Since her childhood, Spice knew the career path she wanted to attain would come with its fair share of roadblocks. After putting in work and releasing a stream of singles in the early 2000s, Spice would receive minor recognition here and there. Despite this slow-burn to stardom, the determined artist kept her foot on the gas until VP Records presented her with a contract in 2009. While maintaining the love she has for the dancehall genre, the “Complain (Mi Gone)” singer knew that she had to adopt an independent artist’s tenacity and hunger for success. Her knack for charting melodies began to become the norm, but with little support from the label (according to Spice), the fortified singer had to find her own way to become a household name.
Spice’s first appearance on the charts arrived nearly 10 years ago. The Jamaica-born singer and glorified dancehall artist Vybz Kartel collaborated on “Romping Shop,” the pair’s erotic take on Ne-Yo’s “Miss Independent.” The melody peaked on the Billboard R&B/Hip-Hop Chart at No. 76 in 2009, solidifying an already influential being in Kartel and a destined-for-stardom demeanor in Spice. In 2014, her So Mi Like It EP landed at No. 14 on Billboard’s U.S. Top Reggae Albums chart. Today, the “Fiesta” artist is celebrating her place on the boards again with her mixtape Captured, but this time the self-proclaimed dancehall queen reigns at the top spot.
Released in November 2018, Captured (Spice Official Entertainment) broke through the Billboard Reggae Albums Chart at No. 1 (Nov. 17). The 19-track project displays Spice at her finest: the melodies that her fans long for like “Mine Mine Mine” to “Body Right” are abundantly sprinkled throughout the mixtape. While those whine-tastic songs will get any waistline rocking, tracks like “Black Hypocrisy” and “Captured” put into perspective the harsh realities the singer, born Grace Latoya Hamilton, faces in her career.
The title track, which strikes an emotional chord within Spice when she performs it, is dedicated to her label VP Records and emotes a feeling of being trapped in a deal that has yet to fulfill its promise in her eyes. “They signed an album deal with me from 2009 for a five-album deal and they’ve never released an album with me,” Spice says. “Even when I visited them with lawyers, they still don’t want to release me out of the contract.” The revelation was made public earlier this year when Spice sent a stern message to the label. The statement prompted a response from VP Records, which reassured fans that it’s working on “finalizing the album and all the necessary clearances.”
While Spice tackled that aspect of her career, she also took a stand in the face of another battle plaguing many people of color across the globe. On “Black Hypocrisy,” Spice poses a question of whether she’ll find success with lighter skin. To ensure the message was not only heard but seen, Spice erased all photos from her Instagram account and shared a new look that had spectators confused or infuriated. With a blonde wig and fair skin, the artist sparked a conversation on colorism and the psychological effects it has on people who go through the process of lightening their skin to appear acceptable in society’s view.
View this post on Instagram
@nosworthycreations @makeupurmind876 @spexphotography Every thing happened so quickly but I promised them that when the truth was revealed about my “Makeup complexion” 🤪 that I would show my public gratitude to these two ladies who made it possible @nosworthycreations did the viral picture that you know with “coconut milk” and @makeupurmind876 did the other picture and also the official video for the #blackhypocrisy Thanks for bringing my idea to life, sorry for the multiple bottles of makeup that was wasted and thank you for patiently applying it to my skin for 4 hours each time. 🤣 photo shoot by @spexphotography @nosworthycreations @makeupurmind876
To amplify her message, Spice endured a four-hour transformation that was made possible by “about 10 bottles of makeup.” The video for the song has amassed over 3.4 million views on YouTube and went straight to No. 1 on the iTunes Reggae Singles chart.
Although Spice pulled from previous experiences of people making her feel as if her skin is a detriment, it was the comment of an unnamed dark-skinned woman that inspired Spice to go full throttle with the song’s creation. According to Spice, the lyric “Dem seh mi black til mi shine, til mi look dirty” was said to her by that aforementioned woman, a statement Spice says rocked her core but encouraged her to keep fighting against the sentiment. The woman later apologized after hearing her words on the song, which Spice posted on Instagram.
“As many people who know Spice as dancehall queen I never normally attack social commentary or certain types of issues,” she says. “I’m normally a raunchy singer. So for me to come out with a picture and the reggae type of songs that I did was a shocker to the world. I also believe that’s what caused the great uproar because they were so shocked regarding the picture that I posted and also the message in the song because they did not expect that from Spice.”
Pulling a fast one on her worldwide fans is something Spice says she was not hesitant to go forth with even though her team members were reluctant to her idea out of fear of “negative feedback.” Despite the apprehension, Spice took on the role “fearlessly.”
“As a black woman myself, I know what I’ve been going through over the years and growing up as a child. Even in my adulthood, it still affected me. I wanted to use my platform to bring awareness to colorism because it is something that has been swept under the rug for years.” As a fortified entertainer, though, Spice hopes other black women across the world and out of the spotlight, “take the baton and run with me” to defeat colorism.
Spice says her “Black Hypocrisy” single “sets the bar so high” for her mixtape because of its early success, and given that achievement, her mission to educate listeners from her Love & Hip-Hop: Atlanta fame on the “realness” of dancehall culture was a sure bet. Although melodies like “Gum” and “Big Horse” serve as a great introduction to the majority of Spice’s past lyrical content, “Yass Goodie” and “Romantic Mood” present the foundation for which Spice stands tall on.
We as artists from Jamaica have been fighting for certain recognition with our genre. Even dancehall itself, we also believe that hip-hop takes a bit from dancehall sometimes and we don’t get the credit for certain things. But it may take years but myself as an artist is here to do it a step at a time until it reaches where it should.
On the latter, Spice pays homage to her foremothers in the 1980s-90s era of dancehall and reggae. Patra, Lady Ann, Sister Charmaine, Dawn Penn, and Sister Nancy are a few of the names the entertainer lists when asked about the song’s inspiration. To invoke their spirits on wax, Spice reached out to famed producer Clevie (part of the legendary production duo Steely and Clevie) to create this timeless sound.
“I told him I wanted the same exact track that those ladies used to record from, from back in the ‘80s of dancehall music, which was also one of the most popular riddims from out of dancehall, which is called the Giggi Riddim,” Spice says. While Clevie met Spice’s request with confusion because he had “a new riddim that was more 2018,” Spice was adamant on re-imagining that popular base for her day one and new supporters. Some of the samples that are found within include Penn’s “You Don’t Love Me (No, No, No),” “Romantic Call” with Patra and Yo-Yo, and the everlasting “Bam Bam” by Sister Nancy. For Spice, these women “paved the way so that I could have a role as queen of the dancehall right now.”
Even within this title, Spice hopes her leadership can help usher in the next class of women dancehall artists. In a “male-dominated business,” she understands the hardships that women in the genre face, mainly because of dancehall’s entrenched nature. “For women to tackle it and be on top of it or to be respected in the genre, she has to be aggressive, very hardcore delivery wise, she has to be on point,” Spice says. “It’s not a genre where any and anybody can come up and sing two ABC songs and people say, ‘Yes, that’s an artist,’ or ‘Yes, that’s a dancehall artist.’ It’s very difficult, aggressive, hardcore genre and that’s why most of the women have it so hard and difficult because people don’t take them seriously.”
In 1994, Billboard introduced its Reggae Albums chart. Only nine solo women within the genre have attained a No. 1 title, as reported by The Tropixs. On Aug. 6, 1994, Patra entered the listing with Queen Of The Pack. It spent 17 weeks at the top spot. The chart was later dominated by Bounty Killer, Shaggy, and Bob Marley & The Wailers until 1997 when Diana King’s Think Like a Girl disrupted the boys’ club. If a solo woman artist within the genre appeared on the chart from that point onward, they were found within compilation albums like Reggae Gold, Dancehall Xplosion, or Pure Reggae.
In 2014, Etana’s I Rise peaked at the top for a week. Joss Stone also spent a month atop the roster with her first full-length reggae album Water For Your Soul in August 2015, before returning to No. 1 for a week in two separate months: once in September and the next in November. HIRIE’s Wandering Soul took home the gold in 2016, while last year saw Queen Ifrica’s Climb, and Tenelle’s For The Lovers at No. 1 on separate occasions. Just this year, Hollie Cook’s Vessel Of Love went No. 1 for two weeks in February, while Santigold’s I Don’t Want: The Gold Fire Sessions landed up top in August 2018.
While the latter half of the 2010s saw a minor bout of consistency with women on the reggae charts, Spice is hopeful that the future of the genre, including dancehall, will be increasingly inclusive of its women creatives. “There’s a lot of different women in dancehall right now, and I believe that each of them are representing themselves in a different way,” Spice says. By clinging to her mission, Spice also believes if she remains authentic to the true essence of dancehall, then more doors will continue to be opened. “That’s why I try to represent the genre itself in such a way where I stick to the roots and stick to the hardcore dancehall so that people can know that’s really the genre and love it for itself.”
To stay on the track of making history and showing the next generation that goals can be fulfilled if authenticity is your middle name, it’s important (and a no-brainer) for Spice to celebrate her wins. Ahead of the mixtape’s release, “Black Hypocrisy” went No. 1 on iTunes’ Top Reggae Singles while Captured netted the top spot on the U.K. iTunes Reggae Albums chart. The listing is consistently dominated with classic melodies by Bob Marley & The Wailers so “for me that’s a great accomplishment because Bob Marley is the greatest reggae icon to ever have walked the face of the Earth and for me, little Spice, to have taken him from the number one position is something that needs to be applauded,” she says.
Black hypocrisy it number 1 on iTunes in the reggae category, thank you smurfets 💙 Link in my bio pic.twitter.com/jhZlD6MVnX
— Grace Hamilton (@spiceofficial) October 23, 2018
Another artist familiar with breaking a record once held by Marley is Buju Banton, who garnered the title for the most No. 1 singles in Jamaica in 1992. Banton’s ‘Til Shiloh album (1995) recently rose to No. 1 on the iTunes Top Reggae Albums chart, a position previously held by Bob Marley & The Wailers’ Legend (Remastered). Banton was released from a U.S. prison on Dec. 7 after serving seven of his 10-year sentence for illegal possession of a firearm, and intent to sell cocaine. Immediately after his discharge, Banton boarded a plane to return to his family in Jamaica.
“Buju Banton is one of our reggae icons so his returning to Jamaica is going to be a well-celebrated moment,” Spice says. “Despite the negative backlash that they have of him out there in the world, we are still going to love him as our own.” Banton’s release also accompanies another momentous moment for Jamaica.
In late November, UNESCO (United Nations Educational, Scientific and Cultural Organization) added reggae to its list of global heritage treasures, a feat Spice believes will pave the way for the genre’s inhabitants to make history. “We as artists from Jamaica have been fighting for certain recognition with our genre,” she says. “Even dancehall itself, we also believe that hip-hop takes a bit from dancehall sometimes and we don’t get the credit for certain things. But it may take years but myself as an artist is here to do it a step at a time until it reaches where it should. This is an accomplishment for the genre.”
While hip-hop artists have found major success by recording the sounds of dancehall or reggae (Snoop Dogg-turned-Snoop Lion, The Fugees’ influential blend, even Drake circa Views From The 6), Spice utilized that tactic to inspire a domino effect of getting fans to spin more of her records. During her time on her first season of Love & Hip-Hop: Atlanta, Spice welcomed a new wave of American advocates. To permanently reel them in, the 36-year-old performer made it her mission to record a melody on the mixtape titled “Move Fast” that can find a home on a twerk playlist but still amplify her dialect.
“We took the fact that they love hip-hop, and we used a hip-hop beat and gave them a sound that they’re used to but I would also catch back a little of my native language which is patois and introduce it to them a bit,” she says. “I’m trying to fuse the two so that they would understand more about my genre and maybe if they listen to ‘Move Fast’ they will hear my accent and go, ‘Oh, she’s from Jamaica, she’s in dancehall, let me listen to another track.’ Then they will listen to another track from the mixtape, which is authentic dancehall. Then they may fall in love with the genre.”
In the process of finding adoration for Spice’s beloved dancehall, she hopes that fans will also applaud her for the recent encounter of success, and the fact that she’s operating as an independent artist despite the fact that she’s signed to a major label. “I think for me I’m just humbled over the fact, especially that I did this on my own without my record company,” she says. “I’m really happy and excited and proud of myself for even believing in myself and pushing myself to reach to this limits without no management team or record company. I’m really humbled by my journey.”