Krista Henry, Staff Reporter

Lloyd 'King Jammy' James (left) with model Tyson Beckford at Tribeca Cinema, Manhattan, New York, in June, where a documentary on his work was screened. - Contributed photos

The evolution from a prince into a king of dancehall music is no easy feat. The computerised, digital era of dancehall music began in 1986 with the 'Sleng Teng' rhythm, put out by Lloyd 'Jammys' James, and his elevation was assured. The Sunday Gleaner caught up with King Jammy' for a brief interview.

How did you start your musical career?

It originated wid the sound system first back in 1967, King Jammy Sound System. I used to hang around wid Tubby's first back in 1963. Then I start wid my two boxes and it got bigger. In the '70s I branched off into producing.

What got you interested in doing music?

I was living on the same street as Tubby. I used to hang around his yard and we became good friends. I used to help him build amplifiers and stuff.

Other than music, what are your other interests?

As a business is just music. For hobbies I have a farm, 'cause I like animals. Even at my house I have a lot of birds. I also just love watching things grow, so I love planting. I was a sportsman as well, played football for the Waterhouse team.

What is the most valuable lesson Tubby taught you?

Di whole engineer thing, most of what I have learnt is from watching him, the whole circuitry thing.

What was the dancehall scene like when you first started in music?

When I first started in music, we neva have this type of dancehall of today. We use to deal wid the one drop rhythm until there was the 'Sleng Teng', which change di whole music ting. It started the dancehall of today, that's where it began. Bob Marley was called dancehall too, but not like the music today. I'm responsible for today; I brought a change in the

music. Before was the live bands; mi create computerised music.

Where did the inspiration for a digital rhythm come from?

It wasn't like me alone create it, it was a team. Wayne Smith, who had the first song on 'Sleng Teng', and Noel Davis found out there's a rhythm out there like that, but couldn't find it back. I was in England and came back and listened to it. It sounded like a rock beat, so I slowed it down and added the piano. It was created by the three of us.

After a while did you stop doing the sound thing for producing and why?

I never stopped the sound thing. I used to use my sound as the means of getting out my music to the public. That's how I got the music out. I used to buss artistes like Admiral Bailey, Shabba, Lieutenant Stitchie, who used to deejay around my sound. I used it as a radio station to see which songs I released got a response from the people.

Tell me about the sound war between you and Black Scorpio.

Me and him a brethren, mi just used to bad him up all the while (he laughingly comments). Scorpio is one of the strongest competitors. Me used to win most of the clashes against Scorpio. No other sound system has won as many clashes as mine. We plan to come back on the road early next year.

You think that kind of rivalry with you guys still being good friends is possible with artistes today?

I don't see why it can't be done. Music is love; don't compete under war. After a clash you and di man must be able to share a drink. Artiste dem today too hype.

What do you think about the rivalries in dancehall today, such as that between Beenie and Bounty?

Dem nah deal wid love; some of dem can't even mek good songs. I used to manage Bounty and mi have strong relations wid Beenie too; from long time dem a war. Mi and Patrick Roberts used to try mek dem stop and it neva work. Nowadays dem have too many personality problems. Dem bring dem personal issues into the music too much.

You have been credited numerous times with hearing a 'hit song' from 100 others. Is this true? How do you know when a song is a hit?

Experience. You don't know for sure nut 99.9 per cent of the time the effort put into it triggers something in me. That song triggers something in me and then mi push it to become a hit.

Who's one of the better artistes that you help nurture?

Admiral Bailey. He's a very disciplined artiste. There are other artistes that are disciplined as well. Back in the 80s when we were recording they were so disciplined, like a big family. We used to cook, eat and run tune together. They were more disciplined that the guys today.

I know a number of your children are involved in music. Did you encourage them?

They were born into music, grow into it, dem know from dem born. My four sons are producers, musicians, engineers, dem good.

Do you think they have the potential to be as influential as you have been?

Yeah man, dem have dem own label already. John John, CJ, Jam 2 and Baby G-dem create hit songs already.

What do you think about the current crop of producers?

It mix. Some of the guys producing don't know nothing 'bout producing. Dem just have some money and a do a ting. My sons know music, know how to do dem ting. Bobby Digital too. It mix though. There are good and bad ones, some that make bad music".

What's bad music?

Lyrically it's bad and the beat is off, the sound off key. There are things a producer must be able to correct, grammatically right and musically right.

Has the nature of sounds changed from your day?

It's different from the 80s. You still have a Stone Love and Scorpio, the original people. We need to build back a better vibe than what's going on in dancehall. You don't find people a dance wid a woman; dem a dance by themselves. Or you have people on a corner a just listen. You don't have no fullness of enjoyment. That's why I'm bringing back my sound, not to change it but create something they will accept. Better than what's going on now.

Do you see yourself as a musical legend?

Sure, only I don't boost myself. They say that I am. I've travelled a lot and the response has been the same.