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Spring 2016 World Edition Magazine
Jamaica
has
Jamnesia
The Revolution
and Revelation of
the
Mystic Revealers
Featuring
Billy Mystic
+
Fyakin
Taj Weekes
EarthKry
Runkus
Agape ft. Nadia Harris
Kahlilah Rose
ORieL
Dan Giovanni
Davianah
Letter From the Editor
Welcome to the Spring World Edition of Island Stage Magazine! We started 2016 in Jamaica
at Rebel Salute, and Sista Irie captured the essence of this EPIC festival once again!
There are plenty of festivals to attend this year, and Island Stage is proud to be partnered
with a select few, and we think that they are among the Best of the Best! Be sure to click
on the ads inside of the magazine and be transported to the websites to purchase tickets to
your favorite festivals, including Field of Haze, California Roots, Roots Reggae Houston,
Sierra Nevada World Music Festival, Reggae on the River and Rototom Sunsplash!!
Our cover features a photo of Billy Wilmot AKA Billy Mystic of The Mystic Revealers
riding the ‘Jamnesia’ waves in Bull Bay Jamaica. (cover photo by ©Ishack Wilmot)
What is Jamnesia you ask? You are about to find out! Hint: What do you get when you mix
surfing, music, a stage with a live audience, and a veteran reggae artist? Lloyd Stanbury and Sista Irie spent time with Billy discussing
everything from the state of the music industry, reggae revival, and ganja reform in Jamaica. This is a great interview and you will
learn some things you never knew!!
Maliika Walker attended the Taj Weekes album release party for LOVE, Herb & Reggae and wrote a beautiful article about the
album along with some of the very important humanitarian work Taj Weekes & Adowa are involved in.
Island Stage is very proud to present to you our featured artist F Y A K I N. His recent debut album release “Child of the Nile” and
his upcoming single release on March 11th “Warrior Ways” are MUST HAVES! This young up and coming artist is a positive force in
the industry and you will be hearing a lot more from him!
We are introducing our Spotlight Artists, Agape ft. Nadia Harris, EarthKry, Runkus, Davianah, Dan Giovanni, Khaliah Rose and
ORieL.
Each article is linked so that you can view videos as well as purchase the music!
As always, we want to thank you for supporting Island Stage Magazine, Reggae Music and
Culture! We cannot keep doing what we do without your support and love, so on behalf of all of
us at Island Stage, and from the artists we support, WE THANK YOU!!
HAPPY SPRINGTIME!! ONE LOVE~
Susan & the Island Stage Team
TABLE OF CONTENTS
11.
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63.
Island Stage covers and features the
best Reggae festivals on Earth!!
See some of what’s coming up and get
ready for a great 2016 Festival season!
Reggae on the River © Lee Abel Photography
© 2016 Sista Irie Photography
Island Stage Magazine
REBEL SALUTE with JAH BY MY SIDE
Rebel Salute, 2016 was rich with roots and culture. As a
media person traveling to the festival for the 12th year,
I gain substantially from the educational nuances of the
reggae messages and firmly root myself into the fullness and
legacy of Jamaican music. Vintage singers and bands such
as the Nyahbinghi Rasta Indigenous Village, the Congos,
Abyssinians, Heptones and Viceroys set the mood around the
historical root from which all following music emerged. These
legendary forefathers must be proud to observe emerging
youth such as Uprising Roots Band, Earthkry, Runkus, Kabaka
Pyramid, Kelissa, Khalilah Rose, Nadia McAnuff and Davianah
shining a new path of educational and socially conscious
music imbibed in historical culture.
by Sista Irie, Austin, Texas
“Every man must decide whether he will walk in the light of
creative altruism or in the dark of destructive selfishness.”
Martin Luther King
Creative altruism is a practice of selfless concern benefiting
and enhancing the well being of others. In 1994, Rebel Salute
took a risk by celebrating Tony Rebel’s birthday in an effort to
empower humanity through musical consciousness and Rasta
livity. One might say Rebel Salute was an earlier version of a
Reggae Revival since Tony Rebel and Garnet Silk’s presence
in the reggae music industry jumpstarted a turnaround from
a dull, lifeless, dancehall culture into a rich legacy of African
based pride and consciousness. As a result, reggae and Rasta
sustained recognition as an integral part of Jamaica’s cultural
heritage. Rebel Salute was able to re-establish a social
activist mentality and a musical rebirth through the vision and
mission of a finely tuned reggae festival. Twenty-two years
later, REBEL SALUTE has grown significantly, inspiring writers,
photographers, fans and artists from many nations to travel
from all corners of the globe to witness JAMAICAN MUSICAL
CULTURE in it’s finest and most professional setting, the real
Jamaica.
Rebel Salute is powerful. The touching performance of Andrew
and Andre Tosh brought tears to my eyes. The continuing
introduction of offsprings of reggae legends has contributed
greatly to the advancement and inspiration of today’s reggae
industry. Beres Hammond ignited a vocally animated crowd
merely by walking on stage. After a long and welcomed
sentimental journey of top hits, I once again filled with tears
as he brought ‘Queen of Reggae,’ Marcia Griffiths onstage
for an impressive duet of Live On. There is no doubt that the
performance by Beres was the most critically acclaimed of
both nights.
Rounding out other tremendously popular performances was
Queen Ifrica, Anthony Cruz, I Octane, Turbulence, Chezidek,
Bugle, Louie Culture, Nesbeth, and of course, David Brooks
(Mavado).
Ironically, the rest of the world is already enamored with
Jamaican culture to the point of imitation and integration
into international cultures. Jamaica has not fully opened
it’s eyes or ears to this established reality of world
appreciation. Nor has it capitalized in a manner to introduce
expanded financial stability, increased artistic opportunities,
reduced crime rates, and enhanced national pride and
acknowledgement. Rebel Salute is a clear demonstration of
the power of the music and with it’s success and maturity,
this festival can be a pivotal opportunity to sharpen focus and
expand economic viability for a nation sorely in need. Wake
Up politicians, wake up and let the people live!
March/April 2016
Towards the end of the second night, just as David Brooks
ended his invigorated set, Mutabaruka, asked the crowd
who they wanted to see next. The response was loud and
overwhelming….”MAVADO” they cheered. Muta say…”whe oonu
say?” The fans responded that they just heard David Brooks,
now they want Mavado!
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12
www.island-stage.com
In life it is important to know some risks eventually become
community standards. The decriminalization of herb in
Jamaica is a giant step prophesied by reggae’s most militant
musical stalwart, Peter Tosh. This year may also see the
realization of the Peter Tosh Museum in Kingston. Jamaica
has now extended a ganja exemption to two events including
Rebel Salute. Tony Rebel remains on the cutting edge of
change ensuring the Rasta community benefits in terms
of religious freedom while introducing the educational and
medicinal aspects of ganja within a new area in the festival
referred to as Herb Curb.
Big heartfelt thanks to Tony Rebel, Jahyudah Barrett, Kenya
Barrett, Kerise Wright, Ryan, Mr. Andrews and all of the Rebel
Salute crew working so hard for so long to create one of the
greatest shows on Earth.
© 2016 Reggae Reflection
March/April 2016
PAGE
16
see additional photos at www.island-stage.com/
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Mystic Revealers
© 1993 Lee Abel Photography
The Revolution and Revelation of the
Mystic Revealers
The musical success of the Mystic Revealers gave them
lucrative opportunities to tour the USA, UK, Japan and Europe,
most notably on the early Reggae Sunsplash World Tours.
However, at that time the reggae music industry in Jamaica
began to change rapidly, both musically and technologically,
impacting the viability of some of the Island’s most profound
roots contributors.
“There’s a natural mystic blowing through the air, if you listen
carefully now, you will hear..” Bob Marley
The MYSTIC REVEALERS play a unique role, past and
present, in their contribution to a fertile environment that
defined Rastafari philosophy as the root of Jamaican music.
For those who do not know Jamaica’s, Billy “Mystic”
Wilmott, or those who do not have a deep understanding of
the role he played in the success of roots reggae music, stay
tuned to this interview captured by Photojournalist, Beverly
“Sista Irie” Shaw and Entertainment Attorney, Lloyd Stanbury
in the Spring of 2015. In Billy’s own words, a new light of
consciousness beams from his humble assessment of years
gone by regarding the evolution of roots reggae music. This is
the story behind the story.
The Mystic Revealers CD release (1995) entitled “TIME
AND SPACE” was even more prophetic in that those very
words describe the impact that both time and space had
on the success of many Jamaican artists. Just as the Mystic
Revealers completed their most productive years with multiple
releases, time changed everything. Jamaican music suddenly
took a major detour away from roots Reggae with the rise of
Dancehall dejays and the onset of computerized production,
slack lyrics and glorification of gangster lifestyle . Roots
became a thing of the past, and for many years was lost in a
warp of time and space.
The band’s four founding members include Kingston-born
vocalist, guitarist, and songwriter Billy “Mystic” Wilmot;
Nicholas “Drummie” Henry, bass guitarist Leroy “Lion”
Edwards and guitarist and vocalist Steve Davis, the son
of legendary song writer Sangie Davis. Their arrival on the
reggae scene began in the mid 1980’s with a song entitled
‘Winner’ released on their own Negus Beat Label. Their
contributions to reggae music came at a time when spiritual
Rastafarian concepts had formed the foundation of roots
music from earlier legends such as Burning Spear, Jacob Miller
and Bob Marley. Jimmy Cliff also took notice and produced a
second Mystic Revealers single entitled ‘Mash Up Apartheid’
on his Oneness label. Jimmy has continued to be a strong
mentor to lead vocalist Billy Mystic, owner of JAMNESIA and
creator of the Jamaica Surfing Association.
March/April 2016
Ironically, and thankfully, for Billy Mystic and friends, time
could never stand still. Although, his interests turned to
surfing and acting as a result of the declining financial return
of the roots music industry, Billy kept the musical incubator
fired up, and over time, his influence on a new breed of
roots reggae artists is as immeasurable as it is remarkable. Everyone is now talking about a Reggae Revival, however,
many fans do not know what was happening behind the
scenes. Billy Mystic, was the architect of the emergence of
those young artists who suddenly appeared on the scene
as saviors of roots reggae music. Remarkably, he did this
through a south coast surfing venue where the waves of the
sea met the waves of the music and JAMNESIA found it’s
memory.
PAGE
23
Billy Mystic Interview - with Sista Irie and Lloyd Stanbury
at JAMNESIA Bull Bay St Andrew, Jamaica on the beach,
against the breeze.
Bob Marley was no longer flying the
banner out there in the world and
dictating what internationally produced
reggae should
SISTA IRIE : As a radio DJ in Austin, Texas, I received copies
of the Mystic Revealers CDs in the mid-nineties and became
very excited about the band’s music. It was amazing but then
the Mystic Revealers suddenly disappeared. What happened?
BILLY: Well, what happened really… the music business
happened. That’s really what that was all about. We know
how many record stores closed down coming into the digital
era, and we know how many big record companies downsized.
Their income stream had been from record sales and that
is what made them able to support groups with recording
contracts. It was in their best interest to invest money in a
group and produce an album that they would have exclusive
rights to distribute and sell.
When the digital era came, music became much more
available to people, they could access songs much more
easily. If the record store didn’t have it, it wasn’t a problem,
you could hear it somewhere. You could go online. The
argument at that time, was you would have many more
additional fans that you did not have before. But, with all
these new fans, there was no way to collect a dollar from
them. So it really struck home to me. Even before that, when
records moved from vinyl to CD, I realized I didn’t know how
we were going to make money. We were a full band going on
tour and the record company could not cough up $30,000 in
tour support for even a month. They didn’t have interest, as
they were not selling large numbers anymore. So we started
losing that kind of financial support from record companies.
If you are not selling millions, and record companies are
wondering who they are gonna let go, the groups not selling
as much suffer, such as our group.
At that time dancehall was coming on strong, and our type of
sophisticated reggae was not in the forefront in Jamaica.
March/April 2016
© 1993 Lee Abel Photography
PAGE
24
Lloyd Stanbury and Billy Mystic
Bob Marley was no longer flying the banner out there in the
world and dictating what internationally produced reggae
should sound like. There was no new king of reggae. There
was King Yellowman. So when people looked to Jamaica, now
that Bob Marley was gone, they had to re-learn Jamaican
music, re-learn this new genre, this new dancehall thing.
We were in a situation where we couldn’t operate in that
environment without the type of financial support from
the record company that we used to have. We had a lot of
people necessary to make the tour work at the level we were
operating. We were unable to support that, and with the
record contract coming to a close, we did not really want to
pursue a new record contract. It looked like we were getting
less and less and less. We still considered our music and
material at the same caliber and value. We decided maybe it
was just the end of our era, and let’s just stop and see what
happens next.
a venue, a date, and an occasion that could satisfy their
experiences of what it is like to be on a real stage. To perform
in front of a live audience with a band behind them, not on
a sound system with a riddim track, not with a band in a
rehearsal room, not in a studio with headphones on, but the
REAL THING, in front of REAL PEOPLE.
For a lot of young artists coming up, even in our days, you
write a song, you try to compose some music, whether
you are an instrumentalist or you hire people, or you find a
producer or whatever you need to transform music from an
idea in your head into a produced and recorded track. Then,
you take that track and try to get it on the air with the radio
station disc jockeys, and also take it to the sound system man
who may play the track. Hopefully some man fire some shot
and flash some lighter and forward up your tune two time and
put it on the radio, and the radio station get jam up with calls,
saying give me that one again and ray ray. When that start
happening, some show promoter says he want you for a show
and you get your first show with your tune mashing up the
place, but you have never been on a stage in your life. When
they call you out on stage, you are unsure, shy, you have no
stage presence, you can’t command the audience, you don’t
treat the thing like all of this is set up for me. You know? Like
this is my shit in front of me here. You don’t feel like that,
because it’s a brand new experience.
LLOYD: This was about when?
BILLY: Late nineties to early two thousands.
LLOYD: You really felt you were done?
BILLY: Yes, done with the music. It’s like I have a family
of five children to feed, and all of a sudden, when I used
to come back from touring with thousands of dollars in my
pocket, I am now coming home with hundreds of dollars. It is
not like I have fewer responsibilities or less expenses. They
were just as much or even more.
Well now you have these new young artists who were
not getting booked but they were tremendously popular.
JAMNESIA happens every two weeks, so they come and when
they come, they get a live audience who do not have to pay
a cover charge. You never know what you are going to see.
Sometimes its garbage, but we clap them and say good try
anyway. It’s not the kind of stage where someone is afraid.
It’s one of the most welcoming if you have never been on a
stage, and it is going to happen regularly. You are going to
be able to come and you don’t have to get booked. You just
come and sit down by the stage and when one man come off,
you just try to beat everyone else to the stage and do your
thing, and if people like you, they give you some forward.
When you finish Uncle Billy come to you and say, my youth
SISTA IRIE: Well, now you are starting to record again.
What has changed?
BILLY: It’s really the people are asking for the material.
We are just going along with it. What happened is Chronixx,
Kabaka Pyramid and Jesse Royal. All of them are kids who
came through the JAMNESIA experience. They gathered
experience right here with their stage performance long
before they were artists of note. They were just another
youngster picking up a mic and performing. JAMNESIA was
March/April 2016
PAGE
26
© Ishack Wilmot
you don’t have enough eye contact with the audience, you
look too much at the bassie.
is being revived? When they go back now and find out, all of
a sudden, Billy Mystic and the Mystic Revealers is something,
because we played a major part in this revival thing. So there
is natural attention being paid. At the same time I formed the
Surfing Association and did a whole heap of work promoting
surfing in Jamaica. Millions of surfers love reggae music too,
so there is that connection. So when VP come to we and
say they would love to have our catalogue since it is not out
there,
SISTA IRIE: So you coach them?
BILLY: Yeah Man. Anything I see coming across that takes
away from what they are trying to achieve, I point it out
to them. So they take these things and work on them until
they get good. And when they return they start to mash up
JAMNESIA and build a following. Then the JAMNESIA crowd
hears this artist, Chronixx is performing at another venue,
and they been watching Chronixx for two years, and now
here is the first public show for Chronixx. They all want to
be there because they know nobody knows this youth, but
they want to watch this youth mash up the crowd now. You
understand what I am dealing with? And when he goes out
there on stage he is used to that feeling of commanding a
place and a space. So the first time the general public sees
him, he is so professional, polished and poised, and knows
what to say, when to be quiet, when to wheel it. Even with
the same lyrics, had he not had that polish, he would never
have had that impact. So these youths then go on tour and
do interviews. Eventually a question is asked about the
development of their career, and they say…. JAMNESIA. And
everyone then start to mention this ting.
I said no, but I can give you a compilation and see what
happens and what kind of response we get. We have a whole
heap of songs for the next release.
SISTA IRIE: So it sounds like you have an album about to
come out?
Billy: It depends on the response to this “Crucial Cuts”
movement now. We want to do some touring because we
want to make some money. We cut down the group for the
past two years. Me, Nicky and Lion been getting some private
rehearsals, and make our own harmonies. We have been
doing a lot of hard work to play and sing. Right now if people
call me and want an acoustic set we can be a drum, base and
guitar and entertain for about an hour. So we are at that level
now. So we can travel with ourselves, and also, a keyboardist
and engineer.
SISTA IRIE: When did JAMNESIA start?
SISTA IRIE: What do you think about the fact that so many
of the hottest selling acts in the USA and Europe are bands
like Rebelution, SOJA, Alborosie, and Gentlemen. They are the
ones selling records and packing the concerts? What do you
think about that?
BILLY: About eight years ago
SISTA IRIE: And it has always been an open house?
BILLY: Yeah since the beginning and that is what really
pulled Mystic Revealers out because people started making
the connection. What began to happen is that these young
artists attracted a new set of reggae aficionados in the
marketplace. They bring fans their own age, their own
generation. But they attracted them not to dancehall reggae
but to the more roots, and these aficionados are the ones who
have gone back looking to see where the root of this music
come from? It is not something new. It is a revival…so what
March/April 2016
BILLY: Well good music is good music. You can’t say where
somebody comes from makes their music good or not good.
You have some musicians and artists who come from Jamaica
that are making garbage. They may be recording at Tuff Gong
and pure rubbish they make. So if you hear good music is
made somewhere else you can’t be surprised.
PAGE
28
Jimmy Cliff say, there is a thing called music and another
thing named music business, and him say to me “Billy
you have to remember you are getting into the music
business. It’s not just music, its music business, but
guess what, it is ten percent music and 90 percent
business.” So, you have to be aware and watch the thing.
When you ask me what I think about these groups, obviously,
they have their shit together. You understand? They study the
market.
They are doing their business. They know what the
people want to hear. They realize they are competing in a
marketplace where people want to hear reggae music. “Can
we make reggae music in such a way the people will
come to listen to us instead of paying three times as
much to see a group from Jamaica? Hell yeah! We went
to music school. Hey let’s take a trip to Jamaica and
hang out for a month or two. Let’s make a track with
Buju or Sly and Robbie.” When them go back home
them legit, because they spent three months in Jamaica
recording with Sly and Robbie so you can’t talk to them.
Them is the closest you are gonna get to Jamaica. So
its like the people up there say, “Rebelution, I heard
they just got back from Jamaica, they are doing a new
album and I even hear they have Chronixx on one of
the tracks and it is SICK BRO! SICK. I am buying a new
bong for that concert man.”
They know what they are doing. I could never be upset with
them for taking advantage of something we neglect. We are
the ones that look stupid. When you feel you can’t tour unless
you take fifteen and twenty men, and can’t take less than
thirty thousand for a show, you want five star hotel, and you
have to have a coach, and you need Evian water, and you
have all these kinds of demands that make things difficult.
You cut off your own neck. I can never be upset as long as
the music they are making is good music and the message is
good. Give thanks, JAH see to make it go that way. And let’s
give thanks that the message is good and not a negative one
because right here in Jamaica, at least 50% or more of the
March/April 2016
PAGE
29
© Ishack Wilmot
reggae music going out is rubbish, and half of the rest is not
fit for airplay. I have nothing against the exposure nor the
explosion uprising and success of foreign reggae groups. Mi
applaud them.
law and legislation, if me was in charge of the government, I
would not have a problem with weed. I would see weed as a
big opportunity for the government to make a whole heap of
money.
LLOYD: How do you see the relationship between Ganja and
reggae music, and what do you think of this whole law reform
process both locally and internationally when it comes to
marijuana?
First of all, for all the people incarcerated on a weed charge,
you have to feed, shelter, secure, and provide electricity and
water and keep their place clean, provide toilet facility and
maintenance of the property. Each one of them have a bill per
annum. We wouldn’t have that cost.
BILLY: Well it’s like when people make music, when some
man has his girl, him not just take out him girl and carry her
home to make love to her. Him feel a little better or she feel
a little better if she has a drink of wine. Or he might take two
stout, two Guinness, two Dragon or him Spirulina or what
have you. Something to get him feeling that way, feeling less
inhibited. So you find, nuff man use alcohol to achieve that
so he can get into that emotional state of mind, and he find
that alcohol enhance that. So maybe he is a little shy to say
something romantic to him girl, so when he has two juice, he
will say it. He is not ashamed and feel no way about it. Him
find the lyrics easier in that time!
I would want to establish certain fundamental bylaws. If you
plant weed, you have to own or lease land or rent it. You
must be able to prove you have a right to use that piece of
land. Then you come and fill out an application and tell me
how much weed you are going to produce. I will give you
a license and provide police protection for your crop and
agricultural officers to help assist you in marijuana production.
Those people already exist. You bring them up to speed so
they understand medical and other types of ganja use and
production. They could encourage the growing of marijuana
for medical, industrial or needs other than smoking, and issue
licenses for all growing from which revenue will be collected
by the Government.
A lot of reggae music was created by Rastafari people, and
Rasta been using marijuana even before there was a formal
recording or music industry in Jamaica. You find, all of these
Rasta who singing and chanting and beat Buru drum, all of
them smoke dem chalice and burn them hot rod pipe and
do them things from them times. It was just another part of
the music environment. It’s not like weed was singled out
and used and now we make a music. Weed was just part of
everyday life. Weed was always the poor man’s cigarette. If
him can’t buy it, him can pop off a bud and smoke it. Ganja
was available and part of that environment. That to me,
is what it was and it’s relationship. It was just part of the
Jamaican culture and same way it play a part in reggae music,
it play a part in law, because lawyers smoke it, and same
with medicine since doctors smoke it. Ganja plays a part in
the business because the businessman smoke it. Even granny
who fight against it, boil tea. So, you can’t get it out of the
culture. So when you look at the legal aspect and toward the
March/April 2016
The man who comes from town in a panel van and goes
to buy 250 pounds must have a commercial license for
wholesale and distribution. When he brings it to town and
Johnnie’s Hideout want a pound and half, Johnnie must have
a license to distribute like a liquor license and charge GCT to
the public and pay it over to the government. The government
can collect all that money right down the line. The only law to
really worry about is that you must be 18 or older to smoke.
Please smoke responsibly.
I would not make it into a big thing like you have to prove
that you are Rasta and it is for sacramental use. Do I have to
prove I am Roman Catholic to buy wine? Why these Roman
Catholic have wine as a sacrament and offerings and tings,
and yet no one has to prove they are Catholic to drink the
wine? That is stupid.
PAGE
31
© Ishack Wilmot
It is either legal, or its not legal. The half way thing is
designed to create more complication so the legislators happy
and can say they have something to do.
LLOYD: - How do you see the relationship between Jamaica
as a country known for marijuana and the rest of the world.
It is easy to understand and relate to your scenario as to how
the government should deal with marijuana, but we all would
like to see the world partake in marijuana from Jamaica that
they love, just like they love the reggae. How do we deal
with that in an environment where there are still international
conventions. Even the Jamaican government uses that as an
excuse, by saying the international conventions prevent them
from moving forward. This has nothing to do with our internal
affairs. How do you see dealing with that?
BILLY: That’s why I say our thing is sufficient to create
industry within. It’s already there running. We can’t provide
ganja for smoking purposes internationally.
BILLY: For example with hemp. They put in a plan, hemp to
make rope and cloth and all them things, and Jamaica gonna
stop using plastic rice bag. They could replace it with hemp.
We need a leader who will stand up to the people selling
us rice. Why should my grand-pickney suffer in the future?
People don’t look far enough down the line. You can’t be
independent if you can’t feed yourselves. We need to create
our thing internally first. Our thing must make sense locally.
We have to say why it is we need hemp production. We
need to cut out plastic. We must look at all aspects of hemp
production. We also need to expand solar and wind energy
and hydro. That we have. Seven thousand feet of elevation
and 500 rivers that come down the mountainside. We have
the sun and can provide our electricity every day of the year.
The trade winds blow every day of the year. We deal with all
the power we need. We need some brave leaders to get this
sorted out. Some will suffer, yes, but if we don’t make these
changes, all of us will suffer forever.
LLOYD: We could also provide an environment within Jamaica
that brings the international community to Jamaica.
BILLY: We have to be the leaders. We can’t wait until the
world is ready.
SISTA IRIE: I think medical marijuana will open the door
for people coming to Jamaica and looking for high quality
marijuana for medical reasons.
LLOYD: Yes, it definitely will, but I agree with Billy we should
go all the way. It should not be decriminalized and available
for medical use only, and then later on we revisit it. Just go all
the way.
BILLY: Yeah
LLOYD: Lets flip back a bit to Revealers. Are you headed back
on the road?
March/April 2016
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33
BILLY: Yeah man. The people want it. We are here and we
can sing same way. We have a whole heap of interests, and
we have another thing going for us because of the years
we have been in it. We have gained respect from people
in the industry. Before, it was not as apparent. Some of
the big musicians we respect when we were coming up,
now that we reach an age, I see the same acceptance of
Revealers as one of the forerunners that gain respect and
notoriety for Jamaica. When you get that kind of respect and
acknowledgement from your peers, that encourages you. One
time I was a little youth but now I realize that I am a big man
and things are not the same. Life change now. The first time
someone look up to you and call you an elder, you say to
yourself when did I go there suh? If it was left up to you when
you are grey and your beard touch the ground, you still feel
like a youth. We have levels where we say yeah he is an adult
now and you gain respect and notoriety and when that comes
it puts you in a better position for people to listen to your
thing. You are not competing to have a hit single.
Your career does not depend on a hit by end of the month.
You are in a different category now. You just put out a song
and it becomes part of a collection. That is why now it seems
like our time has come.
March/April 2016
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34
Taj Weekes
Taj Weekes & Adowa ~
because of The Battle of Adowa, which took place in 1896.
Mussolini tried to take control of Ethiopia but Emperor Menelik
and his army fought off the onslaught with sticks, stones, and
the Ark of the Covenant. Taj Weekes and Adowa released four
albums between 2005 and 2013, their debut album, Hope
and Doubt (2005), Diedem (2008), Waterlogged Soul Kitchen
(2010), and Pariah in Transit (live album, 2013). These
albums were considered among the top albums of the year
they were released.
Love Herb & Reggae
Written by Maliika Walker
Once in awhile we all come in contact with phenomenons that
have the ability to affect positive change in the communities
in which we live. That most recent feeling for me came when
I heard the music of Taj Weekes for the first time. His music
drew me to remember why I fell in love with reggae music
in the first place. I love reggae music because it carries a
life force that has the power to change lives. Taj Weekes
& Adowa is one such phenomenon. Taj Weekes and Adowa
share their gift to the world through their music and passion
for helping others (human and animal rights).
His new album Love, Herb, and Reggae is an album which
includes songs that take a stand against homophobia, gun
violence, and remaining silent amongst evil but he does not
come across as preachy. Whenever I play a Taj Weekes
album I never skip songs because I believe every song is
a crucial message designed for us to hear. Taj eloquently
expresses himself about the issues we are facing today in
each song and recently, he shared why he titled the album
Love, Herb, and Reggae;
Taj Weekes was born on beautiful island of St. Lucia and is
the youngest of 10 children. He was introduced to music at
an early age. He, along with his siblings, used to perform for
their parents in the living room of their home. Their father
would end the night by performing a song for the family. He
started singing in church by age five and composing his own
calypso music by age eleven. Taj and his brothers started a
singing group modeled after the Jackson Five when he was
nine years old. Once the Rastafari movement made its way to
St. Lucia, he and his brothers gravitated to the Rastafari way
of life. At the age of 13 he had his own radio program in St.
Lucia. He would review albums by the likes of The Beatles,
Mighty Sparrow, and Jimmy Hendrix. It was then that he
realized that he focused his attention to song lyrics. So much
so that his job with the group with his brothers was to write
down and keep a record of the group’s lyrics.
“The album is called Love, Herb, and Reggae because I was
tired of hearing Sex, Drugs, and Rock & Roll. I felt Sex,
Drugs, and Rock & Roll was a little disruptive. I felt it was
time to make it a little easier so Sex became Love, Drugs
became Herb and Rock and Roll became Reggae. When I say
love, I mean a non-judgment all form of love because who are
we to judge anyway.”
The album is a striking work of art from the first note to the
last but I wanted to highlight a few tracks.
The album introduces itself to the listener with the
revolutionary tune, Let Your Voice. I was pushed to think
about all the times I wish I would have spoken up instead
of remaining silent. Whether it be the Black Lives Matter
movement, global warming, or a woman’s right to choose;
a social media post is not a substitute to actually make your
voice be heard. Taj Weekes shared the following about Let
Your Voice;
He eventually journeyed to the United States to launch his
music career. Taj Weekes formed the band Adowa when he
started his journey into reggae music. Taj Weekes great
grandparents were Ethiopian so the name Adowa was in
tribute to them. The name Adowa is very significant to
Ethiopians and those that are of the Rastafari way of life
March/April 2016
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37
“Our silence has made us complicit with whatever wrong
is happening in the world. I think we need to let our voice
be as loud as our silence on human rights, gay rights,
environmental rights, animal rights, all rights. Unless we
make our voices heard, evil will always triumph.”
“I think the songs are already written because there is a
level of consciousness that one brings to the process. These
words were there before I came so I am not reinventing the
wheel. I believe we must tap into what’s inside because the
words are floating around us. Most of my songs come to me
at around 2:00AM, when I’m sleeping. I believe in inspiration
(internal) and outspiration (outside influences). For me the
two come together and the song is written.”
Giant Beast is another highlight for me. The song talks about
Babylon falling. Babylon surrounds all of us. When I see
examples of bigotry, corruption, hunger, and injustice I think
Babylon must fall. This song declares that “one day the giant
beast will be standing broken.”
Bullet from a Gun talks about the effects of gun violence.
Whenever the news reports on someone being murdered, you
often see the victim’s family grieving, and then the rest of the
report is about the person who shot the victim. Bullet from
a Gun expresses the sorrow a loved one feels when losing
someone via a Bullet from a Gun. I truly believe bullets from
guns are a plague in our society and it will take all of us to
overcome this plague from continuing to take lives. The
lyrics below clearly describe the effects of gun violence in our
communities:
Taj Weekes touches on the issue within reggae music, the
image of the genre being homophobic, on the daring lead
single Here I Stand. Some of the lyrics include;
“She loves a woman not a man. Should he pretend to love a
woman, yet intend to love another in the end?”
This song deals with an issue that has plagued reggae for
some time and Taj Weekes faces the issue head on. The song
was inspired by an incident that happened at the SXSW fest
a few years ago. Apparently one journalist did not want to
interview him because she assumed he was homophobic due
to him being a reggae musician. This woman did not speak
with him, just prejudged him. Taj spoke about the incident
with his son, who challenged him to do something about it.
Taj then wrote a song sharing his thoughts on adults having
the right to love fellow adults, no matter if they share the
same genitalia. Taj, a happily married man with children, has
been dealing with negative feedback from some on the song
but he has expressed that he does not have the right to judge
others. He just wants people to love.
“A million birthdays will be missed, for a bullet from a gun.
A million smiles and cherished kisses from a daughter or a
son.”
On Mediocrity, Taj declares that, “he will not make peace
with mediocrity.” How often have we gotten comfortable with
our lives, even though we may not have reached the goal
we set? Circumstances can change that may draw us to be
complacent. When I hear Taj Weekes sing that “he will not
make peace with mediocrity”, I reflect on the times where I
may have done exactly that, and disguised this decision as “I
think this is good enough. I may not be at my goal yet but
this will be just fine”. That is the gift of music that keeps on
giving.
Taj Weekes lyrics usually captures my focus from the first
word to the last. Once I start listening to an artist’s music I
immediately began wondering about that artist’s process for
writing songs. How do the songs come to him? Taj Weekes
shared the following thoughts on songwriting at BRIC last
year:
March/April 2016
We all can hear the same lyrics and walk away with different
interpretations. A friend of mine felt Taj was speaking about
how people today seem to be fine with a mediocre showing of
action, and that posting something on social media in support
of a cause is enough to fight an issue.
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38
“I really dislike
generalizations. I
refuse to believe
that the entire
reggae community
is homophobic. I
mentioned my
thoughts on this to
my son and he asked
what I was going
to do about it. So I
wrote a song about it.”
- Taj Weekes
Taj Weekes discussing his groundbreaking new single,
Here I Stand. A song addressing homophobia.
“Love, Herb & Reggae,” the much anticipated 5th album
from Taj Weekes & Adowa debuted at #29 on the Billboard
Reggae Charts one week after its release. The album,
distributed by VPAL Music, has received critical acclaim,
garnering praise and reviews from across the globe. Dubbed
“a current-day roots reggae masterpiece” by New York Music
Daily, “Love, Herb & Reggae” addresses a wide range of issues
from activism, gun violence, laws regarding marijuana and
human rights. The first single, “Here I Stand”, is universally
considered to be an “anti-homophobia anthem”.
She feels the song is an extension of the track Let Your Voice,
declaring that mediocre actions towards fighting for our rights
will no longer be sufficient.
Taj Weekes is not only a gifted artist but a man that believes
in helping others. He is the UNICEF Ambassador for children
in St. Lucia and is very active with his non-profit organization,
They Often Cry Outreach (TOCO). TOCO’s mission statement
is that the organization is dedicated to improving the lives
of Caribbean youth through sports, health and enrichment
Program. Taj Weekes also released the followed statement
regarding TOCO:
“When poverty, violence and disease are discussed, no one
thinks about the Caribbean. It’s just a place to vacation and
sit in the sun. People don’t know that St. Lucia has one of the
highest rates of diabetes per capita in the world. They look at
the bare feet of the children playing soccer in the street and
don’t realize it’s because they have no shoes. It’s my mission
to expand awareness and aid for these issues which equally
affect the Caribbean, especially for the children and youth.”
Love, Herb, and Reggae is a must have for any lover of
music and it will inspire you to enact positive change on
yourself and/or others. The album is filled with songs that
will make you think about your silence, Babylon falling, gun
violence, and revolution. Give the album a listen and check
out Taj Weekes & Adowa live when they come to your area.
You will experience reggae music that will fill you up with
nothing but positive vibes and revolution.
“Let your vibes be high and your message mighty.” Taj
Weekes
March/April 2016
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40
FYAKIN
© K. Donovan Photography
FYAKIN
He’s had the opportunity to travel to America for the filming
of “Old Vibes” a song he did for the Upsetta Record label
based in Vermont, USA. When traveling to the States for
production work, he’s also performed on stages in New York,
Philadelphia, and South Florida.
Musician, Performer, Producer, Writer
Reggae / Reggae Soul / Dancehall
This year finds Fyakin working to perfect his skills as a
producer and musician, while continuing to write songs that
have a powerful and lasting effect.
If music can ever be described to have an element of “refined
rawness” then you have aptly described Fyakin’s music. A
young talent to rise out of Portmore, Fyakin is here to claim
his place in music history with his honest lyrics and signature
delivery.
In summer of 2015 Fyakin released his first full length album
titled “Child of The Nile” under his label, Nyle Banks
Music.
Fyakin was born in Kingston, Jamaica in 1988. Many persons
have been pleasantly surprised after listening to his music
as he sounds like a “seasoned Reggae veteran”. He realized
at an early age that ‘writing and chanting’ was his destiny.
He gratefully credits all he has accomplished to the positivity
imparted by his older brother, Neumowatt, a brilliant
songwriter. ‘The Most High calls on you when you are young,
cause you are strong’ comments a confident Fyakin.
Fyakin finds himself surrounded by other cultural Reggae
icons in the industry, such as I Wayne and Gyptian, who have
taken reggae to new heights over the past few years.
Fyakin humbly credits I Wayne for imparting valuable words
of wisdom that has helped to keep him on the righteous path.
‘I Wayne told me to sing life music, culture music. No gun
tunes, and that’s what I have been doing.’ He acknowledges
however, the influences of other reggae artistes such as
Burning Spear, I Wayne, Richie Spice, Jr Gong, Sizzla,
in steering Fyakin’s career in the right direction. He has
performed in front of some of island’s largest audiences by
making appearances at Sting, East Fest, Island Explosion,
Spring Break and many more.
In recent years Fyakin has been broadening the scope of his
musical reach by voicing for producers in America and Europe
as well as in Jamaica.
March/April 2016
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42
IS: Tell us about your artist name “Fyakin”
IS: What personal advice would you give to someone
wanting to pursue this career?
Fyakin: The name Fyakin came from an African name Akinshejula
which means valor awakes, brave. With that being said, the
message I deliver in my music is Fyah substance, so I decided to
put both words together and take shejula off. That’s how Fyakin
came about. I got the name at 5th element records from the man
himself “Subby”
Fyakin: Know what you are getting into before you get into it.
Basically have the knowledge of the business and how it works.
You have to love it and not just see it as a job only, make it your
passion. Lack of knowledge about the industry can hurt you in the
long run. Definately learn about the business aspects of the music
industry.
IS: How long have you been in the music industry?
IS: What can people expect to see at your LIVE
performances?
Fyakin: I have been doing music professionally 11 years now.
Before that, I write music and freestyle for my friends in school
and on the corner where we would showcase our musical skills and
talent.
Fyakin: You can expect a passionate performance and you might
see me playing some congo drums here and there, maybe playing
a little keyboard. You never know what can happen! Expect the
unexpected when it comes to me! I keep growing and finding new
talents each day.
IS: What are your most memorable moments musically?
Fyakin: My most memorable moment was back in 2008 when
I performed at Sizzla’s birthday bash at Temple Hall Estate
in Jamaica. I was entering the stage and started singing and
everyone came gathering at the foot of the stage cheering and
singing my song before I came to center stage. It was a little
scanty, meaning not alot of people at front stage the crowd was
scattered out on the lawn . I pulled those people in to listen to my
vibration and they loved it. It was definitely a good vibe, and I
even made the newspapers with the energy and vibe.
IS: How would you describe your music using only 3 or 4
words?
Fyakin: Soulful, Uplifting, Cultured and Truthful
IS: If you could change one thing about the music industry,
what would it be?
IS: What was the first tune to make it to airwaves?
Fyakin: I would love to see unity in the business. I would change
the politics that is taking away from the growth of the genre.
Fyakin: The first single that made it to airwaves was a song called
They Dont Know back in 2005. It was produced by Fifth Element
Records
IS: Do you have any other interests or talents you would
like to share with us? How do you like to enjoy your
relaxation time away from the music?
IS: How do you balance your music with other obligations mate, children, job?
Fyakin: I enjoy my time away from the music in the hills, under a
cool tree on a hammock,blazing my good green, just being around
the birds bees and mother nature. I enjoy the rivers with some
peace and quiet.
Fyakin: To be honest, music is my job and it’s like working
Monday to Friday and taking weekends off to spend time with the
family. I always try to do things with my family on weekends like
see a movie or something like that.
March/April 2016
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43
Artist: Fyakin
Title: Warrior Ways
Label: Nyle Banks Music
Release date: 3•11•16
Distributed by: @zojakworldwide
Artwork by: @kraiggibadrasta
© K. Donovan Photography
Artist
Spotlight
Agape
featuring
Nadia Harris
AGAPE FEATURING NADIA HARRIS
Hand in glove, Agape has performed with a wide range of
musicians for explosive live performances. They have as a
band or as DJ’s played at festivals, clubs and live venues in
Toronto, Miami, New York, Detroit , Rio de Janeiro, etc… Along
side artist such as Francois K, King Britt, Louie Vega, Brazilian
Girls, Bugz In The Attic, Thievery Corporation’s Federico
Aubele, Seu-Jorge, Jazz icons Medesky, Martin & Wood and
more…
Treading their own path through a diverse spectrum of
sounds and life experiences, Agape brings it all together in
a collaboration that ignores geographical locations and sound
barriers. The sound can be called “DUB” since it’s the element
that seems to mostly tie the strings of their prismatic sonic
collages. Elements are drawn from their Cultural roots and
take new forms.
Recently they where joined on stage by Grammy nominated
artist Talib Kweli to the delight of fans at the Florida Room in
Miami.
Agape is not so much about a particular style or brand of
music as much as it is about a feeling having much to do with
freedom.
They have also been collaborating with Miami’s New World
Symphony and have twice preformed “symphonic” sets with
special arrangements by Sam Hyken and full live string
and horn sections to the rave reviews of the audience and
participants.
The sound simply reflects their upbringing and the
environments around them. It’s live, organic and at the same
time electronic. Everything is everything; kind of like taking a
stroll in their native backyards. Visit a Toronto neighborhood
and you will be exposed to a canvas of ancient smells, tastes
and sounds that come from all corners of the Earth to find
harmony within a modern context. Take a drive around Miami
Beach and you will see the symbiotic integration of nature and
technology into an aesthetic whole that becomes something of
its own. This is more and more what we encounter in most of
the world’s major cities. This “melting pot” example is a good
way to describe the different elements that have produced
and influenced their sound, unintentionally.
In anticipation of their first upcoming album, Agape is poised
to rise with the times. As borders and walls come down and
technology brings new possibilities, new forms emerge to
bring expression and a voice to a planet in transition.
Tune in and join us in this journey.
It was during the frequent and prolonged stays in Miami that Producer/DJ Erick Paredes met Nadia Harris; a Jamaican
singer/songwriter who is no stranger to music-making. As she
is the daughter of a legendary roots recording artist, It was
a perfect match. Her voice is very unique and compliments
the music written and sound developed by Erick and brother
Patrick since their teens growing up in Toronto. Patrick who is
still based out of Toronto is active on all sides of production
and has been DJing for over a decade himself. The live band
is made up of an all-star cast of musicians.
March/April 2016
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© Jik Reuben
EarthKry
2016. The band anticipates taking their act to international
stages for further promotion.
Through the guidance of musicians Nambo Robinson and
Maurice Gordon, the band released their first E.P ‘Hard Road’
October 2015 during their island Hard Road Tour as they work
towards their release of the first album for 2016.
The EarthKry band was born and nurtured within the halls
of the Edna Manley College of The Visual & Performing Arts
in Kingston, Jamaica where four budding musicians hoped to
hone their skills. Their journey began in 2012 with a twist of
fate which brought together lead singer and guitarist Aldayne
Haughton, keyboard player Phillip Mcfarlane , drummer
Kieron Cunningham and bass guitarist Kamardo Blake, to
play a series of small gigs. Drawing inspiration from Bob
Marley and The Wailers, The Beatles, John Holt, Black Uhuru
and Steel Pulse, the group soon cemented a wholesome
fusion of Roots Reggae, Souls and Rock genres for a fresh
but universal sound.
Much like the iconic reggae outfit The Wailers, the band
chose its name, EarthKry, to signify its mission to voice the
grievances of the downtrodden through the vibrations of their
music. Befittingly, their debut single “9 to 5” echoes the daily
tribulations of the working class who are barely able to make
ends meet from their menial wages. In April 2015 EarthKry entered The Ostroda Festival’s
“World Reggae Contest” with their “9 to 5” single where
they became the only Jamaican band to make it to the
top ten, placing 7th out of 102 entries from across the
globe. Thereafter “9 to 5” was released on Amazon, iTunes,
Spotify and several other digital distribution media, marking
another momentous achievement for the band.
As EarthKry strives to provide a medium of escape for
people all over the world with their uplifting songs, the band
continues their journey to becoming a household name.
With a series of live performances at local hot spots they
have already begun making their mark on the local scene,
impressing their audience most notably at Merritone’s 25th
Anniversary show in Montego Bay at Sea Gardens Hotel,
Chronixx Capture Land Tour, Manchester and Rebel Salute
March/April 2016
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50
Runkus
Born Romario Sebastian Anthony Bennett aka RUNKUS to
parents veteran entertainer Determine and artiste manager
and booking agent Paula Francis, he started recording at
the tender age of seven (7) years old with songs like Ghetto
Youths, Those Niggas and Back on the Street Again on his
parents Zulu Productions label.
Runkus sets himself aside from others in the field, simply
because he doesn’t have a set type of music style as he does
what comes to mind and what feels right. “To say that I only
do one or a few genre of music is limiting my scope, I simply
do music, not just reggae, not just dancehall, not just roots
rock… I DO MUSIC!” stated the young musician.
Runkus is a past Campion College student, who did
exceptionally well in his CSEC and CAPE Examinations. He
was also a very active member of the student body, being
President of several clubs including Media Production, Green
Generation and the Music Club.
Most of his music is guitar driven due to his love for the
instrument and prior to the fact that he does engineering for
his father (in his home studio, Matches BoxxProduction), he is
able to compose enough to fabricate a finished product in his
mind and bring it to life in the studio, like what was done with
“Rain Start Fall” which was a collaborative effort of the Old
Skl Band and Majah Label Music Group. He recently released
a single accompanied by a music video with Bassick Records
JA entitled “Victim” which is receiving positive feedback and
support from many.
At the age of 15, he recorded a Mixtape with his father
Determine entitled “Like Father Like Son” which was well
received and allowed him to perform in the United States.
The following year (2010) he entered a Talent Search which
was organized by RETV, alongside his guitarist Scot Leslie
who is now the lead guitarist in his band, (Runkus & the Old
Skl Band). Being the only contestant with a difference, that
is, an acoustic style to his set, he astounded the judges and
won the competition, which gave him the opportunity to be
on the RETV School tour performing alongside Beenieman,
Denique, Ding Dong, Khago, Cherine Anderson, Stacious and
Voicemail and also the the opportunity to do his first official
music video for song entitled “Badmind” on the Magician
Records label, which got heavy rotation on television and
radio.
Runkus and the Old Skl Band have just completed a project
with his production team Majah Label Music Group. It also
consists of songs produced by BassickRecords JA, UIM and Krs
Allen. The project entitled “Welcome Paula Son” consists
of eleven (11) fiery tracks and a bonus track, displaying his
versatility, lyrical prowess and his appreciation for various
genres. It includes collaborations with his father Determine,
his mother, Keznamdi, Royal Blu, and Eva.
His new eight track EP entitled Move In, was released on
the 5th February 2016, and was recorded for German label
Oneness Records. It features a collaboration with upcoming
artiste Royal Blu. The single RUN which was recorded for
polish label K-Jah Sound has already gone over sixty four
thousand (64000) views on YouTube and still counting .
MOVE YUH FEET brings you back to the originality of ska with
its kenetic energy is gaining momentum both locally and
international airwaves.
Runkus has also had the opportunity to perform on Sting
2009, St Mary Mi Come From, Champion In Action ,
alongside his father and most recently Rebel Salute 2016
where he gave an outstanding performance. He recently
went on a promotional tour in the United States where he
toured the East Coast with Kymani Marley, which gave him
the opportunity to showcase his repertoire of songs and
his unique style. He’s booked to perform at the Bob Marley
Museum Celebration Show on Saturday February 5th, 2016.
March/April 2016
Runkus is really a force to be reckoned with, a very promising
artiste and new world sensation.
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53
Davianah Music
by Empress K
Davianah, the young, vivacious 23 year old singer and
songwriter has been surrounded by the music business her
entire life. Following in the footsteps of her famous father,
veteran Reggae artist Tony Rebel, this next generation Rebel
became interested in her own music career at the early age of
6. At approximately age 14, Davianah accompanied by Tony
Rebel, made her debut performance at a stage show in Port
Royal and from then seriously considered a career in music.
I recently had a chance to speak with Davianah at Flames
Production Studio in Kingston, Jamaica about a month prior
to her well received performance at Rebel Salute 2016.
Growing up in a musical family certainly has its advantages,
however it is not without its challenges as well. Davianah
fondly acknowledged that she receives consistent constructive
advice. When asked if Tony Rebel has been a large inspiration
in her career, Davianah responded that “it’s safe to say he has
been the main inspiration behind everything.” When asked
about her style during our interview, Davianah confidently
opted to perform an a capella performance of her latest
popular song “Making Moves” which can best be described as
a modern conscious Reggae style with R&B flavor mixed in.
With Tony Rebel at the helm of Rebel Salute, it was only
natural for Davianah to make an initial performance on the
Rebel Salute stage in 2011. Not looking back since making
the decision to focus solely on her music career, Davianah has
no intention to stop. She reinforces this in one of her song
lyrics, “One thing is for sure, mi ago mek it, a music a mi life
mi nah lef it lef it, di Rebel with a cause done set it set it so a
me n Mali time fi come tek it tek it.”
Davianah continues to evolve and bring her own individual
style and spirit to the stage, remarking during the interview
“to show people more who I am and what they can look
forward to when they hear my music and get them all excited
about me and listen. That’s what they can expect from me.”
We have no doubt that this young Rebel will continue to make
her own moves in the industry.
Click here to watch Empress K’s interview with Davianah
DAN GIOVANNI
Versatility, creativity, modern vocal sound fused with old
school style, Royell Walker known as Dan Giovanni is one
of reggae’s newest recording artist. A love and passion for
music, he is also a studio engineer, producer.
Resident of the sunshine city Portmore, Royell has always had
great desires to become a professional musician. He displayed
these attributes from early days in High School. Dan has gone
through a musical transition from being a rapper, dancehall
artist and now a positive cultural messenger which led to his
new love of Old School and the new generation of Rastafarian
revolutionary music.
July 2013 saw Dan Giovanni making a total commitment to
honor and hollow his calling to be a leader and a positive
example for friends and brethren’s in and around his
community. Jason Grant /President/ Manager of Humble
Warrias Entertainment is responsible for molding and
directing Dan Giovanni’s musical career and it has been
a fruitful gesture, “we did a promo reggae album entitled
“ITERNAL KNOWLEDGE” which was released in 2013 and
is doing exceptionally well all over Europe” it was chosen
and nominated by Reggaeville Magazine as one of the best
albums for 2013. I see this as a great achievement for Dan,
He is extremely talented and hardworking. In December 18,
2015 was the official release of his EP entitled MORE LOVE
Ep produced by Humble Warrias Entertainment and House Of
Riddim.
According to Dan Giovanni, an amplified Roots Reggae Artist,
the answer and solution to the words problems is More Love.
He packaged this message in a four track EP titled – More
Love, and he sings nothing but More Love in all four tracks.
There is the original roots mix of More Love as the opening
rack laced with a heavy bass line, giving it that authentic
roots reggae vibe.
It is then followed by the Acoustic Mix of the same title
isolating the vocal abilities and sensibilities of the Jamaican
native and amplifying the message. He then flips it on the dub
side, on track number three, in true foundation style. The last
track is an electronic mix because the mission of spreading
love cannot be limited to one genre and in order to connect
with the global market, an electronic mix was added which
might resonate with the young generation.
The emergence if artistes like Dan Giovanni from Jamaica
is crucial. Here is a young roots reggae singer who is not
necessarily a roots revivalist but an organic roots singer,
debunking the myth that reggae in Jamaica does not exist
anymore. Here is proof that is does. The mainstream media
will never know what roots reggae is all about. Artist like
Dan Giovanni continue from where the foundation has left
and carry the baton into the next generation. More Love Ep
was produced by Humble Warrias Entertainment and House
Of Riddims Productions which saw its release in December
2015 and available on all leading online distribution channels.
We have already written over 1000 songs of which 12 has
been chosen for Dan’s official Roots Album “PRO-ACTIVE
REVOLUTION” slated for release in 2016, said Manager Jason.
March/April 2016
PAGE
59
www.reggaereflection.com
Khalilah Rose
Khalilah Rose is a beautiful roots reggae flower that uses
singing and songwriting as a tool to revolutionize the world.
She possesses a burning desire to ignite positive change for
humanity. Khalilah Rose is not afraid to stand on the frontline
as she has managed to elude her rebellious nature passed
through her Maroon bloodline. Yearning to heal, she writes
songs that focus on upliftment, love and change.
Releasing her breakthrough album, “Zion’s Lullaby” in
2012 her messages and unique voice resonated within the
hearts of the masses worldwide. “No Gunz” the first single
released from the artist allowed her to assume her position as
a peacemaker. “Weep Not” a single featured on the classical
Fade Away Riddim elevated Khalilah Rose’s status in roots
music to a new level, as mankind can relate to the growing
concerns within the food and health industry. “Your Eyes,”
released by House of Riddim personified Khalilah’s unique
personality as she revealed her softer side.
Performing for many years, Khalilah has had the opportunity
to grace small and big stages with some of the reggae
fraternity/ international greats such as Marcia Griffiths, Ken
Boothe, John Holt, Freddie Mcgregor, Luciano, Capelton, India
Irie and many others. She has recently performed on Rebel
Salute 2016.
She has worked with some notable producers such as Phillip
Smart, Carl James, Ed Robinson, Bobby Digital, House of
Riddim, PushaYute Productions and Calibud Music. Currently
she is working with Calibud Music on her sophomore album
slated to be released 2016. “The new album has a blend of
songs that contain more insight of my personal struggles
and triumphs. I have gone through many trial and mixed
emotions while writing and recording this album. I also have
songs that address global issues and concerns,” Khalilah
mentioned. Her first single from the album entitled, “Incient
Herb” will be the first song to be presented to the masses
from her upcoming album in early March 2016.
March/April 2016
PAGE
62
ORieL
ORieL
ORieL release two eps on the same day “Confidence 2.0’’
and “Love SoulJah’’ this was unprecedented in this history of
reggae. Grammy nominated producer Daniel Boyle also work
with ORieL on the eps.
Oriel Barry was born in Wesley, Dominica a small island in the
Caribbean. Grow- ing up, he was part of a drum band and was
an active member of his school and church choir. Undoubtedly
that was where he discovered and started to develop his
passion for the art of music. Having experimented with the
sounds of music his first serious in- volvement occurred when
he migrated to Pittsburgh Pa and formed the sound system
vybz Machine with friends in 2005. ORieL quickly settled in
and earned his right as a popular club Dj, talented Studio
Engineer and is among the best Graphic Designer in the
region.
ORieL made his debut in 2015 on some major festivals such
as Reggae SumFest, Rebel Salute, Montreal International
Reggae Festival and Reggae Fusion Fest, alongside artist
such as Cocoa Tea, Common, Tarrus Riley, Shabba Ranks,
Beres Hommond, Kabaka Pyramid to name a few. In 2015
Vh1 and MTV placed ORieL’s “Cruise”video into their rotation,
ORieL also saw his song “Free Your self” produced by
Daniel Boyle become a best seller on vinyl in the UK. In 2016
ORieL is schedule for his first European tour that will see him
performing on some of Europe’s biggest festivals.
Join the REVOLUTERS and be a part of this musical voyage.
ORieL describes his music as “Reggae/Fusion’’ which is mostly
reggae fused with the sound of Jazz, RnB, Rock, Blues and Hip
Hop. ORieL performs with his band “The Rev- oluters” which is
also the name given to his fans.
Having mastered the art of production, he has worked with
local and international recording artists such as Richie
Stephens, Bugle, Raine Syville, RDX, Voicemail, Anthony
Cruze, Konshens, Wayne Wonder and Chris Martin to name a
few.
Afar Music Group, ORieL’s current recording label released his
first single “Confi- dence” which sits well in the top ten on the
Jamaican culture charts and is a fan favorite. On September
2012 his fans witnessed the release of his first EP also titled
“Confidence’’ in all digital outlets which features four tracks:
Confidence, All By Myself, Crazy Love and Down Where
I Live, all of which have elevated his career to another
level.‘’Rise Of The Revoluters’’ a Mixtape Thesis was
released on September 11, 2014 of which “Sticks & Stones”
the first single and video was premiered on MTV.com.
2014 saw ORieL on the road opening for Ziggy Marley,
Shaggy, Luciano, Fortunate Youth , and New Kingston. 2015
March/April 2016
PAGE
64
‘WAA GWAAN’
Featured Singles
Island Stage would like to thank the best
team ever! Without their contributions,
this issue would not have been possible.
Empress K - Reggae Reflection
Maliika Walker
Lee Abel
Shelah Moody
David Wendlinger
Hal Wendlinger
Lloyd Stanbury
Sista Irie
Kizzy Riske
Special thanks to Ishack Wilmot
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