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Until the late 80's, King Jammy produced numerous singles and nearly 150 albums in total. This certainly proves that King Jammy was the king of dancehall after the occurrence of the Digital Revolution. At the same time, we can never forget that this prolific production team was importantly supported by talented surroundings such as an engineer Bobby Digital (later Digital B's owner) and Steely and Clevie, who played the most of Jammys hit rhythms.

With support of those engineers and musicians, it allowed King Jammy and artists to produce hit song easily. For example, 'Hog Ina Me Minty' and 'Run Down the World' by Nitty Gritty, 'Legal We Legal' and 'Trouble Again' by King Kong, both artists sang on the early Digital reggae rhythms with their unique OUT OF KEY style. 'Agony' and 'Bandelero' by Pinchers, 'Four Season Lover' and '' by Leroy Gibbons, both were also artists who achieved fame as a singer from Jammys. The producer also worked with artists like Pad Anthony, Anthony Malvo and Chuck Turner as well as upcoming singers like Cocoa Tea, Sanchez and Thriller U and he proved that Roots singers such as Dennis Brown, Gregory Issacs could get along with his Computerized reggae rhythms. In addtion, Johnny Osborne, who was successful before the Digital Revolution, has recorded hits 'Buddy Bye' and 'No Ice Cream Sound' for Jammys.

King Jamny was also an owner of 'Jammys Super Power' sound system. During the golden era of Digital reggae, many of major popular jeejays were turned out from his sound system. Admiral bailey was one of them and he climbed up to the top of the scene like shooting star with his hits; 'Big Belly Man' and 'Punanny'. Besides him, Major Worry known with his hit 'Babylon Boops', as well as Chaka Demus, Tigar and Lt. Stitchie were also apprentice deejays of the sound.

Digital Revolution brought by Sleng Teng eventually resulted the decrease of instrumental rhythms, which are recorded with actual instruments or session musicians. With reduction of production cost, it allowed many upcoming producers to enter the business, while Techniques, Redman labels as well as King Tubbys continued to be on this competitive race, But King Jammy continued to produce hit rhythms like 'Duck', 'Punanny' and 'Love Punanny Bad' and his strides continue to spread throughout the world and King Jammy became the undisputed king of Computerized, Digital reggae music for 80's.

In 1988, there was a turning point for Jammys label. Like King Jammy left King Tubbys, his number one engineer Bobby Digital and his riddim section Steely & Clevie left Jammys to persuade their own career by founding their own labels. King Jammy knew that Bobby Digital and Steely & Clevie, both had talents to threaten his career by their hit productions but it was far enough to take his supremacy over the 80's dancehall.

From the 90's, Jammy's productions became not prolific as it used to be by his standard but his oldest son, Lloyd James Jr. aka John John, started his own label to follow father's footsteps. Because he used to be in and out his father's studio from his early age, naturally he was familiar with the business. At the age of 18, he founded Father & Son label, the following year founded self-named label, John John where he released revised version of rhythms like 'Sleng Teng', 'Love Punanny Bad' and big foundation 'Shank I Sheck' and of course those rhythms became hits during the 90's. Entering the 21st century, John John continues to create fresh sounds with rough & tough street vibes.

Three sons of Lloyd James, Baby G, Jam2 and Christopher 'CJ' James also established their own labels and released some hit rhythms to bubble the dancehall scene. Now they are regarded and respected as essential producers of the current dancehall scene. Besides them, Suku, a member of Ward 21, also co-produced with King Jammy on Mentally Disturbed label and 'Badda Badda' rhythm on Jammys label. Without a break, his sons and surroundings continue to inherit King Jammy's musical glory to praise his legendary works.