Special Techniques: Winston Riley’s Ten Most Essential Tunes

Words by Jesse Serwer, Photo by David Corio—

As you may have heard, hugely influential and prolific Jamaican producer Winston Riley died last week. As both the producer behind the long-running Techniques record label and, before that, a singer in the vocal group the Techniques, Riley (the uncle of our own Sherman Escoffery) had his hands in an immeasurable number of timeless recordings, spanning over four decades and the genres of rocksteady, reggae and dancehall. Here on this list are 10 of the most significant ones. For more on Riley and his music, we recommend visiting the Twitter feed of social observer “Big Black Barry” (always a great source for meaningful commentary on Jamaican music legacies), downloading Cultcha Sound’s tribute mix, or buying the Quintessential Techniques anthology released by VP Records in 2009.

The Techniques, “You Don’t Care” (1967)

The Techniques, in which Riley was joined by Slim Smith and later Pat Kelly and Tarrus Riley’s father, Jimmy, were best known for rocksteady hits on Duke Reid’s Treasue Isle label  like “You Don’t Care,” one of the most heartfelt and beautiful songs from an era filled with such tunes. The riddim recently found some new attention when it was used by Major Lazer for the song “Can’t Stop” featuring Mr. Vegas and Jovi Rockwell.

The Techniques, “Queen Majesty” (1967)

The Techniques were the first to voice this foundation riddim laid down by Tommy McCook and the Supersonic Band, and used more recently for new classics like Sizzla’s “Just One of Those Days.” “Queen Majesty” itself was actually a cover of an R&B song called “Minstrel and Queen” by Curtis Mayfield and the Impressions.

Dave and Ansell Collins, “Double Barrel” (1971)

One of the first true international reggae hits, this early Winston Riley production by Dave and Ansel Collins’ has influenced several different subcultures, most notably the British skinhead movement, which adopted it as an anthem, and hip-hop. (And it’s also the first song Sly Dunbar is said to have ever played on.) Samples of the song, specifically its colorful spoken-word intro, can be found in Golden Era rap classics like Special Ed’s “I’m the Magnificent” and Biz Markie’s “Goin’ Off.” Check out the Collinses performing “Double Barrel” to raving British teens on Top of the Pops, above.

Sister Nancy, “Bam Bam” (1982)

More than a decade after “Double Barrel,” Riley gave the burgeoning dancehall movement one of its most most famed, important—and ethereal—tracks when he voiced female deejay Sister Nancy on Stalag, an instrumental originally recorded by Dave and Ansell Collins.

Tenor Saw, “Ring the Alarm” (1985)

Three years after “Bam Bam,” Riley voiced a young Tenor Saw on Stalag, resulting in what many would call the greatest dancehall song of all time.

Super Cat, “Boops” (1985)

Riley produced Super Cat’s very first recording, “Mr. Walker,” in 1981. Four years later, they reconvened for the song that really put Mr. Cat on the map, and set off the “Boops” phenomenon—a trend of songs about sugar daddies and the financially motivated ladies who love them.

Super Beagle, “Dust a Sound Bwoy” (1988)

Riley dusted out the ever-fresh Stalag riddim one more time for this classic clash tune, the intro to which (from famed dubplate intro Fuzzy Jones) later served as the inspiration for Smif N Wessun’s “Soundbwoy Bureill.”

Courtney Melody, “Bad Boy” (1988)

In addition to some great lyrics, the oft-quoted badman tune “Bad Boy” benefited from Riley’s gamechanging riddim of the same name.

Sanchez, “Loneliness” (a/k/a “Lonely Won’t Leave Me Alone”) (1988)

This dancehall cover of a schlocky 1986 Jermaine Jackson pop ballad wound up becoming one of the signature hits for a then-young singer named Sanchez. While Jackson’s original has long since been forgotten, Sanchez’s version on Riley’s In the Mood for Love riddim is one of those timeless classics that still gets played at every bashment party.

Buju Banton, “Stamina Daddy” (1991)

Moving on into the 1990s, Riley continued to play a significant role in dancehall, helping to buss major new artists like Spragga Benz and, most significantly, Buju Banton. “Stamina Daddy” is probably the best known tune to emerge from this partnership, becoming the title track on Buju’s 1992 debut album.