Known as the Warlord, the Ghetto Gladiator, the Poor Peoples' Governor, and… Read Full Bio ↴Known as the Warlord, the Ghetto Gladiator, the Poor Peoples' Governor, and the Five Star General, Bounty Killer is one of dancehall reggae's most enduring artists and influences throughout the industry, known for his intricate, war-like lyrics, sound system dubplates, and stable of artists which has changed over the years but never lessened in popularity.

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.

Pum Pum
Bounty Killer Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Me alone can make you come
Me alone can make you cry
When the pu-y and the buddy combine
Nice time
()
Mi meck yo pum, pum, happy
Mi meck yo pum, pum, smile
Mi meck yo pum, pum, sing sometime

Lala, lala, lala
Lala, lala
Mi meck yo pum, pum, happy
Mi meck yo pum, pum, smile
Mi meck yo pum, pum, sing sometime
Lala, lala, lala
Lala, lala
(1)
Yo pu-y magnificent, good hole gyal represent
No wild to ma kin lick hi scent
Mi a the rival weh win divident
All when a no mi birthday bring the present
Yo pu-y vex wid the bwoy weh yo have
Bring the ppu-y come, mi wi meck the pu-y laugh
Up in a yo hole parting the two half
Till yo stress it cool off
(Repeat)
(2)
Gyal mi go paw yo back
Go wall paw yo head top
Anyweh yo girly mi find that
Pu-y full a melody mi find that
Yuh a seh mi is a likkle user a lie that
Drop yo man like bomb a Iraq
The door lock and him still a try knock
A no him house him never buy block
Tell the idiot that no
(Repeat)

(Repeat)
(Repeat 2X)

Overall Meaning

The lyrics to Bounty Killer feat. Angel Doolas's song "Pum Pum" are about the sexual prowess of the singer, specifically his ability to make women happy by pleasing them sexually. Throughout the song, he talks about how he alone is capable of bringing pleasure to his partner and how their combination of "pu-y" (vagina) and "buddy" (penis) creates a good time. The chorus repeats how he makes her "pum pum" happy, makes her smile, and even sing sometimes. He describes the vagina as "magnificent" and says that it represents a "good hole gyal" who is not wild and doesn't need to wear any scent. He says that he is the rival who wins "dividend," and even if it's not his birthday, he'll bring a gift to make her happy. If she's upset with her current partner or relationship, he tells her to bring her "pu-y" to him, and he'll make her laugh by "parting the two half" of her vagina until she's cooled off.

The song is a typical dancehall song, featuring crude language and sexual references, but it is also a reflection of Jamaican culture, where the sexualized female body is often celebrated in music, art, and other forms of expression. The song is also an example of the "slackness" subgenre of dancehall, which is known for its sexually explicit content.

Line by Line Meaning

Me alone can make you come
I am confident in my ability to sexually satisfy you

Me alone can make you cry
The emotional attachment you have towards me is unparalleled

When the pu-y and the buddy combine Nice time
When our genitals come together, it's a great experience

Mi meck yo pum, pum, happy
I can make your vagina happy

Mi meck yo pum, pum, smile
I can make you feel good sexually

Mi meck yo pum, pum, sing sometime Lala, lala, lala Lala, lala
I can bring you to new sexual heights where you want to sing with pleasure

Yo pu-y magnificent, good hole gyal represent No wild to ma kin lick hi scent Mi a the rival weh win divident All when a no mi birthday bring the present
Your vagina is remarkable and represents good sexual experiences. I don't have to be present to enjoy it. I'm the opponent who always wins, even though I don't need an occasion to bring gifts for you.

Yo pu-y vex wid the bwoy weh yo have Bring the ppu-y come, mi wi meck the pu-y laugh Up in a yo hole parting the two half Till yo stress it cool off
You're frustrated with your current partner, but I can make you happy again. My sexual abilities can bring you to the point of release, which would relieve your stress

Gyal mi go paw yo back Go wall paw yo head top Anyweh yo girly mi find that Pu-y full a melody mi find that Yuh a seh mi is a likkle user a lie that Drop yo man like bomb a Iraq The door lock and him still a try knock A no him house him never buy block Tell the idiot that no
I can pleasure you in any way, and your body makes music while doing so. Don't believe that I'm just using you. You left your man for me, and he's still trying to get in, even though he doesn't own the property. Let him know it's not happening.

Writer(s): Price Rodney Basil, Delisser Eric, Douglas Devon

Contributed by Alexander R. Suggest a correction in the comments below.

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