During his peak from the mid-1980s up until the end of the decade, Lloyd James, better known as King Jammy, produced numerous singles and nearly 150 albums. This certainly proves that Jammy was the king of dancehall during the early days of the Digital Revolution, just as his mentor, King Tubby, had earlier ruled the world of dub. At the same time, we should never forget that Jammy's prolific production team were invaluable, and included such talented figures as the engineer Bobby Digital (later the owner of the Digital B label) and Steely and Clevie, who played most of Jammy's hit rhythms.

With the support of these engineers and musicians, King Jammy and his artists were easily able to produce one hit song after another. For example, both Nitty Gritty on 'Hog Ina Me Minty' and 'Run Down the World' and King Kong on 'Legal We Legal' and 'Trouble Again' sang in their unique 'out of key' style on early digital reggae rhythms. In addition Pinchers ('Agony' and 'Bandelero' etc), and Leroy Gibbons ('Four Season Lover') were both artists who achieved fame as singers working with Jammy. The producer also worked with artists such as Pad Anthony, Anthony Malvo and Chuck Turner as well as upcoming singers such as Cocoa Tea, Sanchez and Thriller U. He also proved that roots singers such as Dennis Brown and Gregory Isaacs could shine even on computerized reggae rhythms. In addition, Johnny Osborne, who was a successful recording artist from long before the Digital Revolution, recorded such hits as 'Buddy Bye' and 'No Ice Cream Sound' for Jammys.

King Jammy was also the owner of 'Jammys Super Power' sound system. During the golden era of Digital Reggae, his sound system brought many Deejays to greater attention, many of whom went on to become major figures. Admiral Bailey was one of them and, like a shooting star, he shot to the top with his hits 'Big Belly Man' and 'Punanny.' Major Worry, known for his hit 'Babylon Boops', as well as Chaka Demus, Tiger and Lt. Stitchie were also apprentice deejays for Jammy's sound system.

After the incredible popularity of Jammy's 1985 Sleng Teng single, whose computerized riddim lit the reggae world on fire, more and more riddim tracks were being recorded digitally rather than by session musicians with conventional instruments. The lowering of production costs that digital recording offered allowed many upcoming producers to enter the business. Yet King Jammy held his position against the new names and also fought off competitors such as the Techniques and Redman labels and King Tubby's continued output. Jammy continued to produce hit rhythms such as 'Duck', 'Punanny' and 'Love Punanny Bad' and his achievements became known around the world. King Jammy became the undisputed king of the computerized reggae music of the 1980s.

1988 was a turning point for the Jammys label. Just as Jammy had earlier left his mentor King Tubby, his number one engineer Bobby Digital and his riddim section Steely & Clevie left Jammys to pursue their own careers and start their own labels. King Jammy was worried as he knew that Bobby Digital and Steely & Clevie all had the talent to threaten his career with their own hit productions. However, history indicates that, as good as they were, they could not reach a level where they could take over Jammy's supremacy.

Entering the 90's, Jammy was no longer as prolific as he used to be but his eldest son, Lloyd James Jr., aka John John, followed in his father's footsteps and, at the age of 18, founded the Father & Son label. He could start at such a young age because he used to be in and out of his father's studio as a child and was familiar with the business. The following year he launched the self-named label, John John, where he released revisited versions of rhythms such as 'Sleng Teng', 'Love Punanny Bad' and the big foundation riddim, 'Shank I Sheck'. Of course, these rhythms became huge hits again during the 90's. Entering the 21st century, John John continues to create fresh sounds with rough & tough street vibes.

King Jammy's other sons - Baby G, Jam2 and Christopher 'CJ' James - also established their own labels and released some hit rhythms to bubble up the dancehall scene. Today they are respected as essential producers in the current dancehall scene. Besides his sons, other dancehall artists continue to treasure King Jammy's talents. Suku, a member of Ward 21, has co-produced tracks with King Jammy on the Mentally Disturbed label and released the 'Badda Badda' rhythm on the Jammys label. On his own, and through the works of his family and friends, King Jammy's musical legacy lives on.