Capleton
b. Clifton Bailey, Jamaica, West Indies. Capleton quickly captured the imagination of a dancehall audience hungry for ‘slackness’ and gun themes in 1990, the year he had his first big hit, Number One (On The Good Look Chart), for Jah Life. Many of his recordings to appear over the next 12 months—for producers such as Philip Fatis Burrell (Bumbo Red/Bible Fi Dem), King Jammys (The Red), Roof International (Dem No Like Me), Peterkins (We No Lotion Man) and Black Scorpio (Ghetto Youth/Somebody) were subsequently compiled on the CAPLETON GOLD album, released in 1991. That year he voiced half an album for Gussie P (Double Trouble), combined with Johnny Osbourne on the highly successful Special Guest for Outernational, and released several fine sides for African Star, as well as dueting with Bobby Zarro on Young, Fresh And Green. In December he visited the UK with the late Pan Head, courting controversy over an unrelated gun incident at one London venue, and recording Dance Can't Done for Brixton label Jungle Rock. 
Back in Jamaica work began in earnest for Burrell's Exterminator label. Armshouse was a stirring call for unification within the music, proving a massive hit in early 1992 and, like Prophesy for Penthouse, revealed he could handle cultural and reality issues with the same formidable insight and raw power of delivery as his trademark slackness (of which Good Hole, in combination with Buju Banton for Stone Love, was an obvious example). The singles F.C.T, Matey A Dead, Make Hay and Unno Hear previewed an eventual album for Fatis, whilst he continued a winning streak throughout 1992. The following year found him broadening his repertoire further still. Everybody Needs Somebody and Mankind for Colin Fat, Good Love and Stampede’ for Mad House, Cold Blooded Murderer for Black Scorpio and the rabid Buggering for African Star (also Good So/Bad So), maintaining his growing reputation in avid fashion. As 1994 dawned he was proving popular on combinations with the likes of Brian and Tony Gold and Nadine Sutherland, working with Gussie Clarke and looked poised to become one of the most radical cultural DJs of his era.