Land of 1000 Hotsteppers

The early-to-mid-60s marked the absolute pinnacle of the American Dance Craze. But what's that got to do with iNi Kamoze's 1994 global chart-topper, "Here Comes the Hotstepper"?

In 1994, a veteran Jamaican singer catapulted to global stardom with the international #1 hit “Here Comes the Hotstepper”.

Not only was iNi Kamoze more than a decade into his recording career when he broke out, but the basic ingredients for his biggest hit had already been filling dancefloors for 30 years.

Land of 1000 Dances

We’ll get back to iNi Kamoze, but this story begins on Christmas Day, 1929.

That’s when Chris Kenner was born in (*doublechecks notes) Kenner, Louisiana. Kenner (the town) was just upriver from New Orleans. Kenner (the guy) moved down to the big city in his teens and found work as a stevedore. By the 1950s, Kenner was doing what pretty much everybody else in New Orleans does–hitting the recording studio.

By 1955, he was cutting his own singles. When fellow Orleanian Fats Domino charted with a cover of his “Sick and Tired,” the young R&B shouter found himself on the doorstep of fame.

He stepped through the door on a 1961 collaboration with legendary Crescent City piano player, songwriter, and arranger Allen Toussaint.

Together, they scored a #2 Billboard Hot 100 hit, and a million seller, with “I Like It Like That”.

Though it would be the biggest hit of his career, the most consequential of his releases was 1962’s “Land of 1000 Dances”.

The Era of the Dance Craze

This requires a quick aside. By the late ‘50s, Rock and Roll had crashed the Billboard charts and dancefloors across America. Every week seemed to bring with it a new dance sensation. And each sensation spawned dozens of cash-in radio hits.

By the end of the decade, novelty moves like “The Stroll” and “The Hully Gully” made inroads into popular culture. But generally speaking, dance crazes were a quirk associated with desegregated dancefloors and youth culture. They were therefore regarded with suspicion and even revulsion by the conservative guard.

But when Chubby Checker landed a #1 hit in 1960 with “The Twist”, the dance craze became a mainstream phenomenon. Movie stars and businessmen did “The Twist”. Soon to follow were the Watusi, the Alligator, the Mashed Potato, The Pony, and countless others.

Back to Kenner (The Guy, Not the Town)

“Land of 1000 Dances” is peak dance craze, a tune that name-checks 16 separate dance fads while landing an infectious floor-shaker all on its own. Kenner’s version peaked at #77 on the Billboard Hot 100.

Sadly, the years that followed were not kind to Kenner. He struggled with alcoholism and unpredictable behavior, frequently missing scheduled performances and, when he did show, forgetting the words to his own songs. He even did a 3-year stint in an Angola, Louisiana prison for unlawful acts with a minor. He ultimately drank himself to death in 1976, at just 46 years old.

Fortunately, that is not the end of this story.

1000 More Dances

While Kenner died young, his greatest song enjoyed a lengthy second act. “Land of 1000 Dances” is frequently covered. Notable versions include those by Sam and Dave, Willie Mitchell, Little Richard, Patti Smith, and most successfully, by Wilson Pickett, who took it to #6 on the Billboard Hot 100 in 1966.

But the version that most concerns us today is actually a 1965 cut by a one-hit wonder from East L.A.

Cannibal and the Headhunters were part of L.A.’s burgeoning Chicano rock scene, and became one of the first Mexican-American bands to chart a major hit when they reached #30 with Kenner’s classic.

What sets this version apart from so many others? Actually, it’s something that happened entirely by accident.

Sad as it is that Kenner was prone to forgetting his own lyrics, it’s also historically fitting. When the Headhunters entered the studio to cover Kenner’s tune, singer Frankie “Cannibal” Garcia also forgot the lyrics.

This prompted him to improvise the “naa na na na naa” section of the tune, an addition that would ultimately make this the most indelible version of “Land”.

Here Comes Cecil Campbell

Let’s jump ahead 15 years.

Born in Saint Mary, Jamaica, Cecil Campbell took on the name iNi Kamoze (which means “mountain of the true God”) and released his debut single in 1981.

A full-length LP followed in 1984.

With ace production and rhythm section backing from legendary Jamaican duo Sly and Robbie, Kamoze’s self-titled release is an excellent roots record that does not at all resemble the hit for which he is best known.

In 1984, Kamoze embarked on a supporting tour with prolific dancehall pioneer Yellowman. He gained attention for his energetic stage presence and lanky 6ft+ frame.

iNi continued to release highly respectable and topical dancehall reggae, but with gradually diminishing returns. In 1988, the frustrated singer took a hiatus from the music business.

He made his return four years later with a greatest hits compilation called 16 Vibes of iNi Kamoze. Though the collection predates and therefore does not include Kamoze’s actual greatest hit, Sublime fans will surely recognize the sample from this one:

The Lyrical Gangster

In 1992, Kamoze re-entered the studio with a new persona, a boatload of samples, and one key lyrical conceit from Cannibal & the Headhunters’ “Land of 1000 Dances.”

iNi very intentionally copped Cannibal’s accidental “naa na na na naas”, and used them to anchor a hip-hop/reggae mashup called “Here Comes the Hotstepper”. A far cry from the pure roots reggae of his earlier years, Kamoze rides the rising tides of gangsta rap and ragga (an electronically-rooted variation on dancehall reggae).

The result is an infectious tune about police brutality. To the point, “hotstepper” may sound like the name of another dance craze, but it’s actually a Jamaican colloquialism for one who lives on the run from the law.

The tune includes a few other noteworthy (and well-worn) samples, including:

“The Champ” by The Mohawks (1968)

“Hot Pants (I’m Coming, Coming, I’m Coming)” by Bobby Byrd (1971)

“Hung Up on My Baby” by Isaac Hayes (1974)

“Daisy Lady” by Seventh Wonder (1979)

Kamoze shopped his new single around to numerous labels but, at first, found no takers.

Big Up Di Crew

In 1993, Columbia Records grabbed “Hotstepper” for inclusion on an American compilation of reggae tunes called Stir it Up. They signed Kamoze to a token one-year contract and released their comp in 1994.

Columbia had no intention of releasing “Hotstepper” as a single, but they did invite a rising producer named Salaam Remi to remix it for inclusion on a promotional LP.

Later famous for his work with artists like The Fugees, Nas and Amy Winehouse, Salaam remembers that “Hotstepper” “sat around collecting dust” for two years. He added a key sample from disco diva Taana Gardner’s 1981 single “Heartbeat.”

In the summer of ‘94, Columbia added the remix to their promotional LP and sent it off to college radio stations and urban pop DJs.

From this unlikely source, “Hotstepper” proved a slow burner–gradually inching its way onto the dancefloor and emerging as a surprise radio sleeper. By the time Columbia realized they had a hit on their hands, Kamoze’s contract was days from expiration.

Suddenly, iNi Kamoze was at the center of a major label bidding war. He signed a massive 7 album deal with Elektra Records.

Still, Columbia had one ace up their sleeve. “Hotstepper” was slated for inclusion on the soundtrack to Robert Altman’s upcoming fashion industry satire Pret-a-Porter (translated: Ready to Wear). This gave Columbia license to release “Hotstepper” as a proper single ahead of the film.

This version–labeled the “Heartical Remix” due to Ms. Gardner’s contributions–scaled to #1 on the Billboard Hot 100 and #4 on the U.K. Singles Chart. It also topped the charts in Denmark, New Zealand and Zimbabwe.

Unfortunately for Elektra, Kamoze recorded just one of the 7 records for which he was contracted. 1995’s Lyrical Gangster contained no major hits. Today, Kamoze still records and tours, and his early recordings are genuinely quite good.

But to the casual observer, he remains entirely associated with his one true classic.

***

In the spirit of today’s article, we’re furnishing you with not one but two weekend dance mixes. The first hearkens to the theme at the center of “Land of 1000 Dances”, and catalogues the period’s steady drumbeat of shifting dance crazes.

The second is a hotstepping, Hi-NRG spin through the ‘90s with one foot in Jamaica and one foot in da club.