Where I’m Coming From: 60 Years of Jamaican Music in 60 Songs

In the 60 years since Jamaica achieved its independence from England, on Aug. 6, 1962, the tiny Caribbean nation has created some of the world’s most influential musical styles, including ska, rock steady, reggae, dub, and dancehall. Likewise, over the past 60 years, Jamaican artists have distilled inspirations from various parts of the world into distinctive sounds that, when coupled with the island’s astonishingly prolific recorded output, has made “the land of wood and water,” as its first inhabitants, the Arawak Indians called it, one of the most significant musical destinations in the world. 

To celebrate Jamaica’s Diamond Jubilee, we’ve compiled a list of 60 songs, one song per year, to tell the story of the island’s musical evolution. Some tracks were chosen because they heralded a new direction in sound, others sparked a movement, some engendered controversy, marked a turning point in an artist’s career, or had a significant impact at the time of their release. 

Because Jamaica has been blessed with an abundance of extraordinary musical talent, the list features just one entry per artist. However, those who are recognized for a solo effort may also be listed for recordings they made as part of a group or in collaboration with another performer. Because there were just too many records to choose from for any given year, some important releases may not appear on the list. But that’s just a reminder of how amazingly rich this history is. 

Derrick Morgan, ‘Forward March’ (1962)

“We’re independent” is the joyous refrain heard on Derrick Morgan’s “Forward March,” which conveys the exuberance felt by Jamaicans when their island, a British colony since 1655, became a sovereign nation. Ska was developed in the late 1950s in Kingston studios, and the emergent sound on “Forward March” is still tethered to the R&B shuffle that influenced it, though it is slower than the ska beat heard on recordings made in the next few years. In 1960, Morgan occupied the top seven positions on the Jamaica charts and is regarded as the King of Ska; on Aug. 6, Morgan, now 82, will be honored by the Jamaican government with an Icon Award at the Independence Grand Gala in Kingston.

The Maytals, ‘Never Grow Old’ (1963)

Here ska is played at a faster tempo and has grown into its distinctive Jamaican identity, an ideal complement to Frederick “Toots” Hibbert’s glorious, soulful baritone and the sweet harmonies provided by Henry “Raleigh” Gordon and Nathaniel “Jerry” Mathias. Produced by Coxsone Dodd for his Studio One label, the Skatalites provide the rollicking rhythm track. Toots grew up singing in church, and the spiritual fervor in his vocals can be heard throughout his repertoire. Music fans around the world mourned Toots’ passing in 2020, but his music lives on; “Never Grow Old” is as timeless as its title suggests.

Millie Small, ‘My Boy Lollipop’ (1964)

At just 17 years old, Millie Small recorded her version of Barbie Gaye’s 1956 R&B single in London, featuring English musicians playing Jamaican rhythms for the first time, according to the session’s arranger, lead guitarist, and Island Records’ then-A&R, the legendary Ernie Ranglin, now 90. Produced by Chris Blackwell, “My Boy Lollipop” was the first hit released on his Island Records; Blackwell licensed the song to Fontana Records in the U.S., where it reached Number Two, introducing ska to an embracing international fan base.

The Skatalites, ‘Guns of Navarone’ (1965)

The Skatalites were comprised of tenor-saxophonist Rolando Alphonso; bassist Lloyd Brevett; trombonist Don Drummond; guitarist Jerry “Jah Jerry” Haynes; drummer Lloyd Knibb; saxophonist Tommy McCook; keyboardist Jackie Mittoo; trumpeter Johnny “Dizzy” Moore; and the ska supergroup’s sole surviving player, alto-saxophonist Lester Sterling. Together for just 14 months between 1963 and 1965, they recorded hundreds of instrumentals for various producers, but were primarily associated with Coxsone Dodd’s Studio One label. “Guns of Navarone” exemplifies the Skatalites’ effervescent playing and sophisticated jazz phrasings.

Hopeton Lewis, ‘Take It Easy’ (1966)

Singer Hopeton Lewis was 19 years old when he recorded “Take it Easy,” said to be the first song to incorporate a rocksteady beat — that is, the relaxed, stripped-down rhythm that followed ska, and reggae’s direct forerunner. Lewis wrote the song after leaving a recording session and noticing everyone around him moving at a much faster pace than he was. To better accommodate Lewis’ vocals, Trinidadian-born guitarist Lynn Taitt, living in Kingston and heavily in demand on the studio circuit, is credited with telling the musicians in his band, the Jets, to slow down the tempo, and following his direction, the rocksteady beat was born.

Prince Buster, ‘Judge Dread’ (1967)

The song’s title character was an Ethiopian magistrate who dispensed harsh sentences to Kingston’s rude boys. Prince Buster made three records featuring the Judge Dread character, which inspired a controversial British artist by the same name, a comic-book-hero Judge Dread, and two-tone ska band the Specials’ law officer Judge Roughneck. But Prince Buster’s influence extends far beyond a fictional judicial persona. A hitmaking producer, successful sound-system and record-store owner, Buster, born Cecil Campbell, in the earliest phases of the island’s recording industry correctly believed, before many of his colleagues did, that the key to Jamaican music’s success was to emphasize local culture and expression.

Larry Marshall and Alvin Perkins, ‘Nanny Goat’ (1968)

A song about unrequited love inspired by the Jamaican proverb “What sweet nanny goat a go run him belly,” which cautions that what seems good to you now may harm you later. “Nanny Goat” is cited as the initial recording to segue from rocksteady into a distinguishable reggae beat, as indicated by the pronounced bass, played by Boris Gardner, and looser guitar strums, but its highlight is the delightful swirling organ riffs played by Jackie Mittoo. In 1992, Jamaica’s Penthouse Records revamped the “Nanny Goat” rhythm (or “riddim,” in Jamaican parlance), which yielded several hits in the dancehall era, including Marcia Griffiths’ “Get Closer” and Tony Rebel’s “Chatty Chatty Mouth.”

Desmond Dekker and the Aces, ‘Israelites’ (1969)

Dekker’s spectacular vocals, complemented by Hux Brown’s equally stellar guitar work, Jackie Jackson’s booming bass line and the Aces echoing support, drove “Israelites” to Number Nine on the U.S. charts and Number One in the U.K., an early breakthrough for reggae. It is unlikely Dekker’s international fans understood the poignant, patois lyrics of this sufferers’ anthem, “Shirt them a-tear up, trousers a go/I don’t want to end up like Bonnie and Clyde,” meaning he’s too poor to afford decent clothes and hopes his desperation won’t drive him to criminality. Dekker’s haunting portrayal of the conditions endured by ghetto strugglers presaged 1970s roots reggae’s ongoing depictions of societal inequities.

U Roy and the Paragons, ‘Wear You to the Ball’ (1970)

The Jamaican art of DJ’ing, or toasting — rapping over a record’s instrumental side — originated at sound-system dances in the late 1950s. U Roy wasn’t the first to DJ on the mic, but he transformed the practice into a hitmaking art form that influenced subsequent generations of dancehall artists, as well as early hip-hop. U Roy’s “Wear You to the Ball,” is a “versioning” of popular vocal group the Paragons’ hit of the same name, that is, an alternative cut with the original vocals mixed down or removed, leaving room for U Roy’s inimitable toasts.

The Abyssinians, ‘Satta Amassa Gana’ (1971)

Fifty-one years after its release, “Satta Amassa Gana,” which means “give thanks continually,” stands as an inspirational anthem of African identity and repatriation, rooted in Rastafari teachings; because of the disparaging views toward Rasta at the time of the song’s 1969 recording, producer Coxsone Dodd reportedly refused to release it. However, years later, lead singer Bernard Collins said that the trio, which includes brothers Donald and Linford Manning providing the glorious harmonies, always intended to release the song on their own Clinch label, which they did two years later. The song’s hypnotic bass line, played by the Heptones’ Leroy Sibbles (the self-proclaimed king of reggae bass lines), is one of the most recycled in reggae.

Jimmy Cliff, ‘The Harder They Come’ (1972)

Director Perry Henzell’s landmark film authentically and quite vividly depicted the culture that birthed ska, rocksteady, and reggae, and the corruption within the island’s music industry. Jimmy Cliff’s charismatic lead character and the accompanying gritty realism is responsible for The Harder They Come’s enduring appeal. The adapted soundtrack, featuring Toots and the Maytals, Desmond Dekker, the Melodians, the Slickers, Scotty, and of course, Jimmy Cliff’s title track, written especially for the film, established reggae — and the complex culture that birthed it — as much more than a novelty beat.

The Wailers, ‘Get Up Stand Up’ (1973)

The Wailers’ 1973 albums Catch A Fire and Burnin’ were significant vehicles in reggae’s global spread. Bob Marley and Peter Tosh co-wrote “Get Up Stand Up” (from Burnin’), a clarion call for justice, and they trade lead verses on the song, supported by Bunny Wailer’s stirring harmonies. After the trio split, each Wailer recorded his own version of the quintessential protest song, and its urgent credo has since been adapted to various freedom struggles, from Chinese students marching in the 1989 Tiananmen Square demonstrations to indigenous Australian social movements to Amnesty International, with each avowing to “never give up the fight.”

King Tubby and Augustus Pablo, ‘King Tubby Meets Rockers Uptown’ (1974)

Dub, the art of stripping out vocals and manipulating instrumental tracks on a recording, is primarily credited to the visionary experimentation of Osbourne “King Tubby” Ruddock. Melodica player Augustus Pablo was one of the first producers to utilize Tubby’s dubs on his releases; the title track from their first collaborative album, King Tubby Meets Rockers Uptown, was many people’s introduction to dub, and stands as one of the finest examples of the genre, highlighted by King Tubby’s creative sonics and Pablo’s resonant, ethereal melodica phrases, referred to as the Far East sound.

Burning Spear, ‘Marcus Garvey’ (1975)

The title track to Burning Spear’s third album, his first collaboration with producer Jack Ruby, wasn’t intended for commercial release, but rather as a dub plate (customized recording) exclusively for Ruby’s sound system. However, that changed following audiences’ enthusiastic response to “Marcus Garvey,” which celebrates the Jamaica-born pan-Africanist whose philosophies are core tenets of Rastafari. Over a propulsive rhythm, blasts of horns, and the formidable bass brandished by Robbie Shakespeare, Burning Spear’s hypnotic chants connect the horrors of slavery with the austerity of Jamaican life in the politically fractious 1970s, as a means of preventing further devastation: “Marcus Garvey words come to pass/Can’t get no food to eat/Can’t get no money to spend.”

Peter Tosh, ‘Legalize It’ (1976)

No other reggae artist has championed herb as passionately, or suffered as many severe beatings at the hands of authorities because of his uncompromising stances, as Peter Tosh. Tosh’s ganja anthem includes a list of marijuana’s healing properties — “It’s good for the flu, good for asthma/Good for tuberculosis …” — decades before the term medical marijuana came into common usage. The song was banned in Jamaica upon its release. Despite Tosh’s early rallying cry and the innumerable pro-ganja reggae songs that followed, herb wasn’t decriminalized in Jamaica until 2015.

Culture, ‘Two Sevens Clash’ (1977)

Marcus Garvey prophesized that on July 7, 1977, two sevens would clash, and the oppressed would rise up against their tormentors. Joseph Hill, lead singer of the harmony trio Culture, wrote “Two Sevens Clash,” his captivating vocals evoking the rural wisdom of a beloved elder, which transformed Garvey’s forewarning into a reggae classic. In a politically volatile election year in Jamaica, “Two Sevens Clash” ignited widespread fear of an impending apocalypse, with many businesses shuttered on that auspicious date.

Third World, ‘Now That We’ve Found Love’ (1978)

Written by Kenny Gamble and Leon Huff of Philly International Records, and initially recorded by legendary soul trio the O’Jays, Third World’s funky reggae-party interpretation far surpassed the original. Lead singer Bunny “Rugs” Clarke’s passionate vocals, supported by the band’s enticing, multi-textured, danceable grooves, propelled the song up the international charts, cracking the Top 50 in the U.S. and the Top 10 in the U.K. Forty-four years after its release, “Now That We Found Love” remains a staple of Third World’s sets all over the world.

Mighty Diamonds, ‘One Brother Short’ (1979)

From the Mighty Diamonds’ celebrated album Deeper Roots (Back to the Channel), “One Brother Short” urges unity amid the era’s political volatility. A soul-influenced roots-reggae classic, “One Brother Short” is highlighted by Donald “Tabby Diamond” Shaw’s committed lead, Fitzroy “Bunny Diamond” Simpson and Lloyd “Judge Diamond” Ferguson’s majestic harmonies, George “Fully” Fullwood’s thunderous bass, and Earl “Chinna” Smith’s fluttering guitar. Formed in Trench Town in 1969, the Mighty Diamonds were Jamaica’s longest-surviving vocal trio. On March 29, Tabby Diamond was fatally shot, and three days later Bunny Diamond succumbed to complications from diabetes, after learning of Tabby’s fate. Reggae music is now two brothers short.

Bob Marley, ‘Redemption Song’ (1980)

When Bob Marley submitted his Uprising album to Chris Blackwell, the Island Records boss reportedly told him that he had more to give to the project. Marley returned with the acoustic folk masterpiece, “Redemption Song,” the concluding track on the final album released in his lifetime. Marley’s vocals crackle with emotion, the song’s introspective tone seeking spiritual strength and urging thinking for self suggesting he knew his end was near. Marley transitioned at 36, just 11 months after Uprising’s release, and with his untimely passing, the sentiments expressed on “Redemption Song” resonate even stronger today.

Black Uhuru, ‘Sponji Reggae’ (1981)

Drummer Sly Dunbar and bassist Robbie Shakespeare began producing and playing and touring with vocal trio Black Uhuru in the late Seventies, creating a sound that Sly said “put the power of rock bands that we toured with (the Stones, Foreigner) into reggae.” That tougher, edgier sonic, heralded as the “new” reggae, is epitomized on “Sponji Reggae.” Michael Rose’s impassioned lead, complemented by Puma Jones’ celestial harmonies and Ducky Simpson’s majestic lower range, gave Black Uhuru’s records a distinctive, compelling quality. More than 25 years later, Sly and Robbie’s forceful productions for the trio resound in hit songs by Damian Marley (“Welcome to Jamrock”) and Protoje (“Kingston Be Wise”).

Gregory Isaacs, ‘Night Nurse’ (1982)

Gregory Isaacs’ repertoire is rife with romantic songs; his 1974 hit, “My Only Lover,” was the template for reggae’s romantic lover’s-rock subgenre. But it’s his cool yet sultry plea for his “one and only remedy,” accompanied by the Roots Radics’ sublime rub-a-dub grooves that render “Night Nurse” as Isaacs’ lover’s rock magnum opus. Rumored to be written about his fondness for cocaine, Isaacs said the global hit was simply about a man’s need for his woman.

Dennis Brown, ‘Revolution’ (1983)

With his warm, honeyed tone, Dennis Brown was many people’s favorite singer, including Bob Marley’s. Brown’s vocals were beautifully suited to love songs, but adapted just as well to cultural statements, both of which come together on “Revolution.”  Written by Brown and produced by Sly and Robbie, “Revolution” states the right revolution needs a solution, which he posits as “living and loving and sharing and caring.” In 2022, “Revolution” remains a favorite on radio and at sound-system dances, likely because of the song’s much-needed message and Brown’s exquisite, evergreen vocals.

Frankie Paul, ‘Pass the Tu-Sheng Peng’ (1984)

An assortment of names for marijuana are utilized throughout the Jamaican-music lexicon, but Frankie Paul chose a Chinese slang term for the plant on his hit herb song. Referred to as Jamaica’s Stevie Wonder for his distinctive vocal approach and visual impairment, Paul’s impressive phrasing, producer Henry “Junjo” Lawes’ bold arrangements, and the superb easy-skanking riddim played by the Roots Radics make “Pass the Tu-Sheng Peng” an early dancehall ganja classic.

Wayne Smith, ‘Sleng Teng’ (1985)

The song’s title, a slang for ganja, is also the name of Jamaica’s first fully synthesized rhythm track. Smith and his friend, musician Noel Davey, made the beat from the preset “rock” pattern programmed into Davey’s Casiotone MT-40. Realizing they’d created something special, they visited several studios seeking to record the riddim, but it was dismissed as too different. Producer King Jammys, however, believed its uniqueness would connect with an audience; he added a few touches in the studio, then premiered “Sleng Teng” at one of his King Jammys Hi Power dances, which commenced Jamaican music’s digital revolution and spawned numerous variations on the riddim.

Sugar Minott, ‘Herbman Hustling’ (1986)

Pioneering dancehall singer, songwriter, and producer Lincoln “Sugar” Minott, so named for the sweetness in his vocals, tells the story of a ganja seller, leaving bright and early in the morning, traveling to the country to source the best herb to sell to provide for his family, while risking getting caught by police. It’s a suspenseful story further enlivened by Sugar’s expressive vocals and Sly and Robbie’s pulsing riddim.

Cocoa Tea, ‘Come Again’ (1987)

A gifted singer whose career has spanned decades, Cocoa Tea was a consistent hitmaker throughout the 1980s and 1990s, his beautifully soothing vocals an easy fit on many dancehall riddims. Cocoa Tea addresses his ongoing relevance in the dancehall on “Come Again,” hypnotically alternating between sung words and scatted syllables. King Jammys’ rhythm is a marvelous synthesis of the computerized technology available at the time and the traditional reggae sound of the previous decade.

Shabba Ranks and Crystal, ‘Twice My Age’ (1988)

At the time of the release of “Twice My Age,” Shabba Ranks was the biggest DJ in Jamaica, just ahead of his signing to Epic Records and his (and dancehall reggae’s) stateside explosion. An engaging take on May-December romances, Crystal sweetly croons what she is looking for in a man, which Shabba punctuates in his signature gravelly tone: “Young man have strength but that is not sense … she want pay light bill and rent.” The timeless subject matter, the irresistible beat produced by Gussie Clarke, and the vocal chemistry between Shabba and Crystal ensure “Twice My Age” remains a dancehall favorite.

Junior Reid, ‘One Blood’ (1989)

“Yuh coulda come from Libya or yuh come from ‘merica/Coulda come from Europe or yuh come from Africa, one blood.” Written to help quell the ongoing bloodshed in Jamaica due to divisive politics throughout the 1980s, “One Blood” is a rousing call for unity that has resonated far beyond the island’s shores, driven by Junior Reid’s pleading vocals. Bridging roots-reggae sensibilities and a thumping dancehall beat, “One Blood” has been sampled on rap hits by the Game and Wu-Tang Clan, and its opening lyric, a comparison of present-day killers with folkloric characters who subsist on blood, was used by New York band Vampire Weekend for an album title, Modern Vampires of the City.

Beres Hammond, ‘Putting Up Resistance’ (1990)

An exception to his extensive repertoire of lover’s-rock hits, Hammond’s defiant social statement questions “how the system’s planned,” and laments “breaking my back to make an overnight dollar that just goes from hand to mouth.” His guttural cry for a better way of life made this sufferers’ chant one of the most popular songs of the early 1990s, and the crisp production by Tappa Zukie (an accomplished artist in his own right) yielded a roots-reggae triumph within the digital dancehall era.

Shinehead, ‘Strive’ (1991)

Born in England and raised between the Bronx and Kingston, Jamaica, Shinehead effortlessly blends an eclectic range of music into his reggae-dancehall brand. “Strive” is his everlasting motivational song that urges the listener to “remove the doubt from out your mind and let good flow.” Beginning with an impressive U Roy–inspired toast, the remarkably versatile Shinehead delivers the song’s empowering lyrics while alternating between sung vocals, rapped verses, and DJ’d hooks.

Super Cat and Heavy D, ‘Dem No Worry We’ (1992)

One of the strategies utilized by major-record labels in the early 1990s to help dancehall reggae impact the U.S. market was pairing Jamaican toasters with American rappers; some of these unions were more compatible than others, but none worked better than Super Cat and (Jamaica born) Heavy D. On this energetic track, the pair push each other to greater levels of excitement with their astonishing, fast-paced deliveries and playfully boastful lyrics.

Buju Banton, ‘Murderer’ (1993)

Written about the murder of his two close friends, DJs Panhead and Dirtsman, in separate incidents, Buju condemns gun violence, asking “Murderer, your insides must be hollow, how does it feel to take the life of another?” Buju was 19 when he wrote the song, which signaled his maturation from brash dancehall sensation to a conscientious reggae artist taking on greater social responsibilities in his music, which inspired other artists to follow suit. “Murderer” was included on Buju’s milestone 1995 album, Til Shiloh, one of the most celebrated dancehall-reggae albums of all time, which marked his full embracement of Rastafari.

Garnet Silk, ‘Complaint’ (1994)

Blessed with an extraordinary voice and a mesmeric delivery, singer Garnet Silk was just 28 when he and his mother perished in an explosion at her home on Dec. 9, 1994. Nonetheless, the devout Rastafarian artist left an influential body of work, primarily recorded between 1992 and 1994, that brought about a spiritual resurrection in the era’s reggae-dancehall and continues to influence new generations of artists. At the height of his fame, Garnet was kidnapped in England; when he took time away from his hectic touring schedule, rumors of drug use swirled. “Complaint,” sung over the booming synth groove of the Tempo riddim, incorporates scriptural verse as a means of counteracting false accusations.

Luciano feat. Terror Fabulous and Louie Culture, ‘In This Together’ (1995)

With his spellbinding live performances, rich baritone, and spate of hit singles with spiritually enriching lyrics, Luciano ascended to superstar status in the mid-1990s, and like Garnet Silk, he helped Rasta themes return to the period’s dancehall. Luciano signed to Chris Blackwell’s Island Jamaica imprint and released his landmark set Where There Is Life. The album’s concluding track, “In This Together,” preached harmony and featured two of the greatest gruff-voiced DJs to emerge in the 1990s, Terror Fabulous and Louie Culture, who punctuate Luciano’s sung lyrics with blistering rhymes on their respective verses.

Tanya Stephens, ‘Yu Nuh Ready Fi Dis Yet’ (1996)

One of the 1990s biggest riddims was the Joyride, a traditional reggae beat that ruled the dancehall, named after the Wayne Wonder and Baby Cham hit and created by esteemed producer-songwriter Dave Kelly. Tanya Stephens’ turn on the beat boldly asserts that women may stray because of their men’s bedroom skills (or lack thereof), a refreshing perspective within the male-braggadocio-dominated dancehall scene. “Yu Nuh Ready Fi Dis Yet” took Stephens to the top of the local charts and solidified her position as a fearless, brilliant lyricist.

Sizzla, ‘Black Woman and Child’ (1997)

Within Sizzla’s voluminous catalog, the Black Woman and Child album, produced by the great Robert “Bobby Digital” Dixon, is arguably his finest work. Recorded when Sizzla was just 20 years old, the title track is an evocative tribute to Black women and Mother Africa, with Sizzla’s searing yet sensitive vocals riding a riddim that is neither reggae nor dancehall, but an impeccably embellished Rastafari Nyabinghi drum beat. Twenty-five years after the release of this masterpiece, Sizzla Kalongi’s influence still echoes within the music of a new generation of Rastafarian sing-jays.

Beenie Man, ‘Who Am I’ (1998)

“Sim Simma, who got the keys to my Bimma?” asks Beenie Man on the opening line to “Who Am I,” his first (RIAA-certified gold) international hit, which followed a spate of Jamaican chart-toppers earlier in the decade. The song’s catchy, nonsensical, yet controversial lyric “How could I make love to a fella? In a rush, pass me the keys to my truck” was a source of intrigue that added to its popularity. “Who Am I” has been sampled or referenced many times over the years, including on rapper Joyner Lucas’ “Zim Zimma.” Lucas co-opted Beenie Man’s opening lyric on his 2021 song, prompting actor Mark Wahlberg to tell Lucas in the song’s video, “I like Beenie Man’s shit better.”

Bounty Killer, ‘Look’ (1999)

Dancehall producer Dave Kelly created the most popular dancehall riddims of the 1990s and wrote the lyrics to many of the biggest hits recorded on those beats. Dancehall reggae has been repeatedly criticized for glorifying violence, but on “Look,” recorded on Kelly’s Bug riddim, Kelly’s lyrics give voice to a despairing criminal who asks society to examine conditions such as hunger and poverty as contributors to brutality: “Look into my eyes, tell me what you see, can you feel my pain? Am I your enemy? Give us a better way, things are really bad, the only friend I know is the gun I have.” Bounty Killer’s chilling delivery intensifies Kelly’s harrowing words. “Look” was banned in Jamaica, but Bounty earned an opportunity to recite the powerful lyrics on HBO’s spoken-word-poetry series Def Poetry Jam.

​​Junior Kelly, ‘If Love So Nice’ (2000)

Singer Junior Kelly was inside his Boston apartment listening to the Wailers’ “Stir It Up” when he heard a couple arguing outside. Kelly wrote a song about their quarrel and the unexpected turns that relationships can take. He knew he had come up with something special, so he returned home to Jamaica to record it. An appealing lover’s rock lament, “Love So Nice,” which samples the Wailers’ “Stir It Up,” was Kelly’s breakthrough and a major hit in Jamaica, throughout the Caribbean diaspora as well as in Brazil.

Shaggy, ‘Angel’ and ‘It Wasn’t Me’ (2001)

Dancehall reggae reached mainstream America in the 1990s, and it topped the U.S. charts the following decade. Shaggy accomplished that feat twice in the space of several weeks, first with “It Wasn’t Me,” based on an Eddie Murphy comedy routine, which topped the Billboard Hot 100 in February 2001 (and in 2021 was used as a Super Bowl Cheetos commercial, which Shaggy starred in alongside Mila Kunis and Ashton Kutcher), followed by “Angel,” which reached the pole position in March. Shaggy’s Hot Shot included both tracks, was the second-best selling album in any genre in 2001, and has sold more than 13 million copies worldwide, significant achievements for any artist but groundbreaking triumphs for a Jamaican dancehall DJ.

Sean Paul, ‘Get Busy’ (2002)

The Diwali riddim, created by musician Stephen “Lenky” Marsden, basically a sequence of percussive, hypnotic handclaps, was the bedrock for numerous hit songs in Jamaica and a few that reached the U.S. charts. Sean Paul attained his first U.S. Number One with his song on the beat, “Get Busy,” which wasn’t on the Diwali Riddim album but was included on Sean’s certified two-times-platinum, Grammy-winning album Dutty Rock, which celebrates its 20th anniversary this year.

Morgan Heritage, ‘She’s Still Loving Me’ (2003)

The Brooklyn-born, Massachusetts-raised children of reggae singer Denroy Morgan began playing music when they were toddlers, but their breakthrough arrived in the mid-1990s when they followed their father back to his Jamaican birthplace and started working with producers there. “She’s Still Loving Me,” produced by Phillip Linton, is a country-tinged reggae gem, the tale of the enduring love of a good woman despite her man’s cheating. Peetah Morgan and Gramps Morgan seamlessly — and soulfully — trade lead vocals and sister Una Morgan provides beautiful harmonies. 

Richie Spice, ‘Earth A Run Red’ (2004)

Originally released in 1998, “Earth a Run Red” didn’t gain traction until 2004, when Jamaican label 5th Element Records began managing Richie’s career and provided the song with the marketing strength it deserved. The mid-2000s saw another resurgence in roots reggae in Jamaica, and Spice’s biblically-referenced stark commentary on the devastating effects of poverty on the youth (“10-year-old a look dem own tea bread”), further dramatized by the urgency in his vocals, distinguishes “Earth a Run Red” as one of the best of the era.

Damian Marley, ‘Welcome To Jamrock’ (2005)

Damian Marley’s blistering lyrics and astonishing delivery peel back Jamaica’s idyllic image by contrasting luxurious all-inclusive resorts with the notorious Kingston ghetto Back-To, where “the thugs dem will do whe dem got to and won’t think twice to shot you.” Produced by Stephen Marley, “Jamrock” prominently samples Ini Kamoze’s Sly and Robbie produced 1983 hit “World a Reggae.” “Jamrock” has influenced many reggae stars who emerged in the next decade; Chronixx, Kabaka Pyramid, and Protoje have each cited “Jamrock” as sonically and lyrically impactful on their own music making.

Tarrus Riley, ‘She’s Royal’ (2006)

The gorgeous melody, burnished reggae rhythm, and conviction in Tarrus Riley’s beautiful vocals as he utilizes regal Rastafarian references to honor women’s natural beauty then promises to “treat you like a man is supposed to” catapulted rocksteady-reggae singer Jimmy Riley’s son to marquee name status. Produced by Tarrus’ musical arranger, acclaimed saxophonist Dean Fraser, “She’s Royal” was one of the most beloved songs released in the 2000s and remains a fan favorite today.

Jah Cure, ‘Love Is’ (2007)

Jah Cure was an aspiring teenage singer when he was sentenced to 10 years (serving nearly eight) for a rape conviction. While incarcerated he started recording music, first with equipment smuggled into his cell, and later through a prison-sanctioned music program; as the songs gained popularity, the inconsistencies of the trial that landed him in prison became a cause célèbre, with “Free Jah Cure” a ubiquitous rallying cry. “Love Is” (first issued in 2004 and included on Jah Cure’s 2007 album True Reflections … A New Beginning, which dropped three days after his release from prison) highlights the exquisite anguished vocals that made his music so compelling. Jah Cure is currently serving six years for attempted manslaughter in the Netherlands.

Etana, ‘Roots’ (2008)

Etana burst onto Jamaica’s music scene with a commanding voice and songs influenced by acoustic soul and jazz as well as reggae and dancehall. The African-inspired percussive-driven tempo of “Roots” is ideally suited for Etana’s provocatively searing lyrics, chastising a system that “waters down and dilutes, hides the truth from the youth.”

Vybz Kartel feat. Spice, ‘Rampin Shop’ (2009)

“Ramping Shop” played for months on Jamaica’s radio stations, until a schoolteacher wrote a letter to the Jamaica Gleaner newspaper expressing outrage at its raunchy lyrics and their harmful impact on children, which sparked numerous debates about dancehall’s lascivious content and the song’s removal from the airwaves. Co-opting the beat of Ne-Yo’s “Miss Independent” without clearance, EMI Music Publishing demanded the song be destroyed. These controversies made Vybz Kartel and “Rampin Shop” even more popular, driving it to Number Two on Billboard’s Hot R&B/Hip-Hop Songs chart. Kartel’s popularity remains intact despite being incarcerated since September 2011 on a murder conviction. Spice currently reigns as dancehall’s queen and stars on VH1’s Love and Hip-Hop Atlanta. 

Raging Fyah, ‘Judgement Day: Music For the Rebels’ (2010)

The 2010s in Jamaica saw a “reggae revival,” that is, the label attached to young artists whose Rastafari imbued, uplifting lyrics echoed reggae’s 1970s golden age, but with contemporary influences. Raging Fyah emerged as the revival’s most celebrated self-contained band and “Judgement Day: Music For The Rebels” is one of their finest singles and the title track to their 2011 debut album. The song’s lyrics are the reflective words of a Rasta man who has lived his life without fear of Babylon’s condemnation so when he reaches heaven, he will be playing sweet reggae music for likeminded rebels. Kumar Bent’s lead vocals are warm and expressive, while the band’s majestic roots reggae grooves evoke Bob Marley and The Wailers, Third World or the UK’s Aswad and Steel Pulse.

Stephen Marley feat. Damian Marley and Buju Banton, ‘Jah Army’ (2011)

Stephen Marley intones “We are soldiers in Jah army” like a mantra for recruitment over a reverberating bassline from Sly and Robbie’s General Penitentiary riddim. Stephen’s and Damian’s verses are impressive, but it’s Buju’s grit that dominates. Buju recorded his verse while out on bail after a yearlong incarceration following his 2009 arrest on federal drug-trafficking charges. He makes references to the ordeal in his inimitably coarse DJ tone: “Lock mi inna jail and talk ‘bout dem no gi me no bail.” In his February 2011 trial, Banton was found guilty and sentenced to 10 years.

Busy Signel, ‘Reggae Music Again’ (2012)

Known primarily for his swaggering dancehall hits, Busy Signal showed his diversity and effortlessly moved into the contemporary reggae realm with “Reggae Music Again.” The single pays homage to a previous era in Jamaican music, as well as a time when “positivity was the message we sent, it used to be Jamaica no problem.” Departing from the synthesized beats heard on his previous releases, Busy worked with some of Jamaica’s top musicians who created the richly textured one drop beat.

Jesse Royal, ‘Modern Day Judas’ (2013)

Producer Winta James’ Rootsman riddim spawned many hits by reggae-revival artists including Chronixx’s “Here Comes Trouble,” and Tarrus Riley’s “Cold Girl,” and Jesse Royal’s extraordinary breakout single “Modern Day Judas.” Royal juxtaposes biblical metaphors as he calls out backbiters, betrayers, and hypocrites, acknowledging that “some a say mi paro, some a say a narrow views/But I can’t forget what Adolf did the Jews/And what his friends did to the Tuff Gong too.” Royal’s nuanced, confident delivery on this classic tune ranks alongside the very best from the 1970s roots-reggae golden age. 

Protoje feat. Chronixx, ‘Who Knows’ (2014)

The most celebrated artists of the reggae-revival era collaborated on the movement’s biggest hit, which received Silver certification in the U.K. earlier this year. Chronixx’s alluring sun-kissed “chilling in the West Indies” refrain contrasts the depth of Protoje’s verses, which address hypocrisy, poverty, nation building, and thinking for oneself. Both artists are fond of sonic experimentation, but this roots-reggae juggernaut merges tradition with a shimmering contemporary edge.

Chronixx, ‘Capture Land’ (2015)

The throbbing bassline that runs through “Capture Land” underscores Chronixx’s uncompromising condemnation of the impact colonialism has had on the African diaspora. Referring to regions throughout North and South America as well as the Caribbean as captured lands, he calls out Spanish conquerors, the massacre of Amerindians, and the emergence of the slave trade, connecting historical atrocities to present-day poverty and other maladies. Chronixx’s powerful lyrics flow easily over a rhythm that is as absorbing as the song’s essential subject matter.

Nesbeth, ‘My Dream’ (2016)

Despite differences in their governing approaches, in 2016 the leaders of Jamaica’s two major political parties, Portia Simpson Miller of the People’s National Party and the now-incumbent Jamaica Labor Party led by Prime Minister Andrew Holness, reached a rare compromise during the early stages of the election: Both chose Sing-jay Nesbeth’s inspirational hit “My Dream” for their respective campaigns. One of the year’s biggest hits, Holness invited Nesbeth to perform at his inauguration and even joined the Trench Town-born singer on a few lines of the song.

Dre Island feat. Popcaan, ‘We Pray’ (2017)

Classically trained pianist Dre Island worked as an engineer-producer for several years before stepping in front of the mic. His raspy, genuinely affecting vocal tone delivers motivational lessons his mother taught him — “Life is journey, it’s a long race, mama say son be wise and don’t bring disgrace”— and advises spiritual strength during challenging times. “We Pray,” Dre’s biggest hit to date, also features a stirring verse by his close friend, dancehall superstar Popcaan.

Koffee, ‘Toast’ (2018)

Jamaican sensation Koffee was just 18 when she recorded “Toast,” a joyous expression of gratitude that resonated with audiences of various ages and backgrounds, even if they couldn’t decipher the lyrics within her remarkable patois lyrical flow. More closely aligned to dance music than dancehall, “Toast,” Koffee’s international breakthrough featured on her Grammy Award winning EP Rapture, has earned more than 132 million streams on Spotify.

Lila Iké, ‘Where I’m Coming From’ (2019)

Reggae, country & western, R&B, gospel, and jazz were all significant elements in shaping the vocal versatility that characterizes Lila Ike’s music. Her trap-influenced single “Where I’m Coming From,” produced by Kasadie “Caspa” Jones, is a moving autobiographical sketch depicting the tribulations she has faced on her journey to becoming one of Jamaica’s most buzzed-about young artists. Lila is currently signed to RCA Records through a partnership between the label and her mentor Protoje’s In.Digg.Nation Collective.

Popcaan feat. Drake and PARTYNEXTDOOR, ‘Twist and Turn’ (2020)

Popcaan signed to Drake’s OVO Sound in 2018, and they’ve collaborated several times since, including two songs, “All I Need” and “Twist and Turn,” on Popcaan’s 2020 mixtape, Fixtape. Drizzy and dancehall’s unruly boss are joined by PARTYNEXTDOOR on “Twist and Turn,” a sleek and sexy pop-trap-dancehall mashup. The sparse riddim allows each artist to shine: Drake dominates, Party accentuates his Jamaican roots and blends well with Popcaan, who gives the song its strongest vocal flavor. President Obama included “Twist and Turn” on his Summer 2020 playlist.

Yaksta, ‘Ambition’ (2021)

“Why own a Ferrari with nowhere to park it? Why shop at Louis V when there is a Target?” asks Yaksta (a.k.a. Bush Lawd) in his trap-accented hit, the antithesis of dancehall’s typical brand-conscious braggadocio. “Ambition” significantly placed Yaksta, 28, on the musical map, and he is establishing himself as a powerful performer with a command beyond his years, delivering uplifting messages for the youth, a refreshing addition to the dancehall terrain.

Ishawna feat. Ed Sheeran, ‘Brace It’ (2022)

Ed Sheeran’s 2017 dancehall-infused pop behemoth “Shape of You” spawned many cover versions and remixes, but Sheeran was partial to a raunchy interpretation by Jamaican dancehall sing-jay Ishawna. Recorded over the music from Sheeran’s original, Ishawna’s “Equal Rights” explicitly advocates for females receiving a specific, reciprocal sex act, a taboo pronouncement within dancehall’s otherwise bawdy but male dominated terrain. Sheeran heard “Equal Rights” while vacationing in the Caribbean and reached out to Ishawna via Instagram. The unlikely duo then co-wrote the playfully suggestive “Brace It,” with Sheeran spitting Jamaican patois lyrics. Their voices blend beautifully over an appealing riddim, produced by Jamaica’s Skatta Burrell (also a co-writer on the song), veteran reggae hit maker Don Corleon and Ishawna, that fuses Ed’s gentle guitar strums and Don’s subtle keyboard phrases with classic dancehall samples.

From Rolling Stone US.