King Stitt, a legendary figure in the world of Jamaican music, pioneered the art of reggae toasting. His innovative style and immense talent helped shape dancehall and reggae music genres and paved the way for countless deejays who followed in his footsteps.
Early Beginnings: The Birth of a Legend
Born on 17 September 1940 in Kingston, Jamaica, Winston “King Stitt” Sparkes faced adversity from a young age due to a disfigured face. However, his passion for music and undeniable talent would propel him into the limelight, transforming him into one of the most iconic figures in Jamaican music history.
Before immersing himself in the world of music, Stitt dabbled in woodworking. He soon realised, however, that his true calling lay in the vibrant musical scene of Kingston. His journey began in the 1950s when he worked as a handyman for Lord Koos The Universe, a popular sound system operator in the city.
Stitt’s frequent attendance at dances caught the attention of Clement ‘Sir Coxson’ Dodd, a sound system giant and founder of Sir Coxson’s Downbeat. Dodd recognised Stitt’s potential and hired him as a handyman, eventually allowing him to entertain fans with his dance moves.
It was during this time that Stitt met Count Matchuki, a fellow pioneer of the deejay genre. Inspired by Matchuki’s encouraging words, Stitt decided to try his hand at becoming a deejay. With practice and determination, he quickly climbed the ranks within Sir Coxson’s Downbeat, eventually earning the title of No.1 set selector.
The art of reggae toasting: King Stitt’s signature style
King Stitt’s innovative approach to deejaying, known as reggae toasting, involved talking over existing rhythms and injecting catchy phrases into the mix. His jive-talking style was both stinging and soothing, captivating audiences and elevating them to fever-pitched excitement.
Stitt’s signature phrases, such as “Love is true, love is pure, love is something no doc can cure,” became synonymous with his performances. He often paid homage to other artists during his sets, ceremoniously announcing their records before playing them and interjecting with shouted phrases mid-play.
The deejay explosion: King Stitt’s influence on Jamaican music
King Stitt’s groundbreaking approach to deejaying laid the foundation for the deejay explosion in Jamaica during the early 1970s. This movement continued throughout the roots reggae era, culminating in the establishment of dancehall music in 1983. Stitt’s influence can be heard in the works of legendary deejays such as U-Roy, who has been quoted as saying, “Matchuki was a man I used to love to listen to. I used to say I’d like to be like this man.”
Furthermore, Stitt’s pioneering work in reggae toasting played a crucial role in the development of hip-hop and rap music, transcending the boundaries of Jamaican music and transforming the global music scene.
Recording success: King Stitt’s chart-topping hits
Stitt’s foray into the recording business began under the guidance of producer Clancy Eccles. Eccles recognised Stitt’s talent for talking rhythmically and decided to put him on the track of a song he had written. The result was Stitt’s first recording and a major hit in 1969, “Fire Corner,” featuring his famous introductory toast:
No matter what the people say, these sounds lead the way. It’s the order of the day From your boss deejay, I, King Stitt. Haul it from the top To the very last drop.”
With “Fire Corner,” King Stitt became the first recorded deejay to have hits and make an impact on the charts, elevating the profile of the genre.
Stitt went on to record nearly 20 songs for Eccles, many of which were inspired by his love for movies. Some of his most notable hits include “Van Cleef,” “I for I,” “Herbman Shuffle,” and “Vigorton2.”
The Studio One years: King Stitt’s lasting legacy
King Stitt’s association with Dodd’s Studio One spanned several decades, during which he held various roles within the company. His knowledge of the pressing plant proved invaluable, enabling the repressing of rare recordings.
In the early 1990s, Stitt recorded an album for Studio One titled “Dancehall ’63,” featuring his voice-over original Studio One cuts. This album revived nostalgic memories of Gold Coast, Forrester’s Hall, and Mutual Hall.
The passing of a legend: King Stitt’s final farewell
On 31 January 2012, King Stitt passed away, leaving behind a legacy that transformed the world of Jamaican music. His funeral took place on 25 February at the Holy Trinity Cathedral, and he was laid to rest at the Dovecot Memorial Park, Spanish Town.
The impact of King Stitt’s contributions to reggae and dancehall music cannot be overstated. His innovative style and pioneering work in reggae toasting has left an indelible mark on the genre, influencing generations of deejays and musicians.
Through his groundbreaking records, captivating performances, and unwavering passion for music, King Stitt has secured his place as a true legend in the world of Jamaican music.
King Stitt’s journey from a young boy with a disfigured face to a pioneering legend in reggae and dancehall music is inspiring. His innovative approach to deejaying, his influence on the deejay explosion in Jamaica, and his lasting impact on the music industry testify to his immense talent, passion, and determination. King Stitt’s legacy will be remembered and celebrated by fans and musicians alike.
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