A. Buro Banton – Boom Wha This
B. Buro Banton – The Veteran
Wild Apache – WAD-022
Burro Banton is one of those voices you recognize instantly—the kind of deejay who doesn’t need an intro. Deep, raw, and commanding, he came up through the Kingston sound system circuit in the late ’70s, sharpening his skills on sets like Gemini, Volcano, and Killamanjaro. Back then, you didn’t survive in that scene unless your mic skills were razor-sharp, and Burro had that heavy “raggamuffin” delivery that made crowds move. His early work, like the 1983 album Buro produced by Junjo Lawes, showed his rub-a-dub roots, but the man really found his stride when digital dancehall took over.
By the late ’80s, Burro was part of that new electronic wave—faster riddims, harder basslines, and plenty of attitude. Around 1990, he dropped the 12″ single Boom Wha This on Super Cat’s Wild Apache label, with The Veteran on the flip. That tune captured Burro at full strength: raw, confident, and heavy on the mic. It’s the kind of record that takes you straight back to that rough Kingston energy—dancehall before the polish, when every deejay fought to rule the session.
A few years later, Burro revisited the song and gave it a second life. The new version, Boom Wah Dis, came on Steely & Clevie’s Streetsweeper riddim—a clean, tight digital beat that was running the place at the time. It wasn’t just a remix; it was Burro covering himself, reshaping his own anthem for a new era. That move cemented his legacy and connected old-school fans with the next generation who knew the 90s dancehall sound.
Burro’s work with producers like Steely & Clevie, Bobby Konders (Massive B), and Wild Apache kept his name alive through every shift in the genre. Albums like Da Original Banton (1995) proved that his rough-voiced style could ride any riddim, from analog roots to sharp digital fire. And while some deejays faded, Burro kept performing, touring, and recording. Today he’s seen as one of the true veterans—the man whose vocal power helped shape the blueprint for artists like Buju Banton and countless others.
A1. Screwdriver – Teach Dem (Radio Mix 1)
A2. Screwdriver – Teach Dem (Radio Mix 2)
A3. Screwdriver – Teach Dem (Dub Wise)
B. Screwdriver – Teach Dem – Eddie’s Mix 1
Gong Sounds Records – GS-70007
Born Dalton Lindo in Saint James Parish, Jamaica, Screwdriver came up during one of reggae’s most vibrant eras. In the mid-1980s he made his move to Kingston, finding mentorship from Beres Hammond and soaking up inspiration from artists like Tenor Saw, Pinchers, Pliers, and Spanner Banner. It didn’t take long before he started making noise of his own with tracks such as We Rule, Soundboy Killa, and Here I Come. Then came the massive breakthrough in 1989 with the number one hit No Mama (Sharon Yuh Pregnant), a tune that ran the airwaves across Jamaica and the wider Caribbean.
His first album, No Mama (1987, Volcano label), set the stage for what was to come: a singer with clear melodies, crisp lyrics, and an instinct for songs that balance consciousness with the dancehall vibe. A few years later, Teach Dem followed—an album that showed his growth both lyrically and musically. Around the same time, the 12″ single Teach Dem appeared on Gong Sounds Records, produced by Antonio “Gilly Dread” Gilbert, featuring four unique versions of the song.
Teach Dem is more than just another tune from the early ‘90s. It’s a message built on guidance, respect, and awareness. Screwdriver calls on us to pass on what we’ve learned—knowledge, values, and a sense of self—to the younger ones coming up. The song speaks directly to the youths who might be tempted by the rude boy lifestyle, reminding them that strength comes from knowing your roots and keeping your head straight.
Screwdriver never faded after that. Through the ‘90s and 2000s, he kept recording and experimenting, blending reggae with R&B and hip-hop on Calling Calling (1995) and Let Me Remind You (1996). He later took things in new directions with albums such as Prophecy, and African Union (2013). Even from his base in Florida, his heart stayed true to the message—spreading positivity and roots consciousness wherever reggae still means something.
[These tracks were digitized directly from vinyl using a Technics SL-1210MK2 turntable equipped with an Ortofon cartridge. The recordings were captured in 24-bit/96kHz WAV format via SoundForge]