MAGAZINE #8 - May 2011

Bob Deadly Hunta and Emancipation Sara Lugo From Mental Slavery

Ziggi Recado 30 Year Commemoration at the Museum Stephen Marley INTERVIEW Yellowman Rockers Rockers Rockers Festival in The Legends Easter Fete 2011 Festival 2011 United Reggae Magazine #8 - May 2011 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 4 - 13 2/ INTERVIEWS 15 • Sara Lugo 20 • Ziggi Recado 23 • Deadly Hunta 30 • Stephen Marley

3/ REVIEWS 36 • Danny I - To Your Majesty 37 • Marketplace by Earl Zero 38 • Looking Back - The Jamaican Chart Hits of 1958 and 1959 39 • Sara Lugo - What About Love 40 • Revolutionary Dub Vibrations (Chapter 3) 42 • New Dub Evolution by Himperial Rockers 43 • Dole Age by Talisman 44 • Rasta Government by Takana Zion 45 • Joey Fever - In A fever 46 • Reggae On Rugged Road by The Aggrolites 47 • 12 Months of Dub by Vibronics 48 • Stephen Marley - The Revelation Pt 1: The Root of Life

4/ ARTICLES 50 • Ziggy Marley Releases Marijuanaman 52 • Yellowman at Brixton Hootananny 54 • Steel Pulse in Hollywood 58 • Bob Marley and Emancipation From Mental Slavery

5/ PHOTOS 65 • in Mainz 66 • Rockers Rockers Rockers Festival in Paris 68 • The Legends Easter Fete 2011 70 • The Congos and The Abyssinians in Paris 72 • Rotterdam Reggae Festival 2011 74 • 30 Year Commemoration at the

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. Summerjam 2011 - Stand Up For Love I-lodica Blazes on Separation Is Illusion This years Summerjam at Fuehlinger Lake in Brighton’s own Augustus Pablo I-lodica has Cologne, takes place between the just put out an EP titled ‘Separation is Illusion’ 1st and 3rd of July, and just as with previous on the Dubbhism label. The EP contains five years the initial line-up for the festival looks tracks, where of Melodica on Fiya – a relick of very impressive, with both Jimmy Cliff and Al- Lee Perry’s 70’s classic Soul Fire – is available pha Blondy headlining on the Saturday night. as free download on Soundcloud.

This festival is also well known for trying to I-lodica has been recording for many years get across to and make people aware of the and has made some heavy tunes with vari- social aspects of the festival and the unity ous producers, including Iration Steppas and that is often felt. Therefore this years apho- Alpha & Omega. On this new effort he has rism for the festival is STAND UP FOR LOVE, teamed up with Dutch producer Tony Dub- with organizers stating on their web-site “The shot. The result is some upbeat, skanking controversial discussion being conducted tunes. ‘Separation is Illusion’ is available to- this year about social interaction is the back- day from etailers worldwide NEWS ground for the selection of our festival motto. It is intended to animate and at the same time The Time Riddim be a starting position for an aspired develop- Chuck Fender, Lu- ment, which makes a resolution of the prob- ciano and Mathew lems possible. McAnuff come to- gether to provide The basic requirement for social harmony is the vocal work for respect and love. It is worth every opportu- the latest release nity to stand up for this.” For more informa- from well the well tion and prices visit: http://en.summerjam.de. regarded Own Mis- sion Records from Below is a full, alphabetical list of the artists out of France - The confirmed to appear so far: very well done Roots set, the Time ALPHA BLONDY JOY DENALANE ANDREW TOSH KARAMELO SANTO Riddim. Previous- LEE ‘SCRATCH’ PERRY ly, the same label ATMOSPHERE MADCON pushed other fine compositions such as the AYO MARTERIA BEN L´ONCLE SOUL MAX ROMEO Sun, the Bun Up and the Don’t Know Rid- BUSY SIGNAL MONO & NIKITAMAN dims and more recently, they also brought us CECILE PATRICE & The Supowers the Police Riddim. Chances are high [about CHE SUDAKA ROMAIN VIRGO SAMY DELUXE 100% or so] that if you enjoyed the majority DUANE STEPHENSON SOJA of those sets, the Time Riddim will also find a DUB INC TARRUS RILEY very comfortable place in your listening rota- GAPPY RANKS THE CONGOS tion. HECKERT EMPIRE SHORTY & ORLEANS AVENUE I-FIRE YOUSSOU N`DOUR You won’t have to wait for it either. Own Mis- IRIE RÉVOLTÉS ZIGGI RECADO sion Records’ Time Riddim can currently be IRIEPATHIE ZIGGY MARLEY JIMMY CLIFF found on etailers across the globe and is set JOHN HOLT to release on physical 7’ shortly. day weekend at UCLA! Enjoy some wonderful Koloko is a riddim second with the label definitely turned up the ex- music and buys some stuff! voiced by the likes of Mr. Ve- to be called ‘Vampire Slayer’. citement for this forthcoming gas, Carl Meeks, Fantan Mo- set, fans will be even more Live Upright by Errol Dunkley jah and , while Denja, real name Steven enthused when they realize UK-based label Reality Skateland Killer is roots with Leclair became interested that Marley is being joined by Shock has teamed up cuts from Tarrus Riley, Lucia- music at 16 years of age an all-star cast of supporters. with German news site no, Alborosie and Frenchie’s when his father taught him to House of Reggae. To- long-time friend Captain Sin- play the and he joined , , Mar- gether they have put bad among others. a /punk band. Three ley bros. Ziggy & Damian out a limited edition years later he was introduced and Spragga Benz are all on The 25th Annual UCLA Reggae Festi- 10” featuring vocal cuts Ghetto State is a hip-hop to reggae music and was so board the new album from tinged one drop and offers consumed by it almost be- the two-time Grammy win- val by Jamaican foundation singer Errol Dunkley, artists such as and came his sole interest. He ner, as is Melanie Fiona who The UCLA Jazz/Reggae Festival started with a UK veteran Errol Bellot and Solo Banton, who Bounty Killer. did however take to reading listeners got a taste of on one day Jazz Festival 25 years ago this year. dropped his anticipated debut album ‘Walk around this time and became No Cigarette Smoking, one We came to celebrate this festival every year Like Rasta’ on Reality Shock little over a year Frenchie has also produced quite spiritual reading the of the previously mentioned on Memorial Day weekend with great artists ago. Unity from Swedish dancehall Bible, Koran, Torah and many pre-album singles. and a community uniting atmosphere. It has talent Million Stylez. other such books that led him been produced annually by a team of 30 un- Live Upright – as the riddim is called – also to the subject of controlled Stephen Marley’s ‘The Rev- paid students, who do a stunning and pro- features a wicked dub version from producer vibrations. elation Pt. 1: The Root Of Life’ fessional job. They also are very eco-friendly Kris Kemist. it while it is hot in a record is set to arrive in stores across having proper recycling features throughout store near you. All of these experiences he the globe on May 24. the venue’s areas. now endeavours to repro- Koloko, Skateland Killer, Ghetto State duce through his music and Dubkasm In A 12 Disco 45 This year the festival has a major focus on art hopes that people will feel Stylee with interactive art installations, live art on a Riddims these sensations through his 360 degree canvas featuring renowned graf- Master producer Frenchie has been a bit quiet creations of rhythmic drum- Due for release on 23rd May fiti artists Man One and Teebs. Also, custom for a while. Late last year he dropped a bunch beats and trance like sound- is a 12” Disco style 45 in- screen printed T-shirts will be available and of steppers tunes produced by Russ Disciples scapes. Details at www.denja- spired by those 1970's gold- a large outdoor gallery will be available for on his new imprint Calabash. sounds.com en era classics. The release viewing and purchases. Of course, there will titled More Jah Songs / Tell be a huge variety of food and crafts booths But now he is back with a bang. Three new Denja Cool Mon Cool Stephen Marley's Revela- the World is by Bristol’s own for the attendee’s pleasure. riddims and one single are set for release next Canadian Dub surrealist Den- Dubkasm and features the week. And as these are Frenchie productions ja has teamed up with Italian tion Pt. 1 vocal talents of Tena Stelin & The festival performers on Jazz (Jam) Day are: you can count on some huge artists. supremo ‘A Man Called Reggae royalty and super- Solo Banton. , Talib Kweli, Bilal, Pharoahe PJ’ to presents this late night, star Stephen Marley is set to Monch, Me’Shell Ndegeocello, Quadron and spacey, chilled dub entitled deliver his much anticipated The songs all based around Karriem Riggins. Cool Mon Cool. It was origi- sophomore set ‘The Revela- the same riddim, a mix of live nally released as an album tion Pt. 1: The Root Of Life’. instrumentation with heavy Festival performers on Reggae Day are: track on Denja’s Springlines’ The album is expected to be soundsystem style steppers Steel Pulse, Gyptian, Tanya Stephens, (Pana- debut, back in February, ‘Sha- the first of a pair of that see Solo Banton reinforc- manian duo) Los Rakas, The Wailing Souls, man’s Trip’ and now this re- set to release before the end ing veteran Tena’s spiritual The Expanders and Samoan artist J-Boog. mix version of the tune comes of 2011 and this; the initial in- plea in a deejay style. These out as a transitional release stallment appears to be load- two vocal cuts are backed by So…come on out and enjoy a beautiful holi- whilst Denja prepares for his ed. While a couple of previ- a soul-drenched sax and ously released singles have instrumental, a dub workout The Mount Zion I Riddim Want to know more? Of According to the press material he has played The only problem here is that there should You may remember the very course you do - The Mount most of the instruments and produced most have been more on this sweet Roots Riddim. nice New Day Riddim from Zion I Riddim from Jah Light of the album – just like he did on last year’s As it stands, however, fans can get this small just late last year which came Records & Flow Production dub effort. taste of the Light & Shaddow Riddim through via Trinidad based record la- can be found in digital stores etailers worldwide. bel, Jah Light Records and if around the world on May 23. The first promising tune of the album – Re- you do remember it and re- spect – features veteran waterhouse singer member it favourably, you’ll Junior Reid, with whom Alborosie cut the le- probably take a special inter- thal Kingston Town Remix a few years back. est in the same label’s first offering of 2011, the argu- The Light and Shadow Riddim ably even stronger Mount “Conscious Music For Conscious People” is that takes us through an- Zion I Riddim. This composi- the slogan of fine French/Jamaican label, The tique Jamaican circuitry into tion does come with a bit of HandCart Market, who makes a quick return a futuristic growler before a ‘twist’ as it is the product of with its latest project, the well named Light closing in characteristic Dub- the hard work of not only Jah & Shadow Riddim. This absolutely gorgeous kasm style with Digistep at Light, but Flow Production Roots set includes a quartet of fine efforts the mixing board. from out of . from a very varied roster of artists. On one 2 Times Revolution by end are Keke I, a favourite of the label, and Dubkasm are a UK and Bra- Alborosie impressive Dutch up and comer, Joggo. They zil-based /dub Alborosie has a new album may not be exactly household names in the outfit formed by two friends cooking, an album that is said Reggae listening world, but their tunes Dem Digistep (producer and mu- to take reggae a step further. Try and Pressure, respectively, are not to be sician) and DJ Stryda (co- missed. Sizzla Kalonji and the late and great Last Night by Mr Williamz ordinator/promoter) in 1994 ‘2 Times Revolution’ is the Sugar Minott certainly are very well known After some lovers business with Chantelle after seeing Jah Shaka at the name and the press release and they also both supply the Light & Shad- Ernandez and the ‘Love Directories’ compila- Malcom X centre in the city states that he doesn’t think ow Riddim with a pair of big tunes. tion, then roots and dub for his Gorilla rhythm, the previous year. Their first of himself as doing reggae Curtis Lynch and his unstoppable deejaying release was ‘Chemical Reac- anymore. He says he is doing machine Mr Williamz have returned to the tion Dub’ in 1996 on Nubian “Jahspel”, which is told to be sounds for which they’re known best. Records’ ‘Dub Out West’ Just like its predecessor, the a form of gospel music. compilation series. This then Mount Zion I Riddim features The five song EP ‘Last Night’ features the hyp- led to the creation of their talents from out of Trinidad Last year Pupa Albo put out notic style of Williamz atop some immortal own Sufferah’s Choice Re- who, while they may not be an essential duets compila- bass-heavy backing tracks. cordings label, named after very well known (yet), most- tion, an inspired dub album DJ Stryda’s well-established ly deliver fine efforts. The and the awesome Rudie Topics include the joys of cash on Money Fi Bristol radio show, on which standout tune, the title track, Don’t Fear on John John’s Spend (over the Real Rock). Shell Down is a they have now released comes from the always im- Zion Gate riddim. He also had sound burial combo with singer Clinton “Spe- around 10 recordings includ- pressive Zebulun and he’s time to produce The Tamlins cialist” Moss (looping a phrase from the King ing their 2009 debut album, joined by the likes of vet- comeback album ‘Re-birth’. Jammys classic Come Again by Cocoa Tea). ‘Transform I’. The duo have erans Dainjamental, Multi- also made numerous live ap- Symptom, Reggae Gospel On top of these he obvi- ‘Last Night’ recounts an eventful evening us- pearances around the globe. artist, Koen Duncan and the ously managed to record ‘2 ing the original Treasure Isle rhythm to John big voiced Roxy Singh. Times Revolution’, an album Holt’s Ali Baba – leased from Chris Peckings. that comprises 16 tunes and And if you thought Mr Willz had the sub- at his Treasure Isle studio, where they were re- Reap What You Sow by call it, the wicked Lion D re- ject of herbs wrapped with No Cigarette (on sponsible for backing Alton Ellis, Justin Hinds Lion D turned on May 2 when ‘Reap the Joker Smoker) Ganja Smokin - using the and a truck load of other soul styled singers. What You Sow’ sprang on Despite being billed as a Shank I Sheck - will make you think again. “Street Album”, ‘Reap What etailers worldwide. played a show as late as March You Sow’ - Checking in at a Finally, there’s a special mix of the previously and died of cancer of the liver. The only re- very healthy 15 tracks and released Real General on Lynch’s remake of maining original members of the 50 year old nearly fifty minutes - Is a very Super Cat’s Come Down. are bassist Lloyd Brevett and album-like compilation of alto saxophonist Lester Sterling. tunes from the outstanding ‘Last Night’ is available on iTunes on 17th Reggae breakout star of 2009, May and on general release on 24th May. Earl 16 sings Reggae Music the UK born, Italian grown, London collective Reggae Roast have an- Lion D. The chanter caught a On digital shelves May 17th nounced a follow-up to their ‘Righteous’ EP severe attention in ‘09 when is the latest and sixth install- from February. It features the still prolific Earl he pushed what was argu- ment of Dread & Alive's The 16 on the title track - which asks the music to ably the best album of that Lost Tapes compilation series go back to the days of King Tubby. year, ‘The Burning Melody’ and, as usual (for them) (and through solid Italian imprint, ONLY for them), the release There’s also a choice of two dub versions Bizzarri Records. boasts a very healthy variety mixed by the ever-dependable Manasseh, Tetrack's Unfinished Busi- of artists. In only nine tracks and a dubstep remix from Scotland’s Mun- TLT manages to serve up one go’s Hi-Fi. ness of the most diverse roster of The harmony group Tetrack performers which includes ‘Reggae Music’ is out on 23rd May on 12-inch who worked with Augustus the likes of veterans Bushman vinyl and for download. A compilation of the Pablo in the 1970s and 1980s and Chinna Smith, master label’s work, ‘Lick It Back!’ will be released in are back with a new album guitarist Taddy P alongside Lloyd Knibb of The Skatalites Passes Away June. ‘Unfinished Business’, sched- Tanya Stephens, Anthony B Lloyd Knibb – one the founding members of uled for release in autumn of alongside burgeoning Roots The Skatalites – passed away on Thursday this year. star from out of Aruba, Smi- May 12th at the age of 80, according to Ja- ley and a recently returning maica Observer. He was The Skatalites’ drum- Recorded at Carlton Hines VI veteran, Danny I (whose mer and a key figure in creating together The Lion is a very raw and co- and his brothers’ own Artis- tune, Me Mantengo Fuerte [I with other acclaimed band mates such as Ro- lourful talent and everything tic Studio Kingston , Stay Strong], was absent from land Alphonso (tenor saxophone), Don Drum- which makes him unique with promotional assistance his most recent album, the mond (trombone) and Jackie Mittoo (). and potent appear to be on from Clive Chin, this set could outstanding 'To His Majesty'). full display on this set, which be one of the most highly an- Also on board are the likes The Skatalites backed nearly all of the major Bizzarri also helms. Surpris- ticipated returns of 2011. of the well respected Rootz vocalists in the ska days, and also recorded ingly, brought in to help is Underground, the mighty a massive body of instrumentals, including much respected Jamaican While you wait for the album, Messenjah Selah and a whole Guns of Navarone, Eastern Standard Time veteran singer, King Kong, here’s the first single Dread heap of up and comers, head- and Latin Goes Ska. who should bring even more Out Deh, featuring David lined by the ultra impressive flames to this already heated Madden on , avail- Kehv. After The Skatalites Lloyd Knibb went on and release. able now. played with former band mate Tommy Mc- In the past, this series has Cook in The Supersonics. This outfit became Album, ‘street album’, ‘mix- Dread and Alive's The Lost featured a wide array of some producer Duke Reid’s house band tape’, whatever you want to Tapes Volume 6 of the biggest names in Reg- -gae with stars of the future ish producer Roberto San- be followed by Pressure For The Love of Jah and past alike, but here per- chez steps out from behind Sounds’ third Augustus Pablo The intense and never wavering fans of the haps, they’ve even managed the mixing desk again, hav- installment titled ‘Message immortal Augustus Pablo will be absolutely to outdo themselves. Dread ing sung lead on songs such Music’. This one is supposed thrilled to know that his son, Addis Pablo, has & Alive’s The Lost Tapes Vol. as Cool & Calm with the Lone to hit the streets in July. taken up the work as is evident by the release 6 is in stores now courtesy of Ark Riddim Force, to provide of his new project, ‘For The Love of Jah’, This Soul of The Lion. pleading soulful call to Chant A Love Like Yours and piece comes in the well loved and respected Down Babylon. Mine by Cocoa Tea style of his legendary and besides the Dubs and instrumentals, it also features vocals by The reigning coolest man in Both tracks are then compli- big artists such as Norris Man and Ginjah as the world, sweet vet- mented with dub workouts well as the excellent Khari Kill and Jahbami eran Cocoa Tea, is back with full of effects from both Askan from out of Trinidad [and others also]. a big and sterling new single Vibes and The Dub Machinist. ‘For The Love of Jah’ is in digital stores now, certain to delight his fans, courtesy of Triniyard International. Pressure Sounds Drops both new and old, alike. Love Like Yours & Mine is the typi- Augustus Pablo Releases cal musical saccharin from Jamaican Sounds In (UK) Pressure Sounds has just an- the Clarendon native which If you are a collector rare vintage Jamaican nounced a bunch of new re- has been gripping fans across Bost and Bim Remix Their Own Hustlin sounds you might be interested in the June leases from the late and great the globe for more than thirty Classic Roots Vibes From Riddim edition of Record Collector (UK) where re- Vineyard Records melodica virtuoso Augustus years. The song was report- spected reggae author and writer Michael de Pablo. The new releases are edly produced by the singer’s Last year French versatile production and mix- Koningh will be taking a look at the 51 most Vineyard Records in France focusing on his digital era own label, Roaring Lion Re- ing duo Bost & Bim – responsible for some collectable Reggae tunes ever to have just released a brand and spans from 1986 to 1994. cords and figures to be the huge mash-ups with their Yankees A Yard have seen issue. new 12” full of classic roots start of a coming big time for compilations – put out the Hustlin’ riddim. reggae vibes. Augustus Pablo is not nec- Cocoa Tea as he is set to be Hawaiian singer J-Boog’s cut Coldest Zone In addition, there is a piece on the Hippy Boys essarily associated with digi- featured in the 2012 Olym- was one the best tunes of 2010. by Ian Shirley plus a special offer on a limited This six track EP is produced tal output, and most of his pics of London. vinyl reissue of the classic ‘Reggae With The by Askan Vibes made up of most acclaimed material was So it comes as a pleasant surprise when I Hippy Boys’ LP, plus an enlightening news in- I-ris (Bordeaux, France) and produced during the 70’s. The excellent Love Like Yours heard that they are dropping two new ver- vestigation into the spate of eBay fake bid- Mightibô (Ouarzazate, Mo- However, the four CD com- & Mine by Cocoa Tea can be sions of this wicked hip-hop influenced rub a ding that has hit the Reggae collectors scene rocco), in collaboration with pilation ‘Mystic World of Au- found on etailers now, cour- dub one drop. hard and more. The Dub Machinist also from gustus Pablo: The Rockers tesy of Platinum Camp Re- France. The vocals on the Story’ contains one disc with cords and Zojak Worldwide. Five cuts are now available in a digital Prince A side, Cotton Fields, are a bunch of great digital tunes Jammy Style. Pick of the bunch is Valene’s in- supplied by veteran vocal- in a fine Augustus Pablo style. tense My Ghetto Cry. ist Joseph Cotton, who after spending a year working in First up from Pressure Sounds The other version is in a nyabinghi style with a the Jamaican police force left is the 45s Credential Instru- scent of soul. Pick of these five are once again to concentrate on his record- mental, A Java Instrumen- J-Boog and his Coldest Zone. ing career which he initially tal and Armagiddeon (Drum started with Joe Gibbs, under Sound). All three complete This varied one riddim album is available as the name of Jah Walton in with a version and available digital download worldwide and as CD in 1976. in late June. France..

For the flip renowned Span- The singles will luckily enough 13

INTERVIEWS

SARA LUGO INTERVIEW TEXT by ANGUS TAYLOR Photos by Murxen Alberti and Hoizge 23 year old Sara Lugo grew up in the idyllic Is it true you didn’t like reggae when young? Jamaram my brother’s band “Take some elements out and Can stress and tension in the lakeside village of Weßling near Munich. Her were a big influence on me put them somewhere else”. studio yield good results? Puerto Rican father and German mother en- (laughs) That’s not exactly true! Riddim maga- because they gave me the op- We’d just work out the mu- couraged her and her brothers in music and as zine just came out and they wrote that and I portunity to play at so many sic and see what happened It can but it depends on the a teen Sara was sang vocals for her brother’s was like, “Oh no! That’s not true that I didn’t shows with them and get and what it turned out to be situation. Sometimes it can help but sometimes great band Jamaram – thus meeting her producer really like it!” I didn’t hate it! It was just that stage experience. They were - and, now, you can hear it! songs happen if you do things Umberto Echo. Another friendship with lo- when I was nine or ten, I was in this rebellious also the first to let me sing in without any pressure at all. cal singer Jahcoustix helped develop her song kind of phase so my brother used to turn up the studio on their first album writing craft and a 2009 tour with German star the reggae with his big . All I had and the following ones too. There is new and familiar ma- Ganjaman gave her a platform to break out na- was my radio so all there was for me to do in a Oneness supported me by terial on the album. How did tionwide. In 2010 her journey became one of rebellious way was to turn it up. So that’s what I giving me a lot of riddims to you decide which songs to in- the most captivating stories of the newly relo- did for two months until I realized that it didn’t voice or just play around with clude, which to cut out, and cated festival in Benicassim really do anything and I loved the music that so they helped me grow mu- which to rework? Spain, her remarkable voice charming the Ja- came out of my brother’s room so much! There sically too. I would say that is maican deejay Chuck Fenda who took her from was one song that I kind of dug which was the music family that helped When we started I made a list of the small stage she was booked to the main Macka B’s Squeeze Me Tight and at that time me get where I am now. about 24 songs that were op- stage on the penultimate day. On May 6th she I could only catch the word “” so tions for the album. Then we went through the songs and is due to drop her eagerly awaited debut long- kept knocking on my brother’s door and say- How did you meet Echo and checked which ones were the player ‘What About Love?’ a summery reggae ing, “Nate? Can you play the Teddy Bear song start your partnership? How did working on the al- best, which ones we felt and also soul fusion that has created a buzz reverberat- again?” and he was like, “OK, I’ll play it but the bum differ from working on what kinds of styles we wanted. ing from Continental Europe to the Caribbean song is called Squeeze Me Tight by Macka B!” Echo produced most of my your EP? and beyond. Sara very kindly granted Angus (laughs) brother’s Jamaram albums. Because I don’t only do reggae Taylor one of her first interviews about the al- When we went to the studio to It was different because to- I definitely wanted some other bum, her eventful life, an all-important song What was the first time that it got serious do some backing vocals for the wards the end it kind of got songs on there. I had enough concerning Teddy Bears and why her singing for you? Was it a particular concert or event? first album I got to work with serious. It’s my debut album songs to make a modern roots has a habit of opening doors… him for the first time. Then he and you want it to be really reggae album but I also like the I think it was when I was eleven and I realized got me back in to do backing good so I kind of stressed my- other side from that and, be- When did you discover you had a singing I wanted to do music. Britney Spears had a big vocals for Headcornerstone, self out a bit - I guess everyone cause it’s hard to sell cds now, voice? hype and all the girls in my class were going another very good local roots does eventually. It’s exciting. I definitely wanted a cross over thing that would work in differ- totally bananas about her and I never under- rock reggae band, and from It’s going to be the real thing ent genres. So I decided to put I always sang, ever since my Mum always used stood that. I just wondered what it is about that point on we got on re- whereas with the EP it wasn’t six reggae tunes on that I liked to sing with us. She used to put us to sleep her that makes people freak out about her so ally well. At some point he just anything serious. Working on the most and the other songs singing us songs. Then I used to listen to Kids much. I figured it’s just the music they love and came out with “Sara. I want to the album was really nice and we did and tried to blend those Plays – these cassettes from the States – and I she seems so unreachable but that’s not true do an album with you. I know interesting too because we different styles in a way that used to just love them. They had really good because we’re all human. So I felt like “There’s I’m not going to be the only went to a really nice studio would still fit the whole thing. and really good singers on got to be another way to do music. To do mu- one but I want to be the first and had guest musicians com- them, harmonies and different types of genres sic and still be human and not so unreachable.” one”. I felt really touched and ing in and worked out stuff of good music so I was just stuck to that. I used I always wanted to travel so I figured “I’ll just emotional, “Wow! You want and it was a great time. But to sit down and press rewind on a chorus or an do music - that’s what I love most anyway - to do an album with me? OK!” at the end it was a bit more adlib I really liked and hear it again and again. and travel the world with music”. Right now I but it wasn’t the time then so stressy than the EP because My Dad also listened to a lot of music – rock, haven’t been travelling so far but we’ll see! we took our time and con- with the EP we didn’t have any reggae, all kinds of stuff. My Mum was more tinued working. We’d pro- pressure at all. We just did it into classical music and I think that’s where Who was the biggest inspiration in your duce stuff together where he and put out the EP. With the the music comes from. Her family is very much early career? played me what he’d already album we set a date and were into music. Originally classical music but then done in the studio and I’d sug- like, “We’ve got to finish up it switched over to all kinds of styles. I got into Definitely my producer Umberto Echo, who gest, “Maybe change some now!” so that’s what we did. reggae through my brother Nathan. believed in me from the very beginning. of the brass section here” or Some people have been surprised by how stage! Your journey and the festival’s jour- big story and the band didn’t play anything! he wrote back! So I sent him the snippet and much soul there is on the album but soul is ney to its new location felt linked some- So I asked him, “Chuck, what’s the plan? I said that if we could do something together very close to reggae and has been since the how. What happened? thought we would do something on a riddim?” that would be really nice! So then next time beginning. Are people too obsessed with and he went, “Just sing some of your songs I was online Protoje had posted the video genres and categories? Is it a more fluid That’s really interesting. I never thought about and the band will know when to come in!” on his page saying he was really feeling this thing for you? it like that. What happened was actually just lady or something! I was like “Wow!” But we’ll music, I guess. I met Ginjah a couple of weeks So I started singing What Happened but I see what happens as he didn’t write back yet. Totally! It’s a very fluid thing and it’s getting before Rototom when he was in Germany. I knew that the chords are kind of tricky so I more and more regular for all the people out showed him some riddims and he was really thought, “Before the band plays something What are your hopes for the future? there too. The world is starting to fuse up be- feeling it and then we met again at Rototom. I that doesn’t fit I’ll show them how to play cause the ‘net mixes up all kinds of cultures just asked him to come on stage because I was the chords so they know and we can vibe To reach as many people as possible. To re- and everything is being mixed nowadays so on the General Key riddim I believe and he has on it”. So that’s what we did and it was this ally touch their souls in a way that they it’s more expected now that you mix differ- a song on it as well. So he came up and did the huge show effect that wasn’t even intended! haven’t been touched in a long time. ent types of genres. And it works because it song and people felt it and it was a really good To make them feel in a stronger way. delivers the message pretty well I believe be- vibes. So that was just music on the spot really. This isn’t an easy question to answer cause if you do music that’s my goal. I want to but I’d like to hear you try! It sounds To make them understand that we need to get touch the people’s hearts. I want to touch their like you sing and stuff just happens. together and work on ourselves and actually hearts and souls and make them feel it and What is it about your voice that cross- make a change in this world. We can only do that then listen to the lyrics if they’re open to it and es borders and opens doors like that? if we work together and are honest with our- maybe think about some of these things and selves and start to listen to our emotions again. eventually make a change. For me right now Good question. It’s hard for me to know be- I hope that lots of people realize that, can learn the situation in the world is there’s so much cause I hear myself every day so my voice is it, or accept it - and find it through the music. happening and everybody needs to do some- just my voice and I can’t really tell how people thing. And there’s so little you can do that re- hear it from outside. I guess what makes things ally does make a change so I do what I can happen is I’m a good socialiser. I’m a vibes per- and I try to make the people feel more intense son is the way I’d describe it. I love people and and then eventually I can help from my side. I’m very interested in how they think and how they act and how they do things. The minds Will your next album go further lyrically in try- of people interest me a lot so I just meet peo- ing to change people? ple and talk to them and stuff just happens! But that was just the start... It’s hard to say because music just kind of hap- Protoje - who is really big right now - was pens like that. I’m not the type of person to The thing with Chuck Fenda was through talking about how much he was feeling your sit down and say, “OK, now I’m going to write friends of mine who have this stand where album snippet. How does it feel to be reach- a song about a flood” or something dramatic they sell flags and hats and Rasta articles. ing such key people in Jamaica and could a that may have happened. I get inspired by a Chuck Fenda’s manager was there and the Don Corleon album be on the cards one day? riddim or by an idea or a thought that just ap- guys from the stand put on my cd and the guy pears and then I write. It’s a spur of the mo- kind of liked it and said, “Let’s meet again at That really made me happy too because when ment thing. So I cannot tell you what’s go- the stand tomorrow”. So I went there again I found Protoje’s music I was totally flashed. ing to be on the next album! It’s going to be and he was there and Chuck turned to me and Whenever I find music that really touches me from the heart and capturing moments but said, “If I asked you on stage would you come and is so good that it keeps flashing you I get I can’t tell you what it’s going to be about! and sing with me?” We arranged he was go- really happy about that. I was totally blown ing to get me on stage on the Dreams riddim. away and I needed to contact him so I added Let’s talk about Rototom 2010, which is him on Facebook and he has so many friends where I first saw you perform. On the Mon- But then when he was on stage he stopped so I thought I probably won’t be accepted. But day you played on small stage then sud- the band and started doing a big speech say- then he did and I just wrote him a comment denly you had Ginjah up there, and then on ing “Yeah, I met this singer from Germa- and sent him some love and respect and then the Friday Chuck Fenda took you to main ny and she came all the way here...” telling a Dutch singjay Ziggi Recado has recently put out his third full length album in Holland, and on June 6 it drops worldwide. United Reggae has spoken to a reggae star that has travelled new paths and is now also acknowledged as a producer.

Ziggi Recado – formerly only Ziggi – rose to prominence in 2006 when he put out his Rock N Vibes produced debut album ‘So Much Rea- sons’. Since then a lot has changed for this 30 year old singer.

He has now three albums and one EP on his list of merits. On top of this he can now also label a reggae album. And Ziggi seems pleased. himself as a producer. On ‘Ziggi Recado’ – his new self-titled album – he is recognized for the “I’m very happy that the album has become a major part of the production. And this is some- success in Holland. It remains difficult for black thing that seems to have had great impact on music in Holland and it’s hard to get attention,” his sound. he says, and continues:

“In Holland people know me as a reggae artist and many have looked forward to this album. It was anticipated,” he concludes.

Important not to be boring Ziggi Recado certainly is a diverse effort, and Ziggi himself believes that it can attract more New sound, instant success people. Important for him is also to show Because ‘Ziggi Recado’ is not an ordinary reg- something new and to be interesting. gae album. It is a fusion of reggae, soul, pop, funk and rock. Surprisingly no dancehall. If you “For me it’s important not to be boring. No have heard the Cody Chesnutt & The Roots in- traditional way, no traditional sound. The last spired first single Get Out you probably get the CD was more traditional. I needed to do some- feeling. thing different and I think it really stands out. I have created something new,” he believes. “I’m happy about it. It’s the best Ziggi album ever. It’s different from my previous albums. I The new album was a natural progression ac- produced a lot of it and I think I turned it into cording to Ziggi. ZIGGI RECADO a great reggae album,” says Ziggi Recado over the phone. “When I did my first album I had just started doing music. I now know what I want to do. It is INTERVIEW The album have been an instant success in his a progression for me,” he says, and adds: home country, hitting number 1 in the iTunes TEXT ERIK MAGNI Reggae Charts, number 41 in the general “This is me right now, but I want to keep evolv- Photos Bill Tanaka iTunes charts and also debuted as number 51 ing and developing.” in the Dutch album top 100 charts. Not bad for Influenced by life When I ask Ziggi about his influences I thought that I would get a bunch of artists or groups. I for instance thought of some hip-hoppers or soul outfits. But no.

“What influenced me is probably my fam- ily. The clock was ticking and I was having my second child. He was one month old when I started to record the album. It motivated me to get something done. Life was my motivation I guess,” he suggests.

The album was recorded with The Renaissance Band and they worked very close.

“It was a pure feeling. I’d get an idea for a song and then create it and get the picture together with my band. I’m lucky to have done the pro- duction with my band. They know what I want. I was free. We work very well together.”

Wants to work with Wyclef Ziggi reveals that he would like to produce other artists as well.

“I’ve done a few productions in the past, but this is the first time that I’ve done a whole proj- ect. Now people can acknowledge me as a producer,” he says, and continues:

“I’d like the opportunity to work with Wyclef. I’m a huge fan. And Shabba [Ranks], the legacy, the great.”

No expectations Even though the album already has done well in his home ground, he is very down to earth Deadly Hunta with his expectations on the international re- lease.

“I try to except the least. I Hope for the best INTERVIEW and expect the worse. But people should like it. TEXT BY ANGUS TAYLOR I’ve got positive reactions so far. But nowadays PHOTOS BY : with music it’s hard to tell. The most important ANGUS TAYLOR is to take my music to a higher stage, and then I’ve reached my main goal.” Allan Carter Reading’s Trevor “Deadly a good history from my dad. They start with Bob Marley written was different in those days. You’d write Hunta” Samuels is one of the Since being a child the rhythm and then gradually learn to a verse that would last all day and have a cho- UK’s most respected mcs. Af- of reggae music has always appreciate that however far rus that comes in very rarely whereas now it’s ter apprenticing on the Afri- been going through me be- it may have travelled from strictly eight bars for the verse, eight bars for can Roots and Sky Juice sound cause he was always a man that it’s still part of the same the chorus. But those were the influences I had systems, an encounter with who was a record collector thing. in those days. Bobby Digital on a trip to Ja- and had a good sound system. maica encouraged the young Many times late at night I’d be Very true. I find that myself Your own trademark is taking bits of 80s Samuels to improve his craft, in my bed hearing the bass when I go to the rest of Eu- and 90s pop songs. choosing the name Deadly coming through the ceiling so rope, the people I’m speaking Hunta in honour of his idol I was brought up with reggae to, these young guys in their Yes! I targeted that. I look in depth into the Bounty Killa. His ear-grabbing and it’s in me naturally! early twenties - they should music and during that era when Bounty Killa Bounty-inspired delivery has be talking to my dad with the came out with the nursery rhymes and the brought him hits in the hip A lot of UK artists who grew history they know! (laughs) It’s Christmas carols I was trying to find the same hop, reggae, dancehall and up with reggae in the house going over my head man! kind of thing that everyone would know - but jungle spheres over the last talk about a period of rebel- different. I thought, “I’m from England and 80s decade. Yet despite show af- lion against it. Was it like Who were the mcs you ad- pop is such a respected music even in Jamai- ter show across Europe and that for you? mired when growing up? ca”. In Jamaica you’d have the big sound sys- beyond, Deadly is only now tems playing Madonna and in ready to drop his debut album, I don’t think it was a direct re- I was into the sounds systems the dancehall and the people respected that. I ‘Speak My Mind’ produced by bellion against it. It was just like Coxsone and Saxon, Unity really targeted that and I knew there were a lot Reading’s own Catch 22 pro- like you grew up with and that and Volcano. So for me Daddy of pop songs around because I was brought up ductions. Angus Taylor spent a was mum and dad’s kind of Freddy was a very influential on them. My sisters were into Duran Duran and sunny evening in Hunta’s back music! When I was about fif- person, Tenor Fly was a very the Specials and we used to watch Top Of The garden, talking about his mu- teen or sixteen it was about influential person at the time, Pops religiously every week so I knew all those sic, his increasingly conscious 1989 and the deejaying style Papa Levi, Tippa Irie. On a per- songs from the 80s really well. I just dug for the direction with Reality Shock was a new thing so we wanted sonal level from that era I liked ones that hadn’t been used and used them for and it’s not really the same reception! No one records and how his talents to be into that side of it. We Bubbler Ranx and Youthie myself! knows who you are and it’s not your time yet. run in the family… always respected Bob Mar- General. Secretly I’d say they It just wasn’t my time! (laughs) But I was re- ley and Burning Spear and all were the best for me of that You started on sound systems didn’t you? ally dying to get into that scene and then the Reggae is a big component those guys our parents were era - I don’t think they were You were on African Roots then Sky Juice... drum’n’bass scene came in about ‘92 and a lot of what you do. I presume playing but it wasn’t the time respected as the best by the of the top ragga deejays started to move into it you grew up with it in the for that then! When you’re do- masses but what they were That’s right. I started off with African Roots because there was money in it. And when they house? ing your own thing you kind of doing, in terms of the way they when a friend of mine called Rudie Rich started went over and the dubplate scene really came put your head into it and then, built their lyrics, and the mel- to spin the tunes for them and we used to chat in heavy, the reggae artists that were left on Yes, my dad is from Jamaica when you get a chance to take odies they used, could have lyrics together. I just got in there because of the sound systems just weren’t respected. So I and grew up in Jones Town, a breath and see what’s going been used years later and still him - he was 16 and I was 15 at the time - and it think when the drum’n’bass came in was when which is connected to Trench on, you start embracing that appreciated. Melodically it was was the typical sound boy experience of lifting the sound boy kind of died in England and it’s Town where Bob Marley came side again because the music very advanced because they boxes, being a general dogsbody, and getting taken the rest of Europe who love sound sys- from. He’s about the same age you’re listening to comes from used songs that were already the dregs of the mic! (laughs) I was listening tem business to bring it back and make Eng- as well so he tells me stories that as well. there like nursery rhymes in a to my sound-tapes and really wanting to get land see that. They’re looking at us thinking of the first sound systems, way that - not through them - into it but in reality I wasn’t ready at that stage. we’re the greatest thing for sound systems and the first sound systems with The funny thing is, of course, became a fashion for guys like I mean, you’re listening to all these cassettes we don’t even do it anymore! (laughs) We’re , about how the that people who grow up Bounty Killa. But these guys with Daddy Freddy and Tenor Fly and you can just living off the name of what we used to do. sound systems were listening without reggae in the house, were doing it from years ago hear the crowd in the background going “bo to the American soul before like a lot of fans in Europe, in the same kind of way. The bo bo bo!” and you’re expecting this yourself, How important was going to Jamaica for the reggae came in. So I got tend to go the other way. format of how the music was but you go out there in those times chatting you? It was a big stepping stone was a big influence on me. didn’t realize there was de- how my thing’s got big. I had the video out for me. It was kind of fate be- He’s the biggest influence on mand for his music anywhere. for Talk Out Loud as well on MTV Base. I had cause I didn’t really mean to my music and people can of- So Kris started putting him on a drum’n’bass track that came out with Aph- go there the first time. In 1993 ten hear it in my style without the internet and getting him rodite in 2003 and didn’t know how big that I was twenty years old and me having to tell them. booked for shows. Mikey was was in Europe! Everywhere I go in Europe they got in trouble with the police coming to me saying “This guy always request that song, and I’ve only had the in England so the real plan So how did you go from that Kris really wants to meet you rhythm track to actually do it since last Christ- was to go to Jamaica and not to where it started really and he’s doing reggae” but I mas but it always kills it at the shows. But that’s come back! I was in Kingston happening for you? really wanted to do this more how I’ve got to this point here. for six months and my uncle commercial kind of stuff. The was a lawyer for Bobby Digi- Working with Catch 22 has reggae was kind of boring for You’ve also been involved in the UK Asian tal and well in with the indus- been a very good experience. me at the time but after about music scene as well... try there. I wasn’t even half They’re very professional in six to eight months I managed ready but I had lyrics and stuff. what they do and we were try- to make it round his house Yes. The guy from Catch 22 Prashant [Mistry] is It was some old Cobra style I ing to head for a more com- and we got on really well so an Asian guy. He’s very well connected in the had with bare swearing and mercial market. I was working we just started working there. Asian scene - he knows Bobby Friction and Ni- badman lyrics! One day my with a guy called DJ Skitz and There wasn’t really an aim to hal. They just come to Reading and visit him on uncle took me into his studio I had a song that came out on what we were doing at the a personal basis with no business attached so on a social visit and Tanya Ste- his album Homegrown 2 in time - we just came together it was quite easy to get our stuff in those chan- phens was in the studio same 2006. I started to do a lot of to do some work - but at the nels and I’ve done a few shows for the BBC day. She just looked like a real performances on the tour for same time he started promot- Asian Network. So after working with them I ghetto girl and he was saying that around England and start- ing me on the internet and Your shows are very popular in Europe. Tell did three other combinations with Asian guys she was going to be the next ed to build up a more managed to get me a couple me about that. who’ve come to me saying they’ve heard my big thing. kind of fanbase because his of shows. stuff through the Asian Network and stuff, be- stuff is kind of British hip hop I did a show with Mikey Murka in December cause Bobby Friction and Nihal had been play- So I saw it manifest in front influenced by a bit of ragga. 2007 in Denmark where I met this guy called ing my song for about five or six weeks in a of my eyes and it was a great He calls himself the Sticksman Selecta Cab from France who was djing for Gen- row on their stations as well as different tracks I thing for me. I got to go in the and he’s got a real reggae in- eral Levy at the time. When I got back to Eng- had. Me and Prash would do these single mixes studio and sing some lyrics and fluence on his stuff so I kind of land he got in touch and said, “I really like your where we put the Bhangra inside one of my he said, “Bwoy, there’s way too fitted there nicely. Then from show, I’d like to invite you to France”. About dancehall tracks and give it to them as an ex- much swearing and you need that I started getting a lot of three months later I got a call from him on a clusive and they’d play it. That’s how I got into to get your voice stronger” but shows and Myspace and those Tuesday saying Warrior Queen was meant to the Asian side of things. he gave me couple of rhythm kind of websites had started come and do a show but there was something tracks and every day for six to pick up as well. I was also wrong with her VISA and would I be able to It doesn’t sound like you limit yourself when months I was in a room at my working in Reading with a come and do the show on the Friday? So I went it comes to the rhythms you ride. uncle’s practising and writing group called Reality Shock down there and did the show and it went really lyrics. Those 6 months were who I’d been working with well - really killed it down there! And from that No I don’t. Growing up in my area, most another spark for the love for for years but things suddenly moment, every month for about 18 months I’d of my friends were into hip hop. When the the music I already had inside started going well for them. be in France, sometimes twice a month doing drum’n’bass came in I wasn’t into it but all my me. It was fuel on the fire that two shows on a Friday and a Saturday in dif- friends were so I was always surrounded by meant it was impossible to Tell me how you met Kris ferent areas. So this Selecta Cab was a really different types of music. You just find yourself turn back. I changed my name Kemist at Reality Shock. good link for me because he’s well known in spitting on anything - especially as a young- at that stage from Junior Sam France, especially on the reggae scene, and he ster! Drum’n’bass is just an offshoot of reggae to Deadly Hunta. In ‘93 Bounty He had just rediscovered managed to get me out though France with a and they love people chatting so you go chat Killa had just come out. I wit- Mikey Murka who was seeing lot of video footage going up on the internet on it and become familiar with these differ- nessed his coming to the lime- a girl in Reading but hadn’t so people were able to see my shows. I think ent steps in the music. You don’t really notice light from Jamaica and that been doing any music and that’s what generated the interest for me and yourself doing it but through your enthusiasm down the line. standard. Something totally Bounty Killa would be a great out of my range like a Whitney one for me. I don’t think he’s It sounds like you put a lot Houston, sounding totally pa- the man of the moment any of stress on your voice. How thetic within myself but know- more but it would be a long- do you keep it in condition? ing that every time I do that standing ambition. He’s some- I’m stretching my vocals that one I’ve idolised so a track with A lot of sit ups. A lot of run- bit more. I’m not really looking him would be great. ning. A lot of exercising. I used to sing like they sing but when to find I couldn’t do back to I bring it down to the sort of (Deadly’s daughter shouts back shows because my voice song that’s my level within the “Chipmunk or Justin Beiber!”) would get hoarse quickly but reggae it gets closer and clos- the more regularly I’ve been er every time. I’ve been do- (laughs) Alright, maybe Chip- doing shows the more I’ve set ing that for a couple of years munk! a standard for my voice. I’ve and only now have I got the and willingness to jump on can still be a message that have lyrics speaking about got to be running two or three confidence to sing a full song. Are your children musical? the music, I think that’s what’s gets through. For me, that’s women but now it’s speaking times a week at least and do- But I have that belief that you made me who I am. An amal- what it’s about more - I can about the positive side rather ing my sit ups all the time. If I can teach yourself and devel- My daughter here, Rene, is gamation of all these differ- jump on different music but than anything negative - this slack off I’ll see it in how my op yourself into anything you very musical. She’s ten years ent genres and different influ- the message I like to portray is where I’m taking my music. voice will hold out at a show. I want to be. When I went to Ja- old and we’ve just completed ences. Half of my music, you is - not preaching - but a posi- Music that is uplifting and has use a lot of ranges as well. For maica for those first six months a track called Superstar. I’ve hear other people in there but tive message for children. I a positive message will always some songs I’m using the high I left with a squeaky mouse just finished getting it mixed I still think I’ve got a side of believe you can steer through live and people will always be part of my voice and others voice and came back like and we’re going to get a video me which is unique. As an art- all types of music but the drawn to it because in the so- the low part. I’ve got to have “RRRRRRRRRRRRR!” (laughs) I done as well. My other daugh- ist it’s about recognising that message is important as well. ciety we live in people will al- monitors. If I can’t hear every just trained it. Every day I was ter’s got talent and she’s got a uniqueness in yourself and giv- People fight down grime mu- ways need upliftment in their note I’m doing on stage I can on it and I did a lot of sit ups. guitar but this one’s a bit crazy ing that to the people. When sic but it’s not really the music lives. You can be in your dark- over-compensate and that’s If you want to become a suc- about it. If she wanted to she you come to that understand- they’re fighting down, it’s the est state and put on a Bob when you’re pushing your cessful artist fitness has to be could get a good career in mu- ing that’s when you’re going message. If it were to have a Marley album and it will give voice. a part of the regime. Your fit- sic. I’ve never pressured them to make the most progress. positive message it would be you a vibe of upliftment be- ness has to be as important as but I’ve always coached them You’re never going to make more respected. cause of how he’ saying it to Your style also suggests you writing your lyrics. from young to see the natural it with longevity by copying the people. You can say a mes- have a good singing voice. talent they’ve got for creating someone else’s style. It’s only People can be quite dog- sage in different ways: you can Have you ever done any You’ve toured and shared melodies over music in time going to last as long as that matic about “slackness” and highlight the negative side of singing? rhythms with some big art- and in key - I’m secretly test- person - when the originator “consciousness” in lyrics. it, highlight the positive side ists. Who would you like to ing them! I’d put on a rhythm dies down, your time’s up as These days you talk about of it, or just be a bystander ex- I’ve got a couple of songs that work with in the future? that requires a low or high key well. a lot of spiritual things but plaining it without judging it. I’ve done over the last few and get them to spit anything! in the days of say, Talk Out As a writer it’s very important weeks that are the first where Do you think it’s a waste of Loud, you had more worldly to understand how your music I’ve sung over the whole track. time putting music in cat- topics. Is there anything you is doing it. In dancehall they I’ve got a good few tracks egories in the 21st century? draw the line at? call it “six weeks music” be- that are like sing-jay kind of cause it’s just a repetitive cho- standard. It’s something that (thinks) I don’t think the mass I do now that I have my daugh- rus and after six weeks it gets I’ve developed with Catch 22 of the people have got a wide ters. Back in the day we’d write boring but while positive mu- who’ve given me the confi- enough spectrum to appreci- certain slackness lyrics but sic can be repetitive too, you dence that I have a singing ate all music. They’ll usually as you get older you realize don’t get bored because it up- voice if I nurture and work with have one kind of music they’ll it’s not right anyway, half of lifts you and gives you a vibe it. I practise a lot with songs steer towards. But I think there the things we’d say. I can still no matter how many years where I know I can’t reach that Think of what it’s like to be a Fruit of Life’. Both were re- his connection to Africa and son or daughter of Bob Mar- corded at studios thoughts on Buju’s case. ley: You see your father’s face in Kingston, Jamaica and the constantly, staring back at you Lion’s Den in Miami, Florida. from t-shirts, murals on walls Part one delivers roots reggae and online website banners. with cameos by Spragga Benz, Around the globe people hold Capleton and Ziggy Marley massive annual birthday con- while part two is more eclec- certs in his honor and com- tic and features Black Thought memorate his death with year- from The Roots, Rakim and ly tributes. Dead Prez.

Everyone from soul queen Like his father, Stephen’s life to the local college and spirituality is grounded reggae band covers his songs in Africa while he spreads his What was the inspiration while his music is constantly musical roots far and wide. He behind Revelation: Root of copied, pirated and recycled. answers questions candidly Life? Such is the weight of the Mar- and doesn’t suffer fools, but ley legacy, one that his chil- any disagreement was gentle It’s basically about watering the dren have dutifully and suc- and tempered with laughter. roots of reggae music. When cessfully honored, evidenced However, his mood darkened reggae music was introduced by Ziggy, Damian, Ky-Mani, when the topic turned to the to the world it was introduced Sharon, Cedella and Stephen’s incarceration of close friend as music with integrity, as the popular tours and Grammy- Buju Banton. It was clear that vibes of the oppressed people. winning recordings. Stephen is troubled by Buju’s It had a purpose. It was part of predicament. a big movement, a big con- The children of Robert Nes- sciousness. And there’s noth- ta Marley, O.M., are certainly As a Marley son who was born ing wrong with [reggae music] viewed as branches from their in Delaware in the US and re- evolving or just making music father’s tree. Perhaps the most sides in Miami, he has likely and stepping away from that. strikingly similar to Bob both witnessed how brutal Amer- But I’m just saying that when in appearance and rhetoric ica’s criminal justice system reggae was introduced to the may be his second-born son can be. Still, one gets a sense world it was introduced with a Stephen. 39-year old Ste- from songs like Freedom Time certain power. phen Marley has one previ- and The Chapel that Stephen ous album to his credit, 2007’s remains hopeful and focused I’m paying homage to that ‘Mind Control’ and plays a sig- on uplifting people with his and helping to preserve that nificant role behind the scenes music. part of the music. as a producer, most notably for brother Damian “Jr. Gong” He also gives back to the com- This album is more a concept STEPHEN MARLEY Marley’s ’05 album ‘Welcome munity through the Ghetto album, whereas Mind Control To Jamrock’. Youths Foundation, including I never really have a concept, donating a dollar to the or- it was just was inside of me INTERVIEW Stephen steps up in 2011 with ganization from every ticket coming out. The concept of two new solo albums, ‘Revela- sold on his current Root of Life this album is the roots, and BY Tomas Palermo tion Part 1: The Root of Life’ tour. Here’s Stephen’s take on paying homage to the roots of and ‘Revelation Part 2: The why roots reggae is important, reggae music. We have to stick to that. I didn’t know it was going to a prayer. drums is something that I’m like they are house slave and you up. And after they set you take off but I knew that people skilled at playing. The drums, them sell out! You know? Cha! up they will lock you away. Are the titles of your two al- would like it. It has that vibe. Some people don’t realize which is the heartbeat, origi- Same as they sell out Marcus You dun know, it is not a thing bums, Revelation: The Root [The riddim] is a throwback how much studio production nate from Africa. That is a Garvey for rice and peas. I like to talk about really. But it of Life and The Fruit of Life from Black Uhuru’s ‘General and recording work you’ve natural part of me and incor- [was] really a revelation to me. references to Africa? Penitentiary’. People already done. Can you speak about porated in to my music. It is Your music has a universal It open my eyes because here love their version – (singing that side of your career? from that channel: From Africa message; it’s not constricted they find this man – regardless Of course! That is the meaning the chorus) General, General to Jamaica to the world. From to borders. How do you see of it is Buju or whoever – they of ‘the root’. So whatever is the Penitentiary’. So I can’t take all Well, making music is some- when I was young I was intro- it? find a man who has no record root, whether it be in music, the credit. But it is a song with thing that comes natural to me duced to Fela [Kuti], Miriam of being a drug dealer or deal- in your spirituality or in your a message; it has a conscious and my family members. Dem Makeba and all of the great As far as myself goes, I am of ing with any drugs and seek demographics, it is rooted in part to it. ‘ave a title weh them call ‘pro- Africa artists and my song Jamaica but we’re from Africa. him out and entrap him and Africa. The first song on the al- ducing’ – but for us, and for ‘Made In Africa’ features the We’re from a greater purpose lock him up. How can you go bum is called ‘Made In Africa.’ Tell us about working with me really, we just play music! cast of [the Broadway musical] then just a place. That will al- just seek out a man like that? So that is a big part of it man, Spragga Benz on ‘Working We create music. I don’t re- Fela. ways come out through my being the root. Ways.’ What is that song ally have an explanation about music. You know, I was born [Buju’s] life has changed now. about? my producing. I’ve been doing Where have you performed into this legacy where my fa- You know he has kids, a career, What is the meaning of ‘rev- it for quite a while now and in Africa? ther says ‘we no run fences all of that – now what? A fuck- elation’ in the title? It’s about ethics. By the sweat worked with many, many art- here’, you know? Because our ery! He had no record of being of your brow you shall eat ists, some famous and some As an artist I’ve performed in inspiration comes from God, is involved in anything and all of Well, I’m revealing the impor- bread. There is no sitting down nobodies (laughs)… Namibia, Ghana, Ethiopia and not man that inspires us. So I sudden – how him get in trou- tance of the roots. Over the and achieving. So get up and Senegal. And I was in Zimba- could never own it, it must be ble? Because a government past several years people have work! That’s basically what Where do you do most of bwe with my father when he for everyone. guy seek out the man, call him been gravitating toward the we’re saying; work ethics. You your recording? Is mostly at performed there. Africa is the and, basically, set him up. How pop feel of reggae and you reap what you sow. A so it go. your home studio in Miami mother of civilization. When Next year will be the 50th you a go do that? Is that what have people who are being Spragga Benz is a close friend or at Tuff Gong in Kingston, you go there you know and anniversary of indepen- the government is here to introduced to reggae through of mine, one I’d consider to be Jamaica? you can tell. I was born Rasta- dence in Jamaica. Is that do? Find innocent people and these pop songs – and nothing a real friend, behind you and fari so when I’m in Africa it is something that you’re par- set them up to do wrong and wrong with that. Even some of in front of your face, when you Well it depends on the proj- a spiritual thing, especially in ticipating in? when them do the wrong, be- us artists that come from Ja- not around and when you are ect. There are certain proj- Ethiopia. cause you know we’re human maica are introduced to the around, they’re the same per- ects I will start in Jamaica, for [What do I think of] indepen- beings, we’re not perfect, and world through the commer- son. That’s a great asset man. just the spirit of Jamaica and You’ve had a chance to trav- dence in Jamaica? What are then lock them up? You know cial side. The successful part the vibe and inspiration. And el extensively. When you we independent from? We something is wrong. It doesn’t of [the music business] is that What is your song with Zig- then there’s some that I do see other parts of the world, need the truth. I don’t really sound right, even the thought commercial pop feel. But that gy Marley called ‘The Cha- here in Miami. It varies, really, what perspective does it have an opinion. I’m just ask- of it! is not the true representation pel’ about? but those are the two places I give you about Jamaica? ing questions. of reggae. You have to make work. Tell us about the Ghetto the people dem know what is What is it about? Glorifying Jamaica is plagued by politics Have you been able to stay Youths Foundation. How are real reggae music and that is God. How do you incorporate the and Jamaica is a very small in touch with Buju? you working with that orga- still being made today! African influence in your place. I don’t compare Jamai- nization? Is it going back to the idea music? ca to the world like that. My Yes, I have. Your song ‘Jah Army’ is a of your father’s song ‘Se- thought process no really go It’s a foundation formed to big single in the dance – it’s lassie Is The Chapel’? I play the Nyabinghi drums; like that. Jamaica has the slave What do you want people to help the underprivileged and a peak-hour tune at reggae that is a part of my reper- master mentality – you know know about his situation? uplift the poor. See, the Bible clubs all over the world. Did No back! We nah go back, we toire, seen? From when I was you ‘ave field slave and you say you must not really speak you know that song was go- go forward. We cyaan go back. very young I gravitated to have house slave, right? So Be careful. Be careful of Amer- about the charity that you do, ing to take off? We haffi go forward. Yeah, it’s the drums and the Nyabinghi some of dem people pretend ica because America will set that’s why we formed the or- ganization so the people that run the organization can speak about it, you know? For as long as I can remember I have been helping people, physi- cally helping people. So it’s a part of me.

The foundation is just an orga- nized way to get concentrated efforts and ones who would like to help the organization and what it stands for. People can check out the website to see what the foundation has been up to.

What are you looking for- ward to for the rest of the year?

We have very busy year. We have two albums coming out. That’s a lot of music, it’s al- most 30 new songs. I’m look- ing forward to playing these REVIEWS songs for the people. Revela- tion Part2: The Fruit of Life is a more open record; you know, pop, acoustic, hip-hop and dancehall. It has another song with Buju Banton, a song with Rakim, Dead Prez and Black Thought. It’s eclectic, but still a revolutionary sound.

‘Revelation Part 1: The Root of Life’ is released May 24, 2011 on Universal Records / Ghetto Youths International, Inc. Marketplace by Earl Zero

Another scorcher from Earl Zero.

Last year Spanish producer Roberto Sanchéz put out the acclaimed Earl Zero showcase album ‘And God Said to Man’. That was Earl Zero’s first album since 2002.

Now it seems Earl has got inspired and motivated to record more music.

‘To Your Majesty’ contains 14 tunes and is Danny I His latest album – ‘Market- The intro to Do the Rub A Dub feels like similar to ‘Black Gold’. Not lyrically, but musi- place’ – is a fusion of reggae, dub, funk, cally. It contains heavy bass lines, smooth and the soundtrack to an Arnold Schwarzeneg- soul and some rock influences thrown into ger or Bruce Willis action flick. And its ver- To Your Majesty mellow tempos and live instrumentation, in- the mix. The result is an album full of sur- cluding some nice horns. sion Rub a Dub Instrumental adds some prises, twists and turns. It is also a joy to Heavy bass lines, smooth and mellow Mighty Two sound effects. Lyrically this is an album heavily inspired by find some dub version of the tunes. tempos and live instrumentation, in- reality and Rastafarian culture and teachings. This album is different from ‘And God Said cluding some nice horns. On the Streets Again utilizes the Proverbs rid- ‘Marketplace’ was recorded in Califor- to Man’. That effort was a pure Channel One dim and Danny I comments on the increasing nia and is produced by guitarist Siahvash style roots album. ‘Marketplace’ is rooted Virgin Islands’ roots singer Danny I is back violence in the small cities and towns of St. Dowlatshai, who has previously worked in reggae, but is still a much broader al- with his third album to date. ‘To Your Majesty’ Croix. with bands such as The Devastators and bum. It takes a while before it gets under follows his sophomore album ‘Unchangeable’ Lagos Roots Afrobeat Ensemble. The back- your skin, but once it has, you will love it. released in 2007. Both albums have been re- Some of the best tunes are duets. The fore- ing band on the album includes members most highlight is Sometimish Rastaman with leased on the VI-based I Grade label. of the legendary Roots Radics. Review by Erik Magni Sabbattical Ahdah on the same riddim that The production duties on ‘To Your Majesty’ are was used for Toussaint’s wicked Roots in a You will find plenty of organ, clavinet and handled by The Zion I Kings. This is the same Modern Time. And the nicely skanking Never piano as well as some heavy Lay Down features veteran singer Arm trio – Zion High Productions, I Grade and Lus- grooves. Mystery Babylon Dub, the version tre Kings – that crafted Toussaint’s magnifi- of Blackmans Time, is dark and scary with cent solo debut ‘Black Gold’ put out last year. Review by Erik Magni plenty of echoes. by Umberto Echo, who has been with her since she be- Looking Back - recalls how his 50s childhood gan her career singing with was soundtracked by the ra- her brother’s band Jamar- dio playing mainly American am. Sara has been open The Jamaican music, but that local rhythms were also starting to be re- about wanting to cross over Chart Hits of corded and pressed onto – hence this is a record of disc. Thus, the tracks here are two halves. Some fans may a mixture of , doo wop, be shocked by a disc that 1958 and 1959 Latin and R&B sides - many is equal parts reggae and of which will sound familiar to what the marketing people An essential purchase for reggae collectors with keen sadly but inevitably called all musical historians. ears. There’s Philadelphian Sara Lugo “neo soul” - which is strange pianist Bill Doggett’s instru- as evidenced by Lord Tana- What About as soul has always audibly mental Honky Tonk part 1 mo’s US-styled Sweet Dream- been a key part of both reg- litical specifics as much as True heads know that one credited by the great Studio ing, Gene and Eunice’s The Love gae music and Sara’s sound. general suffering and lack cannot understand reggae Vow, Milson Luce’s Don’t 1 keysman Richard Ace as in- What is surprising is how of direction in the world. music by listening to reggae spiring the early “shuffle ska”. Break Your Promise, and polished and assured this Her more personal songs alone. How can the classic The Trinidadian-led Cyril X Mighty Sparrow’s long-suf- One of the sunniest brim with innocence and rhythm Rockfort Rock be ap- Diaz Orchestra’s cover of the fering calypso Dear Sparrow. is for a debut. Some of her preciated without knowing Cuban rarity Tabu, would be And there are two versions releases of the year. early singles relied mainly experience in equal meas- it was inspired by the Latin absorbed into the melody of of the much covered ode Is- on the power of her vocals ure (as encapsulated by standard El Cumbanchero? the Gaylads’ 1967 Studio 1 land In The Sun, one by the Sara Lugo, the diminutive and she would have got a the ambiguous “play with a Or Satta Amassagana with- side Africa We Want To Go. US singer and activist Harry diva with the big voice has free pass due to her extraor- feather” line on Rocksteady, out hearing its origins on The “Whap Whap” refrain from Belafonte and a more Jamai- been a fixture on the German dinary tones had this been previously released on her Neil Hefti’s score for Batman? Lee Andrews and the Hearts’ can-flavoured take by Count scene, wowing local and in- the case here. Yet she and self-titled Oneness Records Hence the importance of this It’s Me would end up in Burn- Owen. ternational audiences with Echo have clearly worked EP). Part Of My Life, presum- two part series, overseen by ing Spear’s 1975 roots chant her live shows and, often hard to make this a “prop- ably about her brother, on Record Collector scribe and Travelling. Then there’s the Number crunchers may be er album”: unified, well or- Greenyard’s Design rhythm Trojan reissue supervisor Lau- impromptu, on-stage col- Rays’ Silhouettes, a beautifully miffed at the lack of any ac- dered and on point from and with its child’s vocal re- rence Cane Honeysett (with tual chart positions in the laborations. Now her debut harmonized tale of mistaken start to end. Despite the frain, is the strongest track assistance from record seller identity and misplaced jeal- otherwise highly informative album is here and if you like jazzy soul vibes, handclaps and suggests there is plenty Phil Etgart) which looks at the ousy sung by Dennis Brown sleevenotes. But that aside, jazz, soul and lovers rock it’s more quality to come. The seismic shifts in Jamaican mu- in 1972 for Derrick Harriott. this is an essential purchase sure to be one of the sun- and electric piano this isn’t sic tastes in the late 50s and Meanwhile, Little Willie John’s for all musical historians - as is niest releases of the year. an escapist work. There is a cliché “the sound of the early 60s commencing with original cut of Fever would be the followup ‘Easy Snapping’, strong vein of social com- summer” might apply here the pre ska charts of ‘58 and recut by Horace Andy and Ju- which collects the hits of 1960 Like a fruity new world sau- mentary running through but doesn’t go far enough. ‘59. For while received wis- nior Byles, whereas You Send when local artists began to vignon blanc, Sara’s voice is songs like opener What Sara’s music IS the summer dom might paint this period Me was the first secular hit dominate the airwaves and a many splendoured thing. Happened and the Nap- - every ray, every blossom, as a pre-enlightened time by Sam Cooke, who inspired the dances began to change... And while lyrically she’s tali combo And They Cry. every bloom in audio form. it is every bit as important singers from Slim Smith in the not as confident as a Gen- as the acknowledged ska- 60s to Lloyd Brown today. Review by Angus Taylor tleman (to use a lazy com- Sara’s main message is Review by Angus Taylor rocksteady-reggae-dancehall parison) her English lyrics that people get in touch progression that followed. Marriage appears to have are impressively strong. with their emotions so Randy’s producer Clive Chin been a popular lyrical theme The album was produced she doesn’t deal in po- recording techniques from a variety of dif- Released Under Creative Commons license: Revolutionary ferent studios and equipment set ups, from www.putlocker.com/file/363E2114E05238B9 Dub Vibrations the humble bedroom studio through to (Chapter 3) the pro ‘we got everything’ studio, it’s what Review by Gibsy these producers create with the equipment they have at their disposal that excites the A very interesting and dub fan and with the pedigree of artists appearing such as Jah Billah, Anti Bypass, enjoyable journey Iditafari Family, Don Fe (Who mastered the through the underground album), Steve Steppa, Digikal Roots, Ban- dub scene. dulu Dub, El Bib (founder of RDV label) and Early Worm with perhaps by contrast lesser known artists such as R Dug, Ital and Vital, Of the handful of under- Dubology and Malone Rootikal appearing ground reggae & dub labels here to stamp their identity onto the arena. that work fully and positively for the artists Revolutionary Notable omissions from this third chapter; Dub Vibrations has stead- both foundation artists Yabass and The fastly stuck to it’s principles Manor don’t appear neither do the younger of showcasing the multi upcoming dub surrealists Albusark Studios national underground dub and Denja.The quality of creations here on movement by releasing free offer is outstanding for example Canada’s dub albums featuring their these artists financial profit ing to publicise the release Early Worm with their mysterious Orbit The Revolutionary Dub Vibrations (Chapter 1) works with many of the dub is not expected from their on their own community Lion with it’s highly infectious trademark makers and producers that works and what with the website pages and personal bass work and mixing style. UK’s Digikal appear on these V/A al- mp3 online download stores websites, an ‘all hands on Roots with his ‘impact label’ style sound bums being recognised by at saturation point with mil- deck’ approach to promo- featuring Ranking Joe and Dubmatix Jah the arena as foundation lions of underground and tion and, it works. The un- Praises Dub a full on foot moving skank. artists, respected and refer- unsigned artists tunes avail- derground reggae and dub enced by new and young- able to purchase - and with scene has firmly planted its France’s Anti Bypass with their Sexy Boy In er upcoming producers. not many Joe Public’s pur- flag pon the summit of mu- Dub a blend of old time King Tubby with chasing – income from the sical respectability and dur- an 80s dancehall sentiment tailor made Today’s dub movement is underground is a rare lux- ing the past three years has for deejay’s and Germany’s Iditafari Fam- more than ever a family of ury, yet the free download gained momentum with ily and their classic dub sound that is Free- musicians with many artists market is big business, not new fans and young produc- dom Dub which is about as close to ‘that’ in regular collaboration and only enabling the artists to ers appearing almost every sound, that feeling of ‘from time’ that one with some linking up via gain wider recognition in day across the dozens of can get to. the internet and physically profile and to firmly stamp reggae and dub community by travelling around their their sound into the arena it sites out there in web land. There’s more of course to which you’ll dis- countries and states to par- also gains popularity for the cover yourselves if you download this free ticipate in studio workshops label that releases the al- This ‘third chapter’ dub compilation. A very interesting and enjoya- Revolutionary Dub Vibrations (Chapter 2) and to play in collaboration bum with a large majority of showcase features 22 tracks ble journey through the underground dub at ‘gatherings’. For many of the artists appearing help- of variant dub styles and scene. New Dub Evolu- tion by Himpe- rial Rockers Dole Age by Talisman

A studious blend of Egyp- Dole Age shows Talisman at their peak. tian-themed versions in "golden era" style. February saw the release of the heavy- weight compilation ‘The Bristol Reggae Explosion 1978-1983’. That compilation in- Springline records, home to the cluded three Talisman tunes – Run Come more idiosyncratic end of re- Girl (live), Wicked Dem (live) and an eleven vivalist reggae sounds, is back with an 8 track dub album - the minute long 12” version of Dole Age that way they used to be. London’s wetted the appetite. Himperial Rockers - compris- ing Springline stablemates The Other versions of these together with eight Manor (guitar, keys, engineer) additional tunes are collected on the new Yabass (drums, keys, percussion) Talisman compilation ‘Dole Age – The 1981 and Tomcat (bass, melodica, final mix) - have crafted a typically stu- Reggae Collection’ put out by Bristol Ar- dious blend of Egyptian-themed or’s ‘Revelation Congo’ opened designed disc - by artisans who chive Records. versions in “golden era” style. questions about the singer’s actually grew up in its epoch Rastafarian beliefs, there are no rather than looking back to a These 11 tracks from this far too unknown We can safely say dub had a words at all. Just drums, per- generation not their own - will six pieced Bristol-based group are a mix of cussion, bass, guitar and me- rock you in just the right way. golden era because after the live and studio recordings made in 1981. seventies and early eighties it lodica - plus that most vital fell out of favour as an artform in of dub instruments - the stu- Review by Angus Taylor The majority of the tunes was recorded Jamaica and became an increas- dio itself. The Pablo-esque first live at the Glastonbury Festival and at Bath ingly heavy (some would say and final track are two mixes University and has never been properly re- caricatured) worldwide concern. of same rhythm giving the al- leased before. But you’ll find none of that post bum a dialectical course. Un- like the earliest Springline re- shaka digi influence here. Take All of the live performances are over five New Pharaoh’s Dub, which fus- leases, this set benefits from a their performances, and the often present es the multi-bounced Lee Perry nice job that brings minutes. The sound quality is amazing and saxophone adds to that feeling. sound with a beautifully bitter- out the best in the trio’s work. it at times feel like you are part of a jam sweet line. Yet Yabass’ session, especially in Words of Wisdom ‘Dole Age – The 1981 Reggae Collection’ While the title ‘New Dub Evolu- drum patterns – inspired by the that spans over 14 minutes. hit the streets on May 9 and is available Roots Radics – frequently by- tion’ suggests some crazy con- temporary fusion, this evolution on CD, digital download and a limited edi- pass the one-drop for an almost There is no coincidence that some of the hip-hop or funk approach. So al- is as slow as evolution in nature tion vinyl that includes five different tracks. though the production is rever- - taking place on a minute scale. tunes were recorded at a university since I highly suggest you acquire the CD or vi- ent of the past, the envelope is But if you enjoy the way Prince Talisman’s lyrics often deal with politics nyl edition since they include very informa- being subtly pushed all the while. Fatty or the Spanish producer and experiences in the Thatcherite 80’s. tive liner notes and an interview with saxo- Roberto Sanchez bring vintage phonist Brendan Whitmore. Where lyrically previous albums production techniques into the Despite the group’s acquaintance with the modern world, this diligently on Springline such as The Man- cold 80’s UK there is incredible warmth in Review by Erik Magni Rasta Government by Joey Fever - In A fever Takana Zion Catch the fever. A truly enjoyable listening experience. My first acquaintance with Swedish singjay Guianese singay Takana Zion has just put out his Joey Fever was Youth Dem Rise on Pleas- third album. Rasta Government was recorded ure Beat’s Majestic riddim put out in 2007. at the legendary Harry J studio in Jamaica and Since then he has voiced one great rid- includes the anthemic Capleton duet Glory. dim after another, for both domestic and United Reggae’s Erik Magni has trouble finding international producers, including Partillo, words and is both passionate and impressed. Curtis Lynch, Fast Forward and Lockdown. These singles showed a great talent and a I don’t know where to begin. I lack words huge promise for the future. to describe my feelings, but I’ve an urge to at least try to convey my emotions And he must have made an impression on when listening to Takana Zion’s third singjay sensation from Guinea, but his voice Lockdown since they decided to put out his full length album ‘Rasta Government’. has matured and on ‘Rasta Government’ his debut album ‘In a Fever’ – a varied set that singing is better than ever. You can hear a consists of 16 tunes and two bonus tracks. Joy, pride and euphoria are words that run resemblance to both Garnett Silk and Cul- through my mind when writing this. But ture’s late lead singer Joseph Hill. But Taka- It spans from contemporary one drop and also thoughtfulness and honesty, because na Zion has a modern edge. His raspy, angry dancehall to ska. All spiced with a retro 80’s the lyrics on ‘Rasta Government’ is a cultur- and desperate tone has an uplifting sincerity. feeling. al affair and deals with injustice, inequality, love and unity. Song writers such as Win- I sometimes complain that contemporary The debut album boosts a number of dif- ston Rodney and Bob Marley spring to mind. reggae albums contain too many tunes. ferent producers, but the majority has been This time it’s the opposite. Ten tracks are handled by Sweden’s Mastah L, responsi- Takana Zion has outperformed himself just not enough. Luckily though, Takana ble for Million Stylez’ breakthrough single When he switches to deejay mode he’s this time. His first and second albums were Zion is just 24 years old, so he has plenty Miss Fatty. in the same vein as UK’s finest early MC’s highly impressive efforts, but the third of time recording another set of classics. with their fast chatting style, and on Till the one takes things just a little bit further. Joey Fever is a clear example of the new Night Is Over he measures up to Tippa Irie The music that was created in Harry J’s studio in generation of reggae singers. He’s equally himself. ‘Rasta Government’ is uncompromising Jamaica by producers Sam Clayton and Stephen at home with singing as with deejaying. roots reggae in a 70’s style. Takana Zion has Stewart as well as musicians such as Sly Dunbar toned down the African influences to a mini- when recording ‘Rasta Government’ is bliss. All his promising singles weren’t just emp- mum and sings mostly in English, whereas This is the best album I’ve heard so far this year. His is voice is similar to ’s nasal promises. Joey Fever has delivered a ma- his previous albums have included at least tone and the singing style is reminiscent of ture and varied set. four different languages. This makes his I hope that these words have got through Waterhouse legends such as Michael Rose new effort his most accessible album yet. and that you understand how I feel. Be- and Junior Reid. Just listen to Someone Out ‘In a Fever’ hit the streets on May 17. cause this is not a review, this is a love letter. There and Traffic, completed with Michael He has previously been described as an Afri- Rose vocal gimmicks. Review by Erik Magni can version of Sizzla. Sure, Takana Zion is a Review by Erik Magni Reggae On Rugged Road 12 Months of Dub by This album shows just how great des- peration and hopelessness can sound. by The Aggrolites Vibronics Review by Erik Magni L.A's The Aggrolites bring you their A soundtrack to the apocalypse fifth album. Darkness. The surrounding trees scatter in the grim night. It’s cold, below zero. Whis- L.A.’s The Aggrolites are back with ‘Reggae On Rugged Road’, their fifth studio album since pering creatures and unidentified shadows they formed around a decade ago. I have to screams as they search for their next prey. say when I first put the CD in I was initially caught somewhat off guard. I have been used I’m walking aimlessly through a deso- to sound of their infectious Dirty Reggae and late landscape. It used to be a high- to be honest I was expecting to be greeted by way, now it’s only fragments of asphalt. a blast of their mix of gritty, old school, funked and recreates the feel and energy of those Ash, leaves and stones cover the ground. up ska, but to my surprise what wafted out boss sounds from the late ‘60s and early ‘70s is of the speakers was Trial and Error, a beau- wonderful. Eye of Orbaras may suggest some- The screams are coming closer. I feel a tiful piece of late ‘70s styled lovers rock reg- thing dark and mystic but in fact what you get cold breath in my neck and realize that I gae, with just a hint of Police and Thieves to it is a Perry inspired Upsettersish spry fair ground cannot run from the destiny that is upon as lead vocalist Jess Wagner who usual sings ride of a track. In The Cut, The Heat and al- me. This is the final frontier and I’m about with a gruff soulful style replaces it with a fal- bum closer Out Of Sight are of similar ilk while to meet my maker. I’m sweating. It’s only setto tone uncannily like that of Junior Murvin. Camel Rock is back in the fold of that funky ska What followed next, after a short, slightly bib- theme that the Aggros do so well. The Aggro minutes, probably only seconds, left. lical introduction asking for guidance through Band Plays On is what I’d call typical Aggro fare the wilderness and protection from foes, was with both the band and Wagner back strutting This is a story that Vibronics lat- the brooding, rootsy organ led instrumental their rough diamond soulful side with stories est compilation ‘12 Months of Dub’ Enemy Dub that keeps the effects count low. of the places around the world where they’ve would be a perfect soundtrack to. This was then followed by the dreamy guitar played. The remaining vocal cut is the lus- instrumental Dreamin’ of Erie, which sounds a trous, rock steady Complicated Girl, that sees Last year Vibronics decided to enter the new bit like one that got away from last years ‘Sweet the return of falsetto vocals and harmonies. decade with an ambitious release schedule. Misery’ from another LA based band The Bul- Twelve limited edition 7” was to be put out lets and perhaps not surprisingly this may 2009s Aggrolities ‘IV’ was a mammoth 21 – one each month. These releases – that have something to do with the fact that keys tracks, but what this little 10 tracker, with a spans over several dub styles – are now col- man Roger Rivas is the linchpin of both bands. running time of just over half an hour, lacks lected on the 24 track dub gem ‘12 Months in the quantity of it predecessor it certain- of Dub’, available at e-tailers worldwide. With a further five of the seven remaining ly delivers a quality that leaves you always tracks here being instrumentals this does tend craving for just that one more for the road. to leave me with the feeling that this is more It’s dark, uncompromising and filled with of a Roger Rivas showcase than a full on Agg- Review by Karl Pearson chilled beats and riddims. Just listen to the rolites album, but that said the way he splash- apocalyptic To the Fullness or the spooky es, bright shimmering colour across these cuts and lovingly monotonous Teachings. Stephen Marley The Revelation Pt 1: The Root of Life

Stephen Marley takes tender care of roots reggae.

In 2007 Bob Marley’s second son Ste- phen Marley dropped the Grammy win- ning and critically acclaimed album ‘Mind Control’. The year after he won an- other Grammy for its acoustic version. Stephen Marley’s raspy voice and singing ‘Mind Control’ was a versatile and border- style is close to his father’s. And when lis- less album, whereas Stephen Marley’s new tening to his three reinterpretations – Free- ARTICLES album ‘Revelation Pt 1: The Root of Life’ is dom Time, Pale Moonlight and The Chapel more or less roots reggae – foundation style. – of Bob Marley’s catalogue it is almost as if you were listening to the father himself. And Stephen Marley fosters the heritage from his father and other foundation artists and The remarkable Damian Marley duet and groups well. Very well actually. Because this first single Jah Army – the album version is a stunning album from beginning to end. also features Buju Banton – set high ex- pectations with its thunderous one drop Thematically and lyrically it is in the same riddim accompanied by dub reverbs. vein as last year’s ‘Distant Relatives’ set from Nas & Damian Marley. It is con- With this album Stephen Marley was set scious with messages of Africa and Ras- to preserve the foundation of roots reg- tafarian teachings of love and unity. gae, and he has exceeded in doing so.

Stephen Marley handles the produc- In the press material he is labeled as a five- tion himself, and the album is built on star general in Jah Army, and I believe that he live instrumentation. The result is an or- has rightfully earned every star and can now ganic and rich sound that assembles be nominated for supreme commander. drums, bass, guitar, keyboard, saxophone, flute and harmonica in perfect harmony. Review by Erik Magni Ziggy Marley Releases Marijuanaman The date says it all. This release was spe- cially chosen to occur on 4/20, the num- ber which symbolizes everything marijuana and hemp. Five time Grammy winner Ziggy Marley, a long supporter of all the varied uses of the cannabis plant, was releasing his long anticipated comic book “Marijua- naman”. The book was the brainchild of Marley and done with the fabulous illus- trations of Jim Mahfood and the enlight- ened writing of Joe Casey. To give a brief overview of the book… Marijuanaman is an alien from the planet Yelram, who trans- forms into a super hero when he smokes the plant. He is battling a steroid driven, biker named “Cash Money”, who is owned by big business “Pharma-Con”, who is out to destroy the warriors from a marijuana using commune called “Exodus”. There are many Bob Marley song referenc- es throughout the book, and a philosophy of peace and love demonstrated through- to “Is This Love”, when it played over the out the story. PA system. I’m sure there were a number of celebrities on hand (I thought I spot- The party at Golden Apple Comics com- ted Quentin Tarantino), but being so reg- menced at 4:20 p.m. with Ziggy showing gae focused myself I’m kind of “out of the up at about 5:00 p.m. to do interviews with loop” when it comes to recognizing rock the press, which ran about an hour, Ziggy stars! Having recently broken my wrist, this beaming with smiles as he described his was my first outing with my big Nikon, and book. There was a long line of fans wait- my wrist was getting sore by 8:45 p.m. and I ing outside the store to buy their copies of had to leave. It was a wonderful celebration “Marijuanaman” and have them signed by for a most amazing new book. All hemp Ziggy, Jim and Joe. Meanwhile, there was supporters should definitely get a copy of an invitation only party going on outside “Marijuanaman”… and it would be good for the rear of the store (I luckily was invited) the politicians too… so that this plant may with food, hemp beer, medicated slushies be used to its fullest potential! and popcorn and blaring reggae music. I had the good fortune of having a little Article and photos by Jan Salzman dance with Rohan, “Marley Coffee”, Marley Yellowman at Brixton Hootananny

Some people are born entertainers. Tippa Irie has it. If Yellowman could get it from his blood he could bottle it and sell it. Hence another heaving joyous occasion when Winston Foster made his second appearance at the Hootananny on Thurs- day night. Dressed like he’d come back from a jog around his mountain home - in a Jamai- can flag bandana and air Jordan vest and sneaks – King Yellow played a very similar set to 2 years ago. To an adoring crowd he served up classics including Nobody Move, 226 Super Mix, I’m Getting Mar- ried and Blueberry Hill – and foundation segues of Toots & The Maytals 54-46 and Bam Bam, Ernie Smith’s Duppy or A Gun- man, and the Itals In Dis Yah Time. But it at a man. And thanks to his longstand- wasn’t a carbon copy of 2009. The Sagit- ing affection for England the vibes had tarius Band was minus two members due to be experienced to be believed. Just to paperwork issues and was bolstered being around him uplifted the souls of by two of the Rasites (who backed the people who would get a less than ad- Abyssinians in March). Yet the union was equate amount of sleep before heading seamless – adding an even more explo- into work the next day. Support came sive rock guitar flavour to the minor key from the honey tones of Brighton’s Ru- Lost Mi Lover than before. ben Da Silva, singing over Roots Garden and Disciples tracks spun by Brother Cul- Those who compare today’s Yellowman’s ture and MC Trooper of Jah Revelation voice and technique to the days of old Muzik. He got an encore, as did Yellow- are missing the point. This is a completely man, who held promoter Cecil Reuben’s different Yellowman: free of intoxicants hand aloft in praise – and rightly so. and slackness - bar a little crotch grab- bing, and some cheeky inter-song ban- ter - fighting fit, and overflowing with Article by Angus Taylor Photos by Adelina Royall the energy that comes from surviving cancer and everything else life can throw Steel Pulse in Hollywood

The infamous day, Friday the 13th, has al- ways been a lucky day for me. And so it was for me this day. My favorite British reggae band, Steel Pulse, was performing in town, and I was set to cover the show. Steel Pulse was calling this tour the “back to our roots, 2011”. This Grammy winning band (‘Babylon the Bandit’, 1986) exemplifies the best of the British reggae bands, with an extremely pol- ished stage presence; they rock all of their classic hits with precision and expertise. Harking back to their roots, Steel Pulse opened their set with Find It…Quick from their first mega-hit album ‘True Democra- cy’. They continued the hit-after-hit set with , Rally Round, Roller Skates and my favorite uplifting song of all time, Chant A Psalm. Steel Pulse blazed on with Pan Af- ricans Unite, a Handsworth Revolution/Drug Squad medley, then back to the landmark show. Selwyn Brown, the only other origi- album… ‘True Democracy’ with Leggo Beast nal member, came out from behind his key- and Your House. They closed the main part boards for a little jaunt across the stage on of their set with the driving tune from ‘Earth one song. Crisis’, Stepping Out. After a rousing crowd cheered them on, Steel Pulse returned for Most of the band chilled out for a while an encore keeping the conscious vibe going on the bus…it was a chilly night and they with Wild Goose Chase (Who shall save the were all sweaty and in tank tops…they have human race). Next they treated us to a new to stay healthy for the tour! The members song, Rocksteady, which the crowd really then came out, after a change of clothes loved! Babylon Makes the Rules followed… and some warm jackets, and mingled with and they closed the night’s performance friends and a few fans that lingered on. I with Blazing Fire (can’t stop rasta), from their greeted everyone with love and positive historically significant album ‘African Holo- vibes and then headed home fulfilled with caust’. Lead singer and main creative force the fantastic nights performance. I listened within the band, David Hinds, performed to to ‘African Holocaust’ while driving home. the max, sometimes with his guitar, some- times without it, flashing dreadlocks and Article and photos by Jan Salzman generally gave the audience a spectacular Illustration BY LOUISE BURROWS He grew up in Trench Town among the most only crime of the intellectual, this would not groups placing their own stamp on this culture Bob Marley and Eman- oppressed sections of the working-class districts be fatal. What was significant was how some of resistance. In 1999, Time magazine dubbed of Kingston and was influenced by the of these intellectuals justified state repression Bob Marley and the Wailers’ Exodus the greatest cipation From Mental movement. His formal education came from the and violence against the Rastafarian movement. album of the 20th century, while the BBC named Rastafari who developed independent bases for From the original attacks against the Rasta One Love the song of the millennium. educating the people so that they could escape camps in the hills of Jamaica to the use of the Slavery ‘brainwash education.’ The Rastafari movement dangerous drugs laws to incarcerate thousands, The hypocrisy of the British knew no bounds: has been one of the most profound attempts the repression and the persecution of this so- the same British imperialists who celebrated the to transform the consciousness of the Caribbe- cial movement demonstrated what the African song One Love as the song of the millennium On 11 May 2011 it was 30 years since Bob Mar- an people so that they recognised their African and the poor had to withstand in all parts of the were the same down-pressors who unleashed ley joined the ancestors. Bob Marley was a cul- roots and celebrated Africa’s contributions to world. police to arrest and harass young persons who tural artist who became internationally known as humanity. From the Caribbean, this movement identified with the Rastafari movement. Bour- a defender of love, freedom and emancipation. has spread to all parts of the world. Bob Marley Bob Marley, and came geois intellectuals in Britain continue to crimi- This week we remember him, his songs and his was one of the most articulate spokesperson for from the ranks of the oppressed youth and nalise youths who identify with Bob Marley, contributions to both revolutionary conscious- this movement. soared to great heights internationally. Together stating that these youths belong to a ‘criminal ness and his call for us to emancipate ourselves they had formed Tuff Gong Label in 1970, which subculture’. Yet it is the Rastafari reggae song from mental slavery. Marley’s career as a cultural artist started in 1961 marked a turning point in their career. Soon the and the positive musical healers from among the and by 1964 he had teamed up with Neville Liv- Wailers’ reputation spread outside Jamaica after Rastafari who continue to inspire young people BOB MARLEY FROM THE JAMAICAN ingston (Bunny Wailer) and Winston McIntosh they began to tour Europe and the USA. After to stand up to defend their humanity in the face COUNTRYSIDE (Peter Tosh) to form the ‘Wailing Wailers’. As the breakdown of the group in 1974, Bob Mar- of the massive push to turn young people into a youth I grew up listening to the lyrics of the ley formed his own group ‘Bob Marley and the mindless consumers and gadgets without a care It is usually from the most rural areas where the Wailers and witnessed their transition from rude Wailers’. Bob Marley was backed up by three of for the world in which they live. These youths cognitive skills and the history of community sol- boys pushing the culture of defiance (in the mu- the most gifted female artists in Jamaica: Mar- listen to Peter Tosh, who wailed, ‘everyone is idarity continue to prevent total mental break- sic of ska and rock steady) to Rastafari spokes- cia Griffiths, and . From talking about crime, but who are the criminals’. down. Robert Nesta Marley was born in the rural persons articulating a different version of peace 1974 to 1981 Marley became a world leader for The progressive wing of the Rastafari movement areas in the island of Jamaica in February 1945. and love. truth and justice. He did not allow individual continues to challenge young people in the cap- Jamaica was one of the slave-holding territories fame to detract from the message of the music. italist centres to oppose the current social order of British imperialism. The history of rebellions Because social movements are not static, the that is ‘dominated by the relentless privatising among the enslaved informed the conscious- dynamism of the Rastafari culture has been THE INSPIRATION OF MARLEY AND and commodification of everyday life and the ness of the peoples of this island to the point challenged by the mainstream attack on the HIS REGGAE PHILOSOPHY elimination of critical public spheres where criti- where its name has grown beyond its size as Rastafari along with the attempts at cooptation cal thought, dialogue and exchange take place.’ a small island with less than 3 million persons. within the system. However, one of the severe Bob Marley was one of the most articulate British cultural imperialists worked hard to incul- weaknesses of this movement was the extent to spokespersons for peace, love and justice. is One of the songs that continues to be played in cate Anglo-Saxon eugenic values of individual- which some of the most conscious elements of music of inspiration continues to act as a rally- all parts of the world is ‘Get up stand up, stand ism and selfishness but cultural resistance from the movement succumbed to homophobic and ing cry for those who are struggling for change. up for your rights.’ Bob Marley was aware that the countryside provided an antidote to oppres- patriarchal ideas. In the past 30 years, the literature and writings there could be no peace in a world of injustice sion. The assertiveness of the people meant that on the philosophy of Bob Marley served to shed and brutal exploitation. even among the imperialists, some from among The fact that this movement had extended itself more light on the role of music and song as a the British fell in love with the island and with its to embrace a king in Ethiopia reflected the tradi- mobilising force in society. His songs of love and IT TAKES A REVOLUTION TO MAKE A people. Bob Marley was the product of an in- tions of the colonial society. Many were critical inspiration are now enjoyed in all parts of the SOLUTION terracial relationship between an English military that the Rastas held defensively unto the Ethiopi- world, breaking language and racial barriers. It Though Bob Marley transitioned on 11 May 1981 person (Norman Marley, a captain in the colo- an monarch Haile Selassie. There were those in- is now acknowledged on all continents that Bob when he was 36 years old, today we can hear the nial army and overseer) and an African woman, tellectuals such as Orlando Patterson who called Marley was one of the most influential musicians music of reggae in different languages around Cedilla Booker, from Jamaica. Marley identi- them escapists and millenarian. But these writers of all time. His performance at the Zimbabwe in- the world. Today, as revolutionary upheavals fied with Africa and broke the long tradition of and intellectuals never said why Caribbean peo- dependence celebrations in April 1980 sent the shake Africa and the Middle East, young rebels mixed-race persons who denied their African ples who claimed a European king and queen message to the apartheid rulers that oppression listen to the lyrics of Bob Marley as they instill in heritage. Bob Marley spent his early years in the as the head of state were normal but those who would not stand. Within South Africa, Lucky Dube themselves the confidence to stand up for their lush countryside of St Ann, but moved with his called for an African king were escapists. Unfor- deepened a brand of progressive reggae so that rights. In Tunisia and Egypt, home-grown reggae mother to Kingston while still in his early teens. tunately, if labeling the Rastas escapists was the today in all parts of the world there are reggae artists were parts of the revolutionary process it up in Zimbabwe, that’s exactly what we mean, Bob Marley articulated the need memory of truth. He used the which is still unfolding. Tunisian youths played give the people of Zimbabwe what they want, for radical revolutionary change word revelation, which served Too much confusion ; reggae music and other songs calling on the now they got what they want, do we want more? and he dug deep into black life as the opener for his call for so much frustration soldiers, ‘don’t shoot the people’. Clearly, in the Yes, the freedom of South Africa. So Africa Unite, to grasp what C.L.R. James had truth. Secondly, this truth tell- I don’t want to live in the park revolution, one of the tools was progressive hip Unite, Unite. You’re so right and let’s do it.’ understood, that black people ing would allow the people to Can’t trust shadows after dark hop and reggae. The music of Lion revolution formed a revolutionary force in expose the mainstream politi- Like the birds in the tree, the used symbols popularised by Bob Marley to rally REGGAE AND REVOLUTION world politics because of where cians who perpetuated what prisoners must be free. the youths of Tunisia to stand up and fight. they had been located in the was termed, ‘the Babylonian In any revolutionary process, one of the most system since the Atlantic slave system.’ important tasks is for the people to recover Marley had emerged as a Caribbean revolution- trade. The task of the revolu- their self-confidence in order to make history Eusi Kwayana, the Caribbean ary who wailed to promote the spirit of love as . tionary artist and revolutionary In contemporary society, poli- the basis for revolution. The revolutionary Che tics is more or less about ac- revolutionary, grasped the im- Rastafari imbued confidence in the peoples of intellectual was to unearth the Guevara had clearly stated that, ‘At the risk of cumulation, exclusion and portance of the Marley inter- the Caribbean, and it was this same self-confi- revolutionary potential of the sounding ridiculous, let me say that the true divisions. Bob Marley said vention and called his contri- dence and self-esteem that underpinned the people. This Bob Marley con- revolutionary is guided by feelings of love.’ It is that one cannot trust a poli- bution one of the landmarks spirit of resistance among the from sciously sought to do through this revolutionary love that informs the philos- tician: ‘Can’t trust no shad- achievements of the Caribbean the hills of Jamaica to the streets of Zimbabwe. his music and concerts. In his ophy of Rastafari, and their principles of peace ows after dark.’ He added: revolution. In the preface to my In his song, Africans a liberate Zimbabwe, Mar- last years, his concerts were like and love could be discerned in the present in- book, ‘Rasta and Resistance: ley prophetically predicted that, ‘soon we would giant political rallies. ‘never trust a politician to grant ternational revolutionary pressures. Wherever From Marcus Garvey to Walter find out who are the true revolutionaries’. Rob- you a favour.’ In addition to one goes, young people instinctively turn to the Of his many renditions about Rodney’, Kwayana wrote: ert Mugabe and his clique exposed themselves calling on the people to self- song ‘One love’ to express group solidarity. It is emancipatory politics and the soon after independence, when the Zimbabwe organise by standing up for ‘The placing of the stamp of to this song, ‘One love’, where we have to turn emancipation of the mind, government attacked the Rastafari movement in their rights, Marley in this song Babylon on the whole of of- from time to time to cope with the challenges of Marley turned to religious lan- Zimbabwe, castigating Rastas for nor dressing on revolution also called for the ficial society and the wide ac- ‘Babylonian provocation’. guage and images to reach a ‘properly’ because they did not wear British suits ceptance of this description is section of the population that people to fight so that ‘Rasta like the leaders. Mugabe called the Rastas ‘dirty’ one of the landmark achieve- Today, many are again turning to the inspiration is not usually reached by tradi- can never flop.’ of Bob Marley in their search for levers to under- and ‘unwashed’, but this was the first sign of a ments of the Caribbean Revo- tional radical discourses on rev- He used the metaphor of the stand the chaos and destruction of the capitalist regime that attacked women, same-sex persons lution. The more it is seriously olution. Those who study wave storms and hurricanes to re- world. Over the years, I have written on the elec- and those who opposed the self-enrichment of accepted, the more the culture theory and the physics of music mind the people of the chaos tric presentation of Bob Marley at the indepen- a small clique. Many Rastas are now listening to divides into two poles of au- are examining the lyrics and vi- caused by the social system dence celebrations in Zimbabwe in 1980. Such the words of Bob Marley, who in the song ‘Ride thority: a necessary forerunner brations of the music produced and to call for the overthrow of was the power and force of the music that hun- natty ride’ calls on politicians to pull their own to any long term revolutionary by Bob Marley and reggae art- this system which is capitalism: dreds of thousands of Zimbabweans flocked to weight and stop making speeches to confuse objectives. Those members of ists to see how this art form and ‘blood a go run.’ Marley states: the stadium that night to turn the independence and oppress the people. the society who do not accept spiritual message emerged as ‘In this process of revolution celebrations into a people’s celebration. Because or embrace the dress, or need The Caribbean reggae lyrics of confidence and a revolutionary form. They are there will be redemption as many people could not get into this official cel- the religious ideas, accept the personal dignity continue to spread as people studying the real meaning of righteousness covers the earth, ebration, Bob gave a free concert the next night language, those who do not gear themselves for today’s revolutionary mo- Rasta vibrations. Today, these as the water covers the seas.’ at the Rufaro stadium in Harare and pledged accept the language with the ment in world history. As one of the commenta- vibrations are helping to inspire For Marley, the weak in mind that the music of reggae was now at the gates movement’s definition of the tors on the Egyptian revolution stated: ‘What the revolutionaries as they remem- and heart cannot make revolu- of apartheid South Africa and that the task of order of things, accept the mu- revolution offered the people was the opportu- ber the words of Bob Marley: tion. The weak conceptions of the reggae artists was to continue the fight, just sic. In fact, such is the power of nity to restore their sense of self-esteem, honor ‘It takes a revolution to make a inferiority had to be transcend- as Peter Tosh had sung, ‘We have to fight, fight art that Bob Marley’s music has and dignity. Once the fear barrier was knocked solution.’ ed in order for revolution to against apartheid.’ done more to popularize the down, they acquired a new sense of pride and Bob Marley’s use of religious develop. Revolution and free- real issues of the African lib- empowerment that not only challenged the In his small newspaper called Survival, which was metaphors stimulates the dom were the constant theme eration movement than several state monopoly on violence but also defeated it published from the Hope Road Headquarters in imagination of the oppressed. of the lyrics in which Bob Mar- decades of backbreaking work using solely peaceful means. With each passing Kingston, Jamaica, Marley had this to say in 1980: In the song, ‘It takes a revolu- ley was calling for the prisoners of Pan Africanists and interna- day they became more determined to fight for tion to make a solution’, Marley of Babylon to be free: tional revolutionaries.’ ‘I and I make our contribution to the freedom their rights and quite willing to tender the sacri- starts out with the need for a of Zimbabwe. When we say natty going to dub fices needed to gain their freedom.’ PAN-AFRICANIST situation on the ground. This while we stand aside and look?’ science. In such a climate, the Rastafarian move- we remember Bob Marley, revolutionaries will MARLEY AND AFRICAN capacity for hard work ensured This was where Marley called ment and the humanist philosophy of Marley seek his inspiration to push for a quantum leap UNITY that the Rastas of that period on the people to ‘Emancipate promise to act as a force to hold the youth to- beyond the world of capitalist oppression, de- developed independent sourc- yourselves from mental slavery, gether as humans humanisation and injustice. Most importantly, in Bob Marley was very conscious es of information on Africa. none but our selves can free order to move from resistance to transformation The Rastafari movement has been one of the that the African revolution and our minds.’ and achieve the quantum leap that takes us be- In the last year of his earthly most profound attempts to transform the con- African unity were inseparable. yond the world of exploitation and dehumanisa- life Bob Marley worked hard This theme of self-emancipa- sciousness of the Caribbean people. The move- In February 2005 at the mo- tion, we must ultimately emancipate ourselves to unearth spiritual energies to tion sought to bring the fu- ment confronted problems pertaining to the ment of his posthumous 60th from mental slavery, and from the capitalist forc- make the people stronger. In sion of the ideas of spirituality colonial and neocolonial world, humans’ rela- birthday celebration, Rita Mar- es that celebrate genocide, subjugation, military his growing awareness of his with the revolutionary changes tionship with the universe, humans’ relationship ley and other members of his invasions, environmental plunder and crimes own mortality, Bob Marley in- in the material and techni- with spirits, humans’ relationships with matter family organised the massive against humanity as progress. tensified his work and pushed cal conditions of production. and how to reorganise society. In its own way, African Unity concerts in Ad- himself to the point where he Reggae music was an early at- this movement that arose out of the hills of the dis Ababa, Ethiopia. Members collapsed in his final concert. tempt at this fusion in order Jamaican countryside challenged the greed, of the Marley family were re- Bob Marley was suffering from to provide emancipation from competition and individualism of capitalism. Article by Horace Campbell minding the youth that long cancer. This suffering showed mental slavery so that humans before Colonel Muammar Gad- him that he only had a short could unleash the latent power Bob Marley opposed conspicuous consump- dafi claimed to have supported time on earth. Today, Bob Mar- of self-expression. In essence, tion and the obscene accumulation of wealth. African unity, Marcus Garvey, ley is larger in death than when when the Rastafari and Bob Up to the time of his passing there were efforts Kwame Nkrumah, and Bob he was alive but as we remem- Marley called on us to ‘eman- to make him succumb to the disposition of his Marley were supporting the full ber him, we must remember cipate ourselves from mental material wealth, but he eschewed the capitalist unification of Africa. In all parts him as a human with strengths slavery,’ they are admonishing forms of inheritance. One witnessed court cases of Africa the people sing the and weaknesses. We now know the intellectuals and the activ- and long litigation because of his opposition to song of Bob Marley, ‘Africans more of these weaknesses and ists to make a break with the capitalist wills. unite’. Marley himself communicated epistemologies that justify and This call for African unity from his pain and hurt in his songs. cover up oppression. the grassroots is as urgent today It is this same pain and hurt Thus even on his bed while he was making the Bob Marley seems to have an- as it was 31 years ago when Bob that infused his songs that con- transition to the ancestors, Bob Marley was op- ticipated today’s capitalist push Marley uttered these words of nected him with other persons posed to the obscene consumptive patterns of towards mindless consumer- unity from the stage in Harare, going through similar pain. the capitalist mode of production and railed ism and the attempts to dumb Zimbabwe. Marley had joined Despite the weaknesses and against the forms of economic organisation that down the kind of deep, critical his voice to the push for the the pain, Marley stressed the placed material goods before human needs. thinking that is required to chal- full liberation of Africa. He un- positive and as we remember lenge entrenched capitalist ex- derstood that no black person him, we seek to highlight the ploitation and dehumanisation. could be free until Africa was positive while learning from the My work on the Rastafari movement in the book free, united and liberated from negative. Thus Marley’s call for eman- ‘Rasta and Resistance’ was an attempt to learn foreign domination and mili- from the positive traditions of this movement to In the last album, appropri- cipation from mental slavery tary interventions. Bob Marley be able to inspire the youth to the long struggles ately called ‘Uprisings’, Marley also speaks to all humans seek- worked hard. I witnessed this for freedom. This was an attempt at trying to lay reminded the people that they ing alternatives to the massive in Harare, Zimbabwe, in 1980 the foundations for the move from resistance to should ‘have no fear of atomic push towards mind control when he was spending his time transformation. This attempt remains premature, energy for none of them can and robotisation that is prom- grounding with Zimbabwean for such a transformation will only be possible stop the time’. The song ‘Re- ised in the era of technological musicians attempting to learn when there is the harmonisation of the culture demption song’ exposed the singularity, where human be- as much as possible about Zim- and language of the majority with that which is versatility of Marley when he ings would be rendered inferior babwean music while he was taught in the schools, colleges and universities in returned to strumming the to super-humans who would there. One could also see that the region. The Egyptian revolution of 2011 has guitar and asked simply, ‘How be products of biology, ge- he was intimately studying the opened new possibilities at the political level. As long shall they kill our prophets netic engineering and robotic Gentleman in Mainz German artist Gentleman played at Phö- nixhalle in Mainz, Germany on April 27th, 2011. Check the photos from the show.

Photos by Michael Grein

PHOTOS Rockers Rockers Rockers Festival in Paris The first edition of French festival Rockers Rockers Rockers took place in Paris and Toulouse last month. While Vybz Kartel wasn’t there because he couldnt obtain his passport from the UK embassy and MC5 had to cancel the dates in Lyon and Nice, Gappy Ranks, Duane Stephen- son, Chaka Demus and Pliers, Tanya Stephens, Richie Spice, Gyptian and Jah Cure played at the Zenith in Paris on April 25th backed by the Ruff Cut Band. Check the photos of the event. Photos by Franck Blanquin The Legends Easter Fete 2011 The Legends Easter Fete took place on Easter Sunday, April 24, 2011 at the Miramar Re- gional Park in Miramar, Florida. Ken Boothe, John Holt, Third World, Barrington Levy, By- ron Lee & the Dragonaires were on stage backed by Ruff Stuff Band. Photos by Gail Zucker

Roger Lewis of Inner CirCle / Bunny Rugs / Ken Boothe

Ken Boothe Cat Coore / Third World Richard Daley / Third World

John Holt Ruption Barrington Levy The Congos and The Abyssinians in Paris

The Congos and the Abyssinians played at La Gaité Lyrique in Paris on April 27th. Check the photos from the show. Photos by Franck Blanquin Rotterdam Reggae Festival 2011 The first edition of the festival took place at the Ahoy in Rotterdam, Netherlands on April 24th. Check the photos from Chaka Demus and Pliers, Tanya Stephens, Maikal X, Richie Spice and Jah Cure. Photos by Paco Van Leeuwen. 30 Year Commemoration at the Bob Marley Museum Thirty years later, Robert Nesta Marley lives on.

I remember when we used to sit In the government yard in Trenchtown And then Georgie would make the fire light Log wood burnin’ through the night Then we would cook corn meal porridge Of which I’ll share with you… On May 11, 2011, I had the privilege of photographing Georgie at the Bob Marley Mu- seum in Kingston, Jamaica. This day marked the 30th Anniversary Commemoration for Bob Marley. The Museum was buzzing with TV and radio broadcasters covering this heartfelt event. A Mento band sang Marley songs near the steps of the museum. Marley has made a great contribution to the world lyrically through his revolutionary spirit and proverbial wisdom. His sons, Ziggy, Stephen, Damian, Ky-Mani & Julian have successful musical ca- reers and daughter Cedella has her ‘’ clothing line. Marley’s philosophies con- tinue to rings around the world and remain the inspiration for redemption and revolution.

Text and Photos by Gail Zucker. MAGAZINE

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