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.
Gal
Bounty Killer Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
And girls push them around
Take them up and down hey yo! Hello!
You know no girl can play me like clown
I've been around hey yo!
Hello! Can't be found
Kartel up to Di Time again you mess up
Catty cyan carry me 'round me nah do that!
Kartel, a gal waan fi gwan, mi say, "cu that"
If a me fi run her down, me nah do that
Man a take him last give gal me nah do that!
Run down some nasty gal me nah do that!
When them a dig up the nurse that
Me nah do that!
Kartel nuh faggot but me nah do that
Yo, no boy nuh fi a bruk gal back
Nuh know how fi treat them
Boy make woman rule them gal all a beat them
20, 30 grand she spend every weekend
The clothes dem, she buy them
And lef' the food items alright then!
Gal die then well if a lie then
Wha' make a she decide when
You link your own friend
Wha' make you haffi inside dwell
When she come home, Ken?
You know when she spoken your
Mouth can't even open but listen
When God did send come out of heaven
A just what the man did send?
To be the legend to rule 24 7 over women
You see, she a fi me, you zimmie?
So, how me fi turn gal clown?
Me nah do that! Catty cyan carry me 'round
Me nah do that!
Kartel, a gal waan fi gwan, mi say, "cu that"
If a me fi run her down, me nah do that
Man a take him last give gal me nah do that!
Run down some nasty gal me nah do that!
When them a dig up the nurse that
Me nah do that!
Kartel nuh faggot but me nah do that
Yo! Nuff boy weh say them a gallis
Dem only dreaming
Nuff man weh say them a bless the
Empress them really nuh mean it
Me never see them with no princess
Sketel me see him with
Dem link them owna mean it
Any gal weh mi run through, them confess
Me most strategic
Disarm dem Victoria Secret for
What's beneath it
But first of all, me nah go eat
Make me repeat it
Me nah go eat it, cocky deh yaso fi treat it
Turn gal clown? Me nah do that!
Catty cyan carry me 'round me nah do that!
Kartel, a gal waan fi gwan, mi say, "cu that"
If a me fi run her down, me nah do that
Man a take him last give gal me nah do that!
Run down some nasty gal me nah do that!
When them a dig up the nurse that
Me nah do that!
Badman nuh faggot but me nah do that
Yo, no boy nuh fi a bruk gal back
Nuh know how fi treat them
Boy make woman rule them gal all a beat them
20, 30 grand she spend every weekend
The clothes dem, she buy them
And lef' the food items alright then!
Gal die then well if a lie then
Wha' make a she decide when
You link your own friend
Wha' make you haffi inside dwell
When she come home, Ken?
You know when she spoken your
Mouth can't even open but listen
When God did send come out of heaven
A just what the man did send?
To be the legend to rule 24 7 over women
You see, she a fi me, you zimmie?
How me fi turn gal clown? Me nah do that!
Catty cyan carry me 'round me nah do that!
Warlord, a gal waan fi gwan, mi say
"cu that"
If a me fi run her down, me nah do that
Man a take him last give gal me nah do that!
Run down some nasty gal me nah do that!
When them a dig up the nurse that
Me nah do that!
Badman nuh faggot but me nah do that
The lyrics of Bounty Killer's song Gal Weather (More Gal) are a tribute to women, specifically the different types of women one can encounter in Jamaica, regardless of their background or social status. Bounty Killer portrays himself as a "galis," someone who enjoys the company of multiple women and sees no harm in it. In the first verse, he lists the types of women he has seen: from the countryside, from the town, from the ghetto, from uptown. He even acknowledges the fact that the place is "full a gal" and that he keeps sending signals to attract them.
The chorus repeats the phrase "gal cyaa too much," which means "there can never be too many women." Bounty Killer's fascination with women is not only physical but also emotional; he loves to see them wine (dance) and feels tempted to touch them. He believes that nature itself demands more women, and the dilution of his temper can only occur with the presence of more women. The second verse is a continuation of the first, where he talks about going to the bar to get more drinks and company. When he calls his friends, he only wants those who have female companions with them. The DJ, too, is instructed to play songs that are dedicated to women as they are the ones who support their music.
Line by Line Meaning
Me see gal from country
I have seen women from rural areas
Gal from town
Women from urban areas
Gal from ghetto
Women from impoverished areas
Gal from up town
Women from affluent areas
Di place full a gal a gal zone
The location is saturated with women
But di general still a sen out gal sound
Despite the abundance of women, the artist still desires more
Because gal cyaa too much
The artist is overwhelmed by the number of women
I wanna see the ladies wine
The artist wants to see the women dance
I love them so much
The artist is fond of women
Baby when u break it down
The artist becomes even more interested when the women start dancing
Iβm tempted to touch
The artist desires physical contact with the women
An mi say more gal
The artist requests more women
Fi this amount of nature
To balance the number of women present
Fi dilute mi temper
To prevent the artist from becoming overwhelmed
A women me a feature
The artist values women greatly
Long time mi tell dem
It has been a long time since the artist has made this request
Unnu done know the order
The request should not be surprising
Sexy gal we no short of
There is no shortage of attractive women
Dis a di galis fadda
The artist is the father of promiscuous women
Mi feel like fi sen to the bar again
The artist wants to go back to the bar
Few more ting add to the par again
The artist wants to add more women to the party
The bottle girls dem inna dem outfit sexy
The women serving drinks are dressed provocatively
Sub boss say him love alla dem
The boss likes all of the women
A pure top galis mi call mi fren
The artist is friends with many promiscuous women
So who no wah no gal mi no wah see dem
The artist wants to see all the women
Dj pull up di gal dem anthem
The DJ plays songs about women for the artist
Cause a dem we defend to the end
The artist is loyal to and protects women
Aye me see 10 gal walk in
The artist notices ten women walking in
Alla dem a top notch
All of them are very attractive
Mek di whole party a jump like a hop scotch
The women make the party more lively
If di place ram but a pure man that flop
If there are only men at the party, it will not be enjoyable
Party cyaa nice without gal contact
The party will not be fun without women
Mi love see di gal dem pan di outside yeah
The artist enjoys seeing women in public
With the nowadays dress code nuttin nah hide no
The current fashion choice leaves little to the imagination
Gal cyaa too much
The artist is overwhelmed by the number of women present
Lyrics Β© O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
@Rico_Rockstar
Like, if VERZUZ brought u here.π₯π₯π₯π₯π₯
@Certifine
Heard dis pon Verzuz tv. Love it!
@saddiacarmock6825
Same reason why am here
@russellmullen4129
Which one? I used to listen to Soulnation and Frontline, two pirate radio stations in Manchester in the 90s. The dj was playing a Bounty Killer a capella over Mobb Deep's Shook ones.
You Rule Mr P.
@kaijha
This song still goes hard over 20 yrs later and I still love Honda Preludes. Wish Honda would revive these cars.
@OdinbutasaVillian
30* years. And yes I agree Preludes are iconic. Especially the 5th gens.
@yahtebakush8584
@@OdinbutasaVillian about 25-27yrs still
@KirkDiamond
Acura Legend
@SKproblemz79
Still riding this riddim in my system always on my playlist
@collinflowers9741
β@@OdinbutasaVillianthis song came out 95