Dancehall reggae, with its ‘toasting’ DJs and record-spinning ‘selectors,’ has been around nearly as long as reggae itself. In fact, it was the original inspiration for American-style rap music – and Super Cat absorbed the DJ’s art at its source in foundation.

  Of African and East Indian descent, Super Cat was born William Maragh in Kingston’s tough Seivright Gardens neighborhood, then known as Cockburn Pen. "Super Cat was born home delivery," as he tells it. "and I never, ever reached the low-spital (sic)." Cockburn Pen was a hotbed of dancehall reggae and home to ground-breaking DJs like Prince Jazzbo and U-Roy. As a child, William Maragh heard the latest songs by theses veterans blasting from local record shops. By the time he was eight years old he was hanging out at a local club called Bamboo Lawn, assisting the crew of the Soul Imperial sound system and absorbing the dancehall rhymes of DJs like Dillinger, Ranking Trevor and Early B The Doctor. "In the environment where I lived, you had to find something real to survive," he says, "that was the music, and I went straightaway into it. It is not something I practiced—I didn’t take music lessons – by hanging around the dancehall and the artists, I automatically became one of them."

"As a teenager, I found myself traveling the 14 parishes of Jamaica performing on various sound-systems alongside DJs and singers like Little Johnny Wonder, Michael Prophet, Barrington Levy, Don Carlos, Eek-A-Mouse, Yellowman, Toyan , Lee Van Cleeff, Louie Lepke, and even a juvenile Beenie Man",Super Cat continues on, "I – man, Mentor the late great Early B the Doctor then formed the Super Posse Crew, which included a young Ninjaman (then known as Uglyman), the late great Iron Man, German, Muma Nancy, the late great Audie Murphy, the late great Daddy Wayne, and Junior Cat-the youngest member" .

Cat’s first DJ name, Cat-A-Rock, given to him by Abraham Ferron aka Echo--who was one of the younger brothers of George Ferron – the same Georgie who used to "Keep the Fire Burning" in Bob Marley’s "Stir It Up". The name Cat-A-Rock was changed by another late, great friend, Poet Jimmy Andem to Super Cat, which describes his stage persona of cultural assertiveness and vision as opposed to the former nickname that had sounded close to blind like a cataract. It was Early B. The Doctor who dubbed Cat the Wild Apache, an allusion to his partial East Indian ancestry.

Moving up through sound systems like Crystal Blue, Stereo Grav, Virgo, Soul II Soul, Tape-Tone Hi-Fi latter to become King Jammy’s Hi-Fi, Supreme Of Love, Papa Roots Hi-Fi, King Majesty, Black Scorpio, Studio Mix, Kilimanjaro, and Stur Mars, Super Cat the Wild Apache, developed into a well skilled and accomplished DJ. Cat’s aggressive and conscious performances on sound systems throughout Jamaica earned him great popularity in the dancehall.

Super Cat became a recording artist in 1981 with the single "Mr. Walker" alongside DJ Bruk Back and produced by Winston Riley for the Techniques label. Cat followed it up with single after single : "Walk-A-Thon" produced by Jah Thomas for The Midnight Rock Label, "Ride and Shut Off" Produced by Early B for the One Wheel Wheelie Label, "Trash and Ready" Produced by King Jammy’s , and "Vineyard Party", the first dancehall hit for Super Cat also debuted the legendary Skengdon label. Super Cat scored his first landmark number one reggae hit with "Boops" in 1985 which can be found along with the conscious anthem "Cry Fi Di Youth" on Super Cat’s first album Si Boops Deh on the Techniques Label . With a string of hits under his belt, Super Cat left Jamaica to perform alongside the late, great legendary dancehall DJ conqueror  Nicodemus in front of reggae fans in England and the United States.

Cat voiced a string of singles for George Phang’s Power House Label: "Under Pressure" , "Glory, Glory" and "Sid Dun Pon It" ; Producer Wayne Ottey’s label: "Teach Dem Sum Ting" and "Hell A Come" and for Producer Wayne Smith’s Sleng Teng label: "Sandokan" and "Reality".

The album titled Boops.on the Skengdon label featured "How Mr. Cat Go A America" and "Vineyard Party". Skengdon issued the legendary single "Permit Fe Gun", the dancehall hit "Mud Up" and the number one smash "Sweets For My Sweets". The latter two songs became the framework on which Super Cat would forge his future away from voicing songs for producers.

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