Born Clifford Smith in Kingston, Jamaica, he was given the nickname Mr. Vegas by his cousin for the neon pink shorts he wore on the football field; in addition to his athletic skills Mr. Vegas also demonstrated musical talents early on. However an unfortunate dispute over the ownership of a DAT resulted in Vegas being hit in the jaw with an iron pipe; after the assault Vegas' mouth was wired shut so he was forced to create a unique method of vocalizing through his teeth. That style was first heard on "Nike Air", the song that initially positioned Vegas on the dancehall charts. Characterized by uplifting lyrics aimed (especially) at young women, he followed "Nike Air" with another affirming and very appealing tune "Heads High" which reached number one in Jamaica, hit the British Top Ten and found its way onto several urban stations across America.
Vegas' 1997 debut album "Heads High" (Greensleeves Records) further displayed his captivating vocal capabilities on songs like "Jacket", "Sweet Pineapple" and "Everywhere I Go"; it also earned him a British Mobo Award as Best Reggae artist, while establishing his fan base beyond the Jamaican dancehall.
However Vegas demonstrated even greater versatility on his 2001 sophomore release "Damn Right" (Greensleeves) which featured a stronger R&B and hip-hop flavor on the hits "Girls Time" and "She's A Ho", sensitive singing on the roots rocking "Rise" and a sensational duet with Sean Paul "Hot Gal Today".
With his move to the Los Angeles based independent label Delicious Vinyl Vegas released his third CD "Pull Up". The title track was recorded on Scatta Burrell's wildly popular Coolie Dance riddim, entered the Billboard charts and took Vegas' music into previously uncharted territory. Another single from "Pull Up" "Tamale" also did well, particularly in Europe.
Vegas has just completed his fourth and finest CD so far "Constant Spring" which presents an amalgam of styles including reggaeton productions by the red hot duo Luny/Tunes on the tracks "Johnny" and "Papito" and Latin tinged duets with Don Omar ("Pobre Diablo") and El Medico ("Penicilin"). Another scorching combination "Burnin" features soca sensation Kevin Lyttle. Vegas' long time associate Jamaica's Richard "Shams" Browne produced several tracks including "Million Dollar Baby" and "Slow Wine" while veteran dancehall hit makers Steely and Clevie's Sleepy Dog riddim scampers under Vegas' current Jamaican chart topper, the CDs title track "Constant Spring". Another Jamaican hit that is currently finding popularity throughout Europe is Vegas' self-produced, uncharacteristically contemplative "More Love", his emotive singing lamenting Jamaica's upwardly spiraling crime rate but the song's lyrics are applicable to many troubled territories throughout the world:
"I walk these Kingston streets, everyday a bare a beat/I can't get no sleep all I hear is AKs when they speak/ I walk Spanish town all I hear is people get gunned down, when I look around all I see is bodies on the ground. My shadow's afraid to even walk beside me, my shadow's afraid to even walk this city gun dawg and his friend full the morgue in Kingston city/too many guns in town."
"Crime, violence, war, it affects everyone," Vegas says, "and there is nothing in that song that doesn't relate to what is going on everywhere, especially Kingston. We want this album to be versatile so a Latino person a hip hop person, urban kids or all nationalities will listen to it."
Reflecting the ongoing changes within the music industry, Vegas and his manager Leslie Cooney of the Los Angeles based company Addict Management will be taking a very different approach regarding the release of "Constant Spring": they will not be signing to just one label. "We have found that as an independent artist Vegas can better exploit his appeal in every territory without the expectations and limitations of being signed to one label," says Ms. Cooney. "Instead, we will directly supply his fans with music worldwide and will seek licenses with different labels in their respective territories. Whether by an actual record or digital distribution, if there is a demand for Vegas it can now be met without waiting for the record label machinery to spring into action. We are taking matters in our own hands and Vegas is planning his own future."
And for Mr. Vegas the future appears to be shining even brighter than the flashing neon lights that abound in the Nevada city that is his namesake. www.mr-vegas.com
Dancehall Queen
Mr. Vegas Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
We rate who rate we
We don′t rate who don't rate we
Fly the gate and let out the pirate
Fly the gate and let out the pirate
Fly the gate and let out the pirate
Fly the gate and let out the pirate
Me rate Tupac
Me rate Jay Z
Me rate Diddy
Me rate Busta
Eminem Bad
Me rate DMX
Me rate Naz
But me nuh rate Drake him fake
Real know real dem a snake
You can′t trust dem, dem nuh straight
You start from the bottom memba a you
Say it
When me see some a dem a come a say a
Gaza me seh
Eh Eh, After we nuh know dem from no weh
Eh Eh, from you try style reggae you fi
Goweh
Eh Eh, after none a dem nuh more than we
Fly the gate and let out the pirate
Fly the gate and let out the pirate
Fly the gate and let out the pirate
Fly the gate and let out the pirate
Shabba Ranks put dancehall pon the map
Top a di Billboard him and Maxi Priest drop
If a never dancehall there wouldn't be no
Hip Hop
Now dem wah tek it weh and tek we fi idiot
Radio station have the song under lock
True a yard it come from dem nuh wah see
Dat
Original dancehall a play pon the block
Dem a try tek it weh and call it Tropical
Fly the gate and let out the pirate
Fly the gate and let out the pirate
Fly the gate and let out the pirate
Fly the gate and let out the pirate
Me rate Tupac
Me rate Biggie
Me rate Jay Z
Me rate Diddy
Me rate Busta
Eminem Bad
Me rate DMX
Me rate Naz
But me nuh rate Drake him fake
Real know real dem a snake
You can't trust dem, dem nuh straight
You start from the bottom
Memba a you say it
When me see some a dem a
Come a say a Gaza me seh
Eh Eh, After we nuh know dem
From no weh
Eh Eh, from you try style
Reggae you fi goweh
Eh Eh, after none a dem nuh
More than we
Fly the gate and let out the
Pirate
Fly the gate and let out the
Pirate
Fly the gate and let out the pirate
Fly the gate and let out the pirate
Me rate Tupac
Me rate Biggie
Me rate Jay Z
Me rate Diddy
Me rate Busta
Eminem Bad
Me rate DMX
Me rate Naz
But me nuh rate Drake him fake
Real know real dem a snake
Me can′t trust dem, dem nuh straight
You start from the bottom memba a you
Say it
When me see some a dem a come a say a
Gaza me seh
Eh Eh, After we nuh know dem from no weh
Eh Eh, from you try style reggae you fi
Goweh
Eh Eh, after none a dem nuh more than we
Fly the gate and let out the pirate
Fly the gate and let out the pirate
Fly the gate and let out the pirate
Fly the gate and let out the pirate
Shabba Ranks put dancehall pon the map
Top a di Billboard him and Maxi Priest drop
If a never dancehall there wouldn′t be no
Hip Hop
Now dem wah tek it weh and tek we fi idiot
Radio station have the song under lock
True a yard it come from dem nuh wah see
Dat
Original dancehall a play pon the block
Dem a try tek it weh and call it Tropical
Fly the gate and let out the pirate
Fly the gate and let out the pirate
Fly the gate and let out the pirate
Fly the gate and let out the pirate
The song "Dancehall Queen" by Mr. Vegas is a commentary on the current state of dancehall music and the need to protect its authenticity. In the first verse, Mr. Vegas acknowledges the artists who he respects and rates, including Tupac, Biggie, Jay Z, and others. However, he also calls out Drake for being "fake" and not genuine in his music. He emphasizes the importance of real recognizing real and not trusting those who are not straight.
In the second verse, Mr. Vegas pays tribute to Shabba Ranks, who he credits with putting dancehall on the map and being a pioneer in the genre. He laments the current state of the industry, with radio stations locking down the music and trying to take away its authenticity by labeling it as "Tropical" music. He urges listeners to protect their roots and not let anyone take away their culture.
Line by Line Meaning
Ok, you a hear me, you a hear me
Listen up, pay attention to what I'm about to say
We rate who rate we
We only show respect to those who show respect to us
We don′t rate who don't rate we
We don't acknowledge or respect those who don't acknowledge or respect us
Fly the gate and let out the pirate
Open the gate and let the true, authentic music through
Me rate Tupac
I respect Tupac's music
Me rate Biggie
I respect Biggie's music
Me rate Jay Z
I respect Jay Z's music
Me rate Diddy
I respect Diddy's music
Me rate Busta
I respect Busta's music
Eminem Bad
I respect Eminem's music
Me rate DMX
I respect DMX's music
Me rate Naz
I respect Nas's music
But me nuh rate Drake him fake
However, I don't respect Drake because he's not authentic
Real know real dem a snake
Those who are truly authentic can recognize when others are not
You can′t trust dem, dem nuh straight
Fake people can't be trusted, they're not genuine
You start from the bottom memba a you
Remember that you started from the bottom and worked your way up
When me see some a dem a come a say a
When I see some of them trying to pretend to be authentic
Gaza me seh
I call them out for being fake
After we nuh know dem from no weh
We don't know them, they're not authentic
From you try style reggae you fi
If you're trying to copy or imitate reggae music
Goweh
You should go away
After none a dem nuh more than we
None of them are more authentic than us
Shabba Ranks put dancehall pon the map
Shabba Ranks popularized dancehall music
Top a di Billboard him and Maxi Priest drop
He and Maxi Priest had a hit song that topped the Billboard charts
If a never dancehall there wouldn't be no
If it wasn't for dancehall music, there wouldn't be hip hop
Now dem wah tek it weh and tek we fi idiot
Now they want to take it away and make us look foolish
Radio station have the song under lock
Radio stations are controlling the music and not letting true, authentic music play
True a yard it come from dem nuh wah see
They don't want to acknowledge that it originated in our community
Dat
That's the truth
Original dancehall a play pon the block
The real, authentic dancehall music is playing in the streets
Dem a try tek it weh and call it Tropical
They're trying to take it away and call it something else (like Tropical)
Writer(s): Clifford Ray Smith, Andre Quentin Christopher Gray
Contributed by Taylor B. Suggest a correction in the comments below.