Bashment Sessions Magazine ft. Shaggy by Bashment Sessions Magazine

Contents From Yard...

Selector’s Choice Dj Headbussa

Back to the Future

Tony “CD” Kelly

15-17

Mercury Rising Malica & Edott

26-27

Dancehall Music: Mainstream’s Ride or Die Sidechick

Digital Mania

Yolanda Turner

Chief Editor Coutney Allen

Contributing Editor Jeremy Burnett

Hip-Hop Entertainment & Sports Editor

Graphics/Art Department Alakeisha Philyor

Chief Graphic Designer Diane “Sashi” Hudson

Contributing Graphic Designer Sashi Designs Wayne Newman

Design Consultant W Graphic Design Studio

Bashment Sessions Magazine Team TM

Photography Chelluu Jean

Chaotic Mind Photography Follow Bashment Sessions www.twitter.com/BashmentSessMag www.Myspace.com/BashmentSessions http://pinterest.com/BashmentSessMag Log on www.BashmentSessions.com Contact Bashment Sessions YTurner@BashmentSessions.com BashmentSessionsMagazine@gmail.com

Lenor Vance

Cherri Productions

Contributing Writers Stephanie Burton

Marketing/Advertising Kessia Forney Cherian Hamilton

Publishing Yolanda Turner

â&#x20AC;&#x153;You can sit and follow the trend or set the trendâ&#x20AC;? - Diamond selling recording artist Shaggy

Contents To the World

Shaggy: King of Stage

I-Octane

Ziggi Recado

EDITOR’S

SESSION The past 8 months has seen the release of at least 6 Reggae/ Dancehall albums. Each dedicated to the music and culture of the small, yet hearty island of Jamaica.

and Jimmy Cliff and bands like UB 40 and Steele Pulse have remained in the hearts of “reggae enthusiasts,” but it’s been hell trying to attract and keep the attention of new listeners.

Shaggy’s “Summer in Kingston,” I-Octane’s “Cry To the Nation,” Romain Virgo’s “The System,” Mr. Vegas’ “Sweet Jamaica,” Gramps Morgan’s “Reggae Music Lives,” and Busy Signal’s “Reggae Music Again,” all debuted in the top 10 of Billboard’s Reggae Albums charts. What’s the significance you ask –

The presence of those artists on Billboard’s charts means that listeners are reviving their love of Reggae and Dancehall music via various modalities; in addition, they are committing to the music evidenced by digital sales and otherwise.

Fast forward to the 21st century

So here it is, the Reggae and Dancehall music industry is thriving despite the setbacks and it will continue as long as there are artists stepping up and producing quality work, labels distributing the music (VP Records distributors of all things Caribbean), Dj’s playing the music (major audiences in Atlanta, New York, Miami) and promoters pushing the music. And yes, Reggae and Dancehall may endure a restructuring every decade or so, but those that can survive, do.

The affection for Reggae and Dancehall music has waned over the past decade. “The Industry’s” love of the genre has been lukewarm at best. Of course the legends including Bob Marley

It may be too soon to predict the long-term relationship Reggae and Dancehall will have with the mainstream, but as of right now, everybody’s happy!

Look at it from this perspective. It’s been 50 years since Jamaica celebrated its first Independence Day in 1962. During that time Reggae music, in various forms, was also evolving and for better or worse, the music defined the culture and progressively conquered the world.

Yoli

DJ HeadBussa Creator of the Supply & Demand Mixtape series

Selectors Choice

Evolution

Began his career as a DJ for 1620 WBUL THE UNDERGROUND (The University of South Florida’s radio station)

Ratings

Multi-award winner DJ HeadBussa a.k.a. Mr. Krank Up, has produced over 50 volumes of his frequently downloaded Supply and Demand mixtape (over 500,000 listens/downloads). The highly popular series, which features independent artists within Florida’s southeast region and beyond, is cosigned by Hip-Hop and Rap music heavyweights including T.I, Ludacris, Rick Ross, Jeezy, Wale and more. DJ Headbussa burst onto the music scene in 2004 and hasn’t looked back since. Currently he’s exciting fans on every scene as a member of the Cool Runnings Dj Consortium and as a part of the promotions and programming team from Tampa’s leading radio station, Wild 94.1.

Selector’s Choice Lil Jon - Who Ya Wit C-Murder - Fuck the Other Niggas Nappy Heads - Robbery OHB - Paralyze Trick Daddy - Can’t Fuck with the South Biggie Smalls - Mo Money, Mo Problems Biggie Smalls - Juicy Jay-Z - Give It to Me Juvenile - Back That Ass Up Tae Bae Bae - Teco Follow Dj Headbussa on Twitter: www.twitter.com/DjHeadbussa Fan Dj Headbussa on Facebook: www.facebook.com/DjHeadbussa Listen to Dj Headbussa Mixtapes: http://www.datpiff.com

Who: Malica Martin BirthPlace: Genre: Dancehall/R&B/Soul

Kelly Grammy Award - winning producer, Tony ‘CD’ Kelly (K-Licious Music), is arguably one of the most talented producers in the Caribbean Entertainment Industry. His musical journey began in the mid-1980s, as an assistant engineer at Jamaica’s legendary Tuff Gong Studios, where he learned the fundamentals of production from studio wizards Scientist and Errol Brown. “Scientist and Errol Brown were two good teachers. What they taught me reflects in the quality of the music I produce now. I’m more melodious than most,” exclaimed Tony.

“International fans don’t have to understand every word of the Jamaican dialect to dance to one of my songs or to sing the chorus.”

Over the past 2 decades he’s produced/co-produced the most dancehall/reggae cross-over singles and/or albums than any other producer hailing from the island of Jamaica. His productions have jumpstarted the careers of many successful dancehall/reggae artist including Super Cat, Beenie Man, Shaggy, Wayne Wonder, Sasha, TOK, Sean Paul, Cham, Patra, and more. He has also spear-headed several Grammy Award - winning or Grammy nominated albums including Sean Paul’s ‘Dutty Rock,’ Shaggy’s ‘Boombastic,’ Bebe & Cece Winans ‘Still,’ and Shaggy’s recent Album ‘Summer in Kingston.’ Bashment Sessions Magazine had the opportunity to speak with Mr. Kelly, who modestly rejected the title of Prodigy. He said this about his success in the industry and about the ingredient to constructing the ‘perfect’ riddim: BSM: You mentioned that this is the year of no excuses. What do you mean? How does that apply to the music industry? TK: We always find excuses for something. “We nah accomplish certain things because of some other thing and this and that.” This is the year for no excuses. No matter what aspect of everybody’s life, yuh have to be the best no excuse. If you’re in the music and you love reggae music, team work no excuse. Basically, it’s just that. Mi nah whan hear no artist come in and tell me dem cyan do it. I can tell you how to do something, but you cyan do it like me, but mi can help you do it ina your way. No excuse man! BSM: What’s the difference between artists producing Reggae music here in the states and those producing it in Jamaica? How much more effective is it to be here in the states doing music as apposed to being in Jamaica? TK: Mi nah really see no difference yuh know, cause music a come from di heart - your heart, your body, where ever it deh, weh ever yuh a bring out. Personally I don’t think my sound is different – it nah have nothing fi do wit Jamaica or foreign (United States). It have something to do with educating my self, learning knowledge, getting lost in the music. I try and figure out how to sound best, get the best quality, yuh know. How to bring out the best… It has nothing to do with location. BSM: As a legend in entertainment, what are some key essentials you can pass along to the youth and/or to those new to the business or contemplating a career in the industry? TK: Everybody give mi dat legend thing, mi cyaan agree (laugh). I’m 25 years in. Dats supposed to tell yuh something. I don’t grudge a man for where him reach because of the time weh him put in. As I said, it’s been 25, 26 years and going and so mi still a learn. Think about the future. Think about your niche, weh yuh bring. What is your input towards this life? Look, If you run down money, money a run leave you, but if you inject love inna weh yuh do it always end up make money. It’s basically that.

In 2012, the journey for Tony “CD” Kelly continues, as his K-Licious Music Group has recently signed artists for the first time. Artists Dre Zee, Italis, and siblings Atiba and Malica are now members of the K-Licious family. The ‘1st Quarter’ and ‘Blaze Up’ Riddims, were released in early 2012, and will feature the K-Licious team of artists as well as other dancehall veterans. Tony “CD” Kelly’s musical influence has traveled far beyond his hometown of Kingston, Jamaica, setting standards that others feel compelled to follow.

Not waiting in Vain

Dujuan

Harris

“Foxx”

BSM: There was a huge layover between the draft and the ending of the lockout. How did the waiting affect your esteem? DH: During the whole layover, the thought of just knowing how big of an opportunity that awaits me, forced me to stay on the grind. BSM: As a rookie player, how does the 2011 NFL agreement impact your career say 5 years from now? DH: With the new NFL, careers could last longer. BSM: I’ve heard of athletes wearing specific pairs of socks on game days, them eating certain items for breakfast, and even listening to a particular song. What ritual, if any, do you follow to ready yourself for game days? DH: I just try to eat a good breakfast to start the day. Then listen to some music and picture myself running to the beat. I say another prayer at my locker and afterwards, I kiss my son’s photo. SHOWTIME!!! BSM: A high percentage of drafts have difficulty transitioning from NCAA to NFL, mainly characterized by a decline in performance, what do you think this is attributed to? How do you plan to avoid the consequence? DH: Some guys were in certain offensive/defensive systems and may have trouble getting used to a new system of play. As for me, I was in a spread offensive in college and it took me a little while to get not only a style of play, but the terminology also. It takes time!!! BSM: There are obvious benefits to being a pro-athlete. What are the intangibles – the things fans and the rest of the public don’t see? DH: It’s a privilege being a pro athlete, but the thing that some people don’t realize is the constant studying and repetitions of the game, and most of all, the physical punishment that ones body has to go through day in and day out. BSM: Being a student athlete is not an easy feat. How did you balance academics and sports? How are you managing now? DH: Yes, being a student athlete is tough, but in order to get through all of it you have to sacrifice some things you don’t want. Cut down on partying, staying up late, putting things aside when they need to be done. BSM: Give advice for those pursuing a career in the NFL or any other professional sport. DH: Follow your dreams, you know what you want to do and how it’ll make you feel when you’ve reached your goals. BSM: Who was you inspiration prior to embarking on your professional career?

DH: My mother, I watched her struggle and still continued to stay strong and take care of me and my brothers and sisters. She worked so hard over the years and deserves a break BSM: Scouts look for RBs that are great at reading blocks and that are solid ball carriers, among other things. What’s the strongest skill you bring to a professional team? DH: I think the strongest thing I bring to a team is my heart and hard work. I have the overall skills to be successful in this league; it takes more than skills to get this job done. BSM: How do you respond to those who criticize your stature saying “you may not be able to take the pounding from seasoned NFL players?” DH: You know people are going to say whatever it is that they want, especially sports writers because for one, it is part of their job. All you have to do is worry about what you have to do. Nothing feels better than proving someone wrong and getting the respect you deserve. BSM: You occupy a position that was dominated by some of the greatest in the league. There’s Walter Payton, Barry Sanders, Jim Brown, and others. Their reputations speak volumes – i.e. what they did in the league and for the league is tremendous. How have their careers helped to shape your own thus far? What legacy do you want to leave? DH: Yes, they were “Great,” that’s the only word to explain the things that they’ve done. As a kid, the day I saw Barry Sanders I wanted to be like him. And even though he was trying to motivate me, I remember my old baseball coach telling me, “You won’t move like him, you won’t have his feet.” Since then I’ve been trying my best to prove him wrong. I don’t care much about the FAME and POPULARITY. I just want my abilities to be recognized among the best.

Mr. Vegas

Serani

Laza Morgan DeMarco

Meek Mill New Kingston

Mavado

2 Chains

Funkmaster Flex

Fabalous

Fat Joe

Shaggy

Ace Hood

100 degreesand climbing

MERCURYRISING

MERCURY RISING

Malica Who: Malica Martin BirthPlace: Brooklyn Genre: Dancehall/R&B/Soul

alica is the newest female sensation to hit the Caribbean music scene. Her charismatic style and angelic voice (Opera, Gospel and R&B trained), are entities that cannot go unnoticed. As the daughter of one of Kingston Jamaica’s extremely popular reggae DJs, Malica was exposed to the stylings of talented reggae musicians such as Barrington Levy, Beenie Man, Professor Nuts, Sanchez, and many more. She was also heavily influenced by Hip Hop and R&B music, particularly the sounds from New York. These extremely different genres are all evident in Malica’s musical delivery.

alica has performed in many shows and venues across the United States including Hard Rock Live, House of Blues, and the Best of the Best Concert. She’s performed with Shaggy, Serani, Alaine, Barrington Levy, Baby Cham, Beenie Man, Buju Banton, Capleton, Atiba, Elephant Man, Method Man, Mims, Mr. Vegas, Nick Cannon, Ray J, Sasha, Sean Paul, Sizzla, Snoop Dog, Tanto Metro & Devonte, T-Pain, Wayne Wonder, Ying Yang Twins and many more. Malica’s incredible writing skills have also placed her in writing sessions with a multitude of talented musicians and producers including Lamb, Anesha & Antea of APLUS, Rodney Jerkins, Esco, Seanizzle, Mad Syantis, and the great Tony “CD” Kelly. Malica’s bold delivery and simply stated messages of female independence are always delivered with flair and class.

Songwriting Credits: • ASCAP Member • Writer for Darkchild Records and Slip-N-Slide artist Atiba. • Co-writer on Rodney Jerkins reggae remix of Ray J’s “One Wish” and “Impossible” • Co-writer of Tony “CD” Kelly”s K-Licious Music Group

Follow Malica on Twitter: www.twitter.com/malicamusic Fan Malica on Facebook: www.facebook.com/malicamusic Listen to Malica: http://soundcloud.com/malica-martin

E Dott aka E.A. is a musical phenom who speaks uniquely with an attitude that is unmatched. Combining masterful rap lyrics with quality singing, E Dott’s music is mainstream (urban, versatile, captivating) yet provocative (think educated and enlightened with a flare). You could easily vibe out to his songs in a large, amped club on South Beach or a chill, funky lounge in NYC.

E DOTT MERCURY RISING

E.A. was born and raised in Tampa, FL where he spent the majority of his life before making a major move up North. His Southern charm and swag, blended with the perfect combination of the qualities mentioned above make him, for lack of better words, cool as hell. E.A. explains, “Growing up with roots in deep, southern culture then being exposed to the original hip hop scene on the Northern East Coast has given me knowledge, confidence, and skills to cross many lines in this world.” E Dott’s mixed the best aspects of two unmatched cultures solidifying his diverse sound and style you hear today. Just take it from E Dott, “I’m an international guy, an ambassador for hip hop overseas from Germany to Amsterdam to London and beyond.” E.A. is well on his way to international stardom—with performances abroad and in the states reaching PA, down the coast making his way back to Tampa, Miami, and Duval. If you aren’t a fan yet, you will be. E Dott’s charisma and flow are contagious, in the booth and on stage. You cannot help but to listen and feel his presence. “My future’s so bright, and you’ve only seen one tenth of who I am and what I offer, this is just the tip of the iceberg.”

“Money is the gun, knowledge is the key, cuz everybody raps but not everybody reads…” Who: EA Birthplace: Tampa, FL Genre: Hip-Hop/Soul

Log on to www.edottanswer.com Follow Edott on Twitter: www.twitter.com/edottanswer Fan Edott on Facebook: www.facebook.com/edottanswer

In June 2011, Shaggy ‘s Grammy-nominated album “Summer in Kingston” hit the airwaves and although it’d been a little over two years since he released a US album, the recognition came as no surprise. After all, Shaggy is a diamond-selling artist (at least 10,000,000 units sold) and arguably the most commercially successful Jamaican entertainer thanks to mega hits “Angel,” It Wasn’t Me,” and ‘Mr. Boombastic.” Shaggy’s recordings have also topped Canadian music charts, Latin music charts, and UK music charts. That solidifies the artist we referred to as “the poster child for Reggae and Dancehall”, as worldwide. We spoke with Shaggy about the premise of the album and his method for making chart-topping music. We also inquired about his philanthropic efforts (Shaggy is a major contributor to the Bustamante Children’s hospital in Jamaica), his recent change in management, and the launching his new record label “Ranch Entertainment.”

BSM: Fans are excited about what’s going on with Shaggy right now – Word is that you are the poster child for Dancehall and Reggae Music. Is that an accurate description? Shaggy: (laugh) I wouldn’t say poster child, but If I am the poster child then there are a lot of errors and a lot of, as we say in a Jamaica, ‘buck up’. I just think at this point, we have the material and experience to know how to calculate things and really tackle the market and the fans are responding to that. So, if people want to look at it as me being the poster child, then so be it. But I think a lot of people may try and attribute my success to the fact that there aren’t a lot of artists in this game surviving 22 or 23 years and being able to do what I’m doing (selling records) - say what you want but numbers don’t lie and we have the numbers to back it up. There is a bar you have to aim to we are certainly in the running as the bar. BSM: When they (media, industry) refer to you as the PC, I don’t think it’s a negative thing. I believe that people are excited about it, as far as Reggae & Dancehall music fans, in Jamaica and all over the world, especially in the United States Shaggy: I don’t think it’s negative either; I just really look at it as there are certain things that are undeniable. You’ll always have people who try and down play what you do - for the lack of a better word, haters, but at the end of the day, yuh know it’s arguable at this point. You can sit down and point out certain things that have been accomplished and still being done. Some one asked me if I was going to keep making dancehall records - whenever they stop playing it, that’s when I stop. When you (himself) go to England and other places and even when you look at all the Reggae and Dancehall charts and you’re top 5 in almost every country you say to yourself, “this is what it is.” BSM: I’ve officially labeled you as the ‘King of Reinvention’ as far as remaining current and relevant. When we look at the total package, your album artwork,

Bashment sessions magazine

“I’ve been criticized over and over. You have to look at yourself as a visionary and as a groundbreaker and trendsetter.” the tracks on your albums, you’ve been able to maintain the original “Shaggy” sound. Everybody knows Shaggy. Take us back to the beginning, how did you develop your ‘voice’ Shaggy: We stumbled upon the sound. If you listen to songs like ‘Big Up’, it’s a totally different sound from ‘Mr. Boombastic’ yuh know, and once we stumbled upon that sound and realized that sound appealed to a mass audience, yuh know it became the signature sound and you have to offer that from the logo all the way down. It’s signature. People know you and that’s what people are expecting. You said “King of Reinvention” and it’s fair to say because we do think reinvention in everything we do. There are no two Shaggy songs that we try to make sound the same. They will have a different key and a different vibe, but still Shaggy. We we’re having a conversation during the recording of ‘Summer in Kingston’ and toying with a couple singles. There were a couple of tracks that we thought were big radio singles, but they didn’t sound Shaggy, yuh know.

They may have had the sound or that style of what is going on at the time– but I was like we need a record that captures that and what Shaggy is so we came up with Sugarcane. It has the tongue in cheek that Shaggy always comes with, it has the innuendos that Shaggy always comes with, it has the sound, it Is reggae, it embodies everything that Shaggy’s career has gone through. It’s what it’s about. It’s age – appropriate. It’s where it’s at. It wasn’t like we were trying to do something or trying to fit in to something. It felt like what it is supposed to be. So Sugarcane was well calculated and well orchestrated. BSM: Has your music been criticized as being too commercial or only appealing to a certain market Shaggy: I don’t think you can go through a career of success without criticism. A career without criticism isn’t much of a career, so yeah; I’ve been criticized over and over. You have con’t on page 16

con’t from page 15 to look at yourself as a visionary and as a groundbreaker and trendsetter. Recall back in the day when they were looking at Bob Marley, who is no crowned the King of Reggae. Look back, a lot of people didn’t see him that way. They labeled him as a sell out. He was labeled a guy that made ‘white people music’ and not authentic and this and that and here we are now yuh know, we’re listening to the King of Reggae and he has timeless music. A lot of the Bob Marley music we here now wasn’t even recorded by Jamaicans. A lot of it (music) was recorded by session musicians in England, yuh know and it is now the blueprint of what Reggae is, but he had a much bigger vision. So you can sit and follow the trend or set the trend… BSM: ‘Summer in Kingston’ was released on your new label Shaggy: Yes. Ranch Entertainment. The sound you hear is crafted by a great team. We’re building a stable of artists and working with some great producers like Tony Kelly, whom I’ve worked with before, and others. BSM: What is the message of ‘Summer in Kingston’? What does the CD symbolize? Shaggy: Summer in Kingston symbolizes good vibes from the artwork to the song selection. It represents the good times. Even the video depicts Jamaica as a good place. So many other videos show more of a dark side like Rihanna’s ‘Man Down’, Drake’s ‘Find Your Love’, and Junior Gong’s ‘Welcome to Jamrock’. I have no issues with them or their art. I just chose to highlight the good parts of Jamaica. BSM: We noticed there were a lot of collaborations on ‘Summer in Kingston’ more than on previous records… Shaggy: Wow, I never thought about the number of collabs on the CD. There are 8 tracks on ‘Summer in Kingston’. As far as the features, I didn’t just jump up and say “hey, let’s get you on

this track.” I chose to collaborate with people I’m musically connected to, not necessarily with who are most famous. Tarrus Riley, Assassin aka Agent Sasco, and a few others. Some relatively unknown, but very talented. BSM: Shaggy, not only are you a successful recording artist, you’ve also been successful in helping save lives of children in your country of Jamaica through your philanthropic effort The “Make A Difference Foundation.” Shaggy: Well, I remember when I went and visited Bustamante Children’s Hospital. There was a little girl with a bullet lodged in her head. I thought, “if I’d seen the things that I saw and walked away without helping, I had no conscious.” From there I had to make a move and contribute. I saw

an opportunity to help and I’d always said if I got the resources, I would. I’ve been helping ever since. BSM: What can we look forward musically from Shaggy? Shaggy: 2012 is a big year for Jamdown. I’m planning a series of concerts to highlight the culture of Jamaica in a positive manner. BSM: What will be your legacy to music, to society? Shaggy: I’m seeking the fullest expression of myself as a human being on earth. I say to God all the time “keep on using me until you use me up.”

Bashment sessions magazine

BSM: CTG Productions (Conquer The Globe) was launched as a vehicle for you to gain more creative control of your career and to increase your ability to give more input into artist development. Is the production company also structured to promote I-Octane’s music globally, to tap into the mainstream market? IO: CTGP was created to do a variety of things including promoting my music globally and tapping into the mainstream market. With my own production company I don’t necessarily have to be limited to what other producers want me to do. I can judge the market and industry (both locally and internationally) for myself and create something that is unique and truly represents me but that is also what I know will be a hit worldwide. BSM: What is the major difference between the American Music Market and the Caribbean Market, specifically the Jamaican Music Market? IO: Well I must say that the difference btw American Music market and the Caribbean Market would have to be money. In the American music market there is money to help the artist pay for promotion, promotional items, studio, touring and a host of things to help boost and maintain an artist career. In the Caribbean music market we lack the major finances to support our career to that level. As a reggae artist we have to pay for our studio time, voicing, promotional items, etc....so for me that is one of the major difference. BSM: Best of the Best, Reggae Sumfest, Sting – these annual events are reserved for the most entertaining artists in the business and you’ve made appearances at each of them. What have you done to keep I-Octane on the lips and in the ears of fans worldwide between the shows? IO: Well, the truth is that it is a team effort. I do my part my creating the songs that I think will touch people and that they can relate to and then my team goes to work getting the music to my fans. But in terms of me, I just try to stay true to myself and to the music. I use what I see happening around me and from its life, people will gravitate towards the truth of it. BSM: Jamaica’s industry is known for ‘bussing’ a heap of artists and after the novelty wears off we don’t hear form them again. How have you managed to escape the fate of “The One-Hit wonder?” IO: For that I have to give thanks to the Almighty for blessing me with favor and my gift. That is the first thing. But I also try to work with producers who are always evolving, that way the sound is never static or one dimensional. The world is changing so fast that I realize that people always want something new, so even if it is the same topics, I try to find new ways to tell the story. BSM: Which of your records would you consider to be your break-out single? IO: Wow. That one is hard. I think maybe ‘Mama you alone’ could be considered that break out single. Then ‘Lose a friend’ and ‘puff it’ put me on a different level. BSM: You were featured in one of the early issues of Bashment Sessions Magazine; Mercury Rising. It was during the time “Lose a Friend” crashed the airwaves. You’ve definitely made an impact on the dancehall/reggae music industry in a relatively short amount of time. What team has been instrumental in getting you to the point of your career that you are now? IO: I would have to say my team has been very instrumental in getting me to the point in my career I am today. My team consists of an overseas team and a team on the ground in Jamaica and in unison they help maintain and push the brand I-Octane to another level. BSM: Do you feel pressure to alter the messages in your music when it’s obvious that there’s such public demand for slack music and violent lyrics? IO: I use to feel a lot of that pressure, especially in the beginning. As a young artiste, sometimes you want to be accepted so easily that you will do anything to buss but the slackness is not the path that I wanted to take. Now that I am more established, the pressure is a little less because people know my music and what I stand for, so certain things they don’t expect from me.

â&#x20AC;&#x153;I do my part my creating the songs that I think will touch people and that they can relate to - I just try to stay true to myself and to the music. I use what I see happening around me and from its life, people will gravitate towards the truth of it.â&#x20AC;?

Ziggi Recado "LIBERATION is less of an experiment but more me doing what I am most comfortable doing." BSM: You have been on the music scene for some time now, tell the fans about your beginning ZR: My first musical experience was in church in Statia! (St.Eustatius). I got into it professionally in Holland. Mainly by coincidence. BSM: Tell us about the popularity of Reggae music in the Netherlands ZR: Reggae is reasonably popular in Holland. There is not a grand scene though (Holland is also a tiny country). You have the occasional festival here n there. Reggae acts pass through regularly for shows. People trying to build! BSM: How receptive are fans to your music outside of the Netherlands ZR: Fans are generally WAYYY more receptive outside of the Netherlands! I actually play at least 80-90% of my shows outside NL!

BSM: Prior to Liberation you released a self-titled full - length album on VP Records - what are the contrasts (if any) between the two? ZR: Contrasts are enormous! LIBERATION was more a traditional sounding reggae EP. “ZIGGI RECADO” the album was very experimental. Tried to let reggae be influenced by a lot of other genres on that album. #LIBERATION is less of an experiment but more me doing what I am most comfortable doing. BSM: On the Liberation EP you collaborated with a fairly new singer/ producer, Taranchyla (Madd Spider), to create Cool and Humble - how did you two meet? ZR: We met in Europe somewhere last year. He works with an agency (Sultan Herb) that I work with also. The link was set from then and it was

very easy going getting this done. We def will do more work! BSM: We talked about collaborating with Taranchyla. Who else is featured on the Liberation EP? ZR: Taranchyla is the only artist I worked with on this EP. Six tracks were on there. One collab seemed just right to me! BSM: So the message behind Liberation is... ZR: The message is mainly mental liberation. I&I feel like people are, for the most part, physically liberated but not mentally. Social media, Internet and the rest of the technological developments suck people in so deep that they lose track of what is real. Hence masses are easily manipulated and controlled by propaganda. It’s like psychological warfare nowadays!

Anniversary

Dancehall Mainstream’s Ride or If Hip Hop and R&B are the “mains” of the American market, then Reggae and Dancehall are the ride or die side-chicks. Of course, the Caribbean-based pair always promises an exciting night after a few rounds of tequila, but they never quite receive America’s mainstream respect when the sun peaks through the blinds. Put simply, their relationship is “complicated”. At their bond’s peak in the 1990’s they all became fast friends and Reggae and Dancehall music showed major crossover promise. Shaggy, Sean Paul and Wayne Wonder lit up the stage and the U.S. Billboard charts with popular hits like “Mr. Bombastic,” “I’m still in love” and “No Letting Go”, respectively. But, that was the 90’s—the honeymoon phase for sure. The 2000’s have proven a bit rockier. Artists like Sean Kingston and pop up every once in a while and rekindle the flame, but it’s just not consistent. So, what or who is to blame for America’s commitment issues? Why won’t mainstream America man up and “put a ring on it?” Bashment Sessions investigates with candid feedback from two industry veterans. DJ Jah Prince: The Business Man

Prince made sure to stress that there are exceptions, naming Shaggy as one of them. According to the industry guru, much of Shaggy’s success has been accomplished because of his association with major distributors including VP Records (their slogan is “Miles Ahead in Reggae). “VP Records is the only international label that will promote. [When] they invest into [a record] things turn around,” says Prince. “Radio DJs will all endorse the single if there is marketing to go behind that. When we have the single and there is a video coming out and there is also that write up in the “Source,” it’s going to get play.” Prince notes that the lack of intense marketing makes the shelf-life of Reggae and Dancehall tracks decrease. A Drake or Nicki Minaj song for instance will receive vigorous airplay for months, while most Reggae and Dancehall songs die out after a few weeks time. When asked if new so-called “Pop-Reggae,” like Rihan-

Well-known Atlanta radio personality and DJ, Jah Prince,

na’s “Man Down,” is tainting the original authentic sound

the popular host of two shows on Atlanta’s first Carib-

in order to crossover, Prince didn’t seem convinced. He

bean based Internet Radio Station, Da Flava Radio (www.

does admit that modern Reggae is “watered down” but

DaFlavaRadio), blames organization (or the lack thereof)

doesn’t see how that differs from any other genre.

for Reggae and Dancehall’s crossover inconsistency. “You have to compare it to R&B and the Motown area “In the music industry there are several players invested

where you had to have talent…that was rhythm and

in a record. There’s the artist, the record labels, the pro-

blues. “Now there is Pretty Rick and others. Authentic or

ducers and marketers or people who push the record,”

conscious Reggae started the same way. Now you have

says Prince. “Hip-Hop has all of that. Reggae is not as

grown people singing about love and sex.”

well organized…it doesn’t have all of those areas working together like hip-hop does. There are too many independ-

Though the Reggae and Dancehall industries have their

ent producers.”

issues, Prince believes that the future of Reggae is bright.

Music: Die Side Chick Specifically he is excited about the new super group, Joss Stone, Damian Marley and Mick Jagger. “Reggae is evident in a lot of music. When Amy Winehouse did her concerts and had the live bass player and the live drums at 80 beats per minute, that was Reggae, laughs Prince. “This new super group will sell out arenas. That’s where I wanna’ see Reggae go.” His Top Crossover Joints: 1. The Jam by Shabba Ranks feat. KRS One 2. Say Hey AKA I Love You by Cherine Anderson 3. The World Cry by Keri Hilson and R. Kelly Delly Ranx: The Musician

Artist, producer, writer and DJ, Delly Ranx, says that

Though the melody is what’s important to him, Ranx

Reggae’s potential is limitless, and he is emotionally in-

does recognize that there is a lack of cooperation.

vested enough to make everyone around him believe it. And why not? He’s been all over the world and his music

“Instead of fighting with each other, let’s help each other.

has been welcomed by people who don’t look like him,

Don’t fight with the producer…help him,” preaches Ranx

sound like him or think like him. That’s a good feeling

emotionally. “United we stand, divided we fall.”

he says. *Delly Ranx recently released a full length CD titled “The “When I go to Japan they don’t understand my Patwa,”

Next Chapter,” his fourth to date.

Ranx says about the Caribbean language that has heavy

His Top Crossover Joints:

British and West African influences. “But they understand

1. One Love by Bob Marley

the melody.”

2. Man Down by Rihanna

Treat Yourself Your Ultimate Source for Dancehall No other magazine will keep you on the cutting edge quite like Bashment Sessions Magazine. Itâ&#x20AC;&#x2122;s packed to the max with celebrity interviews, reviews of the latest dancehall and reggae tracks, listings of the hottest spots to hear the Caribbean music, and much, much more! TM

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Worlds Music www.houseofreggae.de/ http://ziggirecadomusic.com/ http://fresh927.com.au/ www.GappyRanks.com Social Networks http://youtube.com/RanchEnt http://www.youtube.com/user/DAMOEntertainment https://www.facebook.com/djavalanchesound https://www.youtube.com/mrleegit http://www.reverbnation.com/ThemIslandBoyz Music, Videos and Downloads www.lilkeeonline.com/ www.matikmusic.com www.MichaelFranti.com www.famouskidbrick.com Promo, Publicity, & Entertainment http://www.prophecyevents.com/ http://www.mylime.ca/ http://www.prohiphop.com/ http://www.phovidzs.com/ www.Foxfuse.com/

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Mixtapes Leftside the Transporter Mixtape: Vol 1 www.soundcloud.com/KeepLeftRecords DjKenny - Back to Life: Dancehall Mix 2012 www.datpiff.com/profile/DjHillionaire Mixtape Yardy Presents: Mr. Midas - Midas Touch www.Mr.Midas.com Joe Grime Don’t Mix That – D.M.T Vol. 4 www.thebashmentshow.podomatic.com RSNY: Fly or Die 3 www.RSNYMusic.com Porsha Nicole – The Good Luv LP www.datpiff.com/profile/keezone Edott: Park Legend www.datpiff.com/profile/IkeCeo

Riddim! Reviews, Releases & Rankings morgan Heritage The Return label: vP Records Release date: 08.28.2012

new kingston Your Turn To Cry (single) label: vP Records Release date: 08.14.2012

eggae Gold 2012 follows a string of recent successful releases on the VP imprint. This year’s collection features 2 discs, current Reggae and Dancehall chart toppers (disc 1) and Reggae and Dancehall classics (disc 2) which includes Bounty Killa’s Benz and Bimma, General Degree’s When I hold You Tonight, Mr. Vegas’ Heads High, and Buju Banton’s Pull it Up featuring Beres Hammond. It lives up to the standard listeners have come to expect from the brand that is “Miles ahead in Reggae music” Here’s a review of a few tracks from the chart-topping Reggae Gold 2012.

drastic Bam Bam label: island swag entertainment, llC Release date: 06.2012

Gal a Bubble – Konshens - Pulsating bass line, intoxicating riddim, and a good mix of drums and synths. Konshens’ tune captures the essence of dancehall - sexy, raw, catchy lyrics, fun and seducing.

da’ville krazy love label: Fashozy Records Release date: 06.19.2012

Kingston Town - The opening bars, laced with lots of organ and just enough dub (reverb, echo, etc.), tell a tale of the legendary Jamaica, a place to be feared and revered. Busy Signal and Damian “Jr. Gong” Marley vocals blend perfectly with this roots reggae production. “Every man a fight fi wear kings crown/but when the moon full and you hear dogs hound/a wild, wild - west show down”.

Bobby v mirror (single) label: Blu kolla dreams/Capitol Release date: 05.29.2012

Romain virgo The system label: vP Records Release date: 05.08.2012

groundation Building an ark label: vP Records Release date: 04.24.2012

Busy signal Reggae music again label: vP Records Release date: 04.24.2012

She doesn’t Mind, with Sean Paul’s international appeal, exemplifies Jamaica as multitude of sounds. This fusion of synths, bass, and digital hits hard in dancehalls and is radio ready. This is the lyrical delivery that established ‘SP’ as superstar. Only Man She Want - PopCaan - Another radio friendly single (landed on billboard’s charts) rare for underground dancehall artists otherwise unknown to US charts. This has a popular (overexposed) digital sound. It’s seductive and gritty lyrics are cleverly disguised by upbeat light instrumentals. Cheater’s Prayer - Christopher Martin - looks at infidelity from a new perspective - Martin croons “lawd don’t let me cheat on my girlfriend” a clever confession laced with regret (sort of) “but if you can’t stop me from cheating/don’t let me get caught.” Nice one - drop production and smooth vocals by Christopher. Good job keeping this heavy topic light. Reggae - Etana – This is an Ode to the genre. “Once you tried to leave me/so I was all alone/ music won’t deceive me/I won’t be alone” The

sultry vocals, acoustic guitars, drums, and perfect chords make for classic Reggae. I Know Better - Romain Virgo - The tune come in “Mi could have gun pon mi waste/boy dis and mi kick off him face/mi coulda run di place, dun di place/no bwoy coulda violate” then the beat drops with Romain’s groovy plea “I know Betta” and he assures his audience that underneath the mild demeanor lies a bullish temperament (if provoked), but his smooth vocals keep us comforted. Cham & O’s Wine had all the social networks buzzin’. Mr. Vitamin S’s throaty vocals paired with his provocative lyrics continue to create havoc in the dancehalls. “Love how yuh siddung and wine pon your head/you have the boom dem gal dem wine dead.” As raw as ever. Overtime - Gyptian is rapidly becoming Reggae and Dancehall music’s ‘go-to guy’ for hit singles. In 2010 his heavily rotated (and remixed) “Hold Yuh” topped charts worldwide. The soca-fix follow-up “Nah Let Go,” released in early 2011 was equally successful (has almost 7million You Tube views). Now he’s back crooning over Justus’s Overtime Riddim. “Seh she wanna wuk, cause she tiyad of the nine to five/so mi chip in the overtime and me give her the overdrive” with those lyrics, his reputation as the ultimate ladies man remains in tact. Melanie Fiona is a newcomer to the Reggae Gold series, but no stranger to Lover’s Rock. She burned last year’s charts as a feature on Stephen Marley’s “No Cigarette Smoking.” “Like I Love You” is a fusion of Lover’s Rock and Dub accented by bass guitars. Perfect for her raspy vocals. “I could dance with you forever and ever/my heart has never been this sure, not ever”

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r. Vegas’ much anticipated 2-CD effort pays homage to his homeland of Jamdown. Although he maybe one of the most underrated Jamaican recording artist, to his credit, Mr. Vegas has been consistent in his musical prowess. Much of his earlier work established him as a talented sing-jay and “Sweet Jamaica” proves his vocals remain on point (listen to his rendition of You Make Me So Very Happy) – rivaling those of Sanchez, Singing Melody, Wayne Wonder and others. And though he’s been a prominent figure in dancehall music, this record definitely cements his place as a solid international performer. It’s a record you can listen to and be equally enthralled by each of the tracks (melodies as well as the lyrics). It’s risky for a dancehall artist to attempt a reggae album without it sounding contrived. This is Mr. Vegas true to form. It’s a very authentic sound,

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all encompassing of what the island of Jamaica is – sex, money, religion, politics, love, and ganja. Every topic is explored in a very subtle, non-threatening manner. The title single “Sweet Jamaica” is a catchy ode featuring fellow dancehall and reggae icons Shaggy and Jose Wales. The track definitely stirs up a pleasant curiosity about the island. The up beat one-drop tune “Whenever You’re Lonely” is the singjay’s take on tried and true relationships and “Can’t Stop (Love You More Everyday)” featuring Jovi Rockwell is reminiscent of Studio One sounds. Mr. Vegas also revives popular dancehall riddims on tunes including “Black and Proud”, “Champagne Rose’”, “Certain Law”, and “Something About You”. “Let The Music Play” pays tribute to those that have influenced him. This is definitely not trendy music. It’s music from an artist that knows his audience, knows his skills, and knows

the industry. Live music fans will appreciate the horns, guitars, and organs characteristic of one drop, rock steady, and reggae. Just as hardcore dancehall fans will love the drum and bass. It’s difficult to choose which track is the high point of the double disc. They are all different, yet they piece together very nicely. It’s evident that “Sweet Jamaica is a carefully crafted from songwriting to production. Any of the tracks can be played next year or years after and they won’t lose their appeal.

Reggae Gold peaked at #1 on Billboard’s Reggae Albums Chart Sweet Jamaica peaked at #7 on Billboard’s Reggae Album *For more information on charts and/or rankings visit www.billboard.com and www.reggae-vibes.com