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Lead single from Kardinal Offishall’s major-label debut, articulating Toronto’s West Indian presence in patois-inflected verse and becoming his first Top 20 Canadian solo hit; a remix paired him with Jamaican deejay Bounty Killer.

'Breakfast in Bed', Lorna Bennett's 1972 cover of the Baby Washington soul song, was commissioned by producer Harry J and arranged by Geoffrey Chung; the single's success made Bennett the first woman to top the Jamaican singles chart, and its Scotty-voiced deejay B-side is a landmark of the toasting era.

One of Kartel's answer records in the documented Gully–Gaza exchange — the deejay tradition of the recorded reply, where a rival's last release sets the brief for your next one, conducted on rhythm and judged by the dance.

"Get Busy" by Sean Paul is the Diwali riddim's biggest international breakthrough, a dancehall single whose Billboard success made Lenky's rhythm and Jamaican deejay delivery part of early-2000s global pop radio.

Ini Kamoze's 1994 crossover: a decade-old roots deejay reborn atop Salaam Remi's hip-hop-framed production, riding the "na na na" hook to number one on the Billboard Hot 100 — dancehall phrasing at the summit of American pop three years after Shabba's Grammy run opened the door.

From Bounty Killer's My Xperience (1996), released as a single by VP Records in February 1997, pairing him with the Fugees at the height of The Score. Often cited as one of the earliest rap-opera records, and an example of a Jamaican deejay bringing an American group onto his own album rather than appearing as a guest on theirs.

Late-1980s dancehall hit that established deejay Red Dragon, produced by Winston Riley, its catchphrase becoming one of the deejay's lasting signatures.

Dirtsman's 1991 signature dancehall hit, cut for engineer-producer Philip Smart's Tan-Yah operation; the deejay (Patrick Thomas, brother of Papa San) died in 1993 and is remembered for this record. Documented facts, memorial framing.

"Limb by Limb" by Cutty Ranks is one of the records that carried 1990s hardcore dancehall into international circulation, remembered for its sharp deejay delivery and heavy presence in clubs, mixtapes and sound-system play.

Lady G's 1988 record for Gussie Clarke on the Music Works "Rumours" rhythm, a landmark for women deejays in the digital era, from the Music Works Showcase '88 sessions.

1981 dancehall single by the child deejay Billy Boyo, produced by Henry "Junjo" Lawes over a Roots Radics rhythm and mixed by Scientist, an emblem of the early-1980s youth-deejay boom.

Deejay Gregory Peck's 1990 cut for producers Steely and Clevie gave its name to one of the defining riddims of dancehall's turn-of-the-1990s digital era, later reworked with cuts from Cutty Ranks, Capleton and Shabba Ranks.

1966 single by Sir Lord Comic and His Cowboys, frequently cited among the first deejay records, translating the toasting style he had honed on the Admiral Deans sound system onto disc.

"Temperature" by Sean Paul is a mid-2000s global dancehall-pop hit, useful for documenting the period when Jamaican deejay delivery and dancehall rhythms became regular features of international pop radio.

The deejay cut that made Lone Ranger's name and renamed the rhythm it rode: the Studio One "Never Let Go" bed has been called the Answer riddim ever since.