Daddy Rings is born Everold Dwyer in 1971 in Manchester, Jamaica. Like many young Jamaicans he is magically attracted by the music of the sound systems. So he make his first musical experiences on his uncle’s sound system.
Whenever the “Culture Shanty Hi-Fi” plays Daddy Rings is not far and wants to hold the microphone. His talent is obvious and through the encouragement and the reactions of his community he decides to go to Kingston by the age of 18. As it happens so often he spends the first time waiting for his luck to pass. With different jobs he keeps his head above the water until a friend introduces him to King Jammy’s. Straight away he discovers the young Deejay’s talent and produces 15 songs with him. In the midst of the 90s he joins Gussie Clarke’s camp where he unfolds his skills as a singer and songwriter more and more. Convinced by the cooperation of Daddy Rings and session musicians like Sly Dunbar, Dean Fraser and Robert Lyn, Gussie Clarke and the creative team of the Anchor-Studios start to produce an album right away. After the work is done there is only one conclusive title for the work – “Stand Out” – the right name for an outstanding album.
Jampro (Jamaica’s Economic Development Agency) discovers the talent of Daddy Rings as well and decides to send him to the Midem in Cannes. In the line of the “Reggae Rock Cannes Midem 97” he represents Jamaica and convinces the audience. The album and especially the Ganja-anthem “Herb Fi Bun” arouse the interest in Daddy Rings by the English label Greensleeves Records. Greensleeves decides to release the album and two songs from the album as Maxi-Singles. Immediately a combination with Cocoa Tea is voiced on “Herb Fi Bun” in Jamaica. “Rumours” is another duet recorded with Freddie McGregor. With these recordings Greensleeves believes in a better establishment of the young Deejay in the market. The plan works out. With “Herb Fi Bun” and “Rumours” Daddy Rings strikes two international hits and the album is then released worldwide in 1997.
The promo-tour through the Netherlands, England and Germany in 1997 develops to a determine turning point in his career. Daddy Rings uses the chances offered to him. David Rodigan is impressed by the talent of the young Jamaican. John Masouri writes a detailed article for Black Echoes, while Daddy Rings starts to gather his first European fans with several radio-features and live-show. He spends much time in Germany. On the Cologne-based Pow Pow sound system’s sessions he receives positive attention fast. On the several Mic- Sessions he sets Pow Pow’s Resident-Club Petit Prince on fire. The nights in the Petit Prince remind him of those in his homeland Jamaica and therefore the vibe is right for Daddy Rings.
A young Deejay called Gentleman convinces him that Reggae is real in Germany. Together they hit the stage for Pow Pow and turn the place into a frenzy. In those days the combination “Dem Can’t Take The Powers” is produced and released on the “Four Elements”-Sampler by German popular label Four Music. At Pow Pow the cornerstone is laid for an extraordinary cooperation. For many years Daddy Rings will be a stage-partner and song-writer for Gentleman writing the lyrics for hit songs like “Dem Gone”. His natural way of dealing with music is very appreciated which is shown by his collaborations with some of Germany’s most important Hip Hop-artists.
Already 1999 Daddy Rings inspires Future Rock to a remix of “Tell Me What Yuh Dealing” which is released on the album “Produced By Future Rock”. The Combination ”Pow“ with Daddy Rings and the German group Die Firma enriches the “Germaican Link Up!”-Sampler (a Reggae meets Hip Hop-project). Daddy Rings and Jah Meek appear as guest-singers on “Coup d’État” from the debut album “D.I.A.S.P.O.R.A.” of Sékou (member of popular German group Freundeskreis). On the occasion of the Football World Championship 2002 the football-fans Afrob, Gentleman, Max Herre (Freundeskreis) and Daddy Rings record the song “Grande Finale”. Even the dance-floor orientated Turntable rocker record two songs with the vocal-talent. “Poppin Up” on the album “Classic” (2001) and “Rings” on the album “Smile” (2002).
But Daddy Rings is also in demand in the Reggae-Scene. The Combination “Ina Different Time” on Gentleman ́s “Journey To Jah”-Album and also “Call Me On The Telephone” on Pow Pow’s “Celebrate”-Riddim carry the name of Daddy Rings throughout the world.
Despite his successful time in Europe Daddy Rings keeps the faith to his roots and his homeland Jamaica. The call for an album gets louder but the extensive touring and songwriting for Gentleman and the requests by many producers leave no time to work on his own album. Anyhow songs from Daddy Rings are released regularly. In 2002 “River Jordan” with Gentleman on the Black Scorpio-label. 2003 four songs of Daddy Rings are released on his “African Glory”-EP. This Extended Play receives positive feedback and rises the expectations for an album release. Still the time has not come and so his fans get only appetisers at this point. “The Wiff” on Pow Pow’s 2003 “Shanty Town”- sampler and in 2004 “Anything For Mama” (voiced on the “Superior” Riddim), the tribute to his mother. In the same year Daddy Rings and Paul Elliott get heavy rotation on the Jamaican airwaves with “Self-Reliance”. The producer Steven Stanley releases “Yahe” in 2005. The Videoclip of “Yahe” just as his own production “African Glory” is shown in Jamaica’s Reggae TV-stations. The work in Europe also continues: “Caan Hold Us Down” with Gentleman, Barrington Levy and Daddy Rings from Gentleman ́s “Confidence”-album is a successful single in Germany. The combination “Ghetto Youth Rise” with Ras Shiloh is once more for Pow Pow Productions. This song shall be Daddy Rings last tune for now for other producers. From now on Daddy Rings has his full concentration on his own album. After the work is done the combinations “Thank You Jah” with Mark Wonder und “Youth Uprising” with Andy Livingston are released. “The Most High“, Daddy Rings long awaited album is released on his own label African Glory. The 17 songs of the album are on a constant high level. Each track inspires and convinces once and again through Daddy Ring’s inimitable vocals and his unique songwriting. The permanently conscious lyrics give the album a deep going positive message – putting the culture in the place where it once was.