Stone Love refined that and recorded the song first and then cut to dub.” “Other sounds went straight to dub, so if the artist made a mistake on the song? That went on the dub. “Stone Love was the first soundsystem to actually record the song and then cut the dub,” says Escoffery. But whatever they took from the culture, Stone Love repaid tenfold. This effect was so pronounced that some older dancehall fans accuse Stone Love of killing the live element of the dances and putting deejays out of work. Before it was just a thing to have and live artists were the draw Killamanjaro had Ninjaman, Creation had Papa San.
“They made dub plate a vehicle for specials (unique one-off recordings from a hot artist). “Stone Love revolutionized dub plates,” Escoffery expands. Everybody wanted now to play like Stone Love.” Stone Love became the master for that, with Rory. The soul sounds now would play a little disco, a little soul, two Admiral Bailey, two Shabba on dubplate – juggling, that’s what they call it. Him would play the vocal, like he would be doing a Frankie Paul vocal, and he would mix in a special with Admiral Bailey pon it and that would get the crowd going wild. didn’t talk much, just play music and when him did play reggae now, him had the Admiral Bailey dubplates, the Shabbas and all of those. “Since they had never had a live deejay with the crew, Stone Love compensated by playing deejay records and specials. Veteran dancehall deejay Welton Irie explains the effect in Beth Lesser’s book Rub A Dub Style: The somewhat schizophrenic approach eventually became a signature sound dancehall “juggling” that incorporated the beat-matching of club and hip hop DJs, smooth radio jock patter instead of more war-like yelling on the mic and dubplate specials rather than live artists.
But before that you had Wee Pow and Cancer playing ’60s music and American R&B.” Rory was the bashment selector that came on like 1, 2 in the night. “They used to play this nightclub called Tropics and the greatness of Stone Love was: three selectors, three completely different personalities and three different crowds. “In the ’80s Stone Love was three people: Wee Pow, Rory and Cancer,” explains dancehall historian (and contributing editor to ) Sherman Escoffery, who worked on Stone Love’s first official release on Jamaican label November Records.
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