Bounty Killer, aka Rodney Basil Price, was born 12.06.1972 in the Trenchtown area of downtown Kingston, Jamaica, with his family moving to a next ghetto area of Riverton City (formerly known as Dungle), and finally Seaview Gardens, Kingston, as a young child. One of nine children to his mother "Miss Ivy" and father, owner of a small sound system, Rodney first picked up the mic as a deejay at nine years old.
He nearly lost his life to gun violence at 14, but thankfully fully recovered from the bystander assault and soon began his music career as Bounty Hunter. He joined neighborhood friends Nitty Kutchie and Boom Dandemite in seeking out opportunities in country as well as town, performing for Metromedia and Bodyguard, as well as other local area sound systems. It was during a chance meeting with brother of King Jammy, Uncle T, which would change his career forever.
Bounty's initial recordings were done by Uncle T, after Jammy himself was skeptical due to the violent nature of the tracks. Jammy eventually relented upon witnessing the rising popularity of the deejay.
His first hit record on the sound system circuit was Dub Fi Dub and other recordings with the King Jammys label were compiled into 1993's Jamaica's Most Wanted, later released as Roots, Reality and Culture. By 1993, now known internationally as Bounty Killer, Rodney was quickly becoming regarded as one of the fiercest and most lyrically gifted of the next generation of deejays. Hits such as Coppershot, Lodge, and Spy Fi Die quickly propelled Bounty to an upper-echelon deejay, and sound system dubplate favorite. "Coppershot" was actually a hit in New York before Jamaica, which left Bounty as personally indebted to the American city as much as his native Kingston. 1993 also brought the beginning of a long, on-and-off rivalry with Beenie Man, which culminated in a battle at Sting 1993, extended through the mid-90s and flared up again in the latter half of the following decade.
Bounty won the war at Sting 1993 and his legacy as dancehall superstar was cemented as a result. The mid-1990s brought hit after hit, such as Cellular Phone, Not Another Word, and Mama. The heated war-of-words with Beenie Man gave the world many popular tunes from each side, including Ask Fi War, Suspense, and War Beyond The Stars.
The mid-90s era culminated in the release of My Xperience in 1996. The most comercially successful album of Bounty's career, and widely considered one of the best dancehall albums of the decade, it mixed popular dancehall tracks, such as Living Dangerously featuring Barrington Levy and Fed Up, with hip-hop crossover duets featuring Jeru The Damaja, Raekwon and, most popularly, The Fugees.
The decade closed out with two more albums, Next Millenium, which featued more hip-hop guest combinations, and 5th Element, which returned to a more hardcore-dancehall style.
By the year 2000, Bounty Killer, along with Capleton, was still considered the top deejay in the business, particularly with the waning popularity (at the time) of Beenie Man, and refocused career path of Buju Banton. This was due as much to being the most in-demand artist for dubplate recordings by sound systems as to actual studio material.
In 2001, he was featured with No Doubt on their international hit Hey Baby, and appeared with the band for a pre-game performance at the 2002 NFL Super Bowl.
In 2002, Bounty released his most ambitious project since My Xperience, a double CD (released seperately), titled Ghetto Dictionary: The Mystery and Ghetto Dictionary: The Art of War. While not nearly the commercial success of My Xperience, underground sales were strong, and it featured the smash dancehall hit Sufferah.
Since the Ghetto Dictionary project, Bounty Killer's influence has mostly been behind-the-scenes, working with young talent and bringing new dancehall reggae stars to the forefront. He has been credited with bolstering the careers of, among others, Elephant Man, Busy Signal, Wayne Marshall, Baby Cham, and Vybz Kartel.
He currently oversees a stable of artists known alternately as The Alliance and Gully, which includes Mavado and Aidonia.
Cry & Bawl
Bounty Killer Lyrics
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I hope this gal can pay the fine.... right
Gal a cry and bawl fi the service
I hope them can service
Check one Bounty Killer
And this is Tanya and if you inadequate
And caa get mi wet
Nuh bother make mi waste nuh sweat.
Gal a cry and a bawl fi mi service
And them a make phone call say them need it.
Gal a cry and a bawl fi mi service
And them a make phone call
So you feel, A never bawl mi a bawl fi the service,
Mi never like it at all believe mi,
Mi naa cry and a bawl fi the service,
It never ready a tall.
Yow, mi couldn’t find nothing fi sit down pan
Bwaay a magican, cause everything disappear,
Mi ben up inna every positian,
A try fi find him, but him tyre waa air.
Gal a when mi done wuk you a you grave you a go end up
You little chocho and you salad a go swell up.
Stay deh gwaan rail up tell lie and gwaan yell up,
Just like eight or S you a go ben up.
Come in like a mad bull fi nuff years mi pen up,
Stay deh cry tears a mi pole mi a go send up swell
Gal a cry and a bawl fi mi service
And them a make phone call say them need it.
Gal a cry and a bawl fi mi service
And them a make phone call
So you feel, A never bawl mi a bawl fi the service,
Mi never like it at all believe mi,
Mi naa cry and a bawl fi the service,
It never ready a tall.
True mi nuh waa fall asleep mi start to make noise,
You gaan tell you friends them how get get prize,
A wonder when you a go wake up and realize,
Say you need fi work pan you size.
Gal mi tired and mi fed up of your false statements.
Gal when mi did a wuk you all out a you sense,
You kick down door tear down the back fence.
Make you all a speak whole heap a accent.
You say take time, mi nuh got nuh conscience,
Cause mi know the work and mi do it excellent,
Natural as mi born, nuh under nuh influence, swell
Mi did a cry and bawl true mi did a morn fi you, Uh ugh
Mi go a grave yard fi put flowers pan it,
A the fuss mi ever see something so dead,
Bwaay a dozen wreath fi the other head.
To how mi wuk gal them say mi under a spell,
Back them up jack them knock the outta them shell.
Gal a compete a mussi Detol she smell,
When mi pass through the whole bed room Corel,
Mi use this like a forty five haskel,
Fi take out Yevette, Antonette and Michelle… hey true
In "Cry & Bawl," Bounty Killer and Tanya Stephens mock and scorn a woman who is dissatisfied with the quality of her sexual encounters with them. The lyrics suggest that these women are repeatedly calling and crying out of frustration, but neither musician seems to care about the women's complaints. They even suggest that the women should "pay the fine" for their dissatisfaction. Additionally, Bounty Killer and Tanya Stephens insult the women throughout the song by describing them as "little chocho" and "false statements." The song appears to be an exercise in machismo, with the performers bragging about their sexual prowess and mockingly belittling their unfulfilled partners.
"Cry & Bawl" is an unusual collaboration between two of the most prominent dancehall artists of the 1990s, Bounty Killer and Tanya Stephens. Both musicians had established successful solo careers before teaming up on this song, which was produced by Donovan Germaine for Penthouse Records in 1997. Despite its controversial subject matter, the song was a hit in Jamaica, and it helped to cement both artists' reputations as boundary-pushing provocateurs in the dancehall scene.
Line by Line Meaning
Check one time no crime
Let's make sure everything is okay before we start.
I hope this gal can pay the fine.... right
I hope she's ready for what's coming.
Gal a cry and bawl fi the service
Women are begging for my attention.
I hope them can service
Hope they can handle what I'm putting down.
Check one Bounty Killer
This is Bounty Killer speaking.
And this is Tanya and if you inadequate
And this is Tanya, and if you can't keep up,
And caa get mi wet
I won't even be interested.
Nuh bother make mi waste nuh sweat.
Don't waste my time.
Gal a cry and a bawl fi mi service
Women are crying and begging for my attention.
And them a make phone call say them need it.
They're even calling to ask for me.
So you feel, A never bawl mi a bawl fi the service,
Just so you know, I don't beg for attention.
Mi never like it at all believe mi,
I don't enjoy it, believe me.
Mi naa cry and a bawl fi the service,
I won't cry and beg for attention.
It never ready a tall.
It's not worth it.
Yow, mi couldn’t find nothing fi sit down pan
I can't find anything to sit on.
Bwaay a magican, cause everything disappear,
Everything's disappeared like magic.
Mi ben up inna every positian,
I've tried every position.
A try fi find him, but him tyre waa air.
I'm trying to find him, but he's not there.
Gal a when mi done wuk you a you grave you a go end up
After I'm done with you, you'll be exhausted.
You little chocho and you salad a go swell up.
Your private areas will be swollen from all the work.
Stay deh gwaan rail up tell lie and gwaan yell up,
You can complain and lie and yell all you want.
Just like eight or S you a go ben up.
You'll be worn out like the number 8 or the letter S.
Come in like a mad bull fi nuff years mi pen up,
I'm like a mad bull who's been pent up for years.
Stay deh cry tears a mi pole mi a go send up swell
Crying won't solve anything, I'll just keep getting bigger.
True mi nuh waa fall asleep mi start to make noise,
I don't want to fall asleep, so I'm making noise.
You gaan tell you friends them how get get prize,
You'll go tell your friends how I made you feel good.
A wonder when you a go wake up and realize,
I wonder when you'll realize you need to work on yourself.
Say you need fi work pan you size.
You need to work on yourself physically.
Gal mi tired and mi fed up of your false statements.
I'm tired of your lies.
Gal when mi did a wuk you all out a you sense,
When I was working on you, you lost your senses.
You kick down door tear down the back fence.
You were so intense, you broke things down.
Make you all a speak whole heap a accent.
It made you speak in a different dialect.
You say take time, mi nuh got nuh conscience,
You said to take my time, but I don't have any patience.
Cause mi know the work and mi do it excellent,
I know what I'm doing and I do it well.
Natural as mi born, nuh under nuh influence, swell
I'm doing this naturally, without any help.
Mi did a cry and bawl true mi did a morn fi you, Uh ugh
I was crying and mourning for you.
Mi go a grave yard fi put flowers pan it,
I even visited a graveyard to mourn.
A the fuss mi ever see something so dead,
That was the worst I've ever felt.
Bwaay a dozen wreath fi the other head.
There were a dozen wreaths on the other grave.
To how mi wuk gal them say mi under a spell,
People think I have a spell over women because of how I work.
Back them up jack them knock the outta them shell.
I bring women out of their shells and make them feel alive.
Gal a compete a mussi Detol she smell,
Women are competing and smelling like disinfectant.
When mi pass through the whole bed room Corel,
When I pass through the bedroom, it's like a hurricane hit.
Mi use this like a forty five haskel,
I use my skills like a gun.
Fi take out Yevette, Antonette and Michelle… hey true
To make sure Yevette, Antonette, and Michelle are happy.
Lyrics © Universal Music Publishing Group, Royalty Network, RESERVOIR MEDIA MANAGEMENT INC, Warner Chappell Music, Inc.
Written by: RODNEY PRICE, COLIN YORK, LYNFORD MARSHALL, PAUL HENTON, TANYA STEPHENSON, COLLIN W YORK, LYNFORD AGUSTUS MARSHALL, PAUL A HENTON, RODNEY BASIL PRICE, VIVIENNE STEPHENSON
Lyrics Licensed & Provided by LyricFind
1000SandLinkTV
Real song love it
Jenderson Mohammed
🔥🔥🔥🔥🔥🔥🔥🔥
TRILL NYC
STILL LISTENING IN 2019
crystle quintyne
2020🔥🔥🔥🔥
1000SandLinkTV
Re promote it
Christian Rose
What rythm is this?
T B.M
overdose riddim
Mya cald
Not ah next one like tanya