One of the most satisfying cuts on Canadian DJ Snow’s new release, Murder Love, is a tale of his love affair with Reggae music called “Dream.” Here Snow reminisces about his days in Toronto’s Allenbury housing project, where he first became acquainted with Reggae through the friendships formed with the many Jamaicans who had moved into his area: Listen Shabba Ranks playing faintly from the speaker/I would eat mi curry chicken, that’s my favorite supper/If you think mi joke or lie, gwaan ask me mother/I would living on the island sweet, sweet Jamaica/Fish with Coco Tea down in the river/Hanging at the ghetto with me boy they call Ninja/No, but it’s only a dream.Continue reading →
Pato Banton and I are sitting atop the roof of the club where he is scheduled to perform in a few hours. Rather than conduct our interview in a stuffy tour bus or shout over the sound check taking place below, he obliges as I lead him through a cluttered storage room and up a make-shift ladder better suited for an acrobat than one of the most recognized names in Reggae. Below us, the seven members of his band, The Reggae Revolution, are tuning up and, one by one, joining in on a smoldering Dub of “Satta Amassagana.” We are watching a beautiful, and especially long, Santa Barbara sunset as the moon climbs high over the Pacific Ocean a few blocks away. He is nearing the end of an extensive three-month tour and looks forward to spending some time at home with his wife and two children, who are back in England. A few weeks away from his 33rd birthday, he seems as energetic and upful as ever.
Energetic and upful seem to define Pato Banton. He is like a constant whirlwind of touring and recording. As we sat down to talk, he is finishing up yet another North America tour, promoting a greatest hits package called Collections for long-time label, I.R.S. Records, and anticipating the worldwide release of the video for the album’s first song, “Baby Come Back” (a duet with bredren Robin and Ali Campbell of UB40).
by Karie Russell
Dancehall fans, here he is, the original Mr. “Gangalee” himself– Mr. “I wanna be free from all chains and all bangles and rope/Free from all bars and all borders and dope/Free to praise the Lord because mi naw praise the Pope/So mind how yuh a wash yuh face wid Babylon soap/I was born to be free ’cause mi a ole gangalee/Gangalee and who have eyes they will see” (taken from the hit song “Gangalee.”)
He’s also known as DJ Louie Culture, as that is the name he entered the music business with, but ever since he scored with his big hit, Dancehall fans, home and abroad, have branded him “Mr. Gangalee.” He’s very proud to wear this title, not only because he made it popular, but more so, because his belief in the concept of the word “gangalee” has been his main driving force to success.
Now, before driving you all nuts, here’s the history of the word and the man called Gangalee. Follow mi! “Gangalee” is an old Jamaican rural term for an unruly, uncontrollable, bad person. As old people would say, “A soon cool yuh ’cause yuh a gwan like yuh a gangalee.” Continue reading →
There are many unique things about the Reggae industry. One is the unusual monikers some artistes go by. For example, the list of artistes who make up Reggae’s “musical tool box.” There is Screwdriver, Pinchers (Jamaican slang for a bird-beak pliers,) and Pliers. And, of course, no tool box would be complete without a spanner (wrench)–as in singer Spanner Banner.
Now, apart from being both linked with this tool box scenario, Spanner Banner and Pliers are otherwise connected on two counts. They are brothers and they are both signed to the same recording company, Island Jamaica.
Pliers’ career is already somewhat successfully cemented as he is part of the “wicked” hit duo, Chaka Demus & Pliers, who has had such hit songs as “Murder She Wrote” and “Tease Me,” which went gold, selling some 400,000 copies.
Spanner Banner (born Feb. 6, 1959, in Rock Hall, St. Andrew, and christened Joseph Bonner), on the other hand, has not been as successful as his brother; but he has, and is having, his fair share of success as a singer and songwriter. Continue reading →
Yami Bolo – Burning up the Charts From Jamaica to Japan
by Howard Campbell
The conviction Yami Bolo shows as he belts out Bob Marley’s “Heathen” reflects the singer’s coming of age, a conviction that is further enhanced by his commitment to the perfect sound, even during rehearsal. Four takes and a “turn it up little more deh bassie” and Yami Bolo is ready to rock.
Bolo was at the Tuff Gong headquarters rehearsing for the Feb. 6 Bob Marley concert at the Bob Marley Museum for which he was one of the top acts. While the event was a tribute to one of his heroes, the fact that he was billed as one of the evenings stars meant that Yami Bolo is finally being given the recognition that had proved so elusive to him at home.
A jocular, laid-back six-footer with a ready smile, Bolo is the typical Roots man. At home in cut off jeans and Reebok sneakers, he has reason to be satisfied with the route his career has taken in the last 12 months, and as humble as he is, isn’t afraid to say so. “Things a come on good, y’know,” the 24-year-old remarked prior to tuning up. “Right now, we jus’ a concentrate on all that is good for ’95; we’d a like win all awards ’cause we put we heart inna this project.” Continue reading →
An impish grin curls across Gregory Isaacs’ lips, his head bowed when the questions about his well-publicized battles with cocaine come up; how it has affected his career and if he’s still dependent on drugs. “Bwoy, mi nah really deal wid dat right yah now, mi ithren,” he says in that low, familiar nasal tone, “cause wi get to much bad publicity; anything Jamaican people hear dem believe right away, dem nuh inquire.”
You can’t blame Isaacs for wanting to erase the memories of the darkest period in his life. Since his first run-in with the authorities eight years ago for cocaine possession, the self-proclaimed “Cool Ruler” has experienced a decline of sorts in his career.
At 44, he’s still capable of rocking the crowds with a seemingly endless number of Lovers Rock hits (as seen at the White River Reggae Bash two years ago), and is still able to charm the ladies with his legendary onstage rapport. Though he has had a clutch of minor hits in recent times, the chartbusters that fans have come to associate Gregory Isaacs with have dried up; and many point to his experience with drugs as being the reason for the current dry patch. Continue reading →
Sly Dunbar smiles when asked what he thinks about the inevitable comparison of himself and partner, Robbie Shakespeare, to the legendary Clement “Coxsone” Dodd as Reggae’s greatest producers. “He’s [Coxsone] the greatest man,” says the dreadlocked drummer. “I’m his biggest fan and he doesn’t even know it.”
While Dunbar’s modesty concedes that accolade to the Rocksteady great, he and Shakespeare have no equal in the endurance department. Their eclectic style has encompassed Reggae’s metamorphosis from the post-colonial Rocksteady sound and the Rasta culture of the Marley era to the present Dancehall phenomenon.
There’s no disputing Coxsone’s contribution as a pioneer and visionary, but the magnitude of the “Rhythm Twins'” success, both as internationally respected musicians and producers, is incomparable. Continue reading →