Tenor Saw, 1985. Photo courtesy: Beth Lesser. (bethlesser.com)
Tenor Saw: The Short Life and Lasting Legacy of a Dancehall Pioneer
In the golden era of 1980s dancehall, few voices cut through the sound systems quite like that of Tenor Saw. Born Clive Bright on December 2, 1966, in Kingston, Jamaica, Tenor Saw rose quickly through the ranks of Jamaica’s burgeoning digital dancehall scene to become one of its most beloved and influential figures. Though his life was tragically cut short, his music—especially the immortal anthem “Ring the Alarm”—continues to echo through dancehall history and shape the genre’s evolution.
Early Life and Rise to Fame
Tenor Saw grew up in a deeply musical environment. From an early age, he was influenced by gospel music and the sounds of Kingston’s sound system culture. He began singing in local churches and gradually transitioned to the secular music scene, recording his first songs in the early 1980s.
It wasn’t long before he caught the attention of top producers, including George Phang and Sugar Minott, who offered the young artist opportunities to record. Under Minott’s Youth Promotion label, Tenor Saw began to craft his distinct sound—one defined by a melodic, singjay style that blended traditional reggae vocals with the rhythmic delivery of dancehall deejays.
“Ring the Alarm”: A Dancehall Classic
In 1985, Tenor Saw released what would become his signature hit: “Ring the Alarm.” Produced by Winston Riley on the iconic Stalag riddim, the song was an instant classic. Its opening cry—“Ring the alarm, another sound is dying”—became a rallying call in dancehall culture, symbolizing sound system clashes and lyrical dominance.
“Ring the Alarm” was not just a hit; it was a cultural moment. The song resonated with Jamaica’s competitive sound system culture, where selectors and deejays vied for crowd approval. Tenor Saw’s voice, full of urgency and charisma, turned the track into an enduring anthem. The song crossed over from Jamaica to international audiences, solidifying his reputation as one of dancehall’s rising stars.
Impact on Dancehall
Tenor Saw’s influence on the dancehall genre is monumental despite his short time in the spotlight. He was among the first wave of artists to embrace the digital rhythms that would come to define late-’80s dancehall, moving away from the live-instrument roots reggae sound. His singjay style paved the way for future artists like Buju Banton, Garnett Silk, and Sizzla, who would further blend melodic vocals with hardcore deejaying.
Tenor Saw’s 1985 album, Fever, includes other classics such as “Pumpkin Belly,” “Golden Hen,” and “Lots of Sign.” These tracks, while sometimes overlooked in favor of “Ring the Alarm,” showcase his versatility and knack for catchy hooks and storytelling.
Tragic Death and Legacy
Just as his career was beginning to reach new heights, tragedy struck. In August 1988, at the age of 21, Tenor Saw was found dead on a road in Houston, Texas, reportedly the victim of a hit-and-run accident. The exact circumstances of his death remain shrouded in mystery and speculation, with some suspecting foul play. Regardless, the music world lost one of its brightest young talents far too soon.
Despite his brief career, Tenor Saw left behind a powerful legacy. His music continues to be sampled, covered, and revered by artists and producers around the world. “Ring the Alarm” remains one of the most iconic dancehall tracks ever recorded, and his influence can be heard in the vocal styles and production choices of countless artists who followed.
Final Thoughts
Tenor Saw’s contribution to dancehall goes beyond his chart success. He was a bridge between the roots of reggae and the digital future of dancehall. Though his time on earth was tragically short, his voice and message live on, ringing the alarm for generations of music lovers to come.
Rest in Power, Tenor Saw—your sound will never die.
Dancehall artist Tenor Saw had once explained how he hastily crafted his iconic 1985 clash song Ring The Alarm during a soundclash between Youth Promotion, to which he was aligned, and three other sound systems.
In a rare radio interview at age 19, Saw, after responding “yes” to the interviewer’s question as to whether he was the writer of his songs, was asked to speak about the genesis of the international hit.
“There was a four-sound clash in Jamaica, with Youth Promotions, Jammys, and Arrows International and Black Scorpio. At that time, I was just singing on the sound system. Youth Promotion was my sound. I was defending Youth Promotion in the competition and so during the competition di odda sound dem was getting nuff (cheers); people a cheer fi dem… and dem neva start cheer fi Yout Promotion yet,” Tenor had told the interviewer.
“Suh mi seh: ‘awrite, mi caan meck dem three sound yah come get out our sound and come win di competition; a we haffi win. Suh mi just guh backstage now an start think up a quick idea… Suh mi seh awrite: ‘four big sound inna one big lawn, Promotion a play, di odda three keep calm… suh ring di alarm’,” he sang.
