“It’s important but not essential,” DJ Wayne comments. He believes that the public feeds the DJ’s egos and, as expected, these egos will clash, which is fine so long as everything “remains lyrical.”

Aboomayeah!

DJ Wayne enjoys being a radio personality and believes Jamaican radio is at its most exciting stage with “more to come.” He warns however that it won’t be fun and games for everyone because with the better times ahead comes stiff competition. And it’s clear that Wizzle intends to stay ahead of most and in the thick of things as he declared, “Aboomayeah,” meaning ‘kill dem an’ dun’ (with style and quality of course). Hey I said he was crazy, didn’t I?
However, he feels that Jamaican radio is being held back from reaching its full potential. With this dubious credit of holding local radio back, he credits persons within the industry who won’t “free up the radio.” Although much can be said on this topic, we won’t get into it now because the politics of Jamaican radio merit an entire series of articles. Suffice to say that DJ Wayne will continue to be dedicated to the Jamaican radio and entertainment industry.

How involved is DJ Wayne in the Music Industry?

In addition to being a selector and radio personality DJ Wayne also has his own production company. The company, Purple Skunk Productions, has already produced riddims such as Wanga and Tru Love (co-produced with Sugar Roy). Another riddim, Purple Skunk features the hit song from Sizzla ‘You’re All I Need’. The song appears on Sizzla’s latest CD Rise To The Occasion. DJ Wayne’s most recent riddim is Marmalade and features Vybz Kartel’s “Tattoo,” which is on the DJ’s debut album Up To The Time; yet another “hot and blazin’” riddim is to be released for the upcoming summer season, so keep an ear out for it.

Since beginning his stint at IRIE, Wizzle has played at numerous high profile events including Passa Passa and 2003’s Sound Clash “Death Before Dishonour” in his hometown, Montego Bay. Although a studio DJ for a living, DJ Wayne enjoys playing at parties because of their “intense, high energy… [and having] the crowd in front of you [is] nothing like playing in the studio.”

By continuing in radio DJ Wayne hopes not only to entertain but to make a difference. What kind of a difference? He hopes to “reach more people” and he wants to become a “part of your everyday life.” No more listening to CDs in your car, it will be “strictly radio” and strictly DJ Wayne. He also hopes to see the dancehall industry completely controlled by black people, who, after all, were the originators and still are the main producers and consumers. With 17 years (and counting) in the business he says his biggest accomplishment to date is how much he has accomplished in the production side of the business; he’s especially proud of Sizzla’s ‘You’re All I Need’ and Bounty Killa’s ‘Roy’.

Jamaican Music and the Foreign Market

Wizzle has a lot of faith in Jamaican music and he feels that Reggae and Dancehall have “always had what it takes” to enter into and remain a viable part of the overseas market. However, he feels that it is important for Jamaicans to “recognize the talent” we have in Jamaica. This recognition is important for inspiring confidence for the artists as they venture abroad. As Jamaican music has travelled abroad, Dancehall in particular has found favour among the Hip-Hop/Rap community. Many people lament (while others praise) the influence of Hip-Hop and Rap on dancehall and I asked for his perspective on the issue. He smiled and summed it up in one phrase, “You mean the influence of dancehall on rap.” I couldn’t have put it better myself.

As someone who is definitely passionate about Jamaican music and has the music’s best interests at heart, DJ Wayne believes that dancehall is still not at its highest standard. He largely attributes this to the large amount of songs voiced on each riddim, which makes the business “watered down.” Instead of focussing on the quality of their songs, DJs simply try to ensure that they are on all the new riddims. Popularity, quantity and face time have trumped the importance of quality lyrical skill and delivery. But the DJs aren’t the only members of the music business who are responsible for keeping quality. Producers and radio DJs also have a responsibility to ensure quality music, which can be ensured by being committed to music and not just the money. If DJ Wayne’s dedication and convictions are any indication, I am sure that he will take ownership and responsibility for Jamaican music’s quality.