Yo, Big Things A Gwaan!Welcome to www.djkaas.com, check it out wicked mix cd's, available worldwide and prices just gone down! So surf in to the online shop
UPDATE 29-11-03: big update! We are now able to offer our customers dancehall reggae DVD`s! A hot variety of titles, from festivals, artist performances to jamaican full feature movies! So hurry and check out the DVD store!
UPDATE 10-11-03: All forms and links have been revised, everything is working 100% now. All prices in the shop are in Euro`s as we speak. The last was necessary taking in consideration the drop of the course of the dollar. Furthermore you will find some brandnew mixes in the download area.
If you're interested in the Mixes and Remixes .. Then hurry to the Mp3z Page and check 'm all! This site is updated regularly with massive and wicked things, so please check back often and don`t forget to bookmark us!
And Remember: We run Tings, Tings Nah Run We!!
Schooled at such esteemed learning institutions as Wolmer's, Hillel and Bel-Air, Sean made sure he furthered his education before pursuing his musical destiny. Whilst at school Sean excelled at sports - representing his country in swimming and water polo at many international events. He went on to study for hotel management at UTECH, before finding employment in a bank - "counting other people's money!" he jokes. Whilst very thankful for the privileged position his hard-earned education had furnished, the Dancehall bug had bitten Sean and there simply was no cure.
When he was thirteen his mother had given him a little thirty-dollar keyboard. "I remember thinking this was all I needed to make dancehall rhythms!" Sean reminisces. Shabba Ranks, Super Cat, Major Worries and a whole heap of hip-hop artistes made up Sean's musical preference as he worked his DJ apprenticeship. After attracting attention on the mic at local block parties and barbeques, Sean made use of his links with Third world band members Cat Coore, Bunny Rugs and Carrot Jarret: they introduced him to the professional side of the business and encouraged him to exercise his talents further. Dancehall pulsing through his veins, Sean honed his craft until he came to voice his debut single - "Baby Girl" for producer Jeremy Harding's 2 Hard Records label in 1996. The song was a bombshell and blasted the way for many more hits - "Nah Get No Bly", "Deport Them", "Infiltrate", "Excite Me", are amongst the tunes which have helped establish Sean Paul as a major force in the Dancehall arena. As the millennium closed, Sean was requested to combine with the MOBO award winner Mr. Vegas and multi-platinum selling rapper DMX for the soundtrack of "Belly" - Hype William's 1999 blockbuster movie. "Hot Gal Today" - also a combination with Mr. Vegas went on to attract further international attention - it was voted number twelve in SPIN magazine's Top 20 singles of the year, and left a great number of fans expecting, if not demanding, an album from Sean.
Stage One
is Sean Paul's phat-and-dutty long playing joint that answers the
cries of the fans. "Stage One" is an eclectic mix of old and new
tunes, breaking new ground with it's enhanced CD format - enabling
Sean's fans to access exclusive footage, photos and fillers. Always
an experience not to miss on stage, Sean will undertake an extensive
tour, as he showcases 
"Stage One"
around the globe. Still finding time and energy to dunk on fools on
the basketball court in his spare time, Sean has also launched his
Bassline Records label with co-partner Daniel Abbot, having just
released their first rhythm - Titanium 2000. Despite all the hype
surrounding Sean Paul, the DJ remains with grace - "It humbles me to
know that I can get through as a DJ because I had the opportunity in
life to do the bank thing. Some people can't get them life there. So
me haffi give thanks for what I have and I try not to make anyone
feel negative at all, because even the slightest thing can make
someone feel negative. And positivity is something that always
drives me and the music I create."
Born Clifton George Bailey III, in the small village of Islington in St. Mary, Jamaica, Capleton has gone on to become one of reggae's most successful vocalists. He obtained the name Capleton from intervening in a conversation with friends, with some important points, impressing them so much, that they they thought he must be Capleton, a name he continues to use for his artistry.
Moving to Kingston, it didn't take him long to get his break, when he passed an audition for the cast of the Toronto Stewart Brown's musical production, African Star. He made his first trip abroad to Canada for the stage show in 1989. The show was such a success that, soon after returning to Jamaica, he was signed by reggae producer, Philip "Faddis" Burrell.
Despite being banned from radio airplay for its suggestive lyrics, Capleton's first single the risque "Bumbo Red", became a dancehall hit and established him as an important new voice. 1992 saw the release of "Armshouse", the anti-clash anthem which urged peace among the warring DJ's. Later that year he came 'Prophet'; these two songs seemed to portend the changes Capleton would later go through. Capleton's debut album, "Prophecy", released in 1995, included the Caribbean Music Awards single of the year, "Taxi".
Though not overnight, a new Capleton has emerged. No more do we hear him uttering lyrics degrading women or insinuating any form of violence. He has proved his ability and versatility by topping the Billboard charts and we can look forward to more hits. Since 1989 Capleton has been one of the most consistent deejays in dancehall.
Twenty-three year old Sizzla began his journey as Miguel Collins, born of devout Rastafarian parents and raised in the close-knit community of August Town. The 1980's witnessed a dancehall explosion and with the music came the lifestyle; drugs, guns and "slackness" (vulgarity). Sizzla watched carefully, collecting his lyrical ammunition. Formally adopting the Rastafarian faith, with it? no-holds-barred advocacy of repatriation, slavery reparations and the use of ganja, he joined the ranks of the Bobo Ashanti in the mid-1990's. Bobo is Jamaican slang for African, Africa being the spiritual home of the Rasta. The name Ashanti derives from an ancient religious tribe, similar to the Israelites.
The Bobos stand against all forms of oppression or modern day slavery, which have been forced on them by Babylon, the western world. Shunning institutionalised education and religion they have built self-sufficient communities and live frugally according to their strict beliefs. The Bobos' refusal to toe the establishment line together with their often controversial pro-change diatribes inspires supporters and alarms their opposers.
Sizzla began to develop his own uncompromising style whilst serving his musical apprenticeship with the Caveman Hi-Fi sound system. For him the music is a vehicle for his message, and in 1995 he grabbed the opportunity to spread the word far and wide. Kick-starting his recording career with a release through the Zagalou label, he then teamed up with Bobby "Digital" Dixon for a series of series of singles. Extensive touring with fellow roots and culture artist Luciano followed, earning Sizzla critical acclaim.
1996 marked an important turning point for Sizzla who began working with producer Phillip "Fatis" Burrell of Jamaica's foremost modern roots stable, Xterminator. From the outset their relationship was one of mutual respect and inspiration. A run of successful singles led to the release of Sizzla's debut album, "Burning Up" (RAS). The alliance again proved fruitful a year later with the follow-up, "Praise Ye Jah" (Jetstar). Securing his position as a top conscious reggae artist, he set about cultivating his role as a spiritual messenger. Sizzla's combination of Rasta principles and up-to-the-minute dancehall rhythms made his hard-line approach more palatable. A brilliant and passionate performer, Sizzla broke boundaries, appealing to those looking for something new, music with depth.
His major breakthrough came with the release in 1997 of the now classic album, "Black Woman and Child" (Greensleeves). Bearing all the hallmarks of Bobby "Digital" Dixon's dancehall-influenced production, the impact on both the reggae and mainstream markets was phenomenal. The evocative title track, issued as a single, rapidly achieved anthemic status. Along with universal praise came Sizzla's first nomination for Best International Reggae Artist at the 1998 MOBO Awards and a place in various magazines' top 100 albums of the year.
Sizzla has since released no less than seven albums, including 1998's "Kalonji" (Jetstar), which saw the single "Rain Shower" playlisted at Radio One and last year's "Royal Son of Ethiopia" (Greensleeves). 1999 also saw him receive his second MOBO nomination. A constant presence in the reggae charts worldwide, Sizzla's fire shows no sign of abating.
If success brings media interest then Sizzla is no exception. But although he is a prolific recording artist, he remains a mysterious figure, having little or no contact with the media. To many Sizzla is a dichotomy; music is a vital means of delivering his message yet he doesn't support the music industry, believing it to be another corrupt and oppressing institution. Not wanting to be seen to endorse the industry, he is wary of any involvement with press and promotion and has granted only a few interviews to date. His rare live appearances are always sold out.
Whether or not you share his philosophy, there is no denying that Sizzla is a gifted musician who has the courage to stand by his convictions, even at the risk of his career. Like Bob Marley before him and the black Muslim rap artists of today, Sizzla is all about truth through music. A principal figure in the 90's roots and culture revolution, he has inspired dispossessed Jamaicans and newcomers to reggae music alike.
But the revolution is far from over. With the release of his brand new album 'Bobo Ashanti", Sizzla looks set to continue his reign as conscious reggae's biggest star. His most complete album to date, produced by Phillip "Fatis" Burrell, showcases Sizzla at his best. "Bobo Ashanti" is an epic and heartfelt journey along the Rasta path, each song reflecting common themes; Babylon's corrupting influence, the disenfranchisement of ghetto youth, oppression of the black nation and Sizzla's abiding faith in Jah.
He has an ability to fuse passionate lyrical styling with deceptively simple rhythms that take in a range of genres from staccato dancehall and gentle roots reggae to surprisingly commercial R&B and soul arrangements. Glorious opening track "The World" is a modern take on the pulsing dub beat and a call to conquer evil by rejoicing in Rastafari. Sizzla's plea for truth on "Courage" is set against a lilting guitar hook. He asks the ghetto youths to follow King Selassie and "Grow U Locks" on a punching dancehall rhythm. The R&B-influenced closing track "Must Rise" is an earnest appeal to black people to find strength in unity. All share Sizzla's unmistakable voice, one moment gospel-like, the next pure fire.
This Bobo Ashanti cannot be ignored. Embracing his roots and culture heritage, Sizzla has taken all that is great in reggae music and made it his own. Let him save your soul.
Reggae is undergoing a transformation. It's being blown apart, and emerging from the blast like the good guy in a cop movie, is the latest in a new breed of artist, Mr Vegas. Young, fresh, and burning to bring us the new flavour, this year's big buzz has his head held high!
Following hot on the heels of his cheeky contemporary, Red Rat, Mr Vegas is turning the reggae world upside down with his inimitable singing style and charismatic personality. His massive single "Heads High" blew away all competition, storming into the UK reggae charts and refusing to budge from the top slot.
24-year old Vegas began life as Clifford Smith. Born in Kingston, Jamaica and one of eleven brothers and sisters, his driving ambition was to become a singer. His first foray into music was at the tender age of eleven when he paid a visit to a recording studio. Continuing his education, Mr Vegas honed his smooth vocals by entering local talent contests. The first to admit that he wasn't always successful, Vegas' commitment proved that his was a talent that wasn't going to be kept down.
His suitably suave moniker was coined by friends whilst playing football. His twisting technique and pink shorts reminded them of a go-go dancer at the local club, Las Vegas. So Mr Vegas he became, the consummate performer, typifying the spirit of that glittering entertainment capital.
Vegas, is one of a new generation of Jamaican artists, firmly rooted in a solid musical tradition, yet hungry for the way forward. Like the US gangsta scene, ragga was in danger of slipping into stereotype, the music no longer a true expression of a young Jamaican's life. Vegas, always broad-minded, embraced musical genres as wide apart as American rock and British dance, absorbing their influences and injecting his unique style with universal appeal.
A turning point for Vegas came in 1996 when the popular Jamaican DJ/producer, Don Yute, overheard him singing the track "Killing Me Softly". Yute, impressed with the sweetness of Vegas' vocals, jumped at the opportunity of collaborating with him on a cover of AZ Yet's "Last Night".
Months later Vegas' career was to change forever. Whilst in session at a studio in Kingston, he was approached by a musician angrily claiming ownership of a DAT tape that didn't actually belong to him. Vegas turned his back, uninterested. The dispute didn't end there. Vegas' jaw met with an iron bar and was smashed up.
He spent six uncomfortable weeks with his jaw wired, unable to make the soulful music that had blown Don Yute away. But the irrepressible Vegas wasn't going to let a small setback like having his jaw broken stop him from laying down the vocals. He developed a singing style, no longer pretty, but out and out hardcore. A cross between singing and rapping, Vegas' new style was to make him a star.
Against doctor's orders Vegas had his jaw unwired and headed straight for the studio. This time it was Jeremy Harding's turn to be blown away. At the time Jeremy was one of Jamaica's lesser known producers. He had just created the Playground rhythm which was to be immortalised in Beenie Man's smash "Who Am I ?(Zim Zimma)". Vegas heard it and knew that he had to record the stunning "Nike Air" on the rhythm and the rest, as they say, is history.
Vegas has dominated the reggae charts with a string of hits including "Nike Air", his first chart smash in Jamaica, "Latest News", "Yu Sure" and the superb
Danny Brownie-produced "Heads High" which was picked up by Kiss FM's David Rodigan and the Full Frontal girls, steaming into the station's A-list. The track made it into the Top 75 and is still eclipsing the competition in the UK reggae charts, where it has held on to the No.1 slot for an unprecedented ten weeks.
Mr Vegas' spectacular debut album is creating a huge stir, both on the street and in the industry. It is one of the most talked-about debut's in the history of ragga, with everyone hungry for that voice. As if this wasn't enough, Vegas has been nominated as Best International Reggae Act for the 1998 MOBO awards, up there with fellow ragga royalty, Beenie Man, Sizzla and Red Rat.
I was surfing around when I found these Jokes, Respect to the owner of that site.
Jokes are for fun, so please don`t take them seriously. If you know a dancehalljoke of you own please send it to me.
Terror Fabulous and Daddy Screw
One evening while Terror Fabulous and Daddy Screw was coming off a flex, Terror noticed that Screw looked disturbed so he asked his partner what was the problem ? Screw told him that he had problems with his girl so Terror turned and told him that "Lovermaan, a dat she want......"
The following day while Terror was trampoozing thru downtown he stumbled in Screw's girl who was complaining about her love live, so Terror told her, "Yuh want a man like mi, definitely professional man like mi....."
The girl was taken aback and asked Terror why would he be interested in someone like her, Terror responded "Yuh warm and fabuloshous darling, yuh mad di whole a dem caw yuh charming, woman yuh a lead, yuh hot like pepperseed". By now the girl had a Colgate smile all over her face and took Terror home with her and warned him that "Action, not a bag a mouth, sweet loving mek di gal dem bruk out."
Terror tell har fi quiat and "Position, hold up yuh head and...." When pressure start to reach her she began screaming and pleading for Terror to stop, but he told her "No Retreat no surrender, mi naah lotion pet nor powder." This continued for an extended period and when it was all over she asked Terror if he was under the influence of some form of drugs, but the DJ told her, "A jus Jah Works, when yuh see....."
Buju Banton was born Mark Anthony Myrie on July 5, 1973 and is the youngest of 15 children. He was born into poverty on Salt Lane a slum outside of Kingston. His parents are direct descendants of the Maroons, an independent, rebelious clan of escaped African slaves who fought off attacks from British Regiments who wished to return them to slavery. Buju is a childhood name given to him because he was chubby as a boy. Buju is the Maroon word for breadfruit (a starchy oval shaped fruit eaten as a staple). The Banton in his name comes from Burro Banton, an idol of Buju's.
At age 13 Buju already was on the mic as a deejay and by the age of 19 was tearing up the dancehall charts with hits such as "Browning", "Big It Up", and "Bogle". Buju's style was synonomous to the stereotypical attitude of the critics of dancehall music. Buju also started a firestorm of controversy with his song "Boom Bye Bye", a song about batty boys. The song spawned protests from many gay rights organizations and many questions arose concerning the Jamaican and Rastafarian attitudes towards homosexuality. Mercury Records insisted that Buju write a statement about the song. Buju stated that he was not trying to cause violence, but did not apologize for his feelings about batty boys citing the Bible and his religious beliefs as a basis for his feelings.
With his next album, Voice of Jamaica, Buju was already undergoing his gradual, tremendous transformation from a dancehall deejay to a reggae Star. With his becoming a true Rasta and Voice of Jamaica, Buju's music developed a new social consciousness. Buju started Operation willy to help AIDS afflicted children. He released "Willy (dont be silly)", a song to promote condom use on his Voice of Jamaica album. Buju also turned to educating island youth about the importance of religion.
In 1995 Buju released his 3rd album "Til Shiloh" which contained classic Buju songs such as "Untold Stories", "Wanna Be Loved", and "Murderer". Buju's latest release is "Inna Heights" and was released in 1997. Hits include "Small Axe (fall big tree)" and "Destiny".