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A dancehall riddim. This is a starting record: the originating cut, producer, year and the version chain need building from a discography rather than recollection, since riddim attributions are widely and confidently misreported online.

Madhouse riddim produced by Dave Kelly and released in 2005, part of the label's run of stripped-back, keyboard-driven dancehall rhythms; carried cuts by Beenie Man and Spice.

Late-1980s digital dancehall rhythm built at King Jammy's by house band Steely & Clevie in 1987 and first voiced by Pinchers on the hit "Agony," with further cuts from deejays including Shabba Ranks and Admiral Bailey.

Treasure Isle rocksteady rhythm associated with John Holt's "Ali Baba," produced by Arthur "Duke" Reid and released around 1968-69; a durable Duke Reid rhythm that circulated in versions and dub cuts in the years that followed.

Cut at Studio One for Coxsone Dodd and first heard as "Never Let Go" by Slim Smith and The Uniques — a heavy bassline under a horn figure, with Smith singing over it. About a decade later the deejay Lone Ranger voiced "The Answer" on it; that record made his name and renamed the rhythm, and it has been known as the Answer riddim ever since. It has kept returning across every subsequent dancehall era, which is the point of it: the rhythm outlived both of the records that defined it.

2005 dancehall riddim produced by Jah Snowcone (Riddim Driven series); voiced by Sean Paul, Sizzla, T.O.K., Wayne Wonder, Capleton and more.

The Arab Attack riddim is a 1990s dancehall rhythm title found across singles and compilation discographies, part of the era's producer-led riddim economy where distinctive track names organized a whole cluster of voiced versions.

A rocksteady-era Treasure Isle riddim originating with The Jamaicans' 1967 hit 'Ba Ba Boom,' produced by Duke Reid and a winner in the Jamaica Festival song tradition. Its rolling rhythm and horn arrangement became a recut favourite carried by later producers from Coxsone Dodd to Sly & Robbie.

Ballistic Affair is a Jamaican dancehall riddim produced by Anthony Malvo in 2002-2003, best known for Capleton's 'One Day Rudeboy' and versions by Buju Banton, Sizzla, Shinehead, Anthony B, Bushman and Wayne Wonder.

Early-1990s Madhouse riddim (Dave Kelly), named for dancer Gerald 'Bogle' Levy; Buju Banton's 'Bogle' (1991/92) is the defining cut.

Tony Kelly's 1998 dancehall rhythm. Sean Paul's "Deport Them" was the immediate hit and stands as the defining cut, with Sasha's "Dat Sexy Body" the other major side. One of the beds on which Sean Paul's international run was built.

A 1985 Steely & Clevie digital riddim, a mechanised reworking of Studio One's 'Feel Like Jumping,' named after Super Cat's hit 'Boops' from his debut album 'Si Boops Deh!' The song sparked a wave of 'sugar daddy' themed dancehall tunes and helped define the early computerised dancehall sound.

A dancehall move built on a sharp drop and release through the hips and knees — energetic, floor-facing and demanding. It travelled well beyond Jamaica through video and competition circuits, and is one of the steps most often taught in dancehall classes abroad, frequently without the context it came from.

The Bug, Dave Kelly's 1999 Madhouse rhythm — Shaggy's "Girls File" a defensible defining cut, Lady Saw's "Dial Tone" the other contender — from the run of late-90s Kelly beds that dominated the dance.

The Buy Out riddim is a late-1990s/2000s dancehall rhythm appearing across Greensleeves/VP-era compilations and singles, a reminder that international labels often documented dancehall's version culture by packaging many cuts on one rhythm for overseas buyers.