Capleton blazing at "Bob Marley Remembrance", 9 Miles, St. Ann's, Jamaica

‪@LeoOReggio‬
Call him by any of his dignified titles — Clifton George Bailey III, King Shango, The Prophet — but one thing you can’t call Dancehall/Reggae stalwart Capleton is watered down. With a career spanning three decades, 25+ albums, Billboard Hot 100 singles, and a Grammy nomination to his credit, Capleton has proven his mettle between both genres time and again. Sampled by the likes of Kanye West and boasting features with Method Man, Q-Tip, and more, the artist transcends the cultural and crossover spheres that many in the game still grapple with.

Combining Rastafari philosophy with Dancehall delivery as no one has done before or since Capleton is a living legend in his own league. With his stylish, striking suits and rough-edged roar, the veteran epitomizes one born to rock the stage and uplift the masses. Yet the man who cites Papa San, Peter Tosh, and Bob Marley as inspirations would take a more risquè, airplay-averse path before aligning with his authentic sound.

Emerging on the scene as a hardcore Dancehall emcee, the former ‘rudebwoy’ would embrace more militant concerns during the mid-90s surge towards consciousness output.

In 1989, he got his first big international exposure. Stewart Brown, owner of a Toronto-based sound called African Star, gave the untested artist his first break, flying him to Canada for a stage show alongside Ninjaman and Flourgon

When Capleton first arrived on the scene in the late 1980s, slackness and gun talk were the dominant lyrics in the dancehalls. The pre-Rasta Capleton had a string of hit songs from "Bumbo Red" to "Number One on the Look Good Chart" and "No Lotion Man".

He recorded the song that began to establish his significant place in Dancehall, "Alms House" in 1992. The tune became a big hit in the dancehall, followed up immediately by "Music is a Mission" and the massive hit "Tour". By 1993, he was voicing tunes that became increasingly conscious, such as "Prophet" and "Cold Blooded Murderer".

Tunes such as "Tour" and "Wings of the Morning" earned him a deal with Russell Simmons' Def Jam Recordings, which culminated in the Prophecy and I-Testament albums of the mid-1990s.

In 1999, Capleton headlined Reggae Sumfest's dancehall night, to much fanfare. The performance, which led to a subsequent headliner placement the following year, is credited with "re-bussing", or creating a comeback for, his career. The 1999–2000 period elicited a string of hits, many of which can be found on the album More Fire.

Grammy Nominated in 2003 Album "Still Blazin" VP Records Executive Produce by Errol "GenErral" Adams / Joel Chin

By 2004, some argued the quality of Capleton's music had been downgraded by over-proliferation on numerous riddims, while Capleton himself argued his continued recording over both dancehall and roots reggae riddims created balance in his musical output. Nonetheless, he scored hit singles over one of the most popular riddims of 2004, "That Day Will Come" over the Hard Times riddim.

After a hiatus from the label, Capleton returned to VP Records in 2010 with the release of I-Ternal Fire.

After headlining a U.S. tour which included Romain Virgo, Munga Honorable, and Kulcha Knox in the fall of 2010, Capleton embarked upon a tour of the African continent for late 2010 and early 2011. Stops included Gambia, Senegal, South Africa, and multiple dates in Zimbabwe In December 2012 the music Unite Cape Town International Reggae Festival saw Capleton, reggae, and dancehall artists like Black Dillinger, Blak Kalamawi.

Capleton's annual 'A St Mary Mi Come From' live show has raised funds for several charities since it was first staged in 2000, including local schools and hospitals.