Chuck Turner has recorded his impressive songs at Jammys such as 'I Need You' and 'Run Around Girl'. 'We Rule The Dancehall' is one of those and this tough steppers rhythm was build by notable Steelie & Clivie. His melancholy voice is something very contrary to his aggressive lyrics but that's something it makes this record attractive.

Robert Lee was also one of demanded singers at Jammys because of his musical characteristic - 'Out of Key' style. Here King Tubby produced 'Tempo' rhythm was rearranged by Jammys and it allowed Robert Lee to perform calmly with his aggressive lyrical expression for creating another killer song.

Among rhythms produced in 80's dancehall scene, 'Sleng Teng' by King Jammy and Firehouse produced 'Tempo' are considerably the most respected; however, you can never forget 'Stalag' rhythm by Winston Riley lead Techniques, too. King Jammy reproduced this 'Stalag' rhythm with Sly & Robbie and in result, it created shadier atmosphere in comparison to the original Techniques' version.
This is certainly another anthem of Jammys!

Nitty Gritty output his hit songs like 'Hog In A Minty' and 'Run Down The World' at Jammys and he had chemistry with minor chord digital rhythms. 'Good Morning Teacher' on 'Stalag' rhythm is a superb song showcases his unique vocal style and lyrics.

Junior Marvin is apparently more known for his 70's work but he continued his career while dancehall period and released album 'Apartheid' at Jammys. This heavy weight dancehall song 'Jack Slick' was on the album and released on 12" single vinyl. On side B, 'Dancehall Vibes' by Anthony Johnson on the same rhythm with different arrangements was only released on 12" single vinyl.

Robert Lee and Bunny General adopted the phrase of a classic song 'Midnight Hour' by Sivertones in their combination song 'Midnight House'. The original press was only available by 12" single vinyl on Unity label.

Wayne Smith scored numerous hits at Jammys and one well known is 'Under Mi Sleng Teng'. He also released same title album 'Under Mi Sleng Teng' where he showcased wavy & choppy 'E20' and crisp & clear song 'In Thing' on further computerized [Barrington Levy - Come] rhythm.

'Rock Them One By One' is a King Jammys' digital remake on 70's classic roots tune 'Wicked Can't Run Away' by Glen Richards. Its version is very detailed to its original but still a tough digital dancehall cut. Eccleton Jarrett's delicate vocal stands out proudly.

In the period of Jammays golden era, Chaka Demus was a prolific artist among others like Admiral Bailey. At this time, Bobby Digital, who was often regarded as the right-hand man of King Jammy, had a popular 'Peanie Peanie' rhythm. 'Original Kuff' was recorded on this rhythm, which can be characterized by its minor chord baseline and choppy riffs and there Chaka Demus performs his catchy lyrics and melody smoothly.

Without mentioning Anthony Red Rose, we are simply not able to discuss the distinguished sound of King Tubby and his Firehouse label. The artist was an essential figure who recorded a song called "Tempo", creating an original rhythm. It was produced by King Tubby and immediately became a symbol of 80's dancehall. During this period, King Tubby and his entourages have created prolific rhythms while running his Firehouse label. Luckily, Anthony Red Rose was able to come on the scene with his 'out of key' style and release several hits 'Old Pan Bangrang', 'Under Mi Fat Thing' and 'Worries Again' on their rhythms. "Me No Want No Boops" on the classic roots reggae rhythm "Here I Come" features humorous voice arrangement by Anthony himself and undoubtedly, this is another reputable number within the Firehouse catalogue.

The "Tempo" rhythm is considered one of the historical rhythms in the golden period of dancehall and it was apparently an answer rhythm to Jammys "Sleng Teng" rhythm."Love It A Kill Me" by John Wayne is probably the most sought after and popular cut on the rhythm and the record itself includes a superb dub-version on the side B by the Dub Master, King Tubby. Although the artist does not sing as powerfully as he does on his hit song "Call The Police" he the still displays his unique lyrical flow. Originally, 7inch vinyl record was released on the Kingston 11 label and the 12inch was on the Firehouse label.

Philip Myers released only a handful of tunes in the second half of the 1980's, and among them was this now very rare 45 from 1985. The lone release on Daniel Senior's Junior Militant label, based out of Seaview Gardens, Kingston 11, this tough digital cut features lyrics about babylon coming to mash up your dance. Arranged by Noel Davey (legend has it, before the release of sleng teng!), this tune perfectly captures the digital dancehall sound just being born, and proves yet again that so many killer tunes were bubbling under but never made it into the spotlight. Thankfully, this huge tune is now back on the street, rescued from rarity and obscurity, and ready to receive its due!

'The Exit' by Dennis Brown is a tough song on a classic dancehall rhythm 'Screechie Across The Border', which often regarded as one of the best 80's dancehall rhythms.
Comparing to its original – 'Screechie Across The Border' by Courtney Melody, it sounds a little less dynamic but the reconstructed rhythm based on pensive minor chords perfectly matches to the singer's profound vocal and lyrics.

Wayne Simth unexpectedly appeared on the top of dancehall scene with Jammys' monster rhythm 'Sleng Teng' in the mid 80's at one burst. Hardcore dancehall fans will recognize this song 'My Lord My God' on 'Screechie Across The Border' rhythm is one of the most popular songs within his Jammys' catalogue.

It is well-known that Wayne Smith, who was deeply associated with Jammys in production of 'Sleng Teng' rhythm, was an essential individual to embrace the Digital Revolution for Reggae / Jamaican musical history. Its tough baseline that symbolized Jammys' real sound work and young Wayne Smith's high key voice, both elements perfectly fused together to create another killer tune.

Now veteran deejay Kirk Davis who started his career as Little Kirk back in the 80's, since then he has been on his move. Known for his major songs: 'Screechie Across The Border' and 'Ghetto People Broke', also one of those is 'Don't Touch The Crack'. A tough digital steppers cut.

'Love Light Of Mine'by Horace Andy and 'Ready For Your Loving' by Frankie Paul were both on their King Jammy produced album 'Haul And Jack Up' and 'Sara' repeatedly. Both songs were recorded on its original rhythm 'Chuck Turner - We Rule The Dancehall'. Those two veteran artists showcase their long time calm vocal skills on this bouncy dancehall rhythm to make those recordings quite tough.

When it comes to naming the best dancehall compilation album, many will mention an album called "Sound Clash Dubplate Style" produced by King Tubby. "Line Up" by Johnny Osbourne was taken from the album where he showcases his enchanting melodies and lyrics and Trevor Levy's voice echoes calmly with vigorous lyrics on the flip side. Also both songs feature an intro by legendary MC Fuzzy Jones.

From 1986, "Joker Bad Boy" by Cane Juice. A tune which blew us away from first listen with an amazingly advanced digital riddim, played live and arranged by Leggo's longtime spar Flabba Holt of the Roots Radics. Cane Juice, long one of our favorite singers, sends a message about all false bad boys, with his infamous lyric "nuff bwoy a love up di gun but dem fraid a di bullet".