When did early dancehall music begin?

September 26, 2025 by Dahrk Vision in Early Dancehall

Explore the origins of early dancehall music and discover when the genre truly began. This article traces the late 1970s shift from roots reggae to the dancehall sound, highlighting social change, key figures, and foundational riddims in Kingston, Jamaica.

Introduction

Genres rarely have exact birthdays. They emerge through experimentation, cultural shifts, and community recognition long before scholars and journalists apply labels. Dancehall music, one of Jamaica’s most influential genres, is no exception. Unlike ska, which had Toots Hibbert’s Do the Reggay as a definitional marker for reggae, dancehall’s beginnings are harder to pin down.

So when did early dancehall music begin? To answer this, we must situate the genre within the social and political turbulence of 1970s Jamaica, the transformation of sound-system culture, and the production experiments that gave rise to a sparser, bass-heavy sound. By the late 1970s, a new musical identity was forming in Kingston’s dance spaces, setting the stage for a cultural revolution that dominated the 1980s.

The Timeline Debate: Pinpointing the Origins

Scholars and fans generally place the birth of early dancehall between 1977 and 1980 (Hope, 2006; Stolzoff, 2000). The confusion arises because dancehall was:

First a live practice in sound-system sessions, with deejays toasting over dub versions.
Later a recording practice, captured by producers like Henry “Junjo” Lawes, King Tubby, and King Jammy.

By 1979–1981, early dancehall was fully distinct from roots reggae, though the seeds were planted in the mid-1970s when reggae itself was shifting.

Social Context: Jamaica in the Late 1970s

Political and Economic Backdrop

Jamaica in the late 1970s was marked by political violence between rival parties, economic decline, and social unrest. The optimism of reggae’s international success contrasted with the day-to-day struggles of urban youth (Hope, 2006). Dancehall arose as a local response, music made for Kingston’s neighborhoods rather than foreign audiences.

From Global Roots to Local Voices

Roots reggae carried Rastafarian spirituality and Pan-Africanist messages aimed at global solidarity. Dancehall shifted toward immediate, local realities: romance, humor, social commentary, and everyday survival.

Sound Systems as the Cradle of Dancehall

The Function of the Dance Hall

Dancehall gets its name from the venues themselves — open-air spaces or clubs where sound systems reigned supreme. By the late 1970s, these sessions were drawing huge crowds, and the culture within them began to shape the music more than studio releases did.

Selectors and Deejays in Transition

Selectors like those of Gemini, Volcano, and Killamanjaro focused on stripped-down riddims, while deejays like General Echo, Josey Wales, and Lone Ranger entertained crowds with witty, interactive performances.

This environment produced a style that was faster, rougher, and more audience-driven than roots reggae.

Studio Catalysts: 1979–1981

While sound systems birthed the practice, studios documented it. Between 1979 and 1981, several landmark developments occurred:

Henry “Junjo” Lawes began recording Barrington Levy with the Roots Radics band, producing classics like Collie Weed (1979) and Bounty Hunter (1980). These are often cited as among the earliest true dancehall records (Manuel & Marshall, 2006).
General Echo’s 1979 recordings, especially 12 Inches of Pleasure, captured the slackness style that marked a lyrical break from roots reggae (Cooper, 2004).
Scientist, mixing Junjo’s productions, introduced dub aesthetics that defined the sparse, bass-driven sound of dancehall.

By 1981, early dancehall had established a sonic identity that no longer resembled the roots movement of a decade earlier.

Key Riddims of the Early Era

Dancehall emerged not just from artists, but from riddims that circulated endlessly:

Real Rock (1967) – revived in countless early dancehall sessions.
Stalag (1973) – became one of the most versioned riddims in dancehall history.
Heavenless, Diseases, and Answer – staples of late 1970s deejay performances.
Volcano’s Radics-backed riddims (1979–83) – heavier, more spacious than roots reggae.

These riddims marked the shift toward bass dominance and minimalism, crucial for dancehall’s rise.

Pioneers Who Anchored the Beginning

Producers

King Tubby – supplied version sides for deejays, laying groundwork for riddim culture.
Junjo Lawes – first to consistently record dancehall as a studio genre.
King Jammy – analog pioneer who later revolutionized digital dancehall with Sleng Teng (1985).

Deejays and Singers

General Echo – introduced slackness on record.
Barrington Levy – became the voice of the early dancehall era.
Yellowman – rose in the early 1980s as the first dancehall superstar.

Sound Systems

Volcano Sound – embodied the link between Junjo’s studio work and live Kingston sessions.
Gemini Sound – crucial in showcasing deejay talent.
Killamanjaro – defined the clash culture central to dancehall identity.

Early Dancehall vs. Digital Dancehall

To clarify the timeline, it’s important to distinguish early (analog) dancehall from digital dancehall:

Early Dancehall (late 1970s–mid 1980s): Band-driven, analog riddims, dub influence, slackness lyrics, live sound-system energy.
Digital Dancehall (1985 onward): Launched by Wayne Smith’s Under Mi Sleng Teng, characterized by computerized riddims and the ragga style (Bradley, 2000).

The question “when did dancehall begin” must therefore be answered:

As early dancehall: circa 1977–1981.
As digital dancehall: 1985, with Sleng Teng.

Why the Late 1970s?

Shifts in Jamaican Society
The decline of optimism and rise of ghetto-centered realities required a new musical voice.
Dub and Riddim Culture
Dub stripped songs down, creating fertile ground for toasting and audience-centered music.
Generational Divide
Roots reggae appealed to an older, global-facing audience; dancehall reflected the youthful immediacy of Kingston’s poor.
Commercialization and Local Focus
Dancehall was not initially aimed at global audiences. It was for the dance, by the dance, and this local orientation is why pinpointing a commercial “first track” is harder than for reggae.

Conclusion

So, when did early dancehall music begin? The evidence points to the late 1970s, crystallizing by 1979–1981 when producers like Junjo Lawes and engineers like Scientist documented the sound of Kingston’s dance halls. While Wayne Smith’s Sleng Teng (1985) is sometimes cited as the “first dancehall song,” it actually marks the dawn of digital dancehall, not the genre’s beginning.

Dancehall’s true origins lie in the sound-system sessions of Kingston in the late 1970s, where youth culture, political strife, and dub innovation converged to birth a genre that continues to dominate global music today.

References

Bradley, L. (2000). This Is Reggae Music: The Story of Jamaica’s Music. Grove Press.
Cooper, C. (2004). Sound Clash: Jamaican Dancehall Culture at Large. Palgrave Macmillan.
Hope, D. P. (2006). Inna di Dancehall: Popular Culture and the Politics of Identity in Jamaica. University of the West Indies Press.
Katz, D. (2012). Solid Foundation: An Oral History of Reggae. Jawbone Press.
Manuel, P., & Marshall, W. (2006). The riddim method: Aesthetics, practice, and ownership in Jamaican dancehall. Popular Music, 25(3), 447–470.
Stolzoff, N. C. (2000). Wake the Town and Tell the People: Dancehall Culture in Jamaica. Duke University Press.
Veal, M. (2007). Dub: Soundscapes and Shattered Songs in Jamaican Reggae. Wesleyan University Press.