Jamaica is well represented in the recently announced slate of NAACP Image Awards nominees. Dancehall legendBuju Banton and last year’s Grammy Award winner Koffee have both secured two nominations each for the Awards, while Reggae singer Skip Marley has earned one nod from the US-based civil rights organization.
In the Outstanding International Song category, Buju Banton has earned one nod for Blessed which appears on his Upside Down 2020 album. His second nomination in the same category was received for the Pressure (Remix) with Koffee, who also secured her second nod with the hit song Lockdown. Nigerian singers Davido and Tiwa Savage were also nominated in the category.
Meanwhile, Skip Marley‘s Higher Place from his EP of the same name earned him one nomination in the Outstanding New Artist category alongside Chika, Doja Cat, D Smoke, and Giveon. Marley wrote on Twitter yesterday that he was honored to be included among this group of nominees.
The 52nd annual ceremony will be simulcast on March 27 at 8 p.m. ET across Viacom CBS Networks.
~From Dancehallmag.com. Clickhere for more details.
2021’s theme is ‘Come Ketch de Riddim Virtually’ and is presented by the Ministry of Culture, Gender, Entertainment and Sports (MCGES). Sponsors include the Jamaica Tourist Board, the Tourism Enhancement Fund, the Ministry of Tourism, JCDC, and JaRIA.
Here’s what you need to know about Reggae Month:
“Reggae Month was officially proclaimed and first staged in 2008, spearheaded by the Ministry of Culture and powered by the Jamaican Reggae Industry Association (JaRIA).
The focus of Reggae Month is “edutainment”, highlighting Jamaica’s musical history and heritage. The annual celebration has been a success, attracting on average 40,000 attendees each year. This success is made possible by the overwhelming support of media partners and music industry practitioners, in addition to dedicated government and corporate sponsors who share the Reggae Month vision. Continue reading →
Lee ‘Scratch’ Perry Talks Bob Marley, Dub, Reggae, Production
Berklee Online’s Pat Healy talks with 84-year-old Lee “Scratch” Perry about his one-of-a-kind legacy and career. This bizarre and winding interview is available in all its strangeness and entirety at Hypebot.com
Pat Healy: “As a music producer, he arguably invented reggae in the late 1960s and early 70s, and he inarguably invented dub in the mid-1970s at his famed Black Ark Studio in Jamaica. He was Bob Marley’s mentor, producing some of his first recordings. It’s possible he also invented sampling, using the sound of a crying baby to begin his song “People Funny Boy” in 1968, a scathing song against one of his rival producers.” Scratch has collaborated with the Clash, Beastie Boys, George Clinton, and Keith Richards, among others.
The conversation that follows takes a lot of twists and turns and some of his answers were so different from the questions asked. So, to help, the writer* interrupts every now and then to provide context. For example….
PH: You grew up with what, four siblings?
LP: Yeah, I grew up with revolution. *PH: So yeah, he grew up with revolution. Okay, back to the interview … LP: I grew up with revolution in my brain, revolution in my leg, and revolution in my head.
Were there songs in your family before you went off to Kingston, music that you liked? Well, I liked “Charlie Brown,” like pop music. Yeah, I was loving pop music and [songs like, “Yakety Yak” by the Coasters] “Take out those papers and the trash, or you won’t get no spending cash.” I am a lover of pop music. So I reckon my number one spot is Michael Jackson.
Michael Jackson? You’d been recording for years before you heard him, right? Well, I love stars that are uncommon. I’m really a pop music lover. I really love hip-hop music. I love hip-hop music even more than reggae music. Reggae music is okay. I love the American artists, them so much because the American artists have super very good voice [laughs]. So I was always listening to good singers. I love good singers; I love real singers. I watched Bob Marley in that duration before reggae becomes so common. So, most of the stars that I have put up were coming from the American singers. You know what I mean? So, I mean to say if you want to hear about something like “Me love Jamaica because they’re my people,” but they actually are too nice to me and they’re like raggamuffin, and me no like raggamuffin. Me like special artists. James Brown is my friend [laughs].
James Brown? Yeah, was my friend.
Yeah Rolling Stones are my friend. I don’t like to see what will happen to the Americans because most of the American singers, I learned from them and I love them. I don’t know what will happen to the good singers in America to find a way out, to find freedom, because if all of the American singers die, I will cry.
Yeah, I mean singers are our last shot. It will be too boring without the American singers.
*PH: Okay, here is the first interruption! So, at this point, he is talking about how he’d be sad if all of the American singers died because he is referring back to a theory that he revealed when our conversation first started, that the coronavirus is affecting America so badly now because the American government gave Bob Marley cancer. Are you following? He is actually not the only one to believe the second part of this. Most biographers of Bob Marley will acknowledge that there was definitely a suspicious amount of interest the FBI and CIA had in the reggae superstar, and that the agency considered him a threat. Maybe he would inspire a great uprising? Maybe his songs were too political. Most biographers will acknowledge that yes, there is at least some credible evidence that the American government had something to do with the 1978 assassination attempt against Bob Marley, but there is little credible evidence to support the theory that a device the American government had placed in Bob Marley’s shoe caused the cancer that killed him in 1981. However, there are some people who believe that. Lee “Scratch” Perry seems to be one of those people. And he also seems to believe that the virus is karmic retribution.
LP: American scientists and American Obeah men and American beasts gave Bob Marley cancer, in a year. They gave Bob Marley cancer and them could not find the answer. Why did they give Bob Marley cancer? If they give Bob Marley cancer, then Bob Marley give them the virus [laughs].
Since 1958, the GRAMMYs have celebrated music excellence. It is the music community’s highest honor & its only peer-based award.
The GRAMMY is awarded to musicians, songwriters, producers, engineers, & industry professionals.
Inside Jamaica’s Reggae community, there’s always much discussion about the USA GRAMMY Awards, especially the highly coveted Best Reggae Album Award.
Ever since the first Reggae GRAMMY went to Black Uhuru in 1985 (when it was called Best Reggae Recording), there’s been dissension in the Reggae family, along with confusion, arguments, debates, & disagreements surrounding why someone was nominated…or why not.
Let’s start with some facts: currently, there are 30 fields (General, Pop, Rock, Reggae, etc.) to be considered, as well as 84 distinct award categories across those fields. The Reggae category is for “an album containing at least 51% playing time of new Reggae recordings.”
To be clear, I am not an Academy member or a Reggae GRAMMY expert. However, I join others who are interested in how the “final five” selection comes about. So, I set out to educate myself & now I can share what I’ve learned with you.
What follows is information on the Recording Academy, how to join, & the GRAMMY Nomination process. Academy links are provided for more info. I truly hope this helps answer the countless questions as to how, when, who, and why a Reggae album ultimately acquires this sought-after recognition.
FIRSTLY – JOIN THE ACADEMY
Like the GRAMMY Awards, Recording Academy membership is community-driven & peer-reviewed on an annual cycle. Pay attention to the dates & deadlines!
You must be invited to join. To be considered for an invitation:
Your profile is completed only after your recommendations are received by the Academy & you tell them more about your career.* Profiles must be complete by midnight on March 1 to be considered for that year’s class. *Candidates will receive an email with a link & candidate code to complete their career profile.
New member submissions are considered by the Recording Academy’s Peer Review Panel each spring, & will approve memberships at its sole discretion after assessing your submission.
If approved by Peer Review, candidates are invited to join the Recording Academy by July 9 and have until that year’s GRAMMY Awards voting deadline to accept.
Who can enter recordings for consideration? Do I qualify?
The Recording Academy accepts entries online from Professional & Voting Members, as well as registered media companies. Members are permitted to submit their own eligible recordings as well as the recordings of their peers for consideration.
How do media companies submit product for GRAMMY consideration?
Record labels, distribution companies & management firms qualify as media companies. Media companies must register with the Recording Academy every year to submit/enter recordings. Once your media company registration has been confirmed, the Awards department will send the media company’s designated administrator detailed submission instructions. More Academy FAQ’s here.
“The Reggae GRAMMY Category does need some change. But change won’t happen if Reggae artists are on the menu…but NOT at the table.” ~Barbara Johnson, Media Exec
Read This Interesting Committee Background
I highly recommend you read this clip from a 2014 article by friend, writer & major Dancehall & Reggae enthusiast ROB “Boomshots” KENNER. He tells of his experience as an Academy Screening Committee member while raising a few very interesting questions. (More on the process below.)
ROB: “[The] screening committee goes through every single album that had been submitted—usually by record labels, but sometimes by members of the Recording Academy. (In a category like reggae, where much of the music is produced by smaller independent labels who may not be familiar with the GRAMMY entry process, the best records are sometimes not even submitted.)
“Members of that committee were not supposed to concern ourselves with quality—our job was to determine whether each album belonged in the reggae category. The rules stated that 51% of the album’s tracks had to consist of reggae music (a genre that includes such disparate styles as roots reggae, ska, dub, and dancehall.)
“…Famous people tend to get more votes from clueless Academy members, regardless of the quality of their work.”
“…Famous people tend to get more votes from clueless Academy members, regardless of the quality of their work. This is especially true in specialized categories like reggae…That’s the reason why famous names like Marley, Toots, and Sly & Robbie stand a much better chance of winning in the reggae category than, say,Beres Hammond.
[Rob soon paid his membership fee and joined the Recording Academy as a voting member. His story continues:] “Here’s how the process works: Voting members review lists of all the eligible recordings in each category (the ones generated by screening committees like mine.)
“Members are supposed to vote only in their fields of expertise—and in a maximum of 9 out of the 31 fields on the ballot… A few categories are reserved for special nominating committees, but frankly—not enough… In the final voting process, members are allowed to vote in even more categories—up to 20, plus the 4 general categories.
“Bottom line: the vast majority of the nominations are chosen by people who have little real expertise in a given field. I refrained from voting in heavy metal and classical because I know very little about those genres. But I could have if I wanted to, and that strikes me as a problem.” Read Rob’s entire 2014 Complex.com article here.
“We don’t need a dancehall category…that would set us back…people are being fooled about separating dancehall from reggae…We’re always trying to create something instead of focusing on what we have and building that.” ~Ibo Cooper, JaRia
NOW, HERE’S THE PROCESS…
It begins with members & record companies submitting entries, which are then screened for eligibility and category placement. The Academy’s voting members, all involved in the creative & technical processes of recording, then participate in (1) the nominating process that determines the five finalists in each category; & (2) the final voting process which determines the GRAMMY winners.
After review by 350 experts in various fields, the screening committee places the album in its proper category. No artistic or technical judgments about the recordings are made. The entries move on to the nominating committee.
First-round ballots are sent to voting members in good dues standing. To help ensure the quality of the voting, members are directed to vote only in their areas of expertise; they may vote in up to 15 categories in the genre fields plus the four categories of the General Field (Record of the Year, Album of the Year, Song of the Year, & Best New Artist.) Ballots are tabulated by the independent accounting firm of Deloitte.
FINAL VOTING (Note: This is where I’m a little confused. The Reggae category is not sent to a Nominations Review Committee–see graphic below–before the final vote. The Reggae nominees selected from the first nominating committee go right to final vote, with no review. Maybe someone reading this can explain it to us.)Final-round ballots are then sent to voting members in good dues standing. In this final round, Recording Academy members may vote in up to 15 categories in the genre fields plus the four categories of the General Field.
So good people, that’s how it’s done!
More Helpful Info:
Key Dates for 2020-2021
Sept. 1, 2019—Aug. 31, 2020: Product Eligibility Period
Sept. 30—Oct. 12, 2020: First-Round Voting—eligible members vote to determine the 2021 nominees!
Nov. 24: Nominations Announcement!
Dec. 7, 2020—Jan. 4, 202: Final-Round Voting—this round determines the GRAMMY winners!
You will notice that any terms that include the word urban* have been removed from category titles. The Recording Academy stated in November 2020 “that describing music as ‘urban’ and ‘urban contemporary’ has ‘historically been used as a way to separate Black artists’ from the (white) artistic mainstream.” *Exception, one Latin category… go figure.
Other changes announced involve Best New Artist parameters & taking a closer look at all possible conflicts of interest.
Interestingly, “the Academy members who serve on its so-called nomination reviews committees, which determine the final nominees in most award categories, must disclose any connections they have to potentially nominated artists and projects.”
“Two glaring disclosures only now being asked are: (1) Do you have any “immediate family ties” to a potential nominee? And (2) Will you as a voter, have any “direct or indirect financial ties” to a project or artist under consideration?”
But, as with all vague changes & GRAMMY nominations, there are questions, controversies, and contention.
LASTLY – ABOUT PROMOTION
Labels, artists & media companies are welcome to promote their album but must follow these Voting & Solicitation Guidelines, i.e., voters may not accept money or anything of value for a vote, no agreement to trade votes, & voters must not be influenced in any other way other than their own analysis of merit.
I hope this helps you understand the GRAMMY Awards nomination & voting process. If you like this info or have a question, say so in the comments below.
THE TRAGIC DEMISE OF “MYSTIC MAN” PETER TOSH – V5#5 1987
By M. Peggy Quattro
The mystery surrounding the violent death of Reggae Superstar PETER TOSH is as complex and mysterious as the man himself. The many reports, stories, assumptions, and speculations leave a shroud of doubt and suspicion in staggering proportions.
What a dark day for Reggae and a sad and shameful day for mankind.
What is known to date is that on the evening of Friday, September 11, 1987, three gunmen on motorcycles entered Tosh’s Plymouth Avenue residence in Barbican, Kingston, Jamaica. Apparently known by Tosh, the three were in the house for a short while before the massacre began. What a dark day for Reggae and a sad and shameful day for mankind. One of the killers, Dennis Lobban, turned himself into the Kingston Police only days later, following a warrant issued for his arrest and the involvement of Interpol (the international police force.) Two others are still being detained, their names as yet unannounced.
A Robbery Gone Wrong
The first to be fired upon was Marlene Brown, long-time girlfriend and Tosh’s current manager and accountant. Winston “Doc” Brown was shot and killed on the spot, with Peter being shot several times and reportedly beat about the head. He died hours later at the University of the West Indies Hospital. Radio personality Jeff “Free I” Dixon also received shots to the head resulting in his death days later. Also wounded were Free I‘s wife Joy, Peter’s drummer Carlton “Santa” Davis, and another friend named Michael Robinson. Continue reading →
Update 9/11/2020:It is with great sadness that I report the passing of Toots Hibbert last night, Friday, Sept. 11, 2020. Toots was surrounded by family inside Kingston’s UWI Hospital when he lost his battle with COVID. The world mourns and offers condolences to the Hibbert family, Toots’s band & crew, his friends, and fans. Rest in peace, kind sir, your legacy lives on.
This intro below was written before Toots’ passing. It announces his new album, Got To Be Tough, his first in 10 years, released on Aug. 28, 2020. Follow the link to the story by Jason Fine included below for one of the best articles you’ll ever find on the life & music of Frederick “Toots” Hibbert. ~M. Peggy Quattro
TOOTS HIBBERT, the Godfather of Ska & Reggae Soul, returns to his roots on Got to be Tough, his first album in 10 years, released Aug. 28, 2020. Tracks on the new album include the title track, as well as “Warning Warning,” “Freedom Train,” and “Three Little Birds” featuring Ziggy Marley. The album is produced by Zak Starkey, son of Ringo Starr. Toots plays guitar and bass, Sly Dunbar is on drums, and one of the engineers is legend Delroy “Fatta” Pottinger.
Below is the intro to a recent article by Rolling Stones writer Jason Fine. It is the best story I’ve ever read about Jamaica’s music legend, Frederick “Toots” Hibbert. His family and friends call him “Nyah,” those who know and love him call him “Fireball.” Take a journey with Jason as he hangs out with Toots in 2016 to witness first-hand his musical magic and to record this interview of a lifetime. Those who know Toots – and those who want to – will surely enjoy the detail, history, and humor Jason brings to life in this Rolling Stone’s article. Trust mi, I laughed till I cried as Jason illustrates with words why Toots Hibbert is a treasure… our treasure. We are so blessed to have him in our lifetime. Enjoy!
“He’s a person of such historical significance, like an Elvis or a BB King,…” ~singer/musician Bonnie Raitt
A Reggae King Rises Again
Toots Hibbert is one of the pioneers of reggae — and wrote many of its classic hits. After a devastating injury, the man they call Fireball is back to reclaim his throne
By Jason Fine – Rolling Stone.com, Aug. 18, 2020
It took two years of phone calls and confusing negotiations to get myself invited to visit Toots Hibbert at his fortress-like pink stucco compound in the Red Hills section of Kingston, Jamaica. When I finally arrived, he wasn’t home. No one around seemed to know the whereabouts of the world’s greatest living reggae singer. His grandson, an aspiring reggae artist who calls himself King Trevi, was perched on some concrete steps and suggested that maybe Toots went to the gym. A woman hanging laundry on a rope strung across the dirt yard thought he’d gone to the country. Someone said he might be napping. Continue reading →
In Tribute – Lucky Philip Dube – Aug. 3 1964 – Oct. 18 2007
This article first appeared in Reggae Report, V11#6 1993
Lucky Dube… A Natural Man
By M. Peggy Quattro
Few individuals are naturally blessed with the predestined qualities of talent, wit, and a confident disposition. One such fortunate recipient is 29-year-old Lucky Dube, the remarkable South African singer/songwriter, who is presently dispensing his own musical blessings around the globe.
You are among the unlucky if you missed Lucky Dube and his megaband, Slaves, on their recent two-month tour of the USA. The incredible show, which highlights Lucky’s dynamic vocals, capable of soaring three octaves; Zulu dancing from Dube, the sonorous back-up singers and stinging brass section; and infectious authentic African-Reggae rhythms, was presented in 35 cities. The venues ranged from small nightclubs to major summer festivals. Included in the tour was a free show held on a beautiful July day at Brooklyn’s Metro Tech Commons, sponsored by the Brooklyn Academy of Music (BAM.)
The moving response to the group’s performance was indicative of the overall reaction received whenever and wherever this talented troupe of performers set down. At the end of August, the tour moves on to Europe where they will be the opening act in a series of shows for international pop star Peter Gabriel. A two-week break in their hometown of Johannesburg is followed by a concert in Capetown, then off to finish the year in Australia, New Caledonia, Japan, and France.
Considered a superstar in South Africa, Dube, who neither smokes nor drinks, modestly credits his fans for this stardom. Continue reading →