‘Hits Pon Toppa Hits,’ 15 Of Capleton’s Best Songs On His 54th Birthday

By Sasha Lee Tue, April 13 2021, 11:15 AM EST

Call him by any of his dignified titles — Clifton George Bailey III, King Shango, The Prophet — but one thing you can’t call Dancehall/Reggae stalwart Capleton is watered down. With a career spanning three decades, 25+ albums, Billboard Hot 100 singles and a Grammy nomination to his credit, Capleton has proven his mettle between both genres time and again. Sampled by the likes of Kanye West and boasting features with Method Man, Q-Tip and more, the artist transcends the cultural and crossover spheres that many in the game still grapple with.

Combining Rastafari philosophy with Dancehall delivery as no one has done before or since, Capleton is a living legend in his own league. With his stylish, striking suits and rough-edged roar, the veteran epitomizes one born to rock the stage and uplift the masses. Yet the man who cites Papa San, Peter Tosh and Bob Marley as inspirations would take a more risquè, airplay-averse path before aligning with his authentic sound.

Emerging on the scene as a hardcore Dancehall emcee, the former ‘rudebwoy’ would embrace more militant concerns during the mid-90s surge towards consciousness output. In the most recent testament to his longevity, Capleton was selected along with other giants Bounty Killer, Barrington Levy and Buju Banton for a historic collaboration on American producer DJ Khaled’s upcoming Khaled Khaled project.

In celebration of his ‘Undeniable’ cultural impact, and in honour of his 54th Earthstrong today (April 13), here are 15 ‘Real Hot’ highlights (in no particular order) from The Fireman’s 30 year ‘Reign of Fire’.

Just want the tracks? Find our Hits Pon Toppa Hits playlist on Spotify.

1. Bad Mind (1996)

Produced by Sly and Robbie’s Taxi label, Badmind is a righteous call out among Capleton’s earliest recordings. 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. Jah Jah City (2000)

This powerful social commentary on sly characters and senseless killing is relevant even in the present day. Found on More Fire, Capleton’s seventh studio album, the track features on the Morgan Heritage produced Liberation Riddim, and made Damian “Jr. Gong” Marley’s Rolling Stone playlist of the Top 5 Greatest Reggae Protest Songs.

3. Who Dem (1999)

“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. 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.

4. In Her Heart (2004)

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.

5. Tour (1995)

Tour is Capleton’s lament over a lifted Slick Rick beat on the drastic cultural shift he encountered after a 90’s hiatus. “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.

6. Rock Stone (2014)

Capleton infuses this Rasta ballad against poverty, politricks and the struggle with his compelling yet melodious flow. 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.”

7. Raggy Road (1997)

Capleton samples The Abyssinians’ roots reggae classic “Satta Massagana” (translation: ‘give thanks’) adding his own brand of introspective flair. “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. It connects to the people more .”

8. Everybody (1994)

Capleton’s sharp songwriting is on display in this humorous anecdote about himself and a “sexy likkle chick”. 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. The Prophet’s vocals fit flawlessly on UK drill rapper Kano’s Can’t Hold We Down feat. Popcaan with its family-oriented bars and visuals.

9. New Name (2001)

It’s hard to believe his one time label, Def Jam, requested that Shango get vocal training to tame his gritty roar. Songs like New Name showcase his unmatched knack for “deejaying ferociously over up-tempo rhythms” as United Reggae put it. Rohan “Snowcone” Fuller (Applause Riddim) provides the driving beat as Capleton defends various causes — Rasta livity, Black women, Marcus Garvey, Queen Omega.

https://www.youtube.com/watch?v=Hg2u1nW1qaI

10. Consuming (2004)

Consuming is The Prophet’s contribution to Don Corleone’s Mad Guitar Riddim, where his rapid-fire bars “dash a fire” on “wicked men”. Explaining his signature metaphor, the trailblazer said ‘fire’ is “really a spiritual, a wordical, and a musical fire; a way of reminding one’s brother that they are going astray”.

https://www.youtube.com/watch?v=lDlxdsRnkIA

11. Crazy Look (2000)

Capleton paints the picture of his ideal Empress, spitting game on the ultra-popular hook with the help of Fatis Burrell/ Augustus Pablo protégé, Moses I. “Don’t give me that crazy look/ One of these days, then you gonna be mine…/ I want a woman that pure and soul divine.”

12. More Prophet (2000)

More Prophet is a bass-heavy humblebrag on his Islington roots and inimitable status across reggae/ dancehall. “Dem shoulda know ah St. Mary mi come from,” he gloats from the get go, reeling off his mission throughout — “Di corruption and di slackness ah di prophet come fi stop it.” ‘A St Mary Mi Come From’ became the name of his annual charity stage show that’s now an anticipated calendar event, with a consistently grand line-up.

13. Toppa Tings (2006)

Another Reggae Gold album contender and gruff excursion in the name of His Majesty. Capleton hurls lyrical threats at Rastafari detractors as well as own his critics on Don Corleone’s pulsating Sweat Riddim — “Man a stay pon toppa tings! what a ting!/ Diss Marcus Garvey dem lose dem limbs../ Diss King Selassie watch you judgment coming.”

14. Chalice (1998)

Speaking on righteousness and Rastafari’s ever blazing fire, Capleton cleverly projects the flames from his chalice onto oppressive powers that be. “Lead out, dem cyaan get we weed out, dem diss we an dem blood haffi go bleed out,” he chants on a dubplate version, dissing all of Babylon’s usual suspects — the Vatican, the monarchy, the KKK— while exulting the power of herb.

15. Or Wah (2004)

The Fireman delivered an explosive Dancehall banger and the most high-energy track on the already bouncing Stepz Riddim. Thanks to his impressive double-time deejaying most of us were left mumbling “Or Wah” as he did most of the fast-paced flexing.

Bonus: Wings of the Morning (1995)

This gem from King Shango’s Def Jam days features hip hop heavy-hitter, Method Man. The two swap pensive bars on conscious livity over a mid-tempo piano beat (sampling Marley Marl’s The Symphony). The song features on Shango’s fifth album Prophecy, which cemented his ‘rudebwoy’ refocus and also made it onto The Rough Guide to Reggae: 100 Essential CD’s list which “covers the acknowledged classics and plenty of others that deserve to be.”

Keep Blazin’… (Honourable Mentions)

Though expertly curated, our list was in no way exhaustive. Here’s another nine of our top picks for a total of 25 Capleton tracks that are still firing to this day: