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The original ‘singjay’, Eek A Mouse, whose appeal has always been as big and broad as his super sized six foot six inches height. He has consistently broken down barriers and built bridges between the genres of roots, dance hall and ‘crossover’ reggae.
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| Date Added: Jun 7, 2010, Date Updated: Sep 12, 2017 Copyright (C) 2024 Dub Store Sound Inc. |
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| Real Name: |
Ripton Joseph Hilton |
| Nov 19, 1957 - |
| Place of Birth: |
Kingston
Jamaica |
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Ripton Joseph Hilton was born in Kingston, Jamaica in 1957 and obtained his highly unusual nom de mic. after repeatedly backing a racehorse named Eek A Mouse that always finished last. The first time that Ripton failed to put a bet on the horse romped home ahead of the field. He was never allowed to forget it...
His first two seven inch records, 'Creation' and 'My Father's Land', were released on the Eek A Mouse Records label and a third, 'No Wicked Can't Reign', came out on Quality in the late Seventies while Ripton was still studying at college. All three records, credited to Ripton Hilton, showcased his distinctive style in its formative stages and were excellent roots outings. However, they were not particularly big sellers as record buyers were no longer interested in cultural concerns but were demanding music in the emerging dance hall style. The prevailing mood had changed by the time these minor masterpieces were re-pressed and re-released in the UK in the summer of 2006 when all three records proved to be very popular indeed.
It was in a recording session for The Mighty Two, Joe Gibbs(Joel Gibson) and Errol Thompson, in early 1980 that Ripton first tried out his brand new style. Half way between singing and deejaying it would, naturally enough, later be termed singjay. Although his new approach contained a hint of eastern promise here and a hint of Horace Andy there it was full of enough of his own trademark "bong bong biddy bengs" to make it totally unique. Joe and Errol decided not to release the results but, undeterred, the Mouse continued to build up his name holding the mic. and performing live on Kingston's top sound systems such as Black Scorpio, Gemini and Virgo.
The increasing availability of 'beat boxes' (large, portable, powerful cassette recorders) meant that dance patrons were now able to tape the proceedings of live dances. The music, lyrics and atmosphere that had previously disappeared into the humid Kingston nights were now captured for ever and immortalised on cassette tape: rapidly copied and then begged, borrowed or stolen by eager reggae fans all over the world. A dance was no longer considered to be a bonafide event unless there was a bank of red 'recording' lights glowing in the dark and it was not long before the music of Eek A Mouse travelled far beyond the gates of Kingston's dance halls.
Later that year up and coming producer Henry 'Junjo' Lawes took Eek A Mouse to the studio and their first recording together 'Noah's Ark' caused a great deal of interest when released on a Greensleeves twelve inch in London. Underpinned by a heavyweight Roots Radics rhythm 'Noah's Ark' gave a foretaste of what was to follow and Eek A Mouse mania erupted when 'Wa Do Dem' was released on Volcano in Jamaica and on Greensleeves in the UK early the following year. Despite a Jamaican radio ban due to it being considered "too controversial" 'Wa Do Dem' was a huge hit and the UK release was also a massive seller. Joe Gibbs(Joel Gibson) rapidly released 'Once A Virgin' on Joe Gibbs Ultra Sound from Ripton's first recording session.
Eek A Mouse began to record extensively for both Junjo and singer turned producer Linval Thompson and was the sensation of 1981's Reggae Sunsplash; he ended the year on a festive note with his seasonal offering 'Christmas A Come'. His photograph was prominently featured on the cover of one of the first ever live dance hall releases, Heartbeat Records' 1982 album 'A Deejay Explosion Inna Dance Hall Style', where the cream of the crop of Kingston's deejays recorded a 'live and direct' set on Gemini Disco at Skateland, Half Way Tree. Bringing home the raw reality of dance hall music Eek A Mouse opened the proceedings with "big Eek A Mouse inna dancehall. Legal now... me is legal now" to a rousing reception; a reference to his being recently incarcerated after a dispute with Junjo had got a little out of hand. The breach was soon healed and the Mouse again opened the proceedings on Junjo's very own live album 'A Live Session With Aces International' later that year.
Although Eek A Mouse could "oink" and "ribbit" and "bong bong biddy beng" with the best of the dance hall massive his wit, intelligence and very real talent set him apart from his rivals. There was a serious side to his music demonstrated on records such as 'Anarexol', 'Do You Remember', 'Terrorists In The City', and 'Operation Eradication' which was inspired by the death of his friend and fellow deejay Errol Shorter.
His 1985 album on RAS Records, 'Assassinator', was his first 'official' American release and was the first to capitalise on his crossover success with the international audience. As his reputation grew he recorded with producer Cliff Carnegie in the UK and the release of 'Eek A Nomics' in 1988 boosted his name still further. After signing to Island Records in 1989 he secured a role in the film 'New Jack City' but best part of his appearance was inexplicably consigned to the cutting room floor. He has been resident in the USA for a number of years where he continues to record and tour from his home in California performing an incredible two hundred plus shows a year. His 2004 album for UK Coxsone legend Blacka Dread, 'Eek A Speeka', showed that he still had all of his fire and ire and that he had never lost his original audience.
The Mouse has continued to work through the constantly changing styles and fashions in reggae music with an approach as original as his name and he is in constant demand for combination work with a variety of dance hall, hip hop and rock artists... all hoping that a measure of the Eek A Mouse magic will come their way. |
| Jun 7, 2010 (Sep 12, 2017 Update) Text by Harry Hawks
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