[First note. What a trip. After covering Splash for The Beat in 1989, I
was flabberhasted being permitted to go for another one. I was given press
credentials and treated as a VIP along the way. Now, looking back on years
of tripping over my ego, I re-read my writing and re-live my joy when it
was all so new to me].

Sunsplash '90

     The 13th annual renewal of Reggae Sunsplash Festival, subtitled
Sunsplash 1990, was once again held at the Bob Marley Performance Center
in Montego Bay, Jamaica. Knowing with certainty the locations of the and
with 11 months to prepare Synergy officials were well-ready for this
year's event. Sturdier and cleaner surroundings as well as added civilian
security helped create favorable first impressions. Also noticeably
improved were the lighting and sound systems which added an aura of
professionalism and finesse. Other changes both within and outside of the
Center contributed to a sense of difference. For example, the streets of
Montego Bay as well as the roads leading into the venue were practically
devoid of vendors and were replaced by police signs prohibiting roadside
activity. Inside, the reggae beds were plasticized flour and sugar bags
instead of the cardboard of previous years. Stageside, speakers piled
nearly sky high, were professionally stacked and not looking as if they
were always ready to come tumbling down. Lastly, sophisticated video crews
and equipment from Kingston's Phase Three Productions, the addition of
backstage viewing platforms and a production room served notice that
Synergy had taken another step forward in their evolutionary growth.

Monday: Dance Party

     Monday night saw the first of several changes in the feel of
Sunsplash. In previous years Monday was billed as Sound System Night,
being the culmination of a double elimination like tournament and a sound
system clash in the true sense of the word. This year four of Jamaica's
leading sounds: Gemini, Inner City, Elector Force and Klassique cranked it
out for partying skankers. Lead in was provided by Mother Nature with an
hour long refreshing rain shower followed by a fun-filled, non-competitive
dance party.

Tuesday: Beach Party

     Opening for Beach Party and adding emphasis to this year's theme
"Uniting the World Through Music" was a well-received band from Mexico
calling themselves Splash. As I arrived the Mystic Revealers were well
into their set. Out of St. Thomas Parish, JA, this young group, together
since 1986, had just returned from a high successful ten city tour of
England. The title track of their new album, "Young Revolutionary," seemed
to set the mood as I watched first time Splasher, 15 year of Jeff Wiesner
from Pennsylvania,  teaching a group of Jamaican youth the finer points of
America's national concert game hacky sack. Following Mystic Revealers,
and seemingly out of place, was a scheduled fashion show that lasted just
a bit too long.

     Next up was the Montego Bay based Studs Band who provided excellent
back up for reggae rapper Atomic (also from Mo' Bay) and for former Native
member Ed Robinson, Kingstonian Husani Tor and Jamaican-born Miami-based
favorite Lee Milo who wowed the fans with his rendition of "Mommy Blue."
This was Milo's second JA appearance having performed just a few days
earlier at the Nelson Medella birthday party in Kingston.

     Following Milo and providing a surprisingly fantastic performance was
Willie One Blood. Originally out of Upstate New York but having
significant ties in Colorado, One Blood was cited in the following day's
newspaper reviews as "One of the best performers at Beach Party." His
mastery of reggae hip hop fusion combined with clear, crisp and conscious
lyrics served him well and left the massive shouting for more. And more is
what they got! In an almost unprecedented move, One Blood was invited to
return two nights later for a mini two tune encore for fans at Dance Hall
Night.

     While Lorna Nelson, Spanner Banner (out of the same toolbox as his
brother Pliers) and Captain Barky did their best for a crowd still
recovering from One Blood, I had a chance to chat with former modern day
Wailer Marty Batista. Marty left the Wailers Band a short time ago and
joined former Wailer Al Anderson backing vocalist Bigga. He stated his
reason for leaving as now being the "right time for personal growth and
change" and he feels that he still has a good relationship with the
Wailers.  54-46, the daughters of Toots Hibbert turned in a set that was
as soulful as any their famous father has ever done.  Toots was obviously
pleased and his daughters as obviously surprised when he met them coming
off the stage with big smiles and bigger hugs. The Tamlins followed 54-46
and proved themselves worthy of their star status as they sang for an
excited and attentive audience.

     Taking the stage at 1:40 AM and having their best year ever in an era
of renewed popularity, Byron Lee and the Dragonaires insured that no one
would remain sleeping as they led in with a get-off-your-feet-and-dance
Soca number. Having just completed a successful multi-city, island wide
carnival, the veteran group of showmen left no one disappointed and was a
fitting wrap up for Beach Party.

Wednesday: Vintage Night

     Vintage Night started precisely on time with the band Crushal
Substance taking the stage at 9 PM against a backdrop of Nelson Mandella.
Featuring Lloyd Parks Jr. on bass, Crushal Substance played for Wadada
(Denzil Williams, Franklyn Thompson and Kenneth Roxborough), Brent Dowe
and Eric Donaldson, all of whom did sets that were much too short for
lovers of vintage reggae. The expected appearance of the Mighty Diamonds
did not happen as they reportedly accepted a "better gig" in Europe and
most foreign Splasher were understandably disappointed.

     Seemingly misplaced insofar as Vintage Night was concerned, Chalice
came forward and for 45 minutes entertained with hits of the Eighties. An
obvious crowd pleaser was their musical tribute to the memories of Peter
Tosh, Jacob Miller, Alden "Trapper John" Stewart and Bob Marley. Then, for
a well deserved first encore, and with apologies to Third World and The
Reggae Philharmonic Orchestra, they went into their new single
"Reggae-philhar-dancehall-monic Orchestra" featuring lead singer Trevor
Roper doing a humorous, complimentary spoof of Pinchers, General Trees,
Tiger and Admiral Bailey. They did so in an operatic fashion emulating the
best of the dancehall genre. Straight laced on stage they left the
audience howling for more as they encored a second time with "Pocomania
Day.

     Up next, and also out of place for Vintage Night was Inner Circle.
Calton Coffee as lead singer was in fine form as the band performed a
series of classic Jacob Miller tunes. The crowd was well-pleased and
satisfied and their professionalism and style assured this Florida-based
band more invitations to play in Jamaica. As the Riddim Twins, Sly and
Robbie, took the stage emcee Francois took time to acknowledge that the
Culture Connection from Hopiland, Arizona was in the audience.

     True vintage reggae was the order of the early morning hours as
Hopton Lewis, followed by Pat Kelly and in turn followed by Leroy Sibbles
took command. Hit songs from the past like "Boom Shaka Laka," "Queen
Majesty," and "Fat Girl" provided the mostly thirtysomething audience with
memories galore. Leroy Sibbles showed that he was in as good as form as he
has ever been and was indeed a hard act to follow, but the headliner Alton
Ellis proved equal to the task.

     Still backed by Sly and Robbie and ably assisted by Dean Fraser,
Alton began with "Starting All Over Again" and "Sitting In The Park."
Coming off stage well after sunrise on Thursday Ellis left the audience
asking for more. I asked Alton what he thought of his performance and,
though he felt he did very well, he acknowledged he would have done better
had he been permitted to select his tunes rather than have having to rely
on songs selected by Sly and Robbie. In any case, Alton left no one in
doubt that he was the appropriate Vintage Master to wind up Vintage Night.

Thursday: Dancehall Night

     Having learned my lessons from last year and realizing that it takes
more stamina than I was able to pack with me, I did not arrive at the show
until nearly 1 AM. Sagittarius Band was taking the stage as I wandered
among the 30,000 plus patron ina de dance. Lieutenant Stitchie, ever the
teacher and always the Governor, turned in a performance that was as good
as I have ever seen him do. Wildly popular with both Jamaican and
foreigners alike, Stitchie prides himself on being well-dressed on stage.
Stating that there was "a remote possibility that Lieutenant Stitchie will
run out of lyrics" he took my award for "line of the night" when,
livicating a song to his girlfriend he proclaimed "I love her like good
food and I'm not on a diet."

     Respect for women and the lack of crude and rude lyrics (slackness)
prevailed during Dancehall Night. With 17 dancehall DJs taking the stage
from 9 PM until well past 7 AM some performers gave less than expected
performances yet several of the DJs turned in standout performances. Super
Cat, spliff in hand, extolling the use of ganja while decrying the use of
crack cocaine was an obvious crowd pleaser. Likewise was the very funny
Professor Nuts, who had me and others laughing till it hurt and "Sweet
Sweet" Cocoa Tea, in a bright yellow outfit, showed that he was still
sweet and going strong. Papa San and Lady G had the crowd going when they
performed their hit "Round Table Talk" and fireworks provided the 21 gun
salutes. Little Lenny, expressing surprise at his worldwide acceptance,
was called back for double encores. Richie Steven, sounding somewhat like
a young Dennis Brown, received likewise acceptance from the crowd.

     Noted for salacious lyrics, Ninja Man seemed to disappoint some of
the audience. Out on bail following an altercation with the police, he was
outspoken against police brutality by men "in government uniforms." And
acknowledging that he "may take a bullet" for standing up to the police he
exhorted listeners to "think about what's going on." Tiger performed as
the star he is and was called back for double encores. However, it was
headliner Shabba Ranks (the current king of the DJs) who literally stole
the night. Arriving dramatically and triumphantly by helicopter (an
historic first for Sunsplash) he strode to center stage and left no doubt
who was in charge. He went through hit after hit building to an exciting
crescendo when he called for Crystal to come forward and, together, they
did their present, very popular "Twice My Age." Jamaica newsman Adrian
Frater did not exaggerate when he penned "together they closed the show in
a blaze of glory."

Friday: Singers Night

     Once again beginning on time, thanks to the last minute guest MC
Clint O'Neil of Miami radio's WLRN filling in for a tardy Barry G, Bigga
opened with an electrifying set that fused rock and reggae and left the
crowd pleased.  Shirtless and sweating heavily, Maxi Priest followed
showing himself worthy of his reputation and, when he went into "Wild
World" most folks were either singing along or swooning.

     Then came Marcia. Regal and resplendent in a predominately white
outfit, Marcia Griffiths had the crowd in her palm from the very beginning
when she broke into "Trench Town Rock." Backed by 809 she went through her
hit laden repertoire warmly and professionally. Doing her internationally
popular "Electric Boogie" she called upon her son Errol Thompson, Jr. to
lead several dancers doing the Electric Slide.

     Following Marcia's departure MC Barry G took a moment to extend
birthday greetings to The Beat's Sunsplash '90 photographer Zion Cohen.
Barrington Levy worked very well and highlighted his set by having Maxi
Priest join him for an encore. Then Barry G, paying respect to the Culture
Connection, had Hopi tribe member Tim Randolph join him on stage to help
bring Hopiland's favorite Freddie McGregor. Following Freddie, who
performed as expected, smooth and strong, Lloyd Parks and We The People
Band came forward to back Sanchez. Seemingly out of place Sanchez began in
a dancehall style but soon showed he was well-placed for Singer's Night
with an accapella version of "Amazing Grace."

     Declaring 1990 to be "his year" John Holt (of "Police in Helicopter"
fame) came on with many hits from his rock steady days. But when he did
his present hit "If I Were A Carpenter," I knew that the newer worldwide
generation of Reggaephiles would soon admire Mr. Holt as much as I do.
Frankie Paul then "no showed" for the third time making way for the Cool
Ruler Gregory Isaacs. Chart toppers followed one another as the massive
added their voices to Gregory's expectedly expert delivery. Exuding
competence and confidence Gregory appears to have left his turbulent 1980s
behind. Next came a roar from the crowd that was more than deafening as,
somewhere around 5 AM, Dennis Brown began and held sway for almost two
hours . Sounding a bit horse, the mellow Dennis left no doubt that he is a
true superstar. While others sing their "hits," Dennis' catalog transcends
hit status. His songs are reggae standards. With Maxi Priest and Freddie
McGregor joining him onstage, and a hot sun toasting a very warmed up
audience, Singers Night ended.

Saturday: International Night

     Winners of three Canadian Reggae Music awards for 1989 The Sattalites
were a fitting start for International Night. With an estimated crowd of
12,000, International Night was slated to be the longest. Featuring only
12 singers or groups the seven scheduled band changes assured that this
was so. Joining MC Tommy McCowan on stage was reggae great Bongo Herman
providing background percussion riddims during Tommy's ever present
patter. Another pleasant surprise was the Storitella, Lasana Bandella
leading off the individual performers followed by Half Pint and his
Creation Band performing much more polished than I have ever heard him.
Continuing with the international theme the English group Aswad did a long
set that can only be characterized as outstanding. Taking the stage for
the second time, 809 backed the daddy of all DJs U-Roy. This historical
reggae great was allotted much too little time before making way for a
stunning Judy Mowett. She led into "Black Women" by exhorting the men in
the audience to pay respect to women by loving them and providing them
with proper respect and support, both emotional and financial.

     Shinehead, apparently fully recovered from foot injuries sustained
during the USA Sunsplash Tour, was highly charged. Joining him on stage
and augmenting 809 were Donovan McKitty on guitar and former Killer Bees
member Kevin Jones on stand up keyboards, two members from Shinehead's
band No Offense. Wattage, voltage and all other crowd measuring barometers
peaked at solid red as the massive was up and skanking throughout
Shinehead's entire set. Midway through "Raggamuffin" he took one of his
now famous and sometimes injurious stage dives and never missed a beat.

     Following a quick band change The Burning Spear, Winston Rodney, came
on for his first Sunsplash appearance in several years. Again, like Dennis
Brown, Spear did not sing hits, he performed classics. And, in a surprise
move, yet true to form, when his time was up he left the stage still
singing and continued to do so for an additional verse leaving an
obviously perplexed Tommy Cowan wondering what to do next. I learned later
that Spear exited both backstage areas and, cordless mic in hand, gave a
special performance for the roots people, that is, those who could not
afford entrance into the backstage areas.

     And then, at about 6:35 in the morning the moment I and most others
were waiting for. Bunny Wailer, intoning the traditional greetings and
prayers of Rastafari, came on with the carriage of the king that he is.
Obviously pleased by his reception he stated "If ever there was a
Sunsplash this is it ... only reggae music can keep the energy going so
strong" and into "Liberation" he went.  Lamenting the state of dancehall
music, stating he was "sick and tired of it" and paying tribute to an
emerging trend to once again have dance halls host sound system clashes,
he introduced his new song "Sound Clash." Enthralling, entertaining,
sagacious and totally in control Bunny Wailer did exactly what I hoped he
would do. He performed masterfully! For me, seeing Bunny Wailer was a
fitting end to Sunsplash '90 and I chose not to stick around for Peter
Metro or Admiral Bailey.

     The originally scheduled closing performer, Charlie Chaplin, had told
me a few days earlier that he would not be performing at Sunsplash because
of prior commitments to finish the USA RAS Posse tour and so I left the
Bob Marley Performing Center feeling tired yet well irie.

Final Notes:

     Noticeably absent from this year's Sunsplash were many top flight
entertainers. Noticeably present backstage were Third World member Cat
Coore and the entire Black Uhuru. Cat was entirely supportive of Synergy
and Sunsplash and stated that his group did not play this year because
they had expected to be touring in Japan. Last minute cancellation kept
them in Jamaica and out of Sunsplash. On the other hand, Black Uhuru's
spokesperson, Ducky Simpson, was quoted in Jamaican newspapers as saying
that the group did not perform because Sunsplash and Synergy did not
conform to the groups Rastafarian philosophies and principals.

    Thanks given where thanks are due. To Clint O'Niel for many timely
introductions backstage; to the Night Nurse Amy Wachtel and Reggae Report
publisher M. Peggy Quatro for ongoing support and encouragement and,
lastly, to Natty Threads of Salt Lake City for being computer driven.
Respect!

[Last note. This was written on a typewriter and then, receiving my first
lesson in computer literacy, I laboriously keyed the story into a borrowed
Apple computer. I did not own a computer until 1992. Today, in December
2000, I'm still using my first owned Macintosh LC, maxed out at 10 megs of
RAM. Cool huh]