Johnny Wonder hails Skillibeng’s star power

Veteran producer Johnny Wonder sees Skillibeng's recently announced signing with RCA Records and Eastsyde Records as a win for dancehall.

"I think it's a good thing for dancehall and it's a good thing for Skilli and it's a good thing for his record label," Wonder, who orchestrated the dancehall prodigy's 2021 Crocodile Teeth album, told THE STAR. "Let's see what comes out of it."

The deal adds to other impressive strides Skillibeng has made in his meteoric career, including the 2020-announced worldwide publishing deal with Sony/ATV Publishing UK (part of Sony Music group), and his feat as the only Jamaican nominated for Best International Act at December's staging of the British Music of Black Origin (MOBO) Awards. Wonder linked his global appeal to his unique sound.

"He's young and he has that sound," he said. " Crocodile Teeth brought out a particular sound for Skilli and it bridged the gap into Brooklyn and the Bronx, so the whole sound was a movement, that's how I feel. He had songs before Crocodile Teeth but Crocodile Teeth was the bridge. I never seen a song that got so many different superstars singing it, talking about it, whatever. It took over the whole of 2021, and was one of the biggest songs."

Skillibeng emerged in 2019 under Eastsyde Records, and joins local RCA label mates including Koffee, Protoje, Sevana, Lila Ike and Jaz Elise, as well as American acts like Chris Brown, Alicia Keys, Doja Cat and SZA.

Other Jamaican acts have also signed with foreign labels in recent years, including Jada Kingdom (Republic Records), Shenseea (Interscope), Buju Banton (Roc Nation) and Popcaan (OVO Sound).

The revitalised interest in Jamaican artistes by major labels is reminiscent of the late 80s and 90s when American A&Rs flooded the island looking for the next big thing.

"I remember those times; the Shabba times, Super Cat times, Cobra times, Patra times, it was a different time," Wonder said.

"Now I think they (the major labels) do their research differently than they used to. Back then, you had the Steely and Clevies, the King Jammys, and now you have different sets of producers, so it's a lot different than it used to be because back then they used to use acoustic stuff, they didn't use digital. We see a lot of artistes being signed now so it has to be a good thing."

Even though some of the artistes signed from that era eventually faded in the background, Wonder said it's often part of the process.

"That's what happens. When you have a hit song playing on mainstream radio in America, it's a blessing and a curse."