ReggaeXclusive - caribbeanmusic.ca

Transcription

PREMIERE ISSUE
MAY 2003 Volume 1 Issue 1 Price: $2.00
PIONEER OF REGGAE MUSIC
BGRAMMY
U NN
Y WA I L E R
WINNER and LIVING LEGEND
AVAILABLE IN STORES NOW TO ORDER YOUR COPY CALL: 416-274-5017
reggaeXclusive -- Web Site: www.caribbeanmusic.ca/reggaex --- Phone: 647-435-0637 -- Email: [email protected] pg2
W h at’s Inside: reggaeXclusive’s 1st Issue
SLAMM PRODUCTIONS EXPANDING
Page 6
PRINCE EVERALD RELEASES NEW RECORD
Page 7
SNOW - “TWO HANDS CLAPPING”
Page 9
19TH ANNUAL CRMA REVIEW
Page 10
TRULY A NIGHT OF ‘beauty for ashes’
Page 11
EYEONE RECORDS INC. DEBUTS
Page 12
MICHAEL ROSE
Page 14
BRITISH BORN BIANCA
NEW SINGLE FROM ILEY DREAD
Page 13
Page 15
JUNO WIN FOR SONIA
PHOTO ALBUM
Page 13
Page 16
STAMPEDE CITY CALGARY
EXPLORING AFRICAN REGGAE
Page 13
Page 18
PAMELA MAYNARD
Page 19
CD Release
Party for
Colin “Iley
Dread” Levy
and Marcia
Griffiths at
The
Travelodge
Hotel
(Keele &
401)
on June 7th
SEAN PAUL’S “DUTTY ROCK”
Page 20
REGGAE MUSIC MOVING UPWARDS
Page 21
THE GUYANA FESTIVAL IS HERE AGAIN
Page 22
LEROY “ARTIST” BROWN
Page 23
TORONTO SPECIAL EVENTS
Page 24
NEGUS MORRIS
Page 25
Publisher:
Photographers:
reggaeXclusive
Publications
Halina DiLallo
Special
Editor:
Contributing Writers:
Loraine Gomes
Theresa Anderson
David Bassie
Writers:
Special
Halina DiLallo
Nadia Rodway
Layout & Design:
DBS Duplication - Paul Murton
Email:[email protected]
All rights reserved.
No part of this publication
may be reproduced or transmitted
in any form without prior permission
from the Publisher.
(c) 2003 reggaeXclusive
647-435-0637
Email: [email protected]
Website: www.caribbeanmusic.ca/reggaex
Marketing & Sales:
Loraine Gomes
Zuri Cunningham
THERE’S ‘NO HOLDING BACK’ WAYNE WO N D E R
see pg 17
L
W
B: How are you enjoying the
success of your latest release?
W: How am I enjoying it? I’m
enjoying it (laughs). You see,
check
this
out...
Wayne
Wonder...check this out...is not about
the recognition, is not about the hype,
not about ego nor the gloss. I’ve been
doing this fro 14 years, so that’s what
I’ve been working for, so you know,
having a song reaching out to the mass,
that’s the ultimate goal for an artist. So
I feel good about it.
L
B: Well, this is not your first real
hit, this is your first mainstream
hit...but dancehall people know you
from back in the day...like Sanchez and
everybody else...so no disrespect meant
when I say your success on this, but
basically I’m just talking about what the
masses know now, which is your new
release, okay? How long have you been
doing this business? You just answered
that question for me...14 years. When
did you start, like...where and when?
W
W: In ‘88, but that was like
during the development stage,
you know, I didn’t classify that as when
it started, when I really got going was
like ‘89...when I really got into
recording on a serious level, cause a
lot of it was like a learning process. So
I wouldn’t call that from a professional
stage. In ‘88 I did...ah...I wrote a song
called ‘It’s Over Now’ on the ‘cover
me’ rhythm with Ninja and Tinga. I was
lucky enough to be on a compilation
album, then I released a single, you
know, and it started a buzz, you know.
It wasn’t so hard for me in Jamaica
because I have a lot of original stuff, but
when you go to the producers, they
were like “yo, why don’t you sing
something that everybody knows, so I
love...ah...Gloria Estefan, so I covered
‘Anything For You’, you know, and I
love ‘Fast Car’ also...you know...so I
covered that, you know, and then the
buzz started...you know...so that was
like a stepping stone for me.
L
B: What record label are you
currently affiliated with or signed to
exclusively?
W
W:
Well, I’m not signed
exclusively, I have a distribution
deal through VP Atlantic, you know,
where I’m currently working on my
label deal right now, then I’m in the
midst of a publishing deal with Universal
also, so I don’t want to...there’s no
exclusive thing right now, you know,
Wayne Wonder is flexible for so long,
so I don’t want to tie myself down. I’ve
been through that, so my contract...I
wrote a lot of flexibility in it.
L
B: How many...I know you say
you’ve done a lot of original music,
if you can remember, do you know how
many releases you’ve had over your
career span?
W
W: Alright, not even my original
stuff...I haven’t recorded a singover song since ‘93. So since 1993
it’s all original songs and I can’t even
keep up with that, you know. To the
levels, since 1993 I haven’t covered a
song I didn’t write.
L
B: This is sort of a fan question,
who is Wayne Wonder and what
inspires him?
W
W:
Wayne Wonder is an
easygoing person,
Wayne
Wonder is a lover, not a fighter, Wayne
Wonder is a vibesologist, Wayne
Wonder is an energizer, Wayne
Wonder...you know...is the dancehall
music and dancehall
is me.
Vibesology...vibesology is really the
side of me that...you know...energizes
me, you know, that’s my source of
energy, you know, that’s where
vibesology comes.
L
W
B: Okay, tell us about making the
video ‘No Letting Go’.
W: ‘No Letting Go’ the video
was fun.
Shout out to
Jamaica...like Ocho Rios...the food was
good, you know, the only thing about
it, there was a little downside...was the
weather, it was raining, but we pray
Wayne Wonder embraces young fan
Wayne Wonder at his autograph
signing session at
HMV - Dufferin Mall, Toronto.
By Lesia Bailey
(Interview done in April, 2003 at
HMV/Dufferin Mall. Courtesy of
Virgin Music Canada)
and ask the Lord fe just hold up the rain
for us and he answered our prayers
and it was just nice, you know, the
energy was nice, the ladies was nice,
you know, Little X is a genius.
L
W
B: Yeah. So how long did it take to
make the video, how many days?
W: Actually it was one day you
know, it was rigid, cause it was
24 hours, we shot like from 7am
Thursday morning until about
Friday...Friday morning about 6:30 7pm, like a 24 hour shoot; but you
know, it was good, cause the energy
was right, everybody was happy about
the whole process and everything. It
was good.
L
B: How is your love life? Are you
single? Do you have any time to
have a serious relationship?
W
W: Of course, I’m with my girl
from day one, you know, from
back in the day, so, to the levels, you
have to check the levels of Wayne
Wonder through his music too...’Got
somebody, she’s a beauty, very special,
really and truly’. That’s not fantasy, I
don’t just go and sit down and write
stuff like make belief songs, when I say
‘Saddest day of my life’ is because my
heart was broken. So if I say ‘Got
somebody, she’s a beauty, very special,
really and truly’, you have fe check
Wayne Wonder through his music. If I
say ‘Taking a ride, joy ride’, I’m having
fun, ‘Keep them coming’...you know,
you have fe check Wayne Wonder
through the music, so that’s naturally
(laughs) about somebody. Ah, my...my
daughter is 12 years old now and I’ve
been with Tiana before that, so it’s
been...my...my love life spans just like my
career, 14 years.
L
B: (laughs) Yeah. With the world
industry the way it is right now and
reggae music no longer focused in
Jamaica, where is it that you call home?
W
W: Ah...Jamaica will always be
home, but at the same time, maybe
if I didn’t leave Jamaica and venture on
my own and everyday trying to make the
necessary connection, you know, I
wouldn’t be where I am today, because
is just like this...I’m in Jamaica and you
booking a show for me. I don’t have a
US based booking agency, so you just
book a show from Jamaica for me. You
don’t know what this venue is like, so is
like you blind, you leave Jamaica blind,
so that’s what the business is like, the
music...because is like we down there
recording, our songs are being
distributed by various companies who
the producers license the tune out to,
so we don’t know what’s going on, but
as a youth, we always try to find out
“what’s up, what’s up?” So when I go
out there and venture out there, I learn
a lot more and know that well I have to
take this business serious if I want my
career to...you know...to transcend
over the boundaries and the barriers
SLAMM PRODUCTIONS EXPANDING ---By David Bassie
A
lmost everyone in the reggae
fraternity in Toronto knows about
Slamm Productions, situated at 96
Spadina Avenue, in the heart of
downtown Toronto. Slamm has been
making a valuable contribution to the
music scene, by providing musical
services in the form of studio
recording facilities and the creation of
music for those involved in the music
industry, from reggae, to hip hop, to
R&B to gospel, soca and blues.
A
part from the fact that Slamm is the
only reggae studio in Canada listed
in Billboard Magazine’s directory,
Slamm has some of the most talented
recording engineers (some of whom
are also working musicians) in its camp.
We have Roscoe, Django, Sean,
Tandra, Sam, Roger B. and Que (who
worked with Bobby Digital in Jamaica),
whose talents have been recognized by
the fact that we have done Juno award
winning recordings, and have also
been recognized by the Canadian
Reggae Music Awards.
guests, and to provide privacy to users
of our studio, when in session.
T
n a continuing effort to provide the
best possible musical services, Slamm
has recently put in place the facilities
necessary to making us a one-stopshopping type of recording/music
business.
I
here are many other things
happening right now at Slamm, (and
some in the making), that will be
beneficial to people in the music
business, and which will further
position Slamm as a force to be
reckoned with in the music industry in
Canada, and worldwide. We invite you
to check us out.
I
T
n addition to acquiring a full-time
manager, (also a musician), we have
recently
added
a
preproduction/programming room, a
new mastering room, in addition to
our main studio/production room
(which allows us to provide all three
services at the same time), and provide
CD manufacturing services. We strive
to make our facilities as comfortable as
possible for our clients and their
o book studio time call 416-9559522
ROGER B
One of the talented
engineers at
Slamm Studio
reggaeXclusive -- Web Site: www.caribbeanmusic.ca/reggaex --- Phone: 647-435-0637 -- Email: [email protected] pg 6
PRINCE EVERALD : RELEASES NEW RECORD
Judgment’ tour featuring Capleton in
December, 2002 and the Canadian
Reggae Music Awards in March,
2003 where he was nominated in
various categories.
A
n electrifying performer, Prince
Everald has appeared on stage
throughout North America, England,
Europe and Jamaica.
P
rince Everald’s consciousness
raising message has made him a
popular
performer
on
the
International reggae music scene. His
smooth melodic vocal style, combined
with a dynamic stage presence has
earned him both respect of his peers
and the admiration of his fans.
P
rince Everald appeared on a few
shows recently where he received
rave reviews for his very energetic and
mesmerizing stage performance. These
shows include ‘To Jamaica With Love’
concert in October, 2002 featuring
The Mighty Diamonds and George
Nooks - there he received the ‘Roland
Alphonso Memorial Award’ in
appreciation for his contribution to
reggae music for more than 15 years.
He also appeared on the ‘Black Throne
P
rince Everald recently released his
7” - 45 vinyl featuring two brand
new tracks namely ‘Glorify the King’
and ‘Poor People Want Help’. This
new record is receiving tremendous
airplay all over and is available
anywhere vinyls are sold.
T
hese two tracks are lyrically strong
and the musical arrangement is what
we have all come to expect of Prince
Everald - brilliant.
P
rince
Everald’s
unbeatable
combination of style, positive
message and vocals has made him a
continuing force on the international
music scene. Look out for his new CD
- Prince Everald & Friends Volume 2 along with the new single “Mother,
Mother” to be released soon.
For more information:
Pageer: 416 382-1721
NEW RELEASE IN STORES NOW & WORLDWIDE
Side A: Glorify The King Side AA: Poor People Want Help
To order page: 416-382-1721 or check your local record stores
Look out for “Prince Everald & Friends” Volume 2 coming soon
Also Hot New Single soon to be released “MOTHER, MOTHER”
“I was in jail and I had a dream I was
flying over all these houses, me and my
mother. She was picking out houses.
When I got out of jail, the first thing I
bought was a car for me and a house
for her.” - SNOW
A
decade ago, Darrin O’Brien
entered prison a troubled young
thug and left an international
recording star. It was the kind of
story a Hollywood screenwriter
could hardly have topped, a nigh
impossible yet classic tale of uncanny
timing and fortune. But it was all very
real. And it was exactly the kind of
cyclone experience that could have left
a youthful talent like O’Brien, better
known to the world as SNOW,
chewed up in its wake. It didn’t.
instead of trying to make an album.”
Stewart (Mya, Blu Cantrell, B2K).
T
essions for TWO HANDS
CLAPPING were done in
freewheeling style in New Jersey,
Atlanta, and Miami. In New Jersey,
Snow joined forces with producer
Danny P (Robbie Williams, Canibus);
Tricky and Laney Stewart oversaw the
Atlanta sessions; and in Miami Snow
worked with producers Tony Kelly
(Shaggy, Beenie Man, Sean Paul) and
Dave Kelly (Shaggy, Beenie Man, Foxy
Brown).
S
lbum closer “Cinco De Mayo”,
meanwhile, was written in a
Toronto basement studio with
SNOW’s childhood friend and
longtime
collaborator Robbie
Patterson. “We wrote it on May 5, a
day when all the planets aligned,”
Snow explains with a laugh. “We saw
the stars, went downstairs and came up
with that tune. It was my buddy Mikey’s
birthday, and he’s just gotten married
to a Mexican, so we really knew we had
to call it “Cinco De Mayo”.”
en years later, SNOW is at the top
of his creative game with TWO
HANDS CLAPPING, his fifth and
most ambitious musical statement yet.
Delivering on the instant appeal of his
early hits like “Informer” and “Girl I’ve
Been
Hurt”,
TWO
HANDS
CLAPPING finds SNOW mastering
the dancehall reggae he’s best known
for, while introducing to the music
new levels of pop and R&B melody that
make for a sturdy offering from startto-finish. It’s an album that’ll get dance
floors bumping and lovers grooving feet tapping and heads nodding. It’s a
mature pop album, a pop survivor’s
album. It’s a record SNOW has
earned.
“I’m at a place in my life right now
where I feel like I found myself,” says
SNOW. “I found my style of music on
this album.”
T
hat self-awareness and confidence is
what drives TWO HANDS
CLAPPING. “It was just all in stride,”
he says. “Let’s see if we can come up
with something good and have fun,
I
t all started last fall with “Missing
You”, a song that came so smoothly
SNOW says he could already see the
album taking shape.
“Black and Snow” would become the
disc’s opening track, and, as the title
implies, features tone-setting tradeoffs
between reggae singer SNOW and
rapper Chris Black.
“It was an
important start,” SNOW says. “It’s me
back singing in more of a reggae style
again.”
nother hip-hop oriented duel,
“Whass Up”, came about in Atlanta
with American rap producer Tricky
A
A
A
nother jam ‘9 yards’ is about
Allenbury, the North York
housing project where SNOW grew
up. “That’s where my heart is. If I had
to go back and live there again, no
problem. I’d love to have my old house
back, just as a little hidden place to
go.”
S
NOW admits he owes his sound to
those streets of his trouble youth.
He was weaned on his mother’s
cherished collection of classic R&B
albums. He favored KISS, Ozzy
Osbourne, Max Webster, Queen, and
See Page 26
19TH ANNUAL CANADIAN REGGAE MUSIC AWARDS
Ska filled the setting all night.
Article & Photographs By
Halina T. Di-Lallo
T
Bush Rat
Leroy Brown & son Leroy Brown Jnr.
S
ince he founded the Annual
Canadian Reggae Music Awards
(CRMA) in the metropolitan City of
Toronto in 1984, Winston Hewitt
has for the past 19 years dedicated
his time and energy into organizing
this event. Hewitt is a figurehead, not
only in Toronto’s mixed ethnic
groups but also worldwide. He has
uncompromisingly set a goal to
recognize, promote and encourage
Canadian Reggae Artists. The Awards
for the 2002 winners were
celebrated on Sunday, March 16th
2003 at the Travel Lodge, Keele
Street.
F
or this event, Hewitt and his
Committee concentrated on
highlighting performances by
Canadian Artists. From an array of
veterans in the music business to the
newcomers and rising stars, the
extravaganza was exciting and some
say the 2002 Awards will be hard to
follow. Hewitt and his team are
already planning next year’s 20th
Anniversary CRMA and rumour has it
that this event will be exceptional.
T
here are various categories, which
make up the CRMA including
Special Awards, Canadian and
International Awards of Merit and
various Memorial Awards. All voting
is completed by the Music Industry,
from Promoters, Journalists, Radio
D.J.’s etc. for the past year 2002.
“The nominees were... the envelope
please....and the winners were”
Tanya Mullings
Top Newcomer Female
BIANCA
Top Newcomer Male
KING UJAH
Top Reggae Band
XPLOSION BAND
Top Dancehall Style D.J. Female
TASHA T
Top Dancehall Style D.J. Male
BUSH RAT
Top Reggae Singer Female
NANA McLEAN
Top Reggae Singer Male
LEROY BROWN
Top Reggae Producer
BUNJO MUSIC PRODUCTIONS
Top Reggae CD, Album or Cassette
“Rastaman Say” ERROL
BLACKWOOD
Top Reggae Single
“No More Heartache” LEROY
BROWN
Top Soca/Calypso CD, Album or
Cassette “Before and Now”
TREVOR B
Top Singer Female Gospel
THE CAMPBELL SISTERS
Top Singer Male Gospel
GEORGE BANTON
Top Gospel CD, Album or Cassette
“There’s a Sweet Sweet Spirit”
GERRY THOMPSON
Top International CD, Album or
Cassette “Still Blazing” CAPLETON
Top International Single
“Frenzy”
SANCHEZ
Canadian Awards of Merit
WINSTON DIAS
ABRAHAM MAYNE
HAUGHTON WATSON
DON PALMER
International Award of Merit
ERIC “MONTY” MORRIS
Peter Tosh Memorial Award
LEO CRIPPS
D.J. 90.9 FM & Spokesperson
Calgary, Alberta
Bob Marley Memorial Award
COLIN LEVY
“Kings of Kings”
Canadian D.J. Award
DELROY STERLING
Programmer & Host,
CHRY 105.5 FM Toronto
he “new kid on the block” Bianca
took to the stage as a pro singing
her first original work “Eternity”.
Toronto’s own multi gifted artist King
Ujah ripped up the stage with his
energetic performance. Multi Award
Winner Dancehall D.J. Queen Donna
Makeda and her dancers impacted the
audience with their outstanding
production and the list goes on. Live
staging from Tasha T, Bushrat, Tanya
Mullings, Prince Everald, Ras Lee,
Errol Blackwood and a favourite of
the ladies, Jimmy Reid. The Campbell
Sisters thrilled the audience with their
vocal skills. Leroy Brown (who is
nominated for a Juno this year) and
son Leroy Brown Jr. absorbed their
audience and George Banton
captivated one and all with his gospel
songs of praise. Veteran greats,
Winston Dias, Pamela Maynard and
Eric “Monty” Morris without
question, stole the show. These artists
had an enormous impact on all
present; their charisma filled the venue
and drew the audience into unison.
C
ongratulations to all the Award
Winners, Presenters, Hosts,
Ushers, Performers, Musicians,
Volunteers and Organizers on a first
class event. Certainly a night full of
memories - and “Memories are
Forever”.
I
would describe the CRMA as a mini
“Canadian Juno’s” which if they
continue as they are going will one
day be recognized in the same
category as this prestigious event. The
entire evening was filled with memories
old and new, we laughed, we cried
tears of joy, and we listened to
speeches
short
and
long
encompassing the glitz, glamour and
ambiance of the venue.
T
he proud performers, old and new
Award
Winners
surpassed
themselves with the Xplosion Band in
full unanimity alongside.
The
entertainers and presenters came one
after the other, Dancehall style,
Reggae, Soca, Calypso, Gospel and
Bianca & leo C
reggaeXclusive -- Web Site: www.caribbeanmusic.ca/reggaex --- Phone: 647-435-0637 -- Email: [email protected] p10
TRULY A NIGHT OF ‘BEAUTY FOR ASHE S
A
n ice sculpture that had King
Ujah’s current CD in the center
and the colors red, gold and green
was definitely an eye catcher, as it
became the center piece t o a n
exquisite table truly set for the King’s
guests. As we were made to feel at
home, one had to start to feel the
room as it filled with anticipation, the
venue itself had peeked all five of my
senses.
By Theresa Anderson
Photos By Alton Matheson
L
et the night unfold...As one walks
into the Cottage Lounge that is
located on the Danforth, one would
not
think
much
of
this
restaurant/nightclub. This luxurious
little establishment is very deceiving
from the outside...but once inside,
you’ve entered another part of the
world.
I
can see why King Ujah would have
chosen this particular place to set
the scene for his current CD release
part ‘Beauty for Ashes’
K
ing Ujah has gone all out without
hesitation in putting this
incredible evening together. The
evening began with a full security
check and a warm welcome from the
King Ujah’s family as you enter the
club. The media and press were then
directed to King Ujah’s V.I.P room
designed so eloquently by Hopeton
Catering.
A
s the room started to fill quickly,
we finally heard the MC, Flow’s
own 93.5 FM Jonathan Shaw
started the evening by saying welcome
and as I looked at my watch, the show
really did start at 10:00 PM as
promised.
T
he program was filled with great
talent, the first to perform were
two young men many may or may not
know, but after this night everyone
would know them as Spider and
Lloyd Wedderburn. These two truly
got the party underway and had the
people in the house wanting to get
closer to the stage. Next on the
program was Michael Fury, this man
must have the word ‘romance’ written
across his heart, with a voice that
could penetrate even the coldest of
hearts and warm their soul.
O
kay, so we heard what the men
had to say...well now it was the
women’s turn and to start off this
segment was none other that Tasha T.
This young woman is such a genuine
individual that one can’t help but fall
head over heels for her and her music.
She started off her set by singing a
part of the Ethiopian Anthem and
followed up with two of her current
singles from her upcoming CD.
Look out for that.
O
kay, so who can come to the
stage after a performance like
that and take the vibes higher?
Believe it...it is true when I say...this
stage had the honor of Donna
Makeda, a true artist to bless and
grace the stage. This lady instinctively
knows how to reach her audience as
she and her two dancers, from the
Caribbean Dance Theatre, gave a
performance like no other. Donna
Makeda and Roger B were a positive
force this night singing ‘Make Love
Not War’, which makes for good
company. What a way to end the first
set of this already fabulous evening
and all backed by the award winning
Explosion Band. As Blackzone and
Star Trek turned their tables of vinyl
during the bread, we all had a chance
to mingle and take pictures with some
of the performers as we waited for the
main act - King Ujah.
K
ing Ujah’s performance was
incredible. He put his whole heart
into it. A true entertainer of the 21st
century. King Ujah, as humble as he
is, one would not think to hear the
words that he speaks, as he breaks
down barriers that society had so
boldly put up.
T
his man is not afraid to talk about
issues that haunt our youth and the
inner city lifestyles of today. This he
classifies as bondage from the days of
the pharaohs of Egypt and asks all
those who listens to him to remember
that the Almighty has a plan for those
who recognize that life is not all
about the glitter and the gold, and
that like all good things, we will reap
the rewards in Zion. King Ujah ends
the evening with a song called
‘Mamma’, and as he sang this song
acappella, every person standing
there had tears in their eyes. Truly,
the Almighty has blessed King Ujah
with an amazing gift. It shows in his
exceptional performance and in his
CD. It was truly a night of ‘Beauty
for Ashes’.
A
gain, Jonathan Shaw comes to the
stage and introduces the man of
the hour - King Ujah. As I looked
around, I saw the house go crazy with
love for this man. As he set foot
center stage, one could truly see that
the stage was his throne, as he sang
out to his ‘kingdom’ about the love of
the Almighty.
EYEONE RECORDS PRESENTS “DESTINY”
EAGLE FORCE ENTERTAINMENT
For Immediate Release
News from EYEONE REECORDS Inc.
January 24th, 2003
EYEONE RECORDS Inc. DEBUTS “
DESTINY VOLUME 1”
E
YEONE RECORDS Inc. Is thrilled
to announce it’s debut Reggae
compilation Album DESTINY VOLUME
One.
T
his 17 Track CD features many
unreleased and limited released
singles from Ten of the hottest reggae
recording artists in the country today!
T
he title track “DESTINY” by big ship
captain, Freddie MacGregor
combines reggae with hip hop
undertones and is sure to get you
moving to whole new sound.
I
f you’re not already familiar with these
burning hot tracks originally released
and distributed by TUFF GANG
INTERNATIONAL you’ll want to take
note of .... “Take Me” by George
Nooks, “This Thing called Love” by
Lymie Murray, “Something About
You” by Lukie D , and “You Took My
Breath” by Nana McLean.
D
ESTINY VOLUME 1 also features
break through artist Fenton
Nesbith aka Fatta John with two
smashing hits “How Much Youth”, and
Hands Them”. The lyrics in these songs
echo a powerful message for today’s
issues.
Spida, Howie Smart and Lloyd
Wedderburn. Overall “DESTINY
VOLUME 1 has a mixture of Reggae
Rock and Roots Reggae combined for
your collection.
E
YEONE RECORDS Inc. has taken
great pride in producing and
marketing this product and for such we
say “thanks” to all the people involved in
making, developing and bring this
wonderful CD to reality.
Y
ou won’t want to skip through the
amazing tracks of the fabulously
talented Glen Washington , The Mystic,
T H E S E A R E ALL OF THE ARTISTS INCLUDED ON THE “DESTINY” VOLUME 1 CD
A CANADIAN REGGAE SOUND
PROMOTING THE CANADIAN REGGAE CULTURE
www.ghettofabulous.ca
(416)985-0040 or (905)673-5658
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Downloads Live chat room Artist & sound interviews - FREE
BRITISH BORN BIANCA REMEMBERS ROOTS
I
A
lthough her time in the music
industry has been short to date,
British born Bianca has been musically
influenced since a young age. Artists
such as Bob Marley and the Wailers,
Steele Pulse, UB40, Marvin Gaye and
Barry White were played like
clockwork on the turntables at home.
n 1998, Bianca joined a reggae
band called Respect where she sang
background and occasional lead
vocals. The band was short lived
however until one night while at a
calypso concert a bandleader that
noticed her dancing up a storm
approached Bianca. When asked if she
would be interested in trying out for
their band, she agreed to let them hear
what she had and they liked what they
heard. For a year and a half she was
part of Aktivate, a local reggae/calypso
band singing background and lead
vocals. Bianca attained experience by
traveling and doing larger shows than
she was used to.
I
n 2000, she sang with Aktivate at
Carifest in Calgary, Alberta while
opening for Anslem Douglas. Later that
year they performed for 5,000 plus
people at the Labatt Brier in Saskatoon,
Saskatchewan. While things were going
great with the band, Bianca needed to
get out and explore the world. She
decided to take time out and return to
her roots in England where she worked
and practiced singing daily. This is
where she decided that she wanted to
pursue a solo singing career.
O
n return to Canada, Bianca
worked and put herself through
Business College. On all of her days off
and holidays, she found time to travel to
Toronto and record her first single
“Eternity” which has since been rerecorded in Calgary. When she was
ready to record her second single “At
Last”, she had the great opportunity to
record it in Jamaica, an ultimate dream
come true. Both singles have been
playing consistently on Calgary radio
station CJSW 90.9fm, CHRY
105.5fm in Toronto and stations in
New York and England.
A
t present, Bianca is reveling in her
win at the 19th Annual Canadian
Reggae Music Awards where she
received the award for “Top Female
Reggae Newcomer” for 2002,
sharing the stage with Eric “Monty”
Morris and Pamela Maynard. She is
currently working on completing her
debut album and promoting herself and
the singles that are on the market. You
can be sure that we haven’t heard the last
of this budding young lovers rock
reggae artist. Make way for Bianca!
I
f you would like a copy of Bianca’s
singles or more information, please
contact: Tel: (403) 285-9221 or
[email protected]
A JUNO WIN FOR SONIA COLLYMORE
C
anada’s number #1 female reggae
singer Sonia Collymore is the
2003 Juno Award winner for Best
Reggae Recording “You Won’t See Me
Cry” (FiWi Music).“I was really thrilled
to be nominated at the 2002 JUNO’s
for the Faith Hill cover I did of
“Breathe”, but I am over the moon to
have won for my own original song, “I
feel truly honoured and blessed,” she
said. “You Won’t See Me Cry” was
written by Sonia Collymore and Collin
Barrett, recorded for the FiWi Music
label on the Natty Bay Riddim, and
produced
by
multi
talented
singer/songwriter Yogie.
S
tay tuned for Sonia’s current
releases
“Talk”
(Who Dat
Rhythm/FiWi Music) and “Taken” (Kata
Rhythm/FiWi Music) which are
currently blazing the airwaves in
Europe, Japan the Caribbean. Public
Relations for Sonia Collymore:
Caribbean/UK/US - Odessa Chambers OCM/Odessa Chambers Media.
Phone: 876-931-5509 Phone/Fax:
876-941-6855
All Articles and Photographs On This Page
By Halina T. Di-Lallo
On Location Photo Journalist
CALGARY BRINGS HOME TWO AWARDS
Calgary, Alberta, is know for being
the “Stampede City” of North America,
yet in March of this year two
Calgarians proved that the vibes of
Caribbean music lives prominently in
this corner of the world. Two
talented and dedicated individuals surpassed all at “The 19th Annual
Canadian Reggae Music Awards in
Toronto.
The first was Bianca who was nominat ed and won the ‘TOP NEWCOMER
FEMALE REGGAE SINGER”.
This talented artist also performed,
singing her first release which she
wrote “ETERNITY”.
Secondly, “LEO C”, who is a fervent
D.J. in the City and a spokesperson
for Caribbean Music for over 18
years. Leo was nominated and awarded
“THE PETER TOSH MEMORIAL
AWARD” for his years of
dedication in the music industry.
British born Bianca and Jamaican
born Leo Cripps have resided in
Calgary for many years. Through their
passion and adherence have put their
home town on the map where Reggae
music and talent has proved to be
ardent.
What will Calgary have in store for
next year’s Awards?
MICHAEL ROSE: GRAMMY WINNER
Reggae star Michael Rose has just finished
wrapping up his European tour. He is also
now working with the African Star Label.
ILEY DREAD SHINES With “LOVER’S CONVERSE”
C
olin Levy a.k.a Iley Dread has just
released a new single entitled
“Lover’s Converse” produced by Wyz
Malcolm and Tower Sinclair. This hot
new single is now in stores and will be
celebrated with a CD Launch to be
held on Saturday June 7th, 2003 at
the Travelodge Hotel at Keele and
401. Along with the main artist, Iley
Dread, other artists on the bill include
- Cocoa T, Marcia Griffiths, Warrior
King, Chrisinti, Sugar Prince, Carla
Marshall and Ras Lee.
attended primary school and
secondary school, namely Knockalva.
He was forced to leave school at age
14 as the demands for his paintings
increased, which prompted him to
move to a more lucrative area, namely
Negril, wherein he would be able to
help his father in his cook shop and
do his arts. As Iley says “painting was
my vision, but I also got the inspiration
to write songs as early as age 9”. He
would entertain his family and friends
by singing.
C
t age 18, he rented a place called
“Why Not”, a restaurant and
lounge in Negril, the venture became
very successful for Iley, and soon after
he was able to purchase the property.
This business he later rented on his
migration to Canada in 1990. Iley
departed Jamaica for Canada to live
with his relatives and to help his
brother who also had a restaurant in
Montreal and needed his help in
managing the restaurant.
This
restaurant was called Rainbow Ites,
which now hosts all the reggae
concerts that Iley Dread takes to
Montreal, and renamed Rainbow
olin Levy, President of Kings of
Kings Inc., the name his parents
gave him, is now known as “Iley
Dread”, the professional name he uses
as an entertainer, songwriter,
recording artist, producer and show
promoter, based both in Canada and
Jamaica. Iley, who started in the art
world as an artiste, says the music
business now takes all his time and does
not allow him to be creative in the art
world, as he is consumed by the music.
B
orn in Montego Bay, St. James,
Jamaica grew up in the Chester
Castle area of Hanover, where he
A
Concert Hall.
S
till writing songs and performing
locally in Canada, Iley produced
his first concert at the Rainbow Ites in
1992, then a very small place.
During this period his concerts
consisted of local acts, namely Jah
Cutter, and Jah Children Band. His
first recording came by way of Bevin
Jackson, of Bulleyes Recording Label,
who recorded 5 songs with Iley
Dread, the first of these songs
“Flowerw Of My Garden”. Iley was
encouraged by Jackson to start his
own production, he took his friends
advice, the birth of KIngs of KIngs was
now a reality and happened in 1995.
His friend later died in 1996 from a
traffic accident.
S
ince 1995 Iley has spent most of
his time producing other artist and
concerts, the likes of Dennis Brown
(deceased), Buju Banton, Michael
Rose, Gregory Isaacs, Capleton,
Beenie Man, Norris Man, Chrisinti,
Glen Washington, and many others.
He has released many songs,
distributed by VP Records US, Jet
Star UK, Nuff Entertainment Canada,
and of course KIngs of KIngs.
I
ley had taken a single from his up
coming
album
“Mama”
(#KOK0007). with the release of the
album “A Friend For Life” by Autumn
on the KIngs of KIngs label. This
product is already enjoying
tremendous air play, and critic
reviews, Iley has traveled the
Caribbean, USA, Canada, Africa and
UK.
“This album is set to open further
doors for the unassuming singer” - X
News/Carol Walker.
F
or information call Marcia
Simpson, Shop 1123 Princeville
Plaza, 95/97 Constant Spring
Road, KIngston 10, Jamaica.
Telephone: 876-941-1193 or Fax:
876-941-1194
or
email:
[email protected]
or
[email protected]
or
[email protected] tel: 519368-5407 Fax: 514-368-0261
or
visit
our
website
at;
www.kingsofkings.com
Photo Album
‘NO HOLDING BAC K ’
that have been holding down the music
for so long. So I basically just go out
there and do the ground work, you
know, so I definitely have to be out
there.
L
B: Okay, so tell us something, or
tell your fans something unique
about yourself that they won’t
normally be privy to.
W
W: (laughs) Well, you know, as
I say Wayne Wonder...Wayne
Wonder is just a natural, down to
earth person. You know Wayne
Wonder all over these years and you
know Wayne Wonder...Wayne
Wonder
is
always
Wayne
Wonder...easygoing, you know,
understanding, you know, I’m easy to
talk to, you know, I understand
people, you know, because life...life is
short, you know, so you can’t really
disrespect nobody in life, cause you
don’t know the outcome, you know,
maybe...they say what goes around comes around, so we just have to
show respect to each and everyone.
L
B: Okay, so what’s the next step
for Wayne Wonder, like in your
career as far as collaboration
towards, ah...
W
W: Well, my tour...my tour kicks
off in mid-July, you know,
worldwide. In the U.S and then in
Japan, and definitely in Europe France
Germany,
Holland...ah...Australia, s o I just
wanna be out there, you know, cause
is like...is like my newer fan base is
growing and they want to know what
Wayne Wonder is all about, is not like
the authentic Wayne Wonder fans, the
ardent Wayne Wonder fans from day
one...is like a whole new fan base, is
like I’m starting all over again, that’s
how I look at it, eh...
L
B: Regarding your new fan base,
have you noticed, from your
signing a while ago (autograph
signing), it was very young, are you
surprised by that?
W
W:
No, because from a
daughter levels, you know, I vibe
her, sometimes I might be writing a
song and I call her down to the studio
and I say “Tianna, check this out”, you
know...and from Tianna love it and she
start dance to it, you done know, it’s
all good. At the same time, my...my
Mom, I can call my Mom and say
“Mummy, listen to this”, and she vibe
it, so...so that’s how I’m writing, you
know, I wanna write so that there is no
age barrier, no boundaries,
everybody fe love the song. That’s a
good vibe, that’s a good vibe, but I’m
talking about like...like...I can’t bother
about writing a song now and I have
to be wondering like if I have to edit it
, or you know...I just want to do
songs...from you put it in any CD
player, you can just let it play and
people can just relate to it, you know,
that’s how I write, you know? My
friend called me...his son is 2 years
plus and he was like (starts singing)
“got somebody...”, I was like “yo,
that’s what I’m talking about”, you
know?
L
B: You have any collaboration
with any artist coming up that we
should be aware of?
W
W: Well, actually...ah...we doing
the remix of ‘No Letting Go’
tomorrow...Friday and LL is going
to...yeah, LL is...LL is cool lovers rock
style of rapper, so LL wanted to do it,
so we just said okay, that’s amazing,
so...
L
B: How does that work? Do they
approach you or do you span out
to find people?
W
W:
Well,
actually..
.actually...personally I wanted
Eve, but...ah...it was okay with Eve, but
when we tried to...to get it done, it
was like...it was like there was so many
complications with the company and
all that, you know, so we said okay
and then the video came out and they
saw the vibe and you know...and then
we just reached out to LL, and you
from pg 5
know, seeing that what the song was
saying, I know that LL have the right
thing to say around that and definitely
represents the ladies, so, you know, he
took it...you know...he didn’t even
grumble about it, or act like if he’s a
much bigger star, or...he just wanted
to be in it, feeling the vibes and loved
the vibes.
L
B: Alright, any words of wisdom
for reggae artists who are trying to
get that one big hit record or trying
to sign to that major label?
W
W: Well...ah...for me, I’m gonna
explain it from my point of view,
it’s a lot of hard work and dedication,
you just have to focus on what you
want and work towards it, you know,
it might take time but...you know...it’s
just hard work and dedication, and
from you stick to the hard work, you
know obviously from the work has
quality,
not
quantity...you
know...quality work, it must prevail
man, it must reach out, once you put
your heart and soul in it. I learn that
from my Mother, she say once...once
you want to sing...that is even before I
recorded my first song...you
know...yeah...”if you wanna sing and
that’s what you wanna do, just do it
from your heart and soul.”
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EXPLORING AFRICAN REGGAE
By Special
any say reggae is the beat of the
African drum, but how many of
us have actually taken in the reggae vibe
from the motherland?
M
Chaka Demus and Pliers with Rita Marley and members of my band Full Vibes when we met Winnie Mandela.
O
ne such company who has is
Explorer Recording. Not only
have Explorer taken in the reggae vibe
in Africa, they have gone one step
further and brought Jamaican reggae
to the people of South Africa!
W
ho is Explorer? They brought
you hits like “Bad Day” by Steve
Knight and “Coming Home” from
Freddie McGregor, Jealous Eyes by
George Nooks and the dance hall
Smash “Belly Full” featuring Shabba,
Sizzla and more.
E
xplorer Recording has always
believed reggae has a big part to
play in Africa and November 2002
saw their belief come to reality, when
they held their first annual event called
the “Akasi Reggae Splash” held in
conjunction with JHB Concerts and
the South African Aids Awareness
Department. This 3-day event was the
first South Africa had seen with so
many Jamaican acts performing on the
same stage. Reggae greats like Morgan
Heritage, Blaze Band, and Chaka
Demus and Pliers frilled and excited
the audience at all 3 events.
S
o grateful were the people of
South Africa, that the great
“Winnie Mandela”, invited Explorer,
JHB Concerts, all the performers and
band members to her house for a
morning get together. There, Winnie
told us all of how grateful she and
other South Africans where of this
event being held and how songs from
greats like Bob Marley, Jimmy Cliff and
others, inspired them to fight the
struggle from within prison walls and
gave them a sense of being and one day
they also would be free.
T
he first of the 3 events was held in
“New Town”, this is situated in the
centre of Johannesburg. That night
started off with one of South Africa’s
sons, Mandoza, performing all his hits
and appealing to the young ladies in
the audience. His form of music is a
cross between, Hip Hop and
Dancehall called “Kwaito” where the
artiste would ride the rhythm in his
local dialect.
N
ext up was Explorers very own
12 member band “Full Vibes”.
This multi cultural band excited the
crowd with songs from their new
album, “United States of Africa”. The
last track performed by Full Vibes was
the title track “USA, United States of
Africa”. This turned the crowd into
frenzy. So much so, as Full Vibes left
the stage, the crowd kept singing the
hook line “Oh Mama Africa” the
crowd would not stop singing and
encored Full Vibes, until Full Vibes had
no choice but to reassemble their
instruments and start playing that song
again. Full Vibes was just that, full of
vibes.
T
he Mc for the night Delroy “The
Famous One” Morrison then
introduced one of the main acts of the
night, Morgan heritage. Well what can
I say; this group can perform, laying
down hits like, “By the River, Don’t
Haffi Dread and more. As the crowd
sang along to all the songs, you could
see a sea of South African and Jamaican
flags dancing in the South African
night. That was a performance to
remember.
T
he Blaze band then took the stage
and opened up with a mix of classic
reggae and dancehall beats, rocking
and exciting the partying crowd. They
introduced Explorer’s second artiste
on the tour, “Prophecy” blazing the
crowd with conscious and rootical
lyrics, reminding the crowd of the
purpose to love, live and let live. The
thrilled crowd loved “Prophecy”.
This new Explorer artiste hailing from
St. Thomas has his album releasing in
2003, watch out for this powerful
artiste.
down the place. Every time they
touched the mike and started a new
song, the crowd gravitated to them
like a Bee to Honey. They surely
sweetened the night. The delivered hits
after hits like, “Bam Bam” “Murder
She wrote” “Twist and Shout”, “Tease
Me”, “I wanna Be Your Man” and
more. “How much more could you ask
for?” was a statement from one of the
patrons as they left at the end of the
event.
T
he “Akasi Reggae Splash” is now
classed as the main event in the
South African calendar for reggae
concerts and 2003 is going to be
even bigger.
S
outh Africa is a nice place and
reggae music is alive and kicking,
look out for more coming from and to
the mother land.
Explorer Band Full Vibes
T
hen it was time for the highlight for
of the night. The dynamic duo
superstars, Chacka Demus and Pliers
graced the stage. Wow, they tore
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RIVERS REHEARSAL STUDIO
597 Sherbourne & Ho ward Street, Toronto, Ontario
(416) 537-3542
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Tel: (416) 922-1530
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Equipment Provided Beverages also available
Best Reggae Rehearsal Studio In Town
For more information call:
Simply an Extra-ordinary Woman
P
amela Maynard is a new singing
sensation from Guyana whose
breakthrough has been far too long in
coming. Versatile in most areas of
popular black music including reggae,
soul, R&B, jazz, calypso and soca, this
talented Caribbean diva has the kind of
vocal range and expression to make an
immediate, and we believe lasting
impression on all manner of different
audiences around the world.
at the time, but had already been
singing at parties and school functions
from the age of five. Since her father
also ran a local sound-system her
knowledge and love of music was built
upon rock solid foundations, and this
in-dept familiarity with the classics
never failed to surprise the assorted
bandleaders and galaxy of big name
acts she would later sing with in years
to come.
U
A
nlike other acts fresh to the UK
and European markets, Pamela has
extensive professional experience in
music. Born in Georgetown, she is the
daughter
of
Guyanese
singer/songwriter Mavis Maynard,
who wrote Pamela’s debut hit Lost,
Lonely and Helpless, and then
performed alongside her and Eddy
Grant at a memorable show in their
hometown. Pamela was still attending
Fountain Ame School in Georgetown
fter leaving school in 1976 she
joined the Guyanese army, where
she sang for visiting dignitaries such as
Fidel Castro. She also represented her
country by singing at festivals, and
from the age of fifteen sang lead and
backing vocals with firstly the Yoruba
Singers, and then Sid & The Slickers.
Both were show bands with a large
following in the Caribbean, and would
play all kinds of music to their
audiences, including cover versions of
popular hits. Occasionally they would
even make trips to America and
Canada, as well as touring the West
Indies and South America. Thus Pamela
gained invaluable experience during
her teenage apprenticeship years, and
even managed to frighten a few
international acts along the way. “Any
time a big artist came to Guyana, I
would be opening the show for them”
she recalls, “and they would send back
for me to do something with them out
of Guyana, which was good.”
T
he list of artists she has shared a
stage with reads like a veritable
Who’s Who of world music, since it
includes the likes of Ben E King, the
Platters, the Drifters and Ray Charles;
also top JA acts such as Jimmy Cliff,
Hopeton Lewis, John Holt, Byron Lee
& The Dragonaires and Boris
Gardner as well as calypsonian giants
Lord Kitchener, the Mighty Sparrow,
see pg 24
Shadow and Baron. After a year spent
living and working in Barbados
between 1977-78, where she sang at
most of the island’s top venues and
hotel resorts, she then joined a well
known Trinidadian group called the
Troubadours, enjoying considerable
acclaim in the process. The following
year she became lead singer in soca
creator Lord Shorty’s band, with
whom she toured Canada. It was to
prove a memorable experience since
the group split up just a year later, with
the band members being left stranded
far from home. Undaunted by their
predicament and confident in her
ability to pull through, she began
performing both solo and with bands
(including Aubrey Mann’s on the
Canadian club and talent show circuit)
all the while still searching for that
elusive breakthrough. A real highlight
of her Canadian stay was singing at the
Guyanese Consulate in Toronto; a city
Sean Paul’s ‘Dutty Rock’ Makin’ Waves
“Dancehall reggae is not just about the
killer riddims; people the world over
love the way we speak. This music is
here to kick up the bass and burn up
the place. I’m talking on behalf of all
dancehall.” - Sean Paul
n 1998, Sean recorded “Infiltrate”
on
Jeremy
Harding’s
Playground/Zim Zimma riddim. The
riddim was a reggae smash both in
Jamaica and internationally and
“Infiltrate” became a top record in the
juggling mix. “Infiltrate took me to
enough places,” Sean recalls.
Charting number one in Belize, the
record rocked hip-hop mix shows in
New York and Miami.
ean Paul’s 1996 release of “Baby
Girl” was the first of a series of
undeniable reggae smashes that rocked
Jamaica, quickly establishing a solid
base for Sean Paul amongst the island’s
dancehall massive. Part of the wave of
mid-nineties Jamaican music scene, Sean
Paul quickly pulled to the front of the
pack. Hardcore dancehall fans were
captured by his songwriting and
rapping skills and Sean rapidly became
a favorite with ladies in the audience.
H
A
B
orn Sean Paul Henriques in
Kingston, Jamaica on January 8,
1975, Sean Paul’s lineage truly
reflects Jamaica’s national motto, “Out
Of Many One People.” On his
Portuguese father’s side there is a family
legend about the shipwreck of horse-
see pg 25
weed, and a ‘dutty’ is a used pipe, but
that’s not what we were all about,”
Sean explains. “In life, if you don’t
work hard and dutty, you won’t get
nowhere, so our cup is full.”
I
S
s his reputation grew in Jamaica,
the rest of the Caribbean quickly
picked up on Sean Paul’s sound.
Soon Jamaicans in Miami, New York
and London knew the words “Dutty
Yeah” were a signal to hit the dance
floor. Record-breaking airplay on
American hip-hop radio followed, and
the success of STAGE ONE, Sean
Paul’s 2000 smash debut album,
established him as VP Records best
selling current artist. With DUTTY
ROCK, his forthcoming sophomore
effort, Sean Paul has moved from
strength to greater strength,
ratcheting his sound straight up to the
heights.
Courtesy of Virgin Music Canada
rustling ancestors during a daring
escape from bounty hunters. Sean’s
mother is a renowned Jamaican
painter, and both his parents were
noted athletes, a tradition Sean
continued as a youth, representing his
country in many international swim and
water polo meets. After graduation
from UTECH, he kept body and soul
together by working as a chef and later
as a teller in a bank.
I
n his early teens, dancehall reggae
became Sean’s leading passion. Such
artists as Lt. Stitchie, Major Worries,
and Supercat were important
influences. A few years later as Sean
began writing his own lyrics, he made
a link and busted some rhymes for Cat
Coore, Bunny Rugs and Carrot Jarret
of Third World. Cat said, “Your
voice sounds great, lets do some
demos,” Sean Paul recalls.
H
e developed his skills by making
dubs and playing barbecues. In
1996 after a couple of singles, Sean
made the crucial connection with then
up and coming producer Jeremy
Harding, owner of 2 Hard Records.
Jeremy had just completed the Fearless
riddim, and Sean voiced it with “Baby
Girl”, his first woman-oriented lyric.
“Baby Girl” became a huge hit,
opening doors all over Jamaica for
Sean.
During this time, Sean
continued to learn the deejay trade and
mature as an artist. He hooked up with
the Dutty Cup Crew, a group of
aspiring deejays. “We used to smoke
itting next with “Excite Me”,
Sean’s name was spreading to the
rest of the Caribbean, especially
Trinidad and Guyana. Sean then
recorded “Deport Them” which
became the #1 record in Jamaica on
Tony Kelly’s Bookshelf riddim. The
song received major play in Miami and
New York’s hip-hop mix shows, later
crossing over onto regular rotation
on New York’s Hot 97,
I
t was around then that Sean Paul
joined forces with emerging sing-jay
Mr. Vegas. Their first collaboration,
“Hot Gal Today” on the Street
Sweeper riddim by Steely and Clevie,
became a #1 record both in Jamaica
and throughout the rest of the
Caribbean. Sean Paul and Mr. Vegas
also collaborated on the dancehall hit
“Tiger Bone”, produced by Richard
‘Shams’ Browne on the intercourse
riddim. In March of 2000, just as
“Hot Gal Today” was heating up in
Miami and New York, VP Records
released STAGE ONE, Sean Paul’s
REGGAE MUSIC MOVING UPWARDS
R
LUTHER BROWN & TIPPER
Photo by Eddie Grant
R
emember a time when you could
only find reggae music on the
radio on Friday and Saturday nights
between 11 and 7 am?
T
hat time has come and gone, and
while you can still find those stations
playing reggae music at those times, the
selection of stations, the variety of
music and the number of artists has
increased drastically over the past 10
years.
W
hat happens to the small station
when something - a genre becomes so popular or commercial
that everyone wants a piece? What
happens when a station that was always
committed to delivering music not
otherwise embraced by the mainstream,
finds itself with competition? Those
doing it for the better of a cultural
presence congratulate, celebrate and
continue their work. Often times those
in the corporate structure see dollar
signs and a way to capitalize on and
exploit that genre.
eggae Crucible host, producer
and engineer, Luther Brown has
been one of the pioneers in bringing
reggae music to the mainstream. His
show, broadcast on CHRY 105.5
FM, Sunday nights from six to nine has
always been mainstream. “For me
CHRY has always been the mainstream,
it represents my community. It
represents a wide variety of
communities in real ways not just
superficial,” said Brown. “We offer
people from the community (who do
the) programming, information from
the community and good cultural
activity. In terms of other stations
playing reggae, it should have
happened a long time ago and it was
narrow-mindedness that caused it not
to happen. It’s a station that caters to
the community.”
O
nce a closed circuit station
available only to those on the
York University campus, CHRY went
on air some 15 years ago and has
garnered and maintained a steady
following. “We’ve always had a core
audience because there is a core of
people who want good quality, good
content, people who yearn for
something more than the ordinary, and
what we present is more than the
ordinary,” he said. “So I am not
worried about the next big thing.”
B
ut the next best thing has arrived.
WIth Canadian reggae talent
lighting up the charts, mainstream
radio is clambering to provide what
the masses request and small-time
programming continues to toil away.
Luther thinks this is a good thing
whichever way you look at it. “We
have always played more Canadian
music than most people. I believe we
ought to develop and celebrate who
we are,” he said. “The quality of
Canadian music has improved beyond
measure. The quality when I started
playing 15 years ago on live radio was
sometimes a poor imitation of reggae.
Now you cannot quite differentiate
between Canadian content and the
content from Jamaica.”
B
rown begins each show with a
Bob Marley song and says that
often times the rest of the show features
purely Canadian artists and the
difference is barely, if at all noticeable.
Although reggae music has made great
strides in recent years, he says more
needs to be done. “I think it would be
nice to see Toronto in general,
celebrate reggae music more. The
Canadian Reggae Music Awards is an
important institution,” said the
producer and DJ. “There are people
who have different opinions about
who gets and who doesn’t get (an
award), and because of that people
decide whether to participate or not.”
H
e maintains support for the
awards whether he is named DJ of
the Year or not. How else he says, will
it continue to be successful if there is
no continued support from the reggae
community itself? The only way to
continue building on the reggae music
institution in Canada is to support
every faction of it. “I would like to see
us go out and buy Canadian (music),
attend shows headlining Canadian
artists and show support for them,” he
said.
(Interview with LUTHER BROWN of Caribbean
Crucible - CHRY 105.5 FM) By Nadia Rodway
improve production levels, as well as
lyrical ability. “I believe the world
community is recognizing slowiy that
Canada is producing music with artist
and producers that showcase very
well,” said Brown. “It would be nice if
the big stations would invite people to
come in (and showcase reggae talent).”
B
rown however casts a weary eye
on stations that know nothing of
the culture but then try to program
music to an audience that represents
that culture. “If the Crucible was
airing on the big area network, we
would lock Toronto down,” he said.
F
or Brown though radio is a
hobby, and he admits that along
with the big stations comes the need
for programmers. And without
knowledge of our culture and music,
the integrity that is needed to make the
shwo successful would be lost. He also
sees the way artists portray themselves
on radio as an area for improvement.
The presentation of an intelligent,
somewhat knowledgeable person in his
or her field carries some weight.
Reggae music, ghetto life and dancehall
do not equal the absence of
intelligence.
T
here has been a new serge of
Canadian reggae artists and
producers getting a tremendous
amount of airplay locally and statesside. And while this is a positive step
towards recognition in the Canadian
music industry, increased support
from the local community will ensure
not only staying power but also the
largest part of the market-share.
U
ndoubtedly support from our
own community willo work to
THE GUYANA FESTIVAL IS HERE A GAIN
I
W
t is the closest you will ever get to
Guyana without leaving Toronto.
ater coconuts, mangoes, cane
juice squeezed before your very
eyes, freshly baked cassava bread,
Guyanese-style pastries, authentic
Amerindian casreep...these are only but
a small sampling of what you can expect
at the 8th Guyana Festival held from
May 16-18, 2003. “It is the closest
you will ever get to Guyana without
leaving Toronto”, exclaimed Guyana’s
Honorary Consul General, Danny
Doobay.
O
rganized annually to mark the
anniversary
of
Guyana’s
Independence, the Festival has earned
the distinction of being the largest
annual gathering of Guyanese out of
Guyana. Under the theme “The future is
ours together” the annual event echoes
a resounding message of exemplary
unity and reaffirms the commitment of
Guyanese in Canada toward nation
building.
O
ne of the greatest achievements of
the Festival is that it stands out
prominently as a shining example of
how diverse groups of Guyanese can
work together for a brilliant
production.
The festival is the
culmination of six months of planning
by more than 40 Guyanese
organizations under the aegis of the
Guyana Consulate.
T
he Festival begins with a Tourism
Seminar on Friday, May 16 under
the theme: “Guyana - A New and
Exciting Nature and Adventure
Destination”. The seminar will be
followed by an Awards Dinner
designed
to
recognize
the
contributions of nationals in the
promotion of Guyana, Guyanese
heritage and culture, as well as, the
achievement of excellence. The main
activities at the L’Amoreaux Community
Center kicks off with a flag raising
ceremony at 12:00 on Saturday and
ends with the Western Union Celebrity
Cricket Match on Sunday.
D
oobay said, “this year we are
expecting the largest delegation
from Guyana, including members of the
Guyana national cricket team, an
Amerindian dance group, members of
the Body Building Association along
with representatives from the tourism
industry. We are also expecting two
Guyanese soccer teams: the Starliners
from Maryland D.C and the
Camptown from Brooklyn.” He
added, “Our goal is to produce
another spectacular weekend of family
entertainment for our community and
beyond. We will have something for
everyone.”
A
crucial part of the festivities, the
cultural show, “ALL HELL BRUK
LOOSE” is a family show that
celebrates Guyanese Heritage through
drama, music, dance, story telling,
poetry and comedy. This show
promises to be loaded with a galaxy of
the hottest Guyanese star entertainers.
Tasty Guyanese foods, including all
your favorite vegetarian and halaal
specials, will be on sale throughout the
weekend.
T
he committee is encouraging
patrons to use the TTC to get to the
L’Amoreaux ground and where
possible to car pool. There is limited
parking. To get to the ground, which
is located at the corner of Kennedy
and McNicoll, you can ride either the
Kennedy or McNicoll buses..
REGGAE RADIO PROGRAMS LISTINGS
Urban Space - Tony Barnes & Sweet T -
CKLN 88.1 FM
Movements - Mercedes -
CKLN 88.1 FM
ReggaeMania - Ron Nelson -
CKLN 88.1 FM
Delroy G Showcase -Delroy G -
CHRY 105.5 FM
Mix Supreme - Delroy Sterling
CHRY 105.5 FM
Reggae Rhythms - Patrick Roots -
CIUT 89.5 FM
Musical Triangle - Milton Blake -
CKLN 88.1 FM
Reggae Roots - Denise Burnett -
CIUT 89.5 FM
Zion Train - Natty B -
CHRY 105.5 FM
Radio Dubplate - Richard Banton -
CHRY 105.5 FM
Positive Vibrations - King David -
CHRY 105.5 FM
Sir B -
CHRY 105.5 FM
Caribbean Crucible - Luther Brown -
CHRY 105.5 FM
Morning Ride - King Turbo -
CIUT 89.5 FM
Norman Otis Richmond -
CIUT 89.5 FM
Reggae Plus Radio - Lee Marshall -
www.reggaeplus.net
Conscious Vibes -
CHRY 105.5 FM
LEROY “ARTIST” BROWN
“Artist” soon moved on to perform
with Alton and the Flames. “Artist” can
attest to the meaning of longevity in
reggae music business.
L
L
eroy “Artist” Brown has a great
affinity for love songs. This virtual
entertainment entity is equally at home
with music that serenades you and
celebrates the vibrancy of culture,
politics or social commentary.
L
eroy “Artist” Brown is a product
of the musical bastion of West
Kingston, Jamaica. A Juno Award
Nominee and Canadian Reggae Music
Awards winner, “Artist”, has released
three albums and several singles. He is
also an accomplished bass player,
guitarist, songwriter and producer.
Most of all Leroy “Artist” Brown is a
stage performer. “A mystical feeling
comes over you when Leroy
performs”, remarked a patron at a
recent sold out show in Toronto,
where “Artist’, performed alongside
recording
veterans
Freddie
Macgregor and George Nooks.
“Artist” has over thirty years
performing experience. Starting out
with the popular Jamaican group the
Emotions and then the Hippy Boys,
eroy “Artist” Brown has worked
and studied with rock steady
pioneer, Alton Ellis and the late David
Bryan, who was one of the Jamaica’s
greatest guitar players. In the early
sixties, music was a ticket out of the
grinding poverty of Kingston and
“Artist” was on his way. “It began as a
search to express my soul”, he says
thinking back on the history of his
career. As a protÈgÈ of these great
legends “Artist” went on to win
competitions all over Kingston. He
also became a feature artist on the
popular variety show Lannaman’s
Children’s Hour on Radio Jamaica
(RJR).
s his career began to propel
forward “Artist” quickly picked up
tricks of the trade. “Artist” was
dubbed with this name due to his close
affiliations with the godfathers and
godmothers of the reggae music scene.
Recording for the Matador Label and
the great Sonia Pottinger, gave him his
first opportunity to see how the music
was actually created. He then began to
record with the Emotions and also
became the songwriter for the group.
A
B
efore leaving the beautiful shores
of Jamaica, “Artist” had recorded
hits such as “Dr No Go,” with the
Emotions. This classic tune went on to
gain commercial success in the
Caribbean and European markets. “Dr
No Go” was one of the first top ten
reggae singles to hit the charts in
England. Brown also worked with the
then unknown Barrett brothers,
Family Man, and his late brother
Carlton who went on to become an
integral part of Bob Marley and the
Wailers.
“Artist” moved to Canada in the late
sixties and became an integral part of
the music scene as the years went by. “I
see myself as a life-long learner and a
student of the art of music”.
A
s a result of this thinking, he
studied at the Royal Conservatory
of Music, in Hamilton Ontario. This
move to the north was a change in
which he used his musical skills and
industry expertise to bridge the gaps in
the Canadian reggae music scene.
“Artist” won a Black Music Month
Award for the Top Selling Single in
1982. The tune was “Gypsy”, which
remains one of his most requested tunes
during his live performances. “Artist”
went on to record such hits as
“Prayer of Peace, Color Barrier,
Face-to-Face, Nice and Slow, You Got
what it Takes”. “It’s a natural thing for
me to write culture songs but I sing
love songs”. In 1997 the Canadian
Recording Arts Industry nominated
“Artist” for a Juno award. “Nice and
Slow,” on the Hit Squad label would
be the song that would garner the
attention of the Canadian music
industry and propel “Artist” into the
realms of Canadian music history.
I
n the late eighties “Artist” saw a need
to educate fellow musicians about the
Canadian music industry and how it
worked. He and a few other musicians
started the Canadian Reggae Artists
Guild. “We started C.R.A.G as a means
to educate and share information
among reggae musicians in Toronto,
indeed Canada”. “We felt that there
New Image Ent.
Artist Agent, Marketing &
Promotion, Merchandising
Kwean Zuri
416-949-5683
[email protected]
needed to be a body to assist artists in
times of trouble and it was a nice feeling
to see everyone working and building
together”. C.R.A.G went on to
organize information workshops,
decimate information, and lobby the
Canadian Recording Arts Industry to
recognize reggae and calypso in their
annual Juno Awards.
T
he Canadian Reggae Music Awards
have recognized this artist’s
contribution to the reggae industry in
Canada and across the world. He won
his first CRMA in 1984 for “Island in
the Stream” which he sang with Nana
Mclean. He then went on to garner
awards for top performer and for the
single “I’ll be Lonely”. An Award of
Merit was bestowed on the “Artist” in
1993 for his contributions to the
reggae industry in Canada and the
Caribbean. The CRMA Bob Marley
Memorial Award was given to Brown
that same year.
L
eroy “Artist” Brown returns to the
recording studio with a cover
version of Vic Taylor’s “Heartache”.
Released in Toronto in April 2002,
“Heartache” is destined to be a hit.
“Heartache”, is one of the most
requested songs on my program”, says
CHRY 105.5 radio host Luther
Brown. “We can’t keep the 45’s on
the shelves”, enthused Natty B, popular
co-owner of Treajah Isle Record Store
in Toronto.
M
edia Contact: Janet MillingtonPublicist & International Media
[email protected] or
[email protected]
CD GIVEAWAY
(Courtesy of Virgin Music Canada)
NO HOLDING BACK
By Wayne Wonder
To win a copy of Wayne Wonder’s
‘No Holding Back’ CD you must call
reggaeXclusive and answer this question:
1: What year did Wayne Wonder record
and release his first single?
Call 647-435-0637
FREECDs
THINGS TO DO IN TORONTO THIS SUMMER
F
or immediate release - May 5,
2003 - Courtesy of Toronto
Special Events
T
oronto Special Events - Toronto
Special Events produces five free
programs at Nathan Phillips Square
and Mel Lastman Square for all ages
that reflect Toronto’s vibrancy and
activity in the summer months. Salute
to Seniors (Wednesday, June 11),
Canada Day celebrations (Tuesday,
July 1), Sounds in the City
(Wednesdays, July 2 - August 27),
Sunday Serenades (Sundays, July 6 August 24) and Toronto Kids’
Tuesdays (Tuesdays, July 22 August12) offer a combination of live
music, educational activities, crafts,
and fireworks to add to Toronto’s
sensational summer festival line-up.
aluite to Seniors presented by
Soctiabank is an afternoon of
S
award winning dance music from the
17-piece Swing Shift BIg Band. The
musical entertainment complements the
LIfestyle Information Fair, presented
by the Toronto Seniors’ Assembly,
inside Toronto City Hall, Salute to
Seniors runs Wednesday, June 11 at
Nathan Phillips Square from noon to
2 pm.
T
he Canada Day celebrations
presented by Scotiabank return to
both Mel Lastman Square and Nathan
Phillips Square. This celebration
136th birthday of the nation
combines popular traditions, such as a
giant birthday cake at Nathan Phillips
Square and fireworks at Mel Lastman
Square, with the best acts in Canadian
music.
Inspiring gospel group
Sharon Riley & Fauth Chorale and
Latin Jazz unit Marron Matizado heat
up Nathan Phillips Square, while Cape
Pamela Maynard
she still has fond memories of, and
where (like Rita Marley) she worked in
the nursing profession.
A
ppearances at the Cuban Music
Festival and at various EXPO
events followed before she relocated
to New York in 1983. Again she
submersed herself wholeheartedly into
the local music scene, singing at the
framed Apollo Theatre in Harlem
(where she won joint first place in a
prestigious talent show) and at
Madison Square Gardens. She
would return to Canada regularly to
perform at the annual Caribana whilst
still living in New York, as well as
making trips to Guyana, where she
had continued to perform and
record, even notching up a sizable hit
there with her version of Michael
Jackson’s ‘Heal The World’. In
1996 she was duly invited to
perform at the Guyanese Pageant in
London, and has been a frequent
visitor ever since. Her first stop in the
UK was producer Lindel Lewis’ Kufe
label, where she began work on a
gospel project, and enjoyed success
with the singles ‘One Day At A Time’
(which was a soca medley), and then a
cover of Misty Blue.
British
audiences soon became further aware
of her potential after she gave a
storming performance at the Hackney
Empire’s 291 Club, and then
appeared on Michael Barrymore’s
show ‘My Kind Of Music, My Kind Of
People’. Pamela liked England, and
the feeling was mutual, since she was
Breton fiddler phenomenon Ashley
MacIsaac, Celtic rockers Enter the
Haggis and “The KIngs of Celtic” The
Irish Decendants entertain at Mel
Lastman Square. Nathan Phillips
Square runs from noon to 2 pm.,
while Mel Lastman Square runs form 7
- 11 pm.
S
unday Serendades presented by
Sociabank is a weekly concert
series held at Mel Lastman Square. The
series brings the smooth sounds of
swing and big band acts that are
perfect for dancing. Confirmed acts
include Sophisticated Swing (July
6th), Toronto All Star Big Band (July
27), Skylark (August 17) and
Fabulous Crooners’ Show (August
24), to name just a few. Sunday
Serenades run July 6 - August 24 at
Mel Lastman Square from 7:30 to 9
pm.
soon once again making her presence
felt on national television, this time by
singing Gladys Knight’s ‘Midnight
Train to Georgia’ on the ITV show
Stars in their Eyes. By then Pamela
already begun work on her debut
album An Ordinary Woman for
leading UK reggae record company
Jet Star, which includes her stunning
new single of Cher’s hit ‘Believe’.
E
xcept, Pamela Maynard is anything
but ordinary. Holding audiences
at ransom with her live performances
is this artist’s trademark, her
outstanding display of range and
precise command of notes is what
stars are made of. She has star quality
in abundance, and it’s only a matter of
time before a UK crossover audience
N
athan Phillips Square hosts
Sounds in the City presented by
Scotiabank, a weekly, lunchtime
concert series. Presenting a diverse
spectrum of Canadian music that
includes roots, jazz, reggae, Cletic
and country rock, Sounds in the City
is complimented by Toronto’s famous
Farmers’ Market allowing audiences to
shop after taking in the concert.
Confirmed acts include jazz vocalist
Alex Pangman and Her Alleycats (July
2), Afropan Steelband (July 23),
singer songwriter Gregga Lawless
(July 30), and the country rock
soung of Luther Wright & the Wrongs
(August 6). Sounds in the City runs
July 2 - August 27 at Nathan Phillips
Square from noon to 2 pm.
from pg19
discover as much. Along her life’s
journey she has acquired the voice,
looks and expertise of a class
international act and now finally has
the right material behind her.
Although by no means confined to just
singing reggae - despite having won at
least one Top Female Reggae Singer
award during her career thus far - she
has nevertheless delivered the classiest
female reggae album of the year. The
sound is refined and sensuous; her
covers of well known hits reflecting
the polish and finesse of a myriad
successful cabaret and nightclub
dates, yet being delivered with such
soul, it’s as if she’s breathing new life
into them. For further information
and bookings please call 416-2442721.
DONNA MAKEDA
GREAT PRICES **QUALITY SERVICE ** WE DELIVER
Releases new 7”-45
Side A: Jah Ah De Rulah
Side AA: Wonder Weed
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RECORD STORES
or call: 416-287-9484
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DON’S
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TORONTO, ONTARIO
TEL: (416) 656-1741 OR 658-7365
Makin’ Waves
debut album. Meanwhile, Sean and
Mr. Vegas joined forces with
producer Tony Kelly and multi-platinum
rapper DMX for “Top Shotta”, a
song on the BELLY soundtrack,
further lifting Sean’s rep in the states.
A
fter a fierce remix on the Punany
riddim, ‘“Hot Gal Today” joined
“Deport Them” in rocking American
hip-hop and R&B radio station
(NYC’s Hot 97), and the first reggae
artist to simultaneously chart two
singles from the same album (“Hot Gal
Today” at #66 and “Deport Them” at
#85) on the Billboard R&B Single
Chart. “Hot Gal Today” also hit
number 6 on the Billboard Top Rap
Singles Chart. With all the radio play
on New York’s Hot 97, Sean built up
a major New York City base among
tastemaker disc jockeys and true hiphop fans.
S
ean was named #3 Reggae Artist of
the Year by Billboard and STAGE
ONE was named Billboard’s #4
Reggae Album of the Year; “Hot Gal
Today” was featured on the SHAFT
soundtrack. The sales of STAGE ONE
went through the roof, making Sean
Paul the biggest selling current artist
on VP Records. At the same time, Sean
continued his string of Jamaican
successes with “No Bligh” for
Penthouse Records, “Check It
Deeply” for In The Streetz and “My
Name” for Shocking Vibes.
N
otably, Sean was the first reggae
artist to perform on Hot 97’s
Summer Jam, one of the most important
yearly American R&B/Hip-Hop
concert. “Suddenly, I was with artists
who were my mentors,” Sean explains.
“I met Big Daddy Kane, Snoop,
Aaliyah; there I was, talking to
Funkmaster Flex. It was crazy.” That
summer, Sean rocked Summer Jam-type
shows from Miami to Boston.
A
forward-looking artist, Sean
began work on DUTTY ROCK, his
next album, by continuing to record
dancehall smashes with reggae music’s
top producers. The team of Sean and
Tony Kelly scored again with “Like
Glue” on the Buyout riddim. Next,
working in combination with sexy
Ce’Cile, Sean voiced on the hottest
riddim of 2001, the Jeremy Hardingproduced Liquid, to make the hit
single, “Can You Do The Work.”
Both songs blaze on DUTTY ROCK.
A
s of this writing, Sean’s “Gimme
The Light,” a smoking performance
on the Buzz riddim, is a huge hit
inJamaica, Miami, New York and
London and has begun crossing over
with major airplay on New York’s Hot
97 and Miami’s Power 96. “Give Me
The Light” is the leadoff single on
DUTTY ROCK. Other outstanding
tracks include “I’m Still In Love With
You”, featuring Sean and Sasha on a
romantic cover of the Alton
Ellis/Marcia Akins classic. The album
also boasts “Punkie”, a huge hit
around the Caribbean and in Latin hiphop clubs in the Northeast, and will
include a fantastico Spanish version of
“Punkie”.
from pg 20
the same time, Sean and Lady Say
performed on a Beenie Man song
produced by the Neptunes, who are
working on a banging track for
DUTTY ROCK. Sean also guested on
songs by Razel of The Roots and Tony
Touch; in return, Razel and Tony
produced a track apiece for DUTTY
ROCK further cementing Sean’s
unique position as one of hip-hop’s
most respected Jamaican deejays.
W
ith the release of DUTTY ROCK,
Sean Paul is poised to generate a
mass of new fans both in dancehall
reggae and in hip-hop. “I see dancehall
reggae and hip-hop as fused together,”
Sean Paul explains. “When I was a kid,
they were the two kinds of music that
spoke to me and said ‘MOVE!’ For
more information please contact
VIRGIN MUSIC CANADA @
905.678.4488 x.833 or email [email protected] or check
http://media.virginmusic.ca
W
ith his radio success in the
States, Sean stepped out on a
forthcoming track for Mya. Around
(Courtesy of Virgin Music Canada)
The Police, helping his older brother
Sean stage air-band performances and
singing for his first audiences in grade
school. Then, when he was in his early
teens, the largely Irish- Canadian area
saw an influx of Jamaican residents,
who brought reggae with them.
Darrin O’Brien was hooked. “I used
to get tapes from Jamaica that’d been
dubbed like a hundred times, you
could barely hear it. I’d, like, program
my mind, almost like a game, playing
and rewinding. I wasn’t trying to learn
it to sing it. I just wanted to know
what they were saying!” Soon the
patois “just came out of me,” he says.
T
here were, of course, some nowfamous diversions on his musical
route. SNOW was continually in
trouble with the law in his teens. There
was the phony attempted murder rap
for which he was acquitted and later
chronicled in “Informer”. It was on a
trip to New York City while on bail
for an assault charge back home that
SNOW was discovered by MC Shan.
Shan was so impressed by the “white
boy from Canada’s” freestyle skills he
rushed him into a studio to make what
would be the debut 12 INCHES OF
SNOW. “I didn’t even think it was
going to come out,” he says. “I
thought it was just a joke.”
A
fter shooting a video for
“Informer”, he returned to
Toronto for sentencing on the assault
charge. He plead guilty and got a year.
He didn’t hear the mixed version of his
album. He first saw the “Informer”
video in prison.
“I got out after eight months. I got
into a limousine and I was gone. Paris,
Rome, Germany.”
“Informer” held the #1 spot on the
Billboard Singles Chart for seven
weeks in 1993, entering up a Guiness
Book of World Records as the
biggest selling reggae single and
highest charting reggae single in
history. “Informer” went on to sell 8
million units worldwide and 3.2
million units in the U.S.
N
S
on of famous musician
Vernas Satchmo Morris,
brother of Naggo Morris “Comediot”.
H
e was leader for the
group “Negus Morris
and the Coasters”. Now lead
NEW RELEASE “BLESS”
By: SISTER NICKY
IN STORES NOW
singer
for
the
new
“HEPTONES” now based in
London, England.
S
ome of Negus Morris’s
hit tunes are “IN MY
HOUSE”,
“FLOWER
POWER”, “JAH GUIDE”,
“WONDERFUL WORLD”,
“MANDELA”,
“WHERE
GOOD MUSIC GONE”,
and many others.
A
nd he remains proud of what he
considers the product of multicultural Toronto: Jamaican dancehall
and American R&B filtered through an
Irish kid who jokes that his only excuse
for not “going country” is that he’s
yet to find a pair of cowboy boots he
doesn’t hate. For more information
please contact Virgin Music Canada @
905.678.4488 x. 833.
A
guy who remembers when he had
“no dreams”, SNOW laughs his
self-effacing laugh as he looks back on
the twist of fate that made him a
household name. He has long since
ditched his criminal past, but held on
NEGUS MORRIS & THE HEPTONES
egus Morris, singer,
writer, dancer and
producer,
hails
from
KIngston, Jamaica.
from page 9
to his roots. He still has the same
girlfriend (16 years and counting),
and is devoted to their seven-year-old
daughter, Justuss.
N
egus Morris has toured
countries such as Japan,
England, Germany, North
America and the United
States.
F
or more information and
to order a copy of Negus
Morris’s CD entitled “IN MY
HOUSE”, call: 416-2745017.
reggaeXclusive sympaties go out to the
family & children of Ras Ringo of Negus I
Power who passed away recently. We know
that he is in a better place. Jah Live
SOUND SYSTEM LISTINGS
Black Empress
Negus I Power
Trinity Sound
Delta Supreme
King Sturgrav
King Turbo
Soul Sistah
Soul To Soul
StoneLove
King Emperor Sound
King Majesty Sound
King Turbo
Black Mellody
Rebel Tone
Star Trek
Ghetto Fabulous
Eclipse Sound
Bus De Dance
DJ Cipha Sounds
Millitary
Rennaisance Sound
Soul Controllers
For more information or to order
your copy call: 647-296-3401
LOOK OUT FOR:
“MIRACLE”
SOON TO BE
RELEASED
EYEONE RECORDS PRESENTS
AVAILABLE IN STORES NOW To Order Your Copy Call: 416-653-3444 or check our website at:
www,eagleforceent.com or visit your local record store. Look out for DESTINY VOLUME 2 To be released soon.

ReggaeXclusive - caribbeanmusic.ca

Transcription

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