Category Archives: English

Bliss Zion Interview

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[Photo by Stan Proudlock]

I was fortunate to have a quick chat with the very talented singer, MC, selector, producer, and promoter Bliss Zion ahead of her first ever gig in Glasgow, as part of the Decades of Dub Female Takeover. 

 

How did you first get into reggae, and especially singing and producing?

So, my mom has always been listening to reggae, not so much dub, more like Tony Rebel, Morgan Heritage, Beres Hammond… So like lovers rock and stuff, so I grew up on that and dancehall. Buju Banton and all that. And at the age of about 14 I started going to dub nights in Bristol, and I was blown away. Later on my mom introduced me to Andy Scholes from 2 Kings, and she knew most of the guys in Bristol who were active in the scene.

I grew up on reggae, and then I started collecting records as I began going to the night and buying records there. I was also writing songs and singing, but just your standard songwriter stuff.

So not reggae at that point?

No.  But I was always singing. And then I thought “hey I could start doing this”. But first I started collecting records, and Andy Scholes was like “why don’t you come and have a gig”. So he gave me my first gig.

And then I started working with Ras Muffet from Roots Injection. I met him through my mom’s friends. There’s a little place in Bristol called Cosies that’s been going on for longer than I’ve been alive, and my mom used to go there when I was a baby on reggae Sundays. And the guys that run it, Conroy and Dion, who I also run Bristol Dub club with, also run a sound system in Bristol called Jah Lokko.

So my mom introduced me to them, and one day they just asked me “why don’t you come and meet our friend Ras Muffet”. And I knew who he was already as I’d been going to dances for a few years by then. And I was just like “no waaaay! Yeah!” [laugh].

At first I wasn’t confident with singing, so he was just teaching me how to produce, because I was already producing dubstep at home. Just to a very average level.

Bedroom dubstep?

Yeah bedroom dubstep. And then I went over to his over and the first experience I had of making a dub tune was with a desk. It was amazing. We made it in Qubase, and that was my tune New Beginnings, which Iration Steppas have played.

Is that the one we can find on Youtube?

Yeah that tune. I had made it at home. I’ve actually put on Soundcloud the one I made at home and the one I made with Muffet, so that people can hear the difference. Because obviously the one I made in the studio, the instrumental is the same as the one I made at home, but once it’s been through the desk and all the channels, it just brings it to life. So I thought it would be really cool for people to be able to listen to the two.

And it’s quite funny, because when I first used to play it, people would go “that’s not your tune, is that a Muffet tune?”. Because it gone through Muffet’s equipment, it sounds like a Muffet tune.

It sounds like one of his productions?

Yeah, but I made it, and he just helped me finish it. And then I started going around there regularly, and he started teaching me, well… everything. Mixing, building a riddim… And as I got more confident with him and as a musician, I started singing.

The first song I sung was actually ‘Freedom out of Babylon’, and then I did a tune with Muffet called ‘A Time to Come’, which isn’t anywhere except my record bag.

It’s basically (Ras) Muffet, Andy Scholes, and being in Bristol that got me into reggae

Well that leads on to the next question. Outside of London, Bristol is one of the other big reggae and sound system cities. Here in Glasgow if you start out and you’re quite new, It’s fairly easy in that sense that it’s quite a small and tight community for sound systems, and people are happy to help out. Is it like that in Bristol too? How was it starting out there?

Yeah definitely. I mean it’s changing in recent times, because it’s getting a bit saturated.

But the general vibe is that in the community everyone helps out.  For instance, the night I run Bristol Dub Club, we almost run like a cooperative. So we sometimes book big sounds, we’ve had Channel One, Iration Steppas play there, and obviously you have to pay them whatever they want to be paid. But in general how we work is we say to people “we’ll cover your costs, and whatever we make on the door we’ll split”. So me and the other promoters, we’d never make a thousand pounds on the door and just take it, not that that ever happen anyway. Everyone that has been involved, including people who have handed out flyers, helped at the door, and obviously the sound systems, the artists…all get a cut. And that is part of it. It just means that small sound systems who aren’t known can come and play, and don’t have to worry about putting on their own nights, and try to get lots of money together for that.

It’s a community idea isn’t it.

That’s it yeah. But then you have these other nights who are coming in and setting up these massive student events on the same nights as ours. And it’s like, we’ve been doing this for ten years, and you’re fucking this up so you can make ten grand… But the heart of it is beautiful.

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[Photo by Stan Proudlock]

That’s the other thing as well, the sound system scene and bass culture scene is huge now. Glasgow is coming up, but Bristol is huge by now – stuff like Tokyo dub and all that

We’ll they’ve actually just changed their name. It started off as predominantly dub nights, and now it’s called Tokyo World. Because it was a bit disrespectful as they weren’t really pushing the dub side of it. But he didn’t mean to do that, and he changed the name. But there was a period of time where everyone was just like “why is he calling it Tokyo dub, where is the dub”.

Everyone is all about supporting the scene, which sometime can be a bit too much you know. Everyone has so much to say, and there is so much politics involved in it. But the heart of it is good, and people have good intentions.

I mean it’s quite a small city and everyone ends up knowing each other. I guess that why I also wanted to ask you about Cosies, it seems like everyone who starts in Bristol goes through Cosies.

Yeah, Cosies… It’s just mad.  On a Friday night there might be techno, on another Friday night there might be dubstep, but on a Sunday its always reggae. Getting to play at cosies means more to me. I’ve played at Glastonbury the last few years, and Cosies means more to me, even though Glastonbury is really amazing. Actually I really love Glastonbury as well. Okay bad example [laugh]

Let’s say playing at a really big event, Cosies has so many memories you can feel it in the place. But even Cosies is changing, I mean Bristol is changing

It seems like an incubator for the Bristol scene.

Yeah I mean it’s easy to use, you don’t need to pay much to hire it. People just go there for a good time. No one really knows what’s going on. They’re like “Oh let’s go to cosies”, they won’t say “let’s go to cosies to see such and such”. Occasionally maybe, but generally it’s just because you know that whatever is on there will be good.

Did you feel it was quite easy starting as an artist and DJ in Bristol?

Definitely. When I was growing up I always felt like I didn’t really fit in with anything, like I didn’t really have best friends. I spent all my summers at festivals and my good friends would be there, but then they would be in other parts of the country during the year. So I always felt very isolated in Bristol.
And as soon as I started entering the dub scene, not even as an artist but just as a person who goes to those nights, I instantly felt welcome. I find that in any dub across the UK. If you are at a proper dub night, not a student mash-up night – which is cool too – but when you are at a proper dub night, even if you don’t know anyone, someone is going see you in the garden and see that you’re not with anyone and come to ask “hey are you alright”.

It’s a different vibe. Most of the time I think it’s because there’s not really many drugs involved.

And if there is I guess it’s more social drugs like weed, where you can still talk to people, not just chew your jaw off.

Exactly yeah. I’ve never felt alone in that scene… I think it was very nice to come into it, very welcoming.

I had a few more questions about Bristol, and especially the Bristol sound. It is quite peculiar. There’s Dubkasm, Maasai, You, Evermoor, Henry & Louis, Armagedion… The Bristol sound seems to be on the heavier side of dub, quite steppers. Is that an influence from everyone else, or just how it developed through other sounds?

Yeah that’s true. I’m not sure how it developed. I mean across the scene it’s become quite stepper focused. But people are moving back now, making slower stuff. We kind of just follow what has come before us, and change it a little bit. But the bottom line is, what people really want to dance to…

It’s a really difficult question to answer [laugh].

I’ve just started making more rootical stuff recently, none of it is ready yet. And I’m working with people to get some live instruments because I’ve been listening to a lot of steppers and I just think it’s a bit too much head-banging.

But I think it’s quite easy to make, steppers, compared to roots, because there is a pattern you can follow. I’m not saying it’s easy, it’s not, but it’s a good starting point.
You listen to Dubkasm’s early stuff it wasn’t really steppers, it was more rootical. You listen to Ras Muffet early days, like Shashamane…. It’s all just changed.

And you notice in the dance, people are going the most nuts when its 140 bpm steppers. Personally I love both, but the commercial crowd that are coming and supporting the scene with their money, they like steppers. So I think everyone keeps making steppers for them.

In Glasgow for example, it’s a big techno city. And unless you’re really into it, it’s hard for people to get into the roots vibe. Guys like Mungo’s are a bit more on the dancehall side, bridging the gap between reggae and more continuous mixing and bass music in general. It’s a lot easier for people to get into, because it’s more familiar.

Yeah dance music, really. You can pop a pill to it.

You’ve worked with Maasai Warrior quite a bit. How did that happen, or how did get to collaborate with them? They seem to have sprung out of nowhere, and become one of the ruffest sound around in the space of 5-6 years.

Yeah they were just about, and then they had the sound. They used to play at Bristol Dub Club a bit.

I used to go to school with Jermel’s sister, and he lives around the corner from me. One day he just asked me if I wanted to come round, and that tune (Freedom out of Babylon) was recorded in his bedroom years before Maasai were touring around Europe. But yeah, he just asked me if I wanted to come round one day. And I already had some lyrics. I was really shy, and I had Paul Maasai on my shoulders, shacking me, going “Come on sista! Let it out, let it out!”.

And we had to do a couple of takes, because the first one I was just singing the chorus ‘freedom out of babylon’, and Paul was in the background shouting “freedom out of Babylon! Come on lexi, meh say freedom!!” [laugh].

And in the end I was too shy as a singer to do the harmonies. So the bits in between the chorus and the verse, that was Jermel. I was just “No Jermel I can’t do it, I can’t hit those notes”. And he just smashed it. It was literally just in a day we did that at his house.

Wow, because you wouldn’t think it was someone else. I thought it was you.

I know, it’s quite funny. And then we had no idea the tune would get such a great response. It worked really well.

It seems like Maasai, and Evermoor Sound, and you are the sort of new Bristol generation, that have been really active and pushing the scene.

It’s mostly built on friendship prior to anything to do with music. Quite a lot of the happenings, it’s just through friends and stuff. Bristol is just like that. People don’t say “oh I’m this person, I’m a big shot”. You get a couple who are like that. But generally not. And that’s really nice as a newcomer, to feel like you can work with these amazing people.

It’s like with Ras Muffet, he just says “hey come down whenever”. I used to just go round to his for hours.

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[Photo by Tom Porter]

When you play, you obviously select tunes, but you also sing and MC. And that’s quite impressive because not everyone can do that, and do it well. MCing is very different from singing, and selecting demands a lot of attention. But you do all that and do it well. So I was wondering what is your process. Because combining the three and having to read the crowd in those three different ways must be very tricky.

Yeah, I find that it’s one of those things… I’ll never sit at home before a gig and practice, or say “I’ll sing this part over this tune”, and do this and this. I’ll maybe practice my songs, that I’ve produced and that I’m singing on, but when I’m singing or just MCing on riddims, it’s just totally on the spot. And a lot of the lyrics will come on the spot just from the vibes. It’s total freestyling most of the time.

Because sometimes I won’t sing during the whole set. I might sing my tunes, like Freedom out of Babylon or A Time to Come, but I might not actually freestyle because nothing’s coming. But other times it’ll just be vibes the whole time.

I’m trying to work on that because it’s good to try and find the balance between freestyling and having loads of stuff prepared in your head. I do have lyrics in my head that I could throw down at any point, but it’s nice just to feel the vibes and the flow.

Aba shanti, he’s one person that I really watch. And Mark Iration. Have you ever heard him sing? A lot of tunes just say ‘Iration Steppas’ and you’ll assume he’s just on the production. But he’s got an amazing voice, and he’s an amazing MC. But when he sings, and only occasionally does he sing, I love watching him. You know that it’s so natural because he only does it when he’s in the vibes. So yeah, Mark (Iration) and Aba Shanti are big inspirations.

Because it is hard. Say if I’m singing over a tune, then when and how am I going to get the next tune ready. So I’m singing whilst flicking through my record bag. Sometimes it gets a bit much. But when you’re in the moment it just flows and you don’t think about it, and you hope that you’re doing a good job.

Yeah it really is about spontaneity. Does that feed into how you interact and feed off the crowd as a selector.  

Just don’t separate yourself from the crowd. Yeah I’m behind the turntables and I’m playing the music, but we’re all here having a good time. Even if you’re not on the mic, all you have to do is just look into people’s eyes, and vibe off of them. The worst thing you can do when you’re playing is to keep your head down and not look at anyone. Because nobody wants to look at you and see you with your head down. They want to see you having fun with them, and the same time.

The last couple of question link up to what we were talking about earlier, as far as being a female singer, selector and MC.

Yes, I love this topic [laugh]

It’s quite interesting. I’d interviewed a few guys before about this topic, and asking them about the whole idea of sound system as a very male dominated scene, with the stereotype of sound system culture being dudes lifting big speakers, nerding around with electronics. But they were guys, so I’m really interested to hear about your experience within that scene, as an up and coming female artist.

Well yeah at times I did feel people were like ‘you’re good for a girl’. I did feel that. But generally people are cool. We’re moving out of a time when women were completely marginalised. I mean physically, naturally women aren’t as strong, but it’s the principle that if we want to be we can be. And that’ all I ask from people. When I lift a speaker-box it hurts me, that’s why I don’t have a sound system. I’m not cut out for that. But some women do, and people need to respect that, and respect that women can do that if they chose to do it.

Yeah, I mean you can tell people are always blown away by your set, and part of it is because you’re a woman and they maybe weren’t expecting that. And that’s kind of annoying. Like what did expect me to do, just skip the needle? cause loads of feedback?

There’s been a couple of times when I’ve been DJing… There was this friend of mine, I’d say he’s a feminist, like he’s clued up and in no way judgemental. And he was having a technical problem with the mixer, and he’d asked my partner –who’s not a DJ – about it. And I was standing right there, and I was DJing that night, and sort of just wondered why didn’t he ask me. My partner couldn’t sort it out, even though he is very technical, but I’m around mixers all the time. So I had a look at it and just flicked a switch and it worked. And this guy didn’t even realise. Because if he knew that I was thinking he hadn’t asked me because I’m a woman he would have been devastated. But it’s engrained in him to ask the closest man, even though I deal more with mixers than my partner.

And you get that a lot. You’d be doing something and people are like “I can’t believe you know how to do that”. Well you know, women can learn things too.

But mainly it is totally cool. Especially as a singer, because women are mainly seen as singers, not as selectors. That’s the easier part.

It’s sort of been a blessing as well. People are like “oh you’re a woman and you do this, great, I want to help you in any way I can”. Whereas if I was a boy, I might not have gotten the same support as I have. I don’t know.  But I have never been in a situation where someone said anything to me and made me feel like shit. I don’t pick up on it too much.

But on the topic of female nights, I think it’s great and we should embrace these female takeovers because women don’t get paid as much, and don’t get the same respect. What I have noticed about women compared to men – and this isn’t all men, this is mainly old men. The young ones are a different story; they have less ego it seems. But women are not there like “look at me, I look great behind these decks”. They’re just feeling the vibes, and people feed off of that. But a lot of guys, especially older guys, they’re just standing there “look at me, meh got tunes”. And yeah, you’re great and you’ve got great tunes, but I’m not really feeding off your ego right now. I think people like that about women. The women’s nights I do in Bristol do way better, in terms of turnout.

I guess the fact that you need a female takeover in itself shows the problem.

Exactly, but I still like to look on the bright side of it, and think that at least I’m not in Saudi Arabia, where women don’t even get these opportunities. And today things are being talked about constantly, people are more aware of certain things.

Okay so the last question would be do you have any future projects or releases? 

I’m going to start my own label, called Higher Meditation. I’m probably looking at the tail end of this year, beginning of next year.

I’m still finding my feet you know; it’s only been four or five years. If you look at the great people that are in this scene, they’ve been working on their stuff for years. I don’t want to rush anything and just put stuff out there for the sake of it. I really want to do it right and make some really nice connections. But I’m definitely planning some stuff. Because my only release has been freedom out of Babylon, and that was when I was 17. I’m 21 now.

It is a bit mad really. I’m very fortunate that I’ve had so many opportunities without releasing anything. But I do keep my dubplates fresh, I’m constantly making tunes at home, and playing them out, seeing the feedback, and then putting that feedback into the tunes I want to release.

So yeah, watch this space!

 

 

Thanks to Bliss Zion for her time, and to the Decades of Dub family for helping make this happen.

words by AF. 

Doug (Mungo’s Hifi) Interview

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[Photo: Bartosz Madejski]
“So I feel that what we’ve ended up doing, maybe not consciously, is somehow trying to bridge that gap between an orthodox rootsy reggae dub selection, and a club DJ. The differences being, people have shorter attention spans in general, and a desire for music to carry on. It can be very effective to have a gap in the music, but for a lot of young crowds it confuses them.”

Doug from Mungo’s Hifi was very kind to take the time to have a quick chat about his thoughts on the role of the sound system selector, and the various techniques and methods reggae DJs use when performing.

(This interview is part of an ongoing research project)

 

What kind of performance techniques do you use as an artist?

It’s a broad question. An example?

Well the performance would be for example playing records, and then you could use additional performance techniques such as an MC, or using pull-ups, or echoes like a lot of the old roots sound systems. Anything that would add to the performance, other than playing the records.

And this is in the context of a sound system dance as opposed to other forms? … I think there are a lot of different kinds of shows you can play, from being in a bar, to background music.

As a sound system session, with your own sound.

Classically a sound system session is a long thing, I mean the Shaka Style, with one selector for five or six hours… Or that could also be an hour long slot in between other selectors and acts, and all of these things influence how you will approach it, and what techniques you will use.

Because, it’s a lot about story-telling, about bringing people on a journey. having a starting place and a finishing place, as opposed to simply tune after tune. I mean people can approach it like that, just play a big tune, play another big tune… So it depends how knowledgeable the crowd is of the aesthetic; what kind of background they’re coming from, you have to gage that. And always it’s going to be a mix: sometimes you’ll have a majority of the audience that’s more into going to clubs, sometimes you’ll have a majority that’s more versed in classic sound system.

Usually it’s trying to weave these different elements in, so that it appeals both to a newcomer and a hardened veteran at the same time.

Ultimately once you’ve got a sound system sitting there, a good sound hopefully, then it’s mainly about selection and what you’re going to play. That’s the most important thing.

Is it about that, or more about specific techniques within that. Within what you play, and again that varies between dancehall tradition, dub tradition, or kind of more modern approach I would say that has more of a consciousness of club music in general.

They all have different kinds of approaches to it. In a sense the pure dub approach, which is more how Iration (Steppas) plays, and which is much bigger in France – the UK sound is much bigger in France than it is in the UK. And that is kind of formulaic with 4/4 beats, and a certain way of bringing in the bass, and building up anticipation for the bassline drop.

That is one end of the spectrum.

And it’s funny, within the world of reggae you have people who have funny attitudes towards that, kind of ‘that is the one and only’ – there is a kind of orthodoxy about that. Which I understand, objectively it’s neither good nor bad. For me, that’s like a drum build up in techno. The first time you hear it it’s amazing, and then the next 100 times less so, and then 1000 times it’s like ‘oh god not again’.

And I was thinking about this while listening to rubbish radio, that my kids insist on putting on (laugh). We seem to have moved on a lot in pop music, it’s in a sense more sophisticated than that. If they do a drum roll, if they do a build-up, it’s more sophisticated than a drum roll that gets louder and louder and then drops. I don’t think I’m answering your question though…

It’s interesting, because there is quite a bit of information from the roots and dub perspective, traditional UK dub scene, on how they perceive their role, and how they get the dance going.

But I’m more interested in how you guys bridge that, in the sense that you still have the traditional elements of a sound system, while at the same time using two turntables and going into other realms and genres that are not traditional to UK dub.

In a sense I feel we’re looking at it more from where the majority of our audience is coming from. Electronic music, dance music, in all of its various shapes and sizes is so predominant in the UK and Europe generally, that that is people’s most familiar aesthetic. So I feel that what we’ve ended up doing, maybe not consciously, is somehow trying to bridge that gap between an orthodox rootsy reggae dub selection, and a club DJ. The differences being, people have shorter attention spans in general, and a desire for music to carry on. It can be very effective to have a gap in the music, but for a lot of young crowds, it confuses them. They think there has been a technical fault if the music goes off.

Is that linked, in Glasgow especially, to the techno scene and house scene, where you don’t have gaps, it’s just a continuous musical experience.

Yeah exactly, people want to dance, and in a sense it’s a collective experience. But again, this is how sound system is different from a live band.

When it’s live, you’re watching a band. So they’ll play a song and you dance around, and then they stop and they say something. But a DJ just plays music, and doesn’t stop playing music until the next DJ starts playing, and then they just carry on.

Old sound system style I guess was coming more from a live band tradition. I guess all they knew until then was a live bands playing, and as DJing has developed people are more into a continuation of music.

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[Photo: Bartosz Madejski]

So that comes from the whole dance aspect, but then for example for both traditional sound system as well as what you guys do, you still bring MCs, use pull ups… You are still using those traditional elements to an extent, would you say they still work, or do you bring them out less because of the crowd, or do you still try to use them because of the music you play?

It’s about creating some sort of work of art. It is about your artistic interpretation of that. And yes, pull-ups, and yes MCs. It’s about proportion within that. It’s something that is often commented on as irritating when a DJ pulls up too many tunes, or if there’s too much MCing.

So an MC can play a stage show where they just chat over riddims – which is more like a live band. And a lot of artists do PA sets, but we aren’t into that so much. It’s something that the MC likes, because it’s a of their work. But in my mind it’s not so much a sound system event. It’s more about vocal and version, and in that way you break up the potential monotony of having one voice on everything. As long as you keep a flow within it.

The whole continuous mixing is a lot easier with dance music and techno and stuff, but you can’t really do it in the same way with reggae. Because they are different songs.

They are different songs, I mean if you do mix, you won’t mix them in the same way, you’re not actually playing one over the other because they are more complex usually. It’s very unusual that all the chords would sound nice together. Having said that, there are ways of blending it, often reggae tunes will start with a drum roll, so you can bring a drumroll in on the beat. You can roughly match tempos, so that there aren’t big jarring jumps. Or if you are going to jump from one tempo to another, choose wisely. There can be two tracks that have the same tempo and that can sound weird together, while at the same time there a link between 90bpm and 140bpm and thereabouts, and you can go from one to the other without people necessarily noticing that change.

A lot of those comments you could say about dance Djs, and techno DJs is that there is very little interaction with their crowd, they often play their planned set which tends to be one hour of continuous music where the songs blend into one another and then once they are done they are done. Whereas in reggae and sound system culture there seems to be more of an engagement with the crowd, either through an MC chatting on the mic between songs, or arguably through pull ups and things like that which are forms of engagement.

So say if you are at a gig playing an hour showcase of Mungo’s Hifi music, are there particular ways in which you would interact with the crowd?

Yes, and I think that’s one of the things about sound system, it tries to break down the invisible barrier that exist between performer and audience. In various ways…

By performing more so from the floor, that’s one way of breaking down that barrier, by being literally within touching distance of people dancing around, and simply being another person in the room who is dancing around to the tunes.

Having an MC is a way of not only playing recorded material, you can literally interact with the crowd. You can say “oi you!”, you can talk to people, you can do call and response of various sorts. Either musically or by simply saying “how are you doing everyone’.
And the MCs that we work with are very professional, they have a good sense of how to do it. And again, you have to do it the right amount. You can do it too much and be annoying about it, and really turn people off. But if done well it is really effective.

You can see a crowd that is used to going to clubs not being sure how to react. And this is what I was saying about the aesthetic, it’s about what people are expecting, they bring their expectations to a dance, and there is only so far you can pull them away from their expectations before they start feeling uncomfortable, or stop enjoying the experience.

So you really have to have a sense of where people are coming from.

This is what I was coming to in terms of performance techniques. Are there ways of engaging with the crowd simply as a selector, without an MC?

Yes in that you can see the responses that each tune gets and that informs the direction you’re going to take. Personally I never plan a set, I have ideas and I have little groups of thing that I put together, but I never plan a full setlist.

Do you use sirens and effects?

We have a siren, a little Benidub. We use it, but quite sparingly. In a traditional dub approach there is more time, you are listening to a tune from beginning to end. In a sense it’s something for the selector to do as well, while they are listening to a tune. And yeah, it’s very much can be used to heighten the sensation. That’s mainly how I would use it, some bleeps when the track comes in.  Either as some sort of crowd interaction, or in between tracks, to fill a space, to create a bit of atmosphere.

 

It’s interesting how it became so closely associated with dub – to the point that it is now called a dub siren.

It’s like the space echo isn’t it, and having space within a track, pulling out a vocal so that there’s a lot less to focus on. So there is space for that to be done live, whereas with a fully produced vocal tune, it’s just going to make it sound shit.

There is also the thing about pulling the bass in and out. Because that’s the thrill for the dub selectors really, that they’ve got a massive sound system which when it is pumping the bass, is so physical to the point that when it isn’t there you really miss it and crave it.

And so they tease the crowd by the long intros, by pulling the bass quite a bit, and even us, we do that as well – although we’ll tend to do it for fewer bars than traditional sound systems would, and then bring it back in.

Or just pull it out for the last bar and then bring it back in just to get that impact again. Because you notice in a session if you don’t ever do that, you become kind of numb to the effect.

So in some ways using dub sirens and echoes and effects can hype up the effects of the bass?

Yeah, it’s about having peaks and plateaus

Is there anything else that you like to add in terms of building up the vibes in sessions, or ways that you have observed, or that you feel are particularly effective.

For me, as I said in the beginning, I think it’s about taking people on a journey. It’s about being in a completely difference place when you finish than when you started. Or you could be back where you were when you started, but having done that in a way that never feels like its jarring.

So working through 15-20mn sections of tempo or style, and then move on to the next one. But in a way that you would struggle to see where the join was, so that they flow.

That’s something that keeps it fresh and novel. And that’s something that I react against in the traditional dub night, because the tempo, the pace, the sound, doesn’t change from beginning to end.

But even people who are famous for doing that like Iration or Shaka, they will warm up the dance, they’ll go through different styles, although maybe fewer amount styles, and they’ll stick on one style for an hour or two… or three.

I was reading this article by Laurent Fintoni who was talking about the pull up being a very democratic technique, and used in many ways to bridge the gap between audience as passive and performers as active.

It is very democratic. But where is becomes undemocratic is when the MC intervenes. Because often you’ll have an MC shouting for a pull up, and that’s undemocratic because that’s just one guy thinking that.

Whereas in general it will depend on the moment, but if you feel there is a genuine up-surged from the crowd, a desire for that, then it’s a natural thing to do if there is a genuine sense of excitement in the room.

It’s not something you can plan for, because until it drops and people feel that excitement, you don’t know if it will happen

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[Photo: Bartosz Madejski]

Is it that maybe why you don’t see as many pull ups in dance music, where all the tracks blend into one. Whereas for a pull up you need to have tracks which are distinguishable, to really hear the particular track that gets the excitement going and that requires a pull up?

I don’t really know, it’s been a while since I’ve been to a dance event. It would be odd, wouldn’t it. I don’t know, it must happen. Because most people who are into dance music today would also be familiar with reggae tradition… maybe? Or maybe I just don’t go out enough anymore.

There must be other genres…

I guess grime, jungle…

But you wouldn’t expect to go to a house night a get a pull up. The house night usually will be a lot less about a big tune. Some nice noises going on while you’re fucked, but not a tune (laugh).

 

 

Words by AF

 

 

 

 

‘Systems of Sound’ by Joe Muggs

Great sound reproduction is vital. From the first Jamaican dancehall systems – brought to the UK for the first time 60 years ago this month by “Duke” Vincent Forbes – through the Klipschorn speakers put by David Mancuso into his own home for the Loft parties that created disco culture as we know it; through rebel sounds like DiY, Desert Storm and Spiral Tribe that epitomised the outlaw spirit of rave culture, to the perfect 21st century techno sound of havens like Berghain and Trouw. The technology of sound has informed the culture and vice versa throughout the modern age.

What “great sound” is, though, is tough to define. What makes good sound is not a simple science. The study of acoustics is beset by complexities of turbulence and interference patterns – and the art of filling an irregularly shaped room full of moving bodies with sound that will satisfy on an aesthetic and physical level has sent many great minds round the bend over the years.

And it’s not just about sound either, because the soundsystems themselves have a mythic quality. They are the beating heart of the layout and décor of clubs, parties, festivals and dances. The glib old adage of “dancing about architecture” doesn’t seem quite so silly when you are moving to and through the air pushed out from a legendary system.

Mikey Dread, creator of and selector for London’s venerable Channel One Sound System, talks of sound fanatics coming to watch the rig being set up each year at Notting Hill Carnival as “like tourists coming to see Stonehenge”. He means it jokingly, as if to say it’s something people like to tick off on their holiday itinerary, but he actually hits on something profound: the speaker stacks are in a very literal sense monumental – “majestic and authentic” as Positive Sounds‘s Darren Kis puts it – and maybe even ritual in their function. 

Read more on Boiler Room

Wheel It Up: History of the Rewind

words: Laurent Fintoni

When the DJ stops the music and spins the song back, energy shoots through the crowd and Jamaican sound echoes across genres


Jamaican sound is the heartbeat of modern music. Of the many practices to emerge from sound system culture and take hold across music genres, one remains most arousing and the most maligned: the rewind.

For the uninitiated, the rewind is the act of stopping a song—generally playing on a vinyl record or, in more recent years, on a CD—bringing it back to the start, and playing it again. In Jamaica, rewinds are normally performed by selectors in response to crowd demand. You may have heard a hip-hop or dance music DJ do the same thing.

Some rewinds are smooth, the record stopping by use of the turntable’s start/stop button, while others are a little rougher, the needle hurtling across the vinyl’s grooves as a hand frantically spins the record back.

I love rewinds. A good rewind is that rare thing in life: a product of the moment. If the timing is right, a rewind will bring excitement to the dancefloor, a celebration of the music being played, an energy charge for the place and the people.

Unfortunately rewinds are also subject to abuse, with performers misreading the crowd, indulging in rewinds for their own satisfaction. As such, rewinds can be hated too; some find them obnoxious due to how they interrupt the flow of the music or seem to be a mere celebration of the performer’s musical ego, an attempt at trying to fake excitement.

And it’s not just fans either, plenty of performers, DJs and critics also find rewinds to be borderline. It’s this dichotomy that has led the rewind to become one of the most interesting and divisive sound system practices. Yet, despite a growing body of work on Jamaican music, the rewind remains largely untouched by historical thinking. Most critics mention it simply as a tool the selector has in his bag for the dance (aka the party).

I went looking for the roots of the rewind, an attempt to trace its history. Along the way I realized that, after forty years, not only is it still intrinsic to so much sound system, electronic and dance music performance, it’s also a truly democratic musical practice. The rewind allows the audience to have a conversation with the performer. It is the great equalizer, ensuring the discourse of music does not flow just one way.

But where did the rewind originate? And how did evolve? Let’s take it from the top.

read more

Top Ten Releases of 2014

ALBUMS:

  • OBFWild

OBF’s first studio album has been long awaited by stepper fans around Europe, and it does not disappoint. True to OBF’s reputation, “Wild” is an intense trip into some of the darker and heavier sides of digital dub, and features both legends and the new generation of MCs.

  • Chronixx The Dread and Terrible Project

With his debut LP, Chronixx offers a powerful and conscious LP in true ‘reggae revival’ style.

  • Mungo’s HiFiSerious Time

Mungo’s HiFI confirm their place in the spotlight with Serious Time, a third albums that fully exemplifies their “forward thinking reggae music” ethos.

  • Tuff Scout All StarsTuff Scout Inna London Dub

A heavy dub tour of London courtesy of the Tuff Scout All Stars.

  • Dub DynastyThundering Mantis

Dub Dynasty (aka Alpha & Omega + Alpha Steppa) takes UK Dub to new heights.

  • Black RootsGhetto Feel

The legendary outfit Black Roots return with “Ghetto Feel”: a conscious, horns-filled LP

  • Addis PabloIn My Father’s House

While this remains a hommage to the legendary Augustus Pablo, Addis Pablo doesn’t stay in his father’s shadow. Instead, this album is a showcase of his own sound and mesmerizing talent for the melodica.

  • Midnite – Ride Tru

Although incredibly prolific, each one of Midnite’s albums are works of art: conscious, spiritual, and deeply infused with Rastafarian thought. This one is no exception.

  • DJ VadimThe Dubcatcher

Dj Vadim is mostly known for his work with hip-hop, but with ‘The Dubcatcher’ he proves that Dub and Reggae are no strangers to him.

  • Tour de ForceBattle Cry

The first album from Brooklyn’s heavyweight sound system is a tour de force (pardon the pun), perfectly blending dubstep and bass music with the dub and reggae roots traditions.

SINGLES & EPs:

  • Specialist Moss Feat. MR WilliamzDub Style EP 12″

  • BenidubReconquering Lion feat. Vivian Jackson (Echotronix) 10″

  • Iron Dubz80s Fashion Vol 1 EP 10″

  • Danny RedRasta We Rasta (Youths & Truths) 12″

  • Pablo MosesReady Aim Fire (Repress on ‘Rebirth Records’) 7″

  • GroundationJuggernaut/Fa’ward (Repress on ‘Reggae Archive Records’) 12″

  • Junior KhadaffyRampers Music (Repress on ‘Stereo Uprising’) 7″

  • Don FeJericho (Steppas Records) 12″

  • Moa AnbessaWatch Dem feat. Prince David (Moa Anbessa Italy) 12″

  • Prince JamoHercules (Zion Gate Music) 12″

AF

Dread Inna England: how the UK took to Reggae

“Dr. William “Lez” Henry is currently a social anthropologist and the author of What the Deejay Said, a book exploring the central role Jamaican music and culture played in shaping black cultural politics in the 1970s and 80s in the UK. But before that he was a British dancehall DJ by the named of Lezlee Lyrix.

His background as a British DJ channeled through his academic career makes Henry a fascinating and informative voice when talking about the intersection of race and culture in the United Kingdom. For our program Dread Inna Inglan: How the UK Took to Reggae, Saxon Baird talked extensively with Henry about his own experience growing up in a racially-divided community of South London and the importance of sound system culture for many in the Black British communities in the late 70s and 80s.”

How did you first get involved with the sound systems?

I first got involved with sound systems probably around 1971 with Shaka Sound, which was started and ran by Jah Shaka. Number one dub-sound probably on the planet. I used to carry speaker boxes for Shaka. I was young then, about 14. I used to get into the dances for free because I would help fill the back of the van and string up the sound. Used to call us “sound boys.”

You grew up in South London, in Lewisham, which is a really interesting place because it had a very vibrant sound system culture. Jah Shaka’s record store was located there and so was the Moon Shot Youth Club. However, there was also a lot of tension. There was a National Front march in the late ‘70s and then the tragic New Cross Fire. How did all these elements come to play a role in your perception of the world and your identity?

Well, to be honest it’s a lot of the stuff I use in my writing and my work. And it was reflected in a lot of my lyricism as well. One flash point during the time I was growing up happened in the early ‘70s, when members of a National Front pub which was adjacent to the Moon Shot club–which is where Shaka Sound played a lot of their early shows – attacked us one evening when we were going home. Apparently, there was a skirmish going on between some people in Moon Shot and some people from the pub. And they ended up attacking us in street. And that is a good example of what it was like to be black then. In fact, when I was younger, we used to learn Martial Arts. We are talking 14, 15, and 16 year olds learning this because we used to get by attacked by white men regularly. And I am talking big white men, like in their 20s and 30s, attacking kids. It was a dreadful and terrible time to grow up in. Racism was rife, and it was brutal in many ways as well. For us, in the ‘70s, we were going to school and kind of running that gauntlet of hatred. Its not the only thing that was against us but it was very significant in the way we view the world or viewed the world at that time.

I mean that’s what Shaka and other sound systems used to do; they represented a safe haven for us. Where we could go out and hear music that more reflected our social, political and culture sensibilities and be amongst our own as African-Caribbean people or African people because that’s who it specifically was occupying those spaces at the time.


Read more or listen to the interview on Afropop

 

Interview Bass Warrior Sound System

 

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photo by Bartosz Madejski

“But that was dub music. And me, coming from the Caribbean, I wanted to hear reggae dancehall style.”

“…And as a matter of fact, I played dubplates before and people were like “how did you get your name into that song?”, because they don’t even have a clue what it is. They don’t know what a dubplate is.”

Kenny from the mighty Bass Warrior Sound System very kindly sat down for a lengthy chat with us, and shared his thoughts on the early reggae scene in Scotland, the growing dubplate business, and the difficulties in connecting Scotland with sound system culture.


So,
I guess the first question would be when did Bass Warrior start, and why?

Bass warrior started 8 years ago, so that would be 2006. But we started because we used to have to hire equipment, and most of the time the equipment was rubbish, but you still had to pay. So I decided to build some speakers, and set up a system. We started off with 6 bass bins, and some top boxes.
So after that, we just been doing gigs, it’s been quite good so far. Except nowadays it’s quite difficult to find a place to play a big sound system.
but we started may 2006, and the reason for that was just to make sure we had our own system, instead of having to hire crappy PA system. To get a good sound, to get the sound that we really wanted, that’s why we decided to start bass warrior sound system.

And it’s completely homemade ?

Yeah. Well except the amps, they are bought.

When you started, was there already a sound system scene here ?

Well I started in ’96. There was reggae music,  I used to DJ from ’96 upwards. It was good but then once I started knowing more people I wanted to put on my own night, because before then I was just getting paid to play. So by this time we were playing in the Carnival Arts Centre, in Albion Street. So after having a discussion with the people, we decided to build a system and sit it there. So that’s where it used to sit, for probably a couple of years.
So before that we were just DJing, and hire if people wanted reggae music then I just play.

Back then we had Unity Reggae. But they really weren’t a sound system, they were just playing reggae. But they were playing reggae music, which was still good.
And I think just before that I’d heard of Mungo’s HiFi as well. I wasn’t familiar with Mungo’s at that time.

So sound system was never really big here for me. Not like in the Caribbean. Scotland never really had that, besides Messenger Sound System. I knew of Messenger, so that was the only real system I knew about back then. But that was dub music. And me coming from the Caribbean, I wanted to hear reggae dancehall style.

Well about dancehall and soca as well, how did people react to that kind of music here? Were they quite warm towards it?

Well, early days it used to be really good. I think most of the people we used to play for in 2006, and even back in the 90s, they tended to go out late at night. But back in the 2000, 2001 when I used to play out there was loads of people. But I think they just got old and stop all the late night business. Because I first used to play in Edinburgh, in this place called the Mambo Club. You probably never heard, but the Mambo club was a club where if you wanted to hear like African music, reggae music, everybody used to go on a saturday night.

So I used to play there, along with Caroline from Unity Reggae. They were the ones I started out with. So that’s where we used to play then, and it was a bit of everything: Soca, reggae, dancehall. So that’s my culture.

It’s funny that.  I mean in Glasgow now reggae and sound system has grown a lot, but you’re still the only one playing Jamaican music I guess, like soca, like dancehall.

Yes well that’s how I feel, because originally the island where I’m from is mainly soca. I mean reggae has just filtered in, because if you know the islands, you have Trinidad which is soca, and reggae is Jamaica. But then most of the islands are just soca: Antigua, Montserrat. All of these are soca islands. But then reggae becomes part of the culture because of the Rastafarians.

Reggae became bigger as more and more people started getting into Rasta in the Caribbean. So that is what I kind of grew up listening to, mainly soca, reggae. Then later in the 80s I got into dancehall. So I used to feel happy playing soca and I still do enjoy it, but there’s not really a big soca crowd in Scotland.

But still, every now and then I still have to play it, just to make me feel at home. That’s what it’s all about, you know.

We talked to Rampant Sounds a while back, and they were playing in the 90s, and said that reggae and Jamaican music was quite hard to get to in Glasgow mainly because of the techno legacy. But do you have any thoughts on why reggae took so long to get here?

Well people say reggae is big here, but me personally I don’t think it’s big, you know, how reggae should be like. I mean, yes we go to Argonauts on a Thursday night, Mungo’s at the Berkeley suit.

But when I first came here in ’94, every month we used to go to this place just across Woodlands Road. There used to be a club there called Club Mandela, where they used to raise funds for anti-apartheid groups. And we used to do reggae there every month, and we used to have huge crowds. I’m talking about 500 people at those nights. And Unity Reggae used to run that, and I used to play reggae and soca and dancehall. So those people who used to come every month, there were times where we had to close the door to keep people out. I mean everybody didn’t come for reggae, but they came and enjoyed the music and gave support to the charity as well. But they still used to enjoy reggae, and it was popular.

And when you got to do smaller clubs, you still got good numbers that would come. Now, you do reggae music, if it keeps in certain areas you only get a certain amount of people.
I mean, Mungo’s does reggae at the Art school, and they do their style. You have Argonauts as well; you have me. You still have Rampant Sound, who are still about.

Then you have other reggae shows, like things that you put on at the O2. I mean you would expect bigger numbers for some of the good bands they bring. So yeah, techno is still the leading music here.

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So you had bigger crowds in the 90s than what you have today?

Yeah. Well I think back then you still had ska. People from the ska era, who were here supporting reggae. Some of these people now they probably still love their reggae, because if you go to Toots and the Maytals at the O2 you will see them there,  but you won’t see them anywhere else.

So they must love reggae music, which is why they were supporting it back then. But some of them do grow up, past 12 o’clock they don’t want to be in a club anymore.
Also over the years, I think British people become more British. You probably get more people going to drum n bass, going to grime and stuff, than you will find going to reggae nights.
I mean, go to Messenger sound system in Edinburgh and you’ll find a lot more of foreigners. There’s quite a lot of foreigner who support Messenger. So it’s that kind of dub style, UK style that people prefer. Messenger is more UK style, it’s not really Caribbean.

It’s more like Channel One, Jah Shaka style, which is what they like. But for me, it’s not Caribbean. So depending on what type of reggae you’re thinking about, some Scottish people adapt to that (UK style) instead of the Caribbean one.

If you go to Europe, then you see people who like reggae. Going to Europe you see people who like reggae music and you realise that is what we need in Scotland, where you don’t really have it.

You go to Garance, you go to Summerjam, Benicassim… You see what it’s like.

That was something I wanted to ask you about actually because I know you went to Garance with Argonauts a couple of years back.

Well I’ve been to Garance, I’ve been to Summerjam, and I’ve been to Rototom. And the following for reggae over is so huge, for people whom English is not their first language. And it’s not even the way they follow it, it’s how they’re passionate about their reggae, you know. I don’t see that kind of passion here. So far I don’t really know why we don’t see it here, I don’t know if it’s just that people don’t take to reggae. Because some people say reggae is a bit too slow, some people like dancehall. Some people just don’t want to listen to the same music all night. It might have to do with that as well.

It’s funny because Scotland is quite closer to London, which has got a huge sound system culture, whereas France or Italy, it’s further away.

Well that is true, but the problem is if you go to north of England, even if it is closer to London, there are only certain places in England where reggae really has a Jamaican following. When I say Jamaican I mean the Jamaican style of reggae music.
Because if you go to Leeds, you’re going to be finding Iration Steppas, who have a following for their style of music. You don’t really hear about any other big reggae sounds in those parts.

If you go to London there are well over a hundred sound systems, as you can tell from the [Notting Hill] carnival. But come out of there, then the next city is Birmingham basically where reggae is partly big again. They are the only two cities that over the years you have had big sounds develop. Anywhere else you go, there are names or smaller sounds, but they never really make it big. So the culture is just still basically tied up where the West Indian community is huge.

Like Manchester, I don’t know if you’ve heard of any big sounds come out of Manchester. And yet they’ve got a big West Indian crowd there. I mean there are sound systems there, but they are just not big.

In the north of England you have a couple of ones that go to festivals, that you can see at festivals.

It’s interesting what you say about that, and that the culture hasn’t really moved. Because I mean if you look here, like the London sound systems with only one turntable and MC, you don’t find that style here.

No. the only sound in Scotland that plays the way London sounds play, how Jah Shaka play, is Messenger. That’s their style, and that’s how they play.
I mean Messenger has been around I think from the 90s, because when I came here in 94 they were already here. But I mean beyond that you get other people who play reggae, like DJs who play reggae music, but they’re more DJing, they’re not what we would classify as sound systems.

My whole idea when I started was to be able to go to a park and set up and play. I didn’t realise that the laws don’t allow that [laugh].
Back home that’s what you’d do on a Saturday afternoon if I’s a good day. You can take the system out and play, or arrange it with a bar. You only need two weeks to do that, you just need to apply for the licence. So I thought I’d do the same thing when I came here, I didn’t realize it doesn’t work like that.

So I don’t know if that’s what helps keep the sound system thing small. But now there are a few people who want to build speakers, but just can’t. Because you have to have storage, you have to have a crew. If you don’t really have crew and have a sound system, that can be a problem. You need to be able to have people to move speakers. Because even if you can roll (the speakers) out, it doesn’t roll out easy. You need a crew.
Over the years I’ve struggled with that. Sometimes it’s just me and two more people. And if you’re going to move 8 bass bins, and mid-tops and stuff at the beginning of the night and then at the end of the night… it’s quite a lot of work.

And if you do all that and the crowd doesn’t really turn up, it’s not really inspiring anymore.

Is it quite hard to find a place for sound systems to play, to book places for sound system sessions here?

Well I think it got harder.
the Art School is one of the best places that would allow you to bring a system in. Most other places, except in Blackfriars, you have to go down some stairs. Then warehouse parties aren’t really a big thing in the reggae scene. There are loads of warehouses spread about Scotland, and especially around Glasgow, in places like Govan.
But people won’t travel to them unless you really have some famous name. And that tends to be techno a lot. These free parties that the techno guys do, they do a lot more in that scene than in reggae.

They set up a party somewhere in a field, and you stick the music on and people are happy to go. Whereas with reggae, people wouldn’t come out for it. Unless you go there and provide lots of weed then they might show up [laugh].

I mean for Glasgow itself, you should at least have one sound system set up every weekend. For the reggae crowd, we should be able to have one sound system set up properly, not just like Argonauts at the 78 or Mungo’s in the Berkeley Suite. I mean a sound system set up in a venue. But you can’t get that.

So sound system in Scotland, I would say the culture is not there yet.

I guess the idea would be that people are not ready for it yet, they’re not ready for proper reggae?

No I think it’s just the britishness. I mean young people here they grow up listening to stuff like grime… I think there’s just an element of britishness about the people here. They are just into what’s theirs.
For example the accents, they can associate a lot more. Because for reggae music, a lot of the people here wouldn’t actually understand what it actually means. If you listen to dancehall especially. The part where they’re singing, some of the sentences they are parables. And if you’re not from that culture, you don’t know what they are talking about.

So the message doesn’t get across. Whereas years ago the old school artists, like your Toots and the Maytals, everybody understood what they were saying. Because they were just singing about life stories, and things like that. People would understand what they were saying. So a lot more people would listen to these guys back then, because they could still relate to what they were saying.
But nowadays not many people can relate to dancehall artists. Especially in Scotland, you know. Half the time people don’t even know what they are saying.

But I don’t know if it will even pick up. Maybe if we get more foreigners, you know. People from Europe wanting to hear that.

I mean there’s never been a really big West Indian community in Glasgow, so it’s true there never was the culture to begin with.

See that’s the thing. Well, probably back in the ‘60s they had the days when people were moving to Britain for work, but after that that went away. So I think that is part of the problem, that we don’t really have a big West Indian community.

Because most of the black people here, they are Africans, and each of their music is different, if you’re from Kenya, if you’re from South Africa… They have different styles of music, and reggae is not really their big thing.

Some like reggae, like people from Zimbabwe, Gambia… they like reggae, but you still have to play American stuff as well. It has to be like hip hop and stuff like that.
The Gambians are the only people from Africa who actually accept reggae wholeheartedly, they will be happy to go to a reggae club. All the guys I know from Zimbabwe, they like reggae but they still want hip hop, RnB as well.

Is there any reason particularly for that kind of taste?

Well I think you had Jamaicans who went to Gambia and tried to promote their system over there. Promote the whole reggae scene and that side. Into their Luciano, because these guys from Gambia they still like their roots reggae, they’re not 100% dancehall. Sizzla, Luciano, Anthony B… that’s what they still listen to. That’s what they want to hear.

It’s just because I’ve been exposed to so many of these guys from playing in Edinburgh at the Mambo club, which is why I know what they actually like. What style of music they were actually into.

Because at the Mambo club you had a floor that just played reggae and Caribbean music, and then you had a floor below that played African music. And some of the people who came to the club wouldn’t even leave downstairs, to come up to listen to reggae.
They stay downstairs to listen to their music, I think because it probably made them feel at home, and they won’t interested in reggae, period.

But the Gambians they used to be always at the reggae. They like their reggae music.

How about all the west coast of Africa, like Ivory Coast… They seem to have a reggae scene there too

Yeah you get some guys who are into that there.

bass warriorBass Warrior Sound System

Okay, back to Bass Warrior. Did you at some point have any releases, or produce any tunes?

No I’ve never gone that way. Well one of the reasons I do reggae was just for the fun of it. Because it’s not really my main bread, I have a day job. And the reason I started playing reggae was because I actually wanted to feel at home. Because I wasn’t hearing how I wanted to hear out in the streets. So I needed to play some reggae music, some soca music. Nobody else was playing soca and reggae like this.

So when I finish work at the weekend, it makes me happy to go and listen to some music.

Also, It would mean I would need to find time and help, if I had to make productions. So I just said to myself that’s not really me, I’m just doing this hoping to have some fun. If any money comes from it then fine.

Because you have some good dubplates though.

Yup. Well I have a few dubplates from over the years. I think the first dubplate was from Macka B. The reason I never had more dubplates was because I never thought it was fair for me to be promoting artists and still be paying 200, 300 pounds for one song.

But, after having a discussion with some of the guys, you can’t really have a sound system and have no dubplates. So it’s kind of a hard one.
Because I’m thinking some of these artists won’t really get a hit out of the sound system and are still charging enormous prices for dubplates. I don’t know how familiar you are with how much dubplates cost, but you can pay 250 for one song. And I would have been happy to buy dubplates if it was the original way – when you had a dubplate which was only for one song.

But now you pay 250 pounds for a dubplate, and another sound system could buy the same dubplate. Now if you go to a sound clash, you can’t play back. See if you pay 250 for that dubplate, you may never get to play it in a soundclash, because if the other sound play that song before you, then you can’t play it. It will simply mean you are a weak sound.

So the whole thing is just not right to me. I think guys should be happy that you are asking them for a dubplate, to promote their music. But they don’t see it so. They see it as money for themselves.

Dubplate business as bit?

Well dubplate business. I mean 50 sound systems have the exact same dubplate. That’s not dubplate anymore, that’s the same as just going to the shop and buying a record.
Years ago what Kilimanjaro had, then Jammys want to have. That was then: a dedicated song for that sound. He would play that song that the other sound couldn’t play it. It couldn’t play it back.

But now it becomes a money business.

Couldn’t it also be because today we have digital, anyone can take a song and just record over it?

I mean, me personally I have to get dubplates as I go along with Bass Warrior. Sometimes, if the price is not right, I just tell them no. If I play a dubplate in Scotland, how many people are even going to recognise it [laugh]. How many people would actually think “oh that’s a Bass Warrior dubplate”.

And as a matter of fact, I played dubplates before and people were like “how did you get your name into that song?”, because they don’t even have a clue what it is. They don’t know what a dubplate is.

If I was in London, it would have been a different story. It would have been compulsory. If I wanted to run a system I would have probably had to. Especially if I’m doing Jamaican style music.

Because, I mean, I’ve been to Channel One dances, and I don’t think I’ve heard a Channel One dubplate. I mean I don’t know if you ever heard a Jah Shaka dubplate.
I think it’s only if you’re tied up in the Jamaican side of things that dubplate is really important.

It’s just because we play West Indian style, and West Indian people expect to hear if you’re spending money. Because if you have good dubplates it makes your sound system sound bigger, like you have more ratings.

Whereas ‘dub’ sounds, it doesn’t really matter to them, they just need to play good music. Of course as you know dub sounds they can play a track four times. They pull up, they play the main song, then they play a version, then they go back and play the instrumental.
Dubplate no work like that.

These dub sounds are still bigger than most sounds that you get here. Because the sounds you have in Britain are mainly dub sounds. Your Channel One, Jah Shaka, Iration Steppas… They are big name sounds. And they are British again.

So far, I don’t think you have that many Jamaican orientated sounds I could say off my head, that are big in Britain.
Except… you used to have Saxon back in the 80s. They were a big sound. But they then decided to start doing their own style, which made them bigger, by having Tippa Irie and all these guys chatting in the British way.

That’s what they decided to do to make their own style, that’s how Saxon became bigger, by being British. All of the music sounded Jamaican, but the rapping at the time was British. They were speaking in a cockney accent.

But any sound who would come out of Jamaica would only have a Caribbean / West Indian following or people who are into that west Indian style reggae. Scotland doesn’t have that.

I talked to Wayne as well from Argonauts and he was saying that if some of the European systems went to play in Jamaica, Jamaican would not really catch on. The European systems have gone in such a completely different way from the Jamaican ones.

Well I mean you still have a few. If you really follow some of the sound systems, like guys from Germany… There are a few sounds who go over to Jamaica and clash in order to make a name. But because they are now spending lots of money on dubplates, and Jamaican people relate to the dubplate, they are making a name over there. It’s just like Mighty Crown. I mean they are Japanese, but they have dubplates galore!

So they can play a track that most people can relate to. Because who they are playing for understand it. I mean they can go to London, they can go to Jamaica to take part in a sound clash, and they can play dubplates and know how to play them.
Whereas if they played up here, people would not know what is going on. Only the likes of me and you, people who know about dubplate, would think “oh that’s a big track”.

And that’s another thing. If the artist is not even recognised, then the dubplate doesn’t really mean anything. It has to be an artist that everybody knows for a dubplate to be recognised.

So I think what really keeps Scotland’s reggae scene to a minimum, is that there is no radio station played here. We have no pirate stations, and most radio stations that play reggae here are internet radios, like an African internet station. But there’s no reggae station, and that is what kill reggae music up here.

It’s true here you mainly hear rock, folk or techno and dance.

Yup. And the reggae you do hear would be your Bob Marley, just old school guys. Say if you listen for instance to Clyde Radio, if they play any reggae, it’s exactly the same songs all the time, year in year out.

They play the same Bob Marley songs. You might hear ‘One Love’, you might hear ‘No Woman No Cry’. And I think that is what makes reggae not big, because nobody grew up listening to reggae on the radio, because no radio plays it.

See in England, in Birmingham there’s tons of pirate stations that play reggae music, where you can just turn on your radio and listen to. So that’s where people can get into that culture.

Here it’s not like that. Over in Europe I don’t know how it is, how these guys get into it.

Well I mean in France we do have a few stations that play proper reggae, or have special reggae hours.

Right, so that is an advantage. I’m not sure about the north of England. I think they have them.
The only way Scotland could listen to reggae music used to be BBC 1Xtra, Chris Goldfinger. But you had to stay up until 12 o’clock, to hear from 12 until 2am. And that was all you would hear. Once he’s off there’s no more reggae or dancehall on the radio for the rest of the week.

So that’s what’s killing it up here. Pirate station is what makes it big down south. Everybody knows that. But all of the stations here they play techno, or rock music, or indie.

You want to people to be here for the music. In the Caribbean, when a DJ plays a big track, everybody goes ‘Woooi! Pull up pull up!”.
When they (in Scotland) are there, and the DJ pull the track up, they are like “the DJ must have made a mistake” [laugh]. That’s not the best vibe you know. I mean it’s good that they pay money to get in, and you make back the money that you used to promote the night. But at the same time you still want to get the real vibe.

I mean Mungo’s would probably say the same thing because they would like to be able to just drop  a track and everybody just go crazy, and when you drop another one it’s still going, the whole place buzzing, like a honey hive [laugh]. That’s the vibe I really like!

But I don’t know if that will ever happen.

Well that whole thing about the pull up, and that way of responding to music. That’s also due to a lot of people here being used to techno, and that whole idea of continuous music. There’s not really that whole idea of stopping the music is the tune is good, playing it again… you don’t really have that culture.

No you don’t have that culture. When I went to Cologne, I went to see – what’s the guys from Germany… they do productions as well. I think it was Pow Pow. Well when they were playing in Cologne in a club, and I went in on a Friday night, I was absolutely shocked to know how the actual people relate to the music. And these are German guys I’m talking about.
I just felt like I was back in Montserrat, the way the crowd react to the music. The way the DJs were carrying on. I don’t know if you’ve been to Summerjam lately, because they have a dancehall arena, which is just set up in the woods away from the main stage. And I went there last year, and I was like “this can’t be right” [laugh]. The guys up there with their flags, over soca tracks. And they are talking between English, Jamaican patois, and their language. So everybody knows what’s happening, even those who can’t understand English. And I think “oh man, why can’t we have this in Scotland”.

And when I went to Rototom this year, they had lots of people there, lots of sound systems. I mean they had Pow Pow, Sentinel, all of these guys. You have a dancehall tent, you have a ska tent, another reggae tent, and you have a dub station tent.

And even the ska stage, where they play only ska, there is a big crowd, and everyone is into that. When a track comes on that they think is a big track, they react. And over here, it’s really just dull.

And as I said, reggae is not big in Scotland.

So there’s sort of a lot of people playing, but not a big crowd?

Well most of the people who like reggae want to be DJs because they think there’s no reggae playing anywhere else [laugh]. There’s so many reggae DJs, but there’s not much reggae things happening, you know.

I mean, I know Mungo’s, they work really hard to promote their stuff, which is very good. But Scottish people don’t have the same click up here, as down south. They have people coming to the Art School when they have nights, and they probably have to put big acts. Whereas, with the amount that Mungo’s do now, them alone should be able to just bring a crowd in.

Reggae should be about jumping about a lot more than what you see here.

It’s funny, a lot of the people who come here to reggae nights, a lot of foreign people when they come here they specifically look for reggae nights. I know in France for the last 7 or 8 years, the scene has become really big, especially for dub reggae – you have Dub Stations in pretty much every town in France now. So when they come up they’re like “oh there’s reggae, there’s Mungo’s!”. And you recognise them, they are the first ones to go mad when there’s a pull up, because they know how it goes in a way.

Bart: and it goes for so many other people from other countries

Yeah, most other European countries know how to do it, and how to react.

Well, for instance when I go to Germany, or I go to France, all the MCs on the mic they are talking Jamaican patois, even putting on some form of accent.
When guys in Scotland try to talk like that and they are white guys, people criticise them. You have guys here that tell you “it doesn’t look right to see white guys with dreadlocks, that’s not right”. That’s the kind of mentality that some people here do have.

You see for you, you probably just go to the dances and listen to the music. But like for me, because I’m at the front. I don’t know if you knew Rudy Alba. He used to sing quite a lot, and people used to come up to me and say “why is he talking like that, why is he pretending he’s black”. People actually take great offense for him to be talking patois. They do! You wouldn’t believe it.

He did a show once, I think he supported Toots & the Maytals at the O2, and the engineers who were working there while he was doing the show were just like “why is he talking like that, he’s from fucking Scotland”.

Bart: somehow it doesn’t work either for people from Scotland who do grime and stuff, and talk with a really big London accent, you’re just like “that’s not you”.

So people take it quite personally then?

Yeah, some people do.

Bart: we can go ask Charlie P what he thinks about it.

Well I know Sean (Campeazi) once told me “it’s appreciation, not appropriation”, and I think that’s quite true.

Well what people seem to forget is that even if you’re white, if you grow up in a black community and all your friends are running around you talking in a certain way, then that’s how you’re going to talk.

My oldest son, if you listen to him then he sounds proper English. But when he’s talking to me, it’s just pure dialect. But if it’s anybody else, he just talks the way he expects people to understand him. But that’s because he grew here.

But some people would probably comment if they hear YT. They’ll probably ask why he is talking like that. Because I remember a girl, she’s from Birmingham living in Scotland, and she was offended when she went to the (Alexandra) Park and heard YT. She was like “why is he talking like that, he’s not from Jamaica”.

For us, coming from the Caribbean, it’s not a problem, because we kind of thing that’s cool that he can adapt, that he can talk like that. We think it’s quite impressive. But people here in Scotland seem to take offense to that.

Well YT grew up around that whole culture.

He grew up around sound systems. Yeah, and that is what you’re going to get. But some people here they never left Scotland, and they don’t really know about much else…

My boy, he said to me that one of his friends told him“reggae music is not for white people” [laugh]. I was like “what?”. Because we went to Wickerman this year, and he came with his friends to show support. And some of his pals are like: “we like the music, but it’s not really white people music”.

Bart: it’s great when people say that and then go play some blues.

Or rock n roll.

Well even soul, it’s not really Scottish culture, but there’s tons of people who seem to like it.

Well in the end what do you call “your music”.

But as you could see, it started from a long time ago. From the days of ska, when people change it in Britain to call it ‘two-tone’. It’s actually ska, but they decided to put a British thing to it and call it two-tone. Just to make it their British thing as well. There are lots of people who hear some tracks and they don’t even realise that those tracks originated over in Jamaica…

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This would be a wider question. Reggae and Dancehall  in Jamaica, and even in England, had quite a political or social message to it. Do you think that still exists today, to some extent?

Wow [laugh]
If I’m being honest reggae is not that political. Well… reggae itself might be, the actual reggae. But the dancehall, no. You would still get some of your reggae artists who would still try. I mean, you get Sizzla who still try, you get Luciano who still try… Some of the guys, mainly the singers and the roots guys they still try to keep some of it a bit political.

But you see in the 80s, everybody was poor. When you’re poor, you feel for something. And that is what inspired you. When life starts to become a little bit better, struggles are not the same. Some of these guys they don’t have nothing much more to sing about. Because they are touring the world now and getting big money. Whereas when these guys were singing in the 70s and 80s, they were only singing in Jamaica. It wasn’t going anywhere else. They weren’t making much of a living. Every morning they would wake up, life would be the same for them. All they had to do was go to the studio, and try and find something to sing. And often there would be a hundred people at the studio.

So… You still have some guys in Jamaica who are still struggling, but life is not as bad, in a sense. These guys were musicians, but they weren’t making any money. Now, the guys who are making lots of music nowadays just do it with computers, with laptops. So it’s easy for them.
But back then, why you get these good political guys is just because they were talking about their daily struggles, and they were singing with feeling because they actually felt what they were singing about. Nowadays, guys just make noise just to see if they can become an artist, or become popular. So that’s the big difference.

I mean, as you probably know, most of the old guys they are now living a better life, touring and all. They are getting recognition, because Germany, and France, and Spain have festivals; they are now getting to come out of Jamaica and perform. Like the Israelites and all of these guys, they used to be popular in the Caribbean, but they never used to be touring.

There used to be a struggle: one, being poor. And two, being Rastafarian as well.
They weren’t able to get anywhere. It was hard for them because people used to hate Rasta hard back in the 80s and 70s. It’s just because reggae started to get a little more recognition worldwide, that Rastas started to get more recognition as well.

It wasn’t such a bad thing to be seen as Rasta after a while?

If you were a Rasta in the Caribbean it was a bad thing man. In the 70s and 80s, Rasta just meant that you’re just a lazy so and so, an untidy so and so [laugh]. But some of it really, the Rastas have themselves to blame. I mean, I have dreadlocks, but will still go to work, I still like to move around.

Back in the day you had Rastas, and as far as they were concerned they were not going to work for the Queen’s head, which is the pound. I mean, when you talk like that, who’s going to take you seriously. And people would think that talking like “I’n’I”, and “Fyah fi dis”… That kind of talking never really would inspire people to accept Rasta, in a sense.

But now, as the youth who grew up during Rasta time, we come to the years where we start accepting these things, because we grew up understanding what it meant. But our moms and dads would have never, because they grew up believing that you have to have your hair looking shaved and wear a jacket and tie for church on Sunday [laugh].

But as reggae got recognition, Rastas got recognition as well. So that is how things change.
But if you didn’t really grow up in the Caribbean, you probably wouldn’t know that much about it, unless you really read into it.

Early in 1983 I used to listen to loads of Culture and stuff like that. By that time there was only a couple of tracks that would have been known worldwide. By the time Culture had been accepted worldwide, then they practically all passed away.
But back in the days, these guys were big guys throughout the Caribbean, because everybody understood what they were singing about, they were actually singing about the politics that were going on around them.

I don’t really know how Europe is, how Europe got into reggae.

Yeah, I’ve been trying to find how reggae got into France especially, but it’s quite hard to pinpoint it.

Bart: it’s funny when you thing about reggae in Poland it did have quite a lot of relation to the punk scene, but it was all just because the left was really bad politically, and people felt like they were oppressed. It was kind of naïve in terms of musical style, but it was still relating to it, and I think people associated with the message.

Well what used to help was that people could go to a reggae club and get a smoke, if you into smoking. It chill everything else around you, the worries go away for that moment we’re having the party. Everybody is in the same boat here, everybody is happy.

And that is what is really good about having reggae festivals, that people can go to these and just relax, enjoy themselves. All the political side of things goes out the window for a few days.

But Scotland doesn’t have that kind of festival, except the Wee Dub Festival that they do in Edinburgh, and that’s only a weekend thing.

Is there a particular message, or vibe that you try to promote through Bass Warrior?

Well, I wouldn’t say really a message, because some of the music I play is not really message music. It’s more of I vibe that I try to promote, have a good night, be happy – it’s supposed to be fun. It’s good to just put stress aside and just enjoy the night and the music.

Sometimes, to be honest it’s probably more of a stress having to play [laugh]. But at the end of the night you still think “oh well, the night is over, we still had a good time”. But I’m just doing it more to promote enjoyment, to have a good time.

I mean I personally enjoy reggae music, good reggae music that has some good roots, some good lyrics that I can relate to at times. But I like my dancehall too, and my soca because when I’m feeling free, then I can just jump about.

But message-wise, for there to be a message I have to be feeling a struggle. And the people who come to reggae here in Scotland they’re not really struggling. They might think they are struggling, but they do not see struggle. For some of them they’re just happy it’s reggae music, they like it from their past, maybe when they were struggling.

But life in Scotland is, for me, good. It’s not 100% or how you’d like to be, but it’s good. You can wake up every day and have something to eat, you don’t have to worry about breakfast or dinner. Me personally I don’t.
And Scottish politics at the end of the day… I live here so it’s got something to do with me, but on the other hand it’s not got that much to do with me either. Maybe for my kids then I have to think about politics, for my children who are growing up here. But beyond that…

Well, I think that’s about it. Anything you’d like to add?

If I talk about reggae in Scotland really, and even in Britain because I’ve been to places down in England. I’ve been to shows North of England and it’s only certain artists that still bring a certain amount of people. I mean we had Raging Fyah in Scotland, which I think is a really good reggae band. And they were playing at the Rum Shack for free. But you probably had about 30 people. I think Raging Fyah is a very good band, and I think they might get recognised someday, because they’re not really dancehall. They have some political elements about their music, and they have a bit of an old school style… I think they’re really good.

In Europe they seem to be doing well, but they come to Britain, nope. Even in London, even in their own community, their shows still get cancelled. So I don’t know. Maybe everybody in England now is happy, living good lives. They just want to party, just want to talk about this and that, their clothes and all this nonsense.

Also you said that in England what seemed to happen was that you also got jungle, garage, dubstep… so all the energy moved to other places. Which is maybe why in France and Europe it just stayed with reggae. So it sort of stayed with roots, and they kept it maybe more ‘traditional’?

Yeah but what I find in France as well, is that… Say for instance, OBF, Blackboard Jungle, how those guys start out: they are big. In the sense of big sounds. And it has an impact if you have that big a sound. If you walk into a building and you see that stack of speakers, and you get that sound, it makes a difference.

If we could do that in Scotland, where people could come in, listen to something that sounds that good… Where they could feel the vibes.

Really experience what it is all about?

Yeah! Well it would make a big difference. I mean say for instance when Mungo’s go to the Art School, the young ones lurch on to that style. They like the big sound, and they come to hear it, but I wouldn’t say that they are 100% into the music. If you look throughout the night, most of them are just in and out the door. When you are there for something, you are THERE. But I look at them at the Art School and they just go up and down the stairs, up and down.

Scotland has that kind of thing, the idea that where people are is where we should go, because that’s where it’s happening. It’s kind of a trend thing.

If you could find a venue where like every week big stacks of speakers sit there, you’ll find that whoever is genuinely into the music will come. Because that is how Messenger managed to get where they are now. They sit in the Bongo Club, and everyone knows when they go to the Bongo Club exactly what music is playing there, and they go just for that.

But it takes time to build that up. Messenger just didn’t suddenly get that kind of following overnight. It took him quite a few years.
But in saying so, it’s not just them alone. The club owner was happy to persevere with them there. Whereas in Glasgow, most venue if no money comes through the door, they start thinking “oh we need get something else. We need to get another night“. That’s the problem here.

Well there’s the Rum Shack that does a lot of stuff for free. How does that work?

Yeah because the guys who run the Rum Shack they love their reggae music. And what they do is if they want to put on an artist, they try and get funding to do it. Because everything they have done so far, like getting Tippa Irie, Cornell Campbell

Yeah they got Dawn Penn as well

Yeah Dawn Penn. What they do is they’ll get a sponsor – either through the lottery, or Red Stripe… Because you have to remember the guy who owns the Rum Shack owns Macsorleys too. So they own a pub, and because of that they deal with distillers. And Red Stripe would be happy to sponsor something. Same with distillers, they are happy to put money where it’s going to suit them.


AF

All photos courtesy of Bartosz Madejski