Rohan “Snowcone” Fuller ( Applause Riddim) provides the driving beat as Capleton defends various causes - Rasta livity, Black women, Marcus Garvey, Queen Omega.Ĭonsuming is The Prophet’s contribution to Don Corleone’s Mad Guitar Riddim, where his rapid-fire bars “dash a fire” on “wicked men”. Songs like New Name showcase his unmatched knack for “deejaying ferociously over up-tempo rhythms” as United Reggae put it. It’s hard to believe his one time label, Def Jam, requested that Shango get vocal training to tame his gritty roar. Popcaan with its family-oriented bars and visuals. The Prophet’s vocals fit flawlessly on UK drill rapper Kano’s Can’t Hold We Down feat. Though he dedicates (livicates) the song to “all loverboy an lovergirl” in the intro, lines in the chorus have elevated the song to an overall love anthem. Everybody (1994)Ĭapleton’s sharp songwriting is on display in this humorous anecdote about himself and a “sexy likkle chick”. “Troddin this road for the longest while/ and still me lamp never run outa oil”, he intones on the Bobby Digital remake, a far-reaching fan fave illustrating the point he made to Ultimate Reggae journalists: “roots rock reggae is the ultimate music, it has the soul. Assuming first verse duty on Stephen Marley’s 2014 single, Shango switches up his vocals between his regular rootsy chatter and the deeper register heard on the vivid call-to-action, “Mi seh one by one, one by one we stepping out ah Babylon.”Ĭapleton samples The Abyssinians’ roots reggae classic “Satta Massagana” (translation: ‘give thanks’) adding his own brand of introspective flair. Rock Stone (2014)Ĭapleton infuses this Rasta ballad against poverty, politricks and the struggle with his compelling yet melodious flow.
“Come back in Jamaica, everything insecure/ And de DJ dem nah teach people no more/ If slackness a the sickness then culture a the cure,” he chanted on the song Pitchfork ranked 28th on their 50 Best Dancehall Songs Of All Time playlist. Tour is Capleton’s lament over a lifted Slick Rick beat on the drastic cultural shift he encountered after a 90’s hiatus. Known to effortlessly tow the line between righteous and bawdy content, Capleton executes this Chrome Riddim ‘gyal tune’ with cheeky, rapid-fire rhymes, “She nuh waan nuh man fi play wid her parts”, he spits on the rhythmic track, which also features on VP Record’s cutting edge round-up series, Reggae Gold 2004. It’s one of the artist’s most recognized and prolific singles, a dubplate must-have, and is guaranteed to raise the roof at any Jamaican dance once the edgy bass line drops.
“Slew dem, a bere feelings dem a carry!” Capleton blares on the intro to Who Dem, a booming cut on Ward 21’s Bellyas Riddim from 1999. Gong” Marley’s Rolling Stone playlist of the Top 5 Greatest Reggae Protest Songs. Found on More Fire, Capleton’s seventh studio album, the track features on the Morgan Heritage produced Liberation Riddim, and made Damian “Jr. This powerful social commentary on sly characters and senseless killing is relevant even in the present day. Addressing that relentless, ever-present, plague - badmind - the deejay delivers a thumping how-to for hopping on the “pearly gates train”: “Yuh nuh fi grudgeful and yuh nuh fi envious, yuh heart haffi clean and yuh mus’ not corrupt.” 2. Produced by Sly and Robbie’s Taxi label, Badmind is a righteous call out among Capleton’s earliest recordings.
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