The music business is a global breeding ground for ambition and enterprise, but arguably nowhere more so than Jamaica. The dancehall superstar Spice gets hers from a basic, upsetting truth: her scene has been pillaged for musical riches without getting the global credit it deserves.

"We're still ambitious because it's been around for three decades and there are still artists trying to be impactful and known there," she proclaims to GRAMMY.com. "I would say we are very ambitious to still be going after 30 years, 40 years." Rather than be hobbled by these hurdles, she went on to be unstoppable in the dancehall scene — and work with two of mainstream reggae's leading lights.

Indeed, Shaggy and Sean Paul appear together for the first time ever on Spice's new single, "Go Down Deh," which just cracked 20 million views on YouTube. The percolating tune is included on her new album, Ten, which will be released on her birthday, August 6.

True to its title, the 15-track collection was in limbo for a decade due to label tumult. Now, listeners can hear her message loud and clear: Dancehall and reggae are for everyone, and it all began in Jamaica.

GRAMMY.com caught up with Spice over Zoom about her rags-to-riches story, why the world of dancehall is far richer than most give it credit for and how she feels now that Ten is finally on the horizon.

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This interview has been edited and condensed for clarity.

You mention dancehall culture in the press release. While I'm very aware of the genre, I'm less knowledgeable about the vibe and culture surrounding it. How would you describe it?

Let me start out by saying that a lot of people don't know that dancehall is a place. Dancehall is actually a place where people go to dance and have fun. It's a very energetic genre. A lot of people from different cultures take from dancehall. Kool Herc was playing dancehall in New York, and that's where hip-hop was birthed. A lot of people don't know that dancehall has been very impactful.

I imagine that there are myriad varieties within dancehall, too. It's not just one thing.

Definitely, there are different sounds within the dancehall genre. Different types of style and sound. You have old-school dancehall, modern dancehall — everything is kind of different. Every artist always puts their unique style to it, so it has changed over the years.

Do you consider yourself exclusively a dancehall musician, or is that just one trick you've got up your sleeve?

I do a bit of reggae as well. I would definitely say I just represent Jamaican music, which is dancehall and reggae at the same time. I do dancehall sometimes; sometimes, you hear me do a little more cool end of the style. I know you would be more familiar with a Bob Marley type of song, so a Bob Marley style would be reggae. But when Spice [comes] out more and I spit lyrics [over] a more hardcore bass/drum [beat], that's dancehall.

Is this the truest dancehall music you've made, or have you gone more dancehall in the past?

I definitely have been more dancehall in the past. One of my biggest hits is "So Mi Like It"; it has almost 100 million views. I'm known for doing hardcore dancehall music.

But these days, it seems like you're more interested in blending it with whichever inspirations come your way.

Definitely. I would definitely say that. My fanbase and audience know me for that type of music, too — hardcore dancehall. It wasn't surprising that "Go Down Deh" with Shaggy and Sean Paul was so impactful and that it did so majorly and so very well.

Read More: The Women Essential To Reggae And Dancehall

What compelled you to seek out those two artists as collaborators? Do you go back with those guys?

Well, I've known them over the years. I've been a fan of both of them. I was the one who reached out to Shaggy and I said, "Hey, I think we need to do a song together." He answered me the same day and was like, "Come to my studio. I have a ranch in New York." I went to New York and we discovered "Go Down Deh," the track. It was just so amazing.

I said, "Can you imagine what would happen if I had Sean Paul on this track?" He was receptive to it, so we reached out to Sean Paul. We sent him the track; Sean Paul was already on it. Within 24 hours, Sean Paul sent me back his part with his verse. I tell people that this was the easiest song to put together. A lot of people thought it would be one of the most difficult tasks, but it was the easiest.

What do you appreciate about the specific chemistry between you three?

What I really appreciate is the fact that we are all from Jamaica. When I was promoting it, I just put out "SSS" and everyone was like, "What is SSS?" I said, "Spice, Shaggy and Sean Paul." But what I appreciate more about it is that I'm just so humbled over the fact that it's two of the big legends who have done so well for the genre. Shaggy, he sold diamond.

I'm just humbled that they were able to come together for the first time on the lead single from my album. Every day, I give thanks, and I'm so grateful to these two legends for being able to be part of my album.

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Because all three of you are from Jamaica, is there a sense of silent communication or understanding?

Most definitely. At the end of the day, when Sean Paul does his interviews, he says "I've been a fan of Spice for so many years." And I myself have looked up to Sean Paul and Shaggy for so many years. A lot of people don't know that we all came from humble beginnings, you know?

Growing up in Jamaica as a third-world country hasn't been easy for any of us. We have managed to struggle and come from a background where we basically had nothing and embrace our culture. We took it to the world and showcased it to the world. We all have similar paths. So now that we are together, I do say we share similarities in that aspect of where we're coming from.

I feel like most Americans are aware of the tumult in that region, but not of the specifics. What was challenging about your upbringing?

Let me speak basically from my point of view and perspective and from where I'm coming from: I come from humble beginnings, meaning I had basically nothing. 

I remember going to school with no food, no money, not even knowing how I was going to get back home. I had to beg people to put money together to pay my fare, to take a taxi or a bus. There were nights I went without food and stuff like that. My slope right now is from homeless to owning houses. I remember at one point, I lost my home to fire and I was literally homeless. Sleeping at friends' and family's and things like that.

So, the struggle for me is something like that, but all of us share the same thing of wanting to become international. Having a wider audience. Shaggy and Sean Paul have done that impactfully for the genre. They have crossed over so the American audience knows that, and that's the dream for every Jamaican artist: to be known worldwide, or widely here in America.

Is there a certain strain of ambition unique to Jamaican artists?

I would definitely say that we Jamaican artists are very ambitious. We strive to have our music known widely. So many people have taken so much from dancehall culture, so we still are known as the underdogs. 

People don't give us the ratings that our culture deserves. So, we're still ambitious because it's been around for three decades and there are still artists trying to be impactful and known there. I would say we are very ambitious to still be going after 30 years, 40 years.

Oftentimes, the media puts things out there to make it seem like we're fighting with each other, fighting against each other. I'm really humbled and grateful to show that together, we are more of a force to be reckoned with. When this song came out — it's actually still trending in Jamaica right now, the music video — people appreciated the fact that we were able to come together and create this song.

So, I just want people to know that we are together. I love the unity that's happening right now within dancehall and reggae music. I'm just humbled that Shaggy and Sean Paul came together on this track. It has never been done before.

Spice. Photo: Sterling Pics

Where did that stereotype of constant conflict come from?

Sometimes, I see people who are like, "Oh, I want to come to Jamaica, but I'm scared." I'm like, "OK, why are you scared?" They're like, "Oh, because people are dying." I feel like sometimes the news media puts out the bad parts about Jamaica or its music or culture. 

Sometimes, people say it's derogatory because we sing about wining a lot and the gyration of the waist. But at the end of the day, so many tourists come to Jamaica because of its music. People come to dance and have fun. They see things that they don't see here in America.

I can speak because I'm here in Atlanta and I go to the club all the time: When people dance here, they're on their feet. They're dancing. In Jamaica, people are spinning on their heads. Their culture is very unique and different and I just wish more media will cover the better aspect of Jamaica because Jamaica is a beautiful place. 

So are the genre and the music. There are so many good things there to discover, rather than talking about people who come there and who are dying and stuff like that. That's just my dream: to see people in the media showcase the better parts about Jamaica and its music and culture.

How do you feel now that Ten is on the way?

I'm just anxious and I can't wait! It's called Ten because it's been 10 years that my fans have been waiting for this project. I'm just happy and excited for them because coming off the pandemic, people just can't wait to be outside and partying again and seeing their friends and having a good time. I just want everybody to embrace themselves for my album project because it's going to be amazing.

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Latin music has gone global and Enrique Iglesias is one of the superstars who laid the foundation for that crossover. The Spanish pop icon's music career spans four decades of hits both in his native tongue and in English. Following his reign as Billboard’s Greatest Latin Artist of All-Time, Iglesias marks the end of an era with the last album of his career, Final Vol. 2.

Iglesias followed in the footsteps of his father, singer/songwriter Julio Iglesias, and made his own debut in the 1990s with Spanish-language love songs. He began singing in English at the end of the decade, and subsequently led an explosion of interest in Latin pop alongside acts like Ricky Martin, Jennifer Lopez, and later Shakira. 

As of writing, Iglesias has a record-breaking 27 No. 1 singles on Billboard's Hot Latin Songs chart, and solidified himself as a global heartthrob with an allure that defies language barriers. For his efforts, Iglesias has won one GRAMMY and five Latin GRAMMY Awards.

Enrique Iglesias will release what will likely be his final album on March 29, aptly titled Final (Vol. 2). Ahead of his final bow, here are 10 tracks that celebrate Iglesias' legacy in Latin music. 

"Experiencia Religiosa" (1995)

Iglesias made his debut in 1995 with a self-titled first album. Among the ballads on the10-track LP, the otherworldly "Experiencia Religiosa" best demonstrates the power of his charm.  

Backed by the piano with elements of gospel music, Iglesias belts his heart out about a night of passion that felt like spiritual awakening. To capture the energy of the sparks flying, an electric guitar solo rounded out his soulful yet sexy sermon. Iglesias demonstrated his knack for seamlessly blending together romance and sex appeal, which would go on to define his artistry and style.

Enrique Iglesias earned the singer his first golden gramophone at the 39th GRAMMY Awards for Best Latin Pop Performance.

"Nunca Te Olvidaré" (1997)

Iglesias proved that he was here to stay with his third album, 1997's Cosas Del Amor. The LP includes one of his signature love songs, "Nunca Te Olvidaré." 

Iglesias' voice reached angelic highs in the Spanish-language power ballad, which details  romance that left a lasting impression. No matter what happened, the love Iglesias shared with that person couldn't be forgotten — much like his impact on the Latin pop explosion that was brewing.

"Bailamos" (1999)

Proving he was so much bigger than the Iglesias last name, he crossed over into the English-language market with his 1999 album Enrique. Iglesias became a global Latin pop heartthrob with the sultry club banger "Bailamos." The song was featured on the Wild Wild West soundtrack, after Will Smith personally invited Iglesias to contribute music to the project.

Backed by the strum of the Spanish guitar with alluring synths, he invited the world to dance with him in English and Spanish. In a major moment for Latin acts at the time, the song topped the all-genre Billboard Hot 100 chart. The massive success of the song led Iglesias to sign with Interscope Records, where he released his breakthrough album. 

"Could I Have This Kiss Forever" (1999)

One of the underrated gems on Iglesias' Enrique album is his collaboration with six-time GRAMMY-winner Whitney Houston. 

The late pop legend joined forces with him for the sensual "Could I Have This Kiss Forever," making worlds collide with an irresistible mix of Latin percussion, Spanish guitar, and R&B. Houston also sang a bit in Spanish with Iglesias. His dreamy duet with Houston (who also sings in Spanish) broke down barriers for collaborations between Latin and English-language pop acts. In the years that followed, he collaborated with superstars like Kelis, Ciara, and Usher.  

"Hero" (2001)

Iglesias' love songs in English touched the hearts of millions around the world. One of his enduring classics is the empowering "Hero" from his 2001 album Escape. 

The beautiful ballad was released in both English and Spanish. In one of most tender vocal performances, Iglesias serenades his lover with sweet lyrics about always being by her side. After the song impressively peaked at No. 3 on Billboard's Hot 100 chart, Iglesias proved that his star power was here to stay. 

The song also became an anthem of hope for the U.S. following the Sept. 11 attacks, and Iglesias was invited to perform "Hero" for the broadcast special "America: A Tribute to Heroes." 

"Bailando" (2014)

After laying the foundation for the globalization of Latin music, Iglesias enjoyed one of his greatest career triumphs in 2014 — in both Spanish and English. 

The feel-good smash "Bailando" blended Caribbean rhythms with flamenco influences, bringing together Sean Paul and Cuba's Descemer Bueno and Gente De Zona. The Spanglish banger peaked at No. 12 on the Billboard Hot 100 chart. At the 2014 Latin GRAMMYs, Iglesias and his collaborators took home golden gramophones for Song Of The Year, Best Urban Performance, and Best Urban Song. 

The success of the song also helped usher in the reggaeton music revival of the last decade. Pop and reggaeton collaborations became more commonplace with songs like "Despacito" by Luis Fonsi and Daddy Yankee and J Balvin’s "Mi Gente" remix with Beyoncé later following suit.  

"Beautiful" (2014)

Iglesias joined forces with GRAMMY-winning dance-pop icon Kylie Minogue for "Beautiful," a  haunting love song about a formidable romance that could withstand the apocalypse. 

The electronic ballad was co-produced by Mark Taylor, who was also at the helm of Iglesias' collaboration with Houston. Iglesias and Minogue's voices melted together in a hypnotic harmony that made this song live up to its name. The song was included on Minogue’s Kiss Me Once album and deluxe edition of Iglesias’ Sex and Love LP.  

"El Baño" (2018)

Before he became a GRAMMY-winning global star, Puerto Rican singer Bad Bunny teamed up with Iglesias for a freaky reggaeton romp, "El Baño." 

Iglesias first turned up the heat by singing about getting intimate with his lover in the restroom. Bad Bunny dropped in that halfway point as his wingman with a fiery guest verse. The hypnotic collaboration was included on Iglesias' penultimate album Final (Vol. 1). 

Iglesias later added a woman’s perspective to the song, bringing on Dominican reggaeton star Natti Natasha joining them on the remix. As one of Latin pop’s most daring artists, he was never afraid to push boundaries with his risque tracks. 

"Space In My Heart" (2024)

After the release of his reggaeton-heavy Final (Vol. 1), Iglesias was ready to be more adventurous with the music that followed. In 2022, Iglesias ventured into country music for the first time with "Espacio En Tu Corazón." 

To bring some more authenticity to the English-language version of the song, "Space In My Heart," Iglesias teamed up with GRAMMY-winning country star Miranda Lambert. The breathtaking country-pop ballad features Iglesias and Lambert singing passionately about winning over the hearts of their crushes. 

The song is a highlight on the last album of his career, Final (Vol. 2). And while it seems like this may be the singer's final hurrah, Iglesias told PEOPLE in 2021: "No, I'm never gonna retire! I'm gonna keep on writing songs but that doesn't mean I need to be putting out albums every so often."

"Fría" (2024)

Iglesias is going out in style with "Fría." For the most vibrant song on Final Vol. 2,  Iglesias collaborates with Cuban singer/songwriter Yotuel on a frisky and refreshing banger, which blends reggaeton beats with elements of tropical music.

Iglesias sounds like he's having a blast with Yotuel as they try to convince their partners there was no infidelity at last night's wild party. "I just went out for a cold one," Iglesias winkingly sings in Spanish. Cheers to the legacy of one of Latin pop's greater stars.  

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Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

Looking for more GRAMMYs news? The 2024 GRAMMY nominations are here!

He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.

"Hip-hop. Ice Cube. This is for hip-hop," he said. "This is for Snoop Dogg, Doggystyle. This is for Illmatic, this is for Nas. We will live forever. Believe that."

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood." 

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers.

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 

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As Jagged Edge and Nelly asked in 2001, where the party at? On May 6, it's at the Las Vegas Festival Grounds thanks to Lovers & Friends.

The star-studded festival largely celebrates the R&B and hip-hop stars of the '90s and 2000s, with a lineup that boasts Missy Elliott, Mariah Carey, Boyz II Men, Usher, Christina Aguilera, Nelly, and 50 Cent, among countless other hitmakers. With a jam-packed roster, it's hard to believe the fest is only one day. But one thing is guaranteed: it's going to be a day full of bangers.

There's also a good chance that there will be some viral moments from the second annual Lovers & Friends fest. Several of the stars on the bill have delivered some smash hits together, and they may just take the stage together to perform them — whether it's Chris Brown and Busta Rhymes for "Look At Me Now," Frankie J and Baby Bash for "Suga Suga," or, yes, even Jagged Edge and Nelly for "Where The Party At."

Even if you didn't get a ticket to this year's sold-out fest, that certainly doesn't mean you can't get in on the nostalgia. GRAMMY.com has curated a 50-song playlist to highlight all 50 performers on the Lovers & Friends 2023 lineup (which also includes current stars like Summer Walker, Bryson Tiller and Partynextdoor), and it will undoubtedly get you pumped up.

Below, jam out to GRAMMY.com's Lovers & Friends 2023 playlist, or listen to it on Apple Music, Amazon Music or Pandora.

"There’s no need for purist music," says reggae icon Shaggy, who brought this attitude to an unlikely source.

His latest album, Com Fly Wid Mi, runs Frank Sinatra songs through a filter of ska, swing, and reggae rhythms. On his second collaboration with producer Sting, Shaggy dropped his signature dancehall toasting voice in favor of a new croon, which floats through a range of Ol' Blue Eyes' tunes — from “Luck Be a Lady” to “Fly Me To The Moon." 

"Whatever we're doing has already been done by somebody, but it's the feel that you put in that makes it different," Shaggy tells GRAMMY.com. The pair's unique feel netted Com Fly Wid Mi Best Reggae Album nomination at the 2023 GRAMMYs.

Shaggy — born Orville Richard Burrell — has been making musical nods to his predecessors since 1993. That year, he released a high-energy dancehall version of “Oh Carolina,” a 1958 Folkes Brothers tune that was an early hit in the genre of ska, the precursor to reggae music. 

Since then, Shaggy has released more than a dozen albums, often featuring an eclectic range of samples — from Steve Miller Band's "The Joker" to Cyndi Lauper's “Girls Just Wanna Have Fun.” He frequently collaborates with artists like will.i.am, Maxi Priest, Spice, Chaka Khan, Sean Paul, and Barrington Levy. Shaggy’s music has won two GRAMMY Awards, a Brit Award and a Juno award; he received an honorary degree from Brown University and a Jamaican order of distinction.

From his home studio in Miami, where he's worked for many years, Shaggy spoke with Grammy.com about his love of reggae and how Sting helped him learn to appreciate his own voice. 

How are you? What have you been up to? 

I had a great year. We toured Europe and Australia, and had a really good time. I teamed up with Sting again to do crazy things and we released this album Com Fly Wid Mi. With this project, I didn't know what we were doing and how it would go. But we had a vision. 

But the year was also bittersweet because I lost [bass player and producer] Robbie Shakespeare of Sly and Robbie. He was a mentor of mine, like a father figure to me. We went to the funeral and that was rough. 

Shakespeare was one of the greatest musicians and also an amazing person. Humility is the biggest thing he taught me.  As a person from the ghetto, he helped me realize my purpose. He would say you're here as a servant to change people’s lives. 

Well you clearly listened. Don’t you think you’ve found your purpose?

In '93, when we did [a cover of the Folkes Brothers 1959 song] “Oh Carolina,” I was dubbed a one-hit wonder by British tabloids. I had flipped an old song and it went Top 5. It was the first time a dancehall song went to the top. 

They said I’d never get another one. They said you’ll never write your own hit. The next record I wrote, it had to be bigger, and I had to write it myself, so I wrote Boombastic” which won a GRAMMY [for Best Reggae Album at the 38th GRAMMY Awards]. So it was off to making history from that point on. 

Why did you and Sting decide to interpret Frank Sinatra songs in a reggae style? 

Look at artists like John Holt, who wrote “The Tide is High,” which Blondie covered. In his earlier days, he was super popular, and used to do a lot of older American pop songs and soul songs that became part of the Jamaican songbook. 

When I listened to [Jamaican radio station] Irie FM in the late '80s and early '90s, they played a lot of American music, as well as country music from Kenny Rogers and Dolly Parton. Songs by Bing Crosby, Nat "King" Cole, and Patti Page were played in my house, with chicken and rice and beans for Sunday dinner. Growing up as a young Jamaican, I heard that music a lot. It’s not by chance that Sting heard me singing Sinatra songs for fun. 

I became known for my signature dancehall voice from Boombastic, but with Sting in the studio, he heard my real voice. He said you can really sing, you’re not just a dancehall singer. He was in love with my voice and pushed me out of my comfort zone. I’m not really comfortable with my singing, but Sting is a great producer and my big brother, so if he says sing, I will sing, no matter how uncomfortable it is.

Why are you not comfortable with your singing?

I came up in dancehall, so my heroes are Josie Wales, Super Cat, and Shabba Ranks. Those guys are giants. In dancehall I was getting big hits, so I was comfortable only in playing that part, but if you're comfortable, you are stagnant, and Sting kept pushing me to be uncomfortable. 

What unique challenges and opportunities did you both experience turning Sinatra tunes into reggae songs? 

The main challenge is that it could easily get corny. Also, Sinatra songs are jazz tunes with five or six chord changes, but most cool reggae is just two chords, so we had to limit the changes to make it cool. So we had to figure out which chords to take out to make it reggae. It can’t be too jazz, or too reggae, so that was the balance. 

That’s where the genius of Sting came in. He knew what notes to take out but how to keep the melody that makes it work. That took effort. It's really cool to know I did something cool that nobody had done. 

**You’ve worked with Sting twice now, and your previous collaboration with Sting, 44/876,  also won a Best Reggae Album GRAMMY Award. How is your work with Sting different from other projects you’ve done?**

This is an unlikely pairing. We’re from two different eras, and he’s a giant. We have a good f—ing time bro. We tell jokes and we're laughing. 

He clearly knows way more about music than me, but admires me enough to work with me. In the studio, I’m throwing freestyle and gibberish. He said he had never done that; he’s usually by himself working quietly. He said he had never seen anyone write songs as quickly as me. I write about four songs a day.  I never paid attention to the instrumentation as much, but he taught me to pay attention and be a part of it. 

Sting said he watched [Aston] “Family Man” [Barrett] play with Bob Marley and tried to emulate him on bass, but couldn't do it. So he came up with a hybrid, and that became the sound of the Police. He and I agree, there’s no need for purist music. Whatever we're doing has already been done by somebody, but it's the feel that you put in that makes it different. There’s always a new story to be told. There’s records you hear, but then there’s records you feel. Like Bob Marley, when he sang, you felt it.

You turned Sinatra’s “Come Fly With Me” into a rocksteady/ska tune and "Oh Carolina"  was a remake of Prince Buster's  1960 ska tune. What’s your connection to the legacy of early reggae/ska/rock steady? 

My grandmother was a Christian woman, but she loved Toots and the Maytals, and those ska records were played in my home a lot. It’s ghetto music but fun music, and so danceable. 

Dude I make everything from what was made before. I’m not inspired by what is happening now. I’m always thinking, how can we take what was done then and make it unique and cool now?  Three days ago I was listening to “Guns of Navarone” by the Skatalites, and wondering how can I use this? I pull a lot of my inspiration from that old stuff.

You’ve won many awards and accolades. Which one feels most special to you? 

I’m proud of the JUNO [Canadian Music Award] because I was the only international act to get one. But anyone who gets a GRAMMY is happy. 

And here we are again. I’ve been a changer of this reggae genre through and through. I step outside the box, that’s the only way the genre will grow. I take changes, I step out.

Reggae music has gone through so many changes and iterations since its origins in the late 1960s in Jamaica. What do you think is the core element of reggae that gives it such staying power?

Reggae is the first and last music; so many genres have come from it. Reggaeton started from Puerto Rico. It was Spanish reggae, and the Latin community grabbed onto it and it became massive. Look at hip-hop. Kool Herc took Jamaican toasting and put it over R&B beats. When I go to Africa, they play dancehall in the clubs, not Fela Kuti. 

The impact Jamaican culture has had on the global culture is incredible. I am blessed to be a reggae artist. Reggae is not an art form, it's a lifestyle. I get up every day and this is what I’m doing. I don’t want to do anything else. Bruh, I work for the rewards, not the awards. I’m so fortunate. I would do this for free.

What made you want to sing in the first place? 

I learned the tone of my voice in the military by singing cadences. I would do these comical cadencies, so they called me out to sing them all the time and it made people laugh. It was hard because we did four or five miles at a time, so that was a lot of singing. 

I had no lessons, never had a vocal coach. I started on sound systems and perfected my craft by hanging with great singers like Barrington Levy. The closest I came to real training was with Sting. Anything theoretical was done through Sting. 

You’ve been mentored by Sting and Jamaican artists like Robbie Shakespeare, but now you’re also a mentor to younger musicians. How does that make you feel?

After a while life comes to you with a pursuit. James Brown told me once in my dressing room that they can take away your wife and your house, but not your talent. I believed him.

None of those accolades I can take with me, but I can inspire, and change someone’s family. I’m the only musician in my family, and now I have a niece at Princeton. We have changed the cycle of our lives, and that moves me, that excites me.

How has life during the pandemic been for you? Have you stayed busy or have you been taking it easy?

I worked throughout the whole thing. Now I’m excited about production projects with young writers and musicians. I’m like a kid in a candy store. Everybody keeps asking for a Shaggy record. But when Sting says let's go now, you go now! So we did the Sinatra album. It's like I'm his little project. But I’m overdue for a Shaggy record.

Will your new record come out in 2023?

I’ve been working on my latest record for the last three years. I have about 100 songs, and keep redoing it. I get inspired over and over again with new stuff. The hardest part is taking stuff out. 

Every record from my career has been done in the basement of my house, and I’m still in my basement. I’m still that guy, down with my crew and my team and f—ing with shit, and having fun. 

Whatever I do next won’t be what’s expected. If I do what's expected, then I’ve failed. I’m always looking for that new sound. I make records selfishly to please me. I don’t want to be bored, I’m allergic to boredom. If I'm not bored, then the record is timeless. 

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