How Tenor Saw’s ‘Ring The Alarm’ Brought Soundclash To The Masses 

For a vibrant display of the Jamaican trifecta — cunning, creativity, competitiveness — look no further than the island’s rich sound system heritage. These modes of performance and entertainment started in Kingston in the 1950s, providing a platform for an array of talent — selectors, toasters, engineers  —  while playing to crowds that could easily grow into the thousands.

Sound systems (essentially mobile discotheques) rose to prominence in the ’60s through famous sound system owners such as Arthur ‘Duke’ Reid (the Trojan Sound System and Treasure Isle Label) and Clement ‘Sir Coxsone’ Dodd (Downbeat Sound System and Studio One Recording Studio) who dominated Kingston’s nightscape with accompanying acts like Daddy U-Roy and King Stitt respectively.

Of all the acts who’ve injected flair into the art form, it was Clive Bright aka Tenor Saw who officially brought the concept of soundclash to the masses when he debuted the crucial anthem, Ring The Alarm, in 1985. The deejay was only 19 years old when he freestyled his way into the future – i.e. Dancehall – slinging rhymes while levelling the rival sounds.

The first time the late hitmaker performed the lethal classic is also hailed as another of Dancehall’s integral moments: the first soundclash. Held at Cinema II in New Kingston, the faceoff saw the island’s four biggest sound systems, Youth Promotion Soundstation (Tenor Saw’s stomping grounds owned by Sugar Minott), Black Scorpio, King Jammy’s Hi Fi, and Arrows International all vying for glory.

His deadly delivery of history as it unfolded swept the crowd and stole the crown: “Four big sounds inna one big lawn/ The Don sound a play, the other three keep calm/ Four big sounds inna one big lawn/ The boom sound a play, the other three keep calm/ Ring the alarm, another sound is dying, Whoa, Hey..” Two years later, he was killed in 1988, reportedly in a hit-and-run accident in Houston, Texas.

According to a Red Bull article “the biggest dancehall songs of the ’80s were often tested or created first in the clash arena”. The hit became one of the most popular ‘specials’ (now called a dubplate), customized versions taking jabs at opposing sound systems.

A Stalag 17 Riddim feature, Ring The Alarm was then recorded and released at the start of Dancehall’s digital era. By then, sound systems had taken on a more record label like coexistence with their affiliated acts.

When Sugar Minott left Studio One, he started Youthman Promotion Soundstation aimed at launching and promoting young stars from the ghetto like himself. As a result of this, Minott is also credited with another significant genre milestone, that of starting the first Dancehall crew. Among the artists to enter the limelight under his tutelage were Yami Bolo, Junior Reid, Garnett Silk, Tenor Saw, Tony Rebel, and many more.

Other sound system operators such as King Jammy’s (Chaka Demus, Admiral Bailey) and Arrows Records (Brigadier Jerry, Papa San) were instrumental in the shift on the local circuit towards computerized rhythms and contemporary Dancehall.

As a Rubadub Revolution review put it, “a host of new singers and DJs flocked to the sound systems with lyrics and style that spoke to the dancehall itself. This new breed of “rub a dub soldier” eschewed the international market, and spoke to Jamaicans in their own language, about their own concerns from sex to humor to the day-to-day problems of suffering in the ghetto. A new sound was needed and the uncompromising music of modern day dancehall was born.”

Sound system culture was authentic Dancehall’s blueprint and boot camp. One’s ability to spit lyrics live, freestyle on spot, get a ‘forward’ from the crowd, maintain energy levels, endure hours of rehearsals, drop legs, and more were tested. Artists proved themselves on stage before the fickle masses to be deemed fit for studio time with the genre’s ‘it’ producers.

By the start of the digital era, sound systems had become a competitive sport, from the size of the crews, to the height of the speaker boxes. Names like “Killamanjaro”, “Volcano Hi Power”, and “Jack Ruby” (Sean Kingston’s grandfather) attested to the caliber of each set battling for street cred. However, the taunting jabs on stage and on dubplates became more personal in some instances, and violent acts over ranking and ratings marred the scene as the ’90s rolled in.

By the end of the ’80s, sound systems had all but moved away from their heavy artist outfit in favour of the new juggling style — switching from one recorded song to another. Ninjaman’s affiliation with the Killamanjaro sound system is said to be the last instance of a deejay emerging as part of a sound. Clashing also grew into a spectacle where two established acts went head-to-head on stage, such as the famous Beenie Man / Bounty Killer showdown at Sting 1993.

In the years following, violence and controversy put a damper on the phenomenon. A mid-90’s resurgence was already on its way, however, and popular American promoters Irish and Chin started their World Clash series in Queens in 1998. It was at the 1999 event that Japanese sound system Mighty Crown annihilated Jamaican competitors Killamanjaro and Tony Matterhorn, winning ultimate bragging rights at the turn of the millennium.

Though Irish and Chin caught flak for the new format, Garfield “Chin” Bourne said the goal of World Clash was to reduce unruly tendencies and increase fair play at clash events. Though interest in the artform has waned on home soil, it’s still very much alive elsewhere – UK, Finland, Italy, Germany, etc.. – celebrated for its connection to brand Jamaica and its engaging dynamic.

In recent years, commercial brands have stepped up their efforts to play a part in preserving this dynamic aspect of Dancehall.

Energy drink brand BOOM tapped clash culture’s electric aesthetic, and have been staging the BOOM Sound Clash since 2015. It features international competitors, appealing cash prizes (US$300,000) and spans 11 weeks of battles and eliminations.

Global corporation Red Bull is also in on the action, ‘reviving the tradition with a modern layout’.

At the 2016 staging of the Red Bull Culture Clash inside The O₂ Arena in London, Popcaan famously defeated Wiz Khalifa and Taylor Gang Entertainment with an exclusive ‘One Dance’ dubplate by Drizzy Drake that whipped the crowd into a frenzy.

In 2019, Red Bull Culture Clash came to Kingston for a charged up contest with four star-studded crews: Romeich Entertainment, Riddimstream Platta, Strike Force and Do It For The Culture. The latter crew comprised of Salaam Remi, Spragga Benz and others came out as champions, while another hot battle was born after Shenseea dissed Jada Kingdom in a spicy freestyle.

Popular Jamaican selector DJ Nicco was the victor at Red Bull’s Thre3style digital DJ competition in 2012. He along with DJ Narity who finished third have enjoyed huge success as a result of the platform, and have been dominant on Jamaica’s radio, club and party scene since.