The latter was often a metaphor as in Conroy Smith's excellent 1988 cut 'Dangerous' (included here) where he lists all the different ways he poses a risk to the listener, just to qualify himself: 'Dangerous, I am musically dangerous.' This included a certain amount of braggadocio, 'slackness' (sexual explicitness) and violence. Also just as Michael Manley's socialist administration had given way to the right wing JLP government, conscious lyrics gave way to the escapist. The sheer density of sound which had been suited for the contemplative effects of ganja was thinned out to be replaced by clipped rhythms and prominent, tight bass. So the BPMs were increased for the ease of dancing – to this day the genre seems to attract more dance moves than any other from the well known (bogling) to the obscure (signaling the plane) to the daft (the sponge bob). Also, quite simply, the collie slow riddims and sufferation of roots music didn't make for an excitable Saturday night out on the tiles. It's true that by the time albums like Exodus were released in 1977, many reggae fans worldwide were getting tired of the syrupy classic rock production (more appropriate on Eric Clapton or Procul Harum albums) watering down the impact of the genre.
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