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fEATURES CALENDAR ••. the year in review 8 SO JAH SEH h.Lm 6 TOP TEN LISTS the people's choice 14 PRINCE BUSTER the originator 16 DID U KNOW ..• now you do : 18 FREDDIE McGREGOR •.. big ship 20 LUCKY DUBE gets lucky 22 SHABBA AND MAXI ••. artists of the year 24 PETER TOSH ..• red x 26 SHABBA RANKS rrrough & readyyy 28 BURNING SPEAR .•• rootsman rapping 30 cum RANKS no stopping 32 ANNmE BRlssm sounds of thunder 34 AWARDS and the winner is 36 TATA AND TOMMY ... trenchtown remembers 38 HONORABLE MENTIONS ... the best of the rest .. 40 ARTISTS' PICS serious selections 42

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YEARBOOK 1991

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EN YOU THINK OF HomE, THINK AIR JAmAICA

Flying home on your national airline is like being in Jamaica the minute you step on board.

Courtesy, competence and congeniality abound. And don't forget our Flying Ace Frequent Flyer Program. Whenever you fly home, you earn points towards Air Jamaica Flying Ace Awards. Accumulate enough, and you'll get full free travel. Or, choose partial Flying Ace Awards such as First Class upgrades, a 50% free ticket, or Free Excess Baggage.

The next time your head is full of Lovebirds, Ackee and Cricket, call your home airline.

For reservations and your Flying Ace Awards application, call Air Jamaica toll free at 1路800路523路5585.

REGGAE REPORT YEARBOOK 1991

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"The International Reggae Magazine" 8191 N.W. 9151 Terrace, #A·1 Miami, FL 33166 Tel: (305) 887·4460 Fox: (305) 887·4351 1·800·829·4360

Publisher/Editor M. PEGGY QUAITRO Assistant Editor BRIAN E. ROCHLIN Editorial Assistant LIZARD LOEBMAN Editorial Intern MAIT DAVIS Operations Manager ENID WEISS AREY Stoff Photographer BARBARA REUTHER Writers C. DANNY BREAKENRIDGE, MARISA FOX, KAREN JAH LIGHT. LIZARD LOEGMAN, DEANNE LUCEY, PAPA PILGRIM. M. PEGGY QUAITRO, JENNIFER RYAN

II

Photographers LEE ABEL, CONRAD BARCLAY, TIM BARROW, CALVIN BRYAN, SHARON BURKE, DEVON CASS, LARRY S. GLENN, LYNN GOLDSMITH, EVERTON HAlL, RICHARD KENT. DEANNE LUCEY, BRAD METZGER, HAKIM MUTLAQ, M. PEGGY QUAITRO, BARBARA REUTHER, DREAMY RILEY, JORGE SALAS, BOB SALZMAN Cover Photo MAXI PRIEST and SHABBA RANKS

by Dreamy Riley Art Director CARMEN GONZALEZ Assistant Art Director EllER PEREZ Typography GRAPHICS UNLIMITED REGGAE REPORT JAMAICA Ltd. c/o SANDOSA MUSIC 19 Eureka Crescent Kingston 5

(809) 92-94089/93664 FAX (809) 92-99688 Opinions expressed by writers in Reggae P.eport are not necessarily those held by Publisher. P.eoders views are weicomed.

Publisher assumes no responsibility for unsolicited material and reserves the right to

publish in whole or publish In port, ali letters received. Letters sent to Reggae Report wili be considered P.eggoe P.epart property. No photos or materials contained herein may be

published printed or used without written consent from the Publisher.

All Rights Reserved ©199'2

REGGAE REPORT YEARBOOK 1991

ON INTERNATIONAL POLITICS In matters of foreign policy we have been ever guided by three basic principles.

First is our deep conviction that. where there is no lack of good-will, all intemational disputes can be resolved through negotiations, without recourse to violence. An inevitable corollary of this belief is our firm conviction that all nations. whatever their political persuasions, can live together in peace.

Second is our unswerving devotion to the principle of collective security.

Third, flowing from the principle of collective security, is the necessity, in these anxious days when the major powers are engaged in a frantic arms race. for all countries which have accepted this principle and assumed a share of the responsibility for ensuring the peace of the world, to become ever stronger militarily.

As we have stated time and time again, we are firmly persuaded that the path to guaranteeing the peace of the world lies in supporting the principle of collective security and the United Nations Charter. combined with a progressive reduction of the armaments which are being built up throughout the world.

The billions of dollars which are now wasted on this fruitless effort could with great benefit, be diverted into the constructive channels of aid for the economic growth of under-developed countries.

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J) And I heard a great voice out of heaven saying, Behold, the tabernacle of God

"Man Is able to shope his own character, direct his own life and shope his own ends.

When God breathed Into the nostrtls of man the breath of life: and bestowed upon him the authority of 'Lord of Creation: he never Intended thot the Individual should descend to the level of a serf or a slave, but that he should be always man, In the fullest possession of his sense and with the truest knowledge of himself:'

REGGAE REPORT YEARBOOK 1991

is with men, and he will dwell with them, and they shall be his peaple, and God himself shall be with them, and be their God. 4) And God shall wipe away all tears from their eyes; and there shall be no more death, neither sorrow, nor crying, neither sholl there be any more pain: for the former things are passed away.

5) And he that sat upon the throne said, Behold, I make all things new. And he said unto me, Write: for these wards are true and foithful.

6) And he said unto me, It is done. I am Alpha and Omega. the beginning and the end. I will give unto him that Is athirst of the fountain of the water of life freely.

7) He that overcometh shall inherit all things: and I will be his God, and he sholl be my son.

8) But the fearful, and unbelieving, and the abominable, and murderers. and whoremongers, and sorcerers, and idolaters, and all liars, shall have their part in the lake which burneth with fire and brimstone: which is the second death.

REGGAE REPORT YEARBOOK 1991

7

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• The year starts successfully for Maxi Priest, whose hit song "Close To You" tops the Billboard pop charts.

• Third World records a children's album based on Sebastian, the crab from the animated Disney film, The Little Mermaid.

• UB40's second collection of Reggae-influenced cover songs, Labour of Love II, goes gold.

• Three Mango/Antilles artists are honored with Grammy nominations. The Reggae nominee is Burning Spear for his LP, Mek We Dweet.

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• Bunny Wailer wins the 1990 Reggae Grammy for the album Time Will Tell- A Tribute to Bob Marley.

In selecting the album's ten songs, Bunny said he "aska whole heap a man which ffi song dem woulda like hear i!: and I choose from that." ~ • A tour bus, en ~ route from Salt Lake City :i to Boulder catches on fire, D! :i forcing Sister Carol (picMUTABARUKA tured), Brigadier Jerry, and the High Life Players to evacuate into the cold night air, destroying the contents of the bus, equipment included.

• Mutabaruka's release, "The People's Court," is banned by R.J.R. The song criticizes and tries two prominent politicians for their atrocities to the Jamaican people.

• February could very well be nicknamed "Awards Month." Awards being given this month include Rockers, Musicman, Jamis, Gleaner on the Record, g Grammys, and the Canadian Music Award.

Reggae Report is now being distributed in ~ Botswana, South Africa.

• February 6 is Bob Marley Day in San Fransisco.

SISTER CAROL

REGGAE REPORT YEARBOOK 1991

NINJAMAN

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FREDDIE McGREGOR & HOPILAND CHILDREN

DADDY FREDDY

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• Some of Dancehall's best talents, headed by Ninjaman (pictured), and including Cutty Ranks, Cocoa Tea, Capleton, and Skull man, participate in Border Clash II, a contest between Kingston DJs and St. Catherine DJs. • It's a British invasion when the Ariwa Posse tours the States, combining the engineering talents of Neil "Mad Professor" Fraser (pictured) with DJ Macka B. • During his US. tour with Mikey Dread and Lloyd Parkes & We the People, Freddie McGregor joins school children in Arizona's Hopiland.

• Daddy Freddy is in- ~ ducted into the Guiness ~ Book of World Records as 8 the World's Fastest Rapper, ~ clocking in at 507 syllables per minute.

• The Jamaican Federation of Musicians holds its annual Musicians Week, April 14 to 20. The week consists of seminars, musicfests, tourism and Federation awards, and performances. Award winners include (pictured here) Handel Tucker, Dean Fraser, JC Lodge, Mikey Bennet~, and T. "Boots" JFM AWARD WINNERS Harris, among others.

• Black Uhuru's LP Iron Storm is released on the Mesa label and is voted the number five World Music LP by Billboard's Year End "Year in Music 1991." This LP follows the band's 1990 Grammy winner, Now. • The Bob Marley Photo Exhibit opens in London on April 11.

• At Frontline, a night spot in Jamaica, police fire upon patrons at the outdoor club, seriously injuring one man. Tension over the search for gangster "Natty" Morgan is cited in official police reports. But Mutabaruka and other guests in attendance'tell a different story.

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REGGAE REPORT YEARBOOK 1991

MAXI PRIEST & DENNIS BROWN

• Broadcast live from England, Aswad appears on the CBS morning show "This Morning." The band also tours the U.s., promoting its 13th album, Too Wicked.

• From Toronto to London, Rome to L.A., concerts are being held throughout the world paying homage to Bob Marley - Ten years in Zion.

• Sunsplash USA tour begins. This concert, which covers 45 cities, features a huge roster of performers, including Dennis Brown, Maxi Priest (both pictured), Sly &Robbie, Shinehead, Andrew Tosh, Carlene Davis, and Third World.

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• Italian audiences celebrate the life and music of Bob Nesta Marley when The Wailers Band (pictured), the I-Threes, the Reggae Philharmonic Orchestra, Julian Marley, and Cedella Booker perform in Rome for The Marley Lives Concert.

• Dennis Brown, Maxi ['riest, Little Lenny (pictured), and Shinehead appear on "Late Night with David Letterman" to perform "One Love." Reggae artists appearing on a nationally syndicated television show provides further evidence that America is awakening to Reggae.

• The Itals headline the Vermont Reggaefest. Not only is this Vermont's largest outdoor conference, but the largest public gathering in Vermont's history, drawing somewhere around 40,000 people. Other acts include Sister Carol and Identity.

• Junior Reid appears as a model in this months issue of The Face. Also appearing in the issue is Ninjaman.

• South African Reggae artist Lucky 5 Dube kicks off his U.S. tour. ;7j w • A "Champions in Action" concert <!> ex: takes place at Jamaica's Ft. Clarence o ...., Beach, with performances by Sanchez, LITTLE LENNY Pinchers, Ritchie Stephens, and others.

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• A cultural tribute takes place in Kingston's National Stadium in celebration of the July 24th visit to Jamaica by Nelson and Winnie Mandela. More than 150 individual artists and groups sign up to participate in the historical event.

• Pinchers entertains a huge crowd at the 14th annual Reggae Sunsplash Dancehall Night, held in Montego Bay. Overall crowd pleaser, Lucky Dube, brought authentic African culture to Jamaica's Sunsplash on International Night, with his outstanding musical presentation and Zulu dancing.

• The 99th anniversary of the birth of Tafari Makonnen (Haile Selassie), born on July 23, 1892, is remembered.

• IRIE-fm celebrates its first anniversary on the Jamaican airwaves.

• The Studio One 35th Anniversary kicks off at the National Arena in Kingston.

This is where the music rave started nearly 40 years ago, pioneered by Sir Coxsone Dodd. The show brings together artists representing 35 years of Jamaican music.

Performers include the Gaylads, King Stitt, Skatalites, Joe Higgs, Ken Boothe, Marcia Griffiths, Ernest Wilson, Frankie Paul, Johnny Osbourne, and about 40 others.

H.I.M. HAILE SELASSIE

PINCHERS

AUGUST REGGAE ON THE RIVER

• The West Coast's largest outdoor Reggae festival, Reggae on the River, is held for the eighth consecutive year, featuring Third World, Big Youth, Daddy Freddy, Freddie McGregor, Pato Banton, among others.

• The Miami Reggae Festival expands to two days. Headlining the venue is Shinehead and Jimmy Cliff (pictured).

• After eighty weeks, UB40's Labour of Love II is still on Billboard's Top 100 album chart.

JIMMY CLIFF

CLEMENT "COXSONE" DODD REGGAE REPORT YEARBOOK 1991

SEPTEMBER • The president of RAS Records, Gary Himmelfarb, announces that RAS will be the exclusive international distributor for the Miami-based Gong-Sound label.

• The 10th Independence Anniversary of Belize is celebrated with four days of music, art, and dance, including performances by Inner Circle.

• Burning Spear (pictured) and Jimmy Cliff perform before thousands as part of a four day musical showcase held during the Labor Day holiday in Seattle, Washington.

• Lucky Dube's new LP, House of Exile, is released in South Africa.

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• Dancehall phenomenon Supercat is signed on by Columbia Records.

• "Taxi Driver," from Steel Pulse's Victims LP, hits number one on Hawaii's charts.

• Island Visual Arts re-releases the 1972 film classic starring Jimmy Cliff, The Harder They Come, with a digitally re-mastered soundtrack. The soundtrack is also named one of the top 100 albums of all time by Rolling Stone.

• The Sound System Association of Jamaica holds a fund raising dance at the Grove Entertainment Center featuring top sets from the Association: Stone Love, Super Dee, and Body Guard.

• The Ward Theatre in Kingston hosts a month-long program, "The Season of

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Excellence," which features theatre, dance, music, and art.

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The CMJ music seminar in NYC features an all-star Reggae panel.

NOVEMBER

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• Twenty-year music veteran Gregory Isaacs begins his U.s. tour. This is the first time in six years that the "Cool Ruler" performs for American audiences.

• Viewers are able to watch Ziggy Marley and other Reggae Sunsplash performers from their Iiving rooms, when Sunsplash is broadcast on Pay-Per-View TV. • National television welcomes Shabba Ranks (pictured) and Maxi Priest, when they perform their mega-hit "Housecall" on "The Arsenio Hall Show."

In weeks to come, the duo will sing the same song on "Late Night With David Letterman."

• Freddie McGregor signs a three year deal with D & G, the brewers of Red Stripe Beer, Dragon Stout, and D & G sodas. Freddie will sing the radio jingles for Red Stripe and appear in television ads.

GREGORY ISAACS

CHRIS BLACKWELL

SHABBA RANKS

DECEMBER

• The Jamaican Court awards the Marley Estate to Rita Marley and family (and thereby Chris Blackwell, pictured) over MCA Records.

• Reggae Report celebrates its 8th anniversary with a Holidaze Sampler concert, featuring Tiger, Freddie McGregor, the Itals, , Julian Marley, and others.

• Along with Supercat, Frankie Paul, Cocoa Tea, Papa San, and more than 20 others, Jamaican-born rapper Heavy D gives the performance of the evening at Miami's Reggae-

Rap Explosion.

DREAMY RILEY

TOP TEN ALBUMS OR SINGLES Neil Cooper: Owner and President-ROIR (the cassette only label) (in no particular order) 1.

Lee "Scratch" Perry: Lord God Muzick 2.

Various Artists: Reggae Report Presents Reggae USA 3.

Daddy Freddy: Stress 4.

Lucky Dube: Captured Live 5.

Oku Onuora: I A Tell Dubwise & Otherwize 6.

Adrian Sherwood: African Praises 7.

Ragga Twins: Reggae Owes Me Money 8.

Prince Far-I: Dubwize 9.

Reggie Stepper: Kim Bo King 10. U-Roy: True Born African

Hilton Rosenthal: Label President-Rhythm Safari 1.

2.

3.

4.

Bob Marley: Talkin' Blues Majek Fashek: Spirit of Love Burning Spear: lah Kingdom Joe Higgs: Black Man Know Yourself

3.

4.

5.

6.

7.

8.

9.

10.

Shabba Ranks: "Hood Top" Pinchers: "Bandelero" Barrington Levy /Cutty Ranks: "Dancehall Rock" Buro Banton: "Boom Wa Dis" Supercat/Frankie Paul/Heavy D: "Bi:; & Ready" Tony Rebel: "Fresh Vegetable" Louie Ranking: "Typewriter" Marcia Griffiths/Cutty Ranks: "Half Idiot"

Amy Wachtel: Night Nurse Productions 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

Burning Spear: lah Kingdom Aswad: "Fire" Mutabaruka: Blakk Wi Blak... k...k. ..

Rastafari Elders: Rastafari Elders Judy Mowatt: Look At Love Massive Attack: Blue Lines Ziggy Marley and the Melody Makers: lahmekya Bob Marley: Talkin' Blues Rebel MC: Black Meaning Good Israel Vibration: Forever

AE

RE 5.

6.

7.

8.

9.

10.

Itals: Easy to Catch Pato Banton and the Reggae Revolution: Live and Kickin All Over America Judy Mowatt: Look At Love Ziggy Marley and the Melody Makers: lahmekya Shabba Ranks: As Raw As Ever Lucky Dube: Captured Live

Peggy Quattro:

u lisher: Reggae Repor

Gary Himmel/arb: Label President-RAS Records 1.

2.

3.

4.

5.

6.

7.

8.

9.

Israel Vibration: Forever Tinga Stewart: Dancehall DIs Supercat & Nicodemus: Cabin Stabbin' Wailers: One Love Macka B: Peace Cup Various Artists: Reggae lam Down Burning Spear: lah Kingdom Brigadier Jerry: On the Road Again Mad Professor: Hi-jacked to Xaymaca

Chertow: e Report writer

Murray Elias: Reggae A&R: Profile Records 1.

2.

Alton Black & Blacka Ranks: "Gal A Watch You" Beres Hammond/Cutty Ranks: "Love Me Have Fe Get"

REGGAE REPORT YEARBOOK 1991

10.

iggy Marley and the Melody Makers: a arious Artists: Strictly the Best 3 injaman: Bounty Hunter ulture: Three Sides to My Story apa Levi: Code of Practice ennis Brown: Over Proof -Roy: True Born African habba Ranks: As Raw As Ever Macka B: Peace Cup Bob Marley: Talkin' Blues

OTHER TOP TENS TOP TEN INTERNATIONAL REGGAE RELEASES

4.

5.

6.

7.

8.

9.

10.

Nagasa: Can't Stop Iah Children Again Dub Squad(Pittsburgh): Big Town Cardiff Reefers: Alternate Roots Inka Inka: Wake Up! Dub Squad(Portland): Tonic of the People John Bayley: Pow! Pow! Pow! Scottie McDonald: Island Romance

(for information on how to obtain these albums, contact the Reggae Report office)

Doug Wendt: Noted Reggae OJ, writer and radio personality 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

Jambo: Iambo (South Africa) Nusrat Fateh Ali Khan: "Jewel" (Pakistan) Dream Warriors: "Ludi" (Canada) Majek Fashek: Spirit of Love (Nigeria) Chuck D/Neo-Mafia/Mad Professor: "At Least American Indian People Know Exactly How They've Been Fucked Around" (Various Countries) Ho Aikane: Island Irie (Hawaii) Various Artists: Peeni Waali (Switzerland) Soul Vibrations: Black History/Black Culture (Nicaragua) Rod Deal & The Ideals: Truth & Rights (Northern California) Apache Indian: "Move Over India" (East Pakistan)

TOP TEN REISSUES AND ANTHOLOGIES Lee O'Neill: Reggae Report writer 1.

Wailers: One Love 2.

Henry "Junjo" Lawes: Total Recall 3.

Sonia Pottinger: Musical Feast 4.

Various Artists: Strictly the Best 4 5.

Joe Gibbs: Revive 45s VI 6.

Dennis Brown: Classic Gold 7.

Various Artists: Reggae Hits 10 8.

Gregory Isaacs: Love is Overdue 9.

Johnny Clarke: Authorised Rockers 10. Bob Marley: Talkin' Blues

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OP TEN CLUB SPINS aphtali Rashid: Davi

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7.

6.

5.

4.

3.

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Black Uhuru: "Tip of the Iceberg" Israel Vibration: "We a de Rasta" Culture: "Peace and Love" Shabba Ranks/Maxi Priest: "Housecall" Cocoa Tea: "Riker's Island" Frankie Paul: "Should I" Gregory Isaacs: "Call Me Collect" Burning Spear: "Mek We Dweet" Burning Spear: "Great Men" Burning Spear: "Estimated Prophet"

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From "The 'Lilte Night wi Ten Lists"(Pocket Books

TOP TEN A INDEPEND Papa Pilgrim Reggae Repor 1.

Abeng: 2.

Third E 3.

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Letterman' Book of Top

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ashington D.C. soundsystem with Super Fred and crew) Pinchers: "Bandelero" Cobra: "Gundelero" Richie Stephens: ''I'm a Trying" Sanchez: "Give It a Chance" Shabba Ranks: "Girls a Whine" Ninjaman: "Things a Gwan" Beres Hammond: "Tempted to Touch" Beres Hammond: "Step Aside" Shabba Ranks: "Trailor Load a Girls" Thriller U: "Back on My Feet Again"

REGGAE REPORT YEARBOOK 1991

15

BY C. DANNY BREAKENRIDGE

O

ne of the most experienced, authentic and authoritative members of the Reggae industry is the majestic Prince Buster. A legend in the history of Jamaican music, he was one of the creators of Ska, the mother of Reggae. Prince Buster was the first Jamaican superstar singer to consistently hit the world charts. Since 1966, when his golden single, "Shaking Up Orange Street" sold well over one million copies, he has released recordings'tha..t have lit up the British, Billboard and Cash Box charts,' songs such as "One St~p Beyond;' "Ruff Rider" and "Burke's Law;' and captured the #1 spot in Britain with "Alcapone Guns Don't Argue'.' Although no longer with them, Prince Buster was one of the first Reggae artists to be signed to a major U.S. label (RCA). He is now recording new music along with remakes of some of his early releases. in reasoning with Prince Buster, "The Voice of the People:' I took the opportunity to find out the factors that gUided and motivated his direction.

DB: I want to tall~ to you about your new works: the music you are now recording and the album that is scheduled to be released in 1991. However, before we begin, what I would first liI~e to talk about is your bacl~ground because you are not a new window or door; you are a pillar of the temple of Reggae music and culture. ('

PRINCE BUSTER â&#x20AC;˘â&#x20AC;˘ 16

REGGAE REPORT YEARBOOK 1991

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PB: If you listen to the music thot was mode in Jamaica when I first started, it was just a copy of rhythm and blues. My music was a mixture of mento, calypso and an influence of rhythm and blues.

However, the history of sound systems goes back to a man from whom I learned a lot. That man deserves to wear stars in his crown. His name was Mr. Wong, better known as Tom the great Sebastian. This man was right on my corner at Luke Lane and Charles Street where he had a hardware store. He would play his sound system night and day. and I used to sit under his sound box and listen to the music. He had records like nobody else.

When he I~ept dances at Forrester Hall, everything was clean and neat and so were the people who attended [them].

When I went into sound with Coxsone, I used a lot of what I learned from Tom to build up Coxsone's sound .. .There were other things I wanted to do, but Coxsone was not ready or able to understand, and that's when I borrowed my mother's savings and bought my own equipment to build my own sound-Prince [3uster's Record Shacl~. That's when I started to mal~e my own music.

DB: I understand that before the Skatalites band was formed you were working with some of the members.

PB: Yes, it was my band, Prince [3uster's All Stars, that became the Skatalites. When I first started to make the Ska music, Coxsone and Duke Reid called it "[3uster's [3uff [3uff Music" because they were playing rhythm and blues on their sound [system]. and every dance that they kept, flopped.

I even used"Supertone" and Lloyd the Matador to flop them with my music. Ska was the pioneer in the world, and it paved the way for Reggae. I was the first youth from West Kingston to become successful in the music business. [3ob Marley and Jimmy Cliff used to come and stand at my record shop door and listen to me and stay around and get the feel. Right at Luke Lane and Charles Street, all the youth used to come and hang out at the shop. [It was] because I was crowned King of sound system and it was a very big thing at that time. I was the only light shining on the poor people, a light that came from them and blind the whole society. so the people could realize that it was possible for them to do the same. [3ecause of the doubt that slavery put into them, [they felt] that only the lighter skinned people can be fortunate and successful. I helped to make them realize that it is not the color of a man's skin, but what is in his mind that determines his greatness.

DB: What advice would you give to the youths now in the business.

"IT IS NOT THE COLOR OFA MAN'S SKIN, BUT WHAT IS IN HIS MIND THAT DETERMINES HIS GREATNESS" PB: I would encourage them to be creative.

DB: What is one of your fondest memories of your career?

PB: I always remember my first recording session. I not only recorded myself in that first session, I also produced Count Ossie and the Mystic Revelations of Rastafari's biggest hit, "0 Carolina'.' Count was hesitant to record his song without the bass guitar and other regular band support; however, I said, "Count, I want you to record just the way you and the group play all the while': and out of that came the original "0 Carolina:' which is still popular today.

DB: Tell me about a disappointment or dissatisfaction you have encountered.

PB: Certainly, my experiences have not been without disappointments and dissatisfactions. What I want to talk about is how I was sold out by the government

of Jamaica under the Social Development Corporation (SDC). The SDC sold my rights and the ownership of my worl~s to United Artists in America. At that time, I had a valid contract with a record company in England, Melodisc Records, and had a song with them on the Cash [3ox MagaZine Charts. I was approached by the government of Jamaica through SDC and a lawyer from the American record company under different terms, so when the [3ritish company tried to retain the original agreement, they ended up having to fight with the Jamaican government and the American company. [Melodisc] deCided that they couldn't fight a government, so they dropped the deal. Since then, I have spent thousands of dollars in America for lawyer's fees, traveling expenses and other expenses in an effort to find out exactly what went wrong with my rights regarding ownership of my songs that I used my money to produce.

DB: Which songs are we tall~ing about?

PB: They claim the rights to all my songs, even the ones that were made after I met them.

DB: During the time that you were off the music scene, was it due to frustration or disappointment or what?

PB: No! I should explain further. You have to 'understand that I became a minister in the Nation of Islam, and started to study religion. I reached the stage where I was the minister in charge of the Caribbean.

Jimmy Cliff was a minister under me. It took up a lot of my time. When I was studying religion and working as a minister in the Nation of Islam, the police raided my house a number of times, and they had me on trial many different times in the Half-Way-Tree Court, yet they were never able to convict me. I had to live Iil~e Moses in the Pharoah's house.

DB: In spite of all the harassment and mistreatment, you sure look good and sound real good on your new material. Tell me about your recent performances and recording.

PB: In 1990, I did some shows in England, Europe and Japan and they were great.

The people I~new my songs and loved them. I have been recording quite Q number of new songs, while covering some of the old ones too. I cannot follow what is going on, so I have to regenerate Ska and Reggae. The music I am now making can be called "Skaggqe:' [It's] not computer style, but band type music, current recording to I~eep the human feel and natural vibes.

DB: We are looking forward to your new releases and re- releases, along with your live performances.

PB: Thank you.

THE ORIGINATOR REGGAE REPORT YEARBOOK 1991

'{fj)ia~l1: K!! 0\At I

REGGAE REPORT YEARBOOK 1991

cane, was held for the United States Congress. ...Phonso Martin left Steel Pulse. ...Prime Minister Michael Manley reportedly congratulated Gary Saddler for the excellent impersonation he did on Mutabaruka's RJR banned "People's Court." ...Augustus Pablo's real name is Horace Swaby. ... that when Third World entered the U.S. to begin their national tour, "Cat" Coore's 24-track tape of new material was reportedly cut up by a customs official. ...Joseph Shabala, lead singer of Ladysmith Black Mambazo, was shot and killed on Dec. 12. The security guard who allegedly shot him was released on bail of $380 after being charged. . ilton Rosenthal, longtime producer of Juluka ana hnny Clegg, and former South African CBS Reeords executive, formed Rhythm Safari Recora . The first two Reggae albums to be released b this world music label were from Los A eles artist Manazart and the Hals, who f ppe the CMJ world beat charts.

I FM bec e the most popular radio station in Jam ic , according to pollster Carl Stone. ...5yndicat Reggae telvesion show Reggae Strong started airing on JBC TV in Jamaica. ...Reggae became more fashionable than ever last year. Not only id ost of the major surfware designers (such as Yaga Ragz and Irie) continue to use "ites" colors in eir aesigns, but Jean Paul Gautier introduced a wieker "Rasta-style" cap in is fall line. Furthermore, snops carrying a variety o . ems, from shirts to keychains, in red, green, and old opened in shopping malls all across the U.. eggae artists were not overlooked by the mode i g industry either. Both Jr. Reid and Shabba anks appeared as fashion models in major international publications. ...MTV aired certain segments of July's Reggae Sunsplash festival. ...Papa San was the producer for his hit single "Strange." ...At year's end, Black Uhuru's Iron Storm, Rita Marley's We Must Carry On, Ziggy Marley's Iahmekya, Shabba Ranks's As Raw As Ever, Steel Pulse's Victims, and Bunny Wailer's Gumption all received nominations for the "Best Reggae Album" Grammy. ...Reggae music is more popular than ever as it heads into 1992

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REGGAE REPORT YEARBOOK 1991

I

n mid-April, 1991, Freddie McGregor, Mikey Dread and Lloyd Parkes and the We the People Band pulled into Salt Lake CitY. Utah as part of their national "No Nonsense Tour': Tour manager Devon Brown arranged ample time for me to interview headliner Freddie McGregor.

Meeting in his hotel room, I found Freddie to be warm, friendly and eager to share information about himself and his career.

Freddie McGregor was born in June 1956, in the James Hill District of Clarendon Parish, and raised in Yere, about five miles south of the parish capital of May Pen. In this area of sugar plantations and bauxite mines, young Freddie learned early in life that people would pay him to sing. A favorite childhood pastime, going into the fields to gather ackee and cook dumplings, provided inspiration for his first composition and his first fee for singing.

This first song, written and performed at the age of seven, was "Roll Dumpling Roll': The lyrics, "Roll dumpling roll, roll dumpling roll/If you want to know how dumpling sleep,' dip it in coconut oil:' became popular in the community and people would call upon Little Freddie to sing.

"People would give me a fip (three pence in the currency of pre-independent Jamaica) to sing the dumpling song': He lived only a few blocks from his friend Ernie Smith and he would often venture over

to Ernie's home while Ernie and Peter Austin (aka The C1arendonians) were rehearsing. Oft times, without being asked, he would fill in with harmonies, and when nobody stopped him from doing so he "knew that something was there. In fact, it was Ms. Ethlyn, Ernie's mother, who paid my fare to go to Kingston for a recording session': The C1arendonians were established recording artists for Coxsone Dodd's Studio One, and Freddie McGregor, not yet eight years old, tagged along for a session.

"That was a day for me when I went to Kingston. I had no idea what I was getting into. Ernie and Peter (themselves still teenagers) were of course familiar with all the people there: the Wailers, Ken 13o0the, Bob Andy. And I was just the little youth there with them': Ernie and Peter were qUick to let folks know that Freddie was a singer and the others took a liking to him. "I can't remember quite how this happened, but I ended up living with Mr. Dodd and his family for about a year. I'd be there when he opened the studio in the morning, and I'd help him lock up at night. He'd pull down some tapes, and if harmonies were needed, I'd go in there and do them. He started picking songs for me to do. Lots of songs! And I was there seeing all these great artists work. I was always in the studio, observing and learn-

ing. It was like a job for me': In late 1963, Ernie and Freddie recorded "Why Did You Do It" on the Studio One label. "That song came out as recorded

by Fitzy and Freddie. Ernie's real name is Fitzroy Wilson. That song took off and became popular on the dancehall circuit.

It was my first official release on viny1. From that point on, Freddie considered himself a part of the StudiO One family. "I just kept on recording and recording and in 1972, I released my first big record "Bobby 130bylon" (recently released on the Heartbeat label) which eventually became the title track for my first album': Freddie dates 1972 as a career milestone. In that year he joined the Generation Gap, a popular dance and show band. "With me was Bunny Walker, Howard l3edassie, Alphonso Henry, Light Carl. Mikey Carl, John Parkinson and Dalton Browne. Before the band broke up in 1975, we recorded quite a few tracks for Geoffrey Chung including 'In this Time', 'Homeward Bound: and 'Freedom, Justice and Equality'. " FollOWing the breakup of the Generation Gap, Freddie went with Earl "Chinna" Smith and the Soul Syndicate band. For the next three years, Freddie and the Soul Syndicate recorded 'Natural Colly: 'Sergeant Brown', 'Love Ballad' and a few others, all of which were released on the Soul Syn-

dicate label. In 1979, along with Dalton Browne and others from the Generation Gap, Freddie co-produced Judy Mowatt's l3Iack Woman, one of the first projects done at Bob Marley's newly opened Tuff Gong studio.

In spite of his busy touring schedule and numerous recordings, McGregor does not recall the late Seventies as particularly good times. New studios like Channel One and Joe Gibbs's were opening, yet Freddie chose to remain with Dodd's StudiO One. Upon reflection, he has mixed feelings about the time spend with Coxsone.

"I benefitted in a lot of ways. I learned to playa lot of instruments, I learned the art of recording, I learned how to do harmonies. StudiO One was my college. There wasn't much in the way of financial gain.

Records weren't selling that good. Still, a lot of people believe we could have been treated better by Mr. Dodd. But I want to leave that behind. I can't dwell on what happened. I want to move forward.': Forward he went. In 1981, he was approached by Linval Thompson, who suggested they do a recording together. "That project turned out to be [Jig Ship. It was my first major success. Prior to that, I had recorded Freddie McGregor for Winston "Niney the Observer" Holeness in 1979, and its release in England paved the way for the [Jig Ship release in 1982. I've been recording and touring consistently since then. I cannot remember a single year since 1982 when I have not been on the road at least eight or nine months per year': FolloWing the success of [Jig Ship, Freddie signed with the relatively new American label, RAS Records. RAS released Come On Over in 1983 and Across the [Jorder in 1984. To promote this latter album, the first RAS Posse Tour, including Michigan and Smiley and the StudiO One Band, along with Freddie McGregor, took to the road. On June 6, 1984, Reggae history was created when the RAS Posse Tour rolled into Hopiland (Kykotsmovi, Arizona), thus becoming the first ever Reggae performance in Hopiland by Jamaican artists. Freddie recalls that after Flagstaff the bus "was climbing through this funny looking place, no houses, everything looked deserted, and we wondered where in the hell we were going. After about six. hours, we spotted a bUilding miles and miles away. This bUilding was the Civic Center, and wow, there was nobody in sight except the staff. We packed in, did a soundcheck and everything went well.

But we were still wandering who was coming to the concert. By 8 o'clock that night, it was unbelievable. We saw car lights coming from all directions. And Indians coming from we didn't know where 'cause we still didn't see any houses. And the place was packed. Packed! Pocked! The feeling we got from them was as if they were our people. They understood our struggle, understood our music and they

"Something â&#x20AC;˘

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radio ignores songs sung

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wanted to be a part of it. I think what really won the love of the Indian people was the love we showed them. We were touched by their reception, and they were touched by what we had to offer. That was the beginning of the Indians' friendship with Reggae music. Since then I have been back ta Hopiland every single year'.'

On this present tour, Freddie spent more than on hour reasoning with students and teachers at the local school prior to the Hopiland concert.

The future bodes well for Freddie. He and his long-time friend and associate, Dalton Browne, now have their own production and recording company appropriately named Big Ship Productions.

His newest album, Freddie McGregor Now, is a Big Ship Production with production duties shared with Steely and Clevie. "We have also just finished a new albur;' called Freddie McGregor Sings Jamaican Classics which is due out the end of August. We've chosen ten classic songs by ten classic Jamaican artists. Also in production are on instrumental album by 809's Nambo Robinson and a dancehall album by a new DJ rapper, Ku-Shen-Peng': Freddie sees his main contribution to Reggae music as being his dedication to bring out the best. "Some people just use rhythm tracks. I make sure that harmonies are well-placed, that we use some nice horn phrases and that we give the music flavor and quality. I am really dedicated to this music': As the interview drew to a close, I asked Freddie if he had a personal statement he'd like to make to readers of Reggae Report. His replied that he would "like to see mainstream radio take Reggae music seriously. Stop pushing the music behind closed doors and pretending it doesn't exist. Stop pretending the people dont want to hear this music': He went on to pay bonafide respect to Synergy and Sunsplash for their promotion of Reggae in America "on a professional level in terms of venue, punctuality, presentation and production.

The fans want the music yet mainstream radio won't give it to them': With all due respect to UB40, Freddie questioned why both radio and major labels "will record and play UB40's renditions of good Jamaican songs, yet they ignore the same songs sung by good Jamaican artists.

Something is wrong! We need to address the problem of mainstream radio and record companies not supporting Jamaican Reggae music': For the distant future, Freddie is looking to explore new markets for his music. He has visited Africa, but he has yet to tour there, and touring both that continent and Australia and New Zealand are part of his plans. For now though, he will be appearing at Sunsplash 14 in Jamaica, then on to Reggae-on-the-River in Northern California. As Freddie himself might say, "Good luck and GUidance!"

REGGAE REPORT YEARIlOOK 1991

REGGAE GETS LUCKY

F

ollowing South African Reggae virtuoso Lucky Dube's progress is like watching the ascent of a heaven bound rocket. He was first introduced to a substantial American audience in 1989 when he toured the U.S. in support of Slave, his hit release on Shanachie Records. The following year he joined Jimmy Cliff and Fela Anikulapo Kuti on their five stop "World Beat" tour before dominating Northern California's Reggae on the River concert. This year's climax came at Jamaican Sunsplash, during the first World Music Night ever.

REGGAE REPORT YEARBOOK 1991

BY JENNIFER RYAN Lucky Dube and Slaves, his ensemble of nine musicians and three female backing vocalists, took the stage around 3:00 am on Wednesday night, dressed in their characteristic camouflage uniforms. They immediately launched into their usual kinetic performance. By the end of the third song, Lucky Dube grabbed the hearts, minds and bodies of the slightly apothetic crowd. The crowd went wild, loving his high energy performance and sweet, sweet vocals. Dancing and cavorting on the stage like a man possessed, he gave the people what they had come

to hear.

Master of Ceremonies, Francois St. Juste, bounced on stage at the end of the performance as the crowd yelled, whistled and screamed for more. "This is the moment we have been waiting for for many, many years, just like a dream come true, long time wait'.' From the field, voices echoed the man's words with a heartfelt "many, many years'.' For the first, and almost last time during the entire Sunsplash festival, an artist was brought out to do an encore. "Here we go again, Lucky Dube" bellowed St. Juste, and to the

strains of pure unadulterated mbaqanga music, the man who has been hailed as the King.of African Reggae moved one step upwards in his claim to the world crown.

Lucky Dube poured all the love and affection he was feeling over the crowd in a gush of affectionate light, South African style. "Township Jive. That is what we call mbaqanga music:"he cried, clicking his tongue to produce the characteristic sound. "Can you say that for me?" Click, click, click, he went, producing an unpronounceable series of musical clicks as the crowd gamely tried to emulate the sound.

He chuckled like a small boy; pleased with having been praised for a deed well done.

Later at the press conference marking the end of Sunsplash, Synergy Director Ronnie Burke, responding to the collective enthusiasm of the journalists present, said that Jamaica had never seen anything like Lucky Dube's performance and that next year he would be placed as a headliner on the final night.

Earlier in the day; the Lucky Dube entourage gave a press conference to journalists hungry for person to person exchange with a man who has lived the apartheid nightmare.' I had lucked out earlier this year when my visit to Gallo's offices in Rosebank, a suburb of Johannesburg, coincided with a visit by Lucky.

He lives in the country; and only comes to the city when business calls.

It was a very appropriate day to interview Lucky Dube. It was February 1st, 1991, the first day of African History Month in America, the only month devoted to the study of African heritage. It was also the day that F:W. De Klerk opened Parliament in Capetown, and gave a momentous speech promising to abolish the apartheid system.

JR: When we spoke in the summer, you told me that you would be doing an album, and you have, but it wasn't the one you were going to do.

LD: No, we did the Captured Live album instead. We were going to do a studio album, but when I came home, we did a big concert at the Standard Bank Arena right here in the City Centre of Johannesburg. It was recorded live, and because a lot of people wanted to have a "Lucky Dube Live" album-because of the things we sometimes say on stage, the songs that we sing on stage that they don't get on a studio album-we gave them a live album.

JR: There is another major concert being organized right now called Reggae Strong for Peace, which will take place on May 4th.

LD: There is a show where we are launching Reggae in South Africa because we feel there are a lot of Reggae artists coming up in South Africa, and we feel that for the past seven or eight years, my fans have been supporting me through thick and thin. So there is something I have to give back to them, so we organized this

show as some kind of a charity thing.

JR: I have been asked to write a story on the role of music as protest. Could you address this from your personal perspective, as you sing music that. is very socially conscious.

LD: I believe that music goes to every person. It's unlike a protest march because everyone listens to music, so if music has got a message, that music is going to get through to people, people that maybe the politicians themselves could not talk to. Through the message in the music we do talk to people. Music is the only way

weKY DUBE I can put my messages across.

I personally believe the future unity of South Africa lies within the individual, because as far as black and white is concerned, it is not the government that is going to say blacks must love whites and whites must love blacks. It depends on the individuals themselves. If they don't want each other, the government can't force them to love each other. De Klerk is taking the right direction, but the whole thing lies with the people, only the people can make it happen.

JR: But nothing can happen in South Africa until the laws are changed, and, at least on paper, everyone has an equal opportunity - one man, one vote. Is that not true?

LD: We go to other places, places that are said to have no apartheid system because it is not in the Consitution, but within the people, it still exists, and it is the same thing here. De Klerk saying "no apartheid by law" will not mean that the people will simply adjust themselves to the new system, but it is within them, whether or not they wish to come together as one. . JR: That is absolutely true. In America, where the laws were changed thirty years ago, there is still discrimination.

LD: Yes, that's so, because when I was

there with my band last year, we were a bit surprised in some places how it still exists. I felt it is better in South Africa because you know about it, you go where you are wanted, and where you are not wanted, you don't go, but, in America, when they say everything is cool, no problem, sometimes you get hurt not knowing that you were not supposed to be there. Here in South Africa I know exactly where I stand; I don't go where they don't want me, and that's the way I go through this, because as I say, you can't force people to love each other.

Unity will come through the power of the people and the power of the music.

It all depends on the people.

Lucky Dube went on to say that he was disturbed at the type of behaviour and level of violence at concerts in South Africa and other African countries. He asserted that he might stop performing there unless discipline is improved. With the success of his debut appearance in Zimbabwe in 1989' coupled with huge sales of his album Prisoner, a second tour slated for December, 1990 had been anticipated with enthusiasm. However, the same factors that had marred the West African Sunsplash tour of 1988, headlined by Burning .Spear, Judy Mowatt, Chalice, U-Roy and Yellowman, forcing Synergy Productions to withdraw their participation (j.e. inefficient promotion, inadequate technical support, high priced ticket sales and undisciplined crowds. unchecked by badly trained security forces) also marred these Zimbabwe concerts.

Although Dube maintains that he does not consider himself a protest singer, his tensile strength and integrity continue to spread the message of peace, love and unity as clearly and concisely as any Dub Paet or militant messenger of revolution.

"Nobody can stop Reggae:' he sings, and indeed they cannot. Reggae Strong, and stronger than ever because of artists like Lucky J?ube.

Lucky Dube's unprecedented success has extended a helping hand to those who have travelled with him. Several of his former backing vocalists sing with.

Harley & The Rasta Family; a rising star in the South African Reggae firmament, currentlyon the EMI/SA label. Sister Phumi, inspired by Sister Carol's dynamic performance at Reggae on the River has cut her own solo album of sweet-sounding melodic African Reggae, and is currently touring Southern Africa. Slaves, the band consisting of Thuthukane Cele, keyboards; Eugene Thethwa, keyboards; Chris Ntaka, lead guitar; Jabu Sibumbe, bass gUitar; Raymond Mohono, drums; Chris Dlamini, drums and percussion; Vuli Yeni, saxophone; Mdumiso Nyovani, trumpet and路 Jabu Mdlulu, trombone, continue their special sound with Kneel Down, their debut album.

Yes, indeed we all got lucky when we got Lucky Dube!

REGGAE REPORT YEARBOOK 1991

23

.-

........

When we decided to create this yearknew that the toughest choice would be who to best Reggae artist of the year, but who we felt best," each of us would probably have chosen could be little doubt that by selecting the most be giving recognition to that individual who did ity of the music, creating an opportunity for us was that there would be no clear individual.

Maxi Priest started the Reggae year off (Charisma Records) release, was riding the music charts, scoring one of the greatest February, Maxi headlined Los Angeles's Bob on to headline the 46-date USA Sunsplash Dennis Brown, Carlene Davis, Shinehead, Little one of the best-selling tours ever. In October, he took what might have been the first major ban on and prejudice against dreadlocks. ServGrand Cayman, stopping to play football (socnumerous television appearances during the Letterman" and "The Arsenio Hall Show." AISunsplash, he did perform with some of his Together, they performed "Housecall," which tunes ever.

Although "Housecall" sounds like a cause it's on his groundbreaking (or at least Records/Sony Music) than for any other reapushes ever for a Dancehall artist by a major point jumping over 50 places. Eventually, it spect, it seems only natural that the hottest success in the U.S. urban markets; however, Shabba's success has opened the door for a arena in the U.S., including Supercat, who was sion). Hitting heavy throughout the U.S., all year long. He showed his style both on the model in an issue of Lifestyles, and making with David Letterman" and "The Arsenio Hall without compromising his lyrics, his style, his We decided to ask these two stars of past year, and about their visions of the future.

TISTS 0

INTERVIEWED BY LIZARD LOEBMAN Shabba:

What do you dream about?

I dream to be bigger and bigger and bigger.

What are your plans for 1992?

I'm not planning for it, but there's a lot of things in store. Mostly, fresh, fresh music, fresh lyrics, and fresh tracks to dance to.

What was the worst thing that happened to you in 1991?

The worst thing that happened to me in 1991 was I lost my father. cont'd on pg. 44

ook issue, the editorial staff of Reggae Report put on the cover. We wanted to select not the as the most important.

In selecting "the our favorite artist. On the other hand, there mportant Reggae artist of the year, we would the most to fu rther the acceptance and popularto be fairly objective. What we didn't expect Ultimately, we decided it was atie. on ahigh note. "Close to You," off his Bonafide number one position on the American pop crossover successes ever in Reggae music. In Marley Days, asold-out arena concert. He went Tour, leading a collection of artists, including L.enny, Andrew Tosh, and the ATeam Band, on when Maxi Priest played the Cayman Islands, step towards reversing that country's implicit ing as a goodwill ambassador, Maxi toured cer) and to chat with the Caymanians. He made year, including "Late Night with David though he didn't take a slot at Jamaica's fellow artists, most notably Shabba Ranks. has become one of the most popular Reggae duet, it's really Shabba's song, more so bechartbreaking) release As Raw As Ever (Epic son. That album, which is one of the first label, skyrocketed up the R&B charts, at one landed at the number one position. In retroDancehall artist in Jamaica would also find few people believed that it would happen. number of other artists to enter the Dancehall signed to Columbia (another Sony Music diviShabba consistently played to packed houses stage and on the page, appearing as afashion television appearances on both "Late Night Show." On top of everything, Shabba did it sense of humor, or his music.

1991 a few questions about themselves, the

THE YEAR INTERVIEWED BY BRIAN E. ROCHLIN Maxi: What do you dream about?

To be successful. Achieving position for me, my people, my family, my nation as a whole.

What are your plans for 1992?

To progress on what I'm doing because I feel proud about it, and I think it's a good thing not only for me, but for everyone who has come from the same part of that industry.

What was the worst thing that happened to you in 1991?

~ ÂŤ

conc'd on pg. 46 tl::l

.....

BY BRIAN E. ROCHLIN

THE PETER 1 air. Sweat while all ance, come s only he can S I S , their rozor-sharp claws, but they're as real as his anger, as real as the fear. They sweep closer and closer and closer still. Peter can move only his eyes, which dart back and forth, trying to follow the demons' steady advance.

Closer. Suddenly, from deep within him, something stirs, and the word "Bumbaclaat" shoots out his mouth, and echoes around the room, causing the demons to disperse.

It's a scene from Peter's life, a scene captured in the new film, Red X, a featurelength documentary on Peter Tosh that tells his life story from birth to his grizzly death. The title is taken from a series of tapes that Peter recorded a year before his murder. He had dictated his whole life story, intending to make it into a film, hich-wo:HO-ee-<;oIIe~ed-).tbe<COtll~!--~-,

do o I hewa next to his name.

FIene BlOWn, Pet s common law wife, mode the topes available to the crew that Is ncNi putting the final touches on the film. I met'M:1yne Jobson, one of the film's Executive PJo. ducers (he Is also a member of the Ocho PJos Rock Reggae band Native, and hosts the "Reggae RENOIution" show on KROQ (106.7 fm) In los Angeles) at Miami International airport, dultng a twO hoUr Iayowr on his way down to jamaica to shoot same of the final scenes needed to complete the movie. He explained about the demons:

ole life was this struggle vampires that were trying actually saw them. As soon tunes into this dark side, starts ith Ouija board, stuff like that, gic, it all comes to you. Peter was to this. He could actually see the ns coming because he was tuned that plane. When they come to get , he'd say. '[3umbaclaat; and they ould go away. That's the only way he could get rid of them, by saying "[3umbaclaat:' which is a Jamaican bad word, which you can get arrested for saying in Jamaica. Peter said that this word was an

"We got all of it on tape, we have all of it on video. So, to show you about Peter, he stood up there and cursed out these guys. That's why. about a couple of months after that, they sent the cops, and they beat him nearly to death. It was because of this incident. "[3ob stands up and holds these two guys' [Manely's and 5eaga's] hands in the air. It just shows that [3ob was more of a peace maker. [3ob was more Gandhi-like.

Peter was a warrior, no compromise. Under no circumstances any compromise.

"So, because he was so outspoken, I found him more interesting than [3ob':

compromise brother, a Malcolm X kind of figure!'

The m 'rder itself remains somewhat controversi I. Many theories exist about the true otivation behind the shootings.

"Peo~le still say that Leppo took a rop for Peter. Th t tbey found him in a car with guns, an路 Leppo went to the station, and they ere going to arrest Peter, and leppo said,' II take the rop:' Leppo went to jail, amd when Leppo came out of Jail, he expected Peter to take care of him for the rest of his life. Peter would give him a little bit of money like a hundred dollars a week or two, but not the kind of money

DOCUMENTAR n word that was used to keep away 'rits, but because the government ant people to keep away evil ey made this an indecent ed forces with Canadian acNicholas Campbell, r Edgar Egger, and fellow rs Nicolas 5tiliaidis and s, Toronto, Canada, Peter Tosh estate to the film. When rene e e th the Red X tapes, the project was underway. "What we're doing now;' Wayne says, "is a feature documentary. which is the Red X tapes, interviews, live footage, images of Jamaica and recreations of his murder': Wayne Jobson first met the Wailers in late 1972. Of the three ([3ob Marley. Peter Tosh and [3unnyWailer), Peter's radical defiance, his no-compromise attitude, coupled with an incredible sense of humor, interested Wayne the most. "I got on well with Peter:' Wayne says, "and stayed in touch with him through the years in Kingston, Ocho Rios and New York. So 1 was devastated to hear about his gruesome murder, especially by his 'so called' friend, Dennis Loppan (Leppo). When I saw that everybody was trying to make I----o-Marley mevi, aid-wei e me try-and do Peter:fo mFie. te had - ~ much Inti ence as [3ob as a Ii In of political force.

He was much more outspoken. BOb an Peter both did the peoce festival in Jamaica, the One Love Peace Concert.

Peter comes on the stage, first of all, and says, 'turn off the lights 'cause I don't want nobody filming me, nobody has talked to me about filming rights: Then, he gets on stage and totally curses out, In the worst language, the prime minister, all the government ministers, everybody who was at that show sitting in the front row; and he walked up and pointed at all of their foces. 'I see you: and cursed out all of them.

"I REALIZE I HAVE BEEN WANTED BY THE DEVIL. WHEN I WAS ABOUT SEVEN YEARS OLD, THE DEVIL TRIED TO BLIND ME WITH BARBED WIRE. THIS WAS WORLD WAR ONE WITH THE DEVIL. I REALIZE THAT MY WORK BECOMES A CONFLICT WITH THE DEVIL. THE DEVIL'S DETERMI ATION IS TO DECEIVE ALL NATIONS, ESPECIALLY WE THE SAINTS OF THE MOST HIGH, BECAUSE THE SOUL OF THE SAl ! IS MORE VALUABLE THAN ANY OTHER SOUL. SINCE MY WO KHAS BECOME POLITICAL, I HAVE BEEN IN CLOSE CONFRONTATION WITH THE DEVIL. IT'S LIKE GOING TO THE FIRST, SECOND AND THIRD WORLD WARS ALL AT ONCE~' - PETERTOSH Wayne notes that Peter actively campaigned for a number of issues that other musicians ignored. "He was outspoken about the legalization of marijuana. He was the only guy ever to do that. No other musician would sing any songs about marijuana. Peter said...he would ask the question, 'What is law enforcement?'

'That's to enforce the law'. So he said, 'What is drug enforcement'. He said, 'that's to enforce drugs-upon people. That's w me peal'> e re on orock, 0 coeal e, hr(i)ug the or s In, t rough Colombia ana Iron. The guns ana die drugs are together: He sold that's why they're forcing drugs on our people.

"He was the first guy to write a song about apartheid. He would go do antiapartheid concerts with 5tokeley Charmichael and all those people, and he'd lose a fortune on It. He'd pay all his own expenses, and lose a lot of money.

And Rabble and Sly and the other guys In the band demanded to get paid, and Peter had to poy the guys the money...out of his pocket to put on a free show for anti路 apartheid. I loved him as a no-

that you need to live. So Leppo was bitter anti so he shot Peter. That's one view that a 10 eople share': Jobson has interviewed Leppo in jail to get his side of the story. "Leppo said that's definite~ no true. He sold that he hadn't shot him. He has to maintain all this time that e loves Peter. All he says is, "I love Peter, I 001 never shoot him" because if he sayan thing like he hated Peter at 01, hey can say that's why he shot him.

His case is going to he ri'.{y c uncil n w: ana in the p vy . ouncil says t at he iI hang, then tie wi! hang. 0 he's trying to maintain everything as good as pOSSible.

"He definitely shot Peter. There were witnesses. Seven people gOt shot. Three died, four lived. He was good friends with these people. First of all, how did he get through the gate? If you broke down the gate, they would have time to call the cops. If you broke down the gate, and ran in with machine guns, the dogs, twenty dobermans, would mess you up. [3y the time you could shoot all the dogs, Peter would have barricaded the house, and conc'd on pg. 34

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habba Ranks is not the man you think he is. The difference between Shabba the rough, raggamuffin, rated, Mr. Lover Man performer and Rexton Rawlston Fernando Gordon (aka Shabba Ranks) the person, is enormous.

As an individual, Shabba Ranks is relaxed; he exudes charm, wit, genuine concern and even a little shyness. I caught up with him recently while he was in New York on a promotional jaunt for his new record, his first on Epic Records, Rowas Ever. That evening, a launching party for the album was held. It was followed the next day by a performance at the world-renowned Apollo Theatre, where Shabba shared the stage with Run DMC "and some others': The new album is filled with everything you would expect from Shabba: rough, raw lyrics that titillate and provoke.

Slackness. And Epic is promoting it as such.

Promoting it hard. We talked about the slack vs. culture debate, and he strongly defended his work as a reflection of what the people want. Like Momma Christie said on J[3C-TV, during a Mother's Day special with Shabba, "No one took an interest in Shabba until he started looking up girls' dresses': Shabba agrees. He defends the slackness, saying, ''A lot of guys go up there and 'dibi dibi this, and gal your body mash up, you no look good: but I come along and say girl you good, you look good. The men them, they just stand and jam in the corner, they don't even move. [3ut the female, it's like they're on a spring, bouncing all over': [3ut slackness is not the road Shabba intends to walk forever. "Now that I've made it with the X-rated;' he says, ''I'm dusting off. What's inside of me is Culture': He says that he is already working on the next album, and adds quietly, "I'm gonna put more Culture on this Lp, to see what the result will be': Shabba never thought that he would be the international sex symbol he has become. "I thought I would be Rootical as [3rigadier Jerry, I never thought I would be this': Neither did anyone else. Shabba, whose stage name is taken from King Shabba, who sat on the throne next to the Queen of Sheba, and from two notorious Jamaican bandits, started life on January 17, 1966, in Sturge Town, St. Ann (the birthplace of [3ob Marley and Marcus Garvey).

His family moved to Kingston when he was three, and he grew up in the area known as Olympic Gardens. The family was always close and remains so, but it wasn't always supportive of his "slack" lyrics. According to Shabba, when he recorded "Needle Eye;' "I gave a copy to my mother and said, 'Mama, this is one of my records, but you can't play it'. She says, 'Why?' '[3ecause it's rather X-rated'.

She asked me, why don't you stop, why can't you stop? I say, 'Watch what is gonna happen to this record': [It became a huge hit.] And from this record, she accepted that music is my career. She accepts it all as long as I'm not hurting anyone':

x-

At the tender age of 15, Shabba began his musical career, touring Jamaica with the Roots Melody sound system under the name Co-Pilot "because out of four, I was the Number two man': He joined up with the Jammy's stables through the recommendation of Josey Wales, a good friend who is credited as his main inspiration, but after three years without a real hit, Shabba left Jammy's. He accepted an offer from Bobby Digital of Digital 13. and recorded his first big hit, "Live Blanket:' in 1987. He speaks highly of the Digital 13. crew, and declares that it remains his favorite studio.

'Always and forever': After releasing some 50 singles, many of which have topped the Jamaican, British, Canadian and American charts, Shabba signed a lucrative three year record deal with Sony Music Entertainment group/Epic Records.

Shabba didn't hesitate to express how happy he is with Epic. "It's like mommy and daddy home. I'm telling you': he says.

His success led to an offer to contribute music to the controversial film, Marked for Death. "Roots and Culture" resulted, but Shabba has some regrets. He claims that he did not know the movie would show Jamaicans in such a negative light. "If they used my voice, they should have used my face:' Shabba says, "I would like to have been [Steven) Segal's partner so I could have given Jamaicans a good profile:' Shabba is quite aware of the message he sends, of the influence he has over Jamaica's youth. "When I go to my neighborhood:' he says, "I'm flocked by little kids. They have their pant leg rolled up, just like mine': His voice can't hide the sincere appreciation or the respect he has for these children. As a youth, Shabba attended Seaward All-Age and then Dunoon Park Technical School, but he was expelled during his final year. For years, Shabba was concerned that he had let his parents down. Now he and his beloved mother, Christie, are pleased with how things turned out. Still, Shabba knows how lucky he was. He intends to build a school in Sturge Town one day; "a school for education': "My advice to young DJs:' Shabba says, "is to stay in school. Be drug free; scram from the whole drug scene. Engage your brain before you put your mouth in gear. The greatest thing to obtain is, not to be rich or to be famous, but to have self-respect': Shabba has that respect, and the respect of fans around the world. He and his new band, The Rough Cut band, along with Krystal, recently returned from a three week tour of Japan. "It was smashing:' exclaims Shabba, "They're crazy...even crazier than the people who understand what I'm saying. They go wild! It seems they catch onto my stuff 'cuz they sing along...they know the words, even the patois!" Shabba has pulled some rather "crazy" stunts himself, like his grand entrance by helicopter at last year's Sunsplash in Montego Bay. I asked him if he had another entrance planned for this year's Sunsplash (he's appearing the final night), and he laughed uproariously. "I'm leaving

Fashion trend setter, SHAllA RANKS

that up to my management:' he said.

While at Sunsplash, Shabba intends to keep an eye on the up and coming DJs. "There's no meaning for me to be pulling up and not looking back at what is stepping up': Some of those he is watching carefully are Capleton, Cutty Ranks, Tony Rebel, "plus some little DJs like Risto Benjie and Derrick Irie': We'll be watching him as well. Under the careful gUidance of managers Clifton

"Specialist" Dillon and Delroy "Deily" Phillips, this exciting DJ can only move forward.

In conclusion, I asked him if he had a message for the readers of Reggae Report. "Keep on reading:' he said, " 'cuz, you know, reading opens up your 'cabalary" (that's vocabulary in a shortened Shabba stylee). Shabba Ranks clearly is ready to handle stardom.

REGGAE REPORT YEARBOOK 1991

29

BURNING SPEAR

BY KAREN JAH LIGHT

W

ander down the coast road outside of St. Ann's Bay and you will come across a place called "Th& Marcus Garvey Youth Club': The spot is serenely beautiful, the red, gold and green structure stands alone with a backdrop of unspoiled beach and clear blue sea. BURNING SPEAR'S international renown has not diminished his commitment to the youth of his home town nor the teaching of Rastafari and Marcus Garvey. Recently nominated for a Grammy, his fourth such honour, BURNING SPEAR ranks supreme amongst the roots Reggae artists on the world scene.

He was in New York when we spoke, neither recording nor performing. Although presumably resting over the holidays he was still eager to respond to my questions.

KJL: There's a world-music chart now in Billboard. You've topped that chart, have you felt any difference in the way you've been received as a result of that?

BS: I just know that all these things will have to happen, some day along the line.

Because now I'm working, looking forward I to pay. Like Jah say, every man entitled to get paid for his work. Reaching places is like another part of Burning Spear pay.

As Jah wish.

KJL: Tell me something about the new band. It this a permanent band?

BS: You see when I make a change, when a changes come along in Burning Spear band, it's like that person will have to just remain among the band, become part of REGGAE REPORT YEARBOOK 1991

the Burning I3ond. Right now when a man come with I to work permanently, it's a job, people not just working for a weekly salary but to become part of what I'm doing.

KJL: The entire works...

BS: Right now we're Just gOing on, we're going on and we're going on...

KJL: Do you have any tours planned currently?

BS: No, not right now. To be truthful, I & I am looking fOiward to going in the studio.

KJL: Will this be a new release on Mango?

BS: Yes, it will be a new release on Mango.

KJL: So you've returned to Mango after all these years?

BS: I wouldn't say 'returned' because I was there all the time. It is a business, business y'know; they like Burning Spedr business.

I don't mind dolnl;j it with them. I was there many years ogo, with albums like "MarcUs Garvey,' this re-connection it can be 'good and it should be good.

KJL: I heard that they re-released "Marcus Garvey" and "Garvey's Ghost" to honour the 100 years of Marcus Garvey...

BS: What I think they're doing, I think they're re-releasing everything on Burning Spear, what was there a couple of years ago. I think that is good. There is a lot of people still who don't know about all earlier part of Spear, especially the younger people, to re-release albums it will be good, the original tunes, for new people.

KJL: A couple of years ago in an interview

you stated that it's necessary to have a voice in Africa before one can start moving there. Do you feel that now Reggae music has established a more solid voice there?

BS: I think that Reggae music can be more established in Africa, it can be more bigger. It's not one hundred per cent established in Africa, maybe in some places in Africa. When I was talking about having a voice in Africa, it's an overall voice, not only for the people in Africa. For the connection, that historical connection, people should know that I & I originally from Africa; you need an international voice to connect back, so that the people in Africa know that we are one.

KJL: How is 'The Marcus Garvey Youth Club" going these days? Is there still a connection with the youth of St. Ann's and the philosophy of Marcus Garvey?

BS: Well, the philosophy of Marcus Garvey is established, everyone know that. But now on a Youth Club level, the Youth Club is not in operation right now. There will be construction, it's going to take time before we start to function again, but the Youth Club will be there and the things we have in mind to do, we will do as soon as the new construction is complete.

KJL: Is it going to be in the same location?

BS: Some location...

KJL: That's a marvellous inspirational spot there!

BS: Yeah!

KJL: Tell me something about when you write music. Does the music come to you first? Do the lyrics come first or does it happen differently each time?

Well, it's like it's lyrics y'know. As a singer, I soy most time it's the lyrics. Lyrics and melody, we pick the arrangement in the studio, at the time when we're recording the album.

KJL: Do you find it easier to write in certain locations?

Inspiration is inspiration and inspiration is international. Anywhere you are at that time inspiration can be there. You don't have to be in Jamaica to really create or have inspiration. The vibes and the inspiration can be anywhere. The whole thing is your mind and your thoughts, as long as your mind and your thoughts are functioning properly any kind of inspiration or vibes can come to you.

KJL: How do you feel about Reggae music in the '90s?

Reggae music in the '90s, everything is coming back to the original. Like the original Reggae, the original style, the original sound, the original everything pertaining to our music, which is Reggae music. For when the mind and the thoughts of the people are confused, by listening to one thing over and over, the people will revolve bock to the original Reggae.

KJL: We're hoping that you come to Miami soon. Do you think that might be possible?

It's possible, as a worker, as Jah server, if Jah wish. This work is not personal. it's for the people work.

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t's a ficl~le business, rising to the top of the DJ heap. Names like Ninjaman, Red Dragon and Cocoa-T come in and out of favor several times a year. The latest buzz is Cutty Ranks, a more serious DJ, who promises greater longevity than most. The former butcher (how he got his name) is I~nown for his "gun" lyrics, but otherwise has risen to popularity without too much fuss or fanfare. Besides his street路 tough rhymes, Cutty says he's eager to reach new fans with more "love" songs.

He's a gangsta with a heart, as his American debut The Stopper (Profile) shows. Though both Western hip-hop fans and Dancehall junkies go for the image of a gun-slinging DJ, Cutty says a "more mature" persona will help him broaden his base outside of Jamaica.

Though Cutty's first single ("The Stopper") is your typical hard-hitting DJ fare, his album of the same name reflects both hard and soft sides. He mixes up his rudeboy style with some Lover's Rock harmonies (thanl~s to soul singer Barry Boom).

Though Cutty may have made a name for himself by cuttin' up his foes on vinyl, he's far from a rough-neck in the flesh. The clean-cut DJ says he's more liI~e a "ghetto journalist:' chattin' about the lootin' and the shootin: than an actual rude-boy.

The Jamaican native started getting his music pumped a few years ago, and was picl~ed up qUicl~ly by American and Western outlets. The U.K.'s John Dub Vendor was instrumental in making Cutty Ranl~s a household name to Dancehall enthusiasts in Europe. In America, he's at home with various sound-systems and DJs, including Supercat and Nicodemus. At a recent New York showcase at ACT III in the Bronx, the fiesty DJ brought down the house. To many: Cutty's massive appeal seems to have come overnight, but the young DJ says his success didn't come that easily. As a rapper of Jamaican street life, Cutty has had to walk a thin line between being immersed in ghetto culture and I~eeping himself removed from the heart of the violence. Cutty's new aibum reflects the drama and the danger of his world.

"When I first started coming up here, it was real rough;' says Cutty about New Yorl\ "Lots of sticl~-ups and shootings. Too much cracl~. People acting too crazy. So I go do my show, and I I~eep to myself like a fish in the deep. I don't tell anyone where I stay or go. I don't like to get all mixed up in the whole bungle of the ghetto. I have to I~eep to myself, to music'.'

Apparently Cutty is this serious at home too. The self-described loner lives by himself and spends all of his time recording or performing. "Woman tal~es up too much time:' he says, "I work hard all day: and when I come home, I have to tell where I am. I don't have energy to fight with women. I need a woman who can be quiet, by herself, and happy without me so I don't have to worry'.' The newly brol~en-up DJ would rather write about

I

REGGAE REPORT YEARBOOK 1991

NO STOPPING CUTTY

RANKS

BY MARISA FOX

curry RANKS. DJ on the rise these scenarios than actually get mired down by them. One song (from a previous record) details his problems: "Girl, I give you my heart And you wont to tear it aport...

Think about the future The future of life Try to have some kids And be my wife...

But if you're too greedy I have to think twice...

But you're too gravalicious;' Although this song isn't on the new

album, it reflects Cutty's style, describing personal scenarios in day-to-day terms.

"Dennis Brown and I did this song called 'Decide Your Mind' about this woman who is torn between the two of us;' says the lovelorn Cutty. "It goes: 'She give me love/She give me pain/Sometime she good to me/And bad to my work'.... 1like to sing about personal things'.'

The romantic rude-boy has also started lacing his lyrics with melody, making a track like "The Lovin' Boom" a for cry from cont'd on pg. 46

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ANNETTE

BY C. DANNY BREAKENRIDGE

with

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NNETTE BRISSETTE's music, a con路 stantly evolving force, has made her a singer destined for interna路 tional recognition. Reggae fans who have heard ANNETTE agree-the gift she has is a divine force. With a lyrical, melodical, philosophical and dramatic force that shines through whenever she sings, ANNETTE BRISSETTE has built a musical legacy that continues to grow. On her albums, ANNETTE writes her own lyrics, arranges her songs and plays drums, bass, keyboards and percussion on virtually every track. Her live performances are devastating in their power.

album, "Gun Shooting Raw': ANNETTE BRISSETTE has her own chanting, bluesy, danceable style which makes her songs simultaneously unique and familiar. It's not surprising that she has been able to create an unmistakable sound, the trademark of her recording craft.

In my interview with ANNETTE, I asked her about her lyrics and about what motivates her to write.

A.B.: I write about reality, I don't write what I wish for, but what must be...About my rights, your rights, the next man's rights.

We are all human beings. We require

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An accomplished musician, songwriter, arranger, and producer. ANNEnE BRISSEn

I visited ANNETTE's home for an inter. view. While seating in her mini-studio, I listened to her two most recent albums.

The first, "Get Up & Dance;' was produced

by ANNETTE and JIMBO ZODIAC. The second (not yet named) was produced in Jamaica by ROBBIE SHAKESPEARE. Both are of a consistently high standard, especially compared to her previous REGGAE REPORT YEARBOOK 1991

human rights because I don't think nobody better than nobody. I write about my life experience and the things I see happening around me.

D.B.: You are a naturalist. Is Annette your real name?

A.B.: Yes, I was born with it; it is my English name. Still, I don't know or have an African name.

D.B.: Tell me how you feel about the music business and what led you to it.

A.B.: Me in a music fi the love of it. And not fi the want of it, I mean, to want gold chain and car. The more me do music is the more me love it, and everyday, I find out how to do more with it. I will never give it up for nothing else.

D.B.: What is the earliest musical influence that you can recall?

A.B.: From I was a little youth. I remember the first time my grandmother send me to the shop, and I heard this music, and it sounded so nice, not like it was coming from a radio. It sound rich and real. So I followed the sound and find it was a band rehearsing.

D.B.: The sound draw you in?

A.B.: Yes, and I stand up there for a long while. The drummer was a blind youth and the bass player was a huge guy. I started going there all the while, but the guitarist would always be telling me to leave.

D.B.: How old were you then?

A.B.: About 6 or 7.

D.B.: Listening to some of your songs, and even in talking to you, you seem to be a very religious person. To what faith or denomination are you adherent?

A.B.: Me is a slave unto God Almighty. I don't know when he is coming. My sin is probably greater than yours, but I am not a follower of any established order. I dread because I am an outcast. Me no Rasta, me dread. Me rebel against this system,

BRISSETT and my color make me know say me fit into Africa. I fight against this system that make you have to walk on top of thin ice.

This if system; this checking system. The Rasta man vex like me because the system fight him. 'Nuff respect to Selassie who open the seven seals, but my con路 cept of God is the air we breathe, the spirit we can never see, the love we feel and the happiness we yearn. For every people have them philosophy. l3ut one God made every nation. Music is what bring black and white together as one. l3ut we

as musicians and artist find out say we can uplift a certain amount of people, especially black people, out of oppression with our voice and it's up to us to do it.

I use to be a Seventh Day Adventist and go to church on Saturdays. And my first performance singing in public was in church. I song "Amazing Grace': While I was singing, I closed my eyes and when I finished and opened them everybody was practically in 'my face. Everybody got up and started to clap. They had a little four piece band, and my brother was play路

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ing drums. After that, the Pastor always asked me to sing for the rest of time I was going to that Church. Then I went to live in New York.

D.D.: Where did you live in Jamaica before you went to live in New York?

A.D.: I was born in the country. As a baby, I went to live in Waltham Park, then, at age 12, I went to New York. When I came to live in New York, I started going to Music class even more than English, Maths and other classes. I was recognized as the first black female drummer.

D.D.: When did you start playing professionally?

A.D.: When I left school, I started out playing bass in a little band that we put together that lasted for a while. Two members left and we break up. Then I joined another band as the drummer, and then I joined an all-female group named SISTREN as the drummer and singer.

D.D.: SISTREN was an all girl group?

A.D.: Yes. While I was the drummer for that group we did backing - and sometimes the opening act-for most of the major Reggae artists performing in New York.

People like MARCIA GRIFFITHS, DENNIS l3ROWN, LEROY SIl3l3LES, ALTON ELLIS, STEEL PULSE and others.

D.D.: Tell me about your first recording?

A.D.: That was my first album, "Love ~wer': It was produced by my daughter's father and l3ULLWACKIE. l3ut it wasn't promoted and marketed right.

D.D.: So, it was when you came to Miami in 1987 that you recorded your second album, "Gun Shooting Raw" and it took off by itself.

A.D.: Yes, I have to thank Sastan Production and the radio station, W.AY.S., for starting to play it. Then people start asking for it. It has done a lot for me since: England, Jamaica, New York...AII over.

D.D.: What are your plans and schedule when the two new albums are ready to be released?

A.D.: The album "Get Up and Dance" has just been released, the one with Robbie will follow.

D.D.: There is something appealing about the way your vocals sound whenever you start singing a song.

A.D.: I am a musician. When I am composing, I arrange the drum roll to have a sound effect like lightning. When I start singing, it's like THUNDER. ANNETIE l3RISSETIE'S voice and lyrics sure generate sounds of thunder. Her music evokes an emotional vibe that touches your soul. She is a true heartical and musical artist.

REGGAE REPORT YEARBOOK 1991

RECOINIIINI THE lEST TAMIKA'S THIRD ANNUAL NEW YORK REGGAE AWARDS Album of the Year Crossover Artist International Artist Male Vocalist Record of the Year Female Vocalist New Artist Most Promising Artist Male DJ Female DJ Comeback of the Year Sound System of the Year Record Label of the Year Radio Personality Producer of the Year

Jamaican Carnival IRIE-fm Bonofide, Maxi Priest Dermott Hussey and Winston Williams "Close to You:' Maxi Priest Maxi Priest GRAMMY Barrington Levy Best Reggae Recording Bunny Wailer "Too Experienced," Barrington Levy for LP Time Will Tell-A Tribute to Bob Morley.

Krystal ROCKERS AWARDS Nardo Ranks Top Int'l Album Bonafide, Maxi Priest Cutty Ranks "Close To You:' Maxi Priest Shabba Ranks Top Int'j Single IRIE-fm Lady G Radio Most Conscious Lyrics Shinehead Beres Hammond Afrique Soundsation Lignum Vitae Award .. the late Jackie Mittoo and Junior Tucker Freddie McGregor Super Power Reggae Artist of the Year Gil Bailey JAMAICA MUSIC INDUSTRY AWARDS路JAMls Gussie Clark Reggae Artist of the Year Freddie McGregor

CARIBBEAN MUSIC AWARDS Best Female Vocalist Best Male Vocalist Best LP

Carlene Davis Barrington Levy Block Roses, Inner Circle

10TH ANNUAL MARTIN'S INT'L REGGAE AWARDS Best Album Shabba Ranks Most Outstanding Stage Personality Shabba Ranks Best Male DJ Shabba Ranks Best Male Vocalist Gregory Isaacs Best Song/Single "Black My StorY.' Ziggy Marley and the Melody Makers Most Outstanding Showband Third World Best Dub Poet Mutabaruka Most Culture-Oriented Group Culture Best Female DJ Lady G Most Popular Radio DJ Barry G Best New Entertainer Ritchie Stephens Best Instrumentalist Dean Fraser Most Educational Entertainers Burning Spear and Edi Fitzroy Most Popular Reggae Magazine Reggae Report

BRITISH REGGAE AWARDS International Artist International Producer International Record

Shabba Ranks Donovan "Penthouse" Germaine "Tempted to Touch:' Beres Hammond

CANADIAN .MUSIC AWARDS Reggae Artist of the Yeor REGGAE REPORT YEARBOOK 1991

MUSICMAN AWARDS

Freddie McGregor

Pop Music Event Radio Radio Presenters

JAMAICAN FEDERATION OF MUSIC AWARDS Best Vocal Group Ebony Instrumentalist Dean Fraser Producer Gussie Clark New Artist Chevelle Franklin JC Ladge Female Vocalist Male Vocalist Frankie Poul Poet Mutabaruka Comedy Act Ping Wing Recording DJ Shabba Ranks Performance DJ Ninjaman Mek We Dweet, Burning Spear International Album Engineer ., Stephen Stanley Arranger Handel Tucker Composer/Songwriter Mikey Bennett Music Video "Find Your Way:' Lavindeer Backing I3and We The People Show I3and Third World Dragonaires Dance I3and .."

Stage Show Inseperable II, Success Promotions Male Performer John Holt Female Performer Karen Smith Honourary Awards IRIE-fm, T. "Hoots' Harris, John Alexander, Balford Henry, Bunny Wailer, Winston Williams, Tony Young, Dennis Howard, I3ab Clarke, Angello Burns, Hon. Seymour Mullings, Handel Tucker, Sly Dunbar, and Geoffrey Chung

TRENCHTOWN REMEMBERS

BOB MARLEY

BY DEANNE LUCEY In Trenchtown, the streets burn with memories ond desires. Dob Morley still lives there, in the thoughts of his Trenchtown brethren.

"Yes;' Toto says, "I remember when we used to live here in Trenchtown in a government kitchen. Round the bock 0' the yard, we sit and ploy music from morning right bock to night. Me use to boil cornmeal

porridge in a likkle bung pan. l3ung pan, butter pan, you know, a big tin what cheese comes in.

"More time me did use to fry dumpling and smoke herbs. I did use to help l3ab' by holding tin lamp, bottle torch, at night so 'im could learn fi ploy guitar. Me hold the lamp and 'im turning over the leaf and looking and holding guitor and look upon it ond what 'im want to learn and look on the next leaf; we sing and rehearsh a lot in dat kitchen': Tommy walks up. He is stocky, about fif-

ty years of age, and, judging from the lines on his face, those fifty years have not been without troubles. He sits down with Tata.

"We did use to 'ave a Rastaman did use to help light the logga wood;' Tata continues, "Logga wood, big tree root. You hear the part in the song say, Georgie would light the fire, loggo wood burning t'ru the night. Georgie would make the lagga wood keep burning right t'ru the night': "The fire was for cooking?" I ask.

"Yes to cook and for light and defense'.'

A CONYERSATION WITH TATA AND

TOMMY

DEANNE LUCEY

Tommy joins in the conversation. He has a gruff deep voice. "But is really Toto did the cooking. Georgie keep a fire right t'ru the night and right t'ru the day too. Dot's all'im did deal wid. Keeping the fire burning. He used to dey dey in a bath trunks daily and just keep a fire light right t'ru the night and t'ru the day too.

"We would sit down and sing, help hold the harmony. Man and man a sing. Bob did soy I 'ave a voice, but I never did tek the singing too serious. Is here where he write 'Trenchtown Rock' and 'Natty Dread'.

You know Natty Dread toke one step in 1st Street, den I trod down to 2nd street Tommy sings in a deep boss, Natty Dreadlocks in a Jrd Street. Den I toke one step in 4th Street. Is jus' up 'im a going and foster, you no see it? Due to politics. And when 'im reach 7th Street, is a border between JLP and PNP factions. So, is just 'im as a Rastaman, trying to walk safely to reach home, not involve in politricks and not get killed due to politricks'.' Tommy pauses.

"Rita;' Toto remembers, "did live up Greenich Pork Road in a likkle shack house when dis place what name Concrete Jungle was pure bush. Rema is here where I live in Trenchtown, here where we are right now, and Jungle is up a Arnett Gardens. Sometimes, I did tow I30b on my bicycle, carry 'im up a Greenich Road, up a Rita and leave 'im and come back in the night, ride going down alone.

"When he did go America first time up a Delaware, 'im write a letter and send a one dollar for me and tell me I must take care of Rita until 'im come home.

"And she was with me all during dot time, rehearsh. you see all 'Dreamland?'

Dot music what Bunny sing, 'Dreamland?'

When I30b gone America, Bunny and Rita and me around a back a pipeside, sit by the stand-pipe, the water tap, you know, and we sit down der and smoke herb and is der what dot music mek up.

"When Bob did come from Delaware, he say he stop singing for COX5one Sound System now and he going to do somet'ing fi 'is own. When he come, he come with a music and he say. 'Toto I 'ave a music 'ere name "Bend Down Low'.' You feel it can make it?' I say. 'How you mean, yes, it sound nice. You have a good title there'.

"I did tell 'im say. when we use to rehearsh a lots of Impressions music, and when we done sing, I tell 'im say. 'We better than the Impressions: And he run me and tell me, me mus' g'way. me no know what me a say. Him use to tell Don Beech, say. 'Curtis Mayfield a work me out: That a me 'im a call Curtis Mayfield. And after I look upon 'im, and say you gwine be the world. And I come see 'im be the world.

"You see the picture, Rita and Bob's wedding picture? You see how 'im look young and she 'ave a nice beauty smile, she 'ave a nice beauty smile now same way.

"And after a time, they achieve to have the record shop in town where Peter and

Bunny and Bob sing 'Duppy Conqueror' and 'Small Axe'. Right by Parade Street. I believe, is at Charles Street the first record shop or King Street.

"And from down there, now they get a likkle go and start to publish theyselves a likkle more. There now him start to get him regular work. Bob did achieve to hold a car. It was a brown and white Hillman Hunter. One time Bob and I driving up a Penbrooke Hall way and 'im driving the car an' he jus' start sing, said, 'Honey', and me sing, 'Here I am' and we start sing, 'Come rub it on me belly like guava jellY-' So that's where that start. Then Johnny Nash do it and he make a go there. Barbara Streisand did record 'Guava Jelly' too.

"Well, see know say-this girl that he was driving to go look for did live around there, and he did reach near to her now, so 'im jus' feel that spirit inside, knowing he going to look for her. Is one of him ~ baby mothers. One of him son's mothers. ~ Sweet and black and fat. He was on his (5 way to see her, and 'im start to sing, 2 Honey, here I am, come rub it on me bel- ~ Iy like guava jelly'.' Tommy and Toto and I are all smiling at the memories.

The sky is threatening rain. Tommy and "My son's mother's cousin lives in Miami, Toto send a youth to go fetch three beers and she works with the hospital he was for them. The zinc fence along the street in, and more time if anyone visit Bob, is is covered with painted political slogans. she receive them. And she was telling me "The poor can't take it no more" is painted after she come for my son's funeral-she in large letters. In the 1980 elections just come in from Miami, she and my son's past, more than 800 people died in mother, the Sunday before Bob died-she political violence. was telling me Bob not going live. And I It is said that one of Bob's biggest get vexed and say 'No man, I30b must live: breaks came when Eric Clopton took I3ob's "Monday me jus' lie down, close up the song "I Shot the Sheriff" to the top of the gate, take a lie down and worry about my American charts within a matter of weeks son. Worry that. And she come and say, from release. Those who were there on 'Tommy. you nuh hear what me jus" hear?'

Me say. 'Who dot'. She say. 'Bob dead'. Me the day the news started bUZZing on Beeston Street say Bob was standing at say. 'Gwaan man and don't come back'. the corner of King Street on that day. starAnd she say. 'Yes, you nuh hear, pure Bob ing down at the Parade with his hands music on the radio'. So me start to tek her folded behind him, ignoring the praise. serious now and walk go down the road.

Standing there in downtown Kingston Me walk go down the road, go a check on King's Street and looking down toward Toto. the Parade the view is poverty. the ocean "Me see Toto there, and me couldn't and the horizon in the distance. At home, even find a word fi say to Toto. And he you have four children' to feed. No money. must a feel the same way. And after a And your music and name are being couple of minutes standing there, me jus' heard around the world. SheriffJohn Brown say. 'Come, Toto, mek we walk go down always hated me, for what I don't know. the bar there cause me want to hear Everytime I plant a seed he'd soy kill it some Bob MarleY: And me a tell you pure before it grows. And I soy I shot the sheriff, tears. The two of we. Haffi jus'.. ." His voice breaks. Tears are in his eyes. "A rog did dey.. but I didn't shoot no deputy. ..

"Yes:' Toto says, "A lot of music comes and we haffi use it. Wipe eye. Pure tears'.' out of Trenchtown, yeah, and a lot more Tears are in his eyes again.

"Everywhere cry': Toto says, "Me never down here. You have some here name 'Knowledge' and 'Earth Disciples'.l3ob was seen so many people a cry. And everywhere I3ob's music playing. On every going to help them when he came back.

But it don't get to come true due to corner, in every robot taxi, in every bar.

And the juke box there in the bar playing, sickness and...'.' Toto sits there with his memories. We drink our beers in silence.

Many more will have to suffer, many more Tommy speaks qUietly in a rough, deep will have to die, don't ask me why. voice. "Bob a revolutionary. He was "And him say. 'Don't give up the tight':' another man go and fight the cause for adds Tommy. "I an' I have to liberate I an' I an' I. To my experience, heavier than MarI, you no see it? cus. A real revolutionary man'.' Tommy "Still you hear children in the ghetto cry pauses, looking down at the tough about Bob. Blackman Redemption. He is their hope'.' ground. After a time he speaks again.

REGGAE REPORT YEARBOOK 1991

FRIDDlE McGRIGOR For veteran crooner Freddie McGregor, 1991 was full of accomplishments. Two new albums, Now and Freddie McGregor Sings Iamaican Classics. were released to rave reviews. The latter produced the single "Let Him Try," which flew to number one on the U.K. Reggae charts. In support of these new releases, Freddie, along with Lloyd Parkes and We the People, went on an extensive U.s. tour in the Spring. Freddie also signed two new deals, one as the first Jamaican artist to sign with JADE, Ltd., a Kingston-based management and booking company, and the other with D&G, brewers and bottlers of Jamaica's Red Stripe Beer.

He was signed to record D&G's jingles for radio and TV commercials.

Also, along with partner Dalton Browne, Freddie's Big Ship label is now producing new artists, as well as producing more of the megastar, Freddie McGregor, a real mover in the Reggae world in '91.

u

â&#x20AC;˘

4

o

UB40 was everywhere in 1991. "Here I Am " and "The Way You Do the Things You Do" were huge crossover hits, propelling LabourofLove II. the band's second all-cover album, to tremendous heights. Early in the year, it went gold, and it sold solidly from then on. By September, it had charted on Rolling Stone's top 100 albums list for over a year and a half, longer than any other album (of any musical form) in all of 1991. Without extensive touring, UB40 managed to further its position as one of Reggae's greatest crossover successes.

T

I

G

I

R

Norman Jackson, aka Tiger, is back on top. Tiger's popularity saw a dramatic increase in 1991, culminating in the release of the smash hit single, "When," produced by hitmakers Steely and Clevie.

Tiger had a string of singles that entered the Jamaican charts and soared to number one. His shows, which are marked by comedic undertones, were well received by audiences wherever Tiger performed. At year's end, Tiger was the OJ in demand and was pronounced the hottest ticket in Jamaica's dance halls. The "new"Tigerisrelentlessinhis "Just Say No To Drugs" message as he spikes his performance with words of advice and warning. Enthusiasm and energy are two words the slight and spry OJ Don epitomizes, and the effect is immediately contagious. Not unlike his fellow DJs, Tiger has high hopes of obtaining a recording deal with a major company, but with the stipulation that he will be the premier deejay on whatever label is fortunate enough to secure him. Etching out his place as the "comeback of the year," the sky's the limit for the ready and roaring Tiger!

40

REGGAE REPORT YEARBOOK 1991

ZIGGYMARLEY While the late King of Reggae, Bob Marley, hit double platinum with Legend and had a new album, Talkin' Blues released, the crown prince, Ziggy Marley, along with the Melody Makers, scored a few notes of his own. Late in the year, Conscious Party was officially recognized as achieving platinum status.

Also, the release of Iahmekya, Ziggy and the Melody Makers third for Virgin Records, enticed listeners with a new sound: more contemporary, more distinctly Ziggy's. An active touring schedule, both in support of the new release and at the numerous celebrations in remembrance of ten years without Bob, allowed audiences around the globe to share in Ziggy's soulful, soulfelt irie vibes.

•.•...•...

..

....

'

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MACKA

•

England's gentle giant of lyrical culture brought his unique style of deejaying to waiting fans in Jamaica and the U.s. His popularity in the U.K., cemented under the insightful eye of the Mad Professor, was the impetus to his introduction to the rest of the world. Macka B's Jamaican debut at White River in July was met with a wild response. This led the way to an outstanding show one week later at Sunsplash, a highlight of Dancehall ight. By all indications, Macka B will continue to spread his message in '92.

INNERCIRCLE Audiences everywhere tuned in weekly to a brief performance by South Florida-based Inner Circle. The band's smash single, "Bad Boys," is the theme song for the Fox network TV series, "Cops." Not only has the song helped the band secure an Emmy nomination, but helped propel their Black Roses album to huge sales in the U.s. and Europe. The song's overall popularity and extensive crossover radio air play were solidified by a rare CD single release by the record's producer, RAS records. Between the success of "Bad Boys" and the band's own constant touring schedule, 1991 was a year in which the world took notice and heaped recognition on one of Reggae's most dependable and hard working groups. Audiences can always count on quality from Inner Circle as they cruise through the'90s!

REGGAE REPORT YEARBOOK 1991

41

ARTIST'S FAVORITES FOR 1991 Steve "Grizzly" Nesbit (of Steel Pulse) "Houscall" by Shabba Ranks and Maxi Priest

Junior Marvin (of the Wailers Band) "My Friend" by the Wailers Band

Lt. Stitchie " ight And Day" by Lt. Stitchie

Aston "Familyman" Barrett (of the Wailers Band) "Showdown" by the Wailers Band

Papa San "Banana Boat" by Jr. Reid

Michael Richards (of the Wailers Band) "Sweet Cry Freedom" by the Wailers Band

Tiger "Trailerload of Girls" by Shabba Ranks "Strange" by Papa San

Earl "Wire" Lindo (of the Wailers Band) "Sweet Cry Freedom" by the Wailers Band

Maxi Priest "Housecall" by Shabba Ranks and Maxi Priest "Set Adrift on Memory Bliss" by PM Dawn Keith Porter (of Hals) "Could You Be Loved" by Itals wi the I Threes Shinehead "These Three Words" by Stevie Wonder

Earl Fitzsimmonds (of the Wailers Band) "Out of Exile" by the Wailers Band Alvin "Seeco" Patterson (of the Wailers Band) "Rock On, Be Strong" by the Wailers Band Andrew Mcintyre (of the Waiters Band "Sweet Cry Freedom" by the Wailers Band

Ali Cambell (lead singer of UB40) "Strive" by Shinehead "Everything" by Pinchers Brian Travers (saxaphonist for UB40) "The Stopper" by Cutty Ranks Mickey Virtue (keyboardist for UB40 "UK Black" by Caron Wheeler Earl Falconer (bassist for UB40 "Why Does Your Love Hurt So Cutty Ranks "Fire Burning" by Marcia

Cocoa Tea "Shepherd Be Careful" by Cocoa Tea & Dennis Brown ony Gold) "No More a路 y Dennis Brown "Ste S1 ' Y Beres Hammond " mpted to Touch" by Beres Hammond Tony (of Brian & Tony Gold) "No More Wars" by Dennis Brown "Step Aside" by Beres Hammond "Tempted to Touch" by Beres Hammond HeavyD "Nuff Man a Dead" by Supercat Hopeton Lindo "Bandelero" by Pinchers

Shabba Ranks "Housecall" by Shabba Ranks and Maxi Priest (Because it put me and Maxi together --Shabba)

~

(j"1;~ i"

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REGGAE REPORT YEARBOOK 1991

43

SHABBA conr'd from pg. 24 What was the best? [ received a gold album.

What do you think of Maxi Priest?

Maxi Priest is abrother, you know, abrother that's helping to push the fire of Reggae music higherand higher. Ienjoy his company daily.

Who would you most like to collaborate with?

Whosoever wants to. I'm not specializing.

No one in particular.

Where's your favorite place in the world?

My favorite place in the world, my best place in the world, my greatest place in the world is Jamaica. But, you know, the place I want to see is Africa.

How do you define success?

For myself, it's just like...working for it.

Taking it easy, one day at a time. As the sllccess grows, I'll take it.

What would you like to see happen to Reggae music in the next five years?

Well just like how there are other types of mllsic being played on the radio 24 hours a day, while Reggae music is only getting half an hour, an hour, an hour and ahalf.. .! want the world to accept Reggae music and start to play Reggae music 拢the same] as any other type of music in the world.

What do you think will happen?

I've been on the street for six months. I mean, I've been touring for six months. I went to 46 states in America, and I went au tside ofAmerica, to some Caribbean islands and to Lagos, Nigeria. And the motivation that Reggae music comes from is very great and overwhelming. So I know that Reggae music is bigger and bigger and bigger. The sky's the limit for now, you know.

If you had to describe yourself as an instrument, what instrument would you be?

A bass guitar. You know the bass guitar is where all the sweetness of the music lies. [f everything is being played without the bass, you would get a feeling, but not a solid, soul vibe feeling.

What's your favorite food?

Rice and peas and steamed fish with a little steamed vegetable on the side.

What's the worst thing about being famous?

Many people do not know you, not where yOIl are coming from or whence you are coming from, and they are out there criticizing. The criticism is the worst thingabout REGGAE REPORT YEARBOOK 1991

popularity. Especially when you can't take it.

RED X continued from page 27

If you could perform for the audience of your choice, who would be sitting in the front row?

Mama Christie. That is my mother. Mama

there was no way you could get in, and he would call the cops. 50, they used leppo, the other two guys, for whatever reason they were going there....

"They walked in, and Mike Robinson, who was Peter's cook, he was the guy who ran to the gate. He got shot in the head. He went to the gate and saw it was Leppo, and said, 'O.K., since it's you Leppo, come in'. 50 he came around. They pulled their guns and walked upstairs, and when Mike walked inside, Mike's eyes were opened wide. Everyone was wondering why Mike looked like that.

Then the two guys came around and said,

Christie Mama Christie Mama Christie Mama Christie.

Describe your best backstage moment of 1991.

There's so many great backstage moments. (pause) Boston. The Beacon Theatre. It was

a double biller, two shows, one place. And when the shows were over, there were so many stars that are involved with other type of music backstage, which gives me a great urge to know that they are interested to come to my show.

After becoming famous, who changed first, you or your friends?

Friends. Friends always change when popularity develops, because some friends have said onedayata time, it used to be seven days of the week. Seven days a week of sparring. Okay? Or stepping or flexing.

Because you are now on the run. The seven days a week offlexing ain't lip no more since you start to get tall. Man be saying, rich and switch, as if you, man, is electrical circuit They be saying all sorts ofthings. Sometimes it is the act that change, or vice versa.

Sometimes many people get famous and because they are famous, they feel that they are too good to shake someone, and they are too good to put a pen ta a paper...too good to say hello.

What's the most memorable thing anyone ever said to you? Who said it?

Well it was my mother. She said, "God Bless You." Did you ever imagine you'd be among the people who took Reggae to such great heights?

Yeah ...No, no.. .! know that I'm working, alright, and I know that [ would gain my reward someday because I love music, and I love Reggae music and people respect me for what I'm doing. But [ never knew that it would ever lead this far,and that there would be so much to be done by me. But I'm happy.

One ofthe greatest things is toknow that you have been watching your elders for a tong time, and as soon as you're grown up, you have been associated with them. I'm enjoying.... Yeah, for real, I'm enjoying every minute. And wherever I go, [ try to do my...not only my best, but my uttermost best. Not for myself, not for my mama, not for my family, but for my music, and my island, Jamaica.

liTHE TRUTH HAS BEEN BRANDED, OUTLAWED AND ILLEGAL. IT IS DANGEROUS TO HAVE THE TRUTH IN YOUR POSSESSION. YOU CAN BE FOUND GUILTY AND SENTENCED TO DEATH. I'VE BEEN FOUND GUlL路 TY AND SENTENCED TO DEATH. I'VE BEEN FOUND GUILTY MANY TIMES FOR HAVING THE TRUTH IN MY POSSESSION. CONDEMNED BY THE DEVIL AND SENTENCED TO ETERNAL JUDGEMENT IN HIS HELL AMONG HIS PEOPLE~' - PETER JOSH This is a stickup'. They said, 'Peter, whatever happens, you're going to die tonight'. And later on, when they were arguing, trying to get the money, they said, 'Let's just do what we came here to do'. 50 they definitely came there to kill him; there's no question about it': The film, which is about two hours long and uses Peter Tosh's music as the score, is being considered for the Chicago Film Festival, which will take place in the middle of October. From there, the producers hope to take the documentary to festivals around the world, before giving it a general release in the U.5.

However, Jobson isn't finished telling Peter's story. "The movie that eventually I want to do:' he said, "is a feature with actors, and all of that, based on his tragic love story with Marlene. I want to do it exactly like Sid and Nancy, which was just. a tragic love story with 5id Vicious, showing the backdrop of the whole punk movement. It was looking at an era through a tragic love story, and what I want to do is look at the whole Reggae thing [in the same way)'.'

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45

MAXI continued from page 25

I almost drowned. Out in the sea in Bermuda, right. On one of those paddle kind of boats, with the big wheels. Me and a friend of mine, we went out too far, and we had to struggle toget back in. It was abit frightening.

What was the best?

To reach number one with "Close to You." How would you describe Shabba?

Very down to earth person. Very much an aware kind ofguy. Funny. I admire him for the way he carries his artistic progress, the way he handles being a star.

Who would you most like to collaborate with?

Anita Baker, because I think she has one of the best voices in the whole music industry, and because I'm a big fan of hers.

Where's your favorite place in the world?

Africa. The reason being is that it is our homeland, and that there is an increased awareness by our people today that we need to protect that land.

When I did USA Sunsplash. I was able to reason with oneofmygreatest heroes, Dennis Brown.

~

After becoming famous, who changed first, you or your friends?

Wow. I think both ofus at the same time. We all change.

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Keep your head to the sky. I can't remember exactly who said that. (pause) Oddly enough, I think I said it.

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GREGORY ISAACS

Did you ever imagine you'd be among the people who took Reggae to such great heights?

No. I never ever imagined that. It started to hit me when people started to say I was the next Bob Marley and stuff like that. Not to say that I get carried away with stuff like that. I appreciate it though.

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ISRAEL VI BRATION In Dub Vibrotion Strength of My Life

How do you define success?

It's really a personal achievement. It's more how you feel about what you've done. What you've set out to do, and what you've done.

It'sail personal, but in saying that I mean it's for myself and for my people as a whole.

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What would you like to see happen to Reggae music in the next five years?

I would like to see it get the same respect that other music in the industry already has.

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What do you think will happen?

I think it will.

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Stole

If you had to describe yourself as an

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instrument, what instrument would you be?

A trumpet of God.

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What's your favorite food?

Jamaican food.

What's the worst thing about being famous?

People understanding success. Meaning some people don't understand the pressures and the fight you have to go through. Some people think it comes overnight. lf you could perform for the audience of your choice, who would be sitting in the front row?

All the heads of government.

Describe your best backstage moment of 1991.

REGGAE REPORT YEARBOOK 1991

CUTTY RANKS continued from page 32 your average boost 'n' toost DJ number.

Though Cuny performs his tracl~s at an even, steady rhythm, he sometimes spices up his mix by teaming up with Jamaica's soul singers.

"I like ta team up with Dennis Brown or Wayne Wonder:' says Cuny. "I just did my version of Lambada with Wayne Wonder.

I like trying new styles. That's how they Iil~e me outside of Jamaica:'

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