MAGAZINE #19 - May 2012

Christopher Ellis Peter Hunnigale I-WAYNE HOLLIE COOK PRINCE FATTY HORSEMAN HARD BREAKA JESSE ROYAL BROTHER CULTURE

TARRUS RILEY DEAN FRASER ROOTZ UNDERGROUND MARLEY MOVIE PREMIERE

Sly Dunbar “When I see the red light I go for it. I take chances” EDITORIAL by Erik Magni

The children are coming

It must be hard growing up with a world-renowned mother or father. Being in the spotlight from an early age and when reaching adulthood you’re predestined the same career path. Kind of like the royal families around the world.

The nearest you come royalty in is the Marley’s. Several of Bob and Rita’s children – along with kids from Bob’s affairs – started early in the music business and have had successful careers, especially Damian, Ziggy and Stephen.

There are however several kids of famous reggae singers that have came forward in recent years. I’m talking about Jimmy Riley’s son Omar, better known as Tarrus, ’s daughter Ventrice, aka Queen Ifrica, or Denroy Morgan’s children in Morgan Heritage.

One of the latest additions to the list is London-born Christopher Ellis, the young- est son of the late and great . United Reggae’s Angus Taylor has met him and learned firsthand about the road from his extraordinary childhood to his star studded present. And interestingly enough he is working with Stephen Marley on his upcoming EP and album.

Original cover photo by Wonder Knack - Editorial photo by Brian G. Elliot

United Reggae Magazine #19 - May 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 free pdf version packed with most of United Reggae content from the last month. SUMMARY

1/ NEWS 88

2/ INTERVIEWS

• Hollie Cook, Prince Fatty and Horseman at St Pancras Station 14 • Christopher Ellis 18 • Jesse Royal 24 • Peter Hunnigale 26 I-Wayne Reveals his Top • Hard Breaka 34 Tunes • 38 • Brother Culture 54 90

3/ REVIEWS 102 108 • Skarra Mucci - Return Of The Raggamuffin 60 • The Dualers - Shakedown 61 • Listen to the Music: Caltone’s Jamaican 45’s 1966-69 62 • Cool Runnings 63 • Nazarenes - Meditation 64 • Lloyd de Meza - Back To Eden 65 Bankie Banx and The Dune • Marley Movie 66 Preserve... Just CooL! • Prince Fatty Presents Hollie Cook in Dub 68 • Romain Virgo - The System 69 • Rootstep by Zacharri and Roommate 70 • Anthony B - Freedom Fighter 71

4/ REPORTS

• and Dean Fraser in Paris 72 • Rootz Underground in San Francisco 74 • Marley Movie Premiere in Kingston 76 • Tarrus Riley in Antwerp 78 • Western Consciousness 2012 80 • Reggae Splash Tour 84

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. United Reggae. All Rights Reserved. Any reproduction in whole or in part is prohibited. bie, Burning Spear and Aswad. Johnny Hudson, Head of Marketing at stated: “The themed monthly releases are just one of a number of exciting initiatives we are rolling out to mark the 50th anniversary of Jamai- can Independence this year. Trojan Records and its artists have played a significant part in the history and cul- tural influence of Jamaican music, and so we’re incredibly excited to be asso- ciated with this landmark event. We’re also looking forward to announcing several other exciting partnerships for this year soon too.” For more informa- tion and to purchase any of these titles visit the Trojan Records website www. trojanrecords.com 10 Deadly Shots Vol. 2 by 10 Ft. Ganja Plant by Erik Magni

U.S. reggae band 10 Ft. Ganja Plant has dropped several mainly instrumental albums on the ROIR label since they were signed in 2001. Trojan Records To ’, 40 massive Ska hits from the The latest set is ‘10 Deadly Shots Vol. early to mid-sixties. ‘Treasure Isle Pre- 2’ and its main instrument is organ, Celebrate 50 Years of sents Rock Steady’, highlighting what while the first version focused on the Jamaican Independ- many to believe to be some of the fin- guitar. And to master the organ, 10 Ft. est Rock Steady recordings ever, from Ganja Plant has invited Roger Rivas of ence a label that was at the cutting edge of The Aggrolites. by Karl Pearson this musical revolution with an array of talented vocal acts, backed by the ‘10 Deadly Shots Vol. 2’ is currently This year on the 6th August it will be legendary Tommy McCook & the Su- available on CD and digital download. fifty years since gained inde- personics band. Then there’s ‘Treasure pendence from Great Britain and to Isle Presents Original Reggae’ a col- help celebrate this fact Trojan Records lection of the label’s output from 1968 will mark the anniversary with a series to 1973 and finally a limited 7” single of rare and classic releases, themed on featuring two previously unissued Ska a different reggae artist or label each sides, Easter Bonnet by Roland Al- month. Lee “Scratch” Perry actually phonso and ’s Band flipped kicked things off back in March with with Feeling of Love by three releases including a lost album and . May will see six ti- from Candie McKenzie, George Faith’s tles themed under ‘Classic Island Re- ‘Super Eight (aka To Be A Lover)’ and cords Artists’ including Toots and the The Full Experience ‘Young, Gifted Maytals ‘Pressure Drop’, and Broke’. This month (April) will see ‘Guess Who’s Coming / Best Of’ and four releases from the famous Treas- Steel Pulse ‘Prodigal Sons’, as well as ure Isle label: ‘Treasure Isle Presents ‘Best Of’ collections from Sly & Rob- Lloyd Brevett of Has Died by Erik Magni

Lloyd Brevett – bass player and co- founder of the highly influential ska group the Skatalites – died on May 3rd at the age of 80 after being treated for a stroke and seizures. He helped to define and refine ska music and has played on countless of immortal ska, and reggae tunes, among them Eastern Standard Time and Guns of Navarone, the latter versioned in the late 70’s by The Specials. The original Skatalites only existed for about 18 months between 1963 and 1965, but were essential in popularizing the gen- re, which included elements of R&B, jazz, calypso and Cuban music.

The only remaining original member of the 48 year old Skatalites is now alto saxophonist Lester Sterling.

The Universoul Re- bel by Chaddy Roy- al by Erik Magni

U.S. based singer Chaddy Royal album debuted last year with ‘The Awaken- ing’, a collaboration with South Afri- can producer Bereket Tafari. But prior to that set Chaddy Royal had recorded Stress Free and Warriaz together with French producer Little Judah. These two tracks are now brought back to life together with nine other songs for Chaddy Royal’s second album titled ‘The Universoul Rebel’, currently avail- able for digital download on the usual platforms. LLOYD BREVETT Babylon City by Cli- nark by Erik Magni

Bermuda born singer Clinark – who dropped a Michael Jackson tribute album two years ago – sends out a message for the youth with his latest single Babylon City, voiced on House of Riddim’s Crisis riddim. Clinark now lives in Edmonton, North London, and saw firsthand the devastation last year’s riots had on his local commu- nity and nearby Tottenham. “I had the Crisis Riddim sent to me by Sam Gilly at the House of Riddim several months ago and I just had the chorus, ‘can’t you see what a gwan in Babylon City,’ as I watched the riots unfold on the TV last summer, I immediately thought of this song,” explains Clinark in a press release, and continues:

“When I passed through the affected areas, seeing that whole buildings had to be torn down I was shocked. I just felt able to finish this song with those images in mind. It’s a dire warning that we need to focus on our children’s well- the future and all need to communicate able as digital download. being, more than ever, to safeguard better.” Babylon City is currently avail-

Impression by Zen ing a long lost roots gem from Jamai- can born U.S. resident Zen Bow. ‘Im- Bow pression’ 12” was originally released by Erik Magni in 1986 in 1,000 copies on a small label based in Connecticut and nowa- Seb Carayol is a French writer that has days fetches huge sums in the collec- been writing for the now folded French tors market, and some have paid up to reggae magazine Natty Dread as well $600 to get their hands on it. as acclaimed U.S. magazine Wax Poet- ics. He has been writing about obscure ‘Impression’ 12” will be available in reggae for almost a decade and now stores on May 15th, and in the mean- wants to give something back to the time you might just check Seb Caray- artists he has encountered. His new ol’s story on Zen Bow in Wax Poetics venture Reel-Heavy Records is reissu- no. 43 September/October 2010. Warm My Soul by the rasta man Courtney John, for exam- to produce an emotional response be- ple. We met out in Jamaica and later I cause that’s what I appreciate in other Blundetto sent him some demos without giving people’s music. I prefer my instrumen- by Erik Magni him any particular instructions. He tals to conjure up passion, melancho- didn’t let me down,” explains Blundet- lia or love rather than get everyone on Blundetto is French radio DJ Max Guig- to in a press release. ‘Warm My Soul’ the dance floor,” he says. ‘Warm My et’s musical alias. He has worked at was recorded together with several ex- Soul’ collects eleven jazzy tunes and is Radio Nova in Paris since 1998 and has perienced musicians and is a melting available now as digital download. now put out his second album titled pot of latin-soul, reggae- and ‘Warm My Soul’, a set where he has jazz-funk with an additional, cinematic invited several guest artists, among feel to it. And everything was recorded them reggae singers Courtney John in Blundetto’s home studio, something and Jahdan Blakkamoore. “I only invite that has affected his sound. “I always people I admire, and so my policy is a listen to and record music at a sensible bit wait-and-see with some people to volume, and I like sounds that caress see where they go with my track, like the front of the brain bulb gently. I try

oned Jamaican deejay . “I’ve grown so much as a producer, song writer and vocalist. Overall, my experience from touring and working with India Arie, watching John Legend perform every night, touring with dif- ferent artists, working with the differ- ent producers on this album and get- ting a chance to work with my brother Peetah one-on-one writing songs, has brought me to a whole other level,” says Gramps Morgan in a press re- lease. The majority of the tunes on ‘Reggae Music Lives’ are produced by Gramps Morgan himself, but produc- ers such as and Kemar “Fla- va” McGregor have also been involved. “My experience really came into play in making this. I think this album is really the best of the brand called Gramps Morgan, as a product, you finally get the sound of Gramps Morgan. The first album was just discovering, getting it and learning myself. Gramps Morgan has been born on this album,” explains Gramps Morgan. The album’s first sin- gle The Almighty topped the charts in Reggae Music Lives new solo album. ‘Reggae Music Lives’ South Florida and New York while Life follows-up on his debut studio set ‘2 Too Short, released on March 28th, by Gramps Morgan Sides of My Heart’ released in 2009, advanced in the fight for justice in the by Erik Magni and hit the streets on April 24. The case of the fatal shooting of the un- release his debut album led to per- armed 17-year old Trayvon Martin in Gramps Morgan – a regal member of formances on a string of high profile Florida earlier this year. the internationally renowned reggae tours with soul singers John Legend band Morgan Heritage – is back with a and India Arie as well as the impris- Around The World an upturn, and the Reggae Movement Jamaican dub poet Yasus Afari has Exhibition, which was inspired by Irie been recording for 25 years and has by Dutchie Gold Up, will continue to run until the end of just launched his seventh studio al- by Erik Magni this year. Issues 2 to 12 will be availa- bum titled ‘Ancient Future’. It features ble as back copies. Irie Up and its edi- young and emerging artists and pro- Jamaican singer Dutchie Gold has tor Ronan Lynch wish to say thanks to ducers as well as iconic veterans from rocked stages since the 80’s and all of those that have supported and Jamaica, New Zealand and the UK, worked with producers such as Junior contributed to Irie Up over the last two including Toots Hibbert, Bobby Digi- Reid and Massive B. Two years ago he years. tal, Dean Fraser, King Kapisi and Ben- met up with producer Don Ranking and jamin Zephaniah. The press release their collaboration has resulted in the describes ‘Ancient Future’ as a “decid- album ‘Around This World’, now avail- 13 Months in Zion edly eclectic mix of textures, sounds able on CD and digital download. The by Erik Magni and feel” and that is has a “rootsy yet album includes 15 tracks and spans cosmopolitan vibe”. ‘Ancient Future’ over reggae and dancehall to contem- is currently available as digital down- porary club music. Legendary producer and melodica load. king ’s son Addis Pa- blo has once again teamed up with Reggae Magazine Ras Jammy for another roots reggae Foundation Sound Irie Up Suspends project. The eight track compilation is Release 12” Vinyl titled ‘13 Months in Zion’ and features Publication a melodica cut from Addis Pablo him- EP by Erik Magni self along tracks by Cali P, FreeTown by Karl Pearson Collective, Zebulun, Kamray, Jah De- fender, Kelissa and Di Govannah. ‘13 Foundation Sound, the UK based In January 2010 reggae magazine Irie Months in Zion’ is currently available and have Up was launched. Now two years and as digital download. released a 12” EP titled ‘My Burdens’ twelve issues later Irie Up is indefi- featuring Dark Angel on vocals. The nitely suspending publication. The track is then given the dub treatment suspension is due to the economic Ancient Future by plus handed over to two rising stars situation in Europe, which has made of dubstep TMSV and Dirty Specs continued publication impossible. The Yasus Afari who each add their own take on the team behind Irie Up will continue to by Erik Magni B-side. The riddim for ‘My Burdens’ is keep the website open in the event of a rebuild of Ini Kamoze’s 1983, Trou- ble You A Trouble Me to which Dark Angel delivers his philosophical and thoughtful message on life’s stresses and tribulations alongside his faith in Rastafari. Dark Angel has performed throughout the UK and in numerous countries across Europe, releasing recordings on Boka and Roots Garden Records as well as collaborating on numerous RnB, Dancehall and Hip- Hop tracks. Tomas Roels aka TMSV is an up-and-coming dubstep producer from The Netherlands whose work has been released on labels such as Box Clever and Tube10 records as well as a featured remix on the Greensleeves compilation album ‘Dubstep Chapter 1’. Dirty Specs are a production and remix team consisting of Sam King and Richard Hales who have a diverse musical agenda based on their shared love of reggae and jungle/DnB. ‘My with original album and dub versions phonist and flutist Eric “Rico” Gaulti- Burdens’ is their second remix fol- of the song in a vintage 12” Jacket. er from Faya Dub. Focusing on Rasta lowing on from one featured on messages across its 15 tracks, ‘Make Chezidek’s ‘The Place’ EP released A Change’ was produced and played earlier this year on King Dubbist re- Earl 16 and Easy by the Bone at their analogue sub- cords. Beat Productions urban Paris studio. The album is out now via the deceased French label Have Jah On Their Makasound’s offspring Chapter Two. Rasta Communica- Minds tion by Keith Hud- by Angus Taylor son by Erik Magni London based Solution Sound System are known for their rootical selections and for their work with Austin Spider- man Palmer of the legendary valve sound Jah Observer. They played with Austin at his final send off dance be- fore he left England for Jamaica and are now going to take over his sanc- tified spot at Notting Hill Carnival 2012. However, Mark Anderson of Solution also runs Easy Beat Produc- tions whose latest release is a trio of relaxed meditative dubby roots offer- ings on the same rhythm available on Afrikana Policies 12” and digital download. Prolific vet- eran singer Earl 16 Daley takes the vo- by Dan Ratchet The late revolutionary Jamaican sing- cal Jah Is On My Mind; Anderson then by Erik Magni er, and producer Keith works up a straight mix of the rhythm Hudson’s 1978 release ‘Rasta Com- Mind’s Eye; while Solution live col- Reggae singer Dan Ratchet spent sev- munication’ has recently been luxuri- laborators Ital Horns gently parp their eral months in Kingston and London ously reissued by Greensleeves. The way through an extended instrumen- studios in 1986 working on recordings new double disc version includes the tal cut Blow Your Mind (which segues intended to be his first album. But original ten tracks along with 17 other in to the dub, Mind Over Matter on the the only songs to see a release were cuts including dub versions and the 12.) The 12 has been out since April Sweet Rosie, a limited pressing on previously unreleased dub to I Broke and the digital release descended on the Jamaican Star Time label, and The the Comb. In addition all four sides May 14th. Time Has Come, which was released of the two non-album Greensleeves in Zimbabwe as a double A Side. The Keith Hudson 12” singles, as well as A Change For Win- rest of the tracks remained in a safe the two rare Jamaican single mixes until Bristol Archive Records licensed of Rasta Country and Jonah, are mak- ston Reedy and them for the forthcoming album re- ing their CD debut. Sleeve notes are lease ‘Jah Poor People’. As a taster courtesy of reggae historian Harry Donkey Jaw Bone for the album, the label will release a by Angus Taylor Wise. ‘Rasta Communication’ was re- double A sided four track 12” single corded at Randy’s, Channel One and and digital download of the tracks Af- Chalk Farm with a final tweek from Following last year’s album ‘Paris Is rikana Policies/Ekomé Is Unity, both Prince Jammy at King Tubby’s. The Burning’ with Derajah, the Parisian sides featuring the vocal version fol- album also featured a top line up of roots organic group the Donkey Jaw lowed by dub versions in tasty reggae Jamaica’s finest musicians including Bone have just released another col- discomix style. The songs are taken Aston “Family Man” Barrett & Carlton laboration longplayer. This time the from the session tapes and the mixes Barrett and Sly & Robbie. To celebrate band have linked with sweet voiced on the dub versions are exclusive to Record Store Day 2012, Greensleeves former Cimarons singer Winston the 12” vinyl and digital download. has also released a four-track limited Reedy, who they met during a trip in Afrikana Policies/Ekomé Is Unity will edition vinyl EP titled Bloody Eyes London in winter 2009 through saxo- be available from June 11th. Shots by Voicemail Tuffa. ‘Tribulation Time EP’ is currently by Erik Magni available as digital download and lim- ited edition 12” double pack. French production team and label Dub Akom ventures into dancehall with their Necessary Mayhem new riddim Full Swing, following strong one drop riddims such as last year’s Black Bonafide. The initial single is voiced by by Erik Magni dancehall duo Voicemail and is titled Shots. It’s an upbeat, catchy and sing- In December UK producer Curtis Lynch – a-long summer anthem, and is currently of Necessary Mayhem fame – launched available as digital download. The com- a drum and bass subsidiary named Nec- plete riddim compilation boasts artists essary Bass. Now it’s time for another like , Lukie D and Konshens subsidiary. NM Black is Necessary May- and hits the streets on May 29th. hem’s alternative lab-scientist cousin set to release future dub. The tracks Keep Trying by Jah released on this label is said to be more Studio One Sound electronic than the output on Neces-

Marnyah sary Mayhem, with more samples and by Erik Magni by Erik Magni bass. The first release is a 12” with two tunes. The A side features Ganja Man, Montseratt-born singjay Jah Marnyah Ganja Woman with vocals from interna- got his breakthrough in 2004 with the tional reggae star Mr. Williamz, while Vibronics-produced scorcher Anointed the B side hosts a dub version from One, and has since then released sev- Killa Mosquito titled Ganja Dub. Now eral well-received singles, among them available on vinyl and digital download. the mighty Stormy Weathers for Nick Manasseh. In 2010 he launched his own label Faya Works with the single Sweat of Your Brow. Another single is now set to be put out. Keep Trying is produced by Sound Guyz, and comes in another four versions. Two dub versions credited to Vibronics and one acoustic version and Soul Jazz Records has yet again dug one hip-hop mix by Scribe. Keep Trying deep in the mighty vaults of Studio One. is available as digital download from Their latest addition to their Studio One May 18th and is taken from Jah Marn- catalogue is ‘Studio One Sound’, a set yah’s debut album coming in June. collecting 18 tunes ranging from clas- sic ska and rocksteady to deep roots, heavy dub and dancehall-influenced Vibration Lab meets roots. Among the featured singers and groups are The Heptones, Ken Boothe, by Erik Magni The Skatalites and , Busy Signal Arrested all of whom launched their careers un- Last year Vibration Lab played the One der the tutelage of Clement “Coxsone” Love Festival in UK and bumped into on Extradition War- Dodd, owner and founder of Studio reggae veteran Linval Thompson back- rant One. ‘Studio One Sound’ includes some stage, and decided on a collaboration, by Steve James in-demand and collectable tracks. The which resulted in him voicing one of The reggae music industry was dealt sleevenotes are handled by Rob Chap- their riddims in the Stingray Studio in yet another massive blow with the ar- man, author of last year’s book about London. The result is the ‘Tribulation rest of popular dancehall DJ, Busy Sig- Studio One as well as ‘Never Grow Old’ Time EP’, an EP that contains the title nal. He recently performed in Paris and and ‘Downbeat the Ruler’. The album track along with four remixes courtesy Amsterdam and was on his way back hits the streets on May 28th as CD of RSD, Radikal Guru, Riddim Tuffa and from London to Jamaica when he was with slipcase, double-album thick card Adam Prescott as well as three dub ver- picked up by the authorities at the Nor- sleeve and heavyweight vinyl. sions by Vibration Lab, RSD and Riddim -man Manley International Airport in Kingston. According to reports, he is facing extradition charges in the United States. It is alleged that in 2002 he was held on drug charges in the US and fled that country before his sentence could be handed down. The DJ has done collaborations with top artistes in the business such as C-Sharp and Marcia Griffiths and was the only DJ on VP Records’ ‘Reggae Gone Country’ album. He is known for popular hits such as One More Night, Nah Go a Jail, Jamaica Love and his cover version of The Gambler. To date he has released four albums: ‘Step Out’, ‘Loaded’, ‘D.O.B’ and ‘Reggae Music Again’ released last month. He is scheduled to appear in the Half Way Tree Resident Magistrate’s Court on Thursday. Sierra Nevada World Music Festi- val 2012 Lineup by Karl Pearson

The line-up for the 19th annual Sierra Nevada World Music Festival, taking place on June 22, 23 & 24, 2012 at the Mendocino County Fairgrounds, Anderson Valley in Boonville, Califor- nia has been announced. There will be over 30 bands playing some of the best sounds in roots reggae and world music from the four corners of the globe. Headliners for the three day event are Jamaica’s own Third World and Jimmy Cliff on the Friday and Sat- urday respectively plus with his first appearance at the festival in four years Luciano will be helping to bring proceedings to a close on the Sun- reggae and dance music, while top DJ can expect some treats from Miami’s day. Other artists emanating from the David “Ram Jam” Rodigan MBE will be Locos Por Juana and one of Chili’s big- home of reggae music include Israel spinning a mixture of classic and new gest cumbia bands, Chico Trujillo who Vibration, The Twinkle Brothers, John- sounds. The southern hemisphere will be taking to the stage on Sunday ny Osbourne, Lutan Fyah, Cherine An- will be represented by Katchafire, an night. As well as all this participants derson, Romain Virgo, , all Maori reggae band and House of will also find extensive schedule of Stone Love, Earl Zero and SNWMF de- Shem both from New Zealand. Back children’s activities, arts and crafts, butee Prince Alla. UK acts will include closer to home will be Hawaii’s Iration an international food court, family the outspoken dub poet Linton Kwesi with Jah Sun, Dub Nation, Rocker-T, and alter-able camping, vendors ga- Johnson backed by the mighty Dennis Afrolicious, AfroMassive and LoCura lore plus a large barn, that usually Bovell Dub Band. Zion Train who’ll be all appearing in their own “backyard”. houses antique farming equipment, rocking Boonville with their hybrid of On the world music front the audience is converted into a dancehall where sound systems will be heard pounding out reggae beats un- disbands Portmore til the small hours of the morning. For additional informa- tion log onto www.snwmf.com, or call the hotline at (916) Empire 777-5550. by Erik Magni

Dancehall superstar Adidja “Vybz Kartel” Palmer – who is currently incarcerated on murder charges – has put out a Best Of The Best Weekend 2012 statement today where he disbands the Portmore Empire, an alliance of dancehall artists from Portmore which has Lineup been lead by himself for many years, and used to include by Gail Zucker successful artists such as Jah Vinci, Popcaan and Deva Bratt. “These artistes have been under the Adidjahiem Best Of The Best Weekend 2012 returns to South Florida [Vybz Kartel’s record label] leadership for years, where they this May 25th - 27th. Celebrating it’s 6th year, the Memo- have honed their craft and made their mark, and as such, rial weekend extravaganza, produced by XO Management, are well on their way to becoming major forces in dancehall. Rockers Island and Massive B, will consist of back-to-back They have reached a level where they are more capable to blockbuster parties and community events. take on their careers by themselves, and it would be unfair to them, based on the limited resources of Adidjahiem Re- The lineup for the Best Of The Best on Sunday May cords, and current legal woes of the Adidjahiem C.E.O. and 27th at Bicentennial Park (1075 Biscayne Blvd.) features acts team members,” writes Vybz Kartel, and concludes: “I wish in Reggae, Hip-Hop, Dancehall, Soca and Kompa: Fabolous, them the best and I am confident that they will live up to Meek Mill, DJ Khaled, Fat Joe, French Montana, 2 Chainz, my expectations. In the future, Adidjahiem will continue to Shaggy, Mavado, Mr. Vegas, I-Octane, Ace Hood, Laza Mor- bring out new acts and groom them for stardom.” gan, Serani, Khago, Marcia Griffiths, Admiral Bailey, Iwer George, , T-Vice, Ghost, Brianna, Tony Matter- Two of the former members of Portmore Empire – Gaza Slim horn, Demarco, Wayne Marshall, Christopher Martin. The and Tommy Lee – have formed a new label to pursue their concert will be hosted by Funkmaster Flex alongside Jabba. careers. Reggaeville Riddim Release by Erik Magni

Online reggae magazine Reggaeville has teamed up with Oneness Records from Germany to present the Reggaeville riddim – a relick of the Paragons’ rocksteady classic Rid- ing on a High and Windy Day – with cuts from a virtually who’s who in contemporary reggae music. The 20 cuts, 26 when adding the bonus cuts available for free download, are voiced by Tarrus Riley, , Etana, Ray Darwin and many more from Jamaica, Europe, India, the U.S., and Indonesia. The Reggaeville riddim was preceded by the Skarra Mucci & Kiprich single Love Mi Fi Me in March, and the full riddim is available as digital download on May 25th.

Meditation Time by Anthony Que by Erik Magni

Jamaican singer Anthony Que started singing at the tender age of ten and recorded his first single in 1997 for Sugar Minott’s Youth Promo- tion label, and then moves on to work for ’s Harmo- ny House cutting the Jah Cure combination Same Road. His debut al- bum, ‘A Brighter Day is Coming’, is recorded in the UK for producers such as Mike Brooks, Stingray and Russ Disciples. Its follow-up is also recorded in the UK, but this time together with Tony “Ruff Cutt” Phillips. Anthony Que’s new acquired fame allows him to participate to Jamaican festival Reggae Sunsplash, and back in his homeland he also records his third album – ‘Jamaica No Problem’. The promo- tional tour of the album takes him to France where he meets the Ba- byclone Band and 149 Records, and a fruitful collaboration begins with Anthony Que voicing riddims like Datta and Speaker. The latest result of their joint efforts is ‘Meditation Time’, Anthony Que’s latest album. It contains 15 slices of dancehall, moderns roots and lovers rock and is set for release on May 28th.

Soothsayers Still Aren’t Leaving by Angus Taylor

There’s no firm release date for the eagerly anticipated followup to Soothsayer’s last vocal album, 2009’s ‘One More Rea- son’. But in the meantime, they’ve released a new 12” EP reworking one of their biggest 7” tracks from 2011 - We’re Not Leaving - and containing further hints as to how the next record will sound. We’re Not Leaving is as close as the collective have come to a pop song. So there’s a radio edit of the original Manasseh mix (essentially cutting out a lot of the hornplay from Idris Rahman and Robin Hopcraft) and an aquatic sounding dub by Pama International spar DJ Wrongtom. The Brixton Pound, featured on their previous longplayer, ‘Red Earth Dub’ (2010), is refashioned as a deejay cut from drummer and Hol- lie Cook compadre Horseman, entitled Red Earth Roots. Then there are previously unreleased versions to new album songs: One Day featuring Julia Biel and a vocal and instrumental of a track called Human Nature - all three mixed by Mark Rae and Rhys Adams AKA YesKing.

Recorded at Prince Fatty’s Brighton Ironworks studio and Soothsayer’s own London lair, these quality sides are out now on Red Earth Records as a 12” and for digital download... “It’s organized chaos!”

Interview by Angus Taylor Photos by Gerard McNamara

Beyond the odd solitary man with a gui- tar singing No Woman No Cry reggae is rarely heard live in a train station. But on Monday April 23rd that’s exactly where Sex Pistol daughter and neo lovers rock star Hollie Cook could be found performing with producer engi- neer Prince Fatty and deejay Horseman as part of St Pancras rail and Eurostar terminal’s Station Sessions festival se- ries (the week before saw an appear- ance from visiting Jamaican artist Josie Mel). As embarkees from France went in search of home comforts like UHT milk and a cold beer they were treated to Hollie and Fatty’s serene dubby mus- ings: Milk and Honey, Body Beat, I’ve Hollie Cook, Got Your Money (complete with flashed wads of notes as props) and covers of the Whispers And The Beat Goes On and Andrew Sisters For Me You Are. Prince Fatty Perhaps unsurprisingly given the im- portance of clear passenger announce- ments the acoustics were pretty good. Hollie’s parents Pistols drummer Paul and Horseman and nutritionist Jennie were also in at- tendance. Bereft of proper questions, Angus Taylor scored a quick impromptu interview with Hollie, Fatty and Horse- at St Pancras Station man post performance. Thanks to Mel Ruben for making this chat possible. How was performing in a I’ve Got Your Money on a cab? album? What influences do train station? Have you done you put into it? Are you say that before? (Laughter) a Scientist or a Jammys man?

PRINCE FATTY: No, but you HOLLIE: No, my mum’s going to PRINCE FATTY: Well for me know what? It was a lot of fun. give me a lift home and I made making reggae is a pleasure. I After the initial few seconds sure I gave Horseman his mon- love it. It was a blast. There’s a where you’re just getting it all ey back! few of the classic Jamaican pro- together then it’s nice. ducers that I like. I’ve taken like HORSEMAN: No, no - that was two of three different things. I’d HOLLIE: It was really weird but just part of the show - you say more the Jammys and Tub- in a good way! I felt like a busk- know what I mean? bys - that era. Scientist for me er and that’s a good thing. was the beginning of the end! Prince Fatty, when you’re It was still good though! I love HORSEMAN: It was different. mixing behind Hollie and those guys but I am a disciple Like Hollie said it was like of King Tubby. busking. It was nice. Horseman do you find other producers and engineers try HOLLIE: I did a small amount of to look at what you’re doing? HOLLIE: I had no part in it! I was busking in my teenage years. just like “Take it away and do your thing!” It’s sort of like passing trade, PRINCE FATTY: Well I suppose isn’t it? It’s cool to see people people are inquisitive and they stop and pay attention. try and look a bit. This is our Hollie, you have a big gig portable set-up but sometimes coming up supporting the re- How often are you in this we have the tape machines formed Stone Roses in Man- station? and that really freaks people chester in June. How did that out! People are often surprised come to be? Are you looking because when they hear the HORSEMAN: So often! It’s like forward to it? Are you nerv- our second home you know! sound they think I’m playing records but they don’t realize ous? HOLLIE: We’re here once or I’m doing all the dub and the mix live. HOLLIE: Ian Brown loves the twice a week for the last five music. He came to see us play weeks. We like it here. at the Jazz Cafe in November How important is it to mix live? last year and soon after that he PRINCE FATTY: I’m here at the asked, so would imagine it was Eurostar at least once a month PRINCE FATTY: I think it brings a result of seeing us live. I’m literally. I love it man! The Euro- a nicer energy because the very nervous! But very much star is the bomb. Oh, I shouldn’t bass goes round the singers. I looking forward to it. It’s one of say bomb, sorry! I nearly got can follow them as opposed to those things where it’s a very arrested! I meant the Eurostar the singers following a record big gig so it’s very daunting is great! or remembering exactly. So I and intimidating. And it’s also can bring energy up or down that not being a headliner is Are you going to get on a train behind them, which helps! always going to be a challenge in a minute or are you go- for the audience. The gigs are ing to spend that money you How did you enjoy mak- just a really big deal anyway. There needn’t even be a sup- were flashing around during ing the Hollie Cook In Dub port act in the first place be- cause of that but it’s still really exciting.

Horseman, you performed in another unusual place at East- er Weekend, jamming at Reg- gae In Da City downstairs at Cottons, when Dennis Bovell and Kofi also got up on stage.

HORSEMAN: Yeah! Don Chan- dler, the bass player asked me a long time ago but every time he asked me we were playing a show so it clashed with Prince Fatty and Hollie. So that time I wasn’t doing anything and I went down there, played two I’m satisfied with where I am drums and did a lickle deejay. now! (laughs) I saw Patrick the HORSEMAN: It’s tasty! There were about seven drum- guitarist and he knew about it mers in the place! The resident already. What happened was HOLLIE: The new album is the drummer was really happy to we played at the 100 Club and main big new plan. I’m just see me! Reggae Regular was there. The doing it, just writing it, and I 1981 version and they had a guess I’ve been paying more Hollie, would you consider different drummer - but it’s not attention to playing live but I the same. feel like in the next couple of playing at Reggae In Da City? months we’ll get stuck in in Prince Fatty tell me about your the studio. I’m building some HOLLIE: Of course! forthcoming Prince Fatty vs skeletons at the moment which we’re going to breathe some HORSEMAN: They asked me if the Drunken Gambler album life and flesh into hopefully! Hollie could come that time but It’s unplanned. Just going with she was far, far away. PRINCE FATTY: I’m just about the flow. More shows across to go back to the studio now Europe and hopefully the UK as HOLLIE: Wherever I can be, I to finish the last couple of bits! well. Just building on the live will be! I’m about a month late. It will show this year as well as get- feature the Mighty Horseman ting more stuff done in the stu- and Hollie Cook as well, plus dio. There’s not a huge amount Horseman, another group that George Dekker from the Pio- performed there the time be- of structure but at the same neers, Winston Francis, Den- there is! It’s organized chaos! fore was Reggae Regular which nis Alcapone, Mutant HiFi. It’s you used to drum for back in basically the full gang in full effect. You’ve talked about killing off the early 80s. Were you asked the Prince Fatty character - is to join the reformed line-up? Hollie, tell me about your own that going to happen? Or has he taken on a life of his own? HORSEMAN: Not again, no. new album in the works. PRINCE FATTY: I’m not sure at the moment. I think the Mutant HiFi is going to stab me in the back! That’s how we’re going to end it. I think he’s threaten- ing me but he’s still my friend. I think the double cross is going to come... “I want to be myself and bring something to my dad’s legacy”

CHRISTOPHER ELLIS Interview by Angus Taylor

Christopher Ellis is the youngest son of the late great Alton Ellis. The South London born prodigy was taken on tour as a youth by his father, performing Alton’s songs in Jamaica and around the world - including Alton’s final show at the Jazz Cafe in 2008. Yet despite audible and visual similari- ties to his dad Christopher is now his own man, having come to the attention of Youth Promoter Sugar Minott and in 2010 been signed to Stephen Marley’s Ghetto Youths International label. Ellis has also become a singing foil to fellow UK deejay success sto- ry Gappy Ranks collaborating on the Mar- ley/Sly & Robbie creation Knocking At My Door, and performing together at the now hallowed Jazz Cafe in October 2011. Chris- topher is about to release a taster EP of his work (produced by Stephen) in preparation for an album at a later date. Angus Tay- lor learned firsthand about the road from his extraordinary childhood, growing up around his father Bob Andy and John Holt, to his star studded present, surrounded by Marley scions, Snoop Dogg and Jah Cure... Tell me about your journey because of my dad and my song about them asking me into music. love of music. If he was alive that, saying “Could you ever now I think I’d be with him sing in a yard style?” “Could I’m born and grown in Lon- just doing his songs on his you ever sing on dancehall?” don. The first time I stepped shows, because I was happy I was doing an interview with on a stage I was 11 years old doing that. Robbo Ranx, Wundah was at Hammersmith Palais with there and he said he’d love , the Melo- How big an influence on your to work with me. The first dians, Alton Ellis, Dobby life has your mother been on thing he sent me was this! As Dobson, Ken Boothe, John you? soon as I heard it it just gave Holt. I sang I’m Still In Love me the bounce I needed. I and I shut down the whole My mum now, I have her as went to the studio and had building with that one song. an angel which is kind of a the first verse only. But when When the people started bad thing because everyone I got there the rest just came clapping and going “Waay!” is imperfect. I’ve never seen to me, everything just con- I said “Wow, I could get used her do anything wrong, I’ve nected and it went fine. to this!” (laughs). never seen her swear, she’s a Christian. She brought me You’re signed to Stephen Mar- That was your first show? up with manners, how to be ley’s label. Stephen said to me respectful, everything that I that he was drawn to you be- That was the first show I know good, she taught me. cause you both had a similar ever did Angus. I started Sometimes I tease her and road to travel. to do shows by myself but say she stifled me in music, then my mum cut them off. because I was starting to get I agree so much. On Yard So I turned to football and booked for shows at 11 and Style song I sing (sings) “So did some trials for Crystal 12 that my dad wouldn’t do say it’s set for me, cos it’s Palace. It didn’t go well but and then she said “No more hard when you’re reggae I was good at football still. shows. School”. As I got royalty”. I see it as a respon- My dad kept saying “Chris- older I was a bit upset about sibility and I’m sure Stephen topher, come sing with me” that, but it was protection. sees it the same, trying to and started taking me on carry on a legacy that was tour when I was 16 or 17. I You have a new dancehall built by our fathers. He just went all over the world. If my track Yard Style on Wundah’s saw me, connected with dad was here now I wouldn’t Good Food rhythm. me, he loves how I sound, be doing music with the Mar- and away from the music leys. I’m only doing this now My songs are mainly love we get on as friends, there’s as the baton’s been given songs - kind of my Dad’s loads of comedy when we’re to me because he’s gone. mood. One day someone around! He’s the boss, but I don’t really need to be a said to me “Yow, you should he’s so funny! He can relate star or a big singer, it’s just try dancehall!” So I made a to my story. That’s how we came together. It’s more similar to Mind Con- me is there feeling tired and trol, his first album, mixed wanting to sleep, who hasn’t From how “correct” his pro- contemporary. His songwrit- had even a quarter of his suc- ductions are I thought Stephen ing... I was just blown away cess. When I see how driven would be a hard taskmaster in by him! he is I think “Ah, so that’s the studio... why he’s where he is!” When is your album with Ste- The man is a genius! But he phen coming out? You’ve done a lot of travelling doesn’t act like he is. What around, in London, Jamaica, he’s doing is natural. He’s First I’m going to release an Miami over the years. Where got a line in his song where EP. We’re not far from finish- do you call home now? he says “I’m not in it for the ing that album. When it does fame, I’m in it for the love”. come it’s going to be quality I’d say my real home is in Eng- I sit in the studio and I think songs and people will love it. land; that’s where my mum is, “This guy doesn’t even know It’s worth the wait! But we’re my kids, my girlfriend, every- how great he is!” The man is going to release a five-song one is there. At the same time a magician! His music is a dif- EP by summer, that’s the I could live in Jamaica. I love ferent calibre. Even on this plan. going to Jamaica because it last album we did, Revela- reminds me of my dad. When- tions Part 1, he took it back to What’s Damian Marley like to ever it’s time to leave Jamaica history where you get a flute be around and to work with? I’m not happy. Then I come to blowing for 30 seconds on its Miami, spend loads of time own or you get a hornsman Let me tell you about Dami- with Stephen and Damian, doing a solo. That ain’t hap- an. You know when you hear but I don’t really like Miami pening today in reggae mu- someone say when a person so much, there’s too many sic. Taking it back to how our walks in a room the room highways, freeways and fathers did it: real music! lights up? That’s really the roads; pure motorway. But I case with Junior Gong. He has love being in the studio with Have you heard the Part Two of a special aura. Let me give the boys. the Revelations? you an example of how driven this guy is: we’ll all be in the One person you met in Jamaica I’ve heard the Part Two! Ste- studio at 4am and everyone was Snoop Dogg. phen played it for me, oh is drifting off to sleep, a bit man! I don’t know how he tired, Damian “Junior Gong” He’s great. Everyone always does it! The first one’s called Marley is marching up and runs around him like he’s a the Root of Life and this one is down with a Guinness in his superstar, but he’s one of the Fruit of Life. This is coming hand preeing lyrics. This is a the most down to earth peo- off of the reggae, so it’s like guy who’s successful and out ple, always got a spliff in his hip hop sound, reggae incor- there already, taking over the mouth, as soon as the spliff’s porated with soulful grooves. world already. Someone like finished he’s building an “I’m still starstruck by Junior Gong and Stephen” other. We were in the studio I was in Atlanta. I got a phone those stairs again, feel the and Damian played one of call saying “Sugar Minott whole energy. This year I’m his productions and Snoop just died!” My heart sank hoping to do it again by my- said “Yeah man, get me on and I just started crying. self, one night with Christo- this, I like this!” He’s a su- Many artists that I’ve met pher Ellis at Jazz Cafe. perstar but he acts so nor- and have passed like Delroy mal, so laid back. We all Wilson, , that Would you like to win lots of went to Trench Town and oh I grew up seeing every day, Grammys as Stephen has done, man, you’d have thought it I didn’t cry tears for them, or does that kind of thing not was Michael Jackson! Peo- but that’s how much Sugar matter to you? ple came out and were chas- Minott affected me. I cried ing the cars, crazy time! for Sugar Minott. I was in If I don’t ever win a Grammy Atlanta and I cried. I went to that’s not going to affect me. Another mentor in your career see him about a month be- I won’t see myself as a fail- was Sugar Minott. fore he passed and he told ure. When the people accept me that he’d got some chest you, that’s what I want. Check Sometimes I feel sad when thing, and he said “Ease off this: Tarrus Riley has never I think about Sugar because the chalice“. Sugar Minott won a Grammy, he’s one of he didn’t get the credit he de- passed but Sugar is in my the biggest artists in reggae served. Sugar always used to heart. I love that man. music; Jah Cure, same thing. say people in Jamaica didn’t If I won a Grammy I’d be very show him the credit like the The final Jazz Cafe concert happy and hope my kids are foreigners. He was loved in that you did with your father proud of me, but really all I England, big time! In Jamaica has been put out on DVD. You want Angus, is for people to they don’t book Sugar, they went last year to be on Gappy love my songs. But... a Gram- don’t big up the Godfather; Ranks’ “and friends” show. my would be nice! (laughs) he’s the Godfather of dance- How did it feel to be in that hall. He was a man that if you same venue again? What is the one thing that could sing in key and in time people who loved your fa- he would voice you in his stu- That was nice, man. In fact ther’s music don’t know dio. When my father passed that was my idea, because about him as a person? he said to me “Ellis, come Gappy was going to do a here anytime and voice, do show in a different venue. That he was a comedian! what you want to do, free of I said “Gappy, no man, do I have a cousin called Ity charge, because your daddy Jazz Cafe”. It was so nice to works in a duo: Ity & Fancy is my daddy”. He took me in step out at Jazz Cafe man, Cat, they’re like the Ant & Dec like I was his son. there are so many memo- of Jamaica. They are funny! ries there. I performed three Ity’s brother is called Blakka How did you react to his pass- times there with my dad. It Ellis, he’s a comedian as well ing? was so nice to walk down in Jamaica. They’ve got their Africa? He always said “Me cyaan believe I never been to Africa before”. Hopefully I can fulfil that. Yeah man, An- gus I really miss him man.

And what is the thing about Christopher Ellis that peo- ple who love his music don’t know about him?

That I’m just a normal young black kid from London, whose dad happens to be Alton Ellis. Sometimes I’m overwhelmed by the love. My love for music is raw! I’ve never took singing les- sons, so everything I’m do- ing is just by accident. It’s not by the book. I just want to keep rising and working with the band. It’s really nice for me because I started off just singing Alton Ellis songs in Jamaica when my father passed, I was on four or five shows a month singing pure Alton Ellis. Now it’s nice that I’m stepping out as Chris- topher Ellis, and Alton Ellis’ own show on TV and stuff. It turned to me with a blank son on the side instead of runs in the blood. They’re my face and said “Christopher, first. I want to be myself and dad’s nephews and my dad them think it’s a stage show!” bring something to my dad’s had a comedy as well. The Any time my mum used to legacy. Instead of karaoke, man was so funny, Angus! discipline me, my dad was a the legacy. One time we were on a plane saviour so I could always run when it just touched down behind him for shelter and in New York and everyone protection. Did you know started to clap, and my dad that my dad never went to JESSE ROYAL

Kingston youths. Jesse has been making music for Interview by Marc Marino years and now he is writing and recording tracks for his debut album. He has worked with Philip “Fatis” “Musicians are the Burrell, Earl “Chinna” Smith and Sizzla Kalonji a few big names in Reggae Music. Along with this inter- driving force. We have view Jesse Royal has given United Reggae the exclu- to keep the live music sive on the Butterflies acoustic Inna De Yard video alive” with Earl ‘Chinna’ Smith on guitar. He has also given us the premier of his Mixtape titled ‘Misheni’ which I first met Jesse Royal on the steps of the world fa- is Swahili for “The Mission”. ‘Misheni’ is available mous Grafton Studio in the Vineyard Town section as a free download as a “Thank You” to current fans of Kingston, Jamaica. I have been following Jesse for and as introduction for those who are just learning some time now and he is one of the most promising of Jesse Royal. Jesse, in your own words who I always did music and was is Jesse Royal? friends with Fatis’ son Kareem ‘Remus’ Burrell. We were all Jesse Royal is the voice of the friends and the music thing youth. Jesse Royal is every- came together naturally. one, everything that is hap- Each man playing their part. pening now. The voice of the Fatis was an elder who we people with Rastafari at the looked up to even called him head of it. Uncle Fatis. From creation it was Jah’s plan from before What music are you listening I knew. Like Steve Jobs said to today? it’s not until you look that lovely to learn. I learned a you can connect the dots. lot of things on the road. At Well, we’ve always been lis- the end of the day the music tening to the King, Bob. The Fatis was known for using live is for the people. People are Beatles are there, Bill With- musicians for his work. Is this being mislead and mistreat- ers, , Junior Gong, something you plan to follow ed all around the world. You Ragga, and Sizzla Kalonji. in the future? have to go check what’s go- Nice music you can’t resist. ing on. You can’t really speak It is a must. Out of respect about it if you don’t know Which of your songs is your fa- and it is the real way to do what’s going on. Who feels it vorite to perform live? Which the music. It is very nice knows it. song has the most meaning to when the vibe comes from 5 you? different souls. When every- What are your future plans? thing comes together it is a Every song has its own mean- different energy than when The future plan is to get the ing. Every song has its own one man does his thing. You youths aware. Our genera- vibe. Every piece connected. have to keep the authentic- tion has to come forth and Every ingredient in a dish is ity alive. The musicians are fight this fight. Set a differ- important from the carrots a KEY part. I cannot say that ent standard in this world. to the garlic. Every song has enough. They are the driving Really implement the things its own little place. We love force. We have to keep the we have been fighting for. them all. live music alive. My plan for an E.P. will soon come. Thinking about calling How did you become involved Last year you toured with Siz- it Royally Speaking. I let the with Xterminator Records, zla and recently visited Brazil cat out of the bag. It is a mis- which was founded by the and Africa. Can you share a sion not a competition. Each late great Philip “Fatis” Bur- memory from your trip? and every one has to play rell? their part. It was lovely and it’s always

PETER HUNNIGALE

Interview by Angus Taylor Not so, the butter-wouldn’t-melt voiced lovers rock veteran Peter Hunnigale, who started as a guitarist and bassist in the late 70s and went to on to record for labels including Fashion Records, Ariwa, and his “Steve Jobs’ name is own Street Vibes imprint, picking up multiple awards ironic. People LOST jobs and chart successes (such as 1989’s Raggamuffin Girl with Tippa Irie) along the way. Since his last al- because of what he bum, 2009’s self produced ‘Reggae Ville’, the singer thought was an inno- has been taking things easy, doing a little produc- vative idea” tion, and a variety of community based projects. But this period of downtime made him perfectly placed to give some heartfelt and fascinating views on the Usually when United Reggae talks to an artist they music industry to Angus Taylor when they met in have something to announce or promote: an album Brixton at the end of February - a few of which may release, a tour, even a book or a film in the pipeline. surprise... What are you working on they want. Talent shows have City as a platform as part of a right now? always been a part of reggae portfolio for the artist. Have and it’s taken the best bits of you done a bit of reggae? Have I’m just freewheeling. It sounds the talent show format and you done live open mic stuff in a bit absurd but I’m just doing put them back into a new for- a venue? Come and test your what I want. I’ve just produced mat at a time when live music bones out and get your record a song with Wendy Walker, a is the one thing that seems to company in here at the same cover version of Mary J Blige, be staying vital. time. I really want to make it a called Hurt Again where she’s platform where major acts who getting a lot of attention from Don is my bass man in a band have probably just come out radio stations. Then there’s we put together just before last for a drink for the night can say also a duet I’ve done with Mi- year called True Vibes. His con- “Yeah I’ll have a go at that! Give chael Lloyd Pinq. I’m also doing cept was telling people come us the mic! I might be from the a bit of international work with and do your reggae thing, sing rock world but I’ll do a blues the Japanese doing bits of lov- if you want to sing and a few of ballad on a reggae track”. ers stuff and a lot of dub work my colleagues will play some for sounds like Iration Steppas music behind you. It’s a to- It’s somewhere you can see a where I’ve been rebuilding a lot tally different role for me and or a Christo- of their tracks and refashioning it’s come at a really good time pher Ellis but you can also see some of the 70s steppers stuff because my mind’s sort of eve- something really unusual like which is a lot of fun! A totally rywhere at the moment. Some- the violinist Namhee playing different fit! But I’m a musician time last year that it actually a tribute to Dennis Brown. so I enjoy making music and started to sprout legs and start What’s been your favourite production so that’s my love moving on its own and then Reggae In Da City moment? at the moment. It’s really one we thought “We’ve really got of the best places I could be - something here!” It’s threaten- I’ve had several. On one of the it’s still keeping my hands and ing that we need a bigger ven- first nights there was a lady mind working and keeping the ue! Because this thing could who was slightly inebriated joints greased! really blow up! and wanted to sing Hurts So Good by Susan Cadogan. So But you have still been mak- Where do you see it going I said “Ok, in for a penny, in ing a big impact on reggae in next? for a pound”! Now this woman the live arena in your now was el blotto - she was close established role as compère I’m interested in getting the to caving in! - but she got up of Don Chandler’s Reggae In record companies in now to there and even though she Da City monthly event at Cot- get some of their acts in. We could barely stand up she got tons in Exmouth Market. It’s don’t care what you’re up to - through the whole song! An- a free night where people can pop whatever - if you’ve got a other one was Linda Duru - a see big names, join in them- new signing get them to come black woman who came from selves and network, whatever down and use Reggae In Da Scotland who came up and sung Summertime. So when being a musician help you as also means I won’t be broke! I asked to introduce herself a singer compared to singers (laughs) I’ll always have a bit of and she said “Hi my name’s who’ve never picked up an dosh! It’s a valuable language Linda” in a Scottish accent I instrument. and skill. knew the London audience would be so messed up by It’s put me years ahead of most As a Brixtonian you will be that! I mean, we’ve seen Indian artists who cannot play an in- aware the cancellation or people speaking Scottish but a strument. And that’s the major- possible postponement of black chick was so weird! Then ity of artists in the music indus- Lambeth Country Show 2012 there’s Lexi Eccles! She’s got a try. Maxi doesn’t play, Tippa due to the Olympics. But on great voice. I think the empha- doesn’t play, Michael Gordon, a wider level free local festi- sis of Reggae In Da City is weird Paul Dawkins, a lot of my col- vals have been being eroded and wonderful - it has got to leagues just sing. In that area for years. As someone who be. of the game I hold well and it’s has seen the ups and downs given me no end of advantage of the industry - does reggae Your job is to work very close- of what I need to do and what music do better or worse in ly with the band. How does I understand about music. It hard times when the govern- ment has less money? tween 100hz and 10k and to ything on” and that’s what he some degree they might have did. It was nothing to do with Reggae music has never been a point. But analogue was the benefit of mankind or mak- funded so in times of good or going from 20hz right up to ing life better. When they came bad we just move at the same 20,000 (although at our age up with downloading your mu- speed all the time. When we we won’t be able to hear more sic through iTunes a lot of the have a recession it doesn’t af- then 12-15K!) (laughs) But if artists were told “You’re never fect reggae music because you listen to some of the old going to make any money off of we’ve never been funded any- well recorded analogue you’ve it”. What do you get for iTunes way. It’s perhaps not a good got so much bottom end there downloads now? 20 pence? 30 way of seeing things but reg- and top end that we can hear pence? We can never run an in- gae will survive because of and it’s so fabulous. I’m not a dustry off of it. Record compa- it. Yes the industry has been fan of mp3s and m4ps and joe nies let me down. They should going down. My greatest cry public doesn’t understand that have fought back for their in- is seeing record shops disap- it’s just the same as listening dustry and said “You can make pear. I hate it so. Record shops to a cassette tape which is a your iPad but you ain’t putting to me are a great place to be second generation recording. not one of our records on there. and a point where you can get People have substituted qual- You’re not going to use our in- reference to what’s happening ity recording for second gen- dustry to sell your product. with music. It’s got to the point eration recording and saying You’re a computer company. If where you can’t buy a decent it’s quality. How can that be you’re going to do that make a decent cd anywhere (I won’t quality? This is what they’re sure you two thirds or at least a buy one that’s been burned). spending a whole quid for - a third back to the industries you But we still continue to make second generation recording. are taking from” and I’m sure reggae music and if we really They don’t understand. So I am Apple would have said “That’s have to make it available we’ve not a fan of iTunes. too much”. got iTunes which I’m not happy with but it’s there as an outlet. You’re not a fan of Apple in These days kids play music general are you? on their phones and rip files The problem with iTunes is from YouTube which may ex- the files Steve Jobs’ name is ironic. Peo- plain the lack of bass in a lot ple LOST jobs because of what of music these days... Everything is a compression ra- he thought was an innovative tio. ITunes have got m4p files. idea for his company Apple who I think a lot of this could have They’re all lossy files, they all didn’t give a toss about the mu- been stopped. I know the inter- have a compression ratio to sic industry or any industry. It’s net’s territorial and what you them where they knock off the like “I make computers, and can accept in the UK is different top and the bottom frequen- I’m going to show that I can put from what you can accept in cies and tell you you only lis- teacups on my computers, I China but in terms of the laws ten to certain frequencies be- can put tables on, I can put an- here we could have protected the industry here a long time sion like the soundman him- a black man’s point of view. It ago. They could have upheld self, Saxon, because it’s got wasn’t Brixton’s point of view. our intellectual property rights to come from his machine and It wasn’t a Jamaican’s point of and said to people in the UK then he decides to sell a cou- view. It was from Britain’s point that “You cannot put people’s ple of these tapes at two, three of view and this is why you music on the internet without quid a go. Yes, people could had songs from The Specials. a contractual agreement.” Peo- have sold them on our whatev- And they did do well to bring ple have got used to download- er but it wasn’t an industry, it in some of the classic acts ing our music free on the inter- was more of a specialist thing. like and Big net and once you get used to I think what we have today is Youth. It’s what Britain recog- music being free on the inter- an expected thing where the nizes as reggae music so I can’t net they want to get it free on government’s given way to go along with some of the prob- their phones and it’s easy for people being able to download lems or issues that some peo- a company to sell their phones songs for free without pros- ple have about it. People say on the back of that. That’s how ecution and it’s a standard, “Peter Hunnigale - you should that culture grew and it’s what widespread thing now. That’s have been on there” and I say people expect now but that the difference. The creative “Bless you and thank you for doesn’t make it right. That’s art is not seen as as impor- that love” but that is not what not right at all. People say it’s tant as Wembley football, the Britain recognizes as reggae the way forward. It’s not the Olympics, or Wimbledon. “Oh music. From the late 60s today way forward. They need to you sing, dance, and prance black people didn’t just listen stop doing that with our mu- around on stage? Oh you write to reggae music alone. You had sic - which was an electron- books? You make films? Get a an English white community ics based industry. We were real job”. But if it’s the foot- who loved reggae music and electronics not computers. ball? “If we see you selling a those that can remember Top counterfeit ticket we’ll lock you Of The Pops will know it had a I asked Tippa this a few years up mate”. The creative arts are healthy attendance of reggae ago, but what’s the difference not respected in this country. music going through the charts between the way people col- - Dave and Ansell, Tito Simon, lected sound tapes back in the This is quite an old one but Desmond Dekker, I loved that day and sharing music on the what did you think of the about coming up through the internet? BBC’s Reggae Britannia the sixties. It’s Britain’s perspec- concert and TV series - now tive on reggae music so I didn’t Soundtapes were a special- that dust has settled? have any complaints. ist thing. You couldn’t go into a shop and get a soundtape. As much as people don’t like You were in the Story Of Lov- People weren’t standing at and don’t want to hear it - I get ers Rock film, which very well the tube station selling sound- it. The reason I get it is because received, but of course some tapes! You’d have to get it from it was Britain’s view of what people also criticized it for not someone who was in the ses- reggae music was. It wasn’t telling the whole story. With a title like that then people songs that could be what was (laughs) That’s probably why! may take it literally - even if their memory of what was icon- Because we’re from South Lon- they accept no one was go- ic from the time. don. You had a couple of teams ing to call it “A bit of Lovers closer to home like Crystal Pal- Rock”. Tippa Irie told me a few years ace - who actually aren’t doing back that you are his favour- too badly now. I’m a bit older (laughs) That’s never going to ite singer. Is he your favourite than Tippa but not by much - happen. The essence of the deejay? I’ve always liked Arsenal. I’m story was never a documen- not as avid a football nut as tary of lovers rock. That’s why There is a bias that I have but if Tippa because he’s got his it didn’t feature a lot of people you ask me? Yes he is the best season passes and everything. who should have been in there. deejay in the world. I could But for a London club when I Basically it was the filming of a be hated for that statement! was at school and what we rep- show that we put together at (laughs) But I’m going to say resented Arsenal was always the Academy for UK lovers rock yes because the camaraderie the team for as long as we re- music and then through a bit is going to be solid. I do have member from George Graham of politics this film culminated lots of great deejays that I love. coming right through to Arsene from it. That show was nothing Chukki Starr is a great British Wenger which I’m not too hap- to do with the history of lov- deejay, Starkey Banton, even py about at the moment. I think ers rock but the only way that Horseman who plays drums he’s doing some really wrong the filmmakers and producers and is a deejay. You’ve got things. If Harry Redknapp was and people that filmed it could Macka B up in the midlands manager of Arsenal we’d be al- make some benefit from what who is quite respected and I right mate. they had done on the night - think he’s fabulous as well. But and that’s putting it in a nice as a working deejay right now way - was to make a film of it. Tippa Irie is really flying the Cut it up into bits and pieces flag for UK artists. There are with the traditional lovers rock different flavours of deejay and artists and then get someone everyone is going to have their to narrate in between the bits favourites but Tip is iconic of and pieces, make a story out of what’s going on. it, then call it The Story Of Lov- ers Rock. This is why we have I set you up for my final ques- all the holes in there but as tion, which again I asked Tip- you say even if it didn’t you’d pa, and made sure it was the still have people saying “why last question in case it went wasn’t I in there?” because sour - but you’re from South everyone’s got their memories London so why do you sup- of what lovers rock was and port Arsenal? even if someone only did two

HARD BREAKA Interview and photos by Aude-Emilie Do- Let’s start with Gambian singer and producer Mamut rion Jeng aka Hard Breaka. Originally from Faranang, he moved to the coast where he produces music.After performing at Ariwa BACK TO AFRICA festival in Janu- “Gambian society is ary, it is in Senegambia at Unity Records Studio that hard to live in but the artist welcomed me for this interview. In this pri- vate meeting we looked back on his career and his I believe I can pass projects with new label Unity Records... through with my mu- sic”

Hi Breaka, how are you today sits in bringing together 14 During the early 90’s he was ? Gambian artists around a mix- hailed as a rising talent, but ture of traditional Bambala his career ended by his early Fine thanks. music and modern riddims. death in 1994 while attempt- As a guitar player myself, I am ing to save his mother while So we are going to come back sensitive to the composition their house was on fire. Among on your 10 years long career. of my riddims. I started work- the people he worked with fea- You started in 1997, what can ing on the ‘Ladies Riddim’ and tures the great King Tubby and you tell us about your expe- decided to build my own studio Sly & Robbie. As for my music I rience in the music industry with my sound engineer and compose and write the lyrics at so far, your career, what have together with all the people at the same time, taking inspira- been the goods and the bads, Unity we produce sound and tion in my day to day life and what is your challenge ? craftwork artists. my African roots.

As you said I joined the music Your single ‘Moan and Groan’ After ‘Oneness & Signs’ and industry in 1997. Back in the had been a buzz in the Gam- ‘Sitting in the Dark’ you are days I was collaborating with bia and has pretty explicit lyr- working on a new single, can the hightech Buldof label. I ics, tell us about the context you tell us about it ? have worked with them for eight in which you wrote that song years, recording and searching ? As I am busy producing artists over and over again until I was it’s been some time since I last satisfied with my work. This is Gambian society is hard to live worked on a track for myself when I released my first single in, there aren’t to many per- (smile), the ladies riddim have ‘Oneness and Signs’ which had spective for us over here. I be- been on the charts for quite been a success in the Gambia. lieve I can pass through with some time now so we decid- I performed all over the coun- my music. Moreover music can ing to work on a new project, try. This years with the Buldolf be a catalyst for action as any we are currently recording a Studio helped me continuing other art form within the soci- tune called ‘Linkin’ It’ featur- further my development into ety. My texts talk about the so- ing some artists from abroad. I producing quality music. cial problems we encounter in like music with no boundaries, the Gambia. my music always searches new We are presently in your re- sounds mixing different rythm cording studio, can you tell us You have a powerful, émotive and different flings. I like mix- how the Unity Records adven- and smooth voice, can you tell ing acoustic and dubstep el- ture started and when ? us about your influences? ements into my music. I like to call my music ‘Be yourself’ Music has always been a part Well without hesitation I’ll tell because it has no boundaries, of me and at some point two you , brilliant Ja- you can call it reggae, ragga, years ago, I wanted to launch maican artist who turned from Bambala, electro, in fact it s my new productions that con- deejaying to singing in 1989. not limited to one thing, it s a fusion of things. on the net ?

Thank you for having me at You can follow me on myspace Unity Records today, is there at http://www.myspace.com/ anywhere United Reggae heartbreakergambia/music. readers we can follow you at Bless up. SLY DUNBAR

Interview by Angus Taylor Flesh & Bones who had a residence at the Tit For Tat Photos by Laurent Gudin & Wonder Knack club in Kingston.

It was at the neighbouring Evil People venue that he met Robbie, liked his vibe, and the two became staunch members of ’s band the Aggrava- tors, migrating to Channel One as the Revolutionar- “The steppers drum- ies - where Sly created the “rockers” drum sound. ming really started There they accumulated enough studio time and with Phil Chalender at money to start their seminal label - Taxi, hitting big Studio 1” first time with Gregory Isaacs’ Soon Forward. International mainstream success beckoned due Like , Lowell “Sly” Dunbar has been to their work with for Chris Blackwell’s an excessively generous contributor to Jamaican mu- , who signed up their key harmony sic. Since he first built his own drums out of discard- group Black Uhuru. In the dancehall era the duo ed cans as a child he has played on thousands of popularised the combination song with Chaka De- pivotal records by a myriad of producers as well as mus and Pliers Murder She Wrote. They continue to co-helming as many more himself with his partner push the boundaries of popular music to this day. and bassman . Angus Taylor spoke with the living lynchpin of Ja- Dubbed “Sly” because of his love for American soul maican rhythm on Easter Saturday 2012 just as Den- music - specifically Sly & The Family Stone - his de- nis Brown - one of his countless collaborators - was but recording session came via the keyboardist An- about to be honoured with a blue plaque outside his sell Collins. Encouraged by Collins and former dwelling on the other side of town. This inter- Sly drummed for a variety of bands during the new view is the reason why he missed the start! reggae age: The Rainbow Healing Temple Invincibles (with Parks), the Volcanoes (which he joined through Invincibles guitarist Ranchie McLean), then Skin

Tell me how you entered the After working with Lloyd and a session saying he wanted to music business in the late Six- Ansell (and just before you met do an album with Skin Flesh & ties... Robbie) you joined Skin Flesh Bones and Al Brown. This was & Bones, where you played the first song we cut and it was I came into the music at 15 with a wonderful underrated a smash! I think I did play on years old. Ansell Collins was singer called Al Brown who Ain’t No Love too! the one who brought me into covered Al Green’s Here I Am - the music for my first session. Come and Take Me (1974) and Let’s talk about some more And at age 16 the second song later Bobby Bland’s Ain’t No of the more collectors’ art- I played was . Love - in reggae style. ists you worked with. Later in the seventies around 1977-78 You and Ansell pretty much I joined a band called Volca- when you and Robbie were came up with Double Barrel, noes and he was the singer. at Channel One studio you even though he sold the tapes Then the band split up and we played on the Phase 1 records to Winston Riley who is cred- went to the country to play in tunes produced by Roy Fran- ited as writer? a hotel for a while before com- cis. He was a producer with a ing back into town and forming very distinctive sound - how Yes, he came up with the pi- Skin Flesh and Bones and he involved in the recordings ano lick [Very similar to the lick was the singer there. So in the was he? Or was it musicians from Ramsey Lewis’ Party Time] [Tit For Tat] club we were playing like yourself and engineers and then we started working band music so we had to learn like Errol Thompson who were the tune. So I was like his lit- a lot of different songs - reg- responsible? tle writer and he would take me gae, soul, calypso, everything. everywhere he would go in Ja- Cynthia Richards was a vocal- We knew Roy for years, from maica. We worked on that song ist with us too. We would play when we were at Channel One for a week and then we cut it. Wednesday to Saturday every and even before. He used to We had to borrow someone’s night so we would rehearse all live in America and come every drum set for me to play on these songs. So when Al Green so often to do sessions so we because we didn’t have one. came with Here I Am Baby we were playing a lot of songs for Lloyd Parks was the one who used to play the full version him. Now he owns Mixing Lab was kind of there and tutored on stage. We would always be studio in Jamaica and we’re me before I went to the studio playing the Al Green version still friends - in fact I went so Lloyd Parks and Ansell Col- because Al had a tone like Al there the other day and played lins took me into the recording Green. I don’t remember who on two live rhythms because studio. I still speak to Ansell suggested it but we thought he wanted a dub kind of thing. every day. He calls me on the we could do a reggae version We talk on the phone a lot and phone and we talk about music of this song. The owner of the when he needs some stuff I go ideas. We still do it same way. club who owned the band, down and play there, so we’re Dickie Wong, suggested we call really good friends. In those I don’t remember the titles of the tracks but one that re- ally stands out was his festival song...

Dance This Ya Festival (1976)?

Yes! I was in a restaurant once and this guy came up to me and said “What were you think- ing when you played that drum on that festival song?” I said “I don’t know”. I did the festival song the same day [All Night Til Daylight] in studio and then I went down to Channel One to do Freddie McKay’s song. I had never heard him before but when I got there JoJo of Chan- nel One said, “We have to win days we’d listen a lot to Phila- in their face! (laughs) So they it now Sly!” and I said “Yes, we delphia International Records, would push it you know? have to win!” So I said to Ernest as well as Motown, Stax, eve- “Soup the drum up” as a code- rything coming in, but we liked I also want to ask about the word to just make the drum the Philly modern soul kind late great Freddie McKay, who burn! When I heard the (sings of sound. I used to wonder at you played on many songs horn melody) and thought “We how powerful and how driving and a couple of his big albums have to make some fantastic that American recorded sound like Doing It Right (1977) and rolls to make the drum start!” was and tried to get everything Harsh Words (1982) . Another so that when the needle hits we were doing in that driving artist who people don’t know that record it just pops up so force. So we would tell the engi- enough about due to his un- TISH! (sings horn melody) and neer to try to get it kicking and timely death... come with the cymbal. Be- slamming just like the Ameri- cause it was a festival song you can records we would play for Yes it’s true. The funny thing want it to sound happy and so reference - to get something when you talk about Freddie I thought “We have to make it that sounds like that in volume McKay is you used to see him double happy!” so I went (imi- and power. And at that time every time we’d go down town tates drum sounds) and the with the drum and bass every- and we’d play on a couple of studio was crowded literally! body wanted to have the drum tracks for him. Some of them would come in and be a part- song then!” and we put it on then there was a time when time drummer when the drum- our tape. From there we were a lot of drummers would try mer wasn’t around. We used to good friends and I think I did to sound like me so there are see one another in studios and another tour with him and Big these little trademark things I I knew Dennis was a great sing- Youth - I was playing with Den- would put into the song! er because I was always a big nis and with fan of Delroy Wilson and when . I think Niney called Do you find a lot of reggae Dennis came on the scene I me once and said I’d played on fans are a bit obsessed with knew he used to sing for Der- more Dennis Brown tunes than the difference between rock- rick Harriott and all these peo- anyone else! They said I played ers and steppers drumming - ple. Then one time I started on maybe 2000-2500 Dennis and do people often ask you playing these sessions for Joe Brown songs. I did most of the about it? Gibbs and Niney and I played stuff for Joe Gibbs. on songs like Wolf and Leop- They do often ask, but the step- ard and then we went and did Also Revolution has been ver- pers drumming really started a tour in England - I think it was sioned so many times on top with Phil Chalender at Studio ‘74. Me, Dennis, the band Skin of that. 1 - the song Mr Fix It. He played Flesh and Bones - I don’t re- it on that song and I used to member if Al Brown was there, Yes, everybody used that listen to him a lot and I still I think Toots was there. It was a rhythm he did for us! And even do because he played on so long time ago! Money In My Pocket - I played many Studio 1 records. I also on the original version and listened to Horsemouth and Fair enough! then I went back and recut it some of this stuff was already and changed the drum pat- being played. When I came in He used to come by Tit For Tat tern and this was the new ver- as a drummer I listened to all and sing part time with the sion that went into the charts. I these great drummers - be- band. He also used to live up played on both - which a lot of cause Jamaican music has pro- the top of the road from me people don’t know. duced some great drummers so we would always check one - and to find my place I had to another. So one day me and There are so many things you listen to what they were doing. Robbie asked him to come to played on that we could be I thought “I have to take this the studio to do some songs here all day... thing and make it my own be- [for Taxi] and he sang Revolu- cause I cannot play like them”. tion and Have You Ever Been Sometimes I sit down and try And because I listened to all In Love, and Hold Onto What to remember and I am blank. this R&B stuff I took all the You Got. Sitting And Watch- Sometimes people call and re- stuff that I listened to as a kid ing was cut before for some- mind me and I’m like “Woah”. - Motown, Stax , Philadelphia, body who didn’t like the song. Or sometimes I listen to the ra- Al Jackson, Earl Young and all We said “OK we’ll take that dio and it sounds like me but these great drummers - and said “I have to develop myself this thing. Sometimes the in- and taking ideas from them. if I want to stay in this busi- spiration is coming from the ness”. I started working on bassline or sometimes from Give me an example of how patterns and beats and taking the singer. Because I’m playing you re-imagined the past... ideas from them. a song and playing a part of it not as a drummer but even as a Like if you listen to [the Mighty Give me an example of how keyboard player would play it. Diamonds] Right Time Come - you re-imagined the past... Listening for the pattern or the Lloyd Knibbs was the first per- kind of beat I could flip in the son I think who played it be- Like if you listen to [the Mighty chorus. There is a song called cause I cut the pattern away Diamonds] Right Time Come - How Could I Leave by Dennis from one drop to a song called Lloyd Knibbs was the first per- Brown where I played on the Addis Ababa for Skatalites and son I think who played it be- original take. When I came a couple of other songs. I lis- cause I cut the pattern away back from tour Errol [Thomp- tened to him a lot and said “I from one drop to a song called son] said I had to dub all these am playing reggae right now. Addis Ababa for Skatalites and drums over saying “It’s not I can play a pattern like this”. a couple of other songs. I lis- rocking” meaning there was no So when I played Right Time tened to him a lot and said “I groove in it. I thought it was ok like this right through people am playing reggae right now. but they said “No “. So I went in just couldn’t believe it because I can play a pattern like this”. the Friday morning they put on drummers then just played So when I played Right Time the track, I said “This is what one drop - they might acciden- like this right through people I’m feeling” and they said “Play tally play a little thing different just couldn’t believe it because anything you want!” (laughs) and then come back to the one drummers then just played Because they knew I wasn’t go- drop. I was playing the pattern one drop - they might acciden- ing to play the one drop so they right through and then JoJo tally play a little thing different said “Play anything” to make it from Channel One gave me the and then come back to the one groove. I started playing and go ahead to pursue that so I drop. I was playing the pattern the whole studio jumped up, started doing a lot of this. right through and then JoJo saying “That’s it! The whole from Channel One gave me the song is finished!” But I was just How does the actual music go ahead to pursue that so I grooving to the bassline and you’re playing on inspire you? started doing a lot of this. the melodies Dennis was sing- ing. Then there is another song A lot of people see me and How does the actual music I did which a lot of people don’t don’t know the inspiration you’re playing on inspire you? know I did which is Punky Reg- I’m getting when I’m playing gae Party for . this thing. Sometimes the in- A lot of people see me and spiration is coming from the don’t know the inspiration stay in this business”. I started bassline or sometimes from I’m getting when I’m playing working on patterns and beats the singer. Because I’m playing a song and playing a part of it said it was done and Scratch me, all this music is coming not as a drummer but even as a said “What you mean done?” alive, because reggae is some- keyboard player would play it. and he said “Sly did it and it’s thing we are checking. Listen- Listening for the pattern or the gone!” (laughs) So there’s an ing back to them now it’s in a kind of beat I could flip in the element of singers and people class by itself - nobody is play- chorus. There is a song called and it just comes to you. You ing reggae like that anymore. How Could I Leave by Dennis don’t know how long it’s going If you listen to Stepping Razor Brown where I played on the to take and it just happens. I and Nothing But Love with him original take. When I came just go in with a frame of mind and Gwen Guthrie and Crystal back from tour Errol [Thomp- to play on a hit record, to play Ball and Pick Myself Up - listen son] said I had to dub all these a hit pattern. So I am calculat- to just the rhythm of Bucking- drums over saying “It’s not ing everything when I am going ham Palace. We were just about rocking” meaning there was no in thinking “What am I going to experimenting with everything groove in it. I thought it was ok do today?” I have these things we could experiment with to but they said “No “. So I went in spinning around in my head take to reggae music. Whereas the Friday morning they put on about what the pattern is going you find that in today’s mu- the track, I said “This is what to be like and if the tune is like sic there isn’t a lot of experi- I’m feeling” and they said “Play this or that. But I listen a lot to menting. Everything is just go- anything you want!” (laughs) everybody. ing around - the same thing, Because they knew I wasn’t go- the same thing every day - so ing to play the one drop so they We’ve talked about Bob so you don’t find anything new. said “Play anything” to make it let’s mention ’s But Peter Tosh albums today, groove. I started playing and Equal Rights (1978) which was sometimes I sit down and lis- the whole studio jumped up, reissued last year with demo ten and my mind is blown. Even saying “That’s it! The whole versions and outtakes. You when I listen back to the live song is finished!” But I was just were the one who gave Step- shows on YouTube I’m like “Re- grooving to the bassline and ping Razor its stepping drum ally? That was how it was going the melodies Dennis was sing- pattern. Did you check it out down?” Because when you’re ing. Then there is another song and how did you feel about on stage you’re just playing I did which a lot of people don’t your work being reissued like and you don’t really know how know I did which is Punky Reg- this? it sounds - I mean, my God, this gae Party for Bob Marley. is killing you know? (laughs) I haven’t listened to the out- Tell me about that... takes although I did hear it was You just mentioned Gwen reissued. Peter Tosh stuff was Guthrie. Tell me about how I did it at Joe Gibbs’ it in one cool. Equal Rights was when I you entered the pop music take and he couldn’t believe first got into the band and was mainstream with your work it! I said “Go and record it in the first album I would do with with Grace Jones album Warm one take - I might not get it”! Peter. I was listening to Peter Leatherette (1980). So then he called Scratch and Tosh the other day and trust I remember before we started play and we said “We’re just by the sound of Sensimilla and the Grace Jones project Chris going to make some music”. Alex Sadkin the engineer said Blackwell invited Robbie and Everybody said “Shouldn’t we “We should take this sound myself to his apartment to rehearse the song first before for the Grace Jones sound!” listen to Grace’s stuff and he we go into the studio?” Robbie He listened to the tape and he gave us a copy of a record. To said “No, let’s go in the stu- had the bass sound, the drum this day we haven’t listened dio, get the vibe and let’s go sound, he had the direction we to another record that he gave cut it!” We had taken a Black could go because didn’t have us yet! So the session was in Uhuru tape Sensimilla to Nas- any concept for Grace. That Nassau we went down to the sau and we played it for Chris was when Chris signed Black studio, nobody knew what to and everyone was blown out Uhuru and we went on to cut Grace Jones. there and Robbie was there. play with Tommy McCook eve- Everyone thought we had been ry Thursday on a programme A win-win situation playing together for years but called Top Ten Tunes. So eve- this was only the second time ryone round there knew me Combinations also have other we’d played. When you listen and knew I was fooling around aspects, such as when an es- to the track, even today, even with music. I was trying to get tablished artist teams up with some of the engineers in Ja- his brother into the production an aspiring talent to help his maica say “Wow!” We did four side of things and his brother or her career. But, Jah Sun has albums with her and it’s been sang a song with my cousin other benefits with combina- great because it was fun play- where they had a little group tions in mind. ing with her. I don’t know if they were trying to form. Mi- it was because she’s Jamai- chael used to sing in a little “Combinations are also great can and she felt comfortable band but even before that we because it gives each artist around us but it came out so used to take Michael up to his the chance to tap into the oth- great because she felt comfort- aunt and I used to walk with ers fan base and get more ex- able and we could relate to one them. posure. But mostly I choose to another. That project and the do collaborations to make my Peter Tosh project were what How did you start to work albums more interesting. Per- really launched Robbie and with Michael? sonally, I think the fans appre- myself to international status. ciate it and I get great joy work- People started looking into One day Michael came and ing with other artists as well. what we were doing and then checked me and asked me if I So it is a win-win situation,” he the Black Uhuru came after and knew Joe died. I said “No” and concludes. then everything came after be- he said he died in a crash! I said cause people were saying “This “Whooa” and told him “I’m How did the session go down? sound is great.” at Channel One studio so feel free if you want to come and The first song we cut was Warm Let’s talk about Black Uhuru check me for any link, if I can Leatherette and the second because your link with Mi- help I will help”. He did a song song of the session was my chael Rose went back a long for Dickie Wong on Tit For Tat favourite song of today in the way before the albums you called Observe Life or some- world was Private Life! So you produced. thing like that and then he can imagine us in the studio started checking me at Channel and this the second song! The Michael Rose and I grew up in One because I was down here sound was already there! All Waterhouse. His brother and I every day and he would come of us were playing for like the were good friends. They knew by. We did a version of Artibel- second time because we didn’t me from in the music industry la which came out pretty good know and Barry from when I was a kid and I and I said “OK, it can work” but Reynolds but Mikey Chung was used to come on television and we didn’t record anything for a there, Sticky Thompson was long time because I heard they produce their first album in- other things said “Listen to had formed this group called stead of Jammy’s weren’t these people” and he came Black Uhuru and he did an al- you? But you were on tour back and started singing Plas- bum for Jammys which I played with Peter Tosh right? tic Smile and Shine Eye Girl on but at the time I didn’t have and it sounded great. So we the money to go into the pro- Yeah, they came back to check did some cover versions - a ver- ducing business. me and said they made it and I sion of Let Him Go by Bob Mar- said “OK”. So I gave him some ley to try the vocal and he did You were originally going to Earth Wind and Fire and some a version of Sun Is Shining too. So we were just experiment- because we were hitting hard. day when I listen to that record ing with things. And he came With Black Uhuru we got a lot it is excellent and it was done back with the sound and I said of chances to do creative stuff in only one week! “It sounds great - now we can on our own - because we were do some original songs” So we in charge so we didn’t have to Let’s talk about American soul went back and start cutting the listen to anybody! (laughs) We music which you’ve men- original stuff like Plastic Smile. could do things our way. Like tioned in the interview. You Sensimilla - everyone said it covered Al Green, got your Michael’s vocal sound changed had one of the wickedest reg- name from Sly & The Fam- so much between his work for gae patterns there is! We would ily Stone, has Niney and his work for Jam- start fooling around singing figured in your work a lot of mys. How did your own sound and playing the pattern then over the years from Delroy develop with Black Uhuru at saying “let’s go for it!” Wilson through to Bitty. Who that time? is your greatest soul singer of Having worked with the Roll- all time? We had just come back from ing Stones and Simply Red a tour with Peter Tosh and we who would you say is the Marvin Gaye and Otis Red- had been at a rock festival bigger reggae fan out of Keith ding. I like them all but there is where the reggae was sound- Richards and Mick Hucknall? something about Marvin Gaye ing so light! We wanted to get - I don’t know if it because he it sounding pounding like the (big laugh) was a drummer! (laughs) But rock’n’roll music! So when I there is something to his songs came back instead of play- Trick question! - the way he sings effortlessly. ing rim I started playing open The other day I was listening snare to get some more energy (laughing) I think Keith Rich- to his version of the American from the music. Our music was ards is really a reggae fan and I national anthem and then we a bit slower than rock’n’roll so know Mick loves it also! I think did this version with Ken Bob we had to try to get some en- they really appreciate reggae of How Sweet It Is To Be Loved ergy in it. But at the same time and they love it very much. I By You. if you doubled the tempo you think all of them do because would get rock’n’roll just by when they come to the table to Ken Bob’s got a great voice. flipping the snare pattern. So work with reggae you can see I decided if I could play open their love and the expression Yes he does. We were cutting snare and get more energy it in their face!. But another al- this version because we are would start sounding tougher bum that was good for us was just trying to make some mu- live. That sound developed as the album sic people can enjoy because the Black Uhuru sound because - it stood up at the time but to today in Jamaican music I don’t it had this cutting edge to it this day I think it’s one of the think a lot of people are writ- rather than playing on the rim best reggae albums. Even to- ing very melodiously now, so that’s kind of missing. When and when they see us playing stripped but on those shows we used to be at Channel One this thing live they always give you go in reverse and build and Wailing Souls used to praises. So we said it would from the ground up. come to the studio and they be a good idea to dub it out. said Wailing Souls were com- We went in with Mikey Chung, We play the instrumentals ing today you’d know the Robbie Lyn to Harry J’s studio and some dubs because this rhythm is going to burn! They’d and laid down the tracks and is when we get to really play! come with some songs you re- that was it (laughs). Then Rob- Because sometimes you can’t ally can play! When you listen bie rolled up with an additional do a lot of it while the singer’s to War you can see the reflec- bassline and I did some per- singing and you’re enjoying it tion of how I should play that cussion stuff. I wanted to make so much that you don’t want to song. There was no other way it sound - not like a new dub stop! (laughs) So sometimes I could play that song because but have some of the old ele- the vocal might come in a bit the way they sing “War in the ments with new little things to late! So when they come they east and war in the west” and make it sound fresh. take the rest of the show for the way I play (imitates the gal- themselves! (laughs) loping drums) you could hear There are no vocals - did you the army truck coming and the decide not to add them be- How long does it generally soldiers marching! This was the fore, during or after you laid take from the time you arrive picture I am seeing! Today you the tracks? in the studio to tune and mic don’t see that story anymore in drums before recording any- the melody people sing. We were making these dubs thing? for a little while and when you Your last dub album Black- make dub you don’t really think It depends. If we have a good wood Dub has got a lot of of vocals. Most dub albums are engineer it should take a cou- critical acclaim as a “back to like vocal tracks from when ple of hours before you start basics” dub record. Tell us they took the vocal and so we recording because you have about Alberto Blackwood and just run the rhythm tracks and to mic the drums. Sometimes his role in inspiring the al- put some vocal in. But this time you have a good engineer who bum. there was no song - we were knows the sound that I want, just making all this stuff up! so it doesn’t take a long time Burur is like an engineer who (laughs) to get it. The drum is probably came in as an apprentice. He’s the hardest thing to get the a good friend of Robbie. Rob- In some of your you right sound on so somebody bie brought him in and he’s start with drum and bass like Stephen Stanley or Steven been around us. I make a lot of them bring in vocals half way Stewart or Fatta Marshall will rhythms for him so I was talk- through set. When people go know exactly what to go for. Or ing about dubs because they to a roots sound they hear Garfield or Bulby. They’ll come always love what we have done the vocal then they hear it around and listen to the drum sound and say “Ok, that’s fine. vocals with . I want to find that line and say I know what we can do” and we We’re trying to get finished as “Ok this is it” and then we’re just take it from there. soon as possible. fine! (laughs)

Let’s talk about your forth- Shaggy said in an interview In March Shaggy joined Rob- coming album with Shaggy. he has 200 songs he’s sitting bie and Bitty McLean on stage You’ve worked with him on on at any one time - what as part of Blue Note festival in the title track of his 2004 al- was the process like for this New York to celebrate 50 years bum Clothes Drop and on your album? Did you tailor every- of Monty Alexander. You’ve Grammy nominated album thing from ground up? been working with Bitty on Made In Jamaica with Bob his second album with your- Sinclar - but what was the Yes, what he have done is tai- selves - is that done now? catalyst for working on a full lor-made from the ground up. album together? He’s a person who loves to cut Yes, I wasn’t there because a lot of songs but for Robbie my work permit didn’t come I think what happened was and myself if we can’t get the through until after the gig so I Robbie was talking to him hit song within 15 songs then didn’t go. The album is already about how he hasn’t really something is wrong. Because cut because the music was done a full reggae album yet. we know the direction some- done last year. We’re just do- I’d always said to myself that one is going for and we listen ing vocals and in the process Shaggy should really go on to a lot of references to what of mixing now. some really tough hardcore is happening in the industry at reggae rhythms so Robbie sug- the time and we also go back Bitty likes to mix his own al- gested we cut some tracks and and listen to all his hits for bums - is he mixing it? he’d said yeah. It was a good what they contain. We break experience because it was the down the molecules of all his Yes, it’s cool what he does. I first time I’d been to his stu- songs and listen out for why respect him very much. Great dio and then me and Robbie these songs were big hits and engineer, great musician, great ran away to Japan and stopped what caused it. Then we take songwriter - he’s just a good all there for a week. It was good ideas or we probably just take round person. because we laid around 30 the tempo and then go to work. tracks in only three days. We I might build a drum pattern or On the last one he sang some cut a lot of tracks and we might Robbie might come in with a roots direction - will he be cut some more - it depends be- wicked bassline or something going further in this direc- cause we will try and wait until that sounds good. Because we tion? There’s a video from after the holiday period passes always go for the groove and 2010 at Anchor of Robbie play- and then he might come back a lot of people forget that the ing and Bitty singing Freddie into Jamaica and try to put on groove is the most important McKay My Cup (It’s Running some vocals and some backing thing - the swing of the song. Over). Was this from sessions for this album or just a jam? to listen to what he has done. and we were trying to pick the Because everybody is busy so songs that we wanted. He has I remember him singing that they have to do it in their own this kind of David Ruffin or Levi track and us playing but I can’t time. I like working and music Stubbs voice, so we’re going remember if we cut that track! is my life and this is how it has to try to cover this Four Tops There are so many tunes! It’s been for years! So it makes me song Still Waters Run Deep. We going to be right across the comfortable when I’m around started talking about it and he board but you’re right. We people like Bitty or Brinsley or started singing about it and it could take a roots rhythm any musician like Robbie Lyn, sounded great right there be- and make it sound like a pop Nambo, Lenky, and Cherine cause he has this big voice. rhythm but deep down it’s Anderson. Once they come in roots. But what we did is just and start playing and I’m just (Jimmy Riley phones) play some solid rhythms for standing by the drum machine him and he could take it from making a beat we start vibing. Sorry that was Jimmy Riley! I there and do anything to it - he It makes your day feel really told him we were doing an in- could make a dub album from good because this is what you terview and the journalist just them. I think it can connect love and enjoy. You’re having called your name - he couldn’t with everything. He can con- fun and working at the same believe it! nect to all the rhythms. It could time. be a roots rhythm and he could I noticed when we were set- be singing some wicked melo- You worked with Jimmy Ri- ting up the interview that you dies on it. I think it’s going to ley as producer in the early have an iPad - have you made be a great album for him. He 80s with on Rydim Driven much music on it? came down to Jamaica and cut (1981) and Put The People First everything and everything was (1982). Would you like to do I fool around on the iPad be- live. another album with Jimmy or cause I have Garageband on his son Tarrus maybe? it. It’s just for a rough sketch Also you’ve been working because sometimes I listen on Brinsley Forde’s album - (laughs) It’s like you’re look- to ideas and hear a couple which has been in the making ing in a crystal ball because of things and say “Hmmm, I since 2008 and planned since we are currently doing some might make something like long before. new tracks with Jimmy Riley. that”. I’m always researching Last week we were sitting and searching for things and We laid tracks for the Brinsley there when he had done a new fresh ideas - anywhere, any- Forde stuff and I think he is track and we were supposed to time! Even sometimes while working on it at the moment. put on the backing vocal. He doing interviews the journal- I don’t think he has finished was talking about doing some ist might say something about voicing it but as soon as he has showcase stuff and putting like a particular track that he likes he will probably send a cd to us seven or eight songs on the EP and I think “Oh if he likes it play the one-drop I’ll try to do things on the tom-tom when it comes to the chorus because with one-drop sometimes I think nothing is happening in the track. The singer is singing beautifully and the musicians are playing great so I don’t think the drummer should just sit there and just play the same all the way through it. If you can do something and it fits what’s happening you go for it! sound and say “Ok, that’s fine. for themselves now? What do But I don’t know if a lot of them I know what we can do” and we you think of say Kirk Bennett are scared to take the chance just take it from there. I’m go- for example? and are worried it won’t sound ing to make something again good? like that!” (laughs) He’s good. There are a lot of good drummers now but I What in your background OK, I’ll bite! I believe you are don’t get a chance to talk to makes you less worried? in the process of reissuing them that much because eve- When I was growing up I learned some of the Taxi singles on rybody is doing their thing. to live with a microphone and cd. One of my favourite tracks There’s Squidly, and the guy the drums. So I could go into a is ’s Back Off With that plays for Tarrus Riley and studio and know what I can play Your Cocaine which is highly Dean, there’s Stewie, there’s a because the mic would sound prized on original Taxi 12 - bunch of them. But it all comes a certain way and if it doesn’t any plans to put that out for down to what you’re thinking sound a certain way I won’t be- the wider public? of. When I see the red light I go cause it won’t sound good. So for it. I take chances and have I play the one-drop with a lit- Oh! That’s a wicked track! I have like a different thing. Because tle swing and you have to lis- that on tape so when this inter- I’m listening to so many things ten to the chord progression view’s done I must run it off! and my thing is to develop the and the tempo. Then there are See? That’s what I mean. I have drumming section in reggae I certain things you can’t do in a so many songs that sometimes take everything and try to make certain tempo so I will choose people have to remind me of all a pattern from that. Whereas the rolls I do and don’t play. these tracks! today in music everybody’s I saw an article on Facebook playing safe and just playing where the guy said “All reg- Which drummers do you ad- the regular one-drop. Nothing gae drummers travel with their mire who are making a name is wrong with that but when I drum sound but all their snare the soul and the expression is so blessed. I makes me want to drums sound the same. Sly’s not there. Maybe this is why move on all the time. So people snare drum doesn’t sound like a lot people don’t try differ- coming to me keeps me going a reggae drum. This is why his ent things because you cannot all the time. I say “Wha? They sound is so different because pressurize yourself when you really like it?” and it makes me his snare drum is different.” I are just sitting in that room. want to move to the next level. try to be different but I’m not When with a band in a big room I’m trying to compete with my- putting down other drummers and everybody is playing all at self and climb a ladder where I because I respect all drummers one time you can feel it much can’t reach the top! I keep try- and look up to them a lot. But better. ing and can’t reach! (laughs) I think for me to come to the market place and make a state- You won a Reggae Grammy in Thanks again. ment I have to find something 1985 for your work with Black that people will like and people Uhuru on Anthem, you won a Thanks for taking the time out. will enjoy so I’m always on the Grammy in 1999 for your al- It’s been a very enjoyable in- searching side of things. I’m bum Friends, you were twice terview. I could go on for hours still searching, I’m looking, I nominated in 2011. But both just talking. Sometimes you listen every day for ideas, even Stephen and Damian Mar- have an interview where the from television. ley have won Grammys for person knows the right ques- albums that sampled your tions to ask. Even if they don’t How do you have time to rhythms. Even when some- ask you something you can tell watch TV? thing you have made is tak- them what they forgot to ask. en out of your hands it still Like we haven’t even talked I sleep with the television on seems to attract acclaim. Are about Gwen Guthrie! Next time and radio playing at the same awards important to you? we do it we can just pick up time so that if I wake up and from where we left off and do hear something I’ll say “Oh Yes, we won the first reggae the rest! that sound good!” and try to Grammy with Black Uhuru and remember it so I can try it lat- we were also nominated for er. Sometimes you just know an R&B album in 85. We have what is and isn’t going to work. been nominated 9 times. Yes, Even today, for reggae, a lot it’s important to me but if I get of people say it doesn’t have it, I get it and if I don’t get it, I that feeling, that soul because don’t get it. As long as people I am in one little room playing recognize the works out there and everybody else in a control and feel satisfied and they like room. It’s not like you’re hear- them. The greatest thing for me ing a band playing in the stu- is when somebody comes and dio like in the days of old. So says “I like your work”. I feel “Bob Marley. He’s the only artist as far as I’m concerned” BROTHER CULTURE

Interview and photos by Gerard McMahon

Brother Culture is one of the UK’s most renowned reggae MCs. From his base in the bustling bor- ough of Brixton, London, he has left his sizeable stamp on the genre across the globe. As part of the festive season’s celebrations Brother Culture hit Dublin town to heat up the tempo, with the aid of the legendary Jason’s Rootical Sound System. In between setting off fireworks in the city’s Grand Social venue - and touching the Atlantic Ocean via a trip to perform in Limerick city the fol- lowing night - Brother Culture shared his considered thoughts on music and related matters with United Reggae. Tell us about your African\ What has been your greatest really used in my later career. Celtic origins? disappointment in music? So it was like going back to original Brother Culture lyr- My mum is from Hilltown, That I haven’t become huge ics. But people didn’t really which is in County Down, yet. know them, they were songs and my dad is from Nigeria - I’d written but never really making me half Nigerian and How did you link up with Kin- performed. It’s all roots, half Irish. yama Sounds? no dubstep influences, be- cause for many years I’ve How did the MC work start I met them through a good been making lots of tunes back in 1982? friend of mine called Flex that have got different influ- - who used to have a label ences. But I wanted to make My (older) sister used to MC called Flex – a ‘mash ups’ a more traditional kind of before me. Her name is Sis- label. I made a ‘Paragons roots reggae, roots rock. So ter Culture. She was a great meets Brother Culture’ track I’m really happy with it. MC for Jah Revelation Muzik. with Flex and we did a lot of I went to school in Africa (Ni- studio work 3\4 years ago Is the link ongoing? geria), so when I came back and they were contacts of from school - when I was 15 his in Switzerland. I done 2 Good question. To some ex- or 16 - I was fascinated that singles for them: ‘Spiritu- tent, yes. my sister was MC on the ally Equipped’ and ‘Things to soundsystem and I was at- See’ and then 2 years later Can you tell us what you’re tracted to the whole music they asked me to make an working on right now? system. So it was through extended work with them. So my sister really. I done an album with them Well I’ve just completed an called ‘City of Vibes’, that’s album with a producer called Are you still a member of the been released as a down- Youth, who is a former bass 12 tribes of Israel? load (in October 2011). player with a punk band called ‘Killing Joke’ and he’s Yes ... to a degree. Yes, of Are you happy with the re- quite a famous producer. He course. It’s my foundation, action to your latest venture was the executive producer but I’m not a practicing mem- with them (7 track EP, City of on ISIS. Most of my stuff is re- ber. Vibes)? leased on Dragonfly records. So we’ve made this new al- What has given you the great- Yes, very much – very, very bum called ‘Brother Culture est satisfaction in music? happy, because it was actu- Versus Youth’. It’s basically ally a project of mine where a kind of psychedelic roots The first album I made with most of the songs I wrote dub album with vocals. And Manasseh – the ISIS album them 20-26 years ago, that I experimented in not writ- was really great. had lots of lyrics I had never ing songs with verses and choruses like I normally do. them about 3 years ago. Too many, so many. The It’s more like my voice as So I’ve just recently voiced first time I came to Jamaica an instrument and it’s be- 10 new tracks for them. So to MC, I think it was in 1985 ing released in Japan (early hopefully they might use 1 or and I was MCing that night 2012) as a prerequisite to a 2 or even 3 on their next al- with Brigadier Jerry and Am- tour we’re going to do in May bum. There’s other little pro- bassador and MCs from all that’s going to be in Japan jects that I’m working on. I’m around the world. That’s and China. Also I’m working trying to concentrate a lot always been a high point. with a producer from Ameri- on MCing on soundsystems ca called Ras Kush. I’ve just again this year as opposed You’ve performed in ~50 had a release with him this to doing PAs and stuff like countries, any happy memo- year called ‘Protection’. I’ve that. ries? done a series of tunes with him, and he’ll be releasing You’ve worked with many More than 50, again it’s dif- them throughout the year. sound systems, bands and ficult (to say). It doesn’t re- I’ve started to work with the artists. What are your happi- ally work like that with me, Prodigy again – I worked with est memories? because I’m happy MCing. It doesn’t really matter any- I’m very organic. Most of the ists you mightn’t even know more where it is. I forget bookings as Brother Culture that well ... But the big ones, sometimes where I am. It’s I get through contacts devel- it has to be Bob Marley. really irrelevant whether I’m oped over the years. I keep in Reykjavik or Brazil. But the fee reasonable and I’ve What has been your greatest it was really good, really opened the way for many achievement in life? exciting when I first went U.K. roots MCs in London es- to Brazil, for the fact that it pecially. I – Brother Culture Having my children and be- was Brazil and it was quite – led the way and they all ing married to my wife. a unique vibes. But Mexico follow. But I’m very wary of is my favourite place that giving my work to producers What has been your biggest I’ve ever MCd in my life, be- who I don’t completely trust disappointment in life? cause they’re very warm and and respect. The excesses of they’re on a different level. the music business are also It’s a hard one, because I a negative for my career, haven’t had that many dis- Do you want to share any bad maybe I’ve taken things I appointments. I’ve enjoyed memories with us? shouldn’t have or drunk too my life. But maybe my big- much of stuff. You know, all gest one is that I would have I’ve got lots of bad memo- of these kind of things, I’m liked to have achieved more ries. Lots and lots and lots human. at this stage of the game. I of bad memories. One of learned the rules of the jun- them in particular is what’s Who is your favourite reggae gle too late and I’m having to held me back in my career is artist? play a lot of catch up. that I’ve been too open with a lot of producers. And what Brother Culture! No, that’s Have you interests outside always happens to Brother easy. It’s Bob Marley. He’s music? Culture is that I always meet the only artist as far as I’m these producers when no concerned. In my opinion Yes, very much. I like reli- one knows them and they Marley is almost like Sheeba gion, studying different reli- approach me when I’ve got returned. The level that he gions and their history (e.g. a little bit of a name. But the reached, no artist has ever Hinduism, Buddishm) and kickback isn’t much. These reached that. Most of these science and the wonders of producers pay you a couple artists that you see coming the world. I like football. I of hundred quid (~€250) and nowadays are just feeding see it as a spiritual game, a then tell you that you’re go- off the remnants of what Bob bit like life. But this MC thing ing to get publishing and pro- Marley done already. And ob- has engulfed most of my life. motion when you don’t really viously Lee Perry, King Tubby get anything tangible. I’m and Dennis Brown (vocally) In life, who has had the great- not an artist that works with are my all time favourites. est influence on you? lots of agents and managers. But there’s many artists, art- It’s interesting. I’d say my community in the U.K., be- say. But probably not. I don’t mother. Musically, philo- cause I feel that I’m being want to be in Brixton when sophically – it’s difficult to marginalised by roots snob- I’m in my late 60s, 70s, get pin it down to one person, bery by the people who put a little piece of land in Africa because you get inspiration themselves in the position of with some chickens and a from different people. gatekeepers and choose who few goats. That’s basically they want to bring through. my ambition, I don’t have no Do you have any remaining lofty ideas. But I don’t want ambitions in life? Will you live out your life in to grow old in the U.K. Brixton? To live healthy, to stay fit and to achieve some more There’s no way of me saying recognition from the roots that. I don’t know. I couldn’t Skarra Mucci Return Of The Ragga- muffin Skarra Mucci’s intoxicating energy drink.

Review by Erik Magni Some of the tracks are previ- I came across Jamaican born ously released, such as Jah singjay Skarra Mucci about Blessings on the solid Jag- three years ago when I heard uar riddim, Love Mi fi Me the his take on Million Stylez’ rid- first single of Reggaeville dim Love We a Deal Wit. Skarra riddim and Herbman An- Mucci’s cut – Everybody Bawl- them on Hyper Slam riddim. ing – was almost as great as Million Stylez’ title track. Skarra Mucci’s energetic vocal style suits the intense and of- A decent album from Skarra ten minor key riddims perfectly. Mucci titled 912 followed the His style is at times like a deep- same year. Its follow-up – the voiced Perfect or a more melod- crossover hip-hop effort ‘Skar- ic Burro Banton and he has ob- rashizzo’ – was naturally a viously studied deejay’s from big disappointment, when it the early 80’s to learn his craft. reached the street in 2010. Almost all of these 16 tracks ‘Return of the Raggamuffin’ is would make it to the final in Skarra Mucci’s latest album. any contest, but the Delroy And this time he has man- Wilson combination Movie aged to get everything right. Star, the 90’s dancehall-tinged Almost anyway. The clos- tongue twister Raggamuf- ing calypso track Suppa Star fin and Big Dreams, where he should have been left out. shows some of his rap tech- nique, are particularly tasty. But the other 16 tracks are way above par, and European pro- Skarra Mucci has more ducers such as Bizzari, One- than made it up for the hip- ness and Weedy G Soundforce hop detour with this relent- have made an excellent job less and first-rate effort. with these riddims, including both fresh originals and relicks. The Dualers Prince Buster Shake- down One of the UK’s best kept secrets re- lease their homage to one of the most important figures in the history of ska and rocksteady

Review by Karl Pearson This album, as you may have on Buster’s 1976 album of the guessed from the title, is a same name. Formed in 1999 The Dualers homage to one of their big- are probably one of the UK’s gest influences and also one If you are looking for interest- best kept secrets and this de- of the most important figures ing reinterpretations of these spite being also one the UK’s in the history of ska and rock songs then you may be disap- true musical success stories, steady. The bands founder pointed as these are straight from busking the streets of and lead singer, Tyber Craun- forward covers that remain London to performing large ston discovered the sounds of true to their original sound and venues such as Croydon’s Fair- Prince Buster through his Dad, style with just today’s modern field Halls, Churchill Theatre in Bill, who throughout the 60s production techniques, per- Bromley, Kingsmeadow Stadi- helped introduce ska music to formed by Sean Flowerdew and um in Kingston, the Brentwood the capital via his Savoy Sound mixed by Manasseh, bring- Centre in Essex and selling out System. This therefore makes ing them up to date. It is good the capital’s prestigious O2 this collection a highly person- though to see that, with the ex- Indigo theatre 4 times. They al one that covers both boom- ception of Enjoy Yourself, they have also tasted Top 40 UK ing ska grooves with songs like have shied away from covering singles charts success hitting Chinaman Ska, King Of Kings, songs that have already been #21 with Kiss On The Lips in Firestick and the classic Enjoy done by many of the 2-Tone October 2004 and then a year Yourself as well as the soulful bands of the early 80s, so later when Truly Madly Deeply rock steady sounds of Take It hopefully this collection will peaked at # 23. Easy, Orange Street and the introduce people, who are not lovers lament of Nothing Takes familiar with Busters work, to Now they have just finished a The Place Of You, a cover of an some new and different tunes headline slot at the O2 Shep- R&B song by Toussaint McCall, and entice them to find out herds Bush Empire London, as that appeared on his 1967 al- more about The Prince. part of the London Intl Ska Fes- bum ‘Judge Dread Rock Steady’. tival, where they have show- There is a small touch of funky ‘Prince Buster Shakedown’ is cased songs from their new reggae as well in the shape of available now via Cherry Red album ‘Prince Buster Shake- another cover of a cover with Records on their ska imprint down’. Jean Knight’s Mr Big Stuff as Phoenix City. Sister Big Stuff that appeared Various Artists Listen to the Music: Caltone’s Jamaican 45’s 1966-69

Another set of vintage rarities on .

Review by Erik Magni Travel – released in 2005 – he Sorry, Devon & The Tartans’ has received some very well- Making Love and Alva Lewis UK reissue label Pressure deserved attention. Bunny Lee & ’s Return Home. Sounds has started the year in and handled most of The harmonies are excellent an old school vintage reggae the hands-on production on his and so are the musicianship style. First it was a compilation recordings with input from Trin- with outstanding lead gui- with early reggae scorchers ibagoan guitarist Lynn Taitt, tar and shuffling organ work. produced by Lee Perry. Now saxophonist Tommy McCook the label has reissued a second and trumpeter . ‘Listen to the Music’ is currently collection of tunes from Blondel available on CD, double LP and Keith Calneck, aka , One of the better known digital download and includes and his group of labels, includ- singles from the Ken Lack excellent liner notes courtesy ing Shock, Jontom and Caltone. camp is The Heptones’ Gun- of Pressure Sounds’ founder men Coming to Town, a tune and director Pete Holdsworth. ‘Listen to the Music: Caltone’s that borrows its melody from Jamaican 45’s 1966-69’ collects the William Tell Overture. 21 tunes covering frantic ska, up-tempo early reggae and Ken Lack worked exten- elegant, classy rocksteady. A sively with Tommy McCook, few straight forward R&B and and his saxophone is pre- Sam Cooke influenced tunes sent on many of the tunes. from The Uniques are also in- And the horn cluded. Ken Lack was a busi- are classy and tasteful ness man with a keen interest throughout the compilation. in music and is not one of the more well-known producers Standouts among the vocals in the history of reggae mu- cuts are The Claredonians’ – sic, but thanks to the Pres- with the extraordinary talent of sure Sounds compilation Safe Peter Austin taking lead – I’m Cool Runnings Cool Runnings The finest explosion in Bristol yet.

Review by Karl Pearson gae, towards the Lovers Rock onto the various master tapes market, which fits the soulful that we are able to enjoy Having had glimpses of Cool style of vocalist Winston Mi- them now, twenty years af- Runnings via Bristol Archive nott like a glove, just check ter they split and went their Records excellent ‘Bristol Reg- out the smoothness of album separate ways. Perhaps with gae Explosion’ series it is fi- closer Last Train. This style and better / proper management nally great to hear them on an their multiculturalism is bound and wider exposure they may album in their own rights. Cool to draw comparisons with have achieved more success Runnings were one of Bristol’s UB40 but the vibe I get from back then, there is no doubt longest lasting reggae bands is much more akin to that of in my mind that their sound with a career that spanned Gregory ‘The Cool Ruler’ Isaacs would have been very com- twelve years including the en- and just like Gregory they can mercial for that time, but for tire 1980s. During this time belt out a good rootsy tune as whatever reason at least Bris- Robin Hoods Of The Ghetto well, as is proved by the repa- tol Archive Records have come was inexplicably the only cut to triationish cry of We Must Go up trumps again to fill in an- ever see a proper release. The Home, the serene Children Of other missing piece of Bristol’s rest of this album is therefore Zion and of course the afore cool reggae musical heritage. made up of tracks recorded mentioned, brass backed, between 1983 and 1985 at vari- Robin Hoods Of The Ghetto. ous local studios with a couple of live tracks, Lawman and You Reasons as to why more of Can’t Pay Me thrown in for good Cool Runnings work has never measure, which help high- seen the light of day until now light why the band had great are beyond me, but it is with appeal as a live experience. big thanks to keyboardist Mark Tuck and guitarist George Con- Their sound is somewhat lo- dover who originally formed cated at the lighter end of reg- the band and who have held Nazarenes Meditation

Skillful harmonizing on the Nazarenes’ fourth album.

Review by Erik Magni renes have made an album like it’s made for playing at that confirms just how great large festivals or stadiums. Ethiopian brothers Noah and roots reggae can sound in Medhane Tewolde are known 2012. ‘Meditation’ is reggae The Nazarenes might have as the vocal and multi-instru- in the same school as excel- a long way until they’ve mentalist duo Nazarenes, lent vocal harmony groups achieved a following as big a duo that has been based like The Meditations or The as Coldplay, but if Noah and in Sweden for many years. Mighty Diamonds. And hear- Medhane Tewolde keep mak- ing these two brothers sing to- ing music as good as Medita- They established themselves gether is a soulful experience. tion it’s just a matter of time in 2001 with their self-pro- until they play at Glastonbury duced debut album ‘Orit’. ‘Meditation’ re-uses some of or Madison Square Garden. Their breakthrough came three the riddims used for previ- years later with the acclaimed ous Tippy I productions, and set ‘Songs of Life’, a set fol- if you’re familiar with Jahdan lowed by ‘Rock Firm’ in 2008. Blakkamoore’s ‘Babylon Night- mare’, Toussaint’s ‘Black Gold’ Now the Tewolde brothers or Perfect’s ‘Back for the First are back. Back in full swing Time’ you’ll most likely enjoy with an album produced by tunes such as Mamy Blues, Ev- Tippy I of Virgin Islands-la- erlasting and Lonesome Lady. bel I Grade, a label known for working closely with But there are also a number of Vaughn Benjamin and Midnite. new riddims. The dreamy Alive is one such, Politrickcians, The first collaboration be- in a UK dub style, is another. tween the Nazarenes and Tip- py I was the single Everlast- Several of the songs come ing which was included on the close to pop and rock arrange- various artists’ compilation ments and Get Together will ‘Joyful Noise’ put out in 2009. probably make Chris Martin of Coldplay proud with its catchy On ‘Meditation’ the Naza- sing-a-long chorus. It sounds Lloyd de Meza Back To Eden

A solid reggae debut from Lloyd de Meza.

Review by Erik Magni Dutch soul singer Lloyd de Lie to Me was the first sin- Meza has teamed up with his gle from ‘Back to Eden’ and compatriots in production crew dropped about a year ago. It Not Easy At All Productions and contained some wicked clavi- label JahSolidRock. The result net work and a catchy chorus. is his love-infused debut reg- The album is in the same strong gae album ‘Back to Eden’, a vein, and particular highlights set based on the rootsy rock- include the three combina- solid backing that has previ- tions Back to Eden, Mama and ously provided the foundation City of Love with Joggo, Richie for albums by Chezidek, Ap- Spice and Kinah, a female sing- ple Gabriel and Earl Sixteen. er I’d love to hear more from.

One of Lloyd de Meza’s first ‘Back to Eden’ shows once takes on voicing reggae was again that the combination Part of My Life included on the of Not Easy At All Produc- various artists’ compilation tions and JahSolidRock works ‘Cultural Vibes Vol. 1’ put out very well, and I hope they will in late 2010. Previously he has start building new riddims released several hit singles in soon, since this is the fourth the contemporary soul/R&B set that uses more or less vein in his native language. the same riddims. However, I can’t say I’m tired of them yet. Apparently Lloyd de Meza started to record reggae by accident. He dropped by the JahSolidRock studio, enjoyed what he heard – pounding bass lines, groovy drum pat- terns and melodic horns – and voiced one riddim after another. Movie Marley Movie

Kevin McDonald has done a fine job of celebrating Marley’s legacy on the big screen..

Review by David Katz souls were shipped across the Atlantic, the ancestors of Mar- Kevin McDonald’s feature- ley’s mother’s side of the fam- length Bob Marley bio-pic has ily among them. Soon we are a lot going for it. A sensitively flying over Jamaica’s incred- rendered exploration of the ibly dense tropical wilderness, life and work of Jamaica’s most landing in Nine Miles, St Ann, Marley’s half-sister, who met famous son, it presents the to check the circumstances his wife Rita while working at public with a lot of different of Marley’s birth in 1945; the a local dry cleaners; her testi- viewpoints of the man, mostly facts are that his teenaged mony is fascinating, and says rendered through first-hand in- black mother was made preg- a lot about race and class in terviews conducted with those nant by a womanising, self-my- Jamaica, but then here comes that knew him best. There is thologizing white man already another clunker: former man- some appealing archive foot- in his mid-60s. The film’s first ager and friend Alan ‘Skill’ Cole age as well (though some an- false move comes up here: a suggests that the song ‘Cor- cient material suffers from supposed cousin of Bob Mar- nerstone’ is about Bob’s rejec- poor visual and audio quality, ley tells us that his father, Nor- tion by his father’s side of the having degraded over time), val Marley, was a white man family, and the song is played and there are excellently ex- ‘from England’, when he was to the half-sister, who never ecuted visuals, some shot from in fact a mixed-race Jamaican, heard it before, as a statement above, which remind just how and surely the on-screen nar- of gravity, but anyone familiar beautiful—and dangerous— rative, provided by subtitles, with the song will surely know much of Jamaica actually is. should have corrected this mis- that it is delivered as a boast- Though a few errors and ques- take. Next, a nephew of Norval ful ballad to a scorned lover. tionable assertions form nig- tells us that he fought in some So some of Marley’s assertions gling annoyances, it is a fine war overseas, but the narration are off the mark, but these are film overall that is basically claims there is ‘no evidence to minor quibbles, compared to required viewing for Marley support the assertion’—well, the many positive aspects. fans and anyone interested in OK, but what else do we actu- Jamaican music and culture. ally know about Norval Marley? The meat of the film is served Not much, apparently, because up in fantastic quotes from The film begins at ‘the door of the film never really tells us Bunny Wailer, Rita Marley, and no return’ in the West African anything more about him. We art director Neville Garrick, slave fort from which countless are later introduced to Bob with other fascinating cameos by producer/manager Danny of his deficient parenting. Ce- images of children in different Sims, bassist Aston ‘Fam- della speaks disparagingly of parts of the world singing the ily Man’ Barrett, singer Marcia his infidelities, and both say songs of Marley, as it reminds Griffiths, guitarist Junior Mar- his competitiveness extended how his music has struck vin, singer Dudley Sibley and even to his relations with his something of a universal chord. Lloyd ‘Bread’ McDonald of the kids. It points to certain fail- Wailing Souls. The sections ings of this incomparable icon, Considering that the film draws of archive interview material which help to remind that he together entities that are not with Bob Marley are also well was human, after all, despite necessarily on speaking terms, chosen, as is the brief moment his extraordinary qualities. and since several high-calibre when Peter Tosh describes why directors, including Martin he left the Wailers. Live foot- Throughout it all, we get the Scorcese and Jonathan Demme, age reminds how brilliant the sense that Marley was always bailed out years ago, Kevin Mc- Wailers always were on stage aware of the bigger picture, and Donald has done a fine job of (and how lacking most con- saw his music as a vehicle to celebrating Marley’s legacy temporary artists are today). better mankind, rather than a on the big screen. It may not The film generally does a good spaceship for an ego trip. Chris be perfect, but you are guar- job of showing Marley’s slow Blackwell comes across as anteed to feel good when you rise to fame, and the terrible well-meaning and committed are exiting the cinema, and you responsibilities that came with to getting Marley and the Wail- will certainly learn more about it, such as the attempt on Mar- ers to the widest possible audi- the life and times of Bob Mar- ley’s life in 1976 that forced him ence, though his assertion that ley during the two and a half into a long exile, and the chaos Marley would probably still be hours of the film’s duration. of his live appearances before alive today had he not ‘forgot- heads of state in Zimbabwe ten’ to insist that Marley obtain and Gabon. His commitment regular medical check-ups fol- to Rastafari is touched upon, lowing the initial surgery to his but not made a central focus. cancerous toe, seems mightily strange when pondered in ret- One of the things I really appre- rospect (though I do not doubt ciated about the film were the the veracity of his statement). portions with Marley’s son Zig- The death and funeral of Mar- gy and daughter Cedella, who ley are handled sensitively, and both mention some aspects I liked that the film ended with Hollie Cook Prince Fatty Presents Hollie Cook in Dub

A scarily tasty dub album from Hollie Cook.

Review by Erik Magni group The Andrew Sisters’ Bei ‘Prince Fatty Presents Hollie Mir Bist du Schon [For Me You Cook in Dub’ is available on One of last year’s many musical Are Dub] and The Whispers’ CD, LP and digital download. highlights was Hollie Cook’s funky disco hit And the Beat Go get yourself a copy now. truly enjoyable self-titled de- Goes On along with her own but album recorded under the already made classics Milk & tutelage and supervision of Honey and That Very Night. the mighty Mike Pelanconi aka Prince Fatty, a British producer The dub versions of the tracks and engineer specialized in old highlight some of the instru- school recording techniques. mentation that was in the back- ground on the original vocal Prince Fatty has now dubbed versions. You are hit by pound- her debut album to the bone ing percussion, smooth organ with extra bass and echo- work, fine-tuned melodica and laid instrumentation and beautiful horn arrangements. Hollie Cook’s enchanting and dreamy vocals float- Prince Fatty has yet again ing in and out of the mix. managed to put out another scorcher, and even though ‘Prince Fatty Presents Hol- this album is made with vin- lie Cook in Dub’ has a slightly tage recording and mixing different track listing com- equipment and techniques pared to the original album its ideas and influences are and adds fascinating versions very much forward-thinking. of swing harmony singing Romain Virgo The System

More of the same from Romain Virgo.

Review by Erik Magni Vikings and not win any awards for be- himself, ‘The System’ is des- ing the most unique or in- Jamaican sweetheart Ro- tined to be a first-class set. novative album in 2012, but main Virgo is back with his it contains enough strong second album, the follow-up And it is, even though Romain melodies and captivating vo- to his much acclaimed self- Virgo repeats himself. ‘The cals to keep me interested. titled debut album from two System’ is cooked according years back, released when to the same tasty recipe as he was only 20 years old. his debut, which means pow- erful energetic vocals on ‘The System’ has been pre- top of contemporary well- ceded by several strong produced one drop riddims. tunes, among them Wha Dis Pon Me on the Go Fi Her rid- Standout cuts include the dim and the infectious first smooth rub a dub feeling of single I Am Rich In Love. Fired Up Inside on a relick of the Beat Down Babylon riddim It collects 15 songs tuned made famous by Junior Byles, both in a lovers mood as well Another Day, Another Dollar as a more conscious one, with a gentle saxophone cour- with titles such as Food Fi tesy of Dean Fraser and the the Plate and Broken Heart. pop masterpiece Ray of Sun- shine, with a synthesizer that Recorded mostly at the famous would have made P-funk veter- Donovan Germain-owned an George Clinton of Funkadel- Penthouse studio in Jamaica ic and Parliament proud. and with production helmed by Shane Brown, Niko Browne, ‘The System’ will probably Zacharri and Roommate Rootstep San Francisco and Jamaica unite with reggae and dubstep.

Review by Tomas Palermo in SF and London. He linked guides Zacharri’s decisions. with Jamaican singjay Ras One of the highlights, Gather San Francisco has long been Zacharri in 2011 and quickly Your Strength, is sprinkled with fertile ground for both reggae recorded a dozen tracks that organ licks, fiery brass, stu- and dubstep. Reggae dance comprise ‘Rootstep’, which dio effects and an enormous nights like Club Dread and Dub also features vocals from Jun- steam-rolling bass pattern that Mission have proffered roots ior Kelly, Chezidek and lovers will put speaker boxes to the vibes for decades, while pro- rock legend Susan Cadogan. test, with Zacharri’s militant ducers like DJG, Djunya and but righteous chants leading Babylon System made their The strength of ‘Rootstep’ is the charge. The album is not mark internationally early in how smoothly its reggae foun- just a step but a leap forward. dubstep’s evolution with es- dation meshes with the album’s sential, bass-heavy plates. modern bass sounds. True to So it’s easy to see why San its title, traditional roots ele- Francisco’s Justin “Room- ments (lhorn flourishes, gui- mate” McCauley’s new album tar chops, keyboard and organ with Jamaica’s Ras Zacharri stabs) are laid over weighty came together so seamlessly. deep-frequency bass riffs and an undulating, 70-beats- McCauley, one half of dub- per-minute dubstep groove. step production team Babylon System, has been releasing Zacharri’s vocal approach is reggae-influenced tracks like gruff and resolute, similar to Dancing Shoes and Rudeboy Capleton, Buju or Mega Ban- Shuffle since 2007 in addition ton, with a wholly conscious to recording Jamaican artists lyrical concern. Songs like such as Bushman, Lutan Fyah Jah Rule and Sting Dem make and Brother Culture at studios it clear that only Selassie-I Anthony B Freedom Fighter

The best Anthony B album out of Europe since Black Star with Frenchie in 2005.

Review by Angus Taylor lyrical imagery. Only the word- Be Free takes elements of Let- smith from Trelawny could use ter To Zion while their now fa- In recent times Jamaican art- the verb “gallivant” in the Soul miliar Jungle Skunk rhythm is ists have found the propulsive, Rebel-inspired title song and a simplified edit of the classic rootsy but vaguely contempo- it not feel out of place. There BB Seaton/Sly & Robbie I Know rary rhythms of Austria’s Irievi- are expansive messages of au- Myself (recut by a fellow Eu- brations a very good fit. ‘Born tonomy (Born To Be Free), com- ropean fan of Mr B, Frenchie). Dead With Life’, their album munity (Same Boat) and posi- But room is also made for with Perfect, was one of the tivity in the face of suffering funky, organic dancehall in latter half of the last decade’s (Cry Blood) that will resonate single Beat Dem Bad featuring highlights; 2011’s ‘Rub A Dub at both a sound system dance another friend of the produc- Market’ with Luciano was sol- or a European summer festival. ers, Konshens, who has a set id enough; and now they have Yet despite sounding more ge- with the label in the works... met their match in another 90s nial and laid-back these days, veteran - the deejay Anthony lyrically he is still as much Peter A quibble with Anthony’s al- B. In a year when Jamaican as Bob (who he invokes again bums is that his visceral yet reggae (the rumours of whose towards the end of the record rather unmelodic delivery can death were always exaggerat- for Defend My Own). The rights sound wearing when stretched ed) stood up with longplayers of the poor and the abuse of across a full length disc. Here by Busy Signal, Tarrus Riley the power of the police are re- this is no issue, thanks to his and Romain Virgo, ‘Freedom curring themes. And there is judicious choice of singing Fighter’ is an international col- sour medicine for liberal-pro- parts and the quality of the pro- laboration of comparable class. gressives in his disavowal of duction - the vocals softened evolution during the hip-hop and not particularly forward in Starting with minor key calls flavoured, library sfx littered the mix. With his usual strong to attention and ending with No One Knows Tomorrow. songwriting and lyrics matched major key upliftment, these to well chosen rhythms, this crisply-produced, summery Soul Rebel aside, the Austri- is the best Anthony B album horn-drenched roots pieces ans have a habit of sailing de- out of Europe since ‘Black with tasteful hip-hop ingre- liberately close to foundation Star’ with Frenchie in 2005. dients, showcase Anthony’s backings without fully relick- striking voice and evocative ing them. The bouncy Born To Tarrus Riley and Dean Fraser in Paris

Report and photos by Franck Blanquin Tarrus Riley is actually on tour in Europe with Dean Fraser and the BLAKSOIL band. They were in Paris on April 18th where they played his hits such as She’s Royal, Superman, Wild Fire and many others. French artists Taïro joined Tarrus on stage to perform his song Bonne Weed on the Good Girl Gone Bad riddim. They offered a very good show, full of energy and great battles between Tar- rus’ voice and Dean’s saxophone.

Rootz Underground in San Francisco

Report by Ali Abel and photos by Lee Abel

On Stage or Back- stage, Always Upfull and Playful. The crowd could barely con- tain their enthusiasm for Rootz Underground April 5th as they once again returned to the San Francisco Bay Area on their 2012 tour. With new songs and itinually positive attitudes, the boys shined and brought the crowd to a standing ovation. It was a night to remember, always.

Marley Movie Premiere in Kingston

Report and photos by Steve James Cole, Chris Blackwell, the I-Threes and more. The movie about Bob Marley was More than any other film previously released, premiered in Kingston at Eman- this one tried to portray the type of person Bob cipation Park on April 19. Marley really was. Emancipation Park was filled with foreign and local media, members of the The documentary ‘Marley’ was recently pre- Rastafarian community and members of the miered in Emancipation Park, Kingston. The Marley family. The walkway from the statues at event, which was free and open to the public, Emancipation Park leading inside the venue was attracted thousands of patrons who came to lined with red, green and gold. This did not go see the latest film. Marley, which is directed down too well with some members of the Ras- by Kevin MacDonald, filled in the gaps to sev- tafarian community and created a bit of contro- eral unanswered questions for music lovers versy. However, when the film started all eyes and people who have been following the life were glued to the main screen and the other big of one of Jamaica’s greatest reggae icons. The screens located in the park. In the end it was a film highlighted some areas never publicly seen proud moment for all to see this man who rose before, for example pictures of his visit to Ger- from a humble beginning in Nine Miles, St. Ann. many for treatment and interviews with the doc- If you are a fan of reggae music or Bob Marley tor and nurse who treated him. It also showed this documentary is a must see. interviews with close friends and associates of Bob Marley such as Neville Garrick, Alan ‘Skill’

Tarrus Riley in Antwerp

Report and photos by Andrew Thompson system from I & I Sound. Drinks and food were on offer and people casually chatted. It soon filled up, and before long the main room was open and Mr Dean Fraser and the BLAK SOIL band were warming Tarrus Riley, Dean Fraser and the up the crowd. The anticipation grew, until finally Tar- BLAK SOIL band live at Petrol in rus lept onto the stage, bounding with energy going Antwerp, Belgium on April 21. straight into ‘Shaka Zulu’. He immediately greeted Report! amazed fans that were buzzing from the upbeat “Tarrus Riley, he’s a young Jamaican with a mag- entrance, by grabbing their hands, and getting up nificent message of love, which he’s been spread- close. Before you knew it Tarrus was on to ‘Love’s ing globally both on stage and record. He has up- Contagious’, with the crowd going crazy for every held the traditions of real authentic reggae music hint and sample of the next song coming “Now this with his songs of hope and conciliation. Both for his one is called, the skate land killer!”. I couldn’t help own country, Jamaica and for the world. With the sad feeding off the energy and buzz that filled the ven- vaguest negativity surrounding elements of Jamai- ue, and the capturing voice of Tarrus. can music in recent years, he has stood out as a bea- Tarrus’ interaction with his fans was undoubtedly con of hope.” - David Rodigan. the best I’ve seen. He projected himself as very hum- Tarrus Riley, Dean Fraser and the BLAK SOIL band ble, and gracious. In a recent interview with United visited Petrol in Antwerp, Belgium as part of their Reggae, Tarrus explained “I’m the biggest fan of my European tour. This was the only show in Belgium fans! I really am. The fans make the music go on. and was one not to be missed! They come to the concert and buy the records. The fans are family. Fans make Tarrus Riley. Fans make We arrived early at the venue to find there was al- Omar Riley into Tarrus Riley.” This truly reflects how ready a queue of eager fans gathered outside. It he interacted with his fans throughout the evening was my first time to see Tarrus Riley live, and hav- show and after party. ing been an avid fan of his music for a long time, I myself, along with the other fans, were very excited I then heard what I thought was a sample from a Mi- to finally see the man himself. Initially we had a chael Jackson song, I looked over at my partner to few problems getting into the venue, however the see her reaction and she was pointing at the stage owner helped us out and we were in! As we entered where Tarrus was moon walking from one side to the first room, there was an easy going, chilled out another. The crowd loved it and joined in word for vibe, with a mix of reggae tunes playing, with sound word with Tarrus for his cover of ‘Human Nature’.

Western Consciousness 2012

Report and photos by Steve James The event took place in Westmore- land, Jamaican on April 14th. One of the most conscious reggae concerts on our local calendar, Western Consciousness was recently held at Paradise Park, Westmoreland. Though most of the island received rainfall throughout the day this did not dampen the performances of the artistes. The line-up of artistes was stellar and among those who had the crowd in an uproar were Jah 9, C-Sharp band, , Uprising Roots, Prophecy and Capleton. Accompanied by over thirteen British reg- gae musicians, King Sounds and the Reggae Reggae Sauce Man Levi Roots brought a bit of English flavour to the night. The queen of reggae Marcia Griffiths, who was dressed in full white, was not to be outdone and was one of the big crowd pleasers. Singer Beres Ham- mond was his usual self and had the crowd and all the ladies rocking to his every note. During his set he invited Marcia Griffiths back on stage where they did their popular duet Live On. At the end of his perfor- mance, president of the Jamaica Broadcasting Com- mission Cordell Green presented Mr. Hammond with a proclamation from the City of Mount Vernon, New York. Despite the low turnout, Western Conscious- ness continues to be a great show that seeks to pro- mote positivity in reggae music.

Reggae Splash Tour

Report and photos by Emmy Lou Mai from yard, a sprinkling of French artists, some top veterans and some new rookies - something Wayne Wonder, I-Octane, Queen for each and everyone’s ears. Ifrica, Richie Spice, Busy Signal, Bounty Killer, Anthony B, Young Wayne Wonder, I-Octane, Queen Ifrica, Richie Chang Mc and Admiral T in Paris Spice, Young Chang Mc, Admiral T, Busy Signal, Bounty Killer and Anthony B were on stage: some On May 16th, Garance Productions provided us were better than other, some more generous with a show in Paris with an incredible line-up: and charismatic, but as far as I was concerned, some reggae, some dancehall, a lot of talent it was a great show. Check out the photos!

I-Wayne Reveals his Top Tunes

Report & Photos by Arig Idris few are chosen.” Definitely a inspiring song, es- pecially in this last days. This is a crucial time and people need to wake up.” “Revolution from Dennis Brown is definitely a inspiring song, especially in this last days” Sade - By Your Side (2000)

I-Wayne is well known for his criticism of the “One of my favorite songs about love and one slackness (or nastiness as he calls it) in the mu- of the few truly genuine songs. The part when sic industry and for his love about the topic he she sing “You think I’d leave your side baby? You dedicates most of his songs to - life. know me better than that. You think I’d leave you down when you’re down on your knees? I wouldn’t do that.” It touches me because it With his uncompromising stance towards the sounds so sincere. It’s a beautiful feeling when commercialization of music he inspires fans you feel that way about a person - you know I’m worldwide. Arig Idris met him at his favorite here for you, no matter what. Real artist, real place in Portmore, just a few steps away from lyrics.” his yard, to ask him about which songs and art- ists that inspire him. I-Wayne also shared which of his own songs that means the most to him. Even though I-Wayne loves his songs “like him youth dem” there are still a few songs that are a little bit more dear and special to him. Sizzla Kalonji - Black Woman & Child (1997)

Living in Love (2005) “When I first hear this one I just loved the way he spoke about the empress dem. Big, big, big tune! Uplifting women is something I make sure “This song here now is the first song from I- to do in my music aswell. You see how dem por- Wayne that people really start recognize and tray women in the slacknessmusic, with them embrace. Even though it’s a powerful song that nastiness? I-Wayne would never do that.” blaze fire and have some serious lyrics it gain a lot of success out there. I know a lot of peo- ple disliked it because of the way I’m burning Dennis Brown - Revolution (1984) the fire but my righteous people embraced and loved it.”

“First of all the melody is really, really good. But apart from that, the lyrics are life teachings also. Book of Life (2007) When him sing “Do you know what it means to have a revolution? (...) Are you ready to stand up and fight it just like soldiers? Many are called, “Babylon, or babywrong, are trying to tear up the pages in the book of life so they can create their own book. These are the things that we as righteous people have to stand up and fight against. That’s what I’m trying to encourage and share with my listeners. Remember that what- ever you do should be true.”

Ready Fi Live Up (2005)

“Ready fi live up is about the empress that is gravitating more and more towards righteous- ness, and I love it. She ready fi live up now mi seh! The feeling you have when you finally meet someone with the same values and interests as you, that is what the song is about. It’s like me singing about it and rejoicing over that! It’s like she come to a stage when she is ready to em- brace the righteous rasta livity because “she know the slack livin it not all that”. I love to see those type of women, or empresses as I would call them.” Bankie Banx and The Dune Pre- serve... Just CooL!

Report by Emmanuelle Bourlas & Photos by Christian He then moved back to Anguilla in the 90’s and Bordey created the Moonsplash Festival at The Dune Preserve, a special place on Rendez-Vous Bay, ‘a slice of land’ that his mom and dad bought Bankie Banx is an Anguillian 60 years ago, that is now surrounded by some singer, songwriter and musician of the most luxurious hotels in the world. with a twist! The Dune Preserve is as eclectic as Bankie’s music, it’s a mix of natural elements, in har- Born Clement Ashley Banks in 1953 on the mony with nature with a rebel state of mind. beautiful island of Anguilla, Bankie Banx is a And Bankie would call his musician friends at singer, songwriter and musician.. With a twist! Moonsplash. Just to name a few: Cat Coore, He basically started music in the 60’s when Junior Jazz, Sugar Minott, Gregory Isaacs, Jah he built his first guitar, formed his band The Cure, Buju Banton, Steel Pulse and many more. Roots & Herbs and released his first album in Bankie’s music is a mix of genres and vibes, dif- the 70’s. He toured the world in the 80’s and ferent influences as country music, jazz music.. worked with musicians all around the world. Or reggae. ‘Just Cool’, his latest album released in January, features musicians such as Glen Brown, Sly Dunbar, Robbie Lyn, Stephen ‘Cat’ Coore. We were fortunate enough to meet with Bank- ie at The Dune for a 7am photoshoot with Christian Bordey, check out the pictures. MAGAZINE

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United Reggae is an online magazine created in October 2007 and dedicated to reggae music. It has the intention of offering a real international platform of in- formation on this rich and healthy music. Our aim is to promote and spread the inspiring and healing vibrations of Reggae music and culture. United we stand, Divided we fall… join us!

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