Sleng Teng is the name given to one of the first fully computerized riddims, influential in Jamaican music and beyond. The riddim, which was the result of work by Noel Davey, Ian "Wayne" Smith, and Lloyd "King Jammy" James, was first released with Wayne's vocals under the title "Under Mi Sleng Teng" in early 1985. Composition In mid-1984 Jamaican musician George "Buddy" Haye went on tour to the United States with the Wailing Souls. Before he left Jamaica, Buddy had promised a young musician named Noel Davey that he would buy a synthesizer while in the United States and bring it back to him. Wailing frontman Rudolph "Garth" Dennis had recommended Davey as an up-and-coming talent to foster. Although Davey was expecting a programmable synthesizer (he had been promised a Yamaha DX7) Garth delivered a consumer-grade Casiotone MT-40 keyboard. This keyboard only held recordings of sound, triggered by user input, rather than waveform generators whose outputs can be extensively modified, as on more expensive keyboards like the DX7 (the 1984 retail price of the DX7 was $1,995, almost fourteen times the cost of the MT-40). Undeterred, Davey and fellow musician Wayne Smith played with the keyboard for several weeks. One day Davey accidentally triggered the "rock" bassline preset, which he heard for a few seconds before the keyboard setting was changed and the rhythm ceased playing. He and Wayne spent most of the next week trying combination after combination of the Casio's settings until Davey re-discovered the "rock" bass preset. The preset is accessed by pressing the "synchro" button and then the "D" bass button (second from left) while the MT-40 rhythm selector slider is in the "rock" position. It cannot be triggered after the rhythm function has been started. Davey and Wayne Smith arranged the first version of the Sleng Teng riddim, which was considerably faster than the final release. Smith then rehearsed a toast over the riddim, with lyrics inspired by Barrington Levy's "Under Mi Sensi" and Yellowman's "Under Me Fat Ting". Davey and Smith brought the riddim and toast to noted producer and dub mixer King Jammy in December of 1984. Jammy slowed the riddim down, matched it to Smith's singing key and placed piano and clap tracks over it. While Jammy recalled knowing immediately that he had helped create something special once he listened to the final mix, he also said he was still completely unprepared