Tuesday, 15 October 2013

Chronixx London concert/moment of a lifetime review + videos

There isn't even an ounce of hyperbole in the title. Not even a little bit. Sunday night will never happen again for two reasons: you can't have a first performance twice and the questions of how good or popular have been answered.

Where to start. Putting it into perspective, London is one of the closest to being Jamaica outside of Jamaica. Our love and appreciation for reggae, historically, surpasses everywhere in the world possibly even Jamaica. Scala was full to the brim. According to Wiki, Scala's capacity is 1,145. I spent at least 10mins trying to find a space where I could see the stage. Meant I spent most of Christopher Ellis' performance searching for this elusive magical spot. Sounded lively though.

Hold on, lemme try put into words how packed it was. Scala sold out three times (I'm guessing they gave access to different parts of the venue when they saw the demand) and tickets were still sold on the door. Each time we tried one of (about three/four) the entrances to the main room and balcony, someone bounced out upon opening the door because they were already squashed against the door. Come like Jack in the box. Or black in the box cos it was usually a black face. I can say that and not be classed as racist cos I'm black, nig... na, that's going to far.

Roadblock event (people were turned away after a while) was predominantly black ranging from old Rastas to male yout's in their 20s and females (in their body con dresses from the "raving outfits" side of the wardrobe). For a genre that supposedly doesn't attract young black people, there were a lot of young black folk in there.

So we finally find this spot behind the soundman (sound engineer. Although I did hear a Jamaican fella say "Yeah man, mi deh behind di selector".) DJ wasn't really playing the right tunes for me. Modern slow-tempo dancehall stuff (you know it when you hear it) when I wanted them big anthems to warm the place as opposed really new stuff (less than 2 months) vast majority of the crowd don't know. I could hear the DJ before Chris Ellis playing the classics when I was at the bar outside.

Anyway, boom, we're there now catching a little vibe. Air's smelling nice, anticipation building, DJ plays couple dancehall tunes like Super Cat "Vineyard Party" and Buju Banton "Driver" much to the increasing crowds delight. Yes, increasing. No idea where these people were (still) coming from or where they ended up. Weren't near me so everything bless, uzeet?

Kelissa blessed the stage before Chronixx. Sang couple, couple tunes, lit a quick flame, big up Africa and left the stage. (Her performance is a lot more involved than that, still.) Her voice was a bit light, but the words them were potent. This was a nice warmer into the flipping forthcoming arson attack. No Dre Island by the way. Slightly disappointed cos I wanted to sing my heart out to Rastafari Way.

Big man time now. Robbo Ranx said there's been a fire burning in Jamaican reggae (as spoken about (by i & i) here) before boldly introducing the night's headline act as the future of reggae. (Big up Robbo, still, I first heard "Behind Curtain" on his show.) So, boom now, remember 1Xtra performance when Chronixx took to the stage real calm with "Smile Jamaica"? None of that this time. Right into the Start a Fyah tour wiiiiiith.... You guessed it, "Start A Fyah". Decked in full white and cream from suit to Clarks boot, the 21-year old began his assault quicker than I expected. Even took time out to give a special bu'n out to the Pope. Big forward for that.

Next song surprised the hell out of me. Until recently, I thought I was the only person that liked "Dread". Didn't expect it on the set list nor did I expect the huge reaction it received. Only 40k views on YouTube which is really small when you consider that's available to the world. Seemed like without the (around) 1,000 people (I'm guessing here) in there, it'd only be on 39,000. Everyone from the old Rasta's in attendance to the young bald head's sang the chorus as one united by the powers of the Rastafari.

Flashing new lyrics during "Dread", sounds like he sent a grenade under Snoop Lion on the night but wasn't too sure. He says "Man anuh Snoop Doggy Dizzle" just as the crowd goes wild so I can't make out the lyrics after

(p.s. I understand audio alone doesn't give you the right vibe. Best I can do, I'm afraid. Big man like me doesn't feel the spirit to stand with my arm in the air, worrying about camera angles and lighting 'cos I'm recording video. Long for that. I can close my eyes to be back there. Vibes mi seh.)

Another song I didn't realise the popularity of is "Modern Warfare". If the previous songs made us spiritual, this one sent a big Yoga flame to those in power sending people's pickney to fight their wars. Proper Occupy, fist in the air, "Bun Babylon" (we don't say "Fxxk the power" in reggae. They don't say it in hip hop anymore. Just realised) moment as the crowd cheered in agreement with Chronixx's speech about the powers that be taking us fi some little eedyat's on their mission to achieve one way of life - their way. (You can see the crowd in this video.)

Another early one, "They Don't Know" preceded recent uplifting anthem "Ain't No Giving In" sprinkled with Kabaka Pyramid's "No Capitalist". You can watch that performance below.

I've decided to stop breaking down the base. It's so much better when you don't know about it in minute-by-minute detail before you see them. He'll be back as soon as (they said next Summer at the end of the show). From now on, videos mi seh!

Fantastic tribute to the beautiful island "Smile Jamaica"

 including the speech of the night about inspiration to write the song followed by Tony Rebel's (unofficial national anthem) "Sweet Jamaica"

During the dub breakdown (common feature) on "Here Comes Trouble" the talented artist gives a little beat on the bongo drums.

"Behind Curtain" - probably the biggest moment of the night.

"Warrior" moved smoothly into "Odd Ras"

Ended with a medley over "Odd Ras" of dancehall toasting, Supercat's rude boy classic "Ghetto Red Hot" and finally "Rivers of Babylon" which we all sang along to. Obviously. Listen to the noise.

Every song was met with a crazy response. Two things I would've done differently are better entrance (walk out while singing "Start A Fyah") and an encore (leave stage after Behind Curtain, then "Warrior" and "Odd Ras" for encore). All in all the night proved there isn't a genre in the world that will give you lovers, political and spiritual music to dance to on the level of reggae.

 It is near-unbelivable that a reggae artist can headline a show with just over a year under his belt let alone draw out that many people. While the comparisons to Bob Marley's now legendary Lyceum Theatre performance may be slightly premature, we probably felt like they did at the Bob show back then that something special just happened.

His next show will be a bigger venue. Know that will sell even more now everyone's heard he can put on an incredible show.

Alternatively, you can listen to me talk about the monumental occasion on Joe Grime's Deja Vu show (Tuesday 2-4pm)

Listen to the show below. I enter the dance at around 1hr 21mins mark.

They're trying to wash out reggae, but so long as the spirit in people lives, reggae can't die. Chronixx proved why he is the man everyone is excited about. Big up Maverick Sabre in the place. Hold tight the big wigs also present in the place. Do the right thing.

Look out for his forthcoming EP. You can buy his singles on iTunes, Amazon and all them ones.

Big up Danny Pepperseed, WorldAReggae.com and whoever uploaded ones from their phones for the videos.


Hoooo my days, this champion uploaded 20mins worth of London footage


"Smile Jamaica" x "Selassie Soljahz"


"Selassie Souljahz" x Sizzla medley x dub x "Here Comes Trouble"

Friday, 11 October 2013

Watch Chronixx live at 1Xtra Live [First UK performance]

Scala say they're sold out but more tickets will become available. Not sure when but yeah.

I personally think he started it off with the wrong songs. Should've entered with a bang "Here Comes Trouble" and "Behind Curtain" then mid-tempos "Smile Jamaica" and "Ain't No Giving In" followed by "Warrior" ending on "Odd Ras" as he did. Based on what actually happened, it started calm before building to a big end even receiving a forward. He looked a lot more comfortable towards the end too. Big stage for your first performance in a new country though.

And on his birthday too. Watch the crowd sing happy birthday

Thursday, 10 October 2013

Hey Marvin, what are your thoughts on "Reggae Revival"?

To give a bit of background, the most exciting thing in music is currently happening in Jamaica. Never mind what everyone else is going on about, their talking about something old, something that's here or something that isn't worth talking about cos it's just forced hype. We're not talking about forced hype movement, we're talking about organic music for the soul coming from one of the forefathers of modern day music. A familiar guardian around these parts of the web, Reggae.

One thing I don't like about journalistic definitions of reggae and dancehall is they're very lazy, therefore inaccurate and commit an injustice to both sides. It is said reggae is conscious and dancehall is slack which isn't strictly true. Conscious songs are always present amongst the biggest songs in dancehall. And with reggae being known as conscious, people forget many greats from John Holt and Beres Hammond  to Jah Cure are better known for their lovers collection. (They also say that reggae is live instrumentation which is also incorrect. Some great ones are digital without an ounce of real instrumentation. Oh, and not all reggae is "one drop".)

To me, you know the difference when you hear (or feel) it. And if you don't, well, it's rough on you. Get acquainted with both then make your own description. A quick one that gives credit, dancehall is made primarily for dance floors, reggae not as much. Used to, but not as much anymore. Dancehall is where the music was played, morphed into sound system culture, then became what it is today.

So anyway, back to why we are gathered here today, "reggae revival". Where to start. Ok, what I love about it. I love that they're a set of youths working together with the same meditation. And there's a shed load of them. Literally always finding about a new one in the gang. It is said the core members of the group met and made music down at Jamnesia, located down the road from where I stay in Jamaica, Bull Bay.

They're coming to the forefront at the right time. The world needs this movement almost as much as Jamaica does for a few reasons. Reggae isn't something you hear as frequently on Jamaica's most popular youth radio station, Zip 103FM. You're more likely to hear Billboard Hot 100 songs by the likes of David Guetta and Katy Perry than reggae in many places around the Jamaican capital, Kingston. The perception is the youths in Jamaica don't care about reggae, favouring dancehall or sounds imported via American propaganda. While I have no problem with the former, the latter would be a disaster.

Dancehall hasn't been as exciting in the past couple years due to many jumping on established popular trends sonically and subject instead of expressing themselves.

The debate about whether European artists currently wave the reggae flag has been raging for the last 4/5 years. Alborosie and Gentleman lead the way as the stars of Europe, reggae festival line-ups filled up by European acts ever since the economical crash (dutty babylon). American reggae artists like Soja and J Boog capitalise off the demand for reggae and lack of US visa's for their Jamaican counterparts.

The world needs this because there isn't a movement quite like it currently from a major music market. It represents an alternative to the flashy, Mandy/Molly-popping and champagne-toasting music currently out there. With all that's going on in the world currently, they are saying the right things, acting as a voice for the disenfranchised youths around the world annoyed frustrated at the moves politicians pull, lack of jobs and youths facing a dimmer future than the previous generation.

The history attached to reggae in terms of rebellion and upliftment is unrivalled making it an advanced position compared to most other genres. Also, reggae isn't dependent on radio pluggers, PR companies and corporate sponsorship to push the music, meaning it's harder to suppress. I mean, it's as suppressed as it is, yet the message still travels.

While I understand it, I don't like the branding term. Great term  for marketing, PR and journalistic reasons yet short-sighted. Jamaican Reggae never died. Jamaican reggae artists still tour and are very present on festival circuit. Jamaican reggae did get very monotonous and stale; similar tempo, subjects and sounding riddims (living in the Don Corleon sound). Almost too Americanised, on the soulful side of life. There wasn't any sound of defiance or rebellion either, probably because the artists were living the good life, travelling a lot and not as aware or effected by the issues at street level.

Calling it a revival turns what is essential a cultural cycle into something trendy. Trends don't last long. Trivialising an organic movement. It's just a new generation of artists. Last major cycle introduced artists such as the incarcerated Jah Cure, I-Wayne, Fanton Mojah, Gyptian, Turbulence, Lutan Fyah, Natural Black and others possibly ushered in by Sizzla's classic album, Da Real Thing (2003) and shortly after the death of the man who put dance into dancehall, Mr. Bogle (2005). (Tarrus Riley rose to prominence near the end, along with Queen Ifrica, Romain Virgo, Busy Signal's transformation etc. etc.)

I guess like that time in mid-'00s and the big mid-'90s movement (Tony Rebel, Capleton, Anthony B, Luciano, Sizzla, Buju Banton et al), there were a series of incidents lead to more attention for an alternative to contemporary music in Jamaica. Frequent complaints about the face of dancehall - Vybz Kartel - and his peers' output; Too slack, lacking substance, association to crime, not staying true to the Jamaican sounds and traditions, and the likes. Oh, and good music from the reggae artists.

I personally refer to them simply as the new generation of Jamaican reggae artists. Flippin creative, ay?! Don't sit there wondering how I came up with such genius. Some people are born with it. More of a mouthful and less ear-catching than "Reggae Revival", but it is what it is.

So after all that, who are we talking about?

This is the fun bit. Here's where I write a bit about each artist I like and why:

Protoje (@Protoje)

Let's start with the most obvious name in the movement, breakout star Protoje. Born Oje Ollivierre, the son of Lorna Bennett (famous for UK charting single "Breakfast In Bed") burst on the scene with a flurry of singles including personal favourite "Dread", before eventually capturing the genre's attention in 2011 with debut album 7 Year Itch. Big single on the project

"Rasta Love" garnered 11 million views on YouTube and plenty of forwards in his homeland. Festival tour last year was bettered this year when he performed at approximately 30 performances this year with a tour scheduled later in the month.

"Kingston Be Wise" lifted from follow-up album, 8 Year Affair, features on GTA V's reggae station, Blue Ark. The sophomore effort is more '80s rub-a-dub sounding than the first as the single suggests.

Check out Protoje "Music From My Heart" mixtape below

Chronixx (@IamChronixx)

If Protoje is the breakout star, Chronixx is the man of the moment. To me, he's en route to the truth. Excuse me while I get the brass section, I reckoned big things were in the pipeline for him (and us) from the first time I heard "Behind Curtain" back in extremely late 2011.

Heard "Warrior", "They Don't Know" and "Rain Music" around that time and thought, "Yeah, this guy's got a little catalogue building there". Recognition in Jamaica began late last year following an appearance at a rammed Tracks & Records (Usain Bolt's sports bar) following "Behind Curtain" rising to one of the big tunes of the summer. Material released at the latter end of the last year to now has been sublime be it love songs like "Access Granted", songs of defiance "Ain't No Giving In" or ode to his homeland "Smile Jamaica", everything is gold.

"Smile Jamaica" features on Silly Walks Discotheque's Honey Pot riddim. The production crew are from Germany, demonstrating the numerous continents crossing to produce reggae at the moment.

Latest single, "Here Comes Trouble" sounds like a statement of intent on behalf of the crew. The video demonstrates it too, boasting nuff features from his mates.

Kabaka Pyramid (@KabakaPyramid)

First appeared on the radar last year with his breakout reggae single "Free From Chains". He was doing Jamaican hip hop which I hate, so no surprise the reggae set him free from the chains. The thing that attracted me to him is it is what he says: "this a rebel music don't you confuse it with the crap that the buggers them producing".

"Mi used to bun the weed a lot/ Now me start to read a lot", then "The system want to want fi keep us locked up in the prison, mentally them want defeat us..." a little "Cah the school them never teach us nothing 'bout we African features..." and "Officers, preachers, doctors and lawyers are liars..." Yoooooo, had to wheel every line. Hadn't heard anything that rebellious from a contemporary artist in a very long time. And the way he puts his words together with meaning. Sounds hip hoppy and reggae at the same time therefore sounding fresh over the rootsy dancehall beat. Perfect introduction.

"Free From Chains"

"No Capitalist" is what it says on the tin. Burning a fire on those in power who oppress and exploit the poor. Very apt considering not only the turmoil Jamaica is going through with regards to the IMF loans and increase in tax, water and electricity rates, but what's going on in many places across the world - both developed and developing countries.

"Worldwide Love", once again, is what it says on the tin. Unity amongst one and all. Cool video too. Features cameos from Kellissa, Chronixx

Batch of Kabaka Pyramid singles below

Jesse Royal (@JesseRoyal1)

Latest addition to the iPod from this generation. This guy is the truth/ Delivers a powerful message with melody and a style close to the history of reggae in time of peers using some hip hop styling.

"Modern Day Judas" features on the same Rootsman riddim as Chronixx's "Here Comes Trouble" and rivals it for best song on the riddim. Burning a fire on naysayers and non-believers.

"Warning To All" some '80s rub-a-dub sounding stuff in the locker too. Listen to how comfortably he floats on the riddim. Opening track on the In Comes The Small Axe mixtape

"Greedy Babylon" putting some fire under the Government  for the people on a riddim sampling John Holt's "Up Park Camp".

Listen to mixtape 'In Comes The Small Axe' below

Jah9 (@Jah9)

Yes, females time. No sexual discrimination around here. i-nity we seh! Although Janine Cunningham (you catch Jah9 is based on her forename?) only dropped her debut album this year, I first heard her back in 2011 on Protoje's debut album where she features on closing track "After I'm Gone".

Jah9's solo debut "New Name" is produced by Rory from the immortal sound system Stone Love. Her vocal style is pretty jazzy, init?

"Brothers" is an uplifting jam for the man dem that stand firm in the Gideon despite all the stresses and strains the system wants to bring upon us. Nah, but on a real, it's an appreciation song for the men that stand by women. So swap "system" with "women" in the first sentence. It's all the same innit.

"Preacher Man" questions the relevance and challenges hypocrisy of religion via an open letter to religious preachers.

Stream Jah 9's "New Name" album below and/or buy here

Dre Island (@Dre_Island1)

Andre Johnson, better known by stage name Dre Island, has a wicked vibe. Sings and singjay, sometimes sounds a bit Stephen and Damian Marley-ish (more an observation than criticism). The 25 year-old artist/producer ventures between reggae, Jamaican hip hop leaning stuff, and pop-reggae. Wicked voice, boom lyrics.

Self-produced "Rastafari Way" is the first song I heard earlier this year. Hip hop-leaning beat while retaining his Jamaican raggamuffin' vibe with rebellious Rastafarian conscious lyrics. Raspy voice is so emotive. Catchy much?

Latest release "Reggae Love" is more a pop-reggae sounding vibe. Displaying his versatility with a less raspy voice and one for the ladies.

Check out his mixtape here. Bit heavy on the hip hop-sounding stuff which is a shame because I feel he excels on the reggae stuff nor does it have the legs for festivals reggae does, but still:

There are others like Raging Fyah Ultimately, you can check out The Heatwave's reggae special podcast if the above is too much to digest (after all that).

Wednesday, 9 October 2013

Shy FX & Ms Dynamie - Cloud 9 [Music Video]

Jungle legend Shy FX and female MC'ing empress Ms. Dynamite linked up to drop a Lovers Rock meets Jungle banger that actually equals the look on paper. The way this is the best song I've heard since about July, I pre-ordered it a month ago - almost 2 months before scheduled release. Ms. Dynamite actually performed it for the first time at David Rodigan's Ram Jam at Kentish Town Forum back in about May. Didn't sound nearly as great as the finished version does.

See this is what Black British music is missing, mix-and-blending our black culture sounds with contemporary British music. It's what always has and will work for us. All this re-hashing popular American sounds rarely works. Big up So Solid, Craig David, Shola Ama, Chip(munk), Tinie Tempah, Lemar... for showing us the blueprint on how to disappoint after establishing through British producers. Mix it a different, fresh way if you do it please. But yeah, long for that.

This is great British music. And if I sound xenophobic right now, it's because I sound it right now. I'm not though. The only letdown is this is an April-June song not October so may not get the Radio 1 love it deserves.

Banging video too.

Order it here

Obviously saw how well the Shy FX refix of DJ Fresh's "Gold Dust" worked. Ms Dynamite written, Ce'cill vocalled tune goes so hard DJ Fresh performs it instead of the original.

Tuesday, 8 October 2013

thoughts on the station formerly known as Choice FM + no reggae? Really?

I wasn't even going to write a post about the now defunct Choice FM as there wasn't anything for me to say that I hadn't said on Twitter or others (check Gentrification Killed Choice FM and Why We Should Mourn Choice FM). Howwwever, a few things caused this post. I listened to Dotun Adebayo's show on BBC Radio London last night and a tweet by one of the formerly known as Choice FM's DJ, Max.

Starting with the above tweet's... actually, let me start off by saying I have no problem with Max. I wouldn't say I know her, but we are cool. She made sure I got an interview with Trey Songz when the PR wasn't sure if they had time for me so I respect for her. Also respect what she's achieved in the industry. Doesn't mean her tweets can't be contested though. And I'd say everything I'm about to write to her. Lastly, I mean no disrespect to her as a person. (I hate doing these disclaimers, but I feel I have to cos things don't get blown out of proportion. Text is easy to misinterpret.)

Now that's out the way, first off, she's from midlands. Choice FM's history is primarily London so I don't think she has the same attachment to the station us Londoners do. Easy to understand. But she's tweeted sentiments quite few others have. "Oh, it's just a name change. It'll be urban business as usual but on a bigger scale." Except it isn't. You see this is what happens when people forget, don't know or don't acknowledge the roots.

This, ladies and gentleman, is proof the "urbxn" word is the devil. Accepting the word urban as a substitute for black music was the worst thing ever. We don't have rural music or suburban music for ethnic majorities, why urban? Asian's have Asian station, why can't we have a black or African and Caribbean one(s)? Choice FM was built on the foundations of providing music to the black population, a predominantly Caribbean. That isn't to say only black people should listen to it, but it was there to cater to those needs and interests.

This new guise of "urban dance", adding EDM DJ, Avicii, and cutting off the Caribbean links feels like a slap in the face to the community that are responsible for building the brand. Admittedly, I'm one of many who switched off years ago once able to source and control my own music mainly down to Choice no longer catering for people like me who don't want to hear the same twelve similar pop (be it hip hop or r&b) songs on repeat shuffle - my iPod does a better job. They forced me to leave.

Me switching over may have  some of you asking "What you complaining about then? You contributed to dwindling figures nor do you don't listen anyway so 'llow it, innit?" Thinking beyond myself, it allowed those who aren't as savvy to find the music or going raving but have an interest.

So, it's more than a name change. They aren't serving the culture they are meant to or what we know them to. Another one of our mediums bites the dust. don't forget MOBOs aka Brit Awards Xtra (stolen from @DJFiremanSam) is this month too.

Now to the statement Daddy Ernie says on the Dotun Adebayo show about what he was told by the station: "Afrobeats is more popular than reggae". I knew this day would come. I have no problem with afrobeats. It's mad, some people assume I hate it because I love reggae and Jamaican. I don't. But yeah, I would like to know what this is based on. Black clubs in London? Probably to some extent. There are loads of Africans in London so that's natural. But you can still attend clubs in London and not hear Afrobeats bar 3 songs. Outside the M25 is a different story too. Sales of reggae surpass Afrobeats nationwide factually.

But to the core of the issue, who are they to suggest its one or the other? Black people in London and England are mostly African and Caribbean. There's never a discussion of hip hop or r&b, so why for our cultures music? Reggae has gone from shows on every day on Choice to nothing in the space of a decade. There isn't a space on one of the weekends mix shows for a bashment, reggae and soca 2-hour show? Not even after the popular 11pm afrobeats show? I refuse to believe this. In times where reggae, dub and dancehall nights happen at universities across the land and pop acts are embracing it more than recent times? Not to mention the new wave of reggae artists coming through. If it takes off we'll see them jump back on the wagon.

I'm not naive to the fact reggae and dancehall don't warrant the prominent 5-days-a-week prime time slot it held down until about ten years ago or ignorant to the commercial properties involved in radio and that malark, but I'm definitely not stupid enough to believe it doesn't deserve even an hour on 24/7 radio schedule. (Graveyard shows aren't anywhere as bad as they were due to listen back features.)

Dotun kept saying/playing Devil's advocate (poorly) that reggae doesn't deserve a space. Sadly, his listeners weren't able to convey why themselves, especially not Daddy Ernie, but that's a story for another day. Dropping DJs isn't bad, dropping genres is. I'll tell you why it does. It's still one of the most popular forms of black music. Only hip hop and r&b sell more in this country. Rodigan's departure from Kiss FM caused uproar for good reason. He is now primetime Sunday on BBC Radio 1Xtra for a reason. Robbo Ranx still get's good listenership on 1Xtra. It still burns down clubs when played. It still contributes to pop music. Most recent example is Ellie Goulding's first UK #1 and international hit "Burn".

And if you didn't get my point, reggae won't die as long as it still a force in club nights across the nation. As it already is. The Heatwave sold out Koko in Camden (1.5k+ capacity) on their own. Rodigan host tents at festivals. The people raving matter much more than a small group who decide what plays on radio. They are the real tastemakers. Majority rules.

We know that Afrobeats will be gone in a few year if it doesn't continue to produce the goods and the station formerly known as Choice will sound like Kiss - unrecognisable from its black music pirate radio roots.

To sum it up, a top guy in the music industry, Lindsay Wesker, breaks down the death of black radio

(I'm in the process of writing a "When did we become urban?" and "Reggae Revival" post. Both would've made sense before this. They will come in the new few days.)

interviews Shaggy. Radio vs Reggae, rejecting pop music & more

I caught up with Mr. Lover, Lover aka Mr. Roooooo-mantic aka Shaggy ahead of Reggae Rollover at Wembley Arena 17th October and upon the release of latest collaborative effort with Sly & Robbie dubbed "Out of Many, One Music". Best album title in a while in a cheesy but "Why didn't I think of that?" way.

We spoke about the
  • reggae vs. (commercial) radio
  • rejecting pop music for authentic Jamaican styles 
  • Jamaica's lack of stars, rating Konshens and Chronixx, 
  • struggles pushing a reggae album independently, 
  • reaching the top against all odds with Diamond-selling (in excess of 10 million records sold) Hotshot, 
  • low first week sales of his album and why he doesn't give a fxck if he gets the credit he deserves. 
Basically, we had a right ol' chinwag. Surprised at how open and honest he was. Don't remember him being like that the last time I interviewed him. Will read again (you can read here).

First single lifted from the Sly & Robbie + Shaggy album is "Fight This Feeling" featuring the legend himself, Beres Hammond. Big tune doing a lot on the roads. No convenient hype because I'm posting an interview.

On the riddim track of Dennis Brown's "Sitting And Watching" produced by Sly & Robbie back in the 70s (I think. That or early 80s).

And here's the song with NeYo, "You Girl"

Get the album "Out of Many, One Music" and/or the singles from iTunes or Amazon for £5.99

Tickets to the show at Wembley Arena, 19th October with Shaggy, Sly & Robbie, Mykal Rose (aka 1/3 of Black Uhuru + Sly & Robbie is due to be an absolute madness), Agent Sasco/Assassin, Konshens and Tifa here

Tuesday, 1 October 2013

Chronixx - Here Comes Trouble [Music Video]

One of the most anticipated videos from one of the most talked about artists finally makes it way onto the net for our eyes. Chronixx's Rasta political broadcast anthem "Here Comes Trouble" features the man himself with a bunch of Rasta recruits including many of his fellow next generation reggae artists, Dre Island, Kabaka Pyramid, Kelissa to name a few.

You can purchase the song here

And catch him performing live in UK at the following

10/10 - Leeds @ Leeds Arena BBC Radio 1xtra Live
11/10 - Bristol @ Malcom X Center
12/10 - Birmingham @ The Drum
13/10 - London @ Scala

Google for more info and tickets