ReidLeighton Williams, Staff Reporter
It took veteran reggae singer Junior Reid two to three years to get his big break. These days, it can take an artiste one studio session and a 45 rpm record to get that exposure. With, of course, the three or so minutes of airplay that record takes to be aired.
"It easier now because yuh have more of everything. Yuh have more studios, more sound systems and more of everything. The artiste must know how to buss himself, though," said Junior 'One Blood' Reid.
Reid is not the only entertainer who believes that the development within the industry has made it easier for the youngsters entering the business.
Gospel deejay Lt. Stitchie told The Sunday Gleaner that back in the 1980s, when he started out in the dancehall, it was more difficult. The deejay said the hardship stemmed from the fact that for an artiste to break out he had to be aligned with a sound system. He added that it also had to be a popular sound.
Stitchie, who first came to national prominence in 1987 with Wear Yuh Size, said back then it was only through the sound system that an artiste could be heard by a producer and get the chance to go into a recording studio.
He points out that "Now once an artiste can make a dub special for a sound system then he can heard by more persons and ultimately get his big break".
Stitchie adds, too, that the media has become more receptive to dancehall and, as a result, youngsters were getting more exposure via that method.
"Years gone by you wouldn't even have a young act opening a show and so it was hard for them to be heard. That is different now though," he added.
The matter of exposure has always been a sore point, especially among young acts. Many believe that they are being marginalised in an industry that only caters to the big guns.
Still, Stitchie and 'One Blood' Reid believe it is far easier now. Stitchie, for example, disclosed that he had to come through the Jamaica Cultural Development Commission (JCDC) deejaying competition, having finished on top in St. Catherine in 1983. He adds that he had to work hard for the next four years to get the breakthrough.
Reid also disclosed that he had to work hard to get exposure. He explained that he utilised the sound systems to get his exposure as well. These included Youthman Promotion. He, however, pointed out that he was patient, as he knew it was only a matter of time.
In fact, in the 1980s the deejays got exposure through sound systems when they travelled around the country with their respective crews. Deejays such as Supercat, Ninja Man (both at different periods), Hammer Mouth and Daddy Blue were of the Kilamanjaro crew.
Admiral Bailey, Shabba Ranks, Major Worries, John Wayne, Chakademus, Pampidoo, and Tulloh T were a part of King Jammy's. Black Scorpio had deejays such as Colla Chin and General Trees, while Stereo One had names such as Stitchie, Ricky Stereo and Jonathan Wolfman.
Other deejays from that era who were also associated with sound systems were Peter Metro and Tanto Metro with Metromedia, Creation Rock Tower had Papa San and Daddy Shark, while Youthman Promotion was comprised of Sugar Minott, Steve Harper (Shalom), Tenor Saw and many many others.
Other deejays such as Professor Nuts and the indomitable trio of Josie Wales, Brigadier Jerry and Charlie Chaplin were with different sounds at different times.
In the late 1980s the sound system method used to expose artistes changed when records started to play a larger role in popularising dancehall artistes. Spragga Benz, Buju Banton, Bounty Killer and a host of others became popular because of 45s and dub specials, which exposed the talent of the deejays.
The dub specials and records have become the method for artistes to 'buss big' and the current crop of deejays have acknowledged that this method of exposure has probably made easier for them to get the big break.
"Once upon a time it was sound system and so people had to use that method to get a buss. Now it's different. Now the artistes have to use recording to get their exposure," said Captain Barkey.
Captain Barkey, one half of the Captain Barkey and Wickerman duo, adds that now an artiste has more access to recording studios. He reinforced the point that in former years it was sound systems and not records played on radio that gave the artiste his exposure to dancehall fans.
However, now "you have young producers who are working with their friends, so this has helped to give artistes more exposure", he said.
