GLEN WASHINGTON interviewed by Jim Dooley
Was your first recording for Joe Gibbs?
My first real big recording was with Joe Gibbs.
'Rockers'
'Rockers Nu Crackers'. I didn't even realize that song was so
big until I went to England.
It's still around.
Yeah, I went to England and they requested that I sing it on stage.
And when I sing it ... whooa! You could see the reaction from
people. Like ... He did that? Yeah, every review I got, I got
a nice response.
You told me that you had done a bit of work at Studio One before
that.
Yeah, I played on a couple of songs for this guy called Claude
Bent.
Claude Bent? I don't know him.
He was recording some songs for Mr. Dodd. They called him Jacob.
He's a bass player now, and lives in San Francisco.
And you played drums for these tracks?
Yes, I was playing drums on these tracks.
Did you audition for Studio One?
No, I didn't audition for Studio One. I used to just be hanging
around there. It's the same thing with Joe Gibbs. I used to leave
May Pen, and go to Joe Gibbs every day. Religiously, every day
I get up there on the bus. I live in Clarendon, and I be in Kingston
every day. (laughter)
And Joseph Hill of Culture taught you to play drums.
Yes, he was the one that taught me how to play that. He say, "Do
this, do that, that no sound right, you off timing" (laughter).
He's a serious teacher too. What happened is that ... when Joseph
left the band in Spanish Town, I was the only one in the group
that had any knowledge about drums.
Which group was that?
This was a group called 'Stepping Stone'. I was the only one that
had a little knowledge about drums. We had a lot of gigs to do,
and then, boom, Joseph got into a falling out with the guy that
owned the club. This was Sidney Bennett from the Fountain Club.
So you had to step in?
I had to sit down to play the drums, and now we don't have no
lead singer. I was the lead singer, so the thing they do was to
pull the microphone up to the drums. Then they came up with this
idea to get a goose-neck.
Between Coxsone and Joe Gibbs, was there any other recording
you did in that period?
Yeah. My first recording ... as a matter of fact, the first time
I ever sung on stage with a band was in 1972. They had a contest
- a talent contest, at this club called the China Dragon Restaurant
in May Pen, on Main street. And the prize was like 50 dollars
... like for the preliminaries, then you go to the semi-finals,
then the grand final. I wrote a song (laughter), I didn't even
realize I could write, and I say, "I'm going to write this
song". I wrote the song, and then I wanted to know if it
sounded stupid, so I sang it to my friends. And they said "No,
it sound good!", a song called 'Suzie'. Everybody decided
that they were going to sing somebody else's song, and I realized
that you get points for originality. So I decided I'm going to
sing my own song, and wrote and practiced, and practiced it. The
'Names and Faces Band' was the band that was backing everybody.
So, when I took it to them, they put it to .... I had the melody
and everything, but no music. I don't know how it's going to go,
how it's going to sing. But I say ... it was supposed to be a
slow song, so they say, "let's start it off slow and pick
it up to a reggae beat." So that's how 'Suzie' came, and
they put the bass line and everything to it. And when I heard
it, I was like 'Wow!, yeah, it sound good.'
Did you ever record that song?
Yeah, I recorded it. Everybody keep telling me, "Why don't
you do a re-recording on it?" I plan to do it, after a while
though.
What label did that come out on?
On the band label, 'Names and Faces.' That was the name of the
band. Most of the members live in Canada now.
Really?
Yeah, Howard Carr, 'Stretch' ...
Oh, in Montreal.
Yeah, Stretch can give you the whole history on me. Because Stretch
was a bad bad singer back in them days, that's who I used to fashion
after. You didn't know that?
No. I've never heard him sing. I've seen him MC at some shows
...
Yeah, Stretch is a bad bad lead singer. He used to sing with a
group called the Mercury's Band. I used to go watch them guys.
So how did you go from there to singing at Joe Gibbs? You said
you were just hanging around the studio.
Yeah, one day I was in the studio, and they had this rhythm, it
was the Joe Frazier that was playing. And they have this song,
and this guy came to sing the song, and it wasn't working out
on the rhythm. So I say, "Hey, I have a song", and nobody
paid any attention, because I was just a little boy in the studio.
So Errol Thompson, ET, the engineer, said, "Go sing it so
we can hear."
And that was 'Rockers'. Now, did you record any other songs?
Because I've never heard any other songs on Joe Gibbs.
No no no. I Haven't recorded any other songs for Joe Gibbs. After
'Rockers', I thought they had disbanded the song, because I didn't
hear nothing about it. And I never collected any royalties for
that song. Until this day, I have not collected royalties for
that song.
And it's still in print. It's still around.
Yeah, and it's still pressing.
So you didn't continue on with Joe Gibbs at the time?
No, after Joe Gibbs I was more into .... like I got incumbered
by the drums. I was more playing drums than singing over the years.
I got stuck behind the drums. After Joseph Hill left, I got stuck
behind the drums.
And not too long after that you became involved with the band
that recorded Culture's 'Africa Stand Alone' album. What was the
name of that group? With Clinton Rowe ....
They call us 'Sons Of Jah'. That was the name Joseph gave us.
Did you do some live shows with Culture around that time?
There were few little local shows. There was nothing that big
in significance. And after Culture and Seymour Cummings ('Africa
Stand Alone' producer) had their falling out, then came a group
called ... One of the guys that was in this group was one of the
original singers with Culture, before Kenneth. Before Kenneth
came into the group, there was another guy who used to sing with
Joseph. They went away and formed a group called The Mighty Threes,
because there was three of them. They did songs like 'Sinking
In The Mist', and Jacob Miller covered one of their songs. Remember
this song: (sings) "All they do in the morning is to fuss
and fight in the backyard"? I played drums on all of them
songs.
So this gentleman that was in the Mighty Threes used to sing
with Joseph before?
Yeah, he used to sing with Joseph before. That was when Culture
was just starting out. He was singing with Joseph, and I don't
know what happened, and they used Kenneth instead. This was when
the group was just getting together.
So after that you moved to New York?
I moved to New York about seven years ago.
Oh, so you were in Jamaica until seven years ago?
No, I've been living in the U.S. for seventeen years. I moved
to Detroit, Michigan in 1982.
Why did you move to the U.S.?
I came to the U.S. with my group 'Happiness Unlimited.' I was
living in Ocho Rios, Jamaica. We were the resident band at the
hotel, The Americana. It's now called the Sheraton. So, while
we were there, one day we met these two sisters, the Andrews sisters.
Stephanie and Bonnie Andrews from California. We were talking,
having a conversation, and one of the ladies says she works for
Stevie Wonder. She is his coordinator. In my mind I was saying
"yeah, right." But, she said Stevie is coming to spend
a vacation there, and she came down to scout out the area, to
make sure and do different things. We didn't believe her at all,
but one Saturday night we were on stage and playing with this
guy, doing his show, and in walks this woman with Stevie Wonder.
And the whole place was in an uproar. He already reserved front
row seats, right in front. So he came down and sat right in front
of the stage. After everybody settled down, we were doing our
show, and he wanted to talk to us after. Because he was sitting
there rocking, and he say he like the way the band sounds. So
for about two weeks, every night he would come on stage and jam
with us. The place would be packed. He get on stage .... one night
he played drums, most night he played keyboards. That was fun.
He came and jammed with us. He wrote a couple of songs for me.
There was a song called 'Jah Business,' and 'Jah Coming.' And
then there was another song that we made up right on stage, 'What
You Talking About,' that musically we did a cover of it .... (sings):
"What you talking about, say you don't like the reggae beat,
you must be craaaaazy." We did it on the 'Tempted to Touch'
rhythm, but 'Tempted to Touch' wasn't even around yet.
So did Stevie Wonder encourage you to come to the U.S.?
Yeah, he is the one that took us to the Unites States.
Wow, I never knew that.
All of these guys are in California, and I'm the one that broke
out and decided I wanted to go on my own. Because, after the deal
fell through ... it didn't happen like we wanted it to, because
things were moving too slow. He wanted to record us, but with
a different type of reggae beat ... an American type of reggae
beat. It wasn't working, because we were the original thing.
Did you guys break up when you got to the States?
Well, we were in the U.S., in California for a little while, and
then broke up. I went to live in Detroit with my wife.
Why Detroit?
Because I was married to a woman from Detroit then. So I went
to live with her, and we ended up raising kids. So I left the
business for another five years.
You were not drumming or anything during that five years?
No, I was doing a regular job, working in an auto plant.
I guess that's what you do in Detroit. How did you get back
into it?
Well, my love for music never changed, and I find that I was really
really miserable without it. So I start telling my wife that I'm
going to play music again. And she said, "No no no, either
you are going to get a regular job, or we are going to be divorced."
I said, "Honey, I don't know what you are talking about,
when you met me I was in music, and I don't think I should give
up my gift just like that." And she said, "either or
either", so I said, "I'm sorry, whatever you want to
do is OK with me". I made up my mind. Because, my kids, they
were grown up then.
So, how did you get back into the business? How did you start
back in? Did you go to Jamaica or New York?
This is when I met Leroy Sibbles. I was playing on a show for
him in Detroit, and he liked the way I played.
Playing as a drummer?
Yes. And he said he wanted me to come to Canada to play with his
band in Toronto. So after me and my wife separated, there wasn't
anything better for me to do in Detroit. I decided I wanted music
all the way, so I started to dedicate myself to it. I would spend
all of my time with music.
How long did you live in Toronto?
Back and forth, about four years.
Were you playing the whole time with Leroy, or did you play
with other groups as well?
I played with Leroy Sibbles. After Leroy, I played with the Sattalites.
Really?
Yeah, I went to Spring Break with the Sattalites.
Did you ever come to Ottawa with them?
Yeah, we came to Ottawa quite a few times.
I've probably seen you then ....
Yeah, I played drums with the Sattalites. I went to Quebec, into
Montreal. I worked about a year with the Sattalites.
I've got to tell you, they have never been my cup of tea. I
have seen them, and I think they are fine live, but they don't
really interest me too much on record. You know what I'm saying
by that?
Yeah, I know.
I don't know ... maybe too much pop and not enough reggae.
They never wanted me to sing.
Jo Jo?
It wasn't even Jo Jo. It was more like Fergus didn't want me to
sing too much. Because once I start singing (laughter) ... because
I was singing from behind the drums for a long time, so I get
used to it. And I was able to play and sing at the same time.
Did you know Jo Jo Bennett from Jamaica? Because he used to
record for Mudie's way back.
I know Jo Jo from a long long time. My hook up in the group was
really Bruce, the Dread. Me and Bruce used to hang out a lot.
At this point, had Leroy Sibbles moved back to Jamaica, or
was he still in Toronto?
Yeah, Leroy is living in Jamaica now. He was the one that told
me that I should record. One day me and him was riding in his
car, and I say, "One day me ago buy a car like this, you
know." He said, "Yeah man, you just record some tunes."
(laughter).
(laughter) ... Well, I don't mind telling you that you sound
a little bit like him when you sing. Your singing style is a little
bit like him.
The raspiness in my voice.
Yeah.
But a lot of people think I sound like Beres Hammond ...
Well, that's what everybody says.
... But I know I don't sound like Beres Hammond.
You sound more like Leroy to me. So, after the Sattalites,
then what?
After the Sattalites I start free-lancing. I play with anybody
...
You were still in Toronto for a while?
Yeah, I was in Toronto with a group called Hit Squad. I formed
that band. Here is how the Hit Squad came about. Lance Ingleton
from L.I.P. Promotion ... they used to have shows at the Concert
Hall and all over the place .... he wanted a band, real quick,
to do a show with Lieutenant Stitchie. He didn't have a band to
do it, so he called me up and said, "put a band together."
That was my first time actually getting a gig like that, you know,
getting a contract to put a band together. So I get some musicians,
and after we rehearse and everything, and were getting ready to
play we didn't have no name. And he wanted to know the name of
the band, and I say, "OK, it's the 'Hit Squad.'" Out
of the blue.
Are they still around?
Yes, the Hit Squad are still around. They play for me when I come
to Canada.
So how does Coxson fit into this picture?
Wait a minute (laughter). We didn't get there yet. After doing
some recording at Big Beat studio. Do you know Charles Sinclair?
Is this in Toronto?
Yeah, he plays with Messenjah, he's the bass player. He got me
to come over to the studio that they were building over on Western
Road. This was Big Beat recording studio, 24 tracks. I used to
go there every night, doing all these little things, you know,
not getting paid or anything like that. Did a few recordings,
because I was in Canada and nothing was happening. That's how
I ended up with a bunch of songs that we are in court over now
- trying to get them to not put them out. Because this guy, named
R. G. Jackson, is trying to put out some recordings that are illegal.
What is the name of his label?
It's the same Big Beat label.
So he still holds the tapes.
Well, he got the tape because Big Beat is not interested in putting
them out, so he took it upon himself to try to put them out. But
it is not going to happen, because we are going to court, and
somebody is going to end up in big big trouble. It is in litigation
right now. I've learned about the business over the years. All
them times I've been sitting down, I've been learning, and I've
learned the business part of the recording thing. So they can't
fool me now. That was then, this is now.
So you worked up some songs?
I found that I could write. Over the years I've written a lot
of songs, hundreds of songs .... Where were we now? ... Coxson
... OK, I went to New York after I left Toronto. I got to New
York because of Shinehead. He was hot then, and he was touring.
He needed a drummer that could tour, because his drummer was messed
up ... he couldn't tour.
Was this the A-Team? Was that the name of the group?
He wasn't working with the A-team, because A-Team was actually
a free-lance group that would travel with Maxi Priest.
OK.
Shinehead did not have a complete band. He had a bass player,
keyboards, and guitar, but the drummer couldn't travel. The drummer
can't leave the country, because he didn't have proper papers.
So they wanted a drummer and they called me in Toronto, and sent
the plane tickets over. And I decided to do it. That's when I
left Toronto and came back to the U.S..
How long did you work for Shinehead?
I work for Shinehead for over three years. We've been all over
the world. My first time I went to Europe was with Shinehead.
I've been to Japan. I've been all over the place with Shinehead.
Did you record with him as well?
No. You see, that's the thing now. Shinehead don't use the same
musicians that back him to do his recordings. I think he would
have made a better act if he had done that. Because he could get
the same sound on stage. He is a budding musician, and at times
he tries to do everything himself, which I think is crazy. You
have to have professional sounds. But, that's his thing.
When you were playing with him, were you recording with any
other groups? Or playing live with any other groups?
No, I wasn't doing any recording. After travelling all over -
one time we went to Austria, and the promoters wanted the band
back, they didn't want the artist. that was the time when Shinehead
fired the band. Because (laughter) ... he got wind of it. They
wanted the band to return, but they didn't want the singer. That
was one of those things, so he fired the band. Didn't travel with
us no more, started to move with some other people. After that
happened .... this was after we went to Japan many times, gone
to Columbia, Brazil, across Europe, went right across Germany,
do to England and all them places, Bermuda, Trinidad and Tobago
... went all over the world, all over them places. Into Norway,
Denmark, all of them places. After we done all of that, he decided
to get rid of the band. That was a good experience for me anyway.
After we came back, I got some money, and decided I was going
to do a recording for myself. So I went into the studio and did
a song, a song called 'Feel The Vibes' .... a song that I wrote,
and I recorded it, and master it, press it, and start distributing
it in my car to different record shops.
What was the name of your label?
That was the snake ... 'Cobra.' It was my ex-wife who came up
with that name.
(laughter) ....
I had to get rid of that label because I didn't like the snake
thing. Two snakes intertwined. But that was the first song that
I produced and put out.
You did that in New York.
Yes, I did it in New York. And people like it because they played
it on the radio, and everybody wonder: Who is this guy that sound
like Beres Hammond? (laughter) That was my introduction to the
New York area. After that song, I found that a lot of producers
start coming to me with cassette tapes with rhythms on it they
wanted me to record. I was new in the New York area, and I was
eager to record. so I started recording a whole bunch of songs
everyday. And I spend lots of time in the studio, because I don't
know nobody. I don't know where to go besides the studio. I was
just coming to the New York area.
What studio's were you working at?
That would be at Sir Tommy's, Don One, Rough Stuff studio. I recorded
an album for Rough Stuff that they haven't even put out yet.
Were you doing a lot of dub plates and stuff as well?
Yeah, I was doing dub plates. I didn't get to do a lot of dub
plates until after '97. After the Studio One album came out.
So how did you connect with Coxsone?
This guy named Tony Screw, he has a sound system called 'Downbeat
International'. He said he liked the way I sounded, and he wanted
me to do some dub plates. He said he wanted it on original, authentic
rhythm, and him and Mr. Dodd are very close, so he can get the
rhythms. So he took me to Studio One in Brooklyn, at Fulton Street.
Because they have two studios, one in Jamaica, and one in New
York. While I was there singing this song, I noticed that Mr.
Dodd come inside and he was just looking, looking to see who was
singing. When I came out, he came over to me and said, "Jackson,
I like that sound, you know. You sound like ... Jackson there".
He no want to call Beres Hammond's name (laughter). He call everybody
Jackson.
(laughter) I know, that's what Lloyd Parks told me.
Yeah. So he said he liked it, and would like to know if I would
like to record. So I said, "sure, why not?", it was
a chance to record on Studio One. Even though I heard a lot of
things ... I said to him, I said, "I hear a lot of things
about you, ou know. I hear a lot of things, and I hear that I'm
not supposed to record for you." But, I decided I'm going
to get my own experience, and I started to asking him for some
rhythms.
He didn't offer you these rhythms, you had to ask?
No. No, I asked him for the rhythms, because he had to go look
for them. I asked him for the rhythms that I would like to sing
on. Then he bringing ... he would bring them out, and I would
voice them. Sometimes I voice two at a time.
So, is there more stuff than just the 'Brother To Brother'
album?
Yeah, he has another album that's wickeder than 'Brother To Brother,'
because of the rhythms I chose.
Is he going to put it out?
Yes, he is going to put it out.
He has got tons of stuff in the vaults.
Yeah, that's what I was surprised about. I was surprised how he
put out that album real quick. Because he said this thing sound
wicked. But he wasn't doing nothing ... Studio One wasn't doing
nothing for over twenty years.
Were you nervous to be using those rhythms that are considered
classics?
I wasn't really nervous. It was something that I wanted to do.
Because, I knew it could work. I told him, I said, "Mr D.,
you see when something like this come out, new lyrics on these
classical rhythms, it's going to be wicked". I told him,
because he even came back and reminded he, and say, "remember
you told me that."
It's a great sounding album.
Yep (laughter), I thought so after a while.
Some of those rhythms .... you just can't go wrong with some
of those. Why do you think some of those rhythms still sound so
solid?
Because they are live. They have got real spirit to them.
I know what you mean, because even when you hear them redone
now, they don't have the same feel.
No, they don't have the same feel.
When you hear the original 'Full Up,' and stuff like that,
you know it is the real deal.
Yeah, true. Because, you see, these days you don't have a live
band with real people. Sometimes one person play the whole thing,
and it's not the same vibe.
It's not a group effort, it's one guy's opinion. It's the engineer's
opinion, and that's it.
Yeah, that's one guy's opinion. They don't have the musicianship,
the same feel, the same vibe. That's why you need a band. You
have to have a band. The music that Sly and them put out is so
forceful, because even though Sly is sitting up there programming
the stuff, he is playing some stuff live. Right. He's doing it
right while the other musicians are playing, and you get a live
feel.
I understand what you mean. So how did 'Get Next To Me', with
Lloyd Campbell ....
After Lloyd Campbell heard ... because I worked with Lloyd Campbell
before, you know.
I didn't know that.
Back in the mid-70's, I recorded one song with Lloyd Campbell,
a song called 'Tighten Up.' It didn't get released.
So, you knew him.
Yeah, I knew him from back then. But, because I had left out of
sight he didn't recognize me until I brought it up. So after the
Studio One album ....
That Studio One album gave you a lot of exposure. It helped
open the market for you.
Yes, it opened up a lot of doors. After Studio One album I had
this woman that would keep calling my house all the time, calling
my phone. I had just moved to New York, just starting to get to
know New York, and I heard this woman calling my phone all the
time, and saying she wants to talk to me. So one day I caught
up with her, and she said "I know this good brethren named
Lloyd Campbell, he really wants to get in touch with you."
I said, "Lloyd Campbell ... Lloyd Campbell?" She started
to describe him now, and say, "Yeah, he used to have a label
called 'Spiderman.'" Me say, "Oh, Lloydie."
Most of the stuff I know from him is Itals.
Yeah, Spiderman. He was the one that broke Worl-A-Girl too, you
know.
I did not know that.
Yeah, he gave them their break.
Did you record the 'Get Next To Me' album in Jamaica?
Yes, I did all of that in Jamaica.
How was that?
That was great.
It would have been your first time recording in Jamaica for
quite a few years. 'Nuff changes!
Yeah, a whole lot of changes. Everybody was talking about the
Studio One album when I went to Jamaica though. While I was down
there, I seen so many people with cassettes, trying to get me
to record while I was there. But we wouldn't go to the studio
until the evening, because in the daytime I just lay up in the
hotel and chill out. In the evenings we go to the studio.
Which studio did you lay the tracks at?
We laid the tracks down at Sonic Sounds, voiced some at Sonic
Sounds. Then we voiced some at Mixing Lab. I remember a couple
of nights we went to Gussie's studio.
Was it a good experience putting that album together?
Yeah, it was a great experience. Some of the songs were written
in Jamaica while I was down there.
Are you going to do another CD for Lloyd?
I've already completed another one.
(Laughter) So, OK, you already have a completed album for Coxson,
and you already have a completed one for Lloyd Campbell.
You see, when I was recording for Coxson I ended up with enough
songs for two albums. And it's the same with Lloyd Campbell. I'm
working with Lloyd right now.
What about this new album, 'Think About It,' on Brickwall.
This is the project the H, C & F (New York studio) put out.
This was like a .... I didn't really finish an album with them,
you know. Because some of the songs that they have on the album
were borrowed from some other people I recorded for. Some of the
songs are borrowed from some guy in England that I recorded some
songs for.
I noticed that they were recorded all over the place. It's
still a good sounding record. It sounds very much like the VP
album, it doesn't sound very different from 'Get Next To Me.'
Are you happy with 'Think About It?'
It's fine, but I'm just not happy about the way they did it.
Were you not aware that they were putting it out?
No. I think that they use trickery to get that album out. Trickery
that won't work either ... it don't make sense that they go behind
my back, because I know certain things about the business. I could
have stopped it, you know. I could have an injunction on it. But,
after I listened back to the tracks, I said OK, it will work.
And they came to me and decided to work something out. So it went
past, but it don't make sense for anyone to try to use trickery
where my career is concerned. Because they might want to come
back again but they won't be able to. Why grab when you can work
it proper and you can have more? They couldn't come back again
to ask me for another album .... because we didn't have an album
agreement.
Well, at least you are pleased with the finished product. You
know what I mean? Because sometimes when things like that come
out they sound terrible ....
Yeah, because if it wasn't representing they would have to take
it off the market. I know how to ... because I didn't sign an
album agreement with them. I could have got a federal marshall
and go take the tapes. Because the law would back me on that.
I understand that there is another album, one that I have not
heard, on Jah Life.
That was another one too. He was licensing out the album to Jet
Star, and decide not to give me any money. So I had to have my
lawyer give him a call, shake him a little bit (laughter). But,
we worked that out, and he gave what I'm supposed to get, so everything
is alright. That is how you have two extra albums coming out.
It's called 'Can't You See' right?
Yeah, 'Can't You See.' I don't know why he named it 'Can't You
See.' The very first song on it, I don't like it, the cover song.
'Love Don't Live Here Anymore,' you could tell that we had a disagreement,
because you have two other people singing on the song. Because
I didn't finish the song, that was a song we had a disagreement
on, and I say forget it, I ain't singing nothing more. And then
he had somebody else singing, trying to make it sound like a combination,
with J.D. Smoothe and this girl ... I don't even know the girl.
That's not good.
I'm glad that wasn't done on one of my original songs, we would
have had a discrepancy, we would have had differences.
I've seen a few singles out on the market, who else have you
been recording for lately?
Recently, I haven't been laying any tracks. All those songs you
hear come out ... Well, I did a couple of songs for High Power,
this guy named General Lee.
Right now are you living in New York or Jamaica? Or are you
travelling all the time?
I live in New York, but I'm on the road a lot.
Do you have any plans to tour as a singer?
I have been touring as a singer. I just got back from England.
How was that? Were you received well?
That was great. I was really really surprised the way they responded
to me.
That's good. How about America and Canada? Are you going to
do some touring?
I'm doing shows all over the place. The agency that I work with,
they are setting up a U.S. tour for summer.
Who is your band going to be?
Same band, 'Rough Stuff', the one that Clinton Rowe plays with.
He is the band leader. I just did a show with them down here in
Florida, Sunday. That's what I came down for on Sunday. At the
Brickhouse. It was a full concert, just me and my band. I played
for about two hours.
By the way, I forgot to ask you: Who are 'Calabash?'
Calabash is the band that I used to play with. I played drums
with Calabash, with Gregory Isaacs.
I saw that there was a live Gregory Isaacs album with your
name on it.
Yeah, 'Live at the Maritime Hall.' I hate the way they speeded
up that ... because we played everything on the record speed,
but they speeded it up for some reason. I don't know why they
speeded it up - make it sound really fast.
What are your plans for the rest of the summer?
I'm down here sitting in this hotel room, working on some rhythms,
writing a few songs that I'm working on.
Are there any other producers in Jamaica, right now, that you
would like to work with?
.... There are other producers that want to work with me, but
I don't want to run into them right now. I'm just writing new
songs. Write them, and keep them. I have a project I'm working
on for my 'May Pen' music label, because I'm bring out my own
label. That is where I am from May Pen in Clarendon. So I have
that label registered with B.M.I..
So you are going to start doing some self productions?
Yes, self productions. I will be working with Lloyd Campbell,
but I'm going to start to produce some things. I have a few other
little young guys that I would like to bring out on my label.
Singers or deejays?
Singers. I'm really into singers. Singers last longer. A deejay
has got to make a new song every week .....
Copyright 1999 Jim Dooley