Every genre has its pitfalls. And a great deal of the dancehall genre is little more than verbal explications of sexual exploits, overt homophobia and misogynistic nonsense. That being said, though, thereâ??re a great deal of early dance hall recordings that can stand next to any classic roots recording and not look too shabby.

Thereâ??s always been some ambiguity as to who began this genre and when. Thatâ??s not even the point though. The point is that Michigan and Smiley represent a sort of early renaissance for the misled genre. Produced by the formidable Coxsonne Dodd, the duoâ??s 1979 release of Rub a Dub Style represented not just a milestone, but served to define the genre at this early stage. Utilizing a gross of familiar rhythms, Michigan and Smiley trade bars over some sparse production. The compositions though, arenâ??t skeletal in the least.

Having the Studio One catalog at his disposal, Dodd hand picked some old tyme hits for reuse here. The production coming out of Wackie’s Studio in Brooklyn, or the Black Ark or even Keith Hudson’s work all represented a more stripped down musical sensibility. But Rub a Dub Style is presented in a showcase style, which allows each toaster ample time to flow over top of a rhythm before the musical setting becomes the main draw. And during these instrumental moments is where listeners can find the most skeletal offerings. Still, there’s ample keyboard and bright horn lines punctuating the one drop drum and bass. Even with this initial recorded triumph, Michigan and Smiley would record a few more pristine examples of the genre. And while this could be considered the best over all representation of the duo’s classic period, those subsequent recordings are well worth searching out.

Lone Ranger, by contrast expressed a myriad musical shifts in his recordings. Beginning around â??77, the toaster initially sounded somewhat similar to the folks originally singing over the Studio One hits he was given to grace. As the musical landscape of Jamaica demanded different approaches, Lone Ranger deftly complied. One of his most enduring discs comes in the form of a cow-polk influenced Hi-Yo, Silver, Away!

Released in 1982 and produced by the Scientist, the Lone Ranger works with some sparse arrangements punched up with some dated â??80â??s sounds. Similar to Michigan and Smiley, the Lone Ranger comments upon politics as well as religion. And on â??Legalize The National Herb,â? the toaster comes as close to an anthem for the cause as did John Holtâ??s â??Police in Helicopters.â?

Releasing roughly ten proper discs over his career â?? prior to his reconstituted work â?? the Lone Ranger seems to occupy a more significant space in the Jamaican musical culture than the aforementioned Michigan and Smiley. The latter seemed more organic in their work, but perhaps due to the seemingly perceived technologically advancement of his productions, the Lone Rangerâ??s star rose at a different trajectory than the duo. But luckily itâ??s not a contest. And seeing as both of these folks have a rather easy to find catalog, go enjoy some dancehall that wonâ??t make your PC friends cringe.