Madoo general echo sister sue coming from town - TRIBOS -

Your brother was obviously very supportive of your career, but as a woman in reggae, were there others who would try to stop you or bring you down?

I wouldn't say "bring down," but yeah, people discourage you. They tell you that you're not good. That, "Your voice don't sound good" or "Your voice is too fine, too weak." It wasn't for them to tell me that. I just knew this is what I wanted to do and I'm not gonna stop. I just do what my mind and heart tell me, and that was, "Do it, I'm going to do it."

At one point, you left music. Why?

I got married in 1985, 1986, and I cooled off for a time, because at that time, a lot of women were coming into the business. It was a time to give other people a chance to experience the glory. So I eased off to try a family life, but I returned two years after and still dominated. It was like I wasn't even on a break, like I was there all the time.

From what circumstances did the opportunity to record your album One Two arise?

I was on Stereophonic, and so was my sound. I was the stable DJ and was the only female DJ at the dancehall at the time. In Jamaica, back in the days, when you go to a dance and you DJ, it's the crowd that decides if you're ready to do the recording. If I go tonight with this lyrics and the crowd [reacts positively], and then I go tomorrow and they do the same, the producer will come check [the dance] out and say, "I want you to do that song on a record for me." So that's how I started voice recording for Techniques Records’s Winston Riley. And then, to General Echo, who was there as another one of my mentors, too, I say: "Take me to the studio." So he takes me to the studio and I met Riley and I did "Money Can't Buy Love" and "One Two," and then "One Two" turned out to be a big hit in Jamaica. After that, [Riley] asked me a couple months after, if I'm interested to do an album. And I said, "I don't know if I'm ready for an album yet," because I didn’t have the lyrics for ten songs. I thought, my brother is full of lyrics. We can use some of him and use some of mine and finish the album, which I did.

I told Winston this and he took me to the studio, and I did [the album] step by step, three [songs] today, two tomorrow, but I did nine. And I only had one tune left for the album, because the album is ten tunes. That's how I come by with "Bam Bam," the tenth song. I went to the studio, I was working with Yellowman at the time. Yellowman was voicing another tune, and I went with him to the studio that specific day and he was voicing a “Bam Bam” because he also have a "Bam Bam." And when he voiced his "Bam Bam" I sat in the studio and I say, "You know what, I have a "’Bam Bam’ too."

So I called Mr. Riley and I said, "I want to finish the album today. Come for me up here and carry me to Channel One [Studio], I'm going to finish the album." And him say, "Nancy, what you gonna put on it? You never have anything yesterday, you never have anything day before. What lyrics you gonna put on there?" I say, "Bam Bam." And he come get me and drive me to the studio, and me just do it like that. Just do it. After I freestyle it, I'm going to write it.

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