ENTITY · PERSON

Sizzla Kalonji

Well supported

Sizzla Kalonji (Miguel Collins) is one of dancehall's most prolific artists — a Bobo Ashanti Rastafarian sing-jay (deejay and singer) whose conscious catalogue, including 'Black Woman & Child' (1997) and 'Praise Ye Jah', helped define the late-1990s culture wave alongside Luciano and Capleton.

Share a memory Correct this record Add a source lead

At a glance

Type: person →
Era: Dancehall and the digital turn →
Confidence: Well supported

Connections

Media & sources

Videos

Sizzla — dubplate for Little Lion Sound, "Nah Apologies"

YOUTUBE · rights discovery only · performs

A dubplate special voiced for Little Lion Sound. Identified via web search; not verified from the seeding environment. Discovery-only external reference pending editorial rights review.

Source link ↗

Sizzla — dubplate for Little Lion Sound, "Karate"

YOUTUBE · rights discovery only · performs

A dubplate cut of Sizzla's "Karate" voiced for Little Lion Sound — a useful pairing with the released recording, since the difference between the two is the whole point of a special. Identified via web search; not verified from the seeding environment.

Source link ↗

Sizzla Kalonji — dubplate for Irie Ites, "Protect Us & Bless Us" (Digital B riddim)

YOUTUBE · rights discovery only · performs

A dubplate cut for Irie Ites over the original Digital B riddim — the riddim credit is the useful part, since it shows the special being built on a named Jamaican rhythm rather than a generic backing. Identified via web search; not verified from the seeding environment.

Source link ↗

Sizzla — Thank You Mama (official music video)

YOUTUBE · rights discovery only · performs

YouTube upload; surfaced via web search result and embedded as a discovery-only external reference pending editorial review.

Transcript pending ingestion.

Source link ↗

In stories

Story · ProbableThe digital riddims that ran the dance

When producers like Steely and Clevie, Dave Kelly, Tony Kelly and Don Corleon began building rhythms on drum machines and keyboards, a handful of their tracks came to run entire dancehall seasons.