers-by eating ice cream. 'Mushroom' from Johnny Osbourne's 'Fally Lover' album was written in response to Junjo seeing people buy 'duppy food' from the fruit and veg stall that was next to the shop in those days - check the illustration on the old Greensleeves 12" 'disco' bag, and the shop is there.
Describing cultural phenomena always tempts us to suppose that specific events define the shape of subsequent trends. We search for markers that define the ideals we wish to impose on a time and ignore anything that weakens our thesis.
For us, obviously, Junjo made a huge impact on our experience of Dancehall. However, life is usually more fluid and complex than hindsight would have us admit. The temptation to edit and simplify leaves little room for the muscularity and elasticity of a heritage as vibrant as that of reggae.
In describing this album as 'The Birth of Dancehall' we are looking back to a time when the youths of Kingston - as generations before them and since - turned the mood and style of what had gone before into something vital of their own. Something created out of their own experience and informed by the works of their predecessors, who themselves were newly invigorated by vibes of the day. Jamaicans, with their customary innovation and elan, had created a new music that embraced the past and heralded the future. Something that swaggered with heart; that celebrated both individuality and community; that loved life and dismissed cynicism; that was fashionable but followed no crowd. A music alive in the passionate heart of the ghetto. A music big and bold, brash and beautiful, proud and unbowed...
As Mundell put it, in the language of the day:
"Cause my pants length would pay your two months rent"
It was something that showcased Jamaican culture in full force: as ardent and revolutionary as when Yard music first captured the world's imagination. Something as serious or as funny as Jamaicans wanted it to be, as lewd, inspired or as ghetto-fabulous as the youths demanded.
Something that delivered what it promised... something called DANCEHALL.
Brendan O'Leary 2002 TRACKLISTING Highest chart positions shown in brackets for each title
- 1. JOHNNY OSBOURNE - Fally Ranking (No. 1 - 1980)
- 2. BARRINGTON LEVY - Shine Eye Gal (No. 2 - 1979)
- 3. WAILING SOULS - Firehouse Rock (No. 2 - 1981)
- 4. GENERAL ECHO - Bathroom Sex (No. 2 - 1980)
- 5. JOHNNY OSBOURNE - Ice Cream Love (No. 3 - 1980)
- 6. YELLOWMAN - Morning Ride (No. 2 - 1981)
- 7. BARRINGTON LEVY - Look Youthman (No. 4 - 1980)
- 8. CLINT EASTWOOD & GENERAL SAINT - Another One Bites The Dust (No. 1 - 1981)
- 9. RANKING DREAD - Fattie Boom Boom (No. 1 - 1981)
- 10. MICHAEL PROPHET - Gunman (No. 3 - 1981)
- 11. RANKING TOYAN - How The West Was Won (No. 1 - 1981)
- 12. LINVAL THOMPSON - Look How Me Sexy (No. 1 - 1981)
- 13. RANKING TOYAN - Spar Wid Me (No. 1 - 1981)
- 14. JOHN HOLT - Ghetto Queen (No. 1 - 1981)
- 15. JUNIOR DELGADO - Love Tickles Like Magic (No. 2 - 1979)
- 16. BARRINGTON LEVY - Bounty Hunter (No. 1 - 1979)
- 17. JOHNNY CLARKE - Jah Love Is With I (No. 1 - 1979)
- 18. WAYNE JARRETT - Chip In (No. 8 - 1981)
- 19. WAYNE WADE - Poor & Humble (No. 7 - 1981)
- 20. WAILING SOULS - Who No Waan Come (No. 9 - 1981)
- 21. EEK-A-MOUSE - Wa-Do-Dem (No. 1 - 1981)
- 22. YELLOWMAN - Yellowman Getting Married (No. 2 - 1982)
- 23. PAPA MICHIGAN & GENERAL SMILEY - Diseases (No. 1 - 1981)
- 24. NICODEMUS - Bone Connection (No. 7 - 1981)
- 25. DENNIS BROWN - To The Foundation (No. 2 - 1981)
- 26. BARRINGTON LEVY - Mary Long Tongue (No. 4 - 1980)
- 27. JOHN HOLT - Sweetie Come Brush Me (No. 3 - 1982)
- 28. TONY TUFF - Come Fe Mash It (No. 4 - 1982)
- 29. WAILING SOULS - Kingdom Rise Kingdom Fall (No. 7 - 1981)
- 30. BARRINGTON LEVY - River Jordan (Crucifixion) (No. 4 - 1980)
- 31. RANKING JOE - River Jordan (No. 4 - 1980)
- 32. TRISTAN PALMER, JAH THOMAS & RANKING TOYAN - Entertainment (No. 1 - 1981)
- 33. DON CARLOS - I'm Not Crazy (No. 5 - 1981)
- 34. HUGH MUNDELL - Can't Pop No Style (No. 8 - 1981)
- 35. WAILING SOULS - Up Front (No. 1 - 1981)
- 36. RANKING DREAD - Love A Dub (No. 2 - 1981)
- 37. YELLOWMAN - Mr Chin (No. 2 - 1982)
- 38. JOHNNY OSBOURNE - Trying To Turn Me On (No. 5 - 1981)
- 39. GENERAL ECHO featuring BARRINGTON LEVY - Eventide Fire A Disaster (No. 4 - 1980)
- 40. CLINT EASTWOOD & GENERAL SAINT - Tribute To General Echo (No. 2 - 1981)
