Shenseea has fired back at critics who disapprove of her representation of same-sex relationships in her music and music videos.

Speaking with Angela Yee on the Way Up With Angela Yee podcast, the Jamaican singer championed personal liberation and said that expressing herself, as she did in her song Curious, should not be a big deal.

“Are we still even speaking on this? And that’s why I don’t feel the need to even address anything because, like, hello? Just stop! Let it go,” she retorted. 

“It’s getting so annoying now. The weirdest thing is that it’s not even my first time doing this. I did it in Blessed. That’s when everybody was shocked. So, now it’s just like, come on—you know this ain’t nothing new and I do represent for women, period. I love women. I love men, I love women… I just like to represent for people who can be themselves and be free like be yourself. Do anything you wanna do. That’s what I represent,” the singer added.

Curious, released on April 13 and produced by London on Da Track, Fred Ball, and Jamaicans BEAM and Dunw3ll, hints at Shenseea’s desire to have sexual rendezvous with women.

The risqué music video has since attracted nearly 5 million views on YouTube.

The Rebel singer also responded to those criticizing her stated desire to be an “international Pop singer.”

Undeterred, Shenseea advised them to be more open-minded, especially since her upcoming sophomore album—nearly 90 percent complete—promises more of that sound.

“My dream is to be a singer. Like, yes I can write good, and I can rap and I can freestyle; but my dream is to sing. I think it’s really unfair because you can’t judge me if you haven’t heard what I’m about to do,” she said.

“Say for instance, I didn’t expect to do Dancehall this good, but I did it though. So, how are you gonna even think to doubt me without seeing what I can actually do. I did Dancehall great. Yeah, I love Dancehall, but, this is also something that I love over here. You can’t judge and you haven’t even heard it yet…you probably even love it more than anything I’ve ever done—more than my first album,” Shenseea added, revealing that Curious will be part of her second studio project. 

Her debut album Alpha, released in March 2022, peaked at No. 2 on the Billboard Reggae Albums chart, with the highest first-week sales for Reggae/Dancehall albums since Popcaan’s FIXTAPE in 2020.

It was 2022’s second highest-selling album by a Jamaican artist, registering 63,000 units in combined sales and streams in the United States, according to data provided to DancehallMag from Billboard’s sales tracker Luminate.

During the sitdown with Yee, Shenseea said that she and her team have been adopting a more intentional and calculated approach to guide her career.

“We gotta be real strategic about where we wanna be and the image…how we want me to look when I’m on stage. My team and I, we weren’t doing no tour managers or nothing like that. We were just like really street. We weren’t working with a band, no screen behind us,” she said.

“Now, it’s really about strategy and less is more now. So, I would do even a one show for the month or two months when it counts and we’re not used to that but I can definitely see why we had to do that and just with my releases too. I was releasing songs every three months. Now? It took me two years and y’all just getting two solid singles from me. I’m definitely not used to that either and I think that plays a lot of my mental because I’ve been so used to chopping songs like this, and now I have to be slowing it down so it can reach a broader audience.”

When quizzed about how she, as well as long-time co-manager Romeich Major, have adjusted to the changes and her extended team, Shenseea they’re now more comfortable.

“Before, I was very impatient… we’re both adjusting to the new team. So, it’s like taking somebody off drugs. For now, I’m more comfortable with what they’re doing because I can see that it’s actually paying off. Now, I definitely trust them more on certain decisions.”

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It was a revealing peak behind the scenes for Dancehall’s Sauce Boss Kemar Highcon, whose recent appearance on the Let’s Be Honest podcast touched on nearly everything in the singer’s life, from his upbringing and career in music to his Masicka diss and recent legal troubles.

Having once believed that other artists simply refused to work with or acknowledge him, the former St. Jago High School student was quizzed about how he came to collaborate with one of the greatest musical artists of all time, Dancehall/Reggae legend Shaggy.

“Shaggy’s DJ, Q, discover me. Mi did have a song a mek noise inna di tri-state area and him hear it and introduce mi to Shaggy and from deh suh di link mek,” the 32-year-old told host Jai Frais.

He also expounded on what the experience was like working with Shaggy and lessons he picked up along the way.

“Him [Shaggy] teach mi seh music nuh have no boundaries… Fi a man weh cross every musical boundary, why you wouldn’t waa work wid him? Him do it,” Highcon, 32, explained.

“When yuh talk ‘bout Shaggy and Sean [Paul], dem man deh dweet fi Dancehall, dem dweet fi Jamaica, dem dweet fi music pon a whole…. Fi di last 20 generations a dem we a talk ‘bout – dem man deh dweet pon a massive scale.”

Highcon, who is originally from Portmore, finally had his musical breakthrough in 2018 when he released his hit So Saucy. Three years prior, Highcon was still an aspiring young artist trying to navigate unfamiliar terrain. When So Saucy dropped, he was catapulted from obscurity into the spotlight.

He described how the track helped his career, and even described it as his “first real buss song”.

“When yuh get a buss song it’s basically a introduction into di industry ‘cause people start get familiar wid yuh and people start know yuh by name,” Highcon explained, tagging Track Starr Music Group-produced track as his biggest so far. “So, it did mek connections easier… in the sense of networking.” 

The single, which ultimately became the catalyst for his EP – Saucy – two years later, was also responsible for his eventual big-time collaboration with Shaggy and Spice. The two juggernauts joined the then up-and-coming artist on the remix, and the rest was history for the singer.

When asked if his collaboration with Shaggy may have opened the door to corporate sponsorships for him – most notably his status as a Digicel Music Ambassador, as well as being among top-billers Konshens and Teejay for Digicel’s Unplugged, he humbly shot the assumption down.

He reasoned: “If a did di Shaggy plug mek mi get dem opportunities deh it would have probably been with Pizza Hut and not Digicel because Shaggy’s people are close with Pizza Hut. So, mi feel like it was just hard work honestly.”

He further explained that his song was playing everywhere – a testament to its quality and the work he’s put in.

“The songs were playing everywhere and everybody did know di song dem, everybody did a vibe to di song dem, so, I feel like Digicel see dat and decide fi pick up di song dem,” he shared, noting that he was still a Dancehall artist based in America at the time of those deals. 

He also reflected on how “going corporate” impacted his career and decisions.

“Naturally, it ago happen to you as a Dancehall artist. Once yuh go dis corporate route, yuh now living in a di eyes of corporate Jamaica… and dem waah yuh fi do tings a certain way,” he said.

He continued: “Even doh di people that I worked with in my corporate deal were pretty flexible, yuh get wa mi a seh? Dem did cool and ting but, of course, yuh know corporate Jamaica still a watch everyting wa yuh do. Yuh cyaa do certain tings and yuh cyaa seh certain tings.’

Highcon hit his stride as a budding Dancehall artist in 2020, but a lot of that momentum gained – corporate deals and the zeal for music – was almost abruptly sapped away after the COVID-19 pandemic struck. Highcon describes the whole period as “a disconnect.”

“I won’t even deny it, there was a disconnect. COVID faawud inna 2020 and den afta COVID, there was a disconnect. I won’t even deny dat,” he explained. He further shared, “There was a disconnect wid music on a whole afta dat. A disconnect wid music on a whole, everywhere.”

That disconnect, Highcon revealed, led him to refocus. With family taking center stage for him, he became disengaged with music. As he describes it, he was “discouraged” with it.

“Yuh start focus pon life more because COVID faawud and yaa think ‘Wa mi ago do? Yuh cyaa go outside, yuh cyaa do shows. Afta dat, mi feel like mi did jus’ get discouraged, mi cyaa lie to yuh. Plus, mi couldn’t relate to most a di songs dem wa dem did a sing dem time deh. Mi only sing bout wa mi know – girls, partying and fun,” he explained. The ‘Choppa’ and ‘Obeah’ songs, Highcon revealed, weren’t songs he could relate to. And though he could have attempted to pretend that he did, that’s not a path he was comfortable taking.

According to Highcon, “I feel like di songs dem weh me hit wid a songs weh mi sing ‘bout myself or sing bout tings weh me know and it work. So, mi cyaa sing bout tings weh mi nuh know ‘bout ‘cause mi cyaa relate to dem. If mi nuh know ‘bout it, mi nah guh sing it.”

He further added: “Mi feel like di music inna di space too dark. It too dark, man. And if it nuh fun, mi cyaa relate to it. The dark music put everybody inna a dark space and everybody wants to be dark and mi nuh waa be a part a dat. Everybody cyaa deh go di same way. Mi jus’ feel like dat nah go work fi mi. Mi cyaa sing bout choppin’ ‘cause I am not a choppa. Mek we mek music fun again.”

Highcon was also asked to weigh-in on the much-discussed Dancehall vs. Afrobeats debate, and his position was consistent with a growing segment in that heated arena. 

“Afrobeats music is more fun, more appealing,” he reasoned. “Afrobeats is also more organized and if a new Afrobeats artist do a show, di lowest dem a get paid a probably 20 grand (USD). A lot of Dancehall artist nah mek dat.” 

“And, let’s be real,” he continued, “we not selling out anywhere… di industry pon a whole need fi go back to di drawing board. As a genre, we kinda disconnected from di world.”

Highcon hasn’t fully re-engaged with music since his disconnect in 2020 following the COVID-19 pandemic. He candidly discussed still having his love for music, but still not feeling as though he has fully reconnected with it.

“I wouldn’t say I’m fully connected to it again, not yet. Mi have crazy collabs, mi jus nuh drop dem. Mi have crazy music, mi jus nuh drop dem, yuh get wa mi a seh? Di love fi di music still deh bout, but da disconnect deh is still there,” he shared. He further clarified what that disconnect meant, telling the host: “When mi seh disconnect, mi mean – di people disconnect from me, and me disconnect from di people dem.”

The So Saucy singer also touched on his recent arrest and subsequent release, only choosing to reveal that he was, in fact, a co-owner of the vehicle he was reported as stealing. According to him, he has owned the vehicle since 2017.

“There was a co-sign situation and it jus’ guh left,” he sparingly shared.

After discussing his latest project, the Rvssian-produced track featuring Teejay, Grand Theft Auto, which was, according to Highcon, a successful attempt at turning a negative into a positive, he was then quizzed about a subliminal jab he supposedly took at Masicka following his release.

Highcon reportedly posted a cryptic message to his Instagram story which appeared to suggest that ‘the sauce’ was greater than the ‘crocodile’ – a symbol Masicka has interchangeably used to represent himself in Dancehall spaces.

After explaining that he and Masicka has no known beef, Highcon explained: “Listen, if yuh eva hear seh a man nuh like mi, it affi be ‘bout a girl. Nutn else. Trust me. Jus’ believe dat.” 

He also suggested that the post was a response to a subliminal shot Masicka took at him. Now focused on making a comeback, Highcon closed the interview on a self-assured note: that he was not opposed to clashing Masicka, despite his perceived limitations as a ‘party’ artist.

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A slew of Dancehall artists, producers, and sound systems who ruled the 1990s, are being celebrated on International Reggae Day, which is commemorated July 1 each year.

According to founder of the event, Andrea Davis, the theme “From Brukins to Bogle” and accompanying compilation of the 80s-90s Dancehall Honourees Lists this year, is in accordance with IRD’s thrust to place the spotlight on an influential era of Jamaica’s rich musical history each year.  The list itself, is aimed at recognizing these stakeholders for their invaluable contribution to the growth and export of 80s – 90s Dancehall music culture.

“This year, given the two decades that we are focusing on a list of icons, which are artists whose catalogues span the decades that are pivotal to the whole thing,” she told DancehallMag.

“The creativity, acumen and influence of these persons and entities in various categories, were instrumental in Dancehall music culture’s ascension to become the global cultural phenomenon and genre influencer it became,” she noted.

Today, supporters of Dancehall are being encouraged to represent with pride, whether by dress, dancing, or playing music.

There are also two IRD events, including a panel discussion with Sly Dunbar, Clevie Browne, Beenie Man, Jeremy Harding, Noel Davey, Pat Meschino themed ‘Saluting the Global Influence of ’80s-’90s Dancehall and its influence on Hip Hop, Reggaeton, EDM and Afrobeats’, as well as another titled ‘From Brukins to Bogle: The Evolution of Dance in Dancehall Culture’.

The latter will feature Dr L’Antoinette Stines with presenters Maria Hitchins and Patrick Earle, as well as Dancehall dancers, Carlene the Dancehall Queen and John Hype.

The IRD’s 30 Dancehall icons include singers as well as deejays.  Leading the list of singers are the late Sugar Minott, who is regarded as a pioneer of the genre, Sizzla, Wayne Wonder, Pliers, Garnet Silk, Sanchez, Frankie Paul, Ini Kamoze, Shinehead, Barrington Levy and Tanya Stephens.

On the extensive deejay list are Supercat, The Don Gorgon, Ninjaman Shabba Ranks, Patra, Chaka Demus, Papa San, Lt. Stitchie Tiger & and Yellowman, as well as Lady Saw, Beenie Man, Bounty Killer, Buju Banton, Shaggy, Sean Paul, Cham, Cobra, Capleton, , Cutty Ranks and Spragga Benz.

The top 80s to 90s producers who are being celebrated include Steely & Clevie, King Jammy, Donovan Germaine, Henry ‘Junjo’ Lawes, Winston Riley, Bobby Digital, brothers Dave and Tony Kelly; Sting International, Robert Livingston, Playground producer Jeremy Harding and Clifton ‘Specialist’ Dillon.

Completing the list are Handel Tucker, Fattis Burrell of Xterminator Records, George Phang, Patrick Roberts, Black Scorpio and Main Street’s Danny Brownie.

The Dancehall selectors and their sound systems being honoured are Wee Pow and Rory of Stone Love; King Jammy and Shemmo of King Jammy’s Hometown Hi Fi; Courtney Singh, Johnny Guard,  Junior Vibes and Big Mack of Bodyguard; Noel ‘Papa Jaro’ Harper and Ricky Trooper of Kilimanjaro, as well as Peter Metro, Dalton “Sky Juice” Bogle and DJ Oliver of Metro Media.

Completing the sound system list are Bass Odyssey with selectors Keith Walford and Kevin “Squingy” Bennett; Black Scorpio with Jack Scorpio and Papa Screw; Renaissance with DJ Delano and Jazzy T;  Silver Hawk with the quintet of Steely, Ballsy, Jerry, Fatta and Richie Poo; Jah Love with Ilawi and Gary I; the UK-based Saxon Sound with Muscle Head, Papa Levi and Tippa Irie and New York’s King Addies with Danny Dread, Babyface and Tony Matterhorn.

IRD has also curated a list of the Top 10 Dancehall Anthems led by Sister Nancy’s 1982 hit, Bam Bam. 

There are five songs making the list from 1985, namely Ring the Alarm by Tenor Saw, Under Mi Sleng Teng by Wayne Smith, Greetings by Half Pint and Buddy Bye by Johnny Osbourne.

The list is completed by Dawn Penn’s 1994 hit You Don’t Love Me (No No No), Action by Nadine Sutherland and Terror Fabulous, One Blood by Junior Reid, Who Am I by Beenie Man and If Jah Is By My Side by Tony Rebel.

A list of what the IRD describes as “25 outstanding recordings highlighted for their invaluable contribution to the growth and export of 80s – 90s Dancehall music, has also been curated for the Dancehall Citations list.

They include Wa Do Dem by Eek A Mouse;  Diseases by Michigan & Smiley; Pass the Dutchie by Musical Youth; Electric Boogie, which is Marcia Griffiths’s biggest hit; Jamaica Jamaica by Brigadier Jerry; Josey Wales’ Undercover Lover, Wild Thing by Sister Carol and Admiral Bailey’s Punaany. .

Serious Times by Admiral Tibet, Gregory Isaacs’ Rumours Lady G’s Nuff Respect; Kuff by Shelly Thunder, Lloyd Lovingdeer’s Wild Gilbert; DJ Roll Call by Charlie Chaplin; Rikers Island by Coco Tea; One Draw by Rita Marley: Pinchers’ Bandelero; Housecall featuring  Shabba Ranks and Maxi Priest; Son Bow by El General; Informer by Snow; Louie Culture’s Gangalee  and Diana King’s Shy Guy are also featured.

Anthony B’s radio-banned Fire Pon Rome; Everyone Falls in Love by Tanto Metro & Devante and Mr Vegas’ Heads High, complete the list.

Women in Dancehall are also celebrated this year and are described by IRD organisers as fierce and talented Jamaican women with songs that captured the essence of the 80s-90s Dancehall era, who via their powerful voices, infectious melodies, and bold lyrics, “made a significant impact on the Dancehall scene and helped pave the way for future generations” of women.

Tanya Stephens, Lady Saw and Patra all have two songs on this list. 

Stephens’ is highlighted for Big Tings A Gwaan and her mega hit Yuh Nuh Ready Fi Dis Yet which was featured on Dave Kelly’s Joyride riddim, while Patra is hailed for Romantic Call from her Queen of the Pack album, which featured rapper  Yo Yo, and Pull Up to My Bumper from her Scent of Attraction Album.

Former Queen of the Dancehall Lady Saw’s Sycamore Tree, and  Smile, with Vitamin C make up part of the 25, which is completed by Bam Bam by Sister Nancy: Informer by Lady Ann; One Draw by Rita Marley: Kuff by Shelly Thunder: Lady G’s Nuff Respect: Electric Boogie by Marcia Griffiths Dawn Penn’s You Don’t Love Me (No No No, Shy Guy by Diana King and Nadine Sutherland’s Action.

The IRD has also curated a list of Dancehall gamechangers, described as live events, personalities, labels and a film company, who are being recognized for their invaluable contribution to the growth and export of 80s – 90s Dancehall music culture.

The list is headed by Sting, the Greatest One Night Show on Earth;  Bogle the Dancehall Master; Carlene the Dancehall Queen; Irish & Chin World Clash; fashion designer Earl ‘Biggie’ Turner; US-based VP Records; HC&F Recording Studio and Ras Records; Greensleeves UK and Palm Pictures *Studio One Catalogue.

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Reggae and Dancehall music producers Mikey Bennett and Kirk “Koolface” Ford were featured in the Positive Vibrations: Country Goes Reggae (Mini Documentary), which is aimed at showcasing how “Reggae music and Country music are both rooted in culture and storytelling”.

The two Jamaicans were featured alongside country singer Ricky Valido and line dancer Allan Silverman to share stories of how country and reggae culture influence one another. 

Directed by Jay Will, the 10-minute doc was filmed at various rural locations in Jamaica and South Florida.

Offering his thoughts on the project, Will said: “growing up in Jamaica and listening to Country music, and being a huge fan of the genre, made me absolutely honored to get the opportunity to create visuals for the Country Goes Reggae album.”

IMAGE FROM “SMILE (FEAT. UNCLE KRACKER)” MUSIC VIDEO VIGNETTE

He continued, “Reggae music and Country music go hand in hand with the types of stories they tell and the feeling it gives to people when they listen. Positive Vibrations transformed these hit Country songs into what will now definitely become island classics.”

The 11-track Positive Vibrations: Country Goes Reggae album, which put a Reggae twist on well-loved Country songs and which was produced by Christian and Frank Berman (The Berman Brothers) and partner Ron Oehl, was released in July 2022.

It had re-imagined several Country classics, among them Alabama’s Pass It On Down, Rascal Flatts’ I Like The Sound of That, Toby Keith’s Red Solo Cup, Uncle Kracker’s Smile, Randy Houser’s Boots On and Jimmie Allen’s Make Me Want To and Dolly Parton’s Two Doors Down.

“Country Goes Reggae was a very brilliant idea because producers sat down and figure out which songs were good to do a cover in a reggae version,” Koolface said of the production, which drew on the musical talents of Positive Vibrations, an ensemble of Jamaican musicians and sound engineers which includes Ian “Beezy” Coleman, Devon Bradshaw, Guillaume “Stepper Sax” Briard, and Henry “Matic” Tenyue.

For his part, Koolface pointed out that while growing up in Jamaica, Country artists “were on the radio a lot” particularly on Sundays, and that “a Kenny Rogers song like I’m the Gambler song was a famous song”.

IMAGE FROM “RED SOLO CUP (FEAT. TOBY KEITH)” MUSIC VIDEO VIGNETTE

“Country music is brilliant with storytelling and that’s why I think that we are pulled towards country music so much,” Ford said.

“And one of the biggest songs that I discovered over a period of time that I didn’t realize at the time was a song called if I were A Carpenter.  So all these songs I realized that were country, but then they got covered or a rendition was done by reggae artistes,” he added.  

During the documentary, Bennett pointed out that “almost every house in Jamaica that had a record player had albums by Country singers Marty Robinson album, Patty Paige, Skeeter Davis and Jim Reeves.

“Country songs give a lot of details that you can actually script.   A lot of the lyrics in early Rock Steady we’re from country and western songs because these songs were about life,” he said in explaining why Jamaicans gravitated to that music genre.  

According to the Berman Brothers, the idea for Country Goes Reggae was conceptualised during a trip to Negril, in Western Jamaica, back in 2019.

According to them, they were “sitting at a sunset, beach bar listening to reggae classics as a car passed by blasting US country songs” and upon hearing the blend of different styles and cultures, they knew a merger of the two genres would be nothing short of perfection.   

The album was subsequently recorded at Axx Studio and the Sound of Silence in Kingston, Jamaica and at Livingston Studio in London. It was mixed by GRAMMY-winning mixing engineer Chuck Ainlay and mastered by 12-time GRAMMY winner Bob Ludwig.

The Berman Brothers are described as award-winning record producers and songwriters, whose work has been awarded with more than 90 Gold and Platinum Awards, two BMI awards, a Golden Globe nomination and a Grammy Award.

“As producers, writers and publishers they have worked with international superstars including: Coldplay, Sting, Maroon 5, Cher, Baha Men, Jason Derulo, Major Lazer (Diplo) and the legendary Buena Vista Social Club,” their website notes.

The duo was also Grammy-certified for their production and remix of the Baha Men’s Who Let The Dogs Out, a million-selling song that topped numerous music charts globally worldwide and was used as synchronization music in numerous movies and commercials.

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Tuff Gong International has announced a new Bob Marley Reggae/Afrobeats fusion album titled Africa Unite, set for release on August 4, with several collaborations featuring popular Nigerian artists.

In a release, the Kingston-based label, which Bob Marley founded in 1965, described the 10-track production as “a majestic, posthumous album celebrating the vibrant fusion of Reggae and Afrobeats.”

Bob Marley and the Wailers – Africa Unite

The new Africa Unite production is named after the sixth track from Marley’s 1979 Survival album, which contained other tracks such as Ambush in The Night, Wake Up and Live, Zimbabwe, and Ride Natty Ride.

“Africa Unite is an extraordinary album that pays homage to the Reggae icon’s greatest hits, beautifully reimagined and infused with the infectious rhythms of Afrobeats,” a Tuff Gong release said.

Here’s the tracklist:

So Much Trouble In The World ft. Nutty O and Winky D
Dem Belly Full ft. Rema and Skip Marley
Redemption Song ft. Ami Faku
Waiting In Vain ft. Tiwa Savage
Turn Your Lights Down Low ft. Afro B
Three Little Birds ft. Teni and Oxlade
Buffalo Solider ft. Davido
Stir It Up ft. Sarkodie
Jammin ft. Ayra Starr
One Love ft. Patoranking

The label also notes that each of these artists “bring their unique flair and artistry, paying tribute to Bob Marley’s enduring influence while adding their refreshing voices to his iconic compositions.”

“Bob Marley’s impact on Reggae and Afrobeats music culture is immeasurable. His ageless music transcends borders and generations. This project is no different; it invites listeners on an enchanting musical journey. From the heartwarming rendition of “Waiting In Vain” to the uplifting energy of “Stir It Up,” the album showcases the seamless fusion of two extraordinary musical worlds,” the release noted.

On Friday, Tuff Gong also announced the release of the lead single, Three Little Birds and an accompanying video, featuring Teni and Oxlade.  The track is a repurposed version of Marley’s Three Little Birds from the Gong’s 1977 album Exodus, and, according to Tuff Gong, “truly emulates the original with an afro-fusion kick.”

“With Africa Unite, Bob Marley’s influence continues to resonate, bridging the gap between the past and present. The album not only showcases the global reach of Bob Marley’s music but also celebrates the rich tapestry of African rhythms and melodies. By intertwining reggae’s soulful vibrations with the infectious energy of Afrobeats, Africa Unite embodies the unity and spirit of collaboration, mirroring the late artist’s vision of a harmonious world,” Tuff Gong noted.

Bob Marley’s daughter Cedella Marley, in reflecting on the significance of the album, is quoted as saying that Africa Unite showcases the importance of Bob Marley in modern-day Africa, as the singers who are featured “have reimagined Bob Marley’s classics in a way we know he would have loved and been proud of.”

“The release of Africa Unite will undoubtedly captivate Bob Marley’s loyal fanbase and attract new listeners seeking to experience the magic of his music in a fresh and vibrant way,” Tuff Gong said.

As for Tuff Gong itself, the studio, which is located on Marcus Garvey Drive, in Kingston, was at one point in time, the location of the popular Federal Records, but was acquired by the Marley estate after Bob’s death.

History surrounding the property is that at one stage of Bob’s career, he was refused entry one particular day following a confrontation, “even when Johnny Nash wanted him to record.”   Marley then and there had vowed that one day he would own the property.

The property was put up for sale in 1982 and was purchased by Bob’s widow Rita Marley who named it Tuff Gong.   Tuff Gong, at that time, specialised in vinyl manufacturing, and also comprised a record shop, a mastering room and a recording studio.

Today, Tuff Gong comprises a recording studio, mastering room, stamper room, pressing plant, cassette plant, wholesale record shop, booking agency, as well as offices for Rita Marley Music and Ghetto Youths International the record label founded by Bob’s son Stephen Marley and his younger brothers Julian and Damian.

Tuff Gong International is one of the Caribbean’s largest studios.  It features the second-largest live recording space in Jamaica.  Over the decades scores of artistes, musicians, producers and tourists traveling from far reaches of the earth to visit the facility.   Jamaican artistes such as Capleton, Sly and Robbie, Shaggy, Bounty Killer, Lady Saw, Jimmy Cliff and Beenie Man have recorded at Tuff Gong, as have foreigners such as Sinead O’Connor, Snoop Dogg and Lauryn Hill.

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