Soul II Soul

@ The Barrowlands Glasgow Saturday 9th December 2017

Well now, growing up in London in the eighties, hanging around Camden market at the weekends, finding my dancing feet, I was naturally drawn to Soul II Soul’s unique sound and style, their blend of reggae and soul and positive message. The bassline to ‘Keep on Moving’ was irresistible, shaking up the concrete, blasting out of tower blocks and car stereos in the street everywhere in 1989.  Within a year, everyone from Sinead O’Connor to The Chimes sounded like them, or were connected to their all-embracing collective vibe. Maybe I didn’t fully appreciate them, as I was becoming obsessed with reggae at the time, while Jazzie was moving in the opposite direction, after starting out in the roots sound system world of course, but building a new, more inclusive sound from the foundations. Plus, I just wasn’t cool enough to fully embrace them at the time, although I belatedly managed my own take on the funky dred hairstyle, of which all photos have now thankfully been destroyed. So when I heard they were coming to Glasgow, I wasn’t first in the queue for tickets, but as I realised they were playing at the Barrowlands, that tipped the balance, as this would be my first time in the Iconic Venue (I think Chakademus & Pliers in the 90s were the last reggae act there), with sprung dancefloor ideally suited to their thumping bass.  I even managed to enlist a babysitter and persuade her indoors (who apparently thinks there is a thing called 'too much reggae') to come along for this one, so it made a change not to look like a sad bastard standing in the corner. And yes, how wonderful and pleasant it was to see a joyful crowd in a decent-sized venue; the appeal of Soul II Soul is enduring, as the place quickly filled up with the good and beautiful music-loving people of Glasgow. Warmed up and ready to dance, the reaction was jubilant as the band blasted the cobwebs away with ‘Keep on Moving’, and Caron Wheeler sounding just the same as she did back then. I must admit I was hoping she would be joined on stage by Kofi (who also featured on ‘Move Me No Mountain’, of course) and they would do a little Brown Sugar revival, but I concede that would have been a change of pace from the funky workouts of ‘Universal Love’ and ‘Fairplay’. Jazzie B did remind us of his reggae roots, with a heavy dub version of ‘Zion’ sounding more like U-Brown on the mike. But this night was all about the unique Soul II Soul sound, which helped to shape the modern multicultural nation we live in today, with Charlotte Kelly taking a turn on vocals on hits like ‘I Care’ and 'Missing You', two fabulous violinists striking up those haunting hooklines, melodic keyboards and the power of the drum and the bass. All the while, Jazzie B mixing up the samples on the decks and chatting a mixture of personal reminiscences and his distinctive Holloway Road rap on tracks like ‘Get a Life’. Like anyone of a certain age, the band have been touched by tragedy, but keep everyone going with their life-affirming vibe and the therapeutic power of music and dancing, culminating with ‘Back to Life’. Jazzie B brought the sound system out of the ghetto and placed it at the heart of British popular music. One love.

Ska Vengers

Ska Vengers, Rum Shack Glasgow 2 September 2017

From India with Dub

A ska band from Delhi? Are they just a novelty act doing cover versions with a sitar thrown in? Far from it, this band of young, gifted musicians with their original songs and two charismatic lead stars demonstrate a solid foundation in the history of Jamaican music, not just ska but mixing it up with dub, raggamuffin styles and a serious lyrical consciousness. And why the hell wouldn’t they, as ska and reggae has spread all over the world, India could not miss out. After all, let’s not forget the involvement of musicians, producers and artists of mixed Asian heritage since the early days of the Jamaican recording industry from Ken Khouri and Jackie Mittoo to Supercat. There were always plenty of Asian people into reggae and ska, but they may not have seen themselves represented on stage in the original Two Tone movement. Things have moved on since then of course, from Neville Staple’s work with Johnny Zee and Stereo Nation in the nineties, right up to the Patel Brothers of The Frightnrs. So it’s really not a big deal, I’m going to shut up about it now. The Ska Vengers had a tough act to follow, taking the stage after raucous local favourites Esperanza (what? - white Scottish people can play ska too?), and last week’s nostalgic love-in in the park with Misty in Roots and Aswad still fresh in the Glaswegian memory. The front two combine the style and energy of Pauline Black with the fire and attitude of Apache Indian to an urgent backing featuring blazing horns section, rollicking basslines and chopping guitars reminiscent of The Beat. Their own songs like ‘Kick Up Rumpus’ and ‘Gunshot’ and ‘Vampires’ keep the pace moving alongside versions of ‘I Put A Spell On You’ and ‘No, No, No’. Just as you think this might be too familiar territory, they draw out ‘Frank Brazil’, the story of a 1930s Indian revolutionary who assassinated a British officer responsible for colonial massacres. Their unique take on reggae foundation rhythm ‘Rockfort Rock’ brings it back to its Cuban roots and then takes it away to turn into ‘Redfort Rock’. All these infectious sounds and intriguing stories were still flying around my head by the time they had to go, to be followed by Delhi Sultanate taking over the decks, dripping with sweat from his performance, to fling down some dubplates from the likes of Johnny Osborne, Shabba Ranks and Barrington Levy to show they have not just come around in this reggae thing but are steeped in it. Their two albums (available on Spotify, Amazon, i-Tunes, etc.) are well worth repeated listens once you get home to let the lyrics sink in after the deceptively catchy tunes have drawn you in to skank to their live performances. And if you get a chance to catch them at Bestival tomorrow, or next time they come to the UK, don’t miss them. One love.

Aswad, Reggae Against Racism preview

I could hardly contain my excitement at the news that the mighty Aswad headline the Reggae Against Racism concert at Queens Park next Sunday, alongside British reggae stalwarts Misty In Roots and Black Roots. In fact, I could not contain it so I wrote it down. So, what does Aswad mean to me? For some, the name may conjure up three dapper dreads on Top of the Pops performing their smooth number one hit, ‘Don’t Turn Around’. Some may recall their epic, era-defining sets on the Glastonbury Pyramid stage in the early eighties. Others may consider them synonymous with the heyday of the Notting Hill Carnival, providing the soundtrack live and direct as parties and occasional battles raged into the late August night. Smart alecs like me may point out the word ‘aswad’ means black in Amharic and argue about how to pronounce it. They are indeed all of these things and more, and an essential part of British reggae history.  I first became aware of Aswad around the time of the ‘Rebel Souls’ album in 1985, bursting out of the cover like they had just arrived from another planet. But they had already been going an impossible ten years by then, since they formed at school in west London. Even at such a young age, their unique sound and potential was obvious to some. When Bob Marley had some time on his hands in London in 1977, he turned to them for help as backing musicians and singers to re-record ‘Keep on Moving’. Tunes like ‘Back to Africa’, ‘It’s Not Our Wish’ and ‘Three Babylon’ expressed the feelings and frustrations of a young black British generation struggling against NF thugs, police brutality and discrimination, foretelling the anger that was to boil over in the streets. They immediately found a home on stage alongside the likes of The Clash, Stiff Little Fingers and Misty in Roots, in the original Rock Against Racism concerts. By the time I first saw them live at the Brixton Academy in 1987, they had carved their own names in reggae history with a faithful following and international renown.  Their songs sounded even better live than on record, as they developed a versatile style, blending roots with lovers rock and bubbling with the beat of the dancehall. They continued to conjure up magic with songs like ‘Roots Rocking’ and ‘Need Your love’ followed by the album, ‘To The Top’. Which is exactly where their next hit took them, as a surprising cover of a Tina Turner B-side built on the reputation they had earned from so many years of touring and so many sales in the reggae charts, catapulted them to number one and captured a whole new audience.  This led them into unchartered territory for a British reggae band, with new pressures and demands, but albums like ‘Too Wicked’ and ‘Rise and Shine’ maintained their high standards for a new era before they split. It won’t be quite the same without Brinsley Forde, of course, but they had a reunion a few years ago for Island’s 50^th anniversary, so maybe a concerted campaign on social media can persuade them to get back together for this special occasion commemorating forty years of Rock Against Racism. So don’t miss this chance to see them live and direct. One love.

Bass Warrior

I can’t say that I knew Kenneth ‘Bass Warrior’ Osborne well, but was shocked and saddened to learn of his passing after a short illness, and my heartfelt sympathy goes out to his family and friends. I was introduced to Kenneth a few years ago, as the man who ran the sound for most of the reggae gigs in Glasgow and beyond. We would always exchange a few words and I hope he knew how much I appreciated his dedication and love of the music. He was always humble and unflappable, whether warming up the session for the likes of Chronnix and Macka B, or laying down dubs PA style for legends like Little Roy or Johnny Clarke, and playing out in all weathers at community events like Govan Fair.  I must admit that when I first moved up to Scotland, I was worried that I might not be able to hear my favourite tunes busting out of a big old sound system ever again. Growing up in London and spending time in Manchester, it never took that much effort to listen to reggae, as it was all around, thanks to Daddy Ernie, David Rodigan, Frontline Radio and many more. Of course, there’s a reggae scene in every major city in the world, and Glasgow is no exception. But I’m a bit fussy; I’m not that into dub, love Studio One, like a bit of roots, I’m a sucker for some soppy lovers rock, only got the stamina for just the right amount of dancehall, I’m a bit stuck in the eighties but I like to keep up to date with the new stuff out of Jamaica, and even a bit partial to a sudden blast of soca and soul. And Kenny had it all in abundance, with great taste and a natural touch for judging the mood of the crowd and mixing things up to keep everyone happy and moving. He was one of those DJs who seem to have not only raided my record collection, playing tunes I forgot I had and the ones that got away, but also introducing me to new sounds played the way they were meant to be heard, with mighty basslines trembling through the floor and moving through your structure and straight to your heart. He made me feel right at home, while his links and friendships all across Europe and the Caribbean helped put Scotland on the reggae map. One love, Kenny, you will be sorely missed and the Scottish reggae scene will never be the same without you.

Frankie Paul

Growing up and falling in love with reggae in the eighties, I couldn’t help the faint feeling that I’d missed out on the golden era. Of course I loved the likes of Dennis and Gregory who were still making great music, but the heyday of some of these giants was behind them. The temptation was to spend all my time and money digging out the classics to educate myself in the foundations of reggae. But then again I knew there was a huge amount of amazing fresh music all around me, but it somehow lacked an individual personality to get a hold on. Then I gradually became aware of Jamaica’s Stevie Wonder, Frankie ‘Dancehall’ Paul, and I came to appreciate one of the true superstars of the eighties. Even then it took me a while to get him. Listening to Tony Williams run down the reggae charts, there would often be three or four FP singles in the top 20 at any one time. Which one to buy with my pocket money? Maybe I should get an album, but wait, he’s got three albums out this year, all with two or three standout tracks. And ‘Alesha’ is on the same riddim as Half Pint’s ‘Greetings’, which one do I buy? Do I need to buy Sarah, when it’s been at number one in the reggae charts for 13 weeks and on radio all the time? Now I realise how lucky we were, spoilt for choice and I should have got a Saturday job to fund my trips to Dub Vendor. Back then with my adolescent preoccupation with originality, I would have a slight feeling of disappointment when I discovered some of his songs were covers and all the others were written by this P. Blake guy! I eventually cottoned on this was the real name of the man himself, and found out he was a hugely talented multi-instrumentalist and songwriter, penning stone cold classics like ‘Worries In The Dance’, ‘Shub In’ and ‘I Know The Score’. Even his cover versions were often unrecognisable from the originals, as he added so much of himself and I came to look forward to his take on a soul hit, like ‘Casanova’. His peerless selection of tunes came from a unexpected variety of sources, some of them untraceable to me in the pre-internet days, (just listened to the original of ‘So Soon We Change’ for the first time and I definitely still prefer Frankie’s version), and was a reflection of his wide knowledge of music and unstoppable love of singing, and an essential ingredient to his prolific role in the reggae industry of the time. He had an amazing range, was well known for love songs, which were perfect for a teenager in love like me, featuring on every mixtape I ever gave to a girl. But he also had a gift for social comment that conjured up the trials and tribulations of everyday life in Kingston in ‘Tidal Wave’ and ‘Fire De A Mus Mus Tail’, as well as a spiritual side with songs like ‘Songs of Freedom’ and ‘Never Give Up’. Seeing him in concert he was like a human jukebox, and in interviews, jingles and spoken intros to records we got to know his range of mimicry and impressions, zooming around like a radio dial. It was impossible to keep up with him, as he continued making records into the nineties, noughties and 2010s, even as his health began to deteriorate. Even now, I listen to the tribute shows on mixcloud and 1xtra I discover classics that are brand new to me, while nearly all the others are cherished favourites from my collection, thanks to Daddy Ernie and David Rodigan for introducing me to them back in the day. We’ll miss him, but Frankie left us with a musical legacy music that will never run dry. Rest in Peace. One love.

For a fictional take on growing up reggae, check out Black King.

Protoje

Protoje, Sevana and the Indiggnation Band, Glasgow 02 ABC, 7 May 2017

Being an old-time veteran, I like to think Protoje is quite new on the reggae scene, as he still sounds so fresh and original, generally rejecting recycled rhythms and covers, blending influences from hip-hop and dancehall with the real instruments and talented musicians of the Indiggnation band to create a powerful new conduit for his smart, riddle-full lyrics, putting him at the forefront of the roots revival. But he’s been working at this a long time, as you can tell from his carefully crafted and developed sound. It’s nearly seven years since he started to scratch the surface of success and began this reggae affair with new audiences all over the world, and even made it to Glasgow already in October 2015. So there’s no excuse not to be up to speed with his message by now, and clearly he made a big impression on the reggae connoisseurs of Scotland last time, as the 02 ABC was packed with an eager and expectant crowd.  Protoje’s protégé, Sevana, took the stage bright and early (about a quarter past eight, so don’t be late) to showcase her EP, with songs like ‘Easy To Breathe’, ‘Carry You’ and ‘Chant It’ demonstrating her soulful voice and extra classic lovers style.

After a short break, Protoje took centrestage, his easy-going, laid back presence belying the anger and militancy of his lyrics as he hits us with tunes like 'Criminal' and 'Blood Money'. Flanked by two powerful female voices, keyboards and some rocking guitars, as well as a driving drum and bass, he gets the crowd singing Kymani Marley’s part on ‘Rasta Love’ and the vibe is reminiscent of the latter’s old man. He’s a versatile performer, launching into high-energy steppers, sharing the spotlight with the band and when joined on stage by another amazing prospect Lila Iké, with her own ‘Biggest Fan’ she also features on ‘Flight Plans’ from the ‘Royalty Free’ download last year. A couple more tunes from this selection reveal more of a softer, lovers rock side that emerged spending a few months last summer in the UK, as he tells us. Protoje’s music encompasses the whole smorgasbord of reggae, and while most of his tunes are his own compositions, he also pays tribute to his inspirations, from the bouncing ska of ‘Answer to Your Name’ to a taste of dancehall with some live sampling of Buju’s ‘Champion’ with a heavy dose of eighties influences from Black Uhuru’s ‘Shine Eye Gal’ and a sprinkling of ‘Exodus’. He steps up the pace with a little more help from Sevana and the guitarist taking Jesse Royal’s part for ‘Sudden Flight’ and keeps the crowd bubbling to ‘Bubblin’ and more. He can’t leave out the modern anthem, ‘Who Knows’, which is the first reggae record in years that I’ve heard blasting out of passing cars, in the barbers, shops and at suburban parties, in Glasgow.  Leaving us with another classic, ‘Kingston Be Wise’, after the best part of two hours on stage, he’s already got a substantial body of work to choose from, with three full studio albums and a couple of mixtapes/downloads, but still left the crowd eagerly waiting for more. If you look at the artists he has collaborated with, it reads like a who’s who of the recent roots reggae revival in Jamaica and globally: Chronixx, Jah9, Jesse Royal, Alborosie, Gentleman, which makes you realise reggae’s future is in safe hands, and is also a big chunk of the line-up for this summer’s festivals like California Roots, Summerjam Germany and Boomtown England. So if you missed Protoje on this tour, don’t miss your next chance. One love!

David Rodigan

Book Review: My Life in Reggae

I feel like David Rodigan is an old friend or part of the family, after all, I’ve invited him into my house almost every week for about the last thirty years. It’s always a pleasure to listen to his voice and impeccable taste in reggae, but like a favourite uncle, I must have heard all his anecdotes a hundred times already, do I really need to read his book? Well, the answer is emphatically yes, as the story of his life is also a history of reggae, and there’s a lot more in ‘My Life in Reggae’ than he divulges on air. Not least the revelation that with a mother from Maryhill and a father from Kirkcaldy, Scotland can at last rightfully lay claim to several world cups (of the sound clash variety). And how else would you be able to chart his career as an actor, featuring in episodes of Doctor Who and Sherlock Holmes? His drama grounding is undoubtedly a factor in his success as a DJ, from the way he projects his voice and maintains the entertainment value of performance in every show, to even going as far as using fancy dress at sound clash. When I first discovered his show on Capital in about 1986, he was one of many reggae voices on the FM dial, alongside his old sparring partner Tony Williams on Radio London, the Ranking Miss P on Radio One, Daddy Ernie on LWR/Choice and a plethora of pirate DJs. Over the years, reggae was marginalised to the wee small hours, overtaken by new forms, or found an outlet on internet radio, (you can still find some of those names on Vibes FM). This book explains how Rodigan clung on, taking some chances and risks, not least to his health, and eventually finds himself appreciated by audiences as diverse as Jamaican soundclash crowds, German teenagers tuning into his armed forces show, and a new dubstep generation.


Each chapter briefly sets out a stage in the development of reggae, from ska to new roots, juxtaposed with a period in Rodigan’s life, as he goes from schoolboy watching Millie on Top of the Pops, to radio institution, dancehall daddy and festival regular. A lot of us reggae fans may admit to a twinge of envy when hearing about Rodigan’s frequent trips to Jamaica, his reminiscences of meeting just about every singer, artist and producer ever, and the welcome greetings he receives in dancehalls from Brooklyn to Tokyo. But none of this came easy, and those looking for some mysterious secret to his success will be disappointed. What comes through in the book is that he’s first and foremost a fan, but also a dedicated student of reggae, and always humble and respectful in the presence of those who make it. He never forgets that reggae has its roots in Africa, surviving through slavery and colonialism, to become a major force for equality, love and unity in the world. He touches on subjects he does not mention on radio, from his brush with a sinister group called the ‘Black Music Protection Squad’ in the eighties, to when a soundclash rival in desperation drew the race card, and what he thinks about the murder-inciting homophobia that stained the music in the nineties. Written in an easy-going style, reading the book you can hear his unmistakeable voice, like spending a few hours in conversation with him, and is best done with one hand in your record collection (OK, or Spotify or whatever), so that you can line up a particular track whenever he mentions one, and share in his unwavering enthusiasm and passion for this music. Rodigan opened the door for many reggae fans, and there’s plenty of room inside - so get yourself along to hear some more at the Art School on 25.03.17 and keep on coming through the door!

‘My Life in Reggae’ by David Rodigan with Ian Burrell , available from Dub Vendor, Hive and all good bookshops, Number 1 pon the Amazon Musician Biographies chart

If you like this, you might like Black King and To Jamaica With Love.

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Marlon James

Book Review: A Brief History of Seven Killings

I like to think that genre-defining classic ‘Black King’ started the phenomenon of reggae-flavoured fiction, but this is a seriously heavy novel, in a league of its own. Don’t be misled by the title, as at 686 pages it is not at all brief, and a whole heap more than seven people get killed. It does not claim to be a true history of the background and aftermath of the attempt on Bob Marley’s life in 1976, but as in the foreword, ‘if it no go so, it go near so’. Flowing through the rivers of consciousness of a myriad cast of characters, many closely resembling notorious figures in this bloody chapter of Jamaican history, (but not the bloodiest by a long way) you are sent spinning through the gullies of the ghettoes of Kingston in the seventies, and spilling over into the crack dens of New York in the eighties. If you’re not familiar with the events this may leave you bewildered but reggae lovers schooled by countless cryptic references in lyrics and having seen films like Better Mus Come (and having recently read ‘Stir it Up’, which covers similar ground), will be able to find their way. Amongst all the shootings, stabbings and beatings, there is some great wordage here, of a particular place and time; ‘hataclaps’ being one of my personal favourites, and pretty much summing up the whole situation. Definitely not approved by the Jamaican Tourist Board, the island seen through the eyes of the people caught up in this hair-trigger booby-trapped world is unremittingly bleak, but the narrative digs deeper than the media stereotypes, getting under the skin of gangsters, innocent bystanders, CIA operatives, journalists and ghosts. It also does not shy away from breaking taboos and de-glamorising the ‘Yardie’ image, including the revelation, as a cross between Quentin Crisp and Ali G might say, that a lot of the worst rudeboys is well batty. Is it all just reality, or is it some form of ghetto-porn? How the hell would I know, but I know it is a totally compelling read. Get it now, don't wait for the paperback, life's too short, and you can always use it to whack someone over the head with - in self-defence, of course. One love.

Johnny Clarke

Rum Shack, Glasgow 1st April 2016

Johnny Clarke is another of those reggae legends held in high esteem by true aficionados but somewhat neglected by Johnny-come-latelys like myself. Voted Jamaican singer of the year in 1975 and 1976, the golden years of reggae music as the man himself put it, when to be honest I was mostly listening to The Wombles. He wasn’t even my favourite reggae Johnny, to be frank that was Mr Osborne, but after Friday night at the Rum Shack I now realise what all the fuss is about and I am going to have to familiarise myself with his extensive back catalogue. Once again, the size of the crowd packing out the Rum Shack was evidence of the extent of his popularity and how fondly he is remembered by the Glasgow roots massive. Bass Warrior laid the foundations and then proceeded to make them tremble with mighty basslines, throwing down riddims from King Tubby, Bunny Lee and the like, which have become so inextricably linked with the voice of Johnny Clarke drifting in and out of the dub. He took the microphone and began to reel off hit after hit, mixing up his versions of anthems such as the Abyssinians’ ‘Declaration of Rights’ with his own equally revered compositions, ‘King of the Arena’, ‘Enter Into His Gates’, ‘Roots Natty Congo’ and many more. These were now beginning to ring bells as I realise I have heard a lot more Johnny Clarke than I thought, as no roots reggae compilation from the golden era is complete without his contribution, many have been revisited by other reggae artists. Some of his songs have become more famous in their often uncredited dub incarnations, featuring snatches of his vocals drifting into my consciousness. His voice is still smooth in a lilting youthful tone, and his style laid-back, peppering his songs with casual conversation for the audience, reminding us of his deeply held Rastafari faith. He revealed his African roots, letting fly his floor-sweeping dreadlocks, and gave us more of his classics, such as ‘None Shall Escape the Judgement’, ‘Every Knee Shall Bow’ and ‘Move Out of Babylon’. A brief break was followed by the rousing ‘Rock With Me’ which cannot fail to get everyone dancing. I love the Nerious Joseph/Winsome version as it lends itself well to the duet but Johnny’s version made me search out who did the original and it was Delano Stewart which is an absolute rock steady belter I can’t believe I didn’t know it. That’s it I am going back to reggae school, starting on Monday with Johnny Clarke’s discography. One love!

Bob Andy

The Garage, London 25th April 2016

Springtime in the capital only means one thing – the London International Ska Festival; a celebration of the music that has flowed for six decades from this fountain of everlasting talent, its many tributaries and the various streams it has created all over the world. And who better to headline Day Two this year than Bob Andy, a man who has stood firm for over fifty years, refusing to bend or bow in the face of changing winds, staying true to his masterful blend of love songs and conscious messages, maintaining the highest quality output of albums while supporting and inspiring countless other artists www.bobandy.com . Originally due to attend five years ago, but unable to perform due to illness, it was an absolute joy to see his name on the bill again. I had originally bought a ticket to see Johnny Osborne, and must admit I was disappointed to hear he had pulled out, but the news that was he was to be replaced by Bob Andy was honestly even better. Massive thanks to Sean Flowerdew and all the crew who have made this happen for the past 28 years, bringing together the whole spectrum of ska stars, struggling against the obstacles posed by the inevitable passage of time and Home Office visa problems on the original Jamaican generation. Pork-pie hats off to Peter O’Toole as well this year for giving us the best T-shirts/posters ever http://www.londoninternationalskafestival.co.uk/... Friday night comprised the original Skatalites-style sound of The Indecision, followed by the The Defektors, who took us to the punky, dubby side of skatown. Then came Pama International, featuring Sean himself on keyboards and a new line-up harnessing the spirit and sound of the sixties girl groups to ska interpretations of reggae and soul classics such as ‘Man Next Door’ and ‘Will You Still Love Me Tomorrow’. All the while, the Tighten Up Crew kept the pace going during the quick changeover between bands, playing favourites from Alton Ellis, Ken Boothe and many more as the Garage filled up with anticipation. I don’t know how long this band have been working with Bob Andy, but as soon as they took the stage it was clear they had the talent and dedication required to support one of the undisputed champions of Jamaican music, running through classic Studio One instrumental ‘Swing Easy’ with aplomb.

Bob himself was introduced to a rapturous welcome, only in England for a few days and apparently feeling the cold but warmed to the bones by the enthusiastic crowd. Resplendent in white and gold African dashiki, he was soon persuaded to take off his beanie hat and let his still impressive silver dreadlocks fly free. ‘My Time’ is something of a signature tune, and sounded perfect as ever, even though he said he only got the strength to keep on performing from the love of the audience. ‘Sun Shines For Me’ is another beautiful anthem that cannot fail to get everyone smiling and singing along. Bob introduced some of his most early work with a wry smile, such as ‘Crime Don’t Pay’ a message to the rudies of Kingston, but acknowledged time has told him it probably does after all. These songs recorded for Coxsone in the late sixties, collected on the Song Book, remain as fresh as ever. ‘Unchained’ is a roots classic far ahead of its time, covered by so many and with a powerful riddim re-used by Garnett Silk and many more. He went on to perform for the first time some of the hits he has written for fellow legends, ‘I’m Gonna Tell You Goodbye Babe’ (Ken Boothe) and ‘Impossible’ (Delroy Wilson) which was a continuing education in reggae music for me. The lyrical masterpieces of ‘You Don’t Know’ and ‘Life’ still get your brain working as well as moving your feet. Of course, this of all shows had to include ‘Too Experienced’, a great favourite of the Two Tone era from the Bodysnatchers sassy version, here restored to its original heartfelt pain with delicate flute and muted trumpet accompaniment. ‘I’m Going Home’ still made the hairs on the back of my neck stand up, with its echoing harmonies, originally of course provided by Marley, Tosh and Livingstone, which according to legend, made Bob Andy himself think it was a Wailers tune when Coxsone first dropped it in a dance. It remains my favourite tune and inspired the penultimate chapter in my humble account of where an obsession with reggae can lead you, ‘Black King’ – the novel. Sadly there was not enough time for some of Bob’s more recent songs which stand up well to the classics, such as ‘Love Is Sure’ and ‘Send Someone To Meet Me (I’m Coming Home)’. He was persuaded to come back on stage with another Africa-tinged paean to exile and return, ‘ I’ve Got to Go Back Home’ and with that we wished him well and hope he comes back soon as he will always have a home in our hearts. One Love!

Little Roy

Rum Shack Glasgow 22 January 2016

As a long-standing member of the Scottish Benevolent Society for Veteran Jamaican Artists and Musicians, I am always happy to show my appreciation for reggae artists whenever they are in the vicinity. So when I heard Little Roy was coming to ton, the man who gave us the classic anthem‘Tribal War’, which so encapsulated the situation in Jamaica in 1975, and still relevant all over the word today (although I must admit it only came to my attention from the Buju Banton version in 1993) and the number two all-time greatest reggae song about Christopher Columbus, I did not hesitate to get myself a ticket, But I was a bit worried the turn-out might be a little thin for a man described by i-Tunes as ‘little known outside reggae’s deep roots circles’, especially on a cold dark January night before payday. So when I noticed more cars than usual parked in the surrounding streets, roadblocks, sirens, helicopters in the air, people milling about and spilling out onto the Pollokshaws Road, I thought to myself “Hullo, wha’gwan on here then?” The promoters had obviously done a very good job.

The Rum Shack was jam-packed, Bass Warrior sound was in full session with Earl ‘Yeah-Yeah’ Gateshead special guest selector throwing down some righteous classics for an eager crowd, skanking and buzzing with excitement. I had to reconsider my position as Glasgow’s resident reggae reviewer and novelist, as not for the first time my ignorance of the extent of the knowledge and appeal of reggae amongst the musical connoisseurs of this city left me gobsmacked. He took the stage to a great reception, and started with the evergreen Stevie Wonder classic, ‘Yesterme, Yesteryou Yesterday’ also done famously in reggae by the late great John Holt, but my research tells me done first by Little Roy. He warmed up, took off his coat and stepped up the pace, launching into solid roots anthem ‘Prophecy’ which I had no idea was one of his, having been familiar with the Freddie McGregor version from the eighties, and the aforementioned classics. He also gave us ‘Children Children’ and ‘Right Now’ from his current EP (available on Amazon, i-Tunes etc) which showed he has not lost his talents for song writing and topical conscious lyrics that perfectly match his plaintive, slightly husky voice. Then he asked if there any fans of Nirvana in the place, and everything went mad. So that Battle for Seattle album was quite popular then? I’m not too familiar with his versions or the originals, but it seems obvious this was so much more than a novelty gimmick; he has crafted an enduring powerful interpretation of the songs that people love in their own right, blending genres and bringing reggae to a wider audience. Respect to everyone who turned out and made Little Roy so welcome, you’re in deep; membership cards are in the post. One love!

Earl 16

Rum Shack, Glasgow 27 November 2015

Massive and crew, between you, me and the gatepost, I like to think of myself as something of a reggae fan. So naturally, when I heard that reggae royalty, Earl 16, was coming to town, I and I got myself a ticket (actually just the one) without any hesitation. But then on closer inspection of my record collection, I was shocked to find a scandalous... under-representation of this venerable veteran soldier of Jah Army, who has recorded for everyone from Studio One, Channel One, Lee Perry's Black Ark, Mad Professor to Glasgow's own Mungo's HiFi. Just a few tracks on compilations, a cover of 'Holding Back The Years' of which I am sure Mick would approve, and a solitary single from the eighties, 'If We Get Together' (I recall the review in Echoes by real reggae writer John Masouri; whenever Earl 16 opens his mouth a rare and beautiful sound comes out, and this Afro-funk style Parisian flavoured lovers rock tune is a perfect backing for his talents). I felt so ashamed of my neglect of this under-rated unsung hero of a singer that I nearly had to return my reggae fan club hat and badge. I mean, writing a couple of novels (Black King, roots rocking comedy; To Jamaica With Love, ska-faced spy thriller; available in all good...see me, but who wants to read a book about reggae? Ask Marlon James!) is all very well, but would my time have been better spent acquainting myself with Earl 16's back catalogue? Like a reliable midfielder who has played for all the top clubs but not known for scoring spectacular goals, Earl has been ever-present, setting things up for others, working hard in the engine room of roots, sort of like the Claude Makelele of reggae. Fortunately, it did not matter on the night, as anything touched by Earl's magical voice is instantly sprinkled with gold dust. As anyone knows, on a cold, wet night in Glasgow, if you want to warm the place up, you call on the Italian reggae crew out of London, Fenomeno Show, for some classic tunes and a female deejay version of Tanya Stephens' 'It's A Pity' in Italian. The regular Friday Reggae Shack has been creating a buzz, but maybe the southsiders have been spoilt with so many great free nights, they were a bit slow to move into the back room, but as soon as the reggae ambassador took over and the vibes started flowing, they coughed up and the room filled up nicely. Mr Daley took the mike, sounding like the 16 year old who started making records in the seventies, and still going strong four decades later. His Studio One selection was instantly familiar, musical memories falling into place, getting the shy feet in the crowd moving with his infectious enthusiasm and warm, soulful tones. He paid tribute to some of his inspirations who became his contemporaries and were also influenced by him, the likes of Dennis Brown, John Holt and Max Romeo. As well as a few surprises to me, with a souped-up version of 'Message To You Rudy' and a dubwise of 'The Joker' which actually lends itself perfectly to reggae. More tunes like 'The Fittest' made me realise I had better start discovering his wealth of albums, although I have got another novel to write (Love Fire, more of a lovers rock rom-com this one, Brixton 10 April 1981, nice night for a first date?). One love!

Dennis Alcapone

African Arts Centre, Glasgow 31 October 2015

Scottish audiences have moved on since the polite bewilderment that greeted Dennis Alcapone's ground-breaking performance at the Edinburgh festival in 1973, and he was hailed like an old friend by the enthusiastic Halloween revellers gathered together on a rainy night in Ibrox. The mighty Bass Warrior and encyclopaedic ska-master selector Peter Bro...wne had done a great job in bringing the atmosphere of a 1970 Kingston street corner into the hall, festooned with Jamaican and St Andrew's saltires, rampant and Rasta lions - this may not be uptown Jamaica, but we were in for a treat. One good thing about having a venue on an industrial estate in the shadow of a football stadium is there is no danger of disturbing the neighbours, as the stage was set for an all-nighter to shake up Broomloan Road through to 6am. Dennis Alcapone is recognised as one of the original deejays, alongside U-Roy, who were able to bring the energy, fun and charisma of the dancehall into the recording studio. He also quite possibly gave us the first ever rewind/pull up on record in the Keith Hudson produced 'Spanish Amigo' version of Ken Boothe's 'Old Fashioned Way' and with fellow deejay Lizzy, invented the combination style that has inspired numerous ragga and rap duos. Strolling into the hall just after midnight, looking dapper in trademark white suit and trilby, he had plenty of time to pose for photos and sign records for the crowd before taking up the microphone. Recording over a hundred singles in the first few years of the deejay revolution, he had version like rain to choose from, and scattered lyrics over countless Studio One and Trojan favourites from 'Love I Can Feel' to 'Cherry Oh Baby'. Unperturbed by the zombies and skeletons skanking in the hall (obviously he has been to Ibrox before), he livelied up the crowd before a short break, then stepped up the pace with yet more versions, and cast his magic spells, entrancing the audience to dance all night. Dennis Alcapone showed us he has still got it, and why remains one of the world's most wanted deejays, and long may he continue toasting in his inimitable style. Hook, line and sinker! One love

Chronixx

Zincfence Redemption & Dre Island, Glasgow O2 ABC, 19 July 2015

Well, there’s been a lot of late nights down at the African Arts Centre, and a lot of good food eaten thanks to Fire in Babylon and the Rum Shack, but it’s been a while since the last big reggae gig in town. And right now, they don’t get much bigger than Chronixx, for the final leg of his UK Reparation tour, which has seen him take the Pyramid stage at Glastonbury in front of tens of thousands, selling out the illustrious surroundings of London’s Somerset House, burning a trail through Manchester, Birmingham, Brighton, Oxford, Leeds and Bristol to the more intimate venue of the Glasgow ABC. The impact of his debut ‘Dread and Terrible’ album has clearly kicked up a storm, with this being picked out as gig of the week by more mainstream music media, and the place was corked and rammed from early on Glasgow Fair Sunday night, as is only right and proper. But first, Bass Warrior laid down the foundations before the Zincfence Redemption band took up their positions, and a keyboard was placed centre stage for the arrival of Dre Island. First coming to wider attention on the Rodigan show with an acoustic set for 1Xtra in Jamaica which revealed this classically trained musician has been hiding his light under a bushel for several years. He has earned his time in the spotlight with his own compositions such as ‘Uptown Downtown’, ‘Rastafari way’, starting in a meditative fashion seated at the keyboard with minimal accompaniment before rising up for a rousing ‘Way Up’. Dre Island is clearly the best pianist on the reggae scene since General Degree.

The pressure was building up, the faint heat of a Glasgow July night compressed into a sweaty and slightly beer-soaked crucible, with only a brief respite before the turn of Chronixx. Now, I man am not one of these reviewers who just goes around saying everything is great and I don’t believe the hype. I’ve played ‘Dread and Terrible’ a lot, but there’s only seven tracks on there and I had my doubts about whether this level of quality could be sustained for a whole gig. When he strolled casually onto the stage, and began to sing with closed eyes, I was also a bit concerned about whether this young whippersnapper had been having too many late nights and was suffering from the lack of availability of Spirulina in the UK. But how wrong I was, as it soon became clear this man has his own style and is very focused on his music, concentrating on communicating the powerful messages contained in his lyrics which demonstrate a very wise head on young shoulders (he’s only 22!). And clearly he has tunes in abundance, with earlier sleepers like ‘They Don’t Know’ and more recent hits like ‘Smile Jamaica’ more than enough to fill another album. He warmed into his set, gradually increasing the pace and letting slip a few bashful smiles then reaching out to the adoring crowd. It became clear why he is the stand out artist in the current crop of new roots reggae musicians out of Jamaica, reminiscent of Garnett Silk or Horace Andy from previous generations. He has a knack of making the message of Haile Selassie fresh and relevant to a new generation, inspired to merge the teachings of Rastafari with observations of the current global crisis, injustice and poverty, over powerful original riddims. He set out his credentials with a slow motion version of Ini Kamoze’s World a Reggae Music, blended into the Damian Marley blaster, throwing in a few surprises with a taste of ‘Sweat’ from Inner Circle mixed up with his
version of Tenement Yard, and a burst of Toots. Chronixx’s voice is sweet and smooth, but he also has quite a penchant for the deejay stylee, and popped off quite a lot of verses in an old time toasting fashion. But it was the modern classics of ‘Alpha and Omega’, ‘Here Comes Trouble’ and ‘Capture Land’ that really struck a chord and lifted the crowd to higher heights, along with a souped up version of Spirulina (apparently you can get it in Holland & Barrett). He kept going for the best part of two hours, with the crowd still wanting more, even though all the last buses and trains had gone. Hopefully as he heads home for Jamaica today, after a well deserved rest, Chronixx will be busy making more great music and soon come back
to Scotland. One Love.

Dennis Bovell

Rum Shack, Glasgow 3rd October 2014

The place of Dennis ‘Blackbeard’ Bovell in reggae history is assured; best known as a producer, multi-instrumentalist and dubmaster, his pivotal role in the creation of lovers rock and wider influence on British pop music is undisputed. In almost every old reggae clip from Top of the Pops featuring the likes of Dennis Brown and Janet Kay, he’s there in the background, on keyboards, bass or drums, sometimes clowning around, underplaying his part in making these performances possible. From turning out hits with his own band Matumbi, to providing the sound and power behind the words of Linton Kwesi Johnson, as well as creating some of the finest ever dub albums, his prodigious output is testament to his tireless work-rate. Having produced, co-wrote, played all the instruments and hand-built the studio for hits like ‘Caught You In A Lie’, ‘Silly Games’ and ‘After Tonight’, it is perhaps no surprise that he has stepped forward to the microphone, and he has as much right as anyone else to sing them. His voice, like a south London Louis Armstrong, is something of an acquired taste, and it is a refreshing if slightly surreal experience to hear this big, gruff middle-aged man, nowadays clean-shaven and baldhead, wearing trademark pork pie hat, singing lyrics that were dismissed as soppy schoolgirl musings at the time. How wrong that was, as they have stood the test of over thirty years, as testified by the crowd singing along to every word and helping out with the high notes.  He kept on mixing it up, taking on any songs without fear, from ska to scat, along with roots classics from his sound system days with Sufferers Hi Fi. The event was billed as ‘pon the mic’, sort of ‘An Audience with Dennis Bovell’, and it was fascinating to hear his reminiscences, from his first time in Glasgow supporting Ian Dury and the Blockheads, to working with Edwyn Collins and Roddy Frame.  It would have been nice to stick around afterwards to hear more from the man in conversation at the bar and I’m sure he offered to buy everyone a rum. He took a well-deserved rest as Bass Warrior and Fenomeno Show kept the crowd entertained and dancing. All this in one Friday night for free in the fantastic new venue the Rum Shack, a treasure isle on the southside. One love.

Raging Fyah

& I-Foundation, Rum Shack, Glasgow, 7 August

A free reggae gig in a new Caribbean venue on the southside? Featuring the best lovers rock band in Britain and the new roots sensation all the way from Jamaica? Good things truly come to those who wait. Word had spread, well, like a raging fire really, and Pollokshaws Road was already rocking to its foundations from the selection of top ranking DJ Caroline Murphy as the crowd gathered eagerly to soak up the atmosphere on maybe the last of these hot summer nights, with the Commonwealth Games feelgood factor in the air and a tantalising glimpse of a better future just ahead. What better way to celebrate the 52nd anniversary of Jamaican independence, and all the wonderful influences this small island has given us.  The venue is a spacious old pub with food from Fire In Babylon, billed as a pop-up, but let’s hope it establishes itself as a permanent fixture, with lots more nights planned for the end of August Weekender. This gig was swiftly arranged following the cancellation of the 02 ABC concert on Monday, but everything was cook and curry, and the vibes were set for a night of live reggae like never seen before in Strathbungo. The place was already rammed when the I-Foundation took to the stage, and I cannot believe this is the first time I have actually seen this band, although I have taken advantage of their very generous free download. Their authentic brand of sweet lovers rock has seen them win friends all over the reggae world, making their own compositions like ‘I Adore You’ blend in alongside classics like Louisa Marks’ ‘Keep It Like It Is’ without anyone batting an eyelid. They can also get any crowd moving with covers of the likes of Toots and Burning Spear to show their versatility and love of all types of reggae music. After a short break and a bit of tuning up, Raging Fyah took to the stage, ready to show what all the fuss is about.

Reggae followers know that the roots and culture message of Rastafari has never gone away, but there have been dips and hurdles along the way, until someone picks up the baton again and reaches a new generation the way Garnett Silk, Luciano and Sizzla did about twenty years ago. Now it has passed to the likes of Chronixx, Jesse Royal, Jah 9 and the Raging Fyah band. They are most definitely a band, which is in itself quite unusual in Jamaican music, and all five members played a vital part in creating their irie vibe and warm and easy skanking style, reminiscent of Steel Pulse, the Wailers and Third World, but very much their own sound, with two albums of entirely original rhythms and lyrics under their belt already. The live versions of songs like ‘Behold’ and ‘Fight’ bring an added dimension to the studio blueprint, with improvisation, audience interaction and dubwise. They have definitely caught the mood in the country, with call and response ‘We Say Scotland, You Say Freedom’ going down like a house on fire. Throw in a little bit of Slim Smith at the end, and everyone left very happy. The only mystery that remains is how ‘Rude’ by Magic can be number one across America while these two bands are not yet exposed to that kind of audience, but I for one am very grateful to be one of the lucky ones who has got to know them at this stage in their destiny of global domination, making the world a better place through reggae music. At times it can seem like a hard, lonely road, but its nights like this that make it all worthwhile, touching the hearts of people from all walks of life, letting us forget our troubles and dance while we can. A massive big up, maximum respect and a huge thank you to everyone who is or was involved in the Glasgow reggae scene, one love to all, keep on keeping on.

Bunny Wailer

29th July 2014, Glasgow 02 ABC

Over fifty years since he started making music with Bob Marley and Peter Tosh, Bunny Livingstone Wailer is still going strong and clearly has unfinished business. He brought his message to Glasgow for the first time last night, gracing the big stage of the 02 ABC with his charismatic presence and unique status in reggae history, flanked by 8-piece band and two backing singers. Bass Warrior warmed up the venue with old and new classics, but latecomers may have been surprised as just after 9 the band took the stage and launched into a bouncy version of Bob & Marcia’s Studio One favourite, Really Together, which had me happy and smiling already. An air of anticipation quickly drew the crowd towards the stage as the distinctive voice echoed around the hall from offstage like something out of a Hollywood biblical epic, chanting the praises of Rastafari. Bunny strolled on stage, dressed in head to toe in white with trademark red, gold and green scarf and African print waistcoat, shades to protect him from the limelight he has shunned for much of his career. It took me a while to realise that the hat I thought he was wearing was in fact his dreadlocks, wound tight around his head like a crown. Appropriately enough, he followed up ‘Rastaman Chant’ with ‘Baldhead Jesus’, his deceptively simple tune questioning the assumptions of organised religion and carried on with the powerful plea for justice of ‘Battering Down Sentence’, and turned up the fire and brimstone for the warning message of  ‘Armageddon’ and 'Blackheart Man'. But he showed his romantic side with ‘Love Fire’ and the beautiful ‘Dreamland’ which leaves us all wishing these moments can last forever.

He still knows how to have a good time, showcasing most of the classic ‘Rock ‘n’ Groove’ LP with irresistible danceable tunes like ‘Rootsman Skanking’, ‘Dance Rock’, ‘Ballroom Floor’ and getting everyone singing along to the joyous anthem of ‘Cool Runnings’. As if the ‘Don Dada’ didn’t have enough great tunes of his own, which he clearly has in abundance from almost forty years of solo recordings, he unselfishly also found time to pay tribute to his brothers in the Wailers. ‘Trenchtown’, ‘Trenchtown Rock’, ‘No Woman No Cry, ‘Heathen’, and ‘Easy Skanking’ from Bob, and ‘I’m the Toughest’ and ‘Legalise It’ from Peter, demonstrated how even after they went their separate ways in 1974, they remained forever bonded and rooted in a shared musical heritage that could never be split apart. Just as some of us may have been getting tired, he upped the pace with a return to the ska classics where it all began, skanking to ‘Simmer Down’ and ‘Hypocrites’ like he was still a teenager, ably accompanied by the horns section stepping up to the pace of the Skatalites. He left the stage after nearly two hours to the strains of ‘Keep On Moving’; an apt choice as it was the only Wailers tune where all three took a verse each, and united in harmony for the chorus, sealing a place in the hearts of reggae fans forever. Bunny Wailer has done so much to create this music that we all love, he deserves his piece of dreamland, somewhere not by or near anyone, but lucky for us, he still keeps on moving, and carrying this reggae burden all the way. One love!

Jesse Royal & Mad Professor

Glasgow O2 ABC, 23 May 2014

The Wailers at the Greyhound pub in Fulham Palace Road, 1973; the Sex Pistols at the Free Trade Hall, Manchester, 1976; a lot of people will say they were there, but in reality only a privileged few in the know were actually there to witness the birth of a new musical phenomenon.  And so it may be said in years to come of Jesse Royal at the Glasgow... O2 ABC in 2014. On a surreal night tinged with sadness and smoke from the neighbouring Art School fire, the show went on, the culture-loving people of Glasgow were undeterred, and new hope rose from the ashes.  I was only familiar with a couple of Jesse Royal’s tunes among so much great new roots music coming out of Jamaica now, but impressed enough to find out what the fuss was about. Let’s be honest, it’s also a rare treat to see a reggae artist in town who does not qualify for a free bus pass. Jesse was undaunted, lifting the mood instantly with his positive vibes and message of love. As soon as he invited the crowd in closer to create a warm, intimate atmosphere, he put on a show worthy of any stage. The clear sound of the band, stripped down to the basics of drum and bass and synthesiser, made it possible to appreciate his music, making many favourites on first listen, like the infectious ‘Butterflies’. The set, mostly comprised from his debut album, is a mixture of familiar riddims like ‘Up Park Camp’ used to great effect on ‘Greedy Babylon’, and original compositions with a strong lyrical message. ‘Modern Day Judas’ is perhaps his best known track so far, on the ‘Rootsman’ riddim also used by Chronnix on ‘Here Comes Trouble’. Throwing in some inspiration from Garnett Silk, the energy of dancehall with a burst of Supercat, alongside influences from the Impressions, Jesse Royal has the accessibility and classic reggae formula to win over any crowd, leaving everyone singing ‘the world is yours for the taking’.

It was then an honour to welcome legendary producer and dubmeister, the Mad Professor, on stage but sadly it was well past my bedtime so I could not stay long enough to fully appreciate his set, live mixing of Ariwa classics. All I had time for was a quick reminder that some of the best reggae in the world, from lover’s rock, roots, dancehall to dub, came out of his studio in south London. ‘True Born African’ by Sister Audrey and U-Roy was transformed into an independence anthem. And I really hope he played ‘Proud of Mandela’ in the first city in the world to honour him with the freedom of the city. One love Glasgow!

Horace Andy & Matic Horns

O2 ABC Glasgow, 21 April 2014

This was the best reggae gig I’ve been to in a while, and not just because Horace Andy is in great form and possesses of one of the most unique, instantly recognisable voices still around, sounding as if he was born in an echo chamber, but also because of the presence of Matic Horns, perfectly complementing his trembling soprano, floating in and out of  the Dub Asante band’s rhythmic foundations. What is it about the bubbling, bassy sound of the trombone that is so integral to Jamaican music? From Don Drummond, Rico Rodriguez to Vin Gordon, the humble trombone has been at the forefront of the irresistible horns hooks that built so many classic songs. Henry ‘Matic’ Tenyue belongs in this company and it was only half way through that it dawned on me this must be the man formerly known as ‘Buttons’, who along with Eddie ‘Tan-Tan’ Thornton and Michael ‘Bami’ Rose comprised the fantastic Aswad horns section that helped make them an unmissable live act in the eighties (see http://www.youtube.com/watch?v=5oZx5eAMPhs).

This man has every tune Horace made famous ready in his repertoire, from ‘Zion Gate’ to ‘You are My Angel’ and their combination made it sound like the original recordings, and infinitely better than the synthesised version we have become accustomed to on the live circuit. Horace modestly took centre stage, enhanced by this real authentic backing sound, bedecked in red, gold and green and brought the ABC crowd rushing forward to skank the night away. The hits flowed, from Studio One favourites like Skylarking, followed by roots anthems, love songs, covers like ‘Ain’t no Sunshine’ that he makes his own, and a re-working of the Massive Attack collaboration, ‘Hymn of the Big Wheel’, all have a slow-burning power that build up to a euphoria that sweeps you up and washes you away. But don’t just take my word for it; I bumped into an old guy I know, our man from Kingston, John Brown of Trenchtown: https://www.facebook.com/notes/to-jamaica-with-love/john-browns-diaries-horace-andy/721573084560933

Yellowman & Dillinger

Glasgow 02 ABC, 5 March 2014

Salute to the Yellow King

Regular Black King readers will know I man as a clean-living, respectful, righteous kind of reggae fan, who has very little time or opportunity for sexual explicitness and drug-dabbling (except for a couple of incidents integral to the plot on pages 47-48, 194 and a brief mention of soft drugs on pages 74 and 201). So it was with some trepidation that I found myself in the den of iniquity that is the Glasgow 02 ABC, in the company of notorious slackness originator, Yellowman, and infamous cocaine advertiser, Dillinger. Would I be corrupted by their lyrical banter? Only time would tell. I have to admit I was not a big Yellowman fan growing up – he was a bit before my time and most of his best tunes could not be played on legal radio, so when I was getting acquainted with dancehall business it was the likes of Supercat, Ninjaman and Shabba who were following in his footsteps – I wasn’t even sure he was a real person, from the look of some of his album covers and the stories of pandemonium when he touched down, he seemed like some kind of myth, a superhero from a comic book. I had missed him the last couple of times he was in town, but by the size of the crowd gathered on a wet Wednesday night in Glasgow, it was clear he had made a big impression here and become a firm favourite over the years.

First, Mungo’s warmed up the crowd with some cherished specials from the likes of Sugar Minott, Johnny Osbourne and Mr Williams. Then it was time for the Sagittarius band, long-time Yellow collaborators, to take the stage and lay down some classic riddim tracks for original gangster, Dillinger to start off a night of sex, drugs and …well, reggae. He followed his deejay versions with his own renditions of the original songs from the Mighty Diamonds, the Abysssinians and Bob Andy, which was very helpful for the trainspotters among us who take some time to recognise the source material. He threw in a little slackness just to offend my delicate sensibilities, gave us ‘CB200’ but then left the stage without doing his most famous hit, and I thought perhaps he had disowned it. But then he was back and without so much as a by your leave, the place was jumping up and down to the addictive, racing disco beat of ‘Cocaine In My Brain’. Maybe it is a biting satire on the New York party scene of the seventies, but call me old-fashioned, reggae is a music with a message, and without quite so much of the white stuff we might have a couple more of our stars still around today, and a lot less dead bodies in the ghettoes - not that I am blaming Dillinger personally for any of that, and deejay culture is also about reflecting reality. For a damning indictment of how the CIA flooded the Caribbean with hard drugs to prevent revolution, read ToJamaicaWithLove and listen to Curtis.

Then Yellowman came along and eased my mind with his natural high, inspirational confidence and positive vibes. Bounding on stage in running vest, track shorts and do-rag, burning with energy, there is no doubt he has still got it, and it’s something they can never take away. Obviously the operation on his jaw has taken its toll over the years and his voice may not be as powerful as it once was, but he makes up for it with super physical fitness; hopping, skipping and jumping around doing the one foot skank and the water pumping, leading the crowd in an impromptu aerobics session. An abandoned child in Kingston, a graduate of the legendary Alpha Boys School orphanage, where he had a hard time as an albino, he has absorbed the musical essence of Jamaica, taking the influence of Fats Domino into the dancehall alongside the vocal styling of patois that can be traced right back to Africa. Throwing in some old time nursery rhyme patterns and lyrical content that would not be out of place in a Carry On film, he hit upon a formula that put the deejay centre stage for the first time and went on to dominate the music from the early eighties onwards. He may have toned down his act a bit since his heyday when he was the closest lots of people got to sex education, and he has incorporated a safe sex message over the years, with a very helpful practical demonstration of how to put on a condom. Reeling off hit after hit, such as Operation Radication, Mad Over Me and of course, who can forget Zungguzungguzungguzeng, he demonstrated why he was crowned king and struck his regal pose for the crowd's warm embrace in between tunes.  Yellowman has transcended kingliness among deejays and is now more akin to a demi-god of the dancehall, showering the crowd with blessings and love, reaching out his arms to us, with everyone wanting to touch his hand in the hope that some of his charisma and magical powers will rub off on us, Scottish. Until next time, one love Glasgow!

Mighty Diamonds

Glasgow ABC, 20th October 2013

And so, the holy trinity of Jamaican vocal trios to grace the Glasgow ABC this year courtesy of JA Live is complete, with the Mighty Diamonds coming hot on the heels of Culture and the Abyssinians. Except on this occasion, they were a duo, as Tabby was unable to appear due to the occupational hazard faced by many reggae veterans in Babylon: visa problems. Well, if anyone was still unsure about next year’s referendum this should decide it – people of Scotland, we need to gain control of our borders so that we can open our arms to visiting reggae artists and ensure they are treated with proper respect! Anyway, to the gig itself, Bunny and Judge stepped into the spotlight to showcase their vocal talents and were ably backed by UK reggae outfit, the Ras Ites, whose ‘Urban Regeneration’ album as teenagers caused quite a stir back in 2001. They laid down a solid foundation with a rousing version of ‘Picture on the Wall’ and a preview of their latest EP showing they are still ones to watch now that real musicians and live bands are experiencing a resurgence in the reggae world. Bunny and Judge took the stage to a warm welcome, looking dapper and casual, as if they had just been enjoying a quiet game of dominoes and half a Guinness backstage.

They opened with ‘Sweet Lady’ which made me realise I just don’t have enough Mighty Diamonds in my collection and I am off to download some now (legally of course, but I always wonder if they get any royalties), starting with the ‘Inna de Yard’ sessions. That’s better. A couple of rock steady standards such as ‘Party Time’ and ‘Swing and Dine’, a lovely version of ‘Keep on Moving’ bringing it back to the Impressions original, reminding us that Jamaica has produced a wealth of singers who belong up there with the likes of the Four Tops and the Temptations. But the Mighty Diamonds were always looking forward, never backward, and adapted to the change from roots to digital with a couple of great albums for Gussie Clarke in the eighties, with ‘Heavy Load’, a version of ‘Bodyguard’ revisited and one of my favourites, ‘Idlers Corner’ (they did not play that one, I just wanted to get it in). Still, the ‘Right Time’ album remains a stand out classic of any genre or era, with every track a gem, showcasing the Diamonds’ warm and easy soulful style, with conscious lyrics articulating the hardest points of history and opening up a deep mine of love and unity. All that was missing (apart from Tabby) was a horns section – I know it adds to the cost of the ticket, but I for one would stump up an extra fiver, no matter how talented the keyboard player is, we need to get the horns back onstage,– I’m starting a campaign; ‘Get Horny, Reggae!’ who’s with me?  Anyway, that’s just me, the positive vibes on a night like this are strong enough to overcome any obstacle and as ‘I Need a Roof’ merged seamlessly into ‘Get Up, Stand Up’, Bob’s spirit was present, as at every reggae gig. Of course, they could not leave without ‘Pass the Kouchie’ which, when adapted by a group of Brummie schoolkids demonstrated how accessible and popular this music can be from a Studio One instrumental to Top Of the Pops. Finally, they gave us an encore of ‘Country Living’ to leave the crowd skipping away into the rainy night. Walking in the gutter but looking at the stars*, I found myself thinking and hoping that Diamonds are forever.**

*Oscar Wilde, not many reggae connections there.

**Brinsley Forde from Aswad appears in this film. For more James Bond-reggae connections, see ‘To Jamaica With Love’

Half Pint

17 July 2013, McSorley's Bar, Glasgow

When the man who gave us one of the reggae anthems of the eighties is doing a live PA in a pub in Glasgow, you just have to go out and greet him. Half Pint, one of the more shy, retiring Jamaican stars, will always have a fond place in the hearts of British reggae fans of a certain generation from the moment he bounced onto the stage with the Taxi gang on The Tube http://www.youtube.com/watch?v=Xgvpd-VZRx4 (7.39).  His unmistakeable husky tones, conscious lyrics and heartfelt lovers tunes have made him a solid presence on the reggae scene for over twenty-five years. Once again, I have to take my hat off to the younger generation who turned up to lively up the place and show this music will always touch the souls of the lucky ones who feel it and know it, even though they were toddlers, embryos or just a twinkle in a soundman’s eye at the time – massive respect for your musical taste and knowledge. But I must admit I was a bit worried when Half Pint took the mike. It’s so rare we get a long hot summer evening, most people were still soaking up the atmosphere and he looked a bit unsure if we were really ready.

This is what happens when the dance has not been thoroughly warmed up by DJ Caroline Murphy, but he soldiered on and once he had got into his rhythm and removed his sunglasses, the irresistible beat of hits like ‘Mr Landlord’ and ‘Level the Vibes’ took over and he got his bounce back and his mojo working overtime. Looking back, one of my personal favourites is ‘Victory’, written in the days of apartheid and it made me think we have come a long way but still got many more struggles ahead. Half Pint is a survivor and he reminded us that he has kept popping back up every few years with smash hits on classic rhythms like ‘Substitute Lover’ and ‘Just Be Good to Me’, at least until his selector ran out of tunes from his hour-long stock. Luckily the Argonauts crew were on hand to line up a few dubs for a special return to ‘Greetings’. Half Pint was drained, but stayed around for pictures and autographs for all Glasgow raggamuffins. McSorley’s was really rocking by now and we were treated to some old school sparring on the mike from DJ Dirtsman and Baba Scum. I had to leave at midnight but it was a nice feeling stepping onto Jamaica Street on a balmy night, as the whole road was still bouncing with the bass, seeing all the passers-by looking in the door with envy thinking those reggae lovers look like they are having a great time. And I still had change from a tenner for the bus home.

Jimmy Cliff

Glasgow ABC, 23 June 2013

Jimmy Cliff is Jamaica. This man gave us the song that not only captured the joyous celebration of Jamaican independence but also presaged the influence of Rastafari on the island’s music over the next fifty years. From the beginning he was made king, and he reigns. The beautiful people of Glasgow filled the wonderful world of the ABC to salute the man who has remained a constant presence in the history of Jamaican music and is still going strong. From the moment he leaps on stage, resplendent in a gold suit decorated with hieroglyphics and sparkling red headband, high-kicking, pirouetting and bouncing around in time to ‘You Can Get It If You Really Want It’, it is clear that age has not withered him. At 65 he has lost none of the energy and exuberance that is evident in the legendary black and white footage. He demonstrates classic ska crazes, African moves, throws in a bit of dancehall with signal the plane, pays tribute to John Cleese’s silly walks and leads the crowd in an impromptu aerobics class. As Jimmy reflects on his childhood growing up in the country in Jamaica, eating fresh fruit from the trees, drinking fresh water from the spring; most of us twenty/thirty/forty/fifty-somethings can only look on in envy, unable to keep up with him; the only explanation is that he must have discovered the fountain of eternal youth there.

After beautiful sounds from singer songwriter Brina and Scottish lovers rock band the I-Foundation get everyone in the mood, the 8-piece band take the stage with a rousing version of the Bobby Babylon rhythm. It’s a rare pleasure these days to see a reggae band fill the stage, complete with a horn section  and African drums, in a big venue, playing to a full house – people, don’t miss all the other reggae gigs in Glasgow! OK, there are not many still around with the mass appeal of Jimmy Cliff, but as he takes us on a journey through the history of reggae, he reminds us that the music today is as relevant and powerful as ever. He does not just rely on the classics, but mixes them up with a few lesser known tunes from more recent albums, including last year’s acclaimed ‘Rebirth’ album. But of course he does not leave out any of the favourites, and has everyone jumping to ‘Miss Jamaica’, chanting to ‘Vietnam (Afghanistan’), brings the film ‘The Harder They Come’ back to life, and when he does ‘Many Rivers To Cross’, his voice is peerless and straight from heaven. He picks up a guitar for ‘I Can See Clearly Now’ gets down to some Rasta drumming on ‘Bongo Man’ and even goes walkabout in the crowd. Not many artists have the foresight to write a song especially for that awkward encore moment, but the refrain of ‘One More’ is taken up with gusto by an appreciative audience. As he leaves the stage after more than an hour and a half, we know are truly blessed to have been in the presence of the man who still wears the crown.

Tippa Irie

Tippa Irie, MacSorleys, Jamaica Street, Glasgow 1st June 2013

Evergreen on the UK reggae scene, Tippa Irie brought his unique style in old school fashion to nice up the dance in Glasgow on Saturday night. You don’t notch up nearly thirty years in the business without having something special. On record, or even with a live band, sometimes it is hard to capture the true essence of dancehall; the rapport betwee...n the live performer and the crowd through the power of the microphone and sound system. A packed MacSorleys bar was feeling the vibes, bouncing along to a masterclass in DJ craft, with Tippa the consummate professional overflowing with lyrics, energy and charisma in abundance. This is how he made his name on the Saxon Sound back in the day, a leading light in a new generation of British MCs, without whom the sound of today’s dancehall, rap, grime or whatever the hell they call it would be very different…slower, for one thing. I lost track of who is the world record holder for speed rapping since Daddy Freddy tore it apart on Record Breakers with Roy Castle, but Tippa demonstrated he could give anyone a run for their money. He always had his own brand of humour, chronicling everyday life for Black British youth in the early eighties, and was one of the first to chat in an unashamedly London style, taking Jamaican DJs on, with even the great Yellowman taking notes. The session was powered by Samson Sound, who heated up the place as much as Fire in Babylon’s yard food, with just enough time for the crowd to cool down with plenty of Red Stripe, stocked up by the venue that stepped in at short notice to host the show, but has become so associated with reggae I am sure I am right in thinking the council has recently renamed it as Jamaica Street.  

Tippa takes us on a journey through eighties cultural references that may have faded while the tunes have stayed fresh. Not many people may remember ‘Falcon Crest’ now, but ‘Hello Darling’ always brings a smile to people’s faces and as Tippa said, it was the reason he could give up his day job, and it also gave me something to say to girls at the school disco when I was 14 so I'm sure we all have a reason to be thankful for this catchy crossover tune.  He is also clearly able to appeal to a generation who may not have been paying such close attention in the eighties, what with being mere embryos or just a glint in a soundman's eye at the time, and skips easily from raggamuffin to jungle to ska to his smash hit with the Black Eyed Peas. What has seen him through three decades of musical, social, personal and political changes, is that he has always stuck to his roots, as testified on the latest album with the Far East band from Germany. This is good advice, which you can follow in the next instalment of the summer of reggae in Scotland, courtesy of JA Live.

The Abyssinians

16th May 2013, Glasgow ABC

It has been said, by some damn fool, that there are not as many truly classic albums in the world of reggae as there should be. But ‘Forward to Zion’ aka ‘Satta Massagana’ by the Abyssinians is an undisputed work of art, with every track a masterpiece, all fitting together conceptually to tell the story of African people from biblical times to inde...pendent Jamaica. There may be something to be said about the way that many reggae albums are produced, often rushed out on the back of a hit or under the pressure of a big record company contract. But these ten tracks were seven years in the making, with the original ‘Satta’ recorded in an independently financed session at Studio One in 1969. According to legend, Coxsone Dodd did not see the hit potential at the time, and perhaps he was right that they were years ahead of their time and the world was not ready for the roots sound and Rastafari message, which by 1976 had taken over.  

Forty-five years making music and the Abyssinians are still going strong, in fact surprisingly sprightly for sexagenarians, incorporating jogging, boxing and what looked like Scottish country dancing into their traditional African dipping and skanking.  Seeing them on stage is an awe-inspiring experience in itself; white beards shining in the lights, dreadlocks wrapped up tight in natty tams, bedecked in African prints and amulets, draped in red, gold and green and images of His Majesty. You realise you are in the presence of three wise men, steeped in Rastafari culture and history, educated in the ghettoes of Kingston at a time of world revolution, self-taught Amharic and writing lyrics that contain a thesis on colonialism. It’s humbling to remember that their status is such that they have not one but two chapters named after their songs in a cult classic reggae-inspired novel. Their musical heritage is equally impressive, mentored by elder brother Carlton Manning, who not only made some of the most moving love songs at Studio One, but also had the best group name in the history of popular music as ‘Carlton and the Shoes’, (and it is a great privilege to discover that one of the Abyssinians on stage on Thursday was originally one of the Shoes).  The influence is felt as they share vocals and swap places on stage, echoing their message of equality and unity, their intensely spiritual harmonies are delicate and measured, but still powerful enough to carry over the characteristic driving bass and synthesizer horns to reach the heart of the crowd. They sing ‘send us home to Zion’ like they really mean it, and the way their plaintive voices contrast with the triumphal rhythm had me packed and ready to go. Theirs is truly a universal call, to a land for everyone who has dreamed of a place far, far away, free of injustice and oppression.

Culture

ABC Glasgow, 24th March 2013

Culture; never were a group so aptly named, synonymous with reggae and encapsulated by the wisdom, talent and genius of the late Joseph Hill. I only saw the original Culture once*, but it is safe to say that his son Kenyatta has inherited much of his voice, eccentricities and charisma, while bringing a youthful humour and zeal of his own to the performance. He was joined by original member Albert Walker and long-time contributor Telford Nelson on harmonies, and backed, as stipulated by Joseph Hill, by a skilful band to play Jah music. Reggae lovers from Glasgow and beyond were out in force on a bitterly cold night to pay tribute to the legacy of the group that forever cemented the link between the followers of the Ethiopian emperor and a load of scrawny British teenagers with safety pins through their noses. As soon as they launch into tunes like ‘See them a Come’ and ‘Tell Me Where You Get It’, it feels like you have travelled back in time and the late singer’s spirit was moving in the place.

Inevitably there was a building air of anticipation for the track that stopped the world on its axis in 1977. They do not disappoint, and ‘Two Sevens Clash’ still sent shivers down my spine and sounded as fresh as when I first heard it. It also worked surprisingly well morphing into an extended, slowed down Philly soul style version to introduce the band. Kenyatta is not ashamed to change things up, throwing in some of his own compositions and a bit of dancehall and soca while staying true to his father’s roots. To everyone’s relief, this climactic track was not the end of the show, and they returned to keep the crowd skanking warm and easy with hits like ‘International Herb’ and ‘Stop This Fussing and Fighting’. So many classic tracks were a reminder of the golden age when reggae was king. It may not be the same now, but this is our culture and although the warriors are falling, there is always a new generation coming up to hear their music and be inspired to make their own. It’s up to the faithful to keep the fire burning and continue the Jamaican tradition of recycling and versioning everything from African drumbeats to old proverbs, as there would be no Alborosie, Sizzla or Luciano without Culture, no Culture without Bob Marley, no Bob Marley without Desmond Dekker, no Desmond Dekker without Jimmy Cliff, and on and on, all coming back to one small island and its unique history, people and…culture. We are very lucky to have a steady supply of reggae legends still with us, coming to Glasgow courtesy of JA Live, so make sure you are there for the next one.

13th March 1993, Manchester.  A very good friend bought me a ticket to see M-People, due to a slight misunderstanding about my feelings for Heather Small. But then the great Frontline Radio ran a competition to win tickets to see Culture that very same night at the Nia Centre, all you had to do was name the three original members. Well, easy for any true reggae fan, especially one who had a copy of ‘Strictly For Rockers’ handy with its extensive sleeve notes. So I claimed my prize with no regrets but my love of Culture has always been slightly tinged with guilt since that day. My friend forgave me but Heather never spoke to me again.

Cornel Campbell

MacSorleys, Glasgow 4th August 2012

Cornel Campbell may not be a household name in Scotland but in a slightly different parallel world he would be as well-known as Smokey Robinson and hits like ‘Stars’ and ‘Queen of the Minstrels’ would be on rotation on Capital Gold. The upside of this is that instead of paying a fortune to see a tiny dot on stage at a massive arena, you get to see him up close in a pub in Glasgow and hear one of the sweetest falsetto voices in the world in an intimate live PA, backed by the Fenomeno Show on the Samson sound system, all for a very reasonable price and a Caribbean buffet thrown in. Once again, the reggae cognoscenti of Glasgow turned out in full force and with enthusiasm to salute a stalwart of Jamaican music.  Everyone who was crammed into the bar, festooned with black gold and green crosses for the occasion, knew we were lucky to have a true reggae veteran to join us here at a time when concerts are taking place all over the world to honour Jamaican Independence Day on 6th August.

Cornel Campbell made his first record with Clement Coxsone Dodd in 1956 at the age of eleven, in which case he must have discovered a fountain of eternal youth or the secret of time travel, because he looked and sounded like a man still at the top of his game. Spells as part of the appropriately named vocal harmony groups The Sensations, The Eternals and The Uniques brought us the Studio One and Treasure Isle classics that have been revisited and versioned by everyone from Frankie Paul to Major Lazer, rendered tonight in perfect style, sounding even better than on record. Cornel reminded us of his easy adaption from those rock steady love songs in the sixties to roots rockers anthems in the seventies like ‘The Gorgon’ and ‘No Mans Land’, and riding into the dancehall in the eighties with hits like ‘Boxing’.  A solid gold performance, where else but MacSorley’s Bar, Jamaica Street, in the shadow of the Kingston Bridge, home of Glasgow’s  celebrations  for the 50th anniversary of independence – more events tonight and tomorrow courtesy of JA Live, so get yourself down to the area now known as Little Jamaica.