Toppa Top 10: Beth Lesser’s Most Essential Foundation Dancehall Tunes

Words and Photo by Beth Lesser—

With her latest book Rub A Dub Style, dancehall historian/photographer and Reggae Quarterly founder Beth Lesser is taking a comprehensive look back at dancehall’s emergence in the 1980s. As the release of the book—available as a free download through her site on May 14,—nears, we had Lesser share her picks for the 10 most crucial and indefatigable tunes from dancehall’s formative years.

10. Yellowman, “Mr Chin”

Yellowman had a way of attracting media attention to dancehall that no other deejay could match. With “Mr. Chin,” one of his biggest hits, Yellowman showed what dancehall does best. He used the medium to address local, community issues, not in a didactic way, but musically, with his typical wit, humor, and bravado, courting controversy and drawing even more media attention to deejay music, proving the strength of the new style.

9. Barrington Levy, “Here I Come”

With the more polished production and Barrington’s fully developed voice, the songs produced by Jah Screw in the period brought dancehall to a new level of professionalism that allowed the genre to penetrate further into the pop music market, and made Barrington the biggest international reggae singer since Dennis Brown

8. Triston Palma, “Entertainment”

“Entertainment” was a plea to keep the dancehall free of violence and safe for everyone, and it was the wickedest dancehall rhythm to come out of those early years of the 80’s. Triston begged people to come and dance and enjoy, thereby explaining clearly what dancehall music was all about. Nothing about repatriation, nothing political—just dance and enjoy the ‘entertainment.’

7. Half Pint, “Greetings”

This song coalesced the disparate parts of dancehall culture in Jamaica and made it clear that ragamuffin (and dancehall fan) didn’t mean you had to be dirt poor, living in the ghetto and a bad man. Everyone who had clean hands and an open heart was welcome. It wasn’t about being rough and tough. It was about coming together to share this vibrant culture though the music.

6. Tenor Saw, “Ring the Alarm”

As it was recorded first as a ‘special’, or dubplate, meant to be played against another sound in a clash, and only released later on to the public as a 45, “Ring the Alarm” brought the dancehall firmly into the studio and blended the two environments in a harbinger of how important the dancehall would become in the recording and the consumption of Jamaican music in the years to come.

5. Josey Wales, “Leggo mi Hand”

Josie Wales’ gruff voice and vaguely menacing lyrics, although meant as comedy, helped bring bad boy style back into fashion. The slack deejays never needed to look ‘tuff,’ but Josie gave off a street vibe that took over the territory.

4. Admiral Bailey, “Punany”

This record alone brought back the slackness style that had faded into the  background after ’83 or so. With “Punany, Bailey launched an avalanche of rude lyrics that still fill the record charts today.

3. Lone Ranger, “Love Bump”

Ranger exemplified the storytelling aspect of dancehall, a style that came to dominate the 80’s. He told colorful tales, talked straight though a song (unlike his 70’s mentors) and brought a new level of language usage to the dancehall.

2. Supercat, “Boops”

Supercat went on to be the artist that helped dancehall reggae cross over to hip-hop and rap territory. This is the hit that showed people what he was made of. A really dynamic talent, Supercat helped re-define the style of dancehall to a more subtle, urban style, while keeping his roots showing.

1. Wayne Smith, “Under Me Sleng Teng”

This was the song that burst the whole digital thing wide open, perhaps the most important dancehall tune of the 80’s. After “Sleng Teng,” there was no turning back.