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"Below the Waist," a 2000s Queen Ifrica recording, is associated with the singer's social-commentary songwriting, part of a lineage of Jamaican artists using popular recordings to prompt public conversation on sensitive social issues.

"Greetings," Half Pint's mid-1980s single for King Jammy, was one of the singer's signature early-digital-dancehall hits, delivered in the sweet, agile tenor that made him one of the era's most in-demand vocalists.

"Hard Time Pressure" by Sugar Minott is useful for tracing singer-led social commentary at the roots-to-dancehall transition, where Studio One memory, sound-system audiences and emerging dancehall production overlapped.

"Here Comes Trouble" by Chronixx is a reggae-revival recording associated with the singer's international rise, pairing roots-reggae themes with modern production and festival-ready performance energy.

"Rumours," a Gregory Isaacs recording from the digital dancehall era, shows the singer adapting his romantic, roots-adjacent vocal style to the computerized riddims that had come to dominate Jamaican production by the late 1980s.

"Unchained" is a Bob Andy recording from his Studio One years, part of a songbook that established him as one of the era's most respected singer-songwriters, distinct from the sound-system-driven deejay and vocal-group styles dominating the same label's catalogue.

1000 Volts of Holt, released in 1973 on Trojan Records with UK orchestral overdubs by Tony Ashfield, was one of the biggest-selling reggae albums in Britain in the early 1970s, building on John Holt's fame as former lead singer of the Paragons.

Admiral Tibet was a Jamaican singer associated with "cultural" (Rastafari-influenced, socially conscious) dancehall through the late 1980s and 1990s, part of a lineage of artists balancing dancehall's rhythms with roots-style lyrical content.

Singer who began as a youth at Studio One and became a busy roots and UK lovers-rock voice through the late 1970s and 1980s.

Reggae-pop singer-songwriter (Alaine Laughton) whose 2005 breakthrough "No Ordinary Love" rode Don Corleon's Seasons Riddim; she has since worked with Sly & Robbie and top Jamaican producers.

Italian reggae singer and producer born Alberto D'Ascola in Marsala, Sicily in 1977, who fronted the pioneering Italian reggae band Reggae National Tickets from 1992 before relocating to Kingston in the early 2000s; his 2008 solo debut Soul Pirate launched a career built on writing, playing and producing nearly all of his own material as a self-styled "Italian Reggae Ambassador".

Mento vocalist who was lead singer of Chin's Calypso Sextet out of Chin's Radio Service on Church Street, Kingston; his "Night Food" (written by Everald Williams) was among the fastest-selling Jamaican records of the early 1950s.

Ivorian reggae singer (Seydou Koné, born 1953) who sings in Dioula, French, English and Hebrew and became one of Africa's most successful reggae artists from the 1980s with albums such as 'Jah Glory' and 'Cocody Rock', recording with Bob Marley's backing band the Wailers; his songs address African politics and Pan-African unity (Wikipedia 'Alpha Blondy'; RFI Music).

Alton Ellis was a Jamaican singer closely associated with the birth of rocksteady - his own song "Rocksteady" (1966) is one source of the genre's name - recording for both Coxsone Dodd's Studio One and Duke Reid's Treasure Isle. His ballad "I'm Still in Love," released in 1967, became one of the most repeatedly re-voiced and sampled rhythms in Jamaican music, covered and versioned across reggae and dancehall for decades after.

Dancehall singer born 1962 in Kingston who rose through the Black Star sound system before recording for King Jammy's; he had early hits with Tiger and reached his commercial peak in 1994 alongside Anthony Red Rose on their How Yu Fi Sey Dat label, also combining with Josey Wales and later appearing on the multi-artist "Ballistic Affair" riddim.