The following is reprinted from The Beat, Vol. 16, #5/6, SPecial Double issue; just hit the streets... REGGAE ROAD TRIP: VRF '97 We exit Baltimore at 8:30 am, armed with nuff water, juices, munchies, and various other refreshments, and pull into Morrisville, Vermont, with a sigh of relief and a tired cheer, 12 hours later. My favorite Reggae partner, Polly Riddims, and I have trouble believing they will actually kick things off at 9 am. Our hunches are wrong, as we arrive to find we have missed the first performer, NYs John Brown’s Body (67). We hear the sweet sounds of Torontos Erroll Blackwood (Blade Records, 778) bidding the crowd goodbye as we walk down the muddy dirt road and across the soggy field into the festival grounds. The rain which started last evening lingers, but the full crowd's spirit is not dampened. Vermonts own Cleon and Friends give an entertaining rendition of I Wanna Get High. Next up Californias Massawa (34) take the stage and deftly keep the crowd moving. They are followed by Jamaican New Yorker Natty Remo, who mixes up an original over the Put Jah First rhythm. Nolan Irie makes his first of many appearances to add his skilled chat to Remo’s parting number, No Gifts Will Fall From The Sky, a message punctuated by a sudden mist of rain from the heavens. Jamiacan singer Eddie Fitzroy delivered a barrage of nonstop hits. From the thick, heady bass lines of If It’s Love, to the righteous Revolution on My Mind he held us captive for an hour. As his words of revolution floated upward, the gray sky broke and the sun shone down once again. Next Dominicas larger-than-life Reggae superstar, Nasio Fontaine (Aphelion, 808) strode to the front of the stage and greeted the cheering crowd. He gave them what they wanted right up front with Under Attack (Mrs. Brown) and Jah Jah See. Talking about Justice, he reminded the attentive onlookers "How good it is for people of all races and all colors to dwell in peace and harmony. No more racism!" I marvel at this performers awesome stage presence, his thin frame completely overtakes the stage as he livicates Unite to the sistren. "Racial pride is a cancer. We must work this out!" he shouts before plunging dread first into Armed and Dangerous, which gives way to Jah Bless Africa, and then the spiritual Long Way Home. After a commanding encore Mr. Fontaine relaxes backstage. He is friendly and open, welcoming pictures and introductions, making small talk for so long he almost misses dinner, finally dashing to the bus with a plate full of food in hand. After the last set change of the day, the Ariwa (#493) posse, backed by Englands Robotics, take the stage. They are joined by the one and only Mad Professor, mixing it up live. Their musical meditation provides ample ammunition for Princess Sharifa, who fires off a fierce round of roots highlighted by the cultural anthem African People (Your Heritage). The Mad Professor is amazing everyone, mixing with no hands as Sister Audrey comes up next and dishes out some vicious Roots Music, followed by the upful Call Me By My Name. "Greetings, Vermont!" hails Macka B. He gets help from the crowd on every song, including Legalize the Herb, and She’s More Than a Sex Machine. He aims at the fast food industry with They Don't Want No More English Beef, challenging director Spike Lee to "turn this one into a movie." He is joined onstage by Nolan Irie for Marcus Garvey Story. Dancehall hit Back Off follows, then a nod to Bob Marley before he leaves the stage amidst a light drizzle of rain, just as the late evening sun sets in the distance. As the crowd ebbs, VRF volunteers are already cleaning up, and worrying over the financial state of affairs. Even with strong attendance, world-class performances, and one of the coolest vibes ever shared by 20,000 strangers, the 12-year old benefit for Hurrican relief teeters on the edge of extinction. Undaunted, the Committee is already planning VRF ’98, organizer Susan DeLeon tells us afterwards, confident Jah will provide the means to keep this truly "fe we" event alive. If you’d like to lend a hand VRF Hurricane Relief CD’s are available for $10, as well as T-Shirts and bumper stickers. Write Hurricane Relief - VRF, PO Box 1558, Burlington, VT 05402, or send email to VRF97@aol.com. The best way to support VRF is also the most summer fun available on the East coast: go dere! -Allie-I (RAW#505) PLEASE NOTE: VRF is RAW#733 Reprinted by permission from Dub Missive Magazine, Vol. X, No. 3 CD REVIEW - Grafton 4X4 featuring Cocoa Tea, Freddie McGregor, Mykal Roze & Bunny Rugs (Mesa/Blue Moon) 4-11-97 Mikie Bennett has shown us once again why his name belongs among the greats of Reggae producers. His new concept, to bring forth music from Reggae's finest in easily-accessible and highly-marketable compilation form is no soon come flight of fancy. Presenting Grafton 4X4: featuring Cocoa Tea, Freddie McGregror, Mykal Roze and Bunny Rugs (Mesa/Blue Moon) . Four kings of Reggae music each take the lead for four hot new songs; each experimenting, expressing themselves in fresh and divergent styles. For the new or occasional Reggae fan, it's a blessing: get a taste of four massive talents for one price. For the Reggae purist, it's a masterpiece: crucial material from four revered favorites. Either way, 4X4 goes down smoother than ice cold coconut jelly. 4X4 starts off with Mykal Roze, former front man and songwriting genius of Black Uhuru. Mykal's career has been a long, arduous struggle parallel to his determined climb from the poverty of Jamaica's Waterhouse ghetto. He is one of the strongest male vocalists in music, his high-pitched, nasal sound a Reggae trademark. On 4X4 he offers the impatient "Why is it Taking so Long," plus the gutsy, paced for partying "Streetwise," previously released in 1996, "Cookie Jar," a righteous admonishment to Babylon, and the contagious tempo of "Something a Gwaan." Four hard doses of the Ruff Roze. Veteran Freddie McGregor takes the mike next, offering up encouragement with "Pushing On," a classic conscious chant. This vocal master is no stranger to the ballad, and his "Top Secret" lover brings out the essence of his desire. Growth through unity is the subject of "Let the Children Play," while lonely nights inspire him to urge his lover to make a "Left at the Lights." Versatile, confident, and seasoned, with a list of credits from Reggae's record books and years of worldwide success under his belt, Freddie knows how to make it like the first time everytime. Bunny Rugs, longtime lead vocalist for internationally acclaimed Third World, has remained an active solo artist enjoying a prolific recording career. I first heard his 4X4 opener, the brooding "Monday Morning Blues" performed live by the Massachusetts band Loose Caboose. Its raw, honest story of the poor man's reality is brought to life by Rugs' classic delivery. "If I Could" is next from Rugs, a swinging, regretful serenade, and when next he comes its pleading "Why (Tell Me Why)," a passionate, must-dance piece which brings visions of Third World live at Sumfest in Montego Bay. His last, "Your Mama" is a taunting challenge to throw caution to the wind and give love a chance. Last but by no means least 4X4 brings sweet Cocoa Tea. A seminal singer from Jamaica's hardest sound systems, setting the record straight, "Fire No Guns" is a peaceful salute, scolding the rudies to leave the steel at home. On ""If You Want Me" he plays his hand with a love gone wrong. Switching gears for "Keepers of the Castle," an encouraging reminder of our role in Jah's plan. Again he rings the bell of righteousness with the universal anthem "Room in My Father's House," this final, inspiring song shining even more brightly when remixed with all four artists on the bonus CD track. A concept which Bennett plans to expand, Grafton 4X4 is a collector's prize: stunningly packaged and beautifully produced. Look for further 4X4 releases in the coming months from Mesa/Blue Moon. -Allie-I Reprinted by permission from Reggae Runnins 5/96 Along the Road to Zion On Friday, April 19, 1996 at about 12 Midnight I stopped at a convenience store to get a bottle of juice for the glorious morning. Friday (finally) after a long week, and just givin' thanks for the weekend; I decided to take the long way home. And man, let me tell you, it was a LONG way home! A brother more desperate than you and I may (pray) ever be forced me at gunpoint to hand over my jewelry, take off my clothes, and hand over my car keys. The terror, the loss, the anger - they don't begin to measure up to the overwhelming sorrow. It's sad and an abomination that in this, the wealthiest country in the history of the modern world, we live in a society where needs exceeds reality by such measures as to seem insurmountable. And desperate people will do desperate things. There's no forgiveness for violence, and no toleration for thievery. But the judging is not mine to do. A child who lives in a society which shows no regard for his basic needs learns to take whatever he sees for his own - by any means. Our children have as their role models thugs & thieves. They worship a gun-toting, gatt-backed philosophy of living which puts no value on peace & harmony. Grown men with badges and guns teach impoverished ghetto youth unhealthy lessons daily - and get rewarded for it. Our media, the very vehicle by which we measure our relative status and social position, glorifies violence; while neglecting to devote airtime to culture, history, religion, self improvement & educational programming. Look around you today - may JAH forgive us for the blasphemy which we've created! Stranded in a wicked situation, oppressed by a system which shows no concern for our human rights, we find ourselves a people in a roadblock. We turn right, we turn left, up and down, and in every direction lurks hopelessness. A child raised amidst fear, loneliness & poverty will become the sum total of his given insecurities. And the rest of us are left to face him on these mean streets. But have faith; a people united can prevail through great trial and tribulation. Because we as a collective spirit are equal to the sum of our belief in what is good & right. Inna love & Inity we can break these chains that bind us. In times of trouble we realize how blessed we truly are. I am fortunate to have wonderful people in my life who came to my side & carried me through. I only wonder what another less fortunate soul would do? Because take it from me, this shistem won't do anything! Consider the absolute irony of 5 officers standing in a circle debating "what to call this crime" for twenty minutes! Or how about a female officer (another woman!) with no more compassion or empathy than to write a brief, perfunctory report and then say goodnight to the victim - a woman alone half-dressed, standing on the very street where she has just been assaulted, robbed, molested & carjacked; literally having to beg for a ride two blocks away to safety! We must demand of a police force bogged down in beauracracy, hypocrisy & ambivalence that even as they fumble around like flaccid beasts trying to decide what to do that something must be done! We can command of our politrickians the service we have empowered them to give. We can require from them representation of our needs and our concerns - not their own. We can remind them that the sweat of our brows earned the dollars which pay their salaries. We can make them hear us by speaking out ever louder until they take notice. We can take charge of our situation by joining together; by breeding humanity amongst ourselves. We as children of this nation are ensured by written doctrine the right to live in peace, without fear of robbery, assault, threat or dispute. Until all our people are assured equal access to life's blessings - "without regard for race", or religion, economic stature, social status, we as a nation have failed. Only we can ensure our ultimate fate. And only humanity can lead us there. We must live in peace & light for this world is plotting against us. By taking responsibility for our destiny we can create a brighter reality. JAH Bless. Look toward the sun, for tomorrow is never promised. Reprinted by permission from Dub Missive Magazine, Vol. X, No. 4 Black Rebels - Gentle Insurgents Wednesday, May 28, 1997 - A few days before the Memorial Day Reggae Bash I received a call from Dr. Jeannott, member and business manager of the Black Rebels. The Rebels will be driving down from their Amherst, Massachusetts home base to headline the four-band show, and they would like some help with directions. As we go over the routes and exits, we decide to join up before the show at the home of Reggae Runnins founders, Polly Riddims and Baltimojo, for a little r&r. I made a copy of their latest cd, Thank You Jah, (see "Pilgrim's Perspective," Dub Missive Vol. 10, 33 for a review) and listened to it throughout the week to get a feel for the Rebels. It is a mesmerizing blend of Reggae flavored with samplings of world rhythms, tempos and melodies, including Merengue, Morna (a slow acoustical rhythm which gave birth to the contemporary blues), and M'Balakh (a Sengalese folklore). Their music is clearly inspired by their varied cultural backgrounds, with members hailing from Senegal, Cape Verde, the US, and Jamaica. Featuring strong message lyrics sung in English, French, Creole and Wolof, the language of Senegal, it is both educational and inspirational. Sunday, May 31, 1997 - As I pull up at Polly and Joe's house I see a large white van in the driveway. Guess they beat me here. Inside, the large, friendly frame house is abuzz, the energy meeting me like a rush of cool air as I step in and am directed downstairs by Polly. The Black Rebels have gravitated towards the basement, where the recent addition of a pool table has turned the laundry room into a game room. As I descend the stairs I am amazed. Everywhere I look is a new face. One, two, three...five...seven, eight...ten? I wonder what Polly and Baltimojo must have thought when they all started to pile out of the van? We chat and get acquainted while Manou (lead singer and rhythm guitarist) and Ras Toph (bassie), play pool, between shots kicking a soccer ball back and forth across the concrete floor with Jeannott and five year old Adam, who wails into each shot with all he's got, determined to keep up with the big guys. Manou and Jeannott are bothers, and founding members of Black Rebels. They are also soccer coaches at Amherst High. Although they were raised in Portugal, their parents are from the African coastal city of Cape Verde, also home to keyboardist Rui Santos, aka Ras Moon. Rui is chillin in the corner with lead guitarist Dave Boatwright, (formerly of Boston's Loose Caboose), and dancer, singer and poet, Kalpana Devi, (he band's sole sister). Kalpana and Jeannott share vocals; combined with Manou's powerful, emotional lead they form the essence of Black Rebel's earthy sound. As the afternoon fades into evening, we begin to watch the clock. Outside, a light drizzle falls from the gray sky. With sound check only a few hours away we head upstairs for dinner. After refueling with some wholesome ital cuisine we retire to various areas of the house. Ras Toph, Chris Smith (Jamaican-born drummie), and Dave are in the living room watching the Utah Jazz and Miami Heat in the NBA playoffs; Jeannott, Manou and Rui are back downstairs losing a game of pool to eight-year old Zachary; and Kalpana is in the van resting for the show. We begin to make tracks toward the door early, (don't want to make the Black Rebels late for their DC debut.) First stop is the hotel. As we take care of check-in I notice a huge basket full of gorgeous Red Delicious apples sitting on the hotel's front desk. Shyly, I take only two, and as I walk outside I hand one to Jeannott, taking a big, juicy bite out of the other. Feeling a little guilty, I tell Rui, who is openly envious of my prize piece of fruit, "there's a whole basket full inside." When we pile into the elevator I am reading the sign that says "weight limit 1,000 pounds" out of the corner of my eye when all around me I hear these strange crunching noises. Wow, that basket must be empty! At The Bayou, located near Georgetown University, a full crowd is already taking shape. The drizzle which started earlier has long since grown into a full blown downpour, and the waterfront venue is in danger of flooding as the bands wade through a small lake to unload through the front door. The first act, Baltimore's Danny Dread and the Anointed Souls, have just finished an upful set, and we take their spot backstage, piling equipment into the wings. The Rebels begin their quiet preshow vigil in the dressing room, where despite repeated requests they can't seem to get any spring water from the staff (beer has been provided, but it goes warm sitting in the bucket all night.) Out front, DC's Moja Nya take the stage and true to form crank up the excitement level another notch. All is going well as they tear down afterwards where from the wings guitarist Robin stands watching. A back injury has made it impossible for him to stand through the show, so lately he dishes out vicious guitar licks from his perch atop a milk crate. The show must go on! Next up, Third Eye, best US Reggae Band of 1996, keeps the pace moving. As they shake it up on-stage the near-capacity crowd is well pleased. It's nearly 12:30 am when they are done and the Rebels begin setting up. As I watch, they quickly, methodically, arrange and rearrange, check and double-check, test and test again to ensure every detail is attended. It's been a long day for the Black Rebels. Up at 6 am, Dr. Jeannott tells me they were on the road shortly after 7:00 am to make the seven hour trip to Baltimore. Add to this an hour-long ride in the pouring rain to the venue, a two-hour wait at the hotel, and another two hours spent in the dressing room - waiting, waiting and more waiting. All this preparation and anticipation has led to this single moment, as Big D, promoter for this event and longtime Reggae supporter in the area, announces "...from Boston Massachusetts...please welcome...the Black Rebels!" "GREETINGS... in the name of His Imperial Majesty, Emperor Haile Selassie, JAH! Rastafari..." Manou sends out to the weary crowd. With fervent passion, he raises their interest with a spirited rendition of "Elect of God." I watch, smoking my first spliff of the new day, as on-stage the Rebels deliver a non-stop set of roots and culture which touches a nerve with the diverse DC/Baltimore crowd. Their music reflects the spirit of the Black Rebels; warm, contemporary, vital. We were blessed to witness a spellbinding performance as the Rebels came forth strong and sure. Afterwards, in the wee hours of the Memorial Day holiday, there's only time for quick good-bye's and thank you's. As we part and I head back to Baltimore, I feel like I'm forgetting something. The next day on the phone Polly Riddims expresses my exact sentiments when she says "The house seems so empty with them gone. They were very special." Yes, I. Check the Black Rebels live or on cd, either is a listening experience sure to excite your consciousness! Well, that's the news from the Frontline. I hope you enjoyed this assignment as much as InI did! Look for more Frontline coverage from Reggae's Frontlines strugglaz, the independent artists, in upcoming issues of DM. Until then....keep on pushin on. Irie & One Love! -Allie-I Frontline Contact Information: Black Rebels, Dom Mu Afrika Productions, Phone 413-253-1589 Danny Dread & the Anointed Souls, phone 410-325-1919 or 410-433-7390 Moja Nya, phone 703-820-1037 or 301-419-1045 Third Eye, phone 202-583-5938 or 301-585-9527 Big D Productions, phone 703-314-0058 The Bayou Nightclub, phone 202-333-2897 Reggae Runnins, phone 410-747-1360 Favorite Song: "Stop War" It's the most atypical tune on the cd, a veritable oxymoron, with gunshots for a refrain, yet a cheerful, hopeful vibe. Lyrics are filled with the gritty reality of gun violence, urging and end to hate and a rebirth of love. Has a full, worldly sound, reminiscent of Lucky Dube, (read: Haffe dance!) This entire cd is HIGHLY Reccommended! Reprinted by permission from Reggae Runnins, December 1996 Buffalo Soldier Reggae SunBlast The Bayou, Wash. DC; Nov 11, 1996 - Once again The Bayou is the site of Reggae history in-the-making. Thanks to Big D & Posse, eight (count 'em) of the hottest local/east coast bands dun rip up de place inna what is fast becoming traditional Sunday night stylee. Check de roster: Strykers Posse, Access, Loose Caboose, See-I, Englishman, DKGB, Willy Paul and Goldii. Yeah....! Things got off well nice with Goldii. The aptly named yellow-locked vocal femme fatale gave the people some upbeat and danceable starters. Goldii was the first in a night full of strong feminine vocal talents. She moved 'em & grooved 'em and got the crowd ready for See-I. Another DC-based act, this vocal duo was no stranger to the crowd. They made good on their name's promise, and paved the road toward truth & enlightenment with word sound power. Englishman, longtime DC-based singer/bassist followed. His hurried dash from the front door to the stage door didn't dampen his desire to send out and be heard. Much livity flow in the place. Willy Paul and DKGB have been leaving the people well pleased in DC since who knows when, and they did not break with history as DJ singing and toasting brought out everyone's desire to move! Before acquiescing the stage, Willy Paul welcomed up Squeechy Ranks. From here forward it was not a sit-down affair. T'ings a run tight & right on schedule as Loose Caboose with Ras John inna the lead came through with a string of the tight, jazz-inspired dub for which they are widely known and respected. They pumped it out flawlessly, after over 20 years together this train glides along, allowing for an easy, natural feel. We were pleased and honored to welcome the Massachusetts bredren to their second Reggae on The Bayou appearance. Give thanks, next pon de stage we find Baltimore's HOT new Access! Whoa, these Idren are going to go a long way!! Featuring equally strong leading inspiration from sister Pat and brother Meshecke, the veteran crew from various early Baltimore bands gave what many regarded as the performance of the night. Hyped, righteous & ready - Access is a new collective which many predict is headed straight for the top. Baltimore is blessed with a burgeoning new scene (naah soon come!), make sure to check local papers for these guys. Patiently waiting in the wings until nearly 2:00 am, Stryker's Posse showed in short order that they were ready, willing and able to make a fitting end to this massive bill. Charging out and not looking back, the Baltimore rockers were, as always, right on time. Yvonne, & Ichelle sounded sweet, the place was jumping, and all could see that for a modest ticket price big t'ings a g'wan pon Reggae on The Bayou! Reggae on The Bayou features LIVE Reggae every Sunday night. On the roster after New Years is another SunBlast, with plans of a summer-long tour schedule in the works. Upcoming shows 'pon The Bayou include a monster bill next week, November 17th as Everton Blender and the Fathers of Africa, including Yasus Afari, Dele Mandela, Sister P and Determine hit the stage. No end to the Inity in sight, as November 24th brings the Magical Marleys tour with Rita, Damian, Julian, and bredren Yvad to DC's yard. For details call The Bayou at 202-333-2897 or Big D Productions at 703-314-0058. See you at the Bayou! -Allie (RAW#505) PS: Check the latest edition of Caribbean Pulse magazine for a feature on Determine, the young DJ behind "Kette Drum" with Beenie Man! Reprinted by permission from Dub Missive Magazine, Vol. X, No. 2 Artist: Erroll Blackwood Title: Waking Up the Dream (Blade Music) Format: CD Recording: Sharp, Full Performance: Inspired Waking Up the Dream by Errol Blackwood hits dread on! The Jamaican-born, Canadian-based singer and bassist captures the essence of roots Reggae with hungry tunes of love, redemption, judgment and hope. Blackwood's vision of reviving the dream of unification personified in the lives of Martin Luther King Jr., Marcus Garvey, and Nelson Mandela makes its mark with ardent songwriting and the strength of Errol's raw word sound. His work demonstrates Blackwood's immense talent and the driving musical force behind his dream. Blackwood's sweet, throaty vocals lend themselves to many styles, and he easily maneuvers from lovers rock to righteous anthem. Self-produced Dream seems a perfect fit of songs for every mood. Genuine and gutsy, it's evident from the get go that this is going to be a mover. Alien comes in direct and fervent, quickly fading to the bubbling, lovesick Angel of Mercy. Keeping with the romantic, Be My Baby pleads and the mood is set for some coercion of the sweetest type. "I'm the One" is one of the album's strongest dance tracks. Made for airplay, it steps up with a tale of unfulfilled love and longing. The gritty reality of one urban family is reason to weep on Little Bit of Tear as Blackwood tells a tale of despair: "eventually you lose reality/killing then just becomes another spree/and the children die/ how could we close our eyes?" Free World, bounces back with a hopeful kind of Bob Marley meets Talking Heads admonishment to the shistem and its slick-talking purveyors of false freedom. Coming in over a sparse, rootsy guitar lick, One Way Street is a tough, stark look at society and its acceptance of violence and hatred. Liberty Woman is a slow burner, as Blackwood paints tears in the eyes of the Statue of Liberty, imploring mankind to return to our long-forgotten ideals of justice and liberty. Saving the best for last, the album's most outstanding track is the nyabinghi-styled Mandela. With bass drums laying the heartbeat foundation, Blackwood hails the great freedom fighter, his raspy voice cracking with emotion as he begs us to heed the message and carry on the dream. Waking Up the Dream is great Reggae from beginning to end. There is not a snoozer on the whole cd, but instead a whole heap of roots and consciousness. With shining arrangement from Jamaican singing sensation Benji Myers, critical production assistance from veterans Linton Cooper and Jeff Samuels, and crucial creativity, and the tight lineup of Injah he has found a mystical mix of soulful guitar, heavy bass, and jumping keys. Versatile, positive and polished, Dream's message, like all dreams, begs to be shared and fulfilled. -Allie-I Reprinted by permission from Reggae Runnins, September, 1996 Israel Vibration w/the Roots Radics & Third Eye: 8/28/96 @ The Capitol Ballroom The posters are all hung, the lighting is in place, the stage is set, the Press has come out in full force. It's gonna be big doin's tonight inna D.C. We're about to witness the HOTTEST Reggae show of the season! Reggae's crowned princes, Israel Vibration, backed by none other than the revered Roots Radics have come to our yard tonight to allow us to share in their moment of glory as they release the new CD "Free to Move" and premier their "Feelin' Irie" video. IsVibe last rocked the nation's capitol this winter with a hellfire performance at the 9:30 Club, and left the taste of sweet Reggae lingering on our collective tastebuds - longing for more. The show at the 9:30 Club marked the first appearance of live Reggae at the venue, and it was an unquestionable BOMB! The scene is charged with an energy that has been slowly building for months now as Big D Productions, RAS Records, the Capitol Ballroom & and Cellar Door Productions have joined hands to make sure everything is just as it should be for this night of nights. After months of anticipation, the massive has come together to bear witness to Reggae history in the making - AGAIN - as this event re-introduces live Reggae at the Ballroom. And if that's not enough to make your dancin' feet itch, DC's own Third Eye Reggae Band has also chosen this night to release their latest, the "Rights of Man" CD. The riddimz crew is getting their moneys worth tonight for surity! Kicking off at around 9:30 pm, Third Eye came forth strong, giving the crowd a dose of Bob Marley early in their set, with a promise of more to come. They followed with the original "Give me some Love." Mastering their moment, Third Eye pulled off three tempo changes in five minutes, each one flawlessly. We were treated to "Selassie I," a sure-fire hit from the new CD, as Nebo and bredren showed from the start that they didn't come out here to fool around - it was Reggae inna DC stylee. Dem naw ramp wid it! With the place packed and the vibes flowing Third Eye wrapped it up; a job well done. While the set was changed over we enjoyed our sneak preview of a soon come IsVibe video documentary, which RAS's Dr. Dread said will be available for retail sale in the coming months. This was followed by the "Feeling Irie" music video, a fun-filled convertible ride down bikini-clad babe street in anytown, JA. Whether it was the bikinis or the beats, everyone was ready - and we got what we were waiting for! Roots Radics are without comparison the finest Reggae has to offer, a strong band in their own right, they spent about five minutes easing into the groove & loosening up, then...spread out! Thunder & lightning rip up de place with "Hot me Hot'" "Ram Dancehall" and "I Don't' Want to be Lonely Tonight." "Here it goes!" was cried from the crowd as the phatt bass riffs of Errol "Flabba" Holt stormed through the Ballroom like a house afire! By the time Apple, Skelley & Wiss came to the front the posse was stirred into a frenzy. Earlier, Apple was mysteriously absent at backstage press and photos sessions, and rumors were flying that a sore throat had set in the night before. Later we heard conflicting stories of a rift between the trio. Immediately upon taking the stage with his bredren he dispelled all of our concerns as eagle-like scream after scream floated across the vast expanse, echoing from the rafters and igniting the crowd! For over a solid hour the inspiring trio delivered hits from yesterday and today; "Keep Moving," "Why Worry," "Feelin' Irie," "Vulture," "Babylon Down," and "On the Rock," were a few of the many which kept us skanking and cheering right up the end. Never missing a beat, Israel Vibration reminded us why they are one of Reggae's most respected and successful groups. Not a frown could be found as we reluctantly filed out into the cool DC night air. Life's few rare opportunities to share this kind of Inity must be seized - and treasured. I know each and every one who took part in this historical night will never forget the music or the moment! -Allie-I Reprinted by premission from Dub Missive, Vol. X, No. 1 Journey into the Halls of Reggae - Reggae Sunsplash, Ocho Rios, Jamaica, WI 8/96 Jamaica, Jam Down, J-A, Land of Wood & Water, the Rock; the birthplace of Reggae. Seven LONG years of anticipation culminating in this one moment as Air Jamaica flight #040 touches dry land inna this, the land of my dreams. Like so many moments of fulfillment in life, all the visions, all the daydreams, all the imaginings, don't begin to compare. The lush, tropical foliage stretches as far as the eye can see. Every view includes a glimpse of pure, undisturbed, white sand beaches and the deep, azure blue water of Caribbean postcards . Sometimes when we achieve our dreams we get a disappointing reality in exchange for our heartfelt longings. Other times we are rewarded with a reality which far exceeds our wildest expectations. So far, Jamaica has not let me down - it's beauty tells the tale of a land whose people respect its natural wonders and on whom the Almighty has shone his beautiful sunlight for centuries, unfettered by the shackles of capitalism, nuclear energy or world war. The reason for this journey is the music. It's been a dream which, delayed time & again, in it's final realization has taken on the dimension of a pilgrimage. Finally! Setting my US-bred feet on a soil my soul has known for ages. From the first step off the plane I could literally feel the one drop pounding at my heels. Landing over three hours late I nearly missed my bus to the hotel. "Nearly" is all that counts, as we wind along the bumpy path from the Airport at Montego Bay to Ocho Rios and the first stop along this trip. Dozens of others, traveling in pairs or rare threes; lots of guy/gal couples having fun. I was drinkin it all in. We stopped along the road and I had my first try of Ginnem (sp?), a berry tree whose sweet, fruity gel should not be squirted on clothes. On the headphones Nasio Fontaine, "Jah Bless Africa." Reggae. The music of a culture oppressed, fighting for their fair share. Their chronicled cries and shouts sparked the fire which blazed into Reggae music. It has brought tens of thousands of people here for the same purpose; 11 days in the shining light of the world's best Reggae music, experienced in its land of origin. A lesson in Roots Rock 101! Reggae music is the heartbeat of Jamaica. It is ever-present. In the streets, in restaurants, cabs, buses, shops, on the beach, everywhere are the riddims of JAH music. Jamaicans love it. Reggae is their cheerful contribution to our uptight world order. This is the Jamaica, creator of Reggae music - in all its unashamed anger and passion toward issues which "mainstream" society deems too sensitive. Poverty, war, religion, love, politics, war, sex. World issues. Reggae is filled with words for the soul, and Jamaica is the place which sparked this fire. In the words of a modern-day prophet "Who feels it, knows it." To visit the tiny island with the big drum sound is to know it. Jamaica, an independent island since 1962, as with other West Indian isles has at its backbone an economy supported by the tourism industry. It is not uncommon to find pairs of blue-uniformed tourism police in every block while exploring the streets of any of the coastal seaports. They intently watch and ensure a tourist-friendly atmosphere. One of the most popular tourist times throughout the year has traditionally been around the Reggae Sunsplash music festival. More recently, this time marks the occurrence of two major Reggae festivals of worldwide renown, as Reggae Sumfest adds to the migratory flocking of riddimz lovers to the land of white sands. With the menu chock full of Reggae and the Jamaican Independence holiday celebrations taking place, the stage is set for one major irie time as I hurriedly unpack my bags, eager to hit the streets of Ocho Rios and find out what JA has in store. Far less than a good night's sleep last night, due both to last-minute preparations and childlike excitement, coupled with 3 hours of flight delay, an hour in long lines at Jamaican customs, and toting way too many bags around should have me out like the light. But as twilight falls over the island I am thinking only of the clock - ticking excruciatingly slowly toward showtime! Reggae Sunsplash kicks off tonight at 9:00 pm, and wild horses couldn't drag me into bed as I visualize the scene to soon come. After dinner and a walk through the streets, (picking up some plastic wrapped Reggae essentials along the way), I return to the hotel and await my ride. Red Stripe in hand, Robert & Ian pull up out front and my chariot to the hallowed halls of Reggae-dom awaits. Along the way to Chukka Cove, a Polo Grounds about 10 miles outside of Ochi, we chat about the festival and its history. Sunsplash is 19 years young this year, and although the path to 1996 has been littered with some setbacks, the festival is the main topic of conversation everywhere. Chukka Cove Polo Grounds, the site of this years Sunsplash, and another in a long line of venues which have hosted the event, is actually a long and slender practice field next to the playing field. The place is huge, choppy grass forming a welcome comfort in the late night and early morning hours for a quick nap, (with bugs as bed buddies). The staging was set in impressive fashion complete with requisite Sunsplash banner and intricate lighting down front. RSI has devoted great amounts of effort toward improving the technical quality and visual impact of this years show. A laser light show from West Germany presented extra atmosphere, and awesome sound got lots of favorable comments. The video screen was large, perhaps too large as at its position halfway backfield, it impeded a clear view to the front for many fans. Comments led me to believe audiences aren't as interested in tech-ee as they are roots-ee. Ya.... August 1, 1996 - Dancehall Night, @ Reggae Sunsplash: If any night is going to pack de house it will be dancehall night. Jamaicans of all ages are current on the latest dancehall gossip. Not many Jamaican kids don't have video games, they find their heroes and learn modern culture in the dancehalls. And like American youths spar with hip hop rhymes, young Jamaican djs duke it out inna soundboy competition. Because dancehall, although not really a new sensation, is still the new kid on the block, many are wondering if the performers will be up to the challenge of the Splash. It is tantamount to a rookie playing in the world series - how will he make out? The bill is filled with some popular, seasoned artists, as well as many relative unknowns (at least for us kids from foreign). Early performers included Sister Charmaine, Lecturer, Leroy Smart and President Brown, who gave the posse a hard to resist dose of roots. Although the President's set was tough, the massive had come out for dancehall, which made for a lukewarm reception. Better suited to International Night (his choice), the President's delivery was clean and lyrics conscious. When asked if he felt his style fit into the theme of Dancehall Night, the President said "Well, maybe not. But still we haffe come out and give it we best shot. The message is the most important thing, we still haffe deliver dat." Seen. Deliver it he did, with the help of the Almighty and the Kaushon Band. Big Up! As traditional to dancehall as dreads to roots-rock is the fashion which are quickly dancehall's trademark. The majority of early performances on Dancehall Night included the requisite barely-clad temptresses winin' their waistlines in everything from spandex to molded plastic lampshade-style skirts. Unfortunately, the glitz could not make up for the lackluster performances. With few exceptions a lack of professionalism was displayed by most of the early artists, who attempted to make up for artistry with slack subject matter and tough-guy talk. >From the beginning the crowd seemed to be on a simmer, not a boil pace, and following a slow start none of the later performers seemed able to turn up the heat. The response sent a message that if dancehall is to have an integral part in Reggaes movement forward the artists need to be taught the value of professionalism. It is incumbent upon industry management to provide the support required, to develop and guide; and the rewards will surely be reaped. A high amount of enthusiasm came from the dozing crowd for Merciless, Pinchers, a recently freed-from-jail Papa San, Super Cat, Spragga Benz, and Everton Blender. But these professionals suffered from the fact that the not-ready-for-prime-time players, intended to get the massive ready, had had the opposite effect. Far and away, the stars of Dancehall Night were Pinchers, who was up to his usual high standards, and Bounti Killa - who could come on stage in a mud suit and the ladies would still go fe mad! He was licking up a wicked fuss when we left at nearly 9:00 am. See you at singer's night.... August 2, 1996 - Singers Night @ Reggae Sunsplash: After a breakfast of fresh, warm vegetable & fruit patty from the bakery , the ocean and sunshine all day, and a quick tour through Ochi's tourist strip, then back to the hotel for a Red Stripe, shower and smoke had me inna de mood for the strains of sweet, sexy Reggae music. Singers Night will fit the bill perfectly. Many of us came to know and love Reggae because of the sensuous, mellow sounds of the singers. Tonight we have in store some consummate veterans - Mighty Diamonds, JC Lodge, Sanchez, Cocoa Tea, Third World and Everton Blender - as well some captivating new or under-recognized talents including a large dose of British Singers will add to the excitement. Starting off late sometime after 10 pm due to technical stuff, Mike Anthony set the tone with smooth croonings over a bubbling Lloyd Parks and We the People Band. Quick performances by Tanya Mullings (Canada) and Janet Lee Davis (Britain) led to Peter Hunningale. The British performers, especially Hunningale, were the subject of much discussion in the weeks and days before Splash began. He "dreadicated" his performance to British Reggae, showcasing his sugary falsetto on ""Crazy 'bout Your Love" and "Thank You Lord" before really grabbing hold and shaking the massive with "Won't You be my Love." The three-man vocal stylings of Clearview Harmonies blended in seeming effortless accord with Hunningale. It was nice to see the brothers have some good clean lust without the necessity for slack lyrics or punany talk. JC Lodge got them going with nuff good girl/bad girl flirting, but demanded and received much respect! Settlin' in with "Pack it Up" and "Loving You" she summoned the band with "Home is Where the Home is" and gave the crowd a collective shortness of breath as she strutted to the top stage minus some garments, looking strong and relaxed. "Telephone Love" came calling with a 911 as Lloyd Parkes sprang into action on the bass. She repeated the favorite for an encore "Because we haven't rehearsed anything." Well, we all listened to it over and over when we first heard it any how, so no one seemed to mind. Pablo Moses opened with "Will power" and kept the spirit alive through his short set in preparation for the Mighty Diamonds. Bunny, Tabby and Judge came out to cheers of approval with "In Your Eyes". They treated the posse to all the favorites in true Diamonds fashion. "Africa, " "Heavy Load," another dose of "Telephone Love" and "Bodyguard" reminded us that every time with the Diamonds is like the first time. A 45-minute band change followed and proved worth the wait as Third World, celebrating their 23rd year as Reggaes ambassadors took the stage for a show to top all shows! With the mean axe of Cat Coore and trademark Third World split-second-timing, "96 Degrees," "Jah Glory," and "Try Jah Love" never sounded so tight. We were mesmerized, singing along in trancelike bliss as "Fly Away Home" took us up and over. Rounding out Singers Night, Sanchez was well received as usual, and a much-anticipated Benjy Myaz ("Love You Higher" and "Show Your Love") gave promise of big things to come. Myaz was a success, earning the nuff coveted Sunsplash Seal of Approval, as evidenced by the smiling, standing crowd. He earned his encore, and was followed by Richie Stephens. Singers night was flowing in just the right direction (forward) as the Everton Blender too the stage. After enjoying his first half-dozen songs, including, "Create A Sound" we called it a night (morning?). Everton's heartwrenching cries of love, lust and life were echoing in our ears as we crossed the early morning dew-kissed grass to exit. See you at International Night.... August 3, 1996 - International Night @ Reggae Sunsplash: International Night has the power to define reggae Sunsplash and measure its standing among an ever-growing crowd of international and world music festivals. With its diverse lineup and solid stable of legendary names, the night represents much of what the festival has come to symbolize. Off the mark with a gentle breeze was Reggae sax star Arturo Tappin, whose single "Step Forward" features Mutabaruka. Muta appeared later pon de bill, in his characteristic no holds barred style. Immediately upon his dramatic entrance, he began with condemnations to the stage crew, whose lengthy band change was unpopular in the wee hours. Other performances to note early on included Tony Rebel, Celecia (US), Angelique Kidjo (Africa), Worl-a-Girl and Burning Spear. Spear has been the everywhere man this summer, touring throughout the US and abroad, landing here in JA tonight to contribute on behalf of Reggae Ambassadors everywhere. Dennis Brown and Cocoa Tea both reminded the weary morning crowd why they have such popularity and longevity in their careers. A natural for the International Night offerings, Tea remains an artist whose success bears an unmistakable international flavor. Cocoa is moving with his new CD "Israel's King" featuring the "Rough Inna Town," single with Luciano. "Temperature Rising" deftly describes the feeling as Dennis Brown displayed his vocal and showmanship expertise. Dennis managed to hold the sleepy-eyed massive mesmerized as he stepped through yet another flawless performance. His overwhelming presence never fails to captivate and energize. August 4, 1996 - Classics Night @ Reggae Sunsplash: The final night is upon us and it seems as quickly as a mid-morning tropical rainshower, it is too soon coming to a close. The easy pace and sweaty hot days have formed a pattern, accented by nightly doses of riddimz. It's become second nature to sleep for four hours and dance for eight each day, going home to bed with the sun up. Easily, this final night of Reggae Sunsplash could offer the most memorable performances of the trip. All the legends are here - the Skattalites, Culture, Carl Dawkins, Big Youth, Johnny Osbourne, Sly & Robbie, Ken Boothe, Leroy Sibbles, Alton Ellis, John Holt.......whew! It's a who's who. Leroy Sibbles' impact on Reggae music goes back to the days of Clement "Sir Coxsonne" Dodd's Studio One label. He is present on this stage among so many from the annals of Reggae music, including Alton Ellis. Ellis' works go back some thirty years with early hits "Going Back to Africa" and "Cry Tough" still filling dancefloors. The soulful singer truly earns the title of classic. Like whitecapped waves crashing onto the solid rock, the hits kept coming. With the impressive assembly at Classics Night, the culmination of the four-day festival, and Independence Day around the corner, the livity was straight up and the performers worked with it to produce a fitting finale, Sunsplash stylee. Culture gave the idren the usual dose of conscious Hill-esque rasta ideology. The trios 20-year history has produced as many albums, most recently 1996's "One Stone" which introduced "Satan Company" and "A Slice of Mt. Zion." Sending the message of JAH Rastafari is crucial to Cultures purpose, and their meaning came across loud and clear, with true mastery. Almost a Sunsplash tradition, Tommy Cowan MC'd Classics Night. Recently married to singer Carlene Davis, Cowan was also the voice of choice for the US festival again this year, lending the Jamaican flavor to the event worldwide. Indeed, as Sunsplash breathes its last breath until next year, it has borne out its promise. Reggae Sunsplash International (RSI) in conjunction with a myriad of support teams from around the globe, stepped up to the plate and did an overall good job of providing services and facilities to tens of thousands of enthusiasts who were in turn treated to four days of mostly solid and uplifting performances, great fellowship, tasting of the Jamaican culture and frolicking in the land of Jam-Down. New acts tried; some rose and some fell. Legends came out and lent their talents in support of the great festival. Popular acts of every era gave us a sampling of the varied shapes which this Reggae music takes. To attend is to see first hand how we have come to this point on our journey. As we travel down the roads of the past of Reggae music, linger in its present, and glimpse the uncertain path of its future. Newly acquired by RSI, Splash is in a transitional phase which could lead the fest in many directions. Its past is littered with tales of political gaming, maneuvering and uncertain management. More importantly, its history is awash with stellar stage shows, history-making crowds, groundbreaking struggles and almost 20 years of the greatest Reggae music anywhere. The Jamaican government recently announced plans to host the gala opening of Midem '97, a music industry marketplace compendium which is hoped to generate millions of dollars in trading on the shores of the tiny rock. A renewed sense of purpose seems to be emerging as the commitment of efforts on behalf of the musicians by the government's promotions arm, JAMPRO are under discussion. First up on the joint agenda is a look at duties imposed on musical equipment entering and leaving the country. If the Jamaican powers that be really want to support Reggae music and build this viable marketplace into their plans for future prosperity for the tiny island, the indicators are all good. The next few days will allow for a glance at the fest from the perspective of another festival no doubt spawned by the troubles of Splash. Reggae Sumfest kicks off in two days in Montego Bay. In between here and there will certainly be many adventures. And the thought of doing it all again is more than a little too much to process right now. Pushing off from Ocho Rios in the wake of Reggae Sunsplash - next stop, MoBay and Sumfest! -Allie-I Reprinted by persmisson from The Beat, Vol. 16, #3 Jah Works: True Indy-pendence "True Independence," by strange coincidence, is not only a track from the new Jah Works (RAW#440) cd, Send the Rain, but also a fitting description for their style of making it as an independent band in the brackish music industry waters. Rain is possibly one of the finest recent indy releases, recorded and produced by the band at Baltimore's Hound Sound with engineering genius courtesy of Scientist. It serves as a snapshot of a group laboring diligently to stay afloat. Their efforts appear to be bearing fruit, a mere two years after linking, up Jah Works has released this second cd, while sales of the debut cd, Feast or Famine, remain a healthy indicator of their broad appeal. A consistent sellout in their hometown, Jah Works is gaining recognition and demand in an ever-broadening market, including recent and upcoming gigs in PA, NJ, VA, NC, SC, GA, WV, and Washington DC. The key ingredient to this independent band's success is simple - effective, grassroots marketing (emphasis on "roots"). With the permanent roster including vocalist Scott Paynter, saxman/vocalist Natty Roc, guitarist/vocalist Tony Love, guitarist Kevin Gorman, keyboardist Brian Gorman, bassist Mike Hamilton, drummer Dan Lowe, and percussionist Eric Vincent, keeping a band like Jah Works together is not a small undertaking. Yet many of the members live together, and each plays a part in getting the works done. The guys address and mail (early!) each month their calendar, which lists 20 dates this month, reason to give thanks in a market where other equally worthy acts struggle to get a monthly gig. Club owners delight in the professionalism and conscience with which these guys approach their work. At one local club they almost pick their dates. They are quick to point out that they don't think they've got all the answers, and they humbly note how much they still need to learn. But they don't let these things stand in their way. The band is a business, and they treat it as such. Jah Works understands that as US-bred Idren their take on Reggae may not sound exactly like any one else's Reggae, and that's the way they like it. They want to play their music, their way, and to have a hand every step of the way in bringing it to the public. Although the role of an Indy band in the fickle entertainment world requires one to wear lots of hats, Jah Works believes that by controlling the creative, as well as the business aspects of the band, they gain the autonomy to experiment and grow as musicians and as people. In an atmosphere as close as any family they find the security and creative freedom to better their skills and increase their knowledge of the business of making and selling music. Although their music is definitely solid, rootsy Reggae, their audience is not necessarily a Reggae crowd, but more a cross-section of live music fans. Jah Works gives up a fun, skankin' live show, the energy and niceness attracting people who might not regularly listen to or know about Reggae music - the scene resembles a family reunion. Without a doubt, everyone goes away happy, because Jah Works, with a big assist from their jumpin' horns section, the Miles Brothers, sees to it. At a recent show Scott became ill and was unable to perform due to a stomach virus. Backstage the biggest concern seemed to fluctuate between Scott's comfort and concerns that the lively crowd would be disappointed. Active live music fans themselves, Jah Works are supportive of other local bands of all musical styles, as well as genuinely appreciative of their fans and supporters. Jah Works is one of many indy bands doing what it takes to succeed, devoting massive amounts of energy not just to do it, but to do it as well as they possibly can. They are constantly striving to improve, their goal simply to always look back and see that together they have come one step closer. If the price is to be paid in sweat and elbow grease, they are cool with that. Because when it's all said and done they are going to kick back , light a spliff, and be proud of what they have done. Independently. -Allie (#505) Reprinted by permission from Reggae Runnins, Vol. III, No. 1 Gone Fishin': An Evening with The Messenger "Imagine living in a world where there's no war..." Faintly, as if on a breeze, the sweetest of sounds floats across the air. Luciano, Reggae's captivating, magnetic messenger is singing from his hit song "Your World and Mine." It's a natural thing, the irie-est of meditations. Now he's really getting into it, palms raised to the sky and rising up out of his seat. "Imagine, if everyone you see, knows what he's livin' fooooorrrrr." He draws the last note out, rolling it sweetly over his sinewy vocal chords and wafting it off into thin air. It's hours until showtime, but already he's working his magic. I shiver, a premonition of great things to come. A powerful singer whose conscious, spiritually uplifting songs ring with truth and conviction, Luciano has devoted his life to the service of Jah Rastafari. His one mission, to glorify the Almighty by living a life of service; his aim, help secure a peaceful existence for all people. To be sure, it's a tall order. But Luciano is not intimidated, he's got Jah in his corner. He wears a smile on his face, a visible light shining from within. He's got a lot to smile about. His career has developed at breakneck speed, with just five short years in the business, this Rasta's musical journey has seen many ports, recently coming to rest with the major-league clout of an Island Records contract and the support of his recording family, the Xtreminator Records crew, who under the benevolent guidance the Manager Phillip "Fattis" Burrell, crank out some of the best Reggae music in the world. Touted by many as the savior of Reggae's ill-mannered child, the dancehall movement, he consistently rewrites musical history with massive hits and sellout live shows. Add to this the musical mastery of the Firehouse Crew, featuring Reggae saxman extraordinairre Dean Fraser, and you've got a surefire recipe for success. Reasoning with this spiritual Bredren one can feel the force of his unbridled creative energy. Known for gutsy, honest songwriting, scorching vocal delivery, and magnificent showmanship, everything about Luciano exudes a positive, happy presence. On a recent stop along the trail of the "Messenger" tour (his latest Island release, Messenger is due out this month), he positively mashed up the Capitol Ballroom in a magnificent musical experience praised by all in attendance. His performance and personal conversations allowed an enlightening glimpse into the soul of a modern-day fisherman. Armed with his immense vocal talent and a clean heart his plan is simply to go forth with the power of love and fish up souls for Jah out of the sea of life. One fish at a time, if need be. And he won't be satisfied until he's caught the whole of humankind in his net. A few hours later we hit the Capitol Ballroom, in SE Washington DC. This place is a cool spot to catch Reggae, with lots of room and a spacious layout. The entire roots community showed up for Luciano. The crowd was near fullness, and the vibe was cool as a trip over Dunns River Falls. DC's own Willy Paul and DKGB opened it up right, as they are known to do, getting the massive loose and ready to Reggae. After a quick band change, the Firehouse Crew took over. Their precise timing and hot-stepping pace earned much praise. The soulful wails of Dean Fraser on clarinet (and later sax) wooed the crowd of over 1,000 to a near hush; a sensation which would be repeated throughout this magical night. With the place well nice, Mikey General strode to midstage and set the pace and tone for the evening, bringing forth the message of the Xterminator crew. The crowd screamed their approval. Next up, Sizzla hit big with some lessons of "Sodom & Gomorrah." All around people were singing along, lighters waving. Simply dressed in army surplus-style camouflage, sandals on his feet despite the cool northern air, he carries a beautifully carved African walking ?? Before singing a single note Luciano read from the Bible. Spirituality is a crucial part of Luciano's performances. More correctly, it is the reason for his performances. The message is an ancient one, as old as the stars. But Luciano's method of delivering that message is absolutely some of the finest entertainment available today! He is a young man, barely thirty-something. He looks and sounds fit, leaner than when I saw him perform last August in Jamaica. From the first second to the last never once did he lose our attention. Through a repertoire spanning from "Shake it Up Tonight," an old favorite the crowd knew well and enjoyed, to "Over the Hills" (from the forthcoming album), each and every song was received with overwhelming enthusiasm and praise. The massive were amazed, plain and simple. During an instrumental interlude on "Guess What's Happening," a laid-back hopeful tune from the new album, Luciano takes the mic and gives one of the most impressive vocal demonstrations I've ever heard. Climbing the octaves like a playground jungle gym, he eases us out of our personal selves, and into a collective state of peace shared by every soul in the place. When his vocal flight of fancy comes to land, only sparse applause. Why? They are in awe! Spellbound, speechless, tranquil. To see Luciano perform one does not really get a sense of a staged event, but rather a spontaneous unleashing of a spirit. Not a moment is wasted as he gives them exactly what they want, delivering hits like "He," "Oh God," "Who Can it Be," "Lonely," "It's Me Again Jah,," "Crazy Baldheads," "Your World and Mine," and "One Way Ticket," interspersed with Lucci's trademark cartwheels, flips and handsprings. He remains in constant motion, all the while maintaining total control of the pace, stretching it out, making it last, letting the message sink in. Carefully throwing out his bait; a phatt, grooving bassline wrapped in mean guitar licks and dipped in lyrics which leave your throat feeling tight. At least ten songs into the show, he teases the crowd, speaking into the percussion mic, "Are you done?" They are not, and neither is he. "NO!" comes their plea. He's reeling them in. As our time with him draws to a close, he frequently leaps off the front of the stage and reaches over the barrier to shake hands, receive hugs and kisses, great his human family. Never once does he miss a beat. On one such excursion he comes toward stage left, where I stand inside the barrier. As he runs, singing beautifully, toward me he gives me a glance of recognition, smiling as if to say "how 'bout a leg up?" and as I reach out to help him onstage he has already leaped past me. There's no stopping him. By beautifully voicing universally shared ideals Luciano fulfills his purpose; he has the guts to dream without shame or embarasment of things which we've learned we can't believe in anymore, and he isn't afraid to share his dreams with humanity. By dreaming he gives us a moments peace to reflect and therefore to dream for ourselves. To reflect on things for which we don't often make time, like love. And by doing so he brings about a rebirth of spirituality, be it brief or prolonged, in each of us. By moving us to dance, sing, laugh, and live, he inspires us to dream. Luciano delivers the message and we are glad to be receiving it. After autographs and goodbye's we turn to leave, the wee morning sky dark and silent. I turn to catch one last glimpse of Luciano slowly boarding the tour bus, heading his trusty ship back out to sea, toward the Messenger's next stop. For the first time all night he looks weary, his load heavy under the weight of a full net. Smooth sailing, Star. -Allie-I -30- Reprinted from Dub Missive Magazine, Vol. X, No. 3 Artist: Benjy Myaz Title: "Intimate Relationship" Performance: Worthy Recording: Clean Format: CD I first heard Benjy Myaz about a year and a half ago after finding his four-song demo among a group of projects submitted for review to RAS Records. A that time, with only four songs completed, our panel or volunteer reviewers counted Myaz among the top five performers from the nearly 100 we received. Myaz has since found a home for his recently-released "Intimate Relationship," with VP Records. The finished product brings together the four noteable tracks from that early demo with 6 new songs and two remixes. Myaz is an unmistakable talent, with a style heavily influenced by the r&b tradition. As the title indicates, the majority of the tracks on "Relationship" tend toward lovers rock. The best of them are those with a distinctive Reggae basis, like "Love You Higher," a slow paced promise of eternal love, and "Show Your Love," which features cleverly penned lyrics and a surefire tempo with a strong one and three beat. Both of these I remembered from the demo. A newcomer to the lineup, "So Lonely" is a welcome addition! Another Myaz original, this one is a romantic rocker, as Myaz begs and pleads, unable or unwilling to hide the fervor of his passion. Making a complete about face, the title song brings to mind a Luther Vandross ballad. Although a worthy effort, the change in pace and tempo on this track upsets the flow of "Relationship." The Reggae feel is gone. And even when he comes back strong with the righteous "Conversation" the moment is lost, as if being rudely awakened from a sweet dream on the beach in Negril. Benjy was not surprised to hear this observation, agreeing that a more consistent content would polish this project. He is currently working on a follow-up release, and plans to produce more songs with the Reggae appeal of the earlier tracks. "Not Because I'm Black" is the conscious cry of a man fed-up with injustice based upon skin color. The deep, grooving bass fits firmly between reality-based lyrics as Myaz belts this one out with guts and determination. Freddie McGregor and Junior Jazz team up with Myaz on "Brotherly Love/Sisterly Love," a roots and culture tune with a bubbling drum & bass combo. "Relationship" is a fine first effort by an artist with massive amounts of talent, both as a singer and a producer. Myaz showcases his vocal gift and delivers a solid performance on this cd, and gives promise of much more to come. -Allie-I Reprinted by permission from Dub Missive, Vol. X, #3 Artist: Mr. Peck, Hii Fii, Inglish, and Daddy V Title: Reggae Wrap! Recording: First Rate Performance: Promising Format: CD Reggae Wrap! (Irie/Negril) is a full plate of spicy Reggae selections from four of the labels brightest talents: Mr. Peck, Hii Fii, Inglish, and Daddy V. The collection is a well-balanced mixture of choice cultural cuts ranging from dj chatting to harmonious singer stylee. Wrap! boasts an impressive list of contributors, including Sly Dunbar, Robbie Lynn and Dean Fraser. The promo kit had my Reggae sensors on high alert from first glance, with crucial design, professional presentation, and flashy, full-color graphics. Reminding myself not to judge the book by its cover, I hurriedly put Reggae Wrap! in the slot and hit play. I was not disappointed; it sounds as good as it looks. Of the cd's 12 tracks, nearly half are major attention getters. Dj Mr. Peck, aka Gregory Foster, is the unmistakable star of the show, dishing out tuff dancehall sounds with heart and meaning. Strictly on the real, he speaks up in favor of the poor man and the youth. "Black Man Lives On" features wicked drum machine programming courtesy of Mr. Dunbar which lends a Nyabinghi feel to the equal rights anthem. Also from Peck, "Mama Don't Worry" blends wailing guitar licks over Bob Marley's Heathen rhythm. Evidenced by the favorable reaction at Reggae Sumfest '96, with a little more experience Peck has what it takes to reign among dancehall's elite. Mr. Peck's other contributions to Wrap!, the party-starting "Irie Vibes," and his rudeboy reply "Nuff Gal Part II" are equally worthy. Look for much more from Mr. Peck, whose debut album is due out soon come. Singer Letman (Hii Fii) Brown, brings forth "Up Up", a fitting musical tribute to Marcus Garvey, which moves and grooves as Brown voices the great leader's words in his falsetto timbre. Sharing the mike with Mr. Peck on "Red Light" Hii Fii's gift shines through. His high-pitched crooning backs up and holds tight against Peck's chatting, the combination packing a mean punch. On "Rise Up", roots singer Inglish, born Nigel Robinson, receives guidance from his ancestors during a dream. "Black man rise up/and take your rightful place in the sun" he sings, urging humankind to realize our oneness "we are all dreaming of a better tomorrow." Inglish's delivery is passionate, and when combined with multi-layered guitar picking and strumming fills out the sparse, mellow ballad. Inglish's other song, the sentimental "I Love You," has a catchy hum-along chorus, but suffers slightly from a lack of creativity. Inquiring minds want to know, and Daddy V, aka Verol Stevens, demands and answer, on "How Long". On the opposite side of Reggae's broad spectrum, Daddy's style is straight at the shistem, imploring poor people from around the world to stand up and put a stop to perpetrators of injustice and oppression. I find it's bare, yardcore percussion arrangements too frantic, but the lyrics are right on time. He also teams up with Inglish to big up the wisdom weed on "Respect the Rastaman". The piece d'resistance on Reggae Wrap! is the cd's flagship single "The Peace Song," which features sax from Dean Fraser. In the tradition of "We are the World" this one love ballad includes the posse's video debut. Featuring Mr. Peck, Hii Fii and Inglish , this song has the star power to take Irie/Negril out of the country and onto the worldwide music map. The single's video, shot in the beautiful scenery of the island's west coast, uses strong imagery to produce a touching, personal feel. With a whole heap of talent and first-rate, professional management the Irie/Negril posse is headed straight toward Reggae success. Contact Irie Productions Ltd. at 809-957-0163 or 315-735-8866. -Allie-I Reprinted by permissionm from The Beat, Vol. 16, #1 RAW Feature: Texas'Root 1 Texas' music scene is well nice, thanks at least in part to Root 1 (RAW#156). For over six years Root 1 has been playing their danceable Reggae music based on diversity and flavored with worldwide influences to crowds in and around their Austin base and the US. Their latest cd, Nomad's Land, showcases their musical mastery, and glimpses into the hearts and souls of Root 1 - educating and sending the message of unity and understanding to the massive. I gave the cd one last spin and with the sounds of Root 1 fresh in mind, dialed them up to talk about their music and their vision. First 'pon the line was leadman Jerry Stevens, whose past Reggae bands Pressure and Killer Bees are integral to Texas' musical past. Stevens says of Root 1, "We're trying to take it to the next step." What's next? "Steady work, and hopefully larger draws where people know our songs." And how to take that next step? "That's what we're trying to figure out. We know the goal is being employed playing music. It's a matter of keeping the vision in order to find the means. There aren't any roadmaps available for anybody in the music business." Austin is home to a diverse and active music scene with a steady stream of international talent. Stevens tells it like it is when he says "The influences of these many artists keeps the music fresh and dynamic." He notes the addition of dj and drummer Choctaw to the Root 1 lineup as case in point. Choctaw began with Root 1 as bassist, and now he is Root 1's wicked drummer and dj. Choctaw's vibe is always respect. "What Jah sends down is what we have to give." He reasons it out, "You can throw your seeds on the rocky ground, and nothing grows. But if you cast them in the fertile soil, and cast them for the right reasons, you see the seeds take hold and grow." Root 1's dance grooves are laid down by bassist Jorge Campuzano. His steady, pulsing lines are the backbone for Diane Causey's innovative dub. At her hands Nomad's Land brings forth a surprise package of snapshots into lands and times past. You will find yourself listening to this CD time and again. As it unfolds before your ears you will hear something new and exciting each time. Look for Root 1 in your area! RAWspect! For cds, bookings or information, Root 1 can be contacted via email at rootloop@aol.com or by phoning (512)447-6556. -Allie (#505) Reprinted by permisson from Dub Missive, Vol. X, No. 3 Artist: Michael Rose Title: Dance Wicked, (Heartbeat) Performance: Estimable Recording: Flawless Format: CD Michael Rose, songwriting genius behind a long list of Reggae hits, including some of Black Uhuru's biggest bubblers, introduces his third solo release since parting ways with Duckie and Garth over 10 years ago. True to form Rose's latest, Dance Wicked offers up crucial, ultra-high energy digital drum tracks, thanks to UK production duo Mafia & Fluxy. The "Ruff Rose" spreads his musical wings and allows his distinctive yodeling vocal style to soar. The result is modern roots dancehall inna classic Michael Rose stylee; heavy drum & bass, exquisite vocals and meticulous production. "Wicked" mixes a wide variety of Jamaican musical styles, including ska, rocksteady and rub a dub. Rose starts off with "Happiness," a rockers jam reminiscent of the early Uhuru days, with a turbo-styled drum track. A real hot stepper, it is one of the cd's many noteworthy tracks, including "Lion in the Jungle," a high-powered duet with sweet-voiced Reggae superstar Maxi Priest. On "Dreadlocks," a rub a dub warning that time is short to get ready for judgment day, Rose takes the listener back to the hungry, aching vocals of his Uhuru days, reminding us all that he is a master vocalist and songwriter. The versatile Mr. Rose leans toward rocksteady on "I Don't Want to Say Goodbye," and "Mind Made Up," the latter featuring a soul remix which proves his ability to compete in yet another musical arena. This song showcases more than any other the unmatched talents of Mafia and Fluxy, who rework the popular hip-hop rhythm track from Eric B and Rakim's rap hit "Paid in Full" and Dennis Edward's smash dance cut "Don't Look Any Further." Coming full circle, "Never Get Me Down" touches the origins of Reggae music, tipping the tam to ska, yet maintaining a distinctively modern approach. Overall "wicked" is just that, with enough changes in tempo and style to keep listeners interested. Some songs lack lyrical pizzazz, but tight instrumentation and clean production keep the toes tapping throughout. Pick up this cd or the dub version ("Dub Wicked") and get ready for a Michael Rose overdose. -Allie-I Reprinted by permission from Reggae Runnins, Vol. 3, No. 4 Buju Banton: Reaching Toward Inna Heights Buju Banton is preparing to release his next album, Inna Heights. I was blessed to meet Buju, at a "CD Introduction Party" at the exquisite Sea Castles resort just outside of Montego Bay. Everything is first class as we walk down a long, palm-lined sidewalk toward the site on the lawn of the hotel. This stretch of the grounds is picture perfect, a peninsula which is bordered on three sides by blue seas. Friends International and Sumfest Promotions have put on one impressive spread. Under stands of palms booths have been erected, and at each we sample a different variety of Jamaican foodstuff. He arrives just as we finish filling our bellies. His demeanor is humble, almost shy, as he opens with comments about the new cd. "Inna Heights is all about the breeze that blows, and the feeling you feel when you listen to it...the mystical breeze...because you being here is not only mystical," he waves his arm to include all of us, "by the waters, and the breeze" he gestures to the ocean behind, "it is a living testimony that the Most High is here with us, ya know?" Later I ask him to autograph my advance release tape, and he takes a moment out to mark the "Bombs!" for me. When he's done all the songs are underlined, some twice. Back at my room later I listen on my walkman; it contains portions of six cuts, which, from the sounds of this small sampling will grow into a fine finished product. The artist himself describes Inna Heights as "similar in style to 'Till Shiloh, but with more of an African feel." The opening track, "54-46," features Toots Hibbert. It is an uptempo Rockers jam with lyrics which speak of freeing oneself from mental and physical bondage. Buju made a thick line under "Hills & Valley" on my cassette cover. I agree, it's a Bomb! The lyrics are strong with Rasta imagery, and a full instrumentation provided by a healthy horns section. "Destiny" was another of Buju's favorites. Again, I think it will be a strong cut when finished. The harmonious keyboard hook and strummed guitar lend a mellow feel as Buju laments the fate of the struggla, singing "I wanna rule my destiny." It could easily be the next "'Till Shiloh". "Close One" reminds us of the tenuous hold we all have on today, and how easily we can fall without Jah by our side, looking over our goings. "Single Parent" big ups all the solo Moms and Dads of the world, giving a special nod to Buju's own Mom. The beat is steady on the one and three, with vocals reminiscent of "'Till I'm Laid to Rest." "Redder than Red" describes Buju's appearance at the party. Reminds me of "It's All Over." My crystal ball says "signs are encouraging" for both Inna Heights and the conscious young bredren known as Buju Banton. -Allie-I (RAW#505) Reprinted by permission from Reggae Runnins, Vol. III, No. 4 Mystic Revealers/This One's for Jah (Mesa/Bluemoon) This One's for Jah, the latest from the Mystic Revealers, starts off so strong it has me wondering why the opening track "All Over The World", is not being played on radios all over the world. It's an uptempo, rage at the shistem with gritty guitar licks and a driving drum and bass. Danceable and inspirational while critical and contemporary, lead vocalist Billy Mystic is in top form on this cd, belting out gutsy, reality-based lyrics which hit straight to the head. Jah combines Mystic's original vocal delivery and strong, spiritual songrwiting skills with flawless arrangement and critical production. This is the band's fifth album in their almost twenty years, and it is one of the strongest to date. Righteous messages mingle with varied tempos and beats, allowing Jah to traverse through Rockers style, dancehall, Lovers Rock, Rub a Dub, Nyabinghi chants and even a brief venture into Razz (Reggae influenced by Jazz). Up and coming Jamaican dj Anthony B is featured on the dancehall cut "I'm Gonna Tell You". Also featured throughout are a host of other notables including Robbie Lynn on keys, the riddim team Sly & Robbie on drums and bass, Dean Fraser on sax, and mean licks from guitarist Wayne Armond. Many songs stand out among the cd's 13 fresh tracks. Romance is the subject matter on the lover's rock ballad "Girl's Song," and the Reggae/Jazz fusion of "For a Long Time". "Warning" reminds us of the necessity for God in our lives. It is an eerie dub track with ethereal soprano chants from Ethiopian songstress Chachi and backing vocals from Jamaican singer Iqulah of the band Iqulah Safari. The combination creates a surreal effect. "Read your bible with an open mind" says the song "Prophecy", and "Keep on Loving Jah" has a light, skipping beat and upful lyrics. "We believe that people should come together and find the peace and tranquility that righteousness can bring," says Billy Mystic. With This One's for Jah the Mystic Revealers eloquently convey the spirit of hope and conviction embodied in these words. -Allie-I Reprinted by permission from Reggae Runnins, Vol. III, No. 4 Steel Pulse/Rage & Fury (Mesa/Bluemoon) Britain's Reggae Powerhouse Steel Pulse, has made a new cd, Rage & Fury. This newest from one of my longtime favorite groups revisits what was and is the core of Steel Pulse's popularity: Hind's political guts. The Pulse is racing once again, raging against the system, crying for empowerment of the poor man, and tearing it up musically with true fury. Rage starts with "Emotional Prisoner," a higher-powered rocker steeped in the tradition of early Pulse. It features an updated sound for the Pulse, thanks in part to a number of talented djs, including Mega Banton. His contribution to "Role Model" transforms an already energized junglist-style cut into a dancehall/jungle mega-workout. Hinds bigs up the heroes in Our-story, and struggle of these role models to survive shistematic oppression. "The Real Terrorist" comes next; an infectuous battle cry with an impatient tempo. As wailing rock & roll gits provide the motivation, a high-stepping drum and a steady bass line ala "Heart of Stone" keeps the pace. Check the Pulse! One dj whose positive, motivating words always make me want move is Prezident Brown. He makes "Black & Proud," a dance tune with a techno-Reggae bass riff, shine. Also featured on Rage is dj Jukie Ranks on "I-Spy" which mixes a rough dancehall beat with raggamuffin style lyrics. Hinds is one of Reggae's tuffest male vocalists, and here he has no problem standing up against the younger breed, mixing the old with the new and creating music which crosses the borders of age and race. It's about time to "Settle the Score," a wicked d&b number on which Hinds takes lyrical murder to a new level. A nod is also given the past, with a remake of "Klu Klux Klan," a Pulse hit which reappears here with a powerful new conviction, reminding us that its message remains urgent. It competes with "Terrorist" for tuffest track honors. If you're a Steel Pulse fan, Rage & Fury is a must-have. Pick it up today and play it any time you need a little extra motivation. -Allie-I Reprinted by permission from Reggae Runnins, Vol. III, No. 4 Dancehall Queen Soundtrack: featuring Chevelle Franklin and Beenie Man (Island/Jamaica) Island/Jamaica's CEO and founder, Chris Blackwell, has again broken new musical ground with the release of the movie and soundtrack, Dancehall Queen, by newly-formed Island/Jamaica Films. The film's makers went on location to the streets of Kingston for real-time footage aimed at portraying Jamaican life and culture as it is: full of spontaneity and vitality. The dancehall, birthplace of Reggae music, is a microcosm of Jamaican society. Its outrageous fashions, innovative dance steps, distinct vernacular, and constantly evolving music are the voice of, and an escape from, Jamaica's concerns, conflicts, fantasies and frustrations. The title track, already slicing up the charts in critical markets like England and the US Caribbean markets, deftly attained #1 status on the island. Its hard driving, traditional drum and bass tempo is linked up with a disco flavor, evoking the nonstop party-song appeal of 1970's dance story mega hit "Saturday Night Fever." Dancehall Queen contains a mix of tracks made for the movie, previously-released material, and remakes of popular songs from the past. The production tends toward r&b, reflecting the continuing influence of American popular music on Jamaica's music and lifestyle. A full complement of dancehall's hottest sounds is represented, including Buccaneer's "Badman Sonata" , as well as Frisco Kid's "Little & Cute" and Beenie Man's "Nuff Gal." Chaka Demus and Pliers have been mashing up the dancehalls for years, and appear on Dancehall Queen with the hot social commentary of "What's the Move." Grace Jones, the original bad girl, lets her roots shine through on a remake of her hit "My Jamaican Guy." This new version is produced by the original team, none other than Sly & Robbie, in collaboration with Delano from Renaissance, who mixes in Bounty's "Gal Dem Nature," and a sample from US rapper LL Cool J for extra measure. An originator of the dancehall sound, Sugar Minott is paired up with the formidable Bounty Killer to bring back his successful 1984 hit "Tune In". With the considerable clout of Island/Jamaica and an all-star cast of characters, the soundtrack and the movie, Dancehall Queen, may just be the project capable of taking Reggae "...out of the underground and back to the mainstream, where it belongs," Island's President, Maxine Stowe, believes. My fingers are crossed. -Allie-I Reprinted from Reggae Runnins, 7/96 Surf's Up - and it's a Reggae Tidal Wave! How'd you like to commune with thousands of Idren all over the world who share the vision of One Love? How 'bout all this from the comfort of your own home? And how 'bout for the mere cost of a local phone call? Welcome to the CyberReggae superhighway, where the massive come together in Inity 24 hours a day, every day of the year - it's a kinky Reggae party, and each and everyone is invited! Surfing the Riddimz-web is as easy as searching on the word "Reggae", which will result in a listing of over 2,000 sites! Or you can go "music" or "entertainment". A search for music will bear among it's many fruits the RMR newsgroup, a gathering of our online community which gives everyone a chance to be heard. Or simply search on the name of a favorite group or artist, venue, record label...the possibilities are limited only by your power to imagine a Reggae force filling you hard drive, your modem, and your mind! To maximize time spent on the Web it's useful to make notes as you go along, or better yet create bookmarks so you can find your way back later. A few tasty links along the way, and the journey is yours for the taking! Try RAW's Homepage a loaded buffet of Irie t'ings which will leave you head spinning and your file cabinet chock full of delectable finds, including links to Rastaman's Homepage, with great band listings, plus the Cool Runnings quick link to Jammin Reggae Archives for tour schedules, a Patois dictionary and loads of great links; Raggamuffin Homepage for lots of Cool Music Links, plus the Ethiopian Homepage's history & culcha; RMR Newsgroup for interactive chat 'bout & networking; and Jah Radio's Homepage with the Virtual Nyabinghi (BIG UP!!!) with a likkle something for everyone in the family (check fe the Anancy children's stories - they'll teach a t'ing or three to the adults and youth alike!) And be SURE to check Reggae Runnin's on the Web at runnins@activeimage.com, a step into the worldwide Reggae community for our own beloved riddimzine brought to you by ActiveImage of Baltimore, MD, ('nuff respect!) In this world where exploration is it's own reward, there's a place for all JAH's children, and a whole bright world of information for the taking. The worldwide web is that proverbial once in a while when technology meets natural man and the two find harmony! See you in the surf! Some Reggae Web Sites to Wet Your Appetite Rastaman's Web Page http://www.missouri.edu/~c643267/rasta.html Jammin Reggae Archives hhtp://niceup.com RMR Newsgroup http://www.rec.music.reggae.html RAW's Homepage http://www.xmission.com/~turq/RAW/home.html Jah Radio's http://paradigm.uor.edu/users/doktor Raggamuffin http://www.biologie.uni-frieburg.de/data/reggae/reggae.html Reggae Down Babylon http://www.nyx.net/~damjohns/reggae.html -Allie CD REVIEWS: -King of Kings (Equal Rights) The Equal Rights label, outta France, presents the works of Kingston, JA's King of Kings label, on the "King of Kings/Show Us the Way" compilation. Hot from the dancehalls and headed straight up the charts, this collection offers works from the most popular artists from yard. "Kings" features a mostly conscious selection, including righteous reality lyrics from Sizzla with the title track, a sound which could have come from his "Black Woman and Child" release last year. One of Jamaica's hottest young singers, Tony Curtis lifts his clear, strong voice in song with the conscious cry "Bun Down Rome." Deejay Prezident Brown warns against falling prey to the "Careless Ethiopians," giving a ruff performance on this moving drum and bass number. Don't worship vanity, Don Yute warns, or those “Wrong Vows" will be your downfall. Chat 'bout "Crime Stop" finds Anthony B in his usual, inspiring delivery, and leads nicely into yet another piece of the Blender. "Fire a Go Burn" is classic Everton, with a crisp vocals and an upful, Rasta lyrical message. Mikey Melody brings out "Ras de Youths dem Love," followed by the 'binghi styled "Congo Shanti," a sure shot from Norris Man. The unstoppable Terri Ganzie gives voice as well, with "Bingi Bongo I's," and dancehall sensation Frisco Kid speaks out on behalf of the "Poor Man." Producer Levy (aka Iley Dread) takes the mic to voice "Revolute," a pertinent call to all African Kings and Queens to stand up for justice and against persecution. On the slackness tip, Tanya Stevens gets bosey with help from co-writer and vocalist Cecile, committing a little "Murder Tonight," yet another scorcher from this upcoming diva. Benzly Hype wants to lay down a little riddim of his own, presenting the studio room as sexual metaphor and earning double points for both his performance and imagination. He also lends his hands to the drum programming and keyboards on several tracks. Lawd a mercy...it's Merciless! Lewd, crude, and rude as ever, he's not talking agriculture on "Plantain Farmer." The slack tracks don't detract from the project's quality, and instead add some energy to the mix. Musicianship is crucial throughout, with most riddims laid down by Sly and Robbie with a host of JA's top studio players. The packaging is stunning, and Steve Barrow of the UK-based Blood and Fire label contributes the liner notes, making for a good read as well as a great listen. Check it out for yourself by ordering from Equal Rights, phone 33(0) 681-553-828, fax 33(0) 145-214-704, email EqualRights@wanadoo.fr. -Allie-I - John Brown’s Body: Among Them (_-Town) Some people argue that Ithaca NY's John Brown's Body is one of the best US-Based Reggae Bands anywhere. The praises are deserved. This group of singers and players have been together for a full decade, originally touring and recording as the Tribulations. One can see how they've managed to hone their skills and their sound to near perfection. JBB's second CD, "Among Them" is just out, self-produced on the I-Town Records label. It aptly illustrates the band's talents as well as their livity; straight up positive vibes. The JBB sound is a melding of Reggae with soul and rhythm and blues sounds, plus and a fair sprinkling of rock and roll influences. Deep, grooving Reggae basslines and a tight drum and bass duo complement lead singer Kevin Kinsella, who uses his falsetto voice with the precision of Michaelangelo's brush, adding subtle, surreal splashes of sound effects throughout the cd's 11 tracks (including two dubs). Add to this some blindingly bright brasswork, and you've got JBB. Their sound is often compared to that springing forth from Lee Perry's Black Ark Studio during the 70’s. No wonder, JBB is adept at creating seemingly spontaneous, dubbed-out interludes within their steady, dance-paced songs. On the title track, Kinsella shares his vision of Zion, and invites us all to come along. "Play On" is a lilting, "devil may care" ditty with a hopeful message. A spacey intro gives way to firework rimshots, and then the rockers beat of "This is Not the End." When you're feeling lonely, call on the universal language, Kinsella advises on "Music is My Only Friend." "Orange and Gold" is a dizzying array of swirling echoes which leaves you feeling you've just looked straight into an eclipse and seen there the many colors of love throughout the universe. Slow and reverent, "Singers and Players" comes in Nyabinghi style, then quickly picks up into a stepper. If "Love is a Fire" then burn me. One of the strongest tracks on "Among Them," the loping tempo of this rocker forms a solid foundation for some ethereal keys, and downstated vocal stylings from Kinsella. A broad selection of sounds and subjects is visited on Among Them, but the livity is constant. On the dreamy "Rainbow Chariot" Kinsella asks "what do you see when you look at me? I hope a flowing stream of love." A solid outift with an unsinkable message, get with the John Brown's Body vibe soon. To order, call 212-838-4871 or 607-277-4516, email jbb@uprise.com, or write I-Town Records, 121 Columbia St., Ithaca, NY 14850. -Allie-I - Viva la Rasta (Aztlan) Language is not a barrier in matters of the heart, and no matter is more "of the heart" than "Viva la Rasta," a groundbreaking 14-track compilation featuring Reggae artists from three continents and nine countries, including Argentina, Spain, Puerto Rico, Jamaica, Mexico, Venezuela, the U.S., Cuba and Nicaragua. The roots are deep on this first of its kind release, brought forth by San Francisco's alterlatino label Aztlan Records. King Chango, with lead singer Andrew Blanco at the fore, offer up "Liberate (Free Yourself)," a captivating rocker with lyrics in the universal Spanglish groove. Reggae cult heroes The Toyes contribute a Spanish version of their gold single "Dos Lenos (Smoke Two Joints)," making it a must-have cut in both languages. Nicarargua's Sandanista government is remembered for the injustices perpetrated during their reign of terror in that country. Another, less sinister half is now revealed in the song "Reggae Del Coco" from Soul Vibration, which relates a new twist on an Herb song. Members of the band had been jailed on herb charges, but gained their release by a contest for the best prison band. They gained their freedom, and a gig as the Sandanista's "official" band, playing at major state functions. Whether it be Cuba's Arawak Jah delivering a salsa-flavored "A Tu Manera" or California's Soul Rebels belting out "Hipocrita," the messages translate loud and clear, supported by solid Reggae beats. From roots to dancehall, love songs to anthems, if you speak Reggae, you will enjoy "Viva la Rasta." Order from: Aztlan Records, 2560 Martin St., San Francisco, CA, 94124, phone 415-821-7559, fax 415-821-9466, email ztlanrock@aol.com. -Allie-I - Deighton “Teet”” Charlemagne: Teet (Sunbury Ent.) Language is not a barrier in matters of the heart, and no matter is more "of the heart" than "Viva la Rasta," a groundbreaking 14-track compilation featuring Reggae artists from three continents and nine countries, including Argentina, Spain, Puerto Rico, Jamaica, Mexico, Venezuela, the U.S., Cuba and Nicaragua. The roots are deep on this first of its kind release, brought forth by San Francisco's alterlatino label Aztlan Records. King Chango, with lead singer Andrew Blanco at the fore, offer up "Liberate (Free Yourself)," a captivating rocker with lyrics in the universal Spanglish groove. Reggae cult heroes The Toyes contribute a Spanish version of their gold single "Dos Lenos (Smoke Two Joints)," making it a must-have cut in both languages. Nicarargua's Sandanista government is remembered for the injustices perpetrated during their reign of terror in that country. Another, less sinister half is now revealed in the song "Reggae Del Coco" from Soul Vibration, which relates a new twist on an Herb song. Members of the band had been jailed on herb charges, but gained their release by a contest for the best prison band. They gained their freedom, and a gig as the Sandanista's "official" band, playing at major state functions. Whether it be Cuba's Arawak Jah delivering a salsa-flavored "A Tu Manera" or California's Soul Rebels belting out "Hipocrita," the messages translate loud and clear, supported by solid Reggae beats. From roots to dancehall, love songs to anthems, if you speak Reggae, you will enjoy "Viva la Rasta." Order from: Aztlan Records, 2560 Martin St., San Francisco, CA, 94124, phone 415-821-7559, fax 415-821-9466, email ztlanrock@aol.com. -Allie-I Language is not a barrier in matters of the heart, and no matter is more "of the heart" than "Viva la Rasta," a groundbreaking 14-track compilation featuring Reggae artists from three continents and nine countries, including Argentina, Spain, Puerto Rico, Jamaica, Mexico, Venezuela, the U.S., Cuba and Nicaragua. The roots are deep on this first of its kind release, brought forth by San Francisco's alterlatino label Aztlan Records. King Chango, with lead singer Andrew Blanco at the fore, offer up "Liberate (Free Yourself)," a captivating rocker with lyrics in the universal Spanglish groove. Reggae cult heroes The Toyes contribute a Spanish version of their gold single "Dos Lenos (Smoke Two Joints)," making it a must-have cut in both languages. Nicarargua's Sandanista government is remembered for the injustices perpetrated during their reign of terror in that country. Another, less sinister half is now revealed in the song "Reggae Del Coco" from Soul Vibration, which relates a new twist on an Herb song. Members of the band had been jailed on herb charges, but gained their release by a contest for the best prison band. They gained their freedom, and a gig as the Sandanista's "official" band, playing at major state functions. Whether it be Cuba's Arawak Jah delivering a salsa-flavored "A Tu Manera" or California's Soul Rebels belting out "Hipocrita," the messages translate loud and clear, supported by solid Reggae beats. From roots to dancehall, love songs to anthems, if you speak Reggae, you will enjoy "Viva la Rasta." Order from: Aztlan Records, 2560 Martin St., San Francisco, CA, 94124, phone 415-821-7559, fax 415-821-9466, email ztlanrock@aol.com. -Allie-I XXXXXXXXXX -- THE END – THANKS FOR READING – ONE LOVE! XXXXXXXXXXXXX