MAGAZINE #17 - March 2012

Bristol Archive Records Tappa Zukie Regular Mr. Vegas

“An artist can’t retire from musical creativity” TAKANA ZION EDITORIAL by Erik Magni SUMMARY 1/ NEWS

2/ INTERVIEWS

• Tappa Zukie 18 • Mr Vegas 28 • Konshens 32 • Burning Spear 38 • Singing Melody 46 • Takana Zion 52 • Alborosie 58 • Million Stylez 64 • Archive Records 70 • Reggae Regular 74 Is the trend turning? 3/ REVIEWS

I’ve written about this many times before. I’m talking about the music busi- • Kevin Batchelor’s Grand Concourse 85 • Lee Perry and - High Plains Drifter 86 ness and the decline in sales that has been going on since the early 2000’s • - The Chant 87 that saw the launch of file sharing services such as Napster and Kazaa. • Tappa Zukie - X Is Wrong 87 • Necessary Mayhem - Trilogy 88 But now, some people argue that the music business has started to recover • - Blackwood Dub 89 and that the worst is over. In this issue we have an example that points in • Konshens - Mental Maintenance 89 this direction. Mike Darby is the man behind the successful Bristol Archive • Stand High Patrol - Midnight Walkers 90 Records. Thanks to the success of releases such as Bristol Explosion 1 & 2 he • Revelation - Jah Praises 91 changed the direction of his other label, Sugar Shack, from British rock acts 4/ REPORTS to contemporary British reggae. But that’s not all. Mike has also initiated Reggae Archive Records. • JARIA Reggae Wednesdays Week #3 - Reggae Gone Global 92 • Tiken Jah Fakoly in Quebec 94 Experts say that the change comes from new digital streaming solutions such • I-Wayne, and Ijahman Levi in Warszawa 95 • Rebelution and The Green in Oakland 96 as Spotify and Deezer and the winners are labels embracing the change from • and Rivah Jordan In Berkeley 98 acquisition to subscription. • The Making of Clinton Fearon’s Heart And Soul 100 • Ijahman Levi in 104 That’s probably true, but you must also have luck and good distribution. But • The Caroloregians in Cardiff 106 most important are quality products. Just look at Bristol Archive Records. • and Lee Perry in Paris 107 • Tribute to the Reggae Legends 2012 108 Cover photo by Christian Bordey • One Love Nutrifest 2012 112 • SOJA and in 116 United Reggae Magazine #17 - March 2012 Want to read United Reggae as a paper magazine? Now you can... In addition to the latest United Reggae news, views and videos online each month you can now enjoy a All the articles in this magazine were previously published online on http://unitedreggae.com. This magazine is free for download at http://unitedreggae.com/magazine/. Not for resale. free pdf version packed with most of United Reggae content from the last month. United Reggae. All Rights Reserved. Any reproduction in whole or in part is prohibited. Blackboard Jungle Mungo’s Hi Fi - Dutty Diseases Chant Down The Wicked by Karl Pearson Drops First by Karl Pearson ------Multifaceted French collective Blackboard Jungle, who are one by Erik Magni the country’s heaviest sound sys- tems to have played at the Univer------Jamaican champion sity of Dub in London and the Paris comes forward on April 24th Dub Meetings sessions alongside with his first reggae album the likes of , Aba Shanti which bears the significant ti- I, Channel 1, Iration Steppas and tle ‘Reggae Music Again’. It’s King Shiloh have just released a stark departure from the their latest 12” vinyl ‘Chant Down hardcore beats dominating The Wicked’ which features his three previous . Mo’Kalamity and Echo Ranks on Each of the album’s 14 tracks a riddim created by The Rockers is described as “celebrating Disciples (ROCKDiS). This is the the uplifting spirit and tightly fifth 12” from Blackboard Jungle woven grooves that epitomize who compose music in their own ’s signature rhythm”. studio which they of course then And the album shows both promote through their sound sys- er. This album is like a renais- eration who can sing as well Busy Signal’s spiritual side and tem. Their past collaborations sance for me, a rebirth - reggae as deejay on authentic reggae his sensual style, such as the have included artists such as Afri- style.” The one drop rhythms rhythms.” first single Come Over (Missing kan Simba, Vivian Jones, Empress on ‘Reggae Music Again’ were You). “This album will shock Rasheda, , Ranking created by some of Jamaica’s In addition to the full-length al- many people who are used to Joe, Tony Roots, Earl 16, Michael most acclaimed musicians, in- bum, VP Records will release a Mungo’s Hi Fi are getting Scotty also appeared on me just as a deejay,” declares Prophet, , Chris- cluding , Dean Fras- vinyl companion piece, entitled the new year underway by this album, but chip in here Busy Signal in a press release, tine Miller, Ras Mac Bean, Kenny er and Kirk Bennett, and were ‘Reggae Music Dubb’n Again’, launching a set of 7 inch vi- with World News and Wicked and continues: “But it shows Knotts and Murry. recorded live at Kingston’s available April 17th, special for nyl’s featuring vocalists YT, Tings A Gwaan respectively. my growth, versatility and the legendary studios. Record Store Day on April 21st. Daddy Scotty, Mr Williamz, , who began chat- recognition of reggae as the or- “Dancehall music alone cannot The exclusive LP will feature Sister Carol and ting after a meeting with Bri- igin of dancehall music. Being sustain Jamaica’s music indus- extended dub mixes for six of riding on their cut of the clas- gader Jerry, gives us Cuture a Jamaican, I feel like it is my try,” explains Shane Brown, the album’s songs, which are sic riddim Dutty Diseases. Mi Vote, while Daddy Freddy duty to highlight and contrib- the album’s primary producer all produced and engineered adds some style on ute to reggae music, and with and engineer, and concludes: by Shane Brown and his leg- The riddim has been a staple Dread Inna Armagideon. the encouragement of my man- “Reggae has more substance endary father . in Mungo’s Hi Fi sets for the agement and musicians who and longevity and Busy is one last year and the Mr Williamz If you’re into your vinyl then played on this record, including of those rare artists of his gen- cut Computer Age appeared visit Scotch Bonnet Records , it all came togeth- on their ‘Forward Ever’ al- quick as there are only a lim- bum, though here it is in a ited number available. Duttiest mix. YT and Daddy Vibronics’ French Tetrack and Norris Reid of songs that were Showcase Vol 2 by Esoteric bum titled ‘Esoter- and the late Sug- connection Release the Viceroys - a col- originally produced ic’, an album aiming ar Minott, an old league from the by Pablo which Abassi All Stars by Leaf- to increase love and friend of Leafnuts by Erik Magni Unfin- days when both art- were never released by Erik Magni nuts political awareness. and in whose studio ists worked with Au- [“Nah give up” and ------ished ------he made his initial gustus Pablo in the “Shirley”]. These by Erik Magni UK dub champions Vibronics have The Abassi All Stars is a collec- ‘Esoteric’ is pro- recording. Business 1970s. Original Tet- two songs howev- been vibrating the world with bass tive of musicians based around ------duced by some of by Angus Taylor rack member Dave er I have tweaked Jamaican-born since 1995. And two years later Zion Train’s front man and pro- ’s top pro- ‘Esoteric’ hits the Harvey was initially lyrically. The al- Swedish deejay they crossed The Channel for their ------ducer Neil Perch’s recording ducers and features streets as CD and on board for the bum also includes Leafnuts – of Chilly first French shows and were mak- studio in , . guest artists such digital download on project but then left a track “Dread out & Leafy fame – is ing connections with the emerging During the years this outfit has as Million Stylez March 23rd. the group before Deh” from an album back with a new al- Dub Scene. Vibronics latest album put out a number of signifi- the vocals were laid. that Tetrack did for ‘The French Connection’ celebrates cant 7” and 10”. The first batch The tracks were re- [Mu- their French links through a series was collected on the Abassi All corded at the Hines’ sic Works label]. til now no material material isn’t some of 15 remix collaborations – one for Stars ‘Showcase’ compilation Jah Artistic Studio in The album was not had been issued by rough demo tracks every year they have been playing in issued in 2006. Praises . ‘The French Connection’ of- Kingston, with Carl- completed and Gus- Revelation Rockers, best forgotten, but ton’s brother Jimi as sie gave that song by Rev- even though they a fully realized UK fers a wide selection of top French Last year the vin- The second volume has re- engineer. Musicians to the Diamonds. He recorded five tunes roots album. Dub producers, from the electronic tage harmony cently been put out for digital elation included George only changed the back in the 70’s. experiments of Lyon legends High group Tetrack an- download. It collects 17 tunes Dusty Miller on lead vocals. It ap- Rockers Bristol Archive Re- Tone to rocking of Bor- nounced they had from up and coming alongside by Erik Magni These tunes haven’t cords now aims to deaux’s Improvisators Dub. The reformed after over drums, David Mad- pears on the “Real well established artists all pro- been heard for al- release them on album is recorded in the usual Vi- 25 years with the den on trumpet and Enemy” album [Di------duced and mixed by Neil Perch. most a third of a March 5th on LP and bronics dub mixing style combining release of single Robbie Lyn on key- amonds].” ‘Unfin- Bristol’s Revelation The line-up includes singers century when Bris- digital download traditional analogue recording tech- Dread Out Deh. On boards. According ished Business’ is Rockers was the and deejays such as Omar Per- tol Archive Records under the title ‘Jah niques with the latest advances in February 14th they to Carlton’s MyS- available for down- first version of the ry, Dubdadda, Carlton Living- was handed them Praises’. studio technology. The CD will be re- issued their long pace “The album load via distributor band later known ston and Fitta Warri. last year. And this leased March 26th on Hammerbass awaited new album includes tracks that VP Records. A CD is- as Talisman. Up un- Records Paris, and Vibronics own ‘Unfinished Busi- were first rehearsed sue may follow. label Scoops Records will be releas- ness’. ‘Unfinished by ing three 10” vinyl singles with extra Business’ was sung e.g. ‘Some a dem”. dub versions of selected tracks from by Carlton Hines It also includes the album. Fashion Re- albums, of which one is a new cords Reis- release titled ‘Fashion in Fine Jah Golden tion – out on April 3rd Zion I Kings, a group Style - Significant Hits Volume – collects a survey of of producers that com- sues One’. Among the titles to be Throne reissued in March are Frankie contemporary original prises David “Jah Da- by Erik Magni by Erik Magni roots reggae vid” Goldfine from Zion Paul’s ‘FP The Greatest’, Starkey ------Banton’s ‘Powers ’, Gener------voiced by respected High Productions, Al- Late last year it was al Levy’s ‘Wickedness Increase’, ‘Jah Golden Throne’ is voices and rising stars fred “Tippy” Laurent announced that Fash- Nerious Joseph’s ‘Guidance’ the brand new various in reggae today. Fea- from I Grade and An- ion – one of UK’s most and the Tippa Irie and artist compilation from tured singers and drew “Moon” Bain of successful reggae la- combination album ‘JA to UK U.S. reggae production deejays include Lutan Lustre Kings fame. This bels – was set to digi- MC Clash Vol 2’. Further albums powerhouse Zion High Fyah, Pressure, Jahdan trio has during the past tally reissue their cat- from the catalogue as well as Productions, known Blakkamoore, Tippa years put out stunning alogue during 2012. greatest hits and remix packag- for albums for Mes- Irie, Lloyd Brown and albums from Jahdan Bl- The first batch will hit es will be put out over the next senjah Selah and Yami Arkaingelle. The studio akkamoore, Toussaint work is anchored by and Perfect. the streets on March few months. Bolo. The new compila- 19th and includes ten The Ethiopian by Return of the Leonard Dillon Raggamuffin by by Erik Magni Skarra Mucci ------by Erik Magni With the untimely death of The Ethio------pians lead singer Leonard Dillon in Jamaican born singer and dee- September last year another iconic jay Skarra Mucci returns with vocalist would never to be heard his fourth album, the follow-up again. But surprisingly enough Leon- to his crossover hip-hop effort ard “The Ethiopian” Dillon was work- ‘Skarrashizzo’ in 2010. ‘Return ing on a new album, an album now of the Raggamuffin’ collects 17 the lyric millionaire, has dedicat- Necessary May- set for release on U.S. label Young handled by Craig “Dub Fader” Wels- tunes, and collaborations with ed the album to “all those that Cub Records. The album is titled ‘The Building An Ark hem Launches ch, who has previously worked with R&B singer U-Jean and dancehall paved the way for reggae dance- Ethiopian’ and was recorded together The Aggrolites, State Radio and John by Groundation deejay . The production hall and left way too soon and Trilogy Series with veteran Jamaican harmony group Browns Body. The album features by Erik Magni is handled by European produc- to the living legends that helps by Erik Magni The Silvertones and also features nine brand new, original roots and ers such as Bizzari, Oneness, keep the real foundation reggae ------members of John Browns Body and 10 dub tunes and drops on 12” vinyl and SoulForce and Weedy G Sound- dancehall alive.” ‘Return of the ------Groundation – the jazz influenced ft. Ganja Plant. The production was digital format today. force, who handled the produc- Raggamuffin’ drops on April 13 In late January United Reg- reggae outfit from California – tion on the mighty Jah Bless- on CD, vinyl and digital down- gae revealed a new album unleash their new studio album ings, a tune included on this set. load. project from UK label Neces- ‘Building An Ark’ with Soulbeats Skarra Mucci, who calls himself sary Mayhem titled ‘Trilogy’ Records on March 20th in Europe series. Now the first release and on April 24th in the U.S with in the series has been an- VP Records. On ‘Building An Ark’ nounced. It contains cuts Groundation is said to stay true to caller is set to launch his sopho- from three familiar riddims the essence of their sound – a mix relicked by producer Curtis more album ‘In This Time’, the of roots reggae, jazz, , salsa follow-up to the 2008 released Lynch – Police in Helicopter, and transcendental dub. “We al- Joker Smoker and Pirates. courtesy of Tiken Jah Fakoly. - Bobby Digital produced ‘Moving Summerjam 2012 ways want to challenge what we On’, an effort that included the The only tune not previously inspired SOJA bring their popular hit do and show progression in this released is a new dub from Line-up sounds from America, whilst Stephen wicked combination music that is uniquely ours, and ‘Pure and Strong’. Rebellion the Da Grynch called Police in by Gerard McMahon Marley - fresh from his 2012 Grammy Building An Ark is the best this Dub. There is however also award for best album – maintains the Recaller started his career in the ------group has ever sounded on re- new mixes of Million Stylez’ festival’s Marley family link. Midnite late 90’s scored his first hit song This year’s 27th ‘Together As One’ cord. Ours fans will feel that rare Police in Helicopter, Da and U-Roy represent the roots of reg- with One for One, which entered SUMMERJAM reggae festival at Fuh- explosive energy that is Grounda- Grynch’s Joker Dub and the gae (and in the latter’s case the birth the charts in his home country. linger Lake in Cologne, Germany tion with a focus on sonic quality, monster combination Cham- of ‘toasting’) as Nneka ensures that Since his debut album he has takes place between Friday July 6th clarity and words of strength,” pion Sound. The artwork is those addicted to hip hop soul will get Rebellion the toured several countries and and Sunday July 8th next. As in pre- says lead singer Harrison Stafford a special one and aims to more than their fair share of the festi- Recaller Is In also voiced a combination with vious years the (initial) line-up covers in a press release. Groundation make the series a collector’s val’s high times. Both Danakil and Irie German reggae superstar Gen- the cream of the crop of reggae’s vari- has to date released over a nine This Time item. When the full series Revoltes will bring a welcome French tleman, a tune included on his ous strands. Topping the ‘roots’ se- albums independently – collabo- by Erik Magni are put side by side on the sound to the setting, complemented latest album ‘Diversity’. ‘In This lection comes Burning Spear and his rating with reggae legends includ- shelf, the spines will form by the German-Indonesian influence ------Time’ collects 16 tracks and hits Young Lions, whilst brings ing and – a picture. Necessary May- of Sebastian Sturm and Berlin’s Boom Gambian – nowadays residing the streets on March 12th. on the Dancehall dimension. Those and developed a international cult hem Trilogy series drops on Orchestra. There’s much to look for- in Germany – reggae and dance- looking for an all-round high excel- following with their progressive March 13th on vinyl and dig- ward to at SUMMERJAM, where all hall singjay Rebellion the Re- lence reggae ensemble can rely on Al- sound and live performances. ital download with slightly tastes are catered for – and that’s borosie and his Shengen clan, whilst different track lists. even before the line-up is finalised! the all-important African angle comes Dem Can’t Stop ously popular, since it now has been Food / On My Way ers’ multi-cultural experience, remixed no less than twelve times. Ac- incorporating elements of pop, We From Talk by cording to the press release it seems by Nazarenes dub, reggae and rock.” Food, , Suba- that Anthony B was on fire when it was by Erik Magni with lead singing by Noah Te- recorded, and his delivery and lyrics wolde, is produced by the Zion tomic Sound Sys------tem and Nomadic are jam-packed with energy and anti- Nazarenes – made up of Ethio- I Kings and mixed in Jamaica, corruption statements. “When Antho- pian brothers Noah and Med- while Medhane Tewolde han- Wax ny first heard the African drums, his hane Tewolde – is set to drop dles lead vocals on On My Way, eyes lit up and he and his crew began by Erik Magni their fourth full-length album with production work by Tippy I, a classic African call and response ‘Meditation’ on April 10 on Vir- who is also responsible for dub ------chant to the beat. After listening to the mixing. Noah and Medhane Te- In late 2010 U.S. label Subatomic gin Islands based label I Grade, riddim over and over on repeat, he de- the label’s first project with an wolde were born and raised in dropped the ‘NYC-2-Af- manded to go straight into the studio Addis Ababa, Ethiopia, to par- African group. But the double cords in the 1990’s, while Med- rica’ EP. The tough riddim included Af- and, without a word written, delivered known as Christopher “Dudus” Coke. ents of Eritrean descent who single ‘Food/On My Way’ – com- hane toured Europe with Culture rican drumming, dancehall energy and a blistering performance, waiving his While the original tune spanned three later settled in Europe. The Te- plete with exclusive dub ver- Knox and other reggae acts, and skanking horns laid over a hip-hop lighter and literally jumping off the countries in its creation, the remixes wolde brothers originally fol- sions – is already available on in 1996 they formed the Naza- influenced beat with dubwise effects walls of the vocal booth while singing are taking things even further coming lowed separate musical paths. and a heavy bass line. The EP – pro- digital platforms. And it is said renes. like a man possessed by inspiration,” from North, South, and Central Ameri- to “reflect the Tewolde broth- Noah signed with Virgin Re- duced by Emch from Subatomic Sound states the press release. The reason ca, the Middle East and Europe, includ- System and Benny Beats of Nomadic behind his excitement might be the ing veteran and upcoming producers Wax – featured vocal cuts from Jahdan context it was recorded in. At the time, from the fields of cumbia, and Vibes. “What I knew I wanted Blakkamoore, Bajah and Anthony B, Kingston was a charged environment, tropical bass as well as roots, hip-hop Cast-A-Blast Pre- and was recorded in Jamaica, Senegal for sure was to give the people with Tivoli Garden’s catching fire in and dancehall. This 15 track album hit sents Blend music. In the end that’s what it’s and the U.S. Anthony B’s cut – Dem a military raid sparked by the Prime digital platforms on March 6th. Can’t Stop We From Talk – was obvi- Mishkin - Mama about,” says Ziggi Recado on his Minister’s order to extradite a Don website, and continues: “That’s Proud Riddim Re- why this EP will be for free for a Reggae Roast Re- of the UK reggae scene since the ‘80s mixed limited time. I intend to put out through his various releases, produc- by Erik Magni more music than before, always cords Announce tion work and of course the seminal felt that was something that First Release Of radio show he presented on Kiss FM ------would be great for me.” ‘#Lib- The Year which ran for a staggering 12 years and In late January Athens’ based produc- eration’ is produced by four Eu- was responsible for introducing many er Blend Mishkin dropped the Mama ropean producers – Silly Walks, by Karl Pearson new people to reggae music. BunZer0 Proud riddim on his label Cast-a-Blast. Bost & Bim, Oneness and Root------is touted as being one of the most re- It’s a fine slice of intense contempo- #Liberation by down – along with Ziggi Recado Reggae Roast have announced that spected purveyors of the deeper side rary dancehall with an underlying dub- Ziggi Recado himself. It can be downloaded their first 12” vinyl and digital down- of dubstep and his take on this jump step production. Now Cast-a-Blast un- on his website. And the new EP load release of the year will be ‘Love up, stepping riddim is sympathetically leashes a remix version of the riddim by Erik Magni will be followed by another set album with workouts from ten Europe- Light’ from UK sing-jay star Kenny done keeping much of Knots’ vocals ------of projects in 2012. “This will be Knots. Kenny has been a consistent vo- and turning down the pace and tones a an producers and remixers. The Dirty Last year Dutch singer Ziggi Rec- my ‘EP year’ as an EP with Curtis calist on the British reggae and dance- notch or two to give it that grittier feel. Dubsters, Palov, JStar, Grant Phabao, ado dropped his third album, an Lynch (Necessary Mayhem) and hall scene since the mid ‘80s when he Reggae Roast are promising a fantas- Jazz K Lipa, Motagen, Turntable Dub- album where he launched a new Decko (Dredda Records) is also released his debut single Watch How tic year ahead with releases scheduled bers, Balkan’s Hi Fi, Cut La Vis and funk/rock/reggae/pop sound. in the making,” states Ziggi, the People Dem Dancing. The release from artists such as Hollie Cook, Lin- Max Rubadub show their talents on Now he’s back with a new six and concludes: “Feeling liber- will also feature a version and a dub val Thompson, Earl 16, RackNRuin and this release covering dubstep, dance- track EP titled ‘#Liberation’, his ated and definitely motivated from Nick Manasseh plus a heavy dub- Congo Natty and if they keep this kind hall, futuristic dub, skankin roots and first independent project fol- like never before, I’m sure you’ll step remix by Belgium’s BunZer0. The of quality up then no one will be able to . The ten tracks are now lowing the split with his former hear it in the music.” name Manasseh is probably familiar to say they didn’t keep to it. ‘Love Light’ available for free download label and management Rock n’ many as he has been another stalwart is available from usual sources today. Dust and Dirt by writing and recording. “Working in Sizzla In Gambia our own studio gave us the freedom The Black Seeds to get the best out of ourselves over by Erik Magni by Erik Magni a longer period of time, and to trial ------new techniques and tones with our ------In mid February Sizzla dropped his own Mike Fabulous at the controls,” New Zealand’s reggae and soul band latest album ‘The Chant’, an album in- says singer and guitarist Barnaby The Black Seeds return with their spired by his visit to Zimbabwe. Only Weir in a press release. The Black new studio album ‘Dust and Dirt’ on one month after the release of ‘The Seeds formed in 1998 and are led April 10th, via Easy Star Records. It Chant’ Sizzla puts out another set of by vocalist Barnaby Weir and Daniel follows the band’s latest album ‘Sol- songs influenced by his latest visit to Weetman. Their sound is a fusion of id Ground’ released in 2009. ‘Dust Africa. The difference between the al- dub, funk, afro-beat and soul, mixed and Dirt’ contains 13 tracks and has bums is that ‘Sizzla In Gambia’ – as with vintage reggae. taken two years in the making and the upcoming album is called – was included new ways of approaching partly recorded in Gambia. It was Life Is Not A Bed however produced in Jamaica by Ka- of Rose by Peter rim “DJ Karim” Thompson. The album the great man could find Ranking by Erik Magni collects twelve tracks and its cover art is designed by Nesta Garrick, son a wealth of videos, con------of Neville Garrick, graphic designer certs audio, interviews, Brazilian producer DubMastor’s responsible for several of Bob Mar- photographs, newspaper latest production is a new show- ley’s most recognized albums. ‘Sizzla clippings and medita- case album from veteran Jamai- In Gambia’ drops on March 19 as CD tions on his life, legend can deejay Peter Ranking, who and digital download. and music. On October dropped the General Lucky com- 21st 2011 some choice bination set Jah Standing Over Me material from the website in the early 80’s. ‘Life is Not a Bed Rototom Sun- was collected for a digital of Rose’ contains six vocal cuts fol- splash 2012 book entitled ‘Bob Mar- lowed by its dub version, and it’s ley: Memories Of Jah Peo- now available on digital platforms. First Artists An- ple’ featuring rare photos nounced and recollections by Rog- Reggaeville er Steffens, Donald Kin- by Gerard McMahon by Erik Magni sey, Kim Gottlieb, Mike Riddim ------: Van Der Linde, Esther An------The good news is that the 19th ROTOTOM reg- Rememorised derson and many more. Reggae news site Reggaeville has gae festival will take place yet again. Recently and Robbie, and Zion Train. ducing Zion Train, it seems like the audience teamed up with German based produc- relocated to the sunny seaside town of Beni------But having devoted so A fascinating feature of the festival promises are in for quite a ride! One of the greatest fea- ers Oneness Records for the one riddim cassim (~ 85 km north of Valencia) in Spain, In 2010, after ten years much time to the project to be the goodwill free performance of the tures of this festival - which could legitimate- compilation titled Reggaeville Riddim it promises to be yet another epic event, run- of painstaking research, Emmanuel was not about legendary Diamonds, Moses and Thompson ly lay claim to the top ranked status of reg- Selection due in late May. The riddim is a ning from August 16th to 22nd next. Though archivist, Bob Marley to rest on his achieve- in the heart of the city on August 15th. There- gae festivals worldwide - is that in addition relick of ’ Riding On a High there’s still about 5 months to go, a host of obsessive (and United ment. He and United after between the Spanish-oriented Obrint to the excellent music furnished every even- and Windy Day and produced by One- top acts has already been announced for the Reggae contributor) Em- Reggae have teamed up Pas, Ranglin and Alexander’s jazz influence, ing, there are a wide range of supplementary ness Records from Munich. Among the SUNSPLASH. Alphabetically listed, these manuel Parata started a to improve the book, re- McClean’s vocals, Alborosie’s antics, Sly activities on offer to cater for all tastes. So included artists are Sizzla, and include Alborosie, Bitty McClean, Derrick website dedicated to the fashioning the layout and and Robbie’s rhythms, Romeo’s extensive whatever you’re into, whether it be music, Ray Darwin. The first single is Love Mi Morgan, , G. Palma & The Blue- king of reggae: BobMar- adding 4 new stories and back catalogue, Palma’s Italian orchestral seaside sports, art, photography, the circus, Fi Me by Skarra Mucci & Kiprich – also beaters, , , Max leyArchive.com. Therein, some exclusive photos, suite, the politically-aware Stephens, Pro- tribal villages, holistic ‘well being’, political, available on Skarra Mucci’s upcoming Romeo, Michael Rose, the , those who shared Emma- shot in France, from his toje’s ‘modern’ reggae, the diverse fusion social or cultural (incl. reggae university!) de- album – and it hits the online streets to- , Muchachito Bombo Infi- nuel’s enthusiasm for archives. of Muchachito, Morgan’s to bates or good food and drink, this is the event morrow. erno, Obrint Pas, Pablo Moses, Protoje, Sly roots, sinjay style Mason and the trance in- to be for the helpless reggae-addict! Final Move by New Releases From ues KarnaTone’s tradition for Cornadoor and KarnaTone classic heavyweight roots and Broussai In Ja- dub reggae and features Ianis Kabaka Pyramid by Karl Pearson on backing vocals with Mark maica ‘Red Eye Lion’ Shepherd on by Erik Magni ------by Steves James KarnaTone records have two bass, the keys of Dave ‘Daddy ------U’ Mountjoy, Richy ‘Bad Bwoy’ ------great new releases to shout German singer Cornadoor and Ramsey , Stevie ‘Coun- Broussai, the French reggae about. The first, released last Jamaican hip-hop/roots reg- tryman’ Parsons on bongos band was in the island recently month, is a 7” vinyl single from gae singjay Kabaka Pyramid and KarnaTone founder Gavin to celebrate Reggae Month and Dubheart Roots Reggae Band have a new single together. ‘Fullness’ Sant on Drums. The to record tracks for their up- We Chant featuring the vocal They hooked up on Facebook second release is to be a 12” EP coming fourth album at Harry Both liked what they heard and talents of French born MC Ten- after hearing songs from their due out on Monday 2nd of April J’s recording studio in Kingston. decided to do music together. ja. Originally from south Paris respective album ‘Without Re- from Paul Fox titled Be Careful According to band leader Eric The single Final Move is the re- Tenja now resides in one of the by Kehru Jahman Dan. Complet- strictions’ and ‘Rebel Music EP’. with Walk With Jah on the flip. Waguet it was their first profes- sult working over the Internet, UK’s hotbeds of reggae Bristol ing the EP are a dub versions of Both of these cuts appear to sional album outside of France. and the tune was sent back and where he has become some- each cut. As already stated We More Axe 3 be something of a family affair The album which is slated to forth by e-mail after each artist thing of a main stay as one of Chant is available now in many by Erik Magni as they feature Helen, Eleanor have twelve tracks has the in- had changed bits and pieces. the regular vocalists with Dub- stores worldwide and is dis- and Joel Fox on backing vocals put of some of Jamaica’s finest ------Final Move is by produced by heart. Whilst here he has also tributed by Dubwise in the UK, along with Fullness Horns, the musicians such as bass player UK writer Ray Hurford has re- Swiss Weedy G Soundforce and worked on solo projects and Ernie B in the US and Dubstore flute of Charlie Clark plus Anni- Axeman, guitarist Bo Pee and cently put out the third edition drops on April 13th on vinyl and with other artists in Bristol and in Japan with Be Careful / Walk kabyheart on harp and Bongos percussionist Sticky Thompson. in his More Axe series, a series digital download. across the UK. The cut contin- With Jah soon to follow. It is being engineered by Ste- which includes basic designed phen Stewart who has worked books containing interviews 149 Records #1 Our Eyes’ collects origi- with a who’s who in reggae nal songs with remixes with some of reggae’s finest in by Erik Magni the business like Burning Spear. music. ‘More Axe 3’ includes Rainfall Riddim of their track High Grade There is also a very catchy song chats with Junior Byles, Justin by Erik Magni ------by Ruckspin, Tymer and Hinds, Ijahman Levi, Culture, French label 149 Records called Kingston Town which ------Vibronics. According to Prince Hammer, Trevor Hartley has over the past three is done by the group and local Jamaican label Sajay Produc- their press release “Since and the late and great Augus- years dropped the excel- band Dubtronic Kru. The song tions – led by legendary pro- their conception in 2006, tus Pablo. Available now from lent riddims Datta, Bright- reflects love at first sight as on ducer Henry Lawes’ nephew Gentleman’s Dub Club selected record shops and Ray er Day and Speaker with the moment of visiting King- Roymane Alexander – has just have cemented their rep- Hurford himself. strong cuts from artists ston the band had fallen in love released their latest riddim utation as one of the first and have great memories of the such as Carl Meeks and live acts to experiment Rainfall, a dancehall riddim with Queen Omega. These rid- town. According to Eric Waguet, six cuts from artists such as with the cross-pollination “We calculate and analyse a lot dims have now been col- of Dub, Dubstep and Ska. Kiprich, Bugle and Vybrant. In lected on a compilation of things in Jamaica and then an interview with Jamaica Star The band have brought work off the vibes and first im- along with cuts on five Gentleman’s Dub together respected fans a spokesperson from the label other riddims – See Dem pressions”. reveals high hopes on the new Club Open Our ranging from Grow, Warzone, Dis Race, to Fat Freddy’s Drop and riddim, and especially an artist Freebird and Warshine. The Eyes called Vysionaer, who compares even MBE album collects a total of by Angus Taylor himself with Bob Marley and Pe- to become one of the most 20 tunes, of which no less ------sought after live bands ter Tosh. “It’s more of a crosso- than twelve are previously ver type of rhythm. I know it will English nine piece reg- on the circuit.” Last week unreleased. A CD is avail- gae fusion band Gentle- ‘Open Our Eyes’ had al- do well because it has an inter- able direct from the label. national appeal, that type of fla- man’s Dub Club have re- ready gone to number Digital release is sched- leased their second EP on one on the iTunes UK Reg- vour,” says Latoya McKay of Sa- uled in late March. jay Productions to Jamaica Star. Ranking Records. ‘Open gae chart. Out Of Many: 50 Years of Reggae Music by Erik Magni ------Reggae powerhouse VP Re- cords is set to release a 3CD boxset celebrating Jamaica’s 50th year of Independence, writes Jamaica Observer. It’s titled ‘Out Of Many: 50 Years of Reggae Music’, and is scheduled for release in late July. ‘Out Of Many: 50 Years of Reggae Music’ includes Trini- dadian singer ’s Independent Jamaica, a song released in 1962 to mark Ja- maica’s Independence from Britain in August that year, and 49 other songs, one for each year. The compilation will also include immortal Final Chapter Over riddim, released in Sep- classics such as Hopeton tember last year, and collects Lewis’ early rocksteady hit Riddim six vocal cuts from up and com- Take It Easy, Dave & Ansell by Erik Magni ing artists, including Vybrant, Collins’ funky Double Bar------Prince Levi and Nefta. This one rel and Culture’s apocalyptic Trinibagoan label Jah Light Re- drop riddim drops on April 3rd Two Sevens Clash as well as cords is set to put out their first and will be available in digital newer gems such as Sean release of 2012. Final Chapter stores worldwide. Paul and ’s more re- riddim follows the label’s Pass- cent smash hits and Hold You.

Perfect Giddimani’s It continues his recent trend for talent and versatility had nev- working with producers in the er been featured on one work Journey of 1000 USA. Where previous set ‘Back until the release of Journey of Miles For the First Time’ was voiced 1000 Miles”. The nattily attired, by Angus Taylor with Californian collective Lus- critically-acclaimed St Ann’s tre Kings, here production is raised vocalist is known for his ------helmed by MG and Dan of Se- embracing of international reg- Globetrotting singer-deejay Per- attle’s Dynasty Records. Re- gae and for his uncompromis- fect Giddimani certainly likes to corded in Jamaica and Seattle, ing roots messages. ‘Journey travel. So it makes sense that its press material promises a of 1000 Miles’ is scheduled for his forthcoming sixth album be record of great variety, claiming release in May 2012. titled ‘Journey of 1000 Miles’. “such a diverse collection of his Why did you decide to make the past. Do you vote your- with a lot of experienced musi- your first album since 2004’s self? cians to discuss the rhythms. Cork and Tar with ? Five-six-seven people all talk- No, I have never voted from the ing about how best to make the rhythm for even an hour or Because the production kept day I was born. When I was lit- two - how it should go from G me away from myself. So now tle I used to run about because to F or from E Minor to C flat - I have decided to lay back on when I was small I used to run was a wonderful feeling in the the production. People have away from home. I used to go studio. And when the song was been asking me why I’m not and sleep over by the political finished it would have a great doing anything, because I’m headquarters because that was melody and long-time livity. a good artist and should be where I could get some sleep making albums. So I decided in the night. That was the PNP to do some work on myself. headquarters on Spanish Town Many producers are turning to Road. And the big boys would old rhythms these days - like The concept is an interest- send me out and they would Peckings in England - why is give me change which to buy ing one - tell me what “X is food. So I used to go there to get this? Do you think changes Wrong” means. support when I’d leave home. in the industry mean people can’t afford the musicians - The concept of X Is Wrong is On Cork and Tar you rode on or are the great musicians not just about thinking back on the things they taught me in school. digital and live instrument around? Many of these guys They taught me that when I do rhythms. Was the decision to are still playing. something wrong they give me use vintage rhythms only an an “x” and when you do some- important part of the concept The computer has taken over the feel and made a one man thing right they “tick” you, for X Is Wrong? TAPPA ZUKIE right? But it’s always bothered feel like he can make a rhythm hits - attracting the support of , Don Letts me for the last couple of years: so it waters down the rhythm Interview by Angus Taylor Nowadays most of the reggae’s and the musical part of it. and other luminaries in the burgeoning why do you have to make an going digital and computerised scene. Better still, he began to break out in his home “x” to vote? And it’s worldwide. One man can go in the studio In the third in our foundation deejay and producer and the melody is not there. island too with the singles Oh Lord and She Want Does that mean they are telling and make ten rhythms for the series we have the privilege of speaking to David Sin- It’s taking away the original- A Phensic, leaving the former rude boy and political us that we’re doing something week or a couple of rhythms clair AKA Tappa Zukie. Born in 1955 Sinclair started ness from the reggae music. activist in the enviable position of being a star on wrong? Because we know “x” for the day and that’s it. It’s as a drummer in a local jazz band before becoming a It’s more hip hop - and hip hop both sides of the Atlantic. A deal with Richard Bran- is wrong and yet to uplift an- made quick and it just leaves child chanter in Kingston. The young tearaway, who came from reggae but now - son’s brought him into contact with other man and give him power out of your head quick so eve- used to run with a gang called the Zukies, was sent rybody’s basing back reggae the ’ Johnny Rotten - in many ways a simi- we have to make an “x”? So ry week you can look for ten away by his concerned parents and mentor Bunny on hip hop. I am an original reg- larly larger than life character. But his acrimonious that’s the concept of the al- new songs. The long stay is Lee to live in England in 1973. There he recorded his gae artist and I started on real split from the company at the end of the 70s and a bum, and you know, Malcolm not in it. It’s just like a demo, first single Jump and Twist for London label Ethnic reggae rhythms. I don’t feel dissatisfaction with the lyrical and musical direction X put an “x” beside his name most of the computer music Fight and then debut album ‘Man A Warrior’ with comfortable working on the of the 80s led to the curtailment of his deejaying to because he did not accept the is because most of the time producer Clement Bushay for Click Records. Yet digital and that’s why I don’t concentrate on production. Now he has returned as name that he was given by the they’d use a computer to make Tappa’s deejaying skills were not recognized on his make a lot of albums recently. an artist with a new longplayer using exclusively old country because those are sup- a demo. Most of songs out on return to Jamaica so after a period of time spent as It’s too straight. It’s like you rhythms entitled ‘X is Wrong’. Angus Taylor spoke to posed to be business names. the road are like demos. If you Lee’s bodyguard he set up his own production outfit are drawing a line. The melody Tappa Zukie at length just before the PNP’s election listen to the dancehall now it’s and imprint Stars where he would record a variety is not moving and grooving like victory and the first part of their discussion follows just a continuation of the same of artists from the Greenwich Town area and beyond The elections are coming up the original. The most won- detailing his latest album and his early years in Eng- rhythm. It’s the same rhythm including Prince Alla, Junior Ross, Knowledge and in Jamaica. I know you have derful time I used to have was land and Jamaica... going over with a little differ- . Returning to London in 1976 he found been involved in politics in when I was making a rhythm ent melody. One rhythm ‘Man A Warrior’ and follow-up ‘MPLA’ had become in the studio and I was there going over and over and over. thing and gwaan when they’d Grove. It was a different thing Not much creativeness is in it. keep their parties. They’d put from what I used to experi- me on a beer box. I used to love ence in Jamaica. Because when Let’s go back to the beginning to talk over the mic - I didn’t I was in Jamaica it was only in of your career - what was the even know if it was something court and going to church and good or a little stupidness but funeral and thing that I would music that first inspired you? they seemed to like it! So it be- see people wearing a suit but came a part of it until I started when I got to England every- I started out listening to jazz. following them to dances and body was dressed up in a suit. Because where I used to hang they’d always give me the mic It’s not like now when you see out as a youth other than the - and that’s where it started. I everybody trying to look like a PNP headquarters was a re- was around eleven-twelve. ragamuffin! Everybody was in cord store owned by this man a suit looking like lawyers and who came from America and he doctors in England. This was played jazz right through the Bunny Lee was a family friend right? He knew your brother. before Bob Marley burst out day. That was where I started. and Burning Spear started to He had a band and I was even Why did he and your family sing about culture. Then peo- playing drums in the band as a send you to England in 1973? ple started wearing military little boy. My first venture in the and khaki and things like that. music business was starting to Bunny Lee and my brother People were dressing up in play drums. Leroy Horsemouth started out. My mother, father those times. was the bigger drummer there. and brother knew him. At the When he wasn’t there they PNP Headquarters I used to go Did you experience racism used to let me play the drums around with the bad guys. Be- and sometimes when he didn’t cause it was the PNP strong- there? come they would let me do the hold of the area and it was pol- rehearsal. He would come and itics and I used to run around No. When I came it wasn’t much say that every time he’d leave with them. And when the politi- racism. When I came to Eng- he’d have to change the drums cal things were over we used to land I started to find out and upon the set so to go and hold when I used to play the sound website. You know I have my because I was so small and go around to the dances where see people who loved people the mic and show them what I people used to say I was good own website with my shop on had to readjust the seat. So at I used to play on the sound sys- more. People were a bit more could do. So they put me on the like U Roy and . it - the official website of Tappa his time to play the drums he’d tem and all of my little friends loving in England when I came stage and I went and rapped a Big people in the dance used Zukie. I’ve put up that U Roy al- always say I always change up used to follow me around. My there. The race thing was about couple of songs and when I to hold these conversations. U bum - it’s on it now anyway. the thing. He’d try to war with family thought I was getting but it wasn’t pouring out on the came back he introduced me Roy was the deejay who started street. Just like how even now me over it so I’d just leave him too I-rated, getting in bad com- to Larry Lawrence. Larry Law- it off and got it rolling because Let’s go back to the album with it because he was the sen- it is there but it is not pouring pany so when I did start getting rence said he was taking me to he had three number ones. He with Clement Bushay. What ior player there. in some trouble they did decide out on the street. the studio the following Sun- was the one who we used to inspired the lyrics to Message to send me away to England. day - and that’s how it started. hear on the radio most and he You have called yourself the You did your first recording I came out with Jump & Twist used to record for Bunny Lee so To Pork Eaters for example? first child deejay - tell me What was it like when you there with Larry Lawrence then Clement Bushay came I used to see him around Bunny Well in those days I was lyri- how you started. first arrived in England? from Ethnic Fight. along and that’s how Man A Lee. I also used to go the dance Warrior started. and see him around the mic. cal. I had so many lyrics that I’d make lyrics off anything I’d see The third night after I came It’s all about that PNP HQ. I used When I first arrived it England going by. When I’d leave the po- there Bunny Lee carried me to a Did you know U Roy from be- You went on to produce him to go over there and they used it was a change. I came to Lad- litical arena - because when I’d U Roy show and said he heard I to have these political meet- broke Grove but I was in Harles- fore that night? yourself in the late 80s. run away from home I’d have to used to play sound system and ings that they’d advertise in den first. So in that year I was in go where I could get something the people in Greenwich Town the van. I’d go and they’d give Harlesden, Shepherd’s Bush, Yeah because back in Jamaica Yeah I produced an album with to eat - I would always find the me the mic and I’d sing a little Willesden, Kilburn, Ladbroke said I was a good little deejay U Roy was the top deejay and U Roy. I’m putting it up on my goingReally overand andtruly over the and produc over.- sothing much? and gwaan when they’d YouGrove. initially It was went a different back to thingEng- Nottion muchside of creativeness things was through is in it. keep their parties. They’d put landfrom inwhat 1976 I toused promote to experi your- , Earl Ch- Becauseme on a beer the box.horns I used have to lovethis labelence inbut Jamaica. then your Because deejaying when inna Smith, Santa Davis and melodyto talk overand thesound. mic - ForI didn’t in- I was in Jamaica it was only in Let’s go back to the beginning music really took off there... ofAugustus your career Pablo. - whatThey werewas the stance,even know when if it hornswas something are in a court and going to church and musicians who said they liked songgood youor a can little hear stupidness it from miles but funeral and thing that I would mymusic voice that and first liked inspired my vibes you? be- away.they seemed When my to liketime it! was So itcom be- seeI came people back towearing England a becausesuit but cause they were the musicians ingcame up a I partused of to it listen until toI started sound whenI had Ibecome got to Englanda star. When every -I I started out listening to jazz. around Bunny Lee. I was in the systemsfollowing and them they to used dances to have and bodywas in was Jamaica dressed I wanted up in a to suit. be Because where I used to hang studio with them and I had a athey’d tannoy always and giveyou mecould the hear mic It’sa producer not like more now thanwhen an you artist. see out as a youth other than the whole heap of ideas so they the- and horns that’s from where very it farstarted. away. I everybodyBecause even trying in Englandto look like with a PNP headquarters was a re- said I should leave the rude- Iwas loved around to hear eleven-twelve. the sounds of ragamuffin!Clement Bushay Everybody I was actually was in cord store owned by this man boy business and come in the the horns and the horns make adoing suit lookingthe production like lawyers myself. and who came from America and he music business. They said they the sound fatter. I used to use doctorsSo I came in backEngland. to England This was to played jazz right through the Bunny Lee was a family friend were going to make me some Tommy McCook, Vin Gordon, beforeput out [PrinceBob Marley Alla] Bosrah burst andout day. That was where I started. right? He knew your brother. rhythms to take me off of the , Deadly Headly, and[Junior Burning Ross] BabylonSpear started Fall and to a He had a band and I was even street so that’s how I started MarquisWhy did and he aand couple your more. family singcouple about of other culture. songs Then like Blackpeo- asplaying a producer. drums in the band as a send you to England in 1973? plePrincess started Lady wearing with Lynford military Nu- little boy. My first venture in the gent to give to Klik Records. I The horns are a thing that and khaki and things like that. music business was starting to Bunny Lee and my brother had my album MPLA too. But Who was the first artist you many producers and promot- People were dressing up in play drums. Leroy Horsemouth started out. My mother, father thosethere wastimes. only one song they wasrecorded? the bigger drummer there. anders saybrother they knewcan’t him.afford At anythe took out of the whole batch When he wasn’t there they of records and that was MPLA Rastaman, the dreadlocks Ras- When you came back to Ja- anything rough stuff would more.PNP Headquarters I used to go Did you experience racism usedThe first to letartist me wasplay Junior the drums Ross around with the bad guys. Be- and I didn’t even get any mon- taman, and go amongst those. maica you did some recording come up I would deal with it! with a song named Liberty. I re- and sometimes when he didn’t Yeahcause because it was ofthe what PNP you strong were- ey.there? So I went back to Jamaica Because in those days Rasta So I automatically became his corded Junior Ross exclusively for Lloydie Slim and then Yab- come they would let me do the sayinghold of earlierthe area on. and They it waswatered pol- and in six weeks to a month’s was loving and giving - not bodyguard. up until today. Then Prince Alla, No. When I came it wasn’t much by You and a couple of songs rehearsal. He would come and downitics and the I usedreggae to runthat around much time they sent back for me and like now when Rasta is more Lynford Nugent. Those three racism. When I came to Eng- for Bunny Lee. But mostly you say that every time he’d leave nowwith them.and the And computers when the politimade- said MPLA was mashing up the taking and trying to be rough. Was Bunny Lee supportive of artists. And Frankie Jones. land I started to find out and he’d have to change the drums itcal so things cheap were and over easy we usedfor the to place and they wanted me to Rasta was a bit loving so as worked as Bunny’s bodyguard see people who loved people your musical ambitions? because I was so small and promotersgo around toand the thedances company where come and they would pay me a little youth now I would go for a while. more. People were a bit more Youhad tostill readjust maintain the seat.the Solinks at ownersI used to and play people on the soundin general sys- back. So I came back and the among them, sit down where loving in England when I came No. I didn’t do much record- withhis time your to playartists the drumsfrom he’dthat sotem they and alldon’t of mywant little to friendsspend song went to number one so I the Rastaman is and them or- When I first went to England I there. The race thing was about ing for Bunny Lee at the time. always say I always change up moneyused to forfollow the me producers around. Myto put out Pick Up The Rockers as ganize. And they would ask didn’t really see myself as a time. Prince Alla guests on the but it wasn’t pouring out on the I don’t think Bunny Lee really the thing. He’d try to war with makefamily the thought real reggae. I was They getting get another from the same album I me “Youth? Are you hungry?” musician. I didn’t want to make new album. street. Just like how even now saw me as an artist. He knew me over it so I’d just leave him thetoo computerI-rated, getting one so in cheap bad com and- was giving them and it run off. and when I’d tell them “Yes” music - just loved to play the it is there but it is not pouring that I had musical ideas be- with it because he was the sen- easypany theyso when don’t I did want start to gettingpay for Then they released the album they’d give me food. So I used sound. I did my first record- Yes and I still maintain the re- out on the street. cause I would have ideas when ior player there. it.in someSo if youtrouble want they to staydid decide in the and it run off and then became to hang out enough round the ing in England and even when lationship with Junior Ross. he was recording. I was like businessto send me you away have to to England. make the the album of the year. So I be- Rastaman them. They wouldn’t I left England there were only Because right now I am getting a vibes man around him and You have called yourself the little “book-book-book”. The cameYou did the yourartist firstof the recording year and eat pork and when I’d eat pork around one or two songs re- an album together with him. I as I told you if anything came big players in the business, therethat’s wherewith everythingLarry Lawrence start- they’d tell me not to eat pork! leased. I used to play people’s havefirst aboutchild eightdeejay songs - tell and meI’m What was it like when you down rough I would deal with the company people, the A&R ed. Up until ‘76 I was just do- (laughs) I used to smoke their sounds in England also. So howgetting you it started.ready to be released. first arrived in England? from Ethnic Fight. it so he would have me around people, they force the com- ing what the people expected chalice as a little youth and if when I got back to Jamaica af- I haven’t really picked out a ti- as a protection. He wasn’t en- puter music on the people. And of me and doing shows all over you eat pork you can’t lick the ter Man A Warrior I wanted to It’stle yet.all about that PNP HQ. I used When I first arrived it England The third night after I came couraging me that much in the also the people who play it on England. Rastaman chalice! So those lyr- get in the music business, to to go over there and they used it was a change. I came to Lad- there Bunny Lee carried me to a studio. the radio as well. It’s reached ics would just come from them make myself available in the to have these political meet- broke Grove but I was in Harles- U Roy show and said he heard I Alla told me you loved to use a stage where they’d rather ../.. livity there because I would studio and trying to be around ings that they’d advertise in den first. So in that year I was in used to play sound system and How did you get into the pro- a lot of horns in your produc- pay for the computer than the make music mostly from the Bunny Lee at all times. And if the van. I’d go and they’d give Harlesden, Shepherd’s Bush, the people in Greenwich Town living and to go on on the road. duction side of things? metions the - whymic and do youI’d sing love a them little Willesden,acoustic. Kilburn, Ladbroke said I was a good little deejay For part two of our chat with You mixed Militant Barry’s albums from me and gave me Didgoing you over enjoy and the over punk and music over. thingcording and for gwaan politicians. when Peoplethey’d Grove.people Itin wasthose a timesdifferent was thing that Tappa Zukie Angus Taylor finds Green Valley for some money they said they youNot muchheard creativenessat the time? is in it. keepthought their I wasparties. a politician They’d put in fromthe black what man I used could to read experi and- out about how he became a - tell me about your friend- wanted to see me again. And methose on timesa beer but box. I am I used not toa polilove- encewrite. in That Jamaica. was the Because crime Stevewhen crossover success with both when they came back again totician talk because over the I ammic not- I politididn’t- IBiko was was in Jamaica charged it forwas because only in ship with him and this cult Well...Let’s go I backlike allto themusic beginning as long punk rockers in England and they said they wanted to sign ofas yourit makes career me - rock what and was move. the evencal minded. know if it was something courthe was and a teachergoing to and church he wasand with record buyers in Jamaica. album. me up so I referred them to my good or a little stupidness but funeralteaching and black thing people that Ito would read musicI loved that to hear first some inspired of them. you? I We also hear about his reasons manager who was Vic Kerry didn’t have a favourite. I’d just Youthey wereseemed associated to like it! with So it thebe- seeand peoplewrite. Sowearing it inspired a suit butme for leaving Virgin Records, his I was just helping out Barry as and Rob Hollett who were liv- came a part of it until I started whenand I startedI got to to England check out every this- Ienjoy started when out I listeningwent out to and jazz. it PNP and the JLP at one time. work with the group Knowl- my friend. He was the man who ing in England at the time and following them to dances and bodyman because was dressed it was up something in a suit. Becausewas playing. where It’s I usednot ato music hang edge, his decision to concen- was on the road with me from they took from there. I signed they’dWhy did always they givethink me you the were mic It’sgreat not he like was now doing. when youThen see I outwhere as I’da youthsay I had other a favourite. than the trate on producing the likes of when I started. When I came as an artist whereas most of -political and that’s when where you itwere started. not? I everybodygot a report trying that toVirgin look waslike a PNP headquarters was a re- the Mighty Diamonds and Be- over to England he was there. the other artists only signed an was around eleven-twelve. ragamuffin!South African Everybody company, wasmainly in cordThen storewhile owned your byname this manwas res, and more on why he decid- He came over on his own. He LP deal. Because they signed Because of the community that abecause suit looking the A&Rlike lawyersman was and a who came from America and he ed to become a recording artist was like my mc, my road man- me as an artist that was why I getting big in England you hit I lived in. I used to be in Trench doctorsSouth African. in England. I don’t This know was if played jazz right through the Bunny Lee was a family friend again... ager who carried me on the was on the road. big in Jamaica with Oh Lord Town in those times when the beforethe information Bob Marley was burstright orout if day. That was where I started. right? He knew your brother. road and everything. So I forced and She Want A Phensic. political thing started. I had to andI was Burning too naive Spear or whatstarted have to He had a band and I was even in him the studio and said “You defendWhy did my he children and your so familyI was singyou. Butabout when culture. I heard Then that, peo at- Tell me about how your links You mentioned the boom for playing drums in the band as a haffi do something man - that’s Yes that was when I did Oh Lord sendonly youdefending to England my area.in 1973? But plethe timestarted apartheid wearing was military going with Patti Smith and the punk major record labels signing little boy. My first venture in the how it go!” I named him Mili- and it took off and was like 10 because I was in that area they andon, khakiand I anddidn’t things want like to that. get music business was starting to movement started. tant Barry and encouraged him reggae artists. I believe Virgin weeks on the number one spot Bunnysaid I was Lee a politician.and my brother Peoplecaught upwere in it.dressing I didn’t up want in play drums. Leroy Horsemouth in starting to be an artist. employed Johnny Rotten in an in Jamaica. Then it came off started out. My mother, father thoseto know times. that I was supporting Where it all started was when I was the bigger drummer there. advisory capacity to do this. and went back again. It was Youand havebrother suffered knew him.the conseAt the- things against my nation and was at home one day round at When he wasn’t there they nice to be a big success in Eng- PNP Headquarters I used to go they were saying that from eve- Militant Barry’s house because He talked about John is a big fan of yours. used to let me play the drums quences of political violence. Did you experience racism land and Jamaica with different around with the bad guys. Be- ry record of mine that was sell- that was my home away from and the death of Nancy Spun- How well did you know him? and sometimes when he didn’t there? songs. Yes.cause Yes it Iwas did. the And PNP it held strong me- ing, a percentage was going to home when Militant Barry got gen on his song Pistol Boy. Do come they would let me do the hold of the area and it was pol- I met him when Virgin came to back in my recording career in No.support When the I came machine it wasn’t that much was a phone call. It was Don Letts you remember how that came rehearsal. He would come and itics and I used to run around killing off black people in Af- who used to run a punk clothes Jamaica to sign me and sign up sayHow that did every you timelink he’dup leavewith Jamaica. But I am not a politi- racism. When I came to Eng- about? cian.with them.I am Anda ghetto when theman politi who- rica. shop down in the west end and the others. When I got signed he’dHorace have Andy to change who you the woulddrums cal things were over we used to land I started to find out and he said he was playing one of up and thing Don Letts took because I was so small and goes to all ghettoes and even see people who loved people (laughs) I don’t remember half collaborate with as both an go around to the dances where my records - I think it was Don’t him down, called me up by the had to readjust the seat. So at until now I go to every ghetto more.Did you People check wereup on a this?bit more of it but it was because of the artist ( A Weh She I used to play on the sound sys- Get Weary - and this lady came Sheraton and I took them to his time to play the drums he’d and deal all politicians - both loving in England when I came punk thing. A couple of things Want) and as producer. tem and all of my little friends running in the shop and said Trench Town with me. Johnny always say I always change up sides. there.I went Thein to race see thing Richard was aboutBran- were going around about Sid used to follow me around. My “I know that voice! Who is that Rotten enjoyed himself there. the thing. He’d try to war with butson itand wasn’t I told pouring him that out I ondidn’t the Vicious. We used to make lyr- When I was the bodyguard for family thought I was getting voice?” When he said “Tappa He was excited to be there. He me over it so I’d just leave him Tell me why you decided to street.want to Just be alike part how of evenit and now he ics about was going on at the Bunny Lee some of the artists too I-rated, getting in bad com- Zukie” she said “Do you know was actually a rootsman really. with it because he was the sen- itsaid is there“Tappa? but What it is arenot youpouring talk- time. who recorded as Bunny Lee’s panyleave so Richard when I didBranson start getting and him?” and he didn’t but he I think he liked ghetto people. It ior player there. outing about?”on the street. He didn’t acknowl- artists would also love going Virginin some at trouble the end they of didthe decide70s... knew somebody who knows was exciting for him. I think he edge it was like that. Maybe I around in the ghetto with me. I to send me away to England. me, which was Militant Barry. How did you get signed to was a lover of reggae. He was was a bit naive but I told him wasYou likehave their called protection yourself in the Oh man that’s a long story. I You did your first recording So she said “Tell him to get a Virgin? a lover of Jamaican people and that I didn’t want to be a part of ghetto.first child That deejaywas where - tell me andme Whatwas with was some it like Rasta when organi you- there with Larry Lawrence message to him to get himself he liked Jamaican music. He Virgin and I told him I wanted howHorace you Andy started. started to go up firstzation arrived in England. in England? They were backfrom Ethnicmy contract Fight. and he said down to the Hammersmith Virgin signed me when I was in was the one who encouraged dealing with research on histo- Jamaica. They came down there [Richard] Branson to work with and down and I started to re- he wouldn’t give it to me. So I Odeon in Shepherd’s Bush”. ry. That’s how we got to find out The third night after I came and wanted to take two whole the Jamaican artists I think. It’scord all him. about But that at PNPthe HQ.time I usedpoli- When I first arrived it England took up my album, because at So I went, Don Letts came with about Steve Biko. Now if you there Bunny Lee carried me to a albums from me. That was the He was like a roots guy but in totics go was over going there onand in they Jamaica used it was a change. I came to Lad- the time I had another album to Barry and we met at the Ham- notice I sang Tribute To Steve U Roy show and said he heard I first deal. It was the time when a different ghetto. A roots guy toand have after these I made political Natty Dreadmeet- broke Grove but I was in Harles- give him titled Black Man, and mersmith Odeon. That’s where Biko around then. So when we used to play sound system and they came and signed up eve- but living in a different ghetto. ingsA Weh that She they’d Want Horaceadvertise Andy in den first. So in that year I was in took it home and released it in it started. got into it now I found out that the people in Greenwich Town rybody. After they took two thehad van.to leave I’d go Jamaica and they’d because give Harlesden, Shepherd’s Bush, Jamaica. And from that time I mepeople the weremic and saying I’d sing he was a little re- Willesden,the biggest crimeKilburn, against Ladbroke black stoppedsaid I was recording a good littlemyself. deejay That was how I stopped recording skills from when I started so you know what you are doing myself and started doing pro- I could cover all angles of the and he knows what he wants it duction. They wouldn’t give me music business. Because if makes things a bit easier. What back my contract so I decided you listen to the production of I try to do in my productions is to shut down Tappa Zukie and this album X Is Wrong you can work with top musicians who left it to work out itself. I got know it’s a more organized and know and like to make good released from the contract but together production. I’m more music. That means when I put they didn’t release the songs of a producer now the whole of them together it they had already. is exploring good music. That’s where my head is - if I’m calling In the 80s and 90s you did people are getting fed up of the to keep up with the market we myself. For artists like myself, a session I get the best set of Tell me about how you met some great work with artists computerized music. So what just have to do anything to sur- when I stopped recording that musicians so when artists see with the group Knowledge, the producers need to do now vive. The companies don’t start help up my career so what I like and the Mighty I’m working with the best set of is start making more good mu- to invest back into the produc- need to do now is start mak- who A&M records attempted Diamonds. One of the biggest musicians, artists love to work sic. What’s really lifting back ers to make the good music. ing an album ever year start- unsuccessfully to market as artists you worked with was with the best musicians also. the music is Europe. If you go It’s going to stay like that same ing from this album. I will put a crossover group. Anthony So when I line up guys like Rob- Beres - tell me about working and take a look at the shows way and everybody is just go- out an album every year so the bie and Sly and Ansell Collins Doyley passed away in Febru- with him on his Putting Up that are going on in Europe you ing to be doing their own thing. people will know I’m still here singers are just begging me ary of last year. see twenty thousand, thirty It’s getting a little bit more dif- and I’m ready to take the road. I Resistance album? to let them make a song with thousand, forty thousand peo- ficult now because there are think I’m a better artist now be- them. Which makes life easier Well Knowledge, as I was say- ple come out for them. But if a lot of studios in Jamaica be- cause of my experience. Even At that time I was making my- for me. ing, was where I learned about self a ten album catalogue be- you keep a show in England cause everyone is setting up on stage I’m a better artist. I’m Steve Biko. That was where cause in those times people and get three or four thousand their own little studio and do- planning on coming to tour Eu- I got the inspiration to come were all over the place so I told You are still in touch with people you’re a lucky man! The ing their own little thing. So rope this coming year so peo- back and try to help my ghetto myself I had to give myself a Bunny Lee as you released English players in the business now music is coming out like ple will get to experience what community. That was when I new catalogue because most Cork and Tar, which is another like the cheap music. If they hot bread. One time you only I’m talking about. built my community centre [in of my songs were all around. nickname for you isn’t it? You can get four LPs for a thousand had a couple of producers. Trench Town] and I saw these So I started to work with Ken pounds they just run down and Now you have hundreds of pro- Will your next album feature Rastaman who were in the were both at One Love Festival Boothe, , Grego- grab it to promote over there! ducers. What needs to happen a full band of top musicians ghetto. People said they were ry Isaacs and Mighty Diamonds - how was that experience? They water down the business now is, the performance on some crazy people but when I and a couple more. While we and they don’t rate you any- stage is what is going to take it recording new rhythms? went and sat down with them were there Beres came in and Bunny Lee is my friend and is more so the Europeans take to another level. It all depends I am trying to keep up the origi- I saw they were singing some because he was singer whose like a father to me. When we away the business from them on how the companies are go- nalness. I have the tracks and good songs with good lyrics. I voice I’d liked for a long time I are in Jamaica we are like that now. They don’t get to know the ing to work. the songs now so I just need decided to take them into the decided to make an album with - we visit each other and share business. They just try to hus- ideas. We get along well. to record. For my next album I studio and when I started peo- him. tle it more. They just try to play Will you be touring your new ple asked what I was doing and middleman now. For instance, am going to try to sell it in the album X Is Wrong? same vein as X Is Wrong be- thing but we came out of the What was he like to work Reggae seems popular in Eng- an English company is not go- studio with some wonderful cause I don’t think I can get with? land again - it had some bad ing to deal with you now if you When I used to sell records it songs and from there it started. don’t have a market overseas. them back until I make myself times. was the tour that used to sell some money. Because to pay He is quite easy to work with if the records. When I toured with Alla told me when the music back some of these musicians he wants to work with you. He Reggae is always going to be What is the way forward for my Jamaican band I only need- in the studio now is very ex- started to change he became knows what he wants and he is popular again. It has its ups reggae music in Jamaica? ed tour to make enough money pensive. I need to go on the a fisherman. You just kept someone you can talk to but he and downs. Whenever you see to pay the band because the re- road, do a couple of tours and producing. likes to know you know what reggae drop down it always Most of the Jamaican people cords would sell. Now records make some money - then I can you are doing also. He likes to has something that lifts it back are just trying to keep up with don’t sell so if I go on the road start to make some acoustic I kept on producing to keep me work with people who know up again. Right now I think it’s the market. If the players in I need to make enough money rhythms because that’s the learning new stages and new what they are doing. When going to be lifted up because the business don’t support us to pay the band and also pay way out now. Mr. VEGAS Interview by Erik Magni

“I grew up on origi- Dancehall superstar Mr. Vegas is on a mission. He aims to save foundation reggae music and see art- nal roots reggae, and ists like and the late Dennis Brown on the original reggae has radio DJ’s playlists again. United Reggae has talked been missing for years to him about his recipe for change, which includes a now” petition and a new double album. Mr. Vegas promotes founda- but is not familiar with the old and that it’s natural that music tion reggae school reggae from the 60’s goes through changes. and 70’s. Over the last couple of years “This music is under promot- there has been a discussion “It’s the best part of our cul- ed, and I want to see a balance on the state of reggae music. ture. and Bob Mar- where DJ’s play foundation reg- Several producers, artists, mu- ley paved the way. You have gae and dancehall music. To- sicians and label owners in Ja- to respect them and save their day there’s definitely not a bal- maica and abroad have stated legacy,” says Mr. Vegas, and ance. It’s hype, and the DJ’s go that reggae has lost its roots; adds: for what Internet is telling them mainly due to U.S. hip-hop and to play.” R&B influences. “They don’t get played on the radio anymore.” A new double album Dancehall artist Mr. Vegas is known for his hard-hitting To help raise awareness for Apart from the petition Mr. Ve- bouncy dancehall, and hits foundation reggae he has tak- gas has also taken a partly new such as Heads High and the en the initiative to save reggae musical direction. It started in Sean Paul combination Hot Gal music through a petition. late 2010 when the Today. and combination “The petition could have been Sweet Jamaica was put out. That’s why his recent initiative more well-received, right now It has been well-received in Save Foundation Reggae Peti- about 6,000 have signed it,” Europe and on the U.S. west tion came as a surprise. On top he says, a bit disappointed and coast, but interest in Jamaica of that he’s about to release a continues: has been cooler. double album, where one of the discs is jam-packed with “It’s a long way to go, it’s not The single Sweet Jamaica will classic reggae – both fresh going to change overnight, and be followed-up on March 23rd originals and versions of mate- I might not be the person who by an album with the same rial from the 60’s and 70’s. is going to do it.” name, an album that cele- brates Jamaica’s 50th anniver- “I grew up on original roots Don’t want to be seen as a sary. It has been co-produced reggae, and the original reg- savior by Mikey Bennett and involves gae has been missing for years musicians such as Clevie (of now,” says Mr. Vegas, whose In the petition Mr. Vegas urg- Steely & Clevie fame), Sly Dun- real name is Clifford Smith. es radio DJ’s to pay homage bar and Robbie Shakespeare. to foundation reggae, and he I reach him after his rehearsal believes the reggae industry However, Mr. Vegas is keen not for the Shaggy & Friends ben- needs voices other than Ma- to lose any fans or leave any- efit concert in Jamaica. He is vado or . body out, so he made the al- in a good mood, talks fast and bum a double disc – one with eloquently. “The radio DJ’s just need five to sweet reggae and one with says. is the classic Sweet & Dandy by to carry on,” he explains, and ten minutes out of the show to some of his biggest current Toots & The Maytals. continues: Best part of Jamaican culture make a difference,” he states. dancehall hits. Encouraged by Toots “Toots is one of my favorite per- “If I can do anything to high- Mr. Vegas is concerned about At the same time, Mr. Vegas “Sweet Jamaica is the music The Sweet Jamaica album holds formers ever. He encourages light these artists it’s big for the state of reggae music, and makes it clear that he doesn’t that is Jamaica. Original festi- a bunch of originals as well as me, and comes to my dressing me. In my opinion they’re the notes that the youth in Jamaica want to be seen as a savior, val songs. People in Jamaica cover songs, and one of those room when we perform at the best kept secret.” is into aggressive dancehall, are crazy over festivals,” he same festivals. He is my torch KONSHENS Collecting his big singles over the last few years plus Interview by Angus Taylor some special remixes, the intriguingly titled ‘Mental Maintenance’ offers a fascinating insight into the “There is nothing fic- singer-deejay who was raised in both military and ghetto garrisons (Up Park camp, Sherlock Crescent). tional about my songs. Like fellow man-of-the-moment I-Octane, Konshens I don’t make up a story is a versatile artist who sings, raps or deejays on all to get a forward” kinds of rhythms; he is equally versed in the world of art and of business; and he’s highly media trained. On Tuesday Konshens, having released albums in He was tight-lipped about the new record which has Europe and Japan (as part of the fraternal duo Sojah), not been sent out as a full promo but he had some dropped his first official worldwide album on his insights to share - including a frank appraisal of his own Subkonshens label distributed by VP Records. own and other artists football skills! The title of your album is in- sing in a bluesy Dennis Brown made big waves back in 2008. did you come up with that teresting. I know you say style like Michael Rose used You’ve said you won’t use song? “music keeps me sane” on to. You’re also a fan of Beres Rasta to further your career. your MySpace - is there a con- - could you have been a pure What are your spiritual be- That’s my favourite song ever. And the idea behind it, well, nection? singer? liefs? you know how the Jamaican thing goes - we say bad mind is Yes, there it is. Music is like a I don’t think so because in re- I believe there is a God. There at the root of Jamaican people. psychiatrist, basically. It keeps gards to music I am very adven- is a creator. I won’t say I am Everybody says a man there me focused in every aspect - turous and very moody at the Christian, I won’t say I am a badmind we and friends them when you’re upset music calms same time. So to the extent of my Rastaman. I wouldn’t say I am a badmind we but I say that no- me down, when you’re too calm moodiness and the way I have my religious person but I am a very body really highlights the fact music gets me upset. You have a mood swings singing alone could spiritual person. I am very spir- that the same badmind way we song for when you get good news, not accommodate all of these itual - I connect with God and cuss when at school and try to a song for bad news, a song for moods. Sometimes I get really I know there is a greater be- downplay, for me it’s evident in every situation. So music is the aggressive, sometimes I get ex- ing. But to tell you say it’s Se- all of we and it lives in all of we. thing that keeps us grounded and tremely calm so as I said I have a lassie or Jesus Christ, I am not So we just need to say alright the mood of the album is a song song for each mood swing. To be equipped to tell you that right and address the issue, not run for every situation. a straight singer or a straight dee- now. I don’t know. from it. I’m saying “Yow, me jay wouldn’t work out for me - I badmind too”. Instead of point- You decided to release Men- have to try some different things. It makes sense that Tarrus ing a finger, point it at yourself tal Maintenance on your own would feature on the album for a change! (laughs) Before This album collects lots of label. You were going to drop since you featured on his last that nobody really said it that your big tunes in one place way before “Yeah, it’s me that’s your first album with Austri- album on Good Girl Gone Bad. but you also have some re- probably badminded so I need an label IrieVibrations at one mixes to give certain tunes a Just one of my bredda dem mu- to get rid of it or prevent it” and point - what happened? I think that’s what made it con- new flavour. sically. At first it was like - this is an artist I really look up to. nect with people so much. It was best for me at this time His second album Parables from a production standpoint I don’t want to give away too much about the album but was like a daily bread. But at You have said in the past you because of all the different pro- the same time was don’t do plastic songs - they ducers working on this album. In there is one particular remix on there of a song that is a a huge fan of Konshens same are all reality. terms of the mixture of producers way so there was a mutual the best thing was to release it on very good song and didn’t get respect from the first day we live show. To show the youth that my label. the real justice in the people’s It’s just being real. From the Re- have your warnings been lis- minds. So the remix definitely linked up. Then the song we did alest Song I try to be the realest tened to? come up now the live show and will do some good for the song together was like a live show artist. There is nothing fictional the music with a message is the I think it would be better for me and being in the studio with and for the album was well. It about my songs - it’s either some- Yeah, I think so. Even now you can way to go. It goes on. and IrieVibrations to do an album Tarrus is like being in a class features Sizzla Kalonji, Tarrus thing I’ve gone through or some- see a slight change in the type of totally together. Definitely. My because his level of vocal de- Riley, Dario and Tarrus Riley’s thing somebody close to me went production that people are doing As someone who has toured bredda them musically so I will livery and control is second to younger brother named Wrath through. There’s always a topic in Jamaica. You’ll find people are definitely do work with them. none. It’s like you are at school and recorded in Europe and Riley. The whole vibe of the where there’s evidence of the going back to the reggae vibe a but at the same time you have Japan which do you think is album is good - you have the things I sing about. I don’t make little bit but it still needs some The new album has hip hop fun. Big up Tarrus Riley - him ah a bigger supporter of reggae fresh nowadays music as well up a story to get forward. work. We still need to put reggae influenced songs but also me don. as the roots reggae vibe too. back on the map - from Jamaica. Japan or Europe? some roots songs with live As well as changing ourselves As opposed to importing reggae instruments like Homewreck- That remix is Rasta Imposter Another tune that gets a re- you’ve talked about the need music into Jamaica. We still need I think the Japanese are more reggae fanatics. They’re just er and Leave Your Side. You - a song with a message that mix is the Realest song. How for changes in the business - to stress the importance of the obsessive fans. When they love ing up in the ghetto affects too much about fashion but I something they really love it. how you look at life and when know what girls like to wear The Europeans have a different you have somebody you can and I know what I like to see kind of love. They appreciate relate to right away, even from girls wearing so that’s how good music. You will find more a different country. It’s makes the whole mood for the cloth- Rastafarian people in Europe the music easier man. ing line came about. For now because they live and connect it’s a female clothing line. In to the actual lyrics of the song European fans will have heard terms of other things, it will be - the whole meditation - and of Up Park Camp, where you anything to do with reggae and live their life according to the dancehall. In Jamaican culture things the song says. The Euro- spent your formative years, you can take the name Kon- peans go into the music more from the John Holt song - shens and put him anywhere, deep but the Japanese just love what is the reality? so there’s really no telling. the music man. Yeah man. My life has been In 2009 you had your Mac- You collaborated with the like this: growing up in Up Park book stolen and lost some Camp, my father was a soldier, French-speaking artist Tiwo- so for most of my childhood recordings. Did you ever get ny on his album Cite Soleil for years were in Up Park Camp. them back? Are they songs the track Never Give Up. How Then we moved to Sherlock that could have been on your did that come to be? Crescent in Duhaney Park at a album now? time when Sherlock and Brook Some friends of mine named D Valley were in a real war. So I No never. Definitely because and H they make some bad re- got a firsthand view of being in most of them were freestyle mixes and productions like the the safest place in Jamaica to demos from straight off the song Gal Dem A Talk on the re- being in one of the most dan- top of my head so now that’s make of Trailer Reloaded - that gerous places in Jamaica right gone for good. I got back the was Subkonshens and D&H away. So these things affect computer but everything was production. They do a whole the way you like at life and your wiped. Those songs have gone heap of remixes and I think views. and they are history. they do a whole heap of work with Tiwony as well. They just You have a clothing line and You played in the One Love said that Tiwony was a bad art- an iPhone app and a song Bob Marley Celeb football ist and they rate me as a bad featured on a video game. You match yesterday [Wednesday artist too so artists just link up seem to have a very forward and music speaks for itself. 22nd Feb] - how did it go? approach to promotion what (laughs) You’re informed! The Tiwony named his album after other plans do you have to promote yourself? first game I think we drew - it the ghetto of Haiti. Do musi- was artists and celebrities vs. cians from ghettoes in differ- I’ve grown from an artist who some other people like mas- ent parts of the world have loves to sing into a business. ters and promoters. The first common ground? The name Konshens is now a game we drew and the second business and it’s just different we gave a goal away from Wick- erman, one of our own team! Yeah definitely. Because when ways of maximizing profit and Chris Martin is a big baller, limited to the studio and the We fell to the hands of an own (laughing) How do you rate you are in the streets players being in touch with fans at the Ding Dong, Fyah King and... stage! goal! (laughs) other artists football skills have to know the code and real same time. Music and fashion that’s about it! My skills are always recognizes real. Grow- go hand in hand - I don’t know compared to your own? BURNING SPEAR Interview by Doug Heselgrave reggae artists, he’s able to reason at length about Photos by Christian Bordey the history of the music, but what always strikes me is how well-rounded and considerate an observer of the human condition he is and how more often than “An artist can retire not the most interesting part of our conversations from touring and from have nothing to do with music. I recently caught up with Spear at his home in as he was putting other things, but in the finishing touches on mixing ‘No Destroyer’, his terms of musical crea- first new CD since ‘Jah is Real’ was released in 2008. tivity, I don’t think you Over the course of an hour on the phone, we talked about how he’s opted for a heavier approach to the can retire from that” material on ‘No Destroyer’ before we moved on to discuss more personal and philosophical subjects. I have chatted with Winston Rodney aka Burning As ever, when we finished speaking, and I began to Spear - or ‘Spear’ to those who know him - several ruminate on our conversation, I felt that I had been times over the years, and every time we’ve spoken I blessed to have spent time with a truly inspiring and realize how much different he is than the dozens and unique individual whose words and thoughts left me dozens of other musicians and artists I have inter- feeling richer and more focused than I was before we viewed. Of course, he’s interested in talking about began to speak. Here are some excerpts from our his newest project – that’s part of the business – and conversation. as one of the torch bearers for the first generation of Thanks for taking the time Of course! Each time I go into was thinking about that when I I think what happened with re- ple can overstand or feel what No destroyer means that there out to speak with me, Mr. the studio to lay a track, I have hit the road, I would be accept- cording ‘No Destroyer’ is that I it was like. Another thing what are a lot of destroyful minds out Rodney. I understand you’ve a musical sensation about ed by many people. The first put more of my experience into inspired me when I looked at there trying to take what you’ve what I want. After so much time I did that was to tour Can- the tracks – as a man and as reggae music was that reggae got. There’s a lot of destruc- been working some long days time, I know how to set about ada, in Toronto in 1974. That someone working in the mu- music was like an open range tive minds out there – that’s putting the final mixes on ‘No getting what I want or how I first show was sold out and sic business – than I had be- in which bootleggers from Van- what it really means. People Destroyer’ want a track to sound. the place was packed. At that fore. This is what I would say couver to Paris could come in out there sometimes engage in time, the clubs we played were inspired I man to put this al- and steal I music. It was time a destroyful way. They are out Yeah, mon. Everything is right So, you’ve been at this since really small, but that changed bum together. Actually a lot of for someone to take a stand. there and we have to be pre- now! Looking forward to this 1969 and you’ve seen reggae of course. things have happened. I have So, I was in a position where I pared. There’s a lot of things seen so many reggae artists had to stand up to protect my some people try to destroy. call. Yeah, we’ve been going music change a lot in that back and forth in the studio. Toronto has a huge Caribbean of my generation struggle, get musical history and my musi- time. When you first started We just did one week in the population, so it would be a sick and suffer because they cal culture. It’s been my work- Greed is a powerful motiva- recording, reggae was essen- had nobody in their corner to ing life, I have to defend it. studio mixing the album. good base to start spreading tor. tially Jamaican music for Ja- watch out for their interests. the word about your music. How are you feeling now maican people, but that’s all Many artists are also in your Oh yes. Oh yes. In the early days, were your about how the sessions have changed. It is tragic to recall how many position. The digital age has audiences mostly ex-pat Car- turned out? people have been lost – per- made piracy so easy and the As an artist and as a business You know, to be honest, when I ibbean audiences? haps before their time – in fruits of their piracy so easy to owner, you wear two differ- I feel really good about it. first got involved, I could iden- the last few years. obtain. It doesn’t take much ent hats. Do those roles ever tify that I’d been called upon to From the beginning, it was a mixture. I would come on to find cheap or free pirated conflict? Does Spear the art- I’ve been listening to the new do a work, but I never thought Yeah. I, myself, was one of in terms of creating music stage and see some white fac- music online. Is it difficult to ist ever argue with Spear the songs and they have a heavier the ‘reggae slave’ artists and I for Jamaicans. My creativity es, some other coloured faces started to see what was going be creative in a climate where music executive? sound than you’ve created in was an international creativ- in the audiences. So, from the on, so I ran away from the ‘reg- you know there are people beginning, I was getting a wide the last few years. Heavier ity. When I say that it is an in- gae slave’ masters to start my waiting in the wings to ‘take’ (Big laugh) No. No. No. No. than ‘Jah is Real’ ternational creativity, I mean exposure to different people. own thing. There is no interference. Both that I had a concept of creating For me, white or black, I don’t your product? roles work together to strength- care. Music is for all people. Oh yeah! Each time I go into music for all people, not just It’s a funny thing because en each other. Jamaican people. I know that No. There is no interference the studio, I try to keep my cre- that ‘slavery’ benefitted your with my creativity. It gives me ativity active and my expres- music reaches out to all dif- This may be a good time to At what point did you become fans for so many years. There more encouragement musi- sion fresh. ferent kinds of people. Music ask you about the role that aware of the extent of the does so many good things for were times in the late eight- cally. (Big laugh) All of these music has – as an educational things we’ve been talking bootlegging of your music, Yeah, it sounds really dense so many different people all ies where you passed through over the world. tool or more importantly as about have gone into inspiring the theft of your art? and dubby. I love it and it re- a source of healing. I know Vancouver two or three times me to make more music. They a year. That kind of grueling have allowed me to get deeper minds me of the sounds you When you first began tour- that you’ve been through a At first, I was just playing schedule must have exerted into the concept of ‘no destroy- around on the Internet and I created with ‘Postman’ or ing in the mid seventies, did lot in your personal life, your some stress on you and your er.’ started bumping into things ‘Jah no Dead’ - that kind of you have any idea, positive or personal journey, in the last family. It must have deprived that weren’t right. In life, these layered sound. negative about how people few years and when I listen We’ve talked about that be- things are going to happen, you to a certain extent of a might receive your music? to ‘No Destroyer’ I can really fore, but perhaps you could but they don’t only happen to It is a strong album. ‘normal life’ if there is such a hear – more than in a long tell your fans what those two me. They happen all over the Based upon what I used to hear time – how you’re using mu- thing. world. I have to realize as im- So, do you have a vision when words ‘no destroyer’ mean to portant as these things are, about myself, other musicians sic to turn personal pain into you begin recording of how would come back from the road Of course. These are the kinds you as a concept or an area to there are other things that are you’d like things to sound? and tell me ‘people are talking strength. of things that I’m talking about explore. important. Bad things hap- about you and your music.’ I in ‘No Destroyer’ so that peo- pened then. Good things hap- -pened then, but you can’t anything to get that door open control of your destiny, you are When we’ve talked before, would understand. But, I have get in the way of what is a nat- bring these things into now. again. This is what’s happen- in control of yourself. You have you’ve said you’re semi-re- to deal with what some people ural thing. People need to re- It’s a new beginning and you ing now. How I can pretend it’s to be in control of the things tired. What I’m wondering say out of whatever sense be- spect that. We need to respect can’t carry forward the things not? you do and the things you say. cause they can’t understand it. It is part of the natural thing. you left behind. It’s going to in- I would say that if you leave is if you believe an artist can that I’m not touring still. They Everything lives and passes. terfere with you in the present You could stick your head in yourself open to it, things can ever truly retire. You tell me say that I am sick, that I have if you try to do that. the sand. (laugh) interfere with your faith. But, that you hear melodies and cancer, that I have a blood dis- That is true. But, as a parent, if you are aware, you can block snatches of lyrics in your head ease! I can’t imagine the pain you out such interference. Your That is very wise, but I see (More laughter) NO! Some- while you’re walking around went through. As you’re go- how easy it is to get caught, times you have to just laugh at faith will always be tested. If it Really! can be toppled, it was not faith during the day doing some- ing through the grief process, like you’re in a swamp, with these things because what is it that you had. thing that has nothing to do What a thing for one man to do you have had so much to deal this kind of futile anger and you’re going to do? It’s a joke and at the same time, you’re with music. to another. It takes away one’s with – including the contin- it becomes very difficult to moving on. It’s a new begin- I find it easier to have faith freedom and one’s rights! I ued pressure of ongoing ex- An artist can retire from tour- move ahead. How do you ning. at a cabin or a mountaintop read and hear all this garbage pectations from the business avoid getting stuck in the ing and from other things, but and I wonder what is wrong than in the middle of a traf- in terms of musical creativity, I side of music. You’ve told me mire of so much bitterness? We certainly need one! It with these people. I am 67 fic jam on a Friday afternoon. don’t think you can retire from years old and I’m the best of that since ‘Jah is Real’ won seems we’re in a very trou- Spear, you live in that. I’m always going to hear It’s your mind. You develop health and I have all intention the Grammy, you’ve had lots bling time in history. There and do things that are creative. your mind so that it can do the and I know from going there, to stay that way. I’m who I is. of lucrative offers to tour. I’m So, that remains and is never work of separation. Other- are so many traps, addictions there are a lot of distractions. I’m firm. I’m clean. To spread sure you could keep touring done. such rumors is one of the wick- wise, you won’t go nowhere. and temptations out there. till you dropped if you want- You think you’re going forward, You’ve had lots of experience. (laugh) There is a lot going on! edest things one person can do You continue to do a few con- to another. ed to. but you’re going backward. Is there anything you’d advise You have to know where you want to be in that and what you certs each year. Can you say There’s a lot of good things to to the people out there, try- Oh yes! (big laugh) be done moving forward! should do. something about your mo- Well, I can see how it hap- ing their best to live a good pens. So much information tivation for doing that, and So, you’ve just played a big big That’s true. But, you haven’t life amidst all of those things? I know that you spend part of is sent from our isolated po- what the experience is like show. People loved it more held back. As a friend, I some- the year at your home in St. sition, sitting in front of our That’s a very good question, now when you sing live. than ever. Do you ever wish times worry because I know Anne’s. Is there a certain kind computers. One right click but we all are going through you could jump in your bus this is the period of your ‘semi different things. If I knew what of recharging you get there I do it for the fans. There are and someone has sent a mes- and drive to the next town to retirement’ and it seems like a specific person was suffer- that you can’t get anywhere certain places that have sup- sage they would never have ported me for so many years. play another concert? you’re taking on Goliath and ing, perhaps I could say some- else? the guts to say if the person thing. Essentially, we are in the They draw inspiration from the you’re just one David! was standing right in front of same boat going through the Oh yeah. You can go there and essence of I man and I know NO. NO. same issues at different times. what my music has done for them. (Huge laugh) A lot of things really chill. I put myself in a low gear. In neutral! You just let the some people. It can change NO? gonna take place. You see, people and turn around peo- Yes, true. But, there has been what really happen is that I re- Surely, your faith, your belief vibes flow in, the essence you know. All of the good things – ple life. I don’t do it, play live so much wickedness. As you Yaggghhhh! (laugh) NO! I for- alized that the music business in the creator as Jah God, has because I have to do it if that’s know, we lost our son, Kevin is a lot like a door and once you had an influence on how you the beach, the good food. It is get that kind of feeling! I love a meditation as well as a vaca- what’s in people’s minds. I do recently and there has been to play, but the idea of getting identify that, you learn how to conduct your daily life. Has it and I do it mindfully and I do so much going on, it’s only re- space yourself here and there. tion and I feel the benefit. on a bus and touring for three your faith changed or deep- it properly. Of course, I enjoy cently we have had the time or four months through Cana- You then get your thing going it still, but it is a work. A work to grieve. My wife, Sonia and and get what you need to get ened over the years? da, the States and Europe nev- I was called on to do, but not I are grieving people and grief er crosses my mind no more. I done done. Now, all the doors in the sense of an obligation needs its proper care and at- have been closed and they’ll do Not changed. When you are in don’t think I will get that itch control of your faith, you are in in the sense that most people tention. I can’t let other forces again. You’ll probably live ten years ing anything different, no one did very well. You seem to have avoided a longer as a result. will hear your music, no radio lot of the pitfalls – such as stations will play your music. Yes, it was a very competitive serious drug use – that mar It is hard to be a roots reggae time. But, I do think that the Mmmm Hmmm. I think every the and entrap retirement person has to use singer coming out of Jamaica companies at that time did take their discretion and not overdo these days. It is very different risks and did do some work for performers. it. Whenever I play a show, it’s than when I was a young artist us to get us exposure. I would not because I called a promot- trying to break through. It is a say what you said about Chris I’ve seen it all. I’ve seen a lot of er. They call me. They have to shame that I can’t answer this Blackwell was true, you know, things. In the music business abide by my rules. I do these question the way I should like he gets a lot more criticism environment, a lot of things sur- things because of the fans. to. than credit. Yet, he believed in round you. You have to choose our music even if some people what you want to do. Do you But, that’s a powerful answer will take exception when I say want to be a part of the mate- You’re playing the Marley rial world they are encouraging in itself. that. If not for someone like family’s 9 Mile festival. I as- that, our music could still be you to join? Or, do they want to sume you took that date be- be a part of me? If I’d become a Every day, I ask myself ques- stuck in Jamaica exclusively. part of them, I wouldn’t be here cause of the association with tions about this. What hap- It was a very good time when I today talking to you. No one is Bob. pened to the real reggae? The got in to things. I couldn’t do it perfect. Don’t get me wrong, environment is different. in the same way if I was start- Yes, I do it because of Bob. ing today. but I think I’ve managed to avoid a lot of Something like that is im- I think that what some young- portant. Bob’s birthday just Before I go, I want to ask you that could have surrounded me er people don’t realize is that and put me down. I’ve always passed and it is a celebra- about a quote from an older none of this was a given. tried to put forward a very pos- tion of his birth in a sense. It song when you sing ‘No one is an important thing because People like itive, clean image where the remember Burning Spear.’ work I’ve done has been good of course he was one of the were taking some real risks Well, I don’t think that’s true, work and positive work. foundations of our music. It’s when they took a chance on also been a few years since I but given that, how would Bob, or or your- was down in Florida and I have you like to be remembered? Do you feel that the expecta- self. There were no guaran- had some very supportive fans What do you consider to be tion of fans puts any pressure down there from the very be- tees it would work out the your greatest contribution? on you? ginning. It will be like a family way everyone involved hoped thing. It is a people’s festival. it would. You came into a That song came about because In what sense? very competitive market at I was still in the whole Jamaican We’ve talked at length before the end of the sixties that thing where there was this kind In the sense that whether you about the founding fathers was dominated by ‘hippie of environment where people choose it or not, they may rely and mothers of reggae music. weren’t respecting Spear and music.’ Granted, the hippies on you for a certain level of Do you think there’s anyone, this whole new kind of music were quite open-minded, but spiritual guidance? any younger performers, who was dominating the scene. it was still primarily a music Since then, on another level, I are carrying the torch in a Well, it’s my work and my duty industry dominated by white have come to realize that peo- sure from my true fans. No. I positive direction? to do what I do. Perhaps they Nice. people – with acts like Jimi ple will always remember I and know that there are certain am working for them and I get my work. I feel good about it. Hendrix, Otis Redding and Sly things that I know, but I don’t the job done. I don’t stray from Life, you know Brother Doug. Well, if they are there, they are I’ve made my mark. I’ve done that. It’s the way I started and not getting the chance to be Stone being noticeable excep- think it’s pressure really. I do Life is here. Seen. the right thing as I feel I should music as I know how to do it. I it’s the way I will end. But, I’m heard enough. Now the DJ thing tions. Yet, you came in and have done it. I have listened to strive to do it the right way. It’s not the message. I am just a Seen. controls everything – especial- – against considerable odds – Jah and got the work done. messenger. ly back in Jamaica. If you’re do- a calling, but there is no pres SINGING MELODY Interview by Angus Taylor ’s (without the great man’s permission!) before hitting big with a cover of the R&B group Sur- face’s Shower Me With Your Love. His US influenced, powerfully delivered style made him both a success- “If you’re trying to sing ful solo artist and a key member of the harmony you’re in the wrong quartet L.U.S.T formed in 1997 with , Thrilla U and Tony Curtis. In February, Singing Melody was game. There’s no trying in London promoting his sixth album ‘They Call Me with music” Mr Melody’ released via his own SHEM Music label and distributed by VP Records. Angus Taylor had a chat with him a few days after L.U.S.T.’s Valentine’s concert at Brixton Academy with Freddie McGregor Singing Melody cut his first tune Tie Me in 1987 at and John Holt. timing, so I was very pleased Donovan Williams from VP Re- need a different sound and you said “No, we’re going to do the with that. cords. He actually guided us want to get it in the same style song”. We went into the stu- doing a lot of mentorship. We as what’s going on so young dio with Germain and Germain It’s also your first solo al- wanted it to come out on Valen- people can be a part of it and said “Listen, you’re on your bum on your own SHEM Mu- tine’s but he said “Listen, if you get more into it. It’s not that own. Produce this one”. Even come with the album before we need it, but for this particu- though it was produced by sic label, in conjunction with Valentine’s, they will have the lar track we wanted a different him, he let off saying that, you Fateyes who have a history of album on Valentine’s. That was sound to it. I can tell you I had know? (laughs) It was a great working with. such a brilliant idea. one of the worst times singing idea, we would deliberately do on that thing. My notes are that. I also wanted to learn the pro- You are an artist who sounds so perfect and then you can’t duction side of the music and pretty much exactly as you do sing perfect when you’re sing- You also appear with U Roy on to work with other artists, not ing in it, you have to sing a flat Smile. Did you actually share just myself, because I look at on record. Not to put too fine note for it to correct it. I had myself as a non self-centred a point on it but many artists two hours trying to correct it studio time with U Roy, or person. I wanted to get other these days don’t. because I can’t sing off-key, I was his part done at a differ- people involved in music who I don’t know how to do it, so it ent juncture? see as a talent. So starting my Well, you have to deliver, you was a terrible time but I finally own label and putting out this know what I mean? If you’re try- got through it and it was fun! At one point we shared the stu- album on my own label was re- ing to sing you’re in the wrong dio and at the next point when ally important to me to learn game, you’re in the wrong busi- Singing badly is not as easy as we came back to do the actual the way to go into the record in- ness. There’s no trying with it sounds (laughs). recording I wasn’t there at that dustry as a label and to operate music. Nowadays you find that time. He lives in the area that as a label. I’ve watched a lot of artists who are recording are (laughs) Yeah! Lukie D is from, so Lukie D took artists who get into the produc- using so much digital sounds me to where he was living. He ing and think that they all know on their voices and plug-ins came out and he said “Lukie, it all. So when I approached Fat and stuff, so you find out when You sing in a lot of styles on wha gwaan?” I was kind of Eyes to record this album I said they come to deliver it it’s got the album like dancehall and nervous approaching him, I “ I want you right upside beside a different sound. Reggae art- gospel but on Reggae to The said “U Roy, I have a song that me to help me to roll out this al- ists we try to make sure we Bone, you and Lymie Mur- I want you and me to do”. He bum because I know you know maintain the standard of the ray sing on the Please Be True said “Wait, youth, gawaan. what you’re doing”. He actually music and what it’s supposed Play the song to be heard, guided me with the whole pro- to sound like. rhythm, which is as founda- man”. I played the song from cess and actually co-produced tion as it gets. the car and he was like “Yeah, with me as well as executive There’s one track where you this is really a wicked tune, I think you said it right. It’s producer. do use pitch alteration on the youth. You know this riddim? like you were there when I was I know it long time!” I think at album, but what’s your view It’s been many years since you ed to rush through music and You mentioned something making the song, because the the weekend he had a dance just record a lot of stuff and put on the use of auto-tune and way you put the words just now last released a solo album. about timing. A lot of artists going and he said after the it out, so that before you reach other pitch correction because is the exact way I wanted to do weekend he’s going to come Why did you decide at this release on Valentine’s Day but 40 you have 30 albums. I take clearly you’re an artist who it. We sat down, shared ideas and grace the song. I wasn’t point, that it was time to step my time with music because I you actually released it before and Lymie came up with [sings] can sing and you’re using it to there, I had to travel, but Fatta forward? think music needs to grow with Valentine’s Day so that people “Reggae music a wi thing come took the role as a producer and take that singing somewhere people. So it came right on would have it on their play- mek wi set it” and I said [sings] got U Roy into the studio. We If you’ve been following my ca- time. I was lucky to catch the else. “A it a feed the ghetto youth lists already. Was that delib- invited him to hear the finished reer for some while you can re- 50th anniversary of reggae. so we protect it”, and after the product, and he was swept off erate? alise that whenever I come with Some of the reviews were as- Sometimes there’s a certain song finished he said “Here his feet. He was like “Youth, a song it’s always on time. I’m sociating this album with that song where you think it may is the song, it’s done!” and I you touch me man, you touch not one of those artists decid- Absolutely. I’ve got to thank me!” (laughs). I’m having a chill just thinking things too normal, you have to about Junior. Junior has been a impress them, it’s a part of how Let’s talk about some more part of my inspiration through the world works. You can’t just reggae ambassadors. Let’s music, after listening to some build a car, you have to build of his great songs I said “I re- a car plus features to impress talk about somebody who ally want to be like this guy, I people (laughs). was quite important in your love his expression in music”. early career, King Tubbys. I loved the way he reached out Like Junior, you clearly enjoy and doesn’t play with it. I think American soul music. Were King Tubbys was a very inter- Junior helped me to actually esting character. Even though come out of myself, to start to you affected by the passing of he was a pioneer in the music, sing and create more expres- Whitney Houston recently? he showed the human side, of sions. That’s what he is, he’s saying “Yo, you can’t sit there. an expressionist. He expresses Thrilla woke me up about 2.30 Come out of the yard!” (laughs). music so deeply that it hits you when I was here. I said “Who’s He didn’t record me, obviously right away; you don’t wait to calling me so late in my room?” - to King Tubbys to get hit, you get hit by Junior! And he’d hand up and he’d call, record as a little youth? The he’d call, and I didn’t answer. apprentice engineer that was He is a singer who is famous for The third time I answered the phone and he says “Wake up! working there was from my a particular register but that’s community so I got to go into Whitney Houston just passed!” the studio when King Tubbys only a small part of what he I dropped the phone, I turned wasn’t there. Back in those does. Likewise, there’s just a the telly on quickly and I start- times it was reel-to-reel, four moment on Must Be The Girl ed scrolling through the chan- track machine, so if you use up where you hit that register as nels. I couldn’t find the news Donovan Williams from VP Re- us, all the harmony sounding sometimes you see a group and I said to myself “This is a space it is a very important well, just for a second, and cords. He actually guided us groups: the Mighty Diamonds, and they don’t get along be- space that you use up. King not true!” and I start to search you can hear the link there. doing a lot of mentorship. We , , we cause this person is egoistic, Tubbys came in a week later my phone to see if I can get the wanted it to come out on Valen- realised back then that those that person has his own ego on and found out that someone internet access to go on to see (laughs) Different songs re- tine’s but he said “Listen, if you kind of music were fading and . When we come to L.U.S.T. we was on the track. It was a big, if it’s really true because a lot come with the album before we didn’t love that. L.U.S.T. drop all ego because you can’t big thing, the guy almost lost quire different expressions of times you hear rumours and and like I said, I’m an expres- Valentine’s, they will have the came together because of that. lead the group it’s a mashup, his job, and for myself as well it’s not true. I was devastated. I album on Valentine’s. That was We were always singing togeth- because it’s four individual (laughs) because King Tubbys sionist. I think at first my pro- didn’t eat all day. I said “This is ducer had a lot of problems such a brilliant idea. er at studio, carrying harmo- singers, everybody can sing. was very serious about what a lady that gave us so much of nies and finally in ‘97 we went When you’re in a group where he was doing and you can’t with me screaming in every her life and she’s not here”. To song because I would just hear Finally, let’s talk about L.U.S.T. to studio and recorded our first there’s only one lead singer play around with it. But after see she died that way was real- single Sweetness Of Your Love. and he feels like he’s the one hearing the song he says “It’s the song and start on a high ly painful to me. That made me How do four very success- note, expressing, and some- That went to number 1, several who’s doing all the work and a good song” and he’s going to just look at myself and think ful solo artists, people with awards, and from there we said he just has some back-up guys put it out, he’s going to give me times you don’t need to ex- I’m going to do everything I can their own creativity, people press that way. I think for this “You know what gentlemen? it becomes egoistic where he one record and if I need more possibly do correct, I’m going with their own personalities, This is special”. What kept us wants to leave and go on his I have to buy it. That was just particular album there was not to do it. I’m going to make sure a lot of high-pitched singing, it manage to come together and together as a group is the fact own. With L.U.S.T. nobody can King Tubbys, you know? that my life is in a certain way that we all respect each other’s leave. was more calmer singing but and a certain standard that I keep that link so strong for so then as I need it, I bring it. As talent and effort, and we work Let’s just talk about some- can just live it and live it true, long? together. L.U.S.T. never had a a singer you should be able to you know? She definitely is go- Otherwise you won’t be able body else: . do that. Your music should not boring moment. It is four inter- to say the name. ing to be greatly missed. A big We grew up together in the esting characters. Even when be on one level where people loss for the industry. business and we have a lot of Definitely. I call him Uncle easily get tired of stuff if it’s we’re on tour, a lot of groups Exactly! respect for each other’s talent. will get bored after a while, Murvin. I’m talking now and not different. People don’t like The groups that came before TAKANA ZION Interview & Photos by Franck Blanquin

Takana Zion is a young Guinean artist whose third al- bum, ‘Rasta Government’ (Soulbeats), came out last “I wanted to be wor- May. Having recorded his previous albums in Paris thy of working with and Bamako with the help of producer Manjul, he all these big names in decided to record his latest one in Jamaica, at studio. As spiritually committed as ever, his music reggae, in this mythi- has taken on a more roots sound thanks to the influ- cal place that is Harry J ence of the Jamaican musicians he worked with on studio” this album. Last year you released your Then I meditated to find beau- On the album you do a track new album, ‘Rasta Govern- tiful words right there in the - “Glory” - together with Ca- ment’, which you recorded in studio. I don’t even write my pleton. What was it like meet- words down on paper. I just let Jamaica. How was this album myself be guided. Jah tells us ing him? conceived? when the time comes to speak. You don’t have to worry. It all Before going to Jamaica, a This album is the logical comes naturally. friend of mine named Black continuation of my previous Man mentioned me to Caple- ton. So when I arrived on the albums. I was already think- Your recorded this album at ing about going to Jamaica island, generously during the recording of the legendary Harry J studio, a opened his door to me. We ate second album. I met Samuel mythical place in the history together, meditated together Clayton of the group Mystic of reggae, where Bob Marley and shot the clip. It was a re- Revelation of , who and Burning Spear recorded. ally intense experience for me, as a young African artist who’s worked with me as concert Did you feel special vibes dur- sound engineer. We toured appreciated Capleton’s music together. Samuel complete- ing these sessions? Didn’t you for a long time. ly changed my whole live feel some pressure? sound. Everything went off In the song “Glory” you pay very smoothly. I felt a lot of pressure before tribute to the great figures of I went to record in Jamaica. the cause. Do you the younger Then I invited him to visit I’d always been drawn to this me in Guinea to do the same country. Even though I’d never generations need to be re- show there. It was a hard time been there, I’ve always felt minded? because 200 young Guin- very close to it spiritually. I lis- eans had just been killed in ten to lots of music made on You always have to look behind a stadium. But Samuel was the island, and also read lots you. Haile Selassie got rid of brave. As the eldest member on the topic. the inferiority complex I had can reggae scene? Some of your albums, like Would you like to continue on of our group, he encouraged in me. I might have of wasted ‘Black Mafia’, were only re- this path and do dubs of your the musicians. I wanted to be worthy of work- my time and missed my life in- Reggae is really taking off in Af- leased in Guinea. Can you ex- new tracks? ing with all these big names in stead of becoming a new man. rica. Lots of young people are reggae, in this mythical place plain why? Then we decided to do an He guided me from the ghettos taking up this music. But we I really like it, but dub was that is Harry J studio. I wanted album in Jamaica. I had the of Conakry to the hills of Bama- need infrastructures and good the speciality of Manjul, with to carry out my mission. Thanks When I get home after a tour, songs, he had the contacts ko and stopped me from falling producers. Over there, there’s whom I collaborated on the to God, I think we succeeded. I can’t stand to not be doing and the studio. into the traps that the African a real lack of information about previous albums. It also de- youth so often falls in. what’s going on in reggae. We something. But if I record roots reggae, young people won’t be pends on the album. Certain How did you compose this al- Three years ago Sam “Junior” need sound systems and la- riddims lend themselves better The tribute is obvious, because bels. Things need to fall into interested. So, to spread the bum? What was it like collab- Clayton became your music message and the good vibes, I to dub because of their musical I have to thank him for giving place. color. But I’m open. orating with the musicians? director. How is it working us the force, as well as Mar- record more dancehall or R&B together? cus Garvey for these prophe- I want to work with Guinean art- tracks. I want to make young It all happened very naturally. I cies that gave us the vision and ists. I had a compilation project people dance in wisdom. You started your career in rap. played them the melodies and He’s a man with a lot of expe- Emmanuel, who is a holy who that fell through due to time That’s why I put out albums How did the transition to reg- chords I had in my head, and rience, who’s worked with the devoted his entire life to Rasta- constraints. But I’m currently like “Black Mafia” especially gae and Rastafarianism take for the Guinea music scene. they suggested likes of Burning Spear and fari. building a studio in Guinea so place? for the different tracks. I didn’t —just the man to that I have a place to work with help a young artist like me. have to say anything. The mu- What’s your view on the Afri- young people On your first album you in- It depends on the movements sic spoke for itself. He’s here to guide me. cluded some dub tracks. of the heart at a given time of in him. Rasta pushes us to- your life. When you’re young, Your latest album is called wards love and unity. you want faster sounds. The ‘Rasta Government’. Do you How can people live without a American music scene influ- living wage, enough to care for, enced Guinean youth, the same think rastas have a role to feed and house themselves? way that French rap between play in politics? There’s no more room for dic- 1996 and 1999 had a strong im- tatorships in Africa and rastas pact on some young Guineans. Obviously, because there are have a role to play. It was at a time when I was lot of kids who go to school asking myself a lot of ques- these days and who also listen We must grow economically. tions about myself, the African to the message of Rasta. Later The people must realize the im- people and its origins. I started on they will be able assume portance of getting involved in meeting Rastas and they told their responsibilities within our this area. We also must not be me about Haile Selassie. I was society. afraid of diversity. They say the a young African in search of world has become a “global vil- spirituality and identity. I left They are the future “Rasta Gov- lage” because of globalization. my parents very early because ernment.” We don’t just sing We are workers, the builders of I knew I couldn’t live the life I to entertain, but try to educate the divine creation, and we in- had chosen with them. I went and convey positive energy. We tend to fully assume our role in to Mali, where I met Tiken Jah need to surpass ourselves—for maintaining positivity on Earth. Fakoly, Manjul and other broth- our continent. Rasta provides One Love. ers who helped me become us with spiritual independ- who I am today. ence. The people need to trust ALBOROSIE Interview by Gerard McMahon festival. The priority was to catch , the Photos by Christian Bordey Congos, Pablo Moses, U-Roy, Sly and Robbie and other ‘old school’ artists doing their thing. Little did I realise that a new young artist was to appear on “I’m really attached to stage, to wide and loud acclaim, effectively proving the reggae foundation, to be one of – if not the – highlight of the last Ital- ian ROTOTOM. It was fitting, though surprising, that from the 1970s up to this artist should be Italian. Going from strength to the 1980s” strength – and deservedly securing the 2011 ‘best reggae act’ MOBO award – United Reggae was de- Two years ago I travelled to Italy for (what proved lighted to catch up with ALBOROSIE in Holland re- to be the last Italian) reggae cently. What has been your greatest in Africa through my computer same plane (laughs). achievement in life? and people we’re saying ‘Amer- ican soldier stand down too, go Who is your least favourite When I start to play reggae. back to America and let Africa politician? That is the greatest achieve- be Africa’, so that inspired me ment. Reggae makes me feel to write the song. Oh! I have a long list. But the complete... a little bit of ag- winner is Silvio Berlusconi gression, a little bit of revo- It’s a good song. (laughs again). He’s the cham- lution, spirituality, inspira- pion. He’s the greatest of them tion and that’s reggae. Thank you very much. all in Babylon.

What has been your biggest Who is your favourite reggae Outside music, what are your disappointment in life? artist? main interests?

Sometime I would like to be Well, the teacher, Bob (Marley), Outside music, well you know in places with my music there can’t leave Bob! Many of them, I build guitars. If I’m not in the where maybe I can do some- Burning Spear, Peter Tosh, studio or performing or what- thing for people. I’m not able to many of them. But mostly from ever I build instruments. And go there. Let’s say I would like the past. The new reggae, me besides that I like going fish- to do some time in Africa, dur- and the new reggae, we’re not ing, you know, throw the line, ing the revolution, but some- really compatible. looking at Kingston. The last time I can’t be there because time I catch a big fish, it was a the place is too rough So I But you’re excellent at using ray. But I let it go because have to fight through my music the different streams of reg- I don’t want to kill no creatures. Sometime I would like myself gae? I just do it for fun and then I let to go places and be there with them go. the revolution. Yes, but I always try to mix my In life, who has had the great- He was chasing the real bad need to walk. They need to can’t do it. When my work is song with a little bit of ‘old man. He loves what I do. He’s see the world, they need to over, I will step back. But I As one of the few reggae art- school’. So I’m really attached est influence on you? ists with an ‘international my greatest fan. choose what is best. When don’t care about charts and to the foundation, from the they want to come back, they selling and whatever, that’s consciousness’, did you get 1970s up to the 1980s, but we Well definitely Jesus, yes, Je- Did he travel with you in the will be back. Otherwise, they no gonna stop me from mak- any negative feedback to your stop there. sus is inspiration, the Emperor early years? have the right to go and walk ing music. song ‘America’? Selassie, yes? They will inspire the world, and I did that. Who is your favourite living me, and then all the revolution- aries, people like Che Guevara. No. He never took a plane in Would you like to be travel- Not really. I’ve been in the politician? Bob (Marley) is a revolutionary his life... ‘old school’! Do you want a ‘chartbuster’? ling with a brass\horns sec- States performing that song, warrior, to me as a European, I people love it. People agree Oh God Almighty! That is a tion? see Bob as a revolutionary. A what? No, I don’t care about with me. Especially people question! No, I don’t have no How did he feel about you that. I don’t care, like I do I did. I’ll tell you the truth, I’ll from Africa. So, you know like, politician. Is there any politi- going to Jamaica? music from like I was this (He As a retired policeman, how give it to you straight - some- it’s a revolution. It’s always a cian that makes you happy? indicates as a child). Music good revolution. Every time did your father cope, knowing That was tough. You know times it costs. Because there has always been my life. Eve- are a lot of people travel- I sing about something it’s Obama? that his son was into Rasta? we Italians we love family, ry single brick of my house something that really belongs we love being together. It ling, with a lot of expenses. was built with music, and I’m In summertime the budget to people, so it’s people say- Who? No. Why Obama? My father, he was a good cop, was tough for them. But I be- not interested in charts, No. ing ‘let’s do our thing now, we lieve that if you are a good is there, so I can have more Obama... the captain change, never really troubled the youth 1, No. 2, No. 3, I just do what musicians. It boils down to need to be independent’. One but the plane is always the for a spliff or nothing like that. parent you always let go of I gotta do, what I like until I time I was listening to a show your children, because they money at the end of the day. What upsets you most in the a black man country and I love But you have avoided the vio- music business? everybody. So if they want to lence? talk, like whosoever is talking, The music business (itself!). I don’t care. I play reggae mu- Sometimes you’re part of it. Trust me, my spirituality keeps sic, I live in Jamaica. You know Living in Jamaica is not easy. I me going. The music business Jamaica is a tough place, so was there when they fire shots. is atrocious. But I love music. the decision to go there was I was there when houses were It’s like you are together with a tough decision. And I’m still burning and everything. That’s a beautiful woman (but) she’s here playing my reggae music. why I’m always trying to ex- a troublemaker. But because My musicians are Jamaican, my plain to my people that when she’s so beautiful that you just manager is Jamaican, so you I used to live in Europe and I can’t live without her, (but) know, it’s all good. used to play reggae music, it she’s a troublemaker. So you was not the same thing. Right just cope with it and walk with Where is your wife from? now I’m there. God lives in Ja- it. maica, but Satan lives there No, I say my wife? It’s my girl- too. It’s a balance, so you know Are you satisfied with the re- friend, from Jamaica, every- you don’t move between the ception to your new album – thing from Jamaica. two energies. 2 Times Revolution? What do you like most about In past interviews you men- Yes, of course. You know, be- Jamaica, where you’ve been tioned ‘Meditation’. Do you fore my album came out some- now for a long time? meditate daily? body put it on the internet. It was out there already. I hadn’t I don’t know. It’s like when you Every day. Everything I do is a even put it out. But you know, fall in love. Somebody asks meditation. I meditate a lot. before people like my album (I) you: ‘Why did you fall in love?’, myself like my album. So if I like I don’t know (laughs). I just fall Are you optimistic that canna- it I put it out, but people love in love. Of course, the culture, bis will be legalised? it. People have different songs maybe, the culture, the tradi- tion. There is, I believe, a pi- that they like or whatever. I enjoy myself in fighting the rate in me, a soul pirate, so it’s system. At the end of the day something from the past that’s Have you experienced any we’re still smoking. So they a little bit of magic. The first resentment (as a successful never stopped us from smok- time I went to Jamaica I didn’t ing. Ganja will be legalised white man) in reggae? like it. And then something when the church decides, as happened there, somebody tell well as (when) the Americans nature, I wonder why. There Jahspel music, the gospel of right now, and because from Say that again, because this is me things: ‘Your spirit is here decide to legalise ganja. For must be a reason, or maybe Jah. So I create my own spir- day one I do music, and I got very interesting. (Question re- in Jamaica, you should come me, ganja is not a substance, the reason is politics. But gan- itualism, I don’t believe in re- every day a plate of pasta to peated). I have to tell you the back and look for it’. And I went it’s a revolution. When I go up ja is a good revolution. I’ll keep ligion, because that goes with eat. So I’m very lucky, I’m very truth, we had problems. We back, I’ll never go back to Italy there and sing about ganja, I’m fighting. politics and mafia. I’m a spir- blessed. So I’ll tell you the had problems of people saying again (laughs). things. For instance when we not saying to you, you need itualist. truth, I don’t have plans, I don’t won the MOBO award for best to smoke to get high. Ganja is What were you raised religion have... what I do right now, I What do like least about Ja- reggae artist for 2011, we had a plant, ganja is my culture, wise? Do you have any remaining live my life. One thing I know problems with people saying maica? right, from when I start to lis- ambitions in life? for sure, music was my life, but things about the white artist ten to reggae music I learn Well I was born Christian. I am now my life is music. That’s all and whatever. I live in Jamaica, The violence, the politics. that ganja is nature. So when still a Christian, but I’m a revo- You know, I give thanks to God I have to say. my wife she is a black, I live in the system is trying to fight lutionary Christian. So I sing every day for what I am doing MILLION STYLEZ In the run up to the release of Necessary Mayhem’s Interview by Angus Taylor ‘Trilogy’ Series United Reggae spoke to a featured artist who has been recording for the label from al- most day one - Sweden’s Million Stylez. Raised by immigrant parents in the suburb of Sol- lentuna, the hip hop loving Kenshin Iryo was gradu- “When you do the mu- ally seduced by the more melodic vibes of reggae sic, you enter a differ- and dancehall, travelling to Jamaica to win a coveted fourth place in Red Stripe and Irie FM’s Big Break ent universe... just re- talent contest in 2005. Since then he has released cord and fly away!” two albums, ‘From A Far’ and ‘Everyday’, with a third in the works. Thanks to Siobhan Jones and Curtis Lynch of Necessary Mayhem for making this inter- view possible... Your mother is French and God. My parents didn’t really negative or positive. your father is Japanese. How talk about God either because many languages were spo- Buddhism is not a God belief, What are your views on lyr- it’s more like inner harmony. ken at home when you were ics? Is there anything that’s off-limits for you as a topic? young? When you’re performing on a When I was really young I only sound system is there a flow Yeah, definitely. I mean I can knew Japanese and French. I of energy between the per- talk about whatever I like but was born in Sweden but I spent former and the audience? there’s just certain stuff, be- a lot of time in Japan and France, cause I’ve got a bunch of kids so I got to learn French and Jap- Very much so. The sound sys- listening to my music as well, anese fluently. I came back to tem has speaker boxes which so I need to watch my mouth, kindergarten and the teachers enhance that vibe and that en- you know? Not only that, I don’t told my parents to start speak- ergy that you put out on the want to put out any too slack ing Swedish alone, because stage, and it’s the visual part lyrics for even elders to hear or my Swedish was really bad. as well when people see you people my age to hear. That’s That’s why my French is not jumping and sweating and sing- energy again. Whatever you good at all and my Japanese is ing your lungs out. You need to put out there you convert that now only a couple of words. My connect with the people be- energy to whatever you want Swedish is really good though! cause you’re not connecting to convert it to, so I try to keep (laughs) And English, I learned physically. A lot of artists can my lyrics to as positive as pos- from TV and music, MTV and DJ connect to your soul, can touch sible. Kat Show, Sky Channel - I actu- your soul, so that’s a spiritual ally learned English like that! thing. Some people just catch What about in a your attention, the way they situation? Even though it’s a Through your parents both look, the way they sound or combative situation are you Catholicism and Buddhism they’ve got a different kind of style, they’ve got a rough going to try to do it in a posi- were spiritual influences. Did voice, or some crazy lyrics, or tive way? this give you any impetus to whatever. A good example is follow your own path in life? or because That’s like a double standard when you hear the voice and from my side, you know? It’s a My dad, he’s a Buddhist and the message and they just grab musical war. It’s entertainment! he was the one who planted your soul. It’s just a big differ- (laughs) That’s the only time I’ll the spiritual seed in my life. My ence between different artists, go violent, you know? That’s mum, she’s a Catholic and most what kind of energy they put where people get shot in their Catholic people I don’t think out there. If you’ve got positive face - musically! I never got they’re so spiritual, it’s more lyrics with an uplifting rhythm this question, you’re asking me ritual. No offence to anyone. in the background then there’s a bunch of original questions, My dad taught me a lot about a big chance that no fights will that’s good! I’ve been think- spiritual things and energies, break out that evening. If it’s ing about that a lot, “Oh my good and bad energy, from a really rough music with vio- God, maybe I should stop do- young age. At that young age lent lyrics, also a bad sound or ing this? Just stick to conscious it’s kind of rare, especially in whatever (laughs), then I think lyrics all the time, positive lyr- Sweden which is not so spir- the energy that gets put out ics.” Then if somebody links itual. Parents don’t really teach there it transforms and con- me, one of my brethren, and their kids about spirituality and verts and turns into something says “Yo, I want a sound killing thing! There’s a clash coming up and I want a custom dub. shouldn’t judge everyone just you under more pressure be- The next song is called Missing We’re clashing this sound and because of one person’s ac- cause there’s less to be done You, Special Delivery as well, you have to say this and that” tions. It’s a cold country with a in a shorter time? TNT Productions. The next one and sometimes you send lyrics cold vibe in general compared is more crossover, on a hip hop, and there’s a bunch of violent to other countries in Europe. So No, it’s actually less pressure. R&B kind of beat. That’s going lyrics. It’s a musical war so I’m I’ll be spending a lot of time in Whenever I get a track with a to be more of a surprise when just trying to contribute to what the studio because when you chorus or some verses with people hear it because it’s a they want because that’s also do the music it doesn’t matter some other artists I just try to different kind of style. So I’m part of my job. Gentleman for where you are, you’re in a dif- add what’s needed to the track. working on that right now and instance has stopped voicing ferent world, you just enter a He told me it was a sound kill- I’m actually working on two dif- dubplates, and I don’t know, different universe. The rhythm ing thing, Champion Sound, so ferent albums right now, one maybe that’s the reason why is there, the mic is there, just I got into that vibe for the track dancehall one and one one- he stopped. Of course, he’s record and fly away! and just recorded my part, drop one. I need to decide if doing kind of well! I still need which was 12 bars. It can really I’m releasing a double album that dubplate money though You’re the first artist on the be explosive and I just try to or the roots one first, I don’t re- (laughs). We live two different first track of the first release stand out from the tune so that ally know yet. kind of lives, one earthly life people remember my verse. and one spiritual life. It’s that of the new Necessary Mayhem You should always try to stand is sung with soul and spirit. it, a good vibe in every rhythm. Will there be a Million Stylez earthly thing! trilogy. Tell me a bit about out, I think. He likes this old school style. Necessary Mayhem album? how you and Curtis linked up. You’ve been working with The thing is I appreciate old Sweden is a big player on the Tell me a bit about your writ- Curtis Lynch since the pretty school music as well as I listen Probably at some point. I try to European reggae scene yet I think it was through MSN. Cur- to a lot of dub, foundation and keep my promises, so I don’t tis, out of nowhere, he started ing process. Do you ever use much the start of Necessary people outside think of it as stuff, some real roots music really like to say yet. Everyone to write to me. I didn’t know paper? Do you ever write any- Mayhem - have you actually quite a cold country where with an analogue mix. Just love I work with we need to keep who he was but he got my link thing down or is it just a flow? met him? that sound, that warm, round a good vibe and Curtis is re- visiting artists get arrested someway somehow. He told sound. ally respectful. We’ve just been for suspicion of ganja. How me he had some rhythms for I used to write but I stopped The only way we’ve been work- talking on the phone, we call me and he started sending me true is that stereotype and if writing maybe two years ago. ing so far is that he sends me a What other things have you each other every now and then, some rhythms. I think that the Now I try to record two to four true is there a connection? rhythm or a couple of rhythms, got coming up with other we link each other with Twit- first track I ever recorded for bars at a time and just free- I pick out the rhythm that I like ter, we send emails back and him was the one Champion producers that we should That’s how it is, more or less style, improvise. It feels much and record myself in my studio, forth and we met once. I’d love Sound with Mr Williamz and better because every time you I engineer myself. So what I can look out for? to go to London and just go to (laughs). Unfortunately, that’s the whole crew and YT, then kind of how it is round here. read a paper you can hear it tell you is that I met him once his studio and just stay there it was Dub Plate. The first two sometimes that you don’t actu- and he’s really cool, I like his I’m working with Special Deliv- for a week and record a bunch But we’ve got a bunch of tracks that we did were combi- wicked producers and artists ally mean what you’re saying, vibe. The one thing that differs ery at the moment. We’re going of songs. Once again it’s just nations, not solo tracks. That’s you’re actually reading some- with his rhythms from other to release an EP with me, it’s a matter of time because my and we’re keeping the reggae how we got started. scene alive. I really feel sorry thing. If you’re singing or rap- producers is that he’s got this called Songs About You. It’s schedule’s fully booked! for artists that come here be- ping or whatever you do I think more analogue sound. What actually four lovers songs. The cause the police over here On the new mix of Champion that it’s better that you either he’s really known for is the rel- first track is Me and You on the Necessary Mayhem: Trilogy they’re really strict when it Sound you share with five know the song, the lyrics, first icks of these rhythms, even the Sugar rhythm, that I released a was released on March 13th. comes to weed. And they really other emcees. On the Future or that you just sing from your original rhythms they’ve just couple of years ago but we’re heart. You can actually hear still going to use it for the try to stop reggae music, also Cuts album, you’re on As Mi got a different sound, a differ- it. There’s a bunch of reggae ent kind of fusion. He’s from a EP. Then there are three new because of the anti-battyman, Forward with three other em- the homophobic lyrics, eve- artists that record that way. different school if you compare songs. I’ve got one song called ryone gets judged from that cees. Is it a different science Sometimes the lyrics are too him to other producers like Feeling for You, there we’ve got so they just harass any kind just doing a few bars on a simple for some but they sing that. They go more digital. Def- You again - every title has got of dancehall artist who comes multiple rhythm like that? Are it with a lot of soul, anything initely he’s more analogue and something with You. Feeling for here. It’s a shame because you that comes out of their mouth he puts his heart and soul into You is on the Longtime rhythm. Bristol Archive Records’ stun- “I can’t believe the response ning journey from all around the world. The Mike Darby records sell, the artists have a Meet Mike Darby, an independ- second chance and we are one ent financial advisor, golfer and big happy Bristol family – tak- from married with two children. He’s ing on the world and spreading also the owner, head of people our sounds.” relations, chief detective, find- Bristol Archive Records ing new material, head of A&R and boss man at UK labels Bris- Interview by Erik Magni tol Archive Records and Sugar Shack Records. If that wasn’t enough, Mike Darby is also a Director at Archive Publishing “It’s amazing seeing Bristol Archive Records came from seemingly no- and has taken the initiative where when the label in early 2011 dropped the ac- to launch Reggae Archive Re- these people get a break claimed compilation Bristol Reggae Explosion. This cords, following the success of some 25 or 30 years release has been followed by several hard to find Bristol Archive Records. later, smiling, being roots reggae gems by Bristol-based artists. United also been thriving ever since Reggae got a chat with label owner Mike Darby to He started his music career as a the 70’s in different shapes and proud and getting ex- find out more about him and his many projects. singer in 1979 with the reggae/ forms, and the main aim for Sugar Shack’s new reggae di- cited about roots music two tone/ska band The Rim- Bristol Archive Records is to put rection again” shots. The band put out a cou- many more or less unheard of ple of singles and played with reggae artists on the map and Thanks to the success of Bristol The Beat, The Bodysnatchers, put the record straight. Archive Records Mike has also Black Roots, Talisman and ac- changed direction of his other claimed dub poet Linton Kwesi “For me it’s the untapped and label – Sugar Shack Records. Johnson. unreleased gems that have fall- Its first reggae release is the en through the cracks of time,” 12” Sound History Volume 1 by Six years later he ventured explains Mike Darby, and con- AMJ Dub Collective, out on April into band management and tinues: 23. launched Sugar Shack Records focusing on British rock artists. “The expectation is minimal “The success of the Bristol Ar- The label recently switched di- from the artists so its amaz- chive Records means that Black rection though, and from 2012 ing seeing these people get a Roots, Talisman and now Josh- and onwards Sugar Shack will break some 25 or 30 years later, ua Moses are back out in force be putting out contemporary smiling, being proud and get- spreading their message via British reggae acts. ting excited about roots music live performances. It just made again.” sense to support them and their In music terms, Bristol is pri- new material by having a record marily known for the genre trip- And the response on the releas- label that can work with them,” hop and artists such as , es so far seems to please Mike. says Mike, and further explains Portishead and . And one word sums it up well. the company’s direction:

It’s about long lost gems “Amazing,” he states, and ex- “All things reggae from Bristol plains: and the rest of the UK if we can The reggae scene has however Moses has been lying around in a drawer somewhere.

And happily enough Mike re- veals that there are more to come.

“Joshua Moses’ Joshua to Jash- wha 30 Years in the Wilderness is a must buy for any roots fan. It’s stunning.”

But that’s not all from Mike. In addition to the upcoming Dan Ratchet, Black Roots and Cool Runnings releases, the new non Bristol-related label Reggae Ar- chive Records will put out three lost UK albums and in demand 12”s in the second half of 2012.

discover the talent.” Jah Praises from Revelation The work of a detective Rockers is one of those gems. It was recorded in the late 70’s, Now back to the reissue busi- but didn’t see the light of day ness, and Mike’s recipe for until March 2012. finding new material to put out. “Shocked, stunned, excited and “Word of mouth, referrals, put- motivated,” says Mike about ting out great looking records his reaction when he heard and being nice people.” about Jah Praises.

It sounds easy, but it probably More to come also means a great deal of work to compile compilations with But this album is far from an ex- hard to find golden nuggets ception in the increasing Bristol Bordey Christian Photo: or unreleased gems, and Mike Archive catalogue, and the flag- pays special praise to his reg- ship compilations Bristol Reg- gae colleague Martin Langford gae Explosion 1, 2 & 3 includes aka Dubmart, who compiles the a great deal of unissued mate- track running orders and writes rial. To me, it’s remarkable that the sleeve notes. a tune like Rise Up from Joshua Tell me about how the band George ‘Flee’ Clarke: Reggae- George ‘Flee’ Clarke: We did originally formed in 1976-7. manage is in between fights some backing, we never ac- (laughs). tually got to play with them! George ‘Flee’ Clarke: The bass (laughs) player then, Trevor and the He was working with Dennis drummer, and the singer, Alan, Brown at the time. Did you Patrick Donegan: It was actual- ly the first sort of outing of the they were doing some original meet him? stuff, not reggae. I went down band, wasn’t it? Morwells and there to play some keyboards. 15,16,17. Actually we weren’t Patrick Donegan: Dennis was called Reggae Regular at the In between in the breaks we around when we were record- used to play like Mighty Dia- time, it was Castro that called ing the original Black Star Lin- us Reggae Regular. monds stuff, and Tony, the er, he was actually in the stu- original vocalist, I just thought dio. He actually influenced the he was so good and I said he George ‘Flee’ Clarke: (laughs) picking lead that was on the We called ourselves the Good, should do the vocals, they track because we didn’t have a REGGAE REGULAR never liked it but that’s how it the Bad, and the Ugly. We lead guitarist. went, he ended up doing the were waiting to be introduced Interview by Angus Taylor top ten chart in February 1978. Their follow-up Black vocals and then from there we and they call “Ladies and Star Liner hit number one and by the following year George ‘Flee’ Clarke: And the Photos by Veronique Skelsey got Patrick. Patrick came in Gentlemen, Reggae Regular!” the group, taking the moniker The Regulars, were organ bob. and that was it. (laughs) signed to CBS records. Their debut album ‘Victim’ “Castro Brown called mixed roots and lovers reggae with jazz fusion and Patrick Donegan: He said “Just Which artists inspired the Patrick Donegan: He didn’t like us Reggae Regular. We soul styles but relations broke down during their pick something!”. the name, from in the rehearsal called ourselves the European tour, with King, Rookwood, Clarke and music of original line-up of he used to say “You lot should Ebanks leaving to record what is popularly believed the group? George ‘Flee’ Clarke: A super change your name” and we’d Good, the Bad, and the to be the sequel, the slower, deeply Rastafarian ‘I & man, really super. He was just said “No, we’re not changing Ugly!” I’ (1980). Meanwhile Donegan and Salmon recruited George ‘Flee’ Clarke: Bob Mar- so talented, you wouldn’t think it”. keyboardist Bryan Campbell and cut the single Jah ley. Bob, Bob, Bob, and more he was so humble. Love for Greensleeves in 1981 as the Rebel Regulars Bob. For me just Bob, but obvi- A lot of people who like reg- Anyone who’s heard a recent Greensleeves compila- creating their second longplayer (or third depend- ously it was Mighty Diamonds, Patrick Donegan: He was a nice tion will be familiar with the British band and har- ing on where you stand!) ‘Ghetto Rock’ as Reggae Gregory, D Brown, person. Very, very humble. gae these days outside of mony group who went by a bewildering variety of Regular again in 1984 at the Mad Professor’s Ariwa and Ken Boothe, don’t forget Britain don’t seem to realise names in the late 70s and early 80s but today call studio. him. To me it was all just about George ‘Flee’ Clarke: He how the roots and the lov- themselves Reggae Regular. Formed in South Lon- the material, if you haven’t got wouldn’t hear something nice ers rock were happening at don in 1976 the seven piece, comprising Alan King that would go with a track and Unpicking such a complicated history is no easy the writing, if you’re not going the same time and very much and Tony Rookwood (vocals), George ‘Flee’ Clarke task, but fortunately various members reformed in to produce something that’s keep it to himself, he’d come (keyboards), Trevor Salmon (bass), Patrick Donegan 2009, releasing a comeback album ‘If Only’ in Oc- got substance, to me you’re and tell you, and almost insist connected rather than being (rhythm guitar), Norman Ebanks (lead guitar) and Er- tober 2011. It features fresh material and recuts of not going to get noticed or it’s that you put it in. very separate things. rol Francis (drums) started getting attention for their old songs (including Black Star Liner in combina- not going to last long, so that’s live shows (sometimes backing the likes of the Mor- tion with Tippa Irie, who the group backed on his where it was all at. So Bob was Patrick Donegan: And he didn’t George ‘Flee’ Clarke: Well, wells and 15-16-17). pop charting 1984 hit Hello Darling). George ‘Flee’ so influential. act like a superstar. Anywhere roots to me then was Rasta and Clarke, Bryan Campbell, Patrick Donegan and new he’s see you he’d just talk to lovers rock was like for soft- A change of management from Castro Brown to lead singer Patrick ‘Dego’ Johnson of the 1990s out- You were managed by Castro you just like, you know? One of ies. Lovers rock was a chance Lloyd Patten resulted in a deal with Chris Cracknell the nicest guys I’ve met in the to really get hold of a girl and fit Private Collection met Angus Taylor at London’s Brown at first? at the newly founded Greensleeves and their first 12” Barbican centre to discuss their complex career. (As business. you know? But roots, say now, Where Is Jah? credited to Reggae Regular (the name the history of the band is not well known we have like the Bob thing now, people Patrick Donegan: Reggae-man- of a local live showcase) being released under the chosen to edit this as little as possible). Was it through Castro Brown go out and whenever you play catalogue number GRED001 and hitting the Reggae age (laughs). For a short period that you played with 15,16,17? Bob Marley music everybody of time. wants to dance now. Back then it wasn’t the case so much, it by Greensleeves on their com- land that we were originally where the chord movements George ‘Flee’ Clarke: He was That’s a long story! was like at home with a spliff pilations. Was your publish- going to sign with? Island or went and the melodies. Then nice. Down-to-earth. Really, re- and listening, that’s where it ing shared at the time with Virgin. the bass player was good and ally, really nice. George ‘Flee’ Clarke: You have was. the drummer was good. If the to get yourself a century man! the original group? George ‘Flee’ Clarke: But CBS drummer played a sound that Patrick Donegan: We used to God, we don’t know what hap- Patrick Donegan: The two goes was top of the tree then, so it we thought it wasn’t good then have a lot of chats. He used to pened. together because it was the George ‘Flee’ Clarke: Yes, of was real prestigious to get a he couldn’t play it. I think the come to our dressing room and people who were playing the course it was, we set up a pub- deal with them. That’s what the only person who could play an- stuff and we used to chat. Patrick Donegan: It was a com- roots who also played the lov- lishing company for the whole management was working for. ything that we didn’t want was bination of management and ers rock. No matter how big band. You never got wages out the bass player, Trevor Salmon. George ‘Flee’ Clarke: He did persons being unhappy. In- and bad and ugly you are you of it because you were on the something one night which stead of getting together and still like to have it with a girl, road, that’s what you did for Patrick Donegan: Yeah, he was we never liked. They put pil- sorting it out, factions devel- innit? petrol, sometimes hotel bills a very progressive bass player. lowslips on and cut the eyes and oped in the band. So some and all that kind of business, He wasn’t really a reggae bass come behind us when we were people decided that they could you know, when you’re on the player. He used to study Stan- on stage, like Ku Klux Klan. We work together with some peo- Tell me about how you met road, before you got a deal and Chris Cracknell and the begin- ley Clarke, so that’s why the never knew, otherwise there’d ple and they couldn’t work to- all that. bass was so busy. be a little Bob Geldof walking gether with other people. This ning of the relationship with about now! Believe me! But we is what happens with bands. Greensleeves. Did you have any rivalries In those days reggae bands never knew. In a way I feel like We were on a European tour. with other British bands at and non-reggae bands did I’m glad we didn’t know. One day certain members of George ‘Flee’ Clarke: We re- the band decided that they the time? a lot more touring together corded Black Star Liner with At this point it gets confusing. wanted to go home. But it was Castro and then our manager Patrick Donegan: I think some At what point did you change than happens now. Who were crumbling anyway. The band then, Lloyd Patten decided we A lot of people think I & I, the of it was manufactured by man- the most unlikely people you was crumbling because of the were going to record it prop- your name to the Regulars? next album that came out of agement. There was supposed toured with? things I mentioned before. erly and we went to Gooseber- to be a rivalry between Steel your collective was a Regulars Then in the middle of the tour ry down on Gerard Street and George ‘Flee’ Clarke: CBS did Pulse and Reggae Regular but Patrick Donegan: Boomtown album yet it didn’t have the half of the band wanted to go Dennis Bovell was the engi- that. They thought “reggae” in- us and the guys were cool. We Rats. Regulars name on the cover. home, so half couldn’t play by neer. We recorded two tracks. ternationally was a big no-no, used to go to one another’s themselves. Lloyd took it to Greensleeves to them who don’t know the dressing rooms and chat and Patrick Donegan: Did a tour George ‘Flee’ Clarke: It was a who were just up and coming reggae music. So, to be hon- stuff like that. est, we did agree with them at with them. Bit unusual, bit faction. There was a faction of and they did a licensed deal, weird. Played to a lot of punk the Regulars. that was the thing then. They the time, so there’s no point in Tell me a bit about how you me saying they were this and audiences. bought half-page ads in the Patrick Donegan: You had Black Echoes and all that, so got the link with CBS and re- they were that, we agreed with them that it was a good move. George ‘Flee’ Clarke: Japan Regulars part 2 and you had the chart would be favourable, corded your first album. was another one. Siouxsie and I & I. So half of the guys went do you know what I mean? If Now, that album has got a the Banshees. Some guy that to Regulars part 2, which was you didn’t spend enough mon- George ‘Flee’ Clarke: It was a was down the Roundhouse, he what we did with Bryan Camp- ey on the advert the tracks fad. All the major companies distinctive sound from your looked like he lived there, I for- bell and half went to I & I. would become number 11 but then wanted to sign a reggae later albums. There’s jazz and got what his name was. Glam if you bought a half-page ad it band, all of them wanted a reg- soul, it’s what now people rock, punk people, he was. Patrick Donegan: Tony, Flee, could be number 4. But Where gae band. Like when the ska with hindsight would call a and drummie. So half was I & I Is Jah was good enough track bands were there, everyone and half was Regulars. and Black Star Liner was good wanted a ska band. It was that progressive roots sound. What was Bob Geldof like to So who made the I & I record enough track, with the help of kind of way. Then the A&R peo- tour with? and how did that come to- the half-page ads (laughs). ple, they’d come to the gigs. Patrick Donegan: You’re right. Why was there a schism in the gether? Patrick Donegan: Bob was all group? They’re still being re-issued Patrick Donegan: Wasn’t it Is- George ‘Flee’ Clarke: It was, to right! George ‘Flee’ Clarke: Well, the me, initially just the songs. It’s Patrick Donegan: (laughs) lead vocals from the original nitely. I mean that’s what the one bit. I don’t know what the Regulars, Tony Rookwood, he name says. But equally, apart hell it was supposed to be. was obviously a from Born With Nothing and and he wrote some songs and Armagideon Rock, to me it was There were some sheep that was it, there was me key- like a Burning Spear thing, the weren’t there? boards, we got Deuce Burke vibrations. from Jamaica to play bass and George ‘Flee’ Clarke: Yeah, Errol, the original drummer, So who was getting involved yeah! (laughs) Baaaaaaaa! I re- played drums and Tony did the in the Twelve Tribes at the member that Born With Noth- vocals and played guitar. The time? ing, but yeah I don’t know other singer Alan, lead vocals, what! That kind of fad, I don’t did backup vocals. He wrote see what it’s got to do [with a song about Mrs Thatcher George ‘Flee’ Clarke: Well, it was I & I, it was me, Tony the music]. I can see someone called Mrs Government and he saying “Ladies and Gentlemen, said “You still sit proud in your Rookwood and Alan Kingpin, which looking back, it’s like please fasten your seat-belt, pile of shit, um-hmm, doo- we’re about to take off”, I can doo”, which I thought was hi- an indoctrination, but also a form of cultural education. see that but... there wasn’t larious! (laughs). He’s a funny, even a bloody lion on there... funny guy, talented writer, nice A quick thing like the Twelve singer. He was there, definitely Tribes every month, say you there but doing his songs with- were born in January you were Just some sheep and a fence in the I & I and Tony was doing a Zephaniah, and Joseph, falling down... his songs within the I & I. which was Bob Marley and D Brown, they’re called the Fruit- Patrick Donegan: I’ve never ful Bough, and you come down heard that! That I & I album seemed to be to Libras which is like the Tribe a slower, less of a progressive of Dan and they’re in the Book George ‘Flee’ Clarke: And the roots album. What influences of Judges, they’re the Scales of sound of a Rasta pipe going Justice, and Libra’s the seventh came to bear on that? (makes sucking noise) in the -board, was it ‘82? “OK, let’s form another Reggae Greensleeves, I think there was star from the sun, and he’s the middle. Regular. Let’s use the name.” a problem with the publishing seventh son of Jacob, and so it George ‘Flee’ Clarke: Oh gosh. Patrick Donegan: When the So me and Trevor got together, issue with CBS because we was. Every month there were It was a very, very, very strong Bryan Campbell: I remember original Regulars broke up. then we asked Bryan to join were always signed to April colours, so you had the silver Rastafarian influence. Very, between there was machine Then what I’d call the Regu- and his brother was doing lead Music, and we thought that we for July and gold for August, so very strong. gun fire. I remember that. lars Part Two came, which was vocals, and Horseman. couldn’t then go and record for you have a dance and you have Bryan, myself, Trevor the bass Greensleeves because we were to wear something gold. I used Patrick Donegan: I think that George ‘Flee’ Clarke: And that player, his brother was do- So Bryan and Patrick your ver- already signed with CBS. A lot you lot, maybe not you but to grin my teeth! (grins) chillum pipe of ganja smoke. ing vocals, and Horseman on sion of the band cut the Jah of misunderstanding, so to be those guys were moving into He just came back one day and drums. Not the Jamaican art- on the safe side we just called their Rastafarian phase. Can I just ask about that I & I I thought “Bloody hell, where’d ist Horseman, the English one. Love 12” as Rebel Regulars. ourselves a different name. album? Was that one of those this come from?” You had I & I and then there Do you think that the vari- George ‘Flee’ Clarke: Like old BBC sound effects records was me and the bass player ous changes of name had any Then you recorded your third Twelve Tribes of Israel. Patrick ‘Dego’ Johnson: The that was playing in between who were like outcast. We lived negative effect on marketing album Ghetto Rock. Where did BBC! in Battersea (laughs). Nobody the tracks? yourselves? Patrick Donegan: Reggae Reg- would talk to us! So them that the link with the Mad Profes- ular wasn’t a Rasta band but I So Bryan, at what point did was there would play their mu- sor come from? George ‘Flee’ Clarke: Absolute- Patrick Donegan: Rebel & I was. sic and they didn’t invite us. ly! Spot on! Tony went off one you join the other faction? Regulars came up because They weren’t using the name Patrick Donegan: Because I day and came back (laughs). when we were recording with George ‘Flee’ Clarke: Defi- Reggae Regular so we thought used to engineer down there. I never liked it! I did not like it Bryan Campbell: I came on- That was recorded partly at George ‘Flee’ Clarke: There’s rent government? So what happened that led to There’s a big word in the reg- said to me that he’d like me to Ariwa and partly at Easy Street. always going to be riots. I don’t Kingpin and Tony not being in gae: “producer”. You have a listen to some stuff from his know what it is with Tory gov- Patrick Donegan: Me person- this new line-up? cassette tape and you’re a pro- band Reggae Regular. He ex- Bryan Campbell: Mad Profes- ernments and riots. Every time ally, I don’t think about gov- ducer, you know? So he’s still plained this stuff to me, it’s doing his producing. Talent- not straight-forward reggae, sor just recorded some of it. they’re in power there’s a riot, ernments anymore (laughs). Bryan Campbell: They were spotting and all that business, do you know what I mean? He and it doesn’t seem to take Politicians are politicians. To asked and they did briefly join. Patrick Donegan: I did the engi- much. Obviously I don’t con- me a politician is a politician I dare say. said to listen to the stuff and to tell him what I think. I listened neering on it. We just used the done it but I can understand whether it’s Labour or whether Patrick Donegan: All the origi- to the album and I just fell in studio basically. why. We can go back to the it’s Tory. I think I’ve grown up nal members were invited. Let’s just talk a bit about what youth, they’re a forgotten gen- now. you did in between incarna- love with it. I fell in love with the style of music, everything eration. Bryan Campbell: They were in- tions of the band. You played was just so different. When I Bryan Campbell: Absolutely, vited and... with Desmond Dekker, tell me Bryan Campbell: Riots are kind absolutely. I think a lot of peo- said yes, I would like to be in- volved in the project and with of cyclical, they come along ple think like that now. I vote George “Flee” Clarke: They de- a bit about that time. what you’re doing, it was really every few years. People get for none of the above. We’ve clined. very oppressed, they get very seen it all. Bryan Campbell: Yes, I played just to do some live shows and with Desmond Dekker. It was then it moved on to recording. frustrated, and that’s how the Bryan Campbell: ...in some mainly touring with him, pret- I’ve just been blown away with masses vent their anger. It was In part two of our interview form it didn’t work out. Some ty much all over the world for the music, the song writing, like that, certainly for me, in with legendary London reggae declined, some decided it nearly ten years I believe. I was everything about it, the whole the Notting Hill riot in ‘76. group Reggae Regular Angus wasn’t for them and it just nat- only going to do it for a couple vibe of it. I feel like I was there Taylor discusses their latest urally took on this progression of years. It seemed like a good from the beginning not just George ‘Flee’ Clarke: You start- album ‘If Only’ distributed via where we’ve ended up with us gig. It was good money and joined it at the end, you know On that album, again there ed it didn’t you? (laughs) their old label Greensleeves. four and a fantastic album. We also hear about their new love ska, so we did it. Had a re- what I mean? (ALL laugh and was mention of Margaret ally good time with it. clap) It’s just been a wonderful Bryan Campbell: I was there singer Patrick Johnson, what George “Flee” Clarke: In the old Thatcher. At the time there experience. These guys are a and I saw it all develop and I the members got up to while days, of the originals found- bit older than me. seemed to be quite a drive can understand exactly why the group was defunct, and ers, Alan was angry because What was he like to work to sing about social issues. it developed. It was the whole their plans for 2012... his stuff that he wrote, the with? George “Flee” Clarke: Not by Where did that come from? thing back in the 70s with the band wasn’t playing it because much! (laughs) And is that something that SPG and the Stop and Search Why did you decide to get the band, wrongly or rightly, Bryan Campbell: Fantastic guy. thing. I think Britain was just thought maybe it wasn’t good Very quiet, completely differ- the band is still involved in? back together as a group? Patrick ‘Dego’ Johnson: Me getting used to having black enough. Not saying he wasn’t ent to how he is on stage. I and Flee were even born on the youth on the street and the good enough but Alan’s a good think a lot of brilliant artists are George ‘Flee’ Clarke: Yes. In Bryan Campbell: It’s about the same day! Many years apart! police got it very wrong and I love song writer. No one per- like that, really open on stage, one word: wailing. We’ve been songs. We all love the songs (laughs) No, these guys, I’ve think Notting Hill riots was an son decided what we were go- really big on stage and in pri- wailing for years and years and so much and we just thought it learnt a lot from these guys, explosion of frustration about ing to play, we’d write songs vate they’re really quiet, really years. You feel oppressed and would be good for some of the it’s been an absolute pleasure the way black youth were be- and we decided we’re going reflective. He was a very nice trod upon, so that’s always go- unrecorded stuff to record it working with them. It’s been a ing treated. I know reasons are to play this and we’re not go- guy. ing to be there, but you find a and re-record some of the ear- fantastic journey so far and it’s a bit different in the last riots, ing to play that. Then Alan had different way now. If you’re go- lier stuff. It’s just a love of the only been a couple of years I’ve it’s more economics but it goes gone from Rasta to becoming ing to write a song about that songs really. You also have a new singer in been working with these guys back to the whole social eco- a Muslim. And why he’s not in now it’s going to be written dif- Patrick Johnson. Patrick, tell and I’m just looking for the nomic issues back then. It was this line-up, he wants to do his ferently, it’ll be more succinct Patrick Donegan: I would say it next 30 years, is it? (laughs) a real struggle. stuff called Islamic Jihad. me how you came to join the rather than with a “kill the was like unfinished business. group and what your experi- It’s been wonderful, absolutely white people” kind of lyrics. fantastic. Now that the Tories are in George “Flee” Clarke: (laughs) And what’s Tony up to now? ence has been like. again as part of a coalition, Unfinished business! In a way. What was your reaction to the Patrick ‘Dego’ Johnson: Patrick What were you doing before what do you think of the cur- George “Flee” Clarke: He’s riots in the summer? still doing his single project. Donegan called me up and he this? Patrick ‘Dego’ Johnson: Before Patrick ‘Dego’ Johnson: If these pos weren’t quite right. you know. I think Where Is Jah him, still versatile but a bit back in the old days. It was this I was in a reggae band. I things come along they’re just was the first track that they re- more of a roots artist as he’s like: just press a button, re- was working with Patrick Don- pluses. I’ve still got my award George “Flee” Clarke: They leased, so we were there from been recently. peat, and that was it. So any- egan, he was producing our on the wall, sometimes I walk were too fast. the beginning. one could make rhythm tracks, reggae band at the time. We past it and don’t even notice you know? were called Private Collection. it’s there. It’s all about the re- Patrick Donegan: So we just George “Flee” Clarke: It was Patrick Donegan: The roots We did an album, a few singles, wards of the people, how peo- wanted to play the songs like good enough as well. Regard- stuff that he’s doing now, he’s Patrick Donegan: Anybody the band got quite popular ple receive your songs. That’s they were supposed to sound. less of how long-standing, if always been very sort of rootsy could make music then and back in the early 90s. my greatest reward. it’s not good enough they’re in his ideas and stuff like that, it didn’t have to sound good Bryan Campbell: I think also not going to touch it. so doing the roots is just a nat- because the people who then George “Flee” Clarke: Very frankly, we seem to blend bet- ural progression. controlled the dances and stuff popular, number one in the ter than the first band vocally. like that weren’t musicians but You also of course have a George “Flee” Clarke: From ex- charts! long-standing relationship they wanted to become musi- perience I think he’s got older cians, so the real musicians Tell me a bit about the re- with Tippa Irie. How did he and it’s something that he’s al- Did you win at the British had to sit down. cording of the album. Where come onboard to re-cut Black ways wanted to do, so maybe Reggae Awards? Would you it was done, who had produc- he’s got the chance now. Star Liner? So you didn’t take the tunes like to win another one now tion duties, who mixed it and from the new album and go it’s been revived? so on. Patrick Donegan: On Tippa’s Patrick Donegan: And he’s nev- hit tune Hello Darling, that he er been a kind of slack deejay. and test them in the dance? Patrick ‘Dego’ Johnson: Yes, we Bryan Campbell: Well, Patrick had a national charts hit with, won two actually. Best single has a studio and I have a stu- we played on it and I did the It’s very interesting what you Patrick Donegan: No. and best vocal. We got number dio, so between the two studi- production for that, so that’s were saying earlier about lis- The album, as you’ve men- George “Flee” Clarke: But we one hits in the charts, number os we constructed the tracks, how far we go back. I just took tening at home to certain mu- two, we got voted the best vo- tioned already, has got some have that they would between the two studios we the song to him and I said “Tip- sic like Bob Marley back in the cal band, we got a couple of re-cuts of some previously mixed the tracks. It was a year pa, I want you to chat on this play anywhere in any dance, awards as well. It was fantas- recorded tunes but also new long process. for me”. He’s a good friend day. Do you think that today, believe me! tic, we had a brilliant time! It things? Were you trying to of mine, he only lives down or pretty much since the digi- was all learning and just enjoy- improve on what you’d done Patrick Donegan: More like two the road. He lives in Thornton tal era came in, there’s been a You mentioned Bob Geldof ing ourselves at the time. At the years! (laughs) Heath. So it was very easy. lot more focus on how things earlier. What did you think time when Patrick asked me to before? sound in a dance and less fo- about the controversy back join his band my band was just George “Flee” Clarke: But George “Flee” Clarke: He can’t coming towards the end of a 20 George “Flee” Clarke: We want- cus on things being produced in about 2005 with his Live ed to improve. We thought we me and Patrick, we decided hide, can he? year thing, we were just wind- which tracks were good mixes to be heard in the home? 8 concert where several art- ing down a bit, then it was like could improve on what we’d ists, including reggae artists, done before. Then new stuff, (laughs). Patrick Donegan: He comes to “This is a new start for me”. Bryan Campbell: I would think Bryan mainly said we should my studio to do stuff as well, spoke up about the fact that Maybe another 20 or 30 years! so. I don’t go to many dances listen to some new stuff, I think Your long-standing relation- so if I ask him to do something there were no reggae artists (laughs) To be honest I didn’t these days but certainly there’s Patrick was involved in it as he’ll do it and if he asks me to go into this to look for any kind ship with Greensleeves, was a lot of detail lacking in the pro- and no African artists in the well. do something for him in the of awards. The reward for me that how you got the link studio I’ll do it. duction of reggae these days, concert? is people buying the music, with VP to distribute the al- which is why we’re trying to do Patrick Donegan: I think that people coming to me and say- things differently and actually George “Flee” Clarke: At that some of the old stuff wasn’t re- bum? He’s been going in kind of a ing “Oh, I love that track”, that putting more detail in there. point I was angry. I wasn’t an- corded or done very well roots direction himself with kind of thing you know. Bryan Campbell: Pretty much gry at Bob, I was angry at us his last album with the Far Patrick ‘Dego’ Johnson: I would for breaking up (laughs). We George “Flee” Clarke: Tempo- Patrick Donegan: I’d still like East Band. It almost seems say technology took over in would have been there! That’s wise. Patrick Donegan: We have a the award! very long-standing relation- like a kind of continuation in a different way, so you didn’t the God’s truth. We would have need the skills like you had definitely been there. Patrick Donegan: Or the tem- ship with Greensleeves, as terms of a new direction for Kevin Batchelor Grand Concourse in Ska.

Review by Valentin Zill Noel Alphonso, to name just a with a good shot of rocksteady. few. With Steel Pulse and The Here and there, jazz and blues It is usually the singers who Skatalites, he toured the world. influences add extra flavor. get most of the music lovers‘ attention, not the musicians Backed by the latter, he de- -born Jonny Meyers - although they are just as im- buted his solo performance ca- (The Stingers ATX) wrote the portant for the overall product. reer in March 2008 in Russia. songs. Only the two bonus A lot of the instrumentalists Batchelor‘s first solo album tracks, Where Are You Going who back our favorite art- ‘Batchelor Party’ had been and There Was A Time, have ists have musical skills that released two years earlier on been written by Kevin Batch- go way beyond of what they Living Room Records. His sec- elor himself. The album is in- Final question, what’s the really well, and then certainly to go down, let’s call it roots, or can show in their position, ond solo effort, ‘Kevin Batch- deed a grand concourse of next step? start working on the second al- you want to go down a fusion. but only rarely do they de- elor‘s Grand Concourse’, had established New York ska mu- bum. George has got loads of It’s so difficult to separate the cide to step into the limelight. been released in May 2011 in sicians, including Brooklynites Bryan Campbell: Well, promote songs. two. I’m really excited about the US on Mossburg Music. Eddie Ocampo on drums (who this album and do some live the fusion side of things, espe- One of those gifted musicians Thanks to the new born Ger- “replaced” for The shows. Will it be mostly new compo- cially the way Bryan and Pat- who did just that is Kevin Batch- man ska and rocksteady la- Skatalites since he passed sitions or unheard composi- rick work and some of the stuff elor. Born in St. Louis, MO in bel Rocking Records, it is now away), Dan Jesselsohn on bass that went down that road. I’m Patrick Donegan: Do some live tions? 1960, he was inspired to learn also available in Europe (dis- (The Toasters, New York Ska gigs. really looking forward to that, to play the trumpet by Miles tributed by Broken Silence). Jazz Ensemble) and Tony Orbach so when you think about writ- Davis‘ Milestone. In his twen- on saxophone (Urban Blight). George “Flee” Clarke: Well, yes ing, you’re writing with that in Bryan Campbell: We’ve got a really just talking to you what ties, Batchelor was a scholar at ‘Grand Concourse’ shows once Keyboard player Gideon Blu- few lined up. Just hopefully do mind, that these two are really the renowned Berklee College more not only Kevin Batche- menthal hails from the Bronx. has come over strong, there’s going to take it to another level. that and hope this album does a split as to whether you want of Music (of which Duke Elling- lor‘s outstanding skills on the ton is an honorary doctor). He trumpet, but proves that he is ‘Grand Concourse’ is a world- went on to prove his excep- equally at home in lead vocals. ly-wise declaration of love to tional musicianship working This album breathes the expe- music in general and to ska/ with a rich array of orchestras, riences of the Bronx urbanite early reggae in particular. Lov- producers, singers and bands - musically, but even more lyr- ers of rootsy ska find a lot to - among them The Full Monty icswise -, evoking moods oscil- discover here, no matter if they Orchestra on Broadway, Rihan- lating between mellow and mel- are urbanites or rural dwellers. na, Jimmy Cliff, Shaggy, Sug- ancholic. The sound is firmly ar Minott, Sidney Mills, and based in classic Jamaican ska, Lee Perry & The Upsetters Sizzla High Plains Drifter A fine collection that showcases Perry’s The Chant development as a producer in those Yet another decent album from Sizzla. formative years.

Review by Karl Pearson the horns that were a trade undisputed butt, shaking, funk Review by Erik Magni deejay and listen to his voice. I have to confess I didn’t like this mark on many of Perry’s early flowing through their veins Soon he met up with Homer Har- album at all the first five times I lis- Lee Perry has had his works productions. Other tracks dis- aided by his James Brown, Otis I get the feeling that several Sizzla ris – who produced ‘Crucial tened to it. But after a while it sank collated and represented on playing that unashamed Spa- Redding growl. Jimmy and the albums in recent years have been Times’ two years ago – and later in. Or most of the tracks at least. umpteen compilations over ghetti Western influence are Inspirations ‘Aint No Love’ is marketed with slogans like “going on Bobby Digital and Phillip Bur- Reality tunes dominate the set the years but this brand new title track ‘High Plains Drifter’, one of those soulful - back to the roots”. The man must be rell, two producers responsi- and Sizzla voices his dreams of album from , a re-cut of Sir Lord Comics clas- esque numbers while the Ethi- a veritable tree by now. Anyhow, the ble for Sizzla’s best material yet. peace, hopes of a marijuana le- featuring the Upsetters and sic ‘Django Shoots First’ (‘Bron- opians Rasta praising ‘Awake’ latest album where he travels back ‘The Chant’ holds thirteen tunes galization, anger with injustices in covering the period from 1968 co’ in the UK), ‘The Man With shows Perry’s willingness to to the roots is made together with and blends one drops with dance- the world and frustration over the to 1973, is probably the first No Name’ and ‘Amigo’, another produce and allow Rastafar- sound system man and producer hall, winding synth loops and people’s struggle in Zimbabwe. shall we say new collection of re-cut this time though of the ian beliefs and ideals to be Caveman, who Sizzla met while still hip-hop sounding beats accompa- ‘The Chant’ is yet another decent his work many will have heard Upsetters ‘Sipreano’, a track put to music when many of the in his teens. He used to visit Cave- nied by Sizzla’s high pitched sing- and competent effort, but far from for a long time. The reasons for inspired by a character in a islands producers would shy man’s sound system after school, ing and hardcore deejaying. And the albums he made in the 90’s. this is that despite these cuts 1966 Steve McQueen western, away from these. Another way being around 40years old what Nevada Smith. The song opens in which Perry pushed bounda- we have are 20 undocument- with one of those classic spo- ries comes by way of the Mel- ed singles (including one dub ken Perry intros where he could lotones ‘What A Botheration’, Tappa Zukie plate) that for whatever reason be advising a fellow gunslinger where in 1968 he used the never made it out of Jamaica. that “yesterday you where my pans, much as he did in ‘Handy From the outset of Perry’s mu- very good friend, today you are Cap’, to provide a new feel to X Is Wrong sical career he was regarded my enemy, that’s bad, you’re an existing piece of work. This as a producer who wanted to no good amigo” or maybe its original “alternate mix” would Tappa Zukie’s welcome return. push musical boundaries and just another pop at producer/ soon become one of Perry’s this helped that set him apart artist he has just fallen out production trademarks at his from other Reggae producers with? You never know with fabled Black Ark studio and is Review by Erik Magni Stars. He was for example the pro- doesn’t have the same amount of ex- and artists. He had a broad Perry! Then there is the plainly now considered the norm in ducer behind ’s al- citement and energy as it had in the range of influences but his titled, ‘Boss’ featuring ex-men- everyday part of music market- Bodyguard turned deejay turned bum ‘Putting Up Resistance’ – prob- 70’s and 80’s. The vintage feeling re- main passion was for US R&B to star Count Sticky, who also ing. This great collection show- producer Tappa Zukie is back with ably one of his best albums to date. mains throughout the set, and high- and Spaghetti Westerns. He provided many of these spoken cases Perry’s development as his first album since the 96’ released ‘X is Wrong’ is Tappa Zukie’s return lights include the Prince Alla combi- married the two together with intros along with exulted vocal a producer in those formative ‘Deep Roots’. And it’s actually one of to the spotlight. It’s a consistent set nation Rasta People and Judge I Oh great effect for his UK Top 5 hit blasts on many of Perry’s ear- years and is a must for any fan his best albums since the 70’s. But that holds 14 tracks, over which he Lord over the much versioned Drum ‘Return of Django’. That perfect ly productions. Another Perry of Boss or Early Reggae; in- this doesn’t mean that he has been chats conscious and cultural lyrics Song riddim. Maybe not as strong marriage is carried on here on fave is , who hit the deed I’d say it is a must for any absent from the music business. over classic vintage riddims sup- as his albums and productions in opening track ‘Val Blows In’ UK #1 spot with Ansell Collins music fan as a display of what During this period he has success- plied by Jamaica’s top session mu- the 70’s and 80’s, but a welcome with the tenor saxophone of on ‘’ turning up helped to make Perry such a fully produced other artists as well sicians. His voice has changed over comeback for this prolific artist. in fine fettle high- with ‘Next To You’ and ‘Sitting highly influential producer. as running his labels Tappa and the years. It’s deeper and darker and lighting the R&B influence in And Waiting’ two songs with Sly and Robbie

Necessary Mayhem Blackwood dub

Trilogy Sly and Robbie free your mind.

Review by Erik Magni lan and as well as most mark – bouncy, driving bass lines If you’re new to Necessary Mayhem this well-known reggae artists from the along with pounding, tight drum- is the perfect place to start. Jamaican duo Sly & Robbie is most 70’s up until today. Their first album ming complemented with exercises likely the world’s best known riddim under their own name in years is the in studio wizardry. The sound is rich, Review by Angus Taylor different Pirates) highlighting section and have probably played recently released dub album called full and heavy throughout. Since Then we hear another Junjo re- the analogue-ears-to-digital- on more records and sessions than ‘Blackwood Dub’, recorded in Jamai- there are no traces of vocals to be The shift in focus towards al- do, Joker Smoker, which the im- methods, historic-melodies- most other notable outfits like Ma- ca at the Harry J studio with notable found it can be a bit dry though. But, bums for the UK’s unstoppable print’s founder-producer Curtis meets-heavy-basslines ap- fia & Fluxy or the Barrett brothers. veteran musicians Sticky Thompson ‘Blackwood Dub’ is nevertheless a Necessary Mayhem label con- Lynch released as an EP back proach that is his trade. The And they have a stunning catalogue and .The ten tracks are fascinating cavernous and vibrating tinues with the first in a series in 2009. Ziggi returns with download release includes that spans over four decades, includ- both refurbished vintage riddims as journey that will set your mind free. of rhythm trio compilations. Smoke in the Air, followed by two extra tracks: YT’s Credit ing working with world renowned well as more contemporary ones. This vinyl and digital down- a Mayhem institution in pure Crunch (on the Joker) and Am- artists such as , Bob Dy- And all bear the Sly & Robbie trade- load release collects three of deejay Mr Williamz on the pun- sterdam singer (and brother to their biggest backings for the gently boastful No Cigarette. Clarence) Joggo Seedorf’s Don’t longformat listener, throw- Stop The Music (on Helicopter). Konshens ing in a few tweaked mixes Next we revisit the works of and some attractive retro art- NM maestro Gussie Clarke The vinyl edition comes with work to appeal to the collec- with the Pirates rhythm. Ip- a sleeve by Israel’s My Lord tor in the brand’s traditional swich, Suffolk’s bard of bars collective (of Jahtari and Mun- Mental Maintenance singles buying audience too. YT joins Million Stylez, Mr Wil- go’s HiFi fame) and is part of liamz, Blackout JA, Iverse and a collectors set whose spines First up is Mayhem’s no-intro- Jah Knight for the heaving, re- will form one greater image. An urban and contemporary debut from duction-needed relick of John mixed Champion Sound. The If you’re new to Necessary Konshens. Holt and Junjo Lawe’s Police in gruff JA then pairs with former Mayhem and wondering why Helicopter, featuring Sweden’s Aswad frontman Brinsley Forde they’ve been making waves Review by Erik Magni R&B influenced dancehall.Some of makes an appearance on the new high-demand singer/deejay for the cultural Of since 2006 this lovingly-as- the album’s strongest moments have version of The Realest Song, and Million Stylez. NL based ‘Sta- Africa before YT gets a further sembled compilation (like its A few years back brothers Delus and been heard before – No More Tears this fresh mix exceeds an already tian Ziggi Recado’s increasing- chance to shine (and slap Si- predecessor ‘Future Cuts’) Konshens dropped a brilliant joint on Frenchie’s Rebellion riddim, Sim- strong original. Konshens should ly raw and angry style is per- mon Cowell!) with Real Music. is the perfect place to start. effort album under the name Sojah. ple Song on Niko Brownie’s Set It Off however rethink the waste-of-time fect for Pretenders, the final Now – three years later – it’s time riddim and Represent on Chimney long intros to some of the songs. In track on his acclaimed self-ti- Each miniseries closes with a for Konshens debut solo album, an Records’ Island Vibes riddim. There Gal Dem A Talk the song doesn’t be- tled third album from last year. dub by Lynch, (including a very album preceded by several strong are also a bunch of tasty unreleased gin until after more than one minute, singles and riddim album cuts. And cuts, sure to make your mouth wa- and I’m not keen on hearing what many of these have also found their ter. The funky remix of Rasta Im- appear to be messages on Konshens way onto the album. ‘Mental Main- poster features guest artists Tarrus voicemail. Luckily enough the long tenance’ collects 19 tunes with Kon- Riley, Sizzla, Darrio and Wrath Riley intros are only on three songs, so shens melodic singjay style set to and is somewhat reminiscent of the time wasted is less than two minutes contemporary one drop and urban, Midnight Hour riddim. on an otherwise excellent album. Stand High Patrol Revelation Rockers Midnight Walkers Jah Praises

An eclectic range of influences for this A reggae revelation. dynamic and varied album.

Review by Karl Pearson influences in to the roots and Nitty Gritty on jokey sounding Review by Erik Magni The cultural lyrics are accom- digital reggae melting pot to The Bar a song about the de- panied by sparse arrange- Stand High Patrol formed create a hybrid that these three scent into alcoholism, a soft, Most reissues that I’ve come ments with ruthless bass just over 10yrs ago in Bri- self proclaimed “dubadub almost mystical, approach on across are new issues of al- lines, a lonesome saxophone, tany (France) when two guys, musketeerz” call dubadub. Big Tree, a clever little rap for ready released albums or col- keys, guitar, drums and fine Rootystep (selecta) and Mac- What exactly that all means Home Made, telling the story of lections of hard to find singles. tuned harmonies. And the Gyver (operator), decided to I’m unsure of, but one thing the Stand High Patrol who come It’s a rare occasion when a relentless grooves hit you create a sound system so they I do know is it sounds great! from the west coast, that’s of label presents an album re- hard. Straight in the chest. could share their passion for France not America and down- corded way back, but not re- roots and early digital reggae. These fertile backdrops are town LA, the semi-spoken leased. But Bristol Archive Each tune also clocks in over They were soon joined by MC then vocalized by the MC Pupa Muskateer Sword which re- Records has done just that. five minutes and evolves into an Pupa Jim and started touring Jim, whose name I am already lates to finding solace in music instrumental or dub exercise. their homeland, building their familiar with having heard him and lyrics as opposed to hard ‘Jah Praises’ contains five reputation and gradually de- on last years ‘Forward Ever’ al- drugs and violence all the way previously recordings dating It’s a rare event to come across veloping their own style and bum from Mungos Hi Fi on Boat to a robotic monotone for the from 1979 by a group called an entire lost reggae album, sound that resulted in several People. This song appears on dark, rumbling Speaker Box. Revelation Rockers, who and this album should of releases on 7 and 12inch. Now this album also, though I pre- would soon form the more course have been released in they have put all this hard work sume in its original form which With its penchant for low end well-known outfit Talisman. the late 70’s. And Bristol Ar- together and have just un- has a brighter ska feel to it as it frequencies mixed with an ec- chive Records has done the leashed their debut long player. romps along. Pupa Jim is a very lectic range of influences this This album is something of a right thing to put it out more impressive MC as he tailors his dynamic and varied album time capsule and deals with the than three decades after it Their sound I would describe deliver with such panache that should appeal not just to reg- realities of life in 70’s Britain, was recorded. It was long over- as having the deep and heavy each track sounds different gae fans but also to those of hip a time of racism, mass unem- due, but well worth the wait. bass tones, much like Mungos from the last and it is hard to hop and alike ployment, industrial unrest and Hi Fi, the quirkiness of Damon believe that only he is supply- and the genre of “dubadub” poverty. A reality not far from Albarn’s and then com- ing the vocals throughout the is most definitely something today with riots and financial bines dubstep, techno, house album. This ranges from that more of us should get into. constraints around the world. and hip hop along with other bizarre undulating style akin to JARIA Reggae Wednesdays Week #3 - Reggae Gone Global Report and photos by Steve James

Reggae Wednesdays’ week #3 in Kingston put on by JARIA for Reggae Month. The ongoing series of events for Reggae Month put on by Jamaica Reggae Industry As- sociation continued to gener- ate huge interest in its second week. Emancipation Park came alive once again with high en- ergy performances by Jah Ma- son, dub poet Oku Onuro and others on February 15th. Initial- ly appearing on stage with the Messenger , radio per- sonality and dub poet Mutaba- ruka delivered one of his usual entertaining performances with some witty poems. French group Broussai, who are cur- rently in the island, also deliv- ered a great performance and received the seal of approval started off singing some of honouring the . With with the audience clapping in ’s classic hits and his felt hat leaned to the side, appreciation. One of Jamaica’s other songs also made during his sideways movement on new emerging live bands Blue that time. With his widow June stage, neatly dressed before Print also showed that they de- Isaacs looking on, unbuttoning his shirt and ex- served to be billed for the show also played a tribute to the Cool posing the trademark merina, as they look forward to partici- Ruler, . Lead by he gave the audience a true im- pating in the world competition the band leader and bass play- pression of how the Cool Ruler which will be held later on this ers, Flabba Holt, the audience performed on stage. The show year. The show was brought could easily relate to every ended at around midnight with to a climax when Roots Radics bass line that was played. Pop- the Emancipation Park audi- played several hits that were ular MC Junior Sinclair read off ence feeling fulfilled knowing recorded during the Chan- the names of the original band that quality reggae music was nel One era. Deh Deh whose and those of his current mem- still alive and kicking. real name is Carlton Scarlett bers before slipping into his set Tiken Jah Fakoly in Quebec I-Wayne, Fantan Mojah and Ijahman Levi in Warszawa Report and photos by Martial Labarthe Report and photos by Bartek Muracki last artist to enter the stage before Ijahman Levi Check these photos of the Ivorian Check the photos of the artists on this very special evening in Warsaw’s Prox- singer in Québec. ima club. I have already seen his performance in on February 21st on Summerjam Festival and expected a good, Tiken Jah Fakoly was performing at the Grand I couldn’t miss another occasion to hear the vet- powerful show. And so it happened! Fantan en- Théatre de Québec in on February 23rd. eran roots singer Ijahman Levi live and in the club tered the stage wearning his inherent “Zion” Here are our photos of the event. venue for the very first time. The mini-tour over backpack even got a strong feedback from the Poland organized by Buxna Agency spanned massive from the very first song. Fantan, who Wroclaw and Warsaw and was reinforced by is a Rastafarian and member of Bobo Ashanti recognized Jamaican artists Fantan Mojah and puts a strong emphasis on social issues and I-Wayne and a short set by Marlene Johnson. advocating the poor, while spreading the spir- However short, I-Wayne set was a really memo- itual message and praising King Selassie I. The rable one and artist’s skills clearly shouted for audience went crazy when they heard Hungry, more attention (summer festivals, perhaps?). Corruption and Hail the King, signature-tunes of Polish massive could hear a vast selection of his Fantan. Highly recommended! Finally Ijahman tunes and hear some spiritual advices from the Levi came on stage. The setlist comprised his ‘Life Teachings’ author. I was really pleased to greatest songs, including Witness, Africa, Ring listen to artist’s greatest hits Can’t Satisfy Her The Alarm and extended, combined versions of and Living in Love and I definitely can recom- classic Jah Heavy Load and Moulding. mend seeing I-Wayne live. Fantan Mojah was the Rebelution and The Green in Oakland

Report and photos by Lee Abel and acoustic versions) entitled ‘Peace of Mind’, de- buted at #13 on Billboard’s Top 200 chart, coming in #1 in Reggae and #1 in Independent albums. It also placed #4 on iTunes. Pretty impressive. The energy There is no place like home... and anticipation on the densely packed dance floor California. Rebelution’s Peace Of was palpable. The first opening act was hip hop art- Mind Tour on February 18th. ist Pep Love (who later joined Rebelution on stage). The beautiful Fox Theatre in Oakland, California sold After a short set, The Green, a promising young reg- out early to enthusiastic fans of California’s leading gae band from Hawaii, kept the vibes moving. And homegrown reggae band. Originally formed in 2004 then, in a swirl of ganja smoke rising from the sea when they were in college in Santa Barbara, Eric of faces and dancing among the colored lights, Re- Rachmany (vocals/guitar), Rory Carey (keyboards), belution took the stage. The crowd, even the guy in Marley D. Williams (bass), and Wesley Finley (drums), a bright yellow banana suit squished up against the have stuck together and carved out a niche for them- stage barrier, sang along, swayed and danced and selves. Their latest album, a 3 CD set (including dub threw their arms up in the air. Prezident Brown and Rivah Jordan In Berkeley Report and photos by Lee Abel singer and producer, he’s also experienced in video and photography production. No oubt he has a long career ahead of him. He wrote, sang, mixed and produced all the songs on his EP “Jah Works”. Pure Prezident Brown links with Riv- roots and culture, Prezident Brown has been enter- ah Jordan for EP Release Party in taining, informing and inspiring music lovers since Berkeley, California. the 90’s and just gets better with the wisdom and On February 23, 2012, a full house at Berkeley’s energy of age. He performed from his extensive li- Ashkenaz Community Center celebrated 2 new brary, including Rough Road, along with his newest EPs: Prezident Brown’s “Do Thy Work” and Rivah songs Do Thy Work, I Love Jah and Life is A Gift. Ri- Jordan’s “Jah Works”. Multi-generational and eth- vah Jordan co-wrote, produced and mixed Prezident nically diverse, the vibes were sweet and joyous Brown’s new EP, and sang backup on stage. Brown’s both on and off the stage. Rivah Jordan opened the conscious uplifting lyrics were delivered flawlessly. show. His father is Jack Radics so he’s no stranger Clearly he relishes his role and is highly loved and to the stage. With reggae in his DNA, this youth- respected in return. Yes Prezident Brown, “Life is a man is multi-talented. Recording artist, engineer, Gift” and so was your show. The Making of Clinton Fearon’s Heart And Soul The Gladiators and he also is a good friend of Derajah Report and photos by Catherine Fearon little money and spending almost all of it in food and beers”. But the place is not here anymore. Clinton. Clinton Fearon was in Jamaica Derajah is passing by. The young artist was on with Chapter Two Records to Nicolas is making pieces of interviews with Clin- Together we are driving around the Cross Road the Inna Di Yard Tour in the summer of 2010, shoot videos and photos for the ton on different places of the beach and Roland area, Kingston 10, and we decide to stop at a when Clinton was guest of the acoustic forma- captures everything to prepare a short video. corner to start shooting the video. tion lead by Chinna Smith. They met then and promotion of his new acoustic al- stay in touch since. bum Heart & Soul, set for release Baaba Clinton is sitting on a box, playing and singing in late March. We got this report Marvel Not. Roland is making several cuts. Peo- Pictures of the picture of the cover… from his wife Catherine. Later in the day we move to go at the crossroad ple around are checking what’s happening and of Waltam Park Road and Hagley Park Road, slowly get closer to Clinton and enjoy the music. When the day goes down and the light get The trip to Jamaica has been planned for a while with West Kingston. A busy place in the middle of the A little girl is attracted by the guitar and come to smooth, Roland is making some pictures, think- the purpose to visit Clinton’s family on the country ghetto. The Gladiators were often passing by a touch the strings with smiles and laughs. ing one of them could be the cover for ‘Heart side and in Kingston. Closer to the date, Nicolas barber shop installed in the building corner. And Soul’. He was right! Maslowski from Chapter Two Records learnt about our travel dates and realized that he will be there “Yes I know it’s strange for Rastas to have a bar- at the same time to shoot videos with Derajah and ber as a friend but so it is!” says Baaba with a Winston McAnuff. So we finally met and worked a big smile. couple of days together in Kingston. Clinton remembers too. Friday 13th January 2012 “Me and Baaba, we were playing guitar some- One Love times when there were no customer. Albert and Gabby were passing by too, we were hanging on Today is Clinton’s birthday, and we are on together in a little room on the back of the shop. Walsh’s Beach, East of Kingston. The idea is to Baaba was cool.” make a video clip of the song One Love and Clin- ton thought about this place because of a tree Saturday 14th January 2012 that’s special to him. Marvel Not “It is the one closest to the ocean. I loved to sit Another big day in Jamaica - tonight in Ochos here to play guitar and write during the week, Rios takes place hosted by Tony Re- it was quite. I wrote a lot of songs here. I wrote bel, one of the most respected festivals among Chatty Chatty Mouth here and some other songs the Rasta community. that I recorded with the Gladiators. But many other songs never got to be recorded, or only on For us the purpose is to shoot a video clip of a little cassette player I was using not to forget the song Marvel Not. Clinton wrote it during the them! I still have those cassettes actually.” rough times of the early 70’s. We did not know if the tree would still be there, “The idea was to give support to each of us. Times but yes, here it is. And Roland Allard – the pho- were really rough with politicians and gun men tographer – is already recording the first mo- working together. But we have to go through and ments of Clinton and his tree, after something we’ll do it. Marvel not.” close to 40 years of separation. In the street Clinton remembers that Gladiators were playing close by often on Sundays: “We used to play at We stop at Sonic Sound studios to pick up Barn- Walsh’s bar. We were playing on Sunday for a abas, drummer. He worked on some songs with

Ijahman Levi in London

Report by Angus Taylor / Photos by Andrew Thompson Chris Blackwell was rumoured to have insisted that Ijahman lengthen tracks such as Jah Heavy A ninety minute musical medita- Load and Jah is No Secret so his debut album tion cloaked in reverb and delay. would match Van Morrison’s Astral Weeks, all the material showcased had a lengthy, rambling “In other countries I entertain fans. Here I enter- feel. The music was rather late 80s in flavour tain friends, family and fans”. With these words with synthesised panpipes and brass, while roots reggae veteran Ijahman Levi appraised his the vocals were cloaked in reverb and delay via London audience on one of the final nights of guest sound engineer and tour manager Bhakti his European tour. Ironically Ijahman, who lived of Buxna Agency. His clinical work at the desk in the capital as an adolescent, performed be- gave an echoed impetus to opening PAs by red fore an unusually international turnout for the turbaned singer Ras IWhan and deejay Blessed Hootananny, attracted by the man who joined Barak. Promoter Cecil Reuben’s own JahRev- Bob Marley as one of flagship elation Muzik sound featured dubbier toasting reggae signings in the 1970s with the albums than usual from Brother Culture and MC Troop- ‘Haile I Hymn’ and ‘Are We A Warrior’. Bob him- er, buoyed by their nomination in the British self, who would have been 67 this February, was Reggae Industry Awards. “There are many ways honoured by the songs Bob Marley (along with to dance - not just with your feet but with your Peter Tosh, Burning Spear and Jacob Miller) and eyes and with your ears” Levi sermonised cryp- Armageddon Warriors (on the rhythm to his clas- tically towards the end. And indeed, there was sic War). “Bredda Bob and I are still friends even not much physical or verbal interaction, only si- though he is not here in the physical” said Levi, a lent swaying to a ninety minute musical medita- fellow pupil of , with a sense of serene tion, without wild peaks and troughs. Yet even if sanctity that pervaded the entire set. Often, dur- this was a less boisterous night than recent big ing instrumental breakdowns by his Roots band promotions at the Hootananny, it was received (featuring some agreeably un-metallic guitar with consistent applause and without complaint leads from Stephen “Marley” Wright) the white- by the enraptured crowd. clad singer, with eyes tightly closed, clasped his hands together as if in prayer. Although The Caroloregians in Cardiff Mad Professor and Lee Perry in Paris

Report & Photos by Phunked-up Photography are seriously funky with a southern flavour, heav- Report & Photos by Aude-Emilie Dorion ily led by drums and organ. The Caroloregians The band was on UK tour this are predominantly an instrumental band, which Mad Professor, The Robotiks and month. is interesting as the live vocals sound great, but Lee Perry played at La Bellevil- yet they manage to keep the crowd engaged and loise on February 19th. Monday night (5th March) saw funky Belgium moving throughout the whole set. They treated reggae band The Caroloregians grace The Nearly 600 people came to see Lee ‘Scratch’ us to number of tracks off their new album ‘Fat Globe, Cardiff as part of their rare UK tour. I hit Perry perform at this packed Parisian venue. is Back’ along with their own musical renditions the venue early to be sure to get a good spot. As Backed by The Robotiks and Mad Professor as of reggae classics such as Monkey Man. The I enter the newly refurbished venue expecting to sound engineer, the visionary Scratch delivered band finsh their set but the the audience are left wade my way through fellow reggae fans, I am his incomparable rhythms and experimental wanting more. The band return to the stage to greeted by an almost empty room. The lack of dub. do a cheeky cover of Charles Wright & The Watts crowd is dissapointing, but the music is good so 103rd Street Rhythm Band’s Express Yourself. If I make myself at home for what would appear to I had to use three words to describe this show be a rather intimate gig. The band are greeted ‘Funky Reggae Party’ would definately spring warmly as they arrive on stage and begin their to mind and I can’t help but feel that the rest set, unphased by the lack of attendance. To de- of Cardiff really missed out. I definately hope to scribe the exact musical stylings of this band is catch these guys again and I advise you to do a tough one but I think the poster pretty much the same...You won’t be disappointed! nails it with ‘deep fried funk-dipped reggae’ and ‘Meters meet The Upsetters’. This reggae band Tribute to the Reggae Legends 2012

Report & Photos by Jan Salzman sparring with brother James (percussion and vo- cals) and putting on a magnificent stage show. The festival took place on Feb- ruary 18 & 19 in San Diego, J Boog graced the stage backed by local sensa- California. tional band Detour Posse and performed songs from his newest album ‘Backyard Boogie’ in- cluding Do It Again and Every Little Thing. He Day One February 18, 2012 was joined onstage by vocalist Fiji, from Hawaii. Toward the end of his set he performed a cover It was a cool winter California day with tem- of Marlon Asher’s song Ganga Farmer that was peratures in the mid-60’s as I walked through a big hit with the audience as they sang along the open air section of the Harbor Pier venue. with the lyrics. A secondary stage was set up outside with lots , who is the sister of reggae icon of great local reggae bands performing. The , performed to an enthusiastic main stage was set up inside the main build- crowd including her smash hit, Bam Bam which ing structure that had an open back to the pier. is in regular rotation at all our reggae clubs here There also were many vendors set up on the in So. Cal. And is a dance favorite. second floor of the building with beautiful reg- gae wares. I was able to enter before the doors King treated us to a very high energy officially opened and I got myself situated with set backed by the Sagittarius Band, out of Ja- camera in hand for the main stage was about to maica. The high-kicking star did a fabulous set, heat up with a performance by Ocho Rios based dressed in reggae warrior style camouflage. He artist President Brown! In his 45 minute set he pranced and ran across the stage, sometimes performed such hits as Black and Proud and My posing for the cameras singings such hits as Confidence, which really got the crowd moving Blueberry Hill, Operation Eradication and Don’t and grooving. Burn It Down. Next up was newly reformed, huge reggae band Now it was time for the headliner and perennial Big Mountain, who were recording today’s per- San Diego/Tribute to the Legends favorite art- formance for a live CD/DVD. They had many lu- ist, Don Carlos, known as a solo artist and also minaries in their band celebrating their 29 years from many years as lead singer for reggaes’ leg- together including drummer, Paul Kastick (809 endary band . His band, dressed band/), bassist Taddy P (Shaggy), in black to complement Don’s gleaming white and Reggie Griffin (famed NYC producer/musi- jacket, drove a powerful reggae riddim to the cian). They performed their newly released sin- massive audience. Don danced across the stage gle, Leap of Faith, which is sure to be a chart top- singing such classics as Laser Beam and Just per like their massive previous classics Touch a Passing Glance. His smiles warmed the crisp My Light and their Billboard chart topper, Baby I night air. He was joined onstage by Garth Den- Love Your Way. Kino, the charismatic lead singer nis (Black Uhuru, ) on backing wowed the crowd…sometimes playing guitar… vocals. sometimes coming out from behind the guitar, Day Two February 19, 2012 bounded onstage wearing a black suit and black bo bo style head wrap. His high Day two started with the irie vibes of The Itals, register voice was clear and strong as he sang lead singer, Keith Porter, singing classics like, his hit tunes. He sang his massive solo hit One In Dis Ya Time. Their lead guitar player, Dwight Blood about the third song into his set. Also Pinkney, was picking out the notes in his well a former lead singer for the legendary group known style. Black Uhuru, he sang Great Train Robbery to the The very rootsy, Sister Carol, was backed by the delight of the crowd. Another crowd pleaser was band Ikronic which was lead by singer/guitarist his song, This Is Why I’m Hot. The side of the Junior Jazz, most recently of Inner Circle fame. stage area was packed during Junior’s set with Sister Carol came onstage sporting a beautiful all the musicians and singers there to hear his green/gold and red, Lion of Judah wrap. She wonderful voice. sang such favorites as Mi Name Sister Carol, Opening the set for was singer Black Cinderella and Dedicated to You. Wayne Smith, doing his classic Under Mi Sleng Big Mountain made a repeat performance this Teng. Sunday thrilling the crowd once again with their Now it was time for the king of , Johnny classic hits and magnificent stage presence. Osbourne, whose song Buddy Bye was a sleng Italian reggae sensation, Alborosie, followed up teng anthem during the late 80’s in Jamaica. with a strong set of songs from his last two al- Celebrating four decades in the music business, bums for Greensleeves… my favorites the very Johnny sang classics like, Ice Cream Love, Lit- rub-a-dub style Kingston Town, Rastafari An- tle Sound Boy, Come Back Darling and Ringcraft them and his hit cover of Steel Pulses’ Stepping the latter being the first time it was performed Out. He danced across the stage swinging his live. This was Johnny’s first West Coast appear- knee-length dreadlocks with passion. ance in ten years and the crowd loved it. Johnny and Wayne Smith were back by the Roots Cov- Reggae veterans and three time Grammy nomi- enant Band from San Diego who did a great job! nees, The Wailing Souls, opened their set with their classic, She Pleases Me. Winston “Pipe” These two days of sold out shows proved the Matthews was wearing a beautiful shirt with strength of reggae music in Southern Califor- Haile Selassie on the front. Lloyd “Bread” Mc- nia. Many thanks to promoter Makeda Dread for Donald sang lead on their classic Old Broom. bringing this wonderful festival to San Diego! Other classics that they performed were Jah, Jah Give Us Life and Shark Attack. One Love Nutrifest 2012

Report by Sarah Soutar / Photos by Gail Zucker allowing the joy of music to take them over and Great vibes, great performances embracing the love that the patrons had to offer. and a beautiful Miami Day! Lance O, Jah Stream and DJ Waggy Tee did an amazing job keeping the energy up for the February 12, 2012 was a perfect summer after- people of grand central park, playing hit after noon in the middle of the winter season and hit getting the people to sing and dance along the glorious feeling of one love was all around waiting for the next act on stage. St.Croix’s own Grand Central Park in downtown Miami for the Midnite came on next, staying true to their deep Budweiser/One Love Nutrifest. This festival was rooted conscious roots, they had the crowd in a long awaited one as it was to mark the return a state of reverie, as if they were hanging on to of “The Messenger” - Luciano back to South every word being said. Pagan, Pay Gone and Florida. Love The Life You Live had everyone in an irie Alfonso D’niscio Brooks, the CEO of Rockaz meditation. MVMT formed the non profit organization as a Luciano entered the venue at 7:45pm he was grassroots movement to use a musical platform greeted with so many fans backstage and he to educate the masses on the need to be “green” kindly obliged taking pictures with the patrons using the day to raise environmental awareness, before stepping into his dressing room to warm and to benefit Curley House a local organization up for his long awaited performance. Despite serving the less fortunate in Miami. At around not being able to make his appearance back in 4 ‘o’ clock, Jahfe a local Miami reggae band en- November “The messenger” took the stage at ergized the crowd with songs like Solution and approximately 8:30 p.m. With amazing vitality, their new single Miami Vice. making it his responsibility to show the people Chilean reggae stars Gondwana came on for a his gratitude to be there in the moment and to 30 minute set, showing us why they have over preach the message of One love as he always 40 million Youtube views and fans worldwide has. With his voice as soulful and strong as it performing songs like Irie, Armonía de Amor and has ever been, Luciano sang Give Praise as an a great rendition of Bob Marley’s Could You Be opener. Songs like Messenger, Over The Hills Loved which sent the fans into a frenzy showing and Who Can It Be followed. It was pure magic that their love is indestructible. Be sure to look to listen and see Luciano completely enjoying out for Gondwana’s new album ‘Revolution’ in himself skanking to the music on stage. stores in April. Puerto Rico’s Cultura Profetica closed the show Making their Miami debut at twilight, the Easy with a mind blowing performance. Playing hits All Stars dashed on to the stage to give every- like La complicidad, Ilegal and Baja la Tensión one a trip down memory lane - Famous for their romanticizing the crowd much to the delight of ‘Dubside of the Moon’ - a complete cover of Pink the Puerto Rican massive. We are happy to an- Floyd’s ‘Dark Side of the Moon’, it was a joy to nounce that the festival raised 2 tons of food hear the reggae/dub interpretation of Breathe, and over $5000 dollars towards Curley House Money and Sargent Peppers Lonely Hearts Club - Many thanks to the sponsors and all the peo- Band with a mix of island love - it was a real ple who came and supported the event. Looking pleasure to see the ensemble of at least 10 mu- forward to next year. sicians on stage, being extremely energetic and

SOJA and Gentleman in San Francisco

Report &Photos by Lee Abel Ina Time Like Now we need Strength To Survive, March 7, 2012. Geographic diversity shared the stage at San Francisco’s Fillmore, starting with Hawaii’s top female artist, Anuhea. Her beautiful voice and acoustic guitar blended pop, soul and a little bit of reggae in to a solid set of love songs, capped off by Bob’s . Gentleman and The Evolution followed. A multi- platinum and award-winning artist from Germa- ny, Gentleman’s newest album ‘Diversity’ was only just released in the US, lagging way be- hind its European launch. Combining lyrics that are always uplifting and uniting with fresh and powerful roots reggae, Gentleman continues to move from strength to strength. As a per- former, high jumping, bouncing into the crowd, and laughing with his band, he’s always a joy to watch. SOJA’s lead singer/guitarist Jacob Hemphill is not as animated as Gentleman but their mes- sage of unity is the same. Touched and hum- bled by the adoration of the crowd, the East Coast (Virginia) band excels in shining a light on the destruction of our planet and how each of us can help. Definitely not pop music, they sing about what really matters in life. Their new album, ‘Strength to Survive’, is message music, not unlike Hemphill’s early influence, Bob Mar- ley’s ‘Survival’. Before the night was over and to the delight of the crowd, Gentleman, with Tamika and Mam- adee singing backup, joined SOJA onstage, sharing message and vibe. MAGAZINE

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