![]() If the other came with a violent song, you might want to play a love song, or an educational song or something spiritual. ![]() “You have to shape the narrative, to carry the crowd where you want. ![]() ![]() “The thing with a soundclash is, if somebody plays one style, you can’t go and do something in the same exact style,” Escoffery explains. But Fuzzy Jones took it to a whole different level. “Nobody could come up with an intro for a song like Fuzzy Jones,” says music consultant and LargeUp contributing editor Sherman Escoffery, a cousin of Winston Riley’s who worked for the producer at Techniques Records during the days of “Dust A Sound Boy” and “Cu-Oonuh.” “Before Fuzzy, you had people doing intros to songs. Fuzzy Jones’s manic dancehall monologues, typically ten to 20 seconds in length, provided a similar service for any singer or deejay fortunate enough to have him open one of their tracks. From the mid-1980s until his death in a 1998 auto accident, Fuzzy Jones carved a unique space for himself within Jamaican music as a song intro specialist, setting up soundsystem dubplates and hardcore dancehall cuts with esoteric rants like the ones that start “Dust A Sound Boy” and “Cu-Oonuh.” Good music can be made great, and great music sublime, by role players who surround a featured performance with just the right spice and seasoning: Flavor Flav’s ad-libs on early Public Enemy albums spring to mind, as do Diddy’s pep talks to the Notorious B.I.G.
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