Wayne Wonder

biography

Although dancehall Reggae deejays (rappers) must be lyrically tough, unleashing rapid-fire guns in the ghetto rhymes and inflated sexual boastings, dancehall singers can attain great popularity sensitively cooing about a new found love, melodically lamenting a love gone wrong and emotionally conveying other oh-so tender concerns.

The sensual, honeyed vocals of Wayne Wonder have made him a consistent hit maker since the late 80s. In 2002, Wayne earned the first ..1 hit of his career pledging a lifetime of devotion on the sweetly romantic hit No Letting Go. This is the biggest hit of my lifetime, Wayne exclaims. The song is ..1 in Jamaica, ..1 in New York. WBLS is playing it, Kiss is playing it, I hear Hot 97 playing it. Im grateful and I feel blessed.

Born Von Wayne Charles on July 26 in Buff Bay, Portland, Waynes initial singing inspiration came from attending Sunday school, where singing was compulsory, and from his mother who sang in church. As a child Wayne and his family moved all over eastern Kingston, living in areas such as Dunkirk, Franklin Town and Rae Town, home of the weekly Sunday night Reggae/R&B oldies street dance.

The exposure to vintage 45s at these dances would provide Wayne with a richer, more soulful vocal approach to a Reggae rhythm track than many of his contemporaries. It was at secondary school where Waynes thoughtfulness and philosophical nature led to the acquisition of the nickname Wonder; young Wayne sang at school, at home, at church and for his friends and wherever he sang, he was encouraged to pursue his craft professionally.

The first producer Wayne recorded for was the legendary creator of dub, the late King Tubby. Wayne voiced three original songs for Tubby, but the one that caught the publics attention was his cover version of British heartthrob Rick Astleys Never Gonna Give You Up. In 1988, Wayne was devastated by the death of Tubby who was among the most significant influences in his early career. Wayne then linked up with producer Lloyd Dennis voicing the hit Its Over Now on the popular Cover Me rhythm (titled after the hit by Ninja Man and Tinga Stewart) for Dennis Pickout label. That was actually the first song that start to play, like I could go to the dance and look forward to hearing it, Wayne recalls, so my inspiration grew more from there. Wayne also recorded his debut album No More Chance on the Pickout label. No More Chance contained seven original tracks and several obligatory cover versions, reflecting Jamaican producers preference for recording singers doing American R&B hits. When I first started out, I got so frustrated, because you carry original material to the studio and they act like they dont even want to hear it, Wayne explains. They dont accept it. They want you to sing over something that everybody already know. Them dont spend time to hear your creativity or what you try to originate.

Around 1989, Wayne began collaborating with his childhood friend Dave Kelly. At the time, Kelly was an engineer for Donovan Germaines Penthouse Records, the label synonymous with Dancehall Reggae hits of the late 80s/early 90s. Together Wayne and Dave created a steady stream of successful Penthouse tunes including Im Only Human, Baby You and I and Saddest Day (which Wayne re-recorded in combination with Foxy Brown on her 2001 Def Jam Records Broken Silence CD). Wayne became well known for his 1991 cover version of the late Jamaican singer Delroy Wilsons I Dont Know Why re-titled Movie Star. The same song in combination with Buju Banton (whom Wayne brought to Penthouse Records) Bona Fide Love proved to be a huge success as well, remaining a heavily requested tune even today. Wayne achieved several hits with Penthouse covering the work of American artists including Tracy Chapmans Fast Car, PM Dawns Die Without You and En Vogues Hold On but in 1993 he pledged he would only record original material.

From that time, I havent covered a song, everything is all original

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