Llewellyn "BigDaddyLeo" O'Reggio - Video Library

I am in shock after just hearing that Hopton James has died. A warm, soulful, and humble brother who communicated with people through his singing. I was so overwhelmed that I had to put together this tribute to him as soon as I heard the sad news. Celestial trod Hopeton, rest in eternal power, you will never be forgotten.

Irie Soldiers, posted this heartfelt tribute to Hopeton James.
"I have just received the sad news that Hopeton James has passed away.
It is with sadness that we report the passing of Hopeton James, the respected Jamaican reggae artist. The exact date or cause of his death is not specified in recent news, but his contributions to reggae music are significant and widely acknowledged within the community.

Hopeton James was a prominent Jamaican musician renowned for his work in the roots reggae genre. He was Born in Kingston, Jamaica, on February 21st, 1961.

Hopeton James was one of Jamaica’s most soulful voices, famously known as the "Medley King" for his ability to blend Motown soul with dancehall riddims.
​His career began in the early 80s with the roots-influenced album "Countryman" (Afro Eagle, 1981). However, his definitive era came in the late 1980s during the digital revolution. At King Jammy’s, he released his masterpiece "Ready To Rock" (1988), which included the legendary "Sure Shot Medley", a track that defined the "singer style" of that period.
​Simultaneously, James became a pillar for Winston Riley’s Techniques Records. He recorded solo hits like "I’m Lonely" and joined the final line-up of the legendary vocal group The Techniques, updating classics such as "Queen Majesty" for a new generation.
​In the 90s, he continued his success with the "My Girl Medley" (Mixing Lab) and collaborated with producers like Michael Bennett (Two Friends) and labels like Roof International, where he scored hits alongside deejays like Jigsy King. His discography remains a perfect bridge between classic 60s soul and modern Jamaican dancehall.
His discography includes notable tracks like "Chain Gang", "The Stalker", and "Magic Touch".

A distinctive aspect of his legacy is the widespread use of his music within sound system circles. His track "In the Mood (To Kill A Sound)" has become a classic dubplate version—an essential "must-have" item for sound systems to use in "sound clashes".
The track, sometimes referred to simply as "In the Mood," is particularly valued for its direct lyrics and energy, making it perfect for live performances and competitions."
Trod well, king 🕊#HOPETONJAMES

Skip the Carousel

1 2 3

1 month ago | [YT] | 104

Llewellyn "BigDaddyLeo" O'Reggio - Video Library

My next video pays homage to two interesting characters who livened up the dancehall space but are now deceased, one of them passed a few days ago. They are Jackie Knock Shot, who passed on in 2010, and Joe Lick Shot, who passed a few days ago.
Harold Jackson, better known as Joe Lickshot, a renowned figure in the reggae and dancehall music scenes, has died.
The entertainer, celebrated for pioneering vocal sound effects known as “lick shots,” and who had been suffering from prostate issues, passed away yesterday.
His dynamic exclamations, often heard during performances and recordings, became a hallmark of the genre.
Emerging in the vibrant Jamaican music scene of the 1970s, Joe Lickshot collaborated with various artists and producers, contributing to numerous tracks that showcased his distinctive style.
Beyond his studio recordings, Joe Lickshot was an influential presence in live performances and sound system culture.
His contributions have left an indelible mark on reggae and dancehall music.

Jackie Knockshot (b. Samuel Hamilton, 1960, West Kingston) was a famous intro man known for his wild lick shots (sound effects). He started making sound effects as a youth while going to school. The sounds he created would be taken from guns, shells, and ammunition. But also inspired by Bammy Man, he would initially hum bass lines and rhythms on dances.
It was Sugar Minott who first noticed him and let Jackie appear on his sound Youthman Promotion. Soon, Knockshot was also contacted by Jammy, who had him lick sound effects for his own sound system.

Skip the Carousel

1 2 3 4 5 6

2 months ago | [YT] | 70

Llewellyn "BigDaddyLeo" O'Reggio - Video Library

My next video release features the Master of Ceremonies (MC) who dominated the Jamaican entertainment industry in the 1980s and early 1990s. Two are deceased, Basil "Bagga" Brown and Barrington "Barry G" Gordon, may their souls rest in eternal peace.
These two great men were close friends of mine, and I enjoyed the privilege of videotaping them on many entertainment occasions and interacting with them in meaningful ways. Their exuberant delivery and charismatic personalities made them two of Jamaica's great broadcasters.
The video also gives a lot of historical information, visually and verbally, about entertainment happenings and lifestyles during that period.

Skip the Carousel

1 2 3 4 5 6 7

2 months ago | [YT] | 45

Llewellyn "BigDaddyLeo" O'Reggio - Video Library

Coming next. "Tribute To Bogle" - Grizzly Cat f/ Angel Doolas. Another rare 1990s music video.

Skip the Carousel

1 2 3 4 5

2 months ago | [YT] | 57

Llewellyn "BigDaddyLeo" O'Reggio - Video Library

This is one of the rare 1990s music videos I post from time to time. Power Man was very popular in Jamaica's 1990s dancehall scene.
Power Man is the stage name of Michael Davey, a veteran Jamaican reggae and dancehall deejay. He is known for several 1990s dancehall hits and continues to release music.
Born in Waterhouse, Kingston, Jamaica.
He is widely recognized for 90s anthems such as "Stone," "Gal a Call Me Name," and "Statue".Active since the late 1980s and 1990s, he has released numerous singles and albums over the decades, including contemporary releases.

Skip the Carousel

1 2 3 4

2 months ago | [YT] | 20

Llewellyn "BigDaddyLeo" O'Reggio - Video Library

Black Scorpio & Stereo Mars (80s) / Exodus & Metromedia (90s). What a difference a decade makes!

Listen to the sweet '80s '90 sound system juggling as I highlight some of the differences in the dancehall sound system world in those decades.
I am old enough and experienced enough to share some of what has taken place from the 70s to the present.

Between 1970 and 1974, I attended many dances at different dancehall "lawns" (usually a domestic yard with space); the first of which was listening to Sir George the Atomic at a popular lawn located at 132 Red Hills Road. After that, I had the privilege to listen to and with full joy many more sound systems, including King Tubby's, Tipper Tone, Emperor Faith, and Stur Garv. The main emphasis of the sound system in that decade was the heavy bass and clarity of the "top end" speakers, the new dubs (specials/exclusives) played by the selector/toaster, which was used to stamp that sound's ability to "kill" other sound systems, and, of course, the man and woman rub-a-dubbing. Police raiding the dancehall "lawns" regularly, beating and locking up patrons, was also common.

In the 80s, there were marked differences in the sound system presentation, as the sound system business became more commercial, and many more sound systems appeared, owned by music producers and studio owners. King Jammys and Black Scorpio were two such sound systems.

In the 90s, the commercialization of sound systems continued with owners using them to promote their new songs and their artists. Sound system music mixing was minimal, and toasting/chatting on the microphone was more prominent. However, some really great music, like in the 80s, was made in the 90s, and that brought a lot of joy to patrons. The "lawns' disappeared, and more commercial venues were now being used to host the sound systems.
_______________________________________
Sound systems are an important part of Jamaican culture and history. Sound clashes involve crew members from opposing sound systems pitting their DJing and MCing skills against each other in venues.

The sound system concept first became popular in the 1940s, in the parish of Kingston. DJs would load up a truck with a generator, turntables, and huge speakers and set up street parties. Tom the Great Sebastian, founded by Chinese-Jamaican businessman Tom Wong, was the first commercially successful sound system and influenced many sound systems that came later. In the beginning, the DJs played American rhythm and blues music, but as time progressed and more local music was created, the sound migrated to a local flavour. Sound systems were big business and were one of the few sure ways to make money in the unstable economy of the area. The promoter or DJ made profits by charging admission and selling food and alcohol, with often thousands of people in attendance.

By the mid-1950s, the sound system was more popular at parties than live musicians. By the second half of the decade, custom-built systems began to appear from the workshops of specialists such as Hedley Jones, who constructed wardrobe-sized speaker cabinets that he called "House[s] of Joy". As time progressed, sound systems became louder—capable of playing bass frequencies at 30,000 watts or more, with similar wattage attainable at the mid-range and high frequencies—and far more complex than their predecessors. Competition between these sound systems was fierce, and eventually three DJs emerged as the stars of the scene: Clement "Coxsone" Dodd, Duke Reid, and King Edwards. Besides the DJ, who rapped over the music, there was also a selector, who selected the music/rhythm tracks.

The popularity of a sound system was mainly contingent on one thing: having new music. To circumvent the release cycle of the American record labels, the sound system operators turned to record production. Initially, they produced only singles for their own sound systems, known as "Exclusives" or Dubplates—a limited run of one copy per song. What began as an attempt to replicate the American R&B sound using local musicians evolved into a uniquely Jamaican musical genre: ska. This shift was due partly to the fact that, as American-style R&B was embraced by a largely white, teenage audience and evolved into rock and roll, sound system owners created—and played—a steady stream of the singles the people preferred: fast-shuffle boogies and ballads. In response to this shift in supply, Jamaican producers introduced to their work some of the original elements of the Jamaican sound: rhythm guitars strumming the offbeat and snare-drum emphasis on the third beat, for example. As this new musical form became more popular, both Dodd and Reid began to move more seriously into music production. Coxsone Dodd's production studio became the famous Studio One, while Duke Reid founded Treasure Isle.

Skip the Carousel

1 2 3 4 5

3 months ago | [YT] | 39

Llewellyn "BigDaddyLeo" O'Reggio - Video Library

September/October are rainy months in Jamaica. Lots of lightning and thunder right now. The price for ground provisions usually goes up this time of the year as the rain creates havoc with farming.

3 months ago | [YT] | 15

Llewellyn "BigDaddyLeo" O'Reggio - Video Library

Sincere thanks to all who have supported my grandson's song; I ask that those who have not yet done so do so. Remember, he is also on Instagram and YouTube. One Love!

4 months ago | [YT] | 9

Llewellyn "BigDaddyLeo" O'Reggio - Video Library

Breaking news! I recently edited a music video, the first in over 15 years, and it is for my grandson, KnoLij Tafari. I fell in love with the vibe of the song and told him I needed to make a video for it. I told him my visual ideas, and he mixed them with his, and he organized the recording of the video scenes in California, where he is based. He sent the video footage to me, and I edited the music video for him. I would love to get your feedback on the song and video. The music video is scheduled to premiere on this channel on Saturday, August 30, 10am (New York time).

Press release:
A new generation of Jamaican music is getting a visionary boost from a legendary name.
Llewellyn “Big Daddy Leo” O’Reggio, the creative force behind countless iconic Jamaican music videos from the 1980s and '90s, is making a stunning return to the director's chair to edit a video for his grandson, the rising artist Lij O’Reggio Jr., also known as KnoLij Tafari.
Big Daddy Leo, whose production house Take One Video shaped the visual identity of a golden era of music, single-handedly created videos for icons like Rita Marley, Jimmy Cliff, Beenie Man, and Bounty Killer. After a two-decade hiatus from directing, he has been inspired by a powerful new sound.
"I am a storyteller," says O’Reggio, who felt modern dancehall had lost its narrative core. "But when I heard my grandson’s song, 'Nuh Dutty Up,' the story immediately began to unfold in my mind. I knew I had to bring it to life."
The collaboration marks a dynamic convergence of past and present. O’Reggio’s masterful storytelling and cinematic vision merged with the fresh, innovative sound of KnoLij Tafari, an artist who has been a performer since his school days. Known for his deep lyrics and engaging stage presence, KnoLij Tafari's music is poised to make him a standout in the new wave of Jamaican artists.
This intergenerational partnership is more than a music video; it's a bridge between eras, a testament to the enduring power of family, and a bold statement about the future of Jamaican music. It promises to be a visual and sonic experience unlike anything else.

About Llewellyn “Big Daddy Leo” O’Reggio
A pioneer in Jamaican music video production, Llewellyn O’Reggio established Take One Video in the 1980s. His groundbreaking work helped define the visual landscape of Jamaican music. He is a retired communications specialist with the JBC TV, JIS TV, and the National Family Planning Board.
About Lij O’Reggio Jr. aka KnoLij Tafari:
An emerging artist with a captivating style, KnoLij Tafari is known for his thought-provoking lyrics and versatile talent. "Nuh Dutty Up" is his latest single, a danceable track that showcases his unique voice and creative vision.

Skip the Carousel

1 2 3 4 5 6

4 months ago (edited) | [YT] | 33

Llewellyn "BigDaddyLeo" O'Reggio - Video Library

Greetings, subscribers, viewers, and friends. Tomorrow, I will be posting footage I recorded at the May 4, 2025, Original Dancehall Thursday event. There was an exciting sound system clash between Cruise Control and Black Kolaz, and I would love to get your feedback on who you think should have won. In the 1970s, the clashes were between real sound systems, where the sound quality (heavy bass and tweeter clarity) and dub selection decided the winner. In the 1980s, sound quality and dub selection still reigned supreme, but the added attraction was the DJs chanting and the selectors/mixers adding their style to the dubs played. Nowadays, selectors play recorded specials from their laptops through a PA system, and there is more chat from them than music played.

Skip the Carousel

1 2 3 4

7 months ago | [YT] | 27