Capleton

Capleton Biography:

Capleton, born Clifton George Bailey III on April 13, 1967, in Islington, St. Mary, Jamaica, emerged as one of the most distinctive voices in reggae music. Raised in a devout Christian household, Capleton’s early exposure to music came through the church, where he sang in the choir. However, his musical journey took a different turn when he discovered the works of reggae legends like Bob Marley, Peter Tosh, and Dennis Brown. Inspired by their revolutionary lyrics and infectious rhythms, Capleton found his calling in reggae music, setting the stage for his future career.

Capleton said of his works:
“Anytime you try to uplift righteousness and upliftment of the people them, then you ah go get a fight, says the hottest entertainer in the worldwide reggae fraternity. “Bob Marley come do it and them fight him. And when Bob Marley dead, that’s when they start to endorse him. I already aware of this, I am not unaware. So I know the more them fight I is the more I get stronger”.

Rise to Prominence
Capletons career began to take shape in the late 1980s when he started performing at local talent shows and sound system events. His raw talent and magnetic stage presence quickly caught the attention of producers and fellow artists, leading to collaborations with established figures in the Jamaican music scene. Tracks like “Bumbo Red” and “Number One Pon The Look Good Chart” showcased Capleton’s unique vocal style and lyrical prowess, laying the groundwork for his ascent to stardom.

Breakthrough
Capletons breakthrough came with the release of his album “Prophecy” in 1995. The album’s title track, along with singles like “Tour” and “Wings of the Morning,” became instant classics, catapulting Capleton to international fame. “Prophecy” not only showcased Capleton’s musical versatility but also established him as a leading voice in the reggae renaissance of the 1990s. His blend of dancehall rhythms with conscious lyrics and infectious melodies resonated with audiences worldwide, earning him a devoted following.

Artistic Evolution
Throughout the late 1990s and early 2000s, Capleton continued to push the boundaries of reggae music with a series of critically acclaimed albums. “I-Testament” (1997), “More Fire” (2000), and “Still Blazin” (2002) further solidified his reputation as a prolific and innovative artist. These albums showcased Capleton’s ability to seamlessly blend traditional roots reggae with contemporary dancehall sounds, earning him accolades and awards throughout the Caribbean and beyond.

The first words of his mega-hit “Dis The Trinity” made it plain that the DJ had experienced some kind of revelation. “I was once lost but now I’m found,” he stated, “Selassie I live every time.”

Capleton became a strong advocate of the teaching of the Jamaican National Hero, Marcus Mosiah Garvey, founder of the Universal Negro Improvement Association and advocate of universal black repatriation. “Babylon rewarded us with hatred for our love,” he declares. “They taught us to rape, steal and kill. For instance, they stole our literature and taught it back to us in a different manner so as to infiltrate our minds with foolishness and other misconceptions. Now we as black men do not see ourselves as prince and prophets, but as punks and guys. Our women do not see themselves as queens, princesses or empresses anymore, but as harlots and concubines.” The only solution, as Bob Marley advocated, is to emancipate oneself from mental slavery.

“Over the years INI as a nation and a people, them no really teach INI nuttin‚ bout INI black self. You know what I mean? Them teach INI them give we European philosophy. So INI and some other youths a try emerge now, we ask certain question and we ask fi certain things. Caw we know say an institute, or in a college, or in a certain organisation we need we Ethiopian curriculum, we need the black man thing. We need to know about weself. Becaw the prophet Marcus Garvey did show we say, A nation without no knowledge of them own history is like a tree without a root. And if you don‚t know where you’re coming from, you’re not gonna know where you’re going.”

Even as he uplifts the black race, Capleton always makes a point of clarifying that he does not seek to alienate any race. “We are not being racial nor prejudiced star,” he says. “Becaw we know Jah is for everyone. But where history and prophesy in concerned, that is our witness and we have to be ourself, and we cannot hide from the truth. Caw we woulda be a traitor and a sellout to ourself. And you cannot sell out yourself.”

Soon thereafter came the song “Tour” a blazing state of the dancehall report written in the weeks following the slaying of Panhead and Dirtsman, two of Capleton’s fellow artists. That song not only became an anthem of the roots revival within the dancehall, but a hip hop flavoured remix of that song hit the Billboard charts, opening up a huge new audience to Capletons messages of righteousness.

Spiritual Message and Controversies
Central to Capletons music is his unwavering commitment to his Rastafarian faith and spiritual beliefs. His lyrics often explore themes of righteousness, social justice, and the struggles of the marginalised, resonating with audiences of all backgrounds. However, Capleton has also faced criticism for some of his lyrics, which have been accused of promoting violence and homophobia. Despite these controversies, he has remained steadfast in his defense of artistic freedom, arguing that his music reflects the realities of life in Jamaica and the struggles faced by its people.

“I think the people dem see say me really deserve that because of the amount of years me put in,” Capleton says, “and we never really bow and we still hold the faith. We stand up for whatever we a say. Yeah and we really work for it. And them say by your works, a so you get your pay. The people them see the amount of fight me face and the whole heap of accusation. And me still never give up”.

Legacy and Impact
Many of Capletons songs “and most of his critics” make mention of this blazing fire. Capleton hopes to clear up the confusion once and for all. “Is not really a physical fire. Is really a spiritual fire, and a wordical fire, and a musical fire. You see the fire is all about a livity. But is people get it on the wrong term. People get confused. So when a man say ‘more fire’ him think that mean say you fi go light the cane field or go light the church.”

Fire, Capleton explains, is a way of reminding one’s brother that they are going astray. “That way a man know say him doing something wrong. That even give him the urge to know say Yo check up on yourself. What you’re doing is not right, or else him would not say ‘Fire fi dat,’ or ‘Burn dat’ or ‘More fire”. “If we go check it back now,” he continues, “fire is for the purification of earth, anyhow you check it. This earth itself have to even emerge from the literal fire also, which is the volcanic activity, we a talk bout lava. The hottest element to rise us in the morning is the sun. The water cleanse, but it’s still the support from the fire that burn the water, burn out of the bacteria so the water coulda heal we fi cleanse. The herb heal, but it’s still the fire fi burn the herb so the herb coulda heal we also”.

As of 2024, Capleton remains an influential figure in the reggae and dancehall communities, inspiring a new generation of artists with his timeless music and unwavering commitment to his craft. His electrifying stage presence and infectious energy continue to captivate audiences around the world, solidifying his status as one of the true icons of Jamaican music. With a career spanning several decades and an enduring legacy that continues to grow, Capleton’s contributions to reggae music are immeasurable, earning him a place among the genre’s greatest pioneers.

Do you need a review, biography or press release? Book our services for your latest release here.

Capleton Biography by Gav Pauze / Pauzeradio PR Services (3rd March 2024).