One of the prime exponents of the conscious dancehall movement, Capleton has, nearly from the start of his career, championed reggae’s return to the cultural and spiritual themes centered on Rastafarianism.

But, much like his contemporary Buju Banton, he emerged out of ragga dancehall’s early-‘90s wave of slackness and gun talk before taking up more socially relevant themes.

His 1994 effort, SO GOOD, can be viewed as a transitional album.

Even though the raw digital beats reflect the bawdier side of the bashment, the lyrical themes are all thoroughly cultural.